CCB Magazine

Katja Bäuerle is CR Manager at UFA and is working on the decarbonization of film - she spoke about this at this year's MediaTech Hub Conference. We spoke with her.

InterviewFabian Nestler

CCB Magazin: Katja, the topic of sustainability is becoming increasingly important in film production. You're working on the decarbonization of film. What exactly do you mean by that?

Katja: I am a CR manager at UFA and deal with the social responsibility we bear as a production company and employer. This responsibility naturally includes decarbonization, i.e. significantly reducing our CO2 emissions by changing the way we produce in the long term.

CCB Magazin: What are the basic stages on the road to "decarbonized" production?

Katja: More CO2-efficient production starts at the planning stage. Here, it is advisable to create a target CO2 calculation. Close and transparent communication with the production team on the planned green producing measures is also important, as is the actual CO2 calculation after completion of post-production.

More CO2-efficient production starts at the planning stage. However, the market must first adapt to the changing requirements, which is associated with high investments

CCB Magazin: Can you give concrete examples of how and where emissions and energy consumption can be reduced in the production process?

Katja: The simplest formal means is to switch to green power wherever possible, in studios and postproduction, but also when purchasing fixed power in locations. Then it's a matter of saving energy and resources, e.g., by using energy-efficient light bulbs or e-cars. In catering, a major impact can additionally be achieved by reducing animal products and giving preference to regional foods. And there should be no flying within Germany!

CCB Magazin: What are the problems? Where is the structural transformation towards more sustainability in the film sector lacking?

Katja: In many places, the market first has to adapt to the changing requirements, which sometimes involves high investments for various cooperation partners, such as vehicle rental companies, providers of generators or the hotel industry. We are also not spared from the currently extremely rising energy costs, which come on top of the additional costs for green producing.

CCB Magazin: So far, various guidelines and checklists exist to help production companies make their work steps more sustainable - for example, there are minimum ecological standards from Green Shooting. Why are such measures not being implemented across the board?

Katja: The ecological minimum standards of the Green Shooting working group around Carl Bergengruen of MFG Baden-Württemberg are standards developed by the industry. Numerous broadcasters, streamers, promoters, associations and producers were involved in the development. There is a broad commitment to work on the implementation of these standards. However, the film and television landscape in Germany is extremely diverse. We're not just talking about films here, but also shows, documentaries, news, small reports and major cinema productions. Time, budget and production requirements vary greatly in the field. A change towards more sustainability can therefore not work within a few months and certainly not for everyone at the same speed.

CCB Magazin: The Green Shooting working group headed by Carl Bergengruen has also launched the Green Motion Label, a certificate that sets minimum standards for sustainable action in the film industry and confirms them. However, it is based on voluntariness. Do we need measures that are mandatory?

Katja: The fact that the Green Motion Label is based on voluntariness is mainly due to the fact that not all measures can always be implemented everywhere in Germany. We don't want to ruin our industry. At the same time, green production must be as self-evident  as occupational safety in the future. But we need time to relearn, adapt and answer open questions. But we don't have forever either.

CCB Magazin: When you look at the international comparison, which countries are making the most progress in terms of sustainability? Which are falling behind? What are the reasons for this?

Katja: Unfortunately, I don't have an overview of the sustainability status quo of the global production landscape. It seems to me that the British market is already very well developed; there, with Albert, a CO2 calculator was also created very early on and with it an awareness of the grievances of our industry. But I basically have the impression that we are already quite far along in Germany as well, at least in terms of discussions and awareness. I just spent a few months producing in Australia, where sustainability wasn't really an issue, neither socially nor in the film and TV industry. And we experience this regularly on shoots in other European countries.

We don't want to ruin our industry. But we don't have forever. Above all, we need the support of policymakers to ensure that the sustainable transformation process succeeds.

CCB Magazin: One problem in the industry is mobility, because people are constantly flying to shoots. The company Frame Dealers sells existing film scenes as stock footage. This saves long journeys for short sequences in other locations. Would that be the solution to the problem? And how would that be reconciled with the demand for authenticity that the industry places on itself?

Katja: Interesting question, one could add here the virtual studios, where almost any conceivable background can be produced in front of large LED walls. An entire film, in the mountains or on a ship, can thus easily be created in the studio. In the future, this will certainly prevent some trips or make shoots possible in the first place. However, not every narrative and production can be arranged via stock footage. But an exciting and modern stock footage catalog can be helpful.

CCB Magazin: The project of integrating sustainability into workflows, companies or film productions is also perceived by many today as a burden - for example, funding bodies etc. are increasingly demanding ecological and green standards. What political measures and support services are needed so that the film industry does not despair of the demand for sustainability in the future?

Katja: If you ask me that as a producer, I say it needs more money. Currently, green production is not cost-neutral. In parts, depending on genre and production form, it is very cost-intensive. Also, service providers can't make their investments in new technologies as quickly as they would like to, and as they desperately need to from a planetary perspective. So yes, the industry is dependent on subsidies. But of course there are also very practical measures that would be desirable, such as a better fixed power infrastructure so that the use of diesel generators can be further reduced, or more e-charging stations. Political support is needed for this. Only in this way the sustainable transformation process can succeed.