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Guia to implementing sustainability criteria in filming and film shoots

ICEC Institut Català de les Empreses Culturals Generalitat de Catalunya. Departament de Cultura

CONTENTS 1. Presentation 2. The impact of cinema 3. Good practice 3.1. Energy saving 3.2. Transport and accommodation 3.3. Catering 3.4. Material consumption 3.5. Waste generation and management 3.6. Calculating and reducing your carbon footprint

6. Management 6.1. Sustainability plan 6.2. Team in charge 6.3. Communication 6.4. Indicators and assessment

Annexes Annex I. Resources Annex II. Table of measures Annex III. The role of municipalities

4. Natural and agricultural environment 4.1. Before the filming process 4.2. During the filming process

5. Local community and economy 5.1. Relations with the local community and local authorities 5.2. Local procurement and contracting 5.3. Sustainable suppliers

Guide to implementing sustainability criteria in filming and film shoots

1. Presentation Since 2022, the Catalan Institute for Cultural Companies (ICEC) has been promoting the environmental transition of Catalonia’s cultural sector through the Plan_C* Culture for the Climate, a strategic framework structured around three pillars. The plan is based on the recognition that the cultural sector has a dual role in addressing the climate emergency: reducing the environmental impacts associated with its activities, and contributing to society’s ecological transition through its capacity to influence, raise awareness, and shape narratives. Within this framework, ICEC has implemented a range of initiatives aimed at integrating environmental criteria into the activities of

cultural companies and organizations within its area of responsibility. This process has also led to the adaptation of ICEC’s support instruments for the audiovisual sector. It is in this context that, in 2022, the Catalan Institute for Cultural Companies, through the Catalonia Film Commission, launched the first version of the Guide to implementing sustainability criteria in filming and film shoots to advance sustainable development. Since then, the guide has helped to progressively normalize the adoption of sustainable production practices, environmental certifications, and methodologies for measuring the environmental impacts associated with audiovisual activities.

Guide to implementing sustainability criteria in filming and film shoots

The current framework Since 2022, the ICEC has been spearheading the sustainable transformation of the cultural sector in Catalonia through the Plan_C* Culture for the Climate, which has promoted the incorporation of environmental criteria into grant guidelines, training programmes and support tools aimed at cultural organisations. As part of this process, the ICEC requires film productions receiving funding to submit a sustainability report as part of the justification for the grant received. This trend is not unique to Catalonia. Since 2021, the Institute of Cinematography and Audiovisual Arts (ICAA) has been imposing progressively

stricter requirements for an environmental report or a carbon footprint measurement system as a condition for its grants for feature film production. Both requirements operate in parallel and ultimately serve the European Union’s emissions reduction targets. This guide is published alongside the first aggregate study on the carbon footprint of Catalan cinema, commissioned by the ICEC as part of Plan C*. For the first time, the sector has its own data on its environmental impact, and the criteria set out on the following pages can be based on these data rather than solely on international references.

What’s new compared to the 2022 edition This edition is an update of the one published in 2022. The main changes are as follows:

– The content has been reorganised and clarified, grouping the measures by area of action and separating those relating to production from those relating to management.

– The section on the natural and agricultural environment has been expanded and now covers in detail the preliminary procedures, protected areas and specific impacts on fauna, flora and soil.

– Green Film remains the leading benchmark. Green Film is the standard for sustainable filmmaking endorsed and recommended by CineRegio, the European network of regional film funds and film commissions, of which the Catalunya Film Commission is a member. This edition has been updated in line with the current scoring system.

– The resources have been updated and expanded, with the guidelines, certifications and calculators currently available listed in Annex I.

Guide to implementing sustainability criteria in filming and film shoots

How to use this guide Chapter 2 sets out the sector’s environmental impact based on the available data. Chapters 3 to 5 set out the applicable measures: general best practices, those specific to filming in natural and agricultural environments, and those relating to the local community and economy. Chapter 6 explains how all of the above is planned, communicated and evaluated. Annex I lists the reference materials. Annex II contains the full list of measures, designed to

be used in the context of a specific production project to determine which ones are to be implemented. Annex III is aimed at local authorities. Not all measures are applicable to all projects. The guide sets out the range of possible practices, and it is up to each production to select those that best suit its specific characteristics, budget and artistic requirements.

Scope and target audience It is a tool that brings together some of the sustainability initiatives that are already being put into practice at film shoots, providing additional information and resources for implementing them. The proposed measures apply to project filming processes; activities relating to the company’s day-to-day operations at its headquarters or in other unrelated areas are excluded.

The guide is also available to any public authority wishing to build sustainability criteria into their handling of filming permits, so that they can adapt said criteria and make the necessary resources available to production companies so that they can also adopt them.

Guide to implementing sustainability criteria in filming and film shoots

Preparation of the guide This guide has been prepared considering previous initiatives, such as the one promoted by the Barcelona Film Commission and the Green Film certification scheme, promoted by the Trentino Film Commission, adapting their recommendations to the specific nature and characteristics of film shoots carried out in Catalonia. This guide was launched in 2022 with support from organisations representing the audiovisual sector, specifically the Federation of Audiovisual Producers (PROA), the Association of Audiovisual Producers of Catalonia (PAC), PROFILM (association of Spanish international audiovisual production companies), the Association of Advertising Film Producers (ACPC) and the Audiovisual Industry Alliance

(ALIA). This new edition has been developed in partnership with the Protected Natural Areas Service of the Catalan Ministry of Agriculture, Livestock, Fisheries and Food and Barcelona Provincial Council’s Natural Parks Technical Office.(associació de productores espanyoles d’audiovisual internacional), l’Associació de Productores de Cinema Publicitari (APCP) i l’Aliança de la Indústria Audiovisual (ALIA). En aquesta edició, s’ha comptat amb la col·laboració del Servei d’Espais Naturals Protegits del Departament d’Agricultura, Ramaderia, Pesca i Alimentació de la Generalitat de Catalunya i el Servei de Gestió de Parcs Naturals de la Diputació de Barcelona per l’elaboració de l’apartat de rodatges en medi natural i agrícola.

Guide to implementing sustainability criteria in filming and film shoots

2. The impact of cinema Transporting people and materials accounts for half of a production’s carbon footprint Until now, the Catalan audiovisual sector had no data of its own on its environmental impact. The study commissioned by the ICEC as part of the Plan C* Cultura pel Clima initiative, published in 2026, provides the first aggregate assessment of the Catalan film industry’s carbon footprint: 32 feature films funded between 2021 and 2025, with assessments carried out by 8 different environmental consultancy firms and standardised to allow for comparison.

On average, a Catalan production generates 26.7 tonnes of CO2 equivalent for every million euros of budget, or 44.9 tonnes for every hour of footage. The average carbon footprint of a production run, 76.9 tonnes, is equivalent to the amount absorbed by around 4,000 trees in a year.

Where do these emissions come from? Category Transport Food Travel Materials Third-party logistics Accommodation Electricity generation Electricity consumption Waste

The movement of people and materials (transport, travel and external logistics) accounts

% of the footprint 31.2% 21.7 % 13.4 % 13.2 % 8.2 % 6.9 % 3.5 % 1.2 % 0.7 %

for 52.8% of the sector’s carbon footprint. Of these, air travel is the most acute: it accounts

Guide to implementing sustainability criteria in filming and film shoots

for 83.5% of travel emissions and 11.2% of the total carbon footprint. The team’s food and drink budget is the second-largest item, accounting for more than a fifth of the total, and the only major expense that does not depend on where filming takes place. There are two international sources with published data on feature-length films: BAFTA Albert, in the UK, puts the impact at 66.4 tonnes per hour of footage, based on an average that

includes both fiction and non-fiction productions (Accelerate 2025 report, using 2024 data), while Ecoprod, in France, estimates an impact of 160 tonnes per hour, considering fiction productions only (Environmental Impact of Audiovisual, Film and Advertising Production, 2025). These are industries with production scales, budgets and filming practices that differ from those in Catalonia; consequently, their figures give us an idea of the order of magnitude, but do not allow for a direct comparison.

The decision on where to film is the most important one The dispersion of filming locations is the single most important factor influencing a production’s carbon footprint. Even within Catalonia itself, spreading a shoot across several provinces generates more emissions than concentrating it in one. Moreover, the effect increases with distance: productions that film outside Catalonia emit 57.2% more per million euros invested than those shot entirely within the territory. It is a decision that is made before filming begins. Categories that depend on location account for 51.5% of the carbon footprint and are determined during the development phase,

when decisions are made about where and at how many locations filming will take place. That is why this guide places the sustainability plan at the beginning of the management chapter (see section 6.1) rather than as a subsequent step. And it reduces costs as well as emissions. Transport, travel and accommodation are items that involve a direct financial cost and are well known to any production company. Reducing the number of sites and the volume of equipment transported does not mean having to choose between saving money and reducing pollution: both objectives point in the same direction.

Guide to implementing sustainability criteria in filming and film shoots

The impact is not just climate-related So far, we have talked about CO2 emissions and climate change, but these are not the only environmental impacts of a film shoot. Temporary land use, the biodiversity of locations, forms of pollution other than greenhouse gases (waste disposal, noise) and the use of natural resources all require their own indicators and are not included in the footprint calculation. Waste is the clearest example: it accounts for just 0.7% of the footprint, but its real impact lies in resource consumption, environmental pollution and the circularity of materials. These are dealt with in section 3.5.

Something similar happens with the natural environment. Filming in a protected area may have a modest carbon footprint but can, in turn, cause disturbances to the fauna, flora and soil that do not appear in any emissions table. Chapter 4 deals with that impact. And there is a third aspect in which a film shoot can have a positive impact: a film production generates employment, procurement and economic activity in the local area, despite occupying public space and disrupting the daily lives of those who live there. Chapter 5 addresses this dual nature.

Guide to implementing sustainability criteria in filming and film shoots

3. Good practice The following is a set of measures that, if applied to filming and film shoots, will help to reduce the

audiovisual sector’s environmental impact and raise awareness within the industry.

3.1. Energy saving All filming activities involve consuming energy to a greater or lesser extent. The introduction of energy-saving and energy-efficiency measures, as well as a commitment to renewable energy, will help to reduce carbon dioxide (CO2) emissions and, consequently, to mitigate climate change. Use mains power supplies whenever possible The use of mains power supplies should be prioritised to avoid using generators and the associated consumption of non-renewable raw materials, the emission of greenhouse gases and potentially nuisance-causing noise pollution. We advise resolving this issue when deciding on the film locations: once you have visited each location, it is a good idea to contact the local distribution company to check whether a temporary connection is possible. In addition to the environmental benefits, connecting to the grid is usually more cost-effective than hiring and running generator sets, as it involves a fixed

contract cost and a variable cost based on actual consumption. Generator sets must be at least Stage V compliant Stage V is the European standard that regulates emissions from internal combustion engines. This standard introduced tougher restrictions on carbon monoxide (CO), unburned hydrocarbons (HC), nitrogen oxides (NOx) and particulates, so less polluting motors must be used. Use battery-based energy storage systems Battery-based energy storage systems make it possible to power equipment on a film shoot without having to rely on combustion at the location itself. In the audiovisual sector, they are commonly known as ‘battery generators’, although they do not generate electricity: they store it, having been charged beforehand, and supply it throughout the day.

Guide to implementing sustainability criteria in filming and film shoots

There is a wide range of equipment available, from portable units designed to power cameras, monitors and other equipment, to systems capable of powering lighting or a base camp for a whole day. Charging can be done either from the mains or via solar panels; the latter option is already available in the rental market. As they can be installed right next to the point of use, rather than running cables from a remote central unit, these systems significantly reduce the amount of cabling required.

that run on renewable energy or by purchasing energy that is certified as coming from renewable sources. Where the location allows for a temporary connection to the grid, the simplest option is to take out a supply contract with a certificate of guarantee of renewable origin. Issued by the National Commission on Markets and Competition (CNMC), this certificate guarantees that the electricity comes from renewable energy sources. It is worth noting that almost all market suppliers offer the option of contracting 100% renewable energy.

Use efficient lighting systems: LEDs LED (light-emitting diode) lighting systems consume less energy, have a longer life and produce less light pollution. They are also more efficient, resulting in lower CO2 production. Incandescent, halogen and fluorescent lighting systems should be used sparingly, as they consume far more electricity than LED equipment and make filming more expensive.

When it is not possible to connect to the grid, the alternative is to generate electricity on site from renewable sources, using photovoltaic systems or biofuel-powered generators. In this case, make sure to ask the supplier for a signed statement regarding the origin of the energy supplied.

Consume energy from 100% renewable sources The greenhouse gases associated with filming can be reduced by consuming energy from renewable sources, either by using generators

Guide to implementing sustainability criteria in filming and film shoots

3.2. Transport and accommodation Transport is one of the main causes of climate change. Building sustainable transport measures into the filming process will reduce polluting emissions that are harmful to the environment and people’s health. Transport efficiency plan Planning of production logistics ahead of time is the most efficient way to reduce both transport emissions and their cost. The film production sustainability plan (see section 6) should include a specific section on transport efficiency, with clear guidelines on how journeys are to be optimised and emissions reduced in two distinct areas:

– Daily transport between the accommodation

Take access to public transport into account when selecting locations Provided they meet the specific requirements of the shoot, it is recommended to select, wherever possible, locations within 300 to 500 metres of high-capacity public transport (train, metro or tram). Make medium- and long-distance journeys by public or collective means of transport, preferably train Trains should be used rather than flying for journeys of less than 7 hours and distances of less than 1,000 kilometres, giving priority to the high-speed and long-distance rail network.

and the set while filming.

– Travel to the film set from home, at the start and end of filming, when the production company covers the cost.

– Travel between filming locations in different

This criterion applies both to the return journeys of the crew and cast at the start and end of filming, and to changes of location during filming. Besides the train, coaches, buses, boats and car-sharing with at least three people are considered preferred modes of transport.

regions or countries. Use public transport during journeys The guiding principle should be to use the least number of vehicles and journeys as possible. From there, we recommend reviewing all transport-related measures, choosing the most appropriate modes of transport according to the needs of the filming.

Encourage the use of public transport (e.g. provide information on how to get to the shooting location by public transport, provide public transport tickets, etc.) and car sharing to reduce greenhouse gas emissions

Guide to implementing sustainability criteria in filming and film shoots

and contribute to making transport more sustainable and efficient.

and liquefied natural gas (CNG and LNG), and liquefied petroleum gas (LPG).

For daily transfers between accommodation and the film set, the order of preference is as follows: firstly, public transport and non-motorised modes of transport (cycling, e-bikes or walking); secondly, electric vehicles; and, thirdly, hybrid vehicles or those powered by natural gas or liquefied petroleum gas.

When it is not possible to use vehicles with a ‘Zero Emissions’ or ‘Eco’ badge, use vehicles with at least a ‘C’ badge, which identifies petrol passenger cars registered from January 2006 onwards and diesel cars registered from 2014 onwards, both of which comply with the latest European emissions standards. In any case, vehicles without an environmental badge should be avoided.

Use vehicles with an ‘Eco’ or ‘Zero Emissions’ environmental badge issued by the DGT

Encourage the use of non-motorised transport during shooting

It is advisable to opt for vehicles with the ‘Zero Emissions’ or ‘Eco’ badge, in accordance with the classification issued by the DGT:

Priority should be given, as far as possible, to walking, cycling or other means of sustainable personal transport (e.g. electric scooters).

– Zero Emissions badge. The most efficient vehicles are issued this badge, i.e. battery electric vehicles (BEVs), range-extended electric vehicles (REEVs), plug-in hybrid electric vehicles (PHEVs) with a range of 40 kilometres and fuel cell vehicles.

Choose accommodation near the shooting location

– Eco badge. This badge is issued for vehicles

If the filming requires accommodation for the people involved, choosing accommodation close to the filming location, preferably within a radius of 10 kilometres, will help to reduce the impact of transport.

on the next efficiency rung. These are mostly hybrid vehicles, gas vehicles or both. This badge is awarded to plug-in electric vehicles with a range of less than 40 kilometres, non-plug-in hybrids (HEV), vehicles powered by compressed

This measure does not apply to locations used for a single day’s filming. As well as the environmental benefits and fuel savings, the proximity of the accommodation makes it easier

Guide to implementing sustainability criteria in filming and film shoots

to organise transport and reduces driving time and the workload for those doing the driving. Use accommodation that is committed to sustainability For filming where overnight stays are required, select accommodation that meets one of the following requirements:

– It has an Environmental Quality Assurance Seal, an EU Ecolabel, or a certified environmental management system (ISO 14001 or EMAS).

– It is a member of the Biosphere Commitment to Sustainable Tourism or the European Charter for Sustainable Tourism.

– It has a certification recognised by the Global Sustainable Tourism Council (Green Key, Earthcheck, Green Globe, etc.). The first two categories correspond to Type I environmental labels, which comply with the ISO 14024 standard, and to verified environmental management systems; they therefore offer a more rigorous guarantee than the others.

• In Catalonia: the official guide to tourist establishments of the DGT of the Ministry of Business and Labour allows you to select tourist accommodation that has the

Environmental Quality Assurance Seal, the EMAS certificate or the Ecolabel. You can visit establimentsturistics.gencat.cat for a complete list. Use services (courier and others) that are committed to sustainable transport Endeavour to contract local courier companies that are committed to using sustainable means of transport (bicycle, tricycle or other similar forms of sustainable transport) or whose vehicle fleet has the DGT Eco or Zero Emissions badge. Provide training in efficient driving for film crew drivers Knowledge of efficient driving practices can lead to average fuel savings of more than 15%, reduce pollutant emissions and stress and, consequently, reduce accidents.

• In Catalonia: the Catalan Energy Institute (ICAEN) publishes resources and materials on efficient driving, available at icaen.gencat.cat Install secure parking for bicycles and other means of sustainable transport The installation of mobile bicycle parking systems is recommended, as well as lockers for scooters and folding bicycles.

Guide to implementing sustainability criteria in filming and film shoots

3.3. Càtering If catering services are provided during filming, adding sustainability criteria will help to reduce their environmental impact and have a positive impact on the local economy.

Avoiding lunchboxes is, therefore, the decision with the greatest impact in this whole section.

Meal service options

– Eating at restaurants located within 5

The way in which the main meal of the day is served has a significant impact on the amount of waste generated during a film shoot. The distribution of individual portions in lunchboxes – a common practice in catering and mobile canteen services – leads to a significant increase in the amount of single-use packaging generated.

kilometres of the filming location. This is the most sustainable option, as it ensures the use of reusable tableware and shifts the responsibility for waste management to the restaurant.

In order of preference, the recommended methods are:

– Using a mobile catering unit that prepares meals on set using reusable crockery.

Guide to implementing sustainability criteria in filming and film shoots

– Using a catering service that does not use

Fresh and seasonal fruits and vegetables

lunchboxes or single-use packaging, but instead operates on a self-service basis with reusable crockery.

Endeavour to eat produce in line with the seasonal produce calendar.

An exception is made for quick snacks consumed on set (sandwiches or similar) when the working day is expected to run for an extended period without a break, provided that this situation does not account for more than 30% of the shooting days. Locally sourced products

• In Catalonia: the Ministry of Agriculture, Livestock, Fisheries and Food publishes a calendar of seasonal produce on its website, agricultura.gencat.cat Avoid single-pack and single-dose products

Products must be purchased either from producers or producer groups involved in local sales, or certified products bearing a Protected Designation of Origin (PDO) or a Protected Geographical Indication (PGI).

Wherever possible, products such as sugar, coffee, pastries, jams, etc., should not be supplied in individual packaging.

Local or ‘zero-kilometre’ products are defined as those where the distance between the place of cultivation or production and the place where the food is cooked is less than 200 kilometres.

It is recommended that coffee be served without using disposable cups or stirrers, which can be replaced with reusable spoons. We recommend using coffee beans. When using capsule machines, compostable capsules are better and should be disposed of in the organic waste bin. Disposable plastic or aluminium capsules are not considered an acceptable option.

• In Catalonia: local sales are regulated by the Ministry of Agriculture, Livestock, Fisheries and Food. One way to shop is through “km 0. Fet al costat de casa”, an initiative by the Agricultural Association of Young Farmers (ASAJA) to promote the consumption of locally sourced agricultural and livestock products produced in Catalonia.

Coffee service

Reusable plates, cups and cutlery It is recommended to use reusable plates, glasses and cutlery. If this is not possible,

Guide to implementing sustainability criteria in filming and film shoots

products made of compostable materials should be used. When washing up, it is best to choose detergents bearing the European Union Ecolabel or another Type I environmental certification in accordance with ISO 14024.

Reusable tablecloths and napkins Prioritise the use of reusable tablecloths and napkins. If this is not possible, it is advisable to opt for tablecloths and napkins made from 100% recycled paper. Protocol for the prevention of food waste

Installation of water fountains We recommend serving drinking water and cold drinks without using plastic bottles or disposable cups. The best option is to install water points connected to the local mains supply at the filming location and to provide the crew with reusable thermos flasks, thereby minimising the purchase of plastic bottles and cups. As an alternative to thermos flasks, priority will be given to the distribution of smaller reusable water bottles or cups; if this option is not possible, cups made of compostable material that can be disposed of as organic waste should be used. When this is not possible, the alternative is to use separate water dispensers, and the supply contract should provide for their recovery and reuse. If, for valid reasons, this too is impossible, the water must be supplied in jugs of at least 5 litres.

Mechanisms to prevent food from being thrown away or spoiled must be in place. Among other things, portion sizes can be adjusted to suit the number of diners. For surplus food, try to sign an agreement with a charitable organisation or a company that provides a collection service for prepared and uneaten food, and to extend this to as many main meals as possible.

• In Catalonia: information on preventing food waste and managing surplus food can be found at residus.gencat.cat Food and beverages must cater for diverse needs The catering service must include options for people with food intolerances and allergies (such as lactose, nut or gluten) and for vegetarians and vegans.

Guide to implementing sustainability criteria in filming and film shoots

All main meals should include at least one vegetarian or vegan option, and the menu should also feature a dish made with organic or locally sourced ingredients.

Explain to the team the reasons behind these decisions (see section 6.3). A menu with less meat is more readily accepted when people understand the reason behind it.

What’s on the menu and reducing red meat consumption

Staff awareness of ingredients and options available to be able to inform diners

Alongside transport and energy, food is one of the factors that has the greatest impact on a film shoot’s carbon footprint, and when it comes to the menu, red meat – beef, lamb and pork – makes all the difference. Their carbon footprint per serving is significantly higher than that of poultry, fish and any plant-based food. Reducing their prominence on the menu has a greater impact on the bottom line than almost any other measure taken by the catering service.

Staff working in the catering service should be aware of the ingredients of the products offered in order to provide this information to diners, especially those who have allergies or intolerances to certain foods, as well as to people with specific needs. Food and beverages sourced from organic farms or fair trade producers

– Offer a wide and appealing variety of plant-

The food and drinks provided should be certified as having been produced according to organic farming standards, in accordance with Regulation (EU) 2018/848 or an equivalent international standard, or sourced from fair trade suppliers, i.e., manufactured according to fair trade principles that guarantee workers’ labour rights have been respected, and they receive a fair wage.

based dishes and reduce the number of meatbased dishes.

Healthy eating

And this impact is not limited to climate: meat production is also one of the main factors contributing to the loss of biodiversity. The recommendation is therefore to:

– When including meat, avoid beef and pork, and prioritise suppliers who practise sustainable production.

The food provided should contribute to a healthy diet, avoiding excess animal protein, saturated fats and sugary or processed products.

Guide to implementing sustainability criteria in filming and film shoots

3.4. Material consumption Many materials are used and different types of waste are generated during filming. Implementing good practices that encourage the responsible use of materials helps contribute to the development of a circular economy. The management of the resulting waste is dealt with in section 3.5. Reuse of set materials It is better to hire materials rather than buying them new, to favour the circular economy and avoid unnecessary production. Furthermore, wherever possible, it is recommended that equipment be hired from companies located near the filming location. Sustainable set materials If it is not possible to hire set materials, options that guarantee or facilitate the subsequent reuse of the materials and reduce their environmental impact (easily recyclable or reusable material, with environmental certifications, etc.) should be considered. There are two specific criteria that enable this recommendation to be applied when building sets:

– Use paints bearing the European Union Ecolabel or another Type I certification in accordance with ISO 14024.

– Use FSC- or PEFC-certified timber. It is also advisable to use local suppliers and to pay particular attention to the final disposal of materials, especially paints and their packaging.

• In Catalonia: you can consult the catalogue of products and services that have the Environmental Quality Assurance Seal awarded by the Government of Catalonia at mediambient.gencat.cat Recycled materials or those reused from set design, props and costumes Reused or recycled materials should be incorporated into production’s three main areas of material consumption: set design, props and costumes. They can be purchased or rented, or they can be obtained by entering into an agreement with supplier companies and organisations. Costumes and props are often excluded from a film shoot’s sustainability measures, despite having just as much potential for reuse as the sets. Agreements with associations, entities, etc., to facilitate the reuse of the material at the end of the filming process To ensure materials can be reused once the filming is over, it is advisable to make

Guide to implementing sustainability criteria in filming and film shoots

agreements with entities or associations so that they can keep some of the materials from the shoot, committing to reuse items that would otherwise become waste.

Printing: keep it to a minimum

Set structures and props that remain in good condition may be stored appropriately for future use by the production itself, or transferred to a third party under a transfer agreement. In the latter case, priority should be given to social organisations, cooperatives and local initiatives as beneficiaries.

Minimise the printing of documents during filming and distribute work instructions, schedules, etc., in digital format to reduce materials consumption and generate less waste. If documents must be printed, they should be in black and white and double-sided. This recommendation applies to all internal communications: work schedules, shooting schedules, travel plans and any other information intended for the crew.

Certified natural make-up and cosmetics

Use of recycled paper

It is recommended, where possible, to use make-up and cosmetics that are certified as containing mainly ingredients of plant origin, that do not contain hazardous substances and have not been tested on animals.

All paper used during filming must be 100% recycled paper. Products made from recycled materials result in lower CO2 emissions than equivalent products made from raw materials.

For reference, products bearing the European Union Ecolabel or another Type I label, or those certifying that at least 95% of their ingredients come from organic farming, are considered suitable. This recommendation applies to the entire make-up and hairdressing department: soaps, shampoos, conditioners, shaving creams, oils, creams and haircare products.

Alternatively, paper bearing the European Union Ecolabel or another Type I environmental label in accordance with ISO 14024 may be used.

Guide to implementing sustainability criteria in filming and film shoots

3.5. Waste generation and management Audiovisual productions generate various types of waste on film sets and in production offices. Proper waste management reduces CO2 emissions associated with landfill and incineration, and prioritises the recovery and recycling of materials. The order of priority is to reduce and reuse as the first option, and to recycle as the second. Waste management is planned before filming begins, taking into account what waste will be generated, and which waste management contractors will be required. Separate waste collection on set and in workspaces During and after filming, materials that cannot be donated to charitable entities or associations for them to reuse must be separated and collected for recycling. As a minimum, a system for the separate collection of the largest waste streams should be established. Catering services must separate out organic waste, packaging, glass and general waste for collection. In workplaces and on set, the main waste streams are usually paper and cardboard, packaging and mixed waste. Cigarette butts require specific attention: they contain toxic substances that contaminate

soil and water and, in forest environments, also pose a fire risk. It is advisable to provide collection points (sand- or water-filled ashtrays) in designated smoking areas and supply portable ashtrays to crew members, ensuring that no cigarette butts are discarded on the ground (see section 4.2.6). Recycling bins for separate collection must be of an appropriate size for the quantities of waste to be contained and must be instructional and clearly and unambiguously labelled (e.g. with labels, coloured bags or bins for each waste stream). Proper final management of separately collected waste streams It is important to ensure that all separately collected waste streams are managed in accordance with current regulations and delivered to authorised waste managers. The waste may be disposed of in municipal recycling bins unless the competent authority indicates otherwise and the licence granted by the local council does not prevent this. This method is suitable when the volume generated is small. Where the volume is high, collection must be coordinated with local waste collection services and, where applicable, with the site manager.

Guide to implementing sustainability criteria in filming and film shoots

Collection of construction waste Waste resulting from the construction and dismantling of sets cannot be disposed of via the ordinary municipal waste collection service. It should be sorted by type either on set or in the workshop (wood, metals, paints and props) so that waste can be recycled appropriately. Agreements should be put in place with local waste management companies, requesting the relevant treatment certificates to confirm the delivery and final destination of each waste stream.

Portable toilets with low environmental impact The wastewater generated during filming must be properly managed. If portable toilets are to be installed, they must use biodegradable, antiseptic and formaldehyde-free chemicals, or be dry toilets. It is also advisable to request that they be fitted with an independent lighting system with motion sensors to activate the lights.

Collection of hazardous waste Certain types of waste commonly generated on a film set require a separate disposal method and cannot be disposed of as general waste: batteries, electronic components and electrical equipment, lamps and light fixtures, toner and cartridges, make-up chemicals, materials used in special effects, paint residues, solvents, aerosols and their containers. A specific protocol should be set up for each of these waste streams, contacting authorised operators and requesting treatment certificates attesting to compliance with regulations.

Guide to implementing sustainability criteria in filming and film shoots

3.6. Calculating and reducing your carbon footprint In order to reduce, we first need to measure. Calculating the carbon footprint enables us to determine the relative impact of each of the measures in this section on the final outcome of a specific production process, and to make decisions accordingly. Carbon footprint calculation

The calculation is more useful when carried out twice: an estimate during the preparation phase, which enables alternatives to be compared and more informed decision-making, and the final calculation at the end of the project, which documents the result and serves as a benchmark for future productions. Section 7 lists the available tools.

The carbon footprint is a measure that quantifies the greenhouse gas (GHG) emissions associated with any activity (product, service or organisation). This carbon footprint is calculated in tonnes of CO2 equivalent. The calculation of atmospheric GHG emissions released into the atmosphere allows organisations to identify what aspects of their activities represent the greatest source of CO2 equivalents and take measures to reduce them.

Offsetting emissions that could not be reduced

To ensure a comparable, usable calculation, it must meet three conditions:

Offsetting is the final step; it is never a substitute for prevention. It only makes sense to apply it to residual emissions, once all available reduction measures have been exhausted.

– It should be carried out using a calculator designed specifically for audiovisual productions, either online or with the help of an expert.

– It must be based on ISO 14067 or another internationally recognised standard.

– It should cover at least the main sources of emissions from a production: energy, transport, accommodation, catering, materials and waste.

CO2 offsetting involves investing financial resources in projects aimed at reducing emissions and improving the environment, thereby offsetting those emissions that it has not been possible to avoid. These projects may also bring social benefits.

It is important to pay attention to how this measure is communicated to the public. Directive (EU) 2024/825 prohibits claims that an activity or product has a neutral, reduced or positive impact on the environment when such claims are based on carbon offsetting. Its application will be compulsory from 27 September 2026. A production process that

Guide to implementing sustainability criteria in filming and film shoots

offsets its emissions can and should explain this, but should not claim to be carbon-neutral.

• In Catalonia: offsetting can be done via GHG credits generated under the voluntary GHG emission offsetting programme managed by the Catalan Office for Climate Change. These credits stem from emission reductions achieved through projects carried out by organisations that carry out their social work in Catalonia. If this option is not possible, it is advisable to opt for carbon credits acquired on the voluntary market recognised by the Catalan Office for Climate

Change: Verified Carbon Standard (VCS) and Gold Standard. Further information is available at canviclimatic.gencat.cat Tailor-made initiatives Every production has its own characteristics, and some valuable actions do not fit into any of the above categories. We recommend recording and documenting such initiatives, provided they are verifiable and offer significant environmental or social benefits, so that they can be assessed and, where appropriate, incorporated into future editions of this guide.

Guide to implementing sustainability criteria in filming and film shoots

4. Natural and agricultural environment Any activity carried out in the natural or agricultural environment is likely to have a negative impact on that environment’s components, and film shoots are no exception.

To minimise this impact, some work can be done in advance with effective planning, while there are other practices that can be implemented during filming.

4.1. Before the filming process Before commencing any filming in a natural or agricultural setting, a number of preliminary issues (relating to administrative procedures, planning and the local environment) must first be resolved that will determine how filming will subsequently proceed.

in advance and comply with the conditions set out in the relevant mandatory report. Who you will have to speak to depends on the setting: some areas have their own specific management teams, while others rely on centralised management at regional level.

4.1.1. Contact the landowners Every plot of land has an owner, whether public or private, who may use it for their own activities (farming, livestock farming, forestry, leisure activities) that may be affected by the film shoot. Before filming begins, you must contact the landowner and agree on the key terms of the process: affected areas, planned activities, dates and times. Any subsequent changes must be agreed with the owner once again.

4.1.2. Contact the management team of the protected natural area If filming takes place within a protected natural area, you must contact the management team

The manager should be contacted as early as possible in the production process, as their requirements may affect both the script and the planning: areas where access is prohibited, periods of the year when access is not permitted, or restrictions on certain filming methods (such as the use of drones).

• In Catalonia: there are 165 sites in Catalonia’s network of natural areas protected under the Plan for Areas of Natural Interest (PEIN), covering an area equivalent to approximately 30% of Catalonia’s territory. The parks’ management is coordinated between the Government of Catalonia Natural Park Network and the

Guide to implementing sustainability criteria in filming and film shoots

Barcelona Provincial Council Natural Parks Technical Office, depending on the area; for sites without their own management team, the Government of Catalonia DirectorateGeneral for Environmental Policy and the Natural Environment is responsible for any communication. There are three parks designated as strict nature reserves (Cap de Creus, Aiguamolls de l’Empordà, and Montgrí, les Illes Medes i el Baix Ter), where filming or photography is only permitted if it is of scientific interest or specifically aimed at promoting the park’s assets.

4.1.3. Apply for authorisation The clearer the application is and the earlier it is submitted, the easier it will be to obtain authorisation: an unclear or late application may result in the permit not being granted, in it being withdrawn as the filming date approaches, or in there not being enough time to find alternatives. The application for authorisation must include:

– A detailed description of the project (locations, shooting schedule, locations, planned scenes and shooting times, days on set, size of the technical crew, number of actors and extras, vehicles, equipment used, production insurance, base camp location).

– A letter of commitment confirming the

– Valid public liability insurance covering any damage that may be caused during filming.

– Copies of all other required permits and authorizations: from the competent traffic authority if the activity affects roads or routes open to traffic; from the relevant local councils; and from the property owner if private land is being used. Site management authorities generally do not issue open-ended or generic permits: authorization is limited to the locations, dates, and times requested, and any change requires a new application. Some sites also do not permit filming on weekends or public holidays, nor do they reserve dates in advance. Furthermore, authorization may be suspended or revoked due to unforeseen circumstances related to environmental conservation, public safety, or fire prevention (see section 4.2.6). It is therefore advisable to identify alternative dates or locations during the planning stage. For productions that regularly film in natural environments, it may be useful to appoint a designated contact person within the team (either a member of the team with specific training or an external eco-manager), whose responsibilities include liaising with land managers and monitoring the good practices adopted throughout the shoot.

team’s commitment not to damage the natural environment.

Guide to implementing sustainability criteria in filming and film shoots

4.1.4. Streamline equipment sizing and filming time estimates As a general principle, applicable to virtually all the impacts described in this guide, the fewer people and logistical resources deployed to a sensitive area, and the more the time spent on site is optimised, the lower the impact will be on noise, traffic, lighting or the potential introduction of invasive species. This criterion must be taken into account right from the planning stage of the film shoot.

4.1.5. Assess the risk of overcrowding The publicity surrounding a location (through the final cut of a film or its promotional campaign) can lead to a significant increase

in visitor numbers to the area following the film’s release. It is important for the production team to be aware of this potential impact right from the development stage: the decision on whether or not to reveal an exact location can have real-world consequences for a sensitive area long after filming is over. This overcrowding can affect both the area’s flora and fauna and the local population, whose daily lives are disrupted. To minimise this risk, you may want to consider changing the location or adapting the narrative approach if the risk of drawing a crowd is high. As a lesser evil, one can avoid using maps or promotional material that would allow the precise location of particularly sensitive sites to be identified.

Guide to implementing sustainability criteria in filming and film shoots

4.2. During the filming process Once filming has begun, the impact on the natural environment is mainly due to the crew’s physical activity on site and the disturbances this activity causes to the local flora and fauna.

4.2.1. Trampling and traffic

– Park vehicles in designated and authorised parking areas, as agreed with the landowner or site manager, without damaging vegetation or crops.

– Locate the base camp exclusively within the authorized area.

The movement of people and materials associated with the filming process can have an impact on the natural and agricultural environment, including the trampling of vegetation, disturbing wildlife, animals being run over and soil compaction and erosion, among other things. Even a single person walking over a specimen of a protected plant species constitutes an impact and is prohibited; therefore, it is essential to be fully aware of a terrain’s characteristics before entering in order to minimise this type of impact.

– Do not reserve public parking spaces or obstruct the normal use of paths, viewpoints, or public facilities by other visitors.

– Avoid filming on steep slopes (over 20%) to minimise the risk of erosion; if you must step on sloping ground, it is advisable to keep filming time to a minimum.

– Replace livestock fences exactly as they were, whenever it is necessary to cross them.

Recommendations

– Always use authorised paths and tracks, as previously agreed with the landowner or site manager.

– Avoid driving off-road; if necessary for filming, agree on the affected area with the landowner or site manager, mark out the area and signpost it using removable materials, and minimise the time the area is occupied. Keep to a moderate speed to avoid running over wildlife to keep noise down.

–

– Any changes that need to be made to the set must be able to be repaired – or even improved – once filming has finished.

4.2.2. Noise Noise is one of the impacts resulting from a film shoot that can have a particularly significant effect on the local wildlife. This is especially true if the activity takes place during a critical period such as the breeding season, when nests, eggs and chicks may be present and where

Guide to implementing sustainability criteria in filming and film shoots

noise may lead adults to abandon them, or the wintering and hibernation season, when food is scarce or the animals are in a state of dormancy from which it is best not to disturb them. Birds of prey are particularly sensitive to noise. Recommendations

– Avoid the use of public address systems for communication between film crew members and replace them with mechanisms with low acoustic impact (mobile phones, walkie-talkies).

– Do not play amplified music, unless the scene requires it and the management team expressly authorizes it.

– Should it be necessary to use generators, prioritise soundproofed models and, where possible, electric generators over combustionpowered ones. It is recommended that noise levels do not exceed 70 decibels.

– Prioritise electric or hybrid vehicles, and

birds of prey are particularly sensitive to noise disturbances. In addition to these general recommendations, each protected area may impose additional restrictions through its Special Protection Plan, which should be discussed with the management team prior to filming.

4.2.3. Light pollution and filming at night The impact of light pollution must be taken into account in any filming process carried out in natural or agricultural environments. It particularly affects nocturnal wildlife, whose normal activity may be disrupted, but it also impacts diurnal wildlife, which suffers from sleep deprivation and increased exposure to predation due to the light’s attractant effect. Night-time lighting can also disrupt bats’ feeding patterns and disorient migratory birds that fly at night.

– Refrain from filming in the area during the

It is not, therefore, advisable to film at night in protected natural areas. In any case, the area’s management team must always be consulted to determine whether the plan is viable.

breeding or hibernation season of the species found there.

Recommendations

power tools in general.

• In Catalonia: the breeding season runs

– Choose times when your presence will have

from January to July, a period during which

the least impact on wildlife.

Guide to implementing sustainability criteria in filming and film shoots

– Limit the brightness and duration of the lighting.

– Switch off the lights when they are not in use. – Optimise the angles of light diffusion. – Consider using wavelengths that have less

In addition to permission from the protected area’s management team, night-time filming usually also requires authorisation from other relevant authorities, particularly the corresponding local council, and, where applicable, from any private individuals affected.

4.2.4. Overflights (drones)

impact on flora and fauna (generally red lights).

– Use filters or post-production effects instead of direct lighting.

• In Catalonia: Law 6/2001, on the environmental regulation of lighting for the protection of the night-time environment, is in force; this Law divides the territory into four categories according to its vulnerability to light pollution (zones E1 to E4). Virtually all of Catalonia’s natural and agricultural land is classified as either E1 (maximum protection, protected areas and PEIN) or E2 (high protection, land not suitable for development). This Law, implemented by Decree 190/2015, does not apply to temporary activities totalling fewer than 50 hours per year (Article 12.8), which is often the case with a film shoot. However, we still recommend that it be used as a guide to good practice for any night-time film shoot in zone E1 or E2. You can view that light pollution zoning map at sig.gencat.cat

The use of drones and other aerial equipment during filming carries a risk of collision with wildlife, as well as stress reactions that may cause birds to abandon their nests while the eggs are still being incubated: the noise and silhouette of the aircraft may be perceived by wildlife as those of a predator, particularly in nesting or breeding areas. For this reason, low-altitude overflights in managed natural areas are usually prohibited or strictly regulated, and always require specific authorisation from the managing body for each flight route, with no guarantee that such authorisation will be granted. Recommendations

– Submit a detailed flight plan to the area’s management team for prior approval.

– If authorisation for the flight cannot be obtained, consider alternative locations or the use of existing stock images.

Guide to implementing sustainability criteria in filming and film shoots

– Use quiet drones with propellers that produce little noise.

– Observe the mandatory flight distance from sensitive species, which varies depending on the species, altitude, horizontal distance and time of year.

• In Catalonia: the use of drones is generally prohibited within the areas covered by the Barcelona Provincial Council’s Natural Park Network. Exceptions are made for professional activities aimed at improving prevention and conservation measures within the area or scientific or educational activities in line with the objectives of its Special Protection Plan, provided that these do not cause any negative impact on wildlife, the soil or vegetation, depending on the area and the time of year. Under no circumstances is flying permitted during the breeding season or in the presence of birds. In addition to authorisation from the management team, you must consult the AESA, the Spanish Aviation Safety Agency (drones.enaire.es).

4.2.5. Disturbances to flora and fauna Flora and fauna in natural and agricultural environments are extremely fragile and susceptible to direct and immediate negative

impacts from activities carried out there. The impact of the filming activity on the fauna and flora in the area must be kept to a minimum. Non-native species currently pose one of the main threats to native flora and fauna; therefore, no species that is not native to the area should be released or left there. The time of year matters too: pruning or cutting back vegetation during the main breeding season of nestbuilding birds can have a direct impact on their reproduction. Recommendations

– Do not leave leftover food that could be eaten by wildlife in the area.

– Do not remove any natural materials from the area (flowers, plants, wood, animals, and so forth).

– Do not release or leave any animal or plant species that are not native to the area.

– Avoid cutting vegetation, particularly mature trees, native species, hedgerows or wildflower meadows. Do not clear vegetation or modify the terrain without the express authorization of the manager.

– Do not attach items (ropes, pitons, supports, signage, decorations) to trees, rock faces, or other natural features.

Guide to implementing sustainability criteria in filming and film shoots

– Return any rocks, logs or other landscape features to their original location, should they have been removed during filming.

– Immediately halt operations if protected wildlife or sensitive species are observed and there is a risk of disturbing them. The management team may modify or suspend the activity for conservation reasons.

– Consider supporting a local non-profit conservation organisation working in that area: contact with local community organisations can also help to ensure that filming is better prepared, thanks to their knowledge of the area. In Catalonia: there are vulnerable protected species that may not be filmed without specific authorisation from the Government of Catalonia Wildlife Service.

4.2.6. Risk of fire Droughts, which are becoming increasingly frequent, make the vegetation in natural areas more vulnerable to the risk of fire, and episodes of extreme danger (including the closure of natural areas) are becoming increasingly frequent. Consequently, the relevant authorities may impose seasonal restrictions on certain uses or access to specific areas, based on risk parameters that are updated daily.

A film shoot brings together several potential ignition sources: tobacco, generator sets and machinery, vehicles parked on dry vegetation, high-power lighting and special effects. A poorly extinguished cigarette butt is enough to start a forest fire, so prevention depends on both planning and the behavior of the entire team during the day. Recommendations

– Coordinate with fixers or local environmental officers to identify potential alternative filming locations or periods.

– During periods of high risk, plan for alternative dates or locations, as authorization may be suspended on short notice.

– Check the up-to-date fire risk map nd the activation level of current prevention plans before the start of each working day.

– Notify the management team in advance— and obtain their express authorization— regarding any use of smoke, fire, pyrotechnics, simulated explosions, blank-firing weapons, high-intensity lighting, or any other element capable of causing ignition.

– Do not smoke on set or at base camp when working in or near forest areas. If necessary,

Guide to implementing sustainability criteria in filming and film shoots

designate a smoking area away from vegetation, equipped with sand or water-filled ashtrays, and provide portable ashtrays to the crew. No cigarette butts may be left on the ground (see also section 4.2.7).

– Place generators on surfaces free of vegetation, at a distance of 5 to 10 meters from any wooded area, and use trays or containment systems to catch potential fuel or oil spills.

zone. The Department of Agriculture, Livestock, Fisheries and Food publishes a daily forest fire danger map by municipality (updated twice a day, at 9:30 a.m. and 2:30 p.m.), which determines whether fire-risk activities may be carried out within that zone.

in the “green memo” distributed to the technical and artistic crew (see section 6.3).

Meanwhile, the Rural Agents Corps (Cos d’Agents Rurals) implements the Pla Alfa, which is in effect year-round and sets a daily danger level—ranging from 0 (low) to 4 (extreme)— for each municipality. At level 3 (very high danger), all previously authorized or notified fire-risk activities are suspended; furthermore, smoking on forest land, using spark-generating machinery within 500 meters of forest areas, and using pyrotechnics are prohibited. At level 4 (extreme danger), access to natural areas is also restricted. In practice, when level 3 or 4 is active, filming authorizations may be automatically suspended or revoked; therefore, the production team is responsible for checking the current level before commencing activity (interior.gencat. cat/plaalfa). In any case, prior coordination with the Forest Fire Prevention Service (Servei de Prevenció d’Incendis Forestals) is essential.

• In Catalonia: Decree 64/1995, which

4.2.7. Wastewater and toxic substances

establishes forest fire prevention measures, regulates activities posing a fire risk on forest land and within the surrounding 500-meter

The disposal of toxic items (batteries, bits of adhesive tape, plastics, cigarette ends) and

– Do not park vehicles on grass or dry vegetation, as hot exhaust pipes can cause ignition.

– Have first-response firefighting equipment (extinguishers, backpack sprayers) available on set and designate personnel responsible for them. All crew members must know the emergency number (112) and the exact location of the set.

– Do not block roads, forest tracks, or access routes used by emergency services with vehicles or equipment.

– Include these rules in the initial meeting and

Guide to implementing sustainability criteria in filming and film shoots

the use of artificial props that imitate natural elements (polystyrene ‘snow’, coloured vegetation, paints or solvents) can cause damage to soil, surface water and groundwater that is difficult to reverse, as well as having a visual impact on the environment. Recommendations

– Use low-impact portable toilets. – Keep sanitation areas away from sources of drinking water or watercourses (rivers, streams, lakes, marshes), situating them downstream and outside the floodplain.

– Avoid extracting water from sources experiencing water stress.

– Avoid releasing anything into the air, on the ground or in the water (smoke, glitter, confetti); if they must be used, follow the rules of good practice and use non-toxic, biodegradable materials.

– Collect and sort the toxic waste generated, and entrust its management to authorised waste management operators.

– Remove all waste generated during the work from the natural area upon completion and manage it off-site; under no circumstances should it be left in the area for collection.

– Wherever possible, avoid using environmentally harmful sets on location, and consider alternatives such as post-production effects.

– Have a policy in place to prevent and respond to potential oil or diesel spills, and have a water management plan that identifies risks and responsibilities relating to surface water.

Guide to implementing sustainability criteria in filming and film shoots

5. Local community and economy A film shoot doesn’t just take up space: it takes root temporarily in the life of a place and the people who live there. The measures set out below, when applied to film shoots, have a positive impact on the area where filming takes place.

is built during the preparatory phase and is maintained throughout the shoot; decisions regarding local procurement are made during the preparation stage and cannot be amended subsequently; and the feedback to the region is provided at the end, once the result is known.

Each block has its own slot in the production schedule. The relationship with the community

5.1. Relations with the local community and local authorities The presence of a film shoot disrupts daily life in the local area for a few days: it takes up public space, affects parking, generates noise and attracts large numbers of people and vehicles. Anticipating these disruptions and discussing them with those who will be affected is what determines whether a film shoot is remembered as an opportunity or a nuisance.

Meetings with potentially affected communities Holding meetings with the local community allows you to explain how the filming will work and to agree, as far as possible, any measures needed to minimise the possible effects on residents.

It is advisable to hold them well in advance so that the input received can still be incorporated into the planning process, rather than simply serving as a means of communicating decisions that have already been taken.

Compliance with the noise limits set out in the municipal regulations or in the authorisation granted by the competent authority The impact of the noise generated by large numbers of people and the operation of equipment must be managed. The film shoot must comply with municipal regulations on noise pollution in each municipality and in areas subject to special

Guide to implementing sustainability criteria in filming and film shoots

protection with regard to noise whose unique characteristics mean special sound quality levels must be respected. Beyond regulatory compliance, there are measures that minimise disruption without affecting work: adapting the set-up and dismantling timetables, positioning generators and vehicles away from building façades, using soundproofed equipment and replacing the public address system with radio communication. When filming takes place in a protected natural area, the measures applicable are those set out in section 4.2.2, which are aimed at protecting wildlife.

• In Catalonia: each municipality has a by-law regulating noise and vibrations and, in many cases, a noise sensitivity

map that defines noise-sensitive areas and the thresholds applicable in each one. It is advisable to consult them when selecting a location, before applying for a filming permit.

Measures to compensate the community for temporary restrictions In the case of extended filming periods or shoots that significantly affect the daily activities of local people, it is advisable to offer some compensatory measure, such as tickets for shows, discounts in local shops, etc.

Information on the socio-economic impact of filming Data on the economic impact of the production should be provided: jobs generated and the amount of money invested in the area.

Guide to implementing sustainability criteria in filming and film shoots

5.2. Local procurement and contracting The decision on where to hire staff is what channels part of the production budget into the local area. Unlike other measures in this guide, it cannot be corrected once it has been finalised: the contracts have already been drawn up.

Purchasing and contracting from local companies As far as possible, the companies contracted to provide services or products should be based in the area of the film location(s). As a practical guideline, a local supplier is

defined as one whose operational headquarters are located less than 200 kilometres from the place where it provides the service or makes the supply. This is the same threshold that applies to locally sourced products in the catering service (see section 3.3). It is advisable to check with the local council or film office to see if they have a directory of local suppliers.

• In Catalonia: The Companies Directory of the Catalunya Film Commission and the Barcelona Film Commission brings together

Guide to implementing sustainability criteria in filming and film shoots

Catalan companies in the audiovisual sector—categorized by type (such as equipment rental, special effects, and postproduction)—and can be consulted at bcncatfilmcommission.com/en/companiesdirectory

Employing local extras Priority should be given to employing extras who live in the vicinity of the location(s), provided they meet the image or equivalent requirements of the production.

5.3. Sustainable suppliers A significant proportion of the main suppliers to the production process should preferably meet one of the following criteria:

– They are a social cooperative, a social enterprise or another third-sector organisation.

– They hold a social certification awarded by a third party in accordance with the SA 8000 standard.

– They hold environmental certification in accordance with the ISO 14001 standard or have EMAS registration. Main suppliers are defined as those that receive a significant proportion of the budget, those that provide services or products that are relevant to production, and those that pose an environmental or social risk. Set design is the most common example of this latter case.

It is advisable to include these criteria in the request for quotations rather than applying them retrospectively, once the supplier has already been selected.

• In Catalonia: ICEC has published a catalogue of sustainable suppliers for audiovisual productions; this can serve as a starting point for applying these criteria and is available for consultation at issuu.com/icec_ generalitat/docs/proveidors_sostenibles Additionally, the CFC and BFC Companies Directory (see section 5.2) includes a specific sustainability category (covering areas such as consultancy, waste management, donation of sets and props, and food and clothing collection) and allows companies in other categories to identify themselves using sustainability markers, such as the use of 100% renewable energy or holding a recognized environmental certification.

Guide to implementing sustainability criteria in filming and film shoots

6. Management This section includes measures that, although not related to a specific environmental or social aspect, help to make the filming more sustainable. There are four in total: a plan setting out the measures, a team responsible for

implementing them, a communication strategy to ensure they reach those who need to carry them out, and an evaluation to assess whether they have been successful. Without these four aspects, the measures set out in the previous sections depend on the discretion of each working day.

6.1. Sustainability plan The sustainability plan is the document that sets out the options chosen to make production more sustainable. The aim is to plan in advance how these criteria will be applied in a practical and efficient manner, reducing the environmental impact without slowing down the team’s work. The plan must specify, for each measure adopted, what specific actions will be taken and where. It must also include a contextual analysis highlighting any fragile or critical aspects of the environment in which filming is to take place, such as protected areas, historic centres or urban areas with heavy traffic, and the impact that the activities will have on them. This will allow the plan itself to set out the measures envisaged to minimise this impact, both during filming and once filming has finished.

Two chapters warrant separate treatment within the plan:

– Efficient transport. It sets out how the aim is to optimise journeys and reduce the associated emissions. Its contents are set out in section 3.2.

– Efficient waste management. It sets out how waste management will be carried out, based on the 4R principle (reduce, reuse, recycle and recover), which regulations apply at each location, and which collection points will be set up on set and at base camp. Its contents are set out in section 3.5. The plan must also specify at which stage of production each task is carried out:

Guide to implementing sustainability criteria in filming and film shoots

Phase Development Pre-production

Filming Post-production

Main tasks Strategic site selection. Sustainability criteria in creative decision-making. Initial sustainability plan. Appointment of the sustainability team. Drafting of the plan. Implementation of pre-production measures. Green circular sent to the whole team. Implementation of the measures. Monitoring and adjustment. Assessment and final report.

6.2. Team in charge A person should be appointed to ensure that sustainability measures are implemented during filming. Depending on the scale of production, this function can be divided among three roles:

– Sustainability manager. This person is responsible for sustainability throughout the entire production process. They draft the plan, communicate it to the technical and artistic teams, coordinate with department heads to ensure the measures are implemented, establish sustainable criteria for procurement, contracted services and travel, and document the results. It would be advantageous for them to have experience in production management or as a production manager.

– Sustainability assistant. They are a member of the production team who assists the person mentioned above with the day-to-day running of the shoot. They check on set that the measurements are correct and that the required resources are available, pay particular attention to waste management and address any queries the team may have.

– Sustainability consultant. This is an external specialist who advises the team. This role is particularly recommended for large-scale projects, when certification is sought or when a rigorous carbon footprint assessment is carried out. ICEC’s Pla C* Culture for the Climate includes a list of consultancies specializing in sustainability (see Annex I).

Guide to implementing sustainability criteria in filming and film shoots

The sustainability team is usually part of the production team and works in close collaboration with production management. In small-scale operations, a single person may take on several of these roles alongside other responsibilities, provided that their specific commitment to sustainability tasks is guaranteed.

• In Catalonia: the Catalonia Film Commission provides guidance and advice to productions on sustainability matters. In Barcelona, the Barcelona Film Commission also has a sustainability specialist who offers tools, resources, and local contacts, and collects sustainability data once filming has concluded.

6.3. Communication Plan distribution and initial meeting The sustainability plan should be distributed to all members of the production team before filming begins. In addition, the person responsible for sustainability must hold an initial meeting attended by production staff, senior management and department heads, as well as all those involved in the planned actions. Minutes should be taken of the meeting.

Green circular The people involved in the filming should be given information on the sustainability measures in place, indicating what they can do to help make the process more sustainable. This information must include at the very least the

measures implemented to prevent waste from being generated and the separate collection procedures in place. The standard document used for this is the green circular: a brief summary, addressed to the entire technical and creative team, setting out the measures taken and what is expected of each department. Unlike the plan, it is designed to be read at a glance and referred to during filming. This information should also reach external staff working on the film set, particularly those in the catering department.

External communications Mechanisms need to be put in place to inform stakeholders of the sustainability measures implemented during filming (e.g. a press release,

Guide to implementing sustainability criteria in filming and film shoots

a news item on the website, a trailer or a ‘making-of’ feature). It is advisable to stick to what has actually

been achieved and to avoid making claims of neutrality or positive environmental impact, for the reasons set out in section 3.6.

Guide to implementing sustainability criteria in filming and film shoots

6.4. Indicators and assessment It is necessary to define key indicators or parameters that will be used to assess where improvements can be made, for example:

– Quantity of waste collected separately. – Consumption of natural resources. – Carbon footprint of the shoot. In order for the carbon footprint to be comparable, it is also advisable to express it in relation to the size of production. The reference studies use two indicators: tons of CO2eq per million euros of budget and per hour of footage (see chapter 2). Calculating both allows us to place the production in relation to Catalan and international references and, above all, to compare it with previous productions from the same production company.

This assessment should be carried out before the production team disbands, in the presence of the executive producer, the production manager and the sustainability team. It is at this point that we should identify which measures have been successful, which have presented difficulties, and what needs to be adjusted for the next production run.

• In Catalonia: according to the ICEC study on the carbon footprint of Catalan cinema—which analyzes 32 feature films financed between 2021 and 2025, a production generates on average 26.7 tons of CO2eq per million euros of budget and 44.9 tons per hour of footage.

Once filming has finished, a report should be drawn up setting out the actions actually carried out for each measure and how they relate to what was set out in the sustainability plan. The report brings the cycle to a close: not only does it document the result, but it also serves to substantiate the action taken to third parties as well as a starting point for the next production run.

Guide to implementing sustainability criteria in filming and film shoots

Annexes Annex I. Resources Guidelines for sustainable audiovisual production Various European film commissions and public bodies have published guidelines for sustainable audiovisual production, taking into account the specific regulatory requirements and local resources of each region. Guide to good practice in audiovisual production (Barcelona Film Commission). It focuses on the specific context of the city of Barcelona: https://www.bcncatfilmcommission. com/en/sustainability Guía básica: plan de sostenibilidad para producciones audiovisuales (Basque Green Film). This guide, available in Basque and Spanish, is designed to guide you through the step-by-step process of drawing up a sustainability plan, with a downloadable template and self-assessment form: https:// www.euskadi.eus/bgf-basque-green-film

Biodiversity & the screen industries: A guide for productions (BAFTA Albert, 2023). Focused on the impact of production activities on biodiversity: baftaalbert.org Guides and practical fact sheets (Ecoprod). A collection of open-access resources organized by area of work: production management, set design, costumes and makeup, animation, visual effects and post-production, and directing and screenwriting: ecoprod.com/en/ressourcesecoprod Guide des Tournages en Milieux Naturels (Ecoprod). French guide to filming in natural settings: https://ecoprod.com Green Production Guide (Sustainable Entertainment Alliance, United States). A toolkit for planning, communicating, implementing, and tracking sustainable practices, featuring a departmental checklist of measures (PEACH): greenproductionguide.com

Sustainable Production Guide (BAFTA Albert). Department-by-department guide, with checklists and templates for production planning and certification preparation: baftaalbert.org

Guide to implementing sustainability criteria in filming and film shoots

Certifications for sustainable audiovisual production These are available to projects wishing to officially validate and publicise their sustainability efforts. These certifications provide structured frameworks and external recognition of the practices implemented during production. It is worth bearing in mind that the organisations promoting these initiatives provide production companies with freely available resources (measurement benchmarks, thematic guides and carbon footprint calculators) that can be used without having to undertake any certification process. Several of these resources are listed in the previous and following sections. Green Film. A standard developed by Trentino Film Commission and adopted by CineRegio, which is particularly relevant in the European context. It offers a specific version for documentaries: green.film BAFTA Albert. Widely used in British productions and with a growing international presence. As of 2026, it offers two certification pathways (Certified and Committed): baftaalbert.org

Carbon footprint calculators Measurement tools specifically designed for the audiovisual sector. Specific data on activities (kilometres travelled, energy consumption in kWh, operational information) is required, depending on the model used. MEDIA Carbon Calculator. A calculator developed on behalf of the European Commission to establish a common measurement methodology for the European audiovisual sector: media-carbon-calculator. digital-strategy.ec.europa.eu Carbon Calculator (BAFTA Albert). A reference calculator from the British organization, aligned with the GHG Protocol (Scopes 1, 2, and 3) and also used in European productions. It is part of their Next Generation Toolkit: baftaalbert.org PEAR (Green Production Guide). Free-to-use spreadsheet-based carbon footprint calculator: greenproductionguide.com Carbon’Clap (Ecoprod). A free calculator from the French organization Ecoprod, certified by the CNC. It includes international emission factors, making it suitable for use on shoots outside France: ecoprod.com/carbonclap

EMA Green Seal. US certification recognised worldwide: green4ema.org

Guide to implementing sustainability criteria in filming and film shoots

Resources in Catalonia Companies Directory (Catalunya Film Commission and Barcelona Film Commission). A directory of Catalan companies in the audiovisual sector, categorized and maintained by both film commissions. It includes a sustainability category and special badges to identify providers with sustainable practices: bcncatfilmcommission. com/en/companies-directory Plan C* Culture for the Climate (Institut Català de les Empreses Culturals). The ICEC’s environmental sustainability plan for cultural enterprises. Its “Tools and Resources” section compiles sector-specific guides and manuals, calculators, and a list of consultancies specializing in sustainability. The plan’s website also provides information on ICEC grants and training in this area: icec.gencat.cat/ca/sectors/ pla_c/eines_recursos

Official Guide to Tourist Establishments. This allows you to filter accommodation with the Environmental Quality Assurance Seal, EMAS or the Ecolabel: establimentsturistics.gencat.cat Catalan Office for Climate Change. Voluntary GHG offsetting programme: https:// canviclimatic.gencat.cat Waste Agency of Catalonia. Authorised operators, prevention of food waste and management of surplus food: residus.gencat.cat Catalan Ministry of Agriculture, Livestock, Fisheries and Food. Local products and seasonal produce calendar: agricultura.gencat.cat Catalan Energy Institute (ICAEN). Resources on efficient driving and energy efficiency: icaen.gencat.cat

Catàleg de proveïdors sostenibles per a rodatges audiovisuals (Institut Català de les Empreses Culturals). A directory of sustainable providers for audiovisual shoots: issuu.com/ icec_generalitat/docs/proveidors_sostenibles Environmental Quality Assurance Seal. List of products and services that have been awarded this ecolabel by the Government of Catalonia: mediambient.gencat.cat

Guide to implementing sustainability criteria in filming and film shoots

Voluntary sustainability commitments Audiovisual companies wishing to demonstrate their commitment to sustainability can join voluntary initiatives that enable them to reduce their organisation’s environmental impact beyond the filming process. Environmental management systems. Certified in accordance with the international standard UNE-EN ISO 14001 or the European EMAS Regulation: mediambient.gencat.cat Citizens’ Commitment for a More Sustainable Barcelona 2024–2034. A framework for the Barcelona + Sostenible (More Sustainable Barcelona) programme, which

promotes participation and the exchange of information and resources, raises the profile of member organisations’ initiatives and creates opportunities for collaboration. Sign up to join the More Sustainable Barcelona Network: barcelona.cat Voluntary Agreement Programme for the reduction of GHG emissions (Catalan Office for Climate Change). It provides tools, support and recognition to organisations operating in Catalonia that wish to make a voluntary commitment to reduce their emissions. Signatory organisations undertake to monitor their emissions and to set out annual measures to reduce them: https:// canviclimatic.gencat.cat/en/ambits/mitigacio/ acords_voluntaris/index.html

Guide to implementing sustainability criteria in filming and film shoots

Annex II. Table of measures This table sets out all the sustainability measures recommended in this guide. The ‘Planned’ column allows you to specify, for a particular shoot, which measures are to be implemented. The ‘Green Film’ column shows the code for the equivalent criterion in the Green Film rating system (2024 edition), where a match exists.

The absence of a code does not mean that a measure is any less relevant: this means that it has no direct equivalent in Green Film, either because it comes from another source (BAFTA Albert, Ecoprod, Basque Green Film), or because it is specific to the Catalan context or to this guide.

GOOD PRACTICE 3.1. Energy saving Measure

Planned

Green Film

Use of mains power supplies whenever possible

Generator sets must be at least Stage V compliant

—

Use of battery-based energy storage systems

—

Efficient lighting systems: LEDs

Energy consumption from 100% renewable sources

Guide to implementing sustainability criteria in filming and film shoots

3.2. Transport and accommodation Measure

Planned

Transport efficiency plan

Green Film PR1

Selection of locations based on proximity to public transport

—

Medium- and long-distance travel with a focus on rail

Use of public transport during journeys

Use of vehicles with an ‘Eco’ or ‘Zero Emissions’ environmental badge (DGT)

—

Promotion of non-motorised transport

—

Selection of accommodation near the shooting location

Use of accommodation that is committed to sustainability

Procurement of sustainable courier services

—

Training in efficient driving

—

Secure bicycle parking

—

Guide to implementing sustainability criteria in filming and film shoots

3.3. Catering Measure

Planned

Green Film

Meal service options

Locally sourced products

—

Fresh and seasonal fruits and vegetables

—

Retail products without individual packaging

—

Coffee service

Reusable plates, cups and cutlery

Installation of water fountains

—

Reusable tablecloths and napkins

—

Protocol for the prevention of food waste

Food and beverages must cater for diverse needs

What's on the menu and reducing red meat consumption

—

Information for the team on ingredients and allergens

—

Organic or fair-trade food and drink

Healthy eating

—

Guide to implementing sustainability criteria in filming and film shoots

3.4. Material consumption Measure

Planned

Green Film

Reuse of set materials

Sustainable set materials

Recycled materials used in set design, props and costumes

Agreements to facilitate the reuse of the material

Certified natural make-up and cosmetics

Printing kept to a minimum

Use of recycled paper

Guide to implementing sustainability criteria in filming and film shoots

3.5. Waste generation and management Measure

Planned

Green Film

Separate waste collection on set and in workspaces

PR1

Proper final management of separately collected waste streams

PR1

Collection of construction waste

—

Collection of hazardous waste

—

3.6. Calculating and reducing your carbon footprint Measure

Planned

Green Film

Carbon footprint calculation

Offsetting emissions that could not be reduced

—

Tailor-made initiatives

Guide to implementing sustainability criteria in filming and film shoots

NATURAL AND AGRICULTURAL ENVIRONMENT 4.1. Before the filming process Measure

Planned

Prior agreement with the landowners Prior contact with the management team of the protected area Complete and advance authorisation request Copies of other necessary authorisations (traffic, town halls, property) Valid liability insurance Contact person or eco-manager Planned alternative dates or locations Streamlined crew size and shooting time Overcrowding risk assessment

Guide to implementing sustainability criteria in filming and film shoots

4.2.1. Trampling and traffic Measure

Planned

Driving and parking only on agreed roads and areas Base camp limited to the authorised area Use compatible with other visitors No driving on slopes greater than 20% Restoration of the land and fences

4.2.2. Noise Measure

Planned

Communications without PA systems No loud music unless expressly authorised Soundproof or electric generators (maximum 70 dB) Calendar outside of the breeding or hibernation season

Guide to implementing sustainability criteria in filming and film shoots

4.2.3. Light pollution and filming at night Measure

Planned

Night filming only with the manager's approval Lighting limited in power, duration and angle Wavelengths with less impact or post-production effects

4.2.4. Overflights (drones) Measure

Planned

Flight plan validated by the manager Low-noise drones with respectful distance from sensitive species Image bank as an alternative to using real-life drones

Guide to implementing sustainability criteria in filming and film shoots

4.2.5. Disturbances to flora and fauna Measure

Planned

No food scraps or removal of natural material No introduction of non-native species No cutting of vegetation, clearing brush, or attaching anything to trees or rocks Work stoppage due to sensitive wildlife Support for a local conservation association

Guide to implementing sustainability criteria in filming and film shoots

4.2.6. Risk of fire Measure

Planned

Daily consultation of the hazard map and Pla Alfa Express authorisation for items with a risk of igniting Smoke-free set and cigarette end collection Generators and vehicles away from vegetation First response resources and personnel in charge Clear emergency access Prevention guidelines in the initial meeting and the green circular

4.2.7. Wastewater and toxic substances Measure

Planned

Hygiene areas away from water sources and watercourses Spill prevention and response plan Non-toxic and biodegradable materials used in effects and decorations Removal of all waste from the natural area

Guide to implementing sustainability criteria in filming and film shoots

LOCAL COMMUNITY AND ECONOMY 5.1. Relations with the local community and local authorities Measure

Planned

Green Film

Meetings with potentially affected communities

—

Compliance with noise limits

—

Compensatory measures for the temporary exclusive use of the space

—

Information on the socio-economic impact of filming

—

5.2. Local procurement and contracting Measure

Planned

Green Film

Purchasing and contracting from local companies

Employing local extras

—

5.3. Sustainable suppliers Measure

Prevista

Green Film

Sustainability criteria for supplier selection

Guide to implementing sustainability criteria in filming and film shoots

MANAGEMENT 6.1. Sustainability plan Measure

Planned

Green Film

Preparation of the sustainability plan

PR1

Chapter on efficient transport

PR1

Chapter on efficient waste management

PR1

6.2. Team in charge Measure

Planned

Green Film

Appointment of the sustainability team

PR1

Guide to implementing sustainability criteria in filming and film shoots

6.3. Communication Measure

Planned

Green Film

Plan distribution and initial meeting

PR1

Green circular to the technical and artistic team

External communication regarding the measures implemented

6.4. Indicators and assessment Measure

Planned

Green Film

Defining sustainability indicators

—

Final report and plan assessment

PR1

Guide to implementing sustainability criteria in filming and film shoots

Annex III. The role of municipalities Municipalities that host film shoots can contribute to making the audiovisual sector more sustainable. This section details some, but by no means all, of the measures that local authorities can develop and adapt to facilitate the implementation of the measures recommended in this guide.

Information on local council services Information should be provided on the municipal waste collection system and on other environmental services from which film producers can benefit (see section 3.5).

Protocols for connecting to the mains power Identify options for using mains power connections and draw up protocols setting out the rules for doing so (see section 3.1).

Regional resources catalogue Prepare catalogues containing information on the resources available in the municipality and in the surrounding area to help boost the local economy (see section 5.2), including:

– Companies committed to sustainability or offering sustainability-related services: companies that have an environmental management system (ISO 14001 and/or EMAS), the Environmental Quality Assurance Seal or other sustainability certifications.

– Transport services and courier companies that are committed to sustainable transport. – Suppliers offering sustainable food services.

Guide to implementing sustainability criteria in filming and film shoots

– Schools, amateur theatre groups or similar organisations that facilitate the hiring of extras. – Companies that provide work for excluded minorities, special work centres or social cooperatives in the area, which offer services of interest to the producers.

– Material hire companies. This catalogue should apply the same criteria as those set out in this guide for local and sustainable suppliers (see sections 5.2 and 5.3): an operational headquarters less than 200 kilometres from the film set, and social or environmental certification (SA 8000, ISO 14001, EMAS) for at least a significant proportion of its suppliers.

Guide to implementing sustainability criteria in filming and film shoots

Catalan version: icec.cat/GuiaRodatgesSostenibles

Guía para la incorporación de criterios de sostenibilidad en las filmaciones y los rodajes

Spanish version: icec.cat/CFC_Rodatgessostenibles_Castella

The Catalan Institute of Cultural Companies (ICEC) advises and supports companies and professionals in the various sectors of the cultural industries, including the audiovisual sector, and offers grants and financing tools, as well as services for internationalisation, business training and audience development. Through its actions, ICEC collaborates in building a competitive and high-quality cultural industry and also promotes consumer habits and audience development. The climate crisis and sustainability have also been part of the agenda of the Catalan Institute of Cultural Companies since 2017.

The Catalunya Film Commission is part of ICEC and is the first contact point for anyone interested in filming in the region. It works to facilitate understanding between audiovisual professionals and local authorities and nonmunicipal bodies. It provides advice on finding locations, information on filming conditions and the permit application process, and on any requirements that may arise when preparing an audiovisual production in Catalonia. cfc@gencat.cat www.catalunyafilmcommission.cat