A cinematographer and their developed roll in tackling climate change.

<p>Film Production is a major contributor to global greenhouse emissions. <em>A Screen New Deal,</em> published by the British Film Institute in 2020, outlines that: </p>\n<p>Data analysis shows that one average tentpole film production – a film with a budget of over US$70m – generates 2,840 tones of CO2e, the equivalent amount absorbed by 3,709 acres of forest in a year. Within this, transport accounts for approximately 51% of carbon emissions, mains electricity and gas use accounts for around 34%, and diesel generators for the remaining 15% (British Film Institute, 2020, p.4). </p>\n<p>It is, therefore, vital that the key labour force on a film project, the production crew, become part of the solution instead of continuing to be part of the problem. At a time when the US industry seeks to promote natural light as evidenced by Nomadland's BAFTA and Oscar wins, but where major carbon emissions continue to be generated by cinematographic practices, my work seeks to develop replicable working methods that can substantially reduce the environmental harms of the cinematography department.</p>\n<p>In this short article, I will ask how I, as a practising cinematographer, can introduce change through my own practice. With reference and case study to my practice in the feature films <em>Mind-Set</em> (Murray, 2022) and <em>How You Look At Me</em> (Gonzalez, 2019). </p>