Since 1 September 2026, a training programme has opened its doors, and it is going to change a habit of the trade. Prevention of sexual and gender-based violence and harassment becomes mandatory for shooting crews. From 1 October, a CNC-funded fiction, shot mainly in France and longer than fifteen days, will not be eligible for support if its crews are not trained.
It is mostly discussed on the cinema and subsidised fiction side. That is where the rule applies first. Our studio reading is a little different. What is at play goes well beyond funded works.
What the rule says, simply
Let’s restate the facts, without comment. The training modules have been open since 1 September. From 1 October, completing this training conditions access to CNC support for the fiction shoots concerned. The goal is clear: to make safety and respect on set a condition of production, not a good intention displayed after the fact.
For now, the mechanism targets funded fiction. Many conclude that corporate, advertising and events are not concerned. We think the opposite.
The real shift: how you build a crew
What starts in a rule always ends up in practice. When fiction professionalises the way it assembles and supervises its crews, the rest of the trade follows. A local authority, an institution, a brand commissioning a film does not just want a beautiful image. It wants to know who is on set, how people are treated there, and what it is associating its name with.
In other words, the make-up of a crew stops being an invisible detail. It becomes a criterion, on the same level as price and deadline.
Our studio take: we choose our people
This is where we hold a conviction, and it does not come from a posture. It comes from the way we work.
BOW runs as a studio with variable geometry. No fixed crew: each project brings together the specialists that matter, chosen one by one. This model has a direct consequence. We do not take the first person available at the lowest rate. We take the ones with whom we know how it goes on set, from the first coffee to the last shot. It is a choice, on every project, and it is precisely what separates a studio from an address book.
A shoot means long days, deadline pressure, shared spaces, sometimes minors or guests on the set. None of that improvises itself. A crew that knows each other, that knows where the limits are and holds them, does not just work better: it protects the client, the location and the image we came to make.
The price of a film is the crew
Our line has not changed, and this rule makes it even clearer. When you compare two quotes, the price gap is not a gap in advertised talent. It is a gap in crew. The figure does not drop by taking better people for less. It drops by taking cheaper people, less framed, less reliable. And what you save there gets paid elsewhere, on set or afterwards.
A crew that is trained, framed and respected is not an extra you add to look serious. It is what you buy when you entrust us with a film. The rest (the gear, the light, the drone) comes after.
Framing a crew is already making something beautiful
We will not turn this rule into a sales pitch. We see it as good news: the trade finally acknowledges, in black and white, that how you treat a crew is part of the work. For us, it has never been separate from the image. A set that is held is a set where you film better.
Pas que du beau, du BOW. The beautiful shows on screen. The rest is played out upstream, in the people we bring together and the way we make them work. Want to know who will film your project, and how? Let’s talk.