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I have taken the time to study this project and displayed my ideas for your viewing. I hope that you can see my intent with this project as I have a huge passion for it. Thank you for the consideration.

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For Lighting I will mostly be using Key and Film lamps in a creative way to imitate the surrounding lights generated by street lamps. Following on from this I will need to use lighting filters later on in the scene in order to capture the Night time colour variety of the city. I will however, make use of post production editing, in order to tweak any parts of the shot that fall under satisfaction.

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For the Panning sequence I would like to use a dolly. This is essential for this scene as it will add steadiness to the shot and make the scene feel natural. I will not need much in the way of the track as the characters will not be walking very far, however I see this piece of equipment as essential.

In terms of Camera Grip, I would like to make use of a film tripod, in order to capture still shots whilst giving the camera operator more freedom to use the camera whilst shooting.

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The camera that I will be using to shoot this scene, will be the Sony FS7. This is because I have had a lot of practise using this camera and feel confident that I can get the right shots with it. I believe that the shoot should take 2 days, however I will be booking the equipment out for 3 as a contingency for weather related reasons.

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https://www.pinterest.co.uk/SamueH003/samuels-vision-board/

My mood-board should follow a linear narrative in relevance to the scene. These images are a rough example of: shot angle, lighting, how the characters will be in frame and how I want th city to appear in the extreme wide shots.

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Explore a hand-picked collection of Pins about Samuels Vision Board on Pinterest.

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The mood created in this shot is much more warmer, welcoming and friendly.

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Idea roughly of how I want the establishing shot to look. 

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Idea roughly of how I want the establishing shot to look. 

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The mood generated is cold, harsh and scary.

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For the first half of the scene I want the characters to be lit up with a deep yellow street light colour. This is because it collaborates with the time of day and mood of the scene and atmosphere. It will join with the cold and harsh look of the establishing shot. Conversely, when all the lights on the pier turn on, I want the shots to be lit up with more bright and vibrant colours, such as: whites, blues, pinks for example. To make the scene warmer and more emotionally provocative.

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Further Explanation of My chosen Shot types

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Further Explanation of My chosen Shot types

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Close Up
In this scene I use close-ups in multiple occasions. This is because close ups are a clever way to draw the viewers attention to the characters presence and bring significance to what they're saying, as well as being a direct way of showing the characters emotion through focus on their performance. The close ups that I wish to create are less significant than some of the other shots, however still need to be done correctly. The close ups will need: characters correctly in frame, deep depth of field (aperture of f/22) and the scene needs to be well lit. The camera will be at a slight angle to one side to show the characters facing each other.

Medium long shot
The medium long shot shows characters from the waist up and adds a bit more background than a close up for example. I have chosen to use a medium long shot in a part of the dialogue where Miss Kenton asks Mr Stevens a more broad question. I believe that this question is significant and therefore showing both characters in frame adds to the emotion of the scene. I want the camera angle to be at face on showing their knees and upwards.

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Wide shots are commonly used for establishing a scene and giving a sense of location for the viewer. However, I want my shots to act as both an establishment for the scene and a way to change the audiences mood at the same time, therefore the shots need to be perfect.

In order for me to capture these two shots shots I will be experimenting with the 25mm lens or perhaps a wider lens such as the 12mm. I will take a shot in both lens as I am uncertain which one will look more appropriate. Following this, I want both shots to have a deep depth of field. In order to do this I will have to use an aperture anywhere between f/9 and f/16.

The only issues I may come across, when obtaining these shots is actually how will I obtain them? the two options I have are to mount a light camera onto a drone and control it manually, which is quicker but would restrict my camera options and be difficult to control. Or my second option is to get some form of water transport, however the waves will make stabilizing the shot difficult. I also want the camera to be as closer to the sea to show a little bit of the water and make the city seem larger.

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Shot examples and how they will be Achieved

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Shot examples and how they will be Achieved

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I really wanted to set this scene initially, with a cold sun set, where we can only see a glimpse of the remaining sun and the rest of the sky has fallen to darkness. Both of the characters uncomfortable and cold. However, when the lights turn on, the scene transcends into a warmer environment where the characters are more confident. To achieve this look I will work patiently to capture the two desired wide shots and provide suggestions on how the actors may act based upon the mood.

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Concerns and Benefits to the Chosen Locations

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Concerns and Benefits to the Chosen Locations

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Benefits
The benefits to both of these Piers is as already stated, they have an amazing atmosphere for long shots and create powerful moods and bring the desired affect I am looking for.  The variety of lights are also a benefit as more can be added or manipulated in the editing if needed.  The location is very close, making transporting equipment and travel costs, not much of an issue.  The busy street life will make the scene feel more alive and real. Car parks are easily accessible.

Concerns
Whilst the popularity of Portsmouth may benefit the scene it does also hinder the production as navigating around the public is not easy. They will also make a lot of noise which will have to be reduced in post production.  Permission will have to be obtained from both Piers websites, failing this I will need to use a quieter spot along the coast of Portsmouth.  Creating the wide shots may require advanced equipment, such as a drone. Another drawback is that we will need a lot of patience in order to get the right time of day for the shots.

Suggestions to Overcome the Concerns
The public will be uncontrollable, therefore as a contingency, we will section of a small area around the bench in order to prevent the public from disrupting the scene. In order to get the right times of day, we will use app's such as Sunseeker, which tells you where the sun will be at any point in the day.  Additionally, we will ask either a member of the Piers website or of the council at what time exactly all the street lights etc, light up on the pier in order to get the perfect timing for our shoots.

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The Script only has one rule I had to follow when choosing the location. That is that it had to be by the sea side. Therefore, my mind instantly thought of the South Parade pier in Portsmouth. It is my view that this location will make for a stunning background to the scene example and the Pier looks amazing at night, therefore when all the lights turn on, it will make the scene a lot more powerful. Moreover, it will make a not so significant or interesting scene a lot more engaging.

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Location 2 (Contingency) - Clarence Pier 

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Location 2 (Contingency) - Clarence Pier 

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50.7858° N, 1.1015° W

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Location 1 - Portsmouth South Parade Pier 

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Location 1 - Portsmouth South Parade Pier 

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50.7792° N, 1.0764° W

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A few Notations from the script - Explained

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A few Notations from the script - Explained

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I want to start with an extreme long shot of Portsmouth in an attempt to use the setting sun as a platform for the mood of the scene. Then we see the characters walk across the pier to find a bench to it on. For this I would like the camera to be supported by a dolly to track the characters in a panning action. The dolly should provide smoothness and collaborate with the atmosphere by making everything seem calmer. Furthermore, when the lights begin to light up on the pier, this is a perfect opportunity to use colour to aid the scene. Portsmouth pier already looks stunning at night time, with a wide variety of colour. When the lights turn on I would love another Extreme wide shot of Portsmouth (matching to the establishing shot), which I believe would elevate the scenes emotion whilst linking with the dialogue.

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I may have to ask the director for permission on changing some of the lengths of Camera shots and pauses in dialogues, This is because I think this scene would benefit from a good establishing shot at the beginning in order to use the colours of the atmosphere to create the correct mood for the scene. Furthermore, I would like to add a few pauses throughout, where I believe it makes sense. For example, In Scene 27 after Miss Kenton ask Stevens 'What are you most looking forward to'. I imagine that a pause in the dialogue here shows that his response is clearly something that bothers him and this is aided by a five second long close up showing his slow reaction.

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After reading the script through carefully, here are the notes that I formed regarding my ideas on camera techniques and locations used.

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Cinematography Assessment 1 - DP's Vision

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Cinematography Assessment 1 - DP's Vision

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Samuel Holland
UP2067434

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I have a huge interest in making movies and in particular shooting them. I have had multiple years in the film industry now dedicated to study and practical shooting. Last year I was the director for a short film and also a gaffer in another project. Furthermore, I took a two year course in photography and learned my way around the camera decently well. Since reading the novel by Kazuo Ishiguru, my interest in this adaptation has increased. I have a huge passion for this project and would love to speak with you some more on further ideas I have.