# data[].attributes.body
The notes I have made on a copy of the script for 'Bhaji On The Beach' is intended to suggest places that demand further information and expansion. As the Director of Photography (DOP), I must understand the narrative completely and be aware of all elements essential to each shot. I've noted in my annotations that, while the script has strong dialogue, it lacks descriptive imagery, precise character actions, and overall mood of scenes. Furthermore, the scene shifts abruptly from Ginder's frantic hunt for his glasses to Amrit's reunion with his estranged father. To improve the scene's coherence, a smoother transition or the addition of extra context is required and will be discussed with the director.

# data[].attributes.body
I am heavily inspired by these images above, warm hues of yellow and light brown blend together creating a sandy essence across the film, stirring feelings of joy and serenity. This 'sunset-inspired' colour grading reflects with the mood I aim to capture in my scene.

I have also designed a Pinterest moodboard to further communicate my vision.

# data[].attributes.attachment_caption
Example 'High-Angle' shot to display power dynamics in shot compositions. 

# data[].attributes.body
The script establishes Ranjit as a mysterious, alarming, and antagonistic figure, my goal as DP is to visually convey these attributes through intentional camera movements and shot compositions. For example, in Scene 51, Shot 5, when Ranjit embraces Amrik while stating 'My Son, My Baby, etc.,' the primary goal is to capture Amrik's internal turmoil - his confusion and fear stemming from his father's extended absence and the odd circumstances of their reunion. Despite Ranjit's intentions, Amrik is shown as fearful and distrustful.

The camera will use a low-angle shot to emphasise Ranjit's domination in the scene, emphasising his dreary presence. This technique aims to represent him as a formidable and potentially frightening figure who is described in the script to be lurking in the shadows. Amrik's perspective, on the other hand, will be depicted through a contrasting higher-angle shot, symbolising his vulnerability, loneliness, and innocence in this tense interaction.

The juxtaposition of these different camera angles and compositions serves to visually highlight Ranjit and Amrik's power dynamics, effectively enhancing Amrik's sense of anxiety and unease in this significant interaction. All the while missing his mother, Ginder who is currently shouting for him in the distance.

# data[].attributes.body
Previsualization is vital when it comes to planning a scene as a DP and part of this is the storyboard. I am by no means an artist but this allows me to visualise the scene and helps my colleagues see my vision.

# data[].attributes.body
It is critical to understand the natural implications of a location when scouting it. In this case, we must examine the sun's location because it has a significant impact on the shot and lighting.

According to the script, there are 'shadows' beneath the pier as 'Ranjit' departs at the end of the scene. To keep lighting consistent, we must be aware of the sun's location and plan ahead of time; an excellent tool for this is a 'sun locator' application that performs this for you.

# data[].attributes.body
Is this project going to Netflix? If so we need to analyse the specifications to ensure the scene meets the standard of the distributer

Netflix camera specifications is public information and we can use this when considering what camera to use to film 'Bhaji On The Beach'. Netflix has taken over as the primary medium of watching films and we need to take note of this to ensure out film is correctly distributed.

Netflix says 'Netflix approved cameras need to be able to capture using either a lightly compressed or uncompressed RAW codec, or an Intra Frame 4:2:2 codec, capable of 10-bit or greater recording with a data rate at or above 240 Mbps in a wide or log scene-referred colour space.Below I will display the specific settings I will use to film with the goal to have high quality, flexible footage for this scene'

As we are filming on the Sony FS7 which meets these requirements our film will be suitable for a Netflix release.

# data[].attributes.body
Below are the particular settings I will utilise to record this scene in order to obtain high quality, adaptable video.

Shooting Mode: CineEI

(2 stage workflow, Best possible image quality and great post-production flexibility)

Colour Space: SGamu3C

Scan Mode: Normal

Video Format: 1920x1080p

Codec: XAVC-1

Shutter: 1/50

Frame Rate: 25FPS

# data[].attributes.body
How will we be getting this equipment?

My first option is to hire the needed equipment from BAFP's Loan Store which is a very reliable and trustworthy loan store I have access to due to my current enrolment at the University of Portsmouth. I will hire the Sony FS7 and its accompanying equipment from here.

If such a situation arrises where the loan store is unavailable then my backup is to hire it from a privately owned professional loan store such as the one attached. To hire a FS7 it is roughly £120 a day this is not including the tripod and rig's so we are estimating it'll cost £250 a day to hire this camera.

# data[].attributes.attachment_link.readable_text
Sony FS-7 4K large Sensor Camera with 4K record option and EF adapter and supplied with ARRI Pro kit as standard. This is a redesigned Sony Camera with PMW-F5 sensor and 4K capability with continuous Super Slow Motion capabilities, though slower frame rates than the FS-700 camera. The α Mount lens system is compatible with wide variety of E-Mount and A-Mount* lenses and VMI are providing this camera as standard with electronic Metabones EF mount for maximum versatility.

Note that this camera can mount directly to APS-C (Sony E Mount Lenses) without using any adapter.

We are also including the ARRI Pro Set to allow for standard film accessories to be fitted. The ergonomic grip design for easy handling and operability, making it ideal for single shooter operation.

Interchangeability of the α Mount lens system with provided adapters allows either A mount of EF mount lenses to be used to maximum advantage and including iris control too.

The PXW-FS7 features a 4K Super 35mm Exmor CMOS sensor and support for shooting in 4K** 60p or Full HD at high frame rates up to 180 fps (frames per second). Selectable recording formats include XAVC, which supports 4K* 60p, Full HD 60p even in 4:2:2 10-bit recording, as well as the common MPEG-2 HD 422 format used by many broadcast stations around the world.

* A-Mount* lenses require LA-EA4 lens adaptor, allows A-mount lenses to be used. It also has a an autofocus unit and motor to control the mechanical aperture mechanism of A-Mount lenses, so all camera modes will work without limitation.

** QFHD 3840 x 2160 resolution from launch. 4096 x 2160 resolution with firmware update, early 2015.

Prores 4:4:4 option available with Optional Extension Unit (XDCA-FS7)

Note that 2015 will bring RAW record outputs and Prores 4:2:2 4K capability but only if used with the optional Extension Unit (XDCA-FS7) to permit 4K/2K RAW recordings up to 240fps in 2K. This extension unit is provided with the Sony FS-7 Prores camera kit.

Power zoom lens Option

We are making available the Sony SELP28135G 28-135mm/F4 power zoom lens with full manual control rings as a separate rental item for this camera.

Storage

VMI kits are supplied with 2 128GB memory G cards which will allow up to 6 hours recording at 25p:
Equipped with high-sensitivity 4K Super 35mm Exmor CMOS sensor. See specs tab for record durations.

Our PXW-FS7 is equipped with a Super 35mm CMOS image sensor with approximately 11.6 million total pixels (4352 x 2662) and 8.9 million effective pixels. The PXW-FS7 supports 4K motion-picture shooting and Super Slow Motion, thanks to the high image readout speed of the image sensor. The sensor also realizes a high sensitivity of ISO2000 and a wide dynamic range of 14 stops. Thanks to its full-pixel readout capability without pixel binning and sophisticated camera processing, jaggies and moire. are minimized.

Internal 4K* resolution up to 60fps

The PXW-FS7 supports internal recording at 4K resolution as well as a wide range of frame rates (59.94P, 50P, 29.97P, 25P and 23.98P). When viewed on a 4K monitor (HDMI 1.4A), footage shot in 4K is possible.

Continuous Super Slow Motion

The Sony PXW-FS7 offers continuous recording at Full HD image quality and a frame rate of up to 180 fps. This makes it possible to attain up to 7.5x Super Slow Motion when played back at 23.98 fps.

Note that an alternative power kit can be provided without additional charge on request:

Choice of 5 x Hawkwoods 98WH batts and 2 x Hawkwoods 2-way chargers

or 4 x Hawkwoods 150WH batts and 2 x Hawkwoods 2-way chargers

or 5 x Anton Bauer Dionic HC batteries with Anton Bauer TM-4 charger

Weight: Approx 2.0 kg (body only)
Approx. 4.5 kg (with Viewfinder, Eyepiece, Grip Remote Control, BP-U30 battery, SELP28135G LENS, an XQD memory card)

Dimensions: (W x H x D) *1 156 x 239 x 247 mm (body without protrusions)

Power Requirements: DC 12 V

Power Consumption: Approx. 19W (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)

Operating Temperature: 0°C to 40°C/ 32°F to 104°F

Storage Temperature: -20°C to +60°C/-4°F to +140°F
Battery Operating Time:

Approx. 1 hrs with BP-U30 battery (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)

Approx. 2 hrs with BP-U60 battery while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)

Approx. 3 hrs with BP-U90 battery (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)

Recording Format (Video)

XAVC-I mode:QFHD 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC

XAVC-I mode:QFHD 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC

XAVC-I mode:QFHD 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC

XAVC-I mode:QFHD 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC

XAVC-I mode:QFHD 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC

XAVC-I mode:HD 59.94P VBR, maximum bit rate 222Mbps, MPEG-4 H.264/AVC

XAVC-I mode:HD 50P VBR, maximum bit rate 185Mbps, MPEG-4 H.264/AVC

XAVC-I mode:HD 59.94i VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC

XAVC-I mode:HD 50i VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC

XAVC-I mode:HD 29.97P VBR, maximum bit rate 111Mbps, MPEG-4

XAVC-L QFHD 59.94P/50P mode: VBR, maximum bit rate 150Mbps, MPEG-4 H.264/AVC

XAVC-L QFHD 29.97P/23.98P/25P mode: VBR, maximum bit rate 100Mbps, MPEG-4 H.264/AVC

XAVC-L HD 50 mode: VBR, maximum bit rate 50Mbps, MPEG-4 H.264/AVC

XAVC-L HD 35 mode: VBR, maximum bit rate 35Mbps, MPEG-4 H.264/AVC

XAVC-L HD 25 mode: VBR, maximum bit rate 25Mbps, MPEG-4 H.264/AVC

MPEG HD422 mode: CBR, maximum bit rate 50Mbps, MPEG-2 422P@HL

Recording Format (Audio)

LPCM 24 bits, 48 kHz, 4 channels (Recording/Playback ONLY 2channels)

Recording Frame Rate

XAVC-I QFHD mode: 3840×2160/ 59.94P, 50P, 29.97P, 23.98P, 25P

XAVC-I HD mode: 1920×1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P

XAVC-L QFHD mode: 3840×2160/59.94P, 50P, 29.97P, 23.98P, 25P

XAVC-L HD 50 mode: 1920×1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P

XAVC-L 35 mode: 1920×1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P

XAVC-L 25 mode: 1920×1080/59.94i, 50i

MPEG HD422 mode: 1920×1080/59.94i, 50i, 29.97P, 23.98P, 25P 1280×720/59.94P, 50P, 29.97P, 23.98P, 25P

Recording/Playback Time

XAVC-I mode QFHD 59.94P, When using QD-G128A(128GB): Approx. 22 minutes, When using QD-G64A(64GB) Approx. 11 minutes

XAVC-I mode QFHD 50P When using QD-G128A(128GB): Approx. 26 minutes, When using QD-G64A(64GB) Approx. 13 minutes

XAVC-I mode QFHD 29.97P, When using QD-G128A(128GB): Approx. 44 minutes , When using QD-G64A(64GB) Approx. 22 minutes

XAVC-I mode QFHD 23.98P, When using QD-G128A(128GB): Approx. 55 minutes , When using QD-G64A(64GB) Approx. 27 minutes

XAVC-I mode QFHD 25P, When using QD-G128A(128GB): Approx. 52 minutes, When using QD-G64A(64GB) Approx. 26 minutes

XAVC-I mode HD 59.94P, When using QD-G128A(128GB): Approx. 59 minutes,

Recording/Playback Time XAVC-I mode HD 50P, When using QD-G128A(128GB): Approx. 71 minutes, When using QD-G64A(64GB) Approx. 35 minutes

XAVC-I mode HD 59.94i, When using QD-G128A(128GB): Approx. 118 minutes, When using QD-G64A(64GB) Approx. 59 minutes

XAVC-I mode HD 50i When using QD-G128A(128GB): Approx. 141 minutes, When using QD-G64A(64GB) Approx. 70 minutes

XAVC-I mode HD 29.97P, When using QD-G128A(128GB): Approx. 118 minutes, When using QD-G64A(64GB) Approx. 59 minutes

XAVC-I mode HD 23.98P , When using QD-G128A(128GB): Approx. 147 minutes , When using QD-G64A(64GB) Approx. 74 mins

XAVC-I mode HD 25P, When using QD-G128A(128GB): Approx. 141 mins, When using QD-G64A(64GB) Approx. 70 min

Camera Section

Imaging Device (Type) Super35 type Single-chip Exmor CMOS
Effective Picture Elements 17:9 4096 (H) x 2160 (V)
16:9 3840 (H) x 2160 (V)
Built-in Optical Filters Clear, 1/4ND, 1/16ND, 1/64ND
Sensitivity (2000 lx, 89.9% reflectance) Video Gamma: T14 (3840 x 2160/23.98P mode 3200K)
ISO Sensitivity ISO 2000(S-Log3 Gamma D55 Light source)
Minimum Illumination 0.7 lx (+18dB,23.98P,Shutter OFF,ND Clear, F1.4)
S/N Ratio 57 dB (Y) (typical)
Shutter Speed 1/3 sec to 1/9,000 sec
Slow & Quick Motion Function XAVC-I mode 3840×2160: 1 to 60 frames (59.94P, 50P, 29.97P, 23.98P, 25P)
XAVC-I mode 1920×1080: 1 to 180 frames (59.94P, 29.97P, 23.98P)1 to 150 frames (50P,25P)
XAVC-L mode 3840×2160：1 to 60 frames (59.94P, 50P, 29.97P, 23.98P, 25P)
XAVC-L mode 1920×1080: 1 to 120 frames (59.94P, 50P, 29.97P, 23.98P, 25P)
White Balance Preset, Memory A, Memory B(1500K-50000K)/ATW
Gain -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve STD,HG,User,S-log3

Input/Output

Audio Input XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable Mic Reference: -40, -50, -60dBu
SDI Output BNC(x2), switchable with 3G-SDI/HD-SDI
SMTPE292M/424M/425M
USB USB device, mini-B (x1)
Headphone Output Stereo mini jack (x1) -16dBu 16Ω
Speaker Output Monaural
DC Input DC jack
Remote Stereo mini-minijack (Φ2.5 mm)
HDMI Output Type A (x1)
Option 4-pin, Type A for W-LAN (x1)

Sony PXW-FS7 Camcorder NXCAM
Sony LCD Viewfinder screen for FS-7
Optical Viewfinder Clip On FS-7
ARRI k2.0003684 Bottom Plate for FS7
Camera Port Cap
Camera Quick Release Base Plate (Sony VCT-14)
ARRI K2.0003722 Top Plate For FS7 incl top handle
Arri VAB-1 Viewfinder Attachment K2.0001297
Arri 15mm support K2.65264.0 bracket
Rain Cover FS7 Camrade
Coldshoe 3/8"
On Board Camera Mic-Foam Windshield
Mic Holder Support (WhiteNoise Type) Incl Canon Mic Holder
Power Cable Figure 8
AC Unit (Sony) AC-NB12A for FS-7 Camcorder
Remote Control for FS-7 (RMT-845)
15mm, Support Rods, 170mm
15mm, Support Rods, 240mm
FS7 Mic Holder
Lens Adapter: E-Mount to EOS Metabones or chargeable Metabones upgrade
(Optional LA-EA4 lens adapter (provides A-Mount lenses to be used)
(Optional Zeiss ZF or PL lens adapters are also available)
(Optional chargeable E-mount to PL adapter)
2 x Sony XQD 128GB/120GB Memory Card 400MB/s G Series memory cards
Sony Dual Slot XQD & SD Card Reader MRW-E90
FS-7 Pistol Grip & extension
Data Cable USB 3.0 Flat End (Micro B)
2 x Hawkwoods Battery BP-60U 14.4V
1 x Hawkwoods Battery BP-30U 14.4V Small
Sony AC Adapter/Charger BC-U1
Power Cable Figure 8
FS7 Pin cover

Chargeable option of 5 x Hawkwoods 98WH batts and 2 x Hawkwoods 2-way chargers or 4 x Hawkwoods 150WH batts and 2 x Hawkwoods 2-way chargers
or 5 x Anton Bauer Dionic HC batteries with Anton Bauer TM-4 charger
Optional BP8 Bridge Plate kit with 19mm bars available
An optional K6/ME66 Gun Mic and Headphone package is available at £13 per day including cables in a single case.

Sony FS7 Flight Case: 16.60 kg 71 x 33 x 35 cm
Country Of Origin: Japan

# data[].attributes.attachment_link.description
Sony FS-7 4K large Sensor Camera with 4K record option and EF adapter and supplied with ARRI Pro kit as standard. This is a redesigned Sony Camera with PMW-F5 sensor and 4K capability with continuous Super Slow Motion capabilities, though slower frame rates than the FS-700 camera.

# data[].attributes.body
In our quest to capture the essence of this 'Bhaji on the Beach' scene, under the pier is a pivotal moment. Imagine Amrik on a search for his misplaced glasses, only to run into Ranjit in this secluded location. The lovely South Parade Pier in Portsmouth beckons to capture this. Its tranquil waves, enveloping the pebbled shore in an ongoing patterning, provides the perfect canvas for our vision.

This location is aesthetically pleasing, logistically makes sense and its proximity to the University of Portsmouth allows for easier equipment acquisition while minimising transportation challenges and potential damage concerns. Despite this, there is one cause of concern: the unpredictability of the weather. To combat this we will be prepared with thorough planning and contingency methods to traverse any unforeseen weather changes, ensuring our shoot remains undamaged.

# data[].attributes.body
A birds eye view perspective helps scope the environment and surroundings for the shoot.

# data[].attributes.body
Here you will find other equipment needed for this scene.

Tripod

The Sachtler System FSB is a great and reliable tripod for the Sony FS7 as it is portable, lightweight, offers great stability and able to capture great low/high shots while securing payloads of 30kg. With a fluid head this tripod is perfect for what we need it for.

Battery:

The Anton/Bauer XT series of batteries is built to provide the most dependable and long-lasting Li-ion batteries in its class.

Lens:

We will bring a variety of lenses but we aim to primarily use the Fujinon MKX18-55mm T2.9 Lens. A lightweight zoom lens in the manner of cinema for X-mount cameras using a Super 35mm format. It has a mechanical construction and three separate lens control rings for the focus, iris, and zoom. For compatibility with common cine-style lens attachments, each ring has a cine-style gear including a 0.8 MOD.

# data[].attributes.body
To get a yellow and orange look in the footage using LUTs, I will begin by picking or generating LUTs that emphasise warm tones, notably yellows and oranges. LUTs that increase these colours while slightly desaturating or moving other colours to complementary tones. I will then apply those LUT's to the footage, tweaking the intensity or bringing together multiple LUTs to achieve the ideal warmth and colour balance. Experimenting with the contrast and saturation levels to emphasise the yellows and oranges without dominating the whole landscape.

# data[].attributes.body
I have chosen to shoot this scene using the Sony FS7. This camera is very reliable and offers great shallow depth of field effects that in this scene in particular will be very valuable.

This will also include the FS7 kit and base elements, including Tripod and Samyang lens kit.

# data[].attributes.body
In the original film, Bhaji on the Beach is a comedy-drama film directed by Grinder Chada. The film follows a group of south Asian women who embark on a trip to Blackpool.

The plot revolves around the topics of cultural disparities, generational gaps, and identity. These themes are explored as the protagonists travel to a coastal town in England and confront various hardships and conflicts.

The film examines the clash between traditional values and modernization for South Asian women in the Western world, providing viewers with an understanding of the problems and obstacles they must confront in a Western environment.

# data[].attributes.body
I have chosen this 'Yellow Tint Single LUT' to use as a starting point to create this yellow and brown tint in my scene. From this LUT we want to turn down the intensity and see what works, it's important not to over-do the grade to the point where it takes away from the visual impact of the scene.

# data[].attributes.attachment_link.description
LUT Description: “Yellow Tint” serves as a powerful utility LUT for creating overwhelming yellow tones in a scene, pushing all color values toward the yellow spectrum. Includes LUT Profile ✅.cube + .3dl format ✅Install Instructions included ✅Compatible with all camera brands: Compatible with all editing software: Syste

# data[].attributes.body
Hello, This section is to give you some information about me and to find out my experience as a Director of Photography.

I'm Harrison Murphy, a student with two years of freelance experience as a cinematographer, videographer, and director of photography.

My path began at Collage, where I discovered my passion for visual storytelling. Since then, I've worked on a variety of projects, from independent jewels to commercial enterprises, polishing my craft as a visual storyteller.

My skill is in integrating narrative essence into every frame, employing light, composition, and motion to elicit emotions and immerse audiences. Collaboration feeds my imagination. I thrive on collaboration, collaborating with directors, producers, and other creatives to bring ideas to reality.

Let's chat and explore how I can elevate this project with passion, expertise, and commitment.

Thank you for considering me!