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- Samyang 24mm Lens
- Samyang 100mm Macro Lens

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Daily/Weekend Rate = £12 inc VAT

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https://www.hireacamera.com/en-gb/products/HAC00-01588-rode-ntg-2-microphone/

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The Sennheiser EW 100 ENG G4

The Sennheiser EW 100 ENG G4 is a robust wireless microphone system that offers excellent sound quality, simple mounting and ease of use.

Multi-purpose set for mobile journalism and documentary. The powerful plug-on transmitter SKP 100 turns every wired dynamic microphone into a wireless transmitter while the easy to use clip-on microphone ME 2-II (omni-directional) offers excellent speech intelligibility during interviews.
NB: Whilst this system includes two transmitters, only one can be used at a time.
Features

* Rugged all-in-one wireless system with high flexibility for broadcast quality sound

* Excellent sound and construction quality

* Easy to use and fast setup time

* Powerful and reliable wireless transmission

* Range: up to 100 meters / 330 feet

* Up to 8 hours of operation time

Rode Blimp 2 Rycote Shockmount

This newest version of the RØDE Blimp now features an improved Rycote shockmount and handle design and is 20% lighter than its predecessor.

The RØDE Blimp is a complete windshield and shock mounting accessory for the NTG-1, NTG-2 and NTG-3 microphones, as well as any third party shotgun microphone up to 325mm in length.

Its adjustable dual-hoop suspension design greatly reduces handling noise, while the acoustically transparent dome provides protection against wind noise.

In addition to RØDE shotguns, the blimp accommodates most shotgun microphones up to 325mm (12 ¾") in length.

The Blimp attaches to any standard boompole via 3/8" thread attachment at the base. The Universal Blimp Mount is available as an option to remove the handle when the Blimp is being used primarily on a boompole to reduce weight.
NB: Microphone not included, please see accessories.

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sennheiser ew 100 eng g4 wireless boom kit hire

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sennheiser ew 100 eng g4 wireless boom kit hire rental

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The Sennheiser EW 100 ENG G4 is a robust wireless microphone system that offers excellent sound quality, simple mounting and ease of use. Multi-purpose set for mobile journalism and documentary. The powerful plug-on transmitter SKP 100 turns every wired dynamic microphone into a wireless transmitter while the easy to use clip-on microphone ME 2-II (omni-directional) offers excellent speech intelligibility during interviews.

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Per Day = £45 x 2 = £90 per day

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https://www.cameraworks.co.uk/product/kino-flo-2ft-4bank/

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Kino Flo

The 4Bank is similar to a 1,000Watt softlight, but uses 1/10th the power
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Tungsten

Dedolight 150W Kit
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Tungsten

The improved and redesigned ARRI portable fixture
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Hire Kino Flo 2ft 4Bank from CameraWorks

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The 4Bank is similar to a 1,000Watt softlight, but uses 1/10th the power View Dedolight 150W Kit View The improved and redesigned ARRI portable fixture View New to us? You'll need to open an account to hire kit. It's easier than you might think.

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Daily/Weekend Rate = £96 inc VAT

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https://www.hireacamera.com/en-gb/products/HAC00-02124-samyang-vdslr-cine-lens-kit-canon-ef/

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The Samyang VDSLR 5 lens kit is a versatile kit consisting of five carefully selected optics: 14mm T3.1, 24mm T1.5, 35mm T1.5, 50mm T1.5 and 85mm T1.5.

These are supplied as a kit in a custom case, designed and produced in Germany to offer highly durable and reliable protection of the lenses against dust, water, shock and damage

The frames of these lenses are compact and solid since they are made of high-strength aluminium alloy - so trustworthy images can be captured even in an inferior environment.
14mm LENS
Samyang Optics 14mm T3.1 VDSLR ED AS IF UMC II is a wide angle manual focus cine lens designed for full frame sensor sizes.

This lens features 14 elements in 10 groups including 3 high-refractive and extra low dispersion lenses (HR ED), 1 hybrid aspherical lens (H-ASP) and 1 glass aspherical lens (ASP). H-ASP and ASP lenses minimise colour aberration to produce exceptional image quality and high contrast for the center and corner of the image - even when the aperture is fully opened. The HR ED lens of 14mm T3.1 VDSLR ED AS IF UMC II effectively controls the light dispersion to prevent flare and ghosting. Ultra Multi Coating (UMC) technology of Samyang Optics also optimises the light penetration to also minimise flare and ghosting.
24mm LENS
Samyang Optics 24mm T1.5 VDSLR ED AS IF UMC II is a wide angle manual focus cine lens designed for full frame sensor sizes.

This lens features 13 lenses in 12 groups including 4 extra low dispersion lenses (ED) and 2 glass aspherical lenses (ASP). This lens effectively controls the light dispersion to prevent flare and ghosting. ASP lenses minimise colour aberration to provide exceptional image quality and high contrast for the center and corners of the image even when the aperture is fully opened. Ultra Multi Coating (UMC) technology of Samyang Optics optimises the light penetration to also minimise flare and ghosting. Samyang 24mm T1.5 II is known for its beautiful and soft bokeh.
35mm LENS
Samyang Optics 35mm T1.5 VDSLR AS UMC II is a wide angle manual focus cine lens designed for full frame sensor sizes.

This cine lens has an outstanding optical function. The Samyang 35mm T1.5 VDSLR AS UMC II features 12 lenses in 10 groups including 2 high refractive index lenses (HR) to compactify the size of lens and increase the sharpness. Aspherical lens (ASP) minimises colour aberration to realise exceptional image quality and high contrast for the center and corners of the image - even when aperture is fully opened. Ultra Multi Coating (UMC) technology of Samyang Optics optimises the light penetration and minimises flare and ghosting. The Samyang 35mm T1.5 II is known for its beautiful and soft bokeh. It adapts floating lens technology to find the minimum focus distance. There are 8 aperture blades designed to be almost fully circular when the aperture is closed which expresses starlike rays clearly and beautifully.
50mm LENS
The Samyang 50mm T1.5 VDSLR manual focus lens can be used in cameras with a sensor size up to full frame 35mm.

Its low T-number gives better light gathering power and greater choice when it comes to selecting the depth of field of focus. Its optical construction comprises 9 elements in 6 groups including a "H-ASP" Hybrid Aspherical and a Glass Aspherical (ASP) element. H-ASP gives exceptional reduction of chromatic aberration and great contrast levels right to the edge of the image, even at wide apertures. The optical surfaces have been treated with Ultra Multi Coating (UMC) to optimise light transmission as well as minimising ghosting and flare, working beneficially with the supplied petal lens hood. The optical arrangement also allows a close focusing of just 45cm.
85mm LENS
Samyang Optics 85mm T1.5 VDSLR AS IF UMC II is a semi-telephoto manual focus cine lens designed for full frame sensor sizes.

This VDSLR lens has an outstanding optical function. Optical lenses feature 9 lenses in 7 groups. A hybrid aspherical lens (H-ASP) has a specially designed curved surface to minimise colour aberration and realise exceptional image quality and high contrast throughout the center to the corners of the image - even when aperture is fully opened. Samyang 85mm T1.5 II is an inner focus lens, meaning the length of lens does not change when focusing so it is dustproof. Ultra Multi Coating (UMC) technology of Samyang Optics optimises the light penetration and minimises flare and ghosting. There are 8 aperture blades designed to be almost fully circular when the aperture is closed which expresses starlike rays clearly and beautifully.

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samyang vdslr cine lens kit 3 (canon) hire

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samyang vdslr cine lens kit 3 (canon) rental

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Hireacamera - Samyang VDSLR Cine Lens Kit 3 (Canon) hire - Samyang VDSLR Cine Lens Kit 3 (Canon) rental

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The Samyang VDSLR 5 lens kit is a versatile kit consisting of five carefully selected optics: 14mm T3.1, 24mm T1.5, 35mm T1.5, 50mm T1.5 and 85mm T1.5.

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Daily/Weekend Rate = £210 inc VAT

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The lighting setup is one that is fairly simple to achieve as it only requires two KinoFlo's, a diffuser, a bounce card, and some red gel.

As I described earlier on, my intention was to add red to the scene, and in order to have this come true, I wanted to have a red backlight highlighting the two characters. The background will be filled with extras to add depth and to keep the atmosphere true to being a pub/bar.

On the side of the actors, I will have another Kino which will be the sidelight and we'll have a bounce board on the other side to add some small detail to the other side of their face to not completely fill them with shadow.

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Here is a quick diagram showcasing how, as the DoP,  I would like the scene to be lit.

To explain further, the two circles at either side of the rectangle are to represent IDA and DALLOW during this scene. In this diagram specifically, I have only demonstrated the lighting of one of the characters however, it can be easily copied to the other side when lighting the other actor.

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https://www.hireacamera.com/en-gb/products/HAC00-02132-canon-eos-c300-mark-ii/

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Durable, powerful and easy to use with automatic features, the EOS C300 Mark II offers internal capture of stunning 4K/Full HD video with a wide dynamic range, external RAW output and Canon Log2 to help realise your creative vision.

8.85MP Super 35mm CMOS sensor

Record 4K at up to 410Mbps/10-bit with XF-AVC H.264 codec

15 stops of DR with Canon Log2

Simultaneously record 4K internally and 4K RAW externally

Dual Pixel CMOS AF

ISO up to 102,400

Low rolling shutter distortion

BT.2020, Canon Cinema Gamut and DCI-P3

4 channel 16/24-bit audio

Huge range of compatible lenses

8.85MP Super 35mm CMOS sensor
An enhanced 8.85MP Super 35mm Canon CMOS sensor, designed specifically for video capture, delivers superb high-resolution images with high sensitivity, low noise and beautifully shallow depth of field.

Creative flexibility
Enjoy an extensive range of high quality creative shooting options with the highly versatile XF-AVC H.264 codec. Shoot stunning 4k video at up to 410Mbps/10-bit for easy integration into existing 4K workflows and easily select the combination of resolution and codec type that best suit your production.

Room to manoeuvre
For maximum freedom in post-production the built-in Canon Log2 captures the maximum range of tones, providing up to 15 stops of dynamic range.

Record stunning 4K images internally
Realise your creative vision. Simultaneously record stunning high bit rate 4K/UHD images to dual internal CFast 2.0™ memory cards, 2K proxy files to SD card and output 4K RAW to external devices, for an efficient workflow. Utilise the abundant powers of 4K image capture in Full HD recording, with higher quality and significantly cleaner results, thanks to oversampling HD processing.

Easy auto functions
Pick up and shoot. As well as extensive manual controls, the EOS C300 Mark II makes life easy for the independent camera operator thanks to innovative automatic features, which let you concentrate on the action. These include Dual Pixel CMOS AF covering approx. 80% vertically and 80% horizontally of the image display, Face Detection AF (with compatible lenses) and auto white balance so you won't miss the shot. Autofocus has been further enhanced with the ability to select the AF speed (with compatible lenses) and AF subject tracking characteristics - ensuring that focusing is more natural.

Superb performance in any light
Shoot anywhere and capture low-noise footage in all kinds of challenging shooting scenarios thanks to a wide ISO range up to ISO 102,400 that delivers enhanced sensitivity and unrivalled low light performance. Built-in ND filters provide a possible further 10 stops of exposure control (in expansion mode) in bright light or when a wide aperture is required.

Reduced rolling shutter artefacts
Sensor readout speed is significantly improved, producing even lower rolling shutter distortion so even subjects on the move maintain their correct shape better.

Wide choice of colour gamuts
The EOS C300 Mark II offers a variety of colour gamuts to suit your workflow and final output medium, including BT.2020, Canon Cinema Gamut and DCI-P3.

High quality audio
The EOS C300 Mark II supports LPCM 24-bit/48 kHz audio for sound quality that is superior to CD. It offers 4-channel input, including a mic jack, internal monaural mic and two XLR terminals, which allow multiple sound sources to be selected and mixed to record sound with a sense of ambience.

Huge range of interchangeable lenses
Expand your creative options with more than 90 of Canon's current interchangeable EF and EF Cinema lenses. Servo zoom support further increases shooting versatility.

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Durable, powerful and easy to use with automatic features, the EOS C300 Mark II offers internal capture of stunning 4K/Full HD video with a wide dynamic range, external RAW output and Canon Log2 to help realise your creative vision.

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To briefly touch upon lighting, I suggest having a lighting kit this time to actually light the scene rather than just using natural sunlight. As we will be filming inside the bar, the sunlight won't be very accessible.

There are lights within the building which can add that red light I want to work with however, we also need a front light so we can actually see the characters and scene. I'll go into slightly more detail about lighting this scene in the VISUALS section below.

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Filming inside the bar should be fairly simple when it comes to setting up the equipment. We will be able to use a tripod easily as the floor will be even (hopefully).

Unlike Dartmoor, I'm not thinking of using a camera mount but rather setting up the tripod every time to get some nice static shots.

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Location Characteristics Relevant to Equipment

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Location Characteristics Relevant to Equipment

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Very obvious but as this scene will be shot entirely inside, the crew won't have to worry about the outside elements such as rain and extreme temperature.

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One of the biggest logistical concerns that arise for me with this location is how it is far away from Location #1. This being said, a train journey from the Exeter region to Gunwharf Quays is only 3 hours so it isn't as far as it may seem.

The train ticket will  cost £40 so once again not a massive issue. A positive travelling via train is that you can transfer equipment far without having to carry any of it.

Overall, I think the location is completely fine and totally worth the 3 hour journey and £40 fee.

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Like with Bennett's Cross, I have supplied a satellite Google Maps image to showcase the location of The Alchemist.

Gunwharf Keys is attached to Portsmouth Harbour train station allowing for easy and quick access from around the city or even from outside of Portsmouth.

During the day and early evening, the Quays can be extremely busy so shooting will have to take place during later hours of the night.

Google Maps: https://www.google.com/maps/place/The+Alchemist+Portsmouth/@50.7955699,-1.1049028,535m/data=!3m1!1e3!4m5!3m4!1s0x48745d5aa668ac07:0xcbd9b2937baa4adf!8m2!3d50.795319!4d-1.1056645

The Alchemist Website: https://thealchemist.uk.com/venues/portsmouth/

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After consideration, I strongly believe that The Alchemist in Portsmouth's Gunwharf Quays is the best place to shoot SCENE 43.

The image I had in my head of the bar/restaurant in which IDA and DALLOW are located matches perfectly to the mood board of The Alchemist above.

I will now go into more detail about the chosen location.

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This mood board is to show the colour tone I believe will fit SCENE 43 best and give it its best look. In the images, there is a collective of shots in bars and random 'rouge' stills.

The shots that are shown to be in the bar are there more for framing inspiration whereas, the other shots are to show lighting consideration.

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As you can see in the mood board to the left, I want a very natural-looking yellow dusk. So in order to achieve this the best way would be to shoot in natural light and then adjust some colour levels in post-production.

Using DaVinci Resolve, a LUT can be created to use on all the shots for SCENE 47 which highlights the yellows more, adds more contrast to the shadows, and slightly desaturates other colours to help with the highlighting of yellows.

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Mentioned this a few times already but for the whole of SCENE 47, I plan to light naturally with the setting sun.

The image above it shows the sun graph and light times during the 19th of June which is around the longest days of the year - meaning we have more time to film during dusk. This will also help with the weather as there is less chance of being storms, rain, or snow during the month of June.

https://www.timeanddate.com/sun/@10244122

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PINKIE and ROSE had a wedding earlier during the day so I think the best costumes for the two would be smart clothing and potentially even their wedding outfits. It is mentioned that ROSE still has flowers in her hair (from the wedding) so this shows she probably hasn't gotten changed.

However, PINKIE is set to be wearing a hoodie so maybe PINKIE could have a coat over the top of her dress to keep warm, just like her husband.

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PINKIE is shown wearing a hoodie in the script and is able to store a revolver in its pocket. In order to make sure we find a hoodie that can fit a revolver, I will suggest the art department acquire the prop revolver first in order to use it as a measurement tool when finding the hoodie for PINKIE.

Another subtle detail is that I suggest the hoodie is very boring and dull so it doesn't take the audiences concentration off the revolver which is revealed.

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A few roses won't be hard to come by but I thought I would mention this prop anyways.

It's around £1 for a single rose so going to a florist and buying a couple of roses won't be a massive task for the art department.

The reason I chose the rose specifically is because it is the flower of love. It can represent that ROSE is in love... and it matches her name.

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In the middle of SCENE 47, there is a stage direction that shows that PINKIE has a gun (Revolver to be precise) and gives it to ROSE.

As I have suggested to the director to have some close-up shots of the gun, I need to get a realistic-looking revolver to make it believable.

After doing some brief research, I found this article (below) which describes metal replica pistols to be the most realistic looking for close-ups. In the same piece of the article, it's said that it may cost between $20-$100.

With this information, I will speak to the Art Department about sorting out a metal replica revolver.

https://indiefilmhustle.com/ifhtv-prop-guns-for-your-film/

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Here is the colour palette from the ending scene of SE7EN (1995) in which I am taking inspiration from.

Most of this lighting is achieved naturally from the setting sun however, there of course will be some much needed editing done in post to make it look even better.

It is evident in this photo and from the whole scene that every colour is dulled down except from your yellows/browns. This can easily be achieved in a colour grading studio where you de saturate most colours and  saturate the yellows.

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As I have mentioned previously, and will go into in more detail in the VISUALS section, all the lighting will be natural light.

This was a visual choice however when it then came to the location it proved lighting the scene would be difficult due to the terrain so backed my decision further.

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One of the biggest concerns/negatives about filming on Dartmoor is the uneven terrain of the moorland. Luckily, the area in which we will film around Bennett's Cross isn't too bad and can definitely be worked with.

Although, when it comes to camera equipment it means we probably will have to use body mount for the camera of choice.

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Location Characteristics Relevant to Equipment

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Location Characteristics Relevant to Equipment

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Unfortunately, when it comes to weather, Dartmoor can be very harsh to filmmakers. The weather is sometimes unpredictable and can change within half an hour. Taking this into account, I will need to check with the director and schedule shooting accordingly to the weather.

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According to Google Maps and judged off my previous travels around the area in which Bennett's Cross is, the journey from the center of Exeter is around 45 minutes to 1 hour.
I chose the center of Exeter as the point of interest as it is the closest city and has multiple railway stations for easy access from around the South West and the rest of England.

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In the image above you can see the satellite view of Bennett's Cross and its immediate surrounding area. It is no more than 100 meters from a gravel car park and on the side of the B3212 road.

The B3212 isn't a busy road so there shouldn't be too much issue with passing traffic. This being said, I intend to not have many shots with the cross in the frame so shooting shouldn't take long here.

A website with all information about Bennett's Cross - including coordinates, dimensions, and other information: http://www.dartmoor-crosses.org.uk/bennet's.htm

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The location I pitch as the DoP for this scene would be Dartmoor National Park, Devon.

It matches the barren and mundane look from Se7en (1995) I which I am using as inspiration. However, the low setting sun during the dusk period creates some dramatic lighting and shadows just like the directions on the script.

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This mood board is to represent the location in which I think suits best for SCENE 47. It is in no way to show the colour grade, lighting, or camera motivation of the scene. This will be discussed later on in the VISUALS section!

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After reading the directions for SCENE 47, I almost instantly got inspired by the famous head scene in Se7en (1995).

It has a very mundane background but has that added dramatic lighting that is cited in the script.

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Unlike my first suggestion, this suggestion is to add lighting to SCENE 43. I will go into more detail later on about the framing/lighting however I thought it was a good place to mention this request of change in this part of the Padlet.

Essentially, I feel that the best lighting scenario would see IDA and DALLOW's face lit with standard LEDs but have a red backlight to set the tone. (Mood board later)

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I think there are some great opportunities to use a macro lens for some extreme close-up shots.

Highlighted below are parts of the script in which I believe a shot with the macro lens will work well. I will go into more detail about how they will look in the VISUALS part later.

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Clarifications I Require form the Script

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Clarifications I Require form the Script

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My first suggestion would be to use no artificial light when it comes to shooting SCENE 47. There are a few factors to this being;

Less money is spent on hiring lighting equipment.

Time setting up the lighting on set is gone which allows for more shooting time.

It will look a lot more authentic and I believe if we need to make any colour adjustments it can be sorted during Post (mention in more detail later).

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From the script alone, I am unable to tell the period of time in which this script is set.

Brighton Rock is originally set in the 1930s however, due to the mention of a 'hoodie' I am led to believe this particular script outlet is set in the modern-day. However, after looking at the brief, I am made aware that 'Pinkie' is in fact a modern-day take of the Graham Greene novel.

I will still go over this with the Director to confirm the film will be shot during the modern-day.

Brighton Rock Wikipedia: https://en.wikipedia.org/wiki/Brighton_Rock_(novel)#Main_characters