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Annotation Key:
Red - Clarifications needed
Orange - Shot/lighting ideas
Blue - Scene/detail suggestions

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THE REMAINS OF THE DAY - Script Annotation

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From reading through the script, I envision this scene as a time of reflection between two old friends. They both strike me as characters around 50 or 60 who are well-spoken, as their speech suggests, with one referring to the other with their title and last name. The characters seem comfortable with each other as they share their personal thoughts, and the topic of their conversation leads me to think of this scene with quite a calm atmosphere.

I have gathered this from the script as of now, but if you have any differing concepts, I would like to take them on board and revise mine. There are a few clarifications I would like to ask you about the script below that would really help with my understanding and maintain a cohesive vision between us.

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Story:
1. When is this adaptation set? Depending on the time period, the location will be influenced to avoid anything in the surroundings that may not seem authentic.
2. What is the intended genre? I interpret this adaptation from the script as a historical drama, similar to the original book. This will impact camera motivation and possibly the lighting of the scene.
3. Is there a certain tone you would like to portray by the end of this scene? I will move forward with the assumption that this is a time of reflection for both characters. Leaving them to sit together for a while in silence to think in company.

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Location coordinates: 50.778839, -1.079012

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I believe that this area of Southsea beach would work very well for this seaside scene. The surroundings are not incredibly modern so would be appropriate for a late 1950s setting.

The bench overlooking the ocean presents a sense of reminiscence as the characters take a seat and talk about their past together. And, as they are both most likely around their 60s and of high standards, placing them on a bench rather than on the pebbles of the beach itself would reflect those aspects. The distance of this setting from the pier allows it to be seen in the background without being prominent, along with its link to youthful games and activities, representative of the distant past - the characters' topic of conversation.

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The string Festoon lights at the location won’t be controlled by the production crew, so the scene will have to be shot at specific times relative to when the lights are scheduled to turn on. I have contacted the Portsmouth City Council to find out details about this, to which the Seafront Operations Officer, Mark Collings, has stated that the Festoon lights I am proposing to film with are on timers, of which he is able to find out the details for.

Another consideration needed to be made is road noise and the public. This specific area is quite wide and so the public will be able to be directed around the set when filming and setting up, still being able to get past without too much hassle. Where the bench I have chosen is placed, the road veers slightly away from it, so vehicles won’t be passing directly behind the set; however, it will not eliminate all road noise. To work around this concern, the space surrounding the area is large enough to manoeuvre the boom mic without many constrictions.

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It would be great to discuss these clarifications with the producers and director when possible, but for now, I will present the vision that I have for this script with a few assumptions and my own research from the source novel on which this story is based.

Setting and Characters:
In the novel, Stevens drives to Cornwall to visit his previous co-worker, Miss Kenton, as he reminisces about his time working as a butler for Lord Darlington at his stately home since the 1920s. Back then, Stevens and Miss Kenton had an unexplored romance, halted by Stevens' priority to maintain a professional appearance. He mentions the possibility of them, however, Miss Kenton is happily married with a family of her own, causing Stevens to wonder with a sense of regret.

This once-deep connection between the characters, Stevens' reserved personality, and frank conversation should reflect visually on the characters in the present. They both still speak in a respectful, polite manner, which can emphasised through how they are placed and blocked within this scene. For example, I see them sitting tall and eloquent as they speak to each other. Stevens may always look at Miss Kenton while she is speaking, to show his characteristic tact.

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This scene feels like pure reminiscence. The camera would follow the two walking along the path of the beach, in the direction of Southsea Parade Pier, where a handful of children and younger adults are briefly swarming. Suggesting Stevens and Kenton’s venture into their past together, when they were 40 years younger. The characters would always stay in the forefront of the shots, with surroundings of the ocean, lights and other people in the background as we focus on how their past has affected them personally. The fact they are on timers eliminates the possibility that they could be turned on late by an operator, but makes it even more important to stick to a shooting schedule. These surroundings act almost as a cue for their conversation.

The camera would carry out precise movements, such as tracking around the bench after they sit down, with the camera being led by a child running across in front of them. Keeping the camera steady and meticulous in this movement in order to reflect the characters’ mannerisms. Their connection will be emphasised as, to the audience, they both would appear as the camera movement does.

I imagine occasional shots from Stevens’ POV towards Miss Kenton throughout the scene as we begin to understand his past and present view of her. He has always looked upon her with professionalism, even when he has had romantic feelings towards her while working together. And now at this point, he regrets not acting on these emotions. He must change the way he views her, now that he learns she has a family of her own.

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See my moodboard on Pinterest here: https://pin.it/HnJvaAo

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Overview of these main shots:
1. We are close to Kenton as they walk, listening to her just as Stevens is doing. The dark ocean is behind her as she speaks about her troubles.
2. They walk together towards 'the past' - the child-like, colourful pier - as they move to light wonderings and reminiscing.
3. The sea splays out in front of the characters, looking out onto it. During this static shot, the colourful Festoon lights above them turn on, creating a warm glow on both of them. They barely move as they are unbothered by them, but as Miss Kenton speaks about the cheers, we track and pan to shot 4.
3-4. Our perspective is being changed from behind them to in front, joining back into their conversation. The camera movement follows a child running left in front of the pair, towards the pier to join his friends gazing at the lights.
4. We can now see the children in the back, the pier, and colourful lights, which feel as though they prompt the contented conversation.
5. Coming closer and more front-on to characters as they speak, we're presented again with their esteemed mannerisms, sitting tall and proper, sharing their present, real thoughts.
6. The camera tracks backwards away from the characters as their conversation comes to an end. We're back to symmetry and therefore reality. They are drifting away as Stevens realises his regret and mistake of not acting on his feelings for Miss Kenton earlier. Time is allowed for them, and the audience, to take everything in.

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Here is an example of the set-up of shot 4.

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I feel the intimate conversation the characters are having, especially at the beginning of the scene, would be presented as such with a focus on close up shots of the speakers. Miss Kenton shares such a personal thought, so capturing her facial expressions, and Stevens’ in response, during this speech with a 50mm lens would enable the audience to immediately understand how Miss Kenton is feeling about her situation. Keeping the two close in the shots with lenses with the capability of shallower depth of fields, a lot of the time staying away from wider lenses such as 14mm, allows for us to isolate the characters in a sort of dream-like setting.
*Lens specifications in 'Equipment' column.

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Blue, strong moonlight illuminates parts of the location as the characters walk. It would cast somewhat harsh shadows on their faces, giving more intensity to Miss Kenton’s initial speech. This would mean filming in the evening to achieve this low key lighting, and also make the time of day believable. To aid the natural light from the moon, especially if it is particularly dim or covered, a strong, cool-toned LED light will be directed at the characters. As they walk, this light will have to be moved with them to keep the effect of moonlight, which wouldn't be difficult or dangerous due to the lightweight equipment, not getting hot while it’s being used as it’s LED.

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As their tone of interaction changes, so does the lighting. The colourful, warm glow from the Festoon lights above the characters as they sit down hits them both, along with the warmth from the crowd that cheers. The characters’ faces are now softened by lights, rather than being half in shadow. A fill light would accompany the string lights to emphasise this change, as though the lights turning on would do so. Bokeh from these string lights will be incorporated into the background of the shots via shallow depth of field and the distance between actor and light, affirming this now reminiscent atmosphere.

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Day Hire (incl. VAT): £429

This camera is available to me via the University of Portsmouth CCI Loan Store here: https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=2530
I have chosen this camera to shoot with because I am accredited on this and I believe it will be most efficient and effective for this type of shoot. The Sony PXW-FS7 can record in 4K and 4:2:2 10-bit, which will allow for a great range of colour to be captured, perfect for the coloured lights being used and moonlit sky. It can also be moved around easily, and handheld without emphasising shake which is good for the camera movements I have planned; the uneven paving of the location means using a dolly would not be effective.

The kit includes the following:

Sony PXW-FS7 camera body

Grip remote control

Viewfinder & rail

XDCA extension unit

Vocas baseplate & quick release plate

Follow focus & marking ring

Metabones lens adapter & case

IDX battery charger

2x 128GB Sony XQD card 400MB/s

XQD/SD card reader

Tripod head

Tripod legs

Sony 28-135mm E lens

Matte box

15mm rails

CamRade wetsuit rain cover & case

Samyang 5x prime lens Canon kit

T3.1 14MM ED AS IF UMC II

T1.5 24MM ED AS IF UMC II

T1.5 35mm AS UMC II

T1.5 50MM AS UMC II

T1.5 85MM AS IF UMC II

With this camera, I will majorly be using the 35, 50 and 85mm lenses. I intend to keep close to the characters and ensure I can capture moments with prominent bokeh from the lights in the background.

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See my moodboard on Pinterest here: https://pin.it/U43jlqy

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The BAFP default recording format specifications include:

25FPS

CineEI shooting mode

SGamu3C colour space

1/50 shutter speed

1090 25p video format

XAVC-I codec

I will load my SD card with all of these settings pre-saved for the Sony FS7. As this film will most likely be shown on TVs, laptops and also large screens, I will change the video format to 4K. Also, I will keep a copy of the ‘Default Setup Procedure PDF’ and ‘Quick Reference Guide’ on my phone on the shoot day as backup. These can be found here: https://padlet-uploads.storage.googleapis.com/846228808/098bd6b3790b5ceb99a9e958bc697c49/Sony_FS7_Default_Set_Up_BAFP__2_.pdf https://padlet-uploads.storage.googleapis.com/846228808/8337c9840f08fe4d531dfdf88ffcf281/Sony_FS7_Quick_Reference_Guide.pdf

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Day Hire, if hiring elsewhere: Est. £60-80

Via https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=2865
These lights will allow me to manipulate and ensure the ‘moonlight’ is effective. There is a possibility of the natural moonlight being covered by clouds and defusing it so that it is not to the desired effect, or it might be overpowered by other lights around that are out of our control on the day of shooting. The Ikan LED lights can act as the moonlight and be adjusted to a cool hue. They are powerful LED lights so will be able to create the lowkey ratio lighting I would be looking for. They are battery powered, so being on location with no available outlet is not a problem, and having two of them ensures a backup if one breaks or more light is needed.

The kit includes:

2x Ikan LED light panels

2x Elbow joints

2x Figure 8 cables

2x Power adapters

Battery charger

Battery charger power supply

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Day Hire, if hiring from elsewhere: Est. £20

Via https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=2748
These small, powerful lights can act as the colourful glow of the characters if the Festoon lights are not giving off enough light to be effective. The Festoon lights are hung quite high up, so giving more emphasis to them via blind spots ensures the change of lighting to be noticed. Coloured gels over them would give them the right colour and even allow for specific colours to be chosen. These will be mainly warm pinks, reds, yellows, etc. to offset the cool moonlight.

The kit includes:

2x Blind Spot Gear Tile Light Duo

2x Remote dimmer

2x Dimmer extension cable

2x Battery adapter

2x CTO gel

2x Ball mount

2x Soft box attachment

Hot Shoe Adapter

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Cost to buy: £15-20

Via https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=3817

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Day Hire, if hiring from elsewhere (incl. VAT): £2.50 each

Via: https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=2959

Being by the sea, it’s possible wind could pick up and cause a light to fall, or it could be knocked over, so having sandbags can prevent any broken or moved lights.

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Tipke Foldit Cart (Folding Utility Trolley)

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Tipke Foldit Cart (Folding Utility Trolley)

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Day Hire, if hiring from elsewhere: Est. £20-25

Via https://cciloanstore.port.ac.uk/wizard/resourcedetail.aspx?id=3984
Having a trolley to keep everything together and easily transport equipment from the university, or vehicle being used for longer transportation, to the location would be very helpful, especially as some of this equipment is quite bulky and heavy. So, depending on the size of crew and help available, it can be an efficient mode.

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The chosen Sony FS7 can record in S-LOG, which is what I would choose to do. Filming in a LOG format would allow for greater manipulation of the final colour, meaning we could bring out the colourful, warm lights further and be able to work towards my proposed colour palette.

Sony supplies 3D LUT files that would provide a great starting point for the grade of this film. I would apply a LUT from this collection to the footage, then create a slightly different grade for the more cool section of the scene, boosting blues and crushing blacks. Then, lowering those blue hues slightly when the lights are turned on, ensuring the colours from those lights are vibrant and the scene not as dark as before.

These LUTs are compatible with the FS7 and are available here: https://pro.sony/en_GB/support-resources/software/00263050

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Moon
For the best and most convenient ability to use the moon as a light source and visible motif, in January 2023 filming should be done by the 15th. The visibility of the moon will be best during these dates and will then begin to rise and set during the day, giving no time to film with it. This is not a deal breaker however, as we will be able to mimic the moonlight via LED lights. But it will help to illuminate the surroundings.
Via https://meteogram.org/moon/united-kingdom/southsea/

In January 2023, the moon will rise mainly Northeast or East-Northeast, the direction in which the characters will be walking, towards the pier. It will then move further South later on during the nights. This will work well as their faces will be illuminated without being directly in front of them. Shadows will be cast on their faces, which is exactly the look I imagine for this part of the scene.
Via https://www.timeanddate.com/moon/uk/portsmouth

Sun
At the moment, sunset is around 16:15. This is when filming should begin as it would allow the most time to work with the Festoon lights being turned off during the evening. It would be useful for the set up of lights, blocking and camera to be done before the sun sets. Equipment can be easily and safely built, being ready as soon as it is needed.
Via https://meteogram.org/sun/united-kingdom/southsea/

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I am Ellie Simpson, a 19 year old Level 5 student studying BA Film Production at the University of Portsmouth. I have been made aware of your project and would like to share my vision for scene 27 with you as I would like to act as your DP for this scene.

To see my previous work, please find my portfolio website here: https://elliesimpson.90bloopers.com/

I look forward to hearing feedback on my vision and suggestions, so we can work towards a great film together.

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I've been especially engaged in filmmaking for nearly 3 years now, and have found myself particularly drawn to the camera department. Working hands-on as a camera operator on a shoot, and being involved in the decision-making of camera shots and lighting are the areas I feel most passionate about; I admire the work of cinematographers and am looking to have a future in that field.