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From a cinematography perspective, the British comedy-drama ‘Bhaji on the Beach’ is compelling because of its ability to weave together two seemingly opposing genres – comedy & drama. One method the film employs to achieve this balance is through subtle lighting cues that suggest to the audience when a scene is intended to be taken seriously.

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Two annotated screenshots from 'Bhaji on the Beach' showcasing two different lighting styles.

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Observe the lighting within the two annotated images. One features even lighting, while the other contains much stronger shadows - what are the implications of this decision?

Soft, evenly lit scenes can communicate humour, while more carefully considered lighting with shadows may enhance the emotional weight of dramatic scenes.

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The scene is set outside, during the day, on a pier amongst the arcades.

The first part of the scene takes place among the arcades, while the second part is under the pier.

Response

Without modifications to the script, the most suitable locations will be large, busy piers akin to the scale and popularity of Brighton Pier, for example.

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In order of events:

Ginder frantically searches for Amrik, who has wandered away.

Amrik, searching for his lost glasses, finds his way under the pier.

Amrik encounters his estranged father, Ranjit.

Ranjit, upon hearing Ginder's approach, hides.

Ginder discovers Amrik under the pier.

Abstracting information and uncovering the key beats to the scene can help to strategically plan for potential contingencies, in the event that securing the ideal location is not possible. Identifying the key moments that need to occur within a scene will enable us to maintain the scene's intrinsic intention, regardless of the filming location.

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Ginder asks strangers if they have seen Amrik, providing a brief description of him.

Ranjit tries to comfort Amrik, expressing paternal affection and a desire to take him away.

Ginder calls out for Amrik.

Ginder berates Amrik for wandering off, expressing that she fears what people may think of her as a parent if they knew Amrik had been lost under her supervision.

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EMOTIONAL TONE

The emotional tone of the scene is essential for framing and camera action. I would clarify with the director if there are any specific emotions they wish to emphasise.

For example, when Ginder is reunited with Amrik, the emotional impact of the reunion isn't detailed. Are there specific reactions or expressions that the director wants to capture from the characters? Knowing this will inform what type of shots should be captured.

PROGRESSION OF TIME

It is not clear how much time passes between 'SCENE 50' and 'SCENE 51'. The script mentions that 'SCENE 50' is to take place during 'DAY', however, this information is not provided for 'SCENE 51'. Understanding how much time passes in-between the two scenes is important for our cinematographic approach as it may influence the decisions made towards lighting.

For example, if enough time has passed between scenes, resulting in ‘SCENE 51’ being set at DUSK, there are additional considerations to be mindful of, such as changes to lighting. There will be less light overall and therefore we may require additional lighting equipment.

As the script omits details about the time of day for ‘SCENE 51’, it remains uncertain whether the two scenes occur in quick succession, potentially within minutes of each other, obviating the need for a new time-of-day specification. However, this should still be clarified as it is unwise to assume.

CROWDS

The presence of large crowds could evoke sympathy for Ginder from the audience, as the crowd may provide a plausible scenario for Ginder losing sight of Amrik. However, it is important for the cinematography department to know if there are to be large crowds as this information will influence the blocking of the scene.

AMRIK'S REACTION TO RANJIT

Upon recognising his estranged father lurking under the pier, Amrik utters “it’s Daddy”. However, the script does not provide clarity on the emotion Amrik experiences during this moment. Understanding Amrik’s emotional state is important as it’ll inform cinematographic choices such as lens selection, camera movement, lighting and more. For instance, if Amrik is scared, the scene could be crafted to reflect this emotion by utilising much harsher lighting. However, we will not know the answer to this without consulting production.

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For this feature, I suggest that we utilise the Sony FS7.

The Sony FS7 is part of a kit that contains:

Sony PXW-FS7 camera body

Tripod

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

I believe that the provided kit will cover most shooting scenarios.

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The webpages for three different cinema cameras available through cciloanstore.port.ac.uk

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My decision to move forward with the Sony FS7 over another camera such as the Blackmagic Pocket Cinema Camera 6K Pro was partly influenced by the lack of available pricing information through the chosen loan store. I would be unable to move forward with the BMPCC 6K PRO because, without accurate pricing information, I would be unable to provide a cost estimate.

Aside from the challenge of obtaining pricing details, there are other compelling reasons for selecting the Sony FS7 for this production. Firstly, the Sony FS7 Kit, available through the University of Portsmouth's loan store, presents excellent value. Priced at £172/day, the kit includes virtually everything necessary for a full day's shoot, from batteries to lenses. This contrasts starkly with the ARRI Alexa Classic EV Kit, which includes only the camera body without the supplementary equipment found in the Sony FS7 Kit. Moreover, utilising an ARRI Alexa Classic EV would incur a substantial cost of £1028/day - approximately six times the cost of the Sony FS7 Kit. The cost-effectiveness and completeness of the Sony FS7 Kit make it appropriate for our production needs.

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A subclip of Ginder's frantic search for Amrik.

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Upon realising Amrik is missing, Ginder begins her frantic search. Interestingly, in the original release, John Kenway (Director of Photography for Bhaji on the Beach) chooses to track Ginder with the camera mounted to a gimbal as she questions strangers about Amrik's whereabouts.

I find this decision interesting, as I’d argue that the camera’s movement contrasts with Ginder’s emotional state. The smooth and fluid motion of the camera seems at odds with the frantic and panicked nature of Ginder’s search for Amrik. To enhance the scene’s impact, I propose that we opt for handheld camera movement instead of placing the camera on a gimbal. Introducing a natural shakiness through handheld cinematography can more effectively convey Ginder’s mental state, simultaneously intensifying the viewer’s connection with her heightened emotions. Thus, motivating the camera's action through character emotions.

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Imatest (a test to uncover how much dynamic range a camera can capture) results for the SONY FS7

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The original 1993 release of ‘Bhaji on the Beach’ extensively relied on natural lighting in many scenes, emphasising the importance of selecting a camera capable of capturing a high dynamic range. A camera with a high dynamic range can capture a broad spectrum of luminance levels, retaining detail in both well-lit and dark areas. Practically, a high dynamic range allows us to produce images more akin to human vision, ensuring a faithful representation of the scene.

The SONY FS7, as measured by CineD, boasts a theoretical maximum dynamic range of 17.7 stops, with 12.1 clean stops effectively demonstrated. To put this in perspective, the human eye is believed to have a dynamic range of approximately 21 stops. Additionally, Kodak indicates that most 35mm film has a dynamic range of approximately 13 stops, placing our chosen camera, the SONY FS7, in a comparable range to 35mm film in terms of dynamic capabilities. Giving us the opportunity to replicate the look of the original release.

While cameras like the ARRI Alexa Classic EV may offer a potentially higher dynamic range, my decision to proceed with the SONY FS7 was influenced by factors such as the cost per day and the comprehensiveness of the kit, as previously mentioned.

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SONY FS7 BAFP RECORDING FORMAT SPECIFICATIONS

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SONY FS7 BAFP RECORDING FORMAT SPECIFICATIONS

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HDMI TARGET DEVICE: Monitor

SHOOTING MODE: CineEI

COLOUR SPACE: S-Gamut3.Cine/SLog3

SCAN MODE: Normal

RESOLUTION: 1920x1080

FRAME RATE: 25p

CODEC: XAVC-I

CATEGORY: LUT

LUT SELECT: P1

SDI & INTERNAL: MLUT OFF

SDI2: MLUT ON

HDMI: MLUT ON

VIEWFINDER: MLUT ON

SHUTTER:

SPEED: 1/50

ANGLE: 180°

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50.779124112257065, -1.076259384573213

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Find local businesses, view maps and get driving directions in Google Maps.

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The director of Bhaji on the Beach, Gurinder Chadha, beside a film camera.

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Being shot on film, Bhaji on the Beach possesses many filmic qualities that are sought after to this day by cinematographers working with digital media. This is not to suggest that the modern remake should be shot on film; however, we can analyse the filmic qualities that enhanced the aesthetic of the original film and emulate those qualities through post-production techniques.

Qualities such as:

HIGHLIGHT ROLLOFF

The term 'highlight roll-off' refers to the "gradual transition from the highlights (the brightest parts of the image) to the shadows (the darkest parts of the image)" (The Daejon Chronicles, 2023). "Clipping" refers to when a luminance value is either too high or low for a digital sensor to capture, instead rendering it as pure white or black. A camera with a good highlight roll-off will be able to prevent a significant amount of "clipping" - of course, all sensors have their limit.

Traditional film controls highlights well. In the past, highlights were better preserved through film when compared to digital sensors. This places a greater emphasis on camera choice, as the camera needs to possess a dynamic range equal to or greater than traditional film so that the highlights do not quickly become overexposed.

Currently, there are digital sensors that can compete with traditional film in terms of dynamic range but further research will be needed in this area before selecting the appropriate camera for this production. I believe this research to be necessary if we are to preserve some of the visual qualities of the original release.

AESTHETICALLY PLEASING GRAIN

Film intrinsically has a more interesting texture and depth due to its natural grain. The size of the grain can be adjusted by selecting different film stocks.

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Again, 'Bhaji on the Beach' is interesting because of the way it balances comedy and drama - two seemingly opposing genres. Due to this, I have decided to develop two mood boards. One is curated to develop a comedic visual aesthetic while the other has been crafted to develop a visual aesthetic for scenes containing drama.

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Nov 28, 2023 - Visual inspiration for Cinematography Submission #1. See more ideas about cinematography, movies, rush hour 3.

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South Parade Pier is a relevant location because it coincides with the writer's intention of having the scene take place on a pier with an arcade. There's also a reasonable amount of space underneath the pier for the events depicted to unfold. Allowing for the writer's vision to be achieved with little to no alterations.

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cinematography submission 01 - recce photos

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CINEMATOGRAPHY SUBMISSION 01 - RECCE PHOTOS

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Neil Tayler Photography,CINEMATOGRAPHY SUBMISSION 01 - RECCE PHOTOS,

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ABOVE: South Parade Pier on 5 DECEMBER 2023. BELOW: South Parade Pier on 1 JULY 2023. (suncalc.org)

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As the original film extensively relied on natural lighting, it becomes crucial to consider not only the optimal time for filming during the day but also the most favourable season throughout the year.

TIME OF YEAR

The attached image illustrates the varying positions of the sun on two specific dates: December 5th and July 1st. It becomes evident that the duration of the sunlight significantly varies between these two dates. In winter, the sun is up for a shorter period, limiting the available natural light for filming. In contrast, during summer, the sun is present for approximately 16 hours per day. Therefore, initiating principal photography during the summer months will be most beneficial for this production.

Firstly, the extended daylight hours allow for an increased filming window each day. This may prove financially beneficial, as many creatives charge day rates and the ability to capture more footage within a single day can reduce the overall number of days required to shoot. Additionally, the season's clear blue skies provide an optimal visual backdrop, aligning with the aesthetics of the original release.

TIME OF DAY

Having established the optimal time of year for filming, our next consideration delves into determining the most favourable time of day to commence shooting. This decision is pivotal in achieving desired visual aesthetics and ensuring the actors appear in the most flattering light.

I propose that filming should commence either during mid-morning or mid-afternoon. During these times, sunlight maintains directionality, while providing a clearer, more neutral quality of light, aligning with the visual tone of the original release.

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SOUND RECORDING

The crashing waves, a natural feature of this location, will likely affect methods used to capture audio. Ensuring that the sound department is equipped to handle and, if necessary, mitigate the sound of waves will be crucial to maintaining high-quality audio in the final production.

NATURAL LIGHT

As demonstrated via the attached video, a large amount of natural light travels underneath the pier. This went against my expectations as naturally; you would assume that the pier above would block most of the light. However, this introduces a new problem, while the quantity of natural light is great for visibility on set and will undoubtedly contribute to the overall visual appeal of the scene, the absence of strong shadows makes concealing Ranjit in the shadows a considerable difficulty, which may compromise the narrative. To address this, we could perhaps have Ranjit exit the underside of the pier rather than hide behind a pillar – which he does in the original. Alternatively, suppose the director feels that this change doesn’t support the narrative in the way they would like. In that case, production may explore methods to block light from entering the underside of the pier using flags and/or cutters.

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LOST AMRIK COMPARISON - ORIGINAL vs LOCATION

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LOST AMRIK COMPARISON - ORIGINAL vs LOCATION

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GINDER APPROACHES COMPARISON - ORIGINAL vs LOCATION

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GINDER APPROACHES COMPARISON - ORIGINAL vs LOCATION

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If parking along the street is unavailable, there is a car park further along the road. It’s a ‘Pay and Display’ car park so this would incur additional costs, the total cost of utilising this car park depending on the number of days we require to shoot of course.

Depending on the time of year that principal photography commences, the car park may be busy with locals deciding to spend time at the beach. Therefore, it is not guaranteed that the entirety of the production staff will be able to secure a parking space for the duration of filming.

We may be able to receive permission from Portsmouth City Council to close off the pier and the surrounding area for the duration of principal photography. With this permission, it may be possible for us to park vehicles along the beach whilst not disturbing the public too much.

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If no catering is to be provided, there is a CO-OP directly opposite the entrance of the pier, which the cast and crew can purchase snacks from if they so wish.

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Given the public nature of piers, managing crowds during filming may pose a challenge. Strategies for crowd control and minimising disruptions should be considered.

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Being an outdoor location, the shoot may be weather-dependent. Given the nature of the scene, it will be difficult to put contingencies in place. We can minimise the chances of rainfall and gloomy skies by scheduling filming during summer but we should maintain constant communication with the council in the event that the weather forces us to shift our schedule.

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The presence of nearby attractions, activities and the crashes of waves can introduce unwanted ambient noise. The sound department should consider what equipment is to be needed to minimise or work with such noise.

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The pier’s location and accessibility by road make it convenient for the cast and crew to reach the filming site.

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The presence of public services and facilities, such as bathrooms and restaurants on the pier or nearby, can be advantageous for the crew and cast during the shoot.

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Adapting the script to the indoor arcade setting of South Parade Pier may require a slight alteration from the original film, where the arcade was outdoors. In the original release, Ginder loses sight of Amrik due to the unexpected presence of a snake placed on her shoulders, inducing fear and distraction.

Alternatively, Ginder could be distracted by one of the attractions within the arcade, however, there are potential narrative implications to consider if proceeding with this change. The original distraction of the snake was something Ginder was visibly frightened by, providing a plausible reason for losing sight of Amrik.

Moving this distraction to an arcade attraction may alter the perception of Ginder’s parenting abilities. There’s a risk that an arcade distraction could be perceived as a milder distraction, potentially portraying Ginder as a less vigilant parent.

If the director feels that this change does not appropriately serve the narrative, then production could consider involving a specialist who deals with animals in order to carry over the same distraction that features in the original film.

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Notice the lack of gaps for Amrik's sunglasses to fall through.

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I noticed that South Parade Pier has a concrete floor and does not use wooden floorboards like the pier in the original film, this makes it impossible for Amrik to lose his sunglasses through the gap between the floorboards – which is the reason he ventures beneath the pier in the first place.

To maintain Amrik’s motivation for adventuring under the pier, a subtle modification can be considered. While Ginder is engrossed in an arcade distraction, Amrik, with childlike curiosity, heads to the long edge of the pier. There, he accidentally drops his plastic sunglasses, and due to the awkward angle at which they hit the stones below, they bounce and end up slightly underneath the pier.

This adjustment preserves Amrik’s original motivation for his journey beneath the pier while aligning with the physical characteristics of South Parade Pier.

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Gaffers should consider utilising equipment that can be powered through external batteries as there is a lack of available outlets.

The arcade may potentially allow for us to use their electricity, however, there are still no electrical solutions for lighting under the pier.

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Although, additional lighting beneath the pier may not be necessary as the open space allows for plenty of natural light, which can create a more realistic look. However, this also means that the lighting team should be prepared to adjust and adapt to their lighting setup as the natural light changes throughout the day.

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2 COLOUR GRADE - Bhaji On The Beach ideas in 2023 | movie color palette, on the beach movie, filmmaking cinematography

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Dec 5, 2023 - Explore Neil Tayler’s board “COLOUR GRADE - Bhaji On The Beach” on Pinterest. See more ideas about movie color palette, on the beach movie, filmmaking cinematography.

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PROPOSED ADJUSTMENTS TO BAFP RECORDING FORMAT SPECIFICATIONS

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PROPOSED ADJUSTMENTS TO BAFP RECORDING FORMAT SPECIFICATIONS

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For the SONY FS7, BAFP default recording specifications dictate that we capture footage in 1080p at 25FPS. However, I’m suggesting that we capture in 4K. The reasons for this suggestion include (but are not limited to):

HIGHER IMAGE QUALITY

4K resolution provides four times the pixel count of Full HD (1080p), resulting in significantly sharper and more detailed images. This higher image quality is beneficial for capturing intricate details and textures.

FLEXIBILITY IN POST

Shooting in 4K offers greater flexibility in post-production. It allows for cropping, reframing, and stabilising shots without sacrificing a significant amount of image quality. Even if the final deliverable is Full HD (1080p), capturing in 4K provides a higher resolution source, enabling downsampling, which can result in a more detailed and visually superior image compared to native 1080p footage.

IMPROVED COLOUR GRADING

4K footage inherently provides more colour information and depth, facilitating more accurate and nuanced colour grading during post-production. The colourists will greatly appreciate 10-bit footage containing lots of colour information for them to manipulate.

FUTURE PROOFING

4K is quickly becoming an industry standard. Capturing in 4K future-proofs your content, ensuring that it remains relevant for years to come, even in the face of advancing technologies.

CONSIDERATIONS WHEN ADOPTING 4K

4K footage puts a strain on editing and storage systems, given its raster size. This means that to effectively process 4K footage, investments must be made into appropriately powerful computers and network-attached storage in order to distribute the rushes to many departments simultaneously. Needless to say, there is an additional cost incurred when choosing to capture 4K footage, however, if the budget allows for it, I would strongly recommend capturing in 4K for the reasons mentioned previously.

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SONY FS7 KIT - £172 per day

APUTURE LS 300x - £75 per day (X2)

APUTURE LIGHT DOME MKII - £20 per day (X2)

APUTURE F10 BARN DOORS - £10 per day (X2)

APUTURE AMARAN AL-F7 LED LIGHT - £10 per day

In total, the camera and lighting equipment comes to £392 per day.

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UP2061644- Cinematographer and Editor CV (Creative)