I have three years of camera experience, ranging from camera operating and cinematography, to architecture and portrait photography.

As a DoP, I aim to be as experimental as I possibly can. I want to create dramatic and stylised visuals that are memorable to an audience and convey the emotions and atmosphere of our story. This can be achieved through my technical skills and knowledge of lenses, cameras and visuals.

I have focused on the panic Ginder feels, and the power dynamic between Amrik and his dad. There is a feeling of manipulation, with Ranjit using Amrik's naivety to lure him away.

There is a lot of potential in this script to really communication these feelings and emotions through my creative decisions. I've noted down a variety of shots, some can be static and some dynamic. Each shot reflecting the emotional intensity of the scene and reflecting that upon the audience.

• Is the tide in or out?

• How does Amrik react to seeing his father? Is he scared, or maybe curious as Ranjit attempts to lure him away? When he says "It's Daddy." how does he say it?

• I have noted on my script breakdown about utilizing a dolly zoom when Ginder realizes Amrik has gone missing

• Dolly zooms are commonly used to showcase panic and realization of a character

• By using one, it will reflect the sheer panic Ginder is feeling, whilst creating an interesting and dynamic shot, as she finds out her son has gone missing in an unfamiliar city

Handheld

• Amongst my notes, I have written about using handheld shots, in a similar fashion to the dolly zoom

• This will evoke a feeling of franticness and panic that Ginder feels and reflect this upon the audience

Shot Types

• I want to use a wide range of angles in my shots

• This will communicate the power dynamic between Amrik and Ranjit, since he is using Amrik's naivety against him

• Low angles for Ranjit, almost like a POV shot from Amrik

• High angles for Amrik, Ranjit is a powerful figure

Each character has their own reasons for being there. Some enjoy the attention from boys, and others want to experience the world beyond working behind their husbands' shop tills. One is caught in a scandalous affair the one is recovering from her broken abusive marriage with her son in tow. This trip is a turning point for each of these women and no one will return the same.

All whilst this is happening, Ginder, the young mother trying to recover after her abusive marriage is being followed by her ex husband. Unbeknownst to her, he is trailing closely behind the group of women, with plans to confront Ginder.

After spending nine years documenting the Cold War on 35mm and making promotional work for NATO, his work remains true to its roots and tells the story how it is, in its rawest form.

One of the key ideas behind 'Bhaji on the Beach'; is the fact that it is a 'very British film', as stated by director Chadha herself. On a surface level, Chadha didn't want the film to come across as just another comedy, therefore she decided to tackle the subjects of divorce and mixed relationships; two very taboo things in the Asian community.

She also wanted to blur the lines between the generation gap and sexism within the culture, by tackling it in a 'light-hearted' way whilst still keeping the serious notes in her film.

It is the perfect location for 'Bhaji on the Beach' to be situated, channeling British society and allowing Chadha to really explore the collision of cultures in her movie.

The history of Indian stereotypes stems from the colonial rule in India. The narrative accounts often described Indians as uncivil and savage. On the other hand, some depict India as a land of luxury and overindulgence, waiting to be explored. These portrayals then reflect upon media, which is consequently received by viewers and thus these stereotypes are born.

In the 2021 Census, 1,864,318 people in England and Wales were recorded as having Indian ethnicity, accounting for 3.1% of the population. In 'Bhaji on the Beach', Chadha's goal is to showcase Indian and British culture. By creating this film, it exposes a wider range of people to Indian culture, creating bridges between them. With the location being Blackpool, it allows people to be familiar with setting whilst also opening up their minds to the culture.

Food is a key element of Indian culture and family. It is what brings people together and creates deep bonds between its members. It strengthens ties and forms connections.

In the movie, food is shown in several scenes, being served and enjoyed by the families. It is often served when big life decisions are being made, the kitchen table acting as a key element and almost a character in the story. It represents family in the movie and the coming together of friends.

The main characters are served live snakes and animal brains straight from the skulls. Later on, the leader of the cult goes on to commit a ritual human sacrifice by ripping out a man's heart for the Hindu god of death.

As stated above, these harmful stereotypes are aired to a wide audience for entertainment, and do more harm than good. It maintains the idea of the 'savage' image and depicts Indian culture in an incredibly harmful and racist way.

In one of the first scenes of the movie, two of the main characters are stopped at a petrol station on their way to Blackpool. They are approached by two white men, suggesting that they spend time together. It becomes clear that these men only see the two Indian women as an 'exotic experience'. As this interaction progresses, it becomes more and more agressive. The men begin to throw cups at the van as the women drive off.

• This location is relevant for the beginning of the scene, where Ginder first realises Amrik is missing

Characteristics

• The arcades are bright and cartoon-like, reflecting Amrik's innocence and naivety

• Inside of the arcade is quite cramped and cluttered, this will help build on Ginder's panic as she begins her frantic search, creating a suffocating and enclosed feeling

Logistical Concerns

• Area is not wheelchair friendly

• Sound wise, the arcade is incredibly loud and may interfere with any sound equipment

• Must be careful with lighting, due to the array of colors from the arcade machines and the flashing lights. This may clash with any lighting we choose to use or be distracting in shot

• Epilepsy warning, due to flashing lights

• Very cramped, there is not too much space to set up shots

• It is a very busy area, especially with children, so legal action regarding the shooting of children must be noted

• Public area, must ensure no kit is left unattended due to potential theft

Logistical Benefits

• Car parking is readily available and nearby to the arcade, allowing easy access regarding the movement of kit

• Food and drinks are readily available nearby

• Toilets are nearby

• As the arcade is located indoors, kit will be shielded and protected from weather

• Flat ground, enables easy use of tracks, tripods and easy equipment set-up

• This location is ideal for the second scene, where Amrik is underneath the pier looking for his glasses and comes across Ranjit

Characteristics

• The underneath of the pier reflects Ranjit's shady character profile using the shadows

• It represents a darker side of the movie, it is symbolic in the sense that it is physically underneath the fun activities that occur on the pier

Logistical Concerns

• Going underneath the pier has it's risks, e.g. debris falling etc

• Wind must be considered, kit could potentially be knocked over

• The tide must be planned ahead, due to potentially damaging kit due to the water

• Uneven terrain, kit must be sandbagged. Due to this terrain we will be unable to use tracks directly on the ground

• This location is outside, so we might take into consideration the elements and weather to ensure kit is safe

• Public area, must ensure no kit is left unattended due to potential theft

Logistical Benefits

• Car parking is readily available and nearby to the arcade, allowing easy access regarding the movement of kit

• Food and drinks are readily available nearby

• Toilets are nearby

Shot Two: 28-135mm (dolly zoom)

Shot Three: 35mm

Shot Four: 35mm

Shot Five: 24mm

Shot Six: 50mm

A lot of Bollywood cinematography involves very intimate shots to really emphasize the emotions of the characters. There is also a lot of camera movement, creating dynamic shots to tell the story and showcase perspective.

For my work, I want to shoot partly handheld. For example, I have included tracking shots to set up both scenes; one of Ginder and one of Amrik. These will be shot from behind, the first one following Ginder as she traverses through the arcade. She has not yet realized that her son is missing, this shot will be steady and collected

Once she rounds the corner her greatest fear comes to life, a dolly zoom would be ideal.This helps emphasize the realization and the sheer terror she feels as her entire world collapses around her. Her son is missing and I really want her emotion to reflect the shot. She then turns to her left, with the camera tracking her, the camera will be purposefully unsteady to reflect her sudden panic and frantic nature as she begins to ask the people in the arcade if they have seen him.

For example, the arcade is full of flashing lights and colors. It can be very overstimulating and distracting but I believe that by having these wild flashing lights, it will best reflect Ginder's panic in the first scene and communicate how disorienting it must be in that situation. Regarding the second scene, by utilizing the sun position and potentially using artificial lights, I want to create as much shadow as possible. By doing this, it will create a tense atmosphere. Ranjit's face will be obscured by shadow, casting him in a negative light, physically and metaphorically.

For my color design, I want to go down the route of vivid and cartoon-like colors, to really reflect Indian culture. This will be incorporated through mise-en-scene and setting. The settings will reflect the emotions in the scene. Therefore I want to really build on the colorful aspect of the arcade but also use that to create a very overstimulating and stressful atmosphere for Ginder through the use of flashing game lights and cramped space.

• Rigid and lightweight

• Magnesium frame

• Shoulder mount without the use of rigs, therefore it saves money. Easy to switch to handheld and can be used comfortably for long periods of time

• α mount lens system

• 180 fps High frame rates, allows for slow-motion without any loss in bit depth or angle of view

• XQD cards are reliable and affordable

Sony 28-135mm E lens

• Needed for dolly zoom

• Three control rings for optimal manual control

• Quiet powered zoom

• Constant F4 maximum aperture throughout zoom range

• Dust and moisture resistant design, ideal for shooting by the ocean

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

• Semi-telephoto manual focus cine lens

• Change the aperture quietly and smoothly with the uncoupled aperture gear ring

• High-strength aluminum

• T numbers are marked on both sides of the lens for convenience

• Detachable petal-shaped lens hood minimizes flare and ghost by sheltering lens from unnecessary lights

Day hire (inc VAT)

For Sony FS7 & Lenses: £172

• Redirects light that is already there

• Good for creating fill light or minimizing shadow

• Easy to store, takes up minimal space

• Lightweight and easy to carry

• Set up is quick and simple

• Waterproof

• Two reflective surfaces

Day hire (inc VAT)

£12

LISHUAI 2 LED Bi-Color Lights

• Quick and easy light setups

• Fully adjustable kelvin and dimmer options

• Flicker free, good when shooting high-frame content

• Can be powered by mains or v-lock, suitable for shooting if there are no mains nearby

Day hire (inc VAT)

1 x 2ft Panel: £65
2 x 2ft Panels: £120

• Unisex

• Fits all cameras

• Adjustable line tension

• Steady hand held shots while relieving strain on your back, neck and shoulders. Redistributed to the hips allowing you to shoot hand held in comfort for hours

Day hire (inc VAT)

£100

Hire Hague Tracking Dolly

• Two sets of locating holes for the tripod legs, tripod can be used in high and low positions

• Eight radial ball bearing wheels which set the track width to the correct positions as the dolly moves

• Requires a flat surface, would be ideal for the dolly zoom in the arcade as the floor is flat

• Own leveling system to prevent rocking

Day hire (inc VAT)

£37.20

• Required to mount prime lenses onto Sony FS7

• Interfaces between lens and camera

Day hire (inc VAT)

N/A (included with camera kit)

CamRade Wetsuit Rain Cover & Case

• Form-fitted

• Tailor-made of water-resistant near silent fabric

• Protection against bad weather conditions

• Easy and quick to apply and remove

Day hire (inc VAT)

N/A (included with camera kit)

Vinten Pro 5 Tripod

• PH5 pan & tilt head

• Made from aluminium

• Adjustable leg locks and floor spreader

• Standard leveling bubble

Day hire (inc VAT)

N/A (included with camera kit)

IDX Battery Charger

• Essential in order to charge camera batteries and light batteries

• Needs to be plugged into mains

Day hire (inc VAT)

N/A (included with camera kit)

Arri 7g Sandbag

• For use with lighting stands (C-stands)

• Allows extra protection from lights knocking over, whether that be from people tripping or weather conditions

Day hire (inc VAT)

£4

In his film 'Black' (2005), he uses the contrast of bright and dark to reflect the fact that the main character struggles with a hearing and visual impairment. By doing this, it places the audience in the shoes of the main character and helps create sympathy for her.

In 'Devdas' (2002), there is a recurring motif of the colour red. This represents class divide and marriage with red being the colour of lust and love. The settings in this film also tell a great part of the story. The houses range from grand and wealthy, all the way to small and cramped.

Pankaj Kuamar (the cinematographer) stated that "the story idea, narrative, lighting, setting, technique, camera movement, distance, lens, color, temperature, mood and atmosphere" all come together to create the perfect shot, creating a feeling of dread for the worm in that short scene.

Color pallets, contrasting with experimental shadows and lighting are key to creating visual interest and keeping an audience fixed on the story at hand.

Shot eight: 50mm

Shot nine: 50mm

Shot ten: 35mm

Following this shot will be a mid/long shot from the side, also tracking Amrik as he walks further under the pier. This will showcase the scale of the pier, and emphasize how small and young Amrik is compared to the world around him.

There will then be an over the shoulder shot of Ranjit observing Amrik from behind a pillar of the pier. This will create tension and an unsettling atmosphere, as it almost appears to be from Ranjit's POV as he watches from afar, unbeknownst to Amrik.

Next, the shot changes to over Amrik's shoulder as he turns and discovers Ranjit. This will be a high angled shot, tilted upwards as Ranjit towers over Amrik. This evokes a power dynamic, with Amrik looking up at Ranjit. The angle makes him look more unsettling as he appears how Amrik perceives him. The next few shots of their conversation will follow this same idea, with the over the shoulder of Ranjit being a low angle. This emphasizes Amrik's innocence and naivety to the entire situation as his Dad attempts to take him back.

Especially nowadays, when 80s and 90s fashion is all the rage with teenagers and young adults. Utilizing this style in the film will help appeal to this target audience and also allow the movie to be more relatable to the young people in Britain of Indian descent.