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.

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

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.

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.

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.

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.

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

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

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.

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. 

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!