The Sony FS7 is a very popular camera among film crews even years after its launch. It provides several advantages for this shoot. Its high popularity will mean crews are familiar with it and therefore it will provide a smoother shooting process. It features a high native ISO of 2000 and therefore has a good low-light performance. (key feature for Scene 47's lighting situation) The built-in ND filters and the 14 stop dynamic range means it will be easier to shoot in fast-changing and dramatic/harsh light. It shoots S-Log providing better flexibility for colour grading the footage. The lens mount is Sony's E-mount easily adaptable to Canon EF which is one of the mounts with the most amount of compatible lenses. The Sony FS7 is also able to shoot 4K and is Netflix approved which could be a key selling point for distribution of this project.

The Samyang Cinema Primes are inexpensive but capable lenses. The 5 lens kit features the key focal lenses from 14mm to 85mm and most have a very wide aperture with a 1.5 T-stop providing a very shallow depth of the field.

This kit can be hired for £429.00 [Source] per day and it includes:

The pier has limited space for crew and equipment and difficult power availability as well. This can be addressed by using lights  that, by running on batteries, are contained units. Being LED these lights should run cool to the touch allowing it to be held by crew members it there isn't enough space for light stands. Small lights like the Blind Spot Gear Tile Light Duo can also be used to provide the practical lighting by placing them inside the streetlamps.