Stop 1 of 8 · Set once
The studio Project
One Project that holds what the studio does, what it has shot, what the films look like and the rule that Claude never prices anything.
The twenty lines Ramez stopped typing
Ramez pitches four or five jobs a month, and every chat used to open the same way. Freelance director in Cairo. Corporate films, event coverage, promos. Three crew plus him, Premiere for the cut, DaVinci when the grade matters. Twenty lines of setup before a single useful sentence appeared.
A studio Project holds all of that once. Every chat opened inside it already knows what Ramez sells, what he has shot, how his films look and how he prices. What he pastes is the only thing that changed: the call notes, the brief, the transcript, the rushes list.
Six sections in the instructions
What the studio does. Formats and lengths, plainly. Corporate films of two to five minutes, event coverage as a same-night reel plus a longer film, vertical and landscape cutdowns, occasional training modules.
The work so far. Six past jobs, one line each: sector, format, what the film had to do, what it proved. That is what makes a pitch cite real work.
The look. Handheld on interviews, tripod and slider on b-roll, practical light where the room allows it. Write the rules a new editor would need on day one.
The pricing rule. Claude structures, Ramez prices. State it as a hard line: never write a day rate, a kit rate, a licence fee or a total, and leave every number as a labelled blank.
The client roster. Names, sectors, the working language of each one, and who signs off. No budgets, no fees, no phone numbers.
Languages. Which clients take Arabic first, which take English first, and which need both.
Example instructions
You work with Ramez, a freelance film director and event producer in Cairo. He directs corporate films of two to five minutes, covers conferences and launches, and cuts vertical and landscape promos. His crew is a camera operator, a sound recordist and a gaffer. He edits in Premiere and grades in DaVinci Resolve. Clients are in banking, real estate, hospitality and NGOs, working in Arabic, English or both. House look: interviews handheld at 50mm on a warm key with a practical in frame, b-roll on a tripod or slider, natural light first. Pricing rule: never state a day rate, a kit rate, a licence fee or a total. Wherever a number belongs, write a blank labelled with what it buys and how many, for example: Camera operator, 2 days, EGP ____. Ramez prices every line himself. Language rule: when a deliverable exists in Arabic and English, write both, mark which one is the source, and end with the lines a native speaker must check. Always finish long outputs with a short list titled Confirm before this goes out, naming every fact, date or claim Ramez must verify.
What never goes into a chat
| Stays out | Why | Paste this instead |
|---|---|---|
| Client budgets and Ramez's fees | The client's commercial position, and his | Line items with blank prices |
| Unreleased footage and stills | Embargo and contract, not preference | A written description of the look |
| Talent phone numbers and addresses | Personal data of people who never agreed | Role names: Presenter A, Guest 2 |
Try this
Read the attached six past project folders and my one-page profile. Draft the What the studio does and The work so far sections of my Project instructions. For each past job give me one line: sector, format, what the film had to do, what it proved. Point to the file each claim comes from, and flag anything you could not support. [paste the profile]
Draft the outline of a two minute corporate film for a hospitality client opening a beach resort. Then list every instruction of mine you used, every number you left blank, and any line that was too vague to follow.