Stop 2 of 8 · Weekly
Treatment and pitch deck
A call transcript becomes a treatment, three directions that cost different amounts to shoot, and a pitch deck built in Claude Design the same afternoon.
The afternoon after the call
A brief reaches Ramez three ways: a forty minute call he recorded, a two minute voice note on WhatsApp, or an email that says "something like the one you did for the hotel, but for our new tower". All three are missing the same things. Who watches this. Where it plays. What has to be true afterwards. Whether the CEO will sit for an interview.
The transcript goes in first. Twenty minutes later Ramez has a treatment, the questions the call never answered, and three directions that cost different amounts to shoot. He has not opened a deck yet, and he already knows what to ask on the follow-up call.
What a treatment has to carry
Seven parts, in the order a client reads them.
The film in one line. What it is, how long, where it plays. If this line needs a comma and a but, the idea is two films.
Audience and the action. Who watches, and what they do differently after. "Investors at the roadshow, who ask for the deck" is a target. "Awareness" is not.
The story spine. Six to eight beats with a person in each one. Not a list of topics.
Visual approach. Camera behaviour, light, lens language, grade, graphics. Written so a DoP could argue with it.
Sound. Interview or narration, language, music brief, whether the room is loud.
Deliverables. Master length, cutdowns, aspect ratios, languages, captions.
What we need from the client. Access, approvals, logos, brand assets, dates. This section is what makes the film land on time.
Three directions, three shoot sizes
A direction is a story device plus the access it needs. That is why three of them is a scope conversation and not a taste one.
| Direction | The device | What it costs to shoot |
|---|---|---|
| The testimony | Four people, one room, cut on the truth | One day, two locations |
| The day in the life | One employee, follow from six in the morning | Two days, moving crew |
| The process | The product built end to end, no talking heads | Three days, factory access |
The client picks a device. Ramez prices the shoot that device implies. Nobody argues about whether it should feel "premium".
Try this
Inside my studio Project. Turn the attached call transcript into a treatment in seven parts: the film in one line, audience and the action they take afterwards, the story spine in six to eight beats with a person in each, visual approach, sound, deliverables with lengths and aspect ratios, and what we need from the client. Then list the questions the call did not answer, ranked by how much the answer changes the shoot. Mark every claim you took from the transcript and everything you inferred. [paste the call transcript]
From that treatment, give me three creative directions that could not all be right at once. For each: a name, the story device in one sentence, the access it needs from the client, how many shooting days and locations it implies, the risk that would sink it, and one line I can say out loud in the meeting. No price of any kind.
Write the slide plan for a ten slide pitch deck from this treatment: slide title, the one idea on it, the words that appear on screen, and what image or frame sits behind them. Slide one is the film in one line. Slides four to six are the three directions, one each. The last slide is what we need from the client. Then build it in Claude Design using my studio deck style.