Stop 8 of 8 · Weekly
Ramez's week
Three routines with a day and a time, Dispatch from the wrap, a cheat sheet for the whole course, and one film taken from the client call to the delivered cut.
What actually changed
The shape of Ramez's week is what it always was. Pitch early, shoot midweek, cut at night, deliver on Friday. What changed is that the writing around the work stopped taking the evenings, and the documents that lived in his head are now files the crew can read.
Three routines carry it, each with a day, a time and an output he reads in five minutes.
Three routines
Monday, 08:00, job digest. For every live job folder in Drive: what moved last week, what is waiting on the client and for how long, what is due this week, and what is quietly late. Ramez reads the waiting-on-client lines first and sends them before nine.
Thursday, 16:00, client updates. One short update per live job, drafted and not sent: where the film is, what is next, what Ramez needs and by when. He edits four sentences and sends five updates in ten minutes, which is the whole difference between a client who chases and one who does not.
First working day of the month, invoicing. Which deliverables were accepted, on what date, and which milestone that triggers, assembled as invoice lines with every amount left blank. Ramez prices the column from his rate card, exactly as in the proposal.
Every Monday at 08:00, look at my live job folders in Drive. For each job give me: what changed in the folder last week, anything waiting on the client with how many days it has been waiting, what is due this week with the date, and anything past its date. Put the waiting-on-client items at the top as a list I can act on before nine. Keep the whole digest under one page and do not invent a status for a job with no new files.
On the first working day of each month, go through my job folders and list every deliverable the client accepted last month, with the acceptance date and the milestone it triggers. Build the invoice lines per client: job, milestone, deliverable, quantity, and the amount as EGP ____ for me to fill. Flag any deliverable sent but never acknowledged, and any job where the scope no longer matches the proposal.
Dispatch, from the wrap
The ten minutes while the crew derigs is when the day is still fresh and the laptop is in the car. Ramez sends the desktop what changed: the shots that did not happen, the two rows the client added, the factory floor free only before eight tomorrow. By the time he is home, tomorrow's call sheet and an updated shot list are waiting.
Capstone: one film, call to delivered cut
- Record the client call. Run the treatment prompt. Send the open questions the same day.
- Three directions with the shoot each implies. Deck in Claude Design. Pitch it.
- Shot list with the priority column, schedule by light and location, then the call sheet.
- Proposal in seven sections, budget rows from the schedule, prices from your rate card, usage rights spelled out.
- Mark the shot list generate or shoot. Generate nothing with a real person or a client logo, and log the tool, the date and the licence.
- Shoot. Paper edit from the transcripts. Script in both languages against the timings.
- Voice-over read scripts, caption files, and the checking list read by a native speaker.
- Deliver with the generated assets table and the confirm-before-this-goes-out list attached.
| You want to | Do this |
|---|---|
| Start a pitch | Transcript in, treatment out, questions to the client today |
| Give the client a real choice | Three directions with three shoot sizes |
| Build a shootable day | Group by location and light, keep the priority column |
| Price a job | Claude writes the rows, you write the numbers |
| Fill a shot you cannot film | Name the row it replaces, then the look, then the licence |
| Deliver in two languages | Same timings, one glossary, a person reads it |
| Run an event | A branch on every line of the run of show |