01
The Intimate Scene
Lens
50mm or 85mm — shallow depth of field
Lighting
Single warm practical source (lamp/candle) from one side. No fill — let the shadow work.
Movement
Subtle handheld drift. No locked-off shots in this scene.
Wide / Establishing
Two-shot on the sofa. Warm, close proximity. Establish the physical intimacy before cutting tight.
Medium Two-Shot
Shoulder-to-shoulder framing. One-sided warm key light creating shadow on the far side of each face.
Close-Up — DAYSH
Eyes and expression. Soft focus on the background. Slight handheld drift — nothing locked off.
Close-Up — Male Lead
Matching eyeline. Same warm treatment. Hold on the eye contact.
Insert / Detail
Hands. Fabric. Any tactile moment of connection.
02
The Disconnected Scene
Lens
35mm for the wides (to show distance), 85mm for close-ups
Lighting
Same warm setup as Scene 1 but cooler — reduce the warmth slightly to signal the emotional shift.
Movement
Slow push-in on DAYSH for the close. Otherwise locked off or very slow drift.
Wide — Same Frame, Different Ends
Both subjects in frame but at maximum distance. The gap between them is the composition.
Over-the-Shoulder — DAYSH
Looking past her at the Male Lead in the background — out of focus, distant.
Close-Up — DAYSH (Slow Push-In)
Start mid-shot, slow push to a tight close-up on her blank expression. This is the closing shot.
Close-Up — Male Lead
Frustration without words. Jaw, eyes, the stillness of someone who has given up.
POV / Eyeline
What DAYSH is staring at — nothing. Empty space, a wall, a window.
03
The Argument
Lens
24mm or 35mm — wider to create claustrophobia and distortion in tight space
Lighting
High contrast. Hard practical sources. Deep shadows. No soft fill.
Movement
Handheld throughout. Reactive. Let the camera feel the tension.
Wide — Establishing Interior
Show the space. Three people in the loft — the geography of the argument. DAYSH visible in the background.
Handheld — Reactive Two-Shot
Camera between Moe and Afiya, moving with the argument. No tripod. The camera is a participant.
Extreme Close-Up — Eyes / Mouth
Cut to ECUs as the argument peaks. Jaw. Eyes. Lips mid-word. Raw and fragmented.
Over-the-Shoulder — Both Directions
One OTS for each character. Match the intensity — neither is the victim in framing.
DAYSH — Background Isolation
DAYSH in the background, soft focus, watching. She is present but removed. Hold on her stillness.
Wide — Final Beat
Pull back to show the aftermath. Space between them. Silence.
04
Bed Rotting
Lens
24mm overhead (to capture the full bed), 85mm for close-ups
Lighting
Moody practical room lighting only. No added lights. The Crazy Bear room does the work.
Movement
Locked off overhead. Slow push-in for the close. No handheld in this scene.
Overhead — Full Bed
Camera directly above the bed looking straight down. DAYSH and the three extras in frame. The Crazy Bear room as backdrop.
Overhead — Tight on DAYSH
Move the rig closer. Just her face, looking up. Eyes barely open or staring at the ceiling.
Side Profile — Low Angle
Camera at mattress level. DAYSH's face in profile. The weight of the body in the sheets.
Detail Shots
Smudged mascara. Crumpled fabric. A shoe half-on. The visual language of the morning after.
05
Heartbreak Ritual
Lens
50mm or 85mm — the fire provides all the light needed
Lighting
Fire bin as primary (and only) light source. No added lights. The flicker is the aesthetic.
Movement
Mix of locked-off and slow handheld. Slow motion on the burning inserts.
Wide — DAYSH and Fire Bin
Night exterior. DAYSH silhouetted against the flames. The warehouse exterior as backdrop.
Medium — DAYSH at the Fire
Waist-up. The fire illuminating her face from below. Flickering, warm, dramatic.
Close-Up — Face in Firelight
Tight on DAYSH's expression. The fire reflected in her eyes. Hold this shot.
Insert — Hands Dropping Items
Tight on the hands. Rose petals, photos, letters falling into the fire. Slow motion if possible.
Wide — Night Sky
Pull back to show DAYSH small against the dark sky, the fire the only light source.
06
The Bath Scene
Lens
24mm overhead for full bath, 50mm for the tight face shot
Lighting
Candles around the bath. Practical room lighting. Warm, flickering, minimal.
Movement
Locked off overhead. The slow zoom out is the only camera movement in this scene.
Overhead — Full Bath
Camera rig directly above the copper bath. DAYSH looking straight up into lens. Rose petals in the water around her.
Overhead — Tight on Face
Move the rig lower. Fill the frame with her face, the water, the petals. Hold.
Slow Zoom Out
Start tight on DAYSH's face and slowly pull back to reveal the full Decadent Room. This is the final shot of the narrative.
Side Angle — Water Level
Camera at water level looking across the bath. The copper edge in foreground, DAYSH's face in the middle distance.
07
The Detachment
Lens
35mm or 50mm — shallow depth of field to separate DAYSH from the group
Lighting
Natural loft lighting. Warm and social. No dramatic setup — this should feel like a real moment.
Movement
Handheld, social-feeling. Reactive to the group energy.
Wide — Group Shot
All four in frame. The friends animated, DAYSH static. The contrast is immediate and visual.
Medium — DAYSH Isolated
DAYSH in the foreground, friends blurred in the background. She is physically present but visually separate.
Close-Up — DAYSH's Expression
Blank, glazed, elsewhere. Hold on this. The friends' laughter audible but DAYSH is not reacting.
Reel Format (9:16)
Frame for vertical throughout. This scene is built for social content — every shot should work cropped to portrait.
08
The Driving Scene
Lens
24mm or GoPro for interior wides, 50mm for the close-up face shots
Lighting
Natural light — golden hour strongly preferred. The sky is the backdrop and the light source.
Movement
The car is moving. All shots are dynamic by default.
Interior — Looking Up Through Sunroof
Camera inside the car, pointing up through the open sunroof at DAYSH. Sky behind her. Moving.
Exterior — Magic Arm Side Angle
Camera mounted on Magic Arm on the exterior of the car. DAYSH through the sunroof from outside.
Interior Wide — GoPro
Second camera (GoPro or wide lens) capturing the full interior. DAYSH from the waist up through the sunroof.
Close-Up — Face / Sunglasses
Tight on DAYSH's face against the sky. Wind movement. Direct to camera.
09
The Glasses Match Cut
Lens
85mm — compression against the brick wall
Lighting
Clean, even light on the white brick. No dramatic shadows — the glasses are the visual element.
Movement
Tripod locked off. The slow zoom is the only movement and it is very subtle.
Locked-Off — White Brick Wall
Tripod. Do not move the camera between glasses changes. The locked-off frame is the entire concept.
Slow Zoom In (Between Cuts)
Each glasses change is a cut. Between each cut, the camera has crept slightly closer. Barely perceptible but cumulative.
4 to 6 Setups
One setup per pair of glasses. Same position, same energy, different eyewear. Beat-synced in post.
10
Pouring the Drink
Lens
Macro or 85mm for the detail shots, 50mm for the wider pours
Lighting
Clean, directional light on the glassware. The liquid should catch the light. Minimal shadows.
Movement
Locked off throughout. Slow motion. No handheld.
Overhead — Kitchen Island
Camera directly above the glass and bottle. The pour from above. Clean and graphic.
Side-On — Eye Level
Camera at glass level looking across. The liquid filling the glass in the foreground.
Close-Up — Hands and Wrists
Tight on DAYSH's hands, nails, and any jewellery. The pour is deliberate and slow.
Slow Motion
All shots in this scene should be captured in slow motion. The liquid movement is the visual payoff.