When writing a treatment, I worry about a deck that leaves everyone saying “the images look good” without knowing how the film is going to be made.
References can establish a mood. They do not finish the story for us. What the person does, why the camera comes closer and where the product appears are the things I want the treatment to discuss.
The brief
I look for the audience, the main message, confirmed product information, timing and production conditions.
Some requests sound clear until we discuss them. “Make it younger” might mean different casting, a lighter story or a quicker pace. It helps to understand that before making a whole round of work around a guess.
The story
I would explain the film from beginning to end in a few sentences. What do we see first? What happens? Where does it stop? If that feels unclear, more reference images will not solve it.
The product needs a place at this stage too. Is someone using it? Does it make an action possible? Is it the subject we need to see clearly at the end? Those choices determine how much time the camera gives it.
References
For each reference, I explain what I mean: side light, camera position, space or the distance between people. Otherwise, the client may respond to the colour while the cinematographer reads it as a camera-movement reference.
Reference films, AI previs and actual product images also need labels. AI imagery can help discuss an approach; the product’s appearance and features still need to match the real material.
Sound and pace
I prefer not to leave sound until the edit. The length of a pause, the handover between speech and music, or a moment of quiet around the product can change how a scene feels.
Putting the important sound and pacing ideas into the treatment helps someone sense the film as they read it.
Revisions
“Give it more feeling” usually needs another conversation. Does the performance need restraint? Should the camera be closer? Is there too much information at the start? Find the change before changing the document.
Before sending a new version, I read it from the beginning. The story needs to make sense, the images need to match, and the remaining decisions need to be visible. A treatment should make the team want to shoot the film and understand how to continue.
Creative Files follows the work into storyboards, call sheets and handoffs.