 So having sent up this email and it has been wrapped up a very nice format, you would actually know what's next for you because the next thing that you'd have to do is actually come up with your costings. The first thing you get to cost for is like your pre-production, this is your storyboard and treatment and all the workarounds you get to do for what you need to do, you get to cost for your camera packages, include your camera lenses, cameras, diffusion, matte boxes and all the stuff that's within like the camera department, then you put in your operator's cost, your director's cost, your DIT's cost, you have camera AKS such as monitors, cables and all the peripherals, you have to include them into the cost. The next thing you include into your cost is actually transportation logistics, you consult with your gaffer that's within your production company or your team or the gaffer you're hiring and he's going to put together a team, the best boy, a couple of assistants, light assistants and they'll put up a light package that's going to be with some HMI, some C-stands, some LED lights, just depending on related to what the script may need you get. And after you do that, you actually cost for your generator and all the light accessories like black wraps, gels, fog machines and all the stuff. Then you have to cost for other things that are not related to like your technical, which is like your production manager, the production assistant, the production coordinator, you get. You also have to hire a grip. For your grip department, you would need a key grip and also your best boy grip that's actually going to be on some other systems you get. Then they're going to take care of all the things that are not electrically related such as your light stands, your dollies, your sliders, the tripods, all other things that are not electrically related that requires heavy lifting and rigging. That will be on the grip territory. So when you do that, then you get the cost, the final bit of what you'll be costing for. This is just a gross summary as I'm rushing through them. You get so get like cough on the ground. Other things you get like cost for would be post-production, which will include your editing suits, your editing, your editor, color grading. If you have the coloring suit, then you charge for that also. Music makes the score. Voiceovers and the likes that are actually in post-production you get. Then you also cost for like eye-civing and storage, which like your hard drives you get to use because you get like three sets, one for backup, one for agency, one for client and sometimes a work hard drive. But in reality, the only buy two, which is real hard drive and backup hard drive. But you have to like get most of this going and don't. One of those to the agency because that's their property that they've paid for, you get. Then lastly, you would have to cost for the welfare of your crew. This includes employing a caterer to actually bring meal sets on set at two meals or three meals, whatever they case maybe you get. And all of this will be bracketed into the days of production that exist. So when you don't want all this costing, you have to send it back to the agency and there's now the room for negotiation, you get. Whereby, at these true costings, what does happen here? Are there places we can save on the... Can this be afforded by the client? Are there places we can make savings? What can we move around? How can we move around? So you go about that conversation and happen. Sometimes happens very quickly depending on the intensity of how the job is coming. So on the treatment, right, there are like several things that go or that happens when it comes to like writing a director's treatment. There's not much out there that actually put out the content in terms of what the standard should be. But this is just my process. So first thing I open like with the name of the spec spot. In this case, it was the Hero9Jet treatment you get. Put your name, if you have direct relationship, put your logo somewhere. If not, and you're working for an agency, they usually like it when their logo is projected and not used. So you have to keep that in mind. So the first thing that goes in your treatment is the script. In this case, I'm not going to retweet the script just to not make this video long so you can pause and retweet the script. So on your treatment, you have like the script where you actually break through the storyline and everybody gets aligned on what you are treating for and you're just not jumping into the treatment right away because sometimes some persons on production team may have not seen the script and they're just getting your document as this is what. So it's always very nice to be inclusive and always lead with the script first. When you go on with your director statement, this actually speaks to your approach, what you intend to do or what you hope to achieve. It speaks to the intent of what you're trying to craft you get and you actually spend more time in being brief and concise as to how you intend to bring out the client's expectation because that's what you're working for, right? The entire end game is to be able to satisfy the client. Put that and see how it all comes together in the entire vision you're sculpting. Then you go into the next one, which is your concept. Your concept speaks to your strategy which you want to bring to the table in how you want to approach it. You get approach to the script, where you're coming from, whatever peculiarities you think would work for the script. In this case, some of it was using split screens, at least for this very spec spot and some of it was using transition cuts. More cuts actually, and split screen was at the heart of it all and how we tried to use various major words that speaks to the varsity of the script. Then you get to speak to the audience demographic. Who is this targeted to? Because this helps you, the agency and the client align. These are the kind of people we are trying to target which is why I am making these decisions and which is why you're documenting these things. Most of the time, think of it like you're making a very nice magazine that you want people to buy but it's going to convey information which is the entire sense of what you're using in design and treatment. I'm not going to say put two or three images here, there's no formula. Just approach it as though you're the editor of Vogue magazine and this time you're presenting something. Now, the way it gets more interesting is when you speak to your visual style. This is where you now start calling out what you're going to do in terms of make it like vibrancy color, it's going to be like a film documentary, it's going to have like, we're going to shoot it dark and make it more and not like bright and light. You know, are you going to go vibrant colors, close-up, dynamic camera movement, LG Transitions, fast-paced cut. This is where all of that is going to be like summarized. You get the visual style. That's what you now start getting to the looks. When it comes to transition, if you're going to like work on that because transition usually doesn't come up on every treatment. It only comes up when you have to like get the client to sign off of. This is what we are planning to do. Are you okay with it or not? Because you have to be critical at the executor of that sport. This is supposed to be a video though, but this spoke to some of the transitions we used in the actual video when you actually get to check the entire video. Then when it gets to tone, this speaks to the emotion you are trying to evoke by using most of the things that are both and how it comes, what it leads to, what it gets to leave the audience feeling when they are done working through all of the entire journey in terms of the world you be creating. You get. Then you move to the next section where you discuss the edit pace. Is it going to be like a place where you are going to like two, three frames per second. It's going to have like this slow ebbin move where everything is connected. Nothing is rushed. You get. This is where you actually get to discuss it. So in various clarity, like in this case, we said the energy, the edit will be fast-paced and energetic mirroring the dynamic nature of YouTube. Quick cuts not lasting two to three seconds per shot and seamless transition between the split screen will maintain the viewer's engagement and excitement throughout the video. The pace allows us to showcase multiple verticals within the short time frame while keeping the narrative flow smooth and coherent. You can see how that is speaking to all that's going to, how we intend to like cut it. So now you're not treating for post-production. So nothing is not accounted for. Everything is on the document whereby you're referenced. You get. Then music. The tone of music. How's it going to feel? Is it going to be like heroic? Is it going to be like afro? Is it going to be like poppin? Is it going to be like fast-paced? Is it going to be like soulful? That's where you actually put the summary of what you're thinking. You get. And also some imagery to drive the conversation. Then you go through your shot list. Now this is where things get a little bit more interesting because now you're going shot by shot because it's like an editorial shot list of what the cut should be like. Your editor should be able to get this document, read it and put up a first cut that actually speaks true to what you're trying to do. You get. When you've listed out all the shots you have or you intend to take, then you move into your storyboard. Now the storyboard are visual references of what you think that should be done. In your storyboard, it gets to speak to what your shot list should be. So in this case, we have a landscape. And you get to see imagery or a sense. Sometimes you could use found footage. Sometimes you could use generative imagery. Sometimes you could use shot deck. But one rule for storyboard I have found out is whenever you pitch into Nigerian clients or general African clients, at least from my own experience, stay away from using Caucasian imagery. Because somehow the client bring is just wired to think that that's film. That's like, okay, permit me to say the way their brain would think it. That's Oyebo. Oyebo would do it better. We've never seen you don't Oyebo film. So this is like far fetch. You're reaching. You get. So most of the time it's good when you use like storyboard drawings. It's great when you use images that speaks true to the people that you're representing or the populace that you're representing. It makes it a little bit more connecting. So why shot deck is a great resource and you can get all these music, video frames and all this stuff. But by the time you start putting it, it starts making, it starts becoming a disconnect. It's just become a beautiful, a beautiful lie. At least that's how their mind will process it again. I suppose if that was presented by somebody of a different skin complexion, I don't know what it is, but that's just the reality. So just so you know, keep that in mind. So yeah. You get to like come up with your storyboards and showcase what you intend to do and the clients can tell you that the frame at the background, can we put like something there and you were like, oh, okay, that's possible. Or you'd be like, oh, that's not possible. Or this is the conversation that can happen during the treatment combination. Like in this case, we had a conversation way back. They were like, the iPad was opening the same. They do not want that. They would like a phone, right? And not like a tablet for, because like YouTube, you get. Apple is like, they're like on two different lines. You get. So we had to like alter that on the day of shoot. You get. So we also went forward like more split screen, showing different scenarios of the shoot, showing them what's possible. You get. And they could like make notes and be like, oh, okay. For example, the steam shot can it be a little bit more steamy. You get. Can we have the guy use the phone in the kitchen, rather than this tablet. So setting conversations like this could come up by the time you actually start having, preparing your treatment. You get. And you go through all the short leads that you would have for the entire storyboards. And by the time you're done, you have a end frame in the end frame we had. This was like the intended end frame I had for it. But the client said, okay, can we populate it with more grids to actually show more diverse scenarios? You get. So these are all the things that your storyboard helps clarify and put everybody on the same page to be able to set the expectation and the tone of it. And all of this are what goes into your treatment. Okay. So. Doing all of that, right, then we can now get into a production plan and you can tell them, okay, this will take, we intend shooting this custom this day or this custom different days because what was the initial plan was that, okay, we get two locations that are very different and actually speaking true to this narrative, right? We should the guy in his own bed. We should the girl in his own bed. But the butter could not allow that happen. That is the only location you get. Having done that, what that helped us now does not, okay, we have to be heavy on production design to find unique ways to varying the experience of each. You get two tricks like lights, props, set design to be able to like uplift the entire thing, which was what we now ended up doing, you get. So when you go there, when you give them production plan, then you usually leave them a thank you note and telling them that you know, if you have any questions and available to have this conversation and you send this of. Usually what happens is two to three days depending on the schedule of what the production is or sometimes almost immediately within two hours you jump on the call with the agency and you walk them through the treatment so that they would ask their questions and you align and make modifications. If there are any modifications you have to do that before you work with the client. Then you have a second meeting with the client whereby you should get to present this entire treatment and you walk through one. There's a more extensive document which will include casting videos, wardrobe items, props and all those things from all the other departments they'll be bringing. They will also contribute and add it to your document. So this document has about 28 pages gets to grow into some like 113 pages or even larger and those kind of meetings could span from three hours at the very least to about five hours because everybody gets to go through everything and you have to sit in true and also make notes and make changes. Sometimes if there are no changes from the document then you cannot move into the production phase which is you've done your recce, you've done your scout because sometimes there's a gap back and forth. When you present it you go do recce, you find that the location does not work then you have to update the location deck and you have to now present to what's now speaks true of the new location and the realities you're dealing with. So the client is always constantly aware of the value of their money that's been spent and everybody's carried along seamlessly. So when all of that is done and your treatment is accepted then you cannot move to the execution phase.