Treatment Note is a presentation with various ‘Headers’ that we detail out. Every script has a different requirement in terms of what’s more important – For eg. A Beauty film will concentrate a lot on application shots, face close ups and colour palette; whereas a automobile film will concentrate on the tyre or bike or car shots more than the face of the protagonist. Similarly, whether a film is shot in an indoor set or is exploring the vastness of nature or the reality of the streets also determines how we will detail out the Production Design section.
In this post, I am going to give you a list of Most Used Headers in any Treatment Note:
FIRST THOUGHTS
Once you design the opening page of the deck and then the Index page; this is the first page of the deck. It is like a very brief introduction in the form of an overview as to what is going to follow in the consecutive pages. But, it is also the voice of the director being read for the first time. Things like ‘How he feels about the concept or script or campaign’ comes out in this section. It kind of gives a quick insight into the headspace of the director from where he is seeing the film.
TREATMENT OVERVIEW
This is again the point of view of the director, but in terms of the TREATMENT of the film.
Now, how do I distinguish between the first thoughts and treatment overview?
While first thoughts is more about the concept and script as a whole, this is more about the treatment in particular. For eg. If first thoughts said something like it’s a film driven by a strong character, then the treatment overview may take that forward and emphasise on how the director thinks that right casting is key to getting this film its due treatment. You must mention something like, “I am going to pay special attention to ensure we find a new face that is never seen before that can strike an unpolluted communication arrow.” Alternatively, you could have said, “an established actor with a certain credibility is needed to create the right impact with this film.”
But, what does Treatment really mean?
Treatment is everything that the director imagines in his head when he reads the script given to him.
Where the film will be staged? If indoors, what will be the scale of the location? Live location or set construction? What colour palette for the interior designing? If outdoors, which terrain, which area? How will it be shot? Will there be any gimmick? If gimmick, then with the use of what technology and how? What will be the overall look of the film? What angles, what shots, what lenses, what filters? How will the product be introduced in an innovative manner? How will the product be shot and lit?If performance oriented film, who will be the actors? How will we scout them? How will they look & what will they wear? How will the overall sound design of the film be like? If there is a voiceover, how will it sound? Will it be a male voice or a female voice? What will be the voice and through quality that will decide who it will be?Will there be a melody in the background or just sound effects? If melody, will there be lyrics?What kind of lyrics? What kind of music and instrumentation?
FILM NARRATION
Predominantly, there are two kinds of films –
- Product Shot Centric Films
- Story / Emotion Centric Films
Now if you are working on the first kind of film, you may skip the Film Narration. Instead, you will elaborate the Treatment Overview to explain in sections how the film will be shot.
Refer to this link to read in detail.
But, if you are working on a Story or Emotion centric film – this is the most important section of your deck. Here you should explain in detail, shot by shot, movement by movement, dialogue or voiceover wise, each and every minute detail about how the film will play out. The script will have a skeleton of the movement of the actors and the dialogues they will mouth. But you will have to explain how exactly will they be placed in the frame and all the minutest of nuances of their performance with regards to the existing script. At some places, you might have to detail out on the motive of the character for doing a particular action or reaction. The more you detail it out, the more the Creative is convinced that you are living the film that he has penned down.
CHARACTERISATION
Go that extra bit and understand these people. Go back in their life and explain where they come from and who they really are. This exercise will not only be for the deck but even be helpful for the director to envision the right people for the film and understand the characters in the true sense.
LOOK & FEEL
This is more like an overview of how the the film will look like. This section should contain reference pictures that show similar moments in the exact lighting and setting that you are looking at. It’s important to get this right and have this look cinematic or advertising (as per the requirement of the script).
PRODUCTION DESIGN
If it is a set, detail it out – the kind of areas, the number of sections, the props, their colours, their relevance and so on.
If it is an outdoor location – break it down further into ‘Locations’ and ‘Art Direction’ if needed for the location.
CINEMATOGRAPHY
Explain in detail the camera or any special equipment that you intend to use to shoot this film. Also, speak in detail about the camera work – Blocking of shots, movement of the camera, focus interplay, lighting and colour correction. If you are a writer who cannot imagine these things, you must particularly ask the director to describe it for you.
MUSIC
Music references can be from anywhere – an Ad film, a film, a music video or stock music. One must get ‘Sur’ of the film right. The right explanation is more important than scouting the exact track. I tell this from experience because music comes from a different dimension and one must respect that. When you will finally take the film to the Music Studio, magic will be created which cannot be predicted at this point. One must simply explain what one aims to do rather than play a track and say this is what we will recreate. It doesn’t work like that.
CLOSING THOUGHTS
Thank them for the script and the patience to read through your deck. And request them to get in touch with the director for further discussion.
P.S. You have to write in first person, put your self in the director’r shoe and start explaining as though the Creative is sitting in front of you. And just see how magic flows.