DIRECTIVE — 30s cinematic single continuous take, 16:9, 24fps filmic motion cadence.
SUBJECT & STORY — [FORMAT] 16:9 aspect, 24fps, ARRI Alexa 35 capture, 17 stops of latitude, creamy highlight rolloff, natural skin rendition, Cooke S4/i glass, warm 'Cooke look', gentle skin falloff, soft creamy bokeh, 40mm near-normal, natural human perspective, mild depth separation, T2.8 aperture, photoreal live-action cinematography, real human skin texture, natural imperfections
[SCENE] INT. TRAINING HALL — MIDDAY / SMALL HALL — AFTERNOON. LOCATION LOCK — YOUTH HUB — TRAINING HALL: A full training hall, rows of young people at laptops, a trainer out of focus at the back, projector glow, midday light through blinds. Photorealistic observational documentary cinematography, Kurdistan Region of Iraq, 2020s. Real Kurdish faces from Duhok, Sulaymaniyah, Erbil and Halabja — never generic international casting, never Gulf, Levantine or Turkish features. No makeup on anyone, no stylist hair, no whitened teeth, natural skin texture with pores and flyaway hair. Muted grade: warm skin, cool blue shadows, dust. Anamorphic 2x, shallow depth, handheld only where noted. No text, no captions, no logos, no watermark. This exact set, unchanged, in every shot of the scene. Two reversals in one scene: the student is now the trainer, and the boy whose voice cracked now holds the room.
[SUBJECTS] DÎLAN — DILAN — 21-year-old Kurdish woman from Erbil. 1.65 m, medium build. Round face, full cheeks, a smile that arrives late. Olive skin. Thin black-framed prescription glasses that slide down her nose so she pushes them back with one finger. Brown hair in a high bun with two loose strands at the front. ZERO makeup. CONSISTENCY MARK: a thin silver ring on the ring finger of her right hand that she turns while thinking. Frowns when she understands, not when she doesn't. Photorealistic observational documentary cinematography, Kurdistan Region of Iraq, 2020s. Real Kurdish faces from Duhok, Sulaymaniyah, Erbil and Halabja — never generic international casting, never Gulf, Levantine or Turkish features. No makeup on anyone, no stylist hair, no whitened teeth, natural skin texture with pores and flyaway hair. Muted grade: warm skin, cool blue shadows, dust. Anamorphic 2x, shallow depth, handheld only where noted. No text, no captions, no logos, no watermark. — wearing A mustard-olive knitted jumper under a long grey cardigan, plain jeans, white sneakers dirty from use, a cloth tote bag on the back of her chair. Thin black glasses, high bun, thin silver ring on the right hand. (identity locked to reference, do not alter face, hair, age or build) | RÊBAZ — REBAZ — 17-year-old Kurdish boy from Halabja. 1.70 m but still a boy's body: thin neck, hands too big for him. Clean face, first faint unshaved moustache. Black hair shaved at the sides, a little longer on top, combed down with water. His eyes sweep the room before he speaks. CONSISTENCY MARK: a small tear in the left sleeve of his jacket and a frayed backpack strap. Voice still breaking. Photorealistic observational documentary cinematography, Kurdistan Region of Iraq, 2020s. Real Kurdish faces from Duhok, Sulaymaniyah, Erbil and Halabja — never generic international casting, never Gulf, Levantine or Turkish features. No makeup on anyone, no stylist hair, no whitened teeth, natural skin texture with pores and flyaway hair. Muted grade: warm skin, cool blue shadows, dust. Anamorphic 2x, shallow depth, handheld only where noted. No text, no captions, no logos, no watermark. — wearing A plain white shirt with sleeves too long for his arms, a cheap black zip jacket he keeps opening and closing, black cloth trousers, fake-brand sneakers collapsed at the side. Carries a squared-paper school notebook whose cover has a footballer's name written in ballpoint and a cover edge chewed from being shoved in a backpack. (identity locked to reference, do not alter face, hair, age or build)
[BLOCKING] ONE CONTINUOUS TAKE: this 30-second clip is a single uninterrupted shot. No cuts, no edits, no dissolves, no jumps in time or place — the camera never stops rolling. The camera may move — dolly, pan, reframe, follow the actors — but it stays one operator, one roll, one piece of film. Play the action straight through in real time so the take can be cut afterwards in the edit. FRAME CHAIN: the first reference image is the literal last frame of scene 2. Open this take on that exact frame and continue moving from it — same physical location, same set dressing, same lighting state, same wardrobe, same weather. Do not cut to a new place and do not rebuild the set. STORY CONTINUES: the previous scene ended with — The job. Said out loud, so nobody has to guess.. This take picks the film up from there: same characters, same wardrobe, same world, later in the same story. Do not re-introduce anyone and do not restart the film. It has to hand over cleanly to the next scene — The one image that proves a year passed: the saplings are trees now, and she is no longer alone. — so end the take on a frame that can cut straight into it. [REFERENCE MAP — bind each reference image to exactly one thing and never mix them] @image1 = the EXACT LAST FRAME of scene 2 of this same film — this take opens on this frame: same set, same camera position, same light, same wardrobe, same weather; @image2 = Dîlan (lead) — canonical face, hair, body and age of this actor; @image3 = Rêbaz (lead) — canonical face, hair, body and age of this actor; @image4 = Dîlan's ONLY approved wardrobe — Dîlan — signature day outfit; exact garments, materials, accessories, fit and colors; @image5 = Rêbaz's ONLY approved wardrobe — Rêbaz — signature day outfit; exact garments, materials, accessories, fit and colors; @image6 = the LOCATION of this scene — Youth Hub — training hall (set, not a person). Each @image is that one subject only: do not merge two references into a new person, do not swap who is who, and do not invent anyone who is not in this map. ALLIANCE LOCK: Dîlan and Rêbaz are on the same side of this story. They never fight, threaten, aim at or harm each other. [CAST + WARDROBE LOCK — SOLE AUTHORITY] The reference map contains the canonical identity portrait and the ONE approved wardrobe plate for every actor: Dîlan (lead), Rêbaz (lead). Reproduce those exact faces, hairlines, bodies, skin tones, ages, garments, accessories, materials, fit and colors for the whole take and every scene. Never re-cast, re-age, beautify, re-style, change clothes, remove accessories, blend identities or invent a face. LIVED-IN WORLD: this is a real place on a real day, never an empty set. Populate the interior with background life: staff behind counters, customers in queues, seated clients, security guards, desks with paperwork, monitors, signage, plants and clutter — and vehicles visible through the glass outside. Background people are unnamed extras: out of focus or turned away, correctly scaled, never mugging at camera and never resembling the named cast. The named cast in the reference sheets stay the foreground subjects, sharp and clearly readable at all times. ABSOLUTE CONTINUITY: same wardrobe, same light, same set, same time of day for the entire take.
[CAMERA] ARRI Alexa 35 capture, 17 stops of latitude, creamy highlight rolloff, natural skin rendition, Cooke S4/i glass, warm 'Cooke look', gentle skin falloff, soft creamy bokeh, 40mm near-normal, natural human perspective, mild depth separation, T2.8 aperture
[LIGHT] motivated midday light in a full class space, practical sources visible in frame, soft falloff into shadow
[ACTION] ACTION (one take, straight through):
Two reversals in one scene: the student is now the trainer, and the boy whose voice cracked now holds the room.
[DIALOGUE] The characters speak their lines out loud on camera in English, with accurate lip sync, natural breathing and room acoustics. Gen