De filmprompt voor de promofilm

Bijgewerkt na jouw vragen over de bewegingen, de achterwand, de muziek per uitgave en de lipsync.

Wat er nu in staat, op jouw punten

De hele opdracht zoals de videomotor hem krijgt

CREATE ONE CONTINUOUS CINEMATIC SHOT IN THREE SEAMLESS MOVEMENTS. NO CUTS.

Use the supplied still images as absolute visual masters:
- IMAGE A is the exact first frame.
- IMAGE B is the exact frame at the midpoint of the shot.
- IMAGE C is the exact final frame.
Do not redesign, reinterpret or replace any person, garment, headwear, room, furniture, book or
board shown in these images. Do not alter faces, hands, the book cover or the board.

FORMAT AND QUALITY:
Landscape 16:9, 1080p minimum. Anamorphic 40mm spherical lens character, T2.0, shallow but
controlled depth of field. One continuous gimbal-stabilised dolly, operator walking backwards at a
steady human pace, never stopping and never restarting. 24fps base with one 120fps slow-motion
beat, specified below. Warm naturalistic colour grade: cool north-window daylight in the
classroom, warm tungsten and low afternoon sun in the kitchen. Realistic skin texture, realistic
fabric, realistic body mechanics, premium feature-film quality.

NEGATIVE — these must never occur:
No cuts. No jump cuts. No fade to black. No white flash. No spinning or swipe transitions. No
morphing faces. No warped hands, fingers or book. No change in identity, age, clothing, headwear
or number of people. No invented text or logo on the book or on the board. No frozen or mannequin
background characters. No synchronised or mirrored crowd movement. No repeated gesture loops. No
camera shake, no sudden acceleration, no digital zoom, no lens breathing, no sideways drift.

MOVEMENT 1 — THE CLASSROOM (approximately 0.0 to 3.0 seconds):
Open exactly on IMAGE A. The teacher stands beside the teacher's desk at the front of the class,
centred on the aisle, facing the lens, the book held in both hands at chest height.

THE TEACHER'S WALK: a calm, confident, unhurried gait, roughly one step per 0.8 seconds, weight
settling naturally on each foot. Shoulders level and relaxed, spine upright without stiffness, a
gentle natural counter-rotation of the torso with each step. Head steady and level, chin neither
lifted nor dropped, eyes on the lens with one or two natural blinks and one brief warm glance to a
child on the left. Both hands stay on the book; the forearms move only slightly with the walk, the
book never bounces. No swinging arms, no marching, no theatrical stride, no gliding — the feet
must clearly carry the body.

THE CHILDREN ARE ALIVE, NOT MANNEQUINS: every child at the desks left and right shows quiet,
independent, asynchronous life throughout. Natural breathing that lifts the shoulders. Small head
turns following the teacher as he passes. Occasional blinking. One child looking up from a
workbook and back down. One child shifting weight in the chair. One child resting a chin on a
hand. Two children exchanging a brief glance. A hand moving a pencil a few centimetres. Hair and
light clothing moving slightly with the body. Never all at once, never in the same rhythm, never
mirrored, never looped. No child speaks. Keep every one of these movements small, so the eye stays
on the teacher.

The camera begins on a medium shot from the knees up and starts one exceptionally smooth, slow
dolly-back along the central aisle. The teacher steps forward and follows the camera at exactly
the same pace, so the framing stays constant.

MOVEMENT 2 — THE TRANSITION (approximately 3.0 to 6.0 seconds):
The camera continues the identical backward glide without ever stopping, and passes through a
doorway. As the doorframe crosses the lens it acts as a natural wipe: the classroom is behind it
and never returns. The frame at the moment the doorframe fills the edge of the lens must match
IMAGE B exactly.

THE BACK WALL CLOSES BEHIND HIM: the instant the teacher has fully crossed the threshold into the
kitchen, the opening behind him is closed by the kitchen's own back wall. It closes as a single
continuous, physically plausible movement in one direction — a solid kitchen wall with its own
cabinetry, tiling and family photographs slides across and seals the opening in under one second,
finishing exactly as the teacher takes his next step. There must be no visible seam, no black gap,
no shimmer and no magic sparkle: it reads as a wall that was always there, revealed by the camera
move. After it has closed, not one pixel of the classroom is visible for the rest of the shot.

Change the light across this passage as a single continuous ramp: the cool classroom daylight
falls away and warm domestic light rises, with no visible boundary and no cut. Ambient sound
crossfades in the same continuous way: classroom room-tone with distant pencil and paper gives way
to kitchen room-tone with a soft clatter of plates and quiet family murmur.

MOVEMENT 3 — THE KITCHEN TABLE (approximately 6.0 to 11.0 seconds):
The camera keeps gliding backwards, now over the length of a full family kitchen table, past
foreground bread, plates, glasses and hands, and comes to rest at the far end of the table. The
teacher walks to the head of the table and stops there, standing, the book still held in both
hands. He does not sit down. His stop is cushioned: the last step shortens slightly, the body
settles, the shoulders drop a fraction on an out-breath.

THE FAMILY IS ALIVE, NOT A TABLEAU: the family is seated left and right along the table —
children, parents and an older relative — exactly as supplied in IMAGE C, including all headwear.
They show understated, asynchronous life throughout: quiet breathing, a small smile, one adult
turning the head towards the teacher, a child looking up at him and then at the book, a hand
reaching for a glass and setting it down, an older relative folding both hands on the table, one
person leaning back a little, a brief glance exchanged between two family members, hair and light
clothing moving very slightly. Nobody speaks, nobody gestures broadly, nobody moves in the same
rhythm as anyone else, nothing loops. All of it stays small so the eye stays on the teacher.

On the final beat only, ramp to 120fps slow-motion for approximately 0.8 seconds as the teacher
lifts the book very slightly and the light catches its cover, then settle gently. The last frame
must match IMAGE C exactly.

LIP SYNC:
A voice-over in one of six languages will be laid over this shot afterwards, and the teacher's
mouth must match it exactly. Animate the mouth to the supplied audio with phoneme-accurate lip
sync: every visible mouth shape corresponds precisely to the spoken sound, the jaw opens and
closes with the syllables, the lips close fully on every p, b and m, and the tongue and teeth are
visible only where the sound requires it. Add the small human movements that make speech read as
real: a soft inhale before a sentence, a natural swallow between sentences, relaxed blinking, a
small head movement on an emphasised word, gentle breathing through the shoulders. Speech and
mouth must never drift apart, not even by a single frame. No exaggerated mouth shapes, no chewing
motion, no mouth movement while there is no sound, no frozen open mouth at the end of a line, no
smile that fights the words.

AUDIO:
One single music cue running unbroken from the first frame to the last: warm, simple, hopeful,
low in the mix, never restarting, never interrupted and never changed at the transition. Room tone
crossfades as described in movement 2. No vocals, no percussion build, no cinematic riser, no
whoosh on the doorway. The music must stay quietly underneath the voice-over at roughly ten to
fifteen percent of the perceived speech volume, so the words always stay perfectly clear.

The instrumentation of that one cue changes per edition, while melody, tempo and mood stay
identical across all four so the films remain one family:
- Christian edition: soft piano with light strings.
- Jewish edition: warm clarinet over the same piano, with a light acoustic guitar.
- Islamic edition: oud and ney over the same piano, with a soft frame-drum pulse — a warm, gentle
  Arabic-flavoured colour, dignified and homely, never exotic, never a stereotype and never faster
  than the other three.
- Buddhist edition: bamboo flute over the same piano, with a single soft bowl tone at the start.

FINAL PRIORITIES, IN THIS ORDER:
1. One unbroken shot from first frame to last.
2. Exact match to IMAGE A on the first frame and IMAGE C on the last frame.
3. Exact preservation of every face, garment, headwear, the book and the board.
4. Phoneme-accurate lip sync with the supplied voice-over.
5. The classroom sealed off by the closing kitchen wall within one second of the doorway.
6. A smooth, constant camera speed with no stop and no restart.
7. Natural, independent, asynchronous movement of the children and of the family.
8. Uninterrupted music across the whole shot.

Do not creatively reinterpret any requirement. Do not replace the environment or the people. Do
not add visual elements. Do not add dialogue of your own.

Hoe de drie manieren het deden