The document proposes story ideas and visual concepts for a film promoting the Panasonic Eluga Note smartphone. It describes opening the film with the phone ringing in a stark white room that transforms into vibrant colors when the phone is picked up. Later scenes show the characters moving quickly through the city on skateboards, representing the phone's fast processor. In the final scene, photos of the girl are projected from the phone onto the boy's bare walls, showing the phone's storage capacity. Visual effects, lighting, and colorful transformations are discussed to bring the real and surreal together through "magic realism".

1. TREATMENT NOTE
Name Removed

2. Our film is a beautiful mélange of reality and imagination. It treads the path that verges on virtual and imaginary and yet is just
an artistic interpretation of reality. While there is nothing imaginary about the fact that Panasonic Eluga Note has features that
outclass other phones in the same range, there is heightened realism in the way it is portrayed. It is this marriage of real and
surreal that makes this film a class apart. The idea is to make a film that does justice to the highly creative concept through
storytelling and visual magnificence. The storytelling in this film is crucial since each sequence starts on an intriguing note
keeping the audience in a bit of suspense. The sequence then gradually unravels, revealing the suspense step by step until the
text at the end makes the meaning clear as day. The text not just explains the story that we have just watched but also marries
the story with the brand in the most effective manner.
The most important thing is to bring forth the idea that without Panasonic, the world is a drab, lethargic and predictable place.
Whereas when you look at the world through the eyes of Panasonic Eluga Note, it becomes an exciting place to be in. For this
precise purpose, we need to ensure that the film perfectly strikes the balance between real and virtual – much like magic
realism – where life is based in reality but imaginary elements add magic to the world, otherwise familiar.

3. I would like to propose an alternative for the garden scene. The garden scene is picturesque and beautiful but I feel we can bring more vitality,
modernity and panache to the sequence by placing it in a more urban set up. We cut to a gorgeous street in front of a quaint European café. We
see a beautiful girl sitting in the café by the window looking pensively at the outside world. Our guy passes by in a tram or a bus and his eyes fall on
the beautiful girl. He gets mesmerized. The girl looks back at him too. He quickly grabs his phone and points the camera at her. He zooms into the
camera until her portrait covers the entire screen. He takes her photo. As he moves the camera away, we see her from top and toe and realize
that she is much farther away. Once again the screen freezes and supers read, “16 MP camera”.
STORY FLOW
We open the film with a close up of a
Panasonic Eluga Note ringing on a
bedside table. We cut to a wider shot
and realize that the room is entirely
white. White walls, white bed, and a
man in white clothes. We see his hand
stretch out to pick up the phone. The
moment he does, a blast of colours
emits from the phone. The colours
spread and convert the room into a
palette of hues. The walls are not
white anymore. The bed is not plain
anymore. Even the man’s clothes are
vibrant with bright colours now. We
freeze frame and the supers appear
on the screen, “FHD 5.5 Display”.

4. We now cut to the couple hand in hand moving ahead at a much brisker pace than those around them. Hand in hand, they dodge, they swerve, they
overtake and they duck when required but they never let go of each other as they continue to move faster than the other pedestrians. The camera pulls
back to reveal that the couple is on skateboards while the world around them walks. As they come dangerously close to the camera, we freeze. The
supers read, “Fast Octa Core processor”.
We now see our guy and girl enter the guy’s room. The room is colourful like we left it but it is still bare. Just plain walls and a bed. The guy takes out his
phone and points it to the bare walls giving it a little shake. The photos appear to jet out of the phone and stick to the wall. The walls are now covered in
the various photos of the girl that he took through the day. The girl looks at the magic unfolding in front of her eyes. At first she is enchanted but soon
embarrassed, she hides her face. We freeze frame as the supers read, “3 GB RAM & 32 GB ROM”.
We cut to the product window. The Voice Over exudes, “Panasonic Eluga Note. The Absolute Smartphone.”

5. CAST & CHARACTER
The exuberance and youthfulness of our characters
drive this story forward and make it truly magical.
Our film is about two young characters who make
the journey from living in a drab world to living in a
bright, cheerful, colourful, vibrant world thanks to
their friend, Panasonic Eluga Note. They together
liven up the place even as they walk and live amid
people who are busy with their dreary routines.
The boy is young, cute and fresh looking. He is like
any regular young man who is enchanted by this
lovely woman and hopes to spend a day with her.
The girl has a beautiful arc. She goes from being
pensive as she sits in a café to glowing with
effervescence as our charming guy shows her the
world from a different perspective. She is still
looking at the same world she looks at every day but
now through the eyes of the guy who represents
Panasonic Eluga Note, it appears different; brighter,
more colourful and full of vitality.
Together they make a beautiful pair. Their
chemistry works like magic and the story revolves
entirely around them. They click the moment they
see each other and they begin to form an exciting
relationship. They are able to put aside their
tedious routine and live a life that is vivacious and
full of energy.
While the guy may be a more symbolic character
who seems to personify Panasonic Eluga Note, the
girl is real and approachable. She is pensive at first,
joyous and full of energy later, a bit curious and
excited as she enters the guy’s house and later shy
and embarrassed as she sees his house full of her
own photos.

7. OPTION 1
CUTE, APPROACHABLE
& FRIENDLY
OPTION 2
YOUNG,
HANDSOME &
CHARMING

8. LOOK & FEEL
The film has a lot of scope for some stunning
visuals of different kinds. While the aesthetics
remain the same, the visual scape keeps
changing dramatically. When we open the film,
we are greeted with a stark white room that is
almost completely bare. White walls. White bed.
White bedside table and a man dressed in
white. It is a bright morning and the high key
sunlight has evenly spread itself through the
entire room. The space is somewhat surreal
and sets the mood for the rest of the film.
Visuals change dramatically as our guy picks up
the phone. A blast of colours emit from it
enveloping the room in various bright colours,
tints and hues. In terms of colour we can use
either the brand colours or those of the latest
Eluga Note colour range.
While the space changes in terms of colour,
the lighting and the setting still remain pretty
much the same.

9. WHITE, MINIMAL
&
MODERN

10. There are various different ways we
could explore to execute the colour
blast.
Option 1 – Powdery colour blast
Option 2 – Liquid colour blast
1.
2.
THE BLAST – OPTIONS

11. Option 3 – A more gentle flowing
fabric-like movement of the colours
3.
4. 5. O p t i o n 4 –
Underwater liquid
f l o w . D o n e b y
dropping cream
coloured with food
dye into a small
tank of water.
Option 5 – Smoke-
like colour blast

12. TRANSFORMATION FROM WHITE TO COLOUR
Once the blast hits the walls, the colour spreads across the walls and the room. Again there are
various ways of executing this.
Option 1 – Rays of colours that travel along the room taking a horizontal, vertical, diagonal or
curvy path depending on the surface. Or as suggested in the bottom right picture, in a random
curvy manner.
1.

13. 2. Option 2 – Like colour
swatches that flip open until
the walls and the room get
coloured in this tile-like
pattern.
The images on the right
are a suggestion of the
reflection of the colour
spreading across the
room on our characters.
The top right has a more
dramatic effect while the
bottom right simply
envelopes the character
in the smoke-like colour
that emanates from
Panasonic Eluga Note.

14. Option 3 – The colour gets onto the wall like a splash and then gradually spreads across
until it becomes an evenly painted wall like in the image on bottom left and centre.
3.
Option 4 – Once the splash
hits the wall, the walls get
coloured in a random
manner. This is a dramatic
example of that. However,
despite its random nature,
the colour tones are
carefully selected – red,
mustard and cyan.
4.

15. The other sequence when the guy travels in a
tram or a bus and passes by a café where he
finds our beautiful girl is mostly a realistic
space with a slow motion, romantic feel to it. As
the guy takes the girl’s photos, our two
characters become the centre of the universe
and everything else stops mattering. Effects
such as high speed and tilt-shift would
beautifully capture the magic of that moment.
The lighting once again is bright and real. The
sun is streaming down on the world, on our guy
and our girl at a beautiful angle giving them an
angelic glow. The girl who sits outside on the
patio of the coffee shop or by the window is
aglow in the natural light while the indoor lamp
light gives her a wonderful highlight.
In terms of lighting the third sequence could be
shot a little later in the day, say in the evening
during magic hour to make this scene look
distinct from the earlier one. With warm golden
sun raining down upon our vivacious
characters and the world swathed in a nice
orange-mauve tint, the frame would look
magical. Flares would dance around them as
they move ahead, dodging and swerving. The
evening would also make our characters stand
out for their vitality compared to the rest of
the world that seems tired and lethargic as
they perhaps make their way home from work.
Apart from the look, what would make this
scene outstanding is the movement of the
camera. The hectic follow shots intercut with
smooth low angle shots would make the
movement dynamic and exhilarating.

16. H i g h s p e e d
photography, tilt shift
lensing & a beautiful
bright day – Beginning
of a lovely romance

17. THE WARM & ETHEREAL
MAGIC HOUR LIGHT

18. For the fourth sequence, we come back to the
house where the journey started. It is dark
outside but the room is still bright with interior
lights. The lighting is more good contrast mood
lighting this time. As they enter the room, the
bright colours of the ambience reflect on their
faces giving them a beautiful multi-coloured
tinge.
While the lighting and the mood keep changing
through the progression of the film, one thing
that remains consistent barring the opening is
the bright colour toning. The colours are bright,
slightly heightened as if a stroke of Van Gogh’s
paintbrush has coloured the world.

19. LAMPS & MOONLIGHT

20. PHOTOS ON THE WALL
There are various possibilities of how the photos look once they leave the phone and
appear on the wall.
Option 1 – Projection-like effect. (The images on the bottom right are a somewhat
dramatic example of the reflection of the projection on our characters’ faces.)
1.

21. Option 2 – Walls
covered in photos
which could be
framed, laminated
o r w i t h L E D
backlight like in a
gallery or unframed
and organic like in a
bachelor pad.
2.

22. Melee of reality and imaginary is what makes this film lively, playful and truly unique. At the core of this film is colour, brightness
and vivacity. In order to bring these characteristics to the fore, you need vibrant and peppy music; music that matches the
mood and even enhances it. The rhythm should be such that it remains in step with the youthfulness of our two characters.
At the start of the film, all you would hear is the phone ring in complete isolation without any sort of music in the background.
Once the burst of colours lashes out, the music suddenly takes off. With the rhythm dance-like, the tempo high and the melody
peppy, you would immediately create the atmosphere for the film to thrive in. The beautiful lyrics, “It’s my life. I live it bright. Day
and night. I live it bright” kick in and make the world abuzz with energy.
When the boy sees the girl and the world seems to slow down, the music would dial down too in tempo, volume and tone. Then
when they race down the road on their skateboards, the music suddenly picks up again. When the two enter the guy’s house,
the music would gain a more romantic twang while still being peppy. This dynamic and animated nature of music would create
an energetic atmosphere that this film needs all the way through.

23. It would be a great pleasure to work on a film that
successfully brings together the elements of
realism and magical realism on the screen with
great effectiveness. To make a nuanced and visually
layered film like this is a great opportunity for any
director. The film is so full of energy and colour that
it is bound to have a great impact on the audiences.
I would put in all my effort to ensure that this
energy, whether it is through music or visuals or
acting, remains the focal point of the film. I believe
that it is important to create an equally energetic
atmosphere on the set so the energy on the set
transcends the boundary and seeps into the film.
The chemistry of the characters is another element
I would ensure works like magic. This youthful and
colourful film heavily depends on visual effects –
visual effects would make or break this film and I
would get the best people in the industry to do the
job for us. I look forward to working with you and
making this magical film a great experience for the
audience around the world.
THANK YOU!