Give the writer a small set of approved facts, one everyday detail and the ending you want viewers to understand. A relationship timeline alone is not a film brief. A useful wedding intake explains what the couple did, why it mattered and which private experiences should stay out of the story.
Start with a memory someone can actually describe
Ask each partner for one incident they remember clearly. Where were they? What object was present? What did the other person do? An answer such as “we supported each other” needs a concrete example, not a more romantic adjective. Carrying a broken bicycle home together is filmable; being soulmates is an interpretation.
The partners may remember details differently. Record the disagreement instead of asking a generator to resolve it. If nobody remembers the weather or the exact words spoken, omit them or agree on an explicitly dramatized version. Missing information is not permission to invent a proposal, a family history or a quotation.
Build a short intake card
Use these fields in a separate note before opening the film workspace. They are preparation questions, not a requirement to share every personal detail with a service.
| Field | Useful answer | Avoid |
|---|---|---|
| People | Names or fictional names, roles, approved references | Unnecessary private identifiers |
| Shared incident | A specific action in a specific place | A list of flattering adjectives |
| Repeated detail | An umbrella, a handwritten recipe, a familiar gesture | A random decorative symbol |
| Change | What they learned to do together | An invented dramatic crisis |
| Ending | What we see the couple do at the wedding | “Make it emotional” |
| Exclusions | Topics, people and images not to include | Assuming silence means consent |
An illustrative brief might read:
We met while repairing bicycles at a community event. Keep that fact, but do not invent dialogue. A yellow repair cloth became our running joke. At the wedding, one partner straightens the other's sleeve with that cloth before they walk together. The final feeling is partnership, not a rescue story. Leave relatives and private addresses out.
Approve prose before making a shot list
In Imagild Film Studio, work toward an approved story before generating individual shots. If your current interface does not expose a particular intake field, keep this card beside the story brief; do not assume an undocumented control exists.
Read the complete prose aloud. Can both partners identify their own story? Mark each sentence as supplied fact, agreed dramatization or unsupported invention. Resolve the third group before planning. Then check that the ending answers the opening rather than introducing a new theme in the last few seconds.
Check whether the story can be shown
Underline actions and circle abstract feelings. A paragraph containing only feelings needs visible behavior: a pause before taking a hand, a shared glance at the cloth, a relieved laugh after a small mishap. Avoid turning every sentence into a separate shot. One action can carry several meanings when it is clearly staged.
Must we provide our entire relationship history?
No. A short film benefits from selection. Supply only what the couple wants represented and what the intended audience needs to understand. More personal information does not automatically produce a better script.
Is this a documentary reconstruction?
Not automatically. AI images can dramatize an approved memory, but they are not evidence of how an event looked. Label reenactments appropriately and keep original photographs separate from generated scenes.