QNB TVC Treatment by Ahmed Alaa Eldeeb

First of all I would like to thank you for choosing me for this phenomenal and cosmopolitan rich campaign that certainly attracts and intrigues any director. I think we are about to make a very entertaining and emotional musical that will reveal the extra ordinary journey that each individual will experience this Ramadan!

This musical is all about the values and emotional challenging experience that each person has to think of! Life has become very quick and dynamic, we stopped paying attention to the good will and the old habits of being there for each other and helping the others. This commercial is here to bring this back, to shed the light on the old values that enriches the human soul and encouraging others to "plant their good will" in order to receive it afterwards in bigger outputs.

I totally am aware that the musical is our hero in such a commercial, and for me what will distinguish this commercial from other competitor ones is the storytelling that combines between a nice musical track and challenging stories that reflect the struggles of the individuals that is shown in the lyrics. The edge is in the balance between the human emotional part and its integration with the musical track.


We will start the copy with wide shots of the Arabic cities and introduce the cosmopolitan look that will make the viewer not relating the view to any specific place. All over the copy the locations and art direction has to be real and not stylized, giving the copy a sense of reality and visually not distracting in order to keep our viewer focused on the musical and the insights.

We will then go down to reach a long shot of the city from down where only one person is not moving, while the rest are moving in fast motion. This will show how everything is too fast (fast motion control) to slowly start seeing a man standing in the middle of this crowd in normal speed. He is not moving but rather standing there and giving us his back.

Suddenly we see him more clearly and we track in to this guy until he turns around and reveals his face and we discover that it's Fahd El Kobaisy and he starts to sing our song.

We see him going around the city while the people start moving in normal speed after he starts singing and we see the backgrounds changing behind him. Slowly the people start recognizing him and the fast motion starts to switch to normal speed.

Since Fahd will be playing the role of the narrator in this film it would be best if we linked the musical to him differently than the other four heroes however creating a role for him that remains from beginning to the end with us and this is what will be explained along the treatment.

the teacher's Sequence

For me the four stories that we have here could be divided into three parts, first is the challenge that each character faces and the struggle to get through it, the second is the helping force and the start of a humane bond between the two characters that forces a change, and third is the success part and the emotional friendship or relation that is revealed after this shared experience together. This will reveal the main concept of our QNB Bank that encourages people to do the good in order to receive it on a bigger scale afterwards.

We start by seeing how the teacher is struggling to operate the projector and how he starts his lecture with the projector flickering on the white board in a big college hall room filled with students. He starts panicking and we see him getting nervous, showing how unable he is to deal with technology.

Here the help starts and our heroes in each story get to meet the person who pulls a hand to them and change their path in a long term form. This is the part of the life lesson and the big change in each of their lives!

We start by seeing a student who stands up in the classroom and approaches the professor and teacher him how to make the projector's flickering stop. We cut to see the projector working well and the teacher is impressed and ready to proceed with his lecture.

We then see how the teacher now is successfully giving his lectures and also with a help of a laser pen that shows how he became very advanced. We also get to see the friendship that was created between the teacher and the student gathering both generations in harmony.

wife in kitchen sequence

We then see the wife struggling at the kitchen and her husband watching her in pity while she is making a huge mess and everything is boiling and dirty around her in the kitchen and she's nearly having a nervous break down.

We go back to the wife who was taken by her husband to a cooking school that is owned by Ghanem El Selity in a greenery outdoor place. We see him teaching the women how to bake and cook and we see how his wife is happy and performing well in class, while her husband gives her a warm look showing his support to what she's doing at the end of the scene.

Here we have an eye contact between the husband and the wife that reveals the happy outcome of the wife's performance in cooking and we cut to see the wife having a big dinner where she invites all the family.

Karmen Soliman & Violinist sequence

We then cut to see the sequence of a man playing violin on the streets and looking to the people around him who do not give him any attention or care. Everybody is passing by really fast and barely seeing him at all. The lighting here is very dull reflecting the down attitude and sad personality of the hero.

The presentation and intro scene of Shaza Hassoun should be visually very appearing and the reveal of her character should be smartly considered. This is why I picture the lighting to be playing a very important role here where the contrast on her face does not reveal who she is at start and then when she steps in the shadow around the people to look at the violinist on the street we get to see her smiling and heading towards him. She stands next to the violinist and people starts to recognize that she is a celebrity and so she grabs people's attention and they gather around the young artist.

This is where people would start interacting with them and gathering along on the street and the flip happens from the street to the concert.

Suddenly we see the light on Shaza's face changing and the frame turns in a 180 degree split and we see her face with a concert's type of lighting on it. Here Shaza starts singing our song and we track out to see the man being the violinist in her band showing passion and commitment to his performance and they are having a cozy concert in an authentic old place that has the feel of great Islamic Museums or halls.

We see how the attitude of the violinist changes and becomes more energetic while playing his instrument and his feelings all turned from pessimistic and a sad street violinist to a happy professional player with great future ahead of him. The light here changes from day light to the concert lights with all the flashes and cameras and people capturing the moment with their phones.

The worker & Abdullah El Hullamy SEQUENCE

Afterwards we see a worker who is lifting very heavy cars and materials on it in the souq with heavy sun light that is more likely to have yellowish feel to the picture and the silhouette of his reflection with the light along with the sweaty face that he has. We see Abdullah El Hulamy seeing him from distance and very concerned.

We cut to see the Abdullah El Hulamy thinking with a manufacturer of how to construct something that will be of any use for the worker that he has seen and he goes to the worker and let's him try it on. We will also see the friendship that is created between the old man and our influencer.

Nour el Malky Sequence

Finally we see the last sequence of the father and daughter, where the little girl is playing with the kids and then suddenly they start ignoring her because she is a girl so she goes home upset, observing from behind the window how a group of boys are running around and playing. We then see how her dad feels so bad for his child.

Finally we see our last sequence where the little girl is now practicing and doing very well in her sports and we see her dad supporting her. We see an eye contact between the proud father and the happy child. We will have a close up on her face looking down and then suddenly rises up to become Nour El Malky in the Stadium.

Fahd El Mosalamy Sequence

We then cut to Fahd once again seeing him walking around the cities in different locations, observing the people and trying to see what they are doing while he is singing our song.

He starts making human reactions with people because now they can see him and smile back while he is singing. They start creating a march and follow him singing.


The finale has to be grand in terms of everything! In terms of visuals and in terms of music as well. After the march with Fahd El Kobaissy, we will go back to the end result of the four stories, seeing how the teacher now is successfully giving his lectures and also with a help of a laser pen that shows how he became very advanced, we will see the wife having a big dinner where she invites all the family, we will see also how the worker is now lifting the heavy weights with straightened up back, we will see the violinist happy on the stage along Karmen Soliman and we will finally end with the Stadium and Nour El Malky running like a champ with her old father now proud and in tears.

We stop by each character in slow motion and start seeing a flashback of the journey they went through, remembering the hard times and struggles in rewind fast motion. Each one of the characters rewinds their stories and we finally end with Fahd El Kobaisy entering the Stadium with the people around him and Karmen Soliman entering as well singing with them.

Finally we end in the stadium where Nour El Malky wins the game and cheers for the crowd and we see all our characters waving and applauding her and the last shot will be of Fahd looking around and smiling while he's applauding Nour El Malky as well.


The visual language that we will use to portray this story is of vital importance. I fully intend to use what I could best describe as a classic visual language, a style that allows the audience to absorb the story's key moments yet also allows the key moments to become immersive.It's very important to talk about the camera movement and technique in this copy as we have a variety of visuals that will vary from fast motion technique in the opening scene of Fahd and his sequence with the people on the streets. In addition to this we will be having the fast speed cuts and edits in flashback that the characters will have at the very end.

This film style would be achieved by using tele lenses for intimacy except for establishing shots of the four situations that would illustrate the character through images capturing their choices.

A smooth camera movement will deliver the tempo and give more weight to the nature for this film. A high contrast image will be composed through the lighting with an obvious dominancy of real lighting with an agreeable color code to match the brand's nature and follow by its color codes.

We will also have slow motion at the very end of the musical where each hero will remember his story in a flashback, remembering the struggle and glory moments in this tough journey he had to pass through to reach where he is today.

In essence, this will be a film made up of many small but educated decisions to create a vast vision that delivers non-stop action, stunning performances and of course an unforeseen twist towards the end of the film where all heroes gather in the stadium and Fahd El Mosalamy brings everyone together. When it comes to the visual style for the film’s ending I believe we should stay fairly classical but also add a mild contemporary feel by allowing the camera work to feel off the shoulder and slightly voyeuristic as if we were just another member of crew who happened to be overhearing the onset conversations that are taking place.


The editing here in our musical is a very important element if not the hero! As this music will follow a non linear editing style where we will see the starting story of each sequence in parallel, starting with the struggle of the story followed by the help of another individual and ending with the challenge being overcome and a friendship being created between the two heroes.

Parallel editing will be very important here where we will get to see the stories following one another, keeping the viewer aligned with each beginning, middle and ending of our stories.

We will also focus to keep the flow of the musical with Fahd's sequences that will guide the copy and put it in harmony and rhythm.

music suggestion

As we are dealing with a musical it is crucial to have the music match our glory moments and beats up at the very end to show the achievements of our heroes. This could be tackled by having a musical intro for Fahd's entrance before he starts singing and also have Karmen merge in the song to add a female element to the music.. At the very ending I picture the crowd to be singing along, matching the nature of the march that we have created along the copy lead by Fahd's sequence.


As for the grading I picture it to be very real and warm as to give the feel of the copy and also makes the audience watch the musical pleasantly without any color distractions from our story. The lighting is a key element for our glory moments that we have in our film.

There will be a heavy use of dramatic lighting especially in scenes like Karmen Soliman's sequence where we will have a visible sequence between the lighting of the day street and the one in the concert. Also in the cooking wife sequence it will be visible in how the kitchen of the house will be very intense and dull in comparison to the cooking classes that will be rather outdoor with day light and sunny atmosphere giving the feel of happiness of our character.

We will also play with the lighting in addition to the concert sequence also in the teacher's sequence and the reflection of the projector will play a great role in this sequence. Finally we will be playing with the shadows in the Worker's sequence where the sun light will give us space to do such a technique.


So as I'm sure you can tell by now I have quite a large vision for this fun commercial. What I always like to remind my creative partners of at this stage of the process is that we really are at step one of the filmmaking process.

We have a script we all love, we have a succinct vision we all desire, we have great celebrities that are about to make a dramatic masterpiece, that will touch the hearts and we now just have to come together and really hone the story, the action on this occasion until we end up creating a film that is beyond all of our expectations.

It is my job as a director to keep pushing, to keep creating, and to keep delivering. And this is exactly what I intend to achieve for you.

Thank you for your time, I look forward to hearing your thoughts.

Created By
Ahmed Alaa Eldeeb

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