12 MAY 2026

Chop Life Music

DAYSH

"Rockstar Tints"

Director's Visual Treatment — Chop Life Music

Shoot Date

Monday, 12 May 2026

Primary Location

Artist Warehouse Loft, London

Hotel Location

Crazy Bear Beaconsfield

Director

DAYSH

DOP

Captured By Three

Production

CALL SHEET →

About the Track

Rockstar Tints

"Rockstar Tints" is a track about the emotional distance that grows inside a relationship when one person starts living behind a mask. The title is a metaphor: tinted windows, tinted lenses, a version of yourself that nobody fully sees through. DAYSH is the one watching it happen, feeling the warmth drain out of something that used to feel real.

The song moves through three emotional states: the tenderness of what the relationship once was, the suffocating silence of its breakdown, and the quiet power of letting go. It is not a breakup song in the conventional sense. There is no anger, no blame. Just the honest weight of recognising that someone has become unreachable, and choosing yourself anyway.

Sonically, the track sits in a warm, cinematic R&B space: unhurried, deliberate, with a production that mirrors the emotional arc of the lyrics. The visual treatment is built to match that energy: intimate, honest, and unafraid of stillness.

Core Themes

Emotional DistanceLetting GoQuiet PowerVulnerabilitySelf-PreservationCinematic R&B

Listen — DAYSH · Rockstar Tints

Confidential — for internal production team use only. Do not distribute.

Director: DAYSH  ·  DOP: Captured By Three

Part One — Narrative Scenes

NarrativeArtist Warehouse LoftSCENE 01

The Intimate Scene

15 Prince Edward Road, London — Living Area

Concept

The beginning of the relationship. DAYSH and the Male Love Interest share a close, tender moment — the warmth before the breakdown. This scene establishes the emotional stakes for everything that follows.

Vibe

WarmIntimateRetro FilmTender

Reference

Sasha Keable - Act Right

Camera Direction

Warm golden-brown tint. Directional warm light from one side creating cinematic shadow. Medium shots and close-ups. Slightly confrontational framing — intimate and direct. Subtle handheld movement.

Props & Equipment

  • —Warm practical lighting
  • —Sofa / rug dressing

Talent — Styling, Makeup & Emotion

Location

SCENE 01
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

The Intimate Scene reference
NarrativeArtist Warehouse LoftSCENE 02

The Disconnected Scene

15 Prince Edward Road, London — Living Area

Concept

The breakdown of communication. DAYSH and the Male Love Interest are physically in the same space but emotionally miles apart — no eye contact, no conversation, just silence and distance.

Vibe

ColdDistantTenseSuffocating

Reference

Sasha Keable - Act Right

Camera Direction

Same warm-toned visual language as Scene 1 but the spatial dynamics flip. The gap between the two subjects in frame is the key compositional element. Wider shots to show the distance. Slow push-in on DAYSH's face for the close.

Props & Equipment

  • —Sofa / room dressing
  • —Phone (optional prop for DAYSH)

Talent — Styling, Makeup & Emotion

Location

SCENE 02
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

The Disconnected Scene reference
NarrativeArtist Warehouse LoftSCENE 03

The Argument

15 Prince Edward Road, London — Interior

Concept

A volatile, explosive argument between the Male Love Interest and the Female Love Interest inside the warehouse loft. DAYSH does not appear in this scene.

Vibe

RawExplosiveIntenseHigh ContrastClaustrophobic

Reference

Wretch 32 - His and Hers (Perspectives)

Camera Direction

High-contrast interior lighting using the loft's existing practicals. Tight close-ups on facial expressions. Handheld camera to amplify the chaos and tension. Wide shot to establish the space, then rapidly cutting to extreme close-ups as the argument escalates. Wretch 32 His & Hers energy — raw and real.

Props & Equipment

  • —Cinematic lighting rig

Talent — Styling, Makeup & Emotion

Location

SCENE 03
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

The Argument reference
NarrativeCrazy Bear BeaconsfieldSCENE 04

Bed Rotting

The Decadent Room — Bed

Concept

DAYSH wakes up in The Decadent Room at Crazy Bear Beaconsfield — still in yesterday's clothes, smudged makeup, heavy and lethargic. Two female extras are in the bed alongside her, asleep or barely conscious. The scene cuts between group shots of all three in the bed and intimate solo shots of DAYSH alone — capturing the weight of emotional exhaustion and the hollow feeling of waking up surrounded by people but feeling completely alone.

Vibe

SeductiveSadLethargicSoloHeavy

Camera Direction

Two distinct shot types: (1) Group shots — overhead looking down at all three in the bed, wide enough to show the full scene; medium shots from the side showing DAYSH between the two extras. (2) Solo shots — tight close-ups on DAYSH's face, eyes barely open; slow push-in from above; profile shot of DAYSH staring at the ceiling while the others sleep. The Decadent Room's dark, dramatic interior frames everything. Low, warm, moody practical lighting from the room's existing fixtures.

Props & Equipment

  • —Hotel bed (Crazy Bear Decadent Room)
  • —Smudged makeup look
  • —Going-out outfit from previous night

Talent — Styling, Makeup & Emotion

Location

SCENE 04
Crazy Bear Beaconsfield location

Crazy Bear Beaconsfield

Visual Reference

Bed Rotting reference
NarrativeCrazy Bear BeaconsfieldSCENE 06

The Bath Scene

The Decadent Room — Freestanding Copper Bath

Concept

DAYSH fully submerged in a bath, looking up at the camera. A moment of complete vulnerability — washing away the past. The final narrative beat of the visualiser.

Vibe

CleanVulnerableCinematicEtherealFinal

Camera Direction

Overhead camera rig positioned directly above the bath. Looking straight down into DAYSH's face. The copper bath and rose petals frame the shot. Candles around the bath provide warm, flickering light. Slow zoom out to reveal the full Decadent Room.

Props & Equipment

  • —Rose petals in water
  • —Candles
  • —Overhead camera rig
  • —Waterproof makeup

Talent — Styling, Makeup & Emotion

Location

SCENE 06
Crazy Bear Beaconsfield location

Crazy Bear Beaconsfield

Visual Reference

The Bath Scene reference

Part Two — Social Content

Social ContentArtist Warehouse LoftSCENE 07

The Detachment

15 Prince Edward Road, London — Living / Social Area

Concept

DAYSH is in the studio loft living area surrounded by friends who are laughing and having a good time, but she is completely unbothered and checked out — not engaging, not reacting. The contrast between their energy and her blank presence is the visual hook for the reel.

Vibe

CoolDetachedUnbotheredSocial

Camera Direction

Wide shots to show the contrast between DAYSH and the group. Close-ups on DAYSH's blank expression while the friends are animated in the background. Handheld, social-feeling movement. Reel-ready framing — vertical crop considered.

Props & Equipment

  • —Drinks / glasses
  • —Uniform wardrobe for extras

Talent — Styling, Makeup & Emotion

Location

SCENE 07
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

The Detachment reference
Social ContentCar / OutdoorSCENE 08

The Driving Scene

Moving vehicle — sunroof shots

Concept

Dynamic performance shots captured from inside a moving vehicle, specifically utilising the sunroof for unique framing. DAYSH performing through the sunroof as the car moves.

Vibe

High EnergyMovingConfidentFree

Camera Direction

Camera inside the car looking up through the sunroof at DAYSH. Magic Arm rig for exterior angles. GoPro or second camera for interior wide shots. Natural light — golden hour preferred for warmth.

Props & Equipment

  • —Car with sunroof
  • —Magic Arm rig
  • —Sunglasses

Talent — Styling, Makeup & Emotion

Location

SCENE 08
Car / Outdoor location

Car / Outdoor

Visual Reference

The Driving Scene reference
Social ContentArtist Warehouse LoftSCENE 09

The Glasses Match Cut

15 Prince Edward Road, London — White Brick Wall

Concept

A static, slow dynamic zoom on DAYSH performing. The only thing that changes in the frame is the sunglasses — multiple pairs, multiple looks, same energy. Beat-driven cuts.

Vibe

ConfidentLow-EffortBeat-DrivenReel-Ready

Camera Direction

Tripod locked off against the white brick wall. Slow zoom in between cuts. Each cut is a different pair of sunglasses — same position, same energy. Beat-synced editing in post.

Props & Equipment

  • —Multiple sunglasses (4–6 pairs)
  • —Tripod — locked off

Talent — Styling, Makeup & Emotion

Location

SCENE 09
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

The Glasses Match Cut reference
Social ContentArtist Warehouse LoftSCENE 10

Pouring the Drink

15 Prince Edward Road, London — Kitchen Island

Concept

A highly stylised, slow-motion shot of a drink being poured — focusing on the liquid, the glass, and the hands. Premium cinematic B-roll for the visualiser.

Vibe

PremiumSlo-MoCinematicB-Roll

Camera Direction

Slow-motion setting on camera. Tight on the glass and the pour. Multiple angles — overhead, side-on, close on the liquid. The kitchen island as the surface. Clean, minimal framing.

Props & Equipment

  • —Crystal glassware
  • —Champagne or spirit of choice
  • —Kitchen island as surface

Talent — Styling, Makeup & Emotion

Location

SCENE 10
Artist Warehouse Loft location

Artist Warehouse Loft

Visual Reference

Pouring the Drink reference

Scene Requirements Summary

#SceneTypeTalentLocationKey Props
01The Intimate SceneNarrativeDAYSH, Moe KoromaArtist Warehouse LoftWarm practical lighting, Sofa / rug dressing
02The Disconnected SceneNarrativeDAYSH, Moe KoromaArtist Warehouse LoftSofa / room dressing, Phone (optional prop for DAYSH)
03The ArgumentNarrativeMoe Koroma, Afiya MuirArtist Warehouse LoftCinematic lighting rig
04Bed RottingNarrativeDAYSH, Female Extra 1, Female Extra 2Crazy Bear BeaconsfieldHotel bed (Crazy Bear Decadent Room), Smudged makeup look
06The Bath SceneNarrativeDAYSHCrazy Bear BeaconsfieldRose petals in water, Candles
07The DetachmentSocial ContentDAYSH, Friend 1, Friend 2, Friend 3Artist Warehouse LoftDrinks / glasses, Uniform wardrobe for extras
08The Driving SceneSocial ContentDAYSHCar / OutdoorCar with sunroof, Magic Arm rig
09The Glasses Match CutSocial ContentDAYSHArtist Warehouse LoftMultiple sunglasses (4–6 pairs), Tripod — locked off
10Pouring the DrinkSocial ContentDAYSHArtist Warehouse LoftCrystal glassware, Champagne or spirit of choice

DOP Shot Guide — Captured By Three

The following is a scene-by-scene breakdown of every shot required for this production. Each entry includes the shot type, the directorial intent behind it, recommended lens, lighting approach, and camera movement notes. This guide is for Captured By Three's reference on the day.

01

SCENE

The Intimate Scene

Lens

50mm or 85mm — shallow depth of field

Lighting

Single warm practical source (lamp/candle) from one side. No fill — let the shadow work.

Movement

Subtle handheld drift. No locked-off shots in this scene.

1

Wide / Establishing

Two-shot on the sofa — warm, close proximity. Establish the physical intimacy before cutting tight.

2

Medium Two-Shot

Shoulder-to-shoulder framing. One-sided warm key light creating shadow on the far side of each face.

3

Close-Up — DAYSH

Eyes and expression. Soft focus on the background. Slight handheld drift — nothing locked off.

4

Close-Up — Male Lead

Matching eyeline. Same warm treatment. Hold on the eye contact.

5

Insert / Detail

Hands. Fabric. Any tactile moment of connection.

02

SCENE

The Disconnected Scene

Lens

35mm for the wides (to show distance), 85mm for close-ups

Lighting

Same warm setup as Scene 1 but cooler — reduce the warmth slightly to signal the emotional shift.

Movement

Slow push-in on DAYSH for the close. Otherwise locked off or very slow drift.

1

Wide — Same Frame, Different Ends

Both subjects in frame but at maximum distance. The gap between them is the composition.

2

Over-the-Shoulder — DAYSH

Looking past her at the Male Lead in the background — out of focus, distant.

3

Close-Up — DAYSH (Slow Push-In)

Start mid-shot, slow push to a tight close-up on her blank expression. This is the closing shot.

4

Close-Up — Male Lead

Frustration without words. Jaw, eyes, the stillness of someone who has given up.

5

POV / Eyeline

What DAYSH is staring at — nothing. Empty space, a wall, a window.

03

SCENE

The Argument

Lens

24mm or 35mm — wider to create claustrophobia and distortion in tight space

Lighting

High contrast. Hard practical sources. Deep shadows. No soft fill.

Movement

Handheld throughout. Reactive. Let the camera feel the tension.

1

Wide — Establishing Interior

Show the space. Two people in the loft — the geography of the argument.

2

Handheld — Reactive Two-Shot

Camera between them, moving with the argument. No tripod. The camera is a participant.

3

Extreme Close-Up — Eyes / Mouth

Cut to ECUs as the argument peaks. Jaw. Eyes. Lips mid-word. Raw and fragmented.

4

Over-the-Shoulder — Both Directions

One OTS for each character. Match the intensity — neither is the 'victim' in framing.

5

Wide — Final Beat

Pull back to show the aftermath. Space between them. Silence.

04

SCENE

Bed Rotting

Lens

24mm overhead (to capture the full bed), 85mm for close-ups

Lighting

Moody practical room lighting only. No added lights. The Crazy Bear room does the work.

Movement

Locked off overhead. Slow push-in for the close. No handheld in this scene.

1

Overhead — Full Bed

Camera directly above the bed looking straight down. DAYSH and the two extras in frame. The Crazy Bear room as backdrop.

2

Overhead — Tight on DAYSH

Move the rig closer. Just her face, looking up. Eyes barely open or staring at the ceiling.

3

Side Profile — Low Angle

Camera at mattress level. DAYSH's face in profile. The weight of the body in the sheets.

4

Detail Shots

Smudged mascara. Crumpled fabric. A shoe half-on. The visual language of the morning after.

05

SCENE

Heartbreak Ritual

Lens

50mm or 85mm — the fire provides all the light needed

Lighting

Fire bin as primary (and only) light source. No added lights. The flicker is the aesthetic.

Movement

Mix of locked-off and slow handheld. Slow motion on the burning inserts.

1

Wide — DAYSH and Fire Bin

Night exterior. DAYSH silhouetted against the flames. The warehouse exterior as backdrop.

2

Medium — DAYSH at the Fire

Waist-up. The fire illuminating her face from below. Flickering, warm, dramatic.

3

Close-Up — Face in Firelight

Tight on DAYSH's expression. The fire reflected in her eyes. Hold this shot.

4

Insert — Hands Dropping Items

Tight on the hands. Rose petals, photos, letters falling into the fire. Slow motion if possible.

5

Wide — Night Sky

Pull back to show DAYSH small against the dark sky, the fire the only light source.

06

SCENE

The Bath Scene

Lens

24mm overhead for full bath, 50mm for the tight face shot

Lighting

Candles around the bath. Practical room lighting. Warm, flickering, minimal.

Movement

Locked off overhead. The slow zoom out is the only camera movement in this scene.

1

Overhead — Full Bath

Camera rig directly above the copper bath. DAYSH looking straight up into lens. Rose petals in the water around her.

2

Overhead — Tight on Face

Move the rig lower. Fill the frame with her face, the water, the petals. Hold.

3

Slow Zoom Out

Start tight on DAYSH's face and slowly pull back to reveal the full Decadent Room. This is the final shot of the narrative.

4

Side Angle — Water Level

Camera at water level looking across the bath. The copper edge in foreground, DAYSH's face in the middle distance.

07

SCENE

The Detachment

Lens

35mm or 50mm — shallow depth of field to separate DAYSH from the group

Lighting

Natural loft lighting. Warm and social. No dramatic setup — this should feel like a real moment.

Movement

Handheld, social-feeling. Reactive to the group energy.

1

Wide — Group Shot

All four in frame. The friends animated, DAYSH static. The contrast is immediate and visual.

2

Medium — DAYSH Isolated

DAYSH in the foreground, friends blurred in the background. She is physically present but visually separate.

3

Close-Up — DAYSH's Expression

Blank, glazed, elsewhere. Hold on this. The friends' laughter audible but DAYSH is not reacting.

4

Reel Format (9:16)

Frame for vertical throughout. This scene is built for social content — every shot should work cropped to portrait.

08

SCENE

The Driving Scene

Lens

24mm or GoPro for interior wides, 50mm for the close-up face shots

Lighting

Natural light — golden hour strongly preferred. The sky is the backdrop and the light source.

Movement

The car is moving. All shots are dynamic by default.

1

Interior — Looking Up Through Sunroof

Camera inside the car, pointing up through the open sunroof at DAYSH. Sky behind her. Moving.

2

Exterior — Magic Arm Side Angle

Camera mounted on Magic Arm on the exterior of the car. DAYSH through the sunroof from outside.

3

Interior Wide — GoPro

Second camera (GoPro or wide lens) capturing the full interior. DAYSH from the waist up through the sunroof.

4

Close-Up — Face / Sunglasses

Tight on DAYSH's face against the sky. Wind movement. Direct to camera.

09

SCENE

The Glasses Match Cut

Lens

85mm — compression against the brick wall

Lighting

Clean, even light on the white brick. No dramatic shadows — the glasses are the visual element.

Movement

Tripod locked off. The slow zoom is the only movement and it is very subtle.

1

Locked-Off — White Brick Wall

Tripod. Do not move the camera between glasses changes. The locked-off frame is the entire concept.

2

Slow Zoom In (Between Cuts)

Each glasses change is a cut. Between each cut, the camera has crept slightly closer. Barely perceptible but cumulative.

3

4–6 Setups

One setup per pair of glasses. Same position, same energy, different eyewear. Beat-synced in post.

10

SCENE

Pouring the Drink

Lens

Macro or 85mm for the detail shots, 50mm for the wider pours

Lighting

Clean, directional light on the glassware. The liquid should catch the light. Minimal shadows.

Movement

Locked off throughout. Slow motion. No handheld.

1

Overhead — Kitchen Island

Camera directly above the glass and bottle. The pour from above. Clean and graphic.

2

Side-On — Eye Level

Camera at glass level looking across. The liquid filling the glass in the foreground.

3

Close-Up — Hands and Wrists

Tight on DAYSH's hands, nails, and any jewellery. The pour is deliberate and slow.

4

Slow Motion

All shots in this scene should be captured in slow motion. The liquid movement is the visual payoff.