Films by Aziz / 18 seconds
Ablaj
Dawn, held in glass.
Arabic audio. Captions are available in the player.
Resolution: 1080 × 192024 fps48 kHz / Stereo
Picture & sound details
Fixed measurements from the film file playing here.
Picture
- Resolution
- 1080 × 1920
- Frame rate
- 24 fps
- Bit depth
- 8-bit
- Colour metadata
- Colour space unspecified
Frame nearest the poster time, at 13.583 s. 8-bit Y values describe this frame; they do not score the grade.
- Shadows · 10th percentile
- 89 / 255
- Highlights · 90th percentile
- 210 / 255
At least 10% of pixels are at or below the shadow value; at least 90% are at or below the highlight value.
Luma readings
| Y range | Pixels |
|---|---|
| 0–15 | 0.00% |
| 16–31 | 0.00% |
| 32–47 | 0.04% |
| 48–63 | 0.45% |
| 64–79 | 4.80% |
| 80–95 | 8.48% |
| 96–111 | 9.86% |
| 112–127 | 10.47% |
| 128–143 | 9.97% |
| 144–159 | 7.17% |
| 160–175 | 6.68% |
| 176–191 | 5.48% |
| 192–207 | 24.05% |
| 208–223 | 8.75% |
| 224–239 | 3.79% |
| 240–255 | 0.00% |
Sound
- Integrated loudness
- -16.1 LUFS
- True peak
- -1.4 dBTP
- Loudness range
- 8.3 LU
LUFS describes perceived loudness across the film; dBTP estimates peaks between samples; LU describes loudness variation.
Channel-power average across the whole film. Frequency uses a logarithmic scale; 0 dB is the strongest band in this mix, not playback level.
Strongest analysed frequency: 111.3 Hz
Frequency readings
| Frequency | Relative dB |
|---|---|
| 22.9 Hz | -42.3 |
| 30 Hz | -40.2 |
| 35.2 Hz | -36.6 |
| 41.4 Hz | -24.9 |
| 46.2 Hz | -16.9 |
| 51.4 Hz | -15.2 |
| 57.3 Hz | -18.7 |
| 63.8 Hz | -24.4 |
| 71.1 Hz | -16.5 |
| 75 Hz | -14 |
| 83.6 Hz | -9.9 |
| 88.2 Hz | -6.4 |
| 93.1 Hz | -2.7 |
| 98.3 Hz | -0.2 |
| 103.7 Hz | -0.8 |
| 109.5 Hz | 0 |
| 115.5 Hz | -1 |
| 122 Hz | -3.6 |
| 128.7 Hz | -4.4 |
| 135.9 Hz | -4.1 |
| 143.4 Hz | -3.8 |
| 151.3 Hz | -5.2 |
| 159.7 Hz | -7.3 |
| 168.6 Hz | -8.5 |
| 177.9 Hz | -8.6 |
| 187.8 Hz | -13 |
| 198.2 Hz | -16.3 |
| 209.2 Hz | -19.6 |
| 220.8 Hz | -11.1 |
| 233 Hz | -15.2 |
| 246 Hz | -15.6 |
| 259.6 Hz | -14.1 |
| 274 Hz | -14.1 |
| 289.2 Hz | -10.1 |
| 305.2 Hz | -11.2 |
| 322.2 Hz | -11.8 |
| 340 Hz | -10.8 |
| 358.9 Hz | -13.1 |
| 378.8 Hz | -13.6 |
| 399.8 Hz | -11.8 |
| 421.9 Hz | -11.8 |
| 445.3 Hz | -11.3 |
| 470 Hz | -11.8 |
| 496.1 Hz | -11.9 |
| 523.6 Hz | -9.8 |
| 552.6 Hz | -10.7 |
| 583.3 Hz | -9.5 |
| 615.6 Hz | -15.3 |
| 649.8 Hz | -15.4 |
| 685.8 Hz | -15.7 |
| 723.8 Hz | -18.3 |
| 763.9 Hz | -20.2 |
| 806.3 Hz | -17.7 |
| 851 Hz | -18.8 |
| 898.2 Hz | -17.4 |
| 948 Hz | -17.7 |
| 1 kHz | -18.6 |
| 1.06 kHz | -24.2 |
| 1.11 kHz | -24.6 |
| 1.18 kHz | -22 |
| 1.24 kHz | -22.5 |
| 1.31 kHz | -20.7 |
| 1.38 kHz | -21.5 |
| 1.46 kHz | -23.3 |
| 1.54 kHz | -23.8 |
| 1.63 kHz | -23.7 |
| 1.72 kHz | -23.7 |
| 1.81 kHz | -23.8 |
| 1.91 kHz | -25.2 |
| 2.02 kHz | -28.4 |
| 2.13 kHz | -30.7 |
| 2.25 kHz | -31.6 |
| 2.37 kHz | -30.4 |
| 2.5 kHz | -27.1 |
| 2.64 kHz | -27 |
| 2.79 kHz | -32 |
| 2.94 kHz | -36.6 |
| 3.11 kHz | -35.8 |
| 3.28 kHz | -30.7 |
| 3.46 kHz | -32 |
| 3.65 kHz | -32.3 |
| 3.86 kHz | -33.5 |
| 4.07 kHz | -33.6 |
| 4.3 kHz | -38.7 |
| 4.53 kHz | -35.8 |
| 4.79 kHz | -33 |
| 5.05 kHz | -31.2 |
| 5.33 kHz | -30.3 |
| 5.63 kHz | -30.7 |
| 5.94 kHz | -32.9 |
| 6.27 kHz | -37.2 |
| 6.62 kHz | -37.6 |
| 6.98 kHz | -36.2 |
| 7.37 kHz | -36.5 |
| 7.78 kHz | -38 |
| 8.21 kHz | -38.8 |
| 8.66 kHz | -40.9 |
| 9.15 kHz | -40 |
| 9.65 kHz | -39.8 |
| 10.19 kHz | -40.7 |
| 10.75 kHz | -38.4 |
| 11.35 kHz | -37.1 |
| 11.98 kHz | -40.9 |
| 12.64 kHz | -42.9 |
| 13.34 kHz | -47.2 |
| 14.08 kHz | -50.1 |
| 14.86 kHz | -52.7 |
| 15.69 kHz | -66.8 |
| 16.56 kHz | -80 |
| 17.48 kHz | -80 |
| 18.44 kHz | -80 |
| 19.47 kHz | -80 |
The idea
Ablaj evokes the clarity of dawn. I used that meaning as the film's central idea: a small bottle, a vast landscape, and light emerging from the darkness.
One place. One light idea. The shift from cool predawn to warm gold carries the story and keeps the product at its centre.
Credits
Creative direction and production: Aziz Al Khunizan
Product: Nawaf Waqed Perfumes
AI-generated scenes, product compositing and a separately assembled voice edit.
Behind the scenes
How it was made
The six keyframes the film was built from, in order.
01 Predawn on the ledge 
02 The oil starts to glow 
03 Wide dawn reveal 
04 Sunlight through the glass 
05 Sunrise across the canyon 
06 The bottle holds the sun
Scenario and scenes
The film was planned as six keyframes on one cliff edge, K1 to K6, and each neighbouring pair became one generated clip. The last four seconds hold the exact K6 still, with the real bottle composited in.
Light and grade
Everything follows one light idea: deep blue predawn, then a gold glow inside the oil before the sky wakes, then sunrise behind the bottle until the whole desert turns amber gold.
Sound
A short Arabic narration, performed by an AI voice, sits in the quiet gaps of the picture. Underneath it are eight sound layers built for the film, with the voice kept clear above them.