Nobody

Watch carefully. This is all AI. But it looks professionally shot, does it not? Well done, @schmede_AI. It appears that in a handful of years, the corrupt scumbags of Hollywood will be obsolete. Their talent was never making films or telling stories. It was always the fact that they were positioned to pull in the giant investments that projects require. If that massive investment can be replaced with a bunch of GPUs, Hollywood's moat is gone. But in order to accomplish that, we, the internet community of the compulsively creative, both amateur and pro, are going to have to learn some things about filmmaking. Because there are actually things to know. So I'm going to evaluate this not as an AI project, in which capacity it absolutely slaps, but as if it were a professional shot piece of film, to be edited into a larger movie. Because that's the level this tech is starting to reach, in skilled hands. The basic principle here is that time is precious in film. When I write a science fiction novel, I can noodle around talking about ancient alien ruins found in the outer solar system, or how advanced AI constructs are recorded off humans... so long as I make it interesting. Because I have 150,000 words to play with. In a movie, I've got 2 to 3 hours. So every single second of screen time must either advance the plot or develop a character. Preferably both. So let's see what we can trim, and what we can add that will do some heavy lifting. Establishing shot... Malfoy is walking down a corridor, eating an apple. She hears voices from above, and climbs the stairs to investigate. Can possibly cut a second or three here. Make the voices louder... every character needs a motivation for every action. Use louder voices and an abrupt change in pace to show Malfoy investigating. Cutting to the top of the tower/stairs, Chang and Potter are talking. Briefer establishing shot showing the tops of the walls, then quickly move to Chang and Potter. What's going on here is the conversation, not snow on mountains. So frame these characters closer, show their actions and feelings. Malfoy moves up the stairs. Shot of her getting into position is good. Need a bit more of Potter's reaction. It's very critical here that we show him taking the news with grace. Why? Because Malfoy's next words need to be unjustified, out of proportion. If they are not, if Potter appears sulky, it will not be obvious that Malfoy is acting condescending to safeguard her own vulnerable emotions. Shot of Malfoy's emotional reaction, smug smile, she has a cunning plan, all good. Oh, dear, poor old Potter... conversation. Character work for Malfoy is excellent, but Potter barely exists in these shots... he says little and the camera rarely shows him. He is not just a foil in this scene... he is her audience and her object of desire. We need to see him interact and be characterized. Especially after "think how it would look". Long lines would break up her flow, but we need something, even if only a facial expression. He is her goal. This cannot be a solo performance. Shut up, and Malfoy dropping the apple is excellent. But this might want at least a moment of Potter's face. "But I wasn't joking —" needs to be "But I wasn't —" or some other fragment. Can't have it sound like Potter should have gotten the message or was being overly impatient. The whole structure of this scene is a mini morality play — Malfoy wants something, refuses to accept the emotional vulnerability required to get it, tries to have it both ways, fails because of her own shortcomings. So we can't have Potter's response come off as anything other than entirely natural. Shot past the dropped apple of him storming off ... great stuff. Now, we had in the first version, Malfoy giving away the game "But I really wanted to". This had to go. Gives away the game. Tells the viewer what the viewer should be realizing. But we need a little something right here. Just a momentary negative facial reaction, squashed so quickly that we're not sure if it's anger or sadness. But we are foreshadowing her later display of emotion. Then we have several shots of her walking. Doesn't move the story, and, worse yet, the first one looks like she's following him. Replace all these with a single shot of her turning back the way she came. Then right to the corridor shot with "aren't you coming to dinner? not hungry"... good buildup there. Or perhaps some of this could be left in to show her carefully blank expression, but still shorter. Then coming through her bedroom door, face breaks into visible distress, good. But all the momentum is immediately drained by devoting five full seconds to boot removal. This is totally unimportant to the story. It doesn't matter if she flings herself on the bed with her shoes on. So cut it. Or make it tell the story. Have her rip those boots off and throw each one against the far wall, to build up emotional energy for the next bit. Then, flinging herself on the bed, crying. This needs more time. Draw it out, linger on it longer. This is the emotional payoff, the money shot. The morality tale plays out... she is undone by her own hubris. At the same time, romantic tension is building for the overall story. So draw this one out. Let it breathe. Have her fling herself on the bed, then cut to her face, not full of tears yet, but slowly crumbling, bring in the tears, then a sob. "Stupid Potter", another sob, then cut. It's all about framing what matters and spending the time on what matters. A story isn't a sequence of events, it's more like a connect-the-dots puzzle. You don't show every moment, you don't dwell on the lines, because the lines are straight. The audience can infer them. You draw the pivotal moments to steer them through the story. Corridors can be inferred. What's important is how Potter and Malfoy feel, and what that makes them do.