# SAMPLE C · SUPPRESSION · choreography doc (N1, 27 Oct, full rebuild)

Owner: N1 · key `minigun.cine-c` · file `58k_w_minigun_cine_n1.js` · home MILITARY BASE (night) · victim Chotu (trained soldier,
pistol + reverse-grip knife) · Faris with the 30 kg minigun.

Targets: trigger to final 12.4 s film (≤ 15) · perf p95 ≤ 16.7 ms · XT first, the five lower levels after XT approval · LESSONS 1-3 in
every final.

The user's notes this rebuild answers: "better choreography, attention to detail, realistic ... looks like work done on a deadline ...
movements, actions ... pure slowmo". The bar is points 1-6 of the 27 Oct brief.

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## 0 · WHAT CHANGES FROM THE FIRST CUT (honest self-critique)

| first cut | why it failed | rebuild |
|---|---|---|
| Chotu's moves were named poses tweened 0.1 s apart (`dive`, `ball`, `land`) | floaty, no anticipation, no weight; feet slid while `go` moved him | hand-keyed poses every 2-4 frames; anticipation, contact and recovery on every action; feet pinned in world space by a foot-IK controller (below) |
| Faris turned and fired like a turret | no mass: a 30 kg gun swung like a pistol | a heavy-mass rig: the hips lead the turn, the gun lags and overshoots, a braced wide stance, recoil steps back, a re-plant shuffle, a belt that swings |
| the slow-mo was a time curve plus a grade | it stuttered (sampling) and nothing hung in the air | a real slow-mo (section 4): sub-frame sim, motion trails, tracers and sparks drawn as streaks at the slow rate, droplets, glass and brass drifting, heat shimmer, a pitched-down sound bed, eased in and out, a loud snap |
| the jeep was a flat box with decals | no destruction detail | a dressed jeep with a destruction state machine (section 5) |
| empty dark set | no world | sodium lamps with halos, steam vents, wet concrete with puddle reflections, a rotating amber beacon, a hangar column (section 5) |
| shots cut on timers with linear camera lerps | robotic | every shot motivated, cameras on critically damped springs with a lens drift, shake coupled to recoil and impacts (section 3) |

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## 1 · THE TOOLS I'LL BUILD FIRST (the animation layer)

1. **POSE TRACKS (keyframes at high density).** Each body gets a track `[[t, pose, ease], …]` (scene time), sampled every sim step
   and eased (`io`, `o`, `snap`, `back`), with follow-through built in: the head lags the torso by 0.06 s and the hands drag 0.04 s.
   Action beats are keyed every 0.067-0.13 s (2-4 frames at 30 fps).
2. **FOOT IK (no sliding).** Feet are world-space contacts: `plant(foot, x, t0, t1)`. While a foot is planted, its pose `fx` / `bx`
   is solved every step from its world x minus the body x, so the foot stays put as the hips travel over it. A step is a lift arc
   (`fl` curve) between two plants. The solver already grounds the lowest point, so contacts read as real weight.
3. **WEIGHT.** Landings compress (`drop` +8 to +14 over 2 frames) and then rebound (overshoot 20 %, settle 0.12 s); take-offs have
   an anticipation dip. Hit reactions travel through the body: chest first (frame 0), then shoulders, then head whip (frames 1-2),
   then the knees give (frames 3-4).
4. **CONTACT SHADOWS.** A soft ellipse under each foot and under the body, scaled and faded by height above the floor, plus a dark
   occlusion line where the jeep meets the ground.
5. **SECONDARY MOTION.** Chotu's headband tails (a 3-link spring chain), his vest straps, the pistol slide cycling and the casing
   ejecting, the knife spinning. Faris's ammo belt swings on a damped pendulum (shudder, turns, steps), the barrels lag on turns, and
   the whole gun shudders at 20 Hz while firing.
6. **FACES ACTING.** Chotu: focus (`angry`) in the sprint, a glance back of fear (`shock`), effort on the vault, pain on the graze,
   a gritted shot face, the realisation at the empty click, a snarl on the lunge, pain and terror pinned, death (`d58Wn`, eyes open)
   in the slide. Faris: `cool` throughout, one jaw-set on the pin.

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## 2 · THE BEAT SHEET (0.1 s resolution, scene time; F = Faris, C = Chotu)

Positions (world x, floor 590): F starts at 1400 facing right. C starts at 1585 mid-sprint. The jeep runs 1700-1802 (bonnet toward
Faris, bonnet top 562, roof bar 548). The rail is at 1962 (top 560). The hangar column face is at 2192. A puddle sits at 1600-1660,
steam vents at 1520 and 2080, sodium lamps over 1500 / 1820 / 2150, the amber beacon on the column.

### ACT 1 · CONTACT (0.0 - 1.6): the stream a step behind his heels; the hood slide

| t | FARIS | CHOTU |
|---|---|---|
| 0.0 | braced, gun low (-8°), weight on the back foot; hips start to turn into C's line | mid-sprint, drive phase: L foot planted under the hip, 15° lean, R knee driving up, arms pumping (pistol in the R hand, close, muzzle down, trigger finger straight) |
| 0.1 | hips lead the turn; the gun lags 8° behind; barrels start to turn (whine) | flight phase, both feet off; the headband tails stream back |
| 0.2 | the gun catches up, overshoots 3°, the belt swings out | R foot strikes forefoot-first under the hip, the knee flexes (absorb) |
| 0.3 | sets the brace: the back foot steps 6 px back into a wide stance, knees bend (drop +6) | push-off from R; L knee drives |
| 0.35 | FIRST ROUNDS: muzzle flash, kick, the torso rocks back 3° and returns over 0.1; brass arcs out of the chute | the rounds hit the concrete 1.8 m behind his heels: chips and dust |
| 0.4-0.5 | 20 rps: a 20 Hz shudder; recoil eases him back 0.3 px a round | stride 2; at 0.5 he hears it: shoulders hunch |
| 0.6 | leans into the gun (torso +4°); the belt sways with the shudder | glances back over his L shoulder (head 35°, eyes wide, `shock`), stride lengthens |
| 0.7 | small re-plant: the front foot shuffles 3 px forward (feet IK, no slide) | head snaps forward again; the arms drive harder |
| 0.8-1.0 | tracks right as he runs: a heavy pan (hips first, gun lags 4° and catches) | the impacts close from 1.2 m to 0.5 m behind him; a chip stings his calf (flinch, no wound) |
| 1.1 | the back foot re-plants 4 px | penultimate step: long and low, centre of mass dips (anticipation) |
| 1.2 | the stream rises onto the jeep's bonnet behind him | take-off off the L foot into a HOOD SLIDE: hip-first onto the bonnet, the R hand plants on the bonnet edge, legs swing up and together, torso leans back |
| 1.3 | rounds skip off the bonnet a body behind him: sparks along the paint, bonnet holes | sliding across on the L hip and thigh; the pistol hand up and clear; headband tails flick |
| 1.4 | continues | the far edge: legs drop first, the hand pushes off the bonnet |
| 1.5 | | lands on both feet behind the jeep: compress deep (drop +14) |
| 1.6 | | rebound into a low crouch, back to the jeep's flank, pistol up at the chest in a two-hand grip, muzzle up, breathing hard (shoulders rise and fall at 3 Hz) |

### ACT 2 · THE JEEP DIES (1.6 - 3.1): suppression

| t | FARIS | CHOTU |
|---|---|---|
| 1.6 | first heavy step forward (L foot lifts, arc, plants at 1.75; the gun dips 2° on contact) while firing | crouched, chin tucked |
| 1.7 | | the windshield above him crazes (three holes and a spider web): he ducks his head |
| 1.9 | second step (R) | the windshield goes: glass cascades over him; he throws his L forearm over his head; shards bounce off his shoulders and back and skitter on the concrete |
| 2.0-2.3 | the stream walks down the door panel | holes punch through the panel above his head: petals of metal bent outward on his side, a spark spits out of each; he flinches (head down, shoulders up, 3-frame jolts) |
| 2.25 | third step | the front tyre is hit: a hiss, a dust jet, and it deflates over 0.4 s; the bonnet corner sags 3 px with one suspension bounce |
| 2.5 | | the rear tyre bursts: a bang, rubber shreds; the jeep drops onto its rims, and he flattens lower |
| 2.6 | | a round punches through 4 px from his ear: a spark and a sliver of metal past his face. He decides (a 2-frame breath-hold face) |
| 2.7 | | the door's upper hinge snaps: the door swings on the lower hinge, hangs, then tears off and slams flat beside him (a bounce, then it settles) |
| 2.8 | the side mirror flies off | he counts: three short breaths |
| 3.0 | releases the trigger to come round the wreck (the barrels coast, the whine falls); the heat haze rises | the stream stops: he is already moving |

### ACT 3 · THE BREAK AND THE VAULT (3.0 - 4.3): slow-mo key beat 1

| t | FARIS | CHOTU |
|---|---|---|
| 3.0 | the gun drifts as the spin coasts; he steps out round the bonnet (L) | anticipation: the hips dip 2 frames, weight onto the front foot |
| 3.1 | heavy turn to re-acquire: hips, then shoulders, then the gun 0.08 s later | explodes out of cover: the first three steps short and fast (acceleration mechanics), a 35° lean |
| 3.25 | trigger: spin back up (0.15 s from the coast) | step 4 |
| 3.4 | rounds start at the rail | the penultimate step drops his centre of mass; his eyes on the rail |
| 3.45 | the stream sweeps along the rail toward him | TAKE-OFF off the L foot; the L hand reaches for the rail top |
| 3.5 | SLOW-MO RAMP IN (0.15 film s down to 0.10x) | the PLANT HAND lands on the rail (fingers wrap the pipe); the body swings up |
| 3.55-3.72 | in slow-mo: three rounds arrive one by one along the rail under his belly, each a spark burst that flowers and hangs; tracers drawn as slow streaks; the brass from the chute drifting and turning in the air by Faris; heat shimmer over the barrels | over the rail horizontal, side vault: legs together swinging over, the R arm out for balance, the pistol held clear, the head turned to look at the sparks under him (`shock`). At 3.64 the third round grazes the back of his R calf: a line opens, a ribbon of droplets lifts off it and hangs; his face goes to pain |
| 3.75 | | the plant hand pushes off; the legs come down on the far side |
| 3.8 | RAMP OUT (0.1 film s) to SNAP: full speed and loud | lands two-footed (compress), the R calf buckles (the graze), he goes into a COMBAT ROLL: over the L shoulder diagonally |
| 3.9-4.1 | | the roll: tucked, the pistol held to his chest; out of it up onto the L knee facing back toward Faris at 4.15 |

### ACT 4 · CUT OFF (4.1 - 4.9): fast motion

| t | FARIS | CHOTU |
|---|---|---|
| 4.15 | FAST MOTION (1.8x) | up on one knee near the column, turning |
| 4.2 | doesn't follow the path: three heavy strides at the wreck (the belt swinging hard, the gun held high to the chest), steps onto the sagging bonnet (it dents under him), crosses the roof bar | reloads? no: checks the chamber (thumb flick), rises to a kneeling isosceles stance |
| 4.55 | drops off the jeep's tail: lands heavy on both feet (deep compress drop +16, the gun dips 6°, the belt slams, a dust ring), rebounds | |
| 4.7 | ramps back to normal speed: takes one step forward and plants the brace 3 m from him | |

### ACT 5 · THE PISTOL AND THE KNIFE (4.9 - 6.0)

| t | FARIS | CHOTU |
|---|---|---|
| 4.95 | lifts the barrel cluster across his face (the gun angled up 30°, his head behind the shroud); steps through it | SHOT 1 (kneeling isosceles, both arms locked): a muzzle flash, the wrists flip 6° and recover over 0.1, the slide cycles, a casing ejects right and bounces twice |
| 4.97 | a ping and a spark off a barrel | |
| 5.12 | the step lands; his head jerks at the ping | SHOT 2: flash, recoil, a casing |
| 5.3 | barrel 3 takes it: a dent and a spark | SHOT 3 |
| 5.45 | lowers the gun to his hip as he walks in | CLICK: the slide locks back; his face falls (realisation, 3 frames) |
| 5.5 | jerks his head aside: the thrown pistol bounces off the shroud and clatters away | THROWS the pistol overhand at his face (a full arm whip, the weight transfer through the hips) |
| 5.55 | | draws the knife from his vest in a REVERSE GRIP (the blade along the forearm, edge out), rising from the knee |
| 5.6-5.82 | 5.7: reads the lunge, sways back over his rear foot (the 30 kg makes it a lean, not a step); the blade passes 3 px in front of his throat | THE LUNGE: the back foot drives, a long low stride, the torso low; the reverse-grip blade rips upward at the throat, fully committed: he over-extends past Faris's line |
| 5.82 | the counter: drives the six barrels forward like a ram into his sternum (the whole body behind it, the back leg straightening) | the impact folds him round the barrels: the hips jerk back, then the head whips forward (frames 0-2), the breath goes out of him (a mouth "O"), the knife hand opens |
| 5.9-6.0 | runs him back two steps (heavy: L, R, feet planted) | driven back, heels scraping; at 6.0 his back slams into the column: the head snaps back against the steel (rust flakes and dust off the column), the knife spins out of his hand and rings on the concrete |

### ACT 6 · THE PIN (6.0 - 6.75)

| t | FARIS | CHOTU |
|---|---|---|
| 6.05 | leans his weight into the gun, the back leg straight, the front knee bent; the barrels in his sternum | both hands grab the barrels, pushing; his feet scrabble (a heel slips 2 px, re-plants); effort face |
| 6.2 | (close) jaw set | EXTREME CLOSE: his eyes (fear, the pupils small, sweat bead) |
| 6.35 | squeezes: the spin begins against his shirt (whine climbing) | the turning barrels wind his shirt into them (fabric twisting, a seam tearing); his palms burn on the turning barrels (a hiss, smoke) and he lets go |
| 6.55 | | EXTREME CLOSE: the six muzzles turning against his chest; his breath hitches |
| 6.7 | the whine peaks | |

### ACT 7 · ZERO RANGE (6.75 - 9.6): slow-mo key beat 2, then the stream

| t | FARIS | CHOTU |
|---|---|---|
| 6.75 | SLOW-MO RAMP (0.1 film s to 0.06x, hold 1.1 film s): THE FIRST ROUND. The muzzle blast blooms out round the barrels against his chest | the shirt blows apart; a cone of blood, tissue and bone chips erupts out of his BACK onto the column and the steel wall (droplets hang, expanding slowly); his chest caves around the barrels; his face: the moment |
| 6.8-6.92 | rounds 2-3 in slow-mo; brass hangs | each round a jolt that travels: chest, shoulders, head |
| 6.95 | SNAP to full speed (a loud bang, a chromatic flash) | |
| 7.0-8.1 | the stream: 20 rps for 1.1 s. The 20 Hz shudder, recoil leaning into it, the belt jerking, brass pouring and bouncing, heat haze off the barrels, the tips beginning to glow | the crater bores into his chest and climbs from the sternum to the base of the throat; the stream holds him up against the column, heels lifting off the floor (pressed 4 px up the steel); his body jerks with every round (alternating shoulders); the wall spatter grows round and above him; his face goes from pain to slack (death at 7.6: `d58Wn`) |
| 8.1 | releases: the spin-down coasts (the whine falls over 1.2 s); the barrel tips dull red | sags on the barrels |
| 8.3 | one heavy step back: the barrels pull out of the crater with a wet drag (strands of tissue) | without the barrels he drops: the knees buckle first |
| 8.4-9.0 | lowers the gun (the barrels tilt down 18°), smoke curling off the tips; one last casing rolls out of the chute and bounces | slides down the column, the back smearing it red, into a slumped sit; the head lolls and settles UPRIGHT against the steel; the eyes open |
| 9.0-9.6 | breathing, still; the spin finally stops (a click) | still; the pool spreads out from under him; the pump from the crater slows |
| 9.6 | FINAL HOLD (XT) | |

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## 3 · THE SHOTS (motivated; spring cameras with a lens drift; shake coupled to recoil)

Camera model: a critically damped spring follows each shot's target (a natural follow-lag, no linear lerps), plus a lens drift (a
0.3 % slow push and 1 px wander on held shots). Shake comes only from events: recoil (low amplitude at 20 Hz while firing, scaled by
how close the camera is to the gun), impacts and landings.

| # | t | shot | motivation |
|---|---|---|---|
| 1 | 0.0-1.2 | LOW TRACKING DOLLY beside Chotu at knee height, a spring-lag a body behind him; the stream's impacts enter from frame left and chase his heels | sell his speed and the threat closing |
| 2 | 1.15-1.6 | the camera BOOMS UP as he hood-slides (cut on action at take-off), landing behind the jeep with him | follow the move over the obstacle |
| 3 | 1.6-2.1 | LOW HEROIC on Faris: the camera by his knee looking up, the gun across frame, muzzle flash lighting his face in pulses | the reverse angle: who controls the space |
| 4 | 2.1-3.0 | HANDHELD CLOSE behind the jeep at wheel height on Chotu, glass falling past the lens in the foreground, holes punching through the panel around him | his point of view of suppression |
| 5 | 3.0-3.45 | WHIP PAN onto his break, then a tracking run to the rail | he moves; the camera reacts |
| 6 | 3.45-3.85 | SLOW-MO: side profile at rail height; a slow orbit 12° round him as he crosses, pushing in from w 140 to 110 | the key beat |
| 7 | 3.85-4.15 | the snap: a handheld follow on the roll | the energy comes back |
| 8 | 4.15-4.8 | FAST: a crane down onto Faris crossing the jeep and landing | his mass, his decision |
| 9 | 4.9-5.45 | OVER CHOTU'S SHOULDER: his locked arms and pistol in the foreground, Faris walking through the pings | the futility |
| 10 | 5.45-5.85 | WHIP to a side two-shot for the knife; at 5.82 a cut on action into a push-in on the ram | the exchange |
| 11 | 5.9-6.7 | a two-shot push-in on the pin, then EXTREME CLOSES: his eyes (6.2), the barrels on his shirt (6.55) | dread |
| 12 | 6.75-6.95 | SLOW-MO profile at chest height: the first round | the key beat |
| 13 | 6.95-8.3 | LOCKED MID-WIDE with recoil-coupled shake, the wall in frame | the spatter, his body held up |
| 14 | 8.3-9.6 | a slow push in as he slides; settling on the FINAL: low, close on him against the column, Faris's smoking barrels soft in the foreground | the end |

Grades per shot (CINE2 where it fits): 1-2 night teal with sodium highlights · 3 warm, pulsing with the muzzle flash · 4 desaturated
green · 6 and 12 cold and desaturated with a blue tint, vignette, heat shimmer · 8 slightly bleached · 9-11 teal with the amber beacon
sweeping · 13 a red flash, then high-contrast 'blood' · 14 bleach with a slight vignette, letterbox 0.1 in. Grain all film (0.06).

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## 4 · THE SLOW-MO (both key beats)

- Time: an eased speed ramp (in 0.12-0.15 film s, hold, out 0.1 film s); the sim steps at its fixed sub-frame rate, so the slowed
  motion is smooth (a 30 fps film at 0.1x samples 300 sim states a second).
- Motion trails: the speed-ramp trails on Chotu (5 ghosts), and on the vault only his legs and the plant arm.
- Tracers: drawn as streaks whose length is the distance travelled in one film frame at the slow rate, so rounds read as visible
  bullets with a heat glow. Sparks become hanging star bursts.
- Things in the air drift: blood droplets from the graze, glass, casings and links (ballistic physics at slowed time), dust motes.
- Heat shimmer: a wavering translucent distortion band above the barrels (cheap: offset slices of a small scratch copy, sampled
  at 15 fps).
- Sound: the world drops to a low rumble (sub at 40 Hz), a heartbeat, one long pitched-down whoosh, the gun reduced to a slow
  'thoom … thoom'; then the SNAP: full speed and loud (a sting, the gun at full volume, a chromatic flash).

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## 5 · THE SET AND THE DESTRUCTION

- The base at night: three sodium lamps on poles with halo glows and light pools on the concrete. Steam venting from two floor grates
  (soft plumes, pulsing every 2-3 s). Wet concrete: puddles with stretched reflections of the lamps and a dim mirror of the bodies (a
  vertical flip at 25 % alpha clipped to the puddle). A rotating amber beacon on the hangar column throws a sweeping wedge of light.
  The hangar blast wall: riveted panels and a hazard band.
- The jeep, a destruction state machine:
  - Panels: each hit punches a hole with outward-bent petals on the exit side, a spark spit and a paint chip.
  - Windshield: crazed (a spider web from the strike points), then it bursts (shards cascade and bounce with physics, glittering in the
    lamp light, settling on the ground).
  - Tyres: a hit hisses and deflates (the tyre flattens over 0.4 s; the body sags at that corner with one damped bounce); the second
    blows with rubber shreds.
  - Door: the upper hinge snaps, it swings on the lower hinge, then tears off and falls flat with a bounce.
  - The side mirror flies.
  - The bonnet dents when Faris steps on it.
- Wounds (LESSONS 1-3): the graze is a torn line with a lifted skin edge (not a stripe). The XT crater (never through): torn skin and
  shirt flaps, a ragged fat rim, uneven meat, a wet dark core, sternum fragments, ribs broken off-centre at uneven lengths. The spatter
  on the column and wall: a dense core with irregular thrown streaks, longest upward, and uneven drips. The smear down the column. A
  pump from the crater to the pool. A real dead face upright. The headband is off at XT (torn off by the first round's blast).

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## 6 · SOUND MAP (scene t)

0.0 minigun.spinup · 0.35-1.25 minigun.fire + concrete hits (bullet.ping low) · 0.6 a breath · 1.2 cloth.whoosh + a body slide on
metal · 1.5 foot.step x2 (landing) · 1.7 glass.crack · 1.9 glass.smash + fx.drip.glass (the shards settling) · 2.0-2.3 bullet.metal
per hole · 2.25 fx.hiss (the tyre) · 2.5 boom.small (the blowout) · 2.7 creak.metal then metal.clang (the door) · 3.0 minigun.spindown
(coast) · 3.25 minigun.spinup (short) · 3.5 slow-mo bed (fx.rumble, heart.beat.slow, body.whoosh pitch 0.4, gun 'thoom' pitch 0.3) ·
3.8 SNAP sting.impact + body.thud + cloth.flap (the roll) · 4.2 heavy steps on metal (creak.metal) · 4.55 body.thud.big · 4.95 / 5.12 /
5.3 gun.pistol + bullet.ping (barrels) + casing.metal · 5.45 gun.click · 5.5 metal.clang (the thrown pistol) · 5.55 blade.draw ·
5.7 blade.swish · 5.82 body.thud.big + a breath out · 6.0 metal.clang (column) + the knife ringing · 6.35 minigun.spinup + cloth.rip +
fire.hiss (palms) · 6.75 slow-mo bed 2 + the first round low 'thoom' · 6.95 SNAP boom.cine + minigun.brrrt full · 8.1 minigun.spindown ·
8.3 body.organ.slide (the barrels out) · 8.4 body.drag (the slide down) · 9.0 a last casing.metal · 9.4 minigun stop click.

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## 7 · REVIEW LOOP (before anything is sent)

Pass 1: blocking. Both pose tracks plus foot IK; check a 40-frame strip for floatiness, foot sliding and readable silhouettes.
Pass 2: detail. The set, the destruction, secondary motion, faces, contact shadows; full-size stills of every action beat.
Pass 3: polish. The slow-mo (full-size frames at 3.55 / 3.64 / 3.72 / 6.78 / 6.85), the camera springs and shake, the grades, the
wound and final per LESSONS 1-3, perf.
Each pass is written up in /Volumes/Workspace/Scratch/n1/review_c.md (what failed, what I changed). Then the build and the 40-frame
strip go to the coordinator.