# glue.hang-time · STOP MOTION · 0.1 s continuity audit (X3, 28 Oct)

## How it was checked
- **Scrub:** the whole scene, s0.0 to s10.2, every 0.1 s, at gore 5. It was rendered at 330 px from the LIVE page, in three sheets:
  - `/Volumes/Workspace/Scratch/x3/show/stopmotion/audit/scrub_0.jpg`, `scrub_1.jpg`, `scrub_2.jpg`
  - The labels are scene time.
- **Fine strips:**
  - the flurry, s2.24-3.12 every 0.04;
  - the 540, s7.56-7.90 every 0.02.
- **Other checks:**
  - full-size beat frames: `show/stopmotion/full_*.jpg`;
  - the five lower levels at the heel, the landing and the final: `show/stopmotion/levels/`;
  - the 18 maps: `show/stopmotion/map18.jpg`.
- **Hand naming:**
  - **A = Faris.** GH = the gun hand (performer F, his right): the glue gun all film. FH = the free hand (performer B, his left).
  - **V = Fida.** RK = the right knife (performer F). LK = the left knife (performer B). Both knives are drawn by the kill, along the forearm (forward grip).

## Table
| scene t | A hands | V hands | props | issue | fixed |
|---|---|---|---|---|---|
| 0.0 | GH aimed at her · FH down by the hip | RK + LK low, crouched to spring (the lead's last pose) | - | - | - |
| 0.06-0.42 | GH tracks her up and over; glob 1 at 0.36; he drops into a deep crouch under the flip | both arms swing overhead and reach past him, knives down | glob 1 (a drip strand) | - | - |
| 0.42-1.72 | crouched, eyes up; the shuffle out from under her (front foot reaches, back foot follows), GH low, FH forward | FROZEN upside down above him, legs split over the top, both knives beside his head | a glue patch on her lower back, drips hanging | (1) her feet were cut by the frame top; (2) Faris was cut at the waist (coordinator) | her apex lowered and the split widened (feet ~120 u up); the camera raised only 10 u while she hangs and widened to >= 360 with the floor in |
| 0.6-1.3 | - | - | - | the shuffle first read as a crawl (feet 48 u apart) | the back foot follows each step; drop 48 |
| 1.52-1.72 | rises behind her; turns to her back (1.62), GH on her | frozen | - | - | - |
| 1.72-1.98 | GH on her | the walkover finishes: horizontal over the gap, lands facing away (rotation -pi -> -2pi, then reset to 0 on the same frame) | - | between 1.98 and 6.4 the whole-body turn eased from -2pi back to 0 and tipped her over all through the flurry | a 0 key at 1.981 |
| 2.06-2.3 | steps in; GH tucked low (aim 50 down) | whirls round, two steps in, both knives up | - | GH held out at her chest crossed her knives (clutter) | GH tucked at the hip through the flurry |
| 2.38 / 2.62 / 2.86 | sway back · duck · slip back | LK high · RK across · LK return; each with a wind-up | a pale blade ribbon behind each cut | (1) the bodies overlapped; (2) the RK cut went through his ducked head | (1) a 50-60 u gap; (2) the RK cut raised 16 px over the duck |
| 3.06-3.1 | GH snaps onto her knife shoulder, glob 2 point blank | the lunge, RK straight for his collar | glob 2 patch on the knife arm | the target was taken at 2.98 and moved with him | the hand tracks his collar live and freezes at 3.1, the blade level, the point 5 u short |
| 3.1-4.4 | FH on the flat of RK (3.32), along it (3.44), past her (3.54, FH on her shoulder), round behind her (3.64), FH on her neck; the knee chambers (3.72), SNAPS into her back (3.8), holds | FROZEN in the lunge | a spurt off her back at gore >= 2 (a few drops drift right) | the under-the-arm knee put their heads on top of each other | moved behind her: a knee into her back (the coordinator was told) |
| 4.12-4.3 | steps back out, GH on her | frozen | - | - | - |
| 4.4-4.56 | waits | the lunge carries on into the air, then she spins round with an LK backhand | - | - | - |
| 4.62-4.82 | FH takes her LK wrist, twists (4.7) | bent over the locked arm | LK out of the hand (4.75), end over end over her back; it sticks point down in the floor at P(60) (5.15) and stays to the final | - | - |
| 4.86-5.1 | FH shoves the twisted arm away | staggers back | - | - | - |
| 5.26-6.18 | THE GOO SWAP: FH to the tank, the empty one out on three strings, tossed (it bounces), a full one off the belt, home; three slips back | RK stab, slash, stab, stepping after him; LK hand empty | tank, socket, strings | - | - |
| 6.22-6.66 | GH on her chest; glob 3 at 6.6 | a step back, the load, the flying knee; leaning in over it, RK cocked high | glob 3 patch on her chest | at y 10 the frozen knee read as standing | apex +10 u (feet ~20 u up); the 540 raised by the same |
| 6.66-7.96 | backs off (6.8-7.02), three running steps (7.14 / 7.26 / 7.38), the leap (7.42), a turn (back, face), the last half turn with the right heel into her head (7.76), leaning away, GH out for balance | FROZEN at the top of the knee | a pale heel arc on the last half turn | (1) at 7.68 the final fit snapped the frame wide (the floor was off the bottom); (2) the heel first came from her back side through her body | (1) the camera keeps the floor in frame; (2) her lean flipped forward so the head is the near point |
| 7.76 | - | gore at the heel (see the levels) | - | - | - |
| 7.96-8.25 | lands crouched, back to her | the glue lets go; she drops; on landing: XT an arm and a leg, VH an arm, M the shin | pieces stay near (small impulses) | the pieces flew wide and dragged the final out | impulses x0.45 |
| 8.4-10.2 | rises, turns to her (8.62), GH low, FH down | remains; the soul rises from her (by STYLE) | the knife still standing in the floor | the final lock was w 427 (350 x FINALZ k), with too much dirt | w 290 (~354 drawn), y F-50 |

## Levels at the heel (7.76)
| level | at the heel | on landing | final |
|---|---|---|---|
| XT | head burst (brain bits) | an arm and a leg | headless, in pieces |
| VH | head burst | an arm | headless, the arm beside her |
| H | head burst | - | headless |
| M | torn out of the glue, dies | the shin | lying, a stump |
| L | stars (alive58) | - | out cold |
| VL | glitter (alive58) | - | out cold |

## Checks
- playall 0-5: 0 problems.
- perf (gore 5): p95 2.3 ms, max 11 ms.
- 18 maps: 17 play; deep is OWED (no dry ground, by design).
- brutCheck: TINY at the final. She lies flat in pieces in a wide two-shot (by design: the coordinator's wide finals).