# MOVIE REF1: frame-accurate breakdown (E, 28 Oct) Source: the HD clip the user supplied, 1280x720, 25 fps, 15.00 s = 375 frames (film 1:00-1:15). Every frame was checked on frames25 (sheets s01-s08 every 2nd frame, plus single-frame strips around each cut, the thrust and the sword release). Media stays LOCAL under /Volumes/Workspace/Scratch/movie/ (outside every autosync pattern). This file is text only. Key-frame sheet (local): /Volumes/Workspace/Scratch/movie/ref1hd/KEYFRAMES_ref1.jpg (22 labelled frames). Frame n is at time (n-1)/25 s. The film's watermark (top right) is never reproduced. ## 0. User decisions folded in (via the coordinator, 28 Oct) 1. "Replicate exactly, every frame as possible, in our style (the stab from behind)." Every shot, its timing, framing, camera moves and holds, the poses and beats are matched. The payoff is the film's stab from behind, held. No head pop and no gore beats beyond the film. §9 is overridden for this replica: the six levels differ only in blood (section 6). 2. Faris = the betrayer (the bald armoured guardian). The victim = a cast member in a contrasting colour (the trusting hero). 3. Built as a pose-matched rotoscope (section 7). The side-by-side strip must line up at every key beat. motionQA must pass. ## 1. Corrections to the coordinator's audit The audit's shot boundaries were 0.25 / 2.65 / 7.0 / 8.7 / 10.3 / 13.0. The real cuts, from ffmpeg scene detection on the HD clip and confirmed frame by frame, are 0.24 / 2.20 / 5.88 / 7.72 / 8.92 / 11.72. Every shot after the first starts earlier than the audit said, so S6 and S7 are longer than listed. | shot | audit | actual (frames) | actual (s) | length | |---|---|---|---|---| | S1 | 0.00-0.25 | f001-f006 | 0.00-0.24 | 0.24 | | S2 | 0.25-2.65 | f007-f055 | 0.24-2.20 | 1.96 | | S3 | 2.65-7.0 | f056-f147 | 2.20-5.88 | 3.68 | | S4 | 7.0-8.7 | f148-f193 | 5.88-7.72 | 1.84 | | S5 | 8.7-10.3 | f194-f223 | 7.72-8.92 | 1.20 | | S6 | 10.3-13.0 | f224-f293 | 8.92-11.72 | 2.80 | | S7 | 13.0-15.0 | f294-f375 | 11.72-15.00 | 3.28 | There are no cuts after 11.72. The scene detector also fires at 0.08 and between 13.84 and 14.72; those are flame flicker and a fireball blooming behind the pair (checked). Other corrections: - **S2:** there is no focus pull. The guardian stays sharp the whole shot. The hero crosses the foreground fully defocused, from right to left: first his dark torso, then the blade at about 1.0-1.4 s, then his blurred, lit face at 1.5-2.2 s. - **S3:** the guardian does not walk up from the start. At 2.2-3.4 he stands low and still at frame left, sword down, watching. He steps up over a body at about 3.4-4.4 and only strides from about 4.4 s. - **S4 continuity cheat (the film's own):** the hero reaches back with his near arm, which still holds his sword, the blade angled up and back past the guardian's head (f185). In S5 the reaching hand is empty and the sword is in his far hand, pointing down. - Our call: follow the payoff shots. Our victim reaches back with an empty near hand in S4 too, keeping his sword in the far hand. This keeps the motion bar's "weapon held right in every frame, no pops" across the cut. Everything else in S4 is matched. - **The hand:** at the meet the guardian takes the hero's hand with his left hand. He lets it go at about 8.44, as the hero's hand slides off and the right hand drives the blade in. - **The thrust lands at f213-214 (8.48-8.52 s), inside S5, not at a cut.** The cut to the wide (8.92) comes 0.44 s after the impact and lands on the music's biggest hit. - **The sword drop is a release, not a drop.** In the wide, the hero's sword arm swings out to the right (9.0-9.5), then rises as the arm spasms upward (9.6-10.2). The sword leaves his hand above his head at about 10.24-10.32, flips back over the guardian's head and spins on the left. It is still in the air at 11.56 (f290); the cut at 11.72 takes it away. We never see it land. - **The planted cross shape** at frame left in S6 is a sword stuck hilt-up in the slope with a spear beside it (confirmed). - **S7:** a blade tip stands out of the hero's chest, pointing up and right. His near hand is at his face, his head thrown back, his body arched. The guardian's right hand pushes the hilt at the hero's lower back; his left arm hangs. - **Speed ramps:** S6 is very likely overcranked at about 0.5x. Measured: the sword climbs only about half a metre in the frames yet stays up for 1.3 s, where real gravity would give about 0.65 s. S7's micro-motion reads as about 0.6x. S1-S5 are real time. There are no speed ramps inside any shot. ## 2. Shot list (frame-accurate) Notation: L / R = screen side. Every shot is on the same side of the line: the guardian on the L (lower on the slope), the hero on the R (higher, facing R or away). The slope rises left to right, which is our 2D side view almost as it stands. **S1 · f001-f006 · 0.00-0.24 · TAIL (6 frames)** - Camera: medium wide, eye level, static, behind the hero. - Action: the hero (back to camera, pale wrap, frame left) walks into a wall of fire. Two helmeted soldiers stand right of centre, one with a sword. These are the last frames of the previous shot. - Light: fire straight behind, full silhouette edges, deep orange. **S2 · f007-f055 · 0.24-2.20 · THE WATCHER (medium close, 1.96 s)** - Camera: a static medium close on the guardian (frame left third, chest up, head at the upper third), long lens, shallow focus, slightly below his eye line. The background is a warm defocused rock face. - Action: he looks off frame right, grim and still. He breathes; the head turns a few degrees and the shoulders settle. - The hero crosses the near foreground, defocused, from R to L: his dark shape enters at f012 (0.44), his blade crosses at f025-f035 (1.0-1.4), and his lit face crosses the centre at f038-f055 (1.5-2.2). This is the "he walks past the man who will kill him" beat. - Light: warm key from frame right (the fire), a hard rim on the guardian's scalp, mid-dark fill. Grade: amber, crushed blacks. **S3 · f056-f147 · 2.20-5.88 · THE APPROACH (wide, 3.68 s)** - Camera: a wide low angle on the burning slope, the horizon diagonal (rising to the R). It barely moves: a slow drift right with a slight tilt, about 3 % of frame over the shot. - The guardian (L, silhouette with a little fill), curved sword low in his right hand: - 2.20-3.40: crouched, still; - 3.40-4.40: rises and steps up over a body; - 4.40-5.88: long strides up the slope, sword trailing, closing the gap. - The hero (R third, on the crest) fights two soldiers: - 2.2-3.6: a clash with soldier A (blades cross twice); - 3.6-4.6: he turns A, cuts, A staggers out; soldier B comes in from the R; - 4.6-5.6: he cuts B down, and B folds to his knees at the crest's R edge (5.2-5.8); - at 5.8: the hero stands, his back half to the guardian. - Environment: bodies on the slope; a sword stuck in the ground near the guardian; a wall of fire the full width of frame, black smoke above; embers. **S4 · f148-f193 · 5.88-7.72 · THE HAND (low-angle medium two-shot, 1.84 s)** - Camera: a very low angle looking up the slope (the dark slope fills the bottom third diagonally). The guardian is in the L foreground from the waist up; the hero is R and higher, framed knees up. Static. - Action: - 5.88-6.30: the hero's back is turned, looking R. - 6.30-6.90: he raises his sword arm overhead (a finishing cut on a soldier below frame) and brings it down. - 6.90-7.40: without looking, he reaches his near arm back toward the guardian, hand open. - 7.20-7.72: the guardian brings his left arm up and forward to meet it. The hands meet at f193 (7.68), at the edge of the cut. - The guardian's sword stays low in his right hand by the belt the whole shot. - Light: fire behind both (rim) with a warm front fill, so faces read. Our skin colours read here and in S2-S3. **S5 · f194-f223 · 7.72-8.92 · THE THRUST (silhouette medium, 1.20 s)** - Camera: medium, low angle; both men are pure black against a full-frame wall of flame. The guardian is L (waist up, hunched), the hero R (thighs up, upright, facing R). Static. - Beats: - 7.72-8.16 (f194-f205): THE GRIP. The guardian's left fist closes on the hero's reaching hand; the hero's far hand holds his sword pointing down-right. Their stillness is the tension. - 8.16-8.44 (f205-f212): THE DRAW. The guardian's right hand brings the curved blade from his hip forward and up under the joined hands. His shoulders turn in and he loads his weight onto the front foot. - **8.48-8.52 (f213-f214): IMPACT.** The blade enters the hero's lower back, angled upward. His cloth flares out from the waist and his torso jolts upright. - 8.52-8.92 (f214-f223): DRIVE. The guardian leans in and pushes the hilt deeper. The hero's head comes up; his far arm starts to lift. **S6 · f224-f293 · 8.92-11.72 · THE LOCK (wide silhouette, 2.80 s, about 0.5x)** - Camera: wide, low, the slope diagonal, both men small at R of centre on the crest. Frame left holds the planted sword (a cross) and a leaning spear. Static. - Action, at about 0.5x: - 8.92-9.50: locked; the guardian's right hand at the hilt, his left on the hero's arm. The hero's sword arm swings out to the R, the blade horizontal. - 9.50-10.24: his arm spasms up, the blade rising to vertical above his head. - 10.24-10.32: the sword leaves his hand. - 10.32-11.72: it flips back over the guardian's head, turning end over end slowly, and drifts down on the L. It is still airborne at the cut. - The bodies barely move, apart from the hero's slow arch. **S7 · f294-f375 · 11.72-15.00 · THE HOLD (silhouette close-medium, 3.28 s, about 0.6x)** - Camera: close-medium, low, pure silhouettes against roaring flame. The guardian is L, bent forward from the hips, his right arm straight to the hilt at the hero's lower back. The hero is R, arched back, his near hand at his face, the blade tip out of his chest pointing up-right. - The camera creeps in with a very slow push of about 4 % over the shot. - Action: the guardian twists and pushes the hilt (small grinding motions at 12.3, 13.4 and 14.2). The hero shudders; his head rolls back further. A fireball blooms behind them from 13.8 and fills the frame with light by 14.6. The clip ends on the held image at f375. ## 3. Grade, light, environment (all shots) - **Palette:** a two-tone of fire (white-yellow core, orange, red-brown) and black. There is no blue anywhere. Blacks are crushed; the fire highlights clip. - **Light:** one source, the fire behind the actors. Faces only read in S2 and S4, from a warm fill. S5-S7 are pure silhouettes, which is the stickman's native look. - **Environment:** - a black volcanic slope rising to the R, littered with bodies; - planted swords and spears; - a wall of fire across the full width, with rolling black smoke above it; - floating embers; - a fireball bloom at the end. - **Lens feel:** S2 long lens with shallow depth of field; S3 and S6 wide and low; S4 very low, looking up; S5 and S7 medium/close with a low horizon. ## 4. Music (ref1hd_bgm.wav, own analysis) Method: python3 + numpy. A spectral-flux onset detector, autocorrelation tempo, energy in four bands (sub < 120 Hz, low < 500, mid < 2.5 k, high > 2.5 k) and chroma per shot. **Tempo** - About 108 BPM (beat 0.557 s, the strongest lag across 0-11 s), with a half-time accent feel (1.11 s) from 2 to 8 s. - The beat grid runs from 0.37 s: 0.37, 0.94, 1.51, 2.03, 2.59, 3.14, 3.70, 4.26, 4.82, 5.37, 5.93, 6.49, 7.04, 7.60, 8.16, 8.71... - Syncopated accents on the off-8ths at 4.57 and 6.80. The 6.80 accent is the strongest of the pulse section and sits under the hero's overhead cut. **Onsets (s):** 0.37, 0.73, 0.94, 1.28, 1.51, 2.03, 2.38, 2.57, 2.88, 3.13, 3.42, 3.65, 4.23, 4.57, 4.76, 5.12, 5.33, 5.69, 5.96, 6.46, 6.80, 6.99, 7.07, 7.34, 7.91, 8.00, 8.87, 8.99 (the strongest), 9.59, 10.55, 12.29, then only soft swells (12.52, 12.9, 14.27, 14.64). **Structure and energy (rms):** - 0-2.2 (S2): an entry. Low drums with sub energy around 75 %, rms 0.11 → 0.18. - 2.2-5.9 (S3): a steady drum pulse with mid strings/choir. rms is level at about 0.15-0.18. - 5.9-7.7 (S4): the mids rise to 60 % (the strings/choir climb). rms 0.15 → 0.215. - 7.7-8.9 (S5): THE BUILD. Fast 8th/16th hits from 7.9; rms 0.17 → 0.29 at the impact (8.5). - **8.87-8.99: THE HIT**, the loudest moment of the clip (rms 0.37). The high band jumps to 31 % (a crash or brass blast) and the spectral centroid to 3.4 kHz. - 9.0-11.7 (S6): a long decay; rms 0.37 → 0.05 by 11.5; last soft hits at 9.59 and 10.55. - **11.72-15.0 (S7): the bass drops out right at the cut** (sub 2 % from 12.0). What is left is a sustained mid-range drone (choir/strings, mid band 65-83 %) at rms 0.07-0.10, swelling slightly at the end with the fireball. **Key (chroma)** | span | top notes | reading | |---|---|---| | 0-5.9 | C G F D | C (mixolydian/minor colour); the bass is a C power chord from 0 to 7.55 s (correction from the MUSIC agent: the 43 Hz peak was the drum, not an F pedal) | | 5.9-8.9 | D C G F D# / D F C A# | moves toward D minor; the bass moves to Bb at 7.55 s and holds until the 11.72 cut | | 8.9-11.7 | F A D C | F major / D minor at the hit | | 11.7-15 | D# C D | C minor / Eb, darker for the hold | **Edit sync (cut vs music)** | cut | music | |---|---| | 2.20 | just after the 2.03 beat (the drum pulse starts as the wide opens) | | 5.88 | on the 5.93 beat | | 7.72 | on the 7.60 beat plus the start of the build | | impact 8.48 | inside the build (the 8th-note run), not on the hit | | **8.92** | **on the climax hit (8.87-8.99)**, the cut to the wide IS the downbeat | | 11.72 | the bass dies, leaving the drone under the hold | ## 5. Translation to our style Scene name: **THE OFFERED HAND** (ours; no film names, logos or likeness). Realm: **THE PYRE RIDGE** (section 5.3; the name is new in 58k_REALMS.md). ### 5.1 Cast and look - **Faris = the betrayer**, in his own blue. In S5-S7 everyone is a black silhouette; the blue shows only as a thin rim and in S2-S4. - Props: a curved sword (our own design, a broad single-edged blade); a bare head is not needed, he keeps his own look. - No chainmail likeness. A plain dark tabard over his blue is allowed as costume. - **The victim = Mikku, in saffron (#E8902A).** Warm saffron contrasts with Faris's blue and reads in firelight. He carries a straight sword. No likeness to the film's actor. - Not Amjad (cyan), because the two are in close contact. - **Two extra soldiers in S3:** generic, rust/brown, helmets. In S1 they appear in the tail. ### 5.2 Shot → kit mapping (the film runs 0-15.0 s on our clock; the page plays it at 1:1) | shot | our camera (K58.REAL / CINE2) | our staging (2D side view, slope rising L→R) | |---|---|---| | S1 0-0.24 | realCam static medium-wide, behind the victim (back view = we see Mikku from behind walking R into the fire; 6 frames) | Mikku walking R, two soldiers R of centre | | S2 0.24-2.20 | realCam static CLOSE on Faris (chest-up, frame L third). The foreground pass: a large, blurred Mikku silhouette (fg layer, scale 1.7, pre-blurred offscreen, no live blur) crosses R→L: body 0.44, blade 1.0-1.4, face 1.5-2.2 | Faris breathes, head turns 4°, shoulders settle | | S3 2.20-5.88 | realCam WIDE low, horizon tilted, a 3 % drift right with tilt (multicam: no) | Faris crouched L, rises, steps over a body, strides; Mikku on the crest vs two soldiers (2 clashes, a cut, B to his knees) | | S4 5.88-7.72 | realCam LOW medium two-shot (camera below the floor line, looking up; foreground slope matte) | Mikku's overhead finishing cut (6.3-6.9), the open hand back (6.9-7.4), Faris's left hand rises, hands meet at 7.68 | | S5 7.72-8.92 | realCam medium silhouette (realGrade 'silhouette': both black, flame wall full frame) | the grip, the draw (8.16-8.44), IMPACT 8.48, drive (8.52-8.92) | | S6 8.92-11.72 | realCam WIDE low + timeRamp 0.5x for the whole shot (the film's overcrank; slowmoAudio NOT applied, the temp score carries it) | the lock, the arm swing, the spasm, the sword released at 10.28 and spinning over Faris (a physics prop at 0.5x) | | S7 11.72-15.00 | realCam CLOSE silhouette, push-in 4 %, timeRamp 0.6x | Faris bent at the hilt with three grinds; Mikku arched, hand to face, the tip out of his chest; fireball bloom 13.8-14.6 | - **Cuts:** hard cuts at the exact frame times (realCam shot changes, no eases between shots, as in the film). - **Grade:** realGrade CINEMA warm and crushed, plus the silhouette mode for S5-S7. - **Letterbox:** none (the clip has none). ### 5.3 The death realm as the backdrop: THE PYRE RIDGE A burning-ridge battlefield that IS the scene's set, built as a K58 realm (s.realm('movie.pyre.ridge', { cx: 800, ... })), with layers so each shot gets the right depth: - **sky:** black smoke rolling slowly over a deep red-brown glow, with ember drift. - **fire wall (far):** three parallax bands of flame tongues across the full width, animated by layered noise (white core, orange body, red tips). Bright enough that the figures in front read as pure silhouettes. There is a fireball bloom event (S7, 13.8). - **ground:** a black volcanic slope rising L→R (about 14° in S3/S6, steeper in S4 from the low camera), with rough rock edges catching the rim light. - **props on the slope (bg layer, never in front of the bodies):** - fallen bodies (dark stick dead in rust/brown armour, strangers, never Faris's earlier kills); - the planted sword as a cross with a leaning spear (S6 frame L); - a second planted sword near Faris in S3; - broken shields. - **near layer:** for S4 and S2, a dark foreground slope matte (S4) and a blurred rock face (S2's warm background, a pre-blurred image). - **death-realm touch (ingredient, light):** the drifting embers in the smoke slowly settle into the shapes of the fallen. In S7, the fire behind the pair leans toward the stab like a held breath, then the fireball. Used once, subtly, so the scene still matches the film. - **Checks against 58k_REALMS.md:** - not THE WICKER GIANT (no effigy, no villagers); - not THE PHOENIX'S PEAK (no bird, no nest); - not THE SMOKE (no soot figures, no faces); - the dead are strangers of this battle, so it is not the 'everyone already killed' gathering. - It is a backdrop, not a crossing realm: there is no crossing or return. The whole film plays inside it. ### 5.4 Motion (the bar the user set) - **Full-body poses** are rotoscoped from the frames (section 7). CMU mocap is used where a cycle matches: Faris's S3 stride (a baked walk clip, retimed to his 4 strides) and the soldiers' clash footwork (cmu14 strikes). - **Weapons held right in every frame:** - Faris's curved sword is in his right hand from S2 to S7: point down in S2-S4, the edge up for the draw and thrust. - Mikku's straight sword is in his far hand S3-S6 until the release at 10.28; after that it is a prop. - Grip anchors come from the hand joints every frame (the same fix as BACKSWING's axeHead()); no draw-layer reads. - **The thrust:** - Faris's hip drives first, the shoulder follows and the arm extends last. - The front foot is planted at 8.36 and stays locked through S7. - The blade enters at an upward angle of about 25°. In S7 the tip exits the chest at the matching angle, and the blade length stays constant through the body. - **No foot slide:** feet lock on the slope every frame except mid-stride. There is no hyperextension and no pose pops across cuts: each shot's first pose continues the last shot's pose, apart from the S4 hand cheat noted in section 1. - **Both fighters are real:** Mikku reacts to the impact (the jolt up, the cloth flare, the arm swing and spasm, the arch), and Faris carries weight (the lean, the grinding pushes). ## 6. Gore levels (replica rule: identical action, blood only) The stab, the hold, the poses and the camera are identical at every level. The film shows no blood in this clip, so VL keeps the film exactly. Nothing pops, nothing comes off, there are no brain bits at any level. | level | blood | |---|---| | VL | none: the blade goes in clean (exactly the film) | | LOW | a small dark stain blooming at the back wound from 8.6 | | MEDIUM | the stain plus a few drops off the blade tip in S7 | | HIGH | the exit wound wet; a thin run down the blade and drips from the tip in S7; a spatter puff at impact (S5) | | VERY HIGH | as HIGH plus a mouth trickle in S7, drops in S6 as he arches | | EXTREME | as VH plus a heavier back spray at impact and a pooling drip line on the slope under them in S7 | All blood reads as near-black in the silhouette shots, with a red edge only where the fire backlights it (film-true). ## 7. Build plan: the pose-matched rotoscope (after your OK) 1. **Pose keys.** For each shot, key both performers on the reference frames: - every 2nd frame where the action is fast (S5 f194-f223, S6 f240-f262, the S3 clashes); - every 4th-6th frame elsewhere. - Each key records the pose (hips x/y, spine angle, head, both arms by elbow/hand, both legs by knee/foot, sword grip and angle) as rig keys, measured from the silhouette with a small local tool that overlays our rig on the frame. - About 140 keys in all. 2. **Interpolation with weight.** CINE2 performer easing between keys (io / snap only where the film snaps: the impact, the release). Foot locks are solved per key and the CoM is checked against the support. 3. **Camera match.** Per shot: the realCam framing rect (centre, width, roll) is fitted so that the slope line, the horizon and the figure heights land where they do in the frame. S3's drift and S7's push are keyed. 4. **Side-by-side strip.** At each of the 22 key beats in the key sheet: the reference frame (local file:// img) next to our rendered frame, plus an overlay toggle (ours at 50 % over the reference) so the pose match can be judged. 5. **Gates before anything reaches you:** - motionQA (bash _tools/render_slot.sh node _tools/motionqa.cjs , style3: true) must pass at all levels; - the strip must match at every beat; - perf p95 ≤ 16.7 ms; - console clean. ## 8. Local only: how the page references the media - **Page:** feedback/58m_movie.html. - The pattern '58k*.html' does not match '58m', so the page does not sync. It loads only the kit files from feedback/. - The scene's own JS goes in a 58m_*.js file, which is also outside the autosync patterns. The scene file is local only for now. - **Temp BGM (the real track, local page only):** an `