Inbox to shareable recording in 22 seconds

Shots (measured)

8 shots · 7 transitions · 21.80 s = 1308 frames at 60 fps · shot length median 2.76 s (shortest 0.73, longest 5.50). Frames are at 60 fps, first and last inclusive: a shot "33–70 · 38 f" is a Remotion <Sequence from={33} durationInFrames={38}>; at another frame rate, use the seconds.

scales: fixed = keep this shot's length when the film gets longer or shorter · scales = stretch or shrink it with the length · optional = drop it for the 15 s cut.

Measurement notes: 3 hidden cuts / dips / reframes found inside v1 shots (luma-normalised frame difference): S3 reframe at 10.767 s (f646), S3 cut at 11.983 s (f719), S5 cut at 16.150 s (f969); listed in shots[].internal_changes · cue sheet keeps 22 of 64 sound events (all near cuts, then the strongest)

Frame sheets (measured): shots, one labelled frame per shot (labels S<n> m:ss.s; + = just after a change inside the shot) · the full-length timeline, the whole film at fixed steps (labels S<n> m:ss.s f<frame>), 2 pages · close-up strips, 14 frames around each cut and change: f280 focus pull, f330 cut, f525 cut, f646 reframe, f719 cut, f786 cut, f882 whip, f942 focus pull, f969 cut, f1049 cut, f1099 cut, f1263 cut (sheet "transitions", 4 pages; labels S<n> m:ss.sss f<frame>): call get_frames('2071890767996649939'), or see them on the film page (Pro, or free films).

Camera and motion (measured)

Per shot, measured on the frames. "Camera move" names the camera's move; the numbers are the image's motion: pan in % of frame width (x) or height (y) per second, +x = content moves right (so a pan left), +y = content moves down; zoom per second > 1 = content grows (push in). "Over the shot" is the total, with px at 1920×1080. Speed is the move through the shot, about one character per 0.5 s (▁ still → █ its peak), then the peak in % of width per second. Cadence: "ones" = a new picture every frame, "twos" = each picture held two frames. Blur is relative to this film (0 = its sharpest shots, 1 = its blurriest); motion = share of the frame changing, 0–1. "?" = confidence under 0.5: a hint, check the sheets. The labels describe how the image moves, not where a 3D camera went: an object flying toward a still camera can read as a push in.

In 3 of 8 shots the camera holds still and something inside the frame moves: see Element motion right under this table.

Element motion (measured): in these shots the frame holds still and something inside it moves: a card, a UI panel, a product, a word. Region = where it moves (x · y · w · h % of the frame); numbers as above, for the moving region; "moving" = share of the shot in motion; ↳ = the move changes direction.

Focus (measured): shot 1: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 2: sharp inside 0 · 0 · 100 · 71, about 7 px blur outside at 1080p · shot 3 8.75–10.77 s: sharp inside 33 · 14 · 42 · 57, no defocus (deep focus) · shot 3 10.77–11.98 s: sharp inside 25 · 0 · 42 · 29, no defocus (deep focus) · shot 3 11.98–13.10 s: sharp inside 42 · 14 · 17 · 71, no defocus (deep focus) · shot 4: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 5 14.70–16.15 s: sharp inside 33 · 14 · 50 · 71, no defocus (deep focus) · shot 5 16.15–17.48 s: sharp inside 17 · 43 · 58 · 14, no defocus (deep focus) · shot 6: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 7: sharp inside 0 · 0 · 92 · 100, no defocus (deep focus) · shot 8: sharp inside 33 · 43 · 33 · 14, no defocus (deep focus). Box = x · y · w · h % of the frame. In 2D, blur the layers outside the box by that many px; in 3D, set the focus distance on the box and open the aperture until the background blur matches.

Biggest moves: shot 7: complex over 2.73 s, ease-out · shot 2: pan right, content −51.2% of width over 3.25 s, ease-in-out · shot 4: push in ×1.53 over 1.60 s, ease-in. Locked-off shots: 1 of 8; 3 more could not be tracked (shown as "static?" or "not measured": check the sheets). Animation cadence: a new picture every frame (on ones): 59.1 unique frames per second of 60 while things move (held-frame share 0.01, 587 moving frames). Match it, or the motion will feel smoother or choppier than the reference.

Transitions (measured)

7 transitions: 6 cuts · 1 whip (4 f). Frames are at 60 fps; a transition of n frames lasts n ÷ 60 s. Hard cuts are reliable; the blur types (whip versus zoom) are the weakest labels, so read their confidence and check the sheets.

Changes inside shots (the picture changes without a cut: a reframe, a hand-off behind black, a mask):

What each shot shows (inferred from the sheets)

Type (measured)

Sizes are cap height (the height of a capital letter) in px at the 1080p deliverable, 1920×1080. Font size ≈ cap ÷ 0.71 for a typical sans (Inter 0.73, Geist 0.71, SF Pro 0.70, Instrument Sans 0.72): check your own font's cap-height ratio. Cap heights are estimated from text-recognition boxes (median error about 11% on real text; text under about 13 px at 1080p and non-Latin scripts are not read). Box = x · y · w · h as % of the frame, from the top-left.

Plus 39 smaller or briefer text items, cap 4–63 px, mostly labels inside interfaces: all in the timeline JSON.

Type scale (cap px): 61–73 · 49 · 27–43 · 19 (4 levels) among the text above.

Left out: 10 reads that are not clean words or were seen in a single frame ("Velotile", "velotile@gmail.co", "Start re"…): blurred, moving or partly hidden text the recognizer misread. They stay in the timeline JSON, not in the type scale.

Phone minimum: cap height ≥ 2% of frame width = 38 px at 1920×1080. Why: in a phone feed the film fills the screen width, about 390 pt, and 2% of that is 7.8 pt, the cap height of 11 pt text, Apple's smallest recommended text size. Words the viewer must read go at or above it; smaller text can only be decoration. Below it in the reference: "I really love the…" (29 px, shot 1), "I am Kirtan, I…" (32 px, shot 2), "This is my Instagram…" (37 px, shot 2), "Looking forward to your…" (31 px, shot 2), "Dream it. Code it." (19 px, shot 5), "Leave a comment..." (19 px, shot 6) and 3 more above and 38 of the smaller items. Size these up in your version, or treat them as decoration.

Type spec (inferred)

Assume cap height = 0.71 × CSS font size; verify the actual instance of {{BRAND_FONT}}. Geist is a free fallback only. Functional words below the 38 px cap phone minimum are enlarged; decorative UI may remain small.

Palette by shot (measured)

Colours measured on the frames, with their share of the frame; luma 0 = black, 1 = white. These are the reference's brand colours: map them onto {{BRAND_BG}} and {{BRAND_ACCENTS}} by role (background, surface, accent), don't reuse them as the format. Neighbouring shots with the same palette share a row.

Whole film (time-weighted): #FCFBFC 66% · #ABB3CF 4% · #312521 4% · #6A5BF0 3% · #5E7F40 3% · #8DAD5C 3%.

Brightness curve (measured)

Mean luma per 1 s, one character each, grouped in tens; p95 = the bright highlights. Scale: ▁ = 0 (black) → █ = 1.0 (white); luma runs 0–1.

      0s         10s        20s
mean  ███▇▆▆▆▆▆█ ███▅▅██▇▇▇ █▅
p95   ██████████ ██████████ █▅

Curve facts: average 0.82 · darkest 0.42 at 21.2 s · brightest 1.00 at 10.0 s · sudden changes at 3.50 s (darker by 0.30), 8.75 s (brighter by 0.24), 13.25 s (darker by 0.53), 14.75 s (brighter by 0.49), 17.50 s (darker by 0.32), 19.75 s (brighter by 0.23), 21.25 s (darker by 0.58).

Layout boxes (inferred)

End card: solid {{BRAND_ACCENTS}} fill; {{LOGO}} in the measured box above; put {{CTA_URL}} as a separate readable line below it. The shot is 44 measured frames, and the mark becomes readable after the cut.

Material card (inferred)

:root { --brand-bg: {{BRAND_BG}}; --brand-accent: {{BRAND_ACCENTS}}; --surface: #fff; --ink: #171923; }
.stage { background: var(--brand-bg); perspective: 1400px; overflow: hidden; }
.ui-card { background: var(--surface); border: 1px solid rgba(20,20,35,.08); border-radius: 22px; box-shadow: 0 24px 64px rgba(20,20,45,.13); transform-style: preserve-3d; }
.halo { background: radial-gradient(circle, color-mix(in srgb,var(--brand-accent) 24%,transparent), transparent 65%); filter: blur(38px); opacity: .65; }
.blur-outside { filter: blur(7px); }

No 3D renderer is needed. The apparent depth comes from layered cards, CSS perspective, shadow, masked blur and a separate halo. For shot 2, preserve the measured sharp region 0 · 0 · 100 · 71% and blur only material outside it by about 7 px. The desk insert is supplied live footage: shoot one 4K, 60 fps, 35–50 mm equivalent desk clip at seated eye height, 10–15° downward, f/4–5.6, soft window key at 5600 K and neutral fill at roughly half strength. Record room tone; keep skin and wood natural, moderate contrast and saturation, no baked brand tint. Use the real {{PRODUCT}} screen on the laptop.

Sound grid (measured)

Speech: words cover 0% of the film (5 words, v1 transcript): little speech.

Tempo: 129.2 BPM, confidence 0.58 (weak: half or double time is possible) · first downbeat 1.422 s (bar start confidence 0.16, uncertain) · beat 0.4644 s · bar of 4 = 1.858 s.

Beat grid in frames. Tracked beats, not a constant grid (the tempo drifts): use the listed times, not a formula.

Beats in seconds: 0.099 · 0.482 · 0.981 · 1.422 · 1.875 · 2.363 · 2.827 · 3.367 · 3.791 · 4.209 · 4.708 · 5.155 … (47 in all, audio.tempo.beats in the timeline JSON). Cuts on the beat: 2 of 7 land within ±1.5 frames of a beat; chance alone would give about 0.8, so the edit does not follow the beat.

Key: Eb minor (confidence 0.82; runner-up B major).

Sections (by energy of the whole mix, voice included):

Energy map (RMS per 1 s, ▁ = −25 dB → █ = −14 dB):

▁█▃▂▂▂▁▂▃▃ ▄▂▃▄▃▂▃▂▃▃ ▂▁

Cue sheet (22 cues: 2 at a cut, 10 on a beat). "On screen" names the picture event the cue hits within ±3 frames (a cut, a jump, a move starting, a line of text appearing, a brightness step), or says there is none:

Loudness of the reference (measured): −21.7 LUFS integrated, true peak 0.8 dBTP, range 3.8 LU. That is how this film was mastered, not a target (its peak is above −1 dBTP: don't copy that).

Loudness targets for your version (common practice per platform; the brief overrides them):

Original music bed (inferred)

Use 129 BPM as a compositional pulse because the measured tracker finds a plausible periodic bed, while the edit remains picture-led. Key: E♭ minor. Use rounded sine bass, plucked muted keys, soft tick percussion and a restrained airy pad. Shots 1–2 introduce pulse and clicks; shot 3 thins to a low note under the control; shot 4 opens the pad; shots 5–6 add a short rising texture; shot 7 resolves to two notes; shot 8 holds a clean chord. Place authored cues at frames 6, 202, 329, 648, 967, 1098 and 1229, aligned to the picture and not forced onto an even beat. Music model prompt: “Original restrained electronic product demo bed in E♭ minor at 129 BPM, soft rounded bass, muted keys, airy pad, sparse clicks, clear spaces for interface cues, no vocals, no recognizable melody.”

Aspect conversions (computed from the measured boxes)

Aspect conversions (computed from the measured boxes): a centre crop of the reference frame, checked against its text boxes and moving elements.

Length cuts (computed from the scales flags)

Length cuts (computed from the scales flags): frames per shot at 60 fps; fixed shots keep their length, optional shots go first when the cut is shorter, the scaling shots share what is left. Snap each cut to the nearest beat when plate 8 has a steady pulse.

60 s: stretching tops out at ×1.6 (33.0 s); add 27.0 s of new beats (more of the scaling beats' pattern with new content), never a longer hold on the fixed shots.