STORYBOARD — V5 Four Weeks, In Order — Faceless VO × 3D thyroid anatomy on a week-carded timeline (D04 Faceless Anatomy & Timeline Narrator) [KD_C0087]

The locked script is an Echo-chain deliverable and does not carry v2 Fields 19/20/21/25. Mapping used:

The no-presenter ruling (D04, and it is a HARD standing order, not a preference). The mini-brief restates it twice and the script restates it at line 9: a calm authoritative voiceover narrates over visceral 3D/AI medical animation; the biology visual plus the narrator ARE the carrier; no presenter, no face, no talking head, at any point. Compounding it: the donor's advertiser is resilia, which product_facts §5 names explicitly as a lane Kindled does not play ("NOT a fake-doctor persona network"). So the carrier is kept and the persona is deliberately not imported. Consequences that bind every beat below:

• The renders are not B-roll. The renders are the A-roll. The domestic footage is what the renders are about.
• Faces are permitted in the domestic layer, but never held and never re-established. Real women appear (the donor's own stack does, and Hook A's qualification depends on reading her age) — but no clip runs past ~2.5s, no woman recurs as a character, nothing is cut as a reaction shot, and no clip is ever framed as the speaker of the line over it. The moment a face starts reading as the narrator, the mode has flipped and the board is being executed wrong.
• No eyeline to lens, ever. Direct address belongs to a presenter format.
• No credentialed staging anywhere, including in Hook C. No coat, no scrubs, no stethoscope, no clinic corridor, no name plate, no framed diploma, no "doctor" caption, no clipboard, no consultation room. Hook C's credential is a stated register in the VO and it must have no visual body at all — the frame under it is a prescription vial and a render. Staging a costumed authority there would import exactly the lane product_facts §5 bars, through the picture, after the copy deliberately refused it.
• v2's compatibility_matrix does not model a faceless mode — a dynamic × setting viability check has nothing to check, because there is no dynamic in the performed sense. Declared, not silently skipped. Speaker 1.2's compatibility rows are untouched by construction: this board has no set and no scene partner.

Review-flag dispositions (ship order, gates delegated). Copy is LOCKED at v1.1 — this storyboard changes zero words, and it boards the v1.1 close, not v1's.

• ① HARD-1 (FIXED in v1.1 — orphaned demonstrative in the guarantee). v1's "if week four doesn't look like this" is gone; the money sentence now names the outcome: "if you're not waking up before the alarm with warm hands and a quiet head, the money comes back." This is the single most load-bearing fact on the board for the picture, because the guarantee's antecedent is now three specific images that the Week Four beat showed thirty seconds earlier. The board therefore makes those three images the most recognizable on the whole cut, and recalls them for 1.4 seconds inside the guarantee clause itself. See Beat 10 and Beat 12.
• ② HARD-2 (FIXED in v1.1 — the proof line is now plural community voice). v1's "One woman wrote that her first bottle of Kindled was like a reverse exorcism" is gone; v1.1 reads "Women describe it as a reverse exorcism. Getting their spirit back." The board must not re-attach it. The receipt exposure that the edit removed can walk straight back in through the picture if the close is staged as a testimonial. Hard rules, spelled out at Beat 12: no review screenshot, no star rating, no verified-purchase badge, no name plate, no first-name-and-age caption, no single face held under the quote, no photo attached to it, and no "real customer" framing of any kind. The picture under that line is deliberately PLURAL — four different women in four different homes, none of whom is presented as the person who said it. The plurality of the picture is what keeps the line community-voiced.
• ③ SOFT-1 (the two front timeline rungs are softer than the donor's — "the first few mornings", "within days"). Not repairable in copy without a word change, and none is taken. Mitigated storyboard-side: those two rungs get lower-third time stamps in the caption weight ("THE FIRST MORNINGS", "WITHIN DAYS") so the timeline is visibly running from the first body beat, and the three full-frame WEEK CARDS then arrive as an escalation rather than as the timeline's first appearance. The ramp is stronger for it and no word moved.
• ④ SOFT-2 ("come back for three" is a synthesized behavioural count). Copy untouched, but the board must not amplify it: no stamp renders the number three, no frame shows a counted stack of bottles, and nothing on this board burns a stock count, a customer count, a percentage, a price or a timer. The phrase is carried by the word-mirroring caption track only, and the picture under it is plural homes with the bottle already in use — demand shown as ubiquity, never as a statistic.
• ⑤ SOFT-3 (Hook C's H04 lineage over-claims the archetype). A ledger question, not a copy question, and the review explicitly says do not change the copy. Boarded honestly: Anchor D is carried as a formula citation with its persona rejected wholesale, and the anchor block says so in the same sentence as the win rate.
• ⑥ SOFT-4 (the sublingual beat is the one mechanism beat with no aggressive physical verb — carrier 1 goes dark for 21 words at the structural midpoint). Copy untouched, and the board's answer is not to soften anything but to make the picture carry the heat the sentence does not: Beat 7 is boarded as the most visceral render pair on the board (a tablet sitting half-opened in a gut that has stopped moving, against drops going straight through the floor of the mouth into circulation). Imagery is never self-nerfed — the donor report's §A3 advisory to soften the visceral biology for platform policy is deliberately excluded, per the script's own line 91, and no compliance layer exists in this chain.
• ⑦ SOFT-5 (Hook A drops the donor's second-person possessive). A one-word copy option that was not taken. Mitigated storyboard-side the only way a picture can: Hook A's qualifier stamp is second-person ("IS YOUR THYROID UNDERACTIVE?"), so the muted viewer is addressed directly even though the spoken line says "an".

Hook-variant handling (Echo 1×3 contract): Beat 1 exists as THREE storyboard variants (1A / 1B / 1C) — interchangeable opening sections. Beats 2 to 12 are the shared locked-body storyboard. All three hooks are exactly 22 words and all three run 0:07, so unlike every prior Echo board there is no timecode shift and no variant-conditional body element anywhere. All three exit on the identical seam state — a hard cut out of the R1 anatomy render with the caption track live and the bed already running — straight onto Beat 2's first line, which names the droppers itself so nothing dangles from any door. Three final cuts, ONE body render, one seam.

Delivery markup: the script carries five bracketed [pause] tokens and three CAPS emphasis words (NEVER, PRESENCE, PROPORTION). All markup is stripped from every on-screen string and carried into per-beat DIRECTION notes. CAPS emphasis is VOICE, never a burn — no stamp on this board renders NEVER, PRESENCE or PROPORTION as the script capitalizes them, because a burned emphasis word reads as shouting where the VO reads as certainty.

Pause budget (0.8s per bracketed token, stated against the band ceiling, and NOT spent). All five pauses sit in the shared body, so every variant carries the identical +4.0s. Four of the five land on named visual devices: three on the WEEK CARDS (which is what makes the cards a real editorial object rather than a graphic), one on the held empty chair inside Week Four, one on the dead hold under the guarantee badge.

Honest reading of that headroom: it is thin, and it is already committed. 3.3 seconds against a 132s ceiling is roughly one and a half of this board's shorter cuts. It is not a budget. It exists so the three WEEK CARDS and the two Week Four holds can breathe by a frame or two each without breaching the band, and it is spoken for by exactly that. No beat may be extended, no render may be held longer than its boarded duration, no sixth pause may be invented, and nothing may be added to reach 132s. If a cut comes back at 131s, something was held long — find it, and it will almost certainly be the Gate.

Twelve-beat discipline (donor budget preserved): 12/12 donor beat order, reproduced 1:1, no beat added, dropped or re-ordered. The donor's monotonic ramp (5s → 20s, 4.3% → 17.4%) is preserved and the review re-derived every share independently: max deviation across all eleven body beats +1.64pp against a ±10pp allowance, with the two largest beats — the Close at +0.39pp and the Gate at −1.07pp — the tightest SEED parity the chain has measured. Heaviest beats: Close 22s (18.57% of body words) and Week Four 15s / Gate 15s. The board's shot budget follows that ramp exactly: the front is a fast alternating pulse, the back half is three long held beats.

These two objects are the board. Everything after them is rhythm and captioning around a week-by-week argument and one continuous piece of biology. The mini-brief names the week transitions as the donor's load-bearing wall #2 and the 3D animation as the carrier itself. Boarding either one inside a single beat would under-specify it, because both recur across the whole cut — so both are hoisted here and every later reference is a one-line pointer.

A. THE TIMELINE DEVICE — six markers, two weights

The spine IS a chronological contract, so the timeline must be visibly running from the first body beat, not arriving at Week Two. Six markers, escalating in weight, are the whole device:

Card spec (identical for all three). Hard cut to a full-frame flat deep-charcoal field, the week set large and centred in the caption typeface one weight heavier, no box, no rule, no ornament. In on the cut, held through the spoken week marker and its [pause], out on a hard cut. Total ~1.2 to 1.4s each. A subtle whoosh on entry (the script's own SFX note). No animation beyond a single-frame appear. No progress bar, no calendar grid, no dates, no ticking clock, no day counter, no percentage complete — the ad is a contract about HER four weeks, not a calendar, and any calendar chrome converts an auditable promise into a graphic.

Week One is deliberately NOT carded, and this is a decision, not an omission. The copy's first rung says "Within the first few mornings", never "week one" — burning WEEK ONE would put an on-screen marker under a line that does not speak it, which is a caption-track lie and a mute-test contradiction. The lower-third stamp carries it instead. The escalation from stamp → stamp → CARD → CARD → CARD is the ramp made visible, and it is also, by a happy accident of the review, the only available storyboard-side answer to SOFT-1.

The cards carry the pauses. Three of the script's five [pause] tokens sit immediately after a spoken week marker. Each one is the card holding. That is what makes the card an editorial object with a job rather than a title graphic, and it is why the pause budget on this board is not spare runway.

B. THE RENDER WORLD — one world, one lineage, one session

Five render sequences carry the entire mechanism argument. They are ONE world: one palette, one scale language, one camera grammar, one lighting model, generated in a single session from a single prompt lineage with a re-roll budgeted on each. Two independently prompted renders that look like different biology destroy the argument they are built to make — this is the most expensive mistake available on this board and it is also the easiest to make.

World spec. Clean professional medical animation, not stylized, not cartoonish, not glossy-pharma. Deep cool background, warm signal colour reserved for active T3 only (so the eye learns one colour and the Gate can then re-weight it), cold desaturated tone for the stalled and blocked states. Slow deliberate camera — pushes and orbits measured in single centimetres of apparent travel, never a whip, never a rack-zoom. Depth of field shallow enough to direct the eye to one event per shot. One event per shot is the rule that keeps the metering intact: the script releases mechanism one sentence at a time, and a render that shows three things at once destroys that discipline.

Hard render rules.

• The renders are anatomically legible, not decorative. The report's own warning on this mode: cartoonish animation collapses the documentary illusion and takes conversion with it.
• One event per shot, so the mechanism stays metered exactly as the script meters it.
• The warm signal colour means active T3 and nothing else, on every render, including the Gate. This is what lets R3b's block and R5b's failure read instantly without a caption explaining them.
• R3b, R4a and R5b are not softened, cropped, dimmed or shortened for comfort. The donor's advisory to soften visceral biology is deliberately excluded (script line 91). If a render comes back polite, re-craft the payload and generate it again.
• No numbers inside the render world. No mg, no %DV, no percentages, no ratios expressed numerically, no lab values. The Gate's proportion argument is made by relative geometry only — see the Gate beat. This is the single easiest place on the board to invent a number by accident.
• No human anatomy above the neck, ever, in any render. Mouths and tongues in cross-section are in scope (R4b); a face, even a rendered one, is not.

Rotation: N/A this run — the donor is PINNED per the run order (SEED, binding; no rotation re-query executed, per the task directive; reference_usage_log.jsonl not read as an EXCLUDE source). Supporting anchors are the concept's own cited hook-formula exemplars plus one geometry reference drawn from the run's own pinned set — declared choices per §2f (a deliberate re-use is the operator's right; rotation never blocks a declared choice). Log append SKIPPED (echo run — handled at package).

Pool note: no fresh §2b/§2c query ran. Same working resolution as the E3, Run-3, V1 and V2 findings — a SEED board inherits its anchor set from the pinned donor plus the mini-brief's citations, and re-queries only when a beat type is left uncovered. Nothing is uncovered here: the donor is itself a D04 running the identical 12-beat spine and supplies grammar for every beat. V2's finding #4 (before reserving a same-mode anchor slot, check the run's own set first) was run and resolved one step better than it asked: the same-mode sibling is not another run-4 donor but the donor's own advertiser, resilia 1003858735354265 — a second measured, winning, faceless chronological-timeline ad from the same house, which is also the exact H03 exemplar the mini-brief already cites for Hook A. Zero rotation cost, and a closer fit than a fresh query would plausibly have returned.

Within-session/cross-session diversity: resilia appears twice here by design (donor + its own sibling) and nowhere else in the chain; trysculptique 1644758646619419 appeared in Run-3's S1 in a different role and on the same ad, declared; elare 1238484691057182 is V4's donor, cited here at geometry level only for one beat.

[Anchor A — CORNERSTONE] 26907486858952165 — resilia — winner_score 65.38 — video (THE DONOR, SEED — pinned CORNERSTONE) Hook pattern: H03 Time-Lapse Trial at 5s / 20 words — the only donor in the run at or below the corpus p50 hook length, and the archetype's perfect formula: [subject: your arteries] + [named compound/dose: two softgels of aged odorless garlic] + [explicit timeframe: 4 weeks] + [withheld bodily result]. Second-by-second: s1 a visceral 3D artery cross-section with yellow plaque; s2 hard cut to a relatable middle-aged person taking the pill (qualifies out the young, qualifies in the supplement-willing); s3 the timeframe lands and the brain commits. On-screen text style: captions mirroring the VO word-for-word, bottom-centre, clean high-contrast sans, focus deliberately left on the animation. Numbers rendered massive when they are the point. B-roll cuing: there is no B-roll, there are two alternating A-rolls — clean professional 3D anatomy and raw UGC lifestyle, welded, with product tactility (pouring, splitting, macro) as the third register. Transition style: hard cuts throughout; the week transitions themselves are the structural visual anchor (the report's load-bearing wall #2); subtle whooshes on them. Mute-test asset: the visceral biology render plus the timeframe burn. Rated strong. Pacing: variable and explicitly load-bearing — fast cuts on hook and lifestyle montages, deliberate slow-downs on the animation and the hero ingredient so the science can be processed. A uniformly fast cut would destroy the mode. Best-fit beat type in our script: ALL (SEED full-pattern borrow, 12 for 12). Primary: hook time-lapse formula (1A), the felt-relief rung (2), the one-sentence mechanism reveal (3), the dismissive-authority reframe (4), the systemic mechanism (5), the energy rung (6), the absorption reinforcement (7), the third-party-notices rung (8), the permission/negation-stack pivot (9), the completed-transformation terminal state (10), the withheld deep-dive gate (11), and the single-beat proof-guarantee-scarcity-ask close (12).

Tooling stack inferred: 3D medical animation + licensed UGC/stock + practical product macro + VO + post captions — maps 1:1 to our hybrid target. No adaptation strain: this is the ad whose production we are reproducing, and the mode is the cheapest-at-scale asset in the delivery catalog's own deploy note.

⚠️ Declared non-transpositions (all in the close and all binding): "50,000 people", "642 pouches left in this batch", "70% off", "Click below", and the beat-8 "numbers start dropping toward that 120 over 80 range". Never invent a number, and dated FELT/VISIBLE benefits transfer where dated NUMBERS do not (brand_bible §9.2). None of these appears on this board in copy, caption, stamp or render.

[Anchor B] 1003858735354265 — resilia — winner_score 61.28 (is_winner ✅) — video (the DONOR'S OWN advertiser sibling; the second measured faceless chronological timeline, and the mini-brief's cited H03 exemplar for Hook A) Measured: 111s · 10 beats · 354 words · 191.4 wpm · Problem Aware · sophistication 4 · register curiosity · voice conversational. Spine: Hook → Day 1 → Day 3 → Day 5 → Day 7 → Day 10 → Day 12 → Day 14 → root-cause synthesis → offer/CTA. A pure chronological ramp, same house, same faceless mode, one product away from ours. Hook pattern: H03 in its most compressed measured form — 4s / 18 words: "This is what crawls out of you when you take carvacrol and thymoquinone for two weeks straight." Same formula, same withheld bodily result, same named-compound qualifier. Visual grammar: a transparent 3D anatomical model as the opening interrupt, then a day-by-day progression in which each time marker is a hard structural cut and the biology beneath it visibly changes state. Softgels rendered entering the body. Chronology is the proof stack — the corpus row lists "chronological day-by-day progression of physiological changes" as a proof element in its own right.

Best-fit beat type in our script: the TIMELINE DEVICE (the hoisted section above) — specifically how a faceless timeline ad cuts its time markers so the chronology reads as a contract rather than as chapter headings, and how the anatomy underneath is re-stated at each rung so the viewer can see the state change. Secondary: Hook 1A (the H03 compression: name the compound, name the interval, withhold the result, in under 20 words).

Tooling stack inferred: 3D medical animation + post text + VO — matches our render layer exactly. FLAG (VS6 cross-adaptation logged): its claymation doctor presenter is REJECTED WHOLESALE — a rendered doctor is still a presenter and still the product_facts §5 lane; nothing on our board has a character of any kind. Its parasite/purge content, its 191.4 wpm and its day-grain interval are likewise not imported (ours is week-grain at 179.0). Borrowed at timeline-geometry and hook-compression level only.

[Anchor C] 1515030503489118 — tryleaply — winner_score 52.09 (is_winner ❌) — video (HOOK-B formula source, H01 Symptom Mirror) Hook pattern: H01 Symptom Mirror in its visual diagnosis form — 5s / 16 words: "If your legs look like this, your belly looks like this, and arms look like this…" The archetype's requirement that the symptom be shown graphically rather than described, so the viewer self-diagnoses off the picture before the sentence lands. Register relief, voice scripted-authority — the same pair as ours.

Best-fit beat type in our script: Hook 1B ONLY — the second-person symptom conditional with the symptom rendered as a picture (our nine-hours-and-still-exhausted bedside frame), and the pivot straight into the promise.

⚠️ HONEST FLAGS (two, both material): ① winner_score 52.09 and is_winner: false — below the 60 winner bar. This anchor is carried as a FORM citation only, evidencing what H01's visual-diagnosis form is; it is never a performance argument, and no share number is banked on it. ② Its execution is an AI-generated monk physically pointing at a woman's body on a fascia/lymph angle — an on-camera authority persona and a body-shaming frame, both REJECTED WHOLESALE (VS6 logged). Our symptom is a morning, not a body, which is the on-thesis and the only version this mode permits.

[Anchor D] 1644758646619419 — trysculptique — winner_score 65.97 (is_winner ✅) — video (HOOK-C formula source, H04 Credential Cold Open — persona rejected) Hook pattern: H04 Credential Cold Open, the catalog's strongest hook share (40.2%) — 15s / 47 words: the viewer's exact post-diagnosis situation named, then "I'm a urologist. Here are ten questions… and the answers your doctor didn't have time to give you." Trust transferred before any claim, then a withheld insider answer.

Best-fit beat type in our script: Hook 1C ONLY, and at function level, not signature level.

⚠️ HONEST FLAGS (three, all material, and this is the anchor the board treats most carefully): ① The archetype's signature is first-person ("I'm a urologist") and this exemplar opens exactly that way. Ours does not, and cannot — product_facts §5 bars the resilia fake-doctor lane and D04 has no presenter. Our credential belongs to an unnamed professional class ("anyone inside thyroid medicine") and has no visual body at all. ② Review SOFT-3 is therefore acknowledged in the ledger, not argued away: the 40.2% catalog-best share is NOT banked on this hook, because the hook does not execute the shape that earned it. The true nearest formula is the withheld-insider-answer half of H04 without its credential stamp. ③ Its execution — a mature man in sunglasses talking to camera from a car for 517 seconds — is rejected in full: the persona, the direct address, the comment-overlay device, the ten-question structure and the length. Borrowed at withheld-insider-answer level only.

[Anchor E] 1238484691057182 — elare — winner_score 73.61 (is_winner ✅) — video (the run's proportion/comparative-proof geometry — GATE BEAT ONLY) Hero device: a time-lapse of five cups — four with calcium still sitting, cup five completely clear — cross-cut against an industrial benchmark that barely reached 30%. It is the run's only measured precedent for the specific problem the Gate beat has: rendering a comparative quantity claim as a single unglamorous frame a viewer can check, rather than as a chart. On-screen text style: bold colour-locked key words; numbers rendered massive when the number is the evidence.

Best-fit beat type in our script: Beat 11 (THE GATE) ONLY — the proportion build, where three minerals have to be shown as relative geometry rather than as three present ingredients.

⚠️ FLAG (VS6 cross-adaptation logged, and one inversion): its EUREKA accidental-discovery arc, its 3-minute run, its D09 prop-demo mode and its 70%-off close are not imported. More importantly, its numbers are inverted out: elare's comparative is legible because it burns "30%" and "730 DAYS", and ours must make the identical argument with no number at all, because the script names no doses and product_facts §6 bars inventing one. Borrowed at comparative-geometry level only, numbers stripped.

Global visual spine (applies to every beat unless overridden). 9:16 vertical. NO PRESENTER, NO FACE HELD, NO EYELINE TO LENS, NO CREDENTIALED STAGING — see the no-presenter ruling. Two alternating A-rolls: the render world (clean, cool, clinical, held) and the domestic layer (phone-grade, warm, daylight, real 48-to-62 homes, unstyled, ≤2.5s per clip, no clip recurring as a character). CUTTING is variable and load-bearing — 1.5 to 2.2s through the hook and the domestic montages, 3 to 5s on every render and every product macro, and the three WEEK CARDS plus the two Week Four holds are the only places the board stops entirely. A uniformly fast cut destroys the mode; so does a uniformly slow one. CAPTIONS (the text layer): clean high-contrast sans, bottom-centre, word-mirroring the VO, phrase-chunked at 3 to 6 words so no full sentence ever sits on screen and the eye stays on the animation. Continuous from t=0 to the end frame — the donor's grammar and the reason the whole ad is legible muted. STAMPS: flat, bold, all-caps, no boxes, no ornament, used only where listed. AUDIO: ambient, driving, semi-scientific bed from second one, building in tempo into the CTA; an implied pulse under every render; subtle whooshes on the three week transitions; strip back to near-silence for the two holds inside Week Four, then let the bed return under the Gate. PROP LAW: exactly one branded object exists on the board, the real Kindled bottle and its dropper, and it appears in full only at the close. The levothyroxine vial is a generic unbranded amber prescription vial, label blank or turned, in every frame it appears (1C and Beat 9 — same physical prop, same vial). No competitor mark is legible anywhere.

The avatar-tool prompt block on this board uses layer-routed production syntax rather than a single-tool syntax, because no beat has one tool: LAYER names the production route per element (3d-generate / ugc-stock / ugc-pickup / practical-macro / post), SHOTS is the shot list in cut order with per-shot durations, OST is the post text layer, SFX and TRANSITION as usual, DIRECTION NOTE carries the VO read. This extends the v2 per-beat schema, which models one tool per beat — declared, not smuggled.

LAYER: 3d-generate (R1) + ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 2.6s  R1 FULL FRAME. Thyroid follicle cross-section. T4 arriving and STACKING UP,
           going nowhere. Cell beyond it DIM and STALLED. Slow push, ~2cm apparent
           travel. Cool desaturated. NO warm signal colour in this shot.
  2. 1.8s  HARD CUT. Domestic: woman ~55 at a morning kitchen counter squeezing an
           amber dropper UNDER HER TONGUE. Medium, handheld micro-drift, daylight.
           Eyeline ON THE DROPPER. Never to lens. She appears nowhere else on the board.
  3. 2.6s  BACK TO R1, resuming from the cut point. "FOUR WEEKS" stamps massive.
CASTING: one woman 48-62, unstyled, real skin, no manicure. NO LINE. Stock-first.
OST (post): caption track word-mirroring from t=0, 3-6 words per chunk, bottom-centre;
           stamp "IS YOUR THYROID UNDERACTIVE?" lower third t=0.3s to t=2.5s;
           "FOUR WEEKS" MASSIVE centred t=4.8s to cut
SFX: the semi-scientific bed from t=0; implied pulse under R1; a soft dropper squeeze
     on shot 2; the pulse returns under shot 3
TRANSITION: hard cut on "for four weeks"
DIRECTION NOTE (VO): faceless female 50-60, register anchor 1.2 DIALED CLINICAL, never
           warm-motherly. NO credential, NO persona, she is a voice not an avatar.
           179.0 wpm. Deliberate enunciation on SELENIUM. Read the formula FLAT and
           FAST - it is a statement of what is about to be shown, not a tease.
           Scripted-clean: no disfluency, no hesitation (donor transcript is clean).
DURATION: 7s (22 words @179.0 wpm = 7.4s, no pause token in any hook)

LAYER: ugc-stock/ugc-pickup + practical-macro + 3d-generate (R1) + post
SHOTS (cut order):
  1. 3.0s  Bedside clock reading 9:14 A.M. over rumpled sheets; widen to a woman
           sitting on the edge of the bed, HEAD IN HANDS, NOT MOVING. Grey curtain
           light. Hold slightly too long - the stillness IS the symptom.
  2. 1.6s  MACRO inset: the dropper going under the tongue.
  3. 2.4s  CUT TO R1 (the stall) as the four-week frame lands. "FOUR WEEKS" massive.
CASTING: hands + a seated figure, woman 48-62. Face may be partly visible; it is NEVER
           held past this shot and she NEVER appears again. No eyeline to lens.
OST (post): captions from t=0; stamp "NINE HOURS. STILL EXHAUSTED." lower third
           t=0.5s to t=3.6s; "FOUR WEEKS" MASSIVE centred t=5.0s to cut
SFX: bed from t=0, thinner here; room tone under shot 1 (a clock, nothing else);
     dropper squeeze; the pulse enters with R1
TRANSITION: hard cut on "in four weeks"
DIRECTION NOTE (VO): the conditional is a QUESTION SHE ALREADY KNOWS THE ANSWER TO,
           not a rhetorical setup. Read "and still wake up exhausted" flat and without
           sympathy - the sympathy is the picture's job, not the voice's. Then the
           promise turns clinical. No pity register anywhere.
DURATION: 7s (22 words @179.0 wpm = 7.4s)

LAYER: practical-macro (the vial) + 3d-generate (R1 variant) + post
SHOTS (cut order):
  1. 2.4s  A GENERIC AMBER PRESCRIPTION VIAL alone on a bare counter. Locked off,
           cold hard-ish key, NOTHING ELSE IN FRAME, no hand, no domestic dressing.
           LABEL BLANK OR TURNED. Same physical prop as Beat 9.
  2. 2.6s  R1 VARIANT: T4 arriving IN VOLUME, the conversion step never firing.
           The prescription's ceiling, rendered. Slow push.
  3. 2.0s  The dropper enters frame against the render. "THE OTHER HALF" stamps.
FORBIDDEN IN THIS BEAT (hard, product_facts §5 + the D04 standing order):
  no coat, no scrubs, no stethoscope, no clinic, no corridor, no name plate, no
  diploma, no clipboard, no consultation room, no "doctor" caption, NO PERSON AT ALL.
  The credential is a VOICE REGISTER and it gets NO visual body.
OST (post): captions from t=0; stamp "YOUR PRESCRIPTION DOES HALF THE JOB" lower third
           t=0.4s to t=3.4s; "THE OTHER HALF" centred t=5.3s to cut
SFX: bed from t=0; a single dry set-down tick under shot 1; pulse under the render
TRANSITION: hard cut on "the other half looks like"
DIRECTION NOTE (VO): "Anyone inside thyroid medicine knows" is a STATED REGISTER, not
           a claim of identity. Read it as common professional knowledge said plainly,
           NEVER as "I am a doctor" and never with an insider's smirk. If a take starts
           sounding like a persona, flatten it. The withheld half is the hook, not the
           credential.
DURATION: 7s (22 words @179.0 wpm = 7.4s)

LAYER: practical-macro + ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 2.4s  MACRO: the dropper released under the tongue at a morning counter.
           Continuity with the hook on ALL THREE variants.
  2. 2.2s  LOW CLOSE: bare feet finding the bedroom floor and TAKING WEIGHT, then
           standing. No sit-back-down. No face.
  3. 2.4s  FROM BEHIND: a woman climbing 3-4 stairs WITHOUT the mid-flight pause.
           Handheld, following.
DO NOT: render or illustrate cement, lead, molasses or quicksand. The metaphor lives
           in the VO. A graphic here would be the literalization failure.
OST (post): captions; stamp "THE FIRST MORNINGS" lower third t=0.6s to t=3.5s
SFX: bed continues; footfall on floorboards; stair sound, unhurried
TRANSITION: hard cut on "starts to lift"
DIRECTION NOTE (VO): FLAT AND DATED. This is the donor's grammar - a time-stamp and a
           named felt sensation, stated as fact. No lift in the voice on "starts to
           lift", no reassurance, no smile in the tone. The claim does the work.
DURATION: 7s (21 words @179.0 wpm = 7.0s)

LAYER: 3d-generate (R2) + post
SHOTS (cut order):
  1. 3.2s  R2a: the deiodinase step SWITCHING ON. The stalled T4 from R1 opens.
           THE WARM SIGNAL COLOUR APPEARS FOR THE FIRST TIME IN THE AD as active
           T3 is produced. Slow orbit, ~3cm apparent travel.
  2. 2.8s  R2b: the T3 travels into the cell beyond and IS BURNED. The cell that was
           dim in R1 begins to work. Same world, continuous scale, NO re-establish.
ONE EVENT PER SHOT. Do not show docking here - docking is Beat 5 and showing it now
           collapses the script's metering.
OST (post): captions; "SELENIUM" centred t=0.7s to t=2.4s; "T4 TO ACTIVE T3" centred
           t=3.4s to cut. NO mg, NO %DV, NO percentage anywhere in this beat.
SFX: the pulse comes forward under the render; a single low swell as the step fires
TRANSITION: hard cut on "your cells can burn"
DIRECTION NOTE (VO): "That's selenium switching on the enzyme..." - the donor's exact
           mechanism grammar. DELIBERATE ENUNCIATION on SELENIUM and on the T4/T3
           pair (the donor's marked habit). Physical event, never "support". The
           pace drops here to match the picture; do not run this at hook speed.
DURATION: 6s (18 words @179.0 wpm = 6.0s)

LAYER: ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 2.3s  Two women at a kitchen table mid-conversation; one is MID-SENTENCE AND
           FINDS THE WORD. No audible dialogue. Faces present, NOT held, NOT cut
           as reaction, NEITHER woman recurs.
  2. 2.3s  A grocery list written STRAIGHT THROUGH. No stopping, no re-reading.
  3. 2.4s  Looking up from a book on a sofa in daylight - ACTUALLY READING IT.
FORBIDDEN IN THIS BEAT: no doctor, no clinic, no consultation, no white coat, no
           appointment scene, no dismissive-GP dramatization. The reattribution is
           a VO move. Staging a doctor here would import the persona lane the whole
           board exists to avoid, and it would also make an enemy the script
           deliberately leaves mislabelling her rather than villainized.
OST (post): captions; "WITHIN DAYS" lower third t=0.4s to t=2.6s;
           "NOT MENOPAUSE" lower third t=3.6s to t=5.6s
SFX: bed continues; low kitchen room tone; pen on paper
TRANSITION: hard cut on "when you reach for them"
DIRECTION NOTE (VO): "that fog your doctor keeps calling menopause" is said WITHOUT
           bitterness and without air quotes - it is a correction of a label, not an
           attack on a person. Quiet recognition register. The donor does the same
           move at the same beat and does not raise its voice either.
DURATION: 7s (20 words @179.0 wpm = 6.7s)

LAYER: 3d-generate (R3a, R3b) + post
SHOTS (cut order):
  1. 4.5s  R3a THE DOCK: active T3 (the warm colour) travels to the nucleus and DOCKS
           at a nuclear receptor. The cell LIGHTS UP, the furnace fires. Slow push
           into the receptor. Hold.
  2. 5.5s  HARD CUT. R3b THE BLOCK: IDENTICAL geometry, zinc absent. T3 arrives at a
           SEALED receptor, TUMBLES PAST, and CIRCLES THE BLOODSTREAM without ever
           getting in. The cell STAYS DARK. Longer than shot 1 on purpose.
CRITICAL: shots 1 and 2 are the SAME camera, SAME light, SAME scale, SAME palette.
           Only the receptor and the outcome differ. A lighting change turns one
           variable into two scenes.
DO NOT SOFTEN shot 2. No dim-down, no crop, no shorten, no polite abstraction. This
           is the script's hottest carrier and the imagery is never self-nerfed.
OST (post): captions; "ZINC LETS T3 IN" centred t=1.2s to t=4.0s;
           "WITHOUT IT, IT NEVER GETS IN" centred t=5.5s to cut
SFX: the pulse under shot 1 resolving as the furnace fires; under shot 2 the pulse
     continues WITHOUT resolving - an unanswered rhythm. No sting, no stab.
TRANSITION: hard cut on "never gets in" straight into the WEEK TWO card
DIRECTION NOTE (VO): "That's because zinc is what lets active T3 dock inside the cell
           and switch the furnace on." Physical event, aggressive verbs, no hedge.
           Then the failure sentence lands FLAT, not ominous - the donor's register
           is RELIEF and this ad never threatens. The heat is in the verbs and in the
           picture, never in a scare read.
DURATION: 10s (28 words @179.0 wpm = 9.4s)

LAYER: post (WEEK CARD) + ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 1.3s  WEEK CARD "WEEK TWO". Full frame, flat deep charcoal, caption typeface one
           weight heavier, centred. No box, no rule, no ornament, no animation beyond
           a single-frame appear. THE [pause] HOLDS IT (<=0.8s). Whoosh in.
  2. 1.9s  A sofa with a folded throw, NOBODY IN IT, mid-afternoon light. The nap that
           did not happen, shown by ABSENCE.
  3. 2.0s  A woman at a desk at 3pm, working, NOT FIGHTING HER EYES. No coffee prop.
  4. 1.8s  A lamp on at 8pm; she is still up doing something ordinary. Warm interior.
NO calendar, NO progress bar, NO clock counting, NO day counter on the card.
OST (post): captions; the card IS the "WEEK TWO" text; "STILL AWAKE AT EIGHT" lower
           third t=5.4s to cut
SFX: whoosh on the card; the bed returns under shot 2; evening room tone under shot 4
TRANSITION: hard cut on "still awake at eight"
DIRECTION NOTE (VO): "Week two." is a BARE STRUCTURAL SENTENCE - land it and stop.
           Do not inflect it upward. The [pause] after it is the card holding; do not
           fill it with breath. "like a normal person" lands DRY (VO-direction
           emphasis, deliberately NOT capitalised in the copy so it never reads as
           shouted). This is the VOC's own sentence and it must not be performed.
DURATION: 7s (23 words @179.0 wpm = 7.7s, incl. one [pause])

LAYER: 3d-generate (R4a, R4b) + post
SHOTS (cut order):
  1. 3.5s  R4a THE SWALLOWED ROUTE: a compressed tablet sitting HALF-OPENED in a gut
           that HAS STOPPED MOVING. Acid thin. Nothing crossing the wall. Cold, flat,
           still. The most visceral frame on the board.
  2. 3.5s  R4b THE SUBLINGUAL ROUTE: two drops released under a raised tongue,
           absorbed STRAIGHT THROUGH THE CAPILLARY BED into circulation. Fast,
           direct, forceful. The ONE render permitted a quick camera move.
DO NOT SOFTEN shot 1. The script's own line 91 excludes the donor report's advisory
           to soften visceral biology; there is no compliance layer in this chain.
           If a provider returns a polite render, re-craft the payload and generate
           the same shot again.
NO ANATOMY ABOVE THE NECK. Tongue and mouth in cross-section only. No face, ever,
           including rendered faces.
OST (post): captions; "SLOW GUT. LOW STOMACH ACID." centred t=1.0s to t=3.3s;
           "UNDER THE TONGUE SKIPS BOTH" centred t=4.2s to cut
SFX: the pulse goes NEARLY SILENT under shot 1 (the nothing-happening is the point),
     then returns hard under shot 2
TRANSITION: hard cut on "skips both"
DIRECTION NOTE (VO): review SOFT-4 disposition - the SENTENCE is the one mechanism
           line with no aggressive physical verb, and NOT A WORD IS CHANGED. Read it
           at full conviction and let the picture carry the heat. Do NOT compensate
           by adding menace to the read; do NOT slow it into gravitas. Flat, certain,
           and then straight into the week card.
DURATION: 7s (21 words @179.0 wpm = 7.0s)

LAYER: post (WEEK CARD) + ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 1.3s  WEEK CARD "WEEK THREE". Same spec as WEEK TWO. THE [pause] HOLDS IT.
  2. 2.4s  BARE HANDS on a cold window frame in a room where breath is faintly
           visible. Warm hands in a cold room. Cool daylight. No gloves, no mug.
  3. 2.4s  MACRO: a SHOWER DRAIN, CLEAN. Tiled, real, unglamorous. Two seconds of an
           ordinary drain doing nothing.
  4. 2.9s  Two women at a work counter; one TURNS AND ASKS, the other answers. NO
           AUDIBLE DIALOGUE. Faces present, not held as reaction, neither recurs.
FORBIDDEN IN THIS BEAT (hard, brand_bible §9.2 + the declared HARD SWAP):
  NO lab report, NO blood-pressure cuff, NO scale, NO tape measure, NO before/after
  body shot, NO number of any kind on screen or in frame. The donor's equivalent beat
  burns "120 over 80" and ours renders NOTHING numeric. Dated FELT and VISIBLE
  benefits transfer; dated NUMBERS do not, and they are trust-killers for this avatar.
OST (post): captions; "WARM HANDS IN A COLD ROOM" lower third t=1.8s to t=4.0s;
           "SOMEONE ASKS WHAT YOU CHANGED" lower third t=6.6s to cut
SFX: whoosh on the card; cold room tone; water off, drain silent; workplace ambience
TRANSITION: hard cut on "and you tell them"
DIRECTION NOTE (VO): three flat declaratives in a row, no build between them, no
           smile on "and you tell them". The donor's carrier is HARD DATED PROMISES
           DELIVERED FLAT and the review scored this line ABOVE the donor because
           the donor hedged with "most people" and we do not. Do not add the hedge
           back in the read.
DURATION: 9s (26 words @179.0 wpm = 8.7s, incl. one [pause])

LAYER: ugc-stock/ugc-pickup + practical-macro (the plant) + post
SHOTS (cut order):
  1. 2.4s  BREAD on a kitchen table, BEING EATEN. Ordinary, no ceremony. The opposite
           of a deprivation shot.
  2. 2.0s  A menu CLOSED AND PUT DOWN without being studied.
  3. 2.0s  A bathroom shelf of unbranded supplement bottles that STAYS AS IT IS. A
           hand passes it and does NOT add to it. Every bottle unbranded or turned.
  4. 3.6s  THE PLANT: the GENERIC AMBER PRESCRIPTION VIAL (same physical prop as
           Hook C) and the KINDLED DROPPER BOTTLE side by side on a morning counter,
           BOTH PRESENT, BOTH IN USE. Locked. Held. The board's only held domestic
           frame outside Week Four.
  5. 3.0s  Slow push in on the pair as the claim lands.
STAGE THE PLANT AS EQUALS: same height in frame, same light, neither turned away,
           neither foregrounded. An apologetic or subordinated vial converts a trust
           signal into a concession, which is the one thing this beat must not be.
OST (post): captions; "NO GLUTEN CUT" t=1.2s / "NO ELIMINATION DIET" t=2.8s /
           "NO FIFTH BOTTLE" t=4.8s / "NEVER STOP YOUR PRESCRIPTION" t=6.8s (~3s hold)
           / "THIS DOES THE OTHER HALF" t=10.6s to cut
SFX: the bed lifts slightly through the negations - this is the release point - then
     settles under the plant. No sting on any negation.
TRANSITION: hard cut on "the half levothyroxine can't"
DIRECTION NOTE (VO): ACCELERATE through the four "you didn't" negations, then PLANT
           hard on the levothyroxine line. NEVER carries CAPS emphasis in VOICE ONLY
           and is never burned on screen. "This was never built to replace it" is a
           DISQUALIFICATION OF THE PRESCRIPTION'S CEILING, not an apology - if a take
           sounds like a disclaimer, it is wrong. This is the emotional release point
           of the whole ad; the tension drops here.
DURATION: 13s (39 words @179.0 wpm = 13.1s)

LAYER: post (WEEK CARD) + ugc-stock/ugc-pickup + post
SHOTS (cut order):
  1. 1.3s  WEEK CARD "WEEK FOUR". Same spec. THE FIRST [pause] HOLDS IT.
  2. 3.7s  <<RECALL 1>> THE PRE-ALARM WINDOW. Grey pre-dawn bedroom. She is ALREADY
           AWAKE and GETS UP. No lying there. Slow, held, NO CUT INSIDE IT.
  3. 3.6s  <<RECALL 2>> BARE ARMS IN A COOL KITCHEN. Hands around a mug NOT FOR HEAT;
           a cardigan on a chair back NOT being reached for.
  4. 2.9s  <<RECALL 3>> THE QUIET HEAD. A woman sitting still at a kitchen table,
           doing nothing, phone face-down, nothing running. THE INVERSION OF HOOK B's
           edge-of-bed frame - same posture, opposite meaning.
  5. 0.8s  THE SECOND [pause]: a held, near-silent frame on AN EMPTY CHAIR at a family
           table, people around it mid-meal. NOTHING MOVES. No stamp over this.
  6. 2.7s  SHE SITS DOWN INTO IT. Family table, ordinary, mid-meal, nobody performing.
           NO toast, NO hug, NO reveal, NO music swell.
SHOTS 2, 3 and 4 ARE RECALL ASSETS. Their exact framings return at Beat 12 inside the
           guarantee clause. Shoot/source them knowing they must be recognizable in
           half a second. Do not replace them at Beat 12 with alternates.
OST (post): captions; "BEFORE THE ALARM" lower third t=2.0s to t=4.6s;
           "SHE'S THE ONE AT THE TABLE" lower third t=13.2s to cut
SFX: whoosh on the card, then STRIP THE BED BACK TO NEAR-SILENCE from shot 4 through
     shot 5 (the script's own note). Room tone only. The bed returns under the Gate.
TRANSITION: hard cut on "She's the one at the table"
DIRECTION NOTE (VO): THE SLOWEST PASSAGE IN THE SCRIPT. Played close to the mic and
           unhurried. "quiet" takes a drop in volume (VO-direction emphasis, NOT
           capitalised in the copy). The question ("And the woman your family stopped
           expecting to show up?") is asked, then the [pause] sits, then the answer
           lands PLAIN. Do not perform the payoff. The emotional peak of the ad is
           carried by restraint.
DURATION: 15s (45 words @179.0 wpm = 15.1s, incl. two [pause])

LAYER: post (proportion build) + 3d-generate (R5a, R5b, R5c) + post
SHOTS (cut order):
  1. 4.0s  THE PROPORTION BUILD: three mineral volumes appear SIDE BY SIDE AND EQUAL
           on a flat clinical field (what a shelf label shows). Then, WITHOUT A CUT,
           the frame RE-WEIGHTS them into their true proportion. Same three things,
           different geometry.
           NO NUMBERS. No mg, no %DV, no percentages, no axis, no chart furniture,
           no gradient, no bevel. Flat, caption-weight, cheap-looking on purpose.
  2. 3.0s  R5a: iodine arriving at the gland and being taken up. Plain, correct,
           deliberately the LEAST dramatic render on the board.
  3. 4.0s  R5b: the IDENTICAL arrival with THE SELENIUM SLOT EMPTY, and the immune
           system turning on the gland. NOT SOFTENED, NOT SHORTENED, NOT CROPPED.
  4. 4.0s  R5c: the formula as FILLED SLOTS WITH ONE SLOT DELIBERATELY EMPTY, then
           IRON latching onto a levothyroxine tablet and THE ABSORPTION STOPPING.
OST (post): captions; "NOT PRESENCE. PROPORTION." centred t=2.4s to t=4.6s;
           "IODINE FEEDS THE GLAND" lower third t=4.8s to t=6.8s;
           "IODINE WITHOUT SELENIUM" centred t=7.6s to t=10.6s;
           "IRON LEFT OUT ON PURPOSE" centred t=11.6s to cut
           NOTE: the script CAPITALISES "PRESENCE" and "PROPORTION" as VOICE emphasis.
           The stamp uses normal all-caps stamp treatment like every other stamp; the
           emphasis is NOT doubled on screen.
SFX: the bed returns here after the Week Four silence; the pulse comes back under the
     renders; ONE low hit as the frame re-weights, and nothing else. No sting on R5b.
TRANSITION: hard cut on "blocks levothyroxine from absorbing"
DIRECTION NOTE (VO): HARD REGISTER CHANGE. Measured and FLAT, the way a construction
           fact is stated, not sold. "How is that possible?" is a real question asked
           plainly, not a tease. PRESENCE and PROPORTION carry CAPS emphasis in VOICE
           only. Do not let R5b's content pull the read toward warning - the register
           is relief and the ad never threatens.
DURATION: 15s (44 words @179.0 wpm = 14.8s)

LAYER: ugc-stock/ugc-pickup + practical-macro + post
SHOTS (cut order):
  1. 1.2s  DOMESTIC home 1: an ordinary woman, an ordinary morning.
  2. 1.2s  DOMESTIC home 2: different woman, different kitchen.
  3. 1.3s  DOMESTIC home 3: different again.
           SHOTS 1-3 ARE THE PROOF PASSAGE. FOUR DIFFERENT WOMEN IN FOUR DIFFERENT
           HOMES ACROSS 1-3 AND 10-11. NO FACE HELD. NONE OF THEM IS "THE WOMAN WHO
           SAID IT". See the boxed rule above - this is a receipt-exposure guard,
           not a style note.
  4. 3.7s  PRODUCT ENTRY: the REAL Kindled bottle lifted off a daylight kitchen
           counter, unhurried, label toward camera but NOT PRESENTED. Real hand,
           domestic window light, NO seamless, NO turntable, NO e-commerce plate.
  5. 1.4s  <<RECALL 1>> the pre-alarm window - THE BEAT 10 FRAMING, not an alternate.
  6. 1.4s  <<RECALL 2>> bare arms in the cool kitchen - THE BEAT 10 FRAMING.
  7. 1.4s  <<RECALL 3>> the still frame - THE BEAT 10 FRAMING.
           SHOTS 5-7 LAND UNDER "waking up before the alarm with warm hands and a
           quiet head". They are the guarantee's antecedent made visible. This is the
           whole point of the v1.1 HARD-1 fix and it is boarded, not assumed.
  8. 2.5s  Back to the bottle on the counter. The guarantee sentence completes here.
  9. 0.8s  THE [pause]: dead hold on the bottle. THE GUARANTEE BADGE STAMPS IN HERE,
           AFTER the sentence has finished. Never over it - "30-DAY" must never be
           readable ahead of the audio as a supply window.
 10. 2.7s  DOMESTIC homes 4 and 5 (two cuts): the bottle ALREADY on other counters,
           already in use. Demand as UBIQUITY.
 11. 3.0s  DOMESTIC home 6: a hand lifting a dropper in a kitchen we have not seen.
 12. 1.4s  END FRAME: the Kindled bottle and dropper on the daylight counter. Locked.
           Both stamps hold. ~0.8s past the last word, then CUT TO BLACK.
FORBIDDEN ON THIS BEAT (hard): review screenshot, star rating, verified badge,
           testimonial card, name plate, age caption, held face under the quote,
           counted stack of bottles, stock count, customer count, percentage, price,
           discount, timer, low-stock meter, progress bar, end card, URL burn, logo
           animation, button, arrow, or any link chrome.
OST (post): captions to the last word;
           "WOMEN CALL IT A REVERSE EXORCISM" lower third t=0.6s to t=3.7s;
           "30-DAY MONEY-BACK GUARANTEE" badge t=14.3s to end;
           "IT DOES SELL OUT" lower third t=15.2s to t=17.4s;
           "NOT FROM SHORT SUPPLY" lower third t=17.6s to t=19.6s;
           "GO SEE IF IT'S IN STOCK" lower third t=20.9s to end
SFX: the bed builds in tempo through the proof passage and resolves warm under the
     end frame. Bottle set-down tick under shot 4. Near-silence in the [pause] hold.
TRANSITION: cut to black after the hold
DIRECTION NOTE (VO): steady forward pressure, confident, PLAIN SELL - the close is a
           NORMAL beat, pure sell plus reveal, zero anti-sell. "Women describe it as"
           is COMMUNITY REGISTER: a plural observation, never a quoted individual, and
           never read as if reciting a review. "three" carries VO-direction emphasis
           (deliberately NOT capitalised in the copy) as the scarcity REASON. "Go see
           if it's in stock" is the house register - a suggestion to go look, never
           "tap the link" and never "click below". Land it without rushing it.
DURATION: 22s (65 words @179.0 wpm = 21.8s, incl. one [pause])

Shot-family vocabulary (the editor's whole grammar): F1 ANATOMY (the render world, R1 to R5 — the layer that is allowed to hold) · F2 DOMESTIC (phone-grade real homes, 48 to 62, unstyled, ≤2.5s, no face recurring) · F3 PRODUCT (practical macro: the dropper, the pipette, the bottle on a real counter) · F4 WEEK CARD (the timeline device: 3 full cards, 2 lower-third time stamps, 1 badge) · F5 GRAPHIC/PROP (the proportion build, the vial, the badge, the caption track).

The family arc IS the argument: ANATOMY (the stall) → DOMESTIC (the first relief) → ANATOMY (why) → DOMESTIC (the fog lifting) → ANATOMY (the block) → CARD → DOMESTIC → ANATOMY (the route) → CARD → DOMESTIC → DOMESTIC held (permission) → CARD → DOMESTIC slowest (the terminal state) → GRAPHIC + ANATOMY, flat (the gate) → PRODUCT, alone on a counter (the close). Every week card sits between a mechanism and a benefit, which is the donor's alternating pulse rendered structurally rather than merely edited.

• No performer, no character, no continuity of person to maintain — the largest continuity risk class this chain carries on presenter boards (wardrobe, plate, eyeline, take-matching across a long read) does not exist here. What replaces it is render-world continuity, prop continuity and grade continuity, and those are what this audit tracks.
• The render world is one continuous piece of biology and that is the board's central continuity object. R1's stalled follicle is the same follicle that unblocks in R2, whose T3 docks in R3a and fails to dock in R3b, whose route is argued in R4, and whose construction is gated in R5. One palette, one scale language, one camera grammar, one lighting model, one generation session. The warm signal colour means active T3 and nothing else, on every render, including the Gate. An editor who intercuts a render from a different generation batch has broken the ad's argument, not just its look.
• The three WEEK CARDS are identical objects. Same field, same typeface, same weight, same position, same duration ±2 frames, same whoosh. A card that drifts in size or timing stops reading as a structural marker and starts reading as a title.
• The timeline never runs backwards and never skips. THE FIRST MORNINGS → WITHIN DAYS → WEEK TWO → WEEK THREE → WEEK FOUR → thirty days. Six markers, in order, no beat re-ordered, no marker reused.
• Prop law held: exactly one branded object exists — the real Kindled bottle and its dropper, which appears in the dropper macros from Beat 2 onward and in full at Beat 9's plant and Beat 12. The prescription vial is one physical prop, blank or turned, used twice (Hook C and Beat 9's plant) and it must be visibly the same vial. Every bottle on Beat 9's bathroom shelf is unbranded or turned. No competitor mark is legible in any frame.
• The grade arc is the emotional arc: cool render-world and grey pre-dawn (1A, 1B, 1C, Beat 10 shot 2) · domestic daylight warming through the middle (2, 4, 6, 8, 9) · cold again for exactly two frames (Beat 8's cold room, by design, because the claim is warm hands in a cold room) · flat clinical for the Gate · warmest of all in the end frame. Beat 10 traverses the whole arc inside one beat, from the darkest domestic frame on the board to the warmest, and nothing in it may be intercut out of order.
• Faces appear but never recur. Hook A's dropper woman, Hook B's seated figure, Beat 4's two-hander, Beat 8's colleague, Beat 10's family and Beat 12's six homes may all contain faces. No clip exceeds ~2.9s, no woman appears twice, and nothing is cut as a reaction shot. If a viewer could name a character afterwards, the mode has been executed wrong. Beat 12's proof passage is the strictest instance of this rule and the reason is a receipt, not an aesthetic.
• Only four things on this board are allowed to hold: the renders (3 to 5.5s), the three week cards (~1.3s), the two Week Four [pause] frames, and the end frame. Every other cut is 1.2 to 2.9s. No fifth hold may be added — the pause budget is 3.3s from the ceiling and it is already committed.
• Hook seams: all three variants exit on a hard cut out of R1 with the caption track live and the bed running, straight onto Beat 2's dropper macro. All three hooks are 22 words and run 0:07, so no body timecode shifts and no body element is variant-conditional — one body render serves all three cuts.

• First 5s: PASS on all three variants via Fork 4 strategy 3 (hook visual asset carries before any speaker — trivially satisfied, since there is no speaker on any beat) reinforced by strategy 1's on-screen-text layer. A: the stalled-hormone render reads as "something is not working" by t≈1.5s and the qualifier stamp lands at t=0.3s. B: a clock reading 9:14 a.m. over a woman who cannot get off the edge of the bed is complete by t≈1.5s, with the behavioural qualifier stamped from t=0.5s. C: an orange prescription vial alone on a bare counter is instant category recognition for this audience, with the qualifier stamped at t=0.4s. The donor's own verdict on this grammar is that the biology visual carries the interrupt by itself.
• Hook OST specs + word counts (VS2, ≤12 words each): A "IS YOUR THYROID UNDERACTIVE?" (4w) + "FOUR WEEKS" (2w) ✓ · B "NINE HOURS. STILL EXHAUSTED." (4w) + "FOUR WEEKS" (2w) ✓ · C "YOUR PRESCRIPTION DOES HALF THE JOB" (6w) + "THE OTHER HALF" (3w) ✓. Every stamp on the whole board is ≤6 words; the caption track is phrase-chunked at 3 to 6 words so no on-screen appearance anywhere exceeds the ceiling.
• Qualification-first on every hook OST: A's stamp names the condition in the second person (the only available mitigation for review SOFT-5, whose spoken line says "an"); B's stamp is the VOC-exact behavioural self-check; C's stamp names the prescription and its ceiling. All three qualify before they entertain, and all three land within 0.5s.
• VS5 (asset survives the full 5s): A — R1 runs t=0 to 2.6s, the stamp holds t=0.3 to 2.5s, the dropper is in frame from 2.6s and "FOUR WEEKS" from 4.8s: continuous ✓. B — the symptom frame is a single 3.0s shot with the stamp holding from 0.5 to 3.6s, then the dropper and R1: continuous ✓. C — the vial holds t=0 to 2.4s with the stamp from 0.4 to 3.4s, then the render from 2.4s: continuous ✓.
• U12 scan of every viewer-visible on-screen string: 0 found, 0 fixed. Full swept inventory, all dash-free: "IS YOUR THYROID UNDERACTIVE?" · "FOUR WEEKS" · "NINE HOURS. STILL EXHAUSTED." · "YOUR PRESCRIPTION DOES HALF THE JOB" · "THE OTHER HALF" · "THE FIRST MORNINGS" · "SELENIUM" · "T4 TO ACTIVE T3" · "WITHIN DAYS" · "NOT MENOPAUSE" · "ZINC LETS T3 IN" · "WITHOUT IT, IT NEVER GETS IN" · "WEEK TWO" · "STILL AWAKE AT EIGHT" · "SLOW GUT. LOW STOMACH ACID." · "UNDER THE TONGUE SKIPS BOTH" · "WEEK THREE" · "WARM HANDS IN A COLD ROOM" · "SOMEONE ASKS WHAT YOU CHANGED" · "NO GLUTEN CUT" · "NO ELIMINATION DIET" · "NO FIFTH BOTTLE" · "NEVER STOP YOUR PRESCRIPTION" · "THIS DOES THE OTHER HALF" · "WEEK FOUR" · "BEFORE THE ALARM" · "SHE'S THE ONE AT THE TABLE" · "NOT PRESENCE. PROPORTION." · "IODINE FEEDS THE GLAND" · "IODINE WITHOUT SELENIUM" · "IRON LEFT OUT ON PURPOSE" · "WOMEN CALL IT A REVERSE EXORCISM" · "30-DAY MONEY-BACK GUARANTEE" · "IT DOES SELL OUT" · "NOT FROM SHORT SUPPLY" · "GO SEE IF IT'S IN STOCK". Remaining em/en dashes: 0. ("30-DAY", "MONEY-BACK", "T4", "T3" are compound hyphens and alphanumerics and stay.) The caption track additionally carries a standing instruction: the script contains no spoken em-dashes, and any chunk boundary in the caption layer is rendered as a line break, never as a dash character.
• Numeric surface audit (the board's own no-invented-number check): the only numbers rendered anywhere on this board are "FOUR WEEKS", "WEEK TWO", "WEEK THREE", "WEEK FOUR", "NINE HOURS", "EIGHT", "T4"/"T3" and "30-DAY" — every one of which is the timeline, the VOC's own symptom, the hormone names or the guarantee. Zero stock counts, zero customer counts, zero percentages, zero prices, zero discounts, zero lab values, zero doses, zero mg, zero %DV, zero timers.

production_limitations.md §2a/§2b/§2c/§2d all read "(empty — populates via update sources in §4)" → 0 non-template entries → the formal YS6 cross-check silent-skips per the file's own documented heuristic. Declared, not silently dropped. Tool-knowledge flags applied from avatar_tool_prompt_syntax.md plus the layer routing:

1. Fork 1 rationale — this is a light production ask, and the reason is structural. There is no presenter, therefore no lip-sync, no Soul ID training pass, no avatar tooling, no continuous-read quality risk, and no presenter shoot day. Against Run-3's S1 (an 8:17 continuous authority read) and this run's V1 (a 9:43 one), V5 has no equivalent exposure anywhere. What replaces it is a render-world dependency, which is a different and smaller risk class but is not zero — see #2.
2. The render world is the board's single hard dependency and it is ONE job, not nine. R1 through R5c must be generated in one session, one prompt lineage, one palette, one scale language, with a re-roll budgeted on each and two on R4a. Nine independently prompted renders that look like nine different pieces of biology destroy the argument the whole ad is built on. Route: higgsfield-generate, GPT Image 2 keyframes → Seedance 2.0 image-to-video.
3. Two renders are matched pairs and must be generated as pairs, not as singles. R3a/R3b (dock versus sealed receptor) and R4a/R4b (swallowed versus sublingual) each differ by exactly one variable, and an unmatched pair is worse than a missing contrast. Generate from a shared keyframe, change one thing, budget the re-roll on the pair.
4. Anatomical legibility beats spectacle, and cartoonish output is the mode's documented failure. The report's own warning on D04 is that cartoonish animation collapses the documentary illusion and takes conversion with it. QC every render against "would a viewer believe this is a picture of her body", not against "does it look impressive".
5. Imagery is never self-nerfed, and three renders are where that will be tested. R3b (the sealed receptor and the dark cell), R4a (the tablet half-opened in a stalled gut) and R5b (the immune system turning on the gland) are the board's visceral frames. The donor report's §A3 advisory to soften them for platform policy is deliberately excluded per the script's own line 91 — there is no compliance layer in this chain. If a provider returns a polite render, re-craft the payload and generate the same shot again. Do not accept the soft version and do not shorten the shot to hide it.
6. No numbers inside the render world or the proportion build. The Gate's argument is relative geometry with no numeric surface at all — no mg, no %DV, no percentage, no axis, no chart furniture. This is the single easiest place on the board to invent a number by accident, and product_facts §6 bars it absolutely.
7. Casting constraint — hands, bodies and one voice. No presenter, no talent with a line. What must be cast: one VO, female 50 to 60, register anchor 1.2 dialed clinical, scripted-clean at 179.0 wpm with deliberate enunciation on the polysyllabic names. What must be sourced, not cast: every woman who appears in the domestic layer, from the licensed UGC/stock pass, 48 to 62, unstyled, real skin, no clip past ~2.9s and no woman twice. What must NOT exist: a presenter, a spokesperson, a doctor, a costumed authority, a rendered character, or any on-camera talent with a line. There is no casting call and no shoot day for talent on this board.
8. The domestic layer needs at least ten distinct homes. Six in the close alone (the proof passage's receipt discipline depends on the women being genuinely different), plus the morning kitchens, the bedroom, the stairs, the desk, the workplace and the family table. A stock pull that recycles one household across the board destroys both the compilation grammar and the plural-community proof frame. Source from the licensed UGC/stock library first; the in-house pickup pass is needed only for the product macros, the clean drain, the plant frame and — if the stock pass returns only staged versions — the family table.
9. The three recall images are dual-purpose assets and must be treated as such. The pre-alarm window, the bare arms in the cool kitchen and the still frame appear at full length in Beat 10 and again at ~1.4s each inside Beat 12's guarantee clause. They must be the same framings both times. An editor who substitutes alternates at Beat 12 silently removes the antecedent the v1.1 close was rewritten to create.
10. The badge is a label-truth surface. It reads exactly "30-DAY MONEY-BACK GUARANTEE" and nothing else (product_facts §6, the one standing offer fact), it is native-simple type with no seal and no ribbon, and it lands after the guarantee is spoken whole so "30-DAY" can never be read ahead of the audio as a supply window (the E3 v1.3 lesson, carried).
11. Anonymity and fact discipline in every frame: the prescription vial is blank or turned, Beat 9's shelf bottles are unbranded or turned, no competitor mark is legible anywhere, and zero invented numbers appear on screen — see the numeric surface audit above.
12. Nothing is burned in camera. Every caption, stamp, week card, the proportion build and the badge is a post layer.
13. Runtime discipline (the board's one real editorial risk). Delivered 128.7s (2:09) on all three variants against a 132s ceiling — 3.3s of headroom, which is thin and already committed to the three week cards and the two Week Four holds. Both Week Four holds and all three card holds are ≤0.8s. No sixth hold, no extended render, no lengthened card. If a cut returns at 131s, find the long hold — it will almost certainly be the Gate, which is the beat with four slow shots and the most room to drift.
14. asset_library.md does not exist for Kindled (INVENTORY/ carries angle_library, avatars, mechanism_library, speakers_library, voc, winners). Fork 3 option 3 is therefore unavailable and the B-roll source mix is option 5 (mixed): donor-derived for the render world, licensed UGC/stock for the domestic layer, practical macro for product, post for the timeline device and the proportion build. Declared, not silently skipped.

Totals: 35 distinct assets across 44 boarded cuts (41 shared body cuts + 3 hook cuts per variant, so every delivered variant runs 44 cuts — identical on A, B and C). Breakdown: 10 3D renders in one world (the board's single hard dependency), 6 practical macros, ~17 domestic UGC clips across at least 10 distinct homes (of which 3 are dual-purpose recall assets and 6 are the close's proof passage), 3 week cards + 1 proportion build + 1 badge + 1 caption layer + 32 stamps in post, 1 sourced prescription-vial prop, 1 VO. Three final cuts, ONE body render, ONE seam — all three hooks are 22 words and 0:07, so no body element is variant-conditional and no timecode shifts.

Per-beat prompts collated above in layer-routed production syntax (LAYER / SHOTS / OST / SFX / TRANSITION / DIRECTION NOTE), per avatar_tool_prompt_syntax.md's real-shoot conventions extended with the per-layer routing this faceless mode requires and which the v2 per-beat schema does not model (v2 assumes one production tool per beat). Layer stack: higgsfield-generate (the render world, R1 to R5c — GPT Image 2 keyframes → Seedance 2.0 image-to-video, one session, one lineage, two matched pairs, re-rolls budgeted) · licensed UGC/stock (the domestic layer, 10+ homes) · in-house UGC pickup (the recall triptych, the plant, the cold hands, the family table) · practical macro (the dropper, the drain, the bottle, the end frame) · post (the three week cards, the two timeline stamps, the proportion build, every caption and stamp, the badge, SFX, the bed) · VO (cast and recorded). There is no avatar tool on this board and no lip-sync anywhere.

VO brief, first line (carry it verbatim into casting): faceless female narrator, 50 to 60. Register anchor 1.2 "The Compassionate Educator" dialed clinical rather than warm — authoritative, reassuring, slightly urgent only at the close. She is a voice register, not an avatar, not a face, and she carries NO credential persona: she never says or implies she is a doctor, and Hook C's "anyone inside thyroid medicine knows" is common professional knowledge stated plainly, never an identity claim. 179.0 wpm, scripted-clean, zero disfluency. Deliberate enunciation on the polysyllabic names — selenium, levothyroxine, and the T4/T3 pair get their full length. Emphasis words NEVER, PRESENCE and PROPORTION are carried in voice and are never burned on screen; "normal person", "quiet" and "three" are direction-only emphases and are deliberately not capitalised in the copy so it never reads as shouted. The register is relief throughout: the ad never threatens and must not be directed as if it does.

• VS1 (B-roll density): cuts land every 1.2 to 5.5s across the board, far above the 1-per-10s ceiling. CONFIRMED-INTENTIONAL, donor-faithful: the donor's measured grammar is two alternating A-rolls, and in a D04 faceless board the footage is not B-roll interrupting a presenter, it is the primary layer. The VS1 band does not model a faceless mode — there is no talking head for B-roll to cut away from. The rule the board actually enforces instead is the donor's own: variable and load-bearing pacing, with renders held and domestic clips fast.
• VS4 (transition consistency): hard cuts everywhere, zero exceptions, zero dissolves. The three week cards are hard cuts in and hard cuts out. Consistent by construction; nothing flagged.
• VS6 (cross-adaptations): 4 logged in-board — the timeline device ← Anchor B (chronological-marker geometry and hook compression kept; its claymation doctor presenter rejected wholesale, plus its day-grain, its 191.4 wpm and its parasite content) · Hook 1B ← Anchor C (H01 visual-diagnosis form kept; its AI-monk persona and body-shaming frame rejected wholesale, and its below-winner-bar score means it is a form citation, never a performance argument) · Hook 1C ← Anchor D (H04's withheld-insider function kept; its first-person credential signature not executed, its 40.2% share not banked per review SOFT-3, and its on-camera-urologist-in-a-car persona rejected in full) · Beat 11's proportion build ← Anchor E (comparative geometry kept; its EUREKA arc, D09 mode and 70%-off close rejected, and its numbers inverted out — ours makes the same argument with no number at all).
• VS3 / VS3b: every beat cites Anchor A or logs an original-direction rationale, and every distinct cue traces to an anchor or a per-cue rationale. Seven declared original-direction calls: Beat 4's three cognitive shots (calibrated to "words come when you reach for them"), Beat 5's success/failure matched render pair (the donor renders only the positive case; our copy dramatizes the failure and the review scored it above the donor for that), Beat 6's empty-sofa-as-absence, Beat 7's matched route pair (the donor renders one route, our sentence names two), Beat 9's side-by-side plant (the donor has no adjunct to render), Beat 10's Hook B inversion for "your head is quiet", and Beat 12's recall triptych (the donor's guarantee has no named antecedent; as of v1.1 ours does).
• Review HARD-1 / HARD-2 (both FIXED in v1.1): named here so the package inherits the correct disposition. HARD-1's fix is the board's most consequential input — the guarantee now names three outcomes, so the board makes those three images recall assets and replays them inside the money sentence. HARD-2's fix is the board's strictest content rule — the proof line is plural community voice, and the boxed rule at Beat 12 exists so the picture cannot re-attach what the copy just detached.
• Review SOFT-1 (soft front rungs): mitigated storyboard-side by the two lower-third timeline stamps, so the timeline is visibly running from the first body beat. Copy unchanged, and the review recommended the change as optional.
• Review SOFT-2 (synthesized behavioural count): mitigated storyboard-side by not rendering it — no stamp carries the number, no frame counts bottles, and the phrase lives only in the word-mirroring caption track. Named for the human: if Zied wants the copy on the filed household-bulk shape instead, that is a script edit requiring a standalone re-read of the close before re-locking, not a storyboard change.
• Review SOFT-3 (Hook C lineage over-claims H04): boarded as an honest anchor note rather than argued away — Anchor D's block states the deviation and explicitly declines to bank the 40.2% share. Copy untouched, per the review's own instruction.
• Review SOFT-4 (the sublingual beat runs cold): mitigated by the picture, never by the copy, and explicitly not softened — Beat 7's render pair is the most visceral on the board and carries the heat the sentence does not.
• Review SOFT-5 (Hook A drops the possessive): mitigated in the OST only — the qualifier stamp is second person even though the spoken line is not.
• Mode-novelty flag (operator-level, not a rule violation): this is the account's first D04 board and the chain's first render-world-carried ad. The no-presenter contract above is written to be executable with no in-house precedent, but the first cut should be QC'd specifically for the three failure modes this mode has: (a) a domestic clip held long enough that a woman starts reading as the narrator; (b) renders from more than one generation batch, which breaks the biology into unrelated pictures; and (c) a softened R4a or R5b, which converts the mechanism from a physical event into an illustration.

Concept ID: V5 · CID: KD_C0087 (minted) Production Target: HYBRID layer-routed — higgsfield-generate render world (10 renders, ONE session/lineage, 2 matched pairs) + licensed UGC/stock domestic layer (10+ homes) + in-house UGC pickup (recall triptych, plant, family table) + practical product macro + VO + all text in post. NO presenter, NO lip-sync, NO avatar tooling, NO casting call for talent with lines. Visual Style: donor-derived clinical 3D biology hard-cut against domestic daylight, punctuated by the week (resilia D04 grammar, word-mirroring bottom-centre captions, variable load-bearing pacing) Comp Library Anchors: 26907486858952165 (DONOR/SEED, pinned CORNERSTONE), 1003858735354265 (donor's own advertiser sibling — timeline geometry + hook-A H03 formula), 1515030503489118 (hook-B H01 formula, below winner bar — form-only), 1644758646619419 (hook-C H04 formula, persona rejected wholesale), 1238484691057182 (gate-beat comparative geometry, numbers inverted out) Mute-test: PASS (all 3 hook variants) Production-limitation flags: 14 (one-render-world dependency, 2 matched pairs, anatomical legibility, no-self-nerf on 3 renders, no numbers in the render world or the proportion build, hands-and-voice-only casting, 10+ distinct homes, 3 dual-purpose recall assets, badge label-truth + placement, anonymity, all text in post, 3.3s committed headroom, no asset_library for this brand, YS6 silent-skip declared)

**Adapted-convention / compat skips (flagged, not silently dropped):** Beat 1A/1B/1C hook variants · cumulative INTEGER M:SS contiguous timecodes, re-derived from per-beat word counts @179.0 wpm and cross-checked against the review's §4/§5 tables — **identical on all three variants because all three hooks are 22 words** · CID KD_C0087 stamped at storyboard time (already minted — no mint-at-ship collision) · donor PINNED as anchor cornerstone with NO fresh comp query (run-order directive), supporting anchors drawn from the concept's cited formula rows plus the donor's own advertiser sibling and one run-4 geometry reference · twelve-beat discipline preserved with the donor's monotonic ramp intact · **no-presenter contract + shot-family vocabulary + per-beat footage-layer field carried forward as board sections** (no v2 schema field models a faceless two-A-roll mode) · **TIMELINE DEVICE and RENDER WORLD hoisted above the beats as their own section**, per the V2 finding that a recurring load-bearing object is under-specified when boarded inside a beat · `compatibility_matrix` dynamic × setting check declared inapplicable (no performed dynamic exists) · `production_limitations.md` YS6 cross-check silent-skipped per the file's own heuristic (0 non-template entries), declared · `asset_library.md` absent for this brand, Fork 3 option 3 unavailable · SKIPPED per echo convention: rotation-log append (§2g), concept_pipeline append (7c), library_changes style-family log, Notion/board/publish (§7d) — "echo run — handled at package" · save path redirected to the Echo session tree.

1. A timeline-spine board needs its timeline hoisted as a DEVICE with a weight ladder, not boarded as three title cards. The instinct is to card every rung. That fails twice: it burns markers the VO does not speak (our first two rungs are "the first mornings" and "within days"), and it flattens a monotonic ramp into uniform chapter headings. The answer here was six markers in two weights — lower-third stamps for the spoken-soft rungs, full-frame cards for the spoken-bare ones, and the badge as the sixth. The escalation is the ramp, and it turned out to be the only available storyboard-side mitigation for a review SOFT about soft front rungs. Recommend: any board whose spine is chronological builds a marker ladder first and boards the beats second.
2. When a review HARD is fixed by welding a guarantee to named outcomes, the storyboard acquires a hard dependency it must board explicitly. v1.1 replaced an orphaned demonstrative with three named outcomes — which silently made three Beat 10 images into antecedents that must be recallable thirty seconds later. A board that treats them as ordinary lifestyle clips loses the fix without ever contradicting the copy. This board makes them dual-purpose recall assets with the same framing in both places and a 1.4s triptych inside the guarantee clause. Recommend: whenever a close names an earlier outcome, the board marks the earlier shots as recall assets and replays them, and the asset matrix flags them dual-purpose.
3. A receipt fix in copy can be undone by the picture, and the board is where that has to be blocked. HARD-2 removed a Kindled-customer frame from a community VOC quote. Every default staging instinct for a proof line — a review screenshot, a star row, one warm face held under the quote, a name plate — puts the receipt exposure straight back, without changing a word. The fix here was a boxed hard rule plus a deliberately plural picture (four women, four homes, ≤1.5s each, no face held). Recommend: when a review clears a HARD by de-attributing a quote, the storyboard carries an explicit anti-attribution block, because the copy-level fix does not bind the picture.
4. The run's own donor set is not always the best place to find a same-mode anchor. Check the donor's own advertiser first. V2's finding #4 said to check the run's set before re-querying. Here the run had no second D04 — but the donor's advertiser resilia had a second measured winning faceless chronological-timeline ad already cited in the mini-brief as the H03 exemplar. It is a closer geometry match than any run-4 sibling would have been, at zero rotation cost. Recommend the check order: pinned donor → the donor's own advertiser → the run's other donors → fresh query.
5. Headroom under ~4s should be declared "committed", not just "inside the band". V2's finding #3 established that headroom above ~3s must be stated as unspendable. This board is the other case: 3.3s against a 132s ceiling, with five named holds already claiming it. Stating only "inside band ✅" would invite an editor to lengthen a render. The block here states the number, names what has already claimed it, and names the beat that will drift first if it goes over. Recommend: when headroom is under ~4s, say what it is committed TO and which beat to audit first.