STORYBOARD — V5 Give Her the Bread — Solo × At-home (D09 prop-demo, four-phase) [KD_C0093]

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

Version note (v1.2, 2026-08-01 — the OST pass, and it is the reason this board exists in the shape it does). v1.2 touched no spoken words (SHA-256 verified byte-identical pre/post) and re-derived every deterministic figure unchanged. What it changed is exactly the surface this board owns: Hook A's burned caption was restored to donor CAPTION parity — the donor's measured card keeps its medical label ("A DIABETIC'S"), ours had dropped it to "HER", so sound-off the flagship card arrested without selecting anybody. It now reads "SHOVE THE BUTTERED LOAF DOWN THE HYPOTHYROID WOMAN'S THROAT." and the mute test is earned on BOTH halves: the CAPTION carries the violence and the qualification, the VISUAL carries the excess. Hook C's card was re-authored to "A HYPOTHYROID WOMAN. 30 DAYS OF BREAD." so the label leads and the card selects before it dares. Both cards are carried into this board VERBATIM and were not "improved." The donor's granular guarantee triplet is tagged [DONOR TEXT — NEVER OURS] in the script's analysis prose and appears nowhere on this board, in no card, badge, prompt or note — the only guarantee string that exists here is the product_facts §6 confirmed fact.

Hook-variant handling (Echo 1×3 contract): Beat 1 exists as THREE storyboard variants (1A / 1B / 1C) — interchangeable opening sections, all three exactly 0:00–0:03. Beats 2–9 are the shared locked-body storyboard. All three exit on the IDENTICAL seam frame — a hard cut off the gorge with the bottle flash and the first clock tick already running — so any variant cuts straight onto Beat 2's first line ("That was Saturday.") with the gorge as the visible antecedent and no re-introduction. Hooks A and B end on the identical handoff ("She's on Kindled."); Hook C ends on "Watch her scale.", which lands on the same seam because the seam frame already contains the scale. There are ZERO variant-conditional body elements on this board — every frame of beats 2–9 ships identically on all three cuts.

Delivery markup: [pause] ×2 (Beat 4 after "…she needed is." · Beat 6 before "Not a fat-burner.") stripped from all on-screen text and carried into per-beat DIRECTION notes as tight holds ≤0.8s. Spoken emphasis caps (NOTHING · FAMINE · NEVER) are voice, never a burn — none of the three appears in any card on this board. Pause note: 2 tokens ≈ +1.6s over the word-derived runtime → delivered A 67.01s · B 66.74s · C 67.01s against the 69s band ceiling. Headroom: A/C 1.99s · B 2.26s. Against the 240s ceiling the headroom is ~173s and the ceiling never comes close — the binding edge is the donor's own +15%, not the ceiling. Editors must NOT pad, must keep both holds tight, and must add NO third pause. Per the no-word-shaving rule nothing is trimmed anywhere to buy margin.

Nine-beat discipline (donor budget preserved): 9/9 donor beat order reproduced, no beat added, dropped or re-ordered. Heaviest beats = UMPb 15s (22.61% word-share vs donor 20.38%, Δ+2.23pp — the largest deviation in the ad, and it is the mini-brief-mandated terminal) and UMS 10s (16.52% vs 17.54%, Δ−1.01pp) — the donor's own two heaviest slots. Mechanism-dominant curve holds: b4+b5 = 39.1% of body words vs donor 37.9%.

[R] §09 documents four production phases for this donor and they are the spec, not a description. Every beat below declares which phase it lives in, which hero object owns the frame, and which capture register it is shot in. A D09 board that treats the props as B-roll around a talking head is not executing the format — in this donor the object is the co-star and the presenter is the guest.

The four phases, mapped beat by beat

The two declared divergences, and why. Our phase 2 runs 4s longer and phase 3 starts 4s later because the mini-brief confines the presenter to beats 4–6 ONLY (the referee resolution that lets D09 stand at all: "the hook, the proof and the offer — the beats that CARRY the ad — are all prop/demo. The presenter carries only the mechanism block"). The donor's presenter enters at its own b3; ours does not, so our b3 (Problem Reframe) stays VO over prop footage and phase 2 simply extends through it. This is the correct reading of the binding instruction, not a drift — but it is a real difference from the donor's measured windows and it is on the record.

The three hero-object states — the D09 analogue of a composite-state vocabulary

S2 in Run 3 needed P1/P2/P3 because its panel-to-performer ratio was the persuasion arc. A prop-demo needs a different axis: who owns the frame, the object or the human. Declared here as the board's whole vocabulary. STATE_AXIS = object-vs-human frame ownership.

The three capture registers — a documented, donor-measured look shift (VH2 disposition)

The board deliberately changes its look twice. This is not a continuity break; it is the donor's own measured grammar, and it is boarded as a listed shift so VH2 is satisfied by documentation rather than by sameness.

🔒 THE TWO-WOMEN RULE (continuity-critical casting — board this hard)

The demonstration woman ("her") and the presenter are TWO DIFFERENT WOMEN, and they must never be conflated. The ad speaks about "her" in the third person for its first forty-seven seconds. If the presenter's face is also the gorge face, the third-person address collapses into a woman describing herself in the third person, and the demonstration stops being a demonstration.

• The demonstration woman: 45–55, unstyled, no makeup, real kitchen clothes. Face is incidental (O2) — she is never framed as a speaker, never addresses the lens, and has no lines anywhere in the ad.
• The presenter: 45–55, warm, direct to lens (O3), a visibly different woman — different hair, different build, different room. She never handles the loaf, never appears in the bathroom, and never shares a frame or an eyeline with the demonstration woman.
• The two are never in shot together and there is no shared space. No cutaway implies they are in the same house.
• The VO is a third voice — female, fast, authoritative, punchy, unattributed, and neither of the two on-camera women. The seams at 0:13 (VO → presenter) and 0:47 (presenter → VO) are hard cuts and the register change is the point.

Hard prop rules

• The excess is the interrupt, not the food. A whole loaf torn open, butter applied absurdly thick, a folded slab going into the mouth with a second piece already in the other hand. One polite bite is the self-nerf. The donor's measured interrupt is "a man aggressively shoving a massive, whole cheesecake into his mouth" — ours has to read at that amplitude or the hook is off-donor. Do not prettify (mini-brief, binding: "Prettifying any of it destroys the pattern interrupt").
• One scale, one bathroom, one light, one session. The b2 demonstration rests entirely on the digits being visibly THE SAME across four checkpoints. Shoot all four in one sitting, same distance, same angle on the floor. A different frame or a different bathroom converts a demonstration into four unrelated photos of a scale.
• The scale's digits are practical, never composited. They are a prop reading, not a claim. A number added in post is an invented number and is banned. Never a hero close-up that turns her absolute weight into the subject (script direction, brand_bible §9.2); frame at an angle, from standing height, the way somebody actually looks at their own scale.
• No numeral, count, price, percentage, stock figure or review figure appears anywhere on screen other than the scale's practical readout and the calendar's own printed dates. product_facts §6: offer facts are session-provided, never invented.
• Exactly one branded object exists: the Kindled bottle. It flashes once in every hook (donor parity with the s2 product-packet flash), returns at Beat 7 and stays to the end card. Nothing else in the ad carries a brand mark; competitor products do not appear at all (there is no disqualification block in this donor and importing one is off-donor).
• The ticking clock is a real object in the room, not a graphic. Donor parity — its clock is a prop, and the SFX is what carries it.
• A cut every 1–2s through phases 1, 2 and 4; the cutting slows inside phase 3 (donor-measured: "aggressive — 1–2s cuts throughout, slowing only for the biological explanation").
• The bed runs under everything and drops out entirely at the CTA — a donor-measured property, not a preference.

Asset pack (capture / build pass, before the edit)

Phase 1/2 (phone, one day, one kitchen + one bathroom): the gorge take — whole loaf torn open, butter block, both hands loaded (multiple takes at rising amplitude, cut the ugliest) · Kindled bottle flash on a kitchen counter · a real ticking clock · a wall calendar with SAT / SUN / WED / DAY 7 legible · four scale checkpoints, one session · Hook B: kitchen scale with a slick of oil in a pan, grams readout · Hook C: wall calendar with DAY 1 circled, and the bathroom scale on the floor by the door · Beat 3: the week's plates — real bread, real butter, a fork actually used — plus the untouched scale.

Phase 3 (presenter day): presenter block, beats 4–6, one room, one wardrobe, continuous coverage · 3D animation builds ×2: (a) thermostat dial turning down a notch, then a muscle fibre thinning; (b) the conversion sequence — T4 stacked outside a closed receptor, the selenium step flipping it to T3, T3 docking and the cell lighting from inside, a balance beam holding the zinc-copper ratio, an iron icon crossed out.

Phase 4 (product day): dropper macro, berry liquid drawn up · under-tongue macro (real hands, real mouth) · bottle turned in hand · breakfast table · bread basket refilled · bottle on the counter beside the calendar · guarantee badge (post graphic) · end card — the buttered slice and the bottle side by side.

Standing doctrine, and this batch's recurring defect (8 cards failed it across 4 of 5 scripts): every burned-in card must qualify sound-off on its own — SYMPTOM / IDENTITY / SITUATION / FAILED_SOLUTION / BELIEF — and may not outsource its qualification to the audio.

The script's three cards are carried into this board VERBATIM, character for character. Not one was re-worded, shortened, re-punctuated or "improved" into a teaser.

Cards ADDED by this board — two, both declared with species, both passing the same test:

One non-qualification artifact, declared honestly rather than dressed as a species:

Cards deliberately NOT added, on the record:

• Beat 5 (UMS) ingredient burns. E3 burned "KSM-66 / SELENIUM / ZINC" keyword stamps. Not here: ingredient names are labels, not qualifiers, and the beat already has a stronger sound-off carrier — the presenter counting the minerals off on her fingers over the conversion animation (script direction: "prop-demo texture even inside the mechanism block").
• Beat 6 (Focus/Reject). The signature beat ships bare. The script directs the music to thin under the pause so "Not a fat-burner. A conversion." lands dry; a burn would perform the line for her. Same logic as E3's Beat 3, inverted — there the card detonated alone, here the silence does.
• Beat 2 (Proof). Carried entirely by diegetic artifacts — the calendar pages, the clock, the scale readout. This is exact donor parity: the donor proves on on-device readings, not on cards.

VS2 word counts (all ≤12): 9 · 4 · 7 · 7 · 8 · 3. U12 scan: zero em dashes, zero en dashes across all six strings; "30-DAY" and "MONEY-BACK" are compound hyphens and stay.

Rotation: N/A this run — the donor is PINNED per the run order (SEED, binding; no rotation re-query executed, per the task directive). Supporting anchors are the concept's and script's own CITED formula/exemplar rows — 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, S2 and S4 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: the donor is itself a D09 and supplies grammar for all nine beats. Four anchors, not five — declared. Each of the four has a load-bearing job. Padding to five with a filler citation is exactly the drift VS3 exists to catch.

Score-hygiene note (review S-1, closed on this board): Hook C's lineage ad is carried at its verified winner_score 65.38 (mined/video_corpus.jsonl, and the Research Brief's own reference table). The higher figure the script quotes for that ad is a writer-side number that appears in no corpus file, and it is not reproduced anywhere on this board.

Carried directive (script → board, honoured): the in-niche comp evidence cited here is ws 73.79 (715145290969922), the top angle-matching in-niche winner for weight-despite-restriction. The higher-scoring headline ad the mini-brief originally cited for this family is a MIRROR-family symptom-stack ad that supports V4's angle, not ours; neither its ad_id nor its score is reproduced anywhere on this board.

[Anchor A — CORNERSTONE] 1508278883991064 — lirae — winner_score 60.81 — video (THE DONOR, SEED — pinned CORNERSTONE) Hook pattern: H07 Lecture Bait at 3s / 11 words — the shortest hook in the batch. A violent imperative + an excess quantity of the forbidden object + a blunt possessive medical label + the brand named at 0% depth, over low-quality native mobile video of the act. [R] mute test 5/5: "the text overlay and the visual of a man biting a whole cheesecake are incredibly jarring even without sound" — note the verdict credits the overlay AND the visual jointly, which is the standard this board's hook is built to meet On-screen text style: one burned high-contrast headline at the hook, carrying the spoken line's own grammar including the medical label. No continuous caption track; the proof beat's information is carried by on-device readouts, not by cards B-roll cuing: there is no B-roll — there are PROPS. Cheesecake, a ticking vintage clock, a digital glucose meter, an MCT dropper. Rapid 1–2s cuts, slowing only for the biological explanation Transition style: hard cuts throughout; the one sustained passage is the 31-second presenter block; music drops out entirely at the 1-second CTA Mute-test asset: the burned headline + the transgression visual + the meter readings

Best-fit beat type in our script: ALL (SEED full-pattern borrow); primary — the transgression hook (1A), the device-demonstration proof beat (2), the enemy-relocation UMPb (4), the Focus/Reject signature (6), the welded offer (8), the six-word CTA snap (9), and the whole four-phase production spine

Tooling stack inferred: real-shoot transgression stunt + real measuring device + a real presenter for the mechanism block + commissioned 3D cellular animation — maps 1:1 to our hybrid routing. No adaptation strain: this is the donor whose production we are literally reproducing

[Anchor B] 814438051152496 — lirae — winner_score 81.87 — video (the pool's highest-evidence ad; the set's SECOND D09) Hook pattern: H01 Symptom Mirror at 9s — an everyday medical artifact reframed as captivity, with the qualifying ritual named before any claim ("prisoner to your glucose monitor, finger pricks, crashes, constant food math"). This is Hook B's formula lineage, compressed from 28 words to 11 at our donor's hook-word parity On-screen text style: offer/benefit-forward burns; qualification carried in the spoken inventory B-roll cuing: the tactile-macro proof grammar — the softgel sliced open on camera, the CGM patch peeled off the arm, harvesting footage, a meter reading. [R]'s "what to copy" names the macro product demonstration outright: instant, undeniable proof of the one thing every competitor claims and none shows Transition style: UGC compilation cutting — many short practical shots, one hero macro demo Mute-test asset: the peeled patch + the sliced softgel

Best-fit beat type in our script: Hook 1B (the ritual-artifact qualification door) and Beat 7 Product Intro & Delivery System (the tactile macro that makes a delivery-system argument visible — its sliced softgel is our dropper-and-under-tongue macro). SECONDARY: the phase-2 capture register (its practical-object footage is the texture bar). FLAG: its CGM/glucose content and its "tap Shop Now" close are not imported — the artifact is ours (a kitchen scale with oil on it), and the house CTA rule bans link language (VS6 cross-adaptation logged)

Tooling stack inferred: real-shoot UGC compilation + practical macro — maps 1:1 to our phase 1/2/4 capture and macro passes

[Anchor C] 26907486858952165 — resilia — winner_score 65.38 — video (Hook-C H03 chassis + the 3D anatomical craft bar) Hook pattern: H03 Time-Lapse Trial at 5s — "Here's what happens to your arteries if you take two softgels of aged odorless garlic every day for 4 weeks": [subject] + [explicit timeframe] + [product state] + [withheld measurable result]. That is Hook C's shape exactly, and ours states the trial against her own scale On-screen text style: dated-checkpoint structure carried as visible timeline markers (Week 1 → Week 4) B-roll cuing: a highly detailed cross-sectional 3D anatomical animation carries the mechanism — the craft bar for medical CGI in this account's adjacent space Transition style: chronological dated segments Mute-test asset: the 3D cross-section + the dated markers

Best-fit beat type in our script: Hook 1C (the dated-trial calendar grammar — its week markers become our DAY 1 circle) and Beat 5 UMS (the conversion animation's craft bar: cross-sectional, high-detail, legible at phone size). FLAG: its D04 faceless-narrator format is rejected wholesale (ours has a presenter for exactly three beats and props for the rest), and its close — a 70% discount plus a 642-pouch batch-scarcity count — is explicitly NOT imported: our donor has no scarcity line, inventing one is off-donor, and a stock count would be an invented number (VS6 cross-adaptation logged)

Tooling stack inferred: dedicated 3D animation pipeline + UGC inserts — maps to our higgsfield-generate animation layer

[Anchor D] 715145290969922 — thebbco — winner_score 73.79 — video, 10s micro-hook (the top angle-matching IN-NICHE winner) Hook pattern: a 2-second diagnostic scroll-stop — a glowing high-contrast 3D anatomical model on a stark black background, shot slightly low so the organ has clinical presence. Proof that a clinical 3D render stops the scroll for THIS avatar, in THIS niche, at a winning score — which is the evidence our animation layer needed and the donor (cross-niche) could not supply On-screen text style: a short conditional symptom line burned over the render B-roll cuing: dynamic red circles highlighting the exact constricted site — naming the location, not the concept. The single most transferable device in the anchor set for our conversion animation Transition style: a continuous loop, no cutting Mute-test asset: the render itself plus the burned line

Best-fit beat type in our script: Beat 5 UMS — the highlight-the-exact-site device (our closed receptor, our docking step, our zinc-copper balance beam, our crossed-out iron each get named by a highlight rather than by a caption). SECONDARY: Beat 4's thermostat-and-muscle-fibre inserts (same craft bar, same legibility discipline). FLAG: its 2-second micro-hook format and its long-form-text pairing are not our shape at all — this ad's job is to be read alongside a wall of copy, ours is a 67-second self-contained video. Borrowed at ANIMATION-CRAFT + HIGHLIGHT-DEVICE level only (VS6 cross-adaptation logged)

Tooling stack inferred: 3D render pipeline — maps to our higgsfield-generate animation layer

Global visual spine (applies to every beat unless overridden): 9:16 vertical. Phase and hero-object state declared per beat (see the four-phase contract). Cutting: 1–2s throughout phases 1, 2 and 4; slower inside phase 3, where the presenter runs in sustained takes with animation intercut. Capture register per phase: R1 ugly phone (0:00–0:13) → R2 warm domestic (0:13–0:47) → R3 clean product (0:47–1:07). Audio: driving rhythmic bed from t=0; ticking-clock SFX from t≈3.0s and whoosh on every hard prop cut; the bed thins under the Beat 6 pause and drops out entirely at the CTA (donor-measured). OST: bold high-contrast burned caps, all in post, none burned in camera; the full card inventory is fixed and closed above — no editor-added cards. Casting law: two women, never conflated; the demonstration woman has no lines and never addresses the lens; the presenter exists only in beats 4–6. Prop law: one branded object (the Kindled bottle); every on-screen figure is a practical prop reading or a printed calendar date, never a post-composited number.

PRIMARY_LAYER: real-shoot (phone, native/ugly capture register R1)
PHASE: 1 — TRANSGRESSION        OBJECT_STATE: O2 (hands-and-body, face incidental)
CAST: the DEMONSTRATION WOMAN, 45-55, unstyled, no makeup, real kitchen clothes.
      NOT the presenter. No lines. Never addresses the lens. (See the two-women rule.)
BLOCKING: whole loaf TORN OPEN in one hand, butter block open on the counter, butter applied
      absurdly thick; a folded slab crammed into the mouth; SECOND piece already loaded in the
      other hand. Both hands full at all times. Shoot 6+ takes at rising amplitude; cut the ugliest.
      A polite bite is a FAILED take — the excess IS the interrupt.
PROPS: whole loaf, butter block, butter knife, Kindled bottle (flash only), real ticking clock
CAMERA: handheld phone, waist-to-head medium, slightly off-axis, natural drift, NO stabiliser
LIGHT: practical kitchen window only, no fill, no grade, clipped highlights fine
SHOTS: s1 gorge (t=0-2.0s) | s2 bottle flash on counter (t≈2.0s) | s3 clock insert starts (t≈2.7s)
ON_SCREEN_TEXT (post): "SHOVE THE BUTTERED LOAF DOWN THE HYPOTHYROID WOMAN'S THROAT."
      burned caps, upper third, in t=0.3s, HOLD TO t=4.0s (outlives the beat by design, VS5)
SFX: driving bed from t=0; whoosh on the s1->s2 cut; clock tick begins t≈2.7s and carries out
TRANSITION (editorial): hard cut on the tick into Beat 2 — SEAM FRAME, identical on A/B/C
DIRECTION NOTE (VO): female, fast, authoritative, punchy. 222 wpm, zero disfluency, zero hesitation.
      The line is stated flat, as an instruction — NOT shouted, NOT relished. 8/10 intensity is in
      the CONTENT and the picture; the voice does not chase it. No editorialising.
DURATION: 3s (12 words @222.0 wpm = 3.24s)

PRIMARY_LAYER: real-shoot (phone, register R1)
PHASE: 1 — TRANSGRESSION        OBJECT_STATE: O1 (s1) -> O2 (s2/s3)
CAST: the DEMONSTRATION WOMAN (hands only in s1; same gorge take as 1A in s2)
BLOCKING: s1 = hands setting a pan with a slick of oil onto a kitchen scale, grams readout
      visible and PRACTICAL (never composited). s2 = the identical 1A gorge take.
PROPS: kitchen scale, frying pan, cooking oil, whole loaf + butter (from 1A), Kindled bottle, clock
CAMERA: s1 phone macro straight down; s2/s3 identical handheld framing to 1A
LIGHT: R1 practical only — a PHONE macro, not a product macro
SHOTS: s1 oil-on-scale (t=0-1.2s) | s2 gorge (t≈1.2s) | s3 bottle flash + clock (t≈2.5s)
ON_SCREEN_TEXT (post): "YOU WEIGH THE OIL." burned caps, upper third, in t=0.3s, HOLD TO t=4.0s
SFX: driving bed from t=0; whoosh on each cut; clock tick begins t≈2.5s
TRANSITION (editorial): hard cut on the tick — SEAM FRAME identical to 1A/1C
DIRECTION NOTE (VO): flat and fast. "You weigh the oil" is said as a plain observed fact, not an
      accusation — the accusation is what the viewer supplies. Then the contrast lands cold.
DURATION: 3s (11 words @222.0 wpm = 2.97s)

PRIMARY_LAYER: real-shoot (phone, register R1)
PHASE: 1 — TRANSGRESSION        OBJECT_STATE: O1 (s1, s3) -> O2 (s2)
CAST: the DEMONSTRATION WOMAN (gorge take from 1A only; no face in s1 or s3)
BLOCKING: s1 = wall calendar, DAY 1 circled with a REAL pen mark. s3 = the bathroom scale on the
      floor by the door, seen from standing height — the way somebody looks at their own scale.
PROPS: wall calendar + pen, whole loaf + butter (from 1A), bathroom scale, real ticking clock
CAMERA: s1 phone straight-on; s2 identical handheld framing to 1A; s3 phone from standing height
LIGHT: R1 practical; s3 deliberately unflattering bathroom/hallway light
SHOTS: s1 calendar DAY 1 (t=0-1.2s) | s2 gorge (t≈1.2s) | s3 scale on floor + clock (t≈2.4s)
ON_SCREEN_TEXT (post): "A HYPOTHYROID WOMAN. 30 DAYS OF BREAD." burned caps, upper third,
      in t=0.3s, HOLD TO t=4.0s
SFX: driving bed from t=0; whoosh on each cut; clock tick from t≈2.4s
TRANSITION (editorial): hard cut on the tick — SEAM FRAME identical to 1A/1B
DIRECTION NOTE (VO): the dare is stated as a schedule, not a taunt. "Watch her scale." is an
      instruction, flat and certain — it hands the verdict to the object already in frame.
DURATION: 3s (12 words @222.0 wpm = 3.24s)

PRIMARY_LAYER: real-shoot (phone, register R1)
PHASE: 2 — EMPIRICAL PROOF      OBJECT_STATE: O1 (no face anywhere in this beat)
BLOCKING: none — objects only. Hands may turn the calendar page; no face, no body.
PROPS: real ticking clock, wall calendar (SAT / SUN / WED / DAY 7 legible), ONE bathroom scale
SHOOT DISCIPLINE (the beat's hard gate): all four scale checkpoints in ONE session, ONE bathroom,
      ONE light, SAME distance, SAME angle from standing height. Digits must be genuinely legible
      and genuinely IDENTICAL on SUN and WED; DAY 7 sits one notch lower. PRACTICAL ONLY —
      a number added in post is an invented number and is banned.
CAMERA: phone; scale at an angle from standing height; NEVER a hero close-up on the readout
CUTS: ~1.2s each — SAT (gorge frame) / SUN readout / WED readout / DAY 7 readout, calendar page
      turning between each; the clock intercut on the beats
ON_SCREEN_TEXT: NONE (donor parity — the device readout IS the text)
SFX: clock tick continuous; whoosh on each page turn; bed driving
TRANSITION (editorial): hard cut on the DAY 7 readout
DIRECTION NOTE (VO): deadpan receipts. She reads the calendar like a scoreboard and never
      editorialises the scale. NOTHING carries spoken caps emphasis — voice only, never a burn.
      No pounds figure is ever spoken and no rate is ever claimed.
DURATION: 5s (16 words @222.0 wpm = 4.32s)

PRIMARY_LAYER: real-shoot (phone, register R1)
PHASE: 2 — EMPIRICAL PROOF (extended; presenter is confined to beats 4-6)
OBJECT_STATE: O2 (hands and plates; face incidental, never addressing the lens)
BLOCKING: real bread torn by hand, butter spread thick, a fork ACTUALLY USED — food genuinely
      disturbed. NO food styling. Cut against the untouched scale in its established angle.
PROPS: the week's plates, bread, butter, cutlery, the same bathroom scale
CAMERA: phone; over-the-plate + table height; ~1s per shot
LIGHT: R1 practical kitchen only
ON_SCREEN_TEXT (post): "THE BODY THAT PUNISHED HER FOR LETTUCE." burned caps, upper third,
      in t≈0:09, hold to beat end   [NEW CARD — species SITUATION]
SFX: whoosh per cut; clock tick recedes under the montage; bed continues
TRANSITION (editorial): hard cut into the presenter — REGISTER CHANGE R1 -> R2, deliberate
DIRECTION NOTE (VO): the enormity stated flat, then the credit. "punished" carries weight but no
      theatre. "the minerals" drops COLD and unexplained — donor grammar (it says "the bark" at
      its own b3 and explains at b5); do NOT let a take gloss it.
DURATION: 5s (20 words @222.0 wpm = 5.41s)

PRIMARY_LAYER: real-shoot preferred (presenter) — register R2
      FALLBACK (degraded, FLAG BEFORE USE): Higgsfield Soul Cinema. Requires a /higgsfield-soul-id
      training pass for speaker 2.1 (none on file) AND 222 wpm is the lip-sync strain case.
PHASE: 3 — PRESENTER + 3D ANIMATION      OBJECT_STATE: O3 (+ O1 inserts)
CAST: the PRESENTER — female 45-55, warm, direct to camera. A VISIBLY DIFFERENT WOMAN from the
      demonstration woman: different hair, different build, different room. She never handles the
      loaf, never appears in the bathroom, never shares a frame or an eyeline with her.
      Register anchor 2.1 borrowed for WARMTH/REGISTER ONLY — she is a THIRD-PERSON EXPLAINER,
      not a recovered patient. No first-person journey, no testimonial read, no credential open.
      She is NOT the company: no "we" anywhere, ever.
WARDROBE/SET: ordinary warm domestic clothes; a real room. NO lab coat, NO scrubs, NO clinical
      white, NO framed certificates, NO studio seamless, NO three-point beauty light.
CAMERA: eye-level, locked, medium close-up, centred; warm window key; shallow natural depth
CUTTING: SLOWS here (donor-measured) — sustained presenter takes, ~2s animation inserts
ON_SCREEN_TEXT (post): "FOUR YEARS OF EATING LESS THAN SHE NEEDED." burned caps, upper third,
      in t≈0:15, hold ~4s   [NEW CARD — species FAILED_SOLUTION]
INSERT_LAYER: higgsfield-generate — GPT Image 2 keyframes -> Seedance 2.0 i2v.
      (1) "3D thermostat dial in dark clinical space, the dial turning down one notch, cold blue
          light falling with each notch, high-detail medical visualization"  (~2s, t≈0:18)
      (2) "hyper-real 3D cross-section of a muscle fibre thinning and losing density, warm amber
          dimming to grey, high detail, medical visualization"  (~2s, t≈0:23)
      Any labels/highlights are POST graphics — never in-render text.
SFX: bed continues, thinner; a soft mechanical click on each thermostat notch; NO alarm sting
TRANSITION (editorial): soft cut on "get heavier" into Beat 5's conversion animation
DIRECTION NOTE (PRESENTER): warm and fast, already mid-argument — the anger lives in the CONTENT,
      her delivery is warm and certain. 222 wpm, zero disfluency. FAMINE carries spoken caps
      emphasis — VOICE ONLY, never burned. [pause] after "…she needed is." = TIGHT hold, <=0.8s.
      The terminal ("stairs and grocery bags") is delivered as MECHANISM, not as a threat:
      present tense, body-specific, non-mortal, flat. No fear register anywhere in this batch.
DURATION: 15s (52 words @222.0 wpm = 14.05s + one [pause] 0.8s = 14.85s)

PRIMARY_LAYER: real-shoot preferred (presenter) — register R2 (same fallback caveat as Beat 4)
PHASE: 3 — PRESENTER + 3D ANIMATION      OBJECT_STATE: O1 dominant, O3 intercut
BLOCKING: presenter's HANDS VISIBLE, counting the minerals off on her fingers as she names them —
      selenium, zinc, copper — then a flat open palm on "And no iron. On purpose."
CAMERA: presenter eye-level locked; animation locked macro, five ~2s moves
ON_SCREEN_TEXT: NONE — declared. No ingredient burns (see the OST inventory).
INSERT_LAYER: higgsfield-generate — GPT Image 2 keyframes -> Seedance 2.0 i2v, five moves:
      (1) "3D T4 hormone molecules stacked outside a CLOSED cell receptor gate, cold grey, dark
           clinical space, high-detail medical visualization"
      (2) "the conversion step firing: a T4 molecule flipping into T3, warm amber ignition"
      (3) "T3 docking into the receptor and the cell lighting from the inside, warm amber glow"
      (4) "a precision balance beam holding two mineral masses level, clinical dark space"
      (5) "an iron atom icon with a clean cross through it, cold, definitive"
      HIGHLIGHT DEVICE (post): a ring lands on the EXACT structure per move — the gate, the flip,
      the dock, the beam, the iron. Highlights and any glyphs are POST graphics, never in-render.
SFX: a soft click on the dock; a single clean hit on the iron cross-out; bed steady
TRANSITION (editorial): cut to the presenter's closest framing — animation ends, never returns
DIRECTION NOTE (PRESENTER): teach cadence, one job per breath, still fast. "On purpose." is a snap
      fragment — full stop, no lift. The refusal (no iron) is stated as a decision, not a warning.
DURATION: 10s (38 words @222.0 wpm = 10.27s)

PRIMARY_LAYER: real-shoot preferred (presenter) — register R2 (same fallback caveat as Beat 4)
PHASE: 3 — PRESENTER            OBJECT_STATE: O3 (alone; no insert layer at all)
BLOCKING: minimal. She slows. Direct to lens for the refusal. No gesture on the fragments.
CAMERA: slow small push to the closest framing on the board; eye-level; locked otherwise
ON_SCREEN_TEXT: NONE — deliberate, declared. The line ships bare.
INSERT_LAYER: NONE. This is a hard instruction, not an omission. No cutaway, no animation,
      no product, no b-roll. Nine seconds of her.
SFX: the bed THINS under the [pause] so the fragments land dry. No sting, no swell, no lift —
      a cue that "lands" the line performs it for her, and the line is written to need no help.
TRANSITION (editorial): hard cut on "A conversion." — REGISTER CHANGE R2 -> R3
DIRECTION NOTE (PRESENTER): the ad's one intimacy — slower, quieter, the refusal delivered as a
      confidence, not a concession. NEVER carries spoken caps emphasis (voice only, never burned).
      [pause] before "Not a fat-burner." = TIGHT hold, <=0.8s. Read "conversion" with weight and
      no theatre. The adjunct clause ("alongside her prescription, NEVER instead of it") is
      positioning delivered as certainty — mid-script, never a disclaimer, never in the close.
DURATION: 9s (30 words @222.0 wpm = 8.11s + one [pause] 0.8s = 8.91s)

PRIMARY_LAYER: practical macro pass (preferred) — register R3
      OVERLAY option for the label hero: Higgsfield Marketing Studio, PRESET closeup product,
      PRODUCT_REF: Kindled dropper bottle (brand asset import) — use ONLY if the practical macro
      cannot hold label legibility.
PHASE: 4 — PRODUCT SHOWCASE      OBJECT_STATE: O1 -> O2
CAST: hands only. The presenter does NOT appear again. The demonstration woman does not appear.
BLOCKING: dropper lifted / berry liquid drawn up / under-tongue dose (REAL hands, REAL mouth) /
      bottle turned in hand, label to lens / bottle set on a breakfast table
PROPS: Kindled bottle + dropper (the board's ONLY branded object), breakfast table dressing
CAMERA: braced macro, ~1.7s per shot, shallow depth
LIGHT: R3 clean macro light — warm, not clinical, not glossy
ON_SCREEN_TEXT: NONE
SFX: bed re-accelerates; a soft liquid draw on the dropper; whoosh per cut
TRANSITION (editorial): cut to the bathroom floor for Beat 8 (register stays R3, location returns)
DIRECTION NOTE (VO): back to full VO punch — fast, authoritative, punchy. The delivery-system
      reason-why is stated as an ordinary fact, not as a boast. "Two droppers with breakfast" is
      a ritual instruction: plain, exact, no lift.
DURATION: 8s (31 words @222.0 wpm = 8.38s)

PRIMARY_LAYER: practical shoot + post graphic — register R3
PHASE: 4 — PRODUCT SHOWCASE      OBJECT_STATE: O1 (objects only, no face)
BLOCKING: none — objects. The scale in its ESTABLISHED Beat-2 angle from standing height.
PROPS: the same bathroom scale, bread basket refilled, Kindled bottle, the same wall calendar
SHOTS: (1) scale on the floor + badge (t=0) | (2) bread basket refilled (t≈4s) |
       (3) bottle on the counter beside the calendar (t≈7s)
ON_SCREEN_TEXT (post): "30-DAY MONEY-BACK GUARANTEE" badge, in t≈0:56.5 (AFTER the guarantee is
      spoken whole), hold ~3s. Clean type. NO seal, NO ribbon, NO laurel, NO percentage, NO price,
      NO stock number, NO process terms. This exact string and nothing else.
      [OFFER ARTIFACT — not a qualification card; declared]
SFX: bed at full punch; a settled hit under the badge
TRANSITION (editorial): hard cut to the end card
DIRECTION NOTE (VO): full punch, re-accelerated. The three-food imperative list is rhythmic and
      fast. "Her scale decides." is the device's verdict — flat and final. "Thirty days, money
      back." closes on the offer terms themselves, exactly as the donor closes on its terms.
      NO hedge, NO softening tail, NO "results vary", NO link language anywhere.
DURATION: 10s (36 words @222.0 wpm = 9.73s)

PRIMARY_LAYER: practical macro (end card) — register R3
PHASE: 4 — PRODUCT SHOWCASE      OBJECT_STATE: O1
BLOCKING: static end card — a thickly buttered slice and the Kindled bottle side by side, one frame
PROPS: buttered slice (from the phase-1 loaf, same bread), Kindled bottle
CAMERA: locked, single frame, held ~0.8s past the last word, cut to black
ON_SCREEN_TEXT: NONE — no URL, no logo animation, no button, no arrow, no link chrome
SFX: THE BED DROPS OUT ENTIRELY on the first CTA word (donor-measured property). Room tone only.
TRANSITION (editorial): cut to black
DIRECTION NOTE (VO): a snap. Two short imperatives, no lift on either. "Give her the bread" is the
      permission payoff — the hook dared with violence, the close grants what the ad argued she has
      earned. NO stock-check register here (considered and declared NOT deployed: the donor's
      measured 6-word/1-second CTA grammar outranks the house default, and the snap is the point).
      NO link language, ever.
DURATION: 2s (7 words @222.0 wpm = 1.89s)

Zero variant-conditional body elements. Beats 2–9 ship identically on all three cuts; the only per-variant difference on the whole board is Beat 1's three seconds.

• The three-register arc is the board's one deliberate look change, and it is documented rather than avoided (VH2 disposition). R1 ugly phone (0:00–0:13) → R2 warm domestic (0:13–0:47) → R3 clean product (0:47–1:07). Both changes land on hard cuts at donor-measured structural turns (the presenter's entrance, the product's entrance). Within each register nothing drifts: one kitchen, one bathroom, one presenter room, one macro light.
• The two-women rule holds across every frame. The demonstration woman appears only in R1 (hooks, Beat 3's plates) and never addresses the lens. The presenter appears only in R2 (beats 4–6) and never touches a prop from the demonstration. They are never in shot together and there is no eyeline between them. The VO is a third voice belonging to neither.
• The object loop closes. The loaf enters at 0:00, its butter is on the plates at Beat 3, and its slice sits beside the bottle on the end card. The bathroom scale enters in Hook C and Beat 2, is the subject of Beat 8's guarantee frame in its identical established angle, and is the thing the whole offer is staked on. The wall calendar runs from Hook C through Beat 2 and returns beside the bottle at Beat 8. The clock starts under every hook and carries phase 2.
• The Kindled bottle is the only branded object on the board. It flashes once in every hook at 0% depth, is absent for the entire mechanism block, returns as the subject of phase 4, and is in the last frame. No competitor product appears anywhere — the donor has no disqualification block and importing one would be off-donor.
• The animation palette holds across beats 4 and 5 (dark space, warm amber for the active, cold grey for the blocked state) so the thermostat, the fibre and the conversion read as one system rather than three stock inserts. It never appears before Beat 4 or after Beat 5.
• The cut rhythm tracks the donor's measured dynamism: 1–2s through phases 1, 2 and 4; slower inside phase 3. The one full stop in the cutting is Beat 6, which holds a single frame of the presenter for nine seconds — the board's only sustained take and its quietest moment, directly before the product arrives.
• Hook seams: all three variants exit on the identical seam frame (clock running, bottle just flashed, gorge as the visible antecedent), so any variant cuts onto Beat 2 with no re-introduction. A and B end on the same spoken handoff; C ends on "Watch her scale." and the seam frame already contains the scale.
• On-screen figures: the only numerals anywhere on this board are the scale's practical readout, the kitchen scale's grams readout in Hook B, and the calendar's own printed dates. Every one is a physical prop reading. No number is composited, and no count, price, percentage or stock figure exists on the board.

• First 5s: PASS on all three variants, via Fork 4 strategy 3 + 2 (a hook visual asset carrying the stop, enriched by a burned card that qualifies) — deliberately not strategy 1: there is no speaker face in the first five seconds of this ad on any cut, because the donor's presenter does not appear until its phase 3 and ours does not appear until 0:13.
• A: the gorge (torn loaf, absurd butter, both hands full) from frame zero + "SHOVE THE BUTTERED LOAF DOWN THE HYPOTHYROID WOMAN'S THROAT." from t=0.3s. Earned on BOTH halves at donor caption parity — the caption carries the violence and the medical label, the visual carries the excess. The donor's own [R] verdict on this exact grammar is 5/5, and it credits "the text overlay and the visual" jointly, which is the standard this hook was rebuilt at v1.2 to meet.
• B: the oil-on-a-kitchen-scale macro (a complete sound-off argument by t≈1.0s) + "YOU WEIGH THE OIL." from t=0.3s, with the gorge landing at 1.2s as the contradiction.
• C: the calendar with DAY 1 circled + "A HYPOTHYROID WOMAN. 30 DAYS OF BREAD." from t=0.3s (label first), with the gorge at 1.2s and the scale at 2.4s assembling the dare.
• VS5 (the asset survives the full 5s): on every variant the card is in at t=0.3s and held to t=4.0s — deliberately outliving its 3-second beat by ~1s so the text coverage is continuous across the phase-1→phase-2 cut — while the visual chain runs gorge → bottle flash → clock → Beat 2's first checkpoint without a gap. Continuous coverage 0.0→5.0s on all three ✓
• Hook card word counts (VS2, ≤12 each): A 9w · B 4w · C 7w ✓
• U12 scan of every viewer-visible on-screen string on this board: found + fixed 0 — the script's cards were already clean and were carried verbatim. Full swept inventory: "SHOVE THE BUTTERED LOAF DOWN THE HYPOTHYROID WOMAN'S THROAT." · "YOU WEIGH THE OIL." · "A HYPOTHYROID WOMAN. 30 DAYS OF BREAD." · "THE BODY THAT PUNISHED HER FOR LETTUCE." · "FOUR YEARS OF EATING LESS THAN SHE NEEDED." · "30-DAY MONEY-BACK GUARANTEE". Remaining em/en dashes: 0. ("30-DAY" and "MONEY-BACK" are compound hyphens and stay.)

production_limitations.md is a sparse skeleton (<3 non-template entries) → the formal YS6 cross-check is silent-skipped per the file's own heuristic, as in every prior Echo board. Tool-knowledge flags applied from avatar_tool_prompt_syntax.md and the hybrid routing instead:

1. Fork 1 rationale — the anti-AI call on the front half. Phases 1 and 2 are real-shoot-only with no fallback. The gorge is hands-plus-food-plus-mouth at maximum deformation, which is the single worst case for AI video; and the mini-brief's binding rule is that the footage's ugliness is the asset, while AI render defaults to pretty. The scale demonstration is the same call for a different reason — see #3.
2. Presenter routing (beats 4–6). Real shoot preferred. The Soul Cinema fallback exists and is degraded: flag before taking it — there is no trained Soul ID on file for speaker 2.1 (a /higgsfield-soul-id training pass is a prerequisite), and 222 wpm sustained for 34 seconds is the lip-sync strain case. Cast for pace as well as warmth.
3. The scale demonstration is the board's hard gate. All four checkpoints in one session, one bathroom, one light, one distance, one angle. The digits must be genuinely legible and genuinely identical on SUN and WED with DAY 7 one notch lower. A number composited in post is an invented number and is banned. If legibility fails at 9:16, push in tighter practically — never cut to a graphic.
4. 3D animation quality (beats 4–5) is load-bearing for the mechanism block. Route via higgsfield-generate (GPT Image 2 keyframes → Seedance 2.0 i2v), five short generations at Beat 5 rather than one continuous take. All labels, highlight rings, the balance-beam annotation and the iron cross-out are POST graphics — symbol and text rendering in-render is unreliable. If the AI route misses QC, escalate to licensed medical-animation stock or a commissioned 3D pass.
5. Product-label legibility (beats 7, 9) → practical macro first, Higgsfield Marketing Studio closeup-product as the fallback. The under-tongue dosing action is real-shoot only (hand/mouth artifacts).
6. All on-screen text in post — nothing burned in camera, including the three hook cards.
7. Casting continuity: two women, never conflated (see the two-women rule). This is a casting-brief item, not an edit item, and it cannot be fixed in post.
8. Prop continuity across two shoot days: the loaf's slice must survive to the end card, the bathroom scale's Beat-8 angle must match Beat 2, and the wall calendar must be the same calendar in Hook C, Beat 2 and Beat 8. Shoot phases 1, 2 and the phase-4 house frames on the SAME day.
9. Runtime headroom is thin at the top of band and the ceiling is irrelevant. Delivered A/C 67.01s · B 66.74s against 69s → 1.99s / 2.26s of headroom; against 240s → ~173s. Both [pause] holds tight (≤0.8s), no third pause, no padding, and nothing trimmed elsewhere to buy margin.
10. Label truth on every surface: the badge string is exactly "30-DAY MONEY-BACK GUARANTEE"; the donor's granular process triplet is [DONOR TEXT — NEVER OURS] and appears in no card, badge, prompt or note on this board; form/dose/count on screen match product_facts §2.1; the crossed-out iron icon must never be staged as something being removed from our bottle (§3.4 — it was never in it).

Per-beat prompts collated above in hybrid real-shoot + insert-layer syntax (production-team-facing shot list per avatar_tool_prompt_syntax.md real-shoot and hybrid conventions, extended with the PHASE / OBJECT_STATE / INSERT_LAYER / SHOOT DISCIPLINE fields this format requires and the v2 per-beat schema does not model). Layer stack: real shoot, phone (register R1) — the gorge, the device demonstration, the plates · real shoot, warm domestic (register R2) — the presenter, beats 4–6, Soul Cinema fallback flagged degraded · higgsfield-generate — the two 3D builds (GPT Image 2 keyframes → Seedance 2.0 i2v) · practical macro / Marketing Studio (register R3) — the product pass and the end card · post — every card, the badge, all highlight rings and glyphs, SFX, bed. No AI generation layer touches the gorge, the scale or the presenter's mouth on the default path.

• VS1 (B-roll density): the board cuts every 1–2s through phases 1, 2 and 4 — far ABOVE the 1-per-10s ceiling by design. CONFIRMED-INTENTIONAL, donor-faithful: the donor's measured dynamism is "aggressive — 1–2s cuts throughout, slowing only for the biological explanation", and in a prop-demo the objects are not B-roll interrupting a talking head, they are the ad. The VS1 band does not model this layout. The slowdown inside phase 3 is the donor's own, and it is boarded.
• VS3 / VS3b: every beat cites Anchor A or logs an original-direction rationale, and every insert carries its anchor or rationale inline. Two declared original-direction calls: Beat 3's plates montage (calibrated to giving the scale's stillness something to be still against) and Beat 6's total absence of picture (calibrated to the refusal's persuasion goal — the donor's own Focus/Reject is voice-carried).
• VS4 (transition consistency): hard cuts throughout; the only variation is the deliberate slowdown inside phase 3 and the single soft cut at Beat 4→5 under a continuous presenter. Consistent within every section.
• VS6 (cross-adaptations): 3 logged in-board — Anchor C (H03 dated-trial chassis and 3D anatomical craft kept; its D04 faceless-narrator format and its discount-plus-pouch-count scarcity close rejected wholesale); Anchor D (the diagnostic-3D craft bar and the highlight-the-exact-site device kept; its 2s micro-hook format and long-copy pairing rejected); Anchor B (the qualifying-artifact hook shape and the tactile-macro delivery-system grammar kept; its glucose/CGM content and its Shop-Now close rejected). Rationales inline per beat.
• Beat 6 has no mute-test asset, and that is the decision. Declared above rather than quietly absorbed: it is the board's weakest sound-off beat and its persuasive value is entirely auditory. Boarding a card there would cost the beat its function, and the beats on either side carry the sound-off argument.
• Review S-2 (Hook C promises thirty days, the demonstration pays seven) — surfaced, NOT actioned. The review proposed "seven days" as a hook-line fix. The copy is locked at v1.2 and this board changes zero words; the card is carried verbatim. Boarded mitigation only: Hook C's seam frame contains the scale and Beat 8 re-opens the thirty-day frame against the same object, so the promise is closed inside the ad even though it is paid at day seven first. Named for the human — this is a copy call, not a board call.
• Review S-3 (the b3 credit verb) — surfaced, NOT actioned. Copy locked; the board's mitigation is that Beat 3's card and its montage do the work the verb does not, and the beat's picture shows the minerals' effect (a week of real food against a still scale) rather than asserting it.
• Review S-6 (presenter casting label) — boarded, not just noted. The header, the two-women rule and the Beat-4 prompt all carry the honest label: 2.1 borrowed for warmth and register only; a third-person explainer, not a recovered patient. An editor cannot read "2.1" off this board and cast a testimonial.
• Review S-1 (the wrong winner_score) — closed on this board. Hook C's lineage ad is carried at its verified 65.38; the unverified higher figure the script quotes for it is reproduced nowhere on this board.
• BATCH_SPEC.md mismatch — flagged, not followed (inherited from the script). The folder's batch spec describes an animation/song slot mix that does not match this session's standing orders, the research brief, the scorecards or the V5 mini-brief. The orchestrator's pinned-donor standing orders + the greenlit mini-brief govern this board, exactly as they governed the write.
• Format-novelty note (operator-level, not a rule violation): this is the account's first D09 prop-demo board and its first Echo board whose front half is deliberately shot ugly. QC the first cut specifically for the two failure modes this format has: (a) the gorge coming back prettier than the donor's amplitude, and (b) the scale checkpoints not reading as the same scale on the same morning light.

Concept ID: V5 · CID: KD_C0093 (pre-allocated) Production Target: HYBRID routed per phase — real-shoot phone (transgression + device demo), real-shoot presenter beats 4-6 (Soul Cinema fallback degraded, flagged), higgsfield-generate 3D cellular animation, practical macro / Marketing Studio product pass, all text in post Visual Style: donor-derived cheap-transgression prop demo (lirae D09 four-phase grammar, three capture registers R1 ugly-phone / R2 warm-domestic / R3 clean-product) Comp Library Anchors: 1508278883991064 (DONOR/SEED, pinned CORNERSTONE), 814438051152496, 26907486858952165, 715145290969922 Mute-test: PASS (all 3 hook variants; Hook A earned on BOTH halves at donor caption parity) OST: 3 script cards carried VERBATIM + 2 new cards (SITUATION, FAILED_SOLUTION) + 1 offer artifact Production-limitation flags: 10 (real-shoot-only front half, presenter routing at 222 wpm, the scale-checkpoint gate, 3D animation quality + post-graphic symbols, product-label legibility, post-text, two-women casting continuity, cross-day prop continuity, ~2s band headroom, label truth)

**Adapted-convention / compat skips (flagged, not silently dropped):** Beat 1A/1B/1C hook variants · cumulative INTEGER M:SS contiguous timecodes with the two `[pause]` tokens folded in; **all three hooks round to 0:00–0:03 so there is no per-variant body shift** · CID KD_C0093 stamped at storyboard time (PRE-ALLOCATED per the E3 / S2 / S4 convention — no mint-at-ship collision) · donor PINNED as anchor cornerstone with **no fresh comp query** (run-order directive) · four anchors, not five, each with a declared load-bearing job · nine-beat discipline preserved · **four-phase production contract + hero-object states (O1/O2/O3) + capture registers (R1/R2/R3) + the two-women rule added as NEW board sections** (no v2 schema field models them) · **OST discipline promoted to a first-class board section** with per-card species declarations · 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 prop-demo needs a state vocabulary on a different axis than a composite does, and the axis should be declared. S2 established P1/P2/P3 for panel-vs-performer ratio; S4 re-based it and froze the ratio, declaring STATE_AXIS = left-half insert state. D09 needs neither: the persuasive variable is who owns the frame, the object or the human, which is why this board declares O1 / O2 / O3 with STATE_AXIS = object-vs-human frame ownership. Three boards, three axes — the generalisable rule is not the letters, it is that every Echo board must declare which axis its states move on, and the axis is a property of the delivery mode. Recommend pinning that as the rule in avatar_tool_prompt_syntax.md rather than pinning any one vocabulary.
2. Capture register is a first-class, boardable variable that VH2 currently reads as a violation. This donor's grammar requires the look to change twice (ugly phone → warm domestic → clean product), and each change lands on a donor-measured structural turn. VH2 ("visual continuity preserved") has no vocabulary for a deliberate look shift, so the board has to satisfy it by documentation, the way E3 documented its split-screen collapse and S2 documented its state changes. Three boards have now satisfied VH2 by documented change rather than by sameness. Recommend VH2 gain an explicit clause: a register/framing change is compliant when it is (a) declared, (b) donor-cited, and (c) landed on a structural turn.
3. The OST track needs its own declared inventory section, with species per card — not just per-beat mentions. This batch's recurring defect was cards that failed qualification, and it was only caught because someone read all the cards together. Scattered across eleven beats, a weak card is invisible; collected into one table with a species column and a "why it qualifies sound-off" column, a weak card is obvious in one read. This board promotes the OST inventory to a first-class section with carried-verbatim provenance, new-card species declarations, an explicit non-qualification artifact row for the guarantee badge (declared honestly rather than dressed as a species), and a cards deliberately NOT added list. Recommend making that section mandatory in the skill's Step 5 schema.
4. "No composited numbers" is a distinct rule from "no invented numbers", and a prop-demo is where they separate. The script's no-invented-numbers rule is about spoken and written claims. This board hit the visual case: the demonstration rests on a scale readout, and a readout added in post would be an invented number wearing a prop's clothes — while the same digits shot practically are legitimate evidence. Recommend the storyboard checklist gain the visual half explicitly: on-screen figures must be practical prop readings or printed artifacts; a composited numeral is an invented number.