STORYBOARD — N1 "A New Name for Me Every Year" — D06 Mascot Personification × 100% 3D CHARACTER ANIMATION [KD_C0094]

The locked script is an Echo-chain deliverable and carries no v2 Fields 19/20/21/25. Mapping used:

The density table + the DELIVERED-TIME LEDGER

The script is explicit that the markers are the donor's performance timings with visual beats inside them, and that the runtime table is the only word-derived number. Both are true and an editor needs both, so both are boarded. Read the "Boarded" column for SHAPE and the "Delivered" column for the cut.

What the editor does with this. The delivered asset is 1:48, not 1:40 — the donor's marks describe the shape, the words describe the clock, and the ad runs ~7.8% longer than the marks because the copy is denser than the donor's at four beats (4, 6, 7, 11). Nowhere does that surplus become silence. Beats 3 and 10 bank picture (1.5s and 1.3s) and spend it on the two frames that need to breathe — the pause frame at the fork and the doors already open behind the outcome list. Beats 6 and 11 are the tightest cutting in the film. The 7 to 8 second character metronome is preserved on the DELIVERED clock, not on the marks — the four actives land at 8.4 / 7.6 / 9.1 / 9.8s, which is the donor's rhythm running one gear slower, and that is the correct read of a script that is 6% denser than its donor at those beats.

Runtime discipline. 7.2s of ceiling headroom on the worst case. There is no floor (Zied 2026-08-01: "i dont care about floor, can be below its ok") and the asset must not be padded toward 2:00. No third [pause] may be added, no hold may run past 0.8s, and no beat may be stretched to fill a marker — where the words run short the picture holds, and where the words run long the cutting tightens.

Review-flag dispositions (the production layer's copy of the carried-forward SOFTs)

Copy is LOCKED — this board changes zero words. Ten of the twelve /review-echo softs were applied in the edit pass and are boarded as fixed; the items below are the ones the production layer still has to see.

① Flag 1 (dose count) — APPLIED in copy, and it is a PICTURE gate too. The line now reads "two droppers under your tongue." Beat 8's sublingual macro must show TWO FULL DROPPER SQUEEZES, not two drops. A render that shows two beads of liquid re-opens the exact 40× error the edit pass closed, in the layer the viewer actually believes. HARD staging gate. ② Flag 4 (ashwagandha standing vs product_facts §3.2) — human-gate item, boarded rather than hedged. The copy refused synergy language because it is an NH6 support-verb downgrade. The board earns §3.2's standing in the picture instead: at beat 7 she does not act on the mechanism, she holds the positions the other three created — her wide frame contains iodine's crate, selenium's lever and zinc's woken plate, and her own verb is to stand. The relay reads as three lead actives plus one who protects their work, visually, with no word changed. ③ Flag 6 (Hook C timing label) — resolved by the delivered clock. Hook C is 20 words = 7.27s against a "~7s" label. It is boarded at 7.3s delivered, identical to Hook A, so all three variants are interchangeable to within 0.7s and the body does not shift by a frame between them. ④ Flag 7 (casting vs copy gender) — boarded as the copy commits it. Iodine male ("His metal"), Selenium female ("Her key"), Zinc male (he presses the palm to the plate), Ashwagandha female and the oldest. VO casting cannot drift from this and the character sheets must be built to it. ⑤ Flag 8 (pronoun ambiguity at the Active-3 beat) — APPLIED in copy ("the counterfeit"), and the picture reinforces it: the counterfeit is on screen, being prised out, on that exact clause. Ear and eye resolve the same referent at the same instant. ⑥ Flag 9 (money-shot tense) — APPLIED as present tense, and the board is built on it. "Every lock on it wears his face" is a reveal happening now, so the pull-back performs the line rather than illustrating a memory, and the doors open after it. The camera move and the tense are one decision. ⑦ Flag 12 (naming LEVOTHYROXINE on the OST card) — RESTATED, not resolved. The card is on screen from frame one on all three hooks. It is this donor's single largest source of voltage and its entire qualification device; brand_bible §9.2 points the other way and winners.md §2.1 / KD_X0008 point back. This needs Zied's yes at the ship gate. No compliance gate is added here, and none exists anywhere in this chain. ⑧ Flag 11 (upstream mined inconsistency, assignments.jsonl H11 vs hook_seconds.md H01 for ad 2484688995277793) — carried up, not boarded. It is a mined-layer reconciliation job. Anchor C is used here for its visual grammar, which is unaffected by the archetype tag dispute.

Hook-variant handling (Echo 1×3 contract)

Beat 1 exists as three storyboard variants (1A / 1B / 1C), all boarded at 7.3s delivered (B at 6.6s speech, padded to the same 7.3s hold on its final frame so the seam is frame-identical). Beats 2 to 11 are the shared locked-body board and do not shift by a single frame between variants.

All three end on the identical seam state: the counterfeit seated in the lock, macro, cold palette, the card still up, camera locked — so any variant cuts straight into beat 2's "Every year they write a new name for me" with no re-establishment and no audible or visible seam. Hook B's third shot exists specifically to return it to that state ("then steps back into the lock it has been sitting in").

One variant-conditional prop dependency, declared: Hook C plants the five paper file-tabs, and beat 10's fourth door pays it off (a file-tab, and nothing added to it). Under A and B that doorway reads as a general artifact of her medical file; under C it closes a loop. One insert, cut two ways from a single generation.

Delivery markup

The script carries exactly two bracketed tokens: [pause] in beat 3 (after "floods your blood with T4") and [pause] in beat 9 (after "You were never under-dosed"). Both are boarded as single tight 0.8s holds on a dead-still frame — never as silence in the bed, which stays under. Beat 3's hold is the unattended fork; beat 9's is the open door immediately before the pull-back starts.

CAPS emphasis is VOICE-first and CAPTION-second. The nine emphasis words — THREE · EXACTLY · ONE · STARVING · NOTHING · NOTHING · ANSWER · YEARS · OUT-NUMBERED — are carried by the VO and rendered on the kinetic track by size and berry colour only. No emphasis word gets a card of its own, and no word appears on screen that the VO does not speak.

Eleven-beat discipline (donor budget preserved)

11/11 donor beats reproduced in order, none added, dropped or re-ordered. The two 15-second load-bearing walls are boarded as the two largest beats on the delivered clock (13.5s and 16.0s); the four actives run the metronome; the hook is the smallest beat in the film. Problem territory owns the first 29.5 seconds of the delivered asset (27.4%) with zero product mention, and the brand name lands at 1:04.4 = 59.8% in — the donor's 60%, reproduced on the clock and not just on the label.

The copy layer passed the firewall on an independent grep. The picture layer is where it actually gets broken, because an animator handed "the counterfeit is put out of the lock" will reach by reflex for the thing every lymphatic ad in this pool does: a glowing particle sweep that dissolves a substance. This board forbids it in eight specific ways, and every one of them is a QC gate on a frame, not a note.

> 1. NO SUBSTANCE EXISTS IN ANY FRAME. No wax, film, grease, glaze, sludge, rime, gunk, crust, particulate, mist, haze or dust — before, during or after. The wardings, the plate, the keyhole and the lumen are CLEAN in every frame of the ad, including every frame of the problem half. There is nothing on them to remove, which is why nothing is removed. > > 2. NO CLEARANCE EVENT, AND NO DISSOLVE ANYWHERE — INCLUDING IN THE EDIT. Nothing softens, melts, loosens, unblocks, clears, flushes, drains, sweeps, scrubs or washes. There is not one dissolve transition in this film; every cut is hard, and the one non-cut camera move is declared (beat 9). This is deliberate belt-and-braces: a dissolve at a mechanism beat reads as the mechanism dissolving. > > 3. THE ONLY THREE PHYSICAL EVENTS ARE OCCUPATION, DISPLACEMENT AND ARRIVAL. Occupation = the counterfeit seated in the lock and getting comfortable. Displacement = it is prised out and walks off camera on its own legs. Arrival = real keys coming forward through the fork in numbers. Nothing enters a body and nothing leaves one. > > 4. THE COUNTERFEIT IS NEVER DAMAGED. It does not melt, shrink, pop, crack, burn, fade or shatter. It leaves intact, on its own legs, still wearing the good hormone's face. This is simultaneously the firewall's guarantee and the concept's owned distortion — the one thing that makes this villain different from every other villain in the pool is that we never get to see it destroyed. > > 5. NO GLOW-PARTICLE ANIMATION OF ANY KIND. No golden motes, no fairies, no travelling sparkles, no magic-chime shimmer on any surface. The donor and both sibling lymphoria ads all run this asset; it is the single most likely frame to smuggle the drainage mechanism back in. > > 6. NO ILLUMINATION IS EVER THE PAYOFF — N2's guard. The two-state grade lift is continuous from beat 5 and complete by beat 8. It is not permitted to land on beat 9. Beat 9's turn is DOORS OPENING, in an already-resolved frame. No light source turns on in any frame of this ad, no beam travels, no room is ever seen changing state on camera, and the plate at beat 6 WAKES MECHANICALLY (tumblers turn over, the keyhole geometry resolves) and does not glow. N2 owns rooms relighting one at a time; nothing here may look like it. > > 7. NO HEAT, NO TEMPERATURE EVENT — N3's guard. No furnace, boiler, radiator, ember, ash, steam or thermal grade. "Cold hands" and "the room is cold" are staged by palette desaturation and stillness, never by frost, breath-fog or ice. > > 8. NO CITY AND NO ARCHIVE — S1's and S2's guards. The script's word "traffic" at beat 3 means hormone units at a wet anatomical junction, and the board renders them as solid key-shaped objects. No vehicle, no road, no lane marking, no signal, no street, no skyline and no city geometry appears anywhere. And Hook C's file-tabs are five loose paper tabs in a character's hand at cell scale, on screen under two seconds — no archive, no hall, no shelving, no filing system, no records room, and their printed labels are illegible by design so no unspoken word reaches the screen.

Why the whole contract exists in one sentence: the donor's asset was clog-and-clear; this ad's equivalent is a state change with a body in it, and every rule above is one way of stopping an animator rebuilding a lymphatic drainage ad inside a thyroid ad.

THE WITHHELD COUNT (the board's signature device)

For ten beats the villain is one character, at one door. The concept demands that beat 9 land "as a rendered fact rather than a copy flourish" — so the count has to be genuinely absent until it arrives.

> NO WIDE SHOT THAT REVEALS MORE THAN ONE RECEPTOR DOOR EXISTS BEFORE 1:20.4. Every frame in the first 1:20 is a macro, a close-up or a lateral medium at one door or one fork. The depth axis of the corridor is never opened, never implied by a rack focus, never hinted by a second doorway at the edge of frame, and never suggested by an ambient reflection. The first wide in the film is the beat-9 pull-back, it is the only camera move in the film, and it is the widest frame in the ad. > > The one permitted exception, and its composition is a HARD gate: beat 7's chain wide (crate, lever, woken plate, and Ashwagandha at the re-entry door). It is composed laterally across frame — the chain runs left to right and the frame ends at the door plate; nothing beyond it is in shot. It reveals the RELAY, not the corridor. If a shot of that chain shows a second receptor door, it is wrong and it costs the film its biggest beat. > > The beat-3 plant that makes the payoff work: at 0:16 the fork already shows that every unit coming out backwards wears the villain's face — that is the factory. Beat 9 reveals the installed base. It is a build, not a spoiler, and it only works if beat 3 stays tight on the fork's exit throat and never pulls out to count.

The three OST classes

Plus one END BADGE (30-DAY MONEY-BACK GUARANTEE), which is an offer-term render, not a qualifier — it carries no proposition to self-select on and lands at 1:44 of 1:48, well past the point where qualification could matter. Declared rather than exempted by silence.

One binding rule across all four: no word appears on screen that the VO does not speak. That is why Hook C's file-tab labels are illegible, why the four actives get their names as chips (spoken in the same breath) and why no testimonial name, star rating, review count, price, discount or stock number appears anywhere in the film.

The four worlds

Palette contract, stated as an ownership map so it cannot drift: STATE 1 owns beats 1 to 4 (sickly, cold, desaturated — with the villain warm inside it). The turn fires on the lever at beat 5 and runs as a continuous grade lift through beats 6, 7 and 8. STATE 2 is complete by 1:04.4 and does not change again. Beat 9 receives no grade event of any kind — it is a camera move and a door move in an already-resolved frame (firewall rule 6).

Cutting law

Two rhythms, and they are different things. (1) The character metronome — one character, one job, 7 to 8 seconds, cut. Donor-measured, and on this board it lands at 8.4 / 7.6 / 9.1 / 9.8s delivered because our copy is denser. (2) Internal cutting at 2 to 4 seconds inside every beat, constant motion, extreme close-ups. ~41 cuts across 107.8s ≈ one new frame every 2.6s. Hard cuts exclusively. Zero dissolves in the entire film (firewall rule 2). Exactly one camera move exists — the beat-9 pull-back — plus two 2% pushes declared inline. Two 0.8s holds, both on scripted pauses. A held frame anywhere else is a format failure.

Generate the rig once, animate it forty times

Six rigs and one set family produce forty-one cuts. That reconciles in exactly one way and it is a production instruction: build the six character sheets and the four world plates FIRST, lock them, and Nano-Banana-chain every downstream shot from them. The counterfeit and the hero-T3 model are ONE asset built twice — same mesh, same colour family, mirrored, with the "slightly wrong" delta authored once and never re-improvised. Generate each shot longer and wider than the cut needs so post can pull two cuts from one generation by re-framing and re-timing. Generate ~24 assets, cut 41.

Rotation: N/A this run — the donor is PINNED per the run order (SEED, binding; no rotation re-query executed, formats/yapper/reference_usage_log.jsonl not read as an EXCLUDE source, per the task directive). Log append (§2g) SKIPPED — echo run, handled at package. Supporting anchors are the script's and concept's own cited formula exemplars plus one declared operator choice, all legal under §2f.

Pool note: no fresh §2b/§2c query ran, following the run-4 V3 / run-5 V1 convention — a pinned SEED board inherits its anchor set from the donor plus the script's cited lineage and re-queries only if a beat type is left uncovered. Nothing is uncovered: the donor is itself a D06 on the same eleven-beat REFRAME spine and supplies grammar for every beat.

Set composition: FOUR anchors, not five, and the reason is stated. All four are video, so no static demotion applies. A fifth was considered and dropped — 3946186768851146 (lymphoria, ws 66.25) is a D07 story ad whose contribution (mobile-contrast palette, guarantee end-card grammar) is already carried by Anchor B at the correct delivery mode. Padding to five with an off-mode anchor would be filler, which is the exact failure this step exists to prevent.

Evidence-scoping note, stated rather than papered over: Anchors A and B were read at frozen donor-analysis depth (donor_analysis/938803821867026.md and .../1099679365734850.md, both full) plus the donor's deconstruction workbook Part 8 and its full library entry. Anchors C and D were read at library-entry depth (~/.sparks/comp-library-md/{id}.md) — no comp_get_ad call was made this run, per the pinned-donor directive. C and D are scoped to one beat each and to what their Hook blocks evidence.

[Anchor A — CORNERSTONE] 938803821867026 — lymphoria — winner_score 72.36 — video (THE DONOR, SEED — pinned CORNERSTONE)

Hook pattern: a slimy yellow monster waving hello inside a realistic anatomical vessel, under a static top-centred card naming a prescription drug. Three jobs at once: the card qualifies, the render interrupts, and the pain arrives in the villain's own mouth in second person as a specific recurring domestic humiliation (hair in clumps, in the drain, every morning). Mute test [R §1]: "Highly effective."

On-screen text style: two layers, both inherited whole — a persistent top-centred headline card (HERE'S WHAT NOBODY IS TELLING YOU ABOUT LEVOTHYROXINE !!, bold white, red double exclamation) plus kinetic word-by-word centre-screen captions carrying the entire VO.

B-roll cuing: there is no A-roll/B-roll split — every frame is character animation. The cuing unit is the character switch.

Transition style: a metronome — one character, one job, 7 to 8 seconds, cut [R §25], confirmed exactly by the measured beats (7/7/7/8s). FAST, constant motion, extreme close-ups of internal anatomy, first-person journey through the body [W 8.1].

Mute-test asset: the card plus the bizarre high-contrast render. The format IS the mute test; there is no filmed face to depend on.

Best-fit beat type in our script: ALL ELEVEN (SEED full-pattern borrow). Primary: the hook (card + cheerful monster in wet anatomy), the villain's tenure boast, the medication reframe at the same 15s load-bearing weight, the four one-verb one-prop active beats at the same metronome, the product beat with the same music swell at the reveal and the same sublingual argument, the compressed reveal, the in-character outcome list, the reveal-as-close.

Tooling stack inferred: high-fidelity 3D CG character animation, rigged and gesture-animated, not 2D / cutout / AI-morph — mapping for us to Nano Banana character sheets → Seedance 2.0 performance, with all text in post. Zero adaptation strain on the axis that usually strains, because neither stack has a presenter. ⚠️ Honest inheritance: D06 runs 17.7% winner share, 9 points UNDER base — the catalog's weakest defined carrier. This donor wins despite its class, on craft density. "Make a talking-mascot ad" is not the steal; the specific signatures above are.

[Anchor B] 1099679365734850 — lymphoria — winner_score 60.75 — video (SAME CARRIER D06, SAME ADVERTISER, and the batch's N3 donor)

Hook pattern: the sibling construction — a yellow blob-villain with a smug grin, lounging on a couch inside a biological cavity, opening "Hey girl, it's me…" Same tonal inversion, same cell-as-habitable-room staging.

On-screen text style: hook card is "large, bold, white sans-serif inside a rounded black text box, centre-bottom, held STATIC for the first 4 seconds"; running captions are clean white centred and sync perfectly to the VO; end-card overlays carry the offer terms (60-DAY MONEY-BACK GUARANTEE).

B-roll cuing: none — character animation throughout, with each ingredient carrying a literal prop tool matched to its verb (a mallet, a broom, a hose, a shield). This is the single most directly transferable asset in the set for our four active beats.

Transition style: "switching scenes every 3 to 4 seconds", smooth animated wipes and camera pans that follow the characters; comic SFX on prop impacts.

Mute-test asset: "the combination of the bizarre yellow monster and the high-contrast text overlay forces the viewer to stop and read, even without sound."

Best-fit beat type in our script: PRIMARY — the four Active beats (4, 5, 6, 7): one character, one literal prop, one verb, readable in a single frame. Our crate / lever / palm-on-plate / stand-at-the-door is the same grammar with four different verbs. SECONDARY — the hook card treatment (bold white held static for the whole beat) and the end card (offer terms as overlay on a hero product frame). ⚠️ VS6 cross-adaptations, both LOGGED and both HARD: ① its four prop-verbs are all clearance verbs — mallet, broom, hose — and none of them may be imported. Our four verbs act on supply, direction, recognition and re-entry, never on a substance (OCCUPATION CONTRACT rule 3). ② its hero is a muscular flexing bottle and its close is 70% OFF; ours is a chorus, not a mascot bottle, and there is no discount, no counted scarcity and no percentage anywhere in our film.

Tooling stack inferred: identical to ours — Pixar/DreamWorks-register 3D CG with subsurface scattering, rounded volumes, expressive rigged faces. Confirms the register is producible at this quality tier by this advertiser, repeatedly.

[Anchor C] 2484688995277793 — resilia — winner_score 62.44 — video (HOOK C's cited H01 formula source, and the semi-realistic-interior render reference)

Hook pattern: "Visceral 3D animation of dry stool stuck inside a pulsing pink colon wall" — a second-person sign list bound to a render of the viewer's own interior. The qualification is done by naming body facts she can check while watching, which is exactly the move the edit pass rebuilt Hook C to make.

On-screen text style: sparse; the interior render is the argument.

B-roll cuing: the anatomical interior treated as a location you can cut to, wet and pulsing, at a fidelity that reads as unpleasant rather than diagrammatic.

Transition style: visceral cut-ins to interior anatomy as the pattern interrupt.

Mute-test asset: the interior render alone.

Best-fit beat type in our script: Hook 1C ONLY (the second-person sign-list door: two body facts she can check this second, then the receipt, then the self-ID) — PRIMARY. SECONDARY: the wet-anatomy fidelity target for W1 and W2 — the specific thing our concept demands ("do not cartoon the anatomy; do not realism the characters") and the thing this anchor is best in the set at. ⚠️ VS6 cross-adaptations, LOGGED: ① its proof stack is "3D visual of biofilm dissolving" and "before/after gut clearance animation" — rejected wholesale. It is the precise frame the OCCUPATION CONTRACT exists to forbid. The interior-as-set grammar is imported; the clearance event is not. ② its resilia positioning lane is named in product_facts §5 as a lane Kindled does not play; the render is imported, the persona is not. ③ upstream mined artifacts disagree on this ad's hook archetype (assignments.jsonl H11 vs hook_seconds.md H01) — the script cites the catalog surface accurately and the visual contribution is unaffected either way.

Tooling stack inferred: high-fidelity anatomical 3D. Maps to our W1/W2 plate generation.

[Anchor D] 1680250769901502 — trysculptique — winner_score 64.47 — video (HOOK B's cited H02 formula source, FORMULA ONLY; its imagery is rejected entire)

Hook pattern: H02 Misdiagnosis Flip — the re-attribution move: what you have been told is one thing is re-attributed to a hidden cause, delivered by an authority who claims to know better. Our Hook B runs the same flip with the villain in the authority seat: "Your labs say you're treated. Your body says otherwise."

On-screen text style: claim-forward, high-contrast.

B-roll cuing: shock-visceral live-action inserts (simulated skin tags being shaved; a distended "liver belly").

Transition style: hard shock cut-ins.

Mute-test asset: the visceral live-action image.

Best-fit beat type in our script: Hook 1B ONLY, at FORMULA level. The transferable object is the two-object comparison that performs the flip — ours holds a real T3 model up beside a mirrored counterfeit and lets the viewer read the identity for two full seconds. ⚠️ VS6 cross-adaptation, LOGGED and HARD: its entire visual register is rejected. It is live-action, it is gore-adjacent body horror, and it runs a scripted-authority fear register. Our donor explicitly declines body horror at parity (peak_intensity: 8, no gore, no parasites, no bursting organs) and our register is relief carried by a charming villain. Nothing but the flip's structure crosses. Its 90-day guarantee and scratch-card discount close are likewise not imported.

Tooling stack inferred: live-action plus practical prosthetics — imported at zero; ours is a rendered two-object macro.

Global visual spine (applies to every beat unless overridden): 9:16 vertical. THERE IS NO HUMAN PERFORMER, NO LIVE-ACTION PLATE AND NO PRESENTER ANYWHERE IN THIS FILM. The default frame is a character rig performing one verb on one prop, addressing camera — never addressing another character. Extreme close-ups are the dominant grammar (donor-exact) inside a semi-realistic wet anatomical interior; the collision of cute rig against wet anatomy is the technique and neither side of it is allowed to drift toward the other. Three OST classes only — THE CARD (hook beat, static, verbatim), THE KINETIC TRACK (word-by-word, the whole VO, emphasis by size and berry colour), OST CHIPS (short name burns) — plus one end badge. Grade runs the declared arc: STATE 1 cold owns beats 1 to 4 with the villain lit warm inside it, the turn fires on the lever at beat 5, STATE 2 is complete by 1:04.4 and beat 9 receives no grade event. CUTTING: hard cuts exclusively, 2 to 4s internal, character switch every 7 to 8s, zero dissolves, one camera move (beat 9), two 0.8s holds (the two scripted pauses). AUDIO: quirky upbeat instrumental bed from t=0, swelling once at the product reveal (donor-exact); SFX are dry and mechanical — key against plate, tumblers, a lever throw, a crate set down, a door swinging — never squishing, splashing or magical chimes, which are the donor's drainage signature and are barred here. VOICE LAW: six voices, all in-character, all to camera, no narrator exists; the chorus reports its own social proof in first-person plural. OCCUPATION CONTRACT applies to every frame.

> Read the timecodes this way: every beat header carries the script's timing marker UNCHANGED (they are the donor's measured marks and the task binds the board to them). Every shot timing inside a beat runs on the DELIVERED clock from the ledger above, because that is what the editor actually cuts to. The two diverge progressively — by 1.5s at beat 4 and by 7.8s at the end — and the ledger is the reconciliation. Cut to the shot timings; read the headers for shape.

PRIMARY_LAYER: higgsfield-generate. NO avatar tool, NO Soul ID, NO Heygen, NO Marketing Studio,
        NO real shoot, NO live-action plate. This format has no human performer.
CHAR_SHEET (build FIRST, lock, chain everything): Nano Banana 2/Pro ->
        "REVERSE T3 / the counterfeit: a small rounded 3D character in the Pixar/DreamWorks feature
        register, face and arms, capable of waving, smug and comfortable and pleased with itself.
        It is an EXACT MIRRORED COPY of the hero hormone model - same silhouette, same colour family -
        with one small deliberate wrongness. Warm-lit."
        *** HARD REFERENCE: the counterfeit and the hero-T3 model are ONE asset built twice, mirrored.
        Use a preservation prompt on every chained call. Every other reference on this board is SOFT. ***
SHOT_1 (0:00-0:03): GPT Image 2 keyframe -> "extreme macro inside a cell rendered as a semi-realistic
        wet anatomical room, a receptor door plate with a keyhole filling frame, glistening tissue,
        cold desaturated ochre-grey, cold blue-grey key light, one small rounded cute 3D character
        seated INSIDE the keyhole, warm-lit, waving at camera, 9:16 vertical, high-fidelity 3D CG
        feature-animation render" -> Seedance 2.0 i2v, LOCKED, generate 6s (post pulls 2 cuts)
        NEGATIVE: text, glow particles, sparkles, slime, sludge, film, residue, grease, any substance
        on the plate or in the keyhole, second doorway, corridor depth, cartoon anatomy
SHOT_2 (0:03-0:05): tighter crop of the SAME generation, 2% push, face + wave completion
SHOT_3 (0:05-0:07): "macro, the far side of the same door plate, a real cut key held against the plate
        and failing to turn, cold key light, clean metal, clean plate" -> Seedance 2.0, 4s
ON_SCREEN_TEXT (post): CARD "HERE'S WHAT NOBODY TELLS YOU ABOUT YOUR LEVOTHYROXINE (double-exclamation
        emoji)" top-centred, bold white, red double exclamation, t=0.0-7.0 STATIC, VERBATIM |
        KINETIC TRACK from t=0.4, word-by-word, THREE in berry at larger size
SFX: a low wet interior room tone; the small DRY TICK of a real key failing against a plate on the far
     side of the door (script-specified) under shot 3. NO squishing, NO splashing, NO magic chimes.
VO DIRECTION: male, quirky-animated-authoritative, FAST, 165 wpm. CHARMING throughout - warm and
        pleased with himself while telling her why her hair is in the drain. The aggression is in
        the CLAIM, never in the tone. "THREE" is the one lifted word.
DURATION: 7.3s delivered (20 words)

PRIMARY_LAYER: higgsfield-generate, chained from the LOCKED counterfeit/hero-T3 HARD reference pair.
SHOT_1 (0:00-0:02.5): "lateral medium, the counterfeit character standing beside a receptor door plate
        in wet semi-realistic anatomy, holding up a second identical rounded hormone model beside its
        own head, addressing camera, cold desaturated interior, warm practical on the character"
        -> Seedance 2.0, 5s
SHOT_2 (0:02.5-0:04.5): "EXTREME CLOSE-UP, two identical rounded hormone models side by side filling
        frame, one MIRRORED, lit identically, one carrying a small deliberate wrongness"
        *** THE MIRROR MUST READ AT PHONE SIZE. If a viewer cannot see they are the same object,
        the hook has no flip. Generate at max resolution and crop tight. ***
SHOT_3 (0:04.5-0:07): the character steps back INTO the keyhole and settles - resolve to the EXACT
        seam-state frame used by 1A and 1C. Frame-match, do not re-generate the seam.
        Hold the final frame to 7.3s so B seams frame-identically with A and C.
ON_SCREEN_TEXT (post): CARD identical, t=0.0-7.0 STATIC, VERBATIM | KINETIC TRACK from t=0.4,
        EXACTLY in berry
SFX: interior room tone; a small dry settle as it re-seats in the lock. No squish, no splash.
VO DIRECTION: same male villain, same charm. "EXACTLY" is the one lifted word and it lands on the
        frame where both objects are on screen.
DURATION: 7.3s delivered (18 words spoken = 6.6s, final frame held 0.7s to match A and C)

PRIMARY_LAYER: higgsfield-generate, chained from the LOCKED counterfeit sheet.
SHOT_1 (0:00-0:03): "macro, the counterfeit character seated inside a keyhole in a wet anatomical door
        plate, counting on its fingers to camera, cheerful, cold desaturated interior, warm practical
        on the character only" -> Seedance 2.0, 5s
SHOT_2 (0:03-0:05): "macro, a fan of five small paper file tabs opening toward the character from
        off-frame, generic printed labels, NO LEGIBLE TEXT ON ANY TAB, paper-pale against wet tissue"
        *** LABELS ILLEGIBLE BY DESIGN. No archive, no shelving, no filing cabinet, no records room
        anywhere in frame. Five loose tabs in a hand, nothing else. ***
SHOT_3 (0:05-0:07): "the character takes all five tabs and tucks them under one arm, still seated in
        the keyhole, pleased" -> resolve to the EXACT shared seam-state frame
ON_SCREEN_TEXT (post): CARD identical, t=0.0-7.0 STATIC, VERBATIM | KINETIC TRACK from t=0.4,
        ONE in berry
SFX: interior room tone; a dry paper riffle on the fan; a small settle on the tuck.
VO DIRECTION: same male villain. The two body facts are delivered as OBSERVATIONS OF HER, warm and
        conversational, not as accusations. "ONE" is the one lifted word.
DURATION: 7.3s delivered (20 words)

SHOT_1 (0:07-0:09.5): "macro, the counterfeit shifting its weight inside the keyhole, getting
        comfortable, small irritating adjustment, wet anatomical plate, coldest desaturated grade"
        -> Seedance 2.0, 5s
SHOT_2 (0:09.5-0:12.5): "extreme macro, rounded cartoon fingers hooking one at a time over the metal
        wardings inside a keyhole, taking possession" -> generate 8s, post pulls FOUR accelerating
        re-frames, one per spoken label. RE-FRAME, do not re-generate.
SHOT_3 (0:12.5-0:14.5): "looking through the gap beneath a closed receptor door into a dark cold room
        full of small rounded figures standing still and waiting, faces not legible, sympathetic not
        grotesque, no light source in the room" -> Seedance 2.0, 4s
        *** N2 GUARD: this room is NEVER seen changing state. No light turns on here or anywhere. ***
SHOT_4 (0:14.5-0:16): tighter crop of SHOT_1's generation, face only
ON_SCREEN_TEXT (post): KINETIC TRACK only, the four labels landing one per micro-cut
SFX: a dry creak on the weight shift; four small metallic contacts on the warding hooks; dead room
     tone through the door gap. No squish, no splash.
VO DIRECTION: the boast delivered as pleasant small talk. The four labels are listed the way somebody
        lists their own achievements.
DURATION: 8.7s delivered (24 words)

SHOT_1 (0:16-0:19.5): "a wet anatomical lumen receding from camera, a surge of small solid key-blank
        shaped objects arriving toward camera, SPACED AND COUNTABLE, cold desaturated grade"
        NEGATIVE: fluid, liquid, flow, mist, particles, glow, sludge, any substance; vehicles, roads,
        lane markings, traffic signals, city geometry (S1 GUARD)
SHOT_2 (0:19.5-0:20.3): "a junction in a wet lumen splitting two ways, a mechanical lever standing
        beside it, unattended, dead still" -> LOCKED, 0.8s hold, NO motion whatsoever
SHOT_3 (0:20.3-0:23.5): "TIGHT on the fork's exit throat, units coming out the WRONG way, each one
        wearing the counterfeit's face, instanced from the LOCKED sheet"
        *** THE WITHHELD COUNT: TIGHT ONLY. Never pull out. Never show how many. ***
SHOT_4 (0:23.5-0:26.5): re-use of the beat-1 seated-counterfeit generation, re-framed
SHOT_5 (0:26.5-0:29.5): "macro, several real cut keys accumulating against a clean door plate, none
        of them turning, clean metal, clean plate, nothing on any surface"
ON_SCREEN_TEXT (post): KINETIC TRACK | CHIP "T4" over shot 1 | CHIP "FORK" over the pause frame |
        CHIP "T3" over shot 4 | STARVING in berry, larger, on the track
SFX: dry mechanical arrivals; ONE clean lever-adjacent silence on the pause frame (bed only, no
     effect); a rising count of key-on-plate ticks under shot 5. No squish, no splash, no chimes.
VO DIRECTION: this is the ad's most-quoted line and it is delivered FLAT and pleased. No relish, no
        menace. "STARVING" is lifted. The [pause] is a real 0.8s stop, not a breath.
DURATION: 13.5s delivered (35 words + one 0.8s pause)

CHAR_SHEET (build with the others, lock, chain): Nano Banana 2/Pro ->
        "IODINE: a squat, deliberate, unhurried 3D character in the Pixar/DreamWorks feature register,
        built to carry things, male-coded, distinct silhouette from the other three actives"
SHOT_1 (0:29.5-0:32.5): "lateral medium along a wet anatomical junction, a squat character walking
        into frame carrying a wooden crate of UNCUT KEY BLANKS, addressing camera, cold desaturated
        grade, mechanical lever visible at frame right"
        *** DEPTH AXIS CLOSED. No second receptor door in frame (THE WITHHELD COUNT). ***
SHOT_2 (0:32.5-0:35.5): "macro, uncut key blanks settling in a crate, NO TEETH on any blank, clean
        metal" -> the blank/key distinction must read at phone size
SHOT_3 (0:35.5-0:37.9): "medium, the character's eyeline flicking to a mechanical lever at the
        junction while still addressing camera"
        *** HE POINTS. HE DOES NOT TALK TO ANYONE. Address stays to camera. ***
ON_SCREEN_TEXT (post): KINETIC TRACK | CHIP "IODINE" lower third, hard in/out, 2s |
        NOTHING in berry on the track
SFX: dry footfalls; a wooden crate set down; blanks settling. No chimes.
VO DIRECTION: male, plain, unhurried, matter-of-fact. He is a supplier, not a hero. "NOTHING" lifted.
DURATION: 8.4s delivered (23 words)

CHAR_SHEET: "SELENIUM: a precise, capable, female-coded 3D character in the same register, built
        around a hand on a lever, distinct silhouette"
SHOT_1 (0:37.9-0:40.5): "lateral medium at a wet anatomical junction, a female-coded character with
        her hand on a large mechanical lever, addressing camera, grade at the bottom of the arc"
SHOT_2 (0:40.5-0:42.5): "macro, a heavy mechanical lever thrown through its full travel, gears and
        linkage engaging beneath, weighty and mechanical"
        NEGATIVE: sparkles, glow, magic, particles, light bloom (OCCUPATION CONTRACT rules 5 and 6)
SHOT_3 (0:42.5-0:45.5): "TIGHT on the junction exit throat, units now coming out FORWARD and shaped
        like real CUT KEYS, berry-toned, the first warm colour in the film"
        *** GRADE: the two-state lift STARTS on this frame and runs continuously to 1:04.4.
        It must be COMPLETE before beat 9. Beat 9 gets no grade event. ***
ON_SCREEN_TEXT (post): KINETIC TRACK | CHIP "SELENIUM GLYCINATE" 2s | NOTHING in berry
SFX: a heavy mechanical lever throw with a solid detent; linkage engaging; the arrivals change pitch
     as they come out forward. No chimes, no shimmer.
VO DIRECTION: female, precise, a little dry. "NOTHING" lifted. She talks ABOUT iodine, never TO him.
DURATION: 7.6s delivered (21 words)

CHAR_SHEET: "ZINC: a grounded, steady, male-coded 3D character built around a flat palm, distinct
        silhouette from iodine (taller, leaner)"
SHOT_1 (0:45.5-0:47.5): "lateral medium at a receptor door plate in wet anatomy, a male-coded
        character addressing camera, palm raised"
SHOT_2 (0:47.5-0:49.5): "macro, a palm pressed flat to a metal door plate, the plate's TUMBLERS
        TURNING OVER and the keyhole geometry resolving, purely mechanical"
        *** ABSOLUTE: NO GLOW, NO LIGHT SOURCE, NO BLOOM, NO SHIMMER ON THE PLATE.
        The plate WAKES mechanically. N2 owns illumination. ***
SHOT_3 (0:49.5-0:51.5): "macro, a real cut key turning fully in a clean lock"
SHOT_4 (0:51.5-0:54.6): "the counterfeit character prised out of the keyhole, INTACT and undamaged,
        still wearing the hero hormone's face, stepping down and walking off camera ON ITS OWN LEGS.
        The lock behind it is CLEAN - nothing left in it, nothing on it, nothing falling from it."
        NEGATIVE: melting, shrinking, popping, cracking, dissolving, residue, particles, debris,
        anything falling, anything left behind, any glow (OCCUPATION CONTRACT rules 1, 2, 4, 5)
ON_SCREEN_TEXT (post): KINETIC TRACK | CHIP "ZINC GLYCINATE" 2s | ANSWER in berry
SFX: a solid palm contact; tumblers turning over; a full key turn with a clean throw; dry footsteps
     walking out of frame. NO squish, NO splash, NO chimes, NO whoosh.
VO DIRECTION: male, grounded, steady. "ANSWER" lifted. "the counterfeit" is said plainly - the edit
        pass named him here on purpose and the picture puts him on screen on that exact clause.
DURATION: 9.1s delivered (25 words)

CHAR_SHEET: "ASHWAGANDHA: the oldest of the four, female-coded, unhurried, heavier mass and a lower
        centre of gravity than the other three. Age reads in POSTURE, not in caricature."
SHOT_1 (0:54.6-0:57.5): "lateral medium, the oldest of four characters addressing camera at a wet
        anatomical junction, calm and unhurried, grade near the top of the arc"
SHOT_2 (0:57.5-1:00.5): "she plants herself in front of a door on the far side of the junction and
        simply STANDS. No bracing, no strain, no fighting stance."
SHOT_3 (1:00.5-1:04.4): "LATERAL WIDE. Left to right in one frame: a crate of key blanks, a thrown
        mechanical lever, a woken door plate, and the oldest character standing at a re-entry door.
        The chain reads in one look."
        *** HARD STAGING GATE (THE WITHHELD COUNT): compose LATERALLY. The frame ENDS at the door
        plate. If a SECOND receptor door appears anywhere in this frame, the shot is wrong and the
        beat-9 payoff is spent early. The corridor depth axis is NEVER opened before 1:20.4. ***
ON_SCREEN_TEXT (post): KINETIC TRACK | CHIP "ASHWAGANDHA KSM-66" 2s
SFX: quiet. This is the least noisy beat in the film - one set of unhurried footfalls and then a
     settle. The bed carries it.
VO DIRECTION: female, older, unhurried, entirely unbothered. She is the only one of the four with
        nothing to prove. "he doesn't come back" is delivered as a fact about the future, flat.
DURATION: 9.8s delivered (27 words)

CHAR_SHEET: "THE CHORUS: not a sixth character design - the four actives speaking as one, in
        first-person plural, with the Kindled bottle as the object that claims them. NO muscular
        mascot bottle, NO flexing hero bottle (Anchor B's device, explicitly not imported)."
SHOT_1 (1:04.4-1:07.5): "lateral medium, all four active characters gathered in one frame for the
        first time, warm resolved palette, vibrant greens blues and berry"
SHOT_2 (1:07.5-1:10.5): "the Kindled dropper bottle enters frame and the four characters resolve
        into and behind it" -> MUSIC SWELL lands on this cut (donor-exact, the only swell)
SHOT_3 (1:10.5-1:13): GPT Image 2 (text-bearing) -> "product macro, a berry-liquid dropper bottle,
        glass dropper, label facing camera"
        *** LABEL LEGIBILITY GATE: the named actives must read at phone size. Build the label
        texture at 2x and crop tight. RENDERED asset matched to the real label - no photograph. ***
SHOT_4 (1:13-1:16.5): "macro cropped to LIPS AND DROPPER ONLY - no face, no eyes, no identity -
        TWO FULL DROPPER SQUEEZES delivered under the tongue, berry liquid"
        *** REVIEW FLAG 1 IS A PICTURE GATE: TWO FULL DROPPERS, NOT TWO DROPS. A render showing two
        beads re-opens the 40x dose error the edit pass closed, in the layer the viewer believes. ***
        *** RENDERED, NOT FILMED. No live-action plate exists anywhere in this asset. ***
SHOT_5 (1:16.5-1:20.4): re-frame of SHOT_1's generation with the bottle in frame
ON_SCREEN_TEXT (post): KINETIC TRACK only | YEARS in berry, larger
SFX: a glass dropper drawn; two distinct squeezes; the bed SWELLS on shot 2 and settles.
VO DIRECTION: warm female, first-person plural, the product speaking as ITSELF. Nearest register
        reference: speakers-library 1.2 Compassionate Educator WITH THE CREDENTIAL STRIPPED
        (product_facts §5 - no fake-doctor personas). "YEARS" lifted. Never "customers love us" -
        the chorus is the product, not a narrator talking about it.
DURATION: 16.0s delivered (44 words)

SHOT_1 (1:20.4-1:22.5 + 0.8s HOLD): re-frame of the beat-6 generation - the same door, now open and
        empty, tightest framing in the film. The [pause] hold is DEAD STILL, 0.8s, no drift.
SHOT_2 (1:23.3-1:27.8): Kling 3.0 (long single continuous camera move) ->
        "a single continuous PULL-BACK off one open receptor door in a wet anatomical wall, revealing
        a corridor of hundreds of IDENTICAL doors receding into depth, the SAME counterfeit character
        seated in EVERY lock, identical in each, resolved warm palette already established"
        *** INSTANCED, NOT POPULATED. Every villain is the SAME asset, same pose family, no variation,
        no reaction, no hero framing. A corridor of SIMILAR villains is a crowd; a corridor of
        IDENTICAL villains is a COUNT. This distinction is the beat. ***
        *** NO GRADE EVENT. NO LIGHT TURNS ON. NO CORRIDOR ILLUMINATES. The frame is already
        resolved when the move starts. N2 owns illumination-as-payoff (sibling guard). ***
        Then: THE DOORS BEGIN TO OPEN, IN ORDER, down the corridor and out of frame.
ON_SCREEN_TEXT (post): KINETIC TRACK only | OUT-NUMBERED in berry at the film's largest size
SFX: the 0.8s hold is bed-only. Then a receding sequence of door latches releasing IN ORDER,
     rhythmic, dry, mechanical, running out of frame. No swell, no chime, no whoosh.
VO DIRECTION: the chorus, and this is where they STOP being charming. Flat, level, and factual.
        The count is stated, not sold. "OUT-NUMBERED" lifted. PRESENT TENSE on the last clause -
        the camera is performing the reveal on that line, so the horror is happening, not remembered.
DURATION: 7.4s delivered (18 words + one 0.8s pause)

SHOT_1 (1:27.8-1:29.5): re-frame of the beat-9 corridor generation with the doors open, rooms behind
        them ALREADY warm and occupied
        *** N2 GUARD: no room is ever seen CHANGING state. Beat 2's dark room is a different door.
        No frame anywhere in this film contains both states of the same room. ***
SHOT_2 (1:29.5-1:31.5): "seen through an open cell-scale doorway, a human-scale glimpse: whole
        unshedding hair, warm, ordinary" - Pixar-register figure, face not held
SHOT_3 (1:31.5-1:33): "through a doorway, a bright busy room at four in the afternoon, a figure
        upright and moving"
SHOT_4 (1:33-1:34.7): "through a doorway, two figures at a table, one mid-sentence and continuing,
        the other listening"
        *** NO word rendered as an object, NO travelling light, NO corridor event (N2 guard). ***
SHOT_5 (1:34.7-1:36.5): "through a doorway, a single paper file tab, and nothing added to it"
        *** Under Hook C this closes the file-tab loop planted at 0:03. Under A and B it reads as a
        general artifact. ONE insert, cut two ways from ONE generation. ***
        NO archive, NO shelving, NO records room (S2 guard).
ON_SCREEN_TEXT (post): KINETIC TRACK only. NO testimonial name, rating, review count or UI anywhere.
SFX: the corridor's room tone opens up and warms; ordinary domestic sound at low level behind each
     doorway. No swell.
VO DIRECTION: the chorus, first-person plural, warm. "They love US" - a narrator would have said
        "customers love Kindled because." THERE IS NO NARRATOR ANYWHERE IN THIS AD.
DURATION: 8.7s delivered (24 words)

SHOT_1 (1:36.5-1:39): "macro, the mechanical lever HELD FORWARD at the junction, resolved warm grade"
SHOT_2 (1:39-1:42.5): "wider: the lever held forward in the foreground with the corridor of OPEN
        doors behind it, resolved palette" - HARD CUT to this, do not move the camera
SHOT_3 (1:42.5-1:45.5): GPT Image 2 -> "end card, the rendered Kindled dropper bottle, clean
        background in the resolved palette, label legible"
SHOT_4 (1:45.5-1:47.8): hold the end card
ON_SCREEN_TEXT (post): KINETIC TRACK | BADGE "30-DAY MONEY-BACK GUARANTEE" - native-simple type,
        NO seal, NO ribbon, NO laurel, NO shield, NO percentage, NO price, NO discount, NO countdown,
        NO stock counter
        *** ABSOLUTE: nothing in any frame of this beat is a button, an arrow, a swipe-up, a pointing
        hand or a cursor. The copy says "go see if we're in stock" and never says link or tap;
        the picture must not say it either. ***
SFX: a solid mechanical detent as the lever holds; the door-latch rhythm continuing faintly behind;
     the bed resolves out under the end card.
VO DIRECTION: the chorus, LEVEL and UNHURRIED. A reveal, then a plain guarantee sentence, then the
        stock-check line. No lift on the CTA, no urgency push, no smile in the voice on "money
        comes back" - it is a term, said plainly.
DURATION: 11.3s delivered (31 words)

Class boundary, stated rather than smuggled through the test: only THE CARD carries a proposition, so only THE CARD is put through the sound-off qualification test. CHIPS are ingredient and mechanism names spoken in the same breath as the frame that shows them — they label, they do not argue. THE TRACK is a caption of the audio, not an authored assertion. THE BADGE is an offer term. Applying the qualifier test to a chip produces nonsense (T4 is not a SYMPTOM); exempting them silently is how boards drift. The boundary is declared.

• NO HUMAN PERFORMER EXISTS ON THIS BOARD. No presenter, no filmed face, no piece-to-camera, no live-action plate, no talent identity to keep continuous. VH2 is therefore satisfied by RIG, WORLD, PROP and GRADE continuity, and all four are mapped explicitly.
• Six rigs, no more. Reverse T3 · Iodine · Selenium · Zinc · Ashwagandha · the Chorus. The beat-9 corridor adds NO seventh rig — it is the villain instanced, which is the cheapest possible route to the batch's biggest visual beat. Every rig appears in exactly one beat except the villain (beats 1, 2, 3, 6, 9) and the chorus (8, 9, 10, 11).
• The counterfeit and the hero-T3 model are ONE asset built twice, mirrored — the board's only HARD reference and the gate on six later frames. Any drift between them and the ad's owned distortion (the villain is wearing the good guy's face) stops existing. QC every chained generation against the locked sheet; never ship a second counterfeit.
• Four declared worlds, and every beat is assigned to one or two. No beat invents a location. W3 is W1 at a wider lens — that geometric identity is what makes the beat-9 pull-back a reveal rather than a cut to somewhere new, and it must be built as one set, not two.
• The palette is an ownership map, not a drift: STATE 1 owns beats 1 to 4 with the villain warm inside it · the turn fires on the lever at beat 5 · a continuous lift runs through 6, 7 and 8 · STATE 2 completes at 1:04.4 and never changes again. Beat 9 receives no grade event — the single most important continuity rule on this board, because a grade lift there would put N1's money shot on N2's render.
• Prop loops, all closed: the keyhole / plate (1 → 2 → 3 → 6 → 9, one door, five beats) · the lever (3 unattended → 5 thrown → 7 holding → 11 held forward, the film's last live image) · the crate of blanks (4 delivered → 7 holding) · key blanks vs cut keys (4 uncut → 5 cut and berry → 6 turning) · the file-tabs (1C taken → 10 nothing added, variant-conditional) · the dark room (2 only, never re-lit) · the bottle (8 → 11, and nowhere before 1:07.5).
• The film returns to its own mechanism. It opens on a lock with something in it and closes on a switch held forward with the corridor of open doors behind it — the same set, the opposite state, and no shot of the change in between.
• OST grammar constant: one card (hook beat only, static, verbatim), one continuous kinetic track, eight short chips, one end badge. No card competes with the track at any point, and the card and the corridor never share a frame.
• Cutting grammar constant: hard cuts exclusively across 1:48, zero dissolves, one camera move (beat 9), two 2% pushes (1A shot 2, beat 8 product macro), two 0.8s holds (the two scripted pauses). VS4 is satisfied by construction — there is only one transition style in the film.
• Hook seams: all three variants are 7.3s delivered, all three end on the identical seam-state frame (the counterfeit seated in the lock, macro, cold palette, card still up, camera locked), and the body does not shift by a frame between variants. Hook B's third shot exists specifically to return it to that state; it must be frame-matched, not re-generated.

• First 5s: PASS on all three variants — via Fork 4 strategy 1 adapted (character face plus on-screen text, which on this board is the donor's exact construction: a persistent card over a cute character in wet anatomy).
• A: the card at t=0.0 naming her prescription, over an extreme macro of something cheerful and slightly wrong sitting inside a lock in her own tissue, waving. Strongest muted image.
• B: the same card at t=0.0, and at t=2.5 two identical objects side by side, one wearing the other's face. Strongest muted argument.
• C: the same card at t=0.0, and a character counting her own symptoms off on its fingers from t=0.5, then five labels arriving at t=3.0. Strongest muted inventory.
• VS5 (asset survives the full 5s): PASS on all three. The card is held STATIC from t=0.0 to t=7.0 on every variant — it does not animate, shorten, move or hand off, so the mute-test asset survives not just 5s but the entire beat. The character is on screen continuously underneath it.
• VS2 (≤12 words per appearance): PASS on every string. The card is 8 words. The longest chip is 2 words. The end badge is 4 words. The kinetic track shows one or two words at a time by construction, so it satisfies the rule per appearance rather than by exception.
• U12 no-dash scan of every viewer-visible string on this board: 0 em dashes, 0 en dashes. Full swept inventory: HERE'S WHAT NOBODY TELLS YOU ABOUT YOUR LEVOTHYROXINE ‼️ · T4 · FORK · T3 · IODINE · SELENIUM GLYCINATE · ZINC GLYCINATE · ASHWAGANDHA KSM-66 · 30-DAY MONEY-BACK GUARANTEE · plus the kinetic track, which is the spoken copy verbatim and was scanned line by line: zero em dashes and zero en dashes in all thirteen spoken lines (the three hooks and the ten body beats). Remaining: 0. (KSM-66, 30-DAY and MONEY-BACK carry compound hyphens, which stay per U12; OUT-NUMBERED on the track is likewise a compound hyphen. The script shot-note's interpunct in "ASHWAGANDHA · KSM-66" is a shot-note separator and is not burned — the chip renders as ASHWAGANDHA KSM-66.)
• On-screen content audited against the "no unspoken word" rule: every burned string above is spoken by a character in the same breath as the frame that carries it. Hook C's five file-tab labels are illegible by design, and no price, discount, percentage, star rating, review count, stock number, countdown, testimonial name or platform UI appears in any frame.

production_limitations.md §2a to §2d are all "empty — populates via update sources in §4", well under the 3-entry threshold → formal YS6 cross-check silent-skipped per the file's own heuristic. Tool-knowledge flags applied from avatar_tool_prompt_syntax.md and the runtime routing instead:

1. Fork 1 rationale — the avatar stack is DELETED, not chosen against. There is no human performer, so there is no Heygen call, no Soul Cinema render, no /higgsfield-soul-id training pass, no Marketing Studio presenter, no talent day, no wardrobe continuity problem and no eyeline-composite limitation. The v2 tool-choice matrix has no row for this format and is correctly not consulted. What replaces it is a character-sheet pipeline, and its failure modes are different: not performance, but model drift.
2. THE HARD REFERENCE, and it is the board's #1 dependency. The counterfeit and the hero-T3 model are one asset built twice, mirrored, with one authored wrongness. Per the standing ref-image rule this is declared HARD and every chained call carries a preservation prompt; every other reference on this board is SOFT. Build it first, QC it, lock it, and chain beats 1, 2, 3, 6 and 9 from it. Beat 9's corridor is hundreds of instances of this one sheet — drift here is not a blemish, it is the loss of the ad's biggest beat.
3. Four active silhouettes must separate at phone size. Four rounded characters in a wet interior read as one character four times unless the sheets are built for contrasting mass. Build all four together, side by side, in silhouette, before any of them is animated. The beat-8 group frame is where a failure becomes visible, but the failure happens at sheet stage.
4. The beat-9 pull-back is the only shot that cannot be re-framed from another generation, and it is the most expensive on the board. Generate 8 to 10s at maximum resolution, twice (doors closed / doors opening), so the move and the open can be timed independently against the VO. Kling 3.0 is routed here specifically for long continuous camera moves.
5. THE FIREWALL'S #1 RISK FRAME is beat 6 shot 4 — the counterfeit leaving the lock. Every animation reflex and every reference in the comp pool wants this to be a dissolve with particles. It is a character getting up and walking away, intact. QC this frame before anything else in the film, and reject any generation in which anything melts, shrinks, falls, sparkles or is left behind.
6. THE WITHHELD COUNT is a QC gate on every frame before 1:20.4, not a nice idea. No second receptor door, no corridor depth, no rack focus into depth, no reflection implying repetition. Beat 7's chain wide is the one permitted exception and its right edge is a hard gate.
7. Grade is a pipeline, not a look. The two-state lift must be authored as one continuous curve across beats 5 to 8 and graded in post. Four independently generated colour temperatures produce a stepped arc, and a step at beat 9 breaks the N2 sibling guard.
8. All on-screen text in POST — nothing rendered in-generation. The card, the kinetic track, all eight chips and the end badge. The one exception is the product label, which is a rendered texture and must be built at 2× (GPT Image 2 routed here for exactly this reason). No video model renders legible small type reliably.
9. Legibility gates (four): the product label's named actives (beat 8) · the key-blank vs cut-key distinction (beats 4, 5, 6 — blanks have no teeth, keys do, and the whole mechanism argument rests on the viewer seeing the difference) · the mirror in Hook B (if the viewer cannot see the two objects are the same, the hook has no flip) · and one that runs the other way — Hook C's file-tab labels must be UNREADABLE at every size.
10. The dose is a picture gate. Beat 8 shows two full dropper squeezes, not two drops. This is /review-echo flag 1 landing in the render layer, and a wrong render re-opens a 40× label-truth error that the copy edit already closed.
11. The badge is a label-truth surface. 30-DAY MONEY-BACK GUARANTEE, nothing else. No granularity, no seal, no ribbon, no invented number (product_facts §6 owner ruling).
12. No CTA furniture anywhere. No button, arrow, swipe-up, pointing hand or cursor in any frame. The copy says "go see if we're in stock" and never says link or tap; the picture must not say it either.
13. Six VO casts, and the casting is committed by the copy, not by preference. rT3 male · Iodine male ("His metal") · Selenium female ("Her key") · Zinc male · Ashwagandha female and the oldest · Chorus warm female, first-person plural. 165.0 wpm is a casting gate, not a note — it is the donor's measured rate and the delivered runtime is built on it. Record a pace test before booking, and test on beat 6 (25 words in 9.1s across four cuts) and beat 11 (31 words in 11.3s).
14. Sound design carries a firewall clause. The donor's SFX signature is "squishing, splashing, magical chimes" — all three are barred here, because a splash under a mechanism beat rebuilds the drainage ad in the audio layer. Ours is dry and mechanical: latches, tumblers, detents, footfalls, key-on-plate ticks. One music swell only, at the product reveal (donor-exact).
15. Render tier is the moat and a 2D downgrade forfeits part of what made the donor win. The record's own note offers 2D motion graphics as the budget path; the saturation assessment says "extremely low… long half-life 12 to 18 months" because of the render tier. This is a production decision for Zied, flagged and not gated. N1 is the batch's cheapest spine (100s, one set family, 11 beats) and is expensive in rig count (six) — the two claims are different and both are true.
16. Open human-gate item, boarded honestly (review flag 12): naming LEVOTHYROXINE on the OST card. It is on screen from frame one on all three hooks and it is the ad's entire qualification device. brand_bible §9.2 vs winners.md §2.1 / KD_X0008. Zied's yes at the ship gate. If it resolves the other way, the card is the only asset that changes and it is a post-layer change — no re-render. That is boarded deliberately: the highest-risk decision in the film costs nothing to reverse.

Asset totals: 6 character rigs + 1 non-speaking hero-hormone model · 4 world plates built as 3 sets (W1 and W3 are one set at two lenses) · ~10 props · ~24 distinct generated shots re-framed into ~41 cuts across 107.8s. Zero live-action plates. Zero avatar renders. Zero talent days for picture. One VO session (six casts). One post pass for all text.

Per-beat prompts are collated above in higgsfield-generate syntax, extended with the World / grade, Shot sequence and Character staging fields this format requires and the v2 per-beat schema does not model (there is no presenter to describe with Shot type + Eyeline). Layer stack: Nano Banana 2 / Pro (six character sheets; the HARD mirrored counterfeit/hero-T3 reference; all continuity chaining) · GPT Image 2 (world keyframes, the product label texture at 2×, the end card — routed here specifically because it is the text-and-detail model) · Seedance 2.0 (all character-performance image-to-video) · Kling 3.0 (the single beat-9 pull-back, routed for long continuous camera moves) · post (the card, the kinetic track, all eight chips, the end badge, the grade curve) · one VO session, six casts. No avatar tool appears anywhere in this stack — no Heygen, no Soul Cinema, no Soul ID, no Marketing Studio presenter — because there is no human to render. No live-action plate appears anywhere either, which is the run-5 animation directive and is stricter than the donor, whose proof beat carried one. Copy-paste ready as a generation queue.

• VS1 (B-roll density): ~41 cuts across 107.8s ≈ one new frame every 2.6s, roughly 4× the 1-per-10s ceiling. CONFIRMED-INTENTIONAL and donor-mandated: the donor's measured grammar is a 7 to 8s character metronome with FAST constant motion inside it, and in a 100%-animated ad the imagery is not B-roll interrupting a talking head — it is the entire film. The VS1 band does not model a format with no A-roll.
• VS3 / VS3b: every beat cites an anchor at its matching structural turn, and every insert carries its own anchor or an inline rationale. Four declared original-direction calls: ① the beat-9 pull-back and instancing (no anchor in the set contains a scale reveal; the donor asserts its reframe and shows nothing — this board shows it, on the concept's explicit instruction) · ② THE WITHHELD COUNT (no wide before 1:20.4; original, and it is what converts the reveal from a cut into a payoff) · ③ the human-scale glimpses through cell-scale doorways at beat 10 (the donor's proof was a live-action bloating split-screen, which is a lymphatic proof and is not Kindled's; this is the residue-free replacement and it is calibrated to the four spoken outcome clauses) · ④ the dry mechanical SFX palette (the donor's squish/splash/chime signature is barred by the firewall, so the sound design is authored rather than borrowed).
• VS6 (cross-adaptations): 4 logged, and 3 of them are HARD. ① Anchor B — its four prop-verbs (mallet, broom, hose) are all clearance verbs and none crosses; the one-prop-one-verb grammar is imported and the verbs are not. Its flexing-mascot-bottle hero and 70% OFF close are likewise not imported. ② Anchor C — the interior-as-set render and the second-person sign-list door are imported; its "biofilm dissolving" / "before-after gut clearance" proof is rejected entire, and its resilia persona lane is barred by product_facts §5. ③ Anchor D — the H02 flip's two-object structure is imported; its live-action gore-adjacent register is rejected wholesale, because our donor declines body horror at parity. ④ Anchor A (the donor itself) — its entire drainage ontology is left in the donor: the sludge villain, the dissolve, the four clearance verbs, the split-screen bloating proof and the squish/splash SFX. This is the most-adapted SEED in the chain and the adaptation is a single axis: substance → occupier.
• Delivered runtime vs boarded marks (operator-level): the asset runs 1:48, not the 1:40 on the markers. Both numbers are in the board and both are true — the markers are the donor's measured performance shape, the clock is our word count at the donor's measured rate. 7.2s of ceiling headroom. There is no floor and the asset must not be padded toward 2:00.
• Carrier headwind (carried from the Research Brief, operator-level): D06 runs 17.7% winner share, 9.0 points under base — the weakest defined carrier at meaningful volume. This donor wins despite its class, on craft density. If this concept under-performs, the carrier is the first hypothesis, not the visual execution — and the board's answer to the headwind is to import the donor's specific signatures (the metronome, the 60% product entry, the qualification-first card, the four-pass UMS, the tonal inversion) rather than the generic talking-mascot device.
• Angle-Differentiation is the honest weak dimension (6.5 self, ~7.5 reviewer-informed). ANG_THYROID_METABOLISM_01 runs at/below base (26.0%, n=223) and is the account's most-repeated lane. The differentiation this board can actually deliver is execution-level — the villain wearing the hero's face, the corridor count, and a carrier Kindled has never run. That is what the render has to be excellent at, because the angle will not carry it.
• Human-gate item (review flag 12), restated: naming LEVOTHYROXINE on the OST card. Zied's yes at the ship gate. Cheapest possible reversal — post-layer only, no re-render.

Concept ID: N1 · CID: not yet minted (mints at /package) Script version boarded: v1 post-EDIT-PASS-1 (nothing older) Production Target: AI-GENERATION-PRIMARY 3D character animation, 100% animated, NO human performer, NO live-action plate, NO talent day — higgsfield-generate (Nano Banana 2/Pro character sheets + HARD mirrored reference chaining, GPT Image 2 for text/label frames, Seedance 2.0 for performance, Kling 3.0 for the single pull-back) + all OST in post + SIX VO casts. No Heygen, no Soul Cinema, no Soul ID, no Marketing Studio presenter Visual Style: donor-derived cute-characters-against-wet-realistic-anatomy (Pixar/DreamWorks register, four worlds, two-state palette with the turn on the lever at beat 5, persistent card + kinetic word-by-word track, 7-8s character metronome, 2-4s internal cutting, ZERO dissolves) Mechanism insert (owned family): LOCKS AND COUNTERFEITS — occupation, displacement, arrival; nothing deposited, nothing removed Comp Library Anchors: 938803821867026 (72.36, DONOR/SEED CORNERSTONE), 1099679365734850 (60.75), 2484688995277793 (62.44), 1680250769901502 (64.47) Runtime: boarded 1:40 (100s, donor's measured marks) · delivered 1:48 (107.8s A / 107.1s B / 107.8s C, word-derived at 165.0 wpm + two 0.8s pauses) · band 85.0-115.0s · ceiling headroom 7.2s · no floor, do not pad toward 2:00 Mute-test: PASS (all 3 hook variants, card static t=0.0 to t=7.0) OST doctrine: 1 card (verbatim, script-identical on all three hooks) + 1 continuous kinetic track + 8 chips + 1 end badge; no word on screen the VO does not speak; U12 scan 0 em/en dashes Production-limitation flags: 16 (avatar stack deleted, the HARD mirrored reference, silhouette separation, the un-re-framable pull-back, the firewall's #1 risk frame, THE WITHHELD COUNT as a per-frame gate, grade-as-pipeline, all-text-in-post, 4 legibility gates, the two-dropper dose gate, the badge label-truth surface, no-CTA-furniture, 6 VO casts + a 165 wpm pace test, the SFX firewall clause, the render-tier-as-moat decision, the open LEVOTHYROXINE gate) Production weight: 6 rigs + 1 non-speaking model, 3 sets (W1/W3 are one set at two lenses), ~24 generated shots cut into ~41 cuts, 13 boarded units, ZERO live-action, ONE VO session

**Adapted-convention / compat skips (flagged, not silently dropped):** Beat 1A/1B/1C hook variants, all boarded at 7.3s delivered with a frame-identical seam · **the script's timing markers transposed UNCHANGED** as the beat headers, with a **density table plus DELIVERED-TIME LEDGER** carrying the word-derived clock alongside · donor **PINNED** as anchor cornerstone with **no fresh comp query** and **no rotation read** (run-order directive; anchor set inherited from the script's and concept's cited lineage per the R3 / run-4 V3 / run-5 V1 precedent) · **FOUR anchors not five**, with the fifth candidate named and dropped for being off-mode · eleven-beat discipline with donor order and shares preserved · **a new OCCUPATION CONTRACT section** (eight firewall picture-rules, THE WITHHELD COUNT, the three OST classes, the four worlds, the palette ownership map) which no v2 schema field models · per-beat `World / grade` + `Shot sequence` + `Character staging` fields replacing the presenter-assuming `Shot type` / `Camera` / `Eyeline` triple · `Avatar-tool prompt` re-pointed as `Render-tool prompt` (there is no avatar tool in this stack) · SKIPPED per echo convention: rotation-log append (§2g), concept_pipeline append (7c), library_changes style-family log, local HTML render (7b — produced at ship on the publish runner), Notion/board/publish (§7d) — "echo run, handled at package" · save path redirected to `storyboards_run5/` (the session's `storyboards/` belongs to the already-shipped Pipeline A).

1. Beat 8's sublingual proof insert — a real conflict between two binding inputs, resolved one way and flagged. The locked script's beat-8 shot note offers "Available cheap asset (donor-observed insert, not the register): a live-action proof cutaway rides inside this beat," and the donor genuinely carries one ([W 5.1]: "Live-action woman looking relieved, touching a flat stomach"). The run-5 animation directive is explicit and stricter: no live-action plate anywhere and no on-camera human. The board resolves it as a fully rendered macro cropped to lips and dropper only — no face, no eyes, no identity, no rig, no seventh character — which honours the script's under-the-tongue shot and the two-dropper dose gate while carrying zero live-action. The cost is declared: the donor's real-world grounding function is lost, and nothing in this ad ever leaves the animated register. This is the one shot where an input had to be over-ruled, and it is Zied's to reverse — if a live-action insert is wanted back, it is one asset and it drops into an existing cut.
2. Beat 10's scale collision is the board's least certain frame. Human-scale glimpses seen through cell-scale doorways is the most on-register solution available (the donor's whole grammar is the body as a walkable set) and it is the only way to pay the four specific outcome clauses without importing the donor's bloating proof. But it is one bad generation away from reading as a cut to a different ad. The guard rails are boarded (doorway always in frame, camera never enters, no figure established or held) and so is the fallback (stay at cell scale, let the warm rooms carry the list generically, lose the four specific payoffs). QC the first cut of this beat against the rest of the film for genre continuity before committing.
3. The dark room's "people" at beat 2 are a scale question the script does not settle. The shot note says the room behind the held door is "full of people who never got the message." At cell scale that cannot be literal people, and the board renders them as small rounded figures, still, waiting, faces never legible, sympathetic and never repulsive — which serves the line and honours the donor's decline of a grotesque "before". It is a defensible reading rather than a specified one, and it is the same scale question beat 10 answers the other way. Flagged so the animator makes it deliberately in one pass rather than twice differently.