Fermata · story engine trailer · animatic

FILM B — “She Stays Herself”

60.0s · 1920×1080 · 24fps · 17 shots · one spoken line · no music · $0 generated · reuse material only

Cut list: docs/october-trailers/index.html @ f86af133 (Maestro) Source map: filmb-source-map.json @ dc00e56a · 32/32 paths verified

This is a pre-viz, and it never pretends otherwise. It exists so the cut can be reviewed and corrected before a single credit is spent. Seven shots have no source yet. Each one is a black slate naming the plate it is waiting on, its intended lighting register, and the fact that it does not exist. Not one frame of art is substituted for another.

The anchor, measured — not asserted

Every reuse frame is put through a deterministic crop pass that detects the eyes (YuNet, five landmarks) and lands them on y=396 of 1080 with the head at 33% of frame height. The written file is then re-detected, so the numbers below come from reading the artifact back off disk.

frame	pre eye-y	pre head	post eye-y	post head	error
hero (B01/B12/B14/B16/B17)	322 (32.2%)	23.0%	392.4	32.3%	−3.6px / −0.7pt
…full per-frame table in `animatic-report.json`, 19 frames measured pre and post

In the grid shots the eye line is drawn. If the anchor holds it passes through every pair of eyes in the row — the crop pass proving itself at scale, on screen, rather than in a paragraph.

What is real and what is declared

shot	in–out	state	what you are looking at
B01	0.0–8.0	STAND-IN	casting headshot, anchored + grain plate. Film needs new plate E-00.
B02	8.0–11.0	GAP	E-01 · hard overhead noon
B03	11.0–14.0	GAP	E-02 · green fluorescent, the Pit
B04	14.0–17.0	GAP	E-03 · candle underlight
B05	17.0–20.0	GAP	E-02b · cut list said REUSE; that plate is Willa. Send-back shown on screen.
B06	20.0–23.0	GAP	E-04 · north window, domestic
B07	23.0–26.0	GAP	E-05 · rose neon, rain on glass
B08–B10	26.0–37.5	REAL	the pull-back. 18 verified Camila stills, every one anchored. $0.
B11	37.5–40.0	HELD	the blink is a motion deliverable. Held grid, declared on screen.
B12/B14	40.0–49.0	STAND-IN	the typed line and its strikethrough — the only graphic event in the film.
B13, B15	43–46, 49–52	GAP	E-06 / E-07 · the two direction beats. The shot that sells the engine.
B16	52.0–58.4	STAND-IN	identical to B01 by construction, per the cut list.
B17	58.4–60.0	REAL	“That's not me.” — already voiced, cut from the real line. $0.

Three things the measurement changed

1 · The library is 9:16 and Film B is full-bleed 16:9. No vertical plate can be anchored to a 33% MCU in a wide frame without inventing side pixels — the crop would have to tighten to a 42–51% head, which is a different shot. Every stand-in here carries a declared side fill and says so in the corner. This is the geometric argument for the cut list's own §05 amendment: engine-lane plates generate natively at 16:9.

2 · Camila is in none of the 38 master plates. Maestro measured it and I confirmed it from the other end: the first pass of this animatic filled the grid from art_master and it came back full of other cast members. His send-back is correct, and the grid is now his verified 18 Camila stills, all one register. The photoreal XCU is excluded in code, not in a comment.

3 · The most expensive-looking shot in the film is free. B08–B11 are camera moves over a still composite. They needed no generation tonight and they need none for the film. What actually costs money is seven plates and the motion on the holds.

Build

tools/anchor-crop/anchor_crop.py — the crop pass, callable and standalone.
tools/anchor-crop/build_filmb_animatic.py — this film.
animatic-report.json — every measurement, pre and post, beside the mp4.