abstract-problems
abstract-problems
ABSTRACT · PROBLEMS — five ways to say something is wrong, in the abstract reel's grammar. The PROBLEM slot of a film is the 3–7 s where the world the product will fix is shown broken, and the rule here is the same as the reel's: nothing is illustrated, it is CAUSED. A pile is things falling. A wait is a loader that keeps going while the light goes. A dead end is a corridor that stops. Clutter is the kit where it landed. Coming apart is the device itself, held mid-burst.
Read the rig's notes
# scene dur transition device the problem
01 p01-pile 6.5 match-move iphone 48 slabs rain onto the phone until it is buried
02 p02-wait 6.0 match-move iphone a loader turns; the seconds tick past; the room goes dark
03 p03-clutter 6.0 match-move iphone the kit where it fell, the phone face-down among it
04 p04-dead-end 6.5 match-move iphone the ring corridor, and a wall at the end of it
05 p05-apart 6.0 — iphone the phone held mid-burst, drifting further apart
31.0 s of scene + four gaps (3.2 s) ≈ 34.2 s on the wall. Every scene also
stands alone: cut one out, set transition=none, and it is a problem beat.
THE COPY COMES EARLY. Unlike the intros, where the mark lands last, a problem
scene's line is on screen by 0.9–1.4 s and STAYS — the viewer has to read the
claim while the picture is proving it. Two text nodes per scene: an eyebrow
in dim ("THE PROBLEM") and a headline in ink, weight 600, worldHeight 44–56.
Both are placeholders for the assembly's own copy.
NOTHING RESOLVES. Every scene ends in the broken state — the pile stays, the
loader keeps turning, the wall is still there, the shards keep drifting. The
fix is another part's job; a problem scene that tidies itself has no
problem. The exception is the light: every scene's key DROPS over the shot
(2.2 → 0.6–0.9), so the world gets a little darker as the claim lands.
THE DEVICE IS THE MATCH. Every phone carries match=hero and the haze lobes
hz0/hz1/hz2, so the reel's match-move gap flies one phone from problem to
problem — including out of the pile (p01) and into the burst (p05). The
phone's pose is the scene's argument: standing and buried (p01), standing
and waiting (p02), face-down on the floor (p03, rotation -90 about x, so
its centre is at floor + 4.1 mm of half-depth), standing at the wall (p04),
floating in its own shards (p05).
TRAPS PAID:
· A pile authored by index is a stack, not a heap. p01 lands each slab at
a height solved from how many earlier slabs share its footprint, so
slabs over the phone start at its top (165) and the rest start at the
floor. 30 % of the slabs are aimed at the floor just IN FRONT of the phone
and stack up until they cover its screen; 12 % land on its top.
· assembly holds a PARTIAL value. p05 keys the channel 1 → 0.86 → 0.80
over the shot (triangle granularity, spread 0.25 — mesh granularity only
moves the buttons and lenses, the shell is one part), so the phone is never scattered and never
whole — it is held apart and getting worse, which is the claim. Lower
values with a wider spread throw the parts out of frame and the shot
reads as an empty room with two rings in it.
· A loader is a rotation, not a track of positions. p02's dots are on a
wheel and ONE rotation row turns all twelve; the "elapsed" numerals are
text layers that swap by opacity on the second.
LOOK — carried unchanged from the abstract reel:
ink #e9e6df dim #7c7970 line #23232a
mark #ffb347 cool #7ad7ff warm #ffa25e
POST. bloom → film_grain → fxaa on every shot; prismatic_dispersion only on
p04 (the corridor). Vignettes run HIGHER here (0.38–0.44) than anywhere else
in the reel: a problem scene is allowed to close in.
shot bloom thresh spread grain / vignette
01 pile 0.45 0.86 — 0.013 / 0.40
02 wait 0.80 0.78 — 0.014 / 0.44
03 clutter 0.40 0.90 — 0.013 / 0.38
04 dead end 0.90 0.74 0.01 0.014 / 0.42
05 apart 0.60 0.82 — 0.013 / 0.40
NO AUDIO. Primitives reel; add at assembly time.
Capture: nx run tools:capture:webgl -- --project promos/primitives/scenes/abstract/parts/abstract-problems.promo --width 1920 --height 1080 --times "2.4,6.0,9.2,12.8,16.4,19.8,22.6,26.6,29.8,33.6"
Preview: /packages/runtime/index.html?project=promos/primitives/scenes/abstract/parts/abstract-problems.promo- Topic
- scenes
- Scenes
- 5
- Kind
- reference rig
//
ABSTRACT · PROBLEMS — five ways to say something is wrong, in the abstract
reel's grammar. The PROBLEM slot of a film is the 3–7 s where the world the
product will fix is shown broken, and the rule here is the same as the
reel's: nothing is illustrated, it is CAUSED. A pile is things falling. A
wait is a loader that keeps going while the light goes. A dead end is a
corridor that stops. Clutter is the kit where it landed. Coming apart is
the device itself, held mid-burst.
# scene dur transition device the problem
01 p01-pile 6.5 match-move iphone 48 slabs rain onto the phone until it is buried
02 p02-wait 6.0 match-move iphone a loader turns; the seconds tick past; the room goes dark
03 p03-clutter 6.0 match-move iphone the kit where it fell, the phone face-down among it
04 p04-dead-end 6.5 match-move iphone the ring corridor, and a wall at the end of it
05 p05-apart 6.0 — iphone the phone held mid-burst, drifting further apart
31.0 s of scene + four gaps (3.2 s) ≈ 34.2 s on the wall. Every scene also
stands alone: cut one out, set transition=none, and it is a problem beat.
THE COPY COMES EARLY. Unlike the intros, where the mark lands last, a problem
scene's line is on screen by 0.9–1.4 s and STAYS — the viewer has to read the
claim while the picture is proving it. Two text nodes per scene: an eyebrow
in dim ("THE PROBLEM") and a headline in ink, weight 600, worldHeight 44–56.
Both are placeholders for the assembly's own copy.
NOTHING RESOLVES. Every scene ends in the broken state — the pile stays, the
loader keeps turning, the wall is still there, the shards keep drifting. The
fix is another part's job; a problem scene that tidies itself has no
problem. The exception is the light: every scene's key DROPS over the shot
(2.2 → 0.6–0.9), so the world gets a little darker as the claim lands.
THE DEVICE IS THE MATCH. Every phone carries match=hero and the haze lobes
hz0/hz1/hz2, so the reel's match-move gap flies one phone from problem to
problem — including out of the pile (p01) and into the burst (p05). The
phone's pose is the scene's argument: standing and buried (p01), standing
and waiting (p02), face-down on the floor (p03, rotation -90 about x, so
its centre is at floor + 4.1 mm of half-depth), standing at the wall (p04),
floating in its own shards (p05).
TRAPS PAID:
· A pile authored by index is a stack, not a heap. p01 lands each slab at
a height solved from how many earlier slabs share its footprint, so
slabs over the phone start at its top (165) and the rest start at the
floor. 30 % of the slabs are aimed at the floor just IN FRONT of the phone
and stack up until they cover its screen; 12 % land on its top.
· assembly holds a PARTIAL value. p05 keys the channel 1 → 0.86 → 0.80
over the shot (triangle granularity, spread 0.25 — mesh granularity only
moves the buttons and lenses, the shell is one part), so the phone is never scattered and never
whole — it is held apart and getting worse, which is the claim. Lower
values with a wider spread throw the parts out of frame and the shot
reads as an empty room with two rings in it.
· A loader is a rotation, not a track of positions. p02's dots are on a
wheel and ONE rotation row turns all twelve; the "elapsed" numerals are
text layers that swap by opacity on the second.
LOOK — carried unchanged from the abstract reel:
ink #e9e6df dim #7c7970 line #23232a
mark #ffb347 cool #7ad7ff warm #ffa25e
POST. bloom → film_grain → fxaa on every shot; prismatic_dispersion only on
p04 (the corridor). Vignettes run HIGHER here (0.38–0.44) than anywhere else
in the reel: a problem scene is allowed t