zippr Learned You, redone

Make me a short film for my product the same way zippr made one particular film: "zippr Learned You, redone" (zippr.to). In it, a small blue mascot stands on a rock by the sea and folds the week's known jobs, one paper card at a time, into paper boats, while you walk the shore. On Thursday it needs you once: two covers float up and it asks "This week's cover?". You turn and call back one word, "Blue.", and by evening you are sitting on the rock beside it. Everything is a cut-paper shore drawn in code, with soft paper shadows and grain; the only picture in it is the mascot. Below is the exact recipe zippr used: the tools, the steps, the settings and the timings. Follow it as closely as you can. Only the parts about my product change.

WHAT IT COSTS

- The code tools in this recipe are free and open source. - zippr made it with Claude (Opus 5.5) on a paid Claude plan. Any AI app that can run code can follow it. - One step was paid: zippr's mascot was drawn once with Google's Nano Banana Pro image model, 3 pictures at about $0.14 each (about $0.42). You can skip it: use a picture you already have, or have the hero drawn in code for free. The shore, the boats, the person walking and the words are all drawn in code already.

STEP 1: ASK ME FIRST

Before you make anything, ask me these questions. Use your question tool if you have one. Otherwise ask them one at a time in the chat. If I skip one, suggest an answer and tell me what you picked. 1. What is your product or business, in a sentence or two? 2. What is the one thing a viewer should take away? (zippr's: "AI needs to learn you.") 3. Who is going to watch it, and where: reels, a website, a talk? 4. Length and shape. zippr's film is 28.8 seconds, portrait 1080x1920: exactly 12 bars at 100 beats a minute. Keep 28.8 s, or add or drop whole bars? Portrait only, or a landscape cut too (zippr made portrait only)? 5. Your brand colours (hex codes if you have them), and your product's name or web address as it should appear at the end (zippr's: "zippr.to"). 6. The words on screen. zippr's: "You showed it once." at the start; the day names Monday to Friday at the top; the one question "This week's cover?"; the one-word answer "Blue."; "AI needs to learn you."; and an end card of three lines: "the future that runs on zippr", "Day one: freedom from having to keep up with AI." and "zippr.to". Keep the same number of lines, or fewer. 7. Your story in zippr's shape. Who does the work (zippr's: the mascot, on a rock)? What are the known jobs, and what does each one become when it is done (zippr's: paper cards from a pile, each folded into a paper boat and sent out to sea)? Who is the person, and what are they doing instead (zippr's: you, walking the shore)? What is the ONE question it needs you for, with two choices on screen (zippr's: two magazine covers, one blue with waves, one orange with a sun)? What is the one-word answer (zippr's: "Blue.")? And how does the day end (zippr's: sunset, you sit beside it, one blue boat among the week's cream ones)? 8. The hero's picture: (a) you have one: a mascot, product photo or logo, ideally 3 poses (standing, looking up hopefully, jumping for joy) as PNGs with transparent backgrounds; (b) you want one generated like zippr's with Nano Banana Pro (paid, about $0.14 a picture; you run it, or give me access); (c) I draw it in code (free). 9. The paper colours. zippr's: a warm cream morning shore with a blue-green sea, cream paper boats, one chosen colour (blue) for the answer, a lime mark that counts the jobs, and a pink and violet sunset. Put your brand colours on the colour roles in the recipe below, or keep zippr's? And the person's clothes: zippr's wears a terracotta shirt and navy trousers.

STEP 2: THE RECIPE (exactly how zippr made this film)

Where the method came from zippr's first cut of this story did not land: the person walking was a speck far away, and the direction was poor. So it was redone storyboard first. Six frames of the finished look, each with what is on screen, what moves next and what is heard, plus a sound sketch of the first 19.8 s played under the frames, were shown and approved before a single frame of the film was built. The fix for the speck was to make the person half the frame tall and to cross-cut between the hero's shot and the person's shot, so each gets a full-size shot. The work became visible: each job is a boat that lands on the beat.

The tools - Claude (Opus 5.5): wrote the storyboard, the sound sketch and all the code, and made every fix. - A web page with an HTML canvas: every piece of the shore, the boats, the covers, the person and the words is drawn in JavaScript as a pure function of time. No animation library, and no pictures except the hero's 3 poses. - Playwright for Python driving headless Chromium: opens the page, calls seek(t) for each frame and saves it as a PNG. - ffmpeg with libx264 and AAC: joins the frames and the sound, and measures the loudness. - Python with numpy: makes every sound from scratch. There are no recordings. SciPy runs the final peak limiter. - The font: Nunito (weights 700, 800 and 900), free under the SIL Open Font License. - Paid, once: Nano Banana Pro (Google's gemini-3-pro-image, through Vertex AI, at 2K) drew the mascot's 3 poses, about $0.14 each by usage.

The steps, in order 1. The storyboard: the story in two sentences, then 6 key frames rendered by the film's own page (0:02, 0:06, 0:12, 0:14, 0:21, 0:27), each with a line for what is on screen, what moves next and what is heard. Then a sound sketch of the first 19.8 s, played under the film's own frames at 10 frames a second. Wait for a yes. 2. One timeline file holds every time: the tempo, the shots, every job's landing, the days, the question, the answer and every line of words. The picture and the sound both read it. At 100 beats a minute and 30 frames a second, a beat is exactly 18 frames, so every event sits on a whole frame. 3. The page: seek(t) draws the whole frame from t alone. Every wobble comes from sines of t or a fixed seed; there is no clock and no Math.random. 4. Render: Playwright steps the page frame by frame (864 frames) and saves each one. Launch Chromium with --force-color-profile=srgb, --font-render-hinting=none and --disable-lcd-text, at a 1080x1920 viewport and a device scale of 1. Render in short chunks that skip frames already on disk, so a stopped render resumes. 5. The sound: numpy builds each sound at the times in the timeline file, with every sharp sound's attack exactly on its frame. Mix, set the loudness, limit the peaks. Then move the whole finished soundtrack 2 frames earlier (below). 6. Check the finished file (below), then export.

The look (every value is zippr's) - Everything is flat cut paper. The land, sea and sky are bands with wavy top edges (two sines mixed 62/38), each casting a soft paper shadow upward: rgba(60,35,15,0.22), blur 18, offset 5 px up. The sun is a paper disc with a soft halo, and two paper clouds drift across. - Paper grain over every frame: a half-size tile of random warm greys (232 to 254, green 2 and blue 6 lower), fixed seed, multiplied over the whole frame at 55%. - The boats: a paper card (80 x 50 px with three printed lines) folds into a hat and then a boat. All three shapes have the same 7 points, so they morph into each other. Each has a soft shadow rgba(40,30,20,0.28), blur 10, offset 5 down, and fold lines appear as it becomes a boat. Every boat bobs 4 px and rocks gently on the sea, and a white foam ring spreads out for 0.45 s where it lands. - The pile of jobs: 23 cream cards stacked 11 px apart, slightly askew, at 1.15x. One leaves 0.6 s before each landing. It flies for 0.6 s in an arc 220 px high, folding on the way, and lands on the beat. - The person is a jointed paper puppet in profile, facing right, drawn on its own canvas in units where 1000 is standing height. Thigh 265, shin 235, upper arm 215, forearm 190. Terracotta shirt with a collar, a button line, a chest pocket, a hem band and rolled sleeves; navy trousers with a lighter cuff; short dark hair with a forward tuft and a sideburn; an eye, a brow, a nose and a small mouth. The far limbs are a shade darker. It gets a drop shadow, rgba(40,25,15,0.32), blur 18, offset (6, 8), and a soft contact shadow under the feet. - The walk has planted feet: each ankle follows a target, the knee is solved by two-bone IK, and a heel strikes on every beat (the near leg on even beats). The half stride is 140 units and the swinging foot lifts 64; the hip bobs 16 units and the body leans 5 degrees. The camera tracks at exactly the stance foot's speed, 443 px a second at 950 px tall, so the planted foot never slides. - The tracking shot's layers slide at speeds that grow with nearness: far headland 0.04 of the ground's speed, the sea 0.12 to 0.3, the foam 0.47, the sand 0.65 to 0.9, and the sand under the feet 1.0. A scatter of shells and pebbles on the near sand sells the movement. - The hero is a cut-out picture with a soft contact shadow, rgba(40,30,25,0.30), and a drop shadow, rgba(35,25,15,0.30), blur 16, offset (5, 6). It breathes (0.6% bigger and smaller once a bar), and lifts 6 px as each boat lands, like a nod. Its poses change only by swapping pictures, and all three are scaled so their face screens match by area. - The colours are ROLES. My brand colours go onto the roles; zippr's value stays for any role my colours don't fill. The shades of a role are the same hue, lighter or darker. - THE MORNING (sky and shore): sky #F1DFC4 at the top to #F8EEDD at the horizon, sun #F6D7A4, clouds #FBF5EA, headland #B7C2AE and #A3B39D, wet sand #D6BD95, sand #E8D4AE and #EEDDBC, foam #F7F2E8. Mine: my lightest warm neutral for the sky and sand. Keep it light: the words sit on it. - THE SEA: #9CC3CB, #79AABB, #5C92A9, far to near. Mine: a soft tone of one of my colours. It must stand clearly apart from the cream boats and from THE ANSWER. - THE ROCK: top #B9B2A7, face #968F87, cracks #78716A. Mine: a grey or muted neutral. - THE WORK, the cards and boats: cream #F7F1E4. Mine: my lightest colour. It must read on the sea. - THE ANSWER, the chosen cover, the word "Blue." and the one blue boat: #4A78AE. Mine: my strongest colour, and the answer word should name or match it. It must stand clearly apart from the sea and from the cream boats. - THE OTHER CHOICE, the cover not picked: orange #E0874E. Mine: a colour far from THE ANSWER. - THE MARK, the dot beside the day name that swells as each job lands, and the web address at the end: lime #D6FF74 with a dark outline. Mine: my brightest accent. - THE EVENING: sky #C98A8E to #F4BE8E, sun #F9A95E, clouds #F3C9A6, headland #8E6A78 and #7C5B6A, sea #8C84A6, #6F6C93, #58577E, foam #F6D2B4, wet sand #B98C7C, sand #CFA088 and #D8AE93, rock #8A7C84, #6E6270, #574D5B, evening boats #F3D9C2. Mine: a warm dusk version of my morning. - THE WORDS: ink #211C18 in the morning, #241A1C in the evening; the end card's words #FBF3E6 over the dimmed evening. - THE PERSON: shirt #C8664A (far side #A5523B), trousers #34425E (far side #27314A, cuff #4A5A7C), skin #B8825F (far side #9A6B4E), hair #2A201B. Mine: clothes in my colours if I want; the person must stand clearly apart from the sand. - The type is Nunito. The day name is 54 px at weight 800, centred at the top (baseline y 202), with THE MARK beside it: a circle of radius 13 plus up to 7 as a boat lands, dying away over 0.3 s. The opening line is 62 px, 800, at y 330. The question is 76 px, 800, at y 390. "Blue." is 150 px at weight 900 in THE ANSWER's colour, at (700, 560), popping in 12% bigger and settling over 0.18 s. Each line fades in and out over 0.25 s, and is already visible on its own start frame.

The layout (1080x1920) - The hero's shot: sun at (900, 590), radius 64; horizon y 700, the sea runs to y 1215, the wet sand to y 1330. The rock runs x 250 to 1110 from y 1430, 520 px tall. The pile of cards is at (430, 1440). The hero stands at x 740, feet at y 1452, about 555 px tall. The boats sail right at 55 px a second, in rows from y 1030 to 1180, larger nearer the shore. The camera pushes in slowly, 1.0 to 1.035 across each hero shot, around (540, 1250). - The person's shot: sun at (190, 500), radius 70; horizon y 760, sea to y 1390, wet sand to y 1560. The person is 950 px tall, feet at (430, 1720). The boats sail past behind at 300 px a second, faster than the walk. - The evening: sun at (800, 835), radius 120, with a path of 14 glints on the water under it; horizon y 840. The rock runs from x -60 to 1140 at y 1400. The person sits on it at x 340, 900 px tall, a hand on the knee. The hero stands at (790, 1418), about 355 px tall, in its looking-up pose (not mirrored), with about 100 px of sand between them. The blue boat sails nearer, at (600, 1150), between the two.

The hero's pictures (the one paid step; follow this only if I chose (b)) - The model: Nano Banana Pro (Google's gemini-3-pro-image), through Vertex AI, at 2K, 16:9. It cost about $0.14 a picture by usage; Google's price page said $0.134 for a 1K or 2K picture. - What kept the character identical in 33 of 34 pictures: - one locked description, pasted word for word into every prompt; - the character's clean reference picture passed in with every call; - each new pose made as an EDIT of an existing picture, with one change per edit. - zippr's locked description: "a small chunky soft-vinyl toy creature: one rounded bean-shaped piece for head and body in matte cornflower-blue vinyl (#5387D8), with a pale periwinkle (#9DACD0) oval belly patch, two short rounded stub arms and two short round stub feet in the body's blue. The upper front of the bean is a large, softly rounded-rectangle screen set into the body, glowing a soft warm white (#FBE5CA). On that screen, and only on it, sit two small round glossy black eyes, each in a thin clear glossy rim and each carrying one round white catchlight. Two soft floppy dog ears in warm cream vinyl (#E6C28E) hang from the top of the head, one on each side. No mouth, no nose, no neck, and no marks, letters or numbers on the body." - The three pose prompts. Every one ends with: "The face-screen shows only its two eyes: no mouth, no nose, no symbol, no logo. No words, letters or numbers anywhere in the picture." 1. Standing, an edit of the character's first picture: "Edit this image. Keep the identical character: its shape, proportions, pose, colours, matte soft vinyl, face-screen glow, eyes and catchlights, and the same camera angle and framing. Only change: the setting. [The old background] is replaced by a plain, seamless, evenly lit light-grey studio backdrop that curves smoothly into the floor: one smooth neutral grey (about #C8C8C8), with no texture, no props, no doodles and no horizon line. The character stands on it with only a soft contact shadow under its feet. Soft, even studio light from the upper left, so its colours read true." 2. Looking up, an edit of picture 1 with the reference passed in: "The first image is the picture to edit. The second image shows a character, for reference only; copy its exact design, proportions, colours and material. Edit the first image. Keep the identical character (exactly as in the second image: its shape, proportions, colours and matte soft vinyl), the plain light-grey studio backdrop, the light and the framing; only change: its pose and expression, to hopeful. Its body turns a little toward the left of the picture (a three-quarter view, never more, the face-screen fully visible) and it looks up and to the left, as if at someone taller. The head tips back slightly. The two eyes are open wide and round, glossy, with bright round catchlights, gazing upward. The two stub arms are held together in front of the belly. The face-screen keeps its soft warm-white glow. It stands on the floor with a soft contact shadow." 3. The jump, an edit of picture 1 with the reference passed in. The opening is the same as prompt 2, then: "only change: its pose and expression, to a delighted jump. It is in mid-air, both feet well off the floor, a small happy hop; both stub arms thrown up high; both floppy ears flung up and outward by the jump. It faces the camera. The face-screen glows a brighter lime green, almost white-hot at its centre; the two eyes open wide and round, each with two big round catchlights, bright and glossy. A soft shadow on the floor below it, separate from its feet." - Then, free, in code: - cut each picture out of its grey backdrop (a model of the grey per row, plus a colour gate); - measure each pose once: its feet centre and its screen box; - mirror the looking-up pose; - size every pose by its outline's area, not its height, and keep the jump's pale lime screen as it came. - Designing the character in the first place took zippr several earlier rounds of pictures. Those are not in the $0.42. - zippr swapped this blue mascot into the finished film afterwards: the page loads the hero from three picture files, so the files were changed and the frames re-rendered, with the sound untouched.

zippr's story, beat by beat (28.8 s at 100 beats a minute: a beat is 0.6 s, 18 frames; a bar is 2.4 s; frame = seconds x 30) - 0.0 to 4.8 s, Monday, the hero's shot. A morning paper shore. The hero stands on the rock beside the pile of cards. At the top: the lime mark and "Monday", and under it "You showed it once." (0.0 to 2.4 s). The first card folds into a boat and lands on the sea at 2.4 s (frame 72); the second lands at 3.6 s (frame 108). Off screen, your footsteps fall on every beat from frame 0. - 4.8 s: a hard cut, on the bar, to you. 4.8 to 9.6 s, Tuesday and Wednesday ("Tuesday" at 4.8, "Wednesday" at 7.2): you, half the frame tall, mid-stride along the wet sand, the camera tracking with you. A boat lands on every beat (4.8, 5.4, 6.0, 6.6, 7.2, 7.8, 8.4 and 9.0 s) and sails past behind you, faster than you walk. The mark swells with each one. - 9.6 s: cut back to the hero. "Thursday". 9.6 to 11.7 s: the rush, a boat on every half beat (9.6, 9.9, 10.2, 10.5, 10.8, 11.1, 11.4 and 11.7 s), the fastest part of the film. One card is left. - 12.0 s: everything stops. The hero swaps to its looking-up pose, mirrored to face the pile, and two covers float up out of the pile over 0.6 s (a blue one with waves and a small sun, an orange one with a big sun, each 156 x 200 px, at x 190 and 430, y 830, bobbing). 12.3 s: "This week's cover?". Your footsteps have stopped. For a full bar there is only the sea: the film's one designed stop. - 13.2 s: cut to you, stopped on the sand. The camera pushes in slowly (1.0 to 1.06, over 2.4 s). At about 13.7 s you turn your head back toward the hero; from 14.05 s your arm rises (over 0.3 s). - 14.4 s (frame 432), on the bar: "Blue." cuts in fully, in THE ANSWER's colour. The orange cover drops away and fades over 0.5 s; the blue one swells 8% for a moment. - 15.6 s: cut to the hero jumping for joy (its jump pose, lifted 40 px on a half sine over 0.9 s). Short arms raised beside the head read as ears: throw them out to the sides, clear of the head's outline. 16.5 s: it lands back in its standing pose. - 16.2 to 16.8 s: the blue cover leaves its place in the air, folds into a blue boat, and lands at 16.8 s (frame 504). "Friday". Your footsteps come back, off screen: you are walking back. Friday's last three boats land at 17.4, 18.0 and 18.6 s. - 19.2 s: cut to the evening. Sunset; you sit on the rock with your legs over the edge, facing the hero, which stands beside you in its looking-up pose, and the week's boats are far out on the water, one of them blue, sailing between you. 20.4 to 24.0 s: "AI needs to learn you." - 24.0 s: the scene dims to rgba(30,18,24,0.38) over 0.6 s (starting on the frame), and the end card fades up line by line: "the future that runs on zippr" (24.0 s, 66 px, weight 900, at y 430), "Day one: freedom from having / to keep up with AI." (25.8 s, 50 px, weight 700, at y 600, two lines), "zippr.to" (27.0 s, 50 px, weight 800, in lime, at y 800). Hold to 28.8 s.

Fixes zippr made between the storyboard and the film, which you should keep - The person is half the frame tall; a small far-off figure is what sank the first cut. - The feet stay planted, and the layers slide in depth order; otherwise the ground looks like it slides. - In the evening, keep space between the person and the hero, and bring the one answer-coloured boat near, between them, so "one of them is blue" reads. - Size the hero's poses by measurement, so a pose swap doesn't make it jump in size. - Every word and every dim is already on screen on its own start frame, never a frame after its sound.

The sound (no music file and no voice; the footsteps are the clock and every finished job is a bell) - Made in numpy at 48 kHz, mono copied to both channels, with a fixed random seed. The idea: your footsteps are the beat, every job the hero finishes is one bell landing on a step, so the week's work plays a tune by itself. The tune climbs, hangs on a note that has not resolved at the question, "Blue." is the chord that resolves it, and the tune walks home. - Under everything: the sea, one continuous bed of low-passed noise (a one-pole filter at 0.035) that swells once every two bars, at about -26 dB, crossfading over 0.8 s at the evening cut to a darker, lower sea. It never stops across a cut. For 5 frames before "Blue." it drops to 18%, then comes back over 15 frames. A faint air of noise sits under everything, so there is never digital silence. - The sounds, what they are made of, and their gains in dB (before the loudness step): - a bare foot on wet sand on every beat from 0.0 to 11.4 s and from 16.8 to 18.6 s (band-passed noise with a 30 ms decay and a smaller grain 30 ms later, 2 ms attack), -14; - one bell per boat (a sine with partials at 2.76x and 5.40x, decaying fast, 3 ms attack, 1.6 s long; 0.7 s in the Thursday rush), -13, -16 in the rush, and -9 for the blue boat, with a low D bell (294 Hz) under it at -14. The notes, in order: D5 A5, then D5 E5 F#5 A5 B5 A5 F#5 A5, then D6 B5 A5 F#5 A5 B5 D6 E6, then D6 A5 F#5 D5 (D5 is 587 Hz, A5 880 Hz, E6 1319 Hz). The E6 hangs, unresolved, into the stop; - a paper swish before each boat (high-passed noise rising over 0.3 s and ENDING on the landing), -27; - the hero's question: a soft whistle glide, 880 to 1175 Hz in 0.16 s, then 1175 to 1480 Hz in 0.22 s, -16 and -17, with the covers' rustle rising under it, -31; - "Blue.": a D major chord of bells (D4, F#4, A4, D5 at -14, -16, -16, -17) over a 73 Hz body that decays in half a second, -9; - the jump: an upward whistle, 500 to 1000 Hz in 0.12 s, -18; - the landing: a soft tap (150 Hz with a little noise), -17; - the evening: a slow pad of D4, F#4 and A4 held from the cut, -19, fading from 24.0 s, with a soft strike of the same chord on the cut (-23 to -24); - the end card: a soft re-strike of the chord (D4, A4, D5 at -18, -20, -21); - under the web address: one soft bell, D5, -16, with A5 at -26. - The hits and their frames (at 30 fps), as heard: footsteps every 18 frames from 0 to 342 and from 504 to 558; boats 72, 108, 144, 162, 180, 198, 216, 234, 252, 270, 288, 297, 306, 315, 324, 333, 342, 351, 504, 522, 540, 558; the question 360; "Blue." 432; the jump 468; the landing 495; the evening 576; the end card 720; the web address 810. - Build every sharp sound with its attack exactly ON its frame. Then move the whole finished soundtrack 2 frames earlier: trim 3,200 samples (2 frames at 48 kHz) from the start and pad the end with the same amount of silence. Every hit then starts 2 frames BEFORE its picture; the ear hears that as exactly on time. The swishes and swells END on their frame instead. - Master: a 10 ms fade in and a 0.6 s fade out. Measure with ffmpeg's ebur128 filter, set the gain to -16 LUFS, then a transparent peak limiter with a ceiling of -1.5 dBFS (the smallest gain each sample needs over a 10 ms window, averaged over 5 ms). zippr's came out at -16.1 LUFS, true peak -1.3 dBTP; the limiter touched only "Blue." and the blue boat.

The finish - 1080x1920, 30 fps, 28.8 s (864 frames). H.264 High, level 4.0, yuv420p, crf 18, preset medium, tagged BT.709 (convert with a BT.709 matrix, so colours don't shift). AAC-LC 192 kbit/s at 48 kHz stereo, with +faststart. zippr's file came out at about 8.2 MB.

STEP 3: SWAP IN MY PRODUCT

Keep the cut-paper look, the grain, the planted walk, the cross-cutting, the 100-beat grid, the timings and the sound design exactly. Change only these: - zippr's mascot becomes my hero, from question 8. - The cards and paper boats become my known jobs and what each becomes when it is done. Keep them small, paper and countable, and keep one landing on every beat. - The person walking becomes my customer, doing what they do instead. - The two covers and "This week's cover?" become my one question with its two choices, and "Blue." becomes the one-word answer, in the colour of the choice. - The day names stay a week, unless my story has another clock. - "AI needs to learn you." and the end card become my words, and "zippr.to" becomes my name or address. - The paper colours become mine (question 9), put on the colour roles.

STEP 4: SHOW ME THE PLAN, THEN WAIT

Write my story in two sentences, then my beat table with times in zippr's format, then my colours on their roles. If you can run code, show me 4 stills in the finished look (for example at 2.0 s, 6.0 s, 12.6 s and 21.0 s), and a sound sketch of the first 19.8 s if you can. Wait for my yes before you build the whole film.

STEP 5: MAKE IT

If you are an AI app that can run code and save files, follow the recipe and give me the MP4 with sound. Ask me before installing anything. If Nunito isn't there, use any free rounded sans-serif and tell me. If you can't run code, build it as one self-contained web page that plays in the chat. Draw every paper piece on a canvas from the time, and make the sounds live in the browser. Add a big Play button (browsers only play sound after a tap), a Replay button, and a "Save as video" button if the browser allows. Tell me how to screen-record it with sound on a phone and on a computer.

STEP 6: CHECK IT BEFORE YOU GIVE IT TO ME

- Put one frame from every 0.5 s on a contact sheet and look at it at phone size. Could someone who never saw this message say what the film means from the frames alone? Fix what doesn't read. - Pull a strip of frames from the walk and check the planted foot stays still against the sand. - On the file: it plays start to end; each hit sound starts 2 frames before its picture and is clearly audible; the loudness is -16 LUFS and the peaks are below -1 dB. - Then give me the file, one still, and one honest line on anything you couldn't do. Never use copyrighted music.