One introduction, followed to the money.

Draft 4.2: your notes on draft 4.1

• Frame edges cutting through text (the override and pipeline beats)At every hold, in both films, every word, figure, badge and sidebar item in view is wholly inside the frame or wholly outside it, measured from the page at each hold (as the highlight lands, every 0.4 s through the hold, and at its end). Shots were reframed so their edges fall in the gaps between columns and rows: the override is now a cut in to both commissions beside the panel, the pipeline beat uses the panel, and the match cut’s shared figure is bigger and a little lower. The partner film’s calculator is a little closer, so no strip of the portal’s own sidebar shows at its edge (checked on every frame of every hold). Where no framing worked, the element the edge cut is hidden for that shot only (never a figure): the split’s month selector, the Payouts pages’ “How payouts work” note during the match cut, and the statement’s footnote above the settlement row.
• Northwind: show the client’s name with its moneyTwo steps. Northwind’s row lights from its name to its badge beside the panel: “One introduction: Northwind Media.” Then the camera pans along the row at the same zoom to its earnings, lit with the “Yours” tab: “£5,997.87 earned.” Harbour & Finch’s 38 trades stay out of both frames.
• Captions as heavy ink bandsEvery caption is a compact box sized to its words (checked on every frame), set over empty space or over whole dimmed rows, never over part of a row that holds text. Where a caption had no room, the shot uses the side panel instead: the manager film’s pipeline and override, the partner film’s Northwind row and line items.
• The sound: “the weakest aspect”Music instead of effects, generated with ElevenLabs and chosen by ear: video-to-music for the manager film, Rising (strings, piano, warm horns) for the partner film, each re-cut to this picture. It plays from the first frame, lifts as the money lands, and resolves on the strapline. Nothing stops abruptly: no fall over 12 dB within 150 ms on either film.

What changed since draft 3, note by note

• Hard to follow: the box and the text were far apartThe camera is now planned from the text: every highlight sits directly above, below or beside its caption or panel (18 px from a caption, about 44 px from a side panel’s words; never more than 120 px, checked on every frame). The words arrive last, once the camera has stopped and the highlight has landed, so a caption only ever sits over dimmed content. Captions are compact boxes over empty space or whole dimmed rows (draft 4.2). Where a figure needs it, small tabs name it (“Brightwater’s” and “Yours”).
• Things moved too quicklyOne motion at a time: the old words go, then the old highlight; then the camera moves (ease-in-out, 1.0–1.6 s) and settles; then the highlight lands and its words arrive. Every highlight holds, still, for at least 2.5 s or 1 s plus a second per three words; the big figures, the match cut and the total for 3.5 s. Long trips across a page are cuts now, not whip pans.
• Unexplained highlights (Northwind at 47 s) and boxes cutting through text (C-1245 at 38 s)Every highlight has its own line and hold, or is gone. Highlights cover whole rows, cells, badges and IDs; every frame is checked for text the box cuts through.
• Status badges out of lineFixed in the portal itself (one badge column); checked straight in every frame.
• Which £1,396 is whose?“Brightwater’s introduction. You both earn.” with each figure labelled.
• The split highlighted the wrong things, far from its text“You keep” is lit on its own, then every partner row as one block, both against the side panel. The 50/50 stays in the background, and nothing else is in the frame.
• Whose view is this after the match cut?Once the match cut has landed, a quiet tag says “Brightwater’s view”. Before the reverse match it leaves with its line; the dissolve lands on your own Payouts page at the same framing, and as it ends “Your view” and “And here’s yours.” arrive. The tag never shows over the wrong page or while two pages blend, and it fades before the cut to the top of the page, so it never covers the page. The busy statement tilt is cut; the ending builds from your own payouts.
• “No fees, no deductions”Cut from both films.
• The chat bubble on the partner film’s first screenThe opening card and poster are a clean title. The bubble arrives only after the title has gone, then glides into the Templates page as before.
• Earnings should grow, and be biggerRe-seeded demo data: growing months, strong recent and upcoming months, and bigger totals. Every figure is still read from the live pages. The partner film’s introduction now shows the client and then its money: “One introduction: Northwind Media.”, then “£5,997.87 earned.”, the figure lit and labelled “Yours”.
• The black boxes and the expanding black at the endThe paid squares fade where they are, then the months rise from a baseline one by one, oldest first, ending on the scheduled month in orange, the tallest. The chart never ends on a dip. No black, nothing expanding, and every amount fits its square.
• A better strapline, and no “reply to whoever sent you this”“Get paid for the introductions your network already makes.” / “Get paid for the introductions you already make.” Both close on “Find out more · partnerships@currencytransfer.com”, in ink and larger, held at least 4 s.
• The music; the abrupt stop at 19 sMusic now (see above). At “Then what?” it thins to a breath and never stops: measured on both films, no fall over 12 dB within 150 ms.

Recorded on

The development copy of the portal (the demo-video branch, with PRs #5712–#5715 and the two layout fixes these notes asked for). Every figure on screen, the crafted sequences included, was read from the live pages at recording time, from re-seeded demo data.