Leap’s dark-corridor app launch

Shots (measured)

7 shots · 6 transitions · 40.00 s = 1000 frames at 25 fps · shot length median 4.56 s (shortest 1.68, longest 12.08). Frames are at 25 fps, first and last inclusive: a shot "33–70 · 38 f" is a Remotion <Sequence from={33} durationInFrames={38}>; at another frame rate, use the seconds.

scales: fixed = keep this shot's length when the film gets longer or shorter · scales = stretch or shrink it with the length · optional = drop it for the 15 s cut.

Measurement notes: 6 hidden cuts / dips / reframes found inside v1 shots (luma-normalised frame difference): S2 dip_to_dark at 4.760 s (f119), S3 cut at 9.080 s (f227), S3 cut at 10.880 s (f272), S4 cut at 17.680 s (f442), S4 cut… · S6: 84 text items read; the 40 largest are kept · key low confidence (0.12): A major vs F# minor · cue sheet keeps 40 of 93 sound events (all near cuts, then the strongest)

Frame sheets (measured): shots, one labelled frame per shot (labels S<n> m:ss.s; + = just after a change inside the shot) · the full-length timeline, the whole film at fixed steps (labels S<n> m:ss.s f<frame>), 4 pages · close-up strips, 14 frames around each cut and change: f114 fade from black, f119 dip to dark, f165 flash, f227 cut, f272 cut, f348 flash, f442 cut, f502 cut, f549 flash, f591 cut, f738 cut, f893 flash (sheet "transitions", 4 pages; labels S<n> m:ss.sss f<frame>): call get_frames('2118387847853908115'), or see them on the film page (Pro, or free films).

Camera and motion (measured)

Per shot, measured on the frames. "Camera move" names the camera's move; the numbers are the image's motion: pan in % of frame width (x) or height (y) per second, +x = content moves right (so a pan left), +y = content moves down; zoom per second > 1 = content grows (push in). "Over the shot" is the total, with px at 1920×1080. Speed is the move through the shot, about one character per 0.5 s (▁ still → █ its peak), then the peak in % of width per second. Cadence: "ones" = a new picture every frame, "twos" = each picture held two frames. Blur is relative to this film (0 = its sharpest shots, 1 = its blurriest); motion = share of the frame changing, 0–1. "?" = confidence under 0.5: a hint, check the sheets. The labels describe how the image moves, not where a 3D camera went: an object flying toward a still camera can read as a push in.

In 7 of 7 shots the camera holds still and something inside the frame moves: see Element motion right under this table.

Element motion (measured): in these shots the frame holds still and something inside it moves: a card, a UI panel, a product, a word. Region = where it moves (x · y · w · h % of the frame); numbers as above, for the moving region; "moving" = share of the shot in motion; ↳ = the move changes direction.

Focus (measured): shot 1: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 2: sharp inside 17 · 0 · 83 · 100, no defocus (deep focus) · shot 3 6.60–9.08 s: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 3 9.08–10.88 s: sharp inside 25 · 14 · 50 · 71, no defocus (deep focus) · shot 3 10.88–13.92 s: sharp inside 0 · 14 · 92 · 86, no defocus (deep focus) · shot 4 13.92–17.68 s: sharp inside 58 · 0 · 42 · 100, no defocus (deep focus) · shot 4 17.68–20.08 s: sharp inside 25 · 0 · 67 · 86, no defocus (deep focus) · shot 4 20.08–21.96 s: sharp inside 0 · 0 · 100 · 71, no defocus (deep focus) · shot 5: sharp inside 0 · 71 · 100 · 29, about 5 px blur outside at 1080p · shot 6 23.64–29.52 s: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 6 29.52–35.72 s: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus) · shot 7: sharp inside 0 · 0 · 100 · 100, no defocus (deep focus). Box = x · y · w · h % of the frame. In 2D, blur the layers outside the box by that many px; in 3D, set the focus distance on the box and open the aperture until the background blur matches. Locked-off shots: 3 of 7; 4 more could not be tracked (shown as "static?" or "not measured": check the sheets). Animation cadence: about 21.9 new pictures a second: 21.9 unique frames per second of 25 while things move (held-frame share 0.12, 595 moving frames). Match it, or the motion will feel smoother or choppier than the reference.

Transitions (measured)

6 transitions: 4 flashes (1–2 f) · 1 fade from black (3 f) · 1 cut. Frames are at 25 fps; a transition of n frames lasts n ÷ 25 s. Hard cuts are reliable; the blur types (whip versus zoom) are the weakest labels, so read their confidence and check the sheets.

Changes inside shots (the picture changes without a cut: a reframe, a hand-off behind black, a mask):

What each shot shows (inferred from the sheets)

Type (measured)

Sizes are cap height (the height of a capital letter) in px at the 1080p deliverable, 1920×1080. Font size ≈ cap ÷ 0.71 for a typical sans (Inter 0.73, Geist 0.71, SF Pro 0.70, Instrument Sans 0.72): check your own font's cap-height ratio. Cap heights are estimated from text-recognition boxes (median error about 11% on real text; text under about 13 px at 1080p and non-Latin scripts are not read). Box = x · y · w · h as % of the frame, from the top-left.

Plus 25 smaller or briefer text items, cap 17–125 px, mostly labels inside interfaces: all in the timeline JSON.

Type scale (cap px): 146 · 106 · 71–89 · 39 · 21–23 (5 levels) among the text above.

Left out: 12 reads that are not clean words or were seen in a single frame ("Tokenized Stocks", "Tokenized Commodi…", "Crypto"…): blurred, moving or partly hidden text the recognizer misread. They stay in the timeline JSON, not in the type scale.

Phone minimum: cap height ≥ 2% of frame width = 38 px at 1920×1080. Why: in a phone feed the film fills the screen width, about 390 pt, and 2% of that is 7.8 pt, the cap height of 11 pt text, Apple's smallest recommended text size. Words the viewer must read go at or above it; smaller text can only be decoration. Below it in the reference: "Leap is a self-custodial…" (23 px, shot 7), "Asset availability varies by…" (21 px, shot 7) and 19 of the smaller items. Size these up in your version, or treat them as decoration.

Type spec (inferred)

Assume cap height = 0.71 × CSS font size. {{BRAND_FONT}} takes precedence; Inter is a free fallback only. All essential copy clears the 38 px cap phone minimum in this aspect.

Palette by shot (measured)

Colours measured on the frames, with their share of the frame; luma 0 = black, 1 = white. These are the reference's brand colours: map them onto {{BRAND_BG}} and {{BRAND_ACCENTS}} by role (background, surface, accent), don't reuse them as the format. Neighbouring shots with the same palette share a row.

Whole film (time-weighted): #16161F 50% · #020204 32% · #252B3F 11% · #717377 2% · #F7F7F6 2% · #6B2D1E 2%.

Brightness curve (measured)

Mean luma per 1 s, one character each, grouped in tens; p95 = the bright highlights. Scale: ▁ = 0 (black) → █ = 0.5 (nothing in this film is brighter); luma runs 0–1.

      0s         10s        20s        30s
mean  ▁▁▁▁▁▁▅▁▁▁ ▁▁▁▁▂▂▂▁▂▂ ▁▁▅▂▃▃▃▂▂▂ ▂▂▂▃▃▅▃▃▃▃
p95   ▁▁▅▃▄▄▆▃▃▁ ▂▂▂▂██▆▃▃▃ ▃▃▇▅▆▆▄▃▃▂ ▂▃▄▃▃▆▄▄▄▄

Curve facts: average 0.09 · darkest 0.01 at 4.8 s · brightest 0.96 at 6.8 s · sudden changes at 6.75 s (brighter by 0.91), 22.00 s (brighter by 0.88), 35.75 s (brighter by 0.74) · opens from black, up by about 1.88 s.

Layout boxes (inferred)

End card: dark {{BRAND_BG}} field; {{LOGO}} at 34 · 34 · 32 · 19%, {{CTA_URL}} at 43 · 69 · 14 · 6%; shot 7 is 107 f, with the final mark and URL visible on the later sheet tiles.

Material card (inferred)

:root { --brand-bg: {{BRAND_BG}}; --brand-accent: {{BRAND_ACCENTS}}; }
.corridor { background: var(--brand-bg); perspective: 1100px; overflow: hidden; }
.fin { border: 1px solid color-mix(in srgb, var(--brand-accent) 32%, transparent); border-radius: 24px; box-shadow: inset 0 1px 4px rgba(255,255,255,.15), 0 0 28px color-mix(in srgb, var(--brand-accent) 20%, transparent); transform-style: preserve-3d; }
.rim { background: linear-gradient(90deg, transparent 0%, color-mix(in srgb, var(--brand-accent) 65%, white) 50%, transparent 100%); filter: blur(3px); }
.vignette { background: radial-gradient(ellipse 68% 62% at 50% 50%, transparent 25%, rgba(0,0,0,.72) 100%); }

Blender · repeated curved fins: Principled BSDF metallic 0.85, roughness 0.22, transmission 0, IOR 1.45, coat 0.35, emission 0.02. World strength 0.03. EEVEE, 64 temporal samples, 25 fps; 50 mm lens, f/5.6. Narrow strip area lights sweep across the fins.
2D / CSS equivalent · 3 px rim blur, 28 px glow at 20% opacity, 72% edge vignette over a 68% × 62% radius. Most shots use deep focus; shot 5 uses 5 px blur outside 0 · 71 · 100 · 29% (plate 5). Emulate the Blender strip lights with animated gradients and the same 28 px glow.

Sound grid (measured)

Tempo: 99.38 BPM, confidence 1.00 · first downbeat 1.846 s (bar start confidence 1.00) · beat 0.6037 s · bar of 4 = 2.415 s.

Beat grid in frames. Tracked beats, not a constant grid (the tempo drifts): use the listed times, not a formula.

Beats in seconds: 1.236 · 1.846 · 2.438 · 3.042 · 3.646 · 4.238 · 4.836 · 5.433 · 6.026 · 6.780 · 7.448 · 8.127 … (54 in all, audio.tempo.beats in the timeline JSON). Cuts on the beat: 1 of 6 land within ±1.5 frames of a beat; chance alone would give about 1.2, so the edit does not follow the beat.

Key: unclear: A major or F# minor (confidence 0.12); pick your own.

Sections (by energy of the whole mix):

Energy map (RMS per 1 s, ▁ = −37 dB → █ = −8 dB):

▇▇▇▇▇▇▇███ █████████▇ ███▇█▇████ ███████▆▃▁

Cue sheet (40 cues: 3 at a cut, 22 on a beat; the 24 strongest shown). "On screen" names the picture event the cue hits within ±3 frames (a cut, a jump, a move starting, a line of text appearing, a brightness step), or says there is none:

Loudness of the reference (measured): −12.7 LUFS integrated, true peak −1.0 dBTP, range 4.1 LU. That is how this film was mastered, not a target.

Loudness targets for your version (common practice per platform; the brief overrides them):

Original music bed (inferred)

Use 99.38 BPM, F# minor as an original choice; the measured key is uncertain. Shots 1–2: filtered low pulse and air. Shots 3–5: sustained synth, metal plucks and sub bass. Shot 6: add warm harmonic layer but leave room for UI detail. Shot 7: reduce to pad and a clean final tone. Put cues on f203, f323, f443, f683, f713, f743 and f803; the JSON carries the complete cue list. Music-model prompt: “Original instrumental electronic launch cue, 99.38 BPM, F# minor, dark restrained pulse, metallic glints, spacious product reveal, no vocals, clean resolved ending.”

Aspect conversions (computed from the measured boxes)

Aspect conversions (computed from the measured boxes): a centre crop of the reference frame, checked against its text boxes and moving elements.

Length cuts (computed from the scales flags)

Length cuts (computed from the scales flags): frames per shot at 25 fps; fixed shots keep their length, optional shots go first when the cut is shorter, the scaling shots share what is left. Snap each cut to the nearest beat when plate 8 has a steady pulse.

15 s: scaling shots shrink to ×0.21, too fast: drop a beat instead · 60 s: stretching tops out at ×1.6 (57.7 s); add 2.3 s of new beats (more of the scaling beats' pattern with new content), never a longer hold on the fixed shots.