Card Sample — Breaking News

Breaking News

# Card Sample — Breaking News An eight-scene news bulletin built from one measured beat: a bright card in the lower third whose headline types on a word at a time, under an orange chip that slides out from behind it, with a channel mark typing on top right. ## Where it came from, and what is authored The `.mov` runs 6.6s and holds **one** beat before it settles — the breaking card. That beat is measured frame by frame. The other seven scenes are authored in the same language, because a bulletin that opens is a bulletin that has to go on. | # | scene | source | | --- | --- | --- | | 1 | Breaking — chip, plate and a headline typing on | measured | | 2, 4, 5, 7 | Dateline / What we know / By the numbers / Quote | authored in the design's language | | 3, 6 | Just in / Next — one line, held high then low | authored — the same card at its quietest | | 8 | Sign-off — the channel name and where to follow | authored in the design's language | The recording is a 486 × 842 window with no letterboxing, so the frame it shows is taken as the design frame: geometry is a percentage of it, and the 9:16 base is that percentage on 1080 × 1920. Every card in the deck shares one bottom edge per ratio (1623px in 9:16) — except **Just in**, the one scene anchored to the TOP of the frame instead, which is what gives the deck a beat that is not a lower third. Every chip is tucked 46px behind its card so it has somewhere to slide out from. Scenes 3 and 6 are the deck's breathing room: one short line each, on the smallest card, one high in the frame and one low. They carry no second register and no list — the point of them is the space around the words. ## Motion — what the recording actually does The `.mov` is **variable frame rate**: 215 stored frames over 6.617s under a nominal 60fps, with runs of frames simply missing (0.300 → 0.383, 0.450 → 0.550). A frame index is therefore not a clock, and reading one as `n / 60` makes every beat land early. Every number below is off `frame=pts_time`. Playback restarts on stored frame 18 (pts 0.600s); `T` is seconds after that, which is the scene clock. | element | measured | authored | | --- | --- | --- | | card plate | fades up `T 0.21 → 0.70`; the alpha ramp fits a quad-out | `0.21s`, `0.49s`, `power1.out` | | headline | 13 words; the nine timed ones fit `T = 0.10 + 0.075i` | word stagger `0.075s` from `0.10s` | | chip + label | first sliver `T 0.90`, settled by `T 1.07`, from behind the card | `0.89s`, `0.16s`, `yPercent 100 → 0`, `power3.out` | | channel mark | two words, `T 0.90` and `T 0.967` | word stagger `0.067s` from `0.90s` | | globe | `T 1.20 → 1.60` | `1.19s`, `0.32s`, `back.out(1.7)` with a scale | The words start `0.11s` before the plate does, and that is the measurement, not a slip: black type on a plate still near-transparent over a dark picture is invisible, so the first word a viewer sees is the third or fourth. Authoring both at one time would have looked the same and been a different film. The chip's slide is the one figure rounded up. Its onset and its settle are three stored frames apart at a point where the recording is dropping frames, so `0.16s` is the shortest length that can carry the same gesture and be seen. The measured mark types on once, in the one scene the recording holds. It is authored per scene rather than on the common scene, so the bug re-types with each beat the way the source page does; that also means each scene owns its own copy of it, and the slot key is shared. ## Type One family. The face was identified by fitting each measured string against a candidate list twice — once for the tracking a candidate needs to reach the measured line width at the measured cap height, once for glyph overlap against the recording's own pixels. **Hind 700** is the only candidate that lands near zero tracking on all five measured strings (`+0.003 / +0.005 / +0.002` on the three headline lines, `+0.004` on the chip label, `−0.006` on the mark) and it took the overlap test as well. Montserrat, the runner-up on letterform, needs `−0.076em` to reach the same widths — it is 14% too wide at cap height, which is a different face, not a tracked one. | role | weight | 9:16 | 16:9 | 1:1 | | --- | --- | --- | --- | --- | | headline | 700 | 56px | 52px | 48px | | chip label | 700, uppercase | 45px | 42px | 40px | | figure value | 700 | 150px | 130px | 120px | | place / sign-off name | 700 | 56 / 62px | 52 / 56px | 48 / 52px | | quote | 600 | 48px | 44px | 42px | | rule | 600 | 42px | 40px | 38px | | note / caption | 500 | 40px | 38px | 36px | | channel mark | 700, uppercase | 30px | 28px | 27px | Measured cap heights: 16.75px headline, 13.5px chip label, 9px mark, on the 842px frame. Headline line step is 31px on that frame — `1.256em`, stored as `5`. ## Palette — six roles, five schemes The source is a single accent: one orange doing the chip and nothing else, black type on a white plate, a warm off-white mark over the picture. That is one scheme, so the roles are split by what each colour is FOR — `accent`, `card`, `ink`, `mark`, `scrim`, `ground` — and four alternates are authored on the same six. | scheme | character | | --- | --- | | **Ember** | the measured source — orange chip, white plate, warm mark | | Alert | red chip, warm plate, red-tinted ground | | Signal | blue chip on a cool plate | | Mint | green chip, near-white plate | | Violet | violet chip, lilac mark | Every variant states every role and no two roles share a value inside a variant. `scrim` is written as tints of one black in the gradient string, so all four stops move together. ## Slots Eight scenes, each with a `slotKey`, a full-bleed `backdrop` and named copy slots with character budgets measured against the box they sit in. The backdrops on **Breaking** and **What we know** are marked `broll` — those are the two beats whose picture is the story and whose narration runs long enough to cut against. The rest hold one still, and the sign-off is `silent` by design. **The pictures and the copy are one story.** Eight beats of a single overnight wildfire, in order: the fire on the ridge, the valley road as the last families leave, the wind turning, what is confirmed, the ground it has taken, the wait for dawn, the chief who is holding the line, and first light. The copy is written to the pictures and the pictures to the copy — a `broll` cutaway on the fire and on the list, one held still everywhere else. The pictures themselves are generated — FLUX Schnell via Runware at 1024 × 1536, on one prompt stem (night, orange fire glow, heavy smoke, muted, documentary) so the eight cut together, and prompted per scene for where the card lands (**Just in** asks for the fire line LOW in the frame, **Next** for a low horizon and an empty foreground). They are stand-ins for real footage, and the copy is placeholder in the same way: every line sits in a named slot with a solved `maxLength`, and the layout was measured, not written around these words.