What this is
The cut you just scrolled, and everything needed to shoot it
Thirty-one scenes, fifteen seconds each, seven acts, 7:45. Every frame above is a real screenshot of the live application taken on 29 August 2026 — not a mockup, not a render. Scroll the top of this page and you are watching the cut at its real pace, one frame per scene.
The board below is the shooting document: for each scene, the exact URL to re-capture, a copy-paste image-to-video prompt, the voice-over line with its word count, the on-screen text, and how it cuts. Then the redaction list and a full coverage matrix of every surface in the product.
1 — The frame
Each scene names the URL it came from. Re-shoot only if the interface has moved since the capture date.
2 — The motion
Paste the prompt with the still attached. Motion is small on purpose — a slow push, a drift, a rack focus. The interface must not be re-drawn.
3 — The 15 seconds
Most image-to-video models return 5s or 10s. Build 15s as two clips chained from the same still, or generate 10s and hold the last frame for 5s under the closing words.
4 — The line
One voice-over line per scene, written to land inside 15 seconds at documentary pace — around 38 words. The count is printed under every line.
The rule that breaks this film if you ignore it
- Image-to-video models repaint what they animate. Aim one at a screen full of figures and it will quietly change them — a dimension, a price, a quantity, a margin. Measured on ANC drawings, a single pass rewrote a resolution, a weight, a panel count and a part number, and every value still looked plausible.
- So: keep motion minimal, always append the negative clause carried in every prompt below, and compare each finished clip against its source still before it lands in the timeline. If a number moved, re-run with less motion.
- This application is unusually exposed to that failure — almost every hero frame is a grid of money. Where a scene sits on live figures, the safest version is a slow push on a still with the movement carried by an overlay, not by the model.
Look & grammar
One visual language across all 31 scenes
Palette
The product is white and light. Let it be. The film's darkness lives in the letterbox, the title cards and the transitions. Never colour-grade the interface itself — a tinted screenshot reads as fake.
Camera
Three moves only: slow push in, lateral drift, pull back. No spins, no fly-throughs, no fake three-dimensional tilt of the browser window.
Framing
Full-bleed 16:9 at 1600×900. The left sidebar stays in frame — it is the spine of the product and it repeats in every scene, which is what makes the film feel like one tool rather than nine.
Typography
On-screen text is one line, lower-left, uppercase, tight tracking. It states the capability. It never repeats the narration word for word.
Transitions
Hard cut inside an act. Between acts, a 12-frame dip through ANC blue carrying the act title.
Sound
One continuous bed, low and patient. A soft transient when a number resolves. A single low tone at each act break. No stock uplift.
Voice
Calm, factual, unhurried. Statements, not selling. The product does very large things quietly and the narration should match that. No questions, no “imagine if”.
Pace
Fifteen seconds is long. One idea per scene, landed and cut. The coverage matrix already proves nothing was left out, so nothing needs cramming.
Capture protocol
How each still was taken — and how to re-take one
- Viewport 1600×900 at 2× device scale, Chrome, light mode. Every frame here was shot that way, so a re-shoot drops straight into the timeline.
- Sign in at proposals.anc.com with an admin account. The sidebar shows the signed-in name — see the redaction list.
- Let the page settle. Several surfaces render their tables after a data fetch; a still taken too early shows an empty shell. Wait for real rows before you shoot.
- Dismiss the assistant bubble in the lower-right before shooting any proposal screen — it draws the eye and it is not the subject.
- Shoot the state, not the empty form. A wizard with nothing typed in it says nothing. Every frame here was taken on a record that already carries real data.
- One live trap: on the Control System Builder, the first click on Next: Build estimate immediately after page load can return an error; the second click builds normally. Load, wait, then click — or you will shoot an error state.
Before anything leaves the building
What must be scrubbed out of these frames
Blur, crop or re-shoot — every one of these is visible in the captured frames
- Vendor and model names. The RFP pipeline log prints the names of the underlying AI models line by line. Crop the log to the step titles or blur the right half. The tech stack is invisible to anyone outside the building.
- "DEMO FOR PHASE 2" / "DEMO FOR PHASE 3" badges on the Pipeline and Proof of Performance headers. Crop above them, or shoot after the badge is removed.
- Junk record names — dddd, fsfsss, QA-Indiana LOI, Indiana somehting, Untitled Estimate. Any frame carrying one is unusable as-is; re-shoot on a clean record or blur the name band.
- The signed-in user in the sidebar. Re-shoot under the account whose name should appear, or blur the footer block.
- Live client money. Several hero frames carry real deal values against a named team and venue. Internal audiences: fine. Anything that leaves ANC: re-shoot on a demonstration record, or blur the figures and keep the structure — the structure is the story, the number is not.
- Named individuals in the Email-to-CRM queue and the estimate list. Blur the right-hand column.
Safe as shot
- Every layout, every label, every step name, every column heading — the product's own language is the strongest thing in the film and none of it needs changing.
- Counts that describe the platform rather than a client: 158 products, 42 rate-card entries, 401 saved analyses, 1,043 projects, a 46-row responsibility matrix.
The board
31 scenes · 15 seconds each · 7:45
Read each card top to bottom: the frame, what it proves, the prompt to paste, the line to read, the text on screen, and how it cuts.
The short version
90-second sizzle — six scenes, same assets
For a room that will not sit through eight minutes. Pull these six exactly as cut and let the bed run underneath without narration breaks.
| Order | Pull scene | Why it earns the slot |
|---|---|---|
| 1 | S03 — The book of work | Opens on scale. 1,043 projects, one pipeline number, and the audience understands immediately this is production, not a pilot. |
| 2 | S05 — 66 displays out of a bid package | The single most persuasive frame in the product: a PDF goes in, sixty-six displays and a critical requirement come out, in under a minute. |
| 3 | S12 — The estimate lands | Cost, sell, margin, document total — the whole commercial picture on one grid. |
| 4 | S16 — Twelve decisions, written down | Answers the question every technical buyer asks: how did it decide that? |
| 5 | S22 — Four gates, then export | The trust scene. Nothing ships until every gate passes. |
| 6 | S25 — The client writes back on the document | Closes the loop outward. The proposal is not a file, it is a place. |
Coverage
Every surface in the platform, and where it lands
Checked against the live application on 29 August 2026. Nothing here is guessed — each row was opened and looked at.
| Surface | Where it lives | Scene | Status |
|---|
Assembly
Timeline, audio, export
Timeline
31 clips at 15.00s = 7:45. Seven act cards at 0.5s each sit over the head of the following clip, not between clips, so the running time does not drift.
Master
1920×1080, 24fps, H.264, ~20 Mbps. Stills were captured at 3200×1800 (2× of 1600×900), so a 1080p master keeps headroom for a slow push without softening.
Audio
Bed at −22 LUFS under narration, −16 in the gaps. Voice at −16 LUFS. Act tones at −20.
Versions
Cut the 7:45 master first, then pull the six sizzle scenes from the same timeline. Never re-render the sizzle from source — the grade will drift between the two.
Captions
Burn a caption track. Most of this gets watched silent on a phone, which is also why every scene carries its own on-screen line.
Last gate
Play the master beside the stills on this page, scene by scene. Any figure that differs is a repaint, not a render.