Spotify concept ad

Decisions

• D-01 Ask or not ask at stage 01

  • AChosen
  • - A: Send no message
  • every field takes its default with a D-entry (rests on: questions.md section 5 signal "don't ask")
  Why, and its source

  The user's own words are a "don't ask" signal; the router's stops table then has zero stops (no stage 01 message, no preview approval).

  Source: brief slot mode (router; user signal quoted); ice-motion-director/SKILL.md section 3.3 and section 5 "Stops"; ice-direction/references/questions.md section 5

• D-02 Brand ownership

  • BChosen
  • - A: I am the brand: use its official material as an official film
  Why, and its source

  Stated in the run conditions and equal to the fixed default; no store badges, offers, prices or claims the brand's own pages do not state today.

  Source: run conditions (quoted); ice-direction/references/questions.md section 2 fixed option set; ice-assets/references/brand-authenticity.md section 10 steps 1 and 10

• D-04 Commercial use

  • AChosen
  • - A: unknown: never open the noncommercial folder (default when unanswered)
  Why, and its source

  The user did not say; unknown keeps every noncommercial-only source closed, which costs nothing because the skill's permissive references cover the same ground.

  Source: ice-film/SKILL.md section 8; ice-direction/references/intake-and-brief.md section 1 slot commercial_use

• D-05 Market (provisional, for research)

  • AChosen
  • - A: Arabic version for Egypt and the wider Arab world (MENA)
  • English version global (rests on: prompt language and dialect)
  Why, and its source

  The user's own dialect points to Egypt; an Arabic film for a pan-Arab streaming audience reads in MENA when its on-screen words are clear Arabic; the English version serves the gallery's global audience. Research queries use market "Egypt", "MENA" and "global".

  Source: brief slots language and market (prompt); ice-direction/references/intake-and-brief.md section 1 ("market: infer from language and brand")

• D-06 Platform (provisional, for research)

  • AChosen
  • - A: YouTube and social feeds (Instagram
  • TikTok
  • YouTube Shorts)
  • plus the public gallery page (rests on: run conditions "public gallery"
  • length range)
  Why, and its source

  A 35 to 60 s ad for a gallery is watched on a web page and on YouTube (landscape); the same film is most often reused in feeds (vertical). Research queries use platform terms "YouTube", "Instagram", "TikTok". Final ratios are set at 03 from the film type's deliverables.

  Source: run conditions ("public gallery"); brief slot duration (prompt); ice-direction/references/intake-and-brief.md section 1 ("platform: infer")

• D-08 Size and crew

  • AChosen
  • - A: Size standard (7 to 60 s, versions included)
  • crew Full: length row Standard (21 to 45 s) or Full (over 45 s), plus one row per flag: two language versions
  • a real brand's UI rebuilt at 90 percent fidelity
  • more than one master aspect composed separately (16:9 and 9:16 re-laid out). Capped at Full
  Why, and its source

  The film-setup.md rule moves one row up per flag and never above Full; with two languages and re-laid-out aspects the run has 12 to 20 dispatches, a reviewer per round per master, and up to 3 film review rounds per master. Size stays standard because the router says language versions and cutdowns of a 7 to 60 s film keep it Standard.

  Source: brief slots duration and language (prompt); ice-motion-director/SKILL.md section 4; ice-film/references/film-setup.md section 2

• D-09 Goal and audience

  • AChosen
  • - A: Goal "open Spotify and play something for the moment you are in"
  • audience 18 to 34 on phone feeds (sound often off at first) for both versions, plus laptop gallery viewers for English (rests on: R-02 S-17 and S-15 on Egypt's free-listening and data barriers
  • R-01 S-15 to S-19 on Spotify's own campaigns built on personal listening moments
  • D-06 platform)
  Why, and its source

  The only action an unofficial concept can honestly ask for is to play something; it is also the action Spotify's own link wording names ("PLAY ON SPOTIFY", "LISTEN ON SPOTIFY", R-01 S-02). Sound-off feed viewing is why every word is on screen (D-03).

  Source: brief slots platform (D-06), real_brand (prompt); R-01 (2026-10-20) S-02, S-15 to S-19; R-02 (2026-10-20) S-06, S-15, S-17

• D-10 Aspect ratios and deliverables

  • AChosen
  • - A: 16:9 master per language, with 9:16 and 1:1 re-laid out from the same timeline, plus a poster still per version (rests on: brand-film.md Deliverables
  • D-06)

  The type's deliverables list exactly this, and D-06 names both landscape and vertical destinations. Cutdowns (15 s, 6 s) are decided at 03 in versions.md.

  Source: ice-film/references/film-types/brand-film.md Deliverables; D-06

• D-11 Arabic language profile

  • AChosen
  • - A: Egyptian (Cairo) spoken Arabic, polished register, the way Spotify Egypt writes its own pages ("اسمع موسيقى من غير حدود"، "هتدفع ... بس بعد كده") (rests on: R-02 S-07
  • prompt written in Egyptian Arabic)
  Why, and its source

  dialect-profiles.md section 1 says a text-light film with no voice decides between MSA and the most likely audience dialect; the brand's own Arabic copy for this market is Egyptian colloquial, and the user writes Egyptian. Native reader: the user by default; the sign-off stays open in the delivery note (no preview approval in this run).

  Source: R-02 (2026-10-20) S-07; prompt; ice-arabic/SKILL.md section 1; ice-arabic/references/dialect-profiles.md sections 1 and 2

• D-12 Picture in mind, and the request's triage

  • AChosen
  • - A: Not yet, pitch ideas (fixed default for the question)
  • triage: unformed about the telling, so the full concept round runs at 02 (rests on: questions.md section 4 default
  • intake-and-brief.md section 4 "An ad prompt that gives facts and an occasion ... but no telling ... always enters the concept round")
  Why, and its source

  The prompt holds a subject and constraints but no telling; the skill's rule sends such an ad to the concept round, and the unanswered question takes its default.

  Source: prompt (quoted); ice/state.json questions[2]; ice-direction/references/questions.md sections 4 and 5; ice-direction/references/intake-and-brief.md section 4

• D-16 The fourth noise source: a demolition hammer instead of TV static

  • BChosen
  • - A: horn
  • drill
  • engine
  • TV static (as the critic listed) (rests on: D-13-critic.md fix 3)
  Why, and its source

  TV static has no clear everyday Egyptian noun and its sound is a hiss with no transient, so it cannot carry the backbeat; the demolition hammer has an everyday Cairo word ("تكسير", the neighbour's renovation) and a hard transient that becomes the backbeat (tak in maqsum, the snare in the straight four). It stays a machine or tool source, inside the critic's rule.

  Source: ice/review/direction/D-13-critic.md fixes 3 and 4; ice/review/direction/D-13-consultant.md; ice/plan/script.md shot 1 and the Arabic dialect review

• D-22 Default-kit items kept, with reasons

  • A. Reasons: the dark opener of kinetic type is the concept itself (the street's noise is written as words, D-13 and D-15), not decoration; the search box is Spotify's real, captured input and the film's hinge, and the answer now lands whole instead of being typed (critic fix 4); the mint #91EEDA is Spotify's own Premium page accent, not a generic "cyan on dark".Chosen
  • - A: keep the dark kinetic-type opener and the search box with reasons
  • mint stays as a Premium page accent (rests on: D-15
  • TRUTH F1)

  Source: D-17-critic.md (default kit count 3, fix 4); anti-sameness.md section 6

• D-24 End-card ground

  • AChosen
  • - A: the green logo on pure #000000 inside an oval zone wider than its clear space
  • outside the zone the black thins to 86 percent so the dim street and its lights show through (background with texture)
  • the search field under the logo (second layer)
  • two or three out-of-focus lane lights near the lens at the frame corners, drifting (foreground) (rests on: R-01 S-02 green-on-black rule
  • composition-and-staging.md section 7.2)
  Why, and its source

  the green logo is Spotify's primary colourway and the film's only green after the play circle, so it should close the film; keeping its own zone pure black satisfies the logo rule while the frame around it keeps the street's texture and depth; B gives up the green; C fails the floor.

  Source: R-01 (2026-10-20) S-02; ice/review/stages/05-approver.md item 1; ice-motion/references/composition-and-staging.md section 7.2

• D-25 Arabic melody lane word order

  • AChosen
  • - A: words in reading order: "حاجة" in the rightmost melody cell
  • "دي" in the leftmost
  • so the lane reads correctly from right to left while the playhead lights them left to right (rests on: rule 11 for the timeline
  • letterforms-in-motion.md section 6 reading order for words)
  Why, and its source

  the words are read, the timeline is not; A keeps both rules. The melody notes still play left to right; the score does not sing the words, so no word-to-note sync is lost.

  Source: ice-arabic/SKILL.md section 2 rule 11; ice-arabic/references/letterforms-in-motion.md section 6; ice/review/stages/05-approver.md item 2

• D-26 Size of the rebuilt interface strings in Arabic

  • AChosen
  • - A: interface strings at the capture's own proportion (Arabic at the Latin size, as Spotify's Arabic web player sets them)
  • the film's own words (noise words, lane words, the painted line, tile titles) keep D-19's 1.35 (rests on: measured on the captures at 07: the Arabic placeholder is 128 px wide in a 474 px field and "أفضل النتائج" 121 px over a 388 px card
  • at 1.35 the rebuild measured 175 px and 162 px, at 1.0 it measures 130 px and 121 px)
  Why, and its source

  inside the rebuilt interface the capture is the authority (section 11.1); Spotify itself sets Arabic at the Latin size there, and IBM Plex Sans Arabic at that size matches the capture's ink width within 2 percent. D-19's reason (Arabic read words visibly smaller than Latin at equal size) concerns the film's own type, which keeps 1.35. The answer stays legible: 40 px in the 16:9 master, 37 px in 9:16.

  Source: ice/review/ui-fidelity/sheet-ar.png; film/js/ui.js (uts); D-19

• D-28 One version only: English, 16:9 (owner's decision)

  • BChosen
  • - A: deliver the six planned films (rests on: the prompt and D-10)
  Why, and its source

  the owner (Omar) narrowed the scope mid-run, in his words: "منا مش عايز غير نسخة واحدة فقط لا غير. انجليزي و 16:9 عجبتني ووافقت عليها ... هي نسخة واحدة كاملة من كل شيئ حتى الميوزك والساوند ايفكت وغيره" (I want only one version, nothing else; English and 16:9, I liked it and approved it; one complete version of everything, music and sound effects included). He watched ice/renders/draft-3-en.mp4 and approved its story, scene order, look and pacing; later changes are allowed only where they fix the static, empty last 8 s and the grey placeholder Top result card. The user's newest explicit note outranks earlier notes (ice-film SKILL.md).

  Source: the owner's message relayed by the run coordinator, 2026-10-20; ice/renders/draft-3-en.mp4

• D-30 Owner feedback round on draft-7 (2026-10-21)

  • option 1, same story, made clearChosen

  Source: the owner's notes relayed by the run coordinator, 2026-10-21; ice/renders/draft-7-en-av.mp4

• D-32 Which machine plays which part

  • AChosen
  • - A: the car horn is the kick (low hit)
  • the pile driver the backbeat (snare on 2 and 4)
  • the road breaker the hats (eighths)
  • the motorbike the bass (rests on: each machine sound matches its part: a horn is a short low blast
  • a ram is a single heavy hit
  • a breaker is a fast repeat
  • an engine is a low held tone)

  it follows the owner's mapping and keeps the press-to-first-honk handoff (the pressed play circle drops onto the car horn and the horn plays the first kick).

  Source: D-30; ice/plan/storyboard.md revision 5

• D-33 New length and timing

  • AChosen
  • - A: 36.0 s: noise 0 to 2.9, question 2.9, typing 3.3 to 5.4, Top result card 5.75, press on the first downbeat 7.5, one machine per bar to 15.5, fill, breath 17.5 to 19.5, drop 19.5, the line 23.5 to 27.5, the field returns 27.5, logo 29.5, unofficial line 30.5, last hit 33.5, ring-out to 36.0 (rests on: the owner's timing for the noise and the typing
  • four bars of joining machines
  • the prompt's lower bound)

  it keeps the approved order with the owner's two timing fixes and stays inside the brief's 35 to 60 s.

  Source: ice/plan/storyboard.md revision 5; ice/plan/storyboard-strip-v2.png

• D-34 The line over the playing street (for the owner's choice)

  • B, chosen by the owner (D-35)Chosen
  • - A: "Pick a song. The street keeps the beat." (rests on: the action you take, then what the street does
  • costs: it says "song" while the card the viewer pressed is labelled "Playlist")
  Why, and its source

  the owner's note asks for a line that explains; B names the cause the viewer saw (the press) and the effect (the noise becomes the beat) and matches the card, where A and C say "song" over a playlist (the approver's note). Reading time by the ice-type rule (letters / 15 + 1.5 s): B 3.6 s, A 3.5 s, C 3.1 s; the line holds about 3.6 s from half in to half out, so each option fits. A and C fit the same two-line layout.

  Source: D-30; ice/plan/style-frames/v2/frame-5-the-line.png; film/js/config.js (COPY.lineParts); ice/plan/script.md (word count and claim test after the rework)

• D-35 Owner approval round on the reworked plan (2026-10-21)

  • as aboveChosen

  his decisions

  Source: the owner's approval relayed by the run coordinator, 2026-10-21

• D-36 The jam cars on the groove (fix a)

  • AChosen
  • - A: two horn stabs a bar from the drop: the cars behind the hero honk on the off-beats, steps 6 and 14 of 16 (the "and" of beats 2 and 4), alternating car by car, a second, higher horn voice in the score
  • in the noise they honk out of time with the rest (rests on: the off-beats are free of the kick and the backbeat, so the stabs answer the hero's kick like a horn section
  • one car per stab keeps each honk visible)
  Why, and its source

  the owner asked that the hero stay the kick and the others join where the score supports it; the off-beat steps 6 and 14 are free of the kick and the backbeat (they share their step with the bass and the hats, a mix point for 08b), and they read as cars honking back at the hero.

  Source: D-35; ice/plan/cue-sheet.json (patterns); film/js2/street.js (JAM)

• D-38 Owner feedback round on draft-9 (2026-10-21)

  • fix all four (D-39 to D-42)Chosen

  his decision

  Source: the owner's notes relayed by the run coordinator, 2026-10-21; ice/renders/draft-9-en-av.mp4; ice/review/gates-draft9/

• D-39 A shorter, living ending (note 1)

  • AChosen
  • - A: the field returns at 27.5 for one beat pair, the logo cadence at 28.5 (bar 10 beat 3), the unofficial line from 29.0, four seconds of the street playing on the beat under the logo, the last hit at 32.5 (bar 12 beat 3), the ring-out to 35.0 (the film 35.0 s, the prompt's lower bound)
  • the end card camera closer (scale 0.39 instead of 0.342), the logo, field and line re-spaced in the black sky, the street brighter under it with the windows and the lamps pulsing on the beat and the jam answering to the last hit (rests on: the ending from 27.5 is 7.5 s instead of 8.5 s of field and logo over a still street
  • the question 7.5 s on screen, the logo 6.25 s, the unofficial line 6.0 s, all above their reading times
  • the film stays inside 35 to 60 s)
  Why, and its source

  it shortens the ending and makes it play, keeps every required reading time, and keeps the film inside the length the prompt locked; the owner's "a little under 36 s" reads as 35 s, not under it.

  Source: D-38; film/js/config.js (CUE2); ice/plan/cue-sheet.json (re-exported; the 33.5 s sheet of draft-10 kept as cue-sheet-draft10.json); ice/review/stages/07-08-draft10-approver.md (return item A)

• D-40 A denser jam inside the frame (note 2)

  • AChosen
  • - A: a second row of the jam in the far lane (three cars and vans standing above and behind the hero car, a little smaller for depth), the motorbike moved forward in the far lane between that row and the road works, the wide frames shifted to take in the two rows
  • the jam stabs from the drop cycle through all seven cars, one car per stab (rests on: seven vehicles stacked in two rows read as a jam at a glance in the same width the machines need)

  only the second row puts more cars inside the same frames; cycling the stabs through the seven cars matches the sound, which already plays one car per stab (08a note on draft-9).

  Source: D-38; film/js2/street.js (JAM, order); ice/plan/cue-sheet.json (music.jam)

• D-42 Peak limiting at or under 6 dB (note 4)

  • AChosen
  • - A: make the score's own peaks smaller instead of limiting them (softer transients at the drop impact and the kick, the jam stabs kept off the bass peak, gentle saturation before the bus), deliver the score with true-peak headroom so the master adds little, and measure the total peak reduction from the unlimited bus to the final master at 6 dB or less (rests on: harshness comes from the limiter working hard
  • a smaller crest needs less of it)

  it keeps the loudness target and removes the cause at the source.

  Source: D-38; ice/audio/score.py (version 5); ice/audio/NOTES.md

• D-44 Owner approval of draft-11, with one change to the ending (2026-10-21)

  • as aboveChosen

  his decision

  Source: the owner's words relayed by the run coordinator, 2026-10-21; ice/renders/draft-11-en-av.mp4

• D-45 The black end card and the logo entrance

  • AChosen
  • - A: the empty search field returns over the playing street at 27.5 and holds 4.0 s (the call to action read in full)
  • 31.5 (bar 12 beat 1) to 33.0 the street and the field fade to black together
  • 32.5 to 33.5 the official logo fades up and scales from 0.92 to 1.0 as a whole on an accelerating curve, centred at 768 px (40 percent of the width), landing at scale 1.0 on the final hit at 33.5 (bar 13 beat 1)
  • the exact file holds on #000000 for 1.5 s while the chord rings out to 35.0 (rests on: R-01 motions only
  • the question keeps its reading time
  • the logo lands on a downbeat
  • no pure black frame
  • an end hold within the reading time of a text-less end card
  • 35.0 s). Built first as draft-12 with the landing at 32.5 (the owner asked for about 32.5 s): look.py failed G2 (20 pure black frames, 30.97 to 31.63 s) and G3 (the logo still 2.5 s against 1.77 s), so the landing moved to the next downbeat, one second later
  • draft-13 then failed G3 again (the ease-out tail of the entrance read as held for 3.0 s: the logo is about 7 percent of the frame, so a gentle change stays under the per-frame threshold), so in draft-14 the entrance accelerates into the hit and stops on it, measured end hold 1.47 s
  Why, and its source

  it does exactly what the owner asked with the plainest motion R-01 allows, and keeps the call to action readable before the screen goes black.

  Source: D-44; film/js/config.js (CUE2), film/js/lockup.js, film/js/ui.js, film/js2/street.js; ice/plan/cue-sheet.json (re-exported)

• D-46 The non-affiliation line leaves the video (owner's decision, 2026-10-21)

  • (b): the film carries no non-affiliation line anywhere; the gallery caption and the landing card carry it in the exact wording "Unofficial concept, not affiliated with Spotify".Chosen
  Why, and its source

  his decision, taken after he was told the risk. It overrides, for this demo only, run condition 3 of DEMO-BRIEF.md (the film no longer ends with the line), RD-01 (placement: not in the film), ledger L4 (the film part) and the label gate of brand-authenticity.md section 10 step 10; every check that asks for the line in the film passes on this point by his decision. The other logo rules stay (R-01: the official file, unaltered, no co-branding, no implied endorsement).

  Source: the owner's words relayed by the run coordinator, 2026-10-21; DEMO-BRIEF.md run condition 3; ice/assets/TRUTH.md RD-01; ice/research/COMPLIANCE.md RD-01

• D-47 Final approval of draft-14 by the owner (2026-10-21)

  • draft-14 is the approved cut: final render at 1920x1080, English, 16:9, one version; then delivery (ice/renders/final/, ice/review/NOTE.md, a 16:9 English poster still) and the case study export.Chosen
  Why, and its source

  his decision. It confirms the logo landing at 33.5 s with the 1.5 s hold (D-45; the heads-up question is answered by his approval of draft-14), and it closes the "nobody has listened" caveat: the owner listened to the sound.

  Source: the owner's words relayed by the run coordinator, 2026-10-21; ice/renders/draft-14-en-av.mp4; ice/review/stages/07-08-draft14-approver.md

• D-48 Viewer takeaway, written late at stage 09 (clarity gate)

  • (a): the block "## Viewer takeaway" under the chosen concept in ice/plan/concepts.md, quoted here:Chosen
  • - (a) write the takeaway late, only from text locked at 02 and before read 3, then run a blind read 3 on the delivered master (rests on: clarity-gate.md section 2, the takeaway is a restatement of the locked concept
  • section 3, a new viewer per read
  • the film is unchanged, D-47)
  Why, and its source

  (a) is the only option that tests the delivered film against a target fixed before the read; (b) leaves the gate untested and (c) has no Sells or Offer's job and would match the viewer to words on screen rather than to the concept. Every field restates text locked before read 3 (sources in brackets in concepts.md); nothing is new, so the concept, the film and its approval (D-47) do not change.

  Source: ice/plan/concepts.md "Viewer takeaway"; D-13; D-30; TRUTH.md; BRIEF.md; ice-qa/references/clarity-gate.md sections 2 to 5

Made in this stage

• 01-COMPLIANCE.md

  Research note COMPLIANCE.md

  Open the file: 01-COMPLIANCE.md

• 01-R-01-RQ-brand.md

  Research note R-01-RQ-brand.md

  Open the file: 01-R-01-RQ-brand.md

• 01-R-02-RQ-business.md

  Research note R-02-RQ-business.md

  Open the file: 01-R-02-RQ-business.md

• 01-R-03-RQ-rules.md

  Research note R-03-RQ-rules.md

  Open the file: 01-R-03-RQ-rules.md

• 01-R-04-RQ-color.md

  Research note R-04-RQ-color.md

  Open the file: 01-R-04-RQ-color.md

• 01-R-05-RQ-type.md

  Research note R-05-RQ-type.md

  Open the file: 01-R-05-RQ-type.md

• 01-R-06-RQ-category.md

  Research note R-06-RQ-category.md

  Open the file: 01-R-06-RQ-category.md

• 01-R-07-RQ-ads.md

  Research note R-07-RQ-ads.md

  Open the file: 01-R-07-RQ-ads.md

• 01-R-08-RQ-refs.md

  Research note R-08-RQ-refs.md

  Open the file: 01-R-08-RQ-refs.md

• 01-BRIEF.md

  The brief: what the user said and every slot with its source

  Open the file: 01-BRIEF.md

Decision

• D-13 Concept

  • mix of C2 (body and hero) with C1's exact question as the hinge, the critic's own recommendation, with the critic's five fixes applied (ice/plan/concepts.md)Chosen
  • - C1: One question
  • 777 million answers (subject world) (rests on: R-01 capture "What do you want to play?"
  • R-02 S-01 figures
  • R-07 open space "interface as main stage")
  Why, and its source

  C2 is the only KEEP (7): one idea, readable muted from frame 0, and its percussion-led score is the most code-friendly in the round; C1's exact Spotify question fixes C2's failed competitor swap. The critic's Arabic condition for the pill was met by capturing Spotify's own Arabic search placeholder on 2026-10-20.

  Source: ice/review/direction/D-13-options.md; R-01, R-02, R-06, R-07, R-08 (2026-10-20); COMPLIANCE.md; TRUTH.md (F1, Arabic interface strings)

Made in this stage

• 02-concepts.md

  Concepts pitched and the one chosen

  Concepts: spotify-concept-ad

  Runtime date: 2026-10-20. Stage 02. Decision: D-13 (ice/DIRECTION.md). Options file: ice/review/direction/D-13-options.md. Consultant: ice/review/direction/D-13-consultant.md. Critic: ice/review/direction/D-13-critic.md.

  The round (five pitches, one per path)

  | ID | Path | Concept in one sentence | Critic |

  | C1 | Subject world | Spotify's search field asks "What do you want to play?" and a day answers it, each answer re-scoring the frame, until the field multiplies into 777 million answers | REVISE, 6 |

  Read the whole file: 02-concepts.md

• 02-TREATMENT.md

  The treatment handed to the build

  Treatment: spotify-concept-ad (The street plays along)

  Runtime date: 2026-10-20 Direction: D-17 (palette D-18, type D-19, sound D-20, motion D-21) Concept: D-13 (structure D-14, opening D-15)

  PAGE

  Problem: the city around you is loud with noise you did not choose: horns, drills, engines, the neighbour's renovation.

  Audience: 18 to 34, in Egypt and the Arab world (Arabic version) and worldwide (English version), on a phone feed that often starts muted, and gallery visitors on a laptop with sound.

  Read the whole file: 02-TREATMENT.md

Decisions

• D-03 Voice source

  • AChosen
  • - A: Every word on screen in each language
  • with music and sound
  • no voice (fixed default)
  Why, and its source

  No permitted voice source exists; the router's "voice implied, no voice source" rule keeps the film on ice-film, music-led. The cut is built so a voice could be added later without re-cutting.

  Source: run conditions (quoted); ice-motion-director/SKILL.md section 2 "Voice implied, no voice source"; ice-direction/references/questions.md section 2 fixed option set

• D-14 Structure

  • S-B with S-A's chain reaction as the locking mechanism (the critic's mix), and the critic's five fixes: show the choice (an answer enters the pill and becomes the melody lane), the chain causes the rise and accelerates, importance budget 2 of 8 and peak at 67 percent, a short descent with the street playing under the closing pill, a 2.5D tilting plane with frontal billboards for read wordsChosen
  • - S-A: Lock-in, row by row (chain reaction on a flat grid) (rests on: structure.md section 2 "chain reaction"
  • brand-film.md "Narrative shapes")
  Why, and its source

  S-B is the only KEEP (7): the top-down reveal makes "the street plays along" literal and one camera meets the brand film's transform-not-cut policy; S-A's chain supplies the cause the camera lacked.

  Source: ice/review/direction/D-14-structure-options.md; ice/review/direction/D-14-critic.md; ice-film/references/structure.md sections 2 to 7; film-types/brand-film.md

• D-15 Opening (first 3 seconds)

  • C mixed with A's dominant horn word, with the hook critic's five fixes (ice/plan/hooks.md)Chosen
  • - A: typography leads
  • one giant noise word slammed across the frame (rests on: concept-menus.md section 3 "A giant word cropped by the frame edge")
  Why, and its source

  the hook critic scored C highest (REVISE 6) as the only first frame a muted viewer reads at once, with an escalating fall into the 5.0 s horn; A's crop is a hard Arabic failure, B has no whole word at frame 0.

  Source: ice/plan/hooks.md; studies ice/renders/studies/opening-*.mp4 and ice/plan/hooks/opening-studies-sheet.png; ice/review/direction/D-15-critic.md

Made in this stage

• 03-structure.md

  Structure

  Structure: spotify-concept-ad

  Runtime date: 2026-10-20. Stage 02. Decisions: concept D-13, structure D-14. Critic: ice/review/direction/D-14-critic.md.

  Film type: brand film (D-07), borrowing the app ad's real product moment (Spotify's search field).

  One claim (seven words or fewer, no conjunction): You choose what you play.

  (The treatment does not exist yet at 02; the claim and PAGE lines are taken from the chosen concept here and copied into ice/plan/TREATMENT.md at 05. See PILOT-NOTES, structure.md section 1 problem.)

  Read the whole file: 03-structure.md

• 03-script.md

  Script

  Script: spotify-concept-ad (The street plays along)

  Mode: Write (no script supplied)

  Language and dialect: two versions. English (plain international, sentence case). Arabic: Egyptian (Cairo) spoken Arabic, polished register (D-11), every on-screen word in Arabic lettering except the Latin name "Spotify" and the English unofficial line (RD-02); transcreated, not translated.

  Length target: 49.0 s (the D-14 beat plan re-timed at 03 so the question and the answer each get about 3 s of reading hold, and extended at 04 so the Arabic end card holds the logo plus both unofficial lines; the film runs 49.0 s in every plan file).

  Word budget: 20 words or fewer per version in total, counting each distinct on-screen string once (the closing question repeats the same string the viewer already read at 5.5 s, so it adds no new reading; brand film text density: manifesto lines word by word, at most 2 lines, about 6 percent of frame height per line). The required unofficial label is exempt from the count (truth-sheet.md section 12: disclaimers are marked and exempt from text counts).

  Read the whole file: 03-script.md

• 03-hooks.md

  Openings compared

  Hooks: spotify-concept-ad

  Runtime date: 2026-10-20. Stage 03 openings step (ice-film/references/openers-and-endings.md sections 2 to 4).

  Priority test: benefit "the noise around you can become your track"; open question "who wins: the noise, or me?"; payoff at 12.0 s (the play press locks the first noise to the beat) and fully at 31 s (the street as a drum machine).

  Studies: grey blocking, real copy, real candidate fonts (Inter Bold for English, Noto Kufi Arabic 800 for Arabic; type is decided at 05), first 3.2 s, rendered with the HTML capture renderer at half size: ice/renders/studies/opening-<A|B|C>-<en|ar>.mp4; stills at 0, 1 and 3 s: ice/plan/hooks/opening-studies-sheet.png. The studies are built in isolation from the film; their timing may differ from the final cut.

  | Opening | Leads with | Frame 0 | By 1 s | By 3 s | Heard | Muted read | Choice notes |

  Read the whole file: 03-hooks.md

Decisions

• D-37 A closer camera and a taller street (fix b)

  • AChosen
  • - A: tighten the layout (the motorbike in the far lane right above the hero car, the pile rig on the site right above the breaker, the jam running out of frame to the left), raise the buildings behind the action to just under the end card's limit, and raise the camera scale: about 1.1 on the opening car, 0.85 to 1.0 on each machine as it joins, about 0.72 when all four play
  • the end card stays at 0.342 (rests on: the machines fill the frame and the frame top meets facades instead of sky, while the end card keeps its whole street)

  only A answers both halves of the note (machines larger in the frame, less empty sky); B and C each move the emptiness or leave the machines small.

  Source: D-35; ice/plan/style-frames/v2/ (updated); film/js2/street.js (camera keys)

• D-41 Camera movement while the machines join (note 3)

  • AChosen
  • - A: a slow push toward each machine through its joining bar (the breaker 9.5 to 11.0, the pile rig 11.6 to 12.7 with the tilt kept, the motorbike 13.6 to 15.3), a travel between them, then a pull out to the band for the fill with a slow drift to 17.5 (rests on: each push names the new player
  • nothing holds still more than half a second)

  the owner named a push or a drift toward each machine; A does exactly that inside the one-camera grammar.

  Source: D-38; film/js2/street.js (KEYS)

Made in this stage

• 04-storyboard.md

  Storyboard

  Storyboard: spotify-concept-ad (The street plays along), revision 5 with the owner fixes (D-35), the draft-9 notes (D-38) and the black end card (D-44 to D-46)

  The owner approved draft-11 and changed the ending (D-44): the end card is a fully black screen where the official Spotify logo enters with a fade and a 0.92 to 1.0 scale and lands on the final hit (D-45); the film carries no non-affiliation line, which lives in the gallery caption and the landing card (D-46). The storyboard as it stood for draft-11 is kept in storyboard-draft11.md.

  After draft-9 the owner asked for four fixes (D-38): a shorter, living ending (D-39: the film is 35.0 s, the prompt's lower bound; the field returns for 1 s, the logo card from 28.5, the last hit at 32.5, the ring-out to 35.0, the end card closer with the street playing on the beat), a denser jam inside the frame (D-40: a second row of three cars and vans in the far lane, the stabs cycling one car per stab), camera pushes toward each machine as it joins (D-41) and less limiting at the drop (D-42, sound). The storyboard as it stood for draft-9 is kept in storyboard-draft9.md.

  The owner approved revision 5, the six style frames, line B and 36.0 s (D-35), and asked for two fixes folded in before the build: a row of cars standing in a jam behind the hero car (D-36: the hero keeps the play circle and the kick; the cars behind it answer on the off-beats from the drop) and a closer camera with much less empty sky (D-37: taller buildings behind the action, the motorbike in the far lane right above the hero car, scales 0.7 to 1.1 instead of 0.56 to 0.75). Revision 5 as approved is kept in storyboard-rev5.md.

  Revision 5 answers the stage 05 rework critic (ice/review/rework-04-05-critic.md, REVISE with 5 fixes) on revision 4, which answered the owner's feedback round on draft-7 (D-30, 2026-10-21): the same story, made clear. The street is a real drawn street built in code (D-31); every sound comes from a visible machine; the search answer is typed letter by letter; after the press the same machines play the song (D-32); the abstract lane grid is gone. What revision 5 changes: the machines are drawn 1.6 times larger and stand close together (the pile rig on the site right above the breaker, the motorbike in the far lane right after it), so all four fill the wide frames; the pile rig is redrawn with its pile going into the ground, a flash where the ram meets the pile and dust where the pile goes in; the site has solid hoarding instead of thin scaffold bars; the extra parked cars are gone; every word sits next to its source with a black outline; the line is rewritten so it explains the idea (D-34, for the owner to choose); the end card puts the logo, the field and the required line in a pure black sky above the rooftops with the whole street below (no floating panel, no light blobs). Revision 4 is kept in storyboard-rev4.md, revision 2 in storyboard-rev2.md.

  Read the whole file: 04-storyboard.md

• 04-shot-plan.md

  Shot plan

  Shot plan: spotify-concept-ad (shot contracts), revision 5 with the owner fixes (D-35 to D-37) and the draft-9 notes (D-38 to D-41)

  The contracts below hold for draft-14: the film is 35.0 s; shots 13 to 15 are re-timed (27.5 to 31.5, 31.5 to 33.5, 33.5 to 35.0; the end card is the logo alone on black, D-44 to D-46); shots 6 to 9 carry the camera pushes of D-41; the jam has a second row in the far lane (D-40). The draft-9 contracts are kept in shot-plan-draft9.md.

  One composition: film/v2-en-16x9.html loading film/js/util.js, config.js, ui.js, lockup.js and film/js2/street.js, main.js (one continuous timeline; shots are time ranges of one camera along a drawn street). English 16:9 only (D-28). Times in seconds at 30 fps, from storyboard.md revision 5 (D-33). Richness values are measured on the stills of the real build with ice-qa's own area function (film_gate.area_features, 320 px grey; temp/v2o/v2-en-16x9/), and for type and interface heroes as hero_width, the hero text or interface width over the frame width. Every camera entry gives its reason. The revision 3 contracts of the lane-grid world are kept in shot-plan-rev3.md.

  | Shot | Time | Claim and evidence | Start state | Decisive state | Handoff state | Focal owner | Motion verb | Camera window and reason | Layer manifest (back to front) | Alive | Richness (hero_share / frame_fill of 16 / depth) | Cues | Assets | QA checks |

  | 1 | 0.0-2.9 | none (situation) | close on the grey honking hero car at frame 0, the jam behind it, the motorbike above, HONK in front of it | 2.62: the whole noisy block, the loudest horn, all four machines and their words in frame (frame-1) | the field rises at 2.9 as the street dims | the honking car, then the whole street | fire, pull back | 0.0 to 2.5: pull back from scale 1.1 on the hero car and the jam behind it to 0.7 on the block; reason: find the noise, then show all of it | sky, far skyline (parallax), buildings and site, road and lamps, machines, words | the four machines fire out of time, words pop and fade, the camera pulls back | 91 at 0.3 and 100 at 2.62 / 16 / 4 | horn 0.0, 0.7, 1.4, 1.9, 2.6 (loudest); breaker 0.3, 1.1, 2.0; ram 0.5, 1.25, 2.2; engine 0.15, 1.6, 2.4 | none | frame 0 readable; every read word whole inside the 5 percent margins; no face |

  Read the whole file: 04-shot-plan.md

Decisions

• D-07 Film type

  • A, Brand filmChosen
  • - A: Brand film, borrowing the app ad's "real product moment" (rests on: brand-film.md Fit and Purpose "a feeling the brand owns"
  • Timing master music-led by default
  • Deliverables 16:9 master with 9:16 and 1:1 re-laid out)
  Why, and its source

  The asked 35 to 60 s length and an unofficial concept with no CTA badge fit the brand film's purpose (a feeling Spotify owns) and its music-led timing master; the app ad's strength, the real product doing its job, is borrowed as one or two rebuilt UI moments from Spotify's public pages with neutral content, so the film still shows the product.

  Source: brief slots duration, real_brand (prompt); D-02; D-03; ice-film/references/film-setup.md section 1 ("Two types fit: pick the one whose purpose matches the goal, borrow parts of the other, log it"); film-types/brand-film.md and app-ad.md (Fit, Purpose, Rhythm ranges, Truth and content, Deliverables)

• D-17 Direction (the look)

  • A, with the critic's five fixes: (1) at 34 s the locked lanes fold into Spotify's Browse all tile layout under the search field (the street becomes Spotify's own search page); (2) no red: lanes coral #FFA178 (horn, first flood), olive #608108 (hammer), mint #91EEDA (drill), slate #477D95 (engine); (3) light carries the choice: overhead lamps on wires at 1.25x parallax, #2A2A2A until their lane locks, then a 600 px pool of the lane colour at 30 percent over the grain; (4) default kit cut to 2, logged (D-22): the answer lands whole; (5) Arabic read words in IBM Plex Sans Arabic Bold at 1.35x the Latin size, texture at 56 px minimum; the end card on #000000Chosen
  • - A: Night shift: Spotify's dark interface becomes the street
  • each locked lane takes one of Spotify's own browse colours (rests on: brand sheet, browse tile captures, R-04, R-06)
  Why, and its source

  A is the only direction that serves the claim with its own mechanics (grey until your press, colour only on a lock) and looks like Spotify's own interface and browse colours made better; B is inherited from the risograph entry (3 of 6 axes) and fails contrast on cream; C is the category convention and inherited from Swiss Motion (2 of 6).

  Source: ice/review/direction/D-17-options.md; D-17-consultant.md; D-17-critic.md; R-01 S-02 (2026-10-20); R-04 S-03, S-04; brand-sheet.json; assets/capture/spotify/webplayer-search-en (browse tiles)

• D-18 Palette

  • BChosen
  • - A: dark ground with four browse colours
  • red led (coral
  • olive
  • mint
  • red) (rests on: D-17 options A)
  Why, and its source

  removing red moves the nearest Apple Music red from dE 4.2 to dE 15.2, removes the pan-Arab flag set, and raises the worst lane pair in colour-vision simulation from 4.9 to 6.7 (critic, consultant measures); lanes also differ by position and word, never by colour alone.

  Source: D-17-critic.md fix 2; D-17-consultant.md (measurements); captures browse tiles (#477D95, #608108), Premium page (#FFA178, #91EEDA)

• D-19 Type

  • A, with Arabic read words at 1.35x the Latin size (Plex Arabic body is 69 percent of Figtree's x-height at equal visible height) and Arabic texture words at 56 px or moreChosen
  • - A: Figtree 700 and 500 (Latin) with IBM Plex Sans Arabic Bold and Regular (Arabic) (rests on: shape overlap 0.310 Latin
  • 0.393 Arabic
  • the best Arabic echo of CircularSp-Arab)
  Why, and its source

  A carries the direction's friendly geometric voice in Latin and the closest independent echo of Spotify's own Arabic site type; the size factor fixes the weight gap the consultant measured. B's Latin is inherited from the rejected direction; C's Arabic line box is smaller than its ink and clips marks.

  Source: temp/fontmatch measurements (D-17-options.md); D-17-consultant.md; R-05; type-pairing.md sections 1 to 6

• D-21 Motion language

  • A (ice/plan/motion-plan.md)Chosen
  • - A: one continuous camera
  • locks on the beat
  • colour and light arrive with the lock
  • no cuts (rests on: D-14
  • brand-film.md transition policy)

  the brand film transition policy asks that nearly every transition turns the current object into the next; one camera keeps the chain causal.

  Source: ice/plan/motion-plan.md; brand-film.md; D-14

• D-31 The street world: a drawn night street (look, stage 05 rework)

  • AChosen
  • - A: a flat-vector night street in side view (buildings, lamps, a construction site, a car, a road breaker on a small excavator, a pile driver, a motorbike with a helmeted rider), one continuous camera travelling along it, a far skyline in parallax (rests on: every source is seen whole and at once
  • it reads on a phone
  • it builds as SVG shapes from code
  • the camera can travel to each machine as it joins)
  Why, and its source

  it answers the owner's note directly (a street you recognise, every sound visible) and keeps the film's grammar (one camera, colour arriving on each lock). Grey before the press, each machine taking its lane colour when it joins, the windows as the street equalizer at the drop.

  Source: D-30; ice/plan/style-frames/v2/ (six frames from the real build: film/v2-en-16x9.html, film/js2/street.js); ice/plan/storyboard-strip-v2.png; ice/plan/storyboard.md revision 5

Made in this stage

• 05-DIRECTION.md

  Decision log: options, choice, reason and source for every decision

  Open the file: 05-DIRECTION.md

• 05-D-13-consultant.md

  Direction review file D-13-consultant.md

  Open the file: 05-D-13-consultant.md

• 05-D-13-critic.md

  Direction review file D-13-critic.md

  Open the file: 05-D-13-critic.md

• 05-D-13-options.md

  Direction review file D-13-options.md

  Open the file: 05-D-13-options.md

• 05-D-14-critic.md

  Direction review file D-14-critic.md

  Open the file: 05-D-14-critic.md

• 05-D-14-structure-options.md

  Direction review file D-14-structure-options.md

  Open the file: 05-D-14-structure-options.md

• 05-D-15-critic.md

  Direction review file D-15-critic.md

  Open the file: 05-D-15-critic.md

• 05-D-17-consultant.md

  Direction review file D-17-consultant.md

  Open the file: 05-D-17-consultant.md

• 05-D-17-critic.md

  Direction review file D-17-critic.md

  Open the file: 05-D-17-critic.md

• 05-D-17-options.md

  Direction review file D-17-options.md

  Open the file: 05-D-17-options.md

• 

• 

• 

• 

• 

• 

• 

• 

Made in this stage

• 06-cue-sheet.json

  Cue sheet

  {
    "locked": true,
    "locked_at": "2026-10-21 (stage 06, the drawn street; re-timed at 07 for D-39)",
    "project": "spotify-concept-ad",
    "version": "en",
    "fps": 30,
    "duration": 35,
    "mode": "music-led",
    "note": "The drawn street (D-30 to D-37): free-time noise 0 to 3.0 s, the search and the typing in a quiet street bed to the press, then a 120 BPM grid from the first downbeat at 7.5 s. Exported from film/js/config.js and film/js2/street.js by temp/tools/export-cues-v2.mjs; the build, the score and the checks read this file, never retype it. The lane-grid sheet is kept as cue-sheet-v1.json.",
    "music": {

  Read the whole file: 06-cue-sheet.json

Decisions

• D-23 Engine

  • BChosen
  • - A: HyperFrames (row 8 default) (rests on: engine-choice.md section 1)
  Why, and its source

  HyperFrames is not installed and the run allows no installs; rung C renders the same page contract with Chrome 149 and FFmpeg 8.1 already on the machine; the 7.5 replacement gates apply.

  Source: engine-choice.md sections 1, 7.2, 7.4, 7.5; render-html.mjs first lines: "driver built-in Chrome DevTools driver, browser C:\Program Files\Google\Chrome\Application\chrome.exe", "browser version Chrome/149.0.7827.102"

• D-27 Compositing mode for every render

  • BChosen
  • - A: GPU compositing (the default) (rests on: speed
  • measured at 07: the last frame differed from the static logo by up to 28 of 255 on 7,800 to 8,700 edge pixels in 16:9 and 9:16, and by 1 of 255 on 14 to 26 pixels after a fix, changing from run to run with what had been composited before)

  the frame then depends only on t, as the build rules require, and the end lockup lands exactly on the official logo in every version.

  Source: ice/review/final-frame/result.json; temp renders ffc to ffc5 and cues6 to cues7

Decisions

• D-20 Sound lead and music source

  • A, logged as a code-made stand-in for a licensed human-made track (named in the delivery note as what a yes to a library download would add)Chosen
  • - A: score led, composed by code with the project copy of mgaudio: a groove built from the street's own machines (horn as a low brass stab with the low hit, hammer as the backbeat, drill as the hats, engine as the sub bass), a lead playing the film's motif
  • Arabic version in maqsum, English in a straight four, both at 120 BPM
  • the noise section as sound design (rests on: D-13 critic fix 1
  • ice-audio section 5 code score when no license-safe download is allowed)
  Why, and its source

  the film's claim is that the noise becomes your music, which only a score built from the same sounds can show; it is license-clean and locked to the cue sheet; C is blocked by the run conditions.

  Source: ice-audio/SKILL.md section 5; music-choice-and-licensing.md section 2 (music brands row; downloads not allowed row); D-13-critic.md fix 1

• D-29 Loudness profile and the score's loudness-range guard

  • AChosen
  • - A: Social and web, punchy: -14 LUFS, at or under -1 dBTP on the encoded file, LRA at most 9 to 11 LU
  • the 5 to 8 LU music guard read on the music body (12 to 41 s), the whole-film LRA held to the profile (rests on: D-06 feeds and an energetic film
  • measured: EN master -14.3 LUFS, -1.1 dBTP, LRA 8.4
  • score v2 whole film 8.63 LU, body 4.58 LU)
  Why, and its source

  the film plays mostly in feeds (D-06), where -14 is the loudness of the content around it, and the whole film sits inside the profile's LRA (8.4 LU on the encoded master). The music guard's band (5 to 8 LU) is not met either way: the whole film reads 8.63 LU (0.63 over, because of the declared quiet stretches) and the music body, 12 to 41 s, reads 4.58 LU (0.42 under: a steady groove). Both figures are reported in the delivery note as an open guard item. The deliberate quiet stretches are what pushes the whole-film figure over 8; filling them would remove the cold-open silence and the breath. Listed in the delivery note with the numbers.

  Source: ice/audio/qc_en_v2.json; ice/audio/master_draft4_en.json; ice/review/mix-08b.md; ice/review/stages/08-approver.md

• D-43 The code score's arc guard and body LRA after the owner's draft-9 round

  • AChosen
  • - A: keep version 6 and record the three results with their reasons: the final hit sits 2.5 s before the last frame because the owner asked for the ending to land a hit and stay alive, so it falls inside the last 3 s window
  • in a 35 s film the line and the cadence sit at 67 to 81 percent by the locked timing, so the last fifth starts inside the line
  • the narrower body is the price of 5.6 dB of total limiting instead of about 9 (D-42) (rests on: each failing clause follows from an owner decision
  • the listener-facing profile, D-29, is met)
  Why, and its source

  the guard protects against endings that fade into nothing and bodies that never breathe; here the owner asked for the opposite of a fade, and the limiting he asked to reduce is what narrowed the body; the master meets D-29 (-14.0 LUFS, -2.2 dBTP, LRA 7.4).

  Source: ice/audio/qc_en_v6.json; ice/audio/NOTES.md (Version 6); ice/audio/peak_reduction_en_v6.json; ice/review/stages/07-08-draft10-approver.md (item B)

Made in this stage

• 08-sound-plan.md

  Sound plan

  Sound plan: spotify-concept-ad (The street plays along), stage 08a

  Built by `ice/audio/score.py` (one script, `--lang en|ar`) with the project copy of mgaudio (MIT), every time read from `ice/plan/cue-sheet.json` (locked, not retimed). Clock: music-led, 120 BPM, bar 0 = the press at 12.0 s, 4/4, a 16th = 0.125 s; 0 to 12.0 s free time. Outputs: `ice/audio/soundtrack_en.wav`, `ice/audio/soundtrack_ar.wav` (48 kHz, 24-bit, stereo, 2,352,000 samples = 49.000 s), stems in `ice/audio/stems_en/` and `ice/audio/stems_ar/` (pre-master, written at -6 dB), `score_spec_en.png`, `score_spec_ar.png`, `beatgrid.png`, measured reports `qc_en.json`, `qc_ar.json`, `beatgrid.json`.

  Version 2 (section 7, the director's follow-up for the social-profile LRA): `soundtrack_en_v2.wav`, `soundtrack_ar_v2.wav`, `stems_en_v2/`, `stems_ar_v2/`, `score_spec_en_v2.png`, `score_spec_ar_v2.png`, `beatgrid_v2.png`, `qc_en_v2.json`, `qc_ar_v2.json`, `beatgrid_v2.json`, rendered with `python ice/audio/score.py --lang en --v2` (and `--lang ar --v2`, `--v2 --beatgrid`). Version 1 files are unchanged (checksums verified after the v2 renders). Sections 1 to 6 describe version 1; section 7 lists what version 2 changes and its measured numbers.

  This is the 08a score and SFX pass. The final mix on the picture, the exported MP4 measurement and the human listening check belong to 08b and 10. Nothing below is a claim about how it sounds: every number is measured, and no one has listened yet.

  1. The four machines are the kit

  Read the whole file: 08-sound-plan.md

Made in this stage

• 09-critic-round-1.md

  Critic round 1

  Open the file: 09-critic-round-1.md

• 09-critic-round-2.md

  Critic round 2

  Open the file: 09-critic-round-2.md

• 09-critic-round-3.md

  Critic round 3

  Open the file: 09-critic-round-3.md

• 09-critic-round-4.md

  Critic round 4

  Open the file: 09-critic-round-4.md

• 09-fixes.json

  Fix ledger with before and after evidence

  Open the file: 09-fixes.json

Critic rounds

1. Round 1REVISE

   • Critic A: 1 P0, 9 P1, 8 P2
   • Critic B: 1 P0, 8 P1, 6 P2
   • Critic C: 1 P0, 7 P1, 7 P2
   • Fixes R1-01 to R1-20 in fixes.json; the frame-0 horn fade and the end card were the blockers

2. Round 2ONE MORE PASS

   • verify-1: SHIP
   • verify-2: ONE MORE PASS (the end card: street luma, the groove on the cells, the playhead, the field before 41.0)

   Fixed

   • Round 1 items: fixed or partly fixed, per verify-1.md and verify-2.md tables

3. Round 3ONE MORE PASS

   • verify-3: ONE MORE PASS (the end card playhead, a cut grey cell, the final flash)
   • Fixes R3-01 to R3-03 in fixes.json; then the owner's redirect at draft-7 (D-30) replaced this world with the drawn street

   Fixed

   • Round 2 items: per verify-3.md table

4. Round 4SHIP

   • Critic A (picture): SHIP, no P0 or P1, five P2 logged (off-frame sources in the first 1.25 s, two words 10 px past the 5 percent margin, the motorbike faces the other way, no motion blur on four fast moves, missing bt709 tags)
   • Critic B (sound and sync): SHIP, no P0 to P2, two P3 logged (machine pulses one frame after the kick, 1.9 dB mono loss in the last second)
   • First cold viewer (clarity read 3): VOID, it opened the draft by its project path and the critics' labelled packet, and no takeaway existed to match (ice/review/clarity/read-3-cold-viewer.md); the read that counts, read-3-r5 on the delivered master, ran after this round (ice/review/clarity/read-3-r5.md and its match)
   • One fix applied without changing the film: bt709 colour tags on the final master (R4-01)

   Fixed

   • Earlier rounds 1 to 3 judged the lane-grid world that the owner replaced (D-30)

Made in this stage

• 10-NOTE.md

  Delivery report with measured numbers

  spotify-concept-ad: delivery report (2026-10-21)

  Status: reviewer approved (stage 09 round 4: two fresh critics SHIP; clarity read 3 PASS r5, a blind viewer on the delivered master, in its own words: "Press play and the noise around you turns into music."), approved by the owner on draft-14 (D-47). Two brand film QA thresholds fail on the approved cut (brand test, competitor swap; see Gates), logged for the owner, not fixed, because a fix changes the approved film.

  File: ice/renders/final/spotify-concept-ad_street_16x9_35s.mp4 sha256 d206ae58123e3bf71764a6be0d17853c2000b4b5f127725eab0dff50a87f2784 1920x1080 30 fps 35.00 s h264 (bt709) / aac 48 kHz stereo

  Other deliverables: poster ice/renders/final/spotify-concept-ad_street_16x9_poster.jpg and .png (1920x1080, the drop at 20.2 s); six key stills ice/renders/final/stills/ (2.67, 8.20, 20.20, 22.30, 25.00, 34.97 s); the same master with its version in the name ice/renders/spotify-concept-ad_street_16x9_35s_v1.mp4; the case study ice/case-study/. One version only: English, 16:9 (the owner's decision, D-28); no Arabic version, no 9:16 or 1:1 re-layouts, no cutdowns.

  The non-affiliation line (D-46)

  Read the whole file: 10-NOTE.md

• 

• 

• 

• 

• 

•