Worked example: The Last Parcel
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This is a synthetic rehearsal of the workflow, not a produced film. Names, timings and limits illustrate decisions; they are not defaults. Use blank forms for a real film.
Mandate and locks
Human Mira is EP/DR. Producer agent P coordinates; writer W, visual maker V, editor E and reviewer Q are distinct actors. Q never edits a candidate it certifies. Mira can combine specialist roles in a solo run; label resulting self-review honestly.
Brief LP v1: a courier returns a repaired toy in a parcel to a workshop. The ending reveals who repaired it through an approved written note added in the editor. No spoken dialogue. Target edit 24 seconds including a 2-second end card. Overcast dawn, restrained natural light, one workshop. Three shots: arrival 8 seconds; placement 6; empty doorway and parcel/note insert 8. A camera change inside the last beat means separate source clips; edit duration stays 8 seconds total.
Canon LP v1: blue coat; one rectangular parcel; one red cord; parcel carried in right hand; left-hinged workshop door; same bench and door geography. Note text is human-approved editable typography, not generated writing. Reference IDs CHAR01, PROP01, LOC01 are synthetic labels only. A real run replaces them with inspected IDs and files.
Example authorized ceiling: 3 attempts and 120 mock credits per shot; 300 mock credits total; 6 hours until deadline, including a protected 90-minute edit/QA/upload reserve. No actual approval or spend occurs here.
Producer dispatch and integration
| Wave / task | Role and pinned inputs | Return / acceptance | Dependency and next owner |
|---|---|---|---|
| 1: LP-WR-01 | W: brief v1 | Script v1: placement causes reveal; duration arithmetic = 24s | Q story review → Mira G02 |
| 2: LP-PD-01 and LP-SD-01 | V: locked script; sound planner: same script | Bench geography and prop states; street/cloth/contact sound map | Parallel candidates → Mira G03; librarian registers approved sources |
| 3: LP-SB-01 | DP/SB: canon v1 + inspected assets | Board panels, source-clip split, camera side, cut points | Director G05 → prompt lead |
| 4: LP-GO-01 | GO: shot card, exact references, authorization | Live composer readback plus one job ID, prompt/settings/cost | Needs G06; Q/CC review before continuation |
| 5: LP-REV-01 | Q: actual placement clip + canon + neighbour states | Parcel duplicates at 2.4s: required count check FAIL | GO output remains unapproved; continuation waits |
| 6: LP-ML-02 | ML: failed interval and same pinned sources | Change action block to single placement, contact then release; preserve all other locks | PM verifies cumulative attempt 2 ≤ 3 and spend → GO |
| 7: LP-REV-02 | Q: repaired interval and both boundaries | Count/contact/shape/hand/end-state pass with playback evidence | Mira G08; AR promotes accepted interval; CC captures boundary |
| 8: LP-ED-01 | E: accepted source intervals, script, audio map | EDL + review cut + note typography; two hidden flash frames trimmed only if joins survive | Q boundary sweep; Mira G12 final-cut decision |
| 9: LP-FIN-01 | CF/SD: locked timeline | Matched picture, synced stems/mix, actual master | Q technical/audio + LR evidence + rubric review |
| 10: LP-DA-01 | DA: exact master hash and Mira's destination authorization | Playback/visibility/receipt mapping and recoverable archive | G17 → G18 → G19; no completion inferred from upload button |
All pass/fail events above are stipulated example outcomes. Offline fixtures exercise the data contract separately; they do not establish any real picture or sound quality.
Example change, conflict and deadline decisions
After placement is accepted, visual maker V proposes a round parcel because it looks better. CC identifies placement, note insert, continuity ledger and current edit as descendants. AR does not promote it. Mira retains rectangular canon v1; no job launches. If Mira had approved canon v2, PM would invalidate only affected tasks/results and assign new reviews before integration. Sound not dependent on parcel geometry could retain its evidence with a scope note; contact Foley would need review.
If another worker has used red string and another blue ribbon, the producer does not blend prompts. AR presents reference/version facts, CC reports the mismatch, and DR selects the approved design. The losing candidate stays recoverable.
Suppose 3 hours remain. The remaining generation critical path is estimated at 2 hours, edit/QA/upload needs the reserved 1.5 hours: 3.5 > 3, so more generation does not fit. PM freezes optional polish. DR proposes already-approved placement footage plus an existing static note insert and sound bridge. If that preserves causality and fits 1.5 hours, EP approves the fallback. If the required placement action is absent, this fallback fails; EP chooses a smaller newly briefed film or defer/abandon. The deadline never converts an unseen action into a completed one.
Filled department packet: parcel placement
This is the proposed six-second usable placement shot within the 24-second rehearsal, not a generated result or a claim that every tool offers a six-second setting. Preflight selects a supported render length with handles. Timing below is clip-relative, end-exclusive; in this example it begins at timeline 8.0 seconds. Source offsets are entered after a real take is selected.
Director intent: the courier chooses to leave the repaired toy without asking for recognition. Show deliberate release, not a triumphant smile. Geography: the same bench beside the left-hinged door; retain the arrival shot's axis. Camera: locked close view from the accepted side, enough width for wrist, parcel and support surface; focus stays on contact. Soft overcast dawn remains stable. Numerical lens labels add nothing unless they help reproduce an actual supported framing.
Selected modules: M03 performance; M06 prop mechanics; M07 coat/hand appearance; M08/M09 framing/focus; M11 light; M14 continuity; M19 edit; M20/M22/M24/M26 sound. Existing blue coat, rectangular parcel and one red cord remain fixed. Music is not required for this illustrative shot; no dialogue is added.
| Beat / seconds | Camera / focus / axis | Light | Action / contact | Performance / gaze | Edit / boundary |
|---|---|---|---|---|---|
| B01 / 0–1 | Locked CU, same side, parcel/contact plane sharp | Stable soft dawn | Right hand supports one parcel just above bench | Deliberate stillness; face outside frame | Match arrival's hand/path; beginning handle |
| B02 / 1–3 | Hold framing; bench remains fixed | Shadow closes with contact | Lower once; bottom meets bench; weight transfers | Small hesitation expressed by pace | Contact must remain visible; no cut hiding it |
| B03 / 3–4 | No push-in or focus change | Contact shadow persists | Fingers open after support; hand withdraws | Restrained, no extra flourish | Cloth and contact cues follow frame anchors |
| B04 / 4–6 | Hold on parcel, hand clears frame | Unchanged | Parcel rests, one cord remains | Hold lets the choice register | Boundary preserves parcel position for reveal; do not repeat release |
| Beat / seconds | Dialogue / breath | Foley | Designed SFX | Ambience | Music / silence / mix priority |
|---|---|---|---|---|---|
| B01 / 0–1 | None | Subtle cloth if audible | None | Low continuous dawn street air | No score; quiet establishes space |
| B02 / 1–3 | None | One paper/wood contact at actual impact | None | Same bed | Contact is the dominant cue |
| B03 / 3–4 | None | Small sleeve/finger release, only as needed | None | Same bed through cut | Keep release understated |
| B04 / 4–6 | None | None after motion stops | None | Bed carries into next shot | Pause remains audible space, not a dramatic hit |
Acceptance: one parcel/cord, same scale and right hand; support precedes release; no floating/intersection; stable geography/light; usable boundaries match neighbours; one contact sound on actual impact with no extra music/voice. Full relevant motion and listening are required. If the fingers fail, return a bounded M06/M15 repair; if a camera move hides contact, return to M08 rather than changing the story. ED cannot trim away the only visible proof of placement. These are expected criteria, not observed passes.
Handoff receipt
The final archive would contain brief/canon/script versions, inspected source registry, shot graph, prompts and real job records, accepted intervals/boundaries, edit project/EDL, audio stems, note/title sources, master/checksum, review evidence, rights records and submission receipt. This rehearsal returns a design and expected decisions only. A real creator fills the forms with observed evidence as each gate is reached.