Scenes 02-16: storyboard-only batches

1. @image1@image1: the storyboard for this batch (the only image)Save
2. WAV@audio1upload as @audio1; lip-sync to it: 30.00 s sync track: silence to 3.26 s, then the exact take (D04_oldman_tasuketaika_old014.wav) retimed x1.3043 to the generated timing of SH064Save
3. WAV@audio2upload as @audio2: fat Daus voice reference for native lines D05, D06 and the screamSave

@image1 is the storyboard: eight panels, one per shot, in reading order (left to right, top to bottom). Follow it shot by shot for who is where, the blocking, the framing, the action beat and the light. Each panel is the frame the camera move lands on, not a still frame. Take only the pictures: never show panel borders, captions or the text bar, and put no text in the video; the moves below replace any "locked off" in its notes. Cut exactly at the times below; all hard cuts. Real actors, photoreal, anamorphic, fine film grain.

CONTEXT: scene 03, the old lane by day; hard cut in, nothing carries. A still old man in black offers Daus a belt; Daus jokes, refuses, and the belt is slung on him anyway. It ends on the empty lane, the lantern swinging; hard cut to the ramen shop. Mood: nerves turning to fear.

CAST, as drawn in @image1
Daus: very heavy Malay man in his 30s, round full face, thin silver squarish rectangular glasses with a single straight bridge, thin drooping moustache, small chin goatee, short black side-swept hair; royal-blue short-sleeve shirt with a red hibiscus print, dark jeans.
The old man: about 70, lean, face always in his brim's shadow; black fedora, long black double-breasted trench, black turtleneck, brown leather gloves; a silver shield signet ring over his RIGHT glove; a furled black umbrella-cane held like a cane in his LEFT hand.
The belt, dormant: a thorny gunmetal buckle, one round violet cross-hatched lens, short violet side bars, a black leather strap.

PLACE AND LIGHT: white plaster walls with grey tile coping, pines overhead, mossy stone paving; ONE wooden post with ONE plain white paper lantern, unlit, on the right. Overcast day, soft 6000K sky key, 2.5:1.

CAMERA: a tokusatsu drama scene shot on dolly, crane or Steadicam. Every shot moves as written below: motivated moves, pushes on realisations, with real weight; each lands on its beat and settles, never a floaty drift; a move that lands at a time is 80% done there and creeps on to the cut. No static tripod shot unless a hold is written.

SHOT TIMING (slower, deliberate)
0.00–3.26 s (panel 01, wide, 50 mm, eye level; a quick push-in of 1.7 m rising 30 cm, landing at 1.57): Daus already in frame at the left edge, close to the lens, seen 3/4 from behind, hands in pockets, walking diagonally L>R away toward the post; the old man small and dark under the unlit lantern on the right third, perfectly still. 2.61 Daus notices him and slows, about 3 m short of the post by the cut; the old man looks frame-left at him.
3.26–7.83 s (panel 02, over Daus's shoulder, 50 mm; a steady push-in a fifth tighter, 15 cm drift right, settling on the cut): Daus's shoulder soft frame-left; the old man mid-thigh up on the right third. 3.78–7.43 the old man says slowly and low in Japanese 「カオスとGGを…助けたいか？」 (exactly @audio1, lips only, nothing else moves); 4.04 Daus's shoulders flinch. Old man looks frame-left; Daus frame-right.
7.83–14.35 s (panel 03, MCU, 50 mm; a push-in a third tighter, 15 cm drift left, landing at 10.57 on the jab): Daus left of centre, 3/4 to frame-right, eyeline frame-right. 7.83 he blinks; 8.22–13.83 he says in Japanese 「GG？グッドゲーム？俺はいつもバッドゲームっすよ。」 (voice @audio2): head tilt on 'GG? Good Game?'; on 俺は (10.56) he jabs BOTH index fingers at his own chest; 12.00 a nervous grin, held for a laugh that never comes.
14.35–16.96 s (panel 04, close-up, 85 mm; a steady push-in about 14% tighter, settling on the cut): the old man right of centre, 3/4 to frame-left, eyes on Daus off-screen LEFT under the brim: no blink, no breath; only the pine needles behind him stir.
16.96–18.91 s (panel 05, insert, 100 mm; the camera drifts 12 cm left with the hand, landing at 17.54): his gloved RIGHT hand slides in from frame-right and stops dead at centre at 17.54, palm up, offering the belt flat toward frame-left, its lens catching a soft sky glint; dead still.
18.91–22.17 s (panel 06, MCU, 50 mm; a steady push-in a fifth tighter, 15 cm drift left, settling on the cut): Daus left of centre, 3/4 to frame-right; the old man is never seen again. His eyes rise from the belt to the old man's face; 19.30 his palm pushes the air toward frame-right in refusal; 19.43–21.52 he says in Japanese 「代引きはお断りっす。」 (voice @audio2); 21.52 a quick nervous bow from the neck, still bowed at the cut.
22.17–24.78 s (panel 07, medium wide, 35 mm, on the lane axis; a push-in about 15% tighter, 30 cm drift right, landing at 23.74 on the clack): opens mid-bow (the same bow); 22.17–22.50 he rises; 22.57 he turns to the lens and steps toward it; 23.74 a sharp metallic clack: the belt is suddenly slung over his LEFT shoulder (frame-right of him), buckle on his chest; he freezes; 24.39 eyes drop to the buckle; 24.46 he starts whipping round toward frame-right, a quarter turn by the cut.
24.78–30.00 s (panel 08, wide, 50 mm; a push-in of 1.7 m rising 30 cm, landing at 26.74 as the scream ends): the cut lands mid-whip; profile at 25.00; by 25.33 his back to camera, facing the post, full figure centre-left. The post on the right is EMPTY and the lantern swings ±10°. 26.48–26.74 he screams, head thrown back, hands on the strap; 27.65 he bolts diagonally toward the camera, R>L, exiting past the left of the lens by 29.09; the empty lane and swinging lantern hold to 30.00 s.

Daus is always LEFT, the old man always RIGHT; every camera stays on the near side.

AUDIO: @audio1 is the 30 s sync track of the old man's line (silence to 3.26 s): lip-sync him exactly to it in panel 02. @audio2 is fat Daus's voice reference for his lines in panels 03 and 06 and the scream in panel 08. Lip-sync only on the three Japanese lines. No music; diegetic clack and lane ambience.

AVOID: text, logos or subtitles; extra people; the old man's face out of shadow, or him after panel 05; a lit lantern; a glowing belt; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.

1. @image1@image1: the storyboard for this batch (the only image)Save
2. WAV@audio1upload as @audio1: Farida voice reference for native lines D07 and D09Save
3. WAV@audio2upload as @audio2; lip-sync to it: 30.00 s sync track: silence to 26.40 s, then the exact take (D10_qays_kaerou_old018.wav) retimed x1.2000 to the generated timing of SH078Save

@image1 is the storyboard: nine panels, one per shot, in reading order (left to right, top to bottom). Follow it shot by shot for who is where, the blocking, the framing, the action beat and the light. Each panel is the frame the camera move lands on, not a still frame. Take only the pictures: never show panel borders, captions or the text bar, and put no text in the video; the moves below replace any "locked off" in its notes. Cut exactly at the times below; all hard cuts. Real actors, photoreal live-action tokusatsu, anamorphic, natural skin texture, fine film grain.

CONTEXT: scene 04, the ramen shop at night; hard cut in, nothing carries. Qays arrives hours late; the TV's Rider news lets Farida link his absences to Chaos; he hides his hand and takes her home. It ends on them leaving; hard cut to Daus's bedroom. Mood: anger turning to dry suspicion.

CAST, as drawn in @image1
Qays: Malay man, mid-30s, thin dark-metal rectangular half-rim glasses, short black hair, curly on top and swept up, short beard on chin and jaw joined to a thin moustache; black slim suit, white shirt, black skinny tie loosened; dust and sweat on him, the RIGHT knuckles scraped raw.
Farida: Malay woman in her 30s, light powder-blue chiffon hijab closed round the face, large round thin wire glasses; navy long-sleeve ankle-length dress with a white and cyan line print, wide burgundy sash.
On their table: exactly three empty dark red-brown ramen bowls stacked, split chopsticks across the top; a saucer with one gyoza by Farida's right hand.
Background: a few diners and two white-jacketed chefs keep to their chores, never looking at the leads or the lens, never crossing in front of them.

PLACE AND LIGHT: an old ramen-ya: counter, stools and open kitchen with stockpots at left, dark wooden tables on the right wall, white paper lanterns, a lattice door with a white noren at the back, an old CRT on a high wall shelf; the back window and door show the near-black night street with the shop's red chochin lit outside. 3000K paper-lantern key from frame left, cool 7000K CRT spill from above right, 3:1, kitchen steam; signs soft and unreadable. Line A04: Farida LEFT, Qays RIGHT in every shot.

CAMERA: a tokusatsu drama scene shot on dolly or Steadicam. Every shot moves as written below: motivated moves, pushes on realisations, with real weight; each lands on its beat and settles, never a floaty drift; a move that lands at a time is 80% done there and creeps on to the cut. No static tripod shot unless a hold is written.

SHOT TIMING (slower, deliberate)
0.00–4.80 s (panel 01, two-shot, 35 mm, hip height from the kitchen end; a push-in a fifth tighter, 10 cm drift left, landing at 1.92 as he drops): Farida left behind the bowl tower, drumming her right-hand fingers; 0.96 Qays hurries in from frame right, breathing hard (R>L); 1.92 he drops onto the bench opposite; 2.40 his scraped right hand lands on the table and her drumming stops; her look runs over his dust, sweat and hand.
4.80–7.80 s (panel 02, MCU, 50 mm; a steady push-in a fifth tighter, 15 cm drift right, settling on the cut): Farida, eyeline frame-right. 5.04 she leans in sharply, elbows on the edge; 5.16–7.44 rapid and angry in Japanese '何時間待たせるのよ！' (voice @audio1); still leaning at the cut.
7.80–9.60 s (panel 03, MCU, 50 mm; a push-in about 16% tighter, 15 cm drift left, landing at 8.28): Qays, eyeline frame-left. 8.28 he opens his mouth to explain; 8.76 his eyes flick up and back over his right shoulder to the TV high behind him (upper frame-right) and he freezes.
9.60–14.40 s (panel 04, insert, 50 mm, just above the TV, tilted down 5°; a gentle push-in about 9% tighter, settling on the cut, the light carrying it): no people; the CRT on its shelf fills the centre. 9.96 the blank screen flickers on twice, then a steady glow, its cool spill pulsing on the wall. The screen stays a plain blank glow (replaced in post).
14.40–18.00 s (panel 05, CU, 85 mm; a push-in a fifth tighter, landing at 17.40 on the head tilt): Farida's eyes go up-right to the TV (the gold Rider); 15.60 slide to the silver one; 16.56 travel slowly down to Qays, frame-right; 17.40 her head tilts 8°: the connection made.
18.00–19.80 s (panel 06, insert, 100 mm, low under the table; a push-in about 23% tighter, landing at 19.20): Qays's scraped right hand slides off the table edge at 18.48, down past his thigh, into his right trouser pocket at 19.20, and stays.
19.80–24.60 s (panel 07, CU, 85 mm; a push-in about 30% tighter, landing at 23.76 on the smile): Farida very still, eyes on him frame-right. 20.04 slowly and dryly in Japanese 'あなたが消えると…カオスが現れる。' then '…面白いわね。' (voice @audio1); the small smile starts at 23.76; one blink allowed in the pause. Off screen Qays takes the last gyoza.
24.60–26.40 s (panel 08, MCU, 85 mm; a push-in about 16% tighter, 15 cm drift right, settling on the cut): Qays chewing; 24.96 his jaw stops; 25.20 his eyes drop to the bowl tower (frame-left low); he does not look at her; right hand stays in his pocket.
26.40–30.00 s (panel 09, two-shot, 35 mm, the opening master; a steady push-in a fifth tighter, 15 cm drift left, settling on the cut): 26.64–27.48 Qays says in Japanese '帰ろう。' (exactly @audio2); 27.36 his LEFT hand takes her wrist across the table, gentle but fast; 27.72 both rise and he leads her up the aisle toward the noren door, backs to us; from 28.80 the empty booth, bowl tower and empty saucer hold while the chef wipes the counter, to 30.00 s.

AUDIO: @audio1 is Farida's voice reference, for her lines in panels 02 and 07; @audio2 is the 30 s sync track of Qays's '帰ろう。' (silence to 26.40 s): lip-sync him exactly to it in panel 09. All Japanese; the TV stays silent; no music.

AVOID: text, logos or subtitles; any picture on the TV screen; more or fewer than three bowls; daylight outside; text or panel borders from the storyboard; block figures; a different face, glasses or wardrobe than described.