No voice
The AURUMN logo centred on deep black; a soft metallic highlight passes across it, then it fades to darkness.
- Soundnear silence, a restrained tonal swell
- How it leaveslogo fades into the same darkness Luma floats in
Luma campaign film
Sitt's own 27-scene file, laid on the voiceover he approved. Every shot below is his description, shortened, with its place on the timeline, how we make it, what you hear and how it leaves.
3:20 total16:974 shotsVoiceover approved, 2:2428 painted19 3D from his CAD13 from his footage14 type and graphics
Please check each shot against what he asked for
- The words on every card are his locked script, in his order. Line 47 says "Luma" as one word.
- Section 01 and 05 look like the paintings he chose: warm natural light, painted clouds, calm colours. Not the "too vibrant" pictures he rejected.
- No face anywhere. People are seen from behind, hands and sleeves only in Section 03.
- The nurse and the attack are never shown, only the hospital at night and the police lights after.
- Luma is seen in the first five seconds (shot 01B), back and flag blade toward us, as in his 01B reference.
- Sections 02 and 04 show the real product: the pictures here are rendered from his CAD, with his real markings and his flag blade.
- Section 03 is his real phone footage. AI touches people and places only, never the product.
- His type rules: Archivo for captions and titles, Pacifico in lowercase for the centred words, off-white #FDFCFE behind the blades.
- The film ends on the Kickstarter address and the AURUMN logo in space.
About the pictures
- Nine shots carry a picture: six painted look frames and three renders of the real product. They show the look, they are not final frames. Shots without a picture are described in words only; nothing is a stand-in.
- Already on my fix list for the painted frames: the late-walk street and the lab window look Japanese and must look like the American South; the far person on the dock must not wave back; the Jacksonville view will be soft daylight, not sunset; the walking man outside the lab goes.
- Click a picture to see it full size.
Open questions before the build
- Length. His scenes on his approved voice come to 3:20. The order says 2 to 2.5 minutes, and the voice alone is 2:24. It can come down to about 3:00 by trimming silent beats (the descent, one music-only shot in scene 15, the address hold). Under 3:00 needs script lines cut.
- The news article (02B, 02C). His file asks for the station's real page on the monitor. That is their copyrighted page and photo. Plan: redraw it as a news page with the real facts and a painted hospital.
- Section 03 people. His file names Higgsfield Genjutsu for changing the people. That is a paid tool, so it needs a yes on a cost range first. A free local tool is the first try.
- Scene 12 pace. The voice says his eight words (Minimal to Engineering) in about 7 seconds, and each word has its own product action. In the edit I open small gaps between those words, about 3 seconds more in total, so each action can be seen.
- Blade artwork still to come: Furry Friends, Fables, Fearless (4 each) and the Freedom set. JAX has 4, his file says six. Scene 21 shows 16 designs, his note says 13.
- Still to come from him: colour codes and finishes, the grouped CAD for the exploded view, his CGI directions for Section 02, the final Kickstarter address, and the beta footage (unit lands about 12 to 15/10).
The Story
Painted 2.5D illustration in the look he chose, moved in layers. People only from behind.
Scene 01 Opening, Earth to Jacksonville
No voice
One Luma floats completely still in dark space, its back and the American flag blade facing us, long axis nearly horizontal, tilted forward about 45 degrees. A narrow rim light draws its outline; lights off. The camera glides toward it and passes close under its lower edge.
- Soundthe swell continues under a soft airy texture, no whoosh
- How it leavesLuma leaves through the top of frame and Earth is behind it
VO 02 · centre of screen, this is the captionBased on a true story.
Earth's sunlit curved horizon: the south-east United States under scattered white clouds, the Florida peninsula clear. "Based on a true story." fades in at the centre in black Archivo over a bright cloud (this is the caption for the line; no bottom caption).
- Sounda low cinematic rumble as Earth appears
- How it leavesthe text clears and the camera accelerates toward Florida
No voice
A short abstract descent: bright cloud cover, then glimpses of coastline, waterways and neighbourhoods of north-east Florida.
- Sounda soft rush of air through the clouds
- How it leavescloud hides the change of scale; we come out in the sunlit street
VO 03 · caption, bottom centreIt all started in March 2025.
A modest hardware lab in Jacksonville by day. Soft sun on the building; through the window a workbench, tools and equipment. The camera slows toward the window.
- Soundthe rumble fades into a light breeze, faint birds, distant traffic, then room tone
- How it leavesthe window frame hides the cut to inside
Scene 02 Discovery, through the monitor
VO 04 · caption, bottom centreA young engineer saw a shocking
Inside the lab by day, directly behind the seated engineer at shoulder height. Window light on prototypes, tools and sketches; the monitor ahead, partly hidden by his shoulder. His face is never seen.
- Soundventilation and electronics room tone, one faint mouse click, a restrained tension bed
- How it leavesthe camera rises and slides left over his LEFT shoulder
line continues · caption, bottom centrenews story.
Closer, just above his left shoulder: the shoulder low in the foreground, the news article about the nurse on the screen. The line finishes during the approach.
- Soundthe lab softens; a low sustained tone builds unease
- How it leavesthe camera squares up to the hospital picture in the article
No voice
The article's hospital picture fills the view as the monitor edges fall away. (The article is redrawn as a news page with the real facts; see the open questions.)
- Soundfootsteps, distant traffic and night hospital air arrive before we cross
- How it leaveswe pass through the screen into the matching night shot
Scene 03 The nurse
VO 05 · caption, bottom centreA nurse in Jackson, Mississippi
Night outside a hospital in Jackson, Mississippi. A nurse, from behind, walks toward the parking area with her work bag. Pools of lamp light on dark asphalt. The opening frame matches the picture on his monitor.
- Soundfootsteps, distant traffic, a low musical pulse
- How it leavesa dark foreground column wipes the frame
VO 06, VO 07 · caption, bottom centreWas brutally attacked after finishing her shift at night.
Later, the same parking area: two parked police cars throw red and blue light over the pavement and the building; a few officers stand talking quietly. The nurse and the attack are never shown. Generic cars, no real department name.
- Soundengine idle, a short indistinct police radio, sirens off
- How it leavesthe camera glides on past the cars; the flashing lights fall behind
VO 08, VO 09 · caption, bottom centreHe began asking questions. Because it could happen to anyone.
Forward into the unlit stretch beyond the police. The red and blue fade at the edges until only faint ground remains. Far ahead a pool of warm streetlight shows a quiet pavement and a lone walker.
- Soundpolice sounds recede, music thins; her footsteps arrive on "anyone"
- How it leavesnear-black hides the change of place; we keep moving forward
Scene 04 Anyone: late walk
VO 10 · caption, bottom centreA late walk home.
A woman in her early thirties walks home alone at night, from behind: dark brown hair tied low, light beige jacket, dark trousers, flat shoes, brown leather purse on her right shoulder. She steps into a pool of streetlight.
- Soundfootsteps, neighbourhood air, jacket and purse rustle; a hazard-light tick just before the cut
- How it leavesthe bright patch of pavement becomes the car's light
Scene 05 Roadside stop
VO 11 · caption, bottom centreA roadside stop.
A man about forty stands by the rear of a car in a roadside pull-off after dark, from behind at an angle: charcoal canvas jacket, jeans, brown boots, bare hands. Hazard lights flash amber on the car and his jacket. He bends to look at the rear tyre.
- Soundhazard tick, passing traffic, breeze; leaves and gravel arrive before the cut
- How it leavescut from the verge to the trail edge, him and the hiker in the same place in frame
Scene 06 Trail after sunset
VO 12 · caption, bottom centreA trail after sunset.
A woman walks a wooded trail just after sunset, from behind: low dark braid, muted teal jacket, charcoal trousers, grey boots, slate backpack with a small zip tool pocket. The path ahead darkens under the trees; roots underfoot.
- Soundfootsteps on dirt, leaves, evening insects; water arrives before the cut
- How it leavesfrom the cool gap between the trees to the twilight sky over water
Scene 07 Quiet moment on the water
VO 13 · caption, bottom centreA quiet moment on the water.
Twilight on a dock beside a moored boat. A man about fifty, from behind: faded navy cap, light grey windbreaker, tan trousers. He raises an arm and calls across the wide water to a tiny figure on a far dock, who does not respond. An open olive canvas tool bag with rope sits by his feet. He lowers the arm and bends to the bag.
- Soundwater, a boat creak; after the line a short "Hey!", then no reply; canvas as he reaches in
- How it leavesthe camera tilts down until the dark bag opening fills the frame
Scene 08 When the tool is missing
VO 14, VO 15, VO 16 · caption, bottom centreAn ordinary day When you wish the right tool Were within reach.
Close into the open purse of the woman from 04A, same sleeve, same warm streetlight. Her hand searches keys, wallet, a small pocket. Her hand stops: the tool she needs is not there.
- Soundleather and lining; the rustle stops as her hand stops
- How it leavesinto the shadow under her hand
VO 17 · caption, bottom centreUseful tools are everywhere
The toolbox in the open boot of the man from 05A, crowded with sockets and wrenches, amber hazard light on the metal. One sweep of his hand: plenty of tools, not the right one.
- Sounda metallic clink, the hazard tick
- How it leavespast a dark toolbox divider
VO 18 · caption, bottom centreBut not always
The trail woman from 06A opens the small pocket of her backpack in cool dusk light. It is empty. (First half of the line.)
- Sounda short zip, fabric, wind in leaves
- How it leavesher hand covers the lens and becomes his hand
line continues · caption, bottom centrewith us when we need them.
The dock man from 07A: his hand in the empty accessory pocket of the tool bag; rope and boat supplies around it, dock boards and twilight reflections. The move almost stops. (Second half of the line.)
- Soundcanvas and water; the music thins
- How it leaveshis hand pulling out matches the engineer's hand entering the desk
Scene 09 The tool you carry
VO 19 · caption, bottom centreBecause the most useful tool
Back in the daylight lab. A close angled view of the desk crowded with a big flashlight, pliers, a utility cutter, a Swiss Army knife, an emergency whistle. Heavy, thick, overlapping.
- Soundquiet lab room tone, restrained music
- How it leavesthe engineer's hand sweeps the tools aside
VO 20 · caption, bottom centreis the one you actually have with you.
His hand pushes the tools to the edges in one sweep; under them a drawing board, a clean sheet and a pencil. Blades stay folded. Face out of frame.
- Sounda textured scrape, a few muted clinks, then a quiet beat
- How it leaveshe reaches for the pencil; same camera, same desk
Scene 10 The mission
VO 21, VO 22 · caption, bottom centreSo he went back to the drawing board with one mission:
The drawing board in the middle of the desk, the old tools pushed to the edges. He brings the pencil to the clean sheet; first strokes, a short pause on "with one mission".
- Soundpencil on paper, lab tone
- How it leavesthe camera rises to overhead; his hand crosses the page and hides a jump forward
his own 13 drawings, the source for the sketchesVO 23, VO 24 · caption, bottom centreTo engineer a device built for everyday life and unexpected moments.
Overhead on early concept sketches: light, a replaceable blade, a magnet, a whistle. Rough, partial studies drawn from his own 13 line drawings, never the finished look. He adds lines and checks a size with a ruler.
- Soundpencil strokes, a ruler set down, paper; the music finds a measured rhythm
- How it leavescut closer to the outline
VO 25 · caption, bottom centreDelivering maximum utility in minimal form.
Close on a compact outline around the studies. He erases an outline that is too big and redraws it tighter. The shape settles on "minimal form".
- Sounderaser, one precise pencil stroke, then a soft workbench tap
- How it leavesthe outline stays fixed in frame and becomes the next drawing
Scene 11 Refinement
VO 26 · caption, bottom centreCountless days.
Locked overhead: the same outline in the same place while revised sheets, measurements and eraser marks pile up around it; daylight turns to warm desk lamp and back.
- Soundpencil, paper and taps become a rhythm
- How it leavesthe drawn outline becomes a physical form study, same size, same place
line continues · caption, bottom centreThousands of iterations.
Aligned quick cuts of prototypes in the same spot on the bench, rough to precise. Hands place each one, calipers check it, the next takes its place. Views stay partial.
- Soundcaliper clicks and placement sounds on the cuts; the pulse grows
- How it leavesthe rhythm slows into the last prototype
VO 27 · caption, bottom centreOne idea, refined again and again.
The final prototype alone on the cleared bench, earlier versions soft behind it. Backlight makes it a dark silhouette: the compact form, no surface detail. The hand withdraws; a slight push in.
- Soundone last placement, a short breath of quiet
- How it leavesthe silhouette matches an identically framed CGI silhouette; the bench falls to black
The Reveal
Real 3D from his own CAD on a dark background, with his eight words.
Scene 12 Design meets engineering
VO 28 · caption, bottom centreWhen minimal, monolithic,
Dark background, macro. The camera flies over the area flood light: "Minimal" arrives centred as it switches on. Then over the focused light: "Monolithic" as it switches on.
- Soundclean measured music; two restrained real switch clicks
- How it leavesthe camera follows the housing to the blade
line continues · caption, bottom centremeaningful design
Beside the blade carrier, blade out. "Meaningful" as the carrier slides back along its real path; "Design" as it seats and the body profile is clean. (End of line 28.)
- Soundthe real slide and seat; the click lands just before "Design"
- How it leaveson "meets" the camera travels to the base
VO 29 · caption, bottom centremeets compact, concealed,
Macro on the magnetic base near a metal surface. "Compact" on the close pass; "Concealed" as curved field lines appear across the gap and Luma snaps on.
- Sounda tonal texture under the field lines; the real magnet snap in the gap
- How it leavesfield lines fade as the camera moves to the bottom cap
line continues · caption, bottom centrecalculated engineering,
A local see-through section of the body shows the bottom cap and its two air chambers. "Calculated" while airflow traces run through them and sound rings spread; "Engineering" as the body turns solid again. Eases to a three-quarter view. (End of line 29.)
- Sounda breath texture, then his real whistle in the gap after "Calculated"
- How it leavesthe camera moves around to the back of Luma
Scene 13 Four become one
VO 30 · caption, bottom centrefour essential functions come together
Macro along the back under grazing light: the aluminium finish, the blade artwork and the two real marking lines ("ENGINEERED BY AURUMN IN JAX FL USA ..." and "WARNING: SHARP BLADE ..."), exactly as in his CAD. A narrow highlight travels with the camera.
- Soundthe measured rhythm with an airy texture
- How it leavesLuma turns from back to front while moving away
line continues · caption, bottom centrein one refined form.
The whole Luma, straight-on front view, centred on dark, nothing cropped, room below for the caption. Soft surface light and edge highlights. (End of line 30.)
- Soundthe music broadens; a soft accent as it settles
- How it leavesit holds exactly; a broad light sweep begins
Scene 14 Luma, hero reveal
VO 31 · caption, bottom centreAnd Luma was born.
From the same view the camera moves in until the real "Luma 1" marking on the product sits in the centre of the screen. No added title.
- Sounda restrained lift on "Luma"
- How it leavesthe push continues into the surface
VO 32, VO 33 · caption, bottom centreAn elegant yet reliable tool built for everyday life and unexpected moments.
Closer and closer on the logo and the aluminium until the edges leave the frame; the metal becomes the same close-up in his real footage: Luma held in a hand.
- Soundsteady rhythm; hand, fabric and room tone come in
- How it leavesmatch cut on logo position, material and light to his real close-up
In Action
His own phone footage of the beta unit. AI changes the people and places, never the product.
Scene 15 L, Light
VO 34 · caption, bottom centreL for Light
A man's hand holds Luma on a dark trail, tilted down, switch under the thumb. He presses it: the focused light shows the path.
- Soundtrail air, soft wind; the real switch click
- How it leaveshe lifts Luma toward his chest; cut on the lift
No voice
His upper chest, cropped below the chin: Luma clipped at the T-shirt neckline, focus and area lights both on. One or two slow steps. Music only.
- Soundfabric, measured footsteps
- How it leavesmatch cut: the clipped Luma becomes the same-size Luma under a car hood
VO 35 · caption, bottom centreFocused and area illumination
Under a raised car hood at a dim roadside: the area light on, the magnet holds Luma on bare steel after his hand lets go; the engine bay is lit.
- Soundfaint traffic, a breeze
- How it leavesmatch cut to the woman holding Luma
VO 36 · caption, bottom centrewhen visibility matters.
A woman's hand and lower torso on a dark street, strobe on, seen from the side so the flashes show on nearby surfaces. A far, unclear male shape in the background, no face. No promise that it deters anyone.
- Soundthe music thins; quiet street air
- How it leavescut on the raised hand to the trekker
No voice
A trekker's hand and sleeve on a dark trail, Luma held out, one full real SOS cycle. A small signalling move, then steady. Music only.
- Soundwind and distant trail air
- How it leavesthe steady hand matches the next shot
Scene 16 U, Utility
VO 37 · caption, bottom centreU for Utility
The trekker's gloved hands in the same woods, light off. The carrier slides out; one clean cut through a cord on a wooden surface.
- Soundwoodland air; cord fibres part
- How it leavesblade position and direction match the zip tie
VO 38 · caption, bottom centreA replaceable utility blade
A woman's hands at an outdoor metal fence pole: the blade against a black zip tie, one small cut, the tie falls.
- Sounda light breeze; a short plastic snap
- How it leavescut to the workshop, Luma at the same size and angle
VO 39 · caption, bottom centrefor everyday cutting tasks.
A technician's gloved hands at a bench: a thin loose wire folded in half, cut through the fold, away from the holding hand. Both cut ends show.
- Soundworkshop tone; a restrained wire cut, no sparks
- How it leavesthe cutting direction continues along the box seam
No voice
A woman opens a sealed delivery box at home: Luma runs along the tape, a flap lifts, the blade retracts fully. Her hand lifts Luma toward the fridge.
- Soundtape slicing, a little cardboard
- How it leavesher lifting hand arrives at the fridge
Scene 17 M, Magnetic
VO 40, VO 41 · caption, bottom centreM for Magnetic Stick it for easy storage
The same woman places Luma upright on the fridge door and lets go. It stays, easy to reach.
- Soundhousehold quiet; the real magnet snap
- How it leavescut on the still Luma; a man's hand enters the same frame and takes it
VO 42 · caption, bottom centreor mount it for hands-free illumination.
A dark garage: he switches the area light on and mounts Luma upright on a steel shelf post, then works with both hands in its light. Luma framed like the neckline shot that follows.
- Soundgarage tone; the real magnet snap; small task sounds; wind and leaves before the cut
- How it leavesmatch cut on size, place and light to Luma clipped at the trekker's neckline
Scene 18 A, Alert
VO 43, VO 44 · caption, bottom centreA for Alert A dual-frequency emergency whistle
The trekker's upper chest at a dark campsite, Luma clipped at the neckline. His gloved hand unclips it and raises it to his mouth (only chin and lips). After the whistle, far rescuers with torches on the trail wave back. The camera arcs behind his head until it fills the frame black.
- Soundwoodland air; his real whistle after the line; stadium cheering fades in during the black
- How it leavesthe arc continues out from behind another head
VO 45 · caption, bottom centrewhen getting attention matters.
Out from behind a football supporter's head in daylight stands: Luma already at the mouth, a plain team-coloured shoulder, no real team or league mark. A short whistle, then the line. The camera tilts up past the stands into a bright white cloud.
- Sounda short real whistle before the line; crowd under it
- How it leavesthe cloud fills the frame and turns to pure white
Scene 19 Light, Utility, Magnetic, Alert, Luma
No voice
The white cloud texture dissolves into the clean off-white backdrop (#FDFCFE); the move eases to a stop.
- Soundthe crowd recedes into a warm sustained chord
- How it leavesthe first word rises in
light › utility › magnetic › alertone word at a time, centre
VO 46 · caption, bottom centreLight. Utility. Magnetic. Alert.
Black Pacifico, lowercase, centre, one word at a time on its spoken name: light, utility, magnetic, alert. Each rises a quarter of its height, holds sharp, leaves upward.
- Soundone soft rounded note under each word, rising
- How it leavesalert clears
luma
VO 47 · caption, bottom centreLuma.
"luma" in the same place and size, holds through the word and a beat after, then fades. Only off-white remains.
- Soundthe notes resolve into a warm chord
- How it leavesthe same white carries into the blade scene
Blades
Real 3D from his CAD and his blade artwork on off-white.
Scene 20 Introducing Luma Blades
VO 48 · caption, bottom centreWe didn't stop at utility.
One plain steel utility blade fades in at the centre of the white, seen from straight above, soft contact shadow, one highlight passes.
- Sounda brighter, lightly playful rhythm; a delicate metal accent
- How it leavesa small black dust broom enters from the left
VO 49 · caption, bottom centreBecause practical doesn’t have to be plain.
The black broom sweeps left to right; its bristles wipe the blade out of the picture exactly as they pass.
- Sounda soft bristle sweep
- How it leavesthe sweep carries on into the title
luma blades
VO 50 · caption, bottom centreIntroducing Luma Blades.
"luma blades" in black Pacifico is uncovered left to right behind the broom; the letters do not move. The broom leaves right. Hold, then fade.
- Sounda light accent as the title completes
- How it leavestitle fades; four black blades fade in
Scene 21 Personality lineup
VO 51 · caption, bottom centreFurry Friends.
Four black blades in a large even 2 by 2 grid on white. On the line each turns 180 degrees on its own axis and shows a Furry Friends design (his artwork, to come).
- Soundone restrained swish, a soft settle
- How it leavesthe grid holds
VO 52 · caption, bottom centreFables.
Same grid, same flip: four Fables designs (his artwork, to come).
- Soundthe flip accent on the next beat
- How it leavesthe grid holds, a clear pause
VO 53 · caption, bottom centreFearless.
Same grid, same flip: four Fearless designs (his artwork, to come).
- Soundthe same rhythm, no cartoon sounds
- How it leavesthe grid holds, artwork still
VO 54 · caption, bottom centreOr just Freedom.
The last flip shows four Freedom designs. They hold, then slide to the centre and merge into one flag blade, which shrinks a little and tips to a shallow quarter angle. The whole Luma is revealed around it.
- Soundthe final flip; a converging swish; an accent as the housing appears
- How it leavesthe blade stays exactly where it is as the housing appears
Scene 22 Make it yours
No voice
Luma on white, horizontal, shallow quarter view, flag blade out and readable, housing depth visible. It settles; no further move. Music only.
- Soundthe reveal accent settles
- How it leaveseverything stops, then the line starts
VO 55, VO 56 · caption, bottom centreExpress your personality. Match your mood. Make it yours. And yes, they’re pretty cool.
Luma and the camera completely still. Only the blade artwork changes, six times: Fearless 1, Fearless 2, Furry Friends 1, Furry Friends 2, Fables 1, Fables 2. The sixth holds through "pretty cool".
- Soundlight accents on some changes, steady rhythm
- How it leavesLuma slides out to the left in one smooth move
No voice
Luma slides off the left edge at the same size and angle. Clean white remains.
- Sounda soft swish; the percussion falls away
- How it leavesthe white holds into the closing
Closing
Painted Jacksonville, the JAX Edition, the Kickstarter ask.
Scene 23 One last thing, Jacksonville
VO 57 · caption, bottom centreOne last thing.
Pure white. River sound arrives before any picture. Only the bottom caption.
- Soundgentle river water fades in; the line is intimate
- How it leavesthe white dissolves into water
No voice
Close on soft waves and ripples of the St. Johns River in daylight, bright reflections; no shore yet. Music only.
- Soundwater forward, a warm quiet music bed
- How it leavesthe camera tilts up to the far bank
VO 58 · caption, bottom centreAurumn was born in Jacksonville, Florida.
Downtown Jacksonville across the river with the blue Main Street Bridge, soft daylight. "Jacksonville" at the centre with a smaller "Florida" under it, separate from the bottom caption.
- Soundriver and breeze low; a small harmonic lift on the title
- How it leavesthe title fades; the tilt goes on up
VO 59 · caption, bottom centreTo give back to our community,
The skyline drops out of the bottom of frame; open sky, then bright white cloud edges fill the picture and become pure white.
- Soundthe river softens; warm music
- How it leavescloud to the same white as the blade scenes
Scene 24 JAX Edition
JAX Edition
VO 60 · caption, bottom centrewe're creating something special called JAX Edition.
"JAX Edition" in black Pacifico at the centre of the white.
- Sounda light accent as the title appears
- How it leavesthe title flips upward on its horizontal axis and becomes the first blade
No voice
One large JAX blade at the centre; each upward flip shows the next of his four JAX designs: the bridge, JACKSONVILLE, JAX 904, Duval. Each gets a short readable hold.
- Sounda soft swish per flip, restrained accents
- How it leavesthe last blade begins to soften and reshape
VO 61 · caption, bottom centreProfits from this pack
The blade reshapes into a small group of hearts of different sizes, keeping a little of the artwork's tone. They separate gently.
- Soundthe rhythm softens; a gentle lift, no sparkles
- How it leavesa plain donation box rises from below
VO 62 · caption, bottom centrewill support local charities.
A simple unbranded donation box with a clear top slot settles under the hearts; they drop in one after another. The box rises out of frame. White remains.
- Soundsoft tonal accents as the hearts enter; a warm resolve
- How it leaveswhite fades to black
Scene 25 Kickstarter, end card
No voice
The white fades smoothly to black. An empty hold.
- Soundthe tempo eases; near silence
- How it leavesthe first sentence fades in
Help us bring Luma to life.
VO 63 · centre of screen, this is the captionHelp us bring Luma to life.
"Help us bring Luma to life." centred in light Archivo on black (this is the caption; no bottom caption).
- Soundthe line, warm and direct, with space around it
- How it leavesfades out, a small breath
Back us on Kickstarter.
VO 64 · centre of screen, this is the captionBack us on Kickstarter.
"Back us on Kickstarter." in the same place, size and style.
- Soundthe line with calm confidence
- How it leavesfades to the address
kickstarter.com/projects/aurumn/luma-1provisional address
No voice
kickstarter.com/projects/aurumn/luma-1 on one line, a little smaller, completely still for four seconds. (Provisional address: he confirms the final one before export.)
- Sounda faint sustained tone only
- How it leavesfades away; faint stars come up
No voice
The AURUMN logo on dark space with a few faint stars, same size and highlight as the opening. Still camera. The film ends here.
- Sounda faint swell that recalls the opening, then silence
- How it leavesend of film
Music
- One arc across the film, in the direction of his favourite reference (Inspiration-1): near silence and a swell for the opening, a restrained tense pulse through the story, a clean measured rhythm for the reveal, light and playful for the blades, warm for Jacksonville, then down to almost nothing for the ask.
- The voice always leads. Real switch, blade, magnet and whistle sounds come from his own recordings.