MORE MOTION, SAME MONEY. Seedance drifts over a 13-second take; it packs far more movement into 6-7. Each reel section is now SPLIT into halves, so the reel is 9 shots instead of 5 at identical billed seconds (63s, $15.24) and reuses the panel already generated for that section. Every shot also carries a MOTION DENSITY clause: at 144 BPM there are ~2.5 beats per second, so he changes direction several times per second and the shot opens at full speed rather than easing in. THREE-LAYER SEPARATION, ported from motion-score-marimbaba-yt.mjs. The old overlay screen-blended one pass, which sat ON the picture. Now three, in the marimbaba order: a coloured bloom rising from BEHIND the figure (screen, kick/sub driven), a contrast vignette that BREATHES with the beat (multiply, applied FIRST so the picture sits inside the light), and a tight rim halo hugging the centre mass (screen, snapped by snare/donk). Layer two is the one doing the work. Plus a slow hue rotation across the whole grade and a pixel-dissolve punch on every section boundary read from the struct. SOUND MADE VISIBLE. Every speaker cabinet is now a DIFFERENT candy colour matching the note-tile palette, and the music physically leaves the cones as hand-felted objects: concentric felt wave-rings expanding out of each cone dyed to match its cabinet, and small stitched music notes tumbling through the air on them. Explicitly real felt props with fibrous edges and their own shadows, not drawn graphics or composited glow. RGB EYES. His bead eyes are lit LEDs now, each a saturated colour, the two often different from each other and shifting with the music — still centred inside their red rims, which the lit bead actually makes easier to read. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>