The reel is the same film, not a second one. `--reel` on the sections generator re-shoots five beats at 1024x1536 against their own LANDSCAPE panel as a reference, so the room, props, lighting and character are identical and only the camera's aspect changed. It covers the track's first FIVE sections, which land on exactly 60.0s — POV on the laptop, the game chase cam, the breakdown seen from outside through the gable window, the wind-up, and the big drop. Cutting on real section boundaries means the audio slice is a clean musical phrase instead of a fade at an arbitrary time, and the reel driver slices its struct out of the film's own struct rather than restating the arrangement. motion-pipeline: the assemble step hardcoded scale=1280:720, so a 9:16 lane was silently squashed into a landscape frame on the way through the trim (and the Ken Burns fallback did the same). The output frame now follows cfg.ratio — 720x1280 for 9:16, 960x960 for 1:1, unchanged for 16:9. beat-lights: probes the target cut and scales/crops the overlay to fit, so one rig serves both the landscape film and the vertical reel; --dur and --from let it cover a slice of the track. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>