MODULE C · DESIGN SPECIFICATION DOCUMENTS

DOCUMENT 1 · SIX TEASER SHORT VIDEOS

Target 1,200–1,500 words plus figures. Nine sections.

1 · Overall creative concept

The six teasers share a single idea: the poster comes alive and chooses you. Each film opens on the festival key visual from Module B, showing all six cultural sections at once. A white shockwave fires from one panel; the other five desaturate and drop in brightness while the chosen panel brightens and scales to 110%. The camera then pushes into that panel until it fills the frame, and the section's world takes over.

This does three things at once. It states the festival's central proposition — six cultures coexist and each viewer belongs to one — inside the first second. It gives the series a shared opening frame, so six films read as one campaign. And it reuses the Module B key visual as the entry point, so a viewer who has already seen the poster recognises it instantly.

The structure mirrors a character-select screen, a visual language this audience knows from games and short-form content, and the same language used by the interactive experience in Module D, where the user's quiz result is also a cultural identity.

Figure: the shared opening frame, plus one section's frame after the desaturation and scale.

2 · Shot language design

State the shot structure as a table (poster hold, shockwave and select, match-cut push, logo resolve, dialogue box, hero screen, name block, endcard) with in and out times. Then:

Camera movement is manufactured from layered stills rather than filmed. Each scene is built from four depth layers: background field, motif layer, mascot, and foreground framing. During the push the mascot scales slightly faster than its background, producing parallax. On the hero screen the same mascot sits behind itself at 250% scale and 15% opacity, drifting opposite to the foreground, which builds depth without additional artwork.

Movement types are varied deliberately across the set — snap zoom, push in, drift, float and pulse — so that the six films are not six versions of the same move.

3 · Narrative rhythm control

All editing is locked to a 120 BPM bed, giving a beat every 0.5 seconds. Each teaser runs exactly 10 seconds, or 20 beats. Every cut, title entrance and transition lands on a beat, so audio and visual rhythm are synchronised by construction rather than by eye.

The rhythm is front-loaded: the select moment resolves by 1.0 s and the push completes by 2.2 s, which suits vertical feed viewing where attention is decided in the first two seconds. The final 2.0 s are held static for the endcard so the brand information is read, not scanned.

Table: beat map, 0.0 to 10.0 in 0.5 s steps, with the event on each beat.

4 · Dynamic presentation techniques

List, with a figure each:

Four-layer parallax with differential scaling
Scale pop with overshoot, 0 → 115% → 100% over 12 frames
Slide entrances overshooting the target by 20 px before settling
Shockwave: scaling stroked ellipse with a two-frame white flash
Turbulent-displaced gradient field with rising particles on the hero screen
Micro-bounce on the mascot hold to prevent a static frame

5 · Transition effects

Three transition types are used across the entire series, and only three: a colour wipe in the section colour, a whip pan, and a mask-shape reveal. The match cut into the panel is the fourth and is reserved for the opening of every film. Limiting the vocabulary is what makes six separate films feel like one system; which of the three is used, and where, is what makes each film feel like its own culture.

Table: transition used at each cut point, all six films side by side.

6 · Overall visual style positioning

The visual style is inherited from the Module B key visual: angled colour panels, saturated section palettes against a deep navy base, Q-version mascots breaking out of their panel frames, and a five-level type hierarchy. Grading is structurally identical across the six, with contrast and saturation held constant and only the hue shifted to the section's colour pair.

Cite the brand document sections used: colour system, font hierarchy, mascot standards, motion recommendations, multi-scenario application, cross-platform compatibility.

7 · Series consistency and differentiation strategy

A scored aspect on its own. Give the locked-and-varied table in full:

Locked across all six Varied per section 10.0 s duration, to the frame Panel colour pair and motif Beat positions of every event Mascot and signature gesture Opening frame and select mechanic Which transition appears where Title style, position, animation Drift direction and speed Endcard content and timing Entrance easing character Grade structure, contrast, saturation Hue shift and light quality Music bed and stinger Section-specific sound layer

Consistency is enforced by construction: all six are duplicates of one master sequence, so timing cannot drift. Differentiation is applied through motion character rather than structure. Esports enters sharply with hard stops; street is jittery with slight overshoot; anime floats with large overshoot; music pulses on the downbeat; art lands its elements in sequence; lifestyle drifts slowly. The films share a clock and differ in temperament.

8 · Sound design and synchronisation

A single music bed at 120 BPM runs through all six, with one shared stinger under the endcard. Each film adds one section-specific sound layer: UI blips and a bass hit for esports, a can rattle for street, a chime shimmer for anime, a held vocal note for music, a brush swish for art, an acoustic strum for lifestyle. All audio is mixed to a consistent loudness so the six play back at the same level in a feed.

9 · Technical specification

Table: resolution, frame rate, bitrate and encoder setting, format, duration, file size per film, colour space, audio sample rate. State that CBR was used to guarantee the bitrate floor on simple shots.

DOCUMENT 2 · CAMPAIGN PROMOTIONAL VIDEOS

Target 1,200–1,500 words plus figures. The brief requires scripts for both videos, so the shot tables are mandatory, not optional.

1 · Overall creative concept

Where the teasers push into a single panel, the campaign films travel across all six and pull back out. The same visual grammar runs in the opposite direction.

The structure is three acts. One language: motif fragments and a shockwave establish a shared visual code before any section appears. Six worlds: the poster assembles, then the camera moves through each cultural section in turn. One festival: a continuous pull-out returns to the complete key visual, now fully in colour, resolving the six worlds back into a single image, followed by the event information and the registration call to action.

The return to the opening image is the point. The viewer sees the poster at four seconds in fragments and again at twenty-six seconds whole, which turns the key visual into a memory point rather than a decoration.

2 · Script: landscape version

The full 12-shot table, columns: #, in–out, shot size, camera, visual, subtitle, transition, sound.

3 · Script: portrait version

The re-cut table, then the differentiation statement:

Element Landscape 40 s Portrait 35 s Hook 1.5 s build before the first cut shockwave inside the first 0.6 s Section run 6 × 3.0 s 6 × 2.0 s, tighter framing on the mascot Cuts in first 15 s about 8 about 11 Composition wide, key elements centred, room around them upper-middle golden position, tighter crops Subtitles one line, lower third stacked, larger, always sound-off legible Reveal 4 s horizontal pull-out 2.5 s vertical rise Added — a "Tap to join" screen before the endcard

The two versions are not the same edit reframed. The portrait cut removes establishing wides, raises the cut rate through the opening, enlarges type relative to frame and adds a direct call to action, because feed viewing is sound-off, thumb-paced and decided in the first second. The landscape cut holds shots longer and uses horizontal space, because it plays on official channels, long-form platforms and large screens where the viewer has already chosen to watch.

4 · Shot language and dynamic techniques

Nine distinct camera behaviours are used across the twelve shots: snap pull-out, assemble, push in, pan, drift, rhythmic pulse, tilt, continuous pull-out and UI zoom. Shot 9 is a single continuous pull-out from the final section back to the complete key visual, executed without a cut, so that the resolution of six worlds into one is read as a single movement.

5 · Subtitle motion design

Three subtitle roles, one system. Section names appear in the section colour, sliding up with a 20 px overshoot over 8 frames. Statement lines are white and reveal word by word, each word landing on a beat. Information lines are smaller and fade without motion, so that they read as information rather than performance. All three occupy the same position band and follow the key visual's type hierarchy.

Because the edit runs on a 120 BPM grid, every subtitle entrance and exit falls on a beat, so subtitle rhythm and visual rhythm are synchronised by construction.

6 · Brand tone alignment

The films hold the brand's stated position: youth-oriented, international and trendy, without decorative excess. Chinese cultural presence is carried through the Shanghai skyline in the key visual and the event information, while the section content is deliberately globally legible, in line with the requirement that the work embody Chinese characteristics while being understood and embraced by young people worldwide. Prohibited treatments are observed: mascot appearance, features, hair and colour are unmodified, no distortion or caricature, no vulgar, violent or political content.

Cite: core concepts, slogan, mascot contraindications, creative principles, cultural inclusivity.

7 · Communication potential and brand recall

Three memory devices are built in: the shockwave and panel-select motion, repeated across every asset in the campaign; the returning key visual, seen twice in one film; and the six named mascots, each given a signature gesture that repeats across teasers and campaign films. The call to action ends on a held QR code and a single line of copy, so the final frame is both the brand statement and the conversion point.

8 · Material utilisation

All assets originate in the provided brand materials and in the deliverables produced in earlier modules: the key visual poster and six section logos from Module B, the supplied mascot illustrations and pose sheets, the official logo and slogan lockup, and the decorative graphic elements. The six hero scenes built for the teasers were re-edited into the campaign films, so a single set of source assets serves both tasks. No external material was used.

9 · Technical specification

Same table as Document 1, with both durations, both resolutions and the platform mapping: landscape for official website, large screen and long-form platforms; portrait for short-video platforms and social feeds.