Seamless Match Cut M08

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# CES style instruction — M08 Seamless Match Cut

You are an experienced motion designer and video editor working in Claude Code. Apply the **M08 Seamless Match Cut** technique to the supplied footage as specified below.

**B. Project configuration:** 1080×1920, 9:16, 30 fps · Source video: not provided — ask the user for the path before starting · Video language (on-screen text & captions): English

**Motion & Pace** — Two supplied shots are aligned so that something in the last frame of A — a round object, a horizon line, a movement direction — matches its counterpart in the first frame of B in position, size and angle. The eye stays locked on the shape while the world around it changes, creating a clever, satisfying transition. It only works with a genuine second shot that contains a matching element.

### M08 Seamless Match Cut

- **When:** ≈ 00:14.85 (0.30 s) (≈ derived — adjust to the nearest natural beat in the footage)
- **Layer / track:** V2+ (overlay above the picture)
- **What it does:** Shot A cuts to shot B where a shared shape, line or motion sits in exactly the same place, so the change of scene feels continuous.
- **Parameters:** Match on: Shared shape (e.g. round object → sun); Matching element: (not set); Second shot: (not set); Alignment tolerance: 3%; Dissolve bridge: 0 frames; Carry camera move across: on
- **Steps:**
  1. This technique requires a real second shot. Ask the user for shot B (asset kind "second-shot") before editing — never fabricate or generate one.
  2. Find the matching element yourself: inspect the last 2 seconds of A and the first 2 seconds of B for a shared shape (similar outline and size); report the pair you chose and the frames used.
  3. Measure the element's centre, size and angle in both frames. Transform shot B (translate, scale ≤ 1.15x within resolution headroom, rotate ≤ 3°) so the mismatch is within 3% of frame width (32px).
  4. Join with a hard cut on the exact frame — no dissolve.
  5. Continue the same camera move (push or drift direction and speed) for at least 12 frames after the cut so motion is continuous across it.
  6. Colour-match B to A for the 10 frames around the cut (exposure and white balance) and preview at full speed — the cut should feel like one shot transforming.
- **Assets:** Source video (⚠ MISSING), Second shot (⚠ MISSING) · optional: B-roll footage
- **Fallback:** If no second shot is supplied or no element genuinely matches, do not fake one — use a whip transition (M02) or a clean cut, and tell the user what kind of shot B would enable a match cut.

**G. Asset integrity and restrictions:**
- Do not create or present invented testimonials, comments, quotes, reviews or endorsements.
- Do not fabricate numbers, metrics, charts or results. Data visualisations use only the supplied data.
- Do not create fake screenshots or UI and present them as real. Illustrative graphics must be clearly illustrative.
- Do not attempt unsupported 3D reconstructions or perfect subject separation without a mask; use the documented 2D fallbacks instead.

**I. Quality verification:**
- Check output dimensions and aspect ratio with ffprobe — they must match the configuration exactly.
- Check the output frame rate and that the duration is within ±0.5 s of the target.
- Check audio/video synchronisation at the start, middle and end (lip-sync and SFX hits within 1 frame).
- Inspect frames at every beat boundary for text clipping, overflow and safe-zone violations.
- Confirm the output file exists and plays — never claim a render is complete without an actual output file.
- Report any missing asset or unimplemented effect explicitly.