How the quality gate works
A film can be wrong in ways its maker stops seeing. Text sits a little too close to the edge. A card lands twice. The music is busier than the picture. So Motion v1 does not decide by itself whether a film is done. A gate does.
The quality gateWhat is measured
The gate reads the finished film frame by frame, and listens to its sound. Most checks are plain measurements with a pass mark. A vertical film goes through 38 of them.
| Area | What the gate looks for |
|---|---|
| Text | Lines that overlap or collide, clipped words, text too small or too close to the edge, too little time to read |
| Layout | A panel cut by the frame, frames that are empty or crowded, a picture that failed to load |
| Motion | A snap, a jitter, cuts that come too fast |
| Sound | Whether there is sound, and whether it is busier than the picture |
| Brand | The logo in its place, a clear call to action |
Fourteen faults that always mean a recast
Some faults anyone can see: overlapping text, a clipped word, a cut panel, a missing call to action, a snap, a jitter. There are fourteen of them. A film with even one is cast again, whatever its score.
A judge that does not know which film is ours
Measurements cannot say whether a film is good. So a judge watches it too. The judge is a model that sees the film beside one we admire and one we rejected, without being told which is which, and scores it out of 10.
| What the judge scores | The bar |
|---|---|
| Craft, overall | 7 |
| Hook | 5 |
| Clean | 6.5 |
| Designed | 8.5 |
| Text motion | 6.5 |
| Motion | 7.5 |
| Composition | 7 |
Calibrated on real verdicts
A gate is only as good as its agreement with people. So before launch we ran it on 95 films whose verdict we already knew: 89 we had rejected, and the 6 reference films that set the bar.
| Films | Our verdict | The gate |
|---|---|---|
| 89 | Rejected | Failed all 89 |
| 6 | Reference | Passed all 6 |
Twelve of the rejected films reached the judge. They scored between 2.0 and 4.0 for craft. The references scored between 8.1 and 9.0.
We also held each reference film out in turn and set the frame thresholds from the other five, to see whether the bar leans on any one film. For four of the seven measurements every held out film stayed inside the band. For the other three, one film fell just outside.
When a film misses
The director gets the gate's notes: what failed, on which shot, at which second. It casts the film again from those notes and the gate runs again. You get the best version.
If that version is still under the bar, we do not hide it. It arrives as a first cut, labelled as one.
Why we built it this way
A gate that only its maker trusts is not a gate. Ours is numbers anyone can read, set against films we did not make, and checked against verdicts people had already given.
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