Animation Hub / dawnbands-s2-attendance-office-mirror-2026-10-01

# dawnbands-s2-attendance-office-mirror-2026-10-01 — cartoon-h3 storyboard (Fish review BEFORE canvases)

VO: 68.61s, 216 words, 3.15 wps · 28 beats · 8 batches (≤15s, ≤4 panels, reveal/CTA ≤3)

Beat times come from the ElevenLabs word timings of the trimmed VO. A batch = one MiniMax H3 generation (canvas + hero refs + this batch's VO slice). Batch boundaries fall on pack-line ends only.

## Table storyboard

| Beat | Scene | Start–End (s) | VO | Visual | Env | Transition-in |
|---|---|---|---|---|---|---|
| 1 | 1 | 0.04–4.02 (4.0) | Whatever alarm you've got on her phone, turn it off before first period. | In the attendance office, the Clerk, a woman in her late 50s with glasses on a chain, lanyard and cardigan, looks up over her glasses at Mom, mouth moving, calm expression. She holds a stamped slip in one hand and gestures with the other toward Mom's phone lying on the counter. Maya stands behind Mom, hood up, backpack on. | attendance-office | hard cut |
| 2 | 2 | 4.64–5.35 (0.7) | Excuse me? | Tight close-up on Mom, early 40s, eyebrows raised high and mouth open mid-word on one sharp syllable, jaw tense, visibly offended. Maya sits soft-focus and blurred behind her shoulder, small and still, watching her mother. | maya-room | hard cut |
| 3 | 3 | 5.62–8.12 (2.5) | Did you just tell me to turn off my daughter's alarm? | Mom stands at the attendance office counter holding her phone flat against her chest with one hand, leaning toward the Clerk behind the desk. Her mouth is open mid-sentence, eyebrows raised, jaw tight in offended disbelief. Maya is a soft-focus blur in the background. | attendance-office | hard cut |
| 4 | 4.1 | 8.74–10.09 (1.3) | Eleven years doing this. | The Clerk, a deadpan woman, leans her forearms on the attendance-office counter, a tall stack of pink late slips beside her elbow. She looks straight into the camera with flat, tired eyes, her mouth moving as she speaks. | attendance-office | hard cut |
| 5 | 4.2 | 10.31–12.06 (1.8) | I see forty late slips a day. | Close on the Clerk behind the counter, one hand resting on the tall stack of pink late slips beside her. She taps the top slip with a finger, expression dry and unimpressed, her mouth moving as she speaks. | attendance-office | camera pushes in slightly on the Clerk and the stack |
| 6 | 5 | 12.33–14.66 (2.3) | I know what that alarm is doing to your mornings. | Medium shot in the attendance office: the Clerk, a woman behind her desk, taps two fingers against her temple, then points across the desk at Mom's phone lying on the counter. Her eyebrows are raised and her mouth is moving as she speaks, with a knowing, steady look. | attendance-office | hard cut |
| 7 | 6.1 | 15.28–16.40 (1.1) | But it's the good one! | Mom stands in the foreground holding her phone up toward the camera, its screen showing seven plain glowing rows with no words. Her brow is furrowed, her mouth open mid-sentence, her expression defensive. Maya stands close behind her shoulder, watching. | maya-room | hard cut |
| 8 | 6.2 | 16.62–18.98 (2.4) | Isn't a loud alarm what you're supposed to use? | Mom keeps the phone raised in one hand, her mouth moving as she asks her question, eyebrows lifted and her head tilted in defensive disbelief. Maya stands just behind her, shrugs both shoulders, and looks off to the side with a blank expression. | maya-room | hard cut |
| 9 | 7.1 | 19.60–21.12 (1.5) | A loud alarm was a step forward. | Maya's bedroom in early morning light. A phone lies on the nightstand, buzzing and vibrating against the wood, small motion lines around it. Beside it a big round clock rings with sound ripples. The bed behind is empty. The room feels loud and busy. | maya-room | hard cut |
| 10 | 7.2 | 21.34–24.36 (3.0) | Loud phone, loud clock, goes off right on time. | Same bedroom, close on the nightstand. The phone buzzes and shakes on the left while the big round clock on the right rings, its bells shaking and wide sound ripples spreading outward. Both go off together, the clock face showing the early morning hour. | maya-room | camera pushes in on the nightstand |
| 11 | 8 | 24.63–27.57 (2.9) | But it was built for a kid who wakes up to sound. | Ryan sits bolt upright in his bed in his own teen bedroom, eyes wide, arms stretching overhead. A small alarm clock on the nightstand is ringing beside him. Morning light fills the room. He looks fully awake and alert. | teen-room | hard cut |
| 12 | 9 | 27.83–30.63 (2.8) | On a heavy sleeper like yours, it goes off in the room, | Inside Maya's bedroom, several alarm clocks on the nightstand and dresser ring loudly, shaking in place with small sound rings around them. Maya lies in bed under the blanket, eyes closed, face relaxed, her body completely still. | maya-room | hard cut |
| 13 | 10 | 30.89–33.04 (2.1) | and you're the one who hears it. | Mom stands in Maya's open bedroom doorway, both hands pressed flat over her ears, eyes squeezed shut, face tight with strain. Behind her the room is blurred, with several alarm clocks on the nightstand and dresser visibly shaking as they ring. The Clerk's mouth moves, speaking off the scene. | maya-room | hard cut |
| 14 | 11 | 33.31–35.11 (1.8) | By six forty you're yelling up the stairs. | Mom stands at the bottom of a home staircase, both hands cupped around her mouth, head tipped back, shouting up the stairs with a strained, impatient face. A wall clock with its hands near the top of the frame hangs beside the stairs. Maya's closed door sits at the top. |  | hard cut |
| 15 | 12 | 35.38–39.46 (4.1) | And the whole time it's on, it does nothing for the kid underneath. | Overhead camera looks straight down on Maya's bed. A loud clock on the nightstand rings, big ripples pulsing outward from it. Maya lies asleep beneath her blanket, completely still and untouched, her face calm and relaxed. The clerk's mouth is not on screen. | maya-room | hard cut |
| 16 | 13 | 39.73–43.51 (3.8) | That's why your mornings look like that, and it was never her being lazy. | Behind the attendance counter, the Clerk faces the camera with a firm, steady expression, mouth moving as she speaks. In the background, Maya lifts her hood slightly and shrugs, while Mom stands beside her and looks at her daughter with soft eyes. | attendance-office | hard cut |
| 17 | 14 | 43.77–45.49 (1.7) | Take this. I always keep a spare. | A matte black silicone wristband with fine diagonal ribbing slides across a smooth counter toward the camera, growing until it fills the whole frame. Nothing else is in view. Soft even light falls on the plain strap, which has no screen, no glass and no glow. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. | attendance-office | hard cut to a tight close-up of the counter surface |
| 18 | 15 | 46.10–47.15 (1.0) | Oh, I couldn't. | Mom stands at the attendance office counter, both hands raised palms out in front of her, shaking her head side by side, cheeks flushed with embarrassment, mouth moving as she speaks. The black wristband lies on the counter between her and the other person. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. | attendance-office | hard cut |
| 19 | 16.1 | 47.76–49.27 (1.5) | Parents at this counter switched. | In the attendance office, the Clerk stands behind the counter facing Mom, mouth moving as she speaks. One hand rests on the counter while she lifts the other slightly. Mom stands across the counter, listening with a tight, wary expression. | attendance-office | hard cut |
| 20 | 16.2 | 49.46–51.51 (2.1) | This is what they use now. A wake band. | Close on the Clerk's hand holding out a plain matte black silicone wristband with fine diagonal ribbing toward Mom. The band is clearly visible, with no screen or glass. The Clerk's mouth is moving as she speaks, and Mom leans in, curious. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. | attendance-office | camera pushes in from the counter to the Clerk's outstretched hand |
| 21 | 17 | 51.78–54.29 (2.5) | It vibrates on her wrist at the time you set. | Close shot of Maya's sleeping wrist resting on a pillow, a plain matte black ribbed silicone strap around it. Maya's fingers twitch slightly. Her face is relaxed, still asleep. | maya-room | hard cut |
| 22 | 18 | 54.56–56.47 (1.9) | It gets stronger until she turns it off. | Close shot of Maya's wrist wearing the plain matte black ribbed silicone band. Curved motion lines around the band grow bigger and denser in three steps. Maya's eyebrows pinch into a frown above her tense face, and her wrist twitches. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. |  | hard cut |
| 23 | 19.1 | 56.74–57.86 (1.1) | Three alarms. No app. | Close on the plain matte black ribbed silicone strap around Ryan's wrist. Three soft round vibration ripples pulse outward from the strap one after another. Then the camera holds on Ryan's phone lying dark and unused on the desk beside him, screen black, nothing lit, nobody touching it. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. | maya-room | hard cut |
| 24 | 19.2 | 58.08–59.49 (1.4) | Nobody else in the house wakes up. | Wide, dim shot of the sleeping house. Dad lies asleep and motionless, eyes closed, face relaxed. A little sister sleeps still beside the same frame, eyes closed. In the foreground Maya lies calm with a plain black ribbed band on her wrist. Nobody stirs. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. |  | camera pulls back from the glowing band to reveal |
| 25 | 20 | 60.11–62.99 (2.9) | Oh. Oh. Wait. What did you... don't! | Mom, stunned, leans over the attendance office counter with wide eyes and her mouth open mid-speech, the black wristband held in one hand, her other arm reaching across the counter toward the Clerk, who sits behind it. Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap. | attendance-office | hard cut |
| 26 | 21 | 63.61–64.72 (1.1) | Did you hire somebody? | Mom 3, in a ponytail and athleisure, stands at the attendance counter holding her own pink late slip up in one hand, eyebrows raised high, mouth open mid-question as she looks at Mom across the counter. Her teen son slumps on the bench behind her. | attendance-office | hard cut |
| 27 | 22.1 | 65.34–65.79 (0.5) | No! | Mom, calm and rested in a coat, holds a coffee and shakes her head with her mouth open mid-word, smiling. The Clerk stands behind the attendance desk in the background, waving. | attendance-office | hard cut |
| 28 | 22.2 | 65.86–68.39 (2.5) | The woman at that desk fixed my mornings! | Mom, in her coat with the coffee in one hand, gestures toward the Clerk with her free hand, smiling warmly and speaking. The Clerk stands behind the desk in the background, waving with a friendly face. | attendance-office | hard cut |

## Batches

- **Batch 1**: beats 1–3 · 0.04–8.12s (8.1s) · 9s generation · 3 panel(s) · ends on "…my daughter's alarm?" 
- **Batch 2**: beats 4–6 · 8.74–14.66s (5.9s) · 6s generation · 3 panel(s) · ends on "…to your mornings." 
- **Batch 3**: beats 7–10 · 15.28–24.36s (9.1s) · 10s generation · 4 panel(s) · ends on "…right on time." 
- **Batch 4**: beats 11–14 · 24.63–35.11s (10.5s) · 11s generation · 4 panel(s) · ends on "…up the stairs." 
- **Batch 5**: beats 15–17 · 35.38–45.49s (10.1s) · 11s generation · 3 panel(s) · ends on "…keep a spare." REVEAL product
- **Batch 6**: beats 18–21 · 46.10–54.29s (8.2s) · 9s generation · 4 panel(s) · ends on "…time you set." product
- **Batch 7**: beats 22–25 · 54.56–62.99s (8.4s) · 9s generation · 4 panel(s) · ends on "…did you... don't!" product
- **Batch 8**: beats 26–28 · 63.61–68.39s (4.8s) · 5s generation · 3 panel(s) · ends on "…fixed my mornings!" 

Vertical cinematic pixar animation with three visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 4.0s of the audio): In the attendance office, the Clerk, a woman in her late 50s with glasses on a chain, lanyard and cardigan, looks up over her glasses at Mom, mouth moving, calm expression. She holds a stamped slip in one hand and gestures with the other toward Mom's phone lying on the counter. Maya stands behind Mom, hood up, backpack on.

Transition: hard cut.

Shot 2 (4.6s to 5.3s of the audio): Tight close-up on Mom, early 40s, eyebrows raised high and mouth open mid-word on one sharp syllable, jaw tense, visibly offended. Maya sits soft-focus and blurred behind her shoulder, small and still, watching her mother.

Transition: hard cut.

Shot 3 (5.6s to 8.1s of the audio): Mom stands at the attendance office counter holding her phone flat against her chest with one hand, leaning toward the Clerk behind the desk. Her mouth is open mid-sentence, eyebrows raised, jaw tight in offended disbelief. Maya is a soft-focus blur in the background.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 5 is the attendance-office environment sheet: the room keeps this layout, furniture and palette.

Image 6 is the maya-room environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with three visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 1.3s of the audio): The Clerk, a deadpan woman, leans her forearms on the attendance-office counter, a tall stack of pink late slips beside her elbow. She looks straight into the camera with flat, tired eyes, her mouth moving as she speaks.

Transition: camera pushes in slightly on the Clerk and the stack.

Shot 2 (1.6s to 3.3s of the audio): Close on the Clerk behind the counter, one hand resting on the tall stack of pink late slips beside her. She taps the top slip with a finger, expression dry and unimpressed, her mouth moving as she speaks.

Transition: hard cut.

Shot 3 (3.6s to 5.9s of the audio): Medium shot in the attendance office: the Clerk, a woman behind her desk, taps two fingers against her temple, then points across the desk at Mom's phone lying on the counter. Her eyebrows are raised and her mouth is moving as she speaks, with a knowing, steady look.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 4 is the attendance-office environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with four visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 1.1s of the audio): Mom stands in the foreground holding her phone up toward the camera, its screen showing seven plain glowing rows with no words. Her brow is furrowed, her mouth open mid-sentence, her expression defensive. Maya stands close behind her shoulder, watching.

Transition: hard cut.

Shot 2 (1.3s to 3.7s of the audio): Mom keeps the phone raised in one hand, her mouth moving as she asks her question, eyebrows lifted and her head tilted in defensive disbelief. Maya stands just behind her, shrugs both shoulders, and looks off to the side with a blank expression.

Transition: hard cut.

Shot 3 (4.3s to 5.8s of the audio): Maya's bedroom in early morning light. A phone lies on the nightstand, buzzing and vibrating against the wood, small motion lines around it. Beside it a big round clock rings with sound ripples. The bed behind is empty. The room feels loud and busy.

Transition: camera pushes in on the nightstand.

Shot 4 (6.1s to 9.1s of the audio): Same bedroom, close on the nightstand. The phone buzzes and shakes on the left while the big round clock on the right rings, its bells shaking and wide sound ripples spreading outward. Both go off together, the clock face showing the early morning hour.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the maya-room environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with four visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 2.9s of the audio): Ryan sits bolt upright in his bed in his own teen bedroom, eyes wide, arms stretching overhead. A small alarm clock on the nightstand is ringing beside him. Morning light fills the room. He looks fully awake and alert.

Transition: hard cut.

Shot 2 (3.2s to 6.0s of the audio): Inside Maya's bedroom, several alarm clocks on the nightstand and dresser ring loudly, shaking in place with small sound rings around them. Maya lies in bed under the blanket, eyes closed, face relaxed, her body completely still.

Transition: hard cut.

Shot 3 (6.3s to 8.4s of the audio): Mom stands in Maya's open bedroom doorway, both hands pressed flat over her ears, eyes squeezed shut, face tight with strain. Behind her the room is blurred, with several alarm clocks on the nightstand and dresser visibly shaking as they ring. The Clerk's mouth moves, speaking off the scene.

Transition: hard cut.

Shot 4 (8.7s to 10.5s of the audio): Mom stands at the bottom of a home staircase, both hands cupped around her mouth, head tipped back, shouting up the stairs with a strained, impatient face. A wall clock with its hands near the top of the frame hangs beside the stairs. Maya's closed door sits at the top.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 5 is the hero character reference for Ryan: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Ryan appears in; never change race, hair or build between shots.

Image 6 is the teen-room environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with three visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 4.1s of the audio): Overhead camera looks straight down on Maya's bed. A loud clock on the nightstand rings, big ripples pulsing outward from it. Maya lies asleep beneath her blanket, completely still and untouched, her face calm and relaxed. The clerk's mouth is not on screen.

Transition: hard cut.

Shot 2 (4.4s to 8.1s of the audio): Behind the attendance counter, the Clerk faces the camera with a firm, steady expression, mouth moving as she speaks. In the background, Maya lifts her hood slightly and shrugs, while Mom stands beside her and looks at her daughter with soft eyes.

Transition: hard cut to a tight close-up of the counter surface.

Shot 3 (8.4s to 10.1s of the audio): A matte black silicone wristband with fine diagonal ribbing slides across a smooth counter toward the camera, growing until it fills the whole frame. Nothing else is in view. Soft even light falls on the plain strap, which has no screen, no glass and no glow.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 5 is the product reference: the wristband appears exactly as drawn there (Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing; no screen, no display, no glass face, no touchscreen, no apps, no phone; only when the time is needed, a small soft white LED glow shows on top of the strap.); its small white LED digits read 6:30 whenever the face is visible, never another time; the digits are sequenced along the band's length with their baseline parallel to the strap's long edges, exactly as in the reference, never across the strap's width  Nothing added, no other gadget.

Image 6 is the maya-room environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with four visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 1.0s of the audio): Mom stands at the attendance office counter, both hands raised palms out in front of her, shaking her head side by side, cheeks flushed with embarrassment, mouth moving as she speaks. The black wristband lies on the counter between her and the other person.

Transition: hard cut.

Shot 2 (1.7s to 3.2s of the audio): In the attendance office, the Clerk stands behind the counter facing Mom, mouth moving as she speaks. One hand rests on the counter while she lifts the other slightly. Mom stands across the counter, listening with a tight, wary expression.

Transition: camera pushes in from the counter to the Clerk's outstretched hand.

Shot 3 (3.4s to 5.4s of the audio): Close on the Clerk's hand holding out a plain matte black silicone wristband with fine diagonal ribbing toward Mom. The band is clearly visible, with no screen or glass. The Clerk's mouth is moving as she speaks, and Mom leans in, curious.

Transition: hard cut.

Shot 4 (5.7s to 8.2s of the audio): Close shot of Maya's sleeping wrist resting on a pillow, a plain matte black ribbed silicone strap around it. Maya's fingers twitch slightly. Her face is relaxed, still asleep.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 5 is the product reference: the wristband appears exactly as drawn there (Product truth: a plain matte black silicone wristband strap with fine diagonal ribbing, a simple ribbed loop like a plain rubber band; never a watch or smartwatch, never a screen, never numbers, never a glowing or flat face; nothing at all sits on top of the strap.); its small white LED digits read 6:30 whenever the face is visible, never another time; the digits are sequenced along the band's length with their baseline parallel to the strap's long edges, exactly as in the reference, never across the strap's width  The bulky smartwatch described in the failed-alarm shot is a different gadget and must look nothing like this band; the band itself appears only where the shot text names the wristband.

Image 6 is the attendance-office environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with four visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 1.9s of the audio): Close shot of Maya's wrist wearing the plain matte black ribbed silicone band. Curved motion lines around the band grow bigger and denser in three steps. Maya's eyebrows pinch into a frown above her tense face, and her wrist twitches.

Transition: hard cut.

Shot 2 (2.2s to 3.3s of the audio): Close on the plain matte black ribbed silicone strap around Ryan's wrist. Three soft round vibration ripples pulse outward from the strap one after another. Then the camera holds on Ryan's phone lying dark and unused on the desk beside him, screen black, nothing lit, nobody touching it.

Transition: camera pulls back from the glowing band to reveal.

Shot 3 (3.5s to 4.9s of the audio): Wide, dim shot of the sleeping house. Dad lies asleep and motionless, eyes closed, face relaxed. A little sister sleeps still beside the same frame, eyes closed. In the foreground Maya lies calm with a plain black ribbed band on her wrist. Nobody stirs.

Transition: hard cut.

Shot 4 (5.6s to 8.4s of the audio): Mom, stunned, leans over the attendance office counter with wide eyes and her mouth open mid-speech, the black wristband held in one hand, her other arm reaching across the counter toward the Clerk, who sits behind it.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for Maya: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Maya appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 5 is the hero character reference for Dad and the little sister: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Dad and the little sister appears in; never change race, hair or build between shots.

Image 6 is the hero character reference for Ryan: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Ryan appears in; never change race, hair or build between shots.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

Vertical cinematic pixar animation with three visual shots. Image 1 is the shot guide: follow its panels in order, one full-frame shot per panel, never showing a grid, gutters, borders or more than one panel at a time. Every shot listed below MUST appear, each cut landing at the audio time given; do not merge or skip shots. Audio 1 is the narration for this section: use it only as the timing source for the cuts and actions. No on-camera dialogue, no lip-sync.

Shot 1 (0.0s to 1.1s of the audio): Mom 3, in a ponytail and athleisure, stands at the attendance counter holding her own pink late slip up in one hand, eyebrows raised high, mouth open mid-question as she looks at Mom across the counter. Her teen son slumps on the bench behind her.

Transition: hard cut.

Shot 2 (1.7s to 2.2s of the audio): Mom, calm and rested in a coat, holds a coffee and shakes her head with her mouth open mid-word, smiling. The Clerk stands behind the attendance desk in the background, waving.

Transition: hard cut.

Shot 3 (2.3s to 4.8s of the audio): Mom, in her coat with the coffee in one hand, gestures toward the Clerk with her free hand, smiling warmly and speaking. The Clerk stands behind the desk in the background, waving with a friendly face.

Image 2 is the hero character reference for Mom: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom appears in; never change race, hair or build between shots.

Image 3 is the hero character reference for the Clerk: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot the Clerk appears in; never change race, hair or build between shots.

Image 4 is the hero character reference for Mom 3 and her son: use it exactly for identity, face, hair, skin tone, body proportions and outfit in every shot Mom 3 and her son appears in; never change race, hair or build between shots.

Image 5 is the attendance-office environment sheet: the room keeps this layout, furniture and palette.

Feature-film 3D animation with strongly caricatured, appealing characters (style audited 2026-09-17 against Turning Red stills): eyes very large, roughly a third of the face height, glossy with big irises; faces wide and round with small noses and wide expressive mouths; bodies rounded and slightly chunky, big heads on simplified shapes; hair sculpted into thick distinct clumps like soft clay, never fine strands; skin soft and matte with a warm subsurface glow; clothing simplified with soft thick folds; cozy rounded environments with soft inviting textures; warm vibrant pastel-leaning palette, cinematic lighting with gentle rim light and gentle depth of field, eye-level camera inside the room. no captions, no readable text, no added music, no extra dialogue.

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