# Three-way lyric alignment: original (targ, EN) -> Taras (owner-preferred, UK) -> ours (goPure song-v02, UK)

Machine-readable rows: `lyrics-alignment.json` (65 rows, same directory). Section aggregates: `lyrics-alignment-sections.json`. Build script: `build_alignment.py`.

## 0. Sources, definitions, corrections (measurement)

| Column | Source | Notes |
|---|---|---|
| Original words + time | `runs/video-dna-v1/targ/analysis.json` -> `captions` (65 owner-approved cards, 0.0-188.5 s) | Card times are on-screen caption times, not sung-word times. The ASR (`asr-words.json`, 471 words) confirms every card boundary within +/-0.3 s except where the ASR word straddles it (e.g. "She" at 5.5 s belongs to card 3). |
| Taras words + time | `dna/taras/audio/asr.json` (43 segments, word times) **corrected against the on-screen caption cards in `dna/taras/sheets/sheet01-07.jpg`** | Times are ASR word times (start of first word to end of last word of the span mapped to the card). Sung span 0.00-193.94 s. |
| Ours words + time | `dna/film/line-anchors.json` (`expected` = stress-marked sung text of song-v02, `masterVocalTime`) | **The sung song-v02 text is not `lyrics_uk-v07.txt`.** `lyrics_uk-v07.txt` is the SCRIPT stage text (436 words / 847 vowel-syllables by my count; the brief's 447/843 is the same file with a different tokenizer). The song stage re-wrote 62 of 65 lines for melody (`song-v02/stress/lyrics-with-stress-v04.txt`, referenced by `song-v02/lyrics-phrases-v06.json`, `vowelSyllableEstimate: 766`). The sung text is 401 words / 770 syllables, and the film ASR (`dna/film/audio/asr.json`) hears exactly that text, so the table uses it. |
| Syllables | Ukrainian: count of vowels `аеєиіїоуюя` after stripping the acute; `go pure` counted as 2. English: heuristic per-word count (dictionary for all 300-odd distinct words in the cards). | My English total is 593; the DNA measurement (`summary.json`) gives 645 from the ASR and the brief says ~625. Treat English per-card counts as +/-1 estimates; use the measured 625-645 for totals. Ukrainian counts are exact by the vowel rule. Taras total 626 by this rule vs 620 in the brief (the brief counted the uncorrected ASR). |
| Drift | `Taras start - orig card start`, `ours master start - orig card start` (seconds, positive = later than the original) | Both versions start at 0.0 with the original's first card. |
| "phrase-start at card start" | Whether a whisper ASR segment starts within +/-0.35 s of the card's mapped start in each version (orig ASR 76 segs, Taras 43, ours 70) | Weak proxy: whisper segments are not musical phrases, and in our film the words are packed with almost no inter-word gaps (13 gaps >= 0.2 s in 404 words), so breath-based detection is not possible for ours. |

Taras ASR corrections taken from the sheets (caption = authority): `їй 32` -> `їй тридцять два` (sheet01 0-6 s); `робить ОТ` -> `робить оте` (sheet02 54-59 s); `Лоб, шок і підборіття, дві секунди і вся щитана` -> `Лоб, щоки, підборіддя, дві секунди і все зчитано` (sheet03 61-67 s); `Все кислоти, вітамін, серетину` -> `Перелічила все: кислоти, вітамін С, ретинол` (sheet04 110-115 s); `зупинися` -> `зупинись` (sheet04 113-115 s); `на носи щовечора` -> `наноси щовечора` (sheet05 120-125 s); `півментації` -> `пігментації` (sheet05 145-149 s); `Шкіра рівна, як не було` -> `як не була` (sheet06 151-155 s); `На жаль, не співчуття` -> `не жаль, не співчуття` (sheet06 161-166 s). Our film ASR also has hearing noise (`Станців та Мирина` = `з танців. Там Ірина`; `Крем для шина` = `Крем для шиї. На`; `лашині` = `машині`); the anchors' `heard` field confirms the intended words, so I did not treat these as sung errors.

Mapping rule: a card maps to the Taras words that carry the same propositional content. `literal` = all content words present; `condensed` = the card's clause is present but a named element is gone; `rephrased` = the meaning is re-expressed with a different image; `dropped` = nothing of the card is sung; `merged` = the card's content is absorbed by the neighbouring card's verb. For ours: `literal`, `rephrased` (new image, same beat), `expanded` (same beat plus new material), `added` (the card's content is replaced by material not in the source).

Aggregate treatments (65 cards): Taras = 38 literal, 20 condensed, 2 rephrased, 4 dropped, 1 merged, 0 added. Ours = 41 literal, 14 rephrased, 9 expanded, 1 added (card 38: "Throw the rest aside" is not sung; an application instruction stands in its place).

## 1. The alignment table

Times in seconds. `syl O/T/U` = original (estimate) / Taras / ours. `drift T`, `drift U` = start-time drift vs the original card start.

| # | Original (EN) | t orig | Taras (UK, caption-corrected) | t Taras | Taras trt | Ours song-v02 (sung) | t ours (master) | Ours trt | syl O/T/U | drift T | drift U |
|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | I ran into my ex husband's new wife at Target | 0.0–3.5 | Я зустріла нову дружину чоловіка | 0.0–4.0 | condensed | Зустріла в крамниці Нову дружину колишнього. | 0.0–4.1 | literal | 13/13/15 | 0.0 | 0.0 |
| 2 | She was thirty four | 3.5–5.3 | їй тридцять два | 4.3–5.6 | literal | Їй — тридцять чотири. | 4.1–6.2 | literal | 5/4/6 | 0.8 | 0.6 |
| 3 | She looked at me like she felt sorry for me | 5.3–8.8 | Вона глянула на мене, наче їй мене шкода | 5.6–10.2 | literal | Дивилась, мов шкода мене. | 6.2–8.8 | literal | 11/15/8 | 0.3 | 0.9 |
| 4 | That was in March | 8.8–10.0 | Це був березень | 10.2–12.1 | literal | То був березень. | 8.8–10.3 | literal | 4/5/5 | 1.4 | 0.0 |
| 5 | Mark and I were married sixteen years | 10.0–12.1 | Ми з Андрієм прожили шістнадцять років | 12.1–16.0 | literal | Ми з Андрієм шістнадцять років Були у шлюбі. | 10.4–14.7 | literal | 9/12/14 | 2.1 | 0.4 |
| 6 | Then he left for someone from his office Cliché, | 12.1–15.2 | Потім він пішов до дівчини з офісу. Банально, | 16.7–20.5 | literal | Він пішов до колеги з офісу. Банально, | 14.9–19.2 | literal | 12/15/13 | 4.6 | 2.8 |
| 7 | I know She's the kind of pretty that doesn't have to try yet | 15.2–20.0 | я знаю. Вона з тих, кому не треба старатись | 20.6–25.2 | literal | я знаю. Їй бути гарною легко — | 19.3–22.5 | rephrased | 15/14/11 | 5.4 | 4.1 |
| 8 | Because time hadn't shown up yet | 20.0–23.0 | Бо час до неї ще не дійшов | 25.2–28.1 | literal | Ще не торкнувся її час. | 22.5–24.8 | literal | 8/9/8 | 5.2 | 2.5 |
| 9 | By March I wasn't fine I looked like I had aged | 23.0–25.8 | Я постаріла | 28.1–29.9 | condensed | А я у березні себе Уже не впізнавала. | 25.0–28.3 | rephrased | 12/5/15 | 5.1 | 2.0 |
| 10 | five years in six months Stress will do that Crying every night | 25.8–30.4 | на п'ять років за півроку, стрес це робить, сльози щоночі | 29.9–34.4 | literal | За пів року постаріла, Мов на п’ять років. Стрес і сльози щоночі. | 28.3–35.5 | literal | 15/17/20 | 4.1 | 2.5 |
| 11 | will do that Holding your kids together will do that | 30.4–33.0 | це роблять. | 34.4–35.4 | dropped | Була дітям опорою, Хоч сама ледь трималась. | 35.5–40.9 | expanded | 13/3/15 | 4.0 | 5.1 |
| 12 | I was at Target that Saturday Leggings, | 33.0–35.2 | Я стояла там у суботу, | 35.4–37.8 | condensed | У суботу зайшла до крамниці. | 41.7–43.9 | literal | 11/9/10 | 2.4 | 8.7 |
| 13 | no makeup, hair in a bun Staring at another cream | 35.2–38.4 | без макіяжу, волосся в пучок, дивилась на черговий крем, | 37.9–44.0 | literal | Лосини, без макіяжу, Волосся зібране в пучок. Стою, дивлюся на крем. | 43.9–50.8 | expanded | 14/18/23 | 2.7 | 8.7 |
| 14 | that wouldn't work I had already tried every single one | 38.4–42.1 | який знову не спрацює. | 44.7–47.4 | condensed | Та чи допоможе і цей? Я стільки вже перепробувала. | 50.8–56.0 | literal | 16/8/18 | 6.3 | 12.4 |
| 15 | Then I heard her voice one aisle over Knew | 42.1–44.4 | Потім почула її голос через ряд, я знала, | 48.1–51.9 | literal | Із сусіднього ряду — голос. | 56.0–58.0 | literal | 10/15/9 | 6.0 | 13.9 |
| 16 | it was her before she came around She saw me | 44.4–47.2 | що це вона, | 52.1–53.1 | condensed | Ще не бачу — знаю, вона. Вона мене впізнала. | 58.0–62.7 | literal | 12/4/15 | 7.7 | 13.6 |
| 17 | And I watched her face do the thing Forehead, cheeks, jaw | 47.2–50.8 | І побачила, як її обличчя робить оте. Лоб, щоки, підборіддя, | 53.1–62.4 | literal | Її погляд ковзає вниз — Від обличчя до шиї. | 62.7–67.0 | rephrased | 12/22/15 | 5.9 | 15.5 |
| 18 | Two second scan, that sting | 50.8–52.4 | дві секунди і все зчитано | 62.6–64.5 | rephrased | Дві секунди. Як болить! | 67.0–69.2 | literal | 6/9/7 | 11.8 | 16.2 |
| 19 | Then she smiled And it wasn't mean, | 52.4–54.8 | Потім вона усміхнулась | 66.4–68.9 | condensed | Всміхнулась — і ні краплі злості. | 69.2–72.4 | literal | 8/8/9 | 14.0 | 16.8 |
| 20 | it was worse Sympathetic Like she was looking | 54.8–57.8 | і це було гірше за зневагу. Наче дивилась | 68.9–73.6 | rephrased | Співчуття. Від нього ще гірше. | 72.4–74.8 | literal | 12/15/9 | 14.1 | 17.6 |
| 21 | at the before version of the woman her husband loved first | 57.8–63.0 | на стару версію жінки, яку її чоловік любив першою | 73.6–79.4 | literal | Ніби я — лиш бліда тінь Жінки, яку її чоловік Кохав першою. | 75.0–80.7 | literal | 15/20/21 | 15.8 | 17.2 |
| 22 | I walked to my car and sat there for fifteen | 63.0–65.4 | Я дійшла до машини і просто сиділа | 79.4–83.6 | condensed | Я пішла до авто. П’ятнадцять хвилин сиділа. | 80.7–87.2 | literal | 11/13/14 | 16.4 | 17.7 |
| 23 | I wasn't angry at her I was angry at what | 65.4–69.2 | Я злилась не на неї, я злилась на те, | 83.6–86.4 | literal | Не на неї я злилась — На те, що бачила сама. | 87.2–92.4 | literal | 13/12/15 | 18.2 | 21.8 |
| 24 | I'd seen Melasma on my cheeks Patches on my forehead | 69.2–75.4 | що побачила. Пігментні плями на щоках, | 86.5–89.8 | condensed | На шиї — дрібні заломи, | 92.4–95.2 | rephrased | 14/13/8 | 17.3 | 23.2 |
| 25 | and lip Like the light had | 75.4–77.0 | наче світло | 90.0–90.9 | condensed | Лінії впоперек. Шкіра на вигляд в’яла. | 95.2–98.9 | expanded | 6/4/13 | 14.6 | 19.8 |
| 26 | gone out from inside | 77.0–81.0 | згасло зсередини | 90.9–92.3 | literal | Ніби світло в мені згасло. | 99.8–101.6 | literal | 5/6/8 | 13.9 | 22.8 |
| 27 | That week at my daughter's dance pickup | 81.0–83.6 | Того тижня біля студії танців доньки | 92.3–96.0 | literal | У той тиждень забирала Доньку з танців. | 101.6–105.4 | literal | 9/13/12 | 11.3 | 20.6 |
| 28 | There's this Korean woman I'd see every day | 83.6–86.1 | Кореянка, яку я бачу щодня | 96.0–98.9 | literal | Там Ірина — Бачу її майже щодня. | 105.4–108.7 | literal | 13/11/12 | 12.4 | 21.8 |
| 29 | Mid fifties with flawless skin I had to say | 86.1–90.6 | за п'ятдесят. І шкіра бездоганна, я спитала, | 98.9–102.9 | literal | Їй п’ятдесят п’ять — шия гладенька. Я зважилась: | 108.7–112.7 | literal | 11/15/14 | 12.8 | 22.6 |
| 30 | What do you use, your skin is a dream | 90.6–95.4 | чим вона користується | 103.0–104.6 | condensed | «Чим ви доглядаєте шию? Про таку я тільки мрію». | 112.7–117.7 | literal | 9/8/17 | 12.4 | 22.1 |
| 31 | She laughed then looked at my face Said honey, | 95.4–99.8 | Вона подивилась на моє обличчя | 104.6–108.3 | condensed | Всміхнулась і глянула на шию: | 117.7–121.2 | literal | 10/12/10 | 9.2 | 22.3 |
| 32 | what are you using I told her Tri-Luma, | 99.8–102.8 | Спитала: а ти чим? Я перелічила | 108.3–111.5 | condensed | «А чим ти користуєшся?» Кажу: «Креми для обличчя. | 121.2–126.2 | rephrased | 11/12/16 | 8.5 | 21.4 |
| 33 | vitamin C, retinol, all the rest She said stop, | 102.8–106.2 | все: кислоти, вітамін С, ретинол. Вона сказала: зупинись, | 111.5–115.9 | literal | І гелі, й маски перепробувала». | 126.2–130.6 | rephrased | 13/18/11 | 8.7 | 23.4 |
| 34 | all of that is making it worse | 106.2–108.8 | усе це робить тільки гірше | 115.9–117.7 | literal | «А шия? Їй щодня Потрібен власний догляд». | 130.6–136.7 | rephrased | 8/9/13 | 9.7 | 24.4 |
| 35 | Next day she put a pink tube | 108.8–110.4 | Наступного дня вона вклала мені рожевий тюбик | 117.7–121.0 | literal | Назавтра дала мені баночку. | 136.7–139.2 | literal | 7/16/10 | 8.9 | 27.9 |
| 36 | in my hand Korean writing, | 110.4–112.6 | Корейські літери | 121.0–122.5 | condensed | go pure. Я стала читати: | 139.4–141.6 | rephrased | 8/6/8 | 10.6 | 29.0 |
| 37 | something I'd never tried Use this every night | 112.6–117.8 | наноси щовечора | 122.5–125.4 | condensed | «Крем для шиї. На чисту шкіру — Тонкий шар, щодня. | 141.6–146.2 | expanded | 12/7/14 | 9.9 | 29.0 |
| 38 | Throw the rest aside | 117.8–119.2 | Решту викинь | 125.4–127.2 | literal | Легенько, знизу вгору, Без обіцянок чудес». | 146.2–150.8 | added | 5/4/14 | 7.6 | 28.4 |
| 39 | I squeezed some out and it felt right No peeling, no sting | 119.2–122.9 | Я вичавила краплю, не пекло, не лущило | 127.2–131.7 | condensed | Я крем нанесла — легко ковзає, Зволожує шкіру. | 150.8–155.5 | rephrased | 13/14/16 | 8.0 | 31.6 |
| 40 | Three weeks later I looked in the mirror and stopped | 122.9–125.8 | Через три тижні я глянула в дзеркало і зупинилась | 131.7–136.4 | literal | Минуло кілька тижнів — Я біля дзеркала завмерла: | 155.5–160.3 | literal | 12/17/16 | 8.8 | 32.6 |
| 41 | The patches on my cheeks were lighter | 125.8–128.2 | Плями стали світлішими | 136.4–138.4 | literal | Заломи вже не так помітні. | 160.3–162.8 | literal | 9/8/9 | 10.6 | 34.5 |
| 42 | My daughter came home | 128.2–130.2 | Донька сказала, | 138.4–140.4 | condensed | Донька прийшла додому: | 162.9–164.4 | literal | 5/5/7 | 10.2 | 34.7 |
| 43 | and said Mom you look different, | 130.2–132.4 | мам, ти якась інша, | 140.8–142.3 | literal | «Мамо, ти сьогодні інша. | 164.4–167.4 | literal | 8/6/8 | 10.6 | 34.2 |
| 44 | good different, brighter | 132.4–134.4 | світліша | 142.4–144.5 | condensed | Гарна інша. Наче світла більше». | 167.5–169.6 | literal | 6/3/10 | 10.0 | 35.1 |
| 45 | By week six I was in shock | 134.4–138.4 | На шостому тижні | 144.5–146.6 | condensed | Минув ще час. Мій догляд тривав І знову шию порівняла: | 169.6–177.4 | expanded | 7/6/18 | 10.1 | 35.2 |
| 46 | The melasma was almost gone | 138.4–140.2 | пігментації майже не було | 146.6–148.9 | literal | Вона помітно гладша, | 177.4–179.5 | rephrased | 8/10/7 | 8.2 | 39.0 |
| 47 | My skin more even than it had in | 140.2–143.0 | Шкіра рівна, як не була | 150.7–152.7 | literal | На вигляд — пружніша. І лінії впоперек Уже не так помітні. | 179.7–183.6 | expanded | 9/8/20 | 10.5 | 39.5 |
| 48 | a decade No foundation on | 143.0–146.4 | десять років без тонального | 152.9–155.2 | literal | Я лишилась собою. І шию більше не ховаю. | 183.6–187.8 | rephrased | 8/9/16 | 9.9 | 40.6 |
| 49 | Then June happened Piano | 146.4–148.6 | Потім настав червень, концерт, фортепіано | 155.2–159.9 | literal | У червні — концерт. | 189.1–191.0 | literal | 7/13/5 | 8.8 | 42.7 |
| 50 | recital for my daughter's class | 148.6–150.8 | в класі доньки, | 159.9–161.3 | literal | Доньчин клас грав на фортепіано. | 191.0–194.1 | literal | 8/4/10 | 11.3 | 42.4 |
| 51 | Mark's wife sat down a few seats from me | 150.8–155.2 | дружина Андрія сіла поруч | 161.5–164.2 | condensed | Андрія нова дружина Через кілька місць від мене сіла. | 194.1–198.6 | literal | 9/10/18 | 10.7 | 43.3 |
| 52 | She looked at me Not pity, not sympathy Just confused | 155.2–159.9 | Не жаль, не співчуття, просто розгублено | 164.2–167.6 | condensed | Глянула. Не жаль, не співчуття — В очах лише здивування. | 198.6–203.3 | literal | 14/12/17 | 9.0 | 43.4 |
| 53 | After the recital she walked | 159.9–161.8 | Після концерту вона підійшла, | 167.6–170.8 | literal | Після концерту сама | 203.3–205.1 | literal | 8/10/7 | 7.7 | 43.4 |
| 54 | up to me | 161.8–163.8 | *(merged)* | — | merged | До мене підійшла: | 205.1–207.4 | literal | 3/0/6 | — | 43.3 |
| 55 | Said you look really good | 163.8–167.0 | сказала: Ти чудово виглядаєш, | 171.0–173.3 | literal | «Ти дуже добре виглядаєш, | 207.4–210.3 | literal | 6/11/9 | 7.2 | 43.6 |
| 56 | by the way | 167.0–168.6 | *(dropped)* | — | dropped | До речі». | 210.4–211.4 | literal | 3/0/3 | — | 43.4 |
| 57 | same woman who made me | 168.6–170.2 | та сама жінка, через яку я | 173.3–176.0 | literal | Та ж жінка. Після зустрічі з нею | 211.4–215.5 | rephrased | 6/10/10 | 4.7 | 42.8 |
| 58 | sit in my car that day | 170.2–173.6 | сиділа тоді в машині | 176.0–178.0 | literal | Я в той день у машині сиділа. | 215.5–217.9 | literal | 6/8/10 | 5.8 | 45.3 |
| 59 | I said thank you | 173.6–175.0 | Я сказала дякую, | 178.0–180.6 | literal | «Дякую», — сказала | 218.5–219.7 | literal | 4/7/6 | 4.4 | 44.9 |
| 60 | And I meant it too | 175.0–176.4 | *(dropped)* | — | dropped | щиро. | 219.7–220.6 | literal | 5/0/2 | — | 44.7 |
| 61 | Not because her opinion mattered | 176.4–178.8 | не тому, що її думка щось важить | 180.9–184.0 | literal | Її думка — не головна. | 220.6–222.2 | rephrased | 9/11/8 | 4.5 | 44.2 |
| 62 | But because mine finally did | 178.8–182.6 | А тому, що моя нарешті важить | 184.0–188.7 | literal | Бо нарешті я ціную Те, що думаю сама. | 222.2–226.7 | rephrased | 8/11/15 | 5.2 | 43.4 |
| 63 | The cream is called Seora | 182.6–185.4 | Крем називається Ханбіт, | 189.9–192.3 | literal | go pure — це крем для шиї. Результат у кожної свій. | 226.7–232.1 | expanded | 6/8/15 | 7.3 | 44.1 |
| 64 | The link's below | 185.4–187.8 | посилання нижче | 192.5–193.9 | literal | Посилання внизу. У формі — ім’я й телефон лиши, | 232.1–236.2 | expanded | 4/6/16 | 7.1 | 46.7 |
| 65 | If you need it | 187.8–188.5 | *(dropped)* | — | dropped | Якщо такий догляд потрібен тобі. | 236.2–239.4 | expanded | 4/0/11 | — | 48.4 |

## 2. Duration per card and phrase-boundary proxy

`ratio` = version card duration / original card duration. The last column is the ASR-segment-start proxy described in section 0 (Y = a segment starts within 0.35 s of the card's mapped start).

| # | orig dur | Taras dur | ratio T/O | ours dur | ratio U/O | phrase-start at card start: orig / Taras / ours |
|---|---|---|---|---|---|---|
| 1 | 3.53 | 4.04 | 1.14 | 4.10 | 1.16 | Y / Y / Y |
| 2 | 1.77 | 1.26 | 0.71 | 2.12 | 1.20 | Y / n / Y |
| 3 | 3.50 | 4.56 | 1.30 | 2.62 | 0.75 | n / Y / n |
| 4 | 1.20 | 1.98 | 1.65 | 1.48 | 1.23 | n / Y / Y |
| 5 | 2.10 | 3.86 | 1.84 | 4.32 | 2.06 | n / Y / n |
| 6 | 3.10 | 3.80 | 1.23 | 4.34 | 1.40 | Y / Y / n |
| 7 | 4.80 | 4.62 | 0.96 | 3.20 | 0.67 | n / n / n |
| 8 | 3.00 | 2.94 | 0.98 | 2.28 | 0.76 | Y / Y / Y |
| 9 | 2.80 | 1.76 | 0.63 | 3.36 | 1.20 | n / Y / n |
| 10 | 4.60 | 4.56 | 0.99 | 7.20 | 1.57 | n / n / Y |
| 11 | 2.60 | 0.92 | 0.35 | 5.32 | 2.05 | n / n / Y |
| 12 | 2.20 | 2.36 | 1.07 | 2.24 | 1.02 | Y / Y / n |
| 13 | 3.20 | 6.10 | 1.91 | 6.92 | 2.16 | n / n / Y |
| 14 | 3.73 | 2.74 | 0.73 | 5.16 | 1.38 | n / n / Y |
| 15 | 2.27 | 3.80 | 1.68 | 2.02 | 0.89 | n / Y / Y |
| 16 | 2.80 | 1.00 | 0.36 | 4.66 | 1.66 | n / n / n |
| 17 | 3.60 | 9.36 | 2.60 | 4.36 | 1.21 | n / Y / Y |
| 18 | 1.60 | 1.94 | 1.21 | 2.20 | 1.37 | n / n / Y |
| 19 | 2.40 | 2.52 | 1.05 | 3.20 | 1.33 | Y / Y / Y |
| 20 | 3.00 | 4.72 | 1.57 | 2.38 | 0.79 | Y / n / Y |
| 21 | 5.20 | 5.78 | 1.11 | 5.64 | 1.08 | n / n / Y |
| 22 | 2.40 | 4.24 | 1.77 | 6.58 | 2.74 | n / Y / Y |
| 23 | 3.80 | 2.76 | 0.73 | 5.20 | 1.37 | Y / Y / Y |
| 24 | 6.20 | 3.36 | 0.54 | 2.80 | 0.45 | n / n / n |
| 25 | 1.60 | 0.96 | 0.60 | 3.64 | 2.28 | n / n / n |
| 26 | 4.00 | 1.40 | 0.35 | 1.84 | 0.46 | n / n / n |
| 27 | 2.60 | 3.70 | 1.42 | 3.84 | 1.48 | n / Y / Y |
| 28 | 2.50 | 2.86 | 1.14 | 3.26 | 1.30 | n / n / n |
| 29 | 4.50 | 3.98 | 0.88 | 4.02 | 0.89 | n / n / Y |
| 30 | 4.80 | 1.66 | 0.35 | 4.96 | 1.03 | n / n / Y |
| 31 | 4.40 | 3.68 | 0.84 | 3.56 | 0.81 | n / Y / Y |
| 32 | 3.00 | 3.22 | 1.07 | 4.92 | 1.64 | n / Y / n |
| 33 | 3.40 | 4.38 | 1.29 | 4.40 | 1.29 | n / Y / n |
| 34 | 2.60 | 1.74 | 0.67 | 6.18 | 2.38 | n / n / n |
| 35 | 1.60 | 3.38 | 2.11 | 2.48 | 1.55 | n / Y / Y |
| 36 | 2.20 | 1.42 | 0.65 | 2.20 | 1.00 | n / Y / Y |
| 37 | 5.20 | 2.92 | 0.56 | 4.60 | 0.88 | n / n / Y |
| 38 | 1.40 | 1.84 | 1.31 | 4.62 | 3.30 | n / Y / Y |
| 39 | 3.70 | 4.48 | 1.21 | 4.70 | 1.27 | Y / Y / Y |
| 40 | 2.90 | 4.68 | 1.61 | 4.72 | 1.63 | Y / Y / Y |
| 41 | 2.40 | 2.00 | 0.83 | 2.52 | 1.05 | n / Y / Y |
| 42 | 2.00 | 2.06 | 1.03 | 1.48 | 0.74 | Y / Y / n |
| 43 | 2.20 | 1.46 | 0.66 | 3.04 | 1.38 | Y / n / Y |
| 44 | 2.00 | 2.10 | 1.05 | 2.10 | 1.05 | Y / n / n |
| 45 | 4.00 | 2.10 | 0.52 | 7.74 | 1.94 | Y / Y / Y |
| 46 | 1.80 | 2.30 | 1.28 | 2.14 | 1.19 | n / n / Y |
| 47 | 2.80 | 2.00 | 0.71 | 3.92 | 1.40 | Y / Y / n |
| 48 | 3.40 | 2.34 | 0.69 | 4.20 | 1.24 | n / n / Y |
| 49 | 2.20 | 4.70 | 2.14 | 1.90 | 0.86 | n / Y / n |
| 50 | 2.20 | 1.40 | 0.64 | 3.12 | 1.42 | n / Y / n |
| 51 | 4.40 | 2.76 | 0.63 | 4.54 | 1.03 | Y / n / Y |
| 52 | 4.67 | 3.36 | 0.72 | 4.68 | 1.00 | Y / Y / Y |
| 53 | 1.93 | 3.22 | 1.67 | 1.76 | 0.91 | n / Y / Y |
| 54 | 2.00 | — | — | 2.36 | 1.18 | n / — / n |
| 55 | 3.20 | 2.30 | 0.72 | 2.86 | 0.89 | Y / n / Y |
| 56 | 1.60 | — | — | 0.98 | 0.61 | n / — / n |
| 57 | 1.60 | 2.64 | 1.65 | 4.14 | 2.59 | n / n / Y |
| 58 | 3.40 | 2.00 | 0.59 | 2.36 | 0.69 | n / n / Y |
| 59 | 1.40 | 2.60 | 1.86 | 1.22 | 0.87 | n / Y / n |
| 60 | 1.40 | — | — | 0.90 | 0.64 | n / — / n |
| 61 | 2.40 | 3.14 | 1.31 | 1.58 | 0.66 | n / n / n |
| 62 | 3.80 | 4.70 | 1.24 | 4.50 | 1.18 | Y / Y / Y |
| 63 | 2.80 | 2.34 | 0.84 | 5.42 | 1.94 | n / Y / Y |
| 64 | 2.40 | 1.48 | 0.62 | 4.02 | 1.68 | n / n / n |
| 65 | 0.70 | — | — | 3.24 | 4.63 | n / — / Y |

Sum of card durations (sung time, gaps excluded): original 188.5 s, Taras 184.3 s (plus 5 gaps > 1 s totalling 7.6 s -> ends at 193.9 s), ours 234.4 s (no gaps; ends at 239.4 s).

## 3. Section aggregates (measurement)

Sections are my grouping of the cards by story beat.

| Section (cards) | orig s | Taras s | ours s | Taras/orig | ours/orig | orig syl (est) | Taras syl | ours syl | orig syl/s | Taras syl/s | ours syl/s |
|---|---|---|---|---|---|---|---|---|---|---|---|
| Recognition (1-8) | 23.0 | 28.1 | 24.8 | 1.22 | 1.08 | 77 | 87 | 80 | 3.35 | 3.10 | 3.23 |
| Collapse (9-14) | 19.1 | 19.3 | 31.0 | 1.01 | 1.62 | 81 | 60 | 101 | 4.24 | 3.11 | 3.26 |
| The scan (15-21) | 20.9 | 31.3 | 24.7 | 1.50 | 1.18 | 75 | 93 | 85 | 3.59 | 2.97 | 3.44 |
| Car / problem (22-26) | 18.0 | 12.9 | 20.9 | 0.72 | 1.16 | 49 | 48 | 58 | 2.72 | 3.72 | 2.78 |
| Mentor (27-34) | 27.8 | 25.3 | 35.1 | 0.91 | 1.26 | 84 | 98 | 105 | 3.02 | 3.87 | 2.99 |
| Product handoff (35-39) | 14.1 | 14.0 | 18.8 | 1.00 | 1.33 | 45 | 47 | 62 | 3.19 | 3.36 | 3.30 |
| Results (40-48) | 23.5 | 23.5 | 32.3 | 1.00 | 1.37 | 72 | 72 | 111 | 3.06 | 3.06 | 3.44 |
| Recital / payoff (49-62) | 36.2 | 33.5 | 37.7 | 0.93 | 1.04 | 96 | 107 | 126 | 2.65 | 3.19 | 3.34 |
| CTA (63-65) | 5.9 | 4.0 | 12.7 | 0.68 | 2.15 | 14 | 14 | 42 | 2.37 | 3.50 | 3.31 |
| **Total** | **188.5** | **193.9 (incl. gaps)** | **239.4** | **1.03** | **1.27** | **593 est (645 measured)** | **626** | **770** | | | |

Word counts: original 467 (cards) / 471 (ASR); Taras 310; ours (sung) 401; ours (script file) 436. Syllables per word: English 1.3-1.4, Taras 2.02, ours 1.92.

## 4. What Taras drops or compresses, and why it can afford to

**Measurement.** Taras sings 310 words for the original's 471 (-34 %) but 626 syllables for the original's ~625-645 (0 %). Ukrainian needs ~2.0 syllables per word against English ~1.35, so keeping the syllable budget at the original's level forces roughly a third of the words out. Taras spends that cut on 4 dropped cards, 1 merged card and 20 condensed cards; 38 cards are literal.

Dropped outright (nothing sung):
- Card 11 "Holding your kids together will do that" (30.4-33.0). Only the refrain tail `це роблять` (0.9 s) survives; the children never enter Taras's story (there is a daughter later, but no "holding the kids together").
- Card 54 "up to me" -> merged into `підійшла` (came up).
- Card 56 "by the way" (167.0-168.6).
- Card 60 "And I meant it too" (175.0-176.4).
- Card 65 "If you need it" (187.8-188.5).

Condensed (named element removed while the clause stays): "at Target" and "ex-" (card 1: `нову дружину чоловіка` = "my husband's new wife"; the "ex" is only recoverable from card 6), "By March I wasn't fine" (9), "Leggings" and "Target" (12: `Я стояла там у суботу`), "I had already tried every single one" -> one word `знову` (14), "before she came around / She saw me" (16: `що це вона`), "And it wasn't mean" (19), "Sympathetic" (20), "fifteen [minutes]" (22: `просто сиділа`), "Patches on my forehead" (24), "and lip" (25), the direct quote and "your skin is a dream" (30: `чим вона користується`, 1.7 s vs 4.8 s), "laughed" and "honey" (31), the brand "Tri-Luma" (32), "in my hand" (36), "something I'd never tried" (37), "and it felt right" (39), "came home" (42), "good different" (44), "I was in shock" (45), "a few seats from me" -> `поруч` (51), "She looked at me" (52).

Rephrased (2): card 18 "that sting" -> `все зчитано` ("everything read off"); card 20 "it was worse. Sympathetic" -> `гірше за зневагу` ("worse than contempt"). Also changed facts: the wife's age 34 -> 32 (card 2, both sung and on the card), "married" -> `прожили` (lived together), "someone" -> `дівчини` (a girl), Seora -> Ханбіт.

**Why it can afford to (judgment, with the evidence that supports it).**
1. The drops are all on the non-causal layer of the script. Every link of the causal chain is sung: encounter (1) -> scan (17-18) -> smile that hurts (19-21) -> car (22-23) -> named problem (24-26) -> mentor (27-29) -> "stop, all that makes it worse" (33-34) -> tube (35-38) -> mirror (40-41) -> daughter (42-44) -> week six (45-48) -> recital (49-52) -> "you look good" (55) -> "thank you, because mine finally matters" (59-62) -> brand + link (63-64). What goes is: refrains (`will do that` x3 -> x2), intensifiers and tags (by the way / and I meant it too / if you need it / honey / I was in shock), stage directions (came home / up to me / she looked at me / before she came around), and specifics the picture already shows (Target = the store in shot; forehead patches = drawn on the face in every close-up from 11 s; "in my hand" = the tube-in-hand shot at 117-121 s; "fifteen minutes" = the held car shot 80-92 s).
2. The picture carries the cut nouns. Sheet02 shows the heroine holding the cream jar 38-47 s while the sung line is only `дивилась на черговий крем, який знову не спрацює`; sheet04 shows the dressing-table full of bottles at 110-115 s while the words are `перелічила все: кислоти, вітамін С, ретинол`. The visual inventory replaces "every single one" and "all the rest".
3. Taras is a different song with air in it (voiced fraction 0.58 vs ours 0.79; five gaps > 1 s at 21.1, 58.3, 64.5, 148.9, 188.7 s). Those gaps sit exactly where the original has its heaviest emotional beats (before "Вона з тих...", inside the scan at "робить оте | Лоб", before "Потім вона усміхнулась", after "майже не було", before the brand). The gaps are bought with the dropped words: 7.6 s of silence out of a 194 s envelope.
4. Because syllable count, not word count, is what the melody consumes, Taras never has to sing faster than the original: its densest section (mentor, 3.87 syl/s) is below the original's densest (collapse, 4.24 syl/s).

## 5. What we add (ours, song-v02)

**Measurement.** Ours sings 770 syllables (+19-23 % over the original's measured 625-645, +23 % over Taras) at the same average density as the original (3.3 syl/s; see section 3), so the surplus is paid in seconds: +46 s of sung time (234.4 vs 188.5), +51 s to the end of the film. The surplus is not spread evenly; it sits in identifiable additions:

| Where | Original (s) | Taras (s) | Ours (s) | What ours adds |
|---|---|---|---|---|
| Card 11 "Holding your kids together" | 2.6 | 0.9 (dropped) | 5.3 (35.5-40.9) | `Була дітям опорою, Хоч сама ледь трималась` — it IS in the source (the lead notes file was right to correct itself), but ours expands 6 content-syllables into 15 and 2 phrases, and the film adds a kitchen-with-kids scene for it. |
| Cards 12-14 store | 9.1 | 12.0 | 14.3 (41.7-56.0) | `Стою, дивлюся на крем` added; card 13 is 3 phrases, 6.9 s (2.16x). |
| Cards 24-25 problem | 7.8 | 4.3 | 6.4 | Product-driven substitution (melasma -> `дрібні заломи, лінії впоперек, шкіра на вигляд в'яла`): three symptoms where the original names two; card 25 grows 6 -> 13 syl. |
| Card 34 mentor verdict | 2.6 | 1.7 | 6.2 (130.6-136.7) | `«А шия? Їй щодня Потрібен власний догляд»` replaces "stop, all of that is making it worse". Ours has no "stop" beat at all (cards 33-34 are `перепробувала» / «А шия?...`). |
| Cards 36-38 label reading | 8.8 | 6.2 | 11.4 (139.4-150.8) | `go pure. Я стала читати: «Крем для шиї. На чисту шкіру — тонкий шар, щодня. Легенько, знизу вгору, без обіцянок чудес»` = product name + category + 4 usage instructions + a disclaimer. Original: "Korean writing, something I'd never tried. Use this every night. Throw the rest aside" (one instruction, one command). "Throw the rest aside" is not sung by ours (card 38 = `added`). |
| Card 39 first use | 3.7 | 4.5 | 4.7 | `легко ковзає, зволожує шкіру` — a texture/moisture claim replaces the tolerance claim "no peeling, no sting". |
| Cards 45-48 results | 12.0 | 10.7 | 18.2 (169.6-187.8) | `Минув ще час. Мій догляд тривав і знову шию порівняла: Вона помітно гладша, на вигляд — пружніша. І лінії впоперек уже не так помітні. Я лишилась собою. І шию більше не ховаю.` Four claims (smoother, firmer, lines less visible, no longer hide) for the original's two (almost gone, more even / no foundation); `уже не так помітні` is the same wording as card 41 — the result is stated twice. "By week six" and "I was in shock" are gone; "no foundation on" has no neck equivalent and becomes "I no longer hide my neck". |
| Cards 63-65 CTA | 5.9 | 4.0 | 12.7 (226.7-239.4) | `go pure — це крем для шиї. Результат у кожної свій. Посилання внизу. У формі — ім'я й телефон лиши, якщо такий догляд потрібен тобі.` Adds the category again, a results-vary disclaimer and a lead-form instruction (name + phone). The original's CTA is 3 cards / 14 syllables; ours is 42 syllables. |

Smaller expansions: card 5 (`шістнадцять років були у шлюбі`, 4.3 s vs 2.1), card 10 (3 phrases, 7.2 s vs 4.6), card 22 (`П'ятнадцять хвилин сиділа` 6.6 s vs 2.4 — the longest single stretch in ours; Taras dropped the "fifteen"), card 57 (`Після зустрічі з нею` 4.1 s vs 1.6).

Where ours is shorter than the original: card 24 (2.8 vs 6.2 s, because the neck problem is stated in fewer words than the melasma list), card 26 (1.8 vs 4.0), card 7 (3.2 vs 4.8), card 3 (`Дивилась, мов шкода мене`, 7 syl vs 11 — the tightest line in ours).

**Judgment.** Ours' additions fall in three classes: (a) product facts and instructions (cards 34, 36-39, 63-65: ~+19 s), (b) restated results (45-48: ~+6 s), (c) emotional elaboration (11, 13, 22, 57: ~+11 s). Class (a) is the one Taras shows can be carried by the picture and the end card (Taras's end card lists four benefit checkmarks and "ПОСИЛАННЯ НИЖЧЕ" while the voice sings only 14 syllables). Class (b) duplicates card 41. Class (c) is the only class that arguably earns its time, and even there Taras demonstrates the beats survive without it. The two disclaimers (`без обіцянок чудес`, `результат у кожної свій`) cost ~4.5 s of sung time and are the sort of text the original puts nowhere and Taras puts nowhere in the song.

## 6. Drift curves

Values are `version start - original card start` at the card (seconds).

| Card | 1 | 8 | 11 | 14 | 17 | 21 | 23 | 26 | 34 | 39 | 48 | 59 | 62 | 64 | end |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Taras | 0.0 | +5.2 | +4.0 | +6.3 | +5.9 | +15.8 | **+18.2** | +13.9 | +9.7 | +8.0 | +9.9 | +4.4 | +5.2 | +7.1 | +5.4 |
| Ours | 0.0 | +2.5 | +5.1 | +12.4 | +15.5 | +17.2 | +21.8 | +22.8 | +24.4 | +31.6 | +40.6 | +44.9 | +43.4 | +46.7 | **+50.9** |

**Taras is a hump.** It borrows time early and pays it back. Recognition runs 1.22x (the wedding two-shot + ring insert and the husband-leaving / empty-doorway shots at 13-22 s each get a full sung phrase of ~3.9 s where the original spends 2.1 and 3.1 s), then the scan runs 1.50x: card 17 alone takes 9.4 s against 3.6 s because Taras splits it into `І побачила, як її обличчя робить оте` | 1.7 s of instrumental on the new wife's face | `Лоб, щоки, підборіддя`, and card 19 is preceded by another 1.8 s hold. Peak drift +18.2 s at card 23 (83.6 vs 65.4 s). Then Taras repays: the car/problem section runs 0.72x (cards 24-26 lose 8.0 s by dropping forehead/lip and singing `наче світло згасло зсередини` in 2.4 s where the original stretches "like the light had gone out from inside" over 5.6 s), the mentor section 0.91x (card 30 loses 3.1 s), the payoff 0.93x (54/56/60 dropped, 51-52 condensed), the CTA 0.68x. Net: +5.4 s at the last sung word, i.e. within the original's envelope once the end card is counted. The redistribution is a deliberate choice, not slippage: the extra seconds land on the three held faces (new wife scanning, heroine before the smile, heroine in the mirror at 148.9-150.7 s), and the reclaimed seconds come from lists.

**Ours is a staircase that never comes down.** Only three cards give time back (24, 26, 7). The risers: cards 9-14 (+10.4 s in six cards; the collapse section runs 1.62x — the original's fastest section, 4.24 syl/s, is the one ours slows the most), card 22 (+4.2), cards 32-35 (+6.5: the mentor dialogue in full direct speech), cards 37-39 (+7.2: label reading), cards 45-48 (+9.0: results), cards 63-65 (+6.8: CTA). The flat stretches — where ours keeps the original's pace — are recognition (1-8, 1.08x), the scan (15-21, 1.18x) and the recital/payoff (49-62, 1.04x): exactly the sections that are pure story with no product content.

**Density profile (judgment on a measurement).** The original varies its syllable rate from 2.37 syl/s (CTA) and 2.65 (payoff) to 4.24 (collapse); Taras varies similarly (2.97 scan to 3.87 mentor) but shifts the fast/slow map (slow on the scan, fast on the mentor). Ours is flat: 2.99-3.44 syl/s in every section but the car (2.78). A flat rate on a cloned melody means the lyric's length, not the singer's delivery, sets each section's duration; the sections are long because they have more syllables, not because they are sung slower.

## 7. Where line boundaries follow the original's musical phrase boundaries

**Original.** The 65 cards are musical phrases, not sentences: 14 of them break mid-sentence ("Cliché, | I know", "aged | five years", "Knew | it was her", "for fifteen | I wasn't angry", "what | I'd seen", "forehead | and lip", "Said honey, | what are you using", "Tri-Luma, | vitamin C", "pink tube | in my hand", "in | a decade", "Piano | recital", "walked | up to me", "good | by the way", "made me | sit in my car"). The card boundary is where the sung phrase lands, and cuts follow it (17 of the original's 41 auto-detected cuts fall within 300 ms of an ASR phrase start, `summary.json`; Taras 6, ours 9).

**Taras.** 43 sung phrases for 65 cards; 33 of the 61 cards Taras covers begin on a Taras phrase start (the rest are mid-phrase because two or three original cards are sung as one Taras phrase: 1+2, 9+10+11, 15+16, 20+21, 23+24, 25+26, 27+28, 29, 33, 35, 42+43+44, 47+48, 49, 53+54+55, 57+58, 59+60+61, 63+64). Taras re-draws boundaries by syntax where the original broke by melody: `офісу. | Банально, я знаю` instead of "Cliché, | I know"; `я знала, | що це вона` instead of "Knew | it was her"; `сказала: | Ти чудово виглядаєш` instead of "walked up to me | Said". In two places Taras inserts a boundary the original does not have, and both are the instrumental holds noted above (inside card 17; between 45 and 47). Taras's on-screen caption cards (~35, read from the sheets) are yet another segmentation: fixed ~5-6 s chunks that break mid-clause (`Потім почула її голос через | Ряд Я знала, що це вона`; `Розгублено після концерту | вона підійшла сказала`), i.e. the cards follow the clock/music, not the syntax, with 4-8 words and no terminal punctuation. So Taras keeps the original's principle (card = musical time-slice) even though its phrase content differs.

**Ours.** The anchors file gives one master time per card (65/65), so every original card boundary has a measured start in our film. But the song text was not composed card by card: `song-v02/lyrics-phrases-v06.json` regroups the 65 cards into **36 "musical thoughts"** (11 single-card, 25 spanning 2-4 cards) and splits those into **98 sung phrases**. Examples: cards 6-8 are one thought of 4 phrases (`Він пішов до колеги з офісу. / Банально, я знаю. / Їй бути гарною легко — / Ще не торкнувся її час.`), cards 46-48 one thought of 6 phrases, cards 53-56 one thought of 4 phrases, cards 59-60 one thought of a single phrase (`«Дякую», — сказала щиро.`). So 54 of the 65 card boundaries sit *inside* a melodic thought, and the ASR proxy agrees: 40 of 65 line starts fall on a segment start, the 25 misses being enjambments (lines 2-3 `Їй тридцять чотири, дивилась, мов шкода мене` as one breath; 5-6 `...шістнадцять років | Були у шлюбі, він пішов...`; 6-7 `Банально, | я знаю, їй бути...`; 8-9 `...її час, а я у березні себе`; 60-61 `Дякую, сказала щиро, її думка не головна`). Ours also sub-divides single cards: card 10 (`За пів року постаріла, / Мов на п'ять років. / Стрес і сльози щоночі.`) and card 21 are three phrases; cards 1, 9, 11, 14, 22, 23, 39, 45, 63 are two. The original's single-breath sprint in card 10 ("five years in six months / Stress will do that / Crying every night", 4.6 s) becomes three phrases over 7.2 s. Judgment: ours preserves the original's boundaries as *timing anchors* (every card has a start) but not as *melodic units* — it has 98 phrases and 36 thoughts against the original's 65 phrase-cards, i.e. both more internal breaks and more cross-card arcs; Taras preserves the original's *feel* of boundaries (one breath per card, mid-sentence breaks allowed) while merging 22 cards into 43 phrases.

## 8. Measurement vs judgment — summary of findings

Measured:
- Words 471 / 310 / 401 (script file 436); syllables ~625-645 / 626 / 770; sung seconds 188.5 / 184.3 (+7.6 s gaps) / 234.4; end of voice 188.5 / 193.9 / 239.4.
- Taras: 38 literal, 20 condensed, 2 rephrased, 4 dropped, 1 merged; drift peaks +18.2 s at card 23 and returns to +5.4 s.
- Ours: 41 literal, 14 rephrased, 9 expanded, 1 added; drift rises monotonically to +50.9 s; the six risers (9-14, 22, 32-35, 37-39, 45-48, 63-65) account for ~44 of the 46 extra sung seconds.
- Section ratios ours/orig: collapse 1.62, results 1.37, handoff 1.33, mentor 1.26, CTA 2.15; recognition 1.08, payoff 1.04.
- Ours never sings "Throw the rest aside" or "stop, all of that is making it worse"; Taras never sings "Holding your kids together", "by the way", "and I meant it too", "if you need it".
- Taras changes the wife's age to 32 and says `чоловіка` (husband) not `колишнього` (ex).

Judgment:
- Taras's economy is a syllable-budget discipline: it accepts losing a third of the words to keep the original's syllable count and hence its duration, and it spends the saved time on held faces rather than on more text.
- Ours' length is a text-volume problem, not a performance problem: same density, more syllables. The extra syllables are concentrated in product instruction, restated results, disclaimers and the lead-form CTA — content the owner-preferred version delegates to the picture and the end card.
- The two most consequential rewrites in ours for the story (not for length) are card 34 (the mentor's "stop everything" verdict replaced by "your neck needs its own care") and card 38 ("throw the rest aside" replaced by application instructions): the original's reversal beat — abandon what you were doing — is gone.