Round 02 · cadence test
Hold the exact twenty-four Round 01 paintings fixed and change only cadence or dwell. The immediate question was timing, not new artwork.
Hypothesis
Options 2A–2D change direct playback cadence. Control 2E repeats each painting four times inside a 24 fps file. Option 2F lets coverage determine the hold. No option interpolates or generates a new state.
2C, 2E, and 2F become the timing spine for Round 03. 2A, 2B, and 2D remain comparison studies.
Six timing studies
Same 24 paintings
Option 2A
Parked
The longest direct playback. Every painted state remains visible for 250 ms, giving the color time to register before the next change.
Tests maximum air and legibility before the motion starts feeling intentionally stop-frame.
Option 2B
Parked
The same staggered paintings at one quarter of round one’s speed. Still responsive, but each short color play has room to form and leave.
The cleanest test of the theory that timing—not new paintings—is the primary problem.
Option 2C
Promoted
A middle cadence between calm and continuous. It keeps the orb active without compressing every color into a blink.
Tests whether a slightly quicker editorial rhythm retains the desired air.
Option 2D
Parked
The fastest second-round direct cut. Kept as the upper timing boundary rather than a presumed destination.
Shows where the movement starts collapsing back toward the racy round-one read.
Control 2E
Promoted
Each of the twenty-four paintings is repeated four times inside a 24 fps file. There are no interpolated or newly generated states.
A control: if this matches 6 fps perceptually, a higher container rate alone cannot create smoother pigment motion.
Option 2F
Promoted
Coverage controls the hold. Full crescents linger for three or four frames while tiny deposits pass in one or two.
Tests an authored rhythm: the orb inhales at its fullest shapes instead of advancing on a metronome.
Composition anatomy
1–3 active colors per slot
Every cut uses the exact same color order. Only the amount of time spent on each painted slot changes.
The comparison proved that a higher container rate does not create smoother pigment motion. Authored dwell and a readable middle cadence were the useful variables.