Two locks

The loop in Virtual only works if the man who records and the man who plays it back stay themselves.

They are written as two wealthy peers, not a customer and a technician. Mustard against charcoal is enough to tell them apart — if the generate obeys. The desk keeps sheets, attaches them to every still, and throws out the prettier frame where a jaw or a jacket has moved. Flux was dropped for stills when the faces would not hold. Image-to-video still invents a mouth, a crease, a visor on the wrong man.

In live action, that kind of break is a continuity error. In a generative short it is closer to a change of cast. The tools average a person. A new mouth is not a wrinkle in the coverage; it is a different identity, and identity is the plot. Until Adam can walk from the coupe to the door without becoming someone else, the piece is a storyboard that moves. That walk is the test we would apply to anyone else’s film. It is also the test this one has not yet passed.