# Filth-extraction montage — rebuild sheet

A woman at night, in pyjamas and a sleep mask, pre-apologises to camera while holding a big novelty head prop covered in fake blackheads — then the video drops her and spends its whole back half in macro, pulling gunk out of it with tweezers and fingernails. 36.3s · 3,752,954 views · 76,416 likes · caption: "I'm just a girl 🎀😂".

**Why it works** — The first half is permission-seeking, not selling: "don't judge me yet okay uh" opens a gap the viewer has to stay to close, and "god damn so gross and satisfying" pre-labels the payoff so nobody clicks away before the macro starts. The second half is unfakeable evidence — the debris actually leaves the surface on camera, and because the camera never cuts away from the contact point, the satisfaction is the whole frame.

**The beats**

| Time | What happens | On-screen text |
|---|---|---|
| 2.9s | Medium shot, night. Blonde woman in a pink bear sleep mask (pushed up on her forehead) and a plaid pyjama shirt, in a bright modern room with tall dark windows and a pink couch behind. Both hands up at the face of a large novelty head prop on the table in front of her — cartoon features, black hair, orange collar, skin covered in dense dark specks. | — |
| 8.7s | Same framing. She looks down at the prop, mouth open mid-word. | don't judge me yet okay uh |
| 14.51s | Same framing. She turns the prop's head toward the lens, holds it in both hands, smiles to camera. | god damn so gross and satisfying |
| 20.31s | Extreme macro: the prop's nose and cheek fill the frame, pores everywhere, a fine metal tool tip entering bottom-right. Only the contact point in focus. | — |
| 26.11s | Macro on the eye and cheek. A hand with long pale-tipped nails and a gold ring pinches the surface; a small yellow bead of extracted material sits at the fingertip. | — |
| 31.92s | Extreme macro on the cheek, tighter and flatter. Tweezers from the right, fingers steadying at the left. A bright light panel reflected in the prop's eye. | …only wanted to keep his hands busy for a while |

Two things the stills do not settle. The opening words of that last caption sit behind a bright highlight in the frame and are not legible — everything from "only wanted" on is clear, the start is not. And the frames cannot tell you whether she is speaking in the first three beats; her mouth is open at 8.7s, but there is no way to know from stills whether there is voiceover or only captions.

**What carries the value** — The debris. Gunk visibly leaving the surface in macro, pulled by a tool and by fingertips. Everything before 20s exists to buy the time to get there; the extraction is the whole product.

**Shoot it** — Two setups, one phone.
- *Setup A (0–17s):* phone on a table or held at seated height, medium shot, subject behind the object with both hands on it. Shoot at night in a real room with lamps on and dark windows behind — the "I shouldn't be doing this" feel comes from the hour, not the styling. Wardrobe: what you'd actually be wearing at home. No lighting kit.
- *Setup B (17s→end):* macro. Phone as close as it will focus, one lamp or panel just off-axis so a single bright highlight rakes across the surface, room dark behind. Hold the frame still and let only the hands and the tool move. Nails and a ring read on camera — hands are the performer here, so keep them clean and lit.
- Rules: no cuts inside a pull. Never reframe to show the whole object once you're in macro. Get tighter and faster with each extraction beat.
- What it doesn't need: a script, a delivery, or a second location. Captions carry every word.

**Or generate it** — the beat worth generating is the macro extraction (20.31s).

```
vertical 9:16 extreme macro photograph, {PRODUCT} filling the entire frame, its surface densely covered in dark specks and pores, a fine metal tool tip and {SUBJECT}'s fingertips with long pale-tipped nails entering from the right edge, a bead of extracted material lifting out of the surface at the contact point, very shallow depth of field with only that contact point sharp, close warm indoor lamp light from above-left throwing one soft bright highlight across the surface, the rest of the room falling away dark behind, phone-camera macro look, slight grain, no retouching, no on-screen text
```

*Motion:* handheld macro held on the contact point, breathing slightly, while only the fingers and the tool move — no zoom, no reframe, no cut inside the pull.

*Text overlay pattern:* small white lowercase sans, centred in the upper third.
- beat 2 — `don't judge me yet okay {filler}`
- beat 3 — `{oath} so gross and satisfying`
- every macro beat — no text at all
- closing beat — `{subject} only wanted to keep {possessive} hands busy for a while`

Where this sits against the library: it is the filth-extraction structure — reaction scene-setter, then debris in macro carrying the whole back half — but it stays on one object rather than proving a tool across several surfaces, and it never shows the tool rinsed clean. If you're rebuilding for a brand whose proof is multi-surface, add those beats back; if your proof is one object, this cut is the evidence that a single surface holds.

**Reference:** https://www.instagram.com/p/DTvyg8lkt-C/ (kseniya.borovikova_)
