# Corner-panel response takeover — rebuild sheet

A 73-second two-speaker piece: one woman tells a first-person story to her phone in a parked car under running speech subtitles, with a second woman locked in a small corner panel the whole time — then the composite drops and the corner speaker takes the full frame to answer it. 491,995 views, 12,480 likes, by hilaryfritschdmd.

**Why it works**

The corner panel is a standing promise: someone is sitting there listening to this story and is going to say something about it, so the viewer stays for the answer instead of the story. When the composite drops and that person fills the frame — with the subtitles gone, so nothing is competing — the answer reads as a correction being delivered, not a claim being made.

**The beats**

| Time | What happens | On-screen text |
|---|---|---|
| 5.84s | Composite. Full frame: woman in the front passenger seat of a parked car, phone at arm's length, headrest and window behind, flat overcast daylight through the glass, cream crewneck sweatshirt, hand raised beside her jaw. Lower-left corner: a small locked panel of a second woman, black tank top, wood-slat ceiling behind her. | "If you wanna get filler in your jawline to try to create a more defined jawline." |
| 17.52s | Same composite, identical framing. She turns slightly off-lens, index finger raised. Panel unchanged; the second woman also has a finger up. | "and so I almost got filler to create a more defined jawline." |
| 29.21s | Same composite. She points at her own mouth. Panel still in place. | "because both of my [ja]ws were brought forward" — the corner panel covers the start of the word |
| 40.89s | Composite drops. The second woman full-frame, chest-up, black tank top, hair down, wood-slat ceiling and a bright skylight strip behind, warm interior daylight. Gesturing, loosely holding a small dark object. No car, no panel. | none |
| 52.57s | Still full-frame on her, same room, same framing, mid-sentence, hands out of frame. | none |
| 64.26s | Back to the composite — car woman full-frame in the identical seat, light and wardrobe, finger raised; second woman restored to the same lower-left corner. | "but unfortunately it's not." |

**What the frames do not show**

- Which of the two women owns the account. The sheet shows two people; it does not label them.
- Whether the corner panel is continuous. It is present at four sampled beats and absent at two; what happens between samples is not visible.
- Whether the takeover section is truly caption-free. Two sampled beats in that stretch carry no text; a caption could appear between them.
- What the second woman is holding at 40.89s. The object is too small and dark in the still to identify. Do not invent one.
- There is no audio in the sheet, so who is speaking under any given subtitle is unverified.

**What carries the value**

The takeover. A first-person story runs under its own subtitles while the second speaker waits silently in the corner — then she steps into the whole frame, with the text gone, and answers it. The corner panel sets the debt; the frame swap pays it.

**Shoot it**

Two separate phone recordings, no crew.

- *Source speaker (the full frame for the first half):* front camera at arm's length, just above eye level, in a parked car — window light only, overcast is fine and flat is correct. Framing never changes; no reframing, no cuts, no second angle. Plain everyday top, nothing branded.
- *Responder (the corner panel, then the takeover):* front camera on a fixed rest, chest-up, in a visibly different room with its own warmer light — the mismatch between the two locations is what makes the panel read as a second person rather than a second angle. Same framing whether she is in the corner or filling the screen; she does not move between the two.
- *Composite:* the panel sits in the lower-left corner in the identical spot every time it appears. Never move it, never resize it, never cut to it as a mid-size insert — it is either a corner panel or the whole frame.
- *Text:* burned-in running speech subtitles, small, centre-low, one clause per beat, sentence case, always mid-thought. They run over the composite and stop dead for the takeover.
- *Wardrobe:* both plain and unstyled — a crewneck and a tank top. No product in either wardrobe, no styling that reads as produced.

**Or generate it**

```
vertical 9:16 composite, phone front-camera look, slight grain, no retouching:
full frame is {SUBJECT} seated in the front seat of a parked car, phone held at
arm's length just above eye level, headrest and side window behind, flat overcast
daylight through the glass, plain cream crewneck sweatshirt, one hand raised
beside the jaw mid-sentence; composited into the lower-left corner, a small
rectangular panel of a second speaker chest-up in a different room with a
wood-slat ceiling and a bright skylight strip behind her, black tank top, warm
interior daylight, {PRODUCT} held loosely in one hand (in the source video the
object in her hand is too small and dark to identify); no on-screen text
```

*Motion:* both sources fixed — the car frame is an arm's-length front camera that never reframes, and the corner panel is locked in the identical spot at every beat; the only cut is the composite dropping so the panel speaker fills the frame with the same fixed framing she had inside the panel.

*Text overlay:* small centre-low running speech subtitles, one clause per beat, sentence case, always mid-thought — `{if you wanna do X to get Y}` → `{and so I almost did X}` → `{because of the reason}` → `{but unfortunately it's not}`. The subtitles run only over the composite beats and disappear entirely for the takeover.

**Reference:** https://www.instagram.com/p/DWHLfy5ylWl/
