# Subtitled monologue, angle cuts — rebuild sheet

An 87-second sponsored home-office post: one man narrates a chair he's been using, and the picture cuts around the room — product, his own body in it, macro, his face — while his sentence keeps running underneath. 1,577,613 views · 13,661 likes · @scottyujan.

**Why it works**

The narration is chopped so that every caption card lands mid-sentence — "And thankfully," … "And you know" … "You can" — so there is never a clean place to leave, and the sentence, not the product, is what carries you from beat to beat. Meanwhile the picture never repeats an angle, so the eye is being paid on every cut while the ear is being held by an unfinished line.

**The beats**

| Time | What happens | On-screen text |
|---|---|---|
| 6.98s | Home office, medium-wide. A person in dark clothing crosses the foreground in heavy blur; behind, a desk and monitor against a white wall, pale wood floor, blue rug at the bottom edge. Flat daylight. | And thankfully, |
| 20.94s | Very close and dark — a navy shoulder and back out of focus fill the frame, the pale grey top of a chair headrest just visible along the top edge. | is unlike anything I've seen before. |
| 34.9s | The chair alone, three-quarters from behind: light grey ergonomic chair, exposed frame, mesh back, five-star castor base, on wood floor. Hard window light and blind shadows on the wall, a dark cabinet at left. A navy sleeve is just in frame at the top — someone is in it, out of shot. | And you know · 2X SPEED |
| 48.85s | Side-on wide at floor level. The man, navy top, fully reclined in the chair, head back on the headrest, seat tilted close to flat. Wood floor, white wall, a plant behind. | And it feels amazing, |
| 62.81s | Macro on the headrest and backrest frame, the navy shoulder pressed into the mesh, shallow depth, warm light. No face, no room. | (mid-transition — only the fragment "as" is legible) |
| 76.77s | The man seated in the chair facing camera, chest-up, mid-speech, both hands gesturing. A microphone on an arm intrudes at frame left. Shelving with plants, a framed print and a warm wall lamp behind him. | You can |

**What carries the value**

The recline demo done on his own body — the chair travelling near-flat with him in it, backed by the macro of the frame taking his weight. He is not describing a feature; the picture at 48.85s is the feature, and the narration is only labelling it.

**Shoot it**

- **Camera:** phone, vertical, one room. Six distinct set-ups, no repeats: a foreground-blur walk-past (let a body cross the lens), a three-quarter of the product on its own, a side-on wide at floor level for the payoff, a macro on the mechanism, and a chest-up seated piece to camera. Static within each shot — nothing in these frames shows the camera moving, though six stills can't rule out a slow drift.
- **Light:** ordinary daylight from one window. The product shot uses hard blind-shadows on the wall as the only styling; the closing talking-head is warmer, lit by a lamp behind him.
- **Wardrobe:** one colour, worn in every beat, contrasting with the product — here navy against a light grey chair. That is what makes the blurred shoulder at 20.94s and the macro at 62.81s read as the same person.
- **Room:** a real, lived-in home office — desk, monitor, plants, framed art, rug. Nothing is staged out of frame.
- **Speed label:** put a small "2X SPEED" on any demo beat you compress. It is a disclosure, and it doubles as proof the action was real.
- **Not visible in the frames:** the audio, whether the narration is his own voice or a voiceover, and what the mic at frame left is actually doing — it may be recording or it may be set dressing. Six stills out of 87 seconds also leave gaps between beats we can't see.

**Or generate it**

The single most important beat is the recline at 48.85s.

```
vertical 9:16 side-on wide photograph at floor level, {SUBJECT} fully reclined
in {PRODUCT}, head back against the headrest, the seat tilted close to flat,
pale wood floor running across the foreground, plain white wall and a
houseplant behind, daylight through an off-camera window, phone-camera look,
slight grain, unstyled, no on-screen text
```

**Motion:** camera static and low, side-on at the subject's own level; the only movement in frame is the chair travelling back into full recline with the subject in it.

**Text overlay:** one clause of continuous speech per beat, centred low, white sans-serif, always cut off mid-sentence — `And thankfully,` → `{clause}` → `And it feels amazing,` → `You can {clause}`. A separate small `{N}X SPEED` label sits lower in frame on any sped-up demo beat.

**Reference:** https://www.instagram.com/p/DSfd-g_kZVG/
