# Subtitled monologue, evidence cutaways — rebuild sheet

A man in scrubs talks to camera from a clinic room for most of 55.8 seconds, with word-at-a-time subtitles and three full-frame evidence inserts cut into it — anatomical models, a macro of damaged fibre, a dose dropped into water. 1,188,650 views · 10,798 likes · dr.rafaelvega.

**Why it works** — The monologue frame never changes, so every cutaway lands as an event rather than a shot, and the viewer reads the inserts as proof the speaker is holding up rather than footage the edit went and found. The one-word-at-a-time subtitle means the sentence is unfinished on screen at every single moment, so there is never a frame where the text has stopped asking for the next one.

**The beats**

| Time | What happens | On-screen text |
| --- | --- | --- |
| 4.47s | Standing wide-ish behind a steel table in a clinical room — surgical lamp overhead, anatomy posters, steel doors. One blue glove on, reaching toward two flesh-toned anatomical torso models on chrome stands | LIKE |
| 13.4s | Full-frame macro insert, no person, no room: tangled pale fibrous strands crusted with amber-brown deposit on black | CO…LAG… (partly obscured — reads as COLLAGEN) |
| 22.33s | Locked chest-up on the speaker at the same table, talking to the lens, black glass dropper held up beside his face | DROPS |
| 31.26s | The identical frame, nothing moved — free hand open mid-gesture | WAY |
| 40.19s | The identical frame again — free hand down on the table | MORELLA'S |
| 49.12s | Dark product insert on black: a hand squeezing a dropper over a glass of water, gold plume dispersing down through it, a small dropper bottle lit beside the glass | WATER |

Where the frames are silent: they do not show whether the monologue is one unbroken take or jump cuts inside the same framing, whether the macro insert was shot, rendered or sourced, or what the full sentence the words build up to says — six stills out of a 55.8-second delivery only prove the words change one at a time. The words being speech subtitles rather than an authored six-word line is an inference from "LIKE", "WAY" and a possessive brand name landing mid-flow; there is no audio here to confirm it. The bottle label reads BERBADROPS under a smaller script mark that is not legible at this resolution.

**What carries the value** — The credential frame, cashed in by the cutaways. A person in the uniform of the field, behind a hard work surface, in a room that is visibly a working one, is the whole permission structure; the three inserts are what he spends it on. The macro of the crusted fibre is the load-bearing one — it is the beat that makes the claim look observed instead of said.

**Shoot it**

- **Camera** — phone on a tripod, chest height, square-on, subject behind a hard surface at arm's length past it. Set that framing once and never touch it again; every monologue beat must match to the pixel, because the cutaways only read as events if nothing else in the piece moves.
- **The inserts** — shoot the three separately, all full-frame, none of them sharing a camera relationship with the monologue. One prop beat (an object that stands for the problem, handled on camera), one macro beat on the damaged material, one product beat on black with a single hard light — those are the only three you need.
- **Light** — even overhead in the room plus real daylight from one side; nothing coloured, nothing set-lit. The product insert is the exception: black surround, one light on the glass.
- **Wardrobe** — the working uniform of whatever field is talking, plain and single-colour, plus one working detail (here, a glove on one hand in the opening beat only). No styling, no jewellery, no logo.
- **Subtitles** — one word at a time, heavy white caps, dark outline, centred low. Not a pinned line, not a headline, not a clause. If your captioning tool groups words, turn grouping off.

**Or generate it**

```
vertical 9:16, {SUBJECT} chest-up behind a stainless steel work table in a real clinical treatment room, talking straight to the lens, holding {PRODUCT} up beside their face, framed anatomy charts on the wall behind, an overhead surgical lamp top of frame, steel double doors and a window at the edge of shot, even cool overhead light with soft daylight from the left, phone-camera look, slight grain, no retouching, no on-screen text
```

Motion: camera locked and identical for every monologue beat — no push, no pan, no reframe; only the speaker's hands and {PRODUCT} move, so the cutaway inserts are the only visual change in the piece. Generate every monologue beat from the same seed frame.

Text overlay: one spoken word at a time, centred low, heavy white caps with a dark outline, changing on every word of the delivery — `{WORD}` → `{WORD}` → `{WORD}`, never pinned.

**Reference:** https://www.instagram.com/p/DcmJ1t8NtDz/
