# DJ stage backdrops: references for the Yandex Kazakhstan rooftop afterparty (Almaty, 24 Sep 2026) For the motion designer building the looping LED backdrop (lidar city / lidar-point sphere / 23.5° squares / chrome spheres / turquoise wave ribbon, with a 3D logo and the DJ name on top). The afterparty starts at 15:00 in daylight and runs into the evening, with house, balearic and melodic sets at 120–124 BPM. **How this was verified.** Every YouTube link was checked with oEmbed; the real title and channel are in `refs.json → verification`. Timestamps were chosen from a storyboard scan of the whole video. Every frame in `frames/` was cut from the video at that timestamp and **viewed by eye**, and frames where the screen didn't read were deleted. The two ScanLAB entries are not on YouTube. Their project pages return HTTP 200, and their frames are the pages' own images. Timestamps over an hour are written H:MM:SS. Every frame is on one page in `frames/contact-sheet.jpg`, labelled by number. **Honest caveats** - Very few documented sets combine *daylight* with an *LED screen behind the DJ*. Cercle, Boiler Room, Mixmag and HÖR streams mostly have no screen at all, and the good daytime ones found are Ushuaïa Ibiza, Google I/O and Tomorrowland afternoon slots. - Several entries are fan uploads (01, 03, 12, 17); the channel is noted for each. - 14 and 22 are projections, not LED; 18–21 are films or music videos, included as source material for the loop itself. - 08: the white palms look like physical cut-outs, not screen content. - 10: the peace sign looks like a hanging inflatable, not screen content. - Looked at and dropped for having no usable screen: Rüfüs Du Sol fan videos, Ben Böhmer, Stephan Bodzin, Innellea, Tale Of Us, Four Tet, Floating Points, Mixmag Lab and Ray-Ban × Boiler Room. Some of these links also failed the oEmbed check. - NONOTAK, Ouchhh and Refik Anadol: no verified concrete point-cloud work was found in time, so they are left out rather than guessed. No Jon Hopkins set with a clearly visible screen was found either. ## Quick index | # | Example | Category | Why it's here | |---|---|---|---| | 01 | Anyma (Genesys) – Afterlife Zamna Tulum, Mexico – 2025 | Festival stage | one central object above the DJ; dawn frame shows dark content dying in daylight | | 02 | Eric Prydz presents HOLO – Sónar Barcelona – 2023 | Live A/V show | single chrome hero object + one cyan accent, resting on the booth line | | 03 | Eric Prydz presents HOLO – Bogotá – 2024 | Live A/V show | slowly rotating silver sphere: closest to the lidar-point sphere | | 04 | ARTBAT – Tomorrowland 2025, Freedom Stage – 2025 | Festival stage | thin wordmark floating over a quiet field; square grid | | 05 | Bicep present CHROMA AV/DJ set – Sónar Barcelona – 2025 | Festival stage | high-key cyan/white fields, DJs as silhouettes; brand symbol as the visual | | 06 | Bicep present CHROMA AV DJ – Electric Castle, Romania – 2025 | Festival stage | flat turquoise screen = strongest DJ silhouette | | 07 | Sam Divine B2B Low Steppa – Defected at Ushuaïa Ibiza (open-air, afternoon livestream) – 2024 | Daylight / outdoor | proof that bright flat content reads in full sun | | 08 | Endless Summer – Ushuaïa Ibiza open-air livestream – 2023 | Daylight / outdoor | chrome / liquid-metal ribbons in daylight; black LED = hole | | 09 | ARTBAT b2b Kölsch – Tomorrowland Mainstage (afternoon slot) – 2025 | Festival stage | negative lesson: dark night content on an afternoon mainstage | | 10 | Keinemusik – Coachella (Sahara stage, full-set stream) – 2025 | Festival stage | one giant object centre-top, tiny DJs below, slow gradient | | 11 | Monolink (live) – Cercle Odyssey, Paris – 2025 | Live A/V show | huge off-centre sphere edge behind the performer, scene = one track | | 12 | Amelie Lens – Awakenings Summer Festival, Hilvarenbeek (mainstage, early evening) – 2024 | Daylight / outdoor | small dark LED tiles vanish in overcast daylight | | 13 | Toro y Moi – Google I/O 2025 Keynote Pre-Show, Shoreline Amphitheatre – 2025 | Brand event | brand carried by grid + palette, no logo on screen, daylight | | 14 | Max Cooper – AVA x Red Bull Presents: Live A/V, Carlisle Memorial Church, Belfast – 2020 | Live A/V show | monochrome morphing sphere with the performer inside its lower half | | 15 | Âme – Audi Q2 x Boiler Room #untaggable launch, Berlin – 2016 | Brand event | car launch whose backdrop is only the campaign pattern | | 16 | Baugruppe90 – HÖR at adidas Originals Flagship Store, Berlin – 2023 | Brand event | counter-example: no brand cue at all = any club night | | 17 | BMW XM Label 'The Ultimate Sound Machine' DJ stage – ULTRACE Germany, Düsseldorf – 2026 | Brand event | logos on the booth strip, abstract motion on the screen; where it tips into an ad | | 18 | ScanLAB Projects – The Dream Life of Driverless Cars (New York Times Magazine) – 2015 | Point-cloud / lidar visual | THE lidar drive-through-a-city reference | | 19 | Radiohead – House of Cards (official video, dir. James Frost, lidar + structured-light capture) – 2008 | Point-cloud / lidar visual | lidar face dissolve / re-form; lidar road drive | | 20 | Ibeyi – Oya (official video by ScanLAB Projects, laser-scanned forest) – 2014 | Point-cloud / lidar visual | monochrome laser-scan point burst = point sphere | | 21 | Aphex Twin – T69 Collapse (official video by Weirdcore, 3D scans of Cornwall + ML) – 2018 | Point-cloud / lidar visual | scanned street breaking into squares (upper bound of trip) | | 22 | Ibeyi – World Tour with ScanLAB Projects point-cloud visuals – KOKO London – 2015 | Point-cloud / lidar visual | point-cloud backdrop working live behind performers | ## A. Big AV stage shows: one hypnotic object ### 01. Anyma (Genesys) – Afterlife Zamna Tulum, Mexico – 2025 - **URL:** https://www.youtube.com/watch?v=V7yJY9GNOLM - **Timestamps:** 12:58, 56:52, 1:28:47 - **Frames:** `frames/01-anyma-tulum-1258.jpg`, `frames/01-anyma-tulum-5652.jpg`, `frames/01-anyma-tulum-12847.jpg` - **On the screen:** A tall portrait LED monolith between two huge fake rock cliffs; the DJ booth is a small lit ledge at the bottom middle of the monolith. At 12:58 the screen shows one white glowing tangle of energy threads (a sphere made of light filaments) on black, with teal/green stage wash. At 56:52 there is one furry lilac 'portal' ring with a black hole in the middle, sitting right above the DJ, which makes the DJ the centre of the eye. Content changes every 1–3 minutes: slow morphing of one object, then a cut to a new scene (angels, faces, red fire looks). At dawn (1:28:47) the sky is grey and the monolith looks almost black: the LED loses to daylight and only the cliffs lit by the sun read. - **Take:** Composition: one central object (our lidar-point sphere) sized to about 50–60% of screen height, centred just above the DJ so the DJ sits in its 'pupil' or under it. White filament/particle rendering on black (12:58) maps directly to a white + turquoise lidar-point sphere. Slow breathing/rotation of a single object instead of cuts. The dawn frame is the key daylight lesson: dark or black-background content goes dead at 15:00, so the daytime version needs a bright (white/light-grey or turquoise) background with graphite points. - **Avoid:** Horror/angel figures, fire-red looks, fake rock set pieces, the big theatrical scene changes every few minutes, and black-heavy content for the daytime part. - *Verification:* oEmbed: 'Anyma | Afterlife Zamna Tulum | Mexico 2025 | FULL SET', channel Steve Aerostiif (fan upload, 1:33:37, uploaded 2025-01-08). Frames checked by eye. Timestamps over 1 h are in H:MM:SS. ### 02. Eric Prydz presents HOLO – Sónar Barcelona – 2023 - **URL:** https://www.youtube.com/watch?v=GvUwNR6-3XM - **Timestamps:** 00:14, 00:47 - **Frames:** `frames/02-prydz-holo-sonar-0014.jpg`, `frames/02-prydz-holo-sonar-0047.jpg` - **On the screen:** A holographic (transparent-scrim) projection in front of the DJ: one giant astronaut in a gold suit with a chrome helmet and a glowing cyan visor, on pure black, leaning forward with hands on the booth edge, slowly turning its head. Palette: black + warm gold + one cyan accent. One object for the whole clip (about 50 s), with slow camera/head motion; warm beams fan out behind. - **Take:** One hero object with a chrome/reflective surface and ONE cyan accent (the visor) on a neutral field; swap the astronaut for chrome spheres or the lidar sphere with a turquoise #0DC3D0 rim light. The object 'resting' on the booth line (bottom of the screen = DJ desk) grounds it: put our object's base right behind the DJ. Very slow motion (head turns over 5–10 s) reads as hypnotic, not raver. - **Avoid:** Gold/orange palette, character/mascot figures, and the hologram-scrim trick (it needs a dark venue; it will not read on a rooftop in daylight). - *Verification:* oEmbed: 'Eric Prydz presents HOLO | Sónar 2023', channel Sónar Festival (official, 1:15 clip). Frames checked; the astronaut is visible in both. ### 03. Eric Prydz presents HOLO – Bogotá – 2024 - **URL:** https://www.youtube.com/watch?v=E-Z96hFon8Y - **Timestamps:** 1:54:26 - **Frames:** `frames/03-prydz-holo-bogota-15426.jpg` - **On the screen:** At 1:54:26 a huge 3D sphere built from glittering silver/white panels and light streaks (a mirror-ball / data-planet), slowly rotating, on a deep blue field, filling the centre of the stage with crowd hands in silhouette in front. The storyboard shows the rest of the show as mostly single 3D objects (an eyeball sphere, astronaut, planet Earth, a spiky particle creature) broken up by long pure-laser sections with no screen content. - **Take:** Closest match for our 'sphere' theme: one sphere, silver/white surface detail, slow rotation, monochrome field + one colour. Swap the blue for graphite or white and the streaks for lidar points; let the silhouettes (DJ and crowd) cut the lower third of the sphere. - **Avoid:** Saturated royal-blue wash, lasers, and the black gaps between scenes; the loop must never go empty. - *Verification:* oEmbed: 'Eric Prydz Presents HOLO Bogotá 2024 - Full Set 4K - HQ Audio Stereo', channel World Of Dance Music (fan upload, ~1:59). Only one frame kept; frames at 19:57 / 21:17 / 1:19:50 / 1:41:08 were black or laser-only, or failed to download, and were deleted. ### 04. ARTBAT – Tomorrowland 2025, Freedom Stage – 2025 - **URL:** https://www.youtube.com/watch?v=am7YNM3md2I - **Timestamps:** 02:59, 29:55, 37:54 - **Frames:** `frames/04-artbat-tml25-0259.jpg`, `frames/04-artbat-tml25-2955.jpg`, `frames/04-artbat-tml25-3754.jpg` - **On the screen:** Wide indoor-arena stage with a ceiling grid of square light panels. At 02:59 the screen is one huge white ellipse/disc (a spotlit platform in perspective) with a tiny figure standing on it, all in cold blue; DJs sit small at the bottom. At 29:55 the screen is almost black with only the ARTBAT wordmark in thin white letters floating mid-height above the DJs, and the square ceiling grid and turquoise beams do the rest. At 37:54 a single glowing jellyfish-hood figure in lilac/white. Scenes hold for about a minute; motion is slow. - **Take:** (1) The 'logo floating over a quiet field' moment (29:55): a thin wordmark at mid-height over the DJ, generous empty space, which is exactly how the Yandex logo + DJ name should sit over our loop. (2) The repeated grid of squares (ceiling panels) as a pattern language for our 23.5°-tilted squares. (3) One big bright geometric shape (02:59 disc) that reads from far away; a bright white field is also what survives daylight. - **Avoid:** Purple/magenta washes, humanoid/jellyfish characters, dense laser fans. - *Verification:* oEmbed: 'ARTBAT live at Tomorrowland 2025 | Freedom Stage', channel ARTBAT (official, 1:28:07). Frames checked; close-ups at 56:51/57:05 and a DJ close-up at 39:54 were deleted. ### 05. Bicep present CHROMA AV/DJ set – Sónar Barcelona – 2025 - **URL:** https://www.youtube.com/watch?v=1ogenGg2tic - **Timestamps:** 00:09, 00:21 - **Frames:** `frames/05-bicep-chroma-sonar-0009.jpg`, `frames/05-bicep-chroma-sonar-0021.jpg` - **On the screen:** A wide landscape LED wall with the two DJs small in silhouette at the lower middle. Content is soft, washed, almost pastel fields (cyan to white, sky blue, pink), with liquid/watercolour textures, and the CHROMA symbol (a three-armed triskelion in a thin ring) appearing big in turquoise over blue. Colours drift and cross-fade in time with the music; the lighting rig above adds cyan dots. - **Take:** High-key content: large, light, low-contrast colour fields in cyan/white stay readable and make the DJs read as dark silhouettes, which is the best model for a 15:00 daylight rooftop. The symbol-in-a-ring moment shows how a brand mark can be the visual itself: our 3D logo big in turquoise over a light field, then dissolving back into texture. - **Avoid:** The strong pink/magenta phases and the heavy strobing white-outs; keep to one hue family (turquoise/white). - *Verification:* oEmbed: 'BICEP present CHROMA AV/DJ set | Sónar 2025', channel Sónar Festival (official, 53 s recap, so the full set is not available). Frames checked. ### 06. Bicep present CHROMA AV DJ – Electric Castle, Romania – 2025 - **URL:** https://www.youtube.com/watch?v=0ZJqGTejbFU - **Timestamps:** 39:54 - **Frames:** `frames/06-bicep-chroma-ec-3954.jpg` - **On the screen:** At 39:54 the whole screen is flat turquoise-green light and the two DJs are black silhouettes cut out against it. The storyboard shows long stretches of one hue (teal, then orange/red, then green) with soft horizontal banding, changing slowly over minutes, broken by laser and crowd sections. - **Take:** Near-exact brand colour: a monochrome turquoise field with slow horizontal banding is a ready base layer for our 'turquoise wave ribbon'. It proves a flat, bright, single-hue screen gives the strongest DJ silhouette. Hue changes should take minutes, not beats. - **Avoid:** The orange/red and green phases, and the very dark club-footage sections; also full-screen flat colour with no structure for too long, because in daylight it just looks like a lit panel, so add points/lines. - *Verification:* oEmbed: 'BICEP present CHROMA AV DJ @ Electric Castle 2025', channel Electric Castle (official, ~1:30:48, heavily colour-graded after-movie-style edit, so exact screen colours may be shifted by the grade). Frame checked; a frame at 14:58 (turquoise haze only, no stage context) and four other tries (20:47, 46:33, 47:23, 1:09:50: black or blown-out) were discarded. ## B. Daylight / outdoor sets and screen compositions ### 07. Sam Divine B2B Low Steppa – Defected at Ushuaïa Ibiza (open-air, afternoon livestream) – 2024 - **URL:** https://www.youtube.com/watch?v=rU4Bv2Sj7pw - **Timestamps:** 03:18, 09:56, 21:52 - **Frames:** `frames/07-defected-ushuaia-0318.jpg`, `frames/07-defected-ushuaia-0956.jpg`, `frames/07-defected-ushuaia-2152.jpg` - **On the screen:** A wide LED wall that wraps round behind the DJ booth under an open slatted roof, in full afternoon sun. The content is flat, fully saturated 2D graphics: horizontal cyan/lime/blue glitch-stripe bands (03:18), a repeating pattern of pink rings and yellow hearts over huge cyan type (09:56), and giant yellow/magenta type on a striped field (21:52, aerial shot, 'MUSIC … LIFE … LONG'). Scenes change every few minutes, and inside a scene the pattern scrolls or slides slowly. In direct sun it stays readable because the whole screen is bright, high-value colour with no dark areas. - **Take:** Proof that an LED wall reads in daylight when the loop is mostly bright, light-valued colour: build the daytime (15:00+) version of the loop on a light field (white/silver with turquoise #0DC3D0 fills), not a black void. Big, simple, flat shapes and large type survive sun glare and phone cameras. The DJs cover only the lower third, so the brand mark and DJ name belong in the upper half. A slow horizontal drift of stripes or squares is enough motion. - **Avoid:** The multicolour pop palette (pink/yellow/lime) and the cartoon hearts and rings: off-brand and too 'party-flyer'. Don't run the wall edge to edge with dense repeating pattern and giant slogans. It fights the logo overlay. - *Verification:* oEmbed: 'Sam Divine B2B Low Steppa | 2024 Defected #Livestream at Ushuaïa Ibiza' | Ushuaïa Ibiza Official. Scanned the storyboard; the screen is visible throughout in daylight. All 3 frames checked by eye. The slogan text in the aerial frame is partly hidden by the rig, so it is quoted only partially. ### 08. Endless Summer – Ushuaïa Ibiza open-air livestream – 2023 - **URL:** https://www.youtube.com/watch?v=CrsUWbwlNEE - **Timestamps:** 06:36, 1:03:11, 1:04:51 - **Frames:** `frames/08-endless-summer-ushuaia-0636.jpg`, `frames/08-endless-summer-ushuaia-10311.jpg`, `frames/08-endless-summer-ushuaia-10451.jpg` - **On the screen:** White palm-tree silhouettes stand either side of the booth. They look like physical cut-outs in front of the LED, not screen content. Behind them the LED wall plays thick chrome/liquid-metal ribbons: glossy white-silver bands with dark grey shadows and a faint warm/cool tint, curving slowly across the whole wall (1:03:11 wide shot, daylight). At 06:36 the centre panel has the same chrome swirl behind the DJs. At 1:04:51 (aerial, late-afternoon light) the wall is almost black. Only the white palms and the red USHUAÏA sign read, and the stage becomes a dark hole. - **Take:** The best daylight reference for the chrome / liquid-metal theme: near-monochrome silver-white ribbons with graphite shadows read well in sun and match the brand's silver/graphite. Slow, large curvature (one band crossing the screen over several seconds) feels hypnotic without looking like a rave. Add a single turquoise #0DC3D0 edge-light to the ribbon and this becomes the 'turquoise wave ribbon'. It also shows a strong frame idea: one iconic shape either side of the DJ, so keep the centre-bottom calm for the DJ and put the logo above. - **Avoid:** The dark/black moments (1:04:51). In daylight a black LED reads as a switched-off hole, so keep daytime loops above roughly 40–50% brightness. Don't use the palm-tree motif (venue branding). - *Verification:* oEmbed: 'Endless Summer | #Livestream at Ushuaïa Ibiza' | Ushuaïa Ibiza Official. Performer names are not in the title, so none are given. Two first-choice frames (06:39, 14:58) showed only crowd and were replaced. The palms look physical, so this is not certain. ### 09. ARTBAT b2b Kölsch – Tomorrowland Mainstage (afternoon slot) – 2025 - **URL:** https://www.youtube.com/watch?v=-DARPrYuxe8 - **Timestamps:** 10:37, 12:37, 16:36 - **Frames:** `frames/09-artbat-kolsch-tml25-1037.jpg`, `frames/09-artbat-kolsch-tml25-1237.jpg`, `frames/09-artbat-kolsch-tml25-1636.jpg` - **On the screen:** A long, low, very wide LED band runs along the mainstage in bright afternoon light. In the wide shots (12:37, 16:36) it mostly plays dark content: deep purple/blue abstract clouds and particle bursts, plus IMAG live-camera close-ups of the DJs on the right-hand section. Behind the DJs (10:37) the wall shows an almost flat dark indigo haze. In the sun the dark sections go flat dark purple-grey. Only the bright live-camera images and small white particle highlights read from a distance. - **Take:** A negative daylight lesson from a top-tier production: dark, moody, night-style content barely reads under an afternoon sky. Use it to argue for a separate 'day grade' of the loop (light background, turquoise/white elements, high overall luminance) and a 'night grade' after sunset. It also shows that a thin wide format lets the DJs stand in front of it, and that one clean bright element (here the camera image) is what the eye picks up. - **Avoid:** Copying the dark purple/indigo mood for a 15:00 start. Avoid thin particle and fog detail at small scale: it disappears in daylight. Don't rely on lasers or haze (invisible in sun). - *Verification:* oEmbed: 'ARTBAT b2b Kölsch Live at Tomorrowland 2025 | Mainstage' | ARTBAT. Scanned the storyboard. Frames at 30:33 and 21:55 were crowd close-ups and 49:09 was weak, so all three were deleted. I first tried 'Kölsch | Tomorrowland 2023 | Mainstage' (rZxMa5CgSjU) and dropped it: the backdrop there is mainly themed scenery, and I could not confirm the emblem behind the DJ is LED. ### 10. Keinemusik – Coachella (Sahara stage, full-set stream) – 2025 - **URL:** https://www.youtube.com/watch?v=5vX5XUGDEKY - **Timestamps:** 07:58, 13:57, 24:56 - **Frames:** `frames/10-keinemusik-coachella-0758.jpg`, `frames/10-keinemusik-coachella-1357.jpg`, `frames/10-keinemusik-coachella-2456.jpg` - **On the screen:** A huge LED wall behind a tiny central booth. A giant white, puffy 3D peace-sign object hangs on cables above the DJs. It looks like a physical inflatable, not a render. Behind it the wall plays: jagged hot-pink/red 'KEINEMUSIK' lettering over a grey marbled smoke texture (07:58); the same lettering over a pink-tinted Joshua-Tree desert photo (13:57); and a soft drifting magenta/violet/blue cloud gradient (24:56). Backgrounds change every few minutes, the gradients drift slowly, and the lettering sometimes warps. - **Take:** The composition for our job: ONE big hypnotic object hovers at centre-top, with the tiny DJs underneath in the lower middle and a slow ambient field behind. For Yandex, the lidar-point sphere or a chrome sphere takes the place of the peace sign, with the logo and DJ name as the only type. The soft drifting-gradient background (24:56) is the right calm level of 'trip'. Redo it in turquoise → white → silver. - **Avoid:** Wall-filling brand type as big as the whole screen (07:58, 13:57). Our logo and DJ name should be secondary to the central object. Avoid the hot pink/red palette. Note that this is a night set: the dark marbled textures would wash out in daylight. - *Verification:* oEmbed: 'Keinemusik at Coachella 2025' | keinemusik (official channel, 1h30 full set). Night performance with the LED clearly visible throughout (storyboard checked). No daylight footage. ### 11. Monolink (live) – Cercle Odyssey, Paris – 2025 - **URL:** https://www.youtube.com/watch?v=nxuB96ppBLY - **Timestamps:** 04:39, 18:37 - **Frames:** `frames/11-monolink-cercle-odyssey-0439.jpg`, `frames/11-monolink-cercle-odyssey-1837.jpg` - **On the screen:** A Cercle Odyssey immersive show (indoor), unlike most Cercle sets, which have no screen. Behind the performer, very large screens show slow, photoreal 'world' imagery: the curved limb of planet Earth in white/blue on black space, filling the right half of the frame (04:39); warm sand dunes under a pale sky (18:37); and later a planet/eclipse again near the end (storyboard ~1:38–1:42). Each scene holds for a whole track and moves only by slow drift or camera push. - **Take:** The single-object, slow-drift principle at its purest: one huge sphere edge (the planet limb) sits off-centre, and the performer's dark silhouette stands in front of its bright part. That is how our lidar-point sphere should sit: large, off-centre, partly behind the DJ, rotating very slowly (one revolution per 16 or 32 bars). The white/blue/black palette of the Earth shot is close to turquoise/white/graphite. Very long scene lengths are calm and premium. - **Avoid:** Photoreal nature/landscape footage (dunes, forests): off-theme for a tech brand. Very dark space backgrounds for the daytime part. The show relies on a dark room. - *Verification:* oEmbed: 'Monolink live at Cercle Odyssey, Paris, France' | Cercle. Found in Monolink's live-sets playlist. Storyboard scanned. A third frame at 1:38:55 was near-duplicate of 04:39 and was removed. Indoor show, included for the screen composition, not for daylight. ### 12. Amelie Lens – Awakenings Summer Festival, Hilvarenbeek (mainstage, early evening) – 2024 - **URL:** https://www.youtube.com/watch?v=KZvd4KXGJMY - **Timestamps:** 00:29, 03:17 - **Frames:** `frames/12-amelie-awakenings-0029.jpg`, `frames/12-amelie-awakenings-0317.jpg` - **On the screen:** Crowd-shot (fan) video of the Awakenings mainstage: a giant sculpture of criss-crossed orange beams (X shapes), with many small square LED panels set into the beam ends and in the booth front. In overcast daylight (00:29) the orange structure dominates. The small panels show only violet/magenta glows and are nearly unreadable. As the light drops (03:17) the panels show fire/flame clips and the structure is washed red/magenta by stage light. Content on the small squares changes every few seconds. - **Take:** A daylight reality check: small, dark-content LED tiles vanish under a grey afternoon sky, while big flat light-coloured surfaces read. For the rooftop, make the main loop elements large and bright. The idea of many small square tiles set at an angle in a structure fits our 'pixel squares tilted 23.5°' motif, but on our single screen they should be large and high-contrast. - **Avoid:** Fire/flame clips, the orange/red palette and rave-level strobe. Don't split content into many small tiles if the screen is small: at rooftop distance it turns into noise. - *Verification:* oEmbed: 'Amelie Lens @ Awakenings Summer Festival 2024' | Rave Collective Rotterdam (fan upload, 15 min excerpt, not official). The storyboard shows daylight → dusk → night over 15 min. Kept for the daylight-legibility lesson. This is the weakest entry in this slice; drop it if space is tight. ## C. Brand and corporate events: how a brand lives on the backdrop ### 13. Toro y Moi – Google I/O 2025 Keynote Pre-Show, Shoreline Amphitheatre – 2025 - **URL:** https://www.youtube.com/watch?v=thAhd82XnMc - **Timestamps:** 01:59, 10:32, 16:08 - **Frames:** `frames/13-google-io-toro-0159.jpg`, `frames/13-google-io-toro-1032.jpg`, `frames/13-google-io-toro-1608.jpg` - **On the screen:** Large rounded-corner 16:9 LED wall behind a single white tiled booth, outdoor amphitheatre in daylight. Content is built entirely from the brand's design system: a white/very light lilac world of square tiles (isometric tile city floating in blue sky with clouds at 01:59; a tiled 'room' with coloured equalizer bars and a grid of labelled knobs from the music tool at 10:32/16:08), with small accents in Google's four colours. Scenes cut every ~20-60 s between the floating tile world, UI close-ups and a picture-in-picture camera feed of the performer; motion inside scenes is slow (camera drift, bars pulsing). No big logo on the screen: the 'G' sits as a physical wooden relief on the set to the left, the booth front is a white grid with a rainbow edge. - **Take:** The key lesson for 'brand without an ad': the brand is carried by the GEOMETRY and PALETTE (tile grid, light background, one set of accent colours), not by a logo on the screen. For Yandex: build the loop from the 23.5-degree tilted squares as a floor/world, white/silver/graphite base with turquoise #0DC3D0 as the only accent, slow camera drift. Keep the 3D logo small and off-centre (or as a physical/booth element), not filling the screen. Light, high-key backgrounds read well in daylight at 15:00 — this is the best daylight evidence in this slice. Booth styled in the same grid as the screen ties DJ and backdrop together. - **Avoid:** Product UI on the screen (knobs, labels, bar charts) — that is a demo, not an afterparty mood. Picture-in-picture of the DJ's face. Multi-colour confetti accents; Yandex should keep to one accent colour. Hard cuts every 20 s — a looping backdrop should be one continuous piece. - *Verification:* oEmbed: 'Toro y Moi Pre-Show | I/O 2025 Keynote' by Google, 20:25 long, uploaded 2025-05-22. Frames checked: screen fully visible in wide shots 01:59 and 10:32; 16:08 is a closer view of the screen with the performer small at the bottom. Not a club DJ set but a live electronic performance at a corporate tech launch in daylight. ### 14. Max Cooper – AVA x Red Bull Presents: Live A/V, Carlisle Memorial Church, Belfast – 2020 - **URL:** https://www.youtube.com/watch?v=FKElZid_71w - **Timestamps:** 07:28, 44:05, 45:35 - **Frames:** `frames/14-max-cooper-ava-0728.jpg`, `frames/14-max-cooper-ava-4405.jpg`, `frames/14-max-cooper-ava-4535.jpg` - **On the screen:** Projection on the church interior/wall behind Max Cooper's table. Around 44:00-46:00 there is ONE big object centred behind him: a near-monochrome white/grey sphere made of packed soft cells that slowly morphs from smooth bubbles (44:05) into a coral/cellular pattern (45:35), lit from inside, on pure black; the performer's desk sits in the lower middle inside the object. At 07:28 a back-lit silhouette of Cooper stands in front of a pale teal-grey projection of a white latticed structure (a ferris-wheel like repeated grid). Across the whole show scenes change every few minutes; many sections are colourful (yellow, pink, purple), but these parts are strictly monochrome. The Red Bull brand appears only in the title/presentation, never on the visuals. - **Take:** The monochrome 'one hypnotic sphere' is a direct reference for the lidar-point sphere: white/grey points on black, slowly morphing between states over ~1-2 minutes, centred so the DJ sits inside its lower half. The 07:28 frame shows how a silhouette reads against a pale, low-contrast teal-grey field — close to a turquoise/silver palette. Brand lesson: the sponsor (Red Bull) is present as 'X presents' in the title and credits, the visuals stay pure art — for Yandex this argues for putting the logo as a small, calm overlay/lockup, not inside the art. - **Avoid:** The colourful psychedelic sections of the same show (yellow/pink/purple patterns, fast pulsing). Dark, black-heavy compositions will disappear in daylight at 15:00 — the sphere needs a lighter background (graphite or silver, not black) for the rooftop version. Projection-on-architecture look is not reproducible on an LED wall. - *Verification:* oEmbed: 'AVA X Red Bull Presents: Max Cooper Live A/V | Carlisle Church, Belfast' on Max Cooper's channel, 79 min, uploaded 2020-11-18. Frames checked; the sphere sequence is visible 44:00-46:30 in the storyboard. Surface is projection, not LED. ### 15. Âme – Audi Q2 x Boiler Room #untaggable launch, Berlin – 2016 - **URL:** https://www.youtube.com/watch?v=rAAktg5_OXo - **Timestamps:** 25:53 - **Frames:** `frames/15-ame-audi-q2-br-2553.jpg` - **On the screen:** Car-launch party for the Audi Q2 ('#untaggable' campaign) hosted as a Boiler Room. A wide LED/projection band wraps behind the crowd and DJ. At 25:53 it shows bold black-and-white diagonal zig-zag stripes (the campaign's graphic pattern), strictly monochrome, full-bleed, filling the whole width behind the DJ's head. Patterns hold for long stretches and shift slowly; lighting in the room is pink/purple/green club light. No car and no Audi rings visible on the screen in the checked frames — the brand lives in the campaign pattern and the event name. - **Take:** Brand-as-pattern: a car maker launch where the backdrop is just the campaign's graphic language (monochrome stripes), which the crowd reads as a club visual, not an ad. For Yandex: the 23.5-degree tilted squares can play the same role — a black/white/silver pattern field with a single turquoise accent that is recognisably 'Yandex robotaxi launch' without a logo in the middle. High-contrast black/white patterns hold up well against coloured stage light. - **Avoid:** Op-art stripes at full contrast and full brightness are aggressive and flicker on camera; in daylight they will look like a billboard. Mixing the pattern with pink/purple/green club light kills the brand palette. Boiler Room framing (crowd behind DJ) hides most of the screen — Yandex's DJ must stand in front of the screen, not in the crowd. - *Verification:* oEmbed: 'Âme Audi Q2 X Boiler Room #untaggable DJ Set' by Boiler Room, 61 min, uploaded 2016-04-29; YouTube ID taken from boilerroom.tv/recording/ame-dj-set. Screen visible only in some shots; 25:53 is the clear one (an 11:56 frame showed too little screen and was dropped). Whether the surface is LED or projection cannot be confirmed from frames. ### 16. Baugruppe90 – HÖR at adidas Originals Flagship Store, Berlin – 2023 - **URL:** https://www.youtube.com/watch?v=FX27aax6QS8 - **Timestamps:** 09:56, 03:58 - **Frames:** `frames/16-hoer-adidas-ofs-0956.jpg`, `frames/16-hoer-adidas-ofs-0358.jpg` - **On the screen:** Fashion-retail brand party (adidas x HÖR, sneaker campaign) in the store: a single LED panel directly behind the two DJs, framed by white tiled walls. Content is generic liquid/psychedelic VJ material — blue-violet rippling liquid texture (09:56), a translucent chrome-like bubble over red/blue smears (03:58); constantly flowing, colours change every few seconds; plus HÖR's own camera overlays (spinning ring graphic). No adidas logo on the screen; brand shows only in the title, venue and lower-third artist name. - **Take:** Composition: the screen is exactly the size of the DJ's back and head area, so the DJs always stand 'inside' it — a good model if the Yandex LED is small. The liquid-chrome bubble at 03:58 is a reference for how a chrome sphere reads behind a DJ. Name overlay as a small corner lower-third (bottom right) works without shouting. - **Avoid:** This is the counter-example of 'no brand at all': random multicolour liquid VJ clips make the event indistinguishable from any club night, and the loud red/blue/purple would clash with turquoise. Fisheye close camera. Overlaid rotating ring graphics from the streaming layer. - *Verification:* oEmbed: 'HÖR at adidas OFS - BAUGRUPPE90 | HÖR - Feb 19 / 2023' by HÖR BERLIN, 52 min. Brand context (adidas x HÖR campaign live show from the adidas Originals Flagship Store Berlin) from hypebeast.com/2023/2/adidas-hoer-berlin-partnership-announcement. Frames checked; screen clearly behind DJs. ### 17. BMW XM Label 'The Ultimate Sound Machine' DJ stage – ULTRACE Germany, Düsseldorf – 2026 - **URL:** https://www.youtube.com/watch?v=i0aVVjvlNCI - **Timestamps:** 01:07, 00:39 - **Frames:** `frames/17-bmw-xm-soundmachine-0107.jpg`, `frames/17-bmw-xm-soundmachine-0039.jpg` - **On the screen:** A chrome-wrapped BMW XM carrying a DJ booth on its roof, in a daylit industrial hall. Behind the DJ: a wide ~3:1 LED screen with a black background and a single motif — a spectrum-analyser of slanted bars in the BMW M colours (light blue, dark blue, red) pulsing to the music, centred right behind the DJ's head. Below it the booth fascia is a second LED strip showing a static row of logos (ULTRACE, BMW roundel, M, HFMSTRS); at 00:39 the M tricolour stripe also appears on the upper screen. Motion is beat-reactive and simple; the logos do not move. - **Take:** Useful split of roles: the MAIN screen carries a brand-coded abstract motion (the M stripes turned into audio bars), while logos live on a separate, lower booth-front strip. For Yandex: keep the backdrop an abstract turquoise motif (wave ribbon or point bars on graphite) and move the logo + DJ name to the booth fascia or a small calm lockup. A black-background LED with bright saturated bars still reads in a daylit hall. Chrome car body = real-life reference for chrome spheres reflecting the screen. - **Avoid:** This is where it tips into an ad: a row of four logos, the car wrap slogan 'The Ultimate Sound Machine', and brand stripes on screen at the same time. Generic equalizer bars are the most clichéd DJ visual. Do not put a sponsor-wall row of logos behind or under the DJ. - *Verification:* oEmbed: 'BMW XM (G09) - DJ Station - Ultrace Germany 2026 - Düsseldorf' by DrGumoLunatic (fan video, 75 s, uploaded 2026-05-03). Project verified via BMW Group press release (HTTP 200): press.bmwgroup.com/global/article/detail/T0457808EN (XM Label rebuilt into a DJ stage with a screen, approved by Carl Cox). DJ in the video is not identified. No full-set video found. ## D. Point-cloud / lidar visual works (for the loop itself) ### 18. ScanLAB Projects – The Dream Life of Driverless Cars (New York Times Magazine) – 2015 - **URL:** https://scanlabprojects.co.uk/projects/dreamlife-of-driverless-cars/ - **Timestamps:** — (not a YouTube video; frames are the project page's own images) - **Frames:** `frames/18-scanlab-dreamlife-westminster.jpg`, `frames/18-scanlab-dreamlife-bus.jpg` - **On the screen:** Lidar point-cloud London on pure black: first-person view down a Westminster road toward Big Ben, a double-decker bus seen from above with its scan smeared into long streaks, Tower Bridge. Palette is turquoise-cyan fading to violet/magenta with height and distance. The point density is so high that facades look like fine lines. In the film the camera drives through the city. Moving objects and slow traffic stretch into light trails, and repeated passes double the buildings. - **Take:** The main reference for the drive loop. Use a low first-person camera down the road centre with a vanishing point in the upper middle, so the DJ covers only the empty road at the bottom. Build it as a black void with cyan points. Swap ScanLAB's violet gradient for turquoise #0DC3D0 near the camera, fading to white/silver in the distance. The streaks behind moving cars are a ready-made 'trippy' element: stretch the scan on the beat instead of adding effects. A plain, recognisable street and bridge silhouette reads as 'robotaxi sees the city'. Almaty landmarks or Yandex HQ scanned the same way would carry the brand. - **Avoid:** The magenta/purple gradient, which drifts off-brand into generic synthwave. Near-black frames with thin sparse lines disappear on an LED in 15:00 daylight: raise point size, brightness and density, and fill more of the frame than ScanLAB does. Avoid the distorted, glitchy doubled-building passages as the main look, because they read as error, not as confident tech. - *Verification:* Project page returns HTTP 200. It describes the scanner being driven through London, first published in the NYT Magazine as images and a short film. No video embed on the page. Frames are the page's own 1920x1080 stills (images 01 and 02), scaled to 1280. I did not verify a direct film URL (Vimeo/NYT), so none is given. ### 19. Radiohead – House of Cards (official video, dir. James Frost, lidar + structured-light capture) – 2008 - **URL:** https://www.youtube.com/watch?v=8nTFjVm9sTQ - **Timestamps:** 00:55, 02:14, 04:13 - **Frames:** `frames/19-radiohead-house-of-cards-0055.jpg`, `frames/19-radiohead-house-of-cards-0214.jpg`, `frames/19-radiohead-house-of-cards-0413.jpg` - **On the screen:** A shot made only of captured 3D data on black. From 00:03 to 02:06 it is mostly Thom Yorke's face as a cyan-white point cloud built from horizontal scan lines. It keeps dissolving into drifting particles, as if blown away, then re-forming. From 02:10 to 03:25 a lidar drive runs down a night road: blue road, green trees, and yellow-to-red power lines coloured by height, with the camera moving slowly forward. From 03:29 to 04:09 a street/corridor has scan-line walls on both sides, and from 04:13 there is a wide lidar ground plane with trees. The pace is slow. Shots last 4–20 s, and the only real motion is the dissolve and the camera drift. - **Take:** The dissolve/re-form behaviour: a solid scanned object blows apart into loose points and pulls back together. That is the ideal 'moderately trippy' move for a lidar-point sphere or the logo, timed to 8 or 16 bars. The road drive at 02:14 shows that one slow forward camera on a straight road is enough for a whole section. Keep the horizontal scan-line texture visible, because it signals 'lidar' at a glance. Monochrome cyan points (00:55) are close to brand turquoise. - **Avoid:** Height-mapped rainbow colouring (blue/green/yellow/red in the road section) looks like a technical viewer, not the Yandex palette. Map height to turquoise-to-white instead. Avoid the low resolution, noisy, dim look and the big empty black areas, which won't hold in daylight. Don't use a giant human face; the brand isn't a person. - *Verification:* oEmbed: 'Radiohead - House of Cards' | Radiohead. Duration 273 s. Storyboard confirms faces 00:03–02:06, road drive 02:10–03:25, corridor/field 03:29–04:29. All 3 frames viewed. ### 20. Ibeyi – Oya (official video by ScanLAB Projects, laser-scanned forest) – 2014 - **URL:** https://www.youtube.com/watch?v=nAzjmDZD4aY - **Timestamps:** 00:19, 00:55, 03:41 - **Frames:** `frames/20-ibeyi-oya-scanlab-0019.jpg`, `frames/20-ibeyi-oya-scanlab-0055.jpg`, `frames/20-ibeyi-oya-scanlab-0341.jpg` - **On the screen:** Strictly monochrome white/grey laser scans on black. The video opens (00:03–00:23) and closes (03:29–03:53) with a small bright point cluster in the centre of the frame, which grows into a radial burst: the forest canopy scanned from below, reading as a glowing point sphere/ball. In between, the camera floats slowly through scanned woodland, around a fallen tree with huge roots (00:51–01:07), and through dense branch tangles. There is no colour at all. Camera moves are slow glides with few cuts, and depth is carried only by point brightness. - **Take:** The 'lidar-point sphere' idea almost ready to use. The centred point burst at 00:19/03:41 is a radial, sphere-like cluster that breathes outward from a single point. Place it upper-centre above the DJ and colour it white with turquoise at the core. Also take the strict monochrome: white-only points prove that point clouds need no colour to be hypnotic, which leaves turquoise #0DC3D0 free to be the single accent (e.g. only the sphere core, or only the road). The slow glide tempo fits 120–124 BPM without cuts. - **Avoid:** The dark, organic, slightly eerie forest mood, since a tangle of roots and branches suggests a horror film at a launch party. Avoid long near-black stretches (00:27–00:35, 01:58, 02:26) that go blank on a daylight LED. Avoid low overall luminance. - *Verification:* oEmbed: 'Ibeyi - Oya (Official Music Video)' | Ibeyi. Duration 241 s. The ScanLAB project page (https://scanlabprojects.co.uk/projects/ibeyi/) confirms ScanLAB made the video (XL Recordings). I viewed all 3 frames. ### 21. Aphex Twin – T69 Collapse (official video by Weirdcore, 3D scans of Cornwall + ML) – 2018 - **URL:** https://www.youtube.com/watch?v=SqayDnQ2wmw - **Timestamps:** 00:44, 01:43 - **Frames:** `frames/21-aphex-t69-collapse-0044.jpg`, `frames/21-aphex-t69-collapse-0143.jpg` - **On the screen:** A fast first-person flight through photogrammetry/3D-scanned Cornish streets. At 00:29–00:53 the house facades are covered in scrolling green monospace text, and the street surface dissolves into a grid of glowing dots. From about 01:03 the scans are textured in full colour and melt, fold and tile (via the Transfusion.AI style transfer). From 01:38 the scanned street breaks into pixel-block and dot fragments against a black sky. After 02:00 it turns into flights over rock landscapes, then flat neon polygons (04:20–04:44) and a vortex tunnel. It is very fast, with constant motion and a new look every few seconds. - **Take:** One idea only: a scanned street that decomposes into square pixel blocks and dots (00:44 street as a dot grid, 01:43 facades breaking into small squares). This is a direct bridge between the lidar city and the brand's '23.5° tilted squares': the point-cloud street could resolve into tilted turquoise squares on the drop, then back into points. The first-person street flight also confirms the drive composition from ScanLAB. - **Avoid:** Almost everything else is a counter-example of 'too much trip' for a brand afterparty: full-colour textured scans, melting and folding geometry, text overlays, strobe-speed changes, neon polygons, the Aphex face. Don't copy the tempo. It is far too fast to loop behind a house/balearic DJ, and there is no calm frame for a logo to sit on. - *Verification:* oEmbed: 'Aphex Twin - T69 Collapse' | Aphex Twin. Duration 319 s. Weirdcore and Cornwall 3D scans with Transfusion.AI are confirmed by Promonews/Stereogum (search results). Strictly photogrammetry/3D-scan meshes rather than lidar points; included as the 'upper bound of trippiness'. I viewed the frames and dropped 01:13 (colourful melting textures, not useful). ### 22. Ibeyi – World Tour with ScanLAB Projects point-cloud visuals – KOKO London – 2015 - **URL:** https://scanlabprojects.co.uk/projects/ibeyi/ - **Timestamps:** — (not a YouTube video; frames are the project page's own images) - **Frames:** `frames/22-scanlab-ibeyi-tour-koko-stage.jpg`, `frames/22-scanlab-ibeyi-tour-koko-portrait.jpg` - **On the screen:** A live show with a large projection behind the performers showing point-cloud scans of the twins. In the stage frame, a huge cyan-white point-cloud head in profile fills the right two-thirds of a deep-blue screen, while the performers sit small at the keyboard and drums in the lower part of the frame. In the second frame, a warm white/amber point field with bokeh-like large dots fills the screen, and the two performers stand in front of it in the lower middle as silhouettes. The points look like drifting dust, and the grain is coarse enough to read from the audience. - **Take:** Proof that lidar point clouds work as a live backdrop behind performers, not just in films. The performers in the lower third stay readable because the point-cloud subject sits above and beside them, which is the same layout for our DJ. The cyan-points-on-deep-blue look in the stage frame is very close to #0DC3D0 on graphite. The large, soft foreground points (portrait frame) add depth and stay legible at distance, which helps in daylight. Keep the main subject (sphere / city) above the DJ's head height. - **Avoid:** Warm amber/orange point colour (off-palette). Avoid portraits of people: our subject should be the city/sphere/logo. The show relies on a dark club with a projector. On an outdoor LED at 15:00 the blue-black background and fine dust will lose contrast, so use brighter, larger points and a lighter graphite background. - *Verification:* Project page returns HTTP 200. The page captions both photos 'KOKO London tour, November 2015' and says ScanLAB created the video and World Tour visuals 2014–2016. Frames are the page's own images (ibeyi_01 hero and ibeyi_02), scaled to 1280 wide and viewed. ## Synthesis: 7 principles for the Yandex rooftop loop 1. **One hero object, placed above the DJ.** The strongest screens (Anyma 01, Prydz 02/03, Keinemusik 10, Max Cooper 14, Monolink 11) show one object, sized at about 50–60% of screen height, with its centre in the upper-middle. The DJ covers the lower 25–30% in the middle, so never put anything important there. The lidar-point sphere should either sit centred so the DJ is "inside" its lower edge (14, 01 at 56:52), or sit large and off-centre with the DJ silhouette cutting its bright side (11). For the city drive, put the vanishing point in the upper middle, so the DJ only covers empty road (18, 19). 2. **Two grades: day and night.** Every daylight example says the same thing. Bright, high-value content reads in sun (07, 08 at 1:03:11, 13, 05, 06). Dark or black content turns the LED into a hole (01 at 1:28:47, 08 at 1:04:51, 09, 12). From 15:00 run a *light* version: white or light-silver field, graphite and turquoise points, average brightness roughly ≥ 40–50%. After sunset swap to the graphite or black version with glowing turquoise points (the ScanLAB/Radiohead look, 18–20). Lasers and haze are invisible in daylight, so the screen has to carry everything. 3. **Make detail larger for daylight and distance.** Thin particles, fine dust and small tiles disappear on a rooftop at 15:00 (09, 12, 22). Lidar points must be bigger and denser than in ScanLAB's film. Scan lines should be thick enough to read from 20 m. Tilted squares should be large (roughly 1/8–1/12 of screen height), not a pixel carpet. 4. **Change slowly and lock motion to the bar, not the beat.** Good backdrops hold one scene for a whole track (11) or change over minutes (06), and use slow rotation or drift (02, 10, 14). At 122 BPM a bar is about 1.97 s. Build the loop as **32 bars (~63 s) or 64 bars (~126 s)** so it sits naturally with the music. Examples: one sphere rotation per 32 bars, the camera drive covering one city block per 16 bars, a "breath" (points scatter then re-form) every 8 or 16 bars. No beat-synced flashing; that is what makes it look like a rave (16, 21). 5. **"Moderately trippy" = one transformation, repeated calmly.** The right amount of trip is one clear metamorphosis, not a stream of effects. Examples: the Radiohead face dissolving and re-forming (19), the sphere morphing from bubbles to coral (14), the scanned street breaking into squares (21 at 01:43, used *once* per cycle). For Yandex that can be lidar city → points collapse into the sphere → sphere shatters into 23.5° squares → squares settle into the turquoise ribbon → back to city. T69 Collapse (21) shows the upper bound: full colour, melting and strobe-speed cuts are too much. 6. **Palette: monochrome plus one accent.** The screens that look most premium are one hue family: Bicep's turquoise (05/06), Ibeyi's white-only scans (20), Prydz's black + one cyan visor (02). Build everything in white/silver/graphite and use #0DC3D0 as the *only* colour, for example only the sphere's core, the ribbon, or the points nearest the camera. Drop the rainbow height colouring (19) and the magenta gradient (18) from lidar references. Chrome spheres should reflect the turquoise and the sky, not add new colours (08, 17). 7. **The brand lives in the geometry. The logo is a quiet guest.** Google (13) and Audi (15) carry the brand through pattern and palette with no logo on screen. ARTBAT (04 at 29:55) and Bicep (05 at 00:21) show a mark floating mid-height over a calm field. BMW (17) shows the failure mode: a row of logos plus a slogan plus brand stripes reads as an ad. HÖR × adidas (16) shows the opposite failure: no brand cue at all looks like any club night. So: - make the lidar city, 23.5° squares and turquoise ribbon the recognisable Yandex language; - keep one small, slowly rotating 3D logo with the DJ name in the upper third, above the DJ's head and never behind it, with plenty of empty space around it; - let the logo emerge from the points once per loop, then recede; - don't use logo rows, slogans or product UI (13's knobs). ## Files - `refs.json`: the same 22 entries in machine-readable form (title, url, timestamps, frames, screen, take, avoid, category, plus n and verification). - `frames/NN-name-mmss.jpg`: 51 frames, 1280 px wide; `frames/contact-sheet.jpg` shows them all, labelled. - `tools/`: the helper scripts used (`scan.py` for the storyboard scan + oEmbed, `grab.sh` for frame grabs, `contact.py` for the contact sheet).