You are the world's best 3D motion designer and creative technologist, and this is your showreel piece. Turn the song below into a 32-second, fully 3D, audio-driven motion graphics video that people replay frame by frame. Use your full capability: maximum effort, no shortcuts, no placeholder visuals, no "good enough". Generic is failure.

## Inputs
- Song: `[path to your song]`. It is actually an MP3 (128 kbps, 44.1 kHz stereo, 32.29 s) despite the .mpeg extension. Copy it into the project as `audio/song.mp3`; never modify the original.
- Theme/title: "OPUS 5.5". Original typography and forms only: no official logos or brand marks.
- Format: 1080×1920 vertical (9:16), 60 fps, exactly 32.29 s, H.264 MP4 with AAC 320 kbps audio.
- Project folder: create `C:\Users\[you]\Videos\opus-55-motion\` (outside OneDrive).

## Tooling
Build it as a HyperFrames composition. Start with the `/hyperframes` skill and load whatever it routes to: at minimum `hyperframes-core`, `hyperframes-animation` (Three.js adapter), `hyperframes-keyframes`, `hyperframes-creative`, `hyperframes-registry` (search it before hand-building post effects such as chromatic aberration, grain or glitch) and `hyperframes-cli` for check, snapshot and render. Confirm rendering uses GPU WebGL, not software rendering (SwiftShader). If it can't, scale the scene down to keep renders practical and tell me.

## Measured song map (verify; don't trust blindly)
These were measured from the audio and are accurate to about ±30 ms. Confirm them with `hyperframes beats` and your own onset analysis, and snap every event to the real transients.

| Time (s) | Section | What the audio does |
|---|---|---|
| 0.00–1.90 | Cold open | Two sub-bass impacts at 0.21 and 1.18, then it falls away |
| 1.90–11.89 | Intro, free time | Quiet (about −17 dB), no sub-bass, mid-range only, no steady pulse; soft accents at about 4.41 and 4.92; swells gently from about 10.5 |
| 11.89 | BASS ENTERS | First downbeat of the groove |
| 11.89–22.29 | Groove, 4 bars | 92.3 BPM (beat 0.650 s, bar 2.600 s). Downbeats at 11.89 / 14.49 / 17.09 / 19.69. Kick pattern in every bar: downbeat, +0.975 s, +1.300 s |
| about 16.0–16.9 | Bass dropout | Sub-bass vanishes for about a beat, then slams back at 17.09 |
| 22.29 | THE DROP | Loudest section (about −11 dB); sub-bass is 60–75 % of the energy |
| 22.29–31.88 | Drop, about 4 bars | Downbeats at 22.29 / 24.89 / 27.49 / 30.09, same kick pattern; 16th-note stutters at about 24.06→24.38, 26.17→26.33, 27.96→28.28, 29.26→29.58 and 30.23→30.56 |
| 31.88 | Hard stop | Last hit; the music cuts to silence |
| 31.88–32.29 | Silence | Final frame holds |

Also transcribe the track (`hyperframes transcribe` or equivalent). If it has vocals, the key words become 3D kinetic typography landing exactly on their syllables. If it's instrumental, the only words on screen are "OPUS" and "5.5".

## Creative direction: "A mind assembling itself"
- **Act I, Genesis (0–11.89):** Two impacts in a black void. At 0.21 a single point of light detonates into a shockwave ring; at 1.18 the camera punches through it. Then comes a slow, weightless, macro journey through a crystalline neural lattice of glass and liquid-chrome fragments drifting into formation, with volumetric light shafts and shallow depth of field. Motion follows the smoothed mid-band, not a grid: no cuts, it breathes. From 10.5 s everything inhales: fragments converge, light pulls in and the camera retreats, peaking in tension at 11.85.
- **Act II, Ignition (11.89–22.29):** The bass entry is a detonation. The lattice locks into a rhythmic megastructure (a tunnel, monolith array or folding architecture) that physically reacts to each kick with camera punch-ins, shape morphs and light pulses. Each of the 4 bars gets its own variation, so the act escalates. At the dropout (about 16.0) time almost freezes: debris hangs in zero gravity and rotates slowly, then everything re-slams at 17.09. Bar 4 (19.69–22.29) is the build: speed, density and camera velocity ramp up and the colour heats. It climaxes in a white-hot implosion just before 22.29.
- **Act III, Berserk (22.29–31.88):** Everything at once, still readable. Monumental extruded "OPUS 5.5" typography in chrome and glass shatters and re-forms, with particle hurricanes (GPU instanced, 100k or more), kaleidoscopic and orbital cameras, and inversions. Every downbeat brings a new camera angle or scene; every stutter is a frame-accurate snap (scale, RGB split, displacement). Each bar tops the one before:
  1. Reveal.
  2. Orbit and multiply.
  3. Palette inversion, turning inside out.
  4. Total overload.

  At 31.88 everything collapses into a single glowing "5.5", then hard-cuts to a clean final title held through the silence.

## Look bible
- **Palette:** void black #07070A, warm ivory #F4EFE6 and ember coral #E8673C as the hero light. Use electric cyan #3DF5FF only in the drop, as a contrast accent. No rainbow gradients.
- **Materials:** physically based chrome, iridescent and refractive glass (transmission), emissive wire edges and volumetric fog. Use a procedural HDR environment for real reflections and filmic tone mapping (AgX or ACES).
- **Post:** bloom (thresholded, not a haze), chromatic aberration on impacts, film grain, vignette, depth of field and motion blur on fast moves. Seed all noise by frame number.
- **Typography:** one heavy, wide display typeface with an open licence, with its font files bundled locally. Extrude and bevel it in 3D and kern it by hand. Hold any word that must be read for at least 0.5 s.
- **Influences:** the precision of ManvsMachine, the energy of Tendril and the ambition of a Houdini R&D reel. Borrow their standards, not their designs.

## Craft rules (non-negotiable)
1. **Sync:** every major visual event lands within 1 frame of its transient. Impacts get 2–4 frames of anticipation, then overshoot and settle; camera shake decays exponentially.
2. **Pre-baked audio reactivity:** extract per-frame RMS, sub (<80 Hz), bass, mid, high and onset strength into a JSON file, then drive shader uniforms by frame index. Use no live Web Audio analyser and no `requestAnimationFrame` or clock-based time. Every frame must render identically however it is reached.
3. **Performance:** use instanced meshes and GPU-side particles, and keep every frame renderable on a consumer laptop GPU.
4. **Vertical safe zones:** keep key type out of the top 220 px and bottom 380 px, where Reels shows its interface.
5. **Photosensitivity:** allow no more than 3 full-screen flashes in any 1-second window. Use colour and exposure punches instead of pure white strobes.
6. **Banned:** default primitives on default materials, torus knots, MeshNormalMaterial, unlit flat shapes, system fonts, stock "screensaver" particles and camera wobble with no motivation.

## Process
1. Read the skills and verify the beat map and transcription. Then write `DESIGN.md` with the concept, look bible, and a shot list giving frame-exact timestamps for every section, downbeat and stutter.
2. Build a look-development proof of the drop (22.29–24.89) first. Snapshot 6 frames, critique them like a ruthless creative director, and rebuild until the result is genuinely spectacular. Only then build the rest.
3. Build the full timeline. Run `check` until it passes cleanly.
4. Render a contact sheet: one frame per downbeat, plus 0.21, 1.18, 11.89, 16.4, 22.29, 31.88 and the final frame. Score each frame out of 10 for impact, sync, readability and polish, and rebuild anything below 9. Do at least two full critique passes.
5. Render the final MP4. Verify its duration, resolution, frame rate and audio sync; the visuals at 11.89 and 22.29 must line up exactly with the audio.
6. Report the output path, what you built in each act, the scores and the remaining weaknesses, honestly. Don't claim something works unless you have rendered it and looked at it.

Ask me nothing up front. Make bold choices, record them in DESIGN.md, and go.

Generate a 10-second vertical 9:16 high-impact automotive edit, 24fps. One fictional graphite-black two-door coupe with a fixed low roof, broad rear haunches, five-spoke wheels and thin white LED headlights. Use attached approved vehicle references when supplied. Rain-dark closed test track, hard white reflections and a single acid-yellow graphic accent. No people or other vehicles.
0–1s: Extreme headlight close-up. The LED snaps on once with a precise bass hit. No repeated flashing.
1–2s: Hard cut to a rotating front wheel, camera parallel to the rim; correct wheel geometry and grounded tire.
2–3s: Shape-match cut to a curved body-panel highlight, then a rapid but smooth slide along the bonnet.
3–5s: Low front three-quarter tracking shot on the closed track. Speed-ramp from slow into a short burst, keeping the car sharp and the road blurred in one consistent direction. No drifting.
5–5.12s: One graphic impact insert: an original black-and-ivory ink drawing of this exact car silhouette with three acid-yellow speed strokes. Then return immediately to photoreal imagery.
5.12–7s: Side tracking shot; a yellow line races along the bottom edge. At 6.8s, a second brief drawn silhouette insert matches the pose. No further flashes.
7–10s: Car settles into a parked rear three-quarter hero, wet track reflecting its shape. Show only “BUILT TO MOVE.” in heavy condensed ivory type, then hold from 8.3s.
Audio: original bass-heavy electronic beat, tire hiss, two tightly synced impact hits. No vocals or copyrighted track. Avoid geometry drift, unreadable cut spam, chromatic-aberration haze, explosions, flames and extreme strobing.