Videos

src 0.05 – 2.30s · 2.4s

Center-aligned typing re-centers the line on every char; the exit dissolves chars at random-looking (hand-seeded) order, leaving holes instead of re-flowing.

src 2.30 – 6.50s · 4.4s

The big 84px prompt box types a full brief; once the line overflows, the whole box slides left char by char with the cursor pinned in place.

src 6.55 – 8.30s · 1.9s

A live timer counting in 0.1s steps beside a braille spinner; exits by rising 60px while fading.

src 7.95 – 10.40s · 2.5s

Bottom edge pinned while the panel grows upward; rows stream in as the panel gains room. First appearance of the terminal green.

src 10.37 – 12.80s · 2.8s

The pixel-parity pioneer: cursor dies right after the period — no idle blink — then border, chevron and copy cascade out in that order.

src 12.90 – 17.15s · 4.3s

Four country outlines on a carousel whose flank names are per-stop cheats; exits by FLIP-inflating the card into the next shot's panel.

src 17.05 – 19.75s · 2.8s

Seven typewriters running in parallel with staggered starts — short lines finish first, a texture serial typing cannot produce.

src 19.70 – 23.90s · 4.2s

Two beats: a slowly drifting typed headline, then a receipt window sliding in already full — receipts don't type, they arrive.

src 24.0 – 25.9s · 1.9s

The title grammar's second run with the dissolve nearly twice as fast — recurrence at new tempo is the film's rhythm.

src 25.9 – 28.3s · 2.4s

The status-line grammar re-parameterized: new copy, timer running to 1.8s.

src 27.6 – 31.6s · 4.0s

The TUI window's third appearance: two question-and-answer waves, the panel growing upward between them.

src 31.5 – 33.7s · 2.2s

The prompt box straight from the shared library at command size; slide-left exit.

src 33.6 – 37.0s · 3.4s

Two lines typing in parallel; green ink is reserved for the new number alone.

src 37.0 – 39.7s · 2.7s

The third and widest prompt-box size — 96px type, near full bleed, right edge masked as ever.

src 39.0 – 41.2s · 2.2s

The color climax: three chart-green bars (a deliberately different green from the terminal's) grow staggered over literal '$$$' labels.

src 41.0 – 43.0s · 2.0s

The only shot that never exits — the film's single hard cut takes it away at full frame.

src 43.0 – 46.9s · 3.9s

The mark shrinks from big-and-dim to small-and-bright through a sine-seeded starfield drifting outward, then the frame goes to black.

src 0.0 – 2.4s · 2.4s

The replicated title grammar with one house touch: the closing period wears the brand blue — the same dot the yBlocks wordmark ends on, planted in the first two seconds.

src 2.3 – 5.3s · 3.0s

The prompt-box library at the brief size on Launch-it's beat map: cursor dies right after the period, then the border → chevron → copy cascade.

src 5.2 – 7.1s · 1.9s

The status-line grammar on yBlocks' first real step: every page is classified against the page-type laws before anything is built.

src 6.9 – 10.1s · 3.2s

The TUI window grows upward while the pipeline prints: classify → hit the Dashboard law → compose the kit. Accents wear the film's blue via a scoped override — the vendored library stays canonical.

src 10.0 – 11.9s · 1.9s

The repo's thesis in one line, on the fast-dissolve claim grammar.

src 11.8 – 14.6s · 2.8s

Seven parallel staggered typewriters composing a page the lawful way: PageHeader, StatTile ×4, chart tokens, nav and ledger registration.

src 14.5 – 16.4s · 1.9s

The status-line grammar again, now naming the release discipline — lint, types, build. Retimed once: it inherited a 2.4s exit into a 1.9s window, and the cascade never showed until the beat map was obeyed.

src 16.3 – 20.5s · 4.2s

The two-beat payoff: a parallel-typed drifting headline ('live' in blue), then the release receipt sliding in whole — lint, tsc, build, v0.64.0, the version this film itself shipped after.

src 20.4 – 22.4s · 2.0s

Ends at full frame — the film's single hard cut takes it straight into the outro's dark ground.

src 22.4 – 26.3s · 3.9s

The colored ring arrives from far away over a blue-tinted starfield, and the wordmark lands under it — an introduction ends on the name.

src 0.0 – 2.67s · 2.7s

Hairline registration marks drift over near-black with the brand tag riding an intersection; the 56px title's characters fly in from the right — the source's 'spaced tail' is this animation caught mid-flight.

src 2.67 – 5.05s · 2.4s

Eight full-frame hard cuts on the measured ramp — 0.40/0.23/0.17/0.17/0.13/0.20/0.37 — accelerating in, decelerating out; the last frame holds and drifts. Frames are original mocks; the rhythm is the replica.

src 5.05 – 6.5s · 1.5s

Three words append at measured beats onto a line whose settled center sits deliberately right of frame center — measured twice before believing it.

src 6.5 – 11.8s · 5.3s

Three phases, no internal cuts: windows deal upward at accelerating beats, FLIP into a 3D-tilted slab whose red pseudo-words glitch-cycle with per-letter dropouts, then a feature card slides in and reveals its rows.

src 11.8 – 14.6s · 2.8s

One line loses words until only the identity remains, then reassembles as the URL. Positions are measured at load, not hand-guessed — the estimated advances overlapped 27px and the layout gate caught it.

src 14.6 – 20.47s · 5.9s

The signature: 38 hard cuts — a 0.167s ramp into a 0.133s base with probed double-holds. The scene detector reported a 0.6s hold there; probing found four dark-on-dark cuts it had missed.

src 20.47 – 21.42s · 1.0s

The burst's final cut lands on the light gallery frame, which settles with a slow scale drift — the film ends on it without a fade.

src 0.0 – 2.67s · 2.7s

Film 1's closing claim becomes film 2's opening title — both periods wear the brand's blue dot. Registration hairlines drift with the yBlocks tag riding an intersection.

src 2.67 – 5.05s · 2.4s

Eight element posters on the measured accel-decel ramp — one frame, one subject; the radial architecture diagram holds the tail and drifts before the dip to black.

src 5.05 – 6.5s · 1.5s

The composition pyramid as the append line — the sidebar's own layers, one word per beat, on a true-centered line (the source's right-bias was its quirk, not ours).

src 6.5 – 11.8s · 5.3s

The deck deals six real pages, FLIPs into the tilted slab, and the region flash cycles the PAGE-CLASS vocabulary in brand blue — the law table needs no pseudo-words. The card counts what the laws built.

src 11.8 – 14.6s · 2.8s

github.com/maosensen/yBlocks loses its prefix until only the name remains, then reassembles as yBlocks.vercel.app — the repo path walked to production.

src 14.6 – 20.47s · 5.9s

Thirty-eight element posters on the measured cadence — single cards and diagrams staged on their own page grounds, dark carrying the beat, light as accents. Plus one recorded gotcha: a sets-only timeline reads as static to the check harness — an imperceptible drift tween is load-bearing.

src 20.47 – 21.42s · 1.0s

The final cut lands on the /videos gallery page itself, earlier films visible on its stage — the film ends where it is exhibited.

src 0.0 – 2.5s · 2.5s

The title assembles word by word and yields to the film's signature: a prompt pill typing under a 16px blur that focus-pulls sharp as the line completes, the submit arrow popping at the end.

src 4.8 – 7.0s · 2.2s

The claim grammar with a line swap: 'Build with agents' assembles, yields at the measured 5.93, and 'and refine with direct control' takes its place.

src 19.53 – 22.63s · 3.1s

The film's new grammar: six feature pills float on black at different depths while FOCUS walks through them — bright and near for half a second each, dim and small otherwise.

src 26.83 – 28.27s · 1.4s

The film's only white beat — fifty-five seconds of black makes one inversion land like a cymbal.

src 28.27 – 32.93s · 4.7s

Placeholder editor for the PBR segment: red and green walls, two probes, and the light turning warm-to-cool at the measured 31.27 cut. Recorded operations are waived; the beat is not.

src 40.7 – 54.5s · 13.8s

Six recordings in one window, hard-cut at the measured times: pedestal tree, corridor walk, synth device, night boat, wind farm, page scroll — each a color-matched abstraction with one signature motion.

src 54.5 – 57.51s · 3.0s

Three beats: the last claim assembles and yields, the iridescent orb flashes alone, and spline.design types in small — the film ends mid-address, on its own name.

src 0.0 – 2.5s · 2.5s

The launch grammar's focus-pull pill types the ask this studio keeps answering: Build me a CRM dashboard.

src 15.3 – 19.53s · 4.2s

The killer clip: a preset click recolors every surface at once, then dark mode lands mid-shot — exactly where the template swapped its studio ground. Real recording, scripted cursor, no mock.

src 7.0 – 8.7s · 1.7s

Direct control, literally: a deal card drags to the next stage on the real pipeline board.

src 8.7 – 12.23s · 3.5s

A card opens the peek beside the board and the arrows walk it in reading order — the feature this session shipped, demonstrating itself.

src 28.27 – 32.93s · 4.7s

Cards filter as the search types, then a scope tab refilters the wall — the auto-templates gallery running on the data-view kit's defaults.

src 19.53 – 22.63s · 3.1s

Six pills, our vocabulary: page classes, theme presets, detail peek, the data-view kit, diagram families, the feature ledger.

src 40.7 – 54.5s · 13.8s

Six recordings hard-cut in one browser window — widget drag, versus poster, card gallery, industry screen, form switch — ending inside /videos itself, one film early.

src 54.5 – 57.51s · 3.0s

The template's three-beat close in house ink: the claim yields, the ring mark flashes, and yblocks.vercel.app types to the end of the film.

src 0.0 – 1.125s · 1.1s

The camera never cuts to the title — it flies THROUGH a tilted interface until that card's own white surface becomes the ground. The blue highlight crossing the glyphs is the film's signature gesture, and it returns identically on the last wordmark.

src 1.125 – 4.458s · 3.3s

Four concentric capsules, each ring a step lighter than the one inside it — the number is wearing the product's own colour ladder. The morph into the claim is a crossfade, not a size tween: layout properties can't be tweened under a frame-seeked renderer, and the reference's rings collapse through the move anyway.

src 4.458 – 7.750s · 3.3s

The film's one quiet beat, and its argument by omission: eight questions float around a mark that answers none of them. The signal is generated rather than drawn — a sine train under a fixed two-cosine envelope — which is what keeps 3.3 seconds of motion deterministic.

src 7.750 – 11.625s · 3.9s

A drawn interface on a tilted plane, operated by a cursor: take a row, open a source list, tick two, confirm. Every pixel of it is a mock — including the reference's own typo, kept, because a replication reproduces its reference rather than a corrected version of it.

src 11.625 – 15.083s · 3.5s

The wordmark takes the sweep the film opened with, smears away horizontally, and the claim assembles in its place — re-centring at every word, which is the part that looks trivial and is not.

src 0.0 – 1.125s · 1.1s

Zero new grammar, two parameters: the card the camera flies through is a committed capture of /cards, and the hue is the brand's. The word is COMPOSE because that is where the sidebar's pyramid lands — read, pick, copy, compose, see.

src 1.125 – 4.458s · 3.3s

Not a marketing number: 276 is the count of public prerendered pages in the build that shipped this film, read off the prerender manifest with the framework's internals, API routes and OG images removed. The three words that open beside it name what stands behind them.

src 4.458 – 7.750s · 3.3s

The same cloud, asking what a page author actually starts with. The mark keeps its own colours — the icon law's rule for multicolour brand marks — so this is the one frame where the film's single-hue discipline steps aside; and being filled rather than stroked, it turns into place instead of drawing itself.

src 7.750 – 11.625s · 3.9s

The shot the pair exists for: the same tilted plane, but the interface is a scripted recording of the view-options panel driving a real list — layout flipped, a column stepped out, Reset pressed. The crop moves because context and legibility pull opposite ways: the whole card first, then a 1.62× push so the panel can be read.

src 11.625 – 15.083s · 3.5s

The period stays brand blue and out of the sweep, because that dot is part of the wordmark rather than decoration. The claim is the film's thesis: the law exists before the content does, which is why a page here can be built the day it is specified.

src 0.000 – 1.700s · 1.7s

The row does not re-centre — it CONVEYS. Eighteen samples recovered by tracking the caps' bright glyphs give the camera's velocity profile, and the profile is the point: it accelerates INTO each landing (-424 to -1791 px/s before key two arrives) and decays after, so the gap opens before the key drops into it.

src 1.700 – 6.220s · 4.5s

One toolbar, no cut: it enters compact, unfolds into the full capture bar, then morphs into a URL field. The caption appends word by word and STRIPS between phrases. This is also the film's one locked camera — the bar holds at x 220–1702 for a full 1.1s, unchanged to the pixel.

src 6.220 – 8.800s · 2.6s

The film's best trick, and it happens exactly once: the frame you were watching turns out to have been a capture, and it shrinks into a card in a library that was always behind it. GLIDE rather than SNAP — at 1080px wide a 5% overshoot is 54 pixels of visible wobble.

src 8.800 – 11.100s · 2.3s

The first of three WHITE beats. Everything drops away and one object carries a claim. The caption grammar changes here: over the wallpaper the words are all white, but on a white beat they are ink and the NEWEST word arrives in brand colour and settles to ink as the next lands. The accent is a cursor, not a highlight.

src 11.100 – 15.580s · 4.5s

The richest shot in the film and the one that best shows what the springs are for: five oversized glyphs scattered on white CONVERGE into a toolbar, a capture lands above them, an arrow draws itself, and a blur region is dragged out with its slider running 0 → 60. The marker label is the one object in either film that is not axis-aligned.

src 15.580 – 16.930s · 1.4s

The shortest shot in the film: 1.35s to say one thing. Two named tiles land first and the grid catches up under them, which reads as a drawer being pulled open. The stagger is 0.05s — three frames, the tightest in either film.

src 16.930 – 21.820s · 4.9s

The capture stops being a screenshot and becomes a composition: it lands on a gradient ground, two sliders run under it, a panel of controls slides in, and the whole thing tips into perspective. That tilt is the only 3D in either film and it runs on GLIDE — a rectangle that rotates past its resting angle and comes back does not read as physics.

src 21.820 – 24.000s · 2.2s

The film's pivot and the cleanest measurement in it: the pill enters at 1088×404 and is 968×372 by t=22.633 — an 11% shrink over 0.7s with no ease in and no ease out. It does not spring in at all. It is simply there on the cut, already moving. That single measurement is why the kit says the camera never stops.

src 24.000 – 30.200s · 6.2s

The longest shot in the film and it contains no cut — carried entirely by a camera that pushes in through four stages while the work underneath keeps changing. The headline runs behind the window rather than around it, which is what the source does too.

src 30.200 – 36.320s · 6.1s

This shot carries the measurement both films are tuned to. The record widget's entrance at t=30.33 was scanned at full resolution: 64px at frame 2, peaking at 100 by frame 6, settled at 82 by frame 28 with the centre still climbing. Position is monotonic across all 34 frames, and the shrink from the peak is the CAMERA rather than a spring undershoot.

src 36.320 – 40.200s · 3.9s

A hard cut lands here and the take is suddenly material. The gradient edge is the source's own tell that a thing has been processed rather than merely placed, and it is the only saturated frame in either film. The playhead runs at a constant rate: a playhead that eases is lying about a clock.

src 40.200 – 44.050s · 3.9s

The only place in either film where a word is REPLACED rather than appended or stripped. The accent word never moves — it is the fixed point the sentence rotates around — and the two other words never move either, which is what makes the change read as a substitution instead of a new line.

src 44.050 – 46.180s · 2.1s

The film's only human beat, and its fastest stretch — four hard cuts sit inside these 2.1 seconds, so the shot is built to be legible at speed: one object per beat, nothing subtle. POP rather than SNAP throughout, because a message landing is supposed to feel like a message landing.

src 46.180 – 50.700s · 4.5s

Four hard cuts in four and a half seconds, all of them jumps between views of the same object at different SCALES rather than between different content — which is what keeps four cuts that fast legible instead of frantic. The caption's accent is a text selection here, not a colour.

src 50.700 – 52.520s · 1.8s

The film's signature transition and the only one that is neither a cut nor a camera move: blocks sweep in on a ragged diagonal front until the frame is solid. Two things happen when the front completes — the line SWAPS, and the way out is a hard cut rather than a second wipe. The lattice is deterministic, jittered from (col, row) rather than from a random number.

src 52.520 – 58.200s · 5.7s

Five and a half seconds of almost nothing, which is the hardest kind of shot to keep alive. Three things and no fourth: a glowing mark, two short lines, and a field of very dark blocks — the same lattice as the wipe, held at 2–5% so it reads as texture rather than as pixels. Even here it moves: a 3% push, below the threshold of being noticed and above the threshold of looking like a still.

src 0.000 – 1.700s · 1.7s

Shift-command-K, because that is where a page starts here — the command palette, which at /components/pickers is a recipe rather than a component slot. Same measured camera path as its pair, same landings, same springs.

src 1.700 – 6.220s · 4.5s

The same object doing the same three-state morph, but it is the classifier from /new-page step one. You name what you are building, it resolves to one of eight page classes, and the class hands back docs/data-view.md. The bar settles at the same measured 1482×105 so the pair stays comparable frame for frame.

src 6.220 – 8.800s · 2.6s

Same 1.25s pull-back, pointed at the actual mechanism: the page you just named turns out to have been a ROW in the page-class table, and the class hands back a kit, a law and a living example. The library assembles around a surface that is still moving.

src 8.800 – 11.100s · 2.3s

The same beat with the repo's flat claim on it, over the thirteen law docs that make it true. A law is a markdown file, so the object is a document rather than a folder — and the stack fans at four different angles, because parallel copies read as one object with a shadow.

src 11.100 – 15.580s · 4.5s

The same four moves arguing docs/icons.md's single thesis: an icon at rest is never pure black. The arrow points at one glyph, a marker label names the rule, and the slider drives that glyph from #000 to muted-foreground — stopping at 55%, which is where oklch(0.556 0 0) actually sits.

src 15.580 – 16.930s · 1.4s

Its pair drops in a wallpaper; this drops in a THEME. Each tile is a preset rather than a picture — the brand swatch over the neutral it pairs with — because one choice re-points every grey-bearing token in globals.css, which are all parameterised on the neutral hue and tint.

src 16.930 – 21.820s · 4.9s

Its pair beautifies a screenshot; this re-skins a SYSTEM. The radius slider visibly rounds every card at once and the elevation slider moves --shadow-card and --card-ring together, because every card reads the same token rather than its own number.

src 21.820 – 24.000s · 2.2s

The same pivot on this repo's actual arrangement: every law in docs/ has a living example, and the example is the one that gets to be wrong. A spec that no page renders is a wish.

src 24.000 – 30.200s · 6.2s

The Studio page class: a parameter panel and a live preview, where the preview is redrawn from the four parameters on every frame. Points, radius, twist and stroke each move the mark, so the readout literally cannot disagree with the picture — which is the class's whole contract.

src 30.200 – 36.320s · 6.1s

The same entrance, rebuilt, carrying the data-view kit's View options panel — and the list behind it resolves from SKELETON rows rather than a pixel mosaic, because docs/feedback.md pins loading as skeleton-first when the incoming shape is known. Then the sort flips and the rows genuinely reorder.

src 36.320 – 40.200s · 3.9s

The same cut turns a built page into an ENTRY in cards/registry.ts — slug, domain, kind, patterns, after — after which /cards and /cards/[domain] pick it up on their own. Adding a card never edits a page, which is the whole reason a registry earns four seconds.

src 40.200 – 44.050s · 3.9s

The same substitution, except both readings are grammatical: borrowing the source's deliberate malapropism would just read as a typo here. The two lines are the release gate in six words — you think it is done when the feature works; it is done once the ledger entry and the changelog line land in the same commit.

src 44.050 – 46.180s · 2.1s

Kept human. A question lands — how do I build a list page here? — and what comes back is not advice, it is a ROUTE. The living example is the answer, which is the reason every law in docs/ has one.

src 46.180 – 50.700s · 4.5s

The same four jumps landing on the card gallery: 88 entries, every one registered once and picked up by two routes without either being edited. Each tile wears the card recipe rather than a picture — white surface, hairline ring, one dashed seam inside.

src 50.700 – 52.520s · 1.8s

The same wipe with the same swap, in brand blue, landing on the wordmark. The claim on either side of the front is this repo in five words and then two.

src 52.520 – 58.200s · 5.7s

The same card with the repo's thesis in four words. Every page belongs to a class, every class has a law, and the law is enforced by a kit's defaults rather than by anyone remembering it.

src 0.000 – 3.567s · 3.6s

Words fade in and lines cut out — measured, not chosen: ink goes 834 to 0 between two adjacent frames when a line clears, while each word takes ~0.25s to darken. The middle line is the fast one and the punchline holds nearly twice as long.

src 3.567 – 5.867s · 2.3s

Assembled per WORD, not per letter: the source at 3.667 shows both words present and clipped, which only a per-word reveal produces. It blurs out rather than cutting.

src 5.867 – 7.667s · 1.8s

The prompt panel, the preview, the cursor. The preview swaps mid-shot — one card, two outputs, which is how the reference shows range without spending a cut.

src 7.667 – 10.000s · 2.3s

The card that holds rather than swaps: the illustration is the subject, so the camera does the moving. Linear push, because an eased camera reads as a zoom effect.

src 10.000 – 12.300s · 2.3s

The earliest internal swap in the film, measured at 0.467s in. Three gradient blobs on three different clocks, so no two frames of the preview are the same.

src 12.300 – 14.867s · 2.6s

The longest card, and it earns the extra 0.27s by counting rather than by adding a frame. The headline is the sum of its own twelve bars — a demo whose figure disagrees with its chart is the one thing a viewer checks.

src 14.867 – 18.900s · 4.0s

The film's longest shot, and it changes job halfway: a wall of results scrolling past, then at 2.2s a rail slides in and a toolbar drops and the same wall is a product. One shot, no cut — the MAD signal shows no spike.

src 18.900 – 22.900s · 4.0s

Hero one. Everything has landed by 0.8s; the shot's real motion is the light, which travels rather than fading up. Out on a wipe, measured at 0.367s.

src 22.900 – 24.900s · 2.0s

Depth from stacked shadows — honest CSS rather than a forged render. The tags snap in as three discrete bumps, not a ramp, and the shot leaves on a push from below.

src 24.900 – 26.533s · 1.6s

The shortest hero, so it carries exactly one event: the screen wakes. It enters already travelling, because the previous shot is pushed up out of frame and a shot that starts at rest would leave a hitch on the seam.

src 26.533 – 28.900s · 2.4s

The film's largest cut lands here (MAD 78.1) and everything after 0.62s is consequence: the key goes down fast and returns slow, three rings leave on one offset clock, and the shot hands off on a light leak.

src 28.900 – 31.680s · 2.8s

The film's most characterful beat. The middle word lands letter by letter INTO a gap the layout already reserved, so for about a fifth of a second the card reads as a half-finished name — which is what the source's odd-looking intermediate frame actually is.

src 0.000 – 3.567s · 3.6s

The replication's measured cadence, this repository's question. Soft in, hard out; the punchline holds longest and carries the only colour in the sequence.

src 3.567 – 5.867s · 2.3s

Same per-word reveal as the sibling, wearing the brand blue. The ornament is three layer chips stacking in the direction the pyramid is read.

src 5.867 – 7.667s · 1.8s

Tokens printed WITH their oklch values, because a colour ramp without its values is a mood board and this layer's whole claim is that the values are written down once.

src 7.667 – 10.000s · 2.3s

The one family whose value is what happens when you click it. The popup opens on the picker contract the repo actually pins — a 200ms overshoot spring, not a fade.

src 10.000 – 12.300s · 2.3s

Kept the sibling's earliest swap, because this layer's claim is RANGE: one card on screen would be arguing the opposite of 87 across seven domains.

src 12.300 – 14.867s · 2.6s

A data view assembling region by region, each slot naming itself in mono as it lands — then the labels retire, because an explanation that stays after it has landed is clutter.

src 14.867 – 18.900s · 4.0s

Real titles, read out of cards/registry.ts. A promo for a repo whose first law is register-once-derive-everything cannot show invented inventory.

src 18.900 – 22.900s · 4.0s

Built bottom-up, because a pyramid that assembles top-down asserts the opposite of what it came to say. The rail runs solid accent through the five composition layers and goes quiet for the two nothing is built out of.

src 22.900 – 24.900s · 2.0s

Nodes, then edges drawn by dash offset (a clipped line wipes; a dashed one is drawn), then one packet walking the declared path. A diagram is data, not a drawing.

src 24.900 – 26.533s · 1.6s

One of the twelve Industries screens coming up to temperature. Enters travelling, and carries exactly one event in 1.633s: the board wakes.

src 26.533 – 28.900s · 2.4s

Six figures counted from the registries, landing together on one clock. Deliberately not a KPI strip — no delta, no target, no status colour, because none of this is running.

src 28.900 – 31.680s · 2.8s

The sibling's reserved-gap trick transcribed: the middle word fills a space the layout held open, so the card reads half-finished before it resolves.