On the Private: widescreen scene book

What the checkers caught

Ten skeptical checkers went through every shot's frames, half of them looking only at the framing and half only at the club screen, and a judge threw out what was taste and ranked the rest. Their main finding matched yours: the group pictures do not fit beside the column. These are the things I changed, and one I left alone.

• Shots 6, 17, 18, 32 and 38: The group pictures were cut in half beside the column, and on two of the title lines the singer was out of frame. Now the column slides away on every “What about on the private?” and for the last sung line, and those pictures play full screen with the sung line drawn on them.
• Shots 7, 11 and 39: The camera still pushed in on the vault door while the board was up on the screen. No pushing in while the board is on the screen. The door shots drift or pull back with the board whole, and the echo line is held still, full screen.
• The board itself: The top team's name ran into its score, and PUBLIC and PRIVATE were tiny. Names are measured and kept clear of the scores, the headings are bigger, and the question marks flare on the word private.
• Shots 12 and 32: In the animated clips the dancers and the rabbits' ears passed over rows of the board. On a clip the board now sits only where the screen stays bare for the whole clip. Where that leaves too little room for ten rows, it shows the five rows that hold the lit team, big enough to read.
• Shot 37: Two stray hands popped into the lower corners of the singing close-up. Framed tighter on his face, and the cut leaves before they appear.
• Shot 14: The heart close-up showed the empty collar where his head should be. Top edge lowered to keep it out.
• Shots 15 and 25: Half a rabbit and scraps of other characters along the edges of the rail shots. Reframed: one on the chickens and Yorkies, one on the four rivals under the board.
• Shot 40: The credits sat in a pasted box that the slow push shoved into the corner. No box and no push: they type straight onto the dark screen, all one size.
• Shots 3, 4, 10, 16, 23, 24, 26, 28, 30, 34, 35 and 36: A sliver of a neighbour on the edge of a close shot. Each one re-framed on its subject.
• Shots 19 to 22: The four quick singles share the frame with cut-off neighbours. Tightened, but still crowded: the dancers stand shoulder to shoulder, so a clean single is not there to be had.
• Left alone: In the left column each team card counts its score up from zero for half a second, the same as in the first video. Not changed, because that is how the video you liked does it.