Reference D · Failures by symptom

Reference

Every failure that the tool sections and the stage chapters tabulate, sorted by what you see on the screen or hear in the speakers. Each row gives the likely cause and the fix, worded as its chapter words them, and the section that teaches it.

In this reference

• D.0: three questions to ask before you look a row up

• Thirteen headings, D.1 to D.13: face; hands; product; text; camera; light, look and world; motion; performance; voice; sync; music; sound; file

• 232 rows: what you see or hear, the likely cause, the fix, and where the fix is taught

How to read a row. The fix cell gives the first lever; where the chapter gives a next step, an arrow leads to it. A row from a tool section applies to that tool; a row from a stage chapter (Chapters 1, 2, 7, 9, 10, 13, 14, 15, 22 and 25) names a fault whatever the tool. A dash in the cause cell means the chapter's table gives the fix without a cause. Where a chapter's table adds a stop condition, it follows the fix ("stop prompting when"). The same fault can appear under two tools with different fixes: read the row for the tool you use.

D.0 Before you look anything up

Most wasted credits come from repairing the wrong layer. Ask three questions first (29.12):

1. Is it already in the source? Open the keyframe, or listen to the take alone. A defect at frame 0 or in the take is fixed in the still or the line, not in the clip.

2. Does every attempt do it? The same defect every time points to the shot, the route or a sentence in the prompt; a different defect each time is variance.

3. Does the route own this behaviour? A mouth moving in a pause, a line re-timed by a re-performance, a lip-sync output shortened to the shorter of its inputs: no wording will move them.

Then climb the smallest lever first: a different select or trim in the cut, a local fix in post, a one-change edit of the still, a new generation with one variable changed, another route, and last a new plan for the shot (29.12). The rungs for a failed clip are in 14.16.

D.1 Face

A face that is not the person's or that drifts, skin that looks wrong, a face that acts, a twin or an extra person.

You see or hear	Cause	Fix	Where
The same person twice: a face drifts between shots, and further along a chain of edits; OpenAI's guide says to restate what must be preserved when a chained result drifts	—	sign one still of each character; compare every later frame with it at full size; return to the approved parent instead of editing a copy	1.3 The camera is a model (Chapters 9, 10)
The uncanny human: a face reads as wrong at once, at the size it will be seen	—	judge faces at viewing size and at full size; design subjects and actions the models render truthfully	1.3 The camera is a model (Chapters 10, 15)
The wrong identity in a good scene	—	give the identity picture its authority again; remove competing faces → stop prompting when the face still differs in a view that matters; then a new accepted frame, or another route	2.9 Directing in words
A wrong profile the model has never seen	—	make and approve that view first → stop prompting when a real actor's likeness cannot be reached; then an approved side view, before any motion	2.9 Directing in words
Skin looks plastic or aged	no skin facts, or pores everywhere	the character's own marks; shine following the light; judge at viewing size	7.9 Production design
Plastic skin	no skin facts	one to three specific ones: pores, sheen on the nose, the lines from nose to mouth	9.8 The finished frame
The face is acting	an emotion adjective	describe the muscles, or write "her expression does not change"	9.8 The finished frame
A younger, prettier face than you wrote	the face was written from a type, not from asymmetries	put the fixed facts early, asymmetries first (element 3)	9.8 The finished frame
The wrong face in an otherwise right scene	—	go back to the identity picture; remove competing faces → stop prompting when the face still differs in a view that matters; then a new accepted frame, or another tool	9.9 The finished frame
Plastic skin	no skin facts	add one to three: pores on the nose and cheeks, a sheen on the forehead, the lines from nose to mouth	11.8 Nano Banana Pro
The face is acting	an emotion word	write the muscles, or "her expression does not change"	11.8 Nano Banana Pro
A younger, prettier face than you wrote	the face was written from a type	put the fixed facts early, asymmetries first	11.8 Nano Banana Pro
The face drifts from the photograph over several frames	the clause was retyped, the master was not attached, or an edit was made of an edit	re-attach the master, paste the clause, and start again from the last approved frame	11.8 Nano Banana Pro
A face or hand moved in an edit	edited from a damaged frame, or a chain of edits	return to the approved parent; composite the region	12.8 GPT Image 2.5
Costume or face drifts	too long, or the still already drifts	a shorter clip; protect by name; fix the still first	14.16 The moving shot
A face warps on a turn	A turn past about sixty degrees	A small turn, or two shots cut on the look	16.8 Kling
A twin, or an extra person	a picture with several faces, or near-duplicate references	separate clean files; the count and the one-instance line	17.8 Seedance 2.5
One character takes another's face or voice	the upload order does not match the numbers	re-attach in order of first appearance and renumber	17.8 Seedance 2.5
Glowing eyes	strong emotion words	calmer words; "normal human eyes; no glowing eyes" as the top-priority negative	17.8 Seedance 2.5
A reference's identity drifts	one reference did two jobs	one job per reference	19.8 Veo and MiniMax
Skin waxy, a label or badge changed	creative or generative upscaling	precise mode or a lower factor; failing that, native and composite the text in post	32.8 Premiere and finishing

D.2 Hands

Grips, contacts, fingers, and who holds what.

You see or hear	Cause	Fix	Where
Hands and physical states: hands holding small objects are among the hardest cases; what rests on what is easily missed	—	describe the support and the contact; attach a reference photograph of the pose	1.3 The camera is a model (Chapters 9, 10)
A wrong grip or contact	—	fix what supports what; add a blocking photograph → stop prompting when a reworded attempt returns the same grip; then a new keyframe, or different coverage	2.9 Directing in words
A wrong grip or contact	—	correct what supports what; add a blocking photo → stop prompting when two attempts repeat the same contact; then a new keyframe, or different coverage	9.9 The finished frame
The event is wrong (who holds what)	the instant was implied	positions and contacts	12.8 GPT Image 2.5
Fingers melt at the touch	contact rushed, or the hand hidden in the still	name and slow the contact; path, grasp, rest; a cleaner grip keyframe; split at the touch	14.16 The moving shot
A duplicated prop, or a phantom grip	no single instance, no release gate	"one [prop]"; release only after the grip	14.16 The moving shot
The prop stays with the giver, or floats	—	"takes its weight, and only then … lets go"; the giver empty-handed after	15.10 Directing performance

D.3 Product

A product whose shape, size or badge is wrong, or that does not sit in its scene.

You see or hear	Cause	Fix	Where
A product that keeps its wrong shape	—	supply real photographs of its front and side → stop prompting when the model keeps redesigning it; then a photographed or composited product	2.9 Directing in words
The product floats	it has its own light and no contact	the scene's light, a contact shadow, an overlap, a hand for scale	7.9 Production design
A product the wrong shape	—	attach real front and side photographs → stop prompting when the model keeps redesigning it; then the photographed or composited product (10.11)	9.9 The finished frame
The product grows or shrinks between shots	no scale lock	the forearm test, and "smaller, never larger"	10.11 Identity and references
Cap or shoulders redesigned	the model's idea of the product	attach the side view again "only to resolve that geometry"; after two controlled attempts, a photographed or composited product	10.11 Identity and references
A second bottle, badge or seal nobody asked for	the model's habit	name it in the exclusions	10.11 Identity and references
A product's shape or label is wrong	words cannot hold a product	attach front and side photographs; then composite the photographed product	11.8 Nano Banana Pro

D.4 Text

Lettering, logos, Arabic and captions: in the frame, on a plain object and on the timeline.

You see or hear	Cause	Fix	Where
Words in the picture: misspelled text, invented logos, faint printing on plain objects	—	two layers: in-world text may be generated and checked letter by letter; logos, titles and legal lines are always set in post	1.3 The camera is a model (Chapters 10, 30)
Stray printing or logos on plain objects	the model's habit	clean it in post (Chapter 10)	7.9 Production design
Fine type wrong	—	correct it once or twice → stop prompting when the delivery needs exact text, or two tries failed; then real artwork composited on a clean surface (10.12)	9.9 The finished frame
Logos, faint printing or extra text on plain objects	the model adds print to surfaces	describe the surface as plain and unmarked; clean it in post	11.8 Nano Banana Pro
In-frame text is misspelt, or Arabic letters are wrong	small text and fine detail may not come out right	quotation marks and the exact string; two tries at most; then a blank panel and the real text set in post (Chapter 30)	11.8 Nano Banana Pro
Captions or watermark-like text appear	the closing line is missing	end on "no overlaid text, subtitles, logos, or interface graphics"	11.8 Nano Banana Pro
Marks or letters on a plain object	the model adds plausible detail	"blank label panel, no lettering or marks"; remove in an edit, or paint out	12.8 GPT Image 2.5
Misspelt or extra words	placement and clarity are documented weaknesses	quote once, fence the frame, raise quality; after two controlled attempts set the words in post	12.8 GPT Image 2.5
Arabic unjoined, wrongly dotted or reversed	OpenAI claims nothing for Arabic	blank the panel and set the line from the real font	12.8 GPT Image 2.5
The type block off the brief, or the quiet zone filled	layout placement is a documented weakness	write the zone as a surface, cut elements, or set the layout in post and keep the frame for mood	12.8 GPT Image 2.5
A label smears or re-letters mid-move	text under motion	a shorter move; the label composited from the artwork	14.16 The moving shot
Lettering misspelt	text generated in the frame	composite it in post; the maker's fix is separate letters, or the text supplied as an image	17.8 Seedance 2.5
Subtitles appear	dialogue repeated in the prompt, business tied to words, or subtitles in a reference	say the line once, time the business by order, use "Character's line (emotion): content"; clean references	17.8 Seedance 2.5
Arabic caption characters reversed	the caption track's Text Engine is not the South Asian and Middle Eastern one (typical after an SRT import)	set it in Track Settings, re-create the captions, never reverse by hand	32.8 Premiere and finishing
Full stop or comma on the wrong end of a second Arabic line	typing direction	switch on right-to-left typing in Essential Graphics	32.8 Premiere and finishing
No transcript for Arabic dialogue	Speech to Text lists no Arabic	use the approved script, or import a JSON transcript from another tool; check its timings against the waveform	32.8 Premiere and finishing

D.5 Camera

A camera that does not move as written, framing that differs from the frame it started from, borrowed or mirrored geography, edges and depth of field.

You see or hear	Cause	Fix	Where
The edges look accidental	an object half-clipped, a bright leak	move the object in or out; darken the leak; add a foreground witness	7.9 Production design
The plate brings its framing into a new shot	it was fed without a fence	"take the room; take nothing of its camera position"	10.10 Identity and references
The room comes back mirrored	landmarks were described as screen sides	state them in world terms first, then as seen from this station	10.10 Identity and references
The depth of field or the scale does not match the numbers	numbers are cues, not physics	write the result beside the number; recheck the distance with the formula (11.3); judge the frame	11.8 Nano Banana Pro
The camera floats	a move without a mechanism	give the move a body, or declare the camera locked	14.16 The moving shot
The camera zooms and does not move	The far feature grew as much as the near one	Name the mechanism and the destination in the rig sentence; measure again	16.8 Kling
Wider framing than asked, or the shot opens empty	a reference does not lock the frame	write the shot size, camera height and who is in frame at the start	17.8 Seedance 2.5
The camera moves, or a cut you did not ask for	no fixed-shot sentence; no single-shot line	the fixed-shot sentence first inside the shot; "One continuous shot" on the first line	18.8 Wan 3.0
The framing differs from the keyframe	a reference does not fix the frame	write the shot size and camera position; if it must match, a Seedance or Kling start frame	18.8 Wan 3.0

D.6 Light, look and world

Light in the wrong state, objects nobody asked for, a room that looks staged, colour that has slid, a reference that leaks its ground, an edit that spreads.

You see or hear	Cause	Fix	Where
Physics: shadows that disagree with their source; liquids, reflections and fast motion; the tells cluster around physics, not texture	—	name each light by what it is and what it does; describe what rests on what; cut before a fast move peaks	1.3 The camera is a model (Chapters 6, 7, 14)
Crowds and scale: crowds default to uniformity; the scale of objects to one another breaks	—	clusters rather than exact counts; test a count before a client shot	1.3 The camera is a model (Chapters 10, 14)
The generic look: "cinematic" pulls a room towards teal and orange; "8K" and "ultra-realistic" set nothing	—	name sources, surfaces and colours; no quality words	1.3 The camera is a model (Chapters 2, 6, 7)
A scene drifting after several edits	—	return to the last approved frame → stop prompting when you are editing the damaged copy; then one new edit from the accepted source	2.9 Directing in words
The room looks new or staged	wear was written as a mood, or not at all	name the touch points and their marks; one exclusion against the cliché	7.9 Production design
Everything is equally detailed	too many materials; density written as a count	three or four material families; clusters by owner; fewer layers	7.9 Production design
Clothes look airbrushed	colour and mood, no construction	fabric, seams, closures and wear state	7.9 Production design
One object from the wrong world	the genre's or the present's default	an inventory against the world note or the period	7.9 Production design
A light is on that should be off	the state was mentioned once, and as a negative	an edit of that frame that says it firmly and names the only light	9.8 The finished frame
An object you never asked for	a surface was left unnamed	name every surface and what sits on it; describe emptiness as a surface ("the oilcloth between the laptop and her is bare")	9.8 The finished frame
The room goes teal and orange	a grade word, or "cinematic"	delete it; name three real surfaces and their colours	9.8 The finished frame
A small unrelated mark on a plain wall	—	clean it in post, or a narrow edit → stop prompting when repeated edits start moving the actor or the product; then the original with an approved patch	9.9 The finished frame
A figure or object left in the "empty" room	the removal list was incomplete	name everything that goes, and what the surface becomes	10.10 Identity and references
Surfaces smooth and plastic after an edit	the edit softened a crisp plate	composite the original texture back into the untouched regions	10.10 Identity and references
A light is on that should be off	the state was mentioned once, and as a negative	an edit that says it firmly and names the only light: "the only light in the room is the low warm bulb"	11.8 Nano Banana Pro
An object you never asked for	a surface was left unnamed	name every surface and what sits on it; describe emptiness as a surface: "the tabletop between the glass and the tray is bare"	11.8 Nano Banana Pro
The frame goes teal and orange	"cinematic" or a grade word	delete it; name three real surfaces and their colors	11.8 Nano Banana Pro
The reference's room, light or clothes came along; a second face; a grey ground	the picture owns everything it shows and no fence was written	write the fence ("take nothing of its ground, light, clothes or pose; no face"), or crop the picture to its one job	11.8 Nano Banana Pro
An edit moved something you did not mention	no mask: the whole frame is redrawn	repeat the preserve list and name the thing that moved, or composite only the changed area onto the parent	11.8 Nano Banana Pro
A relit frame looks pasted in	Google notes that complex edits, lighting changes among them, can produce unnatural artifacts	a one-change edit that names the new light's source, direction and Kelvin and what it does to each named surface; inspect shadows and reflections	11.8 Nano Banana Pro
The finish looks like damage: dirt, scratches, heavy noise	the finish block asked for age or damage	describe capture only; add delivery grain and halation in post (Chapter 30)	11.8 Nano Banana Pro
The edit changed more than asked	the change named no boundary	name consequences and protected regions; one change; composite	12.8 GPT Image 2.5
The reference's moment came back	the picture's state beat the written state	make them agree, or say what not to copy	12.8 GPT Image 2.5
An edit came back as a new shot, restyled throughout	wording that reads as a new shot, or no task word	task word first, the change from A to B, the protected list; else composite in post	13.7 Choosing the route
A reference job copied the source clip's person or room	edit wording in a reference job	remove "replace" and "instead of"; say the clip supplies only its camera path	13.7 Choosing the route
A detail flips (a bangle's wrist, a shirt's colour)	The prompt contradicts the frame	Correct the prompt; the frame does not always win	16.8 Kling
A reference's backdrop, light or grade leaks in; sheet panels or grey ground appear	no fence	"take nothing of …"; crop the file to its job; "do not show the sheet, its panels or its backdrop"	17.8 Seedance 2.5
Fingerprint-like texture in grass, foliage or fabric	a high-resolution AI-made reference	resize the reference to no larger than the output	17.8 Seedance 2.5
An edit comes back a new shot, or spreads, or half applies	no task word, the wrong mode, a loose scope, or two changes in one job	"Edit video:" first, the mode set, when and where, one change, the protected list; after two that spread, composite in post	17.8 Seedance 2.5
People appear in an empty plate	the model fills the space	"No people", and what makes emptiness plausible	18.8 Wan 3.0
A reference's backdrop or light leaks in	no fence	"take nothing of its framing or background"	18.8 Wan 3.0
The look changed	the prompt restyled the frame	remove style words; the frame owns the look	19.8 Veo and MiniMax

D.7 Motion

An action that does not happen, overshoots or is skipped; warping and drift inside a clip; extensions and end frames.

You see or hear	Cause	Fix	Where
An action that never happens: a start frame that already shows the action finished leaves the clip nothing to do	—	freeze the keyframe early in the action, each mover's direction written as positions	1.3 The camera is a model (Chapters 9, 14)
The clip performs no action	the keyframe shows the end state	an edit back to the first instant, before any video re-roll	9.10 The finished frame
Blurred limbs or a warped frame in the clip	an open verb, or an impossible contact, survived in the still	rewrite it as positions; make the contact possible	9.10 The finished frame
A clip started from this frame begins with a photograph waking up	the instant carried no evidence of direction	write the phase of each moving system as positions	11.8 Nano Banana Pro
An extension restarted the action	no stated state at the join	the extension mode with its direction; the join state read from the file	13.7 Choosing the route
The prop never moves, or the action is skipped	the keyframe shows the move finished	a state-0 keyframe (a one-change edit), then regenerate	14.16 The moving shot
The move overshoots (a lid closes fully)	no stopping point	write where it stops "and stays", and the composition it lands on	14.16 The moving shot
A dead first second, then the photograph wakes up	a statue keyframe, or an action that starts late	a keyframe just before the action; motion at once	14.16 The moving shot
The background warps	stacked or fast moves	one device; slower; a simpler background	14.16 The moving shot
An object appears from the edge of frame	something off frame was named	describe its light or its sound, not the object	14.16 The moving shot
A head swings through profile	only the landing was written	the short way, never past three-quarter; an end frame	14.16 The moving shot
Right ends, an invented middle	the frames are not exact relatives, or the path is not bounded	rebuild the pair; orientation in positive words; shorten the travel	14.16 The moving shot
A reversed clip gives itself away	something in frame moves on its own	remove it from the still, or go forward with an end frame	14.16 The moving shot
An exclusion is ignored ("does not tip or turn")	There is no negative field, and prose negatives are weak	State the positive state held all the way	16.8 Kling
One action is missing and the rest is good	The model skipped one event	Keep the take; generate the missing event alone from the same start frame and composite it (14.13)	16.8 Kling
An extension restarts the action, jumps at the join or steps in volume	a recap; the boundary state not matched; the maker's volume shift	open on the boundary state with no recap; trim at the join; cut on a sound; even the level in the mix	17.8 Seedance 2.5
An extension goes the wrong way	direction words read the other way from Seedance	"Continue from the last frame of Video 1", or "Before the first frame of Video 1"	18.8 Wan 3.0
An extension drifts from its clip	Generative Extend invents the frames	shorten it, choose another handle, or generate longer	32.8 Premiere and finishing

D.8 Performance

A performance that shows the feeling, times a reaction wrongly, or resets at every cut.

You see or hear	Cause	Fix	Where
Faces that act: an emotion word invites the face to perform	—	give the character a task, then visible cues in the body and face	1.3 The camera is a model (Chapter 15)
The wrong person speaks	a second face in the keyframe	move the listener outside the frame, or make them still	9.10 The finished frame
The actor advertises the emotion	—	give a practical task and cut the feeling word	15.10 Directing performance
The outcome shows before its trigger	—	limit the character to what they know at that moment; move the trigger earlier in the text	15.10 Directing performance
The listener waits mechanically	—	let understanding begin during the other line	15.10 Directing performance
The gestures illustrate every word	—	give the hands their own business	15.10 Directing performance
An empty pause	—	make it assessment, concealment or decision; otherwise shorten it	15.10 Directing performance
Every cut resets the actor	—	carry the previous action and its residue (Chapter 29)	15.10 Directing performance
The ensemble moves in unison	—	a different target and timing for each person	15.10 Directing performance
The whole body turns for every glance	—	separate the torso from the gaze	15.10 Directing performance
The wrong person reacts first	—	the responder keeps a task until the cue	15.10 Directing performance
Identities merge in a two-shot	—	simplify reflections and crowding; props that tell them apart; singles	15.10 Directing performance

D.9 Voice

Wrong words, dialect, numbers and accents in a voice line; a clone that differs; a line that will not lock.

You see or hear	Cause	Fix	Where
Arabic spoken by a video model: no video model's own speech is a delivery route for Egyptian or Saudi Arabic	—	the voice comes from a voice actor or ElevenLabs; each project decides whether the exact take must ship or a new performance will do	1.3 The camera is a model (Chapters 21, 22)
Arabic speech, or any language but English	not evaluated by Google; not documented by MiniMax	never; an actor or ElevenLabs (Chapters 21 and 22)	19.8 Veo and MiniMax
A word sounds wrong	the take	re-lock the take	22.5 The speaking shot
A word changed or added	low stability, or a long line	one step toward higher stability; one sentence per take	23.8 ElevenLabs
The bracket is ignored, or the read is flat	the voice cannot play it, or stability is high	recast the voice; one simpler bracket; one step lower stability	23.8 ElevenLabs
A tag or direction is spoken aloud, or turns into a noise	the tag read as a sound cue; direction written as prose	describe the voice quality; fewer tags; direction to the picture prompt	23.8 ElevenLabs
Foreign or wrong dialect	the voice, not the text	recast from samples in the variety; audition the other model	23.8 ElevenLabs
One word fails: ق, ع, a vowel	this voice on this word	the ladder of 21.7	23.8 ElevenLabs
IPA is ignored or wrong	IPA "can still vary by voice and phrase"; Arabic is not documented	generate again; another voice; an alias	23.8 ElevenLabs
A number or date misread	the normaliser	the spoken form, in words (21.9)	23.8 ElevenLabs
The accent drifts, the level shifts	a long line, or a voice not native to the language	one breath group per take	23.8 ElevenLabs
A clone sounds different on v4 than on v3	v4 follows the source more closely	audition both; the ear decides; keep the model on the row	23.8 ElevenLabs
A newly generated line no longer matches a locked one	the model "may shift over time"	never regenerate a locked line; use the lock, and re-audition new lines	23.8 ElevenLabs
The performer's slip survives a conversion	the input decides the output	re-record the input	23.8 ElevenLabs
A word sounds wrong	the take	re-lock the take with the spelling repaired (Chapter 21); no more video credits	24.8 Sync Lipsync 3

D.10 Sync

Lips against sound: the onset, the hold, a blurred mouth, a plate that talks too long or too little, a mouth that opens uninvited.

You see or hear	Cause	Fix	Where
The mouth is already speaking in the first frame	a speech mouth was baked in	lips neutral or barely parted; the line begins in the clip	9.10 The finished frame
The mouth is lost in shadow	the lower face is unevenly lit	light the lower face evenly, and name the surface that bounces the light	9.10 The finished frame
A mouth opens uninvited on a silent clip	—	write the mouth: lips together and relaxed; give the listener no line that invites speech	15.10 Directing performance
A mouth opens uninvited on a silent plate, or speech comes back in English	A listening line invites speech; dialogue outside the five languages	Name the mouth ("lips together and relaxed"); never ask for dialogue; sound off if the plate is silent	16.8 Kling
The mouth does not follow; the line starts at once; a long hold after it	the sound is off; nothing is written before the line; the model re-timed the line	sound on; write the business first, or extend backward; trim the hold and buy fewer seconds next time	17.8 Seedance 2.5
The mouth drifts in the second half	a three-quarter view, or two pauses	a frontal keyframe, one pause, a shorter line	18.8 Wan 3.0
Speech where there should be none, or extra words	"No dialogue" or "says only this line" missing	write it; sound off for a wordless plate	18.8 Wan 3.0
Sync right, face dead	the plate	re-plate (22.4)	22.5 The speaking shot
The first sound is missing	the audio window or its trim	restore the head silence and the onset	22.5 The speaking shot
Head and jaw fight the new line	the approved clip spoke the old line	a talking plate of the same shot	22.5 The speaking shot
The mouth is blurred or looks pasted on	the face is small, turned or occluded	a tighter, nearer-frontal plate with nothing at the mouth; else redesign the shot (22.3)	22.5 The speaking shot
Sync right, face dead	the plate	re-plate with more business and a talking mouth (22.4)	24.8 Sync Lipsync 3
The first sound is clipped	the audio window	restore 200 ms of head silence	24.8 Sync Lipsync 3
Lips start before or after the sound	the take's head does not match the plate's talk onset	pad the head to the measured onset, or trim the plate (22.4)	24.8 Sync Lipsync 3
The mouth moves in a pause or after the last word	the plate talked longer than the speech	shorten the plate's talk; end the take after its tail	24.8 Sync Lipsync 3
Motion reversed, repeated or sped up	bounce (the default), loop or remap	set cut_off	24.8 Sync Lipsync 3
The line is clipped at the end	the take outlasts the plate	a plate 0.3 to 0.5 s longer than the padded take	24.8 Sync Lipsync 3
Head and jaw fight the new line	the approved clip spoke the old line	a talking plate of the same shot	24.8 Sync Lipsync 3
The mouth is blurred or pasted on	the face is small, turned or occluded	a tighter, nearer-frontal plate; else redesign the shot (22.3)	24.8 Sync Lipsync 3

D.11 Music

A cue that enters wrongly, fades instead of ending, masks the voice, drifts in time or arrives with voices.

You see or hear	Cause	Fix	Where
Music under "No BGM"	a sound effect turned into a score	an audio policy at the head and the tail listing the music terms (BGM, score, instrumental, melody, synth effects, ambient pad); or strip it in the mix	17.8 Seedance 2.5
The cue enters too early	its placement	move the entry; regenerate only if no interval works	25.5 Music and sound
A jump at the seam between two phrases	the interval chosen	replace that region in the tool, or choose another interval	25.5 Music and sound
The music masks the dialogue	density in the speech range	duck it; then a reduced section, or "sparse under speech"	25.5 Music and sound
It fades instead of ending	no ending in the file	cut to a phrase with a real end; replace the ending	25.5 Music and sound
The export sounds different from the tool's player	gain, or stems doubled under the mix	compare the two aligned before changing the music	25.5 Music and sound
A muddy, crushed sound	a second limiter on a file that arrived loud	one limiter only, in the finished mix	25.5 Music and sound
Every candidate is the same generic "cinematic" bed	the brief names a genre and a mood, not a piece	rewrite as function, figure, roles and arc; move "cinematic, epic" to Exclude Styles	26.8 Suno
The figure is lost under the colour	too many instruments; the figure sentence is late	figure sentence first; cut the list to the lead and two supports	26.8 Suno
Voices, a choir or a hum appear	the switch alone, or an implied singing word	all three layers (26.3); add "backing vocals, ad-libs, vocal pad" to Exclude Styles; replace the section	26.8 Suno
It fades out, loops, or builds when it should not	no written ending, or "does not build" is missing or late	write the ending as behaviour and [End] in Lyrics; move "does not build" to the first sentence; make the lift harmony, not volume; replace only the ending	26.8 Suno
The cue fights the voice-over	the middle register is filled	"sparse under speech"; thin that section by arrangement; the level is set in the edit	26.8 Suno
A section you did not ask for, or a tag sung aloud	structure words in Style; a tag that is too long	move structure to Lyrics as tags; keep each tag to one to three instructions	26.8 Suno
Wrong words in one sung section	Suno drops or substitutes words	edit that section's lyrics and replace the section; check every sung word	26.8 Suno
The generation is refused	a name, a brand or a trademarked term in any field	remove it; describe the sound; check Title and Lyrics too	26.8 Suno
A click or jump at the seam	the boundary is mid-phrase	drag the boundary to a phrase edge or a decay	26.8 Suno
The downbeat has moved	a seam changed the timing	re-spot the edit; widen the region if needed	26.8 Suno
Stems do not add up to the full mix, pump, or carry a ghost voice	they are separations	use them as parts; keep the full mix as reference; use the original mix outside the dialogue and a reduced section under it	26.8 Suno
Drift late in the cue, or a locked cue that sounds stiff	the tempo is approximate; or a breathing cue was forced onto a grid	Manual BPM for a grid cue, or cut at phrases; return a breathing cue to its own timing	26.8 Suno
A regional palette reads as a postcard	a reflex instrument in the roles	remove that role; keep pulse and harmony; compare	26.8 Suno
It sounds older, or ignores the chunks	it ran on the default music_v1	name music_v2_5	27.8 Eleven Music
A voice appears	force_instrumental does not apply to plans	"vocals" in the negative styles of every chunk	27.8 Eleven Music
The ending cannot be repaired	it was not stored at generation	upload the approved file to store it, then repair	27.8 Eleven Music
Chunk 1's palette leaks into a changed ending	the first chunk shapes all that follow	an audio-reference chunk for what must stay; lower context adherence on the chunk that should change	27.8 Eleven Music
A click at a chunk joint, or a refusal	the boundary sits mid-phrase; or a name in a style	move the reference range to a phrase edge; describe the sound instead of naming it	27.8 Eleven Music
a generic bed	a vague prompt	instruments, BPM, key, mood and structure	28.8 Sound generators (Lyria)
voices appear	a hint of singing in the brief	"Instrumental only, no vocals", remove any sung wording, audition another run	28.8 Sound generators (Lyria)
blocked prompt	the safety filter (an artist's voice, copyrighted lyrics)	describe the sound, name no one	28.8 Sound generators (Lyria)

D.12 Sound

Effects and beds: timing to the contact, size and material, tails and loops, and a track you did not ask for.

You see or hear	Cause	Fix	Where
A voice or music appears	the track cannot be switched off and the sound line left room	name each sound and refuse the rest; strip the track in post; or use a tool with a switch (Chapters 16 to 18)	19.8 Veo and MiniMax
The sound drifts off the contact	the event was vague	write the event and its sound as one moment; shorten the clip	19.8 Veo and MiniMax
A sound is the wrong size or material	a vague prompt	name what struck what, with force, scale and space (25.7)	23.8 ElevenLabs
A sound effect carries music or a voice	the prompt invited it	end with "No music, no voices"; make the event alone	23.8 ElevenLabs
Hits late or early	timing	slide the transient to the contact frame	25.13 Music and sound
Several contacts	repetition	a single-hit candidate, or trim → record	25.13 Music and sound
Ring or tail too long	tail	trim or fade; "damped, short dry decay" → a fuller glass, a smaller room	25.13 Music and sound
Too heavy	perspective	reduce the force and weight words → record it lighter	25.13 Music and sound
A close sound on a wide shot	perspective	distance and room in post → or was it a chosen subjective emphasis?	25.13 Music and sound
Loop bumps	repetition	a longer file → a library bed	25.13 Music and sound
A musical hum in a bed	source	a simpler request: the fan alone, "no tones" → a library or recorded bed	25.13 Music and sound
A trailer thud	source	give "impact" a force and a scale; remove "cinematic" → record	25.13 Music and sound
The bridge starts on the cut	placement	start it under the outgoing frames	25.13 Music and sound
An effect masks a line	level	lower or move the effect → a different take	25.13 Music and sound
contacts off the action	the guide was performed watching the face	record the guide again, watching the object; keep the words	28.8 Sound generators (Firefly)
the wrong material, or an ambience like drumming on pots	the words	rewrite the words; keep the guide	28.8 Sound generators (Firefly)
several sounds mixed	more than one sound in the prompt	one sound per generation, layered on tracks	28.8 Sound generators (Firefly)
several taps or a long tail	duration too long, or "impact" without a scale	a shorter duration, "once", a size	28.8 Sound generators (Stable Audio)
the attack moves or doubles	noise level too high	bring it back towards the recording, or keep the recording	28.8 Sound generators (Stable Audio)
a region repeats the original	mask too small	widen the mask	28.8 Sound generators (Stable Audio)
A "silent" clip has sound	sound was left on, or the model is Kling Turbo	type sound off on Kling 3.0, or strip the track in the edit	33.8 Higgsfield

D.13 File

Sizes, aspects, frame counts, uploads, charges and job records; import and export.

You see or hear	Cause	Fix	Where
Repeatability: no seed on the video models; every take is new	—	keep every original file; record every job the day it runs	1.3 The camera is a model (Chapters 8, 33)
The frame comes back in the wrong shape	an aspect written in the prompt fights the setting	keep the aspect out of the words	9.8 The finished frame
The frame comes back in the wrong shape	an aspect written in the prompt fights the setting	set it in the interface and keep it out of the words	11.8 Nano Banana Pro
A small, soft frame	the defaults (low, 1k) were left	write all four settings and re-run	12.8 GPT Image 2.5
A fringe on black or white	a translucent edge made against another ground	denser material in the words; choke the matte in post	12.8 GPT Image 2.5
A floor, shadow or checkerboard baked in	transparency not asked for in both places	set the background and say it in the words; try 1:1; check the file	12.8 GPT Image 2.5
A preset suggestion instead of a job	The platform intercepted the request	Resubmit with the decline field; no charge for the interception	16.8 Kling
An edit is a few frames short	the source is not 8n+1 frames	trim the source; or use a reference job with a set duration	17.8 Seedance 2.5
A complex job is unstable, or a changed aspect fills with invention	a reference task and an edit in one prompt; an edit cannot change the canvas	a reference pass, then an edit pass; for an aspect change, a reference job with a frame-by-frame plot description	17.8 Seedance 2.5
A rejected upload (a 400 error)	a JPG with unusual chroma subsampling	convert with ffmpeg, or use PNG	17.8 Seedance 2.5
The job is rejected	a start or end frame went in with a reference	remove the frame, or drop the references	18.8 Wan 3.0
The clip is 8 s and the price doubled	the default	set 4	19.8 Veo and MiniMax
Soft detail at 2K	the 2K may not be real detail	judge at 200 %; choose another route for that plate	19.8 Veo and MiniMax
Four videos billed	batch above 1	batch 1	19.8 Veo and MiniMax
Open Project refuses the XML	it is an import, not a project	File > Import	32.8 Premiere and finishing
Source out-point drifts by a frame	end typed, not computed	end = start + (out − in)	32.8 Premiere and finishing
An effect or fade is missing after import	it did not translate	read the translation log; rebuild it natively	32.8 Premiere and finishing
Charged double	ByteDance above 30 fps	keep the source rate	32.8 Premiere and finishing
A panel result cannot be previewed	the Topaz panel has no real-time preview	run a 2-second test first	32.8 Premiere and finishing
Timeout, no job number; a wait that ran out	the outcome is unknown; the job may still be running	ledger and history first; look it up by number; never resubmit	33.8 Higgsfield
Rate-limit error, or part of a batch failed	some requests may have run	ledger and history; keep the numbers you got; resend only the missing items, in a smaller batch	33.8 Higgsfield
"Completed", no usable file	an error behind the status	read the job record; report it; no silent resend	33.8 Higgsfield
A preset suggestion, an "unlimited" question or a billing card	not a job	record it; for a preset, resend with the decline field; for the others, stop and ask	33.8 Higgsfield
A setting rejected or ignored; a role renamed in adjustments	the contract changed, or the platform mapped your role	re-read the contract; record the role actually used; never retype a setting from memory	33.8 Higgsfield
The model "hears nothing"	the upload's type did not match, or it was never confirmed	upload the matching type; confirm; use the new id	33.8 Higgsfield
The route refuses the approved frame	the wrong route for the shot	stop and ask (a lock); never switch models yourself	33.8 Higgsfield
A wrong checksum; a frame size a few pixels off	the file was read mid-write; the platform's transcode	probe after the download finishes; conform in the edit	33.8 Higgsfield

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Contents of The AI Commercial Director's Handbook

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