Chaff

The film runs from the scene entry point and nowhere else:

entity.find("FilmDirector").component.get("FilmDirector"):playFromTop()

Entering play does it. :seekTo(t) lands on any second for inspection.

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Habitat Ring 4 "Vosk" is a derelict orbital grain silo — a steel drum 48 m across and 420 m long, holding several thousand tonnes of wheat that has been in freefall since the hull was breached. A salvage diver in a soft suit swims its length from the sealed end to the tear, carrying a bolt-driver with twelve rounds, hunted by blind acoustic maintenance drones. There is no gravity and nothing to push against, so every round he fires also moves him: the weapon is his only thruster, and he spends the last of the magazine as propellant to reach the breach. The film never leaves his eyes.

Four things are true at the last shot that were not true at the first. The light source has changed — he opens under one amber emergency strobe and ends in raw unscattered sun. The ammunition is gone, on a legible counter, twelve down to zero. The medium has turned: the grain begins as a still golden fog and ends as a spiral column being drawn out of the tear, and it is what carries him out. And the gloves have gone from clean grey soft-suit fabric to torn at the left knuckle and coated gold.

Hard vacuum is the whole reason it looks unlike an interior on Earth: there is no air inside to scatter light, so a lit surface is blown out, an unlit surface is black, and the only fill in the entire film is warm ochre bounce off the grain. Space is pure black — no sky, no stars, no weather. That absence is what the grain has to carry: every moving thing in this film moves because something pushed it, and keeps moving because nothing stops it.

How it is built

Fourteen shots, 94 seconds, 2256 frames. One FilmDirector component owns the clock and advances it a fixed 1/24 s per rendered frame, never by wall time, so the film is the same 2256 frames at 60 fps and at 9. Each frame it seeks the engine cutscene (which owns the lens and the shot boundaries) and then runs every registered slice against the same t. Every shot's camera anchor is the entity Eye and every shot's look anchor is EyeAim, which is the structural guarantee of the whole thing: the cutscene cannot put the camera anywhere except on the character's head.

• The drum — 22 procedural mesh builders and 7 materials: 48 facets of welded plate with three ruptured panels cut out so light has a way in, 30 ring frames, 12 stringers, 4 handruns with dashed photoluminescent route markings that draw 420 m of drum in the dark, an unloading auger still turning at 0.42 rad/s, a side gallery with eleven charging cradles, and a torn end plate with three plates peeled off it turning on their own.
• The viewmodel — two gloved hands, forearms and a bolt-driver posed from axis pairs rather than Euler angles, 28 baked meshes and 19 materials, a 40-tick visor ring that rescales every frame to hug the frame edge whatever the lens is doing, an auto-tint pane driven by the muzzle flash, and an ammunition ledger that reads the exact value the shot list names at every point.
• The medium — 14 GPU emitters and 105,600 slots: a visor sprinkle, eight standing fields at fixed z the head flies through, a helix walked every frame that draws the spiral out of the breach, and a shell blown outward by each round.
• The threat — 13 drones with four nested-pivot vanes each, an emissive bead and the lamp behind it that is the whole read of a machine in vacuum.
• The light — the habitat's 40 s tumble carrying a blade of sunlight down the drum wall twice inside the runtime, amber beacons on a 2.35 s beat, and a one-pass grade with the tonemap inside it.
• The sound — twelve synthesised foley clips on the rule that nothing crosses the drum (a sound reaches this film through the suit's own air or conducted up the arms, never through vacuum), plus a 94-second score in three movements, all of it cued off film time.