Upload 42 files

.gitattributes

@@ -58,3 +58,4 @@ saved_model/**/* filter=lfs diff=lfs merge=lfs -text
 # Video files - compressed
 *.mp4 filter=lfs diff=lfs merge=lfs -text
 *.webm filter=lfs diff=lfs merge=lfs -text
+MiniMaxData/caption_demo_with_mp4_zero_based_final.hf.jsonl filter=lfs diff=lfs merge=lfs -text

MiniMaxData/caption_demo_000/caption.txt

@@ -0,0 +1,21 @@
+The clip opens in a tight, slightly motion-blurred broadcast view of a stage crowded with young dancers. At center foreground, a performer in a burgundy long-sleeve top and khaki trousers faces away from the camera. Directly behind, a tan-clad dancer wearing a white headband raises both arms over his head, brings his hands down near his face and chest, and then throws his arms outward. Other performers in matching tan utility-style shirts or vests and knee-length shorts surround him. On the right, black-clad dancers with leopard-patterned long sleeves move through the crowd, while additional teams clap, wave, and raise their hands against a backdrop washed in green, purple, and blue light.
+
+A persistent lower-third graphic covers the bottom of the picture. It carries a yellow university seal and the “CPU TV” logo, with the text “ROSE MEMORIAL AUDITORIUM,” “APRIL 17, 2023,” and, in large type, “CENTRALIAN FEST 2023: HIP HOP DANCE CONTEST.” A scrolling contact line includes “Facebook: Central Philippine University TV Channel | Youtube: CPU TV Channel | Email: tvchannel@cpu.edu.ph | local 2187.”
+
+The camera cuts to a low side angle across a smooth, pale-gray runway projecting from the stage. The burgundy-shirted performer bounds across the foreground as a black-clad dancer jumps at the left edge and a tan-costumed dancer follows behind. Beyond the runway, a densely packed audience fills both the main floor and an upper balcony. The balcony has a bright yellow fascia decorated with dark blue triangular bunting, and moving yellow, green, and magenta light pools sweep across it. Many spectators visibly clap, lift phones, or raise their arms.
+
+A frontal wide shot reveals the full, crowded stage. Several costume groups are distinguishable: dancers in tan vests over white shirts, denim shorts, white caps, and red shoes stand toward the left; burgundy-and-khaki performers occupy the middle; blue-and-gray outfits gather to the right; and groups in multicolored tunics or patterned tops with bright orange flowing skirts or trousers line the rear. Near the front, the headbanded tan dancer drops low and slides or rolls across the floor while two black-clad performers move around him.
+
+Returning to the side angle, the tan dancer runs into a cartwheel-like move, planting a hand and kicking his legs through the air before landing low. A black-clad performer with leopard-print sleeves crosses nearby. Two black-costumed dancers then alternate floorwork: one lies back with a leg extended, rolls onto a shoulder, and raises both legs, while another moves past and steps or vaults over the action. One rapid airborne pass in front of the lens is heavily blurred, so the exact jump is unclear. The overlapping dancers continue with raised-knee poses, rolls, and hand-supported transitions as the audience reacts behind them.
+
+From the front again, the white-headbanded tan dancer advances between the black-clad performers. He extends both arms straight out, sweeps them across his body, pivots, and lowers toward the floor beside a shorter dancer in black with patterned sleeves. He drops onto his shoulders and upper back and begins a sustained breakdance sequence. The side camera shows his white knee socks and black high-top shoes tracing broad arcs as he repeatedly rotates: his legs rise nearly vertical, open into a wide V, scissor sideways, and swing back overhead. His tan jacket flares open with the motion. He rolls from upper back to shoulder and forearms, tucks his knees underneath, pushes to one knee, and then rises to his feet.
+
+More tan-uniformed teammates run onto the runway, gesturing with open arms while a black-clad performer claps and steps aside. Back in the frontal view, a cluster of the tan team gathers tightly and briefly hoists one teammate above shoulder height; an arm reaches upward over the group before the lifted performer is lowered. The tan-costumed dancers then jog toward the left and rear of the stage. A nearby black-clad dancer reaches toward a crouched tan performer as he gets back up, though the exact interaction is partly obscured by other bodies. The featured teams disperse into their larger groups.
+
+The camera moves to the side of the proscenium, showing tall dark-blue curtains, a yellow vertical border, the white auditorium wall, and the audience to the right. Several black-and-leopard-costumed dancers walk back toward a line near the curtain. A projected live image appears on the white wall, mirroring activity onstage. Floor-level photographers and spectators hold cameras and phones near the runway corner.
+
+A male host in a bright red zip-up Nike jacket, black trousers, and black shoes walks forward holding a handheld microphone and white cue sheets. A female co-host joins him in a white T-shirt with yellow-and-black chest lettering that is not fully legible, dark jeans, and light shoes; she also carries a microphone and papers. A brief cut to black leaves only the lower-third graphic visible, after which the same side view returns. The man speaks into his microphone, gestures with his free hand, and glances at his notes. The woman smiles, checks her sheets, raises her microphone, and turns toward him as they exchange remarks. Their enlarged live image remains visible on the wall projection beside them.
+
+The final camera change is to a centered, very wide view down the long runway. The two hosts stand near its stage end, framed by the full lineup of participants spread across the rear. Tan-costumed dancers and people in green shirts cluster on the left; black-clad groups and performers in red multicolored outfits occupy the center; the matching patterned-top and bright-orange group forms a prominent block just right of center; and burgundy, blue-gray, and black-and-leopard teams gather along the right. Two black wedge-shaped floor monitors sit near the right front of the stage, a podium with a circular seal stands at far left, and camera operators work beside a tripod below the stage.
+
+Blue, green, purple, yellow, and white beams continue to change across the broad rear wall. The hosts take a few steps forward and face the audience. The man extends one arm toward the right side of the stage while speaking, then consults his paper; the woman stands beside him, smiles, and later lifts her microphone toward her mouth. In the last view, both remain centered on the runway addressing the room while the assembled dancers shift, watch, and occasionally raise their hands behind them.

MiniMaxData/caption_demo_000/caption_demo_000.mp4

@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:89d42e421dd9ebd34eea021b34d3191428c8a20cc4c31ca1ee558a9bf7f9bb3e
+size 32052043

MiniMaxData/caption_demo_000/info.txt

@@ -0,0 +1,33 @@
+Trace ID: caption_demo_000
+Source: GPcgM9uOOu4.mp4
+Clip: 5747.6419s - 5807.134667s
+Duration: 59.5s
+Prompt type: general.emphasis_v2.all
+Length requirement: 450-1500 words
+Caption: 6497 chars
+
+============================================================
+CAPTION
+============================================================
+
+The clip opens in a tight, slightly motion-blurred broadcast view of a stage crowded with young dancers. At center foreground, a performer in a burgundy long-sleeve top and khaki trousers faces away from the camera. Directly behind, a tan-clad dancer wearing a white headband raises both arms over his head, brings his hands down near his face and chest, and then throws his arms outward. Other performers in matching tan utility-style shirts or vests and knee-length shorts surround him. On the right, black-clad dancers with leopard-patterned long sleeves move through the crowd, while additional teams clap, wave, and raise their hands against a backdrop washed in green, purple, and blue light.
+
+A persistent lower-third graphic covers the bottom of the picture. It carries a yellow university seal and the “CPU TV” logo, with the text “ROSE MEMORIAL AUDITORIUM,” “APRIL 17, 2023,” and, in large type, “CENTRALIAN FEST 2023: HIP HOP DANCE CONTEST.” A scrolling contact line includes “Facebook: Central Philippine University TV Channel | Youtube: CPU TV Channel | Email: tvchannel@cpu.edu.ph | local 2187.”
+
+The camera cuts to a low side angle across a smooth, pale-gray runway projecting from the stage. The burgundy-shirted performer bounds across the foreground as a black-clad dancer jumps at the left edge and a tan-costumed dancer follows behind. Beyond the runway, a densely packed audience fills both the main floor and an upper balcony. The balcony has a bright yellow fascia decorated with dark blue triangular bunting, and moving yellow, green, and magenta light pools sweep across it. Many spectators visibly clap, lift phones, or raise their arms.
+
+A frontal wide shot reveals the full, crowded stage. Several costume groups are distinguishable: dancers in tan vests over white shirts, denim shorts, white caps, and red shoes stand toward the left; burgundy-and-khaki performers occupy the middle; blue-and-gray outfits gather to the right; and groups in multicolored tunics or patterned tops with bright orange flowing skirts or trousers line the rear. Near the front, the headbanded tan dancer drops low and slides or rolls across the floor while two black-clad performers move around him.
+
+Returning to the side angle, the tan dancer runs into a cartwheel-like move, planting a hand and kicking his legs through the air before landing low. A black-clad performer with leopard-print sleeves crosses nearby. Two black-costumed dancers then alternate floorwork: one lies back with a leg extended, rolls onto a shoulder, and raises both legs, while another moves past and steps or vaults over the action. One rapid airborne pass in front of the lens is heavily blurred, so the exact jump is unclear. The overlapping dancers continue with raised-knee poses, rolls, and hand-supported transitions as the audience reacts behind them.
+
+From the front again, the white-headbanded tan dancer advances between the black-clad performers. He extends both arms straight out, sweeps them across his body, pivots, and lowers toward the floor beside a shorter dancer in black with patterned sleeves. He drops onto his shoulders and upper back and begins a sustained breakdance sequence. The side camera shows his white knee socks and black high-top shoes tracing broad arcs as he repeatedly rotates: his legs rise nearly vertical, open into a wide V, scissor sideways, and swing back overhead. His tan jacket flares open with the motion. He rolls from upper back to shoulder and forearms, tucks his knees underneath, pushes to one knee, and then rises to his feet.
+
+More tan-uniformed teammates run onto the runway, gesturing with open arms while a black-clad performer claps and steps aside. Back in the frontal view, a cluster of the tan team gathers tightly and briefly hoists one teammate above shoulder height; an arm reaches upward over the group before the lifted performer is lowered. The tan-costumed dancers then jog toward the left and rear of the stage. A nearby black-clad dancer reaches toward a crouched tan performer as he gets back up, though the exact interaction is partly obscured by other bodies. The featured teams disperse into their larger groups.
+
+The camera moves to the side of the proscenium, showing tall dark-blue curtains, a yellow vertical border, the white auditorium wall, and the audience to the right. Several black-and-leopard-costumed dancers walk back toward a line near the curtain. A projected live image appears on the white wall, mirroring activity onstage. Floor-level photographers and spectators hold cameras and phones near the runway corner.
+
+A male host in a bright red zip-up Nike jacket, black trousers, and black shoes walks forward holding a handheld microphone and white cue sheets. A female co-host joins him in a white T-shirt with yellow-and-black chest lettering that is not fully legible, dark jeans, and light shoes; she also carries a microphone and papers. A brief cut to black leaves only the lower-third graphic visible, after which the same side view returns. The man speaks into his microphone, gestures with his free hand, and glances at his notes. The woman smiles, checks her sheets, raises her microphone, and turns toward him as they exchange remarks. Their enlarged live image remains visible on the wall projection beside them.
+
+The final camera change is to a centered, very wide view down the long runway. The two hosts stand near its stage end, framed by the full lineup of participants spread across the rear. Tan-costumed dancers and people in green shirts cluster on the left; black-clad groups and performers in red multicolored outfits occupy the center; the matching patterned-top and bright-orange group forms a prominent block just right of center; and burgundy, blue-gray, and black-and-leopard teams gather along the right. Two black wedge-shaped floor monitors sit near the right front of the stage, a podium with a circular seal stands at far left, and camera operators work beside a tripod below the stage.
+
+Blue, green, purple, yellow, and white beams continue to change across the broad rear wall. The hosts take a few steps forward and face the audience. The man extends one arm toward the right side of the stage while speaking, then consults his paper; the woman stands beside him, smiles, and later lifts her microphone toward her mouth. In the last view, both remain centered on the runway addressing the room while the assembled dancers shift, watch, and occasionally raise their hands behind them.

MiniMaxData/caption_demo_000/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "general.emphasis_v2.all",
+  "length_requirement": "450-1500 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_000.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 5747.6419,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-05-04/GPcgM9uOOu4.mp4",
+  "source_clip_start_s": 5747.6419,
+  "source_clip_end_s": 5807.134667
+}

MiniMaxData/caption_demo_001/caption.txt

@@ -0,0 +1,13 @@
+A single, hazy telephoto broadcast shot looks across a broad blue-gray sea beneath a pale sky, with no shoreline visible. Small swells and darker ripples texture the foreground. Race graphics identify this as part of a multi-lap aquatic event: “Lap 1 of 3” appears at the upper left, a translucent “Fina tv” watermark and “SBC 2 LIVE” logo sit near the upper right, and a bottom-right Fina timing panel advances from “13:35” to “14:34.” The actual competitors in the water, if present, are too distant to distinguish clearly; the most visible subjects are several race-associated boats and their wakes.
+
+At first, a larger white motorboat is already partly cropped at the far left. Near the horizon, two long, low open skiffs travel steadily from right to left, staggered so that the left-hand skiff is about a boat length ahead. Their pointed bows face left, while broken lines of white foam stream behind them to the right. Each skiff carries one or more tiny upright silhouettes or pieces of equipment. A pale shape is visible around the middle of each craft, and the rear of the following skiff has a yellow-toned figure or fitting. Because of the distance and soft image, it is unclear which vertical shapes are people and which may be stern-mounted motors or equipment.
+
+As the boats continue left, their hulls repeatedly lift over small swells and settle back down. Brief bursts of spray rise at the bows and collapse into the longer, dotted wakes. The visible occupants remain mostly upright or slightly crouched, swaying and leaning with the pitching boats; distinct arm gestures or paddle strokes cannot be resolved. The two skiffs maintain roughly the same spacing and order without an obvious pass or turn. The larger white boat disappears beyond the left edge first, followed gradually by the smaller craft.
+
+Around the on-screen time of 13:50, the “Lap 1 of 3” label vanishes while the other channel logos and timing panel remain. By approximately 13:54, the boats have moved completely out of view. For several seconds, the camera shows only open water, fading horizontal streaks of wake, and occasional isolated white crests. Tiny dark points within the disturbed water are too unclear to identify as people, debris, or wave shadows.
+
+Near 13:58, the camera reframes toward the left and brings the same group back into view from the left edge. During this pan, the boats slide rapidly rightward across the picture even though their bows remain pointed left and their foam trails continue extending to the right, showing that their underlying course has not visibly changed. The two narrow skiffs return to the middle of the shot, still in the same staggered formation. A larger white cabin-style motorboat also becomes fully visible farther left, with a compact raised cabin or canopy and a dark stern-mounted structure that appears to be an outboard motor. It travels approximately parallel to the skiffs and throws a broader patch of white water behind it.
+
+Once the camera settles, the three vessels again drift left across the frame. The larger motorboat remains in front and exits at the left edge, leaving the two smaller skiffs centered against the empty horizon. Their wakes merge into a long, broken stripe of foam, punctuated by higher splashes whenever a hull meets a swell. No clear interaction occurs between the craft: they do not collide, cross paths, or visibly exchange objects, and the left skiff continues to hold its lead.
+
+From about 14:15 onward, the camera stays wide as the pair makes slow but continuous progress toward the left edge. The leading skiff leaves the picture first around 14:27. The following skiff, with the yellow-toned stern silhouette, remains visible for several more seconds, bobbing over the chop while its wake stretches across much of the screen. By the final moment, it too is almost entirely cropped at the far left, with only a small portion of the craft and fading foam still visible. The timer reaches “14:34”; no finish, result, or other ending is shown.

MiniMaxData/caption_demo_001/caption_demo_001.mp4

@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:f7606d613556cdd294a2b5a2387d566bea1087de7ed09c6e3477e5b40251daf6
+size 25242346

MiniMaxData/caption_demo_001/info.txt

@@ -0,0 +1,25 @@
+Trace ID: caption_demo_001
+Source: 0Jh-0A_GZWc.mp4
+Clip: 1283.266667s - 1342.766667s
+Duration: 59.5s
+Prompt type: general.emphasis_v2.motion
+Length requirement: 450-1500 words
+Caption: 4023 chars
+
+============================================================
+CAPTION
+============================================================
+
+A single, hazy telephoto broadcast shot looks across a broad blue-gray sea beneath a pale sky, with no shoreline visible. Small swells and darker ripples texture the foreground. Race graphics identify this as part of a multi-lap aquatic event: “Lap 1 of 3” appears at the upper left, a translucent “Fina tv” watermark and “SBC 2 LIVE” logo sit near the upper right, and a bottom-right Fina timing panel advances from “13:35” to “14:34.” The actual competitors in the water, if present, are too distant to distinguish clearly; the most visible subjects are several race-associated boats and their wakes.
+
+At first, a larger white motorboat is already partly cropped at the far left. Near the horizon, two long, low open skiffs travel steadily from right to left, staggered so that the left-hand skiff is about a boat length ahead. Their pointed bows face left, while broken lines of white foam stream behind them to the right. Each skiff carries one or more tiny upright silhouettes or pieces of equipment. A pale shape is visible around the middle of each craft, and the rear of the following skiff has a yellow-toned figure or fitting. Because of the distance and soft image, it is unclear which vertical shapes are people and which may be stern-mounted motors or equipment.
+
+As the boats continue left, their hulls repeatedly lift over small swells and settle back down. Brief bursts of spray rise at the bows and collapse into the longer, dotted wakes. The visible occupants remain mostly upright or slightly crouched, swaying and leaning with the pitching boats; distinct arm gestures or paddle strokes cannot be resolved. The two skiffs maintain roughly the same spacing and order without an obvious pass or turn. The larger white boat disappears beyond the left edge first, followed gradually by the smaller craft.
+
+Around the on-screen time of 13:50, the “Lap 1 of 3” label vanishes while the other channel logos and timing panel remain. By approximately 13:54, the boats have moved completely out of view. For several seconds, the camera shows only open water, fading horizontal streaks of wake, and occasional isolated white crests. Tiny dark points within the disturbed water are too unclear to identify as people, debris, or wave shadows.
+
+Near 13:58, the camera reframes toward the left and brings the same group back into view from the left edge. During this pan, the boats slide rapidly rightward across the picture even though their bows remain pointed left and their foam trails continue extending to the right, showing that their underlying course has not visibly changed. The two narrow skiffs return to the middle of the shot, still in the same staggered formation. A larger white cabin-style motorboat also becomes fully visible farther left, with a compact raised cabin or canopy and a dark stern-mounted structure that appears to be an outboard motor. It travels approximately parallel to the skiffs and throws a broader patch of white water behind it.
+
+Once the camera settles, the three vessels again drift left across the frame. The larger motorboat remains in front and exits at the left edge, leaving the two smaller skiffs centered against the empty horizon. Their wakes merge into a long, broken stripe of foam, punctuated by higher splashes whenever a hull meets a swell. No clear interaction occurs between the craft: they do not collide, cross paths, or visibly exchange objects, and the left skiff continues to hold its lead.
+
+From about 14:15 onward, the camera stays wide as the pair makes slow but continuous progress toward the left edge. The leading skiff leaves the picture first around 14:27. The following skiff, with the yellow-toned stern silhouette, remains visible for several more seconds, bobbing over the chop while its wake stretches across much of the screen. By the final moment, it too is almost entirely cropped at the far left, with only a small portion of the craft and fading foam still visible. The timer reaches “14:34”; no finish, result, or other ending is shown.

MiniMaxData/caption_demo_001/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "general.emphasis_v2.motion",
+  "length_requirement": "450-1500 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_001.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 1283.266667,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-03-01/0Jh-0A_GZWc.mp4",
+  "source_clip_start_s": 1283.266667,
+  "source_clip_end_s": 1342.766667
+}

MiniMaxData/caption_demo_002/caption.txt

@@ -0,0 +1,13 @@
+A man in a silver-and-black patterned shirt begins low in the lower-center foreground of a glossy stage, bracing one palm on the floor while his black-clad legs extend toward screen-right and his other arm reaches upward. He folds forward and rolls within the same small area; his legs sweep up through the center and briefly occlude his torso before he turns onto a hip, comes through a seated kneel, and rises near center. Behind him, white line drawings of a city fill the dark screen, while angled spotlights and reflected, map-like floor projections create depth. Top-center text identifies “演员 杨志刚” and lists representative works including “《铁梨花》《秘密图纸》《刀锋1937》”; another line reads “陈楚生《有没有人告诉你》.” The lyric subtitles change from “有没有人曾告诉你我很在意” to “在意这座城市的距离.” A “高清” watermark remains at top-right, with a gold-and-green “舞林大会” logo near the lower-right.
+
+A high, canted wide shot then reveals the larger rounded stage. The patterned-shirt dancer is low at screen-left, while a woman in a flowing asymmetrical white dress appears in the midground near center and moves diagonally toward him. A male singer in a white shirt and black vest stands much farther away at the extreme screen-left, and white tree-like props occupy the midground; at this angle, an overexposed white canopy fills much of screen-right and hides part of the floor. The woman reaches the kneeling man and maintains contact at his side or upper arm as they rise and advance toward the lower-center foreground. He extends an arm toward screen-left while she stays close on his screen-right, then slips behind him and becomes partly hidden by his body. Their increasing size, the smaller singer at the edge, and the converging beams reinforce the distance across the stage.
+
+A hard cut removes the dancers from view rather than showing them exit. The singer now fills the screen-left and center foreground, holding a black microphone to his mouth. Bright white foliage occupies and overexposes most of screen-right; a thin white leaf or strip appears to cross in front of his mouth and microphone. He remains largely fixed as his eyes close and reopen. A cross-dissolve overlays this close-up with the stage before returning to the dancers at center.
+
+In the restored full-body view, the man plants his feet wide behind the woman and supports her around the waist and torso. She raises one arm and extends a straight leg horizontally toward screen-right, then sweeps through his front as he guides her into a deep backbend toward screen-right; her upper body and one reaching arm descend while her white skirt merges with the bright floor. He brings her upright again, after which she lifts a leg toward screen-left while both extend their arms in opposite screen directions. They take short crossing steps without leaving the central pool of light: the man turns through the foreground, briefly showing his back, and the woman follows directly behind. His body increasingly occludes hers, leaving her head and curved arms visible above and around his shoulders in a layered, multi-armed silhouette.
+
+Another wide, tilted reframe makes the pair small at center again, with the singer restored at far screen-left and the white trees behind them. They fold and straighten together, then settle into a back-to-chest hold: the woman wraps both arms around the man’s chest and shoulders, and he clasps her hands near his sternum. As the camera gradually tightens, the singer and trees drift toward the edges through reframing rather than any clearly visible exit. The pair lean together toward screen-left, then arch backward; the man’s head rests against the woman’s upper chest or shoulder while her long white panel falls behind him. The close-up eventually contains mostly his upturned face and a portion of her white bodice at screen-right. A dissolve returns to a wide view with both already kneeling at center: he is on both knees at center-left with his head tilted upward, while she kneels or sits close at center-right, her skirt pooled across the floor and her shoulder contacting his back. They hold this final pose beneath a vertical spotlight, framed by empty reflective foreground, the white trees at screen-left, and the line-drawn skyline in the background.
+
+The scene cuts to a tightly packed audience under alternating blue and magenta light. Several women fill the foreground, clapping with open mouths, while overlapping rows of spectators extend into the background. Raised hands and glowing green and pink sticks repeatedly occlude faces behind them.
+
+A final cut reveals five people standing in a loose line across the midground of the stage: from screen-left, a man in a black suit with a microphone, a woman in a short pale ruffled dress with a microphone, the singer in his black vest and plaid trousers, the patterned-shirt dancer, and the long-dress dancer at screen-right. The camera then alternates between tighter groupings rather than showing anyone enter or leave: first the two presenters against a white tree backdrop, then the singer and patterned-shirt dancer at center with the women cropped at opposite edges, and finally the presenters facing toward the partially visible singer at screen-right. Subtitles include “很棒,” “真的,” and “完整,” followed by the longer comment that when a celebrity performs well on “《舞林大会》,” “你分不出到底谁是专业舞者，谁是来参加比赛的,” and the questions “会不会太专业” and “这样有点不太公平.” A red-and-blue information ticker appears along the bottom during this exchange, while the fixed top credits and “高清” watermark remain visible.

MiniMaxData/caption_demo_002/caption_demo_002.mp4

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+version https://git-lfs.github.com/spec/v1
+oid sha256:270bbfe2b0e75ed9e9ad8f80412f0c826fdd89caac2c0d70e348bd43608c9e8c
+size 31691731

MiniMaxData/caption_demo_002/info.txt

@@ -0,0 +1,25 @@
+Trace ID: caption_demo_002
+Source: 1iLyDXYr3NA.mp4
+Clip: 1117.4s - 1176.92s
+Duration: 59.5s
+Prompt type: spatial.layout
+Length requirement: N/A
+Caption: 5539 chars
+
+============================================================
+CAPTION
+============================================================
+
+A man in a silver-and-black patterned shirt begins low in the lower-center foreground of a glossy stage, bracing one palm on the floor while his black-clad legs extend toward screen-right and his other arm reaches upward. He folds forward and rolls within the same small area; his legs sweep up through the center and briefly occlude his torso before he turns onto a hip, comes through a seated kneel, and rises near center. Behind him, white line drawings of a city fill the dark screen, while angled spotlights and reflected, map-like floor projections create depth. Top-center text identifies “演员 杨志刚” and lists representative works including “《铁梨花》《秘密图纸》《刀锋1937》”; another line reads “陈楚生《有没有人告诉你》.” The lyric subtitles change from “有没有人曾告诉你我很在意” to “在意这座城市的距离.” A “高清” watermark remains at top-right, with a gold-and-green “舞林大会” logo near the lower-right.
+
+A high, canted wide shot then reveals the larger rounded stage. The patterned-shirt dancer is low at screen-left, while a woman in a flowing asymmetrical white dress appears in the midground near center and moves diagonally toward him. A male singer in a white shirt and black vest stands much farther away at the extreme screen-left, and white tree-like props occupy the midground; at this angle, an overexposed white canopy fills much of screen-right and hides part of the floor. The woman reaches the kneeling man and maintains contact at his side or upper arm as they rise and advance toward the lower-center foreground. He extends an arm toward screen-left while she stays close on his screen-right, then slips behind him and becomes partly hidden by his body. Their increasing size, the smaller singer at the edge, and the converging beams reinforce the distance across the stage.
+
+A hard cut removes the dancers from view rather than showing them exit. The singer now fills the screen-left and center foreground, holding a black microphone to his mouth. Bright white foliage occupies and overexposes most of screen-right; a thin white leaf or strip appears to cross in front of his mouth and microphone. He remains largely fixed as his eyes close and reopen. A cross-dissolve overlays this close-up with the stage before returning to the dancers at center.
+
+In the restored full-body view, the man plants his feet wide behind the woman and supports her around the waist and torso. She raises one arm and extends a straight leg horizontally toward screen-right, then sweeps through his front as he guides her into a deep backbend toward screen-right; her upper body and one reaching arm descend while her white skirt merges with the bright floor. He brings her upright again, after which she lifts a leg toward screen-left while both extend their arms in opposite screen directions. They take short crossing steps without leaving the central pool of light: the man turns through the foreground, briefly showing his back, and the woman follows directly behind. His body increasingly occludes hers, leaving her head and curved arms visible above and around his shoulders in a layered, multi-armed silhouette.
+
+Another wide, tilted reframe makes the pair small at center again, with the singer restored at far screen-left and the white trees behind them. They fold and straighten together, then settle into a back-to-chest hold: the woman wraps both arms around the man’s chest and shoulders, and he clasps her hands near his sternum. As the camera gradually tightens, the singer and trees drift toward the edges through reframing rather than any clearly visible exit. The pair lean together toward screen-left, then arch backward; the man’s head rests against the woman’s upper chest or shoulder while her long white panel falls behind him. The close-up eventually contains mostly his upturned face and a portion of her white bodice at screen-right. A dissolve returns to a wide view with both already kneeling at center: he is on both knees at center-left with his head tilted upward, while she kneels or sits close at center-right, her skirt pooled across the floor and her shoulder contacting his back. They hold this final pose beneath a vertical spotlight, framed by empty reflective foreground, the white trees at screen-left, and the line-drawn skyline in the background.
+
+The scene cuts to a tightly packed audience under alternating blue and magenta light. Several women fill the foreground, clapping with open mouths, while overlapping rows of spectators extend into the background. Raised hands and glowing green and pink sticks repeatedly occlude faces behind them.
+
+A final cut reveals five people standing in a loose line across the midground of the stage: from screen-left, a man in a black suit with a microphone, a woman in a short pale ruffled dress with a microphone, the singer in his black vest and plaid trousers, the patterned-shirt dancer, and the long-dress dancer at screen-right. The camera then alternates between tighter groupings rather than showing anyone enter or leave: first the two presenters against a white tree backdrop, then the singer and patterned-shirt dancer at center with the women cropped at opposite edges, and finally the presenters facing toward the partially visible singer at screen-right. Subtitles include “很棒,” “真的,” and “完整,” followed by the longer comment that when a celebrity performs well on “《舞林大会》,” “你分不出到底谁是专业舞者，谁是来参加比赛的,” and the questions “会不会太专业” and “这样有点不太公平.” A red-and-blue information ticker appears along the bottom during this exchange, while the fixed top credits and “高清” watermark remain visible.

MiniMaxData/caption_demo_002/metadata.json

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+{
+  "prompt_type": "spatial.layout",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_002.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 1117.4,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-11-29/1iLyDXYr3NA.mp4",
+  "source_clip_start_s": 1117.4,
+  "source_clip_end_s": 1176.92
+}

MiniMaxData/caption_demo_003/caption.txt

@@ -0,0 +1,19 @@
+The clip opens on a medium close-up of a Jacksonville Jaguars player wearing teal No. 1, white pants, black gloves, and a glossy black helmet bearing the jaguar-head logo. He loosely holds a football at his side and looks upward; part of teammate No. 59 is visible beside him with an arm raised. The shallow background and tight framing isolate the players against the green turf before the broadcast cuts to the next play.
+
+A stable, high sideline camera shows the Miami Dolphins offense spread across the field near its own 30-yard line. Miami wears white jerseys, aqua pants, and white helmets, while Jacksonville’s defense wears teal jerseys, white pants, and black helmets. Composited broadcast graphics place a blue line at the line of scrimmage, a yellow first-down line farther upfield, and a dark arrow reading “3RD & 10” beside the Dolphins logo and “tropical SMOOTHIE CAFE.” The lower score bar reads “BAPTIST HEALTH,” “MIA 3,” “JAX 7,” “2ND 8:30,” and “3RD & 10”; a red play clock counts down from “:07” toward “:05.”
+
+At the snap, Miami quarterback No. 19 drops back as the offensive line engages Jacksonville’s rushers. Receivers fan out toward both sidelines while defensive backs retreat into coverage. The pocket compresses, and No. 19 moves left behind the 25-yard line, still holding the ball in his right hand. He throws across the field toward a white-jerseyed receiver near the opposite sideline. The broadcast camera pans rapidly right to follow the pass, creating brief motion blur as the ball travels past the yellow first-down line and toward the Jacksonville bench. The live angle does not clearly show the catch attempt, but the ball is not secured.
+
+The camera continues into the Jacksonville sideline, where players and staff react energetically. Several teal-clad players spread their arms, point, or raise their hands; No. 96 stands with both arms extended. The shot zooms tighter into the crowded bench area, where jersey names including “BRINI” on No. 21, “COOKS” on No. 84, “JACKSON” on No. 55, and “WILLIAMS” on No. 90 are readable. A sideline staff member holds a football overhead. No. 40, “HALLETT,” then runs away from the cluster with No. 20, “THOMAS,” while teammates continue gesturing. The score bar remains at “2ND 8:23” and “3RD & 10.”
+
+A replay removes the lower score graphic and shows the play from a closer sideline angle in slow motion. “THOMPSON” and No. 19 are visible on the Miami quarterback’s back as he runs left and releases the ball. The pass arcs toward Miami No. 11 along the boundary. No. 11 leaps with both hands extended, but the football drops away without being controlled. Jacksonville defenders No. 40 “HALLETT” and No. 36 converge underneath and tumble together onto the pale sideline strip while the receiver continues toward the bench. A bright red down marker stands behind them, and rows of Jacksonville personnel watch from only a few feet away.
+
+A soft dissolve introduces a second, lower field-level replay with strong telephoto compression: the crowd fills the background while Thompson runs toward the camera’s right and throws. A small “DUVAL” sign is visible in the stands. The ball is followed in an elongated slow-motion arc toward No. 11, who jumps high with his arms above his helmet. Jacksonville No. 41 “ALLEN” closes from inside. The football passes off or just beyond the receiver’s raised hands and spins away to his left. The receiver twists in the air and lands near the boundary and chain crew, confirming the incomplete pass without showing any off-screen continuation.
+
+The broadcast then jumps ahead to a tight facial close-up of Jacksonville’s helmeted, red-bearded quarterback. His expression is focused, and stadium lights reflect in the glossy black helmet. The lower bar now reads “MIA 3,” “JAX 7,” “2ND 5:08,” and “3RD & 7.” A hard cut returns to the elevated wide angle near Jacksonville’s end zone, where large white field lettering reads “JACKSONVILLE JAGUARS.” Jacksonville lines up around the mid-teens with quarterback No. 3 in shotgun; Miami’s defense is spaced across the goal-line side of the formation. The same virtual blue and yellow lines, Jaguars logo, “3RD & 7,” and “tropical SMOOTHIE CAFE” graphic are composited over the turf.
+
+After the snap, No. 3 drops into the pocket while Jacksonville’s receivers run toward and across the end zone. Miami rushers break through the blocking from multiple directions. The quarterback remains behind the line with the ball and is wrapped up by several defenders near the 20-yard numeral. The camera subtly tightens as the group falls; No. 3 ends on the ground cradling the football while players separate and an official approaches. The clock reaches “5:02.”
+
+Another edit skips to a centered end-zone view of Jacksonville’s field-goal unit. The yellow goalposts dominate the symmetrical composition, with a large crowd and a teal wall reading “JACKSONVILLE JAGUARS” behind them. The overlay announces “37 YARD FG ATT,” while the score bar shows “2ND 4:32” and “4TH & 14.” The holder kneels and kicker No. 10 waits several steps behind. At the snap, both lines surge, the holder places the ball, and No. 10 strides forward and kicks. The camera immediately tilts and zooms upward, briefly softening with the fast movement as it tracks the small brown ball between the uprights against the crowded stands. It then tilts back down, where two officials beneath the posts raise both arms. On the next cut, the scoreboard has updated to “JAX 10.”
+
+The final shot returns to the high sideline angle at “2ND 4:23.” Miami is back on offense near its own 20-yard line, and the score bar reads “MIA 3,” “JAX 10,” and “1ST & 10.” A blue line marks the snap point and a yellow line marks the distance to gain. Both teams hold their stances for a moment; then the ball is snapped, Miami’s line rises to block, Jacksonville’s defenders surge forward, and the receivers begin their routes. The clip ends before this play develops further.

MiniMaxData/caption_demo_003/caption_demo_003.mp4

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+oid sha256:71106a474b69592182d8a0d7ba62a5063ea3d28ce8ff8f636e92ed55f481f219
+size 29934028

MiniMaxData/caption_demo_003/info.txt

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+Trace ID: caption_demo_003
+Source: IJi_NHi-5gM.mp4
+Clip: 207.540667s - 267.0668s
+Duration: 59.5s
+Prompt type: general.emphasis_v2.camera
+Length requirement: 450-1500 words
+Caption: 5979 chars
+
+============================================================
+CAPTION
+============================================================
+
+The clip opens on a medium close-up of a Jacksonville Jaguars player wearing teal No. 1, white pants, black gloves, and a glossy black helmet bearing the jaguar-head logo. He loosely holds a football at his side and looks upward; part of teammate No. 59 is visible beside him with an arm raised. The shallow background and tight framing isolate the players against the green turf before the broadcast cuts to the next play.
+
+A stable, high sideline camera shows the Miami Dolphins offense spread across the field near its own 30-yard line. Miami wears white jerseys, aqua pants, and white helmets, while Jacksonville’s defense wears teal jerseys, white pants, and black helmets. Composited broadcast graphics place a blue line at the line of scrimmage, a yellow first-down line farther upfield, and a dark arrow reading “3RD & 10” beside the Dolphins logo and “tropical SMOOTHIE CAFE.” The lower score bar reads “BAPTIST HEALTH,” “MIA 3,” “JAX 7,” “2ND 8:30,” and “3RD & 10”; a red play clock counts down from “:07” toward “:05.”
+
+At the snap, Miami quarterback No. 19 drops back as the offensive line engages Jacksonville’s rushers. Receivers fan out toward both sidelines while defensive backs retreat into coverage. The pocket compresses, and No. 19 moves left behind the 25-yard line, still holding the ball in his right hand. He throws across the field toward a white-jerseyed receiver near the opposite sideline. The broadcast camera pans rapidly right to follow the pass, creating brief motion blur as the ball travels past the yellow first-down line and toward the Jacksonville bench. The live angle does not clearly show the catch attempt, but the ball is not secured.
+
+The camera continues into the Jacksonville sideline, where players and staff react energetically. Several teal-clad players spread their arms, point, or raise their hands; No. 96 stands with both arms extended. The shot zooms tighter into the crowded bench area, where jersey names including “BRINI” on No. 21, “COOKS” on No. 84, “JACKSON” on No. 55, and “WILLIAMS” on No. 90 are readable. A sideline staff member holds a football overhead. No. 40, “HALLETT,” then runs away from the cluster with No. 20, “THOMAS,” while teammates continue gesturing. The score bar remains at “2ND 8:23” and “3RD & 10.”
+
+A replay removes the lower score graphic and shows the play from a closer sideline angle in slow motion. “THOMPSON” and No. 19 are visible on the Miami quarterback’s back as he runs left and releases the ball. The pass arcs toward Miami No. 11 along the boundary. No. 11 leaps with both hands extended, but the football drops away without being controlled. Jacksonville defenders No. 40 “HALLETT” and No. 36 converge underneath and tumble together onto the pale sideline strip while the receiver continues toward the bench. A bright red down marker stands behind them, and rows of Jacksonville personnel watch from only a few feet away.
+
+A soft dissolve introduces a second, lower field-level replay with strong telephoto compression: the crowd fills the background while Thompson runs toward the camera’s right and throws. A small “DUVAL” sign is visible in the stands. The ball is followed in an elongated slow-motion arc toward No. 11, who jumps high with his arms above his helmet. Jacksonville No. 41 “ALLEN” closes from inside. The football passes off or just beyond the receiver’s raised hands and spins away to his left. The receiver twists in the air and lands near the boundary and chain crew, confirming the incomplete pass without showing any off-screen continuation.
+
+The broadcast then jumps ahead to a tight facial close-up of Jacksonville’s helmeted, red-bearded quarterback. His expression is focused, and stadium lights reflect in the glossy black helmet. The lower bar now reads “MIA 3,” “JAX 7,” “2ND 5:08,” and “3RD & 7.” A hard cut returns to the elevated wide angle near Jacksonville’s end zone, where large white field lettering reads “JACKSONVILLE JAGUARS.” Jacksonville lines up around the mid-teens with quarterback No. 3 in shotgun; Miami’s defense is spaced across the goal-line side of the formation. The same virtual blue and yellow lines, Jaguars logo, “3RD & 7,” and “tropical SMOOTHIE CAFE” graphic are composited over the turf.
+
+After the snap, No. 3 drops into the pocket while Jacksonville’s receivers run toward and across the end zone. Miami rushers break through the blocking from multiple directions. The quarterback remains behind the line with the ball and is wrapped up by several defenders near the 20-yard numeral. The camera subtly tightens as the group falls; No. 3 ends on the ground cradling the football while players separate and an official approaches. The clock reaches “5:02.”
+
+Another edit skips to a centered end-zone view of Jacksonville’s field-goal unit. The yellow goalposts dominate the symmetrical composition, with a large crowd and a teal wall reading “JACKSONVILLE JAGUARS” behind them. The overlay announces “37 YARD FG ATT,” while the score bar shows “2ND 4:32” and “4TH & 14.” The holder kneels and kicker No. 10 waits several steps behind. At the snap, both lines surge, the holder places the ball, and No. 10 strides forward and kicks. The camera immediately tilts and zooms upward, briefly softening with the fast movement as it tracks the small brown ball between the uprights against the crowded stands. It then tilts back down, where two officials beneath the posts raise both arms. On the next cut, the scoreboard has updated to “JAX 10.”
+
+The final shot returns to the high sideline angle at “2ND 4:23.” Miami is back on offense near its own 20-yard line, and the score bar reads “MIA 3,” “JAX 10,” and “1ST & 10.” A blue line marks the snap point and a yellow line marks the distance to gain. Both teams hold their stances for a moment; then the ball is snapped, Miami’s line rises to block, Jacksonville’s defenders surge forward, and the receivers begin their routes. The clip ends before this play develops further.

MiniMaxData/caption_demo_003/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "general.emphasis_v2.camera",
+  "length_requirement": "450-1500 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_003.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 207.540667,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-03-13/IJi_NHi-5gM.mp4",
+  "source_clip_start_s": 207.540667,
+  "source_clip_end_s": 267.0668
+}

MiniMaxData/caption_demo_004/caption.txt

@@ -0,0 +1,19 @@
+A live BT Sport boxing broadcast shows two shirtless male boxers in a brightly lit ring surrounded by a dark, blue-accented arena. The light-skinned boxer has short wet brown hair, a beard, extensive tattoos across his chest, neck, arms, and back, black gloves, and white trunks with black panels; “KIDNYTRO” is printed prominently across his waistband. Pinkish-red marks are visible on the front of his trunks, and a small red mark appears on one upper arm. Opposite him is a slightly taller, dark-skinned, bald boxer with a short beard, tattoos on his chest and back, yellow gloves with purple details, yellow-and-purple trunks, and white boots. A patch on his trunks reads “BLACK LIVES MATTER.” A masked referee in a white short-sleeved shirt and black trousers remains behind or beside them.
+
+The ring has a blue canvas dominated by a large white “32Red” logo and “PLAY RESPONSIBLY.” The black ropes repeatedly display “32Red,” “BT SPORT,” “Queensberry,” and “FOOTASYLUM”; other visible branding includes “UNIBET,” “END RACISM,” “QUEENSBERRY PROMOTIONS,” and an “NHS” heart emblem. One white corner pad reads “FOOTASYLUM” vertically, while another corner pad is purple with “32Red.” Large background screens show “FIGHT NIGHT LIVE,” “QUEENSBERRY PROMOTIONS,” and colorful red, teal, and black geometric graphics. Several masked people sit beyond the ropes, sometimes behind clear partitions. The “BT SPORT” watermark stays at upper right, and the lower-left graphic reads “ROUND 10 OF 12,” with the clock falling from 2:10 to 1:10.
+
+At 2:10, the yellow-trunked boxer stands close to the right-side ropes and white corner post, with his back partly toward the camera. The tattooed boxer advances from the left behind raised black gloves. He dips beneath an extended yellow glove, rises, and sends a long lead punch toward the other man’s head-level guard. The yellow boxer answers with a probing jab that meets or approaches the black gloves. They close distance near the ropes: the tattooed boxer swings broadly, while the yellow boxer bends low and moves inside. Their shoulders and gloves overlap, obscuring whether the short punches at body level land cleanly. The referee watches from directly behind them.
+
+They separate and move away from the corner, circling in front of the far ropes. The yellow boxer flicks several straight punches toward the tattooed boxer’s guarded face; the tattooed boxer alternately blocks, ducks, and answers with his own long straight. As the clock reaches about 1:59, the camera shifts to a somewhat wider ringside angle, revealing more of the canvas. The tattooed boxer reaches toward the yellow boxer’s head, after which the yellow boxer folds at the waist and comes in close. Both move their gloves rapidly around chest and waist height before stepping apart.
+
+The tattooed boxer then advances in small, bouncing steps while the yellow boxer gives ground toward the left-side ropes. A jab from yellow passes above the tattooed boxer as he ducks. The white-trunked boxer continues forward until the yellow boxer is near a corner, where another brief exchange occurs with both men leaning and turning along the ropes. A closer angle shows the yellow boxer swinging an arm over the top while the tattooed boxer is bent low; exact contact is unclear. They straighten and reset with a little space between them.
+
+Through the middle of the sequence, both men make repeated head, shoulder, and glove movements without always committing to a clear punch. The tattooed boxer keeps his black gloves near his cheeks and steps forward; the yellow boxer varies between a high guard and a lower lead hand. They come together briefly again, heads and shoulders close, before the bald boxer ducks sharply beneath a raised black glove. The tattooed boxer later lunges with a wide reaching punch as the yellow boxer turns and moves laterally away. Another short inside exchange follows near the referee, but their bodies obscure the impact.
+
+Around 1:36, the yellow boxer extends a long jab into the tattooed boxer’s tightly closed guard. He dips, then throws another long straight toward the side of the guard; whether it reaches the head is uncertain. Near the purple “32Red” corner pad, both crouch deeply. The yellow boxer reaches as the tattooed boxer dives low and steps inside, bringing them momentarily chest-to-shoulder before they turn apart. Shortly afterward, the tattooed boxer moves close again and throws over the top while the yellow boxer bends beneath the arc.
+
+At roughly 1:24, the broadcast cuts to an elevated full-ring view. The near ropes form several horizontal bands across the foreground, while the fighters appear smaller near the far-right side and the referee crosses the center of the blue canvas. A black camera rig hangs above the far-right corner. The tattooed boxer continues advancing and launches long straight punches as the yellow boxer steps backward toward the “FOOTASYLUM” corner. From near the ropes, the yellow boxer repeatedly extends his lead glove toward the tattooed boxer’s high guard. The tattooed boxer then bursts forward, and their arms cross in a compact exchange against the corner ropes before they separate by a few feet.
+
+A closer corner angle at about 1:19 places the yellow boxer on the left with his back and shoulder near the ropes, while the tattooed boxer approaches from the right. Both extend punches almost simultaneously; one black-gloved swing travels high and wide while a yellow glove reaches outward, but the exact point of contact is blurred. The tattooed boxer crouches and follows with a sustained series of straight and hooking motions. Several black gloves visibly meet the yellow boxer’s raised forearms and gloves as he leans back against the ropes. They come shoulder-to-shoulder for a moment, then the tattooed boxer steps back and the yellow boxer moves out from the corner, bouncing into more open space.
+
+The view returns to a wide shot around 1:13. Both boxers are near center ring, upright and guarded, with the referee several steps to their left. The tattooed boxer holds both black gloves high while edging forward. The yellow boxer dips at the waist, rises, and probes toward the guard as they continue circling. At 1:10, both remain facing one another in fighting stances beneath the surrounding “32Red,” “UNIBET,” and “QUEENSBERRY PROMOTIONS” branding.

MiniMaxData/caption_demo_004/caption_demo_004.mp4

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+size 32178302

MiniMaxData/caption_demo_004/info.txt

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+Trace ID: caption_demo_004
+Source: 5C0P8M-8S48.mp4
+Clip: 2301.96s - 2361.48s
+Duration: 59.5s
+Prompt type: general.emphasis_v2.spatial
+Length requirement: 450-1500 words
+Caption: 6367 chars
+
+============================================================
+CAPTION
+============================================================
+
+A live BT Sport boxing broadcast shows two shirtless male boxers in a brightly lit ring surrounded by a dark, blue-accented arena. The light-skinned boxer has short wet brown hair, a beard, extensive tattoos across his chest, neck, arms, and back, black gloves, and white trunks with black panels; “KIDNYTRO” is printed prominently across his waistband. Pinkish-red marks are visible on the front of his trunks, and a small red mark appears on one upper arm. Opposite him is a slightly taller, dark-skinned, bald boxer with a short beard, tattoos on his chest and back, yellow gloves with purple details, yellow-and-purple trunks, and white boots. A patch on his trunks reads “BLACK LIVES MATTER.” A masked referee in a white short-sleeved shirt and black trousers remains behind or beside them.
+
+The ring has a blue canvas dominated by a large white “32Red” logo and “PLAY RESPONSIBLY.” The black ropes repeatedly display “32Red,” “BT SPORT,” “Queensberry,” and “FOOTASYLUM”; other visible branding includes “UNIBET,” “END RACISM,” “QUEENSBERRY PROMOTIONS,” and an “NHS” heart emblem. One white corner pad reads “FOOTASYLUM” vertically, while another corner pad is purple with “32Red.” Large background screens show “FIGHT NIGHT LIVE,” “QUEENSBERRY PROMOTIONS,” and colorful red, teal, and black geometric graphics. Several masked people sit beyond the ropes, sometimes behind clear partitions. The “BT SPORT” watermark stays at upper right, and the lower-left graphic reads “ROUND 10 OF 12,” with the clock falling from 2:10 to 1:10.
+
+At 2:10, the yellow-trunked boxer stands close to the right-side ropes and white corner post, with his back partly toward the camera. The tattooed boxer advances from the left behind raised black gloves. He dips beneath an extended yellow glove, rises, and sends a long lead punch toward the other man’s head-level guard. The yellow boxer answers with a probing jab that meets or approaches the black gloves. They close distance near the ropes: the tattooed boxer swings broadly, while the yellow boxer bends low and moves inside. Their shoulders and gloves overlap, obscuring whether the short punches at body level land cleanly. The referee watches from directly behind them.
+
+They separate and move away from the corner, circling in front of the far ropes. The yellow boxer flicks several straight punches toward the tattooed boxer’s guarded face; the tattooed boxer alternately blocks, ducks, and answers with his own long straight. As the clock reaches about 1:59, the camera shifts to a somewhat wider ringside angle, revealing more of the canvas. The tattooed boxer reaches toward the yellow boxer’s head, after which the yellow boxer folds at the waist and comes in close. Both move their gloves rapidly around chest and waist height before stepping apart.
+
+The tattooed boxer then advances in small, bouncing steps while the yellow boxer gives ground toward the left-side ropes. A jab from yellow passes above the tattooed boxer as he ducks. The white-trunked boxer continues forward until the yellow boxer is near a corner, where another brief exchange occurs with both men leaning and turning along the ropes. A closer angle shows the yellow boxer swinging an arm over the top while the tattooed boxer is bent low; exact contact is unclear. They straighten and reset with a little space between them.
+
+Through the middle of the sequence, both men make repeated head, shoulder, and glove movements without always committing to a clear punch. The tattooed boxer keeps his black gloves near his cheeks and steps forward; the yellow boxer varies between a high guard and a lower lead hand. They come together briefly again, heads and shoulders close, before the bald boxer ducks sharply beneath a raised black glove. The tattooed boxer later lunges with a wide reaching punch as the yellow boxer turns and moves laterally away. Another short inside exchange follows near the referee, but their bodies obscure the impact.
+
+Around 1:36, the yellow boxer extends a long jab into the tattooed boxer’s tightly closed guard. He dips, then throws another long straight toward the side of the guard; whether it reaches the head is uncertain. Near the purple “32Red” corner pad, both crouch deeply. The yellow boxer reaches as the tattooed boxer dives low and steps inside, bringing them momentarily chest-to-shoulder before they turn apart. Shortly afterward, the tattooed boxer moves close again and throws over the top while the yellow boxer bends beneath the arc.
+
+At roughly 1:24, the broadcast cuts to an elevated full-ring view. The near ropes form several horizontal bands across the foreground, while the fighters appear smaller near the far-right side and the referee crosses the center of the blue canvas. A black camera rig hangs above the far-right corner. The tattooed boxer continues advancing and launches long straight punches as the yellow boxer steps backward toward the “FOOTASYLUM” corner. From near the ropes, the yellow boxer repeatedly extends his lead glove toward the tattooed boxer’s high guard. The tattooed boxer then bursts forward, and their arms cross in a compact exchange against the corner ropes before they separate by a few feet.
+
+A closer corner angle at about 1:19 places the yellow boxer on the left with his back and shoulder near the ropes, while the tattooed boxer approaches from the right. Both extend punches almost simultaneously; one black-gloved swing travels high and wide while a yellow glove reaches outward, but the exact point of contact is blurred. The tattooed boxer crouches and follows with a sustained series of straight and hooking motions. Several black gloves visibly meet the yellow boxer’s raised forearms and gloves as he leans back against the ropes. They come shoulder-to-shoulder for a moment, then the tattooed boxer steps back and the yellow boxer moves out from the corner, bouncing into more open space.
+
+The view returns to a wide shot around 1:13. Both boxers are near center ring, upright and guarded, with the referee several steps to their left. The tattooed boxer holds both black gloves high while edging forward. The yellow boxer dips at the waist, rises, and probes toward the guard as they continue circling. At 1:10, both remain facing one another in fighting stances beneath the surrounding “32Red,” “UNIBET,” and “QUEENSBERRY PROMOTIONS” branding.

MiniMaxData/caption_demo_004/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "general.emphasis_v2.spatial",
+  "length_requirement": "450-1500 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_004.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 2301.96,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-QM/video/2025-12-22-09/5C0P8M-8S48.mp4",
+  "source_clip_start_s": 2301.96,
+  "source_clip_end_s": 2361.48
+}

MiniMaxData/caption_demo_005/caption.txt

@@ -0,0 +1,59 @@
+## 总体主题与场景
+
+画面是一段舞台上的分组芭蕾组合。多名年轻女性舞者把头发盘成发髻，穿红色、深蓝色、黑色、浅粉色、浅绿色等不同款式的连体舞衣，配浅色连裤袜和芭蕾软鞋。腰腹或后腰别有白色编号牌。每次主要由约五名舞者在前景完成动作，其他人沿舞台后方和侧边成排站立。
+
+舞台地面为黑色，有横向接缝和若干粉红色小胶带标记；背景是没有布景的深蓝紫色幕面。斜侧角度下还能看到右侧黑色侧幕及竖直条状结构。灯光在地面投下清晰、拉长的腿部和手臂影子。画面中没有使用道具。
+
+## 按时间顺序
+
+- **3912.79—3913.79秒：**  
+  正面广角开始。前景主要是深紫色舞衣的 **303号**、深蓝色的 **284号**、黑色长袖的 **300号**、酒红色的 **318号**和浅粉色的 **289号**。她们一脚点地或交叉在前，双臂由斜前方逐渐打开至身体两侧。后排还能看到红色的 **294号、282号、292号**等人基本站立不动。
+
+- **3914.29—3918.80秒：**  
+  前景舞者开始连续的单腿转动：一条腿支撑并踮起前脚掌，另一条腿屈膝抬到支撑腿膝旁；双臂先在胸腹前围成圆形，再向两侧展开。303号和284号位于画面左侧，300号居中偏后，318号在中前方，289号在右侧。转动过程中她们不断改变面向，编号牌时而在正面、时而在背面出现。
+
+- **3919.30—3921.30秒：**  
+  转动后，几人把腿向侧后方伸长，手臂分别向斜上方和侧方延展，头部随抬起的手转动。随后手臂降低，双膝略弯，队形开始松开。
+
+- **3921.80—3923.29秒：**  
+  镜头切换到靠近舞台侧翼的斜侧视角，舞者的背部和后腰编号更清楚。303号、300号、284号、318号等人同时做高位伸腿，多条腿抬到头部附近甚至接近竖直，一只手臂高举，另一只向外打开。地面出现明显的身体投影。约3922.79秒，一道靠得很近的黑色头肩轮廓从镜头前经过，短暂遮住画面中央，随后移出。
+
+- **3923.79—3927.79秒：**  
+  斜侧画面中，284号位于近处，背部有交叉绑带；318号在其右前方，303号和300号位于左侧与中部。她们先把手臂弧形举过头顶，再向前和侧方展开；同时做小幅屈膝、跨步和后脚点地。接着胸口和下巴略抬，手腕、手指朝画面右侧延伸。后方十余名舞者仍沿黑色侧幕前成排站着。
+
+- **3928.29—3934.80秒：**  
+  第一组继续反复做屈膝抬腿和转身。手臂在腰前圆形、肩高横向和斜上方之间切换，身体依次面向镜头、侧面和背面。几人边转边向画面右侧移动，之后重新张开双臂，并再次抬起弯曲的腿。
+
+- **3935.30—3939.79秒：**  
+  303号和284号逐渐靠近镜头，300号跟在中后方，318号在右后方出现。她们以小步、踮起和转身继续横向移动，手臂由胸前推出至两侧。接近段末时，这组人整体向画面右边移去。
+
+- **3940.29—3942.29秒：**  
+  镜头切回正面广角。新旧两组短暂交错：早先的深蓝、黑色和酒红色舞者从右侧穿过；另一组红色与浅色舞衣的舞者进入中央。新组中可辨认出细肩带红衣 **294号**、短袖大露背红衣 **282号**、浅粉色 **305号**、浅绿色 **287号**，以及一名穿黑色蕾丝上身舞衣、编号牌过亮而无法辨读的舞者。多人同时做高位前踢或侧伸腿，其中两名红衣舞者的腿接近竖直，手臂向上延伸。
+
+- **3942.79—3946.29秒：**  
+  第二组形成较均匀的横向间距。她们放下高抬腿，双臂打开，随后交叉步、轻微屈膝，再把手臂弧形举起或向斜上方伸出。282号身形较高，位于中左；305号和287号在中部；黑衣舞者在右侧。约3945.29秒，画面左下边缘短暂出现一名灰衣人物的局部轮廓。
+
+- **3946.29—3952.30秒：**  
+  镜头再次切到斜侧角度。282号成为近处最显眼的人物，294号在左侧，305号在右侧，287号在后方，黑衣舞者更靠右。她们先把双臂围在胸腹前，再打开到肩高；随后反复屈膝抬腿、踮起并旋转。后场清楚可见穿蓝色舞衣的 **314号**和穿红色舞衣的 **292号**站立。
+
+- **3952.80—3959.79秒：**  
+  第二组继续一轮转身。282号逐渐向镜头靠近，红色舞衣正面的 **282** 编号和转身后大面积露背、后腰编号都清楚可见。她反复完成“抬膝—转身—打开手臂”的动作；305号在右侧同步旋转，黑衣舞者和287号在后方做相似动作。接近3959秒时，282号伸出一只手臂向斜上方，随后转身把双臂向外扫开。
+
+- **3960.29—3961.29秒：**  
+  镜头切回正面。五名主要舞者同时做高位伸腿：左侧红衣舞者的腿几乎竖直，305号在中央向侧面水平伸腿，287号和右侧黑衣舞者也把腿抬到较高位置。左下角��一名灰衣人物的暗色轮廓。舞者随后降腿、转向，双臂保持高举或横向展开。
+
+- **3961.79—3966.30秒：**  
+  五人重新分散成横向队形。她们依次做手臂环绕、侧向倾斜、脚尖擦地和交叉步；动作中多次把一只手举过头顶，另一只向侧面延伸。305号在中前方，287号紧随其后；282号在左侧，黑衣舞者在右侧。背景中的314号和292号仍站在右后方。
+
+- **3966.80—3969.30秒：**  
+  282号、305号和黑衣舞者等再次同步屈膝抬腿并转身，双臂先收圆再展开。之后她们把腿向侧面点出或伸长，身体和手臂形成斜向线条，并逐步向画面左侧移动。
+
+- **3969.80—3972.28秒：**  
+  一名头发盘起、穿灰色长袖上衣和黑色长裤的人从左前方完整进入画面。此人先把双臂向前伸出，随后一只手臂横向展开，并从282号、294号前方经过。舞者仍继续原有组合：左侧两名红衣舞者转身，中部305号和287号打开手臂后屈膝抬腿，右侧黑衣舞者也抬起一条弯曲的腿。片段在动作尚未结束时停止，没有出现谢幕或静止终场姿势。
+
+## 可见文字与标识
+
+- 清楚可辨的编号包括：**282、284、287、289、292、294、300、303、305、314、318**。  
+- 编号均印在白色矩形纸牌上，多为蓝色或深色数字，固定在腹前或后腰。  
+- 黑色蕾丝舞衣舞者的白色编号牌因过亮而无法辨认。  
+- 蓝紫色背景上没有完整可辨的标题或字幕；后段左上角偶尔只露出一小段不完整的白色弧形图案。

MiniMaxData/caption_demo_005/caption_demo_005.mp4

@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:1a53262a92d4bfa6286204b771461a1c437ed6d8e90c9fc37a4fb5e1756c0a92
+size 32418114

MiniMaxData/caption_demo_005/info.txt

@@ -0,0 +1,71 @@
+Trace ID: caption_demo_005
+Source: LCvTCmG1gpA.mp4
+Clip: 3912.792217s - 3972.284983s
+Duration: 59.5s
+Prompt type: backflow.generic_detailed_video_caption
+Length requirement: N/A
+Caption: 2696 chars
+
+============================================================
+CAPTION
+============================================================
+
+## 总体主题与场景
+
+画面是一段舞台上的分组芭蕾组合。多名年轻女性舞者把头发盘成发髻，穿红色、深蓝色、黑色、浅粉色、浅绿色等不同款式的连体舞衣，配浅色连裤袜和芭蕾软鞋。腰腹或后腰别有白色编号牌。每次主要由约五名舞者在前景完成动作，其他人沿舞台后方和侧边成排站立。
+
+舞台地面为黑色，有横向接缝和若干粉红色小胶带标记；背景是没有布景的深蓝紫色幕面。斜侧角度下还能看到右侧黑色侧幕及竖直条状结构。灯光在地面投下清晰、拉长的腿部和手臂影子。画面中没有使用道具。
+
+## 按时间顺序
+
+- **3912.79—3913.79秒：**  
+  正面广角开始。前景主要是深紫色舞衣的 **303号**、深蓝色的 **284号**、黑色长袖的 **300号**、酒红色的 **318号**和浅粉色的 **289号**。她们一脚点地或交叉在前，双臂由斜前方逐渐打开至身体两侧。后排还能看到红色的 **294号、282号、292号**等人基本站立不动。
+
+- **3914.29—3918.80秒：**  
+  前景舞者开始连续的单腿转动：一条腿支撑并踮起前脚掌，另一条腿屈膝抬到支撑腿膝旁；双臂先在胸腹前围成圆形，再向两侧展开。303号和284号位于画面左侧，300号居中偏后，318号在中前方，289号在右侧。转动过程中她们不断改变面向，编号牌时而在正面、时而在背面出现。
+
+- **3919.30—3921.30秒：**  
+  转动后，几人把腿向侧后方伸长，手臂分别向斜上方和侧方延展，头部随抬起的手转动。随后手臂降低，双膝略弯，队形开始松开。
+
+- **3921.80—3923.29秒：**  
+  镜头切换到靠近舞台侧翼的斜侧视角，舞者的背部和后腰编号更清楚。303号、300号、284号、318号等人同时做高位伸腿，多条腿抬到头部附近甚至接近竖直，一只手臂高举，另一只向外打开。地面出现明显的身体投影。约3922.79秒，一道靠得很近的黑色头肩轮廓从镜头前经过，短暂遮住画面中央，随后移出。
+
+- **3923.79—3927.79秒：**  
+  斜侧画面中，284号位于近处，背部有交叉绑带；318号在其右前方，303号和300号位于左侧与中部。她们先把手臂弧形举过头顶，再向前和侧方展开；同时做小幅屈膝、跨步和后脚点地。接着胸口和下巴略抬，手腕、手指朝画面右侧延伸。后方十余名舞者仍沿黑色侧幕前成排站着。
+
+- **3928.29—3934.80秒：**  
+  第一组继续反复做屈膝抬腿和转身。手臂在腰前圆形、肩高横向和斜上方之间切换，身体依次面向镜头、侧面和背面。几人边转边向画面右侧移动，之后重新张开双臂，并再次抬起弯曲的腿。
+
+- **3935.30—3939.79秒：**  
+  303号和284号逐渐靠近镜头，300号跟在中后方，318号在右后方出现。她们以小步、踮起和转身继续横向移动，手臂由胸前推出至两侧。接近段末时，这组人整体向画面右边移去。
+
+- **3940.29—3942.29秒：**  
+  镜头切回正面广角。新旧两组短暂交错：早先的深蓝、黑色和酒红色舞者从右侧穿过；另一组红色与浅色舞衣的舞者进入中央。新组中可辨认出细肩带红衣 **294号**、短袖大露背红衣 **282号**、浅粉色 **305号**、浅绿色 **287号**，以及一名穿黑色蕾丝上身舞衣、编号牌过亮而无法辨读的舞者。多人同时做高位前踢或侧伸腿，其中两名红衣舞者的腿接近竖直，手臂向上延伸。
+
+- **3942.79—3946.29秒：**  
+  第二组形成较均匀的横向间距。她们放下高抬腿，双臂打开，随后交叉步、轻微屈膝，再把手臂弧形举起或向斜上方伸出。282号身形较高，位于中左；305号和287号在中部；黑衣舞者在右侧。约3945.29秒，画面左下边缘短暂出现一名灰衣人物的局部轮廓。
+
+- **3946.29—3952.30秒：**  
+  镜头再次切到斜侧角度。282号成为近处最显眼的人物，294号在左侧，305号在右侧，287号在后方，黑衣舞者更靠右。她们先把双臂围在胸腹前，再打开到肩高；随后反复屈膝抬腿、踮起并旋转。后场清楚可见穿蓝色舞衣的 **314号**和穿红色舞衣的 **292号**站立。
+
+- **3952.80—3959.79秒：**  
+  第二组继续一轮转身。282号逐渐向镜头靠近，红色舞衣正面的 **282** 编号和转身后大面积露背、后腰编号都清楚可见。她反复完成“抬膝—转身—打开手臂”的动作；305号在右侧同步旋转，黑衣舞者和287号在后方做相似动作。接近3959秒时，282号伸出一只手臂向斜上方，随后转身把双臂向外扫开。
+
+- **3960.29—3961.29秒：**  
+  镜头切回正面。五名主要舞者同时做高位伸腿：左侧红衣舞者的腿几乎竖直，305号在中央向侧面水平伸腿，287号和右侧黑衣舞者也把腿抬到较高位置。左下角有一名灰衣人物的暗色轮廓。舞者随后降腿、转向，双臂保持高举或横向展开。
+
+- **3961.79—3966.30秒：**  
+  五人重新分散成横向队形。她们依次做手臂环绕、侧向倾斜、脚尖擦地和交叉步；动作中多次把一只手举过头顶，另一只向侧面延伸。305号在中前方，287号紧随其后；282号在左侧，黑衣舞者在右侧。背景中的314号和292号仍站在右后方。
+
+- **3966.80—3969.30秒：**  
+  282号、305号和黑衣舞者等再次同步屈膝抬腿并转身，双臂先收圆再展开。之后她们把腿向侧面点出或伸长，身体和手臂形成斜向线条，并逐步向画面左侧移动。
+
+- **3969.80—3972.28秒：**  
+  一名头发盘起、穿灰色长袖上衣和黑色长裤的人从左前方完整进入画面。此人先把双臂向前伸出，随后一只手臂横向展开，并从282号、294号前方经过。舞者仍继续原有组合：左侧两名红衣舞者转身，中部305号和287号打开手臂后屈膝抬腿，右侧黑衣舞者也抬起一条弯曲的腿。片段在动作尚未结束时停止，没有出现谢幕或静止终场姿势。
+
+## 可见文字与标识
+
+- 清楚可辨的编号包括：**282、284、287、289、292、294、300、303、305、314、318**。  
+- 编号均印在白色矩形纸牌上，多为蓝色或深色数字，固定在腹前或后腰。  
+- 黑色蕾丝舞衣舞者的白色编号牌因过亮而无法辨认。  
+- 蓝紫色背景上没有完整可辨的标题或字幕；后段左上角偶尔只露出一小段不完整的白色弧形图案。

MiniMaxData/caption_demo_005/metadata.json

@@ -0,0 +1,10 @@
+{
+  "prompt_type": "backflow.generic_detailed_video_caption",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_005.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 3912.792217,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-07-22/LCvTCmG1gpA.mp4",
+  "source_clip_start_s": 3912.792217,
+  "source_clip_end_s": 3972.284983
+}

MiniMaxData/caption_demo_006/caption.txt

@@ -0,0 +1,15 @@
+The clip opens with a high aerial view of a sunlit grass athletics complex, much of the field covered by a large white broadcast graphic. A navy-and-yellow header reads “RUNWV.COM” and “TOP 10 RANKED RUNNERS.” The left side shows an SSAC championship emblem labeled “CHAMPIONSHIP” and “CROSS COUNTRY,” with the vertical text “2024 AAAA BOYS.” Beneath it, “PRESENTED BY” appears above the red “Chick-fil-A” logo. The ranking on the right reads: 1. “TY STOERTS (HURRICANE)”; 2. “TYLER UMBRIGHT (UNIVERSITY)”; 3. “AIDEN KNEELAND (CABELL MIDLAND)”; 4. “ETHAN CONROY (UNIVERSITY)”; 5. “DYLAN DIAL (CABELL MIDLAND)”; 6. “MICAH GAINER (UNIVERSITY)”; 7. “CONNER MYERS (JEFFERSON)”; 8. “TRACE MARSHALL (WINFIELD)”; 9. “LOGAN CONROY (UNIVERSITY)”; and 10. “JOSH GILL (PARKERSBURG SOUTH).” In the upper-right corner, a blue-bordered overlay reads “WVSSAC Unofficial Time” above a clock showing “00:00.” A small yellow, stylized “H” mark is visible along the left edge.
+
+The title card gradually becomes transparent. Beneath it, dozens of runners are assembled across the grass in a long, slightly curved line. They wear mixed team uniforms in white, red, black, green, blue, and other colors. Several people in bright blue shirts stand near the line, while spectators gather behind ropes along the sides of the field. Chalked starting boxes and lane numbers, appearing to run from roughly 1 through 16, become visible in front of the runners. A green utility cart is parked on the grass near the lower-left portion of the field, with bags and other equipment scattered nearby. A white canopy, a red-roofed shelter, fences, and a vivid blue area behind a black fence surround the venue. Strong sunlight casts long shadows across the grass.
+
+After holding their positions briefly with the clock still at “00:00,” the entire line surges forward. The runners move toward the far side of the field, quickly breaking the straight formation into several colored clusters. The chalked starting positions remain behind them as the pack spreads, with a few runners moving ahead and others beginning to trail. The elevated camera starts gliding along with the group and widening its view, revealing more spectators, boundary ropes, light poles, and athletic facilities around the course. The clock advances through the first few seconds as the pack continues across the open grass.
+
+Around “00:17,” the footage cuts to a much closer view filmed through trees. Yellow and brown autumn leaves and thin branches fill much of the foreground, partially obscuring a stream of runners as they pass across the middle and lower part of the image. Behind them is a gray athletics building with large lettering that reads “Joe McDonie Fields” and, underneath, “CABELL MIDLAND ATHLETICS.” Red and white canopies, folding chairs, tables, and groups of people are visible around the building. The camera pans across the scene while the runners remain intermittently hidden by the foliage. By approximately “00:20,” the trees dominate the foreground and only portions of the moving pack can be seen.
+
+The footage then cuts back to a high aerial angle farther along the venue. The runners are moving through a broad grass corridor between a fenced green sports area with red markings on the left and buildings, paths, and event tents on the right. A black-and-red arched structure stands beside the fence. Spectators form long lines along the paved paths on both sides of the runners, and a red-roofed shelter and tall light pole are visible near the right edge. The camera follows the pack as it passes rows of red, blue, teal, and black canopies surrounded by people, chairs, bags, and other event equipment. Some tents carry large but indistinct team logos.
+
+Around “00:24,” a white course-map inset appears in the lower-right corner. Its prominent title reads “CABELL MIDLAND” and “5K Course Map.” Colored route lines trace the athletics complex, and the small facility labels appear to include “Football Stadium,” “Baseball Stadium,” “Softball Field,” “Soccer Field,” and “Tennis Courts.” The map remains fixed on screen while the aerial camera continues moving, covering part of the lower-right view.
+
+As the camera advances, the runners become increasingly elongated rather than remaining one compact line. The main group travels along a narrower marked section beside a tall black boundary and a pale path on the left. White ropes, stakes, and painted or chalked directional markings define the grass route on the right. A few runners are visibly separated ahead of the main pack, while a long stream continues behind them. The surrounding venue gradually gives way to a more open section bordered by trees with autumn-colored leaves. A small red vehicle and several scattered people are visible farther up the course.
+
+At the final visible moment, the on-screen clock reads “00:43.” The aerial view looks down on the runners continuing along the curving, roped-off grass route beside the black barrier and wooded edge. The “CABELL MIDLAND 5K Course Map” remains in the lower-right corner, and the pack is still moving; no finish line, result, or conclusion is shown.

MiniMaxData/caption_demo_006/caption_demo_006.mp4

@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:084e9c63406457da0e0be675d27b584992bf442fba62aadb692ec955499ed915
+size 32381844

MiniMaxData/caption_demo_006/info.txt

@@ -0,0 +1,27 @@
+Trace ID: caption_demo_006
+Source: AjReu6P01HU.mp4
+Clip: 3450.264s - 3509.756s
+Duration: 59.5s
+Prompt type: general.emphasis_v2.temporal_change
+Length requirement: 450-1500 words
+Caption: 5137 chars
+
+============================================================
+CAPTION
+============================================================
+
+The clip opens with a high aerial view of a sunlit grass athletics complex, much of the field covered by a large white broadcast graphic. A navy-and-yellow header reads “RUNWV.COM” and “TOP 10 RANKED RUNNERS.” The left side shows an SSAC championship emblem labeled “CHAMPIONSHIP” and “CROSS COUNTRY,” with the vertical text “2024 AAAA BOYS.” Beneath it, “PRESENTED BY” appears above the red “Chick-fil-A” logo. The ranking on the right reads: 1. “TY STOERTS (HURRICANE)”; 2. “TYLER UMBRIGHT (UNIVERSITY)”; 3. “AIDEN KNEELAND (CABELL MIDLAND)”; 4. “ETHAN CONROY (UNIVERSITY)”; 5. “DYLAN DIAL (CABELL MIDLAND)”; 6. “MICAH GAINER (UNIVERSITY)”; 7. “CONNER MYERS (JEFFERSON)”; 8. “TRACE MARSHALL (WINFIELD)”; 9. “LOGAN CONROY (UNIVERSITY)”; and 10. “JOSH GILL (PARKERSBURG SOUTH).” In the upper-right corner, a blue-bordered overlay reads “WVSSAC Unofficial Time” above a clock showing “00:00.” A small yellow, stylized “H” mark is visible along the left edge.
+
+The title card gradually becomes transparent. Beneath it, dozens of runners are assembled across the grass in a long, slightly curved line. They wear mixed team uniforms in white, red, black, green, blue, and other colors. Several people in bright blue shirts stand near the line, while spectators gather behind ropes along the sides of the field. Chalked starting boxes and lane numbers, appearing to run from roughly 1 through 16, become visible in front of the runners. A green utility cart is parked on the grass near the lower-left portion of the field, with bags and other equipment scattered nearby. A white canopy, a red-roofed shelter, fences, and a vivid blue area behind a black fence surround the venue. Strong sunlight casts long shadows across the grass.
+
+After holding their positions briefly with the clock still at “00:00,” the entire line surges forward. The runners move toward the far side of the field, quickly breaking the straight formation into several colored clusters. The chalked starting positions remain behind them as the pack spreads, with a few runners moving ahead and others beginning to trail. The elevated camera starts gliding along with the group and widening its view, revealing more spectators, boundary ropes, light poles, and athletic facilities around the course. The clock advances through the first few seconds as the pack continues across the open grass.
+
+Around “00:17,” the footage cuts to a much closer view filmed through trees. Yellow and brown autumn leaves and thin branches fill much of the foreground, partially obscuring a stream of runners as they pass across the middle and lower part of the image. Behind them is a gray athletics building with large lettering that reads “Joe McDonie Fields” and, underneath, “CABELL MIDLAND ATHLETICS.” Red and white canopies, folding chairs, tables, and groups of people are visible around the building. The camera pans across the scene while the runners remain intermittently hidden by the foliage. By approximately “00:20,” the trees dominate the foreground and only portions of the moving pack can be seen.
+
+The footage then cuts back to a high aerial angle farther along the venue. The runners are moving through a broad grass corridor between a fenced green sports area with red markings on the left and buildings, paths, and event tents on the right. A black-and-red arched structure stands beside the fence. Spectators form long lines along the paved paths on both sides of the runners, and a red-roofed shelter and tall light pole are visible near the right edge. The camera follows the pack as it passes rows of red, blue, teal, and black canopies surrounded by people, chairs, bags, and other event equipment. Some tents carry large but indistinct team logos.
+
+Around “00:24,” a white course-map inset appears in the lower-right corner. Its prominent title reads “CABELL MIDLAND” and “5K Course Map.” Colored route lines trace the athletics complex, and the small facility labels appear to include “Football Stadium,” “Baseball Stadium,” “Softball Field,” “Soccer Field,” and “Tennis Courts.” The map remains fixed on screen while the aerial camera continues moving, covering part of the lower-right view.
+
+As the camera advances, the runners become increasingly elongated rather than remaining one compact line. The main group travels along a narrower marked section beside a tall black boundary and a pale path on the left. White ropes, stakes, and painted or chalked directional markings define the grass route on the right. A few runners are visibly separated ahead of the main pack, while a long stream continues behind them. The surrounding venue gradually gives way to a more open section bordered by trees with autumn-colored leaves. A small red vehicle and several scattered people are visible farther up the course.
+
+At the final visible moment, the on-screen clock reads “00:43.” The aerial view looks down on the runners continuing along the curving, roped-off grass route beside the black barrier and wooded edge. The “CABELL MIDLAND 5K Course Map” remains in the lower-right corner, and the pack is still moving; no finish line, result, or conclusion is shown.

MiniMaxData/caption_demo_006/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "general.emphasis_v2.temporal_change",
+  "length_requirement": "450-1500 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_006.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 3450.264,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-05-29/AjReu6P01HU.mp4",
+  "source_clip_start_s": 3450.264,
+  "source_clip_end_s": 3509.756
+}

MiniMaxData/caption_demo_007/caption.txt

@@ -0,0 +1 @@
+{"5310.40-5313.40s":"A low, front-facing medium-wide view shows four light-skinned male gymnasts in matching fitted black tops and shorts decorated with red-and-yellow flame graphics, all wearing white ankle socks. They form a four-person vertical structure near the audience: the lowest man supports a second seated across his shoulders, a third stands upright on the seated man's shoulders, and the top flyer balances almost horizontally. The flyer faces downward, extends one straight leg toward screen-left, bends the other leg behind him, presses one palm onto the standing supporter's crown, and clasps the supporter's raised hand with his other hand. The standing supporter extends his free arm sideways. Over these seconds the flyer raises his hips and straightens his long body line, changing from slightly angled to nearly level while the three-person column beneath remains almost motionless. Metal lighting trusses, bright lamps, banners, and densely occupied blue-and-yellow seating fill the background.","5313.40-5316.40s":"The camera cuts tightly onto the upper two men against a blue banner reading FÉDÉRATION FRANÇAISE Gym. The flyer maintains the two visible contacts—one palm on the supporter's head and one hand-to-hand clasp—while holding his torso and straight leg parallel to the floor. His white-socked toes stay pointed; the rear leg remains bent and elevated. He makes small ankle, knee, and hip corrections without releasing either support point. Below him, the blond supporter keeps his raised arm rigid, his free arm extended horizontally, and his eyes directed upward. Compared with the earlier slightly diagonal position, the flyer's shoulders, hips, and extended leg now form a more level line.","5316.40-5321.40s":"An elevated very wide shot reveals the complete four-man tower at the left edge of a large cream competition mat surrounded by a red border. The bottom base stands with feet apart; the second man sits astride his shoulders; the third stands vertically above them; and the fourth remains in the horizontal stag-like balance, so the count and arrangement are unchanged. The flyer keeps one leg straight to the left and the other bent behind, with only minor toe and hip movement. Most of the mat remains empty to their right. Turquoise perimeter walls carry VTB, Gym, ville de Levallois, Île-de-France, and hauts-de-seine logos. Large panels read CHAMPIONNATS DU MONDE GYMNASTIQUE ACROBATIQUE. Roughly 12–16 national flags hang above the stands, while black floor speakers, potted plants, flowers, and seated officials occupy the area outside the mat. The camera slowly widens while the balance is held.","5321.40-5324.92s":"The top flyer initiates the dismantling sequence. He draws the extended leg inward, bends through the hips and knees, and pivots from the face-down horizontal hold into a compact upright crouch above the standing supporter. He releases the head contact and hand clasp, drops down along the front-right side of the tower, and lands on both feet with bent knees and an arm sweeping upward for balance. The former standing supporter then lowers and jumps down next, appearing briefly blurred in descent before landing near the first gymnast. At the end, two men are standing on the mat while the original bottom base still carries one seated teammate. Thus the active stack has visibly decreased from four bodies high to two, although all four gymnasts remain present.","5324.92-5328.40s":"A side medium shot begins with the remaining two-level structure behind the two dismounted men. A nearby electronic monitor displays a green GO symbol, POLAND, a small Polish flag, and a running time around 01:02–01:05. The seated gymnast slides or hops down from the final base, and within the next second the last elevated pair separates, increasing the number on the floor from two to all four. They immediately travel forward in a staggered diagonal line, using light hops and short running steps. Their arms alternately sweep forward, open sideways, and rise overhead while their knees flex in rhythm. Compared with the earlier stationary tower, the team is now fully mobile and spread over several meters of the mat.","5328.40-5331.40s":"The camera cuts to a wide view as two gymnasts in the foreground accelerate diagonally from left toward center-right; the other two stop farther back near the turquoise wall. The moving pair swing both arms, dip their torsos, place their hands on the mat, and pass their straight legs overhead through near-simultaneous hand-supported inversions resembling roundoffs or cartwheels. They rebound immediately from their feet into airborne tucked somersaults, with one athlete a fraction ahead of the other. Both rotate above the cream surface and open before landing. By the end, the two active gymnasts have returned to their feet with knees bent and arms forward to control momentum, while the two waiting teammates remain upright behind them. The active and stationary counts are therefore two and two.","5331.40-5335.40s":"After the first pair lands and moves toward the right side, the previously waiting pair begins a matching pass from the left. They raise their arms, hop forward, fold at the waist, and place both hands on the floor as their legs sweep overhead. A cut to a low floor-level angle emphasizes their inverted legs and the overhead lighting trusses. They rebound out of the hand-supported movement and perform closely synchronized tucked somersaults, drawing knees toward their chests while rotating above the mat. Both open and land with flexed knees by about 5334.40s, then straighten and turn outward. Compared with the preceding pass, the roles have reversed: the second pair completes the tumbling while the first pair walks into new positions at the far right. By 5335.40s all four are again upright and separated across the floor.","5335.40-5338.92s":"A central wide shot shows the four gymnasts arranged loosely around the left half of the mat. Two nearer the camera lean back with arms arcing overhead, then run and hop inward, while the farther two pivot and step toward the center. All four use broad, symmetrical arm sweeps and small two-foot jumps as the spacing contracts. One pair on the left jumps facing each other and meets both hands overhead in a brief elevated palm-to-palm contact; their feet leave the mat simultaneously before they separate and land. The other two continue approaching with arms extended. Compared with the earlier four-corner spacing, the team finishes this interval in a compact cluster only a few body widths across.","5338.92-5340.40s":"The four men land from the inward hops and form a tight diamond-like grouping. They bend their knees into shallow squats, angle their torsos toward the center, and pulse their arms forward and outward as if passing attention around the group. Hands approach one another but do not form a sustained grip. The men shift their feet in short steps while maintaining the compact formation. A tighter camera view begins near the end, reducing the visible empty mat and bringing the flame patterns, white socks, and coordinated crouching motions into clearer view.","5340.40-5344.92s":"In the medium shot, the four circle and cross around one another with controlled walking steps. The shorter light-haired gymnast turns and points one arm toward screen-left; the bald gymnast and a taller teammate pivot past him, while the dark-haired man on the right opens both arms and then turns inward. Their arms trace alternating horizontal and downward arcs, and several brief hand or forearm contacts occur as positions change. The electronic monitor at the left continues to show POLAND and the running timer. By the end, the dark-haired gymnast lowers into a deeper crouch with his hands clasped in front of his knees, and the other three close around him. The loose dance cluster has therefore changed into a compact preparation formation.","5344.92-5347.40s":"Three men organize into a base group around the relatively smaller flyer. The dark-haired base remains low with his hands joined to create a platform, while two lighter-haired teammates stand on either side and bring their hands toward the center. The flyer steps into the enclosed space and lowers his weight toward the interlocked hands; exact foot placement is partly obscured by the surrounding bodies. All three bases bend their knees and hips together, keeping their eyes on the flyer. Their arms compress downward and then begin driving upward. The count has changed from four independently moving athletes to one central flyer supported and spotted by three bases.","5347.40-5348.92s":"The three bases extend their legs and arms, launching the flyer high above their heads. He rises vertically at first, then rotates end over end through a long, nearly horizontal position with legs together and toes pointed. His body remains mostly extended rather than tightly tucked while the three men below follow his path with raised hands. At least one end-over-end rotation is visibly supported, while any additional rotation cannot be confirmed with confidence. The flyer opens to an upright orientation during descent. The bases step and adjust beneath him, then receive his feet and lower legs onto their joined hand platform, completing one release and one controlled recatch without the flyer touching the floor.","5348.92-5352.40s":"The catch is absorbed in a deep squat by the central bases. Above them, the flyer stands upright with feet together, arms initially held outward for balance, and gaze directed over the arena. The bald base is visible behind him, another base faces away from the camera in front, and the dark-haired teammate remains close on the right as a side spotter. The men regrip around the flyer's feet and ankles, then progressively straighten their legs and lift their hands. After a brief settling dip, they drive upward again, moving the supported feet from approximately chest or head level to a position above the bases' heads. Compared with the low catch at the start, the flyer is visibly higher and the supporting arms are much more extended by 5352.40s.","5352.40-5354.92s":"The three-man base group stabilizes the flyer at near-full extension. His straight body is vertical, his feet remain together on the raised hand platform, and the bases form a tight triangle beneath him. One base briefly bends lower at the right to adjust his hand position while the other two keep their arms aligned beneath the soles. The flyer changes his upper-body pose from arms near his sides to both arms reaching vertically overhead. Large event panels, potted plants, flower beds, purple benches, and the turquoise wall remain behind the structure. Relative to the earlier horizontal balance and the later floor choreography, the team is again in a stationary elevated formation, now consisting of three bases and one upright flyer.","5354.92-5357.40s":"The elevated stand is held for another moment with the flyer's legs locked and arms overhead. He then lowers his arms forward, inclines his torso slightly, and bends his knees into a compact loading position. Beneath him, all three bases flex their knees and lower their hand platform together; the right-side spotter moves both hands closer to the flyer's feet. The previously rigid vertical line compresses noticeably as the flyer crouches. At the end, the bases begin a forceful upward extension, and the flyer leaves the supported standing position to start another release skill.","5357.40-5358.92s":"The flyer is propelled upward and away from the hand platform into an extended, layout-like somersault. He rotates end over end with straight legs and pointed white socks, passing through a long horizontal line high above the three upstretched bases. A closer tracking view follows his body as the audience and blue event banner slide behind him. He continues the rotation, opens upright, and descends toward the same group. The bases keep their arms raised and reposition under his path. By 5358.92s he is recaught upright above them, with his feet returned to the joined hands. This completes a second visible release-and-recatch cycle, again with no floor contact by the flyer.","5358.92-5360.92s":"In a close view after the recatch, two primary bases absorb the downward force in broad, deep squats while the third stands close at screen-right. The flyer remains vertical above their heads with arms extended horizontally in a T-shape and feet together on the supported platform. The dark-haired side base sweeps one arm outward as a presentation gesture, then turns his attention back toward the flyer. Behind them, a banner reads CHAMPIONNATS DU MONDE GYMNASTIQUE ACROBATIQUE, with smaller event information including 29 JUIN - 12 JUILLET 2014. The platform steadies and begins to rise slightly as the bases recover from the squat; all four remain connected in the same three-below, one-above arrangement.","5360.92-5363.40s":"The camera changes to a lower, wider angle from the opposite side, placing a row of national flags above the densely seated audience. The flyer is seen mostly from behind, still standing on the bases' joined hands. He raises both arms from horizontal to vertical, holds them together overhead, and then lowers them outward while looking down toward the group. The two principal bases maintain contact at his feet, and the third stays immediately behind as a spotter. All three bend their knees and lower the platform; the flyer simultaneously bends at the hips and knees. By 5363.40s the formation is compressed into another coordinated loading position, clearly lower than the preceding extended hold.","5363.40-5365.40s":"The bases dip and drive upward in unison, releasing the flyer straight above them. He leaves with arms raised and a long body, then pulls both knees tightly toward his chest near the apex and rotates end over end in a compact tuck. The visible motion confirms one or more tucked rotations, but the exact total cannot be resolved confidently. As he descends, he opens his hips and knees to return to an upright stance. The three bases track him with hands overhead, step minimally to center the catch, and receive his feet on their joined platform. They sink into deep squats to absorb the landing while the flyer extends his arms sideways. This is the third clearly visible aerial release followed by an elevated recatch in this sequence.","5365.40-5369.92s":"A closer shot shows the recaught flyer standing steadily above the three crouched bases, arms initially extended at shoulder height. The dark-haired spotter on the right briefly presents one arm sideways before bringing his hands back toward the central support. The bases gradually straighten their legs and tighten the triangular arrangement, raising and stabilizing the flyer without releasing him. He changes from the T-shaped arm position to both arms reaching vertically overhead, maintaining straight knees and together feet. The camera widens near the end, revealing the cream mat, red border, turquoise walls, the monitor still reading POLAND, and a red wall clock reading 17:58. Compared with the moving tuck toss moments earlier, the final visible state is static: three men remain braced beneath one elevated flyer, and no dismount occurs before 5369.92s."}

MiniMaxData/caption_demo_007/caption_demo_007.mp4

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+version https://git-lfs.github.com/spec/v1
+oid sha256:8de957f4153367e3e71f2a3f873a687bb5bc8919213d607d9be2d4b8c3710a98
+size 31298343

MiniMaxData/caption_demo_007/info.txt

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+Trace ID: caption_demo_007
+Source: _e9PXNXAHqA.mp4
+Clip: 5310.4s - 5369.92s
+Duration: 59.5s
+Prompt type: sft_combinatory.composed_compact.action
+Length requirement: 1500-3000 words
+Caption: 15324 chars
+
+============================================================
+CAPTION
+============================================================
+
+{"5310.40-5313.40s":"A low, front-facing medium-wide view shows four light-skinned male gymnasts in matching fitted black tops and shorts decorated with red-and-yellow flame graphics, all wearing white ankle socks. They form a four-person vertical structure near the audience: the lowest man supports a second seated across his shoulders, a third stands upright on the seated man's shoulders, and the top flyer balances almost horizontally. The flyer faces downward, extends one straight leg toward screen-left, bends the other leg behind him, presses one palm onto the standing supporter's crown, and clasps the supporter's raised hand with his other hand. The standing supporter extends his free arm sideways. Over these seconds the flyer raises his hips and straightens his long body line, changing from slightly angled to nearly level while the three-person column beneath remains almost motionless. Metal lighting trusses, bright lamps, banners, and densely occupied blue-and-yellow seating fill the background.","5313.40-5316.40s":"The camera cuts tightly onto the upper two men against a blue banner reading FÉDÉRATION FRANÇAISE Gym. The flyer maintains the two visible contacts—one palm on the supporter's head and one hand-to-hand clasp—while holding his torso and straight leg parallel to the floor. His white-socked toes stay pointed; the rear leg remains bent and elevated. He makes small ankle, knee, and hip corrections without releasing either support point. Below him, the blond supporter keeps his raised arm rigid, his free arm extended horizontally, and his eyes directed upward. Compared with the earlier slightly diagonal position, the flyer's shoulders, hips, and extended leg now form a more level line.","5316.40-5321.40s":"An elevated very wide shot reveals the complete four-man tower at the left edge of a large cream competition mat surrounded by a red border. The bottom base stands with feet apart; the second man sits astride his shoulders; the third stands vertically above them; and the fourth remains in the horizontal stag-like balance, so the count and arrangement are unchanged. The flyer keeps one leg straight to the left and the other bent behind, with only minor toe and hip movement. Most of the mat remains empty to their right. Turquoise perimeter walls carry VTB, Gym, ville de Levallois, Île-de-France, and hauts-de-seine logos. Large panels read CHAMPIONNATS DU MONDE GYMNASTIQUE ACROBATIQUE. Roughly 12–16 national flags hang above the stands, while black floor speakers, potted plants, flowers, and seated officials occupy the area outside the mat. The camera slowly widens while the balance is held.","5321.40-5324.92s":"The top flyer initiates the dismantling sequence. He draws the extended leg inward, bends through the hips and knees, and pivots from the face-down horizontal hold into a compact upright crouch above the standing supporter. He releases the head contact and hand clasp, drops down along the front-right side of the tower, and lands on both feet with bent knees and an arm sweeping upward for balance. The former standing supporter then lowers and jumps down next, appearing briefly blurred in descent before landing near the first gymnast. At the end, two men are standing on the mat while the original bottom base still carries one seated teammate. Thus the active stack has visibly decreased from four bodies high to two, although all four gymnasts remain present.","5324.92-5328.40s":"A side medium shot begins with the remaining two-level structure behind the two dismounted men. A nearby electronic monitor displays a green GO symbol, POLAND, a small Polish flag, and a running time around 01:02–01:05. The seated gymnast slides or hops down from the final base, and within the next second the last elevated pair separates, increasing the number on the floor from two to all four. They immediately travel forward in a staggered diagonal line, using light hops and short running steps. Their arms alternately sweep forward, open sideways, and rise overhead while their knees flex in rhythm. Compared with the earlier stationary tower, the team is now fully mobile and spread over several meters of the mat.","5328.40-5331.40s":"The camera cuts to a wide view as two gymnasts in the foreground accelerate diagonally from left toward center-right; the other two stop farther back near the turquoise wall. The moving pair swing both arms, dip their torsos, place their hands on the mat, and pass their straight legs overhead through near-simultaneous hand-supported inversions resembling roundoffs or cartwheels. They rebound immediately from their feet into airborne tucked somersaults, with one athlete a fraction ahead of the other. Both rotate above the cream surface and open before landing. By the end, the two active gymnasts have returned to their feet with knees bent and arms forward to control momentum, while the two waiting teammates remain upright behind them. The active and stationary counts are therefore two and two.","5331.40-5335.40s":"After the first pair lands and moves toward the right side, the previously waiting pair begins a matching pass from the left. They raise their arms, hop forward, fold at the waist, and place both hands on the floor as their legs sweep overhead. A cut to a low floor-level angle emphasizes their inverted legs and the overhead lighting trusses. They rebound out of the hand-supported movement and perform closely synchronized tucked somersaults, drawing knees toward their chests while rotating above the mat. Both open and land with flexed knees by about 5334.40s, then straighten and turn outward. Compared with the preceding pass, the roles have reversed: the second pair completes the tumbling while the first pair walks into new positions at the far right. By 5335.40s all four are again upright and separated across the floor.","5335.40-5338.92s":"A central wide shot shows the four gymnasts arranged loosely around the left half of the mat. Two nearer the camera lean back with arms arcing overhead, then run and hop inward, while the farther two pivot and step toward the center. All four use broad, symmetrical arm sweeps and small two-foot jumps as the spacing contracts. One pair on the left jumps facing each other and meets both hands overhead in a brief elevated palm-to-palm contact; their feet leave the mat simultaneously before they separate and land. The other two continue approaching with arms extended. Compared with the earlier four-corner spacing, the team finishes this interval in a compact cluster only a few body widths across.","5338.92-5340.40s":"The four men land from the inward hops and form a tight diamond-like grouping. They bend their knees into shallow squats, angle their torsos toward the center, and pulse their arms forward and outward as if passing attention around the group. Hands approach one another but do not form a sustained grip. The men shift their feet in short steps while maintaining the compact formation. A tighter camera view begins near the end, reducing the visible empty mat and bringing the flame patterns, white socks, and coordinated crouching motions into clearer view.","5340.40-5344.92s":"In the medium shot, the four circle and cross around one another with controlled walking steps. The shorter light-haired gymnast turns and points one arm toward screen-left; the bald gymnast and a taller teammate pivot past him, while the dark-haired man on the right opens both arms and then turns inward. Their arms trace alternating horizontal and downward arcs, and several brief hand or forearm contacts occur as positions change. The electronic monitor at the left continues to show POLAND and the running timer. By the end, the dark-haired gymnast lowers into a deeper crouch with his hands clasped in front of his knees, and the other three close around him. The loose dance cluster has therefore changed into a compact preparation formation.","5344.92-5347.40s":"Three men organize into a base group around the relatively smaller flyer. The dark-haired base remains low with his hands joined to create a platform, while two lighter-haired teammates stand on either side and bring their hands toward the center. The flyer steps into the enclosed space and lowers his weight toward the interlocked hands; exact foot placement is partly obscured by the surrounding bodies. All three bases bend their knees and hips together, keeping their eyes on the flyer. Their arms compress downward and then begin driving upward. The count has changed from four independently moving athletes to one central flyer supported and spotted by three bases.","5347.40-5348.92s":"The three bases extend their legs and arms, launching the flyer high above their heads. He rises vertically at first, then rotates end over end through a long, nearly horizontal position with legs together and toes pointed. His body remains mostly extended rather than tightly tucked while the three men below follow his path with raised hands. At least one end-over-end rotation is visibly supported, while any additional rotation cannot be confirmed with confidence. The flyer opens to an upright orientation during descent. The bases step and adjust beneath him, then receive his feet and lower legs onto their joined hand platform, completing one release and one controlled recatch without the flyer touching the floor.","5348.92-5352.40s":"The catch is absorbed in a deep squat by the central bases. Above them, the flyer stands upright with feet together, arms initially held outward for balance, and gaze directed over the arena. The bald base is visible behind him, another base faces away from the camera in front, and the dark-haired teammate remains close on the right as a side spotter. The men regrip around the flyer's feet and ankles, then progressively straighten their legs and lift their hands. After a brief settling dip, they drive upward again, moving the supported feet from approximately chest or head level to a position above the bases' heads. Compared with the low catch at the start, the flyer is visibly higher and the supporting arms are much more extended by 5352.40s.","5352.40-5354.92s":"The three-man base group stabilizes the flyer at near-full extension. His straight body is vertical, his feet remain together on the raised hand platform, and the bases form a tight triangle beneath him. One base briefly bends lower at the right to adjust his hand position while the other two keep their arms aligned beneath the soles. The flyer changes his upper-body pose from arms near his sides to both arms reaching vertically overhead. Large event panels, potted plants, flower beds, purple benches, and the turquoise wall remain behind the structure. Relative to the earlier horizontal balance and the later floor choreography, the team is again in a stationary elevated formation, now consisting of three bases and one upright flyer.","5354.92-5357.40s":"The elevated stand is held for another moment with the flyer's legs locked and arms overhead. He then lowers his arms forward, inclines his torso slightly, and bends his knees into a compact loading position. Beneath him, all three bases flex their knees and lower their hand platform together; the right-side spotter moves both hands closer to the flyer's feet. The previously rigid vertical line compresses noticeably as the flyer crouches. At the end, the bases begin a forceful upward extension, and the flyer leaves the supported standing position to start another release skill.","5357.40-5358.92s":"The flyer is propelled upward and away from the hand platform into an extended, layout-like somersault. He rotates end over end with straight legs and pointed white socks, passing through a long horizontal line high above the three upstretched bases. A closer tracking view follows his body as the audience and blue event banner slide behind him. He continues the rotation, opens upright, and descends toward the same group. The bases keep their arms raised and reposition under his path. By 5358.92s he is recaught upright above them, with his feet returned to the joined hands. This completes a second visible release-and-recatch cycle, again with no floor contact by the flyer.","5358.92-5360.92s":"In a close view after the recatch, two primary bases absorb the downward force in broad, deep squats while the third stands close at screen-right. The flyer remains vertical above their heads with arms extended horizontally in a T-shape and feet together on the supported platform. The dark-haired side base sweeps one arm outward as a presentation gesture, then turns his attention back toward the flyer. Behind them, a banner reads CHAMPIONNATS DU MONDE GYMNASTIQUE ACROBATIQUE, with smaller event information including 29 JUIN - 12 JUILLET 2014. The platform steadies and begins to rise slightly as the bases recover from the squat; all four remain connected in the same three-below, one-above arrangement.","5360.92-5363.40s":"The camera changes to a lower, wider angle from the opposite side, placing a row of national flags above the densely seated audience. The flyer is seen mostly from behind, still standing on the bases' joined hands. He raises both arms from horizontal to vertical, holds them together overhead, and then lowers them outward while looking down toward the group. The two principal bases maintain contact at his feet, and the third stays immediately behind as a spotter. All three bend their knees and lower the platform; the flyer simultaneously bends at the hips and knees. By 5363.40s the formation is compressed into another coordinated loading position, clearly lower than the preceding extended hold.","5363.40-5365.40s":"The bases dip and drive upward in unison, releasing the flyer straight above them. He leaves with arms raised and a long body, then pulls both knees tightly toward his chest near the apex and rotates end over end in a compact tuck. The visible motion confirms one or more tucked rotations, but the exact total cannot be resolved confidently. As he descends, he opens his hips and knees to return to an upright stance. The three bases track him with hands overhead, step minimally to center the catch, and receive his feet on their joined platform. They sink into deep squats to absorb the landing while the flyer extends his arms sideways. This is the third clearly visible aerial release followed by an elevated recatch in this sequence.","5365.40-5369.92s":"A closer shot shows the recaught flyer standing steadily above the three crouched bases, arms initially extended at shoulder height. The dark-haired spotter on the right briefly presents one arm sideways before bringing his hands back toward the central support. The bases gradually straighten their legs and tighten the triangular arrangement, raising and stabilizing the flyer without releasing him. He changes from the T-shaped arm position to both arms reaching vertically overhead, maintaining straight knees and together feet. The camera widens near the end, revealing the cream mat, red border, turquoise walls, the monitor still reading POLAND, and a red wall clock reading 17:58. Compared with the moving tuck toss moments earlier, the final visible state is static: three men remain braced beneath one elevated flyer, and no dismount occurs before 5369.92s."}

MiniMaxData/caption_demo_007/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "sft_combinatory.composed_compact.action",
+  "length_requirement": "1500-3000 words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_007.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 5310.4,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-CF/video/2025-04-21/_e9PXNXAHqA.mp4",
+  "source_clip_start_s": 5310.4,
+  "source_clip_end_s": 5369.92
+}

MiniMaxData/caption_demo_008/caption.txt

@@ -0,0 +1,19 @@
+{
+  "3529.60s-3531.60s": "A fixed, wide broadcast view shows two adult male karate competitors standing on a light-blue tatami bordered by thick red lanes and two red center squares. A bearded fighter with red gloves, belt, and foot guards is screen left; a taller fighter in blue gear is screen right. A gray-haired referee in a black suit and red tie turns to face the camera between them. Judges and branded barriers line the rear beneath multicolored seating. The overlay reads MALE KUMITE 84+ KG, S. SUEYFAN, KSA 5, 0:08, O. OSMANLI, AZE 1, and PENALTY; the lower-right graphic reads VIDEO REVIEW YES.",
+  "3531.60s-3533.60s": "The top score updates from KSA 5 to KSA 6 while AZE remains at 1 and the clock holds at 0:08. The referee makes a small arm motion as both competitors remain separated, with blue turning his shoulders slightly. The lower review banner retracts in stages: the YES box vanishes first, followed by the VIDEO REVIEW panel.",
+  "3533.60s-3536.10s": "With the review graphic gone, the fighters continue facing each other across the center. Red keeps his hands low and feet planted, while blue lightly shifts his weight with gloves near his waist. The referee repositions between them, and the clock remains at 0:08.",
+  "3536.10s-3538.60s": "The referee spreads both arms and steps backward as the fighters raise their guards and begin bouncing forward. The clock ticks to 0:07 and then 0:06. Red probes with his lead glove, then lunges and briefly jumps toward blue with an arm extended at head height; blue leans away and retreats with his gloves raised.",
+  "3538.60s-3541.10s": "The forward rush carries the fighters into close contact near center-right. Red leans across blue's upper body and briefly has one leg lifted as they tangle; blue braces, pivots, and gives ground. Their shoulders and arms stay close for several steps before a gap begins to open, while the referee follows behind.",
+  "3541.10s-3543.10s": "A small gap opens between the competitors. Red advances in a bent-knee stance with his lead hand extended, while blue shuffles backward and sideways toward screen-left with his guard high. The timer falls from 0:03 to 0:01, and the referee mirrors their movement from several meters behind.",
+  "3543.10s-3545.60s": "With 0:01 displayed, red launches a sequence of high turning kicks, repeatedly pivoting and extending a leg toward blue's torso and upper-body line. Blue leans away and hops backward toward the far-left boundary with his gloves raised. The referee closes the distance behind them as red continues pressing leftward.",
+  "3545.60s-3549.60s": "The referee moves in with one arm extended, and both competitors stop striking near the left edge. Red lowers his leg, dips forward, and turns away; blue also relaxes his stance. They walk diagonally back toward the center and foreground, with red several steps ahead, while the top clock continues to show 0:01.",
+  "3549.60s-3553.10s": "Upon reaching the central red squares, red stops and bends deeply at the waist with his hands near his knees and shins, while blue remains upright opposite him. The referee takes the middle position and raises one arm diagonally toward screen-right. The top display still shows KSA 6, AZE 1, and 0:01.",
+  "3553.10s-3556.10s": "The clock changes to 0:00 as the referee lowers his arm. Red straightens, and blue approaches with both gloves extended. They meet between the squares, touch and clasp their gloved hands, then briefly wrap their arms around each other's shoulders in a close embrace while the referee stands immediately behind them.",
+  "3556.10s-3560.10s": "The competitors release and turn away in opposite directions; blue's back patch visibly reads KSA. Red walks toward the left boundary and blue toward the right, both with their arms relaxed. The referee remains centered on the increasingly open mat, and the top display holds at 6-1 and 0:00.",
+  "3560.10s-3564.60s": "With the fighters near opposite borders, a bald man in a dark suit enters from the right foreground and crosses toward center; shortly afterward, another bald suited man enters from the left. Red remains deeply bent at the waist near the far-left boundary with his hands near his knees. Blue stands upright at far right and briefly raises a glove to his face while the original referee stays centered.",
+  "3564.60s-3568.10s": "The newcomers join the central referee until five officials in dark suits and ties form a straight row across mid-mat, facing the camera between the athletes. Red straightens at far left, and blue stands at far right. The five officials bend forward together in a coordinated bow and begin to straighten; blue also bows from his boundary.",
+  "3568.10s-3573.10s": "The officials turn and walk in a line toward the rear-right side. Blue steps diagonally toward camera-right and exits the frame, while red turns and walks off toward camera-left. As both athletes clear the shot, the suited group converges near the branded barrier and judges' area, leaving the foreground and central squares empty.",
+  "3573.10s-3583.60s": "The fixed wide shot holds on the vacant competition area. Several black-suited officials gather behind the KARATE1 boards at center-right, facing one another and making small gestures, while a person in light clothing kneels near floor equipment on the right. More staff line the long rear table, with multicolored stands and ROAD TO CAIRO signs beyond. The scoreboard remains frozen at KSA 6, AZE 1, 0:00, with PENALTY indicators.",
+  "3583.60s-3584.60s": "A stylized full-screen transition overtakes the arena. A brilliant white-gold flare radiates from the upper-left corner, washing the fading venue in warm orange and red before it disappears. Deep burgundy and crimson watercolor-like clouds bloom across a nearly black field, with tiny bright particles drifting throughout. Large blurred white letters build from left to right near the lower center, first KA and then KARAT, resolving into KARATE by the end.",
+  "3584.60s-3589.10s": "The completed word KARATE remains in huge, glowing white capitals across the center. Behind the title, a white-gi athlete with a dark belt emerges from the burgundy haze and advances toward the camera; the image sharpens into a dark-haired woman with her hair pulled back and a focused expression. She grows from a full-body figure into a close waist-up view, then subtly turns her shoulders and settles into a poised stance as floating specks, red clouds, and the warm upper-left flare continue."
+}

MiniMaxData/caption_demo_008/caption_demo_008.mp4

@@ -0,0 +1,3 @@
+version https://git-lfs.github.com/spec/v1
+oid sha256:1b323d1119b23d9be3c7b6324d96f1b621012a3800df6ad3454d88e9222476e8
+size 30881070

MiniMaxData/caption_demo_008/info.txt

@@ -0,0 +1,31 @@
+Trace ID: caption_demo_008
+Source: 2dqgKuifWgc.mp4
+Clip: 3529.6s - 3589.1s
+Duration: 59.5s
+Prompt type: sft_combinatory.event
+Length requirement: first/new-scene segment about 60+ words; later content segments normally 30+ words
+Caption: 6529 chars
+
+============================================================
+CAPTION
+============================================================
+
+{
+  "3529.60s-3531.60s": "A fixed, wide broadcast view shows two adult male karate competitors standing on a light-blue tatami bordered by thick red lanes and two red center squares. A bearded fighter with red gloves, belt, and foot guards is screen left; a taller fighter in blue gear is screen right. A gray-haired referee in a black suit and red tie turns to face the camera between them. Judges and branded barriers line the rear beneath multicolored seating. The overlay reads MALE KUMITE 84+ KG, S. SUEYFAN, KSA 5, 0:08, O. OSMANLI, AZE 1, and PENALTY; the lower-right graphic reads VIDEO REVIEW YES.",
+  "3531.60s-3533.60s": "The top score updates from KSA 5 to KSA 6 while AZE remains at 1 and the clock holds at 0:08. The referee makes a small arm motion as both competitors remain separated, with blue turning his shoulders slightly. The lower review banner retracts in stages: the YES box vanishes first, followed by the VIDEO REVIEW panel.",
+  "3533.60s-3536.10s": "With the review graphic gone, the fighters continue facing each other across the center. Red keeps his hands low and feet planted, while blue lightly shifts his weight with gloves near his waist. The referee repositions between them, and the clock remains at 0:08.",
+  "3536.10s-3538.60s": "The referee spreads both arms and steps backward as the fighters raise their guards and begin bouncing forward. The clock ticks to 0:07 and then 0:06. Red probes with his lead glove, then lunges and briefly jumps toward blue with an arm extended at head height; blue leans away and retreats with his gloves raised.",
+  "3538.60s-3541.10s": "The forward rush carries the fighters into close contact near center-right. Red leans across blue's upper body and briefly has one leg lifted as they tangle; blue braces, pivots, and gives ground. Their shoulders and arms stay close for several steps before a gap begins to open, while the referee follows behind.",
+  "3541.10s-3543.10s": "A small gap opens between the competitors. Red advances in a bent-knee stance with his lead hand extended, while blue shuffles backward and sideways toward screen-left with his guard high. The timer falls from 0:03 to 0:01, and the referee mirrors their movement from several meters behind.",
+  "3543.10s-3545.60s": "With 0:01 displayed, red launches a sequence of high turning kicks, repeatedly pivoting and extending a leg toward blue's torso and upper-body line. Blue leans away and hops backward toward the far-left boundary with his gloves raised. The referee closes the distance behind them as red continues pressing leftward.",
+  "3545.60s-3549.60s": "The referee moves in with one arm extended, and both competitors stop striking near the left edge. Red lowers his leg, dips forward, and turns away; blue also relaxes his stance. They walk diagonally back toward the center and foreground, with red several steps ahead, while the top clock continues to show 0:01.",
+  "3549.60s-3553.10s": "Upon reaching the central red squares, red stops and bends deeply at the waist with his hands near his knees and shins, while blue remains upright opposite him. The referee takes the middle position and raises one arm diagonally toward screen-right. The top display still shows KSA 6, AZE 1, and 0:01.",
+  "3553.10s-3556.10s": "The clock changes to 0:00 as the referee lowers his arm. Red straightens, and blue approaches with both gloves extended. They meet between the squares, touch and clasp their gloved hands, then briefly wrap their arms around each other's shoulders in a close embrace while the referee stands immediately behind them.",
+  "3556.10s-3560.10s": "The competitors release and turn away in opposite directions; blue's back patch visibly reads KSA. Red walks toward the left boundary and blue toward the right, both with their arms relaxed. The referee remains centered on the increasingly open mat, and the top display holds at 6-1 and 0:00.",
+  "3560.10s-3564.60s": "With the fighters near opposite borders, a bald man in a dark suit enters from the right foreground and crosses toward center; shortly afterward, another bald suited man enters from the left. Red remains deeply bent at the waist near the far-left boundary with his hands near his knees. Blue stands upright at far right and briefly raises a glove to his face while the original referee stays centered.",
+  "3564.60s-3568.10s": "The newcomers join the central referee until five officials in dark suits and ties form a straight row across mid-mat, facing the camera between the athletes. Red straightens at far left, and blue stands at far right. The five officials bend forward together in a coordinated bow and begin to straighten; blue also bows from his boundary.",
+  "3568.10s-3573.10s": "The officials turn and walk in a line toward the rear-right side. Blue steps diagonally toward camera-right and exits the frame, while red turns and walks off toward camera-left. As both athletes clear the shot, the suited group converges near the branded barrier and judges' area, leaving the foreground and central squares empty.",
+  "3573.10s-3583.60s": "The fixed wide shot holds on the vacant competition area. Several black-suited officials gather behind the KARATE1 boards at center-right, facing one another and making small gestures, while a person in light clothing kneels near floor equipment on the right. More staff line the long rear table, with multicolored stands and ROAD TO CAIRO signs beyond. The scoreboard remains frozen at KSA 6, AZE 1, 0:00, with PENALTY indicators.",
+  "3583.60s-3584.60s": "A stylized full-screen transition overtakes the arena. A brilliant white-gold flare radiates from the upper-left corner, washing the fading venue in warm orange and red before it disappears. Deep burgundy and crimson watercolor-like clouds bloom across a nearly black field, with tiny bright particles drifting throughout. Large blurred white letters build from left to right near the lower center, first KA and then KARAT, resolving into KARATE by the end.",
+  "3584.60s-3589.10s": "The completed word KARATE remains in huge, glowing white capitals across the center. Behind the title, a white-gi athlete with a dark belt emerges from the burgundy haze and advances toward the camera; the image sharpens into a dark-haired woman with her hair pulled back and a focused expression. She grows from a full-body figure into a close waist-up view, then subtly turns her shoulders and settles into a poised stance as floating specks, red clouds, and the warm upper-left flare continue."
+}

MiniMaxData/caption_demo_008/metadata.json

@@ -0,0 +1,11 @@
+{
+  "prompt_type": "sft_combinatory.event",
+  "length_requirement": "first/new-scene segment about 60+ words; later content segments normally 30+ words",
+  "video_attachment_path": "/minimax-dialogue/workspace/users/jinnan/data/caption_diverse_v1/runs/full_sourcing_60k_6bucket_20260730_v2/sourcing_demo/vela_gpt56_prompt10_20260804/mp4_attachments_33mb_zero_based_final_20260806/caption_demo_008.mp4",
+  "video_attachment_timestamp_mode": "zero_based_clip",
+  "video_timestamp_offset_s": 3529.6,
+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-New-QM/video/2026-01-01-17/2dqgKuifWgc.mp4",
+  "source_clip_start_s": 3529.6,
+  "source_clip_end_s": 3589.1
+}

MiniMaxData/caption_demo_009/caption.txt

@@ -0,0 +1,37 @@
+### Subjects
+
+The sequence shows the Dallas Mavericks in dark navy/teal uniforms against the New Orleans Pelicans in red. Ballhandlers and defenders change frequently, with visible jersey numbers including Mavericks #77, #10, #11, and #42, and Pelicans #2, #8, #11, #14, and #34. Referees in gray-and-black uniforms monitor the plays, while bench personnel, photographers, and a large seated crowd fill the background.
+
+### Setting
+
+The game is in an indoor arena with a polished hardwood court, blue painted keys, bright green semicircle markings, and a Mavericks logo at center court. “American Airlines Center” is visible on the floor. The baskets, backboards, and stanchions carry “StateFarm,” “SPALDING,” and “FOX SOUTHWEST” branding. Sideline and baseline advertising includes “AT&T,” “Budweiser,” “Kroger,” “BREITLING 1884,” “BACHENDORF’S,” and “Xerox Business Solutions Southwest.” Bright, even arena lighting illuminates both the court and the crowd.
+
+### Actions (chronological)
+
+- **Opening context — 9:42 remaining, Pelicans 54, Mavericks 68:** Several players are crowded beneath the screen-right rim. A navy player and red defenders rise together with the ball near the backboard and rim, producing a tightly contested interior attempt. The players land and separate, but the ball’s final result is not clearly visible before the broadcast cuts away.
+
+- **8:27 remaining, Pelicans 55, Mavericks 71:** A navy ballhandler, with #77 visible on the perimeter, controls the ball near screen-left and moves toward the screen-right basket. A taller navy teammate sets a screen, allowing the ballhandler to turn toward the lane. Red defenders collapse into the blue key as he gathers and releases a short, high one-handed shot. The ball travels toward the rim; a navy player is subsequently shown near the baseline, and the shot-clock graphic changes to 24. The displayed score does not change within this view.
+
+- **8:11 remaining, Pelicans 55, Mavericks 73:** In a wider composition, navy players advance from screen-left toward screen-right. The ballhandler uses another screen and drives into the lane, where multiple red defenders meet him. He elevates for a contested close-range attempt, and bodies gather beneath the screen-right basket. The shot-clock display later resets, but the intervening finish is partly obscured by the edit. The next established view jumps to 7:58 and a 55–75 score.
+
+- **7:58 remaining, Pelicans 55, Mavericks 75:** The basket is now on screen-left. A red guard, including #11 where visible, handles the ball on screen-right and attacks laterally toward the screen-left hoop. Red teammates space around the arc while navy defenders shift with the drive. A red perimeter player rises for a contested shot toward the screen-left rim; an official at the lower-right raises an arm. The next visible scoreboard reads Pelicans 58, so the sequence appears to precede a New Orleans scoring change, although the broadcast does not show the result continuously.
+
+- **7:43 remaining, Pelicans 58, Mavericks 75:** Dallas has the ball with the screen-right basket as its target. The navy offense moves the ball from the screen-left wing into the lane and then back out toward the screen-right corner. Navy #10 catches and rises for a corner three as a red defender closes with an outstretched arm. The ball’s entry is not unobstructed; the score remains 58–75 in the immediate view, and the shot clock later displays 24.
+
+- **6:36 remaining, Pelicans 58, Mavericks 78:** Another navy possession develops near the screen-right key. A navy attacker probes along the lane while red defenders converge, then the ball returns toward navy #11 around the screen-left/top perimeter. He elevates for a jumper as players prepare for a rebound. The exact result is not fully visible before another time jump; the later graphic reads 58–81.
+
+- **6:11 remaining, Pelicans 58, Mavericks 81:** A fast-moving navy possession begins with a red player down near the screen-left paint. The navy ballhandler carries the ball toward screen-right, dribbling across the center-court logo while red defenders sprint back. The camera follows the movement across midcourt. The attacker reaches the screen-right lane and takes the ball up near the rim. A later display shows 58–83, but the finish is partly hidden by the cut.
+
+- **5:25 remaining, Pelicans 58, Mavericks 83:** The screen-left basket is established again, now with New Orleans in possession. Red players work close to the left block and baseline; #8 holds position near the paint while #34 is nearby. A short interior attempt is contested, and red #14 rises under the rim for a possible follow-up. The ball then appears with a navy player near the screen-left baseline as the shot clock changes to 24.
+
+- **4:28 remaining, Pelicans 60, Mavericks 85:** Dallas attacks toward the screen-right basket. A tall navy teammate screens near the top while the navy ballhandler drives around the screen and lifts for a shot in the lane. Red defenders contest near the backboard; the navy attacker falls or is displaced toward the screen-right baseline. The shot-clock display resets to 24 without a clearly shown scoring result. At the next established context, the scoreboard reads 60–87 with 3:23 remaining.
+
+- **3:23 remaining, Pelicans 60, Mavericks 87:** The navy ballhandler again works from the screen-left/top area toward screen-right, using a tall teammate as a screen. He penetrates through the red defensive line and the ball appears with a taller navy player near the screen-right side of the lane. That player elevates for a close finish at the rim. The sequence ends with players gathered beneath the basket and a fresh 24-second display; the make or miss is not fully resolved.
+
+### Notable Details
+
+A red banner at the upper-left reads **“Rapid Highlights.”** The lower-third repeatedly shows **“PELICANS,” “MAVERICKS,” “3rd Qtr,”** and a yellow **“BONUS”** indicator beneath Dallas. The displayed score progresses through 54–68, 55–71, 55–73, 55–75, 58–75, 58–78, 58–81, 58–83, 60–85, and 60–87, with substantial jumps between edited possessions. Later statistical graphics read **“Turnovers This Quarter — PELICANS 8 MAVERICKS 2”** and **“Points Off Turnovers This Quarter — PELICANS 1 MAVERICKS 11.”** One view briefly becomes strongly overexposed before returning to normal exposure.
+
+### Camera
+
+Most plays use a high sideline broadcast master shot with a moderately wide field of view, keeping the court, players, bench, and crowd visible. Hard cuts coincide with large game-clock and score changes, indicating an edited highlights montage rather than uninterrupted play. The camera pans horizontally to follow the navy fast break from screen-left toward screen-right, creating apparent shifts in the hoop’s position and slight motion blur around the players. Other cuts establish the opposite basket on screen-left for Pelicans possessions; these compositional changes reflect reframing and end-to-end coverage, not necessarily a reversal during a single action.

MiniMaxData/caption_demo_009/caption_demo_009.mp4

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+version https://git-lfs.github.com/spec/v1
+oid sha256:abc5c3145744733839f52e099cd92565bd751178fa05bcb681c428d7bdcd9ef9
+size 32595544

MiniMaxData/caption_demo_009/info.txt

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+Trace ID: caption_demo_009
+Source: -8VCXcRwtR4.mp4
+Clip: 313.029383s - 372.538833s
+Duration: 59.5s
+Prompt type: sft_combinatory.composed_compact.sports_mechanics
+Length requirement: 300-1500 words
+Caption: 7041 chars
+
+============================================================
+CAPTION
+============================================================
+
+### Subjects
+
+The sequence shows the Dallas Mavericks in dark navy/teal uniforms against the New Orleans Pelicans in red. Ballhandlers and defenders change frequently, with visible jersey numbers including Mavericks #77, #10, #11, and #42, and Pelicans #2, #8, #11, #14, and #34. Referees in gray-and-black uniforms monitor the plays, while bench personnel, photographers, and a large seated crowd fill the background.
+
+### Setting
+
+The game is in an indoor arena with a polished hardwood court, blue painted keys, bright green semicircle markings, and a Mavericks logo at center court. “American Airlines Center” is visible on the floor. The baskets, backboards, and stanchions carry “StateFarm,” “SPALDING,” and “FOX SOUTHWEST” branding. Sideline and baseline advertising includes “AT&T,” “Budweiser,” “Kroger,” “BREITLING 1884,” “BACHENDORF’S,” and “Xerox Business Solutions Southwest.” Bright, even arena lighting illuminates both the court and the crowd.
+
+### Actions (chronological)
+
+- **Opening context — 9:42 remaining, Pelicans 54, Mavericks 68:** Several players are crowded beneath the screen-right rim. A navy player and red defenders rise together with the ball near the backboard and rim, producing a tightly contested interior attempt. The players land and separate, but the ball’s final result is not clearly visible before the broadcast cuts away.
+
+- **8:27 remaining, Pelicans 55, Mavericks 71:** A navy ballhandler, with #77 visible on the perimeter, controls the ball near screen-left and moves toward the screen-right basket. A taller navy teammate sets a screen, allowing the ballhandler to turn toward the lane. Red defenders collapse into the blue key as he gathers and releases a short, high one-handed shot. The ball travels toward the rim; a navy player is subsequently shown near the baseline, and the shot-clock graphic changes to 24. The displayed score does not change within this view.
+
+- **8:11 remaining, Pelicans 55, Mavericks 73:** In a wider composition, navy players advance from screen-left toward screen-right. The ballhandler uses another screen and drives into the lane, where multiple red defenders meet him. He elevates for a contested close-range attempt, and bodies gather beneath the screen-right basket. The shot-clock display later resets, but the intervening finish is partly obscured by the edit. The next established view jumps to 7:58 and a 55–75 score.
+
+- **7:58 remaining, Pelicans 55, Mavericks 75:** The basket is now on screen-left. A red guard, including #11 where visible, handles the ball on screen-right and attacks laterally toward the screen-left hoop. Red teammates space around the arc while navy defenders shift with the drive. A red perimeter player rises for a contested shot toward the screen-left rim; an official at the lower-right raises an arm. The next visible scoreboard reads Pelicans 58, so the sequence appears to precede a New Orleans scoring change, although the broadcast does not show the result continuously.
+
+- **7:43 remaining, Pelicans 58, Mavericks 75:** Dallas has the ball with the screen-right basket as its target. The navy offense moves the ball from the screen-left wing into the lane and then back out toward the screen-right corner. Navy #10 catches and rises for a corner three as a red defender closes with an outstretched arm. The ball’s entry is not unobstructed; the score remains 58–75 in the immediate view, and the shot clock later displays 24.
+
+- **6:36 remaining, Pelicans 58, Mavericks 78:** Another navy possession develops near the screen-right key. A navy attacker probes along the lane while red defenders converge, then the ball returns toward navy #11 around the screen-left/top perimeter. He elevates for a jumper as players prepare for a rebound. The exact result is not fully visible before another time jump; the later graphic reads 58–81.
+
+- **6:11 remaining, Pelicans 58, Mavericks 81:** A fast-moving navy possession begins with a red player down near the screen-left paint. The navy ballhandler carries the ball toward screen-right, dribbling across the center-court logo while red defenders sprint back. The camera follows the movement across midcourt. The attacker reaches the screen-right lane and takes the ball up near the rim. A later display shows 58–83, but the finish is partly hidden by the cut.
+
+- **5:25 remaining, Pelicans 58, Mavericks 83:** The screen-left basket is established again, now with New Orleans in possession. Red players work close to the left block and baseline; #8 holds position near the paint while #34 is nearby. A short interior attempt is contested, and red #14 rises under the rim for a possible follow-up. The ball then appears with a navy player near the screen-left baseline as the shot clock changes to 24.
+
+- **4:28 remaining, Pelicans 60, Mavericks 85:** Dallas attacks toward the screen-right basket. A tall navy teammate screens near the top while the navy ballhandler drives around the screen and lifts for a shot in the lane. Red defenders contest near the backboard; the navy attacker falls or is displaced toward the screen-right baseline. The shot-clock display resets to 24 without a clearly shown scoring result. At the next established context, the scoreboard reads 60–87 with 3:23 remaining.
+
+- **3:23 remaining, Pelicans 60, Mavericks 87:** The navy ballhandler again works from the screen-left/top area toward screen-right, using a tall teammate as a screen. He penetrates through the red defensive line and the ball appears with a taller navy player near the screen-right side of the lane. That player elevates for a close finish at the rim. The sequence ends with players gathered beneath the basket and a fresh 24-second display; the make or miss is not fully resolved.
+
+### Notable Details
+
+A red banner at the upper-left reads **“Rapid Highlights.”** The lower-third repeatedly shows **“PELICANS,” “MAVERICKS,” “3rd Qtr,”** and a yellow **“BONUS”** indicator beneath Dallas. The displayed score progresses through 54–68, 55–71, 55–73, 55–75, 58–75, 58–78, 58–81, 58–83, 60–85, and 60–87, with substantial jumps between edited possessions. Later statistical graphics read **“Turnovers This Quarter — PELICANS 8 MAVERICKS 2”** and **“Points Off Turnovers This Quarter — PELICANS 1 MAVERICKS 11.”** One view briefly becomes strongly overexposed before returning to normal exposure.
+
+### Camera
+
+Most plays use a high sideline broadcast master shot with a moderately wide field of view, keeping the court, players, bench, and crowd visible. Hard cuts coincide with large game-clock and score changes, indicating an edited highlights montage rather than uninterrupted play. The camera pans horizontally to follow the navy fast break from screen-left toward screen-right, creating apparent shifts in the hoop’s position and slight motion blur around the players. Other cuts establish the opposite basket on screen-left for Pelicans possessions; these compositional changes reflect reframing and end-to-end coverage, not necessarily a reversal during a single action.

MiniMaxData/caption_demo_009/metadata.json

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+  "video_timestamp_formula": "absolute_frame_ts = frame_ts + video_timestamp_offset_s",
+  "source_video_path": "/oss/crawler-data-storage/Youtube-Purchase/Youtube-Purchase-02/video/2026-01-03-00/-8VCXcRwtR4.mp4",
+  "source_clip_start_s": 313.029383,
+  "source_clip_end_s": 372.538833
+}

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