The critic, round 1

Afterlight is a strong idea: every picture is drawn in code because no footage exists, and it fits the fc-porto documentary-memorial backbone well. The leader countdown into the blur-focus nameplate and the five-stage decay pin are real signature moments that read clearly in the motion strips. What holds it back from fc-porto's level is finish, not concept. Many sections leave the drawn frames as small objects floating in large black voids (count, collage, vow). Body copy is tiny and dim. The burn scene blows out to a flat white field. On the phone, the fixed header and bottom rail sit directly on top of content with no scrim, so titles collide. It works and has real atmosphere, but it isn't yet composed tightly enough to sit next to a Site of the Day.

• The subject turns a technical limit into the concept: lost films have no footage, so every frame is drawn in code, and the footer says so honestly. Keep that line.
• The loader is an SMPTE-style leader countdown (5→2) with sprocket rails, cut into a blur-to-focus nameplate over the doorway scene. It's a real opening moment that reads clearly in the intro strip.
• The five-stage decay pin: one frame (the lamp-lit room) goes through amber, adhesive, bubbles, welded and powder, with a stepped list and progress bars. It's the best scene on the site and it's legible in every frame.