ALLWAYS062 — IN USE — V02 CRITIC RECORD 60-second archival chromatic-chapter study. Actual critics A and B withheld V01 three-chapter acceptance for weak red. V02 replaces golf with a close view of a glass filling and tightens the can-opener crop; source hues unchanged. Both actual revision reviews return QUALIFIED VISUAL PASS. Muted blue24–33 remains weakest. Final table is a wider reprise of the same recorded pour. Source sound, native-paced reception and target-display calibration remain INCONCLUSIVE. Literal new yellow-glove/repair performance NOT PERFORMED. No overall audiovisual/physical-display pass claimed. ===== CRITIC_A_V01.txt ===== ALLWAYS062 — CRITIC A / V01 Decision: INCONCLUSIVE for the complete three-chapter visual achievement because the red passage does not yet sustain a clearly perceived red chapter. Local visual PASS for yellow continuity, the yellow/blue mixed transition, practical action diversity, and a meaningful shared-setting return. Overall native-playback, target-display/color-calibration and audiovisual acceptance INCONCLUSIVE. This is an archival adaptation, not the prescribed new glove/repair performance. Inspection: First inspected all four actual ordered IN_USE sheets over complete60-second output before reading prompt62.txt or source range explanations. Then read prompt, extracted twelve larger actual-MP4 frames at2,5,17,24,28,34,40,42,43,44,46,50seconds, and used scene-change decoding to confirm candidate cut times. Examined original can-opener sourceI398.5–401.5, golf sourceII277.8–281.8, pitcher sourceI387.5–394 via dense ordered frames. No build/ledger read. No native normal-speed playback/audio listening; tool-displayed images are not a calibrated target display. I did not inspect Colors reference footage and cannot return “reference stronger.” Picture-only comparison: Independently hashed the copied encoded video stream from main and picture-only files; video SHA256 values match. This supports identical encoded picture, not audiovisual equivalence. I therefore make the same visual observations for both, and no claim about whether sound improves the film. I did not audition either stream. My perceived boundaries, before builder timing explanation: 0–2 title/framing. 2–17 YELLOW: pitcher2–7; earthmoving vehicle7–17. Yellow is an immediate dominant object family despite different settings and scale. Pitcher is lifted/tilted, vehicle advances and turns toward/through the frame. It links domestic handling to large powered work. I see movement/use; actual pouring and construction result are initially outside or beyond the shot. 17–24 MIXED YELLOW/BLUE: paired sailing boats/sails maintain yellow while introducing a strong blue sail/hull and water. The transition is discoverable in the image, not only a named chapter break. A red hull is also present, useful complexity rather than a failure of purity. 24–33 MUTED BLUE CONTEXT: blue chair/toys and child in blue-gray shirt manipulating objects on the table. This is weaker in saturation than boats but remains a coherent blue family. At about28 child/table action changes the image from displayed furniture/toys to manipulation/play. It is a genuine use/context complication, although the source's designed-products/promotional look remains evident. 33–40 MIXED BLUE/RED: saturated blue canopy with red edging/frame, widening to seated people beside it. Blue is initially dominant, red increasingly available. This works as a second bridge. Tent/canopy and people give color a spatial use. It is not evidence of a private emotion or a universal meaning of blue. 40–approximately43 UNCERTAIN BOUNDARY: full frame is chiefly blue tile, cream can-opener and hands; red-brown can label is relatively small and subdued. I continue to perceive blue surround more strongly than a newly dominant red chapter. The can is opened and removed; practical action itself is clear. Approximately43–45 STRONGEST RED CUE: red cap appears briefly in a native transition, then red clubhead near yellow ball. At44 red is conspicuous and functionally attached to a sports implement. Approximately44.93–47 wide golfer: establishes the actual swing/context but the red club becomes tiny/not reliably perceived. The hue connection weakens just after its strongest cue. 47–56.5 SHARED RETURN: widening/returned pitcher setting; red drink is poured into a glass; yellow pitcher and red sleeve remain; turquoise/blue-green tabletop is visible.56.5–60 closing card. Thus red begins to enter at33, but I cannot give a clean completed red-chapter boundary at40. It becomes clear only around43–44 and loses salience in the45–47 wider shot. This is the principal incomplete visual criterion. Ending and opening reinterpretation: This is a strong local success. Opening crop isolates yellow container/hand and hides much of recipient/action consequence. On return the same recorded setup reveals that yellow container dispensing red liquid into a glass, against a cool blue-green surface and with red sleeve nearby. This gives hues a shared practical relationship: container, contents/recipient, setting, handling. It is more than simply returning a yellow object. It reframes the initial tilt as part of serving/dispensing. Three hue families share a setting, with qualification that cloth reads turquoise/blue-green rather than exact saturated boat/canopy blue. No people are visibly receiving a drink; do not claim communal hospitality beyond what the shot shows. Original pitcher audit confirms this is native action/context from one setup, not a newly composited red liquid or a selectively recolored object. The source itself contains red drink and cool cloth. My visual audit is not a complete transform/profile certification. Action/stakes and universal hue meanings: Different actions are visible: lifting/pouring versus driving/earthmoving; sailing, toy/table activity and canopy use; can opening and golf. Their circumstances are practical and varied. This avoids a sequence of untouched color swatches. There is no caption or visible device claiming yellow means joy, blue means sadness, or red means danger. The red use is domestic/sporting, appropriately ordinary. The adaptation does not literally contain yellow glove repair or hidden yellow work surface; do not claim the full performed proof. Largest gap and observable repair: Red salience40–47. Similar numerical red samples cannot overcome large blue-tile surround and a tiny red prop in the wide sports view. Compare a uniform tighter source crop of can/opener/hands against the current full view, keeping the entire lever/lid-removal action readable. OriginalI398.5–401.5 contains a complete local action and enough red can surface that reducing surround may help without recoloring. Test whether an uninstructed viewer identifies entry into red before the golf close-up. If still blue/cream, replace that source rather than adjusting hue selectively. For golf, preserve the red club/ball relation long enough to register and give only the minimum wider swing context needed for use; current wide shot's nearly invisible red weakens continuity. A longer native club action may be better than extending a distant follow-through. Do not freeze or fabricate contact to force a match. Keep47–56.5 return: it is the film's strongest practical color synthesis. Do not solve red by sacrificing that shared action. Other limits: Contact sheets and sampled stills cannot establish pace shifts or whether the33–40 canopy feels like waiting/rest in normal time. Source fading/aged color remains visible; I cannot certify source profile interpretation or a601→709 transform from appearance alone. Any matrix/hash checks are structural evidence, not perceptual acceptance. No full sound comparison, local sound-contact attribution or target-display continuity certification is supplied by this report. Strengths to protect: Clear yellow family across drastically different practical scale. Mixed sails at17 provide an immediately legible handoff into blue. Canopy33–40 lets red enter while blue is still available. Actions and contextual reveals complicate designed-object display. Final pitcher/stream/glass/cloth forms a visible shared situation and changes the opening's meaning. No universal emotional coding or invented cultural color claims. Source native colors remain recognizable in the audited passages. Acceptance boundary: LOCAL VISUAL OPERATIONS PASS; COMPLETE THREE-CHAPTER CONTINUITY INCONCLUSIVE PENDING RED TEST. SHARED FINAL RETURN PASS WITH TURQUOISE QUALIFICATION. FULL GLOVE/PERFORMANCE PROOF NOT PERFORMED. NORMAL-SPEED/SOUND/TARGET-DISPLAY/WHOLE-FILM AV ACCEPTANCE INCONCLUSIVE. ===== CRITIC_B_V01.txt ===== 062 V01 — INDEPENDENT COLOR CRITIC B Verdict: INCONCLUSIVE for three fully developed chromatic chapters. Yellow continuity,the yellow/blue mixed transition,and the final shared situation work. Red is too weakly sustained to earn an unqualified visual pass. This is an image-based judgment,not target-display,audio or normal-playback certification. Method and independence: First inspected all four actual ordered1-second sheets, before reading prompt62.txt or builder explanations. Then independently decoded and inspected the complete60-second main at4fps (240samples), in temporal order. Enlarged actual30.00,41.50 and54.00frames to960x540. Read prompt62's theorem/protected conditions/hard proof afterward. Source audit: both named native transfers surveyed at10-second intervals; first transfer130–155 and388–404 at1fps; second260–300 at1fps. These are sparse/selected source inspections,not full native real-time viewing. No other critic report or builder script/timeline read. Parent described a proposed red repair only after my whole main inspection; no V02 viewed for this report. No audio audition/native playback. Action times approximate to0.25seconds; most source comparisons to1second or coarser. Chapters I perceived before reading the prompt: Yellow at2–17: upright yellow pitcher on blue-green cloth,hand grasping/tilting it,then large yellow earthmoving machine moving toward/past camera. The two uses differ in scale and task: domestic serving and moving earth. The machine's yellow surfaces remain conspicuous despite mud,dirt and wheels. The opening withholds the actual stream/cup by crop; it shows handling,not completed serving. That incompleteness becomes meaningful when the final return resolves it. Yellow-to-blue hinge at17–24: adjacent boats with yellow and blue sails move across blue water. This is a legible mixed-color bridge; the yellow is not instantly erased when blue enters. The boats also have blue/red hulls,so the image anticipates the broader palette. The graphic continuity is especially strong,even though the scene is more recreation than labor. Blue at24–40: blue sculptural chair/back and a figure reclining,then a boy at a black table using small pieces/papers while wearing a muted blue shirt,then a large bright blue fabric screen with red structural border that opens into a view of a seated adult. These are different uses of designed surroundings: resting,working/playing at a surface,and shelter/screening. The large cloth is the strongest blue anchor; the boy/table is the weakest. At30.00 the white papers and black tabletop dominate; blue survives chiefly as his low-saturation shirt and a small blue reflection. This scene's physical action is clearer than its chromatic membership. The chair setup retains some catalog/display character,though reclining makes its function visible. Possible blue-to-red at33–43: the blue fabric/red support is another genuine mixed image. At40–43,a red-banded food can is worked by a white/metal wall-mounted opener against blue tile; the hand lifts the mechanism and removes the lid/can. This is a concrete quiet practical action,not an obligatory alarm/danger cue. But the blue background and pale opener command much more of the frame than the red can. At ordinary small-sheet scale I initially read it as part of the blue domestic sequence; native enlargement clarified the can-opening action and its small red area. Red at43–47 is not secure: a brief dissolve from a red-capped boy leads to a red golf-club head beside a yellow ball,then the wide golfer's swing. The red club image is strong but short. In the wide swing,the golfer's light clothing,green ground and pale sky dominate; the red club/head is no longer a usable anchor. This gives me flashes of red and related leisure actions rather than a third color chapter whose practical meaning accumulates as securely as yellow/blue. Final return47–57: clear glasses wait on the original blue-green tablecloth;yellow pitcher enters,red liquid streams into a glass around49.25–51.50;pitcher returns upright by53.25 and hand leaves. By54–56.75 all three hue families share a single actual serving situation: yellow vessel,blue cloth,red drink. This is a particularly good ending because it completes the withheld opening action and leaves a changed glass,not merely three color swatches placed side by side. Preserve it. No universal emotion is assigned to a hue by these images. Function versus palette advertisement: The main contains observable use: machine movement,boats sailing,boy manipulating objects,fabric revealing a seated person,can opening,golf swing,and glass filling. It exceeds a pure museum catalog. Nevertheless the source's designed-product showcase remains noticeable in immaculate arrangements,dissolves and posed leisure settings. The film changes scale and function,which helps;its weakest grouping occurs when a person/object is included for a small incidental color region rather than the action itself making that color consequential. Red's short duration and weak final wide anchor are the largest examples. Native source/color scope: The transfers themselves contain the same mustard/yellow machine,deep blue and yellow sails,blue/red shade,muted boy's blue shirt,red golf club and yellow ball. First native source388–393 visibly contains the yellow pitcher pouring a red drink on the blue-green cloth,then394–401 moves through appliance demonstrations including the same can opener. The hues of these observed native frames and actual export look consistent; I saw no obvious selective replacement. This is a visual spot check,not a transform audit or colorimetric proof. I cannot certify untouched tonal range,profile fidelity or target-display appearance from resized sampled images. The original introductory source cards explicitly frame American Look as an appreciation/tribute to stylists/designers,so its promotional design-showcase character is intrinsic;the archive adaptation does not erase that context. Prompt fit: This is an archival adaptation of the functional theorem,not the literal new glove/repair/hidden-yellow production proof in prompt62. There is no newly filmed glove or repair,and no claim should be made that those occurred. The mixed transition and shared ending materially satisfy the visual concepts. Yellow-to-earthmover changes practical scale;blue/resting-to-working-to-shelter provides variation. The final red passage needs stronger continuity for a complete three-chapter pass. Reference film normal-speed viewing was not part of this review,so no reference-stronger comparison is asserted. Largest gap and falsifiable repair: 40–47seconds: blue-tile can opening supplies quiet function but the red region is small,then the strongest red club lasts briefly and the wide swing drops chromatic attention. Compare a version spending this same7seconds on a tighter practical red action or two,keeping the original hues. A closer can-opening view that preserves the hand/tool/lid action could make the red-banded can a real bridge;an additional red serving action could connect directly to the final drink. Do not recolor tile or objects. Show versions without a synopsis and ask fresh viewers where the third color passage begins and what its colored objects do. If the revised version reliably yields 'red' plus two concrete uses while V01 yields a blue domestic passage and a golf insert,the causal diagnosis is supported. If V01 is already consistently read as red through those actual uses,that refutes my uncertainty. Secondary reservation: machine7–17 holds one function for ten seconds;the visible approach/passing gives duration a reason,but could be compared shorter after native playback. Do not automatically shorten the final serving aftermath: it carries the opening's resolution and makes the colors' shared situation visible. Preserve: mixed sails;blue/red fabric becoming a place occupied by a person;can-opening cause/action;and especially the final actual red liquid filling the glass beside the yellow pitcher on blue cloth. The defining visual promise is close;red continuity remains my specific acceptance gap. Sound and real-time pacing remain entirely pending. Picture-only comparison check: independently decoded video-stream SHA256 hashes for main and PICTURE_ONLY_V01 are identical (d280553abb74a78c242b5b2d65461ab50b9b03ec0af8fada6ddf278af97f1765). They therefore provide the same decoded visual sequence. This is a structural identity check,not an audition or evidence about what the soundtrack contributes. ===== CRITIC_A_V02.txt ===== ALLWAYS062 — CRITIC A / V02 Decision: QUALIFIED VISUAL PASS for the narrowed archival chromatic-chapter experiment. Actual red repair makes the third hue/action passage sufficiently sustained and salient to clear the specific V01 concern. Overall native-playback, target-display/profile calibration and audiovisual acceptance remain INCONCLUSIVE. Original yellow-glove/repair performance not performed. Method: Inspected all four actual main V02 ordered temporal sheets spanning60seconds, then extracted/inspected ordered6fps actual-MP4 frames spanning40–50seconds (including the full changed40–47 passage and return onset). V01 original-source audit of these pitcher/opener actions remains applicable. Independent encoded-video-stream SHA256 values match between actual main V02 and picture-only V02. That verifies equal encoded picture, not an audible comparison. No native normal-speed playback or audio listening occurred; no calibrated target display was available. No build/ledger read. Perceived chapter structure: 2–17 yellow remains clear, pitcher handling2–7 and machine movement7–17. 17–24 mixed sails introduce blue while retaining yellow. 24–33 blue-gray chair/shirt/toy activity carries a quieter, more muted blue family. 33–40 blue canopy/red border supplies the mixed transition into red; blue initially occupies more area, but the red frame is clearly visible. 40–44 is now the third-hue arrival: an initially empty glass fills with red liquid. Red emerges around40.2, occupies an increasingly salient central glass by40.7–42.2, and remains held after stream stops around42.3 through44. Yellow pitcher at upper right and cool cloth remain practical context, rather than needing a pure red field. 44–47 red can/opener crop follows. Can is prominent44–45.5, hands operate/release opener and move can away around45.5–46.4; mechanism remains in view to47. Red decreases as use removes the object, which is a legible action/consequence rather than V01's nearly invisible distant red club. 47–56.5 returned wider pitcher setting assembles the hue families and completes its pouring action/held result.56.5–60 credits. Why V02 clears the red concern: V01's strongest red cue was a brief club close-up surrounded by blue tile and distant golf context. V02 sustains red as visible contents, then repeats it as packaging in a different practical operation. The opener's blue tile still occupies substantial area, but the uniform tighter crop makes the red can large enough to carry attention. Red chapter does not require every pixel or every aftermath frame to be red. Here the arrival, accumulation, practical handling and removal are observable. This is a sufficient visual chapter, not a claim of exact hue equality between liquid and printed can label. Meaning/action: The third passage now links receiving/containing red contents with opening red packaging. These are quiet practical uses, not danger/aggression cues. The analogy is between color-bearing things in use; no caption or action claims a universal emotional/cultural meaning. Yellow links small domestic handling to large moving equipment, blue links sailing/displayed objects/play/canopy context. Main contains enough action to exceed a sequence of matching-colored still objects. Changed ending tradeoff: 40–44 previews the red-liquid/yellow-pitcher/cool-table relationship, so47–56.5 is no longer the first discovery of that relation. It now gives a wider assembled setting after a detail: stream, receiving glass, yellow pitcher, cool cloth and red sleeve are perceived together. It still reframes the opening isolated tilt as serving/dispensing within a setting and satisfies shared-situation criterion. It has less surprise than V01's first reveal, but this is a defensible tradeoff for a stronger red chapter. The same source pour is reused in detail and wider return. Do not describe these as two independently witnessed pouring events or a single uninterrupted chronological action. It is an editorial reprise at different scales. It does not fabricate a new source behavior. The cloth reads turquoise/blue-green on these tool images; shared hue-family synthesis is warranted, exact saturated-blue match is not. No recipient taking the glass is shown; “shared setting” should not become an unsupported claim of social hospitality. Weakest remaining link: Muted blue24–33 has less immediate chromatic force than yellow machine, sails or canopy. Chair and shirt/table activity remain readable as blue-gray family, but source aging and small regions make it the most tentative chromatic continuation. The revised red opener's last fraction46.4–47 loses the can, but that is a clear use/removal aftermath; I would not trim it solely to maintain a colored swatch. These are qualifications, not remaining blockers for the narrowed visual pass. Repair condition if native viewing finds a problem: Ask viewers without chapter labels where blue and red arrive. If24–33 is consistently read as neutral objects rather than blue, compare alternate uniform framing that increases native blue chair/shirt salience while retaining the child's activity; replace source if cropping cannot help. Do not recolor it. If reused pouring feels redundant in normal playback, shorten the red filled-glass hold rather than removing its arrival/action, or make the final wide reprise's function more concise. Static frames cannot resolve those pacing choices in advance. Integrity and acceptance limits: Audited source passages already contain the red drink, can label, yellow pitcher and cool cloth. I see no need to posit selective recoloring, but visual appearance is not a complete source-profile or transform audit. Hash equality between outputs is a structural comparison, not proof of audio effectiveness. Real sound-contact ownership, score restraint, pace changes, target-display hue consistency and whole-film audiovisual experience remain unassessed. No Colors reference footage comparison was performed, so “reference stronger” is not asserted. Strengths to protect: Yellow→blue sails make a discoverable mixed-color transition. Blue/red canopy supplies a second handoff within practical context. Revised red is acted upon/received/opened rather than symbolized as danger. Native action survives the tighter crops. Final setting gathers object, contents, surface and hand in one observed scene. No universal hue/emotion claims. Main/picture-only uses equal encoded picture, permitting an eventual honest sound comparison. Final scope: NARROW ARCHIVAL VISUAL CHAPTERS PASS, QUALIFIED FOR AGED/MUTED SOURCE HUES. RED REPAIR ADDRESSES V01'S SPECIFIC GAP. SHARED FINAL SETTING PASS, WITH REPRISE/TURQUOISE QUALIFICATIONS. ORIGINAL GLOVE PERFORMANCE NOT PERFORMED. FULL NATIVE-PLAYBACK/SOUND/TARGET-DISPLAY/AV ACCEPTANCE INCONCLUSIVE. ===== CRITIC_B_V02.txt ===== 062 V02 — INDEPENDENT COLOR CRITIC B REVISION REVIEW Verdict: qualified VISUAL PASS. The red-continuity defect identified in V01 is materially repaired in the actual revised images. No target-display,colorimetric,audio or normal-speed experiential acceptance is claimed. Method: Preserved my independent V01 report before seeing V02. Inspected all four actual ordered V02 sheets across0–59seconds. Independently decoded main39–48 at4fps,displayed at640pixels wide; enlarged actual42.00 and45.00 to native960x540. This is a focused repair review with whole-film1fps context; unchanged V01 was inspected throughout at4fps. The proposed repair was described by the parent before my V02 viewing. No builder script/timeline,transform ledger or another critic report read. No audio/native real-time playback. Source-hue observations rely on the actual native-transfer spot checks already documented in V01,not a new full source audit. Timing precision about0.25seconds. Actual revised red passage: At40.00 the narrow crop concentrates on the waiting glass and pitcher spout. Around40.25 the red stream enters;the liquid visibly accumulates through42.25;the stream ceases/pitcher clears around42.5–42.75;the filled red glass remains through43.75. This is a quiet,practical,completed action with red becoming more—not less—prominent as it occurs. The blue-green cloth and yellow corner remain as a bridge from prior hues,but the red drink now has enough area and duration to command attention. At44.00 the tighter can/opener view follows. The red band occupies a substantial central region. A hand works the lever,can lowers and its lid separates around45–46;the red object subsequently exits,leaving the white mechanism/blue tile. This preserves function and consequence while the closer view makes red more than a tiny accent. It is still a consumer-product demonstration,with visible commercial branding,but the actual action prevents it from being merely a color specimen. The previous short red-club insert and weakly red wide golf swing are absent. I now read a definite40–47 red passage: red as something being dispensed/contained,then a red-banded container being opened. This satisfies my earlier falsifiable condition—two concrete practical uses carried by visible red regions—more securely than V01. I do not pass simply because the recipe was followed;the red area actually develops in the first action and remains central in the second. Whole-boundary assessment: Yellow2–17 still moves from domestic vessel to industrial machine. Mixed yellow/blue sails17–24 remain a clear bridge. Blue24–40 remains strongest in the chair and especially fabric/red-support reveal;the boy at28–33 is still its weakest chromatic member because white paper/black tabletop dominate and blue is chiefly clothing. The fabric33–40 sets up the red support before the red stream40–44 becomes the new focus. The sequence now has three discernible hue passages with different scales/functions,without assigning universal emotions to the colors. Final47–57 still brings blue-green cloth,yellow pitcher and red drink into one shared serving setting. The actual glass fills around49.25–51.5;pitcher returns upright53–54;hand clears and the objects remain together. The visual payoff survives. Its formal role changes slightly: because the same pour has now been seen tightly at40–44,the ending is a replay in wider context rather than a wholly withheld action finally revealed. The47-second return to an empty glass visibly resets time after the already-filled close-up. I can read this as deliberate close/wide recapitulation,not a new second serving to a demonstrably different glass. Do not describe it as a continuous unbroken service event or two distinct pours. This is an acceptable adaptation choice but a real tradeoff of the repair. Largest remaining gap: 28–33seconds,the boy's tabletop activity. The action is definite but chromatic membership is weaker than adjacent sails/chair/fabric;the blue shirt is subdued and the white sheets dominate. This reservation does not now block my visual pass because blue is strongly established around it and the action adds working use among leisure/shelter uses. The larger source design-showcase character remains visible in arrangements,dissolves and brand/product views;the film has not become observational footage of newly performed labor. Falsifiable optional refinement: Show V02 to fresh viewers without a synopsis and ask which hue carries the boy/table scene and whether the final pour feels like returning to the first setting or accidentally repeating an action. If the boy is consistently read as outside the blue passage,compare a crop that keeps his hand action and more blue shirt while reducing white-paper area,with unchanged hue. If the final reset is consistently read as a continuity mistake,compare an ending that begins on the shared scene after the glass is filled,retaining the yellow/blue/red aftermath;do not fabricate a second glass or recolor the drink. Neither adjustment is mandatory from this image-based review alone. Color/source limits: The native transfer previously inspected around388–401 contains the same red drink,yellow pitcher,blue-green cloth,red-banded can and blue tile. Revised crops enlarge existing source regions rather than displaying an obvious hue substitution. That visual correspondence is not a complete transform/profile audit. No certification of source tonal range,target-display appearance or absence of subtle grade changes is implied. The supplied picture-only version was verified picture-identical for V01;I have not independently repeated decoded identity verification for V02,and no soundtrack contribution has been judged. Disposition: accept the actual red repair and retain the useful wider ending. The chromatic-function proposition now clears my prior visual threshold. Preserve mixed sails,the fabric becoming occupied shelter,the practical red actions and final shared situation. Scope remains an archival adaptation,not the prompt's literal new glove/repair scene,and full real-time audiovisual acceptance remains pending.