Edit Pace — frame-to-frame color delta (bright = fast cuts)
Color Temperature — warm (gold) vs cool (teal) per frame
Frame Density Comparison — every 2nd vs every 4th frame
Slice · 15s
Avg · 15s
Slice · 30s
Avg · 30s
Mushi-shi: Next Passage Part 2’s flat brightness arc is an act of defiance in a medium built on peaks and valleys. Director Hiroshi Nagahama and art director Takeshi Waki refuse to dramatize the light; the series hovers near 0.48 brightness from opening to closing act, never granting the eye a cathartic flare or a punishing shadow. The palette is Red-Orange at 38%, but these are not the saturated reds of emotion—they’re the thinned-out ochres of
Brightness Arc (episode progression)
Hue Distribution
Act Breakdown
Opening
0.490
Middle
0.470
Closing
0.474
Avg Brightness
0.481
Avg Saturation
0.191
Warmth
0.545
Color Palette
#20221C
#5F6257
#E2E5DC
#A3A597
#95916E
#514C35
#D5D1AE
#8E725E
3-Act Color Story
Opening
Middle
Closing
Color Twins
Perceptually nearest palettes — measured in OKLab space, not RGB
![Fate/stay night [Unlimited Blade Works]](../../../barcodes/2014/fatestay-night-unlimited-blade-works/barcode_slice.png)
Mushi-shi: Next Passage Part 2’s flat brightness arc is an act of defiance in a medium built on peaks and valleys. Director Hiroshi Nagahama and art director Takeshi Waki refuse to dramatize the light; the series hovers near 0.48 brightness from opening to closing act, never granting the eye a cathartic flare or a punishing shadow. The palette is Red-Orange at 38%, but these are not the saturated reds of emotion—they’re the thinned-out ochres of