Composition score uses the rule of thirds: the actor's eye-line is projected from world space through the real camera projection matrix to screen space (x, y each 0–1), and scored against the nearest of the four rule-of-thirds intersections / gridlines:
score = 100 · (1 − clamp(dx/0.17 + dy/0.33, 0, 1))
dx = min distance to a vertical third-line (x = 1/3, 2/3)
dy = distance of the eye-line to the upper horizontal third (headroom rule)
Depth compression compares the on-screen height of the actor (foreground) with a prop placed 6 m further back (background), both measured by projecting their true world height through the current focal length:
FOV_vertical = 2·atan(12 / focal_mm) (24 mm sensor height, standard photographic mapping)
compression = screen_height(background) / screen_height(foreground)
A wide lens (short focal length, camera pulled close) makes the background shrink fast with distance — a low ratio, "exaggerated depth." A long lens (telephoto, camera pulled back to hold the same framing) makes foreground and background shrink at nearly the same rate — a ratio close to 1, the classic "flattened" or "compressed" telephoto look used for portraits and closeups.
Average Shot Length (ASL) is the real editing-pacing statistic film scholars use to measure a film's cutting rhythm: total screen time divided by number of cuts. Press Play cut sequence to auto-cut between the three preset framings at the chosen interval — a short shot duration produces a fast, high-energy ASL (action/trailer pacing); a long one produces a slow, contemplative ASL (arthouse pacing).