@autoaiai/aicut 0.1.7 → 0.1.11

package/skills/ai-product-video/references/shots/camera/depth-layer-moves.md

@@ -0,0 +1,40 @@
+---
+name: depth-layer-moves
+一句话: 分层深度两款运镜——多层视差滑轨（3 层速度梯度横移出纵深）与伪 dolly-zoom（主体钉死、背景膨胀压来）
+适用: 平面截图要"有厚度"的段落；戏剧性蓄力时刻用 dolly-zoom（一支片 ≤1 次）
+时长: 视差滑轨 4–5s 持续；dolly-zoom 3–4s 单向行程
+能量: 视差=中（质感型）；dolly-zoom=中高（压迫感渐强）
+---
+
+## 意图
+整页平移是"看页面"，分层深度是"在页面的空间里"。视差滑轨给横移
+加纵深（迪士尼多平面摄影机原理，Linear 片同款质感）；伪 dolly-zoom
+反过来——主角纹丝不动、全世界压过来，给戏剧性时刻蓄力。
+
+## 动效核心
+- **视差滑轨（3 层）**：背景整页（系数 0.35 + blur 2px + 降饱和
+  0.92 + opacity 0.85，退成环境）、中景真实卡切片（系数 0.7，
+  主阅读层，无 blur）、前景浮块（系数 1.4 + blur 3px，掠过镜头）。
+  同一条 drive 位移乘各层系数
+- **伪 dolly-zoom**：主体高清卡固定 px 钉屏中（不参与任何变换）；
+  背景层（整页 + 卡群一体）scale 1→2.25 从画面中心膨胀 + blur 0→3.5px
+  渐深；主体落影随进程加深（12→28px offset）强化"钉住感"
+- 两款都不拆真实页面排版：整页作为一体成层，独立元素用切片另起层
+  ——层间关系是"景深"，不是"页面被撕开"
+
+## 参数表
+| 参数 | 典型值 | 调节手感 |
+|------|--------|----------|
+| 视差层系数 | 0.35 / 0.7 / 1.4 | 梯度 ≥2 倍层间才可辨；层数 ≤4 防过载 |
+| 层次锚 | 前后景 blur + 背景降饱和 | 没有 blur/饱和锚，读作"贴片乱飞" |
+| dolly 膨胀行程 | scale 1→2.0–2.5 | 行程小了压迫感不足；背景 opacity ≤0.6 防读作故障 |
+
+## 已知坑
+- 主阅读层/主体必须高清纹理且无 blur——观众在读它
+- 视差与 PageCam rot 3D 的组合（斜拍视差）未验证，实战先渲 still 确认
+- dolly-zoom 是"戏剧调料"：一支片 ≤1 次，日常段落用视差滑轨
+- 参数经占位素材调校转正，非实战定稿，首次实战后回验
+
+## 参考实现
+demos/camera/depth-layer-moves/
+（DollyZoomReal.tsx / MultiplaneReal.tsx）

package/skills/ai-product-video/references/shots/camera/graze-face-tour.md

@@ -0,0 +1,57 @@
+---
+name: graze-face-tour
+一句话: 大倾角贴面游走特写——镜头贴着 UI 表面低飞掠过（侧栏树/顶栏/列表当地形），页面文字初始悬浮在界面上空带同形软影，随镜头行进先后加速贴落回界面
+适用: 功能区巡礼（把 UI 当地景飞掠）；配合暗场+霓虹缘光做产品"内部世界"段落；界面内容逐区登场
+时长: 单段 4–5s；可多段接力延长
+能量: 中高（运镜持续推进+元素连续落位，信息密度高）
+标签: ui-entrance
+---
+
+## 意图
+把 UI 拍成地形：大倾角特写让侧栏树、导航、列表行变成掠过的地貌，
+浅景深强化"贴面"。戏眼是**文字空中贴落**：文字/组件不是原地淡入，
+而是悬浮在界面上空（3D z 轴抬高），在空中时往界面投同形软影，
+随镜头行进先后加速贴落、影子随高度收敛消失——观众看见界面在
+镜头经过时"完成自己"。影子是可感命门：没有影子，悬浮读作
+普通位移入场；有影子，空间关系瞬间成立。
+
+## 动效核心
+- 机位：CSS perspective + rotateX/rotateY 大倾角（面几乎侧掠），
+  沿界面一条路径持续推进；浅景深＝远处 blur 渐强
+- 悬浮元素：初始悬浮高度 H≈120–180px（沿面法线方向抬起），
+  easeFall 加速下落+软着陆（落地不回弹或极微回弹）
+- 同形软影：元素原位渲染模糊压暗投影，blur/offset/opacity 全部
+  随当前悬浮高度变化（高＝影大而糊而淡，落地＝影与本体重合消失）
+- 错峰贴落：各元素落地时刻按镜头行进方向排布（先经过的先落），
+  界面在镜头前"依次完成"
+- 长镜可拆段接力：段间用相邻段交叉淡化（判例：透明度窗口不重叠
+  会产生黑闪帧）
+
+## 参数表
+| 参数 | 典型值 | 调节手感 |
+|------|--------|----------|
+| 悬浮高度 | 120–180px | <80px 影子和位移都读不出；>250px 落地砸得太重 |
+| 影子参数 | blur/offset/opacity 随高度线性收敛 | 影子恒定不随高度变＝贴纸感；落地影必须归零 |
+| 贴落错峰 | 按镜头行进方向 0.2→0.85 归一化排布 | 同帧齐落读作开关；乱序落读作 bug；**错峰=错开起点但下落过程重叠并行**，串行等待（一个落完另一个才开始）被裁（runway 判例） |
+| 下落曲线 | easeFall 加速+软着陆 | ease-out 下落读作气球飘落，重力感靠加速 |
+| 段间接力 | 相邻段交叉淡化 ≥8f | 透明度窗口不搭接会黑闪（返工判例 f100 纯黑帧） |
+| 景深 | 远处 blur 渐强 | 全清晰读作平面滚动，浅景深才有"贴面"体感 |
+
+## 已知坑
+- demo 在灰阶/占位素材上调校通过——参数是调校起点非实战定稿，
+  首次实战须以真实素材回验
+- 悬空元素别被环境压黑带吞掉（邻候选 runway 判例）：空中元素
+  需追光/提亮 ~1.3x，否则悬浮状态不可感等于没做
+- 与 space-camera-moves/tension-camera-moves 分工：那两张是相机
+  语言本身；本卡=贴面机位 **+ 元素贴落** 的组合签名，缺一半就
+  改用相机卡
+- **贴落节奏语义判例**（与 neon-frame-orbit-drop 互为反例）：
+  本卡巡礼镜=错峰并行；整体登场镜必须全体同帧齐落（那张卡的
+  错峰版被裁）。选错语法两边都会被裁
+- 原片（clickup-30）是一条连续上行长镜；复刻用三段接力，段落
+  切换藏在交叉淡化里——实战若做真单长镜，路径规划成本高得多
+
+## 参考实现
+demos/camera/graze-face-tour/
+（GrazeFaceTour.tsx）
+原片出处：clickup-30.mp4

package/skills/aicut/SKILL.md

@@ -15,18 +15,18 @@ agent that knows the web already knows how to make one.
 `aicut` prints its own manual: the format and the commands, about a thousand words, always the current version.
 
 ```sh
-npx -y @autoaiai/aicut@latest
+npx -y aicut@latest
 ```
 
-Run it before writing a film; `npx -y @autoaiai/aicut@latest <command> --help` has one command's options. That manual is
+Run it before writing a film; `npx -y aicut@latest <command> --help` has one command's options. That manual is
 authoritative — what follows is the workflow around it.
 
 ## The loop
 
-1. **Open.** `npx -y @autoaiai/aicut@latest open <folder>` makes the folder a film (1920×1080, no tracks) and prints Studio's
+1. **Open.** `npx -y aicut@latest open <folder>` makes the folder a film (1920×1080, no tracks) and prints Studio's
    address. Open that address in a browser you have: the person watches every change land there, and edits too.
 2. **Write.** `film.html` for the cut, one page per shot.
-3. **Check.** `npx -y @autoaiai/aicut@latest look` draws a contact sheet of the whole film, its sound and loudness, and checks
+3. **Check.** `npx -y aicut@latest look` draws a contact sheet of the whole film, its sound and loudness, and checks
    that the same `t` draws the same picture. `look 4.5` is one frame at full size, `look 3-6` a stretch,
    `look assets/a.mp4` a media file. Look at the PNGs it writes; do not judge from the code.
 4. **Fix, repeat.** `render` only when the person asks for the file — they export from Studio themselves.

package/skills/aicut/references/commands.md

@@ -1,19 +1,19 @@
 # The commands
 
-Run them in the film's folder. `npx -y @autoaiai/aicut@latest` alone prints the manual; `--help` after a command prints that
+Run them in the film's folder. `npx -y aicut@latest` alone prints the manual; `--help` after a command prints that
 command's options; `--version` prints the version. Exit status: **0** done, **1** the film or the command failed (the
 output says why), **2** not a project or a wrong command.
 
-Use `npx -y @autoaiai/aicut@latest` rather than a bare `aicut` unless something put one on your PATH: it is the newest, and
+Use `npx -y aicut@latest` rather than a bare `aicut` unless something put one on your PATH: it is the newest, and
 `npx` otherwise keeps the first version it ever fetched.
 
 ## open
 
 ```sh
-npx -y @autoaiai/aicut@latest open                    # the project around this folder, else the last one, else Studio's list
-npx -y @autoaiai/aicut@latest open launch-video       # a new film; the folder is made if missing
-npx -y @autoaiai/aicut@latest open .                  # this folder becomes the film
-npx -y @autoaiai/aicut@latest open https://github.com/aicut/examples/tree/main/one-prompt
+npx -y aicut@latest open                    # the project around this folder, else the last one, else Studio's list
+npx -y aicut@latest open launch-video       # a new film; the folder is made if missing
+npx -y aicut@latest open .                  # this folder becomes the film
+npx -y aicut@latest open https://github.com/aicut/examples/tree/main/one-prompt
 ```
 
 - A folder that is not a project gets an empty `film.html`, 1920 × 1080 (its viewport `<meta>`), no tracks. A code
@@ -27,10 +27,10 @@ npx -y @autoaiai/aicut@latest open https://github.com/aicut/examples/tree/main/o
 ## look
 
 ```sh
-npx -y @autoaiai/aicut@latest look               # the whole film: contact sheet, sound, loudness, same-t check
-npx -y @autoaiai/aicut@latest look 4.5           # one frame, full size
-npx -y @autoaiai/aicut@latest look 3-6           # a stretch, densely
-npx -y @autoaiai/aicut@latest look assets/a.mp4  # a media file; also any .html page
+npx -y aicut@latest look               # the whole film: contact sheet, sound, loudness, same-t check
+npx -y aicut@latest look 4.5           # one frame, full size
+npx -y aicut@latest look 3-6           # a stretch, densely
+npx -y aicut@latest look assets/a.mp4  # a media file; also any .html page
 ```
 
 Writes PNGs under `.film/cache/look/` and prints their paths. `--count <n>`: frames in a sheet (12). A project Studio
@@ -39,8 +39,8 @@ has not shown yet is opened in Studio first, so the person watches it.
 ## render
 
 ```sh
-npx -y @autoaiai/aicut@latest render             # the whole film → <project>/<folder name>.mp4, beside film.html
-npx -y @autoaiai/aicut@latest render 12-20       # a range → .film/cache/render/
+npx -y aicut@latest render             # the whole film → <project>/<folder name>.mp4, beside film.html
+npx -y aicut@latest render 12-20       # a range → .film/cache/render/
 ```
 
 | Option | Meaning |
@@ -58,9 +58,9 @@ Only when the person asks for the file: you check with `look`, and they export f
 ## get
 
 ```sh
-npx -y @autoaiai/aicut@latest get                # what works right now, and which service makes the rest
-npx -y @autoaiai/aicut@latest get voice-over "A calm, low voice, 20 seconds"
-npx -y @autoaiai/aicut@latest get music "warm analog synth, 90 bpm"
+npx -y aicut@latest get                # what works right now, and which service makes the rest
+npx -y aicut@latest get voice-over "A calm, low voice, 20 seconds"
+npx -y aicut@latest get music "warm analog synth, 90 bpm"
 ```
 
 Kinds: voice-over, music, sound effects, transcripts, images, image search, video, web search. Each works only once

package/skills/aicut/references/film-format.md

@@ -1,6 +1,6 @@
 # The format, on one page
 
-The summary below is for having the rules in front of you. When it disagrees with `npx -y @autoaiai/aicut@latest` (the manual)
+The summary below is for having the rules in front of you. When it disagrees with `npx -y aicut@latest` (the manual)
 or `packages/AiCut/SPEC.md` (the protocol, version 0.1), those are right.
 
 ## The project

package/skills/aicut/references/recipes.md

@@ -173,11 +173,11 @@ may not be longer than the clip.
 ## The order to work in
 
 ```sh
-npx -y @autoaiai/aicut@latest open my-film          # prints Studio's address — open it
+npx -y aicut@latest open my-film          # prints Studio's address — open it
 # write film.html, title.html, scenes/…
-npx -y @autoaiai/aicut@latest look                  # the whole film, one sheet
-npx -y @autoaiai/aicut@latest look 1.4-2.2          # the beat where the reel lands
-npx -y @autoaiai/aicut@latest look assets/vo/1.wav  # what the voice-over sounds like, and how loud
+npx -y aicut@latest look                  # the whole film, one sheet
+npx -y aicut@latest look 1.4-2.2          # the beat where the reel lands
+npx -y aicut@latest look assets/vo/1.wav  # what the voice-over sounds like, and how loud
 ```
 
 Read the sheet: is the headline inside the frame, does the reel sit where you meant, is any stretch black that

package/skills/aicut/references/troubleshooting.md

@@ -1,6 +1,6 @@
 # When it does not work
 
-Look first, guess second: `npx -y @autoaiai/aicut@latest look <page.html>` and `look <file>` draw what the host actually sees,
+Look first, guess second: `npx -y aicut@latest look <page.html>` and `look <file>` draw what the host actually sees,
 and a page's uncaught errors are reported there.
 
 ## The frame is black, or the page is blank
@@ -46,7 +46,7 @@ The same `t` must draw the same picture — `look` checks it. Causes, in the ord
 - **The first run hangs.** It is downloading a headless Chromium (about 100 MB). Behind a proxy, set `HTTPS_PROXY`
   for that download, or use the desktop app.
 - **An old version keeps answering.** `npx` remembers the first version it fetched for a name: always run
-  `npx -y @autoaiai/aicut@latest`, and `--version` to see which one answered.
+  `npx -y aicut@latest`, and `--version` to see which one answered.
 - **Studio does not open.** `open` prints the address even when no browser opened by itself; open it by hand.
   `AICUT_NO_BROWSER=1` stops it from ever opening one.
 

package/skills/aicut-motion/SKILL.md

@@ -19,7 +19,7 @@ The gap is rarely taste. It is behaviour:
 - build one shared system, so everything stays consistent;
 - look at the output and fix it.
 
-Read `npx -y @autoaiai/aicut@latest` once before the first film: it is the format and the tools, and it is authoritative. This
+Read `npx -y aicut@latest` once before the first film: it is the format and the tools, and it is authoritative. This
 skill is how to decide what to draw.
 
 ## Priority order
@@ -201,7 +201,7 @@ my-film/
 - **Fonts.** System stacks, or a font in `assets/` with `document.fonts.load('700 64px …')` awaited in `ready`.
   Never a font that may not arrive.
 - **Sound.** A music or ambience `<audio>` clip, plus one clip per hit on its own track, all in `film.html`. Generated
-  music and effects come from `npx -y @autoaiai/aicut@latest get`, once the person has connected a service.
+  music and effects come from `npx -y aicut@latest get`, once the person has connected a service.
 - **Completeness.** No TODOs. If space runs out, stop at the end of a file with `// CONTINUE FROM <path>`.
 
 ## Stage 6 — the jury
@@ -227,9 +227,9 @@ Fix everything below 8, worst first, up to three rounds.
 **How to look:**
 
 ```sh
-npx -y @autoaiai/aicut@latest look            # the whole film: contact sheet, sound, loudness, same-t check
-npx -y @autoaiai/aicut@latest look 4.5        # one frame at full size
-npx -y @autoaiai/aicut@latest look 3-6        # a stretch, densely
+npx -y aicut@latest look            # the whole film: contact sheet, sound, loudness, same-t check
+npx -y aicut@latest look 4.5        # one frame at full size
+npx -y aicut@latest look 3-6        # a stretch, densely
 TIMES are worth naming: the first frame, each scene's first full frame, the loop seam
 ```
 
@@ -248,7 +248,7 @@ Reply in this order:
    kept across materials`; `format · W×H · duration · S##`. Any X row done by overlay, crossfade or whole-frame
    scaling is a failure — fix it before replying.
 5. **Jury**: five scores, and the three things you are least sure of.
-6. **运行方法**: `npx -y @autoaiai/aicut@latest open <folder>` and open the address it prints; `look` to check; `render` for
+6. **运行方法**: `npx -y aicut@latest open <folder>` and open the address it prints; `look` to check; `render` for
    the MP4 when the person wants the file.
 
 **Follow-ups.** 继续 → only the remaining files. 评审修复 → run stage 6 on new stills, then output only the changed

package/skills/aicut-motion/references/design-systems/README.md

@@ -20,6 +20,6 @@ Every seed uses the same functions, all in `../pages.md`: `prog`, `EASE`, `settl
 `lib/motion.js` from there into the film once; do not paste helpers into a scene.
 
 The sound lines name instruments (`kick`, `pluck`, `scratch`, …). AICUT has no synthesiser: those are descriptions
-of the effects to fetch with `npx -y @autoaiai/aicut@latest get` or to bring as files under `assets/`, one `<audio>` clip per hit
+of the effects to fetch with `npx -y aicut@latest get` or to bring as files under `assets/`, one `<audio>` clip per hit
 on the `T` block. Write the cue list down even when the files are not there yet, so the film can be finished later
 without re-deciding the rhythm.

package/skills/aicut-motion/references/pages.md

@@ -254,5 +254,5 @@ Sound never lives in a page. In `film.html`:
 ```
 
 One clip per hit, on its own track, at the beat's seconds. A hit heard inside a page at local time `t` goes at
-`at + t − in` of the film. When the music or the effects do not exist yet, `npx -y @autoaiai/aicut@latest get` makes them
+`at + t − in` of the film. When the music or the effects do not exist yet, `npx -y aicut@latest get` makes them
 once the person has connected a service — say which service, rather than shipping a film with a silent sound design.

package/skills/anidoodle/SKILL.md

@@ -0,0 +1,185 @@
+---
+name: anidoodle
+description: "Code-drawn stills, drawing timelapses, films, explainers and interactive web animations in 32 styles, with composed scores. Matches a reference style, keeps characters consistent, teaches drawing. Deterministic, no generated assets. Runs in AICUT: the film is film.html, a page per shot, drawn by `aicut look` and `aicut render`."
+license: Apache-2.0
+source: "alexgreensh/anidoodle"
+---
+
+# anidoodle
+
+## Running it in AICUT
+
+AICUT's film is `film.html`: it cuts pages, footage, pictures and sound together on tracks. A page is a web page that
+sets `window.film = { frame(t) }` and draws that moment — no framework, no build step, no composition object, no
+`registerRoot`. Five shots are five pages cut together, not one page that changes scene, so each shot stays trimmable
+and replaceable in Studio.
+
+```sh
+npx -y @autoaiai/aicut@latest          # the manual: the format and the commands, always current
+npx -y @autoaiai/aicut@latest open .   # make this folder a film and print Studio's address
+npx -y @autoaiai/aicut@latest look     # a contact sheet of the whole film, its sound, and a determinism check
+npx -y @autoaiai/aicut@latest look 4.5 # one frame, full size — look at the PNG, not at the code
+npx -y @autoaiai/aicut@latest render   # the MP4, beside film.html
+```
+
+Run the manual before the first film: it is authoritative for the format, and this skill is about the method above it.
+
+Where the words below name another program's part, it becomes this:
+
+| elsewhere | in AICUT |
+|---|---|
+| composition, timeline, project file | `film.html`; tracks and clips inside it |
+| a scene, a sequence, a slide | a page (`pages/<name>.html`) cut onto a track |
+| `useCurrentFrame()`, `interpolate()` | `frame(t)` — the picture depends only on `t`, never on state or `Date.now()` |
+| a still, a screengrab | `aicut look <t>` |
+| `render` / `build` / `export` | `aicut render` (the person can also export from Studio) |
+| a dev server, a preview window | `aicut open` and the Studio address it prints |
+
+Hard rules that hold whatever the method says: the picture depends only on `t`; every value in the person's prompt is
+binding; look at the frames `look` writes before saying a film is done.
+
+
+Pictures, films and interactive pieces drawn entirely in code. One pure function paints every
+frame; another composes the score and plays it. The same source rebuilds the same pixels and the
+same sound on any machine, at any size, at any length. Eight acoustic instruments can play recordings
+of real ones from an optional download. ASK the user before any score work; never download unasked.
+
+The engine is the easy half. Work gets thrown away because it had no point, because the subject
+was an icon of itself, because a style was only a palette swap, because the music had no form,
+or because the person spent their patience approving fragments. This skill carries the craft
+that prevents each of those.
+
+## Start by asking, then build
+
+Read `references/workflows/start-here.md` and run its intake: one question at a time, only
+what the request leaves open, your recommendation first. **What** are they making, in **which
+style** (show the gallery sheet, https://github.com/alexgreensh/anidoodle/blob/main/skills/anidoodle/assets/styles.jpg; the list is `references/styles/INDEX.md`), what
+**shape** (1x1, 9x16, 16x9, 4x5 or any W x H), how **long** (any length; never cap it), what
+**sound** (silent or a music style and mood), which **characters**. "You pick" means pick and
+say why in one line. Write the answers into a short brief before drawing.
+
+## What are you making?
+
+| Making | Read |
+|---|---|
+| A still: hero, spot, cover, card, poster, a series | Still workflow below, `references/formats.md` |
+| A picture that draws itself (timelapse, making-of) | `references/workflows/drawing-process.md` |
+| A loop, sticker, animated logo, ambient header | Loop workflow below, `references/formats.md` |
+| A story film, any length | Film workflow below, `references/workflows/long-film.md` |
+| An explainer or infographic; a machine that comes apart to explain an idea, in any style | `references/workflows/explainer.md`, `references/workflows/machines.md` |
+| A launch or product video (their screenshots welcome) | `references/workflows/launch-video.md`; build it on `references/workflows/launch-video-kit.md`; its claims: `references/workflows/facts.md` |
+| Art for a site (hero by a headline, tiles, spots, share card) on its page colour and brand; or a web animation that reacts to the UI | `references/workflows/site-art.md`; `references/workflows/interactive.md` |
+| A drawing lesson, or "how do I draw this?" | `references/workflows/teach-drawing.md` |
+| A character kept identical in any style (woodcut to toy brick) | `references/workflows/character-consistency.md`, `references/anatomy.md` |
+| A style matched from their image | `references/workflows/adapt-a-style.md` |
+| A score or soundtrack | `references/music/README.md` |
+
+- Music: pick a style vocabulary and mood, sketch the tension arc and motif, compose your own harmony, motif and form (references/music/compose.md, craft in references/music/theory/), revise until node tools/music.mjs craft shows only findings you chose, then check must PASS before a human listens. Styles give sound, never notes.
+- Sound effects: references/music/sound-design.md. 14 layered, seeded effects cued by film frame (filmSfx); the score ducks, and every cue must be within 6 dB of it. Effects only on real direction changes, one riser + one impact per film.
+- Launch films: `launchTemplate.ts` renders a product's launch from data (prompts, plates or its own UI, a score composed for it, words, install lines) in every shape from one timeline; `launch.mjs new|ship`. Habits that save tokens: `references/working-method.md`.
+
+## The seven laws
+
+1. **Every piece has a point.** A still: one idea, one focal subject, one light. A film: one
+   transformation, one payoff, one token that returns. → `references/storytelling.md`
+2. **State the realism.** Name the anatomy, the view and the reference you opened, for animals,
+   objects and people alike. → `references/realism-and-craft.md`, `references/anatomy.md`
+3. **A style is a way of making marks.** Change the medium, the edge and the order of the marks,
+   beyond the palette. → `references/styles.md`
+4. **Prove the look on ONE still, then build end to end.** After that, gates cost more than they
+   save. → `references/working-method.md`
+5. **The contract is absolute.** Pure in `(frame, env)` (and the input log, for interactive
+   pieces), `rng(seed)` only, no clock, no `ctx.filter`. Nothing generated; images they bring may be
+   embedded by hash, and the sound pack is a separate, hash-pinned download. → `references/determinism-and-contract.md`
+6. **Music gets a plan, never an adjective.** A style, a mood per section, the notes as data, then
+   measurements. You cannot hear it, so one human listens before it ships. → `references/music/`
+7. **One directs, one builds, both write everything down.** When a session degrades, reset; the
+   files are the memory. → `references/working-method.md`
+
+## Workflows
+
+**Still.** (1) Say the idea in one sentence; name the focal subject and the light. (2) Open real
+reference for anything that exists, and note which. (3) Pick the style and read its plate's
+header first. (4) Draw in that medium's order. (5) Render with `still.mjs` at full size, run the
+**detail pass** on crops (faces, hands, feet, joins; `references/craft-bar.md`), critique in writing. ✋ **One approval.** (6) Deliver every
+size and shape asked for from the same source, and say `reproducible` was printed.
+
+**Loop.** As a still, plus: every motion is periodic over the loop, the subject never stops,
+something moves every second. Check the seam (last frame against frame 0). ✋ **One approval,
+on the moving file.**
+
+**Film.** (1) **The story in three sentences** (setup, transformation, payoff) and the token; for
+longer films, a spine plus one line per chapter. If you cannot write it, stop. (2) **The grid**:
+a beat is 60 x fps / bpm frames, the bpm from the brief's score; one cue table holds every frame number and a checker
+runs at load. (3) **Real reference** for anything that exists. (4) **ONE look still**, the hardest
+frame, critiqued in writing. ✋ **Approval.** (5) **ONE 8-second music sample.** ✋ **Approval.**
+(6) **Build the whole film**; mechanical checks run continuously. (7) **A fresh critic reviews, never you**
+(`references/workflows/review.md`): after the storyboard, each scene and the full render, a new subagent that saw none of the building returns ranked, timestamped problems and a verdict. Fix the biggest, a NEW critic rechecks; 3 rounds at most, logged in `ledger.md`.
+(8) ✋ **Final approval.** Say what you verified and what you cannot.
+
+Three approval gates at most. Approval is a budget; spend it where being wrong is expensive.
+
+## The craft bar
+
+The test: would a proud human illustrator ship this, or is it mechanical shape-assembly? The
+full table of tells is `references/craft-bar.md`. The ones that sink most work: subjects built
+from ellipses, one style recoloured into another, things that fade in instead of being drawn,
+people with rubber joints, and a character drawn differently from shot to shot.
+
+**No dead air** in anything that moves: something visibly changes every second. A film that
+draws itself declares `kind: "drawing"` and is judged on a finer floor; a freeze still fails.
+
+## The engine
+
+`engine/` is the portable art core plus the tooling. `engine/src/canvas-core` knows nothing
+about the DOM or any backend. `W`, `H`, `fps` and `durationFrames` come from the film's `meta`.
+Camera moves (pans, dollies, lens and dolly zooms, parallax, shake) and slow motion or freeze frames: `engine/src/canvas-core/camera.ts`, `engine/src/canvas-core/timeRemap.ts`, `references/camera.md`.
+Seams between scenes: `references/motion-grammar.md` (cuts that carry motion: `seams.ts`; `tools/deck.mjs deal` deals each film different moves; `deck.mjs find "<name>"` turns a move's everyday name into its card). `render.mjs --blur auto` renders with motion blur (subframes per frame
+from its measured on-screen speed, averaged in linear light, `--shutter 180`); the default path is untouched.
+
+```bash
+node <skill>/engine/tools/scaffold.mjs ~/art --film intro --format 9x16 --duration 12   # seconds
+cd ~/art && npm install && npx playwright-core install chromium
+node <skill>/engine/tools/soundfetch.mjs list    # no network. Nothing installed and not declined: ask the user now
+node <skill>/engine/tools/soundfetch.mjs get piano rooms  # on their yes (piano 233 MB, all 373 MB). On no: soundfetch.mjs decline
+```
+```
+| Tool | What it does |
+|---|---|
+| `scaffold.mjs` | a project with a still and/or film; `--duration`, `--format` or `--size`, `--fps`, `--bpm` |
+| `still.mjs` / `render.mjs` | frames drawn twice with hashes (`--frames a,b,c --sheet` in one browser) / the piece in any format (`--from/--to`, `--poster-frame`, `--hashes`) |
+| `gate.mjs` | determinism, contract, dead air, artifact; `--self-test` proves it can fail |
+| `registry.mjs` / `gallery.mjs` | the style list from the plates themselves / the gallery sheet |
+| `docs-check.mjs` | fails when any doc's style count, length or path disagrees with the code |
+| `verify-export.mjs` | QA on the rendered file: frames, duration, score, A/V sync, true peak after the encode; opt-in first frame, loop seam, `--delivery` |
+| `launch.mjs` | a launch film: `new <name>` scaffolds the spec; `ship <name> --shapes 16x9,9x16` renders, posters, captions, verifies and framechecks each (`framecheck.mjs`: text whole, up long enough to read, clear of the 9:16 phone zones) and checks `facts.json` (`facts.mjs`) |
+| `test.mjs` (`npm test`) | unit suites in `engine/test/`, no browser |
+| `music.mjs` | `vocab` prints a style's vocabulary; `check` gates your composed score (key, master, guards, stems, novelty, which parts played recordings) and prints its shape (ARC); `render`, `meter` |
+| `soundfetch.mjs` | the sound pack: `list`, `get <id...\|all>`, `where`, `verify`, `remove <id>` |
+| `sfx.mjs` | the sound-effects kit: `list`, `one`, `kit <dir>`, `test` |
+
+Four backends, one art core: `playwright`, `html-player`, `remotion`, `hyperframes`.
+→ `references/backends-and-adapters.md`
+```
+
+## Worked examples
+
+- **The style plates** in `engine/src/canvas-core/`: every hand has a still and a film of it being
+  drawn, with the recipe in the header and `references/styles/<id>.md`.
+- **MECHANICAL LEPIDOPTERA** in `example/`: a 47 s scored film. `scaffold.mjs ~/study --example`.
+
+**Study them. Do not copy them.** The craft bar is not satisfied by inheritance.
+
+## Honest limits
+
+You cannot hear the score, watch the film move, or use the interactive piece. Every claim about
+them comes from a measurement or from a human; say which. A green checkmark is a claim until you
+re-run it. Render one frame at `--scale 2` before trusting a still: a layer blitted through the
+wrong transform looks right at 1x and breaks at 2x.
+
+## Source
+
+Rewritten for AICUT from [`alexgreensh/anidoodle`](https://github.com/alexgreensh/anidoodle)
+(Apache-2.0), skills/anidoodle/SKILL.md. The method is that skill's own; the way it runs is AICUT's.
+
+The repository holds 2 skills; this is the one its entry stands for.

package/skills/anidoodle/references/anatomy.md

@@ -0,0 +1,91 @@
+# Human anatomy in code
+
+> Structure first, marks last: the rule `butterfly/alive/anatomy.ts` applied to a wing, applied to
+> a person. A human drawn from outlines is the road-sign icon of a human. A human built from a
+> skeleton, volumes and a camera gets foreshortening, overlap, contact and balance for free, and
+> gets every one of them checkable. Code: `engine/src/canvas-core/character/human/`.
+
+**The scar.** The first mannequin we built had arms hanging in a gap beside a box torso: a
+wooden doll. Its hands were rakes, its thumb left the wrist as a stick, its pinch never closed, a
+nine-year-old's shins were 16% short, and a 37-degree ankle bend and a 46-degree hip slipped into
+poses we "tuned by eye". The checks below caught the last four. The eye caught the first three.
+You need both.
+
+## The pipeline
+
+| Layer | File | What it owns |
+|---|---|---|
+| Canon | `canon.ts` | landmark heights in head units per canon ROW (adult 7.5, storybook child 5.2 declared over a real 6.2); heads-by-age and eye-line-by-age tables |
+| Skeleton | `skeleton.ts` | bone lengths from the canon; forward kinematics; joint limits and cones; **a pose outside them throws at load** |
+| Mannequin | `mannequin.ts` | ribcage egg, pelvis bowl, shoulder girdle, limbs as chains of ellipsoids with muscle profiles |
+| Head | `head.ts` | Loomis ball + jaw; features placed ON the face surface; eleven expression parameters |
+| Hands | `hands.ts` | 5 digits, 14 phalanges, knuckle arc, thumb from the wrist with thenar mass, pose library, solved pinch |
+| Balance, reach | `balance.ts` | centre of mass (Winter segment masses) inside the support polygon; analytic leg IK; numeric reach; contrapposto |
+| Walk | `walk.ts` | a walk from footsteps: heel, ankle and forefoot rockers, swing arcs, pelvis bob and counter-rotation |
+| Clothing | `clothing.ts` | garments are inflated body blobs cut to length; they turn and swing with the body |
+
+A body part is a UNION of convex polygons (a limb is its blob chain swept pairwise), projected
+through a pinhole camera with a real focal length. The outline is every boundary point not inside
+a sibling polygon, minus seams where a part grows out of its parent: so an elbow has no seam, but a
+forearm crossing its own upper arm still gets its overlap line.
+
+**Mannequin is the checker, not the look (in progress).** Rendering those volumes literally reads as
+a mannequin. The drawing layer (`character/design.ts`) keeps the rig as pose source and checker and
+draws designed sweeps over it: a gesture curve through the joints, an authored section table, the
+silhouette perpendicular to the curve. Mira's clothing and Theo the baker (`characters/theo/baker.ts`,
+coloured pencil) use it. Still open: sleeve caps and forearms read tubular, clothing drape from contact
+points is partial, anatomical landmarks are not yet expressed as contour breaks on the drawn layer.
+
+## Canon (checked, not asserted)
+
+- Heads tall by age (Loomis): 1 y 4, 3 y 5, 6 y 5.75, 8 y 6, 9 y 6.2, 12 y 7, adult 7.5, heroic 8.
+- Eye line: half the head in adults, lower in children (0.44 at nine, 0.38 at one).
+- Adult: crotch at half height, elbow at the waist, wrist at the crotch, hand = face, foot = forearm.
+- Every canon: limb segments as fractions of (body) height from Winter's anthropometric table:
+  upper arm 18.6%, forearm 14.6%, hand 10.8%, thigh 24.5%, shank 24.6%, foot 15.2%, within 16%.
+- A stylised canon is a declared row. The storybook child enlarges the head 1.19x and is measured
+  against the body height a real 6.2-head child of her height would have.
+
+## Joints
+
+Ranges (AAOS / Norkin & White, rounded): elbow 0-150, knee 0-140, hip flexion -20..125 but only 95
+with the knee straight (hamstrings), ankle -45..25, neck total rotation 80, fingers MCP -20..90, PIP
+0..110, DIP -5..80. Wrist, neck and shoulder are CONES (an ellipse of combined motion), not boxes.
+Anything that solves a pose (leg IK, reach, the walk) either stays inside or throws; an ankle at its
+limit lifts the heel instead of folding further, which is what a real heel does.
+
+## Hands, the known weak spot
+
+- Knuckles on an ARC (middle furthest from the wrist, little finger well back); fingers in length
+  order middle > ring >= index > little; a web of skin a third of the way up the fingers.
+- The thumb's metacarpal is buried in the thenar eminence: the visible thumb leaves the palm at its
+  MCP, not the wrist. At rest it lies alongside the index, pointing down and forward.
+- Contact is SOLVED, never typed: the pinch pulls thumb pad onto index pad; a grip pulls every
+  finger joint onto the cylinder it holds (none inside it); a wave turns the forearm until the palm
+  faces the lens.
+- Nails on the dorsal face of the distal phalanx, drawn only when that face turns to the camera.
+
+## Poses from reference, built like a teacher builds them
+
+Name the reference you opened (Loomis, Hogarth, Williams, Perry and Burnfield are cited in the
+files). Place the feet, solve the legs, carry the centre of mass over the support, send each hand
+to a target. Contrapposto: weight foot near the midline, pelvis drops on the free side, shoulders
+tilt against it. Tiptoe: toes bend flat to the floor and the mass goes over the balls. A seated
+figure's support includes the seat.
+
+## The look-at-it list (no check proves these)
+
+Render the figure sheet and look, at full size, for: arms that hang in a gap (missing shoulder
+girdle); rake hands; a thumb from the wrist; a face that turns but whose far eye does not narrow;
+a hand that covers the face; a pinch that does not meet; feet that float or sink; a coat that sits
+on the lap like a plate; a pointed finger that does not read as aimed. Each of those shipped in a
+draft of our figure sheet and was caught only by eye.
+
+## Gate
+
+`node tools/character-check.mjs` : canon ratios, limits for every library pose, bone lengths
+constant, left/right symmetry, five digits in length order with the knuckle arc, pinch contact,
+balance, feet on (not through) the floor, identity per view, palette hue families per hand, and
+for a film the planted feet (no slide over 4 mm a frame). Then its negative twins, each of which
+must fail: elbow 170, knee backwards, wrist outside its cone, straight-leg kick, finger bent back,
+owl neck, a figure toppling, a blue coat, missing glasses.