scenri 0.18.2 → 0.19.0

package/templates/showcase/tanner-fielding-bar-sugar-pull.json

@@ -1,33 +0,0 @@
-{
-  "id": "tanner-fielding-bar-sugar-pull",
-  "title": "Chocolate bar inside the sugar pull",
-  "category": "social",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "tanner-fielding-single-origin-bar"
-      },
-      {
-        "t": "template",
-        "id": "studio-molten-sugar-pull"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Read the squat amber glass jar and its brushed metal lid that follow as this wrapped single-origin chocolate bar instead. Stand the bar upright on its long edge with one kraft corner peeled back so three tempered squares catch the cool front fill, and set it inside the pull: one drawn ribbon arcs behind its head thin enough to fire orange-gold, the sagging catenary crosses low in front with its drip fully necked and a single hair-thread still attached. 100mm at f/4 from just below bar height so the ribbons read against the backlight, framed so the catenary's thinnest section passes over the wrapper. TANNER & FIELDING is hand-stamped in large clean capitals across the kraft, ink sunk into the uncoated stock, one letter blotted where a bead of syrup has wicked into the fibre."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 73,
-  "family": "fluid"
-}

package/templates/showcase/tanner-fielding-cocoa-crown.json

@@ -1,33 +0,0 @@
-{
-  "id": "tanner-fielding-cocoa-crown",
-  "title": "The snap, a millisecond old",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "tanner-fielding-single-origin-bar"
-      },
-      {
-        "t": "template",
-        "id": "interiors-marble-kitchen-counter"
-      },
-      {
-        "t": "text",
-        "v": " Read the subject as this kraft-wrapped chocolate bar and the scene's standing three-quarter counter view as this macro: framed 1:1 life-size, square to the break, the fracture face the subject in focus at half the frame width. The bar has just been snapped over the wood board, halves hinged two millimetres apart on the kraft bridging their undersides, faces turned up into the window: tempered cocoa butter reads as fine dry matte grain with one glassy conchoidal step. The board is clean, every particle of cocoa airborne and stopped. One hand only, index and middle fingertips on the left half, pushed-up ecru linen cuff, no torso or other body part in frame. 90mm at f/4 at board height, warm low morning window from camera-left doubled by a bare flash on that axis to stop the crumb, marble soft behind. TANNER & FIELDING is hand-stamped exactly once, large capitals on the left half only, running partly off toward the break, struck hard enough to crush the fibre. Board out both sides, marble out the top, the bar's near edge out the bottom."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 21,
-  "family": "fluid"
-}

package/templates/showcase/thornebury-table-dust-sheet.json

@@ -1,33 +0,0 @@
-{
-  "id": "thornebury-table-dust-sheet",
-  "title": "The reveal in the joiner's shop",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "thornebury-pedestal-dining-table"
-      },
-      {
-        "t": "template",
-        "id": "furniture-joiners-workshop"
-      },
-      {
-        "t": "text",
-        "v": " Pull the linen dust sheet off it and catch that instant — the sheet mid-slide down the far side, one corner still airborne, a column of shop dust blooming up into the roof light with only the linen carrying blur. 35mm at f/5.6, camera low on the plank floor and close, the pedestal base sharp in the near third, the sawtooth trusses running out through the top edge. Curled shavings smear across the bottom edge, cut left and right; a workbench edge and its vise blur along the right edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 27,
-  "family": "place"
-}

package/templates/showcase/tidewater-coral-can-melt-channel.json

@@ -1,33 +0,0 @@
-{
-  "id": "tidewater-coral-can-melt-channel",
-  "title": "Coral can in the melt channel",
-  "category": "food-drink",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "tidewater-grapefruit-seltzer"
-      },
-      {
-        "t": "template",
-        "id": "studio-blue-ice-melt-channel"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Read the ribbed clear glass bottle and its crown cap that follow as this coral aluminium seltzer can instead. Set the can dead in the throat of the channel where the meltwater necks and accelerates, so the glassy laminar tongue parts around its base into two clean seams and stacks a small standing wave against the coral flank, breaking white where it drops over the lip just downstream. 50mm at f/5.6 from water level a hand's width upstream, the near riffle smeared to a soft blur while the can and the wave shoulder stay tack-sharp — warm coral against saturated cobalt ice. TIDEWATER is printed in large clean capitals across the chalk-white band, matte ink with meltwater beading in its tooth and one letter running wet under a live seam."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 47,
-  "family": "fluid"
-}

package/templates/showcase/tidewater-seltzer-basalt-columns.json

@@ -1,29 +0,0 @@
-{
-  "id": "tidewater-seltzer-basalt-columns",
-  "title": "Coral can on the basalt pavement",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "tidewater-grapefruit-seltzer"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. The can stands dead upright on the flat top of one hexagonal basalt column in a wet causeway pavement, the honeycomb stepping away behind it toward a swell breaking white on the shelf edge, late gold light coming in low and sideways across the stone. 100mm at f/4 from column height with the can holding seventy percent of the frame height, condensation crawling the matte coral, a fine mist of blown spray already speckling the chalk-white band. Two spray-wet hexagon tops blur across the near foreground, cut by the bottom corners; a gull dissolves out of the top-left. TIDEWATER is printed full-wrap in tall coral capitals across the chalk-white band, spanning most of its width, the low sun breaking one hard specular clean across the middle of the wordmark and the ink darkening to wet coral wherever spray has landed on it."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 19,
-  "family": "geological"
-}

package/templates/showcase/tidewater-seltzer-wave-break.json

@@ -1,29 +0,0 @@
-{
-  "id": "tidewater-seltzer-wave-break",
-  "title": "Seltzer can entering the water",
-  "category": "social",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "tidewater-grapefruit-seltzer"
-      },
-      {
-        "t": "text",
-        "v": " Caught a quarter-second after the can hit the water: it is still travelling down through a tall glass tank of chilled, clear, colourless water, tilted a few degrees off vertical and dragging a clean conical cavity of air behind it, the cavity wall smooth and mirror-silvered where it turns, its rim ruffling into a long tail of unevenly sized bubbles climbing back toward a surface still domed and un-collapsed. Shot square through the tank's front pane — that glass is the only thing between lens and can, held dead sharp with one straight highlight down its inner edge and nothing blurred in the near field. 85mm at f/8 from just below the waterline, one hard fast key from camera-left stopping every bubble dead against a cobalt-black falloff so the matte coral flank and chalk-white band burn against it; the can holds about half the frame height. The domed surface and its ring wave close the top edge, the bubble tail runs out the bottom. TIDEWATER is printed in tall coral capitals across the chalk-white band, spanning most of its width, one bubble caught against a letter's stroke."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 60,
-  "family": "fluid"
-}

package/templates/showcase/verity-hoops-charred-cedar.json

@@ -1,29 +0,0 @@
-{
-  "id": "verity-hoops-charred-cedar",
-  "title": "Hoops walking on a struck soundboard",
-  "category": "cinematic",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verity-stone-gold-hoop-earrings"
-      },
-      {
-        "t": "text",
-        "v": " Both hoops lie half over the rosette, the inner arc of each falling across the black sound-hole cavity so it reads as a bright gold crescent on black while the outer arc sits on warm cedar. Each hoop is a thick round tube carrying broad dimpled hammer facets over its whole outer surface, not a fine chatter at the rim; the pair is identical in diameter and gauge, posts and hinge closures plain unmarked metal. Each tube touches the soundboard along its lower arc with a hard contact shadow directly beneath the touch point and no gap between metal and wood. Each hoop reads two-fifths of the frame across; bridge, saddle and fretboard are entirely out of frame. 100mm macro at f/5.6 from twenty-five degrees above, sighted along the string run, one warm bench lamp low and hard at camera-left at dusk raking the tubes so the hammering fires facet by facet and the growth rings lift. The left edge crops the cavity mid-black, the top edge the rosette's inlay rings, the bottom and right edges plain lacquered cedar. Two steel strings cross the near corner, occluding the near hoop's lower arc."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 54,
-  "family": "material"
-}

package/templates/showcase/verity-hoops-pigment-lift.json

@@ -1,29 +0,0 @@
-{
-  "id": "verity-hoops-pigment-lift",
-  "title": "Hoops lifting out of pressed pigment",
-  "category": "beauty",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verity-stone-gold-hoop-earrings"
-      },
-      {
-        "t": "text",
-        "v": " A shallow pan of loose ultramarine pigment has been pressed flat and then cracked, a fine craquelure running across the packed surface with one plate tipped and crumbling back into fresh powder. Both hoops sat half-sunk in that bed; one has just been lifted clear on the tip of a fine steel tweezer and trails a hanging veil of pigment dust that has not yet fallen, individual grains resolving where the light catches them, a soft blue collar left in the pan where it was seated. 100mm macro at f/4, framed 1:1 life-size, just above bed level, one hard raking key from the right so every crack wall takes a bright line and the dust lights against unfilled shadow - deep ultramarine against warm polished gold and nothing else in the palette; the lifted hoop stands about a third of the frame across. The VERITY STONE punch on the hinge post reads as a single struck dot, unlettered at this scale, taking one point of the key. Loose pigment blurs across the bottom edge, cut by both corners."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 23,
-  "family": "material"
-}

package/templates/showcase/verity-pearls-suspended-silk.json

@@ -1,33 +0,0 @@
-{
-  "id": "verity-pearls-suspended-silk",
-  "title": "Pearls through ivory silk",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verity-stone-pearl-drop-necklace"
-      },
-      {
-        "t": "template",
-        "id": "chrome-bubble-warp"
-      },
-      {
-        "t": "text",
-        "v": " EXTREME MACRO, the frame filled by a hand's width of ivory silk mid-billow; disregard the chrome-sphere and wider-set framing that follows. The necklace hangs through a fold, the chain drawing a fine gold line down the fabric's wave and the pearl resting where the silk troughs, its weight dimpling the surface. 150mm macro at f/4, framed 1:1 life-size, camera level with the trough: filaments legible along the lit crest, the fold behind collapsing into soft shadow, the pearl's nacre holding one window of light. A blurred crest crosses the top-right corner, cut by both edges; the chain runs out the top of the frame."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 6,
-  "family": "material"
-}

package/templates/showcase/verity-travel-case.json

@@ -1,29 +0,0 @@
-{
-  "id": "verity-travel-case",
-  "title": "Packing the good ones",
-  "category": "catalog",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verity-stone-pearl-drop-necklace"
-      },
-      {
-        "t": "text",
-        "v": " The necklace spills from a small open leather travel case onto washed linen in low morning window light, the chain drawing one loose S-curve across the cloth and the pearl resting at its end, nacre taking a single soft highlight. 100mm macro at f/3.5 from just above the linen, the case's velvet tray and a folded silk scarf falling out of focus behind, a passport corner cut by the top-right edge. The gold peg above the pearl fires one point of light; the clasp sits open mid-frame, plain and unmarked. Linen weave reads sharp under the pearl and dissolves toward every edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 70,
-  "family": "studio"
-}

package/templates/showcase/verlaine-flacon-amber-resin.json

@@ -1,29 +0,0 @@
-{
-  "id": "verlaine-flacon-amber-resin",
-  "title": "Every facet holds an upside-down window",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verlaine-lumiere"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. The flacon is squat and square in section: four corner edges, flat faces, a coarse lattice of large triangular cuts about six across each face, one plain polished gold dome on one short thin collar. It stands centred on a black glass shelf against a steel-framed window in the first hour after sunrise, backlit low and hard, each cut behaving as a tiny lens: the window's mullion cross appears small and upside-down inside it and the sun disc repeats inverted in every facet's lower half, sharpest at the bottle's centre. The gold dome takes one hot specular and is the only thing in frame right way up. 100mm at f/8, camera level with the bottle's waist, flacon at sixty percent of frame height; the black glass returns a mirror image of it plus one caustic knot in front. Studio haze makes the beams read as solid bars crossing the near field between lens and flacon. Window head cuts the top, shelf runs out both sides, mirrored base out the bottom. Crystal and cap unmarked."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 51,
-  "family": "optical"
-}

package/templates/showcase/verlaine-molten-wax.json

@@ -1,33 +0,0 @@
-{
-  "id": "verlaine-molten-wax",
-  "title": "Crystal in set wax",
-  "category": "seasonal",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verlaine-lumiere"
-      },
-      {
-        "t": "template",
-        "id": "liquid-marble-pour"
-      },
-      {
-        "t": "text",
-        "v": " The crystal flacon stands where a slow cascade of bone-white wax has just set around its base, the last live drip still glossy and necking at the leading edge while everything behind has gone matte. One raking key crosses the scene so the wax ridges throw long shadows and every cut facet splits the light into small hard stars across the pale field. 100mm macro at f/4, framed 1:1 life-size, camera level with the shoulder; the gold dome takes a single hot specular. VERLAINE surfaces acid-etched on the shoulder facet only where the rake crosses it. A cooled wax ribbon blurs across the bottom-left corner, cut by both edges."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 74,
-  "family": "material"
-}

package/templates/showcase/verlaine-vanity-mirror.json

@@ -1,29 +0,0 @@
-{
-  "id": "verlaine-vanity-mirror",
-  "title": "Before the party",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verlaine-lumiere"
-      },
-      {
-        "t": "text",
-        "v": " The crystal flacon stands on a deco dressing table between lit vanity bulbs, its cut facets throwing small warm stars across the walnut while the mirror behind holds a doubled, softer version of the scene. 85mm at f/2 at tabletop height: the near facets and gold dome razor sharp, elbow-length silk gloves dropped in a heap beside it, a lipstick-marked glass and an invitation card blurred at the frame's edge, cut by the right. VERLAINE surfaces acid-etched on the shoulder facet only where the bulb light rakes it. One bulb flares softly in the top-left corner; the table's edge runs out the bottom."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 15,
-  "family": "place"
-}

package/templates/showcase/verse-color-court.json

@@ -1,29 +0,0 @@
-{
-  "id": "verse-color-court",
-  "title": "Noon on the color court",
-  "category": "social",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verse-beauty-sheer-bloom"
-      },
-      {
-        "t": "text",
-        "v": " The open lipstick stands like a player on a hand-built miniature handball court: color-blocked ground in dusty rose, persimmon and bone, painted lines running under hard noon sun so every element throws one crisp black shadow. 50mm at f/8 from just above court level, the bullet's dusty-rose tip aligned with the rose block. A miniature white bench and a tiny painted rope wall sit out of focus at the back line; the court's painted edge cuts the bottom-left corner. VERSE sits laser-etched on the metal collar, large and clean, catching the sun along its strokes."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 78,
-  "family": "studio"
-}

package/templates/showcase/verse-lipstick-soraya-soft-diffusion.json

@@ -1,37 +0,0 @@
-{
-  "id": "verse-lipstick-soraya-soft-diffusion",
-  "title": "First touch of dusty rose",
-  "category": "beauty",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "verse-beauty-sheer-bloom"
-      },
-      {
-        "t": "character",
-        "id": "soraya"
-      },
-      {
-        "t": "template",
-        "id": "soft-diffusion-portrait"
-      },
-      {
-        "t": "text",
-        "v": " Her hand holds the polished case upright, thumb and forefinger closed round the barrel, and the bullet has just lifted from her lower lip — its tip bevelled flat where it pressed, one hairline thread of pigment still bridging the gap, the first uneven wash of dusty rose reading over her lip's true texture. 105mm at f/2.5 at eye level, slightly to her right: bullet tip and lip line sharp, her far ear dissolving, the low sleek knot holding her profile clean. VERSE runs engraved around the base collar, catching one highlight. A pale oatmeal fine-knit crewneck holds the lower edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 90,
-  "family": "human"
-}

package/templates/showcase/voss-rowe-dune-slip-face.json

@@ -1,33 +0,0 @@
-{
-  "id": "voss-rowe-dune-slip-face",
-  "title": "Trail runner on the slip face",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "voss-rowe-trail-runner"
-      },
-      {
-        "t": "template",
-        "id": "studio-dune-slip-face"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. Read the subject as this trail runner, panel by panel: matte-coated clay-orange ripstop mesh is the whole field of the upper, with charcoal overlays on the toe bumper, the diagonal midfoot straps and the heel counter, and below them a chunky off-white outsole whose blocky lugs stand clearly proud with deep channels, on a charcoal midsole band - never a smooth cream midsole wrap, never gum rubber, never suede nap. It sits at a hard diagonal across the ripple bars, holding half the frame width, a small avalanche slumped from the heel, grains lodged in the lug channels. 135mm at f/8 from high on the crest straight down the slope, low sun raking from camera-right at the last hour; inside the cast shadow the ripple ridges and grains stay legible, only darker and cool lavender-grey, its outline reading as the shoe's silhouette. Backlit wind smoke crosses the top edge; combed grain runs unbroken out of the bottom and both sides. Unmarked."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 93,
-  "family": "geological"
-}

package/templates/showcase/voss-rowe-runner-volcanic-ash.json

@@ -1,33 +0,0 @@
-{
-  "id": "voss-rowe-runner-volcanic-ash",
-  "title": "Trail runner biting volcanic ash",
-  "category": "campaign",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "voss-rowe-trail-runner"
-      },
-      {
-        "t": "template",
-        "id": "studio-volcanic-ash-field"
-      },
-      {
-        "t": "text",
-        "v": " Plant the outsole into loose ash mid-stride, lugs biting a shallow crater and throwing a fan of grey grit up behind the heel, grains still airborne, a faint smear on the drifting ash alone while the shoe holds razor sharp; disregard the slim display stand that follows. 50mm at f/5.6 from ash level, the smoldering horizon glow banding low through the frame, the dark sky taking the upper third. A ridge of ash blurs across the extreme foreground and runs out both side edges. VOSS ROWE sits heat-welded in matte TPU across the heel counter, a millimetre proud of the ripstop, ash settling along its lower edge."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 0,
-  "family": "geological"
-}

package/templates/showcase/voss-rowe-sasha-grit-cut-freeze.json

@@ -1,37 +0,0 @@
-{
-  "id": "voss-rowe-sasha-grit-cut-freeze",
-  "title": "Heel driving down into the collar",
-  "category": "social",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "voss-rowe-trail-runner"
-      },
-      {
-        "t": "character",
-        "id": "sasha"
-      },
-      {
-        "t": "template",
-        "id": "action-motion-freeze"
-      },
-      {
-        "t": "text",
-        "v": " The scene's mid-pour and mid-unbox are not this shot — read every motion cue as the foot mid-stride instead: her weight rolls onto the shoe's outside edge as she cuts hard left, lugs biting and firing a fan of grit and dust back across the frame. Her foot is laced in and driving off it, black compression tights hemmed at the ankle bone above the collar, no sock anywhere. Clay-orange nubuck overlays over charcoal-grey ripstop mesh, clay-orange laces taut through charcoal eyelets, a clay-orange heel pull tab proud at the collar, chunky off-white lugs — no grey laces or tab, no lettering. 85mm at f/5.6 from floor height a stride away, the shoe off-centre right and owning half the frame. One hard fast key from camera-right at noon stops it clean, a specular running the upper's length, every lug picked out against flat chalk-grey; everything but the shoe — grit, dust, a lace end — streaks while it holds razor sharp. Cobalt running shorts over the tights, cropped at mid-thigh: no face, no hands, trailing leg cut by the top edge, only this shoe in frame; the floor runs empty to the bottom."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 3,
-  "quality": "standard",
-  "width": 1024,
-  "height": 1280,
-  "order": 34,
-  "family": "human"
-}

package/templates/showcase/voss-rowe-tarn-refraction.json

@@ -1,29 +0,0 @@
-{
-  "id": "voss-rowe-tarn-refraction",
-  "title": "Canvas low-top, half in the tarn",
-  "category": "catalog",
-  "brief": {
-    "tokens": [
-      {
-        "t": "product",
-        "id": "almanac-supply-canvas-low-top"
-      },
-      {
-        "t": "text",
-        "v": " Full-bleed photograph filling the entire frame edge to edge with no border, frame, letterbox band or matte of any kind. The still surface crosses the low-top at the gum foxing's top edge and breaks it in two: everything below is displaced sideways by a third of the sole's height and magnified, so the outsole's edge line steps visibly out of true at the surface, a bright meniscus climbing the canvas along the line. Below it the canvas goes two shades darker and saturated, a live caustic net rakes the submerged gum toe cap, and the shoe's hard sun shadow lies on the submerged pebbles beside it. Above, the vamp stays dry and matte with its fleck legible, eyelets and laces clear of the water. It stands in three centimetres of gin-clear meltwater on granite gravel at an alpine tarn's lip, hard noon sun overhead, at two-thirds of the frame width. 100mm at f/11, camera a hand's height above the surface, angled thirty degrees down, near bed and far gravel as sharp as the shoe. Far shore dissolves out the top, water out both sides, bed out the bottom. Nothing on the shoe carries a mark."
-      },
-      {
-        "t": "format",
-        "id": "portrait",
-        "w": 1024,
-        "h": 1280
-      }
-    ]
-  },
-  "variants": 2,
-  "quality": "high",
-  "width": 1024,
-  "height": 1280,
-  "order": 62,
-  "family": "optical"
-}