wizz-method 2.21.0 → 2.23.0

package/src/skills-lib/wizz-video-styles/references/film-styles/hologram-hud.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/hologram-hud), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Sci-fi Hologram HUD — Style Prompt
+
+> An object is scanned into a glowing wireframe. Target boxes lock onto its parts; each opens in a local exploded view, a leader pulls out, and its number rolls from garbage glyphs into the real value. It may light up, once, into a solid hologram.
+> References (grammar only): the *Iron Man* / *Avengers* HUDs (target boxes, callouts, rolling numbers, layered depth); the *Oblivion* interfaces (one colour, hairlines, space); CAD exploded views. Copy none of their layouts, icons, fonts or colours.
+
+A **scene style**: it does a practical job (a spec walkthrough, a teardown, a loop screen) for any object with parts. See §11 for the jobs.
+
+## 1. Essence, and what it is not
+
+The subject is always a **line wireframe made of light** above a round projector pad on a near-black stage, never a rendered object. Everything reads as *scanned data*: a scan plane grows the model, parts pull apart along their assembly axes, numbers are *computed* on screen.
+
+Three depth layers are always present: a **background dot grid** (slow parallax), the **subject** with its pad and floor, and the **foreground HUD** (corner brackets, rulers that parallax faster, status text).
+
+Not a type-driven keynote (dark-keynote), not a drafting sheet (blueprint), not a product render (glass-product). The subject stays a wireframe; it may gain translucent faces once, and even then the lines stay on top.
+
+## 2. Materials & rendering
+
+- **Stage**: near-black tinted by the hue, a radial lift behind the subject, a fading dot grid, a strong vignette.
+- **Projector pad** in true perspective: concentric rings (one bright, one dashed), ticks, faint rays; it rotates slowly and spins with any turntable move.
+- **Wireframe**: additive ~1.3 px strokes in a few alpha levels set by **depth fog** (near bright, far ~25 %), plus two low-res glow passes.
+- **Hot edges** (near-white of the hue) only for what matters now: the scan front, inner pieces flagged `hot` when opened, a light wave, a part being pinged.
+- **Real CAD topology**: tubes are rings plus longitudinal lines. **Every part is physically connected**: a floating piece is noticed first.
+- **Solid hologram**: faces filled with a screen-space **Fresnel** × a scrolling **interlace**; lines thicken as it ignites; a light wave climbs the model. A **beam** (one path, nonzero winding) with faint rays and dust.
+- **HUD furniture**: corner brackets, parallaxing rulers, subject // mode top left, a live status line top right, telemetry at the bottom.
+- **Text never sits on the wireframe**: every text block has its own **dark plate** (translucent near-black, 1 px border, corner ticks); the camera still keeps the subject clear of text.
+
+## 3. Colour logic
+
+- **One cold hue plus one warm accent**, both parameters (e.g. mint/orange, violet/lime, ice-blue/red; choose from the subject).
+- The hue carries lines, HUD and fills. The **accent is spent on locked values only**: a number turns accent-coloured at the frame it becomes true. Nothing else ever uses it.
+- White is heat: near-white edges and one-frame flashes mark what is active. Everything at rest sits in the hue's alpha levels.
+- One object may keep its own colour (the single-colour exception, `keep`), for a brand mark, never for decoration.
+
+## 4. Type & subtitles
+
+- Rajdhani, all caps: Light for big numbers and the product name (wide tracking), Medium/SemiBold for labels. Share Tech Mono for micro data (coordinates, counters, zoom).
+- Numbers are **monospaced** so rolls never jitter; the decimal point is a small square (a glowing "." reads as a comma).
+- Subtitles are HUD: a dark plate with corner brackets and "voiceprint" bars moving with the speech, near-white Rajdhani Medium, bottom centre; in just before the voice, hold ≥ max(1.8 s, speech + 0.6 s).
+- The title is part of the scene (no title card): the name rolls in like a value, then code, category and tagline.
+
+## 5. Motion quality
+
+- **Everything on ones at 24 fps.** Only glyph scrambling steps, every frame.
+- **Target lock**: oversized, rotated 45°, faint; snaps to fit in ~0.2 s (cubic ease-out), flashes white 3 frames on the downbeat.
+- **Explode** along each piece's assembly axis: the shell slides *along its own axis*, the contents stay in place and glow. Open over a beat or two, close fast.
+- **Leader**: anchor ring → diagonal → horizontal to the card in ~0.5 s. **Rolling value**: characters lock right-to-left and turn accent on the downbeat with a one-frame flash.
+- **Chip dock**: a finished value slides into a side rail and stays until the end.
+- **The camera follows the box**: cubic ease, starting *before* the next lock, **real motion blur** only inside the whip (sub-frames, 180° shutter); HUD stays sharp.
+- **No cuts or fades inside the scene**: only the scan plane (scanning in or erasing) and a loupe iris. A **glitch** of three frames at most once, on the biggest change.
+
+## 6. Camera grammar
+
+An orbit camera (yaw, pitch, distance, narrow fov) with a screen position for the target, so the subject can sit beside text. A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| High 3/4, slow orbit craning down | Examination; a scan plane reads as an ellipse | a scan-in; a survey |
+| Top-down plan view | Layout, order | a parts inventory; an assembly sequence |
+| Eye-level profile, locked | The object as it stands in use | a height; a before/after |
+| Push-in, then drift, 3/4 | This part matters; internals come towards the lens | the key spec; a flaw |
+| Whip following the target box | Attention jumps to the next part | a list of parts |
+| Orbit around a part's own axis | Axial structure only reads in rotation | rotors, stacks, hinges, lenses |
+| Lateral dolly along a long part | Length, a path | a beam; a cable run |
+| Pull back + loupe (frame in frame) | Where (wide) and what (loupe) | small parts; a sensor |
+| Crane to eye level or back up | Status change: the object stands up or settles | a transformation; scale |
+| Turntable 360° | Every side | a whole object; a symmetry |
+| Nearly static, slow dolly | Reading time without a dead frame | a spec sheet; a checklist |
+
+Framing: the subject is ≥ ⅓ of frame height at every key moment. Cards on one side, the chip rail on the other, subtitles bottom centre, a loupe above them: never colliding. Shorten explode vectors rather than fly a piece into text.
+
+## 7. Sound palette
+
+- **Music first**, on a grid (a bar = one information beat); locks land on downbeats, checked against the score.
+- **Synth palette**: saw/square arpeggio with ping-pong delay (scooped 1–4 kHz for the voice), square pulse, 8th bass, synth hats and claps, detuned saw pads.
+- **Density follows information.** Tools to pick from, in any order (most films need two or three): half-time for reading time; one beat of **true digital silence** (nothing, not even UI blips); a drop (808-style glide + wide saw chord) for the biggest change; a layer added or removed per part; deceleration by longer note values; a key change; a single sustained tone under a long hold.
+- **Foley follows the material**: light = sines and FM blips **in the key**; machines = servo slides, pneumatic puffs, hydraulic hiss, metal tinks (J-cuts); a lock = thump + clack + two-tone beep; rolls tick at frame rate. Ambience: projector hum (40/80/120 Hz) and room tone.
+- **Voice**: calm, confident. Duck music *and* foley with a **held** envelope (no pumping between words); lock transients escape. −14 LUFS.
+
+## 8. Native moves
+
+Each move serves information, not story. A menu: use the ones your film needs.
+
+- **Scan growth = "this is real data."** *Fits content like:* a coffee machine; a satellite; an architectural model.
+- **Target lock = "look here now."** The box is the camera. *Fits content like:* a car's sensors; a laptop's ports; a robot arm's joints.
+- **Local explode = "why the number is true."** *Fits content like:* the burr set of a grinder; the layers of a running shoe sole; the elements of a camera lens.
+- **Rolling digits = the payoff beat.** *Fits content like:* a brew temperature; a tolerance in microns; a price.
+- **Chip accumulation = reading time.** *Fits content like:* 3–5 facts that must all be read.
+- **Loupe = two scales at once.** *Fits content like:* a screw inside a watch; a chip on a board; a valve in an engine.
+- **Solid hologram + beam = "the whole is ready."** Once, if at all. *Fits content like:* a launch reveal; a finished assembly; a v2 replacing v1.
+
+## 9. Pitfalls of the medium
+
+- Target boxes balloon → rest pose, skip `internal` pieces, long attachments `box:false`.
+- Long diagonal leaders point at the wrong part → ring on the part body, flash the part.
+- Two parallel boxes moving don't read as an explode → shell slides on its axis, contents stay and glow.
+- A part built from generic boxes doesn't read as that part → give it its characteristic silhouette.
+- Voice masked by foley, not music → duck foley too, hold the duck through word gaps.
+- UI blips inside a silence break it → check cues against silence windows.
+- A whip written inside the next segment plays as a hard cut → start it in the previous one.
+
+## 10. Engine
+
+`demo/engine/holo.js` (wireframe engine: projection, scan, explode, Fresnel faces, glow, pad, scan plane, `normalizeModel`, `modelFromPath` to extrude any 2D path), `demo/engine/hud.js` (theme, plate, target box, leader, rolling text, spec card, chip, marker, beam, subtitle, chrome, glitch), `demo/models/mkmodel.mjs` (primitives: tube, ring, disc, box, wheel, cells…). Models are normalised on load, so cameras work for any object. API, model format and an example: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/hologram-hud/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the object, its model, which parts and in what order, the opening, the ending, the camera path, the colours, the pacing and the music. Use cases are **grammar for the order and duration of information**; build your own timeline from the user's facts.
+
+| Use case | Information order | Hold per layer | Length |
+|---|---|---|---|
+| **Spec walkthrough** | Name + tagline → one spec per part (label, value, unit, detail) → weight / price → CTA | Title ≥ 5 s; value ≥ 2.5 s, then docked; final sheet ≥ 3 s | 30–40 s, 2–5 parts |
+| **Loop screen** | Name → 3–5 specs → CTA, no voice; last frame = first | 3 s per spec, 5 s final | 20–30 s loop |
+| **Teardown** | Part → what it does → one number; internals only when opened | 4–6 s per part | 40–60 s |
+| **Upgrade** | Part → old value (dim) → new value (accent); old part scan-erased, new one scanned in | 3 s per upgrade | 20–30 s |
+| **Assembly order** | Step number → part name; parts snap home one by one | one bar per part | 20–40 s |
+
+All far from our demo:
+
+- Structures: **a loop screen** that never names a product and cycles five sensors; **a teardown** one layer deeper per shot until the core is a single hot piece; **an upgrade** where two versions share the pad and every number rolls from old to new.
+- Openings: **a part first** (one component locked in close-up; the rest scans out from it); **a flat outline** (a 2D silhouette extrudes into the wireframe, `modelFromPath`); **plan view** (top-down, the pad as a dial, the object arriving as its footprint).
+- Endings: **one value at eye level** (the wireframe dims around the single number that matters); **knolling** (parts fly into a labelled top-down layout); **power-down** (edges cool, HUD panels switch off until only the pad glows).
+
+Swapping `demo/content.json` and rebuilding is a technical check that the engine re-flows, not a way to make a film.
+
+---
+
+How our demo was made (story, shots, score, end card, build, content fields): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/hologram-hud/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/impasto.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/impasto), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Impasto · Palette Knife — Style Prompt
+
+> Thick oil paint laid with a palette knife: big, flat, sharp-edged planes of colour, raked by light so every ridge of paint shows. Clarity first: value structure before texture, hard edges at the focus, calm planes everywhere else.
+> References (grammar only): the opening titles of *The Umbrellas of Cherbourg* (1964) (overhead choreography read as moving colour); palette-knife street paintings (Leonid Afremov and the genre around him) (knife mosaic, vertical wet reflections, warm lights against cool shadow); Sorolla / Sargent (few, decisive strokes and strong light); Edgar Wright's music-locked editing (one action, one sound, one cut). Never copy their images, compositions, melodies or characters, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+A moving oil painting made of knife strokes. Each stroke is a real object: a slanted plane of paint with a ridge where the blade pressed, a lip where it lifted off, broken streaks where the paint ran out, two colours dragged into each other. The world is **repainted from its strokes every frame**, but static paint never moves: only things that move in the story move. Light rakes across a height field, so the paint has body.
+
+The look is clear and graphic (readable like a children's book at thumbnail size) but has the tactile surface of impasto at 100 % crop.
+
+Not a Van Gogh swirl filter (strokes boiling everywhere), not a brush texture over flat vector art, not watercolour (paint is opaque), not a "painterly" photo filter (strokes are designed, not sampled from noise).
+
+## 2. Materials & rendering
+
+- **Value first.** Design each set as a flat, value-planned illustration (3 values minimum), then convert it to strokes. If the reference doesn't read at 480 px wide, no brushwork will save it.
+- **Stroke sizes by importance and depth.** Coarse to fine: large planes in sky and walls, a few px only at edges and faces (per shape: `maxR`, `detail`, `dir`).
+- **Strokes never cross shape groups**, so silhouettes stay crisp. Lost edges are opt-in (put two shapes in the same `group`).
+- **Thin underpainting** (the reference itself, blurred ~1.5 px) under the strokes, so the canvas never peeks through as outlines.
+- **Knife stroke**: longer than wide (≈ 1.7–3.1 × radius long, 0.95–1.45 × radius wide), slanted ends, small angle and value jitter (≈ ±13°, ±6 %). Solid objects that must read as silhouettes (figures, props) get little or no ragged run-out.
+- **Light** rakes over a height field; wet or glossy surfaces get slightly more specular.
+- **Reflections** (wet ground, glass, water) are **explicit stacks of short horizontal knife dabs** under each light source, broken and fading; never a painted rectangle.
+- Render supersampled (2×). **No film grain**: grain plus compression eats the knife edges.
+
+## 3. Colour logic
+
+- Planes of mixed, slightly broken colour; each stroke may drag a second colour (`c2`) into the first. No gradients made by blending pixels: gradients are made by stroke-to-stroke steps.
+- Warm light against cool shadow is the default temperature structure; the brightest, purest chroma is reserved for the story's subject (a prop, a crowd, a light source), not the background.
+- **Colour can be an event.** Every stroke can hold a grey and a colour version; a monochrome world with one coloured exception, or a world re-laid from grey to colour, is native to the medium. The grey version is the luminance of the same strokes, slightly cool, with a small colour residue.
+- Examples of palettes that fit: an after-rain sunset (cobalt → peach → gold sky, ochre facades, full-chroma props); a harvest field (straw yellow, burnt sienna earth, one viridian tractor); a night kitchen (umber shadows, sodium-lamp orange, one cold blue window). Choose from the topic.
+
+## 4. Type & subtitles
+
+- Titles are **laid in with the knife** (a stroke-by-stroke `appear` sweep of about a second) and can be taken off by the world (washed by rain, scraped, painted over). They move with the world.
+- Small text (credits, data, captions) stays crisp DOM text over the painting: knife strokes can't carry small letters.
+- A serif display face (e.g. Cormorant, OFL). Subtitles, if there is a voice: plain serif, ≤ 2 lines, in a calm plane; hold ≥ max(1.8 s, speech + 0.6 s).
+
+## 5. Motion quality
+
+- Static paint is static. Only the things the story moves move (weather, figures, props, ribbons, light). Smooth 24 fps, no stepping: clarity is the brief.
+- Moving figures are procedural strokes rebuilt each frame from **fixed seeds**, so their paint doesn't boil (walk cycles, IK arms, props that open and close).
+- Actions sit on the music grid: a change of direction, a pop, a swell lands on a beat.
+- Anticipation → action → follow-through on every gesture (lift before the strike, dip before the snap, swing after the stop).
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Slow truck + push on a wide | a world observed; patience | a place; a routine; a crowd |
+| Push-in through a silence | inner pressure | a doubt; a decision; giving up |
+| Tilt-up from the ground or a reflection | discovery from below | a small character entering; a first sight |
+| Pull-back from a close-up | reaction; the world answering | consequence; a reveal of who is watching |
+| Rotating crane-out, overhead | pattern emerging from many | choreography; traffic; a gathering |
+| Same wide, repeated | before/after | change of colour, season or time |
+| Locked frame, light moves | time and weather as the actor | a day passing; a storm arriving |
+| Macro slide along the paint surface | the matter itself | a texture; a crafted object; a map |
+| Whip-pan into a new painted plate | energy, a jump | a list; montage; travel |
+
+Framing: keep the camera **inside the painted plate** (`half = W/2/zoom`), or the canvas shows. The subject gets the hard edges and the smallest strokes; everything else stays in big calm planes. Transitions: paint-over sweeps and scrapes, hard cuts on beats; no dissolves (two layers of knife ridges turn to mud).
+
+## 7. Sound palette
+
+- **Foley follows the paint and the world**: palette-knife scrapes on every repaint or paint-over, wet dabs, the materials of the scene (wet stone, nylon, wood, fabric, glass).
+- **Beds** in layers (a hiss, near grains, one distinct detail), filtered when the camera goes under cover.
+- **Acoustic instruments with a hand-made grain**: solo strings, accordion, pizzicato, harp arpeggios, glockenspiel or celesta for pops, piano, guitar, woodwinds; a solo instrument for a lonely world, an ensemble for a shared one.
+- Options: **one action = one sound = one cut** (music-locked edit); pops pitched as a rising arpeggio so a sequence of events climbs; an unresolved phrase that the film resolves later; a hard silence that cuts music and beds to digital zero, containing at most one sound; a J-cut of the next scene's foley into a silence.
+- Mix: music and ambience duck under any voice (~8 dB); −14 LUFS. Music and foley can carry a film without narration.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Colour re-laid by the knife.** Every stroke keeps a grey and a colour version; a reveal wave re-paints them stroke by stroke (`reveal`, `revC`). *Fits content like:* a town waking up; a patient recovering; a brand relaunch; a season turning.
+- **The one coloured thing.** The world drawn with `grey: 1`, one object with `grey: 0`. *Fits content like:* one person in a crowd; the fruit that ripened; a warning light.
+- **Motion paints the picture.** Moving objects drip their colour as knife dabs; seen from above, their paths leave a painted pattern. *Fits content like:* a dance; delivery routes across a city; a football play; migration.
+- **Raking light.** At the peak, drop the light to a grazing angle so every ridge catches it, then let it settle. *Fits content like:* a sunrise; a moment of recognition; unveiling a sculpture.
+- **Paint-over transition.** The next shot's strokes are laid over the previous one in a sweep (`appear`), with a scrape on the soundtrack. *Fits content like:* a renovation; memory replacing the present; a timeline of versions.
+- **Sound made visible.** A note or a voice becomes a paint ribbon that carries colour to what it touches. *Fits content like:* a song reaching listeners; a radio broadcast; a rumour spreading.
+
+## 9. Pitfalls of the medium
+
+- Confined strokes shrink near edges and leave canvas-coloured outlines → add the underpainting texture.
+- Draw order in the reference matters: painting the ground after the buildings covers their feet.
+- Plain rectangles read as posts or blocks → give silhouettes taper, a lit edge, and one or two defining dabs (shoulder, hair, handle).
+- Proportions carry the object's identity at this stroke size: a prop drawn too wide reads as a different thing. Check silhouettes at thumbnail size.
+- Film grain or heavy compression destroys the knife edges → no grain, supersample, high bitrate.
+- Strokes that are re-seeded every frame boil → fixed seeds per stroke.
+- Engine-level WebGL traps (reserved words, VAO binding) are listed in DEMO.md build notes.
+
+## 10. Engine
+
+Files: `demo/engine/impasto.js` (renderer), `demo/engine/plate.js` (reference → strokes).
+
+Main calls: `new Impasto(canvas,{W,H,ss})`, `E.begin()` / `E.finish(post)` (raking light + grade), `E.batch()` → `E.draw(batch,o)` for static plates (`cam`, `grey`, `reveal`, `appear`), `E.drawNow()` for moving strokes, `E.under()` for the underpainting, `new Strokes().push({...})` (`KNIFE`, `BRUSH`, `DAB`, `LINE`), `new Ref()` + `paintRef()` (reference illustration → coarse-to-fine strokes confined to shape groups), `strokePath()`. Full parameter table: DEMO.md "Engine reference".
+
+Minimal example: a warm-orange four-point sparkle with a short cursor tail, in knife paint.
+```js
+import { Impasto, Strokes, KNIFE, DAB, hex } from './engine/impasto.js';
+const E = new Impasto(canvas), s = new Strokes(), c = hex('#D97757');
+for (let k = 0; k < 4; k++) {                                   // four tapered knife points
+  const a = k * Math.PI / 2;
+  s.push({ x: 960 + Math.cos(a) * 60, y: 540 + Math.sin(a) * 60, ang: a, len: 120, wid: 46, c, c2: hex('#f0a07a'), type: KNIFE, taper: .95, seed: k });
+}
+s.push({ x: 960, y: 540, len: 40, wid: 40, c: hex('#f6c0a0'), type: DAB, seed: 9 });   // bright core
+s.push({ x: 1060, y: 610, ang: .6, len: 90, wid: 16, c, type: KNIFE, alpha: .8, seed: 10 });   // cursor tail
+E.begin(); E.drawNow(s.data(), { grey: 0, run: 0 }); E.finish();
+```
+"Only one colour" (monochrome with one exception): draw the world with `grey: 1, reveal: 1e6`, draw the exception with `grey: 0`.
+
+## 11. Variation space
+
+You decide the structure, the cast (or none), the sets, the opening, the ending, the camera path, the pacing, whether there is a voice, and where colour lives. All far from our demo:
+
+- Structures: **one object, many hands** (a bowl or a boat passes through the people who make and use it, one painted plate per hand); **a still life comes alive** (a locked table whose objects move in turn, the light crossing it hour by hour); **a portrait in layers** (a face painted coarse to fine as a voice tells one life, each layer a decade).
+- Openings: **the bare canvas** (underpainting only; the first knife stroke is the first event); **macro on a ridge of paint** that pulls back to become a mountain or a roof; **mid-action** (a figure already running across a finished plate).
+- Endings: **scraped back** (the knife takes the painting off to the underpainting, leaving one mark); **the light goes out** (raking light sinks until only the ridges glow, then black); **the frame in a room** (the film was a painting hanging somewhere, seen by someone).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/impasto/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/ink-wash.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/ink-wash), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Chinese Ink Wash — Style Prompt
+
+> Xieyi ink painting on rice paper, animated: blank paper is space, one brushstroke is a mountain, a wave, a gesture or a cut.
+> References (grammar only): Shanghai Animation Film Studio's *Feelings of Mountains and Water* (1988) (blank-paper space, ink bloom, guqin pacing, figures in a few strokes); the bamboo-forest fight of *Crouching Tiger, Hidden Dragon* (weightlessness, stillness before action). Copy none of their characters, compositions or music.
+
+## 1. Essence, and what it is not
+
+An ink painting (水墨) painted and unrolled before you: black ink on warm rice paper in five tones, plus **one** red, the vermilion seal. No Western outlines: forms are made by **loaded brushstrokes** whose dark edge *is* the contour (没骨, "boneless" painting), by **wet washes** that bleed into the paper, and by **dry, fast strokes** where the paper shows through the bristle tracks (飞白, "flying white").
+
+Most of the frame is **empty paper** (留白): water, sky, mist, silence. Things are *painted into existence*, not cut to.
+
+Not watercolour (no colour washes), not vector art with a brush texture (no flat fills or closed outlines), not a calligraphy title sequence.
+
+## 2. Materials & rendering
+
+- **Paper** is procedural, in the compositor, never a texture file: warm rice paper (around `#F2ECDE`), cloud mottling, long fibres, pulp flecks, grain that fades when zoomed out (or it shimmers), a light vignette; anchored to the world.
+- **Ink** is stroke opacity multiplied onto paper (never an overlay), in five tones (墨分五色):
+
+| Tone | Opacity | Use |
+|---|---|---|
+| 焦 jiao (burnt) | ~.96 | calligraphy, the sharpest lines, moss dots |
+| 浓 nong (thick) | ~.82 | contours, dark edge of loaded strokes |
+| 重 zhong (heavy) | ~.60 | secondary lines, folds |
+| 淡 dan (light) | ~.34 | mountain bodies, robe and body washes |
+| 清 qing (clear) | ~.16 | far mountains, faces, mist |
+
+- **Brushstroke model**: centreline × pressure profile × width noise, plus 4–60 **bristles** whose ink load drops along the stroke and breaks on long-scale noise. `dry` runs from a solid wet stroke to flying white (dry strokes are bristle tracks only).
+- **Loaded stroke**: bristles darker on one side, so the stroke carries its own contour: this makes bodies, rocks and waves read as ink, not vectors.
+- **Two layers**: the wet one bleeds in the compositor (noisy blur, **edge pigment accumulation**, granulation); the dry one only gets fibre jitter and paper tooth.
+- **Masses**: soft polygons, jittered edges, a gradient; never flat fills.
+- **Landscape**: mountains dissolve downward into mist bands, with 披麻皴 texture and 苔点 moss dots on near ranges only; rocks are outline → axe-cut texture → shadow wash → dots.
+- **Water is blank paper**, moved by faint dry streaks and open ink rings. Solid water: Song-dynasty **parallel wave lines** (dense near the edge) or a pale body with a few huge loaded strokes along its face.
+- **Figures are xieyi**: one pale body mass plus two loaded strokes, burnt-ink lines for limbs; features, if ever shown, in 3–5 strokes.
+- **Calligraphy**: an OFL brush font is only a **skeleton**: trace centrelines in stroke order, pressure from glyph thickness, hidden-tip entry (藏锋), tapered exits.
+
+## 3. Colour logic
+
+- Ink only, from cool grey at low density to warm black at full density. No other hue in the world.
+- **One vermilion** (around `#B02E22`), for the seal and at most one tiny accent in the story (an object the protagonist carries). The accent finds the protagonist in wide shots and can rhyme with the seal. Never a red wash, never red type.
+- Values carry depth: far = pale and soft, near = dark and textured. If a frame gets busy, remove ink rather than add tone.
+
+## 4. Type & subtitles
+
+- Subtitles are **inscriptions (题跋)**: a classical italic serif (Cormorant Garamond italic), ink-coloured, no box, ≤ 2 lines, placed in each shot's empty paper. A small vermilion square marks the start of each line. They appear wet and dry in a fraction of a second. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Titles are written on the painting itself, in vertical columns in its empty space, with a vermilion 白文 seal drawn by code (lines knocked out of a slightly irregular red square, with ink-paste speckles). They move with the world.
+- Screen-space overlays reset the camera transform.
+
+## 5. Motion quality
+
+- **Figures step at 12 fps** (on twos); their position, the camera, blooms, ripples and splatter move on ones at 24 fps.
+- **Stable strokes on twos**: seed every stroke by its index and compute bristle breaks along *normalized* arc length × a fixed reference length, so flying-white gaps don't crawl every drawing. Allow only a small "boil" on the width noise.
+- **Painted into existence**: strokes appear in drawing order.
+- **Stillness before action** (when a decisive stroke is the event): hold, with at most a slow push-in, then let the stroke cross the frame in a few frames. Consequences start only after the stroke has finished.
+- Nothing is tweened like a vector shape: things are painted, bloom or dissolve into mist.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Locked frame on the paper | The page is the stage; things are painted in | a thing forming; a line being read; a still decision |
+| Right-to-left pan (handscroll) | Time and distance as one painting | a journey; a history; a process |
+| Vertical tilt (hanging scroll) | Height, stages stacked | seasons; a climb; generations |
+| Lateral tracking, lead room, slow far parallax | Motion through a world | travel; a chase; a commute |
+| High wide, a tiny figure in blank paper | Smallness, solitude | loneliness; nature's scale; one life among many |
+| Low angle, dark mass towering, slow push-in with shake | Weight, threat | an obstacle; a storm; pressure |
+| Hard cut to an extreme close-up | A break in the flow (the style's only hard cuts) | a decision; a shock; a memory |
+| Push into an ink bloom or mist | Passing between states | memory; dream; a season turning |
+| Pull back until a mark joins the whole | The part was inside something larger | a summing-up; irony of scale |
+| Return to an earlier framing | The rhyme shows what changed | aftermath; growth; before/after |
+
+Framing: 60–80 % empty paper; dark foreground may pass along the frame bottom. Transitions are ink blooms, pans along the scroll or mist; never a generic dissolve or a wipe.
+
+## 7. Sound palette
+
+- **Guqin-led, not piano and strings**: guqin (`core/audio/pluck.py` `guqin`: open and stopped strings, slides, vibrato, glassy harmonics, sweeps), a low breathy xiao, big drum and timpani for mass, frame drum for steps, a small gong for a seal. Chinese pentatonic modes.
+- **Cue to the picture, never loop**: unmetred plucks suit emptiness, a pulse suits movement, rolls suit mass; painted strokes can each land on a pluck.
+- **Silence is literal**: zero the whole bus (music, ambience, reverb tails) with short fades. At most one sound inside it (a drip, one ring). Place it where the story holds its breath.
+- **Foley follows the material**: ink drop (short "tink" + soft wet thud), brush air (band-passed noise with bristle grains, never a metal whoosh), steps on water (small splash), splatter (wet ticks), seal (wooden thump + paper crackle).
+- **Voice**: calm, few lines, like colophons that don't explain the picture. Duck music ~8 dB and ambience too; verify each line with whisper on the final mix.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **One stroke is everything.** *Fits content like:* a product born from one line; a city growing from a single street; a day beginning with one bird.
+- **Emptiness is matter.** Removing ink reveals paper white. *Fits content like:* a door opening in a wall; a crowd parting; an absence in a family portrait.
+- **Brush = gesture = action.** Stroke order becomes choreography. *Fits content like:* a dancer's phrase that spells a word; a signature; a chef's knife work.
+- **Flying white (飞白).** One fast dry stroke across the frame, strongest out of a silence. *Fits content like:* a sprint finish; a decision; a comet.
+- **Ink bloom transition.** The next scene grows inside a spreading drop with a dark tide-line (noisy radial mask; world-anchored for elements, in the compositor for scenes). *Fits content like:* memories; seasons; one era giving way to the next.
+- **The handscroll.** One long painting panned right to left, seen whole at last. *Fits content like:* a history; a supply chain from field to hand; a day in a street.
+- **Splitting a mass.** Halves clipped either side of the cut; one rises and fades, one slumps; splatter stays. *Fits content like:* breaking a record; a barrier falling; an idea splitting in two.
+
+## 9. Pitfalls of the medium
+
+- Dry brush looks like dashed lines → breaks from long-scale noise and an ink load that drops along the stroke.
+- Parallel semi-transparent strokes make bodies look like organ pipes → one base mass + two loaded strokes.
+- Big side-brush strokes look like a hairbrush → a gradient mass + a few low-dryness strokes. Gradients in vertical bands leave seams → a cached per-pixel layer.
+- A stroke body split between wet and dry layers loses density → full body in the dry layer plus a wet halo.
+- Clipping calligraphy with the font outline notches the junctions → font as skeleton only.
+- Uniform hatching inside a wave turns it into a wire mesh → loaded strokes along the face.
+
+## 10. Engine
+
+In `demo/`: `ink.js` (brush engine: strokes, bristles, loaded strokes, masses, blots), `comp.js` (WebGL rice-paper compositor: bleed, edge pigment, paper, bloom), `land.js` (mountains, cun, cliffs, pine, reeds, ripples), `wave.js` (gestural wave), `glyph.js` (skeleton-traced calligraphy), `seal.js` (vermilion seal), `hero.js` (xieyi figure rig), `subs.js` (inscription subtitles), `music/score.py` (guqin writing with `core/audio/pluck.py`); `?test=sheet|pose|frame` pages draw model sheets from the real engine.
+
+## 11. Variation space
+
+You decide the structure, the characters (or none), the landscape, the opening, the ending, the camera path, the pacing and where the red goes. All far from our demo:
+
+- Structures: **one character, stroke by stroke** (no figure; each stroke of one large character opens into a vignette of the topic); **a hanging scroll** (a tilt from sky to ground through four stages, tone deepening); **two brushes in dialogue** (alternating strokes answer each other until they meet in one bloom).
+- Openings: **in motion** (a figure already painted and moving; the world washes in around it); **ink first** (a fully inked frame; ink is lifted where light or a road appears); **the bristles** (a wet stroke fills the frame; only when it lifts do we see what it drew).
+- Endings: **one small mark** (close on a footprint or a leaf while the ink around it dries; no pull-back); **evaporation** (the painting un-paints in reverse stroke order); **mid-gesture** (the brush stops before the last stroke lands).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/ink-wash/DEMO.md). Read it after your treatment exists.

package/src/skills-lib/wizz-video-styles/references/film-styles/iso-infographic.md

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/iso-infographic), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Isometric Infographic — Style Prompt
+
+> A system diagram comes alive: an isometric diorama of flat three-tone blocks, thin ink labels and Isotype numbers, where things open up to show their insides and the numbers are drawn, not stated.
+> References (grammar only): *Monument Valley* (true-isometric architecture, flat colour blocks, three fixed tones per face, a camera that pans and zooms but never breaks the projection); *SimCity 2000*-style cutaway dioramas (a floating board with soil strata, the whole system visible at once); Kurzgesagt (a question, a steady push forward, one clear visual metaphor per step, a change of scale when a number is too big to feel); Isotype, Otto Neurath / Gerd Arntz (repeated identical icons stand for quantity); *Powers of Ten* (a continuous dive through nested scales). Use none of their characters, buildings, icons, palettes or music.
+
+## 1. Essence, and what it is not
+
+- **Flat, true isometric.** No perspective, no outlines on solids; shapes are separated only by the three tones of each face. The projection never rotates or tilts.
+- **Infographic furniture is part of the picture**: leader lines, label pins, dashed cut lines, hatched section faces, tracking rings, a legend, a route line all live in the world.
+- **Numbers are built from icons** (Isotype), and they add up.
+- **A diorama**: the system sits on a floating board or plinth with a visible cross-section at its edges, on a pale ground.
+
+Not low-poly 3D (no perspective, no lighting beyond three face tones), not a flat 2D explainer (everything has isometric depth), not a blueprint (colour blocks, not line drawings on blue).
+
+## 2. Materials & rendering
+
+- **Projection**: axes at 30°. `sx = (x − y)·cos30°·k`, `sy = ((x + y)·½ − z)·k`; x runs down-right, y down-left, z up; painter depth = x + y + z. Everything is queued and depth-sorted, then flushed.
+- **Three tones per face** chosen from its normal: top light, left (+y) mid, right (+x) dark. Derive tones from one base colour: mix toward warm white ~20 % for the top and toward a cool dark (e.g. `#231A2C`) ~22 % for the dark side, so shadows are slightly cool.
+- **Ink lines** (2 px) only for infographic elements: leaders, pins, cut lines, rings, routes, labels.
+- **The board**: floats on a pale background with a faint isometric dot lattice and a soft blurred shadow; its front faces show strata (soil, water column, floors, pipes) where the section meets the edge.
+- **Composites** (a terraced hill with shrubs, a crane over a ship) are drawn as one ordered item or given a depth bias; generic painter sorting fails on them.
+- **People**: minimal billboards (round head, tapered two-tone body, a thick arm stroke, a hat or hair shape for identity, no faces), stepping at 12 fps.
+- **Close-ups** of hands or objects: flat faceted shapes in three tones, same logic as the blocks.
+- **Level of detail by zoom**: skip small world detail at high zoom, fade tall objects in by zoom so a pull-out never sweeps a giant shape through the frame.
+
+## 3. Colour logic
+
+- **A pale neutral ground** (cream, paper grey or pale blue) and **5–7 flat hues**, each with its three tones; one ink colour.
+- **Colour codes meaning**, the way a legend does: one hue per material or role (water is always the same blue, the subject always its hue). Never reuse a hue for two meanings.
+- **The subject's hue is reserved**: when the story needs "this one", everything else desaturates toward warm grey and only the subject keeps its colour (focus + context).
+- Stations that must be found in a wide shot get a pale plate with a dashed ink outline plus one accent hue.
+- Examples: a recycling chain — bottle green, kraft brown, can silver-blue, compost umber, mustard on cream; a hospital — teal, coral, lavender, steel grey on pale grey; a data centre — electric blue, amber, graphite, mint on off-white.
+
+## 4. Type & subtitles
+
+- One geometric sans (e.g. Jost): titles 600 all caps with ~0.12 em tracking, numbers 400 large (~44 px), units at half size. All text has a ~7 px halo in the ground colour so it reads over any block.
+- **Label pins**: dot (ink ring, pale fill) → vertical leader → horizontal rule → text. Pins point up or down, left or right, chosen per station so labels never cover the subject.
+- **Titles** can be isometric type on a world plane, extruded as blocks.
+- **The subtitle is a map label**: a pale card with a small radius and an ink border, a tiny iso cube as legend chip, sans ~42 px, bottom-centre; border draws first, text wipes in. Keep the bottom ~170 px clear for it. Hold ≥ max(1.8 s, speech + 0.6 s); lines never overlap titles or other lines.
+- **An end frame can be the legend**: title, totals, the Isotype key, credits, "NOT TO SCALE".
+
+## 5. Motion quality
+
+- **Nothing moves without a line leading it**: a route line is drawn slightly ahead, a leader grows before an inset opens, a cut line draws before a skin slides away.
+- **Cutaway**: cut line (~0.3 s) → the near skin slides out along its normal and fades (~0.35 s, ease-out) → hatched section rims fade in over the last part.
+- **Isotype fill**: icons pop with a back-ease (overshoot), one per subdivision of the beat; count-up numbers run over the same span.
+- **Accumulation = acceleration**: arrivals on quarter notes, then eighths, then waves; the eye feels the system taking over. Solids arrive by motion, never by alpha (semi-transparent blocks look like ghosts).
+- **Objects perform**: squash on landing (~18 %) and small bounces; colour changes that show a process (raw → cooked, empty → full).
+- **Vehicles** follow polylines with ease-in-out and face their tangent.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. The camera is a world centre plus a **log-interpolated zoom** k (px per unit); the projection never changes. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Follow along a route | process; cause → effect | a supply chain; a journey; a signal |
+| Hold wide + circular inset | the system and the individual together | one worker in a factory; one cell in an organ |
+| Push through nested cutaways | a fall into scale; finding one thing among millions | a needle in a haystack; inside a machine |
+| Fast log pull-out | release; the big picture after a detail | scale reveal; a statistic made physical |
+| Locked frame while things accumulate | a system filling up; overload | a queue; traffic; data growing |
+| Lateral follow over emptiness | a breath; distance | an ocean; a wait; a quiet phase |
+| Top-to-bottom tilt through strata | layers; depth; history | geology; a city's underground; a software stack |
+| Switch boards (a second diorama) | before/after; here vs there | two cities; two eras; two designs |
+
+Framing: the subject ≥ 1/3 of frame height at key moments; labels never cover it; the subtitle zone stays clear. One continuous take is one option; a cut to a new board or an inset is another.
+
+## 7. Sound palette
+
+- **Music**: acoustic and light: kalimba, marimba, nylon guitar, pizzicato, woodblock and hand percussion (shaker, bongo, cajon), upright or synth bass, glockenspiel, toy piano, or a clean electronic pulse for technical systems. A short motif can mark the subject each time it appears.
+- **Techniques (options)**: one sound per icon as numbers fill; instruments dropping out and a low-pass closing as the camera dives; J-cuts (the next station's sound 0.5 s before it appears); one note per station during a final pull-back.
+- **Ambience beds per station**, crossfaded (wind and birds, harbour, sea, city hum, machine room, crowd murmur).
+- **Foley by material**: fibre snap, fleshy thud, grains pouring, granular rattles, inharmonic steel partials for containers, paper tear, ceramic plink, liquid pour with rising pitch, servo whine, keyboard clicks.
+- **Silence**: digital zero or one faint sound; the first sound after it should be one of the most important in the film.
+- **Mix**: music ducked ~8 dB under voice, ambience ~7 dB; keep high-band beds (2.5–7 kHz) very low under speech or whisper mishears words. Final −14 LUFS.
+- **Voice**: clear, friendly explainer; short lines.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Cutaway.** Cut line, skin slides away, hatched rims remain. *Fits content like:* a heart's chambers; a server rack; a beehive.
+- **Isotype number.** Identical icons in a new arrangement each time (a calendar, a bar, a silhouette formed by the icons themselves). *Fits content like:* votes in an election; litres of water per product; users of an app.
+- **Focus + context.** Everything greys except the subject. *Fits content like:* one patient in a hospital; one packet in a network; one tree in a forest.
+- **Frame within the frame.** A leader grows into a circular inset with a close-up. *Fits content like:* a chip on a circuit board; a worker's hands; a crack in a bridge.
+- **Scale reveal.** Pull back until every label is on screen and the last frame is a finished infographic. *Fits content like:* how a city is powered; a school's day; a festival site.
+- **Tracked subject.** One object followed with a "you are here" ring. *Fits content like:* a letter through the post; a drop through a water plant; a vaccine dose.
+- **Strata cross-section.** The board's edge becomes the story (layers added or removed). *Fits content like:* a mine; an archaeological dig; a building's floors.
+
+## 9. Pitfalls of the medium
+
+- Newell normals depend on vertex order: faces get culled as back faces → give every face an outward hint and flip the normal to match before culling.
+- Painter sorting breaks on composites → draw them as one ordered item; add depth bias for overhangs.
+- Semi-transparent moving solids look like ghosts → motion only, no alpha.
+- A hull or wheel touching the wrong surface reads as an accident → leave visible clearance.
+- World geometry behind a close-up becomes giant discs → skip detail above a zoom threshold, paint a flat backdrop behind hero layers.
+- A pull-out through a tall object gives one ugly frame → fade tall objects in by zoom.
+- Hidden jumps (a time or place change during a dive) must be drawn in screen space anchored on the tracked subject, so the frame doesn't reveal the jump.
+- An object drawn with the wrong silhouette reads as something else (a white box with a red roof is a house) → give machines their tell-tale parts.
+
+## 10. Engine
+
+`demo/engine.js` is dependency-free Canvas 2D: `Iso` (projection, camera, depth-sorted queue: `box`, `prism`, `cyl`, `cone`, `roof`, `sphere`, `flat`, `line3`, `bill`, `text3`, `push/pop` local frames, `desat` + `keep` one-colour hook), `tri()` three-tone generator, `pin`, `inset`, `cutLine`, `hatch`, `ring`, `ICON.*` + `iconGrid`, `person`, and `shape()` which turns any 2D outline into a shaded isometric solid. API table and a minimal example (a shape the demo never uses): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/iso-infographic/DEMO.md) "Engine reference".
+
+## 11. Variation space
+
+You decide the system, the board (or several), whether there is a tracked subject, the numbers, the camera path, the opening and the ending. All far from our demo:
+
+- Structures: **one building, floor by floor** (a tilt down through a cutaway tower, each floor a step); **two boards compared** (the same system in two places or eras, alternating, then side by side); **a cycle** (a loop route that returns to its start with one number changed each lap).
+- Openings: **the finished infographic**, which then comes apart into its moving parts; **one icon** that multiplies until it becomes the landscape; **a question written as an isometric title** on an empty board.
+- Endings: **an unanswered station** (the route stops at an empty plate with a question mark); **the legend alone**, the board faded out; **a close-up of a single icon**, the whole number behind it out of focus.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/iso-infographic/DEMO.md). Read it after your treatment exists.