wizz-method 2.21.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/kino-montage), 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). -->
+
+# Constructivist Montage — Style Prompt
+
+> Real archive footage, photographs and documents, printed as one ink-and-paper poster with a single red, and cut on a machine beat. Diagonal bands carry the type; windows cut along the axis hold the film; people are scissored out of photographs and stacked into structures; numbers count, documents are marked in red, and two images collide to make a third idea.
+> References (grammar only): Soviet montage cinema of the 1920s (city symphonies with split screens, counting and machine rhythm; "intellectual" montage where A + B yields a concept), constructivist posters and photomontage (red / black / paper, steep diagonals, photo cut-outs with geometric blocks, type as structure). Never copy their shots, layouts, slogans or lettering, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+1. **Evidence, recut.** Every picture is real material (archive film, photographs, documents) about the actual subject. The film's argument comes from how they are cut and set, not from illustration.
+2. **One printed sheet.** All material is converted to the same two-tone print (warm ink → paper); red is the only colour and is laid on top as a printed element.
+3. **The beat is the editor.** Cuts, slams, wipes and counts sit on a 120 BPM grid (or the score's tempo); sections accelerate by halving shot length.
+4. **Type is structure.** Words and numbers are beams: on a −18° band, as solid blocks, stacked vertically. Never floating captions.
+5. **The collective over the individual.** Crowds, hands, machines and many small figures; a single face is never the protagonist.
+
+Not **Data Storytelling** or a keynote: no centred headline with bullets, no slide transitions, no header bars; data appears as marked documents, counters and measured bars inside the composition. Not **Swiss Motion Graphics**: asymmetric, diagonal, no grid of white space, no thin rules as decoration. Not **Art Deco** or **60s Spy Titles**: no gold, no fine lines, no jazz. Not a museum slideshow: archive material is never shown "as is" in a neutral frame; it is cut, windowed, stacked and counted.
+
+## 2. Materials & rendering
+
+- **Four kinds of element only**: **bands** (red or ink, along the axis), **windows** (rectangles or parallelograms holding film or photographs), **cut-outs** (people scissored from photographs with a paper-white border), **type blocks**. Plus one paper-fibre texture over everything.
+- **The print grade** (one function for film, photos and documents): luminance → percentile stretch (film: one pair of percentiles per clip, so it never pumps; 0.7 / 99.5; photos 0.8 / 99.4) → S-curve `x + s·(x−0.5)·(1−|2x−1|)·2`, s = 0.32 (documents 0.18, they keep their paper) → map to ink→paper: `rgb = INK + (PAPER − INK)·g`. Archive film keeps a ±2.5 % per-frame flicker inside its window (`hash(frame)`), photographs and documents do not.
+- **Cut-outs**: a person-segmentation model (u2net_human_seg via onnxruntime) → threshold 0.5 → median filter → largest component → 7 px paper border dilated outside the mask. The border is the medium's own look and hides the model's edge errors. Group photos rarely segment cleanly: use them whole in windows.
+- **Documents**: scans at full resolution, never retyped. They are marked: a red highlighter bar in `multiply` over the exact sentence, a hand-drawn red ellipse round a heading, a red circle on a map. Drawings on a document (a chart, a map) may be lifted off the page and reused, keyed from their paper (`alpha = (205 − luminance) / 90`).
+- **Resolution ceiling**: archive film ≤ 2.5× its source pixels on screen, modern footage ≤ 1.5×, photos ≥ 1 source px per screen px where possible. Prepare clips with `hqdn3d → lanczos → light unsharp` before grading; add grain only in the mux. A 720-line film transfer can fill a 1,700 px window, not a full 1080p frame: frame it (a window, a split strip, an iris) instead of stretching it.
+- **Paper fibre**: a fixed seeded noise canvas multiplied over the frame at α 0.5; film grain 4 added by `mux.sh`.
+
+## 3. Colour logic
+
+| Role | Value | Use |
+|---|---|---|
+| Red | `#D52B1E` | bands, wedges, blocks, the key number, marker bars, circles and leaders, the one winner in a comparison |
+| Ink | `#141210` | type, beams under each floor, window borders, dark grounds |
+| Paper | `#EDE4D0` | ground, reversed type, cut-out borders |
+
+- Everything photographic is ink-on-paper; nothing else has colour. Red is never laid on red: a red block on a red ground becomes ink.
+- Alternate grounds to make cuts land: paper scene → ink scene → paper. In an acceleration the background itself alternates red / ink per cut.
+
+## 4. Type & subtitles
+
+| Use | Face | Size (1080p) |
+|---|---|---|
+| Chinese display, slogans | Noto Sans SC 900 (subset) | 110–210 px; stacked vertically 170 px per character |
+| Numbers, English display | Oswald 600–700 | numbers 230–440 px; English lines 30–62 px, letter-spacing 2–10 px, capitals |
+| Source and footage tags | Space Mono Bold (CJK falls back to Noto) | 17–18 px on an ink or red tab, padding 6 |
+| Subtitles | Noto Sans SC 700 40 px over Oswald 500 28 px | bottom left, ink bar at 90 %, a 10 px red tick |
+
+- **Bilingual pairs**: Chinese block, then one English line in Oswald directly under it (or on the neighbouring band). Each language one line, measured.
+- **Placement**: along the −18° axis on a band, or as an ink / red block; never centred on the frame, never a header. Numbers can be bigger than the words that explain them.
+- **Tags**: every archive window carries its footage tag (`FILM · <TITLE> · <PLACE> <YEAR>`, `PHOTO · <AUTHOR> <YEAR>`), every fact a source tag (`来源 · <PUBLISHER> <YEAR>`). If the footage is not of the subject itself, the tag says what it really is.
+- **Subtitles** stay bottom-left in a 960–1056 px strip; key type keeps above y 930 while narration runs. Subtitles hold ≥ max(1.8 s, speech + 0.6 s). On-screen text follows `readcheck.mjs` (CJK ÷ 4.5 + other ÷ 15 + 1.5 s, fully in frame); a comparison holds every item ≥ 2.5 s before its verdict.
+
+## 5. Edit grammar
+
+- **Grid**: one tempo for picture and score (120 BPM: beat 0.5 s, bar 2 s). Every cut, slam, wipe and count lands on a beat, half-beat or sixteenth. The page exports these times as `window.EV`; the mix reads the same list.
+- **Shot length**: 0.5–2 s for footage; one idea per shot. A section may accelerate by halving: 0.5 → 0.25 → 0.125 s (never shorter than 3 frames). Holds are reserved for reading: a text block, a freeze, a comparison.
+- **Cut rule**: adjacent shots conflict in at least one of direction (left slam / right slam), value (paper / ink ground), or geometry (diagonal band / upright window). Never two paper documents in a row.
+- **Nothing static for more than a second**: inside a hold something moves (film in its window, a counter, a slow push, a frame-within-the-frame). Planned exceptions only: the comparison hold, one silence beat, the end card.
+- **Transitions inside the medium** (pick per cut, don't fade):
+  - *red wipe*: a 260 px red band at 72° (perpendicular to the axis) sweeps the frame in 0.25 s, the next scene revealed behind it; it lands on the downbeat;
+  - *iris*: a red marker circle drawn on a map or photo becomes an aperture and opens onto footage;
+  - *slam*: the next element arrives from outside along the axis in 0.08–0.2 s, ease-out, hard stop, frame shake (amplitude 3–18 px, `exp(−14·Δt)`);
+  - *flash cut*: one frame of 50–80 % paper over a window at a cut or freeze;
+  - *hard cut on the beat* between grounds of opposite value;
+  - *jump-in*: inside a freeze, a cut to a 1.2× crop of the same frame, the annotation scaling with it.
+- **Two silences**: one where the orchestra stops and only an original recording remains, and one true half-bar of nothing (ink frame, one red dot) before the heaviest hit.
+
+## 6. Formats (each is a function in `demo/index.html`)
+
+| Format | How it looks | How it is built |
+|---|---|---|
+| **Title package** | a red band slams along the axis; a window cut to the band's edge runs footage; digits stamp one per eighth, the CJK unit in red | `S1`: window clipped to the band's top edge (`onBar`), digits measured and slammed individually, `reg()` registers the group for readcheck |
+| **Lower third** | a red bar from the left edge with Chinese, an ink tab with the English | 92 px bar at y ≈ 760–850, slams in 0.14 s, slides off with the next transition |
+| **Map + iris** | a document map pushes in, a red circle is drawn round the place, the circle opens onto the site | `mapXf()` (scale / focus / angle over time), `mapToScreen()` keeps the circle on the map point; aperture = `arc` clip whose radius grows to the frame |
+| **Vertical title** | CJK characters stacked top to bottom beside a tall window, English rotated 90° | per-character slams 1/16 apart |
+| **Date on a girder** | the date in paper on a red band crossing the footage | text placed on the band's centre line (point + normal offset), rotated by the axis |
+| **Grid** | 3 × 3 windows light one per sixteenth in a spiral, the centre counts 1…9 and lights last in red | cells `back()`-scale in, each a different clip at 1.4–1.8× speed, ping-pong |
+| **Split strips** | the frame rotated to the axis, three strips of two panels each; one panel changes per beat; strips drift in opposite directions | panels ≤ 1,160 px wide so the film stays ≤ 2.5×; red seam on the middle strip |
+| **Freeze + annotation** | flash, freeze, push; a red ellipse drawn on the object, a leader to a red block with the number; a jump-in; the film keeps running in a small red-framed inset | the circle is computed from the zoom focus so it follows the jump; inset = same clip, live |
+| **Document close-up** | a tilted page slams in, a red marker bar crosses the exact sentence, a red block repeats the number huge | marker in `multiply` over the scan's own line coordinates; a tall slot beside it runs footage fast to show speed |
+| **Process staircase** | three windows rising along a diagonal, red triangles between them, a counter climbing to the claim | each window 0.75 s apart; the counter is graphic, only its end value is a fact |
+| **The question** | a document heading on an ink ground, circled in red; a huge red "?" | heading cropped tight so only the words that matter show |
+| **Acceleration + count** | full-frame windows tilted ±4–6°, ground alternating red / ink, a four-digit counter jumping per cut | cut list with shrinking durations; the original sound plays alone |
+| **Multiple exposure** | top-down footage, a second clip in `screen` at 45 %, cut-outs in `multiply`, the answer in a block | exposure window ≤ 1,700 px on a red ground |
+| **Chart from the document** | the page turns 90°, its drawings lift off and stand on one ground line to scale, red dimension lines, numbers, names; held; then the verdict block | outlines keyed from the scan, scaled so tip-to-ground = value × px per unit; the winner tinted red (`source-in`) |
+| **Photomontage tower** (signature) | floors of footage strips slam in from alternate sides every sixteenth, an ink beam under each, a cut-out worker lands on every other; the camera climbs; a crown and a figure on top | `FLOORS` list, camera `y` follows the eased count of built floors; the floor counter runs to the dated anchor, **rests there while its caption is up**, then runs on to the end value |
+| **Silence beat** | ink frame, one red rivet | half a bar; the score and foley are gated to zero |
+| **Result composition** | huge numbers left, a tall slanted window with the finished subject (camera tilts up it), a tilted photo, a red wedge | numbers slam, the last line restamps the key number on red |
+
+## 7. Sound palette
+
+- **Score**: an original machine ostinato (eighths, minor, e.g. D–D–F–D–A–D–E–F) in spiccato cellos + staccato bassoon, staccato tuba / trombone on the beat, snare sixteenth taps, xylophone for counts (one rising note per lit cell or built floor), horn / trumpet stabs and a short brass motif, timpani rolls into section changes, gran cassa + gong on the heaviest hit. Sampled CC0 libraries (VSCO 2 CE, VCSL). No piano-and-strings bed.
+- **Original sound alternates with music**: in one section the orchestra stops and a real recording (a rivet gun, a machine, a crowd) carries the cut alone, each burst trimmed to its shot. Bring it in a beat early (J-cut).
+- **Foley for every printed action**: slam = low thump + steel clank; stamp = thump + clack; wipe and iris = whoosh; marker = filtered noise scrub; paper = band-passed rustle; floors and cells = pitched clanks.
+- **Layers**: ambience (a real site / street recording, about 20 dB under the voice, out for the silence), foley ducked 35 % under speech, music ducked 70 % under speech (≈ 10 dB under the voice), narration compressed and levelled by RMS. Master to −14 LUFS with the peaks limited to −1.8 dBFS before `mux.sh`, and a 25 ms fade at sample 0 (an AAC encode overshoots on a hit at the first sample).
+- **Narration** (when the film has one): short declarative lines, newsreel cadence, never more than one sentence over a format; numbers spelled out for TTS, digits in subtitles.
+
+## 8. Native moves
+
+1. **The document is marked, not quoted**: the actual sentence on the scan gets a red bar; the number then becomes a red block.
+2. **The document becomes the chart**: drawings printed on a page are lifted off, turned and stood on a ground line to scale.
+3. **A + B → idea**: two kinds of image alternate faster and faster (the machine / the hands; a heading / the people it leaves out) until a card or a number states what the collision meant.
+4. **Count the many**: a counter driven by the cuts, a grid that fills cell by cell, a tower floor by floor.
+5. **People build the structure**: cut-out figures stacked into the thing they made (photomontage).
+6. **Silence, then the heaviest hit** into the result.
+
+## 9. Footage
+
+1. **Ask first.** Before searching, ask the user for their own material: film, video, photographs, scans of documents (reports, brochures, letters, minutes), data. What they give leads; archives fill gaps.
+2. **Where to look, and how to judge the licence** (`demo/tools/footage.py` searches, downloads and records licence, author and source page into `SOURCES.jsonl`; `footage.py md` writes `SOURCES.md`):
+   - **Internet Archive**: read each item's `licenseurl` and description. Public Domain Mark / CC0 / CC BY are usable; *no licence field* is not. For a pre-1978 US film, check the title and end cards for a copyright notice: published 1930 or earlier = public domain in the US by date; published without notice before 1978 = public domain; with a notice, check renewal. Corroborate date and producer elsewhere (a library catalogue, an archive exhibit). Avoid YouTube mirrors, re-uploads with no provenance, colourised or "restored" versions.
+   - **Wikimedia Commons**: read the file page's licence and its source institution. Public domain, CC0, CC BY (credit in full) are usable; CC BY-SA is not used in library demos.
+   - **US National Archives (NARA)**, **Library of Congress**, **NASA**, other US federal agencies: federal works are public domain; check each item's rights statement. "No known restrictions" (LOC, Flickr Commons) is **not** clear enough: name it to the user or find the same image elsewhere with a clear statement.
+   - **Museums with open access** (Met, Rijksmuseum, Smithsonian): CC0 where the object page says so; check that the item is still marked open access.
+   - **University and city libraries** (e.g. Columbia's digitised ephemera on the Internet Archive): use their rights statement; "copyright status undetermined" is not usable.
+3. **Tell the user before downloading**: what (title, years), from where (URL), under which licence and why. Keep `raw/` under about 1.5 GB; download serially (Commons rate-limits).
+4. Record every asset with the seconds used (`footage.py used <name> "<source s> → film s"`), list it in `demo/CREDITS`, and keep the trail for anything judged "no notice".
+5. Footage that is not of the subject itself (another city, another year) may stand in only with a tag that says exactly what it is.
+
+## 10. Facts
+
+Every number, date and claim on screen or in the voice comes from an official or primary source (a contemporary report, an official brochure, a government record), kept in `demo/FACTS.md` with the URL and the quoted wording. Counters are graphics: only their end values and dated anchors are facts. Where two primary sources disagree (a film's intertitle vs. the official brochure), use one and record the conflict.
+
+## 11. Engine
+
+- `demo/index.html`: one Canvas 2D page, stateless `render(t)`; scene functions draw a full frame; wipes draw the old scene, clip, draw the new one, then the band. `txt()` draws and registers rotated text boxes for `readcheck.mjs`; `reg()` registers a group drawn in pieces; `slam()`, `flash()`, `flicker()`, `shake()`, `slant()` (parallelogram windows), `cover()` (focus-point cover fit), `clipImg()` (forward / reverse / ping-pong / speed).
+- `demo/tools/prep.py`: the print grade, clip extraction to 24 fps JPEG sequences (one percentile set per clip), stills, document pages and outline keying, cut-outs. `demo/tools/fonts.py`: fetch the OFL fonts and subset Noto Sans SC to the characters used. `demo/tools/cues.mjs`: subtitle cues from the page's own table, measured one line per language. `demo/audio/mix.py`: score, foley, narration, ambience, master.
+- Checks: `readcheck.mjs`, `asr_check.py` per line, `tools/final_asr.py` on the final mix, `tools/rhythm_report.py` (flat windows, cut points, hit-to-onset alignment), `mux.sh` loudness.
+
+## 12. Pitfalls of the medium
+
+- **Upscaled archive film** turns to mush on a 1080p full frame: window it; split strips into panels; keep zooms inside the 2.5× ceiling.
+- **Per-frame grading pumps**: one percentile pair per clip.
+- **Type on a band running off frame**: place it from the band's centre line (point + normal), not by eye.
+- **Red on red**: a red answer block on a red exposure ground disappears; switch it to ink.
+- **A face as hero**: ordinary identifiable workers appear in groups, at work, in quick cuts; no slow motion or close-up protagonist.
+- **Counters read as facts**: label only the end value and dated anchors; a caption beside a counter must match the number shown at every frame (stop the count on the caption's value while it is up).
+- **A number without a unit**: every counter carries its unit in the same layout as elsewhere (小时 / 层 / 人 MEN).
+- **Ink type over a window**: a line that runs past a photo's edge disappears into dark film; give it a paper tab or keep it clear of the window.
+- **The verdict covering what was compared**: place it where no item is, after the hold.
+- **Too many documents**: one marked sentence per document shot; a page with three highlights is a slide.
+- **Short labels in an acceleration** fail reading time by design: keep text out of the 1/8-beat cuts; put the result in a held block after.
+- **A hit at sample 0** overshoots in the AAC encode: fade the first 25 ms.
+
+## 13. Variation space
+
+The agent decides per film: structure, which archive and documents, which formats (not all of them in one film), the axis angle (−15° to −30°), the red's exact hue, tempo (100–140 BPM), whether there is narration (intertitles only is valid), the signature build (a tower, a bridge span, a crowd forming a word, a map filling in).
+
+- **Three structures:** a calendar machine (one counter runs the whole film and stops at milestones); a document that asks and footage that answers (the turn at the middle); one object's journey through a process, then the scale of the whole.
+- Subjects that fit: construction and engineering histories, industrial anniversaries, mass events, labour and collective effort, infrastructure openings, any "many people, one machine rhythm" story with archive film and documents behind it.
+
+Our demo: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/kino-montage/DEMO.md).

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/lidar-survey), 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). -->
+
+# LiDAR Survey — Style Prompt
+
+> Real airborne laser points of a real place, floating in the dark as a measured cloud; a scan line or a cutting plane passes through them and the points condense into a solid, raking-lit surface, which is then measured with hairline instruments. One designed camera move carries the whole film: the cloud is something you fly through, not a picture you look at.
+> References (grammar only): survey and archaeology lidar visualisations (colour as height, the canopy removed); architectural section drawings (a cut, dimensioned); museum film cadence (one held reading per screen). Copy none of their layouts, ramps, typefaces or music, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+- **The cloud is the data**: every point is a real return at its measured position; points appear, glow, lift away or give way to a surface, but are never moved into a shape.
+- **Points become a surface**: a front (scan line, cutting plane) behind which the cloud condenses into a solid model of the same place.
+- **Classification is a lever**: ground, vegetation, buildings, water are layers to peel, isolate and recolour.
+- **Measurement in hairlines**: one reading at a time, in the accent, attached to what it measures; numbers from the points or an official source.
+- **Dark, quiet, exact**: near-black ground, restrained colour, no glow except at the front.
+
+Not Sci-fi Hologram HUD (no invented interface: the points are real, sparse where the survey was), not Satellite Briefing (photographs from above; here a 3D cloud flown through), not Blueprint, not Low-poly Isometric, not Glass Product Render.
+
+## 2. Materials & rendering
+
+- **Points**: GL points sized in world units (0.12–0.3 m), floor of one output pixel, soft discs, opaque and depth-tested (additive only for a ghost layer); colour from height or class, value from intensity; distance fog.
+- **Quantise for the browser**: uint16 positions (2 cm / 1 cm) plus a byte each for height above ground, class, intensity, seed.
+- **Height above ground** for every return (minus a ground model triangulated from class-2 returns) drives the colour ramp, the cutting plane and the ruler.
+- **The solid surface**: a 0.5–1 m mesh of the ground or surface model, smooth normals, baked short-radius AO, a low raking sun (20–35°), faint contours, crests lightened. Display exaggeration of micro relief (×2–3) only with an on-screen note; measure on undistorted data.
+- **The front**: one world-space plane (one uniform) shared by the point and surface shaders; points ahead of it brighten, a thin seam glows behind it and the surface fills in over tens of metres.
+- **The cutting plane** (by height above ground): returns above it lift away and fade, a ring glows where it meets the trees, a ruler on the frame edge tracks it.
+- **Marks on the surface** (traced features, section lines) are a distance field in the surface shader, kept hairline with `fwidth`; readings, leaders and charts are a 2D overlay through the same world → screen function.
+- **A survey window**: outside the measured area the cloud stays as dim points instead of ending in black.
+- **Post**: 2× render, high-threshold bloom (only fronts and seams), vignette; no grain (points are already fine detail; encode at a higher CRF).
+
+## 3. Colour logic
+
+- Background near-black with a cold tint; never pure black, never a gradient sky.
+- Points: one ramp by height or class, desaturated (deep green-teal → pale; or grey → white); intensity modulates value, not hue. No rainbow elevation ramps.
+- The front and seams: one cool near-white; it is light, not a colour.
+- The solid surface: warm neutral (stone, clay, plaster), lit; its colour never competes with the accent.
+- One accent (amber) reserved for what was found and measured: traced features, the reading, the section line. A second, cooler hue only in a comparison chart.
+
+Example (our demo): background #05080A, canopy #1F3F35 → #5C9A7A → #E2F3DC, ground returns #C8B38C, surface #BDB5A6, front #D4FFF0, accent #FFB347, chart green #83C495.
+
+## 4. Type & subtitles
+
+- **Roles**: light condensed numerals for readings (110–130 px, e.g. Barlow Condensed 300); a monospace for instruments, coordinates, counts and source lines (19–22 px, e.g. IBM Plex Mono); a sans for labels in the film's language (24–36 px, e.g. Noto Sans SC 500). OFL, self-hosted, CJK subset to the characters used.
+- **Instruments** in one corner: place, coordinates, area, data source, point count, any exaggeration; they change only when the medium does.
+- **Readings** in the right third beside what they measure: label, number, source/method line; a leader when the feature is in frame; a rolling counter reports its landing value.
+- **Subtitles**: a transcript strip bottom-left (2 px rule, plate fading right), one line per language measured with the real font, split rather than wrapped; if bilingual, the film's language on top.
+- Nothing below 19 px at 1080p. Hold subtitles ≥ max(1.8 s, speech + 0.6 s); labels ≥ characters ÷ 4.5 + 1.5 s (CJK), letters ÷ 15 + 1.5 s (Latin).
+
+## 5. Motion quality
+
+- On ones, 24 fps; the camera never stops; keys as a C1 spline in target / distance / heading / pitch (no `lookAt` from nadir).
+- The front moves on an ease, slowest where the subject is; a cutting plane steps on the beat (eased steps, short holds) so the layers read.
+- Points appear behind a front or by height, never by random fade-in across the whole frame.
+- Readings land with a small pop; traced features light up along their length in order.
+- Never moves: the points relative to each other (no wobble, no noise displacement), the instruments' positions.
+
+## 6. Camera grammar
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Locked nadir with slow push | "this is what a photo shows" | a claim to test; a before; an ending that returns to the map |
+| Crane down with tilt to oblique | entering the data; the place has height | the switch from picture to cloud |
+| Low oblique close to the cloud (10–20° pitch, 90–150 m) | volume; things standing up | canopy, buildings, a facade, a cliff |
+| Slow orbit | studying, the plane doing the work | a peel; a scan; a held reading |
+| Rising pull-back | scale reveal of what was found | a network, a site plan, a corridor |
+| Lateral track | travelling a feature | a wall, a road, a pipeline, a coast |
+| Push to a section | the detail that proves it | a cross-section, a clearance, a height |
+
+Subject ≥ a third of the frame height at key moments; readings right third; instruments in a corner; nothing in the subtitle strip. Transitions are fronts and planes, never crossfades or hard cuts inside the cloud.
+
+## 7. Sound palette
+
+- **Instrument sounds**: FM pings, fine crackle as points arrive, noise sweeps tied to a front, ticks that divide (8ths → 16ths → 32nds) to accelerate, a descending pitched blip per peeled layer, a ratchet while a counter rolls, a ping when a reading lands.
+- **Weight and synthesis**: timpani, bass drum, gran cassa for condensations and cuts, a reversed swell into the main impact; low-passed detuned-saw pads; a pulse bass with audible 2nd/3rd harmonics.
+- **Dry and wet**: one option is electronics while the subject is still points, and a single organic, wooden or bowed timbre (marimba, bowed vibraphone) for the found features once the surface exists.
+- **Beds**: the place's own ambience (wind in leaves, water, traffic) at the start and the end as J- and L-cuts; a thin air bed in between.
+- **Silence**: a near silence (air only) before the main reveal; the first sound after it is the impact.
+- **Mix**: voice ~10 dB over the music and ducking it; impacts outside the bus compressor; −14 LUFS, true peak ≤ −1.2 dBTP. Voice: a calm, plain narrator, short declarative lines.
+
+## 8. Native moves
+
+- **Photo to points.** A scan line crosses an aerial photo; behind it the place is points. *Fits content like:* a site visit before a design; what the satellite misses; a quarry's real volume.
+- **The canopy peel.** A plane descends by height above ground, returns above it lift away layer by layer, a ruler tracks it. *Fits content like:* archaeology under forest; a hidden trail; flood channels; landslide scars.
+- **Points condense.** A front turns the remaining points into a solid surface; found features light up in order. *Fits content like:* a building scan to a BIM shell; a cliff to a hazard model; a street to a vehicle clearance model.
+- **The section.** A plane crosses one feature; the profile glows and a dimensioned chart of the real returns hangs beside it. *Fits content like:* a levee's height; a bridge's clearance; a road cut.
+- **The window.** The measured area is a stage inside the unmeasured cloud. *Fits content like:* a parcel; a corridor; a site boundary.
+- **The regrowth.** The removed layer returns as a ghost over what was found. *Fits content like:* an ending; a clearing before/after; a buried pipe under a street.
+
+## 9. Pitfalls of the medium
+
+- **Finding data for a new place**: USGS 3DEP (US) as Entwine Point Tiles per project at `https://s3-us-west-2.amazonaws.com/usgs-lidar-public/<project>/ept.json`, projects and footprints in `boundaries/resources.geojson` of github.com/hobuinc/usgs-lidar; bare-earth scouting through the 3DEP elevation ImageServer. OpenTopography (catalogue of many collections, licence per dataset). AHN (Netherlands, CC0). National portals, e.g. England's Environment Agency LiDAR (OGL), France IGN LiDAR HD (Licence Ouverte), Spain PNOA-LiDAR (CC BY 4.0), Finland NLS (CC BY 4.0), New Zealand LINZ (CC BY 4.0); read each portal's terms. Fetch a subset by box and depth, not whole tiles.
+- **Licences**: public domain, CC0, CC BY and attribution-only government licences are fine, with credit in `CREDITS`. ODbL, CC BY-SA, "no known restrictions" (not CC0) or non-commercial terms: name them to the user and ask first. Never commercial scans or Google 3D tiles. Ask the user for their own scans (a site survey, a drone or terrestrial scan, their BIM) when the film is about their asset. Never stand in a generated or invented cloud for real evidence.
+- **Facts**: keep a FACTS.md in the project folder (claim, source URL, quoted wording, or the measurement method) and deliver it with the film.
+- **Coordinates**: EPT copies are often Web Mercator: convert to a local east/north/up frame first; check the vertical datum against known ground.
+- **Leaf-off vs leaf-on**: leaf-off lidar reaches the ground but its canopy is sparse; say which season each layer is.
+- **Classification is the provider's**: class 1 mixes vegetation, buildings and noise; drop 7 and 18; finish a cut below 0 m or low vegetation stays as stripes.
+- **A dense cloud reads as a flat carpet** from afar: go close and low for volume; let the distance fog out.
+- **Scan striping** is real texture; don't frame a reveal on it at grazing angles.
+- **Traced features are interpretation**: say "traced", keep the tracing in a data file, snap it to the data, leave faint candidates out.
+- **Privacy**: crop out houses and yards; keep the survey window on public or uninhabited land.
+
+## 10. Engine
+
+- `demo/film.js`: point shader (front, cutting plane, lift, ghost, window), surface shader (light, AO, contours, feature field, section), photo shader, camera spline (`camAt`), overlay (`reading`, `drawSection`, `subtitles`, readcheck registry).
+- `demo/tools/`: `fetch_ept.py` (EPT subset), `terrain.py` (local frame, DTM), `walls.py` (relief model), `trace.py` (snap a tracing, measure), `profile.py` (section from raw returns), `build_data.py` (binaries + facts).
+- **Extra packages and packs** (beyond `setup.sh deps voice music`): Python `laspy`, `lazrs` (LAZ decoding), `scikit-image` (relief and ridge tools), `fonttools` + `brotli` (CJK subset). They are not in the library's `.venv`: the agent installs them itself into a private venv in the project folder (the demo uses `demo/assets/raw/.venv`), never into `$LIB/.venv`. Fonts come from github.com/google/fonts (ofl/), fetched by script.
+- Minimal example, not in the demo: a building scan. Points coloured by class, a vertical front sweeping the street; behind it a 1 m surface model; one reading (roof height above the street).
+
+## 11. Variation space
+
+The agent decides the place and dataset, which classes to peel or keep, the fronts and their directions, the camera route, the readings, the accent within the colour logic, and whether a photo or a map opens the film.
+
+- **Structures**: a corridor flown end to end with three readings; two surveys of one place (erosion, construction) swapped by a front; one object scanned, cut and dimensioned.
+- **Openings**: a black frame the scan paints in line by line; a street-level photograph that dissolves into its own returns; a top-down map that tilts up into the cloud.
+- **Endings**: the cloud pulls back to show the whole survey tile; the removed layer returns as a ghost; the last reading holds while the points fade to the instruments.
+
+---
+
+How our demo was made (story, shots, score, title card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/lidar-survey/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/living-screencast), 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). -->
+
+# Living Screencast — Style Prompt
+
+> A product walkthrough that looks like a real screen recording, where a low-resolution mascot lives inside a high-resolution interface and acts out what the software is doing.
+> References (grammar only):
+> - **Screen Studio-style product recordings:** auto-zoom to the cursor, cursor smoothing, click push-ins, and a window floating on wallpaper.
+> - **Apple "Guided Tour" videos:** real interface, calm narration, one feature per sentence.
+> - **Duolingo and Headspace mascot motion:** squash and stretch, anticipation, a character that performs inside the UI.
+> - **The Browser Company (Arc) launch films:** playful tone and fast cutting.
+>
+> Never copy their characters, UI, music or footage.
+
+A walkthrough of a piece of software, typically 45–75 s. The user gives the product and the features; you decide the story, shots, choreography, sound and music.
+
+## 1. Essence, and what it is not
+
+The film looks like a **screen recording of the real product**, but it is not a recording. Every window, menu, diff line and button is **redrawn in 2D (HTML/CSS/SVG)**, so the camera can go anywhere, every pixel is controllable and text stays sharp at any zoom.
+
+A **mascot made of big square pixels** lives in that high-resolution world. The clash of two resolutions, a hard-edged low-res sprite against anti-aliased UI, is the look.
+
+The mascot is the software's agency made visible: when the software reads, it runs along the rows it reads; when it plans, it holds a pixel pencil; when it tests, it stomps the button.
+
+**Two actors, never a hand:** the **cursor** is the user; the **mascot** is the software.
+
+Not a dark tech keynote (no black stage, no invented abstract UI: this is the real product), not a pixel-art game (the world is hi-res vector UI; only the mascot and its props are pixels), not a real capture (nothing is a screenshot).
+
+## 2. Materials & rendering
+
+- **Real UI, redrawn**: every label, mode name and shortcut matches the real product; no screenshots, no lorem ipsum. Demo content (code, data, test output) is coherent, and the app under test really changes.
+- **Pixel grid is sacred**: the mascot, its props (pencil, "!", sparkles, heart, dust) and trails share one square-pixel grid with crisp edges. It scales with the camera; its position snaps to half-pixels, so its motion feels stepped.
+- **Gravity = top edges of UI**: the mascot only stands on the top edge of a real element (input box, menu, list row, code line, button, status bar, the letters of a heading). Its position comes from **measuring the live DOM** every frame, never hand-placed coordinates.
+- **Window on wallpaper**: the app floats on a desktop with a soft shadow; zoom never shows beyond the monitor.
+- **Depth** only where it serves attention: rack focus (blur the pane that doesn't matter), a vignette spotlight. Never blur text the viewer must read.
+- **Motion blur** is derived from camera speed and applied as an anisotropic blur on an **untransformed wrapper**, only on whips. Slow moves stay sharp.
+
+## 3. Colour logic
+
+- The product's own interface colours rule: follow its real light and dark themes exactly.
+- The mascot keeps the product's or brand's mascot colour, or one saturated hue that no UI element uses, so it finds the eye in any frame.
+- Overlays (chapter pill, key HUD, captions) are neutral frosted glass; one accent at most, taken from the product.
+- A theme switch can be a story event: the whole film may change state with it.
+
+## 4. Type & subtitles
+
+- UI type follows the product (or licence-free look-alikes such as Inter, JetBrains Mono, a serif for editorial UIs).
+- **Information layers only**: a chapter pill (01–04), a KeyCastr-style keystroke HUD, frosted-glass caption pills, an optional "▶▶ 4×" time-lapse tag. Nothing else overlays the screen.
+- Captions sit in a pill at the bottom, never over the element being discussed and never under the mascot; hold ≥ max(1.8 s, speech + 0.6 s).
+- A title, if any, is diegetic: it appears as part of the UI (an empty-state heading, a window title, a notification).
+
+## 5. Motion quality
+
+- 30 fps; UI on ones; mascot position stepped to its pixel grid.
+- **Mascot acting**: jumps with anticipation crouch, stretch on take-off, tucked legs, landing squash with a damped bounce and dust. Idle breathes (a tiny squash) on the score's beat and blinks irregularly. Walks by leg alternation, flipping the sprite for direction.
+- **Eyes carry the acting** (neutral / left / right / up / down / wide / happy / shut / blink): they look at what matters. Arms: down / up (cheer) / wave.
+- **Cursor**: smoothed, spring-eased paths, small push on click, never teleports.
+- **Cause and effect**: every mascot action triggers a real UI state change; every user action is a cursor move, click or keystroke shown on the HUD.
+- UI animates like the real product (its own menus, popovers, diff reveals); don't invent flourishes the product doesn't have.
+
+## 6. Camera grammar
+
+A recording-software camera: one continuous take inside the screen, zoom ≥ 1, cuts only under chapter transitions. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Push-in to the cursor or caret | "this is where it happens" | typing a prompt; choosing a menu item; a setting |
+| Slow drift at rest | the app is alive while we listen | a line of narration; waiting for a result |
+| Whip-pan between panes (with blur) | cause here, effect there | sending a message → a result appearing; code → preview |
+| Push-in + vignette freeze | the one promise to remember | a safety guarantee; a price; an undo |
+| Rack focus between panes | attention moves, nothing else does | reading files; logs scrolling while chat waits |
+| Pull back to the full window | the whole workflow in view | a summary; parallel tasks; before/after |
+| Follow the mascot along a list | the software working through items | scanning results; a checklist; a migration |
+| Split-window reframe | two things at once | parallel sessions; compare two versions |
+
+Framing: the thing being discussed and its caption never overlap; the mascot never covers text to be read. Transitions: chapter pill wipes, pixel wipes, a theme reveal circle; never dissolves or screenshots.
+
+## 7. Sound palette
+
+- **Two resolutions in the music**: a hi-fi layer (piano, upright or electric bass, brushed or tight kit, glockenspiel, real samples) is the world; a chiptune square or pulse voice is the mascot. They can trade, duet or merge.
+- Options: a low-passed "night" version of the band for a dark theme; a tom fill and crash at chapter seams; dropping the drums to build tension; the mascot's notes on words it lands on; a stereo split for split screens; a single held pad under a freeze.
+- **Foley**: keyboard (a thock plus a click, human timing jitter), trackpad clicks, pane swishes, popup pops, notification chimes, CI ticks, a shutter for screenshots. Mascot steps, jumps and landings are 8-bit.
+- **Silence**: a short drop to room tone before the key promise makes it land.
+- **Voice**: calm, one feature per line; product names verified with whisper. Keep effects off word onsets. Duck music under voice; −14 LUFS.
+
+## 8. Native moves
+
+A menu: use the ones your walkthrough needs.
+
+- **Match-cut origin.** The mascot is born from something already in the UI (a logo's block characters, an icon, a loading spinner) and climbs out, leaving an outline. *Fits content like:* a chat bubble turning into a guide; an icon becoming an assistant; a spinner becoming a helper.
+- **Diegetic title.** The name appears as a real UI element; the mascot lands on it on a downbeat. *Fits content like:* an empty state; a new-project dialog; a welcome email.
+- **Moving floor.** The mascot rides a caret, a popup, a sent message, a progress bar. *Fits content like:* a message flying into a thread; an upload bar; a drag-and-drop.
+- **Time-lapse with a tag.** Long work runs at N× with a flashing tag and rack focus. *Fits content like:* indexing a library; a data import; a build.
+- **Spotlight freeze.** Push in and vignette the one badge that holds the promise. *Fits content like:* "Saved"; "Encrypted"; "No charges until…".
+- **The film changes state.** A toggle's effect escapes the preview and takes over the whole film, and returns later. *Fits content like:* dark mode; a language switch; offline mode.
+- **Cell division.** A new session or window splits the screen and the mascot splits with a pixel burst. *Fits content like:* parallel tasks; multiple accounts; team members.
+- **Cursor and mascot as characters.** The cursor pets, pokes or drags the mascot, and it reacts. *Fits content like:* approving a suggestion; undoing; onboarding delight.
+- **Karaoke-ball words.** The mascot hops from word to word as they are spoken. *Fits content like:* a slogan; a shortcut list; step names.
+
+## 9. Pitfalls of the medium
+
+- Invented features or renamed modes → check every button, mode and shortcut against the product's documentation; if it isn't in the docs, it isn't in the film.
+- The mascot floats or drifts off its element → measure the DOM every frame, stand only on top edges.
+- The mascot covers text or sits under a caption → reserve a text-free lane for it.
+- Blur-filter "fake depth" on text you want read, or zooming out past the screen → rack focus only on panes not being read; zoom ≥ 1.
+- A hand, arm or finger on screen → the cursor is the user.
+- Motion blur applied to a transformed layer smears the pixel sprite wrong → blur an untransformed wrapper, and only on whips.
+- A keypress or pop landing on a product name masks it → shift foley off word onsets; re-check with whisper on the final mix.
+- TTS mispronounces the product name → try voices and spellings, verify with whisper.
+
+## 10. Engine
+
+In `demo/`: `film.js` (timeline: VO at fixed times, every visual beat hung on a spoken word with `W(id, word)`, camera moves, `Actor` mascot segments, `Cursor`, sound events), `ui.js` (state → HTML for each interface), `clawd.js` (sprite grid, poses, pixel props: replace the sprite with your own mascot), `main.js` (light/dark layers, DOM anchor measurement, motion blur, HUD: captions, keys, pixel wipes, spotlight), `sound.py` (score, foley and VO from `events.json`, with ducking). Build notes: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/living-screencast/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the features and their order, the mascot (the product's own, or an original pixel character), the story, the opening, the ending, the camera path, the chapters and the music. All far from our demo:
+
+- Structures: **a bug hunt** (the mascot chases one error through logs, code and a fix, a single chapter); **a day of one user** (morning to evening in one app, the theme and music shifting with the hour); **a race** (two windows side by side, old way vs. new way, the mascot winning on the right).
+- Openings: **mid-task** (a half-written document; the mascot is already pushing the cursor's selection); **the notification** (a system toast lands; the mascot is inside it); **empty state** (a blank app, a caret blinking; the mascot drops from the menu bar).
+- Endings: **the mascot goes to sleep** on the finished item as the window dims; **the app closes** and the mascot is left standing on the dock; **a real share** (the result is sent and the mascot rides it out of frame).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/living-screencast/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/lowpoly-island), 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). -->
+
+# Low-poly Isometric Island — Style Prompt
+
+> A tiny faceted world seen through an orthographic isometric lens: everything is a geometric block, and everything that appears arrives with a bounce and a note.
+> References (grammar only): *Townscaper* (building is the performance; every piece lands with a springy bounce and a sound; pieces sprout small details by themselves); *Monument Valley* (isometric geometry, soft pastel palettes, gradient skies, calm pacing, lots of empty space). Never copy their grids, buildings, characters, UI or typography, and never name them on screen.
+
+## 1. Essence, and what it is not
+
+A miniature world built from **flat-shaded low-poly geometry** (hexagonal tile columns, box buildings with prism roofs, cone and icosahedron trees) floating in a faceted sea or void, watched by an **orthographic camera** at an isometric angle. No perspective and no horizon: distance dissolves into a **screen-space sky gradient**, so the world looks like a model suspended in colour. **Light, not texture, tells time**: every facet changes colour as the sun moves; in the dark only emissive blocks keep their colour.
+
+Not a voxel game (no cubes-of-cubes, no pixel texture), not a tilt-shift photograph of a real place (no perspective, no photo detail), not a smooth-shaded 3D cartoon (no rounded normals, no subsurface).
+
+## 2. Materials & rendering
+
+- **Geometry** (world unit = one hex tile's circumradius): pointy-top hexagonal columns (`CylinderGeometry(r, r, h, 6)`), axial → world `x = √3(q + r/2)`, `z = 1.5 r`. Terrain height encodes material (sand low, grass, hills, rock highest). A thin separate top cap sits over a darker side colour; **sink the side column's top below the cap** or it z-fights. Leave a small gap between tiles so AO draws the seams.
+- **Props** are primitive assemblies: boxes, prisms, low-segment cylinders and cones, icosahedra at detail 0, pinched boxes. Emissive parts (windows, lamps) get their own material per object so they can light individually.
+- **Materials**: `MeshStandardMaterial({ flatShading: true, roughness ≈ .9 })`, **no textures**. Jitter each tile's lightness a few percent so the ground isn't a spreadsheet.
+- **Water** (if any): a dense non-indexed plane displaced by summed sines in the shader, flat-shaded so each triangle glints on its own (not too low a roughness or facets flash white); a coarse plane below for zoom-outs; a **shallow map** redrawn per frame where land exists, mixing deep → shallow colour with a faint foam rim; a thin transparent ring at each tile's water line for surf.
+- **Sky without a horizon**: in post, linearise the orthographic depth and blend distant pixels into a vertical screen gradient; set haze start/end as fractions of frustum height × cot(elevation) so the horizon band stays in the top third at any zoom. Stars (hash grid, twinkle) only where haze is thick.
+- **Post**: MSAA + depth → **GTAO** (mandatory: it draws the seams between tiles and under roofs) → sky/haze composite → a very light tilt-shift at the frame edges → bloom (stronger at night) → pastel grade → Neutral tone mapping. Supersample 2×.
+- **Light beams** (searchlight, projector, torch): a camera-facing ribbon with a Gaussian profile, bright at the root and fading with distance, plus a wider faint halo copy; light the surface under it in its own shader.
+
+## 3. Colour logic
+
+- **Pastel, low contrast, a handful of hues**: one ground family (sand/grass/earth or its equivalent), one neutral rock, and a small set of wall and roof colours repeated across buildings.
+- **Time of day is a keyframed set of colours** (zenith, horizon, deep, shallow, sun colour, intensity, elevation, azimuth), interpolated. Day is airy and cool; dusk warms the horizon; night desaturates everything toward blue-violet.
+- **At night, warm emissives are the only bright things** (windows, lamps, a beam). Keep the sun sideways to the camera in key shots (low sun behind the target turns faceted water into glare); water receives no shadows.
+- No outlines, no black; shadows and AO are the only darks.
+
+Examples of world palettes: sand, grass and coral roofs under a pale-blue day; snow tiles, pine greens and red cabins under a lilac sky; terracotta mesas, sage scrub and turquoise pools under an apricot dusk.
+
+## 4. Type & subtitles
+
+- Geometric OFL sans faces: a rounded one for subtitles (e.g. Quicksand 600), a geometric caps face with wide tracking for titles (e.g. Josefin Sans).
+- **Subtitles**: no box; warm white with a soft dark-blue drop shadow, centred low; a small flat-shaded tile icon beside them whose top colour follows the time of day. Hold ≥ max(1.8 s, speech + 0.6 s), never overlapping the next line or a title.
+- **Titles behave like tiles**: letters rise one by one from under a water line, overshoot and settle.
+- A text card over the world leaves a gap where the world stays visible.
+
+## 5. Motion quality
+
+- On ones (24 fps), smooth. The charm is in the **arrival curves**, not stepping.
+- **Rise from below**: a short cubic ease up, then a damped-sine overshoot; a splash ring and spray the moment it breaks the surface. The event time is when it settles.
+- **Drop and stack** (floors, roofs, rings): a fast ease-in fall, a damped bounce, and volume-preserving squash-and-stretch on landing.
+- **Pop** (trees, lamps, details): scale `1 − e^(−k s)·cos(ω s)`, about 25 % overshoot.
+- **Life**: mills turn, smoke puffs, birds circle, boats bob with the same wave function as the water (evaluated on the CPU).
+- **Schedule growth on the music grid**: at most one piece per smallest slot, so every event keeps its own note; accelerate by density (halves → quarters → eighths), not by tempo.
+- Never moves: the projection (no perspective, no fov change).
+
+## 6. Camera grammar
+
+`THREE.OrthographicCamera`. **Frustum height is the zoom** (a few units for a close-up, the whole world at a dozen or more, hundreds for a scale reveal); place the camera ≥ 3 × frustum height away or the bottom of the frame looks under the sea. A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Turntable (azimuth sweep) | the thing seen from every side | building; inspecting; a product assembled |
+| Pure orthographic zoom (frustum change) | scale without perspective | a detail in context; smallness; a world among worlds |
+| Elevation change | low (≈20–25°) widens the sky band; high (≈50°) reads as a map | night and stars; a sweep across the whole world; a plan |
+| Locked 3/4 wide | the world lives on its own | lights coming on; time-lapse; waiting |
+| Tight close-up on one arrival | the bounce and the splash | a key piece; a milestone; a gag |
+| Side angle trailing a mover | travel across the frame, never at the lens | a delivery; a departure; a route |
+| Lateral truck along a row of tiles | a list, a sequence | steps of a process; a timeline |
+| Time-lapse sun sweep, camera still | light is the time machine | a day; a season; history |
+
+Intercut wide and close on beats: wide shows the shape growing, close sells the bounce. Transitions: hard cuts on the beat, a time-of-day change, a zoom through the sky; no dissolves, no perspective whip-pans.
+
+## 7. Sound palette
+
+- **Music can be event-driven**: growth events carry a note, and the score synthesizes each one at its exact time, so the picture writes the tune. Pitched percussion suits the facets: marimba, kalimba, woodblock, bells, vibraphone, celesta, steel drum; underneath, a soft pad, a gentle ostinato, light shaker or soft kick. Pentatonic or modal material keeps any order of notes consonant. **No piano, no strings.**
+- **A single note can be a motif**: one sound owned by the world (a bell, a chime, a horn) that returns changed.
+- **Foley follows material**, all synthesizable: bubble sweep + splash with droplet ticks for rising tiles (bigger = lower); wooden knock plus a quieter bounce knock for floors; ceramic clack for roofs; hollow plank knock; heavy stone thunk; glass tink; a low whump with electric hum for anything switching on.
+- **Beds**: low-passed brown-noise water with swells, birds as downward-gliding FM chirps, creaking wood, crickets or wind at night.
+- **Silence**: drop to a low drone and a bed; a moment of digital zero on the music bus before a big downbeat. Options: thin the ostinato to one voice instead of stopping it; let the world's own events carry the rhythm for a passage.
+- **Voice**: clear and gentle, few short lines; avoid words that collide with the film's subject (a film about baking: "flour" heard as "flower").
+- **Mix**: voice compressed and well above the music, music ducked under it, −14 LUFS; **grain 0** (flat colour shimmers with grain).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Building is composing**: every piece that lands plays a note; a later sweep can replay them in spatial order as a finished melody. *Fits content like:* a skyline whose floors are notes; a team assembling a product; a garden whose flowers form a chord.
+- **Procedural growth**: tiles rise, floors stack, trees pop. *Fits content like:* a startup's first year; a coral reef recovering; a neighbourhood being planned.
+- **Scale by pure zoom**: one object fills the frame, then the world becomes a speck (or the reverse). *Fits content like:* one user among millions; a village on a continent; a data centre inside a network.
+- **Turntable**: a continuous rotation around the thing being made. *Fits content like:* a machine being assembled; a museum object; a house renovation.
+- **Light as clock**: shadows sweep and facets re-colour. *Fits content like:* a day of a shop; a year of a farm; a shift at a hospital.
+- **Emissive blocks in the dark**: lights coming on one by one, a beam sweeping like a clock hand. *Fits content like:* a network going live; a town at nightfall; volunteers joining a cause.
+
+## 9. Pitfalls of the medium
+
+- `perspectiveDepthToViewZ` in shared post code is wrong for an orthographic camera → `orthographicDepthToViewZ`.
+- GTAO renders sprites and transparent objects as solid quads → hide them during the AO pass; set `visible = false` at zero opacity.
+- Side column and top cap sharing one plane → z-fighting → sink the column.
+- A double-sided additive cone reads as two white lines → a camera-facing Gaussian ribbon + halo.
+- Camera too close for its frustum → the frame bottom shows below the sea → distance ≥ 3 × frustum height.
+- Two pieces landing in one grid slot muddy the melody → one piece per slot.
+- `half` is a reserved word in GLSL.
+
+## 10. Engine
+
+In `demo/` (three.js): `world.js` (hex layout, primitive props, growth schedule → events with notes, arrival curves), `sea.js` (faceted wave shader, shallow map, beam-lit water), `post.js` (ortho post: GTAO → sky/haze + stars → tilt-shift → bloom → grade), `story.js` (beat grid, time-of-day keyframes, shots), `main.js` (renderer, lights, per-shot cameras, HUD, event export), `music/score.py` (event-driven score; `music/check.py` compares audio onsets and pitches with the events), `mix.py` (foley, beds, ducking). File map and build steps: DEMO.md.
+
+## 11. Variation space
+
+You decide the world (island, town, orchard, factory floor, planet), what grows or changes, the palette within the colour logic, the opening, the ending, the camera path and the pacing. All far from our demo:
+
+- Structures: **erosion** (a finished world loses pieces one by one, each removal a falling note, until only the essential piece remains); **two worlds** side by side trading pieces across a gap until they join; **a year in four seasons** on one fixed world, the palette keyframes carrying the story.
+- Openings: **mid-construction** (a busy half-built world, many pieces already dropping); **from above** (a top-down map that tilts down into isometric); **the full world first**, then a push into one tile where the story lives.
+- Endings: **a close-up on one final piece** landing, no pull-back; **the world packed away** (pieces fly up and stack into a box); **daylight** (dawn floods the world and the music resolves on the first sunlit facet).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/lowpoly-island/DEMO.md). Read it after your treatment exists.