wizz-method 2.21.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/microgame), 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). -->
+
+# Microgame Frenzy — Style Prompt
+
+> A rapid-fire party-game film: one command word, a few seconds, one action. Every microgame is drawn in a completely different art style, and the film keeps getting faster.
+> Genre reference (grammar only): the WarioWare series. Never use its name, characters, UI, microgames or music.
+
+The format suits short films; once the frenzy stops building, end it.
+
+## 1. Essence, and what it is not
+
+- **A microgame = a shouted command word + 2.5–4 s + one action + one result** (success, or a funny failure).
+- **Each microgame uses a different visual medium** (crayon, ink wash, terminal, risograph, pixel, blueprint, Swiss type, clay, cut paper, woodcut…). The jolt of each switch is both the joke and the beat.
+- **One fixed home look** holds the film together: a show stage with a host, a lives counter and a stage number, which the film returns to between games.
+- **It keeps accelerating**: every few games tempo, game length, dwell, command hold and animation frame rate step up together.
+- **The hero survives every medium** by keeping two or three silhouette marks.
+
+Not Game Show Flat (one art style, rounds of bars, call-and-response), not a style sampler reel (every game has stakes; lives connect them), not a montage (each game has a rule grasped in under a second).
+
+## 2. Materials & rendering
+
+- **Home stage**: flat toon, thick near-black outline (~7 px), flat fills, **one hard-edged shadow** (fill in the shade colour, clip to the shape, refill shifted up-left). Fixed furniture: a frame-within-the-frame where games play (a TV, an arcade cabinet, a phone, a window), the lives board, a stage badge, a trigger prop (button, lever, bell).
+- **Each medium is a simplified re-drawing, 100–200 lines of code**, built around one channel trick that makes it read at a glance:
+  - drawn media store **pressure or wetness in a channel** (crayon: alpha = pressure against paper tooth; ink: wet and dry ink channels);
+  - print media store **plate densities** (riso: a channel per plate, additive overprint, halftone, misregistration);
+  - screen media are **low-res buffers** scaled up (pixel: indexed buffer, auto outline, dither; terminal: hand-authored glyph art, phosphor shader);
+  - technical media are **line systems** (blueprint: line weights and dimensions; Swiss: a strict grid, one sans, one signal colour).
+- **Hero translation**: the hero is redrawn from scratch in each medium, but the same marks always survive (e.g. a hat shape, one coloured dot, a number on the chest). Make a model sheet of the hero in every medium before animating.
+- **Mixed-media frames**: alpha-coverage media over a base, paper media multiplied, screen media flat and clipped to a panel. WebGL2 material shaders turn the channel buffers into each look.
+
+## 3. Colour logic
+
+- **The home stage owns a saturated party palette**: a deep ground behind a rotating sunburst, two or three loud accents, plus a fixed success colour and a fixed fail colour used by stamps and the lives board only.
+- **Each medium brings its own palette** from its tradition (wax colours, one-ink-plus-vermilion, amber phosphor, three riso plates, a limited pixel palette, white-on-blue, black-white-red). Never tint a medium with the home palette.
+- **One accent follows the hero across media** where the medium allows (a single vermilion dot in ink, an inverse glyph in a terminal, a signal-red circle in Swiss type): it is how the eye finds the hero after a switch.
+- Example home palettes: violet `#2a0f5c` with magenta `#ff2e88`, gold `#ffc928`, cyan `#1fd1d1`; teal ground with coral and lemon; black stage with hot orange and electric blue.
+
+## 4. Type & subtitles
+
+- **The command word is the subtitle**: a heavy display face (e.g. Titan One), white with a thick ink outline, a coloured drop and a burst behind it, skewed a few degrees. It slams in over ~3 frames (overshoot → settle), holds, then **shrinks into a corner tag before the first action**, so the result is never covered. One-off banners fly out instead of tagging, so tags never pile up.
+- **Other lines**: a rounded card in the home palette with the home outline and hard shadow, a friendly rounded face (e.g. Lilita One ~50 px), a small speaker icon; placed above the timer in games. Hold ≥ max(1.8 s, speech + 0.6 s), never under a big banner.
+- Inside a game, any text (replay captions, labels) uses **that medium's own typography**.
+- The command word appears in the .srt only, never burned twice.
+
+## 5. Motion quality
+
+- **The frame rate is part of the ladder**: characters step on twos or at 8 fps early, faster later, on ones at the climax. Camera moves, transitions and the timer spark always run on ones.
+- **Five things accelerate together** at each speed-up: tempo, game length, stage dwell, command hold, character frame rate.
+- **The timer is visible and on the beat**: e.g. a fuse with one knot per beat, the spark passing each knot exactly on it. It freezes in a replay.
+- **Unified transition through the frame-within-the-frame**: push into the screen to start a game (~0.25 s), shrink the game back into it to return (~0.33 s) with a ✓ / ✗ stamp. No fades, no blank frames.
+- **Failure is performed**: the action overshoots, splats, bonks or rolls off; the medium's own physics makes the joke.
+- **Instant replay** for a failure that must be understood: freeze, half speed, push-in, letterbox, a caption in the medium's type.
+- The home host has a tick on every beat; stopping it dead is the strongest emotional tool.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Start inside a game, command already slamming | the rules explain themselves | throwing the viewer in |
+| Pull back out of the game screen | scale: this was one screen on a show | the first return to the stage |
+| Locked frontal home frame | the constant; only the scoreboard changes | stage beats; the host's reaction |
+| Slot reels (the stage splits into spinning strips of earlier frames, stopping one per beat) | acceleration, a summary | a speed-up; a change of round |
+| Extreme insert on the trigger prop | the start, felt | a game starting on the downbeat |
+| Lights cut to one top spot, frame unchanged | stakes; the last chance | the last life; a decision |
+| Tile flip (last frames of past games flip into pieces of a new frame) | the past becomes the material of the present | a boss or finale; a recap |
+| Push into a detail, hold | the viewer notices before the hero does | a clue; a silence |
+| Snap back to wide on one beat | release | a solution blooming; a save |
+| Split screen, two media side by side | comparison, rivalry | two players; before/after; two approaches |
+
+Framing: the game screen is a fixed fraction of the frame (around 40 % of the width); in a mixed-media frame keep **one focal chain** (A leads to B leads to C) and push info panels into a corner.
+
+## 7. Sound palette
+
+- **Music first**: a tempo grid and a cue table before any animation; every picture hit lands on a listed cue.
+- **A constant groove + one colour instrument per medium.** The groove (kit with ghost notes, slap or synth bass, brass stabs, keys) runs throughout; each medium adds its own timbre: toy piano for crayon, shakuhachi or guqin for ink, square beeps for terminals, vibes for print, pulse arpeggios for pixel, a typewriter for drafting, claves for Swiss, kalimba for clay, koto for woodcut.
+- **Foley follows the medium**: wax squeaks, wet splats, teletype relays, paper crunch, bit-crushed noise, ratchets and stamps, hollow bonks. Home stage: a spring trigger click, glass crack for a lost life, card flips, a reel whirr, sparse claps.
+- **Acceleration options** (use what fits): a rising brass run into each speed-up; the key rising a step per round; halving note values instead of changing tempo; dropping the groove to a heartbeat on the last life.
+- **Real silences**: at least one before the biggest hit (a heartbeat or one pitched note may remain). The loudest moment comes right after the longest silence.
+- **Voices**: a host who shouts every command a hair *after* the stab so brass doesn't mask it; a hero with very few words (reactions work best). Duck music ~11 dB and foley ~6 dB under voice. −14 LUFS.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Style switch per game.** Each task is drawn in the medium that suits it. *Fits content like:* the steps of baking bread (flour in crayon, oven dial in blueprint, crust in woodcut); a day of a nurse; a heist's roles.
+- **Command word.** One verb is script, subtitle and downbeat. *Fits content like:* SCAN! at a checkout; BREATHE! in a yoga class; SIGN! at a contract signing.
+- **Lives as UI.** The counter carries emotion without narration; 3 → 2 → 1 (blinking) builds tension alone. *Fits content like:* a phone battery; retries on a driving test; chances left on a quiz.
+- **SPEED UP.** Everything steps up together. *Fits content like:* rush hour; the last week before a deadline; a kitchen during dinner service.
+- **Failure becomes the solution.** The material of an earlier failure returns in the final game as the answer. *Fits content like:* a spilled coffee that later stains the winning map; a bug that becomes a feature; a missed train that leads to the right meeting.
+- **Boss mixes the rules.** The final game is built from pieces of earlier media. *Fits content like:* a final exam; launch day; a festival's closing night.
+- **Instant replay.** The joke explained in slow motion. *Fits content like:* a goal-line decision; a typo that shipped; a cat's leap that missed.
+
+## 9. Pitfalls of the medium
+
+- **A luminance-ramp ASCII figure is mush** → hand-authored glyph art with structural glyphs, an inverse glyph for the accent.
+- **Ink shapes read as smoke** unless their silhouette is designed (a short round blot phase, then a clear structure with seams and light edges).
+- **A failure at high tempo goes unread** → make the action overshoot and hit something, or give it an instant replay.
+- **Alpha-coverage media show the background through gaps** → a full-pressure base where it must be solid.
+- **Drawing helpers with a global context** draw on the wrong canvas when scenes render into offscreen buffers (game screen, reels, tiles) → set and restore the context.
+- **Command tags pile up** → secondary commands fly out.
+- **A 100 % white flash** reads as a blank frame → cap at ~60 %.
+- **TTS single-word commands** gain a vowel tail ("Pump!" → "Pompey") → generate a two-word phrase and cut after the first word using ASR timestamps; verify each clip, since ASR mishears 0.2 s words in a dense mix.
+
+## 10. Engine
+
+`demo/timeline.js` (tempo grid and segments, the single source of truth), `demo/toon.js` + `demo/stage.js` + `demo/hud.js` (home look, stage, timer, command word, stamps, lives, subtitle cards; call `setCtx` when drawing offscreen), `demo/chars.js` (host and hero rigs), `demo/glpass.js` (WebGL2 material shaders: riso, crayon, CRT, ink, blueprint paper), one `demo/g_<medium>.js` per medium (`sceneX(g, lt)` + the hero translation), `demo/film.js` (transitions through the TV, slot reels, tiles, events). Module map and build: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/microgame/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the tasks, which medium draws each, the home stage and its frame-within-the-frame, the host and hero, the number of rounds, where failures fall, the finale, the opening and the ending. The command → action → result unit, the medium switch and the acceleration stay.
+
+All far from our demo:
+
+- Structures: **two players, alternating** (each game is played by one of two rivals; the lives board is a tug-of-war); **one day, hour by hour** (each game is an hour, the speed-ups are the morning rush and the evening rush, the finale is midnight); **a relay** (the result of each game is the object handed into the next one, so the chain is the story).
+- Openings: **the home stage asleep** (lights off, the host wakes on the first beat); **a game-over screen** we rewind from; **the lives board alone**, a counter clicking down before we know what it counts.
+- Endings: **a high-score table** where the hero types their name letter by letter in each medium; **the credits as one more microgame** (CATCH THE NAMES!); **the home stage packs away** into the frame-within-the-frame and the screen switches off.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/microgame/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/microscope), 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). -->
+
+# Microscope Story — Style Prompt
+
+> Real, licence-clean microscopy of a real specimen, seen as it is, and one continuous change of scale that carries the viewer from the glass slide in the hand to a single cell. Focus breathes when the magnification changes, a focal plane sweeps when the camera lands, and every scale bar, field of view and reading comes from the image's own metadata.
+> References (grammar only): Charles and Ray Eames' *Powers of Ten* (one continuous change of scale with a readout riding along); premium microscope launch films (dark bench, glass catching light, restrained marks, clean instrument sound); digital-pathology viewers' instruments (scale bar, field of view, magnification). Copy none of their layouts, interfaces, typefaces or music; never name them in the film.
+
+## 1. Essence, and what it is not
+
+- **The specimen is a photograph**: a real micrograph or whole-slide scan of the actual sample, CC0, public domain or CC BY. Nothing on the specimen is drawn, retouched or generated. A whole-slide image (WSI) is the ideal source: one sample, one registered pyramid from millimetres to microns, with the pixel size in its metadata.
+- **Scale is the camera**: one log-space dive (and, when the story wants it, the climb back) through nested plates of the same sample. The scale bar shortens and jumps in a 1-2-5 sequence, the field-of-view readout rolls, the magnification steps.
+- **Focus has a grammar**: a rack-in from soft at the start, a short breath (blur + a hint of field change) each time the magnification changes, a focal-plane sweep across the frame when the camera lands.
+- **Readings are measured**: every number is computed from the file (pixel size × pixels) and the screen says how it was measured. Describe what was measured; never diagnose. Keep a `FACTS.md` in the project folder (claim, source URL, quoted wording, or the measurement method) and deliver it with the film.
+- **One reading per screen**, in the single accent colour.
+
+Not Satellite Briefing (no grey grade; the stain keeps its colour), not Sci-fi HUD (no glowing wireframes or crosshairs), not Data Storytelling (no chart paper), not a keynote (no slides or header bars).
+
+## 2. Materials & rendering
+
+- **Plates**: the WSI pyramid levels as plates in one world frame (level-0 pixels), the coarse levels whole and alpha-feathered at the scan edge, the fine levels as crops around where the camera lands. Each frame draws the finest plate that is downsampled no more than ~1.45×, and blends the next level in between 2.2× and 1.45×: no seams and no visible upsampling, because every level is the same sample, already registered.
+- **The naked-eye plate**: the scanner's own photo of the whole slide (many WSI files carry one), registered through the scan's area-of-interest metadata and checked against the tissue's centroid. Cut the glass out of the scanner tray, remove the line-sensor streaks, and fill any manufacturer's printed logo with the surrounding frosted glass. Below ~30 mm of field the photo would be upsampled: let the cover glass become clean glass (its dust leaves the focal plane).
+- **One grade for every plate**: glass normalised to a warm white, a little density and chroma in the stain, nothing else. No false colour, no film emulation.
+- **The bench**: graphite under a slow pool of light; a soft shadow under the slide.
+- **Focus**: screen-space Gaussian blur on a frame rendered with a margin (so edges never go dark); the focal sweep is a tilted sharp front crossing a softened frame. A light illumination vignette, nothing more.
+- **Marks** in screen space but anchored to the specimen through one world → screen function: hairlines 1.5–2.5 px with a dark or light halo, circles drawn on as arcs with cardinal ticks, dimension lines with end ticks, leader lines with one elbow. Counted pixels are shown as a mask revealed behind a scan front, then kept as a faint trace.
+- **Frosted panels** (dark translucent glass over a blurred copy of the frame) for readings, instruments, subtitles and the credit: white type reads on glass and stain alike, nothing switches colour mid-shot.
+
+## 3. Colour logic
+
+- Glass: warm paper white. Bench: graphite. The stain is evidence and keeps its true colour (e.g. trichrome red and blue, H&E pink and purple).
+- One accent, cool and away from the stain's hues (mint against red and blue; amber against a green or purple stain), only for the measured reading and the counted pixels.
+- Ink on glass is near-black; type on stain sits on a frosted panel in warm white.
+
+Example (our demo): glass #F4F1EC, bench #0B0D0F → #2A3036, ink #181B1F, panel rgba(12,14,17,0.74), accent mint rgb(120,240,205) (on stain) / rgb(0,122,99) (on glass).
+
+## 4. Type & subtitles
+
+- **Roles**: a light condensed grotesk for readings and the scale bar (40–72 px, e.g. Barlow Condensed); a monospace for instruments and pixel counts (20 px, e.g. IBM Plex Mono); a sans in the film's language for labels (20–34 px, e.g. Noto Sans SC); a serif only for the title. OFL, self-hosted, CJK subset.
+- **Instruments** live in one frosted panel in a corner: scale bar with its value, field of view, magnification with a small nosepiece glyph that turns a quarter on every change. The source credit in a small panel in the opposite corner.
+- **Readings** sit in a frosted panel beside what they measure, joined by a leader: a small label above ("collagen share of tissue area"), the number large in the accent, the method or the raw counts below.
+- **Subtitles**: a frosted strip at the bottom; if the film is bilingual, one line per language with the film's language on top, never wrapped. Measure each line with the real font and split long lines into two cues.
+- Nothing below 20 px at 1080p. Hold labels ≥ characters ÷ 4.5 + 1.5 s (CJK); a reading that rolls is reported by its landing value.
+
+## 5. Motion quality
+
+- The camera is a similarity transform (zoom, roll, position) interpolated as a log spiral between keys (M^u about the fixed point of the two frames), so every push is a true dive towards one point and the roll is part of it. Ease the moves, creep 2–5 % during holds; never a frozen frame longer than a second.
+- Magnification changes happen where the plates actually change, each with a breath of focus, a turret click and the new magnification said once, large.
+- Marks arrive by being made: a dimension line grows from its centre, a circle is drawn as an arc, a scan front counts pixels while the reading rolls, the reading lands with a small spring.
+- Never moves: the specimen under its marks, the instrument positions.
+
+## 6. Camera grammar
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| The dive (log zoom with roll) | going to look for yourself | an opening; from the slide to the cell |
+| Locked frame, slow creep | evidence, a measurement | a reading; a comparison |
+| Truck at one magnification | a second sample of the same thing | the counter-example; "meanwhile, nearby" |
+| Pull back to frame two marks | comparison | the verdict |
+| Focal-plane sweep | arriving; depth | a landing; a reveal inside one frame |
+| The climb (reverse dive, scale bar jumping back) | consequence, scale | an ending; a return to the eye's scale |
+
+At key moments the measured structure fills a third of the frame height or more; instruments in a corner, subtitles bottom centre, readings beside their marks. Transitions are scale changes, trucks and focus, never cuts or crossfades between samples.
+
+## 7. Sound palette
+
+- **Instrument foley**: the objective turret (a click, a detent, a small metal ring), a focus servo, pen on glass for each line drawn, a band-passed scan travelling left to right with counter ticks that speed up, a soft filtered sweep for the focal plane.
+- **Music**: hard-mallet vibraphone in 8ths and 16ths, marimba ticks, bowed vibraphone and water glasses for pads and the motif, glockenspiel for each reading that lands, a pulse bass with 2nd/3rd harmonics, timpani and bass drum under the landings. Harmony stays open and light; the score is the user's to shape.
+- **Beds**: a quiet lab room (fan, a little mains hum).
+- **Silence** before the verdict and before the climb; the first sound after it is the reading or the turn.
+- **Mix**: voice ~10 dB over music, music ducked under it; −14 LUFS. Voice: a calm, exact narrator; numbers spelled out for the TTS, digits on screen.
+
+## 8. Native moves
+
+- **The dive.** From the slide in the hand to a cell in one camera, the turret clicking at each real change of level. *Fits content like:* a biopsy to its cells; a coated surface to its crystals; a hair or skin section to its layers.
+- **Counting the colour.** Draw a circle, let a scan front cross it, light up every counted pixel and roll the share up to its landing value; show the raw counts underneath. *Fits content like:* collagen in tissue; porosity in a ceramic; coverage of a coating; pigment in a sample.
+- **Two circles, one verdict.** Measure one place, truck to another at the same scale, then frame both and say what differs. *Fits content like:* treated against untreated; edge against centre; before against after.
+- **The focal sweep and the ring.** Land, sweep the focal plane across the frame, ring one structure and give its size. *Fits content like:* a nucleus; a grain; a fibre's diameter.
+- **The climb back.** Pull out to the eye's scale with the scale bar jumping backwards; a title card written on the glass.
+
+## 9. Pitfalls of the medium
+
+- **Licences**: most microscopy on the web is CC BY-NC or all rights reserved. Usable: CC0 whole-slide scans (e.g. the OpenSlide test data: check each file's licence line), public-domain government micrographs (NIH, CDC PHIL, NASA, USGS), CC BY collections (Cell Image Library, Wellcome Collection), with every file listed in `CREDITS`. Not usable: CC BY-SA without agreement, NC images, journal figures, AI images.
+- **Finding material for a new topic**: search by organ, stain or material plus "whole slide" in the OpenSlide test data, NCI Imaging Data Commons (TCGA/CPTAC slides, licence per collection), the Cell Image Library, Wellcome Collection, Wikimedia Commons (filter by licence) and NIH/CDC galleries; prefer a file whose metadata carries its pixel size. CC BY-SA, ODbL or "no known restrictions" are not CC0: name the terms to the user and ask before using them. For a product, a lab or a brand, ask the user for their own scans (SVS/NDPI/MRXS, SEM TIFFs with a scale) first. Never stand in a generated image for a real specimen.
+- **Different samples never zoom into each other**: two micrographs of "the same thing" at two scales are two specimens. Use one pyramid; if you must join sources, cut on a focus breath and say so.
+- **Pixel size**: read it from the file (XMP `ScanRes`, TIFF resolution, OME `PhysicalSizeX`); a slide-photo's resolution tag can be trusted only after checking against the scan.
+- **Upsampling** shows as mush beyond ~1.6×: end the dive at the scan's real resolution.
+- **Tile seams**: some scanners overlap tiles; check the joint info, frame out visible seams.
+- **Labels and logos** on the slide: barcodes and IDs are part of the object; manufacturer logos are not — fill or crop them.
+- **Claims**: a stain's colour means what the stain protocol says, nothing more; measured shares are of the drawn region and the stated threshold, never a clinical score.
+
+## 10. Engine
+
+- `demo/film.js`: log-spiral camera (`camAt`), plate selection by downsampling ratio and coverage, objective events from real level changes, focus, frosted `panel()`, marks, readings, `TEXTS` / `SUBCHECK` / `EV`.
+- `demo/tools/plates.py`: slide-photo registration and cleaning, graded plates, collagen mask and the scan's cumulative curve, the tissue axis. `nucleus.py`: membrane edge on 72 rays, least-squares circle.
+- **Extra packages and packs** (beyond `setup.sh deps voice`): `tifffile` + `imagecodecs` read TIFF-based slides (Ventana BIF, Aperio SVS, Hamamatsu NDPI, generic pyramidal TIFF; `demo/tools/plates.py` is written for BIF: its label page, XMP and AOI); MRXS, SCN, VMS and others need `openslide-python` with the OpenSlide library (`brew install openslide`), or an adapter of your own. Install them yourself into a private venv in the project folder, not into `$LIB/.venv`.
+- Minimal example, not in the demo: a coated steel sample: one SEM pyramid, a dive to one crack, a circle counting coverage, a ring around one grain.
+
+## 11. Variation space
+
+The agent decides the specimen, the stain or modality, what is counted, the camera path, the accent, the ending.
+
+- **Structures**: a single dive ending in one measurement; a comparison of two regions or two samples at one scale; a climb that starts on a cell and reveals the object.
+- **Openings**: the slide on the bench under moving light; a cell already in focus, the climb revealing what it belongs to; a blurred field racking into focus.
+- **Endings**: the title written on the glass; a last reading held in silence; the slide lifted out of frame.
+
+---
+
+How our demo was made (story, shots, score, title card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/microscope/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/midcentury-toon), 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). -->
+
+# Mid-century Cartoon — Style Prompt
+
+> 1950s flat colour and limited animation for "follow along" films: colour printed a few pixels off its broken ink line, bodies that hold still while hands do the work, abstract colour-block rooms, a calm classroom narrator, and a cool-jazz combo.
+> References (grammar only): UPA's early-1950s shorts (*Gerald McBoing-Boing*, *Rooty Toot Toot*): colour and line on separate cels, geometric people, colour-plane backgrounds, limited animation. 1950s classroom films (Coronet, Encyclopaedia Britannica): direct address, one sentence per picture, numbered cards. Charley Harper and Mary Blair: soft atomic-age complements, geometric figures. 1950s appliance manuals: numbered medallions, curved arrows, round call-outs, sunbursts. Copy none of their characters, drawings, lettering or music, and never name them in a film.
+
+A **scene style**: it performs a real use (a set-up guide, a how-to, a recipe card, a safety card) rather than telling a story. The viewer should come away able to do the thing. See §11 for the jobs.
+
+## 1. Essence, and what it is not
+
+Flat, printed-looking colour with a thin, breathing ink line that never quite closes. **Every fill is a separate "cel" printed a few px off its line**, re-rolled on twos, so the picture shimmers like hand-registered paint while the camera glides. Light dry-brush tooth, paper grain, warm vignette.
+
+People and things are geometric: egg or bean heads with the nose part of the face outline, simple garments in two or three flat colours, four-finger cartoon gloves. **A presenter's body is a held drawing: only arms, hands, eyes and mouth animate.** Rooms are not drawn: a scene is one colour plane, a floor band, a horizon line with gaps, and one or two props.
+
+Not the 1930s rubber-hose cartoon (no black-and-white, no bouncing world, no hot jazz). Not a whiteboard explainer: it shows *how to do*, not *why*. The pictures are printed, not written on.
+
+## 2. Materials & rendering
+
+- **Off-register cels**: fill drawn with a small offset (a few px, down-right) from its line; the offset jitters ±1–2 px on twos. Keep it on everything, text included; switch it off only for a crisp diagram.
+- **Line**: 3–5 px ink ribbons with ±40 % width breathing and 12–25 % breaks. Characters ~4 px, props 3–4.5 px, walls in plans thicker and broken. Hands: one outline around the union of palm and fingers, thin finger separations.
+- **Shading**: one flat darker plane clipped inside a shape, never a gradient. Drop shadows are a copy of the shape offset down-right in a paper shade at ~50 %.
+- **Ornaments**: 4-point atomic sparkles, 8–18-point starbursts, sunburst rays (~30 wedges, semi-transparent), boomerang and kidney shapes, polka dots.
+- **Grain**: light; print, not film.
+
+## 3. Colour logic
+
+- **A warm paper ground, a warm near-black ink, soft atomic-age complements.** Nothing pure or neon.
+- **One ground colour per scene**: a lighter tint for walls, a darker shade for floors. Never place the product on its own colour, never the presenter on their own accent.
+- **The product keeps one colour through the whole film**; the accent (a presenter's garment, stars, bullets) is a different hue. Step grounds rotate through the rest.
+- Examples: *coral / mustard / turquoise* on cream; *tomato / olive / powder blue* on oatmeal; *plum / lime / sand* on off-white.
+
+## 4. Type & subtitles
+
+- Roles: a 1950s script for a kicker (Oleo Script Bold); a slab serif (Alfa Slab One) for titles, numerals and headers, in ink over an offset colour plate; a geometric sans (Jost 500/600) for body, details, labels and captions.
+- **Caption card**: a paper-coloured rounded slab with a thin ink border (its colour cel offset too), small turning stars at the ends, ~40 px sans, bottom-centre. Fades in quickly with a small rise. Hold ≥ max(1.8 s, speech + 0.6 s, chars/12 + 1 s).
+- **Step header**: an ink disc with a paper numeral, a small letter-spaced "STEP n OF N", and the step title with a cream plate; it slides in on twos.
+- **Detail tags**: a paper card with a star bullet, popping on the action beat next to the call-out. Data lands on the picture, never as a slide.
+
+## 5. Motion quality
+
+- **On twos:** poses, hand shapes and the cel jitter change at 12 fps. The camera, iris wipes, arrows, plan routes and rays move at 24 fps.
+- **Held body, moving hands:** switch poses with a single in-between. A hand action has anticipation (pull back or lift), a fast action (0.15–0.25 s, eased out), a follow-through (recoil, settle, lift away) and lands exactly on a beat.
+- **Pop-ins:** medallions, tags, labels and titles scale in with a back-ease (~0.25 s, strong overshoot).
+- **Reaching the floor**: a kneel pose with 2-bone IK keeps the hands on the object while it moves; never stretch standing arms.
+- **Lettering**: a script writes on left→right with a clip; headers slide in on twos.
+
+## 6. Camera grammar
+
+The camera is "the stand": never handheld. A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Slow push (a few %) | Collecting the eye | a product on its stage; a result settling |
+| Iris through a medallion | The number *is* the door | a change of step; a change of rule |
+| Round call-out with a leader line | Context and detail at once | a hand action; a screen; a small part |
+| Tilt with a pointing finger | The finger leads the frame | the one action that matters most |
+| Push into a device, pan along signal rings | Person → interface → device | pairing; connecting |
+| Iris from a round object into a top view | Circle to circle, function to plan | a button starting a job; a lid opening; a dial |
+| Pull-back with counter-rotation from a detail to a plan | One lane becomes a pattern | a route, a schedule, a garden, a floor plan |
+| Colour-block wipe (side, bottom-up) | Turning the manual's page | a tip; a summary; a new card |
+| Split frame in two colour blocks | Right vs wrong, before vs after | a safety rule; an upgrade |
+| Dead still ≥ 3 s | "This is the frame to screenshot" | a summary; a CTA; a QR code |
+| Iris-out onto one object | The last circle | a closing on the product, the logo, the result |
+
+Key subjects ≥ 1/3 frame height and clear of the caption band. Transitions are circles, colour-block wipes and cuts on a beat; no dissolves.
+
+## 7. Sound palette
+
+Three layers, always:
+- **Music**: an original West-Coast cool-jazz combo: flute or muted trumpet, vibraphone (chords, arpeggios, glissandi, tremolo), pizzicato walking bass, brushes (sticks on the ride for energy), celesta, bongos or finger snaps. Not ragtime, not a spy big band, not piano and strings. Options: give **every step its own vibraphone chord** and bring them back one per summary item; halve or double the feel instead of changing tempo; move up a step for a payoff.
+- **Silence as a tool**: cut *everything*, ambience included, for the beat before the most important action, so the first sound after it (the click, the pour) is the step. Room tone alone before a summary.
+- **Foley by material**: cardboard creaks and thumps, appliance plastic knocks and clicks, floor scrapes, glass and ceramic clinks, pours, damped rubber stamps for medallions, paper swishes for wipes, slide whistles for dimension arrows, rising pips for "connected", pen scratches for a route, an iris "shhk".
+- **Ambience**: warm room tone (low-passed brown noise, very quiet), a mantel-clock tick on the grid; a device's motor hum can take over when it works.
+- **Mix**: J/L cuts (lines start before their iris, tails ring on); narration compressed on top, music ducks ~8 dB, foley unducked, −14 LUFS.
+- **Voice**: calm classroom authority, one clause per line ("Step one. Set it against a wall."). Whisper-check every line; accents can blur key nouns.
+
+## 8. Native moves
+
+Each move serves information. A menu: use the ones your film needs.
+
+- **Off-register colour** makes an info card hand-made and warm. *Fits content like:* museum rules; a bank app screen; hotel check-in.
+- **Limited animation points the eye**: the still body leaves the hand as the only mover, and the hand *is* the step (one hand action per step, on a beat). *Fits content like:* threading a sewing machine; changing a bike tyre; setting a thermostat.
+- **The round call-out** is the close-up; the step's data lands inside or on it on the action beat. *Fits content like:* a dosage on a measuring cup; a torque value on a bolt; a PIN on a keypad.
+- **The numbered medallion** marks hierarchy and opens the next step; it stamps onto the outgoing subject and the camera goes through it. *Fits content like:* a pool's five rules; a checklist for a flight; stages of a recycling sort.
+- **The payoff turns function into ornament**: a real process (a route, a watering schedule, a seating plan) draws itself region by region and, seen whole, reads as an atomic-age textile. *Fits content like:* a sprinkler's coverage; a delivery round; a week of medication.
+
+## 9. Pitfalls of the medium
+
+- A route that ignores obstacles → follow the product's real rules; flow streamlines bend around obstacles and never cross. Lay it one region per beat, not all at once.
+- A separate nose wedge looks glued on → one open spline from the bridge round the skull, closed at the nose tip.
+- Thin arms read as sticks from the neck → shoulders at the torso corners, sleeves as a thick ink ribbon with a colour ribbon on top.
+- Fat-blob fingers turn the hand into a cloud → stroke every part first, fill second (one union outline), slender fingers with separation lines.
+- Zooming the world triples the ink → close-ups in call-out circles drawn at native scale.
+- Detail text without reading time → move the data into the detail, the context into the title and the voice; chars/12 + 1 s.
+- A transition drawing the next scene before its start → clamp local time to just past the start.
+
+## 10. Engine
+
+`demo/engine/toon.js` (the style: `setClock`, `shape` for any shape in the style, `ink` ribbons, `plane`, two-plate `text`, `fit`, the manual `arrow`, ornaments, the global register `REG`), `demo/engine/chars.js` (presenter, glove hands, the demo product), `demo/engine/icons.js` (18 icons). `demo/film.js` has liftable helpers: `callout()`, `medallionAt()`, `tag()`, `stepHeader()`, the flow-route generator `laneY()` + `buildPath()`, and the transition block (medallion iris, button iris, colour-block wipe, iris-out). API table and a minimal example: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/midcentury-toon/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the thing, the presenter (or none), which steps 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 |
+|---|---|---|---|
+| **Product set-up guide** | product name → title → step title → step detail on the action beat → payoff → tip → CTA | title ≥ 4 s; step title the whole step; detail ≥ chars/12 + 1 s; summary ≥ 3 s clean | 30–40 s, 2–5 steps |
+| **Safety / rules card** | rule number → rule → one "why"; a held figure, a medallion, a gesture, a pictogram per rule | 3–4 s per rule | 20–40 s, 3–6 rules |
+| **Recipe or ritual card** | step → quantity/time → result; side view, call-out on the hands, result as a top-view pattern | 3–5 s per step | 30–45 s |
+| **Onboarding for an app or service** | screen action → setting value → confirmation stamp; the screen lives in the call-out | 3–4 s per action | 20–30 s |
+| **Store or event notice** | headline → time/place → CTA; colour-block wipes between cards | ≥ 3 s per card | 15–25 s |
+
+All far from our demo:
+
+- Structures: **a rules card with no product**, one held figure and a medallion per rule; **a recipe on a tabletop**, seen from the side, ending in a top view; **a do / don't split**, each rule shown twice in two colour blocks.
+- Openings: **the finished result first**, then "here's how"; **the problem in one gesture** (a hand fumbling a cable); **a numbered list** stamped on, then opened item by item.
+- Endings: **a checklist ticking itself**; **the hands at rest** beside the finished thing; **a QR code** held dead still in a starburst.
+
+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/midcentury-toon/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/news-package), 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). -->
+
+# Broadcast News Package — Style Prompt
+
+> A television newsroom's on-air package, built entirely in code: a sting that becomes the channel bug, a rundown of today's stories that opens and closes the bulletin, a lower-third strap that never leaves the bottom of the frame, and full-frame graphics (split-flap price boards, a line breaking a threshold, explainer maps, documents flying out of a city, quote cards, spec cards with proportion bars, stamps) that carry the facts. The style is the **package system plus its cutting rules**, not a drawing style. 16:9, a clean frame: no burned-in subtitles, no news crawl.
+> References (grammar only): evening network news headline menus, financial-channel market graphics, European news channels' explainer maps, tech-desk spec cards. Never copy a broadcaster's logo, set, fonts, colours, music or idents, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+1. **One package system, used consistently.** Every graphic is built from the same few parts: a brand plate (parallelogram), a tab in the accent colour, a paper strap, ink cards with an accent top edge, mono datelines, stamps. Viewers read the system before they read the words.
+2. **The bulletin's order.** Sting → rundown ("today we have four stories") → item → item → … → back to the rundown, ticked off → sign-off. Each item opens with its category on the strap's tab and its date on the first graphic.
+3. **One fact per screen.** A full-frame graphic states one thing: the price, the break, the two stocks, the place, the two letters, the quote, the verdict.
+4. **The strap holds the headline.** One lower-third strap is on screen from the first story to the recap and changes its words with a vertical flip; the picture above it is free for the graphic.
+5. **Clean panel.** No crawl, no burned-in subtitles; subtitles ship as a separate `.srt`. The frame is the graphic, the strap, the bug and a source line.
+
+Not **Caption News** (that is captions-first social video: huge slammed captions are the lead, no rundown, no strap; here type is small and orderly and the graphics lead). Not **Data Storytelling** (one chart per beat, never a dashboard; the chart is an insert in a bulletin). Not a keynote: no centred title-and-bullets, no page turns. Not a studio show: no virtual set, no anchor, no fly-throughs — the package is flat graphics over ink.
+
+## 2. Frame and layout (1920×1080)
+
+| Zone | Position | Content |
+|---|---|---|
+| Content | x 96–1824, y 56–840 | the full-frame graphic; when a strap is up, nothing important below y 840 |
+| Lower-third strap | tab x 96 y 856, 48 high; strap x 96 y 904, 1250×104, + 120 px ink end block | category tab (accent, ink text, Chinese + English), headline in Chinese 50 px + one English line 27 px |
+| Source line | right-aligned at x 1836, y 950 / 978 | `SOURCE: …` mono 13 px + Chinese 16 px, 75 % opacity; English ≤ 36 characters or it slides under the strap's end block |
+| Channel bug | top right, plate centre (1739, 86), 0.327 of the sting plate | the plate plus `AI NEWS` |
+| Corner tag | top left x 96 y 56, 330×64 | `ILLUSTRATION / 示意 · AI 生成画面` on generated plates, `SCHEMATIC / 示意图` on schematic charts; flips in and out 0.2 s |
+
+Content layers sit lower than a subtitled layout would put them (a 60–110 px downward shift) so the bottom strap does not leave an empty band above it. When you remove subtitles and the crawl, re-lay the page; never leave the space they used.
+
+## 3. Package parts (specs)
+
+| Part | Spec | Rules |
+|---|---|---|
+| Sting | 0–1.5 s | two accent slashes (0.04, 0.10 s) → the plate slams in with an overshoot, an impact ring and shake (0.16–0.42) → letters drop in one by one → wordmark and dateline open from the centre → a glint → the plate flies to the top right and **becomes the bug** while a vertical band wipes into the first shot. A hit within 0.4 s |
+| Brand plate | parallelogram 520×180, accent gradient, ink and gold bars at the left, name in condensed 800 | the same object is the sting, the bug, the desk front and the end card |
+| Rundown | left: date block (big numerals, month, week); right: three rows, 1024×140, number block in accent | rows flip in vertically on the beat (back ease) with a glint; at the close the same object returns and each row is ticked |
+| Lower-third strap | see §2 | enters with the first story, flips (new words up from below, old up and out, 0.32 s; the tab flashes white when the category changes), leaves with a slide when the recap starts. A **profile** version (tab `人物 PROFILE`) names a speaker |
+| Split-flap board | tiles 220×130, top and bottom halves clipped separately | old value and new value on the same board, so the change reads in one look; ×2 / +x % called out to the right |
+| Threshold chart | line from the peak, the threshold as a dashed gold line | the line head advances one trading day per step; the last step crosses the threshold in accent with a shake and a ring; the readout panel slides in after; axes show only what the data supports |
+| Bars | grow from a zero line downward for losses, values roll | a reference line at the shared threshold plus a badge |
+| Explainer map | the same projection, one long take | members light in order of distance from the city; the city label, the institution label with leader, a stamp; the camera pushes, then pans to make room |
+| Documents | 380×490 paper, ink header | fly out of the city dot on an arc (0.5 s, scale 0.08 → 1, rotation settles); check boxes tick on the voice's key words |
+| Quote card | ink background with the package's light streaks, a large accent quotation mark lands first, lines push up one by one (0.18 s apart), then the Chinese gist, a gold rule, name, occasion and date | the official wording, in the language it was said; never paraphrase inside quotation marks; an underline sweeps the key word as the voice says it |
+| Spec card | eyebrow (source · date), the product name pushed up from a mask, a category stamp, proportion bars on one scale (the whole vs the part, values rolling), a percentage badge, a context chip; a second group on the right for the hardware or the place, filling cell by cell, joined by a bracket to its total | one scale for every bar, so the proportion is true; every number from the source page |
+| Stamps | accent fill or ink with a double accent frame, −6° to −10° | land from 1.9× in 0.16 s with an expanding ellipse; one per story at most |
+| Transitions | vertical band wipe (accent 84 px + ink 5 px + gold 14 px edge, 0.3 s) between stories and programme parts; hard cut + timpani inside a story; slanted wipe into the end card | nothing else: no dissolves, no 3D flips, no page turns, no fly-throughs. **The package layer travels with its picture**: under a wipe each side draws its own strap words, tab, source line and corner tag (old state on the old side, new state on the new side), so the band brushes the headline over; on a hard cut they change on the same frame. Strap words never flip or overlap. The incoming picture's entry animation starts under the band, so its first revealed frame already has content |
+
+## 4. Colour
+
+| Role | Value | Use |
+|---|---|---|
+| ink | `#121417` | backgrounds, panels, strap end block |
+| ink2 / ink3 | `#1B1E23` / `#22262C` | cards, land on maps |
+| accent (lemon) | `#F2CF1D` (light `#F8DE4A`, dark `#D8B30C`) | plate, tabs, band wipe, bars, stamps, the line that breaks |
+| gold | `#D4B064` | thresholds, datelines, source lines, light fins, badges |
+| paper | `#F4F1E8` | strap, documents, the chart line |
+| breaking | `#FE6B3D` | only for BREAKING and LIVE. A weekly round-up has neither, so it never appears |
+
+Structure to keep when you change the brand: one accent + one gold-like secondary + paper + ink, and a reserved alarm colour. Ink text on the accent; on paper, English secondary lines in a dark olive (`#6E5A1E`) because gold is too weak there.
+
+## 5. Type
+
+- Chinese: Noto Sans SC 900 (headlines, strap) / 700 (labels).
+- Latin: Barlow Condensed 800 (numbers, names, the plate), 600 (secondary lines, quotes), 600 italic (the end-card English title).
+- Mono: IBM Plex Mono 500 for datelines, sources, axis labels, all caps with 1–4 px tracking.
+- All OFL, subset from Google Fonts by `demo/tools/fonts.sh` (the character list is read from `main.js`; delete `fonts/*.woff2` after a text change). No handwriting faces in this style.
+- Every label is bilingual on one line each (Chinese first, English smaller); never wrap.
+
+## 6. Picture layer and grade
+
+- When there is no footage, the picture layer is data graphics drawn in code plus, at most, a few **illustrative plates** (generated or stock), each tagged `ILLUSTRATION` for as long as it is on screen. They set a mood (a server room behind a model launch, a wafer behind chip stocks); they never stand in for the event, the place or the people.
+- One grade for every plate: greyscale → auto black/white points (0.5 / 99.6 percentile) → γ 1.05 → 35 % S-curve → black 8, white 232 → duotone `#0E1013` → `#ECE7D8` (`tools/prep.py: grade()`), plus a left-dark ink gradient for type, a 50–55 % vignette and 7 % overlay grain cycling through six tiles. Graphics and the package are never grained.
+- Real footage, if you have it, takes the same grade path; modern footage ≤ 1.5× scale, archive ≤ 2.5× after deblocking; crop out station logos.
+
+## 7. Editing grammar
+
+- **120 BPM grid**, beat 0 at the end of the sting (1.5 s). Every cut and wipe on a beat or half-beat.
+- **Shot lengths**: sting 1.5 s; rundown 4–5 s; story shots 3–7 s; a map long take (6–12 s) as the bulletin's breath; a comparison stays until every item has been fully on screen ≥ 2.5 s.
+- **A package action every 0.5–1 s** inside a shot (flip, count, stamp, tick, strap change, map light, line step). No frame flat for more than 1 s; a strong action within 0.5 s of every cut.
+- **Date every story**: a weekly bulletin's items happen on different days; the date sits in the rundown row, the eyebrow line, the readout or the document.
+- **The order inside an item**: what (the name or the number) → how big (the line, the bars, the price board) → who it hits or who said it (bars, documents, a quote) → the verdict stamp.
+
+## 8. Sound palette
+
+| Layer | What | Level |
+|---|---|---|
+| Anchor voice | one narrator, one sentence per graphic, starting 0.1 s after the cut; HP 90 Hz, 3:1 compression. Default: the library's Kokoro (`core/tts/tts.py`, free, Apache 2.0) in English or Chinese. The user's own recording, or another TTS they have a key for (for example Doubao, as in the demo), replaces it — never required | music ducked ≈ −7 dB and its 1.2–5 kHz band thinned under speech |
+| News theme | 120 BPM, minor key: spiccato violins in root–fifth–octave eighths, pizzicato bass on the beat, horn pads, a low-passed 16th-note saw pulse, kick on 1 and 3, snare on 2 and 4 | full under the rundown and the first story |
+| Section moods | markets: violins down an octave, tremolo, four-on-the-floor kick (heartbeat); policy: pizzicato and horns only | |
+| Signature hits | sting tutti; glockenspiel notes as the rundown rows land; timpani on hard cuts and story changes; one beat of silence before the biggest break, then the heaviest hit of the film; a held drone after the verdict stamp; a major-key lift for the last story; tutti on the end card | |
+| Foley | whoosh on wipes, flap clicks on split-flaps, stamp thump + clack, trading-room ticks under market charts, map clicks per lit country, a sonar ping on a city, paper and typewriter ticks on documents, click + glockenspiel on ticks | |
+| Room | server-room hum under a tech plate, soft air under maps | very low |
+
+Master −14 LUFS, true peak −1.2 dB (`core/render/mux.sh`). Samples: VSCO 2 CE and VCSL (CC0); foley synthesised (`core/audio/sfx.py`).
+
+## 9. Native moves
+
+1. **Sting becomes the bug** — the brand plate slams in, then flies to the corner and stays there for the whole bulletin; opening and programme are one object.
+2. **Strap tab = category** — the strap's tab changes category (模型 MODELS, 市场 MARKETS, 监管 POLICY …) with a white flash when a new story starts; no separate item cards between stories.
+3. **Rundown, then ticked off** — the same list opens and closes the bulletin; at the end each row gets its tick.
+4. **Spec card** — a launch reduced to its proportions: the whole and the part on one scale, then what it runs on, joined by a bracket to the total.
+5. **Strap that never leaves** — one strap group from the first story to the recap; words flip, the strap itself never exits mid-programme.
+6. **Split-flap before/after** — old and new value on one board, each tile flipping from the old to the new.
+7. **Breaking the threshold** — a line advances one period per step towards a dashed threshold; the music stops for one beat before the last step and the crossing gets the heaviest hit.
+8. **Date in the eyebrow** — every graphic's eyebrow line carries source and date in mono caps, so a weekly round-up never blurs which day each item happened.
+9. **City sends the letters** — on a map long take, documents fly out of the sending city to their addressees; one world→screen function keeps labels and documents attached through push and pan.
+10. **Quote card + verdict stamp** — the official's own words in type, with name, occasion and date; an underline on the key word as the voice says it; one stamp.
+
+Where each move lives in the demo's code: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/news-package/DEMO.md) (build notes).
+
+## 10. Material
+
+1. **Facts first.** Every on-screen number and every sentence of the voice comes from an official source (the company's own page, the exchange's data, the institution's press release or speech), recorded in `demo/FACTS.md` with claim, URL, quoted wording and any arithmetic. When a fact exists only in a news report, attribute it on screen and in the voice ("据…报道 / … reports") and keep to the plain claim; never put a single report's allegations about a real company or person on screen.
+2. **Data.** Draw charts from real series only; when you have just a few reported numbers, draw a *schematic* line, tag it `SCHEMATIC`, and label only what you know. Exchange closes: the exchange itself, the central bank's statistics portal, or a market-data file whose source you log.
+3. **Pictures: ask in this order.**
+   a. **The user's own images** — photos, b-roll stills, their logo and colours (the package is rebuilt around their brand). Use these first.
+   b. **Generated illustrative plates**, if the user wants them. Before generating, tell the user how many images and what each shows (one line per plate). With the Codex CLI installed and able to generate images, `demo/tools/gen_image.py` (driven by `demo/tools/gen_plates.sh`) makes them and saves JPEGs to `demo/assets/plates/`. With any other image tool (an API or a web app), give the user the prompts and the target file names; they generate the images and drop them into `demo/assets/plates/`. Prompts ask for no text, letters, logos, flags or people.
+   c. **No generated images**: public-domain, CC0 or CC BY photographs (licences below), or abstract backgrounds drawn in code (gradients, grids, light fins — the package already carries the frame).
+   Whatever the source: every word on screen is typeset in code, never baked into an image; a generated plate is only ever an illustration behind a graphic, tagged `ILLUSTRATION / 示意` for as long as it is visible, and never stands in for the event, a place in the news, or a person. No generated anchor.
+4. **Photo and footage licences** (judge each file on its own page, not the search result):
+   - **Wikimedia Commons**: CC0, public domain or CC BY (credit author, title, licence on the end card and in `CREDITS`). Not used: CC BY-SA, "no known restrictions", unclear licences, YouTube re-uploads, colourised or "restored" versions.
+   - **U.S. federal agencies** (NASA, NOAA, NARA, USGS…): public domain; check the page does not credit a contractor or third party.
+   - **Internet Archive**: only items whose page states public domain, CC0 or CC BY; U.S. works published before 1931 are public domain.
+   - **Library of Congress / national archives**: read each rights statement; "no known restrictions" is not enough.
+   - **Institutions' audiovisual services** (for example the European Commission's): read their reuse terms per item; many require attribution and forbid implying endorsement.
+   - **Maps**: Natural Earth (public domain), via `world-atlas` TopoJSON.
+5. **Before downloading, tell the user** what you will fetch, from where and under which licence. The finder copied into this style, `demo/tools/footage.py` (`search commons|archive|nasa`, `fetch`, `used`, `md`), logs licence, author, page and the seconds used into `SOURCES.jsonl` and writes `SOURCES.md`. Keep `raw/` under ~1.5 GB.
+6. **Logos**: never use a company's logo for a company in the news; set its name in type.
+7. **People**: public figures in the news can be named on a profile strap; no close-up or slow motion of private individuals.
+8. **Voice and music**: ask whether the user has a recorded anchor, a preferred voice or a theme of their own before synthesising one.
+
+## 11. Pitfalls
+
+- **Package left behind.** If the strap, source line or tags are drawn once on top of everything, a wipe changes the picture under yesterday's headline and the strap catches up 0.3–0.5 s later. Draw them per picture, inside the wipe's clip.
+- **Leftover layout.** Removing subtitles or a crawl without moving the content down leaves a dead band above the strap.
+- **Masked type peeking in.** A push-in title clipped by a mask shows its top edge before it moves if the travel distance doesn't clear the mask; start it fully below and don't draw at progress 0.
+- **Words stronger than the source.** "Request for information" is not "investigation" or "penalty"; write "no fine, no case opened" or "for the first time" only if a source says so — and check the institution's own pages, which can contradict a report ("first requests" may have gone out months earlier).
+- **Thresholds depend on the reference.** "Bear market" = −20 % from *which* high? Name the reference on the axis; from a different peak the claim can be false.
+- **Attribute what only a report says.** When the official source does not name the companies, the graphic carries "据… 报道 / reported by …" and so does the voice.
+- **A schematic posing as data.** Rolling counters on a close price flash values that never existed; set the close with a mask push instead. Don't label axes the data doesn't support.
+- **Source lines under the strap.** Right-aligned mono 13 px: ≤ 36 characters.
+- **Stamps over key words.** A stamp hit can mask the voice ("fines"); take the brass off the stamp and low-pass its clack.
+- **Gold on paper** has too little contrast: use ink or dark olive.
+- **Generated plates** carry stray corner marks: crop them in `prep.py`.
+- **Short preview text.** Rundown rows are previews of the stories; `readcheck` flags them as short in the opening — they return in the recap and as straps, so accept the flag or leave them out of `TEXTS`.
+- **Names in synthetic speech.** Spell brand names, model numbers and abbreviations the way they should sound in the TTS text (a respelling, a number written as a word, an abbreviation without dots) while the strap and subtitles keep the real spelling; when speech-to-text mishears an unusual name, put the expected transcript in the line's `asr` field instead of rewriting the line.
+
+## 12. Variation space
+
+Decide per film: the channel's name, plate and accent colour; how many items (one lead with a long package, three or four equal items, a five-item round-up); which full-frame graphics each item needs; where the long take goes; the anchor's voice.
+
+- **Three structures:** rundown → items → rundown ticked (round-up); one lead package with a correspondent two-box and a short "also today" grid; a countdown of items (election-night, sports results).
+- **Three openings:** sting → rundown; cold open on the biggest graphic, then the sting; sting straight into the first story with the rundown as a recap only.
+- **Three endings:** rundown ticked → end card; a "coming up next week" teaser card; the last stamp freezing into the end card.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/news-package/DEMO.md). Read it after your treatment exists.