wizz-method 2.21.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/satellite-briefing), 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). -->
+
+# Satellite Briefing — Style Prompt
+
+> Real satellite imagery of a real place, graded down to an analyst's grey, with thin white measurement lines drawn on the ground: a lock-on reticle, outlines, a range line, one reading. One continuous zoom built from stacked imagery plates carries the viewer from orbit to the ground and back, and time can run inside one locked frame.
+> References (grammar only): open-source investigation films that annotate satellite pictures (thin lines on imagery, one claim per screen, measuring as the plot); the Eameses' *Powers of Ten* (one continuous change of scale with a readout); NASA Earth Observatory's *World of Change* (one place, time running). Copy none of their layouts, typefaces, icons or music; never name them in the film.
+
+## 1. Essence, and what it is not
+
+- **The ground is a photograph**: real, licence-clean, georeferenced satellite or aerial imagery of the actual place. Nothing on the ground is drawn, stylised or generated.
+- **Two layers, two truths**: the imagery is what the satellite saw; the hairlines are what the analyst measured. Marks are thin, white, sparse, and sit on real coordinates.
+- **The grade moves with the story**: orbit in true colour, the analysis layer in grey, colour back only where the story turns.
+- **Scale is the camera**: one zoom from orbit to the ground built from nested plates, with an altitude readout and a scale bar from the same camera.
+- **One finding per screen**, in the single accent colour.
+
+Not Data Storytelling (a chart on paper), not Sci-fi Hologram HUD (no glowing wireframes or invented chrome), not Blueprint, not Isometric Infographic (real nadir or oblique views, no diorama), not a keynote (no slides, header bars or chapter numbers).
+
+## 2. Materials & rendering
+
+- **Plates**: georeferenced rasters with a lon/lat box, sampled in a shader where the camera ray hits the ground, nested by resolution (world → region → detail) with feathered edges so finer plates dissolve in as the camera descends.
+- **Globe**: ray–sphere from a perspective camera, a thin atmosphere rim, limb shading at orbit only; compute |C|² − R² in double precision (float32 fails below a few tens of km).
+- **Time**: dated plates share one grid. A soft scan front (a satellite pass, never a hairline) swaps them: north → south forward, south → north for a rewind. Growth can run outward from the old edge, ordered by a distance map.
+- **The analyst's grade** (one uniform from colour to grey): luminance with local contrast and clarity, a shoulder so salt, snow and cloud stay below white, toned blue-black → cool silver up to ~65 % grey, a fifth of the chroma. White belongs to the marks.
+- **Marks**: a 2D overlay through the same world → screen function: hairlines 1.2–2.6 px with a dark halo, dashes for history and claims, brackets, ticks, leader lines. Lines draw on; outlines print behind the scan.
+- **Screen space only for instruments** (altitude, scale bar, imagery credit) and the transcript strip. Everything else is anchored to the ground.
+- **The claim layer** is a printed map drawn in the shader from a distance field of the old outline: paper grain a few pixels wide at any zoom, halftone ink, coast and waterlines, graticule, the serif name.
+- **Post**: light grain in ffmpeg, a vignette, directional blur only on whip pans.
+
+## 3. Colour logic
+
+- Neutral ground: grey, roughly 3–65 % in value. White means *measured*.
+- One accent (warm, e.g. amber) for the single reading on screen, never decoration.
+- A second hue may mark the **claim** the imagery tests (a map, a plan, a promise): flat, cartographic, never used for anything measured.
+- True colour is evidence: at orbit, and again only where the story turns (the field that greened, the water that returned).
+- No false-colour ramps over the imagery.
+
+Example (our demo): ground #070B0E → #A1A7A9, marks #F2F5F6, reading #FFBE55, map blue rgb(46, 112, 206).
+
+## 4. Type & subtitles
+
+- **Roles**: a light condensed grotesk for the reading (96–130 px, e.g. Barlow Condensed); a monospace for instruments and dates (20–34 px, e.g. IBM Plex Mono); a sans for labels in the film's language (24–42 px); a serif only for the claim layer and the title. OFL, self-hosted, CJK subset to the characters used.
+- **Labels attach to the ground** with a leader line. The reading sits in the right third beside what it measures, label above, source note below ("Landsat, measured").
+- **Subtitles are a transcript strip** at the bottom left: a 2 px white rule, a dark plate fading right, left-aligned, each line on one line (measure with the real font, `nowrap`; split a long sentence into two cues). If the film is bilingual, the film's language on top.
+- Nothing below 20 px at 1080p, the imagery credit included.
+- Hold subtitles ≥ max(1.8 s, speech + 0.6 s); a rolling counter reports its landing value; labels stay ≥ characters ÷ 4.5 + 1.5 s (CJK).
+
+## 5. Motion quality
+
+- The camera never stops: distance interpolates in log space, segments ease, holds keep a 2–5 % creep or a slow rotation. No frozen frame longer than a second.
+- Marks arrive by being made: a line grows, an outline prints behind the scan, a counter rolls and lands with a small pop, a reticle snaps with overshoot.
+- Time changes are scans, never dissolves; their spacing tells the speed, and the camera moves with them (accelerating as the steps shorten, braking on the last).
+- Never moves: the ground under its annotations, the instrument positions.
+
+## 6. Camera grammar
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Oblique orbit, limb in frame | scale, context, distance | an opening; a return; a title card |
+| Dive (log zoom, tilt to nadir) | going to look for yourself | a reveal; checking a claim |
+| Locked nadir frame, slow creep | evidence, comparison | time running in one place; a measurement |
+| Push-in on a point | singling out | one town, one dam, one field |
+| Track along a line | travelling a distance | measuring; a river, a road, a border |
+| Whip pan with blur | a new subject at the same altitude | the counter-example; "meanwhile" |
+| Climb back to orbit | consequence, perspective | an ending; a summary |
+
+At key moments the subject fills a third of the frame height; reading right, subtitles bottom left, instruments in the corners. Transitions: scan-line swaps, a map layer switched off, zooming through plates, whip pans, the reticle opening into a title card. No crossfades between unrelated places, no hard cuts inside a zoom.
+
+## 7. Sound palette
+
+- **Telemetry**: FM pings (a lock-on ping worth bringing back), dry ticks on the grid that divide to accelerate, noise scans (rising for a rewind, falling forward), servo whines, a ratchet for a range line.
+- **Weight**: timpani, bass drum, gran cassa, bowed cymbal, a tam-tam reversed when time runs backwards. Measurements land on a pitched hit.
+- **Synthesis**: a pulse bass with audible 2nd and 3rd harmonics, detuned-saw pads under a low-pass, risers for dives.
+- **Beds**: orbit hum, radio hiss, data chatter; the place's own ambience (wind, water, a far horn), sparingly, often as J- or L-cuts.
+- **One option for the shape**: keep the palette dry (electronics, skins, metal) and let one wet timbre (glass, water, bowed metal) mark the turn.
+- **Silence**: music and foley stop, a thin bed stays, impacts may decay into it; the first sound after it is the turn. A short suck-out (0.2–0.45 s, music and foley down ~25 dB) before the heaviest impacts makes them land.
+- **Mix**: voice ~10 dB over music; the two or three designed impacts are the loudest moments (out of the bus compressor, with mid-range body, e.g. a low-brass stab); 20–60 Hz about 15 dB under the full band (high-pass ~40 Hz, impact weight at 60–120 Hz); −14 LUFS, true peak ≤ −1.2 dB. Voice: a calm analyst, short declarative lines.
+
+## 8. Native moves
+
+- **The map against the photograph.** The camera falls into the printed map of the claim; a scanner bar tears it away and the ground is underneath; the name outlives the page. *Fits content like:* a lake still on maps but gone; a cleared concession forest; a planned city never built.
+- **Time rings in a locked frame.** Dated plates scan in one by one; each leaves its outline, the band lost between two rings flashes. *Fits content like:* a glacier's retreat; a city's sprawl; a fire scar season after season.
+- **The range line.** Mark the destination, grow a ticked line from A to B, chase the tip while the reading counts up, land on the number, pull back to show the whole distance. *Fits content like:* how far a shore moved; a village to its well; a camp to the border.
+- **The dive and the climb.** One zoom from orbit to the ground, or back. *Fits content like:* locating anything; a scale reveal; an ending that returns one place to the planet.
+- **Colour returns where the story turns.** Only the subject regains true colour inside the grey. *Fits content like:* an irrigated field; a refilled reservoir; a regrown forest.
+- **The reticle becomes the frame**: the lock-on brackets open out to frame a title card or the last reading.
+
+## 9. Pitfalls of the medium
+
+- **Licences**: not usable: Google Earth/Maps, Bing, Esri World Imagery, Mapbox Satellite, Planet, Maxar, news photos, AI-generated imagery. EOX Sentinel-2 cloudless is CC BY 4.0 only for 2016 (2018 onward is NC). Raw Copernicus Sentinel data need "Contains modified Copernicus Sentinel data [year]"; check the user's rules. Public domain or free with credit: USGS Landsat (1972 on, worldwide), USGS NAIP (US, ~1 m), NASA Blue Marble, MODIS, VIIRS. Burn a readable credit into the picture and list every asset in `CREDITS`.
+- **Finding imagery for a new place**: search by bounding box and date in the Planetary Computer STAC (Landsat C2, Sentinel-2 L2A; no account) or USGS EarthExplorer; MODIS/VIIRS and Blue Marble from NASA GIBS; outlines from Natural Earth. Log every request. OSM (ODbL), CC BY-SA and "no known restrictions" are not CC0: name the terms and ask the user first. Ask for the user's own surveys or GIS layers when the place is theirs. Never fill a gap with generated imagery presented as evidence.
+- **Seams**: paths imaged on other days disagree. One date per path, each scene gain-matched on stable land, feathered overlaps, holes filled from the same year only.
+- **Old sensors**: Landsat MSS (to 1992) has no blue or SWIR and drops scan lines: nearest-neighbour resampling, near-zero rows as nodata filled from same-year scenes, scan-angle streaks cleaned on land only. Inspect every year at full contrast.
+- **Plumes and haze** cross water as bright diagonal bands: swap the scene for another date of the same year rather than painting it out.
+- **Edges**: resampling against nodata darkens scene rims (erode the mask); drop contour pieces along a plate border. Real straight edges (dikes, polders) can read as seams: frame them out or label them.
+- **Grey mush at close range**: raise local contrast for that altitude only and dim outside the measured corridor.
+- **Water and cloud**: MNDWI where shortwave infrared exists, only the basin you measure; clouds read as features in grey, so use the dry season.
+- **Facts**: keep a FACTS.md in the project folder (claim, source URL, quoted wording, or the measurement method with scene IDs and dates) and deliver it with the film. Measure on the date you show.
+
+## 10. Engine
+
+- `demo/engine.js`: `makeCamera({lat, lon, d, tilt, heading, sx, sy})`, `project()` / `unproject()`, the WebGL2 plate shader (nested plates, time scans, growth map, analyst grade, printed-map layer, whip blur).
+- `demo/overlay.js`: hairlines, brackets, `readout`, the measured single-line `subtitle` strip, `text` with a registry for `window.TEXTS`.
+- `demo/tools/`: `fetch_landsat.py` (STAC, one date per path, same-year gap fill), `plates.py` (normalisation, streak cleaning, water masks, areas), `vectors.py` (shorelines, distances), `mapfield.py` (the printed map), `growth.py`.
+- **Extra packages and packs**: none beyond `setup.sh deps voice` and the sample packs the score uses (`sh tools/fetch.sh instruments <lib>` for vsco2ce, vcsl, freepats in the demo). Imagery uses only the standard library, numpy, SciPy, Pillow (no GDAL); allow 3–4 GB for cached scenes. Anything more (rasterio, pyproj) goes in a private venv in the project folder, not `$LIB/.venv`.
+
+## 11. Variation space
+
+The agent decides the place or places, whether there is a claim layer, which dates, the structure, the camera path, the accent hue and where colour comes back.
+
+- **Structures**: a locked time-lapse of one place ending in a push-in; a river followed from source to mouth with a reading at each stop; two places compared at one scale with whip pans.
+- **Openings**: a ground-level detail that climbs to reveal its scale; a black frame a scan line paints in; an oblique orbit with a searching reticle.
+- **Endings**: the climb back to orbit; a last measurement that lands and holds in silence; the claim layer redrawn to match the ground.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/satellite-briefing/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/scifi-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). -->
+
+# Sci-Fi Sitcom Toon — Style Prompt
+
+> Adult-animation sci-fi sitcom: thick boiling outlines, flat colour, a duo whose reactions don't match, a glowing portal, and one palette per world.
+> References (grammar only): adult-swim-era sci-fi sitcom cartoons (dialogue-driven comedy, reaction close-ups, boiling line, sci-fi hardware as household junk). Borrow the *grammar*, never the characters.
+
+## 1. Essence, and what it is not
+
+Hand-drawn-looking 2D TV animation for adults: **uniform thick dark outlines that boil**, **flat fills with hard-edged shadow shapes (no gradients)**, **big white eyes with tiny pupils**, **elastic mouths**, grotesque-but-cute creatures, and sci-fi hardware treated like household junk. The comedy is **dialogue-driven**: improvised-feeling talk, interruptions, awkward pauses, reaction shots, escalation, and a last-second reversal. The genre's engine is **a tiny, mundane goal pursued with absurdly large sci-fi means**: whoever could solve anything uses it for something petty, and someone else pays the emotional price.
+
+Not a kids' cartoon (dry humour, long pauses), not anime (no sparkly eyes), not a vector explainer (lines boil).
+
+**Copyright red lines (non-negotiable):**
+- Never reproduce any existing show's characters, silhouettes or colour combos (e.g. a spiky-blue-haired old man in a lab coat + a kid in a yellow shirt), names, catchphrases, burp gags, logos, or the look of any existing portal gun.
+- Invent your own cast, props and portal device. Never write the source show's name in the film or docs; one line "inspired by adult-swim-era sci-fi sitcom cartoons" is enough.
+
+## 2. Materials & rendering
+
+- **Line**: near-black (a slightly purple black reads best), ~7 px for characters and props, 4–6 px for background detail, round joins. **Line width is constant in screen space**: close-ups are "redrawn" at the same weight, never scaled up (transform points to screen, then stroke with an identity transform).
+- **Line boil**: resample every outline in screen space (~7 px steps) and displace along the normal with low-frequency noise, amplitude ~1.7 px; cycle **3 boil drawings at 12 fps**. Everything boils, including held poses and backgrounds: a still frame is never dead.
+- **Fill**: flat colours only. Shadows are hard-edged darker shapes clipped inside the fill (one per form, away from the light). Glows are 1–2 flat translucent rings, not gradients. Skies are **flat colour bands**.
+- **Faces**: big white eyes (touching in 3/4 view), 4–5 px pupils, heavy lids for deadpan, eye bags. Parametric mouths (open, width, curl, skew) with interior, teeth, tongue. Brows carry the emotion.
+- **Cast design**: silhouettes must read in solid black. Give each lead one absurd costume idea. Avoid white lab coat + spiky hair.
+- **Creatures**: every world may get one creature that is disgusting *and* adorable; keep it non-verbal (sound effects) so the film stays a dialogue between the leads. Check that anything behind furniture still shows face and upper body.
+- **The portal** (or whatever device moves between worlds): the only thing that glows. A lumpy rim with a thick outline, rotating spiral arms, a pale core, orbiting sparks, drips, a flat translucent wash over the scene while it's open. Open with a gentle overshoot (~12 %, back-ease ~0.3 s); a springy overshoot covers the actors.
+- **Screen graphics**: a retro-terminal tag (VT323) typed in, coloured per world.
+
+## 3. Colour logic
+
+- **One palette per world**, 3–5 colours, maximally different from the previous world in hue *and* value, so the audience reads "we jumped" from colour alone.
+- Line colour and eye white never change between worlds; everything else may.
+- Glow colour belongs to the travel device only: nothing else in any world may use it.
+- A deliberately bland palette (beige, brown) is itself a joke: use it for the world that is "suspiciously normal".
+- Examples of a sequence of worlds: sage lab → magenta and lime jelly → orange and teal; or grey office → ultraviolet and gold → mint and coral → beige. Our demo's values are in DEMO.md.
+
+## 4. Type & subtitles
+
+- **Subtitles**: bottom centre, a rounded heavy sans (Baloo 2 ExtraBold ~50 px), white with a ~11 px black outline, so they look like the cartoon's own captions, with a small **speaker pill** in the character's colour (boiling outline) on the left. Lines over ~1300 px wrap to two lines. Overlapping lines stack; the older one dims to ~70 %.
+- **Timing**: hold ≥ max(1.8 s, speech + 0.6 s) for narration; for rapid dialogue, `max(audio + 0.35 s, 0.9 s + chars / 17)`. Clip at world changes and **before a silent beat**, so the silence plays on a clean screen.
+- **Title**: chunky display lettering popped in on 12 fps steps on a musical hit. Choose a period look that is not the source genre's logo: **avoid acid green, slime drips and wobbly bubble lettering** together, which reads as a specific show.
+- Keep faces out of the subtitle band (bottom ~170 px) and the world tag clear of faces.
+
+## 5. Motion quality
+
+- **Characters on twos (12 fps)**: poses, mouths, blinks, walk cycles and boil step at 12 fps. **Camera moves, portal swirl, flying props and wipes on ones (24 fps)**.
+- **Acting over moving**: held poses with small changes (eye twitch, pupils sliding, a gulp, sweat drops). Idle life: breathing (±1 % squash), a nod driven by speech loudness.
+- **Anticipation → action** before every gesture.
+- **Squash & stretch** on landings (decaying cosine squash ~22 %), stretch while flying out of a portal; "sucked in" = scale toward the portal centre while stretching.
+- **Lip-sync from audio**: per line, RMS (open) and spectral centroid (wide vs round) at 24 Hz, sampled at the 12 fps drawing time. Exaggerate for screams (mouth ×1.5–1.9).
+- **Nervous jitter**: a 12 fps random offset of 3–6 px plus trembling pupils; amplitude grows with panic.
+- What never moves in a cold pause: everything but the boil.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Medium two-shot | the relationship; who reacts how | dialogue; a standoff; a deal |
+| Hard cut to a close-up | an interruption, a face breaking | the cut-off line; the realisation; a lie |
+| Insert extreme close-up of an object | the absurd detail | a reveal; the problem itself; the wrong result |
+| Reaction close-up | the laugh lives on the face | after every absurd image |
+| Tight close-up + short shake on one word | panic | the key word; an alarm; a scream |
+| Rush zoom into the portal → swirl wipe | leaving a world | any jump between places, times or versions |
+| Same framing repeated across worlds | only the world changes | a montage; a comparison; a list |
+| Very slow push-in on a still two-shot | a cold silence | the pause after a reversal; a confession |
+| Wide with the device and both leads in frame | the whole situation at once | a callback; a trap; a fresh start |
+| Over-the-shoulder onto a screen | reading bad news | a message; a readout |
+| Whip pan between two faces | overlapping argument | a fight; a bet; a double take |
+
+Rule: every absurd image is followed by a **reaction close-up**. Transitions go through the travel device (swirl wipes) or hard cuts; no dissolves.
+
+## 7. Sound palette
+
+- **Synthesized score, no samples needed.** A **theremin**-like lead (sine + a little 2nd/3rd harmonic, legato portamento ~70 ms, vibrato fading in ~150 ms after each onset, spring reverb) over analog bass, a square-wave arpeggio and a retro drum machine. Minor modes and chromatic lines suit the main theme.
+- **Genre cues per world** (options): surf guitar; polka accordion; toy-piano lullaby; elevator bossa (Karplus–Strong nylon guitar); brushed swing with vibes; tuba + slide whistle; warm Rhodes + a vocal "aah"; tremolo strings for panic.
+- **Techniques (options)**: a cue's first beat is the cut; a tempo that snaps cuts to a grid; rule of three becoming machine-gun (same stinger, shorter each time).
+- **Silence is the punchline**: hard-cut the music, reverb tails included, on a reveal and for a cold pause. Leave only room tone (fluorescent hum, a clock tick, a fridge).
+- **Foley (synthesized)**: portal open (sub boom + down-swept noise + rising swirl), hum, close "fwump", swirl whoosh per wipe, pop/boing, wet glorp/squish, slurp, chomp, blink "blip", click-beep, kazoo sting, squeaky toy.
+- **Voices**: a two-hander with contrasting voices: low, flat and slow for the deadpan lead (light saturation + a ~180 Hz bump for gravel); higher and faster for the nervous one (presence boost). A tiny creature may say one or two words, pitched up. Compress, RMS-match, add short early reflections so voices sit in the room. Duck music ~−7 dB under dialogue. Master −14 LUFS.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Parallel worlds.** Each jump = new palette, new cue, new creature. *Fits content like:* versions of a product; careers you could have had; the same city in five eras.
+- **Duo contrast.** Deadpan vs panic: the joke is in the difference between reactions. *Fits content like:* a veteran and a new hire; a parent and a teenager; an AI and its user.
+- **Rule of three → machine-gun.** Two slow wrong answers, then one-second worlds cut on the beat with the same rejection word. *Fits content like:* failed prototypes; bad date ideas; tax forms.
+- **The suspiciously normal world.** The pattern breaks; the calm is the joke. *Fits content like:* the one boring answer that works; a quiet office after chaos; the real customer.
+- **Dead-air reversal.** A long silence after the twist, then one line revealing a character's values. *Fits content like:* a price reveal; a fine print clause; a gift that wasn't wanted.
+- **Hardware as junk.** World-bending tech used for a petty chore. *Fits content like:* a quantum computer used for a grocery list; a rocket to deliver a sandwich; a time machine to fix a typo.
+- **Callback button.** The last line repeats the first so the story loops. *Fits content like:* a catchphrase of a brand; a morning routine; a running complaint.
+
+## 9. Pitfalls of the medium
+
+- TTS reads hyphen stutters as words: write syllables ("buh, buh-broken"); respell words it mangles; pick names that survive a low voice.
+- Whisper mis-hears very short clips unless padded with ~0.6 s of silence.
+- A real interruption: generate the interrupted line *longer* than needed and truncate the audio where the other voice cuts in.
+- A springy overshoot swallows the actors: gentle back-ease.
+- Food and liquids need cues (surface detail, drips, steam) or they read as other objects.
+- Square-wave synth cymbals alias into harsh 8–20 kHz fizz: band-passed noise plus a little FM.
+- A sustained bass below ~40 Hz is rumble on laptop speakers: end an octave higher.
+- A cut music cue without its reverb tail cut is not dead silence.
+- `ffmpeg fps=1` contact sheets are offset up to 0.5 s: don't misdiagnose a shot boundary.
+
+## 10. Engine
+
+In `demo/`: `toon.js` (vector engine: matrix stack, screen-space boil, constant line width, flat shading), `chars.js` (parametric eyes, mouths, hands, noodle limbs), `worlds.js` (one function per world, creatures, the portal), `voice.py` (per-character processing + lip-sync envelopes), `asr.py` (padded whisper check), `music/score.py` (synthesized score from a cue list), `levels.py` (stem meters), `sheet.sh` / `strip.sh` (contact sheets, consecutive-frame strips). New shapes: build them with `toon.js` in world space; the stroke goes through the screen-space boil at constant weight.
+
+## 11. Variation space
+
+You decide the premise, the cast, the worlds, the jokes, the opening, the ending, the camera path, the pacing and the palettes. All far from our demo:
+
+- Structures: **one world, many clocks** (the duo stays home and a device skips them through times of day, each time worse); **the job interview** (a panel interviews candidates from other worlds, each a different genre cue); **the tech-support call** (split screen between two worlds, one voice guiding the other through a disaster).
+- Openings: **mid-disaster** (the portal is already open and something is coming through); **the instruction manual** (a terminal readout explains the device before we see anyone); **the wrong world** (we start in the absurd world and only later see home).
+- Endings: **stuck elsewhere** (the device breaks and they settle in, happily); **the audience** (a creature from one world watches the whole film on a screen and rates it); **the cost** (a quiet final shot of what the errand cost someone, no joke).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/scifi-toon/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/shadow-puppet), 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). -->
+
+# Shadow Puppetry — Style Prompt
+
+> Chinese shadow theatre: translucent dyed-hide puppets, carved like lace, pressed against a cotton screen and lit from behind by oil lamps.
+> References (grammar only): Lotte Reiniger's *The Adventures of Prince Achmed* (1926) for profile acting and lace-like scenery; Shaanxi / Huayin shadow theatre for carving, colour and gong-and-drum rhythm. Never reproduce a specific historical puppet, melody or recording, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+A white cloth screen; behind it, flat puppets cut from **translucent dyed hide**, lit by an **oil lamp**. Colour arrives *by transmitted light*: dyes glow like stained glass, carved holes shine brightest, overlaps go darker. Puppets are jointed with **visible thread rivets** and moved by **thin rods** (neck and hands) that show as soft grey lines just off the screen. It is live theatre, not stop-motion: the screen **flickers with the lamp**, puppets **tremble in the hand**, loose parts **swing on their rivets**.
+
+Not a black silhouette film (colour is the second protagonist), not paper-cut (the light comes *through*), not stained glass (no lead lines; pieces move and overlap), not flat vector cut-out animation.
+
+## 2. Materials & rendering
+
+**Rendering model.** Per pixel: `image = tonemap( lampLight × hideTransmission × clothTexture )`.
+- `hideTransmission`: a 2D canvas that starts **white**; every piece is drawn with `multiply`. Holes stay white, overlaps darken by themselves.
+- `lampLight`: per lamp a broad lobe plus a tight hotspot (~6 : 1), each flickering independently (a few % of ~7 Hz value noise plus a faster sine). Warm light, never white.
+- `tonemap = 1 − exp(−hdr)`, exposure ∝ `1/√(lamps lit)`: more lamps bleach the frame but keep it readable. Lamp count is a dial the story can turn.
+- **Cloth**: procedural weave (sin × sin, noise-warped), fibre speckle, low-frequency density blotches, darker edges at the frame. **Post**: warm-tinted bloom, a **warm vignette** (toward brown, never grey), slight saturation, soft S-curve, light grain; heat haze only when the story burns.
+
+**Hide and carving.** Multiply a tileable hide texture (mottling, fibres, specks) into each piece and restore its alpha with `destination-in` so holes survive. **Carving is density**: leave thin strips, cut out most of the area. Cut vocabulary: crescent rows (scales, tiles), diamond lattice, coin holes (round hole, square of hide inside), cloud collars and scrolls, tapered slits (cracks, rain, fur), strata along a ridge, leaf holes in a canopy. A dark carved outline (1.5–2.4 px) on every region. With `destination-out`, set `fillStyle = '#000'` first: fill alpha decides how much is cut.
+
+**Figures are jointed puppets**: 8–12 pieces, head ~1.2× natural with large headwear, sleeves in a different dye from the torso, round joint lobes with a rivet (dark ring + pale knot), arms by 2-bone IK from hand targets, held objects as separate pieces on the hand line. Sympathetic figures have *open-cut faces* (features as thin strips around a hole); antagonists solid faces.
+
+**Scenery** is carved set pieces on mostly empty lit cloth: one lace piece per element, a narrow carved ground strip, separate liftable strips for water or sky. Fire, smoke and moving water are carved pieces on rods, swapped and shaken, never particles.
+
+**Stage and backstage.** A lacquered frame (lintel, pillars, warm spill on its inner edges), optional blurred audience heads. Backstage = the same transmission canvas with the camera mirrored (`x → −x`), dark wood around, hanging lamps (additive flame glow; snuffed ones trailing dark smoke), hands and sleeves as **silhouettes with a warm rim** (mask minus mask shifted away from the light), rods sharp.
+
+## 3. Colour logic
+
+- All colour is **transmitted**: a dye filters warm lamplight, so nothing is brighter than the lamp and every hue leans warm.
+- 3–5 saturated dyes + **raw hide** (the neutral) + **ink** (outlines, hair, boots). Holes are the brightest value.
+- Overlap is darkness: plan which pieces cross.
+- Brightness comes from the number of lamps, not grading. Night is fewer lamps, never added blue.
+- Thin things that must read (strings, shafts, text) are dark: pale pieces vanish on a bright cloth.
+- Example sets: *court* (vermilion, ochre, malachite); *river* (indigo, jade, one ochre); *harvest* (flame orange, gold, one green).
+
+## 4. Type & subtitles
+
+- Subtitles belong to the theatre: a **storyteller's placard** (narrow dark-lacquer board, thin gold line, small carved seal), a label on a rod, or letters carved into hide. Classical OFL serif (e.g. Cormorant Garamond 600), 40–50 px, cream on dark, short slide in. Hold ≥ max(1.8 s, speech + 0.6 s).
+- **Titles are puppets**: dark hide plaques with letters cut out (`fillText` + `destination-out`, so words glow), a carved border, carried on rods, pressed on to enter, lifted off to exit.
+
+## 5. Motion quality
+
+- **24 fps continuous** for puppets and camera; only swapped effect pieces (fire, water) step at 12 fps.
+- **Hand tremor** on every puppet (a few px, ~0.02 rad, low-frequency), stronger under tension.
+- Body glides with the main rod; **legs, plumes, tassels are simulated** (damped pendulums / spring chains driven by body acceleration, pre-simulated at a fixed rate for determinism).
+- Operatic phrasing: shuffling run → hop → crouch → **freeze pose on a percussion accent** (~1 s, only loose parts quiver) → head turn.
+- Faces never change; attitude = head angle + body tilt (up = resolve, down = sorrow).
+- **Press on / lift off**: arrivals come large and blurred onto the cloth and snap sharp (~0.5 s); exits grow, blur and fade (~1 s).
+- A new lamp flares with overshoot; a snuffed lamp gutters with fast flicker.
+- Never moves: the cloth, the frame. Nothing morphs: pieces rotate on rivets, slide on rods, or are swapped.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Audience seat (whole stage, heads below) | "This is a show" | a legend; a lesson; a framed memory |
+| Push through the frame onto the cloth | Entering the tale | a story within a story; focus |
+| Lateral pan across a wide cloth | Extent, a place laid out | a journey; a disaster's reach; a procession |
+| Follow a puppet, slight zoom | Being with one figure | a pursuit; a working day |
+| **Crash zoom** of a few frames on a percussion hit | The drum becomes the camera | an entrance; a pose; a reveal |
+| Whip pan along a moving piece | Cause to effect | a message sent; a strike |
+| **Locked wide** | Every step of a change is seen | counting; repetition; stages |
+| Medium-close, empty cloth between two pieces | Distance, hesitation | a choice; a parting |
+| Close on a carved detail | Craft as meaning | a vow; a tool; a clue |
+| Tilt from ground strip to top of cloth | Height, hierarchy | a tower; heaven and earth |
+| Truck round to the back (mirror view) | The trick revealed | behind the scenes; who pulls the strings |
+| Pull back from cloth into the dark room | The tale becomes an object | aftermath; a story ending for the night |
+
+Puppets in profile; most of the cloth stays empty. When zoomed in, clamp the camera to the screen rectangle (no black bars); push on frame centre unless diving into a lamp. Transitions: lamps dimming, a blurred foreground pillar wipe, a piece lifting off in light, a flash to warm white; never a generic crossfade or digital wipe.
+
+## 7. Sound palette
+
+- **Percussion first, not piano and strings** (gong-and-drum pattern thinking, 锣鼓经): low barrel drum, hard high clapper drum (woodblock), cymbals, small gong with rising pitch ("tai"), big gong with falling pitch ("kuang"); also a bamboo clapper board, pellet drum, sanxian pluck, a bamboo flute for quiet.
+- **Bowed and reed voices**: a bright nasal fiddle (erhu-like: pitched up, nasal formant, pitch-curve resampling for slides and vibrato), plain pentatonic (**huan-yin**) or sorrowful microtonal (**ku-yin**: raised 4th, lowered 7th); a shrill suona-like reed (oboe + 1.2–3 kHz formant + saturation) at most once.
+- **Techniques, as options**: a single tap inside a silence; one big gong per decisive hit; a heartbeat drum under dread; accelerating rolls into an entrance; one hit per visual step; a gong scrape to change space; a hard stop (≤ 30 ms, tails included).
+- **Silence**: hard-cut the whole bed; at most one sound inside (a breath, a tap, a sizzle).
+- **Foley follows the materials**: wooden clapper (醒木), match strike, lamp "fwoomp" and "pfft" + sizzle, rod taps on cloth, dry leather flaps on lift-off, leather steps, creaks of hide and wood props, leather thwacks, cloth rustle, backstage room tone.
+- **Voice**: a storyteller, few short lines, small-theatre reverb; music ducked ~12 dB, foley ~4 dB, voice ≥ 12 dB above the bed; −14 LUFS; check each line with whisper alone and on the final mix.
+
+## 8. Native moves
+
+A menu: use the ones your story needs; put the strongest at the peak.
+
+- **The light is the world.** Lamp count drives heat and colour. *Fits content like:* city lights spreading at night; a fever rising and falling; servers switching on one by one.
+- **Off the screen = big and blurry.** A piece pulled toward the lamp grows and blurs. *Fits content like:* a rumour growing; a memory fading; a deadline pressing onto the cloth and snapping sharp.
+- **Go behind the screen.** Lamp, hands, rods. *Fits content like:* how a product is really made; who controls a market; a teacher revealing the method.
+- **Carved and translucent.** Holes glow, overlaps darken, open faces vs solid. *Fits content like:* an x-ray of a system; good and bad actors in a fable; layers of a city.
+- **Hand-held.** Tremor and swinging parts. *Fits content like:* a nervous interview; a tightrope; a toddler's first steps.
+- **Piece swap.** One carved piece on a rod replaced by another. *Fits content like:* seasons; a machine's states; weather over a harvest.
+- **Strip lift-off.** A band of scenery lifted to reveal another. *Fits content like:* geological layers; before/after a flood; an old town under a new one.
+
+## 9. Pitfalls of the medium
+
+- Flat clip-art look → hide texture, denser openwork, deeper dyes, carved outlines everywhere.
+- Figures unreadable in profile → bigger head, fuller lower body, collar piece, contrasting sleeves.
+- Radiating shapes read as saw blades or petals → flame tongues with a fat base, belly and hooked tip, alternating curl.
+- Grey corners when overexposed → warm vignette.
+- Thin pale pieces vanish → make them dark.
+- Mirror view flips pieces when rotation uses the x scale for both axes → x scale for x, y scale for y.
+- Smoke with `lighter` is invisible on bright cloth → dark wisps, warm additive only near a lamp.
+- Push-in centred on an edge lamp shoves figures out → push on frame centre.
+- Beds leaking into a silence → hard-cut them.
+- Headless screenshots time out under GPU load → retry.
+
+## 10. Engine
+
+In `demo/`: `carve.js` (piece sprites, `cut` / `cutLine` / `cutTaper`, pattern library, hide texture, rivets), `gl.js` (WebGL2 compositor: lamp field × transmission × cloth, mirror, bloom, haze, warm fade), `stage.js` (frame, audience, pillar wipe, cut-letter plaques), `backstage.js` (rim-lit silhouettes, flame, smoke), `hud.js` (placard), `scenery.js` (landscape pieces, ground strip, fire), plus the jointed rig with IK and pendulum parts; `?test=model|frame|hands` draws sheets from the real engine. A first test unlike the demo: carve a lantern-seller with a lattice basket, press it onto one lamp, light three more and watch the frame bleach.
+
+## 11. Variation space
+
+You decide the story, the figures (or none), what the lamp means, what leaves the screen, the opening, the ending, the camera path, the dyes and the pacing. All far from our demo:
+
+- Structures: **a procession** (one long pan; each figure adds a dye until the cloth is a full street); **two puppeteers** (rival hands argue through their puppets; backstage shows who is winning); **a workshop** (a puppet is carved, dyed and riveted on the cloth, then performs its own making).
+- Openings: **backstage first** (rim-lit hands and rods before the front); **one hole of light** (the screen all dark hide; one carved hole glows and widens); **mid-show** (the camera finds a performance already in full percussion).
+- Endings: **the lamp is carried away** (the cloth darkens from one side); **the puppets rest** (lifted off one by one, laid flat on a dim table); **the audience leaves** (the heads stand and go, the cloth still glowing).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/shadow-puppet/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/silent-film), 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). -->
+
+# 1920s Silent Film — Style Prompt
+
+> An engraved-illustration silent film projected in a picture house: ink line and silver wash, a 4:3 print that flickers and weaves between velvet curtains, intertitles instead of voices, and a cinema pianist who plays every beat.
+> References (grammar only): **Buster Keaton**, *The General* (1926) and *Sherlock Jr.* (1924) — the whole gag in one locked-off wide shot, a deadpan face, a body that does the acting; **Harold Lloyd**, *Safety Last!* (1923) — the near-miss; **Georges Méliès** — the iris and the trick shot; **The Artist** (2011) — how few intertitles a modern audience needs; **1920s photoplay piano cue sheets** — music by mood section, the piano doing the sound effects. Never use the Tramp look (bowler, toothbrush moustache, cane), any real film's gags, or any published melody.
+
+## 1. Essence, and what it is not
+
+A one-reel film as it would look *projected*:
+- **A 4:3 print in a gate between theatre curtains**; the sides of the 16:9 frame are the picture house.
+- **An ink drawing with washed greys and hatching**, printed on silver stock that flickers, weaves, scratches and burns at the edges.
+- **Nobody speaks.** Beats are told by **action in wide shots** and by **intertitle cards**.
+- **The only sound is a cinema instrument** (piano, organ) and the projector in the booth.
+
+Not a noir (no hard shadows as mood, no voice-over), not a sepia photo filter on modern animation (the drawing itself is engraved and inked), not a Chaplin pastiche.
+
+## 2. Materials & rendering
+
+- **Tonal painting + Redraw.** Scenes are painted in grey values only (print densities roughly: ink 0.07, dark cloth 0.15–0.3, mid wood 0.45–0.6, skin 0.8, white linen 0.9–0.95), with soft light gradients and a thin separation line. A **Redraw** pass (WebGL2) inks the whole frame: difference-of-Gaussians contours on the dark side of every edge, luminance posterised into ~5 soft wash steps, and 45° hatching (then crossed) in the darks, re-drawn every two frames like hand-redrawn animation. Real video frames can go through the same pass so footage and drawing share one hand.
+- **Print pass**: silver tone with a sepia amount between ~0.1 and ~0.36, print black ~0.055 and white ~0.93, S-curve, halation on highlights, uneven density, flicker, gate weave with occasional perforation jumps, broken vertical scratches (white = scraped emulsion, dark = dirt on the negative), brown burn creeping from the edges, vignette, two-octave silver grain; then dust, a hair in the gate, a rare blotch.
+- **Frame**: 1440×1080 in the centre of 1920×1080, a rounded aperture with a soft dark rim; velvet drapes at the sides lit by the screen's spill and by footlights. Curtains can part and close.
+- **Figures**: realistic proportions (7.5-head adults, ~5-head children) on a 2.5D rig (joints solved in 3D, projected with a yaw), silent-era make-up (pale skin, dark lids and lips); identity by silhouette marks (a hat, a garment, a tool).
+
+## 3. Colour logic
+
+- **Monochrome silver**, tinted only by the print: colder and harsher (more damage, less sepia) when things go wrong, warmer and cleaner when the film turns tender. Tint and damage are mood controls, set per section.
+- Values carry everything: dark clothes against pale walls, pale faces against dark interiors; check every shot as a thumbnail.
+- **One colour, at most**: an element drawn into a separate colour mask keeps its hue through the print (still getting grain, flicker, vignette). Use it for the single thing the film is about, or not at all.
+- Period tinting of whole scenes (amber for day interiors, blue for night, rose for romance) is a valid alternative to sepia; one tint per section.
+
+## 4. Type & subtitles
+
+- **The intertitles are the subtitles**; the `.srt` lists their text. A card holds 2.5–3.75 s (≥ max(1.8 s, reading time + 0.6 s)).
+- A black painted card with a deco border whose ornament follows the emotion: one heavy rule for a shout (the text shakes), a double rule with stepped corners and fans for narration, vines and small flowers for tenderness.
+- Period faces (OFL): a small-caps display serif (e.g. Playfair Display SC) for titles and shouts, an italic old-style serif (e.g. Old Standard TT Italic) for narration and dialogue.
+- A few words per card; three to five cards in a short film. A card never explains what the picture already shows.
+
+## 5. Motion quality
+
+- **Hand-cranked sampling**: character and camera motion sampled at 16 fps (18 or more to undercrank a fast scene); flicker, weave, grain and scratches change every output frame (24 fps). That mix makes it look projected rather than merely low-frame-rate.
+- **Speed is an emotion**: undercrank chases and panic (faster motion, faster flicker); return to 16 fps and a calmer print for tender scenes.
+- **Deadpan performance**: the face barely changes; the body acts (crouch before effort, held poses, the two-frame snap of a double take, hands on knees). Objects act too (a wobble before a fall, a ritardando to rest).
+- **Keyframed, eased poses**; only deliberate gags snap.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. The period camera is heavy: most shots are locked. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Locked-off extreme wide | cause and effect seen whole; the wait is the joke | a mechanical gag; a crowd; an elaborate process |
+| Locked full shot | the premise in one frame | a character's routine; a confrontation |
+| Tracking shot with foreground passing | pursuit; momentum | a chase; a race; a delivery against the clock |
+| Iris in / out | attention on one thing; a beginning or end of a thought | an object; a face; a memory |
+| Half-open iris, held | a character sharing a look with the audience | a wink; a secret; complicity |
+| Slow motivated push-in | tenderness; realisation | a kneel; a letter read; a decision |
+| Masked shot (keyhole, binoculars) | point of view; spying | a detective; curiosity; romance |
+| Split screen / double exposure | trickery; dream; two places at once | a phone call; a ghost; a daydream |
+
+Framing: wide and medium shots; big close-ups of rigged faces look like mannequins, so keep any close-up small or inside an iris. Transitions: iris, fade to black, straight cuts, the curtain. No dissolves between shots of the same scene, no modern whip pans.
+
+## 7. Sound palette
+
+- **The instrument is the sound design**, as in a picture house: an upright piano (optionally a reed organ, theatre organ, violin or small ensemble) plays every event. Mickey-mousing vocabulary (options): chromatic creep in the bass (sneaking), grace note (a wink), forearm cluster (a crash), swelling diminished tremolo (a wait), low rumbling tremolo (a storm, a machine), "plink … plonk" (emptiness), diminished sforzando (a shock), rolled chord (a door, a reveal), descending glissando (a fall), low "boing" (a bounce), nervous trill (hesitation), minor second (something breaking).
+- **Photoplay idiom**: stride left hand, music by mood section in the manner of cue sheets (Hurry, Misterioso, Agitato, Tenderly, Maestoso), a theme that returns changed. Original music only.
+- **No foley, no voice.** **The projector is the ambience**: lamp click, motor spin-up, claw-and-motor purr, film flapping on the take-up reel.
+- **Silence**: the music stops and the projector alone remains; it frames a held moment.
+- **Mix**: tame piano hammer transients with light compression before loudness normalisation (−14 LUFS). Grain goes in the picture (mux grain 1).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **The chain in one take.** A triggers B, B leaves the frame, the audience waits, B returns and hits C. *Fits content like:* a supply chain gone wrong; how a rumour spreads; a Rube Goldberg invention.
+- **The near-miss.** A hand closes exactly where the object was a frame ago. *Fits content like:* catching a bus; a startup missing a deal; a goalkeeper.
+- **The intertitle twist.** A card reframes the next shot in a few words. *Fits content like:* "Meanwhile, in the lab…"; "The machine had other ideas."; a statistic as a punchline.
+- **Undercranked chaos.** Speed and damage rise together. *Fits content like:* rush hour; a kitchen at dinner service; a stock crash.
+- **Iris on the look.** An iris stops half-way so a character can glance at the audience. *Fits content like:* a product winking; a cat that knows; a scientist's secret.
+- **Redrawn footage.** Real video pushed through the ink pass becomes a period drawing. *Fits content like:* a company's archive; a family film; a sports clip.
+- **The echo gesture.** A gesture from the start repeated by someone else with a new meaning. *Fits content like:* a teacher and a pupil; a handover; a tradition.
+
+## 9. Pitfalls of the medium
+
+- **Too much content kills a silent film**: a many-step chain at small figure scale is noise in a thumbnail. One legible chain with a pause in the middle beats three busy ones.
+- **Puppet arms**: apply abduction before flexion, let the shoulder rise and swing forward as the arm goes up, slim the torso's shoulder corner on the raised side, hide the arm's contour where it lies over the torso. Raise arms sideways (or turn the figure) so they don't cross the face.
+- **Pose pops**: drive every figure by eased keyframe lists, never by `if` branches.
+- **Floating props**: hold a prop between the palms at the depth between the arms; tie a rolling object's rotation to distance (angle = distance / radius).
+- Brow angles flip with facing direction: check expressions in a crop at final size.
+- An iris must track its target in film coordinates after any camera zoom.
+- A grab must put the hand exactly where the object is at the beat, or it doesn't read.
+- Closed curtains lit only by a dark screen go pure black: add footlights.
+- Heavy grain makes huge files → re-encode with `-tune grain` at a higher CRF.
+
+## 10. Engine
+
+In `demo/engine/`: `ink.js` (tonal forms, ink line, wash, hatch; `drawShape()` draws any path in this style), `redraw.js` (`Redraw`: tonal painting or real footage → ink drawing, WebGL2), `film.js` (`FilmPost` print pass + `damage()`, stackable on any 2D canvas, with an optional colour mask), `cards.js` (intertitles, deco borders, iris, theatre), `figure.js` + `heads.js` (2.5D rig). `demo/timeline.js` is a cue sheet that drives both picture and score. API table and a minimal example (a one-colour shape through the whole pipeline): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silent-film/DEMO.md) "Engine reference".
+
+## 11. Variation space
+
+You decide the genre (comedy, melodrama, adventure, newsreel), the characters, the gag or the drama, the cards, the tint plan, the opening and the ending. All far from our demo:
+
+- Structures: **a newsreel** (a sequence of "reports" with headline cards and a narrator card between them); **a melodrama in three reels** (each reel a tint: amber, blue, rose; a villain card, a rescue); **a trick film** (Méliès-style: one stage, a magician, objects appearing and transforming by substitution cuts).
+- Openings: **mid-chase**, the film already running and scratched, no title yet; **a single intertitle question** before any image; **the projectionist's view**: the beam from the booth, then the screen.
+- Endings: **the film breaks** (the print burns through and the lamp shows white); **a final card that addresses the audience** directly; **fade to black on a locked wide** with the piano holding one chord.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silent-film/DEMO.md). Read it after your treatment exists.