wizz-method 2.21.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/urban-sketch), 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). -->
+
+# Urban Sketch · Pen & Wash — Style Prompt
+
+> A sketchbook page drawn on location: fine sepia fineliner lines that wobble, overshoot and never quite close, with loose transparent watercolour dropped on top. The colour sits slightly off the lines, spills over them, and dissolves into cream cold-press paper at the page edge.
+> References (grammar only):
+> - Urban-sketching sketchbook pages: line first, then wash; colour off-register; handwritten date and place in the corner; the page edge breaking up into dabs.
+> - *Paperman* (2012): a monochrome world with one coloured object.
+> - *The Red Balloon* (1956): an object as the protagonist, the camera following it across a city.
+> - Jazz waltz (the Vince Guaraldi school): 3/4 swing, walking bass, brushes, a woodwind lead.
+>
+> Nothing is copied from these: no characters, melodies, layouts or type.
+
+## 1. Essence, and what it is not
+
+Reportage drawing, made on location in a few minutes. Two layers that stay visibly separate:
+
+1. **Ink.** One thin, near-constant line (a 0.3–0.5 mm fineliner) in dark sepia. It wobbles slightly, overshoots corners by a few pixels, breaks mid-stroke, and suggests rather than describes: a few window marks instead of a grid, scalloped fragments instead of a whole tree outline.
+2. **Wash.** Transparent watercolour glazed on top, **misregistered** by 1–3 px from the line, sometimes spilling past it, leaving paper white for highlights and figures (reserves). Dried edges are darker (pigment pools at the rim), and pigment granulates into the paper tooth.
+
+**The page is part of the image**: warm cream cold-press paper with large-scale mottling and fine tooth. Nothing is painted edge to edge; the painting frays into leaf-sized dabs and white holes, leaving margins for handwriting.
+
+Not Watercolor Brush (no line-free wet-in-wet painting, no painterly edges without ink), not Whiteboard (no marker, no explainer diagrams), not Chinese Ink Wash (no brush calligraphy, no monochrome ink tones). Line and wash, both, always.
+
+## 2. Materials & rendering
+
+- **Paper**: two octaves of fbm mottling (a few %), a tooth tile multiplied over everything, figures included.
+- **Ink**: ~96 % coverage; world line width thinner far, thicker near (e.g. 1.3–3.4 px); wobble ~1 px; overshoot 3–8 px; a third to half of long strokes get one small gap. Strokes are baked with their **draw time per pixel**, so the shader plays back stroke order.
+- **Wash**: 2–3 rough-edged layers, multiply, alpha ~0.4–0.65, offset from the line by about one line width, a dried edge at 30–40 %; granulation = pigment × (0.82 + 0.36 · fbm).
+- **Colour arrival field**: every pixel has a time at which colour reaches it. The wash is revealed through it with a ragged wet front (darkened band just behind the front) and noisy edges. Figures bloom from a point with a noisy circular clip.
+- **Foliage**: pale base wash, then light and shadow masses, then small leaf dabs coloured by light direction, holes at the rim, scalloped ink only on the outline.
+- **Sky**: a few big soft washes at low alpha, fading upward; clouds are reserves with a tinted belly.
+- **Buildings**: local colour; shadow side mixed ~45 % with a cool violet-grey; distant blocks mixed ~50 % with a haze colour.
+- **Figures**: a 3D skeleton in orthographic projection; torso from cross-sections; limbs as organic tapered tubes; hair and head as one mass; face left blank (one nose tick in profile); shadow side mixed with violet.
+- **Page edge**: a noisy boundary, a white-dab band inside, a coloured-dab spray outside.
+- Deterministic: same seed, same marks.
+
+## 3. Colour logic
+
+- **Ink is one colour** (dark sepia or warm black); it never changes.
+- **Wash is local colour, lightly**: few pigments, mixed on the page; shadows are the local colour mixed toward one shared cool violet; distance mixes toward one haze.
+- **Paper white is the brightest value**; it is reserved, never painted.
+- **Colour can be withheld**: a page may be ink-only with colour as an event (one tinted object, colour arriving with a cause).
+- Example palettes: park in summer (lawn `#c3c96f`, leaves `#7fa04a`, sky `#9fbcd6`, limestone `#d8c6a0`); harbour morning (sea `#7fa6b8`, hulls `#c9573f`, rope `#c8a86b`, sky `#bcd0dc`); winter market (roofs `#8b93a6`, lights `#e2b04a`, awnings `#b8483e`, snow = paper).
+
+## 4. Type & subtitles
+
+- **All text is handwriting on the page**, written on left to right with pen sound, and moves with the camera: a corner note (e.g. Reenie Beanie: day, time, weather, place), titles and colophon in a casual hand (e.g. Caveat 500–600), left-aligned in the blank margin.
+- **Subtitles**, if there is a voice: handwritten lines in the page margin or a caption strip written into the lower margin, never a generic overlay box. Hold ≥ max(1.8 s, speech + 0.6 s).
+- The style works well without any voice.
+
+## 5. Motion quality
+
+- **Figures boil at 12 fps** (line wobble and wash seeds change every 1/12 s). The static page does not boil (it is a real page); the camera moves every frame, smoothly.
+- **Performance**: anticipation, action, follow-through; footsteps on the beat.
+- **Invisible forces are drawn**: wind as ink curls that draw on and erase from the tail, trailing dabs; sound as ink lines; heat as wavy strokes.
+- **Colour never snaps**: it blooms from a point or arrives through the field.
+- Stroke-order draw-on for anything that "appears".
+
+## 6. Camera grammar
+
+A 2D camera over a large page (e.g. 5120 × 2880). Designed moves use cubic easing; follow shots use a critically damped spring on a lead-ahead target, so the camera lags like a hand-held follow. A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Push-in | attention; a detail observed | a face; a sign; a small event |
+| Lateral follow on a spring | travel, pursuit | an object carried; a walker; a vehicle |
+| Crane up | a new level, a view opening | a skyline; a tree; a balcony |
+| Whip-tilt with slight roll | sudden change of direction | a fall; a gust; a surprise |
+| Punch-in with a short shake | impact | a catch; a collision; a door slam |
+| Pull back to the whole page | scale; the sketch as an object | a summary; a place in full |
+| Tilt into the margin | from picture to words | notes; a date; a title |
+| Slow pan across a line-only area | the world before colour | a quiet start; memory |
+| Hold while the pen draws | the act of noticing | a subject being drawn |
+| Page turn to a new spread | another time or place | a travel diary; a sequence of days |
+
+Framing: subjects ≥ ⅓ of frame height at story beats; a small key object gets a faint paper halo (reserve) so it reads over busy foliage. Transitions: camera travel on the page, page turns, or colour arriving; no dissolves.
+
+## 7. Sound palette
+
+- **Ambience from the place**: paper room tone first, then the location once it has colour (birds, traffic, harbour gulls, market chatter). J-cut a place's sound a bar before we see it.
+- **Pen on cold-press paper**: band-passed noise (~1.6–7.5 kHz) with a fibre texture and grain clicks, one burst per real stroke; thousands overlap into a hiss during a fast sketch; brighter short strokes read like a hi-hat.
+- **Water and brush**: a wet brush "shhh" for blooms, a jar rinse, a drip.
+- **Foley follows objects** at sketch scale: fabric or paper flapping for things in the wind (rate and level from speed, pan from screen x), steps on the beat, bells, splashes.
+- **Music families**: a jazz waltz (walking bass in three, brushes, piano, clarinet or flute); a café accordion trio; solo nylon guitar; a string quartet pizzicato; a brass band for crowds. One colour instrument per area of the page works well.
+- **Silence as a tool**: a bar of true silence (ambience included) at the height of suspense; the first sound after it is the next gesture.
+- **Mix**: music ducks under key hits; foley high-passed ~90 Hz; −14 LUFS, moderate LRA.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Line before colour.** The pen draws a subject in real stroke order, then the wash drops in; the drawing is the spectacle. *Fits content like:* a cathedral façade; a chef plating a dish; a street musician.
+- **Colour as arrival.** Wash spreads from a source with a wet front, so an event paints the page; figures stay frozen line drawings until colour touches them. *Fits content like:* a sunrise over a harbour; a parade moving down a street; the lights of a market switching on.
+- **The one coloured thing.** A colourless sketch with a single tinted object that becomes the protagonist. *Fits content like:* a red umbrella in the rain; a yellow taxi; a child's kite.
+- **The page as frame.** Pull back until the whole page shows, edges dissolving, handwritten notes in the margin. *Fits content like:* a travel diary entry; a neighbourhood portrait; a day in a place.
+- **Carrot people.** Distant crowds as one wash blob, two leg lines and a head dot. *Fits content like:* a station at rush hour; a stadium; a beach.
+
+## 9. Pitfalls of the medium
+
+- **Straight edges in the colour field** from clipping by a bounding box → clip by the actual noisy distance.
+- **Rectangular masks around complex silhouettes** leave notches → mask with the real stepped silhouette.
+- **Characters losing colour** when they move into unpainted areas → sample arrival once (or tie it to the event), never at the current position.
+- **Static ink can't be occluded by later washes** → erase far ink inside nearer shapes before drawing; use carrot people for far crowds.
+- **IK feet pinned while blending poses** splay the legs → blend foot targets toward under-hip.
+- **Front-facing heads go bald** → draw the hair mass, then knock the face out of it.
+- **Big canvases in headless Chrome**: pack ink and time into RGBA byte textures yourself and upload the arrival field as a filterable float texture (`R16F`).
+- **Painting edge to edge** kills the sketchbook feel → leave margins and fray the edge.
+
+## 10. Engine
+
+`demo/engine.js` (deterministic): `penStroke` + `drawPen` (fineliner with wobble, overshoot, gaps, draw-on), `rasterPen` (bakes stroke order into an ink + time layer), `wash`, `reserve`, `dab` / `foliage`, `arrivalField` (colour arrival per cell from sources), `compositor` (WebGL page: paper × wash revealed by arrival × ink revealed by stroke time), `figure` + `drawPrims` (sketched people), `sketchShape` (any shape in this style in one call), `handwrite`. `demo/poses.js` holds a pose library. API table and a minimal example that draws something new: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/urban-sketch/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the place, the subjects, what colour does (always there, withheld, arriving), the voice (or none), the music family, the camera path, the opening, the ending and the length.
+
+All far from our demo:
+
+- Structures: **a travel diary** of five pages, one per day, each page turned by the wind or a hand; **a single street corner** drawn at four times of day, the wash changing while the ink stays; **a recipe** where each ingredient is drawn from life at the market and the final dish is painted last.
+- Openings: **the blank page** with only the handwritten date, then the first line of the horizon; **a close-up of a coffee cup** on the page's edge, pulling back to find the city drawn behind it; **rain dots** landing on the paper and blooming into the first washes.
+- Endings: **the sketchbook closes** on the page; **the last figure walks off the page** into the blank margin; **the colour drains** back to ink as the evening comes, leaving one lit window.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/urban-sketch/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/visual-investigation), 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). -->
+
+# Visual Investigation — Style Prompt
+
+> A cold investigation desk: footage, photographs, documents, sound and maps from one real event, laid out on one shared clock so they check each other. The clock lives inside the picture — timestamps on the evidence, a playhead on a data chart, a stopwatch over the decisive seconds; frozen frames are circled and magnified; quotes are highlighted on the page they come from; a plan shows where cameras stood and where they looked; what is known and what is not are kept apart; at the end every piece of evidence is pulled into one map.
+> References (grammar only): newspaper visual-investigation videos, forensic-architecture reconstructions, broadcast verification units. Never copy them, quote their names or use their branding.
+
+## 1. Essence, and what it is not
+
+1. **Sources meet at one moment.** The payoff of every section is two or more independent sources (a frame, a photo, a testimony, a report line, a sound) pointing at the same place or the same second. Cut points are sync points.
+2. **One clock, read in the picture.** Time is carried by large readouts that belong to the layout: the timestamp on each telegram card, a playhead with its clock on the data chart, a `T+xx.x` stopwatch over the decisive seconds, a frozen "32 s". The scale changes with the story (hours → minutes → seconds → days) at section cuts. A permanent timeline band under every shot is **optional and usually wrong**: it eats the bottom of the frame, adds a layer of small labels and goes empty once the story leaves the clock.
+3. **One finding per layout.** Each section says one thing; a heading is part of the layout, never a page header.
+4. **Uncertainty is drawn, not apologised for.** `≈`, *inferred*, *schematic*, dashed boxes. Known and unknown are separate columns. A source that does not cover a stretch simply is not on screen yet (it lights up late in its column); never an empty "no footage" box, which reads as a broken render.
+5. **Restraint.** Real disasters and real people: no slow motion of the catastrophe, no music that tells you to feel; fire only inside evidence frames; casualties as counted dots and numbers.
+
+Not **Satellite Briefing** (no orbital imagery, no zoom from space). Not **Archive Light Table** (no paper on glass, loupes or hands: documents are flat evidence frames). Not **Halftone Dossier** (no print texture, stamps or collage). Not a newsreel package (no channel bug, ticker or anchor voice). Not a keynote: no centred title slides, no page turns.
+
+## 2. Materials & rendering
+
+- **Three kinds of source at least**: moving image (newsreel, CCTV, phone video, launch camera), documents (testimony, memo, telegram/teletype, report page), photographs. Add sound (original commentary, radio, recordings), data (weather, telemetry, counts) and maps whenever they exist.
+- **Documents**: a scanned page is shown as a strip or a page, never re-drawn; only the decisive line is highlighted (red, `multiply`, α ≈ 0.6, wiped left to right). Text that exists only as a transcription (a report, radiograms) is re-typeset by code and labelled as a transcription.
+- **Archival picture pipeline** (pre-1950 film, max ≈ 2.5×): deinterlace (`bwdif=0`) → crop borders → deblock (`hqdn3d=2:2:3:3`) → lanczos upscale → light unsharp (`5:5:0.5`) → greyscale; one grain for everything. Modern footage: ≤ 1.5×. Never colourised or "restored" copies.
+- **One grade** (canvas `ctx.filter`): footage and photos `grayscale(1) contrast(1.22) brightness(0.94)`; paper `grayscale(1) contrast(1.05) brightness(0.86)` (white pages pressed to light grey); maps greyscale, inverted, `brightness(.62)` so they read as dark line drawings.
+- **One grain**: six 256² Gaussian tiles rotated per frame, `overlay`, α 0.22 on footage/photos, 0.10 on paper. Grain only on sources, never on type or lines (`mux.sh … 0`).
+- **Drawn evidence** (plan, side schematic, charts, dot matrix) is thin line work on the panel colour, marked *schematic* when it is not measured.
+- Remove channel bugs, watermarks and the source's own title cards; never generate an image to stand in for a historical one.
+
+## 3. Colour logic
+
+| Use | Value |
+|---|---|
+| Ground | `#0B0C0E` |
+| Panels | `#141619` |
+| Hairlines, frames | `#2E3238` |
+| Text | `#ECEAE4` |
+| Secondary text | `#8B9097` |
+| Ticks, *uncertain* | `#4A4F57` |
+| **The one accent: here / now / match** | `#FF4A2E` |
+| Paper cards (typeset telegrams) | `#E4E0D4` with ink `#1D1D1B` |
+
+Sources are greyscale; red is the only colour and it only ever points: circles, the chart playhead, sync lines, highlights, ✓ badges (a drawn tick in a red box, no words), the zone everything converges on, the *unresolved* column, a strike-through on a wrong claim.
+
+## 4. Type & subtitles
+
+- Chinese headings and findings: Noto Sans SC 700 (30–124 px). Tags, timecodes and ticks: IBM Plex Mono 400/600. Quotes: Source Serif 4 Italic for the original wording, Noto Serif SC 500 for a translation underneath in the secondary colour (only when the subtitles don't already say it). All OFL, subset to the words on screen.
+- **Few words per frame.** Each frame keeps only what this beat needs: the main readout or heading, the quoted original (the highlighted line), and one short source tag per piece of evidence. No eyebrow labels, no English twin under every Chinese label, no archive numbers, dates or "estimate / schematic / not to scale" footnotes unless the beat is about them, nothing the subtitle is saying at the same moment.
+- **Source tag**: a 6×12 chip + `type · source` in mono, ≤ about 12 characters (`照片 · Pasquarella`, `FBI 电传 · 1937-05-08`), sitting just above its frame. Full credits go on the end card, not on the panels.
+- **Lower third**: a red bar + place name (36 px bold) + one mono line (place code).
+- **Subtitles** (bilingual films): at the bottom of the frame (Chinese baseline y ≈ 984, English y ≈ 1022): Chinese 34 px bold over English 23 px, centred, 10 px black shadow; **one line per language**, measured in the page against 1,500 px; a long sentence becomes two cues. Original sound gets subtitles too, marked `【原声】` / `[1937 newsreel]`.
+- **Reading time**: every key text stays still and whole for CJK ÷ 4.5 + other ÷ 15 + 1.5 s (`readcheck.mjs`); verdict and comparison frames hold ≥ 2.5 s with every item fully in frame. Counters (timecode readouts, the stopwatch) and tick labels are exempt.
+
+## 5. Motion quality
+
+- 30 fps. Elements **cut in** (≤ 0.1 s opacity) with a 3–4-frame white flash, as if pulled from the evidence locker; nothing flies, bounces or scale-pops.
+- Only things that are *drawn* are progressive: circles drawn clockwise in 0.5 s (ease-out cubic), leaders and links 0.4–0.8 s, plans stroke by stroke, highlights wiped, typewriter text for telegrams.
+- Inside a frame: a slow push (≤ 1.9× on a map, ≤ 1.06× on a photo) is allowed; the "camera" itself never moves. Layouts change on cuts.
+- The event clock (chart playhead, stopwatch) eases between keyframes and moves at constant speed inside a timed run (each tick = one real second).
+- Scale changes (minutes → seconds → days) happen on section cuts, carried by the readout changing form (clock → `T+` stopwatch → date), not by a zooming band.
+- Something changes at least every second; holds are for verdicts only.
+
+## 6. Shot & layout grammar
+
+- 1920×1080, 60 px margins; content y 60–900, subtitles below it (y ≈ 950–1030). Layouts use the full height; no strip is reserved for a timeline. When a section has no subtitle, centre its content vertically.
+- Panels are hard-edged rectangles with 1 px frames; footage panels keep the source's aspect.
+- Typical layouts: **map → plan** (left) with a reference photo and a footage panel (right); **one big statement + one quote + one wide schematic**; **five-source board** (three evidence frames on top, sound and report below, schematic right, red links converging); **three-column sync grid** (report / photo / video under one stopwatch, each column lighting up when its source begins); **document strip + two-column verdict**; **claim card + fact-check card + dot matrix**; **evidence map** (plan, broken-axis mini timeline, schematic, thumbnails with links).
+- Avoid centred layouts, page headers and slide-like page turns. Transitions are hard cuts on a 0.5 s grid, white flashes and the rewind; no dissolves.
+
+## 7. Sound palette
+
+1. **Bed**: low D held by contrabass and cellos; a filtered room tone about 30 dB under the voice.
+2. **Clockwork**: a pendulum tick every 0.5 s in the minute-scale sections, louder in the waiting minutes; in a timed run one tick per **event** second (accent every 5) — the audible stopwatch.
+3. **Harmony**: a quiet pizzicato ostinato in eighths (Dm – B♭ – Gm – A) under the slow sections; tremolo minor-second clusters for tension; slow sustained chords for the verdict columns; a resolving D minor add9 with vibraphone for the evidence map.
+4. **Foley** (procedural): paper for documents, a shutter for photos, Morse "dits" and keystrokes for telegrams, teletype chatter, a rewind sweep, pencil scratches for plans, one deep thump for the moment of impact — then near-silence.
+5. **Original sound** (archival commentary, radio, recorded sound): band-passed 180 Hz–5.5 kHz with sparse crackle, shown as a waveform with a red play-line and word-by-word lighting; music ducks −12 dB under it. Original sound and score alternate; never both loud.
+6. **Voice**: calm and flat (ours: Kokoro `am_michael`); music ducks about −9 dB under it; −14 LUFS, true peak ≤ −1.2 dB.
+
+## 8. Native moves (and how to code them)
+
+- **Freeze, circle, magnify.** Freeze a frame with a white flash; draw a 2.5 px red circle clockwise; at 60 % a leader and a bold label appear; a ×2 loupe opens beside it, cropped from the same source pixels (never beyond 1 source px per screen px). *Fits:* a licence plate in CCTV; a crack in a weld.
+- **Hard sync point.** Pick one instant every source can recognise (impact, flash, a public clock, a gunshot peak) and align each source to it. A source that starts late just appears late; if the gap matters, say it in the voice or a subtitle. *Fits:* which phone started filming first; when the launch camera lost the vehicle.
+- **Three-column sync grid.** Document / photo / video side by side under one big stopwatch; each column cuts in (white flash) at the moment its source begins, so the grid fills left to right as the clock runs; freeze on the sync point with a red dashed line across the pictures. *Fits:* two dashcams and a police log.
+- **Readouts change scale.** The time readout changes form at each section cut — card timestamps and a chart playhead (minutes), a `T+` stopwatch (seconds), dates (days) — as the story narrows or widens. *Optional:* a bottom timeline band with tracks per source kind, only for a film that stays on one clock throughout; keep it free of labels and drop it when the clock stops. *Fits:* a market crash from the week to the minute.
+- **Rewind cold open.** Start on the decisive frozen frame, slam the other sources into a grid, sweep a sync line, then rewind (footage playing backwards, scan lines) to the start. *Fits:* any reconstruction.
+- **Telegrams on the clock.** Typeset radiograms / messages land at their timestamps with Morse and keystrokes; red dashed leaders tie each card to a pin at its time on the data chart's axis. *Fits:* chat logs, ATC calls, emails.
+- **Data chart with a playhead.** A chart (wind, speed, temperature) across the lower part of the frame with a time axis, event bands (storm, outage) labelled with one word, the message pins, and a red playhead carrying the clock. *Fits:* power-grid load before a blackout.
+- **Map → plan.** A real survey map pushes in to the site, then cuts to a measured plan with the subject's position, a bearing, a distance ring, a camera point and an inferred view cone; the map stays as a locator inset. *Fits:* where each witness stood.
+- **Evidence → model links.** Every circle in every source sends a red dashed link to the same zone of one schematic; ✓ badges land 0.12 s apart with small mallet notes. *Fits:* which room a fire started in.
+- **Then vs. record.** Play a period claim as original sound, then a fact-check card; strike through the wrong words in the claim. *Fits:* a press release against the filed numbers.
+- **Known / unresolved.** Two columns, ticked vs. dashed boxes, every item held whole for ≥ 2.5 s, one source tag for the board. *Fits:* any inquiry's conclusion.
+- **Dots for people.** One dot per person; the dead become red open rings one by one; a single large number. *Fits:* passengers, workers, victims of any event.
+- **Evidence map.** Plan, broken-axis mini timeline, schematic and thumbnails of every source, all links converging; the poster frame. *Fits:* the end of any investigation.
+
+## 9. Pitfalls
+
+- **Inference passed off as fact.** Camera positions, photo times and offsets need `≈ / inferred / unlocated` on screen and in `FACTS.md`.
+- **Early reports as facts.** The first-night memo and the period newsreel often disagree with the final report; use them as images or as claims to check, never as the source of a number.
+- **Faking a multi-camera event.** With one licensable film, do not borrow clips of unclear origin; cross-check film + photos + documents + sound instead. The structure still holds.
+- **Seams in "continuous" shots.** An exposure jump or splice breaks timing; time durations from the official record and state the alignment error.
+- **Time zones and clocks.** Old reports may use standard time while the place ran on daylight time; pick one and state it once on screen (`18:25:00 EST` on the first readout).
+- **Too much at once.** One layout, one finding; at most five sources on a board, and the subtitle never repeats the heading word for word.
+- **Too many words on screen.** Keep only what this beat needs (main readout or heading, the highlighted original, one short tag per source). Eyebrows, English twins of every label, archive numbers, footnotes and translations the subtitle already gives turn the frame into noise.
+- **Empty placeholder boxes for missing material.** A grey "no footage" or "waiting for photo" panel looks like a render error. Fill the slot with real material, change the layout, or let the source appear when it starts.
+- **A strip reserved at the bottom** (timeline band, caption rail) leaves an empty band when it has nothing to show. Content runs to y ≈ 900; nothing lives in the subtitle area (y ≈ 950–1030).
+- **Catastrophe as spectacle.** No slow motion of fire or impact, no full-screen flames, no sound effects on deaths.
+
+## 10. Footage (素材)
+
+1. **Ask the user first.** Before searching: does the user have their own footage, photos, documents, recordings or data (dashcam files, a report PDF, a spreadsheet of readings)? Their own material always comes first.
+2. **Where to look, and how to judge the licence.** Use `demo/tools/footage.py` (copy it into the project): `search archive|commons|nasa`, `files`, `fetch` (records licence, author and page into `SOURCES.jsonl`), `used`, `md` (writes `SOURCES.md`).
+   - **Internet Archive**: the item's `licenseurl` and collection. The NARA-donated Universal Newsreels (1929–1967) are public domain; other newsreel companies (Hearst, Pathé, Movietone, Paramount) are not, even when uploaders tag them PD. "stock footage" and YouTube-ripped items: skip.
+   - **Wikimedia Commons**: read the file page — author, source, licence template. U.S. federal work (Navy, NASA, NARA, NOAA, USGS) = public domain. PD claims resting on "not renewed" agency photos (AP, INS, Wide World): treat as uncertain and skip. Download big files through the API thumbnail URL (3840 px) to avoid 429s.
+   - **NASA** (images.nasa.gov): public domain except marked third-party items and logos.
+   - **Library of Congress / national archives**: read each item's rights statement; "no known restrictions" is **not** a licence — skip it.
+   - **USGS The National Map**: historical topographic maps as PDF (public domain); render the area you need with `pdftoppm -r 300 -x … -y … -W … -H …`.
+   - **Government reports and FBI files**: U.S. federal works are public domain; quote them, typeset transcriptions, show scans only as evidence frames.
+   - Allowed: public domain, CC0, CC BY (credited in full on the end card). Not allowed: CC BY-SA, "no known restrictions", unclear origin, colourised or restored copies.
+3. **Tell the user before downloading**: what (title, length or pages), from where (page URL) and under which licence; keep `raw/` under about 1.5 GB.
+
+## 11. Facts
+
+Keep `FACTS.md` (claim on screen or in the voice → source URL → quoted wording), list every inference separately, and check the final script and subtitles against it before the last render.
+
+## 12. Engine
+
+- One Canvas-2D page (`demo/index.html`), `window.render(t)` deterministic, `window.TEXTS(t)` for `readcheck.mjs` (key texts only; counters exempt), `window.SUBCHECK()` for the one-line subtitle check; all timing in `demo/film.json` (sections, voice starts, original-sound clips, subtitles), shared by the page, the mix (`demo/audio/mix.py`) and the subtitles (`demo/tools/cues.py`).
+- Reusable parts in the page: `plate()` (grade + grain + flash), `ring()` (circle + leader label), `cover()` (fill a panel without stretching, returns a source → screen map for circles), `badge()`, `wave()` (waveform with play-line), `playhead()` (event-clock keyframes shared with the mix), `planPanel()`, `schematic()` (16-cell side view with zone/flutter), `push()`.
+- Prep: `demo/tools/prep.sh` (ffmpeg + pdftoppm + PIL), `demo/tools/wave.py` (waveform peaks), `demo/tools/fonts.py` (OFL subsets). Checks: `demo/tools/subcheck.mjs`, `demo/tools/final_asr.py` (speech check on the finished film, per line).
+
+## 13. Variation space
+
+The agent decides per film: the event, the sources, the sync point, which time scales the clock passes through, the layouts, the opening and the ending.
+
+- **Three structures:** a cold open on the decisive frame, then rewind and rebuild; one question ("where did it start?") answered source by source; a strict clock (T−10 min → T+1 h) with findings dropping in where they happen.
+- **Three sync points:** an impact or flash frame; a sound peak heard in several recordings; a public clock or broadcast time signal.
+- **Three endings:** the evidence map; the known/unresolved board left on screen; back to the opening frame, now fully annotated.
+- **Other subjects:** a traffic collision (dashcams, CCTV, police report), a protest (phone videos, photos, statements), a disputed call in sport (camera angles, rulebook), a launch failure (tracking cameras, telemetry, accident report).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/visual-investigation/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/watercolor), 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). -->
+
+# Watercolor Brush — Style Prompt
+
+> A hand-painted journal page that paints itself: translucent brush strokes with dry-brush flying white on warm cotton paper, hand-written notes beside what is painted, nothing drawn with a vector line.
+> References (grammar only): naturalist field-journal and botanical-plate watercolours (specimen + note); long horizontal handscroll panoramas (one continuous painted world); the textbook "transect" diagram (a gradient read across space). Borrow the grammar, never a specific artwork, character or layout.
+
+## 1. Essence, and what it is not
+
+- **One sheet of warm, fibrous paper** under everything; it is also the eraser (paper-coloured mist washes things away).
+- **Everything is individual brush strokes**: a variable-width ribbon at partial opacity plus a few thin **bristle tracks** that break into dashes (flying white). Strokes overlap and darken where they cross, like transparent pigment. No vector outlines; a darker edge stroke along a form is the only "line".
+- **Things paint themselves in**, stroke by stroke, structure before detail (trunk → branches → leaves; outline wash → shadow → accent).
+- **An annotation layer** in a hand the painter would write with: labels with pen leader lines, a small measured value, a quiet title.
+- Tone: calm, curious, precise. Numbers are real; the palette can carry data.
+
+Not ink wash (colour, not ink tones; no calligraphic brush-as-gesture), not impasto (no thick paint, no knife), not a children's picture book (no crayon, no cute outlines), not vector illustration with a watercolour texture laid on top.
+
+## 2. Materials & rendering
+
+- **Paper**: a pre-generated image (warm base, three octaves of smooth noise ±3.5 %, a few thousand short curved fibres, fine grain, light vignette), drawn first every frame.
+- **Stroke** (`engine.js` `mk`/`drawS`): a ribbon whose width follows a profile (`brush`, `leaf`, `even`, `tip`, `trunk`) with ~±22 % value-noise roughness, filled as a thin wash (≈ 0.55–0.6 body opacity when bristles are present), plus 3–9 bristle tracks at 30–85 % opacity, each with a random dash pattern and a random early end: that is the flying white. A stroke can be painted up to any fraction of its length (a moving brush tip).
+- **Wash**: the same polygon painted in 3 passes with jittered vertices at a third of the opacity each, so edges darken where passes disagree (a pooled watercolour edge).
+- **Depth by layers**: several parallax layers of washes and painted objects; farther = smaller, lighter, less saturated; paper-coloured mist bands between layers.
+- **Cache finished objects as sprites**; draw stroke by stroke only what is being painted or transformed.
+- **Everything is a pure function of `t`**; any stroke made inside `render(t)` is built under a fixed seed.
+
+## 3. Colour logic
+
+- **Paper is the white.** Never paint pure white; light is unpainted paper.
+- **Transparent layering**: darker = more passes, not a darker pigment on top. Keep 3–5 hues per scene plus ink.
+- **Ink** (a warm near-black and a lighter brown) for lines, text, edges and stems only.
+- **Colour may carry the data or the mood**: blend sky, ground and background by position or time so the palette itself changes with the subject. Map ramps quantised into 4–6 bands read as paint, continuous ramps read as software.
+- **One accent** (a vermilion, a rain blue) reserved for one element that recurs: a stamp, a marker, a key object.
+- Examples: arid-to-wet — red ochre → sage → straw → blue-grey → deep green; a harbour at dawn — `#f3e2c8` sky, `#9fb4c4` water, `#5f7486` hulls, accent `#c8442a` buoys; a vegetable garden — `#e8e0c0` soil light, `#8ea860` leaves, `#4e6e3c` shade, accent `#d9632e` pumpkins.
+
+## 4. Type & subtitles
+
+- An elegant serif (e.g. Cormorant Garamond) for titles and subtitles, a handwriting face (e.g. Caveat) for notes, a small mono (e.g. IBM Plex Mono, wide tracking) for measured labels, Noto Serif SC for Chinese (subset to the characters used).
+- Hand notes are drawn twice over a paper-coloured halo, revealed left to right like writing, with a pen leader line that grows to its specimen.
+- **Subtitles** sit on the paper, not in a box: centred at the bottom, serif italic ~36 px (2 balanced lines max), a second-language line beneath at ~2/3 size, ink at ~78 % over a paper-coloured halo. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Numbers are spelled out in the TTS text and written as digits on screen.
+
+## 5. Motion quality
+
+- **Painting-in is the main motion**: an object's progress is a function of where it sits on screen or of a cue; strokes in a list each take a slice of that progress, so structure appears first.
+- **Sway** only after an object is finished: a small horizontal skew (`sin(1.15t+φ) + .4 sin(2.7t+2φ)`), ~0.006 for trees, 0.01–0.03 for grass.
+- **Brush-edge wipes**: a wavy vertical clip reveals a whole scene; lines grow by stroke progress; labels open with a left-to-right clip.
+- **Mist** erases: paper-coloured layers with a wavy rising edge.
+- Animated creatures and events may be phased to the music's beat grid so landings hit the beat.
+- Smooth easing (`ss`, `eio`, `eo`, `ei`); 60 fps suits the slow, fluid brush; nothing jitters.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. The picture is one painted sheet; cutting is rare. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Long lateral dolly over a continuous world | a gradient; a journey; cause and consequence | a transect; a route; a timeline |
+| Vertical tilt along one object | scale; measurement | a tall tree; a building; a depth |
+| Locked sheet, things painted in | study; attention | a specimen plate; a recipe; a diagram |
+| Slow push into a detail | the observer leaning in | a seed; an insect; a hand-written note |
+| Pull-back to a map or diagram | the whole re-framed | where it all happened; a system |
+| Mist wash to blank paper | chapter end; time passing | a season; forgetting; a new place |
+| Page turn / new sheet slides over | a new entry in the journal | a new day; a new species; a new case |
+| Change in time on a locked view | growth; decay; history | a season cycle; before/after; deep time |
+
+Framing: generous paper margins; one hero subject per view with its note; labels never cover the subject. Transitions: brush-edge wipes, mist, a page turn, or a continuous camera move; no hard video cuts, no dissolves between unrelated pictures.
+
+## 7. Sound palette
+
+- **Music**: acoustic and gentle: felt piano, fingerpicked guitar, woodwinds, light strings, glockenspiel, kalimba, soft pads. A licensed track can be edited with beat-aligned jumps; the picture can then take its beat grid.
+- **Foley made from the scene's matter**: a paper brush rustle for each painting-in (band-passed noise, light tremolo, a panned sweep); pencil scratch for notes; a soft thump for a stamp; page flips; nature beds and creatures of the subject (birds, wind, rain plinks, water, insects, fire crackle).
+- **Silence**: the brush lifted: music out, only paper and room; it frames a single painted moment.
+- **Mix character**: voice forward (RMS a few dB over the music), music ducked ~4 dB under voice with a smoothed envelope, a short soft reverb, final −14 LUFS. Kokoro voices are peaky (~17 dB peak-to-RMS): limit before level-matching.
+- **Voice**: warm, unhurried documentary read, one line per idea.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Painting-in as reveal.** A new thing appears stroke by stroke as it enters. *Fits content like:* the stages of a building; the ingredients of a dish; the organs of a body.
+- **Burst.** A whole group paints in at once (≤ 1 s) for a peak. *Fits content like:* a festival crowd; a field in bloom; a city lighting up.
+- **Palette as data.** Sky, ground and background blend by a measured value. *Fits content like:* pollution along a river; temperature by altitude; noise across a city.
+- **Specimen + note.** One hero object with a hand-written label and leader line. *Fits content like:* a tool kit; a wine region's grapes; parts of a bicycle.
+- **Mist erase.** The world washes back to paper. *Fits content like:* forgetting; a dream ending; a site demolished.
+- **Map in time.** A painted map whose fills change continuously through years. *Fits content like:* a language spreading; a coastline eroding; a railway network growing.
+- **Painted transformation.** Objects cross-fade to a burnt, wet or aged sprite and regrow. *Fits content like:* a wildfire and recovery; a flood; a restoration.
+
+## 9. Pitfalls of the medium
+
+- Offscreen wash strips too short flatten tall shapes into flat tops and expose seams on tilts → size strips well beyond the frame.
+- A translucent wash that ends at its canvas edge shows a hard seam under other layers → extend below the frame and fade to paper with a gradient.
+- Classic scripts share one global scope: touching a `const` before its declaration in async init leaves `READY` false and every screenshot times out → build everything inside the init; read `[pageerror]` lines.
+- The stroke builder consumes the global RNG: any stroke created in `render(t)` must be wrapped in `withSeed` or parallel workers disagree.
+- Thousands of strokes per frame are too slow → sprite cache.
+- Beat-locked animation must be re-derived when the music edit changes.
+- New CJK subtitle characters fall back to another font until the subset is rebuilt.
+
+## 10. Engine
+
+In `demo/`: `engine.js` (RNG, easing, noise, monotone keyframe tracks; the stroke engine `mk`, `drawS`, `drawList`, `sprite`, `clump`, `edgeOf`, `withSeed`), `plants.js` (plant and prop generators, local coordinates, root at 0,0), `scene.js` (layers, wash strips `washPoly`, world placement `add`, annotations `hand` / `leader` / `note`), `main.js` (map, mist, HUD, subtitles, `render(t)`, async init → `READY`), `paper.py`, `fetch_fonts.mjs`, `mix.py`, `render.mjs`. API table and a minimal example: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/watercolor/DEMO.md) "Engine reference".
+
+## 11. Variation space
+
+You decide the subject, the structure, what gets painted, the palette logic, whether anything is measured, the opening, the ending and the camera. All far from our demo:
+
+- Structures: **a journal kept over one year** (locked page per month, each painted over the last); **anatomy of one object** (a single specimen dissected into labelled parts, each part a painted close-up); **a recipe or process** (steps painted top to bottom on one tall sheet, tilting down).
+- Openings: **a finished painting** that we then watch being painted backwards to its first stroke, and forwards again; **a close-up of wet pigment** spreading, pulled back to show what it became; **a hand-written question** on blank paper, answered by painting.
+- Endings: **the page left unfinished**, brush lifted mid-stroke; **a close-up of one detail** as the rest fades to paper; **the sheet dries and is filed** into a stack of other pages.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/watercolor/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/white-model), 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). -->
+
+# Projection on White Model — Style Prompt
+
+> A pure white massing model of a real place stands on a plinth in a dark room, and a projector paints data onto it as light: one layer at a time, falling on the surfaces that face it, spilling a little past the plate. The model never changes; only the light on it does.
+> References (grammar only): projection-mapped planning models in city galleries (the dark room, the soft throw, colour only on white surfaces); macro model photography (shallow focus at rooftop height); editorial data graphics (one figure, one label, one source per layer). Copy none of their layouts, typefaces, colours or music, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+- **The model is real geometry of a real place**: building footprints and heights from open data (§2), extruded at a stated scale (1:1000, 1:2000…). Nothing on the model is invented or "representative", and no generated image ever stands in for the place.
+- **The model is white; data is light.** Colour is never painted into the material: it is projected, so it brightens surfaces that face the projector, fades on walls turned away, stops at the edge of the throw and reaches a little onto the plinth.
+- **Layers arrive one at a time**, each with its own gesture of light (a wash, a pop-on, a rising level, a moving sun), and each answers the question the last one raised.
+- **A physical room**: house lights, a projector that strikes and switches, a plinth, darkness around it. Lights out is where the data starts; lights up is where it ends.
+- **Every number on screen is computed from the same buildings** that are on the table.
+
+Not Isometric Infographic (no diorama or icons), not Low-poly Island (no invented terrain), not Sci-fi Hologram HUD (no wireframes; light lands on matter), not Satellite Briefing (no imagery), not a laser-scan or point-cloud film (no scan lines; light is projected, not measured).
+
+## 2. Materials & rendering
+
+- **Model**: matte white (≈ #F3F3F1, roughness ≈ 0.9), crisp edges; water a darker satin inlay in the base plate; bridges low white slabs; a thin base plate on a dark satin plinth.
+- **Light model**: house light = one soft key + a neutral studio environment + AO on close shots. Projection = a term added to the lit surface in the shader: `colour × (0.42 + 0.58 · max(N·toProjector, 0)) × throw mask`, scaled by albedo, reduced on water. Never a texture on the mesh.
+- **Building data is the material.** First look for the place's own open 3D or footprint-with-height data: 3DBAG (Netherlands, CC BY 4.0), PLATEAU (Japan, CC BY 4.0-compatible), city open-data portals (footprints with heights or floors, zoning, plans). Fine: CC0, public domain, CC BY (credited in CREDITS and on screen). OpenStreetMap and Overture (ODbL), CC BY-SA and "no known restrictions" are not CC0: name the terms to the user and ask first. For their own site, ask the user for their data (plan, city model, survey heights).
+- **Layers depend on what exists.** Construction years per building are a Dutch luxury (BAG); elsewhere they are often missing. Substitute what the data does hold and the medium can still project: heights or floor counts, footprint area, zoning or plan status, a boundary, sun and shadow (always computable). Never invent a year layer.
+- **A layer is state, not a picture**: per-building attributes (year, height, rank, flags) live in vertex data; the shader decides each frame what colour the projector gives them.
+- **The sun is a real directional light** with shadow maps, computed from the place's latitude and a real date and time (NOAA/Meeus solar position). The projector can trace what the sun does (a shadow footprint) but never fakes a shadow.
+- **Post**: physical depth of field (stronger on close shots), bloom only above the projection highlights, vignette, light grain in ffmpeg. GTAO only on close shots: on wide grazing views it bands.
+- **Screen space only for the 2D layer**: readouts, pins, measured lines and subtitles go through the camera's world → screen function so they stay pinned to the model.
+- **Keep a FACTS.md in the project folder** (claim, source URL, quoted wording, or the measurement method) and deliver it with the film; every number on screen is computed by a script from the same data as the model.
+
+## 3. Colour logic
+
+- Neutral ground: white model, dark room (near black), dark plinth. Projector black level is a cool near-black on the plate.
+- **One hue family per layer**, chosen for the data: a single categorical accent for "the old/the exception" (e.g. warm amber), a sequential ramp for continuous data (blue → cyan → white for time, violet → magenta → peach for height).
+- **A colour may return** only with the same meaning (the "before" colour reused later marks the same set of buildings).
+- The sun is warm, its shade is a projected deep blue; data colours are put away when the sun arrives.
+- Never colour the model in the house light; never use more than two layer palettes on screen at once.
+
+## 4. Type & subtitles
+
+- **Roles**: a light grotesk for the figure (Inter Tight 200, 120–140 px), a sans for labels in the film's language (Noto Sans SC 300/500, 20–36 px), a monospace for instruments, years and coordinates (IBM Plex Mono, 18–22 px). OFL, self-hosted, CJK subset.
+- **Readout in the left third**, one per layer: index + layer name, one figure, one label, one source line, a legend bar.
+- **Pins**: a hairline from a roof or a ground point up to a tag on a dark plate (title 26 px + one sub line 20 px).
+- **Identity label** top-left, quiet: place, scale, data sources.
+- **Subtitles** centred at the bottom on a soft dark gradient, no box, measured with the real fonts; if the film is bilingual, the film's language on top, each language on a single line, split into two cues rather than wrap.
+- Nothing below 18 px at 1080p. Hold subtitles ≥ max(1.8 s, speech + 0.6 s); labels ≥ characters ÷ 4.5 + 1.5 s (CJK), letters ÷ 15 + 1.5 s (Latin).
+
+## 5. Motion quality
+
+- The camera moves continuously and slowly; it changes speed with the layers, never stops dead.
+- **Light is the actor.** Each layer arrives by a soft-edged gesture of light: a wash spreading from the projector axis, buildings switching on one by one with a short flash, a level climbing every facade, the sun's clock running. No hard line sweeping the table.
+- House lights cut fast (a relay, 0.25 s) and return slowly (1 s); the projector strikes with a brief flicker.
+- Counters roll while the light moves and land when it lands; measured lines grow from A to B with ticks.
+- What never moves: the model, the plinth, the pins' anchors on the model.
+
+## 6. Camera grammar
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Macro glide at rooftop height, shallow focus | the model is a real object | an opening; a detail that matters |
+| Crane up and back | the whole pattern only seen from above | revealing a hole, a cluster, an edge |
+| Slow orbit with a rise | the city as a whole, layers accumulating | growth over time; comparisons across the model |
+| Boom down to a low angle against black | height, skyline | tall buildings, heights, a single tower |
+| Side-on track along a line | a measured distance on the model | a shadow, a corridor, a route, a view line |
+| Pull back as the house lights return | the data stops; the object remains | an ending; a reset between topics |
+
+At key moments the subject fills a third of the frame height; readouts left third, subtitles bottom centre, pins never over the readout. Transitions are light changes on one take (lights out, a layer replacing another, the projector going dark), not cuts, fades or wipes.
+
+## 7. Sound palette
+
+- **The room**: room tone, the projector fan (hum + filtered air) rising when the lamp strikes, relays for the house lights, a lamp strike (zap + thump), the air of a light wash (sliding band-passed noise).
+- **Light as sound**: mallets and glass for things switching on, bowed vibraphone for held light, a rising mallet line and air riser for a climbing level, one glass note per highlighted building.
+- **Weight**: timpani, gran cassa, gong, low brass for a heavy fact; warm low brass for a turn.
+- **Floor**: contrabass and cellos only as a floor under the chords; no generic piano and strings melody.
+- **Silence**: the projector goes dark and everything stops but a thin fan hum before the turn; a short suck-out before the heaviest hit. The first sound after the silence is the turn.
+- **Mix**: voice about 10 dB over the music; the two designed impacts are the loudest moments; −14 LUFS, true peak ≤ −1.2 dB. Voice: calm, short declarative lines, numbers spoken plainly.
+
+## 8. Native moves
+
+- **Lights out, lamp on.** House light, a relay, darkness, the lamp strikes, the first layer arrives. *Fits content like:* a site before and after; a district before a plan is shown; any "now look closer".
+- **The hole.** Light only the set that answers a question (built before a date, owned by one party, inside a zone) and let the absence draw the shape. *Fits content like:* a war-damaged centre; a flood plain with no housing; land a company owns; a protected zone.
+- **Layers by time.** Buildings switch on in the decade they were built, each layer faster than the last, a year counter rolling. *Fits content like:* a new town's growth; a campus master plan by phase; a port's expansion; a developer's portfolio by year.
+- **The rising level.** A soft level of light climbs every facade at once; low buildings finish first, the tallest last, the reading rides up with it. *Fits content like:* building heights; sea-level or flood depth; floor counts; a height limit being tested.
+- **The sun clock.** A real sun at a real date sweeps the shadows; the projector then traces one shadow and measures it. *Fits content like:* a new tower's shadow on a park; winter light in a courtyard; solar panels' best roofs; a street's daylight hours.
+- **The pick-out.** One building or set lights alone while the rest stay dark, with a pin. *Fits content like:* a listed building; the plot for sale; the hospital in an evacuation plan.
+- **Lights up.** The data stops, the white model comes back. An ending or a reset.
+
+## 9. Pitfalls of the medium
+
+- **Wall normals** wound the wrong way show inside faces (walls look hollow): derive the outward normal from ring orientation. **Shared walls** between parts z-fight: skip the overlap below the lower neighbour.
+- **Warm HDRIs turn the white model beige**: use a neutral studio environment.
+- **GTAO on wide grazing views** produces wedge-shaped dark bands; keep it on close shots only.
+- **A low sun lights facades, not roofs**: shoot from the sunlit side or side-on. **Narrow shadows vanish** among all the others: trace the one that matters (fill + edge) and measure it.
+- **Hairline scan lines read as laser scanning**: give every projection front a wide soft edge or switch buildings individually.
+- **Floating labels**: anchor pins on the tallest part of a building, not on its footprint centroid.
+- **Numbers from mixed sources** (official height vs measured roof): say which on screen ("roof", "measured").
+
+## 10. Engine
+
+- `demo/studio.js` — `makeStudio(W, H, model)`: renderer, post, room, the projection material (`projMaterial(kind)` injects `projLight()` / `roofGlow()` into MeshStandardMaterial), the city mesh (`buildCity`: outward normals, shared walls removed), plate, plinth, house light (index 0) and sun (index 1). Uniforms `U` drive every layer.
+- `demo/tools/prep.py` — **3DBAG + BGT only**: it reads 3DBAG fields (`b3_h_70p`, `b3_h_maaiveld`, `oorspronkelijkbouwjaar`) and Dutch RD coordinates (`tools/rd.py`). Another source needs its own adapter that writes the same `model.json`: `{size:[w,d] model metres, b:[[year|0, height_m], …] per building, p:[[building_index, height_model_m, [[[x,z],…] outer ring, …holes]], …] per roof part, decks:[[[x,z],…]]}`, with x east, z south, 1 unit = 1 model metre; plus `water.png` (plate-sized mask) and a `stats.json` with every on-screen number. `tools/sun.py` (solar position, any place and date) and the heightfield shadow are source-independent.
+- `demo/overlay.js` — readout, pin, measured range line, subtitle strip, title card; registers texts for readcheck.
+- **Extra packages and packs**: none beyond `setup.sh deps` (+ `voice`, `music` for narration and score); downloads are plain `curl` from the data portal. Reprojecting another country's data may need pyproj or shapely: the agent installs them itself into a private venv in the project folder, not into `$LIB/.venv`.
+- Minimal example, not in the demo: set `U.uPreC` to a station and `U.uPreR` growing to light everything within walking distance; or put a flood height in `U.uHgtF` with `U.uHgtBand` held at 1 and leave it still.
+
+## 11. Variation space
+
+Decide per film: place and scale, which layers in what order, their colours, the opening, the camera path, the ending, the pace.
+
+- **Structures**: a question answered layer by layer; a plan versus today (the plan's buildings switching on in a second colour); one building's story told by its neighbours.
+- **Openings**: a macro glide over white roofs; darkness and a single pick-out; the plinth from across the room as the house lights fall.
+- **Endings**: lights up on the white model; one last layer left on alone; the camera rising until the model is an object on a table in a dark room.
+
+---
+
+How our demo was made (story, shots, score, title card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/white-model/DEMO.md). Read it after your treatment exists.