wizz-method 2.22.0 → 2.23.0

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

@@ -0,0 +1,125 @@
+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/risograph), 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). -->
+
+# Risograph Print — Style Prompt
+
+> Animation that looks printed, frame by frame, on a stencil duplicator: two or three translucent spot inks overprinted on warm paper, halftone dots, ink grain, and plates that never quite line up.
+> References (grammar only): Tom Haugomat's riso illustrations (colour fields and silhouettes, a small figure in a large world, extra colours made by overprinting); Jacques Tati's *Jour de fête* (comedy staged small in a wide frame, everyday sounds as rhythm); real riso prints (translucent inks, misregistration, pinholes, feed streaks). Copy none of their characters, compositions or palettes.
+
+## 1. Essence, and what it is not
+
+A risograph prints **one colour at a time**: each colour is its own stencil ("plate") with its own drum of translucent ink. That one fact makes the look:
+
+- **A tiny palette**: 2–3 spot inks on warm off-white paper.
+- **Overprint mixing**: inks multiply, so two inks make a third colour and all three approach black; a tint of one ink over a solid of another gives the brightest mixes.
+- **Misregistration**: every plate lands a few pixels off; edges show slivers of paper or a coloured halo.
+- **Halftone dots** for mid-tones, each plate on its own screen angle; **imperfect ink**: pinholes in solids, streaks along the feed direction, blotchy density.
+- **Flat shapes, no outlines**: forms are colour fields and silhouettes.
+
+Not flat vector art with a noise overlay (every colour comes from the plates), not CMYK pop-art halftone (no process colours, no keyline), not screen-print posters (riso ink is translucent and grainy, not opaque). **Never** show the RISO brand, logo or machine trade dress; ink names are colour references only.
+
+## 2. Materials & rendering
+
+**Pipeline.** Draw each frame into **one RGB canvas where each channel is one plate's density** (R = ink 1, G = ink 2, B = ink 3; 0 = none, 1 = solid). `source-over` gives true **knockouts**; `globalCompositeOperation = 'lighter'` adds ink only to the channels you set: a true **overprint**. A WebGL2 shader "prints" it:
+
+- per plate: offset in px + tiny rotation → misregistration;
+- halftone: cosine spot function on a rotated grid, period ~6–8 px at 1080p, anti-aliased threshold; densities ≥ ~0.9 print solid; screen angles ≥ 15° apart;
+- grain on the dot threshold, pinholes in solids, density varying with a feed-direction streak and a slow blot noise;
+- composite `paper × Π mix(1, ink_i, coverage_i)`, with faint paper fibre;
+- dots anchored to the **paper** (screen), not to objects: a pan slides the image under a fixed screen, as if each frame were printed anew;
+- a per-plate **gate** and a **roller sweep** (moving edge, slightly heavier ink band) let a plate arrive mid-shot.
+
+**Composition rules.**
+- Every area uses **at most two plates, at most one of them as a tint**. Three halftones on top of each other = mud.
+- Big flat shapes, lots of solid paper and solid ink; halftone in a few stepped bands (e.g. 20 / 40 / 60 / 100 %) for skies, shadows, distance.
+- Characters get a **paper-white knockout halo** (4–5 px): stamp their layer in a ring with `filter: brightness(0)` (zero ink = paper), then draw them. Plates misregister around it, so it picks up coloured fringes like a real trap.
+- One horizon, one big flat field or disc, one small figure; the figure's head against the flattest colour in the frame.
+- Design for the **one-plate version**: every main colour contains some of the first plate, so a one-ink frame still reads as a complete silhouette. A deliberate exception stays blank paper until its plate arrives: a reveal.
+
+## 3. Colour logic
+
+- **2–3 spot inks, never more**, plus paper; every other colour is an overprint or a tint. No gradients except stepped halftone.
+- Pick inks whose pairs mix into useful colours; at least one must carry a silhouette alone.
+- Paper is warm off-white (around `#F4EEE2`), never pure white; paper white is a colour too (knockouts, highlights, subtitles).
+- Light neutral surfaces (skin): a light tint of the palest ink. Dots of a saturated ink on skin look like a rash.
+- Save the full overprint (every plate, densest mixes) for the moment that earns it.
+- Example ink sets: Blue `#0078BF` + Yellow `#FFE800` + Fluorescent Pink `#FF48B0`; Teal `#00838A` + Fluorescent Orange `#FF7477`; Federal Blue `#3D5588` + Red `#FF665E` + Sunflower `#FFB511`.
+
+## 4. Type & subtitles
+
+- **Type is printed**: titles and subtitles live on one plate, so they misregister and grain with it. A title can be printed on two plates with a visible offset: the riso double-hit.
+- Fonts (OFL): heavy grotesque for titles (e.g. Bricolage Grotesque 800), geometric sans for captions (e.g. Jost 500–700). Preload every weight before `READY`.
+- Subtitles: a **paper-white knockout strip** (zero ink, small radius) with text on one plate, ~40–46 px; its edges catch misregistration fringes. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Prints don't fade: titles arrive with a roller wipe or on a beat and leave on a cut.
+
+## 5. Motion quality
+
+- **Characters act on twos** (12 fps); **camera moves on ones** (24 fps): a stepped camera reads as judder.
+- **Registration is not jittered every frame.** One fixed set of offsets per shot (±1–3 px). A **kick** (≈ 8–14 px, decaying in ~0.25 s with slight ringing) on an accent; a **drift** up to ~25 px through a held moment, snapping back on the downbeat.
+- Grain boils partly (about a third re-rolls per print); sheet streaks and blots change only at cuts.
+- Simple cycles on few drawings; secondary motion (scarf, flag, tail) as a travelling sine wave.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Wide lateral tracking, small figure, empty sky | Travel, routine, room | a commute; a process line; a title |
+| Static wide, the subject crosses the frame | Comedy of scale | a gag; an arrival; a crowd |
+| Locked composition: horizon, disc, figure | Stillness, awe | a decision; a reveal; the film's one pause |
+| Ground-level low angle, big foreground shapes | Energy, abundance | a burst; a harvest; a launch |
+| Medium two-shot held for a look | Reaction | a joke landing; a deal; a disagreement |
+| Straight top-down, long shadows | Pattern, a map | a schedule; a floor plan; a game board |
+| Push into a halftone field until dots are shapes | Entering the print | a close look at data; a memory; a cell |
+| Pull back to reveal the paper | It was one sheet | a series; an archive; a summing-up |
+| Match cut on a flat shape | Continuity through form | a time jump; cause and effect; before/after |
+
+Framing: lots of paper and solid ink, text on empty sky or a knockout strip. Transitions: overprint growths, roller sweeps, shape match cuts, hard cuts on beats. Never a cross-dissolve, never a soft digital wipe.
+
+## 7. Sound palette
+
+- **Instruments**, as options: warm, dry, handmade, slightly lo-fi: upright or electric bass, vibraphone or marimba, nylon guitar, whistled or hummed melody, Rhodes, toy piano, brushed kit, shaker and rim clave, a small drum machine through tape saturation.
+- **Layering like plates** (an option): each new plate brings one instrument, and they can leave one by one.
+- **The machine is the signature foley**: feed "shhk", drum "ka-chunk" at a plate arrival, motor hum, a sheet landing on a stack, a guillotine cut. Other foley dry, close and papery, following the story's materials.
+- **Silence**: a held bar with reverb tails cut, at most ambience or one distant sound; it pairs with a registration drift, and the snap brings everything back.
+- **Mix**: dry and close; music ducks ~8 dB under voice; −14 LUFS. Voice relaxed and conversational, short lines, verified with whisper. No grain added at mux: it is in the print.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Plates as narrative.** The world gains a plate at each turning point. *Fits content like:* a product arriving as a new ink; a city history, one ink per era; colour returning during a recovery.
+- **Two inks, a third where they meet.** *Fits content like:* a merger; a duet; two data sets whose overlap is the finding.
+- **Overprint transition.** A shape of one ink grows over the frame, turning everything beneath into the mix, then shrinks into the next scene's key shape. *Fits content like:* a pill dissolving; a spotlight becoming a moon; a stamp becoming a map pin.
+- **Registration as rhythm and feeling.** Kicks on accents, drift in a held moment, snap on the downbeat. *Fits content like:* nerves before a speech; dizziness; a memory coming into focus.
+- **Reflections as separated plates.** Each plate wobbles on its own phase. *Fits content like:* a shop window; heat over a road; a coffee surface.
+- **Knockout reveal.** A shape made only of missing ink; its plate arrives later. *Fits content like:* a missing piece; a secret; a logo hidden in plain sight.
+- **Halftone scale.** Dots grow into shapes as the camera pushes in. *Fits content like:* population; rainfall; a crowd that turns out to be people.
+- **It is a sheet of paper.** The print can be stacked, folded, cut or pinned; grain boils like a flipbook of prints. *Fits content like:* a zine; a poster series; a flyer passed hand to hand.
+
+## 9. Pitfalls of the medium
+
+- Three halftoned plates in one area = mud → two plates, one tint.
+- `fract(p*vec2(233.34,851.73))` draws vertical stripes across solids at 1080p → a well-mixed hash (`fract(vec3(p.xyx)*.1031)` family).
+- Per-frame registration jitter and sheet streaks flicker and blow up file size → fixed offsets per shot, kicks on accents, sheet noise at cuts, partial boil.
+- JPEG screenshots (4:2:0) smear saturated dots → PNG frames into a lossless yuv444 intermediate, encoded once with `-tune grain`; check at 100 % and 50 % for moiré.
+- The halo layer must copy the canvas transform, or zoomed shots draw the subject at the wrong scale.
+- Additive `over()` inside a transparent layer loses its meaning → overprint on the plate canvas.
+- A main colour without the first plate floats loose in one-ink frames → build palette recipes up from the one-ink silhouette.
+- `evenodd` fills of arches fill solid → trace the inner edge in the opposite direction.
+
+## 10. Engine
+
+In `demo/`: `riso.js` (print shader: plates, halftone, grain, registration, kicks and drift, gates, roller sweeps, reflection wobble), `draw.js` (`ink(b,y,p)` densities, `over()` overprint, `layer()` paper halo, 2-bone IK, limbs), `sheet.js` (model sheet with a "plates = story" row via `S.mask`), `tools/video_png.mjs` (PNG frames → lossless intermediate), `tools/mux.sh`. Minimal new frame: two plates (R = teal, G = orange); a solid teal hill, an orange disc drawn with `lighter` so it darkens where it crosses the hill, a 40 % teal sky band, a figure knocked out with `layer()`.
+
+## 11. Variation space
+
+You decide the inks and what each plate means, the structure, characters (or none), opening, ending, camera path and pacing. All far from our demo:
+
+- Structures: **two inks in dialogue** (two subjects alternate shots and only overlap at the end, making the third colour); **subtraction** (start at full overprint, lose a plate at each loss, end in one ink); **a zine** (each shot a page turned, each page a different two-plate pairing).
+- Openings: **a knockout** (a blank shape in a full-colour field, filled by its plate seconds later); **dots first** (extreme close-up of halftone that pulls back into an image); **ghosts converge** (three colour ghosts drift together and snap into a readable frame on the first beat).
+- Endings: **one ink left** (plates lift away until the last line stands in one colour); **the print on a wall** (the last frame becomes a poster pasted up inside the world it showed); **a folded sheet** (the print folds into something the story needs: a boat, an envelope, a ticket).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/risograph/DEMO.md). Read it after your treatment exists.

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

@@ -0,0 +1,112 @@
+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/rubber-hose), 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). -->
+
+# 1930s Rubber Hose Cartoon — Style Prompt
+
+> Black-and-white hand-inked cartoons where every object is alive and swings to a hot jazz band.
+> References (grammar only): early Fleischer Studios shorts (c. 1930–33) for "the whole world dances", surreal transformation, the bouncing-ball singalong and ink-and-pen framing devices; *Cuphead* for how a modern team finishes the look and scores it with a big band. Never use an existing cartoon character, name or silhouette, and never copy designs, melodies or logos. **Avoid the "cup-head on a human body with a straw" design**: if your hero is an object, the *whole object is the body*.
+
+## 1. Essence, and what it is not
+
+Hand-inked black-and-white animation from the early sound era: characters with **rubber-hose limbs** (equal-width tubes, no elbows, no knees), **white four-finger gloves**, **pie eyes** (black oval pupils with a wedge cut out), huge round shoes, and bodies that squash and stretch like balloons. The backgrounds are soft grey watercolour paintings; the characters are flat white, grey and ink. Everything (furniture, machines, plants, the walls) **breathes in time with the music**. The film looks like a worn 35 mm print projected in a 4:3 gate: flicker, scratches, dust, gate weave, vignette.
+
+Not a 1950s flat cartoon (no limited animation, no colour, no graphic backgrounds), not a silent film (the synchronised music is the engine), not a "retro filter" over modern animation (no joints, no rendered shading).
+
+## 2. Materials & rendering
+
+- **Frame**: 1920×1080 output with a **4:3 gate** (1440×1080 centred, black pillarbox), gate corners rounded (r ≈ 28 px), soft inner shadow on the gate edge.
+- **Characters**: flat fills, one hard-edged form-shadow band (light grey) on the side away from an upper-left light, ink outline **constant in screen space** at any zoom (transform points first, then stroke; ~6 px at 1080p), light **line boil** (±1.2 px, 3 drawings cycling at 12 fps).
+- **Anatomy kit**:
+  - Limbs: noodle tubes of constant width (about 1/20 of the character's height), one smooth bend, round caps.
+  - Gloves: palm + 3 fat fingers + thumb, flared cuff with a fold line, 3 stitch lines on the back. Outline the union only (stroke all parts thick first, then fill all).
+  - Pie eyes: white oval, big black pupil (≈ 64 % × 74 % of the eye) with a wedge cut toward the upper right; blink with an eyelid in body colour and a lid line.
+  - Mouths: smile with cheek ticks, open grin, "O", wavy (scared), pucker, tongue-out. Shoes: big black ovals with a white toe glint.
+- **Object characters**: the face sits on the body; a **secondary feature carries the mood** (steam, a flame, a lampshade tilt, a spring). A box-shaped object is a real projected 3D shape seen slightly from above, the face mapped onto its front.
+- **Backgrounds**: painted once into a cached canvas at 1.25–1.5× (push-ins stay crisp): flat wash + soft blotches (±5 %) + inner edge darkening + a thin dark-grey outline + paper grain. They never boil. Period motifs: patterned wallpaper, panelled furniture, checker floors, brick, clapboard.
+- **Film damage** (composite pass, not the scene): low-frequency gate weave (±1.2 px) with a rare jump; flicker ±4 %; 0–3 drifting vertical scratches; 3–8 dust specks per frame; an occasional hair; strong vignette; a small jump on every cut; slight blur. Grain in ffmpeg (`mux.sh` grain **3**), not in the page.
+
+## 3. Colour logic
+
+- **Strictly greyscale**: about 6 grey steps plus a separate character white. No hue anywhere, not even in the film damage.
+- **Characters own the extremes**: character whites and ink blacks are brighter and darker than anything in the background. Backgrounds live in the middle greys (walls around mid grey, furniture one or two steps darker). Add a mild contrast boost (≈ 1.1–1.15) in the final composite: 1930s prints are rich black and bright white, never flat grey.
+- Form shadow is one light-grey band, never a gradient.
+- Examples of the grey ramp's temperature: warm paper greys (our demo); cool silver-nitrate greys; a faint sepia print. Pick one and keep it for the whole film.
+
+## 4. Type & subtitles
+
+- **Subtitles are a period title card**: a small near-black plate with a white double-rule border and dot-and-ring corner ornaments; text in **IM Fell English SC** (~36 px), paper white. Drawn in the scene layer so it weaves and flickers with the film; pops on and off with no fades. Bottom by default, top when the action is low. One card may span two short voice clips; hold ≥ max(1.8 s, speech + 0.6 s).
+- **Titles**: **Shrikhand** fat retro script, white face, heavy ink outline (~14 % of the cap height), ink drop shadow down-right; letters can hop in a travelling wave on the beat. Sub-lines in **Limelight** caps.
+
+## 5. Motion quality
+
+- **Characters on twos** (12 fps); camera moves on ones (24 fps). A stepped camera reads as judder.
+- **Tempo grid**: choose a tempo where one beat is an **even whole number of frames** at 24 fps (8, 10, 12, 16 or 20 frames), so every beat lands on a drawing of the twos.
+- **Breathing**: every idle object squashes and stretches with `cos(2π·beats)`: an extreme on every beat (stretch on the beat, squash on the off-beat), sampled on twos, amplitude ~5–7 %, all props in phase. A peak of joy can raise the amplitude ×3 and squash the whole background painting around the floor line (~2.5 %).
+- **Walk**: one step per beat with a body bob (sad = smaller steps, limp arms). **Run**: legs as a windmill (feet orbit a circle), lean forward, speed lines.
+- **Anticipation–hold–action**: before every big move, crouch (squash to ~0.8), hold (let the band stop), then snap. Impacts get a squash with an exponential spring-back.
+- **Held frames are acting**: a chain of holds, each glance on an eighth note with a woodblock tick, reads as thinking.
+- **Freeze on a band stop**: when the music stops, freeze everything, background breathing included.
+
+## 6. Camera grammar
+
+A theatre camera: mostly locked, moving only to follow a runner or to land a gag. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Stage-wide, locked, eye level | A proscenium: the set is a stage and everyone on it performs | introducing a place; a group number; a routine |
+| Hard cut to a face close-up | The reaction is the joke | a surprise; a taste; a realisation |
+| Trucking pan beside a runner, eased start and stop | Pursuit, momentum | a chase; a race; a delivery |
+| Medium follow shot (character ≈ 1/4–1/3 of the frame height) | Every step is a note | Mickey-moused climbing, dancing, working |
+| Tilt with a fall or a rise | Gravity as rhythm | a tumble; a rocket; a lift |
+| Slightly high angle, one unbroken shot | The hazard and the answer in one frame | a danger; a stretch; a rescue |
+| Tabletop pan (flat characters in front of a model set turning in depth) | The world is a real place | a street; a carousel; a factory floor |
+| Pull-back from a close-up to a packed medium-full | One feeling spreads to everyone | a celebration; a crowd joining in |
+| Iris in / iris out (grabbable by a character) | The film is an object | a beginning; an ending; a scene change with a gag |
+
+Framing: faces must read, so no far-wide shot for a gag or a musical moment. The destination prop enters frame before the gag lands. Arcs and leaps stay inside the gate at the current zoom. Transitions: iris, a hard cut on a beat, a title card rolling up like a window shade; no dissolves.
+
+## 7. Sound palette
+
+- **1930s hot dance band / ragtime**: stride piano, clarinet, trumpet (open + plunger-mute "wah-wah"), trombone (smears), tuba oom-pah, banjo on 2 & 4, snare with brushes and rolls, xylophone, woodblocks, slide whistle, cymbal, kazoo, washboard, a pit organ. **No string pads, no modern synths.** One short original syncopated theme can be restated in different arrangements.
+- **Mickey-mouse the score, as options**: a band member "answering" a character (trombone raspberry, trumpet laugh); a stop (hard silence, reverb tails too) before a gag or on a stare; a stinger per gag; slide whistle for every stretch or fall; a prop that *is* an instrument; a solo for tenderness; a key change for a lift.
+- **Foley by material** (synthesised): porcelain and glass = hard inharmonic partials + a tiny transient; wood = woodblock; metal = bells and clanks; springs = "boing"; water = filtered noise + rising blips and bubbles; rubber = sawtooth creak through a band-pass.
+- **Voice**: a period character (a radio announcer calling the action, a vaudeville MC, a crooner), few short lines. Radio chain: HP ~260 Hz / LP ~4.6 kHz, tanh saturation, a short room, compression. Duck the music ~8 dB.
+- **Optical soundtrack pass** over music + foley: band-limit ~110 Hz–6.2 kHz, slight wow (~0.6 Hz) and flutter (~7 Hz), soft saturation; then a bed of hiss, crackle and a 24 Hz projector gate clatter, the *only* sound allowed inside a silence.
+- Loudness −14 LUFS (two-pass loudnorm in `core/render/mux.sh`).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Everything breathes on the beat.** The setting is a character; at the peak the *whole world* can dance in sync, walls included. *Fits content like:* a factory at shift change; a garden after rain; a city waking up.
+- **Mickey-mousing.** Every step is a note; a prop becomes an instrument. *Fits content like:* stairs as a piano; a typewriter as a drum kit; fence posts as a xylophone.
+- **Rubber-hose stretch.** Limbs reach any length in one unbroken shot. *Fits content like:* reaching a top shelf; a long-distance handshake; catching a falling baby bird.
+- **Transformation.** Anything becomes something else mid-motion (a tail into a question mark, a hose into a saxophone). *Fits content like:* an idea turning into a product; a problem into a tool; a word into an object.
+- **The bouncing-ball singalong.** Lyrics on a title card, a ball hopping from word to word on the beat. *Fits content like:* a jingle; a safety rhyme; a slogan to remember.
+- **The film is a physical object.** Title cards roll up like window shades; the iris is grabbed and pulled shut; intertitles get bumped; the frame line slips. *Fits content like:* a brand reveal; a "the end?" twist; a character escaping the cartoon.
+- **The ink bottle.** An artist's pen draws the hero, who then argues with it. *Fits content like:* a making-of; a mascot introduction; a lesson about drawing.
+
+## 9. Pitfalls of the medium
+
+- **Flat grey frames.** Push backgrounds to mid grey, keep pure white and ink for characters, add a contrast boost.
+- **Wide shots kill gags**: a far shot makes characters tiny and Mickey-mousing unreadable. Use medium shots, and a packed medium-full for crowds.
+- "Sad" brows drawn as "angry": define brows by inner / outer end (inner = near the nose), not by left / right.
+- A limb drawn behind a body gets hidden by the silhouette (a handle, a tail): kick and reach outward past it.
+- Painted characters collide with background props at some camera positions: check every shot's last frame.
+- Smoke puffs in a row read as thought bubbles: scatter and grow them.
+- Short voice clips make subtitles flash: merge consecutive lines into one card.
+
+## 10. Engine
+
+In `demo/`: `toon.js` (constant-width ink, line boil, affine stack), `film.js` (gate and film damage, reusable as is), `chars.js` (rigs, pie eyes, gloves, shoes), `cast.js` (breathing props), `bg.js` (cached watercolour backgrounds), `ui.js` (title lettering, title-card subtitles), `mix.py` (foley, radio chain, optical ageing), `music/score.py` (big band via `core/audio/sampler.py`). File map and commands: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/rubber-hose/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the location (or several), the cast, the structure, the opening, the ending, the camera path, the tempo and the band's line-up. All far from our demo:
+
+- Structures: **a singalong** (verse and chorus, the bouncing ball carrying the message while the set acts out each line); **a talent show** (objects take turns on a stage, the smallest wins); **a relay** (a thing passed hand to hand across a town, each hand-off a new instrument on the melody).
+- Openings: **out of the inkwell** (a pen draws the hero, who hops onto the set); **a curtain rise** (the band tuning up; a baton starts the film); **an iris on one eye** (it blinks, the iris widens to show whose eye it is).
+- Endings: **the card pulled over** (a character drags "The End" in front of itself mid-gag); **the film snaps** (the frame burns, a gloved hand splices it for one last bow); **the band packs up** (instruments leave until one note remains).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/rubber-hose/DEMO.md). Read it after your treatment exists.

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

@@ -0,0 +1,116 @@
+<!-- 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

@@ -0,0 +1,121 @@
+<!-- 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.