wizz-method 2.22.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/shadow-puppet), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Shadow Puppetry — Style Prompt
+
+> Chinese shadow theatre: translucent dyed-hide puppets, carved like lace, pressed against a cotton screen and lit from behind by oil lamps.
+> References (grammar only): Lotte Reiniger's *The Adventures of Prince Achmed* (1926) for profile acting and lace-like scenery; Shaanxi / Huayin shadow theatre for carving, colour and gong-and-drum rhythm. Never reproduce a specific historical puppet, melody or recording, and never name them in the film.
+
+## 1. Essence, and what it is not
+
+A white cloth screen; behind it, flat puppets cut from **translucent dyed hide**, lit by an **oil lamp**. Colour arrives *by transmitted light*: dyes glow like stained glass, carved holes shine brightest, overlaps go darker. Puppets are jointed with **visible thread rivets** and moved by **thin rods** (neck and hands) that show as soft grey lines just off the screen. It is live theatre, not stop-motion: the screen **flickers with the lamp**, puppets **tremble in the hand**, loose parts **swing on their rivets**.
+
+Not a black silhouette film (colour is the second protagonist), not paper-cut (the light comes *through*), not stained glass (no lead lines; pieces move and overlap), not flat vector cut-out animation.
+
+## 2. Materials & rendering
+
+**Rendering model.** Per pixel: `image = tonemap( lampLight × hideTransmission × clothTexture )`.
+- `hideTransmission`: a 2D canvas that starts **white**; every piece is drawn with `multiply`. Holes stay white, overlaps darken by themselves.
+- `lampLight`: per lamp a broad lobe plus a tight hotspot (~6 : 1), each flickering independently (a few % of ~7 Hz value noise plus a faster sine). Warm light, never white.
+- `tonemap = 1 − exp(−hdr)`, exposure ∝ `1/√(lamps lit)`: more lamps bleach the frame but keep it readable. Lamp count is a dial the story can turn.
+- **Cloth**: procedural weave (sin × sin, noise-warped), fibre speckle, low-frequency density blotches, darker edges at the frame. **Post**: warm-tinted bloom, a **warm vignette** (toward brown, never grey), slight saturation, soft S-curve, light grain; heat haze only when the story burns.
+
+**Hide and carving.** Multiply a tileable hide texture (mottling, fibres, specks) into each piece and restore its alpha with `destination-in` so holes survive. **Carving is density**: leave thin strips, cut out most of the area. Cut vocabulary: crescent rows (scales, tiles), diamond lattice, coin holes (round hole, square of hide inside), cloud collars and scrolls, tapered slits (cracks, rain, fur), strata along a ridge, leaf holes in a canopy. A dark carved outline (1.5–2.4 px) on every region. With `destination-out`, set `fillStyle = '#000'` first: fill alpha decides how much is cut.
+
+**Figures are jointed puppets**: 8–12 pieces, head ~1.2× natural with large headwear, sleeves in a different dye from the torso, round joint lobes with a rivet (dark ring + pale knot), arms by 2-bone IK from hand targets, held objects as separate pieces on the hand line. Sympathetic figures have *open-cut faces* (features as thin strips around a hole); antagonists solid faces.
+
+**Scenery** is carved set pieces on mostly empty lit cloth: one lace piece per element, a narrow carved ground strip, separate liftable strips for water or sky. Fire, smoke and moving water are carved pieces on rods, swapped and shaken, never particles.
+
+**Stage and backstage.** A lacquered frame (lintel, pillars, warm spill on its inner edges), optional blurred audience heads. Backstage = the same transmission canvas with the camera mirrored (`x → −x`), dark wood around, hanging lamps (additive flame glow; snuffed ones trailing dark smoke), hands and sleeves as **silhouettes with a warm rim** (mask minus mask shifted away from the light), rods sharp.
+
+## 3. Colour logic
+
+- All colour is **transmitted**: a dye filters warm lamplight, so nothing is brighter than the lamp and every hue leans warm.
+- 3–5 saturated dyes + **raw hide** (the neutral) + **ink** (outlines, hair, boots). Holes are the brightest value.
+- Overlap is darkness: plan which pieces cross.
+- Brightness comes from the number of lamps, not grading. Night is fewer lamps, never added blue.
+- Thin things that must read (strings, shafts, text) are dark: pale pieces vanish on a bright cloth.
+- Example sets: *court* (vermilion, ochre, malachite); *river* (indigo, jade, one ochre); *harvest* (flame orange, gold, one green).
+
+## 4. Type & subtitles
+
+- Subtitles belong to the theatre: a **storyteller's placard** (narrow dark-lacquer board, thin gold line, small carved seal), a label on a rod, or letters carved into hide. Classical OFL serif (e.g. Cormorant Garamond 600), 40–50 px, cream on dark, short slide in. Hold ≥ max(1.8 s, speech + 0.6 s).
+- **Titles are puppets**: dark hide plaques with letters cut out (`fillText` + `destination-out`, so words glow), a carved border, carried on rods, pressed on to enter, lifted off to exit.
+
+## 5. Motion quality
+
+- **24 fps continuous** for puppets and camera; only swapped effect pieces (fire, water) step at 12 fps.
+- **Hand tremor** on every puppet (a few px, ~0.02 rad, low-frequency), stronger under tension.
+- Body glides with the main rod; **legs, plumes, tassels are simulated** (damped pendulums / spring chains driven by body acceleration, pre-simulated at a fixed rate for determinism).
+- Operatic phrasing: shuffling run → hop → crouch → **freeze pose on a percussion accent** (~1 s, only loose parts quiver) → head turn.
+- Faces never change; attitude = head angle + body tilt (up = resolve, down = sorrow).
+- **Press on / lift off**: arrivals come large and blurred onto the cloth and snap sharp (~0.5 s); exits grow, blur and fade (~1 s).
+- A new lamp flares with overshoot; a snuffed lamp gutters with fast flicker.
+- Never moves: the cloth, the frame. Nothing morphs: pieces rotate on rivets, slide on rods, or are swapped.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Audience seat (whole stage, heads below) | "This is a show" | a legend; a lesson; a framed memory |
+| Push through the frame onto the cloth | Entering the tale | a story within a story; focus |
+| Lateral pan across a wide cloth | Extent, a place laid out | a journey; a disaster's reach; a procession |
+| Follow a puppet, slight zoom | Being with one figure | a pursuit; a working day |
+| **Crash zoom** of a few frames on a percussion hit | The drum becomes the camera | an entrance; a pose; a reveal |
+| Whip pan along a moving piece | Cause to effect | a message sent; a strike |
+| **Locked wide** | Every step of a change is seen | counting; repetition; stages |
+| Medium-close, empty cloth between two pieces | Distance, hesitation | a choice; a parting |
+| Close on a carved detail | Craft as meaning | a vow; a tool; a clue |
+| Tilt from ground strip to top of cloth | Height, hierarchy | a tower; heaven and earth |
+| Truck round to the back (mirror view) | The trick revealed | behind the scenes; who pulls the strings |
+| Pull back from cloth into the dark room | The tale becomes an object | aftermath; a story ending for the night |
+
+Puppets in profile; most of the cloth stays empty. When zoomed in, clamp the camera to the screen rectangle (no black bars); push on frame centre unless diving into a lamp. Transitions: lamps dimming, a blurred foreground pillar wipe, a piece lifting off in light, a flash to warm white; never a generic crossfade or digital wipe.
+
+## 7. Sound palette
+
+- **Percussion first, not piano and strings** (gong-and-drum pattern thinking, 锣鼓经): low barrel drum, hard high clapper drum (woodblock), cymbals, small gong with rising pitch ("tai"), big gong with falling pitch ("kuang"); also a bamboo clapper board, pellet drum, sanxian pluck, a bamboo flute for quiet.
+- **Bowed and reed voices**: a bright nasal fiddle (erhu-like: pitched up, nasal formant, pitch-curve resampling for slides and vibrato), plain pentatonic (**huan-yin**) or sorrowful microtonal (**ku-yin**: raised 4th, lowered 7th); a shrill suona-like reed (oboe + 1.2–3 kHz formant + saturation) at most once.
+- **Techniques, as options**: a single tap inside a silence; one big gong per decisive hit; a heartbeat drum under dread; accelerating rolls into an entrance; one hit per visual step; a gong scrape to change space; a hard stop (≤ 30 ms, tails included).
+- **Silence**: hard-cut the whole bed; at most one sound inside (a breath, a tap, a sizzle).
+- **Foley follows the materials**: wooden clapper (醒木), match strike, lamp "fwoomp" and "pfft" + sizzle, rod taps on cloth, dry leather flaps on lift-off, leather steps, creaks of hide and wood props, leather thwacks, cloth rustle, backstage room tone.
+- **Voice**: a storyteller, few short lines, small-theatre reverb; music ducked ~12 dB, foley ~4 dB, voice ≥ 12 dB above the bed; −14 LUFS; check each line with whisper alone and on the final mix.
+
+## 8. Native moves
+
+A menu: use the ones your story needs; put the strongest at the peak.
+
+- **The light is the world.** Lamp count drives heat and colour. *Fits content like:* city lights spreading at night; a fever rising and falling; servers switching on one by one.
+- **Off the screen = big and blurry.** A piece pulled toward the lamp grows and blurs. *Fits content like:* a rumour growing; a memory fading; a deadline pressing onto the cloth and snapping sharp.
+- **Go behind the screen.** Lamp, hands, rods. *Fits content like:* how a product is really made; who controls a market; a teacher revealing the method.
+- **Carved and translucent.** Holes glow, overlaps darken, open faces vs solid. *Fits content like:* an x-ray of a system; good and bad actors in a fable; layers of a city.
+- **Hand-held.** Tremor and swinging parts. *Fits content like:* a nervous interview; a tightrope; a toddler's first steps.
+- **Piece swap.** One carved piece on a rod replaced by another. *Fits content like:* seasons; a machine's states; weather over a harvest.
+- **Strip lift-off.** A band of scenery lifted to reveal another. *Fits content like:* geological layers; before/after a flood; an old town under a new one.
+
+## 9. Pitfalls of the medium
+
+- Flat clip-art look → hide texture, denser openwork, deeper dyes, carved outlines everywhere.
+- Figures unreadable in profile → bigger head, fuller lower body, collar piece, contrasting sleeves.
+- Radiating shapes read as saw blades or petals → flame tongues with a fat base, belly and hooked tip, alternating curl.
+- Grey corners when overexposed → warm vignette.
+- Thin pale pieces vanish → make them dark.
+- Mirror view flips pieces when rotation uses the x scale for both axes → x scale for x, y scale for y.
+- Smoke with `lighter` is invisible on bright cloth → dark wisps, warm additive only near a lamp.
+- Push-in centred on an edge lamp shoves figures out → push on frame centre.
+- Beds leaking into a silence → hard-cut them.
+- Headless screenshots time out under GPU load → retry.
+
+## 10. Engine
+
+In `demo/`: `carve.js` (piece sprites, `cut` / `cutLine` / `cutTaper`, pattern library, hide texture, rivets), `gl.js` (WebGL2 compositor: lamp field × transmission × cloth, mirror, bloom, haze, warm fade), `stage.js` (frame, audience, pillar wipe, cut-letter plaques), `backstage.js` (rim-lit silhouettes, flame, smoke), `hud.js` (placard), `scenery.js` (landscape pieces, ground strip, fire), plus the jointed rig with IK and pendulum parts; `?test=model|frame|hands` draws sheets from the real engine. A first test unlike the demo: carve a lantern-seller with a lattice basket, press it onto one lamp, light three more and watch the frame bleach.
+
+## 11. Variation space
+
+You decide the story, the figures (or none), what the lamp means, what leaves the screen, the opening, the ending, the camera path, the dyes and the pacing. All far from our demo:
+
+- Structures: **a procession** (one long pan; each figure adds a dye until the cloth is a full street); **two puppeteers** (rival hands argue through their puppets; backstage shows who is winning); **a workshop** (a puppet is carved, dyed and riveted on the cloth, then performs its own making).
+- Openings: **backstage first** (rim-lit hands and rods before the front); **one hole of light** (the screen all dark hide; one carved hole glows and widens); **mid-show** (the camera finds a performance already in full percussion).
+- Endings: **the lamp is carried away** (the cloth darkens from one side); **the puppets rest** (lifted off one by one, laid flat on a dim table); **the audience leaves** (the heads stand and go, the cloth still glowing).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/shadow-puppet/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/silent-film), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# 1920s Silent Film — Style Prompt
+
+> An engraved-illustration silent film projected in a picture house: ink line and silver wash, a 4:3 print that flickers and weaves between velvet curtains, intertitles instead of voices, and a cinema pianist who plays every beat.
+> References (grammar only): **Buster Keaton**, *The General* (1926) and *Sherlock Jr.* (1924) — the whole gag in one locked-off wide shot, a deadpan face, a body that does the acting; **Harold Lloyd**, *Safety Last!* (1923) — the near-miss; **Georges Méliès** — the iris and the trick shot; **The Artist** (2011) — how few intertitles a modern audience needs; **1920s photoplay piano cue sheets** — music by mood section, the piano doing the sound effects. Never use the Tramp look (bowler, toothbrush moustache, cane), any real film's gags, or any published melody.
+
+## 1. Essence, and what it is not
+
+A one-reel film as it would look *projected*:
+- **A 4:3 print in a gate between theatre curtains**; the sides of the 16:9 frame are the picture house.
+- **An ink drawing with washed greys and hatching**, printed on silver stock that flickers, weaves, scratches and burns at the edges.
+- **Nobody speaks.** Beats are told by **action in wide shots** and by **intertitle cards**.
+- **The only sound is a cinema instrument** (piano, organ) and the projector in the booth.
+
+Not a noir (no hard shadows as mood, no voice-over), not a sepia photo filter on modern animation (the drawing itself is engraved and inked), not a Chaplin pastiche.
+
+## 2. Materials & rendering
+
+- **Tonal painting + Redraw.** Scenes are painted in grey values only (print densities roughly: ink 0.07, dark cloth 0.15–0.3, mid wood 0.45–0.6, skin 0.8, white linen 0.9–0.95), with soft light gradients and a thin separation line. A **Redraw** pass (WebGL2) inks the whole frame: difference-of-Gaussians contours on the dark side of every edge, luminance posterised into ~5 soft wash steps, and 45° hatching (then crossed) in the darks, re-drawn every two frames like hand-redrawn animation. Real video frames can go through the same pass so footage and drawing share one hand.
+- **Print pass**: silver tone with a sepia amount between ~0.1 and ~0.36, print black ~0.055 and white ~0.93, S-curve, halation on highlights, uneven density, flicker, gate weave with occasional perforation jumps, broken vertical scratches (white = scraped emulsion, dark = dirt on the negative), brown burn creeping from the edges, vignette, two-octave silver grain; then dust, a hair in the gate, a rare blotch.
+- **Frame**: 1440×1080 in the centre of 1920×1080, a rounded aperture with a soft dark rim; velvet drapes at the sides lit by the screen's spill and by footlights. Curtains can part and close.
+- **Figures**: realistic proportions (7.5-head adults, ~5-head children) on a 2.5D rig (joints solved in 3D, projected with a yaw), silent-era make-up (pale skin, dark lids and lips); identity by silhouette marks (a hat, a garment, a tool).
+
+## 3. Colour logic
+
+- **Monochrome silver**, tinted only by the print: colder and harsher (more damage, less sepia) when things go wrong, warmer and cleaner when the film turns tender. Tint and damage are mood controls, set per section.
+- Values carry everything: dark clothes against pale walls, pale faces against dark interiors; check every shot as a thumbnail.
+- **One colour, at most**: an element drawn into a separate colour mask keeps its hue through the print (still getting grain, flicker, vignette). Use it for the single thing the film is about, or not at all.
+- Period tinting of whole scenes (amber for day interiors, blue for night, rose for romance) is a valid alternative to sepia; one tint per section.
+
+## 4. Type & subtitles
+
+- **The intertitles are the subtitles**; the `.srt` lists their text. A card holds 2.5–3.75 s (≥ max(1.8 s, reading time + 0.6 s)).
+- A black painted card with a deco border whose ornament follows the emotion: one heavy rule for a shout (the text shakes), a double rule with stepped corners and fans for narration, vines and small flowers for tenderness.
+- Period faces (OFL): a small-caps display serif (e.g. Playfair Display SC) for titles and shouts, an italic old-style serif (e.g. Old Standard TT Italic) for narration and dialogue.
+- A few words per card; three to five cards in a short film. A card never explains what the picture already shows.
+
+## 5. Motion quality
+
+- **Hand-cranked sampling**: character and camera motion sampled at 16 fps (18 or more to undercrank a fast scene); flicker, weave, grain and scratches change every output frame (24 fps). That mix makes it look projected rather than merely low-frame-rate.
+- **Speed is an emotion**: undercrank chases and panic (faster motion, faster flicker); return to 16 fps and a calmer print for tender scenes.
+- **Deadpan performance**: the face barely changes; the body acts (crouch before effort, held poses, the two-frame snap of a double take, hands on knees). Objects act too (a wobble before a fall, a ritardando to rest).
+- **Keyframed, eased poses**; only deliberate gags snap.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. The period camera is heavy: most shots are locked. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Locked-off extreme wide | cause and effect seen whole; the wait is the joke | a mechanical gag; a crowd; an elaborate process |
+| Locked full shot | the premise in one frame | a character's routine; a confrontation |
+| Tracking shot with foreground passing | pursuit; momentum | a chase; a race; a delivery against the clock |
+| Iris in / out | attention on one thing; a beginning or end of a thought | an object; a face; a memory |
+| Half-open iris, held | a character sharing a look with the audience | a wink; a secret; complicity |
+| Slow motivated push-in | tenderness; realisation | a kneel; a letter read; a decision |
+| Masked shot (keyhole, binoculars) | point of view; spying | a detective; curiosity; romance |
+| Split screen / double exposure | trickery; dream; two places at once | a phone call; a ghost; a daydream |
+
+Framing: wide and medium shots; big close-ups of rigged faces look like mannequins, so keep any close-up small or inside an iris. Transitions: iris, fade to black, straight cuts, the curtain. No dissolves between shots of the same scene, no modern whip pans.
+
+## 7. Sound palette
+
+- **The instrument is the sound design**, as in a picture house: an upright piano (optionally a reed organ, theatre organ, violin or small ensemble) plays every event. Mickey-mousing vocabulary (options): chromatic creep in the bass (sneaking), grace note (a wink), forearm cluster (a crash), swelling diminished tremolo (a wait), low rumbling tremolo (a storm, a machine), "plink … plonk" (emptiness), diminished sforzando (a shock), rolled chord (a door, a reveal), descending glissando (a fall), low "boing" (a bounce), nervous trill (hesitation), minor second (something breaking).
+- **Photoplay idiom**: stride left hand, music by mood section in the manner of cue sheets (Hurry, Misterioso, Agitato, Tenderly, Maestoso), a theme that returns changed. Original music only.
+- **No foley, no voice.** **The projector is the ambience**: lamp click, motor spin-up, claw-and-motor purr, film flapping on the take-up reel.
+- **Silence**: the music stops and the projector alone remains; it frames a held moment.
+- **Mix**: tame piano hammer transients with light compression before loudness normalisation (−14 LUFS). Grain goes in the picture (mux grain 1).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **The chain in one take.** A triggers B, B leaves the frame, the audience waits, B returns and hits C. *Fits content like:* a supply chain gone wrong; how a rumour spreads; a Rube Goldberg invention.
+- **The near-miss.** A hand closes exactly where the object was a frame ago. *Fits content like:* catching a bus; a startup missing a deal; a goalkeeper.
+- **The intertitle twist.** A card reframes the next shot in a few words. *Fits content like:* "Meanwhile, in the lab…"; "The machine had other ideas."; a statistic as a punchline.
+- **Undercranked chaos.** Speed and damage rise together. *Fits content like:* rush hour; a kitchen at dinner service; a stock crash.
+- **Iris on the look.** An iris stops half-way so a character can glance at the audience. *Fits content like:* a product winking; a cat that knows; a scientist's secret.
+- **Redrawn footage.** Real video pushed through the ink pass becomes a period drawing. *Fits content like:* a company's archive; a family film; a sports clip.
+- **The echo gesture.** A gesture from the start repeated by someone else with a new meaning. *Fits content like:* a teacher and a pupil; a handover; a tradition.
+
+## 9. Pitfalls of the medium
+
+- **Too much content kills a silent film**: a many-step chain at small figure scale is noise in a thumbnail. One legible chain with a pause in the middle beats three busy ones.
+- **Puppet arms**: apply abduction before flexion, let the shoulder rise and swing forward as the arm goes up, slim the torso's shoulder corner on the raised side, hide the arm's contour where it lies over the torso. Raise arms sideways (or turn the figure) so they don't cross the face.
+- **Pose pops**: drive every figure by eased keyframe lists, never by `if` branches.
+- **Floating props**: hold a prop between the palms at the depth between the arms; tie a rolling object's rotation to distance (angle = distance / radius).
+- Brow angles flip with facing direction: check expressions in a crop at final size.
+- An iris must track its target in film coordinates after any camera zoom.
+- A grab must put the hand exactly where the object is at the beat, or it doesn't read.
+- Closed curtains lit only by a dark screen go pure black: add footlights.
+- Heavy grain makes huge files → re-encode with `-tune grain` at a higher CRF.
+
+## 10. Engine
+
+In `demo/engine/`: `ink.js` (tonal forms, ink line, wash, hatch; `drawShape()` draws any path in this style), `redraw.js` (`Redraw`: tonal painting or real footage → ink drawing, WebGL2), `film.js` (`FilmPost` print pass + `damage()`, stackable on any 2D canvas, with an optional colour mask), `cards.js` (intertitles, deco borders, iris, theatre), `figure.js` + `heads.js` (2.5D rig). `demo/timeline.js` is a cue sheet that drives both picture and score. API table and a minimal example (a one-colour shape through the whole pipeline): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silent-film/DEMO.md) "Engine reference".
+
+## 11. Variation space
+
+You decide the genre (comedy, melodrama, adventure, newsreel), the characters, the gag or the drama, the cards, the tint plan, the opening and the ending. All far from our demo:
+
+- Structures: **a newsreel** (a sequence of "reports" with headline cards and a narrator card between them); **a melodrama in three reels** (each reel a tint: amber, blue, rose; a villain card, a rescue); **a trick film** (Méliès-style: one stage, a magician, objects appearing and transforming by substitution cuts).
+- Openings: **mid-chase**, the film already running and scratched, no title yet; **a single intertitle question** before any image; **the projectionist's view**: the beam from the booth, then the screen.
+- Endings: **the film breaks** (the print burns through and the lamp shows white); **a final card that addresses the audience** directly; **fade to black on a locked wide** with the piano holding one chord.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silent-film/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/silkscreen-poster), 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). -->
+
+# Silkscreen Travel Poster — Style Prompt
+
+> Opaque, hard-edged flat inks pulled one colour at a time through a screen: 4–6 inks per poster, stepped colour bands instead of gradients, thin paper-white gaps where the registration slips. Information is revealed the way the print is made: one layer, one beat.
+> References (grammar only):
+> - **1930s–40s WPA national-park screen prints**: 4–6 flat inks, lit and shade faces, stepped-band skies, a dark information band, concentric sun rings.
+> - **Fifty-Nine Parks (contemporary)**: restraint, paper as a colour, a series on one template with a new palette per poster.
+> - **The physical process**: hinged screen, squeegee pushing an ink bead across mesh, split-fountain pulls, drag streaks, pinholes, off-register slivers.
+>
+> Never copy a real poster's composition, park name, lettering or logo, and never name a real agency.
+
+A **scene style**: it does a practical job (a guide, an event poster, a destination series) for any place, event or product with a few facts. See §11 for the jobs.
+
+## 1. Essence, and what it is not
+
+A poster being **printed on camera**. Every colour is an opaque ink laid by its own pull; later ink covers earlier ink completely. No halftone, no fluorescent ink, no line work: a shape's edge is where one flat ink stops. **Gradients are forbidden**: skies and haze are **stepped bands** (a flat colour, thinning stripes, the next colour).
+
+What makes it read as silkscreen and not as flat vector art:
+- **Registration**: every layer offset 1–3 px at 1080p; a knocked-out shape leaves a crescent of bare paper.
+- **Overprint edge**: a faint multiply ghost ~2 u off under each ink, leaving a darker sliver where ink laps over ink.
+- **Ink thickness**: a light rim top-left, a dark rim bottom-right, fills only; fresh ink has a wet sheen that fades within a second.
+- **Paper**: cream stock with fibres; mottle and pinholes in paper colour, visible only on ink.
+
+Not risograph (translucent fluorescent overprint with halftone grain), not ukiyo-e (key-block line work with bokashi), not woodcut (carved line), not low-poly (3D facets). This style is opaque, line-free, flat and banded.
+
+## 2. Materials & rendering
+
+- **One `Path2D` per ink layer**, filled in the current transform's units; knock-outs are holes in the path. Any shape can be printed.
+- **Pull reveal**: a ragged squeegee front as a clip (a ~30 u drag tail); blade, bead and a sliver of handle ride on it.
+- **Ink bead**: a round tube with lit half, dark underside, rolling glints and viscous strands; a split fountain puts several colours in one bead.
+- **Screen**: a hinged frame with mesh, emulsion and tape; its shadow is a ring (even-odd), never a full rectangle.
+- **Shapes**: ridges with a jagged lit facet, pines as one outline of drooping tiers, water as a flat body with glint bars. Hard edges everywhere.
+- **Poster template** (1000×1500 u): paper border, art area, a dark **info band** at the foot holding a name, a number, a rule and a row of stats; columns sized by content.
+- **Texture budget**: fine paper tile, mottle multiply ~55 %, pinholes ~75 %, light encode grain. More reads as risograph.
+
+## 3. Colour logic
+
+- **One palette per poster, ≤ 6 inks**, assigned by role: light sky, deep sky / bands, far, mid, near (darkest; also the info band), and **one bright accent** (sun, route, highlights, key number). An optional lit-face ink.
+- **Values step from far (light) to near (dark)**; depth is value, never blur.
+- **The accent is rare**: the sun or light source, the one route or product, the most important number.
+- **Paper is a colour**: an unprinted area is the brightest thing on the sheet (water, snow, a beam of light).
+- **A series = one template, a new palette per item** (time of day, season, colourway, neighbourhood). Re-inking the same geometry in another palette is a statement.
+- **Text inks are chosen by contrast** against the ink underneath (WCAG), never by a fixed key; a night palette must not swallow a header.
+- Examples (sky1 → near, accent): dawn `#F6CD98 #EE9A73 #9A7FA8 #3E7079 #1E3B3F #FBE6B4`; harbour noon `#E8F0F2 #7FB3C8 #D9C7A3 #2F6E8E #173247 #E8553D`; winter `#EEF1F4 #B8C9D9 #8B9BB0 #4A5D78 #1F2A3C #F2B134`.
+
+## 4. Type & subtitles
+
+- **Condensed display** for names and values (e.g. Big Shoulders Display, League Gothic), auto-fit; a geometric sans for letter-spaced labels (e.g. Outfit 600).
+- Headers are **printed into the sky**, tracked out; the info band is printed last.
+- **The poster text is the subtitle.** No narration is needed; if there is a voice, subtitles are a printed strip (a band pull), never a floating caption.
+- **Reading rule**: each text stays ≥ chars/12 + 1 s (min 1.5 s) after its **last** item lands, and ≥ max(1.8 s, speech + 0.6 s) with a voice. Compute it from the content, round up to the beat.
+- On a wall shot, labels stay ≥ ~18 px and values ≥ ~30 px at 1080p; close-ups on a band keep the whole band in frame with ≥ 5 % side margins.
+
+## 5. Motion quality
+
+- **Pulls are linear and steady** (a squeegee does not ease). Accent inks start half a beat after the main ink of their layer.
+- **Info items** print left to right on subdivisions of the beat. **There is no fade anywhere.**
+- **Screen lift**: the frame hinges up (vertical squash + growing shadow) in ~0.4 s.
+- **Palette re-ink**: a wide squeegee travels diagonally over the sheet in ~0.35 s; geometry identical on both sides of the blade, only the inks change. Show only the blade, bead and a sliver of handle.
+- **Loose layers**: in a multi-plane move, planes parallax by depth with paper gaps and thickness shadows, then **snap into register** on one hit.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Truck with the squeegee, slight roll, frame edge in view | the act of printing; colour arriving | a hook; a split-fountain sky |
+| Locked top-down full sheet | layers stacking into a picture | watching a poster build; a comparison |
+| Fast pull-back as the screen lifts | the reveal of a finished layer | a scene complete; a title |
+| Push + tilt to the info band | reading | facts; a date; a price |
+| Truck through a foreground silhouette (tree, lamp post, sail) in screen space | passing into the next poster | poster-to-poster transitions |
+| Crane through loose planes (multi-plane parallax) | depth, a journey inside the print | a route; a climb; a street |
+| Slow lateral dolly along a row of prints | a set, a range | a series wall; colourways |
+| Push into the mesh until the weave shows | the craft, the grain of the medium | an intimate beat; a detail |
+| Log-zoom pull-back to the wall or window | the poster in the world | a final lockup (hold ≥ 3 s) |
+
+Close-ups on a sheet keep its edge in frame; a squeegee across a close-up is tilted with the handle hidden, so it doesn't split the frame. Layers change by squeegee, posters through foreground silhouettes or a table move. No dissolves, no bare cuts.
+
+## 7. Sound palette
+
+- **Acoustic, hand-played instruments**: strummed guitar, slide guitar, harmonica, upright bass, cajon or brushes, banjo, fiddle, accordion, harmonium, ukulele. Choose the family from the place: folk, surf, bossa or brass band all fit.
+- **One pull, one hit**: each ink lands on a musical event (a strum, a hit, a chord change); accelerate by subdividing, not by changing tempo. A registration snap is a loud downbeat.
+- **Foley by material**: squeegee on mesh (band-passed noise with a ~220–280 Hz mesh grain; faster = brighter), wet ink squelch, screen clack and hinge creak, paper stamps, ticks for dashed routes, paper hiss, a wood-and-metal clamp, drying-rack clips.
+- **Ambience from inside the print**: a finished scene may "wake up" (surf, street, crowd), J-cut in and L-cut out. Room tone under the table.
+- **Silence as a tool**: the music drops out for a beat before the key facts; what remains is one ambience, and the first sound after is a decisive gesture (a clamp, a long slide up).
+- Music ducks a few dB under foley. −14 LUFS.
+
+## 8. Native moves
+
+Each serves information order. A menu: use the ones your film needs.
+
+- **One ink, one beat.** Facts print last, when they are read. *Fits content like:* museum hours; a ferry timetable; tasting notes.
+- **Split fountain.** Several inks in one pull fill the frame with colour. *Fits content like:* a festival's night sky; a sunset beach bar; a rainbow of colourways.
+- **Palette re-ink.** Same poster, another palette = time passing, a season, a variant. *Fits content like:* summer vs winter hours; three jacket colourways; day and night at a market.
+- **Registration slip → snap.** Loose layers clamp into register with one hit, before the key facts. *Fits content like:* the date of a race; a launch price; a ticket sale opening.
+- **Paper as a colour.** The unprinted sheet is the brightest element. *Fits content like:* a ski slope; a lighthouse beam; fresh snow on a roof.
+- **The route as a printed layer.** A dashed accent line stamped segment by segment. *Fits content like:* a bus line; a marathon course; a delivery path.
+- **The series wall.** Every print ends up hung together as the final lockup. *Fits content like:* a city's four districts; a band's tour dates; a product family.
+
+## 9. Pitfalls of the medium
+
+- Stroke edge effects draw internal lines on unioned paths → fills only (fill, then fill shifted inside a clip).
+- A full-rectangle screen shadow muddies the print → ring shadow.
+- Cool shadow facets next to water read as water → shadows in the near ink.
+- Jagged ink beads read as paper edges → a round bead.
+- Parallax alone reads as "the mountains are moving" → paper gaps and thickness while loose, snapped to zero with a sound.
+- Silhouette wipes hold a dark blank → centre on the switch so full cover lasts ~1 frame.
+- Very wide banners are slivers in 16:9 → about 4:1.
+- Random coloured dots on the table read as confetti → a real workbench (planks, grain, muted stains, tape).
+- Too many items at honest reading times overrun the length → print items side by side in the same pulls, or let secondary ones be read on the final wall.
+
+## 10. Engine
+
+`demo/engine/silk.js` prints **any shape** in this style from a `Path2D`: `makeTextures`, `paperSheet`, `ink(ctx, {path, knock, paint}, {color, reg, clip, sheen, trap})`, `wipeRegion`/`wipeFront` (ragged pull), `squeegee` (blade, beads, split fountain), `screenFrame`, `inkFinish`, `bandSteps` (the gradient substitute), shape helpers. `demo/engine/poster.js` (template, banner, `pickInk` contrast), `demo/engine/scenes.js` (planes you can reorder or extend), `demo/film.js` (timeline and shots). API table and a minimal example that prints a new shape: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silkscreen-poster/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the subject, the scenes and their planes, the palettes within the colour logic, the number of posters, the camera path, the opening, the ending, the instrument family and the length. Use cases are **grammar for the order and duration of information**; build your own timeline from the user's facts.
+
+| Use case | Information order (print order) | Hold per layer | Length |
+|---|---|---|---|
+| **Trail / attraction guide** | place → per item: scene → name → difficulty → distance → time → footer | title ~3 s; name ≥ chars/12 + 1 s; stat row ≥ 2.2–3 s after its last item | 30–40 s, 3 items |
+| **Event / festival poster** | scene pulls → headline → date → venue → call to action | headline 2.5 s, date + venue 3 s, final 3 s | 15–20 s |
+| **Destination series** | one template, a palette per place: name → one fact → series wall | 2.5 s per poster + 4 s wall | 20–30 s |
+| **Product drop** | layers around a flat product silhouette → name → colourway ×3 (re-ink) → price / date | 1.8 s per colourway | 12–18 s |
+| **Seasonal / hours notice** | one poster re-inked per season → season + hours | 2 s per swap | 10–15 s |
+
+All far from our demo:
+
+- Structures: **one poster, many runs** (re-inked for each of four nights, the line-up changing in the band); **a street walk** (one multi-plane truck down a street, each shop sign printed as we pass); **a misprint story** (registration drifts until the last pull lands true on the date).
+- Openings: **the empty screen** (light through a blank mesh, a stencil being exposed); **the accent first** (a lone product in the bright ink on bare paper); **the finished wall at night**, then back to the table.
+- Endings: **the drying rack** (prints clipped in a row, swaying); **the poster in use** (pasted on a bus shelter, rain starting); **the last pull is paper** (the squeegee runs dry, leaving a white silhouette).
+
+Swapping `demo/content.json` and rebuilding is a technical check that the engine re-flows, not a way to make a film.
+
+---
+
+How our demo was made (story, shots, score, end card, build, content fields): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/silkscreen-poster/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/spy-titles), 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). -->
+
+# 60s Spy Title Sequence — Style Prompt
+
+> A cut-paper, four-ink opening title sequence for a film that never existed: silhouettes move through sets built out of the credits themselves, every brass stab is a cut, and a title is assembled from the pieces.
+> References (grammar only): Saul Bass's titles for *North by Northwest*, *Anatomy of a Murder* and *Vertigo* (flat opaque inks, abstraction down to silhouettes, type as structure); the 2002 homage by Kuntzel + Deygas for *Catch Me If You Can* (a cut-paper chase through graphic sets, lateral tracking). Not a gun-barrel opening, not a tiptoeing cartoon panther, not a copy of any real title's logo, lettering, characters or shots.
+
+## 1. Essence, and what it is not
+
+- **Flat, opaque inks on paper**: four colours, no gradients.
+- **Hand-cut edges** on every shape; pieces layered with cut gaps and small paper shadows.
+- **Abstraction down to silhouettes**: figures in profile, all acting in outline and timing.
+- **Typography is the picture's structure**: credits are architecture, props, vehicles.
+- **Music cuts the picture**: brass stabs are edit points.
+- A title sequence is a story in itself: one goal, a few locations, one reveal.
+
+Not flat vector motion graphics (the edges are cut, the paper is physical), not a halftone print style (no dots), not a Swiss grid (diagonals, jaunty type, playful), not a spy parody with gadgets and gun barrels.
+
+## 2. Materials & rendering
+
+- **Scissor-cut edges**: every polygon resampled every ~9–10 px and displaced along its normal by low-frequency noise (amp ~1.2–2.2 px, larger for bigger shapes) plus a rare 1–2 px notch. **Cut the edge once in the piece's local space and cache it**, so a moving cutout keeps the same edge, exactly like real cutout animation (screen-space edges crawl).
+- **Paper layering**: separate pieces are separated by a ~2.4 px cut gap in the ground colour and cast a small paper shadow (offset a few px, blur ~5, alpha ~0.3). Whole figures get the gap as an outline, so a black figure reads in front of a black letter.
+- **Paper texture**: one full-frame texture multiplied on top (mottling + faint fibres), a sparse "ink void" speckle on dark ink, faint squeegee streaks; film grain in the mux (~6).
+- **Silhouette figures**: tall stylised adults (~7 heads), identity by hat, coat cut, shoes and **one colour accent** that doubles as a motion indicator (a tie or scarf streaming back when running). Pieces **merge into one outline** inside the figure, with only thin slits at shoulder, elbow, hip and knee. Hands are sharp wedges; no faces except an eye slit in close-ups.
+- **The object of the chase** sits on a black backing (an ink keyline) so it reads on any ground; it is the brightest thing in frame.
+- **Type**: a condensed OFL display face (e.g. League Gothic) for credits, glyph outlines extracted (opentype.js) and **re-cut** per letter (edge noise, ±0.8° rotation, ±1.5 px baseline jitter). A title in custom geometric cut glyphs (straight cuts + arcs, uneven weights, staggered baselines), never a real title's lettering.
+
+## 3. Colour logic
+
+- **Four inks**: ink black, paper cream, one hot colour, one warm secondary. Darker "shadow paper" variants of those inks only for depth.
+- **One dominant ground colour per scene**, changing with the location; figures and type in the other inks.
+- The hot colour is reserved for one accent on the hero and for danger; the secondary marks the object of the chase.
+- Background props go in a darker version of the ground, never in black, or they read as letters.
+- Examples: black `#1b1714` / cream `#efe4c9` / red `#d23a22` / mustard `#e2a52a`; ink `#161a22` / bone `#ece6d6` / teal `#1f8a8a` / orange `#f07a28`; black / pale pink `#f3d6cc` / cobalt `#2a46b8` / lemon `#f0d23a`.
+
+## 4. Type & subtitles
+
+- **Credits live in the set**, never in the subtitle band: one line per location, fully readable at some moment. Credits are fictional roles only, never real people's names.
+- **Subtitles** on a narrow paper strip (scissor-cut ends, slightly tilted) bottom-left, a small glyph from the film as bullet, a geometric OFL sans (e.g. League Spartan 600, ~44 px). Light strip on dark scenes, dark strip on light scenes; slides in from the left in ~0.18 s. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Hold each credit long enough to read alongside a subtitle.
+
+## 5. Motion quality
+
+- **Puppets on twos** (12 fps): poses and positions of figures, hands, letters landing, vehicles. **Camera, credit slides and grid growth on ones** (24 fps): a stepped camera judders.
+- Run cycles of ~8 drawings, one step per beat, a strong lean, the accent flying back. Walks one step per beat, coats swinging.
+- Credits slide in along grid lines and **stop dead on the beat** (short ease-out); letters land with a paper slap.
+- **Stop-time**: at a stab the whole picture freezes (background scroll included) for a couple of beats in total silence, then resumes.
+- Shattering: a scene sliced into strips parallel to a cut line that slide off alternately along the diagonal.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Graphic, flat, decisive. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Wide on a full credit line, then truck in | reading, then action | any location built from type |
+| Lateral tracking, one screen direction | pursuit; momentum | a chase; a race; a delivery |
+| Hard cut on a brass stab | punch; a new location | montage; a reveal; a gag |
+| Graphic match cut (same shape, same position) | rhyme; acceleration | wheel → coin → pupil → moon |
+| Locked single shape on a flat ground | mystery; an icon | a cold open; a clue; a logo |
+| Silhouette against a giant circle | the hero moment | a catch; a triumph; a stand-off |
+| Diagonal split into a grid | fragmentation; many at once | a split screen; a conspiracy; a team |
+| Vertical pan down a column of type | descent; a list | a building; a roster; a countdown |
+| Push into a letter until it fills frame | a letter becomes a place | a door; a tunnel; a window |
+
+Framing: strong diagonals (~30°), big flat grounds, figures small against type. Match cuts keep circle centres and sizes identical across the cut. No dissolves.
+
+## 7. Sound palette
+
+- **1960s spy big band**: stacked staccato trumpets and trombones in octaves with crash (the stab), surf guitar low-string twang through a spring reverb, walking upright bass, brushes or sticks, bongos and shakers, vibraphone, flute, organ stabs, harpsichord. Minor keys, chromatic lines, dotted rhythms. Original motifs only: avoid the famous chromatic crawl of the most famous spy theme and its minor-major-ninth ending chord.
+- **Stabs = edit points**: place staccato brass ~8 ms early so the sample's peak hits the frame.
+- **Techniques (options)**: a cut interval that shrinks as a chase accelerates; stop-time silence; a big chord for the title followed by a short button; a solo instrument alone for a quiet scene.
+- **Foley follows the material**: paper (cut "shh", slides, card slaps for letters landing, blind flips, a tear), metal (keys, chains, locks, clicks), tape (click, hiss). Environments only hinted: a jet pass panned, train wheels in tempo, roulette ticks slowing, wind, a phone ring, footsteps on stairs.
+- **Silence**: true zero, reverb tails included; a single tape click or hiss may remain.
+- **Mix**: music ducks ~7 dB under voice; a peaky mix needs a few dB into a limiter before loudnorm to reach −14 LUFS.
+- **Voice**: a briefing through a tape chain (band-pass ~220–5200 Hz, soft saturation, slow wow, hiss rising under the voice); a few very short lines.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Type is the set.** Each location is one line of credits and that line is its architecture (letters as pillars, words as carriages, a letter as a lock). *Fits content like:* a conference programme as a city; a menu as a restaurant; team names as a stadium.
+- **Credits are rhythm.** Credits land on beats; stabs are cuts. *Fits content like:* a product's features; a festival line-up; an award's nominees.
+- **Graphic match cuts.** Shape rhymes, the interval shrinking as tension rises. *Fits content like:* a coin → a planet → a clock; a gear → a wheel → a sun.
+- **The diagonal grid.** A diagonal cut multiplies into a grid, and the pieces later fly back along it to assemble something. *Fits content like:* a puzzle solved; a team forming; a logo assembled.
+- **Silhouette puppets.** Profile cut-outs whose acting is outline and timing. *Fits content like:* a heist; a courier on a deadline; a detective.
+- **Stop-time gag.** Freeze on a stab, silence, resume. *Fits content like:* a near miss; a double take; a price reveal.
+- **The object of the chase is the title.** What everyone pursues becomes the last thing assembled. *Fits content like:* a product launch; a book's name; a birthday name.
+
+## 9. Pitfalls of the medium
+
+- Every internal piece outlined with a gap looks like a mannequin diagram → merge pieces in an offscreen layer, cut only joint slits (`destination-out`), outline the whole figure.
+- A `clear()` that resets the transform silently kills the camera.
+- A figure fully hidden behind a letter reads as "nobody there" → let hat, nose and accent stick out. A stiff streamer reads as a tongue → multi-segment ribbon with a travelling sine.
+- A credit only ever seen partially is uncomfortable → always open wide on the full line.
+- Black background props read as letters → darker ground colour.
+- An object in the same ink as its ground vanishes → black backing.
+- Circular props dropped into a word cover neighbouring letters → lay the word out around a gap.
+- Match cuts fail if circle centres move across the cut.
+- Flat inks + grain make huge files at low CRF → a higher CRF looks the same.
+
+## 10. Engine
+
+In `demo/`: `paper.js` (four inks, cached scissor edges, cut gaps, paper shadow, texture, silhouette layer with joint slits), `glyph.js` (League Gothic → opentype.js outlines → re-cut letters), `chars.js` (silhouette rigs, poses, run/walk cycles), `title.js` (custom cut title glyphs, diagonal split), `story.js` (tempo grid, single source of timing), `film.js` (timeline, acting, cameras, subtitles, sound events). `?sheet=1` renders a model sheet, `?frame=<scene>` a style frame. File list and build steps: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/spy-titles/DEMO.md) "Build notes".
+
+## 11. Variation space
+
+You decide what is pursued, by whom, the locations (as credits), the inks, the opening and the ending. All far from our demo:
+
+- Structures: **no chase: a countdown** (ten credits, ten locations, a bomb-clock number built from type in each); **a heist in reverse** (the object is returned, location by location, to where it belongs); **two agents, one frame** (split diagonally, each side a different ground colour, until they meet).
+- Openings: **a full-frame title** that shatters into the sequence (the reveal moved to the start); **a telephone rings** in a single cut-out room; **the hero already falling** through a column of type.
+- Endings: **the title never assembles**, one piece missing, the hero walking off with it; **a slow pull-out** showing every location was one giant credit page; **a stop-time freeze** on the final stab, held.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/spy-titles/DEMO.md). Read it after your treatment exists.