wizz-method 2.22.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/tilt-shift), 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). -->
+
+# Tilt-Shift Miniature — Style Prompt
+
+> A real-looking place photographed from high above with a tilted lens and a time-lapse camera, so the whole world reads as a tabletop model.
+> References (grammar only): Sam O'Hare's *The Sandpit* (2010) and tilt-shift time-lapse photography in general: high vantage points, the blur band, time-lapse rhythm, cloud shadows sweeping over streets. Copy none of its places or music; show no real landmarks, brands or logos.
+
+## 1. Essence, and what it is not
+
+A place seen from high up through a **tilt-shift lens**: only a thin horizontal strip of the frame is sharp, everything above and below melts into blur. The eye reads that as a macro shot of something small, so the world becomes a model. Two more things make the trick work: **saturated, sunny colour** (model-railway paint) and **time-lapse** (vehicles and people move in fast, jittery steps like wind-up toys).
+
+Not a toy or clay render (the world is photoreal, only the lens and the clock make it small), not a game's top-down view (no UI, no clean flat shading), not drone footage (the band, the saturation and the stutter are mandatory).
+
+## 2. Materials & rendering
+
+- **Vantage**: always high. Oblique views at roughly 45–55° pitch from 100–200 m with a moderately long lens (~27–30° vertical FOV); straight top-down for the most "board game" look. Real tilt-shift is never shot from street level, except for a deliberate intimate moment: a true medium close-up at the actors' height, a blurred foreground object framing sharp actors who fill ~1/4–1/3 of the frame height (a long lens from high up keeps them as dots).
+- **Blur band** (`demo/post.js`): physical depth of field mixed with a screen-space band. CoC in pixels = `mix(aper·(1/focus − 1/z), sign(dy)·amp·(max(0,|dy|−w)/0.5)^1.2, mix)`, clamped (~30 px). Put the band on the subject; when the subject moves, project it to screen every frame and slide the band there. Narrow the band for intimacy. Gather at output resolution after a 2× supersampled render, with many spiral taps and per-pixel rotation; far samples must not bleed onto nearer sharp ones.
+- **Grade**: neutral tone mapping, strong saturation boost, soft added contrast, slightly warm highlights, a vignette. Lower saturation at night.
+- **Light**: a hard sun with sharp shadows (a big shadow map fitted to each shot), a low hemisphere fill with warm ground bounce so shadows stay blue but not murky, a sky-gradient environment map for glass and paint. **Cheat the sun azimuth per shot**: each time-lapse clip is its own shot, so front-light the facades you see; one fixed sun leaves half a film backlit and grey.
+- **Model-like detail** (what separates "filmed miniature" from "game CG"): facades with several window types, 1.6–3 m bays, dark reveals, world-space grime, sky-reflective glass and walls darkening toward the ground; roof clutter, awnings and signs; worn markings and stains; vehicles with dark glass, a soft contact shadow and brake lights; ambient occlusion over everything.
+- **People** are small colour capsules, like model-railway figures. Actors seen up close get organic bodies with a soft sheen material and are made 20–30 % larger than real so they read.
+
+## 3. Colour logic
+
+- Saturated, sunny, "freshly painted model": a pale warm ground of buildings with a few candy accents, very saturated greens, dark ground surfaces so white markings and vehicles pop.
+- Shadows stay blue and clean, never grey. Night and dawn are the only low-saturation states; dawn must read as early morning (a warm low fill from the sunrise side, few lit windows), not midnight.
+- The subject you want found should be the one saturated thing in the sharp band, or move against the flow.
+- Examples: a Mediterranean harbour (whitewash, cobalt shutters, terracotta, turquoise water); a snowy ski village (white, pine green, red gondolas, long blue shadows); a desert market (sand, saffron, indigo awnings, dusty olive).
+
+## 4. Type & subtitles
+
+- Subtitles belong to the world's own signage: a panel in the graphic language of the place's signs (road sign, platform board, harbour notice…), an open sign-revival font (Overpass, OFL, is a Highway-Gothic revival), sitting inside the lower blur band. Hold ≥ max(1.8 s, speech + 0.6 s).
+- A **time-lapse clock** with a speed readout (e.g. `×24 TIME-LAPSE` / `×1 REAL TIME`, monospace) is the audience's speedometer for the native trick; use it whenever speed changes carry meaning.
+- Titles live in the world: letters on a roof, a sign or a field, placed where nothing blocks them, lit or revealed on the beat.
+
+## 5. Motion quality
+
+- **Time-lapse stutter is the soul of the style.** In fast-forward the whole world (vehicles, people, lights, sun) updates at a low rate and holds each position for several frames (8 Hz = 3 frames at 24 fps); choose the rate so every jump lands on the musical grid. **The camera stays smooth on every frame.** Step at a middle rate while the speed is moderate; below about ×2 the stutter disappears and motion becomes silky, which makes a drop to real time hit hard.
+- Systems run on simple simulations pre-computed per clip (car-following, signal cycles, crowds gathering and surging), with cycle offsets chosen so changes land on bar lines.
+- Hero actors get art-directed timing (scripted paths fitted through beat times), never a hope that the sim hits a beat.
+- Close-up acting: anticipation squash → stretch → land squash → settle; a failed attempt before success is the comedy engine.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| High oblique wide, very slow slide | a whole system at a glance | setting a place; routine; many small actors |
+| Band follows one subject across a wide | "this one" | a single commuter; a delivery; a lost child |
+| Rack of the band from one subject to another | attention changing hands | cause and effect; a handover; a comparison |
+| Slow push on an intersection, station or yard | a system heating up | rush hour; a festival setting up; a queue |
+| Straight top-down, slowly rotating | the world as a board or machine | patterns; logistics; choreography |
+| Continuous dive from high to actor height with a speed ramp | the one small thing that matters | a twist; a joke; a meeting |
+| Band narrowing to a sliver | intimacy | a confession; a reunion; one decision |
+| Vertical rise with logarithmic height | scale, letting go | aftermath; a summary; a system becoming a pattern |
+| Lateral track along a line (rail, river, road) | a process in order | a supply chain; a parade; a race |
+| Locked frame across hours | time as the actor | a construction; a market day; tide |
+
+Framing: stay high; the sharp band carries the subject; vehicles and people stay tiny except in a close-up. Transitions: cuts on the beat, speed ramps, dives and rises; avoid dissolves that reveal the fake lens.
+
+## 7. Sound palette
+
+- **Ensemble**: tuned percussion carries the style (marimba, glockenspiel, vibraphone, woodblocks, kalimba, celesta), pulse-based and minimalist (Reich grammar: phasing, voices added one at a time, pulsing chords), plus plucked strings or a small reed section. Not generic piano and strings.
+- **Techniques, as options**: world events gate the notes of a fixed phrase skeleton (vehicles crossing a line, lights changing, crowds moving each trigger an instrument), with a base fill rate so the phrase stays audible; tuned horns or bells voiced as chords; a tape-stop (varispeed down, voices dropping out) into silence when time slows; single notes for single events in a rest; phasing two identical lines apart; a music-box version of the theme for the smallest scale.
+- **Sound follows speed**: in time-lapse, music first with a faint granular "sped-up world" hiss, clacks and relay clicks. At real speed the world turns suddenly real: idling engines, distant traffic, birds, small voices, footsteps. On release, engines rev and wind rises.
+- **Silence** is the moment real time arrives: cut the music, keep one or two real sounds.
+- **Voice**: relaxed, few short lines, music ducked ~8 dB. Verify every line with whisper; write numbers as words and put digits in the `asr` field. Master to −14 LUFS.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **The speed drop (×40 → ×1).** Time crashes to real speed on one detail. *Fits content like:* one worker finishing a shift; a child dropping an ice cream; a proposal on a crowded pier.
+- **The band as pointer.** Slide or narrow the sharp strip to steer the eye. *Fits content like:* a courier through a market; a single wrong-way skier; one boat leaving port.
+- **God's-eye system.** The place as a sequencer or machine. *Fits content like:* a port unloading ships; an airport's turnaround; a farm harvest.
+- **Long-exposure light.** At dusk, lights leave trails that draw on the world. *Fits content like:* ferries crossing a bay; runners with headlamps; lanterns along a river.
+- **The scale reveal.** Rise until the place becomes a pattern. *Fits content like:* a festival from setup to crowd; a school at recess; a city grid at night.
+- **Cloud shadows sweeping.** Weather crossing the model. *Fits content like:* a season turning; a mood change; a news cycle.
+
+## 9. Pitfalls of the medium
+
+- Tall buildings plus shallow pitch hide the ground → low to mid-rise buildings, pitch 45°+.
+- The subject hides in a canyon or behind a facade → route it on the camera side and let the band follow it.
+- Instance caps silently drop actors → cull by distance from the camera (≈ 4× camera height) and raise the cap.
+- Simulated vehicles stop short of lines (the jam gap) → subtract it where the story needs contact.
+- Focus lags a frame → update actors before the camera.
+- A top-down → oblique dive twists → rotate the top-down so its screen-up matches the target shot.
+- A close-up from high up is too far → go low and close, small near plane for foreground objects.
+- Clouds wash out a rise → unlit white, low opacity, nothing below the camera. Light pools read as bubbles → denser, larger, fainter pools.
+- Scene backlit and grey → cheat the sun per shot. Dawn reads as midnight → warm low fill, fewer lit windows.
+
+## 10. Engine
+
+In `demo/`: `post.js` (tilt-shift DOF: band + physical, grade; `band.follow`), `city.js` (procedural town, facade shader, sign), `geo.js` (merged geometry), `sky.js` (clock → sun, sky, fog, env map), `traffic.js` (lanes, lights, IDM sim, fleet, trails, walkers), `train.js`, `ducks.js` (lathe-turned characters + hop choreography), `main.js` (cameras, stepping, crowds, HUD), `music/score.py` (sampled marimba, skeleton + event gating). A minimal new use: build a harbour from `geo.js` boxes, run boats as a one-lane `traffic.js` fleet on water, and point `band.follow` at one of them.
+
+## 11. Variation space
+
+You decide the place, the system, the tiny actor, the structure, the opening, the ending, the camera path, the speed curve and the palette within the colour logic. All far from our demo:
+
+- Structures: **one day, dawn to night** (a single locked vantage, the sun and the shadows sweep, one shop's light the last to go out); **the relay** (the band hands attention from actor to actor across a whole place, each one passing something to the next); **before/after** (a construction site time-lapsed from empty lot to opening day, with one real-time moment per stage).
+- Openings: **mid-bustle at full density** with the band already on one oddity; **a top-down pattern** that only slowly tilts into a place; **real time first**: one person at actor height, then the lens lifts and time speeds up.
+- Endings: **a drop to real time that stays there** (no pull-back); **lights going out one by one** at night from high above; **the lens un-tilts**: the band widens to full sharpness and the model becomes a real place.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/tilt-shift/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/ukiyoe), 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). -->
+
+# Ukiyo-e — Style Prompt
+
+> Edo-period woodblock prints brought to life: flat colour blocks, carved ink lines, bokashi skies, paper you can feel, and a camera that moves over the print like an unrolling handscroll.
+> References (grammar only): Hokusai's *Thirty-six Views* (one constant subject placed differently each time; bold geometric cropping); Hiroshige's *Fifty-three Stations* and *Hundred Famous Views* (small figures, rain lines, extreme foreground framing); the anime *Mononoke* (2007) (print texture alive in motion, flat layers sliding, seals as screen language). Never reproduce a specific famous print (no copy of *The Great Wave*, *Red Fuji*, *Sudden Shower over Ōhashi*), and never copy their characters or compositions.
+
+## 1. Essence, and what it is not
+
+Every shot is **a complete woodblock print**: a sheet of washi, a thin double ink border, flat areas of colour printed from separate blocks, a black key-block line on top, a vertical title cartouche and a red seal. The world is flat on purpose. Depth comes from stacked horizontal layers, mist bands and bold cropping, never from perspective rendering, lighting or shading.
+
+What makes it read as *printed* rather than *vector*:
+- **Paper** is always visible: warm washi, long fibres, slight edge ageing.
+- **Each colour is its own block**, slightly **out of register** (1.5–2.5 px) with the key line.
+- Large colour areas show **woodgrain** and **baren rubbing** (uneven ink density, circular streaks) and fine **goma-zuri** specks.
+- **Bokashi**, hand-wiped gradients, in skies and water.
+
+Not a flat vector illustration with a paper overlay (no woodgrain, no misregistration), not Chinese ink wash (no bleeding washes, colour is printed, not painted), not anime cel shading (no light and shadow on forms).
+
+## 2. Materials & rendering
+
+- **The sheet is the frame**: the print fills the screen at zoom 1, inside a thick + thin ink border, with a paper margin beyond. Sheets can sit on a long mounting scroll (darker tan paper, a roller at one end), so the camera can travel from print to print.
+- **Blocks**: draw each colour group into its own offscreen canvas, cached once (key lines; blues; greens / secondary; reds / figures). Composite each with a small fixed registration offset (1.5–2.5 px, a different direction per block).
+- **Texture every colour block**: woodgrain (`source-atop`, strongest in sky and water) → baren streaks → goma-zuri specks (both `destination-out`); the key block gets specks only; light paper fibres over the finished sheet so paper shows through the ink. Big dynamic fills get the same textures inside their clip. Woodgrain = iso-lines of a warped noise field; baren = blurred circular arcs + zigzag streaks (recipe and alphas in [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/ukiyoe/DEMO.md#palette--props)).
+- **Bokashi** is generated per pixel: a gradient whose top edge wanders by low-frequency noise per column (±20–30 px). Never strips of `fillRect` (vertical seams).
+- **Line**: key lines 2.4–3 px; large contours are variable-width filled strokes, tapered at both ends, with ±20–35 % low-frequency width jitter. Distant things get a grey key line or none.
+- **Motifs of the medium**: mist as long rounded flat bands (suyari-gasumi) fading at both ends; pines with flat-topped **needle pads**; fields as high, flat, parallel layers whose cross lines are **parallel and slanted**, never converging; rain as two sets of fine straight lines at slightly different angles under a sumi bokashi sky; water as banded blues with bokashi between bands, foam and spray left as paper.
+- **Seal**: characters cut out of red, chipped edges. **Figures** are small in the landscape (roughly 80–130 px at full sheet), flat, with a clear silhouette; faces in a few strokes.
+
+## 3. Colour logic
+
+- **A pigment set, not a colour wheel**: 6–9 flat hues, each printed from its own block, over the paper ground. No gradients except bokashi, no shading on forms.
+- **Sumi key line** over everything; **paper is the white** (no white pigment for foam, snow, mist, blank sky).
+- **One dominant hue family** carries sky and water (in the 19th-century prints, Prussian blue); **red is rare**: seals, a sun, one garment or tab.
+- Far layers pale and low-contrast, near layers saturated with dark key lines.
+- Examples, one per film: an indigo-and-beni landscape (Prussian blue, pale blue, beni red, ochre, greens, sumi); a bijin-ga interior (pale pink, mauve, grey-green, lacquer black, a mica-grey ground); an autumn surimono (persimmon, ochre, grey-green, deep brown, one blue).
+
+## 4. Type & subtitles
+
+- **Subtitle = a horizontal cartouche**: a cream slip with a thick + thin ink border and a small red seal at the left; Shippori Mincho (500) in sumi, centred near the bottom. It "prints" in with the reveal mask and fades out. Hold ≥ max(1.8 s, speech + 0.6 s). It covers the bottom ~150 px: keep ground lines and figures above it.
+- **View cartouche**: vertical cream slip, thick + thin border, a pale tab with the series title, the view title below in a brush font (e.g. Yuji Syuku), a seal beside: the "full stop" of each view. Titles live on the print as cartouches and seals, never as floating type.
+
+## 5. Motion quality
+
+- Prints are still. **Most of the frame does not move**; each view has one or two small actions (steam, rain, a lantern, a falling leaf).
+- **Figures and nature step at 8 fps**; rain and fast water at **12 fps**; **the camera moves on ones (24 fps)**. A stepped camera judders.
+- **Printing reveal**: each block appears over ~0.3 s with a diagonal baren sweep with a noisy edge, sliding 5–6 px into registration as it lands (pure noise looks like mould).
+- Cartouches drop in (fade + a short slide); a seal *stamps* (scale ~1.35 → 1 in 0.2 s).
+- A native move needs a **held beat of about a second** to be read; a peak flashed in under a second reads as noise.
+
+## 6. Camera grammar
+
+The camera moves *over* prints and between them; it never rotates in 3D space inside one. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Locked frame on one sheet | Reading a print on a wall | a place; a portrait; a still moment |
+| Handscroll slide, right → left through the mounting gap (shorter slides = urgency) | Travel, the next station | a journey; a sequence of steps; a race |
+| Very slow push toward a framing device (a window, a fan, a gate) | Attention narrowing | discovery; longing; a detail that matters |
+| Tilt past the border into the mount | Something larger than the print | a flood; a rumour; a giant |
+| Pull-back from one sheet to many | The series seen whole | a summary; a timeline; a collection |
+| Crash-zoom into the texture (grain, specks, fibres) | The medium itself becomes the image | a dream; a breakdown; a memory dissolving |
+| Pan across a triptych (three sheets side by side) | One scene too wide for one sheet | a procession; a battle; a festival |
+| Hard cut to a blank sheet | Ma (間), a held breath | aftermath; a pause before a decision |
+
+Framing: bold cropping and extreme foreground elements (a branch, a post, a lantern crossing the frame) are native; depth by stacking, never by perspective. Allowed transitions: scroll slides, printing reveals, a wash back to paper, a cut to blank. No cross-dissolves, no 3D flips.
+
+## 7. Sound palette
+
+- **Japanese instruments, not piano and pads**: shamisen (`core/audio/pluck.py shamisen`, with sawari buzz), shakuhachi, koto, taiko and shime-daiko, kotsuzumi / ōtsuzumi calls, hyōshigi (wooden clappers), a small bell.
+- **Modes**: miyako-bushi (in scale), yō, ritsu; long breathy tones with a slide into each note and *meri* drops at phrase ends suit the shakuhachi; the shamisen can hold a pulse or an ostinato.
+- **Techniques, as options**: absolute silence as *ma* (cut reverb tails too); a single sawari note left ringing; free-rhythm breath phrases against a steady pulse; clappers that accelerate (the kabuki curtain call); a taiko heartbeat that tightens into a roll; a koto glissando for a turn of season; a drum call (*kakegoe*) before an entrance.
+- **Foley follows the material**: paper (baren rub = band-passed noise with a slow circular modulation; scroll slide; seal = low thump + tacky peel), wood (block set down, hollow steps), glass (wind chime), water, birds and insects of the season.
+- **Voice**: calm, few short lines, like a poem written beside the print. Duck music ~8 dB under voice, ambience ~4 dB. Loudness −14 LUFS; `mux.sh` grain **0** (the paper is the grain).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **A series of views.** One constant subject in different compositions; the story is told by *where it sits in the frame* each time. *Fits content like:* one building through a century; a product in five homes; the same street in four seasons.
+- **The handscroll.** Scenes don't cut; the camera slides right to left and the next print arrives. *Fits content like:* a supply chain; the stations of a pilgrimage; the steps of a recipe.
+- **Printing, block by block.** Key line first, then each colour lands slightly off and snaps into register. *Fits content like:* a building going up; an idea taking shape; a character being "made" for the story.
+- **Paper is the white.** Foam, snow, mist and blank sky are unprinted paper; white can flood the frame and wash the print back to a blank sheet. *Fits content like:* a snowfall that erases a town; forgetting; a clean start.
+- **The frame is an object.** Border, cartouche and seal are physical; something big enough breaks out of the border into the mount. *Fits content like:* a festival that can't be contained; a legend; a runaway success.
+- **Alternate impressions.** The same key block reprinted with different colour blocks (day → night, spring → winter). *Fits content like:* before and after; a city lit at night; two lives in one house.
+- **The triptych.** A scene split across three sheets that join. *Fits content like:* three generations; a panorama of a harbour; a debate between three voices.
+
+## 9. Pitfalls of the medium
+
+- Bokashi from `fillRect` strips leaves vertical seams → build it per pixel.
+- Too much speckle or fibre makes dark areas look like sandpaper or scratched film → specks α ≈ 0.3, fibres α ≈ 0.09.
+- A perspective grid for fields looks digital → parallel, slanted, flat layering.
+- Pine clusters drawn as half-discs look like parasols → flat pads with needle fans.
+- Offset curves self-intersect at tight bends → build inner lines from the gentle side of the contour; force control points x-monotonic.
+- Breaking out of the print must escape **both** the sheet clip and the frame clip.
+- A seal drawn with `multiply` vanishes on dark ground → `source-over` there.
+
+## 10. Engine
+
+In `demo/`: `print.js` (paper, woodgrain, baren, specks, blocks, bokashi, carved lines, reveal masks, cartouche, seals: the reusable core), `nature.js` (mountains, pines, rocks, rain, birds), `wave.js` (banded water, fractal claws, spray), `traveler.js` (flat figure rig), `views.js` (prints as cached blocks + per-frame `paint()`), `main.js` (camera, scroll, reveal, subtitles), `music/score.py`. Instrument recipes and commands: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/ukiyoe/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the constant subject (or none), the number of views, the characters, the opening, the ending, the camera path, the pacing and the pigment set. All far from our demo:
+
+- Structures: **alternate impressions** (one key block of a single street, reprinted for dawn, rain, festival night and snow); **a triptych unfolding** (three sheets revealed one at a time, the story only readable when all three join); **a print being made** (the carver's blocks, one per shot, each block's colour telling one chapter).
+- Openings: **a close crop** (an extreme foreground detail, a lantern or a sleeve, fills the sheet; the pull-back finds the print); **the bare block** (carved wood inked, the paper laid on, the baren rubs; lifted to reveal the first print); **the mount first** (a closed scroll unrolls to its first sheet).
+- Endings: **a seal alone** (the print fades back to paper, only the red seal remains); **the album closes** (sheets stack like pages, the cover lands); **the last print left unfinished** (key line only, colour blocks never land).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/ukiyoe/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/urban-sketch), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Urban Sketch · Pen & Wash — Style Prompt
+
+> A sketchbook page drawn on location: fine sepia fineliner lines that wobble, overshoot and never quite close, with loose transparent watercolour dropped on top. The colour sits slightly off the lines, spills over them, and dissolves into cream cold-press paper at the page edge.
+> References (grammar only):
+> - Urban-sketching sketchbook pages: line first, then wash; colour off-register; handwritten date and place in the corner; the page edge breaking up into dabs.
+> - *Paperman* (2012): a monochrome world with one coloured object.
+> - *The Red Balloon* (1956): an object as the protagonist, the camera following it across a city.
+> - Jazz waltz (the Vince Guaraldi school): 3/4 swing, walking bass, brushes, a woodwind lead.
+>
+> Nothing is copied from these: no characters, melodies, layouts or type.
+
+## 1. Essence, and what it is not
+
+Reportage drawing, made on location in a few minutes. Two layers that stay visibly separate:
+
+1. **Ink.** One thin, near-constant line (a 0.3–0.5 mm fineliner) in dark sepia. It wobbles slightly, overshoots corners by a few pixels, breaks mid-stroke, and suggests rather than describes: a few window marks instead of a grid, scalloped fragments instead of a whole tree outline.
+2. **Wash.** Transparent watercolour glazed on top, **misregistered** by 1–3 px from the line, sometimes spilling past it, leaving paper white for highlights and figures (reserves). Dried edges are darker (pigment pools at the rim), and pigment granulates into the paper tooth.
+
+**The page is part of the image**: warm cream cold-press paper with large-scale mottling and fine tooth. Nothing is painted edge to edge; the painting frays into leaf-sized dabs and white holes, leaving margins for handwriting.
+
+Not Watercolor Brush (no line-free wet-in-wet painting, no painterly edges without ink), not Whiteboard (no marker, no explainer diagrams), not Chinese Ink Wash (no brush calligraphy, no monochrome ink tones). Line and wash, both, always.
+
+## 2. Materials & rendering
+
+- **Paper**: two octaves of fbm mottling (a few %), a tooth tile multiplied over everything, figures included.
+- **Ink**: ~96 % coverage; world line width thinner far, thicker near (e.g. 1.3–3.4 px); wobble ~1 px; overshoot 3–8 px; a third to half of long strokes get one small gap. Strokes are baked with their **draw time per pixel**, so the shader plays back stroke order.
+- **Wash**: 2–3 rough-edged layers, multiply, alpha ~0.4–0.65, offset from the line by about one line width, a dried edge at 30–40 %; granulation = pigment × (0.82 + 0.36 · fbm).
+- **Colour arrival field**: every pixel has a time at which colour reaches it. The wash is revealed through it with a ragged wet front (darkened band just behind the front) and noisy edges. Figures bloom from a point with a noisy circular clip.
+- **Foliage**: pale base wash, then light and shadow masses, then small leaf dabs coloured by light direction, holes at the rim, scalloped ink only on the outline.
+- **Sky**: a few big soft washes at low alpha, fading upward; clouds are reserves with a tinted belly.
+- **Buildings**: local colour; shadow side mixed ~45 % with a cool violet-grey; distant blocks mixed ~50 % with a haze colour.
+- **Figures**: a 3D skeleton in orthographic projection; torso from cross-sections; limbs as organic tapered tubes; hair and head as one mass; face left blank (one nose tick in profile); shadow side mixed with violet.
+- **Page edge**: a noisy boundary, a white-dab band inside, a coloured-dab spray outside.
+- Deterministic: same seed, same marks.
+
+## 3. Colour logic
+
+- **Ink is one colour** (dark sepia or warm black); it never changes.
+- **Wash is local colour, lightly**: few pigments, mixed on the page; shadows are the local colour mixed toward one shared cool violet; distance mixes toward one haze.
+- **Paper white is the brightest value**; it is reserved, never painted.
+- **Colour can be withheld**: a page may be ink-only with colour as an event (one tinted object, colour arriving with a cause).
+- Example palettes: park in summer (lawn `#c3c96f`, leaves `#7fa04a`, sky `#9fbcd6`, limestone `#d8c6a0`); harbour morning (sea `#7fa6b8`, hulls `#c9573f`, rope `#c8a86b`, sky `#bcd0dc`); winter market (roofs `#8b93a6`, lights `#e2b04a`, awnings `#b8483e`, snow = paper).
+
+## 4. Type & subtitles
+
+- **All text is handwriting on the page**, written on left to right with pen sound, and moves with the camera: a corner note (e.g. Reenie Beanie: day, time, weather, place), titles and colophon in a casual hand (e.g. Caveat 500–600), left-aligned in the blank margin.
+- **Subtitles**, if there is a voice: handwritten lines in the page margin or a caption strip written into the lower margin, never a generic overlay box. Hold ≥ max(1.8 s, speech + 0.6 s).
+- The style works well without any voice.
+
+## 5. Motion quality
+
+- **Figures boil at 12 fps** (line wobble and wash seeds change every 1/12 s). The static page does not boil (it is a real page); the camera moves every frame, smoothly.
+- **Performance**: anticipation, action, follow-through; footsteps on the beat.
+- **Invisible forces are drawn**: wind as ink curls that draw on and erase from the tail, trailing dabs; sound as ink lines; heat as wavy strokes.
+- **Colour never snaps**: it blooms from a point or arrives through the field.
+- Stroke-order draw-on for anything that "appears".
+
+## 6. Camera grammar
+
+A 2D camera over a large page (e.g. 5120 × 2880). Designed moves use cubic easing; follow shots use a critically damped spring on a lead-ahead target, so the camera lags like a hand-held follow. A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Push-in | attention; a detail observed | a face; a sign; a small event |
+| Lateral follow on a spring | travel, pursuit | an object carried; a walker; a vehicle |
+| Crane up | a new level, a view opening | a skyline; a tree; a balcony |
+| Whip-tilt with slight roll | sudden change of direction | a fall; a gust; a surprise |
+| Punch-in with a short shake | impact | a catch; a collision; a door slam |
+| Pull back to the whole page | scale; the sketch as an object | a summary; a place in full |
+| Tilt into the margin | from picture to words | notes; a date; a title |
+| Slow pan across a line-only area | the world before colour | a quiet start; memory |
+| Hold while the pen draws | the act of noticing | a subject being drawn |
+| Page turn to a new spread | another time or place | a travel diary; a sequence of days |
+
+Framing: subjects ≥ ⅓ of frame height at story beats; a small key object gets a faint paper halo (reserve) so it reads over busy foliage. Transitions: camera travel on the page, page turns, or colour arriving; no dissolves.
+
+## 7. Sound palette
+
+- **Ambience from the place**: paper room tone first, then the location once it has colour (birds, traffic, harbour gulls, market chatter). J-cut a place's sound a bar before we see it.
+- **Pen on cold-press paper**: band-passed noise (~1.6–7.5 kHz) with a fibre texture and grain clicks, one burst per real stroke; thousands overlap into a hiss during a fast sketch; brighter short strokes read like a hi-hat.
+- **Water and brush**: a wet brush "shhh" for blooms, a jar rinse, a drip.
+- **Foley follows objects** at sketch scale: fabric or paper flapping for things in the wind (rate and level from speed, pan from screen x), steps on the beat, bells, splashes.
+- **Music families**: a jazz waltz (walking bass in three, brushes, piano, clarinet or flute); a café accordion trio; solo nylon guitar; a string quartet pizzicato; a brass band for crowds. One colour instrument per area of the page works well.
+- **Silence as a tool**: a bar of true silence (ambience included) at the height of suspense; the first sound after it is the next gesture.
+- **Mix**: music ducks under key hits; foley high-passed ~90 Hz; −14 LUFS, moderate LRA.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Line before colour.** The pen draws a subject in real stroke order, then the wash drops in; the drawing is the spectacle. *Fits content like:* a cathedral façade; a chef plating a dish; a street musician.
+- **Colour as arrival.** Wash spreads from a source with a wet front, so an event paints the page; figures stay frozen line drawings until colour touches them. *Fits content like:* a sunrise over a harbour; a parade moving down a street; the lights of a market switching on.
+- **The one coloured thing.** A colourless sketch with a single tinted object that becomes the protagonist. *Fits content like:* a red umbrella in the rain; a yellow taxi; a child's kite.
+- **The page as frame.** Pull back until the whole page shows, edges dissolving, handwritten notes in the margin. *Fits content like:* a travel diary entry; a neighbourhood portrait; a day in a place.
+- **Carrot people.** Distant crowds as one wash blob, two leg lines and a head dot. *Fits content like:* a station at rush hour; a stadium; a beach.
+
+## 9. Pitfalls of the medium
+
+- **Straight edges in the colour field** from clipping by a bounding box → clip by the actual noisy distance.
+- **Rectangular masks around complex silhouettes** leave notches → mask with the real stepped silhouette.
+- **Characters losing colour** when they move into unpainted areas → sample arrival once (or tie it to the event), never at the current position.
+- **Static ink can't be occluded by later washes** → erase far ink inside nearer shapes before drawing; use carrot people for far crowds.
+- **IK feet pinned while blending poses** splay the legs → blend foot targets toward under-hip.
+- **Front-facing heads go bald** → draw the hair mass, then knock the face out of it.
+- **Big canvases in headless Chrome**: pack ink and time into RGBA byte textures yourself and upload the arrival field as a filterable float texture (`R16F`).
+- **Painting edge to edge** kills the sketchbook feel → leave margins and fray the edge.
+
+## 10. Engine
+
+`demo/engine.js` (deterministic): `penStroke` + `drawPen` (fineliner with wobble, overshoot, gaps, draw-on), `rasterPen` (bakes stroke order into an ink + time layer), `wash`, `reserve`, `dab` / `foliage`, `arrivalField` (colour arrival per cell from sources), `compositor` (WebGL page: paper × wash revealed by arrival × ink revealed by stroke time), `figure` + `drawPrims` (sketched people), `sketchShape` (any shape in this style in one call), `handwrite`. `demo/poses.js` holds a pose library. API table and a minimal example that draws something new: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/urban-sketch/DEMO.md#engine-reference).
+
+## 11. Variation space
+
+You decide the place, the subjects, what colour does (always there, withheld, arriving), the voice (or none), the music family, the camera path, the opening, the ending and the length.
+
+All far from our demo:
+
+- Structures: **a travel diary** of five pages, one per day, each page turned by the wind or a hand; **a single street corner** drawn at four times of day, the wash changing while the ink stays; **a recipe** where each ingredient is drawn from life at the market and the final dish is painted last.
+- Openings: **the blank page** with only the handwritten date, then the first line of the horizon; **a close-up of a coffee cup** on the page's edge, pulling back to find the city drawn behind it; **rain dots** landing on the paper and blooming into the first washes.
+- Endings: **the sketchbook closes** on the page; **the last figure walks off the page** into the blank margin; **the colour drains** back to ink as the evening comes, leaving one lit window.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/urban-sketch/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/visual-investigation), MIT, (c) 2026 LemoLab; see ../../LICENSE-lemo-opuscar.txt. Paths under demo/ and core/ name that repo's engine, which is not shipped here: build the look in HyperFrames (../film-styles.md). -->
+
+# Visual Investigation — Style Prompt
+
+> A cold investigation desk: footage, photographs, documents, sound and maps from one real event, laid out on one shared clock so they check each other. The clock lives inside the picture — timestamps on the evidence, a playhead on a data chart, a stopwatch over the decisive seconds; frozen frames are circled and magnified; quotes are highlighted on the page they come from; a plan shows where cameras stood and where they looked; what is known and what is not are kept apart; at the end every piece of evidence is pulled into one map.
+> References (grammar only): newspaper visual-investigation videos, forensic-architecture reconstructions, broadcast verification units. Never copy them, quote their names or use their branding.
+
+## 1. Essence, and what it is not
+
+1. **Sources meet at one moment.** The payoff of every section is two or more independent sources (a frame, a photo, a testimony, a report line, a sound) pointing at the same place or the same second. Cut points are sync points.
+2. **One clock, read in the picture.** Time is carried by large readouts that belong to the layout: the timestamp on each telegram card, a playhead with its clock on the data chart, a `T+xx.x` stopwatch over the decisive seconds, a frozen "32 s". The scale changes with the story (hours → minutes → seconds → days) at section cuts. A permanent timeline band under every shot is **optional and usually wrong**: it eats the bottom of the frame, adds a layer of small labels and goes empty once the story leaves the clock.
+3. **One finding per layout.** Each section says one thing; a heading is part of the layout, never a page header.
+4. **Uncertainty is drawn, not apologised for.** `≈`, *inferred*, *schematic*, dashed boxes. Known and unknown are separate columns. A source that does not cover a stretch simply is not on screen yet (it lights up late in its column); never an empty "no footage" box, which reads as a broken render.
+5. **Restraint.** Real disasters and real people: no slow motion of the catastrophe, no music that tells you to feel; fire only inside evidence frames; casualties as counted dots and numbers.
+
+Not **Satellite Briefing** (no orbital imagery, no zoom from space). Not **Archive Light Table** (no paper on glass, loupes or hands: documents are flat evidence frames). Not **Halftone Dossier** (no print texture, stamps or collage). Not a newsreel package (no channel bug, ticker or anchor voice). Not a keynote: no centred title slides, no page turns.
+
+## 2. Materials & rendering
+
+- **Three kinds of source at least**: moving image (newsreel, CCTV, phone video, launch camera), documents (testimony, memo, telegram/teletype, report page), photographs. Add sound (original commentary, radio, recordings), data (weather, telemetry, counts) and maps whenever they exist.
+- **Documents**: a scanned page is shown as a strip or a page, never re-drawn; only the decisive line is highlighted (red, `multiply`, α ≈ 0.6, wiped left to right). Text that exists only as a transcription (a report, radiograms) is re-typeset by code and labelled as a transcription.
+- **Archival picture pipeline** (pre-1950 film, max ≈ 2.5×): deinterlace (`bwdif=0`) → crop borders → deblock (`hqdn3d=2:2:3:3`) → lanczos upscale → light unsharp (`5:5:0.5`) → greyscale; one grain for everything. Modern footage: ≤ 1.5×. Never colourised or "restored" copies.
+- **One grade** (canvas `ctx.filter`): footage and photos `grayscale(1) contrast(1.22) brightness(0.94)`; paper `grayscale(1) contrast(1.05) brightness(0.86)` (white pages pressed to light grey); maps greyscale, inverted, `brightness(.62)` so they read as dark line drawings.
+- **One grain**: six 256² Gaussian tiles rotated per frame, `overlay`, α 0.22 on footage/photos, 0.10 on paper. Grain only on sources, never on type or lines (`mux.sh … 0`).
+- **Drawn evidence** (plan, side schematic, charts, dot matrix) is thin line work on the panel colour, marked *schematic* when it is not measured.
+- Remove channel bugs, watermarks and the source's own title cards; never generate an image to stand in for a historical one.
+
+## 3. Colour logic
+
+| Use | Value |
+|---|---|
+| Ground | `#0B0C0E` |
+| Panels | `#141619` |
+| Hairlines, frames | `#2E3238` |
+| Text | `#ECEAE4` |
+| Secondary text | `#8B9097` |
+| Ticks, *uncertain* | `#4A4F57` |
+| **The one accent: here / now / match** | `#FF4A2E` |
+| Paper cards (typeset telegrams) | `#E4E0D4` with ink `#1D1D1B` |
+
+Sources are greyscale; red is the only colour and it only ever points: circles, the chart playhead, sync lines, highlights, ✓ badges (a drawn tick in a red box, no words), the zone everything converges on, the *unresolved* column, a strike-through on a wrong claim.
+
+## 4. Type & subtitles
+
+- Chinese headings and findings: Noto Sans SC 700 (30–124 px). Tags, timecodes and ticks: IBM Plex Mono 400/600. Quotes: Source Serif 4 Italic for the original wording, Noto Serif SC 500 for a translation underneath in the secondary colour (only when the subtitles don't already say it). All OFL, subset to the words on screen.
+- **Few words per frame.** Each frame keeps only what this beat needs: the main readout or heading, the quoted original (the highlighted line), and one short source tag per piece of evidence. No eyebrow labels, no English twin under every Chinese label, no archive numbers, dates or "estimate / schematic / not to scale" footnotes unless the beat is about them, nothing the subtitle is saying at the same moment.
+- **Source tag**: a 6×12 chip + `type · source` in mono, ≤ about 12 characters (`照片 · Pasquarella`, `FBI 电传 · 1937-05-08`), sitting just above its frame. Full credits go on the end card, not on the panels.
+- **Lower third**: a red bar + place name (36 px bold) + one mono line (place code).
+- **Subtitles** (bilingual films): at the bottom of the frame (Chinese baseline y ≈ 984, English y ≈ 1022): Chinese 34 px bold over English 23 px, centred, 10 px black shadow; **one line per language**, measured in the page against 1,500 px; a long sentence becomes two cues. Original sound gets subtitles too, marked `【原声】` / `[1937 newsreel]`.
+- **Reading time**: every key text stays still and whole for CJK ÷ 4.5 + other ÷ 15 + 1.5 s (`readcheck.mjs`); verdict and comparison frames hold ≥ 2.5 s with every item fully in frame. Counters (timecode readouts, the stopwatch) and tick labels are exempt.
+
+## 5. Motion quality
+
+- 30 fps. Elements **cut in** (≤ 0.1 s opacity) with a 3–4-frame white flash, as if pulled from the evidence locker; nothing flies, bounces or scale-pops.
+- Only things that are *drawn* are progressive: circles drawn clockwise in 0.5 s (ease-out cubic), leaders and links 0.4–0.8 s, plans stroke by stroke, highlights wiped, typewriter text for telegrams.
+- Inside a frame: a slow push (≤ 1.9× on a map, ≤ 1.06× on a photo) is allowed; the "camera" itself never moves. Layouts change on cuts.
+- The event clock (chart playhead, stopwatch) eases between keyframes and moves at constant speed inside a timed run (each tick = one real second).
+- Scale changes (minutes → seconds → days) happen on section cuts, carried by the readout changing form (clock → `T+` stopwatch → date), not by a zooming band.
+- Something changes at least every second; holds are for verdicts only.
+
+## 6. Shot & layout grammar
+
+- 1920×1080, 60 px margins; content y 60–900, subtitles below it (y ≈ 950–1030). Layouts use the full height; no strip is reserved for a timeline. When a section has no subtitle, centre its content vertically.
+- Panels are hard-edged rectangles with 1 px frames; footage panels keep the source's aspect.
+- Typical layouts: **map → plan** (left) with a reference photo and a footage panel (right); **one big statement + one quote + one wide schematic**; **five-source board** (three evidence frames on top, sound and report below, schematic right, red links converging); **three-column sync grid** (report / photo / video under one stopwatch, each column lighting up when its source begins); **document strip + two-column verdict**; **claim card + fact-check card + dot matrix**; **evidence map** (plan, broken-axis mini timeline, schematic, thumbnails with links).
+- Avoid centred layouts, page headers and slide-like page turns. Transitions are hard cuts on a 0.5 s grid, white flashes and the rewind; no dissolves.
+
+## 7. Sound palette
+
+1. **Bed**: low D held by contrabass and cellos; a filtered room tone about 30 dB under the voice.
+2. **Clockwork**: a pendulum tick every 0.5 s in the minute-scale sections, louder in the waiting minutes; in a timed run one tick per **event** second (accent every 5) — the audible stopwatch.
+3. **Harmony**: a quiet pizzicato ostinato in eighths (Dm – B♭ – Gm – A) under the slow sections; tremolo minor-second clusters for tension; slow sustained chords for the verdict columns; a resolving D minor add9 with vibraphone for the evidence map.
+4. **Foley** (procedural): paper for documents, a shutter for photos, Morse "dits" and keystrokes for telegrams, teletype chatter, a rewind sweep, pencil scratches for plans, one deep thump for the moment of impact — then near-silence.
+5. **Original sound** (archival commentary, radio, recorded sound): band-passed 180 Hz–5.5 kHz with sparse crackle, shown as a waveform with a red play-line and word-by-word lighting; music ducks −12 dB under it. Original sound and score alternate; never both loud.
+6. **Voice**: calm and flat (ours: Kokoro `am_michael`); music ducks about −9 dB under it; −14 LUFS, true peak ≤ −1.2 dB.
+
+## 8. Native moves (and how to code them)
+
+- **Freeze, circle, magnify.** Freeze a frame with a white flash; draw a 2.5 px red circle clockwise; at 60 % a leader and a bold label appear; a ×2 loupe opens beside it, cropped from the same source pixels (never beyond 1 source px per screen px). *Fits:* a licence plate in CCTV; a crack in a weld.
+- **Hard sync point.** Pick one instant every source can recognise (impact, flash, a public clock, a gunshot peak) and align each source to it. A source that starts late just appears late; if the gap matters, say it in the voice or a subtitle. *Fits:* which phone started filming first; when the launch camera lost the vehicle.
+- **Three-column sync grid.** Document / photo / video side by side under one big stopwatch; each column cuts in (white flash) at the moment its source begins, so the grid fills left to right as the clock runs; freeze on the sync point with a red dashed line across the pictures. *Fits:* two dashcams and a police log.
+- **Readouts change scale.** The time readout changes form at each section cut — card timestamps and a chart playhead (minutes), a `T+` stopwatch (seconds), dates (days) — as the story narrows or widens. *Optional:* a bottom timeline band with tracks per source kind, only for a film that stays on one clock throughout; keep it free of labels and drop it when the clock stops. *Fits:* a market crash from the week to the minute.
+- **Rewind cold open.** Start on the decisive frozen frame, slam the other sources into a grid, sweep a sync line, then rewind (footage playing backwards, scan lines) to the start. *Fits:* any reconstruction.
+- **Telegrams on the clock.** Typeset radiograms / messages land at their timestamps with Morse and keystrokes; red dashed leaders tie each card to a pin at its time on the data chart's axis. *Fits:* chat logs, ATC calls, emails.
+- **Data chart with a playhead.** A chart (wind, speed, temperature) across the lower part of the frame with a time axis, event bands (storm, outage) labelled with one word, the message pins, and a red playhead carrying the clock. *Fits:* power-grid load before a blackout.
+- **Map → plan.** A real survey map pushes in to the site, then cuts to a measured plan with the subject's position, a bearing, a distance ring, a camera point and an inferred view cone; the map stays as a locator inset. *Fits:* where each witness stood.
+- **Evidence → model links.** Every circle in every source sends a red dashed link to the same zone of one schematic; ✓ badges land 0.12 s apart with small mallet notes. *Fits:* which room a fire started in.
+- **Then vs. record.** Play a period claim as original sound, then a fact-check card; strike through the wrong words in the claim. *Fits:* a press release against the filed numbers.
+- **Known / unresolved.** Two columns, ticked vs. dashed boxes, every item held whole for ≥ 2.5 s, one source tag for the board. *Fits:* any inquiry's conclusion.
+- **Dots for people.** One dot per person; the dead become red open rings one by one; a single large number. *Fits:* passengers, workers, victims of any event.
+- **Evidence map.** Plan, broken-axis mini timeline, schematic and thumbnails of every source, all links converging; the poster frame. *Fits:* the end of any investigation.
+
+## 9. Pitfalls
+
+- **Inference passed off as fact.** Camera positions, photo times and offsets need `≈ / inferred / unlocated` on screen and in `FACTS.md`.
+- **Early reports as facts.** The first-night memo and the period newsreel often disagree with the final report; use them as images or as claims to check, never as the source of a number.
+- **Faking a multi-camera event.** With one licensable film, do not borrow clips of unclear origin; cross-check film + photos + documents + sound instead. The structure still holds.
+- **Seams in "continuous" shots.** An exposure jump or splice breaks timing; time durations from the official record and state the alignment error.
+- **Time zones and clocks.** Old reports may use standard time while the place ran on daylight time; pick one and state it once on screen (`18:25:00 EST` on the first readout).
+- **Too much at once.** One layout, one finding; at most five sources on a board, and the subtitle never repeats the heading word for word.
+- **Too many words on screen.** Keep only what this beat needs (main readout or heading, the highlighted original, one short tag per source). Eyebrows, English twins of every label, archive numbers, footnotes and translations the subtitle already gives turn the frame into noise.
+- **Empty placeholder boxes for missing material.** A grey "no footage" or "waiting for photo" panel looks like a render error. Fill the slot with real material, change the layout, or let the source appear when it starts.
+- **A strip reserved at the bottom** (timeline band, caption rail) leaves an empty band when it has nothing to show. Content runs to y ≈ 900; nothing lives in the subtitle area (y ≈ 950–1030).
+- **Catastrophe as spectacle.** No slow motion of fire or impact, no full-screen flames, no sound effects on deaths.
+
+## 10. Footage (素材)
+
+1. **Ask the user first.** Before searching: does the user have their own footage, photos, documents, recordings or data (dashcam files, a report PDF, a spreadsheet of readings)? Their own material always comes first.
+2. **Where to look, and how to judge the licence.** Use `demo/tools/footage.py` (copy it into the project): `search archive|commons|nasa`, `files`, `fetch` (records licence, author and page into `SOURCES.jsonl`), `used`, `md` (writes `SOURCES.md`).
+   - **Internet Archive**: the item's `licenseurl` and collection. The NARA-donated Universal Newsreels (1929–1967) are public domain; other newsreel companies (Hearst, Pathé, Movietone, Paramount) are not, even when uploaders tag them PD. "stock footage" and YouTube-ripped items: skip.
+   - **Wikimedia Commons**: read the file page — author, source, licence template. U.S. federal work (Navy, NASA, NARA, NOAA, USGS) = public domain. PD claims resting on "not renewed" agency photos (AP, INS, Wide World): treat as uncertain and skip. Download big files through the API thumbnail URL (3840 px) to avoid 429s.
+   - **NASA** (images.nasa.gov): public domain except marked third-party items and logos.
+   - **Library of Congress / national archives**: read each item's rights statement; "no known restrictions" is **not** a licence — skip it.
+   - **USGS The National Map**: historical topographic maps as PDF (public domain); render the area you need with `pdftoppm -r 300 -x … -y … -W … -H …`.
+   - **Government reports and FBI files**: U.S. federal works are public domain; quote them, typeset transcriptions, show scans only as evidence frames.
+   - Allowed: public domain, CC0, CC BY (credited in full on the end card). Not allowed: CC BY-SA, "no known restrictions", unclear origin, colourised or restored copies.
+3. **Tell the user before downloading**: what (title, length or pages), from where (page URL) and under which licence; keep `raw/` under about 1.5 GB.
+
+## 11. Facts
+
+Keep `FACTS.md` (claim on screen or in the voice → source URL → quoted wording), list every inference separately, and check the final script and subtitles against it before the last render.
+
+## 12. Engine
+
+- One Canvas-2D page (`demo/index.html`), `window.render(t)` deterministic, `window.TEXTS(t)` for `readcheck.mjs` (key texts only; counters exempt), `window.SUBCHECK()` for the one-line subtitle check; all timing in `demo/film.json` (sections, voice starts, original-sound clips, subtitles), shared by the page, the mix (`demo/audio/mix.py`) and the subtitles (`demo/tools/cues.py`).
+- Reusable parts in the page: `plate()` (grade + grain + flash), `ring()` (circle + leader label), `cover()` (fill a panel without stretching, returns a source → screen map for circles), `badge()`, `wave()` (waveform with play-line), `playhead()` (event-clock keyframes shared with the mix), `planPanel()`, `schematic()` (16-cell side view with zone/flutter), `push()`.
+- Prep: `demo/tools/prep.sh` (ffmpeg + pdftoppm + PIL), `demo/tools/wave.py` (waveform peaks), `demo/tools/fonts.py` (OFL subsets). Checks: `demo/tools/subcheck.mjs`, `demo/tools/final_asr.py` (speech check on the finished film, per line).
+
+## 13. Variation space
+
+The agent decides per film: the event, the sources, the sync point, which time scales the clock passes through, the layouts, the opening and the ending.
+
+- **Three structures:** a cold open on the decisive frame, then rewind and rebuild; one question ("where did it start?") answered source by source; a strict clock (T−10 min → T+1 h) with findings dropping in where they happen.
+- **Three sync points:** an impact or flash frame; a sound peak heard in several recordings; a public clock or broadcast time signal.
+- **Three endings:** the evidence map; the known/unresolved board left on screen; back to the opening frame, now fully annotated.
+- **Other subjects:** a traffic collision (dashcams, CCTV, police report), a protest (phone videos, photos, statements), a disputed call in sport (camera angles, rulebook), a launch failure (tracking cameras, telemetry, accident report).
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/visual-investigation/DEMO.md). Read it after your treatment exists.