wizz-method 2.22.0 → 2.23.0

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/backrooms), 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). -->
+
+# Liminal Found Footage — Style Prompt
+
+> Camcorder tapes recovered from empty, endless, fluorescent-lit spaces. Rules instead of monsters.
+> Genre reference (grammar only): "the Backrooms" internet folklore and new-weird / rule-horror; 1990s consumer camcorder footage. **Never** use the word "Backrooms", wiki "Level" numbers, community entity names, or any existing organisation or logo inside the film. Everything on screen (rules, forms, company voice, any presence) is original.
+
+Suits short films; the length follows the walk, and the dread thins out once nothing new goes wrong.
+
+## 1. Essence, and what it is not
+
+- **One first-person camcorder recording** (1990s VHS, 4:3), handheld, continuous.
+- **An empty, familiar-but-wrong interior** that repeats: an office, a hotel floor, a school, a mall, a parking level, a hospital wing. Humming fluorescent light, no people.
+- **Dread from emptiness, repetition, bureaucratic rules, and the camera's own machinery failing at the wrong moment.** Nothing chases anyone. A chill on the back of the neck, not a jump.
+- **The medium is the storyteller**: focus, exposure, tape damage and the on-screen display carry the plot.
+
+Not a horror film (no monster close-ups, no gore, no jump scares, no score stings), not an ASCII/CRT terminal piece (the artefacts are tape and lens, not phosphor and scanlines), not a ruin (clean is part of the style).
+
+## 2. Materials & rendering
+
+- **Frame**: 4:3 pillarboxed in 1920×1080. Render 3D at low resolution (e.g. 720×540) and let the VHS pass upscale; low resolution hides CG cleanliness.
+- **Space**: axis-aligned partitions on a grid with random gaps and stubs, pillars, a drop ceiling of tiles with recessed light panels at regular intervals. A hand-authored route through procedurally filled space, so every doorway shows more emptiness.
+- **Lighting = thousands of lights, no shadows**: store every panel's colour and intensity in a float texture; each fragment sums the nearest panels (emitter cosine × Lambert / (d² + ε)) plus a bounce term. No occlusion: this light is flat. Per-light variation (a few % warm/cool/green), a few % dead, a few % flickering. Ambient occlusion darkens seams.
+- **Fog follows local light**: fog colour × (local light / average). Where lights are dead the haze is dark, so a silhouette there reads as a *hole in the light*. Background = fog × ~0.15, so corridors dissolve into darkness, never a bright wall.
+- **Restrained decay**: tide-marks at the foot of some walls, a discoloured band under the ceiling, rare peeling seams, a few yellowed or missing tiles, dead insects in diffusers. Percentages in single digits.
+- **Printed matter**: office laser-print on yellowed paper, condensed sans headers, form numbers and revisions, numbered rules, a polite closing line from "Management". Pinned or taped.
+- **VHS camcorder pass** (not a CRT): small line jitter (≤ 0.25 px low-frequency wobble), a head-switching band, tracking tears on demand, barrel + vignette on the image but **not** the OSD, luma blur + edge ringing, chroma smeared right, light smear, drifting white balance, AGC noise in darks, dropouts, lifted blacks, soft clip. Noise at tape rate (30 fps). No scanlines, no RGB mask.
+- **OSD**: a hand-made bitmap font with a black outline: REC dot, battery, time and date. A camcorder title generator uses the same font, larger.
+
+## 3. Colour logic
+
+- **One dominant sickly hue** from the location's materials (mustard wallpaper, institutional green, hospital blue, beige laminate), with a darker trim and a mottled floor of the same family; ceiling and light panels near-white and slightly warm.
+- **Exactly one saturated colour**: a signal such as a red alarm lamp, a green emergency sign, an amber warning light. It is the only thing that blooms (drive its emissive high enough to cross the bloom threshold).
+- White balance drifts; colour is never graded clean.
+- Example material palettes: wallpaper `#d5bd66`, trim `#4d3d26`, carpet `#8c763c`; pool tile `#9fc7c0`, grout `#e6ece6`, water `#5e8f96`; school corridor `#b9c49a`, lockers `#6f7f66`, linoleum `#a89a7d`.
+
+## 4. Type & subtitles
+
+- **Closed captions (CEA-608 style)**: a monospace (e.g. IBM Plex Mono 600) ~42 px, white on a solid black box per row, ≤ 32 characters, centred inside the 4:3 frame above the OSD. Untouched by tape noise (the TV decodes them). Hold ≥ max(1.8 s, speech + 0.6 s).
+- **Speaker marks**: `[PA]` for announcements, italics for the operator, SDH descriptions in brackets (`[LIGHTS FLICKER]`, `[TAPE NOISE]`, `[SILENCE]`).
+- **Rules on notices are not captioned**: they are the picture. Readable at 1080p, ≥ 3–4 s uncovered. For close-ups **lower the camera so the lens is parallel to the page**; pitching down at a vertical sheet shears words into fake italics.
+- The **title** is camcorder title-generator text over the first shot.
+
+## 5. Motion quality
+
+- **One continuous handheld take.** Cuts happen only where the tape breaks: power-on roll-in, tracking tear, REC off.
+- **Handheld** = walking gait (head bob a few cm, sway, small roll) + breathing (~0.27 Hz) + tremor noise at a few frequencies whose amplitude follows a **fear** curve. At a held breath, **freeze all of it**.
+- **Looking down** shows only shoe toes and floor, never legs.
+- **Autofocus** = focus distance animated with overshoot: blur → lock → slip → lock. Blur comes from pulling focus *near*. Zoom narrows the FOV and opens the aperture.
+- **Lights flicker** as short blackouts (~0.1 s); auto-exposure catches up with a lag (~0.45 s) and gain noise pumps.
+- Things move by themselves slowly (a door over >1 s, eased), never snap.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Walking POV down a corridor | routine, the endless | establishing the space; time passing |
+| Slow pan off a detail to the space | scale; the space goes on | a reveal; a first look |
+| Glance down at the feet | obedience, avoidance | obeying a rule; not looking |
+| Crouch and hold on printed text | reading; bureaucracy | a rule; a contradiction |
+| Zoom + focus hunt into the distance | seeing / not seeing | a presence; a doubt |
+| Identical framing after a tear, only the OSD changed | time removed | a jump; a loss |
+| Turn a corner, hold still | a threshold | an exit; a choice |
+| Slow push-in with no sound | the pull of something | a door; a sign |
+| Backing away while filming | retreat, fear | leaving a room; a rule broken |
+| Camera set down on a surface, static, recording alone | abandonment | the operator gone; a long wait |
+| Whip toward a sound, then nothing | expectation denied | a noise with no source |
+
+Framing: text readable and uncovered; any presence small, far, and in a region of dead lights. Transitions: tape events only.
+
+## 7. Sound palette
+
+- **No score.** Only what the tape would have recorded. Music exists only inside the world (hold music, a radio through walls, a tinny PA jingle), filtered and reverberant, possibly slowing with tape wow.
+- **Fluorescent bed**: 120 Hz (or 100 Hz) + harmonics, a buzzy band-passed component, a faint ballast whine, bad-tube bursts; gated by the same light curve as the picture; closer in small rooms.
+- **PA voice**: calm, corporate, through a ceiling speaker (band-pass ~300–3500 Hz, cone resonance, saturation, room reverb), dry enough to stay intelligible. A short original chime before announcements; after a time jump, chime and voice may drift flat.
+- **Operator**: a few short, quiet lines with proximity bass and breath; breathing whose rate follows fear; a held breath and one long exhale.
+- **Foley by material**: carpet steps (low thud + wet squelch) or hard-floor squeaks, cloth rustles, camcorder clack and motor, zoom servo, AF ticks, ballast tink on flickers, a stick-slip hinge, a drag overhead, a vending machine, a pipe.
+- **Silence**: digital zero for a second or more (tails included), captioned `[SILENCE]`, is the strongest tool. A soft scare at most: everything restriking at once when sound returns.
+- **Drone** options: a low brown-noise band with beating sines rising slowly; the room tone itself pitch-shifting; nothing.
+- **Mix**: bed and in-world music ≈ −8 dB under voices. −14 LUFS; no added grain (the noise is in the picture).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Autofocus / auto-exposure hunting.** Something is there only while focus is correct. *Fits content like:* a missing pet on a hotel floor; a figure in an empty stadium; a shape at the end of a hospital corridor.
+- **Tape tracking damage.** A tear is a cut the universe made; same framing after, but the clock jumped, the battery drained, a light died. *Fits content like:* a night-watch log; a lost weekend in a mall; a house that ages between tapes.
+- **The OSD is plot.** REC, battery, date and time code are evidence. *Fits content like:* an alibi; a countdown; a dated inspection.
+- **Rules as text in frame.** Notices and PA announcements start ordinary, drift wrong, contradict each other, and finally address the viewer. *Fits content like:* a pool's safety rules; a school fire drill; a museum after hours.
+- **Emptiness and repetition.** The same notice in a different place; the same room with one detail changed; a corridor into fog. *Fits content like:* a moving-day walkthrough; an airport at 4 a.m.; an office after layoffs.
+- **The thing that is almost human.** A distant silhouette wrong by 15–40 % (small head, long neck, narrow high shoulders, long arms), drawn as organic curves on a billboard, moving slowly. *Fits content like:* a mannequin that is not; a night guard; a reflection that lags.
+
+## 9. Pitfalls of the medium
+
+- **A fully bright scene reads as a hospital corridor** → partitions with gaps; far areas fall dark.
+- **Lights leak through walls** (no occlusion) → a dead zone needs every light within ~±5 m dead, and the space behind it dim.
+- **Background shows as a bright rectangle** at a corridor's end → background = fog × ~0.15.
+- **Uniform fog lifts silhouettes to grey** → fog follows local light.
+- **Line wobble skews text; pitching down italicises it** → ≤ 0.25 px wobble; lower the camera.
+- **Primitive-built figures read as toys**, primitive legs as tubes → organic silhouettes; show only shoe toes.
+- **Pure red never blooms** at low emissive (low luminance) → drive it far higher.
+- **Normalising a filtered signal by its pre-filter peak** blows up a bus → normalise the processed signal.
+- **Heavy PA reverb destroys intelligibility** → ASR-check processed lines and the full mix.
+- **Billboards stamp dark rectangles** in AO → exclude them.
+- **Time-compressing a finished timeline** → keyframes in original time mapped through one warp function, including hard-coded times elsewhere.
+
+## 10. Engine
+
+`demo/world.js` (layout, light DataTexture, custom lighting and fog shaders, props), `demo/tex.js` (procedural wallpaper, carpet, ceiling, panels, notices, signs), `demo/vhs.js` (VHS camcorder ShaderPass), `demo/osd.js` (bitmap font, REC, battery, clock, title generator), `demo/subs.js` (608 captions), `demo/thing2d.js` (organic silhouette), `demo/story.js` (timeline, camera keyframes, focus / fear curves, time warp), `demo/main.js` (renderer, post chain GTAO + DOF + bloom → VHS, handheld rig). File map and build: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/backrooms/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide the location and its materials, the procedure or reason for filming, the rules, the route, the presence (or none), the signal colour, the opening, the ending and the length.
+
+All far from our demo:
+
+- Structures: **two tapes** (the same route filmed twice, a year apart; the second tape finds what changed); **a real-estate walkthrough** where every room is described cheerfully by the operator while the house keeps adding rooms; **a checklist read aloud** item by item, each item ticked on a clipboard in frame, until an item is not on the list.
+- Openings: **mid-sentence** (the tape starts with the operator already talking, tracking still rolling in); **a test pattern** and a date slate before the camera is picked up; **the lens cap on**, sound only, until the cap comes off.
+- Endings: **battery dies** (the icon blinks, the frame freezes on the dead cell); **the camera is set down** and keeps recording an empty room; **the tape loops** back to the first shot, now with the operator's shoes visible in it.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/backrooms/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/blueprint), 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). -->
+
+# Blueprint — Style Prompt
+
+> Engineering drawings that come alive on a sheet of cyanotype paper: white technical line work on Prussian blue, drawn in drafting order, with annotations that move.
+> References (grammar only, never copy): the moving technical drawings in Prologue Films' *Iron Man* (2008) end credits, Leonardo's *Codex Atlanticus* pages, 19th-century US patent drawings (Fig. 1 / Fig. 2, part balloons, fine-line shading), the automaton drawings in *Hugo* (2011). No Marvel elements, no real patents, no real inventor's machine or signature.
+
+Suits films of 30–60 s.
+
+## 1. Essence, and what it is not
+
+- **The whole film happens on one sheet of blueprint paper** lying on a dark drafting table. The camera moves over it like an eye reading a drawing.
+- **White line work on uneven Prussian blue**: centre lines, outlines, hatching, dimension lines, leader lines with numbered balloons, a title block, a notes column.
+- **A 2D line-drawing language**: orthographic and oblique/isometric projection are allowed, **3D rendering never**.
+- **Rigorous convention carries the tone**: the drawing is dry and exact; the notes can carry wit, warmth or gravity.
+- **The designed thing is the character.** A machine, object, building or plan acts through its parts; people appear only as a hand shadow with a pen, or a signature.
+
+Not Hologram HUD (no glowing wireframe, no 3D orbit), not Whiteboard (no marker on white), not Copperplate Engraving (no burin tonal hatching as the whole look).
+
+## 2. Materials & rendering
+
+- **Sheet**: procedural cyanotype in a shader in *sheet coordinates*, crisp at any zoom: fbm between two Prussian blues, coating streaks, fibres, fold creases (bright edge, dark edge, whitening), bleached edges, specks. Around it: dark drafting cloth with a drop shadow.
+- **Lines**: pale blue-white, slightly soft (mipmap bleed), a faint ink breakup driven by paper grain. Four weights (outline, detail, thin, hair; e.g. 3.2 / 2.0 / 1.25 / 0.9 sheet units). **Screen width = sheet width × zoom^0.65**, so close-ups don't turn into sausages and wides don't vanish.
+- **Dash conventions**: centre line (long-short), hidden (short dashes), phantom / cutting plane (long-short-short), scaled with zoom so the pattern stays on the paper.
+- **Occlusion by painter's order**: every solid is filled with "paper" before its outline is stroked. Oblique extrusion: stroke the outline at N depth steps at 2× width, then fill the same steps with paper; a clean silhouette survives.
+- **Composite in buffers**: ink (white = exposed line); fx (shadow, wetness, stamp ink as channels); a subtitle overlay last. Shadows darken lines too: that is how a lifted object proves it has left the paper.
+- **Hatching** (fine-line shading) for sections, soil, weights, at 45°, spacing 8–14 units.
+- **Cyanotype and water**: a drop blooms deeper blue with a pale tide line; white lines inside the stain go soft; ink signatures bleed.
+- **The one real thing** (optional, at most once): a drawing symbol that leaves the drawing language gets soft volume, one gradient across its whole shape, glow, and a shadow falling across the lines. It leaves a pale unexposed imprint where it was drawn.
+
+## 3. Colour logic
+
+- **Blue and white only.** The blue varies in value (coating, stains, folds); the white varies in weight and softness, never in hue.
+- **One non-blue colour, used exactly once**: a rubber-stamp ink (red is classic; a green APPROVED or black VOID work too). It carries the verdict.
+- The "real" object at the climax may carry light (white glow, soft value), not a new hue.
+- Example blues: `#18336B` → `#2A58A6` with lines `#E7F0F9` and table `#0D1116`; a faded sun-bleached sheet `#3A6DA8` → `#5B8CC4`; a deep over-exposed sheet `#0F2350` → `#1D3F80`.
+
+## 4. Type & subtitles
+
+- **Hand lettering** for header, labels, notes and subtitles (e.g. Architects Daughter); a technical sans for title-block fields (e.g. B612); a script only for the signature (e.g. Allura). All OFL.
+- **Text is written on left to right** with a glowing nib, like everything else.
+- **Subtitles are drawing notes**: a light translucent box with double white rules, a "NOTE / n" cell, the text lettered on in ~0.35 s, a small leader tick. **Placed per shot in empty sky**, never fixed to the bottom (the bottom of a drawing is ground line, base and title block). Wrap at ~880 px. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Every subtitle is also lettered into the sheet's **GENERAL NOTES** column, so the final wide shows the whole voiceover as drawing notes.
+- The **title is the sheet header**; the **title block** holds status and verdict fields.
+
+## 5. Motion quality
+
+- **Camera and draw-on on ones (24 fps).** Continuous moves within a section, hard cuts on downbeats between sections; tiny camera bumps only for physical impacts (paper slap, stamp).
+- **Draw-on** truncated by arc length with a glowing nib at the head; items staggered within a layer; each layer starts on a beat.
+- **Drafting order**: centre lines → outlines → detail → hatching → dimensions → balloons → labels.
+- **Exploded views**: parts leave in sequence on subdivisions of the beat, eased, and return one per beat-group with a click.
+- **Mechanisms step on the grid** like an escapement: a gear advances one tooth per subdivision with a short ease-out; meshing phases computed so teeth really interlock; chains move with their sprockets.
+- **Machine acting**: angles, droops, volumes and gauge needles are the face. Failure = slowing, sagging, winding down over ~1.5 s; joy = snapping upright, a needle overshooting (back-ease).
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Whole sheet on the table | scale, the document as an object | establishing; a verdict; a series of sheets |
+| Medium on a figure, subject ~80 % of height, sky on one side | the design being drawn | drafting; explaining a part |
+| Track along a path of force (chain, pipe, wire, beam) | cause and effect | how it works; a sequence of operations |
+| 2× close-up cut on a downbeat | the mechanism's heart | gears meshing; a valve; a joint |
+| Locked-off, hold a beat | deliberation | a hand revising; a decision |
+| Oblique depth factor 0 → 0.5 | the flat drawing "turns" and gains thickness | from plan to object; a reveal of depth |
+| Section line sweeping across | inside vs outside | a cutaway; hidden structure |
+| Lateral pan across Fig. 1 → Fig. 2 → Fig. 3 | versions, steps, time | revisions; stages of construction |
+| Slow push-in, no voice | wonder | the one real thing |
+
+Keep storytelling shots close; full-sheet wides are rare. Keep the main figure at least `960/zoom` from any sheet edge you will frame. Transitions: cuts on downbeats, or fig-number rewrites on the sheet; no dissolves.
+
+## 7. Sound palette
+
+- **Contrapuntal, mechanical music**: harpsichord, bassoon, strings spiccato, harp, celesta, music box, clavichord, a small wind ensemble. Imitative lines (an invention, a canon, a fugato) feel like interlocking parts; a short repeated motive can be the "gear".
+- **Foley follows materials**. Paper: roll crackle and slap, T-square wood slide, technical pen scratch (2–6 kHz grain, length = stroke length), lettering bursts, compass squeak, hatching strokes, eraser rub, tracing-paper rustle. Brass and wood: part clicks (resonances ~3–5 kHz), escapement ticks, chain rattle, spring twang, wind-down ticks that slow geometrically. Water: soft damped pats per drop, a light rain bed. Rubber stamp thump, pen cap click.
+- **Options for the arc** (in any order, use what the story needs): instruments dropping out with a written-out ritardando into true silence; a single questioning figure alone; a suspended chord held without resolution under the magic; a full cadence on the stamp; the theme in augmentation for a close; adding a section per mechanism that joins.
+- **Silence** may contain paper sounds only.
+- **Voice**: dry, understated, reading design notes, a few short lines. Leave the most emotional moment voiceless.
+- **Mix**: music ducks well under voice (~0.36 ×), foley by half; whooshes low-passed so they don't mask consonants. −14 LUFS. Little added grain (the paper already has it).
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Drafting order.** The object draws itself as an engineer would, a layer per beat. *Fits content like:* a bridge; a violin; a kitchen renovation.
+- **Live annotations.** Dimensions measure moving parts and the numbers change; balloons fly with parts; a section line reveals the inside. *Fits content like:* a heart valve; a folding bicycle; a rocket stage separating.
+- **Fig. numbers as transitions.** "FIG. 1" struck through and rewritten "FIG. 2 · EXPLODED VIEW". *Fits content like:* versions of a product; phases of a construction; a recipe's stages.
+- **Projection as camera.** The oblique factor animates; exploded parts fly along the depth axis. *Fits content like:* a floor plan becoming a building; a circuit board; flat-pack furniture.
+- **A symbol made real** (once, if at all). A convention leaves the drawing language: a dimension arrow flies, a hatch becomes rain, a centre line becomes a road, a weld symbol sparks. *Fits content like:* an invention finally working; a city plan becoming a street; a dream becoming a plan.
+- **Cyanotype and water.** Drops bloom and soften lines. *Fits content like:* a flood-defence design; grief; a harbour wall.
+- **The title block as story.** Status field = the verdict; revision rows = history. *Fits content like:* a rejected permit; REV. 1–5 of a city; an approval after years.
+
+## 9. Pitfalls of the medium
+
+- **Main figure near the sheet edge** → wides show the desk. Keep margins or enlarge the sheet.
+- **Upward explosions hit the header** → explode sideways and flatten long parts during the explode.
+- **Subtitles on the ink buffer** vanish off-sheet and can't occlude lines → separate overlay, premultiplied alpha.
+- **An object darkened by its own shadow** → zero the shadow channel only in its area.
+- **Per-lobe shading on a blobby shape reads as grapes** → one gradient across the union; crescents from a union-minus-shifted mask; fill unions as one path (`nonzero`) or overlapping fills make bubbles.
+- **A small payoff undersells the return** → the payoff object ~⅓ of frame height, centred, drawn stroke by stroke, subtitles off it.
+- **Line weights not scaled with zoom** → sausages in close-ups, vanishing wides.
+
+## 10. Engine
+
+`demo/paper.js` (WebGL2 compositor: procedural cyanotype, ink bleed, wet stains, shadows, stamp, roll), `demo/draw.js` (drafting engine: camera, oblique projection, draw-on polylines, solids with paper fill, hatching, dimensions, balloons, text), `demo/sheet.js` (border, header, title block, parts list, notes, revision cloud, rain, hand shadow, stamp), `demo/film.js` (timeline on a beat grid: cameras, acting, subtitles, sound events). A new machine goes in its own module like `demo/machine.js`. File map and build: [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/blueprint/DEMO.md#build-notes).
+
+## 11. Variation space
+
+You decide what is designed, its figures, the flaw or turn (if any), the voice, the one real thing (or none), the camera path, the opening, the ending and the length.
+
+All far from our demo:
+
+- Structures: **a city through revisions** (one site plan, REV. 1 to REV. 6, each revision a decade, the title block filling with dates); **two sheets, one table** (two designs drawn in parallel that turn out to fit together); **a teardown in reverse** (the sheet starts full and parts are erased one by one until only the centre line of the idea remains).
+- Openings: **a single centre line** crossing an empty sheet on the first beat; **the stamp first** (REJECTED lands, then we see what was rejected); **tracing paper** lifted off a finished drawing to reveal a blank sheet underneath.
+- Endings: **the sheet folds up** along its creases into a pocket-sized square; **a coffee ring** lands on the title block and the tide line becomes the last circle of the design; **the lights go off** and the white lines glow faintly on the dark sheet.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/blueprint/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/brick-toy), 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). -->
+
+# Brick Toy — Style Prompt
+
+> Stop-motion toy-brick films shot like macro photography on a real desk: a world built from interlocking plastic bricks with round studs, animated a pose at a time.
+> References (grammar only): brick-film stop-motion on a tabletop and the "brick movie" approach of stepping characters while the camera moves smoothly; macro toy photography (softboxes on glossy plastic, shallow focus, real objects as landscape). Copy none of their characters, sets or music, and never use a brand name.
+
+## 1. Essence, and what it is not
+
+A brick world on a **real surface** (a wooden desk, a kitchen table, a windowsill), shot with a **macro lens** and animated **in stop-motion**. The charm is the tension between the toy world and the real room.
+
+One-glance traits: glossy ABS with clean rectangular highlights; studs on every top face; seams darkened by contact shadow; real objects out of focus behind; characters that move in held poses on twos.
+
+**Never** use the LEGO name, logo or minifigure silhouette (trademarks). Characters are *built from bricks* (e.g. 1×1 columns for legs, a 2×2 brick for a torso, round bricks for arms, a round 2×2 helmet). Studs carry no lettering.
+
+Not a low-poly isometric island (no flat-shaded facets, no floating diorama), not a clay or felt stop-motion (no deformation: bricks are rigid), not a clean product render of a toy (this world is played with, handled, knocked over).
+
+## 2. Materials & rendering
+
+- **Plastic**: ABS with strong clearcoat (~0.85, clearcoat roughness ~0.07); a roughness map with faint fingerprints and scratches (base ~0.17, scratches up to ~0.65); a bevel so edges catch a highlight.
+- **Geometry**: rounded box bodies (bevel ~0.045 stud), studs with a thin lip. Unit = 1 stud pitch (8 mm); brick height 1.2, plate 0.4. Large baseplates are **matte** (lower clearcoat than bricks), or they reflect softboxes as a coloured wash.
+- **Set**: a real surface with a real texture and real props at true scale (1 m = 125 studs). Household objects become landscape. Light it with a **neutral daylight studio HDRI**, never a tungsten interior (white bricks turn orange).
+- **Light**: a toy-photography setup. A directional key from one upper side, warm-white, casting shadows (fit its shadow frustum to each shot so shadows stay crisp); two or three **RectAreaLight softboxes** (key front, cool rim behind, one over any big set) so glossy plastic shows clean rectangular highlights; environment kept low (~0.45) for contrast. Add a soft contact-shadow blob where the key's shadow falls behind a hero object.
+- **Ambient occlusion is mandatory**: GTAO (radius a few studs) darkens seams between stacked bricks, stud bases and contact points. Without it bricks look pasted on.
+- **Supersample 2×** (render 3840×2160, deliver 1080p): thin stud edges and bevel highlights shimmer without it.
+- **Lens**: physical depth of field (CoC ∝ |1/focus − 1/z|). Scale aperture with shot size: widest for close-ups, less for mediums, least for a wide (too much blurs the hero at mid distance). Focus is always on a character's head or the brick being placed.
+- **Effects are bricks**: fire, smoke, water, light, weather, celestial bodies are all built from plates, round bricks and translucent pieces, jittered or rebuilt per drawing. Nothing is a particle system or a soft gradient.
+
+## 3. Colour logic
+
+- A **toy palette**: a handful of saturated brick primaries plus white, black, greys, tan. Each built object has one dominant colour and at most one or two trim colours; characters and hero objects take the most saturated ones.
+- The **real world stays natural and muted**: wood, paper, ceramic, daylight. The saturated colour belongs to the toys, which makes them pop against the room.
+- **Whites must read white**: grade slightly cool so white bricks don't go cream from the room bounce; soft contrast, saturation lifted ~10 %.
+- Translucent pieces (orange, yellow, clear, blue) are reserved for effects: fire, light, water, glass.
+- Example palette (the classic brick primaries): red `#c91a09`, blue `#0055bf`, yellow `#f2cd37`, green `#237841`, white `#f2f2ee`, black `#1b2a34`. Others: pastels and tan; greys with one accent.
+
+## 4. Type & subtitles
+
+- A rounded, friendly OFL face (e.g. Fredoka, in `core/fonts`) for titles and subtitles.
+- Subtitles live on a **toy element**: a dark rounded pill low in the frame with a small brick icon beside the text, or a printed tile, or a sign built into the set. White on dark, ≤ 2 lines. A second speaker type (radio, device, narrator) gets its own icon colour or tag. Hold ≥ max(1.8 s, speech + 0.6 s).
+- Titles pop in on 12 fps steps, like a piece being placed; a short sub-line in a brick colour.
+
+## 5. Motion quality
+
+- **Characters and bricks step at 12 fps** (on twos); **camera, focus, fire and flying vehicles move on ones** at 24 fps. Stepping the camera too reads as judder, not charm.
+- Bricks **fly in on arcs** and **snap** with a tiny overshoot (a fraction of a stud → 0 in ~4 frames). Every snap is a click on the soundtrack.
+- Characters act with **big readable poses** held for several drawings: a V of arms for pride, arms flung up for alarm, a bowed head for sadness, a hop for joy. Walk cycles swing legs about ±0.55 rad with a small bob. Arms and legs rotate at their joints; nothing bends.
+- Collapses and falls use **real rigid-body physics**: tip about the base edge, then independent bodies with gravity (a lower-than-true value reads better at this scale), bounces (restitution ~0.3), friction, settling flat. Pre-simulate so every render is identical.
+- Tiny imperfections are allowed. Bricks never stretch, squash or morph.
+
+## 6. Camera grammar
+
+A vocabulary, not a route. Opening and ending come from the topic.
+
+| Move | Expresses | Can serve |
+|---|---|---|
+| Extreme macro on one brick or stud, real room blurred behind | The toy scale is the world | a beginning; a detail that matters; a single part |
+| Low angle at minifig eye level | A tiny character made heroic | ambition; pride; standing up to something big |
+| High wide over the whole surface | The scale reveal: it was a toy all along | a summing-up; irony; a finished build |
+| Low, wide, lonely frame, character small in a corner | Smallness, failure | a setback; waiting; loss |
+| Frontal close-up, hands and brick in focus | Intimacy, decision | a choice; a repair; a gift |
+| Handheld shake on impact | Physical shock | a collapse; an arrival; a collision |
+| Tracking alongside a moving object, destination ahead | Momentum toward a goal | a journey; a race; a launch |
+| Top-down plan view | Order, layout, a map | a plan; sorting parts; a city from above |
+| Rack focus from a real object to a brick (or back) | Two scales in one frame | "big world, small maker"; a comparison |
+| Orbit around a finished build | Pride, inspection | a product; a monument; a result |
+
+Framing: keep foreground clutter out of the frame edges (piles of parts love to block the lens); check headroom in every shot; check every real prop against every camera, because an object placed on one shot's axis sneaks into the background of another. Cut on beats or bars; a snap can be a cut point. No generic dissolves; transitions can be a hand-placed brick covering the lens, a whip along the desk, or a pull out of one set into the next.
+
+## 7. Sound palette
+
+- **Instruments**: small, acoustic, playful (glockenspiel, toy piano, pizzicato, ukulele, whistling, claps, melodica); a brass or orchestral swell for scale; a heartbeat drum for suspense. Licensed or original, edited to the picture (cut on bars, bar-aligned jumps, chroma similarity at joins) rather than looped under it.
+- **Foley** (synthesizable): plastic creak before a failure, tiny plastic footsteps, a crash of many clacks, a brick click (short transient + resonances near 2.9 kHz and 4.6 kHz), clack on wood, rattle of a parts pile being stirred, whoosh on throws, a bell "ding" for discovery, bricks sliding over paper, motors and engines built from filtered noise.
+- **Silence is a tool**: cut music dead at a failure or a surprise; leave only room tone and one small real-world sound (a ticking clock, a fridge hum, a distant bird). Music can also drop out before a big moment, leaving a pulse or a countdown.
+- **Voice**: a warm storyteller, few short lines with room to breathe; secondary voices through a device filter (band-pass ~380–2800 Hz + soft saturation), optionally with beeps. Verify every line with whisper.
+- Mix: voice compressed, music ducked ~40 % under voice, loudness −14 LUFS.
+
+## 8. Native moves
+
+A menu: use the ones your story needs.
+
+- **Snap-together building.** The plot is an act of building; pieces fly in on arcs and click home. *Fits content like:* a company assembling its first product; a neighbourhood rising street by street; a recipe put together ingredient by ingredient.
+- **Break without harm.** Things fall apart and the parts become something new; failure yields spare parts. *Fits content like:* a pivot after a failed plan; recycling; a team reshuffled into a better shape.
+- **Toy on a real desk.** Real objects become landscape at toy scale. *Fits content like:* a laptop keyboard as a city grid; a houseplant as a jungle; a coffee spill as a flood.
+- **Hand-made stop-motion.** 12 fps poses, tiny imperfections, even fire and water made of bricks. *Fits content like:* a weather report; a kitchen explained with brick flames; a science demo of a volcano.
+- **Rebuild into something else.** The same pieces, rearranged on screen, become a different object. *Fits content like:* one career turning into another; a before/after renovation; a word re-spelled.
+- **The scale reveal.** Pull back until the whole world is a toy on a table. *Fits content like:* a big ambition that is still small; a year in review; a child's imagination.
+
+## 9. Pitfalls of the medium
+
+- Tungsten HDRI → orange whites. Use a neutral studio HDRI and a slightly cool grade.
+- Clearcoat on a large flat baseplate reflects softboxes as a coloured wash. Make it matte.
+- Flat, slightly jagged first renders: even light, no AO, single-sample rendering, stepped camera. Fix: softboxes + low environment, GTAO, 2× supersampling, cool grade, camera on ones.
+- Too much aperture blurs the hero at mid distance. Scale aperture with shot size.
+- A fast-rising or fast-moving object becomes a dot on a blank wall. Track it and keep its destination in frame.
+- Curved transparent parts made from a sphere segment vanish inside a cylindrical part. Use an open-cylinder panel.
+- Real props on a later shot's camera axis sneak into the background. Check props against every camera.
+- Random jitter used as a material or colour index can go negative → undefined material crash. Clamp.
+
+## 10. Engine
+
+In `demo/`: `bricks.js` (rounded brick/plate/round-brick geometry, studs, plastic materials with clearcoat and fingerprint roughness), `actors.js` (a brick-built character rig with pose objects and `walkPose`), `set.js` (desk, HDRI, real props at true scale, softboxes), `rockets.js` (props, pre-simulated rigid-body physics, brick fire and smoke), `main.js` (acting, cameras, DOF, subtitles, sound events), `mix.py` (synthesized foley + voice + music), `music/edit.py` (bar-aligned score edit). Minimal start: a brick lighthouse from `bricks.js` on a stack of books, lit by the `set.js` softboxes, one still via `core/render/still.mjs`.
+
+## 11. Variation space
+
+You decide the structure, the characters (or none), the surface and its props, the opening, the ending, the camera path, the pacing, the palette within the colour logic and the music. All far from our demo:
+
+- Structures: **a catalogue** (one build per beat, each a different object answering the same question, lined up at the end); **two builders** on opposite sides of the table whose builds grow toward each other; **a disassembly** (a finished thing is taken apart piece by piece to explain what's inside).
+- Openings: **a hand pours a bin of bricks** onto the table and the pile settles into the first shape; **a real object first** (a mug, a phone), then rack focus to the tiny world at its base; **plan view** of an empty baseplate filling in like a map.
+- Endings: **one piece left over** held in close-up, the question it raises unanswered; **the lights go out** in the room and only a lit brick window glows; **a real hand** reaches in and picks the character up.
+
+---
+
+How our demo was made (story, shots, score, end card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/brick-toy/DEMO.md). Read it after your treatment exists.

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

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+<!-- Vendored from lemo-opuscar (https://github.com/lemomo-ai/lemo-opuscar/tree/413a6bd6/styles/briefing-board), 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). -->
+
+# Engineering Briefing Board — Style Prompt
+
+> One real whiteboard wall, filmed: window light on enamel, ghosts of erased marker, frame and tray. Cut-out photographs of real things land on it with weight; tags, magnets, a ruler and stamps are pinned to it; marker ink draws itself in three colours with fixed meanings. The camera rides the lines from fact to fact and only at the end pulls back to show the whole briefing.
+> References (grammar only): explainers filmed on a map wall; the long pull-back over a wall covered in work; drafting conventions (plan above elevation, dimension lines, hatching). Never copy them or name them in the film.
+
+## 1. Essence, and what it is not
+
+1. **A physical board in a room**: enamel, window falloff, a sliding reflection, ghosts of earlier work, frame and tray.
+2. **Real things on it**: cut-out photographs of the real objects, a few millimetres off the board, shadowed by one window, parallaxing. They are evidence: never a generated image presented as a real object.
+3. **Ink that means something**: graphite for names and rules, blue for water and measurement, red only for the decision; rejected ideas erased to ghosts.
+4. **One continuous wall**: no pages; the camera travels along lines, projections and leaders.
+5. **The whole wall, once**: every shot is a crop of the final briefing, seen whole only in the last pull-back, as a poster.
+
+Not **Whiteboard Explainer** (a hand drawing line art on a flat page): the board is a filmed object, subjects are photographs. Not **Data Storytelling**: comparisons are dimension lines in real units beside real objects. Not a keynote: no headers, centred bullets, page turns.
+
+## 2. Materials & rendering
+
+- **Board (z 0)**: procedural enamel, wiped ghost strokes, smudges, a window falloff, a sliding diagonal reflection; the frame shadows a warm grey wall.
+- **Ink (multiply)**: flat colour at about 90 %, lighter core, round caps, a wet-tip glint on the stroke being drawn. Lettering: a marker font revealed glyph by glyph with seeded tilt and baseline jitter. Erasing leaves a blurred ghost (about 7 %).
+- **Prints (z ≈ 6–14)**: photographs cut out at full resolution (a matting model, or a hand polygon / mask), clean edges, one shared grade (lower saturation, a touch warmer, lifted blacks). Thin structure (cables, wires, masts, railings) is measured in the photo and redrawn as clean lines in one colour. Shadow = blurred silhouette along one light vector, softer the higher the object. **No frame upsamples a photo**: ≥ 1 source px per screen px at its largest, measured; cap the zoom or find a bigger source.
+- **Secondary layer** (only where the camera never goes before the end): the photos as pinned prints, a source card, sums on sticky notes, a small sketch. Texture and proof for the final wall, lighter than the main line.
+- **Props (z ≈ 8–26)**: magnetic tags, magnets, a steel ruler, printed cards, a pitted stamp impression; the tray (z 70) nearest the lens.
+- **Camera**: parallax by height, sub-frame motion blur (180° shutter), light grain. Only subtitles are screen-space.
+
+## 3. Colour logic
+
+- Ground: the enamel and its light falloff; the wall around is neutral warm grey.
+- Ink: graphite = names, rules, facts; blue = water and measurement (dimensions, projection lines, measured numbers); red = the decision (a rejection, the key word of a verdict, the one mark to notice); grey for drafting only (extension lines, hatching).
+- Red is rare: two or three red marks per frame at most, never on a red object. Full colour belongs to the photographs; props stay neutral; a red magnet is a verdict.
+
+## 4. Type & subtitles
+
+- **Marker lettering**: a single-weight marker face covering every script the film uses (ours: LXGW Marker Gothic, OFL, subset — re-run when words change). Content 100–160 board px; a verdict 230–400.
+- **Printed labels** (tags, cards, stamps): a sturdy sans; credit lines in a monospace. A tag holds one to three words.
+- **Subtitles**: a frosted acrylic strip at the bottom centre with a blue marker tick. If the film is bilingual, the film's language sits on top. **One line per language**: `nowrap`, measured in the page against a 1,500 px safe width; a long line becomes two cues. Key content stays above the strip (bottom 15 %).
+- **Reading time**: subtitles ≥ max(1.8 s, speech + 0.6 s); board text stays fully in frame for CJK ÷ 4.5 + other ÷ 15 + 1.5 s from when it appears. In the final wall, text meant to be read is ≥ 20 px on screen.
+
+## 5. Motion quality
+
+- 24 fps on ones; nothing is stepped.
+- Camera: overlapping eased moves, velocity ∝ u^a (1−u)^b (a, b ≈ 1.5–4), so speed and acceleration never jump; b > a gives inertia. A hand-held breath (≤ 3 px) underneath; shake only on an impact.
+- Weight: prints are lowered from the camera side, land, bounce and settle as the shadow tightens; magnets clack on to pin them; tags swing; removed magnets pop toward the lens; struck things jolt and spring back. The camera may meet a landing close, briefly, on the object's most telling detail, then pulls out.
+- Blurred in motion, sharp where words are read. Every 1–2 beats something lands, draws or swings; only silences and judgement holds go still.
+- Ink draws at the speed of a hand; dimension lines land with an arrowhead tap.
+- Never: dissolves, scale-pops on text, bouncy UI easing, text fading in by itself.
+
+## 6. Camera grammar
+
+| Move | What it expresses | Can serve |
+|---|---|---|
+| Ride a line (with the pen or a dimension) | measuring; "how far does it go?" | lengths compared; a route; a timeline |
+| Tilt along projection lines | the same quantity in another view | plan → elevation; a total → its parts |
+| Slow push-in, slight Dutch tilt | tension, an approaching problem | a collision; a deadline; an overrun |
+| Pull back and sideways | stepping back to state a rule | a constraint; a turn in the argument |
+| Whip with the line, overshoot, settle | a result that exceeds | a record; an outlier |
+| Rise along a leader line | from evidence to verdict | a conclusion; a recommendation |
+| Staircase framing (each new item with the previous result) | comparison in sequence | rankings; tests; options |
+| Judgement frame: the whole item, the limit and the verdict, held ≥ 2.5 s | a test the viewer can check | pass / fail against a threshold; a budget against a cap |
+| Long pull-back to the whole wall | scale; everything at once | the end of an argument; a summary |
+
+Framing: off-centre, cropped, close. The first frame holds a readable subject; the first strong action hits within 0.5 s. Items tested against a limit each get a judgement frame (wider each time if they grow); the verdict lands after the camera settles. Before the reveal: ≤ about 60 % of the board's width, never both side edges, never the reveal's zone. Transitions are moves; no cuts, fades or zoom-to-fit.
+
+## 7. Sound palette
+
+- Room: an air-conditioning bed and traffic through the window, about 20 dB under the voice — audible, not a hiss; silences keep only this.
+- Foley: felt-tip squeaks scaled to stroke length, nib taps, magnet clacks (a pitch per magnet in a row), suction pops, print landings (board thump, paper slap), a ruler's ring, eraser felt, a stamp's thud.
+- The subject's own sound arrives early as a J-cut; the first sound after a silence is an impact or the subject's sound.
+- Music: a small rhythmic ensemble, walking to brisk — bass, a light kit, wooden percussion, low brass stabs for verdicts (or mallets); no piano-and-strings pad. Landings, stamps and arrows sit on the beat. Voice calm, briefing-room confident, about 8–10 dB over the music; −14 LUFS.
+
+## 8. Native moves
+
+- **The whole-wall reveal.** Design the wall as a poster first (hierarchy, reading path, filling the frame), then plan every shot as a crop of it; keep one zone (secondary layer, verdict, title card) for the reveal alone. *Fits:* a product roadmap; a household budget.
+- **The subject passes through the answer.** The real thing moves through the chosen solution, its sound first. *Fits:* a parcel along the chosen route; a train over the new viaduct.
+- **Ride the dimension line.** A quantity drawn as a real length to one scale; the camera rides the tip. *Fits:* battery ranges of four cars.
+- **Projection lines.** Dashed lines carry an edge from one view to another so two drawings share a scale. *Fits:* a trail map above its elevation profile.
+- **Magnets as countable things.** Units clack on in rhythm, pop off when a rule removes them. *Fits:* seats in a vote.
+- **Erase to a ghost.** A rejected idea wiped but faintly visible. *Fits:* last year's plan under this year's.
+- **The stamp.** A verdict lands with a thud and a jolt. *Fits:* passed / failed tests.
+- **The physical answer.** A real prop laid down as the solution. *Fits:* one cable instead of five.
+- **Leader to the verdict.** An arrow from the deciding number to the conclusion. *Fits:* the bottleneck in a process.
+
+## 9. Pitfalls of the medium
+
+- **Text glimpsed in passing** fails the reading time. Fix: words where the camera rests; frame each new item with the last result.
+- **Only close-ups.** The viewer never sees the whole object against the limit. Fix: detail → judgement frame → hold → verdict → move on.
+- **Photos that don't belong together.** Fix: one grade, one light vector, one viewpoint family.
+- **Thin parts lost or stair-stepped** by the matte. Fix: key them against the clean background, redraw clean lines at the measured positions.
+- **Upsampled photos** go soft in close-ups. Fix: full-resolution cuts, large sources, a per-frame check.
+- **Lettering in photos** (signs, names, logos). Fix: paint out, cut, or choose another photo.
+- **The wall seen too early** spends the ending; **a sparse or tiny final wall** wastes it. Fix: measure every frame's visible share; size the hierarchy for the poster; a quiet secondary layer, no empty middle.
+
+## 10. Sources, facts, engine
+
+- **Photos**: Wikimedia Commons (read each file page's licence and author), national libraries and archives (e.g. the Library of Congress: check each item's rights statement), agency media pages, Flickr Commons. Fine: CC0, public domain, CC BY (credit it). CC BY-SA, "no known restrictions" (≠ CC0) or other terms: name them to the user and ask first. For the user's own product, site or people, ask for their photos. No licensable photo of a real thing → draw it in marker as a sketch; never a generated image presented as the real object.
+- **Facts**: keep a `FACTS.md` in the project folder (each claim on screen or in the voice, its source URL, the quoted wording, or the measurement method) and deliver it with the film. List every photo in `CREDITS` with source, author and licence.
+- **Extra packages and packs** (beyond `setup.sh deps voice music`): `onnxruntime` and the BiRefNet-general matting model (MIT, ~970 MB: https://github.com/danielgatis/rembg/releases/download/v0.0.0/BiRefNet-general-epoch_244.onnx, path in `$BIREFNET_ONNX`) for cut-outs; `fonttools` only to subset CJK fonts offline. The agent installs them itself into a private venv in the project folder (`demo/kit/tools/kit_env.sh` does venv and model), never into `$LIB/.venv`. Without the model: cut with `prep_object.py --poly` (hand polygon) or `--mask` (a mask image).
+- **Engine** (copy into the project): `demo/kit/board.js` (camera, prints, tags, magnets, ruler, cards, stamp, ink, erasing, `sceneTexts(t)`, `subCheck()`; fields in `demo/kit/README.md`), `demo/kit/batch.mjs` (stills), `demo/kit/tools/` (cut-outs, line redraws, lettering wipe, prints, fonts), checks in `demo/tools/` (`camcheck.mjs` visible share and judgement frames, `rescheck.mjs`, `subcheck.mjs`).
+
+A minimal world (`node demo/kit/batch.mjs park.json`; `fetch_fonts.py park.json` first for new characters):
+
+```json
+{ "dur": 6, "t": 5.5, "board": { "w": 4000, "h": 2400 }, "hand": 0, "cam": { "x": 1500, "y": 1000, "z": 0.8, "moves": [] },
+  "elements": [
+    { "type": "tag", "text": "地下车库", "xy": [560, 800], "size": 60, "arrive": { "t": 0.2, "kind": "swing" } },
+    { "type": "ink", "kind": "dim", "from": [700, 900], "to": [1300, 900], "color": "blue", "t": 0.6, "d": 0.6 },
+    { "type": "ink", "kind": "write", "text": "120 米", "xy": [1360, 940], "size": 100, "color": "blue", "t": 1.2 },
+    { "type": "stamp", "text": "首选", "xy": [1500, 700], "size": 110, "rot": -8, "t": 4.2 } ] }
+```
+
+## 11. Variation space
+
+The agent decides per film: structure, which objects are photographed, plan vs elevation, the wall's reading path, opening, ending, camera path, pacing.
+
+- **Three structures:** one measurement that keeps growing until it breaks a limit; a before/after where the erased first plan stays as a ghost under the second; a checklist stamped item by item as the camera moves down the wall.
+- **Three openings:** a stamp on a finished drawing, then back to see why; one number written large, then the line that measures it; a photo dropped onto an empty corner.
+- **Three endings:** the wall revealed with the answer circled; back to the opening mark, now corrected; the last tag flipped from a question to an answer, then the pull-back.
+
+---
+
+How our demo was made (story, shots, score, title card, build): [DEMO.md](https://github.com/lemomo-ai/lemo-opuscar/blob/413a6bd6/styles/briefing-board/DEMO.md). Read it after your treatment exists.