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• What does a production sound report record, and what do mixers and recorder makers say it is for? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the pinned Sound Devices documents a sound report is a per-folder, per-take log generated from recorder metadata: project header, date, rates and timecode mode, then rows with file, scene, take, length, start timecode, wild-track and circled flags, free-text notes and the name given to each track. A named production mixer (Simon Hayes) says dialogue editors read the reports to see which iso tracks fed the mix, and another (Jim Tanenbaum) advises logging each shot's mic choice and position for ADR. The field list is one vendor tool's default, not an industry standard; the BWF/iXML metadata layer was already covered in cycle 2 and is not repeated.
• What failure modes of contextual NPC barks do designers and researchers report, and what (if any) tests do they describe? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  First-person writers and designers report four recurring failure modes: over-clever or multi-information barks, pools that cycle too fast so lines become memorable, context-aware bark sets that feel shoehorned (Splinter Cell: Conviction), and tooling built for imagined rather than actual writers. The sources are interviews, a community blog and a short academic paper; none describes a systematic test. The nearest checks are a journalist's manual count of repeated lines and Valve's recommendation to build in-engine debugging tools.
• What memory and anti-repetition structures do shipped contextual-dialog systems document (stored facts, expiry, chance, deplete-before-repeat), and how do they stop a line from repeating? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the Valve designer's own account, memory is just facts written back by a matched rule into a per-character (or world) store, with optional expiry; repetition is controlled by writers adding "already said" facts, expiry times, random-chance criteria, and splitting speeches into followups. The SDK 2013 code shows engine-level options (default visit-all-before-repeat in a response group, no-repeat, sequential, odds, speakonce, respeakdelay, matchonce). The speaker calls manual said-variables awkward; a Ubisoft writer separately frames repetition as depending on call frequency relative to pool size. No source here measures how well any of these prevents repetition.
• How does a shipped game (Valve: Left 4 Dead, Portal, Dota) decide which contextual NPC line to play, in terms a newcomer can reproduce? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Valve designer-programmer who built the system describes it in his own GDC 2012 slides: when a character wants to speak, the game builds a flat dictionary of facts (the query), every rule in a writer-editable database is tested (a rule is a list of criteria that must all be true), the matching rules are scored by how many criteria they contain, and one of the top-scoring rules is chosen at random. General rules act as fall-backs for specific ones. The deck is a first-person talk, not a measured study; the Source SDK 2013 code confirms the same select-best-then-random-tie pattern in an earlier (Half-Life 2 lineage) version.
• How do primary motion-generation papers define foot skating, penetration, floating and jitter, with what thresholds and units? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Definitions differ by paper. PhysDiff (v3): Penetrate and Float are distances from the ground to the lowest body mesh vertex with 5 mm tolerance, Skate is mean horizontal displacement of foot joints in contact in two adjacent frames, Phys-Err is their sum, all in mm. GMD (v3) and Yi et al. (v1) use a skating ratio: fraction of frames where a foot slides more than 2.5 cm while foot height is under 5 cm. Body-momentum (v1) measures jitter as the derivative of acceleration in world coordinates (10 m/s^3) and foot sliding in mm during contact. MDM v2 uses a foot-contact loss in training, not an evaluation metric.
• What time interval did Muybridge state for his walking plate, and what does it imply in modern frame terms? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Muybridge's 1887 prospectus describes plate 14: a model walking one stride, twelve phases about 0.120 s apart by chronograph, whole movement about one and a half seconds. Intervals in the series ranged from 1/60 s to several seconds and were timed with a 100 Hz tuning fork. Twelve phases at 0.120 s span 1.32 s (11 intervals), a little shorter than his stated 'about one and a half seconds', so the figure is approximate; a stride of about 1.3-1.5 s is slower than the 1.09-1.15 s in modern samples. Per-plate interval columns in the catalogue table were too garbled in the OCR to read.
• What do the open sources say a completion guarantee does not cover or does not do (limits on the guaranteed amount, financing, overages, rebates)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open first-party text on exclusions is thin. A 2008 lawyer's article states the guaranteed strike price excludes some items (example: marketing and publicity), that guarantors generally cannot provide a 'financial guarantee' about the initial budget financing, that cash funding must be in hand as a pre-condition, and that director final-cut rights may be lost if spending reaches a share of contingency. Telefilm's 2016 policy says it will not participate in financing overages and sets rules for no-claims rebates. Specific exclusion lists in real guarantee contracts (e.g. insurable events, music, cast breakage) were not found in the pages read; Screen Australia's wording about exclusions was seen only in a search snippet.
• What do guarantors and funders say a production must supply or accept for a completion guarantee: budget and schedule review, personnel approval, reports, contingency, takeover? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Film Finances (page versions last modified 15 Sep 2026) describes: analysis of script, budget and schedule; review of key crew; legal documents (completion guaranty and completion agreement); daily shooting progress reports and weekly cost updates; periodic site visits; post-production schedules and cost reports. A 2008 lawyer's article adds: cash funding in hand as a precondition, approval of producer/director/lead cast (stated as not creative approvals), a weekly production-accountant report with amount expended and cost to complete, and a takeover right if substantially over budget or behind schedule that is 'rarely exercised'. Agencies set when a guarantee is needed: NZ Film Commission (Terms of Trade effective 22 Dec 2025): equity above NZD500,000 and/or budget over NZD1 million, with waiver factors; Telefilm (2016): risk-assessed above CAD500K participation; Screen NSW (June 2026): guarantor letter of interest or waiver request in the application.
• What is a completion guarantee (or 'bond') and how do agencies and a guarantor describe it in their own words? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Telefilm Canada (27 July 2016) defines a completion guarantee as protection that guarantees completion and delivery of a production and, if it is not completed, ensures investors and financial partners are reimbursed; the guarantor must be a full-time provider with demonstrable re-insurance. Screen Australia's glossary calls the guarantor an additional layer of insurance in which a bond company, for a fee, bonds the project to completion provided it is fully financed. Film Finances says its contracts give financiers assurance that productions will be completed on time, on budget and to a basic pre-agreed specification. These are descriptions; the binding terms are in each guarantee contract, which was not read.
• Which internal-consistency checks can an agent run on a cost report (arithmetic, sign rules, actual vs committed, final-report ETC) using rules that agencies state in writing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  NZ On Air's April 2026 guidance states several checkable rules: estimated total = actual + unpaid invoices + estimate to complete; variance is shown in its own column (not as negative ETC); negative figures must not appear in estimate to complete; actual cost excludes committed or estimated figures; the final report's estimate-to-complete column should be zero except for final-drawdown items (normally PCO); rows mirror the contracted budget with sub-totals; final reports must be full. Telefilm Canada adds that substantive variances need notes per category. The check list below is a synthesis of those statements, not an agency-issued validator.
• What columns does a during-shoot production cost report contain, and what do 'actual to date', 'estimate to complete', 'estimated total cost' and 'variance' mean in a screen agency's own template? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  NZ On Air (April 2026 version) publishes a seven-column cost report layout: budget category, actual cost to date (money paid), purchase orders/invoices (received, unpaid), estimate to complete (forecast, not yet received), estimated total cost (sum of the previous three), budgeted total cost and variance (budget minus estimated total). Telefilm Canada's 2014 accounting rules define its final cost report as costs paid, accrued and estimated to complete compared with the budget, with notes on substantive variances. Both are single-agency rules (New Zealand 2026; Canada 2014), not a global standard.
• What do Avid's public documents state about Media Composer's AI-assisted dialogue tools (PhraseFind AI, ScriptSync AI, Transcript Tool, Multicam Auto Cut): what they produce, licensing prerequisites, languages and limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Avid's Media Composer 2026.8 What's New (31 Aug 2026) documents PhraseFind Multicam Auto Cut (camera switching from speaker assignments in PhraseFind AI transcripts) and Transcript Tool versioning (the original AI transcript is kept and edits stored separately). The 2026.8 ReadMe says the Transcript Tool needs an active PhraseFind AI option (ScriptSync AI alone excludes it) and that indexing runs in the background and is resource intensive. The only language statement found is the 2023 press release (21 languages for automatic detection, initial). No inspected Avid document says whether transcription is on-device or cloud; the 43 MB Editing Guide could not be fetched under the 25 MB rule.
• What do Blackmagic's guides state about DaVinci Resolve's transcription-driven editing features (text-based editing, speaker detection, IntelliScript, Multicam SmartSwitch): inputs, outputs, edition, matching rules and limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across the Resolve 19, 20 and 21 New Features Guides, transcription underpins text-based editing in the Transcription window (Resolve 19, Studio), speaker detection, SRT import/export, and IntelliScript (Resolve 20, Studio) which builds a timeline from a plain-text script and picks the best take by spoken-dialogue matching only. Resolve 21 adds Final Draft (.fdx) script import. Multicam SmartSwitch (Resolve 20, Studio) cuts to the active speaker using audio plus video cues. The guides inspected do not state language lists for transcription (they point to Project Settings and the reference manual) or whether transcription is local or cloud; the 209 MB reference manual was not fetched.
• What does Adobe say Premiere's Text-Based Editing takes as input, what it produces, which languages it supports and what its stated limits are? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the Adobe help-page versions pinned here (pages dated Jan 2026 to Jun 2026), Text-Based Editing auto-transcribes spoken dialogue into a timecode-aligned transcript and mirrors cut/copy/paste of transcript text onto the timeline. Adobe lists UI languages on the overview page and a separate 18-language Speech-to-Text list; the two lists differ, and no inspected page says whether transcription runs on-device or in the cloud. Stated limits are short: dialogue only, no captions workflow inside the feature, clean audio recommended.
• How do sound designers use point-of-view and off-screen sound to tell the story, with what concrete techniques, and where does it stop working? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Thom's 2000 interview on What Lies Beneath is the densest account: POV sequences give sound its widest licence; keep dialogue sparse; use visual conditions (water, mist, darkness) as the door to subjective sound; filter real sounds (underwater muffle) rather than add many; keep ambiguity by making voices unintelligible; and do not call attention to the sound design. Rydstrom adds an unlocated-sound principle for horror, Weis a voice-before-image menace technique, Holman off-screen events written into scripts. These are practitioners' stated rules, not tested findings.
• What are the building blocks of a film soundtrack (dialogue/ADR, effects, backgrounds, Foley, walla, music) and what does each department actually produce before the mix? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two first-person-heavy sources (Weis 1995 with practitioner interviews; Thom 2000 interview) and two short glossary/textbook excerpts give a working vocabulary: dialogue and ADR are cleaned or re-performed production speech; effects tracks are built from scratch from library, new recordings or combinations; Foley is effects performed to picture (footsteps, cloth, props); walla is a prepared, improvised crowd murmur; a typical final mix groups these as separate elements. The term 'hard effects' does not occur in any page read, so this batch gives no source-based definition of hard effects versus backgrounds beyond the separate 'backgrounds' element in Weis's track layout.
• What do open papers measure for monocular and few-camera markerless capture against reference systems, what is the evidence for commercial tools such as Move AI, and what does it imply for animation production use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open results are research-method numbers, not commercial-tool numbers: on Human3.6M (marker-based) a monocular lifting model reports 46.8 mm MPJPE from detected 2D keypoints (37.2 mm from ground-truth 2D); on in-the-wild 3DPW WHAM reports 57.8 mm; on EMDB global trajectories WHAM reports 354.8 mm W-MPJPE100, 6.0 % root-translation error and 4.4 mm foot sliding. A 2022 clinical review gives 40-60 mm joint-centre differences and up to 30 degree ankle-angle differences for monocular methods, and OpenCap (two or more phones) reports 4.5 degree joint-angle MAE against skin-marker capture, with the authors noting that skin-marker error itself limits what can be shown. No open independent validation of Move AI or Flow Studio mocap against marker-based ground truth was found (bounded Europe PMC search), and Move's own accuracy page gives no numbers. Implication (synthesis): treat markerless output as animation reference or blocking requiring cleanup of root drift and foot contact, not as ma...
• What footage will Autodesk Flow Studio (Wonder Studio) accept for character replacement, clean plate and camera tracking, and what shooting rules does the documentation give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At help.wonderdynamics.com pages stamped "Updated on October 19, 2026", Flow Studio documents hard limits (.mp4/.mov, 2 minutes, 15 shots, hard cuts only), partial support for occlusion, no support for object or actor interactions, a standalone Clean Plate tool (humans only, up to four actors, hidden background must be visible at some point) and a standalone Camera Track tool (no variable zoom; best with wide shots, parallax, distinctive surfaces). No accuracy figures are published on these pages; the limits are vendor-documented constraints, while claims such as the Live Action Easy page wording ("let our advanced AI handle all the heavy lifting") are vendor claims (E16).
• What can I give Move.ai (Move One single camera, Genesis multi-camera), what do I get back, and what capture conditions do the Move docs require? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At docs observed 2026-10-22 Move documents two products: Move One (single phone camera or an uploaded .mp4/.mov/.avi up to 1 GB, 30 s free / 60 s paid clips, credit-metered per person-second) and Genesis (6-12 calibrated cameras, on-premise). Outputs are FBX/USDC/USDZ/Blender (Move One) and FBX/BVH/GLB/USDZ/Blend/C3D/JSON plus preview video (Genesis). Capture rules are practical (full body visible, locked camera, contrast clothing, no mirrors) and the docs publish no accuracy numbers; capability tables are vendor specifications, not measurements.
• How do kamishibai makers design around the nuki (pull-out) reveal, and what transition and pacing rules do documented performers use that an animation or audio storyteller could borrow? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 2013 Japanese college bulletin on training childcare students to make kamishibai documents design consequences of the pull-out (nuki) mechanic: the cards are pulled from right to left as seen from the audience so figures walking forward must face left; the script goes on the back of the previous scene; margins hidden by the stage must be measured; students exploit pulling for stepwise reveals (a rainbow gaining one colour per scene) and for participatory riddles (a coloured paper interposed between silhouette cut-out and picture is pulled after the audience guesses). A US performance handout adds timing guidance (vary the pull speed: sudden cuts for surprise, dissolves for suspense) and cautions that overdoing character voices can steal focus from the art. No open source read names or describes specific sub-techniques of nuki.
• What is kamishibai (paper theatre), how are the cards written and handled, and what are the first things a new performer needs to do? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Kamishibai is a Japanese picture-card storytelling form. A narrator shows a stack of illustrated cards (one picture per scene) in a small stage frame (butai) while reading text printed on the back of the cards. The scripts for each picture are on the back of the previous card, so the card the performer reads is not the one facing the audience; as each card is read it is slid out and moved to the back. Street kamishibai (gaito) flourished from the 1930s with about 2,500 performers in Tokyo in 1933; educational kamishibai grew alongside it. Practical guides here are Western educators' adaptations, not Japanese master accounts.
• How does a professional rakugo performer say pauses (ma), first lines, word repetition and breath create understanding when there are no sets, costumes or narration? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Katsura Utanosuke, a professional Kamigata rakugoka, explains in a 2011 talk (printed in a university repository) that rakugo has no scenery, costume or movement, so the audience must imagine 'what is not there'; the only means is speech technique. He defines ma as the blank time where no line is spoken and gives concrete rules illustrated on a short beginners' piece, 'Kuchinashi': set the tone with the first line, show two characters by contrasting pitch, vary repeated words to avoid boredom, pause before a keyword and hold the breath, pause again after a strange phrase so the audience absorbs it, and repeat an identical line but deliver it differently.
• What is a rakugo performance made of (makura, main story, ochi), and what does one seated performer with a fan and hand towel actually do in it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Rakugo is a seated solo comic or dramatic story performance in which one performer in kimono plays every character with only a folding fan (sensu) and a hand towel (tenugui). An official Agency for Cultural Affairs introduction and a 2019 speech-synthesis paper agree on the arc: an audience-warming makura (preliminary talk, often improvised), the main story (almost all character dialogue), then a closing line, the ochi (also called sage). The paper adds that Edo-style rakugo can also have an optional opening greeting (maeoki) and a conclusion (musubi) used instead of ochi in some stories. These are Edo/Tokyo-centred descriptions; the Kamigata (Osaka-Kyoto) tradition adds a desk and clapper (see -02).
• What simple stakes and suspense check can I run on an outline beat using what these models and experiments say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Combining the structural-affect precondition (a significant consequence for a character, then a resolution) with the escape-route accounts used by Dramatis, Suspenser and the Xie-Riedl prompts gives a five-question per-beat check: what is at stake, what outcome does the reader expect, what escape routes are visible, how likely does each seem, and what blocks them. The sources support the pieces; the checklist as a whole is a synthesis and has not been tested by these authors.
• What do the primary papers leave unshown for collaborative previs or multiplayer games with a generated shared world, according to their own stated limitations and evaluation protocols? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Each paper states a limit that matters for collaborative previs or multiplayer play: Solaris and MIRA lose persistent state beyond the context; Gamma-World may accumulate inconsistencies in long rollouts; MetaWorld does not model physical contact; WorldCast does not model hits or network faults; MultiWorld has not been trained at scale. Beyond these, in the eight papers read no paper reports art-direction or director controls, a multi-human study, or output-use rights for generated clips. The last three are absences in the passages read, not demonstrated impossibilities.
• What scale (players or agents, rollout length, resolution, hardware, speed) do the primary papers actually demonstrate for a shared multi-agent world, and which numbers are measured versus shown only in figures? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Measured consistency is shown for two players in most papers (Solaris, ShareVerse, MetaWorld two views) and up to four players only qualitatively (Gamma-World zero-shot) or with a game-state probe and real-time claim (MIRA, 4 players, 20 FPS on one B200). WorldCast times 2 to 16 players per-client (FPS) but scores consistency in rounds with three to five clients. MASS reports 1,024 simulated players, but these are entities in a grid game with 128 by 128 renders, not 1,024 rendered video players.
• What should a production do, and what should an agent flag in a breakdown or schedule, for stunt sequences, according to the Safety Committee's Bulletin #4 (rev. Mar 27, 2025) with Addendum A and HSE's ETIS17? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Bulletin #4 says production management should allow time for rehearsals, training and inspections, engage a qualified person on set for every stunt sequence, hold an AD-led safety meeting with a walk-through before stunts, have medical personnel available at rehearsals and performances, and let a cast member decline a stunt and ask for a double. Addendum A adds call-sheet announcements the day before and day of, a list of driving conditions needing a qualified stunt driver, double options for pratfalls and consultation rights when performers are rigged with squibs. HSE's ETIS17 (rev2, 09/17) adds a hierarchy of control that asks first whether the stunt can be redesigned or replaced (including by CGI) and says the coordinator should liaise with the director.
• What does California's Labor Code Part 13 (Sections 9150-9161, added by SB 132 in 2023) require for firearms and set safety, and which scene or schedule features should a breakdown flag because of it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SB 132's Section 3 adds Labor Code Part 13 (operative January 1, 2025). For any motion picture production in California (defined to include television, streaming, commercials and music videos), firearms and blanks may be used only under the custody and control of a qualified property master or armorer who has no other duties while preparing for and during firearm use, a safety meeting per committee bulletins, an identified compliance contact, and training by CSATF's firearms course or equivalent. Ammunition is barred except for narrow listed exceptions. A pilot program (July 1, 2025 to June 30, 2030) for tax-credit productions adds a dedicated safety advisor and written risk assessments, with specific risk assessments for firearms, major pyrotechnics and explosives, major stunts, process shot moves, aircraft or trains, vehicles off road, open-water watercraft and workweeks above 60 hours. These categories can be tagged from a script and schedule.
• What do the Industry-Wide Labor-Management Safety Committee's firearms bulletin (#1, rev. April 29, 2024) and live-ammunition bulletin (#2, rev. Dec 19, 2023) say a production should do before, during and after firearms are used on set? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Bulletin #1 (rev. April 29, 2024) puts firearms under the Property Master or armorer's custody, allows only the Property Master and authorised cast to handle them, requires a safety meeting with a walk-through or dry run before any firearm is used, a rehearsal to set minimum safe distance, loading of blanks immediately before use, and daily clean, check and inventory with schedule time for it. It asks production to allot time for training, safety meetings and rehearsal and to consider rubber guns or non-firing replicas. Bulletin #2 (rev. Dec 19, 2023) says live ammunition is prohibited in nearly every aspect of the industry with narrow supervised exceptions. The bulletins describe themselves as recommended guidelines only.
• What operative requirements does SAG-AFTRA's Quick Guide for scenes with nudity or simulated sex set for notice, auditions, written riders, continuing consent, closed sets, doubling and publicity? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The SAG-AFTRA Quick Guide (host copy last modified 12 Oct 2020) lists contract-based requirements for signatory productions: advance notice of nudity or simulated sex, only one final modesty-garment audition, a written rider delivered at least 48 hours before call time (with a stated exception for late casting), consent that can be withdrawn verbally or in writing before footage is captured, closed sets with no personal-device recording, cover-ups between takes, and explicit written consent for doubling and for publicity use of nude footage. The Standards document (C3-B100-G36-01) is the IC role description; this Guide is the rule list.
• How should upscaled footage be judged: what do primary sources say about full-reference versus no-reference metrics and their limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blau and Michaeli prove that lower distortion (full-reference measures such as PSNR/SSIM) and better perceptual quality are at odds for any distortion measure, which is why GAN-based upscalers can score worse on PSNR while looking better. Real-ESRGAN reports only the no-reference NIQE and warns such metrics do not track human preference. The VMAF docs describe a full-reference metric trained on subjective data for stated viewing conditions, say it captures gains from enhancement operations, and provide a NEG mode that disables enhancement gain for codec comparisons; its FAQ shows upscaling the distorted clip before comparison. No inspected source states a validated protocol for judging AI-upscaled finishing footage; broadcaster specs require QC but no metric thresholds in the passages read.
• Which artefacts do the original papers and the vendor documentation themselves report for AI upscaling and frame interpolation (invented detail, smearing, ghosting, occlusion errors, flicker)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Real-ESRGAN paper reports twisted lines, GAN-training artefacts and failure on out-of-distribution degradations; RIFE reports ghosting by competing methods and lists its own limitations (two-frame input, PSNR/SSIM-centred evaluation); FILM states disocclusions force a model to hallucinate pixels and reports unnatural deformations for extreme motion. The Topaz documentation (vendor) lists strobing on reflective water, distortion of patterned caustics, wobble on dense parallax, per-frame detail differences in Theia, flicker of small repeated patterns and mis-read small text in Starlight HQ. None of these sources reports a measured artefact rate for finishing use; the vendor statements are not tests.
• What from oral-formulaic composition and documented Sunjata performances can transfer to improvised or procedurally generated storytelling by an agent, and what cannot be claimed? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  This is a synthesis, not a finding. From Lord's own statements: composition by a trained singer is remembering structured phrases and themes (not a fixed text) and is distinct from free improvisation; formula counts do not by themselves establish orality; comparison should be like with like. From the Sunjata sources read: versions vary around a relatively fixed core and some published texts are rewritten prose. An agent could use a bank of formulas and themes with variable slots to generate, but none of the sources read documents such use or measures its quality, and the Sunjata sources do not show composition-in-performance at text level. Transfer claims are hypotheses.
• What do "formula" and "theme" mean in Parry and Lord's oral-formulaic theory, and what did Lord himself say about the limits of formula counts? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Lord (1986, in the first volume of the journal Oral Tradition) restates Parry's formula as a word group regularly used under the same metrical conditions for an essential idea, and uses "theme" for repeated passages. He describes oral composition as remembering structured phrases and lines, separates it from improvisation, and in retrospect calls the use of formula density as a test of orality too simplistic. Source is Lord's own review essay: a primary statement of his positions as of 1986, read via an Internet Archive snapshot of the journal PDF.
• How does the Decameron frame (Rigg translation, vol. I) constrain and vary its tales, and what can an agent take for curated anthologies? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Rigg's English the Decameron frame uses a rotating ruler per day, a stated subject (free on Day 1, "unexpected felicity" on Day 2 per the passages read), advance preparation and one teller with a standing exemption who speaks last. The plague proem is justified as contrast. Observations come from the Day 1 introduction, the Day 1-2 transition and Rigg's introductory notes; the later days and the author's closing remarks were not read.
• How do the Thousand and One Nights hold a listener across nights and nest tales inside tales, and what can an agent copy for serial or nested stories? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Burton's English the Nights use a fixed cut: the night ends mid-tale, the sister asks for the finish, and the king grants one more night. Tales nest several levels (Burton's contents show four for the Fisherman cycle) and inner tales are told by characters as arguments, sometimes opposed ones. The frame closes by consequence (children, release), not by the stories running out. These are observations from vol.1 and the conclusion in vol.10 only; the mid-volumes were not read.
• How do the audio-capable world-model papers measure that sound stays in sync with actions, camera motion and events, and what do they leave unmeasured? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Three different measurement designs exist. AVWM compares the audio-energy vs motion-energy cross-correlation lag and peak of generated audio with that of ground-truth audio against the true visual trajectory (simulator data, 0.15 s steps); HelixBench (1,015 clips) scores DeSync on an Event subset and a Grounding-DINO-based three-region stereo score for camera-aligned panning; MaineCoon reports an unexplained "AV-Al" column where it is behind Ovi. Each protocol scores windows or short rollouts; none of the texts read measures the delay from a user action to the sound onset.
• In an FFmpeg zscale + tonemap HDR-to-SDR chain, which HDR metadata is read, kept, stripped or left stale, and where would an agent silently lose dynamic metadata? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Reading FFmpeg at 5fd305b8 (code only; nothing executed): the HEVC decoder exposes HDR10+ and Dolby Vision as frame side data, but vf_tonemap derives its peak only from MaxCLL, then mastering-display max luminance, then a fixed default (10.0 = 1000 nits for a non-PQ-tagged frame), and never reads dynamic metadata. vf_zscale removes every COLOR_DEPENDENT side-data type (CLL, MDCV, HDR10+, Dolby Vision RPU/metadata) whenever the output transfer or primaries differ from the input. In FFmpeg's own documented chain the first zscale (to linear) therefore strips the metadata before tonemap runs, so the detected peak falls back to the default unless peak= is set. libx265.c has no HDR10+ handling at this pin, so a re-encode drops it silently; x265 needs --dhdr10-info.
• What do ITU-R BT.2408 and BT.2390 say about HDR-to-SDR down-mapping, do they cover dynamic metadata, and where is the BT.2390 EETF now? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  BT.2408-8 section 5.2 says display-light down-mapping is usually preferred, that the monitoring down-mapper must match the one used to make the SDR transmission, and that a plain 0.5 linear scale does not preserve the look on a 100 cd/m2 display. Neither BT.2408-8 nor BT.2390-12 mentions dynamic metadata or trims (keyword counts of 0 for 'dynamic metadata' and '2094'); they are static, display-mapping guidance. The hermite-spline EETF that tools label 'BT.2390' appears in BT.2390 editions -5, -7 and -8 but in this extraction not in -9 to -12; BT.2408-8 Annex 5 carries it. This extends C2-B05-B-08 (BT.2100/2408/2446 reference-white and BT.2446 methods) without repeating it.
• How do I shorten or lengthen a music cue to fit picture and join it cleanly: which crossfade shape, which grid, and what do music editors say about re-cutting for picture changes? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The open DAW documentation gives concrete crossfade and grid facts: Ardour's constant-power crossfade (-3 dB each at the midpoint) is the splice for uncorrelated material, linear (-6 dB each) for highly-correlated signals, symmetric for editing two entire music works together, default fades are short de-clickers; the musical grid (bar, beat divisions) scales with tempo while timecode grids do not. Music editors add that cues are repeatedly lengthened, shortened or reworked as picture changes. No inspected primary source states a rule that cuts should land at phrase boundaries or downbeats; that rule appears only as a synthesis (cut on bar lines of a tempo-mapped grid and crossfade across the join) and in secondary search results not fetched.
• What is a temp track, what is 'temp love', and what does a music editor actually do from temp dub to cue sheet? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two music editors describe the same sequence: a temp dub of existing music for previews (no licensing needed), a spotting session with director/editor/composer, cue-by-cue notes with IN/OUT points and director comments, scoring, stems for the final dub, and a music cue sheet listing every cue. Carlson (about forty years in the business) defines 'temp love' as the director or producer falling in love with what they first heard and not wanting it changed. The union page read only lists 'Music Editor' as a classification; the role descriptions come from the two practitioner interviews, one on a single film (The Greatest Showman) and one about a career.
• What do open sources say about gain staging and headroom for dialogue, and what do they say (and not say) about EQ for dialogue clarity? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Gain staging and headroom are covered qualitatively: Ardour says meters are for avoiding overload and keeping headroom when tracking, defines 0 dBFS as a system limit with no musical meaning, and offers K20/K14/K12 meters with reference scales at -20/-14/-12 dBFS; Netflix's dubbing guidance asks for no compression, limiting or EQ during recording. For EQ, the REAPER guide only says to use ReaEQ gently, and its 80 Hz / 6 kHz examples are detector filters on a compressor, not corrective EQ. No inspected primary source gave dialogue EQ band frequencies or boosts; that gap is recorded as a negative result.
• What is room tone, how long should I record it, where do I use it, and what goes wrong if I skip it or process it badly? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Room tone is the ambient sound of a space recorded with everyone silent. A practitioner post (iZotope, 2021) and a trade-press guide (No Film School, 2025) agree on 30 to 60 seconds, with the same microphone placement as dialogue, extended when the ambience changes; its uses are filling gaps between dialogue edits and layering under ADR or overdubs recorded elsewhere. Audacity's manual adds a numeric floor for noise profiling (2048 samples, longer is better) and warns that heavy noise reduction damages the remaining audio. The 30-60 s figure comes from secondary/vendor sources, not a standards body.
• Why does a compressor distort, and which attack, lookahead and release choices does a manual say reduce overshoot and distortion (and when should I use a limiter instead)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Audacity's development manual explains with reported test-tone measurements that compression is waveshape modification, so it distorts; zero smoothing hard-clips; attack lets the signal overshoot; distortion spreads to every component in the mix; and lookahead/release only help when longer than the period of the lowest-frequency component above threshold. Its examples (1 kHz tone with bursts, -20 dB threshold) show lookahead 10 ms / attack 1 ms / release 10 ms reducing overshoot, and limiter-like 1 ms lookahead / 0 attack / 25 ms release allowing 10 dB more level without clipping. The scope is synthetic tones, not speech.
• Should a comic reveal be a surprise or should the audience know first, according to period photoplay and playwriting manuals? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sargent's rule is to keep the spectator advised and the players in ignorance: in his Griggs-restaurant example the laugh broadens from the moment the audience knows he cannot pay, whereas a reveal at the end gives one short laugh; but he also says anticipation starts the laugh and surprise should complete it (small man beats big man). Esenwein and Leeds recommend ending a comic series on a surprise climax followed by a quick denouement. Archer (stage, 1912) warns it is worse than useless to awaken an expectation and then disappoint it. The sources therefore split: anticipation for sustained laughter, surprise as the topper.
• What are comedy, farce and slapstick, and what do early photoplay manuals say makes a comic scene fail? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Esenwein and Leeds (Writing the Photoplay, ch. XVIII, 'The Treatment of Comedy') and Sargent (chs. LVI-LVII) agree on a ladder: comedy stays probable, farce exaggerates when the exaggeration earns added humor, slapstick extends farce. Both list failure modes: padding past the idea, a series of loosely linked incidents or chases, sympathy for the victim or serious consequences killing the laugh, comedy relief that arises from the director rather than the situation, and caricature of groups. Examples and period slurs are time-bound.
• What do 1916 photoplay manuals say about planting a fact, repeating a gag with a bigger result, and spacing escalation beats so each one lands? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sargent (Technique of the Photoplay, 3rd ed. 1916, chs. LVI-LVII) gives concrete rules: show a fact to the audience before you cash it in ('make a deposit before you can write checks'), let a repeated gag escalate (the dropped ice cream repeated after a cut-in leader reminds the audience whose coat it is), chain a slapstick beat into a bigger one (kick, thrown rock, rock hits a third person, both fall), and space beats by fractions of a second so the audience senses what is coming. His scene-writing rule is to describe comic business plainly and in action. These are one trade writer's period rules for silent one- and two-reel films, not tested results.
• In plain terms, what does benign-violation theory predict for a joke or gag I am writing, and where does the open literature say the theory stops working? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open sources state the theory as: something is funny when it seems wrong (a violation) and also okay (benign). Use it as a checklist of two appraisals and of severity and distance, not as a proven rule: the open sources read here report that severity, social distance, power and culture shift what counts as benign, that some jokes with non-benign violations were still rated funny, and that no independent non-moral test was readable.
• Where do Wilensky's 'story points' and Labov's evaluation/reportability disagree about what makes a story worth telling, and which agent checks follow from each? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Wilensky's 1980 Berkeley memorandum treats a story's point as content: a spelled-out problem for a character (goal conflict, competition or lost subsumption) plus a solution component. He gives point prototypes but says his psychological predictions are untested. Labov defines the point as the most highly evaluated action and says interest has no absolute standard, so reportability is relative to the audience. The sources disagree on form versus content and on whether interest can be fixed independently of the audience. The Wilensky text read is the 1980 memorandum, not the 1983 BBS article, which was paywalled.
• How do I decide what the story is about and where it should begin, and what does Labov's 'most reportable event' and backward causal chain imply for drafting and revising? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Labov's later papers (1997, 2001, 2006) argue that a narrator first chooses the most reportable event e0, then walks backwards through efficient causes until reaching an ordinary event needing no explanation, which becomes the orientation. Because the more reportable an event, the less credible it is, each backward step also serves credibility. Labov states the chain is a necessary implication of his definitions rather than an observed process, and that reportability is relative to the audience. The sources concern serious personal narratives; applying them to fiction is a proposal.

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