articles

API: /v1/records?type=article

• What are the standard short development documents for a screen story (logline, one-paragraph and one-page synopsis, outline, treatment, scriptment, bible, scene breakdown) and what is each one for? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Screen Australia's public info guide (header July2018, served 2026) defines eight document types and says the names are used loosely in the industry, so its definitions are one agency's usage. Each rung is a tool to find problems before drafting: logline (one specific dramatic problem), one-paragraph synopsis (genre/theme, opposition, goals/stakes, inciting incident), one-page synopsis, outline, treatment, scriptment, series bible, scene breakdown. For its development funding the agency requires a longer "story document" (outline, treatment, scriptment, mini-bible or draft script) and says a synopsis is not enough.
• Which automatic voice/persona measures have been checked against human judgement, how well, and what protocol can an agent run to test whether generated characters stay distinguishable and consistent? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across the sources read, validation of automatic persona/voice measures is thin: PersonaScore had five experts and 1,500 ratings (kappa 0.71; mean Spearman 75.1%); the consistency judge of Abdulhai et al. agreed with humans more (kappa 0.552) than humans agreed with each other (0.303); the persistent-persona judge was checked by one author (kappa 0.65, 250 ratings); RoleBench reports GPT-4 and human win rates without an agreement statistic; the Distinction Score has no human check on generated lines. An evaluation protocol that combines blind attribution, cast-level distance, drift probes and a validated judge is proposed; no source documents it as a whole.
• What exactly does RoleBench score for "speaking style", how were the human and GPT-4 judgements made, and what can its English data and licences be used for? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  RoleLLM (arXiv 2310.00746v3, 18 Jun 2024) builds RoleBench: 95 English and 5 Chinese roles, 168,093 samples. Speaking style is scored as ROUGE-L overlap with GPT-4-generated reference answers (CUS), alongside GPT-4 and human win rates against a GPT-4 prompted baseline (RoleGPT). The human check used three NLP graduate students on a 500-instruction subset, with no agreement statistic in the text read. The setup is single-turn and per-role; the data card says apache-2.0 but the repository has no licence file and the scripts behind the data were not examined.
• Is there an automatic measure of whether a model makes different characters sound different from each other, and what did it show? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Speaker Verification in Agent-Generated Conversations (arXiv 2405.10150v2) defines a Distinction Score: embed lines the same model generated for two different roles and take one minus their cosine similarity. In self-play with RoleBench roles, every role-play system scored below the real-utterance value (72.91): from 63.57 (LLaMA2-Chat-7B) to 38.98 (CharacterLLM); the authors conclude that generated lines are similar across role settings and suggest pretraining style persists. The measure rests on verifiers validated on human-written text; the generated-line scores were not compared with human ratings in the passages read.
• How should these Netflix partner help-centre pages be cited and dated, given that the HTML carries no date and the Zendesk API gives three timestamps? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  None of the four assigned pages prints a revision date. The Zendesk article API gives created_at, updated_at and edited_at: Live Action updated 2023-12-31T18:24:45Z (edited 2020-12-07T06:28:31Z), Animation updated 2023-11-30T20:02:40Z (edited 2020-06-25T00:10:03Z), 5.1 Mix Room updated 2024-04-06T11:27:25Z (edited 2020-12-07T06:30:17Z), Secondary Audio updated 2024-03-18T14:25:34Z (edited 2022-10-03T14:11:23Z). In every case updated_at is later than edited_at, and the API does not say which tracks a body change, so these are metadata, not proven revision dates. The practical citation is the HTML sha256 with the fetch time, the API values labelled as metadata, and, for a page that moved, an archive memento with its timestamp.
• Where do the Netflix Live Action and Animation dialogue-recording pages agree and differ on processing, microphone distance and deliverable, and which rule applies if they conflict? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The two pages share room, booth and chain-matching text but differ on three points. Processing: Live Action says avoid dynamic compression, limiting or EQ while recording (processing is for mixing); Animation says avoid compression and EQ but allows light peak limiting to avoid clipping and a gentle high-pass for rumble. Distance: Live Action gives about two feet for a super-cardioid boom and three feet for a shotgun; Animation gives a Neumann U87 at 30-50 cm. Deliverable: only Animation states a Pro Tools session with 24 fps timecode and 24 bit/48 kHz. Neither page says which controls when content type is unclear.
• I searched for the Netflix "Secondary Audio Delivery Specification": does that page contain the requirements, where do the file format, channel order, loudness and peak numbers actually live, and can I still read them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Secondary Audio Delivery Specification page (API updated_at 2024-03-18) is a one-sentence pointer to "Localization, Accessibility, and Dubbing Branded Delivery Specifications"; readers voted it unhelpful (2 of 12 on the page). The live target now redirects (301) to knowledge.netflix.net, which redirects to a login, and the help-centre API returns 404 for it. An Internet Archive memento of the target (page version 5.1, captured 2024-08-10) is readable and holds the numbers: 48 kHz, 24 or 16 bit WAVE Extensible, 5.1 required and 2.0 optional, listed 8-channel orders, mono duplicated on channels 1 and 2, -27 LKFS +/- 2 LU dialogue-gated, -2 dBFS true peak, downmix trims. It is a past version of a spec whose current text was not readable.
• For a Netflix dub, how are dialogue and M&E kept separate, what track or stem layout do the Live Action, Animation, 5.1 Mix Room and Secondary Audio pages state, and where do they say nothing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Dialogue is delivered separately from the Netflix-supplied M&E. The Animation page defines the dialogue deliverable: a Pro Tools session (AAF if another DAW), one character per track in dialogue-count order, walla/group tracks last, optional VO track, no plug-ins, no automation, pickups on new named tracks; the M&E delivery carries "Optionals" tracks the studio maps by muting regions. The Live Action page only says the dubbed voice should blend with, not sit on top of, the M&E. The 5.1 room page describes only the monitoring layout (5.0 plus subwoofer). Stem rules appear on the archived delivery-spec page the Secondary Audio page points to: for a dubbed version, a 5.1 dialogue stem that equals the 5.1 mix when combined with M&E; for the original, D, M and E stems; Atmos beds and objects separated by D/M/E (required for series, documentary, unscripted and comedy). No page gives M&E stem naming, format or who builds the combined mix check.
• What sync or timing tolerance, picture-reference rule and QC check do the Netflix Live Action, Animation, 5.1 Mix Room and Secondary Audio pages (and the delivery spec the last one points to) state for dubbed dialogue, and what is absent? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No numeric sync tolerance for dubbed dialogue (frames or milliseconds) appears in the four assigned pages. The sync statements are qualitative or about equipment: the 5.1 room page requires picture displays and DAWs to be in frame-accurate sync (four named causes of drift); the Animation page asks for frame-accurate futz edits, clips "in sync", no time-stretch artifacts, 24 fps timecode (or as provided) and a programme start of 00:00:00:00 or the proxy. The archived delivery-spec page (version 5.1, 2024-08-10) adds that all audio must sync to final picture including 1 second of black either side, no extra leader, and measurable levels (-27 LKFS +/- 2 LU dialogue-gated; -2 dBFS true peak). Its only time tolerance, half a second, is for subtitle files, not audio. QC criteria are not listed on the four pages beyond rejection for tonality differences.
• How does an open head-tracked binaural rendering specification (AOMedia IAMF) express head-locked versus world-locked rendering and reverberant filter profiles, and does it cite or encode the externalization, room-acoustics or latency evidence? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The AOMedia IAMF specification at commit 55683fae00e541cd4f0849918f19af0e04bc629c lets an element be rendered head-locked or world-locked when head tracking is enabled, and signals a binaural filter profile of AMBIENT, DIRECT or REVERBERANT. In the text searched (whole index.bs, whitespace-collapsed), the words externalization, HRTF, BRIR and latency do not occur and the profiles carry no stated acoustic parameters, so the specification names the switches that the psychoacoustic evidence is about without citing it or giving values. The mapping to the evidence (world-locked rendering ~ source fixed in the world; REVERBERANT profile ~ reverberant versus anechoic) is a synthesis.
• Do individual HRTFs matter for localization, front-back confusion and externalization in head-tracked headphone playback, and how do room reverberation and training modify the answer? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In one open-access head-tracked VR experiment (Jenny & Reuter 2020; 39 listeners, headphones, free field, noise from a visible moving drone), listeners rated their own measured HRTF as easier to localize, easier to externalize and more natural than the KEMAR or two other nonindividualized HRTFs, and reported front-back confusions in 27% of KEMAR responses versus 0% with their own. A 2020 review reports mixed results for externalization in reverberant conditions (no individualization effect in Begault 2001 and Leclere 2019; a gain in Werner 2016), and a 2021 Acta Acustica abstract reports that adding a dry room response accelerated learning of non-individual HRTFs. Which factor dominates in reverberant, head-tracked content is not settled by the sources read.
• Beyond the head-rotation study already catalogued (ips012), what do open-access sources report about head movement and head tracking for externalization and front-back confusion with generic or individual HRTFs, and what do they say about tracking latency? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Catalogue ips012 already holds the head-rotation primary results (Brimijoin 2013; McAnally & Martin 2014) and the 22 to 33 ms update latency of that implementation. Added here: Hendrickx et al. 2017 (abstract only) report that head tracking with non-individualized HRTFs substantially improved externalization, especially for frontal and rear sources, and that it persisted after movement stopped; a 2020 review adds that self-initiated movement helps more than source movement and that benefit is larger for central sources; and Jenny & Reuter 2020 report self-reported front-back confusions of 27% with a generic HRTF versus 0% with the listener's own in head-tracked VR with free head movement. The sources read assert that latency matters but report no measured latency threshold.
• Which cues set how far away a virtual sound seems, and what do open-access sources say about the role of reverberation and the direct-to-reverberant ratio when placing a sound at a distance? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 2016 open-access review (Kolarik et al.) reports that the main auditory distance cues are sound level, reverberation (notably the direct-to-reverberant ratio, DRR) and frequency, that distance is judged most accurately when level and DRR are both available, that DRR sensitivity is about 2 to 3 dB near 0 and +10 dB DRR and 6 to 8 dB at -10 and 20 dB DRR for wideband noise, and that near sources are overestimated and far sources underestimated. Reverberation helps distance but degrades azimuth localization. One primary study read here (Gil-Carvajal 2016) shows playback-room reverberation changing distance ratings for static headphone playback. No source read tests DRR with head-tracked binaural rendering.
• What happens to externalization, distance and direction when a binaural recording made in one room is played back in a different room, and does the cause lie in what the listener sees or hears? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In one open-access experiment (Gil-Carvajal et al. 2016; 18 listeners, individual BRIRs from a 0.4 s room, static head, headphones), playing the binaural speech back in a much more reverberant room (2.8 s) left only about 18% of distance ratings correct, while direction and compactness ratings did not depend on the room; changing only what listeners could see had no effect, whereas changing what they could hear did. Reviews report a different study (Werner 2016) that found a visual effect, and caution that it lacked head motion; the sources therefore support the auditory-congruence finding for static headphone playback but not a settled answer for tracked playback.
• How do reverberation tail length, binaural versus diotic reverberation and early reflections in a headphone render affect externalization and localization, and what do open-access sources say about how much room detail to include? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two open-access reviews (Best et al. 2020; Neidhardt et al. 2022) report, from cited primary studies not re-read here, that externalization improves with the first roughly 80 ms of binaural reverberant tail, depends on interaural differences in the reverberation, and matters more for midline sources whose direct sound carries weak binaural cues. Neidhardt et al. report that sensitivity to early-reflection detail is limited, but simplified early reflections can still alter coloration, apparent source width and localization. No primary open-access full text that varies RT60, DRR or early-reflection patterns on a headphone render was retrieved; the quantitative claims are therefore review-reported.
• Why does binaural headphone audio often sound inside the head, and which cues does a spatial-audio workflow need to provide so a listener hears it outside the head? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 2020 open-access review (Best et al., Trends in Hearing) reports that diotic headphone sound is typically heard inside the head and that externalization is more likely with binaural reverberation, with sources that stay fixed in the world when the head turns, and with cues consistent with what the listener expects of the room. Evidence on whether listener-specific HRTFs are needed is described as mixed. The review is a secondary, keyword-search synthesis; its statements are leads to the cited primary studies, of which one (Gil-Carvajal 2016) was read in full here and others are covered by catalogue ips012.
• Where is AI documented in 360-film attention work (saliency prediction, script-driven object highlighting, generated 360 scenes), and what evidence supports it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two documented AI connections were found. (1) Sitzmann et al. adapt existing 2D saliency predictors to 360 panoramas by multiplying with a learned equator bias and propose saliency-based cut alignment (static-panorama data, not reproduced). (2) da Silva et al. (SVR 2024, arXiv 2026, CC BY 4.0) chain Grounding DINO and Segment Anything to find the object named in a text script and apply a vignette to it in a 360 tour; their text shows frames from a university video tour, one SAM failure, and a conclusion that 'user experience' improves, but the extract shows no user study or measurement supporting that claim. No source linking generated 360 scenes to viewer-attention outcomes was found in a bounded search.
• What public head-movement and saliency datasets exist for 360-degree content, and what do they show about where viewers look (and what they cannot show about story)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two open-access datasets papers were read: Sitzmann et al. (arXiv v2; 22 computer-generated static stereo panoramas, 169 users, 1980 gaze-and-head trajectories, three viewing conditions) report an equator bias and strong between-user agreement; Nasrabadi et al. (MMSys 2019; 28 videos built on a moving-object by camera-motion taxonomy, 60 participants, no audio; MIT-licensed GitHub repo with traces, questionnaires and scripts) report preliminary signs that viewers tend to look at moving targets, with exceptions, and more dispersed viewing in higher-altitude shots. Nasrabadi et al. also list other datasets with participant counts (e.g. 59 participants/5 videos; 48 subjects/20 videos; 57 subjects with eye data) and note viewing is more scattered under free viewing than when questioned afterward. These datasets describe viewing of short, mostly narrative-free content and do not test story comprehension or missed events.
• What is actually measured about viewers missing events or fearing they will miss events (FOMO) in 360-degree film, and which statements are only claims or hypotheses? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the open full texts read, FOMO and missed events are asserted or hypothesised, not measured: the 2019 review hypothesises that guidance reduces fear of missing something, the 2017 abstract reports that some viewers seemed afraid of missing something and cites a case study (Syrett et al.) of missed storyline, and two practitioner accounts treat missing detail on a first viewing as expected. The measured CHI 2021 study (Aitamurto et al., 'From FOMO to JOMO') could not be fetched (ACM and UIC copies blocked or JS-gated), so its reported findings (a search snippet: FOMO did not reduce presence and fell on second viewing) are leads only. The closest measured proxy in retrieved texts is that over a third of viewers did not follow the best cue in a 32-person study.
• Is there a consistent, quantified effect of guidance cues on viewer experience in cinematic VR across studies, or do the results conflict? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 2024 arXiv preprint (Zhang et al.; ACM template with placeholders, peer-review status not shown on the page) screened 3444 papers, reviewed 45 and meta-analysed 13 on CVR viewing modalities versus a 'swivel-chair' control, and reports inconsistent effect sizes even within the same modality, small samples, interchangeable use of presence/immersion/engagement, and mostly negative results for limited or forced rotation. It supports the batch's central caution: there is no universal rule, and individual cue studies (candidates 03 to 05) are not additive. The outcomes are questionnaire experience measures, not missed-event or gaze-target accuracy.
• Which diegetic cues (sound, light, motion) were reported to change where 360-film viewers look, including targets outside the field of view, and how does the 2019 taxonomy organise cue choices? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Rothe, Hussmann and Allary's 2017 VRST extended abstract (head-direction heat maps from one within-subject viewing of a staged kitchen movie; participant number not given in this two-page report) reports that new sound and moving objects or lights changed viewing direction, static lights did not, and guiding at the start of a scene is hard. The 2019 Rothe-Buschek-Hussmann review (CC BY) organises guidance methods on seven dimensions (diegesis, senses, target, reference, directness, awareness, freedom) and offers use-case advice that is the authors' own proposal. The fuller 2018 AVR paper by the same group is already in the catalogue (cr-063 claims); this candidate adds the 2017 abstract and the 2019 taxonomy.
• Do a central arrow and a peripheral flicker differ in how well they send a 360-video viewer to a region of interest and in what the viewer remembers, in an eye-tracked HMD study? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Schmitz, MacQuarrie, Julier, Binetti and Steed (IEEE VR 2020; accepted manuscript read) tested a central arrow and a peripheral flicker with 25 adults (analysed n=24 for eye tracking and memory) in an eye-tracking HMD, guiding them to 14 regions of interest across two panoramic videos. 81.25% of cues were followed and neither cue type changed the number followed, time to reach and observe regions, memory or engagement; the flicker moved gaze farther in the first 500 ms (10.99 vs 6.02 degrees), but most users preferred the arrow. The authors conclude traditional central/peripheral attention assumptions do not transfer cleanly and that cues should be optional. The sample is young, small and the cues were conspicuous overlays, not diegetic cues.
• In a controlled comparison of attention-guidance methods for 360-degree video (including forced rotation, a follow-the-object cue, an actor guide and gestures), which worked best, and under what conditions and sample size? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Speicher et al. (TVX 2019; 32 participants, within-subjects, 8 methods x 2 devices = 512 trials, short static-camera party-game clips without sound) report that every tested guidance method beat no guidance on identifying a blinking target, with a coloured follow-the-object sphere best and an actor who guides second, forced rotation not significantly less accurate than the others but lowest in user experience with the most disorientation, and an object-blink halo poor. More than a third did not follow the best cue. The result applies to this task (spotting one blinking object), seated viewers, static camera and no audio; it does not measure story comprehension or missed story events.
• What staging methods have Google Spotlight Stories people publicly stated for 360 / mobile VR animation (Pearl, Back to the Moon), and which statements are first-hand versus reported by someone else? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Reported Spotlight Stories methods are: helper characters and music changes to bring viewers back to the action (TechCrunch's 2016 report of a Google I/O talk), framing action from a fixed passenger seat using the car's geometry (Pearl, director's account), roughly twice as many cuts in the 2D version than in VR (producer, Google blog 2017), and, from a blogger's second-hand report of a 2018 Jan Pinkava talk, a front/side/rear zoning and an 8x45-degree story table plus a real-time story that waits until the viewer looks at it. Only the Pearl blog is first-person; the other items are journalists' or a blogger's paraphrases, and the '70% frontal' figure is unsourced.
• What did Oculus Story Studio say it actually did about viewer attention and staging in its first 360-degree VR short (Lost), and how reliable is that account? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Saschka Unseld's 2015 first-person post (read here from a 2017 Wayback snapshot because the live oculus.com URL now redirects to a generic Meta blog) reports that the Lost team tried audio cues, a flying bird and set design to steer gaze, found heavy use felt forced, and instead opened with a firefly 'ritual', gave viewers about 40 seconds to settle before using the bird, and aimed for story content in all directions. This is a practitioner's account of one four-minute piece: it gives no sample sizes, no measurements and no test of whether viewers actually missed events; the post itself calls the lessons suggestions, not rules.
• Can the inspected schemes be combined into one usable scene-annotation sheet with separate columns for narrator statement, character belief, story-world fact and analyst inference, and what does it look like on a real public-domain passage? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No inspected source provides a scheme that separates all four layers on a scene; each supplies one or two (FactBank: sources and commitment; LitBank: asserted story-world events; REDEWIEDERGABE: representation type and act-versus-truth; Wiren & Ek: narrator/character discourse and focalization; TUNa: text-grounded unreliability judgments). This candidate composes them as a proposal (synthesis, untested by any source) and applies it by hand to a Persuasion chapter 1 passage using LitBank's own annotation file as the story-world column. Result: the rows separate narrator-asserted events, a character's judgment relayed by the narrator, hearsay later confirmed by narrator assertion, and analyst inference, but the commitment values for narrator versus character in rows R3-R4 are the author's application of FactBank patterns, not an annotation anyone has validated.
• Is there a published annotation guideline that tags narrator's discourse separately from characters' discourse and records how much the narrator knows compared with the characters, and what has been added for genre texts such as mysteries? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Wiren & Ek's Annotation Guideline No. 7 (revised, Dec 2021) gives an open, text-readable layered scheme: voice, focalization (unrestricted / internal / external, defined by how much the narrator knows relative to the characters), narrator's discourse, and characters' discourse split into turns and lines with speaker, addressee and a tagged speech-framing construction. It stops short of events, belief and truth (it says so) and files indirect speech under the narrator. Heyns & van Zaanen (WNU 2024) adapt it for mystery novels with FOCALIZATION properties (EMBEDDED, INTERRUPTIVE, DETECTIVE_THOUGHT) and CLUE tags, and report embedded focalization vs simple dialogue as a difficult call.
• How do existing literary annotation guidelines separate the narrator's own words from a character's speech or thought, and how do they handle the blended case (free indirect discourse) and represented acts that did not happen? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Corpus REDEWIEDERGABE (German, 1840-1919) annotates represented speech, thought and writing by type: direct (literal quote), indirect (narrator paraphrase), free indirect (blend of character and narrator voice), reported (closest to pure narration, kappa about 0.5) and a borderline indirect/free-indirect case, with attributes for nesting level, speaker/source and non-fact. Its non-fact rule is the clearest annotation-ready sentence found for keeping 'did the character think/say it' apart from 'is it true': non-fact refers to the act, never to the truth of the content. It does not annotate narrator reliability or story-world truth, treats thought as silent speech, and is German; the guidelines are CC BY 4.0 per Zenodo metadata while the corpus is CC BY-NC-SA 4.0.
• What should a design/text handoff record so a different renderer can reproduce the text correctly or at least detect that it cannot? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SYNTHESIS (a proposal, not a source finding). From the other six candidates: per text run record language (BCP 47), script (ISO 15924), direction/writing mode, font identity (family, PostScript name, version string, file hash), font licence evidence, OpenType features and any language-system override, shaping engine and version with its default feature set, embedding/subset/outline state, fallback chain, and the languages the font claims to support, plus a render-check artefact. Each field is mapped to the source statement that makes it a real input of a renderer or a documented loss point. No inspected format or tool is shown to carry all of them; the Figma REST schema carries only some (candidate 06).
• Do the layout-exchange routes I can actually read (Figma REST schema, IDML as imported by Scribus, IDML as handled by a translation tool) carry language, direction, font version or licence, and what happens when the font is missing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Mostly a scoped negative result plus partial positive evidence. The Figma REST OpenAPI schema (v0.45.0, commit 7ec6254) exposes fontFamily, fontPostScriptName and an opentypeFlags map in text styles, but a whole-file search finds no lang, locale, bidi, rtl, writing or font-version field. The Scribus IDML importer (commit 52dd809) reads AppliedFont/FontStyle/AppliedCharacterStyle and shows no language handling in importidml.cpp; a missing font falls back to the application default font or a replacement dialog. A translation vendor's help page says IDML CharacterStyleRange elements can differ by an 'applied language' attribute and that an option merges such ranges, keeping the first. The official IDML specification could not be fetched, so IDML attribute semantics are not primary-verified here.
• When I subset or repackage a font for a handoff, which language-relevant OpenType data and which licence/version metadata do the defaults drop? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The fontTools subsetter's own help (commit 16f88cb) says its default keeps locl and the features required for script shaping and all scripts, but anything else (e.g. onum, pnum, ss01, per the help's own example) must be added; the glyph set is closed over kept features unless --no-layout-closure is used. By default only name IDs 0-6 and English name records are kept, so the licence description (ID 13) and licence URL (ID 14) of OpenType 1.9.1 do not survive a default subset. WOFF 1.0 leaves font tables unchanged but its extended metadata (licence, licensee, credits) is informational and cannot change rendering. A subset handoff therefore needs the original font hash, the subsetter options, and the licence kept outside the font. Nothing was executed.
• If I embed the fonts in a PDF, will the text look the same everywhere, and can someone edit it or reuse the font afterwards? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ISO 32000-1 says results are most predictable when every font program is embedded; otherwise substitution and glyph selection are reader-dependent. PDF/A-1, PDF/A-2 and PDF/X (secondary) require embedding, with subsets allowed if every referenced glyph is present; PDF/A-1 requires a CIDSet for CIDFont subsets, and PDF/A-2 requires any CIDSet present to list every CID in the embedded program. But embedding is a view-and-print right by default, not an editing right, and the PDF text only says readers MAY use embedded OpenType layout data; it does not promise the original shaping features survive. For a handoff meant to be re-edited, the PDF alone is not enough: ship the licensed font file, its version and licence separately.
• What language, text-direction and Unicode-mapping information can a PDF carry, and what do PDF/A and PDF/UA validators actually check about it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ISO 32000-1 (PDF 1.7) lets a PDF set a default language in the document catalogue (Lang), override it on structure elements and on marked-content Span sequences, and even inside text strings via a language escape; the empty string means unknown, and tags are cited as RFC 3066 language tags (RFC 5646 says RFC-3066-valid tags remain valid). Direction is a separate Tagged PDF layout attribute (WritingMode). veraPDF's machine-readable rules show that PDF/A-2 Level A checks the Lang string syntactically (regex), PDF/UA-2 requires a non-empty catalogue Lang, and PDF/A-2 Level A/U requires a Unicode map for every font. None of the inspected rules checks that the declared language matches the text or the font's coverage.
• How do I mark which human language each piece of text is in (HTML, SVG, CSS), and what in rendering depends on that mark? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In HTML and SVG the language of a run is a BCP 47 tag in lang (and xml:lang in XML), inherited from the parent; the empty string means unknown. HTML and SVG both say the tag covers text-bearing attributes too. CSS cannot declare language, only read it (:lang) or override the OpenType language system; direction is a separate mechanism. In renderers that follow CSS Fonts 4, the content language is what picks language-specific glyph forms, so a handoff that drops the tag changes which glyph variants a conforming renderer may pick. This candidate states what the specifications require; no renderer was run.
• When tension cannot run to the final curtain, what techniques does Archer's Play-Making (1912) describe for the last act (reserve a development, plant a suspense device, deliberate anticlimax, omit the final scene, trick the audience), and what trade-offs and limits does he attach to each? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Archer's practical advice in Chapter XXI is: if the great scene cannot be in the last act, hold a development in reserve so tension can be screwed up again, preferably as a surprise; his examples are a pending-letter device (Maugham, Grace), a trivial invention in farce (Anstey, The Brass Bottle) and a deliberate trick on the audience (Bennett, The Honeymoon), which he calls entertaining but too dangerous to imitate. He treats omitting the last scene (Sheldon; Brieux, Blanchette) as an evasion, not a solution, justified only if the audience will happily imagine the sequel. Chapter XVIII (supporting) defines the deliberate anticlimax and sets a proportion rule: climax in the penultimate act is fine in four or five acts but in three acts it can come at earliest in the penultimate scene. These are 1912 stage techniques, described by Archer, not tested.
• Which ending failure modes does Archer's Play-Making (1912) name in Chapters XX-XXI (cheap death and suicide, chance or duel as arbiter, blind-alley themes, makeshift or dragging endings), and what concrete ending checks can an agent derive from them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The warning in Chapter XXI is aimed at death as a cheap way to avoid anticlimax: a death ending needs a really tragic theme and a character studied deeply enough that he 'dies because he cannot live'; suicide is a last resort; crude accident and the duel (chance or Providence as arbiter) are inadmissible as deciding factors in serious modern drama, while chance as a background factor is allowed. Chapter XX adds the blind-alley theme, one with no satisfying exit, to be detected before drafting. Chapters IV and XVIII add the makeshift ('huddled') last act and the false cue for the curtain. The checks below are derived (synthesis) and are not Archer's scored test; they reflect 1912 judgements about what is cheap or crude.
• I am a new agent drafting an ending: what does Archer's chapter 'The Full Close' (1912) say a play's ending should do, which kinds of ending does it distinguish, and does it favour resolving everything or leaving it open? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Archer's Chapter XXI does not contrast 'resolved' with 'open' endings. It contrasts (a) keeping tension at full height to the last curtain, which he rates best but calls uncommon, (b) the usual modern shape in which the great scene falls in the penultimate act and the last act renews tension or is a deliberate anticlimax, (c) omitting the last scene and leaving the sequel to the audience (called a 'full close' once in the body text, and judged an evasion unless the audience is content to imagine the sequel), and (d) death, which he warns against using as a cheap exit. Two supporting chapters (IV, XVIII) say a quiet ending is acceptable but an ending left on 'a note of interrogation' is not what he means; Chapter XX adds that any ending must satisfy something in the audience. All of this is 1912 stage practice.
• What check can an agent run at each beat to decide what the audience knows and whether it should know it, using Archer's 1912 reasoning on secrecy and dramatic irony? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Synthesis from Archer's chapters XVII and IX (1912 stage practice). Archer's irony thesis (ch. IX) says the audience's lasting pleasure lies in knowing what characters do not (the screen scene in Sheridan's play); withholding removes that irony (ch. XVII). His ch. XVII cases yield per-beat checks: for every fact, record who knows it (audience, each character) and run five questions on each withheld row: is the reveal worth waiting for, can the character's ignorance be kept without the audience's, would one short exchange give the audience the fact and what irony would that add, is the delay short and ended by a placed slip, and is an unpaid promise tolerable in this genre. A separate pass checks that the beat reads both to a viewer who knows nothing outside the play and to one who knows the twist. A proviso from ch. IX: irony needs plausible action and characters worth caring about. Archer gives no scoring method; the ledger and its questions are the worker's proposal, not his.
• Which concealments and disclosures does Archer approve or reject in his chapter 'Keeping a Secret', what does each case lose or gain, and what criteria can be read off the cases? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1912 stage practice, eight cases. Archer rejects whole-play concealment (L'Enigme: clue-hunting is not artistic enjoyment), a secret that disappoints when revealed (Lady Windermere's Fan, as first staged), concealment kept up by making a sensible character act foolishly (The Devil's Disciple act 2), and late reveals that strip the audience of ironic foreknowledge (Her Advocate; La Douloureuse, where 'three words' would have sufficed). He approves a short, careful withholding followed by a casual slip that lets the audience feel the irony (Letty act 1), telling the audience early (The Idyll), and tolerates an undelivered explanation only in light comedy (Whitewashing Julia). Criteria that follow (synthesis): payoff adequacy; whether character ignorance can be kept without audience ignorance; irony gained by telling; span and grading; genre tolerance. Every verdict is Archer's critical opinion of plays he saw or read, partly from memory.
• Is 'never keep a secret from your audience' a rule, and what does William Archer's 1912 chapter 'Keeping a Secret' say instead? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1912 stage practice. Archer reports the maxim that a dramatist must never keep a secret from the audience and calls it an over-simplification. His reasons: a secret can really be hidden only from the first audience (later audiences know through report), so the dramatist should formally assume an ignorant audience without relying on that ignorance; and, in his judgment, actual secret-keeping appeals only to 'primary curiosity' and is unworthy of serious art when it is possible at all. He does not conclude 'always tell': the craft is knowing how long to stay silent and when to speak. He gives no number for how long; the limits come from his examples (see C3-B195-S48-02). Scope: one critic's craft judgment about live theatre, not tested audience data.
• According to Baker's 1919 Chapter IX, how is a scenario tested and revised before dialogue is written, and what is already settled by the time dialogue starts? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1919 stage-play practice. Baker names no scored test. He gives reader questions (is the author's purpose clear, what is the central interest, what suspense runs from the start through sub-climaxes to the climax), a re-read-with-the-withheld-fact check, a stage-diagram check and a manager's conditional offer as outside test; the scenario also diagnoses the writer's readiness (unclear characters, thin story, wrong proportion, vague aim). Revision is expected: keep the scenario flexible, fold in improvements even after approval, work structure first, then characterisation and atmosphere, then scan against the public. A worked scenario should leave only dialogue and subtle characterisation unsolved. Kismet's annotated scenario shows names changed, a scene cut before rehearsals and a character added when the play was revised.
• In George Pierce Baker's 1919 Chapter IX, what must a play scenario (outline) contain, in what order, and how long should it be? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1919 stage-play practice (US, Yale professor): Baker separates a real scenario from a note or a summary. A real one tells the reader the story, who the people are and their relations and needed past, where it happens, how many acts and scenes, and above all what kind of play it is. It opens with a dramatis personae list, then time, place and settings, then described dramatic action with only the background a reader needs; it runs from one or two pages (one act) to twenty or more, clearness before brevity, with no fixed form. This is guidance for a reader such as a manager or actor, not for film or prose.
• What do 'clearness', 'emphasis' and 'movement' mean in Baker (1919, Ch. VI), what techniques does he prescribe for each, which failures does he name, and how does he suggest checking them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker (1919, Ch. VI) treats three qualities of arranging material within acts. Clearness: at the opening the audience must learn who the people are, where and when they are, and the present and past relations that cause the story, through exposition devices that are clear, natural, interesting in themselves and swift. Emphasis: whatever is prominent by repetition, elaborate treatment, position or striking illustration shapes meaning, so the author must know the intended total effect, plant what must matter later, and watch beginnings and endings, which emphasise unintentionally. Movement: it rests on clearness, right emphasis and suspense, with climax as the point of strongest emotion; he names failures (runaway emphasis, mixed form, stage waits, tacked-on last acts, foreseen or mis-sited climaxes). His tests are read-aloud to intelligent hearers, revision after performance, a type-name substitution check, and two place/time questions. These are 1919 stage norms with no measured eva...
• When a story needs more scenes, settings or elapsed time than the acts allow, which compression and time-covering techniques does Baker (1919) prescribe, and what failures does he name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For proportioning material into acts Baker (1919, Ch. V) gives an order of operations: first decide which scenes hold indispensable action and keep them as settings, then fold other scenes into them by merging events that share persons, place or time, or by moving an incident onto a different figure. For elapsed time on stage he names three options (absorb the audience in a long emotional scene, give a strong motive for fast change, or a Cover Scene), with the rule that any covering matter must advance the play toward its climax; time can also pass between acts, but only as much as the next act makes plausible. He lists failure modes (errands done too fast, cover scenes that only mark time, character changes asserted between acts) and says Prologue and Epilogue should not be used as names for ordinary acts. 1919 stage practice.
• How many acts and scenes does Baker (1919) say a play should have, how long should each act be, and what does he mean by a scene? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker (1919, Ch. V) fixes the frame as a theatre evening of two to two and three-quarter hours and says three, four or five acts are the normal divisions, with no ranking among them; necessary change of place and passage of time decide the choice. One long act tires audiences and two acts need hour-long halves. He defines a scene as everything between two changes of set, advises one set per act (while warning against over-reducing settings), and gives no rule for act length: the first act is usually as long as any other or longer and the last the shortest ('First act clear, last act short, and everywhere interest'), with act length set by the work the act has to do. All of this is 1919 stage practice, not screen practice.
• Does Lubbock's The Craft of Fiction (1921) contain 'show, don't tell' or an equivalent rule, and what does it actually say about showing versus telling? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1921 criticism. In the body of the Gutenberg text (L56-L6444), searched after stripping carriage returns, underscores and line breaks, the phrase 'show, don't tell' and every imperative or 'show ... not ... tell' pattern tested occur 0 times. The nearest statements are descriptive: the art of fiction 'does not begin until the novelist thinks of his story as a matter to be shown' so that it 'will tell itself' (Ch. V); the author 'does not tell the story of Strether's mind; he makes it tell itself' (Ch. X); Maupassant is 'telling' but the telling goes unnoticed (Ch. VIII). Lubbock does not ban telling: he says the novelist 'must state, must tell, must narrate', that summary is constantly needed, and that picture (telling through a mind) has its own strength.
• According to Lubbock (1921), when should a novelist give a full scene and when summary/survey, and how should the two be switched and placed? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1921 criticism, drawn mainly from Madame Bovary, Vanity Fair, Anna Karenina and James. Lubbock's closing rule (Ch. XVIII): picture (survey, summary) is preparatory, with command of time and space; the scene gives the 'final stroke', clinching what is already pending, and should be rationed because it is slow, unforeshortened and expensive. Scenes mark the structural joints, summary between them carries the story on and prepares the next scene. The subject dictates the method: wide, crowded stories are pictorial, compact action can be nearly all scenic, stories lodged in one consciousness resist full dramatization. He warns against unneeded or unprepared scenes and against refusing the big scene, and he says the rules for combining modes are not yet worked out.
• What do 'picture', 'drama', 'scenic' and 'panoramic' mean in Lubbock's The Craft of Fiction (1921), and are they one distinction or two? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1921 literary criticism. In Chapter V Lubbock uses two separate pairs: 'scenic' versus 'panoramic' (one particular occasion versus a survey of a stretch of time from a height) and 'pictorial' versus 'dramatic' (events reflected in a mind or narrator versus facts placed directly before the reader, as on a stage). In Chapter VIII, crediting Henry James, he sets picture against drama as the main antithesis and widens 'picture' to include the panoramic manner. So 'picture = panoramic summary, drama = scene' is a fair first approximation of Chapter VIII but not of Chapter V, where a scene can still be pictorial. Lubbock himself calls the vocabulary uncertain and says pure drama is not fully possible in a novel.
• 1914 practice (Phillips): the phrases 'logic of motive' and 'motivation' do not occur in the book (0 hits in the whole file), but 'logical' occurs 25 times. His logic is a chain of consequence. Sequence is consequence, the first scene holds a definite cause, every scene must step the plot... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1914 practice (Phillips): the phrases 'logic of motive' and 'motivation' do not occur in the book (0 hits in the whole file), but 'logical' occurs 25 times. His logic is a chain of consequence. Sequence is consequence, the first scene holds a definite cause, every scene must step the plot forward and contribute to the climax or have no reason to be in the play, an isolated 'episode' is excluded, and time order secures the link between scenes. 'Motive' means the underlying emotional meaning of each prominent action, running as cumulative insinuation from the first scene to the climax; the sequence follows the line of the motive and departs from it only to create suspense. This gives a scene-by-scene audit (what cause does this scene follow, what motive does the action express, what does it add to the climax). The nearest Archer counterpart reported elsewhere is his rule that action should come from volition and character; his 'Logic' chapter concerns something else. Phillips's coinci...
• 1914 practice (Phillips): a plot runs cause, effect, climax; each scene is said to repeat the play's pattern of Introduction, Situation, Crisis and Solution (his worked example also labels a 'Suspense' step, so the text names four terms and the example five). Suspense is 'a suspension of the... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1914 practice (Phillips): a plot runs cause, effect, climax; each scene is said to repeat the play's pattern of Introduction, Situation, Crisis and Solution (his worked example also labels a 'Suspense' step, so the text names four terms and the example five). Suspense is 'a suspension of the Climax', each suspension marked by a crisis or minor climax; it is built from a desire, an opportunity and the frustration of that opportunity, ended by change, decision or fulfilment, and closed once it is overstrained. Suspense is fear rather than hope, strongest when the audience sees what the character does not. Hopes raised early are not gratified until the climax, which settles the outcome in one scene; the rest is a brief conclusion. His text has no named 'complication' stage (the word praises a complicated plot and marks each reel-end in long plays). His 'crisis' resembles Archer's crisis-based view in the cycle-3 reports, but unlike Archer he defines drama as conflict.

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