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• What does Baker say about meaning that is carried by what is not said, and what name does he give it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker has no term for subtext; in Chapter VIII the words 'subtext', 'undercurrent', 'between the lines', 'unsaid' and 'unspoken' do not occur (scoped count below). The nearest ideas are his own 'gesture words' (compact lines whose full effect needs voice, face and pantomime; example: 'Eyes, eyes' in A Woman Killed with Kindness), the claim that real emotion is compact and connotative, replacing speech with pantomime (with a warning that pantomime fails for interior states), the 'latent business' a line implies, and a rule to put the emotion in the text instead of in parenthetical delivery directions. He cautions against unfinished lines, even while reporting Carlyle that a thought the hearer completes pleases. On my reading, the implied meaning in Baker is supplied by the performer rather than decoded by the audience from a gap.
• How do I stop my characters speaking interchangeably, and what did Baker say makes a speech belong to one person? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker's test is negative: if either speaker could say the other's lines, the dialogue lacks characterisation (he applies it to Mushakoji's Two Hearts and to his own condensed Serena/Elise revision). His positive advice is to assign every speech to a specific speaker, understand the character well enough that the phrasing follows (Ibsen's revisions to A Doll's House are his example), gather real speech from people like the character (Lady Gregory), keep dialect accurate, consistent and clear, and let wit come from the character's humour (Congreve, quoted). He gives no lexical features; for measurable voice features see C3-B119-S26 rows.
• What must a speech do in a scene (give facts, move the action, show character), and how did Baker say to balance them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Chapter VIII Baker ranks the jobs: first, dialogue must state clearly the facts the audience needs; second, it must do so in an order that keeps interest and builds emotion; third, it must be in the speaker's character. His closing summary names three essentials (clearness, onward movement of the story, in character) and treats charm, wit or beauty as a bonus. His balancing rule is qualitative: the best dialogue delivers the facts while seeming to be busy only with characterisation, and the example for that is the Hamlet second quarto and Hindle Wakes. He gives no ratio or measurement.
• What checklist can an agent use to test whether a character change is prepared, built from Baker (1919, Ch. VII) and labelled 1919 stage practice, and how might it be adapted for screen as a proposal? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Checklist (1919 stage practice, each item tied to Baker's text). 1 Name every change in will, feeling or conduct, and separate seeming contradictions from real change. 2 Locate the on-stage scene that shows each change; before-and-after with the change offstage fails. 3 List the earlier scenes that make the act possible for this person; none means the act is out of keeping. 4 Name the preparation: motive emphasised, others' acceptance, earlier development. 5 Compare the size of the cause with the size of the change. 6 Ask whether the act comes from the person or from the need of the plot or ending. 7 Check the act in the ensemble, not alone. 8 Check clarity and non-obtrusiveness of motive. 9 Test on listeners, not the author. 10 If the ending is changed later, revisit from the start. A screen version is a proposal: translate the entr'acte to the cut or time jump, preparation to planted images and behaviour, and the audience test to blind readers; none of this is stated by Baker or t...
• What does Baker (1919, Ch. VII) say about motivation and how a character relates to the plot, including what to do when a scene will not come? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker's own claims: for ultimate convincingness no play rises above its characterization; a situation either grows out of the characters in it or the characters must be remodelled and everything before and after reworked. He adopts Galsworthy's phrase that character is situation, and says to unblock a scene one should study the people in it and, if needed, write their previous history (Pailleron drafted three or four times the material used). Motivation, he says, must be clear, plausible naturally or made so, in keeping with the character's earlier acts and speech, and not stressed so as to distract; plausibility and clearness go together and depend on audience, period and national convention. Lifelike characters remove impossible incidents, and Baker links well-motivated characterization to the move from melodrama to story-play and tragedy. He also warns that over-detailed characterization makes plays sag.
• What is the difference between a type and an individual character in Baker (1919), when is a type enough, and what does he add to Archer's character-drawing versus psychology? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker opens Chapter VII with a history: drama moves from abstractions through types to individualized characters, and he calls individualization the sign of developing art. His own claims: type characterization assumes one dominant trait can stand for a person, a premise he calls false; types last because they are easy to understand and imitate and suffice for farce and melodrama; individualization is harder for the audience and far harder to write. He quotes Archer's distinction between character drawing and psychology and applies it: most good drama draws character, only great work explores it. He allows a dramatist to select the traits his play needs (Cyrano), and says to judge by whether the author aims at a rounded figure or chosen aspects.
• I am writing a character: should I show who they are through what they do, through description, or through what they say, according to Baker (1919)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Baker (Chapter VII) ranks characterization methods. His own words: the best method is action; the author must never describe characters in his own voice (in text, program notes or elaborate stage directions); self-description by a character is limited because soliloquy and aside are gone and works only if natural; description of one character by another is usually more plausible but still tested by plausibility; entrances and exits characterize. His closing instruction is to know the characters thoroughly, not describe them, and let them live their emotions in action. This is 1919 stage practice for actors and an audience in a theatre.
• When the standard level-up loop tires, which variations do the sources document, and what does each give up? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Wuxiaworld commentator catalogues xianxia subgenres that depart from conflict-and-leveling: cautious protagonists (security and control as the pleasure), daily-life cultivation (lighter, comic, little leveling), clan cultivation (a family as protagonist), farming (steady visible resource growth). Each is described with a stated trade (less conflict, lower stakes, or harder to imitate) but all appraisals are the commentator's, not measured. Xu adds that Zhu Xian's author deliberately sought emotional depth over a pure cultivate-and-kill hero, which is an author's own account of a variation rather than a result.
• What do openly readable sources say about the "golden finger" (protagonist advantage) device, and what counterpart advantage devices do they actually document? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Negative-plus-partial. The term "golden finger" (金手指) does not occur in any of the six fetched texts (search over decoded text: 0 hits for 金手指, "golden finger", "cheat" in all six). A web search surfaced only fan/community pages and a Chinese wiki entry that ties the term to game cheat codes; none were fetched. What the readable Wuxiaworld page does document are the same kind of advantage under other names: attribute-panel systems, simulators with save-and-retry, a magical artifact (Han Li's green bottle) and farming systems. Use these as documented device types and treat "golden finger" as an unverified label.
• How do xianxia/xuanhuan serials use cultivation levels as a structuring device, and what concrete steps follow for designing a progression system? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sources read describe three things: a conventional named ladder (Qi Refining, Foundation Establishment, Golden Core, Nascent Soul, per the Wuxiaworld commentator who credits a 2005 novel), a "level up and change map" pattern in which a region is left when the protagonist has no worthy opponents, and game-derived progression in xuanhuan (force indices, rank-up after each fight, attribute panels). The same commentator treats slow visible growth (farming) and de-emphasised leveling (daily life, cautious protagonists) as variants, and says leveling-centred plots can cause reader fatigue. None of the sources read gives a design procedure or names power creep; techniques below are assembled from described patterns and labelled accordingly.
• What is the jianghu, what moral code (xia, yi) do wuxia-style stories assume, and what does a writer have to decide to use it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Only partial, mostly secondary answer. A scholarly OA chapter glosses jianghu as the popular space opposed to public authority and says traditional swordsman novels use it as the setting and stage. Wikipedia (secondary; its OA sources Wu 2012 and Song 2019 were not read) adds that the jianghu runs on an extralegal code (xia chivalry, yi righteousness, plus li, loyalty, revenge), that dysfunctional courts make community self-policing necessary, and that schools may ally under a leader. Authors vary on whether the jianghu is one continuity or reinvented per novel. The xianxia author Xiao Ding is reported as wanting a setting wider than the jianghu.
• What do wuxia, xuanhuan and xianxia each mean in Chinese web fiction, and how do I label a cultivation story without mixing the genres up? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A peer-reviewed, CC BY chapter (Xu 2017, French) separates xuanhuan (invented-world fantasy, term traced to Huang Yi's sci-fi-wuxia novels) from xianxia (stories of humans becoming immortals by cultivation, strongly marked by Chinese tradition) and says the boundaries are approximate and sites classify loosely. A Wuxiaworld commentator gives a consistent xianxia definition and lineage. Secondary (Wikipedia) adds coming-of-age and sect/master self-cultivation as xuanhuan features. For wuxia itself no openly readable scholarly source was read in full (see negative results).
• What do open-access empirical studies report about eyeline matches and editing-linked gaze that bear on shot/reverse-shot dialogue, beyond the 180-degree study already in cycle 2? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Thin result. The one on-topic open item found is a conference abstract (Ildirar Kirbas and Smith, ICIS 2018) on whether 12-month-olds and adults follow a head turn across an eyeline-match cut: adults followed gaze in edited and unedited versions; infant data were preliminary and suggested less success across edits. Bruckert et al. (2021) report editing/scanpath links in movie clips (abstract only). Neither tests two-person dialogue coverage. The 180-degree experiments are cycle-2 C2-B01-A-06 and are not repeated.
• Where should cuts fall in a dialogue scene (line boundaries, reaction, overlap) and how are rolled edits and split edits used to create cutting points? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Only one inspected source describes dialogue cutting points in procedure form: the Wikibooks Movie Making Manual 'Scene Editing' page (revid 4341818, community text). It says a rough cut that follows each speaker looks like a tennis match, and recommends locking the dialogue audio and rolling the picture edit forward to show the first speaker's reaction or backward to show the next speaker's anticipation (the L cut / J cut), with the gap between lines the only adjustable audio element. Leake et al. place one cut decision per dialogue line. The OER textbooks give no cutting-point rule; early manuals time a title to the utterance.
• What do the pinned public-domain screen manuals (Esenwein & Leeds 1919 revised, Phillips 1914, Munsterberg 1916) say about staging and covering a two-person scene, and what are they silent on? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Searched whole-file, all three texts are silent on reverse shot, over-the-shoulder, the 180-degree line, screen direction, eyelines, cutting points and master shot (0 hits each, regex list in findings). What they do offer: Esenwein & Leeds describe shooting every scene of a set before moving the camera, taking wide-angle scenes first and the close-up series after, and writing close-ups as separate numbered scenes that isolate one character; they define cut-ins as the sub-titles carrying spoken words. Phillips says the photoplay is no place for conversations and treats a spoken line as an insert timed to the utterance. Munsterberg notes a long-distance conversation can alternate between the two speakers 'a score of times' and treats the close-up as objectified attention.
• How can I plan coverage from a scene's beats, deciding which beat gets a wide, medium, single or close-up, and what do sources say about the cost of that choice? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No inspected OER gives a beat-to-shot-size rule. Three sources give partial, checkable rules: Leake et al. (2017) encode four dialogue-editing idioms (start wide; keep the speaker visible; reserve close-ups for strongly emotional lines; emphasize the character reacting when the other has a short line); Esenwein & Leeds (1919 revised edition) show scenes 42-50, where single-character close-ups isolate expression between returns to the wide view of the room; and Reich/Wikibooks tie medium shots to conversation and close-ups to emotional peaks. Tradeoffs are documented only qualitatively (shooting efficiency; floor conditions; running whole-scene takes).
• For a two-person dialogue scene, what are a master shot and coverage, and which shot types do beginner open textbooks give for covering a conversation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two CC BY-NC-SA 4.0 introductory textbooks (LMU's No-Nonsense Filmmaking, 2025; Reich, Exploring Movie Construction and Production) give the same basic workflow: shoot a master wide enough to show all relevant action, fixing geography, screen direction, blocking and lighting, then repeat the same action as coverage from other angles and sizes, and let the editor arrange the shots. For conversations Reich lists two-shot, speaker single followed by listener reaction, medium and close-up, and over-the-shoulder; a Wikibooks page calls over-the-shoulder the typical conversation set-up. None gives per-beat rules, counts or timings.
• Who does what in the 1920 animated-cartoon process Lutz describes: chief animator, assistant animators, tracers, photographers? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Lutz names four roles: the chief animator, assistant animators, tracers and photographers. The chief animator designs the characters (front, profile, back, three-quarter), lays out the scenes, hands out scenes to assistant animators and keeps the most important one. The animator plans and draws what needs artistic judgement; the tracer repeats unchanging details; cels and pegs cut repeated tracing. The text does not say assistants draw in-betweens specifically, and this is one author's description of a small-studio method.
• How does Lutz build a walk, and how does he use cycles and repeats of a few drawings (effects, galloping backgrounds)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Walk: draw the two outstretched extremes (A, B) one step apart, the middle passing position (C), then in-betweens (D, E); the second step reuses C, D, E as outlines with limbs swapped, so a walk is two alternating sets of drawings. Cycles: effects (smoke, water, stars) and animal gallops repeat 3-5 drawings in order; a misordered cycle can read as moving backwards; backgrounds move 1/16-1/8 inch per exposure to give speed and depth. The text and an illustration caption disagree on drawing counts and the figures were not inspected.
• What does Lutz (1920) say a key or extreme drawing is, what an in-between is, and how many in-betweens a movement needs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Lutz's method: draw a base ("key") sketch of the figures, draw the two extreme positions of the action on separate pegged sheets, then draw the intermediate position over them. He says one drawing between extremes can do for a swift comic action, and a slower action should have at least three; the head-turn illustration repeats that scale. He allows rough drawing of some in-betweens when the action is quick. His terms are "key sketch", "extreme" and "intermediate/in-between"; "breakdown" does not occur anywhere in the text.
• What baseline (BF16) generation times does the QuantWM paper report for LingBot-World-v2 and HY-World 1.5, how were they measured, and can they be compared with the authors' real-time claims or with WorldRoamBench? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  QuantWM v3 (Harbin Institute of Technology Shenzhen / NUS; not the model authors) reproduces released models with their official repositories on NVIDIA A800 80GB GPUs and reports BF16 end-to-end generation latency of 193.56 s for LingBot-World-v2 and 112.17 s for HY-World 1.5 (Table 7), with the main evaluation at 480p and 720p, 93 frames. That is 0.48 and 0.829 frames/s (own arithmetic), far below real time, but the Table 7 text does not give GPU count, resolution, checkpoint (distilled few-step or not) or step count, so it cannot be set against the authors' real-time statements. At WorldRoamBench's single-H20 Hz the same 93 frames would take about 52.0 s (LingBot-World) and 71.5 s (HY-World 1.5); the ratios 3.73 and 1.57 are unreconciled.
• What do users report when they time HY-WorldPlay, Hunyuan-GameCraft and Matrix-Game-2 themselves (including the offloading, compile and consumer-GPU cases), and how do those logs compare with the maintainers' answers? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  User logs show large, flag-dependent gaps. HY-WorldPlay AR-distilled (480p, 125 frames, 4 GPUs): 3-4 minutes reported on 4xH800 and 4xH20 versus about 35 s measured by a maintainer on 4xH20; a user says turning offloading off gives about 35 s (about 3.57 frames/s), and removing repeated transformer CPU-GPU moves cut chunk 1 from 33.59 s to 5.89 s in another report (maintainers merged changes). The Wan2.2-5B variant on 4xA100 shows 90-368 s for the first four chunks and about 3.4 s per chunk afterwards (about 4.71 frames/s if a chunk is 16 frames); a maintainer blames torch.compile start-up. Maintainers say the code is not real time on an RTX 4090. Hunyuan-GameCraft users report about 12 minutes for one action on a 4090 (low-VRAM script) and 40 minutes for under 60 s of video on 8xH20; a maintainer says 8xH20 takes 2-3 times longer than their 8xH800 setting. Matrix-Game-2 users report about a minute of stall before the first response; no user FPS figures were found.
• What planning decisions, failure modes and review checks should an agent apply to a long serial outline in each tradition, without generalising across traditions? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  This is a synthesis of candidates -01 to -06, kept per tradition. Five decisions recur in the sources: whether an end is committed; how far ahead scripts are fixed; who holds authority over changes; what feedback channel changes the plan; whether the run length can move. Each source answers them differently (Brazil novela, Korean miniseries, UK soap, US daytime soap), and the sources never state a shared standard. The checklist at the end is a proposal for an agent, not a test any source reports.
• How do open-ended soap operas (UK EastEnders; US daytime and primetime) plan storylines, split episodes among writers and keep consistency with production lead time? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For UK soap, Bell (2015 thesis) describes EastEnders as produced in quartets six to eight weeks ahead, with each episode given to one writer inside planned storylines, threads overlapping so that none ends together, and closure located at storyline rather than series level; contingency such as actor absence forces dropped or re-edited storylines. For US network soaps, Allen's encyclopedia entry describes a head writer charting about six months, supervising weekly and daily segmentation, assigning episodes to dialoguers, and adjusting to viewer feedback and ratings. The two accounts are from different countries and periods and are not interchangeable.
• What mid-run changes do Brazilian scholars and a Globo author say audience feedback causes in a novela, and what limits do the sources put on those claims? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A Brazilian scholar (Bastos 2016) lists what Globo adjusts mid-run: run length, treatment of themes, character configuration and cast, guided by ratings and broadcaster research, and a web "chapter zero" tested one novela. Her broader claim, that Globo falls back on a simpler folk-tale structure when ratings drop, is explicitly her hypothesis. The Globo author Svartman says writing an open work gives topicality and imperfections, and that an author should not write to please. The sources describe practice and argument; none links one concrete change to a measured rating effect.
• How do Latin American telenovelas organise parallel plots (núcleos) over a long run, and what do scholars say changed about hooks and secrets? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For Brazil, a Globo author (Svartman) ties the use of different núcleos to daily production of long chapters, and scholars (Bastos 2016; Fischer and Nascimento 2013) describe novelas built on many parallel or interconnected núcleos, with hooks that by 2012-2016 resolve quickly instead of carrying the whole run. A Portuguese scholar (2002) describes sub-plots as secondary to a main line, and a Spanish-language overview reports more simultaneous situations and many more scenes per chapter in Mexican telenovelas. The claims are scholars' readings of selected novelas; none measures whether a given núcleo design holds audiences.
• What stages does a Brazilian TV Globo novela go through from synopsis to chapters, and what should a newcomer outline first? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two Brazilian sources from 2021-2024 (an author's interview and a writer-academic's article) describe a staged process at Globo: a detailed synopsis with possible ramifications, executive approval, then blocks of chapters written while production and airing proceed, with several collaborators on a run of about 180 chapters. Advice for the opening is few central characters and a protagonist with a clear, changeable goal. The sources describe Globo's practice for one genre slot; they do not document other broadcasters or Spanish-language telenovelas.
• When asked to outline a long serial melodrama, what do "open" and "closed" mean, and which tradition does each label describe? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sources use "open" for two different things. In English-language soap scholarship (Allen, US) "open" means no planned end point, and "closed" (telenovela) means designed to end. In Brazilian scholarship and in a Brazilian author's own words "aberta" means the text is written and adjusted while it airs, even though the run ends. A Korean source (2015) describes yet another mix: a stated ending with a fluid story. An agent should therefore record two separate decisions, whether an ending is committed and how far ahead the middle is fixed, instead of one open/closed label.
• How do 3D productions get the limited-animation (stepped, "on twos") feel, and what rationale and settings do primary sources document? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Xrd developer account (2015) is the primary rationale found: they tried full animation early, it did not read as 2D, so they removed key interpolation (every frame is a key), used about 500 bones per character, avoided simulation, and deformed the mesh on every key to add imperfection. Blender documents a Stepped Interpolation F-curve modifier (step size, offset, start/end) that holds values every N frames. No inspected source documents "on twos" frame numbers for a film; secondary reporting about Spider-Verse exists but no primary source was read (see negative results).
• How do anime-look 3D productions edit vertex normals to get clean face shading, which methods exist, and what do they break? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Xrd developers state they edited normals on every major feature and hand-crafted face normals, and did not use normal maps. A Japanese ASW lecture deck (published 2025-07-30; glossed here) names three control methods: place vertices so automatic normals come out right, transfer normals from another mesh, and set normals by hand (reserved for faces; whole-body is called impractical), and lists limits: normals rotate with bones, no subdivision surfaces, extra care with hull outlines. Blender documents Normal Edit (with Max Angle to avoid shading artefacts, described as useful for toon-like shading) and Data Transfer (custom normals).
• What goes wrong with inverted-hull outlines in production (width vs distance and FOV, hard edges, custom normals, floating lines, fabric) and what fixes did a studio document? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ASW English deck (published 2025-11-28; 79 slides) lists concrete failure modes and fixes for the hull: scale width with camera distance and FOV (tan(FOV/2) factor, FOV from the projection matrix), control width with a vertex-colour channel (default 0.5), push the back-face mesh away from the camera to keep only the outer rim, use a second normal set for the hull when hard edges or customised normals break it (stored in the tangent channel at import), and set the width to 0 in valleys to close gaps that make lines float. Unity Toon Shader exposes parallel controls (width map, Z offset, distance fade, baked normal map for outlines). The deck says it avoids code and is engine-independent; the second-normal-in-tangent approach needs an engine import change.
• Which outline method should I start with (inverted hull, post-process edge detection, Freestyle, Line Art), and what does each trade away? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A practitioner comparison from Arc System Works (speaker Motomura, deck published 2025-11-28) sets post-process outlines (constant line width, lines at mesh intersections, little per-part control) against the inverted hull (per-area control, no intersection lines, thickness upkeep). Xrd used the hull for per-vertex control and in-DCC preview. Unity Toon Shader implements two hull-style modes (extrude along normals, or scale). Blender offers Freestyle (render-time) and Line Art (stroke-based). Epic's post-process documentation shows a CustomDepth/stencil silhouette; it is a general doc with no toon guidance. These are statements by tool makers and one studio; no source compares the methods on equal footing.
• In Blender, what are the line options for a hand-drawn look (Freestyle vs Line Art with Grease Pencil), what does each produce, and what limits does the manual state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Blender 4.5 LTS (manual path observed 2026-10-22), Freestyle is a render-time line engine that outputs lines as a render pass to be composited with Alpha Over, with documented limits (memory, no face-intersection edges, no Z depth). The Line Art modifier generates Grease Pencil strokes from a camera view, can be baked over a frame range, and has option-level fixes (overscan, chaining) for edge continuity. Shader To RGB (EEVEE only) plus Color Ramp is the manual's toon-shading hint. The manual pages read never mention an inverted-hull outline.
• How does toon/cel shading actually work (a stepped ramp on lighting), and what are the first controls to set in Blender, Unity or a custom shader? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Three primary sources describe the same core: lighting is reduced to a hard step. Motomura (Arc System Works, 2015) describes the Xrd shader as a step function of a threshold, a light vector and a normal, with artists painting the threshold per vertex. Blender documents a Color Ramp (Constant interpolation) after Shader To RGB (EEVEE only, with stated PBR costs) as a toon shader. Unity Toon Shader documents base/1st/2nd shade colours with step and feather controls and shade colours independent of light colour. The sources do not give numeric defaults; they treat the look as an art-directed choice.
• What does Spotify require, accept or detect about AI music: AI credits, AI Persona badges, impersonation and spam rules, and what is announced but not yet observed? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Spotify's pages at 2026-10-22 describe four separate mechanisms. (1) AI credits: optional, supplied through a distributor, at contributor-plus-role level, shown only on mobile Song Credits and Now Playing during a beta, audio only. (2) AI Persona badge: about the artist's public identity, not how music was made; artists may self-disclose in Spotify for Artists and Spotify also reviews profiles and may apply a "Likely AI Persona" badge, which the artist can confirm or appeal; badged music is excluded from editorial and personalised recommendations by default. (3) Impersonation: Spotify removes unauthorised voice replicas, but only when a claim is received from the artist or their representative. (4) Spam/slop filtering using many signals including third-party AI detection tools, which Spotify says has limits. A listener reporting tool for AI Personas was announced in August 2026 for "the coming months" and was not observed. Spotify's figures (for example tracks 10 times more likely t...
• How far can ToMi-style story scores be trusted as evidence that a model tracks who knows what, given what the benchmarks' critics found? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ToMi authors themselves say earlier benchmarks could be solved without theory of mind because of dataset biases. SymbolicToM's authors report ambiguity (in a 20-worker MTurk check, human accuracy on one template fell from 80 to 20 percent when the nouns changed), mislabelled second-order items, and large drops for supervised models on altered structure (TTT -54 points on paraphrase). SimToM's authors note the original ToMi lacks answer choices, which lowers baselines. Ullman and Shapira et al. (abstracts only) report that small alterations or adversarial items reverse apparent successes; FANToM and OpenToM add multi-format consistency and shortcut control. Consequence: scores are comparable only within the same corrected version and answer format.
• Does tracking where a character thinks an object is carry over to what the character feels about an event they partly saw, and does a perspective-filter prompt help? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenToM (arXiv 2402.06044v3) has 696 narratives (596 GPT-3.5-Turbo, 100 longer GPT-4-Turbo) with characters given personality traits and intention-driven actions, and 23 first- and second-order questions each: location (coarse and fine), multi-hop (container fullness, accessibility) and attitude of an observer to the mover's action. GPT-4-Turbo led most columns but scored 0.544 macro-F1 on attitude against 0.862 for humans, and chain-of-thought barely helped attitude. SimToM (perspective filter first, then answer) was mixed on OpenToM: gains on coarse location for the GPT models, mixed elsewhere. Models of 2023-2024; zero-shot only.
• How does the needle-mirror describe how it is produced, and which parts of a mirror-based claim can be checked without downloading the package archive? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The mirror organisation says it holds "versions of packages available in UPM, without any changes", is "Not affiliated with Unity Technologies", and "updates automatically"; the mechanism is not described in what I read. The pinned tag and commit name "Unity Technologies" as author/tagger, which is a label set in the mirror, not evidence of Unity authorship. The tree also holds a .signature (JSON, timestamp 2026-07-29T17:56:58Z) and a 10,920-byte .attestation.p7m, signing artifacts that could support archive-level verification, but I did not verify them and no inspected source says what they cover. Checkable without the archive: registry metadata (candidate -01) and docs text (candidates -02 to -04). Not checkable: the .cs files.
• What do the official 5.1.7 Movie Recorder pages state about ProRes, colour and tonemapping, and which part of CA-B309's "ProRes hard-codes Rec. 709" is only in mirror source? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The official Movie Recorder page lists six ProRes codecs, says the ProRes encoder supports Stereo only, does not support variable frame rate, and is unsupported on Linux and Windows Arm64. It contains no colour, tonemapping, Rec. 709, Rec. 2020, PQ or HLG statement (0 hits in the whole 15,316-character page; 0 also in the linear-sRGB page for 709/2020/HLG/PQ and 0 in the changelog apart from dates). CA-B309's "Movie docs contain no colour-tag or tonemapping setting" is corroborated as an absence; "ProRes encoder hard-codes Rec. 709 with Rec. 2020/PQ/HLG commented out" is code-only (ProResEncoder.cs in the mirror) and cannot be byte-checked without the archive.
• Which of CA-B309's Image Recorder colour-space statements (PNG/JPEG sRGB, EXR linear unclamped, tonemapping, dithering) do the official 5.1.7 pages state, reword, omit or contradict? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Official pages state the conditions for the Linear, sRGB (unclamped) option exactly as CA-B309 summarises them: HDRP project, Source not Game View, EXR format. They also tell you to disable Tonemapping and Dithering to get unclamped values, and say the Recorder encodes EXR in 16 bits. Not stated officially: that PNG/JPEG are "forced" to sRGB (only implied by the EXR-only condition), any default for Color Space, the internal "HDR frame capture possible" test, and any statement that the Recorder embeds or omits colour tags. The two official pages disagree on UI paths for the same step (HDRP Default Settings vs HDRP Global Settings; Dithering under General vs Rendering).
• What does Unity's own documentation say about the Audio Recorder's sample rate and bit depth, and which part of CA-B309's audio claim rests only on mirror source code? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Official Recorder 5.1.7 docs state: WAV is the only Audio Recorder format, only Mono or Stereo is supported (from Project Settings > Audio > Default Speaker Mode), and the audio goes to the Recorder rather than the system output. They state no sample rate, bit depth or sample format anywhere in the five official pages read (0 hits for sample rate, Hz, bit depth, float, 32-bit). So CA-B309's "WAV header rate = AudioSettings.outputSampleRate at Stop(), 32-bit IEEE float" is absent from Unity's documentation and rests on AudioRecorder.cs from the mirror; the "no rate/bit-depth property" and "mono or stereo only" parts are corroborated. The mirror's RecorderAudio.md equals the official page word for word.
• Do the BFI page-length and content statements agree with Screen Australia's ranges for outline, treatment, scriptment and mini-bible, and which other agencies could not be checked? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Comparison of the BFI statements (this batch) with the Screen Australia ranges recorded in S53 (outline 3-10 FAQ / 4-12 guide, treatment 10-20, scriptment 20-50, mini-bible 5-15). BFI gives only a treatment figure: up to 10 pages (7-10 in delivery clauses) for a first-stage feature treatment, which sits at or below the low end of Screen Australia's 10-20. BFI gives no outline, scriptment or series-bible figures in the text read. Only one further agency (BFI, two pages) was obtained; Screen Ireland, Screen Scotland, Telefilm/CMF, Creative Europe, BBC Writersroom, WGGB and WGA are not covered.
• Where does a treatment sit in a funder's development sequence, and what does the BFI say it is for and when it is too late to fund one? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  BFI frames the treatment as the first funded stage, before the screenplay: the Early Development Fund wants fully formed ideas without a full-length treatment, excludes projects that already have a completed treatment or draft, and says the point is a sufficiently developed initial idea to pitch to producers or financiers. The producer-led BFI development fund costs 'treatment, first draft and revisions' as stage one and second draft as stage two. Script-stage work and a script editor are not supported at the treatment stage.
• For a first feature treatment, how long does the BFI say it should be and what must it include? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For the BFI NETWORK England Early Development Fund (writers without a producer, fiction feature or long-form immersive, live action or animation), the page defines stage one as funding a full treatment of story outline and structure, characters, themes and related materials such as mood boards, in up to ten pages; the delivery clauses say seven to ten pages. It is a funding requirement and deliverable, not general craft advice, and it applies to this England-based writer fund only.
• What story documents does the BFI ask for when a producer applies for National Lottery development funding, and does it say how long a treatment or synopsis must be? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the pinned BFI development-funding page (observed 2026-10-22), the applicant attaches 'relevant project documents' that give a full and clearly articulated story, which may be a synopsis, treatment, visual deck or draft script, plus a story/synopsis in the form and a budget for one stage. The page names these documents but, in the text read, gives no page ranges, section list or failure modes for any of them. The BFI therefore leaves form to the applicant here, unlike Screen Australia's FAQ page budgets (S53).
• Item by item, which of Baker's 1919 scenario requirements and failure modes carry over to current Screen Australia guidance, which do not, and what checklist can an agent use to produce and self-check a treatment, outline or series pitch document? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  This is a synthesis across Baker 1919 (cited only through C3-B194-S47-01..-03, not re-read) and Screen Australia's guide and FAQ. Shared ground: the short document is a problem-finding tool before drafting; events and actions rather than named effects; selection over completeness. Differences: Baker prescribes a persons-list-then-settings header and sets clearness before brevity for stage plays; the agency prescribes page ranges by document type, a series engine, and a funder's self-analysis of weaknesses. Not found in the agency texts read: Baker's withheld-key-fact failure by name, any scored test, any rule for referencing other works (the bible instead asks for antecedents or references). The checklist below is a PROPOSAL, untested.
• What must a TV series pitch document (development or pitch bible and series one-pager) contain, how long should it be, and how does it show the series has an episode engine? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Screen Australia's guide distinguishes a long, detailed production bible from a succinct development (pitch) bible of about 10-15 pages with nine areas: logline; one-page synopsis (1 page); genre, concept and themes (1); setting and storyworld (1-2); format (1); characters (1-2 paragraphs each); episode summaries (1-2 paragraphs each); look and feel (2 with images); creator's statement (1). The series proof is sustainability: the storyworld must be the engine, the format must show a repeatable episode shape, character entries must hint at trajectory, and a serial one-pager shows character narratives and escalating stakes rather than plot. The funder lists a mini-bible of 5-15 pages maximum as an acceptable story document. The guide states there are no hard rules.
• How long is a story outline or step outline (scene-by-scene breakdown), what must it show, and what do the sources say it is used to check before drafting? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Screen Australia's guide separates the outline (generally 4-12 pages; motives, cause and effect, built around the dramatic question and escalations, revelations and reversals, selected rather than exhaustive) from the scene breakdown (a scene-by-scene prose outline, also called a step outline, from one-liner list to beat sheet with a short paragraph per scene). The scene breakdown is the document the guide says is used to check scene order, remove repetitions, red herrings, dead ends and superfluous scenes, decide point of view and timing of reveals, get script-editor approval in a writers' room, and prove readiness to draft in an application. The funder FAQ lists an outline of 3-10 pages as acceptable story document and requires a self-analysis of its strengths and weaknesses. Compared with Baker 1919 (S47-02/-03), both use the short document as the place to find structural problems before dialogue or drafting; Baker's reader questions and ordered revision have no counterpart order...
• What must a film treatment contain, how long is it, how should it be written, and what failure modes does a screen agency name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Per Screen Australia's guide (July2018 header), a feature treatment is generally 10-20 pages (the funder FAQ, updated 2 July 2026, also lists 10-20 pages for a treatment story document). It narrates the plot in the order it unfolds in present tense, covers every key structural beat, makes the character's journey apparent, includes subplots and shows how they integrate, and conveys mood and tone, confining prose to what a viewer can see and hear and rarely stating context or subtext. The guide names one failure in terms: mechanical "explaining" reduces the reader's engrossment; it also warns that more complex plots invite more detail. Compared with Baker 1919 (C3-B194-S47-01..-03) the shared core is action told in order without naming effects; the persons list first and setting block that Baker prescribes are absent from the treatment guidance.
• Which development document should I write for a feature, a serial drama, a self-contained series (sitcom) or an interactive project, and how long should it be? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Screen Australia's guide routes by format: features use one-pager, outline (4-12 pages) and treatment (10-20 pages); serial drama uses an outline and a bible with episode summaries and a one-pager that cannot hold plot detail; self-contained series (sitcom) skip the dedicated outline and use synopsis plus bible with episode summaries; interactive projects add the audience role to the one-pager. The funder's own requirement for development applications is a story document within stated page ranges (outline 3-10, treatment 10-20, scriptment 20-50, mini-bible 5-15 maximum, draft script up to 120), so the funder's number governs when writing for that funder.

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