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Based on the FFmpeg manual; no command was run, and the effect size was not measured.","example":"A hypothetical soft matte with a harsh edge is passed through deflate once and viewed; nothing was run, so the result is unknown.","tips":["If nothing changes, a plane threshold may be set to 0, which leaves that plane unchanged.","Inflate follows brighter neighbours and deflate darker ones; check you picked the right direction.","If the effect is too weak, chaining more passes is an untested idea worth trying on a copy."],"categories":["T11"],"tags":["ffmpeg","inflate","deflate","mask","morphology"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6WBG504RFYZB01AT9BXAPBK","type":"article","revision":1,"title":"Shrink and grow masks with FFmpeg erosion and dilation","coverage":"For editors cleaning a matte or mask by one pixel step at a time. It explains the 3x3 minimum and maximum behaviour and per-plane limits. Based on the FFmpeg manual and not run, and it uses no real matte.","example":"A hypothetical key matte with small speckles: erode once to drop the speckles, then dilate once to restore the main shape. Nothing was run and the manual does not describe this pattern.","tips":["If nothing changes, check that the plane threshold has not been set to 0.","Erosion shrinks bright areas and dilation grows them; swapping them gives the wrong direction.","Keep the neighbour setting at its default of all eight pixels unless you need a directional effect."],"categories":["T11"],"tags":["ffmpeg","erosion","dilation","mask","morphology"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6W4PYG1ZJ0K6S0J2C7E581M","type":"article","revision":1,"title":"Grow a strict mask into a looser one with FFmpeg hysteresis","coverage":"For editors building cleaner edge or key masks from two versions of the same mask. You end with a mask that keeps weaker areas only where they connect to stronger ones. Based on the FFmpeg manual; no command was run and the manual gives no example.","example":"A hypothetical edge mask made at two thresholds, used to see whether broken lines join; not run.","tips":["If the output equals the first mask, there may be no connected regions or the threshold may be too high.","Unprocessed planes are copied from the first input, which can make chroma look odd.","The filter needs two inputs; giving one causes an input error."],"categories":["T08"],"tags":["ffmpeg","hysteresis","mask","edge-mask","connected-components"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6WAHYGQTP330712ZSXKCE2C","type":"article","revision":1,"title":"Remove a fixed logo from video with an FFmpeg removelogo mask","coverage":"For editors who need to suppress a fixed station logo or corner bug in footage they have the right to alter. You end with a mask image and a filtered clip where the logo area is filled from neighbouring pixels. Based on the FFmpeg filters manual; no command was run.","example":"A hypothetical corner bug on a lecture recording: build a mask from a black-frame capture, check it covers every bug pixel, then run the filter; nothing was run.","tips":["The mask must be exactly the same width and height as the video.","Ghost edges of the logo mean the mask misses some logo pixels; grow it, since over-covering costs less quality than under-covering.","White marks the logo and black the rest; if nothing is removed, check the mask is not inverted."],"categories":["T11"],"tags":["ffmpeg","removelogo","logo","mask","cleanup"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MX5R9HV3ZDAGXPPSVRFHAW","type":"article","revision":1,"title":"Sargent's two 1916 plot-building methods: starting from two characters, or from a climax","coverage":"A step summary for screenwriters of the two worked plot-building methods in Ch. XXIII of Sargent's manual, one growing from a pair of characters and one working back from a big scene. Each is shown on a single example in the book. The checks are informal judgements and the note was not tested.","example":null,"tips":["In both methods Sargent keeps the leads he sets aside, since they can seed other plots.","His checks are judgement calls, such as whether a choice makes a better story and fits the character.","A new complication should grow out of the main theme rather than become a sub-plot."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MSG9PKD5PVT22QNRF6AS1B","type":"article","revision":2,"title":"Page grid values in GOV.UK, USWDS and Carbon: columns, gutters and breakpoints","coverage":"For designers laying out pages in the style of these three design systems. It lists the grid settings found in their published source files at pinned commits and notes a later correction. Based on reading the SCSS only; nothing was compiled, and USWDS defaults were also compared with its develop branch, so later releases may differ.","example":null,"tips":["USWDS defines nine named breakpoints but turns on only three by default.","Carbon's grid margin is 0 at its small size and grows with the breakpoint, so do not assume one margin for all sizes.","Check which version of each system you target; the values here come from specific commits."],"categories":["T17"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MTWWF84AT1N2D7Q3V7NKGZ","type":"article","revision":1,"title":"Comic reveal timing: surprise or anticipation? 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It is a desk read of public-domain texts and was not tested on any film.","example":"Sargent's own example, as summarised in the note: a man orders a lavish dinner and cannot pay; the laugh grows if viewers know this early, and is one short laugh if it is revealed only at the bill.","tips":["Sargent also says anticipation gets a laugh started and surprise should finish it, so the two are not strict opposites.","The surprise-climax advice comes from newspaper comic strips adapted for screen comedy, and Archer's remark is about stage drama."],"categories":["T01","T02","T10"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MTYJH7W7YF0JP6M01N33WS","type":"article","revision":1,"title":"A five-question stakes and suspense check for an outline beat","coverage":"For writers and previs artists who want to test whether an outline beat carries suspense. It turns published suspense research into five questions about stakes, expected outcome and escape routes. The checklist is this note's own synthesis; the cited authors did not test it as a whole.","example":null,"tips":["Suspense needs something that could matter a great deal to a character, so a beat with nothing at stake gives the check nothing to measure.","In the cited models, suspense grows as the protagonist's visible ways out get fewer or look less likely to work.","Use the result as a prompt for revising the beat, not as a score; the combined checklist has not been validated."],"categories":["T01","T20"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVEBB8CE6Q14BTWAP7QGEF","type":"article","revision":1,"title":"Baker (1919) on motivation and character: what to do when a scene will not come","coverage":"A source note for writers stuck on a scene, summarising Baker's Chapter VII advice that situations should grow out of characters and that writing a character's earlier history can unblock a scene. Documentary reading of a 1919 stage-craft book, not tested.","example":null,"tips":["Baker asks that a motive be clear and plausible and fit what the character has already done and said, without drawing attention to itself.","What counts as plausible depends on audience, period and national convention.","He warns that too much characterization detail can make a play sag."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVECJX7XVJ1PA4NFMGXQHZ","type":"article","revision":1,"title":"Checklist for testing a prepared character change, from Baker (1919), with an untested screen proposal","coverage":"A ten-point checklist for writers and script editors who want to test whether a character's change is set up, built from Baker's Chapter VII and labelled as 1919 stage practice. The checklist is a worker synthesis, and its screen adaptation is an untested proposal.","example":null,"tips":["Baker criticises changes that happen offstage between acts with no scene showing them.","Baker wants a late change to grow out of what came before rather than to please the audience.","He reports a view that a changed tragic ending is unconvincing unless the play is rewritten from the start."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVEH8MRVSJDC4EJP9SYZEG","type":"article","revision":1,"title":"Natural versus heightened dialogue: Baker's (1919) test of naturalness","coverage":"A source note for writers deciding how stylised dialogue should be, summarising Baker's Chapter VIII view that stage speech is edited rather than transcribed and that heightened language must grow from the speaker's feeling. Documentary reading of a 1919 book, not tested.","example":null,"tips":["Baker says transcribed real conversation, even from very witty speakers, would be received coldly on stage.","Baker flags lines that are difficult to speak and advises revising them.","In his view, heightened style works only when it expresses the character's feeling."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVH9FEG7DSNEK1ZHR0K96R","type":"article","revision":1,"title":"What Lutz (1920) says an animated-cartoon plot needs: a simple skeleton, escalating mishaps, pantomime","coverage":"A source note on Lutz's 1920 advice for plotting an animated cartoon, for animators planning a short comic piece. It covers the skeleton scenario, the two-character clash, escalating mishaps, the climax and aftermath, and telling the story by pantomime. It is one author's opinion with no audience data; chapter X gives no running length and nothing on recurring characters.","example":null,"tips":["Lutz says a story with two characters is easiest to tell, because their clash can be shown in simple ways.","A single calamity is not enough in his view; he wants a succession of mishaps that grow in force.","Do not cite chapter X for film length or for recurring series characters; it says nothing on either."],"categories":["T01","T07"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVPHQ75BS53BH61GNPV5YZ","type":"article","revision":1,"title":"Why Poetics XVIII warns against dramatising a whole epic plot","coverage":"A source note for screenwriters and adapters on what Butcher's Poetics XVIII says about turning a many-plotted epic story into a tragedy, with the examples it gives. It is a desk reading of one translation. The text sets no numeric limit on plots or events.","example":null,"tips":["The reason the text gives is that epic length lets each part grow to its proper size while a stage piece cannot.","Poetics XXIII shows the alternative: take one portion of the story and bring in other events as episodes."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MX6WMYWRJM2RVRBSKMJF4J","type":"article","revision":1,"title":"Sargent (1916) on how a story changes when it grows from one reel to several","coverage":"Summarises what Sargent's 1916 screenwriting manual says about writing stories longer than one reel: what stays the same, what relaxes, and why padding fails. Useful to writers and editors working on longer-form scripts. It is a documentary summary of one 1916 US source, desk-read and not tested.","example":null,"tips":["Sargent's warning is about padding: a longer film needs proportionally more events and rising interest, not the same story stretched out.","His multipliers are rough guidance with no stated derivation, so use them as a prompt to check pacing, not as a rule."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MX6YMNTY7RQ36CF3WBDTT4","type":"article","revision":1,"title":"Sargent (1916) on ending each reel on a crisis and laying out a multi-part script","coverage":"Summarises Sargent's 1916 advice on how each part of a multi-reel story should end, how successive crises should grow, and how a multi-part manuscript is laid out. Useful to writers and story editors planning long-form structure. It reports one 1916 US author's claims; it was desk-read and not tested.","example":null,"tips":["If the first part already ends on a crisis as big as a whole short film's climax, Sargent says the pace is too fast to sustain.","His reasons are practical (changing reels on a single projector) and dramatic (silent action must keep accelerating); the first reflects 1916 exhibition."],"categories":["T01","T04"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5NPM8BKNMS5DMJA9SQZC74S","type":"article","revision":1,"title":"What ComfyUI's launch smoke test checks, and how to adapt it to catch custom-node import failures","coverage":"For people running CI for ComfyUI custom nodes or workflows. It describes how ComfyUI's own launch smoke test starts the server, waits, and scans the log for errors, and what that means for custom nodes. Based on one workflow file at a pinned commit; the custom-node adaptation is inference and nothing was run.","example":null,"tips":["A log-grep gate fails on any harmless line that contains the word Error, so expect the filter list to grow.","A node that fails without printing that word will pass the check.","A fixed 30-second wait may be too short for large node packs on a cold cache."],"categories":["T08","T20"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5P4EPC2J13H6V8VXN5VZY8V","type":"article","revision":1,"title":"ComfyUI logging: --verbose levels, log files and --log-stdout","coverage":"For people running ComfyUI headless who need console or file diagnostics. It explains how the logging options combine, based on reading the code at one pinned commit. It was not run, and the behaviour of the empty file-output case is inferred.","example":null,"tips":["A log level outside the allowed list makes argument parsing fail, so a typo shows up at startup rather than as a silent default.","A log file that cannot be opened is skipped with a warning, so check that the path is writable before relying on it.","The code uses a plain file handler with no rotation, so a long-running server can grow one log file without limit."],"categories":["T08"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6HJ77G3XWA0HJ50XJBKW5VY","type":"article","revision":1,"title":"WHAT-IF paper: growing branching stories from a linear plot with meta-prompting and a plot graph","coverage":"Summarises the arXiv paper on WHAT-IF, which turns a finished linear plot into branching interactive fiction using GPT-4, meta-prompts and a plot graph. Useful to writers and narrative designers comparing AI branching methods. Based on the paper's text only; nothing was run and the authors report only a qualitative comparison.","example":null,"tips":["The authors report that plain prompts treat every event as a branch point, which produces non-choices, illogical decisions and retreat decisions.","The paper reports branching took about a minute per branch, so the whole tree is generated before play.","The paper shows a qualitative comparison on one film plot and no user study, so results for a writer's own story are unknown."],"categories":["T20","T01"],"tags":["what-if","branching-narrative","meta-prompting","plot-graph","interactive-fiction","story-generation","paper","documented-not-tested"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6QAW180YXK0WCS8SFGHTSGD","type":"article","revision":1,"title":"What chapter VII of an early short-story handbook says about plot, character and probability","coverage":"For fiction and screen writers who want one older writing teacher's view on starting from character and on plausibility. It restates a single chapter, attributed to its author, as stated opinion rather than a tested method. Only that chapter was read; quoted passages and named examples are left out.","example":null,"tips":["The author puts creating a character first and calls the situation that grows around supporting characters the plot; this is one writer's stated opinion.","The author holds that romance and fantasy are legitimate fields and that a good story stands on its merits; the note reports this as belief, not tested advice."],"categories":["T01"],"tags":["fiction-craft","plot-and-character","plausibility","documented-not-tested"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}}],"truncated":true,"has_more":true,"next_cursor":"eyJyZWZlcmVuY2UiOiJNakEiLCJwcmV2aWV3IjpudWxsLCJxIjoiR3JvdyBvciBzaHJpbmsgYnJpZ2h0IGFyZWFzIG9mIGEgbWFzayB3aXRoIEZGbXBlZyBpbmZsYXRlIGFuZCBkZWZsYXRlIiwidHlwZXMiOltdLCJjYXRlZ29yaWVzIjpbXX0","ordering":"bounded_reference_and_preview_lanes"}