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You end with a clip whose planes are reordered or repeated. Based on the FFmpeg filters manual and not run; plane meaning depends on the pixel format.","example":"A hypothetical clip with swapped red and blue tones is tried with the manual's swap of the second and third planes; nothing was run.","tips":["With no maps given the output is unchanged, so no visible change usually means an identity mapping.","Odd colours usually mean the plane order does not match the pixel format; check the format first.","Asking for a plane the format does not have gives an error; use an index that exists."],"categories":["T11"],"tags":["ffmpeg","shuffleplanes","planes","chroma","channel-swap"],"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_01M6WKQRQ6EZX1MWKZ4H6AF7MM","type":"article","revision":1,"title":"Plot per-frame metadata such as average luma with FFmpeg drawgraph","coverage":"For editors and QC checkers who want to see a per-frame measurement, such as average brightness, as a graph video to spot flicker, drift or cuts. You end with a graph video of the chosen metadata key. Based on the FFmpeg manual and not run.","example":"Hypothetical, not run: graphing average luma of a flickering time-lapse and looking for sawtooth jumps.","tips":["An empty graph usually means the metadata filter is not placed before the graphing step or the key name is wrong.","A flat line at the edge of the graph means the minimum and maximum do not fit the values.","Colours use the byte order alpha, blue, green, red, so wrong colours are often a swapped channel order."],"categories":["T07"],"tags":["ffmpeg","drawgraph","signalstats","metadata","qc"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6VZZ7FAVQDFKM4KGXJXPS06","type":"article","revision":1,"title":"Build binary and clipped thresholds with the FFmpeg threshold filter","coverage":"For editors and compositors who want black-and-white or partly clipped threshold images from a clip with FFmpeg. You learn how the four input streams combine to give five threshold styles. Based on the FFmpeg manual only; no command was run.","example":"A hypothetical matte test on a 320x240 clip: binary threshold, then the inverted one; nothing was run.","tips":["The filter needs four streams; fewer than four gives an input error.","Colour sources must match the clip size, or you will get a size mismatch.","If results look swapped, check the stream order: filtered, threshold, min, max."],"categories":["T08"],"tags":["ffmpeg","threshold","matte","binary","color-source"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6VTP57HPEB0D74N5MDBKTBS","type":"article","revision":1,"title":"Swap two rectangles in a video frame with FFmpeg swaprect","coverage":"For editors wanting a quick split-and-swap effect or a layout test, with positions that can follow frame number or time. It is based on the FFmpeg filters manual, which has no worked example, and no command was run.","example":"A hypothetical 1280 by 720 clip with two 200 by 200 squares swapped on the top row; nothing was run and the result was not observed.","tips":["Keep both rectangles fully inside the frame and apart; the manual does not describe overlap behaviour.","Quote the filter string so the shell does not mangle expressions.","Check the first frame and a mid-clip frame to confirm the swap and that the rest of the frame is unchanged."],"categories":["T08"],"tags":["ffmpeg","swaprect","vfx","rectangles","expressions"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6V7KPBFQK9H3ASVY78R9Y23","type":"article","revision":1,"title":"Blend two clips or consecutive frames with FFmpeg blend and tblend","coverage":"For editors who want dissolves, gradient transitions or overlays made in FFmpeg. You end with a blended clip from a named mode or a timed expression. It follows the FFmpeg filters manual and was not run; the manual does not describe how each mode looks.","example":"A hypothetical 10 second dissolve from a title clip into a scene clip; the half-way weights follow from the expression and nothing was run.","tips":["The first input is the top layer; if the layers look reversed, swap the inputs.","Opacity has no effect once an expression is set; use a named mode with opacity instead.","If the inputs differ in size, scale them to match before blending."],"categories":["T07"],"tags":["ffmpeg","blend","tblend","transition","compositing"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6V3XCXMFEHZP0GABT66V2QW","type":"article","revision":1,"title":"Rotate a clip by 90 degrees or mirror it with FFmpeg transpose, hflip and vflip","coverage":"For editors fixing sideways or mirrored footage. You end with a clip turned a quarter turn or flipped, with a way to leave already-upright clips alone. Based on the FFmpeg manual and not run; how players treat rotation metadata is not covered.","example":"A hypothetical 1920 by 1080 clip rotated clockwise should become 1080 by 1920; the new size is arithmetic from swapping width and height, and no run was made.","tips":["If text reads mirrored after rotating, a flip variant of the direction was used; use the plain clockwise or counterclockwise setting.","A clip already in portrait can end up sideways unless the passthrough option is set.","If a player still shows the clip sideways, probe the stream for leftover rotation metadata."],"categories":["T10"],"tags":["ffmpeg","transpose","rotate","hflip","vflip"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6VQSFFFY302PJ1C594JK0Y7","type":"article","revision":1,"title":"Convert stereoscopic 3D layouts with the FFmpeg stereo3d filter","coverage":"For editors handling side-by-side, above-below, crosseye or anaglyph 3D footage who need another layout or a single eye. You end with a clip in the layout you name. Based on the FFmpeg manual; no command was run.","example":"A hypothetical side-by-side clip converted to above-below and to a flat left-eye clip, built from the manual's format names; not run.","tips":["If you do not name the output layout it defaults to a red/cyan anaglyph.","An inverted or uncomfortable 3D effect usually means the eyes are swapped, so check left and right in the layout name.","Half-width layouts need their own format names or the picture looks squashed."],"categories":["T19"],"tags":["ffmpeg","stereo3d","stereoscopic","anaglyph","side-by-side"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6VXBW50KTPRXQ4YVYMRHPSQ","type":"article","revision":1,"title":"Reorder, repeat or drop frames in a pattern with FFmpeg shuffleframes","coverage":"For editors making stutter edits, glitch effects or removing every nth frame. You end with a mapping list applied to repeating groups of frames. Documentary review of the FFmpeg manual; no command was run.","example":"A hypothetical 25 fps dance clip has the second and third frames of every group of three swapped and is compared with the original; nothing was run.","tips":["The number of indexes sets the group size, so every index must stay within it.","The mapping contains spaces, so quote the filter string or the shell will split it.","Entries of -1 drop frames, so an unexpectedly short clip means a -1 is in the mapping."],"categories":["T07"],"tags":["ffmpeg","shuffleframes","frame-order","glitch","editing"],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M6DW33ZBATVEVMFJVPYNK2P1","type":"article","revision":1,"title":"LutLight2D, a Unity pixel-art lighting package: what its README and manifest state (files read, nothing run)","coverage":"A source note for 2D game artists and Unity developers who want stylised pixel-art lighting that swaps colours rather than tinting them. It records the technique, setup steps, stated Unity versions and licence as the files describe them. Nothing was installed or run and the README images and videos were not viewed.","example":null,"tips":["The README says the shader reads the lighting texture from the URP 2D Renderer, so a URP asset must be configured even though the manifest lists no dependencies.","If the result looks unchanged after setting the gradients, the README says to press the Bake button when baking did not happen automatically."],"categories":["T06","T08"],"tags":["lutlight2d","unity","urp-2d","pixel-art","2d-lighting","color-replacement","lookup-table","shader-graph","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_01M5NNB0J9H9SBHS9KWNFVQPAB","type":"article","revision":1,"title":"Face-swap video tutorials and permanent digital personas: the consent and disclosure lines they cross","coverage":"For creators and marketers weighing AI face-swap and virtual-influencer workflows. It summarises one creator's demonstration and then sets out the consent, disclosure and likeness issues the note's author says it raises. It is based on one video, not tested, and the legal points are general, not jurisdiction-specific advice.","example":null,"tips":["Use fictional faces only and add a visible AI disclosure to realistic synthetic video.","Get written releases from any real performer whose motion or voice you use.","Never swap onto an identifiable real person without their consent."],"categories":["T04","T06","T20"],"tags":[],"evidence":{"inspection":"metadata_checked","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5NPEF6GWQJC0QJ83AQVDSBW","type":"article","revision":1,"title":"Does Baker's Dramatic Technique contain a 'swap-speaker test' for dialogue?","coverage":"For writers wanting classic advice on dialogue. It checks Baker's 1919 chapter on dialogue and finds his three essentials but no swap-the-speaker test. The absence rests on pattern searches of a plain-text file, so a paraphrased exercise cannot be ruled out.","example":null,"tips":["If you use a swap-speaker exercise, call it your own derived test rather than Baker's method.","Baker's stated essentials of dialogue are clearness, helping the story move on, and being in character."],"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_01M5NPWW0W8Q3R3SM6YGBTB971","type":"article","revision":1,"title":"Kijai's ComfyUI-WanVideoWrapper: when to use it instead of native Wan nodes","coverage":"A source note for ComfyUI users choosing between the built-in Wan support and a community node pack. It records the author's own guidance, where model files go, its dependency pins, and a VRAM change affecting block swapping. Based on one commit of the README; nothing was run.","example":null,"tips":["The author advises native nodes unless the model or feature you need is not available there yet.","Unmerged LoRA weights now sit inside swapped blocks, so older workflows may need a couple more swapped blocks.","Dependency pins can clash with other node packs in the same Python environment."],"categories":["T06","T08","T09"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVEF05XGCG755ZPT00VR16","type":"article","revision":1,"title":"Telling characters' voices apart: Baker's (1919) swap test and related advice","coverage":"A source note for writers whose characters sound alike, summarising Baker's Chapter VIII test of whether speakers could trade lines, plus his advice on collecting real speech and handling dialect. Documentary reading of one 1919 book; its dialect comments reflect period stereotypes and it offers no measurable voice features.","example":null,"tips":["If two speakers could swap lines without anyone noticing, Baker says the dialogue lacks characterization.","Baker notes that Lady Gregory gathered phrases from people in her community before rewriting her drafts.","He asks that dialect be accurate, consistent and clear to the audience."],"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_01M5NGYNZWF6AP1DCQTPV7S4YZ","type":"article","revision":2,"title":"Higgsfield terms for creators: output ownership, training on content, model swaps and training limits","coverage":"For producers using Higgsfield for client work. It summarises the Terms of Use on output ownership, use of content for training, model substitution, inactive accounts and provenance marks, including a later curator correction. It covers selected sections only, not indemnity or limitation clauses, and is not legal advice.","example":null,"tips":["Record the model and version used for each shot and keep local exports, because the platform may swap or retire models.","Opting out of training is only by deleting content or the account, and it works going forward.","Outputs may not be used to train other models without written permission; models trained only on your own inputs fall under an exception."],"categories":["T09","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_01M5NNX2YKN5CTGJMM3M3CG7AR","type":"article","revision":1,"title":"Documented sd-scripts example settings for training a FLUX.1 LoRA, including low-VRAM options","coverage":"Helps people training their own image LoRA with sd-scripts who need to see how FLUX.1 settings differ from Stable Diffusion ones. It summarises the project's documented example and its VRAM guidance. Based on the documentation and not run; the example values are a starting point, not a tuned recipe.","example":null,"tips":["The documentation says fp8 training results may vary, so compare an fp8 run against a normal one before trusting it.","Chroma models need the guidance scale set to zero, unlike the FLUX.1 example.","Low-VRAM cards rely on block swapping and an fp8 T5-XXL file; the swap values differ for 10 GB and 8 GB."],"categories":["T05","T09"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MQZQHZ5DBNWS3H882PTDRE","type":"article","revision":1,"title":"What Learned Motion Matching (2020) replaces, how it was trained, and the limits its authors report","coverage":"A source note on the 2020 paper that swaps motion matching's stored animation database and nearest-neighbour search for three small networks. It helps game and real-time animation teams weigh memory savings against training effort. It summarises the paper only; no network was trained and no production use was assessed.","example":null,"tips":["Read dataset sizes with care: the largest reported set was augmented from about a minute of key-framed animation, not captured at that scale.","In the authors' user study, testers found the two systems hard to tell apart, with a slight responsiveness preference for the original method and none on quality.","The authors say the accuracy of the Projector network had the largest effect on final quality."],"categories":["T07","T18"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MV7R31RP4P9C4FTZ7FZ6ZH","type":"article","revision":1,"title":"Baker (1919) on clearness, emphasis and movement when arranging a play","coverage":"For playwrights and script editors checking whether an opening is clear and a draft stresses the right things. It lists Baker's three qualities, the faults he names and his simple tests. It is based on one 1919 stage-craft chapter; the tests rely on human listeners and no measured results exist.","example":null,"tips":["Beginnings and endings of scenes and acts emphasise whatever they contain, intended or not; check them.","Swap character names for type labels in a draft; if the speakers become unidentifiable, rephrase for clarity.","Read the draft to intelligent listeners and revise after the first performances."],"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_01M5MX54A49JFY75JM27EGZQZA","type":"article","revision":1,"title":"Sargent (1916) on who to trust for criticism of a finished script","coverage":"A source note for screenwriters on whom a 1916 photoplay manual says can give useful criticism of a finished script and which groups it advises not to rely on. It reports the author's assertions from a trade manual and was not tested.","example":null,"tips":["This manual says useful criticism needs someone who both knows the subject and can state reasons.","Swapping scripts with a fellow writer carries a risk of suspected idea theft, according to the author."],"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_01M5MXFR60X83K947B3GPPBNCK","type":"article","revision":1,"title":"How Poetics XXII (Butcher) balances plain and unusual wording, with no formula","coverage":"A reading note for writers on how the translation describes mixing ordinary and unusual language and how it answers critics of unusual wording. Based on the Gutenberg text only; not tested. The text gives no ratio or threshold, so none is offered here.","example":null,"tips":["The chapter makes its point by swapping one unusual word for an ordinary one and comparing the two verses.","It says obtrusive use of unusual forms is grotesque and that every mode needs moderation, but gives no measure."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}}],"truncated":false,"has_more":true,"next_cursor":"eyJyZWZlcmVuY2UiOiJNakEiLCJwcmV2aWV3IjoiTWpBIiwicSI6IlN3YXAgb3IgZHVwbGljYXRlIGNvbG91ciBwbGFuZXMgd2l0aCBGRm1wZWcgc2h1ZmZsZXBsYW5lcyIsInR5cGVzIjpbXSwiY2F0ZWdvcmllcyI6W119","ordering":"bounded_reference_and_preview_lanes"}