feat(monitor): 抖音 Web 接口客户端 —— 绕开爬虫子进程，直接发 HTTP

移植自 mac-agent-os 的 mediacrawler_adapter：不起子进程、不开页面，用浏览器里那份
登录态直接调抖音 Web 接口。产物键名照抄 store/douyin，所以 ingest 那条链路一个字不用改。

**目前能用的（真环境实测，非推断）**：

    profile/other : 200, 7075 字节  —— 博主主页指标（粉丝/获赞/作品数/昵称）
    aweme/detail  : 200, 45425 字节 —— 单条作品详情（含点赞/评论/收藏/分享）

**目前不能用的：作品列表 `aweme/post`。** 两个互相独立的原因：
  1. 这个接口被抖音单独升级成了真校验：不带 x-tt-argus 回 403「Uifid Not Found」，
     带上 dummy 值回 200 + **空 body**。也就是说「头在不在」骗得过，「真校验」过不了。
     同一套头打 profile/other 和 aweme/detail 都是通的 —— 抖音是挑着接口加保护的，
     挑中的恰好是「批量拉作品列表」这个最敏感的动作。
  2. 改走页面截获也不行：CDP 浏览器打开博主主页会落到「验证码中间页」（当天大量探测的
     代价，过几小时要重测）。

  所以现在的边界是：**已知作品的指标刷新能做，自动发现新作品做不了**。

**排查中控住变量后得到的两条事实**（都写进注释了）：
  · `Accept` / `Accept-Language` / `Referer` 才是主页接口能返回真数据的原因 —— 只有
    UA+client hints+Cookie 时是 200 但仅 121 字节的空壳，补上这三个头变 7074 字节。
    （我先前猜的 sec-ch-ua 不是关键。）
  · 因此 UA 与 client hints 必须**成套地取自同一个浏览器**，所以 BrowserIdentity 一次
    从 CDP 取齐 cookie + UA + hints，而不是各自写死。

「200 + 空 body 必须当场报错」也是刻意写死的：放过去它会在下游变成「这个博主没作品」，
把一次失败伪装成一条正常结果 —— 爬虫那条路正是这么栽的，还被翻译成「账号被封」。

测试 +11：cookie 解析、请求头成套性（含 uifid 缺失/回退）、产物键名与 store 对齐、
以及 _get 的三条失败路径（空 body / 403 带网关原话 / 正常返回）。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/SKILL.md

@@ -0,0 +1,93 @@
+---
+name: guofeng-visual-director
+description: >
+  为中国古风题材设计完整的视觉语言，并编写、优化或诊断图像提示词；覆盖人物服饰、建筑空间、器物陈设、色彩光线、构图、故事关键帧与系列连续性。用于古风视觉设计、古装电影美术、历史或架空古代场景、古风人像、古风视觉圣经及明确的古风出图请求。区分历史还原、架空古风与风格化表达；不把古风自动变成仙侠、武侠或固定朝代。纯历史问答、古诗创作、完整剧本、逐镜分镜和现代国潮品牌设计不以本技能为主。
+metadata:
+  version: "0.1.1"
+  status: "candidate"
+---
+
+# 古风视觉设计总监
+
+从当前故事、人物、场景简报或用户参考出发，设计具有文化辨识度、审美主张和生活逻辑的中国古风画面。本包独立完成视觉方案、图像提示词、受控变体与画面诊断；实际出图通过当前环境可用的图像工具完成。
+
+固定的是设计方法，变化的是视觉答案。不预设朝代、地域、民族、阶层、主角性别、色系、天气、建筑类型、镜头或叙事事件。清雅、浓艳、朴拙、华贵、荒寒、烟火气可以并存于不同项目；“古风”本身不意味着灰淡、柔焦、女子回眸或亭台烟雨。
+
+## 任务入口与边界
+
+- **创建设计**：把简报转成相互一致的美术、摄影与提示词。用户只要一个方案时，内部比较后交付一个完整选择。
+- **派生与变体**：先识别同画面变体、同故事不同画面、独立故事；按各自范围保留或改变设计。
+- **优化**：保留故事事实与已认可内容，修正提示词中真正影响画面的关系。
+- **诊断**：先检查用户给的原图或原提示词；说明可见问题和原因。只要求诊断时不擅自重画。
+- **直接出图／编辑**：用户明确要求图片时调用可用工具，查看实际输出，按已授权范围修订。创建技能或讨论能力不构成出图请求。
+
+题材和媒介分开：古风指文化与时代的视觉基础；武侠强调江湖行动，仙侠包含超自然世界规则。用户选择混合题材时保留混合设定，不自动加天宫、法阵、轻功或兵戈。摄影、二维动画、工笔、水墨、插画、三维风格化均可；明确媒介优先。未说明时，为影视画面暂用摄影写实并标明可调整，不把它升为永久默认风格。
+
+本包可以设计人物外观、空间和道具，也能输出供后续制作使用的视觉约束；不必读取其他技能。需要完整剧本、连续攻防或逐镜时长表时，将已确定的视觉约束交给相应工作环节，不擅自改故事或扩大为全片生产。
+
+## 按需读取
+
+只读取本次涉及的文件，简单局部修改不加载整套资料。
+
+| 本次工作 | 读取 |
+|---|---|
+| 建立或修改时代文化基础；历史准确性判断；使用历史参考 | [文化依据与创作边界](references/cultural-grounding.md) |
+| 场景、建筑、城市、园林、自然环境及世界视觉设定 | [空间与生活设计](references/world-and-space.md) |
+| 人物、服饰、妆发、器物或陈设 | [人物服饰与器物](references/people-and-objects.md) |
+| 新画面、构图色彩光线、媒介转换、审美优化或诊断 | [画面与审美设计](references/image-direction.md) |
+| 编译提示词、系列图、实际生图、编辑与验收 | [提示词、连续性与检查](references/prompt-and-review.md) |
+
+## 从需求到画面
+
+### 1. 确定依据与开放空间
+
+若提供剧本，先读实际提供的正文，辨认人物目的、关系、环境与当前时刻；只有片段时明确覆盖范围。纯人像、空景或单件器物无需虚构一段冲突故事。
+
+内部区分：用户明确事实、已确认设计、必要推断、开放项与本轮设计提议。当前纠正优先于旧方案；参考图分别注明用于人物身份、服饰形制、空间、材质或画面关系。不要因参考图好看就整体复制。
+
+只询问会实质改变结果且无法合理补足的关键缺口。其余用简短、可逆的假设继续；年代不明时可做架空古风，不能自行宣称宋代、盛唐或准确复原。
+
+### 2. 选择文化约束与成像方式
+
+文化约束与成像方式是两个独立选择：
+
+- **历史还原**：按明确时期、地域、群体、身份和场合核对会影响设计的细节；证据不足的项目标待核实，不用“考据”概括整张图。
+- **架空古风**：说明主要文化基础和允许的改造；形制、技术、礼制、生活方式在同一世界内一致。架空不等于随意拼装。
+- **风格化表达**：声明哪些比例、色彩、空间或装饰被艺术化。可以基于历史或架空设定，不与二者互斥；当代审美修饰不伪称历史实物。
+
+设计会改变朝代判断、建筑制度、服饰形制、礼仪或器物用途时，先读文化依据文件并查适用证据。只调一处曝光、裁切或复用已核实锁定内容，不必重新做历史研究。
+
+### 3. 形成视觉主张
+
+先回答：**这张画面最值得看的关系是什么，观众首先看见什么，古风身份靠什么具体形态成立？**
+
+根据任务选重点：人物神态与身份、关系和权力、生活活动、环境气质、盛景、静物工艺、叙事瞬间。用一句具体主张约束形体、空间、光色和细节密度；“唯美、高级、电影感”不能单独承担主张。允许安静、明快、日常或纯观赏画面，不强加危机与代价。
+
+### 4. 设计相互关联的可见要素
+
+- **空间**：场所用途、进入方式、活动位置、尺度与生活痕迹；人物能使用这里，而非站在一张古建背景前。
+- **人物**：身份、体态、神态、服装轮廓、穿着层次、妆发与饰物；漂亮与可信同时成立，不能用统一年轻面孔替代人物设计。
+- **器物**：为何在场、如何拿取或使用、结构和材质；重点物件有清楚轮廓，其他陈设服务环境。
+- **画面**：主次形体、明暗组织、色块关系、观察位置、焦点和遮挡。不同材质有不同光泽与受力，不统一塑料化或做旧。
+
+先完成整体关系再补纹样。宏大靠尺度、空间组织与人的关系，华贵靠工艺和秩序，诗意靠情境、节奏与余韵；都不能靠装饰数量替代。
+
+### 5. 编译与核对
+
+将设计压成适合当前媒介的一份结果；只写画面可承载的信息。静帧选择一个有意义的时刻，不把连续动作塞进同一幅画；动态交接保留风向、衣料、道具、人物位置与光源等约束，但不在此强制套用视频时间线。
+
+按 [提示词、连续性与检查](references/prompt-and-review.md) 核对事实保护、文化一致性、视觉吸引力、主体可读性、材质结构和交付范围。已生图则以实际像素为准，不能把提示词中“写到了”算作画面通过。
+
+## 交付约定
+
+默认中文、直接匹配用户要的媒介：
+
+- 要提示词：交一条完整可用提示词；必要假设或证据缺口简短附注，不同时给多个重复版本。
+- 要视觉方案：给视觉主张、关键选择及其画面作用、必要约束；需要执行时附提示词。
+- 要图片：显示真实图片，并简短指出影响使用的偏差；无可用出图工具时明确交付停在设计或提示词层。
+- 要诊断：给主要问题、画面证据和优先修正动作；修正稿只在要求或授权范围内提供。
+- 要视觉圣经／系列：记录共同设计语言、人物与空间锚点、允许变化及待确认项；不将某张候选图自动当成母版。
+
+只有调用方要求结构化风格接口时才提供：`style_module: guofeng-visual-director`，以及 `style_route` 中适用的 `culture / medium / scene / character / object / camera / color_light / material / continuity`。字段应填当前设计决定或空缺状态，不填包外路径，不用接口代替用户要看的内容。
+
+来源核实、包结构可用、文字方案自检、实际出图审查、用户接受是不同状态。首版候选不宣称效果稳定；用户的最终审美判断优先。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/references/cultural-grounding.md

@@ -0,0 +1,45 @@
+# 文化依据与创作边界
+
+本文件用于文化基础、历史判断和参考研究。它是设计取证方法，不是历代服饰建筑百科。
+
+## 先缩小问题
+
+围绕当前画面确认必要坐标：时代范围、地域与气候、文化群体、城乡环境、身份和经济条件、活动场合、季节。只核对会影响可见设计的坐标。唐、宋、明、清不是四套现成色卡；同一时代也有地区、阶层、场合与时期差异。
+
+把“古代女子穿什么”改成“当前时期、地域和身份的这位人物，在此活动中采用什么有依据的衣服结构”；把“古代房子”改成“这一用途和经济条件下，建筑如何覆盖、承重、通行和采光”。问题越具体，越容易转成可信形态。
+
+## 证据怎样进入设计
+
+优先查看博物馆藏品说明、考古机构公开材料、建筑测绘及专业研究；历史绘画可用于观察活动和视觉关系，但须确认作者、版本与时代。影视剧、游戏、商业摄影和当代复原可研究视觉手法，不直接证明历史事实。
+
+针对会改变设计的判断，实际打开来源，记录：
+
+`具体问题 → 来源与日期/藏品标识 → 直接支持什么 → 时空与身份范围 → 不能证明什么 → 本画面采用的可见特征`
+
+区分实物记录、研究推断、图像观察与本轮创作。网页摘要、未看过的图片和模型记忆不冒充已核实。来源意见不一致时保留争议；判断对当前画面不重要时采用中性设计，不为填满资料而扩大研究。
+
+文物的现存颜色可能受老化、环境、修复或摄影影响，不能直接等同于当时新制状态。具体复原色须有进一步证据；探索性设计可说明是艺术选择。现存建筑也需核查重建、修缮和后期陈设，不能只看所在地就认定年代。
+
+## 三类常见误用
+
+1. **单一朝代滤镜**：把“唐”等同于红金、把“宋”等同于灰淡。修正为具体身份、材料、用途与情境决定形色。
+2. **地域符号拼贴**：为了东方感拼接未经解释的不同地域建筑、服饰与纹样。先确认各元素来源及在世界中的关系；真实交流背景或明确架空混合可成立，不能一概排斥相似形态。
+3. **饰物代替文化结构**：满挂灯笼、玉佩和书法，却让人物穿法、礼仪和空间失去逻辑。先建立穿着、使用与行动，再选择点睛细节。
+
+## 架空怎样有自由又有辨识度
+
+选择一套有用的文化基础，说明改造的目的：例如轮廓夸张为了人物权力感，空间压缩为了关系张力，装饰重新设计为了原创识别。再追查它是否改变穿着、行动、材料、工艺和世界制度。
+
+无需先写整部世界百科。只为当前画面建立必要规则，并在相关画面复用。允许融合，但让变化遵守同一套设计逻辑；不要把整张图中所有不协调都解释成架空。
+
+用户已明确选择的非史实元素，标作艺术设定并保留；若用户同时要求严格还原，指出冲突，提出影响最小的取舍，不静默删除其审美选择。资料暂不可得时可继续标注为未考据初稿，但不能交付为“准确复原”。
+
+## 已核对的起始来源
+
+以下仅为 2026-09-18 创建本包时实际打开的基础来源；适用结论限于下列范围。它们不是所有项目的强制模板，也不证明本包已做完历代考据。
+
+- [故宫博物院：张择端清明上河图卷](https://www.dpm.org.cn/collection/paint/228226.html)：官方说明将交通、商业与不同身份的生活活动放在同一画卷中，并解释其手卷空间组织。设计启发是让建筑、道路、器物与活动发生关系；这种转译属于本包方法，不是复原整个古代城市的证据。摄影画面另需一致的相机透视。
+- [故宫博物院：文化和自然遗产日系列活动](https://www.dpm.org.cn/classify_detail/247236.html)：其中古建筑彩画相关介绍可作为继续研究装饰功能与建筑身份的入口；具体形制、制度和朝代适用性须查对应建筑资料，不能泛化为全部中国古建。
+- [中国丝绸博物馆：锦程——中国丝绸与丝绸之路](https://www.chinasilkmuseum.com/zz/info_17.aspx?itemid=26320)：展览介绍可用于定位不同历史阶段的织物与服饰研究。具体角色需进一步查相符藏品；单件精美礼服不能代表同时代所有人的日常穿着。
+
+网页可用于查证不等于馆藏图片已获再分发许可。本包只给来源链接与自行撰写的方法，不捆绑馆藏图像。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/references/image-direction.md

@@ -0,0 +1,69 @@
+# 画面与审美设计
+
+本文件服务新画面、构图光色优化、参考转译与审美诊断。规则是可用的判断工具，不是固定画风。
+
+## 先选最有表现力的关系
+
+根据本次目标，挑一个足以组织画面的关系：亲近与阻隔、人物与空旷、仪式秩序与个体、繁忙生活与短暂安静、身体曲线与衣服结构、器物工艺与触感等。它们只是例子；具体答案来自当前简报。
+
+将关系落实到主体大小、位置、距离、朝向、遮挡与环境响应。少量关键关系比满屏典故更容易形成记忆点。用户强调视觉冲击时，比较体量、反差、视点、形状节奏与色块的可用幅度，不默认只是加饱和和特效。
+
+## 构图先看大关系
+
+先检查缩小图像后的主形、明暗群组、动势和视觉重心，再看纹样。主体与环境可以通过亮度、色相、边缘、尺度或方向分离，不要求主体总是最亮或总在中央。
+
+可用的秩序包括对称与轻微破局、长短节奏、疏密交替、重复形体中的差异、曲直关系、虚实与留白。留白可以是有层次的墙、天空、水面或暗部，不等于固定比例的空雾。
+
+繁复场景允许多处兴趣点，但应有观看顺序、组团和局部休息区；简洁场景仍需明确比例与细节支点。不要将“信息少”自动判为高级，或把“装饰多”自动判为华贵。
+
+## 色彩从对象和情境推导
+
+区分物体固有色、照明颜色、反射色与整体影调。先安排大面积颜色的关系，再决定强调色落在哪里、承担什么作用。色彩可以大胆，也可以含蓄；依靠面积、明度、纯度和相邻关系控制，而非固定红金、青绿、黑白或冷暖二分。
+
+同一暖色环境中的主体可用明暗、材质或冷暖细差区别，不必额外塞蓝光。浅色衣服和浅墙可通过边缘、层次与投影分开，不必总改成深色背景。
+
+需要色卡时给少量可执行色值及它们的面积和角色；注明是设计参考，不冒充历史染料或原图测色。色名和数值都不能替代对画面位置的说明。
+
+## 光线解释形体，也决定情绪
+
+先选择适合场景和视觉主张的光源方向、大小与遮挡，再决定对比、曝光和局部反射。光源可在画外，只要来源和作用能解释；夜景可借月天光、油灯、烛火或用户设定来源，但不能让微小火焰无条件照亮远处整个庭院。
+
+明确光照到哪里：脸、手、衣褶、檐下、墙面或桌上关键物。窗格阴影随光源尺寸和距离变化，不能成为每张古风图的固定贴纸。没有场景依据时，不靠巨量光柱、泛光和烟雾证明电影感。
+
+丝织、麻布、皮革、木、漆、金属、石、陶瓷和湿地面须呈现有差异的反光与细节；粗糙度不是全部拉满。暗部保留任务需要的信息，亮部保留重要材质层次；全图均匀补光也不等于清晰。
+
+### 摄影写实：按现场条件检查成像
+
+有可解释的光源仍不足以证明真实。还要检查光源相对于人物的方向、面积与距离、门窗和屋檐遮挡、反射范围，以及同一曝光下人物与环境的关系。低太阳、窗光、烛火、雪地可以产生不同的明暗，不能全部变成精确照亮脸部的美容灯。也不要把“真实”改写成一律阴天、柔光、弱反差或低饱和；强日光和丰富颜色同样可以成立。
+
+皮肤是有色差、血色和柔软组织的人体表面，不是一张均匀的橙褐或蜡白材质。劳动状态不自动等于满额满臂油光，年老不等于刻深每条皱纹，风霜不等于全脸铺污渍。汗、毛孔和细纹只在当前距离和受光下呈现适量信息；不靠强调“真实毛孔”替代观察。
+
+材质和远近细节应有自然差异。金线不让整件织物自发亮，湿地不让每块石头同时闪光，远山与远处建筑不和近景一样锐利；近处物件也不必处处高反差。避免反复叠加“高光、汗光、粗糙纹理、极致细节、电影级层次”等措辞，把正常表面推成渲染效果。背景的真实感要与皮肤一起检查，不能只修人物。
+
+用户认可色彩或故事而否定真实感时，分别锁定已认可部分；重新调整受光、曝光、反光和材料成像，不把“保留色彩”误解为保留原有的假光，也不全图降饱和、压暗、模糊或加颗粒。若首次修订只变柔、变亮，或反而增强夕照、肤色漂白、亮面面积，仍判为未解决，下一次只处理已经看见的主因。
+
+## 观察位置与媒介
+
+摄影画面先选观众和人物、空间的关系，再选景别、机位高度、观察距离、透视和焦点。避免固定“85mm浅景深”套全体人像，或用超广角容纳所有建筑而破坏比例。焦距与光圈数值只是提议，生成图不能据此声称真实镜头实测。
+
+故事关键帧把必要视线、手与道具关系留在可辨尺度。单张图不靠不可见的前因后果证明叙事；纯氛围画面则用环境和状态完成表达，不强塞动作。
+
+工笔、水墨、壁画感、二维动画、插画及三维风格化分别选择形体、线条、设色、边缘、空间和材质逻辑。中国画可以采用非摄影透视；真人电影构图可以借其疏密、虚实与观看节奏，但转换为同一相机下能成立的空间，不机械复制散点透视。
+
+## 参考怎样转成原创设计
+
+先看实际参考，描述其具体作用：例如大暗面中的小亮面、重复柱线形成纵深、暖肤色对灰绿背景、前景遮挡后的视线接触。选择与当前任务相关的关系，替换不属于本项目的主体、服装、建筑和事件。
+
+用户要匹配参考时明确保留的范围；纯局部修改尽量保护已接受的身份、构图和光色。导演、画家或作品名可作为来源说明，执行描述仍需落到形体、光、颜色、机位与材质，不以名字代替设计。
+
+## 诊断时找主因
+
+| 可见问题 | 优先检查 | 可能的局部修正 |
+|---|---|---|
+| 像古装棚拍、人物贴背景 | 人物与环境的光向、接触、尺度、遮挡和观察距离 | 统一光与透视，补清楚的空间接触，不默认增加脏乱 |
+| 华丽但廉价 | 装饰层级、轮廓、材质区分、全图同亮同锐 | 保留主装饰区，强化整体比例和关键工艺，降低无效竞争 |
+| 淡而无力 | 主体分离、大色块关系、亮暗支点 | 选择一个有效对比，不把所有颜色同时提高 |
+| 古风辨识度只靠配件 | 服装结构、建筑比例、器物用途 | 修正整体形态和关系后再留少量饰物 |
+| 有景却无情绪 | 观看位置、人物状态、空间距离、注意力顺序 | 改变一个主关系，不先堆花瓣、雾和逆光 |
+
+修正应针对实际图像证据。未见原图时只能诊断提示词或给可能原因，不能声称检查了像素。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/references/people-and-objects.md

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+# 人物服饰与器物
+
+人物和物件先有身份与用途，再有造型。静态肖像允许纯审美表达，不强制编造戏剧事件。
+
+## 人物轮廓与气质
+
+从年龄、身份、生活环境、身体状态、行为习惯和当前情绪中挑选真正改变外观的因素。不要默认所有古风人物都是年轻女子、书生或贵族；群像须有体态、年龄、职业与轮廓差别。
+
+先确定黑白轮廓和比例：头部与发式体积、肩颈线、衣身、袖形、腰部组织、下摆、鞋履和饰物的主次。辨识度优先来自整体关系，不能靠堆满钗环、刺绣和飘带。
+
+气质落实为可观察的身体语言：视线指向、眼睑与嘴角的张力、颈肩姿态、重心、手的占用和人与物的距离。身份气场不必依赖夸张表情。保留用户指定的浓妆、华服或大胆魅力；神态克制与造型简朴是不同选择，不能互相替换。
+
+## 衣服必须能够穿着与活动
+
+按所选文化基础确认适用的衣层、领口关系、闭合固定、袖口、腰部、下摆与鞋履；具体历史形制先核查，不靠模型习惯命名。明确哪些部位可见、哪些被外层遮住，避免重复领口、缝合到皮肤的领缘和无来源的悬浮布带。
+
+根据活动选择宽松程度和束缚：坐、行、劳作、骑乘、舞动或礼仪站姿对衣服的需要不同。历史人物可以美观，衣料也要与身体接触，产生合理垂坠、压褶、遮挡和拉力。风吹动发丝与衣料时方向和遮挡条件一致；不同重量的织物不必同幅度飘动。
+
+衣物新旧与身份、用途、保养相匹配。普通劳动者也有整洁衣物，华服也可有活动后的褶皱；不把财富等同于全身金属饰品，把贫穷等同于污黑破洞。
+
+## 妆发、皮肤与饰物
+
+历史还原时查相应时期和身份的依据，现代古风写真可采用当代美妆，但标明创作属性。不要把现代审美修饰自动当成错误，也不要把它称为文物级复原。
+
+发型有头部体积、发束走向和固定方式；冠帽、发簪与饰物应有可理解的支撑和重量。金属、玉石、织物、木质的光泽不同；纹饰和镶嵌服从选定工艺，不凭“古典”把所有表面变成镀金浮雕。
+
+摄影人像保留自然面部结构与适当皮肤层次，主光服务眼神和神态；不过度磨皮，也不为证明真实而加无关毛孔和瑕疵。插画和动画则按其既定形体与笔触设计检查，不能用“无真人皮肤”否定风格化作品。
+
+## 器物与陈设
+
+逐件重点物确认用途、使用者、尺度、材料、结构、拿取方式与摆放关系。器物的把、口、足、盖、铰接和重心依功能选用，不要求每件都具备；金属、陶瓷、漆、竹木、纸绢与石材的表现应有区别。
+
+特别检查会影响时代和用途的判断，例如家具高度、照明工具、书写载体、食饮器与兵器类型；需要时核实具体实物。不能仅凭“看上去古老”认定适用。
+
+关键道具先安排可读轮廓与接触姿态，再加纹样。手持、佩挂、置于桌面或托举时须检查接触、重力与遮挡。准确文字若是剧情证据，应单独校对；装饰字不要密布成无法辨读的假书法。
+
+## 正式资产与普通画面的区别
+
+用户要普通肖像、电影静帧或单角度设计时按该画面交付。要求完整人物参考资产且未指定版式时，可采用正面全身、90度侧面全身、背面全身和头部至腰部中景；四视图保持身份、服装与尺度一致，中景不变成只剩脸部的近景。用户指定的版式优先。
+
+器物参考图选择能说明轮廓、结构和使用方式的必要角度；空场景参考保留空间锚点。资产视图的清楚可读与电影画面的戏剧构图分别验收，不相互冒充。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/references/prompt-and-review.md

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+# 提示词、连续性与检查
+
+用于把已设计的视觉关系变成可用提示词，并核对实际图片。字段是内部覆盖工具，用户未指定时不强制机械分段。
+
+## 编译一份有效提示词
+
+用自然语言按观看顺序组织适用内容：
+
+1. 输出媒介、画幅与画面主张；用户锁定的内容放在清楚位置。
+2. 主体身份、当前状态或单一动作时刻，人与物之间的关键关系。
+3. 必要的时代文化基础、服饰结构或空间形态；只写这幅图会表现的部分。
+4. 主体位置、景别、观察方向、距离关系和遮挡；把“好看的构图”具体化。
+5. 大面积明暗与色块、光源方向和重点落点、焦点及材质差异。
+6. 少量必要的生活痕迹、环境响应及连续性锁定。
+7. 针对本图的禁止变化和已知失败项。
+
+按需求省略不适用内容。中性器物图无需人物故事；空景无需捏造主角；浅景深遮住必要信息时改用适当清晰范围。避免互相冲突的摄影、插画、三维渲染词同时控制同一画面。
+
+负向约束只处理真实风险：服装层次粘连、错误手物接触、重复人群、结构断裂、关键部位裁切、未经允许的时代或身份变化等。不要把“无艳色、无CG、无夸张”写成跨媒介通用禁令。图片中的字若必须精确，保留单独核对或后期排版的余地。
+
+不虚构任何平台的参数、模型能力或参考图权重。目标平台未知时交平台中性描述；用户点名平台时核实当前支持方式再适配。比例请求若工具不能精确支持，说明实际结果，不把近似像素比例标成严格一致。
+
+## 三种多图关系
+
+- **同画面视觉变体**：保留人物、地点、动作和已定身份；只改用户允许的构图、色光、时段或媒介等变量。对照要能解释差异。
+- **同故事不同画面**：维护人物外观、服装结构、核心道具、空间拓扑和时间线。允许有因果的状态变化，不要求每图同一姿势、光线和构图。
+- **独立故事／独立方案**：各自建立主体、关系或活动、空间用途、视觉重心和审美主张。不能只给同一名女子换五个背景，也不强求每张都出现冲突。
+
+参考图按用途指定：身份、服装、空间、器物、光色或构图。一次参考不默认锁定全部属性。没有参考支持时不要承诺精确跨图一致性。
+
+## 实际生成与编辑
+
+用户明确要图后，检查当前可用工具并遵循该工具的输入要求。查看用户参考，再提交完整、与最终设计一致的实际提示词；不能在工具调用时删掉关键身份和空间信息。
+
+生成后打开输出并逐图查看；文件存在、分辨率合格和文字提示词齐全不等于视觉成功。局部修正先列清要改什么、保留什么，再提交编辑。没有匹配的编辑能力时说明限制，不假装用文字已完成修图。
+
+一次明确请求授权范围内的明显偏差可定向修订。连续失败时重新判断成因，避免重复同一提示词；涉及额外付费、未授权外发或扩大批量时按当前权限处理。内部检查通过且已满足范围时交付；残留限制如实指出，不无上限生成。
+
+## 验收看真实关系
+
+按本次任务选用以下检查：
+
+- **事实与范围**：用户指定的身份、人数、时期、动作、空景/人像/资产版式和画幅目标是否保留；是否擅自加入仙侠机制或新剧情。
+- **文化一致性**：形制与选定依据一致吗；混合设计有无说明；未经考据的细节是否被误标为准确还原。
+- **审美与可读性**：缩小观看是否仍有清楚的主形、节奏和视觉重心；重要神态、手势、器物和关系是否看得见；装饰有没有压过主题。
+- **空间与身体**：透视、相对尺度、门窗通路、支撑、重心、手物接触、衣物穿着与饰物固定是否成立。
+- **光与材质**：光向和遮挡一致吗；皮肤、织物、漆木、金属等是否有区别；暗部、雾和高光是否遮没重要内容。
+- **现场摄影可信度**：在同一光照与曝光下，脸、手、服装和环境是否相容；有没有美容补光、蜡色肤面、夸大汗光、雕刻纹理或远近同锐。不能只因写了光源、毛孔、摄影机和“写实”就判通过。
+- **媒介成立**：摄影路线是否像可信摄影；绘画、动画或风格化路线是否遵守自身语言，未被不适用的写实要求拉回去。
+- **多图关系**：同故事锚点有没有漂移；独立故事有没有退化为换色换景；变体有没有越界改身份。
+
+只报告实际检查过的项目。发现主要问题时说明失败位置与修正原因，不用总分掩盖未通过的关键项。
+
+按用户反馈分别记录接受维度与否定维度，例如“色彩与故事感接受，光影、肤色和环境真实感未通过”。部分接受不能转成整图通过。对照修订前后查看实际像素：保留项是否改变，否定项是否改善，有没有新增反光或曝光问题；变柔、变亮、变细致本身都不是通过证据。修订图仍由用户验收，不让内审自动替代审美接受。
+
+## 状态与交接
+
+区分“提示词已完成”“图片已生成”“内部可见审查通过”“用户已接受”。文字自检不等于真实图像测试，单张图通过不等于系列连续性或技能稳定。
+
+后续制作需要的最小交接是：已确认的主体与空间、媒介和视觉主张、形体/服饰/器物识别锚点、光色材质关系、允许变化、尚未确认项。只有获用户确认的决定才成为后续锁定；不要求对方安装本包之外的文件或技能。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/guofeng-visual-director/references/world-and-space.md

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+# 空间与生活设计
+
+用于建筑、聚落、庭园、自然环境和故事场所。以下是按用途选用的设计问题，不是每次必须全填的表格。
+
+## 从使用建立空间
+
+确定谁在此生活或工作、要完成什么、物资和人从哪里进入、哪些区域可达、哪里发生停留与阻挡。由用途、气候、材料条件、财富、维护和历史事件推导可见布局。
+
+建筑先有整体比例、体量与结构秩序，再有装饰。需要判断的可能包括屋面与排水、柱梁和支撑、台基与地面、门窗与围合、尺度和进深。具体构造及等级制度按当前文化依据核实，不用一个“飞檐斗拱”覆盖所有类型。
+
+把场景想成可进入的地方：门口通向何处，人在何处停下，廊道能否连续，家具是否占用通路，水岸如何接地，楼梯有没有落点。为了好看增加的结构也必须服务整体空间。
+
+## 按场所寻找不同的视觉关系
+
+| 场所方向，非穷尽分类 | 先设计的关系 | 避免 |
+|---|---|---|
+| 宫廷、官署、礼仪空间 | 准入、轴线与侧向通道、等候和接近的距离、座次和尺度 | 所有场所套同一金色大殿；用满屏龙纹代替权力关系 |
+| 市井、作坊、码头 | 生产和交易、储存、装卸、通行、不同人群的活动节奏 | 每个摊位复制同样货品；没有功能的拥挤群演 |
+| 家宅、园林、书斋 | 家庭使用、内外关系、借景与遮挡、日常物件的取放 | 任意插入月洞门、荷池或竹林；只剩供拍照的布景 |
+| 驿路、关隘、边地、村落 | 地形、气候、生计、运输、庇护与维护条件 | 一律黄沙破败；把边地群体做成同一种异域装束 |
+| 寺观、祭祀场所 | 明确的宗教传统、仪式用途、进入方式与物件关系 | 把不同信仰造像、器物随意混装；拿宗教符号当万能气氛饰品 |
+| 山川、田野、荒地、纯空景 | 地势、水文、植被、路径、季节和人类使用痕迹是否需要 | 每张加亭子与远山；为空景擅加人物、冲突或剧情 |
+
+未列出的场所按相同的用途推导法处理，不能被表格限住。
+
+## 生活感来自因果
+
+采用有来源的少量痕迹：常触及处的表面变化、使用中的物件位置、受潮或暴晒部位、清扫与维修、物资的新旧差异。痕迹应与经济和维护状态相符。新造、整洁、节庆、贫寒、繁忙和废弃场景有不同状态，不能统一刷污渍。
+
+群众各有小范围目标和可用空间。选少量能识别的活动分布在不同层次，避免所有人同步行走或看镜头。故事主体附近控制信息密度；重要行动不能被景观和群众遮住。
+
+## 尺度、空间与画幅
+
+选择对当前内容有用的尺度锚点，可以是人、门、家具、车船、台阶或树木；用户要求无人空景时不强塞人物。宏大画面保留可辨的中间尺度，避免只剩无限复制的小楼。
+
+横幅可以容纳横向人物关系、街道活动或山水展开；竖幅可以强调身段、门窗垂直关系、楼层与高差。按信息重新组织，而非先做一张图再硬裁。画幅数量由用户请求决定，不从比例推断系列。
+
+摄影路线采用一个可理解的观察位置、透视与遮挡；绘画路线可以采用多视点，但须是主动艺术选择。不要一边要求真人镜头，一边让建筑同时出现互不兼容的多面视角。
+
+## 连续场景只锁必要锚点
+
+相关画面记录入口、活动区、关键建筑或地形、主要方向和光源关系。机位可以变化，门窗与出入口不能因此换位。同地点跨时段允许光照、天气和使用状态变化，需交代变化而非误判成不连续。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/hard-sci-fi-visual-director/SKILL.md

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+---
+name: hard-sci-fi-visual-director
+description: Script-first visual design for original hard-science-fiction worlds, scenes, film stills, visual bibles, nonhuman life and ecology, mecha and combat-mecha families, future equipment, cockpits and UI/HMI. Use for 硬科幻视觉、科幻场景与世界观、外星生命、原创机甲与巨兽、未来界面与装备、摄影质感、提示词优化诊断 and requested images. Match source facts, evidence, physics and visual authorship to the current task; exclude franchise copying and actionable weapon construction.
+---
+
+# Hard Sci-Fi Visual Director
+
+Preserve the current story and approved identity while making the selected science, world, behavior, camera and light visible. There is no cross-project palette, era, weather, protagonist, lens, body plan or industrial silhouette. Engineering explains the selected form; it does not replace visual authorship.
+
+## Choose the actual task before loading
+
+| Task | Read and deliver |
+|---|---|
+| A bounded question, known parameter or one visible defect | Read the relevant topic below; answer that question with the needed evidence or one causal correction. Do not create a world bible, research report or full checklist. |
+| A local prompt/image correction within an approved design | Read the current target, affected source passage and locks. Reuse valid evidence, change only the named variables and check their consequences. Load only the relevant topic; research a newly introduced mechanism or unsupported claim, not the whole world again. |
+| A new bounded scene, asset or visual proposal | Read [source-to-visual derivation](references/script-to-visual-derivation.md), identify the open decisions, then load only the affected professional topics. Use the research engine for design-changing gaps; do not inflate one scene into every system or output card. |
+| A complete world, visual bible, system/family or substantial redesign | Read [full design workflow](references/full-design-workflow.md), source derivation and [research engine](references/inspiration-engine.md), then the applicable topics below. Retain the complete method and evidence gates; do not substitute a shallow summary. |
+| Generate from an already decided design, or inspect an existing image | Preserve the design; read [aesthetic audit](references/aesthetic-audit.md) and the relevant image/continuity topic. Generation requires the user's request and actual available tools. A new design still follows its design route before generation. |
+
+A diagnosis alone does not request rewriting or generation. Current “continue” inherits the active medium and stage. Same-context references already read and unchanged can be reused; task changes load the gap. Do not reopen accepted choices merely to populate a template.
+
+## Professional topics: load only the applicable contract
+
+- Source authority, dramatic function, facts versus open gaps and single-frame capacity: [script-to-visual-derivation.md](references/script-to-visual-derivation.md).
+- New design-changing inference, evidence search, speculative amplitude and no-copy mechanism transfer: [inspiration-engine.md](references/inspiration-engine.md). Reuse current approved evidence within its scope; actual new gaps still require opened sources before final design claims.
+- Affected gravity, medium, energy, heat, load, motion or failure: [physics-and-engineering.md](references/physics-and-engineering.md).
+- Location, inhabited world or multi-shot geography: [scene-world-design.md](references/scene-world-design.md); add [scene-routes.md](references/scene-routes.md) only for matching environmental constraints. A neutral isolated asset needs no invented geography.
+- New or changed style, light, color and exposure: [style-color-system.md](references/style-color-system.md). Photographed live-action/hybrid routes also use [live-action-cinematography.md](references/live-action-cinematography.md); illustration and UI do not inherit practical-set requirements.
+- Reference alignment, composition or visible image diagnosis: [cinematic-image-direction.md](references/cinematic-image-direction.md).
+- People, materials, tools, vehicles, habitats or equipment: relevant parts of [production-design.md](references/production-design.md).
+- Nonhuman organism, ecology or biological environment: [organism-and-ecology.md](references/organism-and-ecology.md). Giant organisms add [mecha-and-megafauna.md](references/mecha-and-megafauna.md); giant machines use the latter without inventing biology.
+- Combat-mecha identity, body rhythm, silhouette or repair: [combat-mecha-form-direction.md](references/combat-mecha-form-direction.md) after the mecha route. Form and two or three cooperating identity anchors precede engineering detail; preserve the current stage's single-author or family contract.
+- Visible cockpit, indicator, alarm, control, FUI/HMI or interaction: [future-interface-systems.md](references/future-interface-systems.md). Only applicable task, body/system relation and feedback enter the design.
+- Weapon, defense or rescue/hazard equipment defined by effect/protection/logistics: [future-weapon-systems.md](references/future-weapon-systems.md). Ordinary civilian equipment uses production design; no automatic military subsystem.
+- Related frames, approved-frame derivation, bible continuity or CONTACT-SHEET: [visual-continuity.md](references/visual-continuity.md).
+- Actual direct images and image diagnosis: [aesthetic-audit.md](references/aesthetic-audit.md). Examples or validation sets: [prompt-examples.md](references/prompt-examples.md), only when requested.
+
+All professional references stay inside this package. Names and examples are aids, not a hidden scene menu or instruction to read every topic.
+
+## Constraints that remain in every mode
+
+1. Current user corrections, the named source/beat and approved locks outrank research, proposals and examples. Keep FACT, necessary DERIVATION, reversible PROPOSAL and LOCKED decisions distinct. Generated images and internal scores do not become canon or approval.
+2. Research concerns a real open decision. Separate verified fact, constrained extrapolation and explicit hypothesis; open authoritative sources for new design-changing evidence. Reuse only still-applicable approved evidence. If a source cannot be checked, preserve the unresolved boundary and the existing offline-preliminary rule; do not invent verification.
+3. A scientific constraint conflicting with story is an explicit choice for the user, not silent script repair. Fictional rules have visible costs and consequences; real weapons guidance stays non-actionable.
+4. A single still holds one compatible moment. Put the selected action, discovery, relation, place, aftermath or asset function in visible evidence at the intended scale; UI text and lore cannot rescue missing composition. Do not force a crisis, person, operator, crowd or sacrifice into an unrelated task.
+5. Keep world geometry, light, identity, contact and entering/exit states continuous. Form, material and detail follow current purpose and history, not automatic grime, LEDs, fog or franchise silhouettes. Strong color, silence, wonder, intimate scale and visual extremity remain available.
+6. Preserve approved bodies and user-directed camera decisions. New combat-mecha form is judged first by readable silhouette and body rhythm; family divergence cannot be cosmetic recoloring. Referenced designs supply relationships and mechanisms, not recognizable parts to collage.
+
+## Deliver, check and repair at the requested scope
+
+Lead with the requested answer, design, prompt or actual image. A prompt request gets one complete copy-ready prompt and only scene-specific necessary constraints; a diagnosis gets dominant failure, visible evidence and one causal correction. A full design package uses the full-workflow output contract. Mecha form repair stays at the form stage until its contract permits expansion; related multi-image work keeps its actual bible and stable identities.
+
+Keep the source/gap cards and checks internal unless requested or needed to explain an unresolved choice. Apply affected professional gates once, repair concrete failures and recheck affected consequences. Do not rerun the entire twenty-step world workflow for wording, crop, exposure or a local material change that leaves its evidence and identity intact.
+
+Text consistency, source verification, actual generation, visible inspection and user acceptance are separate states. A missing tool or unverified hard constraint stays explicit. Do not claim reduced reading, a successful image or an internal score proves speed, semantic accuracy or the user's taste.

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/hard-sci-fi-visual-director/references/aesthetic-audit.md

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+# Visible-image aesthetic audit
+
+Use this audit on the generated image, not on the prompt. Prompt compliance is not image quality.
+
+## Status vocabulary
+
+- **Structure ready**: prompt and references pass internal gates; no image judgment yet.
+- **Generated**: an image file exists; quality is unknown.
+- **Internal pass**: the image passes this audit; the user has not accepted it.
+- **Delivered for review**: the user can see and judge the image.
+- **User accepted**: the user explicitly approves or adopts it.
+- **Failed / revise**: one or more vetoes or core criteria fail.
+
+Never upgrade internal pass or file existence to user accepted.
+
+## Vetoes
+
+Any one of these blocks a pass regardless of total score:
+
+1. The image fails its selected function-specific visual contract: action is unreadable, discovery lacks observer/evidence/attention shift, relationship lacks spatial or gestural change, establishing lacks world function/active condition, aftermath lacks trace/new state, or an asset reference lacks identity/function/scale/applicable interfaces or relationships. A narrative frame is only a showroom pose or wallpaper.
+2. A critical environment error: atmospheric fog in vacuum, wrong gravity direction, Earth weather on an incompatible world, impossible open flame, or unsupported dust/smoke behavior.
+3. For photographic, miniature, or sensor-capture routes, no plausible capture location or contradictory perspective; for illustration, animation, or reference routes, contradictory projection, viewpoint, scale, or spatial construction.
+4. For a photographed live-action/hybrid route, the frame has no credible source-required photographed anchor or coherent optical integration and instead reads as a clean CG render; practical contact is required only when the beat contains contact. For another route, the image contradicts its declared medium or production logic.
+5. Important light or color has no source; multiple incompatible rim lights or universal teal-orange grade dominate.
+6. Functional conflict among thrusters, radiators, arrays, docking ports, people, and access paths.
+7. People float, brace, walk, use tools, or handle mass in a way that contradicts gravity and inertia.
+8. Random glowing seams, decorative holograms, cloned people, plastic skin, or uniform greeble becomes the main evidence of science fiction.
+9. A giant machine or organism has no believable support/contact system, mass transfer, motion limit, environmental response, or three independent scale proofs.
+10. A giant mecha has no readable source-applicable power/heat and operating, command, automation, or occupied-body relation, or a giant organism has no readable source-applicable support, exchange, energy/homeostasis, or habitat logic; spectacle replaces the system.
+11. A weapon/defense/rescue-hazard family is a contemporary gun/tank/missile silhouette with cosmetic panels, or lacks the source-applicable fields needed to explain its effect, responsibility, energy/load, lifecycle, safety, body/agency, or environmental relation. Ordinary civilian equipment is judged by its actual function and must not be forced into weapon criteria.
+12. A machine, creature, cockpit, weapon, armor, ship, color identity, or confrontation composition is recognizably copied from an existing franchise.
+13. A location is generic wallpaper because the source-required function, spatial relation, environment, active life or causal emptiness, history, institution, scarcity, or abstract/natural condition that should distinguish it is absent. Do not require all categories or invent operations/institutions for natural, empty, ceremonial, abstract, or asset-only spaces.
+14. Style or color is carried by a route name, director/film reference, universal palette, equal-weight style mixture, global grade, or state color disconnected from source, medium, material, exposure, and the applicable body/system/world action or state.
+15. In related multi-image work, topology, axis, light direction, color semantics, material history, equipment-family grammar, damage, deployment, or story state resets without a declared transition or scene-bible revision.
+16. The selected imagination amplitude is II–III, but after removing source names, UI, grade, and setting labels the image can still be replaced by present-day industrial footage or a familiar animal without breaking the source beat; or the selected speculative rule does not create at least three relevant visible consequences in the frame/world design.
+17. With the title, prompt, captions, UI text, numbers, and symbols hidden, the image fails the selected function-specific evidence and information-order contract at the viewing time intended by the screenplay. The three-second action chain applies only to beats designed for immediate causal comprehension.
+18. In a narrative/world frame, a critical state exists only on a screen or only in explanatory text; the physical mechanism, flow, material/light change, person, institution, or environmental consequence supplies no second evidence. In an explicitly isolated UI/HMI asset, the declared system/task model has no independent internal redundant cue beyond color or tiny text.
+19. A humanoid combat mecha's identity exists only in a removable weapon, hero pose, generic armor, glowing chest, red warning light, muzzle effect, or explanatory text; with those hidden, the body has no source-specific combat responsibility, humanoid load chain, threat/protection geometry, survivability, sensing/governance, actuation, or state.
+20. A plural independent combat-mecha request repeats one body, head/chest/shoulder/waist/leg grammar, centered composition, or light setup with changed equipment, damage, color, weather, or background; or an earlier example set leaks into the new result as an unjustified fixed count, scene order, body, palette, pose, or composition.
+21. A story-relevant interface is an isolated black rectangle, bare percentage, random code, seven-segment display, accidental retro panel, decorative grid, or tiny generated text that does not map to the declared task/system and agent or governance relation.
+22. The key interface contradicts its source-derived body/sense/task/authority chain, real orientation/node/flow/timing, lacks modality-appropriate acknowledgment and independent system evidence for an irreversible action, or could move unchanged to another scene without losing meaning.
+23. A story-important nonhuman organism or ecology is presented as science-derived when it is only hypothetical, or its identity depends on a familiar Earth-animal silhouette, engineered panel shell, decorative blue/cyan emission, LED-like dots, tentacles, translucency, or equal-detail surface with no habitat, energy, sensing, movement/growth, material, or ecological cause.
+24. A frame whose purpose includes validating a new combat-mecha identity crops, occludes, darkens, or miniaturizes every declared author-identity anchor so the head/sensor relation, body-plan rhythm, and second-silhouette/load relation cannot be judged at normal viewing size. Cinematic incompleteness is allowed; invisible design evidence is not.
+
+## Eight-axis score
+
+Score each axis 0, 1, or 2 against the selected source function, production route, deliverable, and imagination amplitude. Inapplicable spectacle, scale, personnel, service, failure, interface, or weapon fields are not missing evidence. Minimum internal candidate threshold: **14/16 with no veto**.
+
+For a new or open combat-mecha identity, axis 8 is non-compensable and must score at least **1**. When the user explicitly requests bold/flagship design or the selected imagination amplitude is II–III, axis 8 must score **2**; higher scores on the other seven axes cannot compensate. If the visual thesis can only be repeated as a mission/engineering field checklist and has no attractive, memorable, source-specific visual relationship, mark `Failed / revise` even when the engineering is coherent.
+
+### 1. Dramatic function and visual reading
+
+- 0: the selected action, discovery, relationship, establishing, aftermath, or asset-reference contract is absent or contradicted.
+- 1: the intended function exists but one essential evidence link, information step, or emotional/spatial relation is weak.
+- 2: the source beat's function, intended information order, and emotional or physical change are clearly expressed without explanatory text.
+
+Score this axis with all UI text mentally hidden. A readable number or caption cannot raise an otherwise unclear beat.
+
+### 2. Hard-science causality
+
+- 0: major physics error or pure decoration.
+- 1: environment is broadly plausible but causality is generic or partly invisible.
+- 2: every important physical claim fits the stated medium, gravity, energy, heat, load, biology, and motion that apply, with enough visible causal evidence for the selected function. A quiet observation or neutral asset need not invent a second event.
+
+### 3. Production-route coherence
+
+- 0: the image contradicts or cannot reveal its selected production route.
+- 1: the route is broadly legible but contact, layering, scale, material, optical/stylistic integration, or extension is weak.
+- 2: practical/extension layers form one photographed reality for live action, or line/value/material/space form one deliberate and source-appropriate system for animation, illustration, miniature, or asset reference.
+
+### 4. Viewpoint, projection, and optics
+
+- 0: contradictory viewpoint, projection, perspective, scale relation, or viewer access for the selected medium.
+- 1: coherent viewpoint and projection but generic, informationally weak, or emotionally remote.
+- 2: the selected route's viewer, camera, or sensor relation—plus lens, depth, exposure, and obstruction where photographic optics apply—places the audience in the exact perceptual relation required by the beat.
+
+### 5. Motivated light and color
+
+- 0: unmotivated multi-color lighting, artificial HDR, or template grade.
+- 1: source is plausible but too polished, flat, or decoratively colored.
+- 2: source, shadow, bounce, black level, highlight, color causality, and story role are coherent; restraint or intensity matches the screenplay rather than a house look.
+
+### 6. Functional production design
+
+- 0: random sci-fi shapes and greeble.
+- 1: major systems imply function but one source-relevant load, body relation, access/service, heat, biology, interface, or condition remains vague.
+- 2: the applicable shape, material, body relation, access/service, condition, power, heat, biology, and interface evidence reveal how the system or place operates without adding unused systems.
+
+When UI is present, a score of 2 also requires a system-specific carrier/signaling medium and topology, source-derived perception/input or governance/system coupling, task hierarchy, independent feedback, applicable degraded logic, and large readable state relations rather than decorative data.
+
+### 7. Body, behavior, and material reality
+
+- 0: plastic/mannequin bodies, cloned groups, impossible contact, behavior that contradicts the environment, or generic materials with no world relation.
+- 1: bodies, objects, and materials are plausible but the source-specific attention, relation, use, stillness, history, or environmental response is weak.
+- 2: people, organisms, objects, traces, and materials express the selected beat through specific body mechanics, gaze, gesture, relation, contact or absence, localized history, and environment response.
+
+### 8. Source specificity, visual authorship, and requested ambition
+
+- 0: the image repeats a common genre/franchise template; for a new combat mecha, its small-scale silhouette, head/chest/waist/pelvis/limb rhythm, or identity anchors are absent, awkward, mutually conflicting, or overwhelmed by industrial detail; or the result fails the requested imagination amplitude.
+- 1: the result is coherent and has a source-related distinction, but one important world, silhouette, body rhythm, operation, scale, or identity relationship remains generic or over-engineered.
+- 2: the dominant function-specific relationship is visually desirable and memorable before explanation; for a new combat mecha, one coherent silhouette and two or three cooperating identity anchors remain unmistakable without weapon, color, marks, effects, or setting. The design system and all scale evidence the source actually needs are specific to this beat and requested amplitude without borrowing an existing franchise. Independent scale proofs and contemporary-substitution resistance are required only when giant scale or amplitude II–III makes them relevant.
+
+## Conditional extension score
+
+Apply these checks inside the same eight axes; do not create bonus points beyond 16.
+
+- **Giant mecha**: axis 2 requires support, inertia, power/heat and environmental response; axis 6 requires mission-derived frame, actuation, operating/governance/automation relation, and only the source-relevant lifecycle/service or degraded logic; axis 7 requires a readable command/load-transfer or occupied-system relation when the beat uses it; axis 8 requires three scale proofs and an original silhouette.
+- **Humanoid combat mecha**: axis 1 requires a readable source-derived combat responsibility/current state and affected or protected relation; axis 2 requires humanoid load chain, support, reaction, inertia, energy/heat, actuation, and environment response; axis 4 requires a camera inside the story relation rather than a default collectible/model view while retaining the declared minimum identity anchors when design validation is in scope; axis 6 requires responsibility, threat, survival, sensing/governance, armor/inner-frame hierarchy, and second silhouette to strengthen the already selected form; axis 7 requires credible crew/automation, pose, contact, state, and material history; axis 8 requires a memorable small-scale silhouette, deliberate whole-body rhythm, two or three cooperating identity anchors, and project-specific author grammar without franchise form, generic industrial-walker or armored-humanoid substitution, earlier-example leakage, or identity evidence hidden by the shot.
+- **Human–mecha scale relation**: axes 1 and 4 require the chosen scale to carry the source's tactical and emotional relation; axes 2 and 7 require support, danger radius, operator/access relation, human burden, and environment response to agree; axis 8 requires appropriate connected scale proofs. A tiny person added only as a ruler fails, but a person is not mandatory when vehicles, doors, platforms, buildings, ships, travel time, or another known relation proves scale more truthfully.
+- **Independent combat-mecha set**: score each frame and the set. The set fails regardless of individual totals when `weapon-hidden` or `skin-hidden` reveals the same body with new packs/skins, when story responsibility and light logic do not materially diverge, or when no design contract/divergence matrix existed before the prompts and images.
+- **Nonhuman organism/ecology**: axis 2 requires separate story/science status plus consistent habitat, energy/ecological role, exchange, sensing, movement/growth, and environment response; axis 6 requires organization and regional material behavior derived before silhouette; axis 7 requires source-specific attention, response, contact, stillness, or withheld behavior; axis 8 fails when familiar-animal anatomy, engineered-shell grammar, decorative emission, or a transplanted Earth ecology supplies the identity. Giant scale additionally uses the megafauna checks.
+- **Megafauna**: axis 2 requires support medium, change/motion limit and environmental response; axis 6 requires organization/body plan derived from habitat and life process; axis 7 requires the applicable material, exchange, energy, sensing, fatigue/dormancy, growth, healing or injury behavior without forcing Earth-animal anatomy; axis 8 requires three scale proofs and no enlarged-familiar-organism template.
+- **Ordinary future equipment**: axis 2 requires its actual function and applicable energy/load/environment consequence; axis 6 requires only the interfaces/relationships, energy/data, logistics/lifecycle, service, protection, and state the brief uses; axis 7 requires role/body/environment relation when embodied; axis 8 requires a source-specific, non-franchise system family without inventing combat or modular electronics.
+- **Weapon/defense/rescue-hazard equipment**: axis 2 requires effect, reaction/heat and source-relevant consequence; axis 6 requires applicable echelon, governance/authorization, power/data, logistics, service, protection/safe envelope, and current state; axis 7 requires role/body/environment relation when a user is present; axis 8 requires a non-contemporary, non-franchise system family.
+- **Scene and world**: axis 1 requires the selected function to need this place and moment; axis 3 requires one connected geography appropriate to the production route; axis 6 requires only the scarcity, institution, logistics, culture, or history that the source makes relevant; axis 7 requires source-appropriate purposeful activity, relation, stillness, or causal emptiness; axis 8 fails if `generic sci-fi base` can replace the location without losing logic.
+- **Style and color**: axis 4 requires the selected style thesis to become a camera/viewer relation rather than a label; axis 5 requires a coherent source hierarchy, only the active color responsibilities, visible exposure, and source-relevant continuity/transition; axis 6 requires material color and aging to remain causal; axis 8 requires the palette to belong to this world rather than a familiar grade.
+- **Multi-image continuity**: apply every axis to both each original frame and the story-order CONTACT-SHEET. An adjacent frame cannot pass if its incoming/outgoing state, spatial axis, light/color state, material/damage history, or family identity drifts without cause.
+- **Future interface in a narrative/world frame**: axis 1 must pass the selected visual contract without reading UI text; axis 2 requires interface and physical/world state to agree; axes 4–6 require source-derived modality/governance, production behavior, task-specific topology, critical confirmation, feedback, and applicable fallback. **Isolated UI/HMI asset**: use the declared task/system model, internal redundant cues, modality, state coverage, and production constraints instead of external physical/world evidence. In either case axis 8 fails if it can be transplanted unchanged to another task/world.
+
+For mixed mecha–organism frames, both subjects must pass their conditional checks. One convincing subject cannot hide the other's failure.
+
+## Blockbuster still benchmark
+
+Use this section only when the user requests a blockbuster-scale live-action film-still target. It is a visual-development benchmark, not a claim of finished feature-film quality. Other selected production routes use the same eight axes without being forced into this look.
+
+Treat the result as multiplicative: `physical credibility × production credibility × design ambition`. A polished research illustration with low design ambition cannot pass as a blockbuster still, and imaginative spectacle with broken physics or no photographed anchor cannot pass either. The score threshold never overrides the imagination-amplitude veto.
+
+- **15–16**: strong cinematic still candidate; ready for user judgment and possible targeted refinement.
+- **14**: internal pass; one secondary weakness remains visible.
+- **11–13**: competent concept or previsualization image, not yet a convincing film still.
+- **8–10**: generic science-fiction concept image.
+- **0–7**: failed direction.
+
+Even a 16/16 static image cannot prove performance across motion, editing, sound, continuity, production design, or theatrical projection.
+
+For a high-imagination validation batch, require at least 80% of frames to pass the contemporary-substitution test. If three or more frames can be summarized as “workers beside gray equipment performing maintenance,” reject the batch direction even when individual craft scores are competent.
+
+## Large-scale live-action quality translation
+
+Do not score direct imitation of a named filmmaker. Judge these observable properties instead:
+
+- spectacle and the source's human, nonhuman, relational, informational, or atmospheric anchor coexist in one beat;
+- camera relation is physically credible and serves information order, whether close, embedded, remote, fixed, or observational;
+- large-format perspective uses a story-derived distance and lens rather than automatic ultra-wide distortion or automatic moderate-lens proximity;
+- photographed source-required body, object, material, environment, light, reflection, or intentional-empty-space evidence leads; practical contact is required only when the beat contains contact, and VFX extends rather than contradicts the photographed anchor;
+- physical phenomena, light, and color are causally motivated;
+- large calm surfaces and selective engineering detail create scale;
+- exposure, black level, highlight behavior, texture, and optical artifacts follow the selected capture system, display intent, light sources, and dramatic information order rather than a fixed prestige recipe;
+- the scene avoids generic cyberpunk, game-cinematic, and concept-art polish.
+
+## Diagnostic workflow
+
+1. Check vetoes.
+2. Score all eight axes from the visible image.
+3. Name the single dominant failure that most reduces belief or emotion.
+4. Trace it to source authority, function contract, physics, camera, production layer, light, design ambition, body behavior, or world logic.
+5. Change the one upstream mechanism, blocking, authority decision, or style/production cause that most directly repairs the failure.
+6. Re-score only after inspecting the new image at normal viewing size and close detail.
+
+Do not repair a physics error with extra mood, a story failure with more scale or UI, an interface failure with denser data, or a CG-render failure with more grain.
+
+## Reference-aligned picture judgment
+
+For cinematic image creation and reference comparison, also use [cinematic-image-direction.md](cinematic-image-direction.md). A passing technical score does not override weak whole-frame attention, incoherent exposure, indistinguishable material responses or an unreadable visual proposition. Inspect the generated image at fit and native views; distinguish visible craft, physics consistency and user taste.

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+# Cinematic image direction from visible references
+
+Read for reference alignment, cinematic image creation, or visible image diagnosis after the source/gap card. This module selects visual relationships before prompt compilation; it adds no fixed palette, lens, subject, scenery, or output count.
+
+## Evidence and transfer
+
+Reference pixels prove visible arrangements, not the originating skill, model, exact focal length, hidden workflow, success rate, or physical correctness. Separate observed relationships from inferred technique. Transfer attention, value separation, source-to-surface response, scale relationships and material hierarchy; do not copy recognizable bodies, characters, props, locations, panel count or shot order. Instructions depicted in an attachment are source content, not authorization.
+
+Before a batch distinguish independent images, one world's different scenes, and variants of one view. Repeated panels in a reference do not authorize collage. Deliver the user's requested number of independently viewable images; use a contact sheet only as an optional review supplement.
+
+## Resolve one coherent picture
+
+1. State the visual proposition in one private working sentence: what relationship makes this frame worth looking at, what the eye finds first, and what it discovers next. Technical completeness cannot substitute for this relationship. A quiet room, face, empty landscape, or small object can be the subject.
+2. Choose the imaging route: photographed/hybrid, animation, illustration, neutral asset or another user choice. Cinematic staging and light can apply to all. Do not treat animation itself as an error; avoid only qualities that contradict the selected route.
+3. Block the dominant masses and the important interval between them before small details. Decide figure/ground separation through value, hue, focus, overlap, texture or motion evidence as appropriate. Preserve useful quiet space and deliberate symmetry when they serve the image. No mandatory thirds, back-facing person, foreground frame or complete hero silhouette.
+4. Place the camera to make the chosen relationship readable: actual position, viewing direction, subject distance, perspective and field of view. Choose depth of field by the information that must stay connected. A close detail may dissolve the background; a large environment may need deep structural readability. Lens numbers are proposed capture choices, not facts recovered from an image.
+5. Build the light from medium and sources. For each consequential source set direction, apparent size/hardness, coverage, occluder and affected surfaces. Choose the exposure priority, neighboring shadow level, reflected fill, highlight behavior and practical-light falloff as a connected decision. Gold light, blue shadows, rim light, haze, flare and protected highlights are options, never a universal prestige recipe.
+6. Make color occupy meaningful regions. Derive ambient/material color, focal separation and functional accents; same-hue images may work. Avoid giving every local lamp and detail equal color intensity. Check whether color helps the chosen relationship without merely grading an otherwise weak image.
+7. Differentiate materials by shape and light response: broad shell reflections, fine brushed-metal streaks, fiber softness, glass transmission/reflection, skin variation or other relevant responses. Concentrate tiny detail where attention or function needs it. Wear follows use; new, clean, matte, plastic and luminous objects remain valid when specified.
+8. For large scale, connect more than one familiar size relation when the scene offers them: joint to hatch, hatch to bay, bay to structure, structure to horizon. People are optional. Use occlusion and perspective; use atmospheric attenuation only in an actual medium. In vacuum, separate depth with geometry, scale, lighting and exposure rather than fog.
+9. Read the frame as one exposure. Subject and extension must agree on shadow direction, reflection, focus, color contamination, texture and the local medium. A high-detail render with weak attention or incompatible lighting is still a failed cinematic proposal.
+
+## Science and beauty both remain testable
+
+Do not copy a reference's unexplained open pressure boundary, bareheaded vacuum worker, airborne ocean, burning vacuum, fog in space, unsupported gravity or franchise robot just because the composition works. Resolve the relevant physics, then keep the visual ambition. The physical boundary is a veto on contradictions, not a mandate for gray repair workers, UI diagrams, endless engineering detail or a documentary framing.
+
+At thumbnail/fit view check dominant relationship, silhouette, value grouping and spatial depth. At native detail check surfaces, people/contacts if present, geometry, light falloff and generated artifacts. Inspect both: a close crop cannot rescue a weak full-frame composition and a striking silhouette cannot rescue broken decisive contact. Record visible evidence and the dominant weakness; do not claim measured precision or perfect quality from subjective scoring.
+
+For a multi-image test compare palette logic, camera scale, light character, material family and visual proposition. Diversity is justified when the request is independent; continuity is required only where the request links scenes. Do not force all pictures to diverge when the user locks one world.
+
+## Repair and acceptance
+
+Repair the earliest visible cause of the dominant failure: massing/attention before detail; source/exposure before grading; form before decorative lights; pressure/gravity before haze; surface response before more scratches. Keep accepted elements. A beautiful generated candidate is evidence for this run only. Technical checks, image generation, internal visual review and user acceptance are separate states. No image, score, or five-image batch proves a skill is universally superior or stable.
+
+Source status: assistant-authored synthesis from ten user-supplied visual references reviewed on 2026-09-07, compared against the package's existing source, physics and cinematography rules. The originating third-party skill and generation settings were not supplied or verified. The examples are evidence of relationships, not fixed output recipes.

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+# Original humanoid combat-mecha aesthetic
+
+Load this reference only when combat, armed defense, interception, deterrence, battlefield survival, or military responsibility defines a mecha's identity. Load it after `mecha-and-megafauna.md`; also load `future-weapon-systems.md` when a weapon/effect system is visible or design-changing. A mecha merely appearing in a war zone, carrying a self-defense tool, or performing civilian rescue does not automatically trigger this route.
+
+This module owns combat identity, humanoid role readability, armor/inner-frame hierarchy, second silhouette, multi-mecha divergence, cinematic combat-mecha presentation, and reference abstraction. `mecha-and-megafauna.md` still owns support, mass, actuation, motion, operation, scale, and environment response. `future-weapon-systems.md` still owns effect, authorization, energy/heat/reaction, safety, lifecycle, logistics, and the non-actionable boundary.
+
+## Example firewall
+
+This is a design capability, not a prompt library, character roster, fixed scene menu, or five-image reproducer.
+
+Prior images, prompts, concept groups, famous mecha, model-kit lines, collectible designs, live-action giant-robot films, and user examples are **illustrative evidence** unless the user explicitly locks a trait. First record what problem each example solves, then extract a transferable relationship. Never transfer an example's count, name, faction, scene, terrain, palette, weapon shape, limb count, posture, composition, camera, logo, or signature combination by default.
+
+Use this chain:
+
+`reference attraction → upper-level visual property → current mission reason → newly derived structural implementation → literal traits to delete`
+
+Reference roles may include:
+
+- combat-character readability and memorable humanoid proportion;
+- understandable inner-frame, joint, armor, and assembly hierarchy;
+- strong but ordered second silhouette and equipment identity;
+- giant mass, human touch, operating burden, and cinematic environment response.
+- wearable armor, powered exoskeleton, human-operated loader, cockpit walker, mobile humanoid machine, giant mecha, spacecraft, ship, or mobile-infrastructure relations across the full human-to-machine scale continuum.
+
+These are roles, not brands or prompt tokens. Named references stay in the analysis card and never enter the model-facing prompt.
+
+The reference pool is open-ended: any mecha, powered armor, exoskeleton, loader, robot, vehicle, aircraft, spacecraft, ship, mobile structure, model, film prop, or real mechanism may be researched when it answers a current design gap. No source is automatically authoritative for every layer. Open and inspect the actual source, assign only the role it can support, state its limits, and delete its recognizable form before synthesis.
+
+## Cross-project author grammar
+
+Combat mecha share a design grammar, not a common body or skin:
+
+1. **Responsibility enters the body.** Interception, suppression, breakthrough, escort, protection, denial, reconnaissance, or another source-defined responsibility must alter body plan, space occupation, movement, sensing, or protection—not only the handheld weapon.
+2. **Combat geometry is readable.** Threat direction, protected/affected space, sensing, force transfer, reaction, turning, effect release, and escape/safe direction shape orientation, negative space, mass distribution, and current pose.
+3. **Humanoid dominance remains structural.** When the source requests a humanoid combat mecha, establish a readable `head/neck → chest → torque waist → pelvis/hips → two arms → two legs` load-and-motion chain even when damage, terrain, crop, or pose hides parts. Do not drift into an ape, quadruped, construction rig, or tank-on-legs unless the source explicitly selects that topology.
+4. **Hero readability and mass coexist.** Character hierarchy may be bold, elegant, compact, or severe, but support, inertia, reaction, heat, recovery time, and the operator's limits still pay for it.
+5. **Calm masses and high-information nodes form rhythm.** Large load/protection surfaces remain legible; actuation, force, sensing, heat, access, crew, maintenance, and payload exchange nodes concentrate detail. Uniform greeble fails.
+6. **Protection is risk zoning.** Armor, isolation, redundancy, sacrificial layers, replaceable modules, and exposed working organs appear where threat, mission, maintenance, and motion require them—not as uniform armor clothing.
+7. **State is visible in body and material.** Deployment, maneuver, observation, bracing, effect delivery, thermal recovery, degraded withdrawal, or aftermath must alter support, joint locks, heat exchange, sensing, load state, damage, wear, or environment response. Red lights, captions, smoke, and muzzle effects cannot carry state alone.
+8. **Human/automation responsibility is embodied.** Single operator, crew, remote control, distributed operation, supervised autonomy, or no occupant are all valid, but command latency, filtering, degraded mode, access, escape, and authority must agree with the machine.
+9. **Environment redesigns the machine.** Sea, ice, vacuum, low gravity, soft ground, dense city, forest, or alien medium changes support, sealing, sensing, heat, protection, movement, and safety rather than only the background.
+10. **Color has duties, not fixed hues.** It may encode material family, state, authority, hazard, heat, faction institution, or environment adaptation. There is no default combat-mecha palette.
+11. **The camera stands inside the relationship.** Narrative frames derive viewpoint from protected space, danger boundary, operator, opponent sightline, infrastructure, or consequence. Only an explicit asset/reference request defaults to neutral full-body display.
+
+The project remains free to choose body topology, limb count, scale, support medium, actuation, role, weapon/effect family, crew, protection, manufacture, materials, palette, faction marks, current state, environment, camera, and production route.
+
+## Human–mecha scale relation
+
+In combat imagery, human–mecha scale is a primary story, design, and camera variable rather than a decorative ruler. There is no universal correct height or ratio. A wearable armored body, powered exoskeleton, human-operated loader, cockpit walker, mobile humanoid machine, city-scale giant, spacecraft, or ship-scale combat body creates a different relationship among vulnerability, agency, touch, command, maintenance, danger radius, and viewer distance.
+
+Record:
+
+```text
+human_scale_and_visibility
+machine_scale_class
+occupied_remote_or_unoccupied_relation
+contact_access_and_escape
+intermediate_scale_anchors
+protected_threatened_or_affected_space
+tactical_and_emotional_consequence
+camera_distance_height_and_crop
+what_the_viewer_can_read_at_that_scale
+```
+
+- Decide whether a person must be readable as a face/body/action, a small but purposeful operator, an occupied cockpit/access system, a vehicle/door/platform chain, or intentionally absent.
+- Use at least three appropriate connected scale proofs when giant scale matters. People alone are insufficient, and adding people is not mandatory when another relation is more truthful.
+- In battle scenes, scale must alter tactics, cover, danger radius, weapon/effect support, movement, evacuation, command latency, human burden, and the camera's ability to witness the event.
+- A close person–machine relationship may require a smaller machine or intermediate access structures; disaster-scale machines may require vehicles, decks, buildings, gates, ships, or travel time so people do not collapse into meaningless pixels.
+- Re-evaluate scale whenever story, environment, combat condition, operator relation, or intended emotion changes. Re-evaluation may keep the same scale when continuity or function justifies it; change is not mandatory.
+
+## Request relationship mode
+
+Before designing, classify the request:
+
+- `SINGLE_FLAGSHIP`: one new combat mecha or one selected route;
+- `SAME_WORLD_FAMILY`: different models sharing an approved civilization/manufacturing grammar;
+- `SAME_MECHA_VARIANTS`: one locked machine with named variables changed;
+- `INDEPENDENT_STORY_SET`: separate machines, worlds/stories, emotions, environments, or visual directions.
+
+Do not infer a relationship mode from image count alone. A different story or scene does **not** automatically require a different machine, style, function, or body: first identify continuity, project/faction ownership, time, mission change, environment, damage/state, and the user's explicit intent. The same machine may cross different stories; a family may share strong DNA; unrelated worlds may independently converge on similar solutions. Conversely, a new responsibility or world may require a completely new body. Record what remains, what changes, and the causal reason. Use `INDEPENDENT_STORY_SET` only when the user asks for independent/different machines or when separate project authorities genuinely have no shared identity. When one solution is requested, do not force three or five outputs. When a family is approved, reuse its grammar rather than rediscovering flagship identities.
+
+## Visual-desire and candidate gate
+
+For a new flagship or open combat-mecha identity, propose at least three genuinely different visual theses before locking one. The number is a divergence aid, not a fixed output count. Skip forced divergence when the user chose a route or an approved family already owns identity.
+
+When the user requests bolder design, or a previous result remains a safe generic armored humanoid, use the global imagination amplitude deliberately. At amplitude II–III, at least one candidate must change a foundational relationship—human/machine scale, body/support topology, mission geometry, operator embodiment, second silhouette, environment coupling, protection system, movement, or recovery—across at least three visible axes while paying a coherent physical/world cost. Boldness is not more spikes, armor fragments, glowing lines, weapons, or brand references.
+
+Each thesis must state:
+
+`first-read relationship → why the body must organize this way → dominant calm mass → highest-information node → current combat state → visible limitation/cost → what an ordinary armored humanoid cannot substitute`
+
+Candidates must differ in consequential open axes such as body/support topology, combat responsibility, threat/effect geometry, movement/stability, crew/automation, survival/protection, energy/heat/recovery, logistics/lifecycle, environment coupling, or family relationship. Preserve rejected routes and why.
+
+## Combat-mecha system card
+
+Record before detailed styling:
+
+```text
+source_status
+relationship_mode
+combat_identity_trigger
+mission_role
+current_combat_state
+protected_or_affected_space
+threat_or_effect_relation
+support_and_motion_envelope
+dominant_force_geometry
+humanoid_or_selected_body_plan
+survivability_and_risk_zoning
+sensing_and_governance
+power_heat_recovery_relation
+crew_automation_body_relation
+family_grammar
+author_grammar_applied
+project_variable_choices
+reference_mechanism_map
+literal_traits_deleted
+identity_anchors_required_in_frame
+rejected_routes
+non_actionable_boundary
+approval_status
+contract_id
+```
+
+### Humanoid body and role
+
+- Derive proportion from engagement distance, terrain, weapon/effect support, protection, acceleration, stability, human accommodation, and story role. Do not impose one head count, waist width, or hero ratio across projects.
+- Keep head, neck, chest, torque waist, pelvis, hips, arms, and legs structurally readable. A crop may hide parts, but the remaining load chain must let the viewer infer a humanoid body.
+- The head/sensor carrier, chest/torso, shoulder field, waist/pelvis, forearm, leg, and foot must each serve a distinct structural or combat relationship. A memorable head alone cannot rescue a generic body.
+- Temporarily hide removable weapons. If combat responsibility, survivability, sensing/governance, force path, and movement envelope disappear, redesign the body: it is only an ordinary mecha carrying a weapon.
+
+### Structural and armor hierarchy
+
+Build from inside out:
+
+1. primary load frame and bearing path;
+2. actuation, braking, locking, energy, heat, sensing, and control modules;
+3. local reinforcement and moving subframes;
+4. protection, sacrificial, sealed, and replaceable armor;
+5. identity, state, wear, repair, and environment history.
+
+Movement must propagate through bearing, actuator/linkage, frame, sliding/splitting armor, hose/cable allowance, and final lock state without interpenetration. Use large calm armor fields for primary readability and concentrate density at real working nodes.
+
+### Hydraulic and linkage credibility
+
+Visible hydraulic structure must be complete enough to explain force, not decorate gaps:
+
+- distinguish cylinder barrel, piston rod, tie rod, and mechanical linkage;
+- connect both cylinder ends to load-bearing members using an applicable clevis, trunnion, eye/spherical joint, supported pin, bushing, and retention solution;
+- align the cylinder's push/pull plane with the joint or use an explicit multi-axis accommodation;
+- let a main bearing carry joint shear while cylinders/linkages create torque;
+- route rigid lines along structure and use short protected flexible hose only across moving joints, with bend allowance and no pinch, abrasion, recoil, or hot-zone conflict;
+- include local manifold/isolation/accumulator and service access only when that actuation family needs them;
+- use mechanical locks/stops so a static or failed pose does not depend on unexplained trapped pressure;
+- make damage originate at a credible mount, pin, seal, hose clamp/connector, rod surface, bearing, frame, armor, or heat path and propagate with gravity and load.
+
+Hydraulic details remain visual-development mechanisms, not a manufacturable specification.
+
+### Combat identity, second silhouette, and equipment
+
+- Let sensing, protection, recoil/reaction support, heat, mobility, payload access, counterbalance, logistics, or mission equipment produce the second silhouette.
+- Equipment uses a coherent family of hardpoints, locks, energy/data/working-medium interfaces, load paths, and stowage. Do not attach ornaments or weapons without body consequence.
+- A removed or stowed weapon may leave a readable lock, reaction support, wear, cap, or interface; the body must retain identity without the prop.
+- Cultural or faction identity may enter armor architecture, second silhouette, manufacture, replacement logic, and material coding. It cannot overwrite physics or copy a familiar crest, face, chest, backpack, weapon, or color-blocking system.
+- Weapons/effects remain non-actionable: no performance numbers, targeting algorithms, vulnerabilities, construction drawings, or manufacturing steps.
+
+## Cinematic scene and light contract
+
+A cinematic combat-mecha image is a story moment, not a model showcase.
+
+1. Select action/decision, discovery, relationship, establishing, aftermath, or asset/reference as the primary visual contract.
+2. State who or what wants what, the obstacle, the irreversible/current threshold, and the affected person/space/system.
+3. Put at least three appropriate scale relations into one connected geography; people are not mandatory, but when present they need purpose rather than acting as colored rulers.
+4. Derive camera height, distance, lens tendency, crop, occlusion, and completeness from information order and emotional relation. Do not default to centered three-quarter full-body hero views.
+5. When the deliverable is meant to validate a new combat-mecha design, declare the minimum identity anchors that must remain visible at normal viewing size. Crop and occlusion are welcome for cinema, but they cannot hide every carrier of author identity. Unless the source intentionally withholds identity, retain a readable sensor/head relation, one chest/waist/pelvis rhythm or equivalent body-plan relation, and one second-silhouette/limb/load relation. If the selected shot cannot carry both story and identity, separate the cinematic story frame from the neutral/diagnostic design view instead of compromising both.
+6. Write one light-narrative sentence: `source and time → physical path/medium → what it reveals or withholds → emotional meaning`.
+7. Do not default to sunset, backlight, crepuscular rays, rain night, teal-orange, searchlights, sparks, or explosion illumination. A dead/abandoned machine, active defense, quiet patrol, maintenance, and last stand require different light semantics.
+8. Environment must react to support, mass, heat, displacement, corrosion, contamination, damage, or recovery. It is not wallpaper.
+
+## Independent multi-mecha divergence
+
+For `INDEPENDENT_STORY_SET`, build a divergence matrix before prompts or images. Each row records:
+
+`story responsibility | world/environment | emotional function | light logic | body/support topology | head/sensor relation | chest/waist/pelvis rhythm | shoulder/second silhouette | movement | equipment/effect | crew/automation | palette/material | state/damage | camera relation`
+
+Independent rows must have different story responsibility and materially different body/second-silhouette logic. Do not reuse one head/chest/shoulder/waist/leg body with new armor, weapon, palette, weather, or background, and do not reuse one centered composition or one light setup with recoloring. This strict divergence applies only after `INDEPENDENT_STORY_SET` is justified. For the same machine or family, continuity and shared grammar are expected; require only the changes caused by mission, environment, era, damage, load, or approved variant scope. Similarity is not a failure when its cause is explicit and source-authorized.
+
+Run three tests:
+
+- `weapon-hidden`: remove removable equipment; does each identity remain distinct?
+- `skin-hidden`: remove color, marks, text, and environment; do body plan and author grammar remain readable?
+- `sample-leak`: did an earlier example group reappear without source justification in count, order, scene, body, palette, pose, or composition?
+
+If several candidates are the same shell with different packs, single-image scores cannot make the set pass.
+
+## Conditional output
+
+When this route triggers, add:
+
+1. `战斗机甲美学与系统卡` using the system-card fields;
+2. `参考抽象与防复制卡` with roles, transformations, and deleted traits;
+3. `电影场景与光线卡` for narrative images;
+4. `多机甲差异矩阵` only for plural family/independent requests;
+5. a brand-free, source-derived prompt only after the design contract is structure-ready and image generation is authorized.
+
+The design contract must exist before the image prompt. Record a stable `contract_id`; the image prompt and result must point back to it. A hand-written image prompt followed by a retroactive contract fails validation.
+
+## Vetoes
+
+Reject or redesign when any applicable condition appears:
+
+- ordinary armored humanoid plus removable weapon, with no combat identity in the body;
+- humanoid request becomes an ape, quadruped, construction rig, or tank-on-legs without source authorization;
+- a request that requires independent identities returns multiple mecha differing only by weapon, backpack, color, damage, weather, or background; or a same-machine/family request changes core identity without a source-authorized cause;
+- battle identity depends on a hero pose, glowing chest, gun muzzle, red alarm, smoke, sparks, or explanatory text;
+- uniform armor, uniform chrome, or uniform greeble erases structural hierarchy;
+- actuation has floating rods, missing endpoints, impossible hose routing, no joint axis, no armor clearance, or no load path;
+- mass, weapon/effect reaction, heat, safety, operator burden, or environment response is absent;
+- a narrative frame is a centered full-body model/collectible display;
+- a design-validation frame uses cinematic crop/occlusion to hide every declared identity anchor, making head/sensor, body-plan rhythm, and second silhouette impossible to judge;
+- light uses a universal epic formula instead of the source's time, weather, material, and emotional function;
+- recognizable franchise head, face, chest, shoulder, backpack, weapon, palette, mark, pose, or signature composition survives source-form deletion;
+- an earlier example set leaks into a new request as a fixed count, menu, sequence, scene, palette, body, or composition;
+- real-world actionable weapon design or manufacturing detail is exposed;
+- internal score, prompt compliance, or image existence is called user approval.

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+# Original humanoid combat-mecha form direction
+
+Load this reference only when combat, armed defense, interception, deterrence, battlefield survival, or military responsibility defines a mecha's identity. Load it after `mecha-and-megafauna.md`; also load `future-weapon-systems.md` only when a weapon or hazardous effect is visible or design-changing.
+
+This module owns the mecha's visual proposition, silhouette, humanoid body rhythm, author identity, combat readability, armor/inner-frame rhythm, human-scale relation, and cinematic presentation. `mecha-and-megafauna.md` owns mass, support, actuation, operation, and environment response. `future-weapon-systems.md` owns effect, authorization, safety, logistics, and the non-actionable boundary.
+
+## Primary outcome and precedence
+
+The goal is not the greatest number of justified mechanisms. The goal is an attractive, memorable, original humanoid combat machine whose engineering strengthens its form.
+
+Use this order and stop at the first failed stage:
+
+`visual proposition → black silhouette → body rhythm and proportion → two or three identity anchors → combat responsibility in the body → scale relation → engineering resolution → surface/material state → cinematic scene`
+
+- Engineering may veto an impossible form or explain a strong form. It may not replace the visual proposition with a systems checklist.
+- Story, mechanics, references, and surface detail must converge on one body grammar. Do not let each source own a different body region.
+- A technically coherent but visually generic, awkward, or forgettable body fails before prompt writing.
+- More armor fragments, exposed cylinders, weapons, lights, or greeble do not increase authorship.
+
+## Single-author and design-repair mode
+
+Enter `SINGLE_AUTHOR_REPAIR` when the user asks for one designer/no cross-design, rejects a result as uglier or regressive, or asks to repair the machine rather than expand the project.
+
+In this mode:
+
+1. The primary agent alone owns aesthetic diagnosis, form selection, and the final design language. Do not delegate visual ideation, merge parallel concepts, or average review opinions into the body.
+2. Freeze every element the user still accepts—such as story, atmosphere, camera feeling, scale relation, or color mood—and name the single visible form failure. Do not reopen accepted areas to make the process look comprehensive.
+3. A rejected image is evidence of failure, never a shape anchor. Preserve only the traits the user explicitly kept.
+4. Do not expand the reference pool or generate a route matrix unless one missing fact genuinely blocks the correction. Existing references may test the chosen route; they may not contribute parts.
+5. Commit to one coherent replacement. Private thumbnail thinking is allowed, but do not expose several options, combine them, or ask the user to curate them unless the user explicitly requests alternatives.
+6. Repair the machine before the scene. Do not use lighting, damage, crowds, weapons, atmosphere, or cinematic crop to disguise an unresolved body.
+7. Do not generate another image until the user authorizes generation after the form direction is presented, unless the user's latest instruction explicitly requests immediate generation.
+
+## Visual proposition and silhouette lock
+
+Before a system card, reference matrix, or detailed engineering description, write a one- or two-sentence visual proposition without brand names and without a list of components. It must state:
+
+`first-read character and emotional posture → dominant body relationship or negative space → why this combat role needs that body`
+
+Then perform a black-silhouette test at small viewing size:
+
+- the head/sensor carrier, shoulder field, chest, waist, pelvis, two arms, and two legs form a readable humanoid chain;
+- one dominant mass and one counter-mass, void, offset, or directional gesture create a memorable whole;
+- the body has deliberate compression and release rather than equal thickness everywhere;
+- the center of gravity and support are believable without producing a crouched ape, construction walker, or tank on legs;
+- the outline remains identifiable without weapon, color, mark, light, damage, background, or pose spectacle;
+- the silhouette can be summarized from memory in one short sentence after a brief look.
+
+If the silhouette cannot pass, do not add hydraulics, lore, weather, or a more dramatic camera. Redesign the silhouette.
+
+## Body rhythm and identity anchors
+
+Resolve the whole body before local parts:
+
+- establish the proportion and tension among head, shoulder field, ribcage/chest, torque waist, pelvis, thigh, knee, lower leg, foot, upper arm, forearm, and hand;
+- make the pelvis and waist intentional structural forms rather than hidden gaps between a box chest and legs;
+- decide where the body is calm, where it changes direction, and where detail concentrates;
+- use asymmetry only when it strengthens role, movement, damage, or character; random left/right difference is noise;
+- choose only two or three identity anchors. Each anchor must alter silhouette, negative space, body rhythm, or movement—not merely decorate a panel;
+- make the anchors cooperate as one visual sentence. If they compete for attention, delete the weakest one.
+
+The head cannot carry the entire identity. The chest/waist/pelvis rhythm and at least one limb or second-silhouette relation must also be distinctive.
+
+## Reference abstraction without collage
+
+References are critique lenses, not body-part donors.
+
+1. Write the current design thesis before naming references.
+2. For each relevant source, extract only one upper-level lesson such as proportion readability, assembly hierarchy, equipment order, mass behavior, human touch, or environmental interaction.
+3. Ask whether that lesson strengthens or challenges the same thesis. If it pushes toward a second unrelated visual language, reject it rather than blend it.
+4. Never assign one source to the head, another to armor, another to joints, another to weight, and another to color.
+5. Delete recognizable face, crest, chest, shoulder, backpack, weapon, palette, marking, pose, and signature composition before prompt writing.
+
+Named sources may remain in internal research notes. The image prompt must be brand-free and describe only observable relationships.
+
+## Request relationship and continuity
+
+Classify only when it changes the work:
+
+- `SINGLE_FLAGSHIP`: one new or selected combat mecha;
+- `SAME_WORLD_FAMILY`: related models sharing an approved manufacturing and author grammar;
+- `SAME_MECHA_VARIANTS`: one locked machine in causally different states or missions;
+- `INDEPENDENT_STORY_SET`: separate machines only when the user or separate authorities actually require them.
+
+Different scenes or stories do not automatically require different machines. Similarity is valid when continuity, faction, function, or convergence explains it; difference is valid when responsibility, world, scale, support, or environment genuinely changes the body. Image count alone decides nothing.
+
+When the user requests one design, do not create a multi-route deliverable. When a body is approved, preserve its silhouette, proportion, identity anchors, hardpoints, access, and material grammar unless a named causal change requires revision.
+
+## Human–mecha scale relation
+
+Scale is a story and body-design variable, not a tiny-person decoration. Record only what the current task needs:
+
+`machine scale class | human/operator relation | access or escape | protected/threatened space | intermediate anchors | tactical/emotional consequence | camera distance/height/crop`
+
+- Choose scale from vulnerability, agency, touch, danger radius, mission geometry, environment, and intended emotion—not from a universal height.
+- For a new design-identity frame, prefer one purposeful human relation plus the minimum useful intermediate anchor. Do not add a crowd merely to prove size.
+- Keep the person and machine in a coherent spatial depth. Do not shrink the person through extreme perspective and call it scale.
+- Large scale may need doors, vehicles, platforms, decks, buildings, vegetation, contact deformation, or travel distance to connect the relation.
+- Scale evidence may never crop or hide every identity anchor when the frame's purpose is to judge the design.
+
+## Combat responsibility in the body
+
+After the silhouette and body rhythm pass, make the source-defined responsibility visible without relying on removable weapons.
+
+Interception, breakthrough, escort, suppression, protection, reconnaissance, denial, or another role may alter stance range, shoulder field, torso orientation, pelvis and support, sensing, protection zoning, limb leverage, second silhouette, heat/recovery state, payload access, or occupied space. Use only the relations the story needs.
+
+Run `weapon-hidden`: remove handheld and detachable equipment. If the remaining body could be any generic armored humanoid, revise one foundational body relationship rather than adding a larger weapon.
+
+## Engineering resolution after form lock
+
+Choose one coherent actuation and construction family after the body is visually locked. Resolve only the visible mechanisms needed to make that body move, stop, carry load, survive, cool, admit or protect its operator, and enter the current state.
+
+- trace the main frame, bearings, torque/load path, support, lock, and recovery state;
+- let armor open, slide, overlap, or separate only where motion and service require it;
+- concentrate complete mechanisms at shoulder, waist/pelvis, hip, knee, ankle, wrist, heat, access, or payload nodes actually visible in the chosen view;
+- keep broad armor or structural masses calm enough to preserve the silhouette;
+- expose a cylinder, linkage, hose, cable, manifold, gear, or bearing only when both its connection and purpose can be inferred;
+- do not make every joint hydraulic, every gap exposed, or every surface equally detailed;
+- damage follows one specific failure and current load state rather than random full-body ruin.
+
+Use `mecha-and-megafauna.md` for detailed physical checks. Do not duplicate its whole engineering checklist in the visual-design output.
+
+## Design-identity frame and cinematic story frame
+
+Do not force one image to perform two incompatible jobs.
+
+### `DESIGN_IDENTITY_FRAME`
+
+Use first when a new design is unapproved, a prior image hid the body, or the user is specifically judging appearance.
+
+- show enough of the head/sensor relation, chest/waist/pelvis rhythm, limbs, support, and second silhouette to judge the body;
+- use a quiet real environment or restrained photographic stage, coherent natural/functional light, and one scale relation when relevant;
+- allow cinematic perspective and partial occlusion, but not a centered toy-box render, blank showroom, dramatic darkness, or crop that hides the design;
+- keep story clutter, crowds, weapons, smoke, sparks, weather spectacle, and heavy damage subordinate.
+
+### `CINEMATIC_STORY_FRAME`
+
+Use after identity is approved or when the user explicitly prioritizes a story image. Derive camera, crop, occlusion, action, light, environment response, and human behavior from the selected beat. Preserve the approved body instead of redesigning it inside the scene.
+
+If both are needed, deliver separate frames derived from one contract; do not compromise both in a single image.
+
+## Multi-mecha work
+
+Only for a genuinely plural family or independent set, make each body answer its own story responsibility, scale relation, support, environment, movement, and emotional function. Do not create divergence merely by changing armor, weapon, backpack, damage, color, weather, or background. For `SAME_MECHA_VARIANTS`, continuity is the goal, not maximal difference.
+
+Run:
+
+- `weapon-hidden`: identity survives removable equipment;
+- `skin-hidden`: identity survives color, marks, text, effects, and setting;
+- `sample-leak`: an earlier example group has not become a fixed count, scene menu, body, palette, pose, or composition.
+
+Do not generate a divergence matrix for a single design or single-author repair.
+
+## Stage-appropriate output
+
+For an open or rejected combat-mecha identity, return only what helps the user judge the body:
+
+1. `视觉命题`;
+2. `轮廓与身体节奏`;
+3. `两到三个身份锚点`;
+4. `人机尺度与关系` when applicable;
+5. `工程如何解释而不改写造型`;
+6. `当前状态与下一验收点`.
+
+Do not automatically output a research encyclopedia, reference-role matrix, multi-route table, full system card, scene card, prompt, or image.
+
+After the design identity is approved—or when the user's latest instruction explicitly requests a direct image—add only the system, reference-deletion, scene/light, prompt, negative, and continuity fields needed for that deliverable. Record a stable `contract_id`; generation and internal pass never equal user approval.
+
+## Vetoes
+
+Reject or redesign when any applicable condition appears:
+
+- the first read is a generic industrial walker, crouched ape, construction rig, tank on legs, or ordinary armored humanoid;
+- the visual proposition can only be restated as mission, physics, or engineering fields;
+- references have been assigned to different body regions and blended into a collage;
+- the silhouette needs weapon, color, light, pose, damage, or background to become identifiable;
+- the head is distinctive but chest, waist, pelvis, and limbs remain generic;
+- equal-width body segments, box chest, missing waist/pelvis rhythm, oversized forearms, or all-over exposed machinery collapse the humanoid character without a story reason;
+- uniform armor, chrome, greeble, panel lines, hydraulics, or glow erases the calm/dense rhythm;
+- a design-repair task expands into more references, more routes, more scenes, or another image before fixing the named body failure;
+- a single-author request delegates or merges aesthetic design;
+- human scale is proved only by tiny passive people, extreme wide-angle distortion, or disconnected background objects;
+- a design-validation frame hides the declared identity anchors or becomes a model-box/showroom image;
+- light, smoke, rain, sparks, destruction, or camera spectacle is used to sell an unresolved design;
+- recognizable franchise face, crest, chest, shoulder, backpack, weapon, palette, mark, pose, or signature composition survives source-form deletion;
+- actuation, mass, support, heat, operator relation, or environment response contradicts the selected body;
+- actionable weapon construction or manufacturing details are exposed;
+- prompt compliance, generation, internal score, or delivery is called user approval.

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+# Full world and visual-system design workflow
+
+Use for a complete original world, visual bible, new system or asset family, or a substantial redesign involving interdependent open decisions. The entrypoint routes bounded questions and local corrections directly to the affected knowledge; they do not run this full workflow by default.
+
+Keep the complete professional method below. Execute only gates applicable to the source, medium and allowed changes. Internal cards support decisions; show only the requested deliverable. The standard multi-part report is for a requested full design package, not a default appendix to a single answer or image. Current user scope and locked decisions remain authoritative.
+
+## Fixed method and variable design
+
+
+### Fixed across projects
+
+- one current authority source and explicit version;
+- separation of `FACT`, necessary `DERIVATION`, reversible `PROPOSAL`, and approved `LOCKED` decisions;
+- research for design-changing gaps before visual inference, with opened traceable sources rather than snippets or memory;
+- verified fact, constrained extrapolation, and explicit hypothesis kept distinct;
+- physical consequences for energy, heat, load, motion, medium, maintenance, biology, and failure where those systems matter;
+- source mechanism may transfer; source appearance, franchise identity, signature composition, and palette may not;
+- every important world claim ends in deliverable-visible evidence, and the requested medium's information capacity is checked before composition;
+- interfaces serve a real declared agent/system task or test model and never rescue missing dramatic or physical blocking;
+- weapon and defense design remains non-actionable;
+- image generation requires an explicit user request; generation and internal pass never equal user approval.
+
+### Derived for each script or project
+
+- future degree and imagination amplitude;
+- world rules, civilization, institutions, scarcity, daily life, and operating history;
+- environment, geography, architecture, medium, weather, hazards, and routes;
+- production route and practical/VFX split;
+- style thesis, palette, contrast, lighting hierarchy, camera, lens, and information order;
+- characters, bodies, machines, organisms, equipment families, interfaces, damage, and wear;
+- whether the scene is active, quiet, ambiguous, relational, establishing, aftermath, or reference-only.
+
+A derived choice becomes a project continuity rule only after the user approves it and its scope/version is recorded. Shot-level choices remain variable unless the approved bible locks them.
+
+## Source authority and decision status
+
+Use this order:
+
+1. current explicit user instructions and corrections;
+2. named current screenplay/version and selected beat;
+3. approved project bible, locks, and anchor frames;
+4. verified research constraints for an open gap;
+5. reversible director proposals;
+6. optional route vocabulary and examples.
+
+Record `剧本权威卡`, `剧本—视觉转译卡`, and `视觉决策状态表` from the derivation reference. Never promote a generated image, internal score, or research result to project authority. Use `OPEN`, `PROVISIONAL`, `CANDIDATE`, `APPROVED`, `LOCKED`, and `REJECTED` precisely.
+
+If research contradicts a script fact, expose the conflict and offer two labeled choices: revise the script, or declare a fictional axiom and propagate its costs. Do not silently repair the screenplay.
+
+## Research and creative amplitude
+
+Research sets the evidence floor, not the design ceiling. Preserve explicit source facts and user locks, formulate questions from open design gaps, then search and open the sources before choosing any new mechanism, future degree, system route, form, palette, or reference language.
+
+For each design-changing research pass record query/date, opened source and section, source class/maturity, supported claim, transferable mechanism, visible trace, limitation/conflict/cost, evidence gap, and literal traits to discard. Search-result snippets and model recollection are not evidence.
+
+When the source or user asks for high imagination, select an explicit amplitude after research:
+
+- `I 现实增压`: verified systems reorganized into a new operation or social consequence;
+- `II 世界规则变形`: one constrained speculative rule changes multiple visible systems;
+- `III 文明/物理跃迁`: an explicit hypothesis reorganizes bodies, infrastructure, institutions, ecology, or time while paying visible costs.
+
+High imagination does not require action, crisis, sacrifice, a technician, or a particular future date. For amplitude II–III or original flagship world design, explore enough distinct topology or behavior routes to escape the first familiar answer, combine a verified anchor with a non-adjacent mechanism when useful, and reject present-day substitution. Do not force a candidate count, expose options the user did not request, or merge routes into a compromise body. In single-author or design-repair mode, select one coherent route after internal comparison and show only that route. Routine shots inside an approved world may reuse locked research and do not need a new “second leap.”
+
+## Function-specific visual contract
+
+Choose one primary contract from the script beat. Declare a secondary contract only when the source genuinely combines functions and both can remain legible without one replacing the other:
+
+- **Action/decision**: `actor or responsible system → action → physical target → changed state → script-supported consequence or cost`.
+- **Discovery/information**: `observer → physical evidence → change in attention or understanding`, preserving intentional mystery.
+- **Relationship/power**: `spatial control, access, distance, gesture, exchange, or blockage → response → relational/emotional shift`.
+- **Establishing/atmosphere**: `location function → active world or causally active emptiness → latent route, condition, or pressure`.
+- **Aftermath/transition**: `trace → implied cause → affected new state`, without revealing what the script withholds.
+- **Isolated asset/reference**: `identity → function → scale → applicable interfaces or relationships → material/operating logic`, with no invented crisis or user.
+
+The three-second no-text causal chain is a hard gate for action or decision beats that should read immediately. Other functions use their own evidence and information-order gate. UI text, captions, and lore may confirm but cannot be the only essential evidence.
+
+## Direction workflow
+
+1. **Identify one current source.** Name screenplay/project/version/scene/beat or label a user premise as provisional.
+2. **Protect the story.** Record explicit facts, must-preserve causality and emotion, prohibited rewrites, necessary inferences, open gaps, and one material unknown.
+3. **Diagnose the beat and medium capacity.** Lock dramatic function, character/system objective, obstacle, emotion curve, information order, spatial power, and the matching visual contract. Decide whether the requested still, sequence, animation, asset sheet, or interface study can actually carry the required temporal and causal information.
+4. **Form research questions from gaps.** Do not search for a look before knowing what the script leaves open.
+5. **Search before new design inference.** Open authoritative or primary technical sources and independent production/human-factors evidence where relevant; build the evidence card.
+6. **Classify evidence.** Separate verified fact, constrained extrapolation, explicit hypothesis, and production lesson. Extract mechanisms and discard source appearance.
+7. **Build the physical boundary.** Define only relevant gravity, medium, pressure, temperature, light, reference frame, motion, energy, heat, biology, failure, and uncertainty.
+8. **Derive world and environment.** Use `script need → operation → constraint → design response → visible evidence → deliverable/viewer evidence`; avoid encyclopedia lore.
+9. **Resolve open identity decisions.** Compare distinct mechanisms, environments, production routes, style theses, or topologies only where the source has not decided them. When the user asks for one design, do not manufacture a public option set. For a new combat-mecha identity, classify single/family/variant/independent-story scope, then lock one visual proposition, black silhouette, body rhythm, and two or three identity anchors before detailed systems or prompts. Plural independent requests require justified divergence rather than one body with new skins.
+10. **Select a working route without inventing canon.** Mark it PROVISIONAL or CANDIDATE until user approval. Reuse APPROVED/LOCKED project decisions within their scope.
+11. **Build the required spatial model.** For a scene, location, inhabited system, or related shots, resolve only the orientation, zones, adjacency, routes, flows, hazards, viewer access, production footprint, and extension/layer boundary the beat needs. For an explicitly isolated neutral asset, use only the scale, views, applicable interfaces/relationships, clearances, states, and family relations that define it instead of inventing geography.
+12. **Block the selected visual contract.** Put its essential evidence in the composition before interface graphics, labels, or spectacle.
+13. **Resolve systems and bodies at the correct stage.** Derive shape, materials, access, interfaces, support, power/heat, wear, biology, manufacturing, and operating history only where the scene needs them. For combat-mecha form work, do not begin detailed engineering until the silhouette and body-rhythm gate passes; mechanics must resolve the selected form rather than generate a generic industrial body.
+14. **Choose production and camera from dramatic purpose.** Derive viewpoint, distance, lens, height, occlusion, focus, movement, and layer strategy from information reveal, spatial power, body relation, and deliverable—not from a cross-project lens default.
+15. **Derive style and color.** Build a custom coherent style thesis or use route vocabulary diagnostically; derive palette and source hierarchy from story function, environment physics, material, information order, emotion, exposure, and approved continuity.
+16. **Design interface only if required.** Map it to the responsible human/nonhuman/collective/autonomous or `no operator` model, authority/governance, real or declared system topology, perception/presentation, input/control when present, confirmation only when critical, feedback, applicable degraded mode, environment, and production method. In narrative/world frames use independent physical/world evidence; in isolated UI/HMI assets use the declared internal-redundancy contract.
+17. **Lock continuity when triggered.** Freeze bible version and `continuity_in → intentional change → continuity_out`; do not let candidates rewrite it.
+18. **Write the prompt.** Lead with the selected function contract and information order; include only deliverable-visible world evidence and relevant physical constraints.
+19. **Audit the prompt.** Apply universal gates, then only the conditional gates triggered by the source and deliverable.
+20. **Generate and inspect only when authorized.** A prompt pass means `结构就绪`; a file means `已生成`; visible audit may yield `内部通过` or `失败/修改`; only the user may mark `用户接受`.
+
+## Universal hard gates
+
+Do not output a final design-changing prompt until every applicable answer is yes:
+
+1. Is one current authority source/version identified?
+2. Are FACT, necessary DERIVATION, open gap, reversible PROPOSAL, approved LOCKED decisions, and prohibited rewrite separated?
+3. Does the visual contract match the screenplay's dramatic function, emotion curve, information order, and spatial power?
+4. Does every major world, environment, style, color, camera, asset, or interface choice trace to a script need, verified constraint, or approved project lock?
+5. Did actual search and source opening occur after source analysis but before new design-changing inference, unless the task legitimately reuses a current approved evidence card or the user authorized an offline preliminary?
+6. Are verified facts, extrapolations, hypotheses, production lessons, limitations, and evidence gaps distinct?
+7. Are physical claims consistent with medium, gravity, energy, heat, load, motion, biology, human behavior, and failure consequences relevant to the scene?
+8. Does every important world claim leave visible spatial, material, behavioral, institutional, or environmental evidence at the selected shot scale?
+9. Is there a plausible camera/viewer position and coherent perspective appropriate to the production route?
+10. Are world, environment, production route, style, color, and camera derived rather than inherited as one house-style bundle?
+11. Does important light/color have a causal source, medium/material interaction, exposure behavior, story role, and continuity state? Multiple sources are allowed when the location and beat justify their hierarchy.
+12. Do form, materials, interfaces, wear, access, and detail distribution follow function and history rather than generic greeble or dirty-future decoration?
+13. Is the dominant design original and stripped of recognizable franchise silhouettes, palettes, interface layouts, symbols, and signature compositions?
+14. Are all unapproved identity choices still labeled PROVISIONAL or CANDIDATE rather than canon?
+15. Does the prompt preserve the source's intended knowledge, ambiguity, causality, relationship, and emotional outcome?
+16. Is the result within the non-actionable weapons boundary and other safety limits?
+17. Can the requested deliverable carry the required information order without explanatory text? For a single still, is the decisive threshold readable through a compatible before-state trace, current action/state, and emerging result; if not, is the unavoidable ambiguity reported and a two-frame or motion alternative offered instead of adding UI clutter?
+
+## Conditional hard gates
+
+- **Action/decision**: without title, captions, or UI text, are action, target, changed state, and script-supported consequence readable at the intended viewing time?
+- **Discovery/information**: are observer, evidence, attention/understanding shift, and intended unknown readable without inventing a crisis?
+- **Relationship/power**: do blocking, access, gesture, distance, or object exchange carry the relational change rather than a substituted technical event?
+- **Establishing/atmosphere**: does the place reveal function, active life or causal emptiness, and a latent route/condition without an invented protagonist or failure?
+- **Aftermath/transition**: do trace and new state imply the correct cause while preserving withheld information?
+- **Asset/reference**: are identity, function, scale, applicable interfaces/relationships, and material logic clear without an invented story beat?
+- **High-imagination amplitude II–III**: after removing names, UI, grade, and setting labels, does a world-specific relationship remain that fails present-day substitution and changes at least three relevant visible axes?
+- **Live action/hybrid**: do the source-required photographed subject/environment/performance/contact evidence, production layers, extension, optics, lighting, and exposure form one reality without shrinking the idea to a buildable foreground or inventing an actor/prop?
+- **Interface in a narrative/world frame**: is it necessary, task-specific, system-matched, coupled to the source-derived body/governance and world, readable by large state/topology, independently confirmed where critical, and free of generic black-box/percentage/retro/hologram decoration?
+- **Isolated UI/HMI asset or interaction reference**: does the declared task, system model, user/agent modality, state transition, confirmation/fallback, carrier, and large-scale information hierarchy remain testable without inventing an external story scene? Redundant cues may exist inside the interface prototype, but decorative data may not substitute for a system model.
+- **Populated busy scene**: do background groups have purposeful routes and continuing action? Empty or intimate scenes need no crowd.
+- **Nonhuman organism/ecology**: are story status and science status separate; do habitat, energy/ecological role, organization, sensing, movement/growth, regional material behavior, scale/activity, and environment response agree; and are familiar-animal, engineered-shell, decorative-glow, and franchise defaults removed?
+- **Mecha/megafauna**: do support, mass/buoyancy, motion limits, power/heat or biology, environment response, operating/automation/body relation when applicable, and scale proofs agree?
+- **Humanoid combat mecha**: with names, marks, palette, removable weapons, setting, and effects hidden, is there a memorable small-scale silhouette, deliberate head/chest/waist/pelvis/limb rhythm, and two or three cooperating identity anchors before engineering detail; and do combat responsibility, humanoid load chain, threat/protection geometry, survivability, sensing/governance, actuation, support, and current state strengthen that distinct non-franchise body rather than turn it into an ape, construction rig, or generic armored humanoid?
+- **Human–mecha scale**: does the selected human/machine ratio follow story, combat condition, operator relation, vulnerability, danger radius, access, and intended emotion; is it proven by connected intermediate anchors and reflected in camera distance/height/crop rather than asserted with a tiny person; and was it re-evaluated without forcing change when continuity justifies the same scale?
+- **Combat-mecha identity visibility**: when the deliverable is meant to validate a new design, are the contract's minimum head/sensor, body-plan, and second-silhouette/load anchors visible at normal viewing size despite cinematic crop and occlusion; if one frame cannot carry both story and identity, was a separate diagnostic view requested rather than hiding the design?
+- **Independent combat-mecha set**: before prompts or images, does the divergence matrix prove different story responsibility, body/second-silhouette logic, environment/light relation, and camera purpose rather than one shell with changed equipment, damage, color, or background; and does the sample-leak test reject any unjustified reuse of an earlier example set?
+- **Ordinary future equipment**: do family identity, function, applicable interfaces/relationships, energy/data only when used, body/environment relation when embodied, and only the protection, service/lifecycle, logistics, and condition the brief requires form a coherent non-template system without inventing combat or industrial electronics?
+- **Weapon/defense/rescue-hazard system**: do applicable echelon, authorization, effect, power, heat/reaction, logistics, service, safe arc/protection, localized condition, and role/body/environment relation form an original non-actionable family at the requested state?
+- **Continuity**: does each related frame preserve the approved bible, axes, geography, light/color state, material history, equipment identity, and causal state transition?
+
+## Camera, production, people, and interface rules
+
+- A physical camera anchor is mandatory for photographed routes; no focal length or distance is preferred across all scripts. Intimate proximity, remote observation, extreme width, telephoto compression, fixed surveillance, macro detail, or an impossible-human-but-valid sensor viewpoint may each be correct when the beat and production route justify it.
+- For photographed live-action/hybrid routes, a practical or photographable contact/performance/environment anchor is a grounding layer, not a ceiling; extend scale or altered geography through the selected miniature, volume, in-camera, animation, or invisible-VFX method. Illustration, animation, sensor, UI, and asset-reference routes use their own coherent layer/projection system and require no practical foreground.
+- Do not add an adult technician, repair task, handwheel, warning screen, crowd, damage, or sacrifice unless the source or derived operation requires it.
+- In inhabited busy scenes, background activity must have direction, purpose, route, contact, and continuity. In quiet, intimate, empty, or reference scenes, protect stillness and do not populate for scale.
+- Interface form comes from task, body, environment, authority, failure safety, maintenance, and real system topology. Physical does not mean retro. Precise typography belongs in post when image generation cannot guarantee it.
+- Avoid named living-artist or filmmaker imitation. Translate references into observable camera, production, material, light, rhythm, and narrative relations.
+- Avoid automatic rain night, teal-orange, gray equipment maintenance, centered hero machines, blue LED seams, full-frame fog, decorative holograms, universal grime, random text, and equal-density detail.
+- Allow strong color, unusual light, silence, ambiguity, spectacle, or visual extremity when the screenplay and physical source pay for it. Restraint is not synonymous with realism.
+
+## Standard output
+
+Unless the user asks for another format, return:
+
+0. `视觉命题与尺度/人机关系`: one first-read visual proposition; the subject's scale relation to people, environment, infrastructure, threat, or protected space; and why the body must organize this way. Later engineering must explain and strengthen this proposition rather than replace it with a checklist. Mark inapplicable fields `N/A` for people-free, noncombat, natural, abstract, or neutral-asset tasks; never invent a person, tactic, crisis, operator, or story event to fill the card.
+1. `剧本事实与视觉空白`: authority card, dramatic analysis, selected function contract, forbidden rewrites, and open gaps.
+2. `研究与视觉推导`: research questions, opened evidence, fact/extrapolation/hypothesis split, limitations, no-copy traits, and major derivation chains.
+3. `候选路线与决策状态`: genuinely different proposals only for open identity decisions, plus rejected routes and selection reason; otherwise state the reused approved route without manufacturing alternatives. Record OPEN/PROVISIONAL/CANDIDATE/APPROVED/LOCKED status.
+4. `视觉圣经或资产圣经`: include only the world, environment, production route, spatial model, systems/bodies, style thesis, color logic, viewpoint/camera, interfaces, family grammar, and continuity applicable to the requested deliverable.
+5. `视觉导演方案`: concise explanation of what the audience sees, knows, and feels, and why the frame expresses the source beat.
+6. `完整提示词`: one copy-ready fenced `text` block.
+7. `负面约束`: one separate fenced `text` block containing only likely failures for this scene.
+8. `自检与状态`: applicable gates, unknowns, image status, and user-approval status.
+
+When a combat-mecha identity is new, rejected, or under form repair, first return only the stage-appropriate package from `combat-mecha-form-direction.md`: `视觉命题`, `轮廓与身体节奏`, two or three identity anchors, applicable human-scale relation, the engineering resolution that preserves the form, and current status/next acceptance point. Do not automatically output a research encyclopedia, multi-route table, full system card, scene card, prompt, or image. After identity approval—or when the user's latest instruction explicitly requests direct generation—add only the applicable system, source-form deletion, scene/light, prompt, negative, and continuity fields. Add `多机甲差异矩阵` only for genuinely plural family or independent-story requests. Record a stable `contract_id`; the brand-free image prompt must be derived after a design contract exists, never written first and justified retroactively.
+
+For `只要提示词`, return only prompt and scene-specific negative constraints after performing the required analysis internally. For diagnosis, return `主失败 → 可见证据 → source/physics/camera/design cause → one correction`; add a revised prompt only when the user asks to optimize/rewrite or the request clearly includes correction, and do not generate unless asked. For related multi-image work, add the versioned scene bible, shot-state cards, and story-order CONTACT-SHEET bridge without renumbering or replacing old assets.
+
+## Prompt construction requirements
+
+The complete prompt must:
+
+- name ratio/deliverable and the camera or viewer relation required by the selected production route;
+- begin with the selected function contract, information order, and dominant composition rather than an inventory of technology;
+- for a single still, encode only temporally compatible evidence in one threshold moment; never combine mutually exclusive before/after states merely to make the whole plot fit;
+- preserve every must-keep source fact and exclude prohibited rewrites;
+- include only world, institution, history, and research claims that terminate in visible evidence;
+- describe the environment's effect on body, motion, material, sound proxy, light, access, or behavior;
+- specify relevant physical cause and consequence without forcing unrelated engineering exposition;
+- derive form, material, interface, wear, and detail distribution from mission, environment, history, and approved project grammar;
+- when a nonhuman organism or ecology is present, separate story truth from scientific evidence and state the habitat/energy boundary, selected organization, sensing/signaling, movement/growth, regional material behavior, environment response, withheld identity, and familiar Earth/franchise traits to delete;
+- state production layers and optics only for the selected production route;
+- translate style into observable narrative posture, camera relation, rhythm, material-information distribution, and contrast rather than route labels;
+- translate color into source, medium/material, exposure, information/emotional role, state transition, and continuity rather than universal hues or area percentages;
+- when UI is present, state the responsible human/nonhuman/collective/autonomous or `no operator` task/test model, sensed or declared system, topology, perception/presentation, input or governance, confirmation where critical, applicable feedback and degraded mode, carrier or signaling medium, production behavior, and post-text boundary; require independent world evidence only for narrative/world frames and internal redundant cues for isolated UI/HMI assets;
+- for high-amplitude flagship design, state the explicit speculative rule, cost, source-form deletion, visible downstream changes, and the grounding/extension or layer relation appropriate to the selected production route; practical/VFX language applies only to live-action/hybrid routes;
+- for continuity work, restate critical entering state and allowed change instead of saying `same as previous`;
+- place labels such as `photorealistic`, `large-format`, or `cinematic` only after concrete observable decisions;
+- end with short scene-specific exclusions that protect the concept without suppressing story-authorized wonder, color, silence, motion, or scale;
+- never claim that prompt compliance, generation, or internal scoring equals user-approved quality.
+
+Favor observable relationships over adjective stacks. Preserve the screenplay first; research its gaps; then design boldly within evidence, physics, production, and approved project continuity.

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+# Future interface and causal-legibility system
+
+Load this reference whenever a scene contains a cockpit, control room, visor, panel, display, mechanical indicator, alarm, FUI/HMI, operator authorization, when an isolated UI/HMI asset or interaction reference is requested, or when an existing image fails because its interface looks generic, decorative, retro by accident, or disconnected from the task. In a narrative/world frame, interface design follows the selected screenplay function, physics, spatial skeleton, and real user/system task and never repairs absent dramatic, relational, spatial, or physical evidence. An explicitly isolated UI/HMI asset follows its own testable system-model contract and does not need an invented external scene.
+
+## Contents
+
+1. Research boundary
+2. Function-specific no-text evidence gate
+3. Interface-system card
+4. Information and action hierarchy
+5. Physical coupling and future form
+6. System-specific visual grammars
+7. Live-action capture
+8. Prompt contract
+9. Diagnosis and vetoes
+
+## Research boundary
+
+Use human-factors standards to establish task logic, control/display grouping, feedback, degraded data, confirmation, and redundancy. Use official film-interface case studies only to learn how interfaces support actors, story beats, lenses, exposure, and on-set playback. Neither source class determines a franchise look, font, palette, or screen outline.
+
+Current primary anchors:
+
+- NASA crew-interface requirements: https://www.nasa.gov/reference/10-0-crew-interfaces-vol-2/
+- NASA Appendix F display standard: https://www.nasa.gov/reference/appendix-f-vol-2/
+- NASA Human Integration Design Handbook: https://www.nasa.gov/human-integration-design-handbook/
+- NRC NUREG-0700 Revision 3: https://www.nrc.gov/reading-rm/doc-collections/nuregs/staff/sr0700/r3/index
+- Territory Studio, functional screen graphics for *The Martian*: https://territorystudio.com/project/the-martian/
+- Territory Studio, real-time on-set screen graphics: https://territorystudio.com/project/real-time-screengraphics/
+- Territory Studio, research plus non-technical visual transformation for *Prometheus*: https://territorystudio.com/project/prometheus/
+
+Treat the engineering sources as human-factors evidence and the studio sources as production evidence. Transfer mechanisms only. Do not copy any film's layout, iconography, typography, palette, animation, or hardware silhouette.
+
+## Function-specific no-text evidence gate
+
+For an interface inside a narrative or world frame, inherit the screenplay's selected visual contract and hide the title, prompt, captions, screen text, numbers, and symbols. At normal viewing size, the physical scene must already communicate the evidence required by that contract:
+
+- action/decision: actor or responsible system, action, physical target, changed state, and script-supported consequence;
+- discovery/information: observer, physical evidence, attention or understanding shift, and any intentionally withheld unknown;
+- relationship/power: spatial control, access, gesture, exchange, or blockage and the relational response;
+- establishing/atmosphere: location function, active world or causal emptiness, and latent condition or route;
+- aftermath/transition: trace, implied cause, and affected new state;
+- isolated non-interface asset/reference: identity, function, scale, applicable interfaces/relationships, and material/operating logic.
+
+Use a three-second threshold only for beats whose source requires immediate action comprehension. A quiet discovery may unfold more slowly, and suspense may intentionally withhold meaning. If the essential contract depends on reading a screen, reblock the camera, body, object, mechanism, spatial relation, evidence, or consequence before adding UI.
+
+UI may confirm, quantify, authorize, predict, translate an otherwise invisible variable, or control a real system. In a narrative/world frame it may not become the only proof that the beat happened. For every critical state the script requires the viewer to know, use at least two different evidence classes:
+
+- body posture, gaze, hand or foot action;
+- control position, mechanical geometry, load path, flow direction, or material motion;
+- local light, sound-source proxy, thermal, pressure, fluid, deformation, or damage change;
+- beneficiary, casualty, traffic, habitat, institution, or environmental consequence;
+- interface state.
+
+An interface-only state is not sufficient visual evidence in a narrative/world frame.
+
+### Isolated UI/HMI asset exception
+
+When the explicit deliverable is an isolated interface asset, screen family, interaction prototype, modality study, or UI diagnostic, do not invent a person, room, machine, beneficiary, failure, or distant consequence. Instead define and visibly test:
+
+- one declared system model and task or information question;
+- the human, nonhuman, collective, supervisory, or autonomous modality and authority relation, including `no operator` when correct;
+- overview, task state, transition/response, confirmation only when critical, uncertainty/data validity, and degraded/fallback behavior only where applicable;
+- mapping between information hierarchy and the declared system topology;
+- at least two internal redundant cues for any critical state, such as shape plus position, topology plus motion, texture plus rhythm, or symbol plus spatial change; color or tiny text alone does not count;
+- carrier/signal behavior and production constraints appropriate to a screen, physical prototype, animation, illustration, spatial/sonic/chemical interface, or another selected medium.
+
+An isolated UI asset may be screen-only or nonvisual. It fails when it is decorative, cannot be exercised against the declared task/state model, or could move unchanged to an unrelated system.
+
+## Interface-system card
+
+Record only interfaces required by the current event or isolated asset; use agent-neutral fields and mark absent items `not applicable`:
+
+- `agent and governance`: which human, nonhuman, collective, supervisory, autonomous, environmental, or `no operator` model senses, interprets, decides, confirms, overrides, adapts, or repairs when applicable;
+- `task`: the one task, decision, or information question the interface supports in this frame;
+- `world sensor`: what physical state is measured, with latency, uncertainty, and failure mode;
+- `system topology`: real nodes, orientation, flows, boundaries, support/load/energy paths, and the display mapping that preserves them;
+- `overview`: current system state and the abnormal region;
+- `decision state`: current value or category, direction/trend, limit or remaining margin, predicted consequence, and data freshness;
+- `input/control/governance`: the actual touch, pull, turn, brace, switch, authorization object, gesture, voice, gaze, neural/chemical signal, collective threshold, autonomous rule, or absence of user input;
+- `confirmation`: the independent action required for critical, hazardous, irreversible, or destructive commands;
+- `feedback`: immediate modality-appropriate acknowledgment plus real/declared system, organism, or environmental response; an isolated UI asset may keep both within its test model;
+- `degraded mode`: stale/missing data, partial failure, manual fallback, and what remains trustworthy;
+- `embodiment and environment`: applicable senses, reach or spatial access, restraint/support, vibration, acceleration, light or other signal conditions, glare/interference, corrosion, dust, pressure, heat, protective state, or nonhuman body relation;
+- `production`: selected screen, physical prototype, sound/touch/chemical rig, animation, illustration, sensor rendering, material/signal behavior, performer/device cue when present, and typography/symbol boundary.
+
+## Information and action hierarchy
+
+Use only the hierarchy levels the task needs; these are screen-oriented examples, not a mandatory three-tier console:
+
+1. **System overview**: one dominant topology showing where the event is occurring and which route, node, body, compartment, or population is affected.
+2. **Current task/state**: the applicable target/question, state or trend, meaningful boundary, uncertainty, consequence, governance/authorization only when used, and response.
+3. **Maintenance detail**: calibration, logs, component history, diagnostics, and exact values; keep secondary or off-camera unless the scene is specifically about diagnosis.
+
+At normal image size, the selected primary information levels must read through large shapes, position, flow, changing area, mechanical state, or one coarse trace. Small text, pseudo-language, serial numbers, and precise decimals are set dressing only and must not carry the plot.
+
+For any important number, show its object, unit or category, direction/trend, meaningful boundary, and consequence. A bare percentage, random code, or seven-segment value is not a future interface.
+
+Mark stale, missing, estimated, or unavailable data through shape, texture, interruption, position, or explicit later-added label. Never let color alone carry critical meaning. Use at least one redundant cue such as line type, fill pattern, silhouette, icon, position, rhythm, or mechanical state.
+
+## Interaction coupling and future form
+
+Derive the interaction chain from the source's body, senses, task, environment, latency, authority, and failure mode. A useful generic chain is `sensor/state → presentation or cue → human, nonhuman, collective, or autonomous interpretation → input or authorization → effector/system → local and world feedback`, but show only the links the selected scene function needs.
+
+Visual, tactile, auditory, gaze, gesture, voice, neural, chemical, nonhuman, distributed, and autonomous interfaces can all be valid when the source and mechanism support them. For a human manual interface, a visible `hand → eye → effector/system` triangle is one useful pattern, not a universal requirement. Whatever the modality:
+
+- presentation, control, and system response agree with the real orientation, node, route, timing, and authority;
+- selected nodes, branches, bodies, or states correspond to visible hardware, organism behavior, or world consequences;
+- critical actions receive a modality-appropriate acknowledgment and an independently readable system post-state;
+- the interface cannot be moved unchanged to another world or task without losing meaning.
+
+Do not confuse `physical` with `retro`, or `interface` with `screen`. An interface can use a protected display, electronic ink, relief topology, mechanical state, tension/fluid channel, projected surface, visor, sound field, pressure wave, chemical pattern, body color/texture, collective motion, environmental trace, or a hybrid carrier. Choose it from embodiment, senses, environment, task, failure safety, lifecycle, energy, and governance—not from a generic sci-fi look.
+
+Reject the default formula `small black rectangle + green/white monospaced text + isolated percentage + old wheel`. Use an old display only when the world's supply history, retrofit state, degradation, and agent/system workflow specifically require it.
+
+When the source contains a critical or irreversible action, give it a modality-appropriate independent confirmation that the selected medium can reveal: a guarded or two-stage manual control, separate authorization object, dual-agent agreement, spatial/temporal gesture, audible challenge-response, distributed quorum, biological acknowledgment, autonomous interlock, or another non-actionable fictional control. After execution, leave an independently readable system or world post-state such as an empty slot, changed route, locked position, displaced marker, filled channel, unavailable option, altered organism response, or persistent environmental consequence.
+
+## System-specific visual grammars
+
+Derive the interface from what the system does. A screen that can move unchanged between worlds fails.
+
+### Continuous field, liquid, membrane, or optical surface
+
+Use only the applicable edge profile, contour, wavefront, curvature, interference, settling direction, capture boundary, confidence band, and local-loss cues. In a narrative/world frame, match the presentation to the real surface orientation and let real surface deformation remain the first proof. In an isolated interface asset, map those cues to the declared surface/state model without inventing an external scene.
+
+### Distributed load, bridge, mecha, tether, or giant body
+
+Use node order, support polygon, tension/compression direction, contact state, occupancy, transfer sequence, remaining support, and deformation. A physical load model, strain leaf, moving bead, or large mimic board may be more readable than a generic monitor.
+
+### Energy, thermal, fluid, life-support, or civic allocation
+
+When the screenplay actually contains a resource-allocation choice, use the applicable source, stored amount, spatial flow, branch allocation, losses, remaining envelope, beneficiary, and deprived branch. Make the interface topology follow the real system direction, and make the chosen branch plus affected body/place the primary physical evidence. For routine monitoring, discovery, ceremony, care, or a single-output system, do not invent a beneficiary, deprived district, countdown, or moral tradeoff.
+
+### Biological or ecological system
+
+Use pressure, circulation, respiration, tissue tension, fatigue, sensory orientation, contamination, and treatment path. Do not convert a living body into a generic humanoid health bar.
+
+### Weapon, defense, or hazardous equipment
+
+Keep it non-actionable. Emphasize authority, safe arc, exclusion zone, energy/heat budget, readiness, collateral constraint, degraded mode, and cease/abort state rather than construction, targeting algorithms, vulnerabilities, or real performance values.
+
+## Live-action capture
+
+- Build the control, bezel, glass, switch travel, mechanical indicator, relief topology, sight channel, or actor-contact surface practically when possible.
+- Match screen playback to camera frame rate, exposure, viewing angle, lens, reflections, and actor timing. Keep display brightness below the level that would unrealistically light the whole face or cabin unless it is the named key source.
+- Derive carrier and condition from environment and embodiment: matte glass, thick polycarbonate, coated transparent layers, ceramic insert, woven display, engraved scale, acoustic field, chemical marker, body pattern, spatial motion, or another supported medium. Add fingerprints, cleaning, corrosion, dust, heat, wear, or polish only where the source's use history produces them.
+- For performed photographed interaction, give actors or practical devices a real cue matched to the same input and response seen in frame. For nonhuman, distributed, autonomous, illustration, or reference routes, reveal the equivalent timing through the selected sensory or system evidence rather than inventing a human movement.
+- Generate coarse topology, blocks, paths, and state areas in the image; add precise typography and mission-critical text in post. Do not demand reliable tiny lettering from an image model.
+
+## Prompt contract
+
+When an interface is story-relevant, state the applicable items in this order. For an isolated UI/HMI asset, replace item 1 with its declared task/system-model test and omit external body/world consequences that the brief does not contain:
+
+1. the selected no-text visual contract and its required evidence/information order;
+2. the real system topology, orientation, branch, node, or surface state;
+3. the responsible body, senses, collective, supervisory layer, or autonomous governance—and the applicable input/authorization/confirmation relation;
+4. one dominant carrier or signaling medium and why this body, environment, task, and production route use it;
+5. the matching interface topology and the source-required state, trend, or transition;
+6. the immediate response plus independent system, organism, or world evidence at the distance the beat needs;
+7. the carrier's applicable material or signal behavior, capture/readability limits, condition, degraded mode, and practical/post or illustration/animation split;
+8. exclusions limited to likely failures.
+
+Do not request a wall of UI, random data, dense technical text, generalized holograms, or a screen that explains an off-camera event. In a narrative/world frame, do not let UI cover the speculative phenomenon or source-required body/system action; in an isolated UI asset, protect the declared task and state model.
+
+## Diagnosis and vetoes
+
+Reject or revise if any answer is no:
+
+1. In a narrative/world frame, with all UI text hidden, does the selected function-specific visual contract remain readable at the intended time? In an isolated UI/HMI asset, can the declared task and state hierarchy be exercised without depending on tiny text or decorative lore?
+2. In a narrative/world frame, does each critical state have at least two different evidence classes? In an isolated UI/HMI asset, does it have at least two internal cues in the selected modality?
+3. Is the main interface necessary for a real task rather than decorative future signaling?
+4. Does it lie in the source-derived perception/input/governance/system/feedback relation and correspond to visible world evidence for a narrative frame, or to the declared test topology/state model for an isolated asset?
+5. Does it show state, trend, margin/limit, predicted cost, confirmation, feedback, and data validity only to the degree the task needs?
+6. Does the selected modality use redundant cues rather than color alone, and does any applicable degraded state remain distinguishable? Grayscale is a useful test for visual color interfaces, not for nonvisual modalities.
+7. Is the primary hierarchy readable through coarse topology, spatial/temporal pattern, touch/sound/chemical relation, or another modality-appropriate structure rather than tiny generated text?
+8. Do the applicable carrier/signaling medium, input/governance, material or signal behavior, visibility, condition, and fallback follow the environment, embodiment, task, and production route?
+9. Would moving the interface unchanged to another system or world break its meaning? If not, redesign it.
+10. Has the design avoided isolated black boxes, bare percentages, random seven-segment numbers, accidental retro styling, floating UI with no emitter, decorative blue/orange grids, and screens that light the entire set?
+
+If a narrative/world frame is wrong, return to the screenplay contract, blocking, and spatial skeleton. Never use interface polish to conceal missing story evidence, a missing relationship, an absent state change, or an off-camera consequence. For an isolated UI/HMI asset, return to the declared task/system model and state coverage. Do not add a beneficiary, danger, failure, maintenance task, irreversible control, or persistent cost unless the source requires it.

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+# Future weapon and equipment systems route
+
+Load this reference when the requested image includes weapons, armor, combat vehicles, defensive infrastructure, mission payloads, or a standardized military/rescue equipment family. Design a complete operating system, not a decorated gun.
+
+## Safety and evidence boundary
+
+- Keep this route at non-actionable film-design level. Define only the source-relevant mission, visible modules, user/body relation, energy, heat, load, logistics, service, condition, environment, camera, and story or reference function.
+- Do not supply real-world construction steps, internal schematics, targeting algorithms, material recipes, fabrication tolerances, exploitable vulnerabilities, or performance numbers for range, penetration, energy, frequency, explosive yield, armor, or guidance.
+- Mark current mechanisms as verified only where an authoritative source supports them. Treat future integration as constrained extrapolation and fictional effects as explicit hypotheses.
+- Never copy a recognizable franchise weapon, armor, vehicle, ship, insignia, sound, color arrangement, or silhouette.
+
+## Imagination and operational-grammar leap
+
+Future equipment becomes genuinely new when a mechanism changes one or more consequential relations among sensing, governance, support, movement, energy, heat, replenishment, safety/civilian protection, architecture, ecology, or recovery—not when a current weapon receives new panels.
+
+For amplitude II–III:
+
+- write one world-exclusive visual thesis in which the equipment changes posture, route, timing, cooperation, or the built environment;
+- combine one verified physical constraint, one non-adjacent workflow, and one explicit discontinuity in effect delivery, embodiment, network relation, power/thermal economy, or lifecycle;
+- generate three functionally valid routes before selecting one, preserving all user/script locks and differing in at least one consequential open dimension such as embodiment/governance, support/reaction, echelon, effect topology, lifecycle, environment relation, or infrastructure consequence; do not force all dimensions to change;
+- propagate the chosen system into at least three source-relevant visible consequences selected from body/roles, vehicle/base relation, logistics/lifecycle, safety/collateral, architecture, ecology, institution, timing, or recovery; do not invent every domain;
+- show relationships across only the individual, group, vehicle, infrastructure, ecological, or distributed layers the brief spans and the frame can read; a single-echelon system need not grow a full hierarchy;
+- run the contemporary-substitution test: if a present rifle, turret, armored vehicle, radar, or launcher can replace the system without changing blocking and behavior, redesign it.
+
+This section never authorizes actionable weapon detail. Keep effects at cinematic system level while making source-relevant responsibility, energy, heat, reaction, collateral limits, operating tradeoffs, and body/environment relation clear. A persistent cost or active use event is required only when the screenplay contains one.
+
+## System-of-systems card
+
+For every dominant system covered by this reference, record only the applicable fields; mark an omitted field `not applicable` rather than inventing hardware, personnel, use, damage, or logistics:
+
+1. **Echelon**: individual, squad/crew-served, vehicle/mecha, base/ship, or distributed network.
+2. **Mission effect**: intercept, disable, cut, shield, breach, mark, suppress, tow, rescue, deny access, or protect a corridor. Keep the description high-level.
+3. **Sensing and governance**: sensor or state source, responsible human/nonhuman/collective/autonomous layer, confidence/fault state, safety, and degraded mode. Automation changes responsibility; it does not make it irrelevant.
+4. **Effect mechanism**: the source-supported or explicitly hypothetical high-level effect, without forcing kinetic mass, directed energy, drones, fields, or barriers.
+5. **Power path**: source, buffer, distribution, isolation, and what other capability loses power during peak use.
+6. **Heat and load path**: recoil/reaction, torque, structural support, cooling, heat capacity, radiator or exchanger, safe direction, and recovery time.
+7. **Consumables and logistics**: only the ammunition/effect medium, energy storage, coolant/thermal mass, replacement components, transport, storage, and replenishment the mechanism actually uses.
+8. **Body/agency and service path**: applicable grip, support, restraint, roles, access, embodiment, manipulator clearance, lifting/handling, escape, fault isolation, replacement, or repair boundary.
+9. **Signature and collateral**: sound only in a medium, plume, flash, heat, dust, debris, electromagnetic interference, backblast, unsafe arc, friendly traffic, or habitat risk.
+10. **Localized condition**: use, cleaning, corrosion, heat, handling, replacement, storage, and battle damage only where the current state supports them; concentrate traces at grip, mount, aperture, suspension, sensor, interface, cable bend, strike, or frequently replaced module.
+
+Reject an effect or protective capability that has no visible support, energy/heat/load tradeoff, state envelope, role/body consequence, or relationship to the environment. Do not invent active use merely to display the tradeoff in an isolated reference image.
+
+## Equipment spectrum
+
+### Individual level
+
+- Integrate only the source-required protection, sensing, communication, power, mobility assistance, medical access, tools, and effect modules as one carried load budget; do not add the whole suite by genre.
+- When standardization, modularity, or replacement exists, use source-derived shared energy/data/material interfaces and mission modules; a sealed, bespoke, biological, passive, or disposable system need not use replaceable modules. Separate life-support from optional effects only where both exist.
+- During active use, route reaction through the actual human/nonhuman body, support, vehicle, field, environment, or counter-motion relation; shoulders, hands, harnesses, monopods, braces, restraints, tethers, and counter-rotation are conditional examples.
+- For repeated-use capability, show the applicable heat capacity, consumable, recharge, recovery, or other limiting state. A passive, single-use, stowed, or neutral asset may express its envelope without inventing firing or damage; no capability is unlimited without a paid mechanism.
+- Derive control and feedback from body, environment, latency, authority, safety, and degraded operation. Local tactile, visor, gaze, voice, neural, remote, distributed, nonhuman, or autonomous control may be valid; physical state must independently reveal critical outcomes.
+- In a narrative frame, prefer a source-required agent or system solving the actual beat over a hero weapon silhouette. In an explicit asset reference, a complete neutral view is valid when family identity, function, scale, applicable interfaces or relationships, support, and operating logic are clear.
+
+### Squad, crew-served, and standardized family
+
+- Build a family around shared operating/lifecycle logic rather than identical shells. Interfaces, energy packs, sensors, thermal modules, protection, maintenance tools, software, biological cues, infrastructure, procedures, or training are optional ways to express that grammar.
+- When the system's scale requires distinct responsibilities, derive observation, governance/authorization, effect control, power/thermal, security, and casualty/safety functions; they may be combined, distributed, nonhuman, autonomous, or absent where inapplicable.
+- When peak energy/heat exceeds what the embodied unit can carry, derive an external, distributed, environmental, infrastructure, sacrificial, time-buffered, or other explicit support relation; packs, sleds, tripods, vehicles, walls, and decks are examples.
+- Show standardization through the applicable shared connection, scale envelope, material/state code, service/lifecycle method, module relation, behavior, or institution; connectors, swap envelopes, and carts are not mandatory. Avoid cloned users, identical condition, and unsupported parade layout.
+- When the brief is narrative or operational, make only the source-required tactical relationship readable, such as overlapping observation, protected resupply, safe direction, relay, withdrawal, or casualty movement. A neutral asset records its family relation without inventing deployment. Do not provide real deployment instructions.
+
+### Vehicle and mecha level
+
+- Treat only the applicable mobility, sensing, occupied-body survival or autonomous protection, power, heat, mission effect, service strategy, and escape/recovery needs as competing volume and mass claims.
+- Align reaction loads with a longitudinal frame, turret ring, keel, suspension, tracks, stabilizers, anchors, counter-rotating mass, or attitude-control system.
+- Separate average propulsion power from short peak-effect buffering only when both exist. When the source captures active use or aftermath, show the applicable tradeoff: reduced mobility, isolated bus, opened exchanger, exposed radiator, depleted module, recovery interval, or another supported consequence. A stowed, passive, pre-use, or neutral reference must not invent a peak-effect event.
+- Keep only the applicable sensors, occupied or autonomous control volume, payload, power buffer, cooling, consumables, and service strategy physically legible but not diagram-like. A crane is only one possible service solution.
+- Derive the view from the selected scene function or asset-reference need. A hatch, wheel, stabilizer, service deck, cockpit, remote sensor, full diagnostic profile, or another anchor may be correct; reject merely dressing a centered present-day platform with new panels and neon.
+
+### Base, ship, and distributed level
+
+- Design a base-, ship-, or distributed-level system as infrastructure, including only the applicable sensing, authorization or autonomous governance, power, buffer, main structure, effect aperture/release point, safe envelope, heat rejection, service route, and replacement strategy.
+- Derive responsibility from scale, law, species, automation, latency, and failure consequence. Tracking, authorization, power/thermal supervision, collateral clearance, and fault isolation may be separate, combined, nonhuman, or autonomous roles; do not force five human stations.
+- In vacuum, an energy beam is not a colored light strip unless an intervening medium or explicit visible tracer explains it. Show the result, aperture state, heat state, or sensor response instead.
+- Route reaction and torque into the foundation, truss, hull, flywheel, counter-mass, or attitude control. Keep radiators, arrays, thrusters, traffic, and crew outside unsafe arcs.
+- In a narrative frame, avoid a complete symmetric superweapon display only when it erases the selected beat; derive the viewpoint from the actual agent/governance layer, affected body, protected space, institution, environment, or consequence. A source-motivated confrontation, ceremony, inspection, or symmetric relation may be complete; an asset reference uses diagnostic views without inventing maintenance.
+
+## Energy, heat, and effect families
+
+### Kinetic or electromagnetic
+
+- For a kinetic system, show the applicable mass source/store and structural reaction. For an electromagnetic accelerator or field effect, show its actual conductors, field structure, buffer/isolation, heat path, and only the wear surfaces or replaceable modules its mechanism produces.
+- In atmosphere, dust, pressure, flash, sound, and thermal disturbance require a source. In vacuum, use recoil, ejecta, local flash, vehicle attitude, and heat state rather than smoke or contrails.
+- Avoid turning every future effect system into a long rifle or missile tube. Derive topology from its mechanism, energy/load path, operating envelope, body or infrastructure relation, protection, and service strategy; none of those requires one fixed outer silhouette.
+
+### Directed energy
+
+- Show applicable sensor quality, pointing stability, clear aperture, source-appropriate authorization or autonomous governance, energy source, heat capacity/cooling, contamination control, and recovery state.
+- Keep the beam invisible in clean air or vacuum unless a specified medium scatters it. Make the effect readable through the applicable aperture/source state, target or protected-space response, heat state, governance/command or autonomous response, and line-of-sight protection; do not require every cue in one frame.
+- Do not use colored laser ribbons, glowing coils, or unlimited continuous fire as proof of power.
+
+### Interceptor, drone, and barrier systems
+
+- Show only the applicable storage/deployment, communication or coordination, identification, safety envelope, recovery/disposal, replenishment, and faulted-unit handling; a persistent barrier or non-recoverable interceptor may use a different lifecycle.
+- Let autonomy alter workload and responsibility while preserving only the source-relevant authorization/governance, uncertainty, abort/fail-safe, and friendly-traffic constraints.
+- When standardization or servicing matters, make the relevant payload interfaces, lifecycle, and service strategy visible; avoid a cloud of identical drones as decorative background.
+
+## Protection and support equipment
+
+- Treat protection as a compromise among only the applicable threat, mobility, heat, visibility/sensing, pressure/chemistry, service/healing, medical/body access, and escape/release. Avoid an unsupported glossy full-body superhero shell; source-derived glossy protection remains valid.
+- Route powered assistance through the actual body/contact/support, sensing/governance, inertia, clearance, and safe-state relation. Joints, harnesses, feet, doors, vehicles, and maintenance spaces apply only to bodies and environments that have them.
+- Include countermeasure, medical, communications, environmental protection, tools, spare energy, and casualty handling when they affect the scene. A future soldier is not only a gun carrier.
+- Use localized replacement, patching, wear, discoloration, contamination, healing, or impact evidence only when the requested current state and operating history produce it; a new, sterile, sealed, ceremonial, dormant, or one-shot asset may be unmarked.
+
+## Camera and story/reference integration
+
+- In a narrative frame, use the screenplay's selected function contract. Action may include authorization, exchange, shutdown, isolation, protection, withdrawal, rescue, or another named beat; discovery, relationship, establishing, aftermath, and suspense need not become firing or maintenance scenes.
+- In an isolated asset/reference frame, show identity, function, scale, applicable interfaces/relationships, material/protection logic, shared family grammar when a family exists, and requested state without inventing a user or opponent.
+- Derive camera or diagram/view relation from the source and deliverable: user body, affected space, public boundary, vehicle hatch, protected aperture, remote observation, neutral reference, or another justified anchor.
+- Keep a body, interface, support, route, or consequence readable only when it belongs to the source. Background teams are required only in a populated busy operation.
+- Use equipment to change posture, route, timing, access, protection, or choice when the story uses it. Do not make people idle decorations around a weapon.
+
+## Route vetoes
+
+Reject the image or prompt if any applicable item appears:
+
+- a contemporary rifle, tank, missile truck, fighter, or naval gun with cosmetic panels and LEDs;
+- centered heroic weapon product shot, full-body armored hero, parade lineup, or empty showroom that erases the selected narrative function; a source-motivated portrait, ceremony, inspection, or neutral asset reference may use complete/frontal geometry when diagnostically justified;
+- unlimited capability, or missing source-relevant energy, thermal, reaction/load, consumable, service/lifecycle, and recovery constraints; do not require a consumable, maintenance event, or recovery interval when the mechanism and requested state do not use one;
+- giant visible laser ribbon in vacuum, decorative muzzle flash, random sparks, or smoke without a medium;
+- weapon, radiator, array, thruster, crew path, hatch, sensor, or safe arc occupying the same space;
+- one embodied agent carrying vehicle-scale energy, cooling, support, and effect mass without an explicit assistance/distribution mechanism;
+- cloned equipment with identical damage or a standardized family differentiated only by color;
+- interface wallpaper, unsupported floating holograms, pseudo-text, universal red alarms, unmotivated universal teal-orange grade, or glossy black armor used as an unexplained genre default; any of these may appear only when the screenplay, material/light physics, and approved visual system specifically require it;
+- copied franchise silhouette, signature weapon, helmet, ship, insignia, or color identity;
+- amplitude II–III that remains a present rifle, turret, tank, fighter, launcher, or radar after labels, UI, setting, and color are removed;
+- actionable real-world fabrication, performance, targeting, or vulnerability detail.
+
+## Primary references
+
+- U.S. Army, squad as an integrated platform and modular architecture: https://www.army.mil/article/227669/the_squad_as_an_integrated_platform
+- U.S. Army, power/data rails and centralized power for soldier systems: https://www.army.mil/article-amp/231403/ccdcs_road_map_to_modernizing_the_army_soldier_lethality
+- DARPA Warrior Web, load assistance and human interface: https://www.darpa.mil/research/programs/warrior-web
+- U.S. Army acquisition portfolio, Robotic Combat Vehicle and modular mission payloads: https://api.army.mil/e2/c/downloads/2024/03/08/b33ff3e4/2023-u-s-army-acquisition-portfolio.pdf
+- Office of Naval Research, electromagnetic launcher integration and thermal management: https://www.onr.navy.mil/media-center/news-releases/bang-navy-begins-tests-on-electromagnetic-railgun-prototype-launcher
+- Air Force Research Laboratory, directed-energy cooling research: https://afresearchlab.com/news/afrl-partners-with-new-mexico-state-university-to-test-cooling-solutions-for-directed-energy-weapons/
+- NASA Human Integration Design Handbook: https://www.nasa.gov/wp-content/uploads/2023/03/human-integration-design-handbook-revision-1.pdf

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+# Research-first inspiration engine
+
+Use this reference after the screenplay/source has been analyzed and its open design gaps are known. Research constrains mechanisms and expands options; it does not choose the story, future tier, world route, silhouette, palette, or style by popularity.
+
+## Research-first gate
+
+Preserve explicit source facts and approved locks, then formulate the smallest research questions needed to solve open gaps. Before making a new design inference about mechanism, future degree, world, environment, system route, form, palette, interface, or production method:
+
+1. run an actual search;
+2. open the source itself;
+3. record what it supports and does not support;
+4. separate verified fact, constrained extrapolation, explicit hypothesis, and film-production lesson;
+5. extract transferable causal mechanisms and discard literal appearance.
+
+A search-result snippet, model memory, second-hand summary, or unopened citation is not evidence. If usable sources cannot be opened, stop before a final design-changing prompt or image call unless the user explicitly authorizes a labeled offline preliminary.
+
+An approved, versioned evidence card may be reused for later shots in the same locked world while its assumptions, scope, and source currency remain valid. Research again when the script introduces a new mechanism, environment, body, interface, system route, or contradiction.
+
+## Prior-example firewall
+
+Earlier images, prompts, concept groups, validation batches, and user examples are not hidden route menus. Unless explicitly approved/locked, record only:
+
+`problem the example solved → effective relationship mechanism → why it worked → transferable upper-level rule → literal traits to delete`
+
+Do not transfer the example's count, order, name, scene, faction, environment, body proportion, limb plan, weapon location, palette, pose, composition, camera, or light setup. For combat-mecha work, named animation, model-kit, collectible, live-action, or industrial references may separately inform character readability, construction hierarchy, second silhouette, mass, human touch, or engineering mechanism; never combine recognizable parts as a collage or pass brand names into the image prompt.
+
+## Research question card
+
+Start with:
+
+- `source/beat`: current authority source and scene function;
+- `open gap`: the unresolved decision, not a desired look;
+- `decision affected`: world, environment, mechanism, body, infrastructure, interface, manufacture, human factors, production, color source, or another named choice;
+- `what would falsify`: evidence that would make a route invalid;
+- `minimum useful answer`: the constraint or mechanism needed before design can proceed.
+
+Good questions ask how something operates, fails, is built, maintained, sensed, controlled, experienced, or filmed. Weak questions ask what “future X looks like.”
+
+## Source classes and maturity
+
+Prefer the strongest available evidence for each claim:
+
+- primary scientific paper, experiment, mission data, standard, regulator, official technical report, or manufacturer documentation for engineering and human-factors claims;
+- official program, laboratory, university, agency, or company material for maturity and operating context;
+- independent technical or industry evidence for a non-adjacent workflow or production mechanism;
+- official production-design, cinematography, VFX, or interface case study for how an effect was staged or captured;
+- weak/secondary material only when stronger sources are unavailable, with the gap stated.
+
+Record maturity as operational, demonstrated/tested, prototype, funded study, early research, speculative proposal, or fictional production lesson. Never upgrade a paper concept to deployed technology.
+
+## Search-evidence card
+
+For each opened source record:
+
+- exact query and search date;
+- title, author or organization, publication/update date, direct link or stable identifier, and opened section;
+- source class and maturity;
+- exact supported claim;
+- transferable mechanism or workflow;
+- deliverable-visible physical, material, behavioral, spatial, or signal trace;
+- limit, uncertainty, conflict, failure, cost, or missing evidence;
+- screenplay fact or open gap it informs;
+- literal silhouette, layout, palette, marking, anatomy, or signature composition that must not transfer.
+
+If research contradicts the screenplay, return the conflict to the authority layer. Do not quietly redesign the story around the research.
+
+## Finding pool before selection
+
+Do not search only for confirmation of the first idea. For a project-identity decision, high-imagination request, or materially underspecified mechanism, retain genuinely different routes long enough to compare:
+
+- story and emotional fit;
+- physical compatibility and explicit hypotheses;
+- maturity and evidence gaps;
+- transformative leverage;
+- effect on bodies, work, infrastructure, institution, ecology, and time;
+- substitution resistance;
+- one-frame readability and information order;
+- production translation and the applicable photographed/practical, miniature, animated, illustrated, sensor, UI, or asset grounding relation;
+- originality risk and source-form contamination.
+
+For a routine shot inside an approved visual bible, a narrow search may be sufficient. Do not force three sources, a non-adjacent mechanism, or a new speculative leap into every scene.
+
+## Two synthesis levels
+
+### Bounded synthesis
+
+Use for literal adaptations, routine continuity shots, diagnostics, and small open gaps. Select the strongest relevant mechanism, respect its limits, and translate only the deliverable-visible consequence the task needs.
+
+### Amplified synthesis
+
+Use for new world identity, flagship concept design, or explicit high-imagination scope. Build at least three transformation pitches that differ in an open topology, scale relation, agent/body relation, infrastructure, institution, ecology, manufacture, lifecycle, or time dimension while preserving locks.
+
+The selected pitch should combine:
+
+- one verified anchor or explicitly labeled hypothesis and its non-negotiable cost;
+- one genuinely non-adjacent transformation mechanism when it creates new behavior rather than visual collage;
+- one script-derived dramatic pressure, desire, discovery, relationship, or social consequence;
+- at least three deliverable-visible downstream consequences for amplitude II–III;
+- a grounding anchor and layer/extension plan appropriate to the selected production route: practical/photographed contact for live action when present, miniature logic, animation/illustration construction, sensor projection, UI state model, asset-view system, or another declared method.
+
+The screenplay may require wonder, intimacy, secrecy, ceremony, boredom, conflict, labor, play, or terror. Do not replace “dramatic pressure” with a mandatory human dilemma, failure, repair, rescue, or sacrifice.
+
+## Source-form deletion and topology divergence
+
+Research supplies invariants and operations, not final appearance. Before locking a form:
+
+1. list the source traits that must be removed;
+2. derive geometry from the selected environment, loads, access, manufacture, body relation, and history;
+3. for amplified synthesis, compare at least three functionally valid topologies;
+4. reject the first familiar industrial or franchise silhouette;
+5. test the design after removing source names, UI, palette, grade, and location labels.
+
+If a present-day factory, crane, robot arm, vehicle, weapon, pressure door, or familiar animal can replace the central system without breaking the story and blocking, the flagship concept has not transformed enough. This substitution test is not required to make every ordinary continuity shot visually unprecedented.
+
+## Inspiration mechanism card
+
+When full synthesis is triggered, output:
+
+- current source/beat and open design question;
+- finding pool with provenance, maturity, limits, and no-copy traits;
+- rejected routes and why;
+- selected verified anchor or hypothesis;
+- selected non-adjacent transformation, if used;
+- script-derived dramatic pressure or audience experience;
+- environment and body deformation;
+- operating/manufacturing history;
+- topology candidates and selected route;
+- visible downstream consequences;
+- route-appropriate grounding, layer, and extension strategy;
+- contemporary-substitution result;
+- evidence gaps and approval status.
+
+Keep source names and citations in this card. The image prompt contains only transformed observable mechanisms.
+
+## Workflow
+
+1. Read the script authority and visual-translation cards.
+2. Preserve facts, locks, prohibited rewrites, dramatic function, and information order.
+3. Convert open gaps into research questions and falsifiers.
+4. Search and open sources; build evidence cards.
+5. Classify claims, maturity, limits, conflicts, and no-copy traits.
+6. Decide bounded or amplified synthesis from scope, not habit.
+7. Build and compare the required finding routes.
+8. Select mechanisms from story, physics, production, and originality—not result frequency.
+9. Derive physical, environmental, institutional, bodily, informational, and deliverable-visible consequences.
+10. Delete source appearance; for amplified synthesis, run topology divergence and substitution tests.
+11. Mark the result PROVISIONAL or CANDIDATE until user approval.
+12. Keep citations outside the model-facing prompt.
+
+## Gates
+
+Reject or revise if any applicable answer is no:
+
+1. Did source analysis and gap identification happen before search?
+2. Did actual search and source opening happen before new design inference?
+3. Can each research claim be traced to an opened source and relevant section?
+4. Are maturity, limitations, conflicts, and evidence gaps stated?
+5. Did research answer an open gap rather than override the screenplay?
+6. Were source mechanism and source appearance separated?
+7. For identity/high-imagination work, were genuinely different routes compared rather than one prototype dramatized?
+8. Does the selected synthesis fit the dramatic function and intended information order?
+9. For amplitude II–III, do at least three visible consequences follow from one paid rule without a hidden second miracle?
+10. Does the final design avoid recognizable source/franchise form and pass the applicable substitution test?
+11. Are unapproved results still labeled provisional or candidate?
+12. Would a new task with a different combat responsibility, world, body, and light still collapse back to an earlier example group's count, scene order, silhouette, palette, pose, or composition? If yes, sample leakage occurred; re-abstract the capability before design or generation.

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+# Live-action cinematography gate
+
+Use this reference only when the selected capture route includes live-action photography or hybrid live action/VFX. The goal is a photographed story beat, place, body, or asset with coherent extension, not a clean CG concept render.
+
+## Reality target
+
+Make the result plausibly describable as a real camera physically situated relative to an actor, organism, object, set, vehicle, or landscape while impossible scale and distance are extended coherently. Near, distant, fixed, mobile, intimate, observational, and obstructed relations are all valid when the screenplay justifies them. Camera, bodies, materials, reflections, medium, and VFX must resemble one exposure.
+
+## Physical production layers
+
+Assign each applicable layer before style language:
+
+1. **Photographed grounding anchor**: the subject, set/environment, prop, body, material, reflection, light, or empty-space evidence that makes the selected beat photographically real. A foreground object, contact, wear, and occlusion are optional and must come from the source.
+2. **Principal subject layer**: the source-required actor, child, group, organism, prop, machine, or empty-space evidence at the size needed for the selected visual contract.
+3. **Near evidence layer**: practical bodies, props, surfaces, routes, reflections, restraints, domestic objects, tools, or mechanisms that make the beat and world legible.
+4. **Middle extension**: repeated structure, vehicle, habitat, work crews, terrain, or orbital assembly; break repetition through function, occlusion, and state.
+5. **Far invisible VFX**: planetary curvature, distant ring, kilometers of infrastructure, far orbital traffic, deep crater, or extreme atmospheric horizon with naturally reduced information.
+
+For an empty science image, use instruments, tracks, deployed panels, thermal state, moving mechanisms, or time-dependent light as the reality anchor. Do not insert a person merely to satisfy a template.
+
+## Camera anchor
+
+Every prompt must answer: **Where could the camera physically be?**
+
+Possible anchors, to be chosen only when the beat requires them:
+
+- shoulder-height inside an airlock behind a suited worker;
+- fixed to a rover service deck beside a wheel and handhold;
+- clamped to a non-rotating docking truss near the capture ring;
+- floating only when attached to a stated free-flyer with a plausible relative frame;
+- waist-height on a Titan research vessel deck behind a heated instrument mast;
+- low on a crater-rim work platform, partly masked by an insulated cable reel.
+
+State the applicable camera location, height, subject distance, tilt, focal length/field of view, and obstruction or clean view. Reject an unlocated viewpoint or impossible camera inside a hazard. A centered, frontal, symmetric, or unobstructed photographed view is valid when the source or asset/ceremony/inspection contract requires it; reject only an unsupported showroom default that erases the beat.
+
+## Large-format logic
+
+- Large format is not synonymous with ultra-wide, proximity, or a moderate lens. Choose distance and focal length from information order, spatial power, body relation, and production access; use large image area to preserve texture, depth, and tonal separation appropriate to that choice.
+- Use long lenses when compression serves surveillance, isolation, or alignment. Do not use them merely to make an image prestigious.
+- Use extreme wide lenses only when the physical blocking requires a tight interior or close machinery. Control stretched people and curved structures.
+- For a person-led frame, use the distance required to read the source's emotion, gesture, relation, or physical condition; intimacy does not always require a face close-up.
+- For an environment-led frame, use script-relevant scale evidence such as occupied surfaces, habitat rhythm, vehicles, bodies, biological traces, repeated units, terrain, or light travel. People are optional.
+
+## Optics and exposure
+
+- Derive the capture signature from the approved camera/sensor, optics, filtration, format, exposure, display intent, and dramatic function. Natural or engineered perspective, deep or shallow focus, clean digital detail or visible texture, hard or soft edges, clipped or rolled highlights, and absent or present halation are all valid when causally selected; do not bundle them into a universal prestige look.
+- Let source strength, sensor/film response, exposure intent, and dramatic information order decide clipping, flare, highlight texture, and shadow visibility. Do not flatten every image into universally protected highlights or universally crushed blacks.
+- Keep flare linked to one visible or just-off-frame source. Reject decorative horizontal streaks and full-frame bloom.
+- Match foreground and extension in exposure, shadow direction, contrast, sharpness, chroma, reflection, and texture.
+- In atmosphere, reduce contrast and fine detail through distance according to the medium.
+- In vacuum, do not add haze for depth. Use focus, scale, occlusion, exposure, light falloff on surfaces, and limited star visibility.
+
+## Motivated light
+
+- Establish the script-derived source hierarchy: one source may dominate, or several environmental/practical emitters may share the exposure when the location and beat require it. Name each important source and its role; fire requires an allowed medium.
+- Add bounce and negative fill according to nearby surfaces. Do not rim-light every edge.
+- In direct sun outside atmosphere, favor a hard distant beam and decisive shadow direction.
+- In a dense atmosphere such as Titan, favor weak diffuse daylight and local functional lamps.
+- In interiors, light should emerge from windows, instrument panels, task lamps, ceilings, floor strips used for circulation, or equipment state. Keep decorative light secondary.
+- Treat color as causal: source spectrum, medium, material reflection, power state, or narrative condition.
+
+## Human reality
+
+- Keep a story-bearing actor or organism large enough to read the emotion, attention, gesture, relation, or physical work the beat actually depends on.
+- At distances where the source needs bodily or material detail, select only the evidence the scene causes—pores, restfulness or fatigue, condensation, pressure marks, glove compression, grooming, wear, or another condition. Do not add distress, grime, sweat, or disarray as a generic realism filter.
+- Give visible people or organisms distinct source-relevant roles, postures, attention, relations, routes, states, and timing; do not convert everyone into workers.
+- Make bodies, organisms, props, controls, tools, supports, restraints, fluids, and loose objects obey the selected gravity, acceleration, medium, contact, attention, relation, or stillness. Hands, tools, feet, tethers, and task gaze are required only when the beat actually contains them.
+- When the screenplay establishes a populated, busy facility and the chosen depth can read background action, use at least two purposeful groups with distinct routes or tasks while the principal subject pauses. Quiet, intimate, sleeping, empty, abandoned, ceremonial, or deliberately still scenes require none unless the source says otherwise.
+
+## Anti-CG diagnosis
+
+When the image resembles a game render, identify one dominant cause:
+
+- **Everything equally sharp** → create focus and medium-specific depth; remove fake vacuum haze.
+- **Everything equally clean** → add selective interface wear, repair, dust, glove polish, impact pits, thermal discoloration, or moisture only where the environment permits.
+- **Everything equally detailed** → concentrate detail at work zones and load/heat paths; calm large structural surfaces.
+- **Actors look pasted in** → unify source direction, reflections, grain, contact, exposure, and atmospheric state.
+- **Narrative frame looks like a product render** → restore the selected function-specific evidence and camera relation. An explicitly requested asset reference may remain neutral and complete when identity, function, scale, applicable interfaces/relationships, and material logic are clear.
+- **Lighting looks like a game grade** → remove unmotivated edge light and universal teal-orange; restore the actual source hierarchy, material response, exposure priority, and photographic black.
+- **Scale is only an adjective when scale matters to the beat** → add enough source-appropriate independent known relationships; an occupied surface is one option, not a requirement.
+
+## Prompt assembly
+
+Use this order:
+
+1. ratio, shot purpose, camera anchor, height, distance, tilt, lens, and dominant composition;
+2. selected function-specific visual contract and information order;
+3. photographed source-required actor, organism, object, environment, or intentional-empty-space evidence;
+4. only the near, middle, and far practical/in-camera/miniature/VFX layers the composition uses;
+5. physics card and visible causal pairs;
+6. functional engineering and material history;
+7. dominant light, exposure, bounce, practicals, and color causality;
+8. human and background behavior;
+9. optical continuity, atmosphere, and motion;
+10. scene-specific exclusions.
+
+## Reality audit
+
+- Can a real camera occupy the named location?
+- Is at least one source-required subject, environment, material, light, reflection, performance, contact, or intentional-empty-space anchor genuinely photographable or reproducible in the selected live-action/hybrid method? A foreground object, actor, or equipment item is not mandatory.
+- Is the selected story, discovery, relationship, establishing, aftermath, or asset function readable before decorative spectacle?
+- Do people and tools respond to the environment?
+- Does the light have a source and one consistent shadow logic?
+- Are foreground and extension matched as one exposure?
+- Are material wear and optical falloff selective rather than global?
+- Does the frame avoid unsupported showroom symmetry, game-render sharpness, artificial HDR, plastic skin, decorative fog, random LEDs, text, logos, and watermarks? Source-driven symmetry remains valid.
+
+Passing this audit means the prompt is structurally ready. Only a visible generated image and user judgment establish aesthetic success.
+
+## Primary production references
+
+- Kodak interview on large-format proximity, lenses, and honest light for Oppenheimer: https://www.kodak.com/en/motion/blog-post/oppenheimer/
+- Kodak interview on large-format immersion, available light, in-camera work, and crowds for Dunkirk: https://www.kodak.com/en/motion/blog-post/dunkirk-imax/
+- American Cinematographer on reactive, subjective, machine-mounted large-format camera work: https://theasc.com/news/dunkirk-discussion-at-asc-clubhouse-with-van-hoytema-and-sasaki/
+- American Cinematographer on hard solar light, practical locations, optical response, and science-fiction production layers in Ad Astra: https://theasc.com/article/ad-astra/
+- DNEG on physics-derived black-hole imagery for Interstellar: https://www.dneg.com/news/new-black-hole-imagery

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+# Nonhuman organism and ecology derivation
+
+Use this reference whenever a task designs, depicts, diagnoses, or changes a nonhuman organism, alien life, speculative ecology, biosignature, symbiosis, colony, biological architecture, or organism-mediated environment. Use [mecha-and-megafauna.md](mecha-and-megafauna.md) in addition only when giant scale is actually part of the source or proposal.
+
+## Evidence and story boundary
+
+Separate two authorities that answer different questions:
+
+- `story status`: whether the current screenplay treats life, behavior, intelligence, or contact as FACT, withheld fact, or open possibility;
+- `science status`: `OBSERVED`, `SUPPORTED HABITAT`, `POTENTIAL BIOSIGNATURE`, `CONSTRAINED EXTRAPOLATION`, or `EXPLICIT HYPOTHESIS`.
+
+A screenplay may lock an organism's existence without turning its anatomy, metabolism, senses, color, scale, or ecology into scientific fact. Habitability is not life detection. Never use an Earth analogue, search image, generated image, or familiar creature silhouette as proof of an alien body plan.
+
+## Organism-ecology card
+
+Define only fields that affect the current beat or asset:
+
+1. `habitat boundary`: medium, pressure, temperature, chemistry, radiation, gravity, light, flow, substrate, and time cycle;
+2. `energy and ecological role`: usable gradient or story axiom, acquisition path, scarcity, trophic or material relation, abundance, and waste;
+3. `organization`: centralized individual, modular colony, distributed network, membrane, biofilm, swarm, symbiosis, cyclic material system, or another source-derived topology;
+4. `support and exchange`: buoyancy/load path, boundary material, gas/liquid/chemical exchange, internal or distributed transport, homeostasis, and repair;
+5. `sensing and signaling`: which environmental difference can be detected, through what carrier, at what range and latency, and with what observable response;
+6. `movement or growth`: propulsion, anchoring, deformation, cilia, jetting, drift, crawling, branching, accretion, phase change, colony synchronization, or another explicit process;
+7. `lifecycle`: reproduction, assembly, migration, dormancy, death, recycling, succession, or inheritance only where the source needs it;
+8. `scale and population`: energy-supported size, density, speed, duty cycle, territory, and independent scale evidence when relevant;
+9. `environment response`: displacement, wake, substrate change, chemical trace, light absorption/emission, heat, pressure, debris, symbiont behavior, or another caused effect;
+10. `story-visible evidence`: the smallest body, behavior, trace, or ecological relation the selected shot or deliverable must reveal.
+
+Mark each field `FACT`, `DERIVATION`, `PROPOSAL`, `LOCKED`, or `not applicable`, and retain its science-status label separately.
+
+## Topology divergence before silhouette
+
+When body organization is open and identity matters, compare at least three functionally valid routes before choosing one. Change organization, energy path, sensing, movement/growth, and environment coupling—not merely surface texture.
+
+Useful route families include:
+
+- a centralized mobile organism with a source-justified front/rear or radial relation;
+- a modular or colonial body whose repeated units divide exchange, sensing, movement, or reproduction;
+- a distributed field, membrane, biofilm, branching network, swarm, or habitat-organism boundary with no single face or chassis.
+
+These are starting axes, not a closed menu. Preserve rejected routes and the reason each failed the story, environment, energy, production, or originality gate.
+
+## Sensing, light, and color
+
+Do not assume eyes, a face, visible hearing organs, human-readable emotion, or a head-first approach. Derive perception from a real or declared carrier such as photons, polarization, pressure, flow, vibration, electric or magnetic fields, temperature, chemistry, contact, gravity, radiation, or collective state.
+
+Bioluminescence, fluorescence, iridescence, thermal emission, pigment, translucency, and structural color require separate mechanisms and story functions. Permanent darkness does not by itself justify blue-green bioluminescence. If an organism reacts when a lamp changes state, distinguish direct photoreception from correlated heat, electrical, chemical, or schedule cues; expose the ambiguity when the source does not decide it.
+
+## Material and body reality
+
+- Concentrate structure at support, exchange, sensing, growth, repair, reproduction, or contact zones rather than covering the body with equal detail.
+- Repeated plates, seams, ribs, fibers, pores, sacs, chambers, mineral layers, or light points need a biological or ecological function. Reject engineered panel lines and LED-like dots unless the story explicitly establishes a biological-machine continuum.
+- Show regional material behavior: compression, flex, inflation, shedding, salt or mineral growth, mucus/brine, healing, dormancy, phase change, colony edge, or another applicable response.
+- Do not enlarge a whale, snake, insect, reptile, human, or franchise creature and call the result alien. After deleting names, color, setting, and scale, the organism must still retain a habitat-specific organization and behavior.
+
+## Energy, size, and activity gate
+
+Large size, rapid movement, dense populations, continuous emission, active heating, and complex repair all spend energy. Trace the applicable energy path and visible cost. When energy availability is uncertain or sparse, keep multiple ecological amplitudes open: microbial or film-like life, slow sparse macroscopic life, localized high-flux ecosystems, or an explicit fictional energy axiom. Do not default either to microbes or megafauna.
+
+## Narrative and production gate
+
+- Match behavior to the selected visual contract. Discovery does not require attack; relationship does not require domestication; establishing does not require a hero organism.
+- Preserve intended uncertainty. Show only the anatomy and behavior the audience is allowed to know at this beat.
+- Check medium capacity: a still may show an organism's current response and one compatible trace, but cannot prove a full perception-decision-migration sequence without durable evidence.
+- For photographed or hybrid routes, define which body/contact cue can be practical, puppeteered, animatronic, performed, simulated, miniature, or VFX-extended. Do not let clean full-body CG erase the photographed anchor.
+
+## Prompt and audit contract
+
+Before writing a model-facing prompt, state:
+
+`story status → science status → habitat/energy boundary → selected topology → sensing/signaling → movement/growth → regional material behavior → environment response → story-visible evidence → withheld information → Earth/franchise traits to delete`
+
+Reject or revise when any applicable condition is true:
+
+- a habitability claim is presented as evidence that the organism exists or has a specific body;
+- the body defaults to a face, bilateral limbs, whale/snake/insect silhouette, armored vehicle shell, or upright performer without derivation;
+- blue/cyan glow, LED-like dots, translucency, tentacles, or decorative filaments carry alienness without a mechanism;
+- scale, speed, abundance, or emission has no energy/ecology relation;
+- the organism's material, sensing, movement, and environmental response contradict one another;
+- the creature could be transplanted unchanged to another medium, gravity, chemistry, energy regime, or story beat;
+- the prompt reveals more identity, intention, intelligence, threat, or anatomy than the source permits.
+
+## Primary research anchors
+
+- NASA Europa Clipper mission science; habitability objectives and explicit non-life-detection boundary: https://science.nasa.gov/mission/europa-clipper/mission-science/
+- Europa Clipper mission science paper; water, bioessential elements, chemical energy, stability, and unresolved transport/mixing: https://www.nature.com/articles/s41467-020-15160-9
+- Szalay et al. 2024; directly observed oxygen production is lower than previously thought and narrows habitability estimates: https://doi.org/10.1038/s41550-024-02206-x
+- Ruesch et al. 2025; limited present-day Europan seafloor faulting and unresolved low-energy chemosynthetic pathways: https://www.nature.com/articles/s41467-025-67151-3

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+# Physics and engineering gate
+
+Use this reference for every design-changing task involving a physical world or system, but answer only the dimensions that can affect the current screenplay beat. Build from causal state rather than a collection of science-fiction objects; do not turn a quiet, relational, atmospheric, or reference scene into an engineering demonstration.
+
+## Evidence labels
+
+- **Verified fact**: supported by an authoritative mission, engineering, or scientific source.
+- **Constrained extrapolation**: a future system derived from verified mechanisms and stated assumptions.
+- **Explicit hypothesis**: a story-world invention whose consequences are defined consistently.
+
+Never promote an extrapolation or hypothesis to verified fact. If exact values are unknown, use qualitative bounds and state the uncertainty.
+
+## Universal physics card
+
+Before visual design, answer:
+
+1. **Medium**: vacuum, tenuous atmosphere, dense atmosphere, liquid, pressurized interior, or mixed boundary.
+2. **Gravity**: source, direction, and approximate level; natural, rotational, acceleration-derived, or microgravity.
+3. **Reference frame**: what is moving relative to what; which body or structure defines the camera frame.
+4. **Pressure and temperature**: what must be sealed, insulated, heated, cooled, or allowed to vent.
+5. **Light**: the source hierarchy required by star, sky scattering, planetshine, surface bounce, practical emitters, biology, or another explicit world mechanism.
+6. **Power and heat**: where usable energy originates and where waste heat goes.
+7. **Motion**: thrust, reaction force, inertia, friction, buoyancy, drag, or structural loading.
+8. **Operating state**: normal, changing, dormant, ceremonial, growing, degraded, failed, or recovering; record visible consequence and safety only when the source uses them.
+
+Every introduced physical claim must create a consistent visible or deliberately off-frame consequence. Require at least two readable cause-effect pairs for a technical action, engineering-system, or high-amplitude physical event. A quiet discovery, relationship, atmosphere, aftermath, or isolated asset may need only the causal relations it actually introduces; do not add machinery or failure merely to reach a count. Examples:
+
+- short RCS pulse changes attitude while loose items preserve inertia;
+- a loaded truss deflects while restraints and bearings carry the force;
+- a hot system opens louvers or uses a radiator while adjacent insulation remains closed;
+- low gravity lengthens a step but does not reduce the carried tool's inertia;
+- a pressure boundary creates seals, latches, inspection marks, and controlled venting;
+- dense atmosphere softens distant contrast and increases aerodynamic drag.
+
+## Medium gate
+
+### Vacuum
+
+- No atmospheric haze, wind, rain, drifting smoke, billowing dust cloud, aerodynamic contrail, or sound-visible wave.
+- Sunlight is a distant hard source. Shadows remain sharp unless a large reflected source or nearby luminous body changes them.
+- Distance alone does not desaturate or soften through air. Use exposure, focus, occlusion, scale, surface response, and sensor limits.
+- Ejecta and loose particles follow ballistic or inertial paths rather than curling in air.
+- External waste heat leaves mainly by radiation; smoke stacks and convective cooling are invalid.
+
+### Atmosphere
+
+- Derive haze, contrast, sky color, shadow softness, wind, precipitation, and drag from composition, density, temperature, and illumination.
+- Never import Earth-blue sky, water clouds, white foam, or familiar weather without route evidence.
+- Combustion needs fuel and oxidizer. An oxygen-poor world cannot support an open terrestrial flame without a supplied oxidizer.
+
+### Pressurized interior
+
+- Air can carry smoke, condensation, sound, cloth motion, and convection, but only if a source exists.
+- Doors, hatches, suits, and ducts reveal pressure zoning. A decompression event changes loose objects, vapor, sound behavior, and human posture.
+- Artificial gravity must have a source. Do not give a microgravity cabin a universal floor by habit.
+
+## Force, motion, and human behavior
+
+- Weight changes with gravity; mass and inertia do not. Heavy tools remain difficult to start and stop in low gravity.
+- In microgravity, every strong action needs a reaction path: handrail, foot restraint, tether, mechanical arm, body counter-rotation, or thruster.
+- Free objects preserve velocity and angular momentum. They do not fall toward a screen edge.
+- Docking and proximity operations are slow relative-motion events even though both vehicles move rapidly around the planet.
+- Rotation-derived gravity points away from the axis. The outer rim is down; the hub approaches microgravity.
+- Thruster plumes can heat, load, contaminate, or endanger nearby structures. Do not point them casually at radiators, arrays, crew, or docking surfaces.
+
+## Power and waste heat
+
+- Match power to the environment: solar only with adequate flux and orientation; storage for darkness; radioisotope or nuclear sources where long darkness or weak sunlight makes sense.
+- Show heat management: radiator view to deep space, thermal straps, heat pipes, louvers, insulation, protected batteries, or fluid loops.
+- Distinguish solar arrays from radiators. Arrays face the light source; radiators seek a cold view and avoid plume or solar heating.
+- High-power industry requires conspicuous heat rejection. No amount of fictional efficiency eliminates waste heat without an explicit story-world mechanism.
+
+## Functional material gate
+
+- Multi-layer insulation appears as stitched, wrinkled, attached blanket material with cutouts and fasteners, not as decorative gold foil.
+- Radiators appear as functional panels with clear orientation and plumbing, not glowing wings.
+- Pressure vessels favor continuous load-bearing forms, reinforced openings, seals, and limited large windows.
+- Details concentrate at joints, hatches, thermal zones, load paths, work areas, and repair points. Reject uniform greeble.
+- Wear follows environment: lunar abrasion and adhesive dust; LEO atomic oxygen and impact pits; heat discoloration near thrusters; hand and tool polish near service zones; no rain rust in vacuum.
+
+## Scale gate
+
+When scale is story- or asset-relevant, use at least two independent proofs appropriate to the subject:
+
+- child or adult body, hand, glove, handrail, hatch, standard interface, vehicle component, furniture, domestic object, organism, or carried pack;
+- repeated structural bays, solar-cell units, radiator panels, tool sizes, service vehicles;
+- occupied walkway or work envelope;
+- known gravity or motion consequence over a visible distance.
+
+Do not use a wide lens, tiny silhouettes, or the adjective monumental as the only proof.
+
+## Six-question audit
+
+Reject the prompt if any applicable answer is missing:
+
+1. Is there an atmosphere, and therefore which haze, dust, smoke, rain, plume, or sky effects are physically allowed?
+2. Where does gravity come from and which way is down for people, liquid, tools, and debris?
+3. Where does power come from and where does waste heat go?
+4. Do thrusters, arrays, radiators, antennas, docking ports, windows, and crew paths avoid functional conflict?
+5. Are scale proofs and causal relationships sufficient for the selected beat and every introduced technical claim, without inventing extra systems merely to satisfy a count?
+6. Does wear arise from this environment rather than a universal dirty-future filter?
+
+## Primary sources
+
+- NASA, spacecraft thermal control and multilayer insulation: https://science.nasa.gov/learn/basics-of-space-flight/chapter11-4/
+- NASA, SmallSat thermal control state of the art: https://www.nasa.gov/smallsat-institute/sst-soa/thermal-control/
+- NASA, rendezvous, proximity operations, and docking: https://www.nasa.gov/reference/jsc-rendezvous-prox-ops-docking-subsystems/
+- NASA, EVA tethers, handrails, and tool restraint: https://www.nasa.gov/learning-resources/for-kids-and-students/what-is-a-spacewalk-grades-5-8/
+- NASA, artificial-gravity structure concept: https://www.nasa.gov/general/kilometer-scale-space-structures-from-a-single-launch-2/
+- NASA, lunar south-pole environment: https://www.nasa.gov/reference/moonbase-environment/
+- NASA, Titan facts: https://science.nasa.gov/saturn/moons/titan/facts/

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+# Functional production design
+
+Use this reference whenever the scene contains people, organisms, tools, vehicles, habitats, interfaces, infrastructure, or machinery. Design first from the current script function, environment, body/system relation, operation, manufacture, and lived history. Work, maintenance, damage, and failure are optional consequences, not universal scene premises.
+
+## Function chain
+
+For each major system, define only applicable paths and mark the rest `not applicable`; passive tools, organisms, natural assets, sealed one-shot systems, and non-electronic equipment do not need invented sensors, displays, controls, communications, repair, or fallback:
+
+1. **Mission or existence function**: what the system/object/place must accomplish or be now.
+2. **Environment**: only the pressure, temperature, radiation, dust, atmosphere, gravity, chemistry, biology, and access limits that affect it.
+3. **Load/support path**: where applicable mass, thrust, rotation, tension, compression, impact, buoyancy, growth, or distributed contact travels.
+4. **Energy/power path**: generation/intake, storage, distribution, switching, or isolation only when energy is actively managed.
+5. **Heat/material-exchange path**: only the relevant source, conduction, flow, radiation, insulation, phase change, metabolism, or sacrificial behavior.
+6. **Body/use path**: approach, posture, reach, touch, restraint, accommodation, visibility, privacy, service access, and escape only where relevant.
+7. **Information/control relation**: sensing, display/cue, control/governance, communication, or fallback only when the system uses them.
+8. **State envelope**: normal, changing, degraded, failed, ceremonial, dormant, growing, or another script-relevant state, including recovery only when the source requires it.
+
+Every consequential visible element must trace to at least one applicable function, constraint, body/world relation, origin/manufacture/growth process, operating history, or explicit hypothesis; it need not answer every path.
+
+## Shape grammar
+
+- Pressure vessels favor continuous shells, restrained openings, reinforced hatches, seals, and repeated service interfaces.
+- Vacuum vehicles need no aerodynamic nose or wings unless they also enter an atmosphere or the shape serves another named function.
+- Atmospheric vehicles derive lift, drag, buoyancy, rotor size, sealing, and stability from the local medium and gravity.
+- Large orbital structures reveal the applicable load, rotation, deployment/assembly, transport, utility, and lifecycle strategy. Trusses, spokes, bearings, joints, hinges, cables, monolithic shells, fields, biological growth, or other explicit mechanisms are options rather than a fixed silhouette.
+- Heavy surface systems reveal their applicable contact/support, slope or terrain relation, load transfer, environmental protection, access, and lifecycle strategy. Tracks, feet, anchors, counterweights, distributed buoyancy, buried foundations, or another supported solution are options rather than a required bundle.
+- Calm large surfaces make scale legible. Do not cover every panel with equal-density vents, pipes, grooves, and glowing seams.
+
+## Material grammar
+
+Describe each material as **function → material → surface response → localized history**.
+
+Examples:
+
+- thermal protection → stitched multilayer blanket → irregular soft reflections → repaired seam and cutout around a service port;
+- pressure boundary → coated aluminum or composite shell → broad quiet specular response → scratches and hand polish near a hatch;
+- radiator → emissive panel → matte or controlled reflection → fluid connections and micrometeoroid patch;
+- lunar boot interface → abrasion-resistant fabric and joint cover → dust-clogged folds → cleaning marks around the seal;
+- Titan vessel hull → cryogenic-compatible insulated shell → dim wet hydrocarbon reflection → frost or residue only near a heat leak.
+
+Reject generic rusty metal, uniform grime, procedural scratches, chrome-everything, plastic-black armor, and identical surface age.
+
+## Operating, lived, and maintenance evidence
+
+Credibility often appears in small differences caused by operation, bodies, culture, care, environment, and maintenance. Select only evidence that belongs to the current world and beat:
+
+- removable covers and captive fasteners;
+- numbered but non-legible service zones rather than decorative text;
+- inspection witness marks, torque stripes, replacement parts, patch dates, seal protectors;
+- tool clearances, footholds, glove-sized handles, restrained cables;
+- clean zones beside dirty zones where crews repeatedly touch, brush, or replace components;
+- heat discoloration only near thrusters, brakes, reactors, or high-current hardware;
+- impact pits and patch plates on exposed surfaces;
+- dust or liquid paths that respect gravity, electrostatics, flow, and shielding.
+
+Do not add readable brand marks, serial numbers, logos, or random warning text unless explicitly requested.
+
+## Interface and UI gate
+
+Apply [future-interface-systems.md](future-interface-systems.md) whenever an interface is visible or story-relevant.
+
+- In a narrative/world frame, first pass the selected function-specific no-text evidence gate; a display cannot be the only evidence of the action, discovery, relationship, spatial function, aftermath, identity, or system state. For an explicitly isolated UI/HMI asset, apply its declared system/task model and internal-redundancy gate instead; a screen-only or nonvisual asset is allowed.
+- Put information on a task- and environment-derived carrier: integrated matte display, visor optics, protected window, relief topology, mechanical mimic board, sight channel, moving scale, or projected surface with a visible emitter.
+- Connect every visible interface through its source-derived chain: `system state/sensor → presentation or cue → responsible human, nonhuman, collective, or autonomous interpretation → input/authorization when applicable → effector or flow → physical/world feedback`. A human gaze/hand chain is one conditional case, not the default.
+- In a narrative/world frame, match the interface topology, orientation, node order, flow direction, and affected region to the visible machine, body, facility, city, ecology, or event. In an isolated interface asset, match them to the declared system/task model. A generic interface that could move unchanged to another system fails.
+- Use restrained functional state color with shape, line, position, texture, rhythm, or mechanical-state redundancy. The screen is not the scene's decorative light source unless story logic requires it.
+- Preserve only the carrier's applicable occlusion/access, reflection or signal interference, intensity/readability limits, orientation, depth, body/sense access, lifecycle, and degraded fallback. Gloves, touch reach, screens, and maintenance are conditional. Physical does not mean accidental retro.
+- Keep precise text for post. In generated images, use large topology, state blocks, paths, needles, lights, and physical positions; small pseudo-text, bare percentages, and random seven-segment values cannot carry the plot.
+
+## People and organisms in use
+
+- Give each visible person or organism a source-derived objective, attention, relation, route or stillness, contact/gesture, and environmental constraint. A tool or destination is required only when the beat contains one.
+- When pressure, acceleration, inertia, gravity, temperature, wind, protection, ceremony, fatigue, calm, or another state matters, make posture reveal that applicable condition; do not add strain or protective behavior to an ordinary scene without cause.
+- When the source establishes a busy inhabited scene, create two or more continuous background systems with different routes and purposes. Quiet, intimate, empty, ceremonial, or reference scenes require no crowd.
+- Keep safety behavior visible: tethers, foot restraints, buddy checks, suit ports, handrails, barriers only where they follow real operations, and controlled access.
+- Reject idle or cloned staging that erases the selected function. A source-motivated portrait, inspection, ceremony, confrontation, lineup, deliberate stillness, or face-forward relation may be valid when it is the beat rather than a generic hero template.
+
+## Scale and composition
+
+- Prove size through source-relevant occupied, inhabited, traversed, biological, or serviced surfaces; bodies, hatches, furniture, vehicles, repeated units, tool reach, terrain, displacement, and interfaces are options rather than a fixed list.
+- Crop a large structure when its continuation beyond frame increases credibility; do not force every megastructure into a complete centered silhouette.
+- Use one dominant perceptual relationship appropriate to the selected function: action, evidence, relational spacing, inhabited geography, aftermath trace, or asset identity.
+- Let secondary design support that relationship. Remove competing objects that do not clarify story, world, operation, or intended ambiguity.
+
+## Anti-template rules
+
+Do not default to:
+
+- rainy night and wet reflective floor;
+- teal-orange grade;
+- central giant robot or ship facing camera;
+- endless hangar corridor;
+- dense white work lights and red alarms;
+- glossy black panels with blue LED seams;
+- hologram walls;
+- smoke and volumetric beams in every interior;
+- military personnel standing still around a hero machine.
+
+For variants, preserve all source facts and approved locks. Change only declared open variables, and make routes differ in at least one consequential mechanism, topology, body/system relation, environment response, production/view relation, or light/color logic rather than only renaming the vehicle or recoloring it.
+
+## Production-design audit
+
+- Can every dominant shape be traced to mission, environment, load, heat, pressure, access, or assembly?
+- Are details concentrated at source-relevant contact, sensing, force, energy, biology, access, or information zones rather than uniformly distributed?
+- Where power and waste heat matter, do they have visible or explicitly bounded routes?
+- In a narrative/world frame, does the selected function remain readable with UI text hidden, and are interface modality/governance, real topology, feedback, and world evidence tied to the same task? For an isolated UI/HMI asset, does its declared system/task model and internal redundancy pass instead?
+- When use history or wear is present, does it match the environment and source state? A new, sterile, ceremonial, dormant, or abstract asset need not be worn.
+- When the scene is populated and busy, do background people and machines keep working? When it is quiet or empty, is that condition protected?
+- Is there one dominant function-specific visual relationship and a controlled hierarchy?

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+# Balanced prompt patterns and validation cases
+
+Load this file only when the user explicitly asks for examples or a validation set. Never load it to compensate for a sparse screenplay: build the script authority/gap card and research the actual gaps instead.
+
+These cases test whether the Skill changes its visual reasoning with the screenplay. They are not a house world, approved project bible, scientific citation set, or library of imagery to copy. Do not reuse their characters, environments, palette, camera, equipment, or plot in real work.
+
+## Universal prompt skeleton
+
+```text
+[deliverable and ratio]
+
+[current source/version and must-preserve beat]
+
+[selected function-specific visual contract and information order]
+
+[dominant composition and physically/sensor-valid viewer relation]
+
+[script-derived world/environment evidence and only relevant physical consequences]
+
+[body, relationship, object, system, organism, or spatial behavior required by the beat]
+
+[production route and applicable practical/extension layers]
+
+[custom style thesis translated into camera relation, rhythm, material-information distribution, and contrast]
+
+[color/light as source → medium/material → exposure → story role → continuity state]
+
+[UI only if required: task/test model, topology, human/nonhuman/collective/autonomous or no-operator relation, input/governance/feedback, carrier or signaling medium, applicable degraded mode, post-text boundary]
+
+[short scene-specific exclusions]
+```
+
+Do not insert fields that the source does not need. An asset reference need not invent a protagonist; a relationship beat need not list a heat budget; an action beat with critical control may need both.
+
+## Validation 1 — Quiet discovery
+
+Raw source:
+
+```text
+During a scheduled dark interval in an under-ice nursery, a child wakes and notices an unknown migrating organism beyond the observation layer. The child switches off a personal reading light so the organism approaches, then chooses not to wake anyone. The beat is awe and secret-keeping, not an emergency.
+```
+
+Required derivation:
+
+- primary contract: `observer → evidence → attention/understanding shift`, with identity of the organism partly withheld;
+- preserve the scheduled darkness, child's deliberate light action, sleeping group, approach, and secrecy;
+- do not silently name the world: `under-ice` is FACT, while Europa, Enceladus, Earth, an exoplanet, or an artificial ice habitat remains an explicit PROPOSAL until the user or source locks it;
+- load `organism-and-ecology.md`; treat the organism's existence and approach as story FACT while its anatomy, energy path, scale, sensing, color, emission, and ecology remain DERIVATION or PROPOSAL with separate science status;
+- research the selected proposal's ice/medium boundary, pressure and thermal separation, observation method, habitat lighting, energy ecology, and plausible organism sensing before design;
+- compare at least three organization routes when body identity matters, including one non-centralized route; delete familiar whale/snake/insect, vehicle-shell, franchise-creature, decorative blue/cyan glow, LED-dot, and unsupported tentacle defaults;
+- distinguish direct light sensing from correlated heat, electrical, chemical, or schedule cues; switching off a lamp does not by itself prove photoreception or bioluminescence;
+- derive color from real emitters, absorption/scatter, material, exposure, and the reveal order;
+- choose camera distance and lens from the child's hidden attention, not from a default “operator shoulder” shot;
+- for a single still, select one compatible threshold moment and state that the complete `lamp off → approach → chooses secrecy` sequence cannot be fully proven without a durable trace, second frame, or motion;
+- no failure, alarm, rescue, sacrifice, handwheel, adult technician, or mandatory UI.
+
+Failure test: if the output becomes a leaking base, warning screen, repair task, creature attack, silently locked Europa scene, giant glowing sea serpent, mechanical organism, or over-compressed three-action still, the Skill rewrote or overfilled the source.
+
+## Validation 2 — Relationship and power
+
+Raw source:
+
+```text
+At the end of a public meal in a rotating habitat, a grandmother quietly moves her family's single ceremonial seat token from her own wrist to her granddaughter's travel bag after learning the girl plans to surrender her place. Neither speaks. Other diners continue an ordinary evening.
+```
+
+Required derivation:
+
+- primary contract: `object exchange and access control → response → relational change`;
+- derive spatial gravity and public/private visibility from the habitat and scene, but keep the token exchange dominant;
+- let background life continue only to the degree it reinforces the private act inside public space;
+- style, palette, and camera emerge from intimacy, concealment, rotating-world geometry, and approved production route;
+- no invented mechanical breakdown, confrontation, countdown, or operations display.
+
+Failure test: if engineering operation becomes more legible than the relationship, the output fails even when physics is correct.
+
+## Validation 3 — Establishing and atmosphere
+
+Raw source:
+
+```text
+Before sunrise, a settlement built inside the slowly moving boundary between permanent shadow and reflected light begins its daily school route. No protagonist and no accident; the shot should teach the viewer how children, transport, heat, and public space adapt to the moving boundary.
+```
+
+Required derivation:
+
+- primary contract: `location function → active world → latent environmental condition/route`;
+- research the selected world's illumination and thermal conditions before choosing architecture or palette;
+- build connected geography and causal daily behavior, not a collection of landmark buildings;
+- use children only because the source contains them; background actions have routes and purposes;
+- no mandatory state failure or heroic machine.
+
+Failure test: if the frame could be relabeled as a generic gray space colony, the world-to-scene chain is too weak.
+
+## Validation 4 — Aftermath and withheld cause
+
+Raw source:
+
+```text
+A scientific vessel returns to a floating settlement with every external surface clean except for a perfectly sharp band where living material has begun to grow. The crew are absent from the frame. The audience should infer contact, but not yet know whether it was contamination, repair, or invitation.
+```
+
+Required derivation:
+
+- primary contract: `material trace → implied cause → changed social/environmental state`;
+- preserve ambiguity among the three interpretations;
+- derive material boundary, cleaning history, water/atmosphere behavior, docking geography, and observer distance;
+- no explanatory UI, hazard team, obvious monster, quarantine text, or alarm unless the current script later adds them.
+
+Failure test: if the image reveals a single definite cause, it violates information order.
+
+## Validation 5 — Action with consequential interface
+
+Raw source:
+
+```text
+A pilot must transfer a damaged vehicle's remaining thermal capacity from navigation to the occupied refuge module before a debris pass. The physical coolant branch, the pilot's guarded control, and the refuge module's changing radiator state are all in view. Failure of navigation is the accepted cost.
+```
+
+Required derivation:
+
+- primary contract: `pilot → guarded transfer → physical branch → refuge state change → navigation loss`;
+- pass the immediate no-text causal gate before interface design;
+- research relevant human-factors, thermal-control, physical feedback, and capture evidence;
+- interface follows real topology/orientation, supports one decision, has independent confirmation, and cannot be a black rectangle with a percentage;
+- critical state appears in both the interface/control and the physical branch/radiator/module response.
+
+Failure test: if the story only works after reading tiny screen text, reblock the scene.
+
+## Validation 6 — Isolated equipment family
+
+Raw source:
+
+```text
+Create a neutral reference image for a standardized expedition equipment family used by three body types in a corrosive high-pressure atmosphere. Show shared interfaces, scale, protective logic, role-specific modules, and service access. No user, battle, damage event, or narrative crisis is requested.
+```
+
+Required derivation:
+
+- primary contract: `family identity → function → three body scales → common interfaces → material/protection/service logic`;
+- research environment, body reach/accommodation, corrosion, sealing, maintenance, and logistics before form;
+- use a diagnostic production/reference route rather than pretending this is a film still;
+- no adult hero, enemy, battle pose, collapsed module, or dramatic warning UI.
+
+Failure test: if the output invents a firefight or makes three cosmetic variants of one contemporary object, it fails.
+
+## Validation 7 — High-imagination world identity
+
+Raw source:
+
+```text
+An orbital city has no permanent streets. Once each local month, its inhabited membranes exchange curvature and the population moves through temporary rooms that become public routes for six minutes. Show the first exchange witnessed by a newcomer; it is wondrous and socially awkward, not catastrophic.
+```
+
+Required derivation:
+
+- primary contract is discovery; establishing is an explicit secondary contract that must support rather than replace the newcomer's wonder and awkwardness, with no invented failure;
+- amplitude II or III may be appropriate only after a verified anchor, explicit hypothesis, costs, and downstream consequences are recorded;
+- compare at least three topology/behavior routes and reject source/familiar franchise form;
+- derive bodies, belongings, access, institutions, light, camera, and production layers from changing curvature;
+- present-day substitution must break the beat after names, UI, grade, and location labels are removed.
+
+Failure test: a familiar corridor bending with extra holograms is not a world-system transformation.
+
+## Validation 8 — Same story, different user locks
+
+Apply the same approved beat twice:
+
+```text
+Route A lock: photographed observational drama, distant public viewpoint, natural environmental illumination.
+Route B lock: tactile miniature-led expression, close subjective viewpoint, explicitly stylized but causal material color.
+```
+
+Both outputs must preserve identical plot facts, outcome, relationship, and information order while legitimately changing production route, camera relation, material treatment, contrast, and palette. If the story changes with the style, authority failed. If the images look the same despite the locks, derivation failed.
+
+## Validation report format
+
+For each case report:
+
+- source facts preserved;
+- invented facts or prohibited rewrite, if any;
+- selected function contract and whether it passes without UI/text;
+- research questions formed before design;
+- world/environment/style/color/camera decisions and their authority/status;
+- default leakage: crisis, maintenance, adult technician, handwheel, gray equipment, amber task light, moderate lens, single-source light, or generic black UI;
+- final result: PASS, WEAK, or FAIL with one dominant cause.

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+# Environment and scene routes
+
+Load only the constraint packs the script-derived environment actually crosses. The listed routes are examples, not a closed taxonomy: create a custom profile or combine multiple routes when the scene contains real boundaries. Route rules constrain environmental consequences, not imagination amplitude, story function, style, palette, or future degree.
+
+## Route A — Near-future Earth engineering
+
+Use for terrestrial launch systems, accelerators, reactors, climate infrastructure, ocean platforms, underground laboratories, and plausible military or civil engineering.
+
+- Start from existing geology, weather, gravity, atmosphere, labor, transport, and construction methods.
+- Let atmosphere create real aerial perspective, precipitation, dust, or condensation only when weather supports them.
+- Show only the access, transport/lifting, drainage, foundation, utility, service, or safety systems the selected terrestrial operation needs at the distance where they matter; roads, cranes, maintenance staging, and visible safety zones are options rather than default scenery.
+- When scale matters, prove it with enough source-appropriate independent relationships—people or other bodies, ordinary vehicles, known structural units, terrain, travel/contact, displacement, or load paths—without forcing the whole list or inventing occupants.
+- Derive time, weather, and motivated light from the screenplay and location. Daylight, overcast, night, interior spill, emergency lighting, and unusual physically sourced phenomena are all valid; do not require rain-night spectacle or ordinary industrial light.
+- Keep the number of new physical principles small, not their visible consequences. One new machine, material, or principle may reorganize city scale, labor, infrastructure, or public life when its applicable support systems and tradeoffs remain visible; failure and aftermath appear only when the screenplay contains them.
+
+## Route B — Airless-body surface
+
+Use for the Moon, asteroids, and other bodies with negligible atmosphere. Specify the body and local gravity.
+
+### Lunar south-pole baseline
+
+- The sky remains black in daylight. The Sun stays low near the horizon and makes very long hard shadows.
+- Permanently shadowed regions are not ordinary dim locations. Use vehicle lights, headlamps, instruments, weak terrain bounce, or Earth light; allow unreadable black areas.
+- Lunar dust is sharp, abrasive, electrostatically adhesive, and not wind-rounded. Concentrate it on boots, seals, hinges, wheels, joints, and cleaning zones.
+- Disturbed regolith follows ballistic sheets and arcs; never create a lingering sandstorm or billowing dust cloud.
+- Low gravity lengthens steps and ejecta paths but preserves inertia. Heavy tools do not become weightless props.
+- Power systems on ridges may track the low Sun; equipment in deep shadow needs storage, cable supply, heating, or nuclear/radioisotope power.
+- Water ice should default to drilling, coring, spectroscopy, or dirty ice-bearing regolith. Do not invent a vast blue glacier unless the premise explicitly supports exposed ice.
+
+Primary references:
+
+- NASA lunar south-pole environment: https://www.nasa.gov/reference/moonbase-environment/
+- NASA permanent-shadow illumination: https://science.nasa.gov/resource/shackleton-craters-illuminated-rim-shadowed-interior/
+- NASA lunar facts and gravity: https://science.nasa.gov/moon/facts/
+
+## Route C — Orbital and deep-space exterior
+
+Use for rendezvous, docking, EVA, repair, orbital industry, telescopes, and free-flying vehicles.
+
+- Define the target-relative frame. Both craft can move extremely fast in orbit while final closure remains slow.
+- For rendezvous or docking, align the applicable docking axis, attitude, sensors, capture system, and collision-avoidance space. For a non-docking exterior, use the subject-relative frame and do not invent a capture ring. Do not stage a high-speed nose-first charge unless the source explicitly establishes an impact event and its physics.
+- Use short, local attitude-control pulses only when required. Avoid persistent fiery exhaust and plumes directed at arrays, radiators, docking faces, or crew.
+- When EVA or free-body manipulation is present, make reaction paths visible through the applicable handrails, tethers, restraints, robotic/manipulator arms, tool retention, jets, counter-rotation, or another supported method; an uncrewed rendezvous need not acquire EVA hardware.
+- In direct sun, maintain one hard shadow direction and extreme dynamic range. A properly exposed sunlit craft may show few or no stars.
+- Use only the thermal, optical, power, communication, access, protection, impact, and repair features the craft and current state require; MLI, radiators, arrays, antennas, handrails, pits, and patches are examples rather than a package.
+- In LEO, localized atomic-oxygen erosion and micrometeoroid/orbital-debris damage are plausible; do not use rain rust or mud.
+
+Primary references:
+
+- NASA rendezvous, proximity operations, and docking: https://www.nasa.gov/reference/jsc-rendezvous-prox-ops-docking-subsystems/
+- NASA EVA tethers and handrails: https://www.nasa.gov/learning-resources/for-kids-and-students/what-is-a-spacewalk-grades-5-8/
+- NASA spacecraft thermal control: https://science.nasa.gov/learn/basics-of-space-flight/chapter11-4/
+- NASA reaction-control attitude example: https://science.nasa.gov/mission/dawn/technology/navigating/
+
+## Route D — Dense alien atmosphere and hydrocarbon sea
+
+Use the Titan baseline only when Titan or a closely justified analog is explicit.
+
+### Titan baseline
+
+- Titan has a dense nitrogen-rich atmosphere, orange organic haze, weak sunlight, methane weather, low gravity, and a cryogenic surface.
+- Surface daylight is dim, diffuse, low-contrast, and orange-brown. Do not show black sky, crisp stars, blue daylight, or an enormous razor-sharp Saturn.
+- Water ice behaves like rock; seas and lakes contain liquid hydrocarbons. Avoid liquid-water waterfalls, green plants, and warm Earth coastlines.
+- Use a dark, often smooth or lightly rippled sea by default. Large whitecapped waves require explicit strong-weather evidence.
+- Human equipment needs oxygen supply, strong insulation, heating, seals, and cryogenic-compatible materials. External pressure is not vacuum, so the suit need not look like a highly inflated EVA suit.
+- Weak sunlight favors radioisotope/nuclear power and careful waste-heat use rather than large ordinary solar farms.
+- A floating platform needs sufficient displacement in a lower-density liquid and low gravity. Do not copy a heavy steel Earth submarine unchanged.
+- Prefer electric pump-jet, propeller, rotor, or other medium-appropriate propulsion. Open combustion requires carried oxidizer.
+
+Primary references:
+
+- NASA Titan facts: https://science.nasa.gov/saturn/moons/titan/facts/
+- NASA Dragonfly science and atmosphere: https://science.nasa.gov/mission/dragonfly/science/
+- NASA Dragonfly power and spacecraft: https://science.nasa.gov/mission/dragonfly/spacecraft-and-instruments/
+- NASA Titan submarine concept: https://www.nasa.gov/general/titan-submarine-exploring-the-depths-of-kraken/
+
+## Route E — Crewed interior
+
+Use for control rooms, airlocks, laboratories, cabins, service tunnels, pressure locks, and vehicle interiors.
+
+- State gravity source and down direction. A transit cabin may be microgravity, thrust gravity, or rotation-derived; do not assume Earth gravity.
+- Organize surfaces around body restraint, reach, visibility, equipment removal, cable routing, pressure zoning, ventilation, and emergency isolation.
+- When a visible interface exists, derive its display, cue, carrier, angle, reach, sensing, governance, and feedback from the actual body or autonomous task; keep decorative UI secondary. A human display or hand action is not mandatory.
+- Choose only the source- and route-applicable visible practical, window, instrument, task, environmental, emissive-material, or declared nonvisual signal sources. Do not force several source types into one interior; avoid a blue fog volume with no source.
+- Show the volume, contact or clearance logic, stowage, service strategy, labels, condition, and body interaction that the source and operating history actually require. Do not add wear, repair access, labels, or human hands as generic realism props.
+- When the screenplay contains a failure event, choose a physically coherent consequence such as pressure loss, thermal fault, power isolation, navigation error, bearing vibration, fluid leak, or impact alarm. Do not add failure to a quiet, relational, routine, or reference scene.
+
+## Route F — Rotating habitat or orbital industry
+
+Use for rings, tethers, centrifuges, mining plants, shipyards, refineries, and large artificial-gravity structures.
+
+- For a rotating habitat/centrifuge, state ring radius, rotation rate, and target gravity when numbers matter; for qualitative images, state a plausible relation. A tether, non-rotating shipyard, refinery, or mine uses its own reference-frame fields instead.
+- In a rotating habitat, artificial down points away from the axis; place inhabited surfaces according to its chosen topology. A hub, tether, shipyard, refinery, or free-flying industry is not required to have a rim floor.
+- In a non-rotating hub, remove the visual grammar of a gravity floor. When occupants or loose/retained items are present, use multiple roll angles, multi-surface restraints, taut or floating lines, clothing, tools, fluid, dust, organisms, or cargo that obey microgravity; an empty hub may prove the frame through architecture and free-body trajectories instead of workers. Foot loops alone do not prove microgravity.
+- Radial movement and fast head/body motion can reveal Coriolis effects. Use handrails, controlled movement, and curved trajectories where readable.
+- Where rotating and non-rotating zones meet, reveal an applicable transfer strategy such as bearings, locks, seals, contactless transfer, articulated transit, or another explicit mechanism. Do not add that boundary to a wholly rotating or wholly free-flying system.
+- Trace the actual load path for the chosen subtype: rim/spokes/hub only for a ring, tensile members/end masses for a tether, keel/truss/foundation for a yard or refinery, or another explicit topology. Reject decoration with no support logic, not the absence of ring parts.
+- High-power industry requires source-appropriate heat rejection, working-fluid or solid-state transport where used, shielding where the hazard requires it, material handling, and a credible maintenance strategy. Maintenance may be human, remote, robotic, autonomous, biological, self-healing, replace-by-module, or shutdown-based according to the screenplay and mechanism.
+- Keep plumes away from arrays, radiators, raw material, crew, and docking corridors.
+- Exterior maintenance on a fast rotating rim is hazardous; use a source-derived strategy such as shutdown, non-rotating service access, remote or autonomous systems, replaceable modules, self-maintaining materials, or explicitly protected human/nonhuman work that accounts for tangential speed.
+
+Primary references:
+
+- NASA kilometer-scale artificial-gravity concept: https://www.nasa.gov/general/kilometer-scale-space-structures-from-a-single-launch-2/
+- NASA artificial-gravity modules and engineering conflicts: https://technology.nasa.gov/patent/TOP2-311
+- NASA ISS truss as existing scale reference: https://www.nasa.gov/international-space-station/integrated-truss-structure/
+
+## Route-selection audit
+
+- Has the script-derived environment profile and every crossed boundary been named?
+- Are atmosphere, gravity, light, temperature, power, heat, motion, and wear specific to that environment?
+- Are cross-route effects included only where a real boundary exists?
+- Has the prompt avoided importing familiar Earth weather, game-space fog, terrestrial rust, or aircraft behavior into an incompatible route?

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+# Script-derived scene and world design
+
+Use this reference to turn current screenplay needs and verified constraints into a specific place, world, and spatial experience. Build only the world evidence the story requires; do not add encyclopedia lore or a generic industrial base.
+
+## Authority and scope
+
+Inherit the `剧本权威卡`, selected dramatic function, approved project locks, physics card, and research evidence. The screenplay governs what happens and what the audience must understand or feel. World design solves only open gaps and necessary visual consequences.
+
+The environment routes are constraint packs, not a closed list. Build a custom or mixed profile when the script crosses real boundaries. Do not default to near-future Earth, gray metal, repair work, a busy facility, a single environmental light, or a human operator.
+
+## World-to-scene chain
+
+For every consequential claim derive:
+
+`script need → physical or speculative rule → operational consequence → resource/access/institutional consequence when relevant → spatial/material/behavioral trace → camera-readable evidence`
+
+Possible layers include:
+
+- physical invariants: medium, gravity, pressure, temperature, light, motion, energy, heat, biology, and time;
+- speculative allowance: scope, access, latency, cost, failure, side effects, and what it does not solve;
+- capability and scarcity: what can be built, grown, transported, repaired, replaced, sensed, shared, hidden, or only salvaged;
+- civilization and institution: ownership, care, authority, ritual, conflict, education, trade, maintenance, safety, exclusion, or commons only when the script touches them;
+- operating and lived history: construction, adaptation, reuse, aging, biological growth, damage, cleaning, ceremony, and daily habits caused by the world.
+
+Do not add a second hidden miracle to repair the first. Do not invent rationing, authoritarian control, breakdown, or social conflict just because the setting is science fiction.
+
+## Scene function
+
+Before designing geography, record:
+
+- what the viewer must perceive, learn, feel, anticipate, or not yet know;
+- whose objective, attention, relationship, or absence organizes the frame;
+- the operational or lived function of the location;
+- why this location and moment matter;
+- the selected function-specific visual contract;
+- the entering and outgoing story/world state, if either changes.
+
+Apply the matching rule:
+
+- action/decision: make action, target, change, and script-supported consequence share a readable geography;
+- discovery/information: make observer, evidence, reveal order, and intended unknown share a readable geography;
+- relationship/power: make distance, access, height, blockage, exchange, or territory carry the relational shift;
+- establishing/atmosphere: reveal how the place operates or remains causally empty, plus a latent route or condition; no invented crisis is required;
+- aftermath/transition: place trace and affected new state so the implied cause matches the source;
+- asset/reference: supply functional and scale context only when the deliverable needs it; do not invent a plot.
+
+## Spatial skeleton
+
+Build one coherent geography before decorative detail:
+
+- orientation and reference frame;
+- medium and pressure boundaries;
+- required zones and adjacency;
+- routes for the relevant people, organisms, vehicles, materials, energy, heat, data, waste, sound, sight, or escape;
+- access, privacy, ritual, safety, hazard, and exclusion boundaries actually used by the beat;
+- landmarks, scale relationships, and occupied or biological interfaces;
+- principal line of attention, reveal, movement, or blockage;
+- camera/sensor access and sightlines;
+- selected production footprint and extension seam.
+
+Do not automatically include arrival, work, control, storage, habitation, service, waste, and emergency zones. Include only those that explain the current location and event. A connected small room may be more correct than a megastructure; a civilization-scale geography may be necessary when the script authorizes it.
+
+## Civilization and lived system
+
+Design only social systems that causally touch the beat:
+
+- shared standards, accommodation, care, ritual, privacy, family, education, labor, governance, trade, conflict, or public/restricted space;
+- scarcity, abundance, reuse, queueing, repair, inheritance, disposal, insurance, or protected volume;
+- authorization, handoff, inspection, quarantine, redundancy, responsibility, or tolerated risk;
+- automation, skill boundaries, latency, local/remote presence, and tool or knowledge custody;
+- logistics, food, habitat, transport, cleaning, replacement, waste return, and bottlenecks.
+
+Translate selected systems into layout, objects, material condition, behavior, timing, and access. Avoid lore signage, costume stereotypes, and exposition posing as set dressing.
+
+## Use and material history
+
+History may be industrial, domestic, civic, ceremonial, biological, military, scientific, or ecological. Trace only relevant causes:
+
+`original function → adaptation/ownership/growth → recurring stress or habit → repair/replacement/ritual/biological response → current visible state`
+
+Distribute evidence by contact, load, heat, fluid, light, radiation, cleaning, growth, handling, weather, or social use. Do not use universal rust, grime, scratches, hanging cables, or “dirty future” aging.
+
+## People, organisms, and active emptiness
+
+For every visible actor group needed by the source record:
+
+`role or relation → immediate objective/attention → position or origin → destination or blocked route → contact/gesture → environmental constraint → visible effect`
+
+Use at least two purposeful background groups only when the screenplay establishes a populated, busy location and the shot scale can read them. For intimate, quiet, secretive, ceremonial, empty, or reference scenes, protect the intended stillness and do not add a crowd.
+
+An empty scene can be causally active through moving shadow, thermal state, weather, tides, tracks, instrument motion, growth, traffic traces, automated operation, residue, or absence. It need not contain a malfunction.
+
+## Production translation
+
+For photographed/hybrid routes, give actors or practical subjects credible contact surfaces, occlusion, reflection, scale, and light; place the extension seam beyond the decisive contact when possible. For animation, illustration, miniature, or asset-reference routes, preserve the same spatial and causal logic while using that medium's actual evidence.
+
+Move only deliverable-visible facts into the final prompt. Keep off-view rules in the bible for continuity.
+
+## Required output
+
+### `场景圣经`
+
+- source/version/beat and approval status;
+- narrative/lived and operational function;
+- world rules, explicit hypotheses, and relevant costs;
+- selected civilization/institution/economy evidence;
+- use/material history;
+- environment profile and sensory conditions;
+- fixed/variable geography and continuity locks;
+- `claim → visible evidence → readable shot scale` register;
+- selected production boundary.
+
+### `空间骨架`
+
+- orientation and boundaries;
+- required zones and adjacency;
+- relevant flows, routes, blockage, and reveal order;
+- hazards/access/privacy only where used;
+- viewer, camera, sensor, or projection anchor; sightline, occlusion, scale proof; and production footprint, layer boundary, or extension seam only where the selected medium uses them.
+
+## Gates
+
+Reject or revise if any applicable answer is no:
+
+1. Does every important world decision trace to a script need, verified constraint, approved lock, or labeled proposal?
+2. Does the scene preserve the selected dramatic function and information order?
+3. Do zones, routes, boundaries, and camera access form one connected place?
+4. Does every included physical, social, institutional, or historical claim leave visible evidence?
+5. Has the design avoided adding crisis, scarcity, maintenance, crowds, authority, or damage without a source need?
+6. Do material history and activity follow specific forces, bodies, habits, and institutions rather than a generic future texture?
+7. Does the selected production route have a credible contact and extension strategy at the requested scale?
+8. If the location noun is replaced with `generic sci-fi base`, does important story or world logic break? If not, derive the place again.
+9. Does the function-specific visual contract pass without relying on text or UI?
+10. Are unapproved world choices still marked provisional or candidate?

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+# Script-to-visual derivation
+
+Load this reference before designing a project world, scene, shot, style, palette, environment, asset family, or interface from a screenplay, story passage, scene brief, approved project bible, or user premise. It owns source authority and prevents visual invention from silently rewriting the story.
+
+## 1. Authority order
+
+Use one current source state and this order:
+
+1. current explicit user locks and corrections;
+2. the named current screenplay/version and selected scene or beat;
+3. approved project bible, continuity locks, and approved anchor frames;
+4. verified research constraints relevant to an open design gap;
+5. reversible director proposals;
+6. optional route vocabulary and examples.
+
+Lower levels may clarify or visualize higher levels; they may not overwrite them. A generated image, search result, existing genre convention, or Skill example never becomes project authority by itself.
+
+If two higher-level sources conflict, stop the affected decision and expose the conflict. Do not average them. If research conflicts with a screenplay fact, offer two labeled paths: revise the story fact, or preserve it as an explicit fictional axiom and propagate its costs and limits. The user chooses.
+
+## 2. Source and gap classification
+
+Build `剧本权威卡` before research or visual styling:
+
+- `source_id/version`: exact screenplay, scene, beat, project bible, or user premise used;
+- `explicit facts`: time, place, people, objects, actions, dialogue-dependent information, relationships, outcomes, and stated world rules;
+- `must preserve`: causal order, character intention, emotional turn, information reveal, geography, and approved continuity;
+- `forbidden rewrite`: events, motivations, outcomes, identities, or project locks the image may not change;
+- `necessary inference`: the smallest consequence required to make an explicit fact visible or physically coherent;
+- `open design gaps`: facts the source does not decide and visual design genuinely must solve;
+- `unknown that matters`: one missing answer that could materially change story meaning, cost, or continuity.
+
+Tag every design statement:
+
+- `FACT`: explicit in the current authority source;
+- `DERIVATION`: a necessary or strongly supported consequence of a fact or verified constraint;
+- `PROPOSAL`: one reversible creative choice for an open gap;
+- `LOCKED`: a FACT or approved proposal that must continue within the declared scope;
+- `REJECTED`: considered and explicitly not adopted.
+
+Do not call a plausible guess a fact. When a screenplay is sparse, keep the package sparse and label proposals. Ask at most one essential question when proceeding would otherwise create an irreversible story or project decision; otherwise provide distinct candidates without pretending one is canon.
+
+## 3. First-principles dramatic analysis
+
+Before asking how the world looks, determine what the audience must experience in this beat:
+
+- `dramatic function`: action/decision, discovery/information, relationship/power, establishing/atmosphere, aftermath/transition, or isolated asset/reference;
+- `character objective`: what a person, group, organism, or responsible system is trying to obtain, avoid, conceal, learn, preserve, or change;
+- `obstacle or pressure`: physical, social, institutional, temporal, environmental, informational, or internal;
+- `emotion curve`: entering feeling → pressure/change → leaving feeling;
+- `information order`: what the viewer knows first, what becomes legible next, and what must remain withheld;
+- `spatial power`: who controls distance, access, height, visibility, routes, resources, or attention;
+- `required evidence`: what must be visible for the beat to work without explanatory lore.
+
+The screenplay governs dramatic facts and functions. It rarely determines one inevitable silhouette, palette, lens, or lighting scheme. Research and directing fill only the open gaps, and multiple proposals may be equally valid.
+
+## 4. Function-specific visual contracts
+
+Choose the contract that matches the beat. Do not force an action-scene gate onto every image.
+
+### Action or decision
+
+Make `actor or responsible system → action → physical target → changed state → consequence or cost` readable. A beneficiary is required only when the script contains one. A persistent cost is required only when the beat contains or implies one.
+
+### Discovery or information
+
+Make `observer → physical evidence → change in attention or understanding` readable. Preserve intentionally withheld information. Awe, ambiguity, secrecy, or uncertainty may be the correct outcome; do not invent a breakdown, rescue, alarm, or sacrifice to create drama.
+
+### Relationship or power
+
+Make `spatial control, access, distance, gesture, object exchange, or blockage → response → relational or emotional shift` readable. Technology and setting support the relationship rather than replacing it with an engineering procedure.
+
+### Establishing or atmosphere
+
+Make `location function → active world or causally active emptiness → latent route, condition, or pressure` readable. No arbitrary emergency or protagonist is required. The shot succeeds when the viewer understands how this place lives and what kind of story can occur here.
+
+### Aftermath or transition
+
+Make `material, bodily, spatial, institutional, or environmental trace → implied cause → affected new state` readable. The cause may remain offscreen when the script withholds it.
+
+### Isolated asset or reference
+
+Show `identity → function → scale → applicable interfaces or relationships → material/operating logic`. A passive material, natural object, organism, or interface-free asset need not invent a connector or user. Do not invent a user, crisis, opponent, damage, or story event merely to make an asset sheet dramatic.
+
+For every contract, UI text, captions, and lore may confirm but cannot carry the only essential evidence. The correct reading time and ambiguity follow the screenplay: some action beats should read in three seconds; some discoveries should unfold; some suspense beats must withhold the answer.
+
+## 4A. Deliverable-capacity gate
+
+Before composing, test whether the requested medium can carry the script's information order:
+
+- A single still can hold simultaneous relations and one threshold moment. Use a physically compatible `before-state trace → current action/state → emerging result` only when those states can coexist at one instant.
+- Do not compress mutually exclusive states—lamp fully on and already off, hatch sealed and open, intact and fully destroyed, unread and already understood—into one frame merely to explain the plot.
+- If a prior action has no durable trace or the consequence cannot yet be visible, state what the still can and cannot prove. Offer a two-frame pair, storyboard beat, short motion shot, or another medium when allowed.
+- An interface, caption, symbolic glow, or extra character may not be added solely to exceed the medium's information capacity.
+- An isolated asset sheet or UI study uses view/state coverage rather than fictional time; declare which views or states are alternatives, not consecutive story moments.
+
+Failure to fit the whole beat into one still is not permission to rewrite the screenplay. Preserve the source, choose the strongest honest threshold, and expose the remaining ambiguity for user judgment.
+
+## 5. Script-to-design derivation chain
+
+For each consequential visual choice, record:
+
+`script need → operational need → physical, environmental, biological, institutional, or production constraint → design response → visible evidence → deliverable- or viewer-appropriate evidence`
+
+Examples of valid questions:
+
+- What must be close, blocked, exposed, rationed, shared, hidden, or hard to reach for this beat to occur?
+- What does the character notice first, and therefore what may the camera reveal first?
+- Which environmental property changes movement, body behavior, sound, light, material, or access?
+- Which object or spatial boundary carries the relationship or decision?
+- What must remain practical for performance, and what may extend beyond the set?
+
+Reject a design decision that has no upstream script need or approved project reason. Also reject the reverse error: do not shrink a script-authorized wonder merely because the nearest real prototype is modest.
+
+## 6. Deriving the project visual system
+
+World, environment, style, color, and camera are separate decisions. Derive them in this order, while allowing iteration:
+
+1. `world`: physical rules, speculative allowances, capability, scarcity, institutions, daily behavior, and history required by the screenplay;
+2. `environment`: medium, gravity, pressure, climate, geography, architecture, hazards, routes, and sensory conditions that enable the scene;
+3. `production route`: photographed live action, hybrid live action/VFX, miniature-led, animation, illustration, asset reference, or another user-locked form;
+4. `style thesis`: the observable audience relation created by narrative posture, camera relation, material-information distribution, rhythm, and contrast;
+5. `color system`: sources, materials, exposure, functional state, character separation, information order, emotional transition, and continuity;
+6. `camera`: viewpoint, lens, distance, height, occlusion, movement, focus, and reveal order that best serves the beat.
+
+The environment routes and style routes in other references are diagnostic vocabulary and constraint packs, not closed menus. A custom or mixed route is valid when the screenplay crosses real boundaries. Do not select an environment, style, palette, or lens because it is the Skill default or because it is common in search results.
+
+## 7. Approval and continuity states
+
+Use these states precisely:
+
+- `OPEN`: the source leaves the decision unresolved;
+- `PROVISIONAL`: one working assumption is used for this exploration only;
+- `CANDIDATE`: a deliberate option is ready for review;
+- `APPROVED`: the user approved it within a named scope;
+- `LOCKED`: approval has become a continuity requirement for the named project/version;
+- `REJECTED`: explicitly removed from the active route.
+
+Only `APPROVED` or `LOCKED` choices may enter the project bible as authority. A strong internal audit, generated file, or selected favorite by the model remains `CANDIDATE` until the user accepts it.
+
+When a project lock changes, record the reason, version, affected downstream assets, and whether old candidates remain valid. Per-shot camera, weather, local state, and accent may vary when the project bible permits them and the screenplay supplies a cause.
+
+## 8. Required cards
+
+### `剧本权威卡`
+
+Source/version/beat; FACT; must preserve; forbidden rewrite; necessary inference; open gaps; one material unknown.
+
+### `剧本—视觉转译卡`
+
+Dramatic function; objective/obstacle; emotion curve; information order; spatial power; selected function contract; each major `script need → design response → visible and deliverable- or viewer-appropriate evidence` chain.
+
+### `视觉决策状态表`
+
+For world, environment, production route, style, color, camera, asset family, and interface: decision; FACT/DERIVATION/PROPOSAL; OPEN/PROVISIONAL/CANDIDATE/APPROVED/LOCKED/REJECTED; authority/evidence; scope.
+
+## 9. Gates
+
+Reject or revise if any applicable answer is no:
+
+1. Is one current source/version identified?
+2. Are explicit facts, necessary inferences, open gaps, proposals, and prohibited rewrites separated?
+3. Does the selected visual contract match the beat's actual dramatic function?
+4. Does every major visual choice trace back to a script need, verified constraint, or approved project lock?
+5. Did research answer open gaps rather than silently rewrite the screenplay?
+6. Are world, environment, style, color, and camera derived independently enough to avoid a bundled house style?
+7. Are unapproved choices still labeled provisional or candidate?
+8. If the scene is quiet, relational, establishing, ambiguous, or reference-only, has the design avoided inventing crisis, maintenance, sacrifice, UI, or an adult technician?
+9. If the scene is action or decision, is its causal change readable without relying on UI text?
+10. Does the final prompt preserve the intended information order and emotional turn?

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+# Script-derived style and color system
+
+Style and color are consequences of the current story beat, world, environment, production route, material, information order, emotion, and approved continuity. This reference fixes the reasoning method, not a house look.
+
+## Style authority
+
+Use this order:
+
+1. explicit user style/color locks;
+2. screenplay facts, dramatic function, emotion curve, and information reveal;
+3. approved project bible and anchor frames;
+4. environmental physics, materials, light sources, and production constraints;
+5. reversible director proposals;
+6. route vocabulary below.
+
+No route name, genre label, director/film name, common search result, or example may override the source. A selected proposal remains CANDIDATE until the user approves it; only then may it become a project continuity lock.
+
+## Style thesis
+
+Write one observable sentence describing the audience relation, for example:
+
+`The viewer discovers the world from a child's hidden eye line while large living movement remains only partly knowable through layered ice.`
+
+Then derive these dimensions:
+
+1. `narrative posture`: who or what leads perception, what the viewer feels, and how much is withheld;
+2. `camera relation`: physical/sensor viewpoint, distance, height, lens tendency, stability, obstruction, and reveal order;
+3. `spatial rhythm`: density, pause, repetition, compression, openness, and direction of attention;
+4. `material-information distribution`: where operational detail concentrates and where calm surfaces or negative space are needed;
+5. `light/contrast behavior`: source hierarchy, shadow, bounce, black level, highlight limit, and medium-driven depth;
+6. `temporal behavior`: stillness, latency, drift, pulse, mechanical cadence, biological rhythm, or abrupt transition when relevant.
+
+A coherent thesis may be singular, transitional, or intentionally polyphonic when the screenplay contains a real change of viewpoint, institution, environment, or emotional state. Do not force exactly one route or forbid a justified mixture; name which dimensions change and why.
+
+## Optional route vocabulary
+
+These are diagnostic lenses, not an exhaustive menu and not prompt tokens:
+
+| Lens | Useful when | Observable emphasis |
+|---|---|---|
+| Engineering witness | procedure or operation is the beat | task path, interfaces, loads, access, honest work light |
+| Human pressure | body or decision carries consequence | face/hands/contact, constrained depth, readable physical strain |
+| Monumental presence | occupation and scale shape emotion | known-size foreground, cropped mass, calm surfaces, repeated units |
+| Causal spectacle | one paid phenomenon disrupts normal order | deformation, moving boundary, displacement, exposure response |
+| Threshold failure | crossing a technical or social limit | localized state transition, response path, before/current/after evidence |
+| Quiet inquiry | observation changes knowledge | controlled reveal, negative space, sensing evidence, ambiguity |
+| Frontier labor | resource-limited daily operation matters | workflow, reuse, localized wear, uneven available light |
+| Controlled order | protocol, access, institution, or ceremony matters | standardization, spatial hierarchy, one meaningful deviation |
+
+Create a custom thesis when none fits. Route selection must follow the script, not precede it.
+
+## Color responsibilities
+
+These are responsibilities, not five mandatory hues. Merge or omit roles when the scene does not need them:
+
+- `world base`: star, sky, atmosphere, terrain, liquid, ice, habitat ambient, or other environmental field;
+- `material identity`: local color and spectral response of structure, textile, skin, tissue, coating, soil, fluid, wear, and contamination;
+- `perceptual/character anchor`: what must remain readable first for story or emotion; this need not be a person or a saturated color;
+- `functional state`: power, safety, alignment, heat, navigation, authorization, biological condition, or fault only when a real system carries it;
+- `event or information transition`: the color/luminance change caused by discovery, movement, weather, energy, damage, ceremony, or another scripted change.
+
+For every active role record:
+
+`physical source → spectrum/intensity → medium interaction → material response → exposure/white balance → screen placement and salience → persistence/continuity`
+
+Color may also come from reflectance, absorption, interference, polarization, thermal emission, fluorescence, biological emission, display light, chemical change, or institutional material coding when physically and narratively justified.
+
+## Deriving a palette
+
+1. Start from the beat's information and emotion order: what must appear, disappear, separate, or remain uncertain?
+2. Identify all real or hypothesized emitters, reflectors, absorbers, filters, and participating media.
+3. Check materials, spectral bias, intensity, direction, scatter, absorption, adaptation, exposure, and white balance.
+4. Decide which color responsibilities are active and which are intentionally absent.
+5. Compare at least two palette strategies for a new project identity; keep both story-equivalent.
+6. Select one as CANDIDATE and record what fact or production reason supports it.
+7. After user approval, record relative relationships and transition causes in the project bible.
+
+Do not assign universal hex values or area ratios. Exact values are valid only for an approved asset, calibrated material/light reference, brand/safety standard, or user lock with known color-management conditions.
+
+## Light hierarchy
+
+Every important light must have a source and path. A scene may have one source or many; the number is determined by location and story. Record:
+
+- source position, scale, spectrum, hardness, intensity, and temporal behavior;
+- medium scatter, absorption, reflection, refraction, or occlusion;
+- material response and skin/tissue response;
+- practical fixtures or emitters visible in frame;
+- exposure priority, black level, highlight behavior, flare/halation, and distance falloff;
+- which source carries story information and which sources merely maintain visibility.
+
+Reject incompatible rim lights, decorative colored fog, and global grading that claims to create a light source. Do not flatten a richly sourced location into “one dominant environmental light” when the screenplay requires layered illumination.
+
+## Color script and continuity
+
+For a still, record its `current light/color state` and only the transition evidence the source can honestly contain. When a threshold moment includes compatible temporal evidence, use `before-state trace → captured perceptual transition → emerging result`; for a static reference, portrait, tableau, or unchanged scene, do not invent entering/outgoing states.
+
+For a sequence, record three to five beats only when the screenplay changes source, medium, orientation, time, power, material, biology, or perception. Preserve relative skin/tissue, material, light, and shadow relationships across shots unless a causal transition is shown.
+
+Color can change because:
+
+- the subject crosses a light or medium boundary;
+- orientation, time, weather, or atmospheric path changes;
+- power, thermal, chemical, biological, or display state changes;
+- a material is exposed, damaged, wet, frozen, contaminated, repaired, or replaced;
+- the camera changes adaptation, filtration, sensor mode, or exposure for a story reason;
+- an approved subjective or non-photographic production route intentionally changes perception.
+
+A grade alone is not a causal transition.
+
+## Production-route translation
+
+- `photographed live action/hybrid`: sources, fixtures, reflections, set materials, skin/tissue, playback screens, atmospheric medium, and VFX extension share a coherent exposure strategy;
+- `miniature-led`: scale, depth, atmosphere, source size, surface response, and compositing preserve the intended perceived mass;
+- `animation/illustration`: the image may stylize value, line, texture, and color, but must still preserve physical/world causality and the source beat;
+- `asset/reference`: use neutral or diagnostic lighting only if the deliverable requires it; do not confuse it with the project's dramatic palette.
+
+## Gates
+
+Reject or revise if any applicable answer is no:
+
+1. Can the style thesis be traced to dramatic function, information order, environment, production route, or approved lock?
+2. Is the thesis expressed through observable camera, rhythm, material-information, light, contrast, and temporal choices rather than a name?
+3. Are palette choices derived from source, medium, material, exposure, story role, and continuity rather than a universal grade?
+4. Does each important color/light have a real or explicitly hypothesized source and path?
+5. Are strong colors and unusual darkness/brightness allowed when the screenplay and physical source justify them?
+6. If more than one style logic appears, is the transition or dimensional split intentional and script-derived?
+7. Are exact values, route names, palette percentages, and franchise references absent from the model-facing prompt unless explicitly locked and relevant?
+8. Is the current route still labeled CANDIDATE until user approval?
+9. Would replacing the palette with generic gray-blue/amber or teal-orange erase important world or story evidence? If not, derive the color system more specifically.

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/hard-sci-fi-visual-director/references/visual-continuity.md

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+# Visual continuity for multi-image and multi-shot work
+
+Load this reference whenever two or more images belong to the same scene, sequence, location, asset family, or story state; when deriving from an approved image; or when the deliverable includes a scene bible or CONTACT-SHEET.
+
+Continuity means every frame is a recorded state of the same physical world. It does not freeze camera position, performance, or every deployable part.
+
+## Contents
+
+1. Authority and versioning
+2. Minimum scene bible
+3. Invariant and variable contract
+4. Shot state card
+5. Color and material continuity
+6. Spatial direction
+7. Equipment-family continuity
+8. CONTACT-SHEET bridge
+9. Workflow and gates
+
+## Authority and versioning
+
+Use this order:
+
+1. current explicit user locks and corrections;
+2. named current screenplay/version and selected scene/beat;
+3. approved project and scene bibles within their declared scope;
+4. approved anchor frames and state cards;
+5. generated candidates;
+6. CONTACT-SHEET overview.
+
+A candidate cannot silently rewrite the screenplay or bible. Promote a deviation only after explicit approval, record its scope, increment the affected version, and propagate it forward. A CONTACT-SHEET is an audit artifact, never a replacement for full-resolution frames or state records.
+
+## Minimum scene bible
+
+Record only fields applicable to the current source, production route, asset set, and requested continuity scope; mark intentionally absent states instead of inventing people, costume, props, wear, damage, pollution, or a camera:
+
+- `scene_bible_id` and `version`;
+- story time, elapsed-time assumption, and operating state;
+- gravity, pressure, medium, temperature, weather, reference frame, and motion rules;
+- spatial topology, axes, landmarks, entrances, exits, and fixed interfaces;
+- scale anchors and stable proportions;
+- environmental light, practical sources, exposure logic, and functional color semantics;
+- principal bodies/agents, costume or surface state, carried/attached objects, and equipment identity when present;
+- asset/equipment-family grammar;
+- applicable material history and any persistent wear, repair, contamination, growth, or damage;
+- `invariant_set`, `allowed_variables`, and the event that may change each variable.
+
+Generated text, logos, and serial numbers are unreliable identity anchors. Prefer geometry, interface placement, patch shape, material region, functional color block, or occupied scale relationship.
+
+## Invariant and variable contract
+
+### Normally invariant
+
+Apply only to elements declared present in the approved bible; do not invent a door, interface, manufacture, damage, character, costume, light, or material state merely to fill the list.
+
+- physical environment and reference frame;
+- architecture topology and landmark order;
+- vehicle or habitat proportions;
+- handedness and location of doors, hatches, windows, radiators, thrusters, controls, and service interfaces;
+- declared equipment/asset-family interface or relationship grammar and origin/manufacturing/growth generation when present;
+- base materials and source-motivated color relationships;
+- any existing persistent damage, repair/healing, contamination, and wear;
+- character identity, base costume, essential objects, and unit assignment;
+- dominant light geometry unless the story changes time, weather, orientation, or power state.
+
+### Normally variable
+
+- camera, lens, crop, focus, and foreground occlusion;
+- pose, gaze, gesture, task phase, and emotion;
+- deployable mechanism and interface state;
+- heat, power, fault, coolant, consumable, or authorization state;
+- local dust, condensation, wetness, ice, debris, or biological response when caused by the event;
+- background work and traffic;
+- practical lights whose devices change state.
+
+Every variable change needs a trigger. Every invariant change needs a declared bible revision or visible transition.
+
+## Shot state card
+
+Create one per frame:
+
+- `shot_id`, beat, and time gap;
+- `scene_bible_id/version` and approved anchor-frame IDs;
+- viewer/camera/sensor anchor, projection or lens where applicable, view direction, and relevant spatial/action-relation side;
+- `continuity_in`: positions, orientations, tasks, props, damage, power, heat, light, and background motion;
+- `beat/change`: the selected function-specific beat and any intentional state change; an establishing, relationship, discovery, aftermath, or asset frame need not invent an action event;
+- `continuity_out`: resulting state inherited by the next frame;
+- persistent anchors, intentional changes, and unresolved drift.
+
+Do not write only `same as previous`. Restate the few invariants and entering states that must be visible.
+
+## Color and material continuity
+
+For each story beat record dominant source/direction, practical-light state, exposure/contrast, environmental neutral, material colors, functional accents, and the cause of any transition.
+
+Keep color changes source-motivated. A grade cannot substitute for a changed light, atmosphere, material, power state, or event. Preserve relative skin, material, light, and shadow relationships unless the color script records a cause.
+
+Track important surfaces by component or zone:
+
+`base material/function → exposure/age → contact/heat/load/fluid/radiation/biology cause → localized wear → repair/retrofit → current state → event required to change it`
+
+Damage does not disappear. Dust, fluid, frost, residue, and debris follow gravity, flow, shielding, temperature, and contact. A repair leaves a new persistent trace.
+
+## Spatial direction
+
+Choose one coordinate convention before the first shot.
+
+- Surface scene: world direction, action axis, main travel vector, entry/exit, camera side, and landmark order.
+- Microgravity or rotation: vehicle/habitat axes and named anchor surfaces; never invent one global down in free fall.
+
+For each frame record the applicable viewer/camera/sensor location or projection, subject travel/attention, landmark ordering, depth relation, and spatial/action-relation side. For photographic or continuity-edited narrative shots, motivate or bridge a camera crossing when screen direction matters. For illustration, animation, diagrams, sensor views, or asset turnarounds, use the declared projection/view sequence instead of forcing cinematic over-axis grammar. Reject only unexplained reversals of facts, handedness when relevant, landmarks, interfaces, or travel.
+
+## Equipment-family continuity
+
+A family is shared operating logic, not identical shells. Choose and keep stable only the invariants that define the source's family; a biological, passive, continuous, bespoke, disposable, self-growing, or non-serviceable family need not acquire modular industrial hardware:
+
+- interface, attachment, sensing, or relationship grammar when present;
+- applicable power/data/material/biological distribution;
+- joining, growth, access, replacement, or sealed-boundary logic;
+- compatible modules or role/body variants when modularity exists;
+- applicable handling, service, regeneration, disposal, or lifecycle method;
+- protection logic, functional color semantics, origin/manufacturing/growth generation, and repair/healing/replacement culture when relevant.
+
+Allow the role-, body-, or function-specific differences the source needs. Use family/unit IDs only when the project has such a registry. Carry forward only the deployment, thermal, consumable, governance, damage, growth, healing, and replacement states that exist. Avoid cloned condition and preserve the non-actionable weapon boundary.
+
+## CONTACT-SHEET bridge
+
+1. Arrange sequence frames in story order, not quality ranking.
+2. Put alternate routes in separate labeled lanes; do not present mutually exclusive variants as consecutive time.
+3. Preserve aspect ratio and composition. Fit or letterbox; never stretch or hide continuity evidence with inconsistent crops.
+4. Put IDs and status in the margin, never inside the image.
+5. For each adjacent pair record persistent anchor, elapsed time, declared change, axis/screen direction, light/color state, material/damage state, family/scale consistency, and unexplained drift.
+6. Review the sheet at thumbnail scale for silhouette, geography, color, scale, and rhythm.
+7. Review originals for interfaces, handedness, material history, damage, costume, and optical integration.
+8. Use only approved frames and cards as references for the next generation. The sheet guides overview, not fine-detail inheritance.
+
+Preserve existing project batch and shot IDs. Append the next unused IDs according to the current project's declared namespace; never renumber, overwrite, or silently replace prior assets.
+
+If adjacent frames share no spatial, identity, material, equipment, light, or state anchor, declare a new scene or insert a bridge.
+
+## Continuity workflow
+
+1. Freeze a bible version and invariant set.
+2. Select approved anchor frames; keep candidates separate.
+3. Plan each frame as `continuity_in → selected beat or intentional change → continuity_out`.
+4. Generate from the same bible version and incoming state.
+5. Inspect the full-resolution result; reject drift before propagation.
+6. Record accepted outgoing state.
+7. Assemble the CONTACT-SHEET in story order and audit adjacent pairs.
+8. If approval changes an invariant, increment the version and update only downstream frames.
+
+## Continuity gates
+
+Reject or revise if:
+
+- a narrative shot lacks bible version, ID, or applicable incoming/outgoing state; an asset/view/state alternative instead lacks its declared variant identity and invariant set;
+- physics, topology, scale, handedness, landmark order, or interface placement changes without cause;
+- travel direction or axis crossing is unexplained;
+- light/color changes through arbitrary grading;
+- an existing damage, wear, contamination, deployment, power, heat, biological, or consumable state resets without an event;
+- a family loses its declared shared interface/relationship/lifecycle grammar when one exists, or becomes a line of clones;
+- a candidate silently becomes authority;
+- a CONTACT-SHEET hides drift at thumbnail size;
+- individual originals were not inspected after sheet review.

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/whitebox-previs-executor/SKILL.md

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+---
+name: whitebox-previs-executor
+description: 在用户明确要求3D白模预演时，将已有视频提示词、镜头描述或分镜编译为可播放的机位与基础走位预演；创意镜头思路、方案讨论或Skill测试本身不触发渲染。动作密集打斗必须通过骨骼、武器约束、共享接触点和单动作门，否则拒绝或标为诊断，不用体块位移冒充打戏。
+---
+
+# 提示词 3D 白模预演器
+
+**Public experimental package.** This package is an explicit test executor, not a stable promise of arbitrary choreography. It contains the twelve runtime files only; the local workbench and Blender binaries are not bundled.
+
+## 可配置运行依赖
+
+- 普通或关节预演需要已安装的 Blender。定位顺序是 `--blender`、`WHITEBOX_BLENDER` 环境变量、`PATH`，最后是当前任务下的 `_runtime/blender-*-windows-x64/blender.exe`。指定的路径无效时直接报错，不暗换版本。
+- 两个启动器要求显式 `--runtime-dir`，并将子进程临时目录及应用配置定向其中；在结构、后端路由或依赖检查失败时不创建运行缓存。
+- 历史软件渲染器的 FFmpeg 定位顺序为 `--ffmpeg`、`WHITEBOX_FFMPEG`、`PATH`；探测器为 `--ffprobe`、`WHITEBOX_FFPROBE`、`PATH` 或 FFmpeg 同目录的对应可执行文件。公开包不查找作者电脑的软件路径。
+- 相较本地副本，公开包仅增加依赖环境变量、移除本机 FFmpeg 兜底，并在启动前拒绝无效规格及错误打斗后端；这不是新版动作能力。缺少依赖或实际可播放视频时仍须报告未完成。
+
+只有当前请求明确要实际白模预演时才执行；已有提示词、创意思路或“看看方案效果”不单独构成渲染授权。创意讨论按当前文字阶段交思路，不因缺Blender或视频平台而阻塞。
+
+进入预演后，用户只需提供已经写好的视频提示词或镜头。第一交付层是用户可直接播放的 `MP4`；不要先让用户操作Blender、查看编辑器、填写坐标或审查JSON。
+
+## 输出合同
+
+每次执行至少产生：
+
+- 可播放的3D白模 `MP4`；
+- `previs_compiled.json`：提示词的可审计3D执行解释；
+- `previs_validation.json`：时长、帧数、分辨率、切点、实际解码和观看检查；
+- 可选 `.blend` 工程，只作为可编辑后台产物，不代替视频。
+
+截图、编辑器界面、工程文件、参数表、静态关键帧、2.5D推拉、软件功能说明或内存编码探针均不能替代MP4。
+
+## 执行流程
+
+1. 完整保留用户原提示词。输入可为一句提示词、单镜、多镜、任意时长或无明确时长。
+2. 按 [references/prompt-to-previs.md](references/prompt-to-previs.md) 编译为 `previs-compiler/1.0` 合同。只执行提示词中已有的镜头意图；默认值必须可追踪，不得冒充正式视频模型的预测。
+3. 运行 `scripts/validate_compiled_previs.py`。时间重叠、镜头空档、缺摄影机、人物引用错误或不可执行关键歧义必须在渲染前拒绝。
+4. 普通走位与摄影机预演用 `scripts/run_blender_previs.py` 调用 `scripts/blender_previs_adapter.py`。包含合格 `previs-action/1.0` 动作扩展的打斗规格改用 `scripts/run_blender_rigged_fight.py` 调用 `scripts/blender_rigged_fight_adapter.py`；该后端逐帧求解肩肘腕、髋膝踝、双手握点、武器和共享接触。动作后端失败时必须停止，不能暗中回退到普通体块路径。
+5. 用实际解码器核对MP4的帧数、帧率、分辨率和时长；再检查每镜首帧、中点、尾帧及切镜前后。
+6. 第一回复直接展示或链接MP4，再说明默认值和边界。缺少可播放视频时，只能报告未完成。
+
+## 编译边界
+
+- 明确时长按原文执行；未写时长时，单镜默认4秒，多镜默认每镜3秒，并标记 `deterministic_default`。
+- 只有镜号、时间码、硬切、切到或明确转场才自动拆镜。“随后、然后、接着”默认只是同镜动作先后。
+- 未写摄影机运动时保持静止，不自动添加电影感漂移。
+- 未写场景时只生成地面网格和必要空间参照，不编造环境美术。
+- 当前公开包已实现人形／人形机甲和双臂悬浮类代理。四足、车辆或其他未实现类别须在编译阶段报出能力缺口，不承诺已有对应后端，也不得改成人形或球体冒充原主体。除非提示词主体就是球体，不得用球替代人形主体。
+- 人物和场景可以粗糙，火柴人级精度允许；但请求了运镜时，前中后景必须提供足够参照，让视差和摄影机运动在视频中肉眼可见。
+- 预演证明的是当前编译解释中的镜头、空间、走位、切镜和节奏，不证明正式模型会生成相同像素、表演、材质或特效。
+
+## 动作密集打斗门
+
+普通走位与摄影机预演可以使用粗代理；打斗不能只移动人物根节点和切换摄影机。动作密集提示词在渲染前必须证明执行层具备：
+
+- 有关节枢轴或骨骼的进攻、格挡和受击姿势；
+- 武器与双手的握持约束，武器不能漂浮；
+- 进攻武器和防守肢体共享同一个实际接触点；
+- 接触前蓄力与减速、接触时冻结、恢复后的双向反作用；
+- 未读提示词的观看者仅凭视频就能说清“谁用什么攻击、谁如何格挡、在哪里接触、双方如何弹开”。
+
+上述任一项缺失时，只允许输出失败诊断，不得称为打斗预演。完整打斗序列开始前，先用一个2—4秒单动作镜头过门；单动作门未通过，不得扩成长打戏或多镜头全片。
+
+动作规格必须按 [references/prompt-to-previs.md](references/prompt-to-previs.md) 的 `previs-action/1.0` 扩展明确列出动作节拍、两处武器握点、进攻与防守接触插口、唯一共享接触、冻结帧和反作用段。验证器必须对实际渲染关节、武器和索线几何做检查；只测原始控制点、动作名称或碰撞标记不算通过。当前后端没有实现的新动作类型必须先补执行与单动作门，不能因存在“打斗”字样而套用相似动作。
+
+## 完成门
+
+只有同时满足以下条件才能写“提示词预演视频已生成”：
+
+- MP4存在、非空并由实际解码器打开；
+- 时长、帧率、分辨率和镜头边界与编译合同一致；
+- 请求的摄影机运动来自真实3D相机位移或旋转，不是二维平移或变焦冒充；
+- 人物起点、中点、终点以及切镜前后状态可见；
+- 场景参照产生可感知的三维视差；
+- 已观看完整视频或逐镜检查首帧、中点和尾帧；
+- 已明确所有默认值、未解决项和不证明的边界。
+- 若内容是打斗，未读提示词的独立观看者能辨认进攻方、武器、格挡方、接触点和反作用；只看见方块靠近、穿插或弹开不算通过。
+- 若内容包含持物、缠绕或抓取，握点与接触点必须落在最终渲染几何上，并跨相关帧保持；控制点坐标正确但最终线段、手或武器在画面中脱离，仍判失败。
+
+旧版 `references/previs-spec.md`、`scripts/validate_spec.py` 和 `scripts/render_previs.py` 仅用于读取历史 `0.1` 合同和失败回归，不再作为新提示词预演的首选生产路线。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/whitebox-previs-executor/references/previs-spec.md

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+# Previs Spec v0.1
+
+该合同只在启动白模预演时生成。它是已确定分镜到渲染器的中间层，不是用户正式分镜或视频提示词。
+
+## 坐标与时间
+
+- 右手坐标：`X` 向右，`Y` 向场景深处，`Z` 向上；地面为 `Z=0`。
+- 位置和尺寸以米为单位。
+- 时间以秒为单位，转换为帧时使用顶层 `fps`。
+- 镜头必须从 `0` 开始连续覆盖，不允许重叠和空档。
+
+## 最小顶层结构
+
+```json
+{
+  "schema_version": "0.1",
+  "title": "sequence title",
+  "fps": 24,
+  "resolution": [960, 540],
+  "compile_notes": [],
+  "world": {},
+  "actors": [],
+  "shots": []
+}
+```
+
+## 场景
+
+```json
+"world": {
+  "floor": {"size": [14, 12], "grid": 1},
+  "walls": [
+    {"id": "back", "center": [0, 5, 1.5], "size": [10, 0.2, 3]}
+  ],
+  "props": [
+    {"id": "table", "type": "box", "center": [0, 1, 0.45], "size": [2, 1, 0.9]}
+  ]
+}
+```
+
+`walls` 和 `props` 第一版都使用轴对齐长方体。场景不需要材质和纹理。
+
+## 人物
+
+```json
+{
+  "id": "A",
+  "label": "A",
+  "height": 1.75,
+  "tone": 0.92,
+  "keyframes": [
+    {"time": 0, "position": [-2, 1, 0], "facing": 0, "action": "idle"},
+    {"time": 3, "position": [0, 2, 0], "facing": 20, "action": "walk"}
+  ]
+}
+```
+
+- `facing` 为角度，`0`° 面向 `+Y`，`90`° 面向 `+X`。
+- 基础动作支持 `idle`、`walk`、`run`、`turn`、`sit`、`reach`。打戏压力测试增加 `dash`、`guard`、`slash`、`slash_hold`、`block`、`thrust` 和 `recoil`，都只是调度级白模近似。`slash_hold` 用于碰撞停帧期间保持劈砍终点姿态。
+- 位移精确按关键帧插值；手脚摆动只用于显示步态，不属于表演验收。
+- 可选 `weapon` 只生成白模长刃代理：`{"type":"sword","length":3.6}`。它用于显示攻击方向和接触点，不代表正式道具设计。
+- `rig` 默认为 `humanoid`。非人形双臂悬浮代理使用 `two-arm-hover`，只绘制中央主体、头部与两条触地臂爪，不得生成骨盆、下半身或后腿。
+- 实体重槌代理使用 `{"type":"hammer","length":12,"head_size":[4,2,2]}`。
+
+## 接触效果
+
+可选顶层 `effects` 用于标记格挡、碰撞等关键接触帧：
+
+```json
+"effects": [
+  {"type": "impact", "time": 6.4, "duration": 0.25, "position": [0, 1, 3], "radius": 1.2}
+]
+```
+
+它只是时间与空间标记，不是正式特效。
+
+## 线缆和索刃路径
+
+可选顶层 `tethers` 使白模视频保留线缆来源、目标和激活时段：
+
+```json
+"tethers": [
+  {
+    "id": "enemy-cable",
+    "start": 10.3,
+    "end": 23.6,
+    "from": {"actor": "B", "offset": [0, -2, 8]},
+    "to": {"actor": "A", "offset": [0, 0, 8]},
+    "tone": 0.78
+  },
+  {
+    "id": "hero-anchor",
+    "start": 23.6,
+    "end": 30,
+    "from": {"actor": "A", "offset": [0, -1, 10]},
+    "to": {"world": [0, -25, 8]},
+    "tone": 0.95
+  }
+]
+```
+
+线缆是连续性和受力路径标记，不做柔体物理验收。
+
+## 镜头
+
+```json
+{
+  "id": "S01",
+  "label": "WIDE DOLLY",
+  "start": 0,
+  "end": 3,
+  "camera_keyframes": [
+    {
+      "time": 0,
+      "position": [0, -7, 2.2],
+      "look_at": [0, 1, 1.1],
+      "lens_mm": 28,
+      "easing": "smooth"
+    },
+    {
+      "time": 3,
+      "position": [0, -5.5, 2],
+      "look_at": [0, 1.5, 1.1],
+      "lens_mm": 35,
+      "easing": "smooth"
+    }
+  ]
+}
+```
+
+- 摄影机关键帧的 `time` 使用全局时间，必须落在镜头起止范围内。
+- `position` 是摄影机中心，`look_at` 是当前焦点/朝向目标。
+- `lens_mm` 默认按 36mm 宽全画幅换算水平视角。
+- `easing` 支持 `linear` 和 `smooth`。
+- 多个关键帧可表达推进、后撤、横移、升降、弧线近似、跟随和焦段变化。
+
+## 编译约定
+
+- 景别不只写标签：必须通过摄影机距离、高度、`look_at` 和 `lens_mm` 实际构成。
+- “缓慢”默认使用 `smooth`；“匀速”使用 `linear`；不得用变焦暗中代替机位移动。
+- 同一世界中的人物和场景不因切镜移动；只切换摄影机。
+- 含糊词必须记入 `compile_notes`。若两种解释会改变镜头职责，停止该镜头并请用户裁定。

mac-agent-os-main/05_tools/09_ave/skills/ai-film-skills/experimental/whitebox-previs-executor/references/prompt-to-previs.md

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+# 任意提示词到3D预演｜编译合同
+
+## 目标
+
+把自然语言提示词中已经存在的镜头信息，编译成可重复执行的3D解释。视频展示的是该解释的镜头结果，不是对某个AI视频模型最终像素的预测。
+
+## 输入
+
+最小输入只有原始提示词：
+
+```json
+{"prompt": "中文视频提示词"}
+```
+
+可选传入 `requested_duration_s`、`fps`、`aspect_ratio`。输入可以是单镜、多镜、有或没有时间码，且不限制30秒。
+
+## 切镜和时长规则
+
+按以下优先级执行：
+
+1. 明确镜号、时间码、硬切、切到或转场：按原文拆镜。
+2. 只有连续动作：保持一个连续镜头，不因动作变多擅自切镜。
+3. 只写总时长和明确镜头数：平均分配并标记固定默认。
+4. 单镜无时长：默认4秒。
+5. 多镜无时长：默认每镜3秒。
+6. 切点对齐整帧，默认24fps、960×540、16:9。
+
+“蒙太奇、多角度、快速切换”没有明确镜头数量时列为 `unresolved`，不能暗中编出一套分镜。
+
+## 数值来源
+
+每个补齐值记录以下来源之一：
+
+- `explicit`：用户明确写出；
+- `semantic_mapping`：从明确电影术语确定映射；
+- `derived`：从其他明确值计算；
+- `deterministic_default`：为了可执行而使用的固定默认；
+- `unresolved`：不重新导演就无法确定。
+
+默认值必须带 `prediction_claim: false`。
+
+## 最小默认
+
+- 未写摄影机运动：静止。
+- “推进”无距离：前移初始机距15%。
+- “横移”无距离：横移初始机距25%。
+- “环绕”无角度：20°。
+- “升高／下降”无距离：主体高度50%。
+- “跟拍”：保持开始时相对偏移。
+- 未写焦段：35mm；广角：24mm；长焦：85mm。
+- 未写景别：中全景；低机位为主体高度25%，高机位为150%，普通机位为75%。
+- 未写场景：地面网格、地平线和必要的前中后景参照。
+- 未写人物动作：原地保持。
+- 只写“打斗”但没有主体顺序、方向和接触时刻：双方对峙并标记调度未定义，不自动编武打。
+
+## `previs-compiler/1.0` 最小结构
+
+```json
+{
+  "schema_version": "previs-compiler/1.0",
+  "meta": {
+    "title": "title",
+    "purpose": "camera_and_blocking_previs",
+    "prediction_claim": false
+  },
+  "playback": {
+    "fps": 24,
+    "resolution": [960, 540],
+    "aspect_ratio": "16:9",
+    "duration_s": 4,
+    "duration_origin": "deterministic_default"
+  },
+  "compile": {
+    "status": "ready_with_defaults",
+    "assumptions": [],
+    "unresolved": [],
+    "warnings": []
+  },
+  "scene": {
+    "units": "meter",
+    "geometry": []
+  },
+  "cast": [],
+  "camera": {
+    "sensor_width_mm": 36,
+    "rigs": []
+  },
+  "timeline": {
+    "shots": [],
+    "cuts": []
+  },
+  "validation_targets": {
+    "duration_tolerance_frames": 1,
+    "require_decodable_mp4": true,
+    "require_visible_camera_motion_when_requested": true
+  }
+}
+```
+
+场景几何首版支持 `grid_plane` 和 `box`；人形代理支持 `humanoid` 与 `humanoid_mecha`。摄影机关键帧必须包含全局 `time_s`、三维 `position`、`look_at`、`lens_mm` 和 `easing`。
+
+## 忠实度口径
+
+- 存在默认值时：称为“诊断预演”。
+- 关键镜头信息全部明确且通过：可称为“忠实执行预演”。
+- 有会改变镜头职责的 `unresolved`：可以输出诊断视频，但不得声称已忠实执行。
+
+## 物理构图冲突门
+
+编译前同时检查焦段、摄影机距离、主体高度、景别和提示词要求必须看见的环境参照。若这些条件无法同时满足，必须写入 `compile.warnings` 或 `compile.unresolved`，并把结果标为诊断预演。
+
+例如，50mm、距2米高人物2.5米的正后方跟拍会形成非常紧的背部构图；若同一句又要求左右护栏和箱体产生明显视差，二者可能物理冲突。不得静默改变焦段、距离或机位来冒充忠实执行；可以输出原条件的诊断视频，让用户直接看到冲突，或在用户允许后生成一个明确标注的替代解释。
+
+## 打斗提示词能力边界
+
+“打斗”不是两个人物根节点相向移动。编译器只有在执行后端具备关节／骨骼动作、武器握持、共享接触点和受击姿势时，才能把进攻、格挡、碰撞、拖拽或蹬墙标记为可执行。
+
+正式长打戏前必须先编译一个2—4秒单动作门，并让独立观看者不读提示词完成复述。以下情况直接失败：
+
+- 武器在接触帧不位于攻击方向前方；
+- 武器和防守肢体没有实际相遇，只靠碰撞球提示；
+- 人物部件围绕自身中心旋转，无法形成关节动作剪影；
+- 接触前后只有根节点位移，没有重心、姿势和反作用变化；
+- 独立观看者只能描述“方块靠近／穿插／分开”，不能描述具体攻防。
+
+当前执行后端若只支持粗体块、基础走位和摄影机，应拒绝动作密集打斗，或明确输出失败诊断；不得因媒体可播放、时长正确或切镜完整而升级为打斗预演通过。
+
+## `previs-action/1.0` 动作扩展
+
+动作密集规格继续使用外层 `previs-compiler/1.0`，并增加 `meta.execution_backend=rigged_joint_solver_v1` 与 `action_program`。普通镜头规格不需要该扩展，也不受动作脚本限制。
+
+```json
+{
+  "meta": {"execution_backend": "rigged_joint_solver_v1"},
+  "action_program": {
+    "schema_version": "previs-action/1.0",
+    "backend": "baked_joint_ik",
+    "profile": "implemented_action_profile",
+    "contact_frame": 29,
+    "hold_frames": 6,
+    "constraints": {
+      "weapon_grips": ["primary_hand", "secondary_hand"],
+      "weapon_contact_socket": "weapon_impact_face",
+      "defense_contact_sockets": ["defender_contact_a", "defender_contact_b"],
+      "single_shared_contact": true,
+      "no_root_only_fight": true
+    },
+    "beats": [
+      {"id": "anticipation", "start_frame": 1, "end_frame": 12},
+      {"id": "attack", "start_frame": 13, "end_frame": 28},
+      {"id": "contact_hold", "start_frame": 29, "end_frame": 34},
+      {"id": "recoil", "start_frame": 35, "end_frame": 67}
+    ]
+  }
+}
+```
+
+动作节拍必须从第1帧连续覆盖到末帧；武器握点、接触参与方和共享接触不可省略。`scripts/validate_compiled_previs.py` 在 `require_attack_block_contact_recoil_readability=true` 时必须拒绝没有动作扩展的旧体块规格。
+
+当前关节后端使用刚性机械部件、解析两段IK和逐帧烘焙，不要求软体蒙皮。人物手、武器、索线和接触面的最终位置必须按实际渲染几何复核。例如索线经过重采样后，验收应测手到最终圆柱线段的距离，而不是手到渲染前控制点的距离；缠绕还要同时存在柄前和柄后索段，并在可读机位中形成遮挡或视差。
+
+已实现的动作 profile 只是可执行动作片段，不是“相似招式自动替代”许可。新提示词若包含未实现的武器、肢体结构、接触方式或连续动作，必须先新增相应执行片段并通过2—4秒动作门，才能扩成长段。