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宣纸纹理、三层远近不同浓淡的山（噪声生成的山脊 + 向下渐淡的墨）。Noise-built ridges in three ink tones on fibrous paper; an ink bloom reveals the scene, calligraphy appears stroke by stroke, then the red seal.

每块颜色是一个多边形反复随机细分出毛边，再用很低的透明度叠几十层，边缘自然晕开、中间更浓；。Each colour patch is a polygon subdivided into ragged edges and stacked dozens of times at low opacity, so edges bloom and centres deepen; multiply blending lets washes show through.

Rough.js 在 Canvas 2D 上画速写线（手抖、出头、不闭合，seed 固定所以每帧一样），淡彩先于线条铺上、故意偏离轮廓并溢出到纸外，街景从左到右一栋栋画出来，最后点上人影和落款。Rough.js draws wobbling sepia pen lines on cream cold-press paper, building a street one house at a time; transparent washes land slightly off the lines and bleed past them, then figures, a lamp and a red seal finish the page.

画面铺满几千个圆角短笔触，每笔画一层暗边、一层本色、一道高光做出颜料的厚度；。Thousands of short rounded strokes, each with a dark edge, body colour and a highlight; sky strokes follow a noise flow field and swirl around the sun.

整幅画（房子、树、牵手的两个人、太阳、飞鸟、爱心）是同一条首尾不断的折线，按长度一点点描出。The whole picture is one unbroken polyline drawn out by length, with the camera riding the pen tip before pulling back to reveal it.

字和框按笔顺逐笔写出（按长度裁出折线的一部分），悬浮的马克笔跟着笔尖走，最后镜头拉远看整块板。Handwriting and boxes are traced along their paths by a floating marker; the camera pulls back to the full board at the end.

板书和示意图按笔顺逐笔写出，整层再用一张固定的随机点阵抠掉一部分像素，做出粉笔的颗粒和断笔；。Writing and diagrams appear stroke by stroke, then a fixed random dot mask knocks out pixels for chalk grain; the chalk stick follows the active stroke.

两幅画各自在形状内部均匀取点，一粒沙对应一个点；前一幅画好后，每粒沙沿噪声场打着旋。Two pictures are sampled into grains; each grain swirls along a noise field from the first picture to its spot in the second.

p5.js（instance 模式，逐帧 redraw）配 p5.brush 的水彩填色和铅笔线，角色线条按 12 帧/秒换种子“抖”，背景种子固定；一滴雨落在头顶的小芽上，角色吓一跳、看着芽开出花，再高兴地蹦两下。p5.brush watercolour fills and pencil lines on paper, redrawn each frame in p5 instance mode with a seed that changes 12 times a second: a raindrop hits the sprout on a round character's head, it startles, the bud blooms, and it hops with joy.

用 Remotion（React 组件 + useCurrentFrame）画一块数位黑板。A pure black digital board drawn in Remotion from useCurrentFrame: 3-6 px round-cap single-line SVG strokes with a slight hand wobble reveal themselves by stroke-dashoffset at speaking pace, a stylus tip stays at the head of the line, five fixed-meaning colours carry the labels, and a solid red arrow stamps down at the end.

p5.js（instance 模式）在 init 里把一整面比画幅更宽的湿壁画画到一张离屏画布上——干灰泥底、粉化剥落、建筑把画面分成一格格，人物是轮廓清楚的厚重体块；每帧 Canvas 2D 沿墙面平移这张画，叠上均匀的天光和灰泥颗粒，镜头从一幕走到下一幕。p5.js paints a wall wider than the frame once at init — dry plaster, powdering patches, stage-box architecture and block-like figures — and each frame the camera pans along it under even daylight with plaster grain.

墙、地板、人和桌子各是一块剪裁区，区内按大小两套错位网格铺圆点，每个点用哈希值略微压扁、转一个角度，像手画；所有点的半径乘同一道从画面中心向外扩散的正弦波，整个房间一起胀缩；窗里是三维网格上的彩色小灯，按 1/z 投影并不断朝镜头移近；最后一圈波浪形的边界从人身上向外扩大，圈内只剩同一种红底白点，物体轮廓就此消失。Wall, floor, figure and table are each a clipped region filled with two offset grids of large and small dots; a hash squashes and turns each dot slightly so it looks hand-painted, and every radius is multiplied by one sine wave spreading out from the centre of the frame, so the whole room swells and shrinks together. Through the window, coloured lights on a 3D grid are projected by 1/z and keep moving towards the camera. At the end a wavy boundary grows outwards from the figure; inside it only one red-and-white dot pattern remains, so the outlines of the objects dissolve into the grid.

书架、窗、书桌、台灯、地球仪全部用路径和渐变画好，再乘一张光照图，只有台灯照到的一圈是亮的；花体字是自己合成的连笔线：每个字母是一段带回环的摆线，按升部、降部改高度，再整体右倾，钢笔沿着这些线写出来；地球仪的大陆是经纬度上的多边形，每帧旋转后投影到球面；最后右页切成竖条，各条转不同角度，翻成一张带卷曲的书页。Shelves, window, desk, banker's lamp and globe are drawn with paths and gradients and then multiplied by a light map, so only the circle under the lamp is bright. The cursive is synthesised: each letter is a looped cycloid arc whose height changes for ascenders and descenders, slanted to the right, and a fountain pen traces these lines across the page; the globe's continents are polygons in latitude and longitude, rotated and projected onto the sphere every frame; at the end the right page is cut into vertical strips turned by different angles, so it turns over with a curl.

半透明兽皮人偶按部件和关节层层画出，镂空花纹用 destination-out，multiply 叠到油灯照亮的布幕上。A translucent leather puppet built from jointed parts with cut-out lace patterns, multiplied onto a lamp-lit cloth screen.

平涂色块加雕版墨线，普鲁士蓝分层，天空晕染渐变，纸纹用 multiply 压在最上层，镜头像展开画卷一样横移。Flat color blocks with carved ink lines in Prussian blue, graded skies, and paper grain multiplied over everything as the scroll pans.

整张红纸先画好再用 destination-out 镂空出对称纹样，扇形裁切模拟展开，洞里透出暖光。A red sheet is drawn whole, then cut away with destination-out into a symmetric pattern that unfolds and lets warm light through.

六层剪纸山、云、亭子、树叠在灯箱里，每层带投影、按深度做不同幅度的视差摇晃。Six cut-paper layers with drop shadows sway with depth-based parallax inside a lit box; window holes let the warm light through.

荷花、荷叶、花苞和茎都由贝塞尔曲线采样成折线，init 里一次算好；先按顺序用粗细均匀的细墨线把每条折线逐段描出（铁线描），再分三层上色：平涂淡底色、从花瓣根部到尖端的渐变分染、尖端加深和叶脉；每帧先画颜色再画墨线，线始终压在色上。绢底是暖黄底色加经纬细纹和水渍。Lotus petals, leaves, bud and stems are Bézier curves sampled into polylines; even, fine ink lines trace each one in order, then three colour layers build up — a flat base, a root-to-tip graded wash and a deeper tip with veins — painting back to front so front petals hide what is behind, with the ink always drawn over the colour on a warm silk ground.

胖娃娃抱鲤鱼、两侧莲花荷叶、四角云纹，都是 Path2D 形状；init 里按从后到前的顺序把每个形状“刻”到五块版上：本色的版上填色，其余版上挖掉（被前面挡住的颜色和墨线都不印），每块版再乘一层木纹噪声；出片时黄、桃红、绿、紫、墨线五块版依次带着参差的边从左往右刷印上去，每块版有固定的套版错位，用正片叠底叠在纸上。A chubby child hugging a carp, lotus on both sides and cloud scrolls in the corners are Path2D shapes carved, back to front, into five plates — filled on their own plate and knocked out of the others so hidden colour and line never print — each multiplied by wood-grain noise; yellow, pink, green, purple and the black key plate then sweep on one by one with ragged edges and a fixed misregistration, multiplied onto the paper.

纹样画在一张环绕瓶身一周的展开贴图上（颈部卷草、肩部如意云头、腹部正面缠枝莲背面鱼藻、底部莲瓣），正面的纹样每帧按进度一笔笔描出、再晕染淡青；瓶身用片元着色器画：每个像素按所在高度的轮廓半径算出圆柱上的角度 asin(x/r)，到贴图上取色，再按法线加明暗、釉面高光和边缘反光；最后瓶子转半圈露出背面。Neck scrolls, shoulder cloud collars, a front band of scrolling lotus with a fish-and-weed back, and lotus panels at the foot are painted on a wrap-around texture, the front ones stroke by stroke with pale washes and iron-spot specks; a fragment shader maps it onto a plum-vase profile — each pixel's angle on the cylinder is asin(x/r) at its height — adds glaze shading, a sliding highlight and rim light, then turns the vase half round to show the back.

三张原创脸谱，每张是一组只写右半边坐标的色块（平滑闭合曲线），画两次（第二次水平镜像）得到左右对称；每块色带白色勾边，再加卷纹、火焰纹、腮纹等装饰线；第一张先描墨线、再填色，都用一个从中轴往两边张开的裁剪框，所以线和色从中间向两侧同时长出；锣响时一道深红水袖从脸前扫过，脸谱横向翻一下换成下一张。背景是竖褶的深红幕布和上下两条金色回纹。Three original face designs are sets of smooth closed shapes written for the right half and drawn twice, the second time mirrored, with white borders and curl, flame and cheek lines; the first face's lines and colour grow from the centre line outward through a widening clip, and on each gong a pale water sleeve sweeps across while the face flips sideways into the next one, over a pleated red curtain with gold fret borders.

字形来自毛笔字体（马善政楷书），笔顺和笔速是自己标的：每一笔是字形里的一条中线，写到哪里就沿中线画一束二十几根“笔毛”当遮罩，只露出遮罩下的字形；越到笔画末端墨越少，一部分笔毛按各自的阈值断开，露出纸纹，就是飞白。镜头放大跟着笔尖走，写完拉远看整幅，最后盖一方朱印。The glyphs come from a brush font, but the stroke order and pace are hand-marked: each stroke is a centre line, and as it is written a bundle of two dozen 'bristles' is drawn along it as a mask that reveals only the glyph beneath; toward the end of a stroke bristles run dry at their own thresholds and break, leaving flying-white streaks of paper. The camera follows the brush tip close up, pulls back to the whole sheet and a red seal is stamped.

红黑两色平涂，山体里用一组波浪白线当刻刀痕，整版再用固定的随机墨点抠出斑驳；。Flat red and black with wavy gouge lines and a fixed speckle mask, stepped at 8 fps like hand-pulled prints, opening on a print being lifted.

黄、粉、蓝三版分别画好，渐变先换算成网点（每格一个圆，面积对应浓度）。Yellow, pink and blue layers are converted to halftone dots, speckled and misregistered by a few pixels, then multiplied together.

深蓝底上画两层网格，火箭的每个零件是一条折线，按顺序描出，描线的笔尖发光；。On a blue grid each part is a polyline traced by a glowing pen, followed by dimension lines, callouts and a revision stamp.

窗格是一张随机扰动的网格，切成三角和四边形，每格一种宝石色，铅条是粗黑描边；。A jittered grid cut into jewel-coloured panes with thick leading; a diagonal light band brightens panes by distance, with god rays and dust.

在鱼的轮廓里按网格取点，每点一块金色方砖，砖从四周旋转着飞来拼成鱼；。Gold tiles fly in and spin into the outline of a fish, which then swims with a sine wave while each tile glints on its own phase.

阶梯形金边门框、放射线、扇形纹和中轴塔楼全是对称的直线和圆弧，金色用竖向多段渐变假装金属反光；。Symmetric stepped frames, sunbursts and fans in multi-stop gold gradients; carved doors open on the axis and marquee bulbs chase around.

牛皮纸底上，色块、网点照片、号外剪报、一格一字的大字、贴纸按节拍一张张“拍”上来。Colour blocks, a halftone photo, newsprint and letter tiles slam onto kraft paper on the beat, with torn edges, a page shake and a highlighter pass.

每个物体是一团平滑闭合曲线，加径向高光、边缘暗部和指纹圈做出黏土质感；。Each object is a smooth blob with a radial highlight, dark rim and fingerprint rings, re-jittered every frame at 12 fps as if re-sculpted.

Three.js 用代码拼出带凸点的塑料积木（方块 + 一排小圆柱），放在真实桌面上微距拍摄。Studded plastic bricks built from code sit on a real desk under two soft boxes, shot macro with a layered Canvas 2D depth-of-field pass; the model snaps together one brick per stop-motion step, and the last two bricks really fall, simulated by cannon-es at a fixed 1/120 s step replayed from zero each frame so the result is identical every render.

纸是一组多边形，每一步折叠先用折痕线把纸面切开，折起的一半绕折痕在 3D 里转 180°，转到哪个角度就按法线算明暗、按朝向决定露出彩面还是白面；四步折成小猫，点上眼睛，弹两下再倒着展开；台面阴影按高度偏移并模糊。The sheet is a set of polygons: each fold clips them along the crease line and swings the lifted half 180° about the crease in 3D, shading every facet from its normal and showing the coloured or white side by which way it faces; four folds make a cat face, it hops twice and unfolds, with a blurred table shadow offset by height.

只用圆、方、三角和红黄蓝黑，按网格定位；每个形状从画外用指数缓动猛冲进来、急停在格线上。Only circles, squares and triangles in red, yellow, blue and black, snapping onto a grid with exponential easing; overlaps multiply into new colours.

撞色几何块（波点圆、三角、波浪线、锯齿条、条纹半圆、格子方块）加粗黑描边。Clashing geometric blocks with thick black outlines pop in elastically, then bounce on every beat; the headline carries an offset shadow.

每拍换一个底色和一种平面构成（条纹、同心圆、竖条、钥匙、圆点阵、放大镜）。Each beat changes the background and a flat graphic motif while a silhouette runs at 12 fps; letters slide in from both sides for the title.

画面只有字，每拍换一个词并反色，冲击缩放，窄体大字配 HUD 式小字标注。One word per beat at 160 BPM; size, weight, inversion and a punch-in scale carry the rhythm.

HTML/CSS 排版加 SVG 图形，全部动作排在一条暂停的 GSAP 时间轴上，每帧 seek 到 t：台标缩成角标，要闻目录开场，翻牌价格板和折线讲一个事实，平行四边形台标下的字条上下翻转换标题，结尾目录逐条打勾。Dark navy stage with an HTML/CSS and SVG news kit: the logo shrinks into a corner bug, a flip-board price and a broken-line chart carry one fact, and the lower-third strip flips to each new headline — all animated on one paused GSAP timeline seeked per frame.

一张操作表按“打字、停顿、删字、标记、换行”排出每个按键的时刻，按 t 找到当时屏幕上的文字，光标在打字时常亮、停下时闪烁，关键词下面刷出荧光笔，换行时整页上滚。A list of operations (type, pause, delete, mark, new line) yields the time of every keystroke; each frame looks up the text on screen at t, the cursor blinks only while idle, a highlighter sweeps the keyword and the page scrolls up.

一圈圈文字环沿 z 轴等距排开，按透视除以深度投到屏幕上，镜头匀加速向前飞；隧道中心线随深度正弦弯曲、整体缓慢滚转，远处的环缩成发光细线，近处的字掠过画面边缘时正好读出。Rings of characters are spaced along z and projected by dividing by depth while the camera accelerates forward; the tunnel's centre line bends with depth and slowly rolls, far rings shrink to glowing hairlines and near words become readable as they sweep past.

饱和渐变、圆润扁平造型、边缘高光和长投影，前中后景按不同速度视差移动。Saturated gradients, rounded flat shapes with rim light and long shadows, layered with parallax.

自己写一个等距投影函数，把方块的三个面按不同明度画出来，搭出采集、处理、存储、分发四个工位；。A hand-written isometric projection builds four stations from shaded boxes; packets ride the conveyor and numbered labels pop up.

方格纸上，铅笔沿折线把数据一段段画出来（每笔描三遍、带一点抖动），镜头贴着笔尖跟拍；。A pencil draws the line chart point by point with the camera on its tip, circles the jump in red, then pulls back.

用 Canvas 照 Manim 的样子画（深底、蓝黄配色、斜体公式），不是真的 Manim；。Drawn in Canvas in the look of Manim (not real Manim): each beat adds a sine term, the epicycles trace a wave closer to a square wave.

近黑渐变加发丝网格，界面卡片吸附进场、一道扫光、柱状图长起，最后一个巨大数字。Near-black gradient with a hairline grid; a UI card snaps in, a light sweep passes, bars grow, and one huge number lands.

Three.js 在无限黑影棚里悬浮一个透明玻璃 + 磨砂玻璃 + 金属的产品（全部用代码建的几何体）。A code-built product of clear glass, frosted glass and metal floats in an endless black studio; two long strip lights sweep across its surface, high-IOR transmission gives the edges a dispersed fringe, a caustic ring sits on the floor, and the slow exploded view snaps shut on the beat.

一个圆角矩形用临界阻尼弹簧在按钮、进度卡、视频卡三种尺寸之间形变。One rounded rectangle springs between button, progress card and video card with crossfading content; the last frame matches the first.

D3.js 的地理投影（墨卡托）和 geoPath 每帧重算 SVG 路径，镜头中心和缩放跟着线头走；航线用 d3.geoInterpolate 沿大圆取点（再往北鼓起成弧）、按进度画出，里程用 d3.geoDistance 算。海岸线是噪声生成的虚构大陆和岛，城市名也是虚构的。A D3 Mercator projection redrawn each frame while the camera follows the line head: an orange arc is drawn city to city across a fictional noise-built coastline, with a live odometer and a latitude/longitude card.

几百颗星和一条噪声银河画在一张会绕天极缓慢旋转的天幕上，每颗星按自己的频率闪；“天秤座”的主星按顺序用发光细线一段段连起，笔尖带一个亮点，连好后浮出天平的线描轮廓和星座名又隐去，最后镜头推近顶上那颗星。Hundreds of twinkling stars and a noise-built Milky Way sit on a sky that slowly turns about an off-screen pole; the main stars of Libra, projected from their real coordinates, are joined line by line with a bright pen tip, then a dashed balance-scale outline and the name fade in and out before the camera pushes toward one star.

十三件文具各画成一张带正下方柔和阴影的贴图（init 里画一次），按“同类在一起”的网格坐标从最近的画面边缘滑入、略冲过头再落定；2.5 秒起整组按颜色重新排列，最后从每件物品引出细线标名称。竖版把整套坐标转 90°，物品也一起转，仍然横平竖直。Thirteen desk items are each drawn once as a sprite with a soft shadow straight beneath; they slide in from the nearest edge onto a grouped-by-kind grid with a small overshoot, regroup by colour at 2.5 s, and get thin leader lines with names; the portrait cut rotates the whole layout 90° so everything stays square.

角色的四肢是没有关节的二次曲线，跟着节拍整体摆动；全画面黑白。Limbs are jointless curves swinging to the beat, in black and white at 12 fps with grain, scratches, dust, flicker and a heavy vignette.

夜色渐变天空、两层楼群按不同速度视差卷动，车身只用亮暗两色平涂加一道高光（赛璐璐上色）。Two-tone cel shading with a highlight line, parallax city layers, limited animation at 8 fps and a VHS overlay.

SVG 画场景和角色（细黑线 + 平涂色块，没有阴影），GSAP 暂停时间轴排动作、每帧 seek 到 t；小角色跳起来够架子上的饼干没够着，落地一震，架子一歪，饼干正好掉到头上。A flat SVG world of thin black lines and unshaded fills: a small character squashes, jumps for a cookie on a shelf, misses, and the cookie drops on its head — timed on a paused GSAP timeline with anticipation and overshoot.

四格依次弹出，网点用错位圆点阵铺、集中线从中心放射、对白气泡带尾巴。Four panels pop in with screentone dots, speed lines and speech balloons; the sound effect lettering is outlined, sheared and shaken.

一页四格，格框是抖动的粗墨线；人物、山崖、速度线、刀光都用 brushStroke（一束会断墨的笔毛）沿折线画，衣袍是填黑的平滑形状再沿边扫几笔干笔；镜头逐格推过去，每格在镜头到达时按时间画出，最后拉远看整页；拟声字用毛笔字体，全页只有血点用朱红。A four-panel page with wobbly thick ink borders; figures, cliffs, speed lines and the sword arc are drawn with a dry-brush stroke — a bundle of bristles that run out of ink — along polylines, robes are filled smooth shapes swept with dry strokes at the edges; the camera pushes from panel to panel, each panel inking itself as it arrives, then pulls back to the page, with brush-font sound effects and vermilion used only for the blood.

天空、积云、远山和山坡小屋预先画进三张离屏画布，积云是几十团由亮到灰的渐变圆团叠出体积、再沿亮边点水粉笔触，三层按不同速度横移出视差；前景几千根草叶每帧重画，一阵风从左往右按 x 的先后经过，草浪、大树、晾的衣服、女孩的裙摆和辫子依次摆动；女孩用细描线加两阶平涂（阴影＝本体减去朝光源平移的本体），帽子被吹起后她抬手按住。Sky, cumulus clouds, far hills and the hillside cottage are painted once into three off-screen canvases: each cloud is dozens of round gradients from bright to grey stacked into volume, with gouache dabs dotted along the lit edges, and the three layers pan at different speeds for parallax. Several thousand grass blades in the foreground are redrawn every frame; one gust travels from left to right in order of x, so the grass wave, the big tree, the washing on the line, and the girl's skirt and braid move one after another. The girl uses thin clean lines with two-tone cel fills (the shadow is the shape minus the shape shifted towards the light); when her hat lifts in the wind she raises a hand and holds it down.

窗外的积雨云是几十团渐变圆团叠成，再用「云的形状减去朝背光方向平移的形状」取出朝太阳的那一圈边、模糊后加亮成金边；屋里的光柱是把每格窗玻璃沿太阳方向一层层平移到地板上、用加色叠出来的，乘上流动的噪声就成了丁达尔光；女孩逆光，身上是冷色平涂加同一个减法做出的暖色轮廓光；最后叠泛光、沿太阳与画面中心连线排开的光晕和冷暖分离的调色，镜头缓慢推近并上仰。The cumulonimbus outside the window is a density field: hundreds of soft round kernels summed and roughened with fractal noise, lit by subtracting the density one step towards the sun, so the sunward edges turn white; the shape minus itself shifted away from the sun gives the golden rim, blurred and added on top. The light shafts in the room are each window pane moved step by step along the sun's direction down to the floor and added together, then multiplied by drifting noise; dust motes glow only where tracing back along the ray lands inside a pane. The girl is backlit: cool flat colour with a warm rim made by the same subtraction. Bloom, flare ghosts on the line between the sun and the frame centre, and a warm-cool split grade go on last, while the camera slowly pushes in and tilts up.

GLSL 光线步进算出整张画面：木头底座是圆角圆柱，弹簧脖子是沿一条贝塞尔曲线排开、各自朝切线方向的七个圆环，黄铜头和毡帽、橡胶球、上了清漆的木桌各有一套材质算法；一盏聚光灯只照亮玩具和球所在的那一圈并投软阴影，远处墙上的灯是算好的柔和光斑，假装浅景深。没有脸的弹簧玩具靠姿态演戏：看见滚来的球先探身，压缩弹簧做预备，跳过去落地后头还在晃，再一探头把球顶走。A GLSL ray marcher computes the whole frame: the wooden base is a rounded cylinder, the spring neck is seven rings laid along a Bézier curve, each facing the curve's tangent, and the brass head with a felt cap, the rubber ball and the varnished table each have their own material model. One spotlight lights only the circle where the toy and the ball are and casts soft shadows; the lights on the far wall are computed as soft discs to fake a shallow depth of field. The faceless spring toy acts through posture alone: it leans out when the ball rolls in, compresses its spring in anticipation, hops over and lands with its head still wobbling, then dips and nudges the ball away. Every pose value is a closed-form function of t (easing, parabolas, damped oscillations).

同一组形状画两遍：色版画布上用青、品红、黄三种网点图案（每种转不同角度、点的大小代表浓淡）正片叠底出颜色，墨版画布上画粗黑轮廓、「形状减去朝光源平移的形状」得到的大块实黑和沿明暗交界的一排平行排线；墨版整体错开几像素再叠回旧新闻纸，像套色不准。能量是一簇簇大小不一的黑点，每两帧换一次位置；拟声字和对白框用手写字体。The same set of shapes is drawn twice. On the colour plate, cyan, magenta and yellow halftone patterns, each turned to its own angle with dot size giving the tint, are multiplied together. On the ink plate go the heavy black outlines, solid blacks made by subtracting the shape shifted towards the light, and a band of parallel hatching along the terminator. The ink plate is shifted a few pixels before being printed back onto old newsprint, like misregistered colour. Energy is clusters of black dots of mixed sizes that jump to new positions every two frames; the sound effect and the speech balloon use a handwritten font.

车库背景（洞洞板、旧冰箱改的机器、工作台）一次画好，全部是平涂加同一粗细的黑描边，只在台面下、下巴下各补一块硬阴影；两个原创角色的手臂是两节描边粗线，按关键姿势表在几帧内「啪」地换姿势（带一点回弹），眼睛是白圆加用哈希抖动的不规则小瞳孔，表演靠停顿和眼神方向；传送门是几条随时间旋转的螺旋线叠在发光的绿圆上，边缘按正弦起伏，并给整个场景泼一层绿光。The garage background (pegboard, a machine made from an old fridge, workbench) is drawn once: flat fills and one uniform black outline everywhere, with a hard shadow added only under the bench and the chin. Each arm of the two original characters is a two-segment outlined stroke; a table of key poses makes them snap to a new pose within a few frames, with a small overshoot. Eyes are white circles with small irregular pupils jittered by a hash, and the acting rests on pauses and where they look. The portal is a few spiral lines rotating over a glowing green disc, its edge rippling with sines, and it washes the whole scene in green light.

每个部件都是一张多边形「纸片」，顶点按哈希值轻微抖动，像剪刀剪的边，底下垫一块错开的投影表示前后层级；人物只做整片平移、整片转动和嘴形切换，走路是上下小颠，说话时每两帧随机换一张嘴；镜头靠硬切在远景和反应特写之间跳，笑点放在停顿上，最后员工像一张纸板一样整片倒下。Every part is a polygon 'piece of paper' whose vertices are nudged slightly by a hash, like a scissor-cut edge, with an offset shadow underneath to show which layer is in front. The characters only slide, turn as a whole piece and swap mouths: walking is a small up-and-down hop, and while talking a random mouth is chosen every two frames. Hard cuts jump between the wide shot and a reaction close-up, the joke sits in the pauses, and at the end the employee falls over flat like a piece of card.

先在很小的画布上逐像素画（竖屏 180×320，横屏 384×216），再关掉平滑放大，限定调色板。Drawn pixel by pixel on a tiny canvas, then scaled up with smoothing off, in a limited palette.

Three.js 搭一座 3D 微缩夜景（石板广场、房子、城墙、水面），像素精灵用 Canvas 2D 现画成贴图、。Hand-drawn pixel sprites stand like paper cutouts inside a full 3D miniature night scene: every lamp is a real point light casting shadows, exponential fog holds the distance back, and a tilt-shift blur over the three-quarter high angle makes the whole town read as a glowing toy model.

game.js 是一个真能用键盘玩的横版动作小游戏（samples/C-058/play.html 打开就能玩）；。A single-file side-scrolling action game that a person can actually play with the keyboard; for the sample a scripted input tape plays it through while the camera follows, and each frame re-simulates the game from zero at a fixed 1/120 s step, so the capture keeps its HUD, scanlines and emulator bezel and still depends only on t.

先用 Canvas 2D 画出黑白的内容（倒数片头、片名卡、聚光灯下的主体和打字机字幕），再交给 WebGL 片元着色器做胶片：粗颗粒、随机划痕和灰尘、闸门抖动、整体明暗闪烁、四角暗角，全部由时间 t 算出。Canvas 2D draws the black-and-white content — leader countdown, title card, a spotlit loom and typewriter subtitles — and a WebGL shader ages it: coarse grain, random scratches and dust, gate weave, flicker and corner vignette.

先在一块小画布上画好画面（灰阶街景、踩香蕉皮滑倒的绅士、字幕卡），每秒 16 格抖动。A small canvas holds the film frame at 16 fps, aged with sepia, grain, scratches, dust and flicker, set in a theatre with velvet curtains.

Three.js 用代码拼出无尽的黄墙房间（墙、地毯、天花板、嵌入式灯管全部程序生成。An endless yellow-wallpaper room generated in code and looped around the camera as it drifts forward on handheld noise, then run through a GLSL pass for tape tearing, chroma offset, scanlines and grain, with a camcorder date stamp and three 'rules' subtitles composited on top.

Three.js 程序生成一座小镇（街区、楼、车、行人全部用代码摆），正交俯拍三分之四视角；。A procedurally generated town shot from above in three-quarter view, then given a tilt-shift pass in Canvas 2D so only one horizontal band stays sharp while everything above and below blurs by distance; saturation and contrast are pushed and the cars and pedestrians move at timelapse speed under drifting cloud shadows.

整个画面是一张等宽字符网格，旋转的甜甜圈按经典 donut 算法逐帧投影成字符。Every shape is a real character on a monospace grid, with phosphor glow, scanlines and a curved tube.

冷青色线框，几圈刻度环和虚线环按不同速度反向旋转，雷达用锥形渐变做扫描尾迹。Counter-rotating tick rings, a conic-gradient radar sweep and a lock-on box that spins tighter and turns orange, with live readouts.

低分辨率缓冲区里逐像素算隧道（按距离和角度查异或纹理、循环调色板），放大后不做平滑；。A per-pixel tunnel in a low-res buffer (XOR texture by distance and angle, cycling palette) under copper bars, a chrome logo and a sine scroller.

等宽字符网格里每列按各自速度落下两串字，列头近白、身后渐暗，字在下落途中按哈希换字；2 秒时一张文字遮罩里的格子一起亮起，雨幕排出隐藏的词，同时镜头缓慢推进、近处一层大字虚焦掠过。Columns of glyphs fall at their own speeds on a monospace grid, bright heads and fading tails, glyphs swapping by hash; at two seconds a text mask lights up and the rain spells a hidden word while the camera pushes in.

海边放风筝的画面按 18 格每秒画在四分之一大小的画布上，逐像素调色（整体偏洋红暖黄、暗部发青、黑位抬起）并加逐帧变化的颗粒，再放大成柔和的画面；外面叠圆角片门、上下晃动、橙色漏光、划痕和灰尘，结尾是过曝白帧和片孔滑过的换卷。A beach scene with a kite is drawn at 18 fps on a quarter-size canvas, graded pixel by pixel (magenta-warm cast, cyan shadows, lifted blacks) with grain that changes every frame, then scaled up soft; a rounded film gate, gate weave, orange light leaks, scratches and dust go on top, ending in a reel change of overexposed frames and sliding perforations.

先把一张干净的台标画面画进离屏画布，再在每个节拍重音上按该拍的种子做几道损坏：红绿蓝三通道分开错位、整条横向切片撕开、低分辨率方块拖着上一位置的残影、取一行像素向下拉成竖条纹；第 5 拍整屏冻结在上一拍的画面，强度按指数衰减卡在拍点上。A clean station ident is drawn off-screen, then each beat corrupts it with that beat's seed: RGB channels split and offset, horizontal slices tear sideways, low-res blocks drag a ghost of an earlier position, and single pixel rows are stretched into vertical streaks; beat 5 freezes the frame, and intensity decays exponentially from each beat.

WebGL 片元着色器里自写光线步进，噪声叠出海浪高度场，按菲涅耳混合天空反射，每像素 2 次采样。A hand-written GPU ray marcher: a noise height field for the waves, Fresnel sky reflection, two samples per pixel.

WebGL 片元着色器里做光线步进，光线按引力弯曲，穿过吸积盘时累积颜色。A GLSL shader bends starlight around a black hole and lights a golden accretion disk.

画面由一张节拍表驱动，每个半拍一颗彩球飞到圆环上击中，炸出波纹和光束；。A beat table drives everything: each half-beat a ball hits the ring and bursts; 120 radial bars and kaleidoscope lines follow the envelope.

上千条流线从左侧几束种子点出发，沿一张随时间缓慢变化的噪声流场逐步积分走出去，相邻的线挨得很近就成了丝带；1.5 秒重音时给流场叠一阵高频扰动让丝散开，再按指数衰减慢慢理顺，叠加混合让交叠处更亮。Over a thousand streamlines start from a few bundles of seed points and are integrated step by step through a slowly evolving noise flow field, so neighbours stay close and read as ribbons; on the accent a burst of high-frequency turbulence scatters them and decays exponentially, drawn additively so crossings glow.

init 里一次画好暮色天空、树林和草叶剪影；几百个光点各有深度、绕圈半径和呼吸频率，位置由噪声和正弦算出，近处的用大号柔光贴图画成失焦光斑、远处的是清晰小点；2 秒前后一部分光点飞到“你”字的取样点上聚成字，同时字形本身亮起一层淡淡的柔光，让笔画更清楚，再散开。Sky, tree line and grass silhouettes are painted once; hundreds of lights each get a depth, orbit radius and breathing rate, placed by noise and sines; near ones are drawn as large soft bokeh sprites, far ones as sharp dots, and around two seconds a dedicated swarm flies to sample points of a character while a faint glow of the glyph lights up behind them, then they scatter again.

一个手写的 GLSL 片元着色器。窗外城市是网格里随机放置的暖橙、冷青光点，按失焦程度画成大光斑；玻璃上静止的小水珠和沿弯曲路线下滑的大水珠各自算出表面法线，水珠里按法线反向取样一张清晰、倒置的灯影，滑过处留下小水珠并擦掉雾气。One hand-written GLSL fragment shader: city lights are scattered in grid cells and drawn as large out-of-focus discs; still droplets and big drops sliding along wavy paths each compute a surface normal and sample a sharp, inverted copy of the lights, leaving a trail of beads and clearing the fog.

窗户画在一张小画布上（亮的窗格、暗的窗棂和窗台盆栽的剪影），用仿射变换把它“投”到地板上成为光斑，再在窗和光斑之间插值画几十层淡淡的叠加，就成了带窗棂影子的体积光柱；尘埃在光柱里的亮度直接取光柱图层的值，太阳角度随时间慢慢移动。The window is drawn once on a small canvas (bright panes, dark muntins, a potted plant); an affine transform throws it onto the floor as a light patch, and dozens of faint layers interpolated between window and floor build a volumetric shaft with the muntin shadows inside; each dust mote takes its brightness from the shaft layer.

五层楼群按随机种子生成（楼身、窗格、一层层飞檐和竖招牌），每层预先画成一张长图，镜头上升时近处的层移得多、远处的移得少，形成纵深；招牌的霓虹光和字各自单独一张小图，逐帧按哈希闪烁；层与层之间叠分形噪声做的雾带，前景是摇晃的红灯笼和雨丝，升到屋顶时天上浮出一个切片错位的全息大字。Five layers of towers are generated from a seed, with window grids, stacked flying eaves with neon trim and vertical signboards, and each layer is pre-drawn into one tall image; as the camera rises, near layers move more than far ones, giving depth. Every sign's neon glow and lettering is its own small image that flickers per frame from a hash, bands of fractal-noise fog drift between layers, red lanterns sway on ropes in the foreground under slanted rain, and on reaching the rooftops a giant hologram character appears in sliced, glitching strips.

整片厂区是一个片元着色器里的距离场：钢架塔（四根立柱加横梁和交叉斜撑，用对称和取模复制）、双曲面冷却塔、储罐和管道，按 2.5 分之一分辨率逐像素做光线步进；地面是一块平面水，命中后沿反射方向再走一遍得到倒影，加涟漪和油膜的虹彩；沿视线取十个点累加体积雾和顺着光方向的条纹，就是光柱；警示红灯按视线到灯的距离算光晕；焊接火花和飘落的灰在画布上按同一个相机投影来画。The whole plant is one distance field in a fragment shader: lattice towers (four columns with ring beams and cross bracing, repeated by symmetry and modulo), hyperboloid cooling towers, a tank and pipes, ray-marched per pixel at 1/2.5 resolution. The ground is a flat sheet of water: a hit marches again along the reflected ray for the reflection, with ripples and an oily iridescent film; ten samples along each view ray add up volumetric fog and stripes aligned with the light, which read as light shafts; red warning lights glow by the ray's distance to each lamp; welding sparks and falling ash are drawn on the canvas through the same camera projection.

阿波罗 17 号拍的地球照片慢慢推近、退到一侧，NOAA 莫纳罗亚 1959–2025 年的二氧化碳年均值逐年长成一排立体方柱，计数跟着旁白走。The Apollo 17 photo of Earth pushes in and slides aside while NOAA's Mauna Loa CO2 annual means for 1959–2025 rise year by year as a row of solid blocks, the counter keeping pace with the narration.

NASA 专家访谈剪成两段跳切，每句换一次景别（推近、拉回），关键词做成弹出的大花字，底部中文字幕。A NASA expert interview cut into two jump-cut takes; every sentence alternates framing, a keyword pops up as a big bold caption and Chinese subtitles run at the bottom. Segment timing lives in assets.json and the picture follows it frame by frame.

1974 年的两张太空餐试吃照片做推镜，圈出「挤着吃」的软管，弹出卖点贴纸和价签式标签；接空间站上吃饭的录像，最后一张产品卡收尾。Two 1974 NASA space-food tasting photos push in inside a print-ad layout; hand-drawn rings circle the squeeze tubes and sticker-style selling points pop up, then ISS footage and a round product card close it out.

左边发射录像、右边发射台照片上压巨大的倒计时数字；归零起飞后录像铺满，再分成三格，照片和任务数字（读 CSV）一格格滚出来，最后落一句口号。Launch footage on one side and a pad photo with a giant countdown on the other; at zero the footage goes full frame, then three panels roll in with photos and mission numbers read from a CSV, ending on a tagline.

一张 1942 年的公共领域风景照，depth.py 用 Depth Anything V2 估出深度图；片元着色器按每个像素的深度反推它在镜头移动后该在哪（近处挪得多、远处挪得少，迭代几次补遮挡），一张静照就有了推近加环绕的立体运镜；品牌标题放在天空和山峰之间的那一层，从山后升起、被山尖挡住；中段一道扫光露出深度图本身，结尾是虚构户外品牌的落版。depth.py estimates a depth map for a public-domain 1942 landscape with Depth Anything V2; a fragment shader works out where each pixel lands once the camera moves (near pixels shift more than far ones, iterated to fill occlusions), giving one still photo a push-in and orbit; the brand title lives on a layer between the sky and the peaks, rising from behind the mountains and clipped by the summits; midway a sweep reveals the depth map itself, and it ends on a fictional outdoor brand's end card.

把 1902 年《月球旅行记》剪成 15 秒的小故事，镜头之间插中文字幕卡（花边框、衬线字），画面加放映机的闪烁、片门晃动和划痕。The 1902 public-domain film A Trip to the Moon recut into a 15-second story, with ornate Chinese intertitle cards between shots and projector flicker, gate weave, scratches and grain on top.

空间站拍的夜景和日出两段录像、一张极光照片，按节拍切镜头；自写的歌词一字一字浮出，横屏加电影遮幅、竖屏歌词放中间，加漏光和颗粒。Two ISS Earth-view clips and an aurora photo cut on the beat, with original lyrics floating up character by character; letterboxed in landscape, centred lyrics in portrait, plus light leaks and grain.

Natural Earth 海岸线画底图，NOAA 最佳路径一点点画出飓风伊恩的轨迹（按强度上色），信息卡跟着读数；后半段空间站拍的两张照片滑进来，新闻条和字幕跟旁白走。A Natural Earth coastline base map while the NOAA best track of Hurricane Ian draws itself point by point, coloured by intensity, with a live readout card; ISS photos slide in later and a news lower third and subtitles follow the narration.

三张 1936 年的底片扫描摆在发亮的灯箱上，镜头在底片之间平移，放大镜在每张的细节上停一会儿；左上角的档案卡用打字机效果打出编号和年份，底部字幕跟旁白。Three 1936 negative scans from the Library of Congress lie on a glowing lightbox; the camera pans between them, a loupe lingers on details, an archive card types out the catalogue number and year, and subtitles follow the narration.

Artemis I 发射的三路机位各从不同时刻剪起，sync.py 用三段现场声音的互相关算出时差；片头把三条声波按算出的时差对齐，之后按同一个任务时钟切换近景、塔架、远景；最后换到跟踪镜头，叠上 JPL Horizons 星历里猎户座飞船 25 天的真实地月轨迹和读数。Three camera angles of the Artemis I launch are cut from different start times; sync.py cross-correlates their live audio to find the offsets, the intro slides the three waveforms into alignment, then the edit cuts between close-up, tower and wide on one shared mission clock and ends on a tracking shot overlaid with Orion's real 25-day Earth–Moon trajectory from JPL Horizons.

本仓库介绍页的操作录屏放进浏览器窗口，镜头跟着鼠标在点击前后自动推近、拉回；鼠标由代码按录下的轨迹重画，点击处有涟漪，左上角标第几步，底部字幕跟旁白。A scripted screen recording of this repository's intro page sits in a browser window; the camera pushes in around each click and pulls back, the pointer is redrawn by code from the recorded path with click ripples, step labels mark progress and subtitles follow the narration.

空间站延时拍的夜间城市灯火开场，切到 1900 年时代广场的夜景老照片，最后用 Natural Earth 的城市数据在黑底上一颗颗点亮世界最大的 60 座城市，按人口决定亮度和大小。ISS time-lapse of city lights at night opens, cuts to a c.1900 photo of Times Square at night, then Natural Earth city data lights up the world's 60 largest cities on black, brightness and size set by population.

把 1878 年迈布里奇《奔马》照片版上的 11 格切出来当动画播，像体育转播的慢动作回放——先正常速度，再放慢、定格在四蹄离地的那一格，用白板笔画地面线、圈和箭头，最后排成一条胶片对比。The 11 frames of Muybridge's 1878 Horse in Motion plate are cut out and played like a broadcast replay: normal speed, slow motion, then a freeze on the airborne frame with telestrator lines, a circle and an arrow, ending on a film-strip comparison.

1902 年《彼得兔》的插图一页页翻过去，每页插图轻轻呼吸、摇摆，像纸偶；下面一行童趣字体的文字跟着旁白逐字变色（卡拉 OK 式），翻页用一次纸张翻转。Beatrix Potter's 1902 Peter Rabbit illustrations turn page by page, each gently breathing and swaying like a paper puppet, while a playful line of text below changes colour character by character with the narration.

NASA《系统工程手册》的两页扫描放在工作台上，代码读这一页的文字层（每个词的位置），自己找到要讲的那句话在哪：荧光笔划过、镜头推近、抽成引文卡（原文 + 中文译文 + 页码）；图示页按顺序圈出三块、编号配中文要点；结尾三条要点和出处。Two scanned pages of NASA's Systems Engineering Handbook sit on a desk; the code reads each page's text layer to locate the sentence it wants, sweeps a highlighter over it, pushes in and lifts it into a quote card with a Chinese translation and page number, circles the three blocks of the SE engine figure in order, and ends on three takeaways with the source.

Three.js 用 Poly Haven 的 CC0 木箱、油桶搭一块俯视竞技场，按虚构对局数据表（每秒位置、击杀）回放 6 名选手的走位和轨迹；击杀处闪圈、时间线落点、数据面板跳数；第一次阵亡时暂停，像战术板一样画圈画箭头，再沿着路线用滑块对比「实际走位」和「建议走位」。CC0 crates and barrels from Poly Haven build a top-down arena in Three.js; a fictional per-second match table replays six players with fading trails, kill rings, a timeline and a stats panel; at the first death the replay pauses for telestrator circles and arrows, then a slider compares the actual route with the suggested one.

一段 54 秒的 NASA 横屏访谈，edit.py 用 Whisper 出逐词时间，按句打分挑出 3 句、删掉口头禅；片头在文字稿上划掉要删的词、标出挑中的句子和分数，之后按剪辑表跳着播原片，竖屏裁切框跟着人脸检测的轨迹走，字幕逐词点亮；横屏版左边是原片和移动的裁切框，右边是手机里的竖屏成品。edit.py runs Whisper on a 54-second NASA astronaut interview for word timings, scores every sentence, keeps the best three and deletes the fillers inside them; the intro strikes those words out on the transcript and marks the picks with their scores, then the edit plays the source by the cut list while a portrait crop follows the face-detection track and the captions light up word by word. In landscape the source sits on the left with the moving crop box and the phone output on the right.

一个模板函数 card() 加一张三行的数据表（2023、2024、2025），每行出一条年度回顾：空间站拍的地平线做底，年份翻进来，NASA GISTEMP 的全球气温距平数字滚到位、算出「有记录以来第几热」，1880 年以来的柱状图点亮这一年，旁边是 NOAA 的 CO₂ 年均值；三条依次播完，最后把同一模板出的三条排成一排、配上数据表。One template function plus a three-row data table yields three year-in-review clips (2023, 2024, 2025): over a space-station photo of Earth's limb the year flips in, the NASA GISTEMP temperature anomaly counts up and its record rank is computed, a bar chart since 1880 lights up that year next to NOAA's CO₂ annual mean; the sample plays all three and ends with them side by side above the data table.

三张 CC0 的食物照片各占一栏、各自缓慢推近；下面套同一套条形图，读 USDA FoodData Central 每 100 克的营养成分表，7 项逐行长出来，每行最高的那一栏亮起；最后由数据算出一句结论。Three CC0 food photos sit in columns with slow push-ins; one bar-chart template reads USDA FoodData Central per-100 g values and grows seven nutrient rows one by one, lighting the highest column on each row, then writes a conclusion computed from the data.

美国空军体能测试教学片里一段俯卧撑侧面示范，pose.py 用 MediaPipe 逐帧算出骨骼点和人体遮罩；片头一道擦除把原片（旁边跪着计数的考官）换成代码画的训练房，人按遮罩抠出来放进去；骨骼线和关节点跟着人走，肘角弧线和读数实时变，躯干从肩到踝拉一条直线、按直线度变色，肘角先低于 100° 再撑过 150° 记一次，旁边一条肘角曲线带阈值线和播放头。pose.py runs MediaPipe on a push-up demo from a U.S. Air Force fitness assessment film for per-frame landmarks and a person mask; a wipe swaps the original set (with the kneeling evaluator) for a code-drawn training room with the athlete keyed in by the mask, the skeleton follows him, the elbow-angle arc and readout update live, a shoulder-to-ankle line changes colour with body straightness, reps count when the elbow dips below 100° and pushes back past 150°, and an elbow-angle curve with threshold lines tracks the playhead.

两张 AI 生成的纸拼贴插图（深海背景、白底章鱼）由代码抠掉白底、叠成前后两层错开移动；旁白说到「三颗心」「鳃」「全身」「蓝色」「血蓝蛋白」时，代码在图上贴纸心、红笔圈、手写标签和剪报拼字。Two AI-generated paper-collage illustrations (a deep-sea backdrop and an octopus on white) are keyed and layered by code with offset parallax; when the narration reaches each keyword, code sticks on paper hearts, red marker circles, handwritten labels and ransom-note letters.

AI 生成的原创卡通主播定妆照当首帧，生成一段说话的视频；代码排成演播室版面——主播一侧，另一侧随旁白逐条弹出问题卡和要点卡、关键词高亮，底部字幕，角落节目名牌。视频只有 10 秒，后半段跳切回前面并推近一档。An AI-generated original cartoon host is used as the first frame of a generated talking video; code lays it out like a studio show with the host on one side and question and point cards popping in on cue with the narration, keyword highlights, subtitles and a show badge. The 10-second clip is jump-cut and punched in for the second half.

AI 生成的产品棚拍图和以它为首帧生成的推镜视频，代码加宽银幕黑边、逐字打出的卖点细线标注，最后落版品牌名、口号、价格牌和购买按钮。An AI-generated studio shot of a product and a push-in video generated from it as the first frame; code adds letterbox bars, thin callout lines whose labels type out, and an end card with brand, slogan, price tag and buy button.

Poly Haven 的 CC0 陶瓷花瓶模型（glTF 网格 + 法线、粗糙度贴图）放进 Three.js 转台；。A CC0 ceramic vase model from Poly Haven (glTF mesh with its normal and roughness maps) is parsed in the page and placed on a Three.js turntable. A generated blue-and-white lotus-scroll pattern is wrapped around the body with a cylindrical projection and mirrored tiling so the seam stays continuous, and a glowing glaze line in the shader sweeps from foot to rim, turning the white bisque into blue-and-white porcelain. The 3D layer renders with a transparent background over a generated beige studio backdrop, leaving only the floor shadow; a close-up adds three spec callouts and the camera pulls back for a fictional ceramics brand end card.

两段 AI 生成的空镜（清晨海岸航拍、倒茶的手）按节拍剪在一起，镜头上压整屏的超大描边品牌字，随镜头慢慢滑动、只露出一部分；口号用细衬线体一句句淡入；结尾黑底上的大字当遮罩，海岸镜头从字里透出来，再落标志。Two AI-generated empty shots (a dawn coastline aerial and hands pouring tea) are cut together; oversized outlined brand type drifts across the frame, the tagline fades in letter by letter in a thin serif, and the end card uses the brand name as a mask with the coastline showing through.

两张 AI 生成的日式动画画（女主角、进站的小火车）和以女主角图为首帧生成的转头镜头；代码排成漫画分格——格子依次滑入、格内推拉，关键一格整屏放大并加速度线和闪白，对白用气泡，心里话是旁白加竖排字，雨丝由代码画，结尾片名和「下集」字卡。Two AI-generated anime-style images (the heroine and a train pulling in) plus a head-turn shot generated from the heroine image; code lays them out as manga panels that slide in, blows the key panel up full-screen with speed lines and a white flash, adds a speech bubble, vertical inner-monologue text, code-drawn rain and a title card.

一张分镜表（镜号、景别、画面、旁白）→ 生图出每个镜头的关键帧，其中两格再用图生视频动起来，旁白语音合成；。A four-shot storyboard (shot number, framing, picture, narration) drives everything: an image model makes one keyframe per shot in a shared watercolour style, two of the keyframes become short clips through image-to-video, and the narration is synthesized. The film opens on the storyboard sheet itself, with pencil-sketch versions of the four frames, framings and duration bars, then the first panel zooms up into the real shot. Cut points are not hard-coded: each shot knows the first words of its narration line and cuts where that line starts in the speech timing, stills get a slow push or pull, the animated shots play, and a slate with a mini storyboard marks the current shot. The story is original and has no people.

四张 AI 生成的画，每张正中有一个圆形「洞口」（窗、漩涡、气泡），代码一直往洞口推近，把下一张画缩小后用羽化圆形遮罩嵌在洞里，快推满时圆外也渐渐显出下一张，到头正好变成下一张的全貌，一层层钻进去；歌词跟着推进一个字一个字亮起。Four AI-generated paintings each have a round opening at the center; code keeps pushing into the opening, nests the next painting inside it with a feathered circular mask, and swaps seamlessly when the opening fills the frame, layer after layer; lyric characters light up as the zoom advances.

三张 AI 生成的扁平示意插画（发烫的城区、凉爽的郊外、绿化后的街区），代码排成新闻台版面：顶部栏目条、插画慢推、旁边的数据卡（温度计对比、白天吸热晚上放热、三条降温办法逐条打勾）、底部滚动标题和字幕，换要点时色块擦过画面；角落标明示意图由 AI 生成。Three AI-generated flat explanatory illustrations sit in a news-desk layout built by code: a section bar, slowly pushing illustration, a data card (illustrative thermometers, heat in by day and out by night, three cooling measures ticked off as they are mentioned), a scrolling ticker and subtitles, with colour-block wipes between points and an on-screen note that the illustrations are AI-generated.

AI 生成的屋顶纸鹤照片和起飞镜头，代码叠一层野外纪录片的取景器：手持晃动、对焦由虚到实、REC 和走动的时间码、物种名下三分之一字幕、「观察第 37 天」场记、数量估计，最后跟着鹤群起飞收在片名上。An AI-generated photo of paper cranes on city rooftops and an AI-generated take-off clip, wrapped in a code-drawn wildlife-documentary viewfinder: handheld shake, a focus pull, REC and running timecode, a lower-third species name, a field-log day counter and a head count, ending on the title as the flock takes off.

三张 AI 生成的手冲咖啡俯拍（以第一张为参考，桌面和器具前后一致），代码叠步骤编号、电子秤读数一路滚到目标克数、闷蒸 30 秒倒计时圆环、注水路径的虚线圆圈和箭头，底部步骤进度条；没有旁白，靠大字和计数讲清楚。Three AI-generated overhead photos of a pour-over (later shots referenced to the first so the table and tools stay consistent), overlaid in code with step numbers, a scale reading that counts up to the target weight, a 30-second bloom countdown ring, a dashed circle tracing the pour path and a four-part progress bar; no narration, the big type and counters carry it.

两段 AI 生成的旅行镜头（清晨水乡、夜晚老街）贴在手账纸上当照片，四角胶带、微微歪着；旁边手绘路线图，虚线跟着旁白从码头走到老街，说到的地方盖一个印章；字幕是手写体，结尾盖「第一天」大章。Two AI-generated travel clips (a misty water town at dawn, a lantern-lit night market) are taped onto journal paper as tilted photos; beside them a hand-drawn route map draws its dashed path from the pier to the old street in step with the narration, stamping each place as it is mentioned, with handwritten subtitles and a big 'Day 1' stamp at the end.

一段 AI 生成的扣篮镜头（虚构球员、无队标），代码剪成集锦：正常速度助跑 → 慢放起跳 → 最高点定格（背景去色、圈出球、弹出数据卡）→ 扣进的一下比分牌翻到 88、闪白 → 「本周最佳」收尾；角上一直挂着转播比分条。One AI-generated dunk clip (a fictional player, no team marks) cut as a highlight in code: approach at full speed, slow-motion take-off, a desaturated freeze at the peak with the ball circled and illustrative stat cards, a flash and score flip to 88 on the dunk, then a 'Play of the Week' end card, with a broadcast score bug throughout.

三张 AI 生成的水彩绘本插画（后两张以第一张为参考，小刺猬前后是同一只），代码排成一本摊开的书：左页插画、右页文字（竖版上图下文），翻页时纸张绕书脊转过去带阴影；文字跟着旁白一个字一个字染色，像卡拉 OK 字幕；最后合上一页写「完」。Three AI-generated watercolour picture-book illustrations (the later two referenced to the first so the hedgehog stays the same) are laid out in code as an open book: picture on the left page, text on the right (picture above text in portrait); pages turn around the spine with shading, and the text fills in character by character with the narration like karaoke, closing on a hand-lettered 'The End'.

生成的办公室插画当底图，代码按旁白的逐字时间逐个圈出隐患、拉出编号标签，再弹一道选择题——先选错的变红轻抖，再亮出正确答案打勾；最后用滑块把同一间办公室整改后的图（以第一张为参考图生成）划进来对比。A generated office illustration is the base; timed from the narration's per-character timings, code circles each hazard and pops a numbered tag, then a quiz card picks the wrong answer (red shake) before ticking the right one; finally a slider wipes in the fixed office, generated from the first image as a reference.

两段生成的游戏画面（自带音效）剪成一条高光：开场对阵卡，比分条和倒计时一直挂着，击杀时右上弹击杀提示、中间弹大字，底部解说字幕条；两段之间用队色斜切转场，最后定格，四周压暗、只留主角一圈亮，比分翻成 3:2；竖屏时取景跟着爆炸往右移。Two generated gameplay clips, each with sound generated alongside the picture, are cut into one highlight: a team-versus card opens, a score bar and round timer stay on top, kills slide into a feed and slam a big callout, a caster subtitle bar runs along the bottom, a team-colour diagonal wipe joins the clips, and a final freeze frame dims everything but a glowing ring around the player while the score flips to 3:2; in portrait the crop pans right to follow the explosion. Teams, players and the tournament are all fictional.

两位虚构主持人的插画头像一左一右（竖屏一上一下）；init 里用 Web Audio 把两段旁白解码成波形，算出每 1/60 秒的音量包络；谁在说话，谁的头像外圈一圈声波柱跟着音量起伏、亮起，另一位变暗；下面字幕按逐字时间点亮；答到金句时弹出金句卡，结尾落节目名和期数。Two generated illustrated avatars of fictional hosts sit side by side; Web Audio decodes the two synthesized voice tracks in the browser into a loudness envelope, so the speaker's ring of bars pulses with their voice and glows while the other dims; subtitles light up character by character, a gold quote card pops on the key line, and the show name and episode close it out.

生成一张 4 × 3 的拼图插画，代码按格子切开（格子位置事先从图里量出），一月一页翻过去；每页套同一个数字卡模板读一行月度数据，杯数滚动到位，角落累计全年；翻到八月正好卡在旁白说「八月」；最后十二格缩回原位拼成总览墙，最忙的月份描边。One generated 4 × 3 illustration is sliced along tile bounds measured from the image; each month flips in as a page with the same number-card template reading one row of a monthly table, counts rolling up and a running yearly total in the corner, August timed to the narration; then all twelve tiles fly back into a wall with the busiest month outlined.

生成的成品菜和食材平铺照片画在画布上，语言模型写的四个步骤线条图标（steps.svg）放进盖在上面的 SVG 层，按每一笔的长度用描边虚线一笔一笔描出来；四步出现的时刻从旁白的逐字时间里取，字幕跟着旁白走。Generated photos of the finished dish and the ingredients sit on a cream card; four line icons written as SVG by a language model sit in an SVG layer above the canvas and are drawn on stroke by stroke with dash offsets, each step timed from the narration's per-character timings, with subtitles following the synthesized voice.

生成一位虚构教练的定妆图当首帧，图生视频做一个侧腰拉伸；代码按旁白的逐字时间控制播放——站着等口令、跟着「向左弯」放下去、「保持」时在最低点来回慢放像在呼吸、「回正」再放完；旁边叠动作名、要点清单（逐条随旁白点亮）、倒计时圆环和组数，数到「一」圆环走完，「回正」亮起「完成」。A generated portrait of a fictional coach is the first frame of a 5-second image-to-video clip; code drives playback from the narration's per-character timings — the arm rises on cue, the bend follows the words, the hold rocks slowly at the lowest point like breathing — while a checklist lights item by item, a countdown ring runs through three-two-one and flips to Done.