What changed in Reelwright

362. The engine's command line read one constant from Studio's settings, which reach every page. Loading it took 5.2-9.5 s on a busy dev box (load 43-47) and now takes 2.2-2.8 s, measured turn about at the same load. An engine test fails if any of Studio's scripts comes with it again.

• the writers' room's outline (Back used to throw its changes away);
• a piece in the piece maker (choosing another piece used to drop it), marked • in the list;
• a gesture or a pose in the pose editor (Close used to drop it): "Unsaved: Salute" in the list, to go on with;
• a try-on or the four directions in the style lab or the character studio;
• the writing assistant's suggestion, while the script is as it was;
• words typed into the show's settings, a memory entry, a reply to a note, a note not posted yet (on a script or in Review), and what a dialog was given and not used: New show, New character, New set, Save a version, Add a line, New sound, New episode, Add an idea and Share for review each open again as they were left. All of it is kept with each show's place, so it outlasts closing Studio too; New show's words, which are no show's yet, are kept with your settings. In a browser an edit made just before the tab closes is kept as well: Studio saves as the page is hidden or closed, not only every five seconds.

• A scene and a shot can be graded on their own, over the style's grade: a flashback, a dream or a night exterior. A grade starts from a look (Flashback, Flash forward, Dream, Night, Golden hour or Noir, or a look the style defines) and sets any dial over it: exposure, contrast, saturation, warmth, tint, lift, gamma and gain. In the timeline, select a shot and pick its Look, its scene's look and its dials in the inspector; Reset grade takes the shot's away. The style lab's Lighting has lift, gamma and gain too, and lists the style's own looks. A flashback or a dream the script marks is graded as one.
• LUTs: Bring in a LUT… brings a 3D .cube in for a scene (the shot inspector's Scene LUT) or the whole show (the style lab's Lighting): a file picker on the desktop, the browser's upload on the web, then its license. It is checked as it comes in (2 to 65 points a side, values in 0 to 1), refused in plain words where the button is, and once in it grades at once (Ctrl+Z takes it back), with its strength and Remove beside it. The same from reelwright asset import look.cube --show <dir> --license <spdx> [--for <episode>/<scene>] and the import_lut tool in chat and MCP.
• Every frame is graded in the same order: the style's grade, the style's LUT, the scene's grade, the scene's LUT, then the shot's grade. In a transition each shot keeps its own look on its part of the frame. LUTs are blended exactly, so the same show renders to the same pixels everywhere, and a show that grades nothing renders as it did.
• Under the timeline's picture, a waveform, a vectorscope (with the 75% color bars' targets and the skin-tone line) and a histogram of the frame shown, and over it the action-safe and title-safe areas, each on a toggle in the picture's top left corner.
• EpisodeIR 1.60 (Scene grade and lut, Shot grade), Timeline 1.35 (the same, resolved) and StyleSpec 1.3 (color.lut, color.looks, and lift, gamma and gain in a grade).

• Delete on a foley sound still mutes it: the sound comes from what happens on screen, so it stays on its track, muted. Its toast now says so, and that the inspector unmutes it.
• What could be neither undone nor confirmed now can be one or the other. Cancelling a render has Undo, which goes on from the frames it kept. Taking a render off the queue, or clearing the finished ones, has Undo until its toast goes. Archiving the show has Undo, and so does taking a show off the recent list. Deleting renders or clearing previews and caches asks first and says how much goes. So do removing a person from a shared show and removing one of your computers.
• Settings › Claude asks before what it cannot take back: removing your API key (Studio and Reelwright can never show it again), disconnecting a Claude connection, and turning off "Let this computer run my web chat on my Claude plan" (its token is revoked). Signing the installed Studio out of Reelwright asks too, and says what stops with it: the bridge and this computer's work, when they run here. Each says what is kept, its button names what it does, and Cancel comes first with the keyboard.
• The delete dialog speaks in words. "Delete “The bridge kettle”?" lists where it is used: "the series bible: the lore “The Marigold” and the gag “The kettle hiccup”", each a link, and no JSON pointers or ids. The button that deletes is red, at the right, and Cancel has the keyboard. find_uses gives each use's places in words (places).
• tools/answers-watch.sh and tools/web/answers-check.ts delete, undo and confirm in the installed Studio and in a browser.

• A document's id and file are under Details in its header, with its status, not in monospace under its title. A list's row and a document's header show a status badge only when it is not Approved (Draft, Locked, Archived): "Approved" was on nearly every row.
• Sounds show each sound by its name, without its id under it, and History each document that differs by its name, its file only on hover. The set explorer names each thing as it reads, in its outline ("Wall back", not "wall back · prim.panel"), its camera and lighting menus and its view ("2 Otto front", "Red alert"). The timeline says "Compiling the episode…", not the episode's id, and a sound brought in "Fog Horn.wav is in Sounds now.", not "is sfx.fog_horn now."
• Switch show names each show and says what changed since; its folder is in its tooltip, not on the row, where a long one ran past the edge.
• Episodes' season board shows each directed episode's still on its card, as the Show page does.
• History with no versions says so, and how they come, where it showed "Compare [empty] with [Now]"; Compare comes with the first version.
• node tools/check-plain-words.ts reads Studio's GDScript too: what is given to a label, a button, a title, a tooltip, a menu item, a badge, an empty state or a status line, followed through a local and a function's parameter. An id, a file's path or a pointer put in, or a field's name, an id or a hex color spelt out, fails it. The 91 that still do are listed in tools/plain-labels-known.txt, which only shrinks; one that must show an id, as Details does, is marked plain-words-ok with why.

• New gesture… and New pose… show a handle on each hand and foot, the head, the chest and the hips. A hand or a foot dragged reaches for the point with its arm or leg. The head and the chest turn toward the drag. The hips move, and the legs bend under them with the feet kept on the floor. Nothing goes past what the rig lets a joint do.
• The keys are on a strip: click one to pose it, drag it along, double-click to add one, Delete to take one out, each with how it eases on. The playhead scrubs it live, Play runs it, and Save keeps it in the show's gestures. The fingers take a grip (relaxed, point, open, fist, grip, thumb up: GestureLibrary 1.4 handShape).
• A cue that gives no intensity plays a posed gesture as it was posed (GestureLibrary 1.4 intensity, which the pose maker saves as 1), where Reelwright's play at half.
• It then plays as Reelwright's own do: on the timeline, by name in a script, in renders, and alike in the installed Studio and the browser. A show's gestures that turn a joint past what the rig allows are refused (gesture.beyond_limits).

• Find and replace: Ctrl+F finds (it no longer types an "f"), Ctrl+H replaces while the script has the keys (elsewhere it is still History), with match case, whole word, F3 and Shift+F3 for the next and the previous match, and Replace all as one change Ctrl+Z takes back. Without match case each match keeps its case, so a renamed character's cue stays in capitals.
• Spell check: a wavy line under each word the dictionary does not know, with suggestions, Add to the dictionary and Ignore on a right-click. The show's dictionary already knows its cast, sets, props and sounds and the script's own names and places. The word list (the English Speller Database's US list, Hunspell en_US's own source, under its permissive licence) comes with Studio, so it works offline and in the browser.
• Elements as in Final Draft: Enter and Tab move between scene heading, action, character, parenthetical, dialogue and transition and write the Fountain for the writer (the blank lines, the capitals, the brackets). The element the caret is in is shown and can be chosen, and names and places complete, the script's own as well as the show's.
• Pages: the script on industry pages, the PDF export's own layout in Courier 12, with page numbers, scene numbers and (MORE) and (CONT'D); the script shows where each page begins, and the bar says the caret's page and scene and how many pages there are.
• Revisions: Lock this draft keeps the script as a version of the show, and every line changed since is marked with an asterisk and the revision's colour (Blue, then Pink, Yellow, Green and on), in the script and on its pages.
• Notes on the script: select lines and press Ctrl+Alt+M (or right-click, Note) to write one, in a panel beside the script that folds away and resizes like the reading. Notes are replied to and resolved, marked in the gutter, follow their lines as the text changes, and everyone in the show sees them as they are written.
• The script draws in Courier Prime, bundled, so it looks the same on every computer and in the browser; ids and codes draw in a bundled Noto Sans Mono.

• Reelwright has a library of prop patterns for the things scripts handle most: a paper lantern, an oil lantern, an umbrella, a phone, a mug or cup, a spoon, a crate, a book, a bag, a bottle, a box or gift, a note or letter, a kettle, a candle and a chest. Each is seeded, sized as the thing is, and held by its own grips, which follow its size. The crate, the oil lantern, the kettle, the candle and the chest are their kits' own pieces, with what a hand needs added. PropPattern 1.1 adds piece, the kit piece a pattern draws.
• "Make a prop called red lantern", "Make all 7 missing props" and Studio's New prop draw each thing from the pattern it is, by its name and the words for it: "red lantern" is a paper lantern painted red, "Mei's phone" a phone, "a cup of tea" a mug, "a big crate" a big one, "a gift box" a present with a bow. A show's own prop patterns come first.
• A thing no pattern draws is the kit piece it is, when a kit has one: "the counter" Mochi jumps onto is the diner's counter (or the kitchen's, in a show whose sets are built from the home kit), "a lamp" a table lamp, "the telephone" a rotary one, "a stool", "a barrel". It is carried by its top, or in two hands, when it is small enough. "A shutter" is a shop's roll-up shutter of its own, and "pulls down a shutter" pulls it down. Only a thing nothing draws is the plain box, sized for what it is.
• An episode's needs make every prop its outline or its screenplay's action needs: fill_needs draws each with generate_props, where it had said "props have no sampler yet".
• generate_props does the same for the showrunner, from the names a scene gives.

• Someone climbs or jumps up onto a piece of the set or a prop ("climbs onto a crate", "jumps onto the counter", "gets up on the table") and stands on its top until their next move, which steps them down first; "jumps down" alone steps them down beside it. A climb takes longer the higher it goes, and a jump arcs over the top. EpisodeIR 1.57 adds MoveCue.onto (climb or jump).
• A thing taken from someone's hand ("Grandpa takes the lantern from Mei") is handed over. "Holds it up" and "holds up the lantern" raise it overhead, once it is in their hand. "Holds an umbrella over the robot" goes up beside the robot first.
• "Opens", "closes" and "pulls down a shutter" put a hand on the thing where it stands, and no longer pick it up and walk off with it. "Knocks a spoon to the floor" knocks it down from beside them. "Pockets the phone" reads so in the script editor.
• "He" and "she" find someone the show gives no pronouns, as the audit's Grandpa Huo had none.
• tools/staging-watch.sh makes a show from nothing in Studio, clicks the reading's fixes, and draws the climb onto the crate and the lantern handed over and held up.

• Start as many renders as you like: previews, full renders, exports and dubs of any episode. They wait their turn in a queue on the Episodes page and run one at a time. Move them up or down, pause one or the whole queue, cancel one, and clear the ones that ended.
• The queue is kept with the show. Close Studio, or lose the daemon or the machine mid-render, and the render goes on when the show is open again.
• Each render says its stage, the frames drawn, how many a second, and the time left. When it ends it says how long it took.
• A render that stopped goes on from the frames it drew and checked, not from zero. Frames are drawn in batches of about a minute, each checked against its hashes and kept. The frames, and the video, are byte for byte those of a render drawn in one go.
• A failure says what happened in plain words and what to do next: try again, free space, open the log, open the script. A full disk says where, and how much room the render needs. A missing program says which. A renderer that stopped says at which frame and in which shot.
• Before anything is voiced or drawn, a render checks for ffmpeg and the engine, that the episode compiles, and that the disk has room.
• Free space in Settings, and reelwright clean, now clear the frames past renders drew, which nothing listed before. An episode's frames stay while a render of it in the queue has not finished: it goes on from them.
• Session protocol: renders.queue, renders.move, renders.pause, renders.resume, renders.clear and the render.queue notification; renders.start answers with ahead; render.event adds fps, etaSec, elapsedSec, tookSec, checked, resumed, failure, log and the paused status.

• A sentence about a crowd hurries it past, gathers it round someone, stops it and turns it to look, or has it cheer: "Crowds rush past", "Two passers-by stop and stare at Mei", "A crowd gathers round the busker", "Faces turn", "A cheer from the crowd". At whom the words say, else at what the action holds up high, else whoever it named last; "crowds" are twenty people, "a crowd" twelve. The script editor says what each stages: "A crowd of 20 hurries past", "The crowd slows to a stop and turns to look at the red lantern". EpisodeIR 1.59 adds CrowdCue.
• A role the action brings on with "a" or "an" ("A STALL OWNER pulls down a shutter") is an extra of the episode, acted, voiced and named as the cast is, with no cast file to make: the reading's "Make all 4 new characters" no longer counts them. EpisodeIR 1.59 adds extras.
• Both are drawn from the show's people pattern, varied in looks, clothes and age (children to the elderly), each from a seed of its scene and number, so the same show compiles to the same bytes.
• The crowd keeps off the cast, the set's pieces and the props, mostly behind the cast as the scene first sees it, comes on and goes off out of every camera's sight, and is never in front of the cast: anyone who would be is left out from coming into the picture to leaving it or the cut.
• Extras are drawn cheaply (Timeline 1.34 Actor.extra): no lip sync, blinks or foley, on twos, at a lower level of detail, each drawing kept while it holds. Twenty of them add about 260 ms a frame to the market's wide on lavapipe at 1280x720 (about 290 ms without them), where drawn as the cast is they added about 780.
• A crowd turned to a thing held up overhead ("Mei holds the red lantern up high. The crowd slows. Faces turn.") turns as it goes up, to where it is up there, and its eyes follow it down after. A look or a gesture at a thing someone lifts (overhead, to the mouth, to the eyes) aims where the hand has it, not at the hand's place at rest.
• "Mei cheers" throws both arms up: a cheer gesture for people, which every other body plan plays as it plays a fist pump (a cat wags its tail, a robot beeps).
• Studio's timeline puts a crowd's cues on a Crowd lane. tools/crowds-watch.sh makes a night market from nothing in Studio and draws the crowd rushing past, turned to look and cheering; tools/crowd-cost.sh times a render job's frames with and without its crowds.

• Claude says at its top how it is connected: not connected, connected with an API key ending ••••abcd, or through your Claude plan, and which is used for what when both are set (the chat on the plan; Write with Claude, Direct and memory on the key). With the plan ready, "The showrunner's chat uses" chooses there between the key and the plan. The key is added, tested, replaced and removed there, with where it is kept ("in a file only you can read"; Show where opens its folder) and what it costs. The plan's checklist says what Claude Code on this computer still needs, adds Reelwright to it for the show and takes it out again, and has the switch for Studio's own chat on the plan. On the web the service keeps the key and tests it, and your own Claude Code or Claude app connects through its MCP server, the bridge on your computer taking Studio's chat.
• Every Connect Claude (the chat, the script's assistant, the palette, a notice) opens Settings › Claude with the key's field ready, where a dialog opened before.
• The show menu has one Settings… where Show settings…, Preferences… and Connect Claude… were three, and the palette lists each page ("Settings: Look"). The Preferences dialog is gone; Appearance has its text size. About & updates has the version, the daily check for a newer Reelwright (from the first screen), Check now and Report a problem. The show's Claude card is now its Memory and Writing pages, so Claude means one thing.
• The service's POST /api/claude/check asks Anthropic whether the key it keeps still works, as connecting it did (one model listed, free), within the same ten checks an hour.

• Start from Reelwright's keys, or keys like Premiere's or Resolve's for the editing. Like Premiere: Split is Ctrl+K, trim Q and W, nudge Alt+Left and Alt+Right. Like Resolve: Split is Ctrl+B or Ctrl+, trim Shift+[ and Shift+], In to Out Alt+/, markers Shift+Up and Shift+Down, fit Shift+Z. J, K, L, In and Out stay as they are.
• The keys are yours, not a show's: kept with your settings on the desktop, and for you in your browser on the web.
• Every place asks the same map of keys: Studio's own, the timeline, its 3D view, the set explorer, the piece maker, the character studio, the style lab, the script editor, notes, the booth, review, and changes and pictures. Tooltips, menus, the shortcut sheet and messages say the keys as they are now. The shortcut sheet has Change keys, and the palette has Settings: Keyboard.
• Esc ends the first-run tour, as Skip tour does.

• A place no set pattern fits: "no set pattern, the show's or Reelwright's, makes a place like "Rooftop": build it from the set pattern nearest it, or write a set pattern for it first", where it named list_kits, setType and create_set_pattern. A set type with no pattern is said by its name ("a ship corridor"), not its id.
• A crossed line names the two people: "shot sh050 puts the camera across the line between Grandpa Huo and Mei, so they swap sides of the screen", and its hint says to mark the crossing on purpose, not to set crossesAxis.
• A color off the style says which and how: "the brows color is greyer than the style allows (saturation 0.12; the style keeps 0.35 to 0.9)", not "@brows #68491B breaks the style's color rules … (style.color.rules)". The palette solver's, a pattern's and a restyle's warnings say it the same way.
• A prop the action names that the show lacks: make it from what the script needs, or name one of the show's props, by name; not "create_props (episode_needs lists it)".
• Asking for what is there already is no failure. "Nothing to change: the show already has all of this" is said in the usual color; a script fix goes on and says done, and an editor's edit is not taken back.
• A set is filed under the name it is made with: "Rooftop" is set.rooftop in sets/rooftop.set.json, not set.outdoors_2, with a number after it where another set has that id. Sets and Cast show each name without its id under it.
• Palette colors are named in words ("Cel shadow tint", "Show accent"): on the style lab's swatches and in its inspector, in the character studio, the wardrobe and the kit maker. They read "shadow_t…" and "@accent_2".
• A file changed is said by what it is and its name ("Updated the style Noir"), not its path, and opening another show (on the web) drops what was said of the one before.
• New show's title asks for "The show's name, e.g. Harbor Lights", not "Slop Trek".
• node tools/check-plain-words.ts, in tools/check-all.sh and CI, fails on a message in core/src that says a tool or field name, a spec path, an id, an @slot, a hex color or a JSON pointer. The 668 messages that still do are listed by what they say in tools/plain-words-known.txt: each passes until it is edited, then must be made plain, and the list only shrinks.

• Footsteps fall on each heel strike of every walk and run, as the engine's pose solver plants them. They sound like the set's floor: wood, metal deck, carpet, stone, grass, sand or water.
• Clothes rustle as people sit, stand, turn and make a big gesture.
• Props sound picked up, put down, handed over and used, by what they are made of.
• Doors open and close as people come on and go off through them.
• Each sound plays from where it happens, the same frame always gives the same sound, and it dips under dialogue by format.audio.foley.duckDb (−8 dB), at its levelDb, or not at all when off.
• The 53 sounds are Reelwright's own recipes (CC0, synthesized), so the release ships no recordings. Renders deliver a fourth stem, foley, and OTIO exports put it on a Foley track.
• In Studio, foley has its own lane under Effects. Any one sound can be muted, levelled, played as another sound or put back as made, and a missing one added at the playhead (A, S) from the built-in sounds in the library.
• Versions: set 1.4 floor, prop 1.1 material, show format.audio.foley, EpisodeIR 1.51 Scene.foley, Timeline 1.28 clip kind foley with its sound, FrameExport 1.1 stem role foley, and edit_episode set_foley.
• node tools/foley-check.ts renders a Low Tide scene and the Lighthouse and measures them: every heel strike heard within a frame, and each sound at its gain, ducked under speech.

• Versions. Every render Studio starts, here or on a runner, goes to the episode's next version, renders/<slug>/v1/, v2/ and so on, instead of over the last one. A render that fails or is cancelled leaves nothing. From a runner, a version's files that came out as a version before had them are copied on the service, not sent up again.
• What changed. What the show held as each version compiled is kept beside it, by hash, in the objects named versions use. renders.changes says what changed between two versions: the episode's script line by line, what the director made of it scene by scene (shots and cues by id), and every other document field by field.
• Approved. renders.approve marks one version the episode's approved cut, with who and when.
• Review copy. renders.review makes a render's review copy for a player that reads it frame by frame by byte range: every frame as a JPEG in one file, each frame's peak level left and right, and the sound as a WAV.
• Notes. A note is a comment thread on a version's frame or range (CommentThread 1.1: the anchor's version, to and drawing, with arrows, circles, lines and pen strokes drawn on the frame). It is checked against the render on disk.
• Export. comments.export writes an episode's notes as a ZIP of a CSV with timecodes and a thumbnail of each note's frame, or as a PDF with each frame and its marks beside the thread.
• The review player, both editions. Watch on an episode opens its review instead of the MP4 in another app or a browser tab: Episodes › Watch, or the route <show>/review/<episode>/v<n>/<frame>.
  • The player: frame-accurate scrubbing, J, K and L (faster each press), arrows for a frame (Shift: a second), the timecode, In and Out (I, O) played round with Ctrl+L, speeds from a quarter to double, level meters, and fullscreen (F).
  • Its frames are read a second at a time by byte range: from the disk on the desktop, by HTTP Range over the service on the web and for a show on a runner.
  • Versions: pick one; compare two side by side or as a wipe (C), in sync; approve one; the Changes tab says what changed since the one before.
  • Notes: beside the player, a click goes to one. One is written at the frame or over In to Out, with an arrow, a circle, a line or a pen stroke drawn on the frame (D picks the tool, N the text, Ctrl+Enter posts). @mentions are completed as typed. Notes are replied to and resolved; "Fix this" sends one to the showrunner with where it is.
  • Share… invites a reviewer by email (M13: they comment and cannot edit). Accepting lands them on the version: an invitation's optional place.
  • Export writes this version's or every version's notes and opens the file.
  • tools/review-watch.sh and tools/web/review-check.ts prove it live.

• CharacterInstance 1.5 adds three kinds:
  • fish: a fish, a shark, a whale, a dolphin, a seahorse or a sea turtle, afloat and swimming;
  • octopus: an octopus, a squid or a jellyfish, a mantle over tentacles;
  • crustacean: a crab, which scuttles sideways, or a lobster.
• Their flippers, front tentacles and claws are arms: they wave, conduct and hold props.
• Each kind has its own rig template, gesture library, drawing, swimming or scuttling gait, starter pattern, New character button and cast icon. Their eyes are held to the core's metrics in every posture.
• create_character reads "a hermit crab private eye in a battered fedora" as a crab in its shell wearing a worn fedora, its job "A private eye.". It reads "an octopus bandleader in a white dinner jacket" as a pink octopus in a white jacket and a black bow tie.
• The director reads swims, paddles and jets as going, and a swimmer's float or drift as a swim, not a float. A crab crosses sideways. An octopus conducts, a crab snaps its claws and a fish flicks its tail.
• A script's "OCTAVIUS, an octopus bandleader" offers "make an octopus", and "Make all new characters" makes him an octopus beside the people it draws from the show's pattern.

• gestures/<slug>.gestures.json is laid over Reelwright's library by gesture id. The compiler times its gestures, the director reads them by name ("Otto salutes"), and the engine plays them in 2D and 3D.
• The character studio's Poses has New and Edit: a pose editor that keys the pose solver's own channels, shows each key live on the character and keeps the gesture with save_gesture (remove_gesture takes one out).
• A character can walk its own way (CharacterInstance 1.6 walk.style: swagger, stomp, tiptoe or one of the show's styles) and at its own pace (walk.pace).

• New show and Show settings choose the show's language (show.json language, a BCP 47 tag; ShowManifest 1.2; init --blank --language es). The showrunner writes in it, and its characters are cast with that language's voices.
• The local voices speak Kokoro's nine languages: American and British English, Spanish, French, Hindi, Italian, Japanese, Brazilian Portuguese and Mandarin, each read through the G2P Kokoro's own pipeline uses (espeak-ng, misaki's Japanese and Mandarin), with word timings. A character's voice binding may name its language (CharacterInstance 1.7); a dub with no voice for its language borrows the character's own and says so.
• Lines in another language are lip-synced by Rhubarb's phonetic recognizer, its own key and record.
• An episode carries its dubs (EpisodeIR.dubs, 1.52): each line's words, caption and take in another language, written by edit_episode's set_dub. A render in a dub's language (render --language ja, renders.start language, Episodes' "Render a dub…") voices, lip-syncs and captions it in that language, to renders/<episode>.<tag>/ (from Studio, as the episode's next version, renders/<episode>/v<N>/), its Timeline saying so (Timeline.language, 1.29).
• Captions in Chinese and Japanese wrap between characters, 16 to a row, never before a stop.
• Titles, signs and Studio's text draw Cyrillic, Greek, Devanagari, Arabic, Chinese, Japanese and Korean from bundled Noto fonts (OFL) behind every family and every typeface a style brought in, joining scripts shaped; the web Studio fetches the 4 MB CJK font only when a show needs it.
• A line in a script with no capitals (Japanese, Chinese, Hindi, Arabic) is no longer read as shouted.

• Copy, cut, paste and duplicate (Ctrl+C, Ctrl+X, Ctrl+V, Ctrl+D) shots, lines, sounds, music and anyone's business. A paste lands at the playhead, as far apart as the blocks were, in this episode or another. A pasted line goes into the screenplay too, and a pasted shot takes over the time it covers.
• In and Out (I, O) on the ruler. Lift (;) takes out what starts between them and keeps the time. Extract (') takes the time out too, so what follows plays sooner. A line taken out goes from the screenplay as well. Ctrl+Shift+Space plays from In to Out, and Alt+X clears them.
• The playhead's timecode sits under the picture. Type one (16:02, 1602, +12, -1:00) and press Enter to go there.
• J and L play backward and forward, faster with each press (1×, 2×, 4×, 8×), and K stops. The sound plays along at up to twice its speed. Up and Down step from cut to cut.
• Every line, sound, foley step and play of music shows its waveform, drawn from the audio itself. The service measures each sound once and keeps it by its hash.
• Level meters under the picture while it plays, as the review player has them.
• Each sound row has its own M and S. The mixer (the sliders over the track names) has a strip for dialogue, effects, foley, music and room tone: a meter, a fader for the track's level, and mute and solo. It folds away and resizes like the other side panels.
• Any sound fades in and out, not just music: drag the handles at its top corners. Fades on lines, sounds and foley are new.
• The mix and the fades are edits like any other, so Ctrl+Z undoes them and everyone sharing the show sees them. They are what Studio plays and what renders, and the compiler says when a track is muted or soloed.
• Versions: EpisodeIR 1.55 (mix, and fadeInSec/fadeOutSec on lines, sounds and foley sounds, fadeOutSec on a music start), Timeline 1.32 (audio.tracks), the session's waveforms.get, and edit_episode set_mix, paste, lift, extract and set_fade with inSec and outSec.
• tools/timeline-pro-watch.sh and tools/web/timeline-pro-check.ts prove each of these in the installed Studio and in a browser.

• A tool that finished is not said to have timed out. A time limit's timer runs only once the process is free, so a busy daemon could find it due after Rhubarb, ffmpeg, Godot or Claude Code had already answered, and the compile failed ("rhubarb did not finish in 30 s") or chat was left out. Now only a tool the limit stopped timed out.
• Rhubarb is asked its version once, not once a compile: the answer is kept beside the lip sync cache, and asked again only when the binary is replaced.
• While Godot imports the engine before a render or a preview, the daemon goes on answering Studio, and renders that start meanwhile wait for that one import instead of each starting their own.
• Switching shows: a render, voicing or chat turn that finishes in a show left before Studio has read that show's episode names waits for them, and is said by its episode's name ("Render of “The Lighthouse” finished") rather than its id.
• The library drawer draws the pictures of what it shows now first. The pieces words find were drawn after every piece on the shelf, one a frame: on a busy machine a search's pictures came minutes late.
• tools/switch-watch.sh waits for the render it starts in a show left as long as that render still draws its frames, not a fixed 15 minutes, which a loaded machine went past with frames still coming. A watch's wait can say what keeps it going (RwWait.until's alive).
• The core's tests take the CPUs that are free when they start (the CPUs less the last minute's load, at least two), not all but one: test runs side by side drove a 24-core machine to a load of 140. The run's first line says how many it took.

Show settings › Look makes a look, not only picks one: "Design a new look…" starts a style of the show's own from a blank and opens the style lab, and "Edit this look in the style lab" opens the show's style there; the palette has "Design a new look…" too. Before, Show settings showed only the show's styles, two on the demo, as if those were the choice.

The credits' "Made with Reelwright" is the show's to turn off (product audit #19): show.json's optional toolCredit, Show settings › Format › Credits, and show.update's toolCredit. Off, the credits are the show's own, for delivery to a broadcaster or a streamer.

Pictures and takes go in and out of Studio by hand (product audit #26). Every preview's viewer has Save (Ctrl+S): the picture as it was made, downloaded in a browser, where the person chooses on the desktop. The booth has Import a take: a recording made elsewhere (a voice actor's 24-bit WAV, a FLAC, an MP3 or an Ogg) becomes the line's take, made the booth's 16-bit mono 48 kHz WAV by the core first.

Birds and insects, carrying in a mouth, and creature voices (M16 phase 2, docs/design/m16-any-character.md). CharacterInstance 1.2 adds two kinds: a bird (two legs, two wings that fold along its sides, a beak and a fan of tail feathers) that flies where it goes, taking off, crossing in the air and landing (a hen or a penguin walks), perches, pecks and gestures with its wings; and an insect (a beetle, an ant, or a spider on eight legs) that scuttles on two sets of legs by turns, three feet down at a time. Each has its own rig template and gesture library standing in for every gesture a person has (a parrot's wave is its wing's), starter patterns (Birds, Insects and spiders), New character buttons and cast icons, and its eye held to the core's metrics in every posture. create_character reads a parrot, a crow, a hen, a beetle, an ant or a spider from words. A body with no hands but a mouth (a dog, a cat, a parrot, a snake, a beetle) picks up, carries, puts down and hands over what fits in its mouth, dipping its head to the floor for it (Timeline 1.23's hand mouth); what is too big for it is said (director.too_big). A voice binding's effect (robot, hollow, buzz, chirp, growl) puts every take through it after it is voiced and read, keeping its length and its words' timings; creatures made from words or drawn from a pattern sound like their kind (a pitch, a timbre and an effect by kind and size), and a plain voice keys and sounds exactly as before. A character whose pronouns are "it" is "it" in the action ("It rolls over to the galley"); a look at someone still on their way follows them to where they stop; eyes on stalks are framed where the stalks hold them; a small creature coming in through a door is followed as it walks on; a snake's raised neck curves; each kind has its own cast icon.

Characters of any kind, not only people (M16 phase 1, docs/design/m16-any-character.md): a four-legged animal, a snake, slug or worm, a blob or ghost, a robot on wheels, treads, a hover pad or legs, or a talking object (a kettle, a teapot, a lamp, a toaster, a crate, a book). CharacterInstance 1.1 gives a character a body plan (plan) and the face features creatures need (one or three eyes, eyes on stalks, a snout, a beak, a speaker grille, no mouth); people stay 1.0, byte for byte. Each plan has its own rig template, gait, postures and gesture library, whose gestures stand in for every gesture a person has (a cat waves with a paw, an armless robot beeps), lip sync on every mouth, and metrics the compiler and the engine share (testdata/plans.json). Each kind crosses at its own pace. New tool create_character makes one from words ("a grumpy three-eyed space slug who runs the cargo bay") with no model, reading its kind, shape, features, size, colors, persona and voice from them, and takes a kind, a plan, a name or edits that win over what it read; options proposes a few to pick from. New shows get a starter pattern per kind beside People, and vary varies a creature by its kind's pattern. The heuristic director reads creature verbs (rolls, trundles, hovers, oozes, pads, prowls…) and postures (curls up, coils, powers down), names a creature by what it is ("the robot") when it is the only one, and says when a body with nothing to hold with is given prop business (director.no_hands) instead of staging it. In Studio, both editions, New character opens on "describe it in your words" and offers each kind, from the show's pattern for it or from words; the cast list says what each is, and the character studio turns, poses and varies any of them. tools/crew-watch.sh proves it live.

Music carries across cuts, with in and out points, and dips under dialogue (the product audit's finding 5, docs/design/sound-and-delivery.md). A music start that continues plays on across every scene cut, as one clip with no seam, until a stop for its track in any scene, its out point or the episode's end (credits too, fading over its last second); inSec and outSec choose the stretch of the track it plays, and a loop goes round between them. It dips under spoken lines as a sidechain from the dialogue would duck it, but from the plan, so it is down 0.15 s before the first word and back up 0.6 s after the last (duckDb, default -10 dB, 0 never; sung lines never duck it), and duck and swell cues, which were ignored, now move its level over their fadeSec. Each scene has room tone under it when its set or the scene says (ambience): a sound of the show's or Reelwright's own sfx.room_tone (a quiet room at about -50 dBFS), from the scene's first sample to its last, looped with crossfades, unbroken across a cut into a scene with the same one, in the effects stem. Levels are gain envelopes on the Timeline's clips (Timeline 1.21), multiplied in to the sample, so the stems still sum to the mix. In Studio, Music and room tone… (the timeline inspector's, with nothing selected or on a music block, and the command palette's) imports a WAV, FLAC, Ogg or MP3 file into the show's music (the browser's own picker on the web), starts a track at the playhead, playing on across cuts from its in point to its out point, and sets the scene's room tone (its set's, none, or a sound of the show's); the music inspector sets a track's in and out points, whether it plays on across cuts and loops, and its dip. The edits are edit_episode set_music (continues, inSec, outSec, duckDb, duck, swell) and set_ambience (EpisodeIR 1.44).

The voice follows the direction (finding 6). A line's emotion and intensity, volume, parenthetical and note to the actor ("angrily", "slowly", "flat", "questioning", "trembling", "sarcastic"; stress 'never'; pause after 'wait') and its new pitch, stressed words and pauses reach the voice: Kokoro is asked for the speed, and the rest is done to its take by prosody (core/src/audio/prosody.ts: YIN pitch tracking and pitch-synchronous overlap-add), which moves the pitch and its range, raises and lengthens a stressed word, holds a pause, bends the end up or down and trembles, keeping who is speaking. A line read as it always was keeps its take. Another take (takes.another, the booth's and the line inspector's Another take) reads a line again a little differently (pitch, range, pace and a lean toward a sibling voice, the same each time for the same take number), listed in the booth to hear and choose; choosing one sets the line's delivery.variant. The line inspector has Pitch, Stress (the line's words to tick), Holds (a pause inside the line) and says which fields move the voice. The character studio has a Voice panel: every voice by name, accent and gender, with speed, pitch and timbre (formants moved: bigger and darker, or smaller and brighter, at the same pitch, a binding's formant), an Audition that plays the character's own first line as set, and Use this voice. Kokoro takes blends of its voices (af_bella:0.7,af_sky:0.3). New in the protocol: takes.another, voices.list, voices.audition; edit_episode set_delivery takes pitchSemitones, emphasis, pauses and variant (EpisodeIR 1.46).

Sung lines (EpisodeIR 1.45). A ~ lyric is sung, not spoken: to a tune of its own made from the line around where the voice speaks, to a melody (sung.melody: a note a syllable, A3 C4 E4:2 rest:0.5, at a tempo), or on an imported vocal (sung.vocal: a stretch of it is the line's take, its words timed to the vocal's notes and lip-synced to it by Rhubarb; inMusic when the vocal is in the music already playing, so it is not mixed twice). A melody is sung by holding each syllable's vowel for its note at its pitch, with a glide into it and a vibrato on long ones. It is speech made to sing, not a singer: the doc says how it sounds. The line inspector chooses spoken, a tune of its own, a melody (and its tempo) or a vocal (and its stretch); the edit is set_sung.

Delivery to a platform's spec (findings 10 and 11). Shows can be 9:16, 1:1, 4:3 or 2.39:1 as well as 16:9 (Settings › Renders and voices has Aspect ratio, with sizes for each) and 23.976, 29.97 or 59.94 fps, timed exactly (24000/1001: a 23.976 frame is 2002 samples at 48 kHz). A full render delivers what the show asks for (Settings: "Full renders also deliver"), or what Export… asks for once: a ProRes 422 HQ (or 4444) master in QuickTime with 24-bit PCM sound, PNG frames, OpenEXR frames (linear, half float), stems as 24-bit WAV at the mix's level (dialogue, music, effects), SRT captions and an OpenTimelineIO edit; each is listed under the render with its size. reelwright render --deliver master_prores_422hq,stems_wav,…; renders.start takes deliverables; format.deliverables takes exr_frames.

World kits: a show's sets are no longer limited to the starter room and park (docs/design/world-kits.md, finding 4 of the October audit). Set pieces now come in kits: a new document kind, SetKit (kits/<name>.kit.json), holds a shelf of parametric pieces, and Reelwright ships a library of them that every show can build from. A piece says where it goes (place: on the floor, on a wall, from the ceiling, on the top of what is under it, or in clumps) and what words it answers to (tags). A recipe can draw a model brought in (a mesh node, from a frozen assets/<sha256>.rwmesh) and pictures (a picture node, and a decal's image), all in the style's cel shading. A lighting preset can have fog (the air things fade into), caustics (light rippling as through water above) and a practical's reach (rangeM), and a practical shines from its piece's light anchor (a lamp's bulb, not its foot); timeOfDay keeps the lighting editor's hour. New tools: list_kits, add_piece (a piece stands in a set by its dressing rules, bringing its recipe, the palette colors it needs and a mark at each seat), save_piece (into the show's own kit), revise_kit and add_lighting (a preset from a lighting look, or onto a preset the set has). build_set chooses from the show's patterns and the library's by a place's words, and with only a name or a description.

Reelwright's library of set pieces (engine/addons/reelwright/library/kits): thirteen kits of about two hundred parametric pieces that take any style (light fittings, a 1940s jazz club, a 1950s diner, an office, architecture, nature, a reef, a starship, an industrial floor, a city street, a castle, a theatre stage and a moon base), and twenty lighting looks (times of day, interiors, noir, neon, firelight, the stage, horror, a dream, under water, the deep sea, space, a smoky club). Twelve library set patterns (library/sets) build whole places from them with no model: a jazz club, a kelp forest, a spaceship corridor, a diner, an office, a city street, a forest, a castle's great hall, a coral reef, a warehouse, a theatre stage and the moon's surface, each with its marks, camera setups and two or three lighting presets, chosen by build_set from a place's words ("a 1940s jazz club", "Kelp Forest", "the starship's corridor").

In Studio, the same in the installed edition and in a browser: the set explorer's Add a piece opens a library drawer of every piece the show can use, each with a picture drawn in the show's style, searchable by words and by shelf. A piece dragged into the view stands where it is dropped, by its dressing rules, and is selected for the gizmos. Bring in brings a model or a picture of your own in as a piece. New piece opens the piece maker, which also opens a show's kit from Sets › Kits. It makes a piece from the recipe primitives (boxes, cylinders and cones, rings, panels with openings, extruded shapes, turned outlines, decals, rows of copies), with params, materials from the palette, seats and standing places, and set dressing rules. A piece starts blank, from a template or as a copy of a library piece, is drawn live as it changes, and is saved to the show's kit. The toolbar's Lighting opens a lighting editor: start from a look, turn the hour of the day, set the key, fill, ambient and rim, the fog and the caustics, and what glows ("Light the lamps", "Light the neon"). Every change is the person's own and undone with Ctrl+Z.

Models and pictures come in as pieces of the show's own kit. import_model reads a GLB, glTF or OBJ (with its buffers, .mtl and textures beside it): through its node transforms, in meters (a 180-unit chair is read as centimeters) or scaled to a height, set on the floor, welded with normals split at creases, a part per material. Each part becomes a material slot whose color is pulled to the show's palette when the style snaps, its finish from the material, so the style's shading and ink draw it like any piece. QA refuses a model with no triangles, over 60 000, under 1 cm or over 60 m (naming the units to try), Draco or meshopt compressed, or with no license, and stores nothing. import_art makes a PNG or JPEG a standing cut-out card (its see-through pixels kept), a decal hung on a wall, a painted flat, or, for a 2:1 panorama, a set's 360° backdrop. Both take a path or Studio's upload, and reelwright asset import takes a model, or a picture with --as card|decal|backdrop.

Every document of a show is yours to change by hand, the same in the installed Studio and in a browser (the October product audit's findings 2, 3 and 9). A document's Fields is now an editor of every field its schema allows, laid out from the schema itself (docs.form): the theme's tone and audience, the bible's entries, patterns, props, effects, graphics, sound recipes, characters (their name, voice and persona too), sets, outlines and styles, each field with its widget (a number with its unit and range, a slider, a choice, a switch, a color or palette slot, words, a list, a pick of the show's documents), Add for lists and missing fields and Remove for items. Each edit is your own change through the document's revise tool, shown at once, in History and undone with Ctrl+Z; a locked field is shown, says why, and its lock unlocks it; viewers and reviewers look and change nothing. The set explorer's inspector shares the same form (RwFieldForm). Rename, Duplicate and Delete work on any document or sound, from its Fields (an editor's Fields tab too) or its row in the list: a rename takes every reference with it (other documents' ids, an episode's folder, scripts' character cues and scene headings, and a character's short name when it was only their name), and deleting something still in use asks first, listing exactly what uses it, and offers another of its kind to take its place. New makes a prop, an effect or a graphic from a template, a copy of any pattern, and bible entries of every kind (a place, a person, a relationship, a running gag, a story thread, an arc, a tone rule). A new Sounds section (Ctrl+9) lists the show's sound effects and music with what uses them, plays any of them, makes one from a recipe, brings in a WAV, Ogg, MP3 or FLAC, and renames, duplicates and deletes them. New tools for the showrunner and over MCP: find_uses, remove_document, rename_document, duplicate_document, import_sound, revise_fx, revise_graphic, revise_outline and revise_sound. New in the session protocol: docs.form, sounds.list, sounds.preview, sounds.import, and takes.upload purpose: "sound" (up to 256 MiB). Change sets can carry files of bytes, so a sound is added, moved and taken back byte for byte.

Named versions and restore points (the product audit's #20), in the installed Studio and in a browser. History (Ctrl+H) lists the show's versions newest first, each with a picture of the show then, who saved it and when. Save a version… keeps every document and script as they are now under a name ("Locked for table read") and a note. Choose one to compare it with the show now, or with any other version: the documents added, removed or changed, and a document field by field, a script line by line. Restore puts the whole show, or one document, back as a version has it, after a confirmation that lists what will change; it is one change of your own, so Ctrl+Z takes it back. Locks hold through a restore. Reelwright takes a restore point by itself before a restyle, an import, a change that removes a file or a bulk edit, and keeps the newest 20. In a shared show everyone sees who saved what; viewers and reviewers browse and compare, and the owner and editors save and restore. The showrunner, and Claude through MCP, can list and compare versions, and restore one as a proposal for you to approve (list_versions, compare_versions, restore_version). New in the protocol: versions.list, versions.save, versions.diff and version.event.

Ctrl+Z outlasts a restart: the changes you made, and undid, are kept with the show's place (the newest 100, yours alone in a shared show), so Ctrl+Z after reopening Studio or the page undoes your last change. It goes past a change that can no longer be undone to the one before it.

A show's look is made, not picked: New show starts it and the style lab finishes it (#224, the core of M14 phase 5), the same in the installed Studio and in a browser. New show asks how the look starts: described in your words (the default), from pictures you choose, from a blank, or from one of Reelwright's styles as a starting point only. The show is made at once with a draft style of its own, and the style lab opens on it; from words or pictures the showrunner proposes four distinct directions from them and the logline (the show's model when one is connected, else Reelwright's own rules, at no cost), drawn side by side to pick one or blend some. World › a style opens the same lab, and World's New style makes one from scratch in a show already made. The lab draws the style live, with no render, on the show's own cast in one of its sets, or on stand-ins (three people in a corner with a screen showing the show's title) while it has none, and a divider wipes between the style as it was and as it is (\ for either alone). Every field of the style has its control, in parts: look (its name, the look in words, the pictures it is drawn from), line (weight, wobble, taper, ink color, ink on sets), palette (its colors, and the harmony and ranges every palette keeps), shading, texture and grain, typography, lighting (the grade and glow), proportions, backgrounds, motion, timing, camera and post. A slider shows its change while you drag and saves it when you let go, as your own change through revise_style, in History and undone with Ctrl+Z; the grade, paper, grain and post redraw without building anything. Palettes from a key color by a harmony rule, typeface pairings, lighting looks and starting again from a blank or a built-in style are tried on first and kept or taken off. Viewers and reviewers look and compare and change nothing. The address and the showrunner's page name the part (#/<show>/world/styles/<id>/palette), and the chat's suggestions fit it. Four more typefaces come with Reelwright for titles, signs and screens: Noto Sans, Noto Serif, Noto Serif Display and Noto Sans Mono. New tools for the showrunner: propose_styles (two to four directions as one group to pick from) and blend_styles. New in the session protocol: scenes.get kind style, styles.reference (a picture added to a style), and the styles capability; a StyleSpec may list its references. reelwright init --blank takes --style-from words|pictures|blank|preset, --look "<words>" and --reference <file>.

Reelwright Runner: your own machine does the heavy work while you use the web Studio from anywhere (M15, docs/design/m15-runners.md). Run reelwright runner --service https://reelwright.diy/app --pair ABCD-EFGH on a machine of yours with a code from Studio's new Your computers (the palette, both editions); it keeps its own token (which opens nothing but the runner's protocol) and the service's signing key, connects outward only, and says what the machine can do: cores, memory, the GPU Godot draws with, Godot, ffmpeg, voices and Claude Code on a plan. Choose where your renders and voicing run: Reelwright, "my computer when it's on, else Reelwright", or "always my computer", for all your shows or one, and per request (renders.start and episode.voice take on). A render sent to your computer runs there in parallel Godot jobs on its GPU; the show's files go down and the render's come back as content-addressed chunks, only what the other side lacks, resuming after a drop, and the render lands in the show on the service as if made there. Episodes says where it runs ("Drawing frames: 312 of 674 · on This box", or "· on Reelwright: This box is offline"), and so does every Studio in the show (others see whose computer). With your computer off, the work runs on the service, or waits for it with "always". A shared show's work goes to an editor's computer only when its owner allows it. Jobs are signed with the service's key, which the runner checks; it runs only a closed set of job kinds, writes only in its own folder and never through a link. reelwright runner --shows <folder> also offers the shows on that machine's disk: the web Studio lists them under "On " and opens them through the service, which relays the session to a daemon on that machine and passes its files on, a byte range at a time, keeping none. The installed Studio, signed in, has one switch for this: "Let this computer run my Reelwright work", which takes your web chat on your Claude plan too when that is on (one process, not a bridge beside it), with a credential for each show that lives only while it is connected; reelwright claude bridge and the bridges of older Studios keep working. The console's new Runners page lists every runner, its machine, its jobs with their times and bytes, and Revoke, and each person's page lists theirs; Sign out everywhere revokes runners too. Settings › Runners turns runners off for the whole service at once (everyone's work then runs on the service, and Studio says so), and on again.

Previews of a show on Reelwright are drawn on your own computer when your work runs there (M15 phase 4): model sheets, line-ups, set views, style swatches, stills, storyboards, prop and effect sheets, and the before-and-after sheets of a restyle. The show stays on Reelwright and decides what each preview is, its cache and the canon an approved model sheet becomes; your runner draws it, on its GPU, many at once. Previews asked together go to your computer as one batch, its copy of the show kept between them so only what changed moves, and what was drawn once is never asked for again. Each preview says where it was drawn under its picture ("· on Wil's box", or "· on Reelwright: Wil's box is offline"), and Your computers lists the batches. With your computer off, or gone mid-batch, Reelwright draws them, saying why; with "always", they wait for it. Runners take previews unless told otherwise (--accept render,voice,preview), and the installed Studio's does.

The model director and memory's model pass run on your Claude plan, through the Claude Code on your own computer, when its runner has Claude Code signed in with a plan and your Studio chat is on your plan (M15 phase 5). Claude Code is the client there, unmodified: it takes the director's tasks one at a time through two tools of this run alone (plan_task, plan_submit) on the service's MCP endpoint, with the credential for that show its runner was given, and the director checks each answer, as it checks the model's, and proposes the episode (or memory's update) for you to approve. No token of the plan reaches Reelwright, no budget is spent, and the run is listed on your computer ("direct on the plan"). Without such a runner, your API key directs as before, or the heuristic director does, saying why.

A render is spread over your own machines when several of yours are on (M15 phase 6): the one it is given leads, draws its share and sends each other chunk's engine job to another of your runners, which draws it and sends the frames back; the lead checks them, mixes and encodes the whole. The machine that draws the most at once leads; each GPU gets as many chunks as it draws at once (its --chunks), and a machine drawing in software helps only another in software, since its one chunk would hold a GPU's render up; a machine that stops mid-render leaves its chunks to the lead. Episodes names every machine at work ("· on This box, with The second box"), and Your computers lists each part.

A farm's parts come back encoded: each helper checks its frames and sends them as the chunk's H.264 segment (a few megabytes where 75 frames at 1280x720 were 97 MB of PNGs), the lead encodes its own chunks the same way, and the render is joined with the picture copied, so the encode is spread with the draw. A part still away once the lead has drawn its own, and overdue by its own pace, is drawn by the lead too, the first finished kept and the helper stopped. The service measures each runner's uplink from what it uploads and leaves out a helper that would send a frame back slower than its lead draws one; Your computers says how fast each sends ("sends 20.5 Mbit/s").

A farm's preview is encoded as a preview, by each helper and by its lead: it was a master (CRF 16) and so larger than the same preview drawn on one machine.

A set is edited in 3D: the set explorer's gizmos (M14 phase 3). Drag a mark, an entrance, a piece of the set, a camera or a walkway's point across the floor; turn it by its knob, raise a piece or a camera by its arrow, aim a camera by its look-at, and drag the key light's sun round the set. Moves land on a 5 cm grid and turns on 15° steps (Shift: 1°), and Ctrl held snaps nothing. G and R move and turn the selection with the pointer, X and Z hold a move to an axis, and a number typed is the move in meters or the turn in degrees, exactly; Enter or a click keeps it, Esc drops it. Looking through a setup with nothing selected, G and R move and turn that camera, the view with it. The arrows nudge 5 cm and , and . turn 15°; the wheel over a camera steps its lens through the common primes; a double-click on a walkway adds a point and Delete takes away what is selected. Shift- and Ctrl-click (and the outliner) choose several things, which move and turn together, and the showrunner hears each of them. "Save view as setup" makes a new camera setup where the view's camera stands, with its lens, and looks through it. A proposal touching the set (the showrunner's, or another person's) is drawn over it as a ghost, outlined where it would move things, with a banner to accept, reject or review it in place; \ shows the proposal in the set's place and back. The walls stand up, cut away where they stand between the camera and the room, or come down (C). Every edit is your own change through revise_set, shown at once, in History and undone with Ctrl+Z, and moving a thing builds only that thing again (a piece moved is placed, one resized is built anew), never the whole set. An edit made while someone else changed the same set is checked: where they only removed something before it, it goes once more where its thing went; where they changed the same field, it is refused and said so ("Ada changed Marigold - Bridge. Yours was not applied, so theirs stands."), never lost and never applied to the wrong thing. A locked thing shows a lock and refuses before anything is sent; viewers and reviewers look and get no handles. The explorer opens each set where you left it (the free camera, the setup looked through, what was selected, the walls), and keeps its panes' widths, in the installed Studio and in a browser. New in the protocol: Edit.was, what a field held as the editor saw it (refused with edit.stale when it holds something else; Studio's alone: the showrunner's strict tools leave it out), and the document filter of changes.list.

Previs: the episode at the playhead in 3D (M14 phase 4), over the timeline, in the installed Studio and in a browser. The 3D corner of the timeline's picture or stage (or Shift+V) opens it: the cast posed and placed where the Timeline has them, the props, the lighting and the effects, drawn by the episode's own player. Through the shot (P) it is the shot's own frame, exactly as the timeline shows it; drag in the view and the shot's camera is yours to move: pan and tilt it, dolly it with the wheel, change its lens with Shift+wheel or the lens menu, or fly it with the right button and W A S D Q E, the frame following live. "Use this view for this shot" (U) makes it the shot's camera: a new setup on the set where the camera stands, and the shot put on it, as one change of yours (Ctrl+Z takes both back); played again, the shot is the view you saw, to the pixel. Esc ejects to a free camera, with the shot's camera drawn where it stands, to orbit, pan, dolly and fly. Drag anyone onto a mark, beside a piece of the set, or onto open floor, at the playhead: it is the edit the timeline's stage makes for the same drop (a walk from the playhead, or where they start), and open floor makes a new mark there with it (on a 5 cm grid; Ctrl for none), in the same change; a move that cannot be made says why, in Studio's words or the core's. The inspector walks someone to a mark by keyboard. Scrub, step and play on the timeline under it, or from the 3D view (Space, Left and Right), the two in step; while the camera moves, one character a frame turns to face it again. A showrunner's proposal for the episode is drawn as a ghost (where it would put everyone, and its camera, dashed) with Accept, Reject, Review and \, which plays the episode as the proposal would have it. The address names it (#/<show>/timeline/<episode>/previs, and …/previs/free for the free camera, replaced, never pushed), and the showrunner hears the shot, the frame, the camera and who is in frame. Viewers and reviewers look, play and pilot, and change nothing. New for edit_episode: set_camera newSetup, and set_mark and set_move newMark, each writing the set and the episode in one change.

A script can bring in anyone and anywhere, with no model. A speaker the cast lacks, a name in capitals the action introduces ("CORA, a seahorse waitress, …") and a place no set answers to each get one-click fixes in the script editor's reading: "OCTAVIUS is new: make a character" draws them with the generator under the script's name, with what the action says of them as who they are, their pronouns from the action, and their own lines as a hint for the voice; "OCTAVIUS is CHIEF" has someone answer to the name from now on; "Make a set for KELP FOREST" builds the place from the kit its heading's words and INT. or EXT. fit, named as the heading names it; "KELP FOREST is Marigold - Bridge" plays it on a set the show has. Several new speakers are made at once ("Make all 3 new characters"), and several new places ("Make all 2 new sets", each a set and a change of its own; ReadingFix.tools). Each is your own change, and Direct then proceeds. Studio's New character takes a name and a role. A typo still offers the name it nearly is, on every line it is on. New: CharacterInstance aliases; generate_characters takes names without roles (one per character drawn).

Standard screenplay forms are directed as a film is cut, not read as action (EpisodeIR 1.44 and 1.45, Timeline 1.21 and 1.22). Transitions are edits: FADE IN:, DISSOLVE TO: and SMASH CUT TO: bring the next scene in, FADE OUT., FADE TO BLACK. and CUT TO BLACK. end the scene before them in black (Scene.out); the standard ones written without TO: are transitions now. Centered text and time cards (> THREE DAYS LATER <, THE NEXT MORNING) are a card between scenes and words over the picture within one, SUPER: words over the picture and TITLE CARD: a card (a title cue, drawn in the style's title colors and fonts). A MONTAGE or SERIES OF SHOTS is a run of short shots, one for each of its lines, each on what that line shows. INTERCUT cuts between two sets in one scene: each speaker stays where they were last seen, each place is staged on its own set with its own continuity, and every line plays on a shot of where it is said (Scene.places, Shot.set), each side looking off past the lens toward the other, one place to the right of the screen and the other to the left, in every shot of them. Parentheticals, (V.O.), (O.S.), (CONT'D), dual dialogue and lyrics stay delivery. None of them is ever a sound, a prop or a character again ("Make the MONTAGE sound", "Make the OUT sound"). The reading says what each line became: who says it, to whom and how, and where in an intercut; each direction is a card of its own.

The first release: Reelwright Studio 0.1.0 for Linux x86_64, as an AppImage and a .tar.xz, on reelwright.diy/download with each one's size and SHA-256. Windows and macOS follow.

The web service hands out the desktop release: GET /releases/<version>/<file> serves a version's packages and SHA256SUMS from <data>/releases/<version>/ to anyone, as downloads (Content-Disposition: attachment, a year's cache, since a version's files never change), with HEAD and byte ranges so a broken download resumes, and nothing but a plain file name inside that folder. reelwright.diy is a static site with no room for 200 MB files, and the repository is private, so its downloads page links here.

Reelwright as a web service (reelwright host, docs/design/m12-web-service.md): sign in with a six-digit code sent by email, invite-only, with an admin panel to add, invite, promote, disable and delete people and an audit log. Each person gets their own shows and their own session daemon on the server, and the web Studio reaches it through /ws, with their previews, sound and renders served from /api/file and nobody else's. Accounts live in SQLite through Node's built-in node:sqlite. tools/host/deploy.sh builds an image with the pinned Node, Godot, ffmpeg and Rhubarb and deploys it to Fly.io, where it runs at https://reelwright-app.fly.dev and renders previews on lavapipe.

The timeline shows what everyone does. Under the captions, each character has an Action lane of their walks, postures, gestures, faces and props, and the set one of its lights and effects, in the show's own words at the frames they happen. Sound blocks are named ("scanner ping") instead of showing only their gain, and a narrow line names its speaker.

The script editor reads the script as you write it. Beside the text, Studio says what the director will stage for each action paragraph and line, in the show's own words ("Otto walks up to the movie screen · Otto touches the movie screen"), which paragraphs it does not act on, and what it cannot do, flagged in the gutter too (a sound the show lacks, a heading that names no set). It reads again a moment after the typing stops; a card takes the caret to its lines. Forty-one watch-its found the director's misreadings only once an episode was directed and watched. The daemon's screenplays.read answers it, for the web edition too.

Marks on the set (DamageCue, EpisodeIR 1.40, Timeline 1.17): a crack, a scorch, a dent or a stain on a piece of the set, spreading from its spot and there until it is mended, scrubbed off or the scene ends. A crack across a window's glass is a pale shattered web, one in a wall jagged ink lines; a scorch is soot rising from a burnt-black middle; a dent a shadowed hollow over a lit lip; a stain a splash with drops, in the color of what was spilled. They are lit with the set, a lighting change included. The director reads "a crack spreads across the porthole", "sparks scorch the wall black", "kicks the door and dents it", "coffee splashes all over the helm console", "wipes the coffee off" and "patches the crack", and "touches the crack" walks up to its piece. edit_episode's set_damage adds, changes or takes one away. The twenty-fourth watch-it's crack in the dome was a prop lying on the floor that nobody could reach up to.

build_set says when the set will look like another of the show's: a second room of a kind the show already has (another ship's bridge) comes out of the same pattern much like the first, so it suggests a pattern of its own with create_set_pattern. The thirty-ninth watch-it's Inspector called from a ship whose bridge was the Marigold's, kettle shelf and all.

write_screenplay says where a draft's time goes: its five longest paragraphs and lines, in seconds as the heuristic director would cut them. The hiccups watch-it's showrunner copied the whole show to time each draft through the CLI, since the answer gave only the total.

Someone can get inside a prop (PostureCue inside, EpisodeIR 1.39): in where it is as they get down, out of sight there until their next move or posture brings them out. "Otto hurries over to the barrel and crouches down inside it" hides her in it, and "climbs out of the barrel" stands her up there. The twenty-seventh watch-it's Otto crouched beside the barrel in plain view.

A look, a gesture or a line's lookAt can name a prop (EpisodeIR 1.38): the eyes go to it wherever it is, in a hand, set down, in flight or riding another prop, and follow it as it moves. "Otto turns and stares at the compass", "the Chief watches the robot come round" and "the Captain pats it on the head" do so, and edit_episode's set_look and set_gesture can aim at one. The thirty-seventh watch-it's looks at the compass and the robot made nothing, so its showrunner turned them to where things had been. "The lucky compass clamped in its arm" now rides the robot.

A walk can go up to a prop (MoveCue.to prop., EpisodeIR 1.38): where the cues before leave it, up close to it on the floor and facing it, or up to whoever holds it. The director sends someone reaching for a thing on the floor there rather than onto the mark it stands on: the thirty-seventh watch-it's Captain stood on the robot to take the compass. edit_episode's set_move can do it too.

A prop can go round someone in a circle (PropCue around, turns, EpisodeIR 1.37): out to a circle about them, round it, and back where it began. "The robot zips round her in a circle" and "spins in circles around the Captain" do so, and edit_episode's set_prop can make one. The thirty-seventh watch-it's showrunner looped its robot round four marks it added to the bridge.

A line said on the move plays in a close shot that pans with the speaker when no still angle keeps their face: the thirty-sixth watch-it's Otto whispers her line on her way to the counter in an MCU that turns with her. Without pans in the style, a wider still shot.

An insert can frame a prop (camera insert with prop, EpisodeIR 1.36), where it stands as the shot starts and in the state it is in then. The director cuts to one for a reveal said of a prop with no hands on it: "The soufflé has risen perfectly" shows the risen soufflé whole in the oven. The thirty-sixth watch-it's reveal had no close shot, and Otto blocked it in the wide. edit_episode's set_camera and split_shot can now make an insert on a set element or a prop; before, nothing could.

An effect can be aimed at a prop (FxCue toward prop., EpisodeIR 1.35), at its middle wherever it is. "He sprays foam at the oven" aims the foam at the oven, and "at the counter" at the counter. Someone spraying sprays out of what they hold, with its sound: the thirty-sixth watch-it's foam and WHOOSH came out of the Chief's chest, at nothing, and its showrunner aimed every spray by hand.

Things fall to the floor where they fell from, on the room's side of the furniture where the camera sees them, each piece its own spot: "the chess board slides off the console and the pieces CLATTER across the deck" drops the board beside the console and scatters every piece around it, toppled (PropCue place floor, EpisodeIR 1.34). "The pieces" and "the chess pieces" are the whole set but the board. The thirty-fifth watch-it's showrunner placed and flew all six by hand, since "falls off the console" flew the board out through the door and "Meteors streak past … with a WHOOSH" asked for a prop called "meteors streak past".

Everything can shake: "the whole ship shakes", "the bridge lurches violently", "an explosion rocks the station". The heuristic director makes a shake cue (EpisodeIR 1.33), harder or softer as the words say and longer when it keeps on. The compiler puts it on the scene (Timeline 1.16), and the engine shakes whichever shot plays, across cuts. The thirty-fifth watch-it's meteor storm shook nothing.

Storyboard on each episode in Studio: a still of every shot, to look over without rendering. Episodes opened only on the timeline, one still at a time.

Studio's chat knows what you have open. A message carries the script and the lines selected in it, the episode and shot at the playhead, or the document open, so "make this one older" means the character in front of you. The chat says what it will send over the message box, and × leaves it out. Its suggestions are about your show: what it still lacks (a cast, a set, a first episode), then its own characters and sets by name. They offered to make the Marigold's Chief older in every show.

Ctrl+K in Studio finds any document, script, section or command by a few letters of its name and goes there.

New show on Studio's welcome screen: a show of your own from the Marigold kit, its theme, styles and patterns, with no cast, sets or episodes yet (reelwright init <dir> --starter --title <title>). With New character, New set and New episode, a show goes from nothing to an episode playing with voices, and no API key.

New character and New set in Studio's Cast and Sets sections. Pick one of the show's patterns, how many characters or what the set is called, and it is drawn with the seeded sampler, free and with no model, then opened. Before, only the showrunner could make one.

Write an episode in Studio. Episodes has a script editor for each screenplay, Fountain colored as you type; New episode starts one from a title, set on the show's first set with two of its cast. Direct turns it into its episode with the heuristic director, free and with no API key, and Timeline shows it to play. Screenplays not directed yet are listed too: the demo's "The Salvage Claim" had never shown anywhere. Voice N lines on the timeline gives the new lines their voices on this computer, free, so it plays with them.

Play an episode in Studio. Space on the timeline plays it live with its sound from the playhead, the playhead following; K pauses, L plays, J goes back three seconds, and the arrow keys step a frame. Once it has played, every click on the ruler shows its frame at once. Before, the only way to watch an edit was to render the whole episode.

Messy faces. Soot from a blast, sand from a gust, snow from a snowball or cream from a pie stays on a face until it is wiped off: a sooty face keeps its white eyes, sand is gritty, and a faceful of snow hides the eyes. The director reads a snowball thrown at someone as a hit in the face, sand sprayed in a face, "his face black with soot" and "wipes the snow from her eyes"; set_mess puts it on or wipes it off by hand. The thirty-second watch-it's Chief got a faceful of sand that left no trace.

The heuristic director throws "a snowball", not the giant snowball, lands one that "bursts on his wall" on the wall, picks up what someone throws when it is not in hand, and does not start the snowfall for a "snow wall". It puts on a hat named in someone's introduction and knocks it off to their feet, puts a whistle to the lips, turns everyone "and" names, looks up at the sky, and lands "beside him" at his feet. The thirty-third watch-it's showrunner did all of it by hand.

An effect holds its scene 3 s at most, and stops with it: a 15 s snowfall stretched the last shot. set_prop can clear a field (unset) and throw into a face.

People walk up ramps and over dunes. A kit piece marked walkOn (a ramp, a platform, steps, a dune) is walked on rather than round: a mark over it stands on its top, and a walk across it climbs and comes down its surface. The thirty-second watch-it's showrunner laid the Marigold's ramp almost flush with the sand, as nobody could walk up a slope.

The heuristic director plays the show's own effects told by name: "Rain DRUMS on the tent" rains on the set's ground all night (or until "The rain stops"), its drum with it; "A drip lands on the Chief's head" drips on him; "Lightning flashes" flashes the set's lightning preset for a moment. Thunder comes from no one. It also reads "He scoots over" and "squeezes in beside him". A show's looping effect given no length plays to its scene's end. The thirty-first watch-it's showrunner put in every drop of rain, every flash and every drip by hand.

The heuristic director reads a treasure hunt: a sound said again comes from where it came before ("And BEEPS."), "It CREAKS" from the thing just handled, "faster and faster" quickens a repeated sound, a thing dug up is buried until it is taken up, "holds it up high" lifts it overhead, a detector swept in is held from the entrance, "a rusty box sits on the crate" stands it there, and "a stream of sand whips out of the rusty box, straight into the Chief's face" plays the show's sand out of the box at him while the gust's sound comes from no one. "Walks out onto the dunes" no longer walks off the set, and "he spits" is disgusted. The thirty-second watch-it's showrunner fixed all of those by hand.

A door cut in a set piece's panel no longer counts as wall to the sight and headroom checks: the thirty-second watch-it's Otto, in the ship's open hatch, had her head "in the hull".

Inside a piece too low to stand up in, people walk crouched: the engine draws a crouched walk as a shuffle on bent legs, the hips kept low, and the compile keeps a walk between two places inside a tent crouched when standing would put a head through its roof. The thirty-first watch-it's Chief stood up through the roof to cross to the dry corner.

A long sound effect no longer holds its scene open: a scene waits at most 2 s for a sound that plays once, and the rest of it fades out as the scene ends. The thirty-first watch-it's 20 s rain held its scene open for 8 silent seconds.

blocking.head_in_piece warns where someone settled inside a piece of the set has their head in its roof or boards: the thirty-first watch-it's Chief sat at the far end of his bedroll with his head through the tent's low eave, and only a still showed it.

A walk between two marks of the same piece (both name it their seat) stays inside it: from a tent's bedroll to its dry corner, not out through its side, round the back and in again, as the thirty-first watch-it's Chief walked for 18 s until its showrunner drew walkways inside the tent.

A face inside a piece of the set made from a recipe (a tent, a bunk, a booth) is hidden where the camera's line passes through the piece's own canvas, boards or walls, not seen as if the piece were air. The thirty-first watch-it's single of the Captain looked at her through the tent's roof; the heuristic director now turns to an angle through its open front, and grammar.subject_hidden says so when nothing can.

An effect whose maxParticles stops an emitter before half its rate's span is a warning (fx.capped) that says when it stops and what to raise it to, and the schema says that it caps what the emitter makes in a run, not what is alive at once. The thirty-first watch-it's showrunner read it the other way, and its rain ran dry within a second.

Scooting along a bench or a bedroll slides over sitting down: a move between two marks of the same seat, sat or crouched on alike and at most 1.2 m apart, no longer stands up, shuffles over and sits back down.

An effect can land on top of someone's head (FxCue.part head, EpisodeIR 1.31; set_fx part), not only come from their chest: the thirty-first watch-it's drip fell from the Chief's chest until its showrunner raised it, and then splashed above Otto's head. The heuristic director puts what lands on someone ("A drip lands on the Chief's head", "drips: on Otto") there.

edit_episode set_expression: add, change or remove a face someone pulls. The thirtieth watch-it's showrunner could take out the Chief's nod but not the amused face with it.

paint_sky: a sky painted all the way round a set, from a description of it: its colors up and at the horizon, far land and hills, suns, moons and banded, ringed planets lit from the sun, clouds and stars. Reelwright paints it in flat, stepped color, CC0, with no image provider, and proposes it as a backdrop as import_asset does. The thirtieth watch-it's showrunner painted its ringed planet in Python.

A thing dropped on someone lying face up lands over their face (Actor.worn[].on face, Timeline 1.14), stays there as they get up and comes off in a hand: the twenty-ninth watch-it's pillow sat on top of the sleeping Chief's head, past the end of his bunk, as he said "(muffled) That was a mistake." The engine rests it on the face as drawn while they lie and covers the face with it while they stand.

A thrown thing can hit someone full in the face (place: "face", EpisodeIR 1.30): it flies to their eyes and drops at their feet. The heuristic director reads a pillow fight: out of and back into a bunk, a pillow dropped on someone, a swing at someone with a thing, "It hits the Captain full in the face" after the Chief ducks, and "The lights CLUNK on". The twenty-ninth watch-it's showrunner fixed all of those by hand.

try_action, a read tool: a few paragraphs of screenplay staged by the heuristic director on one of the show's sets, reported paragraph by paragraph ("char.otto walks to helm, and sits"; "nothing staged"), with the props and sounds it could not find. The twenty-ninth watch-it's showrunner read the director's source to learn which words it reads. episode_timing now says what each cue does in the same words, so an edit can find its cue without opening the episode's file.

Arm wrestling and handshakes: a shake_hands gesture takes the other's hand halfway between them, and pin and pinned bring a won grip down onto the loser's side. A hand joined to someone out of reach leans the body in, then moves it in, so two people seated across a table meet over it. The heuristic director reads "They grip hands" (the two the action was about, not the referee looking on), "shakes the Chief's hand", a poke "with her free hand" while the other is held, and "SLAMS his arm flat to the table" from the grip. The twenty-eighth watch-it's showrunner made the grip a dance hold aimed at a napkin, and the two fists never met.

"Otto and the Chief reach for the pie at once, and glare at each other": a gesture or a face is everyone the subject names, and reaching for a thing is a hand to where it stands. "On the table, a plate holds the last slice of plum pie" stands the pie on the table.

Music without a recording, looped and stopped: create_sound makes a tune as music.<slug> (audio/music/<slug>.sound.json), a music start with loop (EpisodeIR 1.28) plays it again and again until its stop, and edit_episode has set_music. The heuristic director starts a show's tune from its word in the action ("a scratchy old WALTZ crackles out"), stops it dead with the needle's SKIP ("The waltz stops dead"), and plays it again when the record player is playing again. The twenty-sixth watch-it's showrunner made its waltz a sound effect, which played its ten seconds once.

A cue whose sound the show does not have says so (audio.no_sound) instead of playing nothing in silence.

Dancing: a dance_hold gesture takes a ballroom hold, a hand on the partner's shoulder and the free hands joined between them, and the heuristic director has two people who waltz somewhere face each other in it once both are there, holding it until either moves on. A twirl on the floor ("he twirls her under his arm") turns them on the spot: a drift with only spin no longer needs a float. The twenty-sixth watch-it's waltz was two people walking side by side.

A sound a character makes is voiced: "Otto GIGGLES", "The Chief SNEEZES" and their like become lines in the character's own voice (LineCue vocal, EpisodeIR 1.29), captioned [giggles], when the show has no recording of the word. The writers' room no longer asks for them. The twenty-seventh watch-it's showrunner synthesized the giggle and the sneeze as beeps.

Hide and seek reads as written: a seeker counts at "the loading door" instead of walking off the set through the hatch, with both hands over her eyes (a new cover_eyes gesture) until she sets off; she tiptoes round the hold, turns to the tarp when it sneezes, and the props' own state names ("tipped", "slipped", "covering") match the words that change them. A beat that waited for a walker no longer plays before what it follows: the twenty-seventh watch-it's giggle and barrel came before the SNEEZE.

A carried thing can hide a face: film grammar warns when what someone holds (a record player's horn before the face of the girl carrying it) stands between the camera and a face it frames, and the heuristic director turns away from it. A recipe's size now leaves out what hangs from a part its params leave out, as the engine builds it: the confetti cannon, carried in the arms, measured two metres across.

A medium shot of someone lying down frames them. Lying, the head is no higher than the waist, and the size measured top to waist came to nothing: the camera stood on its own target and showed a blank frame of furniture.

write_screenplay says why it gives no running time when the heuristic director cannot cut the script yet. The twenty-sixth watch-it's rewrite reported only its dialogue, and its showrunner learned its length once it was directed.

A bare hand on something: touch and press gestures (GestureLibrary contact) put the hand on what they are aimed at, as far as the arm reaches, where a point aims past it. The heuristic director reads "presses the button", "jams her thumb over the leak" and "pats the Chief on the shoulder", walking them within reach first. The twenty-fifth watch-it's Otto had no way to put her thumb on the leak, and gave it a thumbs-up.

An effect can last until a cue (until, EpisodeIR 1.27): the twenty-fifth watch-it's rain fell for a second while its sound rang on until the CLANG. The heuristic director gives a sound's effect the sound's until, and stops what goes on at the sound that stops it ("A loud CLANG. The rain stops."), not as its paragraph starts; set_fx takes until too.

See an effect before using it: render_preview kind fx plays a show's effect from the top of a post on a plain dark stage, the camera as far back as the effect reaches, in six frames across its length, and Studio shows it with the effect. The twenty-fourth watch-it's showrunner could see its meteor only by reading frame numbers out of a Timeline and asking for stills, and its first version was nearly invisible.

Streaks draw as comets: an effect's stretched particle is a round, white-hot head with its trail tapering and fading behind it, where it was a long star with half its length ahead of where the particle was.

episode_timing, a read tool: when each shot and cue of an episode plays, in seconds, of the episode or a proposal's version of it. The twenty-fourth watch-it's showrunner read cue frames out of Timeline files to time its edits.

edit_episode can take someone out of a scene's opening blocking (set_mark to offstage), to walk them on with a move that enters. The meteor watch-it's Captain started at the window, and no edit could take her off it.

A prop can perch on a shoulder: the twenty-third watch-it's jellyfish "settles on the Chief's shoulder" and hung in the air beside his head, since a prop could go on a head and nowhere else on a body. A place shoulder (EpisodeIR 1.26) puts it on one's own shoulder, on the side of the hand that held it, or flies or throws it onto someone else's, on the side it comes from; a scene's prop can stand on a wearer's shoulder from the start. The Timeline (1.13) says which shoulder (worn[].on), and the engine stands it on the shoulder as drawn, on a card or a 3D figure.

Sound previews: a showrunner model cannot listen, so it could not check a sound it made (the twenty-third watch-it's read the files' waveforms by hand). create_sound now shows a picture of what it made, its waveform over its spectrogram in Hz against seconds, and render_preview kind sound pictures any of the show's sounds, recorded or synthesized, without the engine.

Render and watch an episode in Studio: Studio could compile, preview and edit an episode but not render one, so nobody using it could watch their show. The new Episodes section lists each episode with its latest render and preview; "Render preview" (1280×720) or "Render" runs in the background service, which says the stage and the frames drawn as it goes, and can be cancelled; a finished render opens in your video player or its folder. The session protocol gains renders.list, renders.start, renders.cancel and render.event; a render goes where reelwright render puts it, so either lists the other's.

Try the demo show: a first-time Studio had nothing to open but an empty folder. The welcome screen's "Try the demo show" makes a copy of the Marigold, the demo show every Reelwright carries, in Documents/Reelwright and opens it, so there are episodes to watch and change at once. reelwright init <dir> --demo makes the same copy from a terminal, as a git repository whose first commit is the demo as shipped.

Connect Claude from Studio: an installed Studio had nowhere to enter the Anthropic API key the showrunner needs, and its chat said to set an environment variable and restart the daemon. Now the chat offers "Connect Claude…", which checks the key with Anthropic (a free call), saves it readable by you only and starts chat; a refused key says why. reelwright key status|set|forget does the same from a terminal, and never prints the key. A daemon without credentials no longer claims chat in its hello.

The plan for an installable Reelwright (docs/design/m11-release.md, roadmap M11 and M12): Studio for macOS, Windows and Linux first, the web version as a service after it. Its first step: the core reads what ships with it from one resource root (the repository, or resources/ beside an installed core, or REELWRIGHT_RESOURCES), and the product version is VERSION, which reelwright version prints. Its second: the core starts Godot itself (reelwright engine, which tools/engine-cli.sh now runs), with no bash between, so it renders where there is none; REELWRIGHT_ENGINE runs an exported engine instead. The checkout's override.cfg is no longer rewritten on every launch, which made every launch import the project again. Its third: tools/release/build-core.ts makes the core one executable (130 MB, most of it Node) with its resources beside it, and tools/release/smoke.ts runs it from an empty directory with nothing on PATH: it validates, compiles and directs the demo show, and its Lighthouse timeline is the same bytes as the checkout's. Its fourth: tools/release/build-studio.ts exports the engine project as Reelwright Studio for Linux, Windows or macOS (universal, signed ad hoc), from any host. The export is both Studio and the renderer: given a command it is the engine CLI, and given none it opens Studio, whose daemon is the reelwright beside it. An installed core renders through the Studio beside it; smoke.ts --studio puts the two in one folder and, with no Godot to fall back on, renders the Lighthouse's golden stills, which match. Its fifth, begun: the Linux release as a .tar.xz (tools/release/fetch-tools.ts, package.ts), carrying ffmpeg, ffprobe and Rhubarb, which an installed core finds in the tools/ beside it before PATH, and every part's licences in one LICENSES/ (the engine CLI's new licenses command prints Godot's). smoke.ts --package checks it with no tool, Node or Godot of the machine's: the demo compiles with its recorded takes and two seconds of it render, mix and encode. The same folder is also an AppImage that opens Studio, or runs the command line given cli, under the reel from the site, now the app's icon. reelwright doctor says whether Reelwright can make a show on this machine, check by check with the fix, and --report writes the zip a problem report attaches: versions, checks, document hashes and codes, never a key, a take or the show's text. An installed Reelwright fetches the pinned uv the first time it voices a line, and keeps Kokoro's environment in the user cache. Studio says, at most once a day and only while its switch is on, when a newer Reelwright is out (reelwright.diy/releases/latest.json), with a link to what is new. "Report a problem…" in Studio saves the doctor's zip without a terminal.

A hat can be worn from the scene's start: a scene's prop at place head with a wearer (EpisodeIR 1.25), worn wherever the wearer goes, in through a door too. The director reads "sweeps in, wearing an enormous tricorn", "whips a paper hat out of her jacket and puts it on", a gust that "lifts the tricorn clean off the Captain's head" and, after a cut, lands it "...straight down onto the Chief's head". A framing of someone with a hat on frames from the hat's top (the compile plans its props before its cameras). The twenty-second watch-it's showrunner reworded seven action lines to get round all of it, and its close shots cut off the tricorn.

The site has a second screening, "Hat Day": 79 seconds the twenty-second watch-it's showrunner wrote, cast and propped (the Captain, her tricorn, Otto's paper hat, the vent and its gust, five sound recipes), directed from its first draft as written. examples/showcase/hat-day holds it, tools/site/showcase.sh hat-day renders and encodes it (showcase.sh now takes the showcase's name), and core/test/showcase.test.ts keeps it compiling clean, the tricorn on the Captain and then the Chief.

The site's showcase is "Night Watch", 70 seconds a showrunner wrote from a one-line premise and the heuristic director staged and cut untouched: examples/showcase/night-watch holds what it adds to the Marigold (the Captain, the tray and mugs, sound recipes, the screenplay, the episode and its kept takes), tools/site/showcase.sh renders and encodes it, and core/test/showcase.test.ts keeps it compiling clean.

A character can stumble: a stumble gesture pitches the body forward as the knees buckle, then catches itself, with no hands of its own, so whatever they hold stays held. The heuristic director reads "trips", "stumbles", "staggers" and "lurches" (not "the round trips"), and does a gesture whose verb is in capitals ("She TRIPS") harder. The twenty-first watch-it's Otto tripped with a tray in her hands as a crouch and a stand. What catches someone's foot, or what they trip over, lies on the deck where they trip: its cable was nowhere.

A sound can come from a prop: an sfx cue's source may be prop.<name> (EpisodeIR 1.23), and its clip pans from wherever the prop is as it starts, in a hand, on a head, set down, in the air or on a tray (sfx.no_source while it is nowhere). The heuristic director sounds a prop's noise from it ("The wrench CLANKS"), and a sound alone from the prop the sentence before was about ("Otto's mug lands upside down on her head. BONK."). "The Chief's mug" opening a sentence is about his mug, not him. set_sound takes it. The twenty-first watch-it's CLINK came from the Chief. An effect from a prop on a head now plays from it too: the prop plan had no point for a worn prop.

A prop can go on a head: a place head (EpisodeIR 1.22) puts it on the character's own with a put-down, or on the recipient's with a flight or a throw, and a pick-up takes it off. The Timeline says so as Actor.worn (Timeline 1.12), and the engine stands it on the top of the head as drawn. The director reads "lands upside down on her head" and "puts the hat on his head". The twenty-first watch-it's showrunner had to hover Otto's mug at head height over her mark.

An effect can play from a prop: an FX cue's on may be prop.<name> (EpisodeIR 1.21), and it emits from the prop's fx anchor wherever the prop is drawn, in a hand, in the air or set down (Timeline 1.11 FxEvent.prop, propAnchorM). The heuristic director plays a spray from the prop that makes it: the seventeenth watch-it's confetti burst from the Chief's chest, not the cannon in his arms. set_fx takes it.

A prop can fly up against the ceiling and stick there: a fly's place ceiling (EpisodeIR 1.20) puts its top at the set's ceiling over where it was, with no bob, until a cue takes it down. "Sticks to the ceiling" reads so; the twentieth watch-it's pancake bobbed under the ceiling like a drone.

A prop can go in or on another prop, which carries it: a place prop.<name> (EpisodeIR 1.19) on a scene's props and on a put-down, throw, fly or pick-up. It sits at one of the carrier's seat anchors (a toaster's slots), else on its top, on the floor of a pan's bowl, not its rim; on what already rides there, a stack of pancakes. The Timeline says so as rides (Timeline 1.10), and the engine draws it on its carrier in a hand, in the air or on a place. The heuristic director reads "a frying pan with a pancake in it", "toast sits in the toaster", "puts the mug back on the tray" and "drops onto his plate". The twentieth watch-it's pancake could not be in its pan, nor its toast in the toaster.

The heuristic director flips a pancake: "shoots straight up and sticks to the ceiling" hangs a prop near the ceiling, "drops onto his plate" flies it onto the plate, "takes a big bite" (bites, eats, chews) lifts what is in hand to the mouth, and someone who walks to the table and sits down takes the stool's seat. Toast that shoots from nowhere named comes out of the toaster its paragraph names, which stands where the set's marks say it is.

What a scene leaves on its set is there when the next scene on that set starts: set down, tossed aside to no one (where the thrower stood), or never moved. The nineteenth watch-it's hold, its lights back on, showed none of the tin and cable its search had flung about.

The lights can change mid-scene: a lighting cue (EpisodeIR 1.18) lights the scene with another of its set's presets from its frame (Timeline 1.9 Scene.lightingChanges), and the engine relights the set and the props, turns the key and swaps the practicals. The heuristic director reads "Every light on the Marigold dies" and "The lights come on with a THUNK", opening dark the scene whose lights come back on, and edit_episode's set_lighting timed after or with a cue adds one. The nineteenth watch-it had to make the blackout and the lights coming back on each a scene of its own.

edit_episode has set_posture: the posture someone opens a scene in, or a posture cue added, changed or removed. The nineteenth watch-it's showrunner had no way to start the Chief crouched behind his console before "the Chief stands up".

A prop can give light: a recipe anchor of kind light takes a light (color, intensity, reach and cone, each an expression of the recipe's params) and a pitchDeg, and casts a spot that lights the set and props it points at; a state that brings the intensity to 0 switches it off. A material slot of finish haze is drawn see-through and unlit, for a beam or a glow in the air, honouring its color's alpha. The nineteenth watch-it's flashlight lit nothing, and its beam was an opaque cone.

"Puts the fuse into the socket" puts it on the fuse box the sentence went to: a part the set does not name ("the socket", "the slot") belongs to the piece named before it in the sentence. It had put the fuse nowhere.

The heuristic director stages the nineteenth watch-it's search of the dark cargo hold. "The Captain and the Chief follow" walks them out of the door, or in down the ladder, after whoever went first; the Chief, behind his console, starts crouched when he "stands up"; "He pulls out a ration tin" takes it from the crate stack he went to; the CLUNK plays after the fuse goes into the socket, not before; "The Captain sits on the crate" walks her to the crate first instead of sitting her on thin air by the tarp; "crouches behind the cargo winch" walks there and then goes down. A scene may name a new set by its id in the outline, and write_screenplay says how long the heuristic cut will run against the outline's target, not only how long the dialogue is.

A prop can lie down: rest: "lying" sets it on its side when it is set down or placed, a quarter turn round its forward axis with its middle over its place, and the hand reaches for its grip where it lies. The eighteenth watch-it's wrench stood on its end.

The prop preview shows a prop's states: after it is held and set down, it changes into each of its states on the table, one cell each (up to six). The seventeenth watch-it's showrunner could check the cannon's smoke and confetti only in episode stills.

edit_episode can take a shot off the set's camera: set_camera with subjects and a size frames them instead of a setup, and on a framed shot changes whom it frames. A cue removed by any set_* op no longer stays because something is timed from it: that is timed from what the removed cue was timed from. The seventeenth watch-it's showrunner added a cut for the one and left an empty walk in place for the other.

create_fx makes an effect: a showrunner proposes an FxInstance (particles in any of the ten looks, glows, a flash), checked for an id its file does not name, two emitters of one name, a span that ends before it starts, an emitter that emits nothing, one that starts after the effect ends, and a beam or shockwave the engine does not draw yet. The seventeenth watch-it's showrunner had no way to make smoke or confetti, so a cannon's were prop geometry switched on and off.

The heuristic director reads more sprays: one told by what comes out ("Confetti showers down over all three of them") comes from the prop named last; with no one else acting, a prop the sentence names sprays it ("the cannon coughs a fat puff of black smoke straight into her face"); "fires", "showering" and the other -ing forms count. A held prop sprays from who holds it, one on a mark from the mark, and the engine's sparks play when the show has none. A sound that already shows the effect ("SPARKS spray across the deck") is aimed rather than doubled. The seventeenth watch-it's cannon sprayed nothing on screen.

A prop carried out of a scene is in hand in the next: the seventeenth watch-it's Chief hefted the cannon and trudged out of the engine room, then stood on the bridge empty-handed with it parked on the floor. A thing held as a state ("a mug of tea in hand", "the cannon in both arms", "comes in carrying the kettle") is held from the sentence's start, so the Captain walks in with her tea; "hefts" takes a thing up.

A show's own effects play: an FX cue can name an FxInstance (fx.<id>), and the engine draws its particle and glow emitters and its flash (RwFxInstance), a pure function of time like the built-in sparks, looping if it loops. The render job carries the effects its timeline plays (documents.fx, RenderJob 1.3). Until now only sparks.v1 was drawn, so the fifteenth watch-it faked a coffee machine's steam as a shape of the machine.

An effect can be aimed: an FX cue's toward (EpisodeIR 1.17) points a show's effect at a character's eyes, an element or a mark (FxEvent.toM, Timeline 1.8), and edit_episode's set_fx adds, changes, aims or removes an effect cue. The fifteenth watch-it's steam landed on Otto only because she stood where its arc happened to end.

The heuristic director reads a spray: "the kettle sprays steam in Otto's face" plays the show's effect for steam (fx.steam_jet, new in the Marigold example) from the kettle, aimed at Otto; a spray the show has no effect for is reported once (director.missing_fx). The model director is told the show's effects too. The fifteenth watch-it's coffee machine sprayed Otto on the page and nowhere on screen.

A bow: a hand to the chest as the body folds forward, read from "bows to the Captain" or "takes a bow" (not a ship's bows). The sixteenth watch-it's Chief bowed before his waltz, and the rig had no bow.

The heuristic director can re-cut: recut with heuristic keeps each scene's performance as edited, byte for byte, and covers it afresh. The fifteenth watch-it's showrunner had no model, so re-directing to fix the shots threw away every edit.

edit_episode's set_lighting lights a scene with another of its set's presets. The fifteenth watch-it's morning was lit for night, and no edit could change it.

Film grammar grammar.subject_out_of_frame: someone a framing names as its subject who is out of the picture for most of the shot. The fourteenth watch-it's three-shot of the Captain leaving was brought in from the bridge's wall until its camera stood half a metre from the Chief, out of the picture to its left, and nothing said so. The heuristic director now turns a group or two-shot round to an angle that keeps everyone in it.

A walk can go up to a piece of the set: a move to element:<id> stops within reach of its front, or of its nearest clear side, and faces it (EpisodeIR 1.16). The fourteenth watch-it's bridge had no standing mark by the helm, so the Captain could set the saucer down by the kitten only from a mark across the room or the pilot's chair. The director walks someone up to the thing they reach for when no free mark is in reach of it, and measures that reach to the thing's nearest edge, so Otto in the pilot's seat still sets her mug on the helm console without getting up. set_move and the model director take it.

edit_episode's set_look adds, changes, retimes or removes a look, and, naming a line, sets who it is said to. The fourteenth watch-it's Captain said "The rules are simple, Pilot" looking at the Chief, and there was no edit for where anyone looks.

The 3D figure's mouth draws every lip-sync shape: the upper teeth, the tongue, a rounded O and a pucker, and a band of teeth for F and V. It only opened and widened before, so a 3D character's lines read as a dark slot flapping. The mouth now sits in the face along its curve, so a wide opening no longer sinks under the skin at the top.

Film grammar grammar.subject_hidden: someone a shot frames whose face the set or someone else hides from the camera for most of the shot. The thirteenth watch-it's showrunner found the Chief hidden behind the Captain's scorecards in three singles, and Otto behind the Chief's back in one, only by rendering stills: the storyboard shows the middle of each shot, and nothing said so. The heuristic director now turns, or comes one size in, to see the face, and checks a group a second into the shot as well.

A use can lift a prop to the lips, before the eyes or over the head (lift on a use prop cue, EpisodeIR 1.15). The thirteenth watch-it's Captain sipped her tea with the cup before her chest. The director lifts a sip, a drink, a gulp or a slurp to the lips, and the model director and set_prop know it.

A prop can come out of a pocket, or go into one: place: "self" on a pick_up, hold or put_down (EpisodeIR 1.14). The thirteenth watch-it's Captain found her vanished teacup in her own coat pocket while the Chief still held it, and the compiler had her reach 2.4 m across the bridge into his hand. Now the cup leaves his hand and comes up out of hers, and is seen again as it does. The director reads "from his pocket", "pockets the key" and "tucks it into his overalls"; "the teacup is gone" finds its vanished state, and a bare "and sips" uses the thing just taken. A hand that reaches for something in another hand out of reach now warns prop.out_of_reach, as one reaching for a shelf did.

A prop can fly on its own: a fly prop cue with no character (EpisodeIR 1.13). The twelfth watch-it's drone faked every trip with states, because a prop could only be put, thrown or let go. Now it flies from wherever it is to a place, out through an entrance, into someone's hand, or to hang beside their head, and it bobs where it hangs. It can come in through an entrance from off stage. The director reads "hovers up out of the crate", "zips out through the hatch", "hovers in and whirs round his head" and "settles into her palm". set_prop and the model director know it too (docs/design/m6-props.md, "Flying").

Characters can be 3D (docs/design/m10-3d-characters.md). ADR-0004 kept characters as 2D cards so 3D could come later as a swap, and this is the swap. A character on rig template biped_3d.v1 is drawn as a stylized 3D figure: a lathed torso, capsule limbs, and an ellipsoid head with eyes, brows and a mouth, in its costume's colors. It is cel-shaded and inked in the style. It poses on the card's own skeleton and pose solver, so postures, walks, gestures, looks, floats and held props carry over unchanged. Staging, framing and gesture timing do not change either, and a show can mix figures and cards.

A held prop can leave the hand: a let_go prop cue (EpisodeIR 1.12). The prop stays where the hand was. While a float lasts it hangs there and bobs, and when gravity comes back it falls to the floor. The director reads "lets go of" and "bobs up out of the Captain's hands". The eleventh watch-it's music box had stayed in her hand through the hiccup, so its showrunner stood it on the kettle shelf just before.

What happens in the air plays out (docs/design/m6-float.md, "Drifting"). A drift cue (EpisodeIR 1.11) pushes a floater off someone or something, drifts them to someone, or spins them round. Both who pushes and who is pushed drift apart, and they come down where they drifted to. The director reads the tenth watch-it's "plants her feet on the Captain and pushes off", "spins gently away" and "darts across to the Chief" mid-float. Those had played as pauses and a walk in the air.

Close inserts on set elements. A shot's camera can now be { "type": "insert", "element" } (EpisodeIR 1.10), and the framing solver frames that element close: an MCU, CU or ECU, from the legal side, turned by yawOffsetDeg. While the scene shows a prop that stands in for the element, the insert frames the prop. When the set has no camera that shows an element close, the heuristic director cuts to such an insert as the element sounds. It picks an angle that stays in the set and isn't crammed against a wall, with nobody and no furniture in the way. The tenth watch-it's kettle had whistled a few percent tall in the bridge's wide. set_camera re-sizes and turns an insert, and the model director is told it can use one.

edit_episode gains set_delivery and set_sound. set_delivery changes how a line is said: emotion, intensity, volume, pace and an actor's note. It drops the line's recorded take, so the line is voiced again. set_sound adds, changes, repeats or removes a sound cue. The tenth watch-it's showrunner could not bring out a "serenely" the director missed, nor add a sound.

revise_prop changes a prop by pointer edits, as revise_character does a character: its recipe, palette, how it is held and its states. The tenth watch-it rewrote its fern whole, twice, to change a few fields.

Floats (M6, docs/design/m6-float.md): characters and props can float. The Marigold's running gag (gag.kettle_gravity: the kettle boils, the gravity hiccups, everyone floats for a beat, then drops) was carried by sounds alone; now they rise off the deck, hang there weightless and THUD back down.

• EpisodeIR 1.7 float cue: who (left out, everyone on stage), how high (default a foot), for how long or until the cue they land on, a drop or a settle, and whether loose props float too. Timeline 1.7 Actor.floats and ScenePropPlacement.floats: spans of offset keys from the floor point, and a landing squash. An episode without floats compiles to the same bytes as before.
• The compiler eases each floater up over 0.7 s, a few frames apart, at their own height, with a slow bob and a few centimetres of drift, and drops them, accelerating, so their feet are on the floor exactly on the landing frame; then a squash as much as the style's squashStretch allows. Body points rise with the float, so framing, looks and film grammar see them up, and an interior's ceiling stops the rise.
• The engine draws the card lifted off its floor point with the blob shadow left on the floor, smaller and fainter; arms drift out, standing legs dangle toes down, and the figure squashes as it lands. A held prop goes up with the hand; a loose prop floats off its place. The sampler stays a pure function of the frame, stepped like every channel.
• The heuristic director reads "floats", "drift up off the deck", "hang in the air", "the gravity hiccups" (a negated clause, or "nothing floats", makes none) and lands them on "Gravity THUDS back", "drops", "lands", or drifts them down. "Everyone", "all three", "they" or nobody named is everyone on stage; "a foot" is how high; "mugs and all" floats things too. The coverage cuts to a wide as they rise. The model director gets the cue and a line of its brief. edit_episode gains set_float.

Walking up to someone (docs/design/m1-compiler.md, "Approaches"): a move's to can name a character (EpisodeIR 1.8). The walker follows the set's walkways toward them and stops 0.9 m away, within a hand-off's reach. The spot stays clear of the furniture, the walls and everyone else, and they turn to face the character. Where that spot is taken they step round to the next clear one. Someone already beside the character only turns.

• The heuristic director uses it when a hand-off, a request or "crosses to the Chief" finds no free mark near the other character. The ninth watch-it's bridge had none, so a cable flew 6 m over the Captain.
• The model director is told it can. edit_episode's set_mark can send a move to a character.

Titles and credits (M7, docs/design/m7-titles.md): an episode can open on a title card (the show's title and the episode's) and close on its credits (its credit lines, the show's content license and "Made with Reelwright"), drawn full frame in the show's style.

• EpisodeIR 1.6 titles asks for them (open, credits, their lengths and credit lines). Timeline 1.6 titles holds the cards: frames, fades, colors and lines by role. Every scene, shot, sound and caption starts later by the opening card, and the credits follow the last scene. An episode without titles compiles to the same bytes as before.
• The style decides how they look: background, ink and accent from its palette (the title_background, title_ink and title_accent slots when it has them), the display and body fonts from its typography, fades from its transitions, and its film look over all of it. The engine draws a card at any size inside the title-safe area.
• Both directors give titles to a screenplay with a title page, crediting its Credit, Author(s) and Source. edit_episode gains set_titles. The OpenTimelineIO export cuts the cards from the render as clips of their own, and import_otio reads a trimmed or lifted card back as set_titles.

Props on screen (M6, docs/design/m6-props.md):

• The compiler turns prop cues into who holds which prop when (Timeline Actor.props: the prop, the hand, the grip and its pose, the reach to take it and to let it go, and lifts to use it) and where each prop stands or flies when nobody holds it (Scene.props). A prop the set dresses (a kit.prop.<name> element, or one named after it, like the bridge's kettle) starts on it, and that stand-in is hidden while the scene plays.
• The engine builds each prop once per scene from its recipe, as the set builder builds a kit piece but at full color and always outlined, and each frame puts its grip at the hand the card drew: upright in the holder's facing, at heldScale, in front of the card (behind it when the hand is behind the body), stepping with the drawing. The hand reaches for it, closes round it in the grip's pose, carries it, and reaches to let it go. Render jobs embed the props their scenes place (documents.props).
• The heuristic director reads prop business from the action ("picks up the kettle", "hands her the mug", "sets the kettle on the console", "takes it and hands it to Otto"): a pick-up or put-down out of reach walks to the nearest free mark first and turns to the place, a hand-off brings the giver over, and the cover cuts to both for it. A thing the action handles that the show has no prop for is a director.missing_prop warning, and episode_needs lists it.
• edit_episode gains set_prop: add a prop cue, or move or change one. render_preview gains the prop kind (also reelwright preview prop <prop>, and the Prop document in Studio): the prop held by the show's first character and set down on a table, front and three-quarter, on one sheet.
• Prop states: a prop cue's state (or the state action, which changes only that) switches a prop to one of its states from that moment; the Timeline keys it (Scene.props[].states) and the engine shows that state's own build. The heuristic director changes a state when a sentence names the prop and the state ("the kettle boils", "the drone's eyes go dark").
• A scene can stand a prop from its start without changing its set (Scene.props, and edit_episode's place_prop), so a prop one episode needs no longer appears in every episode on that set.

M0 foundations:

• Architecture, ADRs 0001–0010, roadmap and the M1 engine and compiler designs.
• v1 JSON Schemas for every document kind, the Timeline and RenderJob engine contract, and a structured-output-compatibility lint for all of them.
• Core (TypeScript on Node 24): strict Show Pack loading, schema and semantic validation with pointers and fix hints, canonical formatting, JCS hashing, name-path seeds, PCG32, generated TypeScript types and GDScript classes, and a reelwright CLI (validate, fmt, hash, version).
• Engine (Godot 4.7.2, typed GDScript enforced): gdUnit4, a CLI scene, a frame server that renders exact-size frames as a pure function of the frame number, stateless hashing and seeds shared with the core, and easing, palette and unit utilities.
• Toolchain pins with checksums, installers for Godot, Rhubarb and the GDScript formatter, a doctor, a hidden-input check, and GitHub Actions CI (lint, core, engine, and a smoke render on Linux's Vulkan software renderer).
• The Marigold demo show: theme, style, patterns, cast, bridge set, prop, FX, graphic, bible, and the cold open with local Kokoro voice takes and synthesized sound effects (CC BY 4.0 / CC0).

M1 compiler: reelwright compile, render and stills. EpisodeIR → frame-exact Timeline (timing, blocking, framing solver, performance channels, film-grammar checks), render jobs with a timeout per engine run, frame verification, a sample-exact linear-loudness mix, and a checked BT.709 H.264 MP4 with WebVTT and SRT captions. ffprobe and Rhubarb adapters with content-addressed caches.

M1 engine: sets built from primitives in the show's style (cel shading, set ink, painted backgrounds, starfield backdrops, lighting presets), deterministic sparks FX, a timeline player that is a pure function of the frame (stepping, camera lens and shake, transitions), frames, stills and set_views job tasks, and Movie Maker as a checked alternative capture.

M1 characters: the biped_toon.v1 rig and the toon.v1 part library. Five body views are projected from one pseudo-3D design, with a continuously turning 2.5D head, blended expressions, Rhubarb mouth shapes, a pose solver (postures, gestures with IK, look, breathing, walk), camera-facing character cards, and model sheets.

The Lighthouse cold open renders end to end to a 28-second MP4 with captions.

A verification skill and feature map (.claude/skills/verify/).

M2 character generation: reelwright generate characters draws a cast from a CharacterPattern (one PCG32 stream per attribute), solves palettes in OKLab under the style's color rules and slot contrast, keeps the cast apart by engine-drawn silhouettes, dominant color, height and hair, and renders a model sheet per character. --replace gives existing characters new looks and --vary re-draws single pointers; locked pointers never change. The engine gains a silhouettes job task, and the core a Kokoro voice catalog with measured pitch and timbre.

M2 character generation (reelwright generate characters):

• samples one seed stream per attribute, with archetypes, conditional rules, costume layers, an OKLab palette solver, personas, Kokoro voice matching and names;
• selects the ensemble on real engine silhouettes, palette distance, height spread and unique hair;
• --replace keeps identity and locks; --vary redraws only named pointers.

M2 set generation (reelwright generate set): room shells, zones, placements, dressing, walkways, marks, camera setups and lighting, checked in the floor plane. Sets embed the kit recipes they use.

M2 engine:

• a recipe builder for kit pieces and props;
• every StyleSpec field drives sets, effects, post and camera (or is documented as reserved);
• a second demo style, style.bright_modern;
• character polish: relaxed poses, real hands, stronger expressions, mustache mouths, hair from behind, continuous body turns, a proper walk cycle, and style fields on characters.

tools/check-all.sh runs every gate. The engine compare command and CI golden frames cover the demo.

M3 studio: change sets for every edit. A proposal holds the bases it was made against, is validated with the whole show, and applies atomically; a stale one is refused. Approving commits to the show's own git repository, and undo and redo are change sets too. Locks protect canon down to a JSON Pointer, and only lock and unlock can change them. The dependency graph drives reelwright impact and status (drift: patterns, locked canon, stale proposals). The CLI adds init, changes list|show|approve|reject|undo|redo|lock|unlock, status and impact.

M3 tools: read, propose and decide tools with strict schemas where the API allows, from create_show in an empty folder to generate_characters (with roles, one per archetype), build_set, vary, revise_*, restyle_show and estimate_cost.

M3 previews (reelwright preview): model sheets, line-ups (of a character pattern too, as samples), set views, style swatches and storyboard stills, rendered through the engine for a proposal before it is approved and cached by what is drawn.

M3 showrunner: an agent loop on the Anthropic SDK (claude-opus-5-5, adaptive thinking, streamed, eager input streaming), with budgets per request, month and episode in a spend ledger shared by every process, and recorded fixtures for replay.

M3 surfaces: reelwright mcp (the show's tools and documents over MCP, previews as images or one contact sheet), reelwright chat, and reelwright serve (JSON-RPC over a loopback WebSocket, token-authenticated) for Reelwright Studio (tools/studio.sh) and the Godot editor docks: chat, proposal and diff review, a preview gallery, a variation picker and a show browser.

Pattern checks at proposal time: a character pattern must set every field a character needs; its part library, rig and styles must be ones the engine draws as written; its fixed colors must fit the style; palette slots nothing uses are flagged (on characters too). A set pattern's entrance on a wall piece with no door param is flagged. The engine and the core read toon.v1's coverage from one PartLibrary file.

M4 screenplay and heuristic director (reelwright direct --heuristic):

• a complete Fountain 1.1 parser with source lines on every element, and a printer that round-trips it;
• cue names resolve to characters and headings to sets, with castMap and sceneSets overrides and did-you-mean diagnostics;
• a skeleton of stable line and action ids that the validator's screenplay check accepts;
• estimated takes, so a draft compiles, grammar and all, before any voice exists (compile and stills --estimate-takes);
• a deterministic director that blocks, performs and covers any screenplay with zero grammar errors. It stages from a provisional compile of the scene: bodies turn (and seats swivel) to looks the head cannot reach; entrances, exits, walks and handoffs become moves; the set's named setups and element inserts come first; shot sizes follow the style's framing bias; sound ties are broken by the scene or reported.

grammar.face_hidden: a speaker framed in a shot must turn their face within 105° of the lens (an error for singles and closer, a warning for wider groups).

M4 model director (reelwright direct, the direct_episode tool): per scene, Claude stages the performance and then covers it, each draft checked against the schema, the show and a provisional compile's film grammar and repaired by pointer, with the heuristic director's scene as the fallback. --dry-run prices it without a call; --recut redoes only the coverage; --note passes a director's note. The episode is proposed as a change set (--out writes a file instead).

M4 voices (reelwright voice): local Kokoro takes per line through uv, cached by content; render voices missing lines first, and --keep proposes pinning the takes in the episode.

CI's direct-e2e job directs, voices and renders The Salvage Claim with the heuristic director and checks the MP4 and its loudness.

M3 hardening after a second watch-it:

• revise_pattern edits any pattern by pointer; create_graphic makes signs, screens and badges for set elements and costume emblems;
• decisions hold a lock across processes; an approval that applies but cannot be committed says why; tool progress streams to Studio's chat and to MCP clients;
• reelwright status checks canon drift from the terminal; a proposal's previews survive later renders and restarts; show_summary counts out-of-date proposals apart;
• reelwright clean removes copies of decided proposals and leftover job folders;
• enum errors list every allowed value; a door its wall cannot open at, or a character color outside the style, is flagged when proposed.

M5 groundwork: screenplay_needs lists what a screenplay needs that the show lacks, resolved the way the director will; direct_episode takes a screenplay's text and proposes the .fountain file with the episode.

M7 groundwork: reelwright export otio writes an episode's cut as OpenTimelineIO (shots from the render, audio by kind in samples, captions as markers); edit_episode re-directs by small edits (move a cut, re-frame, pause, delete a shot), compiled before they are proposed.

M7 timeline: Studio's Timeline section and the editor's bottom panel draw an episode's cut (shots, lines, sounds, captions) and turn a dragged cut or line, or a shot's menu, into an edit_episode proposal through the session's tools.call. A waiting proposal is drawn over the cut as a ghost until it is decided, and the playhead shows the still at its frame. Timeline captions now name the line they show (cue, Timeline 1.2), and pause_before takes a bySec change as well as a gapSec. tools/timeline-watch.sh runs the whole loop against the real daemon.

budget.maxUsdPerEpisode counts every directing run of an episode, not one at a time.

M4 storyboards (preview storyboard, render_preview storyboard): an episode, or a direction proposal before it is voiced, as one sheet with a captioned still of every shot, a row per scene. Studio offers it on episodes, and a line-up on character patterns.

In-world graphics: a set element's graphic is drawn on its screen face. Render jobs embed the graphics their sets show (documents.graphics), and the engine's graphic builder draws every block type (group, text, shape, icon, radar, readout, meter) with the canvas background, corner radius and glow, animated from the scene's first frame and looping on loopSec. Text takes the style's typography roles in the bundled Inter. The Marigold bridge's helm screen now shows the scanner.

Wild walls: a set element with wild: true is the open fourth wall, there only for shots from inside. The engine shows it only to a camera in front of its inner face, never lets it cast a shadow, and leaves every other camera's frame exactly as without it. A reverse now sees the room's own wall instead of the flat shell. The set sampler (1.2.0) gives an interior's open front one made of its back wall's piece. The committed engine room gains it, and the hand-built bridge has its own.

The restyle preview shows every set too, by its establishing view, before and after, on a sheet of its own.

M10 render farm chunking: reelwright render --chunks N --farm <dir> plans each chunk as a self-contained engine job for a worker, and --assemble verifies what the workers rendered and finishes the cut; it is byte-identical to rendering on one machine.

M9 Tier 2 assets (docs/design/m9-tier2.md): art the person brings in becomes a frozen asset at assets/<sha256>.png with a provenance sidecar (source, generator, model, prompt, seed, date, license, original name, the steps applied, the QA report), and the original kept by its own hash beside it. The pipeline normalizes a PNG or JPEG to sRGB at most 4096 px on its long side, pulls it toward the set's and style's palette in OKLab when the style's color.rules.snapToPalette is on (keeping texture), checks palette compliance and, for a backdrop, the 2:1 aspect and size, and freezes it to the same bytes every time. reelwright asset import <file> --show <dir> --license <spdx> [--for set.<id>/backdrop/<id>] and the import_asset tool store it and propose the set change that names it, with the QA report and the set's wide view in the answer; generate_image goes through an ImageAdapter registry and says a provider and its key are needed, as none ships yet. Validation checks that a frozen asset is pinned by its hash, still holds those bytes, and has a licensed provenance.

Painted backdrops: a set backdrop draws a frozen equirectangular image all the way around at its distance, with the style's background saturation and value, instead of a generator, with parallax from the camera and drift as before. A render job carries the assets its sets name beside its job.json. On the Marigold bridge, an imported CC0 starfield shows through the porthole.

The heuristic director cuts a lone speaker's long speech: a set's single setup for them no longer blocks every cut inside it (the M5 watch-it's captain held two 12 s shots), and a hand beat plays in a single no closer than MS, so a thumbs-up is seen.

The style's camera moves take effect: camera.moves.smoothness sets how a camera move with no easing of its own eases, and snapZooms turns a zoom with no duration into a 0.2 s crash zoom. Both were reserved until now.

M10 docs site (tools/site/docs.ts, reelwright.diy/docs): the architecture, roadmap, design notes, ADRs and getting started, with reference pages generated from the code (the CLI's help, every showrunner tool with its input, every document kind with its file convention). The output is byte-identical across runs, and --check fails CI's lint job when it is stale. The landing page links to it.

M10 continuity log: record_continuity records what an approved episode established (facts and lasting changes with evidence at scenes and cues, plus the gags and threads its outline served) and keeps the bible's books in the same change set, once per episode; the writers' room is told what earlier episodes established.

edit_episode split_shot: a new cut inside a shot at a cue, with its own size or setup, so a long take can be broken up or a reaction added; a cut that cannot go there is refused with where it would land.

M7 caption cards: a long line's caption is cut into cards of at most two rows of 42 characters, at its sentences, then its clauses, then its words, each shown from the take's timing of the word that starts it; an automatic card under a second moves its break to show longer, never past two rows. WebVTT and SRT write a cue per card. A line's caption lets a person re-break it (a newline for a row, a blank line for a card) and nudge when it shows and goes; validation warns caption.mismatch when its words are not the line's.

M7 caption and sound edits: edit_episode gains set_caption, set_gain (effects and music) and set_fade (music), each compiled before it is proposed. On the timeline, double-click a caption to edit its breaks and timing, and right-click an effect or music cue to set its gain; sound blocks show their gain. tools/timeline-watch.sh re-captions a line and turns an effect down against the real daemon, then renders stills and the captions.

M8 restyling: restyle_show re-solves generated, unlocked characters' palettes under the new style's color rules in the same change set (rederive, on by default), keeps any palette edited by hand, and flags locked characters whose colors the new style rejects. Restyling back restores the seeds' palettes exactly.

M8 restyle preview (render_preview kind restyle with the change id): every character's model sheet before and after, one row each, headed with what the restyle does to them; approving the restyle approves the sheets it showed.

M8 drift report (reelwright drift, the drift_report tool): every character with an approved sheet drawn again and compared pixel by pixel, with an approved | now | difference sheet per mover and its likely cause (the style, the character, or the renderer); it exits 1 when a locked character moved. Approval records now name the style and the character's design they were approved with.

M7 OpenTimelineIO import (reelwright import otio, the import_otio tool): an editor's trims of an exported cut come back as proposed episode edits (moved cuts, lifted shots), with what edits cannot carry listed and each cut checked against where the editor put it.

M5 watch-it: one prompt to headless Claude Code over MCP produced The Singing Buoy (outline in three checkpoints, a generated captain and ship's bridge, a prop, the screenplay, direction and a storyboard; 56 turns), rendered to a voiced 76.5 s MP4.

M5 writers' room: an episode's outline (EpisodeOutline, write_outline) grows in checkpoints the person approves, premise and logline, then beats, then scenes, before a screenplay is written. It is checked against the show (cast, sets, and headings that name them as the director will), the theme's catalog (for what it adds) and the bible's books (gags, arc beats in order, threads). The Salvage Claim has its outline as the example.

Sound recipes (SoundRecipe, create_sound): a sound effect described as layers of tones, note sequences and filtered noise, synthesized by ffmpeg into the same bytes every time and cached as derived audio. A recipe at audio/sfx/<slug>.sound.json is the sound sfx.<slug> to the director, the compiler and the render, exactly like a recorded file. Waves are band-limited, so nothing aliases, and echoes never clip. The missing-asset pass points the sounds a screenplay names at create_sound.

M5 missing-asset pass: episode_needs lists every character, set and prop an episode's outline and screenplay need, and how each is met; fill_needs proposes what patterns can make, one change set each. generate_characters takes names and build_set takes name, so the made things answer to the names the script uses. Marigold's catalog links its archetypes and set types to the patterns that draw them.

The missing-asset pass lists sounds the screenplay's action names that the show has no effect for (the M5 watch-it's SINGS, CHIMES, WHISTLES and HICCUPS), read as the director reads them.

A new character the outline describes keeps its pronouns and description: the outline's pronouns and generate_characters' personas set them before the voice is cast, so a captain written as "she" gets a woman's voice.

M5 checks against the outline: write_screenplay notes outline scenes it leaves out and speakers the outline does not cast, and says how much dialogue it holds; direct_episode says how long the episode runs against the outline's target, and warns beyond 25%; write_outline repeats the theme's never list and hard rules at every checkpoint.

M6 held gestures and a larger library: a GestureCue's hold (until a cue, or for seconds) keeps a holdable gesture's stroke pose, and a move or posture change lets it go. Twelve gestures join biped_toon.v1: arms_folded, hands_on_hips, hands_behind_back, chin_rub and lean_back (holdable), head_scratch, thumbs_up, beckon, palms_up, clap, hand_to_chest and count_off. Self-touching gestures reach the chin, head, chest or the other hand by IK; hands behind the back draw behind the torso; a thumb hand shape.

M6 a heuristic director that performs: gestures and faces from the action ("arms folded" held until the next move), a beat gesture by an intense line's emotion, nods and shakes, listeners who nod and answer a long turn's emotion, two seconds between one character's gestures, and no reaction where a cut lands. A line with no parenthetical takes its emotion from its words. The model director is told which gestures can hold.

M6 motion style: the engine now honors motion.smears and timing.fastActionStep, which were reserved. While a character acts, each drawing carries the one before it, and the pose solver measures how fast each hand and foot moves in body heights per second. A limb over the style's smear threshold smears for that drawing: a short teardrop of its own fill with an ink edge, and ink speed lines back toward where it was. A frame that fast is drawn on fastActionStep (ones) while the rest stays on characterStep (twos). Both stay a pure function of the frame. On Saturday Morning a wave, fist pump, facepalm, clap or head scratch smears at its peak, and a point does not until it is given full intensity. Bright Modern, on ones with smears off, renders as before.

edit_episode's set_camera takes crossesAxis with a note, so a reverse across the axis that is the point can be proposed instead of refused.

edit_episode takes change, to edit a proposal still waiting as its revision. A revision, and any re-direct of the same episode, supersedes the proposal it replaces: approving it rejects that one, so re-directing no longer leaves stale proposals behind.

edit_episode's set_mark re-blocks a scene: a character's starting mark (trading places with whoever starts there) or where a move goes.

Film grammar grammar.face_cut: a face the picture's edge cuts through for most of a shot is a warning, and the heuristic director picks angles and sizes that keep faces in the picture or out of it. The seventh watch-it's storyboard had the Chief's face sliced by the edge of five singles on Otto.

tools/watch-it.sh <dir> "<premise>": a whole episode from one prompt, by headless Claude Code over MCP on a copy of the Marigold show, summed up in summary.md (turns, time, cost, change sets, film grammar, the showrunner's report) with its storyboard.

The Marigold show has a power cable (prop.cable), which Otto holds in The Salvage Claim, and the bridge has a galley mark at the kettle shelf, so the kettle can be picked up within reach. The hand-written model-director fixtures are recorded again for the new mark.

A sound can repeat (EpisodeIR 1.5, SfxCue.repeat): every everySec, until times plays, a cue, or the scene's end, one clip per play. The heuristic director repeats a sound the action says goes on ("over and over", "won't stop") until action stops it.

edit_episode's set_camera takes yawOffsetDeg, turning a framed shot's camera round its subject.

toon.v1 draws coats. The seventh watch-it gave its new Captain "a burgundy captain's coat" and it came out a jacket, its buttons and rank stripes not drawn. A coat now hangs to its length (legs: short to mid-thigh, unset to the knee, cropped to mid-calf, long to the ankle) and flares by its fit. Its skirt is two halves that hang from the hips and swing with the thighs, so a stride parts them, with the lining behind the legs. Buttoned, it closes double-breasted below lapels; unbuttoned, it hangs open down the front. The library also draws buttons (on any top, jacket or coat) and rank_stripes (an epaulette and three cuff stripes on each sleeve). Coats turn with the body like everything else, and the goldens are unchanged.

CharacterPattern 1.2: an archetype can bring its own costume layers, each in place of the pattern's layer it replaces (else the one with its id), or after them. The crew pattern could not dress a captain in a coat; now its captain wears a captain's coat (costume.captain_coat, cut coat, buttons, rank stripes or a collar) where the rest of the crew may wear a jacket, in navy, burgundy or bottle green from the captain's own @coat slot. A replacing layer draws from its own seed streams, so rookies and veterans draw exactly as before, and a captain's look moves only in costume and that one color. An archetype's layers may use its own palette slots; a replaces naming no layer of the pattern, two layers in one place, or a replaces outside an archetype are errors.

Every gesture an action writes is performed. "Otto points at the Chief and shrugs" did only the point; now Otto points and then shrugs. "The Chief waves at Otto" waves at Otto. "Leans back and folds his arms" leans back and folds them, where it once only folded them. The read-along found these misreads. A gesture the script writes is no longer dropped for coming within 2 s of the last one: it waits for that one to finish, and it lets go of a held pose ("folds his arms… points at Otto"). The read-along also says a mark as one ("walks to the projector mark"), where "walks to projector" read like the prop.

An upturned bowl, a helmet or a bucket on someone's head comes down over it, to the brow, instead of sitting on top like a lid (Timeline 1.18 worn[].sinkM); a hat with a solid crown, or a mug narrower than the head, still sits on top. The movie night's popcorn bowl perched on the Chief's cap.

A prop preview of something too big for the table (a 3.6 m movie screen, a tall plant) stands it on the floor beside the character and stands the cameras back until both are whole in the picture; the screen stood on the table, most of it out of the picture.

The forty-first watch-it's movie night in the cargo hold reads as written. "The projector sits on a crate" puts it on a crate nobody sits on, not on the Captain's. "Otto pins the sheet up" walks her up to the sheet's place and lays a hand on it there, and the sheet hangs on the screen spot the set made for it, where it stood on a crate; "it hangs" is its hung state. "Points at the sheet" and "holds her hand out to the sheet" gesture at it; "covers her face", "raises her hands", "throws his hands up" and "leans back" play, and a seated "leans forward" stays seated.

An effect's chunk and dot particles are solid inked lumps (popcorn, pebbles, crumbs, grains), each a little uneven: the movie night's buttery popcorn flew as four-point stars.

A set pattern whose entrance is a ladder down from a ceiling hatch, standing out in the room, no longer warns that its wall has no opening.

A lighting change relights see-through surfaces too: a glass of water kept the old lights while the room went dark.

The fortieth watch-it's card night reads as written. A table made as a prop stands on the piece of furniture it is named for (the galley table on its table mount), and what is put on that piece goes on the table, not on the floor plate under it; a seat whose description mentions "the card table" no longer draws the cards onto its stool. "The deck of cards and the chocolate bar sit in the middle of the table" stands both there, and not Otto's cards with them. "Each holding a hand of cards" gives each their own, from the start. "An ace slides out of her sleeve onto the table" comes out of Otto's sleeve, and Otto stays where she is. "Goes nose to nose with the Chief" walks her right up to him, table or no table. "CHEAT!" is said in anger, not with a fist pump, and a big bite leaves the chocolate bar bitten.

Business behind the talk no longer holds the talk up. After a paragraph that opens "Behind her," or "Meanwhile," the next line follows its reading and plays over what it does, unless the speaker is one of those doing it. The thirty-ninth watch-it's Chief, sneaking to the bucket and back, held the Inspector's lines for nine seconds each time, and its cut ran 108 s until its showrunner retimed every sneak by hand.

Faces are read as faces. "Their faces fall" and "the Chief's face falls" make them sad, everyone in sight when it opens on "their", and no longer land anyone afloat; nor does "his jaw drops". "Otto pulls faces at the Captain" teases her, amused and looking at her, where it took up a prop called "faces".

The rest of the thirty-ninth watch-it's misreads. A prop placed by a door or at a shelf ("The cupboard stands just inside the aft door", "The bucket is at the kettle shelf") stands on the mark the set describes so, where before it stood nowhere. "Picks it up" after "sneaks to the bucket" takes the bucket, not the kettle named before. "Sneaks to the bucket, picks it up and sneaks back behind the engineering console" walks there and back, the second walk once he has it. "She opens it, stuffs the laundry inside and shoves it shut" opens the cupboard, puts the laundry in it and shuts it, in that order, and "It THUMPS" then sounds from the cupboard. "Pockets his sandwich" takes it off the console first. "Sneaks over and crouches beside him" goes to him. "Faces the main screen" turns to the prop, "walks up to the main screen" goes to it rather than the helm's screen, and "The main screen lights up" switches it to its lit state. "Stares into the camera" and "(to camera)" look down the lens.

The heuristic director reads three of the thirty-ninth watch-it's misreads right. "Behind her, Otto sneaks to the pilot seat" sends Otto, not the Captain. "The cupboard stands just inside the aft door" no longer starts the cupboard ajar, since its ajar state's "the door stands a hand's width open" shared "door" and "stands". "Sneaks up to the cupboard" and "walks to the bucket" walk there, at their gait, to within reach of where it stands.

A walk no longer goes out along the walkways and back when a way round the furniture is shorter: the hiccups watch-it's Chief walked from the workbench to the core by the ladder, past the core and back, since the engine room's walkways from both met only there. A walker who talks on the straight way, with their back to every camera of the set's, is held by a wide shot ahead of them that pans as they come past.

"Plants herself in the middle of the bridge, facing the main screen" walks her to the middle and turns her to the screen, rather than walking her to the screen; a speaker only heard (V.O.) no longer holds a mark someone else is sent to; and "gives a thumbs-up" is a gesture, not a prop to hand over. The thirty-ninth watch-it's call could not be directed at all.

"He covers himself with the tarp" hides the Chief under it until he sits up, so no tuft of hair shows past its edge. The scene's axis lapses while either of its pair is out of sight, and a wide for the action that hides someone gives way to whoever the action is about.

Hide and Seek cuts with no framing finding: the Captain's walk to count is no longer a three-shot with Otto behind the rack all along, and the eyeline repair no longer turns a single so it crosses the look of the shot before it.

The hiccups episode cuts with no framing finding: Otto's "BOO!" no longer takes a close-up framed while she is still crouched behind the console, which she sprang up out of, and a close-up turned for room keeps the Chief's face off its edge for the whole shot, not just its start and middle.

A prop's slot whose color has alpha draws see-through at that opacity, so a glass shows the water in it. The hiccups watch-it's glass of water, its tumbler #D8F0F270, read as a white tumbler.

The heuristic director stages the hiccups watch-it's ending as written: "drops the wrench on his foot" lets it fall to his feet rather than setting it down by hand, "hops over to the ladder" goes at gait hop, and "his face goes red" (turns beet red, flushes) blushes him, red with rage being angry. Its showrunner had to paint his face red, with a hard edge.

A change to a draft document leaves it a draft: approving the hiccups watch-it's new hiding mark in the demo's engine room marked the whole room approved.

The heuristic director cuts a long search where each walk arrives: Hide and Seek's Captain tiptoed to the aisle, the rack and back in one 14 s wide. A shot a split brings in, panning or not, keeps its subjects unhidden, and no cut leaves the shot before it only the part where they are hidden. Jump cuts are judged on the cut's own frame, as film grammar judges them: 0.05 s in, the camera on the breakfast's walking Chief had turned the 30° a clean cut needs, but on the cut itself only 29°.

"The Chief HICCUPS" plays sfx.hiccup once the show also has sfx.hiccup_squeak: a tie the scene cannot break goes to the sound with the fewest words the sentence leaves out. The thirty-eighth watch-it's hiccups played nothing once both existed.

Nobody starts a scene on the mark a prop stands on, and "OTTO stands by the hatch" puts her by the set's way in though the set calls it a door: she began in the middle of the bridge, on top of the robot.

Not every exclamation is a cheer: "Hey! That's the Captain's lucky compass!" and "Chief! You dove!" are surprised, "It's got your compass!" worried and "Come back here!" determined. The thirty-seventh watch-it's Otto gave the robot running off with the compass a thumbs-up and a fist pump.

"He dives and tackles it flat" runs the Chief at the robot and lays him flat there, and "pounces on the Chief" takes the Chief down too: the thirty-seventh watch-it's Chief only thudded where he stood. "Otto chases it" runs her after the robot, where she stood still, and "Otto grabs at it" reaches for the robot as it circles. The compass clamped in the robot's arm flies on with it to the bridge, where it was missing, and taking it lets go of the Captain's hands-behind-her-back so her pat on the robot plays.

A proposal that writes every file a waiting proposal by the same author writes is its revision: approving it rejects the older one, and the answer says so. Before, only direct_episode, edit_episode and build_set did that, and the thirty-seventh watch-it's first screenplay draft stayed waiting, then stale, after its second was approved. A person's own edit is never the showrunner's revision.

The thirty-seventh watch-it's first direct failed outright: "The cleaning robot zooms out from under the counter" flew it off through the hatch, and "It zips away across the galley" had nothing left to move. Out from under something is now out into the room, and away across the galley goes to its far side. "Under the counter, the cleaning robot waits" and "A stew pot bubbles on the stove" stand them there, not on the counter top; "whizzes past the console" goes by it, not onto it; "knocks the stew pot off the stove" drops it on the floor and its CLANG comes from the pot; and whoever goes for a thing that has flown goes where it is now.

"Otto tips the barrel over with a hollow CLONK" clonks from the barrel: a sound said with what someone does to a thing comes from the thing, not from them.

"Crawls across the deck to the barrel" and "rolls out across the deck to the Captain" go there. "The deck to the barrel" was read as a place, so the crawl went nowhere and the roll only lay down where it started; "tumbles across the deck to the Captain" walked to the door. A crawl now creeps low rather than walking upright.

A camera no longer stands inside a prop, nor where someone is about to walk. The thirty-sixth watch-it's close shot of Otto on her way to the counter stood the lens in the oven on it, so the bottom of the picture went dark, and she walked up to a hand's breadth of the lens. Props standing in the scene now count as furniture does, and the heuristic director judges a camera across its whole shot. Turned to see a speaker's face, a shot widens when no angle at its size keeps a walker in the picture.

A wide shot no longer stands so far out in front of a small room that it sees where the set stops. The heuristic director passes over such an angle, and compiling warns of one (framing.past_the_set). The thirty-sixth watch-it's last wide showed the galley's deck end and the stars past it, and the night watch showcase's two wide group shots showed stars below the bridge's floor.

A set's camera standing out past the open front no longer looks round the end of a side wall into the stars: the nothing past a wall's end counts as much as the floor's edge. The thirty-sixth watch-it's hatch single showed a strip of starfield beside the right wall.

Someone picking a thing up off the floor bends for it and straightens up with it, and steps closer first when it came down out of reach: the thirty-fifth watch-it's Captain picked her queen off the deck standing straight, 1.16 m away.

"Slides … face first through the foam", "falls flat on his face" and "lands flat on his back" end up lying on the floor; "He slips and lands flat on his back" flew a prop called "slips and".

A camera no longer stands just under a piece hanging over the lens: the thirty-sixth watch-it's close shot of Otto at the counter put the lens 0.2 m under the wall locker, in its light strip. Over the top of a piece, it still looks over it.

"The Chief spins round and sprays foam at the Captain" turns him to her, not right round. "The soufflé rises" is its state risen. The Chief steps up to the extinguisher's bracket rather than reaching past arm's length for it. A group shot that would see the Captain's foamy bite from behind becomes a single on her that sees her face.

The thirty-sixth watch-it's soufflé directs as written. Smoke puffing out of the oven stops when foam is sprayed at the oven, or when "the smoke clears". "The fire alarm BLARES" goes on until "the alarm stops". "The extinguisher WHOOSHES" is a sound, not a flight. "The galley goes red" and "the red light fades" change the lights. "Slides across the floor" and "slides the other way" slide to the far side, "glides" too. Foam leaves a cream mess, as does "dripping with foam". "Behind the serving counter" is the island the set describes so, not the counter. "Takes the soufflé out of the oven" takes it from the oven, and "soufflé" names the prop souffle.

episode_timing gives an effect's end as it plays, not one second after it starts.

"The fire alarm BLARES" sounds from the alarm, not the fire extinguisher, and "the smoke alarm" makes no smoke: a word that qualifies a piece of the set names neither a prop nor an effect.

"The red alert lamp flashes" plays the show's red alert lamp: the lamp's own name hid the effect's. Meteors that "streak past the porthole" streak at the porthole, not across the deck.

"The Chief, down among the scattered pieces, glares up at her" walks over to where the pieces fell and crouches there, in the open, to say his line. He stayed down behind the console and stood up to say it.

"The Chief ducks behind the console" crouches at the console he stands at. With two consoles on the bridge he walked over to the helm's first.

Studio shows the show's own settings: World lists show.json first, as "Show", with its format, providers and budget. It was in no section. No document shows its $schema as a detail any more.

More of the thirty-fifth watch-it, read as written. "Duck!", "Hold on!" and "Right on top of us!" are afraid and "My bishop!" worried, not a fist pump or a thumbs-up. "Otto clings to the helm" puts her hands on it. A piece picked up off the floor is upright again. direct_episode passes on what the sounds and effects warn of (a clatter from a prop nowhere to be seen), and set_move takes mark:deck_a as the other ops do.

The heuristic director reads the thirty-fifth watch-it's meteor storm. "Red alert!", "the lights turn red" and "the emergency lights come on" change to the set's red alert lighting, and "the red alert cuts out" changes back; the emergency lights had come on the wrong way round. "FLASH" in capitals is seen, not a missing sound. "Everyone staggers" staggers everyone who can be seen, even with the first of them down behind a console, late in a sentence ("…, and everyone staggers") and with a plural verb ("the Captain and the Chief stagger"). A stumble breaks a held pose: the Captain kept her hands behind her back through the storm. A meteor streaking past a window after "they settle back" streaks at the window, not from one of them.

A preview rendered from a checkout right after the engine changed (a pull, a new engine class) came back without its image: previews launched the engine without the fresh import every other render gets, so Godot ran on a stale class cache. Every engine job now readies the engine first.

edit_episode refuses a walk to where someone already stands. Sending the cold open's Otto to the helm she stood at turned every shot of the scene across the line.

A face gag seen from behind is a grammar warning: cream landing on someone, a face wiped clean, in a shot that shows the back of their head. The thirty-fourth watch-it's wipe was shot that way, and nothing said so.

edit_episode can re-cut what it changes: with recut: true, a move or a new mark the old shots no longer fit is covered again around the new blocking, and only the scenes the edits name. Such an edit was refused for crossing the axis, and the thirty-fourth watch-it's showrunner moved Otto twice to dodge it.

The heuristic director reads the birthday party of the thirty-fourth watch-it. A pie that "flies out of her hands" is thrown by whoever held it, and "lands square in the Captain's face" lands there with its cream, in one flight. Hands behind a back let go to wipe a face or take a prop. "Blows out all the candles" puts out the cake. "Carries it carefully toward the Captain" walks there. Confetti after a POP comes out of the popper, with its pop. "Dead silence." and "A long beat." hold longer than "A beat.". A line goes to whoever just came in, and "looks at it" after a wipe is not at the counter named minutes before.

Someone coming in keeps their shot over a line too short to stand: the Chief was not seen to enter his own party. direct_episode passes on the blocking's and the props' warnings (a head in the set, a reach too far), not only grammar's and the director's.

A script's unsaved changes in Studio are never dropped without asking: opening another script, opening another show or closing Studio asks Save, Discard or Cancel. Leaving for another section keeps them, and the same script opens as it was left. The script reads itself again when its file changes (an undo, the showrunner, a hand edit), or says so when it has changes of its own; an answer for a script opened before another is dropped.

New set in Studio never takes the id of a set the show has, which rebuilt that set; one made again after an undo is new. Drawing shows what it is doing, New waits for it, and it has five minutes, not the usual thirty seconds. With no pattern to draw from, the dialog says where one comes from.

New episode on a show with no set or characters says what to make first; it failed only at Direct. Errors from the daemon carry the first finding's message, so "the episode does not compile" says why.

The timeline stops playing when it is hidden, and its player closes with no episode left. Lines that could not be voiced stay said after the episode reloads; Voice cannot be pressed again while it voices. Held keys act once (Space played and paused in turn), and Space never presses a button clicked before. A still is asked for where the playhead rests, not at every frame a drag passes.

Ctrl+K opens at once and the show's documents join as they are listed; Play from it waits for the episode to load. While a show is being made, the welcome screen opens nothing else.

An episode whose sound cannot be mixed plays without it and says why; it did not play.

init --starter stamps the new show as made now, by you, with no license claimed.

A set built from a pattern whose door leads to a set the show does not have (the Marigold's engine room names its bridge) is made with that door leading nowhere. It failed, and in a new show the engine-room pattern could make no set at all.

Studio's chat no longer locks up after a model error: the turn ends on its error, Stop stops waiting for a turn the daemon no longer runs, and an overloaded or rate-limited turn can be sent again with a press. Errors read as plain sentences ("Claude is overloaded right now"), with Anthropic's own words after; out of credit, they link to billing.

Opening another show starts a new conversation; one show's chat no longer shows in another.

The Connect Claude dialog opens at its own height, its buttons on screen, and a pasted password is never sent to Anthropic to check.

A crashed daemon's banner gives its error, not the Node version it ran on.

"Waiting for you" counts a set of options as one decision.

init --demo names an episode the demo has.

Your own edits in Studio are yours: a trim on the timeline is credited to you and applied as made, with no review round trip, and Ctrl+Z undoes it (Ctrl+Shift+Z redoes). They were credited to the showrunner and waited for approval.

"Sits on the left bedroll" no longer starts someone by a tree called tree_left, nor "the right bedroll" at a mark whose description says "there": a side alone names no element, and "the" or "she" never stands for a word it starts.

fill_needs says what each of its proposals warned of: the thirtieth watch-it's first hilltop build lost the Captain's rock, and its showrunner heard nothing of it.

The heuristic director reads the thirtieth watch-it's picnic on a moon. "The sandwich floats up out of the basket and drifts over to the Captain" no longer floats the Captain and the Chief, so "He drifts up off the hill" floats the Chief. A prop carried in to a set that keeps a mark for it (the hilltop's "basket") is set down there, and what comes out of it starts in it. A single that bridges two shots no longer cuts a face in half.

Splitting a long shot while someone walks follows them, when a shot can hold them to its end, instead of cutting in for long on whoever stands still: the twenty-seventh watch-it held Otto, hidden in her barrel, for 12 s as the Captain tiptoed round the hold. A pan planned with a walker is the one that plays, and is checked for faces it cuts.

A framed camera pulled in from a wall no longer stands inside the furniture there: it comes on in to stand in front of it. The twenty-ninth watch-it's Captain came in through the hatch seen from inside the lockers. A throw that hits someone other than the one it was aimed at is covered on whoever it hits.

A long shot split for pace keeps both ends of a hand-off or a throw in the picture: the twenty-ninth watch-it cut in on Otto as she dropped her pillow, and it fell onto nobody.

Film grammar sees the face of someone lying on their back from any camera above it; the twenty-ninth watch-it's sleepers had to turn their heads for every line.

A set built from its pattern lays someone in a bunk at the berth's height, not on the floor under it.

A single of someone whose partner is straight above or below them (stacked bunks) faces the camera the way they face. It stood on its own target, and showed only the stars through the porthole.

Someone who walks on without a line is in the episode's cast; the scene would not compile. A thrown thing's sound comes from whoever it lands on, a paragraph's sounds play one after another, and "the pillow" is the one the action handled last.

"Otto walks over to the helm and sits down" opens with her standing, not sitting on nothing in the middle of the bridge before she walks.

A sound comes from what its own clause names: "the galley clock TICKS" from the wall clock, not the galley table, and a THUD as someone sprawls on the deck from them, not the stool the sentence named first. A clock that ticks on is not set ticking twice, and ticks once a second, not every 0.4. "The Chief topples off his stool" and "keels over" put him on the deck.

A held gesture ended by another gesture hands it the arm instead of dropping to rest first, and cutting in on the action goes to whoever it is about, not the Captain's back at the counter.

The heuristic director reads The Stuck Waltz: "they" means those the scene has met, so the Captain no longer stands on the bridge before she strolls in; lifting a record player out of the straw no longer lifts its needle, and "lifts the needle" changes the record player; cranking what was just set down is a hand on it, not a pick-up; a plural subject walks together; no fist pumps with full hands or at "Ow!"; "offers Otto her hand" holds one out.

A sound that repeats no longer holds up what follows it: the next line starts as it starts, where the twenty-sixth watch-it's looping waltz held the next line for 16 s.

Someone lying down lies across the frame: a flat card drew a body lying toward or away from the camera as a blob with its head in front, whichever way it lay, and a look with the body swung a lying body round to face whoever it looked at. Now a card draws a lying body from the side, and lying down a look turns the head. The twenty-fifth watch-it's Chief under the table always had his head toward the camera.

An aimed effect stops at what it is aimed at: a particle that comes as far as its aim near the line to it is gone, and one wide of it flies on. The twenty-fifth watch-it's jet of water went in at Otto's face and out of the back of her head.

A set pattern's mark that cannot stand where its rule puts it says why and how to fix it: "inside mess_table's footprint; move it 0.35 m or more out". The twenty-fifth watch-it's showrunner read "is blocked" as its mark being dropped, and took a pattern fix to find out.

The heuristic director reads more of what people do: "crawls under the table" goes to the lie mark there, "climbs back onto the bench" sits back down in the seat they began in, eating, sipping, munching and a spoonful of soup lift the spoon in hand to the mouth, "heaves on his wrench" uses it, and "closes her umbrella" closes it again. In the twenty-fifth watch-it the Chief never left the bench, the soup went uneaten, the umbrella stayed open, and "He crawls" moved a prop called "he".

Walks no longer follow a walkway that runs through furniture, and the set generator no longer draws one: a bench seat's walkway was exempt from its whole table and crossed it. The demo bridge's walkway to the engineering console now goes round the console's corner, where the Chief had walked through it to crouch behind it.

Someone getting up from a seat at a table steps back from it, not out over the tabletop. Stepping out of a seat the way it faces, as the meteor watch-it's bench wanted, walked the twenty-fifth watch-it's diners across their own table.

An insert no longer looks at the back of whoever stands in front of the thing it shows. The set's own camera on a piece was taken even with someone between it and the piece: the twenty-third watch-it's egg hatched on the helm console behind the seated Captain.

A proposal's warnings say what to do about them: the meteor watch-it's showrunner saw "recipe … is not used by any element" five times and never the hint to remove it. The change set keeps each warning's hint (ChangeSet diagnostics hint).

The prop sheet of a prop that cannot be held stands it on the table, with no "Held" row of an empty glove.

The built-in sparks no longer bring a big cloud of smoke to a short, weak spark. The twenty-fourth watch-it's meteor strike (0.35 s at 0.35) hid the crack it made under smoke born after it ended, at full size. Smoke now stops with the event and shrinks with its intensity.

Re-timing a cue after a later one no longer leaves the next line following the wrong cue. The twenty-fourth watch-it re-timed the tape's slap after its rip, and the Chief's "There." (no timing of its own, so after the cue before it in the list) came before the tape went on. A cue re-timed so now moves after the cue it follows, and pause_before says what it counts from.

The heuristic director reads the twenty-fourth watch-it's meteor shower as written. Its showrunner rewrote the entrance and made 40-odd edits to the cut. The Captain, towed in by Otto, comes in with her instead of standing at the window from the start. "They squeeze onto the bench: Otto, the Captain, the Chief" sits each of them on the bench in that order, and the Captain's line waits until they are down. "Pours cocoa from the thermos into the Captain's mug" pours from the thermos into her mug, which she holds out and which fills, where the Chief took her mug instead. The show's meteor effect plays at the window with each STREAKS, "A sharp CRACK." is heard, and the tape's RIP and SLAP come one after the other, once the tape is out.

An effect's stretch draws long streaks. The twenty-fourth watch-it's meteors had stretch 14, then 40, and drew as short sparks either way: the stretch was folded into the sprite's speed, which the style's squash and stretch caps. A stretch of 12 now draws a star twelve times as long along its flight, as wide as it was.

A walk out of a seat no longer goes through the furniture the seat is in. The twenty-fourth watch-it's Chief walked from the bench straight out through its back to the window, and its showrunner had to add waypoint marks to walk him round. A walk now steps out of a seat the way it faces, and out of other furniture by its nearest side, before going round it.

Someone who comes in to whoever stands by the door is seen. The towed-in Captain stopped in the doorway and stayed invisible all scene.

Studio showed every time in UTC, so a render finished at 23:53 in Alaska read "Oct 3, 07:53", and change history was off the same way. Times are now in the computer's own zone.

Studio's background service stopped answering while it compiled an episode for the first time: every take's lip sync, probe and sound ran one after another and held the service until all were done (4 s on a short episode, longer the more lines). The tools now run beside it, one per CPU, so it keeps answering, and a first compile is faster for it: Hat Day's went from 81 s to 11 s, to the same timeline. ffmpeg's version is asked once, not once per sound on every compile, which took a warm compile from 1.1 s to 0.3 s. A render mixes its stems side by side too.

Opening a show for the first time left Studio's overview spinning for about 40 s: the hidden Timeline compiled the first episode at once, lip-syncing every take, and the overview drew nothing until drift came back behind it. The Timeline now compiles when it is first shown, and the overview shows the counts and proposals as they arrive, saying drift is still being checked rather than that there is none.

An installed Studio started without a shell (no PWD) opened a relative --show from the wrong folder; it now falls back to its own working directory.

The director's size passes (balancing sizes, widening for hands, keeping hats in) checked a re-sized shot only as it started, so the twenty-third watch-it's Otto, widened to an MS, had the Captain's face on the frame's edge for most of the shot. A shot now has to hold at its start, middle and end.

Movie Maker capture ran the engine through a shell, which split or expanded a show path holding a quote, a dollar sign or a backtick. Programs the engine runs now get their arguments as they are (RwProcess), with both output streams read as they come.

Recipe sounds failed on any ffmpeg from 8.0, so the Hat Day and Night Watch showcases did not compile with it. 8.0 removed -filter_complex_script (the graph is now read with -/filter_complex from 7.0 on), and its expression parser stops at a depth of 100, which a low saw's 99 harmonics passed (sums are now added up in groups of 32; synth 1.2).

A pool, beam or splash of light or shadow is nobody's prop: "A work lamp throws a warm pool of light" asked the twenty-third watch-it's showrunner for a "warm pool" prop, and "throws a long shadow" would have asked for a shadow.

Which way yawOffsetDeg turns a framed camera is written down (a single turns toward its subject's profile, positive, and toward their eyeline, negative; a group's or an insert's camera moves to its own right, positive), and tested. The twenty-third watch-it's showrunner found it by trial, through three refused or flagged edits.

The twenty-third watch-it's misreads: a jellyfish that "floats up out of" an egg flew, out of the egg, which hatched, where everyone on the bridge floated and the jellyfish flew in through the door; "It WOBBLES again. Then it CRACKS." rocks the egg the other way and cracks it; "drifts round the bridge, past … the porthole" goes there, and "to the Chief and settles on his shoulder" hangs beside him; "Otto kneels by the nest, peering behind the crates" starts her at the nest, facing it, not at the crate stack.

A line's parenthetical can move its speaker: "(springing up)", "(sitting down)", "(crouching)". Hat Day's Otto said "Way ahead of you, Captain!" springing up, sitting.

A spray told by what comes out comes out of what the sentence says: "Then a gust WHOOSHES out of it, lifts the tricorn clean off the Captain's head" blows from the vent the sentence before named, at the Captain's head, where it played from the kettle. "The" no longer names a prop ("The bridge kettle" for "across the bridge"), and among props named as often, the one named by what it is wins over one named by what qualifies it. A gust, wind or draught is sprayed like steam. Its WHOOSH comes from the vent too, as does "Above the door, the vent WHIRS" (a sentence's subject before the door it names), and the tricorn goes up once the gust gets there, drifting toward the Chief it sails to, where it rose straight into the vent before the gust came out. The beat is on the Captain as it happens: the establishing wide stood in as the door's insert (an element with no parent matched a setup on nothing), with the Captain cut off at its edge, and the single that bridged it to the next wide was Otto's. A close-up of someone in a hat keeps its eye on the third and lets the hat go out of its top: raised to clear Otto's paper hat, it showed the hat and her eyes at the bottom of the picture. A reaction shot that plays on through its subject's own lines is no lesser shot for a short single to take the time of: the Captain's two lines played over the Chief's console for his one muffled "No.". Rendered, Hat Day had more: the tricorn cut off the Chief's head by the bridge's own camera and by close-ups (a set camera that cuts a hat is not taken, and a single of someone in a hat is no closer than MCU), the Captain half out of every three-shot (a group's camera brought in from a wall widens its lens until every body is in), and stars below the deck and past the aft wall's end in wides standing past the open edge (a camera there that sees out of the set is turned, to an angle that hides no one and sees no one from behind).

Whoever holds a tray turns to offer it to the one who walks up to take something off it: the twenty-first watch-it's Chief stood beside Otto, and his mug on the far side of the tray was 1.03 m out of his reach. A speaker hidden behind someone from every angle the line allows is framed in a two-shot with whoever hides them, not a single of the back of their head. A single turns as far as 150° round (EpisodeIR 1.24 allows a framing's yawOffsetDeg to ±180°; set_camera too, an insert still ±90°) to find a face turned from every nearer angle (the reading Captain faced where the Chief had stood), and a split of a shot of someone walking no longer cuts away to a listener before they arrive. A crossing to someone goes straight up to them, not to a free mark past them and back. "Sweeps in" is an entrance and "leaves it on" no exit; "Above the aft door, the air vent hangs dead" hangs it there, dead from the start; a sound in a sentence that names nobody comes from whoever the sentence before was about; and a group the crammed-shot pass turns keeps everyone it frames in the picture, someone crouched behind cover too.

edit_episode's set_prop removes a prop cue (remove), retiming what waited on it: the twenty-first watch-it's showrunner left an unwanted lift in as a hold that did nothing. A character the story names with a rank goes by it ("Captain Augusta Fairweather" is CAPTAIN, else CAPTAIN FAIRWEATHER), not the whole name.

The heuristic director reads whose a thing is ("his mug", "Otto's mug", and "it" after them), flies every prop a plural names ("three mugs WHOOSH into the air"), puts what a carried tray holds on the tray from the start, lands a thing "back on the tray", drops one "into it" after someone raises a hand, reads "sets off toward" as a walk, and walks a hand up to whoever holds what it takes from. Things on a top go side by side before they stack. A pronoun names no piece of the set ("she" was the kettle shelf), a flight's verb seats nobody ("drops into"), and someone reading ("(not looking up)", "(still reading)", "She reads it") keeps their eyes down and turns to no one. The twenty-first watch-it's showrunner made some 65 hand edits for these.

Someone who whacks, swats or fans a piece of the set ("whacks the smoke alarm", "fans the alarm with it") walks within reach of it first, faces it, and strikes overhead when it hangs high: the twentieth watch-it's Chief whacked the alarm from the hatch, 3 m off.

A thing that acts of itself waits for what its paragraph did before it: the twentieth watch-it's pancake dropped onto the Chief's plate while he was still shuffling to it.

A shot left too long when the shot after it was dropped as crammed is split again, with shots that have room, else the establishing wide: Otto held 12.8 s in one close-up.

A long walk in through a door gets a shot that holds the walker once they are through it, as any crossing does: the twentieth watch-it's Otto sneaked from the hatch to the stove for 11 s on the shot of the hatch.

A thing set on a kit piece stands on the part beneath it: a stove's cooktop, not the top of its backsplash; a shelf's board, not where its brackets hang. The twentieth watch-it's pan floated 32 cm over the burners and its toast 15 cm over the shelf.

The heuristic director turns a shot whose speaker has their back to the lens for more than half the line, as film grammar counts it, not only past two thirds: the twentieth watch-it's Chief said "Smells like breakfast" with his back to the camera for 55% of it, and the cut would not render.

"The pancake" is the pancake, not the frying pan: a prop named by a whole word wins over one whose word only starts it. A thing a sentence stands "on the stove" stands on the stove, not on the floor at the stove mark. Smoke that "billows from the pan" comes from the pan, not from the smoke alarm its word named. The twentieth watch-it's frying pan flew to the ceiling in the pancake's place.

A generated set's establishing setup frames each mark's whole face, not just its middle: the nineteenth watch-it's cargo hold had the fuse box mark at the very edge of its wide, and every scene there opened on the Chief's face cut in half.

A prop stands where its sentence puts it only for its own name's words, not "the" of "The Captain's mug" (which matched "…working down there" and stood her mug on the console), and only within its clause: "a tin on the deck, the crates knocked askew" no longer stands the tin on a crate.

An extruded console (prim.extrude) stands on the floor in the compiler's footprints, as the engine builds it: it was half sunk, so what stood behind its top half was in view and an insert on it looked at the floor.

A walk takes the way round the furniture when the set's walkways go a long way round (more than 1/0.6 its length): the cargo hold's walkways all meet in the middle, and the Captain crossed the hold and back to sit on the crate beside her.

Coverage of people spread across a set: an action beat's three-shot that could not hold everyone now goes to whoever acts, a crossing to the walker, and a pan with a walker that turned the others out of the picture gives way to one on the walker alone. An action with prop business (the spare fuse out of the Chief's own pocket) keeps its shot over a one-word line after it, and a beat's shot that would jump from the one before tries its other angles rather than vanishing. The straight-on fallback for a group kept to no side of the line, and the legal side is now drawn again where a walk ends, as it is after a float: the hold's search had swapped the Chief and Otto as the room saw them, and every camera in the room was across their line. A jump cut on someone crouched behind cover counts them, as film grammar does.

The heuristic director staged the eighteenth watch-it's Meteor Night as written. "On the helm console stands a homemade TELESCOPE" stands it there; whoever the action puts somewhere ("stands in the middle of the bridge") chooses a mark before whoever names no place; "He hefts it" takes the thing named last; "backs in", "thumps it down on" and "the three of them squeeze together at the porthole" are a way in, a putting down and a gathering; a walk to a piece of the set stops at a mark one stands at within reach, else at the piece (not crouched behind the console); its smoke comes from where it was set down. What follows a colon describes a prop rather than its state, and "the popcorn bowl" is not the popcorn machine. At a window, a speaker turns to whom they talk to as soon as the head cannot reach, and a shot showing a speaker's back may become one of the set's setups. A sleeve or a handful is not a prop.

set_camera takes a turn of -90 to 90 degrees, as a framing has; it took 180 and the proposal then failed. create_fx says where an effect comes from and which looks are drawn as stars.

A big held prop was drawn over whoever stood just in front of its holder: it sits its own radius in front of its holder's card, and the seventeenth watch-it's confetti cannon covered Otto at the Chief's heels. It now comes no nearer the camera than a card drawn over it that stands in front of its holder.

"Otto and the Chief wait in the middle of the bridge, the cannon aimed at the aft door" stood Otto by the door and sat the Chief in the pilot's seat: a first sentence's place is now the one it names first, and a second person there stands at the nearest free mark of the same posture. Someone who comes in with nowhere named and no mark free near the door comes up to whoever is nearest it past the doorway, not across the room; a speaker still walking as their line starts turns to their addressee on arrival; and a shot that shows a speaker's back for most of their line turns round its subjects (grammar.face_hidden).

The heuristic director cut someone walking out of one shot frame-right into the next from frame-right: the seventeenth watch-it's Captain, walking in through Otto's single, failed grammar.screen_direction, and its first cut could not be shown. A pass after the eyelines turns the next shot (else the one before) to an angle that keeps the direction.

The eyeline repair read a look as at someone only when its point was within 0.6 m of their eyes; a look following someone walking lags behind them, so the repair missed a mismatch film grammar found. It reads whom a look is at from the compile now.

A sound word ("The console SPARKS") played only the engine's built-in sparks, though the show has console sparks of its own. The show's effect for it plays first now.

"The Chief backs into the crate stack. It comes down, toppling" changed nothing: a prop's state was read only from a sentence that named it. A sentence that opens on "it" is now about the prop named before. The sixteenth watch-it's crates also stood on the workbench, and its cartridge player "on the helm console" on the floor: a prop stands where its sentence puts it now, and one taller than a bench stands on the floor beside whoever changes it.

A heading's time of day picked a lighting preset by any word they shared: "SHIP MORNING" took the bridge's ship_night for "ship". It goes by the time of day now (the same time, else the same part of the day, else light or dark), and when the set has nothing for it the director says so (director.no_lighting).

The director read a prop's state from words said near it. In the fifteenth watch-it, "works on the coffee machine" lit its ready lamp from the first frame, and "sinks out of sight behind the coffee machine" set it steaming, by "out" and "behind" in that state's description. Words of place no longer count, and a state's word said before the prop, with a word of place between, is something done to it.

A prop stood on a surface overlapped the set's own pieces there: the fifteenth watch-it's coffee machine stood inside the bridge's kettle. It keeps clear of them now, unless the piece stands in for a prop the scene has elsewhere; and where nowhere is clear it takes the least crowded spot, not the middle.

A vibrato on a glide swung a fixed number of hertz from where the glide began, so its depth in cents doubled down an octave: the fourteenth watch-it's mew, falling from 1180 to 600 Hz with a 30-cent vibrato, wobbled 59 cents by the end. It keeps its cents now (synth 1.1, so every recipe sound is made again). Its pitch range was right all along; the showrunner read it narrower off a small spectrogram.

A thing set down on a sloped piece of the set floated over the slope at its highest point: the helm console's face slopes down to its screen, and a mug set on it from the pilot's seat hung 30 cm in the air. Things now go on a top's level parts only, the console's flat back. A lamp or a screen no longer blows out a prop or a 3D figure that comes up close to it either: the fourteenth watch-it's kitten, beside the helm screen, glowed white and mint. It is lit as if it stood 0.6 m off; the set keeps its pools.

A thing set down on a surface where something already stood went down on top of it, or wherever was nearest the hand. Now it keeps clear of what is there, and goes beside the last thing put there when the hand reaches: the fourteenth watch-it's saucer landed most of a metre from the kitten it was for. Two things a scene stands on one element no longer share its middle.

A walk whose last corner rounded onto its final frame ended at that corner, short of where it was going. The arrival is always keyed now.

The heuristic director's eyeline repair read a still camera where it would stand at the end of the shot, not at its start where the compiler puts it. A close-up on someone who turns during it passed the repair and failed film grammar.

A build_set of a set whose earlier build is still waiting replaces it: approving the new one rejects the old. The fourteenth watch-it's first cargo hold, built from a pattern it then fixed, was left pending at the end.

The fourteenth watch-it's director made the kitten's business Otto's: "On top of the crate sits a KITTEN" sat her down, "The kitten climbs out of her pocket" walked her off the bridge, and KITTEN was a sound. A sentence that opens on a prop is about the prop now, and a creature that climbs or hops somewhere flies there, out of the pocket it was put in, even one from the scene before. "She scoops up the kitten, tucks it into her jacket pocket, and hurries out" made no business at all, because she was gone before it was read; business now comes before a sentence's exit. "Sets it down on the console" takes the console the scene last put a thing on, not the engineering console named last.

A set pattern whose placement is related to another closer than their two footprints allow is warned when it is proposed (pattern.relation_overlaps). The fourteenth watch-it's hiding crate was "near" its stack at 0.15–0.3 m, meant as the gap between them; the distance is center to center, so build_set tried 48 times and left the crate, and the mark beside it, out. The schema now says so.

A 3D character's model sheet showed its 2D card, so the sheet a showrunner approves did not show the character that plays. It draws the figure now, in every panel, at the card's scale and lit as a set lights it.

The thirteenth watch-it's hand-off two-shot cut Otto's face in half at the frame's edge. The director checked a single's edge for faces but not a group's. Now a set camera for a two-shot or a group cuts no face, a two-shot on a line takes only an angle that cuts none, and a hand-off or a float wide that would cut someone turns, framing them too when that shows more faces.

"The Chief walks over to Otto. He walks back to the aft door" turned the Chief round halfway there: each walk was timed from its own line, and the second began before the first arrived. A walker's next walk now waits until they arrive. The thirteenth watch-it's showrunner could not fix it by hand, because edit_episode had no way to add, retime or remove a walk. set_move does that now: who, to where, how (gait, speed, in through an entrance) and when.

The thirteenth watch-it's director sat Otto in the pilot's chair to juggle: "bounds" and "hops" were no walks. They are now, with skips, leaps, struts, trots and more. "She holds up the scorecard again", after Otto spoke, gave Otto the Captain's scorecard: a pronoun's business on a thing someone else of that pronoun holds is now the holder's. "Pulls an oily rag from his pocket" made no cue: a thing pulled out of a pocket or a coat now comes into the hand, and juggling is using.

The thirteenth watch-it's first cut would not compile: four film-grammar errors in a cut the heuristic director had kept legal. The compiler read the axis's legal side from the first set camera that framed both of the pair, a later shot on the other side, while the director read it from the establishing wide. Both now use the establishing setup. And a pair off the scene's axis could look the same way across a shot/reverse-shot; the director now checks eyelines as film grammar does, and turns a shot, or cuts to a two-shot, to keep them opposed.

The twelfth watch-it's director misread three things. "Dashes to the lighthouse crate" went to a mark called crates: a phrase now names the mark or the element it names more words of. "Creeps in through the hatch to the aisle" stopped at the hatch, and "creeps down the aisle" did nothing for someone already there; both now walk to the aisle. "Holds out her hand" made no gesture: there is now a holdable hand_out gesture, the director reads it, and edit_episode gains set_gesture to add, hold, release or remove one.

A prop state that hides every part now shows nothing. The twelfth watch-it's drone, placed "gone" until it zips in, drew its own look from the first frame: a state that built no geometry was never registered, so the engine fell back to the default.

Turning a crammed shot to an angle with room could repeat the shot beside it. The tenth watch-it, directed again, cut from the Chief's reaction to his single on the same picture. A turned angle must now be no jump cut from either neighbor, and when every angle with room would be one, the neighbor plays on instead. All four of the eighth to eleventh watch-its now direct with no grammar warnings, and the tenth is a test.

A generated character whose archetype's role offers a choice takes the one their story names. The eleventh watch-it's "Captain of the Marigold" was cast as "captain or first mate".

A prop the action handles that the set does not dress now stands somewhere. "Otto opens the toolbox" stands the toolbox on the bench beside her from the scene's start, and "lifts the music box" takes the box from there. The eleventh watch-it's toolbox opened unseen, and the music box appeared in Otto's hand.

The eleventh watch-it's galley: the Captain stood in the bridge's back corner, Otto and the Chief walked up to her, then drifted to the kettle shelf beside her. Its draft cut between singles on lenses widened to 8-10 mm against the wall, shots looking past backs, one camera inside Otto, and two people in one body. Five fixes:

• Walking up to someone ends at their side as the room's camera sees them, and where the newcomer hides nobody from it, before in front of them with a back to the room.
• A drift toward something comes to rest clear of everyone else and the furniture.
• The axis lapses while the pair floats and is drawn again where they land, so a drift that turns the old side to a wall leaves the camera in the room.
• Coverage prefers framed angles with room to stand back. A shot still crammed, or whose camera stands inside someone, turns or resizes to one with room, else gives way to the establishing wide.
• The director's snapshot of a scene left out who floats, so coverage framed floating heads on the floor and read the axis as if nobody floated.

Entrances go where the sentence sends them. "Climbs down through the hatch and creeps over to the core" went to the hatch. "Comes in behind her" goes up beside her (the woman the sentence before was about). Someone who walks on with nowhere named stops on a mark they can stand on. The eleventh watch-it sat the Chief in the pilot's chair.

A scene that two people walked on to through one door could be shot from the wrong side. The axis side was read at the scene's first frame, where both still stood on the doorway, so it fell to a default. In the eleventh watch-it that default was the engine room's cramped back side: backs of heads, the core blocking the view, one black frame. The compiler and the director now read the side where the pair first stands still, apart, on stage. The axis holds from then on, so a walk-on shot before it isn't judged against a line that flips as they come in single file.

A posture or expression change that began while the one before was still blending started from that one's end, so the pose or face jumped. The compiler now ends a blend where the next key starts. Every key keeps its frame, and the engine's sampler draws it as written.

A character who talked while walking could walk out of the picture. In the tenth watch-it's engine room Otto crossed to the core, in frame for none of her line. The director now keeps a walker in the shot, and keeps a talking walker's face to the camera. A shot pans with them when the style allows a pan, and widens or gives way to the shot before when it can't. It needs no cut while the shot already up holds them, and no close shot goes on someone about to walk.

The tenth watch-it turned up four things:

• A scene whose only character walked on was dropped as empty. Blocking may now be empty (EpisodeIR 1.9): everyone in the scene walks on.
• "The Chief fills the kettle" used a kettle still on its shelf, and the compiler warned he did not hold it. A thing used that is not in hand is now picked up first.
• "(serenely)" and "(calmly)" had no effect, nor did "(gruffly)" or "(small)". Calm reads as deadpan and a little slower, gruff as annoyed, small or timid as soft.
• The continuity log credited the kettle gag to the scene that set it up, not the one it played in. A gag is now evidenced where most of its beats are, the later scene on a tie.

In the ninth watch-it, Otto's "Found it!" was too short for a shot of its own. It took the time of the float's wide, so the whole float played on a medium shot of Otto with her head rising out of frame. A float's wide now keeps its time, as a hand-off's shot does, and the line plays in it.

"Everyone hits the deck with a THUD" did not land a float, so the ninth watch-it's crew came down 2.5 s in, not on the THUD. Hitting the deck, floor or ground now lands it.

A walk between places no walkway joins went in a straight line through whatever stood between them. On the Marigold's bridge, the helm to the engineering console went through the console, and the galley to the door brushed past the seated Captain. Such walks are now planned round the furniture, keeping a body's width clear, as the set generator plans walkways. They stay straight when nothing is in the way. A walk from beside someone goes round the people standing too.

The framing balance could tighten a scene's establishing shot to MLS, which film grammar then flagged (grammar.no_establishing); it no longer re-sizes one. And a sentence naming none of a prop's own words ("The gravity HICCUPS") no longer switches its state because the prop's name starts with "The".

The model director left an episode at EpisodeIR 1.3 whatever it wrote, unless the screenplay had titles. Props that name a place, repeating sounds, and now walks to someone all need newer versions. Both directors and edit_episode now raise the version to what the episode uses (core/src/director/versions.ts) and never lower it.

A generated character's voice ignored how they were described: the ninth watch-it's captain, "calm to the point of absurdity", came out quick and lively. The voice's pace, energy and pitch now lean to the archetype's and the story's words (character sampler 1.3.0).

The model director was still told props were not drawn, and dropped prop cues when it re-directed. It now sees the show's props and their states, can write prop cues, and its prompt has the rules the heuristic director learned from the watch-its.

From the ninth watch-it: "Otto scrambles out" was not an exit (more ways of coming, going and crossing are read now: scrambles, dashes, darts, flees and the like); the core's HUM played once (a hum, whir, buzz or tick goes on by its nature until action stops it); and still previews of an unvoiced episode failed for want of takes (they time lines from estimates, as the storyboard does).

Short legs slipped on long gaits (the M2 polish review): a step the legs could not reach was shortened, but taken at the compiler's cadence, so the planted foot slid forward under the body: the Chief's by 3 cm early in a walk's stance and 8 cm in a stride's. A short step is now taken that much more often, so the foot stays on its spot. The actor state's gait_phase counts cycles instead of wrapping. The Lighthouse has no walk, so its goldens did not move.

A small figure wore its rim light as a halo (the M2 polish review): the rim kept a third of its width however small the figure got. Below 168 px tall (where the lines stop thinning) it now keeps narrowing with the figure and fades, gone by 72 px. Figures drawn 168 px tall or more are as before, so the style swatch goldens did not move.

An afro read as a box (the M2 polish review): a ball cut flat at the ears, with sharp corners and barely scalloped. It is now a round cloud of eleven lumps of uneven size, set higher on the head, its underside curving up to the sides with the corners rounded off, and from behind it comes down over the nape in a U. It still turns without popping.

An episode with its continuity recorded could not be re-directed or re-cut: the log's evidence cited shots, and a shot that went away was an error that refused the change. Stale evidence is a warning now, asking for the log to be recorded again, and record_continuity refuses evidence that points at nothing when it is written.

"Otto climbs in through the hatch and hurries to the workbench" left her at the foot of the ladder: a sentence's first motion was its only one. An entrance now walks on to where the same sentence sends them.

An unvoiced line under a word-anchored cue made the compile say "word 6 is not in l04 (not a line)". The line's take is what is missing, and take.missing already says so.

Back on a set for a later scene, the director forgot where everyone had been, and a first action that walks someone somewhere ("runs to the workbench") started them there already: in the seventh watch-it Otto began at the Chief's bench and he at its side. A return now starts each character where they were, and a walker starts away from where they walk.

The continuity log credited a beat in a return to a set (two scenes with the same heading) to the first visit. It counts scenes that share a heading now.

"He does not look up" had him look up: the director matched action verbs under a negation. A negated clause now makes no cue, and the rest of its sentence still does.

A muffled line from behind cover stood its speaker up to say it, in plain view: the Chief rose over the console for lines the script kept hidden. A "(muffled)" or "(unseen)" line now stays down and is covered from where the voice comes. Two group shots that took a framing without checking faces (the periodic two-shot on a line, and the wider shot on action) turn round to show them, and the two-shot is skipped when none shows the speaker.

Props never reached the screen: the compiler only timed prop cues and reported compile.prop_not_rendered, so the M5 watch-it's buoy and the sixth watch-it's kettle and mugs were in the script and nowhere else. They are drawn now. Nothing could change a prop's state either, so the eighth watch-it's drone kept its eyes lit after its battery died; a prop cue's state does it now.

episode.timeline with a change failed for a proposal's new episode, which is not on disk yet, and a compile of an episode's other version took its cast and sets from the file on disk. Both use the version given now.

A line's look ignored whom the line was to: "(to the Chief)" or "Chief?" still looked at whoever spoke before. The heuristic director now reads both, and a title with a last name.

A single on someone who turned away from their axis partner, or who stood off the axis, was solved against the partner or whoever stood nearest, so the camera often saw their back: the sixth watch-it's showrunner rewrote Many Happy Returns seven times around it. A single now plays against the one its subject faces (docs/design/m1-compiler.md §4).

The heuristic director widened singles for the framing balance and for a beat's hands without checking the camera again, and a wider single could stand back across the axis. Every size change is checked now.

A gesture's follow-through left the hand a little off rest as the gesture ended, so the hand popped back on the next frame. It now settles with the gesture's envelope.

The style's motion.gestureIntensity scaled a gesture twice: as the default intensity of a cue without one, and again in the engine. The engine alone applies it now; a cue without its own intensity is 0.5.

A facepalm at less than full intensity stopped short of the face. A hand that touches the body now reaches it at any intensity, and a held pose (arms folded) is always the whole pose; intensity sizes beats only.

A generated character could be dressed in their own skin tone: tan skin and an orange jumpsuit, lightened to meet the contrast rule, read as bare skin (the M5 watch-it's captain). The main garments now pass over pick colors within 0.06 of the skin in OKLab's hue-chroma plane while the pick offers others. Character sampler 1.2.0.

grammar.no_establishing fired on a return to a location the episode had already shown (the bridge, the Snapdragon, then the bridge again), asking for a wide shot nobody needs. It now fires only on a location's first scene in the episode.

A wide camera on a set's open side could back out past the floor's edge and show the room floating in its backdrop. It now comes in until the edge leaves the frame (set sampler 1.1.0).

An MCP client was sent at most two preview images per result.

Engine test runs in one worktree could delete another worktree's engine files. Each checkout now has its own Godot user folder.

A standing stance no longer bends a short-legged, big-footed character's free knee into a squat (the Chief read as half-crouched in long shots).

A walk between places no set path joins follows a chain of the set's paths instead of a straight line through the furniture, and a voice that is never seen no longer sets a scene's axis.

Cached silhouettes now key on the engine code that drew them.

Kit pieces stand on their origin in the compiler, so effects emit from their anchors.