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Added6

• A child made from words sounds like a child, and a grandmother like a grandmother, in a free voice. Kokoro recorded only grown people, so a seven-year-old spoke in a young woman's voice raised and a grandmother in a young woman's. Now every free voice has the ages it speaks for, and Kokoro's own voices, blended, make five for a child and four for an older woman. Someone described is cast to a voice of their age and sex, raised or lowered into their pitch, with a child's smaller formant and an older person's slower pace. Studio's note that a voice may sound the wrong age now comes only when it does: more children in a show than there are child's voices, or a grown voice chosen by hand.
• People hug. "She hugs Toby", "throws her arms around him" or "gives him a big hug" walks the one hugging right up to them and wraps both arms round them, the hands on their back at their shoulders' height, a grown-up's or a child's, and the reading names it in English and Spanish. A thing in the arms ("hugging the volcano on his lap") is held, not hugged. More of what people do with each other and the set is staged too: a hand-over as a sentence's second act ("pours a cup of water and hands it to him" hands it to him, not to herself), a chase, a run round the table, a wander across the lobby, a ball dribbled down the court, passed and shot, a safe's dial turned, arrows drawn on a whiteboard, candles blown out bending over the cake, a present torn open, a nervous swallow and a clipboard thrown in the air for joy. A one-off part answers to what they are ("the guard sits down at the front desk"), and someone rising from a seat to go to someone walks out of it the way it faces, never through its back. The six genre fresh shows stage 67 of their 69 paragraphs, none against the text, where they staged 53.
• In Review, Shift+M goes to the next note on the version shown and Alt+M to the one before, with its card brought into view, where each note was reached by Tab to its card's Go. At the last or the first note, Review says so. They are the timeline's marker keys, and Studio's shortcuts list them.
• When Claude proposes a change in claude.ai or Claude Desktop, Reelwright's card shows in the chat: what the change does, field by field and why, and for an episode the changed shots' stills, before and after. Approve, Reject or Open in Studio right there, without switching to Studio. With several options, pick one and reject the rest. The card follows the chat's language (English or Spanish) and its light or dark theme.

And 2 more.

Changed2

• On a laptop, the review, the booth, the storyboard and the writers' room get the room they need. With the chat open at 1440 or 1280 pixels wide they had about 820 pixels or less: the review's picture was about 500 wide and its version pickers were cut. The chat now folds to its strip while one of these is open, as it already did for the script, the timeline and the editors, and comes back when you leave. Open it there yourself and Studio keeps it open. Pickers that fit their longest choice now show it whole, without a few letters lost to "…".
• reelwright.diy's pictures of Claude show your own Claude, with no key: Studio's chat with Claude at work through claude.ai and its proposal waiting for you, Settings › Claude connected on your Claude plan on the desktop, and claude.ai's connector connected on the web. They showed an API key in use and a chat priced turn by turn.

Fixed9

• A phone's insert shows every message the script gives it, however it writes them: quoted texts one under another, the lines under "Three texts from Grandpa:", cues marked (TEXT) or (TEXTING), and words on the shot line itself (INSERT - MEI'S PHONE: "Come home."). It showed the first and left the rest as action, or showed none. A cue marked (TEXT) is a message, never a line said aloud, and someone who only texts needs no one in the cast: such a texter used to stop the scene. With no insert written over them, texts are a phone's insert of their own.
• A phone the action says shows words shows them. "Mei holds up her phone. It shows a text from Grandpa: "Come home."" cuts to her phone's screen with Grandpa's text after she holds it up, as an insert would, and the phone in her hand shows it from then on. Words in quotes or capitals count, or after a text from someone; a picture told in prose ("a map of the city") does not.
• The review opens on the first frame with a picture, past the fade up from black, where it opened on a black frame: the first look a new person had at the demo's preview was black. A frame you ask for, from a link or a note, still opens where it says.
• The timeline now says when a piece of the set hangs into someone's hat. In Hat Day the air vent over the aft door hangs its ribbons into the Captain's tricorn, so in her singles the hat reads as hung from the vent, and nothing said so: the framing score measured the vent against the top of a hat it draws taller than the engine does. Under a hat, a piece meeting the head anywhere from the top of the head up is now a piece sitting on it, in the framing score and as a film grammar warning, and the director's reframe steps the camera off it where a camera can. Hat Day's Captain, standing right under the vent, has it in 8 shots as shipped and 4 as the director cuts it again: no camera clears a vent her hat reaches.

And 5 more.