{
 "title": "OPUSCAR 98 · 98 Years of Best Picture",
 "film": "https://lemomo-ai.github.io/lemo-opuscar/opuscar98/",
 "note": "One style per film. t0/dur: where the film sits in OPUSCAR 98 (seconds). render: 2D / 2.5D (3D models rendered into flat layers) / 3D; dim adds the tone (B&W, sepia). prompt_*: a reusable style prompt. shots: the cuts as they appear in the finished film.",
 "chapters": [
  {
   "id": "C1",
   "en": "Silents & Talkies",
   "zh": "默片與有聲",
   "years": "1927–1938"
  },
  {
   "id": "C2",
   "en": "Colour & War",
   "zh": "彩色與戰爭",
   "years": "1939–1949"
  },
  {
   "id": "C3",
   "en": "Widescreen",
   "zh": "寬銀幕",
   "years": "1950–1959"
  },
  {
   "id": "C4",
   "en": "The Swinging Sixties",
   "zh": "搖擺年代",
   "years": "1960–1969"
  },
  {
   "id": "C5",
   "en": "New Hollywood",
   "zh": "新好萊塢",
   "years": "1970–1979"
  },
  {
   "id": "C6",
   "en": "The Blockbuster Era",
   "zh": "大片年代",
   "years": "1980–1989"
  },
  {
   "id": "C7",
   "en": "End of the Century",
   "zh": "世紀末",
   "years": "1990–1999"
  },
  {
   "id": "C8",
   "en": "The New Millennium",
   "zh": "新千年",
   "years": "2000–2009"
  },
  {
   "id": "C9",
   "en": "The Indie Decade",
   "zh": "獨立年代",
   "years": "2010–2019"
  },
  {
   "id": "C10",
   "en": "Here & Now",
   "zh": "此時此刻",
   "years": "2020–2025"
  }
 ],
 "films": [
  {
   "no": 1,
   "year": "1927/28",
   "title": "Wings",
   "zh": "翼",
   "chapter": "C1",
   "t0": 12.917,
   "dur": 5.0,
   "frame_sec": 14.977,
   "style_en": "Silent-era 3D Dogfight, Tinted Ortho B&W",
   "style_zh": "默片 3D 空戰 · 正色片黑白 + 琥珀染色",
   "blend_en": [
    "three.js 3D",
    "Orthochromatic black and white",
    "Silent-film tinting",
    "Projector wear and iris"
   ],
   "blend_zh": [
    "three.js 三維",
    "正色片黑白",
    "默片染色",
    "放映磨損和圓形光圈"
   ],
   "dim": "3D·B&W",
   "render": "3D",
   "desc_en": "A three.js dogfight graded like a 1927 orthochromatic print: white skies, deep blacks, an amber tint, gate weave and scratches. Wings is remembered for aerial combat shot from cameras strapped to the planes, so most cameras here ride on the planes.",
   "desc_zh": "用 three.js 搭的一戰空戰，按 1927 年正色片拷貝調色：天空發白、黑位很深、整體琥珀染色、片門抖動和劃痕。《翼》最出名的是把攝影機綁在飛機上拍的空戰，所以這裡大部分機位都裝在飛機上。",
   "prompt_en": "Smooth-shaded 3D graded as a silent-era orthochromatic print: high contrast, reds go black. Sky near-white, ground in readable mid-greys, deep blacks (25-35% of frame) only in silhouettes. Tint: blend whites half-way toward amber #FFCC80, so the sky is pale cream-amber, never solid orange; blacks stay black. Only the hero the story centres on keeps colour, whole figure at ~70% saturation (e.g. #D97757); every lamp, fire or other light source stays grey. 24 fps gate weave (±1 px), flicker (±5%), fine grain (±4%), 1-3 thin scratches, sparse dust, rounded corners, vignette; open on a 1 s iris. Signature shot: a camera rigged to something moving with the subject, rig in frame; then chase and POV. Cut every 2-3 s; white out through cloud, smoke or glare. Reference: William Wellman, *Wings* (1927). Avoid: motion blur, colour in the greys.",
   "prompt_zh": "平滑著色的 3D 按默片正色片拷貝調色：高反差，紅色發黑。天空近白，地面留清楚的中灰層次，深黑佔畫面 25%–35%，只在剪影裡。染色：白位向琥珀 #FFCC80 混一半，天空是淡奶油琥珀，不要整片橙；黑位不變。只有故事圍繞的那個主角留色，整個人都留，飽和度約七成（如 #D97757）；燈火和其他光源一律是灰的。疊 24 fps 片門抖動（±1 像素）、閃爍（±5%）、細顆粒（±4%）、一到三條細劃痕、稀疏灰塵，片門圓角加柔和暗角，第一鏡 1 秒圓形光圈打開。招牌鏡頭：機位綁在跟主角一起動的東西上，露出一截支架，輕微震動；再接跟拍和主觀鏡頭。每 2–3 秒一切，穿過雲、煙或強光白場轉場。對標 William Wellman《翼》（1927）。避免：運動模糊、灰階裡有顏色。",
   "shots": [
    {
     "cam": "open",
     "sec": 0.9,
     "en": "Head-on over the cowling: Clawd in a leather cap with goggles pushed up sits between the struts; the iris opens and the camera pushes in slowly.",
     "zh": "機頭正前方對著座艙：Clawd 戴皮飛行帽、護目鏡推在額頭，夾在兩根支柱中間；圓形光圈打開，鏡頭緩緩推近。"
    },
    {
     "cam": "dogfight",
     "sec": 0.6,
     "en": "Wide aerial: the planes circle among the clouds above patchwork fields and chalk trenches, one Fokker trailing black smoke; a slow push in.",
     "zh": "大全景：機群在雲間盤旋，下面是格子田和白堊戰壕，一架福克拖著黑煙；鏡頭緩緩推近。"
    },
    {
     "cam": "cockpit",
     "sec": 0.8,
     "en": "Cowling camera with engine shake: Clawd looks back at the Fokker on its tail and raises an arm as the twin Vickers flash.",
     "zh": "機頭機位帶發動機震動：Clawd 回頭看咬尾的福克，抬起一隻手，雙挺維克斯機槍開火閃光。"
    },
    {
     "cam": "enemy",
     "sec": 0.8,
     "en": "From the Fokker's upper wing, its guns firing, chasing Clawd's SPAD ahead; the camera rides fixed to the enemy plane.",
     "zh": "從福克上翼看出去，敵機機槍開火，追著前方 Clawd 的 SPAD；機位固定在敵機上。"
    },
    {
     "cam": "dive",
     "sec": 1.1,
     "en": "Over Clawd's shoulder as the SPAD dives: the upper wing and wires in front, shell craters and zig-zag trenches rushing up.",
     "zh": "過 Clawd 肩頭的俯衝鏡頭：前面是上翼和張線，彈坑和折線戰壕迎面撲來。"
    },
    {
     "cam": "clouds",
     "sec": 0.8,
     "en": "The SPAD, ghostly in the cloud bank, flies at the camera; the fog thickens until the frame whites out to cream.",
     "zh": "雲團裡的 SPAD 像幽靈一樣朝鏡頭飛來，霧越來越濃，畫面白到奶油色。"
    }
   ],
   "direction_en": "Clawd is the American pilot: leather cap, goggles, white scarf, seated in the SPAD. The prologue hands over to the opening frame and the iris opens in the first beat; then five hard cuts, roughly every two beats. Around beat 5 Clawd looks back and the guns fire, and the cloud shot whites out into the cream that opens No. 2.",
   "direction_zh": "Clawd 扮美軍飛行員：皮飛行帽、護目鏡、白圍巾，坐在 SPAD 座艙裡。開場序幕接到第一鏡，第 1 拍光圈打開；之後五刀硬切，大約兩拍一切。第 5 拍前後它回頭、機槍開火；最後穿雲白場，接上第 2 部開頭的奶油白。",
   "refs": [
    "William A. Wellman, 1927",
    "Harry Perry (aerial photography)",
    "Tinted silent-era release prints",
    "RFC aerial photographs of the Somme, 1916–18"
   ],
   "refs_zh": [
    "William A. Wellman, 1927",
    "Harry Perry（航拍）",
    "默片時代的染色放映拷貝",
    "英國皇家飛行隊索姆河航拍照片，1916–18"
   ]
  },
  {
   "no": 2,
   "year": "1928/29",
   "title": "The Broadway Melody",
   "zh": "百老匯旋律",
   "chapter": "C1",
   "t0": 17.917,
   "dur": 3.333,
   "frame_sec": 19.29,
   "style_en": "Black-Gold Art Deco Revue Poster",
   "style_zh": "黑金銀裝飾藝術歌舞海報",
   "blend_en": [
    "Art Deco poster",
    "Airbrush metallic gradients",
    "A. M. Cassandre",
    "Erté costume"
   ],
   "blend_zh": [
    "裝飾藝術海報",
    "噴槍金屬漸變",
    "A. M. Cassandre",
    "Erté 服裝"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An Art Deco revue poster in black, gold and silver: airbrushed gradients, a stepped proscenium, a chrome condenser mic. It is 1929 Broadway at the height of Deco, and the film where sound arrives, so rings of sound pour out of the mic.",
   "desc_zh": "會動的黑金銀裝飾藝術歌舞海報：噴槍漸變、階梯形臺口、鍍鉻電容麥克風。1929 年的百老匯正是裝飾藝術盛期，這部又是有聲片降臨的一部，所以讓聲波從麥克風裡一圈圈放出來。",
   "prompt_en": "Art Deco revue poster. Black lacquer ground; gold and silver from banded metallic gradients (3-5 hard bands); airbrush glows, sunbursts, ziggurat steps, streamlined curves; a stepped proscenium frame of gold lines and bulbs. Palette: ground #0A0908, gold #D6B560, highlight #F3E2A2, silver #BFC4C9; skin pale silver-cream; one saturated accent (e.g. #D97757) only on the hero the story centres on. Elongated Erté-style figures with real faces; fringe, sequins or feathers where the subject allows. Fine grain, glints, stars. Frontal symmetry, a central spotlight. Motion: chasing bulbs, a row of repeated elements (dancers, waves, columns) rippling toward the centre, rings radiating from the main sound or light source; slow pushes, cut on the music's beat (without music, every 2-3 s). References: A. M. Cassandre's posters, Erté's costumes. Avoid: flat yellow for metal, faceless figures, extra hues.",
   "prompt_zh": "裝飾藝術歌舞海報。黑漆底；金和銀都用分帶金屬漸變做（每個面 3–5 條硬分界），噴槍光暈、放射線、階梯形、流線型，場景外圈套一道層層退進的金線臺口框，嵌一排燈泡。色板按用途：底 #0A0908，金 #D6B560，高光 #F3E2A2，銀 #BFC4C9；皮膚用淡銀奶油色；只有故事圍繞的那個主角用一個飽和強調色（如 #D97757）。人物是 Erté 式修長造型，有五官表情，題材允許時加流蘇、亮片或羽毛。細顆粒、閃光點、星星。正面對稱，中間一束追光。動起來：燈泡流動，一排重複元素（舞者、浪頭）向中心捲成波浪，主要聲源或光源放射環紋；鏡頭慢推，踩音樂的拍子切，無樂每 2–3 秒一切。對標 A. M. Cassandre 的海報、Erté 的服裝設計。避免：平塗黃色冒充金屬、人物沒臉、多餘的顏色。",
   "shots": [
    {
     "cam": "marquee",
     "sec": 0.8,
     "en": "Out of the white: the Astor Theatre marquee, 'THE BROADWAY MELODY / ALL TALKING · ALL SINGING · ALL DANCING', bulbs chasing; Clawd with boater and cane at left; a slow pull back.",
     "zh": "從白場裡淡入：Astor 劇院的雨棚招牌（THE BROADWAY MELODY / ALL TALKING · ALL SINGING · ALL DANCING），燈泡流動；Clawd 戴硬草帽、拿手杖站在左邊；鏡頭緩緩拉遠。"
    },
    {
     "cam": "still",
     "sec": 1.0,
     "en": "The whole stage: Deco proscenium, chorus girls on the risers, Clawd tapping beside the giant condenser mic as it starts pouring out sound rings; a slow pull back.",
     "zh": "舞臺全景：裝飾藝術臺口、臺階上的歌舞女郎，Clawd 在巨大的電容麥克風旁踢踏，麥克風開始一圈圈放出聲波；鏡頭緩緩拉遠。"
    },
    {
     "cam": "mic",
     "sec": 0.5,
     "en": "Close on the chrome spring-ring mic, rings radiating and notes flying; a push in.",
     "zh": "鍍鉻彈簧環麥克風特寫，聲波放射、音符飛出；鏡頭推近。"
    },
    {
     "cam": "line",
     "sec": 0.5,
     "en": "Truck along the kick line: feathered headdresses, sequins, legs kicking in a wave.",
     "zh": "沿著踢腿隊列橫移：羽毛頭飾、亮片短裙，腿一排排踢成波浪。"
    },
    {
     "cam": "close",
     "sec": 0.5,
     "en": "Clawd in close-up, tapping, the boater tilting, the mic ring behind; a slight push in.",
     "zh": "Clawd 近景，踢踏中草帽一歪一歪，身後是麥克風環；輕推。"
    }
   ],
   "direction_en": "Clawd is the hoofer in a straw boater with a black cane, tapping all the way through. The film fades in from No. 1's white; on beat 4 the mic comes alive and the sound rings pour out (the talkies arrive). Four hard cuts run street → stage → mic → chorus line → Clawd.",
   "direction_zh": "Clawd 是戴硬草帽、拿黑手杖的踢踏舞者，從頭踢踏到尾。開頭從第 1 部的白場裡淡入；第 4 拍麥克風活過來，聲波湧出（有聲片來了）。四刀硬切：街口 → 舞臺 → 麥克風 → 歌舞隊 → Clawd。",
   "refs": [
    "Harry Beaumont, 1929",
    "1929 MGM one-sheet",
    "A. M. Cassandre",
    "Erté"
   ],
   "refs_zh": [
    "Harry Beaumont, 1929",
    "1929 年米高梅海報",
    "A. M. Cassandre",
    "Erté"
   ]
  },
  {
   "no": 3,
   "year": "1929/30",
   "title": "All Quiet on the Western Front",
   "zh": "西線無戰事",
   "chapter": "C1",
   "t0": 21.25,
   "dur": 3.333,
   "frame_sec": 23.21,
   "style_en": "Kollwitz Anti-war Woodcut",
   "style_zh": "珂勒惠支式反戰木刻",
   "blend_en": [
    "Woodcut",
    "Käthe Kollwitz",
    "German Expressionism",
    "Two-block colour print"
   ],
   "blend_zh": [
    "木刻版畫",
    "凱綏·珂勒惠支",
    "德國表現主義",
    "雙版套印"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "A woodcut after Käthe Kollwitz: big masses of black, white knife-cut contours, rough grain, with Clawd printed from its own orange block. Kollwitz's German anti-war prints of 1921–22 come from the same war and the same grief as the film.",
   "desc_zh": "珂勒惠支式木刻：大塊的黑、刀刻的白輪廓、粗糙木紋，Clawd 用單獨一塊橙色版套印。珂勒惠支 1921–22 年的反戰版畫，和這部片出自同一場戰爭、同一種悲痛。",
   "prompt_en": "Expressionist woodcut after Käthe Kollwitz, *Krieg* (1921-22). 60-70% solid black; white contour cuts 1/300-1/150 of frame width separate forms; faces are white shapes with a few black features; hands large. Figures fill the frame, cropped by its edges. Each cut tapers in and out with chipped edges, is wider the nearer it sits to the light, in slightly uneven bundles. Ink #17130F on paper #E8DFCA; texture is only wood-grain streaks and under-inked speckle (±5%). One colour block (e.g. #D97757) only on the hero the story centres on, flat on its body or clothes, cuts over it; black stays 60%+. Light enters through one opening (window, cloud gap); lamps get a short ring of cuts. The ground under figures stays uncut black. Quiet motion (breathing, a small gesture); slow pans and push-ins. Avoid: grey fog or midtones, even striped hatching, gore.",
   "prompt_zh": "仿凱綏·珂勒惠支《戰爭》組畫（1921–22）的表現主義木刻。畫面六到七成是實黑；形體之間用白色輪廓刀分開，刀寬為畫幅寬的 1/300–1/150；人臉刻成白形，只留幾筆黑五官；手要大。人物佔滿畫面，被畫框裁切。每刀都有尖的進刀收刀和碎木邊，離光越近的刀越寬，刀痕成組排、節奏略不均。墨色 #17130F 印在 #E8DFCA 紙上；紋理只有木紋條和缺墨斑點（±5%）。只有故事圍繞的那個主角套一塊色版（如 #D97757），平鋪在身體或衣服上，刀痕照樣壓在上面，黑仍佔六成以上。光只從一個開口進來（窗、雲縫）；燈只刻一小圈短刀痕。人物腳下的地面留不刻的黑。動作安靜（呼吸、一個小手勢）；慢搖、慢推。避免：灰霧灰調、排刀規整成條紋、血腥。",
   "shots": [
    {
     "cam": "faces",
     "sec": 0.7,
     "en": "Pan along the trench past carved faces: one soldier with his face in his hands, one staring in fear, one asleep.",
     "zh": "沿戰壕橫搖，掃過刻出來的臉：一個雙手捂臉，一個驚恐地看著，一個睡著了。"
    },
    {
     "cam": "poster",
     "sec": 0.4,
     "en": "Tight on a soldier's face under the steel helmet, staring straight out (a nod to the 1930 poster); a slow push in.",
     "zh": "鋼盔下一張直視鏡頭的臉（致敬 1930 年原海報）；慢推。"
    },
    {
     "cam": "clawd",
     "sec": 0.9,
     "en": "Medium: Clawd in a Stahlhelm on the firing step slowly reaches toward the loophole, where a white butterfly sits on a tin; a push in.",
     "zh": "中景：Clawd 戴德軍鋼盔站在射擊臺上，慢慢把手臂伸向射擊孔，孔沿鐵罐上停著一隻白蝴蝶；鏡頭推近。"
    },
    {
     "cam": "butterfly",
     "sec": 0.7,
     "en": "Close on the white butterfly at the loophole, Clawd's orange arm entering from the left; a push in.",
     "zh": "射擊孔邊白蝴蝶特寫，Clawd 的橙色手臂從左邊伸進來；推近。"
    },
    {
     "cam": "field",
     "sec": 0.6,
     "en": "Wide over no-man's land to a cemetery of white crosses under a flare; a ghost column fades in, walking away; a slow pull back.",
     "zh": "大全景：照明彈下的無人地帶和白十字架墓地，幻影士兵的隊列淡入、往遠處走去；緩緩拉遠。"
    }
   ],
   "direction_en": "Clawd plays Paul in a German Stahlhelm. The film is held slow (1.2×) and quiet: the reach starts around beat 3 and takes three beats to stretch out, and the ghost soldiers appear only in the last shot. Four hard cuts go from the faces in the trench to Paul's arm, the butterfly and the field of crosses.",
   "direction_zh": "Clawd 扮保羅，戴德軍鋼盔。整段放慢（1.2 倍）、壓得很靜：第 3 拍前後開始伸手，用三拍慢慢伸到底；幻影士兵只在最後一鏡出現。四刀硬切：戰壕裡的臉 → 保羅的手臂 → 蝴蝶 → 十字架墓地。",
   "refs": [
    "Lewis Milestone, 1930",
    "Käthe Kollwitz, Krieg (1921–22)",
    "1930 Universal poster"
   ],
   "refs_zh": [
    "Lewis Milestone, 1930",
    "Käthe Kollwitz《戰爭》組畫（1921–22）",
    "1930 年 Universal 海報"
   ]
  },
  {
   "no": 4,
   "year": "1930/31",
   "title": "Cimarron",
   "zh": "壯志千秋",
   "chapter": "C1",
   "t0": 24.583,
   "dur": 2.5,
   "frame_sec": 26.053,
   "style_en": "1889 Sepia Albumen Panorama",
   "style_zh": "1889 棕褐蛋白印相全景",
   "blend_en": [
    "Gold-toned albumen print",
    "Frontier panorama photograph",
    "Hand-tinted figure"
   ],
   "blend_zh": [
    "金調色蛋白印相",
    "西部全景老照片",
    "人物手工上色"
   ],
   "dim": "2D·Sepia",
   "render": "2D",
   "desc_en": "A gold-toned albumen panorama of 1889: soft lens, a little pan blur, cream highlights and umber shadows, silver grain; only Clawd is hand-tinted. Cimarron opens on the 1889 land rush, so it is shot as a photograph of that year, keeping the chapter monochrome.",
   "desc_zh": "1889 年的金調色蛋白印相全景：柔焦、輕微的橫向拖影、奶油高光和暖褐暗部、銀鹽顆粒，只有 Clawd 手工上色。片子開場就是 1889 年俄克拉何馬圈地狂奔，用那一年的照片質感來拍，這一章也保持單色。",
   "prompt_en": "A moving 1880s gold-toned albumen photograph. Paint soft-edged flat shapes by brightness: main subjects dark (15-30%), ground 50-60%, sky about 90%; visible hatching and grass tufts (lines ~1/300 of frame width). Then print: grayscale, slight blur (~1/800 of frame width), a faint smear of three horizontal offset copies growing with camera speed, multiply cream #F2DCB4, lift blacks to umber #2E1C0F, blotchy development (±5%), vignette to #785634, per-frame grain (±4%), dust, scratches. Hand-tint only the hero the story centres on (e.g. #D97757) as transparent dye, mask feathered 2-3 px; lamps stay sepia. Wide panorama: the middle band packed with repeated small elements (figures, animals, vehicles; for a lone subject fences, posts, trees), no big plane dominating. Camera: one 4-5 s ease-out pull back from the hero to the panorama. Avoid: hard ink outlines, colour beyond the hero, a flat grey print.",
   "prompt_zh": "會動的 1880 年代金調色蛋白照片。先畫邊緣柔和的平塗形，按亮度分：主體深（15%–30%），地面 50%–60%，天空約 90%；物面和草叢有看得見的排線（線寬約畫幅寬 1/300）。再“印”：轉灰度，輕柔焦（約畫幅寬 1/800），三層橫向錯開的淡影隨運鏡拉長，乘奶油色 #F2DCB4，黑位抬成暖褐 #2E1C0F，顯影不勻（±5%），暗角壓到 #785634，每幀刷新顆粒（±4%），稀疏灰塵劃痕。只給故事圍繞的那個主角手工上色（如 #D97757），像透明染料，蒙版羽化 2–3 像素；燈光仍是棕褐。橫向全景，中間一條帶排滿重複小元素：人物、動物、車輛，題材冷清就用籬笆、木樁、樹；別讓一整塊大面佔滿畫面。天空默認發白。運鏡：從主角近景 4–5 秒緩出拉到全景。避免：硬墨線、主角以外的顏色、乾淨的數碼天空、發灰的印相。",
   "shots": [
    {
     "cam": "pull",
     "sec": 1.5,
     "en": "Starts tight on Clawd riding a black horse at the head of the run and pulls all the way back until the whole rush is in frame: schooners, a coach, a sea of riders in the dust.",
     "zh": "從騎黑馬衝在最前的 Clawd 近景開始，一路拉到全景：篷車、驛站馬車、塵土裡一大片騎手。"
    },
    {
     "cam": "close",
     "sec": 1.0,
     "en": "Cut to Clawd close on horseback: it raises the Colt and fires into the air, the frame jolting with the recoil; a slight push in.",
     "zh": "切到 Clawd 騎馬的近景：舉起左輪朝天開槍，畫面隨著後坐力一震；輕推。"
    }
   ],
   "direction_en": "Clawd is Yancey Cravat in a white Stetson and a neckerchief, riding a black horse at the front. The run plays at 1.1×. The camera first pulls back to show more horses, then one cut to the close shot, where Clawd draws and fires on beat 5.",
   "direction_zh": "Clawd 扮揚西·克拉瓦特：白色寬邊牛仔帽、領巾，騎黑馬衝在最前。整段按 1.1 倍跑。先拉遠看到更多的馬，再一刀切回近景，第 5 拍拔槍朝天開火。",
   "refs": [
    "Wesley Ruggles, 1931",
    "Gold-toned albumen prints, 1880s",
    "Currier & Ives (the flying gallop)"
   ],
   "refs_zh": [
    "Wesley Ruggles, 1931",
    "金調色蛋白照片，1880 年代",
    "Currier & Ives（四蹄騰空的奔馬）"
   ]
  },
  {
   "no": 5,
   "year": "1931/32",
   "title": "Grand Hotel",
   "zh": "大飯店",
   "chapter": "C1",
   "t0": 27.083,
   "dur": 2.5,
   "frame_sec": 28.993,
   "style_en": "MGM Silver B&W 3D Lobby",
   "style_zh": "米高梅銀色黑白 3D 大堂",
   "blend_en": [
    "three.js 3D",
    "MGM silver-screen black and white",
    "Art Deco interiors",
    "Overhead symmetry"
   ],
   "blend_zh": [
    "three.js 三維",
    "米高梅銀色黑白",
    "裝飾藝術室內",
    "俯拍同心構圖"
   ],
   "dim": "3D·B&W",
   "render": "3D",
   "desc_en": "A three.js model of the circular lobby, graded in MGM's silver black and white with Clawd's orange as the only colour. The film's best-known image is the shot straight down the well, galleries closing in rings, so the set is built around it.",
   "desc_zh": "用 three.js 建的圓形大堂，按米高梅的銀色黑白調色，Clawd 的橙是唯一的顏色。這部片最出名的是從頂上筆直往下拍、迴廊一圈圈收進去的鏡頭，整個佈景就按這一鏡來建。",
   "prompt_en": "A real 3D set, by default an Art Deco interior (marble, chrome, chandelier, glossy checkerboard floor); outdoors keep the real setting with glossy surfaces (wet pavement, still water) and symmetrical framing. Ambient occlusion, soft bloom; 1930s studio silver: about 40% deep black, glossy whites near 90%, no washed-out greys. Light falls in shafts from one high source. All neutral grey except the hero the story centres on (e.g. #D97757), at least 1/6 of frame height; warm lamps render white, bloom only around them. Grain (±3%), halation. Signature shot: eye-height wide into a deep symmetrical set, floor and ceiling in frame, floor reflections; then 4-6 s tracks; one overhead on rings, figures as chess pieces. Period figures (heads, hats, limbs) walk routes. References: art director Cedric Gibbons, cinematographer William Daniels. Avoid: walking in place, frame-filling abstract patterns, colour casts.",
   "prompt_zh": "真 3D 場景，默認裝飾藝術風大堂（大理石、鍍鉻、吊燈、亮面棋盤格地面）；室外保留真實場景，表面做出光澤（溼路面、靜水），構圖對稱。環境光遮蔽加柔和輝光，調成 30 年代片廠銀色黑白：約四成畫面深黑，白位亮度約九成，不發灰。光從一個高處光源成束落下。只有故事圍繞的那個主角留色（如 #D97757），至少佔畫面高度六分之一；暖燈渲染成白光，輝光只在燈旁。顆粒（±3%），燈旁光暈。招牌鏡頭：平視大全景，望進對稱縱深，地面和天花同時入畫，地面有倒影；再接 4–6 秒的側向跟拍；俯拍同心圓、人像棋子只用一次。年代人物有頭、帽、四肢，按路線走。對標美術指導 Cedric Gibbons、攝影師 William Daniels。避免：原地踏步、抽象圖案鋪滿畫面、偏色。",
   "shots": [
    {
     "cam": "overhead",
     "sec": 1.1,
     "en": "Straight down the six-gallery light well, the rings closing toward the key tower; the orange bellboy is a single dot crossing the checkerboard marble; a slow push in as the lens narrows.",
     "zh": "從天窗下筆直往下看：六層迴廊一圈圈收向鑰匙塔，橙色門童是棋盤格大理石上唯一的一個點，正走過地面；鏡頭慢慢推近。"
    },
    {
     "cam": "follow",
     "sec": 1.4,
     "en": "Side tracking shot at Clawd's height: it walks with its suitcase, the lobby sliding past, the revolving door turning ahead; the camera eases forward and in.",
     "zh": "貼著 Clawd 身高的側面跟拍：它拎著皮箱往前走，大堂從身後滑過，前方旋轉門在轉；鏡頭邊跟邊往前、往裡靠。"
    }
   ],
   "direction_en": "Clawd is the bellboy in a pillbox cap, carrying a suitcase covered in hotel labels. It really walks, 1.4 m/s at 2.4 strides a second, matched to the distance it covers. The film plays 1:1 with one hard cut at 1.08 s, from the overhead to the tracking shot.",
   "direction_zh": "Clawd 扮門童，戴圓筒小帽，拎一隻貼滿旅館標籤的皮箱。它是真的在走：每秒 1.4 米、2.4 步，步子和位移對得上。整段 1:1 播放，1.08 秒處從俯拍一刀切到側面跟拍。",
   "refs": [
    "Edmund Goulding, 1932",
    "Cedric Gibbons (art direction)",
    "William Daniels (cinematography)"
   ],
   "refs_zh": [
    "Edmund Goulding, 1932",
    "Cedric Gibbons（美術指導）",
    "William Daniels（攝影）"
   ]
  },
  {
   "no": 6,
   "year": "1932/33",
   "title": "Cavalcade",
   "zh": "亂世春秋",
   "chapter": "C1",
   "t0": 29.583,
   "dur": 2.5,
   "frame_sec": 31.493,
   "style_en": "Mucha Art Nouveau Panel",
   "style_zh": "慕夏新藝術裝飾畫",
   "blend_en": [
    "Alphonse Mucha",
    "Colour lithograph",
    "Art Nouveau ornament"
   ],
   "blend_zh": [
    "阿爾豐斯·慕夏",
    "彩色石印",
    "新藝術裝飾紋樣"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A Mucha-style Art Nouveau panel: swelling brown outlines, pastel flats, a mosaic ground and a halo behind the central figure. Cavalcade opens on New Year's Eve 1899 with a family toasting the new century, so the halo is a clock striking twelve.",
   "desc_zh": "慕夏式新藝術裝飾畫：膨脹的褐色輪廓線、粉彩平塗、馬賽克底，中心人物身後一個光環。電影開場就是 1899 年跨年夜一家人舉杯迎接新世紀，所以光環做成敲十二點的鐘面。",
   "prompt_en": "Alphonse Mucha colour lithograph. Brown contours #4B3326, about 1/250 of frame width, doubling on the shadow side (light from upper left), tapered ends; pastel flats, each with a hard-edged darker shadow tone. Palette: cream #F5ECD6 paper/sky, sage #A9B490 foliage/drapery, pale gold #CFA55A halo/ornament, rose #DBA49C skin/flowers; the hero the story centres on in one stronger accent (e.g. #D97757). Wide frame: figure and a big ring-filled halo in the middle third, arched panels either side, behind them a muted-teal (sage plus grey) square-tile mosaic; whiplash vines, local flowers; a bottom band of serif capitals in the user's language, 1/25 of frame height. No plain area over 1/8 of frame. Almond eyes, heavy lids; hair or cloth in three-tone strands. Litho grain, paper mottle, vignette. Slow sway; tilt down to the halo, pull back. Avoid: thin clean lines, saturated colour, empty backgrounds.",
   "prompt_zh": "慕夏式彩色石印。褐色 #4B3326 輪廓線，寬約畫幅寬 1/250，背光側（光默認從左上來）加粗到兩倍，兩端收尖；粉彩平塗，每塊在背光側疊一層深一檔的硬邊色。色板：奶油 #F5ECD6 作紙和天空，鼠尾草綠 #A9B490 作植物衣褶，淡金 #CFA55A 作光環裝飾，玫瑰 #DBA49C 作皮膚和花；故事圍繞的那個主角用一個更濃的強調色（如 #D97757）。橫幅：人物和細環紋大光環居中三分之一，兩側拱格，後面鋪灰青（鼠尾草綠摻灰）方塊馬賽克；鞭線藤蔓和花草；底部一條襯線大寫銘文，用用戶語言，字高約畫面 1/25。留白不超過畫面八分之一。杏仁眼、厚眼瞼；頭髮或衣料三色成束。石版顆粒、紙斑、暗角。慢擺；下搖到光環再拉遠。避免：乾淨細線、飽和色、空蕩背景。",
   "shots": [
    {
     "cam": "clock",
     "sec": 1.1,
     "en": "Tilt down from the CAVALCADE title and the galloping-horse frieze onto the clock halo, pushing in; the hands close on XII and the halo flares on the stroke.",
     "zh": "從 CAVALCADE 標題和奔馬橫飾帶往下搖到鐘面光環並推近；指針合到 XII，敲鐘那一下光環一閃。"
    },
    {
     "cam": "toast",
     "sec": 0.8,
     "en": "Medium on the toast: Clawd in a top hat and white bow tie springs up and raises its coupe while Jane and Robert raise theirs from either side; a slight pull back.",
     "zh": "舉杯中景：戴高禮帽、白領結的 Clawd 一跳，舉起香檳碟，兩側的簡和羅伯特也舉杯；輕拉。"
    },
    {
     "cam": "still",
     "sec": 0.6,
     "en": "Pull back to the whole Mucha panel: glasses raised, rose petals falling, the band 'LONDON · XXXI DECEMBER MDCCCXCIX · A NEW CENTURY' at the foot.",
     "zh": "拉遠到整幅慕夏裝飾畫：三隻杯子舉著，玫瑰花瓣飄落，底部是 LONDON · XXXI DECEMBER MDCCCXCIX · A NEW CENTURY 銘文帶。"
    }
   ],
   "direction_en": "Clawd plays one of the Marryots at the toast, in a silk top hat and white bow tie with a champagne coupe. The clock strikes twelve on beat 3 and the halo flares; the shot cuts straight to the toast, where Clawd hops and raises its glass. Played 1:1: two hard cuts, then a pull-back that settles on the whole poster.",
   "direction_zh": "Clawd 是舉杯的馬里奧特家一員：絲質高禮帽、白領結、手持香檳碟。第 3 拍鐘敲十二點、光環一閃，緊接著切到舉杯，Clawd 一跳把杯子舉起來。1:1 播放，兩刀硬切，最後一個拉遠停在整張海報上。",
   "refs": [
    "Frank Lloyd, 1933",
    "Alphonse Mucha, The Seasons (1896)",
    "Alphonse Mucha, Zodiac (1896)",
    "Fox 1933 poster (the galloping horses)"
   ],
   "refs_zh": [
    "Frank Lloyd, 1933",
    "Alphonse Mucha《四季》（1896）",
    "Alphonse Mucha《黃道十二宮》（1896）",
    "Fox 1933 年海報（奔馬）"
   ]
  },
  {
   "no": 7,
   "year": "1934",
   "title": "It Happened One Night",
   "zh": "一夜風流",
   "chapter": "C1",
   "t0": 32.083,
   "dur": 2.5,
   "frame_sec": 33.993,
   "style_en": "1930s B&W Rubber-hose Cartoon",
   "style_zh": "30 年代黑白橡皮管卡通",
   "blend_en": [
    "Fleischer rubber hose",
    "Cel painting",
    "Silly Symphonies watercolour backgrounds",
    "Projected film wear"
   ],
   "blend_zh": [
    "弗萊舍橡皮管",
    "賽璐璐上色",
    "糊塗交響曲水彩背景",
    "放映膠片磨損"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "A 1934 black-and-white rubber-hose cartoon: thick-thin ink, pie-cut eyes, white gloves, cel shading over grey watercolour backgrounds, with film grain. It is the film's own year, and a road comedy gag suits cartoon timing.",
   "desc_zh": "1934 年的黑白橡皮管卡通：粗細變化的墨線、餅切眼、白手套，賽璐璐平塗疊在灰階水彩背景上，帶膠片顆粒。和電影同一年，公路喜劇的笑點也適合卡通的節奏。",
   "prompt_en": "Early-1930s black-and-white rubber-hose cartoon. Characters: noodle limbs, white gloves, pie-cut eyes, round heads; thick-thin ink #141414 (1/400-1/150 of frame width) swelling away from the light (default upper left); fills pure black and white plus at most one light grey for the hard shadow, gloss on blacks. Backgrounds stay mid-grey (30-80%), never pure black/white: graphite lines left in, grey watercolour washes with pooled edges and granulation, paper grain. Only the hero the story centres on has colour (e.g. #D97757): its whole body, or its one key prop if the hero is human. ±1 px gate weave, grain (±4%), flicker, scratches, dust. Actions anticipate, overshoot, settle: squash on landing, stretch on fast moves, eyes pop when surprised, a camera jolt on hits. References: Fleischer's Betty Boop shorts; Disney's Silly Symphonies backgrounds. Avoid: smooth vector lines, grey characters merging with the background.",
   "prompt_zh": "30 年代初的黑白橡皮管卡通。角色：軟管四肢、白手套、餅切眼、圓腦袋，三到四頭身；墨線 #141414 粗細變化（畫幅寬 1/400–1/150），背光一側變粗（默認光從左上）；角色平塗只用純黑、純白，加至多一種淺灰作硬陰影，黑麵一道高光。背景只用中間灰（明度 30%–80%），不用純黑白：鉛筆線不擦，灰色水彩罩染，邊緣積水有顆粒沉澱。只有故事圍繞的那個主角帶顏色（如 #D97757）：整個身體，主角是人時只給關鍵道具。加 ±1 像素片門抖動、24 fps 顆粒（±4%）、閃爍、劃痕、灰塵。動作都有預備、衝過頭再回落：落地壓扁、快動拉長、吃驚時彈眼，碰撞時鏡頭輕震。對標弗萊舍工作室的 Betty Boop 短片、迪士尼《糊塗交響曲》的背景。避免：光滑矢量線、角色發灰和背景糊在一起。",
   "shots": [
    {
     "cam": "thumb",
     "sec": 0.7,
     "en": "Close on Clawd's gloved thumb and smug face, the empty road behind, a car coming over the rise; a slow push in.",
     "zh": "Clawd 豎起的白手套大拇指和得意的臉，身後是空路，一輛車從坡頂開過來；慢推。"
    },
    {
     "cam": "two",
     "sec": 0.7,
     "en": "Two-shot: Clawd thumbing on the verge, Ellie on the fence rail hitching her skirt up to the calf; a slight pull back.",
     "zh": "雙人鏡頭：Clawd 在路邊豎拇指，艾莉坐在柵欄上把裙襬撩到小腿；輕拉。"
    },
    {
     "cam": "road",
     "sec": 1.1,
     "en": "The payoff, wide: the car skids to a stop between them, the driver's eyes popping out; Clawd's eyes go wide, gloves open, hat jumping; the camera jolts on the stop.",
     "zh": "收尾全景：車在兩人中間急剎，司機眼珠彈出來；Clawd 瞪大眼、張開雙手，帽子跳起；急停那一下鏡頭一震。"
    }
   ],
   "direction_en": "Clawd plays Peter in a grey fedora, loosened striped tie and pencil moustache, with white gloves on its arm tips. Ellie lifts her skirt on beats 3–4; the car skids to a stop on beat 5, the one moment played at 1×, and Clawd's jaw-drop lands on it. Two hard cuts: thumb → two-shot → payoff.",
   "direction_zh": "Clawd 扮彼得：灰色軟呢帽、鬆開的條紋領帶、一撇小鬍子，手臂末端戴白手套。第 3–4 拍艾莉撩裙子，第 5 拍車急剎停下（只有這一下放回 1 倍速），Clawd 的目瞪口呆正好卡在這一下。兩刀硬切：拇指 → 雙人 → 收尾。",
   "refs": [
    "Frank Capra, 1934",
    "Fleischer Studios, Betty Boop (1932–34)",
    "Disney, Silly Symphonies backgrounds",
    "1934 Columbia one-sheet"
   ],
   "refs_zh": [
    "Frank Capra, 1934",
    "弗萊舍工作室的 Betty Boop 短片（1932–34）",
    "迪士尼《糊塗交響曲》的背景",
    "1934 年 Columbia 海報"
   ]
  },
  {
   "no": 8,
   "year": "1935",
   "title": "Mutiny on the Bounty",
   "zh": "叛艦喋血記",
   "chapter": "C1",
   "t0": 34.583,
   "dur": 2.5,
   "frame_sec": 36.493,
   "style_en": "Admiralty Sea Chart Copperplate",
   "style_zh": "海軍部海圖銅版畫",
   "blend_en": [
    "18th-century Admiralty chart",
    "Copperplate engraving",
    "Thin hand colouring",
    "Robert Dodd's aquatint"
   ],
   "blend_zh": [
    "18 世紀海軍部海圖",
    "銅版線刻",
    "手工淡彩",
    "Robert Dodd 的版畫"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An 18th-century Admiralty sea chart engraved in copperplate, with rhumb lines, compass roses, soundings and thin hand colour; the Bounty is a ship vignette on the sheet. The film is a voyage, so the whole film stays on the chart.",
   "desc_zh": "18 世紀英國海軍部海圖的銅版畫：恆向線、羅盤玫瑰、水深數字、手工淡彩，邦蒂號是圖上的一幅船舶插畫。這部片講的是一次航行，所以整段都留在海圖上。",
   "prompt_en": "A late-18th-century copperplate map, default an Admiralty sea chart (inland: a survey map). Fine burin hatching and cross-hatching (lines ~1/1200 of frame width) give all tone; a minimum line width makes small detail darken, not vanish. Ink #1C1610 on laid paper #EFE3C4, light foxing, folds. Thin hand colour: water #9EBCBC along edges, land #B8C08C; the hero the story centres on (e.g. #D97757) is the one strong colour. Rhumb lines from 32-point roses, a graduated border, hachured hills, cartouche, one ornament (e.g. a sea monster), serif lettering. Put the action in an unboxed engraved vignette fading into the chart, filling 60-75% of frame height at the end of the move. Camera: one 5-6 s glide from the whole sheet into the vignette, chart still around it; a dotted route inks itself in. Avoid: cropping the paper, heavy washes, stiff figures.",
   "prompt_zh": "18 世紀末的銅版地圖，默認是英國海軍部海圖（內陸題材換成測繪圖）。明暗全靠刻刀細排線和交叉排線，線寬約畫幅寬的 1/1200；線寬設下限，細小處變暗而不是消失。墨色 #1C1610 印在 #EFE3C4 直紋紙上，帶淡黴斑和摺痕。只上很薄的手工淡彩：沿水邊的海藍 #9EBCBC，陸地 #B8C08C；故事圍繞的那個主角（如 #D97757）是唯一的濃色。32 向羅盤玫瑰拉出恆向線網、刻度邊框、暈滃山形、裝飾圖名框、一個裝飾物（如海怪）、襯線字。情節放進一幅不加邊框的排線插畫，排線向紙面漸隱；推到底時插畫佔畫面高度 60%–75%。運鏡：一個 5–6 秒的鏡頭從整張圖滑進插畫，四周留著地圖；一條虛線路線自己畫出來。避免：切出紙面、濃重水彩、僵硬的人物。",
   "shots": [
    {
     "cam": "chart",
     "sec": 2.5,
     "en": "One continuous move: from the whole chart, with the Bounty sailing her dotted track, the camera glides in to the ship vignette, rhumb lines and roses still around it; on deck Clawd swings the cutlass up and points Bligh away as the launch falls astern and its track to Timor inks itself across the sheet.",
     "zh": "一鏡到底：從整張海圖開始，邦蒂號沿虛線航跡前進，鏡頭滑進圖上的船舶插畫，四周仍是恆向線和羅盤玫瑰；甲板上 Clawd 舉起彎刀、指著布萊讓他下船，小艇落到船尾，駛向帝汶的航跡在圖上一路畫出來。"
    }
   ],
   "direction_en": "Clawd is Fletcher Christian in a bicorne worn athwartships, cutlass in hand. The film never leaves the chart: one glide, no cuts. The cutlass goes up on beat 4 and levels at the launch a moment later with a glint, while the launch drifts astern through the last beats.",
   "direction_zh": "Clawd 扮弗萊徹·克里斯蒂安：橫戴雙角帽、手持彎刀。整段不離開海圖，一個鏡頭滑進去，不切。第 4 拍舉刀，緊接著刀鋒一閃指向小艇；最後幾拍小艇往船尾漂開。",
   "refs": [
    "Frank Lloyd, 1935",
    "Robert Dodd, The Mutineers turning Lieut. Bligh… adrift (1790)",
    "British Admiralty and Cook-voyage charts, 1770s–80s",
    "Thomas Rowlandson"
   ],
   "refs_zh": [
    "Frank Lloyd, 1935",
    "Robert Dodd《叛變者將布萊上尉……放逐海上》（1790）",
    "英國海軍部與庫克航海的海圖，1770–80 年代",
    "Thomas Rowlandson"
   ]
  },
  {
   "no": 9,
   "year": "1936",
   "title": "The Great Ziegfeld",
   "zh": "歌舞大王齊格飛",
   "chapter": "C1",
   "t0": 37.083,
   "dur": 2.5,
   "frame_sec": 38.113,
   "style_en": "Silver B&W 3D Wedding-cake Stage",
   "style_zh": "銀色黑白 3D 螺旋婚禮蛋糕舞臺",
   "blend_en": [
    "three.js 3D",
    "MGM silver black and white",
    "1936 revue spectacle",
    "Ostrich feathers and chiffon"
   ],
   "blend_zh": [
    "three.js 三維",
    "米高梅銀色黑白",
    "1936 年歌舞大場面",
    "鴕鳥羽毛與雪紡"
   ],
   "dim": "3D·B&W",
   "render": "3D",
   "desc_en": "A three.js model of the revolving spiral 'wedding cake' stage in MGM's silver black and white: satin, chiffon and ostrich feathers against deep black, Clawd the only colour. The 175-step spiral of 'A Pretty Girl Is Like a Melody' is the film's famous set piece.",
   "desc_zh": "用 three.js 建的旋轉螺旋“婚禮蛋糕”舞臺，米高梅銀色黑白：緞面、雪紡和鴕鳥羽毛襯在深黑裡，只有 Clawd 是顏色。《A Pretty Girl Is Like a Melody》那座 175 級的螺旋舞臺是這部片的名場面。",
   "prompt_en": "Real 3D stage spectacle in 1930s studio silver: the subject's world built as a revue set on a round tiered platform turning about 3° per second, draped and garlanded; its people become rows of costumed chorus figures with faces and arms. Costumes light satin grey, set mid-grey, pleated curtain backdrop darker, theatre deep black; whites below pure white. Soft front key; brighter rim lights edging satin and feathers near-white. Faint shafts, grain (±3%). All neutral grey except the hero the story centres on (e.g. #D97757); lamps render white. Signature shot: low medium along the tiers, figures 1/4-1/3 of frame height, the hero on the front tier. Then a 3 s curtain rise, a 10 s crane up to a level medium of the hero. Reference: Robert Z. Leonard, *The Great Ziegfeld* (1936). Avoid: flat lighting, faceless cones, fast spinning.",
   "prompt_zh": "真 3D 舞臺大場面，調成 30 年代片廠銀色黑白：把題材的世界搭成圓形分層轉檯上的歌舞佈景，慢慢轉（每秒約 3 度），掛滿垂幔花環；題材裡的人變成一排排穿戲服、有臉有手的合唱隊。灰階：戲服淺緞灰，佈景中灰，褶皺大幕更深，劇場深黑；白色不到純白。正面柔和主光，輪廓光更亮，把緞子和羽毛的邊勾到近白。淡光柱，顆粒（±3%）。只有故事圍繞的那個主角留色（如 #D97757），燈都渲染成白光。招牌鏡頭：貼低的中景沿層臺看過去，人物佔畫面高度四分之一到三分之一，主角在前排。再接帷幕升起（3 秒）、10 秒吊臂上升，落到平視主角的中景。對標 Robert Z. Leonard《歌舞大王齊格飛》（1936）。避免：平均打光、沒臉的錐形人、轉得太快。",
   "shots": [
    {
     "cam": "curtain",
     "sec": 0.9,
     "en": "Low front shot: the chiffon curtain flies up off the revolving cake, revealing tiers of fan-girls with Clawd tiny at the top; the camera tilts up.",
     "zh": "正面低機位：雪紡帷幕從旋轉的蛋糕舞臺上飛起，一層層舉扇的女郎露出來，頂上是小小的 Clawd；鏡頭往上仰。"
    },
    {
     "cam": "rise",
     "sec": 0.8,
     "en": "Crane up the spiral past the feather fans, a white grand piano and the violinists, stopping short of the top.",
     "zh": "沿螺旋吊臂上升，掃過羽毛扇、白色三角鋼琴和小提琴手，停在頂層之下。"
    },
    {
     "cam": "top",
     "sec": 0.8,
     "en": "Near-level medium on Clawd at the summit in an ostrich-feather headdress: it turns to the camera and flings its arms up into a V; a slow push in.",
     "zh": "幾乎平視的中景：頂上的 Clawd 戴鴕鳥羽毛頭飾，轉身面對鏡頭，雙臂甩成 V 字；慢推。"
    }
   ],
   "direction_en": "Clawd is the star at the top of the cake, wearing a rhinestone band with a fountain of ostrich plumes. The scene runs at 1.2×, and the star is saved for the last cut: Clawd turns, hops and throws its arms into the V on beat 5. Two hard cuts link curtain, crane and summit.",
   "direction_zh": "Clawd 是蛋糕頂上的明星：水鑽頭帶上一叢鴕鳥羽毛像噴泉一樣翻落。場景按 1.2 倍跑；明星留到最後一刀才露臉，第 5 拍它轉身、一跳、雙臂甩成 V 字。兩刀硬切連起帷幕、吊臂和頂層。",
   "refs": [
    "Robert Z. Leonard, 1936",
    "Cedric Gibbons and John Harkrider (sets and costumes)",
    "Oliver T. Marsh, Ray June, George Folsey (cinematography)"
   ],
   "refs_zh": [
    "Robert Z. Leonard, 1936",
    "Cedric Gibbons、John Harkrider（佈景與服裝）",
    "Oliver T. Marsh、Ray June、George Folsey（攝影）"
   ]
  },
  {
   "no": 10,
   "year": "1937",
   "title": "The Life of Emile Zola",
   "zh": "左拉傳",
   "chapter": "C1",
   "t0": 39.583,
   "dur": 2.5,
   "frame_sec": 41.053,
   "style_en": "Newsprint Letterpress and Line Engraving",
   "style_zh": "報紙活字印刷 + 線刻插圖",
   "blend_en": [
    "Wood-type headline",
    "Letterpress on newsprint",
    "1890s line engraving"
   ],
   "blend_zh": [
    "木活字大標題",
    "新聞紙活字印刷",
    "1890 年代線刻"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Letterpress newsprint with 1890s line engraving: a wood-type headline, dense columns of lead type, ink spread and under-inking on yellowed paper, figures in hatching. The film's best-known image is L'Aurore's 'J'Accuse…!' front page of 13 January 1898.",
   "desc_zh": "報紙活字印刷加 1890 年代線刻插圖：木活字大標題、密排鉛字正文，泛黃新聞紙上的油墨外擴和缺墨，人物用排線畫。這部片最有名的畫面就是 1898 年 1 月 13 日《震旦報》的《我控訴》頭版。",
   "prompt_en": "1890s newspaper print. Set text as a sharp mask, then print: ~1 px blur and a noisy threshold for ink spread, ragged edges, under-inked patches, faint mirrored show-through. Page grammar: masthead, a wood-type headline across the width (~1/6 of frame height), 3-6 columns of small type in the user's language (~1/80 of frame height) flanking one large engraved picture. Wood-type letters are grained blocks. Everything pictured is a line engraving: hatching lines about 1/1000 of frame width, spaced 1/400, following the form, cross-hatching only in darks, heavier shadow-side contours, paler distance. Warm black #17130F on newsprint #E8E0CC; the hero the story centres on gets one accent plate (e.g. #D97757), offset 1-2 px. Motion: type blocks slam down, bounce and leave their print; one repeating mechanical motion, pages turning. Avoid: clean digital type, smooth grey shading, other colours.",
   "prompt_zh": "1890 年代的報紙印刷。文字先排成清晰墨版再“印”：約 1 像素模糊加噪聲閾值切邊，做出油墨外擴、字邊毛糙、局部缺墨、淡淡的背面鏡像透字。版面語法：報頭、橫貫全寬的木活字大標題（約畫面高度 1/6）、3–6 欄小字正文（用用戶的語言，字高約畫面 1/80）夾著一幅大線刻插圖。木活字一字一塊，帶木紋。所有畫面都是線刻：線寬約畫幅寬 1/1000、間距約 1/400，順著形體走，交叉排線只用在暗部，背光一側輪廓加粗，遠處用淡墨。暖黑 #17130F 印在新聞紙 #E8E0CC 上；故事圍繞的那個主角單獨一塊強調色版（如 #D97757），套印偏 1–2 像素。動起來：活字塊砸下、回彈、留下印跡；一個反覆的機械動作，報紙翻頁。避免：乾淨的數碼字體、平滑灰調、其他顏色。",
   "shots": [
    {
     "cam": "headline",
     "sec": 0.9,
     "en": "Close on the L'Aurore front page dated 13 January 1898: the wood-type letters of 'J'Accuse…!' drop in one by one and the page jolts as the last one lands; a push in.",
     "zh": "《震旦報》頭版特寫（JEUDI 13 JANVIER 1898）：“J'Accuse…!”的木活字一個個砸下來，最後一個落下時整版一震；鏡頭推近。"
    },
    {
     "cam": "clawd",
     "sec": 0.8,
     "en": "Medium on Clawd as Zola in front of the page: it looks up from its newspaper, springs up and thrusts the quill high, a newsboy shouting at right; a slight pull back.",
     "zh": "中景：扮左拉的 Clawd 站在頭版前，從手裡的報紙上抬起頭，一跳，把鵝毛筆高高舉起，右邊報童在叫賣；輕拉。"
    },
    {
     "cam": "press",
     "sec": 0.8,
     "en": "The rotary press running, a printer holding up a wet sheet, papers flying out; the camera pulls back and trucks right.",
     "zh": "輪轉印刷機在轉，印刷工舉起溼報紙，報紙一張張飛出來；鏡頭拉遠並向右移。"
    }
   ],
   "direction_en": "Clawd is Zola in pince-nez, with a quill and that day's paper. The last letter lands on beat 2 and the page jolts; on beat 3 Clawd's head comes up and the quill shoots up. The scene runs at 1.05×, and two hard cuts go headline → Zola → press.",
   "direction_zh": "Clawd 扮左拉：夾鼻眼鏡、鵝毛筆、手裡拿著當天的報紙。第 2 拍最後一個字母落下，整版一震；第 3 拍它從報紙上抬頭，鵝毛筆高高舉起。場景按 1.05 倍跑，兩刀硬切：大標題 → 左拉 → 印刷機。",
   "refs": [
    "William Dieterle, 1937",
    "L'Aurore front page, 13 January 1898",
    "Le Petit Journal and L'Illustration line engravings",
    "Marinoni rotary press"
   ],
   "refs_zh": [
    "William Dieterle, 1937",
    "《震旦報》頭版，1898 年 1 月 13 日",
    "《小日報》與 L'Illustration 的線刻插圖",
    "Marinoni 輪轉印刷機"
   ]
  },
  {
   "no": 11,
   "year": "1938",
   "title": "You Can't Take It with You",
   "zh": "浮生若夢",
   "chapter": "C1",
   "t0": 42.083,
   "dur": 2.5,
   "frame_sec": 42.233,
   "style_en": "WPA Silkscreen Poster",
   "style_zh": "WPA 絲網海報",
   "blend_en": [
    "1930s WPA silkscreen",
    "Split-fountain inks",
    "Six flat opaque inks"
   ],
   "blend_zh": [
    "30 年代 WPA 絲網印",
    "分色漸變",
    "六色不透明平塗油墨"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A 1930s WPA silkscreen poster: six flat opaque inks, split-fountain gradients, slight misregistration on rag paper. The Federal Art Project posters of 1936–39 were American graphic design of the film's own years, and they keep it apart from No. 10's newsprint.",
   "desc_zh": "30 年代 WPA 絲網海報：六色不透明平塗油墨、分色漸變、輕微套印錯位，印在棉漿紙上。1936–39 年聯邦藝術計劃的海報就是這部片同年代的美國平面語言，也和第 10 部的報紙拉開距離。",
   "prompt_en": "A 1936-39 WPA (Federal Art Project) silkscreen poster. Six opaque inks printed light to dark, each later screen cut away around lighter shapes (clouds, sun): cream #F0E2C0 for light, ochre #E0A842 and vermilion #C84A2A for sky and warm planes, teal #22686E for water and shade, the hero's own ink (e.g. #D97757, only on the hero the story centres on), brown keyline #322018 last. Shadows: a darker ink overprinted, never grey. Big areas get split-fountain blends: two inks in 2-3 coarse steps, the middle one their overprint. Screens 1-3 px off register; wandering stencil edges, squeegee streaks, warm rag-paper grain (±5%) on every flat. Figures fill 1/2-2/3 of frame height: big planes, crescent shadows, expressive faces. A bold capital title band, user's language. Slow pushes; screens pop in one by one. Avoid: halftone dots, smooth gradients, clean vector flats.",
   "prompt_zh": "1936–39 年 WPA 聯邦藝術計劃的絲網海報。六色不透明油墨從淺到深套印，後印的版要在不該蓋住的淺色形（雲、太陽、高光）處鏤空：奶油 #F0E2C0 給光和雲，赭 #E0A842、硃紅 #C84A2A 給天空和暖色面，青 #22686E 給水和陰影，主角專用色（如 #D97757，只用在故事圍繞的那個主角身上），最後印深棕描邊 #322018。陰影是深一色疊印，不用灰。大面積用分色漸變：兩色 2–3 級粗臺階，中間一級是兩色疊印。每版套偏 1–3 像素，模版邊緣遊移，刮板拖痕、漏印，平塗上都有暖色棉漿紙紋（±5%）。人物佔畫面高度二分之一到三分之二：大塊面、月牙形暗面、棕色描邊、臉有表情。留一條粗體大寫標題，用用戶的語言。慢推，一版一版彈出來。避免：網點、平滑漸變、乾淨的矢量平塗。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "The whole Vanderhof living room as a poster: Clawd as Grandpa in round glasses plays harmonica in the teal wing chair, Essie dances on pointe in the window, Kolenkhov shouts the count, De Pinna pops out of the cellar hatch; a slight pull back.",
     "zh": "整個凡德霍夫家客廳，像一張海報：Clawd 扮爺爺，戴圓眼鏡坐在青色扶手椅裡吹口琴，埃西在窗前踮腳跳舞，科倫科夫高喊拍子，德皮納從地下室活板門裡探出頭；輕拉。"
    },
    {
     "cam": "harmonica",
     "sec": 0.6,
     "en": "Close on Clawd with glasses and harmonica, notes drifting up, De Pinna at the edge of frame; a push in.",
     "zh": "Clawd 近景：圓眼鏡、口琴，音符往上飄，德皮納在畫面邊上；推近。"
    },
    {
     "cam": "fireworks",
     "sec": 1.1,
     "en": "Back on the room as the cellar fireworks go off: rockets, starbursts and smoke columns fill it; the camera pulls back.",
     "zh": "回到客廳，地下室的煙花炸開：火箭、星爆和煙柱填滿屋子；鏡頭拉遠。"
    }
   ],
   "direction_en": "Clawd is Grandpa Vanderhof: round wire spectacles and a harmonica, crutches leaning on the chair. The whole household keeps doing its own thing at once while the cellar fireworks build through the last shot. Two hard cuts: room → harmonica → fireworks.",
   "direction_zh": "Clawd 扮凡德霍夫爺爺：圓形金屬框眼鏡、口琴，柺杖靠在椅子邊。一屋子人各幹各的，地下室的煙花在最後一鏡裡越炸越大。兩刀硬切：客廳 → 口琴 → 煙花。",
   "refs": [
    "Frank Capra, 1938",
    "WPA Federal Art Project silkscreen posters, 1936–39",
    "1938 Columbia one-sheet"
   ],
   "refs_zh": [
    "Frank Capra, 1938",
    "WPA 聯邦藝術計劃絲網海報，1936–39",
    "1938 年 Columbia 海報"
   ]
  },
  {
   "no": 12,
   "year": "1939",
   "title": "Gone with the Wind",
   "zh": "亂世佳人",
   "chapter": "C2",
   "t0": 44.583,
   "dur": 6.667,
   "frame_sec": 44.983,
   "style_en": "Technicolor Impasto Oil",
   "style_zh": "Technicolor 厚塗油畫",
   "blend_en": [
    "Impasto oil",
    "Palette knife",
    "1939 Technicolor palette",
    "Epic poster painting"
   ],
   "blend_zh": [
    "厚塗油畫",
    "刮刀",
    "1939 年 Technicolor 配色",
    "史詩海報畫"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Impasto oil with palette-knife slabs, ridged paint and Technicolor heat: skies burning from gold to blood red, red earth, black silhouettes. Gone with the Wind is where colour arrives in the film, so Tara at sunset is the first fully saturated frame.",
   "desc_zh": "厚塗油畫：刮刀色塊、顏料堆起的稜，Technicolor 的熱度——從金色燒到血紅的天空、紅土、黑色剪影。全片的色彩從《亂世佳人》開始降臨，第一張滿色畫面就是夕陽下的塔拉。",
   "prompt_en": "Impasto oil in a 1939 Technicolor palette. Palette-knife slabs: long horizontal sky bands (1/15-1/6 of frame width long, about 1/60 tall), shorter strokes following form on land and figures, calm thin areas between; ridges lit from upper left, paint thickest in highlights, canvas weave where thin. Default sunset sky: wine #3A0912, red #A8241A, orange #F27A22, gold #FFD878; ground red-brown #6E2214; warm near-black silhouettes. The hero the story centres on stays a readable warm mid-tone (e.g. #D97757), never a silhouette. Strong backlight, gold rims; in close shots a warm side light on half the face and hands. Epic-poster composition: big dark silhouettes (trees, buildings, rocks, figures) on a low horizon. Lamps as painted flames. Camera: slow push on the wide, low push-in on the hero, crane up to a vista. Avoid: tiled same-size strokes, muddy browns, smooth gradients.",
   "prompt_zh": "1939 年 Technicolor 配色的厚塗油畫。刮刀色塊：天空用長條橫向色帶（長為畫幅寬的 1/15–1/6，厚約 1/60），地面和人物用順形體的短筆觸，之間留出平靜、薄塗的區域；顏料稜受左上方的光，越亮越厚，薄處露布紋。默認是落日天空，從酒紅 #3A0912 經大紅 #A8241A、橙 #F27A22 燒到金 #FFD878；地面紅褐 #6E2214；剪影是帶暖意的近黑；故事圍繞的那個主角保持看得清的暖中間調（如 #D97757），不做成剪影。強逆光，金色輪廓光；近景加一道暖色側光照亮半邊臉和手。構圖像史詩海報：大塊深色剪影（樹、房子、岩石、人物）壓在低地平線上。燈火用油畫火焰。運鏡：全景慢推，低機位推近主角，最後吊臂升起看大景。避免：大小一樣的碎塊鋪滿畫面、髒棕色、平滑漸變。",
   "shots": [
    {
     "cam": "tara",
     "sec": 1.7,
     "en": "Tara in silhouette: the great oak, the white house and cedars black against a sky burning from gold toward blood red; Clawd stands on a red-earth rise holding a radish; a slow push in.",
     "zh": "塔拉剪影全景：大橡樹、白房子和雪松黑壓壓地立在從金色燒向血紅的天空下，Clawd 站在紅土丘上拿著蘿蔔；慢推。"
    },
    {
     "cam": "oath",
     "sec": 1.0,
     "en": "Low push-in against the burning sky: Clawd in a wide straw hat with a green ribbon raises the radish high, backlit with a gold rim.",
     "zh": "壓低地平線推近，背後是燃燒的天空：戴綠緞帶寬簷草帽的 Clawd 把蘿蔔高高舉起，逆光一圈金邊。"
    },
    {
     "cam": "close",
     "sec": 0.4,
     "en": "Close on Clawd's face and hat, the ribbon tails whipping in the wind.",
     "zh": "Clawd 臉和草帽的近景，緞帶尾巴在風裡翻飛。"
    },
    {
     "cam": "fire",
     "sec": 1.5,
     "en": "Atlanta burning: the wagon charges past the flaming warehouse and timber frame, Clawd beside Rhett on the seat, Prissy and Melanie behind; the camera trucks with it as flames sweep the foreground.",
     "zh": "亞特蘭大大火：馬車衝過燃燒的倉庫和木構架，Clawd 坐在瑞德旁邊的駕座上，後面是普莉西和梅蘭妮；鏡頭跟著橫移，前景火舌掠過。"
    },
    {
     "cam": "depot",
     "sec": 2.1,
     "en": "One crane move at the depot: from Clawd among the wounded, up and back until rows of soldiers cover the red ground to the horizon, a torn flag in the yard and Clawd a single orange dot.",
     "zh": "火車站一條升降長鏡頭：從站在傷兵中間的 Clawd 一路升高後退，一排排傷兵鋪滿紅土直到地平線，場中一面破旗，Clawd 只剩一個橙色小點。"
    }
   ],
   "direction_en": "Clawd plays Scarlett in a wide straw hat with a green ribbon, holding a radish. The sky warms from gold to blood red over the first seven beats and the radish goes up on beat 6. Four hard cuts move through Tara, the oath, Atlanta and the depot, and the last five beats are a single crane shot.",
   "direction_zh": "Clawd 扮斯嘉麗：系綠緞帶的寬簷草帽，手裡一根蘿蔔。前 7 拍天空從金色燒到血紅，第 6 拍舉起蘿蔔。四刀硬切走過塔拉、發誓、亞特蘭大和車站，最後 5 拍是一條升降長鏡頭。",
   "refs": [
    "Victor Fleming, 1939",
    "Ernest Haller and Ray Rennahan (Technicolor cinematography)",
    "William Cameron Menzies (production design)",
    "1939 poster"
   ],
   "refs_zh": [
    "Victor Fleming, 1939",
    "Ernest Haller、Ray Rennahan（Technicolor 攝影）",
    "William Cameron Menzies（美術設計）",
    "1939 年海報"
   ]
  },
  {
   "no": 13,
   "year": "1940",
   "title": "Rebecca",
   "zh": "蝴蝶夢",
   "chapter": "C2",
   "t0": 51.25,
   "dur": 2.5,
   "frame_sec": 52.72,
   "style_en": "Gothic Charcoal Drawing",
   "style_zh": "哥特炭筆畫",
   "blend_en": [
    "Vine charcoal",
    "Eraser lifts and smudging",
    "William Kentridge",
    "Gothic suspense"
   ],
   "blend_zh": [
    "藤炭筆",
    "橡皮擦白與手指抹開",
    "William Kentridge",
    "哥特懸疑"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Charcoal on toothed paper: velvet blacks, smudged greys, moonlight and mist lifted out with an eraser. Hitchcock's Rebecca is a black-and-white Gothic dream of a house in mist and then in flames, and charcoal can draw both.",
   "desc_zh": "粗紋紙上的炭筆畫：天鵝絨般的黑、抹開的灰，月光和霧用橡皮擦出來。希區柯克的《蝴蝶夢》是一場黑白哥特夢，莊園先在霧裡、後在火裡，炭筆兩樣都畫得出來。",
   "prompt_en": "Charcoal on toothed paper. Fine tooth (grain ~1/600 of frame width): light pressure catches only the peaks, heavy pressure fills the valleys. Grain only in midtones; velvet blacks, clean-paper lifts. Values: ~60% dark-to-mid grey, 15% deep black in the nearest foreground and largest masses, lights small. Charcoal #121111 on paper #EEECE7. Marks: broken vine lines, side-of-the-stick sweeps (1/60-1/30 of frame width) following form, hatching, finger smudges, eraser lifts for edges and glows; mist is horizontal streaks erased out of a toned area (as in William Kentridge's animated drawings). Only the hero the story centres on is in pastel (e.g. #D97757), laid fairly solid, tooth peeking through, outlined in charcoal; flames stay charcoal-and-paper. Moonlight from above; 2-3 fog bands drift at different speeds. Camera: slow subjective push, foreground parting. Avoid: digital noise, smooth digital glows, grey blacks, empty bright skies.",
   "prompt_zh": "有紋的紙上畫炭筆。紙紋細（顆粒約畫幅寬 1/600）：輕壓只掛紋峰，重壓填滿紋谷。顆粒只在中間調；黑如天鵝絨，擦白是乾淨紙面。明暗：約六成畫面暗到中灰，一成半深黑，在最近的前景和最大塊面上，亮處少。炭色 #121111，紙色 #EEECE7。筆法：藤炭幹筆斷線，炭條側鋒順形體寬掃（寬為畫幅寬 1/60–1/30），排線，手指抹，橡皮擦出邊光和光暈；霧是在鋪好的灰調上橫向擦出來的（如 William Kentridge 的動畫素描）。只有故事圍繞的那個主角用粉彩（如 #D97757），鋪得較實、透點紙紋，炭筆勾邊；火焰保持炭黑和紙白。月光從上方來，兩三層霧帶不同速橫漂。運鏡：主觀鏡頭慢推，前景向兩邊分開。避免：數碼噪點、光滑的數碼光暈、發灰的黑、空亮的天空。",
   "shots": [
    {
     "cam": "drive",
     "sec": 0.9,
     "en": "Subjective push up the overgrown moonlit drive; the trees part on Manderley in the mist, its phantom windows glowing.",
     "zh": "沿著荒草蔓生的月下車道主觀推進，樹林分開，霧裡露出曼德利，幾扇本不該亮的窗亮著燈。"
    },
    {
     "cam": "close",
     "sec": 0.6,
     "en": "Close on Clawd as the second Mrs de Winter, in a velvet headband and cardigan collar, Manderley behind; a slow push in.",
     "zh": "Clawd 近景，扮第二任德溫特夫人：天鵝絨髮箍、開衫翻領，身後是曼德利；慢推。"
    },
    {
     "cam": "house",
     "sec": 0.5,
     "en": "Manderley in moonlight, the camera pushing in as fire breaks out across its windows.",
     "zh": "月光下的曼德利，鏡頭推近，火從一扇扇窗裡燒起來。"
    },
    {
     "cam": "danvers",
     "sec": 0.5,
     "en": "Mrs Danvers standing motionless in the burning window, hands folded, her cold face lit flat; a push in toward her face.",
     "zh": "丹弗斯太太一動不動站在燃燒的窗口，雙手交疊，冷臉被平光照著；鏡頭往她臉上推。"
    }
   ],
   "direction_en": "Clawd plays the second Mrs de Winter in a velvet headband and cardigan, looking up at the house. It stays out of the opening dream push; then three hard cuts go Clawd → the house catching fire → Danvers, and every shot pushes in, so the 2.5 s keep moving toward the fire.",
   "direction_zh": "Clawd 扮第二任德溫特夫人：天鵝絨髮箍、開衫，仰望莊園。開場的夢境推進裡沒有它；接著三刀硬切：Clawd → 起火的莊園 → 丹弗斯太太。每一鏡都在往裡推，2.5 秒一路推向大火。",
   "refs": [
    "Alfred Hitchcock, 1940",
    "George Barnes (cinematography)",
    "William Kentridge (charcoal animation)",
    "Odilon Redon, the noirs"
   ],
   "refs_zh": [
    "Alfred Hitchcock, 1940",
    "George Barnes（攝影）",
    "William Kentridge（炭筆動畫）",
    "Odilon Redon 的「黑色」系列"
   ]
  },
  {
   "no": 14,
   "year": "1941",
   "title": "How Green Was My Valley",
   "zh": "青山翠谷",
   "chapter": "C2",
   "t0": 53.75,
   "dur": 2.5,
   "frame_sec": 53.9,
   "style_en": "Welsh Valley Gouache",
   "style_zh": "威爾士山谷水粉",
   "blend_en": [
    "Opaque gouache",
    "Kyffin Williams palette-knife landscape",
    "1941 poster colours"
   ],
   "blend_zh": [
    "不透明水粉",
    "Kyffin Williams 刮刀風景",
    "1941 原海報配色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Opaque gouache in the 1941 poster's gold and green: solid colour masses, coal-black tips, Kyffin Williams' heavy dark hills and broken contours. Gouache keeps it apart from No. 3's woodcut; the scene is the colliers walking home down the valley, singing.",
   "desc_zh": "用 1941 年原海報金黃加綠配色的不透明水粉：紮實的色塊、煤黑的渣山、Kyffin Williams 式厚重的深色山體和斷續描邊。用水粉而不用木刻，和第 3 部區分開；畫的是礦工唱著歌走下山谷回家。",
   "prompt_en": "Opaque gouache after Welsh painter Kyffin Williams. Directional strokes 1/80-1/40 of frame width, 2-5 times as long, ragged, fully covering; broken dark dashes outline buildings, walls and ridges; dark hills flecked with lighter green or slate knife marks. Palette: sky and light pale gold #F1C565 (not mustard), fields green #86A03F, darks coal #1D1B1E, far hills and water slate #48505E, small accents yellow #F6CF2F, other colours mixed from these; the hero the story centres on #D97757, at least 1/8 of frame height. Fields and sky light (~60%), hills and buildings dark. Warm grade under 10%, vignette, grain. Default low late-afternoon side light: fields lit, ridges rim-lit. From high ground in true perspective, a path leading the eye down; small repeated buildings (or walls, rocks) stepping along slopes. Motion: looping smoke or cloud, a lateral track. Avoid: watercolour transparency, vector fills, mud.",
   "prompt_zh": "仿威爾士畫家 Kyffin Williams 的不透明水粉。方向性筆觸寬為畫幅寬 1/80–1/40，長是寬的 2–5 倍，邊緣毛糙，完全覆蓋；房子、牆、山脊用斷續深色短線勾邊；暗山上刮幾筆亮綠或灰藍。色板：天空和光淡金 #F1C565（別成芥末黃），田野綠 #86A03F，暗部煤黑 #1D1B1E，遠山和水面灰藍 #48505E，小點綴黃 #F6CF2F，其他顏色由這幾色調出；故事圍繞的那個主角用 #D97757，至少佔畫面高八分之一。田野和天空偏亮（約六成），山和房子偏暗。暖色調色不超過一成，暗角，顆粒。默認傍晚低角度側光，田野受光，山脊有輪廓光。從高處真透視取景，一條路把視線引下去；小房子（或牆、石塊）順山坡一級級排開。動起來：煙或雲循環飄動，橫向跟拍。避免：水彩透明感、矢量平塗、發暗發髒。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.0,
     "en": "From the hilltop among the daffodils: Clawd in a flat cap and red scarf sits in the left foreground holding a daffodil, the street of terraces leading down to the pithead and the coal tip; a slow pull back.",
     "zh": "山頂黃水仙叢裡俯瞰：戴平頂帽、系紅圍巾的 Clawd 坐在左前景，手拿一枝黃水仙，排屋街一路通到谷底的井架和煤渣山；慢拉。"
    },
    {
     "cam": "pit",
     "sec": 0.5,
     "en": "Close on the pithead frame and its winding wheel turning, terraces climbing the green slope behind; a locked-off camera.",
     "zh": "井架和轉動的大輪特寫，後面綠坡上爬滿排屋；固定機位。"
    },
    {
     "cam": "street",
     "sec": 1.0,
     "en": "Lateral tracking shot down the terrace street: the colliers walk home in three rows, faces black with coal, singing; Clawd walks in the front row as the houses slide past.",
     "zh": "沿排屋街的橫向跟拍：下工的礦工分三排往下走，臉上是煤灰，邊走邊唱；Clawd 走在前排，房子從身後滑過。"
    }
   ],
   "direction_en": "Clawd plays young Huw in a tweed flat cap and knotted red scarf, with a daffodil. It sits above the valley first, then walks down the street in step with the singing colliers. Two hard cuts: valley → winding wheel → street.",
   "direction_zh": "Clawd 扮少年休：粗花呢平頂帽、打結的紅圍巾、一枝黃水仙。先坐在山頂看山谷，再跟著唱歌的礦工齊步走下街。兩刀硬切：山谷 → 井架大輪 → 街道。",
   "refs": [
    "John Ford, 1941",
    "Arthur C. Miller (cinematography)",
    "Kyffin Williams",
    "1941 poster"
   ],
   "refs_zh": [
    "John Ford, 1941",
    "Arthur C. Miller（攝影）",
    "Kyffin Williams",
    "1941 年海報"
   ]
  },
  {
   "no": 15,
   "year": "1942",
   "title": "Mrs. Miniver",
   "zh": "忠勇之家",
   "chapter": "C2",
   "t0": 56.25,
   "dur": 2.5,
   "frame_sec": 56.4,
   "style_en": "Home Front Stone Lithograph",
   "style_zh": "英國戰時石印海報",
   "blend_en": [
    "Stone lithograph with crayon shadow plate",
    "Frank Newbould and Abram Games WWII posters",
    "Ministry of Information palette"
   ],
   "blend_zh": [
    "石印 + 蠟筆陰影版",
    "Frank Newbould、Abram Games 二戰海報",
    "英國信息部海報配色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A WWII British Home Front lithograph poster: flat brick red, deep green, cream and grey-blue, with a grainy crayon shadow plate. It fits the film's last scene, a village singing in its bombed church while Spitfires pass overhead.",
   "desc_zh": "二戰英國本土戰線的石印海報：磚紅、深綠、奶油、灰藍的有限套色，陰影是石版蠟筆顆粒。配影片結尾：被炸穿屋頂的鄉村教堂裡全村唱詩，噴火式戰機從破洞上方飛過。",
   "prompt_en": "A 1942 British wartime stone-lithograph poster. Simple, strong shapes from three plates, 1-3 px off register: a colour plate with all flat fills; a grey-blue crayon plate darkening every shadow with short slanted stone grain; a green-black key line about 1/500 of frame width around every shape, figures and clouds included. Palette by role: cream #EBDFC2 paper and highlights, grey-blue #8497A6 sky and shadow, brick red #A23F2D and deep green #34503F as accents, at most a quarter of the frame; browns and skin mixed from cream and brick; key #1E2422. Scenes may be full. Airbrushed skies; only the paper grain boils at 12 fps. Pale light bands, angled from the source, cancel the shadow plate. Figures stand frontally. Camera: slow drifts, a tilt up. References: Frank Newbould, Abram Games. Avoid: dot screens, clean vector edges, big saturated fields.",
   "prompt_zh": "做成 1942 年英國戰時的石印海報。造型簡化有力，三版套印，略錯位 1–3 像素：色版承載所有平塗；冷灰藍蠟筆版壓暗每一處陰影，帶短而斜的石紋顆粒（不用網點）；墨綠黑輪廓版給每個形描一圈約畫幅寬 1/500 的線，人物和雲也要描。配色按用途：奶油 #EBDFC2 是紙色和亮部，灰藍 #8497A6 是天空和陰影，磚紅 #A23F2D 和深綠 #34503F 只作點綴，合計不超過畫面四分之一；棕色和膚色由奶油加磚紅調出；輪廓色 #1E2422。場景可以排滿。天空用噴槍漸變，只有紙紋每秒 12 幀跳動。淺色光帶順著光源方向斜落，照到之處陰影版消失。人物正面站立，像海報裡的人。鏡頭慢移帶視差、上搖。對標 Frank Newbould、Abram Games。避免：網點陰影、乾淨的矢量邊、大片飽和色。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Wide down the bombed nave: the village sings from the pews under shafts of sun; Clawd sits in the front pew in a lace-trimmed straw hat with hymn book and red rose, singing. The camera eases back slightly.",
     "zh": "全景，順著被炸的教堂中殿看過去：村民站在長椅間唱詩，陽光成柱照下；Clawd 戴花邊草帽坐在第一排，拿著讚美詩集和紅玫瑰在唱。鏡頭微微後拉。"
    },
    {
     "cam": "close",
     "sec": 0.6,
     "en": "Close on Clawd with the rose: the engines come over, it stops singing and looks up toward the roof. Slight push-in.",
     "zh": "Clawd 和玫瑰的近景：引擎聲傳來，它停下不唱，抬頭看向屋頂。鏡頭輕推。"
    },
    {
     "cam": "roof",
     "sec": 1.1,
     "en": "Looking straight up through the torn roof: snapped rafters frame the sky as a V of Spitfires crosses it. Slow push with a slight roll.",
     "zh": "從教堂裡垂直仰拍屋頂的破洞：斷裂的椽子框住天空，噴火式戰機排成 V 字飛過。鏡頭慢推並略微旋轉。"
    }
   ],
   "direction_en": "Clawd plays Mrs. Miniver: a lace-trimmed straw hat, a hymn book and the red 'Miniver' rose. It sings through the wide shot; on the cut to the close-up it hears the engines and looks up, and the third shot is its view through the hole as the Spitfires pass. Hard cuts, linked by one upward look.",
   "direction_zh": "Clawd 扮米尼弗夫人：花邊草帽、讚美詩集和紅色的「米尼弗夫人」玫瑰。全景裡它在唱詩；切到近景時聽見引擎聲，停下抬頭；第三個鏡頭是它的視線，穿過屋頂破洞看噴火式編隊飛過。三個硬切，靠一個抬頭的動作連起來。",
   "refs": [
    "William Wyler, 1942",
    "Joseph Ruttenberg (cinematography)",
    "Frank Newbould, Your Britain — Fight for it Now (1942)",
    "Abram Games",
    "Mrs. Miniver one-sheet (1942)"
   ],
   "refs_zh": [
    "William Wyler, 1942",
    "Joseph Ruttenberg（攝影）",
    "Frank Newbould《你的英國——現在為它而戰》（1942）",
    "Abram Games",
    "《忠勇之家》海報（1942）"
   ]
  },
  {
   "no": 16,
   "year": "1943",
   "title": "Casablanca",
   "zh": "卡薩布蘭卡",
   "chapter": "C2",
   "t0": 58.75,
   "dur": 5.0,
   "frame_sec": 62.57,
   "style_en": "Studio Glamour Black-and-White",
   "style_zh": "好萊塢片廠柔光黑白",
   "blend_en": [
    "Airbrushed glamour-still portraits",
    "Arthur Edeson studio lighting",
    "Diffusion filter and silver grain"
   ],
   "blend_zh": [
    "噴槍精修劇照人像",
    "Arthur Edeson 片廠布光",
    "柔光鏡與銀鹽顆粒"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "The film's own look, Arthur Edeson's studio black-and-white, painted as a retouched glamour still: rich greys, soft-focus close-ups with catchlights, venetian-blind shadows, light shafts in smoke and fog. Clawd, as Rick, is the only colour.",
   "desc_zh": "影片本身的樣子：Arthur Edeson 的片廠黑白，畫成精修劇照：帶眼神光的柔焦特寫、百葉窗投影、煙霧裡的光柱。扮裡克的 Clawd 是唯一的顏色。",
   "prompt_en": "1940s Hollywood studio black-and-white, painted like a retouched glamour still. Forms: smooth airbrushed tone blocks. Faces: short key (light on the face's far side from camera; the near cheek in shadow, holding a Rembrandt triangle of light), two catchlights per eye. Slatted shadows from anything at hand (blinds, railings, branches) fall diagonally across surfaces; light shafts show only in smoke or fog. Values: 30-40% of the frame deep black, whites small and glowing; outdoor skies mid-dark. Grade: diffusion glow, an S-curve, fine grain (±3%), soft vignette, faint flicker; fog stays local. Only the hero the story centres on keeps colour, on its body or costume (e.g. #D97757); skin and lamps stay grey. Camera: a long glide, a push to a face, a pull-back into fog. References: cinematographer Arthur Edeson (*Casablanca*, Michael Curtiz, 1942). Avoid: flat lighting, grey haze, stiff busts.",
   "prompt_zh": "40 年代好萊塢片廠黑白，畫成精修劇照。形體是邊緣乾淨的噴槍明暗塊。人臉用短光位：主光照亮離鏡頭遠的那半邊臉，靠近鏡頭的臉頰落在暗部，留一塊倫勃朗三角光；每隻眼兩個眼神光。條狀影子藉手邊的東西（百葉窗、欄杆、樹枝），斜落在物面上；光柱只在煙霧飄過處顯形。明暗：三到四成畫面是深黑，白色面積小而發光；外景天空中暗灰。調色：輕柔光溢出、S 曲線、細顆粒（±3%）、柔暗角、輕微閃爍；霧只在局部。只有故事圍繞的那個主角的身體或衣服保留顏色（如 #D97757），皮膚和燈光都是灰階。鏡頭：長運鏡，推向一張臉，再拉遠退進霧裡。對標攝影師 Arthur Edeson（《卡薩布蘭卡》，Michael Curtiz，1942）。避免：平光、整片灰霧、僵硬的胸像。",
   "shots": [
    {
     "cam": "cafe",
     "sec": 2.5,
     "en": "One travelling move through Rick's Café: past fans and smoke to Sam at the piano with Ilsa leaning on it, a push toward her soft-focus face as the tear rises, then right across the room to Clawd at its table in a bow tie, raising the champagne glass.",
     "zh": "一條運鏡穿過裡克的咖啡館：越過吊扇和煙霧滑到彈琴的薩姆和靠在琴上的伊爾莎，推向她淚光漸起的柔焦臉，再橫移過整個房間，落到桌邊繫著領結的 Clawd，它舉起香檳杯。"
    },
    {
     "cam": "airport",
     "sec": 2.5,
     "en": "Hard cut to the foggy airfield: close on Clawd under the fedora with its collar up, a glance back, then a long pull-back to Ilsa, Renault and the Electra with its propellers turning in the fog.",
     "zh": "硬切到霧中機場：Clawd 戴軟呢帽、豎著風衣領的近景，它回頭一瞥；鏡頭長長地拉遠，露出伊爾莎、雷諾上尉和霧裡螺旋槳轉動的 Electra 客機。"
    }
   ],
   "direction_en": "Clawd plays Rick: bow tie and champagne coupe in the café, fedora and turned-up trench collar at the airport. The café is one unbroken camera move ending on its toast, 'Here's looking at you, kid'; the single hard cut at the halfway beat jumps to the airport, where a glance back and a long pull-back close the scene.",
   "direction_zh": "Clawd 扮裡克：咖啡館裡是領結和香檳碟杯，機場上是軟呢帽和豎起的風衣領。咖啡館是一條不斷的運鏡，收在它舉杯（\"Here's looking at you, kid\"）；正中那一拍是全段唯一的硬切，跳到機場，一個回頭加一次長拉遠收尾。",
   "refs": [
    "Michael Curtiz, 1942",
    "Arthur Edeson (cinematography)",
    "Casablanca one-sheet (1942)"
   ],
   "refs_zh": [
    "Michael Curtiz, 1942",
    "Arthur Edeson（攝影）",
    "《卡薩布蘭卡》海報（1942）"
   ]
  },
  {
   "no": 17,
   "year": "1944",
   "title": "Going My Way",
   "zh": "與我同行",
   "chapter": "C2",
   "t0": 63.75,
   "dur": 2.5,
   "frame_sec": 64.78,
   "style_en": "Backlit Gothic Stained Glass",
   "style_zh": "逆光哥特彩色玻璃窗",
   "blend_en": [
    "Leaded pot-metal glass with grisaille",
    "Chartres blue quarries",
    "Harry Clarke jewel colour"
   ],
   "blend_zh": [
    "鉛條拼色玻璃 + 灰調描繪",
    "沙特爾藍菱形格",
    "Harry Clarke 寶石色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Backlit Gothic stained glass: leaded pot-metal pieces with grisaille-painted faces, Chartres blue, ruby borders, and coloured light pooling on the church floor. Father O'Malley's boys' choir is set into the window under a gold star for 'Swinging on a Star'.",
   "desc_zh": "逆光的哥特彩色玻璃：鉛條拼起的色玻璃、灰調描出的人臉、沙特爾藍和寶石紅邊框，彩光灑在教堂地上。奧馬利神父和唱詩班嵌在窗裡，頭頂是金色星章。",
   "prompt_en": "A backlit Gothic stained-glass window filling 80-90% of frame height and ~60% of width, neighbours glowing at edges. Every shape is cut glass: lightness varied ±8% per piece, streaks, seed bubbles, a brown edge mat, black lead (about 1/250 of frame width). Sky and empty ground: diamond quarries (about 1/30 of frame width); the border is ruby with beads. The main figure is at least half the window's height, in dark-brown grisaille line. Palette by role: background cobalt #1B3F9E, border ruby #B3121F, highlights gold #E3A526, lead #16161A; skin pale amber; scenery deep greens. Only the hero the story centres on is orange glass (e.g. #D97757). Bright glass blooms into the leads; coloured light spills onto floor and sill. Camera: tilt down, pan, settle on the pooled light. References: Chartres Cathedral; Harry Clarke. Avoid: flat fills, random cuts, dark empty wall.",
   "prompt_zh": "逆光的哥特彩窗，佔畫面高度八到九成、寬度約六成，兩邊露出相鄰發光的窗。每個形狀是一塊切好的玻璃：每塊明度浮動約 8%，有流紋氣泡和褐色內描邊，外壓黑鉛條（寬約畫幅寬 1/250）。天空和空地切成菱形格（每格約畫幅寬 1/30）；邊框是帶圓珠的寶石紅。主要人物至少佔窗高一半，用尖細的深褐線描臉和衣褶。配色按用途：背景鈷藍 #1B3F9E，邊框寶石紅 #B3121F，高光金 #E3A526，鉛條 #16161A；皮膚淡琥珀；景物用深綠、青綠。只有故事圍繞的那個主角是橙色玻璃（如 #D97757）。亮玻璃光暈吃進鉛條；彩光落在地面和窗臺上。鏡頭：下搖、橫搖，落到光斑上。對標沙特爾大教堂、Harry Clarke。避免：平塗、隨意切割、窗四周大片暗牆。",
   "shots": [
    {
     "cam": "star",
     "sec": 1.3,
     "en": "Starts on the gold star medallion and the SWINGING ON A STAR banderole, then tilts down the lancet onto Clawd as Father O'Malley, conducting the glass boys' choir.",
     "zh": "從金色八角星章和「SWINGING ON A STAR」飄帶開始，沿尖拱窗往下搖，落到扮奧馬利神父的 Clawd，它在玻璃裡指揮男孩唱詩班。"
    },
    {
     "cam": "choir",
     "sec": 0.6,
     "en": "Medium on the glass choir: boys in red cassocks and surplices singing, the camera panning right past Clawd's baton arm.",
     "zh": "玻璃唱詩班的中景：穿紅袍白衣的男孩們在唱，鏡頭向右橫搖，掃過 Clawd 舉指揮棒的手。"
    },
    {
     "cam": "nave",
     "sec": 0.6,
     "en": "Cut down into the nave: the window's colours pooled on the marble aisle between the pews, altar candles lit; the camera tilts down toward the floor.",
     "zh": "切到教堂中殿：彩窗的顏色灑在長椅之間的大理石過道上，祭壇蠟燭亮著；鏡頭往地面下搖。"
    }
   ],
   "direction_en": "Clawd plays Father O'Malley inside the glass, its body cut from the warmest terracotta glass, with a straw boater, Roman collar, baton and songbook. It conducts on the beat while the boys' mouths open and close out of step. One tilt carries us from the star to Clawd, then hard cuts go to the choir and down to the coloured light on the floor. Runs 1.8× fast.",
   "direction_zh": "Clawd 在玻璃畫裡扮奧馬利神父：身體是最暖的陶土色玻璃，戴草帽和羅馬領，拿指揮棒和歌本。它跟著拍子指揮，男孩們的口型各自錯開。一個下搖從星章落到 Clawd，再硬切到唱詩班，最後落到地上的彩光。表演 1.8 倍速。",
   "refs": [
    "Leo McCarey, 1944",
    "Going My Way one-sheet (1944)",
    "Chartres Cathedral glass",
    "Harry Clarke"
   ],
   "refs_zh": [
    "Leo McCarey, 1944",
    "《與我同行》海報（1944）",
    "沙特爾大教堂彩色玻璃",
    "Harry Clarke"
   ]
  },
  {
   "no": 18,
   "year": "1945",
   "title": "The Lost Weekend",
   "zh": "失去的週末",
   "chapter": "C2",
   "t0": 66.25,
   "dur": 2.5,
   "frame_sec": 67.28,
   "style_en": "Typewriter Character Art",
   "style_zh": "打字機字符畫",
   "blend_en": [
    "Typewriter art with overstrikes",
    "Paul Smith and Flora Stacey",
    "John F. Seitz hard-light noir"
   ],
   "blend_zh": [
    "疊打的打字機字符畫",
    "Paul Smith、Flora Stacey",
    "John F. Seitz 硬光黑白"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "The picture is typed: monospaced characters on a pica grid, grey built from character density and overstrikes, uneven ribbon ink on bond paper. Don Birnam lugs his typewriter to the pawnshops, so his own machine types the street; Clawd is struck in orange ribbon.",
   "desc_zh": "畫面是打出來的：等寬字符落在 pica 網格上，灰階靠字符疏密和疊打，色帶墨色不勻。唐抱著打字機去當鋪，於是整條街由打字機打出；Clawd 用橙色色帶打。",
   "prompt_en": "Type every image: one bold monospaced glyph per keystroke, fixed grid, cells 1/150 of frame width wide, twice as tall. Strike 85-95% of cells; bare paper only for highlights. Grey from a key ladder (light . : -, mid = + o, dark X # M); darks (about 30%) are overstrikes like M#. Shapes read as crisp-edged fields, clear silhouettes. Each material repeats its own keys (e.g. I H verticals, _| courses, ~ water). Signs stay legible. Uneven ribbon: half-inked strikes, a few keys always high or low. Paper #EBE6DA, ink #1D1C21; only the hero the story centres on, at least 1/3 of frame height, is struck in red-orange #D4704F, its shadow black. Hard sidelight casts long, crisp, dense shadows. The picture types itself within the first second, then holds. Reference: Paul Smith's typewriter art. Avoid: sparse frames, shapeless streaks.",
   "prompt_zh": "所有畫面都用打字機字符打出來：等寬粗體字逐個敲，落在固定網格上，格寬約畫幅寬 1/150、格高是格寬兩倍。85%–95% 的格子都要打字，只有最亮的光留紙白。灰階靠字鍵分級（淺 . : -，中 = + o，深 X # M），暗部約佔三成，用 M# 這樣的疊打。形體靠邊界清楚的字塊和剪影讀出。每種材質重複自己的字鍵（如豎向結構 I H，磚縫 _|，水 ~）。招牌或說明要打得能讀。色帶墨色不勻：半邊缺墨，幾個鍵總是偏高或偏低。紙 #EBE6DA，墨 #1D1C21；只有故事圍繞的那個主角用紅橙色帶 #D4704F 打，至少佔畫面高度三分之一，影子仍是黑的。硬側光投出邊緣清楚的密集長影。畫面在第一秒內打完，然後停住。對標 Paul Smith 的打字機畫。避免：稀疏空白、看不出形的橫向字條。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.3,
     "en": "Wide one-point view under the Third Avenue El: the street types itself onto the page row by row while Clawd, in a fedora, walks with the typewriter in hand; the camera eases back.",
     "zh": "第三大道高架鐵下的一點透視全景：街景一行行打到紙上，戴軟呢帽的 Clawd 提著打字機往前走；鏡頭微微後拉。"
    },
    {
     "cam": "close",
     "sec": 0.6,
     "en": "Close on Clawd: typed hat, eyes and the grey typewriter at its side, girders behind; slow push-in.",
     "zh": "Clawd 近景：字符打出的帽子、眼睛和身邊灰色的打字機，背後是鋼樑；鏡頭慢推。"
    },
    {
     "cam": "pawn",
     "sec": 0.6,
     "en": "Insert on J. GOLDMAN's LOANS sign in typed block letters, the CLOSED card hanging below; slow push-in.",
     "zh": "J. GOLDMAN 的 LOANS 當鋪招牌特寫，字母由字符拼成，下面掛著 CLOSED 牌；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Don Birnam: a typed fedora, the typewriter he hopes to pawn, legs stepping on alternate frames. The street appears around it as if being typed; then a close-up and the CLOSED sign land the joke in two quick hard cuts. Runs 1.8× fast to fit the slot.",
   "direction_zh": "Clawd 扮唐·伯南：字符打出的軟呢帽，提著想拿去當掉的打字機，四條腿逐幀交替邁步。街道像被打字機打出來一樣在它身邊出現；接著兩個快速硬切，近景和 CLOSED 牌，把「當鋪關門」交代完。表演 1.8 倍速。",
   "refs": [
    "Billy Wilder, 1945",
    "John F. Seitz (cinematography)",
    "The Lost Weekend one-sheet (1945)",
    "Paul Smith (typewriter art)",
    "Flora Stacey"
   ],
   "refs_zh": [
    "Billy Wilder, 1945",
    "John F. Seitz（攝影）",
    "《失去的週末》海報（1945）",
    "Paul Smith（打字機畫）",
    "Flora Stacey"
   ]
  },
  {
   "no": 19,
   "year": "1946",
   "title": "The Best Years of Our Lives",
   "zh": "黃金時代",
   "chapter": "C2",
   "t0": 68.75,
   "dur": 2.5,
   "frame_sec": 68.9,
   "style_en": "Picture-Magazine Halftone Spread",
   "style_zh": "畫報新聞攝影半調跨頁",
   "blend_en": [
    "Coarse 45° halftone",
    "Gregg Toland deep focus",
    "1946 picture-magazine layout",
    "Spot-orange plate"
   ],
   "blend_zh": [
    "45° 粗網點半調",
    "Gregg Toland 深焦",
    "1946 年畫報跨頁版式",
    "專色橙版"
   ],
   "dim": "2.5D·B&W",
   "render": "2.5D",
   "desc_en": "A 1946 picture-magazine news photo printed in coarse black halftone on coated stock, with the gutter fold and an overprinted caption. Deep-focus rows of stripped B-17s run to the horizon; Clawd is the only colour, on its own spot-orange plate.",
   "desc_zh": "1946 年畫報的新聞攝影跨頁：銅版紙上的粗黑網點、中縫摺痕、疊印的圖片說明。深焦裡拆光的 B-17 排到地平線；Clawd 單獨印在專色橙版上，是唯一的顏色。",
   "prompt_en": "Each frame is a 1946 picture-magazine photo spread. Render the scene as a grey photo (3D or painted): low sun, long shadows, deep focus (near and far both sharp). The photo bleeds across both pages, crossed by a soft vertical gutter crease. Print as a 45° black halftone, dot pitch about 1/250 of frame width, ink #1A1A1A on off-white coated stock #ECE6D8. A short black headline and caption sit in a quiet area. Only the hero the story centres on, at least 1/4 of frame height, prints on its own spot-orange plate (e.g. #D97757) at another angle, 2-3 px off, black only in its deepest shadows. Camera: walk in, push to a detail, pull back to reveal an open magazine. References: cinematographer Gregg Toland; *Life* post-war photo essays. Avoid: the gutter cutting the hero, coarse dots that break the photo.",
   "prompt_zh": "每一幀當成 1946 年畫報的新聞攝影跨頁。先把場景按照片渲染成灰調（3D 或手繪都行）：低角度太陽、長影子、深焦，近處和地平線一樣清楚。照片滿版跨過兩頁，豎向中縫摺痕從中間穿過，帶一點陰影。再印成 45° 黑色網點，間距約畫幅寬 1/250，米白銅版紙 #ECE6D8，墨 #1A1A1A，略有擴墨。從第一鏡起，在安靜的區域疊印一小塊黑色標題和圖說。只有故事圍繞的那個主角走專色橙版（如 #D97757），換一個網角，錯版 2–3 像素，黑版只留在它最深的暗部；主角至少佔畫面高度四分之一。鏡頭：走進全景，推進一個細節，再拉遠，照片縮成一本攤開的雜誌。對標攝影師 Gregg Toland、《生活》雜誌戰後攝影專題。避免：中縫切過主角，網點粗到照片碎掉。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Low deep-focus wide in the boneyard: Clawd, in a garrison cap and fleece collar, walks under a stripped B-17's wing, stops and looks up at the glass nose; the camera trucks right and pushes in.",
     "zh": "低機位深焦全景，飛機墳場：戴船形帽、豎著羊毛領的 Clawd 走到一架拆光的 B-17 機翼下，停步，抬頭看玻璃機頭；鏡頭右移並推近。"
    },
    {
     "cam": "nose",
     "sec": 0.8,
     "en": "Inside the bombardier's glazed nose, looking out over the rows of bombers to the mountains, Clawd at the left edge; slow push-in.",
     "zh": "轟炸員的玻璃機頭艙裡往外看，一排排轟炸機伸向遠山，Clawd 在畫面左邊緣；鏡頭慢推。"
    },
    {
     "cam": "spread",
     "sec": 0.8,
     "en": "Pull back: the photo shrinks into an open magazine, GRAVEYARD OF THE FORTRESSES, lying on a dark desk.",
     "zh": "拉遠：照片縮進一本攤開的雜誌，標題 GRAVEYARD OF THE FORTRESSES，放在深色桌面上。"
    }
   ],
   "direction_en": "Clawd plays Fred Derry: captain's garrison cap and B-3 sheepskin collar. It walks the corridor of bombers, stops on the beat and looks up; we cut inside the nose it is looking at, then pull back to reveal the whole scene as a page in a 1946 magazine. Two hard cuts, the last shot one continuous pull-back.",
   "direction_zh": "Clawd 扮弗雷德：上尉的船形帽和 B-3 飛行夾克的羊毛領。它沿著轟炸機走廊走，踩著拍子停下抬頭；切進它望著的機頭艙，再一路拉遠，原來整個畫面是 1946 年雜誌上的一頁。兩個硬切，最後一鏡是一次連續的拉遠。",
   "refs": [
    "William Wyler, 1946",
    "Gregg Toland (cinematography)",
    "Life magazine post-war photo essays",
    "The Best Years of Our Lives one-sheet (1946)"
   ],
   "refs_zh": [
    "William Wyler, 1946",
    "Gregg Toland（攝影）",
    "《生活》雜誌戰後攝影專題",
    "《黃金時代》海報（1946）"
   ]
  },
  {
   "no": 20,
   "year": "1947",
   "title": "Gentleman's Agreement",
   "zh": "君子協定",
   "chapter": "C2",
   "t0": 71.25,
   "dur": 2.5,
   "frame_sec": 72.28,
   "style_en": "1940s Graphite Magazine Illustration",
   "style_zh": "40 年代雜誌鉛筆插畫",
   "blend_en": [
    "Graphite hatching and rubbed tone",
    "Al Parker and Robert Fawcett",
    "Coloured-pencil subject"
   ],
   "blend_zh": [
    "石墨排線與擦抹",
    "Al Parker、Robert Fawcett",
    "彩色鉛筆主體"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Graphite pencil in the manner of 1940s magazine illustration: construction lines, near-parallel hatching passes, rubbed darks and eraser lifts on toothy paper. The drawing builds itself around a polite refusal at a hotel desk; Clawd alone is in coloured pencil.",
   "desc_zh": "40 年代雜誌插畫式的石墨鉛筆：先打構圖線，再一遍遍平行排線，擦抹暗部、橡皮提亮。畫面圍繞酒店前臺一次客氣的拒絕逐步畫出，只有 Clawd 是彩色鉛筆。",
   "prompt_en": "Graphite pencil like a 1940s magazine illustration, finished and controlled. The drawing builds in the first 1-1.5 s, then holds: faint perspective rays and head ovals, pressure-tapered contours (about 1/600 of frame width) overshooting at corners, then 1-4 near-parallel hatching passes (more for darker), about 1/300 of frame width apart, following the form, then rubbed tone and eraser lifts. The finished frame is toned nearly edge to edge: setting fully drawn in mid-greys, about 15% dark accents, only the outer tenth fading to loose margins. Paper #F2EEE5 with a light tooth; lead #2C2B2E. Only the hero the story centres on wears coloured pencil (e.g. #D97757) on its clothing; skin stays graphite. Faces carry the drama. Camera: a slow ease out, then cuts to close-ups. References: illustrators Al Parker and Robert Fawcett. Avoid: cross-hatch grids, scribbly sketching, a near-empty page.",
   "prompt_zh": "用石墨鉛筆畫成 40 年代雜誌插畫，畫得完整、有控制。畫面在前 1–1.5 秒內畫成，然後停住：先淡淡的透視線和頭部橢圓，再畫兩頭輕中間重、轉角出頭的輪廓（寬約畫幅寬 1/600），然後一到四遍近乎平行的排線（遍數越多越暗），間距約畫幅寬 1/300，順著形體走，再擦抹出平滑的過渡，用橡皮提亮。完成的畫面幾乎鋪滿：環境和背景都畫充分，以中灰為主，深色約佔一成半，只有最外一圈約十分之一淡成沒畫完的邊角。紙 #F2EEE5 帶輕齒紋，鉛色 #2C2B2E。只有故事圍繞的那個主角的衣服用彩鉛（如 #D97757），皮膚仍是鉛筆灰。戲在臉上。鏡頭：緩緩拉遠，再切特寫。對標插畫家 Al Parker、Robert Fawcett。避免：交叉網格、潦草速寫感、大片空白紙面。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.1,
     "en": "Wide on the hotel lobby being drawn as we watch, from construction lines to hatching: Clawd, in a PRESS-card fedora, holds its notepad up to the front desk; the camera eases back.",
     "zh": "酒店大堂全景，畫面當場被畫出來，從構圖線到排線：戴著插 PRESS 卡軟呢帽的 Clawd 把採訪本舉到前臺；鏡頭微微後拉。"
    },
    {
     "cam": "clerk",
     "sec": 0.8,
     "en": "Push in from the manager to his close-up: the slight bow, the smile, the eyes that don't smile, every key still on the rack behind him.",
     "zh": "從前臺經理推到他的特寫：微微欠身、微笑，眼睛卻不笑，身後鑰匙架上每把鑰匙都還掛著。"
    },
    {
     "cam": "lady",
     "sec": 0.7,
     "en": "Locked-off medium on the lady in the fox stole by the lift, her eyes turned back toward Clawd.",
     "zh": "固定機位中景：電梯旁披狐皮圍脖的女士，眼睛回頭瞟向 Clawd。"
    }
   ],
   "direction_en": "Clawd plays Phil Green: a fedora with a PRESS card, a spiral pad and a pencil, standing still at the desk. The first shot is the drawing itself appearing around it; then two hard cuts to the witnesses carry the meaning, the manager's polite refusal and the lady's sideways look. Little moves; the beats land on the cuts. Runs 1.8× fast.",
   "direction_zh": "Clawd 扮記者菲爾：插 PRESS 卡的軟呢帽、採訪本和鉛筆，站在前臺不動。第一鏡是畫面在它身邊被畫出來；接著兩個硬切給旁觀者，經理客氣的拒絕和女士斜過來的目光，意思全在這兩張臉上。拍點落在剪切上。表演 1.8 倍速。",
   "refs": [
    "Elia Kazan, 1947",
    "Gentleman's Agreement one-sheet (1947)",
    "Al Parker",
    "Robert Fawcett"
   ],
   "refs_zh": [
    "Elia Kazan, 1947",
    "《君子協定》海報（1947）",
    "Al Parker",
    "Robert Fawcett"
   ]
  },
  {
   "no": 21,
   "year": "1948",
   "title": "Hamlet",
   "zh": "王子復仇記",
   "chapter": "C2",
   "t0": 73.75,
   "dur": 2.5,
   "frame_sec": 75.66,
   "style_en": "Deep-Focus Fog Castle, 3D B&W",
   "style_zh": "黑白 3D 霧中城堡",
   "blend_en": [
    "three.js 3D with volumetric fog",
    "Desmond Dickinson deep-focus black-and-white",
    "Roger Furse bare Romanesque sets"
   ],
   "blend_zh": [
    "three.js 3D + 體積霧",
    "Desmond Dickinson 深焦黑白",
    "Roger Furse 光禿的羅馬式佈景"
   ],
   "dim": "3D·B&W",
   "render": "3D",
   "desc_en": "A real-time 3D Elsinore in high-contrast deep-focus black-and-white: volumetric fog, wet stone, swells breaking into lace foam, silver grain. It follows Olivier's castle, foggy battlements and sea rock; Clawd is the only colour, lifting Yorick's skull.",
   "desc_zh": "實時 3D 的艾爾西諾，高反差深焦黑白：體積霧、溼石頭、碎成蕾絲白沫的海浪、銀鹽顆粒。照奧利維耶片中的城堡、霧中城垛和礁石來拍；Clawd 是唯一的顏色。",
   "prompt_en": "A real 3D scene in late-1940s deep-focus black-and-white. Built forms: bare masonry, block by block, bevelled, staggered (Romanesque arches only where the setting has them); wet surfaces dark and glossy. Soft overcast light, no hard shadows: dark masses against a silver sky. Low fog fills the lower third; the far background ends at 60-70% grey, the midground sharp; a bright patch behind cloud throws faint shafts. Water, if any: layered swells, lace foam, misty spray. Post: ambient occlusion, gentle bloom, high-contrast silver grade (true blacks, unclipped whites), grain (±3%), faint flicker. Only the hero the story centres on keeps its colour (e.g. #D97757); every light source stays grey. Camera: slow drift in, a track along a high edge, a low angle on the hero. Reference: Laurence Olivier, *Hamlet* (1948). Avoid: hard sunlit shadows, white-out fog, tiled textures.",
   "prompt_zh": "真 3D 場景，40 年代末的深焦黑白。建築是裸露的砌體，逐塊砌出，帶倒角和錯縫（場景本有這類建築時才用羅馬式半圓拱）；溼的表面發黑發亮。陰天柔光，沒有硬投影：深色實體襯著銀灰天空。高度霧貼著畫面下三分之一，成片裡遠景是 60%–70% 灰，中景清晰；雲後亮天透出淡淡光柱。有水時：多層湧浪、蕾絲般的白沫、礁石上的水霧。後期：環境光遮蔽、輕輝光、高反差銀色調色（有真黑，白不過曝），顆粒 ±3%，輕微閃爍。只有故事圍繞的那個主角保留顏色（如 #D97757），所有光源都是灰的。鏡頭：慢慢漂近，沿高處橫移，低機位仰拍主角。對標 Laurence Olivier《哈姆雷特》（1948）。避免：晴天硬影子、霧糊成一片白、貼圖平鋪。",
   "shots": [
    {
     "cam": "wide",
     "sec": 0.7,
     "en": "Wide from the sea: Elsinore on its headland over the breaking surf, Clawd a tiny figure on the rock at the right; slow drift in.",
     "zh": "從海上看的全景：海岬上的艾爾西諾，腳下浪花拍岸，Clawd 是右邊礁石頂上的一個小身影；鏡頭緩緩漂近。"
    },
    {
     "cam": "battlements",
     "sec": 0.8,
     "en": "On the fog-bound wall-walk the armoured Ghost fades in and beckons, Clawd watching from the near side; slight push-in.",
     "zh": "濃霧裡的城牆步道：披甲的鬼魂從霧中顯形、招手，Clawd 在近處看著它；鏡頭輕推。"
    },
    {
     "cam": "still",
     "sec": 1.1,
     "en": "Low angle on the sea rock: Clawd, in lace cuffs with a sheathed short sword, lifts Yorick's skull before the castle in the fog; slow push-in.",
     "zh": "低機位仰拍海邊礁石：戴蕾絲袖口、掛短劍的 Clawd 在霧中城堡前舉起約裡克的骷髏；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Hamlet: Yorick's skull, the white lace cuffs, belt and short sword from the poster. Three hard cuts walk through the film's three images, the castle on its cliff, the Ghost in the fog and the soliloquy rock, and the skull comes up on the beat in the last shot. Runs 1.8× fast.",
   "direction_zh": "Clawd 扮哈姆雷特：約裡克的骷髏，海報上的白色蕾絲袖口、腰帶和短劍。三個硬切走過這部片的三個畫面：懸崖上的城堡、霧裡的鬼魂、獨白的礁石；最後一鏡裡骷髏踩著拍子舉起來。表演 1.8 倍速。",
   "refs": [
    "Laurence Olivier, 1948",
    "Desmond Dickinson (cinematography)",
    "Roger Furse (production design)",
    "Hamlet one-sheet (1948)"
   ],
   "refs_zh": [
    "Laurence Olivier, 1948",
    "Desmond Dickinson（攝影）",
    "Roger Furse（美術設計）",
    "《王子復仇記》海報（1948）"
   ]
  },
  {
   "no": 22,
   "year": "1949",
   "title": "All the King's Men",
   "zh": "國王班底",
   "chapter": "C2",
   "t0": 76.25,
   "dur": 2.5,
   "frame_sec": 78.16,
   "style_en": "Wood-Type Campaign Poster",
   "style_zh": "南方競選木活字海報",
   "blend_en": [
    "Wood-type letterpress",
    "Hatch Show Print",
    "Linocut figures",
    "Halftone portraits"
   ],
   "blend_zh": [
    "木活字凸版印刷",
    "Hatch Show Print",
    "麻膠版畫人物",
    "半調網點肖像"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A Southern campaign poster in wood-type letterpress: red, blue and black ink on cream stock, wood grain in the solids, starved patches, misregistered formes and halftone portraits. It is Willie Stark's rally; Clawd is printed in a fourth, orange ink.",
   "desc_zh": "南方競選海報的木活字凸版：紅、藍、黑三色油墨印在米黃紙上，實地有木紋，供墨不勻，版間錯位，肖像走半調網點。這是斯塔克的競選集會，Clawd 用第四版橙墨印。",
   "prompt_en": "A letterpress poster from wood type and cuts. Three inks on cream stock #EEE3C7: blue #20488C (sky, water, shadow masses), red #C82C28 (warm surfaces, stripes), black #1E1B1E (outlines, type); only the hero the story centres on gets a spot ink (e.g. #D97757). Each ink 2-4 px off register; solids knock out the inks beneath, halftones overprint. Wood grain, pinholed starved patches, squeezed edges. Mid tones: coarse dots (about 1/200 of frame width), varied angles, on at most a third of the frame. Figures as linocuts: heavy outlines, gouged white lines, crescent shadows. Picture fills about 70%; short wood-type lines (about 1/10 of frame height, user's language) with offset shadows sit on banners and signs. Camera: small pushes, a lateral track, a bump on each strong beat (or every 2 s). Reference: Hatch Show Print. Avoid: busy grey mid-tones, perfect registration.",
   "prompt_zh": "每幀都是木活字和刻版印的凸版海報。米黃紙 #EEE3C7 上印三色：藍 #20488C 管天空、水和大塊暗部，紅 #C82C28 管暖色面和條紋，黑 #1E1B1E 管輪廓和字；只有故事圍繞的那個主角多加一塊專色（如 #D97757）。每色一版，錯位 2–4 像素；實地挖空下層，只有網點處疊印。實地有木紋、缺墨針孔，邊緣擠墨。中間調走粗網點（約畫幅寬 1/200），各版網角不同，不超過畫面三分之一。人物像麻膠版畫：粗黑輪廓、刻刀白線、月牙陰影。畫面約七成是圖；一兩行粗木活字短句寫在圖裡的橫幅和招牌上，帶錯位投影，字高約畫面十分之一，用用戶語言。鏡頭：小推，橫移，重拍上特寫一震（無音樂每 2 秒）。對標 Hatch Show Print。避免：碎灰調代替大塊實地、套色精準得像電腦。",
   "shots": [
    {
     "cam": "rally",
     "sec": 0.9,
     "en": "Wide on the bunting-hung platform in the town square: Clawd as Stark in front of its own giant halftone portrait, fist half up, the crowd roaring under STARK FOR GOVERNOR placards; small push-in.",
     "zh": "小鎮廣場掛滿彩旗的講臺全景：扮斯塔克的 Clawd 站在自己的巨幅半調肖像前，拳頭舉到一半，臺下人群舉著 STARK FOR GOVERNOR 牌子歡呼；鏡頭小幅推進。"
    },
    {
     "cam": "crowd",
     "sec": 0.7,
     "en": "Into the crowd: placards pumping, fists and shouting mouths, EVERY MAN A KING; lateral track right.",
     "zh": "切進人群：牌子上下揮動，拳頭和喊叫的嘴，EVERY MAN A KING；鏡頭向右橫移。"
    },
    {
     "cam": "close",
     "sec": 0.9,
     "en": "Close on Clawd, fedora pushed back and tie loosened: the fist punches all the way up and pumps again; the camera bumps on the punch.",
     "zh": "Clawd 近景，軟呢帽往後推、領帶拉松：拳頭一下舉到頂，再揮一次；鏡頭在出拳那一下跟著一震。"
    }
   ],
   "direction_en": "Clawd plays Willie Stark: a pushed-back fedora, a loosened red-and-blue tie, a rolled speech in one hand. The fist comes half up in the wide, the crowd answers in the middle shot, and in the close-up it punches all the way up on the beat and pumps once more, with a small camera kick on the hit. Hard cuts throughout.",
   "direction_zh": "Clawd 扮威利·斯塔克：往後推的軟呢帽、拉松的紅藍領帶，一隻手裡卷著講稿。全景裡拳頭舉到一半，中間一鏡是人群的回應，特寫裡它踩著拍子一拳舉到頂、再揮一次，鏡頭在出拳時輕輕一震。全部硬切。",
   "refs": [
    "Robert Rossen, 1949",
    "Burnett Guffey (cinematography)",
    "All the King's Men one-sheet (1949)",
    "Hatch Show Print",
    "Huey Long campaign posters"
   ],
   "refs_zh": [
    "Robert Rossen, 1949",
    "Burnett Guffey（攝影）",
    "《國王班底》海報（1949）",
    "Hatch Show Print",
    "Huey Long 競選海報"
   ]
  },
  {
   "no": 23,
   "year": "1950",
   "title": "All About Eve",
   "zh": "彗星美人",
   "chapter": "C3",
   "t0": 78.75,
   "dur": 2.5,
   "frame_sec": 79.78,
   "style_en": "Hirschfeld One-Line Caricature",
   "style_zh": "赫希菲爾德一筆畫漫畫",
   "blend_en": [
    "Single-line ink caricature",
    "Al Hirschfeld theatre drawings",
    "Hand-lettered dialogue"
   ],
   "blend_zh": [
    "一筆墨線漫畫",
    "Al Hirschfeld 劇場漫畫",
    "手寫臺詞"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Al Hirschfeld's Broadway caricature: one flowing ink line that swells and tapers, solid blacks against white, lots of empty paper, one exaggerated trait per person. The film is about the theatre, so its party is drawn as a theatre-page cartoon; Clawd is the only colour.",
   "desc_zh": "艾爾·赫希菲爾德的百老匯漫畫：粗細變化的流暢墨線、黑塊對白、大量留白，每人只抓一個誇張特徵。這部片講劇場，派對就畫成報紙劇場版漫畫；Clawd 是唯一的顏色。",
   "prompt_en": "An Al Hirschfeld-style caricature. Lines are elastic, long and continuous, one stroke per contour: about 1/800 of frame width at the ends, swelling to 1/250 on curves. Dark clothing, hair and big objects go solid black; grey only as sparse parallel hatching. The setting is fully drawn in thin line, architecture, furniture and props in detail, white kept between objects: about 60% paper white, never an empty page. Push one trait per figure (a long neck, a big head). Paper #FBFAF6, ink #131012; only the hero the story centres on has its body or main garment filled flat with one colour (e.g. #D97757) instead of black. Lines write on within the first second, then hold; a short hand-lettered line may sit in the white. Camera: ease back, pan across, push in. Avoid: stiff limbs, stick figures, a bare setting.",
   "prompt_zh": "畫成 Al Hirschfeld 式的漫畫，白紙黑墨。線條有彈性、長而連貫，能一筆畫完的輪廓就一筆：兩端約畫幅寬 1/800，轉彎處加粗到 1/250。深色衣服、頭髮和大件物體用實心黑塊；灰調只用稀疏的平行排線。環境用細線畫完整：建築、傢俱、道具連同細節都畫，物與物之間留白；約六成紙面留白，但絕不是空紙。每個人物靠姿態和比例誇張一個特徵（長脖子、大頭），五官具體。紙 #FBFAF6，墨 #131012；只有故事圍繞的那個主角的身體或主要衣服用一種顏色平塗（如 #D97757），代替黑塊。線條在第一秒內一筆筆寫完，然後停住；留白處可有一句手寫短句。鏡頭：拉遠，橫搖掃過場景，小推。避免：四肢僵直、火柴人、空蕩蕩的環境。",
   "shots": [
    {
     "cam": "wide",
     "sec": 1.1,
     "en": "Wide on Margo's party inking itself on, stairs first, then the guests and the piano; 'FASTEN YOUR SEATBELTS, IT'S GOING TO BE A BUMPY NIGHT' is hand-lettered into the white space, with Clawd as Margo on the staircase; slight pull-back.",
     "zh": "瑪戈家派對的全景一筆筆畫出來：先是樓梯，再是賓客和鋼琴；留白處手寫出 \"FASTEN YOUR SEATBELTS, IT'S GOING TO BE A BUMPY NIGHT\"，扮瑪戈的 Clawd 站在樓梯上；鏡頭微微拉遠。"
    },
    {
     "cam": "party",
     "sec": 0.8,
     "en": "Pan right across the guests, Birdie, Max, Addison, Miss Caswell and the pianist, to Eve in the corner.",
     "zh": "向右橫搖掃過賓客：伯蒂、馬克斯、艾迪森、卡斯韋爾小姐、鋼琴師，停在角落裡的伊芙。"
    },
    {
     "cam": "close",
     "sec": 0.7,
     "en": "Close on Clawd in pearls and black curls on the staircase, raising the martini; slight push-in.",
     "zh": "樓梯上 Clawd 的近景：黑色捲髮、珍珠項鍊，舉起馬提尼；鏡頭輕推。"
    }
   ],
   "direction_en": "Clawd plays Margo Channing: a row of black curls, a string of pearls, a martini, one arm on the banister. The first shot is the drawing being made and the line of dialogue being written; a pan finds Eve watching from the corner, and after the last cut Margo lifts the glass on the beat. Runs 1.8× fast.",
   "direction_zh": "Clawd 扮瑪戈：一排黑色短捲髮、一串珍珠、一杯馬提尼，手搭在扶手上。第一鏡是畫面被畫出來、臺詞被寫出來；一個橫搖找到角落裡盯著她的伊芙；最後一個硬切後，瑪戈踩著拍子舉杯。表演 1.8 倍速。",
   "refs": [
    "Joseph L. Mankiewicz, 1950",
    "All About Eve one-sheet (1950)",
    "Al Hirschfeld"
   ],
   "refs_zh": [
    "Joseph L. Mankiewicz, 1950",
    "《彗星美人》海報（1950）",
    "Al Hirschfeld"
   ]
  },
  {
   "no": 24,
   "year": "1951",
   "title": "An American in Paris",
   "zh": "一個美國人在巴黎",
   "chapter": "C3",
   "t0": 81.25,
   "dur": 2.5,
   "frame_sec": 81.84,
   "style_en": "Dufy Watercolour Ballet",
   "style_zh": "杜飛水彩芭蕾",
   "blend_en": [
    "Loose ink line over offset colour",
    "Raoul Dufy",
    "Minnelli's ballet sets",
    "Cold-press watercolour paper"
   ],
   "blend_zh": [
    "鬆動墨線 + 錯開的色塊",
    "拉烏爾·杜飛",
    "明奈利的芭蕾佈景",
    "冷壓水彩紙"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Raoul Dufy's watercolour: fast blue-black ink lines over big transparent patches of cobalt, lemon and rose that never line up with them. The film's closing ballet was designed after Dufy, so the Place de la Concorde and its dancers are painted his way.",
   "desc_zh": "拉烏爾·杜飛的水彩：快速的藍黑墨線，底下是鈷藍、檸檬黃、玫瑰紅的透明色塊，線和色永遠對不齊。影片結尾的芭蕾佈景就是照杜飛畫的，協和廣場和舞者都用他的畫法。",
   "prompt_en": "Paint in Raoul Dufy's watercolour manner: colour first, line second, never aligned. Transparent washes (wet edges, pooled rims, granulation) cover most of the frame, 10-40% oversized, slid one way by about 1/30 of frame width: cobalt #2258CE for sky and water, lemon #FCE02E for light and ground, rose #EC3A7C for warm planes. Overlaps mix violet or green, never brown; keep the hero's wash off blue. Then draw the whole scene densely in quick, thin blue-black ink (about 1/700 of frame width) with flicked ends: buildings, windows, figures, extras; straight edges overshoot corners; trees and clouds as looped strings. Ink #1E1E3A; bare paper 20-30%, skin included. The hero the story centres on gets its own wash (e.g. #D97757). Figures bounce. Camera: small pushes, cuts on the beat (or every 2 s). Avoid: muddy colour, lines tracing the colour, sparse line.",
   "prompt_zh": "用拉烏爾·杜飛的水彩畫法：先上色、後畫線，兩者永遠對不齊。透明色塊鋪滿大部分畫面，帶溼邊、積色邊和顆粒，比物體大一到四成，朝同一方向滑開約畫幅寬 1/30：鈷藍 #2258CE 管天空和水，檸檬黃 #FCE02E 管光和地面，玫瑰紅 #EC3A7C 管暖色面。重疊可混出紫或綠，絕不髒成棕，主角的色塊別壓在藍上。再用藍黑墨 #1E1E3A 快速細線把整個場景畫滿（線寬約畫幅寬 1/700），有提按和甩尾：建築、窗、人物、小配景；直邊單獨一筆、角上出頭；樹冠和雲畫成一串小圈。留白兩到三成，皮膚是紙白。故事圍繞的那個主角有自己的一塊色（如 #D97757）。人物輕快有彈性。鏡頭：小推，踩拍子切（沒有音樂約每 2 秒）。避免：顏色疊髒、線描死色塊、線條稀疏。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Wide on the Place de la Concorde: dancers whirl round the fountain below the obelisk and the Eiffel Tower; Clawd as Jerry, in a cobalt cap with a brush, hops beside Lise in yellow; small push-in.",
     "zh": "協和廣場全景：舞者繞著噴泉旋轉，後面是方尖碑和埃菲爾鐵塔；扮傑瑞的 Clawd 戴鈷藍帽、拿畫筆，在黃裙麗絲身邊跳；鏡頭小幅推進。"
    },
    {
     "cam": "close",
     "sec": 0.8,
     "en": "Close on Clawd mid-hop, the brush trailing a ribbon of paint, Lise's arm reaching in; slow push-in.",
     "zh": "Clawd 跳在半空的近景，畫筆甩出一條顏料帶，麗絲的手臂伸進畫面；鏡頭慢推。"
    },
    {
     "cam": "street",
     "sec": 0.8,
     "en": "Cut to a flag-hung Paris street in pink, lemon and blue, Clawd hopping down the middle among strollers; slow push-in.",
     "zh": "切到插滿三色旗的巴黎街道，樓面是粉、黃、藍，Clawd 在街心行人之間蹦跳；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Jerry from the poster: Gene Kelly's cobalt cap tipped back, a rose neckerchief, a painter's brush that swings a ribbon of paint. It hops on every beat through all three shots, so the dance itself is the cutting rhythm: the square, the close-up with Lise, then the bannered street. Runs 1.8× fast.",
   "direction_zh": "Clawd 扮海報上的傑瑞：往後歪的鈷藍軟帽（吉恩·凱利那頂）、玫瑰紅小領巾、甩出顏料帶的畫筆。三個鏡頭裡它每一拍都在跳，舞步本身就是剪輯節奏：廣場、和麗絲的近景、插滿旗的街道。表演 1.8 倍速。",
   "refs": [
    "Vincente Minnelli, 1951",
    "Preston Ames and Irene Sharaff (ballet design)",
    "Raoul Dufy, La Fée Électricité",
    "Raoul Dufy, La Rue pavoisée",
    "An American in Paris one-sheet (1951)"
   ],
   "refs_zh": [
    "Vincente Minnelli, 1951",
    "Preston Ames、Irene Sharaff（芭蕾段設計）",
    "Raoul Dufy《La Fée Électricité》",
    "Raoul Dufy《La Rue pavoisée》",
    "《一個美國人在巴黎》海報（1951）"
   ]
  },
  {
   "no": 25,
   "year": "1952",
   "title": "The Greatest Show on Earth",
   "zh": "戲王之王",
   "chapter": "C3",
   "t0": 83.75,
   "dur": 2.5,
   "frame_sec": 85.66,
   "style_en": "Strobridge Circus Lithograph",
   "style_zh": "Strobridge 馬戲團彩色石印",
   "blend_en": [
    "Four-ink chromolithograph",
    "Strobridge Litho circus posters",
    "Flat ink with heavy black outline"
   ],
   "blend_zh": [
    "四色彩色石印",
    "Strobridge 馬戲團海報",
    "平塗油墨 + 粗黑輪廓"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A Strobridge circus lithograph: flat chrome yellow, vermilion and cobalt with heavy black outlines, screened and slightly off register on grainy stone. DeMille's big top becomes a three-ring poster, with Clawd as the Great Sebastian making the poster's trapeze catch.",
   "desc_zh": "Strobridge 馬戲團彩色石印：鉻黃、硃紅、鈷藍平塗，粗黑輪廓，帶網點、錯版和石版顆粒。德米爾的大帳篷畫成三圈海報，Clawd 扮塞巴斯蒂安做空中接人。",
   "prompt_en": "A circus chromolithograph after the Strobridge Lithographing Co. (c. 1890). Flat ink, heavy black outlines (about 1/300 of frame width), crescent shadows, light from upper left. Four stones: chrome yellow #F4C416, vermilion #D62C24, cobalt #1E4EA0, key black #181210 on warm cream paper #EBD9B4; overprints and tints give only orange, green, brown, tan, pale blue, grey. Solids print flat; screens (dots about 1/250 of frame width) only on gradients (sky, skin, ground), each stone at its own angle, 1-3 px off register, stone grain. The hero the story centres on is solid yellow under solid vermilion, a flat orange (e.g. #D97757). Exaggerated perspective, radial lines converging on the action, several actions at once; any crowd is tiny individual figures, though a lone figure works. Camera: tilt up, lateral dolly, cut on action. Avoid: off-palette colours, dot-only crowds, a screened, pinkish hero.",
   "prompt_zh": "19 世紀末馬戲團彩色石印，仿 Strobridge 石印公司。平塗油墨加粗黑輪廓（約畫幅寬 1/300）；陰影是月牙形加深，加排線；光從左上來。四塊石版：鉻黃 #F4C416、硃紅 #D62C24、鈷藍 #1E4EA0、黑 #181210，印在暖奶油紙 #EBD9B4 上；疊印和淺網只能得到橙、綠、棕、土黃、淺藍、灰。實地平印，只有天空、皮膚、地面這類漸變處掛網（網點約畫幅寬 1/250），各版網角不同，錯位 1–3 像素，帶石版顆粒。故事圍繞的那個主角用黃實地疊硃紅實地，得到平的橙（如 #D97757）。構圖用誇張透視：放射線匯向主要動作，幾件事同時發生；有人群時畫成許多可辨的小人，只有一個人物也成立。鏡頭：上搖，橫移，在動作中切到高潮。避免：四色以外的顏色、只有圓點的人群、掛網掛成粉色的主角。",
   "shots": [
    {
     "cam": "tent",
     "sec": 0.8,
     "en": "Wide in the big top: three rings, the bowl of spectators, elephants on the track; tilt up the canvas to Clawd hanging from the highest trapeze.",
     "zh": "大帳篷全景：三個表演圈、碗形看臺、跑馬道上的大象；沿帳篷往上搖，落到倒掛在最高鞦韆上的 Clawd。"
    },
    {
     "cam": "elephants",
     "sec": 0.6,
     "en": "Lateral dolly along the elephant parade, trunk to tail under spangled riders, past the ring curb and the front-row heads.",
     "zh": "橫移跟拍大象遊行：一頭卷著一頭的尾巴，背上坐著亮片舞女，前景是圍欄和前排觀眾的後腦勺。"
    },
    {
     "cam": "trapeze",
     "sec": 1.0,
     "en": "Cut on the action to the catch: Clawd, hanging by its knees in a spangled cape, holds the pink flyer in one hand and flings the other arm out to the crowd as the swing carries them right; the camera follows with a slight push and roll.",
     "zh": "動作中切到接人：Clawd 披亮片斗篷、膝彎倒掛，一隻手抓住粉衣女飛人，另一隻手向觀眾甩開，鞦韆把它們蕩向右邊；鏡頭跟著微推並略微傾斜。"
    }
   ],
   "direction_en": "Clawd plays the Great Sebastian: a sequinned cape with a gold scalloped edge, upside down on the trapeze. The tilt up finds it on the bar, the elephant dolly keeps the parade moving through the middle, and the cut lands on the catch, timed so the swing is on the poster's right-hand side, arm flung out to the crowd.",
   "direction_zh": "Clawd 扮偉大的塞巴斯蒂安：金色扇貝邊的亮片斗篷，倒掛在鞦韆上。上搖找到鞦韆槓上的它，中間的大象橫移讓遊行一直往前走，最後在動作中切到接人那一下，時間卡在鞦韆盪到右邊、和海報構圖一致的位置，它把手臂甩向觀眾。",
   "refs": [
    "Cecil B. DeMille, 1952",
    "The Greatest Show on Earth one-sheet (1952)",
    "Strobridge Lithographing Co. circus posters"
   ],
   "refs_zh": [
    "Cecil B. DeMille, 1952",
    "《戲王之王》海報（1952）",
    "Strobridge 石印公司的馬戲團海報"
   ]
  },
  {
   "no": 26,
   "year": "1953",
   "title": "From Here to Eternity",
   "zh": "亂世忠魂",
   "chapter": "C3",
   "t0": 86.25,
   "dur": 2.5,
   "frame_sec": 88.16,
   "style_en": "High-Key Beach Black-and-White",
   "style_zh": "高調海灘黑白銀幕",
   "blend_en": [
    "1953 high-key black-and-white photography",
    "Burnett Guffey",
    "Silver grain and halation"
   ],
   "blend_zh": [
    "1953 年高調黑白攝影",
    "Burnett Guffey",
    "銀鹽顆粒與光暈"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "1953 high-key black-and-white: hard sun, dark filtered sky, blown white foam, wet sand mirroring the sky, silver grain and halation. It stages the kiss in the surf at Halona Cove; Clawd, playing the bugle on the lava rock, is the only colour.",
   "desc_zh": "1953 年的高調黑白：硬朗陽光、壓暗的天空、泛白的浪沫、映著天的溼沙，銀鹽顆粒和光暈。拍哈洛納海灣浪裡那一吻；坐在熔岩上吹軍號的 Clawd 是唯一的顏色。",
   "prompt_en": "Early-1950s high-key black-and-white photography, painted in 2D to read as a photo: no outlines or flat fills, only soft gradients plus fine texture (sand, rock pitting, cloth). Values: about 70% of the frame above mid-grey; sky light-mid grey, one step below the bright clouds; deep blacks small. Default: hard midday sun, short crisp shadows; under other light keep the pale sky and bright values. Water, foam and mist blow out at the peaks, keeping lace detail; wet surfaces mirror the sky. Print finish: gentle S-curve, slightly soft lens, halation, fresh fine grain (±4%), light vignette, flicker. Only the hero the story centres on keeps colour, whole figure (e.g. #D97757), shaded photographically. Camera: tilt down from the sky, tight level frame, slow pull-back. Reference: cinematographer Burnett Guffey (*From Here to Eternity*). Avoid: low-key frames, white blanks, cartoon fills.",
   "prompt_zh": "50 年代初高調的黑白外景攝影，用 2D 畫出照片感：不描線、不平塗，只用柔和漸變加細膩紋理（沙粒、岩石麻點、布紋）。明暗：約七成畫面亮於中灰；天空淺中灰，只比亮雲暗一檔；深黑很少。默認正午硬朗的太陽，影子短而清楚；其他光線下仍保持淺天空和明亮結構。水、浪沫或霧在最亮處衝白，留住蕾絲細節；溼的表面映著天空。按印片收尾：柔和 S 曲線、略軟的鏡頭、高光暈、每幀刷新的細顆粒（±4%）、輕暗角、輕微閃爍。只有故事圍繞的那個主角整個人保留顏色（如 #D97757），明暗也有照片感。鏡頭：從天空下搖，平視緊框，再慢慢拉遠。對標攝影師 Burnett Guffey（《亂世忠魂》）。避免：低調暗沉、死白一片、卡通平塗。",
   "shots": [
    {
     "cam": "sky",
     "sec": 0.5,
     "en": "Open on the sky over Halona Cove, a formation of planes among the cumulus; tilt down to the sea.",
     "zh": "開在哈洛納海灣上空，積雲間飛過一隊飛機；鏡頭往下搖到海面。"
    },
    {
     "cam": "wave",
     "sec": 1.1,
     "en": "Tight and level on the lovers in the swash: the breaker runs up over them and recedes to lace while the kiss goes on; slow push with a drift right.",
     "zh": "平視緊框浪裡的戀人：浪頭衝上來蓋過他們，又退成蕾絲般的白沫，兩人一直在吻；鏡頭慢推並向右漂移。"
    },
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Wide on the cove: Clawd, in a garrison cap on the lava ledge, lifts the bugle and plays toward the lovers; slight pull-back.",
     "zh": "海灣全景：戴船形帽的 Clawd 坐在熔岩石臺上，舉起軍號朝戀人吹響；鏡頭微微拉遠。"
    }
   ],
   "direction_en": "Clawd plays Prewitt, with an olive garrison cap and the army bugle from the poster. The sky shot tilts down into the cove, the wave covers the kiss across the middle shot, and on the cut to the wide Clawd lifts the bugle to its mouth on the beat, as if playing the scene out.",
   "direction_zh": "Clawd 扮普魯伊特：橄欖色船形帽，拿著海報上那支軍號。天空一鏡往下搖進海灣，中間一鏡海浪蓋過那一吻，切到全景時 Clawd 踩著拍子把軍號舉到嘴邊，像是在為這場戲吹號。",
   "refs": [
    "Fred Zinnemann, 1953",
    "Burnett Guffey (cinematography)",
    "From Here to Eternity one-sheet (1953)"
   ],
   "refs_zh": [
    "Fred Zinnemann, 1953",
    "Burnett Guffey（攝影）",
    "《亂世忠魂》海報（1953）"
   ]
  },
  {
   "no": 27,
   "year": "1954",
   "title": "On the Waterfront",
   "zh": "碼頭風雲",
   "chapter": "C3",
   "t0": 88.75,
   "dur": 2.5,
   "frame_sec": 89.78,
   "style_en": "Ben Shahn Social Realism",
   "style_zh": "本·沙恩社會現實主義",
   "blend_en": [
    "Trembling blotted ink line",
    "Flat tempera colour blocks",
    "Ben Shahn",
    "1950s American social realism"
   ],
   "blend_zh": [
    "顫抖的轉印墨線",
    "平塗蛋彩色塊",
    "本·沙恩",
    "50 年代美國社會現實主義"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Ben Shahn's social realism: a trembling, blotted ink line over flat tempera blocks laid slightly off the drawing, big hands and long working faces, restrained slate, brick and ochre. Shahn painted dockers and union halls, which is this film's world.",
   "desc_zh": "本·沙恩的社會現實主義：顫抖的轉印墨線，下面是錯開的平塗蛋彩色塊，大手長臉的工人，顏色剋制在灰藍、磚紅、赭黃。沙恩畫的就是碼頭工人和工會，正是這部片的世界。",
   "prompt_en": "Ben Shahn's social-realist tempera. Ink lines (about 1/500 of frame width) jitter and wander, break each outline into two or three strokes, sometimes doubled by a fainter offset ghost (a blotted line). Flat tempera blocks sit 2-4 px off the line, rough-edged, dry-brush streaks (one brush wide, about 1/100 of frame width) over a third of each block; model form with a darker flat of the same hue. Palette by role: slate #768492 sky and cool areas, brick #9E4834 and ochre #C89852 ground, buildings, clothes, ink #1F1A1A, warm board #F0E9DA; skin pale ochre; other colours: these darkened or greyed. The hero the story centres on wears the one warm accent on its main garment (e.g. #D97757). Big heads and hands, long faces, heavy jaws, heavy clothes. Camera: short pushes, tilt up, close-up. Avoid: smooth gradients, clean closed outlines, cheerful colour.",
   "prompt_zh": "仿本·沙恩的社會寫實蛋彩畫。墨線（寬約畫幅寬 1/500）會顫：細抖疊著慢擺，一個輪廓分兩三筆、不閉合，偶有轉印鬼線（旁邊多一道偏移的淡線）。顏色是平塗蛋彩塊，比墨線偏 2–4 像素，邊緣毛糙，每塊約三分之一面積帶幹筆拖痕，拖痕一筆寬（約畫幅寬 1/100），不隨色塊放大；明暗只用同色深一檔的硬邊平色。配色按用途：灰藍 #768492 管天空和冷色區，磚紅 #9E4834、赭黃 #C89852 管房屋、土地和衣服，墨 #1F1A1A，底板暖白 #F0E9DA；皮膚淺赭；其他顏色由這幾色加深或加灰。故事圍繞的那個主角的主要衣服用唯一的暖色（如 #D97757）。人物頭大手大、長臉重下巴，衣服下垂。鏡頭：短推，上搖，收在近景。避免：平滑漸變、乾淨閉合的輪廓、鮮亮討喜的顏色。",
   "shots": [
    {
     "cam": "hands",
     "sec": 0.8,
     "en": "Medium on the morning shape-up at Pier B: dockers jam the gate and their hands go up for the brass tags, Clawd out of frame; slight push-in.",
     "zh": "PIER B 門口清晨派工的中景：碼頭工人擠在門前，一雙雙手舉起來搶銅工牌，Clawd 不在畫面裡；鏡頭輕推。"
    },
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Wide on Terry's rooftop coop: Clawd, in a knit cap and plaid collar, holds a pigeon on its raised hand beside Edie, the water tower and Manhattan skyline behind, as the flock lifts off; slow push with a slight tilt up.",
     "zh": "屋頂鴿舍全景：戴針織帽、立著格子領的 Clawd 舉手託著一隻鴿子，旁邊是伊迪，身後是水塔和曼哈頓天際線，鴿群飛起；鏡頭慢推並略微上搖。"
    },
    {
     "cam": "close",
     "sec": 0.8,
     "en": "Close on Clawd and the grey pigeon on its hand, a freighter, rooftops and the skyline over its shoulder; slight push-in.",
     "zh": "Clawd 和手上灰鴿的近景，肩後是貨輪、屋頂和天際線；鏡頭輕推。"
    }
   ],
   "direction_en": "Clawd plays Terry Malloy: a navy knit cap, red-and-black plaid collar and cuff, a pigeon on its hand. The hard cut from the clamouring hands at the dock to the quiet rooftop puts the film's two worlds side by side; the flock rises across the middle shot, and the close-up rests on Clawd and the bird. Runs 1.8× fast.",
   "direction_zh": "Clawd 扮特里：深藏青針織帽、紅黑格子的領子和袖口，手上停著一隻鴿子。從碼頭上爭搶的手硬切到安靜的屋頂，兩個鏡頭就把這部片的兩個世界擺在一起；中間一鏡鴿群飛起，近景停在 Clawd 和鴿子身上。表演 1.8 倍速。",
   "refs": [
    "Elia Kazan, 1954",
    "Boris Kaufman (cinematography)",
    "On the Waterfront one-sheet (1954)",
    "Ben Shahn, Handball (1939)",
    "Ben Shahn, Welders (1943)"
   ],
   "refs_zh": [
    "Elia Kazan, 1954",
    "Boris Kaufman（攝影）",
    "《碼頭風雲》海報（1954）",
    "Ben Shahn《手球》（1939）",
    "Ben Shahn《焊工》（1943）"
   ]
  },
  {
   "no": 28,
   "year": "1955",
   "title": "Marty",
   "zh": "君子好逑",
   "chapter": "C3",
   "t0": 91.25,
   "dur": 2.5,
   "frame_sec": 91.4,
   "style_en": "1955 Kinescope on a Living-Room TV",
   "style_zh": "50 年代電視顯像管錄像",
   "blend_en": [
    "Kinescope black-and-white",
    "Curved CRT screen and scanlines",
    "Warm 1950s living-room illustration"
   ],
   "blend_zh": [
    "kinescope 黑白錄像",
    "圓角顯像管與掃描線",
    "暖色 50 年代客廳插畫"
   ],
   "dim": "2D (B&W screen)",
   "render": "2D",
   "desc_en": "A 1955 kinescope playing on a wood-cabinet TV in a warm Bronx living room: scanlines, phosphor glow, a rounded bulging screen, ghosting and snow, all black-and-white except Clawd. Marty began as a live 1953 TV play, so the film is shown as television.",
   "desc_zh": "1955 年的電視錄像，在布朗克斯暖色客廳的電視裡播：掃描線、熒光暈、圓角凸屏、雪花，只有 Clawd 有顏色。原作是直播電視劇，所以當電視拍。",
   "prompt_en": "A 1950s kinescope playing on a wood-cabinet television. Inside the screen: black-and-white with a cool phosphor tint (#DCE6EA whites), soft (half resolution, scaled up), halation, ghosting, tearing bands, a rolling hum bar, light snow, lifted blacks, flicker, grain; only the story's hero keeps its colour (e.g. #D97757), under the same artefacts. Tube: rounded corners, sides bowing outward, about 330 scanlines, glass reflections. Outside, a warm flat-illustrated living room (ochre wallpaper, wood, a table lamp), lit warm by the lamp; the screen casts a clear cold-blue glow on nearby walls. Signature shot: hold about 2 s with the TV filling 60% of the frame, then push through the glass (4-5 s) until the broadcast fills the frame, scanlines visible, then steady TV-studio mid shots. Reference: director Delbert Mann's live Philco Television Playhouse dramas. Avoid: heavy snow, a dull, evenly lit room.",
   "prompt_zh": "把場景做成 50 年代木殼電視裡播放的 kinescope 錄像。屏幕裡：黑白，冷色熒光調（白位約 #DCE6EA），畫面發軟（半分辨率再放大），有光暈、重影、撕裂帶、緩慢滾動的暗帶、少量雪花、抬起的黑位、閃爍和顆粒；只有故事圍繞的那個主角保留顏色（如 #D97757），同樣帶這些瑕疵。顯像管：圓角、四邊外鼓，約 330 條掃描線，玻璃反光。屏幕外是暖色扁平插畫風的客廳（赭黃牆紙、木傢俱、檯燈），檯燈打暖光，屏幕在附近牆面投出明顯的冷藍光。招牌鏡頭：電視佔畫面約六成，先停約 2 秒，再用 4–5 秒推進玻璃，直到節目鋪滿畫面、掃描線還在，然後用演播室式穩定中景拍戲。對標導演 Delbert Mann 的 Philco 電視劇場直播劇。避免：雪花蓋住畫面、客廳沉悶平光。",
   "shots": [
    {
     "cam": "tv",
     "sec": 0.8,
     "en": "Ma's parlour, lamp and rotary phone at left, her wing chair at right: the Stardust Ballroom on the TV, and the camera pushes in through the glass.",
     "zh": "媽媽的客廳：左邊是檯燈和轉盤電話，右邊是她的翼背椅，電視裡在播星塵舞廳；鏡頭推進屏幕玻璃。"
    },
    {
     "cam": "two",
     "sec": 0.9,
     "en": "Two-shot across the dance floor, scanlines still on: Clawd, in a butcher's paper cap and striped tie, walks over from the pillar toward Clara; the camera tracks right.",
     "zh": "跨過舞池的雙人鏡頭，掃描線仍在：戴屠夫紙帽、繫條紋領帶的 Clawd 從柱子邊走向克拉拉；鏡頭向右跟移。"
    },
    {
     "cam": "ask",
     "sec": 0.8,
     "en": "Medium on the ask: Clawd holds out its hand, and Clara lifts her eyes to it and smiles; slight push with a drift right.",
     "zh": "邀舞的中景：Clawd 伸出手，克拉拉抬眼看它，笑了；鏡頭輕推並向右漂移。"
    }
   ],
   "direction_en": "Clawd plays Marty: a white butcher's paper cap and a striped tie, shy by the pillar. The push through the glass takes us from the living room into the broadcast; it works up the nerve and crosses the floor in the two-shot, and the last cut lands on the ask, hand out, with Clara's smile arriving just after.",
   "direction_zh": "Clawd 扮馬蒂：白色屠夫紙帽和一條條紋領帶，害羞地靠在柱子邊。推進玻璃把我們從客廳帶進節目；雙人鏡頭裡它鼓起勇氣穿過舞池，最後一個硬切落在邀舞上：它伸出手，克拉拉的笑隨後才來。",
   "refs": [
    "Delbert Mann, 1955",
    "Philco-Goodyear Television Playhouse, Marty (1953)",
    "Marty one-sheet (1955)"
   ],
   "refs_zh": [
    "Delbert Mann, 1955",
    "Philco-Goodyear 電視劇場直播劇《馬蒂》（1953）",
    "《君子好逑》海報（1955）"
   ]
  },
  {
   "no": 29,
   "year": "1956",
   "title": "Around the World in 80 Days",
   "zh": "環遊地球八十天",
   "chapter": "C3",
   "t0": 93.75,
   "dur": 2.5,
   "frame_sec": 94.78,
   "style_en": "1950s UPA Modernist Cartoon",
   "style_zh": "50 年代 UPA 現代主義卡通",
   "blend_en": [
    "UPA limited animation",
    "Saul Bass end-title animation",
    "1956 poster colours",
    "Crayon-grain print"
   ],
   "blend_zh": [
    "UPA 有限動畫",
    "Saul Bass 片尾動畫",
    "1956 原海報配色",
    "蠟筆顆粒印刷"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A flat, geometric 1950s cartoon: colour blocks printed off their ink lines, broken outlines, crayon grain on cream paper. The film's own six-minute end-title animation was made by Saul Bass in this modernist style.",
   "desc_zh": "50 年代平面幾何卡通：色塊和墨線錯位套印、墨線斷續、奶油紙上的蠟筆顆粒。本片 6 分鐘的片尾動畫就出自 Saul Bass，正是這種現代主義畫法。",
   "prompt_en": "1950s UPA modernist cartoon. Uneven ink lines #221C19 about 1/400 of frame width, sometimes broken; colour blocks sit about 1/300 of frame width off them, all one way. Objects are overlapping flat cut-out facets: a lit face and a shadow face one flat step (about 15%) darker. Pale aqua sky and cream paper #F2E9D3 cover most of the frame; mustard #E3A92B, teal #2B8C86, orange-red #D4452B are accents; sky, greens and slate blues are these mixed toward paper. Other times of day change only the sky colour. Crayon grain ±5% brightness everywhere, few flecks. Poster layout: one big graphic shape (a building or sun disc), angular outlined figures beside it. Light beams: flat pale wedges. Hard cuts every 1–2 s; slow parallax drift. After UPA, *Gerald McBoing-Boing* (1950); Saul Bass, *Around the World in 80 Days* titles (1956). Avoid: gradients, perfect registration, saturated colour everywhere.",
   "prompt_zh": "50 年代 UPA 現代主義卡通。墨線 #221C19 約畫面寬的 1/400，有粗細、偶爾斷開；色塊相對墨線統一朝一個方向錯開約 1/300。物體由重疊的平面剪片拼成：一塊受光面，加一塊同色深約一成半的平色暗面。明亮通透：淺水綠天空和奶油紙 #F2E9D3 佔大半畫面，芥末黃 #E3A92B、青綠 #2B8C86、橙紅 #D4452B 只作點綴；天空、草綠、灰藍由這些色兌紙色得到。其他時段只改天空顏色。全畫面輕蠟筆顆粒（亮度 ±5%），少量紙白斑點。海報構圖：一個大圖形（建築、日輪或山峰），旁邊是帶輪廓的稜角人物。光束畫成淺色平塗楔形。機位之間每一兩秒硬切，段內慢視差。對標 UPA《Gerald McBoing-Boing》（1950）、Saul Bass《環遊地球八十天》片尾（1956）。避免：漸變、套色太準、飽和色鋪滿畫面。",
   "shots": [
    {
     "cam": "globe",
     "sec": 0.9,
     "en": "Map insert, locked off: a globe turns on a teal ground as the red route runs London, Suez, Bombay, Yokohama, San Francisco; a small balloon carrying Clawd floats at the right.",
     "zh": "地圖插入鏡頭，定機位：青綠底上的地球儀轉動，紅色航線依次跑過倫敦、蘇伊士、孟買、橫濱、舊金山；右邊一隻小氣球裡坐著 Clawd。"
    },
    {
     "cam": "balloon",
     "sec": 0.8,
     "en": "Wide: the mustard-and-blue checkerboard balloon drifts over the faceted Alps and a Swiss village, Clawd in a top hat at the basket rail; slow lateral pan.",
     "zh": "全景：芥末黃配藍色棋盤帶的熱氣球飄過分面的阿爾卑斯和瑞士小鎮，戴高禮帽的 Clawd 站在吊籃邊；緩慢橫移。"
    },
    {
     "cam": "close",
     "sec": 0.8,
     "en": "Close on Clawd as Fogg, with top hat, furled umbrella and a raised champagne coupe, while Passepartout leans out with an ice bucket to scoop snow off the peak; slight push in.",
     "zh": "Clawd 扮的福格近景：高禮帽、收起的雨傘、舉著香檳杯，旁邊路路通探身用冰桶從雪峰尖上舀雪；輕微推近。"
    }
   ],
   "direction_en": "Clawd plays Phileas Fogg: top hat, furled umbrella, a glass of champagne. Three hard cuts, two beats each: map, wide, close. The route races round the globe, the balloon drifts over the Alps, and the close lands on Passepartout scooping snow to chill the champagne.",
   "direction_zh": "Clawd 扮福格：高禮帽、收起的雨傘、一杯香檳。每兩拍一刀硬切：地圖、全景、近景。紅色航線繞地球跑一圈，氣球飄過阿爾卑斯，近景落在路路通從雪峰上舀雪冰鎮香檳。",
   "refs": [
    "Michael Anderson, 1956",
    "Saul Bass (end-title animation)",
    "UPA, Gerald McBoing-Boing (1950)",
    "1956 original poster"
   ],
   "refs_zh": [
    "Michael Anderson, 1956",
    "Saul Bass（片尾動畫）",
    "UPA《Gerald McBoing-Boing》（1950）",
    "1956 年原版海報"
   ]
  },
  {
   "no": 30,
   "year": "1957",
   "title": "The Bridge on the River Kwai",
   "zh": "桂河大橋",
   "chapter": "C3",
   "t0": 96.25,
   "dur": 2.5,
   "frame_sec": 96.4,
   "style_en": "Cyanotype Engineering Blueprint",
   "style_zh": "氰版工程藍圖",
   "blend_en": [
    "Cyanotype blueprint",
    "Timber trestle G.A. drawing",
    "Red-pencil revisions",
    "Gouache-tinted hero"
   ],
   "blend_zh": [
    "氰版曬圖",
    "木棧橋總佈置圖",
    "紅鉛筆修改",
    "水粉上色的主角"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A general-arrangement blueprint pinned to a drafting table: white lines on Prussian blue, folds, water stains, red-pencil revisions. The film is about a colonel obsessed with building a perfect bridge, so the bridge appears as his engineering drawing.",
   "desc_zh": "釘在繪圖桌上的總佈置圖：普魯士藍底上的白線、摺痕、水漬和紅鉛筆修改。電影講一個執意把橋造好的上校，所以把橋畫成他的工程圖。",
   "prompt_en": "Cyanotype engineering blueprint. The sheet fills the frame (the walnut drafting table shows only on a pull-back): mottled Prussian-blue paper #143874, uneven exposure, a greenish over-exposed margin, creases, faint water stains. White lines #ECF4FF, sharp but printed: outlines about 1/600 of frame width, hatching and dimensions half that, broken where exposure was weak, a slight cyan bloom. Draw the subject densely in drafting grammar: elevations, sections, detail circles, dimension chains, hidden lines, single-stroke lettering, a title block. Notes and actions in red pencil #D63426, in the user's language. The one hero subject is the only hand-painted element, drawn above scale (at least 1/5 of frame height), opaque gouache in one warm hue (e.g. orange #D97757); nothing else is warm. Camera: layered parallax push-in; cut to detail views. Avoid: neon glow, clean digital blue, sparse sheets.",
   "prompt_zh": "青曬工程藍圖。圖紙鋪滿畫面（胡桃木繪圖桌只在拉遠時露出）：斑駁的普魯士藍紙 #143874，曝光不勻，邊緣過曝發綠，有摺痕和淡水漬。白線 #ECF4FF 銳利但是印出來的：輪廓約畫面寬的 1/600，剖面線和尺寸線減半，曝光弱處斷續，帶幾像素青色微暈。用製圖語法把主體畫得密：立面、剖面、詳圖圈、尺寸鏈、虛線、單線工程字、標題欄。批註和動作用紅鉛筆 #D63426，寫用戶的語言。唯一的主角是圖上唯一手繪上色的東西，比圖紙比例放大（至少佔畫面高五分之一），不透明水粉，一種暖色分幾個深淺（比如橙 #D97757），其餘沒有暖色。鏡頭：推近時各層視差，再切詳圖。避免：霓虹發光、乾淨的數碼藍、空蕩的圖紙。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Medium wide on the bridge elevation: Clawd (Colonel Nicholson) on the deck whistling, notes rising, POWs marching below left, the exploder at right and a train coming on from the far right; slow push in.",
     "zh": "橋立面的中全景：Clawd（尼科爾森上校）站在橋面上吹口哨，音符往上飄，左下戰俘列隊行進，右邊是引爆器，火車從最右邊開上來；緩慢推近。"
    },
    {
     "cam": "detonator",
     "sec": 0.5,
     "en": "Insert on the exploder box ('PLUNGER – ONE PUSH'): the T-handle goes down, the red-pencil wire running off to the charges; slight push in.",
     "zh": "引爆器箱特寫（PLUNGER – ONE PUSH）：T 形手柄按下，紅鉛筆引線通向炸藥；輕微推近。"
    },
    {
     "cam": "bridge",
     "sec": 1.0,
     "en": "Back on the elevation: the charges go off in a scribbled red-pencil fireball inside hatched smoke clouds, the span and the train's carriages drop into the river; slow pull back.",
     "zh": "回到橋立面：炸藥炸開，紅鉛筆亂線畫成的火球裹在排線畫的煙團裡，橋跨和火車車廂落進河裡；緩慢拉遠。"
    }
   ],
   "direction_en": "Clawd is Colonel Nicholson: a British officer's peaked cap and a swagger stick, whistling on its own bridge. Three cuts build cause and effect: the train rolls on, the plunger goes down, the span blows. The explosion stays inside the drawing, a red-pencil scribble and hatched smoke rather than real fire.",
   "direction_zh": "Clawd 扮尼科爾森上校：英軍大簷帽、軍官短手杖，站在自己的橋上吹口哨。三個鏡頭講因果：火車開上橋、引爆器手柄按下、橋跨炸斷。爆炸也留在圖紙裡：紅鉛筆亂線成火球，排線畫煙，不畫真實的火光。",
   "refs": [
    "David Lean, 1957",
    "1957 original poster",
    "Timber trestle engineering drawings"
   ],
   "refs_zh": [
    "David Lean, 1957",
    "1957 年原版海報",
    "木棧橋工程圖"
   ]
  },
  {
   "no": 31,
   "year": "1958",
   "title": "Gigi",
   "zh": "金粉世界",
   "chapter": "C3",
   "t0": 98.75,
   "dur": 2.5,
   "frame_sec": 98.9,
   "style_en": "Lautrec Belle Époque Lithograph",
   "style_zh": "羅特列克美好年代石印",
   "blend_en": [
    "Colour lithograph poster",
    "Henri de Toulouse-Lautrec",
    "Crachis ink spatter",
    "Cecil Beaton costumes"
   ],
   "blend_zh": [
    "彩色石印海報",
    "圖盧茲-羅特列克",
    "牙刷噴墨點（crachis）",
    "Cecil Beaton 服裝"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A Toulouse-Lautrec colour lithograph: flat poster colour, dry-brush contours, spattered ink instead of halftone, caricatured faces. Gigi's big moment is walking into Maxim's while all of Paris stares, and Lautrec drew exactly that Paris.",
   "desc_zh": "圖盧茲-羅特列克式彩色石印：大塊平塗、飛白輪廓、用噴濺墨點代替網點、諷刺漫畫式面孔。琪琪的高光時刻是走進馬克西姆餐廳、全巴黎回頭盯著她，正是羅特列克畫過的巴黎。",
   "prompt_en": "Belle Époque colour lithograph after Toulouse-Lautrec. Flat colour plates with wobbly edges; figures and main shapes outlined in a loaded brush (blunt start, swelling middle, split dry tail), about 1/250 of frame width. Crachis only on shadow sides, cast shadows and glows: 1–3 px dots at 1920×1080, sparse, under 15% of the frame, a darker step of the colour beneath. Large surfaces get grouped dry-brush streaks. Palette: yellow #F1C232, orange-red #E0602C, olive #6E7036, black #1D1A16 on cream stone-grained paper #EFE3C3, plus a muted bottle teal and greyed mauve; flesh is orange-red thinned with paper. Caricatured profiles with drawn faces; one large figure cropped by the frame edge in front. Flat, even light; shadows are flat plates. Camera: shallow parallax, a slow pan settling on a medium shot. Avoid: Mucha halos, smooth gradients, regular halftone, all-over speckle.",
   "prompt_zh": "羅特列克式美好年代彩色石印。大塊平塗色版，邊緣略手抖；人物和主要形體用飽蘸的筆刷勾輪廓，起筆鈍、中段鼓、收尾分叉飛白，粗約畫面寬的 1/250。牙刷彈的墨點只在背光面、投影和光暈處：1920×1080 下點徑一到三像素，稀疏，合計不到畫面一成半，顏色取底色深一檔。大面用成組的同向幹筆條紋。色板：黃 #F1C232、橙紅 #E0602C、橄欖綠 #6E7036、黑 #1D1A16，底是帶石版顆粒的奶油紙 #EFE3C3；另加灰暗的瓶綠和淡紫，膚色是橙紅兌紙色。人物是誇張的諷刺側臉，畫出五官；前景放一個被畫框裁掉的大人物。光平而勻，陰影也是平塗色版。鏡頭：淺視差，慢慢橫搖過場景，落到中景。避免：慕夏式光環、平滑漸變、規整網點、滿屏黑點。",
   "shots": [
    {
     "cam": "maxims",
     "sec": 0.8,
     "en": "Wide of Maxim's: Clawd (Gaston) in top hat and white tie walks Gigi in on its arm between two cropped foreground silhouettes; the nearest diners start to turn; slow push, drifting right.",
     "zh": "馬克西姆餐廳全景：戴高禮帽、白領結的 Clawd（加斯東）挽著琪琪走進來，兩側是被裁掉的前景剪影；最近的幾桌客人開始回頭；緩慢推近並向右漂移。"
    },
    {
     "cam": "faces",
     "sec": 0.7,
     "en": "Lateral pan along the red banquette: caricatured diners turn to stare, lorgnettes up, fans stopped.",
     "zh": "沿紅絲絨卡座橫搖：一張張諷刺漫畫式的面孔轉過來瞪著看，長柄眼鏡舉起，扇子停住。"
    },
    {
     "cam": "gigi",
     "sec": 1.0,
     "en": "Mid shot of the pair still walking in; Gigi's eyes come to the lens and she winks, as on the poster; slight drift right.",
     "zh": "兩人繼續往裡走的中景；琪琪的目光轉向鏡頭，眨了一下眼，和原海報一樣；輕微右移。"
    }
   ],
   "direction_en": "Clawd plays Gaston: top hat, white tie and cane, with Gigi on its arm. The couple keeps walking and the room's gaze follows them. Three cuts on the beat: the entrance, the stares in a pan along the banquette, then the pair again for Gigi's wink to camera.",
   "direction_zh": "Clawd 扮加斯東：高禮帽、白領結、手杖，琪琪挽著它。兩人一直往裡走，滿屋的目光跟著轉。三刀卡在拍子上：進門全景、橫搖眾人瞪眼、再回到兩人，琪琪對鏡頭眨眼收尾。",
   "refs": [
    "Vincente Minnelli, 1958",
    "Henri de Toulouse-Lautrec, Moulin Rouge: La Goulue (1891)",
    "Toulouse-Lautrec, Divan Japonais (1893)",
    "Cecil Beaton (costumes)",
    "1958 MGM poster"
   ],
   "refs_zh": [
    "Vincente Minnelli, 1958",
    "Henri de Toulouse-Lautrec《紅磨坊：拉古呂》（1891）",
    "Toulouse-Lautrec《日本長椅》（1893）",
    "Cecil Beaton（服裝）",
    "1958 年米高梅海報"
   ]
  },
  {
   "no": 32,
   "year": "1959",
   "title": "Ben-Hur",
   "zh": "賓虛",
   "chapter": "C3",
   "t0": 101.25,
   "dur": 5.0,
   "frame_sec": 105.95,
   "style_en": "3D Circus Chariot Race, 65mm Epic",
   "style_zh": "3D 大競技場戰車賽 · 65mm 史詩",
   "blend_en": [
    "Procedural 3D (three.js)",
    "MGM Camera 65 widescreen",
    "Technicolor print grade",
    "Second-unit action staging"
   ],
   "blend_zh": [
    "程序生成 3D（three.js）",
    "MGM Camera 65 寬銀幕",
    "特藝七彩印片調色",
    "第二攝製組動作調度"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A fully procedural 3D Circus in widescreen-epic light: hard desert sun, dust, marble and gold, a Technicolor grade and 65mm grain. The chariot race is the film's most famous sequence, so the scene is the race, under the poster's golden colossus.",
   "desc_zh": "程序生成的 3D 大競技場，寬銀幕史詩光感：沙漠烈日、沙塵、大理石和金色，特藝七彩調色加 65mm 顆粒。戰車賽是全片最有名的段落，就直接拍比賽，頭頂是海報上的金色巨神。",
   "prompt_en": "1959 65mm widescreen epic built in 3D. Default: hard high sun (about 50°), short crisp shadows, cobalt sky fading to sandy white; under a low sun shadows stay hard but long, the sky turns amber. Marble, gilt, red granite and sandstone, with mouldings and fluted columns, never bare boxes. Warm sunlit haze mixes about 20% into mid-distance colours. Technicolor-print grade: warm, saturated, slightly contrasty, no clipping or bloom; fine grain (±3%), slight gate weave. Scale is the point: monumental architecture, statues and repeated elements fill the background, never empty. The one hero subject (e.g. orange #D97757) is the most saturated thing in frame; any repeated motion (stride, wheel, oar) keeps time with speed. Signature shot: low tracking beside the moving hero, 35–50 mm full-frame; then wide, top-down, close-up, low angle. Avoid: clean CG light, empty or primitive sets, overexposure.",
   "prompt_zh": "1959 年 65mm 寬銀幕史詩，用 3D 搭。默認是硬朗的高太陽（約 50°），影子短而利，天空鈷藍、到地平線漸成沙白；太陽低時影子仍硬但拉長，天空轉琥珀色。大理石、鍍金、紅花崗岩和沙色石頭，做出線腳和槽柱，不能是光禿方盒。暖色塵霧約兩成混進中景顏色。調色像 Technicolor 拷貝：暖、飽和、略高反差，不過曝不加輝光；細顆粒（±3%）、輕微片門晃動。核心是規模：背景佈滿宏偉建築、雕像和重複元素，絕不空。唯一的主角（比如橙 #D97757）是畫面裡最飽和的東西；重複動作（步伐、輪、槳）節奏隨速度。招牌鏡頭：全畫幅等效 35 到 50mm，低機位貼著運動的主角跟拍；其次是大全景、正俯、近景、仰拍。避免：乾淨的 CG 光、空蕩粗糙的佈景、過曝。",
   "shots": [
    {
     "cam": "start",
     "sec": 0.9,
     "en": "Wide on the white start line: nine four-horse chariots side by side, Clawd's white team among them, the packed stands behind; the teams launch as the lens slowly tightens.",
     "zh": "起跑白線大全景：九輛四馬戰車並排，Clawd 的白馬隊在其中，身後看臺坐滿；車隊衝出，鏡頭慢慢收緊。"
    },
    {
     "cam": "turn",
     "sec": 0.8,
     "en": "High overhead on the east turn: the chariots sling round the gilded turning posts, dust arcing behind them.",
     "zh": "東彎高位俯拍：戰車繞過鍍金轉彎柱甩出去，身後揚起弧形塵土。"
    },
    {
     "cam": "track",
     "sec": 1.1,
     "en": "Low tracking shot alongside Clawd's chariot: white horses at full gallop, spinning spokes, dust; the camera moves forward with it.",
     "zh": "貼著 Clawd 的戰車並行跟拍：白馬全速奔跑、車輻飛轉、塵土飛揚；鏡頭隨車前移。"
    },
    {
     "cam": "wheel",
     "sec": 0.6,
     "en": "Low between the two chariots: Messala's bladed hub bites into Clawd's wheel and throws sparks; the camera rides with the chariots.",
     "zh": "兩車之間的低機位：梅薩拉的鋸齒刀轂咬住 Clawd 的車輪，火花四濺；鏡頭跟車一起走。"
    },
    {
     "cam": "close",
     "sec": 0.8,
     "en": "Close on Clawd cracking the whip from its chariot, Messala's black team alongside; slow push in.",
     "zh": "Clawd 在戰車上揮鞭的近景，旁邊是梅薩拉的黑馬；緩慢推近。"
    },
    {
     "cam": "still",
     "sec": 0.8,
     "en": "The poster shot: low side angle as Clawd's white team draws level under a golden seated colossus on the spina, stands and governor's box behind; the lens slowly widens.",
     "zh": "海報構圖：低角度側拍，Clawd 的白馬隊在中央隔牆的金色坐像巨神下追平，身後是看臺和總督看臺；鏡頭慢慢放寬。"
    }
   ],
   "direction_en": "Clawd plays Judah Ben-Hur: a linen headband, reins in one hand and a whip in the other, behind four white horses. Six shots in five seconds cover the race the way the 1959 second unit did: start, turn, tracking, wheels, close, poster. Every set-up moves with the chariots, so the pace never drops.",
   "direction_zh": "Clawd 扮猶大·賓虛：額上一條亞麻頭帶，一手握韁一手舉鞭，駕四匹白馬。五秒六個鏡頭，照 1959 年第二攝製組的拍法走一遍：起跑、彎道、跟拍、車輪、近景、海報構圖。每個機位都跟著戰車在動，節奏不掉。",
   "refs": [
    "William Wyler, 1959",
    "Yakima Canutt & Andrew Marton (chariot race)",
    "Robert Surtees (cinematography)",
    "1959 MGM poster"
   ],
   "refs_zh": [
    "William Wyler, 1959",
    "Yakima Canutt、Andrew Marton（戰車賽）",
    "Robert Surtees（攝影）",
    "1959 年米高梅海報"
   ]
  },
  {
   "no": 33,
   "year": "1960",
   "title": "The Apartment",
   "zh": "桃色公寓",
   "chapter": "C4",
   "t0": 106.25,
   "dur": 2.5,
   "frame_sec": 107.72,
   "style_en": "Saul Bass Line Titles in Black & White",
   "style_zh": "Saul Bass 線條片頭 · 黑白",
   "blend_en": [
    "Saul Bass title design",
    "One-point perspective office",
    "Black-and-white film grain",
    "One warm accent"
   ],
   "blend_zh": [
    "Saul Bass 片頭設計",
    "一點透視辦公大廳",
    "黑白膠片顆粒",
    "唯一的暖色"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Saul Bass's sliding white lines on black build the endless one-point-perspective office of the film's best-known shot, then fill with grey tones. Bass designed this film's titles; the only warm colour is Clawd and its key tag.",
   "desc_zh": "Saul Bass 式的白線在黑底上滑入，搭出電影最有名的一點透視無盡辦公大廳，再填上灰調。本片片頭就是 Bass 做的；全畫面唯一的暖色是 Clawd 和鑰匙牌。",
   "prompt_en": "Saul Bass title lines turned into a set. A shot opens on black: thin white lines (about 1/800 of frame width) slide in and grow into a grid; by 2–3 s grey planes fill in and lights switch on row by row. Then hold the finished frame 3 s: mid-to-light grey, flat fills in 4–5 even steps from #140F0D to #F4F1E8, every shape outlined in dark line about 1/600 of frame width. Strict one-point perspective, centred vanishing point; identical elements repeat into depth (desks and people, or posts, lamps, windows). Figures: flat two-tone shapes. The only warm colour is orange-red #E2472A, for the one hero subject and one prop; all light stays white. Camera: a fast push to the hero, a hard cut to top-down, the grid becoming pattern. Avoid: sketchy lines, gradients, colour leaks, skewed perspective, unfilled wireframe.",
   "prompt_zh": "把 Saul Bass 片頭的線條做成佈景，黑白加一個暖色。鏡頭從全黑開始：細白線（約畫面寬的 1/800）滑入、向縱深長成網格；兩三秒內灰面填滿，燈一排排亮起。之後完成態停約三秒：中到淺灰，從 #140F0D 到 #F4F1E8 均勻分四五級平塗，每個形體有約畫面寬 1/600 的深色輪廓。嚴格一點透視，滅點居中；一樣的東西重複排向縱深（有人群時是桌子和人，單人時是柱子、路燈、窗格）。人物是兩色平塗。唯一的暖色是橙紅 #E2472A，只給唯一的主角和一件道具；所有光都是白的。輕顆粒、柔暗角。鏡頭：急推到主角，硬切到正上方俯視，網格變成圖案。避免：草稿感的線、漸變、顏色滲入、透視歪、沒填色的暗線框。",
   "shots": [
    {
     "cam": "push",
     "sec": 1.9,
     "en": "One continuous shot: white lines build the endless office out of black, grey tones and ceiling lights come up row by row; Clawd (Baxter) on its front-row desk lifts the apartment key on beat 2 and the camera crash-pushes in.",
     "zh": "一鏡到底：白線從全黑裡搭出無盡的辦公大廳，灰調和天花燈一排排亮起；坐在前排桌沿的 Clawd（巴克斯特）在第 2 拍舉起公寓鑰匙，鏡頭急推過去。"
    },
    {
     "cam": "high",
     "sec": 0.6,
     "en": "Hard cut to a straight-down top view: the desks become a grid, Clawd lying face-up on its desk with the key and tag; slow push in.",
     "zh": "硬切到正上方俯視：桌子排成一張網格，Clawd 仰面躺在自己桌上，手裡是鑰匙和牌子；緩慢推近。"
    }
   ],
   "direction_en": "Clawd is C.C. Baxter: a bowler hat and the apartment key with its orange-red tag (51 W 67), sitting on the front edge of its desk. The office draws itself line by line, the key goes up on beat 2 with a crash push, and the cut to the overhead desk grid sets up the next film, which opens on Manhattan's street grid from above.",
   "direction_zh": "Clawd 扮 C.C. 巴克斯特：圓頂禮帽、掛著橙紅牌子（51 W 67）的公寓鑰匙，坐在前排桌沿。辦公大廳一根線一根線畫出來，第 2 拍舉鑰匙、鏡頭急推；最後切到俯視的桌陣網格，和下一部開場俯拍的曼哈頓街區網格做圖形匹配。",
   "refs": [
    "Billy Wilder, 1960",
    "Saul Bass (title sequence)",
    "Joseph LaShelle (cinematography)",
    "Alexandre Trauner (production design)"
   ],
   "refs_zh": [
    "Billy Wilder, 1960",
    "Saul Bass（片頭）",
    "Joseph LaShelle（攝影）",
    "Alexandre Trauner（美術設計）"
   ]
  },
  {
   "no": 34,
   "year": "1961",
   "title": "West Side Story",
   "zh": "西區故事",
   "chapter": "C4",
   "t0": 108.75,
   "dur": 5.0,
   "frame_sec": 112.57,
   "style_en": "Technicolor 3D Stage Set",
   "style_zh": "特藝七彩 3D 舞臺",
   "blend_en": [
    "Procedural 3D (three.js)",
    "Technicolor sunset grade",
    "Boris Leven set design",
    "1961 poster: red sky, black fire escape"
   ],
   "blend_zh": [
    "程序生成 3D（three.js）",
    "特藝七彩晚霞調色",
    "Boris Leven 佈景",
    "1961 海報：紅天、黑消防梯"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A saturated, stage-like 3D block of the Upper West Side under a red-orange Technicolor sunset: red brick, zigzag fire escapes, rooftop water towers, posable dancers. It restages the aerial opening, the Jets' snaps and the poster's leap against the red sky.",
   "desc_zh": "紅橙特藝七彩晚霞下的上西區 3D 街區，飽和、舞臺化：紅磚、之字形消防梯、屋頂水塔、能擺姿勢的舞者人偶。重演電影的俯拍開場、Jets 打響指和海報上那一躍。",
   "prompt_en": "Technicolor 3D stage set, like a 1960s studio musical. Simplified geometry, dense detail on every built surface (openings with sills, ledges, railings, ladders, strung lines); textured brick, plaster or rock, never plain. Theatrical light: a low warm sun rakes surfaces with long shadows; cool fill a quarter of the key. Painted sky of red-orange #E0481E, gold-edged cloud bands, violet only at the top edge; warm haze in the distance. The one hero subject in saturated orange #D97757, at least 1/6 of frame height, set against dark brick or given a black rim so it never melts into the sky. Puppet-like mannequin figures. Warm, saturated grade, fine grain (±3%). Signature shot: a low angle against the orange sky; then one continuous descent into the set and a ground-level push. Avoid: photoreal grime, violet-pink skies, plain walls, poses that pop.",
   "prompt_zh": "Technicolor 3D 舞臺佈景，像 60 年代棚拍歌舞片。幾何簡化，每個面都細節密集（窗洞窗臺、簷口、欄杆、梯子、繩線）；表面是有質感的磚、灰泥或岩石，不能素面。劇場布光：低角度暖陽斜掃表面拉出長影；冷補光約為主光四分之一。手繪天空以橙紅 #E0481E 為主，雲帶鑲金邊，只在最上沿帶一點紫；遠處融進暖霧。唯一的主角用飽和橙 #D97757，至少佔畫面高六分之一，背後襯深色磚牆或加一圈黑邊，不能化進天空。人物是木偶式假人。暖而飽和的調色，細顆粒（±3%）。招牌鏡頭：襯著橙色天空的低角度仰拍；其次一個連續鏡頭從高處降進佈景、再貼地推進。避免：寫實髒舊、紫粉天空、素面牆、動作跳變。",
   "shots": [
    {
     "cam": "aerial",
     "sec": 1.3,
     "en": "Straight-down aerial over the West Side grid (rooftops, water towers, the playground court), descending and tilting up into the street.",
     "zh": "正上方俯拍西區街區網格（屋頂、水塔、操場球場），一路下降、抬頭落進街道。"
    },
    {
     "cam": "street",
     "sec": 1.7,
     "en": "Low at the court's edge, the Jets' wedge snapping fingers behind Clawd by the graffiti wall; one continuous push swings round and in to a close-up of Clawd snapping on the drum hits.",
     "zh": "球場邊低機位，Jets 幫在塗鴉牆前排成楔形打響指，Clawd 在前；一條連續的推鏡繞過去推到 Clawd 近景，它的響指卡在鼓點上。"
    },
    {
     "cam": "leap",
     "sec": 1.2,
     "en": "Low angle under the fire escape: Clawd crouches and leaps in one arc against the red sky beside a dancer's jeté, the camera tilting up with the arc.",
     "zh": "消防梯下仰拍：Clawd 下蹲、起跳，一條拋物線壓在紅天上，旁邊是舞者的大跳；鏡頭隨弧線抬起。"
    },
    {
     "cam": "escape",
     "sec": 0.8,
     "en": "Close on the fire-escape landing: Clawd strikes a match, the camera pushes in until the flame sits at frame centre, then it is blown out.",
     "zh": "消防梯平臺近景：Clawd 劃亮火柴，鏡頭推近直到火苗停在畫面正中，隨後被吹滅。"
    }
   ],
   "direction_en": "Clawd joins the Jets with no costume; the set does the identifying. Snaps land on the drum hits, and the leap is one clean arc from crouch to landing squash. The opening aerial answers The Apartment's desk grid, and the struck match sits at frame centre exactly where Lawrence of Arabia's sun rises after the cut.",
   "direction_zh": "Clawd 混進 Jets 幫，沒有戲服，靠場景認片。響指卡在鼓點上；騰躍是一條幹淨的拋物線，從下蹲到落地緩衝一氣呵成。開場俯拍呼應上一部的桌陣網格；結尾劃亮的火柴在畫面正中，正是下一部日出的位置，做匹配剪輯。",
   "refs": [
    "Robert Wise & Jerome Robbins, 1961",
    "Boris Leven (production design)",
    "Saul Bass (end titles)",
    "1961 original poster"
   ],
   "refs_zh": [
    "Robert Wise & Jerome Robbins, 1961",
    "Boris Leven（美術設計）",
    "Saul Bass（片尾字幕）",
    "1961 年原版海報"
   ]
  },
  {
   "no": 35,
   "year": "1962",
   "title": "Lawrence of Arabia",
   "zh": "阿拉伯的勞倫斯",
   "chapter": "C4",
   "t0": 113.75,
   "dur": 2.5,
   "frame_sec": 115.22,
   "style_en": "Terpning Epic Poster Gouache",
   "style_zh": "Terpning 史詩海報水粉",
   "blend_en": [
    "Gouache and oil poster painting",
    "Howard Terpning's 1962 poster",
    "Freddie Young's 70mm desert light"
   ],
   "blend_zh": [
    "水粉加油彩海報畫",
    "Howard Terpning 1962 海報",
    "Freddie Young 70mm 沙漠光"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Painterly epic-poster gouache with visible directional strokes and a hard warm–cool split: amber sand against cobalt sky. Lawrence of Arabia's original poster was painted by Howard Terpning in exactly this manner.",
   "desc_zh": "看得見筆觸方向的史詩海報水粉，冷暖對比強烈：琥珀色沙漠對鈷藍天空。《阿拉伯的勞倫斯》原海報就是 Howard Terpning 用這種畫法畫的。",
   "prompt_en": "1960s hand-painted epic film poster, gouache with oil highlights. Draw forms solidly, then paint: an opaque mid-tone base, directional strokes following each form (1/80–1/50 of frame width on large areas, smaller on faces and hands), soft-blended edges; model every form in three values; dry-brush only on dust, cloth and distant figures; sharp warm-cream highlights last on lit edges. Warm–cool contrast: cobalt sky #1F4D97 to pale blue #A9C3D6, warming to cream near a low sun; ground #EEC27A (any terrain); ochre-red #B56A33 for skin, earth and costume; violet #6C6394 for distant shadows. The hero centred and largest, a diagonal gesture, cloth streaming; smaller, looser figures may recede behind. Light board grain (±3%), warm vignette, haze. Motion: bounce, slow push to a low close-up, a whip pan out. Avoid: scratchy uniform hatching, flat digital fills, cold-only colour.",
   "prompt_zh": "60 年代手繪史詩電影海報，水粉打底、油彩提亮。先把形體畫紮實再上色：鋪不透明中間調底色，再用順形體走的筆觸（大面寬約畫面寬的 1/80 到 1/50，臉和手用小筆），邊緣柔和銜接；每個形體分亮、中、暗三級；幹筆只用在塵土、布料和遠處人物上；最後在受光邊緣壓銳利的暖奶油色高光。冷暖對比：鈷藍天空 #1F4D97 過渡到淺藍 #A9C3D6，低垂的太陽周圍轉暖；地面 #EEC27A（任何地形），皮膚、泥土和衣服用赭紅 #B56A33，遠處陰影用紫 #6C6394。主角居中最大，一個斜向動作，布料飄起；身後可以有更小更松的人物退遠。輕畫板顆粒、暖暗角、霧氣。運動：起伏、緩推到仰角近景、甩鏡出畫。避免：又碎又勻的刮擦線、平塗數碼色、只有冷色。",
   "shots": [
    {
     "cam": "sun",
     "sec": 0.7,
     "en": "Extreme wide of an empty desert at dawn: a huge sun rising through heat haze at frame centre, matched to the blown-out match; slow push in.",
     "zh": "空曠沙漠的黎明大遠景：一輪巨大的太陽在畫面正中透過熱浪升起，和上一部吹滅的火柴做匹配剪輯；緩慢推近。"
    },
    {
     "cam": "charge",
     "sec": 1.0,
     "en": "Poster framing from the camera car: Clawd (Lawrence) gallops in on a camel among charging riders, scimitar low, then raised on the beat with a glint; jolting shake, gentle push.",
     "zh": "跟拍車上的海報構圖：Clawd（勞倫斯）騎駱駝混在衝鋒的騎兵裡奔來，彎刀先放低，卡拍舉起、刀尖一閃；顛簸晃動，緩慢推近。"
    },
    {
     "cam": "whip",
     "sec": 0.8,
     "en": "Low angle pushing up to the raised blade, then a whip pan right, out of the frame and into the next film.",
     "zh": "低角度推向高舉的彎刀，然後向右甩鏡頭出畫，接下一部。"
    }
   ],
   "direction_en": "Clawd plays Lawrence: white robes, headcloth and gold agal, a raised scimitar, riding a camel. It opens on the most famous match cut in cinema, West Side Story's match flame becoming the rising sun. The charge plays at a constant 1.5×, the blade goes up on a beat with a glint, and a whip pan hands over to Tom Jones.",
   "direction_zh": "Clawd 扮勞倫斯：白袍、白頭巾、金色頭箍，騎駱駝舉彎刀。開場就是影史最有名的匹配剪輯：上一部的火柴火苗變成沙漠日出。整段衝鋒恆定 1.5 倍速，彎刀卡拍舉起、刀尖一閃，最後甩鏡頭出畫，接《湯姆·瓊斯》。",
   "refs": [
    "David Lean, 1962",
    "Howard Terpning (1962 poster)",
    "Freddie Young (70mm cinematography)"
   ],
   "refs_zh": [
    "David Lean, 1962",
    "Howard Terpning（1962 年海報）",
    "Freddie Young（70mm 攝影）"
   ]
  },
  {
   "no": 36,
   "year": "1963",
   "title": "Tom Jones",
   "zh": "湯姆·瓊斯",
   "chapter": "C4",
   "t0": 116.25,
   "dur": 2.5,
   "frame_sec": 116.84,
   "style_en": "Hand-Coloured Georgian Satirical Print",
   "style_zh": "手工上色諷刺銅版畫",
   "blend_en": [
    "Hogarth copperplate engraving",
    "Rowlandson/Gillray hand colouring",
    "Satirical speech balloon"
   ],
   "blend_zh": [
    "霍加斯銅版線刻",
    "羅蘭森/吉爾雷式手工上色",
    "諷刺畫對白氣泡"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A Georgian satirical print: Hogarth's swelling burin lines and directional hatching under bright Rowlandson-style hand colour brushed slightly off the line, plus a speech balloon. The film itself imitates Hogarth's 18th-century England.",
   "desc_zh": "喬治王時代的諷刺版畫：霍加斯式粗細變化的刻線和有方向的排線，上面刷羅蘭森式鮮豔的手工淡彩，稍稍出線，再加一個對白氣泡。電影本身就在模仿霍加斯筆下的 18 世紀英國。",
   "prompt_en": "Georgian satirical print: a copperplate engraving, hand-coloured. Brown-black line only: swelling burin outlines about 1/400 of frame width, heavier on the shadow side; hatching follows each form and covers every surface (spacing about 1/250 of frame width), cross-hatched in the darks, ruled on flat areas. Colour covers nearly the whole picture, clear but strong: washes spilling a few pixels off the line in claret #B3262E, brass #D8A93A, flesh #F0C4A4, slate blue #6D8AA6, warm ochre and umber on large surfaces. Sepia laid paper, foxing, plate mark, engraved border. Stage it like William Hogarth: big-nosed caricatures, bystanders or comic props and animals around the subject; one slanted handwritten speech balloon in the user's language. Camera: hold the full plate 2 s, whip in, glide to another detail, close-up. Avoid: even mechanical hatching, blank paper, colour exactly inside lines, muddy colour.",
   "prompt_zh": "喬治王時代諷刺版畫：先刻銅版，印完再手工上色。墨只有棕黑色的線：雕刀輪廓約畫面寬的 1/400，起伏鼓脹，背光一側更粗；排線順形體走、鋪滿每個面（線距約畫面寬的 1/250），只在暗部交叉，平面用直尺排線。顏色幾乎鋪滿整幅，清透但飽滿：水色溢出墨線幾像素，用酒紅 #B3262E、黃銅 #D8A93A、肉色 #F0C4A4、石板藍 #6D8AA6，大面用暖赭和棕褐。淺棕褐簾紋紙，淡黴點，版框印痕，刻線邊框。按 William Hogarth 的方式佈置：大鼻子的漫畫人物，主體身邊是旁觀者或搞笑的道具、動物；一個手寫斜體對話氣泡，用用戶的語言。鏡頭：全幅停兩秒，急推，橫滑到另一處細節，再給近景。避免：機械均勻的排線、大片空白紙、顏色嚴絲合縫填在線裡、顏色發髒。",
   "shots": [
    {
     "cam": "two",
     "sec": 1.3,
     "en": "Whip in from the left onto the two-shot across the laden table, Clawd (Tom) tearing into a drumstick; the camera glides across the table onto Mrs Waters as her speech balloon appears ('Another Leg, Mr Jones?') and she winks.",
     "zh": "從左邊甩進隔著滿桌菜的雙人鏡頭，Clawd（湯姆）大口啃雞腿；鏡頭橫滑過桌面落到沃特斯夫人，她冒出對白氣泡（Another Leg, Mr Jones?）並眨了一下眼。"
    },
    {
     "cam": "clawd",
     "sec": 1.2,
     "en": "Close on Clawd: heart eyes pop, a swoon and a lovesick nibble, then it doffs the tricorn and claps it over the lens to black; slow push in.",
     "zh": "Clawd 近景：眼睛變成心形，陶醉地一晃，又啃一小口，然後摘下三角帽扣向鏡頭，畫面變黑；緩慢推近。"
    }
   ],
   "direction_en": "Clawd plays Tom Jones: a gold-trimmed tricorn, a lipstick kiss on its cheek, a drumstick in hand. One glide replaces shot/reverse, carrying the two-shot across the feast onto Mrs Waters' wink and balloon. Then the close: heart eyes, a swoon, and the hat comes at the lens, so the next film opens from black.",
   "direction_zh": "Clawd 扮湯姆·瓊斯：金邊三角帽、臉上一個口紅唇印、手拿雞腿。不用正反打，用一次橫滑：從隔桌的雙人鏡頭滑到沃特斯夫人眨眼、冒出對白氣泡。再切近景：心形眼、陶醉一晃，摘下三角帽扣向鏡頭，畫面全黑，下一部從黑裡開場。",
   "refs": [
    "Tony Richardson, 1963",
    "William Hogarth, A Rake's Progress / Marriage A-la-Mode",
    "Thomas Rowlandson",
    "James Gillray"
   ],
   "refs_zh": [
    "Tony Richardson, 1963",
    "William Hogarth《浪子生涯》《時髦婚姻》",
    "Thomas Rowlandson",
    "James Gillray"
   ]
  },
  {
   "no": 37,
   "year": "1964",
   "title": "My Fair Lady",
   "zh": "窈窕淑女",
   "chapter": "C4",
   "t0": 118.75,
   "dur": 2.5,
   "frame_sec": 119.78,
   "style_en": "Bob Peak Fashion Illustration",
   "style_zh": "Bob Peak 時裝插畫",
   "blend_en": [
    "Fast ink line",
    "Pink and magenta watercolour",
    "Bob Peak's 1964 poster",
    "Cecil Beaton's Ascot costumes"
   ],
   "blend_zh": [
    "快速墨線",
    "粉色與品紅水彩",
    "Bob Peak 1964 海報",
    "Cecil Beaton 阿斯科特服裝"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Fast, dry-edged ink line with pink and magenta watercolour washes, splatter and edges fading to white paper. The original 1964 poster was Bob Peak's ink and pink; the scene is Cecil Beaton's black-and-white Ascot.",
   "desc_zh": "快速、帶飛白的墨線，配粉色和品紅水彩暈染、甩點，四周化進白紙。1964 年原海報就是 Bob Peak 的墨線加粉彩；場景是 Cecil Beaton 設計的黑白阿斯科特。",
   "prompt_en": "1960s fashion illustration after Bob Peak. Fast ink line, thicker in turns, dry-brush tail, a flick off; 1/600–1/250 of frame width, thinning on tight curves. Solid black for dark clothing, hats and stripes; faces bare paper #FBF7F1. Loose, soft-edged watercolour pools, darker at drying edges: pink #EE84B2 as the main field, magenta #CE3076 for hot spots, rose #F4B2CC, a touch of plum #80285C; warm grey for secondary figures and shading; directional splatter. Settings are a few lines in these washes, not literal colour. The frieze is essential: slender profile figures 9–10 heads tall repeated across the frame (the hero plus grey-wash figures or echoes), black-and-white pattern over pink; washes cover 60–80% of the frame. Camera: slow drift along the figures; graphic-mask transitions. Avoid: even-width outlines, flat digital fills, polygon-edged washes, a lone figure on an empty page.",
   "prompt_zh": "仿 Bob Peak 的 60 年代時裝插畫。墨線很快：轉彎處變粗、直線處變細，後段飛白，收筆一甩；粗細在畫面寬的 1/600 到 1/250 之間，小彎處變細。深色衣服、帽子和條紋用實心墨塊；臉留白紙 #FBF7F1。水彩是鬆散柔邊的色池，幹後邊緣積色更深：粉 #EE84B2 做主色，品紅 #CE3076 做熱點，加玫瑰粉 #F4B2CC 和一點梅紫 #80285C；次要人物和陰影用暖灰；帶方向的甩點。場景只用幾根線和這幾種水彩帶過。橫排人物是核心：修長側身，九到十個頭高，橫向重複（主角加暖灰人物或重影），黑白圖案壓在粉色上；水彩蓋住畫面六到八成。鏡頭：沿人物慢橫移；轉場借圖形遮罩。避免：輪廓粗細一樣、平塗數碼色、多邊形硬邊色塊、空白頁上孤零零一個人。",
   "shots": [
    {
     "cam": "reveal",
     "sec": 0.8,
     "en": "Out of black, the Ascot hat brim lifts to reveal Clawd (Eliza) close; it turns its eyes to the lens and dips a small curtsey as the frame settles back slightly.",
     "zh": "從黑裡，阿斯科特大帽的帽簷抬起，露出 Clawd（伊莉莎）的近景；它把目光轉向鏡頭，微微屈膝行禮，畫面輕輕往後收。"
    },
    {
     "cam": "wide",
     "sec": 0.6,
     "en": "Wide on the Ascot tableau: Clawd in front of two rows of stiff aristocrats in Beaton black and white; slow lateral glide as it lifts its chin.",
     "zh": "阿斯科特全景：Clawd 站在兩排穿 Beaton 黑白服裝、僵立的貴族前面；緩慢橫移，它抬起下巴。"
    },
    {
     "cam": "crowd",
     "sec": 1.1,
     "en": "Pan along the frozen crowd as every pair of binoculars goes up, then the frame closes into two binocular circles.",
     "zh": "沿僵立的人群橫搖，所有人同時舉起望遠鏡，最後畫面收進兩個望遠鏡圓圈。"
    }
   ],
   "direction_en": "Clawd plays Eliza: an enormous white hat with striped ribbon, roses and ostrich plumes, a lace collar and hem. The film opens from Tom Jones' black under its own hat brim and closes inside the crowd's binoculars, so The Sound of Music can open within the same two circles. Three unhurried cuts.",
   "direction_zh": "Clawd 扮伊莉莎：巨大的白帽（條紋緞帶、玫瑰、白鴕鳥羽），領口和裙邊一圈蕾絲。開場從上一部的黑畫面裡掀起帽簷，結尾收進人群望遠鏡的兩個圓圈，下一部《音樂之聲》就在這兩個圓裡開場。三個鏡頭，節奏不急。",
   "refs": [
    "George Cukor, 1964",
    "Bob Peak (1964 poster)",
    "Cecil Beaton (costume designs)"
   ],
   "refs_zh": [
    "George Cukor, 1964",
    "Bob Peak（1964 年海報）",
    "Cecil Beaton（服裝設計）"
   ]
  },
  {
   "no": 38,
   "year": "1965",
   "title": "The Sound of Music",
   "zh": "音樂之聲",
   "chapter": "C4",
   "t0": 121.25,
   "dur": 2.5,
   "frame_sec": 123.6,
   "style_en": "Storybook 3D Alpine Aerial",
   "style_zh": "繪本感 3D 阿爾卑斯航拍",
   "blend_en": [
    "Procedural 3D terrain (three.js)",
    "Todd-AO widescreen colour",
    "Ted McCord's helicopter opening",
    "Miyazaki meadows"
   ],
   "blend_zh": [
    "程序生成 3D 地形（three.js）",
    "託德寬銀幕色彩",
    "Ted McCord 直升機開場",
    "宮崎駿的草原"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "Storybook 3D over procedural Alps: saturated emerald, cobalt and snow white, sculpted ridges, cotton-ball cumulus and gusts running through the grass. It restages the helicopter opening that ends on Maria spinning on the hilltop.",
   "desc_zh": "繪本感的 3D 程序阿爾卑斯：飽和的翠綠、鈷藍、雪白，雕塑感的山脊，棉花團積雲，風吹過草地的草浪。重演開場的直升機航拍，最後落到山頂轉圈的瑪麗亞。",
   "prompt_en": "Storybook 3D landscape in saturated 1960s widescreen colour: smooth sculpted forms, not low-poly or photoreal. Default light: bright sun high, a little behind the camera: emerald grass #3FA33A, cobalt sky #2F6FD0, clean white snow and clouds. Rounded ridges, snow lines following slope, grey-ochre rock bands, cloud shadows. Haze only on the farthest ridges, about 25% lilac. Cumulus are lit white cotton puffs. Knee-high grass and wildflowers fill the foreground, bending in gusts. A lower sun lengthens shadows and warms only cloud edges; other settings keep these colours. Camera: one continuous move: 0–2 s high flight, 2–4 s descent, then a low orbit through the grass around the subject (about 20° per second, subject about 1/4 of frame height). References: cinematographer Ted McCord (*The Sound of Music*, 1965); Miyazaki's meadows. Avoid: violet wash, needle peaks, grey photoreal rock, static grass.",
   "prompt_zh": "繪本感的 3D 風景，60 年代寬銀幕的飽和色，形體圓潤光滑有雕塑感，不寫實也不做低多邊形。默認光：太陽高掛、略在鏡頭身後，大地滿色：翠綠草地 #3FA33A、鈷藍天空 #2F6FD0、乾淨的白雪白雲。風化山脊圓潤，雪線順坡，岩層暖灰赭，有云影。空氣透視只加在最遠的山脊，約兩成半淡紫。積雲是受光的白色棉花團。前景是齊膝密草和野花，隨陣風彎伏。太陽低時只拉長影子、讓雲邊變暖；其他場景也用這些顏色。一個連續鏡頭：前兩秒高空飛越，再兩秒降到草坡，之後貼草低機位環繞主體（每秒約 20°，主體約佔畫面高四分之一）。對標攝影師 Ted McCord（《音樂之聲》，1965）和宮崎駿的草地。避免：泛紫、針尖山峰、寫實灰巖、不動的草。",
   "shots": [
    {
     "cam": "far",
     "sec": 0.7,
     "en": "Inside the two binocular circles carried over from My Fair Lady, which open to full frame: a high aerial gliding over snow peaks through cotton-ball clouds.",
     "zh": "畫面從上一部的兩個望遠鏡圓圈裡打開到全屏：高空航拍，穿過棉花團積雲掠過雪峰。"
    },
    {
     "cam": "approach",
     "sec": 0.8,
     "en": "Descent onto the hilltop meadow: Clawd small at frame centre, already turning with carpet bag and guitar case flung out, forest and field patchwork beyond; the camera drops toward it.",
     "zh": "下降逼近山頂草坡：Clawd 小小地在畫面正中，已經甩著毯包和琴盒轉起來，遠處是森林和田地拼塊；鏡頭朝它降下去。"
    },
    {
     "cam": "meadow",
     "sec": 1.0,
     "en": "Low in the grass, the camera orbits as Clawd twirls a full turn, bag and case swinging, snow peaks and clouds behind, then throws its arms up.",
     "zh": "貼著草的低機位，鏡頭環繞轉了一整圈的 Clawd，毯包和琴盒甩開，身後是雪峰和積雲；最後它雙臂高舉。"
    }
   ],
   "direction_en": "Clawd plays Maria: an edelweiss and a small headscarf knot, with the poster's striped carpet bag in one hand and a guitar case in the other. The spin is one continuous curve across all three shots, so every cut lands mid-turn, and the arms go up on the last beat.",
   "direction_zh": "Clawd 扮瑪麗亞：頭頂一朵雪絨花和一個小頭巾結，照海報一手拎條紋毯包、一手拎吉他琴盒。轉圈是一條貫穿三個鏡頭的連續曲線，每一刀都切在轉到一半的時候；最後一拍雙臂高舉。",
   "refs": [
    "Robert Wise, 1965",
    "Ted McCord (cinematography)",
    "Howard Terpning (1965 poster)",
    "Hayao Miyazaki (meadows)"
   ],
   "refs_zh": [
    "Robert Wise, 1965",
    "Ted McCord（攝影）",
    "Howard Terpning（1965 年海報）",
    "宮崎駿（草地）"
   ]
  },
  {
   "no": 39,
   "year": "1966",
   "title": "A Man for All Seasons",
   "zh": "日月精忠",
   "chapter": "C4",
   "t0": 123.75,
   "dur": 2.5,
   "frame_sec": 125.22,
   "style_en": "Holbein Tudor Portrait in Oils",
   "style_zh": "霍爾拜因都鐸肖像油畫",
   "blend_en": [
    "Old Master oil glazing",
    "Hans Holbein, Sir Thomas More (1527)",
    "Candlelit Tudor interior"
   ],
   "blend_zh": [
    "古典油畫罩染",
    "霍爾拜因《托馬斯·莫爾爵士像》（1527）",
    "燭光都鐸室內"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An Old Master oil portrait: smooth glazed modelling, fur painted hair by hair, velvet highlights, a gold chain link by link, varnish and craquelure. Holbein painted the real Thomas More in 1527, and this is his composition.",
   "desc_zh": "古典大師油畫肖像：平滑罩染塑形、一根根畫出的毛領、天鵝絨高光、逐環刻畫的金鍊，再加舊光油和龜裂紋。霍爾拜因 1527 年親手畫過托馬斯·莫爾，這裡用的就是他的構圖。",
   "prompt_en": "Oil portrait after Hans Holbein the Younger. Paint in layers: a toned underlayer, directional strokes following light and shadow, soft glazes, fine detail last; smooth finish, brushwork faint in background and fabric. Render each material: fur hair by hair, velvet folds with sharp light ridges, metal with two highlights per piece, wool and leather with soft nap. Any subject becomes a formal half-length sitter in its own clothes; its setting shows through a window or in an object it holds. Palette: deep green curtain #1F4A26, black #141113, velvet red #6E0C15, gold #B0801E, fur brown #3E2818; warm, fully modelled skin. Soft light from upper left. Signature shot: the portrait against the curtain; then material close-ups, a slow pull back into a dark room lit by warm pools. Warm varnish, light craquelure. Avoid: flat fills, hard digital edges, even light, unmodelled faces.",
   "prompt_zh": "仿小漢斯·霍爾拜因的北方文藝復興油畫肖像。一層層畫：帶色底、順明暗的筆觸、柔和罩染、最後細筆；成品光滑，背景和布料隱約見筆觸。每種材質各有畫法：毛皮一根根畫，天鵝絨褶子亮脊銳利，金屬每件兩個高光點，呢料和皮革畫出柔和絨面。任何主體都畫成穿自己衣服的正式半身像；它的場景從窗口露出，或由手裡一件東西交代。色板：深綠簾幕 #1F4A26，黑 #141113、天鵝絨紅 #6E0C15、金 #B0801E、毛皮棕 #3E2818；皮膚暖色、體積完整。柔光從左上來。招牌鏡頭：襯著綠簾的半身像；其次是材質特寫，再慢慢拉遠到暖色光池照亮的暗房間。收尾疊暖色光油和輕龜裂。避免：平塗、數碼硬邊、均勻亮光、沒有體積的臉。",
   "shots": [
    {
     "cam": "close",
     "sec": 0.9,
     "en": "Extreme close on the face and the SS collar with its Tudor rose pendant: Clawd (More) looks aside, turns its eyes to the lens and blinks; slow push in.",
     "zh": "臉和 SS 金鍊、都鐸玫瑰吊墜的大特寫：Clawd（莫爾）先看向一側，再把目光轉向鏡頭，眨一下眼；緩慢推近。"
    },
    {
     "cam": "pull",
     "sec": 1.6,
     "en": "The Holbein portrait composition (Tudor cap, fur collar, red velvet sleeves, green damask, letter in hand): a grave nod, eyes drop to the letter, then a slow pull-back reveals the candlelit Tudor room; the candle gutters and the frame goes dark.",
     "zh": "霍爾拜因肖像構圖（都鐸扁帽、毛領、紅天鵝絨袖子、綠色錦緞簾幕、手裡的信）：莊重地點一下頭，目光落到信上，然後緩慢拉遠，露出燭光下的都鐸房間；燭火將熄，畫面暗下去。"
    }
   ],
   "direction_en": "Clawd plays Thomas More: a Tudor cap, black gown with fur collar, red velvet sleeves, the SS chain and a sealed letter. After the spinning meadow, stillness: one cut from close-up to portrait, then a single long pull-back, and the guttering candle carries the dark into the next film's night.",
   "direction_zh": "Clawd 扮托馬斯·莫爾：都鐸扁帽、黑袍毛領、紅天鵝絨袖子、SS 金鍊，手拿封了紅蠟的信。接在轉圈的草坡之後，這裡是靜：從大特寫切到肖像只有一刀，之後一路拉遠；蠟燭將熄，暗下來的畫面接上下一部的夜。",
   "refs": [
    "Fred Zinnemann, 1966",
    "Hans Holbein the Younger, Sir Thomas More (1527)",
    "Holbein, The Ambassadors (1533)",
    "Ted Moore (cinematography)"
   ],
   "refs_zh": [
    "Fred Zinnemann, 1966",
    "Hans Holbein the Younger《托馬斯·莫爾爵士像》（1527）",
    "Holbein《大使們》（1533）",
    "Ted Moore（攝影）"
   ]
  },
  {
   "no": 40,
   "year": "1967",
   "title": "In the Heat of the Night",
   "zh": "炎熱的夜晚",
   "chapter": "C4",
   "t0": 126.25,
   "dur": 2.5,
   "frame_sec": 127.72,
   "style_en": "Three-Ink Risograph Night",
   "style_zh": "三色 Risograph 夜景",
   "blend_en": [
    "Risograph overprint",
    "1967 poster orange-red",
    "Haskell Wexler night exteriors",
    "Silhouette staging"
   ],
   "blend_zh": [
    "Risograph 疊印",
    "1967 海報橙紅",
    "Haskell Wexler 夜景",
    "剪影式調度"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A three-ink Risograph print in deep blue, poster orange-red and fluorescent pink, with halftone, grain and misregistration; light is printed as less ink. It echoes the 1967 poster's orange heat field and black silhouettes.",
   "desc_zh": "三色 Risograph 印刷：深藍、海報橙紅、熒光粉，帶網點、顆粒和套色錯位；光是用「少上墨」印出來的。呼應 1967 年海報的橙紅熱浪底和黑色剪影。",
   "prompt_en": "Three-ink Risograph: orange-red #EC5032 as the dominant field (about 60%, with drip streaks), deep blue #162C76 for silhouettes and shadows, fluorescent pink #FF48B0 only for rims and halos, on warm paper #F7F2E7. Each ink is halftoned at its own angle, dots 1/300 of frame width, plates misregistered 2–4 px; grain, pinholes, slight boil. Knock orange out under blue silhouettes so they print pure blue; only the darkest accents overprint to near-black. Light is the absence of ink: beams, lamps and lit ground show bare paper, ringed in pink. Figures: blue silhouettes, pink rims; skin is 30–60% orange with a blue shadow step. At cooler times keep the red field; blue rises only into the top of the sky. Camera: handheld behind someone carrying a light, a reverse close-up, a push. Avoid: blue-dominated frames, smooth gradients, a fourth ink, clean registration.",
   "prompt_zh": "三色專色 Risograph 印刷：橙紅 #EC5032 是主場（約佔畫面六成，帶豎向流淌痕），深藍 #162C76 給剪影和陰影，熒光粉 #FF48B0 只給輪廓光和光暈，印在暖白紙 #F7F2E7 上。每色是各自網角的半調，點徑約畫面寬的 1/300，版間錯位二到四像素；有墨粒、針孔，逐幀輕微抖動。藍剪影底下挖掉橙色，印成純藍；只有最暗處兩色疊成近黑。光就是沒有墨：光束、燈和被照亮的地面露出紙白，外圈一道粉。人物是帶粉色邊緣光的藍剪影，膚色用三到六成橙色網點加一級藍暗部。時間偏冷時仍保留紅場，只讓藍色升到天空頂部。鏡頭：手持跟在提著光源的人身後，一個反打近景，一次緩推。避免：藍色佔滿畫面、平滑漸變、第四種墨、套印太準。",
   "shots": [
    {
     "cam": "pov",
     "sec": 0.8,
     "en": "Handheld flashlight POV out of the dark: a deputy's beam sweeps the depot platform and finds Clawd (Tibbs) by its suitcase; it looks up, eyes wide, and the other beams snap on.",
     "zh": "黑暗中的手持手電主觀鏡頭：副警長的光束掃過車站站臺，找到手提箱旁的 Clawd（蒂布斯）；它抬頭睜大眼，其他幾束手電隨即亮起。"
    },
    {
     "cam": "sheriff",
     "sec": 0.5,
     "en": "Reverse close on Chief Gillespie: peaked cap, aviator shades, chewing gum, then stopping; slow push in.",
     "zh": "反打警長吉萊斯皮近景：大簷帽、飛行員墨鏡，嚼著口香糖，然後停住；緩慢推近。"
    },
    {
     "cam": "standoff",
     "sec": 1.2,
     "en": "The stand-off, medium wide: Clawd between the deputies and the chief in crossing flashlight beams, the blue cruiser and the Sparta water tower behind; it straightens up and squares its shoulders as the camera pushes in.",
     "zh": "對峙中全景：Clawd 站在副警長和警長之間，幾束手電光交叉打在它身上，身後是藍色警車和斯巴達鎮水塔；它挺直身子、端平肩膀，鏡頭推近。"
    }
   ],
   "direction_en": "Clawd plays Virgil Tibbs: white collar points, a narrow dark tie, shirt cuffs, a suitcase at its side. The night carries over from the previous film's snuffed candle. Three cuts build the confrontation: the flashlight finds it, Gillespie stops chewing, and Clawd draws itself up for \"They call me MISTER Tibbs!\"",
   "direction_zh": "Clawd 扮維吉爾·蒂布斯：白襯衫領尖、深色窄領帶、袖口，腳邊一隻手提箱。上一部熄滅的燭光把夜帶進來。三個鏡頭堆出對峙：手電找到它、警長停下嚼口香糖、它挺直腰板，像在說「They call me MISTER Tibbs!」",
   "refs": [
    "Norman Jewison, 1967",
    "Haskell Wexler (cinematography)",
    "1967 original poster",
    "Tom Haugomat"
   ],
   "refs_zh": [
    "Norman Jewison, 1967",
    "Haskell Wexler（攝影）",
    "1967 年原版海報",
    "Tom Haugomat"
   ]
  },
  {
   "no": 41,
   "year": "1968",
   "title": "Oliver!",
   "zh": "霧都孤兒",
   "chapter": "C4",
   "t0": 128.75,
   "dur": 2.5,
   "frame_sec": 129.78,
   "style_en": "Victorian Toy Theatre",
   "style_zh": "維多利亞玩具紙劇場",
   "blend_en": [
    "Pollock's toy theatre",
    "Hand-coloured lithograph sheets",
    "Cut card with footlight shadows",
    "Cruikshank caricature"
   ],
   "blend_zh": [
    "Pollock's 玩具劇場",
    "手工上色石印紙偶",
    "剪卡與腳燈投影",
    "Cruikshank 漫畫人物"
   ],
   "dim": "2.5D",
   "render": "2.5D",
   "desc_en": "A Victorian toy theatre: hand-coloured lithographed card figures with a white scissor margin, layered flats on wire slides, a gilt proscenium and flickering candle footlights throwing shadows up the scenery. Oliver! is a musical, staged here on the Victorian home stage.",
   "desc_zh": "維多利亞玩具紙劇場：手工上色的石印卡紙人物留著剪刀白邊，景片分層插在滑桿上，鍍金臺口下的燭光腳燈把影子投上景片。《霧都孤兒》是歌舞片，正好搬上維多利亞家庭小舞臺。",
   "prompt_en": "Victorian toy paper theatre (Pollock's), all printed card: black lithographic outlines about 1/400 of frame width, sparse crayon hatching on one side of each piece; muted antique hand colouring: deep red #C8262C and dull gold #E0AB36 on proscenium and curtains (never bright yellow), blue #2F5A9A for costumes; scenery, sky, water and skin in greyed browns, greys and cream card #F4ECD6. Every cut-out keeps a white scissor margin (1/200 of frame width). Flats are parallel 2.5D layers in parallax, flat within each plane. Candle footlights throw each cut-out's shadow onto the scenery behind, about 1.5× enlarged, soft, flickering. Gilt proscenium, red drapes and painted audience boxes frame a stage opening 80–90% of frame width. Camera: slow push, lateral tracking, shaky close-ups; a final pull-back shows the dark room. Avoid: bright vector colour, true 3D depth, soft studio light, figures without margins.",
   "prompt_zh": "維多利亞玩具紙劇場（Pollock's 式）。一切都是印出來的卡紙：黑色石印輪廓約畫面寬的 1/400，每張剪紙一側有稀疏蠟筆排線；手工上色是沉穩舊色：深紅 #C8262C 和暗金 #E0AB36 用在臺口和帷幔（金色不能是亮黃），藍 #2F5A9A 給服裝；佈景、天空、水和膚色用發灰的棕、灰和奶油卡紙 #F4ECD6。每個人物和景片留一圈剪刀白邊（約畫面寬的 1/200）。景片是平行的 2.5D 層，層間視差，層內無透視。燭光腳燈把剪紙影子放大約一倍半投到後面景片上，柔邊，隨燭火閃動。鍍金臺口、紅帷幔和畫出來的包廂觀眾框住舞臺，臺口寬佔畫面八到九成。鏡頭：慢推、橫移，近景微震；結尾拉遠露出暗房間。避免：鮮豔矢量色、真 3D 縱深、柔和攝影光、沒有剪邊的人物。",
   "shots": [
    {
     "cam": "table",
     "sec": 0.5,
     "en": "Wide: the toy theatre on a mahogany table in a dark parlour, the 'Theatre Royal' proscenium, a sheet of cut-out characters and the player's hand at the side; slow push in.",
     "zh": "全景：暗房間裡紅木桌上的玩具劇場，「Theatre Royal」臺口，桌上一張人物剪紙，旁邊伸進來一隻操偶的手；緩慢推近。"
    },
    {
     "cam": "stage",
     "sec": 0.9,
     "en": "Tracking shot across the stage, the workhouse hall: Clawd (Oliver) steps out of the line of boys and lifts its empty bowl ('Please, sir…') as Mr Bumble's brow gathers by the steaming copper; the camera tracks right with it.",
     "zh": "沿舞臺橫移，濟貧院飯堂：Clawd（奧利弗）從一排孩子裡走出來，舉起空碗（Please, sir…），冒著熱氣的粥鍋旁，班布爾的眉頭皺起來；鏡頭隨它向右跟。"
    },
    {
     "cam": "close",
     "sec": 1.1,
     "en": "Close on Clawd and Mr Bumble: Bumble roars, Clawd cowers with a shiver but keeps the bowl up; a small camera shake on the roar.",
     "zh": "Clawd 和班布爾的近景：班布爾一聲大吼，Clawd 縮了一下、發抖，碗還是舉著；吼聲那一下鏡頭輕震。"
    }
   ],
   "direction_en": "Clawd plays Oliver: a cut-out on its own tin slide, holding out an empty bowl. Three clearly different sizes, wide to stage to close, give the request its build: step forward, bowl up on the beat, Bumble's roar, and Clawd still holding the bowl up.",
   "direction_zh": "Clawd 扮奧利弗：插在自己滑桿上的紙偶，手裡舉著空碗。全景、舞臺、近景三種景別拉開層次：上前一步，卡拍舉起空碗，班布爾一吼，它縮了一下，碗還是舉著。",
   "refs": [
    "Carol Reed, 1968",
    "Benjamin Pollock (toy theatre sheets)",
    "George Cruikshank",
    "Pollock's Toy Museum"
   ],
   "refs_zh": [
    "Carol Reed, 1968",
    "Benjamin Pollock（玩具劇場印紙）",
    "George Cruikshank",
    "Pollock's Toy Museum"
   ]
  },
  {
   "no": 42,
   "year": "1969",
   "title": "Midnight Cowboy",
   "zh": "午夜牛郎",
   "chapter": "C4",
   "t0": 131.25,
   "dur": 2.5,
   "frame_sec": 133.16,
   "style_en": "Warhol Photo-Silkscreen, Double Elvis",
   "style_zh": "沃霍爾照片絲網 · Double Elvis",
   "blend_en": [
    "Photo silkscreen",
    "Andy Warhol, Double Elvis (1963)",
    "Silver paint ground",
    "Off-register colour blocks"
   ],
   "blend_zh": [
    "照片絲網印",
    "沃霍爾《Double Elvis》（1963）",
    "銀漆底",
    "錯位色塊"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Warhol's photo-silkscreen: a black halftone photo printed unevenly over loose flat colour blocks on silver, the image repeated two and three times. The film has a Factory-style party in it, and his Elvis is a cowboy.",
   "desc_zh": "沃霍爾的照片絲網：黑色網點照片層印得不勻，錯位地壓在鬆散的平塗色塊上，底是銀色，畫面重複兩次、三次。片裡就有沃霍爾工廠式的派對，而他畫的貓王正是牛仔。",
   "prompt_en": "Andy Warhol photo-silkscreen. Two plates: a high-contrast black halftone photograph at 45°, dots about 1/200 of frame width, few mid-tones; and hand-painted flat colour blocks underneath, offset about 1/100 of frame width with wobbly edges: taxi yellow #F3BE14, skin pink #F2A197, cream #EFE6CF, red #E2462B, on brushed silver paint #BABCC0 with a soft sheen. The one hero subject takes the strongest block colour. Uneven squeegee pressure: dots flood into blotches in places, drag into dry horizontal streaks and pinholes elsewhere, over faint canvas weave. Repetition is the composition: the same figure or object, full-length, printed side by side two then three times, slightly overlapping, on empty silver. Settings appear only as drained-to-silver prints in the repeat. Camera: handheld shake, a push in, flat frontal tableaux. Reference: Andy Warhol, *Double Elvis* (1963). Avoid: clean even halftone, perfect registration, uniform crispness.",
   "prompt_zh": "安迪·沃霍爾式照片絲網印。兩塊版：一塊是 45° 的高反差黑色半調照片，網點約畫面寬的 1/200，幾乎沒有中間調；下面是手刷平塗色塊，相對照片錯開約畫面寬的 1/100，邊緣歪扭：出租車黃 #F3BE14、膚粉 #F2A197、奶油 #EFE6CF、紅 #E2462B，底是帶柔和光澤的刷塗銀漆 #BABCC0。唯一的主角用最強的那塊顏色。刮板壓力不勻：有的地方網點糊成墨團，有的地方拖成橫向幹筆條紋和針孔，底下隱約有畫布紋。重複就是構圖：同一個人物或物體全身，在空銀底上並排印兩次、再印三次，略有重疊。場景只以褪成銀色的印樣出現在重複裡。鏡頭：手持晃動、推近、正面平面定格。對標沃霍爾《Double Elvis》（1963）。避免：乾淨均勻的網點、套色完全對齊、處處一樣清晰。",
   "shots": [
    {
     "cam": "street",
     "sec": 1.1,
     "en": "Sixth Avenue crosswalk: a yellow cab brakes in, Clawd (Joe Buck) jumps back and stares as Ratso slaps the hood; handheld shake, slow push.",
     "zh": "第六大道的人行橫道：黃色出租車急剎衝進來，Clawd（喬·巴克）往後一跳、瞪著眼，拉索拍了一下車頭；手持晃動，緩慢推近。"
    },
    {
     "cam": "taxi",
     "sec": 0.6,
     "en": "Closer on Ratso yelling into the cab, cigarette on his lip, finger pointing (\"I'm walkin' here!\"); push in.",
     "zh": "拉索的近景：叼著煙衝出租車大吼、手指著司機（I'm walkin' here!）；推近。"
    },
    {
     "cam": "warhol",
     "sec": 0.8,
     "en": "The street drains to silver and prints itself into Warhol's Double: two overlapping Clawds in Stetsons with revolvers, then three; flat frontal frame.",
     "zh": "街景褪成銀色，印成沃霍爾的 Double：兩個戴斯泰森帽、手持左輪的 Clawd 疊在一起，再變成三個；正面平視的定格畫面。"
    }
   ],
   "direction_en": "Clawd plays Joe Buck: black Stetson, red neckerchief and suede fringe on its arms. First the film's \"I'm walkin' here!\": cab, jump back, slap, yell. Then the image turns into a Warhol print, with Clawd in Elvis's gunslinger stance, printed twice, then three times.",
   "direction_zh": "Clawd 扮喬·巴克：黑色斯泰森帽、紅色領巾、手臂上的麂皮流蘇。先演電影裡那句「I'm walkin' here!」：出租車急剎、它往後一跳、拉索拍車頭大吼。然後畫面變成沃霍爾絲網，Clawd 擺出貓王的槍手站姿，先印兩次，再印三次。",
   "refs": [
    "John Schlesinger, 1969",
    "Andy Warhol, Double Elvis (1963)",
    "Andy Warhol, Silver Car Crash (Double Disaster) (1963)",
    "1969 original poster"
   ],
   "refs_zh": [
    "John Schlesinger, 1969",
    "Andy Warhol《Double Elvis》（1963）",
    "Andy Warhol《銀色車禍（雙重災難）》（1963）",
    "1969 年原版海報"
   ]
  },
  {
   "no": 43,
   "year": "1970",
   "title": "Patton",
   "zh": "巴頓將軍",
   "chapter": "C5",
   "t0": 133.75,
   "dur": 2.5,
   "frame_sec": 136.1,
   "style_en": "WWII War-Bond Lithograph",
   "style_zh": "二戰戰爭債券石印海報",
   "blend_en": [
    "Stone lithograph poster",
    "1942–45 US war-bond and recruiting posters",
    "45° halftone, off-register colour stones"
   ],
   "blend_zh": [
    "石印海報",
    "1942–45 美軍徵兵與戰爭債券海報",
    "45° 網點、套色錯位"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Flat-colour stone lithograph in the manner of 1940s US war-bond posters: posterised folds, a dark key line, halftone shadows, yellowed stock. It fits Patton's opening speech, where a tiny general stands before a stage-high flag.",
   "desc_zh": "仿 1940 年代美軍戰爭債券海報的石印畫法：分級平塗的褶皺、深色輪廓、網點陰影、泛黃的紙。對應《巴頓將軍》開場：小小的將軍站在一面佔滿舞臺的巨幅國旗前訓話。",
   "prompt_en": "1940s US war-bond lithograph poster. Flat inks: red #C2342C, navy #213261, olive #5F5C31, khaki #B7975E, on fibrous, foxed cream #E6D5B3 paper. Three values per form (bare paper, flat ink, ink plus halftone), posterised in hard steps. Brown-black key line about 1/500 of frame width, printed last; shadows as coarse 45° halftone bands (dots about 1/150 of frame width) with crayon grain; colour plates offset about 1/600 of frame width. Default: a symmetrical frontal stage, a small subject before a huge graphic shape filling most of the frame (flag, emblem, sunburst), lights as hard pale shapes or bare paper; outdoors too, light falling as a hard pale pool. Lettering optional, in the user's language. Camera: slow push-ins, one crisp pull-back. Reference: US war-bond posters, 1942–45. Avoid: airbrushed gradients, perfect registration, halftone so fine it reads grey.",
   "prompt_zh": "1940 年代美國戰爭債券石印海報。平塗油墨：紅 #C2342C、海軍藍 #213261、橄欖綠 #5F5C31、卡其 #B7975E，印在米白 #E6D5B3 的紙上，有纖維、黴點和磨邊。每個形體三檔：留紙、平塗、油墨加網點，壓成硬邊色階。棕黑輪廓線約畫面寬的 1/500，最後壓上；陰影是粗的 45° 網點帶（點徑約畫面寬的 1/150），帶蠟筆顆粒；色版錯開約畫面寬的 1/600。默認像舞臺：對稱正面，小主體站在佔滿大半畫面的巨大圖形前（旗幟、徽章、放射光芒），燈光是硬邊淺色塊或留紙；戶外也一樣，光落成地上的硬邊淺斑。文字可有可無，用用戶的語言。鏡頭慢推，配一次乾脆的拉出。對標 1942–45 年美國戰爭債券海報。避免：噴槍漸變、套色完全對齊、網點細到像一片灰。",
   "shots": [
    {
     "cam": "reveal",
     "sec": 1.0,
     "en": "Red and cream stripes fill the frame (a graphic match from the previous film's Warhol grid), then one pull-back finds Clawd walking up from below frame to its mark before the flag.",
     "zh": "紅白條紋鋪滿畫面（接上一部沃霍爾網格的圖形匹配），隨即一個拉鏡頭，Clawd 從畫面下方走上來，站到巨幅國旗前。"
    },
    {
     "cam": "close",
     "sec": 0.9,
     "en": "Medium close-up, a slow push with a slight shake: Clawd snaps up the salute under the four-star helmet, holds it, drops it, and the riding crop cracks into its palm with a hard nod.",
     "zh": "中近景，鏡頭帶輕微抖動慢推：Clawd 在四星鋼盔下啪地敬禮，停住，放下，馬鞭拍進手心，用力一點頭。"
    },
    {
     "cam": "wide",
     "sec": 0.5,
     "en": "Wide: the camera pulls out past the flag to the whole empty theatre, red curtains, gilt proscenium and footlights, Clawd tiny at centre stage.",
     "zh": "全景：鏡頭拉出，越過國旗看到整個空劇場：紅幕、鍍金臺口、腳燈，Clawd 在舞臺中央縮成一個小點。"
    }
   ],
   "direction_en": "Clawd plays Patton: four-star helmet, ribbon bars and medals, ivory-gripped revolver, riding crop. It walks to its mark under the stripes; on the cut to the close-up the salute snaps up, holds, drops, and the crop cracks into its palm with a nod, as if the speech begins. Two hard cuts; the final pull-back shrinks it before the flag.",
   "direction_zh": "Clawd 扮巴頓：四星鋼盔、勳表和獎章、象牙柄左輪、馬鞭。它在條紋下走到位，切進近景時啪地敬禮，停住，放下，馬鞭拍進手心、一點頭，像訓話開始。兩次硬切，最後的拉鏡頭讓它在巨旗前縮成一個小點。",
   "refs": [
    "Franklin J. Schaffner, Patton (1970)",
    "Patton one-sheet (1970)",
    "J. C. Leyendecker",
    "US war-bond and recruiting posters, 1942–45"
   ],
   "refs_zh": [
    "Franklin J. Schaffner《巴頓將軍》（1970）",
    "《巴頓將軍》海報（1970）",
    "J. C. Leyendecker",
    "美國戰爭債券與徵兵海報，1942–45"
   ]
  },
  {
   "no": 44,
   "year": "1971",
   "title": "The French Connection",
   "zh": "法國販毒網",
   "chapter": "C5",
   "t0": 136.25,
   "dur": 2.5,
   "frame_sec": 138.16,
   "style_en": "16mm Chase Under the El",
   "style_zh": "高架鐵下追車 · 16mm 顆粒 3D",
   "blend_en": [
    "three.js 3D street set",
    "16mm documentary grain",
    "cold cyan-shadow print grade"
   ],
   "blend_zh": [
    "three.js 3D 街景",
    "16mm 紀錄片顆粒",
    "暗部偏青的冷灰印片調色"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A full 3D Brooklyn avenue under the elevated railway, graded like grainy 16mm: cold grey, cyan shadows, high contrast, gate weave. The film is remembered for its car chase under the el, and only a real 3D world gives that speed.",
   "desc_zh": "整條布魯克林高架鐵下的大街用 3D 建出來，再調成粗顆粒 16mm：冷灰、暗部偏青、高反差、片門抖動。這部片最有名的就是高架鐵下的追車，3D 才拍得出那種速度。",
   "prompt_en": "Gritty early-1970s documentary look in a detailed 3D world, finished as pushed 16mm. Grade: low saturation, high contrast; neutral-cold greys #7A7C7A, cyan shadows #1E2A2C, warm-brown mid-tones #6E4A34 in brick, wood, vehicles (at least a quarter of the frame), never an overall blue; the one hero (e.g. #D97757) stays saturated. Default overcast, sky near-white, at any time of day; sun through any overhead grid (track, bridge, pier) falls in hard stripes. Grain clumps about 1/700 of frame width, ±8% brightness; gate weave, flicker, dust, occasional faint ghosts of bright lights. Dense clutter fitting the place. Handheld cameras ride the action: a low 18–25 mm lens rushing forward as repeated objects strobe past, a rig looking back at the subject, a corner wide. References: William Friedkin, *The French Connection* (1971); cinematographer Owen Roizman. Avoid: clean CG shine, blue tint, empty places, mushy grain.",
   "prompt_zh": "70 年代初粗糲的紀實感，放在細緻的 3D 世界裡，按增感沖洗的 16mm 收尾。調色：低飽和、高反差；中性冷灰 #7A7C7A、帶青的暗部 #1E2A2C，磚、木頭、車輛保持暖棕 #6E4A34，至少佔四分之一畫面，絕不整體泛藍；唯一的主角（比如橙 #D97757）保持飽和。默認陰天，天空亮到近白，任何時段都一樣；陽光穿過頭頂格柵（軌道、橋、棧橋）落成硬邊條紋。顆粒成團，約畫面寬的 1/700，亮度 ±8%；片門晃動、閃爍、灰塵，亮處偶有淡重影。雜物多且符合地點。手持機位跟著動作走：18 到 25mm 低機位向前衝，重複物體頻閃掠過；回看主體的跟拍機位；牆角廣角。對標 William Friedkin《法國販毒網》（1971）和攝影師 Owen Roizman。避免：乾淨的 CG 反光、整體泛藍、空蕩的方塊場景、顆粒糊成一片。",
   "shots": [
    {
     "cam": "wide",
     "sec": 0.8,
     "en": "Wide at the corner: a train crosses overhead as the brown Pontiac skids onto the avenue with its rear tyres smoking; the lens slowly widens.",
     "zh": "路口全景：列車從頭頂駛過，棕色龐蒂亞克甩尾衝上大街，後輪冒煙；鏡頭視角慢慢放寬。"
    },
    {
     "cam": "bumper",
     "sec": 0.8,
     "en": "The famous bumper mount: a low lens rushing up the avenue with motion blur, the el's columns strobing past.",
     "zh": "片中有名的保險槓機位：超低機位帶著運動模糊往前衝，高架鐵的柱子一根根閃過。"
    },
    {
     "cam": "window",
     "sec": 0.9,
     "en": "Medium shot from outside the car through the rolled-down window: Clawd as Doyle in a pork-pie hat, grim at the wheel, the el and storefronts sliding behind, with vehicle shake.",
     "zh": "中景，從車外透過搖下的車窗看 Clawd 扮的道爾：豬肉派帽、咬牙握著方向盤，身後高架鐵和店面滑過，帶車載抖動。"
    }
   ],
   "direction_en": "Clawd plays Popeye Doyle: pork-pie hat, angry eyes, both hands on the wheel. The chase clock runs well ahead of screen time, so the speed-up reads as more speed. Three hard cuts, corner skid to bumper rush to the driver, with no pause in between.",
   "direction_zh": "Clawd 扮“大力水手”道爾：豬肉派帽、怒眼、雙手握方向盤。追車的場景時間比屏幕時間跑得快得多，加速看起來就是車更快。三個硬切：路口甩尾 → 保險槓狂衝 → 駕駛員，中間不停。",
   "refs": [
    "William Friedkin, The French Connection (1971)",
    "Owen Roizman (cinematography)",
    "The French Connection one-sheet (1971)"
   ],
   "refs_zh": [
    "William Friedkin《法國販毒網》（1971）",
    "Owen Roizman（攝影）",
    "《法國販毒網》海報（1971）"
   ]
  },
  {
   "no": 45,
   "year": "1972",
   "title": "The Godfather",
   "zh": "教父",
   "chapter": "C5",
   "t0": 138.75,
   "dur": 5.0,
   "frame_sec": 142.57,
   "style_en": "Rembrandt Top-Light Oil Painting",
   "style_zh": "倫勃朗頂光明暗油畫",
   "blend_en": [
    "Chiaroscuro oil painting",
    "Gordon Willis's top light",
    "Rembrandt and Caravaggio glazing"
   ],
   "blend_zh": [
    "明暗油畫",
    "戈登·威利斯的頂光",
    "倫勃朗、卡拉瓦喬式罩染"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Oil painting in deep amber and umber where only the top light is warm: thin transparent glazes in the darks, thick impasto on the lit edges. It recreates Gordon Willis's overhead light in the 'I believe in America' study.",
   "desc_zh": "深琥珀和赭褐的油畫，只有頂光落下的地方是暖的：暗部是透明的薄罩染，受光邊緣是厚塗。重現戈登·威利斯在“I believe in America”那間書房裡的頂光。",
   "prompt_en": "Chiaroscuro oil painting after Rembrandt and Caravaggio, one overhead light. About 70% of the frame is readable warm dark, mostly umber #24150B, near-black #070403 only in the deepest corners. Amber #8F5D2A mid-tones about 20%; top planes reach #E2B673. The hero stands in the light pool, lit area at least 1/4 of frame height; brows shade the eyes. One red accent #9C1A1A. Darks thin smooth glazes; lights thick impasto, ridged strokes about 1/100 of frame width; modelling soft, never scratchy. Amber varnish, heavy vignette, canvas grain (±3%). A warm bright opening (window, doorway, horizon) may glow behind; a small lamp in frame is a small glow, not a second key. Camera: slow pull-backs and pushes. Reference: Francis Ford Coppola, *The Godfather* (1972), cinematographer Gordon Willis. Avoid: lifting the darks, flat light, faces popping out, frames too dark to read.",
   "prompt_zh": "倫勃朗、卡拉瓦喬式明暗油畫，只有一盞頂光。約七成畫面是看得出形體的暖暗部，大多是赭褐 #24150B，近黑 #070403 只在最深的角落。琥珀 #8F5D2A 中間調約兩成；朝上的面亮到 #E2B673。主角整個站在光池裡，受光部分至少佔畫面高的四分之一；眉骨把眼睛壓進陰影。一處飽和的紅 #9C1A1A。暗部薄而平滑地罩染，亮部是帶亮筆脊的厚塗，筆觸約畫面寬的 1/100；過渡柔和，不用刮擦線條。琥珀光油，重暗角，細畫布紋（±3%）。背景可有一處暖色亮口（窗、門洞、發亮的天邊）；畫內的小燈只是一小團光，不算第二個主光。鏡頭慢拉、慢推。對標 Francis Ford Coppola《教父》（1972），攝影師 Gordon Willis。避免：提亮暗部、平光、人臉跳出來、暗到看不清。",
   "shots": [
    {
     "cam": "opening",
     "sec": 1.7,
     "en": "From Bonasera's grey head in the dark, the camera pulls slowly back to reveal the Don in his wing chair, a cat at his knee.",
     "zh": "從暗處博納塞拉的灰髮開始，鏡頭緩緩拉出，露出坐在翼背椅裡的教父和他膝前的貓。"
    },
    {
     "cam": "close",
     "sec": 1.0,
     "en": "Close on Clawd under the top light, slowly stroking the grey tabby, bow tie and red rose catching the light; a slow push.",
     "zh": "近景：頂光下的 Clawd 緩緩撫摸灰色虎斑貓，領結和紅玫瑰吃到光；鏡頭慢推。"
    },
    {
     "cam": "window",
     "sec": 0.8,
     "en": "Push toward the blinds: the wedding outside, soft and overexposed in the sun, Hagen silhouetted at left.",
     "zh": "推向百葉窗：窗外陽光下的婚禮，虛而過曝，左邊是黑根的剪影。"
    },
    {
     "cam": "hand",
     "sec": 1.5,
     "en": "The whole study with a slight push: the puppeteer's hand comes down from the top of frame and its strings draw taut over Clawd.",
     "zh": "書房全景，鏡頭略推：提線木偶的手從畫面頂上降下來，提線在 Clawd 身上慢慢繃緊。"
    }
   ],
   "direction_en": "Clawd plays Don Corleone: black bow tie, wing collar, red rose, white cuffs, one hand on a cat. All twelve beats run at 1× to keep Willis's patient camera; each stroke of the cat takes about four seconds, with one blink. Hard cuts; the last shot lowers Fujita's puppeteer hand from the poster over it.",
   "direction_zh": "Clawd 扮唐·柯里昂：黑領結、翼領、紅玫瑰、白袖口，一隻手壓在貓背上。12 拍全按 1 倍速，保留威利斯那種耐心的鏡頭；撫貓一下約 4 秒，中間眨一次眼。全部硬切，最後一鏡讓原海報的提線手降到它頭上。",
   "refs": [
    "Francis Ford Coppola, The Godfather (1972)",
    "Gordon Willis (cinematography)",
    "Rembrandt, The Night Watch",
    "Caravaggio",
    "S. Neil Fujita, The Godfather poster logo"
   ],
   "refs_zh": [
    "Francis Ford Coppola《教父》（1972）",
    "Gordon Willis（攝影）",
    "Rembrandt《夜巡》",
    "Caravaggio",
    "S. Neil Fujita 設計的《教父》海報字標"
   ]
  },
  {
   "no": 46,
   "year": "1973",
   "title": "The Sting",
   "zh": "騙中騙",
   "chapter": "C5",
   "t0": 143.75,
   "dur": 2.5,
   "frame_sec": 144.34,
   "style_en": "Saturday Evening Post Illustration",
   "style_zh": "《星期六晚郵報》插畫",
   "blend_en": [
    "Saturday Evening Post cover illustration",
    "Leyendecker block modelling",
    "Jaroslav Gebr's chapter cards"
   ],
   "blend_zh": [
    "《星期六晚郵報》封面插畫",
    "Leyendecker 式塊麵塑形",
    "Jaroslav Gebr 的章節卡"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Warm, clean magazine illustration in the Leyendecker–Rockwell line: blocky lit planes, parallel strokes, crisp dark contours. The Sting's own chapter cards imitate Saturday Evening Post covers, so its 1936 betting parlour is drawn the same way.",
   "desc_zh": "Leyendecker、Rockwell 一路的雜誌插畫：塊面受光、平行筆觸、利落的深色輪廓。片中章節卡就仿《星期六晚郵報》封面，1936 年的下注廳也照這個畫。",
   "prompt_en": "1930s Saturday Evening Post cover illustration. Realist figures, correct proportions, expressive faces, built from blocky planes (lit, shadow, warm bounce from below) filled with blended strokes about 1/150 of frame width, varied in length, following the form, never stripes. Dark contour thicker on the shadow side, 1/800–1/300 of frame width. Warm key from upper left. Palette: plaster #E2C492, oak #764626, slate #28322C, brass #E2B046, ink #341E18; oak and ink darks about a third of the frame; sky plaster cooled with slate, water light slate, skin plaster plus brass. Grainy board (±3%), warm vignette. Default one-point perspective, period detail, haze, secondary figures if the story has any. Each figure is drawn once and moves whole (breathing, sway, sliding along a path). Camera: one long, smooth push in. References: J. C. Leyendecker, Norman Rockwell. Avoid: stiff cut-out figures, even outlines, muddy colour.",
   "prompt_zh": "30 年代《星期六晚郵報》封面插畫。寫實人物，比例準確、表情生動，用塊麵塑造（受光、背光、下方暖色反光），塊面裡填順著形體、長短不一的筆觸，寬約畫面寬的 1/150，柔和銜接，不成條紋。深色輪廓在背光一側加粗，畫面寬的 1/800 到 1/300。暖色主光從左上來。配色：灰泥 #E2C492、橡木 #764626、石板 #28322C、黃銅 #E2B046、墨 #341E18；橡木和墨色暗部約佔三分之一畫面；天空灰泥偏石板，水是淺石板，皮膚灰泥加黃銅。輕顆粒畫板（±3%）加暖暗角。默認一點透視，時代細節，薄霧，故事有就加次要人物。每個人物只畫一遍，整體移動（呼吸、搖擺、沿路徑滑行）。鏡頭：一次長而平滑的推進。對標 J. C. Leyendecker、Norman Rockwell。避免：僵硬剪紙人物、粗細一樣的輪廓、發髒的顏色。",
   "shots": [
    {
     "cam": "push",
     "sec": 2.5,
     "en": "One continuous push from the whole betting parlour (odds board, betting cages, Gondorff in his window) in to Clawd as Hooker, who lays a finger beside its nose, then tips its hat to the camera.",
     "zh": "一鏡到底：從下注廳全景（賠率黑板、下注窗口、窗口裡的岡多夫）一路推到扮胡克的 Clawd，它把手指貼到鼻側打暗號，再衝鏡頭壓一下帽簷。"
    }
   ],
   "direction_en": "Clawd plays Johnny Hooker: pale fedora, red bow tie, braces. There is no cut, only one push. As the camera arrives it gives the con men's signal, a finger beside the nose, then tips its hat and blinks at the lens, letting the audience in on the con.",
   "direction_zh": "Clawd 扮胡克：淺色禮帽、紅領結、揹帶。整段不切，只有一個推鏡頭。推到位時它打出騙子們的暗號（手指貼鼻側），接著壓帽簷、衝鏡頭眨眼，像把觀眾拉進騙局。",
   "refs": [
    "George Roy Hill, The Sting (1973)",
    "Jaroslav Gebr (chapter cards)",
    "Richard Amsel (poster)",
    "J. C. Leyendecker",
    "Norman Rockwell"
   ],
   "refs_zh": [
    "George Roy Hill《騙中騙》（1973）",
    "Jaroslav Gebr（章節卡）",
    "Richard Amsel（海報）",
    "J. C. Leyendecker",
    "Norman Rockwell"
   ]
  },
  {
   "no": 47,
   "year": "1974",
   "title": "The Godfather Part II",
   "zh": "教父2",
   "chapter": "C5",
   "t0": 146.25,
   "dur": 2.5,
   "frame_sec": 148.16,
   "style_en": "Hand-Tinted Sepia Photograph",
   "style_zh": "手工上色棕褐老照片",
   "blend_en": [
    "Toned silver print",
    "Lewis Hine's Ellis Island photographs",
    "hand-brushed dyes",
    "raymarched 3D figures"
   ],
   "blend_zh": [
    "調色銀鹽照片",
    "Lewis Hine 的埃利斯島照片",
    "手工刷色",
    "光線步進的 3D 人物"
   ],
   "dim": "2.5D",
   "render": "2.5D",
   "desc_en": "A turn-of-the-century toned silver print with dyes brushed on by hand: sepia, soft lens, silver grain, foxing, a cracked corner, faint red, blue and verdigris. It shows young Vito arriving at Ellis Island in 1901, as in Lewis Hine's photographs.",
   "desc_zh": "世紀之交的調色銀鹽照片，手工刷色：棕褐調、柔焦、銀鹽顆粒、黴斑、裂角，局部淡淡的紅、藍、銅綠。畫的是 1901 年少年維託抵達埃利斯島，像 Lewis Hine 的照片。",
   "prompt_en": "A hand-coloured toned silver print from about 1900. Build lit 3D forms, soft key from upper left, then 'print' them: soft focus, light halation, grain heaviest in mid-tones (±5%), full sepia range #281A12, #987048, #EEE0C2; at least a fifth of the frame reaches the dark end, in any light. Figures: real proportions (head 1/7 of body), soft shading. Transparent dyes brushed loosely past edges: the one hero subject strongly (e.g. orange-red #D97757 at 60–80% opacity), a faint touch on one or two props; dyes die in shadow. Light ageing: vignette, silvered edges (grey-blue sheen in border darks), small foxing spots, fine scratches, at most one cracked corner. Frontal, documentary: figures stand still facing the lens. Camera: slow pan across faces. References: Lewis Hine; Augustus Sherman (Ellis Island). Avoid: toy figures, digital fill colour, low-contrast fog, big mould blotches.",
   "prompt_zh": "1900 年前後手工上色的棕褐銀鹽照片。先做受光的立體形體，柔光從左上來，再“印”出來：柔焦帶輕微光暈，顆粒在中間調最重（±5%）；棕褐調從 #281A12 經 #987048 到 #EEE0C2 完整鋪開，至少五分之一畫面落到最深一端，任何光線下都一樣。人物比例真實（頭約七分之一身高），明暗柔和。透明顏料鬆鬆地刷，溢出邊緣：唯一的主角最重（比如橙紅 #D97757，不透明度六到八成），一兩件道具輕點；顏色進暗部就被吞掉。做舊要輕：暗角、邊緣銀化（靠邊暗部泛灰藍金屬光）、幾個小黴點、細劃痕，最多一個裂角。構圖正面、紀實，人物靜立面對鏡頭。鏡頭緩慢橫搖掃過人臉。對標 Lewis Hine、Augustus Sherman 的埃利斯島照片。避免：積木人物、數碼填色、低反差霧灰、大片黴斑。",
   "shots": [
    {
     "cam": "crowd",
     "sec": 0.8,
     "en": "A horizontal sweep across the upturned faces of immigrants on deck, rising and falling with the ship's roll.",
     "zh": "橫搖掃過甲板上仰頭的移民群像，畫面隨船身起伏。"
    },
    {
     "cam": "liberty",
     "sec": 0.7,
     "en": "Clawd's point of view: the Statue of Liberty emerging from the harbour fog, tinted verdigris; a slow push.",
     "zh": "Clawd 的主觀視角：自由女神從港口的霧裡顯出來，帶一點銅綠色；鏡頭慢推。"
    },
    {
     "cam": "close",
     "sec": 0.9,
     "en": "Close on Clawd as young Vito in a tweed flat cap, the 'VITO ANDOLINI' tag on its chest; it looks down at the tag and up again, rising on its toes; a slight pull back.",
     "zh": "近景：戴粗花呢鴨舌帽的少年維託（Clawd），胸前掛著“VITO ANDOLINI”名牌；它低頭看名牌，又抬頭踮腳；鏡頭略微拉開。"
    }
   ],
   "direction_en": "Clawd plays the boy Vito Andolini: a grey tweed flat cap and a paper name tag round its neck, small among adults. Screen time averages 1.3×, with Liberty at 1×. Hard cuts run faces, statue (point of view), reaction; the last beat is a glance down at its new name, then up at the new country.",
   "direction_zh": "Clawd 扮少年維託：灰色粗花呢鴨舌帽，脖子上掛著紙名牌，夾在大人中間顯得很小。平均 1.3 倍速，自由女神那一鏡是 1 倍。三個硬切：人群 → 雕像（主觀）→ 反應；最後的表演點是低頭看自己的新名字，再抬頭望向新的國家。",
   "refs": [
    "Francis Ford Coppola, The Godfather Part II (1974)",
    "Gordon Willis (cinematography)",
    "Lewis Hine, Ellis Island photographs",
    "Augustus Sherman, Ellis Island portraits"
   ],
   "refs_zh": [
    "Francis Ford Coppola《教父2》（1974）",
    "Gordon Willis（攝影）",
    "Lewis Hine 的埃利斯島照片",
    "Augustus Sherman 的埃利斯島肖像"
   ]
  },
  {
   "no": 48,
   "year": "1975",
   "title": "One Flew Over the Cuckoo's Nest",
   "zh": "飛越瘋人院",
   "chapter": "C5",
   "t0": 148.75,
   "dur": 2.5,
   "frame_sec": 151.1,
   "style_en": "Hopper-Style American Realism",
   "style_zh": "霍珀式美國寫實油畫",
   "blend_en": [
    "Edward Hopper realism",
    "hard-edged slanting window light",
    "flat oil planes with dragged strokes"
   ],
   "blend_zh": [
    "愛德華·霍珀式寫實",
    "硬邊斜射窗光",
    "平整油彩塊面加拖筆"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Quiet American realism after Edward Hopper: big flat planes of pale green, hard parallelograms of low morning sun, figures standing apart. It suits the ward of Cuckoo's Nest, fluorescent order broken by one act of escape.",
   "desc_zh": "仿愛德華·霍珀的安靜寫實：大塊平整的淡綠牆面、低角度晨光投下的硬邊平行四邊形、彼此隔開的人。正合《飛越瘋人院》的病房：日光燈下的秩序，被一次出逃打破。",
   "prompt_en": "Edward Hopper-style American realist painting. Large flat planes of restrained, pale colour: institutional greens #9EB8A0 and #5E7C66, grey-green floor #7E8876, cream #ECE6D2, on visible canvas (±3%), with a few long dragged strokes about 1/80 of frame width, 5–10% off the base. Low side sun throws hard-edged parallelograms of warm light #FCE6AC on walls and ground, crossed by crisp shadows of frames or railings, indoors or out. Sky pale cream-green; skin warmed cream; clothes darkened greens. Figures painted from 3–4 overlapping soft-edged value shapes, no outline, real proportions; several people stand apart. Stillness, then one sudden event under a second: a whip pan, a burst of light. Signature shot: a still one-point interior, light on the floor. References: Edward Hopper, *Office in a Small City* (1953). Avoid: heavy outlines, vector figures, dark saturated walls, fuzzy light patches.",
   "prompt_zh": "愛德華·霍珀式美國寫實繪畫。大塊剋制、偏淺的平面色：機構綠 #9EB8A0 和 #5E7C66、灰綠地面 #7E8876、奶油 #ECE6D2，看得見畫布紋（±3%），每塊拖幾筆長筆觸，寬約畫面寬的 1/80，亮或暗百分之五到十。低角度陽光從一側射來，在牆和地上投下硬邊暖色平行四邊形 #FCE6AC，壓著窗框或欄杆的清晰影子，室內戶外都一樣。天空淺奶油綠，皮膚是提暖的奶油色，衣服用壓暗的綠。人物由三四塊邊緣柔和的明暗色塊疊成，不勾輪廓，比例寫實；幾個人時分開站。大部分時間靜止，然後一件不到一秒的突發：甩鏡或一陣強光。招牌鏡頭：一點透視的靜止室內，地上有光塊。對標霍珀《Office in a Small City》（1953）。避免：粗輪廓、矢量人物、深而飽和的牆、模糊光斑。",
   "shots": [
    {
     "cam": "throw",
     "sec": 2.5,
     "en": "One travelling shot in the day room: Clawd heaves a marble hydrotherapy console over its head and hurls it; the camera whip-pans with it to the back window as the glass explodes and dawn pours in, then swings back through the light to Clawd cheering, arms up.",
     "zh": "日間活動室裡的一鏡到底：Clawd 把大理石水療臺舉過頭頂扔出去，鏡頭跟著甩到後窗，玻璃炸開、晨光湧進來，再穿過光甩回 Clawd，它舉起雙臂歡呼。"
    }
   ],
   "direction_en": "Clawd wears McMurphy's black watch cap and plaid collar but performs the film's ending: the console through the window. Screen time equals scene time: crouch and strain, lift, the throw at 1.0 s, impact at 1.3 s with a flash and shards flying at the lens, then the cheer. Blurred whip pans replace cuts.",
   "direction_zh": "Clawd 戴著麥克墨菲的黑色針織帽和格子領，演的是片尾那一下：把水療臺砸出窗外。屏幕時間等於場景時間：蹲下用力、舉起、1.0 秒扔出、1.3 秒撞窗，閃光加碎玻璃飛向鏡頭，然後歡呼。用帶運動模糊的甩鏡代替剪切。",
   "refs": [
    "Miloš Forman, One Flew Over the Cuckoo's Nest (1975)",
    "Edward Hopper, Office in a Small City; Morning Sun",
    "Edward Hopper, Nighthawks",
    "Haskell Wexler and Bill Butler (cinematography)"
   ],
   "refs_zh": [
    "Miloš Forman《飛越瘋人院》（1975）",
    "Edward Hopper《Office in a Small City》《Morning Sun》",
    "Edward Hopper《夜遊者》",
    "Haskell Wexler、Bill Butler（攝影）"
   ]
  },
  {
   "no": 49,
   "year": "1976",
   "title": "Rocky",
   "zh": "洛奇",
   "chapter": "C5",
   "t0": 151.25,
   "dur": 5.0,
   "frame_sec": 154.19,
   "style_en": "Philadelphia Sunrise, 3D on 35mm",
   "style_zh": "費城臺階日出 3D · 35mm 調色",
   "blend_en": [
    "three.js 3D city",
    "1970s 35mm film grade",
    "Steadicam chase and rising orbit"
   ],
   "blend_zh": [
    "three.js 3D 城市",
    "70 年代 35mm 膠片調色",
    "斯坦尼康跟拍與環繞升鏡"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A full 3D Philadelphia at sunrise, from meat locker to museum steps, graded like 1970s 35mm: cold blue sky, low gold sun, long shadows, haze, fine grain. The run up the 72 steps and the rising orbit at the top are what people remember.",
   "desc_zh": "清晨的費城整個做成 3D，從肉庫到博物館 72 級臺階，調成 70 年代 35mm：冷藍天、低低的金色太陽、長影子、薄霧、細顆粒。跑上臺階和頂上的環繞升鏡是這部片的記憶點。",
   "prompt_en": "1970s 35mm realism in a detailed 3D world, sunrise by default (sunset the same). Sun 5–10° up, warm orange #F0A060, lighting the hero from the side or three-quarter front so the lit body and long ground shadows read; no full backlight. Cool blue sky #7FA3CF, pink cloud undersides #E6B2AE; haze golden toward the sun, blue-violet away. Grade: fine grain (±3%), cool shadows, warm highlights, nothing clipped; flare and ghosts only with the sun in frame. Camera: a low Steadicam following the hero from behind up an ascent, then at the top one continuous orbit that circles, rises and pulls back over 6–8 s, showing the lit face, until the place spreads out below. References: John G. Avildsen, *Rocky* (1976); Steadicam operator Garrett Brown. Avoid: flat noon light, detail-less silhouettes, a static climax, plastic CG shine.",
   "prompt_zh": "70 年代 35mm 寫實，放在細緻的 3D 世界裡，默認日出（日落同理）。太陽離地平線五到十度，暖橙 #F0A060，從側面或前側方照亮主角，讓受光的身體和拉過地面的長影看得清；不要完全逆光。天空冷藍 #7FA3CF，雲底染粉 #E6B2AE；霧朝太陽一側發金、背光一側發藍紫。調色：細顆粒（±3%），暗部偏冷、高光偏暖，不過曝；只有太陽入畫時才有光暈和鬼影。鏡頭：低機位斯坦尼康從背後跟著主角爬上一段坡或臺階，到最高處接一個連續環繞，邊轉邊升邊退，六到八秒，轉到受光的臉，直到整個地方在下面鋪開。對標 John G. Avildsen《洛奇》（1976）、斯坦尼康操作者 Garrett Brown。避免：正午平光、沒細節的剪影、高潮時機位不動、塑料感反光。",
   "shots": [
    {
     "cam": "meat",
     "sec": 0.4,
     "en": "Meat locker, medium shot, fixed camera: Clawd in a grey hood jabs at a hanging side of beef among white tiles and bare bulbs.",
     "zh": "肉庫中景，定機位：戴灰色兜帽的 Clawd 對著掛著的牛肉出拳，白瓷磚、裸燈泡。"
    },
    {
     "cam": "meat_close",
     "sec": 0.4,
     "en": "Closer, fixed camera: the punches land and the beef swings.",
     "zh": "更近一些，定機位：拳頭打在牛肉上，牛肉晃盪。"
    },
    {
     "cam": "street",
     "sec": 0.6,
     "en": "The Italian Market before dawn, fixed camera: Clawd jogs toward the lens past fire barrels, fruit stands and lit streetlamps.",
     "zh": "黎明前的意大利市場，定機位：Clawd 迎著鏡頭慢跑，經過油桶火、果蔬攤和還亮著的路燈。"
    },
    {
     "cam": "run",
     "sec": 1.5,
     "en": "A low Steadicam chases Clawd from behind as it runs up the 72 steps toward the museum's columns.",
     "zh": "低機位斯坦尼康從背後追著 Clawd 跑上 72 級臺階，前方是博物館的立柱。"
    },
    {
     "cam": "orbit",
     "sec": 2.1,
     "en": "At the top Clawd throws its arms up in a V and hops; the camera circles round it, rising and pulling back until the whole Parkway and the city open up at sunrise.",
     "zh": "到頂，Clawd 雙臂舉成 V 字一跳；鏡頭繞著它轉、上升、後退，直到整條大道和城市在日出裡鋪開。"
    }
   ],
   "direction_en": "Clawd plays Rocky: a grey sweatshirt hood up and a white towel on one shoulder. The training montage runs at about 1.7× over three quick cuts; from the steps on, the scene plays at 1×. A hard cut into the Steadicam run, then no cut: the run flows straight into the orbit, and the victory hop lands as the camera starts to rise.",
   "direction_zh": "Clawd 扮洛奇：灰色衛衣兜帽戴起，肩上搭一條白毛巾。訓練蒙太奇三個快切，約 1.7 倍速；上臺階以後回到 1 倍。硬切進斯坦尼康跟跑，之後不再切：跑到頂直接接環繞升鏡，舉臂一跳正好落在鏡頭開始升起的時候。",
   "refs": [
    "John G. Avildsen, Rocky (1976)",
    "Garrett Brown (Steadicam)",
    "James Crabe (cinematography)",
    "Philadelphia Museum of Art, east façade"
   ],
   "refs_zh": [
    "John G. Avildsen《洛奇》（1976）",
    "Garrett Brown（斯坦尼康）",
    "James Crabe（攝影）",
    "Philadelphia Museum of Art 東立面"
   ]
  },
  {
   "no": 50,
   "year": "1977",
   "title": "Annie Hall",
   "zh": "安妮·霍爾",
   "chapter": "C5",
   "t0": 156.25,
   "dur": 2.5,
   "frame_sec": 158.16,
   "style_en": "New Yorker Cartoon, Ink and Wash",
   "style_zh": "《紐約客》單格漫畫 · 墨線淡彩",
   "blend_en": [
    "New Yorker single-panel cartoon",
    "nib-pen ink line",
    "light watercolour wash",
    "hand-lettered caption"
   ],
   "blend_zh": [
    "《紐約客》單格漫畫",
    "鋼筆墨線",
    "淡水彩",
    "手寫圖說"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A New Yorker single-panel cartoon: lively nib-pen lines, a few restrained washes, plenty of white paper and a hand-lettered caption beneath. Woody Allen's comedy shares the magazine's voice, and the lobster scene plays as one gag panel.",
   "desc_zh": "《紐約客》單格漫畫：靈動的鋼筆墨線、幾塊剋制的淡彩、大量白紙，畫下面一行手寫圖說。伍迪·艾倫的喜劇和這本雜誌是一個調子，龍蝦那場戲正好是一格笑話漫畫。",
   "prompt_en": "New Yorker single-panel cartoon, full-bleed, no border. Nib-pen lines about 1/1000 of frame width on straights, swelling to 1/300 in turns, flicking off at the ends; box corners overlap. Pale watercolour washes with pooled edges over most objects, slipping past the lines by at most 1/150 of frame width: grey #9698A0, sea blue #78A0BE, sand #E2CCA0, rust #C45C32, on cold-press paper #FBF8F1 fading to white at the edges. Exaggerated, expressive figures with drawn faces among everyday props. One hand-lettered caption line under the action, in the user's language, about 1/30 of frame height, appearing letter by letter: a deadpan remark. The drawing holds still; living things wobble. Camera: small drifts and pushes; the frame may split into two side-by-side drawings. References: James Thurber, William Steig, Jean-Jacques Sempé. Avoid: saturated colour, uniform vector lines, a small framed panel floating in white.",
   "prompt_zh": "《紐約客》單格漫畫，滿版出血，不畫格框。蘸水筆墨線直線處細到約畫面寬的 1/1000，轉彎處粗到約 1/300，收筆一甩；方盒子幾筆分開畫，角上交叉出頭。淡水彩帶積色邊，鋪在大部分物體上，溢出墨線不超過畫面寬的 1/150：灰 #9698A0、海藍 #78A0BE、沙色 #E2CCA0、鐵鏽 #C45C32，底是冷壓紙 #FBF8F1，四邊化成白。人物誇張、有表情、畫出五官，周圍有日常道具，留白但不空蕩。畫面下方一行手寫說明，用用戶的語言，字高約畫面高的 1/30，逐字寫出：一句冷麵幽默。畫面不動，活物微微顫動。鏡頭：輕微漂移和推近；畫面可一分為二，左右並排兩幅。對標 James Thurber、William Steig、桑貝。避免：濃重飽和的顏色、粗細一樣的矢量線、白紙中間漂著一個小格子。",
   "shots": [
    {
     "cam": "lobster",
     "sec": 0.6,
     "en": "Extreme close-up on the gap behind the fridge: a lobster slowly peeks out; a slow drift.",
     "zh": "冰箱後縫的大特寫：一隻龍蝦慢慢探出頭；鏡頭緩慢漂移。"
    },
    {
     "cam": "still",
     "sec": 1.5,
     "en": "The kitchen: Clawd as Annie laughs and snaps flash photos of Alvy clutching a stockpot; a lobster reaches its foot, it hops, lands laughing, and 'TALK TO HIM. YOU SPEAK SHELLFISH.' writes itself out below; a slight pull back with a handheld wobble.",
     "zh": "廚房全景：扮安妮的 Clawd 邊笑邊給抱著湯鍋的艾爾維拍閃光照；龍蝦爬到腳邊，它一跳，落地笑開，下方一筆筆寫出“TALK TO HIM. YOU SPEAK SHELLFISH.”；鏡頭略微拉開，帶一點手持晃動。"
    },
    {
     "cam": "split",
     "sec": 0.4,
     "en": "The Easter dinner split screen: the quiet Halls on the left with Clawd seated among them, the noisy Singers on the right.",
     "zh": "復活節飯桌分屏：左邊安靜的霍爾家，Clawd 坐在其中；右邊吵鬧的辛格家。"
    }
   ],
   "direction_en": "Clawd plays Annie in Diane Keaton's wide-brimmed hat, loose striped tie and vest, with a 35mm camera. The scene runs at about 1.8× with the jump near 1×: two flash photos, a lobster at its foot, a startled hop, a landing in laughter. Hard cuts; the split-screen dinner is a graphic exit.",
   "direction_zh": "Clawd 扮安妮：黛安·基頓那頂寬簷帽、鬆垮的條紋領帶和馬甲，手裡一臺 35mm 相機。約 1.8 倍速，跳起來那一下接近 1 倍：兩次閃光拍照，龍蝦爬到腳邊，嚇得一跳，落地笑開。全部硬切，最後用分屏飯桌做一個圖形化的出口。",
   "refs": [
    "Woody Allen, Annie Hall (1977)",
    "James Thurber",
    "William Steig",
    "Jean-Jacques Sempé",
    "Annie Hall one-sheet (1977)"
   ],
   "refs_zh": [
    "Woody Allen《安妮·霍爾》（1977）",
    "James Thurber",
    "William Steig",
    "Jean-Jacques Sempé",
    "《安妮·霍爾》海報（1977）"
   ]
  },
  {
   "no": 51,
   "year": "1978",
   "title": "The Deer Hunter",
   "zh": "獵鹿人",
   "chapter": "C5",
   "t0": 158.75,
   "dur": 2.5,
   "frame_sec": 160.66,
   "style_en": "Andrew Wyeth Egg Tempera",
   "style_zh": "安德魯·懷斯蛋彩",
   "blend_en": [
    "Egg tempera on gesso",
    "Andrew Wyeth",
    "fine cross-hatched strokes"
   ],
   "blend_zh": [
    "石膏底蛋彩",
    "安德魯·懷斯",
    "細密交叉短筆"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Dry, finely hatched egg tempera after Andrew Wyeth: muted straw, umber and grey-green, grass drawn blade by blade, a pale empty sky. Wyeth was a Pennsylvania painter, and the 'one shot' hunt takes place in the Pennsylvania mountains above a steel town.",
   "desc_zh": "仿安德魯·懷斯的蛋彩：乾燥細密的交叉短筆，低飽和的草黃、赭褐、灰綠，草葉一根根畫出來，天空蒼白。懷斯是賓州畫家，“一槍”獵鹿就在賓州鋼鐵小鎮上方的山裡。",
   "prompt_en": "Egg tempera on gesso panel after Andrew Wyeth. Dry, matte, very fine: colour built from dense cross-hatched strokes, each about 1/400 of frame width long, hairline thin. Muted palette: pale overcast sky #D9D5C6, straw grass #CDB27A, umber #6A5234, misty grey-green hills #8E938C, rust #8A4E32; water, stone, clothes and skin mixed from these. One accent colour, only on the one hero subject (e.g. a red cap); any light source is a small pale dot, no halo. Ground (dry grass by default, other ground alike): big light and dark patches, fine strokes, dark tufts, then single wind-combed blades; rocks, buildings hatched along their planes. Empty, lonely space; the subject small, off-centre. Soft overcast light; at other times of day stay pale, no warm glow. Camera: slow drift, quiet push; a circular iris may mark a cut. Avoid: wet watercolour blooms, saturated colour, thick shiny strokes.",
   "prompt_zh": "安德魯·懷斯式石膏底板蛋彩畫。幹、啞光、極細：顏色全靠密密的交叉短筆疊出來，每筆長約畫面寬的 1/400，細如髮絲。低飽和配色：蒼白陰天 #D9D5C6、草黃 #CDB27A、赭褐 #6A5234、灰綠遠山 #8E938C、鐵鏽色 #8A4E32；水、石、衣服和皮膚都從這幾色調出。強調色只給唯一的主角（比如一頂紅帽）；畫裡的光源只是一個淡淡的小點，不帶光暈。地面（默認枯草，其他地面同理）先鋪大塊深淺，再疊細筆、暗色草團，最後是被風梳過的單根草葉；岩石和房屋用短筆順著各面排。空間空曠孤獨，主體小而偏離中心。默認陰天軟光，其他時段也保持蒼白、不要暖光。鏡頭緩慢漂移、安靜推近；圓形遮罩可作剪切點。避免：溼水彩暈染、飽和色、厚重發亮的筆觸。",
   "shots": [
    {
     "cam": "town",
     "sec": 0.6,
     "en": "Wide on the steel town in the valley mist (blast furnaces, smoking chimneys, an onion-domed church), drifting sideways.",
     "zh": "河谷霧裡的鋼鐵小鎮全景：高爐、冒煙的煙囪、洋蔥頂教堂；鏡頭緩慢橫移。"
    },
    {
     "cam": "scope",
     "sec": 0.7,
     "en": "Through the rifle scope: the buck on the crest inside a black circular mask and crosshair, swaying slightly with the hunter's hands.",
     "zh": "瞄準鏡視角：黑色圓形遮罩和十字線裡，山脊上的雄鹿；畫面隨獵人的手微微晃動。"
    },
    {
     "cam": "deer",
     "sec": 0.3,
     "en": "Close-up of the buck's head and eye; a slow push.",
     "zh": "雄鹿頭部和眼睛的特寫；鏡頭慢推。"
    },
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Clawd as Michael on a granite outcrop lowers the rifle, shuts its eyes, breathes out and looks up at the buck again, as the camera pulls back to the whole ridge.",
     "zh": "Clawd 扮麥克站在花崗岩上，放下獵槍，閉眼呼出一口氣，再抬頭望向雄鹿；鏡頭拉開到整條山脊。"
    }
   ],
   "direction_en": "Clawd plays Michael in a red wool hunting cap with a scoped rifle. Valley, scope, eye, hunter: four hard cuts, never faster than about 1.25×, quiet and steady. The beat is the shot not taken: the rifle comes down, eyes shut, one breath out, and it looks up at the buck again.",
   "direction_zh": "Clawd 扮麥克：紅色羊毛獵帽、帶瞄準鏡的獵槍。河谷 → 瞄準鏡 → 鹿眼 → 獵人，四個硬切，平均約 1.24 倍速，安靜、穩。表演點是那一槍沒開：槍放下，閉眼，呼出一口氣，再抬頭看那頭鹿。",
   "refs": [
    "Michael Cimino, The Deer Hunter (1978)",
    "Vilmos Zsigmond (cinematography)",
    "Andrew Wyeth, Christina's World (1948)",
    "Andrew Wyeth, Winter 1946"
   ],
   "refs_zh": [
    "Michael Cimino《獵鹿人》（1978）",
    "Vilmos Zsigmond（攝影）",
    "Andrew Wyeth《克里斯蒂娜的世界》（1948）",
    "Andrew Wyeth《1946 年冬》"
   ]
  },
  {
   "no": 52,
   "year": "1979",
   "title": "Kramer vs. Kramer",
   "zh": "克萊默夫婦",
   "chapter": "C5",
   "t0": 161.25,
   "dur": 2.5,
   "frame_sec": 162.72,
   "style_en": "Child's Wax-Crayon Drawing",
   "style_zh": "兒童蠟筆畫",
   "blend_en": [
    "Wax crayon on textured paper",
    "6–8-year-old's drawing conventions",
    "hand-lettered labels"
   ],
   "blend_zh": [
    "紋理紙上的蠟筆",
    "6–8 歲兒童畫的畫法",
    "手寫標籤"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A kitchen drawn by a child in wax crayon: wobbly lines, colour pressed into the paper grain and over the edges, labels and arrows, a smiling sun. It is Billy's view of making French toast with his father.",
   "desc_zh": "孩子用蠟筆畫的廚房：歪扭的線、用力塗進紙紋又塗出邊界的顏色、標籤和箭頭、帶笑臉的太陽。這是比利眼裡他和爸爸做法式吐司的樣子。",
   "prompt_en": "A careful 6–8-year-old's wax-crayon drawing on white paper. Crayon catches the paper grain's peaks; light pressure leaves 40–60% paper showing, heavy pressure fills it; overlaps show through. Outlines in black or dark-brown crayon, waxy, wobbling, about 1/300 of frame width. Fills are back-and-forth scribbles, strokes about 1/40 of frame width long and 1/250 wide, rows overshooting the outlines, each area in its own direction, spacing and angle uneven, never a regular mesh. Primary box: red #E0382C, orange #F28A1E, yellow #F7D23A, green #3AA345, blue #2E6BD8. Child conventions: a ground line, flattened perspective, arrowed labels, a smiling sun, one mirrored letter (in Chinese, a reversed stroke), patterns coloured cell by cell. Text in the user's language, in wobbly crayon strokes, not a typeface. Camera: shaky close-ups, then a calm drift. Avoid: neat adult rendering, random scrawl, uniform stipple or mesh, smooth gradients.",
   "prompt_zh": "認真的六到八歲孩子在白紙上畫的蠟筆畫。蠟筆只蹭到紙紋凸起；輕塗露出四到六成紙白，用力處填滿；疊色時下層透出。輪廓用黑色或深棕蠟筆，蠟質、發抖，粗約畫面寬的 1/300。填色是來回塗抹，每筆長約畫面寬的 1/40、寬約 1/250，一排排塗、衝出輪廓，每塊各有方向，間距和角度不均勻，不能排成規整的網。基礎色：紅 #E0382C、橙 #F28A1E、黃 #F7D23A、綠 #3AA345、藍 #2E6BD8。兒童畫慣例：地面線、壓扁的透視、帶箭頭的標註、笑臉太陽、寫反一個字母（中文寫反一個偏旁）、圖案一格格塗。文字用用戶的語言、發抖的蠟筆筆畫寫，不用字體。鏡頭：先晃動近景，再平穩掃過全畫。避免：大人式的工整畫法、沒細節的亂塗、均勻點狀或網狀肌理、平滑漸變。",
   "shots": [
    {
     "cam": "toast",
     "sec": 0.7,
     "en": "Extreme close-up of the pan the first time: burnt toast, black crayon smoke, eggshells; a shaky handheld slowly pulling back.",
     "zh": "第一次做的平底鍋大特寫：焦吐司、黑色蠟筆煙、蛋殼；手持抖動，慢慢拉開。"
    },
    {
     "cam": "toast2",
     "sec": 0.4,
     "en": "Match cut to the same pan at the end of the film, clean now: a golden slice flips up out of it.",
     "zh": "匹配剪輯到片尾的同一口鍋，乾乾淨淨：一片金黃的吐司從鍋裡翻起來。"
    },
    {
     "cam": "still",
     "sec": 1.4,
     "en": "Father and son side by side under the title 'ME AND DADDY MAKE FRENCH TOAST': Clawd catches the toast on its spatula, Billy beams and a heart pops up, Clawd hops with pride; the camera drifts up to the crayon skyline in the window.",
     "zh": "標題“ME AND DADDY MAKE FRENCH TOAST”下父子並肩：Clawd 用鍋鏟接住吐司，比利笑開，冒出一顆紅心，Clawd 得意地小跳一下；鏡頭往上漂到窗外的蠟筆天際線。"
    }
   ],
   "direction_en": "Clawd plays Ted Kramer with a blue apron tie and a spatula; Billy stands on a chair whisking. The first attempt and the last are joined by a match cut on the same pan, so the whole relationship fits in one jump. About 1.35× overall; the catch lands on the cut to the wide shot, then a hop and a glance at camera.",
   "direction_zh": "Clawd 扮泰德：繫著藍色圍裙帶，拿鍋鏟；比利站在椅子上打蛋。第一次和最後一次用同一口鍋做匹配剪輯，父子關係在一次跳切裡講完。整體約 1.35 倍速；切進全景時正好接住吐司，接著小跳一下、看一眼鏡頭。",
   "refs": [
    "Robert Benton, Kramer vs. Kramer (1979)",
    "Néstor Almendros (cinematography)",
    "Kramer vs. Kramer one-sheet (1979)",
    "Children's drawings, ages 6–8"
   ],
   "refs_zh": [
    "Robert Benton《克萊默夫婦》（1979）",
    "Néstor Almendros（攝影）",
    "《克萊默夫婦》海報（1979）",
    "6–8 歲兒童畫"
   ]
  },
  {
   "no": 53,
   "year": "1980",
   "title": "Ordinary People",
   "zh": "普通人",
   "chapter": "C6",
   "t0": 163.75,
   "dur": 2.5,
   "frame_sec": 164.78,
   "style_en": "Autumn Transparent Watercolour",
   "style_zh": "秋日透明水彩",
   "blend_en": [
    "Transparent watercolour glazes",
    "Winslow Homer and John Singer Sargent",
    "HB pencil underdrawing"
   ],
   "blend_zh": [
    "透明水彩疊色",
    "Winslow Homer 與 John Singer Sargent",
    "HB 鉛筆底稿"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Transparent watercolour in layered glazes: wet-in-wet sky and lake, tide-mark edges, blooms, white paper left for highlights, autumn gold and rust against cool grey-blue. It matches the quiet, sad Lake Forest autumn of the film's opening.",
   "desc_zh": "層層疊色的透明水彩：溼畫法的天空和湖面、水漬邊線、迴流花、留白的紙當高光，秋天的金和鏽紅配上冷灰藍。對上影片開場那個安靜又帶點憂傷的 Lake Forest 秋天。",
   "prompt_en": "Transparent watercolour in layered glazes on cold-press paper. Draw shapes crisply first, then two or three glazes, each smaller and darker, drying to a tide-mark edge; two or three blooms, about 1/10 of frame width, inside large washes, never on figures; light granulation (±4%). Paper is the brightest white; light objects and highlights left as paper. Sky and water wet-in-wet, ripples dry-brush. Roles: autumn gold #ECAA34, scarlet #E46030, rust #B8743C for foliage and accents, against grey-blue mist #C2C6D2 and violet-grey shadows #8A8496; sky pale and cool at any time of day; ground pale green-ochre. Foliage: pale wash, scallop-edged clusters, dark dots, flicked leaves; with few trees, warm colours go to scrub, roofs, clothes. Light from one side. Camera: slow pan, gentle push, leaves drifting past the lens. Reference: Winslow Homer's watercolours. Avoid: opaque gouache, airbrushed blur, vector edges, muddy colour, saturated sunsets.",
   "prompt_zh": "透明水彩，在冷壓紙上一層層罩色。先把形狀畫清楚，再罩兩三層，每層更小更深，幹後邊緣積成深一點的水漬線；每幀兩三處迴流花，約畫面寬的 1/10，只在大塊溼畫裡，不落在人物上；顆粒輕沉進紙紋（±4%）。紙是最亮的白，淺色物體和高光留紙。天空和水面溼畫，漣漪幹筆。分工：秋金 #ECAA34、猩紅 #E46030、鏽色 #B8743C 給樹葉和點綴，對著冷灰藍的霧 #C2C6D2 和紫灰陰影 #8A8496；天空任何時段都淺而冷；地面淺綠赭。樹冠：先鋪淡色，疊扇貝邊葉團，點深色，甩散葉；樹少時暖色給灌木、屋頂、衣服。光從一側來。鏡頭緩慢橫搖、輕推，落葉從鏡頭前飄過。對標 Winslow Homer 的水彩。避免：水粉式覆蓋、噴槍模糊、矢量硬邊、髒色、飽和晚霞。",
   "shots": [
    {
     "cam": "lake",
     "sec": 0.8,
     "en": "Empty dawn shot of Lake Michigan: a paper-white sun path on grey-blue water, then a slow pan right to the autumn bluff.",
     "zh": "黎明的密歇根湖空鏡：灰藍湖面上留白的太陽光路，鏡頭慢慢右搖到秋天的崖岸。"
    },
    {
     "cam": "still",
     "sec": 1.0,
     "en": "The street under the maples: Clawd as Conrad, long striped scarf and satchel, stops on the sidewalk and turns to look back at the white colonial house where Calvin rakes leaves, then drops its eyes and turns away; a slow drift right with a slight pull back.",
     "zh": "楓樹下的街道：扮康拉德的 Clawd 圍著長條紋圍巾、揹著書包，在人行道上停下，回頭看那棟白色殖民地式房子（卡爾文在院裡耙葉），又垂下眼睛轉開；鏡頭緩慢右移並略微拉開。"
    },
    {
     "cam": "porch",
     "sec": 0.7,
     "en": "Beth on the porch, arms folded, cold; the camera creeps in on her.",
     "zh": "門廊上的貝絲抱著雙臂，神情冷淡；鏡頭慢慢推近她。"
    }
   ],
   "direction_en": "Clawd plays Conrad: a long navy-and-cream school scarf blown by the lake wind, and a leather satchel. The scene runs at 1.1× throughout, as slow as the Pachelbel opening. Three hard cuts: the lake, the son looking back at the house, the mother who gives nothing back. Its eyes moving from the house to the ground is the whole performance.",
   "direction_zh": "Clawd 扮康拉德：一條藏青配奶白的長校園圍巾被湖風吹起，背一隻皮書包。全程 1.1 倍速，和帕赫貝爾卡農的慢開場一樣慢。三個硬切：湖、回頭看家的兒子、沒有回應的母親。它的目光從房子落到地上，就是全部表演。",
   "refs": [
    "Robert Redford, Ordinary People (1980)",
    "John Bailey (cinematography)",
    "Winslow Homer (watercolours)",
    "John Singer Sargent (watercolours)"
   ],
   "refs_zh": [
    "Robert Redford《普通人》（1980）",
    "John Bailey（攝影）",
    "Winslow Homer（水彩）",
    "John Singer Sargent（水彩）"
   ]
  },
  {
   "no": 54,
   "year": "1981",
   "title": "Chariots of Fire",
   "zh": "烈火戰車",
   "chapter": "C6",
   "t0": 166.25,
   "dur": 2.5,
   "frame_sec": 168.6,
   "style_en": "1924 Paris Olympics Stone Lithograph",
   "style_zh": "1924 巴黎奧運石印海報",
   "blend_en": [
    "Four-stone lithograph",
    "Jean Droit's 1924 Olympic poster",
    "classical anatomical figures"
   ],
   "blend_zh": [
    "四版石印",
    "Jean Droit 的 1924 奧運海報",
    "古典解剖人體"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A four-colour stone lithograph after Jean Droit's 1924 Paris Olympics poster: classical bodies, a few inks, clumped stone grain, ragged registration on cream paper. Chariots of Fire builds to the 1924 Games, so its beach run becomes that poster coming to life.",
   "desc_zh": "仿 Jean Droit 1924 巴黎奧運海報的四色石印：古典人體、有限油墨、成團的石版顆粒、參差套色。《烈火戰車》講的是 1924 年奧運，海灘長跑像那張海報活了過來。",
   "prompt_en": "1920s stone lithograph poster in four inks: sea blue #245A8C, ochre #D49640, deep brown #40271B, warm red #E47E62, on aged cream #F1E7D1, misregistered about 1/700 of frame width. Every tone is ink grain, never a flat fill: specks about 1/1000 of frame width in soft clumps, covering 20–40% of pale areas, 50–80% of mid-tones, nearly all of solids (with pinholes); no stray specks on bare paper. Roles: blue for sky, water, cool shadow; ochre for ground and skin; brown for outlines, darks, clothes; red sparingly. Values calm and pale. Classical figures: ochre lit side, brown core-shadow line down each limb, head 1/8 of body; groups in a row. Slow motion carried by spray, dust, hair, cloth. Camera: long-lens front views, ground-level shots; optional serif title band. Reference: Jean Droit, 1924 Paris Olympics poster. Avoid: coarse speckle, pictogram figures, vector fills.",
   "prompt_zh": "20 年代石版印刷海報，四色：海藍 #245A8C、赭黃 #D49640、深棕 #40271B、暖紅 #E47E62，印在泛舊的奶油紙 #F1E7D1 上，每色錯位約畫面寬的 1/700。所有色調都由油墨顆粒組成，不平塗：顆粒約畫面寬的 1/1000，聚成軟團，淺色區覆蓋兩到四成，中間調五到八成，實色幾乎滿版、留針孔；空白紙上不能有零散孤點。分工：藍給天空、水和冷陰影；赭黃給地面和皮膚；深棕給輪廓、暗部和衣服；紅少量點綴。明暗安靜偏淺。人物古典：受光側赭黃，四肢順一道深棕明暗交界線，頭約身高八分之一；多人排成橫列。動作慢，靠水花、塵土、頭髮、布料帶出。鏡頭：長焦正面、貼地低機位；可加襯線字標題橫帶。對標 Jean Droit 的 1924 年巴黎奧運海報。避免：粗噪點、象形小人、矢量平塗。",
   "shots": [
    {
     "cam": "faces",
     "sec": 0.7,
     "en": "Long-lens front view: the pack comes toward camera along the surf, Clawd among them with a white headband and race number 98; a slight pull back.",
     "zh": "長焦正面：跑者隊伍沿著浪邊迎面跑來，Clawd 在其中，戴白頭帶、彆著 98 號碼布；鏡頭略微拉開。"
    },
    {
     "cam": "feet",
     "sec": 0.6,
     "en": "Low and tight on bare feet splashing through the shallows, reflections in the wet sand; the camera slides sideways.",
     "zh": "貼地近景：赤腳踩進淺水濺起水花，溼沙上有倒影；鏡頭橫向滑動。"
    },
    {
     "cam": "liddell",
     "sec": 0.5,
     "en": "Close on Liddell, head thrown back and mouth open, Abrahams behind him; a slight pull back.",
     "zh": "利德爾的近景：仰頭張嘴，亞伯拉罕斯在他身後；鏡頭略微拉開。"
    },
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Side view of the whole line with Clawd in the middle; as the camera pulls back, the 'JEUX DE LA VIIIe OLYMPIADE · PARIS 1924' poster band prints in over the frame.",
     "zh": "側面看整隊跑者，Clawd 在中間；鏡頭拉開時，“JEUX DE LA VIIIe OLYMPIADE · PARIS 1924”的海報字框印上畫面。"
    }
   ],
   "direction_en": "Clawd runs in the pack with a white headband and a pinned number 98. The run plays at 1×, so it reads as the film's slow motion. Four hard cuts (faces, feet, Liddell's head-back stride, the side-on line), and the poster band printing over the last shot turns the scene into the 1924 poster.",
   "direction_zh": "Clawd 跑在隊伍裡：白頭帶、胸前彆著 98 號碼布。跑步按 1 倍速，看起來就是原片的慢鏡頭。四個硬切：面孔、腳、利德爾仰頭的跑姿、側面整隊；最後一鏡印上海報字框，把這場戲變成 1924 年的海報。",
   "refs": [
    "Hugh Hudson, Chariots of Fire (1981)",
    "Jean Droit, Jeux de la VIIIe Olympiade, Paris 1924 (poster)",
    "Chariots of Fire one-sheet (1981)",
    "Vangelis (score)"
   ],
   "refs_zh": [
    "Hugh Hudson《烈火戰車》（1981）",
    "Jean Droit《第八屆奧林匹克運動會，巴黎 1924》海報",
    "《烈火戰車》海報（1981）",
    "Vangelis（配樂）"
   ]
  },
  {
   "no": 55,
   "year": "1982",
   "title": "Gandhi",
   "zh": "甘地傳",
   "chapter": "C6",
   "t0": 168.75,
   "dur": 2.5,
   "frame_sec": 170.22,
   "style_en": "Rajasthani Hand Block Print",
   "style_zh": "拉賈斯坦手工木刻印花布",
   "blend_en": [
    "Bagru dabu indigo resist",
    "Sanganer block-printed borders",
    "Rajasthani miniature profiles"
   ],
   "blend_zh": [
    "Bagru 泥防染靛藍",
    "Sanganer 木版印花邊",
    "拉賈斯坦細密畫側臉"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Hand block print on cotton in indigo, madder and turmeric with a carved black key block, misregistered at the block seams, dye bleeding along the weave. Homespun khadi was Gandhi's symbol, so the Salt March is printed as cloth.",
   "desc_zh": "棉布上的手工木刻印花：靛藍、茜草紅、薑黃加黑色雕版輪廓，版縫處套色錯位，染料順著經緯滲開。手紡土布是甘地的象徵，所以食鹽進軍就印成一塊布。",
   "prompt_en": "Hand block print on cotton, Rajasthan style (Bagru, Sanganer). Undyed cotton #EEE5CF is the ground, over half the frame, and the skin colour; indigo #2A3A68 for water or sky bands and patterns; madder red #AA322A for borders, clothing and the hero; turmeric #DEA42C for small motifs; black key block #281E1C for outlines. Stamp blocks about 1/8 of frame height, misregistered 2–4 px, tone jumping slightly at seams even in large bands; dye bleeds along the weave, fills unevenly. Mud-resist crackle only inside indigo, fine and sparse. Carved, rough outlines about 1/300 of frame width. Flat frieze in a paisley and vine border; waves as scallop rows; profile figures with miniature-painting faces, kohl-lined eyes. Camera: pan along the frieze, push in; cut on a turning motif. Avoid: vector edges, perfect registration, faceless figures, dense crackle, indigo flooding the frame.",
   "prompt_zh": "拉賈斯坦手工木刻印花布（Bagru、Sanganer）。本色棉布 #EEE5CF 是主底，佔畫面一半以上，也是皮膚色；靛藍 #2A3A68 給水面或天空色帶和紋樣；茜草紅 #AA322A 給邊框、衣服和主角；薑黃 #DEA42C 給小紋樣；黑色雕版 #281E1C 印輪廓。按雕版一塊塊蓋（每塊約畫面高的 1/8），錯位二到四像素，大色帶也在版縫處輕微跳變；染料順經緯微滲，上色不勻。泥防染冰裂紋只在靛藍裡，細而稀疏。輪廓像刻出來的，略毛糙，粗約畫面寬的 1/300。平鋪成橫幅，外框是佩斯利和花藤；海浪是扇貝紋；人物取側面，細密畫式的臉，描黑的眼尾。鏡頭沿橫幅橫搖、推近；借轉動的紋樣轉場。避免：矢量硬邊、套色完全對齊、沒有五官的人、滿屏冰裂紋、靛藍鋪滿畫面。",
   "shots": [
    {
     "cam": "crowd",
     "sec": 0.8,
     "en": "A lateral pan along the procession on the shore: volunteers in white khadi, women in indigo and madder saris, the Swaraj flag; Clawd comes into frame at the head of the line.",
     "zh": "沿海邊的隊伍橫搖：穿白土布的志願者、穿靛藍和茜草紅紗麗的婦女、自治旗；Clawd 在隊伍最前面入畫。"
    },
    {
     "cam": "salt",
     "sec": 1.1,
     "en": "Medium close-up, a slow push: Clawd as Gandhi in round spectacles and a khadi shawl stoops, scoops a handful of salt, raises it glinting, then turns to the marchers and lifts it higher.",
     "zh": "中近景，鏡頭慢推：戴圓框眼鏡、披土布披巾的 Clawd 彎腰捧起一把鹽，舉起來鹽粒閃光，再轉向隊伍舉得更高。"
    },
    {
     "cam": "wheel",
     "sec": 0.6,
     "en": "A village woman spinning at her charkha; the camera pushes in on the turning wheel for the cut to the next film.",
     "zh": "村婦坐在紡車前紡線；鏡頭推向轉動的紡車輪，接下一部。"
    }
   ],
   "direction_en": "Clawd plays Gandhi: round wire spectacles, the edge of a khadi shawl, a bamboo staff, a handful of salt. The scene runs at 1.1× with no slow motion. A hard cut from the march to the gesture: stoop, scoop, raise, then turn to the marchers and lift it higher. The charkha's turning wheel ends the film as a spin transition.",
   "direction_zh": "Clawd 扮甘地：圓框鋼絲眼鏡、土布披巾的邊、竹杖、一把鹽。全程 1.1 倍速，不做慢放。從隊伍硬切到動作：彎腰、捧鹽、舉起，再轉向隊伍舉得更高。最後用紡車轉動的輪子做轉場收尾。",
   "refs": [
    "Richard Attenborough, Gandhi (1982)",
    "Gandhi one-sheet (1982)",
    "Bagru dabu and Sanganer block prints",
    "Rajasthani miniature painting"
   ],
   "refs_zh": [
    "Richard Attenborough《甘地傳》（1982）",
    "《甘地傳》海報（1982）",
    "Bagru 泥漿防染印花與 Sanganer 木版印花",
    "拉賈斯坦細密畫"
   ]
  },
  {
   "no": 56,
   "year": "1983",
   "title": "Terms of Endearment",
   "zh": "母女情深",
   "chapter": "C6",
   "t0": 171.25,
   "dur": 2.5,
   "frame_sec": 171.84,
   "style_en": "Family Album Polaroids",
   "style_zh": "家庭相冊寶麗來",
   "blend_en": [
    "SX-70 and Polaroid 600 prints",
    "Kodacolor snapshots",
    "1970s–80s magnetic-page album",
    "panning-shot motion smear"
   ],
   "blend_zh": [
    "SX-70 與寶麗來 600 相片",
    "柯達彩色快照",
    "70–80 年代磁性相冊",
    "追拍拖影"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An open family album of faded Polaroids and Kodacolor snapshots, with teal-lifted blacks, creamy highlights and white borders, where one Polaroid comes alive as a panning shot of the beach drive. Terms of Endearment spans thirty years of a mother and daughter.",
   "desc_zh": "攤開的家庭相冊，裡面是褪色的寶麗來和柯達快照：發青的黑、奶油色高光、白邊。其中一張寶麗來活過來，變成海灘飛車的追拍照片。《母女情深》講的是母女三十年。",
   "prompt_en": "1970s–80s snapshots in an open album. Faded dyes: blacks lifted to teal grey about #2F3A3A, creamy rolled-off highlights, mild warm cast, slight overexposure, softness, fine grain (±4%), saturation about 60% of normal. White Polaroid borders, photo-booth strips (four frames stacked), ballpoint captions in the user's language. The album fills the frame, cream pages seen from above in soft, even light, a faint plastic sheen. In a photo, a moving subject gets a panning-shutter look (background smeared sideways, subject sharp); still subjects get shallow depth of field. People look photographed: real proportions, soft shading, slight blur, small faces. Camera: an overhead push into one photo until it fills the frame (about 3 s), a cut into the living scene as colour returns, then a pull-back. References: Polaroid SX-70, Kodacolor prints. Avoid: flat cartoon shapes, crisp modern colour, light shafts, saturated prints.",
   "prompt_zh": "70 到 80 年代的生活快照，攤開在相冊裡。照片已褪色：黑色抬成偏青的灰（約 #2F3A3A），高光柔和發奶油色，略暖、略過曝，偏軟，細顆粒（±4%），飽和度約正常的六成。寶麗來白邊、照相館四連拍條、圓珠筆手寫說明（用用戶的語言）。相冊鋪滿畫面，奶油色頁面，從正上方看，光柔和均勻，淡淡塑料膜反光。照片裡有東西在動就用追拍：背景橫向拖糊，主體清晰；靜止主體用淺景深。人物像拍的不像畫的：比例真實、明暗柔和、輕微虛焦、臉不大。鏡頭：俯拍推進一張照片直到鋪滿（約三秒），切進活起來的場景、顏色恢復，再拉出。對標寶麗來 SX-70 和柯達彩色照片。避免：平面卡通造型、乾淨的現代色彩、光束、飽和的照片。",
   "shots": [
    {
     "cam": "album",
     "sec": 1.2,
     "en": "Overhead on the open album on a walnut table, then one push into the loose Galveston Polaroid until its picture fills the frame.",
     "zh": "俯拍胡桃木桌上攤開的相冊，一路推進那張散放的加爾維斯頓寶麗來，直到照片鋪滿畫面。"
    },
    {
     "cam": "beach",
     "sec": 0.8,
     "en": "The Polaroid comes alive: the red Corvette tears through the surf with Aurora waving in the passenger seat, colour flooding back; the camera pulls back to a wider beach.",
     "zh": "寶麗來活了過來：紅色科爾維特衝過浪花，副駕的奧羅拉揮著手，顏色慢慢回來；鏡頭拉開到更寬的海灘。"
    },
    {
     "cam": "close",
     "sec": 0.5,
     "en": "Close on Clawd as Garrett in gold aviators, standing up behind the seats with its arms flung wide; a slow push.",
     "zh": "近景：戴金色飛行員墨鏡的 Clawd 扮加勒特，在座位後站起來張開雙臂；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Garrett, the retired astronaut, in gold aviators, with Aurora laughing beside it. About 1.8× overall. The push into the album becomes a cut into the photo itself, and the faded grade warms back to fresh colour; its arms go up as the colour returns, and the close-up lands on the arms-wide pose.",
   "direction_zh": "Clawd 扮退役宇航員加勒特，戴金色飛行員墨鏡，身邊坐著大笑的奧羅拉。整體約 1.8 倍速。推進相冊以後直接切進照片裡，褪色的調子回暖成新鮮的顏色；顏色回來時它舉起雙臂，最後的近景落在張開雙臂的樣子上。",
   "refs": [
    "James L. Brooks, Terms of Endearment (1983)",
    "Terms of Endearment one-sheet (1983)",
    "Polaroid SX-70 and Kodacolor snapshots",
    "1970s magnetic-page photo albums"
   ],
   "refs_zh": [
    "James L. Brooks《母女情深》（1983）",
    "《母女情深》海報（1983）",
    "寶麗來 SX-70 與柯達彩色快照",
    "70 年代磁性相冊"
   ]
  },
  {
   "no": 57,
   "year": "1984",
   "title": "Amadeus",
   "zh": "莫扎特傳",
   "chapter": "C6",
   "t0": 173.75,
   "dur": 2.5,
   "frame_sec": 174.34,
   "style_en": "Rococo Silhouettes in Gilt Candlelight",
   "style_zh": "洛可可剪影 · 燭光金色歌劇院",
   "blend_en": [
    "18th-century cut silhouettes",
    "Rococo gilt relief",
    "Candlelight bloom",
    "Schinkel's star vault"
   ],
   "blend_zh": [
    "18 世紀剪影肖像",
    "洛可可金色浮雕",
    "燭光泛光",
    "申克爾的星空佈景"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Black paper profiles with gold-bronzed rims fill a horseshoe of gilt boxes and red velvet facing a starry stage. Amadeus peaks with Mozart's opening night, so one frame holds the pit, the stage, the audience and Salieri brooding in his box.",
   "desc_zh": "黑紙剪成的側面人像鑲著金邊，坐滿馬蹄形的金色包廂和紅絲絨，對著星空佈景的舞臺。《莫扎特傳》的高光是首演之夜，一個畫面裝下樂池、舞臺、觀眾和暗處的薩列裡。",
   "prompt_en": "18th-century cut-paper silhouettes. Each figure: a solid black profile #0B0705 with its own cut detail (hair, nose, lace holes, props), a 2–3 px pale-gold rim #F7E3A0 (at 1920×1080) toward the nearest flame, and hairline gold lines along clothing folds. Gilt relief #B88A2E and red velvet #6E0F14 frame the scene like an opera box; an outdoor subject becomes a lit painted backdrop on a stage, cut-paper figures in front. Reds and golds fill most of the frame; night blue #0C1A3A only for the far sky. Only the hero gets a painted, coloured face. Candles flicker gently (±5%), warm halos about five flames wide; light haze, vignette, fine grain. Signature shot: silhouettes framing a bright stage far back; slow lateral glide, then push. References: silhouettists Edouart, Miers; cinematographer Miroslav Ondříček (*Amadeus*, 1984). Avoid: plain black blobs; copy-pasted profiles; blue walls; strobing flames.",
   "prompt_zh": "18 世紀剪紙剪影，放在燭光照亮的洛可可室內。每個人物是實心黑側影 #0B0705，各有自己的剪紙細節（髮型、鼻子、蕾絲鏤空、物件），朝最近燭火的一側描 2–3px（按 1920×1080）亮金邊 #F7E3A0，順衣褶勾幾根細金線。金色浮雕 #B88A2E 和紅絲絨 #6E0F14 像包廂一樣框住畫面；戶外題材畫成舞臺上被照亮的佈景，剪紙人物站在佈景前。紅與金佔畫面大半，夜藍 #0C1A3A 只用於遠處天空。只有主角側影裡的臉是畫出來、有顏色的。燭火輕微跳動（亮度±5%），暖光暈約五個火苗寬，薄煙、暗角、細顆粒。招牌鏡頭：前景剪影框住遠處亮著的舞臺，慢橫移再推進。對標剪影 Edouart、Miers，攝影師 Miroslav Ondříček（《莫扎特傳》，1984）。避免：沒有剪紙細節的黑塊；複製粘貼的側影；藍色牆面；頻閃的燭火。",
   "shots": [
    {
     "cam": "pit",
     "sec": 1.6,
     "en": "Tracks along the candlelit pit onto Clawd conducting with its baton, then cranes up and back over it to the starry stage as the Queen of the Night raises her arms for the high note.",
     "zh": "沿著燭光樂池橫移到揮棒指揮的 Clawd，再越過它升起、後拉，落到星空舞臺上，夜後抬臂唱高音。"
    },
    {
     "cam": "box",
     "sec": 0.9,
     "en": "Hard cut to Salieri's dark box: among the silhouettes, his is the only painted face, under-lit by a single candle; a slow push-in. Clawd is off-screen.",
     "zh": "硬切到薩列裡的暗包廂：一排剪影裡只有他的臉是畫出來的，被一支蠟燭從下面照亮；緩慢推進。Clawd 不在畫面裡。"
    }
   ],
   "direction_en": "Clawd plays Mozart: a powdered wig with a pink-ribboned queue and a lace jabot, the baton beating time with the music. One camera move rises from the pit to the stage to land on the Queen's high note, then a hard cut to Salieri watching in the dark. Real time, no slow motion.",
   "direction_zh": "Clawd 扮莫扎特：白色撲粉假髮配粉色髮帶、蕾絲領巾，指揮棒跟著音樂打拍子。一個運鏡從樂池升到舞臺，正好落在夜後的高音上，然後硬切到暗處看著的薩列裡。1:1 時間，不放慢。",
   "refs": [
    "Miloš Forman, Amadeus (1984)",
    "Miroslav Ondříček (cinematography)",
    "Karl Friedrich Schinkel, Queen of the Night set (1815)",
    "Augustin Edouart",
    "John Miers"
   ],
   "refs_zh": [
    "Miloš Forman《莫扎特傳》（1984）",
    "Miroslav Ondříček（攝影）",
    "Karl Friedrich Schinkel《魔笛》夜後佈景（1815）",
    "Augustin Edouart",
    "John Miers"
   ]
  },
  {
   "no": 58,
   "year": "1985",
   "title": "Out of Africa",
   "zh": "走出非洲",
   "chapter": "C6",
   "t0": 176.25,
   "dur": 2.5,
   "frame_sec": 178.6,
   "style_en": "3D Biplane over the Rift Valley",
   "style_zh": "3D 雙翼機飛越東非裂谷",
   "blend_en": [
    "three.js real-time 3D",
    "David Watkin aerial photography",
    "Warm filmic grade",
    "Instanced flamingo flocks"
   ],
   "blend_zh": [
    "three.js 實時 3D",
    "David Watkin 的航拍",
    "暖調膠片調色",
    "實例化的火烈鳥群"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "Real-time 3D flight over a soda lake: a chrome-yellow Gipsy Moth, thousands of flamingos lifting off, hazy amber light. The film's best-remembered sequence is Denys flying Karen over Kenya, down to the hand she reaches back across the cockpits.",
   "desc_zh": "實時 3D 的低空飛行：鉻黃色雙翼機掠過蘇打湖，上萬隻火烈鳥驚起，琥珀色薄霧光。這部片最被記住的就是丹尼斯帶凱倫飛越肯尼亞，和她向後座伸出的那隻手。",
   "prompt_en": "Real-time 3D like 1980s widescreen location photography: true-scale models with fine detail (e.g. struts, wires, rivets); smooth terrain, not low-poly. Default light: late-afternoon sun low behind the hero as seen from camera, pale cream sky, amber haze, distant ridges in 3–4 paler layers, ochre ground with long soft shadows. Pale overall: about 70% of the frame in light mid-tones, shadows warm grey, not deep brown; under a fifth near-white. Grade: filmic curve, low saturation, light grain, soft vignette. Thousands of instanced birds or animals (e.g. pink #F3B3AE with crimson #DF3F55) lift or scatter in staggered waves as the hero passes. Signature shot: over the moving hero's shoulder across open land; then a high chase 10–20 m up and one shot into the sun. Reference: cinematographer David Watkin (*Out of Africa*, 1985). Avoid: cold clean CG daylight; dark sepia; lockstep flocks.",
   "prompt_zh": "實時 3D，像 80 年代寬銀幕實景攝影：模型按真實比例、細節到位（如支柱、拉線、鉚釘）；地形平滑，不要低多邊形碎面。默認光：從鏡頭看，低斜的太陽在主角身後（逆光），奶油色淡天空，琥珀薄霧，遠山分三四層漸淡，赭黃大地上長長的柔影。整體明亮：七成畫面在中高調，陰影暖灰不深褐；近白不超過五分之一。膠片曲線、低飽和、細顆粒、輕暗角。上千只實例化的鳥或動物（如粉 #F3B3AE 配深紅 #DF3F55），主角經過時一波波錯開起飛或散開。招牌鏡頭：越過移動中主角的肩膀看遠景；其次是離地 10–20 米的追拍和一個對著太陽的逆光鏡頭。對標攝影師 David Watkin（《走出非洲》，1985）。避免：冷而乾淨的 CG 日光；發暗的棕褐調；整齊劃一的鳥群。",
   "shots": [
    {
     "cam": "flamingos",
     "sec": 0.8,
     "en": "Low chase just above the lake: the yellow biplane skims overhead with Clawd small in the front cockpit, leaning out, as flamingos lift off the water across the lens.",
     "zh": "貼著湖面仰拍追機：黃色雙翼機從頭頂掠過，Clawd 小小地坐在前座探身往外看，火烈鳥從水面騰起掠過鏡頭。"
    },
    {
     "cam": "backlit",
     "sec": 0.7,
     "en": "Hard cut to a wide shot straight into the sun: the plane comes head-on over the lake between two rising pink flocks.",
     "zh": "硬切到正對太陽的逆光全景：飛機迎面飛來，兩側是正在升起的粉色鳥群。"
    },
    {
     "cam": "cockpit",
     "sec": 1.0,
     "en": "On board, from the rear seat: Clawd in a leather flying cap, brass goggles and a streaming white scarf turns round and reaches back, and Denys's gloved hand takes it.",
     "zh": "從後座往前的機上鏡頭：戴皮飛行帽、黃銅護目鏡、白絲巾在風裡飄的 Clawd 轉身向後伸手，丹尼斯戴手套的手握住它。"
    }
   ],
   "direction_en": "Clawd sits in Karen's front seat: leather cap, brass goggles, white silk scarf. Two exterior hard cuts sell speed and scale over the flamingo lake; the cockpit shot then holds for the film's gesture, Clawd turning to reach back for Denys on the last beats. The flight clock runs 1.5–1.6× screen time.",
   "direction_zh": "Clawd 坐在凱倫的前座：皮飛行帽、黃銅護目鏡、白絲巾。兩個外景鏡頭硬切，交代火烈鳥湖上的速度和空間；最後的座艙鏡頭留給片中那個動作：Clawd 轉身向後伸手，丹尼斯握住，落在最後幾拍。飛行時間是屏幕時間的 1.5–1.6 倍。",
   "refs": [
    "Sydney Pollack, Out of Africa (1985)",
    "David Watkin (cinematography)",
    "Out of Africa (1985) poster",
    "de Havilland DH.60G Gipsy Moth G-ABAK"
   ],
   "refs_zh": [
    "Sydney Pollack《走出非洲》（1985）",
    "David Watkin（攝影）",
    "《走出非洲》海報（1985）",
    "de Havilland DH.60G Gipsy Moth G-ABAK"
   ]
  },
  {
   "no": 59,
   "year": "1986",
   "title": "Platoon",
   "zh": "野戰排",
   "chapter": "C6",
   "t0": 178.75,
   "dur": 2.5,
   "frame_sec": 180.66,
   "style_en": "Combat Artist Field Sketch · Pen & Wash",
   "style_zh": "越戰隨軍速寫 · 鋼筆淡彩",
   "blend_en": [
    "Fast pen line",
    "Transparent wash",
    "Sketchbook paper",
    "Vietnam Combat Artists Program"
   ],
   "blend_zh": [
    "快速鋼筆線",
    "透明淡彩",
    "速寫本紙",
    "美國陸軍越戰戰地藝術計劃"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Quick, hard pen lines with loose washes of olive, ochre, smoke grey and fire orange on sketchbook paper left bare at the edges. It reads as a war artist drawing on the spot, close to the film's infantryman's view of Vietnam.",
   "desc_zh": "快而有力的鋼筆線，橄欖綠、土黃、菸灰和火光橙的淡彩，速寫本紙四邊留白。像隨軍畫家在現場畫下的，貼近這部片從步兵眼裡看越戰的視角。",
   "prompt_en": "Reportage pen-and-wash field sketch. Pen: warm black, fast confident lines ~1/600 of frame width, flicked ends, overshooting corners; quick hatching and zigzags for shadow, on figures and ground. Bold transparent washes with soft wet edges, blooms and uneven pigment (not flat polygons) cover about 70% of the frame, shifted 2–4 px (at 1920×1080) off the line. Colours: olive #70783E, ochre #CEA054, smoke grey #706C70, one hot accent #F0822E for sky and light sources; skin in diluted ochre; sketchbook paper #F2ECDE. Bare paper only in highlights, a thin edge band and brush gaps; light grain. A scrawled pencil note (place, time, weather) in a corner, 1/40 of frame height, in the user's language. Layer for lateral tracks; hard cuts like turning a page. Reference: US Army Vietnam Combat Artists Program (1966–70). Avoid: polished finish; empty page; muddy washes; heavy noise.",
   "prompt_zh": "現場報道式鋼筆淡彩速寫。鋼筆用暖黑，線寬約畫面寬度的 1/600，快而肯定，收筆甩出，轉角衝出頭；暗部用快速排線和折線，人物和地面都排線。淡彩透明而大膽：邊緣溼軟、有迴流花、深淺不勻（不要硬邊多邊形），鋪滿畫面約七成，整體錯開線稿 2–4px（按 1920×1080）。顏色：橄欖綠 #70783E、土黃 #CEA054、菸灰 #706C70，加一個熱烈點綴色 #F0822E 給天空和光源；膚色用淡土黃；暖米色速寫本紙 #F2ECDE。只有最亮處、四邊窄條和筆刷漏掉處留紙，紙紋很輕。角落用用戶的語言潦草寫一句鉛筆速記（地點、時間、天氣），字高約畫面 1/40。分層便於橫移；換視角硬切，像翻頁。對標美國陸軍越戰戰地藝術計劃（1966–70）。避免：插畫式精修；空著的紙；發髒的淡彩；重噪點。",
   "shots": [
    {
     "cam": "jungle",
     "sec": 0.8,
     "en": "Lateral track along a patrol pushing through elephant grass; Clawd, in a boonie hat and dog tags, stands among them as the soldiers file past.",
     "zh": "橫移跟著在象草裡前進的巡邏隊；戴叢林帽、掛狗牌的 Clawd 站在中間，士兵從它身邊走過。"
    },
    {
     "cam": "heli",
     "sec": 0.8,
     "en": "Hard cut to the view down from the Huey's door: the burning landing zone, rotor-flattened grass and the helicopter's own shadow, Clawd tiny in the clearing; a slow pull-out.",
     "zh": "硬切到從休伊直升機艙門往下看：燃燒的著陸區、被旋翼壓平的草和直升機自己的影子，Clawd 小小地站在空地上；鏡頭緩慢拉遠。"
    },
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Hard cut close on Clawd, pulling back to the poster framing: arms flung up in a V under a napalm-orange sky, soldiers running past on both sides as the helicopter lifts away.",
     "zh": "硬切到 Clawd 的近景，拉回海報構圖：它在凝固汽油彈的橙色火光下雙臂張成 V 字，兩側士兵跑過，直升機拉起離開。"
    }
   ],
   "direction_en": "Clawd plays Elias: a boonie hat and dog tags. Two hard cuts go from the ground to the air and back, each shot like a different sketchbook page; right after the last cut the arms fling up into the poster pose and sag a little as the helicopter climbs out. The scene runs at 1.1×.",
   "direction_zh": "Clawd 扮伊萊亞斯：叢林帽、狗牌。兩個硬切從地面到空中再回到地面，每個鏡頭像速寫本裡的另一頁；切到最後一個鏡頭，雙臂隨即猛地張成海報姿勢，直升機拉起時手臂微微垂下。場景以 1.1 倍速播放。",
   "refs": [
    "Oliver Stone, Platoon (1986)",
    "Platoon (1986) poster",
    "US Army Vietnam Combat Artists Program (1966–70)"
   ],
   "refs_zh": [
    "Oliver Stone《野戰排》（1986）",
    "《野戰排》海報（1986）",
    "美國陸軍越戰戰地藝術計劃（1966–70）"
   ]
  },
  {
   "no": 60,
   "year": "1987",
   "title": "The Last Emperor",
   "zh": "末代皇帝",
   "chapter": "C6",
   "t0": 181.25,
   "dur": 2.5,
   "frame_sec": 183.16,
   "style_en": "Gongbi Court Painting on Silk",
   "style_zh": "工筆重彩 · 絹本宮廷畫",
   "blend_en": [
    "Gongbi zhongcai",
    "Ruled-line architecture (jiehua)",
    "Qing court scrolls",
    "Storaro's colour"
   ],
   "blend_zh": [
    "工筆重彩",
    "界畫",
    "清代宮廷畫卷",
    "Storaro 的色彩"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Iron-wire outlines and graded mineral washes of azurite, malachite, cinnabar and gold on silk, with a ruled-line palace and thousands of kneeling officials. The boy emperor's coronation is a Qing court ceremony, painted the way Qing court painters recorded ceremonies.",
   "desc_zh": "絹本上的鐵線描和層層渲染的石青、石綠、硃砂、泥金，界畫的宮殿，幾千名跪拜的百官。小皇帝的登基是清宮儀典，就用清宮畫師記錄儀典的畫法來畫。",
   "prompt_en": "Chinese gongbi zhongcai (fine-line, heavy-colour court painting) on aged silk. Far to near, each form: flat base, a wash darkening its lower, overlapped edges, an even iron-wire outline (dark brown, ~1/900 frame width), gold and white lifts. Last, a 30% warm ochre glaze over everything, lines still clear. Minerals: cinnabar #C23A22, azurite #2C5A9A, malachite #3A8A6A, gamboge #E8B830, gold #CAA04A, muted by the glaze; ground and sky mid-value warm silk ochre, never near-white, saturated blue or orange; time of day shows only as overall warmth. No cast shadows or glare. Fine-line water ripples. Ruled-line architecture, every tile drawn; crowds all differ; a lone figure works. Faint silk weave (±3%), brown vignette. Symmetrical one-point composition: a large figure before a deep, ordered space. Slow pushes. Reference: Qing court scrolls, e.g. *Kangxi's Southern Inspection Tour*. Avoid: copy-pasted figures; unwashed flat fills; loose ink wash; poster saturation.",
   "prompt_zh": "絹本工筆重彩（清代宮廷畫法）。由遠到近畫，每個形：平塗底色 → 分染（沿下緣和被遮處加深）→ 均勻鐵線描（深褐，線寬約畫面 1/900）→ 提金、提白；最後全畫面疊三成濃度的暖赭罩染，線仍清楚。礦物色：硃砂 #C23A22、石青 #2C5A9A、石綠 #3A8A6A、藤黃 #E8B830、泥金 #CAA04A，被罩染壓穩；地面和天空是中等明度的暖赭絹色，不要近白，不畫飽和藍天和橙色落日，時段變化只靠整體冷暖。不畫投影和眩光。水用細線水紋。建築用界畫，瓦片一片片畫出；有人群時人人不同，單人也行。絹紋淡（±3%），褐色暗角。一點透視、左右對稱，大人物在前，身後深遠規整。緩推。對標清代宮廷長卷，如《康熙南巡圖》。避免：複製粘貼人物；不分染的平塗；寫意水墨；海報式飽和色。",
   "shots": [
    {
     "cam": "curtain",
     "sec": 1.0,
     "en": "The yellow dragon-roundel silk fills the frame and parts, and Clawd steps out onto the terrace in a Qing court hat with a red-fringed crown; a slight pull-back.",
     "zh": "繡著團龍的黃色綢簾佔滿畫面，簾子分開，戴紅纓朝冠的 Clawd 走上丹陛；鏡頭微微後拉。"
    },
    {
     "cam": "officials",
     "sec": 0.6,
     "en": "Hard cut to a low lateral track across the kneeling court, rows of officials in rank badges bowing in a wave.",
     "zh": "硬切到低機位橫移，掃過跪著的百官，一排排穿補服的官員波浪般叩首。"
    },
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Hard cut to the poster composition, easing wider: Clawd large on the terrace, the square of kneeling officials and the gold double roof behind, the cricket's gourd in the foreground.",
     "zh": "硬切到海報構圖並慢慢拉寬：Clawd 大大地站在丹陛上，身後是跪滿百官的廣場和金色重簷，前景是蟈蟈罐。"
    }
   ],
   "direction_en": "Clawd plays the child Puyi: a Qing court hat with a red silk fringe, court beads, horse-hoof cuffs. The curtain parts and Clawd walks out in step with the beat; a hard cut to the kowtow wave, then the wide poster frame holds the last beats. The scene runs at 1.1×.",
   "direction_zh": "Clawd 扮小溥儀：紅纓朝冠、朝珠、馬蹄袖。簾幕分開，Clawd 踩著節拍走出來；硬切到百官叩首的波浪，最後幾拍落在海報式的全景上。場景以 1.1 倍速播放。",
   "refs": [
    "Bernardo Bertolucci, The Last Emperor (1987)",
    "Vittorio Storaro (cinematography)",
    "The Last Emperor (1987) poster",
    "Kangxi Southern Inspection Tour scrolls",
    "Qianlong's Grand Review"
   ],
   "refs_zh": [
    "Bernardo Bertolucci《末代皇帝》（1987）",
    "Vittorio Storaro（攝影）",
    "《末代皇帝》海報（1987）",
    "《康熙南巡圖》長卷",
    "《乾隆大閱圖》"
   ]
  },
  {
   "no": 61,
   "year": "1988",
   "title": "Rain Man",
   "zh": "雨人",
   "chapter": "C6",
   "t0": 183.75,
   "dur": 2.5,
   "frame_sec": 185.22,
   "style_en": "80s Airbrush + Raymond's Count",
   "style_zh": "80 年代噴槍插畫 + 雷蒙的計數",
   "blend_en": [
    "80s airbrush illustration",
    "Patrick Nagel figures",
    "Hajime Sorayama chrome",
    "Technical-drawing callouts"
   ],
   "blend_zh": [
    "80 年代噴槍插畫",
    "Patrick Nagel 式人物",
    "空山基式鍍鉻",
    "工程圖標註"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Smooth airbrushed gradients, hard masked edges, chrome glints and pink-and-mint neon, overlaid with thin cyan callouts that count. It pairs the film's 1980s look with what Raymond sees: 82, 82, 82, 246 toothpicks, then cards counted at the table.",
   "desc_zh": "平滑的噴槍漸變、硬邊遮罩、鍍鉻高光和粉綠霓虹，疊一層細細的青色計數標註。80 年代畫風配上雷蒙眼裡的世界：82、82、82，共 246 根牙籤，還有牌桌算牌。",
   "prompt_en": "1980s airbrush illustration with a drafting overlay. Every shape: a hard-edged mask filled with a smooth sprayed gradient, 1–2 px overspray rim (at 1920×1080). Bright, high-key: mint #79BDA6 walls or sky, cream, neon pink #F58CB5 and magenta #C9467F accents, black-and-white checker floor or ground; purple and night under 20%; at other times of day keep mint and cream; pink carries any sunset. Figures à la Patrick Nagel (flat pale skin, few crisp lines, dark hair masses, pink and mint rim light), keeping their own age and dress. Metal and glass in Hajime Sorayama chrome: banded sky reflection, hard horizon line, cross-star glints. Overlay: thin cyan callouts #56E6FF, near-white text #D9FBFF (1/40 frame height), dotted leaders, dashed rings, dimension lines; monospace numbers count whatever the story counts, Rain Man style, as each group is circled. Slow push/pull. Avoid: synthwave suns; UI boxes; soft edges.",
   "prompt_zh": "80 年代噴槍插畫，疊一層工程製圖標註。每個形是硬邊遮罩裡噴出的平滑漸變，邊緣 1–2px（按 1920×1080）細飛沫。明亮高調：薄荷綠 #79BDA6 的牆或天空、奶油白，霓虹粉 #F58CB5 和品紅 #C9467F 點綴，地面鋪黑白棋盤格；紫色和夜色不超過兩成，其他時段仍是薄荷綠奶油底，晚霞用粉色畫。人物學 Patrick Nagel：蒼白平整的皮膚、少而利落的線、成塊深色頭髮，粉與薄荷綠輪廓光，但保留本人的年齡衣著。金屬玻璃學空山基鍍鉻：天空色帶、硬地平線、十字星光。最上層是細青色標註 #56E6FF、白字 #D9FBFF（字高約畫面 1/40）：圓點引線、虛線圈組、尺寸線；像《雨人》的雷蒙，等寬數字數故事裡要數的東西，圈一組滾一次。慢推或慢拉。避免：合成波式的條紋太陽；UI 框；發糊的邊。",
   "shots": [
    {
     "cam": "toothpicks",
     "sec": 1.0,
     "en": "Overhead of the checkered diner floor: the spilled toothpicks are circled pile by pile as the count rolls up, with a slow pull-back to fit the 246 across the top.",
     "zh": "俯拍黑白格的餐館地面：撒了一地的牙籤一堆堆被圈出來，數字滾動計數，鏡頭緩慢拉遠，讓頂上的 246 進畫。"
    },
    {
     "cam": "raymond",
     "sec": 0.8,
     "en": "Hard cut to a medium close-up of Clawd in a plaid collar with a pocket of pens, its head tilting further over the piles and their 82 callouts; a slow pull-out.",
     "zh": "硬切到 Clawd 的中近景：格子襯衫領、胸袋裡一排筆，歪著頭看地上標著 82 的牙籤堆，頭越歪越低；鏡頭緩慢拉遠。"
    },
    {
     "cam": "cards",
     "sec": 0.7,
     "en": "Hard cut over the dealer's shoulder at a Vegas blackjack table: cards arc out of the shoe, and Hi-Lo tags and a running count tick up beside them; Clawd sits between the Nagel woman and Charlie.",
     "zh": "硬切到拉斯維加斯的 21 點牌桌，越過荷官肩膀拍：牌從牌靴裡飛出，旁邊跳出 Hi-Lo 標記和累計點數；Clawd 坐在 Nagel 式女人和查理之間。"
    }
   ],
   "direction_en": "Clawd plays Raymond: a buttoned-up plaid collar and a breast pocket of pens and a pencil. The count drives the edit: three piles circled in the opening beats, the head tilt as 246 appears, then a hard cut to Vegas where every card lands with its tag. The scene runs at 1.1×.",
   "direction_zh": "Clawd 扮雷蒙：扣到頂的格子領、胸袋裡插著幾支筆和一支鉛筆。剪輯跟著計數走：開頭幾拍圈出三堆牙籤，246 出來時它歪頭，然後硬切到拉斯維加斯，每張牌落下都跳出一個計數標記。場景以 1.1 倍速播放。",
   "refs": [
    "Barry Levinson, Rain Man (1988)",
    "John Seale (cinematography)",
    "Patrick Nagel",
    "Hajime Sorayama"
   ],
   "refs_zh": [
    "Barry Levinson《雨人》（1988）",
    "John Seale（攝影）",
    "Patrick Nagel",
    "空山基"
   ]
  },
  {
   "no": 62,
   "year": "1989",
   "title": "Driving Miss Daisy",
   "zh": "為黛西小姐開車",
   "chapter": "C6",
   "t0": 186.25,
   "dur": 2.5,
   "frame_sec": 186.4,
   "style_en": "Rockwell-style Oil Illustration",
   "style_zh": "洛克威爾式油畫插畫",
   "blend_en": [
    "Norman Rockwell oil illustration",
    "Saturday Evening Post covers",
    "3D-modelled car repainted in oil strokes"
   ],
   "blend_zh": [
    "諾曼·洛克威爾油畫插畫",
    "《星期六晚郵報》封面",
    "3D 建模的車再鋪油畫筆觸"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Solid, warm Rockwell realism: clean edges, visible oil strokes, afternoon light through oaks, every neighbour busy with something. The film is two people in one car on a 1950s Atlanta street, which is a Saturday Evening Post cover already.",
   "desc_zh": "紮實溫暖的洛克威爾寫實：邊緣乾淨、筆觸可見，午後陽光穿過橡樹，鄰居各忙各的。這部片就是 50 年代亞特蘭大一輛車裡的兩個人，本身就像一張《星期六晚郵報》封面。",
   "prompt_en": "Norman Rockwell-style mid-century magazine-cover oil illustration. Near-realistic figures: head about 1/7 of body height, faces and hands modelled from 3–4 value planes, not outlines; readable expressions. Smooth modelling; faint strokes about 1/150 of frame width, following form, each within ±5% of the colour beneath. Default light: warm afternoon sun from the upper left, clear cast and dappled shadows in cool blue-grey; other light keeps a warm key and cool shadows. Palette: cream sky #E6DCC2, brick red #9A4A38, leaf greens, bottle green #1F3A24, soft skin. Gloss reflects surroundings. Background storytelling: busy bystanders where there are people, telling objects when the hero is alone. Light canvas texture, warm varnish, soft vignette. Camera: deep three-quarter wide, slow push, closer cuts ending on a hand or face. Reference: Rockwell's *Saturday Evening Post* covers (1940s–50s). Avoid: cartoon faces; texture filters; flat digital shading; empty backgrounds.",
   "prompt_zh": "洛克威爾式 50 年代美國雜誌封面油畫。人物接近寫實：頭約佔身高 1/7，臉和手用三四塊明暗麵塑出、不靠描線，表情讀得出。塑形平滑，筆觸隱約：寬約畫面 1/150，順形體走，每筆與底色只差±5%。默認光：左上方暖色午後陽光，地上有清楚的投影和樹影，陰影冷藍灰；別的光也保持暖主光冷陰影。中等飽和：奶油天空 #E6DCC2、磚紅 #9A4A38、葉綠、瓶綠 #1F3A24、柔和膚色。光面映出環境。背景有小故事：有人處路人各忙各的，主角獨處就靠物件。輕畫布紋、暖光油、柔和暗角。鏡頭：有縱深的四分之三全景緩推，越切越近，落在手或臉上。對標洛克威爾 1940–50 年代《星期六晚郵報》封面。避免：卡通臉；重紋理濾鏡；無筆觸的數碼平塗；空背景。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Three-quarter front view of the dark-green 1949 Hudson rolling down an oak-shaded street of brick and white-porch houses; Clawd at the wheel in a chauffeur's cap, Miss Daisy stern in the back window; a slow push-in.",
     "zh": "墨綠色 1949 年哈德遜的四分之三前側，車沿著橡樹成蔭、紅磚房和白門廊的街道慢慢開來；戴司機帽的 Clawd 握著方向盤，黛西小姐板著臉坐在後窗裡；緩慢推進。"
    },
    {
     "cam": "inside",
     "sec": 0.8,
     "en": "Hard cut to the back seat, locked off: Miss Daisy's profile large in the foreground, Clawd driving seen from behind, the street flowing past the windows.",
     "zh": "硬切到後座往前拍的定機位：前景是黛西小姐的大側臉，後面是開車的 Clawd 的背影，街景從車窗外流過。"
    },
    {
     "cam": "close",
     "sec": 0.8,
     "en": "Hard cut to the rear-view mirror, the poster's framing: Clawd's eyes under the cap brim on the left, Miss Daisy on the right easing into a small smile; a slight push.",
     "zh": "硬切到後視鏡特寫，也就是海報構圖：左邊是帽簷下 Clawd 的眼睛，右邊是黛西小姐，慢慢露出一點笑；鏡頭輕推。"
    }
   ],
   "direction_en": "Clawd plays Hoke in a navy chauffeur's cap. Three hard cuts move from outside the car to inside to the mirror, tighter each time, and the payoff is saved for the end: Miss Daisy's frown easing into a smile in the mirror on the last beats. Scene time runs about 1.8× screen time, yet the drive stays unhurried.",
   "direction_zh": "Clawd 扮霍克，戴藏青色司機帽。三個硬切從車外到車裡再到後視鏡，一個比一個近；結果留到最後：鏡子裡黛西小姐的板臉在最後幾拍慢慢松成微笑。場景時間平均是屏幕時間的 1.8 倍左右，車仍然開得從容。",
   "refs": [
    "Bruce Beresford, Driving Miss Daisy (1989)",
    "Driving Miss Daisy (1989) poster",
    "Norman Rockwell, Saturday Evening Post covers"
   ],
   "refs_zh": [
    "Bruce Beresford《為黛西小姐開車》（1989）",
    "《為黛西小姐開車》海報（1989）",
    "Norman Rockwell 的《星期六晚郵報》封面"
   ]
  },
  {
   "no": 63,
   "year": "1990",
   "title": "Dances with Wolves",
   "zh": "與狼共舞",
   "chapter": "C7",
   "t0": 188.75,
   "dur": 2.5,
   "frame_sec": 190.22,
   "style_en": "Field Journal · Pencil & Watercolour",
   "style_zh": "鄧巴日記 · 鉛筆 + 透明水彩",
   "blend_en": [
    "Graphite under-drawing",
    "Transparent watercolour",
    "Iron-gall ink handwriting",
    "Bodmer and Catlin field sketches"
   ],
   "blend_zh": [
    "鉛筆底稿",
    "透明水彩",
    "鐵膽墨水手寫",
    "Bodmer、Catlin 的野外水彩"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A soldier's field journal: pressure-varied pencil, transparent watercolour, yellowed rag paper, inked script and pencil notes in the margins. Dunbar writes and sketches in his diary throughout the film, so the prairie appears as his sketch coming to life.",
   "desc_zh": "一個軍人的野外日記：輕重有變化的鉛筆線、透明水彩、泛黃的布漿紙、墨水手寫和頁邊的鉛筆批註。鄧巴在片中一直寫畫日記，所以草原是從他的速寫裡活過來的。",
   "prompt_en": "A 19th-century field journal come to life: full-colour watercolour over visible pencil. Pencil under-drawing #3A363A, pressure-varied and broken, lightly hatched in shadow, readable through the washes. Brushed washes with soft wet edges, blooms, pooled rims and granulation (not flat polygons) cover about 80% of the frame in rich warm colour. Default magic hour: dusty-rose sky #C88F76 turning lavender above, streaky rose clouds, low sun, ochre-gold land #DEBE87, violet distance, long shadows, opaque pale-gold lifts on sun-facing edges. Yellowed rag paper #F0E4C8, faint stains and foxing, showing through. Iron-gall ink #34221C for small labels and arrows. Signature move, once at the opening (about 2 s): bare pencil, then colour arrives wash by wash, far to near, during a push-in; after that, full colour. References: Bodmer and Catlin field sketches. Avoid: grey, muddy or pale washes; uniform digital outlines; later pencil-only frames.",
   "prompt_zh": "一本活過來的 19 世紀野外日記：看得見鉛筆線的滿幅透明水彩。鉛筆底稿 #3A363A 有輕重和斷筆，暗部輕排線，透過顏色仍讀得出。水彩邊緣溼軟，有迴流花、積色深邊和顆粒（不要平塗多邊形），鋪滿約八成畫面，濃郁偏暖。默認魔幻時刻：灰玫瑰色天空 #C88F76 往上轉淡紫，玫瑰色條雲，低太陽，赭金大地 #DEBE87，遠處紫，長投影；朝太陽的邊緣點幾筆不透明淺金。泛黃布漿紙 #F0E4C8，淡水漬黴斑，紙色透出來。鐵膽墨水 #34221C 寫小字草書標註和箭頭。招牌動作只在開頭約兩秒：先只有鉛筆，鏡頭推進時顏色從遠到近一塊塊鋪上；之後每幀滿彩。對標 Karl Bodmer、George Catlin 的野外速寫。避免：灰髒或發白的淡彩；均勻數碼描邊；開頭後仍只有鉛筆。",
   "shots": [
    {
     "cam": "page",
     "sec": 1.2,
     "en": "Push in on the journal's right page: Clawd's self-portrait and the wolf Two Socks start as bare pencil and are coloured in stroke by stroke, sky first, Clawd last.",
     "zh": "推近日記的右頁：Clawd 的自畫像和狼「雙襪」一開始只是鉛筆底稿，水彩一筆筆鋪上來，先是天空，最後才是 Clawd。"
    },
    {
     "cam": "prairie",
     "sec": 1.3,
     "en": "Cut to the sketch come alive in full colour at sunset: one push from the plain in to Clawd and Two Socks facing each other, the buffalo herd running behind; Clawd tips its hat.",
     "zh": "切到活成滿幅彩色的日落草原：一個推鏡從平原推到對望的 Clawd 和雙襪，身後野牛群奔過；Clawd 抬帽致意。"
    }
   ],
   "direction_en": "Clawd plays Dunbar: a black cavalry officer's hat with gold cord, the journal in one hand and a pencil in the other. The push and the colouring-in are one gesture; the cut to the living prairie comes mid-phrase, and the hat tip lands on the last beats. 1:1 time.",
   "direction_zh": "Clawd 扮鄧巴：帶金色帽繩的黑色騎兵寬簷帽，一手日記本、一手鉛筆。推近頁面和上色是同一個動作；切到活過來的草原落在樂句中間，抬帽致意落在最後幾拍。1:1 時間。",
   "refs": [
    "Kevin Costner, Dances with Wolves (1990)",
    "Dean Semler (cinematography)",
    "Dances with Wolves (1990) poster",
    "Karl Bodmer",
    "George Catlin"
   ],
   "refs_zh": [
    "Kevin Costner《與狼共舞》（1990）",
    "Dean Semler（攝影）",
    "《與狼共舞》海報（1990）",
    "Karl Bodmer",
    "George Catlin"
   ]
  },
  {
   "no": 64,
   "year": "1991",
   "title": "The Silence of the Lambs",
   "zh": "沉默的羔羊",
   "chapter": "C7",
   "t0": 191.25,
   "dur": 2.5,
   "frame_sec": 191.84,
   "style_en": "Hand-coloured Natural-history Copperplate",
   "style_zh": "手工上色的博物學銅版畫",
   "blend_en": [
    "Copperplate engraving",
    "Hand-colouring",
    "Victorian entomology plates",
    "Moses Harris, The Aurelian"
   ],
   "blend_zh": [
    "銅版雕刻排線",
    "手工上色",
    "維多利亞昆蟲學圖版",
    "Moses Harris《The Aurelian》"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Fine engraved hatching and stipple under thin hand-coloured tints, with plate numbers and Latin labels on yellowed paper. The poster's death's-head moth belongs on a specimen plate, and the same cold engraving carries on into Lecter's cell.",
   "desc_zh": "細密的銅版排線和點刻，上面薄薄地手工上色，圖版編號和拉丁文標籤印在泛黃的紙上。海報上的鬼臉天蛾本就該釘在標本圖版上，同樣冷峻的銅版畫法一直延伸到萊克特的囚室。",
   "prompt_en": "A hand-coloured natural-history copperplate. Every object in engraved warm black-brown line: dense parallel and cross-hatching (spacing about 1/400 of frame width, thicker in darks), stipple for soft tones, hatched shadows beneath; sky bare or sparsely lined. Flat watercolour tints inside the line, medium saturation, clearly coloured: paper #EFE3C4, umber #5A3A22, rust #B4431E, yellow #E6AD24, grey-violet #7D6F8E. Plate: the subject as Fig. 1 in the centre, about 60% of plate height, 3–6 numbered part or object figures around it, each about 1/5 high; spaced small-caps title, numbered legend, bevelled plate mark, light foxing. Even daylight; time of day only shifts the tints' warmth; dark interiors go cold, hard side light. Camera: a still plate where one thing moves (insect, leaf, hand), then a slow push to a key detail. Reference: Moses Harris, *The Aurelian* (1766). Avoid: smooth gradients; garish colour; a tiny vignetted subject.",
   "prompt_zh": "手工上色的博物學銅版畫。所有物體用暖黑褐刻線畫：密集平行線和交叉排線（線距約畫面寬度 1/400，暗處線更粗），柔和過渡用點刻，物下有排線投影；天空留紙色或只幾道稀疏橫線。線內平塗水彩，中等飽和、顏色認得出：紙 #EFE3C4、赭褐 #5A3A22、鐵鏽紅 #B4431E、黃 #E6AD24、灰紫 #7D6F8E。圖版：主體作圖 1 居中，約佔版面高六成，四周 3–6 個編號小圖（局部或相關物件），各約五分之一高；上方字距拉開的小型大寫標題，下方編號圖注，壓印斜邊版框，淡黴斑。默認均勻日光，時段變化只調著色冷暖；暗室內轉冷，側面硬光。鏡頭：靜止圖版裡只有一樣東西在動（蟲、葉、手），再勻速慢推到關鍵細節。對標 Moses Harris《The Aurelian》（1766）。避免：平滑漸變；刺眼的顏色；主體縮成小暈影。",
   "shots": [
    {
     "cam": "plate",
     "sec": 0.9,
     "en": "The full entomology plate 'Acherontia styx': a live death's-head moth flies off the nightshade and settles on Clawd's head; a slight push-in.",
     "zh": "整張昆蟲學圖版「Acherontia styx」：一隻活的鬼臉天蛾從茄科植物上飛起，落在 Clawd 頭頂；鏡頭輕推。"
    },
    {
     "cam": "cell",
     "sec": 1.6,
     "en": "Hard cut to the basement: Clawd as Clarice, FBI trainee ID clipped on, stands at the glass; then one continuous push right and in until Lecter's face fills the frame and the thin smile appears.",
     "zh": "硬切到地下監區：彆著 FBI 學員證的 Clawd（克拉麗絲）站在玻璃前；接著一個連續的推鏡向右、向裡推，直到萊克特的臉佔滿畫面，嘴角露出一絲笑。"
    }
   ],
   "direction_en": "Clawd is 'Fig. 4' on the plate, then Clarice with an FBI trainee ID. The moth lands within the opening beats; a hard cut to the cell, and the push to Lecter runs as one move with no cut, his smile arriving at the very end. Scene time runs about 1.8× screen time.",
   "direction_zh": "Clawd 先是圖版上的「圖 4」，再扮彆著 FBI 學員證的克拉麗絲。飛蛾在開頭幾拍落下；硬切到囚室，推向萊克特的鏡頭一氣呵成、中間不切，他的笑留到最後才出來。場景時間約為屏幕時間的 1.8 倍。",
   "refs": [
    "Jonathan Demme, The Silence of the Lambs (1991)",
    "Tak Fujimoto (cinematography)",
    "The Silence of the Lambs (1991) poster",
    "Moses Harris, The Aurelian"
   ],
   "refs_zh": [
    "Jonathan Demme《沉默的羔羊》（1991）",
    "Tak Fujimoto（攝影）",
    "《沉默的羔羊》海報（1991）",
    "Moses Harris《The Aurelian》"
   ]
  },
  {
   "no": 65,
   "year": "1992",
   "title": "Unforgiven",
   "zh": "不可饒恕",
   "chapter": "C7",
   "t0": 193.75,
   "dur": 2.5,
   "frame_sec": 194.34,
   "style_en": "Remington Western Oil · Sunset & Nocturne",
   "style_zh": "雷明頓西部油畫 · 晚霞與雨夜",
   "blend_en": [
    "Remington's warm plains",
    "Remington's late nocturnes",
    "Thick oil impasto",
    "Opening-title silhouette"
   ],
   "blend_zh": [
    "雷明頓的暖色平原",
    "雷明頓晚年的夜景",
    "厚塗油彩",
    "開場字幕的剪影"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Thick Western oil painting in two keys: Remington's red-gold plains at sunset and his blue-green nocturnes lit by warm windows. Unforgiven opens and closes on a silhouette at a grave against the sunset, and its showdown comes in a town on a rainy night.",
   "desc_zh": "兩種調子的厚塗西部油畫：雷明頓金紅晚霞下的平原，和他晚年被暖黃窗光點亮的藍綠夜景。《不可饒恕》以夕陽下墳前的剪影開場和收尾，決戰發生在雨夜的小鎮。",
   "prompt_en": "Frederic Remington-style Western oil painting. Primary register, for anything before full dark: sunset, a red-gold sky (orange into deep red) in long horizontal strokes, the sun on the horizon, land and figures dark warm silhouettes, thin warm rim sunward. Second register, only after dark: a blue-green nocturne (sky #17333A, moonlit edges #9CC4BC, warm window light #FFCC6A on dark ground #1E1C16, rain). Broad, readable shapes first, then loaded strokes about 1/80 of frame width wide, 3–6 times as long, soft broken ends, each within ±6% brightness of the colour beneath, following the surface. Light canvas texture. Low horizon, sky 50–60% of the frame, figures small to medium. Camera: one slow push from a silhouetted wide to the figure. References: Remington's late nocturnes; cinematographer Jack N. Green (*Unforgiven*, 1992). Avoid: smooth gradients; hard-edged flat bands; shattered shapes; grey figures in warm scenes; wide pans.",
   "prompt_zh": "弗雷德裡克·雷明頓式西部油畫。主調是晚霞，天黑透之前都用：橙到深紅的金紅天空用長橫筆觸，太陽壓在地平線上，大地和人物是暗暖剪影，向陽一側一道細暖輪廓光。第二種調子只在天黑透後用：藍綠夜景（天 #17333A，月光邊 #9CC4BC），暖黃窗光 #FFCC6A 鋪在深色地面 #1E1C16 上，加雨。先畫清楚的大形，再上筆觸：每筆寬約畫面寬度 1/80、長為寬的三到六倍，顏料飽滿、筆端鬆散；每筆與底色明暗只差±6%，順著各個面走。畫布紋要輕。地平線低，天空佔五到六成，人物小到中等。鏡頭：從剪影大全景慢推到人物。對標雷明頓晚年夜景畫、攝影師 Jack N. Green（《不可饒恕》，1992）。避免：平滑漸變；硬邊色帶；打碎形體的滿屏筆觸；暖場景人物發灰；大幅橫搖。",
   "shots": [
    {
     "cam": "grave",
     "sec": 1.4,
     "en": "One push from the whole sunset (farmhouse, windmill, lone tree, the cross in front of the sun) in to Clawd as Munny at the grave; it lifts its head and brings the rifle up across its body.",
     "zh": "一個推鏡從整片晚霞（木屋、風車、孤樹、擋在太陽前的十字架）推到墳邊的 Clawd（芒尼）；它抬起頭，把步槍橫到身前。"
    },
    {
     "cam": "town",
     "sec": 1.1,
     "en": "Hard cut to Big Whiskey on a rainy night: Clawd rides a dun horse down the muddy street past the lit windows of Greeley's saloon, the camera pushing toward its dripping hat brim.",
     "zh": "硬切到雨夜的大威士忌鎮：Clawd 騎一匹兔褐馬走過泥街，旁邊是亮著窗的 Greeley's 酒館，鏡頭推向它滴水的帽簷。"
    }
   ],
   "direction_en": "Clawd plays William Munny: a wide black hat, a long coat collar, a rifle. The opening silhouette and the grave are one move, the head lifting just as the push arrives; the only cut jumps to rain and night as Clawd rides into town. 1:1 time, no slow motion.",
   "direction_zh": "Clawd 扮威廉·芒尼：黑色寬簷帽、長雨衣立領、一支步槍。開場剪影到墳前是一個鏡頭，推到位時它正好抬頭；唯一的一刀硬切到雨夜，Clawd 騎馬進鎮。1:1 時間，不放慢。",
   "refs": [
    "Clint Eastwood, Unforgiven (1992)",
    "Jack N. Green (cinematography)",
    "Unforgiven (1992) poster (Bill Gold)",
    "Frederic Remington, nocturnes"
   ],
   "refs_zh": [
    "Clint Eastwood《不可饒恕》（1992）",
    "Jack N. Green（攝影）",
    "《不可饒恕》海報（1992，Bill Gold）",
    "Frederic Remington 的夜景畫"
   ]
  },
  {
   "no": 66,
   "year": "1993",
   "title": "Schindler's List",
   "zh": "辛德勒的名單",
   "chapter": "C7",
   "t0": 196.25,
   "dur": 2.5,
   "frame_sec": 196.4,
   "style_en": "Black-and-white Film, One Red Coat",
   "style_zh": "黑白膠片 · 唯一的紅大衣",
   "blend_en": [
    "High-contrast B&W film",
    "Coarse silver grain",
    "Selective colour",
    "Janusz Kamiński"
   ],
   "blend_zh": [
    "高反差黑白膠片",
    "粗顆粒銀鹽",
    "局部留色",
    "Janusz Kamiński"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Cold, high-contrast black and white with coarse grain and haloed highlights, where only the girl's red coat and Clawd's orange keep their colour. It follows Spielberg's own device: the red coat and the Sabbath candle flames are the film's only colour.",
   "desc_zh": "冷灰、高反差的黑白，粗顆粒，高光暈開；只有小女孩的紅大衣和 Clawd 的橙色有顏色。這正是斯皮爾伯格的手法：紅大衣和安息日燭火是全片僅有的彩色。",
   "prompt_en": "Black-and-white film look: cold neutral greys, a strong S-curve (blacks near #111, whites near #EEE), highlights haloing in haze, a soft old lens, silver grain re-rolled every frame (±6%), slight flicker, rare dust, vignette. Everything is grey except the one hero the story centres on, saturated, mainly clothing (e.g. terracotta #D97757); optionally one red story object (#A3241F–#C9463C). Lamps and fires stay grey, unless a flame turning from grey to warm is the story beat. Long-lens compression, soft foreground branches; in a crowd, no two people alike in build, tone or gait. Default: overcast mid-key, shadows open. Signature shot: high long-lens view of many small walking figures, the coloured one among them; without a crowd, the hero tiny in wide grey space. Reference: cinematographer Janusz Kamiński (*Schindler's List*, 1993). Avoid: sepia or blue toning; grain-free greys; more than two coloured things.",
   "prompt_zh": "黑白電影質感：冷中性灰，強 S 曲線（黑接近 #111，白接近 #EEE），高光在霧裡泛光暈，略軟的老鏡頭，逐幀變化的銀鹽顆粒（±6%），輕微閃爍，偶有灰塵，暗角。全畫面是灰的，只有故事圍繞的那個主角是飽和色，以衣服為主（如陶土橙 #D97757）；可再有一個紅色故事道具（#A3241F–#C9463C）。燈和火保持灰色，除非“火苗先灰後轉暖”是劇情節點。長焦壓縮空間，前景虛焦樹枝；有人群時，體型、衣色和步態人人不同。默認陰天中間調，暗部不死黑。招牌鏡頭：長焦俯看許多走動的小人，帶色的那個在其中；沒有人群就讓主角很小地落在大片灰裡。對標攝影師 Janusz Kamiński（《辛德勒的名單》，1993）。避免：棕褐或偏藍調色；無顆粒的乾淨灰；超過兩樣有顏色的東西。",
   "shots": [
    {
     "cam": "hill",
     "sec": 0.7,
     "en": "Clawd as Schindler on a dark horse on the hilltop, the ghetto street below packed with people being driven along it, one red dot among them; a slight push-in.",
     "zh": "山坡上騎著深色馬的 Clawd（辛德勒），坡下的街道擠滿被驅趕的人群，人群裡有一個紅點；鏡頭輕推。"
    },
    {
     "cam": "pov",
     "sec": 0.6,
     "en": "Hard cut to Schindler's point of view through a long lens, following the girl in the red coat as she walks alone through a gap in the crowd.",
     "zh": "硬切到辛德勒的長焦主觀鏡頭，跟住獨自走在人群空當裡的紅大衣小女孩。"
    },
    {
     "cam": "street",
     "sec": 0.6,
     "en": "Hard cut down to street level: a lateral track keeps pace with the girl as three rows of people walk left past the shopfronts, a blurred coat crossing the lens.",
     "zh": "硬切到街面：橫移鏡頭和小女孩同速，三排人從店鋪前往左走，一件虛焦的大衣從鏡頭前掠過。"
    },
    {
     "cam": "candles",
     "sec": 0.6,
     "en": "Hard cut to two Sabbath candles in the dark: the flames come up grey, then turn to colour; a slow push-in. Clawd is not in the shot.",
     "zh": "硬切到黑暗裡的兩支安息日蠟燭：火苗先亮成灰白，再變成彩色；緩慢推進。Clawd 不在畫面裡。"
    }
   ],
   "direction_en": "Clawd plays Schindler: a grey fedora, reins in hand, watching from the saddle. Four hard cuts follow his gaze: the hill, the long-lens POV, the street, and the candles as the closing image, each held about a beat and a half. Restrained throughout: people only walk, nothing violent is shown.",
   "direction_zh": "Clawd 扮辛德勒：灰色軟呢帽、手握韁繩，坐在馬上往下看。四個硬切跟著他的目光走：山坡、長焦主觀鏡頭、街面，最後收在蠟燭上，每個鏡頭約一拍半。全程剋制：人只是在走，不出現任何暴力。",
   "refs": [
    "Steven Spielberg, Schindler's List (1993)",
    "Janusz Kamiński (cinematography)",
    "Schindler's List (1993) poster"
   ],
   "refs_zh": [
    "Steven Spielberg《辛德勒的名單》（1993）",
    "Janusz Kamiński（攝影）",
    "《辛德勒的名單》海報（1993）"
   ]
  },
  {
   "no": 67,
   "year": "1994",
   "title": "Forrest Gump",
   "zh": "阿甘正傳",
   "chapter": "C7",
   "t0": 198.75,
   "dur": 5.0,
   "frame_sec": 201.69,
   "style_en": "Sabuda Pop-up Book on a Real Desk",
   "style_zh": "立體書 · 真實書桌上的紙藝",
   "blend_en": [
    "Robert Sabuda pop-up engineering",
    "Watercolour and coloured-pencil print",
    "three.js paper cards",
    "Physical depth of field"
   ],
   "blend_zh": [
    "Robert Sabuda 立體書結構",
    "水彩、彩鉛印刷質感",
    "three.js 紙卡",
    "物理景深"
   ],
   "dim": "2.5D",
   "render": "2.5D",
   "desc_en": "Printed cards standing up in parallel folds, with white cores, grey board edges, layered shadows and shallow focus, on a walnut desk. Forrest tells his life on a bench, so each page that pops up is one chapter.",
   "desc_zh": "平行折立起來的印刷卡片，白色紙芯、灰色紙板邊、層與層之間的投影和淺景深，放在胡桃木書桌上。阿甘坐在長椅上把一生講成故事，翻開一頁就立起一段經歷。",
   "prompt_en": "A real pop-up book filmed on a desk. Every element: a flat die-cut card on parallel folds before a 90° backdrop page, printed with transparent watercolour and grainy coloured-pencil hatching; cut edges show a white core and grey board. Default light: bright window daylight from the upper left, soft shadows between layers. Print colours (sky blue, warm sand, greens) and room light stay daylight whatever the story's time of day; that time appears only in the print (e.g. a low sun, a night sky). Walnut desk #6B3E1E; the room a warm blur. Physical depth of field, focus on the hero's layer. Signature shot: a high three-quarter view of the whole spread. One continuous move: dive into a page, pull back, turn the page instead of cutting, push into the next spread. References: Robert Sabuda, Matthew Reinhart. Avoid: solid-looking cards; dark moody rooms; cartoon faces.",
   "prompt_zh": "一本放在書桌上實拍的立體書。每個元素是平的模切卡片，靠平行折立在打開成 90° 的背景頁前，印著透明水彩和帶紙紋的彩鉛排線，切口露出白紙芯和灰紙板邊。默認光：左上方窗戶進來的明亮日光，層間柔和投影。卡面（天藍、暖沙、綠）和房間都保持日光，故事在任何時段都一樣；時段只畫在印刷畫面裡（如低太陽、夜空）。胡桃木書桌 #6B3E1E，後面的房間虛成暖色柔光。物理景深，焦點在主角那層。招牌鏡頭：高機位四分之三角度看整個跨頁。一個連續鏡頭：鑽進一頁、拉遠到整本書、翻頁代替剪輯、再推進下一跨頁。對標 Robert Sabuda、Matthew Reinhart 的立體書。避免：像實心模型的卡片；昏暗壓抑的房間；卡通臉。",
   "shots": [
    {
     "cam": "one",
     "sec": 5.0,
     "en": "One continuous shot: the closed book on the desk opens and Savannah's square pops up; the camera drops in with a falling white feather to the bench, where Clawd offers the nurse a chocolate; it pulls back, the page turns, and it pushes in to US-163 in Monument Valley, where Clawd in a red cap runs in ahead of the bearded followers, stops and turns to them; it pulls back again, the page turns, and it pushes in to the shrimp boat Jenny in a lightning storm.",
     "zh": "一鏡到底：書桌上合著的書翻開，薩凡納的廣場立起來；鏡頭跟著一根飄落的白羽毛降到長椅，Clawd 把巧克力遞給護士；拉遠、翻頁，推進到紀念碑谷的 US-163，戴紅帽的 Clawd 領著一群鬍子拉碴的跟跑者跑近、停下、轉身面對他們；再拉遠、翻頁，推進到閃電交加的暴風雨裡的捕蝦船「珍妮號」。"
    }
   ],
   "direction_en": "Clawd plays Forrest: a box of chocolates on the bench, a red cap on the road and on the boat. Twelve beats with no cuts: the feather carries the camera in, and two page turns, at about 2.7 s and 4.2 s, stand in for cuts. The run starts at 3.25 s, with the stop and the turn right after.",
   "direction_zh": "Clawd 扮阿甘：長椅上捧著一盒巧克力，公路和船上戴紅色棒球帽。12 拍一個鏡頭不切：羽毛把鏡頭帶進書裡，兩次翻頁（約 2.7 秒和 4.2 秒）代替剪輯。3.25 秒開始跑，緊接著停下、轉身。",
   "refs": [
    "Robert Zemeckis, Forrest Gump (1994)",
    "Don Burgess (cinematography)",
    "Forrest Gump (1994) poster",
    "Robert Sabuda & Matthew Reinhart"
   ],
   "refs_zh": [
    "Robert Zemeckis《阿甘正傳》（1994）",
    "Don Burgess（攝影）",
    "《阿甘正傳》海報（1994）",
    "Robert Sabuda、Matthew Reinhart"
   ]
  },
  {
   "no": 68,
   "year": "1995",
   "title": "Braveheart",
   "zh": "勇敢的心",
   "chapter": "C7",
   "t0": 203.75,
   "dur": 2.5,
   "frame_sec": 204.78,
   "style_en": "Illuminated Manuscript with Gold Leaf",
   "style_zh": "泥金手抄本 · 貼金細密畫",
   "blend_en": [
    "Book of Kells interlace",
    "Gothic miniature (Morgan Bible)",
    "Luttrell Psalter marginalia",
    "Burnished gold leaf"
   ],
   "blend_zh": [
    "《凱爾經》編結紋",
    "哥特細密畫（摩根聖經）",
    "《魯特雷爾詩篇》頁邊畫",
    "磨光金箔"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A medieval manuscript page: burnished gold with punched dots, lapis blue, vermilion, textura script, and a battle miniature framed like a window. Braveheart is a medieval Scottish legend, and its last cry, FREEDOM, becomes the illuminated initial.",
   "desc_zh": "一頁中世紀手抄本：帶衝壓點的磨光金箔、青金石藍、硃紅、哥特體字，中間一幅窗口似的戰役細密畫。《勇敢的心》是蘇格蘭傳奇，片尾那聲 FREEDOM 做成泥金首字母。",
   "prompt_en": "An illuminated manuscript page (cropped, or an open spread) filling the frame. Vellum #ECDCB4, brown ink outlines #2A1A10, lapis #27469A, vermilion #C43A20, burnished gold leaf on raised gesso, with punched dot rosettes; a slow candle glint sweeps the gold only. Miniature backgrounds are mostly gold (night: lapis with gold stars); gold fills at least a tenth of the frame. Gothic figures in flat colour and ink outline. Celtic interlace, ivy borders, marginal grotesques; the story's text (Latin or the user's language) in broad-nib textura, red-and-blue line fillers, one large gilded initial. Layout: the miniature a window about half the page beside the text column, layered for parallax on pushes; figures may break out. Warm candle from upper left, brown vignette, pigment grain. References: Book of Kells, Morgan Bible, Luttrell Psalter. Avoid: flat yellow for gold; modern typefaces; glints on faces.",
   "prompt_zh": "一頁泥金裝飾手抄本，取局部或雙頁填滿畫面。羊皮紙 #ECDCB4、褐色墨線 #2A1A10、青金石藍 #27469A、硃紅 #C43A20，加拋光金箔：石膏底隆起，有打孔小圓點花，一道燭光高光只在金上慢慢掃過。細密畫背景多為金箔（夜景用青金石底加金星），金至少佔畫面一成。哥特式人物平塗加墨線。凱爾特編結紋、常春藤邊框、頁邊怪誕小獸；正文寫故事（拉丁文或用戶的語言），寬頭筆哥特體，紅藍行尾線，一個大金首字母。版式：細密畫如一扇窗，約佔半頁，旁為文字欄；窗後分層，推進出視差；人物可破框。左上暖燭光，褐色暗角，淡顏料顆粒。對標《凱爾經》、摩根聖經、勒特雷爾詩篇。避免：平塗黃色代替金箔；現代字體；人臉上的高光。",
   "shots": [
    {
     "cam": "initial",
     "sec": 0.7,
     "en": "Close on the gilded initial F with Wallace inside, half his face in woad, as a glint sweeps across the gold leaf.",
     "zh": "泥金首字母 F 的特寫，字腔裡是半邊臉塗著藍色 woad 的華萊士，一道金光掃過金箔。"
    },
    {
     "cam": "still",
     "sec": 0.6,
     "en": "Hard cut to the whole page: REEDOM, the textura text, the margins, and the Stirling Bridge miniature with Clawd leading the charge; a slight push-in.",
     "zh": "硬切到整頁：REEDOM、哥特體正文、頁邊，中間是斯特林橋細密畫，Clawd 衝在最前面；鏡頭輕推。"
    },
    {
     "cam": "bridge",
     "sec": 0.6,
     "en": "Hard cut into the miniature: the English crowding over the wooden bridge, a knight in checkered trappers charging, men struggling in the river.",
     "zh": "硬切進細密畫：英格蘭兵擠過木橋，一名披方格馬衣的騎士衝來，河裡有人在掙扎。"
    },
    {
     "cam": "close",
     "sec": 0.6,
     "en": "Hard cut close on Clawd raising its two-handed sword against the knight's lance as the speech scroll unrolls 'freedom' above its head.",
     "zh": "硬切到 Clawd 的近景：它舉起雙手大劍迎向騎士的騎槍，頭頂的說話卷軸展開，寫著 freedom。"
    }
   ],
   "direction_en": "Clawd plays Wallace: a two-handed sword, a tartan sash, a stripe of woad across the brow. Four hard cuts: the initial, the page, the bridge, the clash. The charge builds through the middle, and the 'freedom' scroll unrolls in the last shot. Scene time runs about 1.8× screen time.",
   "direction_zh": "Clawd 扮華萊士：雙手大劍、格子呢披帶、額頭一道藍色 woad。四個硬切：首字母、整頁、橋、交鋒。衝鋒在中段越來越猛，最後一個鏡頭裡頭頂的卷軸展開 freedom。場景時間約為屏幕時間的 1.8 倍。",
   "refs": [
    "Mel Gibson, Braveheart (1995)",
    "Braveheart (1995) poster",
    "Book of Kells",
    "Morgan Bible (Maciejowski Bible)",
    "Luttrell Psalter"
   ],
   "refs_zh": [
    "Mel Gibson《勇敢的心》（1995）",
    "《勇敢的心》海報（1995）",
    "《凱爾經》",
    "摩根聖經（Maciejowski 聖經）",
    "勒特雷爾詩篇"
   ]
  },
  {
   "no": 69,
   "year": "1996",
   "title": "The English Patient",
   "zh": "英國病人",
   "chapter": "C7",
   "t0": 206.25,
   "dur": 2.5,
   "frame_sec": 206.4,
   "style_en": "Explorer's Scrapbook Watercolour",
   "style_zh": "探險家剪貼本水彩",
   "blend_en": [
    "Transparent watercolour",
    "Pen notes and handwriting",
    "Scrapbook collage: tape, photos, maps",
    "Amber-sepia grade"
   ],
   "blend_zh": [
    "透明水彩",
    "鋼筆筆記和手寫",
    "剪貼拼貼：膠帶、照片、地圖",
    "琥珀褐調色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Watercolour sketches taped into an old book among maps, photos, notes and pressed flowers, in the poster's amber-sepia. Almásy's Herodotus, stuffed with his paintings and notes, frames the film, so the camera pushes through one painting into the Cave of Swimmers.",
   "desc_zh": "貼在舊書裡的水彩速寫，夾著地圖、照片、便條和壓花，整體是海報的琥珀褐。艾瑪殊那本塞滿畫和筆記的希羅多德是全片的框架，鏡頭就穿過一張水彩進入游泳者洞穴。",
   "prompt_en": "A traveller's scrapbook, crowded edge to edge with 6–10 overlapping items, some running off frame: a taped watercolour (the main image, about 40% of frame), a hand-drawn map, a sepia photo, printed pages, handwritten notes, a pressed flower; each softly shadowed, with yellowed tape. The watercolour: wet-in-wet washes, warm ochre lights, hard-edged violet-rose shadows, pen contours, pooled edges, clear value contrast. Palette: amber paper #E8D6B0, sepia #6B4A2E, ochre #D08A3C, rose-violet #9C6A86, ink #2A1E16. Inside the painting: one warm source (torch, lamp) pooling in a dark foreground, bright sky beyond. Light amber grade on the page only, never muddying the painting; vignette about 20%, faint grain. Signature move: push into the painting until the page edges slide out. Reference: cinematographer John Seale (*The English Patient*, 1996). Avoid: smooth gradients; sparse tidy layouts; panning while a page frames the painting.",
   "prompt_zh": "旅人的剪貼本鋪滿畫面，從邊到邊擠滿 6–10 樣互相壓疊的東西，有的伸出畫框：膠帶貼的水彩畫（主畫面，約佔四成）、手繪地圖、深褐老照片、印刷頁、手寫便條、壓花；每樣帶柔影和泛黃膠帶。水彩畫：溼中溼鋪色，受光面暖赭，暗面是硬邊紫玫瑰色，鋼筆勾輪廓，積色邊，明暗對比清楚。配色：琥珀紙 #E8D6B0、深褐 #6B4A2E、赭 #D08A3C、紫玫瑰 #9C6A86、墨 #2A1E16。畫裡：暗前景裡一個暖光源（火把、燈）投下光池，外面是明亮的天。琥珀調色只輕壓書頁，畫裡保持乾淨不發髒；暗角約兩成，紙紋淡。招牌動作：推進一張畫，直到書頁邊緣從兩側滑出、人已在畫裡。對標攝影師 John Seale（《英國病人》，1996）。避免：平滑數碼漸變；稀疏整齊的版面；書頁還框著畫時橫搖。",
   "shots": [
    {
     "cam": "push",
     "sec": 1.2,
     "en": "The scrapbook open on the desk, then one push into the watercolour page until it slides past the lens: Clawd stands in the painted Cave of Swimmers with a torch.",
     "zh": "剪貼本攤在桌上，一個推鏡推進那張水彩，直到書頁從鏡頭兩側滑出：Clawd 舉著火把站在畫裡的游泳者洞穴中。"
    },
    {
     "cam": "wall",
     "sec": 0.6,
     "en": "Hard cut to a lateral drift across the swimmer paintings on the cave wall in flickering torchlight; Clawd is off-screen.",
     "zh": "硬切到橫移，掃過洞壁上的游泳人壁畫，火光搖晃；Clawd 不在畫面裡。"
    },
    {
     "cam": "cave",
     "sec": 0.7,
     "en": "Hard cut to Clawd with torch and book on the left, the painted wall beside it and the dunes beyond the cave mouth; a slow drift back.",
     "zh": "硬切到 Clawd 一手火把一手書站在左邊，旁邊是壁畫，洞口外是沙丘；鏡頭緩慢後移。"
    }
   ],
   "direction_en": "Clawd plays Almásy: a linen desert headscarf with a trailing end, the Herodotus in one hand and a torch in the other. The push into the painting does the work of a transition; the two hard cuts after it stay inside the cave, wall first, then Clawd. Scene time runs about 1.8× screen time.",
   "direction_zh": "Clawd 扮艾瑪殊：亞麻沙漠頭巾，巾尾飄著，一手希羅多德、一手火把。推進畫裡的鏡頭本身就是轉場；之後兩個硬切都留在洞裡，先壁畫，再 Clawd。場景時間約為屏幕時間的 1.8 倍。",
   "refs": [
    "Anthony Minghella, The English Patient (1996)",
    "John Seale (cinematography)",
    "The English Patient (1996) poster",
    "Cave of Swimmers, Wadi Sura"
   ],
   "refs_zh": [
    "Anthony Minghella《英國病人》（1996）",
    "John Seale（攝影）",
    "《英國病人》海報（1996）",
    "Wadi Sura 的游泳者洞穴"
   ]
  },
  {
   "no": 70,
   "year": "1997",
   "title": "Titanic",
   "zh": "泰坦尼克號",
   "chapter": "C7",
   "t0": 208.75,
   "dur": 6.667,
   "frame_sec": 211.497,
   "style_en": "Blueprint Developing into 3D Sunset",
   "style_zh": "藍圖顯影成 3D 實景",
   "blend_en": [
    "Shipyard general-arrangement blueprint",
    "three.js ship at true scale",
    "Russell Carpenter's colour",
    "One continuous camera move"
   ],
   "blend_zh": [
    "船廠總佈置藍圖",
    "按真實尺寸建模的 three.js 船",
    "Russell Carpenter 的色彩",
    "一鏡到底"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "White lines on Prussian-blue drafting paper stand up into perspective and develop into a full-colour 3D ship at sunset, then fall into night. The ship is the film's icon, so its yard drawing and the real ship are the same model.",
   "desc_zh": "普魯士藍曬圖紙上的白線立起來、長出透視，再顯影成夕陽下全綵的 3D 船，一路入夜。船本身就是這部片的標誌，所以船廠圖紙和實景用的是同一艘模型。",
   "prompt_en": "A blueprint turning into photoreal-leaning 3D. Opening only (1–2 s, under 15% of the film): white edge lines about 1/800 of frame width on Prussian-blue paper (#12306B to #244D8F), hidden lines dashed, figures and terrain as contours, uneven exposure, folds, lettering. A dolly-zoom stands the elevation up into perspective; colour spreads from the hero along a soft warm edge, ghost lines fading within a second. Then the signature look: golden-hour real 3D, low sun, amber highlights #F2B860, warm shadows #3A2530, sun glitter on water, soft mist, shallow focus, gentle bloom, fine grain; then blue hour and night, warm lights coming on. One unbroken move: push in and stand up (blueprint), then, in equal shares, drift low past the hero, rise and orbit, descend. Reference: cinematographer Russell Carpenter (*Titanic*, 1997). Avoid: lingering on the drawing; hard cuts; flat CG light.",
   "prompt_zh": "一張工程藍圖變成偏寫實的 3D。藍圖只佔開頭 1–2 秒、不超過全片 15%：普魯士藍曬圖紙（#12306B 到 #244D8F）上的白色稜線，線寬約畫面 1/800，被擋的線畫虛線，人物和地形用等高線；曝光不勻，有摺痕、手寫標註和圖籤。滑動變焦讓立面圖立成透視，再從主角往外顯出全綵，顯影邊是帶暖光的軟邊，幽靈線一秒內淡掉。之後是風格主體：黃金時刻的真實 3D，低太陽，暖琥珀高光 #F2B860，深暖陰影 #3A2530，水面陽光碎金，薄霧，淺景深，輕泛光，細顆粒；再到藍調時刻和夜晚，暖燈亮起。一個不間斷運鏡：推近、立起在藍圖段，之後低掠主角、升起環繞、下降平分餘下時間。對標攝影師 Russell Carpenter（《泰坦尼克號》，1997）。避免：在圖上停太久；硬切；平而乾淨的 CG 光。",
   "shots": [
    {
     "cam": "long",
     "sec": 6.7,
     "en": "One continuous move: it pushes into the bow on the general-arrangement sheet; the drawing unfolds into perspective and develops into sunset from the lovers outward; a low drift on Rose's backlit silhouette with Clawd flying beside her, arms out; it rises and orbits over the port bow as the sun sinks and the ship's lights come on; it crosses the forecastle into night while Rose steps down from the rail; it comes down behind Clawd as the iceberg emerges from the mist, and Clawd turns and raises the alarm.",
     "zh": "一鏡到底：在總佈置圖上推向船頭；線稿立起成透視，從兩人身上向外顯影成夕陽；低機位貼近羅絲的逆光剪影，Clawd 在她身旁張開雙臂；鏡頭升起、繞過左舷船頭，太陽沉下，船燈亮起；越過艏樓進入夜色，羅絲從欄杆上下來；再降到 Clawd 身後，冰山從海霧裡出來，Clawd 轉身舉臂報警。"
    }
   ],
   "direction_en": "Clawd plays Jack in a navy wool scarf. Sixteen beats, no cuts: the blueprint has unfolded by 1.5 s and the colour has developed by 2.4 s, with Clawd flying beside Rose; sunset to night is a time-lapse inside the move, and the berg rises in the last two seconds, Clawd's turn and alarm landing on the final beats.",
   "direction_zh": "Clawd 扮傑克，圍一條藏青羊毛圍巾。16 拍一個鏡頭不切：1.5 秒藍圖展開完，2.4 秒顯影完，Clawd 在羅絲身旁張開雙臂；從夕陽到夜晚是運鏡中的延時，冰山在最後兩秒出現，Clawd 轉身報警落在最後幾拍。",
   "refs": [
    "James Cameron, Titanic (1997)",
    "Russell Carpenter (cinematography)",
    "Titanic (1997) poster",
    "Harland & Wolff general-arrangement drawings"
   ],
   "refs_zh": [
    "James Cameron《泰坦尼克號》（1997）",
    "Russell Carpenter（攝影）",
    "《泰坦尼克號》海報（1997）",
    "Harland & Wolff 總佈置圖"
   ]
  },
  {
   "no": 71,
   "year": "1998",
   "title": "Shakespeare in Love",
   "zh": "莎翁情史",
   "chapter": "C7",
   "t0": 215.417,
   "dur": 2.5,
   "frame_sec": 215.567,
   "style_en": "Hilliard Elizabethan Miniature",
   "style_zh": "希利亞德伊麗莎白細密畫",
   "blend_en": [
    "Portrait miniature (limning)",
    "Body colour on vellum",
    "Shell gold",
    "Crimson damask still life"
   ],
   "blend_zh": [
    "宮廷細密肖像（limning）",
    "羊皮紙上的不透明水彩",
    "貝殼金",
    "深紅錦緞靜物"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An Elizabethan portrait miniature in Nicholas Hilliard's manner: body colour on vellum, an ultramarine ground, shell-gold lettering, white eglantine. The film is set in Shakespeare's London, and the miniature was that court's own form of portrait.",
   "desc_zh": "學尼古拉斯·希利亞德的伊麗莎白時代宮廷細密畫：羊皮紙上的不透明水彩、群青底、貝殼金題字、白色野薔薇。影片發生在莎士比亞的倫敦，細密畫正是那個宮廷自己的肖像形式。",
   "prompt_en": "Elizabethan portrait miniature in Nicholas Hilliard's manner: opaque watercolour laid flat on warm vellum, very fine hatching in shadows (lines about 1/1000 of frame width), lead-white dots on lit edges, red-brown outlines. Palette: ultramarine ground #203E92, shell gold #D6B05C (granular flecks, a few burnished highlights), carmine #A8202C, lead white #F6F2E8, verdigris #346C40. Signature shot: the picture inside a gold-rimmed oval locket lying on rust-red damask; a flowering white eglantine briar fills the oval behind and around the subject; a short motto in gold Roman capitals arcs along the top. The oval's ground stays ultramarine; landscape and sky go in as flat colour bands. Wide scenes may leave the locket, same method, true perspective. Slow push, slight tilt; only flowers, cloth and gestures move. Reference: Hilliard, *Young Man Among Roses* (c. 1587). Avoid: airbrush gradients; thick oil strokes; flat yellow gold.",
   "prompt_zh": "伊麗莎白時代宮廷細密畫，學尼古拉斯·希利亞德：暖色羊皮紙上平塗不透明水彩，暗面極細排線（線寬約畫面寬度的 1/1000），受光邊點鉛白，紅褐輪廓線。配色：群青底 #203E92、貝殼金 #D6B05C（細顆粒金點加幾處拋光高光）、胭脂紅 #A8202C、鉛白 #F6F2E8、銅綠 #346C40。招牌畫面：主體畫在金邊橢圓掛墜裡，掛墜平放在鏽紅色錦緞上；一叢開滿白花的野薔薇鋪滿主體身後和四周，上沿一圈金色羅馬大寫短銘文。橢圓底色始終是群青，風景和天空放進去時畫成平塗色帶。大場景可離開掛墜，畫法不變。鏡頭慢推、輕微下搖，只有花、布料和手勢在動。對標希利亞德《玫瑰叢中的青年》（約 1587）。避免：噴槍漸變；厚油畫筆觸；平黃色的金。",
   "shots": [
    {
     "cam": "miniature",
     "sec": 0.8,
     "en": "Close on the gold locket lying on crimson damask: Clawd as Will stands among white eglantine in a ruff, the quill wiggling as it writes; a slow push in with a slight tilt down.",
     "zh": "近景：深紅錦緞上的金色掛墜細密畫，Clawd 扮莎士比亞站在白色野薔薇裡，戴輪狀皺領，羽毛筆在寫字；鏡頭慢慢推近，略往下搖。"
    },
    {
     "cam": "stage",
     "sec": 0.6,
     "en": "Wide of the Rose playhouse: the camera starts tilted up on the painted heavens and galleries, then tilts down and pushes in to the stage, where Clawd holds a white rose and the Queen sits in her box at right.",
     "zh": "全景：玫瑰劇院。鏡頭從上方的彩繪天幕和看臺往下搖並推近到舞臺，Clawd 拿著一朵白玫瑰站在臺上，女王坐在右側包廂裡。"
    },
    {
     "cam": "balcony",
     "sec": 0.6,
     "en": "Medium shot of the balcony scene: Juliet above leans her cheek on her hand while Clawd below raises the white rose to her; a slight push in.",
     "zh": "中景：陽臺戲，朱麗葉在上方托腮，Clawd 在下面向她舉起白玫瑰；鏡頭略推。"
    },
    {
     "cam": "queen",
     "sec": 0.6,
     "en": "Close on Queen Elizabeth in her box under the cloth of estate: she turns from the stage, fans herself and gives a slow nod; a slight push in.",
     "zh": "近景：華蓋下包廂裡的伊麗莎白女王，從看戲轉過臉來，搖著扇子，慢慢點頭；鏡頭略推。"
    }
   ],
   "direction_en": "Clawd plays Will Shakespeare: a starched cartwheel ruff, a gold hoop earring, a quill in the miniature and a white rose on stage. Four hard cuts move from the private miniature out to the public playhouse, and the Queen's slow nod on the last beat closes the film.",
   "direction_zh": "Clawd 扮莎士比亞：漿硬的輪狀皺領、金耳環，細密畫裡拿羽毛筆，舞臺上換成白玫瑰。四個鏡頭硬切，從私人的細密畫一路走到公眾的劇院，最後一拍女王慢慢點頭，收住這一段。",
   "refs": [
    "John Madden, 1998",
    "Nicholas Hilliard, Young Man Among Roses (c.1587)",
    "Shakespeare in Love 1998 poster (red damask, amber light)"
   ],
   "refs_zh": [
    "John Madden, 1998",
    "Nicholas Hilliard《玫瑰叢中的青年》（約 1587）",
    "《莎翁情史》1998 年海報（紅色錦緞、琥珀色光）"
   ]
  },
  {
   "no": 72,
   "year": "1999",
   "title": "American Beauty",
   "zh": "美國麗人",
   "chapter": "C7",
   "t0": 217.917,
   "dur": 2.5,
   "frame_sec": 218.507,
   "style_en": "Suburban Symmetry + DV Camcorder",
   "style_zh": "郊區對稱電影畫面 + DV 錄像",
   "blend_en": [
    "Conrad Hall frontal symmetry",
    "Rose-petal fantasy",
    "1990s DV camcorder video"
   ],
   "blend_zh": [
    "Conrad Hall 式正面對稱構圖",
    "玫瑰花瓣幻想",
    "90 年代 DV 攝像機錄像"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Two looks cut together: a clean, saturated, dead-on shot of a suburban house with a red door and red roses, then soft, noisy camcorder video with a REC overlay. It mirrors the film's split between Lester's polished suburbia and Ricky's tape of the dancing bag.",
   "desc_zh": "兩種畫面剪在一起：先是乾淨飽和、正面對稱的郊區住宅（紅門、紅玫瑰），再切到帶 REC 界面的低清 DV 錄像。對應影片裡萊斯特體面的郊區和裡基拍下的那段塑料袋錄像。",
   "prompt_en": "Two registers. Primary, about 70%: a clean, saturated illustrated frame, dead-on symmetrical, the hero centred before its home or setting; every shape softly modelled in 2–3 tones, dense detail (shrubs, flowers, foliage of many small leaf clusters). Default bright daylight; under other light stay bright (gold at sunset), never dim. Red accents like a door #C3141F, white trim, saturated greens, orange-red autumn trees; warm grade, light vignette and grain. Transition: curled red petals or leaves (about 1/60 of frame width) thicken into a 1-second blizzard across the lens, hiding the cut. Second register, about 30%: the same world as 1990s DV home video: soft, low-res, chroma bleed, macroblocks, interlace, noise, breathing exposure, greenish shadows, REC/battery/date OSD. One register per frame. Slow push-ins. Reference: cinematographer Conrad L. Hall (*American Beauty*, 1999). Avoid: video artefacts in the clean part; real brands' OSD; flat vector shapes.",
   "prompt_zh": "兩種畫面。主畫面約七成：乾淨飽和的插畫，正面對稱，主角居中，身後是它的家或場景；形狀有兩三層柔和明暗，細節密（灌木、花叢、由許多小葉簇堆成的樹冠）。默認明亮日光；其他光線下也要亮（日落偏金），不發暗。紅門 #C3141F 一類紅色點綴，白線腳，飽和的綠，橙紅秋樹；暖調、輕暗角、細顆粒。過渡：捲曲的紅花瓣或落葉（約畫寬 1/60）越積越密，一秒風暴掃過鏡頭藏住剪切。副畫面約三成：同一世界的 90 年代 DV 家庭錄像，發軟、低清、色彩滲邊、馬賽克塊、隔行線、噪點、曝光一呼一吸、暗部偏綠，屏顯 REC、電量、日期。每幀只用一種。鏡頭緩推。對標攝影師 Conrad L. Hall（《美國麗人》，1999）。避免：乾淨畫面帶錄像瑕疵；真實品牌屏顯；扁平矢量形。",
   "shots": [
    {
     "cam": "house",
     "sec": 1.3,
     "en": "Wide, dead-on symmetrical shot of the Burnham house; the camera pushes in without a cut to Clawd on the sidewalk holding a long-stemmed red rose, while the petals thicken into a blizzard and sweep across the lens.",
     "zh": "正面對稱的伯納姆家全景，鏡頭不切，直接推到人行道上拿著長莖紅玫瑰的 Clawd；花瓣越落越密，最後成片掃過鏡頭。"
    },
    {
     "cam": "bag",
     "sec": 1.2,
     "en": "Through Ricky's camcorder (REC, OCT. 17 1998, 12:07:33): a white plastic bag dances with dry leaves in front of a red-brick wall; a slow push in, drifting right. No Clawd.",
     "zh": "裡基的攝像機畫面（REC、OCT. 17 1998、12:07:33）：白色塑料袋和枯葉在紅磚牆前打轉；鏡頭慢推，往右漂。沒有 Clawd。"
    }
   ],
   "direction_en": "Clawd plays Lester: a white shirt collar, a navy tie with wine stripes, a red rose in hand. One push-in carries the house to the close-up as the petals build; the cut to video is hidden in the petal gust at 1.3 s, so fantasy flows into Ricky's tape with no visible edit.",
   "direction_zh": "Clawd 扮萊斯特：白襯衫領尖、藏青底酒紅斜紋領帶，手裡一枝紅玫瑰。一個推鏡頭從房子推到近景，花瓣一路加密；到 1.3 秒，切到錄像的那一刀藏在掃過鏡頭的花瓣裡，幻想直接流進裡基的錄像帶，看不出剪輯點。",
   "refs": [
    "Sam Mendes, 1999",
    "Conrad L. Hall (cinematography)",
    "American Beauty 1999 poster (the rose)"
   ],
   "refs_zh": [
    "Sam Mendes, 1999",
    "Conrad L. Hall（攝影）",
    "《美國麗人》1999 年海報（玫瑰）"
   ]
  },
  {
   "no": 73,
   "year": "2000",
   "title": "Gladiator",
   "zh": "角鬥士",
   "chapter": "C8",
   "t0": 220.417,
   "dur": 2.5,
   "frame_sec": 221.447,
   "style_en": "Roman Floor Mosaic",
   "style_zh": "羅馬地面馬賽克",
   "blend_en": [
    "Opus vermiculatum tesserae",
    "Gold-leaf glass smalti",
    "Zliten gladiator mosaic"
   ],
   "blend_zh": [
    "順形排列的石子（opus vermiculatum）",
    "金箔玻璃嵌片",
    "Zliten 角鬥士馬賽克"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Everything is laid in square stone and glass tesserae: courses follow the outlines, flat areas run in straight rows, gold-leaf tiles glint. The film's world is Rome, so the arena and Elysium are built as a Roman floor mosaic.",
   "desc_zh": "整幅畫用方形石子和玻璃嵌片鋪成：輪廓邊的石子順著形體排，平面處一行行直排，金箔玻璃片會閃。影片本身就在羅馬，所以鬥獸場和極樂麥田都做成羅馬地面馬賽克。",
   "prompt_en": "Roman floor mosaic: over a flat underdrawing lay square tesserae about 1/150 of frame width: two to three courses follow each outline (opus vermiculatum), flat areas in straight rows, figures outlined with one course of dark stones. Muted, warm stone and glass: burnt gold #E2B24C, umber #5B4332, terracotta #8E3C2B, warm marble #E9DDC4, with imperial-purple glass for one accent only; sky and water in pale grey-blue and cream stone, never saturated bands. Tesserae slightly irregular, lit from the upper left, shadowing into dark 1–2 px grout; gold-leaf glass glints slowly on light sources. Frontal, slightly stiff Pompeian figures before a faded field of fine stones. Short pushes and pulls; motion from details (a gesture, a crowd, plants, a light shaft). References: *Alexander Mosaic*, Zliten mosaic. Avoid: a neat grid that reads as pixel art; oversized tiles; smooth gradients; bright grout.",
   "prompt_zh": "羅馬地面馬賽克。先畫平塗底稿，再鋪小方石子，每粒約畫面寬度的 1/150：輪廓邊的石子順著邊排兩三圈（opus vermiculatum），其餘一行行橫排；人物外面包一圈深色石子輪廓。顏色只用天然石頭和玻璃，沉穩偏暖：焦金 #E2B24C、赭褐 #5B4332、陶紅 #8E3C2B、暖大理石 #E9DDC4，帝王紫玻璃只做一處點綴；天空和水用淺灰藍、奶油色石頭，不要飽和的色帶。每粒切口略不規則，左上受光，往 1–2px 寬的深色灰縫投小影；金箔玻璃片在光源處慢慢閃。人物正面、略僵，像龐貝馬賽克；背景是大片褪色的細碎石子。鏡頭只短推短拉，動的是細節：手勢、人群、草木、光柱。對標《亞歷山大馬賽克》、Zliten 馬賽克。避免：整齊網格變像素畫；石子太大；平滑漸變；灰縫太亮。",
   "shots": [
    {
     "cam": "emperor",
     "sec": 0.8,
     "en": "Close on the purple imperial box: Commodus's thumb turns from up to down; a slight push in.",
     "zh": "近景：紫色的皇帝包廂，康茂德的大拇指從朝上轉到朝下；鏡頭略推。"
    },
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Poster-style wide of the arena: Clawd as Maximus in the centre with the gladius held low, the chained tiger at left, Tigris at right, the crowd rising; a slight pull back.",
     "zh": "鬥獸場海報式全景：Clawd 扮麥克西姆斯站在中央，短劍朝下，左邊是拴著鏈子的老虎，右邊是提格里斯，看臺上的觀眾站起來；鏡頭略拉。"
    },
    {
     "cam": "farm",
     "sec": 0.8,
     "en": "Wide of Elysium: Clawd stands in golden wheat under a low sun, with cypresses and the farmhouse on the horizon; a slow push in.",
     "zh": "極樂世界全景：低垂的太陽下，Clawd 站在金色麥田裡，地平線上是柏樹和農莊；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Maximus: one bronze pauldron and a Roman gladius. The thumb turning down opens the film; a hard cut to the arena lets the crowd rise around Clawd; the last cut leaves the fight for the quiet wheat of Elysium. Three hard cuts of about a second each.",
   "direction_zh": "Clawd 扮麥克西姆斯：一隻青銅肩甲、一把羅馬短劍。開場是大拇指朝下；硬切到鬥獸場，觀眾在 Clawd 四周站起來；最後一刀離開打鬥，落到極樂世界安靜的麥田。三個硬切，每個一秒左右。",
   "refs": [
    "Ridley Scott, 2000",
    "John Mathieson (cinematography)",
    "Alexander Mosaic, Pompeii",
    "Zliten mosaic"
   ],
   "refs_zh": [
    "Ridley Scott, 2000",
    "John Mathieson（攝影）",
    "龐貝《亞歷山大馬賽克》",
    "Zliten 馬賽克"
   ]
  },
  {
   "no": 74,
   "year": "2001",
   "title": "A Beautiful Mind",
   "zh": "美麗心靈",
   "chapter": "C8",
   "t0": 222.917,
   "dur": 2.5,
   "frame_sec": 223.067,
   "style_en": "Window Marker & Chalk, Gold Pattern",
   "style_zh": "窗上公式與黑板粉筆 + 金色連線",
   "blend_en": [
    "White china marker on glass",
    "Blackboard chalk",
    "Glowing gold pattern lines",
    "Deakins window light"
   ],
   "blend_zh": [
    "玻璃上的白色油性筆",
    "黑板粉筆",
    "發光的金色連線",
    "迪金斯式窗光"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Handwritten maths on two surfaces, white marker on a Gothic library window and chalk on slate, with digits that light up and join in gold lines. It shows Nash seeing patterns the way the film does: a light in his head, not a computer interface.",
   "desc_zh": "兩種表面上的手寫數學：哥特式圖書館窗玻璃上的白色油性筆、黑板上的粉筆，數字亮起，被金線連起來。這是片中納什看見規律的方式：是他腦中的光，不是電腦界面。",
   "prompt_en": "Handwriting as the image: translucent white wax-marker strokes (about 1/300 of frame width) appear stroke by stroke on a window of square leaded panes: formulas, figures or notes about the subject, in small blocks on a quarter of the glass. Outside, the subject's world, soft-focus, mid-toned and warm (overcast gold, muted green), never brighter than the writing. A warm interior (shelves, green-shaded lamp, amber light) frames the window. At the key moment, chosen symbols brighten and soft gold lines join them into a star or polygon, lights running along. Variant: chalk on green slate with ghost writing. Palette: slate green #2F3E35, chalk white #F1EFE6, lamp amber #E0A050, soft gold #D9B45A. Camera: slow push-ins, each cut closer to the writing. Reference: cinematographer Roger Deakins (*A Beautiful Mind*, 2001). Avoid: HUD graphics; typed fonts; writing filling the glass; cold blue outside.",
   "prompt_zh": "手寫就是畫面：半透明白色蠟筆 #F1EFE6（筆畫寬約畫寬 1/300）在方格鉛條窗玻璃上一筆筆寫出來，寫的是與題材有關的公式、數字或筆記，幾小塊字只佔玻璃約四分之一。窗外是題材的世界，柔焦虛化，中間調、暖中性（陰天裡的秋黃和柔和的綠），亮度不能超過字跡。暖色室內框住窗子：書架、綠罩檯燈、琥珀燈光。關鍵時刻，選中的符號變亮，柔和的金線在它們之間連成星形或多邊形，小光點沿線走。變體：深綠石板粉筆，帶殘影。配色：石板綠 #2F3E35、粉筆白 #F1EFE6、燈光琥珀 #E0A050、柔金 #D9B45A。鏡頭緩推，每次切換都離字更近。對標攝影師 Roger Deakins（《美麗心靈》，2001）。避免：HUD 或科幻界面；打字字體；字鋪滿玻璃；冷藍色的窗外。",
   "shots": [
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Medium wide at the Gothic library window: Clawd as Nash stands on the window seat writing game theory on the glass in white marker, the autumn quad behind; a slow push in.",
     "zh": "中全景：哥特式圖書館窗前，Clawd 扮納什站在窗座上，用白色油性筆在玻璃上寫博弈論公式，窗外是秋天的方院；鏡頭慢推。"
    },
    {
     "cam": "glass",
     "sec": 0.8,
     "en": "Close on the writing on the glass, the campus soft behind and Clawd's marker at lower left: characters light up and gold lines join them into a star; a slight push in.",
     "zh": "近景：玻璃上的字跡，窗外虛焦，左下角露出 Clawd 的筆；字符亮起，金線把它們連成一顆星；鏡頭略推。"
    },
    {
     "cam": "pattern",
     "sec": 0.8,
     "en": "Close on the block of five-digit code groups on the blackboard: the digits light one by one and a gold seven-pointed pattern draws itself; a slight push in. No Clawd.",
     "zh": "近景：黑板上五位一組的密碼數字，數字一個個亮起，金色的七角星圖案自己畫出來；鏡頭略推。沒有 Clawd。"
    }
   ],
   "direction_en": "Clawd plays Nash: an open shirt collar, a loose knitted tie, a marker at the window. The writing fills the first shot and the glow takes the next two; each hard cut moves closer to the numbers until Clawd leaves the frame and only the pattern is left.",
   "direction_zh": "Clawd 扮納什：領口敞開的襯衫領、松著的針織領帶，窗前拿一支油性筆。第一個鏡頭在寫，後兩個鏡頭是光；每次硬切都離數字更近，最後 Clawd 出畫，只剩圖案。",
   "refs": [
    "Ron Howard, 2001",
    "Roger Deakins (cinematography)",
    "A Beautiful Mind 2001 poster"
   ],
   "refs_zh": [
    "Ron Howard, 2001",
    "Roger Deakins（攝影）",
    "《美麗心靈》2001 年海報"
   ]
  },
  {
   "no": 75,
   "year": "2002",
   "title": "Chicago",
   "zh": "芝加哥",
   "chapter": "C8",
   "t0": 225.417,
   "dur": 2.5,
   "frame_sec": 226.007,
   "style_en": "Fosse Stage in Red and Black",
   "style_zh": "福斯舞臺：紅黑聚光剪影",
   "blend_en": [
    "Bob Fosse staging",
    "Red-rimmed backlit silhouettes",
    "Neon and sequins",
    "Chicago 2002 poster colours"
   ],
   "blend_zh": [
    "鮑勃·福斯的舞臺調度",
    "勾紅邊的逆光剪影",
    "霓虹與亮片",
    "2002 年海報的紅黑"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A black stage cut by hard spotlights: six cells with women in red-rimmed silhouette, a neon C, sequins, haze, and Clawd in a white follow spot. It is the 'Cell Block Tango' number from Rob Marshall's film, in the poster's red and black.",
   "desc_zh": "黑色舞臺被硬邊聚光切開：六間牢房裡是勾紅邊的女囚剪影，背後霓虹 C，亮片和煙霧，Clawd 在白色追光裡。這是電影版的「Cell Block Tango」，用海報的紅黑。",
   "prompt_en": "Bob Fosse-style Broadway stage number. Black stage, but about 40% of the frame glows signal red #D0202A: a row of dark barred cells, each backlit red through haze, bright at centre, falling off to black, plus red curtains; hard-edged spots. Dancers are full-bodied black silhouettes with costume shapes and a 2–3 px red rim. One big neon shape (letter or pictogram) in orange-red #FF5A3C, white-hot core, slight flicker, set against black so it reads; glossy black floor reflects it; marquee bulbs #FFD9A0 at the stage edge. The hero, in a warm-white follow spot #FFF1D6, is the only lit figure in its own colours. Accents: sequins, white gloves. Moves on the jazz beat; cells snap on one by one. Push in to end in the follow spot. Reference: Rob Marshall, *Chicago* (2002). Avoid: flat even fills; extra colours; rimless silhouettes.",
   "prompt_zh": "鮑勃·福斯式百老匯歌舞舞臺。黑底，但約四成畫面發信號紅 #D0202A：一排帶欄杆的暗色格間，每格在煙霧裡從背後打紅光，中心最亮、向四周暗到黑，再加紅幕；硬邊聚光穿過煙霧。舞者是實心黑剪影，身形飽滿、有服裝輪廓，外面一圈 2–3px 紅色邊光。一個大霓虹字形（字母或圖形），橙紅 #FF5A3C，白熱芯、微閃，要放在黑底上才讀得出；黑色亮漆地板倒映它；臺邊一排跑馬燈泡 #FFD9A0。主角站在暖白追光 #FFF1D6 裡，是唯一被照亮、保留自身顏色的人。點綴：亮片、白手套。動作踩爵士拍子；燈格一間間啪地亮。鏡頭推進，收在追光裡。對標 Rob Marshall《芝加哥》（2002）。避免：平塗勻光；多餘顏色；剪影沒有邊光。",
   "shots": [
    {
     "cam": "stage",
     "sec": 0.8,
     "en": "Wide of the whole stage with the neon C behind: the six cells light one by one, each woman snapping into her pose, while Clawd struts centre stage; a slow push in.",
     "zh": "舞臺全景，霓虹 C 在後面：六間牢房一間間亮起，每個女囚啪地擺出招牌姿勢，Clawd 在臺中央走福斯步；鏡頭慢推。"
    },
    {
     "cam": "cell4",
     "sec": 0.5,
     "en": "Close on one cell: Velma's silhouette behind the bars in red light, a hip roll and a shrug; a slight push in. No Clawd.",
     "zh": "近景：一間牢房，鐵欄後紅光裡 Velma 的剪影，扭胯、聳肩；鏡頭略推。沒有 Clawd。"
    },
    {
     "cam": "spot",
     "sec": 1.2,
     "en": "Medium close of Clawd alone in the white follow spot, the lit cells behind: it struts down toward the footlights, then the cane is gone and both jazz hands go up; a slow push in.",
     "zh": "中近景：Clawd 獨自站在白色追光裡，身後是亮著的牢房：它走福斯步到腳燈前，然後放下手杖，雙手 jazz hands 舉起；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd wears a Fosse bowler with a sequin band and white gloves, and carries a black cane. The cells light on the beats of the first shot; a quick cut to one dancer; then Clawd takes the spot alone and the number ends on jazz hands. The performance runs at real speed.",
   "direction_zh": "Clawd 戴福斯式圓頂禮帽（帽帶一圈亮片）、白手套，拿黑手杖。第一個鏡頭裡牢房跟著拍子一間間亮；快切一個女囚；然後 Clawd 獨佔追光，以 jazz hands 收尾。表演按真實速度走，不加速。",
   "refs": [
    "Rob Marshall, 2002",
    "Dion Beebe (cinematography)",
    "Bob Fosse, Chicago (1975 stage)",
    "Chicago 2002 poster"
   ],
   "refs_zh": [
    "Rob Marshall, 2002",
    "Dion Beebe（攝影）",
    "Bob Fosse《芝加哥》（1975 年舞臺版）",
    "《芝加哥》2002 年海報"
   ]
  },
  {
   "no": 76,
   "year": "2003",
   "title": "The Lord of the Rings: The Return of the King",
   "zh": "指環王：王者無敵",
   "chapter": "C8",
   "t0": 227.917,
   "dur": 5.0,
   "frame_sec": 231.737,
   "style_en": "Alan Lee Watercolour & Tolkien Map",
   "style_zh": "艾倫·李式水彩 + 托爾金地圖",
   "blend_en": [
    "Watercolour and pencil concept art",
    "Tolkien-style parchment map",
    "Alan Lee and John Howe"
   ],
   "blend_zh": [
    "水彩加鉛筆的概念插畫",
    "托爾金式羊皮紙地圖",
    "艾倫·李與約翰·豪"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Soft watercolour and pencil landscapes with deep aerial perspective, plus an ink map on stained parchment. Alan Lee and John Howe drew the films' concept art, so the journey is told the way the trilogy was first drawn.",
   "desc_zh": "柔和的水彩加鉛筆風景，空氣透視很深，再加一張羊皮紙上的墨線地圖。電影的概念畫就是艾倫·李和約翰·豪畫的，所以這段旅程按三部曲最初被畫出來的樣子來講。",
   "prompt_en": "Fantasy concept-art watercolour and pencil on warm paper. Transparent washes, granulated (pigment speckle, ±6% brightness), a few blooms, darker pooled edges; every contour and ridge carries a dark-brown pencil line (about 1/800 of frame width), short hatching on shadow sides. Aerial perspective: 3–5 receding planes, each paler and cooler. Light is the subject: one strong source per scene (sun, fire, lamp, molten glow) burning through haze, its ember glow on about a quarter of the frame, about half the frame in deep umber and violet shadow. Palette: parchment #E9DCC0, deep umber #3A2418, ember orange #E07A2E, hot red #B23A1E only at the light's core, lavender #B8A8C8 for distance. Journeys may cut to a Tolkien-style map, never the main look. Camera: long lateral pans, slow push-ins to the hero. References: Alan Lee, John Howe. Avoid: smooth digital gradients; vector shapes; pale frames.",
   "prompt_zh": "奇幻概念設計式的水彩加鉛筆，暖色紙。透明水彩要看得出顆粒（細碎顏料斑點，亮度起伏 ±6%），幾朵迴流花，水跡邊緣積色更深；每條輪廓和山脊都有一道深褐鉛筆線（約畫面寬度的 1/800），暗面短排線。空氣透視要強：3–5 層後退，越遠越淡越冷。光就是主題：每場一個強光源（低太陽、火、燈、熔岩般的光）穿透霧氣，餘燼色光暈約佔畫面四分之一，約一半畫面壓在深褐和紫色暗部裡。配色：羊皮紙 #E9DCC0、深褐 #3A2418、餘燼橙 #E07A2E、熾紅 #B23A1E 只用在光源核心、遠景淡紫 #B8A8C8。旅程題材可插一段托爾金式地圖，但不當主畫面。鏡頭：長橫搖掃過大地，緩推到主角。對標 Alan Lee、John Howe。避免：平滑的數碼漸變；平塗矢量形；發白發灰的畫面。",
   "shots": [
    {
     "cam": "map",
     "sec": 1.3,
     "en": "Top-down on the parchment map: the camera pushes from the whole sheet into the Shire, then flies along the red dashed line toward Mordor while Clawd, small as a game piece, walks the route.",
     "zh": "俯視羊皮紙地圖：鏡頭從整張圖推進夏爾，再沿紅色虛線往魔多飛，Clawd 像一枚棋子那麼小，沿著路線走。"
    },
    {
     "cam": "beacons",
     "sec": 1.9,
     "en": "Wide of the snowy White Mountains above a sea of cloud at dusk: the near pyre catches, then a slow pan right with a slight pull back as beacon after beacon lights along the range.",
     "zh": "全景：黃昏的雪山浮在雲海上，近處的烽火先點著，鏡頭慢慢往右橫移、略往後拉，山脊上的烽火一座接一座亮起。"
    },
    {
     "cam": "eye",
     "sec": 0.4,
     "en": "Close on the Eye atop Barad-dûr: a push in as it turns and sweeps its beam. No Clawd.",
     "zh": "近景：巴拉多塔頂的索倫之眼，鏡頭推近，它轉過來掃出光束。沒有 Clawd。"
    },
    {
     "cam": "doom",
     "sec": 1.5,
     "en": "At the Crack of Doom: from the wide basalt ledge over the lava, with the volcano and the Eye behind, the camera pushes in to Clawd as it lifts the glowing Ring up out of the chasm and holds it high.",
     "zh": "末日火山裂縫邊：鏡頭從熔岩上方的玄武岩舌頭全景推近到 Clawd，背後是火山和眼睛，它把發光的魔戒從深淵邊提起，高高舉起。"
    }
   ],
   "direction_en": "Clawd plays Frodo: a grey-green cloak collar, a Lórien leaf brooch, the Ring on a chain. As the key film of the decade it gets 12 beats: the map lays out the road, the beacons carry the camera across the range, the Eye is a short beat of threat, and the raised Ring is the payoff. Hard cuts, long moves within each shot.",
   "direction_zh": "Clawd 扮佛羅多：灰綠色斗篷領、羅瑞恩葉子胸針、鏈子上的魔戒。作為這十年的重點片給了 12 拍：地圖交代整條路，烽火帶著鏡頭掃過山脈，眼睛是一拍短促的威脅，最後舉起魔戒收住。鏡頭之間硬切，每個鏡頭內部是長運動。",
   "refs": [
    "Peter Jackson, 2003",
    "Andrew Lesnie (cinematography)",
    "Alan Lee",
    "John Howe",
    "J.R.R. Tolkien's maps of Middle-earth"
   ],
   "refs_zh": [
    "Peter Jackson, 2003",
    "Andrew Lesnie（攝影）",
    "Alan Lee",
    "John Howe",
    "J.R.R. Tolkien 的中土地圖"
   ]
  },
  {
   "no": 77,
   "year": "2004",
   "title": "Million Dollar Baby",
   "zh": "百萬美元寶貝",
   "chapter": "C8",
   "t0": 232.917,
   "dur": 2.5,
   "frame_sec": 233.507,
   "style_en": "16-bit Arcade Fighting Game",
   "style_zh": "16-bit 像素格鬥遊戲",
   "blend_en": [
    "16-bit pixel art",
    "Arcade fighting-game HUD",
    "CRT scanlines"
   ],
   "blend_zh": [
    "16-bit 像素畫",
    "街機格鬥遊戲界面",
    "CRT 掃描線"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "An original 16-bit arcade fighting-game screen: health bars, a round timer, ROUND 1 / FIGHT!, a combo counter, hit-stop and a big K.O. A boxing film about a shot at the title becomes one round told in arcade grammar.",
   "desc_zh": "原創的 16-bit 街機格鬥遊戲畫面：血條、回合計時、ROUND 1 / FIGHT!、連擊數、命中停頓和巨大的 K.O.。一部拳擊冠軍賽的電影，變成用街機語法打完的一回合。",
   "prompt_en": "An original 16-bit arcade fighting game. Draw at 320×180 and nearest-neighbour upscale by a whole number (×6 for 1080p); CRT scanlines (alternate lines ~15% darker). A side-on arena from the subject's world, flattened into stage and backdrop (e.g. a ring with a dark purple crowd band #1D1435). UI in a self-drawn 5×7 pixel font: two health bars (yellow #F5C53A, red damage trail), timer, banner, ROUND 1 / FIGHT!, combo counter. Chunky sprites about 50 px tall, 1-px highlights, dark outlines, ~32 colours per frame. The story becomes a contest between the hero and a rival (if none exists, personify an obstacle: a storm, a deadline). Hits spark, freeze 3–4 frames and flash white; the loser is knocked back, then K.O. and WINNER. Fixed side-on camera, no cuts. Reference: early-1990s arcade fighters. Avoid: real games' characters or logos; anti-aliased pixels.",
   "prompt_zh": "原創的 16-bit 街機格鬥遊戲。畫在 320×180 上，用最近鄰放大到輸出尺寸的整數倍（1080p 用 6 倍），加輕微 CRT 掃描線（隔行壓暗約 15%）。橫版場地取自題材：把題材的地點壓成平的檯面加一層背景（比如拳臺配深紫觀眾帶 #1D1435）。界面用自繪 5×7 點陣字：兩條血條（黃色 #F5C53A，掉血時拖一段紅色）、計時、橫幅、ROUND 1 / FIGHT!、連擊數。角色是方塊胖像素，高約 50 像素，一像素高光加深色邊，全畫面約 32 色。故事改寫成主角和一個對手的較量；題材裡沒有敵人，就把它世界裡的阻礙擬人化當對手（風暴、截止期限）。打中有火花、停頓 3–4 幀、白閃，輸家被打飛，然後 K.O. 和 WINNER。固定橫版視角，不剪。對標 90 年代初街機格鬥遊戲。避免：照搬真實遊戲的角色或 logo；像素抗鋸齒。",
   "shots": [
    {
     "cam": "game",
     "sec": 2.5,
     "en": "One locked side-on game screen: ROUND 1, FIGHT!, the shadow boxer swings a hook and Clawd ducks under it, dashes in for jab, jab and an uppercut with hit-stop and a white flash; the rival flies back, K.O., and Clawd raises its glove as the winner.",
     "zh": "一個固定的橫版遊戲畫面：ROUND 1、FIGHT!，影子拳手揮出勾拳，Clawd 低頭躲過，衝上去刺拳、刺拳，再一記上勾拳，命中停頓加白閃；對手飛出去，K.O.，Clawd 舉起拳套贏下比賽。"
    }
   ],
   "direction_en": "Clawd wears a green satin robe with white trim and red gloves; the rival is a faceless navy boxer called SHADOW. The fight is choreographed to the clock: the uppercut lands at 1.46 s with a hit-stop, K.O. at 1.6 s, victory at 1.95 s. One shot, no cuts, the game's own camera.",
   "direction_zh": "Clawd 穿白邊綠緞拳擊袍、戴紅拳套；對手是沒有臉的深藍色影子拳手 SHADOW。整場按時間編排：1.46 秒上勾拳命中並停頓，1.6 秒 K.O.，1.95 秒勝利。一鏡到底，用遊戲自己的鏡頭。",
   "refs": [
    "Clint Eastwood, 2004",
    "Early-1990s arcade fighting games (genre grammar)",
    "Million Dollar Baby: Maggie's green robe"
   ],
   "refs_zh": [
    "Clint Eastwood, 2004",
    "90 年代初街機格鬥遊戲（類型語法）",
    "《百萬美元寶貝》裡麥琪的綠色拳擊袍"
   ]
  },
  {
   "no": 78,
   "year": "2005",
   "title": "Crash",
   "zh": "撞車",
   "chapter": "C8",
   "t0": 235.417,
   "dur": 2.5,
   "frame_sec": 237.767,
   "style_en": "LA Night Light Trails & Snow",
   "style_zh": "洛杉磯夜景光軌 + 飄雪",
   "blend_en": [
    "Long-exposure night photography",
    "Sodium orange and neon cyan",
    "Anamorphic bloom and film grain"
   ],
   "blend_zh": [
    "長曝光夜景攝影",
    "鈉燈橙配霓虹青",
    "變形寬銀幕光條與膠片顆粒"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A polished night photograph made in code: freeway light trails in white and red, sodium orange against neon cyan, wet asphalt, bokeh, and snow that shows only where light hits it. Crash ends on a rare snowfall over Los Angeles.",
   "desc_zh": "用代碼畫的精修夜景照片：高架上白色和紅色的車燈光軌、鈉燈橙對霓虹青、溼路面反光、焦外光斑，還有隻在光裡才看得見的雪。《撞車》的結尾正是洛杉磯難得的一場雪。",
   "prompt_en": "Long-exposure night street photography. Sodium-vapour orange #F2A24A washes structures, signs and wet ground (about half the frame in warm light), against cyan neon #3FD0D8 and the odd red-blue emergency light; blacks cyan-tinged, never grey. Layered composition: foreground pavement with figures, lit shopfronts and signs mid-frame, roads or bridges crossing the upper third (away from cities, a lamp-lit road in the subject's own setting). Headlights become thin continuous ribbons (about 1/150 of frame width) along those roads, white #FFF4E0 and red #E0303A, glowing with hot cores. Snow: three layers of short soft streaks, seen only in light cones. Finish: two-level bloom, blue lens streaks, edge bokeh, vignette, moving grain. The hero stands sharp in a lamp cone mid-frame; only traffic streaks. Camera: one continuous tilt, pan and rack focus. Reference: cinematographer J. Michael Muro (*Crash*, 2004). Avoid: evenly lit snow; empty black frames; dotted trails.",
   "prompt_zh": "長曝光夜景街拍。鈉燈暖橙 #F2A24A 鋪滿建築、招牌和溼地面（約一半畫面在暖光裡），對著青色霓虹 #3FD0D8，偶有紅藍警燈；黑色略偏青，不能發灰。構圖分層：前景人行道有人，中景亮著的店面招牌，上三分之一橫過道路或橋（不在城市就用主體所在地一條有路燈的路）。車燈沿這些路拉成細而連續的光帶（約畫寬 1/150），白 #FFF4E0 與紅 #E0303A，帶光暈和發燙的芯。雪分三層，短而柔的拖影，只在光錐裡可見。收尾：兩級泛光、藍色橫向光條、邊緣焦外光斑、暗角、動態顆粒。主角清楚地站在畫面中部一盞燈的光錐裡，只有車流拖影。鏡頭：一個連續運鏡，俯仰、橫搖加轉焦。對標攝影師 J. Michael Muro（《撞車》，2004）。避免：雪到處一樣亮；大片空黑；光帶斷成點。",
   "shots": [
    {
     "cam": "oner",
     "sec": 2.5,
     "en": "One continuous move: it opens tilted up on the interchange light trails, tilts down onto the rear-end crash behind the police tape with focus on the wreck, then pans right along the kerb to Clawd under the sodium lamp as focus pulls to it; Clawd raises an arm to catch a snowflake and blinks.",
     "zh": "一鏡到底：開場仰拍立交橋上的光軌，往下搖到警戒帶後的追尾現場，焦點在事故上；再沿著路緣往右搖到鈉燈下的 Clawd，焦點拉過來；Clawd 抬起手臂接一片雪，眨了下眼。"
    }
   ],
   "direction_en": "Clawd wears a hand-knitted teal scarf and stands under a street lamp looking up into the snow. One continuous camera move runs from the light trails to the crash to Clawd, with motion blur on the fast stretches. The snow thickens as the camera reaches it, and the catch comes near the end.",
   "direction_zh": "Clawd 圍一條手織的深青色圍巾，站在路燈下仰頭看雪。一個連續運鏡從光軌到車禍再到 Clawd，快速移動的幾段帶運動模糊。鏡頭到它那裡時雪變大，接雪的動作落在快結束的地方。",
   "refs": [
    "Paul Haggis, 2004",
    "J. Michael Muro (cinematography)",
    "Crash 2005 poster",
    "Four Level Interchange long-exposure photography"
   ],
   "refs_zh": [
    "Paul Haggis, 2004",
    "J. Michael Muro（攝影）",
    "《撞車》2005 年海報",
    "Four Level Interchange 立交橋長曝光攝影"
   ]
  },
  {
   "no": 79,
   "year": "2006",
   "title": "The Departed",
   "zh": "無間行者",
   "chapter": "C8",
   "t0": 237.917,
   "dur": 2.5,
   "frame_sec": 238.507,
   "style_en": "Street Stencil on Boston Brick",
   "style_zh": "波士頓紅磚牆模板塗鴉",
   "blend_en": [
    "Multi-layer spray stencil",
    "Banksy's rats",
    "Red-brick wall texture",
    "Halftone paste-up poster"
   ],
   "blend_zh": [
    "多層噴漆模板",
    "班克斯的老鼠",
    "紅磚牆肌理",
    "半調糊貼海報"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Flat spray-paint stencil layers with overspray and drips, the paint sinking into brick mortar, beside a torn paste-up poster. The Departed ends on a rat crossing a railing below the State House dome, and street stencils have their own tradition of rats.",
   "desc_zh": "平塗的多層噴漆模板，有噴霧毛邊和流掛，漆吃進磚縫，旁邊一張撕破的糊貼海報。《無間行者》最後一個鏡頭是老鼠爬過州議會金頂下的欄杆，街頭模板塗鴉也一直愛畫老鼠。",
   "prompt_en": "Street stencil graffiti on an old red-brick wall. Each piece is 3–5 stencils sprayed as flat colour, photo-derived in look (smallest cut detail about 1/200 of frame width): hard cut edges, soft overspray where a stencil lifted, spray dots, drips, stencil bridges. Palette: black #151312, mid grey #8C8A85, gold #C99A2E, red #C3261F; brick #7A3224, cream painted patches under the main pieces. Brick relief, mortar and rain streaks show through, so paint sinks into the joints. A busy wall: several pieces side by side, short hand-sprayed slogans about the subject (user's language), old tags, a torn halftone paste-up. Light: soft raking daylight, mild contrast, a faint swaying wire shadow; no heavy vignette. Camera: pieces spray on layer by layer, then close-ups and lateral tracks. Reference: Banksy. Avoid: clean vector edges; paint floating on the brick; too many colours; a dark wall.",
   "prompt_zh": "老紅磚牆上的街頭模板塗鴉。每件作品用 3–5 塊鏤空模板噴成平色塊，有照片感（最小鏤空約畫寬 1/200）：硬切口，模板翹起處有柔噴霧，散落噴點，流掛，以及模板必須留的連接筋。配色：黑 #151312、中灰 #8C8A85、金 #C99A2E、紅 #C3261F；紅磚 #7A3224，主要作品噴在刷上去的奶油色補丁上。磚面凹凸、灰縫陰影和雨痕透過漆顯出來，讓漆吃進磚縫。一面牆並排放好幾件作品，加關於題材的手噴短標語（用觀眾的語言）、舊 tag 和一張撕角的半調糊貼海報。光：柔和的白天光斜掃過牆，反差適中，電線影子輕輕晃；不加重暗角。鏡頭：先讓作品一層層噴出來，再切近景、橫移。對標班克斯。避免：邊緣乾淨像矢量；漆浮在磚上；顏色太多；牆面昏暗。",
   "shots": [
    {
     "cam": "wall",
     "sec": 0.8,
     "en": "Wide of the whole wall: the stencil sprays itself on layer by layer (city, gold dome, railing, rat, Clawd with the phone, red tagline); a slight push in.",
     "zh": "全景：整面牆，模板畫一層層噴出來：城市、金頂、欄杆、老鼠、拿手機的 Clawd、紅色標語；鏡頭略推。"
    },
    {
     "cam": "phone",
     "sec": 0.6,
     "en": "Close on the two sprayed flip phones ringing across the gap, with Clawd's own phone at its head; Clawd listens, eyes sliding left; a slow drift right.",
     "zh": "近景：兩部噴漆翻蓋手機隔空響鈴，Clawd 耳邊也貼著手機；它聽著，眼睛往左瞟；鏡頭慢慢往右漂。"
    },
    {
     "cam": "rat",
     "sec": 0.6,
     "en": "Medium shot of the rat scurrying along the railing under the gold dome, 'WHO'S THE RAT?' sprayed at upper left, a siren washing the brick; the camera tracks right with it.",
     "zh": "中景：老鼠沿著金頂下的欄杆跑過，左上角噴著「WHO'S THE RAT?」，警燈的紅藍光掃過磚牆；鏡頭跟著往右橫移。"
    },
    {
     "cam": "close",
     "sec": 0.4,
     "en": "Close on Clawd: it snaps the phone down and looks right; a slight push in.",
     "zh": "近景：Clawd 把手機往下一放，眼睛看向右邊；鏡頭略推。"
    }
   ],
   "direction_en": "Clawd plays an undercover cop with a flip phone pressed to its head, sprayed as one layer of the wall. The piece paints itself in over the first two beats; then the phones, the rat and Clawd hanging up follow in fast cuts. Nobody speaks; the ringing and the rat tell it.",
   "direction_zh": "Clawd 扮臥底警察，耳邊貼著翻蓋手機，本身也是牆上噴出來的一層。前兩拍作品一層層噴出來，之後手機、老鼠、Clawd 掛電話，快切接連出現。沒人說話，靠鈴聲和老鼠講完。",
   "refs": [
    "Martin Scorsese, 2006 (the final shot)",
    "Michael Ballhaus (cinematography)",
    "The Departed 2006 poster",
    "Banksy"
   ],
   "refs_zh": [
    "Martin Scorsese, 2006（最後一個鏡頭）",
    "Michael Ballhaus（攝影）",
    "《無間行者》2006 年海報",
    "Banksy"
   ]
  },
  {
   "no": 80,
   "year": "2007",
   "title": "No Country for Old Men",
   "zh": "老無所依",
   "chapter": "C8",
   "t0": 240.417,
   "dur": 2.5,
   "frame_sec": 240.567,
   "style_en": "3D West Texas Dusk, Deakins Light",
   "style_zh": "3D 西德州荒原黃昏（迪金斯光）",
   "blend_en": [
    "Real-time 3D (three.js)",
    "Roger Deakins dusk light",
    "Desaturated film grade"
   ],
   "blend_zh": [
    "實時 3D（three.js）",
    "羅傑·迪金斯的黃昏光",
    "低飽和膠片調色"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A real-time 3D West Texas at dusk: the sun pressed onto the horizon, long shadows toward the camera, desaturated ochre and grey-green, fine grain. It follows Roger Deakins' light for the Coens and the poster's backlit man with a case.",
   "desc_zh": "實時 3D 的西德州黃昏荒原：太陽壓在地平線上，長影子朝著鏡頭，低飽和的土黃和灰綠，細顆粒。照著迪金斯為科恩兄弟拍的光，和海報上逆光裡提著箱子的人。",
   "prompt_en": "Photoreal-leaning 3D landscape at dusk. Sky fills 60% of the frame, dusty ochre #D8A060 at the horizon up to pale cream, thin streaked clouds lit from below. Sun 1–2° above the horizon, still casting shadows; its light burns along the far ridge. Low saturation: hundreds of grey-green scrub clumps receding to the horizon, stones, dry grass, dark warm earth #2A2622 (default arid; elsewhere keep sparse clumped growth). The hero stands backlit in the mid-ground, about a third of frame height, long shadow toward the lens. Expose for the sky: the sun may clip, its glow within a tenth of the frame. Grade: neutral tone mapping, warm highlights, fine grain, vignette. Signature shot: locked, low, wide (~35 mm). Reference: cinematographer Roger Deakins (*No Country for Old Men*, 2007). Avoid: saturated orange sunsets; blown-out glare; bare ground; busy camera moves.",
   "prompt_zh": "偏寫實的 3D 黃昏曠野（three.js）。天空很大，約佔畫面六成，地平線處塵土赭色 #D8A060，往上漸到淡奶油色，幾縷細長雲被下方照亮。太陽高出地平線 1–2°，仍能投影，光沿遠處坡脊燒成一線亮邊。低飽和：成百叢灰綠小灌木退向地平線，碎石和乾草散在暗暖色泥土 #2A2622 上（默認乾旱荒地，換別的地貌也保留稀疏成叢的植被）。主角逆光站在中景，約佔畫面高度三分之一，長影子朝鏡頭拉來。按天空曝光：太陽可以過曝，光暈不超過畫面十分之一。調色：中性色調映射、暖高光、細顆粒、暗角。招牌鏡頭：基本固定，低機位廣角（約 35mm）。對標攝影師 Roger Deakins（《老無所依》，2007）。避免：飽和的橙色晚霞；大片發白眩光；光禿的地面；忙亂的運鏡。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Low-angle backlit wide: Clawd as Llewelyn, in a cowboy hat, walks over the rise carrying the money case, the sun on the horizon at its left and shot-up trucks behind; locked camera.",
     "zh": "低機位逆光全景：Clawd 扮勒維林，戴牛仔帽、提著錢箱走過小坡，太陽壓在它左側的地平線上，身後是被打爛的皮卡；固定機位。"
    },
    {
     "cam": "counter",
     "sec": 0.8,
     "en": "Macro of a quarter spinning on the gas-station counter, Chigurh's belt and hand soft behind it; the coin wobbles faster and falls flat; locked camera. No Clawd.",
     "zh": "微距：加油站櫃檯上轉動的 25 美分硬幣，背後是虛焦的奇古爾的腰帶和手；硬幣越晃越快，倒下；固定機位。沒有 Clawd。"
    },
    {
     "cam": "road",
     "sec": 0.8,
     "en": "Night, low on the empty highway: Clawd stands on the shoulder as a pickup's headlights come over the crest toward the camera; locked camera.",
     "zh": "夜，低機位貼著空公路：Clawd 站在路肩上，一輛皮卡的車燈從坡頂壓過來；固定機位。"
    }
   ],
   "direction_en": "Clawd plays Llewelyn: a tan felt cowboy hat and a leather document case. Three locked shots, hard cuts: the walk at sundown, the coin's 'call it' in the middle, the headlights at night as the threat arriving. The light moves the day from dusk to dark.",
   "direction_zh": "Clawd 扮勒維林：淺褐色氈質牛仔帽、一隻皮質文件箱。三個固定機位硬切：日落時提箱走路，中間是「猜吧」的硬幣，最後夜裡車燈壓過來，危險到了。光線把時間從黃昏帶到天黑。",
   "refs": [
    "Joel and Ethan Coen, 2007",
    "Roger Deakins (cinematography)",
    "No Country for Old Men 2007 poster"
   ],
   "refs_zh": [
    "Joel & Ethan Coen, 2007",
    "Roger Deakins（攝影）",
    "《老無所依》2007 年海報"
   ]
  },
  {
   "no": 81,
   "year": "2008",
   "title": "Slumdog Millionaire",
   "zh": "貧民窟的百萬富翁",
   "chapter": "C8",
   "t0": 242.917,
   "dur": 2.5,
   "frame_sec": 243.947,
   "style_en": "Quiz-Show Studio & Mumbai Orange-Teal",
   "style_zh": "答題節目演播室 + 孟買橙青",
   "blend_en": [
    "TV game-show lighting",
    "Blue-violet beams and lens flares",
    "Anthony Dod Mantle orange and teal"
   ],
   "blend_zh": [
    "電視答題節目的燈光",
    "藍紫光束與鏡頭光斑",
    "Anthony Dod Mantle 的橙青色調"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A hard-lit TV studio in blue-violet with gold highlights, moving-head beams and lens flares, then a hot orange-and-teal Mumbai rooftop. The film cuts between the quiz show's final question and the slums Jamal came from.",
   "desc_zh": "藍紫色加金色高光的電視演播室，搖頭燈光束、鏡頭光斑；然後切到飽和橙青色的孟買屋頂。影片本身就在答題節目的最後一題和賈馬爾出身的貧民窟之間來回切。",
   "prompt_en": "Two registers. Primary, about 70%: a glossy illustrated quiz-show studio, bright and full, seen three-quarter from slightly above: a glass stage lit from below with concentric blue rings, a packed audience behind, moving-head beams cutting blue-violet #5A3FD0 through haze, a big screen of elongated-hexagon answers, one locked in amber #F0A020; bloom and horizontal flares; as tension rises the edges dim to about half, never black. Characters rounded, softly shaded. Second register, about 30%, as full-frame hard cuts: golden-hour views of the subject's home ground, saturated orange and teal, busy (e.g. tin roofs, washing lines, crowds). Accents: magenta #E2206B, teal #0F7C7A, tangerine #F06A14. Camera: push in on screen and hot seat as beams close on one person; elsewhere slow pans. Reference: cinematographer Anthony Dod Mantle (*Slumdog Millionaire*, 2008). Avoid: real show logos; a mostly black studio; even lighting; grey, empty places.",
   "prompt_zh": "兩種畫面。主畫面約佔七成：光鮮的插畫式答題演播室，明亮飽滿，略俯的四分之三視角：底光玻璃圓臺和一圈圈藍光環，背後坐滿觀眾，搖頭燈在煙霧裡打出藍紫光束 #5A3FD0，大屏上長六角形答案框，一個鎖成琥珀色 #F0A020；加泛光和橫向光斑；越緊張四周越暗，最多暗到一半，不全黑。人物圓潤乾淨，柔和明暗。第二種畫面約佔三成，整屏硬切：主題所在地方的黃金時刻景象，飽和橙青，密而熱鬧（比如鐵皮屋頂、晾衣繩、人群）。點綴：洋紅 #E2206B、青 #0F7C7A、橘黃 #F06A14。鏡頭推向大屏和座位，光束收到一人身上；其餘慢搖。對標攝影師 Anthony Dod Mantle（《貧民窟的百萬富翁》，2008）。避免：真實節目 logo；大片漆黑的演播室；平均打光；灰暗空蕩的場景。",
   "shots": [
    {
     "cam": "question",
     "sec": 0.8,
     "en": "Close on the big screen: the final question with four answer frames, A: ARAMIS locked in amber; a slight push in. No Clawd.",
     "zh": "近景：大屏上的最後一題，四個答案框，A: ARAMIS 鎖定成琥珀色；鏡頭略推。沒有 Clawd。"
    },
    {
     "cam": "tension",
     "sec": 1.0,
     "en": "Wide of the stage with the host on his stool and Clawd as Jamal in the hot seat: the room darkens and the beams close in on Clawd, then the answer flashes green and the audience reacts; a slow push in.",
     "zh": "舞臺全景：主持人坐在凳子上，Clawd 扮賈馬爾坐在熱座上；全場暗下來，光束收攏到 Clawd 身上，接著答案閃成綠色，觀眾歡呼；鏡頭慢推。"
    },
    {
     "cam": "mumbai",
     "sec": 0.8,
     "en": "Wide of the Dharavi rooftops at golden hour: Clawd stands on a corrugated roof while a packed train passes on the viaduct behind; a slow pan right.",
     "zh": "全景：黃金時刻的達拉維屋頂，Clawd 站在鐵皮屋頂上，身後高架上一列擠滿人的火車開過；鏡頭慢慢往右搖。"
    }
   ],
   "direction_en": "Clawd plays Jamal: a light-blue check shirt collar and a clip-on mic. The answer is locked from the first frame; the second shot squeezes the room down to the hot seat and releases on the green flash; a hard cut to the Mumbai rooftops then opens the frame up to the city.",
   "direction_zh": "Clawd 扮賈馬爾：淺藍細格襯衫領加一隻領夾麥。答案從第一幀就鎖定；第二個鏡頭把全場壓暗、收到熱座上，答案變綠時放開；然後硬切到孟買屋頂，畫面一下打開到整座城市。",
   "refs": [
    "Danny Boyle, 2008",
    "Anthony Dod Mantle (cinematography)",
    "Slumdog Millionaire 2008 poster"
   ],
   "refs_zh": [
    "Danny Boyle, 2008",
    "Anthony Dod Mantle（攝影）",
    "《貧民窟的百萬富翁》2008 年海報"
   ]
  },
  {
   "no": 82,
   "year": "2009",
   "title": "The Hurt Locker",
   "zh": "拆彈部隊",
   "chapter": "C8",
   "t0": 245.417,
   "dur": 2.5,
   "frame_sec": 246.007,
   "style_en": "EOD Technical Manual Line Art",
   "style_zh": "拆彈教範線圖",
   "blend_en": [
    "Military technical-manual line drawing",
    "Exploded-view diagram",
    "Typewriter callouts",
    "Olive and sand flat tints"
   ],
   "blend_zh": [
    "軍用技術手冊線圖",
    "爆炸分解圖",
    "打字機字標註",
    "橄欖綠與沙色平塗"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A page from an army bomb-disposal manual: even black lines, hatched shadows, stippled sand, numbered callouts, an exploded IED diagram, a little olive and sand. The Hurt Locker is about procedure under pressure, and a manual page is procedure drawn.",
   "desc_zh": "一頁美軍拆彈手冊：均勻黑線、排線陰影、點描沙土、帶圈編號和引線、IED 分解圖，只有一點橄欖綠和沙色。《拆彈部隊》講高壓下的程序，手冊圖就是畫出來的程序。",
   "prompt_en": "Military technical-manual illustration. Warm off-white paper #EFEADB with a faint engineering grid, uniform black ink #1B1A16 (outlines ~1/700 of frame width, hatching thinner), shading only by hatching, ground by stippling, flat tints of olive #6C6D42 and sand #D9C79C on 20–30% of the drawing; lights as ray lines, not glows. Main figure: a one-point-perspective view of the subject's setting filling most of the page; around it exploded views of the subject's key object along a dash-dot axis, circled numbers on leader lines, a parts table, WARNING and CAUTION boxes, typewriter labels (user's language) and FIG numbers, a black chapter card. Animate on twos: parts slide apart, a tool works, a figure walks. Camera: whole page, then cuts to enlarged insets. References: US Army technical manuals; Kathryn Bigelow, *The Hurt Locker* (2008). Avoid: gradient shading; too much colour; decorative fonts; sparse pages.",
   "prompt_zh": "軍用技術手冊插圖。暖米白紙 #EFEADB 上一層很淡的工程網格，統一黑墨 #1B1A16（輪廓線寬約畫面寬度的 1/700，排線更細），明暗只靠排線，地面用點刻，只在兩三成的畫面上平塗橄欖綠 #6C6D42 和沙色 #D9C79C；燈光畫成放射線，不畫光暈。主圖：題材場景的一點透視畫面，佔頁面大半，裡面有人物和器物；四周是題材關鍵器物沿點劃線軸展開的爆炸圖、引線上的帶圈數字、零件表、WARNING 和 CAUTION 框、打字機字體的標註（用觀眾的語言）和 FIG 編號，一塊黑底章節卡。動畫一拍二：零件滑開、工具動作、人物走路。鏡頭先看整頁，再切到放大插圖式的細節。對標美軍技術手冊，Kathryn Bigelow《拆彈部隊》（2008）。避免：漸變明暗；顏色太多；花哨字體；空蕩的頁面。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "The whole manual page, FIG 4-6 'The Long Walk': a soldier in a bomb suit walks down the Baghdad street toward camera while Clawd stands over the daisy chain of shells with its cutters; a slow push toward the street.",
     "zh": "整頁手冊，FIG 4-6「THE LONG WALK」：穿拆彈服的士兵沿巴格達土路朝鏡頭走來，Clawd 站在串起來的炮彈中間拿著剪線鉗；鏡頭慢慢推向街道。"
    },
    {
     "cam": "suit",
     "sec": 0.6,
     "en": "Close on the bomb-suit soldier walking, his frowning face behind the visor; a slow push in.",
     "zh": "近景：穿拆彈服的士兵在走，面罩裡是一張皺著眉的臉；鏡頭慢推。"
    },
    {
     "cam": "close",
     "sec": 0.5,
     "en": "Close on Clawd in the EOD helmet with the visor up: its eyes drop to the firing lead and the cutters come up; a slight push in.",
     "zh": "近景：戴拆彈頭盔、面罩掀起的 Clawd，眼睛往下看向起爆線，剪線鉗舉起來；鏡頭略推。"
    },
    {
     "cam": "wire",
     "sec": 0.6,
     "en": "Insert of the cutter jaws on the twisted firing lead above the shell: squeeze, snap, the lead parts; a push in.",
     "zh": "特寫：剪線鉗咬住炮彈上方的雙絞起爆線，一捏、咔，線斷開；鏡頭推近。"
    }
   ],
   "direction_en": "Clawd wears an olive EOD helmet with the visor up and holds wire cutters among six half-buried 155mm shells. Four cuts tighten from the page to the snap: the long walk, the face in the visor, Clawd's eyes, the cut. The snap comes just before the film ends.",
   "direction_zh": "Clawd 戴橄欖綠拆彈頭盔、面罩掀起，手拿剪線鉗，站在六枚半埋的 155mm 炮彈中間。四個鏡頭從整頁一路收緊到剪斷：漫長的走路、面罩裡的臉、Clawd 的眼睛、剪線。咔的一聲落在這段快結束的地方。",
   "refs": [
    "Kathryn Bigelow, 2008",
    "Barry Ackroyd (cinematography)",
    "The Hurt Locker 2008 poster",
    "US Army EOD technical manuals"
   ],
   "refs_zh": [
    "Kathryn Bigelow, 2008",
    "Barry Ackroyd（攝影）",
    "《拆彈部隊》2008 年海報",
    "美軍爆炸物處理（EOD）技術手冊"
   ]
  },
  {
   "no": 83,
   "year": "2010",
   "title": "The King's Speech",
   "zh": "國王的演講",
   "chapter": "C9",
   "t0": 247.917,
   "dur": 2.5,
   "frame_sec": 249.827,
   "style_en": "Peeling Wall & Gold Broadcast Booth",
   "style_zh": "斑駁牆 + 金色廣播間",
   "blend_en": [
    "Painterly digital oil texture",
    "Peeling layered-paint wall",
    "1930s broadcast booth",
    "Gold sound-wave lines"
   ],
   "blend_zh": [
    "數字油畫筆觸",
    "層層剝落的漆牆",
    "30 年代廣播間",
    "金色聲波細線"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Painterly interiors with heavy wall texture: Logue's peeling, many-coloured wall in cool grey-green, then a padded broadcast booth in amber gold with a sprung microphone and fine gold sound waves. It follows Eve Stewart's famous wall and the poster's gold.",
   "desc_zh": "牆面肌理很重的油畫質感室內：羅格診室那面冷灰綠的多層斑駁牆，再到琥珀金的軟包廣播間、彈簧吊著的話筒和細細的金色聲波。照著 Eve Stewart 設計的牆和海報的金黃。",
   "prompt_en": "Painterly interiors where the wall carries the image (outdoor subjects move into a related room with a window). Primary: a diamond-tufted padded wall in gold #C9A050 over deep brown #3A2610, brass button highlights, a warm glow behind the sound source (e.g. a hanging microphone). Secondary, for quiet scenes: a cool grey-green wall worn through to blue, pink, ochre and plaster, with damp lines and fine cracks; patches irregular, under a third of the wall. Clean-edged shapes under a subtle brush texture (strokes ~1/120 of frame width, ±5% brightness); faces, small objects crisp. Sound: 4–8 thin gold oscilloscope lines crossing the wall, spiky, later smooth. Figures in a corner, lots of wall. Camera: slow push-ins, one close-up of the source. References: cinematographer Danny Cohen, designer Eve Stewart (*The King's Speech*, 2010). Avoid: centred symmetry; coarse dabbed strokes; map-like peel; neon-bright waves.",
   "prompt_zh": "牆面就是畫面的油畫質感室內（戶外題材搬進相關的有窗屋子）。主調：菱形釘釦軟包牆，金 #C9A050 壓在深褐 #3A2610 上，釦子帶黃銅高光，聲源（比如吊著的話筒）後面一團暖金光。副調用於安靜的場景：冷灰綠牆面，局部磨穿露出藍、粉、赭和灰泥，有潮線和細裂紋；剝落塊不規則，最多佔牆面三分之一。形狀邊緣乾淨，只罩一層淡淡的筆觸紋理（筆觸約畫寬 1/120，亮度起伏 ±5%）；臉和小物件畫清楚。聲音畫成 4–8 條細金色示波線，擴過牆面，先帶尖刺，後來平滑。人物偏到角落，留大片牆。鏡頭慢推，插一個聲源特寫。對標攝影師 Danny Cohen、美術指導 Eve Stewart（《國王的演講》，2010）。避免：居中對稱；粗糙點戳筆觸；地圖般的剝落；霓虹般亮的聲波。",
   "shots": [
    {
     "cam": "wall",
     "sec": 0.8,
     "en": "Wide of Logue's consulting room: Clawd hunched at the left end of the old leather sofa with a cigarette, the huge peeling wall above it, a horn gramophone at right; a slow push in.",
     "zh": "全景：羅格的診室，Clawd 縮在舊皮沙發左端夾著煙，上方是大片斑駁牆，右邊一臺喇叭留聲機；鏡頭慢推。"
    },
    {
     "cam": "mic",
     "sec": 0.9,
     "en": "Big close-up of the marble microphone on its sprung ring, Clawd's crown and eyes at left: the gold sound waves come out broken (the stammer), then run smooth; a slow push in.",
     "zh": "大特寫：彈簧吊環裡的大理石話筒，左邊是 Clawd 的王冠和眼睛；金色聲波先是斷斷續續（口吃），然後變得流暢；鏡頭慢推。"
    },
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Medium wide of the 1939 broadcast room: Clawd with the speech at left, the microphone in the middle, Logue at right beating time with his hands as the ON AIR light comes on; a slight pull back.",
     "zh": "中全景：1939 年的廣播間，Clawd 拿著講稿在左，話筒居中，羅格在右邊用手打拍子，ON AIR 燈亮起；鏡頭略拉。"
    }
   ],
   "direction_en": "Clawd plays George VI: a small crown, a wing collar and dark tie, a cigarette in the room and the typed speech in the booth. Three hard cuts tell the cure: hunched in a corner, the stammer smoothing out in the waves, then the speech going out with Logue beating time.",
   "direction_zh": "Clawd 扮喬治六世：小王冠、翼領和深色領帶，診室裡夾著煙，廣播間裡拿著打字稿。三個鏡頭硬切講完治療：縮在角落，聲波從口吃變流暢，然後羅格打著拍子，演講播出去。",
   "refs": [
    "Tom Hooper, 2010",
    "Danny Cohen (cinematography)",
    "Eve Stewart (production design)",
    "The King's Speech 2010 poster"
   ],
   "refs_zh": [
    "Tom Hooper, 2010",
    "Danny Cohen（攝影）",
    "Eve Stewart（美術設計）",
    "《國王的演講》2010 年海報"
   ]
  },
  {
   "no": 84,
   "year": "2011",
   "title": "The Artist",
   "zh": "藝術家",
   "chapter": "C9",
   "t0": 250.417,
   "dur": 3.333,
   "frame_sec": 252.963,
   "style_en": "Polished Silent-Film Black & White",
   "style_zh": "2011 精緻默片黑白",
   "blend_en": [
    "Late-1920s silent-film black and white",
    "Art Deco intertitle cards",
    "Hollywood studio glamour light"
   ],
   "blend_zh": [
    "20 年代末默片黑白",
    "裝飾藝術邊框字幕卡",
    "好萊塢片廠的魅力布光"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "Clean, glossy black and white with bright highlights and soft greys, Art Deco intertitles, light flicker and grain; Clawd is the only colour. The Artist was a 2011 love letter to silent Hollywood, so this is a sharper, cleaner silent film than No. 1.",
   "desc_zh": "乾淨發亮的黑白：高光明亮、灰階柔和，裝飾藝術邊框的字幕卡，輕微閃爍和顆粒；Clawd 是唯一的顏色。《藝術家》是 2011 年寫給默片好萊塢的情書，所以比第 1 部更精緻。",
   "prompt_en": "A modern homage to late-1920s silent film in black and white. Clean tones: glowing highlights, soft mid-greys, deep blacks; a gentle S-curve, grey halation around lights, slight flicker (±3%), fine grain, rare dust, a 1.33 pillarbox inside 16:9. Intertitles on black with an Art Deco border and spaced capitals, in the user's language. Settings: the subject's world staged as grand, ordered interiors or stage sets (e.g. a wrought-iron staircase, a gilt proscenium, a crowd in backlit silhouette); figures in elegant profile. The one hero subject the story centres on is the only coloured thing, wholly in tones of terracotta #D97757; lamps and fire stay grey. Camera: smooth push-ins and pull-backs, title cards flashed in, cuts landing on gestures (a bow, a wave). Reference: cinematographer Guillaume Schiffman (*The Artist*, 2011). Avoid: heavy scratches; sepia tint; colour bleeding into the greys.",
   "prompt_zh": "致敬 20 年代末默片的現代黑白片。影調幹淨：發光的高光、柔和的中灰、深黑；溫和的 S 曲線，燈周圍有灰色光暈，輕微閃爍（±3%），細顆粒，偶有灰塵，16:9 里加 1.33 的左右黑邊。字幕卡是黑底、裝飾藝術風邊框、字距拉開的大字，用觀眾的語言。場景：把題材的世界佈置成宏大規整的室內或舞臺佈景（比如帶鐵藝欄杆的樓梯、金色臺口、逆光剪影的人群），人物多取優雅側面。故事圍繞的那個主角是畫面裡唯一有顏色的東西，整個都用陶土橙 #D97757 的深淺來畫；燈和火都保持灰色。鏡頭：平滑的推拉，字幕卡閃入，剪輯落在動作上（鞠躬、揮手）。對標攝影師 Guillaume Schiffman（《藝術家》，2011）。避免：重劃痕；棕褐色調；顏色滲到灰色裡。",
   "shots": [
    {
     "cam": "stairs",
     "sec": 1.0,
     "en": "Wide of the Kinograph staircase, pushing in: Clawd as George on the landing lifts its top hat to Peppy on her way up, extras crossing up and down, Uggie at its side.",
     "zh": "樓梯全景往裡推：Clawd 扮喬治站在平臺上，向上樓的佩皮舉起高禮帽致意，群演上下交錯，Uggie 在它身邊。"
    },
    {
     "cam": "close",
     "sec": 0.5,
     "en": "Close on Clawd: the hat comes off in its raised hand, Uggie looking up at it; a slight push in.",
     "zh": "近景：Clawd 舉起的手摘下帽子，Uggie 仰頭看它；鏡頭略推。"
    },
    {
     "cam": "card",
     "sec": 0.3,
     "en": "A full-screen intertitle: BANG! in an Art Deco border.",
     "zh": "全屏字幕卡：裝飾藝術邊框裡寫著 BANG!。"
    },
    {
     "cam": "dog",
     "sec": 0.5,
     "en": "On stage, Clawd points a finger-gun and Uggie keels over to play dead; a slow push in.",
     "zh": "舞臺上，Clawd 用手指比槍，Uggie 往後一倒裝死；鏡頭慢推。"
    },
    {
     "cam": "premiere",
     "sec": 0.9,
     "en": "Wide of the premiere: THE END on the screen, Constance applauding at right, the house rising in silhouette as Clawd bows with its hat raised and its cane, Uggie at its feet; a slight pull back as the curtain starts to close.",
     "zh": "首映禮全景：銀幕上是 THE END，右邊 Constance 在鼓掌，觀眾剪影站起來，Clawd 舉帽拄杖鞠躬，Uggie 在腳邊；鏡頭略拉，大幕開始合上。"
    }
   ],
   "direction_en": "Clawd plays George Valentin: white wing collar, black bow tie, silk top hat, cane, and Uggie the Jack Russell. Five quick cuts at near real speed: the hat lift on the stairs, the BANG! card flashed in, the dog's fall, then the bow as the audience stands. Clawd is the only colour.",
   "direction_zh": "Clawd 扮喬治·瓦倫丁：白色翼領、黑領結、絲質高禮帽、手杖，還有傑克羅素梗 Uggie。五個快切，接近真實速度：樓梯上舉帽，BANG! 字幕卡一閃，小狗倒地，最後觀眾起立時鞠躬。Clawd 是唯一的顏色。",
   "refs": [
    "Michel Hazanavicius, 2011",
    "Guillaume Schiffman (cinematography)",
    "The Artist 2011 poster",
    "Bradbury Building, Los Angeles"
   ],
   "refs_zh": [
    "Michel Hazanavicius, 2011",
    "Guillaume Schiffman（攝影）",
    "《藝術家》2011 年海報",
    "洛杉磯 Bradbury Building"
   ]
  },
  {
   "no": 85,
   "year": "2012",
   "title": "Argo",
   "zh": "逃離德黑蘭",
   "chapter": "C9",
   "t0": 253.75,
   "dur": 2.5,
   "frame_sec": 254.34,
   "style_en": "Jack Kirby 70s Comic Page",
   "style_zh": "傑克·柯比 70 年代漫畫頁",
   "blend_en": [
    "Jack Kirby cosmic comics",
    "Ben-Day four-colour print",
    "Aged newsprint",
    "Lord of Light concept art"
   ],
   "blend_zh": [
    "傑克·柯比宇宙漫畫",
    "Ben-Day 四色網點印刷",
    "泛黃新聞紙",
    "《光之王》概念圖"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A 1970s Kirby comic book on a production desk: heavy ink, Kirby Krackle, Ben-Day dots on yellowed newsprint. The film's fake sci-fi movie was sold with real Kirby concept art, so the pages run from fake epic to the real runway escape.",
   "desc_zh": "攤在製片桌上的 70 年代柯比漫畫：粗墨線、柯比能量泡、泛黃新聞紙上的四色網點。片中那部假科幻片用的正是柯比畫的概念圖，所以漫畫從假史詩一路翻到真實的跑道出逃。",
   "prompt_en": "1970s Jack Kirby comic page. Heavy tapered brush contours, feathered spot blacks, exaggerated perspective, Kirby Krackle energy bubbles, block sound effects, hand-lettered balloons and yellow captions. CMYK flats printed as 45° Ben-Day dots: cyan #1696CD, magenta #DE2C70, yellow #FFD616, black #1C161A on aged newsprint #EEE2C2, colour plates 1 px off register. Paper grain, browned edges, a gutter fold shadow, warm lamp falloff. Lay the story out in panels and move between them: push into the splash, pan along a strip. Dots stay round and grow into pop-art dots on push-ins. Avoid: smooth digital gradients, clean white paper, stiff tube-like machines.",
   "prompt_zh": "70 年代傑克·柯比漫畫頁。粗細變化的毛筆墨線，大塊塗黑，透視誇張，黑色柯比能量泡，方塊擬聲字，手寫對白框。CMYK 平塗用 45° 網點印出：青 #1696CD、品紅 #DE2C70、黃 #FFD616、黑 #1C161A，泛黃新聞紙 #EEE2C2，色版錯位 1 像素，紙有纖維和中縫陰影。分格敘事，鏡頭在格間推進、橫移，推近時網點放大成波普圓點。避免：順滑數碼漸變、雪白的紙、僵硬的管狀機械。",
   "shots": [
    {
     "cam": "splash",
     "sec": 0.9,
     "en": "Medium shot of the cosmic splash panel, slow push-in: Clawd, the caped space hero on a rock ledge, fires its ray gun and the beam blows up the robot's reactor with a KRAKA-THOOM.",
     "zh": "宇宙跨頁大格的中景，緩慢推進：披風太空英雄 Clawd 站在巖架上開光槍，光束打爆機器人的反應堆，「KRAKA-THOOM」。"
    },
    {
     "cam": "strip",
     "sec": 0.8,
     "en": "Hard cut to the red film-strip panel: the houseguests in the terminal and the caption \"THE MOVIE WAS FAKE. THE MISSION WAS REAL.\", with a slight pan right.",
     "zh": "硬切到紅色膠片條那一格：航站樓裡的幾位人質和旁白「THE MOVIE WAS FAKE. THE MISSION WAS REAL.」，鏡頭輕微右移。"
    },
    {
     "cam": "runway",
     "sec": 0.8,
     "en": "Hard cut to the night runway panel in steel blue, panning left to right past the chasing truck and jeeps to the airliner lifting off; Clawd sits behind a porthole in the corner inset, looking back.",
     "zh": "硬切到鋼藍色的夜間跑道格，從左往右橫移，掠過追來的卡車和吉普，停在離地的客機；角上的舷窗小格裡 Clawd 坐在窗後回望。"
    }
   ],
   "direction_en": "Clawd plays the comic's space hero: a high red-lined collar, blue cape, gold cuffs and a Kirby ray gun. The beam fires inside the first beat, then two hard cuts turn the page from fake epic to real escape, ending with Clawd as a plain passenger at the plane window. Three panels in 2.5 seconds, read like a comic.",
   "direction_zh": "Clawd 扮漫畫裡的太空英雄：紅裡子高領、藍披風、金護腕，手拿柯比式光槍。第一拍內光束開火，然後兩刀硬切把書頁從假史詩翻到真實出逃，最後 Clawd 卸下戲服，成了舷窗後的一名乘客。2.5 秒三格，像在讀漫畫。",
   "refs": [
    "Ben Affleck, Argo (2012)",
    "Jack Kirby, Lord of Light concept art (1979)",
    "Jack Kirby, New Gods / Eternals (1970s)",
    "Rodrigo Prieto (cinematography)"
   ],
   "refs_zh": [
    "Ben Affleck《逃離德黑蘭》（2012）",
    "Jack Kirby《光之王》概念圖（1979）",
    "Jack Kirby《新神》《永恆族》（1970 年代）",
    "Rodrigo Prieto（攝影）"
   ]
  },
  {
   "no": 86,
   "year": "2013",
   "title": "12 Years a Slave",
   "zh": "為奴十二年",
   "chapter": "C9",
   "t0": 256.25,
   "dur": 2.5,
   "frame_sec": 257.72,
   "style_en": "Cased Daguerreotype, Developing",
   "style_zh": "顯影中的銀版老照片",
   "blend_en": [
    "1850s cased daguerreotype",
    "Hand-tinted tintype",
    "Studio still life"
   ],
   "blend_zh": [
    "1850 年代帶盒銀版照片",
    "手工上色錫版照片",
    "影樓靜物"
   ],
   "dim": "2D·B&W",
   "render": "2D",
   "desc_en": "An 1850s silver-plate photograph in a brass mat and velvet case, developing from blank: a violin on a chair, Clawd beside it, head bowed. It is the photography of Solomon Northup's own time, and tells the film with one object and no people.",
   "desc_zh": "銅框絲絨盒裡的 1850 年代銀版照片，從空白顯影：椅子上靠著小提琴，Clawd 低頭站在旁邊。這是所羅門·諾瑟普那個年代的照相術，只用一件物件講這部片，不畫人。",
   "prompt_en": "A cased 1850s daguerreotype, developing. Signature shot: the silver plate fills about 85% of the frame width inside a beaded brass mat #8a6a2c with a rounded-rectangle opening; velvet and leather only at the edges. Greyscale silver, near-black #1c1a18 to pale #ecebe6; a thin blue-violet to amber tarnish halo round the opening. Light swirls, hairline scratches, specks (±4% brightness). Soft window light from upper left; the subject poses still before a plain backdrop (an outdoor place is painted on it). One shot: the camera pushes from the open case to this framing in ~1 s, then holds; the image develops from blank mirror-grey, shadows first, a front sweeping left to right, done by ~3 s. Only the story's one hero is hand-tinted: a translucent flat wash (e.g. #D97757), shading showing through; lamps stay grey. Avoid: sepia, a small plate, fast cuts.",
   "prompt_zh": "1850 年代盒裝銀版照片在顯影。招牌鏡頭：銀版寬度佔畫面約 85%，外圈是帶珠串的黃銅襯框 #8a6a2c、圓角矩形開口，紅絲絨和皮盒只露在邊上。銀版是灰階銀色，從近黑 #1c1a18 到淺銀 #ecebe6；藍紫到琥珀的氧化暈只在開口邊緣窄窄一圈。拋光旋紋、髮絲劃痕和斑點都要輕（亮度 ±4%）。左上方柔和窗光，主體靜止擺姿，背後素色佈景，戶外地點畫在佈景上。一鏡到底：前 1 秒左右鏡頭從打開的盒子推到招牌景別，然後停住；影像從空白的鏡面灰開始，暗部先出，顯影前沿從左掃到右，約 3 秒顯完。只有故事圍繞的那個主角手工上色：一層半透明平塗（如 #D97757），透出底下的明暗；燈保持灰色。避免：棕褐色、銀版太小、快切。",
   "shots": [
    {
     "cam": "plate",
     "sec": 2.5,
     "en": "One continuous shot: wide on the cased plate lying on the table, blank silver; the picture develops across it (a violin leaning on a ladder-back chair, Clawd standing beside it) while the camera pushes slowly in until the plate fills the frame and Clawd lowers its head.",
     "zh": "一鏡到底：開場是桌上整隻照相盒，銀版一片空白；畫面從一側顯影出來（小提琴靠在梯背椅上，Clawd 站在一旁），鏡頭慢慢推進直到銀版鋪滿畫面，Clawd 低下頭。"
    }
   ],
   "direction_en": "No costume and no people: Clawd stands beside Solomon's violin and slowly bows its head. The only movements are the image developing, one slow push-in and the bow, held as one uncut shot for the whole 2.5 seconds.",
   "direction_zh": "沒有戲服，也不畫人：Clawd 站在所羅門的小提琴旁，慢慢低頭。整段只有三種動：影像顯影、一次慢推、低頭，2.5 秒一刀不剪。",
   "refs": [
    "Steve McQueen, 12 Years a Slave (2013)",
    "1850s cased daguerreotypes and ambrotypes",
    "Solomon Northup, Twelve Years a Slave (1853)"
   ],
   "refs_zh": [
    "Steve McQueen《為奴十二年》（2013）",
    "1850 年代帶盒的達蓋爾銀版照片與安布羅照片",
    "Solomon Northup《為奴十二年》（1853）"
   ]
  },
  {
   "no": 87,
   "year": "2014",
   "title": "Birdman",
   "zh": "鳥人",
   "chapter": "C9",
   "t0": 258.75,
   "dur": 2.5,
   "frame_sec": 258.9,
   "style_en": "3D Backstage Long Take",
   "style_zh": "3D 後臺走廊長鏡頭",
   "blend_en": [
    "Real-time 3D (three.js)",
    "Lubezki handheld long take",
    "Tungsten and fluorescent light",
    "Digital-cinema grain"
   ],
   "blend_zh": [
    "實時 3D（three.js）",
    "盧貝茲基手持長鏡頭",
    "鎢絲燈與日光燈",
    "數字電影細顆粒"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A detailed 3D backstage of a Broadway theatre shot as a handheld long take, warm tungsten against cold fluorescent, ending in the glare of Times Square. Birdman is remembered for looking like one unbroken shot, so the style is the camera move itself.",
   "desc_zh": "細緻的 3D 百老匯劇院後臺，用手持長鏡頭拍：暖鎢絲燈對冷日光燈，最後衝進時代廣場的強光。《鳥人》最出名的就是假裝一鏡到底，所以這段的風格就是那條運鏡。",
   "prompt_en": "Real-time 3D, one unbroken handheld long take, after cinematographer Emmanuel Lubezki (*Birdman*, 2014). A narrow, lived-in passage (default a backstage corridor; an outdoor subject gets its nearest interior, e.g. a stairwell): chipped blood-red enamel dado #6e2a22 on the lower third, stained nicotine plaster #cdb98e above, pipes, cable trays, doors, pinned notices. Light only from practicals every 2–3 m: warm caged tungsten bulbs, one cold flickering fluorescent tube, a red exit sign #ff2a1a; the far door glows. Mid-key: plaster light near lamps, never below mid-grey between them; floor visible. Wide lens (18–24 mm), slow sway (±1°), soft ambient occlusion, light bloom, fine grain (±3%). Over 20–40 s, in any order: lead the subject walking backwards, whip aside to a doorway, let it brush past the lens, turn and follow. Avoid: a locked-off camera, blank walls, repeated textures, a crushed dark frame.",
   "prompt_zh": "實時 3D，仿攝影師埃馬努埃爾·盧貝茲基（《鳥人》，2014），一條不斷的手持長鏡頭。主體在窄而舊的通道里（默認後臺走廊；戶外題材放進最近的室內）：下三分之一是掉漆的血紅搪瓷牆裙 #6e2a22，上面是帶水漬的煙黃石膏牆 #cdb98e，頭頂水管和橋架，牆上有門和告示。光只來自畫內燈具，每兩三米一盞：鐵籠鎢絲燈（暖）、一根在閃的日光燈（冷）、一盞紅色出口燈 #ff2a1a；遠處門外發亮。中等曝光：燈旁牆亮，燈間不低於中灰，地面看得清。廣角 18–24 毫米，低頻晃動約 ±1°，柔和環境光遮蔽、輕輝光、細顆粒（±3%）。運鏡 20–40 秒，次序不限：倒退領路，甩向一側的門洞，讓主體擦過鏡頭，再轉身跟上。避免：鎖死機位、空白牆面、重複紋理、壓得太黑。",
   "shots": [
    {
     "cam": "oner",
     "sec": 1.3,
     "en": "Handheld medium shot backing down the corridor ahead of Clawd in its Birdman helmet, whipping left to the jazz drummer in his alcove, then swinging back as Clawd passes the kit and brushes past the lens.",
     "zh": "手持中景，鏡頭在戴鳥人頭盔的 Clawd 前面倒退著走，向左甩到小房間裡打爵士鼓的鼓手，再甩回來，Clawd 走過鼓組、擦著鏡頭過去。"
    },
    {
     "cam": "door",
     "sec": 0.7,
     "en": "Cut to behind Clawd at the stage door under the red EXIT light; the camera drifts sideways as Clawd shoves the door open onto white glare.",
     "zh": "切到後門，從 Clawd 背後拍，頭頂是紅色 EXIT 燈；鏡頭輕輕側移，Clawd 一把推開門，門外一片白光。"
    },
    {
     "cam": "times",
     "sec": 0.5,
     "en": "Cut to Times Square at night: wide on Clawd on the sidewalk with walls of LED screens behind it; it takes a step and looks up at the screens while the handheld camera drifts slightly.",
     "zh": "切到夜裡的時代廣場：全景，Clawd 站在人行道上，身後是成片的 LED 屏；它邁一步、抬頭看屏幕，手持鏡頭輕輕漂移。"
    }
   ],
   "direction_en": "Clawd plays Riggan in a slate-blue Birdman helmet with a gold beak and feather wings. The corridor runs as one fast handheld move with the drummer's swing in frame; the shove on the stage door is the beat that cuts us out into Times Square, where Clawd stops and looks up.",
   "direction_zh": "Clawd 扮里根，戴一頂石板藍的鳥人頭盔，金色鳥喙、兩側羽翼。走廊是一條很快的手持運鏡，鼓手的搖擺鼓點就在畫面裡；推開後門那一下卡在拍點上，切到時代廣場，Clawd 停下抬頭看。",
   "refs": [
    "Alejandro G. Iñárritu, Birdman (2014)",
    "Emmanuel Lubezki (cinematography)",
    "Kevin Thompson (production design)",
    "Antonio Sánchez (drum score)"
   ],
   "refs_zh": [
    "Alejandro G. Iñárritu《鳥人》（2014）",
    "Emmanuel Lubezki（攝影）",
    "Kevin Thompson（美術設計）",
    "Antonio Sánchez（鼓點配樂）"
   ]
  },
  {
   "no": 88,
   "year": "2015",
   "title": "Spotlight",
   "zh": "聚焦",
   "chapter": "C9",
   "t0": 261.25,
   "dur": 2.5,
   "frame_sec": 261.4,
   "style_en": "Microfiche Reader, Newsprint Halftone",
   "style_zh": "縮微膠片閱讀機 · 報紙網點",
   "blend_en": [
    "Library microfiche reader",
    "2001 newspaper CMYK halftone",
    "Phosphor-green monochrome"
   ],
   "blend_zh": [
    "圖書館縮微膠片閱讀機",
    "2001 年報紙 CMYK 網點",
    "磷光綠單色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A newspaper-halftone picture seen on the green-grey screen of a library microfiche reader, with scan lines, a rolling scan bar and dust on the glass. The reporters dug the story out of archives like this, and the fiche transport replaces the cuts.",
   "desc_zh": "印成報紙網點的畫面，放到縮微膠片閱讀機的灰綠屏幕上：掃描線、滾動的掃描光帶、玻璃上的灰塵。片中記者就在這種檔案裡挖出真相，換鏡頭也做成膠片橫移。",
   "prompt_en": "A 2001 newspaper colour halftone on a library microfiche reader. Signature shot: the picture fills the frame, no headline or columns; lines and lettering inside it stay solid. CMYK screens at 15°, 75°, 0°, 45°, dots about 1/250 of frame width, 1 px misregistration. Convert to low-contrast phosphor-green monochrome, dots still clearly visible: film base #1b2320, frame gaps #0c110f, highlights no brighter than #a0dcaf. Only the story's one hero keeps its colour, whole figure (e.g. #D97757), screened and equally low-contrast; every light source turns green. Scan lines every 3 px, a faint scan bar every 4 s, a lamp hot-spot, dust, a hair, a light rounded hood vignette (outer ~5%), a small monospace fiche index. Scene changes slide the fiche sideways past a dark gap (0.5 s); slow push-ins. Avoid: newspaper layout, colour leaking, hard cuts.",
   "prompt_zh": "2001 年報紙彩色網點，放在圖書館縮微膠片閱讀機上看。招牌鏡頭：圖片本身鋪滿畫面，不要報頭和文字欄；圖裡的線條和字（招牌、標籤）保持實線。四色網點角度 15°、75°、0°、45°，網點約為畫面寬度的 1/250，套色錯 1 像素。整體轉成低反差熒光綠單色，網點依然清楚可見：片基 #1b2320，幀間隙 #0c110f，高光不亮過 #a0dcaf。只有故事的主角整個人保留原色（如 #D97757），照樣帶網點，反差一樣低；光源一律變綠。每 3 像素一條掃描線，每 4 秒滾過一道淡掃描帶，一塊柔和燈斑，玻璃上有灰和一根頭髮，圓角遮光罩只輕壓外圈約 5%，一行小等寬膠片編號。換場把膠片橫向滑過暗色幀間隙（0.5 秒）；鏡頭內慢推。避免：報紙版面、顏色外漏、硬切。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Wide on the basement newsroom: reporters round paper-buried desks under fluorescent panels, Clawd in front with a press badge and notepad; slow pull-back.",
     "zh": "地下編輯部全景：記者圍著堆滿紙的桌子，頭頂是熒光燈格柵，Clawd 站在前面，掛著工作證、拿著速記本；鏡頭慢慢拉開。"
    },
    {
     "cam": "list",
     "sec": 0.8,
     "en": "The fiche slides sideways to the next frame: top-down on a printed list of priests, a toy-sized Clawd pushing a giant highlighter down the lines while the camera drifts down.",
     "zh": "膠片橫向滑到下一幀：俯拍打印的神父名單，玩具大小的 Clawd 推著一支大熒光筆一行行往下劃，鏡頭跟著往下移。"
    },
    {
     "cam": "headline",
     "sec": 0.9,
     "en": "Another slide to the loading dock: medium close-up of Clawd beside the front page headline \"Church allowed abuse by priest for years\", slow push-in.",
     "zh": "再滑到印刷廠碼頭：中近景，Clawd 站在頭版旁，標題是「Church allowed abuse by priest for years」，鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays a Spotlight reporter: a staff badge on a lanyard, a notepad, later a highlighter. Three frames of fiche, each joined by the reader's sideways transport instead of a hard cut, landing on the front page as the last beat.",
   "direction_zh": "Clawd 扮 Spotlight 小組的記者：掛繩工作證、速記本，後面換成熒光筆。三幀縮微膠片，銜接不用硬切，而是閱讀機裡膠片的橫向滑動，最後一拍落在頭版上。",
   "refs": [
    "Tom McCarthy, Spotlight (2015)",
    "Masanobu Takayanagi (cinematography)",
    "The Boston Globe front page, 6 January 2002",
    "Library microfiche readers"
   ],
   "refs_zh": [
    "Tom McCarthy《聚焦》（2015）",
    "Masanobu Takayanagi（攝影）",
    "《波士頓環球報》頭版，2002 年 1 月 6 日",
    "圖書館縮微膠片閱讀機"
   ]
  },
  {
   "no": 89,
   "year": "2016",
   "title": "Moonlight",
   "zh": "月光男孩",
   "chapter": "C9",
   "t0": 263.75,
   "dur": 2.5,
   "frame_sec": 265.66,
   "style_en": "Moonlight-Blue Oil Portraiture",
   "style_zh": "月光藍調油畫肖像",
   "blend_en": [
    "Oil portrait brushwork",
    "Teal / magenta / violet duotones",
    "Split-level waterline camera"
   ],
   "blend_zh": [
    "油畫肖像筆觸",
    "青綠 / 品紅 / 藍紫雙色調",
    "半水上半水下的機位"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Painted oil portraiture in saturated teal, magenta and moon-blue, with sculpted heads repainted in form-following strokes. It takes the film's title line, \"in moonlight black boys look blue\", literally.",
   "desc_zh": "飽滿的青綠、品紅和月光藍油畫肖像，雕出來的頭像再用順著形體的筆觸重新畫一遍。直接照著片名那句「月光下，黑人男孩看起來是藍色的」來畫。",
   "prompt_en": "Night oil portraiture: smooth volumes repainted in two passes of short, low-contrast (±8% value) form-following strokes: broad (1/60 of frame width) on water, sky and cloth, fine (1/150) on faces, which stay smooth. Palette by role: sky, sea and far land mid blue-violet #32377a, about 60% of the frame; moonlit planes and sand pale lavender-blue; teal #128a91 in water and lit sides; magenta #7a2f86 rim; deepest shadows #07071c. Any skin takes blue top planes and a wet highlight, eyes open and lit. Default night: one key, a full moon with a broken glitter path on water; magenta only as a soft rim from a distant glow; other small light sources stay cyan-white points. Grain ±3%. Signature shot: the figure calm, ~2/3 of frame height. Slow push-ins. Reference: Barry Jenkins, *Moonlight* (2016). Avoid: coarse dabs, small dark statue eyes, a murky frame.",
   "prompt_zh": "夜色油畫肖像。平滑實心體積上，順著形體用兩遍短筆觸重畫，筆觸反差小（明度 ±8%）：海、天、衣服用寬筆，約為畫面寬度的 1/60；臉用細筆 1/150，保持平滑。按用途分色：天、海、遠處陸地用中等明度的藍紫 #32377a，約佔畫面六成；受月光的面和沙地提亮成淡薰衣草藍；青綠 #128a91 用在水裡和受光一側；輪廓光用品紅 #7a2f86；最深暗部 #07071c。任何膚色頂面都受藍光、帶溼亮高光，眼睛睜開有光。默認夜晚，唯一主光是滿月，水面鋪出碎光；品紅只是遠處光源的柔和輪廓光；其他小光源只是一小點青白光。顆粒 ±3%。招牌鏡頭：人物平靜，約佔畫高三分之二。慢推。參照巴里·詹金斯《月光男孩》（2016）。避免：粗塊筆觸、石膏像小黑眼、發悶的近黑畫面。",
   "shots": [
    {
     "cam": "swim",
     "sec": 0.8,
     "en": "Split-level shot on the waterline of a turquoise Miami sea: a man stands chest-deep and holds Clawd up on his palm, his hand visible under the surface; slow push-in.",
     "zh": "貼著碧綠海面的半水上半水下鏡頭：一個男人站在齊胸深的水裡，用手掌託著 Clawd，水下能看見他的手；鏡頭慢推。"
    },
    {
     "cam": "chapters",
     "sec": 0.8,
     "en": "Cut to three painted portraits side by side in teal, magenta and violet; they slide into a single wedge collage as the camera reframes, with Clawd standing in the teal panel.",
     "zh": "切到並排的三張油畫肖像，青綠、品紅、藍紫各一張；鏡頭重新取景，三張臉滑拼成一個楔形拼貼，Clawd 站在青綠那一塊裡。"
    },
    {
     "cam": "beach",
     "sec": 0.9,
     "en": "Cut to the moonlit beach: two-shot of Kevin and Clawd sitting on the blue sand, full moon upper right, surf breaking; slow push-in.",
     "zh": "切到月光下的海灘：凱文和 Clawd 並排坐在藍色沙灘上的雙人鏡頭，滿月在右上，浪花拍岸；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Little with no costume: held on the waterline in the swimming lesson, standing among the three faces, then sitting on the sand beside Kevin. Three chapters in three hard cuts; the sea and beach shots push in slowly so the stillness carries.",
   "direction_zh": "Clawd 扮小喀戎，不穿戲服：先在游泳課上被託在水面，再站在三張臉之間，最後坐在凱文身邊的沙灘上。三個章節三個鏡頭硬切；海里和海灘兩個鏡頭都慢慢推近，讓安靜延續下去。",
   "refs": [
    "Barry Jenkins, Moonlight (2016)",
    "James Laxton (cinematography)",
    "Moonlight (2016) three-face poster"
   ],
   "refs_zh": [
    "Barry Jenkins《月光男孩》（2016）",
    "James Laxton（攝影）",
    "《月光男孩》三張臉海報（2016）"
   ]
  },
  {
   "no": 90,
   "year": "2017",
   "title": "The Shape of Water",
   "zh": "水形物語",
   "chapter": "C9",
   "t0": 266.25,
   "dur": 2.5,
   "frame_sec": 266.4,
   "style_en": "3D Underwater Teal Caustics",
   "style_zh": "3D 水下青綠焦散",
   "blend_en": [
    "Real-time 3D (three.js)",
    "Projected caustics and volumetric light shafts",
    "Dan Laustsen teal-and-gold grade"
   ],
   "blend_zh": [
    "實時 3D（three.js）",
    "投射焦散與體積光束",
    "Dan Laustsen 的青綠配暖金調色"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A flooded 1960s bathroom and a lab tank in real-time 3D, soaked in teal with moving caustics, light shafts from above, bubbles and warm practical lamps. Del Toro's film lives in that green-blue water, so the whole segment is shot inside it.",
   "desc_zh": "實時 3D 的被淹浴室和實驗室水箱，整片浸在青綠裡：流動的焦散、從上方落下的光束、氣泡和幾盞暖色燈。德爾·託羅這部片就泡在這種水裡，所以整段在水中拍。",
   "prompt_en": "Real-time 3D, fully under water (land subjects sink into a flooded room or sunken place), in teal: background #041414, hemisphere light #5fb3a6 above and #0c2a24 below; teal fog, reds fading first with distance. A strong source above the surface projects moving caustics: bright cells about 1/20 of frame width on near surfaces, sliding over floor, walls and the subject. Shafts fan down; edges stay dark. Bubbles, motes, the rippled surface from below. Warm gold on 1–3 practicals, at least one large (a lit window or lamp ~1/10 of frame width), plus cyan bioluminescence. Smooth-shaded models, ambient occlusion, shallow focus, modest bloom, grain ±3%. Signature shot: low angle looking up, the subject half the frame height, off-centre beside the light; slow push-ins. Reference: Guillermo del Toro, *The Shape of Water* (2017). Avoid: flat water, caustics as sky stripes, tiny warm accents.",
   "prompt_zh": "實時 3D，全在水下（陸上題材就沉進淹水的屋子或水下遺蹟），泡在青綠裡：背景 #041414，半球光上方 #5fb3a6、下方 #0c2a24，青綠霧，紅色隨距離最先消失。水面上方一個強光源投下流動焦散：近處表面上的亮格子約為畫面寬度的 1/20，滑過地面、牆面和主體。光柱向下散開，畫面四邊保持暗。氣泡、微粒、從下仰看的波紋水面。暖金色給一到三處實際燈光，至少一處要大（亮窗或燈，約為畫面寬度的 1/10），加青色生物熒光。平滑著色，環境光遮蔽、淺景深、適度輝光、顆粒（±3%）。招牌鏡頭：低機位仰拍，主體約佔畫面高度一半，偏在光源一側；慢推。參照吉爾莫·德爾·託羅《水形物語》（2017）。避免：平板的水、焦散畫成天上的條紋、暖色點綴太小。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.9,
     "en": "Low-angle wide inside the flooded bathroom: the amphibian man holds Clawd in an embrace under the light shafts, a red shoe sinking; slow push-in.",
     "zh": "被淹浴室裡的低機位全景：兩棲人在光束下抱著 Clawd，一隻紅鞋在下沉；鏡頭慢推。"
    },
    {
     "cam": "embrace",
     "sec": 0.5,
     "en": "Cut to a close-up of the faces: his crest and gills against Clawd's corner, the red ribbon bow, bubbles rising; easing in.",
     "zh": "切到臉部近景：他的頭冠和鰓貼著 Clawd 的一角，紅色髮帶蝴蝶結，氣泡上升；鏡頭緩緩推近。"
    },
    {
     "cam": "tank",
     "sec": 0.6,
     "en": "Cut to the lab: medium shot of Clawd in front of the glowing tank holding a boiled egg, reaching back to lay its hand on the glass; slow push-in.",
     "zh": "切到實驗室：中景，Clawd 站在發光的水箱前，手裡拿著白煮蛋，向後伸手貼上玻璃；鏡頭慢推。"
    },
    {
     "cam": "glass",
     "sec": 0.4,
     "en": "Cut to a close-up of the two hands meeting through the glass as a cyan glow blooms where they touch.",
     "zh": "切到特寫：兩隻手隔著玻璃相貼，接觸處亮起一團青光。"
    }
   ],
   "direction_en": "Clawd plays Elisa with a deep-red velvet ribbon and bow, later a boiled egg in hand. Four cuts in 2.5 seconds, a steady 1.25× pace: the embrace under the light, the faces, the tank, then the hands, with the cyan glow on the touch as the closing beat.",
   "direction_zh": "Clawd 扮埃莉莎，頭上一條深紅絲絨髮帶和蝴蝶結，後面手裡拿一個白煮蛋。2.5 秒四刀，節奏穩定在 1.25 倍：光束下的擁抱、貼著的臉、水箱，最後是兩隻手，接觸處亮起青光作為收尾的一拍。",
   "refs": [
    "Guillermo del Toro, The Shape of Water (2017)",
    "Dan Laustsen (cinematography)",
    "Paul D. Austerberry (production design)",
    "The Shape of Water (2017) poster"
   ],
   "refs_zh": [
    "Guillermo del Toro《水形物語》（2017）",
    "Dan Laustsen（攝影）",
    "Paul D. Austerberry（美術設計）",
    "《水形物語》海報（2017）"
   ]
  },
  {
   "no": 91,
   "year": "2018",
   "title": "Green Book",
   "zh": "綠皮書",
   "chapter": "C9",
   "t0": 268.75,
   "dur": 2.5,
   "frame_sec": 268.9,
   "style_en": "1960s Linen Postcard",
   "style_zh": "60 年代亞麻紋明信片",
   "blend_en": [
    "Curt Teich linen postcard",
    "\"Greetings from\" large-letter type",
    "Airbrushed hand colouring",
    "Offset-litho misregistration"
   ],
   "blend_zh": [
    "Curt Teich 亞麻紋明信片",
    "「Greetings from」大字母",
    "噴槍手工上色",
    "膠印套色錯位"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A \"Greetings from the Deep South\" linen postcard that comes alive: woven paper texture, airbrushed saturated colour, chrome sparkles. The film is a 1962 road trip through the South, the same roads these cards sold to tourists.",
   "desc_zh": "一張「南方問候」亞麻紋明信片活了過來：布紋紙、噴槍上的飽和色、鍍鉻上的星形閃光。影片是 1962 年穿越美國南方的公路旅行，走的正是這種明信片上的路。",
   "prompt_en": "A 1950s–60s linen postcard, Curt Teich manner. Linen-weave card: ink only on raised threads, a fine crosshatch about 1/300 of frame width, white specks in the hollows. Saturated hand-separated colour, airbrush blends: sky blue #3fa0dc, grass green #4fae57, pink #f08cb0, teal #2fb5b8 for the main object or water, cream card #f6e4b8 for paper and border. The main object large, side-on, about half the card's height. Star glints on shiny surfaces; registration off 1–2 px. Big navy 3D block letters with white outlines across the top third spell the place or title (invent one if needed), a small scene in each letter, a red ribbon banner above. Open on the card on a desk, push in until it fills the frame and comes alive (water, figures move), then track sideways. Avoid: weave-less gradients, greyish colour, photographic perspective.",
   "prompt_zh": "五六十年代亞麻紋明信片，柯特·泰希出版社那一路。平紋布紋卡紙：油墨只落在凸起的經緯上，形成約為畫面寬度 1/300 的細格紋，凹處露白點。手工分色的飽和色，噴槍柔和過渡：天藍 #3fa0dc、草綠 #4fae57、粉紅 #f08cb0，主體物或水面用青綠 #2fb5b8，奶油卡紙 #f6e4b8 作底色和白邊。主體物要大，正側面，約佔卡片高度一半。亮面加四角星閃光；套色錯位 1–2 像素。藏青立體大字帶白描邊，橫在卡片上三分之一，寫地名或片名（沒有就按題材編一個），每個字母裡嵌一小幅風景，上方配紅飄帶。開場明信片放在桌上，推進到滿屏後畫面活過來（水在動、人在走），再側向橫移。避免：沒有布紋的漸變、發灰的顏色、照片式透視。",
   "shots": [
    {
     "cam": "into",
     "sec": 1.9,
     "en": "One continuous move: the postcard on a motel desk beside a Green Book and a room key; the camera pushes into the card until the picture comes alive, the teal Cadillac pulls away and the camera pulls back into a side-on tracking shot of Clawd at the wheel with Dr. Shirley in the back.",
     "zh": "一個連續運鏡：汽車旅館書桌上的明信片，旁邊是綠皮書和房門鑰匙；鏡頭一路推進明信片，畫面活過來，青綠色凱迪拉克開動，鏡頭往後拉開，變成側面跟拍，Clawd 握著方向盤，雪利博士坐在後座。"
    },
    {
     "cam": "piano",
     "sec": 0.6,
     "en": "One cut to the concert hall: wide on Dr. Shirley at the grand piano with his trio under red velvet curtains, Clawd standing at the wing watching; slight push-in.",
     "zh": "唯一一刀切到音樂廳：全景，雪利博士和他的三重奏在紅絲絨幕前演奏三角鋼琴，Clawd 站在側幕邊看；鏡頭輕推。"
    }
   ],
   "direction_en": "Clawd plays Tony: a slicked black pompadour, short sky-blue sleeves, a lit cigarette, one hand on the wheel. The push into the postcard carries us into the road without a cut; the single cut lands on the concert hall, where Dr. Shirley plays and Clawd watches from the wing.",
   "direction_zh": "Clawd 扮託尼：油亮的黑色大背頭、淺藍短袖口、一支點著的煙，一手握方向盤。推進明信片的運鏡直接帶進公路，不切；唯一的一刀落在音樂廳，雪利博士彈琴，Clawd 在側幕邊看。",
   "refs": [
    "Peter Farrelly, Green Book (2018)",
    "Sean Porter (cinematography)",
    "Curt Teich & Co. linen postcards (1931–59)",
    "The Negro Motorist Green Book (1962)"
   ],
   "refs_zh": [
    "Peter Farrelly《綠皮書》（2018）",
    "Sean Porter（攝影）",
    "Curt Teich & Co. 亞麻紋明信片（1931–59）",
    "《黑人駕駛者綠皮書》（1962）"
   ]
  },
  {
   "no": 92,
   "year": "2019",
   "title": "Parasite",
   "zh": "寄生蟲",
   "chapter": "C9",
   "t0": 271.25,
   "dur": 5.0,
   "frame_sec": 271.55,
   "style_en": "Architectural Section Axonometric",
   "style_zh": "建築剖面軸測圖",
   "blend_en": [
    "Dimetric section drawing",
    "Architectural poché and scale figures",
    "Rainy-night colour grade"
   ],
   "blend_zh": [
    "二等角剖面軸測",
    "建築剖切填充與比例人",
    "雨夜調色"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "One architectural section through a Seoul hillside: the glass house on top, a hidden bunker beneath, stairs down to a flooding half-basement, in fine lines and soft material colours. Parasite is built on that vertical class divide, so one drawing holds the film.",
   "desc_zh": "一張剖開首爾山坡的建築剖面圖：山頂的玻璃豪宅、地下的秘密掩體、一路通到被淹的半地下室，細線、柔和的材質色。《寄生蟲》建在這種上下的階級落差上，一張圖裝下整部片。",
   "prompt_en": "Vector section axonometric, low dimetric view: the cut face lies along the near-flat 7° axis, facing us, depth along the 42° axis at half scale; roof and near walls cut away to show the rooms. Cut through the subject's place (a house, a tower, a ship, a hillside). Poché on cut faces: dark concrete with aggregate, earth hatched at 45° with stones. 1 px dark-grey lines at every zoom. Default daylight under a pale sky: concrete #b3ada2, oak #d6b58a, charcoal #3e4146, pine #3f6b3e, white walls, green lawn, translucent blue water. Furnished rooms, simple scale figures. Night or other low light is a variation: multiply 30–40% moonlit blue, lit rooms painted back warm. Crane slowly framing 2–3 rooms along one continuous path; end on the whole drawing at ~80% of the frame. Avoid: 30° isometric, thick outlines, cuts between levels, a small drawing.",
   "prompt_zh": "矢量建築剖面軸測圖，用低角度二等角視圖：剖切面沿接近水平的 7° 軸正對觀眾，進深沿 42° 軸、按一半縮短；屋頂和近側牆剖掉，露出房間。剖切穿過主體所在之處（房子、塔、船、山坡）。切面填塗黑：深色混凝土帶骨料，土層畫 45° 斜線夾小石塊。任何縮放都是 1 像素深灰線。默認白天、淡色天空：混凝土 #b3ada2、橡木 #d6b58a、炭灰 #3e4146、松綠 #3f6b3e，白牆、綠草坪、半透明藍水。房間配傢俱和簡潔的小比例人。夜景或其他暗光只是變體：疊乘三到四成月光藍，亮燈的房間塗回暖色。鏡頭沿剖面慢慢升降，框住兩三個房間，跟主體走一條不斷的路線，最後停在佔畫面約八成的整張圖上。避免：30° 等軸測、粗卡通描邊、樓層間切鏡頭、圖太小。",
   "shots": [
    {
     "cam": "still",
     "sec": 0.8,
     "en": "Daytime section of the glass house and its striped lawn party: Clawd stands in the garden doorway holding the scholar's stone over its head; slow push-in.",
     "zh": "白天的玻璃豪宅剖面和條紋草坪上的派對：Clawd 站在花園門口，雙手把山水石舉過頭頂；鏡頭慢慢推近。"
    },
    {
     "cam": "house",
     "sec": 1.3,
     "en": "Cut to the stormy night: the Parks' living room with Clawd hiding by the coffee table, then the camera cranes down through the floor slab and the basement to the bunker, where the lights blink Morse.",
     "zh": "切到暴雨夜：樸家客廳，Clawd 躲在茶几邊；鏡頭像升降機一樣往下，穿過樓板和地下室，落到掩體，燈在按摩斯碼閃。"
    },
    {
     "cam": "descent",
     "sec": 2.9,
     "en": "Cut to one continuous descent in the rain: the camera follows Clawd, the stone held over its head, from the gate down the long flights, through a tunnel under the road, into the low town and the flooding half-basement, then cranes out to the whole section, the house on top and the flood at the bottom.",
     "zh": "切到雨中一路往下的長鏡頭：鏡頭跟著頭頂山水石的 Clawd 從大門走下一段段長臺階，穿過馬路底下的隧道，進到低處的街巷和正在被淹的半地下室，再升起拉開成整張剖面，豪宅在頂上，淹水在最底下。"
    }
   ],
   "direction_en": "Clawd plays Ki-woo, carrying the scholar's stone the whole way: over its head on the lawn, crouched by the table in the storm, carrying it down the hill. Two cuts only; inside each shot the camera travels the section vertically so rich and poor share a frame, and the film's 12 beats end on the full drawing.",
   "direction_zh": "Clawd 扮基宇，山水石一路不離手：在草坪上舉過頭頂，暴雨夜躲在茶几邊，再一路頂著它下山。全段只切兩刀；每個鏡頭裡鏡頭都沿剖面上下走，讓富人和窮人在同一個畫面裡，12 拍最後停在整張剖面上。",
   "refs": [
    "Bong Joon-ho, Parasite (2019)",
    "Hong Kyung-pyo (cinematography)",
    "Lee Ha-jun (production design)",
    "Parasite (2019) poster",
    "Architectural section axonometrics"
   ],
   "refs_zh": [
    "奉俊昊《寄生蟲》（2019）",
    "洪坰杓（攝影）",
    "Lee Ha-jun（美術設計）",
    "《寄生蟲》海報（2019）",
    "建築剖面軸測圖"
   ]
  },
  {
   "no": 93,
   "year": "2020",
   "title": "Nomadland",
   "zh": "無依之地",
   "chapter": "C10",
   "t0": 276.25,
   "dur": 2.5,
   "frame_sec": 278.16,
   "style_en": "Magic-Hour Soft Pastel",
   "style_zh": "魔幻時刻色粉畫",
   "blend_en": [
    "Soft pastel on toned paper",
    "Magic-hour dusk palette",
    "Paper-tooth texture"
   ],
   "blend_zh": [
    "有色紙上的軟色粉",
    "魔幻時刻的黃昏配色",
    "紙面顆粒肌理"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Chalky soft-pastel strokes on grey-violet paper, the sky turning from gold to rose to violet over a wide plain with an old camper van. Nomadland lives in that long, empty horizon at dusk, and pastel keeps it soft and quiet.",
   "desc_zh": "灰紫色紙上的粉質色粉筆觸，一片開闊的平原和一輛舊房車，天空從金黃變成玫瑰色再到紫色。《無依之地》就活在黃昏那條又長又空的地平線上，色粉讓它安靜、柔和。",
   "prompt_en": "Soft pastel on grey-violet toned paper #7d7079, tooth showing everywhere as fine speckle (±8% brightness). Sky blended smooth, a few long thin cloud bands. The land carries the texture: dry-grass ochre (gold dulled toward the paper grey) under fine upright grass strokes (1/400 of frame width wide, 1/40 long, ±15% value), dense in the foreground, thinning toward the horizon. Objects get soft diagonal hatching, broken edges. Palette by role: gold #f6cf7a at the horizon, rose #c9738a in the lower sky, violet #4b3f78 for high sky, clouds and far land, dusk blue #2b2d5c for shadows. A long horizon near mid-frame over open land or water; the subject mid-sized in the lower half. The sky drifts gold to rose to violet; lamps brighten as it darkens. One slow pan with a light push-in. Avoid: oily impasto, sharp edges, bare smooth ground.",
   "prompt_zh": "灰紫色紙 #7d7079 上的軟色粉畫，紙的齒紋處處透出來，成細密顆粒（亮度 ±8%）。天空揉開抹平，只有幾條細長的橫向雲帶。質感集中在地面：乾草赭色（金黃往紙的灰色壓暗），上面鋪滿直立的細草筆，每筆寬約為畫面寬度的 1/400、長約 1/40，明度起伏 ±15%，前景密，往地平線漸稀。物體用柔和的斜向排筆，邊緣軟而碎。按用途分色：地平線金黃 #f6cf7a，下層天空玫瑰 #c9738a，高空、雲帶和遠處陸地用紫 #4b3f78，暗部用暮藍 #2b2d5c。地平線長，在畫面中線附近，下面是原野或水面；主體和身邊的東西中等大小，放在下半幅。天色從金黃轉玫瑰再轉紫，越暗暖燈越亮。一個緩慢橫移帶輕推的鏡頭。避免：油畫厚塗感、銳利數碼邊、光禿平滑的地面。",
   "shots": [
    {
     "cam": "oner",
     "sec": 2.5,
     "en": "One continuous wide shot: Clawd walks in front of an old white camper van with its side door open while the camera travels with it and pushes in slightly, the plain and buttes sliding by; it reaches a striped rug by a lantern, sits down and looks out at the horizon as the sky turns from gold to violet.",
     "zh": "一鏡到底的全景：Clawd 從一輛側門敞開的白色舊房車前走過，鏡頭跟著它橫移並輕輕推近，平原和遠處的孤丘緩緩滑過；它走到露營燈旁的條紋毯子上坐下，望向地平線，天色從金黃變成紫色。"
    }
   ],
   "direction_en": "Clawd plays Fern with no props, just a walk, a sit and a look. One uncut shot: the walk eases to a stop on the rug, it sits, then lifts its eyes to the horizon while the lantern and the van's doorway glow warmer as the dusk falls.",
   "direction_zh": "Clawd 扮弗恩，不拿道具，只有走、坐、看三個動作。整段一刀不剪：走路慢慢停在毯子上，坐下，再抬眼望向地平線；天色暗下來，露營燈和房車門口的光越來越暖。",
   "refs": [
    "Chloé Zhao, Nomadland (2020)",
    "Joshua James Richards (cinematography)"
   ],
   "refs_zh": [
    "趙婷《無依之地》（2020）",
    "Joshua James Richards（攝影）"
   ]
  },
  {
   "no": 94,
   "year": "2021",
   "title": "CODA",
   "zh": "健聽女孩",
   "chapter": "C10",
   "t0": 278.75,
   "dur": 2.5,
   "frame_sec": 279.34,
   "style_en": "Scrimshaw on a Whale Tooth",
   "style_zh": "鯨牙骨雕（Scrimshaw）",
   "blend_en": [
    "19th-century whaler's scrimshaw",
    "Burin hatching and stipple",
    "Tabletop product lighting"
   ],
   "blend_zh": [
    "19 世紀捕鯨水手鯨骨雕",
    "刻刀排線與點刻",
    "桌面靜物產品布光"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "A polished sperm-whale tooth on an oak table, engraved in fine black lines with touches of red, blue and yellow: a Gloucester fishing boat, the family hauling nets, Ruby singing at the bow. It is the folk art of CODA's own New England coast.",
   "desc_zh": "橡木桌上一顆拋光的抹香鯨牙，刻著細密的黑線，點綴紅、藍、黃：格洛斯特的漁船、收網的一家人、船頭唱歌的魯比。這是影片所在的新英格蘭海岸自己的民間工藝。",
   "prompt_en": "Scrimshaw: 19th-century sailor's engraving on a whale tooth. Signature shot: a broad, flat-sided tooth lies horizontal on an oak table, about 85% of frame width and 70% of its height; ink bottle, jackknife beside. Engrave in near-black #17110c: needle hatching (lines 1/800 of frame width, spaced about 1/500), swelling outlines, stipple. Lines cover ~70% of the face, dense in sea, subject and land, sky lightly hatched; seas as rows of stylised waves. The hero is large (~1/3 of the tooth's height), coloured; otherwise red #9a2a22, blue #2b4a78, yellow #e9b526 only as small touches. Warm ivory, growth bands, scratches, honey tip. Folk layout: rope border, ribbon motto, rayed sun, motifs from the subject's world. Shade the edges, one gloss streak; don't warp the picture. Push in, then pan slowly as waves animate. Avoid: thick lines, solid fills, a slim horn.",
   "prompt_zh": "19 世紀水手在拋光鯨牙上的針刻畫。招牌鏡頭：寬而扁的鯨牙橫躺在橡木桌上，佔畫面寬約 85%、高約 70%，墨水瓶和折刀在邊上。用近黑墨 #17110c 刻：細針排線（線寬約畫面寬的 1/800，線距約 1/500）、粗細起伏的輪廓線和點刻。刻線覆蓋牙面約七成：海、主體和陸地密，天空輕排線；海是成排的程式化波浪。主角要大（約佔牙面高三分之一）並上色；此外紅 #9a2a22、藍 #2b4a78、黃 #e9b526 只作點綴。暖象牙底、淡生長紋、拋光劃痕、牙尖蜜黃。民間樸拙構圖：繩紋邊框、飄帶題詞、放射光芒的太陽、主體世界的圖案。弧度靠邊緣明暗和一道窗戶反光，畫面不變形。先拍整顆牙，推進後慢慢橫移，波浪隨之動起來。避免：粗線、實色填塗、細長的牛角形。",
   "shots": [
    {
     "cam": "tooth",
     "sec": 0.8,
     "en": "Wide on the engraved whale tooth lying on an oak table with a jackknife and an ink bottle; the camera pushes in until the tooth fills the frame.",
     "zh": "全景：刻好的鯨牙放在橡木桌上，旁邊是折刀和墨水瓶；鏡頭推進，直到鯨牙鋪滿畫面。"
    },
    {
     "cam": "boat",
     "sec": 1.7,
     "en": "Cut into the engraving: medium-wide on the fishing boat, panning slowly left to right with a slight push-in, from Frank signing I-love-you while the net is hauled to Clawd singing at the bow, a stave of notes unrolling from its raised arm.",
     "zh": "切進刻畫：漁船的中全景，鏡頭從左往右慢慢橫移並輕推，從一邊收網一邊打出「我愛你」手語的弗蘭克，移到船頭唱歌的 Clawd，一行五線譜從它舉起的手臂上展開。"
    }
   ],
   "direction_en": "Clawd plays Ruby in a yellow sou'wester, standing on a fish crate at the bow. One cut from the object into the picture, then a single gentle pan carries the eye from the father's sign to the song as the stave of notes unrolls.",
   "direction_zh": "Clawd 扮魯比，戴一頂黃色防水漁夫帽，站在船頭的魚箱上。只有一刀：從物件切進刻畫，然後一次輕輕的橫移，把視線從父親的手語帶到歌聲上，五線譜跟著歌聲展開。",
   "refs": [
    "Siân Heder, CODA (2021)",
    "CODA (2021) poster",
    "New Bedford Whaling Museum scrimshaw collection"
   ],
   "refs_zh": [
    "Siân Heder《健聽女孩》（2021）",
    "《健聽女孩》海報（2021）",
    "New Bedford Whaling Museum 的鯨骨雕藏品"
   ]
  },
  {
   "no": 95,
   "year": "2022",
   "title": "Everything Everywhere All at Once",
   "zh": "瞬息全宇宙",
   "chapter": "C10",
   "t0": 281.25,
   "dur": 6.667,
   "frame_sec": 287.517,
   "style_en": "Ray-Marched Multiverse Jump-Cuts",
   "style_zh": "光線步進多元宇宙跳切",
   "blend_en": [
    "GLSL ray-marched universes",
    "One look per universe (office realism, cosmic surreal, landscape, commercial)",
    "Googly-eye rainbow mandala"
   ],
   "blend_zh": [
    "GLSL 光線步進的多個宇宙",
    "一個宇宙一種畫法（寫實辦公室、超現實宇宙、風景、廣告）",
    "大眼睛彩虹曼陀羅"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "Four universes, each with its own look, all ray-marched in real time: a cold-green IRS office, a hot-dog-finger piano lit like an advert, a silent canyon of googly-eyed rocks, the Everything Bagel as a black hole. A googly eye jumps between them.",
   "desc_zh": "四個宇宙四種畫法，全部實時光線步進：冷綠的國稅局、廣告光下的熱狗手指鋼琴、貼大眼睛石頭的寂靜峽谷、變成黑洞的萬物貝果。像電影裡一樣，靠大眼睛貼紙在宇宙間跳轉。",
   "prompt_en": "Ray-marched real-time 3D multiverse montage: the subject jumps through 3–4 universes, each its own look, invented from its world, e.g. a realistic workplace under cold green fluorescents, densely dressed; a surreal cosmic version with a gravitational-lens halo; a silent wide landscape with white subtitles; a candy-pink product shot with pink-and-cyan rims. Each holds 2–4 s with its own grade. One link through all: a googly-eye sticker on the subject, about 1/10 of frame height. Transition, 0.5–0.8 s: push into the eye, smear, split RGB, then a rainbow ring of colour segments (#e5322d, #f7c928, #1fa39a, #2a6fc0, #e0478f) studded with googly eyes and pink beads blooms to ~80% of frame height and bursts to white. Signature frame: the ring around the subject; first jump at ~1 s. Reference: Daniels, *Everything Everywhere All at Once* (2022). Avoid: look-alike universes, a small plain ring.",
   "prompt_zh": "實時光線步進 3D 的多元宇宙蒙太奇：主體在三到四個宇宙之間跳轉，各有畫法，都從主體自己的世界變出來，例如：冷綠日光燈下的寫實工作場所，陳設很滿；帶引力透鏡光環的超現實宇宙；配白字幕的安靜曠野遠景；糖果粉背景、粉青輪廓光的廣告產品照。每個停 2–4 秒，各自調色。貫穿始終的銜接物：主體身上的一隻活動眼貼紙，約佔畫高十分之一。跳轉 0.5–0.8 秒：推進這隻眼睛，拖影、RGB 分離，再炸開一圈彩虹色塊環（#e5322d、#f7c928、#1fa39a、#2a6fc0、#e0478f），環上嵌滿活動眼和粉珠，擴到畫高約八成後白閃。招牌畫面：彩虹環圍著主體綻開；第一次跳轉在 1 秒左右。參照丹尼爾斯兄弟《瞬息全宇宙》（2022）。避免：宇宙都一個樣、環太小太素。",
   "shots": [
    {
     "cam": "irs",
     "sec": 0.8,
     "en": "Wide on the IRS office with receipts flying, the camera dollying down the aisle toward Clawd, who wears a googly eye on its forehead and a bum bag.",
     "zh": "國稅局辦公室全景，收據滿天飛，鏡頭沿過道推向 Clawd；它額頭貼著一隻大眼睛，腰上掛著腰包。"
    },
    {
     "cam": "deirdre",
     "sec": 0.6,
     "en": "Cut to the auditor at her steel desk piled with receipts, holding one up; slow push-in.",
     "zh": "切到審計員和她堆滿收據的鋼製辦公桌，她舉著一張收據；鏡頭慢推。"
    },
    {
     "cam": "eye",
     "sec": 0.4,
     "en": "Cut to Clawd, arms raised, as the camera pushes hard into the googly eye on its forehead and the verse-jump flash fires.",
     "zh": "切到舉起雙臂的 Clawd，鏡頭猛推進它額頭的大眼睛，跳宇宙的閃光炸開。"
    },
    {
     "cam": "hotdog",
     "sec": 0.5,
     "en": "The hot-dog-finger universe: wide on a glossy piano under candy-pink light, a hand of floppy hot-dog fingers on the keys, Clawd standing on the keys.",
     "zh": "熱狗手指宇宙：糖果粉光下的亮面鋼琴全景，一隻手的熱狗手指軟軟地癱在琴鍵上，Clawd 站在琴鍵上。"
    },
    {
     "cam": "hotdog",
     "sec": 0.5,
     "en": "Cut closer to Clawd's feet stomping the keys, little hot dogs on the ends of its arms.",
     "zh": "切近到 Clawd 的腳，一下下踩著琴鍵，兩臂末端也長出小熱狗。"
    },
    {
     "cam": "eyeHotdog",
     "sec": 0.4,
     "en": "Push into the googly eye again, and the next jump.",
     "zh": "再次推進大眼睛，接下一次跳宇宙。"
    },
    {
     "cam": "rocks",
     "sec": 1.0,
     "en": "Wide, still canyon rim: two rocks with googly eyes beside Clawd sitting quietly, subtitle \"We're all small and stupid.\"; the camera drifts slowly along the edge.",
     "zh": "寂靜峽谷邊的全景：兩塊貼著大眼睛的石頭，Clawd 安靜地坐在旁邊，字幕「We're all small and stupid.」；鏡頭沿崖邊慢慢漂移。"
    },
    {
     "cam": "bagel",
     "sec": 1.7,
     "en": "The Everything Bagel: Clawd looks up at the giant black bagel, then the camera pushes into its black-hole centre and through the event horizon as Clawd is pulled forward.",
     "zh": "萬物貝果：Clawd 仰望巨大的黑色貝果，鏡頭一路推進中間的黑洞，穿過視界，Clawd 被吸得往前傾。"
    },
    {
     "cam": "still",
     "sec": 0.6,
     "en": "Back in the office: Clawd flings its arms open as a rainbow mandala ring of googly eyes grows behind it; slight pull-back.",
     "zh": "回到辦公室：Clawd 張開雙臂，身後長出一圈帶大眼睛的彩虹曼陀羅環；鏡頭輕輕拉開。"
    }
   ],
   "direction_en": "Clawd plays Evelyn with a googly eye on its forehead and a bum bag. Each jump is a push into that eye followed by a smear, RGB split and white flash timed to the cut, then a different action per universe: standing, stomping piano keys, sitting with the rocks, being pulled into the bagel. It ends where it started, arms open in the mandala.",
   "direction_zh": "Clawd 扮秀蓮，額頭貼大眼睛、腰掛腰包。每次跳宇宙都是先推進那隻眼睛，再接拖影、RGB 分離和白閃，卡在切點上；每個宇宙一個不同的動作：站著、用腳踩琴鍵、陪石頭坐著、被吸進貝果。最後回到起點，在曼陀羅裡張開雙臂。",
   "refs": [
    "Daniels, Everything Everywhere All at Once (2022)",
    "Larkin Seiple (cinematography)",
    "Jason Kisvarday (production design)",
    "Everything Everywhere All at Once (2022) poster"
   ],
   "refs_zh": [
    "Daniels《瞬息全宇宙》（2022）",
    "Larkin Seiple（攝影）",
    "Jason Kisvarday（美術設計）",
    "《瞬息全宇宙》海報（2022）"
   ]
  },
  {
   "no": 96,
   "year": "2023",
   "title": "Oppenheimer",
   "zh": "奧本海默",
   "chapter": "C10",
   "t0": 287.917,
   "dur": 3.333,
   "frame_sec": 290.463,
   "style_en": "3D Particle Fireball, IMAX Grain",
   "style_zh": "3D 粒子火球 · IMAX 顆粒",
   "blend_en": [
    "Real-time 3D (three.js)",
    "GPU particle simulation",
    "IMAX 65 mm print grade",
    "Trinity test high-speed photographs"
   ],
   "blend_zh": [
    "實時 3D（three.js）",
    "GPU 粒子模擬",
    "IMAX 65mm 印片調色",
    "三位一體試驗高速照片"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "The Trinity test site before dawn rebuilt in real-time 3D, with a fireball of about 720,000 particles, quantum visions of orbits and waves, deep pre-dawn blue against orange-gold fire and IMAX-style grain. Oppenheimer is built on that one light.",
   "desc_zh": "用實時 3D 重建黎明前的三位一體試驗場：約 72 萬粒子的火球、軌道和波組成的量子幻象，深藍夜色對橙金火光，加 IMAX 式顆粒。《奧本海默》就圍著這一道光展開。",
   "prompt_en": "Real-time 3D night lit by one huge particle event: a ~500k-particle fireball (or flare, eruption, wildfire) whose shape follows time: white flash (0.5 s), billowing dome by 1 s, a rolling toroid, a dust wall sweeping out. Right behind the subject like a halo, ~40% of the frame: white-gold core, bright orange-gold billows #ff9a50 with visible texture, black smoke only as thin veins and the top edge (under 15%). Its glow fills everything: warm #ffd8a0 on ground and cloud undersides, a hot rim on the subject, faces lit warm at half strength; long shadows toward camera. The rest is pre-dawn blue #2a3654 and dark earth #16120e. Clip only the core. IMAX grade: grain ±3%, warm halation, vignette, slight gate weave. Low wide angle, subject centred, slow push-ins. Reference: Christopher Nolan, *Oppenheimer* (2023). Avoid: a smooth CG ball, smoke-shrouded fire.",
   "prompt_zh": "實時 3D 夜景，主角光是一場巨大的粒子事件：幾十萬粒子的火球（或照明彈、火山噴發、山火），形狀隨時間走：白閃（0.5 秒），1 秒成翻滾的斑駁穹頂，再捲成環，塵牆外掃。在主體正後方像光環，約佔畫面四成：核心白金，大部分是有紋理的亮橙金火團 #ff9a50，黑煙只做細暗紋和頂邊，不超一成半。火光照亮全場：暖色 #ffd8a0 鋪滿地面和雲底，主體有熱輪廓光，臉上仍有半強度暖光；長影子朝鏡頭拖來，火星飄飛。其餘是黎明前的深藍 #2a3654 和暗土 #16120e。只讓核心過曝。IMAX 拷貝調色：細顆粒（±3%）、暖色光暈溢出、暗角、輕微片門晃動。低機位廣角，主體居中，慢推。參照克里斯托弗·諾蘭《奧本海默》（2023）。避免：光滑的 CG 光球、被黑煙裹住的火。",
   "shots": [
    {
     "cam": "tower",
     "sec": 0.6,
     "en": "Low-angle wide on the floodlit steel tower before dawn, the countdown beacon blinking, the camera slowly pushing in.",
     "zh": "黎明前低機位仰拍被探照燈照亮的鋼塔，倒計時的信號燈在閃，鏡頭慢推。"
    },
    {
     "cam": "gadget",
     "sec": 0.4,
     "en": "Cut to the bomb in its corrugated shack: the bolted sphere wrapped in cables under a warm work light; locked off.",
     "zh": "切到波紋鐵皮小屋裡的炸彈：纏滿電纜的螺栓球體，暖色工作燈；固定機位。"
    },
    {
     "cam": "particles",
     "sec": 0.4,
     "en": "Cut to the quantum vision on black: glowing orbits round a core, interference waves below, a star collapsing.",
     "zh": "切到黑底上的量子幻象：圍繞核心的發光軌道、下方的干涉波、一顆坍縮的恆星。"
    },
    {
     "cam": "watch",
     "sec": 0.8,
     "en": "A white flash, then the reverse shot: observers in hats hold welding glass to their eyes, lit by the fire, with Clawd in the middle in a porkpie hat and pipe; locked off.",
     "zh": "一道白閃，接反打：戴帽子的觀察者舉著焊接玻璃，臉被火光照亮，Clawd 戴平頂軟呢帽、拿著菸斗站在中間；固定機位。"
    },
    {
     "cam": "still",
     "sec": 1.0,
     "en": "Low-angle wide on Clawd standing in the road, the fireball rising behind it like a halo and embers drifting in the air; slow push-in.",
     "zh": "低機位全景：Clawd 站在路中間，身後的火球像光環一樣升起，火星在空中飄；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Oppenheimer with a camel porkpie hat and a briar pipe that smokes. Five hard-cut shots build the countdown: tower, device, vision, then the flash lands on the cut into the watchers, and the music keeps going while the fireball swells behind Clawd for the last second.",
   "direction_zh": "Clawd 扮奧本海默：一頂淺駝色平頂軟呢帽，手裡一隻冒煙的石楠菸斗。五個鏡頭硬切，壘出倒計時：鐵塔、裝置、幻象，白閃正好落在切進觀察者的那一刀上；音樂不停，最後一秒火球在 Clawd 身後膨脹。",
   "refs": [
    "Christopher Nolan, Oppenheimer (2023)",
    "Hoyte van Hoytema (IMAX cinematography)",
    "Berlyn Brixner, Trinity test photographs (1945)",
    "Oppenheimer (2023) poster"
   ],
   "refs_zh": [
    "Christopher Nolan《奧本海默》（2023）",
    "Hoyte van Hoytema（IMAX 攝影）",
    "Berlyn Brixner 的三位一體核試驗照片（1945）",
    "《奧本海默》海報（2023）"
   ]
  },
  {
   "no": 97,
   "year": "2024",
   "title": "Anora",
   "zh": "阿諾拉",
   "chapter": "C10",
   "t0": 291.25,
   "dur": 2.5,
   "frame_sec": 292.28,
   "style_en": "Snowy Neon Night",
   "style_zh": "雪夜霓虹",
   "blend_en": [
    "Neon tube signage",
    "Wet-ground reflections and snow",
    "35 mm night photography"
   ],
   "blend_zh": [
    "霓虹燈管招牌",
    "溼地面倒影與積雪",
    "35mm 夜景攝影"
   ],
   "dim": "2D",
   "render": "2D",
   "desc_en": "Glowing neon tubes in pink, cyan and orange, smeared into wet boardwalk planks and caught in falling snow, with bloom, bokeh and grain. Anora runs from Brighton Beach's Cyrillic neon to a Vegas wedding sign, so the whole segment is lit by tubes.",
   "desc_zh": "粉、青、橙的霓虹燈管發著光，倒影拖在溼棧道上，落進飄雪裡，加上輝光、虛焦光斑和顆粒。《阿諾拉》從布萊頓海灘的俄文霓虹走到維加斯的婚禮招牌，整段都用燈管照亮。",
   "prompt_en": "Photographic 2D neon night. Real tubes: glass tube, glow, bright tube, white-hot core, clips, dark jumper wires; rare flicker (every 5–10 s). Neon pink #ff4fa8, cyan #4fdcff, orange #ff9a2e, green #3dff9a plus warm sodium light over a deep purple-blue night #1e1838. Put neon where the subject's world allows (shopfronts, a harbour bar, its own building). Wet ground fills the lower quarter: signs stretch into long vertical reflections broken by plank gaps, paving joints or ripples; snow falls and drifts at the edges, tinted by the spill. The subject keeps a warm key on the face (a lamp, a window, its own light), narrow neon rims on both sides; the distance melts into bokeh. Bloom, vignette, grain ±3%. Short 2–3 s shots, new angles on one place, each a slow push-in. Reference: Sean Baker, *Anora* (2024). Avoid: flat neon lettering, strobing.",
   "prompt_zh": "照片感的 2D 霓虹夜景。招牌是真實燈管：玻璃管、輝光、亮管、白熱管芯，帶卡子和深色跳線；輕微起伏，很少抖一下（5–10 秒一次）。粉 #ff4fa8、青 #4fdcff、橙 #ff9a2e、綠 #3dff9a，加暖色鈉燈，壓在深紫藍夜色 #1e1838 上。霓虹放在主體世界裡說得通的地方（店面、港口酒吧、主體自己那棟樓）。畫面下四分之一留給溼地面：招牌拉成長長的豎向倒影，被木板縫、地磚縫或水紋打斷；雪在下，邊上積成雪堆，被溢光染色。主體臉上保留暖色主光（來自近處的燈、窗或它自己的燈），兩側各一條窄霓虹輪廓光；遠處虛成光斑。輝光、暗角、顆粒（±3%）。每個短鏡頭 2–3 秒，同一地點換角度，各自慢推。參照肖恩·貝克《阿諾拉》（2024）。避免：平塗彩字式霓虹、乾地面、頻閃。",
   "shots": [
    {
     "cam": "wheel",
     "sec": 0.6,
     "en": "Long-lens shot of the lit Ferris wheel and the parachute tower over the sea, a New Year firework bursting; slow push-in.",
     "zh": "長焦拍海邊亮燈的摩天輪和跳傘塔，一朵新年煙花炸開；鏡頭慢推。"
    },
    {
     "cam": "still",
     "sec": 0.7,
     "en": "Cut to the snowy boardwalk under Cyrillic neon shop signs: Clawd in a fur trapper hat and collar stands in front, Vanya laughing and waving beside it, the signs reflected in the wet planks; slow pull-back.",
     "zh": "切到下雪的棧道，旁邊一排俄文霓虹店招：戴毛皮護耳帽和毛領的 Clawd 站在前面，萬尼亞在它旁邊大笑揮手，招牌倒映在溼木板上；鏡頭慢慢拉開。"
    },
    {
     "cam": "chapelSign",
     "sec": 0.6,
     "en": "Cut to Las Vegas: the heart-and-arrow \"Wedding\" sign and the CHAPEL light box fill the frame next to a white chapel; slow push-in.",
     "zh": "切到拉斯維加斯：心形穿箭的「Wedding」招牌和 CHAPEL 燈箱鋪滿畫面，旁邊是白色小教堂；鏡頭慢推。"
    },
    {
     "cam": "snow",
     "sec": 0.6,
     "en": "Cut to the final scene inside a parked car: Clawd sits on the dashboard against a windshield where snow falls and settles, Igor at the wheel in the foreground; slow push-in.",
     "zh": "切到最後一場戲，停著的車裡：Clawd 坐在儀表臺上，背後擋風玻璃上的雪落下、積住，伊戈爾在前景握著方向盤；鏡頭慢推。"
    }
   ],
   "direction_en": "Clawd plays Ani in a cream fur trapper hat, a standing fur collar and a big hoop earring. Four short shots on the beat, each with a slight push or pull: fireworks, the boardwalk with Vanya, the wedding sign, then the quiet car with snow.",
   "direction_zh": "Clawd 扮阿諾拉：奶油色毛皮護耳帽、豎起的毛領、一隻大圓耳環。四個短鏡頭卡著拍子走，每個都帶一點推拉：煙花、和萬尼亞在棧道上、婚禮招牌，最後是安靜的車裡和落雪。",
   "refs": [
    "Sean Baker, Anora (2024)",
    "Drew Daniels (cinematography)",
    "Anora (2024) poster"
   ],
   "refs_zh": [
    "Sean Baker《阿諾拉》（2024）",
    "Drew Daniels（攝影）",
    "《阿諾拉》海報（2024）"
   ]
  },
  {
   "no": 98,
   "year": "2025",
   "title": "One Battle After Another",
   "zh": "一戰再戰",
   "chapter": "C10",
   "t0": 293.75,
   "dur": 5.0,
   "frame_sec": 297.57,
   "style_en": "3D Dip-Road Chase, Long Lens",
   "style_zh": "3D 起伏公路追車 · 長焦壓縮",
   "blend_en": [
    "Real-time 3D (three.js)",
    "Extreme telephoto compression",
    "Heat haze and road mirage",
    "VistaVision fine grain"
   ],
   "blend_zh": [
    "實時 3D（three.js）",
    "超長焦壓縮",
    "熱浪與路面蜃景",
    "VistaVision 細顆粒"
   ],
   "dim": "3D",
   "render": "3D",
   "desc_en": "A real-time 3D desert road that rises and falls like a roller coaster, three cars chasing over the dips, shot through extreme long lenses with heat haze, bleached sunlight and fine grain. It rebuilds the film's best-known sequence, the dip-road chase.",
   "desc_zh": "實時 3D 的沙漠公路，像過山車一樣一起一伏，三輛車翻著一道道坡追逐，用超長焦拍，帶熱浪、漂白的強光和細顆粒。復刻的是這部片最有名的段落：起伏公路追車。",
   "prompt_en": "Real-time 3D, bleached desert daylight. Signature shot (3–5 s): a straight road over rolling dips and crests at a 2–5° horizontal field of view, stacking dips into waves; the travelling subject sinks and reappears; sky a thin band at most. Then 1–2 s each, a low camera at a crest, a mount on the vehicle or rider. Palette: sky #7fb0e0, haze #ece4d2 only at the far horizon, pale sand #d2ae80 (never orange), hard sun #fff0d8 from high to one side, the main vehicle faded seafoam #86b5ad. Contrast: dark cracked asphalt, crisp shadows, dense green scrub, roadside posts. Default midday; at other hours keep hard sun. Heat shimmer and mirage grow with distance; dust on landings; vehicles leave the ground over crests. Grain ±2%. Reference: Paul Thomas Anderson, *One Battle After Another* (2025). Avoid: wide lenses, a washed-out frame.",
   "prompt_zh": "實時 3D，漂白般的沙漠日光。招牌鏡頭（3–5 秒）：一條筆直的路在連續起伏的坡谷上，水平視角 2–5°，讓坡谷疊成波浪，行進的主體沉下去又冒出來；構圖先保坡谷，天空最多留一條窄帶。再接各 1–2 秒的坡頂低機位、車載或騎手機位。配色：天空 #7fb0e0，霧氣 #ece4d2 只在最遠的地平線，淺沙色 #d2ae80（不能發橙），硬朗陽光 #fff0d8 從高處側打，主車是褪色海沫綠 #86b5ad。反差來自前景：開裂的深色瀝青、清晰陰影、茂密的綠灌木、路邊樁。默認正午，其他時段也保持硬光。熱浪扭曲和路面蜃景隨距離加重；落地揚塵；車過坡頂騰空、落地彈跳。大畫幅細顆粒（±2%）。參照保羅·托馬斯·安德森《一戰再戰》（2025）。避免：廣角、發白發灰的畫面、粘在路上的車。",
   "shots": [
    {
     "cam": "tele",
     "sec": 1.2,
     "en": "Extreme long-lens shot looking back down the road from far ahead: the dips stacked into waves, the three cars sinking and rising through them, heat shimmer on the asphalt.",
     "zh": "超長焦從遠處車隊前方往回看公路：起伏壓成一層層波浪，三輛車在波浪裡沉下去又冒出來，柏油路面上熱浪晃動。"
    },
    {
     "cam": "car",
     "sec": 0.8,
     "en": "Cut to a hood-mounted shot of Clawd at the wheel of the seafoam convertible, sunglasses pushed up, gripping the wheel then glancing up at the mirror.",
     "zh": "切到引擎蓋上的機位：Clawd 坐在海沫綠敞篷車的駕駛座，墨鏡推在頭頂，雙手握緊方向盤，然後抬眼看後視鏡。"
    },
    {
     "cam": "crest",
     "sec": 0.6,
     "en": "Cut to a low tripod on the shoulder at a crest: the convertible flies over the top toward the lens.",
     "zh": "切到坡頂路肩的低機位三腳架：敞篷車飛過坡頂，衝向鏡頭。"
    },
    {
     "cam": "teleBack",
     "sec": 1.1,
     "en": "Cut to the long lens again, now from behind the pack, the cars dipping out of sight and reappearing over the waves of road.",
     "zh": "再切回長焦，這次在車隊後方往前看，幾輛車在一道道起伏裡消失又出現。"
    },
    {
     "cam": "still",
     "sec": 1.3,
     "en": "Cut to a long-lens tracking shot from ahead: Clawd's convertible leaves the ground over a crest with the dark green and grey sedans closing in behind, lands, and Clawd raises one arm out of the car and holds it to the last frame.",
     "zh": "切到車前方的長焦跟拍：Clawd 的敞篷車翻過坡頂離地，深綠和灰色兩輛轎車從後面追上來；落地後 Clawd 把一隻手伸出車外舉起，一直舉到最後一幀。"
    }
   ],
   "direction_en": "Clawd plays Bob with a plaid bathrobe collar and gold aviators pushed up on its head, driving the lead car. The chase runs at real speed through five set-ups, alternating long-lens waves with close moments; the last shot ends on Clawd's raised arm, a pose held still so the finale can pick it up.",
   "direction_zh": "Clawd 扮鮑勃：格子浴袍的翻領、推到頭頂的金框墨鏡，開著最前面那輛車。追車按真實速度走，五個機位在長焦的波浪和近處的瞬間之間交替；最後一個鏡頭停在 Clawd 舉起的手臂上，這個姿勢定住，好讓終章接過去。",
   "refs": [
    "Paul Thomas Anderson, One Battle After Another (2025)",
    "Michael Bauman (VistaVision cinematography)",
    "One Battle After Another (2025) poster"
   ],
   "refs_zh": [
    "Paul Thomas Anderson《一戰再戰》（2025）",
    "Michael Bauman（VistaVision 攝影）",
    "《一戰再戰》海報（2025）"
   ]
  }
 ]
}