Paper-cut Lightbox — Style Prompt

A layered paper-cut shadow box (紙雕燈) lit from behind: 6–9 sheets of cut card stacked in a shallow box, a warm light glowing through the paper, windows and moons burning through holes, soft shadows falling from each layer onto the next. The camera is a macro lens inside a lamp: it can show the box, or let the paper scenery fill the whole screen. References (grammar only): commercial paper-cut shadow-box lamps (紙雕燈 / "shadow box lightbox") for the layer stack and backlight; Lotte Reiniger's silhouette films for the cut-out, jointed figure language (when a film has figures); Chinese 剪紙 motifs (auspicious clouds, eaves, mountains) as one possible vocabulary. Do not copy any specific lamp design, film frame or character.

1. Essence, and what it is not

Every shot is made of one physical object: a shallow box (a cavity about 0.56 × 0.33 m, 0.16 m deep) holding parallel sheets of cut paper. Two framings are both valid, and a film may use either or both: box framing (the lamp's edge or frame is in the picture) and full-bleed (the lens is inside the box and the paper scenery fills the screen). The stack, the backlight and the shadows are the same in both. Everything on screen is one of three things:

1. A paper layer: a flat cut sheet, one flat colour, fibre grain, a thin warm rim of light on its top edge and a dark band on its bottom edge. Back layers lighter and cooler, the front almost black: that value ladder is the depth.
2. Light through paper: a warm, cloudy translucency (pulp mottling), strongest near the light source. Windows, lanterns, trails of light are holes / emissive windows that burn and bloom.
3. Shadows: a top spot casts soft shadows from every layer onto the layers behind. This sells "real paper in a real box"; never turn it off.

The film may step out of the box into the real world (the lit lamp on a table, spill light on nearby objects) to say "this is an object someone keeps"; whether, where and how often is a choice of the film.

Not flat paper-cut animation (here: depth, backlight, cast shadows), not shadow puppetry (no single screen, no rods), not a 3D diorama (every element is a flat sheet parallel to the box front).

2. Materials & rendering

• Units in metres, y up. Layers from z ≈ −0.14 (sky) to 0 (front); camera at z ≈ 0.2–0.56, fov ~26°. In box framing, sheets are never larger than the cavity. In full-bleed shots that travel, a layer may be a long strip that scrolls past, and the sky panel moves with the camera so its edge never shows.
• A layer is a Canvas2D drawing in metre space mapped to a plane; cut-outs are destination-out holes. Finish on every sheet: fibre grain (source-atop), a warm top rim and a dark bottom shade, each shifted a few px.
• Backlight shader: emissive += albedo × lightCol × trans × lit × falloff × (base + cloud), with a Gaussian falloff around a per-shot light point and a tiled pulp-mottle texture. trans per layer goes from ~.9 (far) to ~.05 (front).
• Emissive windows: a second canvas (white = light) gated by a 0→1 "switch on" uniform; bloom makes them burn. Titles, lights and curtains in front neither cast nor receive shadows.
• Lens: shallow depth of field, bloom, a gentle vignette; supersample 2× so cut edges stay crisp.
• Real-world set (when used): wood frame, black lining, a dark room, an area light as the box's spill onto real objects.

3. Colour logic

• Back layers bright and translucent, front layers dark and opaque. Each layer is one flat colour; the ladder of values from back to front is the depth. Never break it (a pale front layer flattens the box).
• One temperature per stack, chosen by the scene (cool night, warm interior, violet or green elsewhere). Changing ladder is how the film says "another place".
• Light is warm (amber to gold) against the stack, and it is the only saturated element besides one accent.
• One accent colour (a seal red, or a single object's colour) marks what the story is about. A second accent only when the story has two sides (one each).
• Examples of ladders: night village — #0a1330 sky → #6a86c2 far → #3f5a92 mid → #0e1532 front, windows #ffb862; desert caravan — #f0c890 dusk sky → #c07850 dunes → #6a3020 → #1e0e08, fires #ffd080; winter forest — #dfe6ee → #9aaec4 → #4a6078 → #101820, one red scarf.

4. Type & subtitles

• Text in the picture is paper: titles, letters, poems and captions are cut strips inside the box, revealed by growing from an anchor edge (scale the texture repeat with the mesh so glyphs aren't squashed), with an optional small seal.
• Chinese: an OFL brush font (e.g. Ma Shan Zheng) for titles, a running script for handwriting, Noto Serif SC for subtitles. Latin: an OFL serif (e.g. Cormorant) at similar weight.
• Subtitles are quiet and burned in: warm off-white serif, soft shadow, fading in just before the line. Where they sit depends on the framing:
• box framing: under the box, on the dark of the room (serif 500, ~40 px CJK / ~38 px Latin, ~74 px from the bottom);
• full-bleed: on the darkest band at the bottom of the scene (the front layer), ~64 px from the bottom, never over a figure, a lit window or a light. A faint dark band behind the text is allowed when something lit has to sit there.
• A bilingual cue is one CJK line (~40 px) over one Latin line (~42 px). No wrapping: a line longer than ~21 CJK / ~42 Latin characters becomes two cues, split at the comma nearest the middle.
• Words that appear as paper are not subtitled: never show the same words twice.
• Hold ≥ max(1.8 s, speech + 0.6 s).

5. Motion quality

• Everything moves like paper on a stick: layers slide (x/y), rotate about a pivot, scale in from 0 along one axis ("written out"), or light up. No squash and stretch, no morphing, no bending.
• Figures are optional. A film can tell its story with lit windows, vehicles, lamps and objects, and have no figure at all. When it has figures, they are jointed silhouettes: a body sheet + separate limb sheets anchored at the joint; animate rotation only.
• Light cues are the big motion: the source, then each layer's translucency in a ~0.4 s stagger, then windows, then flicker (1 + .06·sin(7.3t)·sin(3.1t)).
• Hard action lands on spoken words (use whisper word timings): an object slams, a character flashes, a light arc grows on its word.
• Hand-held micro-drift on the camera (~0.6 mm) keeps a locked frame alive. Render on ones at 30 fps; never step.

6. Camera grammar

A vocabulary, not a route. The lens is small and the box is shallow: moves are short. Opening and ending come from the topic.

Framing: the story layer in focus, foreground and far layers soft; box edges fully out of frame inside, clearly in frame outside, never half. Transitions: dissolves (0.5–1.2 s), an iris, light off/on, a near-plane curtain whose halves meet exactly. No whip pans, no digital zooms.

7. Sound palette

• Instruments that sit like light behind paper: felt piano, music box, celesta, harp or plucked zithers, bamboo flutes, soft strings; a solo instrument of the topic's culture. No drum kit; percussion only as single soft strokes (woodblock, small gong, hand drum).
• Foley is paper and light: switch click + rising shimmer when a light turns on; paper rustle and slide; card-stock tap; lid thud; chimes on reveals; soft whoosh for curtains; beds from the scene (river, rails, city hum, crickets, snow wind).
• Silence: the lamp switched off — all sound but a room tone drops out, then returns with the light.
• Mix character: voice compressed and forward (RMS ~−18 dB), music underneath with ~5–6 dB of ducking under speech, foley low (−24…−34 dB), peak-limited, final at −14 LUFS.
• Options: a new instrument entering when the film changes place; one foley sound per light cue; a music hand-over solved backwards so a swell lands on the line that matters.
• Voice: warm, a storyteller at a table, not an announcer. Proof every line with whisper; for Chinese polyphonic characters feed TTS a homophone and keep the real text for subtitles.

8. Native moves

A menu: use the ones your story needs.

• The lamp turns on. Source, then far layers, then windows light up one by one. Fits content like: a shop opening at dawn; a startup's first customer; a stadium before a match.
• Two windows, one light. Two lit places sharing one light source (a moon, a lighthouse, a satellite). Fits content like: a long-distance friendship; two labs working on the same problem; a sister city pair.
• Depth as distance. A stack of ranges or streets makes "far away" visible; travel moves layers at speeds proportional to depth. Fits content like: a migration route; shipping a parcel; the history of a river.
• Paper that writes itself. A strip grows from its edge on the spoken word. Fits content like: a recipe; the terms of a treaty; a child's first word.
• The box as keepsake. The camera finds the real lamp in a room, real objects lit by its spill. Fits content like: a wedding anniversary; a product unboxing; a museum object's story.
• Light burst from an opened thing. A lid lifts and analytic glow spills out. Fits content like: a gift; a discovery; a new idea.
• Silhouette in a window. One figure inside a lit frame, or none: a lit window alone is enough. Fits content like: someone working late; a portrait of a craftsperson; a patient waiting.

9. Pitfalls of the medium

• destination-out cut-outs need an opaque fillStyle before punching, or the hole is half-cut (world.js cut(x, fn) does it).
• Soft shadows bleed and halo: layers that must not take part need both shadow: false and recv: false.
• A transparent radial-gradient texture shows a square edge as an additive glow → use an analytic shader falloff (burst()).
• A near-plane curtain whose halves don't meet at their front edges leaves a slit of the old shot.
• Sheets larger than the cavity poke through the frame in outside shots.
• Grade state must not carry over between shots: every grade key a shot omits must fall back to a default each frame, or renders depend on which frame a worker started on (visible pops at worker boundaries).
• Light over paper text: a lamp's glow or a headlight flare over a name board or a card washes the letters out. Keep every lit point clear of text.
• Subtitles over a lit window lose their contrast: frame so the bottom band is dark, or put the faint band behind them.
• Headless Chrome must run with GPU flags; SwiftShader is ~6× slower.

10. Engine

In demo/src/: paper.js (sheet() = one lit paper layer with an optional glow map and reveal uniforms; skyPanel, moon, text, burst), stage.js (scene, top spot, backlight uniforms, aim() camera), post.js (DoF, bloom, transitions, grade), world.js (paper motifs: peaks, firs, the train's carriages; the first shot), shots.js (the other shots), lib.js. src/main.js reads one timeline and draws each shot, two during a dissolve; each shot is build(E) → { S, update(t), post(), grade() }. API table and a minimal shot: DEMO.md "Engine reference".

11. Variation space

You decide the places, the figures (or none), the ladders, the light source, the framing, whether the real world appears, the opening, the ending and the camera path. Stay away from our demo's story (an old night train's last run from a snowy halt to the sea), its shots (windows lighting up car by car, a curved viaduct over a snowy valley, a tunnel that blinks to black, windows going out one by one at a terminus) and its props (a paper train, halts with name boards, a ticket end card). Some directions:

• Structures: one window, one year (a locked lamp; the scene inside changes season by season, light the only transition); a vertical stack (the film tilts down through sky, city, street, underground, each a chapter); a relay of objects (a single object passes hand to hand across five small boxes, each a different ladder).
• Openings: already lit, mid-scene (a figure walking through a lit street; we learn it is paper only when the camera racks focus); darkness and one hole (a single pinprick of light widens into a moon, a door, an eye); top-down (hands' view of a sheet being cut; the cut sheet slides into the stack).
• Endings: rack focus to the front layer until the story blurs into warm light; a new sheet slides in at the front, starting the next story; pull out to the lamp on a table, its spill on the objects around it.

How our demo was made (story, shots, score, end card, build): DEMO.md. Read it after your treatment exists.