「scene」の検索結果

Generate, visually expand, optimize, diagnose, and route structured AI image prompts for adult female portraits. Use for lifestyle, curve-focused, fashion, oriental, fantasy, realism, beauty, CCD, low-key cinematic, studio, sport, travel, and e-commerce portrait requests; onboarding or usage help; parameter recommendations; prompt rewrites; image-to-prompt preparation; direct image generation; or identity- and product-preserving edits from authorized reference images. Preserve explicit user parameters and locked reference subjects while creating a coherent photography-directed scene.

日本語の概要は準備中です。原文の説明を表示しています。

Project orchestrator for the screenwriting skill set (剧本项目主线调度 / 状态存档 / story bible) — a meta-skill that adds no new craft knowledge but routes a screenplay or stage-play project through stages (premise → structure → character → scenes → draft → revision → submission) and a TV / streaming series project (电视剧 / 剧集 / pilot / 一季) through a separate series stage table (engine → character network & season arc → documents/bible → pilot structure → break story & outline → draft → submission), names which sw-* skill to invoke at each stage, defines each stage's deliverable and advisory exit check, and keeps all project state in a story-bible.md file so work can resume across sessions. Use when starting a new script project, resuming one ("continue my screenplay", "where were we"), when the user asks "what should I do next" on a script, when converting a vague idea into a full development pipeline, or when the other sw-* skills are firing individually and the overall process needs sequencing.

日本語の概要は準備中です。原文の説明を表示しています。

Story structure for screenplays and stage plays (故事结构) — merged from Syd Field's paradigm and plot points, Blake Snyder's Save the Cat beat sheet and board, Robert McKee's Story (event/scene/sequence/act, inciting incident, progressive complications, crisis-climax-resolution, subplots, story triangle), Julian Hoxter's nine-beat model, Neill Hicks' three acts as attraction/anticipation/satisfaction, and Lu Jun's Chinese short-play structure (凤头猪肚豹尾, 起承转合, eight openings, eight endings, 入戏要快/脉络要清/高潮要高/转变要顺/变化要多). Use when outlining a script, placing plot points and midpoint, fixing a saggy second act, designing an opening or ending, diagnosing "nothing happens", choosing between linear and non-linear designs, or converting a premise into beats and cards.

日本語の概要は準備中です。原文の説明を表示しています。

Writing a Succession-style ensemble series (继承之战群像剧写法) — distilled from Jesse Armstrong's complete shooting scripts for all four seasons, 39 episodes (Faber 2023), with his introductions and footnotes, plus Frank Rich's and Lucy Prebble's essays on the writers' room. Covers the invisible-act three-test for scripts with no ACT marks, container episodes built on a ceremony's running order, pressure chambers, one core question per episode, finales with fewer and longer scenes, the absent protagonist at the climax, humiliation passed downward, stage directions carrying subtext and "maybe", reversals turned on one word, writing long, alts, the mega-chart, and engineering an ending once the plot engine loses pressure. Use when the user wants a dynastic family drama, a media-power ensemble, a wedding/funeral/summit set piece, a streaming hour with no act breaks, a finale that redraws alliances, or asks how to "Succession-ize" a script or kill a lead mid-season.

日本語の概要は準備中です。原文の説明を表示しています。

Chinese opera playwriting for the qupai (曲牌体) system — 元杂剧, 明清传奇, 昆曲, 川剧高腔, where sung text is filled into fixed tune patterns (填词) rather than built from paired lines varied by metre. Covers stage vs study (李渔 vs 吴梅/王季烈), the 清曲/剧曲 switch, the zaju branch (四折一楔子, one 宫调 and one rhyme per act, 一人主唱, 题目正名), the chuanqi branch (出, 副末开场, 南北合套, 集唐下场诗), tune-filling (格律, 前腔/换头/幺, 衬字, 务头, 尾声, 四十禁), the seventeen 宫调 and their affects, 套数, 排场 alternation, the spoken-to-sung cue, 帮腔, adaptation, and modern practice. From 李渔《闲情偶寄》, 吴梅《顾曲麈谈》《曲学通论》, 王季烈《螾庐曲谈》, 孔尚任's 凡例, 关汉卿, 汤显祖, 魏明伦. Use when writing or revising a 曲牌体 script, choosing a 宫调 for an emotion, laying out a 套数, filling one tune pattern, writing a zaju act or a chuanqi scene, cutting an old 传奇 into a playable version, writing a modern qupai opera, or judging whether a famous script's prosody may be copied. Not for 京剧/豫剧/越剧, which are the banqiang system; see sw-chinese-opera-banqiang.

日本語の概要は準備中です。原文の説明を表示しています。

Writing screenplays in the style of Ozu Yasujiro and Noda Kogo (小津安二郎・野田高梧) — distilled from six complete screenplays (晚春 Late Spring, 麦秋 Early Summer, 东京物语 Tokyo Story, 浮草 Floating Weeds, 秋日和 Late Autumn, 秋刀鱼之味 An Autumn Afternoon). Covers the "family member leaves" master plot, off-screen events / on-screen reactions, lie-driven plots, minimal-syllable confessions, go-between characters, faceless suitors, pillow-shot scene breaks, echoing objects, mirror characters, children's subplots as metaphor, displaced quarrels, the single-monologue rule, diminishing endings, Ozu's script format and stage-direction vocabulary. Use when the user wants to write a quiet family drama, a 小津风 / 侘寂 / 日常系 script, a story about marrying off a daughter, aging parents, or wants dialogue that says less and means more.

日本語の概要は準備中です。原文の説明を表示しています。

Premise, theme, controlling idea, subject selection and logline for scripts (前提/主题/立意/选材/戏核) — merged from Lajos Egri's premise-as-tyrant and dialectic, Robert McKee's controlling idea (value + cause) and idea/counter-idea, Neill Hicks' five premise questions, Lisa Cron's "third rail" (desire vs misbelief, origin scene, what-if), Julian Hoxter's logline and theme-attitude rule, Blake Snyder's logline/genre/title tests, and Lu Jun's Chinese craft chapters on 选材要严/开掘要深/视角要新/戏核要好/情节要奇. Use when turning a vague idea into a premise, finding what a story is really about, choosing a subject and angle, testing a logline, deciding the ending from the theme, or diagnosing a script that "has events but no story".

日本語の概要は準備中です。原文の説明を表示しています。

Dialogue writing and revision for screen and stage (对白/台词/潜台词) — merged from Robert McKee's Dialogue (dialogue as action, said/unsaid/unsayable, exposition as ammunition, beat = action/reaction gerunds, flaws of credibility/language/content/design, character-specific vocabulary and grammar, seven scene analyses), Richard Walter (economy, subtext, argument, no small talk, no parentheticals, silence), Neill Hicks (listening, on-the-nose exceptions, energy, five-step exercise), Lu Jun (语言要美; 典雅美/通俗美, 对话三要求 动作性/性格化/潜台词), Lajos Egri (dialogue born of three-dimensional character, escalation), Blake Snyder (cover-the-names test), and screwball-comedy dialogue conventions. Use when writing or polishing dialogue, fixing on-the-nose or expository lines, giving each character a distinct voice, converting a two-hander into a trialogue, writing comedy exchanges, or cutting speeches. Chinese-opera lyrics (戏曲唱词) are in sw-chinese-opera-banqiang, not here.

日本語の概要は準備中です。原文の説明を表示しています。

Case studies of television series writing (剧集案例库) from primary texts; Sorkin's six West Wing teleplays (act-page tables, eight act-out types); Chase's five Sopranos scripts (the 35-beat A/B/C/D recipe, what a pilot refuses to explain); Fellowes's annotated Downton Abbey season two (19 storylines, 419 footnotes); Waller-Bridge's Fleabag Scriptures (the six-episode half-hour template); Calvisi's eight minute-by-minute pilot beat sheets (Breaking Bad, Mad Men, Game of Thrones and more); Landau's 47-series structure appendix; Miller's Hannibal and HTGAWM breakdowns; Goldberg & Rabkin's beat sheets; Sakamoto Yuji's We Made a Beautiful Bouquet (a feature) and Noh Hee-kyung's The Most Beautiful Goodbye. Use when you want a worked example of how an episode or pilot is built, need real act lengths, scene counts or storyline grids to imitate, are breaking a multi-thread ensemble episode, designing a bottle episode or a finale, writing a relationship or family drama, or ask 某一集是怎么写的 / 这部剧的结构表.

日本語の概要は準備中です。原文の説明を表示しています。

Organic story anatomy from John Truby's The Anatomy of Story (有机结构/设计原则/22步骤/道德议题/四角对立/幽灵/场景编排) — the designing principle (story process plus original execution), the seven key steps as the organic spine, all twenty-two steps with the middle-act machinery the beat sheets lack (ghost, fake-ally opponent, plan, opponent's drive, ally's attack, fake defeat, three revelation-and-decision pairs, audience revelation, visit to death, moral decision), four-corner opposition, the moral-argument chain with the hero-opponent power-balance rule, scene weave with structure-step tags and storyline numbers, and the accordion rule (never fewer than seven steps). Kept side by side with the Field/Snyder page maps. Use when the middle act sags into unconnected episodes, when the premise works but the story feels mechanical, when one antagonist cannot carry the theme, when the theme stays stated instead of acted, or when a BS2 board needs an organic second pass.

日本語の概要は準備中です。原文の説明を表示しています。

Mainland-Chinese TV-series craft, documents and production chain (国产剧创作体系与制片链) — the China layer parallel to the Japanese and Korean/French skills. Distilled from Yao Kougen 姚扣根《电视剧写作概论》(2016; series taxonomy, four Chinese script formats, the 3-minute/15-minute/episode-end suspense law, 36 situations), Zhang Wei 张巍《电视剧改编教程》(2014; five source types, sell-point migration, six case studies), Zhang Mingzhi & Song Peiyi《电视剧出品人与制片人教程》(2016; running-time rules, two-stage censorship, scene-breakdown sheet, contracts), Zhao Binbin《影视剧片段改编教程》(2016; film to stage fragment), plus official Chinese renderings of US TV terms from the translated Douglas and Blum textbooks. Use when writing or judging a 国产剧, turning a novel or IP into a 30–50 episode drama, writing a 策划书 / 分集梗概 / 人物小传, formatting a Chinese teleplay, sizing episode count and word count, checking content red lines and the 立项/备案/审查 chain, reading a Chinese screenwriter contract, or mapping US series vocabulary onto Chinese usage.

日本語の概要は準備中です。原文の説明を表示しています。

Transform photos, film stills, or new scene descriptions into the observed visual grammar of the 2026 animated film 《牛来》. Use when the user asks for 牛来风格、牛来正片风格、粗粝低模动物 3D、把真人画面改成牛来式动画，or requests iterative comparison against 《牛来》 references. Default to the rough film-3D mode; use the separate ink-poster mode only when the user explicitly asks for the movie poster look.

日本語の概要は準備中です。原文の説明を表示しています。

Create Ian Xiaohei-style HTML/SVG motion illustrations for Chinese articles, scripts, storyboard scenes, workflow explanations, concept metaphors, and short video visual aids. Use when the user asks for 小黑 SVG、漫画感 HTML、分层 SVG 动效、把小黑生图做成 HTML/SVG、可编辑矢量动效、口播流程动画、手绘漫画动效、正文配图动画, or wants a Xiaohei illustration style adapted into controllable HTML/SVG/GSAP output instead of raster image generation.

日本語の概要は準備中です。原文の説明を表示しています。

Motion-first AI video director for topic-to-video creation. Use when the user gives a theme, idea, article, script, or brief and wants AI to freely create a real animated video instead of a PPT/slideshow-style explainer; when deciding visual metaphors, motion grammar, scene beats, component choices, generated image needs, HyperFrames/Remotion implementation strategy, and anti-PPT QC.

日本語の概要は準備中です。原文の説明を表示しています。

Creates and retrieves AI video and image-related assets via the Arcads external API (Seedance 2.0, Sora 2, Veo 3.1, Kling, Grok Video, Nano Banana, b-roll, scene, script/actor flows). Loads prompts from the bundled prompting guide and model library, respects HTTP Basic auth from ARCADS_API_KEY, and polls assets/videos until ready. Use when the user mentions Arcads, external-api.arcads.ai, Seedance, Sora2, Veo, Kling, Nano Banana, b-roll, UGC scripts, or generating marketing creative through Arcads.

日本語の概要は準備中です。原文の説明を表示しています。

Assemble ordered frames or clips with narration and optional synchronized scene transitions into an MP4 via FFmpeg

日本語の概要は準備中です。原文の説明を表示しています。

Build a PixiJS v8 render layer: create the async Application, load textures with Assets, compose the scene graph with Container and Sprite, drive the ticker loop, wire pointer events, and group draws with render groups. Use when building or debugging PixiJS v8 — when the user mentions PixiJS, Pixi, Application, app.stage, Container, Sprite, Assets.load, app.ticker, or eventMode. Pins the v8 async init() API.

日本語の概要は準備中です。原文の説明を表示しています。

Use Phaser 4 Arcade Physics: enable the world, give sprites bodies, set velocity/acceleration/gravity, and resolve collisions with colliders, overlaps, groups, and world bounds. Use when a Phaser game needs movement or collisions — when the user mentions Arcade Physics, this.physics, setVelocity, collider, overlap, gravity, onFloor, or a platformer/top-down controller. For game config, scenes, and the loader use phaser-core.

日本語の概要は準備中です。原文の説明を表示しています。

Build and ship Unity 6.3 LTS players: build settings and scenes, player/quality settings, the IL2CPP vs Mono scripting backend, managed code stripping, scripted BuildPipeline.BuildPlayer, and CI/headless builds. Use when configuring or automating a build, choosing a scripting backend, shrinking build size, or when the user mentions Unity build, player settings, IL2CPP, code stripping, or Addressables.

日本語の概要は準備中です。原文の説明を表示しています。

Run GDScript test suites from the command line with `godot --headless`, using a SceneTree/MainLoop runner script that exits non-zero on failure so CI can gate merges. Use when a Godot project needs unit tests without opening the editor, when wiring a CI job (GitHub Actions or similar) that must fail the build on a failing `.gd` test, or when a `godot --headless` invocation hangs, opens a window, or exits 0 despite failed assertions.

日本語の概要は準備中です。原文の説明を表示しています。

Creates video/GIF memes by overlaying images (logos, avatars, stickers) onto moving objects in a clip with frame-accurate tracking, then exports MP4 + GIF. Use whenever the user wants a meme, 梗图, 表情包, or reaction GIF from footage; to cover faces in a video; or asks to 把 logo/头像贴到视频里跟着动. Not for transcript-driven editing, programmatic scene generation, or subtitle work.

日本語の概要は準備中です。原文の説明を表示しています。

Maintain the existing May Shorts teaching compositions using their legacy face-mode, scene-overlay, and karaoke-caption patterns. Use only when working on those examples or explicitly requesting this legacy scaffold. For new reels, Shorts, or short advertisements, use short-form-edit.

日本語の概要は準備中です。原文の説明を表示しています。

Use this skill when the user wants a .pptx with smooth cross-slide animation — PowerPoint Morph transitions, Keynote-style continuous motion, shapes that grow / move / rotate as the slide advances. Trigger on: 'morph', 'morph transition', 'smooth transition', 'continuous animation across slides', 'Keynote-style transition', 'animated slide sequence', 'shape continuity across slides'. Output is a single .pptx. This skill is a scene layer on top of officecli-pptx — inherits every pptx v2 rule (visual floor, grid, palettes, connector canon, Delivery Gate 1–5a). DO NOT invoke for a generic deck, pitch deck, or board review without cross-slide motion — route those to officecli-pptx base or officecli-pitch-deck.

日本語の概要は準備中です。原文の説明を表示しています。

Use this skill when the user is building a fundraising / investor pitch deck — seed, Series A / B / C, convertible note, SAFE round, strategic raise. Trigger on: 'pitch deck', 'investor deck', 'Series A deck', 'Series B deck', 'Series C deck', 'fundraising deck', 'seed pitch', 'VC deck', 'raising capital', 'term sheet presentation'. Output is a single .pptx. This skill is a scene layer on top of officecli-pptx — inherits every pptx v2 rule (visual floor, grid, palettes, connector canon, Delivery Gate). DO NOT invoke for a generic board review, sales deck, all-hands, or product launch — route those to officecli-pptx base.

日本語の概要は準備中です。原文の説明を表示しています。