「screen」の検索結果

Scene and sequence craft (场景/段落/细节/道具/悬念/情趣) — merged from Robert McKee's scene design and five-step scene analysis (value turn, beats, text/subtext, turning points, pacing, image systems), McKee's Dialogue scene types (balanced, comic, asymmetric, indirect, reflexive, minimal), Syd Field's sequence and scene elements, Neill Hicks (less is more, enter late leave early, energy), Richard Walter (action over talk, small gestures, avoid phones/cars/restaurants, list twelve alternative locations), Wendy Henson (action paragraphs, transitions, story-doing), Julian Hoxter (scene beats, objectives and tactics), Mei Feng's value test, and Lu Jun's chapters 意趣要足 (suspense, delay, wit), 细节要妙, 道具要精, 场景要当. Use when writing or fixing a single scene, choosing a location, building a sequence, planting a prop or detail, designing suspense and delay, cutting a scene that "nothing happens" in, or turning talk into action.

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。

From an idea to a sellable series design; series engine / franchise, story pattern, character webs that keep generating conflict, pilot types, and the documents that sell them (剧集引擎/franchise/故事模式/人物网/试播集类型/剧集圣经/跳板/提案). Merged from Rabkin's four-element franchise and story landmines, Landau's tacit contract and pitch recipe, Oberg's series types and bible specs, Douglas's franchise-plus-springboard and bible tiers, Goldberg & Rabkin's 100-episode test, Blum's concept/presentation/bible ladder, Miller's ten-component treatment, Calvisi's Compelling Crisis, Smith's series format, plus engines read off Sopranos, Fleabag and Succession. Use when turning an idea into a series, testing whether a premise has legs, choosing premise vs typical-episode pilot, designing a sustainable character web, writing a logline, pitch document, bible or treatment, picking a series type, adapting IP into a series, or diagnosing a project that feels "more like a movie than a series".

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。

Playwriting for banqiang-system Chinese opera (板腔体：京剧、豫剧、越剧、秦腔、评剧、沪剧、淮剧、川剧弹戏), where sung passages are paired seven- or ten-character lines varied by metre (板式) rather than filled into fixed tune patterns. Covers genre (唱工戏／做工戏／武戏), the main line, technical structure and 排场, how 行当 and a named star decide the writing, 程式, lyric craft (唱词：上下句、重点句、垛句、辙口), 宾白 and the sung/spoken seam, duets, what the writer marks on the page (Peking-opera vs Yue-opera style), the interface with actors and musicians, restoring old plays, and three contemporary routes including 现代戏. Sources; 范钧宏、翁偶虹、刘吉典、樊尚林、张庚郭汉城、罗怀臻、陆军, plus full scripts (锁麟囊／沙家浜／白蛇传／朝阳沟／潘金莲). Use when writing or revising 唱词, choosing 板式, writing for a performer or role-type, adapting a traditional play, writing a 现代戏, judging a project's genre, marking 锣鼓, or drawing the boundary before general dramaturgy skills apply. Not for 元杂剧/传奇/昆曲, which are the qupai system; see sw-chinese-opera-qupai.

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。

Genre anatomy from John Truby's The Anatomy of Genres (类型解剖 / 类型节拍 / 混合类型 / 超越类型) — genres as beat systems with a life philosophy underneath; three rules (hit every beat of your genre, mix three or four genres, transcend the primary genre), the ladder and families of twelve genres (Horror 恐怖, Action 动作, Myth 神话, Memoir and Coming-of-Age 回忆录与成长, Science Fiction 科幻, Crime 犯罪, Comedy 喜剧, Western 西部, Gangster 黑帮, Fantasy 奇幻, Detective and Thriller 侦探与惊悚, Love 爱情), each with its hero/opponent/world/plot-shape template, beat list, hard rules with failure conditions, subgenres and transcendent paths, plus a genre-mixing worksheet and a diagnostic. Kept beside sw-truby-anatomy and the Field/Snyder page maps. Use when choosing or confirming a script's genre, when a genre story feels generic or misses the beats its audience expects, when mixing genres, when a horror lacks pressure, an action lacks plot, a love story lacks opposition or a detective story lacks reveals.

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。

How episodic television actually gets made by a group (编剧室与制作现实) — merged from Goldberg & Rabkin (pitch as audition, leave-behind, cracking the story, beat sheet, notes discipline, production rewrites), Pamela Douglas (John Wells's room, staff-from-hell mistakes, the seven-rung ladder, step deal, the 14-day draft), Neil Landau's showrunner interviews (Lindelof, Mazzara, Katims, Bays), Evan Smith on sitcom staffing and roundtables, Richard Blum (dated), Kam Miller, and first-hand accounts by David Chase, Jesse Armstrong, Lucy Prebble, Aaron Sorkin, Julian Fellowes and Phoebe Waller-Bridge. Use when joining or running a writers' room, breaking an episode with a group, writing a leave-behind, beat sheet or outline on deadline, pitching episode ideas to an existing series, writing a spec episode, taking or giving notes, rewriting because of money, actors or locations, choosing between a staffed room and a single-author process, or asking 什么是 showrunner／编剧室怎么运作／怎么接 note.

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。

Worked qupai-system (曲牌体) opera scripts, act by act. Guan Hanqing's three surviving zaju (窦娥冤／救风尘／金线池 — twelve acts, 126 tunes, one mode and one rhyme per act, sung/spoken ratios); Tang Xianzu's 牡丹亭 (55 scenes, ~420 tunes, 集唐 closing quatrains, the 圆驾 south-north composite suite); Kong Shangren's 桃花扇 (44 scenes plus four unnumbered, the 副末 frame line, upper/lower halves, a fan's seven transformations, his sixteen 凡例); 长生殿 (Wang Jilie's fifty-scene staging table); Wei Minglun's 巴山秀才 (1983 Sichuan 高腔, 43 tunes, nine 帮腔 passages). Every case states its edition and collation status, then structure, tunes, stage conventions and transferable devices. Method is in sw-chinese-opera-qupai; this skill holds the worked scripts. Use when you want a real example of how a 传奇 or 杂剧 is assembled, need actual scene counts and tune counts to imitate, are judging where a famous script breaks prosody, or need models for 副末开场, 集唐下场诗, 南北合套 or 帮腔 (曲牌体全本／牡丹亭／桃花扇／窦娥冤／救风尘／长生殿／巴山秀才／唱段表／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。

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。

Half-hour television comedy craft (半小时情景喜剧/笑点力学/困境机器/多机位单机位格式) — merged from Evan S. Smith's Writing Television Sitcoms (premise-driven comedy in three levels, nine predicaments, six character mixes, setup/punchline mechanics, toppers, running gags, ten comedic nuances, format rules), Neil Landau's sitcom seven-step formula and comedy-room models, Richard Blum's act-length and set-count parameters, Phoebe Waller-Bridge's Fleabag scripts (direct address as a season-long device, six-episode skeleton), Pamela Douglas on dramedy, Kam Miller on complementary comic traits, and Jesse Armstrong on jokes carrying tragedy. Use when writing or fixing a sitcom episode or spec, raising joke density per page, designing a comic predicament that generates stories, choosing between multi-camera and single-camera format and page counts, structuring cold open/acts/tag, writing a half-hour pilot, running a comedy punch-up, or making a drama funny without shifting genre.

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。

Systematically explore and test a mobile app on iOS/Android with agent-device to find bugs, UX issues, and other problems. Use when asked to "dogfood", "QA", "exploratory test", "find issues", "bug hunt", or "test this app" on mobile. Produces a structured report with reproducible evidence: screenshots, optional repro videos, and detailed steps for every issue.

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。

Automates interactions for Apple-platform apps (iOS, tvOS, macOS) and Android devices. Use when navigating apps, taking snapshots/screenshots, tapping, typing, scrolling, or extracting UI info across mobile, TV, and desktop targets.

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。

Write tests using React Native Testing Library (RNTL) v13 and v14 (`@testing-library/react-native`). Use when writing, reviewing, or fixing React Native component tests. Covers: render, screen, queries (getBy/getAllBy/queryBy/findBy), Jest matchers, userEvent, fireEvent, waitFor, and async patterns. Supports v13 (React 18, sync render) and v14 (React 19+, async render). Triggers on: test files for React Native components, RNTL imports, mentions of "testing library", "write tests", "component tests", or "RNTL".

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。

Generate the submission-time disclosure block for a manuscript — the AI-use disclosure statement matched to the target journal's policy, CRediT author-contribution roles, conflict-of-interest statement, and data-availability statement. Use when the user says "AI disclosure", "disclosure statement", "do I need to disclose Claude", "CRediT roles", "conflict of interest statement", "data availability statement", or is preparing a submission package. NOT statistical-disclosure screening of restricted-data outputs — that is /disclosure-check.

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。

Analyze, recreate, align, and verify reference-video motion. Use when the user asks to recreate, copy, match, align, pixel-align, or compare a video; when a HyperFrames or Remotion remake is judged not aligned; when fixed reference playback and reusable motion components must be separated; or when delivery needs full-frame runtime, render, decode, boundary, timing, and archive evidence instead of sampled screenshots alone.

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。

Produce a polished local talking-head or narrated screen-recording rough cut without a cloud editor. Use when Codex must clean Chinese or mixed Chinese-English speech, correct product terminology before semantic editing, compress pauses without making speech breathless, preserve source resolution and frame rate, normalize dialogue loudness, generate final-audio subtitle artifacts, or benchmark local output against ChatCut/video-use/chengfeng/AI剪口播.

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。

Accept screenshot baseline changes and commit the updated version.json.

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。

Debug Azure production issues on Azure using AppLens, Azure Monitor, resource health, and safe triage. WHEN: debug production issues, troubleshoot app service, app service high CPU, app service deployment failure, troubleshoot container apps, container app 503 or target port mismatch, troubleshoot functions, function telemetry missing or stopped after a config/connection-string change, troubleshoot AKS, VM RDP, Linux SSH, VM black screen, can't connect to VM, reset VM password, NSG or firewall blocking, kubectl cannot connect, kube-system/CoreDNS failures, pod pending, crashloop, node not ready, upgrade failures, analyze logs, KQL, insights, image pull failures, cold start issues, health probe failures, resource health, root cause of errors, troubleshoot event hubs, troubleshoot service bus, messaging SDK error, AMQP connection failure, message lock lost, lock renewal during long-running processing, service bus dead letter.

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。

Turn the Medialyst PR calendar feed into a brand-specific, lead-time-aware plan. Pull source-backed upcoming moments, keep only the few a brand has real standing to own, schedule backward from the event date, screen out tone-deaf hooks, and hand selected moments to angle and journalist prep ahead of time. The planned twin of newsjack-detector's reactive monitoring.

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。

Analyze a product walkthrough, bug report video, Loom, or ScreenPal using Minutes transcription plus visual review. Use when the user wants a recorded demo or bug clip turned into a durable brief with transcript, key frames, issues, and next steps.

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。

Structure and debug a LÖVE (Love2D) game in Lua: the love.load/update/draw loop, delta-time movement, input, and screen states. Use when building a LÖVE 11.x game (main.lua, conf.lua, .love).

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 production Roblox interfaces with ScreenGui/PlayerGui lifecycle, responsive UDim2 layouts, safe insets, reusable editable Instances, cross-device input and selection, restrained motion, cleanup, and multi-viewport verification. Use for Roblox HUDs, inventories, shops, settings, ability bars, ScrollingFrames, AutomaticSize, GuiService, gamepad focus, touch UI, or UI that clips, resets on respawn, looks generic, or was generated as one giant LocalScript.

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。