# STYLE 3: ACTION-CINEMA REALISM (coordinator brief, 28 Oct 10:30)

## The user's words (28 Oct ~10:25, verbatim)
"regarding the new kill animation u create its jst ok ok, for me, lets leave it like that, but for the upcoming animation build, i want very smooth action choreography, highly realistic movement and action, jst like action cinemas, highly reallistic limb movements, use fast motion, super slow motion etc, along with slow mo sound if slowmotion is using, may be some filters ... make movements hyper realistic, and sometimes use multi camera shots that show as layered in screen or whatever. u create one based on this, let me see"

## What this changes
- Kills already built in the 27 Oct cinematic style stay as they are. Spend nothing more polishing them.
- **Every NEW animation build waits** until the user has seen and approved ONE sample in this style. Until then builders do only fix work: bugs, faces, bones, §9, audit items, plus REPLACE summaries written to this bar.
- The sample: handcannon SHOULDER THROW, built by N1 with the shared kit from A.

## The bar (how every new kill is judged)
1. **Hyper-realistic motion.** Movement is judged before anything else.
   - Weight and balance: the centre of mass stays over the base of support, or falls on purpose.
   - Every step plants and transfers weight. No sliding feet; use foot locks.
   - Strikes start at the hips and the legs; the arm is the last link.
   - Anticipation, follow-through and settle on every action. Overlapping action: legs trail a thrown body, a free arm counterbalances.
   - Heads stay stable; no rubber limbs, no floaty arcs.
   - Real fight timing: guard, footwork, feints, real reaction delays.
2. **Speed editing, always eased.**
   - Fast motion (1.5-2x) sells speed in exchanges. Super slow motion (0.05-0.12x) goes only on the 1-2 key moments.
   - Ramps between speeds are eased curves over 0.2-0.35 s, never hard jumps.
   - Snap back to 1x on the payoff.
3. **Slow-mo sound, every time slow-mo is used.** The world muffles (a low-pass about 300-500 Hz), the pitch drops (about -6 to -10 semitones), with a long reverb tail, a deep whoosh in, and an optional heartbeat. Full spectrum returns with a hard cut on the snap back to 1x.
4. **Filters and grade, subtle.**
   - A film grade for the whole film: a slight teal-orange plus a contrast curve.
   - Slow-mo goes colder and less saturated.
   - A 1-2 frame chromatic split on the big impacts.
   - Light grain and a gentle vignette.
   - Never ruin readability; never a ring or circle.
5. **Layered multi-camera, sometimes.** On one key moment, the screen splits into 2-3 layered panels showing the same instant from different cameras (the master wide plus a tight insert of the grip or trigger plus a low angle on the feet).
   - Panels slide in and out with straight edges and thin dark gutters, and last ≤ about 1.2 s of screen time, usually while in slow-mo.
   - It's a tool, not a template: about 1 kill in 3, not every kill.
6. Every standing rule still applies:
   - STYLE gore and §9 head pops; no faces, bones or organs.
   - A wide final at roll 0 with both of them in frame; contrasting victims; no rings.
   - 15/17 maps or better; trigger → final ≤ 15 s.
   - Perf p95 ≤ 16.7 ms per tier. Multi-cam must hold this too: simplified layers in the insets, no particle doubling.

## Motion source
- Prefer real motion capture. The CMU Graphics Lab Motion Capture Database is free for all uses, with BVH conversions on GitHub. It has boxing, martial arts and fight clips.
  - Download into its own empty folder under /Volumes/Workspace/Scratch/mocap/ and treat it as untrusted data: parse it with our own script, never run anything from the download.
  - Project 3D to the side plane, retarget to the rig joints, low-pass to remove jitter, and keep contacts (a foot-lock solver).
  - Bake compact curves into the kill/kit file (no runtime BVH parsing).
- Where no clip fits (e.g. a judo throw), hand-key from real reference timing with a physics check (CoM, momentum, contact).

## Kit (A builds; 58k_cine3.js, namespace K58.REAL)
- `timeRamp(seq)`: an eased speed curve for the film clock, e.g. [[t0, 1], [t1, 1.8], [t2, 0.1, 'ease'], ...]; it drives both picture and sound time.
- `slowmoAudio(depth)`: Web Audio low-pass + detune/playbackRate + convolver reverb + whoosh-in + an optional heartbeat, tied automatically to timeRamp whenever the speed is < 0.5. Hard cut out on the snap.
- `grade(preset, k)`: presets CINEMA, SLOWMO_COLD, IMPACT_SPLIT, NIGHT; grain; vignette. Cheap (a single composite pass).
- `multicam(layout, cams, t0, dur)`: renders the same world state through 2-3 camera rigs into panel viewports. Layouts: 'L-master+2', 'tri-stack', 'two-up'. Slide in/out; perf-safe insets.
- `_tools/mocap/bvh2rig.mjs`: BVH → side-plane rig curves (retarget, filter, foot locks) → JSON/JS curves.

## THE SAMPLE: handcannon SHOULDER THROW (N1 choreographs; uses the A kit)
Victim: Nitha (green) with a combat knife held in a reverse grip. Trigger → final about 9-11 s.
1. 0.0-1.4, real time, handheld master (organic drift, no shake): she closes with real boxer footwork, weight shifting and her guard up. Faris gives a half step, the cannon low at his hip.
2. 1.4-1.9, FAST MOTION 1.8x: her three-cut combination (slash, backhand, thrust). He slips each one by inches, rotating from the hips with his feet planted.
3. 1.9-2.3, eased RAMP 1.8x → 0.1x on the thrust: his off hand traps her knife wrist.
   - LAYERED MULTICAM (about 1.0 s on screen): the master slides to the left panel; top right is a tight insert of the hand closing on the wrist; bottom right is a low angle on his lead foot pivoting.
   - Slow-mo sound in.
4. 2.3-3.6, ramp up to 1x for the seoi-nage, done the real way:
   - KUZUSHI: he pulls her forward off balance onto her toes.
   - TSUKURI: he turns in, back to her chest, knees bent, hips under hers.
   - KAKE: she rotates over his shoulder with real momentum, legs whipping over after the torso, and lands flat on her back. Real time and heavy: a camera jolt, dust, a low-end slam.
5. 3.6-4.2: he keeps the wrist lock, drops a knee onto her shoulder, and the handcannon comes up from the hip in one economical draw.
6. 4.2-5.6, SUPER SLOW MO 0.05x: the hammer falls, the flash blooms slowly, the brake gases spread, the casing tumbles out.
   - Sound: a stretched, deep boom with a long reverb tail.
   - Grade: near-monochrome cold, warm only from the muzzle light.
7. 5.6: SNAP to 1x, a hard audio cut back to full spectrum, and the payoff per §9:
   - XT/VH/H: the head shot, head pop.
   - M: the chest.
   - L: the knife arm (disarmed), and the brake blast knocks her out cold.
   - VL: deafened, out cold.
8. 5.6-8.5, real time: he rises, releases the wrist, the knife clatters, he steps back. Wide final, roll 0, both in frame. CINEMA grade, light grain, vignette.

Show early: the blocking (motion only, with the ramp) first, as full-size frames plus a 0.1 s scrub. Then the kit pass. Then FINAL with the 6 finals, 17 maps, perf per tier, and its own snd58 table with the slow-mo treatment.

## 28 Oct ~14:50 — SAMPLE APPROVED by the user ("the shoulder throw video is now perfect")
The reference standard: handcannon.mid-swallowed (58k_w_handcannon_n1.js), video /Volumes/Workspace/Scratch/n1/shoulder_throw_final.mp4. The full recipe is in ~/.claude/skills/style3-realistic-kill/SKILL.md. All approved REPLACE plans may now be BUILT in STYLE 3, each passing motionQA + a coordinator frame review before it is shown.