A deck cuts between panels. A camera moves across one scene. Here the world is three of the kit's panels side by side, 4800 by 1000, drawn once; each beat is a place the camera goes (a zoom and a point) and how long it stays. Beat two zooms into the laptop on Ines's desk, whose screen is another panel drawn by the same kit: a storyboard inside the storyboard. The camera is data, so a storyboard can carry its own cinematography.
The beats are data
a beat: { "zoom": 1..12, "to": [x, y] in 0..1 of the world, "for": seconds of travel, "hold": seconds to stay, "caption": text }. The world's three scenes are in the page's source; the laptop screen's panel is the fourth.
What this taught us
- A viewBox is a camera, and it is enough. Pan, zoom and a hold are three numbers and a time; SVG does the rest, and the sketch stays sharp at 8x because it was never pixels.
- A storyboard can show a storyboard. The laptop's screen is a nested
<svg>the kit drew a different scene into; at zoom 1 it is a glint, at zoom 8 it is a panel. The same trick gives a phone, a board, a book: any prop with a face can hold a scene. - The world is three panels because the kit draws panels. One continuous floor across them hides the seams; a setting per panel does not. A "world" kind in the data (a width, a floor, props and people in world units) would be the honest next step.
- Beats and actions want to be one script. This page moves the camera; the Stage experiment moves the actors. The same timeline should carry both, which is what the camera verb there already hints at.
- Holding still is a beat too. The first version had no
holdand the camera never arrived anywhere; a reader needs a second on each place to read it.