## 2. What option 24 shows

- **The blind shadows are real.** Sixteen tilted slats sit in a window just off-screen left. A hard streetlight shines through them, and the stripes fall across the wall, desk and bot. Drag "Light angle" and the bands slide, like a car's headlights sweeping past.
- **Rain is told through shadow.** Forty drops slide down the unseen glass. You only see their shadows crawling down the wall. It's a classic noir trick: show the weather without showing the window.
- **The detective performs in a 12-second loop.** It stares at the window, turns to eye the camera with half-lidded eyes, then looks back. The fedora is tilted forward.
- **Other details:** steam curls off a coffee mug, and lightning strikes about every 10 to 18 seconds (or on demand).

**The film pass (applied after the 3D render):**

| Layer | Effect |
|---|---|
| Grade | Black and white, S-curve contrast, crushed shadows |
| Grain | Changes 24 times a second, strongest in mid-tones |
| Gate weave | Frame jitters slightly, as film wobbles in the projector |
| Flicker | Exposure pulses per frame |
| Damage | Vertical scratches, dust specks, bright dirt |
| Vignette | Heavy dark corners |

## 3. The three looks

- **Classic noir:** pure silver tones. Watch the neon's red flicker vanish into grey.
- **Neo-noir:** teal shadows, amber highlights, and red neon bleeding through, the 1980s–90s revival palette.
- **Selective red:** everything black and white except the neon light on the bot's left side. One colour, maximum drama.

## 4. Less obvious details

- **Noir lighting is about what you hide.** Only one hard light does the work. Low fill leaves most of the frame in shadow, which reads as danger and secrets.
- **The Dutch angle** tilts the camera 9°. Straight horizons feel stable; tilted ones feel wrong. Untick it and the tension drops at once.
- **Eyes half-closed = suspicion.** The same eye geometry from option 1, capped at 55% height, is enough to cast the bot as a jaded detective.
- **Grain is quantised to 24 fps** even though the screen runs at 60. Grain changing faster than film frames reads as digital noise, not film.

## Examples

**Light path (top view)**
```
 streetlight ●  ─ ─ ─►  ║≡≡≡ blinds ≡≡≡║  ─ ─►  ▒░▒░▒░ stripes on wall
 (outside, x=-7)        ║ rain drops   ║        ● bot + desk in stripes
                        (x = -3, off-screen)     camera ▲ (tilted −9°)
```

**Post-process order**
```
3D render ─► weave (shift uv per film frame)
          ─► luminance ─► contrast S-curve ─► look grade
          ─► grain (mid-tone weighted) ─► flicker ─► scratches/dust
          ─► vignette ─► screen
```

**Selective colour rule**
```
redness = R − max(G, B)
if redness > ~0.15 → keep red
else               → grey
```