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PAK Worlds motion plan (v10)

Written from blueprint v10, section 22, on 2026-10-01. Your answers of 2026-10-01 are worked in: yes to all 12 of my suggestions, with three notes, and two more fixes. Step 2, the look of every place, is approved at 147 credits, one try each. Every earlier scene picture, room and video is retired, and so are the guardian, the old motion plan and the free scroll preview.

The idea in one line: a slow, beautiful, cinematic 3D journey. A glowing figure floats down from space, through the sky and five breathtaking worlds, and the visitor scrolls him along like a movie. When he lands, each world comes alive around him and the visitor can look all around.

What stays the same: the five worlds and their order (Lookup ice, Grading forest, Population desert, Support glowing cave, Locations volcano), every page and its words, the glass panels, the Lookup flight to the slab, Pause motion, the Play button (Movie mode), reduce-motion stills, his approved look (pak-guide), the ring design 4d for every gate, and every rule about money, quality, smoothness and accessibility. Removed for good: the guardian, the slab on Home, and every older room and picture made for them.

In numbers: 18 shots. 15 follow the scroll (2 minutes 32 seconds at a relaxed pace, about 76 screens of scrolling), 2 are loops that play by themselves, and the Lookup flight plays after Go. With time to look around in each world, the whole journey takes about 3 minutes or more.

1. My audit of section 22, and your answers

You asked me to check section 22 for anything that contradicts itself or cannot be done, and to ask instead of guessing. I found 12 things that needed your answer and 12 things you should know. You answered on 2026-10-01: yes to all my suggestions, with the notes shown below, and two more fixes. Everything in this plan and in the prompt pack follows your answers.

Question 1: The camera numbers do not fit together

What I found: Section 22 says the camera is about 2 body-lengths behind him and 1 above, looking down 20 degrees with a 28 mm lens, and that he is a third of the screen tall with his feet at 85%. Simple geometry says both cannot be true: from 2 behind and 1 above he would fill about half the screen and his feet would be cut off. The same happens in a room: from 2.5 behind with a 28 mm lens he would again be half the screen tall.

What I suggested: His size and spot on the screen win (35% on computers, 33% on phones, centered, feet at 85%), in the moves and in the rooms. The camera then sits about 3 body-lengths behind and 1 above while he floats down, and about 2 behind and 1.5 above when it looks down 35 degrees over a gate. In a room it stays 2.5 behind, as you wrote, but the view is wider there (about 57 degrees from top to bottom, like a 19 mm lens), so the view opens a little during the last 2 seconds of every landing. The room picture is taken from eye level (your room recipe), and from there the view that keeps him in the same spot looks down about 5 degrees, not 10; that also keeps the upper half of the screen free for the glass panels. (Looking down 10 degrees would need a room picture taken from about 2.7 meters up.)

Your answer (2026-10-01): Yes.

Question 2: Two beats are faster than your slow-motion rule

What I found: Shot B: about 5 body-lengths between second 1.5 and the landing means 0.7 to 0.8 a second on the way down (your rule: about half, never more than one). Shot A in a world: he turns, lifts and glides “a few steps” until he is over the gate, which is about 3 body-lengths, and section 22 gives it 2 seconds. That is 1.5 body-lengths a second, and with a gentle start it cannot be done under one.

What I suggested: Recommended: shot A stays 10 seconds and costs nothing more, but its first two beats change length: 0 to 4.5 seconds for the turn, the lift and the glide (about 0.8 body-lengths a second at most), then 4.5 to 6 seconds for sinking to the gate. From second 6 on it is exactly as you wrote it. Shot B stays as it is, at about 0.7. The other way: for a glide at about half a body-length a second, shot A needs 12 seconds, which is 12 credits more per shot: 60 for the five wide shots and 60 more for the tall ones.

Your answer (2026-10-01): Yes: shot A stays 10 seconds, with 4.5 seconds for the glide.

Question 3: The gate overhead would come out bent in a 360 picture

What I found: The gate he came through floats 5 body-lengths above his spot, which is almost straight overhead in the room picture. That is exactly where AI 360 pictures go wrong: things there come out stretched, bent or pinched.

What I suggested: Recommended: the room picture shows only the gate in the floor. The gate overhead is added by code from the approved ring 4d, so it is always round, always the same, and can glow. It also covers the pinched spot in the ceiling. The other way: follow the recipe as written, with both gates in the picture, and see how the ice room comes out.

Your answer (2026-10-01): Yes, draw the gate overhead by code. But it must look real and identical to the gate he comes out of in the landing shot (same look, place, size and glow), and Q1 must confirm the match.

How I will do it: The gate overhead is one object made from the approved ring 4d, and the same object is used everywhere: in the live room, and in Q1’s check. In shot B the gate is described in the ring’s own words (dark weathered stone, thin gold lines, about 7 meters across, about 9 meters above his spot, glowing in the same soft color) and named with the pak-ring Element. Q1 then compares every frame of shot B that shows the gate with the room’s gate, for look, place, size and glow; a shot whose gate does not match is not used.

Question 4: The size of a gate is not given

What I found: Section 22 does not say how big a gate is. As he sinks in, the camera follows about 2 body-lengths behind him, and from second 8.5 the gate’s light has to fill the whole screen. For that the opening must be about 4 body-lengths across; with a smaller gate, the floor around it would stay in the picture.

What I suggested: Every gate is about 4 body-lengths across (about 7 meters): a big stone ring in a big open place. Its near edge is one body-length (two or three steps) in front of his spot, so its middle is about 3 body-lengths away. On the screen the stone rim slides out past the edges as he sinks in (that is the rim passing around the camera), and then only the gate’s light is left.

Your answer (2026-10-01): Yes.

Question 5: A fast scroll and your slow-motion rule cannot both win

What I found: Section 22 says he never moves faster than one body-length a second, that scrolling faster plays the shot faster, and that stopping freezes it. When a visitor scrolls fast, these three cannot all be true.

What I suggested: Recommended: his speed wins. The picture never plays faster than the speed at which he reaches one body-length a second (about twice the relaxed pace). If a visitor scrolls faster than that, the picture follows smoothly and comes to rest after they stop: at once for a normal scroll, a few seconds later after a long, fast flick. So “stopping freezes it” is then not always true at once. The page scroll itself is never slowed or locked. The other way: the scroll wins, exactly as your scroll rule says, and a quick flick makes him race.

Your answer (2026-10-01): Yes: his speed wins.

Question 6: The Lookup flight cannot follow the scroll

What I found: Section 22 says only the two loops play by themselves. But shot 18 starts when the visitor presses Go, so there is no scrolling to follow. And the ice room cannot turn into the galaxy without a cut.

What I suggested: Shot 18 plays by itself for 6 seconds, with a Skip button always showing and no flight for reduce motion. It starts with a short soft gold light, like a gate, so there is no cut.

Your answer (2026-10-01): Yes.

Question 7: Space and the five gates: wide pictures, not 360 rooms

What I found: Step 2 can be read two ways. Nobody looks around in space or at the five gates (shot 1 has a still camera, shot 5 is a loop).

What I suggested: Space and the five gates are normal wide 4K pictures, taken from the camera of their shot. Only the five worlds are 360 rooms sharpened to 8K. (As 360 rooms too, step 2 would cost 6 credits more.)

Your answer (2026-10-01): Yes.

Question 8: His six pieces: F5 is no longer needed

What I found: Section 22 asks for F1 to F6 but does not say what they are for now that he is inside every shot. F1, F2, F3 and F6 are for the rooms (standing, head left, head right, looking up). F4 (floating) and F6 are also needed to put him into the start and end pictures. F5 (landing) is not used anywhere: he lands inside shot B.

What I suggested: Recommended: make five pieces and skip F5, which saves 11 credits. Say if you want all six anyway.

Your answer (2026-10-01): Yes, skip F5.

Question 9: Two small changes to the words of the room recipe

What I found: The room recipe does not say that the left and right edges of the picture must join. A full-circle picture needs that: without it a seam can show behind the visitor. The older prompt had these words. Also, [STYLE] says “a wide 16-24mm lens at eye level”, which asks the tool for a normal photo, not a full circle.

What I suggested: Recommended: add “with seamless left and right edges” after “360-degree panorama”, and leave the lens sentence out of [STYLE] in the five room prompts. Everything else in your recipe stays word for word.

Your answer (2026-10-01): Yes.

Question 10: The shot recipe forbids things that some shots need

What I found: The shot recipe ends with “no fades”, “do not change … the colors or the layout” and “no other people or creatures”. But shots 6 to 17 begin or end in the soft light that fills the screen, which is a kind of fade and changes every color; shot 3 turns white-blue inside the cloud; and fireflies or glowing butterflies pass him in shots 10, 13 and 14 (your own words).

What I suggested: Recommended: the recipe stays word for word in every shot, and one short sentence is added after it only where it is needed: “The soft light named above is the only fade and the only change of color.” in shots 6 to 17 (the cloud’s white in shot 3), and “The fireflies named above are the only creatures.” in shot 10 (the butterflies in shots 13 and 14).

Your answer (2026-10-01): Yes.

Question 11: On an upright phone, a 4K room is much softer than the shot that lands in it

What I found: A room picture is spread around the whole circle, so only a slice of it is on the screen. On a computer an 8K room shows about 1,900 pixels across the screen, next to a 4K shot at 3,840: most people will not see that. On an upright phone the slice is much narrower: a 4K room shows only about 320 pixels across, and an 8K room about 640, next to a tall shot about 1,080 across. Section 22 gives phones the 4K room.

What I suggested: Recommended: phones that can hold it get the 8K room too. It is twice as sharp and costs no credits, because the 8K picture is made anyway. The proof (step 3) shows the ice room on your iPhone. If it still looks soft there, I come back with the price of a sharper room picture (about 16K) before step 4.

Your answer (2026-10-01): Yes.

Question 12: DCR-20 does not exist

What I found: You asked for DCR-21. The last record in the repo is DCR-19 (blueprint v7). Versions 8 and 9 never reached the repo.

What I suggested: v10 is recorded as DCR-21, and the number 20 is left free. Tell me if DCR-20 was something I should write down.

Your answer (2026-10-01): DCR-20 was meant for v9, which was replaced by v10 before it was recorded. Leave the number unused.

Your two more fixes

Fix 1: Room shape: exactly 2:1, never stretched

You said: A 360 room must be exactly 2:1 (twice as wide as it is tall), not 21:9. Make the room pictures truly 2:1. If GPT Image 2 can’t, make them as close as possible and extend the top and bottom properly so the floor and ceiling join correctly. Never stretch the picture. Check every room in the 360 viewer for straight horizons, joined edges and no bent ceiling or floor before showing me.

How I will do it: GPT Image 2 offers no 2:1 shape (it offers 16:9 and 21:9). Each room is made at 21:9 in true 4K and sharpened to 8K. Then code completes it into an exactly 2:1 picture (7,680 × 3,840): it puts the picture’s eye-level line on the middle row, joins the left and right edges, and fills the two spots the picture does not reach, straight above and straight below, with real ceiling, floor or night sky from right beside them. The picture is never stretched. Below eye level every picture dot is copied as it is. Above eye level, a picture the tool drew like a normal wide photo (the forest, the desert) has its rows packed closer toward the top, exactly as the ball narrows there, so the moon stays round and the stars stay dots; nothing is made bigger. The room prompt now also says “(equirectangular)”, the word that made the earlier 360 pictures true full circles. Before you see a room I look at it in the 360 viewer from ten directions: a straight horizon, joined left and right edges, and no bent ceiling or floor. What I cannot fix for free, I show you with the price of a fix.

Fix 2: Data on phones: real video files, about 100 MB for the whole journey

You said: 150 to 300 MB for one journey is too heavy. Use real video files instead of picture flip-books, encoded so they still play smoothly forward and backward with the scroll. Aim for about 100 MB for the whole journey on a phone, a fast first screen, and only the current and next shot loading. Measure it in the proof and tell me the real numbers.

How I will do it: Every shot is one real video file (no flip-books), with a full picture stored every half second or less, so the page can play it forward and backward with the scroll. The page reads the file itself and draws the right moment for the scroll position. The goal for a phone is about 100 MB for the whole journey, which is about 5 to 6 MB for a 10-second shot. The first screen is a still picture with its words, shown at once, and only the current shot and the next one load. The proof (step 3) measures the real sizes and the smoothness on your iPhone, and I tell you the numbers before step 4.

2. How he moves (your rules, word for word)

• His look never changes: slim, a little tall, slightly long hair, the soft shapes of his clothes, pure white-blue light, no face and no muscles. No box or frame ever shows around his glow.
• He moves in gentle slow motion, like a body floating in water: about half a body-length per second (never more than one), always calm. Speed changes take at least 1.5 seconds. Nothing is ever fast or jerky.
• His body is alive while he floats: arms relaxed and slightly out, hair and clothes drifting slowly upward, a soft slow breath that makes his glow pulse. Now and then he slowly turns his head toward something beautiful (a lightning glow in a far cloud, a mountain peak, the aurora), as if he is enjoying the view.
• Landing is soft as a feather: he slows over the last 2 seconds, his toes touch first, his knees bend softly, and he straightens up. A ring of glow spreads on the floor under him.
• In a room he is calm: he stands on his spot, breathes, and slowly turns his head toward where the visitor looks. He never walks or slides.

3. The camera and the screen (your rules, word for word)

• Camera: about 2 body-lengths behind him and 1 body-length above, looking down about 20 degrees, with a natural movie lens (about 28 mm). It moves with him at the same distance and never spins, shakes or jumps.
• His size and spot: his whole body is about a third of the screen's height (35% on computers, 33% on phones), centered, with his feet about 85% of the way down. The same in every move.
• Direction: always down. The only exceptions are the jump off the platform, the few gliding steps to a gate, and the Lookup flight, which goes forward.
• Depth, which makes it feel 3D: things near the camera (snowflakes, raindrops, cloud wisps, pollen, embers) pass faster and a little blurred; things at his distance pass at his speed; far things (mountains, walls, stars) barely move.
• Light: his glow lights particles and surfaces within about 2 body-lengths. Gate light never goes brighter than 70% white. No flashes anywhere.
• Scroll: one second of a shot takes about half a screen of scrolling at a relaxed pace. Scrolling faster plays it faster, scrolling up plays it backward, and stopping freezes it on a sharp picture.

Worked out from these rules (question 1): his size and spot on the screen are the rule that wins. While he floats down, the camera is about 3.2 body-lengths behind him and 1.15 above his head, looking down 20 degrees. Over a gate it is about 2.2 behind and 1.5 above, looking down 35 degrees. In a room’s start view it is 2.5 behind, a little above, looking down about 5 degrees, with a wider view (57 degrees from top to bottom, like a 19 mm lens; a 28 mm lens sees 40). In all three he is 35% of the screen tall (33% on phones), centered, with his feet 85% of the way down.

4. The places (your words)

Every place is a real-looking photograph of nature at its most spectacular: big and open, with a few large, striking wonders rather than many small things, nothing close to the camera, and lots of open floor around him. Each world is a new 360 room made at 4K with GPT Image 2 and sharpened to about 8K with Topaz (computers get 8K, phones 4K).

Two gates in every world, in the ring 4d design: the gate he came through floats in the air above his spot, about 5 body-lengths up, under the high ceiling or open sky, glowing softly with a glimpse of the world above; the gate he leaves through stands in the floor a few steps in front of him, glowing in the next world's color with a glimpse of it. Visitors can look up far enough to see the gate they came through.

The moving parts are drawn by code, plus one or two short, seamless living loops per room (for example the lava falls, the waterfall or the aurora) made from that room's own picture, only if they stay smooth on phones.

Worked out (questions 3 and 4): every gate is about 4 body-lengths across (about 7 meters). That is big enough for its light to fill the whole screen as he sinks in: the stone rim slides out past the edges of the screen, and from about second 9 of shot A only the light is left. The gate he came through floats 5 body-lengths (about 9 meters) above his spot. The exit gate’s near edge is one body-length (two or three steps) in front of his spot, so its middle is 3 body-lengths away. At the five gates he floats about 2 body-lengths above the Lookup gate. In space, the soft white gate of shot 17 floats about 2.5 body-lengths above the platform.

5. The whole journey at a glance

Every shot follows the scroll forward and backward; only the two loops play by themselves. The whole journey takes about 3 minutes at a relaxed scroll.

6. Every shot, second by second

Every move is two shots that connect (your rules, word for word):

• Shot A, leaving (10 s): 0 to 2 s: he turns to face the exit gate, lifts gently off the floor and glides forward a few steps until he is over it (from the five gates he simply starts to sink); 2 to 6 s: he sinks slowly toward the gate as it grows under him; 6 to 8.5 s: the stone rim passes around him and the camera, and its light climbs his body from feet to head; 8.5 to 10 s: soft light fills the screen, at most 70% white. The camera starts on the room's start view, rises to the standard spot in the first 2 seconds, tilts down to about 35 degrees, and follows him in.
• The page changes on the soft light. Shot A ends and shot B starts on the same soft light, with him in the same spot, so nobody sees it.
• Shot B, arriving (10 s): 0 to 1.5 s: the light thins; 1.5 to 8 s: he comes out of the entry gate floating above his spot and floats down about 5 body-lengths as the wide world opens around him; 8 to 10 s: he slows, lands softly on his spot and straightens up. Over the last 2 seconds the camera settles into the room's start view: about 2.5 body-lengths behind him, a little above, looking slightly down (about 10 degrees), with the exit gate glowing on the floor a few steps ahead.
• Shot B ends exactly on the room's start view with him on his spot. Colors are matched, it blends into the live room over the last half second, and Q1 checks the match before the shot is used.

Each shot below starts with your own words from section 22, then the seconds as a visitor would see them. The seconds and speeds are what I check every finished shot against; the video tool itself cannot be told a speed. On the Art Board, tap a shot to open it; shots 6 and 7, the proof, are already open.

7. In a world: settle, explore, read, leave (your words)

1. Settle: when he lands, the live 360 room takes over invisibly. Everything calms, and the world's own life begins (section 3).
2. Explore: the visitor can drag or swipe to look all around, look up to see the gate they came through, and tap for the world's touches. He turns his head toward where they look.
3. Read: scrolling down raises the page's glass panels in the upper part of the screen, never over him.
4. Leave: after the last panel and the footer line "Keep scrolling to go down to [next world]", more scrolling means the visitor is leaving: the exit gate brightens, he turns to face it, and shot A begins. Scrolling back up before that point simply brings the panels back.

8. The joints: where one thing meets the next

A joint is the moment one shot hands over to the next shot or to a live room. Every joint is checked before a shot is used: the picture, the colors, his spot and his size.

9. Every start and end picture

He is put into every start and end picture by code, from his approved pieces, always at the same size and spot. That is why he cannot change between shots.

10. Perfectly smooth, nothing glitchy (your words)

• Every joint is checked before use: each shot's last frame against the next shot's first frame, and each landing against its room, for picture, colors, his spot and his size.
• Nothing pops in: the next shot and the next room load early, while the visitor is still in the room before. If something is not ready, the moment waits on a soft, still picture instead of jumping.
• Scroll is smoothed, so a jerky mouse wheel or a fast flick never makes the picture stutter.
• Sizes fit each screen: strong computers get 4K shots and 8K rooms with every effect; most phones and laptops get phone-sized shots and 4K rooms; older phones get still pictures with soft blends; reduce motion gets stills and instant page changes.
• The real website's host must play videos on iPhones (the partial requests iPhones need). The Art Board's host cannot, so this is checked before launch.
• Every shot and room is tested with the Quality Guard: no flash, no jump, no stutter, smooth on my iPhone (Phone Check) and on a computer, forward and backward.

How (your second fix): Every shot is one real video file (no flip-books), with a full picture stored every half second or less, so the page can play it forward and backward with the scroll. The page reads the file itself and draws the right moment for the scroll position. The goal for a phone is about 100 MB for the whole journey, which is about 5 to 6 MB for a 10-second shot. The first screen is a still picture with its words, shown at once, and only the current shot and the next one load. The proof (step 3) measures the real sizes and the smoothness on your iPhone, and I tell you the numbers before step 4. Every shot is made once in true 4K and kept as the master; computers get bigger files than phones, and 4K goes only to strong computers on fast internet. When the visitor stops, the sharp picture of that moment is swapped in. The next room loads while the visitor is still in the room before.

11. Other ways in and out (older parts of the blueprint that still stand)

• Back or “Up”: shot B, then shot A, play backward, so he rises. Pulling down at the top of a page never changes the page.
• Jumps (the Guide Rail, the menu, a tap on one of the five gates): a soft glow in the chosen world’s color, then the last second of that world’s shot B.
• From outside (Google, a shared link): the room and the standing figure show at once, with the page’s words and no arrival.
• Reduce motion or Pause motion: no shots; still pictures and instant page changes.
• Older phones: still pictures with soft blends in place of every shot.
• Movie mode (the Play button): the site scrolls itself through the whole journey and holds for a moment in each room. Any tap, scroll or key stops it.

12. Order of work and prices (each step: price first, then your yes)

1. Plan (free): update the docs, then write the motion plan and prompt pack from this section. I review them.
2. The look of every place: the space picture, the five-gates plateau, and all five world rooms as 4K 360 pictures sharpened to 8K, plus his six pieces F1 to F6. I approve each one.
3. The proof: shots 5, 6 and 7 (the five gates, into the ice, the landing), switching into the live ice room with its moving life. I check it on my iPhone.
4. After my yes: all the other shots, with any start and end pictures they need, then the living loops for the rooms, then the tall phone versions.
5. Build: everything fitted into the pages and checked by the Quality Guard at every step.

Your blueprint’s own estimate: Rough cost: pictures about 300 credits, wide shots about 1,050, living loops about 200, tall phone shots about 1,050: about 2,600 in total, with 5,362 available.

Total, about 2,570 credits. Prices were checked on Higgsfield on 2026-10-01: a 4K picture is 11 credits, 4K video is 6 credits a second, and Topaz charged 3 credits last time. Every job is one try. If a shot fails its check, I show it to you with the price of a new try and wait for your yes.

Step 2 is approved: 147 credits (five pieces, no F5), one try each. Every picture goes on the Art Board next to its prompt, and each room opens in the 360 viewer, before anything else is made.