Choose how we see a story film's screen.

How we see the screen is set for each product moment, by Slug unless the writer picks; the first time a film shows the screen it is always over the shoulder, and only later moments may cut straight to it: full screen cuts straight to the real recording filling the frame, with a slow push in; over the shoulder opens behind the person at the laptop with the real recording on its screen (at most 6 s), then pushes into full screen; hands, then full screen (a preview) leads in with one short shot of the person's hands, never the screen. An over-the-shoulder shot that cannot be placed opens the moment on the hands instead, never on the flat screen; a shot that renders unusable is left out by itself. The next cut planned from the script uses it; a cut already planned keeps how it was planned. { kind } sets every moment's view; { momentId, kind } one moment's, and kind: null hands it back to Slug's choice.

How we see the screen is set for each product moment, by Slug unless the writer picks; the first time a film shows the screen it is always over the shoulder, and only later moments may cut straight to it: full screen cuts straight to the real recording filling the frame, with a slow push in; over the shoulder opens behind the person at the laptop with the real recording on its screen (at most 6 s), then pushes into full screen; hands, then full screen (a preview) leads in with one short shot of the person's hands, never the screen. An over-the-shoulder shot that cannot be placed opens the moment on the hands instead, never on the flat screen; a shot that renders unusable is left out by itself. The next cut planned from the script uses it; a cut already planned keeps how it was planned.