SL-97 / Graphic Layer
The Annotated World
Labels pinned to real 3D positions — with parallax, and something passing in front.
The brief
Documentary-style labels and callouts that behave as though pinned to real positions in space, moving with parallax and getting occluded by the world.
Why it's hard
Labels lock to screen space, sliding with the frame instead of with their anchors, and draw over the very things that should have hidden them.
A label is credible only when the world can stand in front of it. Parallax by depth, plus one honest occlusion.
Skill Tests
04 / 28Every challenge is scored against the same vocabulary, so you can compare them. Lit cells are what this one tests.
Starter prompt
Built with the CEMI MediaMax system for Google Veo 3.1. Prompts stay in English — that is the language these models take instructions in. Treat it as a starting point and start varying it.
A field surveyor crouches over a tide pool on a basalt shelf at low tide, in the style of Errol Morris's field documentary work with Robert Richardson's hard-source lighting. Three plain sans-serif callouts are pinned to real 3D positions — one on a barnacle cluster, one on a submerged anemone, one on the far kelp line — each with a thin leader line to its anchor. As the operator shuffles two steps right, the labels parallax correctly by depth, and the surveyor's rubber wader leg passes IN FRONT of the nearest label, occluding it cleanly. Dirty foreground: wet bladderwrack and a rusted mooring chain across the bottom third. Overcast flat grey sky, 28mm at f/4 with slight barrel distortion and a wet-lens smear at the corner. Materials: pitted basalt, salt crust, cracked orange dry-bag, tide-scoured steel.
Derived from the CEMI MediaMax production canon — cemi.media
Style reference: Errol Morris, with Robert Richardson's cinematography
A label is credible only when the world can stand in front of it. Parallax by depth and one honest occlusion do more work than any animation flourish, because they prove the graphic lives in the space rather than on the glass. Give the operator a lateral move so the audience can actually see the depths separate.
Labels locked to screen space — sliding with the frame instead of with their anchors, and drawing over the wader leg that should have hidden them.
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