从荆州博物馆的青铜纹样，到南洋海域的沉船坐标；从一段被侵蚀的记忆，到一帧正在成形的数字孪生——我们的工作，是把物理世界里正在消逝的"相"，转化为数据流中持续盈满的"形"。
We grow within the crescent. From bronze patterns in Jingzhou Museum to shipwreck coordinates in Nanyang waters; from eroded memory to a digital twin still taking shape—our work is to transform what is fading in the physical world into what is accumulating in data.
我来自中国乡村，现居荆州。十六岁，正在备考ACT，目标是新加坡国立大学传播与新媒体专业（CNM）。新加坡对我而言不是陌生的坐标，我的家族与那片土地有渊源——这让我确信，跨越地理的数字化叙事是可能的。
我的工具链从Blender的节点编辑器开始，经过深夜的雕刻与绘制，在After Effects的合成窗口里结束。我习惯给图层命名为"不可撤销的修改_最终版_真的最终版"，因为我知道骨骼绑定后的任何调整都是疼痛的。
从初中独立完成《楚韵青龙·荆山伏》（央电教馆全国一等奖），到与荆州博物馆的古物数字化合作，再到如今对峇峇娘惹文化的跨媒介重建——我不是在改进一个行业，我是在创造一个自己的轨道。如果你也在登月，这里可能是你的参照系。
I am from rural China, currently based in Jingzhou. Sixteen, preparing for the ACT, aiming for NUS Communications and New Media (CNM). Singapore is not an alien coordinate to me; my family has gravitational entanglement with that land—confirming that cross-border digital storytelling is physically possible.
My pipeline begins in Blender's node editor, passes through midnight sculpting and painting, and ends in After Effects' composition window. I name my layers "irreversible_change_final_v2_actual_final" because I know the pain of adjusting anything after rigging.
From "Chu Rhyme Azure Dragon" (national first prize, completed independently in middle school) to digital heritage collaboration with Jingzhou Museum, and now to transmedia reconstruction of Peranakan culture—I am not improving an industry. I am building my own orbital path. If you are also shooting for the moon, this might be your reference frame.
"舟师识地理，夜则观星，昼则观日，阴晦观指南针。"——《萍洲可谈》。
六百年前，郑和船队穿越这片海域时，靠的是星象与罗盘。今天，我们靠的是激光扫描、摄影测量与拓扑重建。南洋来风项目是对新加坡及马来西亚峇峇娘惹文化遗产的3D数字化孪生。
"The navigator knows geography; by night he observes stars, by day the sun, and in gloom the compass." — Pingzhou Ketan.
Six centuries ago, Zheng He's fleet crossed these waters by celestial navigation. Today, we cross by LiDAR, photogrammetry, and topological reconstruction.
这是一款以记忆失落为基底的心理恐怖游戏。主角在空荡的宅邸中探索，每找到一件旧物，记忆便重构一分——但重构的未必是真相，只是记忆持有者愿意相信的版本。
A psychological horror game built on the archaeology of lost memory. The protagonist explores an empty mansion; each found object reconstructs a fragment of memory—but reconstruction is not truth.
初三那年冬天，我在Blender里一片一片地画鳞片。不是用贴图，是用顶点色。AE里逐层点亮龙睛时，我设了十七个调整图层，命名为"瞳孔收缩_恐惧_敬畏"。
央电教馆全国一等奖。但这不重要。重要的是它让我走进了荆州博物馆的数字采集室，让我知道十六岁的流水线可以对接两千年的青铜纹路。
Winter of ninth grade. I painted scales in Blender, vertex by vertex, no textures. When lighting the dragon's eyes in After Effects, I stacked seventeen adjustment layers.
National First Prize, Central Audio-Visual Education Center. That matters less than the door it opened—the digital acquisition room at Jingzhou Museum.
为博物馆展览数字化打包而构建的桌面工具。从拖拽 .glb 模型到生成 .vein 离线归档，三步完成展项资产的标准化封装。
自定义二进制格式：512字节头部 + 资产区块 + 隐私哈希（SHA-256 + HMAC-SHA256）+ 256字节 RSA-2048 数字签名 + 256字节尾部。人类可读的版本号写入头部，如 001-RL-N6MA13A930，与机器级哈希并存但互不替代。
A desktop tool built for museum exhibition digitization. From drag-and-drop .glb models to generating .vein offline archives, three steps standardize exhibit asset packaging.
Custom binary format: 512-byte header + asset blocks + privacy hashes (SHA-256 + HMAC-SHA256) + 256-byte RSA-2048 digital signature + 256-byte footer. Human-readable version tags like 001-RL-N6MA13A930 coexist with machine-level cryptographic hashes.
满月适合许愿，新月适合许愿，弦月适合记录——记录那些尚未圆满但正在发生的东西。
这里有三类声音：开发日志、文化笔记、备考杂记。
Full moons are for wishes. New moons are for wishes. Crescent moons are for logging—recording what is not yet complete but already in motion.
Three frequencies here: dev logs, field notes, test-prep fragments.