@aswless_854771076/ai_short_studio_cli 0.1.97 → 0.1.99

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/creation/script-and-time.md

@@ -0,0 +1,253 @@
+# Script and semantic time
+
+Read this when deciding the target wording, pronunciation, performable passages and the meanings
+that picture and sound should follow. It also covers measured delivery and wordless passages.
+[Script syntax](../production/script-syntax.md) owns the authoring forms;
+[Timing](../production/timing.md) owns their projection into the work.
+
+[Source syntax](../production/source-syntax.md) covers the surrounding imports, references, Recipes
+and Runs; [Tracks](../production/tracks.md) covers the consumers of Script meaning.
+[Timeline authoring](../production/timeline.md) places Takes, allows gaps and overlaps, and declares
+the complete work, including pure MG with no Script.
+[Media preparation](../production/media.md) explains connecting actual footage to a Segment, and
+[Runs](../production/runs.md) explains targeting material and reusing produced Takes.
+
+## Script is the target's sole verbal authority
+
+`<script>` contains the words the target video will say. It contains no reference timecodes, media,
+visual Style parameters, prompts, or provider decisions. Semantic word attributes such as
+`useful{emphasis}` can identify a word's role for a Caption family. Brief may preserve required claims and Treatment may describe
+the purpose of a passage, but the adopted wording appears in Source only once.
+
+Choose Script structure from the thought being expressed and the performance carrying it:
+
+- a **Segment** groups a performable passage around its thought, delivery and action; its accepted
+  media can become one SemanticTake;
+- a **Role Cue** assigns a spoken turn to a performer and carries that label into the model's dialogue;
+- **Dual Text** gives one authored unit separate display and pronunciation text;
+- `||` says that one on-screen **Caption Cue** hands off to the next after a complete Alignment Unit;
+- a **word attribute** gives a Caption family an authored role on one displayed word;
+- a **Selection** names the span of meaning an element serves, such as a demonstration covering an
+  explanation or a comparison held through a claim;
+- a **Moment** names an event such as an answer or verdict, where graphics, sound or effects can
+  respond together. The component decides how the resulting state continues.
+
+```svml
+<script id="story">
+  <hook>
+    <HOST> @{claim!} I made the @{proof}<API | A P I> || work overnight.@{/proof}
+  </hook>
+</script>
+```
+
+Here the viewer reads `API` while the performance receives `A P I`. The pair is one indivisible
+Alignment Unit. `||` ends one on-screen Caption Cue after that unit and lets the next Cue begin with
+`work`; `proof` remains one semantic range, and `claim` is a semantic point that other layers can use.
+
+A Cue is a timed block of displayed speech, not a line of text. Its Caption family and Recipe may
+wrap that block over one or more lines, reveal or highlight its words, and give the block an entrance,
+exit or handoff. Segment boundaries and Role turns already separate Cues. Caption Use windows can change a
+Style midway through a Cue while preserving its content and original word times.
+Use `||` when the same Segment, turn and Style still needs another deliberate reading handoff. The
+[Caption craft](../playbooks/craft/captions.md#design-cue-rhythm-with-the-caption-system) owns how the
+picture, language, family and Recipe shape that decision.
+
+[Script syntax](../production/script-syntax.md) owns the exact forms, display/speech projections,
+spacing, grouping and marker affinities. Use those forms to express the choices above.
+
+## Write the intended pronunciation
+
+Choose pronunciation while writing the Script. For coined names, unfamiliar brands and abbreviations
+whose reading needs direction, use Dual Text to keep the intended display spelling and give the
+performer a clear spoken form. Write that form as readable words, syllables or letter names in the
+performed language. Familiar word sounds, phonetic respellings and homophones can make an unfamiliar
+name's intended sound concrete while its display spelling stays intact. Keep ordinary spelling when
+it already expresses the intended reading; an English name inside Chinese speech does not
+automatically need a phonetic replacement. Choose the reading for this language and character,
+retaining the user's chosen display spelling.
+
+### Choose the sound the spelling should carry
+
+These examples illustrate authored pronunciation choices, not generation results verified for every
+model. The spoken column is the literal text supplied through `.speech` or inside `.dialogue`:
+
+| Intended reading | Script fragment | Caption displays | Spoken text |
+| --- | --- | --- | --- |
+| Name the letter S | `<S\|ess>` | `S` | `ess` |
+| Say each letter of CSS by name | `<CSS\|see ess ess>` | `CSS` | `see ess ess` |
+| Spell out an abbreviation using separated letters | `<API\|A P I>` | `API` | `A P I` |
+| Say SQL as the word “sequel” | `<SQL\|sequel>` | `SQL` | `sequel` |
+| Give a coined name familiar syllables, when “zoo no” is the chosen reading | `<Zuno\|zoo no>` | `Zuno` | `zoo no` |
+| Give a name a chosen Mandarin homophonic reading | `<Lumi\|露米>` | `Lumi` | `露米` |
+
+Letter names, letter sounds and an acronym pronounced as a word are different choices. `ess` names
+S; it does not ask for a sustained /s/ sound. Likewise, `sequel` chooses one reading of SQL; use the
+intended letter names when the character should spell it out instead. Choose natural phrasing for
+the whole expression rather than inserting artificial pauses between every letter or syllable.
+
+Phonetic notation, including IPA, can guide a model that understands it. Script forwards the written
+form literally; it does not interpret IPA or expose a phoneme-control API. The spoken projection also
+feeds measurement and semantic preparation, so choose a representation usable by that production's
+speech path. Any model-specific pronunciation feature belongs to that model's documented inputs.
+Keep a reading aid such as `ess` on the spoken side; prose instructions such as “pronounce this as”
+belong in performance direction when needed, not among the words the Script asks the character to say.
+
+### Carry the chosen reading through the work
+
+```svml
+<script id="story">
+  <opening>
+    <HOST> This app connects through an <API | A P I>.
+  </opening>
+  <closing>
+    <HOST> The same <API | A P I> works here too.
+  </closing>
+</script>
+```
+
+Each pair applies to that occurrence. Carry the chosen spoken form into every occurrence of the
+name, including other Segments, so separately generated performances receive the same direction.
+The right-hand wording reaches the model through the Segment's `.dialogue`; Caption keeps the
+display spelling. Settle these readings before measuring the Script and requesting its performance.
+
+The same distinction helps Chinese copy express numbers and names clearly. For example,
+`今年<2026|二零二六>年` displays the year compactly while specifying how it is said;
+`只要<¥19.9|十九块九>` chooses a conversational price reading. Choose the spoken form for this
+sentence's meaning and delivery. Measuring the Segment with `--language zh` then uses that spoken
+wording, including the syllables hidden behind its compact numeric display. Caption retains the
+authored simplified or traditional characters; transcription supplies timing rather than rewriting
+the displayed Script.
+
+## Choose performable passages
+
+Supply the Segment's `.dialogue` to the speaking prompt; it includes Role labels and the chosen
+pronunciation. `.speech` supplies pronunciation without Role labels for measurement or speech-only
+requests. The Caption view preserves the display wording. These are projections of one Script,
+so revising the words does not require maintaining another copy in a prompt or subtitle file.
+[Script projections](../production/script-syntax.md#use-the-scripts-deliberate-projections) shows the
+references and a two-speaker example.
+
+Script also represents passages without speech:
+
+```svml
+<script id="story">
+  <empty></empty>
+</script>
+```
+
+`empty` is an ordinary Segment name; a name such as `product-detail` can express the passage's role.
+No words does not mean no semantics: the Segment retains its identity and start/end anchors. Its
+associated normalized media determines the duration, and its SemanticTake has an empty word array.
+The same Timeline and Track timing vocabulary apply to a wordless passage or an entire
+piece made from prepared media. The empty tag itself declares neither a zero-length interval nor a duration.
+For an interval made only of component animation, use Timeline placement and extent instead; it
+needs no media-backed Segment. Spoken, wordless-media and graphics-only passages can share one work.
+
+Choose Segment boundaries from natural production passages and delivery length, not from every
+picture cut. One Segment and Take can carry several speaking turns, camera cuts or a split-screen
+conversation. One continuous narration can carry many B-roll changes through Selections. Edited UGC
+can deliberately use several Takes driven by the same character-and-scene image; a natural cut is
+often part of its appeal. A Role change or `||` does not require another generation.
+When retained recorded speech carries the passage, a file cut changes that performed material but
+does not automatically create a Segment. Several retained stretches can form one passage; distinct
+passages can use separate Takes. Write the Script for the final performed words and align the
+prepared result on its own local clock.
+
+## Time an authored animation
+
+For speech-led work, a graphic's timing usually follows what it explains. Preserve that relationship
+in Script: a reveal belongs to its Moment, and coverage belongs to its Selection. Rewriting the
+argument or changing the performance then carries the design into the target's actual timing.
+Reference seconds document what you observed; the target Script expresses what the new graphic follows.
+
+A chat animation, diagram or kinetic-text piece can instead be drawn entirely by components. Its
+messages and changes still carry meaning; the author chooses when the audience receives them and
+how long they need to read. Keep content and event timing together in the owning component's Source.
+An event can have an identity such as `question` or `reveal` and an authored `at="2.6s"` without
+inventing spoken words or a media-backed Segment. Film time is declared through a Timeline with an explicit end and zero Takes;
+[composition and rendering](../production/rendering.md#compose-an-authored-animation) shows the form.
+
+Choose timing per relationship, not once for the whole video. A spoken Moment can introduce a chat
+scene whose messages then unfold at authored intervals. Conversely, an authored animation can reveal
+one item on a spoken Moment. A projected expression such as `instant="moment.cue + 12f"` with
+`moment={story.moment.intro}` keeps an interval relative to that spoken event. The event's trigger
+and its entrance duration are different choices:
+`at={story.moment.answer}` locates the answer; ten frames can give its arrival a particular character.
+
+## Measure before choosing durations
+
+For a new or revised A-roll performance, choose time from the target's words, delivery, and action.
+The reference timeline remains useful for understanding rhythm and relationships; the new performance
+establishes their actual timing. Even unchanged words may take a different amount of time with a new
+speaker or delivery.
+
+`hypit measure` is the creation-time command for `@hypit/estimate`. It counts pronunciation units and
+estimates how many seconds they need at the chosen language and pace, using local computation:
+
+```bash
+hypit measure path/to/source.svml --segment opening --language en --pace normal
+hypit measure --text "You expect me to type every coffee?" --language en --pace normal --rounding ceil
+hypit measure path/to/source.svml --segment opening --language zh --pace fast --rounding round
+```
+
+Choose `--pace slow|normal|fast` from the intended delivery: conversational explanation may suit
+`normal`, while brisk, tightly cut social delivery often suits `fast`. The CLI prints the actual
+units-per-second rate; `--rate` lets you choose it directly. Mandarin counts Han characters as
+approximate syllables and embedded English by syllable; English counts syllables rather than words.
+Set `--language zh` for Chinese copy, including copy with English product names, and measure the
+pronunciation side of Dual Text with `--segment`.
+
+The density includes ordinary phrasing pauses. `--padding` reserves additional time for an intended
+reaction, demonstration or held pause. Keep related performances at a coherent delivery density. Initial
+estimates can retain fractions with `--rounding none`. `ceil` rounds upward to a whole second, while
+`round` chooses the nearest one. Most video requests use whole seconds; choose the final literal with
+the selected model's supported values and the intended performance in mind.
+
+An energetic performance can still give a dense explanation room to breathe. Use the reference's
+pronunciation-unit count over its spoken passages to inform a candidate rate, then choose for the target's language,
+terminology and actions. Inspect the effective density after rounding each request: fitting every
+line into the shortest supported duration can make the whole delivery rushed. Keep the chosen rate
+and meaningful padding with the production's direction so later Segments follow the same decision.
+
+Let that estimate inform the shape of the passage. A short line may belong with the next response,
+benefit from a little fuller wording, or leave room for a meaningful action. A long passage may read
+better with tighter copy or a split at a natural change of thought. Preserve the intended meaning and
+energy while finding a performable shape, then measure the affected wording again. The
+[Generated video direction](../playbooks/craft/video-direction.md#size-the-request-around-the-delivery)
+applies this judgment to the selected model's request range.
+
+Measurement balances the intended speaking density and sizes generation; it supplies no timeline
+anchors. Once a Take is accepted, normalize it, align its actual speech to its Script Segment, and
+assemble the resulting SemanticTakes into the Timeline. The literal duration answers how much
+media to request. The aligned words answer where Caption, B-roll, MG, and Effects belong in that actual
+media. Alignment measures real word positions inside that media envelope; it does not reproduce an
+estimated distribution of words.
+
+For a wordless Segment, choose the requested duration from the action, music or visual rhythm.
+Speech-rate measurement has no role there; the resulting media still determines its Segment span.
+
+## Bind meaning to Script identities
+
+For a picture, Caption treatment, MG state, sound, or effect that belongs to spoken meaning, author a
+Selection or Moment and use the consuming component's Surface to project it through the Timeline.
+Use explicit seconds for genuinely clock-based or speechless design.
+
+Choose an anchor by the event it names, including which side owns a pause. For adjacent B-roll,
+one Selection can end where the next begins; for a held reaction, a range can include the silence
+before the next word. [Marker affinities](../production/script-syntax.md#bind-meaning-to-script-identities)
+express these choices through word and structural boundaries. [Timing](../production/timing.md)
+explains projecting those identities into a component's Instant or Window, adding deliberate offsets,
+and what a later Studio edit changes.
+
+Reference archives keep original seconds and explain which original words or content events an item
+serves. The target Source names the intended relation against the target Script. After the target's
+actual audio is aligned, the Timeline supplies its frames. Do not copy a reference timestamp into
+the target or preserve an incidental lead/lag unless that offset itself is part of the design.
+
+## Connect reference understanding to audiovisual composition
+
+Timing seen in Studio or a real Result may expose one of several different problems. A wrong Cue or
+semantic anchor changes Script. A sound performance that changes the intended rhythm may change the
+duration choice or Treatment. A correct Selection rendered badly changes the component or Recipe. An
+unusable generated Take changes its prompt, reference, Candidate, or shot design. Put each correction
+where its fact is owned.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/creation/transformations.md

@@ -0,0 +1,141 @@
+# Transforming a reference into a target
+
+Read this when a user brings a reference and asks for their own version: another person, object,
+world, performance, story, or audience. Several changes can belong to one creative intention.
+
+Look at the supplied material and think about the reference together with the user's request. What
+makes the original compelling, and how can that appeal belong to this new person or product? Keep
+the reference's particular humor, visual relationships, and rhythm in view as you develop the target.
+The reference archive describes the original; Brief records the user's intention; Treatment explains
+how the new piece will work. Useful discoveries can change any part of that understanding as the work
+develops.
+
+## Preserve the role, then recreate the form
+
+Recreate the reference's semantic timing intentions in the target. If a ranking portrait appears
+when a player is introduced and settles with the judgment, bind those events to the target's own
+Script. A different speaker or rewritten argument will change the seconds; the relationship can
+remain. Keep an explicit clock interval when that interval itself is part of the intended design.
+
+Before replacing an object, understand the role it plays in the work. A presenter may also appear as
+an avatar, a voice, a B-roll subject, a phone image, and the identity inside an MG system. A product
+may be a prop, a screen, a demonstration, a claim, and the final CTA. Transform the role across every
+real manifestation; do not stop after changing its most obvious pixels.
+
+The target need not copy a form that no longer fits. Preserve the purpose of an action, composition,
+or callback while directing a form that makes sense for the new body, product, platform, and viewer.
+A cat can perform confidence through a planted pose, gaze, tail, or framing without literally copying
+a human hand gesture. A product with no screen can demonstrate the same benefit through a different
+piece of evidence.
+
+Useful transformation lenses include:
+
+- **subject or identity** — who carries the narrative role and everywhere that identity appears;
+- **product or brand** — product truth, use, props, UI, logos, colors, proof, offer, and CTA;
+- **Script, language, or CTA** — meaning, speech rhythm, on-screen wording, demonstrations, and the
+  timing relationships that follow the new words;
+- **platform, duration, or aspect** — which story functions survive, compress, expand, or need a new
+  composition;
+- **visual or tonal style** — art direction across generated shots, Caption, Typography, MG, Effect,
+  and Audio, without erasing the reference's useful structure;
+- **adding or removing a system** — redistribute the job formerly done by that system rather than
+  leaving a narrative hole;
+- **multiple references** — state which function comes from each reference and resolve conflicts in
+  Treatment instead of blending every surface detail.
+
+These lenses are prompts for thought, not fields to complete. Follow the relationships the actual work
+contains.
+
+## Reshape an event from footage
+
+Some adaptations are recognizable through an unfolding event rather than any one subject's pixels.
+A stylized direct-address performance, dance phrase, fight, moving camera view, or mishap seen by a
+fixed camera may depend on particular timing and physical relationships. These are useful places to
+look for temporal evidence: discover what carries the reference's appeal, from performed delivery
+and reaction to movement, contact, camera position and payoff.
+
+The target may change a person, object, setting, spoken words, sound, visual world, or several of
+these together. Changing the person is common; a narrow substitution may leave most other
+relationships intact. When a new body, object or story changes what an action means, reshape the
+action to serve the target's intention. Brief and Treatment hold the requested change and the new
+creative answer; the source footage remains evidence rather than a ready-made target timeline.
+
+In a comic speaking reference, an unusual camera angle may work together with role-played vocal
+phrasing, expression and gesture. Put the intended words in Script, choose whose voice belongs to
+the target, and direct how the visible performance delivers the joke. A supplied portrait establishes
+appearance, not the voice or delivery. [Voice direction](../playbooks/craft/voice-direction.md) owns
+casting; [video direction](../playbooks/craft/video-direction.md#let-footage-carry-temporal-behavior-that-matters)
+owns when a selected source excerpt should condition the new shot.
+
+## "Make this with my face"
+
+Suppose the user supplies a portrait and a football Ranking video. The jokes concern the players, so
+the spoken argument and comic reveals may already suit the new presenter. Bring the user into the
+camera image with the reference's teasing confidence, useful framing, and room for the board. Keep
+the full [image craft](../playbooks/craft/image-direction.md), directing the supplied person's appeal
+and presence with the same care as any leading performer in this work. That image can carry all
+ordinary talking Takes and supply the person's other appearances.
+
+A joke about the original presenter's appearance or personal story needs another look: decide how
+its setup and payoff fit the new casting and Brief. The new person may invite a different delivery or
+a better version of the joke. A supplied pet might express the same confidence through a planted
+pose, gaze, or comic authority. Let the new character make the work feel inhabited.
+
+The portrait supplies visual identity; [voice direction](../playbooks/craft/voice-direction.md)
+uses supplied audio or a voice chosen for the target performance. The original photo's setting and
+pose may give way to the shot the video needs. Use [reference relationships](../playbooks/craft/generated-dependencies.md)
+to decide where the supplied image enters that production.
+
+## "Use my product"
+
+Suppose a podcast recommends a bottled product, while the user wants to promote their budgeting app
+and supplies receipt scanning as its real benefit. The casual recommendation, skeptical partner, and
+satisfying demonstration can still carry the exchange. The opening split screen, complementary
+views, and speaker-colored Caption may still give it its recognizable shape.
+
+The new conversation might turn on "You expect me to type every coffee?" A phone demonstration of
+scanning a receipt answers that objection. Now the host holds a phone, the covering footage shows the
+app in use, and the graphic reveal supports the same moment of understanding. Script, action, imagery,
+and CTA grow from what this product actually offers. Supplied product images and UI establish its
+appearance; the user's facts and relevant product material establish its claims. Resolve important
+gaps from available material or with the user while continuing to develop the creative idea.
+
+When both person and product change, consider their relationship together: why this person recommends
+it, how the partner responds, and what makes the encounter engaging. Treatment holds that creative
+answer; Source expresses its words, references, and semantic relationships.
+
+## Treat generation as ordinary production
+
+Think of the image model as a broadly informed painter, the video model as a broadly informed camera
+crew and performer, and audio generation as a broadly informed sound team. “Real” is an aesthetic
+direction—iPhone capture, natural light, documentary movement, room tone—not a claim about where the
+asset came from. The normal task is to create the target media.
+
+External references become essential when public world knowledge cannot determine exact identity:
+the user, a private or obscure product, a proprietary interface, an exact Logo or data display. An
+accepted generated image, Take, or sound can then become authority for later work.
+
+Prefer reference-conditioned video generation when identity, art direction, composition, or product
+continuity matters. The input guides the shot without having to appear as its literal first or last
+frame. Use keyframe-constrained generation when the endpoint image itself is part of the designed
+continuous change. Use text-only generation when the shot benefits from variation and needs no exact
+visual anchor. These are control meanings; package and Provider support remains owned by their public
+documentation.
+
+## Keep media dependencies shallow and useful
+
+Generate actual work: the main A-roll camera image, the reverse angle, a B-roll image, a product close
+up, or a component slot. The first accepted presenter image will often already be the main A-roll
+camera image. Another A-roll view can be generated from it by describing the new camera relationship,
+eye line, recurring objects, light, and what naturally changes when the camera faces the other way.
+The shared world lives in the relationship between useful shots, not in an abstract scene plate.
+
+An independent identity asset or location image is useful when the work itself needs it independently.
+Otherwise, avoid chains of intermediate pictures that exist only to feed the next generation. For a
+single shot split by a model's duration limit, reuse the same accepted visual authorities for each
+part unless the cut itself is designed around a literal boundary frame.
+
+Carry accepted media into the composition through Source and Run Candidates. Use Studio and rendered
+Results to develop Caption, MG, B-roll coverage, effects and sound around those assets. If a generated
+item fails its intended role, improve the responsible prompt, reference relation or shot design before
+deciding on another authorized request. Reconsider Treatment when the creative answer itself changes.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/environment/distribution.md

@@ -0,0 +1,176 @@
+# Installations, updates and reuse
+
+Read this to find the Hypit already available, install a missing executable, update a selected
+installation, or continue a production without discarding its tools and material.
+[Services](model-and-provider.md) owns account and model access; [Profile](profile.md) owns execution
+selection; [local tools](local-tools.md) owns preparation after that selection.
+
+Go to [locating the executable](#find-the-installation-already-available),
+[installation](#install-the-executable-package), [reuse](#reuse-what-already-serves-the-production),
+or [updates](#let-the-installation-channel-own-updates) for the current question.
+
+## Keep three lifecycles separate
+
+| Part | What it supplies | Where changes belong |
+| --- | --- | --- |
+| Hypit Skill | Production judgment and navigation | The Skill's own installation channel |
+| Executable Distribution, `@hypit/hypit` | CLI, Studio, Runtime and bundled packages | Its npm/release installation |
+| Video project | Sources, Runs, assets, project packages, selected Profile and Results | The project's files and package lock |
+
+An installed Skill does not install the executable. Installing the executable does not connect an
+account, supply model credits, or prepare every browser and model. Updating either does not itself
+rewrite a project's Sources or regenerate its Outputs.
+
+Work from the actual Agent environment: file access, command execution, service connectivity, and
+a way to return media or previews. In a remote environment, processes, files and localhost URLs belong
+to that host. Use its preview forwarding and persistent storage. A production does not need a
+contributor checkout merely because the Agent can read Hypit's source.
+
+## Find the installation already available
+
+Use the relevant observations from the project directory:
+
+```bash
+hypit version
+hypit paths
+hypit --help
+```
+
+`version` identifies the active executable and launcher without opening a Runtime.
+`paths` identifies the project, selected Profile, Distribution and host locations. A missing Profile
+is a configuration question, not evidence that Hypit needs reinstalling.
+
+If the shell cannot find the executable, inspect existing package records:
+
+```bash
+npm ls @hypit/hypit --depth=0
+npm ls --global @hypit/hypit --depth=0
+npm prefix --global
+```
+
+A project installation runs through `npm exec --no -- hypit version`; `--no` declines npm's offer to
+install a missing package. A global installation's executable directory is normally
+`<prefix>/bin` on POSIX or the prefix itself on Windows. Use the selected installation's launcher
+and inspect its reported version; a global command and a project-local command may select different
+releases. Record the useful command and location in project notes when resuming will need them.
+
+## Install the executable package
+
+For a machine-wide published installation:
+
+```bash
+npm install --global @hypit/hypit
+```
+
+For a project that deliberately keeps the executable in its dependencies:
+
+```bash
+npm install --save-dev @hypit/hypit
+npm exec --no -- hypit version
+```
+
+Use the project's chosen package manager and version when specified. Its package manifest and
+lockfile own physical versions. A supplied release tarball can also be installed through npm, for
+example `npm install --global /path/to/hypit-release.tgz`.
+
+A registry's missing version is an availability fact for that registry. Preserve the chosen version
+when investigating a stale mirror or slow download; [network preparation](local-tools.md#make-network-preparation-practical)
+explains matching the remedy to the actual download. Verify the active launcher after installation,
+then continue with the capability needed by the work.
+
+## Reuse what already serves the production
+
+| Existing work | How to carry it forward |
+| --- | --- |
+| A suitable executable | Use it across projects; identify the active launcher before adding another installation |
+| A chosen service and stored credential | Reuse its explicit Profile selection and CredentialRef within the user's account choice |
+| Prepared local tools or model weights | Inspect the selected Provider's actual paths and configuration; reuse compatible resources there |
+| Project components and dependencies | Keep their package versions and lockfile; edit the project's own implementation where needed |
+| Generated or processed Outputs | Select them explicitly as Run Candidates so the next Build does not repeat that work |
+
+Host tools and prepared resources have their own locations; creating another video project does not
+require copying a Python environment or browser into it. An existing cache can reduce preparation
+without selecting a different model, language, account or browser.
+
+For cross-project component reuse, follow [component sharing](../production/component-sharing.md):
+keep project components with their project, or explicitly install an owner's versioned package when
+sharing is needed. Its ordinary package manifest and lockfile select the implementation. Update that
+dependency deliberately; a Hypit or Skill update does not upgrade every project's component packages.
+
+Preserve project assets, Results and current Run selections during an update. A newer executable is
+not a reason to regenerate accepted material. [Output reuse](../production/authoring.md#reuse-produced-work-explicitly)
+owns choosing compatible produced values, including useful Outputs from failed Builds.
+If a release changes authoring requirements, make the relevant project change explicitly from its
+documented meaning rather than guessing a migration or silently substituting another capability.
+
+## Let the installation channel own updates
+
+Check versions when a reported fix, missing capability, update request or release change matters to
+the work. Continue ordinary production on its selected versions; Build does not upgrade them.
+
+```bash
+hypit version --check
+```
+
+This read-only query reports npm release information and its source. `--registry <url>` selects a
+registry for the check; `--json` gives structured output. Local `hypit version` and `--version`
+do not contact a registry. With an older executable lacking the command, use
+`npm view @hypit/hypit@latest version` through the project's configured registry.
+
+A failed query leaves the remote release unknown. A different version can mean a newer checkout or
+a stale mirror. Read the relevant [release notes](https://github.com/hypit-ai/hypit/releases) and
+explain which installation and behavior would change.
+
+## Check and update the relevant installation
+
+When the chosen target is the latest published release, update the selected installation only:
+
+```bash
+npm install --global @hypit/hypit@latest
+```
+
+For the project-local development dependency shown above, run instead from that project:
+
+```bash
+npm install --save-dev @hypit/hypit@latest
+npm exec --no -- hypit version
+```
+
+Use an exact selected release instead of `latest` when the user or project pins one, and preserve
+the existing dependency kind and package-manager workflow. These are alternative installation scopes,
+not two steps to run together. Recheck the launcher the production will actually use.
+
+The Skill updates separately. For an installation managed by the
+[skills CLI](https://github.com/vercel-labs/skills#skills-update), inspect its installed records and
+current supported options. The following targets only the globally installed Hypit Skill:
+
+```bash
+npx skills list -g
+npx skills update hypit -g
+```
+
+For a project-scoped installation, use the installer's project scope (`-p` on `update`) from that
+project. A local checkout or another installer keeps its own update method. The update command is a
+mutation, not a read-only version check; preserve intentional local Skill edits before replacing them.
+Do not update unrelated skills as a side effect. Read the updated instructions from the installation
+the Agent actually uses; content already loaded in a conversation can still be the old text.
+
+The installed packages' vocabulary and README describe their available interfaces. If a newer Skill
+mentions an absent option, inspect the selected package and release. Explain the missing capability
+and the useful update or explicitly chosen alternative; do not pretend the option already exists.
+
+## Project changes and execution code
+
+Project component and Profile changes apply to a new Build through its execution context. Updating
+the Distribution or the environment inherited by an active Worker concerns that process's lifetime.
+Use [configuration changes](profile.md#know-when-a-change-takes-effect) before restarting it, and
+preserve active work and accepted Outputs.
+
+Optional upstream npm tools live in the Host package home reported by `paths`, per exact package
+version, with npm's ordinary download cache. Explicit preparation may acquire these declared
+dependencies. `hypit packages install <package@version>` addresses a reported exact dependency;
+its `install.log` explains progress and failure. Installing a dependency does not start a service.
+
+A contributor checkout is an explicit development choice. Use one when the user has selected it;
+ordinary production, project components and project Model/Provider extensions use the installed
+public interfaces.