@aswless_854771076/ai_short_studio_cli 0.1.98 → 0.1.100

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/playbooks/craft/voice-and-performance.md

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+# Voice and performance
+
+Read this when deciding what performance carries a passage, how a recurring person keeps one voice,
+or whether an off-screen passage continues an A-roll performance or uses independent speech.
+[Voice direction](voice-direction.md) owns casting an appealing voice and writing its direction.
+
+## Let the Segment reveal the A-roll
+
+A Segment is one authored passage in the Script. Before production it has identity and meaning but no
+seconds. A-roll names the performance carrying that passage. Its prepared media supplies duration;
+spoken words acquire local timing through semantic preparation. Visible performance can carry
+picture and sound together; audio-only performance carries the passage while other contributions
+supply its picture.
+
+Timeline assembly places the prepared Take within the complete work, ordinarily after the previous
+Take, or at an authored position.
+The work can also contain graphics-only passages before, between or after those performances.
+[Timeline authoring](../../production/timeline.md) owns the exact
+SemanticTake assembly and projection mechanism.
+
+For spoken work, ask **who is speaking this Segment?** The selected visible performance carries
+words, mouth movement, gesture, gaze, delivery, picture, and sound together.
+In a multi-person exchange, the speaking performance can include listeners, several turns, or camera
+cuts while still carrying one Segment. The number of people visible in the frame does not determine
+how many semantic clocks exist.
+
+A recurring presenter, podcast speaker, interview participant, or dramatic character continues to
+own their own lines even while another picture covers them. Visual handoffs, coverage, Caption, MG,
+and Effects are authored against the time that performance established. If an edit changes the
+performance's actual length, prepare and align the edited media before assembly.
+
+A wordless Segment can identify a real performed passage, such as a dance or reaction. Its prepared
+media supplies start/end boundaries without spoken words. A graphics-only interval can instead
+occupy the Timeline directly, with no Take. Choose from the content the passage actually uses.
+
+## Keep the performance role separate from the picture
+
+A-roll identifies a performance's role in the work. Its accepted material, Script relationship and
+Timeline placement persist while the author changes its visual use. The picture can lead the frame,
+share space, appear more than once, become part of a diagram or leave the picture entirely. A large
+app recording can lead attention while a small presenter supplies the passage's words and timing.
+Several such changes can happen within one Take; a visual treatment can also continue across Takes.
+
+The covering B-roll may even show the same person doing a silent lifestyle action. Seeing a person
+while hearing words does not by itself make that picture the speaking Take or create a new speech
+source. Sound presents the placed performance's audio, while the visual contribution chooses what
+to show. The same source clip can also serve as an independently timed replay or example elsewhere.
+Its role follows that use; size, crop, transparency and the presence of a face do not establish it.
+
+Follow the relationship the picture needs: [Performance](../../production/performance.md) and project
+scenes can present the current Timeline footage; [Media](../../production/media-presentation.md)
+receives independently supplied material and playback choices. A change of emphasis can be a direct
+cut, a held arrangement or a continuous motion. Decide from the idea and viewing rhythm. For a
+continuous move, retain the source playback position while directing the viewport's motion; for a
+direct cut, make the two intended states meet at the chosen event. Speech remains independently
+connected through [Sound](../../production/sound.md).
+
+The [presenter-led explainer guide](../formats/presenter-led-explainer.md) develops the whole-work
+relationship among performance, demonstration and graphics. [Graphic composition](graphic-compositions.md) owns
+their visual hierarchy, and [Spatial layout](../../production/spatial.md) owns geometry and fitting.
+
+## Let neighboring A-roll performances keep their time
+
+The usual A-roll assembly places Segment performances one after another without consuming either
+side of their duration. This fits how the work is authored: `hypit measure` helps size each request so
+its words, delivery and action belong naturally in that generated passage, and speaking video models
+normally use the requested clip to perform the line. Asking one Take to remain silent for a synthetic
+half-second handle at its beginning or end works against both that sizing and the model's performance.
+
+A duration-consuming crossfade between neighboring A-roll Takes can eat into the word windows that
+each performance established. The result may contain simultaneous speech at a boundary and weaken
+the listening rhythm. For ordinary creator speech, podcast turns, interviews and short drama, this
+makes a direct join between the prepared Segment Takes a practical starting point. Visual coverage
+and effects can still cross that seam without changing the underlying speech time.
+
+Deliberate interruption, overlapping dialogue or musical phrasing can use the Timeline's explicit
+Take positions. [Timeline authoring](../../production/timeline.md) supports gaps and overlaps directly.
+The sources retain their local timing; a crossfade or other coordinated picture treatment belongs
+to the visual component owning that behavior. Sequential placement remains the concise ordinary
+choice for creator speech.
+
+## Give a recurring person one accepted voice
+
+When the intended work retains a person's recorded delivery, prepare that passage and align its
+actual sound to Script; its picture, if retained, is available to Performance. A supplied recording
+may instead guide a new performance or provide a short Voice Reference. Voice Design can make such
+a reference when a new performance needs one and none was supplied; Voice Clone can then perform
+independently narrated lines from Script. The intended use of the recording, not its mere presence,
+decides which relationship holds.
+
+A **Voice Reference** is an ordinary accepted audio Resource that establishes a person's vocal
+identity. Reusing that Resource wherever the same person performs is what carries the relationship
+through the production.
+
+For newly generated performances, give each recurring speaker their own Voice Reference. A silent
+listener does not acquire a voice merely by appearing in the picture; when that character speaks
+elsewhere, their reference follows them into the new performance.
+
+When the user supplies the exact private voice they want, prepare a clean representative excerpt as
+the Voice Reference. Otherwise use [Voice direction](voice-direction.md) to cast the character through
+Voice Design and choose its sample line. A public character type or an imagined voice can be designed
+directly.
+
+For a newly cast person, a short designed sample is a strong starting point: it establishes a usable
+voice at modest generation cost and stays easy to carry into speaking-video requests. About five
+seconds of clear, natural speech usually gives the model enough vocal identity without spending
+reference duration on a finished passage. Choose words that exercise the delivery the work needs;
+keep the sample free of other speakers, music, clipping, heavy room echo, and long silence. When one
+video request includes several speakers, give each a compact reference and keep their combined
+duration within the selected model's reference-audio limit. The selected model's documentation owns
+exact count, duration and format limits.
+
+Once accepted, reuse that same Resource wherever the same person must sound like themselves.
+
+## Let one reference support different performances
+
+The useful dependency is shallow:
+
+```text
+Voice Design or supplied audio
+             ↓
+     accepted Voice Reference
+          ↙             ↘
+visible A-roll      audio-only A-roll
+```
+
+An A-roll-capable video model receives the short reference and the actual Script while generating
+the person's visible speaking Take. Voice Clone receives the same reference and the passage's Script
+when the work needs independent speech; it generates that passage's audio, whose length follows the
+passage and the selected speech model's request limits rather than the short reference's duration.
+These are two uses of one ordinary Resource, not two voice identities.
+
+A work may combine them. A host can perform visible A-roll and later narrate a passage that has no
+underlying on-camera performance; using the same Voice Reference makes both sound like the same
+person. Another passage covered by B-roll may still be audio from the A-roll Take beneath it. Decide
+from the passage's expressive construction, not from whether the face happens to be visible at that
+instant.
+
+## Choose between visible and audio-only A-roll
+
+For visible A-roll, the video request receives the character's camera image, Voice Reference and
+exact Script dialogue, then returns the picture and sound of that person actually performing. Voice
+Design casts the person; its short sample line exists to establish voice identity and need not repeat
+any line from the finished Script.
+
+Audio-only A-roll is useful when a Segment is constructed without an on-camera speaking
+performance: a desktop point-of-view demonstration, a narration-led montage, a pure MG explanation,
+or a product-explanation passage inside an otherwise presenter-led work. Voice Clone
+uses the person's existing Voice Reference and the Segment's actual Script to produce that passage.
+The resulting audio-only SemanticTake carries the A-roll role even though it contributes no picture;
+Media Track, Typography, MG, or another visual Track supplies what the viewer sees.
+
+Choose audio-only A-roll because the passage itself is independently narrated, not merely because
+B-roll or graphics happen to hide a visible performance. Use Voice Design to establish the person's
+reusable voice and Voice Clone to perform the actual Segment; the casting sample and the finished
+delivery have different jobs.
+
+Each vendor's speech models are one package with its own Source import: `@hypit/mimo-speech`
+(Xiaomi MiMo Voice Design and Voice Clone), `@hypit/fishaudio-speech` (Fish Audio Voice Design and
+Voice Clone) and `@hypit/elevenlabs-speech` (ElevenLabs Voice Design). Use `hypit vocabulary` with a
+package name for its author Surfaces. A voice reference designed by one package is an ordinary audio
+Resource that another package's Voice Clone accepts. The Source chooses those model semantics; the
+Runtime Profile independently chooses the Endpoint that can perform them.
+
+## Treat narration as a sound-picture relationship
+
+Narration means the audience hears speech while the speaker is not the primary visible action. That
+description does not reveal how the speech was produced.
+
+- In a visible-performance-led passage, coverage changes the picture while the accepted visible
+  A-roll remains the performance and timing authority.
+- In an independent-narration-led passage, audio-only A-roll supplies the performance while the
+  picture is designed separately around it.
+- In a mixed work, each passage can use the relationship that serves it, while recurring people keep
+  their accepted Voice References.
+
+Keep three questions distinct:
+
+| Question | What it establishes |
+| --- | --- |
+| Is the speaker off screen at this instant? | A viewing relationship: speech is heard while its performer is not the primary visible action. |
+| Does the sound come from covered visible A-roll or from audio-only A-roll? | The production source and owner of the performed audio. |
+| Is this passage visible-performance-led or independent-narration-led? | The Segment's higher-level expressive construction. |
+
+The same visual language can answer these questions differently. Consider a notebook-paper field
+with animated steps, labels and panels:
+
+- When that field persists as the place where a product process is explained, its changing graphic
+  relationships carry the passage. Independent speech can establish the Segment's semantic time
+  while the paper composition supplies its picture. This is an independent-narration-led module.
+- When a ranking host says a brief “Top one: the product” over a paper reveal and then appears on
+  camera to continue the same judgment, the host's performance normally owns the whole passage. The
+  paper reveal is MG coverage over that A-roll, and the sound remains the host Take's sound.
+
+Duration can support the reading but does not decide it. Ask what carries the argument, attitude and
+progression, and whether an on-camera performance exists whose words naturally continue through the
+coverage. A sustained graphic explanation and a brief graphic reveal can look alike in one frame
+while belonging to different constructions.
+
+Segment boundaries express the work's useful modules without acting as source labels. One
+independent-narration-led Segment can contain many MG steps through Selections and Moments. One
+visible-performance-led Segment can begin under a graphic and later reveal the speaker. Splitting a
+generation into two Segments also does not make either one audio-only A-roll by itself; each
+Segment's actual performance relationship remains the deciding fact.
+
+Use `../formats/narration-led-demo.md` when independent narration actually organizes a work or
+substantial passage. `../index.md` routes to available Format and Craft knowledge for the work's
+other relationships.
+
+## Give real performance real semantic time
+
+`../../creation/script-and-time.md` owns measurement, literal duration, and alignment. Once the
+accepted performance has semantic time, its dependent layers follow the delivery that really
+happened.
+
+## Carry the character through the performance
+
+[Voice direction](voice-direction.md#let-one-voice-express-different-thoughts) connects recurring vocal
+identity with changing delivery; [Video direction](video-direction.md#direct-the-reason-for-an-action)
+connects each passage's meaning with expression, gesture and interaction.
+
+Use [Sound and mix](sound-mix.md) for music, effects, ambience, gain, and the completed mix.
+[Transformations](../../creation/transformations.md) connects casting and reference choices to the
+target's argument, relationships and presentation.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/playbooks/craft/voice-direction.md

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+# Directing a voice
+
+Read this before choosing, designing or changing a character's voice, including when adapting a
+production with an existing Voice Reference. Cast a voice the audience will want to keep hearing.
+For creator-led social video, favor a distinctive, engaging presence that makes the words feel
+addressed to someone.
+
+## Cast the person through the sound
+
+Imagine a voice worth hearing: who is speaking, whom they are addressing, and what makes the sound
+appealing for this character. A playful little creature with a sweet, bright voice or a storyteller
+with a rounded, resonant voice suggests sound as well as personality. A role such as founder or
+creator supplies context; still choose what this particular person sounds like. "An unexpected
+voice" describes its relationship to the casting. Name the appealing sound chosen for that
+relationship so the voice model has a vocal character to realize.
+
+As in [Image direction](image-direction.md#two-ideas-behind-every-sentence), use high-level
+language that carries sensory information, then make the decisive qualities specific. "Magnetic"
+states the desired appeal; a clear, youthful tone and nimble, teasing phrasing begin to express it.
+Pitch, vocal weight, brightness, softness or grain are casting choices, not interchangeable words
+for a good voice. A lightly husky voice has a particular texture; choose it when that texture belongs
+to the person. Let the intended encounter guide the presence, from a lively recommendation to an
+intimate conversation.
+
+Look at the character reference and use the Brief to make the casting choice. A supplied voice can
+establish an exact identity. An existing project's voice can continue that identity when its casting
+still serves the new piece. For a new person or character, develop the voice that makes this role
+worth following. Keep the casting choice and the reference's role in Treatment and Source.
+
+## Compress the voice into a vivid direction
+
+A useful voice description is often one short paragraph: a recognizable vocal character, the sound
+qualities that make it appealing, and a characteristic way of addressing someone. Age and gender
+presentation, language or accent, pitch, texture and articulation can sharpen that impression.
+Choose the few that settle the casting; this is not a field list to fill out. Cultural or character
+shorthand earns its place through the sound it evokes.
+
+Translate the character's role in the piece into audible qualities. Wanting the viewer to trust a
+claim can inform clear articulation and thoughtful emphasis; the request should carry that chosen
+sound and manner of speaking. Music, graphic reveals and the later mix receive their own direction.
+[Direction and its inputs](../../production/system.md#give-each-part-the-direction-it-can-realize)
+explains this relationship between the whole design and the individual request.
+
+For example:
+
+```text
+A young woman's sweet, clear voice with a bright upper register and a light, smooth tone.
+Conversational American English, nimble and playful, like a friend excited to let you in on a find.
+Her curiosity lifts a question; an audible smile gives her confident answers warmth.
+```
+
+A different character can have a different kind of appeal:
+
+```text
+A mature man's rounded, resonant mid-low voice with clear, relaxed British English. He sounds
+thoughtful and approachable, carefully weighing an idea with someone across the table. Measured
+phrasing and purposeful emphasis give his judgments conviction.
+```
+
+The first direction chooses a light, playful appeal; the second chooses warmth and considered
+conviction. Vocal pitch and delivery pace do different work: a high voice can be unhurried, and a
+low voice can speak nimbly. Preserve the qualities that define the casting while choosing the
+language and delivery density the actual work needs.
+
+## Let the sample carry the character
+
+When choosing or designing a sample, prefer the performed language and a delivery compatible with
+the new piece when available. A sample carries pronunciation and phrasing cues as well as timbre;
+cross-language identity transfer does not by itself establish the target accent or cadence. Preserve
+a supplied identity and direct those target-language qualities explicitly in the requests.
+
+Choose a short, natural line that gives the intended voice room to show itself. A curious question
+followed by a pleased response can demonstrate a lively character: "Wait, you did all that with one
+photo? Okay, now you've got my attention." A considered observation can suit the second casting.
+The line should make the intended manner useful to the thought, rather than merely name the product.
+Write the intended pronunciation for unfamiliar names in Script before using the line as a sample.
+
+Voice Design turns that short line into a reusable Voice Reference. A speaking-video model can use
+it while performing the finished Script; a passage built around independent narration can use the
+same reference through Voice Clone. The casting line and the finished passage have different jobs.
+[Voice and performance](voice-and-performance.md#give-a-recurring-person-one-accepted-voice) owns
+reference preparation, reuse and that performance choice; the selected model's package documentation
+owns its exact inputs.
+
+## Let one voice express different thoughts
+
+The reference carries vocal identity and demonstrates a manner of speaking. Each finished passage
+has its own reason to be spoken: draw someone in, challenge a claim, become delighted by an example,
+or deliver a confident verdict. Direct those attitudes through the video performance or the selected
+speech model's available inputs while keeping the same person recognizable. One accepted voice can
+express different thoughts; recurring identity does not require one fixed emotional state throughout
+the work.
+
+[Video direction](video-direction.md#direct-the-reason-for-an-action) connects that attitude to gaze,
+gesture and interaction. For independent speech, the Script and supported speech-model inputs shape
+delivery. Choose time from this intended performance using
+[Script measurement](../../creation/script-and-time.md#measure-before-choosing-durations).
+The pace estimate sizes the passage; the voice and performance direction give it character. Fast
+speech alone does not establish emphasis, changing attitude or expressive intonation.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/playbooks/formats/narration-led-demo.md

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+# Narration-led work
+
+Read this when independent spoken narration carries a work or substantial passage while products,
+hands, screens, demonstrations, B-roll, Typography, or MG carry the picture.
+
+## Recognize the organizing relationship
+
+A narration-led passage is organized by accepted independent speech: audio-only A-roll. Its pictures
+are designed around that performance rather than being temporary coverage over visible A-roll.
+Common forms include desk demonstrations, screen tutorials, product walkthroughs, visual essays,
+montage narration, and MG explainers.
+
+The decisive question is not whether a face is currently visible. A presenter-led work may cover its
+visible A-roll with B-roll for several seconds and remain visible-performance-led. An
+independent-narration-led passage begins with audio-only A-roll that does not depend on an underlying
+on-camera delivery. A mixed work can move between these relationships when the story does.
+
+State that relationship in Treatment. It determines how performance, picture coverage, visual
+proof, and later review should be understood.
+[Presenter-led visual explainers](presenter-led-explainer.md) covers the related form whose accepted
+on-camera performance remains available while demonstrations and graphics lead much of the picture.
+
+## Direct one spoken spine and many visual answers
+
+Write the adopted narration in Script and use its Selections and Moments to name the meanings that
+need visual response. One continuous passage can carry many picture changes. A new product angle,
+screen state, action, example, or graphic reveal is usually a new visual answer inside the same
+spoken performance, not a reason to break the performance itself.
+
+Choose pictures by what they contribute:
+
+- a **context shot** establishes who, where, or what is being demonstrated;
+- a **proof shot** makes a claim visible through use, state, result, or comparison;
+- **B-roll** supplies a concrete action, object, situation, or emotional counterpoint;
+- **screen media** shows an interface or state whose literal details matter;
+- **MG and Typography** explain structure, accumulation, transformation, or a concept that a camera
+  image alone cannot communicate clearly.
+
+These roles can overlap in time. A device frame may persist while screen content changes, Caption
+follows the narration, a label remains visible, and a sound answers a UI event. Author each relation
+according to what persists and what changes rather than flattening the whole passage into a sequence
+of isolated cards.
+
+## Build visual evidence, not noun illustration
+
+Let each picture advance the argument. A claim about speed benefits from a visible fast action or a
+shortened process; a product claim benefits from the product being used or its result being shown;
+an explanation benefits from a graphic relationship the viewer can understand at a glance. Merely
+showing a generic image of every noun in the narration produces activity without proof.
+
+Generated images and videos are ordinary production media. Direct the image model as a broadly
+informed painter and the video model as a broadly informed camera crew. Use exact private product,
+brand, person, data, or interface references when public knowledge cannot establish them. Let the
+Treatment and accepted references determine each prompt; use the selected model package's vocabulary
+and README for its exact inputs and limits.
+
+## Keep the narrator one person across the work
+
+The passage can use already recorded final narration or generated speech from an accepted Voice
+Reference; [Voice and performance](../craft/voice-and-performance.md) distinguishes these uses.
+When new performances are generated for someone who also appears in visible A-roll, the same Voice
+Reference can condition both the visible performance and independent narration. The work then
+changes sound-picture relationship without changing who is speaking.
+
+`../../creation/script-and-time.md` owns measurement and alignment. One accepted narration
+performance can carry many picture changes; their semantic relations follow that performance without
+forcing new speech seams.
+
+## Give the complete canvas and soundtrack continuity
+
+Every intended span needs a deliberate picture: a continuing shot, another B-roll item, a persistent
+component, a handoff, or an authored background. Inspect the visible Film to verify that no inherited
+or empty edge appears between those decisions. Music, ambience, and effects can bind visual cuts or
+mark structural changes while the narration stays clear; `../craft/sound-mix.md` owns that
+relationship.
+
+Caption remains spoken text. Steps, labels, figures, headings, CTA copy, and interface writing have
+their own Typography, Text, screen, or MG roles unless they are also meant to be read as narration.
+
+## Review whether the pictures earn the narration
+
+Watch the passage first as an argument: does every visual change clarify, prove, pace, or intensify
+what is being said? Then inspect exact product and screen truth, hand and device geometry, Caption
+timing, persistent component states and visual handoffs.
+
+Let the visual sequence develop a clear progression alongside the narration. Repair weak proof in
+the shot or component design and wrong timing at the authored semantic relation.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/playbooks/formats/presenter-led-explainer.md

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+# Presenter-led visual explainers
+
+Read this when a spoken performance carries an explanation while demonstrations, comparisons and
+motion graphics develop much of its visual argument. The presenter may lead the frame, share it,
+move into an inset or disappear behind another contribution. Complexity comes from relationships
+developing together, not from a required number of effects or components.
+
+## Follow the argument through changing objects
+
+Understand what the audience should grasp and how the picture makes it graspable. A comparison
+can begin with two alternatives, keep them visible as the explanation examines each, then change
+their relationship when a third possibility appears. The continuing objects give the viewer a
+memory of the argument. Their entrance, movement, settled state and eventual departure all matter.
+
+Read the reference's speech and picture together through
+[transcript-linked grids](../../creation/reference-video.md). Change the range and sampling interval
+around the question being investigated: a whole passage reveals the argument, while a short handoff
+reveals whether an object was replaced, moved, cropped or covered. Let each observation revise the
+whole-piece reading, and share the understanding as it develops. A list of pictured nouns leaves
+out the behavior that makes the sequence worth recreating.
+
+For the target, express the useful relationship with its own subject and evidence. A failed action
+needs an attempted action and a perceptible consequence. A claim about reuse needs a recognizable
+structure whose content changes while its useful behavior survives. Exact wording can stay in
+Caption while objects demonstrate what the words mean. Graphic text has a separate job when a label,
+number or comparison helps the viewer read that demonstration.
+
+## Compose the performance and its presentation independently
+
+A Take supplies accepted performance, media and local word timing. Place it on the complete Timeline;
+the picture's arrangement can change several times during that same Take. A new layout usually calls
+for a presentation change, while a different spoken line or acted beat may call for new material.
+One scene may also develop across several Takes. Spoken segment boundaries do not prescribe scene
+boundaries or camera cuts.
+
+Use [Performance](../../production/performance.md) for presentation of the Timeline's existing visual
+material and [Media](../../production/media-presentation.md) for independently supplied material.
+Treat the accepted footage as available material for the changing picture: it can fill a view,
+appear in several views, join a comparison or disappear while the argument continues. A project
+scene can consume its Timeline mapping alongside other inputs when their layout or action belongs
+together. Let visual emphasis follow who or what currently carries the idea, including returning
+to the presenter for a reaction or direct address.
+
+For example, one work may move its full-frame presenter into a small window while a diagram takes
+over; another may cut straight from the original camera view to an isolated presenter beside evidence.
+Both preserve the accepted performance while changing how the viewer encounters it. The semantic
+event motivates the change. Whether it cuts, moves, holds or fades follows this work's expressive
+rhythm. Full-frame, inset and cutout describe appearances, not separate production pipelines.
+
+Speech sound remains an independently connected contribution when MG covers the presenter. Genuinely
+independent narration uses the [narration-led relationship](narration-led-demo.md). A montage or silent
+ending can occupy ordinary time outside any Take: the complete Timeline has room for both semantic
+anchors and independently authored events. No invented performance is needed to create that room.
+
+## Direct material for its intended uses
+
+For footage expected to fill the picture much of the time, the final aspect ratio is a useful
+starting point for generation. Anticipate the body, gestures, setting and detail the work will need
+when the picture changes. A later small or differently shaped viewport can sample that same source;
+its destination shape alone does not determine the source ratio. A tight source crop cannot later
+supply missing hands or setting. Choose the source view from the actual visual needs across the work.
+
+Recurring graphics and the source framing can support each other. Translate that plan into concrete
+camera requirements for image generation: a person positioned to one side, sufficient body extent,
+space around gestures, or a particular camera distance. Keep future MG, editorial writing and the
+explanation's metaphors with their components. The image request describes only the image being
+made. [Graphic composition](../craft/graphic-compositions.md#give-material-and-graphics-room-together)
+and [image direction](../craft/image-direction.md#frame-the-image-for-what-it-will-become) own that translation.
+
+Transparency is useful when the design needs the subject's silhouette. Preserve opaque footage
+when its real setting also matters. [Media preparation](../../production/media.md#keep-original-and-processed-material-explicit)
+owns those explicit outputs; their visual uses can change while the chosen performance continues.
+
+## Give events meaning and transitions duration
+
+Name the spoken idea that motivates a change in Script, then connect its Moment or Selection to the
+component. That establishes why the event happens there. Local durations and easing establish how
+the change unfolds. A phrase can start a movement that continues into the next phrase; the settled
+state can remain useful long after the entrance finishes.
+
+Design handoffs from the states on both sides: what remains present and where attention should land.
+A direct cut selects the new state at the event. When following a continuous transformation is useful,
+a brief presentation Use can connect two longer treatments without changing the underlying footage.
+Meet both the viewport geometry and its source crop at the endpoints. Read the actual contribution's
+interval and override semantics; shared timing does not make independent Tracks mutually exclusive.
+[Temporal projection](../../production/track-authoring.md#keep-selection-projection-and-consumption-distinct)
+and the owning component documentation supply exact syntax.
+
+## Choose a visual language, then complete its systems
+
+Turn the intended character into palette, type, edge treatment, depth, texture and motion choices.
+Judge them together in a representative passage with actual media. A style change can alter all
+these relationships: recoloring a glossy interface alone may leave its old visual character intact.
+Keep the accepted shared decisions in Recipes or ordinary code dependencies so related scenes evolve
+together. Specific colors and effects belong to this work's Treatment.
+
+Choose the realization that expresses the desired appearance well. A small raster animation can be
+right for a stepped pixel flag; a different work may need continuous cloth motion or true geometry.
+The reference supplies the appearance and behavior to understand, not a compulsory implementation.
+
+Preserve the detail that makes the scene convincing when simplifying it. Removing a redundant title
+changes the remaining layout; a folder still needs readable contents, and a working terminal needs
+visible activity while the narration describes it. A demonstration has a designed hold as well as
+an entrance. [Motion graphics](../craft/motion-graphics.md) owns how that change reads over time;
+[graphic composition](../craft/graphic-compositions.md) owns its hierarchy in the picture.
+
+## Organize the behavior at its useful scale
+
+Separate contributions that have independent reasons to change. Keep an interacting pointer, dragged
+object and destination together when they share geometry and motion. Ordinary functions and modules
+can organize their implementation; they need not each become a Track or package. A shared palette
+has code consumers without becoming a visible object.
+
+Supply the inputs the production actually directs: selected assets, meaningful events and useful
+presentation choices. A one-off scene can retain fixed internal dimensions and artwork. Caption
+position or color may deserve Inspector controls while a redesign of an illustrated editor belongs
+in its code. Independence, parameterization and cross-project reuse remain separate decisions;
+[Component design](../../production/component-design.md) owns that distinction.
+
+Make frame evaluation describe the current state, including before and after each event. Then a
+direct seek, a nearby-frame inspection and a range render can show the same designed behavior.
+Derive connected motion from shared layout so moving a target also moves its pointer destination.
+[Drawing](../../production/component-visuals.md) explains the browser-program implementation.
+
+## Develop the work with visible feedback
+
+A screen passage can carry actual interface evidence, an authored explanation, or both.
+[Screen demonstrations](../craft/screen-demonstrations.md) owns that choice; generated material
+direction and reference relationships belong to their [Craft pages](../index.md#craft).
+
+Review a useful passage in its surrounding composition as the design develops. Explain what it
+demonstrates and what is still being built. Comments can carry a change of visual idea that no
+parameter panel can express; Studio exposes the Timeline and the choices that are useful to adjust.
+Follow a timestamped comment to the responsible Source, Recipe, media or scene implementation.
+The timestamp locates evidence; the desired change may concern a recurring system throughout the work.
+
+Preserve accepted material through explicit Run choices while revising the composition. Seek and
+review the changed action and its handoffs; export the encoded film when that deliverable is wanted.
+[Review](../../production/review.md) and [Studio](../../production/studio.md) own the interaction;
+[Rendering](../../production/rendering.md) owns render scope and resource choices.
+
+## Study one complete production
+
+The [complex spoken explainer](https://github.com/hypit-ai/hypit/tree/main/examples/complex-explainer)
+is a finished 137-second example with 17 accepted Takes. Its guide links the film, editable sources,
+media archive and project packages. Reading its code and notes needs no media download; opening the
+full picture uses the supplied media/Result archive. The default Run reuses that accepted material.
+
+| Question to trace | Concrete source |
+| --- | --- |
+| How did the design change, and what made the revisions useful? | [Treatment and craft notes](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/productions/explainer/CRAFT-NOTES.md) |
+| How does a spoken phrase become a scene event? | [Script](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/productions/explainer/authors/script.svml) and [Main Source](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/productions/explainer/authors/main.svml) |
+| How do existing footage, a moving viewport and independent graphics coexist? | [Opening system and Performance Styles](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/packages/opening-system/README.md) |
+| What belongs inside a coordinated demonstration? | [Scene map, inputs and internal modules](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/packages/web-scenes/README.md) |
+| How can Caption stay independently editable? | [Project Caption package](https://github.com/hypit-ai/hypit/blob/main/examples/complex-explainer/packages/single-line-captions/README.md) |
+
+Carry the reasoning into the new commission: identify which objects, relationships and events it
+needs, then author that model. This example's scene inventory, pixel treatment and export settings
+belong to its production; the other [video examples](https://github.com/hypit-ai/hypit/tree/main/examples)
+show different useful organizations.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/playbooks/formats/ranking-listicle.md

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+# Ranking and listicle
+
+A ranking makes an argument through comparison. The board remembers earlier judgments while the
+current person, evidence and performance explain the next one. It can combine with
+[UGC performance](talking-head.md), independent narration or another presentation form.
+
+## Make the board's state tell the story
+
+Decide what is already established when the clip opens and what the viewer will see decided now.
+A partially filled board can imply an ongoing ranking: preset subjects occupy their rows from the
+beginning while the spoken passages introduce the subjects being judged now.
+
+Keep these notions separate when reading a component's vocabulary:
+
+- the outer Window is when the board exists;
+- a preset item is part of its initial state;
+- a newly activated item enters at an authored event or passage the component accepts;
+- the component owns how that activation changes the board and how long the resulting state stays.
+
+A ranking item's activation Selection need not mean the item vanishes when the Selection ends.
+Read the package's actual consumption semantics. Here, `preset` means initial board content owned by
+this component.
+
+## Arrange the person and the argument together
+
+Reserve useful space while drawing the host. One composition can place the person toward the right,
+use the left for the active subject's icon, and give the lower region to the board and evidence.
+Another ranking can use another layout. A setting detail can
+balance an offset host so they do not look artificially pushed aside for graphics.
+
+Speech supplies attitude and explanation. Caption follows its reading rhythm. Static or moving
+B-roll can illustrate a joke, comparison or claim on overlapping Selections. The board should remain
+understandable through the appearance and disappearance of those inserts.
+
+Some graphic systems publish both picture and sound. Use their peer outputs deliberately when the
+board already owns its drop or movement sound; an extra Audio Track is useful for distinct sounds,
+not for accidentally duplicating an existing event.
+
+## Give each picture the information role it needs
+
+An icon may identify the actual subject being ranked, establish an initial board state, carry the new
+theme of an adaptation or turn a comment into a visual joke. Decide what the viewer must recognize or
+believe before choosing how to make it.
+
+Use a supplied or found asset when its exact current identity, wording, version or factual authority
+matters; record the source and relevant use conditions. A familiar player, company, product, app,
+meme or public symbol can also be painted by a broadly informed image model when recognizable visual
+meaning is the need. Connect an exact reference when the model cannot reliably own the important
+fact. In reconstruction, preserve the icon's function and the recognition on which the original
+depends. In adaptation, a new subject or visual theme may call for a different icon altogether.
+
+Whichever source is useful, inspect identity, exact version, resolution, crop, padding and transparency at
+the final displayed size. Builds consume the selected project file or generated Output; sourcing is
+an authoring decision rather than work repeated on every Run.
+
+Supporting B-roll has a different job. Generated comic inserts can interpret the commentary while
+icons identify the board entries. Each insert chooses the visual language its
+joke needs; a parody interface or a theatrical still need not inherit the presenter's phone-camera
+Kit. A factual screenshot or product proof instead gets its authority from the fact it displays.
+
+## Choose the representation the argument needs
+
+A tier board, ordered column and comparison chart have different state and motion. Inspect a plausible
+Surface and use its public inputs. When the work needs a new structure or reveal behavior, create a
+project Track rather than modifying an installed package or forcing unrelated attributes onto it.
+
+Watch the current claim, the icon's movement, the board state and the supporting image together.
+Their timing can reinforce the same idea without all starting on the same frame. Use a shared
+Moment when several layers truly represent one event, and a Selection when a passage owns an interval.
+See [B-roll](../craft/b-roll.md), [Caption](../craft/captions.md), and
+[Track authoring](../../production/track-authoring.md) for those local decisions.