@aswless_854771076/ai_short_studio_cli 0.1.98 → 0.1.100

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/production/rendering.md

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+# Composition and rendering
+
+Read this when assembling the deliverable or rendering a frame interval for review. [Tracks](tracks.md)
+explains the contributing layers; [Runs](runs.md) explains selecting existing media for this execution.
+
+Components author the picture and sound contributions. Film assembles the selected contributions
+with Timeline and Canvas into a Composition. Rendering evaluates that composition over a frame
+interval and produces the encoded media. The
+same composition can therefore be inspected in Studio, rendered in part, or rendered as a whole.
+
+## Assemble the picture and sound
+
+With the named inputs already declared:
+
+```svml
+<import as="film" from="@hypit/film@1"/>
+<import as="render" from="@hypit/render-hyperframes@1"/>
+
+<import as="sound" from="@hypit/sound@1"/>
+<sound:Style id="voice-style"/>
+<sound:Track id="voice" timeline={speech.timeline}>
+  <sound:Use style={voice-style}/>
+</sound:Track>
+
+<film:Film id="main" canvas={canvas} timeline={speech.timeline}
+  appearance={look.film.main}>
+  <film:Track source={performance.visual}/>
+  <film:Track source={voice.audio}/>
+  <film:Track source={coverage.visual}/>
+  <film:Track source={captions.track}/>
+  <film:Track source={music.audio}/>
+</film:Film>
+<render:Video id="final" composition={main.composition} timeline={speech.timeline}/>
+```
+
+An example Film Recipe is `film.main { background: #18212A; }`. Canvas supplies the picture dimensions;
+the Timeline supplies program time. Include each wanted audio output explicitly. A covering
+picture leaves the included performance audio audible. Layer order is authored in the Tracks'
+Presents, so moving these Film children does not reorder the picture.
+
+`main.composition` is the assembled work, usable in Studio. `final.video` asks for an encoded video.
+A compatible Composition from another component can also feed the render Surface. Pure A-roll may
+need only the Performance and Sound contributions, with Caption when wanted. Additional coverage
+and graphics in this excerpt illustrate optional independent contributions.
+
+## Compose an authored animation
+
+A Film needs a time axis, whether or not it contains speech or prepared media. For a speech-led piece,
+continue to pass `timeline={speech.timeline}`: it provides both the real performance time and the
+context in which Tracks resolve Script references. For a pure MG piece, use the same Timeline with
+an explicit end and zero Takes, and pass it to the components, Film and Render:
+
+```svml
+<import as="time" from="@hypit/timeline-author@1"/>
+<time:Clock id="animation-clock" frame-rate="30"/>
+<time:Timeline id="animation" clock={animation-clock} end="8s"/>
+
+<!-- conversation is the project's own visual component. -->
+<chat:Scene id="conversation" timeline={animation.timeline} canvas={canvas} font={font}
+  during="program" title="Launch crew">
+  <chat:Message id="question" sender="Maya" side="left" at="0.5s" text="Ready?"/>
+  <chat:Message id="answer" sender="Leo" side="right" at="2s" text="Let's go."/>
+</chat:Scene>
+<film:Film id="main" canvas={canvas} timeline={animation.timeline} appearance={look.film.main}>
+  <film:Track source={conversation.track}/>
+</film:Film>
+<render:Video id="final" composition={main.composition} timeline={animation.timeline}/>
+```
+
+The example assumes the Canvas, font, Film Recipe and project package are declared. Timeline's `end`
+accepts seconds, milliseconds or frames and must end on a frame boundary. `Clock` remains the
+separate duration-free input for normalizing real media. Drawing code produces the picture at each
+requested frame; the Film's background supplies the canvas color. With no AudioTrack, the delivered
+video is silent. Render ranges and worker settings apply in the same way as for spoken work.
+
+Media, Typography, Audio and the graphic Tracks accept this same Timeline. Performance obtains
+any available prepared footage from it. Caption
+uses its speech-linked document; authored chat text belongs to the chat scene. The working example
+`examples/semantic-composition/chat.svml` and its `@example/chat-scene` package show the complete
+code-only composition, including scrolling and arbitrary message arrivals.
+
+## Choose a render interval in frames
+
+```svml
+<render:Video id="detail" composition={main.composition} timeline={speech.timeline}
+  start-frame="240" end-frame-exclusive="360"/>
+```
+
+Both bounds refer to the original program's frame clock. The interval includes frame 240 and ends
+before 360: 120 frames, or seconds 8–12 at 30 fps. Omit both bounds for the whole program. For a
+rational frame rate, compute seconds from its numerator and denominator rather than rounding the
+rate first.
+
+The original animation time remains intact, and picture and sound use the same interval. A short
+Run can target `detail.video` while the normal Run continues to target `final.video`.
+For this example, the renderer evaluates the original page at seconds 8–12 and encodes those frames
+as a four-second clip starting at zero. An animation already in progress at second 8 keeps that state.
+
+**The range limits final rendering. Upstream generation still follows the selected graph.** Keep
+the Run Candidates for usable media and SemanticTakes when inspecting a Caption or MG revision.
+Inspect `hypit plan` for the work that remains before submission. [Authoring](authoring.md#reuse-produced-work-explicitly)
+explains choosing the reuse boundary.
+
+## Execution and capacity
+
+HyperFrames compiles the selected composition and renders its picture. Timeline audio is rendered
+from the included AudioTracks, then picture and sound are muxed into the delivered file. A Runtime
+can bind these capabilities to different compatible Endpoints.
+
+Before the first local render, or when browser startup reports a missing executable, follow
+[browser preparation](../environment/local-tools.md#prepare-the-local-rendering-browser).
+That selected Provider owns browser installation and download configuration.
+
+The local HyperFrames Provider supports range requests and can capture different parts of one
+render with several browser workers. Browser selection, download settings and worker capacity
+belong to that Provider's Profile configuration. [Runtime profiles](../environment/profile.md)
+and the selected Provider's README own those choices; the Source retains the same render declaration.
+Another Provider declares the request forms its deployment supports.
+
+A short interval reduces frame capture and source-frame extraction, but still prepares the document's
+declared assets and validates typed Surfaces. Extra browsers help only while the machine can use them;
+preparation and final encoding contribute separately. Reusing media through the Run avoids generation work; it does
+not preserve a previous render's temporary preparation.
+
+For a local composition change, use [snapshot](snapshots.md) first to inspect the changed
+relationship and its handoffs in the current Studio programme. Keep accepted material selected in
+the Run. Range rendering supplies an encoded clip when that is needed; render the complete
+deliverable when the composition is ready.
+While rendering, communicate the current phase and meaningful progress. The Provider reports
+decoding, browser startup, capture, encoding and storage; `hypit logs <build-id>` preserves their
+timings and execution details when a slow or failed stage needs investigation.
+
+Image decode and declared-font loading failures stop capture with an error. Repair the named
+resource in its owning Source or component, then retry with accepted media retained in the Run.
+
+A local render timeout ends that execution attempt and releases capacity after its work has stopped.
+Its failure and already completed Outputs belong to the Build Result. Continue through a new Run
+and Build that explicitly reuse the available media, as described in [Runs](runs.md).
+
+Use [Builds and Results](builds.md) to submit, follow and retrieve `final.video` or `detail.video`.
+Use [Review](review.md) to judge the observed interval or complete deliverable against the intended work.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/production/review.md

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+# Reviewing the production
+
+Read this when opening Studio, judging an encoded Result, or improving the layout, timing and
+expression of the new Film.
+
+For picture inspection, start with [Snapshots](snapshots.md) of the current Studio work or existing
+HTML. Single frames establish detail; continuous frame grids establish movement and handoffs.
+Use Studio playback to hear and feel the passage, and the exported file to judge encoded delivery.
+
+[Studio](studio.md) explains launch, session reuse, displayed information, Source writeback and
+project Companions. [Timestamped Comments](studio.md#revise-from-timestamped-comments) connects user
+feedback to the owning production facts. [Builds and Results](builds.md) explains retrieval and explicit Output reuse.
+
+For a collaborative review, [show the editable work before export](studio.md#review-before-export)
+and introduce both views: Comments for time-located direction, Studio for the timeline and exposed
+parameters. Browser playback makes both available without first encoding a complete video. When a final file is requested,
+render and inspect that encoded deliverable as a separate step.
+
+## Make the composition work
+
+Watch the selected performance and its assembled picture and sound. In pure A-roll, judge whether
+speech, action, reactions, camera changes and pauses carry the intended passage. In a mixed work,
+judge the additional Caption, evidence and graphic relationships together with that performance.
+Watch their actual arrangement in Studio or a rendered Result: is the comparison clear, is the
+Caption readable, does the B-roll cover the intended explanation, and do entries and exits land on
+the right words or actions? Does a persistent object retain its identity and state through the
+handoff, and does moving a video viewport keep its intended playback? Adjust the layout, timing or
+component behavior that will make the passage work better. Judge a local change in the surrounding
+composition.
+
+Work from the authored Script and the production's existing semantic timing when locating a word,
+reveal or handoff. Those relationships identify the passages whose composition needs attention;
+Studio and rendered frames show how the chosen assets work there. Carry the same produced media
+and semantic Outputs through layout and component revisions.
+
+## Review the work the Run actually selects
+
+Use the Run that selects the production's actual material. It binds the Author Source, Targets,
+files and earlier Results. Preserve the produced media and semantic Outputs as the composition
+changes. Studio opens the selected work for playback and editing; snapshot captures its current
+compiled picture directly. A focused Run serves a requested encoded interval.
+
+Judge the relationship that the evidence can establish. A component's own example can show its
+style and behavior. The actual production image establishes its framing and color; the produced
+video shows how moving faces and gestures interact with Caption and MG. Inspect those interactions
+with the material that will appear in the deliverable.
+
+## Show what the current work establishes
+
+`hypit check` can establish that the Source and graph are legal. Studio can establish what the
+configured composition displays. A completed Build can establish what the selected Endpoints actually
+produced. Creative review asks a different question: does this composition perform the
+Treatment and the useful relationships learned from the reference?
+
+Present intermediate work with its purpose, what it already realizes and the important work still
+needed for the Brief. A storyboard can settle framing; the produced performance establishes how
+a person actually moves and speaks. A working preview can support either discussion. Make its
+current scope clear so the user can give useful direction, and continue the remaining work within
+the agreed commission. [Service selection](../environment/model-and-provider.md#choose-the-practical-capability-path-with-the-user) owns unresolved service choices.
+
+Read missing behavior through its material and presentation together. For intended speech, listen to
+the selected Film: an available audio file establishes material, while admission and the chosen
+Sound or Audio contribution establish whether that material reaches the Film. For intended physical
+action, examine the footage itself as well as the viewport animation. Use
+[media admission](media.md), [sound presentation](sound.md) and [Film assembly](rendering.md)
+to complete those relationships. Silence or stillness can equally be intentional when they serve the Brief.
+
+Look at the complete Film at its intended delivery size as well as the components inside it. A component that looks
+attractive in isolation may still cover a face, compete with a Hook, arrive on the wrong word, or
+break the piece's rhythm.
+
+## Choose evidence that exists
+
+The useful frame or interval is not known merely because a component has been authored. It becomes
+known from something visible or time-locatable: an authored Segment or clock relation, the Studio
+playhead, an encoded Result, or timing produced elsewhere in the graph. Until then, its exact
+location remains an open question.
+
+Use whichever view can answer the current question:
+
+- Once frame positions are known, use [snapshot](snapshots.md) to inspect the existing programme
+  directly. Select individual states or continuous frames; keep the surrounding handoffs visible.
+  The locations can come from semantic events, the playhead or authored clock time.
+- On an encoded Result, focused media operations such as frames, cut, and tile can expose exact
+  pixels, adjacent frames, or a short passage.
+- Open Studio when interactive playback, parameter editing or a component's Companion helps the
+  current work. Seek or select semantic entities to inspect their place in the composition.
+- Use a [range render](rendering.md#choose-a-render-interval-in-frames) when the question requires
+  an encoded clip with sound, such as testing an export setting or delivering a passage.
+- Watch the whole deliverable when the question concerns Hook clarity, story movement, payoff,
+  CTA, or how A-roll, B-roll, Caption, MG and Effects work together.
+
+Choose and combine these views according to the current question. A component name alone does not
+prove that a particular state is stable or that a change occurs at a guessed time; Studio or actual
+media supplies that evidence.
+
+Inspect the relationships that make the composition work:
+
+- **performance** — the selected footage actually contains the intended speech, action and reaction;
+  presentation motion does not substitute for missing action in the material;
+- **picture and coverage** — B-roll supports the passage and its display window carries the intended
+  explanation or handoff;
+- **semantic timing and motion** — cuts, Caption Cues, MG states and Effects occur on the
+  intended word, phrase, pause, or clock event; inspect important internal events as well as the
+  outer interval. A scene that starts on the correct phrase can still reveal its result on the
+  wrong word. Entry, settling, active behavior and exit should make the intended handoff perceptible;
+- **shared layout** — a layout established for a passage remains coherent while its individual
+  contents change; inspect the handoffs as well as the populated states, so replacing a card or
+  ending a Selection does not accidentally release space the passage still needs;
+- **Caption** — every meaningfully different speaker, position, color, emphasis, Cue shape, and motion
+  configuration remains readable, belongs to the speech, and preserves the intended face and action;
+- **Typography and UI** — independent writing has the correct hierarchy, content, persistence, and
+  relationship to the picture;
+- **composition** — each element has enough room and the full frame preserves the intended visual
+  hierarchy.
+
+For generated recreation, do not approve only isolated attractive shots. Review every cut at tail,
+handoff and head, then sample the whole encoded Film for: identity/wardrobe/body-proportion drift;
+screen direction, eyeline, held-prop and contact-state continuity; exposure, white balance, skin
+texture, diffusion, lens and depth-of-field continuity; mouth-to-dialogue timing; room-tone and
+perspective continuity; and any unintended subtitle, glyph, logo, watermark, UI text or symbol. Exact
+model-generated countdown and interface states must match their approved storyboard cells and pass
+original-resolution visual inspection. Verify the requested sequence, placement and transition
+timing in the full-frame result. Reject malformed or extra digits, unstable display placement, wrong
+state timing and unrequested text; improve the prompt or board and regenerate the smallest failing shot.
+Never paint over, inpaint, composite over or locally replace part of a generated video.
+
+Before reviewing generated pixels, audit the shot's production evidence: every selected asset
+board is approved; any risk storyboard required by the plan is approved; the depth video and video
+prompt are connected, with an audio reference when required; the ordered reference manifest matches the actual model inputs;
+and its start/end states agree with the continuity plan. A visually appealing result does not cure a
+missing reference edge or accidental use of source picture or sound. During review, compare the output
+with the exact selected versions rather than with an informal memory of the character or scene.
+
+For native generated audio, listen to every accepted shot and the joined Film. Compare visible dialogue
+with the exact Script and, when wording matters, use ASR as supporting evidence rather than replacing
+listening. Check speaker ownership, missing or invented words, mouth timing, breaths, contact sounds,
+ambience, room perspective, noise floor and cut-to-cut sound-field continuity. Reject a visually correct
+shot whose dialogue or physical sound is wrong; do not hide it under music or retain source audio when
+the Brief requires a complete remake.
+
+For multilingual dialogue, compare every turn with its own confirmed language code and original text.
+Reject translation, transliteration, dominant-language replacement or an undeclared language switch even
+when the words sound superficially plausible.
+
+For every shot carrying a key character, record a separate identity decision against the selected
+character board. An original short-drama shot without a separate character board may use its approved
+identity evidence in the required storyboards; a recreation shot follows its reviewed asset manifest.
+A pending or rejected
+decision blocks that generated Result from entering the Timeline. Identity drift is repaired only by
+improving the prompt/reference contract and regenerating the smallest failing shot; it is never hidden by
+continuing the edit or locally retouching the face.
+
+For geometry, read three nested relationships: Canvas, outer Frame or background, and inner content.
+Check containment and capacity at each boundary, then judge optical alignment. Intentional crop,
+bleed, overlap, and asymmetric balance are part of the design when they help the work; measurements
+describe what happened and the picture decides whether it succeeds.
+
+At a visual handoff, inspect what is actually visible before, during and after the change. A return
+to the speaker may be intended; a one-frame flash of that picture between other views may not be.
+If the exposure is unintended, locate the owning cause: the active Window, source playback,
+transition opacity, component background lifetime or spatial crop. Several Frames or a designed
+background can form the intended picture without one full-frame source.
+
+Repeated appearances of one observed visual configuration can share a judgment. A visibly changed
+speaker, placement, Style, content shape, behavior, or surrounding composition supplies different
+evidence.
+
+## Compare a reconstruction by function
+
+Use the reference Analysis and Timeline as a question map. Compare the spans that reveal an important
+relationship: an accumulation on a board, a switch from A-roll to B-roll, a Caption system changing
+speaker, an MG reveal, or a payoff returning to the Hook. A short clip or dense adjacent frames can
+establish motion and order; a full-resolution frame can establish text and geometry.
+
+The target may intentionally change person, product, brand, language, or visual world. Compare
+whether the transformed element performs the same useful role, not whether its pixels match. When the
+target's Treatment deliberately changes the role too, the Treatment is the authority.
+
+For a supplied person or product, compare the new appearances with those actual references as well
+as the intended camera image. Judge recognizable identity, appeal, and how naturally the new subject
+inhabits the piece; check that dialogue, demonstrations, and graphic details make sense for this target.
+
+Inspect the detailed realization of each relationship: the entry catches attention, the hold gives
+enough reading time, the motion explains a change, and the exit clears the next idea. Compare source
+and target at their corresponding words or actions; the target's new speech can place that event at
+a different second. A reference gives precise design evidence, while Brief and Treatment determine
+which of those choices belong in this piece.
+
+## Repair the owning fact
+
+| What the review reveals | Where the correction belongs |
+| --- | --- |
+| The intended story, shot logic, or visual system is wrong | `TREATMENT.md` |
+| Words, speakers, Cue breaks, Selections, or Moments are wrong | the Author Source's Script |
+| Composition, authored parameters, or semantic/clock relation is wrong | Author Source or Recipe |
+| The wrong file or earlier Output is selected | Run Source |
+| A reusable visual role cannot express or render its intended design | the project Author Package |
+
+Before changing the work, connect the composition problem to its consequence and the intended
+improvement. For instance, extending a hold can make a comparison readable; delaying an exit can keep
+proof visible through the claim it supports. Correct the owning fact and preserve existing work
+around it. Watch the affected interval and its handoffs after the change, then judge it in the whole
+Film. If the result did not improve, revisit the explanation before making another adjustment.
+
+A request for different paid media is a production decision whose additional calls must be visible
+in `hypit plan`. Reuse the accepted Outputs for composition changes.
+
+The composition is ready when its layout, readability and timing carry the Brief and Treatment
+clearly and compellingly. Continue when a change will improve that expression; deliver when it works,
+with the important choices and any material limitations explained.

package/skills/using-vvicat-ai-short-studio-cli/references/hypit/production/runs.md

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+# Runs, Targets and reuse
+
+Read this when choosing deliverables, reusing an Output, or selecting media for an execution. [Authoring](authoring.md#reuse-produced-work-explicitly) explains
+which produced value still fits an edit; [Builds](builds.md) explains finding and executing it.
+
+A Run says what this execution should complete and which existing or alternative values it should
+use. A **Target** names a deliverable Output. A **Candidate** supplies an Output needed along the
+way. The selected dependencies determine the work that remains.
+
+For example, changing a title can keep the performance and its timing while producing a new final
+video. The Source describes the changed title; the Run keeps the produced Take.
+
+One Run uses these author-facing declarations:
+
+| Declaration | Role |
+| --- | --- |
+| `<author source="./main.svml"/>` | Select the Run's one Author entry. |
+| `<import as="media" from="@hypit/media-pipeline@1"/>` | Make one installed Run Fragment library available. |
+| `<target output="final.video"/>` | Demand one public Author Output; several Targets may be declared. |
+| `<file .../>` | Admit one project file as a typed zero-input Candidate. |
+| `<build-record .../>` | Admit one exact public Output from one earlier Build Result. |
+| `<value .../>` | Admit a serialized typed value from a JSON file. |
+| `<fragment ...>...</fragment>` | Instantiate a package Fragment whose exports become Candidates. |
+| `<satisfy output="..." candidate="..."/>` | Select one declared Candidate for one Author Logical Output. |
+
+The required order is Header, `<svrun>`, one `author`, then Fragment imports, followed by Targets and
+Candidate declarations. Runtime Profiles, Provider options, credentials, and output destinations are
+not Run declarations.
+
+## Select the Output that the current work needs
+
+```svrun
+<?svml using="@hypit/run-markup@1"?>
+<svrun version="1">
+  <author source="./production.svml"/>
+  <target output="final.video"/>
+  <build-record id="kept-take" build="bld_..." output="opening-semantic.take"/>
+  <satisfy output="opening-semantic.take" candidate="kept-take"/>
+</svrun>
+```
+
+Replace `bld_...` with the actual Build id found through Results. The historical `output` is the
+name in that Result; the `satisfy output` is the current Author Output. Keeping this SemanticTake
+preserves both media and timing when its Script identities still fit. A changed Caption or MG can
+then recompute downstream. Marker and display-only edits may also preserve the Take; use the
+[reuse table](authoring.md#reuse-produced-work-explicitly) to distinguish them from changed speech or media.
+
+Each Run has one Author entry. Its Targets name public computed Outputs, such as `main.composition`
+for composition work, `final.video` for delivery, or an intermediate the work needs independently.
+The selected graph includes the dependencies needed to complete those Outputs.
+
+## Choose what the replacement supplies
+
+A file can replace a byte-producing Output:
+
+```svrun
+<file id="supplied-performance" type="@hypit/artifact@1#BlobArtifact"
+  from="./assets/performance.mp4" media-type="video/mp4"/>
+<satisfy output="performance.video" candidate="supplied-performance"/>
+```
+
+Here the file replaces the generated video bytes. Normalization and alignment still follow it.
+Selecting a completed SemanticTake instead preserves its media, Script association and timing
+together. Choose the Output whose meaning matches what should stay; the receiving Type identifies
+which kind of value fits that position.
+
+## Use a Fragment when a Candidate needs computation
+
+A Run Fragment connects computations that produce a Candidate. For example, an authored still image
+can become a timed video through Media Pipeline's ordinary `still-video` Fragment:
+
+```svrun
+<import as="media" from="@hypit/media-pipeline@1"/>
+<fragment id="product-hold" using="media:still-video">
+  <input name="duration" value="5"/>
+  <input name="clock" from="clock"/>
+  <input name="layout" from="product-layout"/>
+  <input name="source-0" from="product-image"/>
+</fragment>
+<satisfy output="product-clip.video" candidate="product-hold.video"/>
+```
+
+Here `product-layout` is an Author value of Type `@hypit/media-pipeline@1#StillVideoLayout`,
+containing `{"weights":[1]}`; `product-image` is an authored image Blob. The package README owns the
+Fragment's exact inputs. [Media](media.md#give-a-still-a-duration-when-that-is-its-role) shows the
+simpler `StillVideo` Surface for authoring this directly in the Source.
+
+Place imports after `author` and before execution declarations. `using` names a Fragment from an
+installed package. `from` on an input names a public value of the Run's Author entry, including a
+computed Output. The latter retains its own dependencies and any Candidate selection. It does not
+name another Run Candidate or automatically expose an imported Source's private bindings.
+
+The resulting Candidate is named `product-hold.video`. Selecting it replaces the computation at
+`product-clip.video` while retaining the preparation and composition that consume that video.
+
+## Generate material while composing
+
+Media requests depend on the Script, direction, references and requested duration. Once those
+choices are ready and the commission covers their cost, a Run can target the prepared Takes while
+component and Recipe work continues. Shared decisions such as where a presenter leaves room for
+an overlay belong in Treatment. Translate the material side into visible camera facts for image
+and video direction; pass the composition side as actual layout and event inputs. Independent
+requests can run while their downstream components are authored.
+
+The small [production Source](examples/production.svml), [Recipe](examples/look.svs),
+[material Run](examples/material.svrun) and [production Run](examples/production.svrun) illustrate
+these execution choices. Copy them together into a project. The simple performance request shows
+system wiring; the work's actual casting, references and direction come from its Treatment and Craft.
+
+`material.svrun` targets `opening-semantic.take`. While it runs, the author can work on the title and
+its placement. Once the Take completes, select it with `build-record` in the production Run so that
+rendering uses the produced performance and its word timing. If material is already available, use
+it directly. Choose Targets according to the dependencies the current work needs.
+
+For a focused composition change, [detail.svrun](examples/detail.svrun) targets frames 30–90 from the
+same Source and reuses that Take. Replace its example Build id with the actual Result id. The new
+Build evaluates the changed composition and selected render interval. The final Run can reuse the
+same Take for full delivery.
+
+[Rendering](rendering.md#choose-a-render-interval-in-frames) explains frame ranges and reuse;
+[Review](review.md) explains judging the actual arrangement. [Studio](studio.md) provides an
+interactive view when playback, parameter editing or a component's Companion is useful.
+
+## Preserve the choices that still apply
+
+Retain unrelated `satisfy` declarations when adding a new choice. Removing one restores the Author
+computation for that Output. A new Build does not infer reuse from matching names or unchanged prompts.
+Read the plan to see whether the changed selection leaves the intended generation, preparation and
+rendering work. [Rendering](rendering.md) explains why a short render interval still needs explicit
+upstream reuse.
+
+## Other value and export forms
+
+`<value id="settings" type="@owner/module@1#Settings" from="./settings.json"/>` admits a typed
+serialized value as a Candidate. The file contains a StoredValue wrapper, for example
+`{"kind":"inline","value":{"enabled":true}}`. The inner value must match the declared Type.
+Use `build-record` for structured Outputs already held in Results, where their associated media
+resources can be resolved with them.
+
+A Composite export's `value.json` is a Result value document with separate resource bindings, not
+this StoredValue wrapper. [Project handoff](../creation/project-files.md#hand-over-an-editable-production)
+explains retaining its Result for structured reuse in another project location.
+
+Fragment input `value` supplies a scalar: number, boolean, null or text. Structured inputs use
+`from` to reference typed Author values. Exports are addressed as `instance.export`; optional
+`<export name="video"/>` children choose which exports the instance exposes. Selecting an export
+includes the computations that it requires.
+
+The installed package's Run Fragment documentation gives its package-specific inputs and exports.
+Surface vocabulary queries describe Markup tags; a Fragment-only package can therefore have no
+entries in that query.