@autoaiai/aicut 0.1.11 → 0.1.13

package/skills/cartcut-editing/SKILL.md

@@ -1,615 +0,0 @@
----
-name: cartcut-editing
-description: "Edit video in the running Cartcut app: cut editing driven by a transcript, subtitles, trimming and rearranging clips, animated titles and typography. Use whenever the user asks to edit, cut, trim, caption, subtitle, add a title, or restructure a video, or refers to \"the timeline\", \"the project\", or \"my edit\". Requires Cartcut to be open with its MCP bridge connected. Runs in AICUT: the film is film.html, a page per shot, drawn by `aicut look` and `aicut render`."
-license: MIT
-source: "cartesiancs/cartcut"
----
-
-# Editing video in Cartcut
-
-## Running it in AICUT
-
-AICUT's film is `film.html`: it cuts pages, footage, pictures and sound together on tracks. A page is a web page that
-sets `window.film = { frame(t) }` and draws that moment — no framework, no build step, no composition object, no
-`registerRoot`. Five shots are five pages cut together, not one page that changes scene, so each shot stays trimmable
-and replaceable in Studio.
-
-```sh
-npx -y @autoaiai/aicut@latest          # the manual: the format and the commands, always current
-npx -y @autoaiai/aicut@latest open .   # make this folder a film and print Studio's address
-npx -y @autoaiai/aicut@latest look     # a contact sheet of the whole film, its sound, and a determinism check
-npx -y @autoaiai/aicut@latest look 4.5 # one frame, full size — look at the PNG, not at the code
-npx -y @autoaiai/aicut@latest render   # the MP4, beside film.html
-```
-
-Run the manual before the first film: it is authoritative for the format, and this skill is about the method above it.
-
-Where the words below name another program's part, it becomes this:
-
-| elsewhere | in AICUT |
-|---|---|
-| composition, timeline, project file | `film.html`; tracks and clips inside it |
-| a scene, a sequence, a slide | a page (`pages/<name>.html`) cut onto a track |
-| `useCurrentFrame()`, `interpolate()` | `frame(t)` — the picture depends only on `t`, never on state or `Date.now()` |
-| a still, a screengrab | `aicut look <t>` |
-| `render` / `build` / `export` | `aicut render` (the person can also export from Studio) |
-| a dev server, a preview window | `aicut open` and the Studio address it prints |
-
-Hard rules that hold whatever the method says: the picture depends only on `t`; every value in the person's prompt is
-binding; look at the frames `look` writes before saying a film is done.
-
-
-Cartcut is a desktop video editor. It exposes its live timeline over MCP, so
-you are editing the project the user is looking at, in real time. Your edits
-appear in their preview immediately.
-
-## Ground rules
-
-**Everything is milliseconds.** Timeline milliseconds, absolute, from the start
-of the project. Never seconds, never frames, never timecode. If the user says
-"cut the first 30 seconds", that is `0`–`30000`.
-
-**One instruction, one edit.** The batch tools exist so that a request like
-"remove all the silences" is one `remove_ranges` call with fifty ranges, not
-fifty calls. This matters more than it looks: each call is a separate undo
-step, and a user who dislikes the result should get back to where they were
-with one Cmd+Z, not fifty.
-
-**Your edits share the user's undo history.** `undo` takes back the last edit
-whoever made it. If you overshoot, undo. Do not try to reconstruct the
-previous state by hand, because you will get it subtly wrong.
-
-**Clips are addressed by id.** Get ids from `list_clips`. They change when you
-cut: a split produces a new clip with a new id, and the tool result tells you
-which. Re-read rather than assuming an id survived.
-
-**On-screen text has no em-dash, no full stop and no subheading.** That covers
-every title, caption, lower third and graphic you put in the project, whatever
-language it is in. A title is one line of words with nothing under it. The
-rules and how to apply them to transcript text are under
-[Writing text for the screen](#writing-text-for-the-screen); read them before
-the first word you put on screen.
-
-## Editing a whole video
-
-For anything bigger than a single tweak, the shape is: **look → propose →
-wait → apply once → check**.
-
-```
-get_edit_brief()      →  the project's shape, and a style profile with numbers
-get_transcript()      →  the words
-analyze_audio()       →  the silences, the beats
-                      →  propose in plain English, and WAIT
-apply_edit_plan()     →  the whole edit, one Cmd+Z
-get_contact_sheet()   →  look at what you made
-```
-```
-**Propose before you cut.** Four to eight sentences: the shape you have in
-mind, which takes you are keeping and why, where it tightens, whether you are
-adding motion or captions, how long it will run. Then stop and let the user
-answer. An edit they did not ask for is work they have to undo, and the cost of
-asking is one message.
-
-**Then apply it in one call.** `apply_edit_plan` puts the whole thing behind a
-single undo. Doing the same work through the individual tools leaves a history
-entry each, and an edit that takes sixty undos to reject is one the user cannot
-reject.
-```
-
-### The style profile is where the numbers live
-
-`get_edit_brief` returns a profile: cut padding, minimum shot length, how
-often to push in and how hard, which transitions this style uses, how many
-words a caption line holds. **Use its numbers rather than inventing your own**,
-because that is what makes an edit read as one piece instead of a series of
-separate decisions.
-
-It is chosen from what the material is, and it tells you why. If the reason
-sounds wrong for what the user wants, say so and offer one of `otherStyles`
-in a sentence rather than guessing.
-
-Profiles are files. A user who wants their own taste writes one and drops it in
-their styles folder; nothing about the grammar below is fixed in code.
-
-### The rules that do not come from the profile
-
-These hold whatever style is in play:
-
-1. **Never cut inside a word.** Snap every edge to a word boundary from the
-   transcript, then pad it by the profile's `paddingMs`.
-2. **Trim a pause, do not delete it.** Speech with every gap removed sounds
-   frantic. The profile's `maxSilenceMs` is what a long pause becomes, not what
-   it has to be under.
-3. **Let a move finish before a cut.** A punch-in still travelling when the shot
-   changes reads as a mistake.
-4. **One idea per moment.** Do not put a transition on a cut where a clip is
-   already moving, and do not stack an effect on a punch-in. Something moving is
-   enough.
-5. **A move needs a reason.** Tie it to what the audio or the words mark;
-   the profile's `onEmphasis` says whether to. Evenly spaced punch-ins read as a
-   tic.
-6. **Cut to `beats`, never to bpm arithmetic**, and only when
-   `tempo.confidence` is high.
-7. **Look before you say you are done.** `get_contact_sheet` at the cuts and at
-   anything you added. You will find things you cannot predict: a caption on a
-   face, a cut on a blink, a title against a white frame.
-8. **Say what you did, in seconds.** "Removed 14 ranges, 22s from a 4m10s clip,
-   and put a push-in on the three moments he raises his voice."
-
-## Start here, every time
-
-```
-get_project_overview     →  resolution, duration, tracks, how many clips
-list_clips               →  the clips themselves, with their ids
-```
-```
-Both are small. Do not skip them and guess.
-
-Then read the material before deciding anything: `get_transcript` for the words
-and `analyze_audio` for the sound. Both are cached, so the cost is paid once.
-```
-
-## Layering
-
-The track list reads top to bottom, and the top row is the front of the
-picture: index 0 draws over everything under it, the way V2 sits over V1 in
-Premiere. A clip's layer **is** its track. There is no per-clip "bring to
-front", and `update_clip` will refuse `priority`.
-
-So titles and captions belong on a text track above the video, and that is
-where `add_text` and `add_subtitles` put them. When they cannot (a project
-that already has a text track sitting under the picture), the result carries a
-`warning` naming what is stacked over the text, and the fix is one call:
-
-```
-move_track({ trackId: "…", toIndex: 0 })
-```
-```
-The same rule is what makes `add_shape` usable as a lower-third bar. The bar
-has to be behind the words and in front of the picture, which means a row
-between the two.
-```
-
-## Look at what you made
-
-`get_contact_sheet` renders frames of the **composed timeline** into one PNG
-grid and gives you its path. Read that file and you are looking at the picture
-the export would deliver (titles, shapes, filters, effects and all), drawn by
-the exporter's own renderer rather than pulled out of the source.
-
-```
-get_contact_sheet({ atMs: [1000, 8000, 15000], columns: 3 })
-get_contact_sheet({ startMs: 0, endMs: 30000, count: 9 })
-```
-```
-Use it when the answer depends on what is actually on screen:
-
-- after adding a title: is it legible against what is behind it, and is it
-  covering the speaker's face?
-- at a cut: did it land on a black frame or a blink?
-- after keyframing a move: does the move look like what you meant?
-- before telling the user you are done.
-
-Every tile carries its own timestamp, so what you see is directly actionable.
-Each frame costs a video seek, so ask about the stretch you care about rather
-than the whole project. If the result carries a `warning`, some footage had
-not finished decoding and those tiles are not to be trusted.
-```
-
-## Cut editing from speech
-
-This is the main workflow. The judgement is yours; the tools just carry it out.
-
-1. `get_transcript` on the clip. Timings come back already mapped to the
-   timeline, so you can use them directly.
-2. Decide what to remove. Read the words for long pauses, filler ("um", "uh",
-   "like"), false starts, repeated takes where the speaker restarts a sentence,
-   tangents the user asked you to drop.
-3. **One** `remove_ranges` call with all of it.
-
-```
-remove_ranges({
-  elementId: "…",
-  ranges: [ {startMs: 3120, endMs: 4020}, {startMs: 9500, endMs: 11200}, … ],
-  ripple: true
-})
-```
-```
-Ranges are read against the clip as it is *now*, so you do not have to shift
-later ranges to account for earlier cuts. `ripple: true` (the default) closes
-the gaps, which is what makes speech play continuously; turn it off only when
-the user wants the timing preserved.
-
-Two judgement calls worth making deliberately:
-
-- **Leave breathing room.** Cutting exactly on the word boundary clips
-  consonants and sounds rushed. Around 100ms of padding either side is usually
-  right.
-- **Do not cut a pause to nothing.** A conversation with every gap removed
-  sounds frantic. Trim long pauses down rather than deleting them.
-
-For word-level precision, `get_transcript` with `granularity: "word"`, but it
-is much larger, so scope it with `startMs`/`endMs`.
-
-Entries may also carry two things worth acting on:
-
-- **`confidence`**, 0–1, where the back end reports one. It measures how sure
-  the *recogniser* was, not how sure the speaker sounded. Treat a low score as
-  "these may not be the words that were said": check before putting that line
-  on screen as a caption, and pick a confident phrase when you need a pull
-  quote. A local WhisperX server scores every word; OpenAI scores whole
-  segments and no words at all.
-- **`speaker`**, when diarisation is on. This is what lets you cut between
-  people, caption them apart, or keep one person's answer and drop the
-  question. Segments break on a change of speaker, so a caption line never
-  mixes two voices.
-
-Both are absent rather than guessed when the back end does not report them.
-```
-
-### Listen as well as read
-
-The transcript tells you what was said. `analyze_audio` tells you what the
-recording sounds like, and the two disagree more often than you would think:
-
-- **Dead air the words cannot show you.** A gap between two sentences is in the
-  transcript; the eight seconds of room tone before the speaker starts, the
-  breath held mid-take and the silence after the last word are only in the
-  signal. Cutting them is most of what makes an edit feel tight.
-- **Where the hits are.** `onsets` are percussive attacks: over music the
-  subdivisions, over speech consonants and desk knocks. They are finer than the
-  beat, so they are what you snap an exact cut to.
-- **Where the beats are.** `beats` is a measured list, not a grid computed from
-  the tempo. Cut on it. Do **not** work out beat times from `tempo.bpm`
-  yourself: a grid extrapolated from a rate accumulates error and walks off the
-  music, and a drifting grid is worse than none because it still looks
-  deliberate. `beats` comes back empty when there is no pulse worth following,
-  and empty is the honest answer, because speech has no beat.
-
-Use `beats` to decide the *spacing* of cuts and `onsets` to place each one
-exactly.
-
-All of it comes back on the timeline, so it pairs straight with `remove_ranges`
-and `split_clip`. It is cached per file, so ask early and ask freely.
-
-## Captions
-
-`get_transcript` gives timeline-time segments. Take the full stops and dashes
-out of their text (see [Writing text for the screen](#writing-text-for-the-screen)),
-then feed them to `add_subtitles` in one call, all lines:
-
-```
-add_subtitles({ items: [ {text: "…", startMs: 0, durationMs: 2400}, … ] })
-```
-```
-They land on a single text track. If the result's `tracks` shows more than one,
-some of your captions overlap in time; check the timings.
-
-Styling defaults to a lower third sized from the project's own resolution, so a
-vertical video gets captions in the right place without being told. Pass
-`style` only when the user asks for something specific.
-
-Use `add_text` for a single title, `add_subtitles` for anything plural.
-```
-
-## Writing text for the screen
-
-These rules hold for every word a viewer reads: titles, captions, lower thirds,
-chapter cards, the text of a text clip, every text parameter of a graphic, and
-the default text of a program you write. They hold in Korean, English and every
-other language, and wherever the words came from. You never add any of these
-yourself; words the user dictates for the screen go on exactly as they wrote
-them.
-
-**No em-dash, ever.** Not `—`, and nothing standing in for one: no `–`, no
-spaced hyphen ` - `, no `--`. A dash on screen means the line is carrying two
-thoughts. Make it two captions, or keep the half that matters and drop the
-other.
-
-**No full stop, ever.** Not at the end of a line, not between two sentences,
-and no ellipsis (`...` or `…`) in its place. A period on screen reads as a typo
-to anyone who watches video, and it is the clearest tell that the text was
-written by something that thinks in prose. A decimal point or a domain inside a
-word (`3.5`, `cartcut.com`) belongs to the word and stays. Keep `?` and `!`
-only where the line really asks or exclaims.
-
-**No subheading.** A title is one line of words and nothing else. Nothing goes
-under it and nothing goes over it: no tagline, no explanatory second line, no
-kicker or eyebrow, no "Episode 1", no date, no credit, no small print. A second
-phrase hung off the title by a colon or a bar is the same thing on one line:
-"Seoul: the city that never sleeps" should be "Seoul". Do not reach for a
-second text clip, a second graphic or a second text parameter to hold one. A
-lower third is a name alone unless the user gave you the role to put under it.
-
-**Captions follow the same rules.** `get_transcript` returns punctuated
-sentences, so its text arrives with full stops and sometimes dashes, and goes
-on screen only once they are out:
-
-- take the full stop off the end of every segment
-- where a segment still holds two sentences, split it at the boundary into two
-  captions, timed from `granularity: "word"`
-- where the recogniser wrote a dash, split there or drop it
-- keep every other word as spoken
-
-A title lifted from the transcript is the same: "So this is the part that
-matters." becomes a title only once the period comes off.
-
-Keep titles short. A screen title that needs a comma usually wants a shorter
-phrase.
-
-**Read it back before it goes in.** Before any call that writes words
-(`add_text`, `add_subtitles`, `apply_edit_plan`, `update_clip`, `add_graphic`,
-`set_graphic`, `apply_typography`), look through every string for `—`, `–`,
-` - `, `.` and `…`, and for a second line under a title. Then look at the
-contact sheet, because a preset's sample text you did not overwrite shows up
-there and nowhere in your own call.
-
-## Motion that reads as deliberate
-
-**Set `easing` on every `add_keyframes` entry, or the move will be soft.** With
-none, a keyframe gets handles that leave and arrive at zero velocity. That is
-the gentlest curve there is, and applied to everything it is the single biggest
-reason agent-made motion drifts instead of landing.
-
-An easing shapes the segment *leaving* the entry it is written on (the same
-reading as CSS), so the last entry's is ignored.
-
-| Want | Use |
-|---|---|
-| A punch-in that lands | `snap` |
-| A move that passes the target and settles back | `overshoot` |
-| A move that winds up before it goes | `anticipate` |
-| A constant drift, Ken Burns | `linear` |
-| The CSS defaults | `ease_in`, `ease_out`, `ease_in_out` |
-| Anything else | `[x1, y1, x2, y2]` control points |
-
-A bounce reverses direction several times, which a single cubic cannot. Author it as several keyframes.
-
-**Scale is in tenths**: 10 is unscaled, 12 is 120%.
-
-### Reach for a preset first
-
-`apply_animation_preset` already has the curve and the length right, and it is
-one undo step:
-
-| Want | Preset |
-|---|---|
-| A hard push in | `punch_in` |
-| A slow Ken Burns | `drift` |
-| A zoom that passes its target | `overshoot_in` |
-| Something arriving with life | `pop` |
-| A title landing hard | `slam` |
-| An impact | `shake` |
-| Coming in off-angle | `rotate_settle` |
-| Opacity in or out | `fade_in`, `fade_out` |
-
-**Leave `durationMs` off unless you mean it.** Each preset carries the length it
-was designed around, and they differ by more than an order of magnitude: a
-punch is 180ms, a drift is four seconds. A punch stretched to a second is not a
-punch.
-
-### Typing a title on
-
-A reveal shows a text clip's lettering a piece at a time. It is two things: a
-**unit**, which is what one step shows (`character`, `word` or `line`), and a
-progress from 0 to 100 that is an ordinary keyframe track, `revealProgress`.
-
-`apply_typewriter` writes both, and it is what you want:
-
-```
-apply_typewriter({ elementIds: ["..."], unit: "word", durationMs: 1200 })
-```
-```
-Give it `durationMs` for a length or `unitsPerSecond` for a speed. Leave the
-easing alone: it defaults to linear, and typing on any other curve arrives
-slowing down, which reads as a stutter rather than as a person at a keyboard.
-Typing that will not fit before the clip ends is compressed rather than started
-earlier, and the result says so.
-
-`set_text_reveal` is for adjusting one afterwards, or clearing it with
-`unit: null`. It is also the only way to *create* a reveal, which matters
-because `revealProgress` does not exist until a clip has one: `set_animation`
-and `add_keyframes` both refuse the property until then.
-```
-
-### Zooming towards something
-
-Scale animates about the clip's **centre**, so a zoom always converges on the
-middle. To punch in on a face at the left of frame, pass `focus`, a point in
-the clip's own box from 0 to 100 per axis, and the preset pushes the picture the other
-way as it grows so that point stays put. `{x: 50, y: 50}` is the centre and
-changes nothing. Hand-authored keyframes get no such help: there you have to
-counter-animate `position` yourself.
-
-## Other edits
-
-| Want to | Use |
-|---|---|
-| Cut without deleting | `split_clip` |
-| Fuse clips a cut no longer needs | `merge_clips` |
-| Change where a clip starts or ends | `trim_clip` (absolute times) |
-| Reorder or restage clips | `move_clips` |
-| Delete outright | `delete_clips` (`ripple: true` closes the gap) |
-| Change which clip draws on top | `move_track` |
-| Keep part of the frame, hide the rest | `set_crop` (fractions, as `get_clip` reports) |
-| Flip a clip, or turn footage shot sideways | `set_mirror`, `rotate_clips` |
-| Round a video or image's corners into a card | `update_clip` `{cornerRadius}` (clip px), with `set_clip_decoration` for its border and shadow |
-| Cut picture and sound apart | `detach_audio` |
-| Type a title on, a piece at a time | `apply_typewriter` |
-| Change text, colour, position, size, opacity | `update_clip` |
-| Show the user what you did | `select_clips`, then `set_playhead` |
-
-Timing is deliberately not writable through `update_clip`. `startTime`,
-`duration` and `trim` are coupled, and writing one without the others produces
-a clip that previews correctly and exports wrong. Use `trim_clip` and
-`move_clips`.
-
-## Confirm before large destruction
-
-Cutting a few seconds out of a clip is ordinary work; just do it. But say what
-you are about to do, and wait, when the edit is:
-
-- most of a clip, or a whole clip
-- more than a handful of clips at once
-- anything the user described vaguely enough that you are guessing
-
-Report what you actually removed afterwards, in seconds, so they can judge it:
-"removed 14 ranges, 22s in total, from a 4m10s clip."
-
-## When things do not work
-
-- **Tools are missing entirely**: Cartcut is not running, or the bridge is
-  off. Ask the user to open it. The ⚡ icon at the bottom right of the window
-  reports whether the bridge is up, and carries the connection details.
-- **"editor window is not available"**: the app is starting up, or was closed.
-- **`get_transcript` fails**: transcription needs either a local
-  speech-to-text server or an OpenAI API key, both set in that same panel.
-- **An edit returns `ok: false`**: it was declined, not failed, and nothing
-  changed. The `reason` says what was in the way, usually a neighbouring clip
-  or times that miss the clip entirely.
-
-## Transitions and effects
-
-Both are real, both export, and both are yours.
-
-**A transition sits on a cut**, not on a clip: it mixes two rendered frames,
-so it needs the outgoing and incoming clip. `list_cuts` finds them:
-
-```
-list_cuts()                         →  fromId, toId, and how long it could be
-list_transition_presets()           →  37 of them, with their parameters
-add_transition({ fromId, toId, presetId: "…" })
-```
-```
-Neither clip moves or is trimmed. The frames the mix needs are the ones already
-in the files either side of the trim, and where the source runs out the clip
-holds its last frame; `realFootageMs` from `list_cuts` says how much would be
-real. A short dissolve that freezes slightly is normal; trim the clips if you
-want it all real.
-
-Reach for a cross-dissolve when the cut should be invisible, and for `whip-pan`,
-`cross-zoom`, `glitch` or `flash` when it should be felt. Do not stack one on
-top of a punch-in, where the clip is already moving.
-
-**An effect applies to everything painted beneath it.** It gets its own row,
-and where that row sits *is* the control: the first one lands at the very top,
-covering the whole composite, and you narrow it by moving its track down.
-```
-```
-list_effect_presets({ category: "texture" })
-add_effect({ presetId: "…", startMs, durationMs, intensity: 60 })
-```
-```
-`intensity` animates: `set_animation` and `add_keyframes` with `intensity`
-fade an effect in and out on one clip, and any `number` parameter animates the
-same way as `fx:<key>`.
-
-**An effect inside a shape applies only there.** A shape can carry any effect
-or LUT preset as its backdrop: it runs over everything painted beneath the
-shape, inside its outline, and leaves the rest of the frame alone. That is how
-to blur or pixelate a face or a licence plate, frost a panel behind a caption,
-or smear one band sideways.
-```
-```
-add_shape({ kind: "ellipse", x, y, width, height, startMs, durationMs,
-            backdrop: { presetId: "com.cartcut.pixelate", params: { size: 24 } } })
-set_shape_backdrop({ elementIds: [id], presetId: "com.cartcut.gaussian-blur" })
-set_shape_backdrop({ elementIds: [id], presetId: "com.cartcut.motion-blur",
-                     params: { length: 60, angle: 0 } })
-```
-```
-The first backdrop switches the shape's fill off, so only the effect shows;
-pass `fillOpacity` to keep some of the fill as a tint. To follow a moving face,
-parent the shape to a null that tracks it with `set_clip_parent` (Auto Track
-in the app makes one). The null follows position only, so draw the ellipse
-with room to spare rather than tight to the face. Track order decides what is
-beneath, as for any clip: the shape belongs above the footage and below the
-captions. If the preset cannot run, the shape draws its fill solid instead of
-going see-through, and `get_clip` reports `backdrop.draws: false`; check it on
-anything that hides someone's identity, and look at a frame with
-`get_contact_sheet` before you call it done.
-```
-
-## Typography and graphics
-
-A **graphic** is a layer drawn by a program: HTML and CSS for lettering, GLSL
-for a generated background. It is a box like an image, so moving, sizing,
-fading, keyframing, blending, grading and masking it are the tools you already
-use. Reach for one whenever a title needs more than a text clip can do: motion
-per letter or per word, an exit as well as an entrance, 3D, text on a path,
-vertical writing, gradients or pictures inside the letters, several outlines or
-a long shadow, a counter.
-
-**Start from a preset.** `list_graphic_presets` has two dozen, grouped as
-kinetic, stylized, distort, reveal, layout and background, each with the
-parameters it takes (the text and the font among them).
-
-```
-list_graphic_presets({ category: "kinetic" })
-add_graphic({ presetId: "com.cartcut.graphic.rise-in-out", startMs: 2000,
-              params: { title: "오늘의 레시피" } })
-```
-```
-Lettering lands on a text row in front of the picture and a GLSL background on
-a video row behind it. The box defaults to the preset's design size, centred.
-
-**A title graphic shows the title and nothing under it.** Every parameter you
-leave out keeps its default, and several presets ship a second line of sample
-text: `lower-third-card`'s `role` ("Director of Photography"), `quote-card`'s
-`author`, `ruby-title`'s `kicker` over the title and `counter`'s `label` under
-the figure. Pass `""` for each of those, and for any other text parameter in
-`list_graphic_presets` that draws a line of its own beside the title, unless the
-user gave you its words. A ruby `reading` glosses the title itself and stays.
-The defaults come back the same way through `apply_typography`, which fills
-only the parameters its `bindings` name, and through `set_graphic` when it swaps
-the preset, which resets every parameter.
-
-**To restyle a title that already exists**, convert it rather than deleting and
-re-adding: `apply_typography({ clipIds, presetId })` replaces each text clip in
-place, keeping its id, row, timing, box and keyframes, and carries the text,
-font, colour, size and alignment into the preset. Its result lists per clip
-what did not carry (`dropped`: runs, a reveal, outline, shadow and so on), so
-say so to the user or restyle it in the program.
-
-**Write your own when no preset fits.** Pass a `program` instead of a
-`presetId` to `add_graphic`, `set_graphic` or `apply_typography`. The contract,
-every variable the host provides, what CSS is allowed and the recipes for the
-matrix of effects is in `references/html-typography.md` beside this file (also
-served as the MCP resource `skill://cartcut-editing/references/html-typography.md`).
-Read it before writing one. A title program has one text parameter and one
-element showing it, with no second line anywhere in its markup. The loop is:
-```
-```
-check_program({ program, renderAtMs: [0, 400, 1200, 3600] })
-                     →  errors with line numbers, warnings, and a filmstrip PNG
-                     →  open the PNG and look at it, fix, check again
-add_graphic({ program, startMs, durationMs })
-get_contact_sheet()  →  see it composited with the picture
-```
-```
-Look at the filmstrip every time. Typography is judged by eye, and most
-mistakes (a word wrapping where it should not, a letter clipped at the box edge,
-an exit that never plays) are invisible in the source and obvious in the strip.
-
-Three habits that save a round trip:
-
-- **Use the font parameter**, never a literal `font-family`. A face named in CSS
-  exists only on the machine that wrote it; a font parameter travels with the
-  project. `bundled:<file>` names a face every install has.
-- **Korean wraps by eojeol only with `word-break: keep-all`.** Put it on every
-  text block, and `text-wrap: balance` on titles.
-- **Give motion room.** Drawing is clipped to the box plus `bleed`, so a glow, a
-  3D flip or letters flying in need `bleed` in the manifest.
-
-`save_program_as_preset` keeps a program you wrote as an installed preset, for
-this project and every later one.
-```
-
-## What is not here yet
-
-Nothing about the picture is missing any more.
-
-## Source
-
-Rewritten for AICUT from [`cartesiancs/cartcut`](https://github.com/cartesiancs/cartcut)
-(MIT), plugins/cartcut-editing/skills/cartcut-editing/SKILL.md. The method is that skill's own; the way it runs is AICUT's.