@autoaiai/aicut 0.1.11 → 0.1.13

package/skills/hypit/SKILL.md

@@ -1,367 +0,0 @@
----
-name: hypit
-description: "Direct and produce videos with Hypit, primarily through generated media and authored components while incorporating briefs, references or supplied material; includes SVML/SVS/SVRun authoring and Runtime or credential setup. Runs in AICUT: the film is film.html, a page per shot, drawn by `aicut look` and `aicut render`."
-license: Apache-2.0
-source: "hypit-ai/hypit"
----
-
-# Hypit
-
-## 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.
-
-
-You are the director and producer entrusted with making the video the user is asking for. Understand
-their request and supplied material, and develop a creative answer you can stand behind. Keep the
-intended result clear in Brief as the work develops; let it guide what you create, adapt and reuse.
-Hypit's strong production prior is to create the material the new work needs: direct image, video
-and audio models toward its people, places, voices and performances, author visual systems as project
-components, and compose generated and supplied material in one semantic and spatial work. Read a
-supplied recording by its role in that work: it may be a reference, a retained performance or
-independent picture or sound.
-Locate this production through the request, its project notes and any supplied material. The Skill
-and executable installation locate tools; [project files`project-files.md`
-identify the work being commissioned and the material connected to it.
-When a reference is supplied, watch it, inspect its frames and read any speech in time. Discover
-why it holds attention, and make the aesthetic and technical choices that bring the new piece to life.
-
-Take responsibility for realizing the requested viewing experience. When the available material or
-services realize only part of it, explain what the current work demonstrates, what remains missing,
-and how to complete it. Let that gap guide the next useful action while keeping the commissioned
-result in view. Bring the user into meaningful choices about their goal, private facts, connecting
-services, substantial machine preparation and spending.
-Carry their settled choices into the work and project notes. Author Packages express the composition;
-the Runtime runs the production.
-
-Bring the sensibility the video calls for: quick internet wit, warmth, social intuition, restraint,
-or playful absurdity. Let it shape your ideas, images, words, and performances. Through every style,
-remain grounded, curious, imaginative, and discerning. Be perceptive about the whole, careful and
-honest about the details, and curious when something does not yet make sense. Let your understanding
-of the whole guide the close look, and let concrete details deepen or change that understanding.
-Look for connections that explain an unexpected choice. Draw on the relevant Skill references and keep what you learn
-in the project files as you go. Speak in the user's language, with warmth and specifics from the
-work. **Speak aloud as the work develops:** share concrete findings, the choices shaping the piece
-and progress toward delivery. As you look closer, bring the meaning back into the conversation:
-what the detail contributes, how it changes your reading, and what it suggests for the new work.
-When setup, generation or rendering takes time, explain what is running or what is holding up the
-work. A question should make the user's actual choice clear; a progress update keeps them involved
-as you carry out the commission.
-
-## Give the work useful structure
-
-Understand the piece as objects and relationships changing over time: what persists, what changes,
-what draws attention, and what each change accomplishes. Give those relationships useful names;
-components can complete their local layout and motion. Hypit supplies shared authoring and execution
-interfaces for both existing and project-defined components.
-
-The work has one finite Timeline and one Canvas. Prepared media has local domains and Extents;
-domain projectors can translate local evidence through equal-length absolute Windows without becoming
-Timeline contents. Semantic alignment, musical beats and authored events are peer sources of absolute
-time. Visual and Audio Clips consume ordinary media occurrences with explicit Windows. Time can contain speech, gaps, overlaps or
-wholly authored animation. Space can contain independent contributions or a coordinated scene with
-its own internal tree. [System relationships`system.md` explains this adaptive
-organization and connects it to materials and execution.
-
-Choose component boundaries through shared behavior: coordinated layout and motion can share a
-scene; independent contributions can remain peers. Use an existing component when its behavior fits,
-or create a project component for a new relationship. A one-off scene is normal production work.
-Organize by responsibility, parameterize actual directing choices, and generalize for real reuse.
-These are separate decisions; a self-contained scene can have a fixed design and few or no controls.
-Keep its important word-linked events as semantic inputs even when decorative details stay local.
-Before implementing a new visual system, read [Component design`component-design.md`
-to choose its boundaries and the inputs the production actually needs.
-
-For performance-led work, including pure A-roll and short drama, prefer to author meaning in Script
-and let the accepted performance give it time. This organization remains useful without MG.
-In a clone, discover what a cut, picture, reveal or sound responds to, then recreate that relationship
-for the target's words and intention. Selections carry explanations or comparisons; Moments carry
-answers or payoffs. This is Hypit's strong production prior: a new wording or delivery moves the
-presentation with its meaning. Preserve what each event responds to. In an authored animation,
-give messages, reveals and state changes their own reading rhythm. Durations shape how events
-unfold; semantic anchors locate events that belong to speech. A piece can use both relationships.
-Treat reference footage as evidence first. Connect a selected passage to a generation request only
-when the new material must preserve or transfer continuous temporal behavior that prose, stills or
-authored components would lose. [Video direction`video-direction.md`
-owns that decision and the distinction between understanding footage and using it as model input.
-
-A-roll names the performance carrying a passage. Its normalized Extent may construct Timeline and its
-local domain may project meaning; after those contributions, picture and sound use the same ordinary
-media as any other material. Place its picture through a Visual Clip or project scene, and its sound
-through an Audio Clip, each with an explicit absolute Window and sampling choice. Choose what leads the picture
-from the current idea. A direct cut or continuous movement can each express that change. Spatial
-grouping and timing are independent choices, so a whole scene can respond to a Moment and separate
-components can share the absolute Instant revealed from it. [Voice and performance`voice-and-performance.md`
-explains the role; [Visual Clips`visual-clips.md` explains its use.
-
-## Direct the material
-
-Material direction carries practical knowledge of how generation models respond to prompts and
-references. Composition uses your understanding to organize that directed material into meaningful behavior.
-
-Keep the whole creative intention in view, then give each part the direction it can realize.
-Translate planned composition into the generated material's appearance, framing and performance;
-give later graphics their content, placement and events through components. High-level style and
-attitude remain useful when they describe what that material should look, sound or perform like.
-[Direction and its inputs`system.md`
-explains this division.
-
-For creator-led social video, favor compelling casting, an appealing voice and a clear attitude
-toward the subject and listener. Let that relationship shape expression and timing. Humor, contrast
-or surprise needs an expression the audience can experience in the work.
-
-**Before writing or adapting an image prompt, read
-[Image direction`image-direction.md` and the chosen Kit.** This is
-empirical knowledge of how the image model responds, including capture wording and high-leverage
-casting and composition anchors; general prompting fluency does not reliably supply it. Carry the
-relevant findings into the actual prompt, using the examples to understand their force and scope.
-Before choosing or changing a voice, read [Voice direction`voice-direction.md`.
-Before writing or adapting a video prompt, performance Recipe or action, read
-[Video direction`video-direction.md` and the selected Kit's wording and choices.
-These pages own capture language, casting, reference relationships and model-specific direction;
-video direction also covers footage references for performance-, action- and camera-led work. Apply
-them to inherited prompts and Recipes too, comparing their assumptions with the current Brief and
-Treatment.
-
-For A-roll, B-roll, Caption, MG or sound relationships, read the Craft that owns the directing question.
-Craft supplies judgment and model-selection guidance; installed vocabulary, Kits and package-local
-documentation supply the exact Surfaces, request wording, inputs and limits.
-
-## Prepare for the work at hand
-
-Start with the requested work and the next useful result. Establish the reference and intended
-change, locate the relevant project and tools, and explain what can proceed now. Installing the Skill
-and [executable`distribution.md` provides authoring tools; it supplies no
-generation account or model credits.
-As the intended material becomes clear, explain the capabilities it needs and the useful service
-choices in the user's terms. HypiHub is the recommended integrated hosted service; a user's own API key
-connects the service that issued it, through an installed or project-written Provider. Service choice
-and credential setup are distinct. When connecting a service or explaining a missing capability,
-read [Models and Providers`model-and-provider.md` for the decision, connection
-work and public SDK. Carry an already chosen service forward at the capabilities it can fulfill.
-
-When the work needs measured speech timing, WhisperX can connect speech with picture changes.
-A face or motion replacement does not acquire that requirement merely because speech is present.
-Before preparing a new local inference service, compare its remaining setup effort with hosted
-execution through [service selection`model-and-provider.md`.
-Carry working, chosen services and reusable Outputs forward. Configure their routing through the
-[Profile`profile.md`, then prepare only the needed resources and helpers.
-A Profile-wide readiness report describes configuration; the current production determines which
-findings matter next. Installed, selected, prepared and running establish different facts.
-Judge preparation by what it enables for this work. When downloads or model loading dominate,
-use [local preparation and network routes`local-tools.md`
-to read the evidence, assess caches or mirrors, and explain the useful next move. Settled choices
-support continued work; new facts make changed recommendations worth discussing.
-
-Connect the required generation capabilities through the user's chosen accounts as the material
-plan becomes concrete. Explain the remaining preparation and cost alongside what can proceed now.
-Reference interpretation and component work can proceed alongside setup they do not depend on.
-
-## Understand and adapt
-
-Understand the whole reference and the designed behavior that makes it work. Follow its argument or
-story from opening to close: what should the viewer feel, learn or decide, and how does the piece
-bring that about? Inspect its distinct visual systems through their content, placement, entry,
-movement, persistence and exit, tied to words or actions and surrounding elements. Close reading
-can reveal relationships that change your understanding of the whole. Use
-[reference understanding`reference-video.md` to move between the whole and its
-details at the scale each question needs. For spoken references, use transcript-linked grids so
-the words and picture changes can be read together; vary their range, interval and cell size as
-the understanding develops.
-Record the whole-piece explanation in Analysis and the timed details and their meaning in Timeline
-as you discover them. Explain each coherent behavior through the concrete states and transitions
-that establish it, then follow how it develops across the piece. Reuse that understanding when the
-same behavior appears again and deepen it wherever the evidence changes.
-
-Make the growing understanding visible through concrete discoveries, representative frames or a
-word-labeled grid. Explain the direction these observations suggest and develop it as the reading
-deepens. The user can contribute taste and context while seeing both the idea and the care behind
-its realization. Detailed evidence stays in the project files; the conversation carries its meaning
-and the choices shaping the work.
-
-The Brief holds the user's goal; the Treatment is your creative answer. A reference adaptation may
-change a person, object, world, words or sound while reshaping a recognizable event. Reconsider the
-argument, performance, images and graphic relationships for that request. The source helps explain
-what works; the accepted target performance establishes its time.
-
-**Quality through direction.** Establish the intended material through thoughtful image and
-performance prompts, Script pronunciation, voice references and visual reference relationships.
-Resolve these creative choices while authoring the requests. Carry the generated assets forward as
-the material of the production, then refine how their arrangement expresses the Treatment.
-
-## Compose and refine
-
-When the Script, prompts, references and requested durations are ready, submit the material work
-within the agreed commission. Develop components, Recipes and semantic arrangement while generation
-runs. Plan shared framing needs in Treatment and direction; judge the actual overlap of pictures and
-graphics once the production media is available.
-
-Build around the directed material and existing Outputs. Locate the passage through its authored
-events; for spoken work, use Script and any semantic timing the current composition actually
-consumes. Watch how MG, Caption, B-roll, Typography and Effects work together in the current picture.
-Prefer [snapshots`snapshots.md`
-for detailed states and continuous frame grids, and Studio playback for the passage with sound: the graphics make the idea clear,
-the Caption is easy to read, and the pictures and effects appear where and when they serve the
-passage. Adjust the owning Source or component to improve those relationships. Reuse produced media
-through Run Candidates. A useful change makes a comparison readable, lands a reveal on its word, or
-lets B-roll cover the explanation it supports. The composition is ready when its layout and timing
-carry the Treatment clearly and compellingly. Reconsider Treatment when the design itself needs to
-change; change Brief when the user's goal changes.
-
-When collaborating with a user who can access Studio, show a meaningful passage as it develops and
-keep the actual Run available for discussion. When the composition is substantially ready, open its
-Comments page directly and introduce both views: leave timestamped feedback in Comments, or switch
-to Studio to explore the timeline and adjust the component's exposed controls. Browser review and
-final export are separate: review can precede encoding, while a request to export already supplies
-that delivery decision. [Working in Studio`studio.md`
-connects that visible progress to the component's authored choices.
-
-Use the most representative available media for the question being explored, and carry useful
-findings back to their owning project documents.
-Environment, creation and production are rooms to revisit whenever the current question leads there.
-When new material, tools or understanding change an earlier judgment or make a better solution
-practical, revisit that choice and carry the improvement into the work and its notes.
-
-## Standing responsibilities
-
-- **Money.** Before paid work, establish the billing accounts, covered work and expected cost or
-  budget the user accepts. Preserve that agreement in Brief and apply it across the commission's
-  covered transcription, generation and processing. Changes beyond its work, cost or accounts need
-  the user's decision. Account setup establishes access; the agreement establishes spending authority.
-  [Builds`builds.md` explains estimates,
-  early transcription and how authorization applies to execution.
-- **Existing work.** Reuse serves the current commission. For a continuation, carry its completed
-  work forward; for a new adaptation, develop the requested target from the supplied reference and
-  changes. Judge connected earlier material against that Brief and Treatment. Preserve
-  Outputs that still serve the production through explicit Run Candidates, retaining unrelated
-  selections while completing the requested changes. Project Results can contain useful Outputs
-  even from failed Builds. Check `plan` for the intended remaining requests; reuse across Builds
-  requires an explicit selection. [Authoring`authoring.md`
-  explains choosing the Output that preserves material while allowing the current edit.
-- **Execution.** A Build is one execution attempt. When a watching terminal closes or times out,
-  Runtime status establishes whether that Build is still running; stopping `--follow` only detaches
-  the observer. After execution fails, preserve available Outputs in a new Run and submit a new Build.
-  [Builds`builds.md` owns receipt and failure handling.
-- **Secrets.** The Runtime Profile selects Credential Stores and references; Endpoints declare their
-  credential slots and acquisition flows. Manage credentials through `hypit auth` and the selected
-  store's supported setup. Report configuration status while secret values remain in the store.
-- **Evidence and reading.** Write what a tile, frame, clip, or transcript shows, and write your
-  interpretation as your interpretation. Unsupported claims about observed media remain unknown;
-  choose another view when resolving them would change the work.
-- **Files are the memory.** Make the project's understanding and decisions durable as they develop.
-  Keep the whole-piece reading in Analysis, its timed realization and meaning in Timeline, the user's
-  goal in Brief, and your creative answer in Treatment. Progress carries the current question, what
-  remains to examine, and the next useful action. Keep these files current enough for another
-  conversation to continue the work. Resume from the current request and these notes, with the
-  relevant Skill references, Sources, Runs, project Results and Runtime status.
-  The project-files reference below owns document responsibilities and the suggested layout.
-- **Project ownership.** Preserve unrelated Source, Recipe, Run, assets, and project-package work.
-  Make production changes at their owning source; keep Result media intact. Author new visual
-  behavior in project components. When execution problems arise, actively investigate and pursue
-  a suitable repair through the [integration guidance`model-and-provider.md`,
-  explaining material changes and what they establish.
-- **Done means watched.** Watch and listen to the actual deliverable and judge it against the Brief,
-  Treatment, and relevant reference relationships. Judge its performance, sound, clarity, visual
-  hierarchy, timing, character, and suitability for publishing. Browser review can settle the composition before export; when
-  delivering an encoded video, inspect that file too. Explain the important choices and limitations.
-  Alongside the finished video, show the editable production in
-  [Studio`studio.md` when it is readily accessible
-  to the user, so they can see how the piece is arranged and what they can change.
-
-## Where the current question is answered
-
-| When the question is about | Read |
-| --- | --- |
-| finding the Production owner for expression, material/time/space, presentation, component creation or delivery | `references/production/index.md` |
-| how to express a work through materials, components and authored relationships, and how execution realizes it | `references/production/system.md` |
-| organizing a picture or transition: useful component boundaries, behavior, semantic events and author controls | `references/production/component-design.md` |
-| locating, installing or updating the selected executable and Skill; reusing tools, dependencies and produced work | `references/environment/distribution.md` |
-| choosing HypiHub or BYOK, connecting the user's API/deployment, or implementing a project Model/Provider | `references/environment/model-and-provider.md` |
-| selecting/editing a Profile, wiring credentials and bindings, setting capacity, or deciding when changes take effect | `references/environment/profile.md` |
-| configuring and preparing local media tools, browsers or WhisperX; managing helpers, caches, mirrors and logs | `references/environment/local-tools.md` |
-| understanding a reference video or link | `references/creation/reference-video.md` |
-| defining the target: what the user asked for, and what the new piece will be | `references/creation/brief.md` |
-| reshaping a reference while changing a person, object, world, performance, Script or sound; combining references | `references/creation/transformations.md` |
-| choosing wording, pronunciation, performable passages, semantic relationships or measured delivery | `references/creation/script-and-time.md` |
-| writing `<script>`: current syntax, display/speech, spaces, grouping, Roles, authored Cues, attributes or marker affinities | `references/production/script-syntax.md` |
-| placing a component in time: semantic bindings, authored clock positions, offsets, durations or what a timeline edit changes | `references/production/timing.md` |
-| project layout, picking work back up, or handing an editable production to someone else | `references/creation/project-files.md` |
-| directing a generated person, setting, product, B-roll image, camera view, visual reference or image prompt | `references/playbooks/craft/image-direction.md` |
-| choosing, designing or adapting a character's voice, its appeal, vocal qualities or casting sample | `references/playbooks/craft/voice-direction.md` |
-| directing generated video, deciding when performed action or camera behavior needs source footage, visible speech, silent action, cuts or request duration | `references/playbooks/craft/video-direction.md` |
-| deciding who is A-roll, recurring voice identity, covered performance, independent narration or the role of supplied speech | `references/playbooks/craft/voice-and-performance.md` |
-| directing material-led pictures or B-roll: still or moving sources, visual role, composition or handoffs | `references/playbooks/craft/b-roll.md` |
-| directing a screen demonstration: real interface evidence, captured interaction, authored illustration or how the viewer follows the screen | `references/playbooks/craft/screen-demonstrations.md` |
-| grouping Chinese, English or mixed-script Caption, reading rhythm, styling or placement | `references/playbooks/craft/captions.md` |
-| the user's reference visibly uses Caption that follows a speaking person's head, or the user asks for it | `references/playbooks/craft/caption-tracking.md` |
-| applying Caption Styles by speaker or passage, overriding a treatment, or hiding selected captions | `references/production/caption-presentation.md` |
-| arranging MG, boards, cards or diagrams with material: visual hierarchy, occupied area and palette | `references/playbooks/craft/graphic-compositions.md` |
-| directing visual effects or MG in motion: states, actions, handoffs, persistent objects and visual rhythm | `references/playbooks/craft/motion-graphics.md` |
-| deciding which generated images or videos should depend on which references, including people, places, views and continuing props | `references/playbooks/craft/generated-dependencies.md` |
-| mixing performed or B-roll source sound with chosen music and effects, including balance, ducking and continuity | `references/playbooks/craft/sound-mix.md` |
-| presenting existing Timeline sound, local gain, silence, fades or explicit source blending | `references/production/audio-clips.md` |
-| writing Sources, Recipes, and Runs, reusing produced work, adding a component | `references/production/authoring.md` |
-| imports, output references, literal values or Recipe rules | `references/production/source-syntax.md` |
-| choosing an existing Prompt Kit, assembling its wording or authoring a new one | `references/production/prompt-kits.md` |
-| Run syntax, material Targets, Candidates, Run Fragments or reusing produced media | `references/production/runs.md` |
-| admitting or reusing images/video/audio, model references, normalization, local domains, NarrativeAlignment, trims or processed variants | `references/production/media.md` |
-| placing independent images, prepared video or surfaces and choosing source playback | `references/production/visual-clips.md` |
-| placing independent music, narration, ambience or effects and selecting source playback | `references/production/audio-clips.md` |
-| downloading a reference or source video from a link with yt-dlp | `references/production/video-downloads.md` |
-| capturing a website, recording a page interaction or exporting a local HTML graphic | `references/production/browser-capture.md` |
-| composing, correcting, resizing, cropping or cutting out an image | `references/production/image-operations.md` |
-| selecting original/cutout footage or preparing transparency before presentation | `references/production/media.md` |
-| Canvas, Frames, aspect, fitting, cropping or coordinate relationships | `references/production/spatial.md` |
-| choosing or finding fonts, using local font files, multilingual text, Emoji or Typography | `references/production/fonts-and-text.md` |
-| which installed Surface to use, or whether to write a project component | `references/production/vocabulary.md` |
-| sharing a component, Prompt Kit, Model, or Provider across projects | `references/production/component-sharing.md` |
-| constructing Timeline end, Instants, Windows, Extents, gaps, overlap or a pure MG work | `references/production/timeline.md` |
-| choosing content ownership and composing visual/audio contributions | `references/production/tracks.md` |
-| placing footage or independent pictures through Visual Clips, or deciding when coordinated behavior needs a component | `references/production/visual-clips.md` |
-| writing a project Track with new layout, semantic events or persistent state | `references/production/track-authoring.md` |
-| drawing a component's elements, animation, resources or prepared surfaces | `references/production/component-visuals.md` |
-| writing a Caption family with new word relationships, scheduling or layout | `references/production/caption-authoring.md` |
-| `plan`, Provider pricing information, `build`, a retry or interrupted submission, following work, Results and exports | `references/production/builds.md` |
-| showing the editable work before export: Comments, Studio timeline, parameters, timestamped feedback and interface language | `references/production/studio.md` |
-| giving a component useful timeline Items, picture selection and author controls | `references/production/studio-companions.md` |
-| Film assembly, pure MG with authored time, picture and sound, final rendering or a selected frame interval | `references/production/rendering.md` |
-| exact frames or paginated grids of an existing production, without a new render Build | `references/production/snapshots.md` |
-| judging the preview or finished Result and deciding what to fix | `references/production/review.md` |
-| recognizing a whole-work format, combining formats, or discovering another directing Craft | `references/playbooks/index.md` |
-
-Several rows can apply at once; read what the work actually asks for, and return to a room whenever a
-preview or Result raises its question again. These references explain production use; installed
-package vocabulary and package-local documentation supply component-specific attributes, APIs and
-model limits.
-
-## Source
-
-Rewritten for AICUT from [`hypit-ai/hypit`](https://github.com/hypit-ai/hypit)
-(Apache-2.0), skills/hypit/SKILL.md. The method is that skill's own; the way it runs is AICUT's.

package/skills/hypit/references/creation/brief.md

@@ -1,93 +0,0 @@
-# Brief and Treatment
-
-Read this whenever a target video is being defined, whether it begins from a reference, a loose idea,
-an existing project, or a requested revision.
-
-## Brief preserves user authority
-
-`BRIEF.md` records what the user wants and what only the user can authoritatively supply. It can be as
-short as one sentence when that sentence is sufficient:
-
-> Faithfully recreate this reference, but replace the presenter with the cat in `assets/miso.jpg` and
-> the product with Hypit.
-
-Add only facts that matter to the work, such as:
-
-- the intended outcome, audience, platform, deliverable, or business purpose;
-- the claim, product truth, offer, CTA, language, and facts that must remain accurate;
-- references and what the user wants inherited from each;
-- requested replacements, additions, removals, or style changes;
-- private identity assets and exact brand material;
-- hard duration, format, budget, or delivery constraints;
-- choices the user explicitly reserves for themselves.
-
-Quote or closely preserve the user's wording where reinterpretation could change the request. Do not
-expand an example video's Hook into a format rule or mix implementation choices into the Brief.
-
-In a faithful adaptation, unmentioned relationships normally inherit from the reference: structure,
-the role of each layer, the promise/payoff relationship, and the visual or audio systems that make the
-piece work. This is a starting interpretation, not pixel copying. Ask the user only when the available
-facts leave materially different goals, private facts, meaningful value choices, deliverables, or
-spending authority unresolved. Routine casting, art direction, shot choice, Caption treatment,
-component design, prompts, and implementation belong to the Agent.
-
-Preserve the user's agreed paid scope here as a production constraint: the billing accounts identified
-by non-secret labels or Endpoint references, the work they cover, and the accepted estimate, range or
-budget. Retain any limits the user attached to that agreement. Distinguish your proposed estimate
-from what the user has accepted, and an estimate from a firm spending ceiling. Keep the agreement
-current when the user changes it so another conversation can continue under the same authority.
-Record their local or hosted setup choices and accepted preparation in the same ordinary language.
-The Runtime Profile expresses how to execute those choices; Brief preserves what the user agreed to.
-[Builds](../production/builds.md#work-within-the-agreed-paid-scope) owns how it applies to paid work.
-
-## Treatment is the director's answer
-
-`TREATMENT.md` turns the Brief, relevant reference understanding, and current creative judgment into
-one complete creative design for the new work. It can cover:
-
-- the creative premise and viewer experience;
-- story movement, Hook, reveal, payoff, and CTA;
-- target pacing and the jobs of major passages;
-- character, performance, camera, locations, and visual world;
-- A-roll, B-roll, Caption, Typography, MG, Effect, and Audio systems that the target actually needs;
-- how requested transformations propagate through those systems;
-- which generated or supplied media will act as identity and continuity anchors;
-- open creative questions that genuinely prevent the design from becoming specific.
-
-Write in director language. The Treatment may say that a ranking portrait accumulates into a board or
-that a second podcast angle reverses the eye line while preserving the shared counter and light. It
-does not need package names, element attributes, provider selection, Build order, or Result ids. Those
-belong to production files.
-
-Describe how the intended appeal reaches the viewer. If contrast carries the premise, say what
-expectation the piece sets up and how its words, situation, reveal or response play with it. The
-difference can suggest an idea; the piece still needs to express what makes that idea compelling.
-Give the performer a clear attitude toward the subject and listener. Let
-[voice direction](../playbooks/craft/voice-direction.md) and
-[video direction](../playbooks/craft/video-direction.md) carry the choice into casting and performance.
-
-Reference Analysis says why the old piece works; Treatment says what the new piece will be. Original
-work reaches Treatment from the Brief, relevant examples, and the Agent's judgment rather than from
-one dominant reference. These are different sources of creative evidence.
-
-## Keep one formal Script
-
-The spoken wording becomes authoritative only in the Author Source's `<script>`. During drafting, copy
-may live in `drafts/`; once adopted, move it into Source and stop maintaining a second full transcript
-in Brief or Treatment. Brief can preserve mandatory claims or exact user-supplied phrases. Treatment
-can describe what each passage must accomplish. Source owns the actual words, roles, Cues,
-Selections, and Moments.
-
-## Revise the owner of the changed fact
-
-- A changed user goal, claim, constraint, or requested substitution changes the Brief.
-- A changed story, shot logic, visual system, performance, or creative approach changes the Treatment.
-- A prompt refinement, component geometry correction, Candidate choice, or timing-expression fix that
-  preserves the same design changes Source, Recipe, Run, a project package, or generation input—not
-  the Treatment.
-- New evidence about the reference changes its Analysis or Timeline; it may then cause the director to
-  reconsider Treatment.
-
-Studio and built Results make the current design visible. If the work looks wrong because the
-design itself was wrong, revise Treatment. If the design is sound and its implementation is wrong,
-repair the production. Brief changes only when the user's truth changes.