@autoaiai/aicut 0.1.11 → 0.1.13

package/skills/hypit/references/playbooks/craft/captions.md

@@ -1,253 +0,0 @@
-# Caption craft
-
-Caption displays the speech as it is being delivered. Its verbal identity and contemporaneous
-relationship to that speech matter more than its size, decoration or placement. A striking animated
-word can be Caption; a title held long after the phrase to label a section can be Typography even
-when those words were also spoken. Their role in the work decides the distinction.
-
-Script's Dual Text permits intentional display/pronunciation differences: “2012” and “twenty twelve”
-remain one authored verbal unit. Caption does not require literal equality to a raw transcript.
-Independent titles, lower thirds, labels and editorial paraphrases belong to their own Text or MG role.
-
-For a coined name or letter-name reading, use
-[Script pronunciation](../../creation/script-and-time.md#choose-the-sound-the-spelling-should-carry):
-`<CSS|see ess ess>` keeps `CSS` on screen while supplying its chosen reading to the performance.
-`<New York|>` instead keeps identical display/speech wording in one complete correspondence;
-`<|再见>` retains the spoken words and their anchors while omitting them from Caption. These forms
-choose content and correspondence; the Caption family decides their visual treatment. Place `||`
-between complete units when another reading handoff is wanted.
-
-For implementation of a new visual family, read
-[Caption authoring](../../production/caption-authoring.md). That guide keeps the common text/timing
-chain and shows where the new family owns scheduling and rendering.
-For choosing Chinese, Latin or mixed-script faces, using a local font or finding a new one, read
-[Fonts and text](../../production/fonts-and-text.md).
-
-## Direct captions for this video
-
-Use the reference to understand what its captions contribute: how they group speech, emphasize an
-idea, establish a speaker or fit around the picture. Carry those relationships into the new work
-when they serve its Brief. A new language, performer, product or tone can call for a different face,
-grouping, placement or motion. Direct that treatment from the new Script's meaning and the video's
-vibe, and record the choice in Treatment and its Recipe.
-
-A short handoff can land a punchline; a longer phrase can let an explanation breathe. Both are useful
-when the viewer can read the thought and follow the picture. The reference, language and intended
-energy inform that judgment rather than prescribing a fixed Cue length or one caption look.
-
-Choose the reading phrase, its layout and its emphasis together while keeping their responsibilities
-clear. A meaningful phrase may wrap over two lines; one line may stay fully visible while its spoken
-word changes color. Hiding a caption for a demonstration changes presentation, not the Script or the
-performed speech. The following sections connect these decisions to the actual picture.
-
-## Keep wording and timing in their owners
-
-Script owns display words, speaking Roles, Dual Text units, attributes and authored Cues; `||` ends
-the current Cue. Its CaptionDocument contains no seconds or frames. A source-domain adapter produces
-complete, flat Unit CaptionTiming on the actual Timeline; a visual family joins that timing to the
-authored Cues and presents them. Reuse those units rather than retyping spoken words into independent Typography merely
-because it can draw the desired shape.
-
-Use the produced performance's normalized and aligned audio. A change to that audio, its speed or
-its cuts can change word timing and requires corresponding alignment. A visual-only restyle can
-reuse the same semantic and media outputs through the Run.
-
-## Design Cue rhythm with the Caption system
-
-A Cue is one timed block of displayed speech. Its family and Recipe determine what that block looks
-like; Script's `||` determines an additional handoff between blocks inside the same Segment and
-speaking turn. Segment and turn boundaries already form new Cues. A Style Use can change presentation
-partway through a Cue while retaining its complete content and original word times. A visual line is
-different: Fine may wrap one Cue over several lines without another `||`.
-
-Choose the grouping from language and picture together. Let one Cue carry a coherent phrase or
-thought that the viewer can grasp while still watching the performance. Preserve words whose meaning
-depends on each other, and give a payoff or contrast its own handoff when the visual treatment makes
-that separation useful. Keep a name, negation, article and noun, preposition and object, phrasal verb,
-or quantity and unit together when separating them would make either screen state harder to read.
-
-### Language changes the reading unit
-
-English commonly uses a word as its smallest timed display unit; Chinese uses individual Han
-characters. That gives Chinese precise character highlighting, while a Cue still holds a meaningful
-phrase. A Chinese Cue can comfortably contain more characters than an English Cue contains words.
-Choose its length from meaning, reading time and the space the actual font occupies. A fixed word
-or character count cannot make that choice. Count the display side of Dual Text when judging fit.
-
-| Writing | Grouping and presentation |
-| --- | --- |
-| English | Keep a useful phrase together, including its articles, negation and name or quantity. Word lengths vary, so the chosen face and width matter more than a word count. |
-| Chinese | Keep compounds, names, modifiers and their objects together. Let a complete short clause share a Cue when it fits; repeated tiny character groups fragment both meaning and the screen. |
-| Korean | Preserve the authored word spaces and keep grammatical phrases readable together. `3개월` and `3 개월` are different authored spellings; the Caption layout follows the chosen one. |
-| Mixed Chinese and English | Read the phrase as a whole. A Latin brand name or number can occupy several Han characters' width; its lexical unit count does not predict that width. |
-
-Fine preserves authored display separators in every writing system. Its `word-gap` sizes those
-separators; a Chinese/Latin or number/letter boundary does not create one. Write `是的 就是这样`
-when that space is intended, and `3D` or `3개월` when the text should stay joined. `letter-spacing`
-adjusts glyph tracking. `<expression|>` groups an expression for caption behavior; it is not needed
-to preserve spelling or spaces.
-
-### Choose emphasis independently of grouping
-
-The same timing supports a stable complete Cue, current-word or current-character color, or a trail.
-A stable phrase can let the viewer follow a detailed demonstration while still reading the speech.
-An active-word response can draw attention to its delivery; a whole-expression response can give a
-name or punchline one visual accent. Choose from the intended viewing rhythm. Character-level timing
-remains available even when the design keeps the whole phrase steady.
-
-For whole-character highlighting, use `karaoke: current` with `karaoke-transition: step`.
-Choose `trail` instead of `current` when the already spoken characters should stay highlighted.
-`step` activates the complete timed unit at its start; `wipe` is a different visual choice that
-sweeps inside its glyphs. Both follow each unit's own speech time, including uneven delivery and
-pauses. Making a Cue longer changes its reading group, not its character timing.
-
-When a compound, name or short phrase should respond together, author it as `<组件化|>` in Script.
-The omitted spoken side inherits the same words. Fine's existing whole-unit `step` highlighting,
-underline and active box then follow that group's first-to-last speech interval, while each spoken
-character keeps its own Timeline anchors. A Cue can mix these groups with ordinary characters.
-Use this for deliberate whole-expression treatment, not as a requirement to annotate every Chinese
-word. `||` remains the reading handoff; group markup does not create another Cue.
-
-Text appearing and text changing color are separate choices. `atom-reveal: all` keeps the complete
-Cue available to read while Karaoke supplies emphasis; `on-start` reveals whole spoken units, and
-`typewriter` reveals whole graphemes within them. A pronunciation span such as `<API|A P I>`
-remains one shared timing unit. Scope it to the expression needing a pronunciation hint so the
-surrounding Chinese characters retain their own timing.
-
-### Choose line layout for the picture
-
-A single-line treatment can give successive short Cues a stable reading position. Direct it through
-the phrase grouping, font size, usable width and spacing together. When a complete thought needs
-more room, Fine can wrap the same Cue over several lines. An independently arranged oversized keyword
-with supporting text can instead belong to a new Caption family. Choose the structure for the
-picture and meaning; a visual line break alone is not a reason to add another `||`.
-
-For example, these groupings preserve short ideas in each language:
-
-```svml
-<explanation><HOST>
-  One reference can rebuild ||
-  the shots and pacing, ||
-  the captions and effects, ||
-  around your product.
-</explanation>
-
-<explanation-zh><HOST>
-  一张参考图 || 就能重新设计镜头和节奏，||
-  让字幕和特效 || 为你的产品服务。
-</explanation-zh>
-
-<explanation-ko><HOST>
-  참고 영상 하나로 || 촬영과 편집의 리듬을 바꾸고, ||
-  자막과 효과를 || 제품에 맞출 수 있어요.
-</explanation-ko>
-```
-
-These are alternative Script excerpts, not a bilingual performance. Another width or delivery can
-justify a different handoff. The sentence supplies semantic structure; the presentation says how
-much of that structure should share one screen state.
-
-Fine's optional `max-words-per-line` inserts visual line breaks by display-unit count. In Chinese,
-that count is usually characters. Leave it unset for ordinary width-based flow; choose it when a
-deliberate counted row serves the design. `max-lines` checks those counted rows and requires that
-setting; it does not make a long Cue fit one physical line. The package README owns these controls.
-
-## Give captions a place in the visual language
-
-Choose font, size, width, line height, contrast and motion together. If a Cue overflows, inspect both
-its authored grouping and its actual Style; do not assume every overflow has the same cause. Lead,
-tail and handoff shape visibility while karaoke follows semantic word timing.
-
-Judge weight, outline and shadow from the actual glyphs against the moving picture at delivery size.
-A bold outline can give an energetic caption its shape and separation; a compact shadow can separate
-a quieter treatment. Keep the internal spaces of dense glyphs legible as the weight grows. The useful
-strength depends on font, size, background and intended style, including when changing languages.
-
-Lettering and decoration can share a palette without coloring each word differently. A two-color
-accent beneath a steady phrase, a shaped background or an offset shadow can connect Caption to the
-film's visual language. Use an existing Style when it expresses that relationship, or author the
-coordinated text and decoration in a project Caption family. Let the decoration's extent, position
-and movement answer the text it supports.
-
-Treat Caption, icons, flashes and other graphics as a composition. A guest color and answer accents
-can work together without coloring every system identically. Check readability across
-light and dark frames, avoid hiding the important face or product, and allow enough space above a
-tracked head for the whole Cue rather than only its anchor.
-
-Ordinary Caption placement belongs to the chosen family's layout and Style: it can hold a stable
-reading area or respond to the composition without face boxes. When the user's reference visibly
-uses head-following Caption, or the user asks for that treatment, use the optional
-[Caption tracking](caption-tracking.md) relationship. A visible face alone does not choose it.
-
-## Caption families, Styles and parameters
-
-Script publishes one `CaptionDocument`: ordered display words, complete Alignment Units, speaking
-Roles, word attributes and authored Cue handoffs. Caption joins it to the real Timeline. That
-common typed relationship is what makes the result Caption; an official renderer is not the
-definition. A project package can provide another Caption family while keeping the same Script words
-and measured speech evidence.
-
-Direct the presentation through three related layers:
-
-| Choice | What it decides |
-| --- | --- |
-| **Family** | The structural visual language and scheduling behavior the Caption can express: uniform flowing words, independently arranged phrases, speaker-attached shapes, or another authored relationship. |
-| **Recipe and resolved Style** | One coherent treatment within that family. An SVS Recipe gathers a useful combination; the family's Style Surface resolves it with fonts or other explicit resources. Role or Selection applications can choose among those Styles. |
-| **Parameters** | The individual decisions inside that treatment: placement and anchors, usable width, wrapping, typography, Paint and boxes, active-word response, Cue motion, reveal, lead, tail and handoff. |
-
-The installed family vocabulary owns exact parameter names and accepted values. Craft owns how the
-combination serves this picture and this reading rhythm. Keep a proven production treatment in its
-project `.svs`; a set that has earned reuse across works can become an ordinary versioned data package
-under its owner's scope. Such a collection preserves the family, Recipe and intended use together
-rather than turning isolated parameter values into universal defaults.
-
-Caption Uses choose when those Styles apply, optionally filtered by speaker. Cue content
-stays complete when presentation changes midway through a phrase. [Caption styling and coverage](../../production/caption-presentation.md) explains
-overrides, Segment-wide selections, word attributes and hiding selected captions with a Hidden Style.
-
-## Reuse Fine or author a new family
-
-UGC, podcast and interview work can use `@hypit/caption-fine`. Fine supports exact fonts,
-placement and anchors, wrapping, Cue boxes, active-word treatment, lead/tail and motion through
-explicit Style Recipes. Role overrides can distinguish podcast hosts; a tracked head can supply a
-moving placement point without changing the verbal pipeline.
-
-```svml
-<caption-fine:Caption id="captions" document={story.caption} timing={story-captions}
-  timeline={speech.timeline} within={vertical.bounds}>
-    <caption-fine:Use style={primary-caption}/>
-    <caption-fine:Use role="GUEST" style={guest-caption}/>
-  </caption-fine:Caption>
-```
-
-This excerpt assumes the imported Surfaces, fonts and Styles already declared in the Source.
-Use the owning package README and `hypit vocabulary @hypit/caption-fine` for current Recipe fields.
-Keep one coherent interpretation of the Script across speakers and styles; different colors do not
-require unrelated transcripts or separately invented timing.
-
-Fine is to Caption what Media is to ordinary picture presentation: a broadly useful reusable
-component. A new visual relationship can become a project component directly. A Caption family can
-arrange a phrase around its keyword, place speakers' phrases in a shared composition, or coordinate
-words and graphics as one visual event. Word attributes and Selections carry the authored meaning;
-the family owns how that meaning appears and moves. This is ordinary video authorship, including for
-a treatment used in only one work.
-
-Apply the same freedom to component boundaries. Independently behaving captions can remain a peer
-Track. Words and graphics whose layout or motion belongs together can share a component, consuming
-the common Caption document and semantic timing. Caption names the relationship between displayed
-speech and its performance; it does not prescribe a separate visual layer or the Fine renderer.
-[Caption authoring](../../production/caption-authoring.md) explains building that family or scene.
-
-## Review in the current composition
-
-Use [snapshots](../../production/snapshots.md) from Studio or the existing HTML to inspect the actual
-glyphs, spaces, outline, decoration, wrapping and neighboring visual states. Play the passage in
-Studio to judge reading rhythm, emphasis, Role assignment, cut transitions and tracked movement with
-speech. The current composition supplies this evidence while the Run retains its accepted media and
-semantic Outputs. Inspect the encoded file too when delivering an export.
-
-Repeated tiny handoffs can ask the viewer to reacquire text too often; an overfull block can ask one
-visual state to carry too much. Change `||` when the reading unit needs another handoff. Change the
-Style when the reading unit works but its size, wrap, placement or motion does not. A different
-structural relationship can become a project Caption family. Check that the resulting treatment
-works with the actual spoken pace and picture, including its entrances and exits.

package/skills/hypit/references/playbooks/craft/generated-dependencies.md

@@ -1,38 +0,0 @@
-# Reference relationships
-
-Every image request asks the painter for a complete picture. Connected references bring useful visual memory into that request: a person's appearance, a product's form, a place's atmosphere and geometry, a camera relationship, or a physical state. Some details need close continuity; others give the painter a world to reinterpret from a new viewpoint. Direct what the current picture carries forward and what it now shows. The relationships among images take the shape of those creative needs.
-
-## Let one picture open another view
-
-A podcast host image can establish a person, an encounter and the restaurant around them in one camera view. The image for the other host can use it as an anchor while changing several parts of the picture at once:
-
-| Part of the new picture | How the new view uses the host image |
-| --- | --- |
-| Capture | The same phone-video photographic language. |
-| Person | Cast the other host with their own appearance within this shared encounter. |
-| Shot | The two views form a conversation: the new host sits on the other side, looks toward their partner, and receives the microphone from the corresponding side. |
-| Setting | Both cameras inhabit the same Korean street-side restaurant and palette; this camera sees a different sector of its architecture, furniture and activity. |
-
-The painter makes a full new view. The shared world and conversational geometry connect the pictures even as person, composition and visible background change. The symmetry belongs to the encounter; the second camera sees the part of the place available from its position.
-
-The relationship matters more than copying a backdrop. A two-person encounter can carry who faces whom, where the microphone enters and which part of the place each camera sees. Separate call or reaction feeds can instead establish different rooms; their shared fact is who addresses or responds to whom, not a common wall.
-
-The first host view can also meet a product image in another request. In that picture, the host and much of the camera view continue, while her hands, the phone and its displayed product change. One reference can support very different kinds of variation because each new picture has its own intention. The [podcast and interview image examples](examples/conversation-images.md) show the actual prompts and inputs behind these relationships.
-
-## Give each new picture the references it needs
-
-A useful first camera image can establish person and place together. It may show one person, several people or the whole encounter. When another view needs that world, carry its atmosphere, palette, materials and spatial relationships into the view the new camera should see. Several video requests can then use the resulting images.
-
-A new location can begin with a camera image that already places the people in that setting. Their established views can supply identity or styling; a product or continuing prop can supply its form and state. The new picture establishes the location and composition together, while the prior images carry the facts that persist across the move. A character reference can also carry identity directly into video direction when the new place does not need its own key image.
-
-If one character leaves a living-room argument holding a phone, a hallway view can inherit the person's identity and the phone's relevant state when that moment merits an image. The furniture and camera angle of the living room have finished their job. An intentional change of clothes, time or setting similarly changes which facts the next picture needs to carry. A view may grow from the previous story view when its changing state matters, or branch from a character reference when earlier settings have nothing to contribute.
-
-A portrait may contribute identity while clothes, action and place change. A product-holding variation may carry nearly the whole view while changing the hands and object. When there is no person, the picture can still draw on a product, place, graphic or composition reference. Choose the useful reference by the relationship the next picture needs. Keeping close to the image that actually knows that relationship also keeps incidental details from unrelated intermediate scenes from accumulating.
-
-An existing image can serve the intended view directly. When the work asks for another picture, connect the images that carry its needed facts and describe their roles in the prompt. With several references, “reference 2” means the second image connected to this request; the actual image input gives that phrase its meaning. A request whose references already establish much of the picture may need only a short direction for the change. The selected image package owns the exact reference-input syntax.
-
-Keep useful prompts and source images with the project when later views may need the same relationship. [Image direction](image-direction.md) owns the picture's casting, framing, palette and capture language; [Run Candidates](../../production/authoring.md#reuse-produced-work-explicitly) explain reuse of completed Outputs.
-
-## Carry the shared world into motion
-
-The image graph records visual facts to carry forward, not the video work's shot order or request boundaries. One camera image may guide a passage with several views or multiple generated clips in the same world; several images may contribute different facts to one request. A video excerpt can carry performed action or camera behavior that a still cannot show; [video direction](video-direction.md#let-footage-carry-temporal-behavior-that-matters) owns those input choices and the requested action. [Voice and performance](voice-and-performance.md) and [B-roll](b-roll.md) own the resulting footage's roles in the work.

package/skills/hypit/references/playbooks/craft/graphic-compositions.md

@@ -1,85 +0,0 @@
-# Directing graphic composition
-
-Read this for boards, comparisons, charts, titles, cards, diagrams and designed visual fields.
-Start with what the viewer should understand or feel. A graphic can explain, organize, set a tone,
-punctuate a joke or create delight; it does not have to justify itself as literal information alone.
-[Motion graphics](motion-graphics.md) owns how that picture changes over time.
-
-## Compose an idea, not a stack of decorations
-
-Decide what the eye should find first, what supports it and what changes at the next meaningful beat.
-Use scale, spacing, grouping, contrast, color and motion to express that hierarchy. A ranking's rows,
-an interview's unanswered slots and a product comparison's two sides communicate relationships even
-before the viewer reads the words.
-
-Coordinate the whole frame. A presenter's position can leave space for a board; the same accent can
-connect Caption, an answer icon, a question mark and a reveal flash. Treat palette, occupied area and
-brightness together. A large pale panel behind pale clothing can flatten the shot even when each
-element looks attractive alone. Work with the actual material's framing and movement; the next
-section explains how source direction and authored presentation can answer each other.
-
-Make the visual direction concrete before extending it across scenes. Translate a reference's vibe
-into a few shared choices: palette, type, edges, depth and motion character. A small representative
-passage can show those choices together with the actual footage. Carry the accepted direction into
-shared Recipes or project styling so a later change reaches the related components consistently.
-
-Give graphic text its own job: identify, compare or emphasize what the picture needs beyond Caption.
-When removing a redundant heading or label, recompose the remaining content and its spacing. The
-former text slot need not remain an unexplained hole; the demonstration should still feel complete.
-
-## Give material and graphics room together
-
-Keep the generated or recorded scene, its camera view and the final Canvas in view as distinct
-relationships. People interact with the people, props and setting in their scene. The camera frames
-that scene. Authored media views, Caption and graphics organize the final picture. A recorded sign
-can belong to the scene while an explanatory label belongs to a component.
-
-Plan the useful room for recurring graphics when directing new footage. Translate that need into
-camera facts: subject placement, visible body extent, gesture room, distance and background. Give
-the image model those picture requirements; the future MG, editorial text and explanation remain
-with their own components. [Image direction](image-direction.md#frame-the-image-for-what-it-will-become)
-owns the wording. Accepted footage supplies concrete framing to work with: adjust its view, the
-graphic or their shared arrangement according to what should remain legible.
-
-Decide which contribution leads now. A small moving face can command attention while a large quiet
-field supports it. Protect the mouth, meaningful gesture, product fact or text that carries this
-beat. Placement, source crop, occupied extent and paint order all affect the result;
-[Spatial layout](../../production/spatial.md) owns their geometry. The material's A-roll role gives
-it no reserved region or permanent place behind everything else.
-
-For a screen that carries the claim, [screen demonstrations](screen-demonstrations.md) owns the
-choice between captured evidence and an authored explanation. Its view shares the Canvas geometry
-and visual hierarchy of the surrounding composition.
-
-## Put the right facts in editable structure
-
-Use authored text, exact fonts, geometry and state when wording, alignment, timing, data or repeated
-visual relationships need control. Use supplied, found or generated media for photographs, artwork,
-textures, product imagery and other material whose picture is itself the content. A real screenshot
-or finished graphic can remain media; recreating every pixel as a component is not automatically useful.
-
-The boundary follows the work. A sign photographed in a scene belongs to that scene. A score that
-must change on a spoken answer is editable graphic state. A textured paper field may be drawn,
-procedurally made, found or generated; choose according to its intended appearance, theming and
-editing needs.
-
-An icon, portrait, interface or other picture can identify a subject, carry a theme, show a factual
-state or deliver a visual joke. Choose its source from the information the viewer needs. When exact
-current wording, data, UI, private identity or a particular brand asset is itself evidence, use the
-authoritative supplied or found material and record its source and relevant use conditions.
-
-For a familiar public icon, person, object, meme or place whose job is visual recognition or creative
-adaptation, a broadly informed image model can paint the needed material directly or from references;
-a found asset is another ordinary choice. Judge whether the result carries the intended identity and
-graphic role. Reconstruction preserves the useful recognizability and relationship; adaptation may
-replace it with a new theme. Provenance alone does not make one image more visually truthful than
-another. Keep generated prompts and reference edges in Source so their creative intent stays editable.
-
-## Carry the picture into the component
-
-A ranking board can share one visual owner when its rows move and retain state together; a label
-and independent photo can remain peers. That boundary follows behavior, not the size or beauty of
-the graphic. [Component design](../../production/component-design.md) owns the chosen boundary,
-external inputs and author controls. [Motion graphics](motion-graphics.md) owns the change the
-viewer experiences; [review](../../production/review.md#make-the-composition-work) tests how that
-change reads with the actual material.

package/skills/hypit/references/playbooks/craft/motion-graphics.md

@@ -1,68 +0,0 @@
-# Directing motion graphics
-
-Read this when authored graphics, effects or a coordinated scene change the picture over time.
-Motion graphics can explain a relationship, make a comparison felt, give a joke its timing or
-establish a visual attitude. The work may use a small accent, a moving presenter and diagram,
-or an entire animated passage. [Graphic composition](graphic-compositions.md) owns the hierarchy
-of the picture they share; this page owns what their changes do to the viewing experience.
-
-## Direct the change, not just the entrance
-
-Understand what the viewer sees before an event, what changes, and what remains afterward. A board
-can accumulate answers; a picture can be picked up, moved to a slot and rejected; a camera view can
-recede while another idea takes the foreground. In each case the action gives the next state its
-meaning. A satisfying entrance cannot compensate for a settled state that fails to show the claim.
-
-Follow the identity of an object through its changes. When a card becomes an attachment, the same
-card can keep its image, shape or trajectory; when a demonstrated interface changes style, its
-recognizable controls can remain while its treatment changes. That continuity lets the audience
-understand *what changed* without learning a new diagram at every beat. A clean cut is also a
-strong handoff when the next idea is better understood immediately than through a journey.
-
-An effect can serve feeling as well as literal explanation. A springy arrival may make an answer
-playful; a sudden hard replacement may give a claim force; a slow, precise construction may make a
-relationship easier to study. Choose the motion character that belongs to this film, then give the
-result enough visible life for its content to register. The appropriate hold and pace depend on
-the words, sound, picture size and amount the audience must read.
-
-## Make the motion belong to one visual language
-
-Palette, type, edges, texture, depth, motion and sound can reinforce one another. A retro cartoon
-treatment, a precise mathematical diagram and a spatial 3D scene call for different choices about
-weight, path, perspective and rhythm. Their names are creative directions, not renderer or component
-types. Extract the actual relationships that make the chosen style convincing, and carry shared
-decisions into the project's Recipes or ordinary component dependencies when several scenes use them.
-
-Keep the scene's meaningful objects complete through a restyle. If a folder's contents, an editor's
-controls or a comparison's result carry the idea, preserve their job as the look changes. Recoloring
-only the outer panels changes less than the audience may think, while removing a label can require
-the remaining layout to be recomposed. The film's Treatment owns its particular palette, ornament
-and attitude.
-
-Work with source media as part of that language. A moving viewport changes how time-bearing source footage is
-seen; it does not change its performed time. An independently moving image, a drawn border
-and a caption may share a moment without having the same visual owner. When footage and graphics
-must move as one scene, their shared geometry can be directed together. [Visual Clip](../../production/visual-clips.md)
-owns time-bearing footage, and [component design](../../production/component-design.md)
-owns the implementation boundary.
-
-## Give events and movement different jobs
-
-An explanation, reveal or comparison can respond to a Script Selection or Moment; a silent animated
-passage can use authored time. The reference locates the behavior and its meaningful changes in
-the work; travel, settling, texture and secondary motion can be designed locally around them.
-[Timing](../../production/timing.md) and [component design](../../production/component-design.md#let-meaning-drive-the-behavior)
-own the exact projection and author inputs.
-
-Derive related movement from the relationships it depicts. A pointer arrives at the control it
-presses; a badge follows the object it labels; a rejected drag returns from the place it reached.
-That keeps a layout revision from breaking the visual action. Coordinate entrance, response,
-persistence and exit across a scene, while leaving independent Caption, sound or media contributions
-free to serve their own roles.
-
-Inspect the changing passage with its actual material and sound. Exact frames can show whether a
-shape, overlap or settled state reads; playback reveals weight, pace and whether the handoff lands.
-Judge the effect at delivery size and in the neighboring picture, including the moment after its
-most impressive motion. [Snapshots](../../production/snapshots.md) and
-[review](../../production/review.md) provide those views; [drawing](../../production/component-visuals.md)
-owns how the selected visual behavior is rendered.

package/skills/hypit/references/playbooks/craft/screen-demonstrations.md

@@ -1,51 +0,0 @@
-# Directing screen demonstrations
-
-Read this when a website, app, terminal, editor or other screen is part of what the viewer must
-understand. A screen can document an actual state, show an action with its consequence, or stage
-an explanation of a relationship. Decide which of those jobs this passage needs before choosing
-its material or visual treatment.
-
-## Choose the evidence the claim needs
-
-A screenshot makes wording, arrangement or a particular result available to read. A recording
-preserves an interaction and the interface's actual response. An authored component can isolate a
-concept, choreograph an example or keep changing labels and states editable. These choices can
-coexist in one passage: an actual product recording can establish the behavior, while surrounding
-graphics explain what to notice. A still can also move under a viewport to guide attention across
-its existing contents; that motion expresses a view of the still, not a recorded interaction.
-
-When exact wording, data or behavior is the claim, use material that establishes that fact and keep
-its source identifiable in the project. When the screen is an illustration, direct the invented
-states and actions so the viewer understands the idea they stand for. The film may move between
-evidence and illustration, as long as their roles remain clear in the argument. In one making-of
-piece, actual Studio footage showed the working interface while an authored chat-and-pointer scene
-explained how a request becomes an attached reference. Their different jobs guided the choice of
-material in that work.
-
-## Stage the useful view
-
-Choose the part of the screen that carries the fact or action. The audience may need the whole
-interface for orientation, then a closer view to read a control or notice a change. A crop, zoom,
-cursor or highlight should guide attention while preserving enough context to know *where* the
-action happened. Judge type and controls at the video's delivery size; a sharp full-resolution
-capture can still be unreadable when shrunk into a phone-sized inset.
-
-Give an interaction a comprehensible before and after. Its useful states might include a target,
-an action, visible response and enough time to register the result. An edit can begin with the
-result and return to the cause; the important relationship is what the viewer can infer. When the
-page scrolls, distinguish the moving page or inner list from movement of the viewport, device or
-whole screen card. Those motions say different things about the interface. A real recording can
-carry the interface's own pace; an authored demonstration can place its meaningful changes on the
-work's semantic events.
-
-Treat the screen's surrounding picture as a directing choice. A bare crop can give the interface
-authority and reading room; a photographed device can locate it in a person's world; a graphic
-frame can connect it to the film's visual language. Preserve the readability of the actual screen
-while deciding what the presenter, Caption and other graphics contribute beside it.
-[Graphic composition](graphic-compositions.md) owns that shared hierarchy; [motion graphics](motion-graphics.md)
-owns the animation around or within an authored demonstration.
-
-[Browser capture](../../production/browser-capture.md) owns saving a real page or recording,
-[Media presentation](../../production/visual-clips.md) owns its playback and crop, and
-[component design](../../production/component-design.md) owns an editable screen scene. Choose the
-realization that serves this passage's screen role.

package/skills/hypit/references/playbooks/craft/sound-mix.md

@@ -1,70 +0,0 @@
-# Sound and mix
-
-Read this when deciding what the audience should hear across a passage or the complete Film, and
-how the work's existing sound relates to added music or effects. [Voice and performance](voice-and-performance.md)
-owns who performs the words and where that voice comes from.
-
-## Start with the sound the material already carries
-
-In speaking-video A-roll, the person's picture, words and voice belong to the same performed media.
-Its sound continues at the current Timeline position while B-roll, graphics or a different view
-changes the picture. Audio-only A-roll likewise supplies performed speech, with its picture authored
-separately. A wordless performance may carry its own sound or be silent. Present the selected source's
-audio through [Audio Clip](../../production/audio-clips.md) according to what this passage should actually play.
-
-B-roll can be a still, a silent video, or video with useful source sound. Its visual role alone does
-not decide whether the audience hears that sound. A lifestyle shot might contribute a particular
-door, footstep or burst of laughter; a picture covering a presenter's explanation may contribute no
-audio at all. [Audio Clip](../../production/audio-clips.md) makes source audio an explicit
-choice, leaving the selected performance voice available beneath a silent picture.
-
-Listen to what the chosen material already contributes before adding sound. Music can carry pace,
-mood or a change of thought; a short effect can give contact, reveal or transition an audible edge.
-A sustained environmental sound can locate a place or connect cuts when the material itself does not.
-These describe jobs in the work, not separate layers to fill. Environment may already be audible in
-the performance; its duration alone does not make it a different kind of asset from an effect.
-Designed quiet can be just as expressive as an added sound.
-
-Hypit provides ways to prepare, place and mix audio, not a maintained stock collection of BGM,
-short effects or long environmental sounds. Choose or make the particular material the work calls
-for from supplied, recorded, generated or otherwise available sources and project Outputs. Treatment
-captures why it belongs; Source and the chosen components express its use.
-
-## Shape what leads the ear
-
-When speech carries the idea, let the important words be readily understood in the finished mix.
-Music and effects can yield around a name, number, claim, punchline or quiet reaction, then take
-more space in a pause or a passage led by action or music. Set that relationship through level,
-placement, fades, arrangement and the selected source, rather than assuming every moment needs the
-same balance. Normalization prepares a source; the audible balance is decided in the composition.
-
-Give each added sound an expressive reason. A comparison can share a motif; a reveal may earn one
-precise accent. A tactile process may be better carried by its small contact sounds than by a large
-impact. Repeating an effect because another cut occurred can exhaust its meaning; variation is useful
-when the event's dramatic role changes. Let the piece's character guide the palette.
-
-## Attach sound to the event it answers
-
-A sound responding to spoken meaning can follow a Script Selection or Moment, so it moves with the
-accepted performance. A sound belonging to a component's own entrance, state change or handoff can
-follow that event within the component. Music or another independently directed event can occupy
-an authored span of the Film. Choose the time relationship from what makes the sound happen; the
-same visual and audible event can share a cause without being forced into separate timing schemes.
-
-The owner follows that relationship. [Audio Clip](../../production/audio-clips.md) presents
-time-bearing source audio; [Audio Clips](../../production/audio-clips.md) place independent audio;
-a project component can publish audio coupled to its own picture and events. Film includes the wanted
-audio contributions explicitly. These are composition choices, while the installed packages own
-their exact playback, trigger and gain syntax.
-
-## Preserve continuity across picture changes
-
-A picture cut need not cut the acoustic world. Room tone can continue across views of one place,
-music can bind a montage, and a speaking performance can remain audible as another picture takes the frame.
-A change of place, speaker perspective or narrative state may instead call for an audible handoff
-even when the picture changes gently. Follow the listener's sense of the encounter.
-
-Let speech, source action and effect tails meet in the rhythm the scene needs. Use silence, fades or
-overlaps where they make that handoff audible. Review the actual Film where these sounds coexist:
-the chosen voice remains clear when it carries meaning, an effect belongs to its event, and the
-soundtrack retains the work's intended character across the passage.