@autoaiai/aicut 0.1.7 → 0.1.13

package/skills/aicut-motion/references/design-systems/README.md

@@ -20,6 +20,6 @@ Every seed uses the same functions, all in `../pages.md`: `prog`, `EASE`, `settl
 `lib/motion.js` from there into the film once; do not paste helpers into a scene.
 
 The sound lines name instruments (`kick`, `pluck`, `scratch`, …). AICUT has no synthesiser: those are descriptions
-of the effects to fetch with `npx -y @autoaiai/aicut@latest get` or to bring as files under `assets/`, one `<audio>` clip per hit
+of the effects to fetch with `npx -y aicut@latest get` or to bring as files under `assets/`, one `<audio>` clip per hit
 on the `T` block. Write the cue list down even when the files are not there yet, so the film can be finished later
 without re-deciding the rhythm.

package/skills/aicut-motion/references/motion-delivery.md

@@ -0,0 +1,55 @@
+# The sample, and the film
+
+Two things get looked at: the sample before the film is built, and the film before it is called done. Both are looked
+at with `aicut look` and read as pictures, not as intentions.
+
+## The sample (about 20 seconds)
+
+Four to six beats, 18–22 seconds, and it must contain the mechanism. A sample that is a title, three stills pushed
+and pulled, or a decorative loop has not shown the style explaining anything, and the person will approve the wrong
+thing.
+
+It is the film's opening, not a separate object: same file (`film.html`), same page, same rules — so approving it is
+approving the film's body, and expanding it is more beats rather than a rebuild.
+
+Check before showing it:
+
+- **The mechanism moves.** The thing that explains (a line drawing itself, a wash flooding, a counter, a camera
+  travelling through scale) has to change over time and change the meaning with it.
+- **The style's invariants are all there**, each one visible in a frame you actually looked at.
+- **Every word is inside the frame and readable** at the size it plays, for the time it is up. Long lines break where
+  the language breaks, not where the box ends.
+- **Nothing overlaps by accident.** Look at the densest frame, not the emptiest.
+- **The first frame has a picture.** A page an editor opens at `t = 0` shows something — a fade-in from nothing leaves
+  the film blank where the person clicks.
+- **It ends on purpose.** The last beat resolves; it does not stop mid-move.
+- **Sound, if any, lands on the beats** and does not arrive late.
+
+Show it, and say in a few lines which part of the film it is, what the sound does, and what is still missing. Then
+wait. Approval of the sample is not implied by a chosen style, and a remark about one detail (“颜色可以”) is not
+approval of the whole thing.
+
+## The film
+
+The approved sample's code and rules stay; the rest is written in them. Length follows the content: a 40-second
+explainer with 9 beats is fine, and so is 2 minutes — do not pad or trim to hit a number.
+
+Look at it in passes, and say what you looked at:
+
+1. **Whole timeline** — every beat, in order, at the length it plays. Does the argument still read with no sound?
+2. **Facts** — every number, name and claim; anything uncertain was checked or removed, never smoothed over.
+3. **Continuity** — the same object keeps its identity, size and colour across beats; the camera's moves join; a
+   transition is a move, not a cut to black unless the style cuts to black.
+4. **Readability** — the smallest text, the busiest frame, the fastest beat.
+5. **Sound** — the voice (if any) does not fight the music; the mix does not clip; silence where silence is the point.
+6. **Ending** — the last beat is the one the film was building to.
+
+Fix what failed and look again. Do not report a film as finished on the strength of the sample, and do not report a
+frame as right that you have not seen.
+
+## Delivering
+
+- Say what the film is and how long it is, in a couple of lines.
+- Name the style it is in (`nameZh` and `name`), and that the style came from the archive.
+- Say what a person can do next: change the style, change a beat, export.
+- Export (MP4) only when asked. The film is the page; an export is a copy of it.

package/skills/aicut-motion/references/pages.md

@@ -254,5 +254,5 @@ Sound never lives in a page. In `film.html`:
 ```
 
 One clip per hit, on its own track, at the beat's seconds. A hit heard inside a page at local time `t` goes at
-`at + t − in` of the film. When the music or the effects do not exist yet, `npx -y @autoaiai/aicut@latest get` makes them
+`at + t − in` of the film. When the music or the effects do not exist yet, `npx -y aicut@latest get` makes them
 once the person has connected a service — say which service, rather than shipping a film with a silent sound design.