@prestyj/cli 5.27.0 → 5.28.0

This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
Files changed (701) hide show
  1. package/README.md +7 -5
  2. package/assets/motion/BRAG-LICENSE +21 -0
  3. package/assets/motion/HYPERFRAMES-LICENSE +190 -0
  4. package/assets/motion/THIRD-PARTY.md +57 -0
  5. package/assets/motion/assets/music/README.md +20 -0
  6. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-1-by-ende-dot-app.music-cues.json +3846 -0
  7. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-1-by-ende-dot-app.music-cues.md +35 -0
  8. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-10-by-ende-dot-app.music-cues.json +1826 -0
  9. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-10-by-ende-dot-app.music-cues.md +35 -0
  10. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-11-by-ende-dot-app.music-cues.json +2266 -0
  11. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-11-by-ende-dot-app.music-cues.md +35 -0
  12. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-12-by-ende-dot-app.music-cues.json +2806 -0
  13. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-12-by-ende-dot-app.music-cues.md +35 -0
  14. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-9-by-ende-dot-app.music-cues.json +2796 -0
  15. package/assets/motion/assets/music/cues/happy-beats-business-moves-vol-9-by-ende-dot-app.music-cues.md +35 -0
  16. package/assets/motion/assets/music/happy-beats-business-moves-vol-1-by-ende-dot-app.mp3 +0 -0
  17. package/assets/motion/assets/music/happy-beats-business-moves-vol-10-by-ende-dot-app.mp3 +0 -0
  18. package/assets/motion/assets/music/happy-beats-business-moves-vol-11-by-ende-dot-app.mp3 +0 -0
  19. package/assets/motion/assets/music/happy-beats-business-moves-vol-12-by-ende-dot-app.mp3 +0 -0
  20. package/assets/motion/assets/music/happy-beats-business-moves-vol-9-by-ende-dot-app.mp3 +0 -0
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+ "layer_id": 6665,
303
+ "preserve": [
304
+ "animators",
305
+ "selectors",
306
+ "transforms",
307
+ "outline_echoes",
308
+ "timing"
309
+ ],
310
+ "replaceable": [
311
+ "text",
312
+ "font"
313
+ ],
314
+ "slot": "Text_2"
315
+ },
316
+ {
317
+ "composition_id": 6722,
318
+ "layer_id": 6724,
319
+ "preserve": [
320
+ "animators",
321
+ "selectors",
322
+ "transforms",
323
+ "outline_echoes",
324
+ "timing"
325
+ ],
326
+ "replaceable": [
327
+ "text",
328
+ "font"
329
+ ],
330
+ "slot": "Text_3"
331
+ },
332
+ {
333
+ "composition_id": 6780,
334
+ "layer_id": 6782,
335
+ "preserve": [
336
+ "animators",
337
+ "selectors",
338
+ "transforms",
339
+ "outline_echoes",
340
+ "timing"
341
+ ],
342
+ "replaceable": [
343
+ "text",
344
+ "font"
345
+ ],
346
+ "slot": "Text_4"
347
+ },
348
+ {
349
+ "composition_id": 6810,
350
+ "layer_id": 6812,
351
+ "preserve": [
352
+ "animators",
353
+ "selectors",
354
+ "transforms",
355
+ "outline_echoes",
356
+ "timing"
357
+ ],
358
+ "replaceable": [
359
+ "text",
360
+ "font"
361
+ ],
362
+ "slot": "Text_5"
363
+ }
364
+ ]
365
+ },
366
+ "expected_counts": {
367
+ "compositions": 22,
368
+ "layers": 99,
369
+ "stored_properties": 1875,
370
+ "synthetic_properties": 17795
371
+ },
372
+ "footage_items": [
373
+ {
374
+ "color": [
375
+ 0.05490199849009514,
376
+ 0.05490199849009514,
377
+ 0.05490199849009514
378
+ ],
379
+ "duration": 0.0,
380
+ "frame_rate": 0.0,
381
+ "height": 1080,
382
+ "id": 100,
383
+ "name": "Dark Gray Solid 6",
384
+ "source_type": "SolidSource",
385
+ "width": 1920
386
+ }
387
+ ],
388
+ "geometry_unit": "source composition pixels; layer scale remains a percentage",
389
+ "layer_order": "index zero is top; preserve array and property group order",
390
+ "name": "mixkit-split-text-617",
391
+ "root_composition_id": 6936,
392
+ "schema_version": 1,
393
+ "source": {
394
+ "ae_version": "17.1x37",
395
+ "aep_sha256": "a71e3bc7ce98db7bf0f2a85438ca4636db3e26ad455bdb272840e701d0c3cbb7",
396
+ "archive_entry": "617/Urban_Opener.aep",
397
+ "parser_commit": "e12a451c35bacd3f34a080090265f9370e66162b",
398
+ "parser_repository": "https://github.com/forticheprod/py-aep",
399
+ "reference_page": "https://mixkit.co/free-after-effects-templates/split-text-intro-617/",
400
+ "reference_video": "https://assets.mixkit.co/video-templates/617/mixkit-617-360.mp4"
401
+ },
402
+ "verification": {
403
+ "field_export_errors": 0,
404
+ "full_video_reconstruction_verified": false,
405
+ "notes": [
406
+ "Synthetic properties are parser defaults, not proof of authored values.",
407
+ "Separated Position leaders/followers can duplicate key entries; do not animate both.",
408
+ "No source footage, font file, music or sound-effect asset is bundled.",
409
+ "The quantitative spot-check applies only to the first reveal, not all choreography."
410
+ ],
411
+ "opening_reveal_spot_check": {
412
+ "max_absolute_error_pixels": 1.728,
413
+ "samples": [
414
+ {
415
+ "difference_pixels": 1.728,
416
+ "measured_height_pixels": 3,
417
+ "predicted_height_pixels": 1.272,
418
+ "source_frame": 6,
419
+ "time_seconds": 0.1001
420
+ },
421
+ {
422
+ "difference_pixels": 0.997,
423
+ "measured_height_pixels": 7,
424
+ "predicted_height_pixels": 6.003,
425
+ "source_frame": 12,
426
+ "time_seconds": 0.2002
427
+ },
428
+ {
429
+ "difference_pixels": 1.137,
430
+ "measured_height_pixels": 18,
431
+ "predicted_height_pixels": 16.863,
432
+ "source_frame": 18,
433
+ "time_seconds": 0.3003
434
+ },
435
+ {
436
+ "difference_pixels": 1.016,
437
+ "measured_height_pixels": 44,
438
+ "predicted_height_pixels": 42.984,
439
+ "source_frame": 24,
440
+ "time_seconds": 0.4004
441
+ },
442
+ {
443
+ "difference_pixels": 0.348,
444
+ "measured_height_pixels": 196,
445
+ "predicted_height_pixels": 195.652,
446
+ "source_frame": 30,
447
+ "time_seconds": 0.5005
448
+ },
449
+ {
450
+ "difference_pixels": 0.879,
451
+ "measured_height_pixels": 242,
452
+ "predicted_height_pixels": 241.121,
453
+ "source_frame": 36,
454
+ "time_seconds": 0.6006
455
+ },
456
+ {
457
+ "difference_pixels": 0.285,
458
+ "measured_height_pixels": 258,
459
+ "predicted_height_pixels": 257.715,
460
+ "source_frame": 42,
461
+ "time_seconds": 0.7007
462
+ },
463
+ {
464
+ "difference_pixels": 0.145,
465
+ "measured_height_pixels": 266,
466
+ "predicted_height_pixels": 265.855,
467
+ "source_frame": 48,
468
+ "time_seconds": 0.8008
469
+ },
470
+ {
471
+ "difference_pixels": 0.37,
472
+ "measured_height_pixels": 270,
473
+ "predicted_height_pixels": 269.63,
474
+ "source_frame": 54,
475
+ "time_seconds": 0.9009
476
+ },
477
+ {
478
+ "difference_pixels": 1.357,
479
+ "measured_height_pixels": 272,
480
+ "predicted_height_pixels": 270.643,
481
+ "source_frame": 59,
482
+ "time_seconds": 0.9843166666666666
483
+ }
484
+ ],
485
+ "scope": "First Scene_1 alpha-matte height only; 640x360 preview; heuristic edge measurement, not full-render equivalence"
486
+ },
487
+ "source_reconstruction_rendered": false,
488
+ "unverified": [
489
+ "AE per-character selector weighting and randomized order in another renderer",
490
+ "font substitution layout equivalence",
491
+ "Fast Blur and text-outline rendering equivalence",
492
+ "full sequence compared in motion"
493
+ ]
494
+ }
495
+ }
@@ -0,0 +1,201 @@
1
+ # Reconstruction rules — preserve the mechanism
2
+
3
+ These rules describe the supplied project. They are not a new art direction.
4
+ For full numbers and property paths use the composition data and inspector.
5
+
6
+ ## 1. Composition graph and fixed output
7
+
8
+ Root: `Final_1920x1080` (6936), containing `!Post_Production` (508).
9
+ The output is 1920×1080, square pixels, 30 fps, 361 frames. Its duration is
10
+ 12.033333333333333 seconds, not a newly rounded 12-second edit. Frame times
11
+ are n/30 for n = 0 through 360; duration is the end of the last frame interval.
12
+
13
+ Assembly visibility intervals (seconds, rounded here **for reading only**):
14
+
15
+ | Source | In | Out |
16
+ |---|---:|---:|
17
+ | Scene_1 | 0.000000 | 2.166667 |
18
+ | Text_Design_1 | 1.000000 | 3.100000 |
19
+ | Scene_2 | 2.166667 | 4.500000 |
20
+ | Text_Design_2 | 3.633333 | 6.266667 |
21
+ | Scene_3 | 4.766667 | 7.033333 |
22
+ | Text_Design_3 | 6.000000 | 7.633333 |
23
+ | Scene_4 | 7.033333 | 9.066667 |
24
+ | Text_Design_4 | 8.233333 | 10.233333 |
25
+ | Text_Design_5 | 9.433333 | 12.033333 |
26
+
27
+ This is **not a sequence of hard cuts**. Source layers overlap and animate
28
+ inside these intervals. Their stack order and clipping determine what is seen.
29
+ The other seven assembly layers are decorative instances and background;
30
+ read all 16 assembly layers, not just this table.
31
+
32
+ Follow composition IDs rather than matching repeated layer names. The source
33
+ solid is a generated footage item in `manifest.footage_items`, not a missing
34
+ file. Its applied Fill effects can differ from its base solid colour.
35
+
36
+ ## 2. Time, stretch and layer order
37
+
38
+ - Composition JSON `layers` and zero-based `index` preserve the source stack;
39
+ index 0 is the top layer. Do not reverse compositing accidentally.
40
+ - `start_time`, `in_point`, `out_point` and exported keyframe `time` are in the
41
+ **owning composition's seconds**, not all in the final composition's clock.
42
+ - At parent-composition time T, a layer with start B and stretch S percent
43
+ maps into its source at U = (T - B) / (S/100), unless time remapping applies.
44
+ The parsed live layers report no enabled time remapping here.
45
+ - Recurse this mapping at every precomposition boundary. Do not add the parent
46
+ start twice, or subtract it from a keyframe that is already in parent time.
47
+ - Read stretch numerically. The assembly contains decorative instances at
48
+ 90% and approximately 137.99999952316284%, not only 100%.
49
+ - Keep negative starts and subframe times. Text echo copies deliberately start
50
+ before zero. In/out clipping is separate from start/source-time mapping.
51
+ - Keep out-of-visible-range keys: they can affect interpolation of the visible
52
+ interval. Do not crop the keyframe list to the layer's in/out points.
53
+ - Apply parent transforms, anchor points, layer transforms, shape-group
54
+ transforms and precomposition clipping in their own coordinate systems.
55
+ Preserve exported 3D/collapse/matte flags; a flat appearance is not permission
56
+ to discard them. Do not invent a camera.
57
+
58
+ ## 3. Easing: translate numbers, not adjectives
59
+
60
+ For each property preserve values, interpolation types and component order.
61
+ Use the exact keys rather than selecting an easing preset that feels similar.
62
+
63
+ - HOLD: retain the previous value until the next key; do not crossfade it.
64
+ - LINEAR: interpolate at constant rate on the correct time axis.
65
+ - BEZIER, **non-spatial scalar/component case**: use endpoint values, temporal
66
+ speeds and influences to form the time/value cubic. Do not apply this simple
67
+ component formula to spatial-position paths with arc-length-based speed.
68
+
69
+ Temporal speed is measured per layer second. If a layer is stretched, first
70
+ convert exported composition key times t0/t1 to layer times
71
+ u0 = (t0-B)/(S/100), u1 = (t1-B)/(S/100), and evaluate on that same axis.
72
+ For a non-spatial component with values v0/v1:
73
+
74
+ ```text
75
+ D = u1 - u0
76
+ A = D * outgoing_influence / 100
77
+ B2 = D * incoming_influence / 100
78
+ P0 = (u0, v0)
79
+ P1 = (u0 + A, v0 + outgoing_speed * A)
80
+ P2 = (u1 - B2, v1 - incoming_speed * B2)
81
+ P3 = (u1, v1)
82
+ ```
83
+
84
+ Invert the cubic's time coordinate for the requested time before evaluating
85
+ its value coordinate. Cubic parameter is not elapsed-time fraction. Handle
86
+ constant components directly; do not divide by a zero value delta. Retain
87
+ per-component ease entries and precision. Endpoint conditions matter.
88
+
89
+ For spatial properties retain spatial tangents, continuity, auto-Bezier and
90
+ roving flags and translate their actual path semantics. An unvalidated spatial
91
+ approximation is not exact merely because the endpoint positions match.
92
+
93
+ Separated Position: inspect `is_separation_leader`,
94
+ `is_separation_follower` and `dimensions_separated`. The export can expose both
95
+ a combined leader and its followers. Select the active representation; do not
96
+ apply both or combine unrelated synthetic follower defaults.
97
+
98
+ ## 4. Four footage mechanisms, not four generic wipes
99
+
100
+ Source IDs: Scene_1=76, Scene_2=480, Scene_3=6677, Scene_4=6736.
101
+ Each has its own shape matte, PH source layer and background. Preserve the
102
+ matte layer relationship and alpha interpretation, not just a visible white
103
+ rectangle drawn over the footage.
104
+
105
+ Rectangle sizes in each scene's local time (all at 0, 1 and 2 seconds):
106
+
107
+ | Scene | t=0 | t=1 | t=2 |
108
+ |---|---|---|---|
109
+ | 1 | [1920, 0] | [1920, 812] | [1920, 0] |
110
+ | 2 | [1920, 0] | [1920, 812] | [1920, 0] |
111
+ | 3 | [0, 812] | [1920, 812] | [0, 540] |
112
+ | 4 | [1920, 0] | [1920, 812] | [0, 0] |
113
+
114
+ Use each scene's own easing. Scene_3's media starts around 350% scale; the
115
+ other three start around 140%. They reach around 100% at 1 second and 143%
116
+ at 2 seconds. Use the exact per-component values from the data, not these
117
+ rounded descriptions.
118
+
119
+ Fast Blur is keyed from 0 at 1.3666666666666667 seconds to 214 at 2 seconds.
120
+ Read all effect settings, including direction/repeat-edge behaviour. AE's
121
+ 214 is not automatically the CSS/Canvas blur radius. Match blur behaviour
122
+ against the reference before claiming equivalence.
123
+
124
+ The parent assembly also animates some scene positions and applies Tint.
125
+ The internal reveal alone does not reproduce the scene transition. Preserve
126
+ those parent effects/transforms and every scene's BG treatment as well.
127
+
128
+ ### Replacing the four media slots
129
+
130
+ The supplied PH compositions are empty. Fill them with the selected media;
131
+ leave the surrounding matte, source-layer scale, position, blur and timing
132
+ unchanged. Still images are valid; moving footage supplies its own content
133
+ motion. Do not add a new Ken Burns move or a convenient dissolve.
134
+
135
+ A source crop/fit or clip in-point is a media-binding choice, not recovered
136
+ project information. Record it explicitly. Prefer media prepared to the slot's
137
+ 1920×1080 bounds; resolve incompatible aspect ratios or insufficient duration
138
+ rather than silently introducing looping, stretching or new animation.
139
+
140
+ ## 5. Typography: same animator system, different glyphs
141
+
142
+ Source text compositions: 6539, 6663, 6722, 6780, 6810.
143
+ Their original words are OPENER, INTRO, BOLD, FREE, MIXKIT. These are slot labels
144
+ and reference content, not mandatory copy.
145
+
146
+ Replace the source text and font **once per source composition**, so every
147
+ filled/outline copy derives from the same new glyph layout. Preserve the
148
+ source text-document alignment, tracking/leading, transforms and animator
149
+ structure unless the user explicitly changes the corresponding typography
150
+ input. Record any resulting layout change; do not present changed glyphs as
151
+ pixel-identical to the reference.
152
+
153
+ Read every applied animator, selector and nested setting in order:
154
+ - Position/scale/tracking animation is not the same for all five titles.
155
+ - Selector amount, range shape, ease and randomized-order seed are part of
156
+ the mechanism. Do not substitute your own character order or delay formula.
157
+ - Preserve fill/stroke state and HOLD keys; the source's filled and outline
158
+ portions are deliberately separated in time.
159
+ - The final title includes a source-layer scale animation from zero to about
160
+ 484%; this combines with surrounding transforms. It is not a new end card.
161
+
162
+ A new font or a different number of letters changes the glyph geometry and
163
+ selector population. Preserve the source selector algorithm and its settings,
164
+ not a guessed list of pixel coordinates for the old letters. The foreign
165
+ renderer implementation of that algorithm is currently unverified. If it
166
+ cannot be implemented/checked, mark that portion unresolved; do not silently
167
+ swap in a generic stagger and call it precise.
168
+
169
+ ### The four outline echoes
170
+
171
+ Text-design compositions: 6525, 6647, 6706, 6764, 6794.
172
+ Each contains **five source instances**: one main filled copy and four echoes.
173
+ The four echoed instances start near -4.966666666666667, -4.933333333333334,
174
+ -4.9 and -4.866666666666666 seconds. Their visible starts are staggered by
175
+ one 30-fps frame, while their source time is already in the outline section.
176
+
177
+ At source time 5 seconds, text Fill Opacity switches to 0 with HOLD
178
+ interpolation. This, not a text-shadow filter, supplies the outlined copies.
179
+ Retain the actual instance stack, time offsets, clipping and transforms.
180
+ Do not replace it with arbitrary increasing stroke widths or opacity trails.
181
+
182
+ ## 6. Decorative movement and background
183
+
184
+ `elements` (6823) and `elements 2` (6872) each contain 20 shape layers.
185
+ Their geometry, placements and temporal offsets differ. Reuse their source
186
+ instances as the assembly does; do not make a random particle generator.
187
+ Their separated vertical-position keys and timing are in the data. Preserve
188
+ shape fills/strokes and all instance rotation/scale/position/stretch settings.
189
+ The source duration of these compositions is longer than their visible parent
190
+ intervals; do not stretch the source to fill those intervals automatically.
191
+
192
+ ## 7. Renderer identity and source/default provenance
193
+
194
+ `ADBE Advanced 3d` in the parser's `renderer` field is an internal scripting
195
+ identifier mapped from the Classic 3D renderer in this parser; it is not a
196
+ request to modernize the clip to a new 3D style.
197
+
198
+ Stored values, parser-synthesized defaults and renderer-specific calculations
199
+ are different evidence classes. Keep them distinct in implementation notes.
200
+ No expressions were reported by the parsed live property tree. Do not add
201
+ noise, procedural jitter or expression-driven motion to fill imagined gaps.