creator-editing-studio 1.3.3 → 1.3.6

package/template/templates/STYLE.md

@@ -1,179 +1,179 @@
-<!-- This is YOUR style guide, and it starts deliberately half-empty.
-
-     Parts 1 to 6 are craft standards: things that hold for any brand, most of them
-     measured rather than argued. Leave them alone until you have a reason not to, and
-     your edits will come out clean rather than random.
-
-     Parts 7 and 8 are yours and begin blank. Every time you approve or reject something,
-     write it down there. That is the half that makes edits look like YOURS instead of
-     merely competent, and it is the half nobody can hand you. -->
-
-# House style
-
-What every edit must look, move and sound like. `CLAUDE.md` says *how* to build; this
-file says *what it must come out like*.
-
-When this file and a reference disagree, this file wins unless you say otherwise.
-
----
-
-## 1. Your identity
-
-Everything visual comes from `src/design/tokens.ts`. That file is the single source of
-your typeface, your colours, your spacing and your type scale — change it there and every
-video changes with it. Never hard-code a colour or a font family into a composition.
-
-- **Type:** one display typeface. Heavy weights for headlines, numbers and hero words;
-  medium for labels and pointers.
-- **Colour:** one accent, plus ink and a light ground. Resist a second accent — two
-  accents read as a template, one reads as a brand.
-- On footage: accent text, with a soft glow so it survives a busy frame.
-- On a light ground: ink text, with the accent used only to mark the word that matters.
-
-## 2. Type scale
-
-Sizes are a starting ladder, not a law. What matters is that you keep to *a* ladder.
-
-| Role | 16:9 (1920x1080) | 9:16 (1080x1920) | Notes |
-|---|---|---|---|
-| Hero word | 200–320px | 130–220px | One on screen at a time, never two |
-| Headline | ~116px | ~100px | Tight tracking, around -0.03em |
-| Big number | ~170px | ~150px | Tabular digits while a counter runs |
-| Label / eyebrow | ~40px | ~32px | Uppercase, open tracking, ~0.14em |
-| Pointer / list item | ~42px | ~36px | |
-| Captions | 46px | 42px | Crisp white, bold, soft dark shadow |
-
-**If a word needs to be bigger than the ladder to feel important, the layout is wrong,
-not the size.** Oversized type is the most common way an edit starts looking amateur.
-
-## 3. Layout
-
-- **The speaker stays full screen by default.** Rounded cards and frames around a talking
-  head make the edit look assembled rather than shot. A card is fine as a *transition*,
-  not as a container.
-- Put text in the clear space the shot already gives you: sky, a wall, out-of-focus
-  background. Check where the head lands on every cut before committing a position.
-- Captions live in one consistent zone per layout, over a dark area. They hide while the
-  same words are on screen as a graphic, and never linger into the next scene.
-- Graphics are built from type, numbers, real screenshots and real footage. Decorative
-  shapes that mean nothing age badly and read as filler.
-
-## 4. Motion
-
-- The motion laws in `CLAUDE.md`, always. Eased, motion-blurred, nothing pops into place.
-- **Zoom through jump cuts.** A small push on the cut hides the join; a hard snap exposes it.
-- **Hard cuts only as a deliberate burst** — a few beats of solid colour synced to the
-  words, then back to smooth. Everything else morphs from one state to the next.
-- Cover anything off-camera — reading, looking away, a fumble — with a graphic or a cut.
-- Counters start at zero and only go up. No grey placeholder digits.
-- Vary your shot lengths. Cutting everything to the same duration is the clearest sign
-  an edit was made by a machine rather than by someone making decisions.
-
-## 5. Sound (half the reel)
-
-- **The voice is never processed.** No reverb, no heavy compression, no "enhancement".
-- Sound effects are short — whooshes 0.4–0.8s, hits 0.3–0.6s — faded, and placed in the
-  gaps between words rather than under them.
-- Every new visual gets its own fitting sound. Reusing a sound that belonged to a
-  different look is the audio version of a template.
-- **Subtle beats loud.** Big cinematic impacts on text almost always read as too much.
-- Hand over voice and SFX stems plus a timecoded cue sheet with every delivery.
-
-## 6. Colour, film looks and presets
-
-**Most of a look comes from the shoot, not the grade.** Golden hour or one good window,
-light behind or beside the subject, background well behind the subject, white balance
-fixed rather than auto. Automated grading is a starting point and only when the footage's
-light already resembles the reference — on mismatched light it will look wrong, and you
-should trust your eye over any automatic match.
-
-| Transition | When |
-|---|---|
-| whipPan | Between unrelated shots. Never twice in a row. |
-| push | Moving forward through a list or a sequence. |
-| maskWipe | A calm reveal. Pairs with a soft sound. |
-| colourFlip | A burst on a phrase. Two or three, then back to smooth. |
-| matchCut | Only when both shots share a shape or a direction. |
-| dip | Changing subject without drama. |
-
-| Caption look | When |
-|---|---|
-| clean | Default. Works over almost anything. |
-| block | Busy or bright footage, where white alone gets lost. |
-| highlight | Keeps the eye on the word being spoken. |
-| pop | Fast edits. Not over heavy motion. |
-
-| Film look | When |
-|---|---|
-| none | Graphics, screen recordings, anything where text is the subject. |
-| clean | Default for a talking head. Enough grain to stop flat areas banding. |
-| film | B-roll and travel. The one to reach for first. |
-| super8 | Memory and nostalgia moments only. Never a whole video. |
-| cinema | A held, wide, quiet shot. |
-
-**Three things here were measured, not guessed. Do not quietly undo them:**
-
-- Grain composites **normally**, not with `overlay`. On flat cream or flat ink there are
-  no midtones, and overlay grain measures 0.000 stddev — the layer does nothing at all.
-- Grain is paid for in black level — blacks lift measurably at medium strength. Raise it
-  per shot when a nostalgia moment is worth milkier blacks; never raise the default.
-- Halation blooms **highlights only**. The plate is crushed to black before it is blurred
-  and screened back. Without that crush, a bright frame blooms end to end and the blacks
-  go brown.
-
-Speed ramps are eased, never a hard speed switch. Below 0.4x needs 50fps or higher source
-footage — you cannot rescue slow motion that was not shot for it.
-
----
-
-## 7. Where these defaults end and you begin
-
-The sections above are **defaults**: a starting point tuned so that a video made on day one,
-before you have told the system anything, comes out clean rather than embarrassing. Captions
-sit at a readable size with a measured shadow, cuts are eased, grain is restrained, the voice
-is untouched.
-
-Defaults are also the reason an edit can come out *anonymous*. They are what everybody gets.
-Three things move an edit from the default toward yours, in increasing order of power:
-
-**1. Your tokens.** `src/design/tokens.ts` carries your typeface, your colours, your scale.
-This makes an edit *yours to look at* immediately.
-
-**2. Your references.** Saved moments from edits you admire, each with a timecode and a note
-on what you like about that exact moment. These are read before the plan for every video, and
-they beat the defaults wherever the two disagree — a default is a guess that suits everyone,
-a reference is a fact about you.
-
-Roughly: **none** gives you clean and forgettable. **Three** is enough to spot a pattern.
-**Seven or eight** is enough to tell a preference from a coincidence, and it is where edits
-start looking authored.
-
-**3. This file, as it fills up.** Sections 8 and 9 are the part no default can supply and no
-competitor can copy, because they are a record of decisions only you have made. Every entry
-narrows the next edit toward what you actually want.
-
-Nothing here learns on its own. It gets better because the brief gets richer — so the ten
-minutes spent writing down why you rejected something is the highest-return ten minutes
-available to you.
-
----
-
-## 8. Approved (your effects library)
-
-<!-- Empty on purpose. When something works, write it down here: what it is, and where
-     you approved it. Next time you can ask for it by name instead of describing it
-     again, and every future video inherits the decision. -->
-
-| Beat | What it is | Where you approved it |
-|---|---|---|
-| | | |
-
-## 9. Rejected (don't do these again)
-
-<!-- This table is worth more than the one above. A list of things you have ruled out is
-     the fastest way to stop an edit drifting back toward generic, because it removes
-     options rather than adding them. Add a line every time you say "not that". -->
-
-| What | Why | Where |
-|---|---|---|
-| | | |
+<!-- This is YOUR style guide, and it starts deliberately half-empty.
+
+     Parts 1 to 6 are craft standards: things that hold for any brand, most of them
+     measured rather than argued. Leave them alone until you have a reason not to, and
+     your edits will come out clean rather than random.
+
+     Parts 7 and 8 are yours and begin blank. Every time you approve or reject something,
+     write it down there. That is the half that makes edits look like YOURS instead of
+     merely competent, and it is the half nobody can hand you. -->
+
+# House style
+
+What every edit must look, move and sound like. `CLAUDE.md` says *how* to build; this
+file says *what it must come out like*.
+
+When this file and a reference disagree, this file wins unless you say otherwise.
+
+---
+
+## 1. Your identity
+
+Everything visual comes from `src/design/tokens.ts`. That file is the single source of
+your typeface, your colours, your spacing and your type scale — change it there and every
+video changes with it. Never hard-code a colour or a font family into a composition.
+
+- **Type:** one display typeface. Heavy weights for headlines, numbers and hero words;
+  medium for labels and pointers.
+- **Colour:** one accent, plus ink and a light ground. Resist a second accent — two
+  accents read as a template, one reads as a brand.
+- On footage: accent text, with a soft glow so it survives a busy frame.
+- On a light ground: ink text, with the accent used only to mark the word that matters.
+
+## 2. Type scale
+
+Sizes are a starting ladder, not a law. What matters is that you keep to *a* ladder.
+
+| Role | 16:9 (1920x1080) | 9:16 (1080x1920) | Notes |
+|---|---|---|---|
+| Hero word | 200–320px | 130–220px | One on screen at a time, never two |
+| Headline | ~116px | ~100px | Tight tracking, around -0.03em |
+| Big number | ~170px | ~150px | Tabular digits while a counter runs |
+| Label / eyebrow | ~40px | ~32px | Uppercase, open tracking, ~0.14em |
+| Pointer / list item | ~42px | ~36px | |
+| Captions | 46px | 42px | Crisp white, bold, soft dark shadow |
+
+**If a word needs to be bigger than the ladder to feel important, the layout is wrong,
+not the size.** Oversized type is the most common way an edit starts looking amateur.
+
+## 3. Layout
+
+- **The speaker stays full screen by default.** Rounded cards and frames around a talking
+  head make the edit look assembled rather than shot. A card is fine as a *transition*,
+  not as a container.
+- Put text in the clear space the shot already gives you: sky, a wall, out-of-focus
+  background. Check where the head lands on every cut before committing a position.
+- Captions live in one consistent zone per layout, over a dark area. They hide while the
+  same words are on screen as a graphic, and never linger into the next scene.
+- Graphics are built from type, numbers, real screenshots and real footage. Decorative
+  shapes that mean nothing age badly and read as filler.
+
+## 4. Motion
+
+- The motion laws in `CLAUDE.md`, always. Eased, motion-blurred, nothing pops into place.
+- **Zoom through jump cuts.** A small push on the cut hides the join; a hard snap exposes it.
+- **Hard cuts only as a deliberate burst** — a few beats of solid colour synced to the
+  words, then back to smooth. Everything else morphs from one state to the next.
+- Cover anything off-camera — reading, looking away, a fumble — with a graphic or a cut.
+- Counters start at zero and only go up. No grey placeholder digits.
+- Vary your shot lengths. Cutting everything to the same duration is the clearest sign
+  an edit was made by a machine rather than by someone making decisions.
+
+## 5. Sound (half the reel)
+
+- **The voice is never processed.** No reverb, no heavy compression, no "enhancement".
+- Sound effects are short — whooshes 0.4–0.8s, hits 0.3–0.6s — faded, and placed in the
+  gaps between words rather than under them.
+- Every new visual gets its own fitting sound. Reusing a sound that belonged to a
+  different look is the audio version of a template.
+- **Subtle beats loud.** Big cinematic impacts on text almost always read as too much.
+- Hand over voice and SFX stems plus a timecoded cue sheet with every delivery.
+
+## 6. Colour, film looks and presets
+
+**Most of a look comes from the shoot, not the grade.** Golden hour or one good window,
+light behind or beside the subject, background well behind the subject, white balance
+fixed rather than auto. Automated grading is a starting point and only when the footage's
+light already resembles the reference — on mismatched light it will look wrong, and you
+should trust your eye over any automatic match.
+
+| Transition | When |
+|---|---|
+| whipPan | Between unrelated shots. Never twice in a row. |
+| push | Moving forward through a list or a sequence. |
+| maskWipe | A calm reveal. Pairs with a soft sound. |
+| colourFlip | A burst on a phrase. Two or three, then back to smooth. |
+| matchCut | Only when both shots share a shape or a direction. |
+| dip | Changing subject without drama. |
+
+| Caption look | When |
+|---|---|
+| clean | Default. Works over almost anything. |
+| block | Busy or bright footage, where white alone gets lost. |
+| highlight | Keeps the eye on the word being spoken. |
+| pop | Fast edits. Not over heavy motion. |
+
+| Film look | When |
+|---|---|
+| none | Graphics, screen recordings, anything where text is the subject. |
+| clean | Default for a talking head. Enough grain to stop flat areas banding. |
+| film | B-roll and travel. The one to reach for first. |
+| super8 | Memory and nostalgia moments only. Never a whole video. |
+| cinema | A held, wide, quiet shot. |
+
+**Three things here were measured, not guessed. Do not quietly undo them:**
+
+- Grain composites **normally**, not with `overlay`. On flat cream or flat ink there are
+  no midtones, and overlay grain measures 0.000 stddev — the layer does nothing at all.
+- Grain is paid for in black level — blacks lift measurably at medium strength. Raise it
+  per shot when a nostalgia moment is worth milkier blacks; never raise the default.
+- Halation blooms **highlights only**. The plate is crushed to black before it is blurred
+  and screened back. Without that crush, a bright frame blooms end to end and the blacks
+  go brown.
+
+Speed ramps are eased, never a hard speed switch. Below 0.4x needs 50fps or higher source
+footage — you cannot rescue slow motion that was not shot for it.
+
+---
+
+## 7. Where these defaults end and you begin
+
+The sections above are **defaults**: a starting point tuned so that a video made on day one,
+before you have told the system anything, comes out clean rather than embarrassing. Captions
+sit at a readable size with a measured shadow, cuts are eased, grain is restrained, the voice
+is untouched.
+
+Defaults are also the reason an edit can come out *anonymous*. They are what everybody gets.
+Three things move an edit from the default toward yours, in increasing order of power:
+
+**1. Your tokens.** `src/design/tokens.ts` carries your typeface, your colours, your scale.
+This makes an edit *yours to look at* immediately.
+
+**2. Your references.** Saved moments from edits you admire, each with a timecode and a note
+on what you like about that exact moment. These are read before the plan for every video, and
+they beat the defaults wherever the two disagree — a default is a guess that suits everyone,
+a reference is a fact about you.
+
+Roughly: **none** gives you clean and forgettable. **Three** is enough to spot a pattern.
+**Seven or eight** is enough to tell a preference from a coincidence, and it is where edits
+start looking authored.
+
+**3. This file, as it fills up.** Sections 8 and 9 are the part no default can supply and no
+competitor can copy, because they are a record of decisions only you have made. Every entry
+narrows the next edit toward what you actually want.
+
+Nothing here learns on its own. It gets better because the brief gets richer — so the ten
+minutes spent writing down why you rejected something is the highest-return ten minutes
+available to you.
+
+---
+
+## 8. Approved (your effects library)
+
+<!-- Empty on purpose. When something works, write it down here: what it is, and where
+     you approved it. Next time you can ask for it by name instead of describing it
+     again, and every future video inherits the decision. -->
+
+| Beat | What it is | Where you approved it |
+|---|---|---|
+| | | |
+
+## 9. Rejected (don't do these again)
+
+<!-- This table is worth more than the one above. A list of things you have ruled out is
+     the fastest way to stop an edit drifting back toward generic, because it removes
+     options rather than adding them. Add a line every time you say "not that". -->
+
+| What | Why | Where |
+|---|---|---|
+| | | |