goatedit-mcp 1.1.14 → 1.1.15

package/bundle/goatedit-mcp.js

@@ -19984,7 +19984,7 @@ var BASE_TOOLS = [
         columns: num("With times: tiles per row. Defaults to a near-square grid."),
         saveToDisk: {
           type: "boolean",
-          description: "Write the frame to disk through the local bridge and return its path instead of the image itself. A frame is around 200KB, and inline it is paid for twice \u2014 as tokens and as a cached object \u2014 so a review pass over twenty cuts is expensive. With this set, read the returned path with your own file tools. Falls back to an inline image, with a warning, when the bridge is not running."
+          description: "Write the frame to disk through the local bridge and return its path instead of the image itself. A frame is around 200KB, and inline it is paid for twice \u2014 as tokens and as a cached object \u2014 so a review pass over twenty cuts is expensive. With this set, read the returned path with your own file tools; a file is also full resolution rather than the reply-sized thumbnail. Defaults to true over the local connector and false over the cloud one, whose callers cannot read this machine's disk. Falls back to an inline image, with a warning, when the bridge is not running."
         },
         width: num("Width of the returned image in pixels, up to 1280. Defaults to 1024."),
         outlines: bool(`Draw every layer's box, handles and anchor point over the picture, with a timecode \u2014 the look of the editor's selection, on every layer at once. The same option the Export dialog offers as "Show layer outlines".`),
@@ -20511,7 +20511,8 @@ var BASE_TOOLS = [
         parentId: { type: ["string", "null"], description: "Parent clip id, or null to unparent." },
         position: { type: ["string", "null"], description: "Take position only from this clip." },
         scale: { type: ["string", "null"], description: "Take scale only from this clip." },
-        rotation: { type: ["string", "null"], description: "Take rotation only from this clip." }
+        rotation: { type: ["string", "null"], description: "Take rotation only from this clip." },
+        time: num("The moment whose parent pose the clip is measured from, in seconds on this clip's sequence. Default: when the clip starts (or the parent, if it starts later) \u2014 not the playhead. Set the child's own position and scale for the parent as it is at this time.")
       },
       required: ["clipId"]
     },
@@ -20694,6 +20695,36 @@ var BASE_TOOLS = [
     },
     method: "create3dObject"
   },
+  {
+    name: "create_showcase",
+    description: "Place a Showcase from the Presets panel: pictures, clips or 3D models on cards moving through a seamless 3D loop \u2014 a ring, a globe, a tunnel, an orbit, a fan, a carousel, a grid. One clip, drawn on a transparent background, so it floats over whatever is beneath. Use it for a collage ring, a wall of work, UI cards orbiting a line, or a product with text rings round it (the product templates). Templates: ring (Showcase Ring), globe (Card Globe), tunnel (Card Tunnel), sphereWall (Inside Sphere), verticalRing, helix (Spiral Tower), flyThrough, orbit, doubleOrbit, wheel (Spin Wheel), risingWheel, fan (Card Fan), coverFlow, verticalFlow, carousel, filmStrip, diagonal, focusSlider, flipGrid, popGrid, isoGrid, isoColumns, masonry, columnDrift, deckPeel, stackShuffle, productRing, productOrbit, productRibbon, productWave, productHalo, productNeon, productStack. Tune it with set_clip_effect on its showcase effect (describe_effect showcase: count, spread, cardSize, tilt, speed, zoom\u2026).",
+    inputSchema: {
+      type: "object",
+      properties: {
+        template: str("Template id from the list above."),
+        mediaFileIds: { type: "array", items: { type: "string" }, description: "Bin items for the cards, in order: images, videos or 3D models. Default every usable item in the bin (none for a product template, which then shows the GoatEdit logo)." },
+        startTime: num("Start in seconds. Default 0."),
+        duration: num("Length in seconds. Default one loop of the template."),
+        trackId: str("Track to place it on. Default a new video track on top."),
+        name: str("Clip name.")
+      },
+      required: ["template"]
+    },
+    method: "createShowcase"
+  },
+  {
+    name: "replace_clip_media",
+    description: "Swap the picture, footage or sound a clip plays for another bin item, keeping the clip where it is and everything done to it: position, scale, rotation, effects, colour grade, masks, keyframes and parent. Use this instead of deleting a clip and inserting the new file, which starts the new clip from defaults. A linked video/audio pair switches together. Video plays from its start; a source shorter than the clip shortens it.",
+    inputSchema: {
+      type: "object",
+      properties: {
+        clipId: CLIP_ID,
+        mediaFileId: str("The bin item the clip should play instead.")
+      },
+      required: ["clipId", "mediaFileId"]
+    },
+    method: "replaceClipMedia"
+  },
   {
     name: "remove_background",
     description: "Cut the subject out of a still image \u2014 a product, an object, a person \u2014 into a transparent PNG, the way stock photos become floating cut-outs. Runs in the editor tab (the model downloads once, ~9 MB for quality). The cut-out is added to the bin as a new file and, by default, every clip showing the photo switches to it (or only clipId when given); the original stays. For video use roto instead.",
@@ -21245,7 +21276,7 @@ var BASE_TOOLS = [
         width: num("Width of the returned image in pixels. Defaults to 512."),
         saveToDisk: {
           type: "boolean",
-          description: "Write the frame to disk through the local bridge and return its path instead of the image. Falls back to an inline image, with a warning, when the bridge is not running."
+          description: "Write the frame to disk through the local bridge and return its path instead of the image. Defaults to true over the local connector, false over the cloud one. Falls back to an inline image, with a warning, when the bridge is not running."
         }
       },
       required: ["fileId"]
@@ -22009,8 +22040,8 @@ var SKILLS = [
       {
         "path": "SKILL.md",
         "uri": "skill://goatedit/goatedit-formats/SKILL.md",
-        "text": "---\nname: goatedit-formats\ndescription: Playbooks for the kinds of video people make in GoatEdit \u2014 vertical reel or short from a talking head, ad, motion-graphics launch ad, product launch, explainer (Vox-style), tutorial or screen recording, podcast or interview clip, kinetic typography and lyric video, data story, montage, music video and trailer, event or wedding film, logo reveal and title sequence. Each gives the structure with timings, the look, the motion feel, sound and the checks that matter most. Use after the brief, once you know which kind of video it is.\n---\n\n# Format playbooks\n\nEach playbook is a starting point. The user's request and references win.\nSizes: vertical 1080\xD71920 (reels, shorts, stories), 16:9 1920\xD71080 (YouTube,\nweb, presentations), 1:1 or 4:5 1080\xD71350 (feeds). Ask before changing a\nsequence's size.\n\n## Vertical reel or short from a talking head\n\n**Structure (30\u201360 s):** hook in the first 3 s (a claim or command naming the\ntool, person or result) \u2192 one line of credibility \u2192 the list or story,\npreviewed early \u2192 each item: a title, a one-line definition, two or three\nliteral visuals, a punch-in on the key line \u2192 payoff calling back to the hook\n\u2192 CTA (show the thing, then a punch-in with the comment keyword).\n\n- Shots average 1.1\u20131.5 s; first cut at 0.6\u20131.0 s on the first charged word.\n- Layouts, every change a hard cut: split (B-roll top, speaker bottom) 30\u201340%\n  of the time, full B-roll 50\u201355%, punch-in on the speaker 5\u201315%. The first\n  frame is a split with the topic visible on top.\n- Social captions (see `goatedit-editing-story`), text inside x 90\u2013930,\n  y 288\u20131248 on 1080\xD71920.\n- Music about 11 dB under the voice; effects only on visible actions.\n- **Raw variant:** cuts only, no B-roll or music, one word at a time, small,\n  lower middle, on the exact word.\n- **From a long video:** pick the moment with value in its first 3 s; screen\n  on top, face below, captions on the seam; end on a complete thought.\n\n## Ad (6, 15, 30 s)\n\nBuilt on the four things that make ads work (Google's ABCD research):\n- **Attention:** open on action, a close-up or the result \u2014 the hook\n  is in the first 2\u20133 s and works muted.\n- **Brand:** show the product or brand early (within 3\u20135 s) and again at\n  the end; in the picture, in the words, and said aloud.\n- **Connection:** people, faces, a feeling or a relatable problem; show the\n  product being used, not just shown.\n- **Direction:** one call to action, on screen and spoken, held for at least\n  2 s at the end.\n\n- 6 s: one idea, one shot or three, logo and line at the end.\n- 15 s: problem (3 s) \u2192 product as answer (6 s) \u2192 proof or benefit (3 s) \u2192\n  CTA (3 s).\n- 30 s: hook \u2192 problem \u2192 product \u2192 two or three benefits shown \u2192 proof\n  (number, review, demo) \u2192 CTA.\n- Native-looking ads (phone footage, a real person talking, captions) often\n  beat glossy ones on social; offer both when the user is testing.\n- Make three to five clearly different variants for testing rather than one\n  polished one (`record_choice` when the user picks).\n\n## Motion-graphics ad (SaaS, app, fintech)\n\nThe anatomy most polished launch ads share, 30 s split into 5\u20138 sections\nof 3\u20136 s, each cut at a real scene change:\n\n| Section | What happens | Typical beats |\n| --- | --- | --- |\n| Hook | the pain or promise in huge type | a small setup line, then one giant word |\n| Transition | energy: a burst, a shape wipe, a coin flip | burst, shape |\n| Reveal | the logo lands, then what it is | logo, hub of connected icons |\n| Product | the app on a phone or in a window, two screens | phone, window, input being typed, chat |\n| Features | two or three capabilities, one per beat | cards, list, notification, chart |\n| Proof | logos of users, a number, a quote | logo wall, count-up |\n| End card | logo, line, URL \u2014 held 2 s or more | logo with subline |\n\n- Describe each section in one or two beats before building (\"Hook: text\n  'Global payments' small, then 'a pain' huge\"), build them as a grey\n  animatic, then polish.\n- One palette of three colours (ground, ink, one accent) across all sections.\n- Every section change is a join in the film's current or a hard cut on a\n  music hit; the reveal is the one inverse zoom.\n\n**Devices that make these ads feel premium** (each built per the director's\nbuild map):\n- **Type-only cards between product shots.** White or pale ground, one line\n  of mid-weight type arriving word by word, the current word in the accent\n  colour, a soft colour glow along one edge. They give the eye a rest and\n  carry the story; alternate them with picture sections.\n- **A word swaps for a thing.** Mid-line, one word steps aside and a small\n  icon or 3D object takes its place, then the line carries on. Separate\n  clips, joined with a morph.\n- **Problem as clutter, answer as order.** Small icons or cards scatter\n  around a short line, then everything clears for the product name.\n- **Collage ring.** Photos, UI cards and props orbit a short centred line;\n  parented to one null so the ring drifts as a whole.\n- **Pull back to reveal.** Open full-frame on the product's screen, then pull\n  out to show it on a device in a real room \u2014 the inverse zoom, spent once.\n- **Device in hand.** Real hands holding a phone over real footage, the UI\n  composited on the screen; the UI moves as the product does.\n- **A typed call to action.** The last line types on with a cursor, then the\n  logo assembles from its mark.\n- No hard cuts at all in the smoothest of these: every change is a push, a\n  morph or a zoom, and the music carries the rhythm.\n\n## Product launch or feature video\n\n**Structure (45\u201390 s):** a cold open on the product doing its best thing \u2192\nthe problem in one line \u2192 the product name and promise \u2192 three features,\neach shown working in the real UI \u2192 the moment it all comes together \u2192 name,\ndate or link.\n\n- Look: dark product or Swiss minimal; real UI cropped tight and scaled up to\n  fill its panel, never a whole window small.\n- Motion: smooth camera pushes into the UI, an oversized cursor leading to\n  each click, the click triggering the next beat; pushes between features in\n  one direction.\n- UI states animate as the product really behaves (progress fills, counts\n  tick).\n- Sound: a modern bed with a clear build, UI clicks and soft whooshes on\n  real moves, a hit on the name.\n\n## Explainer (Vox-style)\n\n**Structure (2\u201310 min, or 45\u201390 s short):** a puzzling question or surprising\nfact \u2192 why it matters \u2192 the story in chapters, each answering the previous\nchapter's question \u2192 the answer, with a callback to the opening \u2192 what it\nmeans now.\n\n- The voiceover is the clock. Script first, record or generate it,\n  `transcribe`, then time each visual to its word.\n- Look: paper explainer \u2014 off-white paper ground, ink, one red, highlighter\n  yellow, grain, torn edges, cut-out archival photos with hard shadows,\n  stamps, handwritten notes, maps and charts. Archival footage tinted to the\n  palette.\n- Motion: snappy, graphics stepped at 12 fps, a camera that pushes into\n  documents and highlights the line being read, highlighter strokes drawing\n  on, stamps slamming with a small shake.\n- Every claim gets a visible source on screen (newspaper, document, chart).\n- Change the picture every 4\u20136 s; vary between documents, maps, charts,\n  footage and type.\n- Sound: understated music, paper and typewriter textures, a stamp thud.\n\n## Tutorial or screen recording\n\n**Structure:** what you will be able to do (show the result first) \u2192 what you\nneed \u2192 the steps, one per chapter, each with a title card \u2192 the result again\n\u2192 next step.\n\n- Zoom into the part of the screen being used (150\u2013250%), follow the cursor,\n  and zoom out when moving to another area. Never leave a full desktop\n  unreadable on a phone.\n- Cut every wait (loading, typing long strings); speed up repetitive action\n  with `set_clip_speed` and say so.\n- Highlight the click target a beat before the click; label shortcuts on\n  screen.\n- Chapter titles and a progress marker help people find their place.\n\n## Podcast or interview clip\n\n- Pick a moment that stands alone and starts strong; the first sentence is\n  the hook, so trim any lead-in.\n- Vertical: speakers stacked or the active speaker full-frame, switching on\n  who is talking; readable subtitles or social captions.\n- Speaker names as small lower thirds on first appearance.\n- Clean the audio: `set_clip_denoise` on noisy rooms, voices levelled to\n  each other, \u221216 LUFS for podcast feeds, \u221214 for social.\n- An audiogram (waveform plus captions over a still) only when there is no\n  video.\n\n## Kinetic typography or lyric video\n\n- Every word timed to the audio from real word timings; one to four words\n  on screen.\n- The stressed word is biggest, heaviest or in the accent; soft words small.\n- Vary layout with the rhythm: stack, scatter, centre, along a path (text\n  `path` with `pathOffset` keyed to slide words along a curve).\n- Move the camera across a large typographic canvas rather than swapping\n  frames; push between lines in one direction.\n- Hits on the beat: a scale slam, a colour flip, a hard cut to a new layout.\n\n## Data story\n\n- One number or comparison per beat; the number is the hero.\n- Build the chart in the order it is spoken; count numbers up; highlight the\n  one series that matters in the accent, the rest grey.\n- Label directly; put the source in small type on every chart frame.\n- Use a familiar comparison for scale (\"the size of three football pitches\").\n- Transitions between charts as morphs where the same data carries over.\n\n## Montage, music video, trailer\n\n- Cut to the music: mark beats (`set_markers`), then cut on beats, mostly on\n  the strong ones; use 1, 2 and 4-beat shots and speed up into the drop.\n- Order shots for contrast: wide to close, still to moving, dark to light.\n- Speed ramps on action, slow motion on the emotional peak.\n- Trailer: three acts that accelerate; title cards between acts; a hard stop\n  to silence before the final title; a sting after.\n- Text sparingly, big and short.\n\n## Event or wedding film\n\n- Story order, not clock order: the feeling of the day, the build, the\n  peak (vows, speech, first dance), the release, the ending.\n- Lead with the best moment in the first 10 s as a teaser.\n- Speech audio carries the story; lay footage over it with L cuts.\n- Warm documentary look; slow, long holds on faces; music with an arc.\n\n## Logo reveal and title sequence\n\n- 3\u20136 s for a logo; the reveal lands on a sound hit and holds at least 1.5 s.\n- Build from the logo's own shapes (draw-on strokes, parts assembling, a\n  mask reveal), never by redrawing the logo; use the real asset.\n- Titles: names on a consistent grid and timing, 2\u20133 s each, over picture\n  that moves.\n- `list_presets` category `logo` and `text` have built-in starting points.\n",
-        "digest": "sha256:672161661e3f3aa7a2944e4279ac14dabfbc72ec51f01e61bd235f5971b098cd"
+        "text": "---\nname: goatedit-formats\ndescription: Playbooks for the kinds of video people make in GoatEdit \u2014 vertical reel or short from a talking head, ad, motion-graphics launch ad, product launch, explainer (Vox-style), tutorial or screen recording, podcast or interview clip, kinetic typography and lyric video, data story, montage, music video and trailer, event or wedding film, logo reveal and title sequence. Each gives the structure with timings, the look, the motion feel, sound and the checks that matter most. Use after the brief, once you know which kind of video it is.\n---\n\n# Format playbooks\n\nEach playbook is a starting point. The user's request and references win.\nSizes: vertical 1080\xD71920 (reels, shorts, stories), 16:9 1920\xD71080 (YouTube,\nweb, presentations), 1:1 or 4:5 1080\xD71350 (feeds). Ask before changing a\nsequence's size.\n\n## Vertical reel or short from a talking head\n\n**Structure (30\u201360 s):** hook in the first 3 s (a claim or command naming the\ntool, person or result) \u2192 one line of credibility \u2192 the list or story,\npreviewed early \u2192 each item: a title, a one-line definition, two or three\nliteral visuals, a punch-in on the key line \u2192 payoff calling back to the hook\n\u2192 CTA (show the thing, then a punch-in with the comment keyword).\n\n- Shots average 1.1\u20131.5 s; first cut at 0.6\u20131.0 s on the first charged word.\n- Layouts, every change a hard cut: split (B-roll top, speaker bottom) 30\u201340%\n  of the time, full B-roll 50\u201355%, punch-in on the speaker 5\u201315%. The first\n  frame is a split with the topic visible on top.\n- Social captions (see `goatedit-editing-story`), text inside x 90\u2013930,\n  y 288\u20131248 on 1080\xD71920.\n- Music about 11 dB under the voice; effects only on visible actions.\n- **Raw variant:** cuts only, no B-roll or music, one word at a time, small,\n  lower middle, on the exact word.\n- **From a long video:** pick the moment with value in its first 3 s; screen\n  on top, face below, captions on the seam; end on a complete thought.\n\n## Ad (6, 15, 30 s)\n\nBuilt on the four things that make ads work (Google's ABCD research):\n- **Attention:** open on action, a close-up or the result \u2014 the hook\n  is in the first 2\u20133 s and works muted.\n- **Brand:** show the product or brand early (within 3\u20135 s) and again at\n  the end; in the picture, in the words, and said aloud.\n- **Connection:** people, faces, a feeling or a relatable problem; show the\n  product being used, not just shown.\n- **Direction:** one call to action, on screen and spoken, held for at least\n  2 s at the end.\n\n- 6 s: one idea, one shot or three, logo and line at the end.\n- 15 s: problem (3 s) \u2192 product as answer (6 s) \u2192 proof or benefit (3 s) \u2192\n  CTA (3 s).\n- 30 s: hook \u2192 problem \u2192 product \u2192 two or three benefits shown \u2192 proof\n  (number, review, demo) \u2192 CTA.\n- Native-looking ads (phone footage, a real person talking, captions) often\n  beat glossy ones on social; offer both when the user is testing.\n- Make three to five clearly different variants for testing rather than one\n  polished one (`record_choice` when the user picks).\n\n## Motion-graphics ad (SaaS, app, fintech)\n\nThe anatomy most polished launch ads share, 30 s split into 5\u20138 sections\nof 3\u20136 s, each cut at a real scene change:\n\n| Section | What happens | Typical beats |\n| --- | --- | --- |\n| Hook | the pain or promise in huge type | a small setup line, then one giant word |\n| Transition | energy: a burst, a shape wipe, a coin flip | burst, shape |\n| Reveal | the logo lands, then what it is | logo, hub of connected icons |\n| Product | the app on a phone or in a window, two screens | phone, window, input being typed, chat |\n| Features | two or three capabilities, one per beat | cards, list, notification, chart |\n| Proof | logos of users, a number, a quote | logo wall, count-up |\n| End card | logo, line, URL \u2014 held 2 s or more | logo with subline |\n\n- Describe each section in one or two beats before building (\"Hook: text\n  'Global payments' small, then 'a pain' huge\"), build them as a grey\n  animatic, then polish.\n- One palette of three colours (ground, ink, one accent) across all sections.\n- Every section change is a join in the film's current or a hard cut on a\n  music hit; the reveal is the one inverse zoom.\n\n**Devices that make these ads feel premium** (each built per the director's\nbuild map):\n- **Type-only cards between product shots.** White or pale ground, one line\n  of mid-weight type arriving word by word, the current word in the accent\n  colour, a soft colour glow along one edge. They give the eye a rest and\n  carry the story; alternate them with picture sections.\n- **A word swaps for a thing.** Mid-line, one word steps aside and a small\n  icon or 3D object takes its place, then the line carries on. Separate\n  clips, joined with a morph.\n- **Problem as clutter, answer as order.** Small icons or cards scatter\n  around a short line, then everything clears for the product name.\n- **Collage ring.** Photos, UI cards and props orbit a short centred line:\n  `create_showcase` (`ring`, `orbit`, `globe`, `fan`\u2026) with the pictures\n  from the bin, the line as a text clip above it.\n- **Pull back to reveal.** Open full-frame on the product's screen, then pull\n  out to show it on a device in a real room \u2014 the inverse zoom, spent once.\n- **Device in hand.** Real hands holding a phone over real footage, the UI\n  composited on the screen; the UI moves as the product does.\n- **A typed call to action.** The last line types on with a cursor, then the\n  logo assembles from its mark.\n- No hard cuts at all in the smoothest of these: every change is a push, a\n  morph or a zoom, and the music carries the rhythm.\n\n## Product launch or feature video\n\n**Structure (45\u201390 s):** a cold open on the product doing its best thing \u2192\nthe problem in one line \u2192 the product name and promise \u2192 three features,\neach shown working in the real UI \u2192 the moment it all comes together \u2192 name,\ndate or link.\n\n- Look: dark product or Swiss minimal; real UI cropped tight and scaled up to\n  fill its panel, never a whole window small.\n- Motion: smooth camera pushes into the UI, an oversized cursor leading to\n  each click, the click triggering the next beat; pushes between features in\n  one direction.\n- UI states animate as the product really behaves (progress fills, counts\n  tick).\n- Sound: a modern bed with a clear build, UI clicks and soft whooshes on\n  real moves, a hit on the name.\n\n## Explainer (Vox-style)\n\n**Structure (2\u201310 min, or 45\u201390 s short):** a puzzling question or surprising\nfact \u2192 why it matters \u2192 the story in chapters, each answering the previous\nchapter's question \u2192 the answer, with a callback to the opening \u2192 what it\nmeans now.\n\n- The voiceover is the clock. Script first, record or generate it,\n  `transcribe`, then time each visual to its word.\n- Look: paper explainer \u2014 off-white paper ground, ink, one red, highlighter\n  yellow, grain, torn edges, cut-out archival photos with hard shadows,\n  stamps, handwritten notes, maps and charts. Archival footage tinted to the\n  palette.\n- Motion: snappy, graphics stepped at 12 fps, a camera that pushes into\n  documents and highlights the line being read, highlighter strokes drawing\n  on, stamps slamming with a small shake.\n- Every claim gets a visible source on screen (newspaper, document, chart).\n- Change the picture every 4\u20136 s; vary between documents, maps, charts,\n  footage and type.\n- Sound: understated music, paper and typewriter textures, a stamp thud.\n\n## Tutorial or screen recording\n\n**Structure:** what you will be able to do (show the result first) \u2192 what you\nneed \u2192 the steps, one per chapter, each with a title card \u2192 the result again\n\u2192 next step.\n\n- Zoom into the part of the screen being used (150\u2013250%), follow the cursor,\n  and zoom out when moving to another area. Never leave a full desktop\n  unreadable on a phone.\n- Cut every wait (loading, typing long strings); speed up repetitive action\n  with `set_clip_speed` and say so.\n- Highlight the click target a beat before the click; label shortcuts on\n  screen.\n- Chapter titles and a progress marker help people find their place.\n\n## Podcast or interview clip\n\n- Pick a moment that stands alone and starts strong; the first sentence is\n  the hook, so trim any lead-in.\n- Vertical: speakers stacked or the active speaker full-frame, switching on\n  who is talking; readable subtitles or social captions.\n- Speaker names as small lower thirds on first appearance.\n- Clean the audio: `set_clip_denoise` on noisy rooms, voices levelled to\n  each other, \u221216 LUFS for podcast feeds, \u221214 for social.\n- An audiogram (waveform plus captions over a still) only when there is no\n  video.\n\n## Kinetic typography or lyric video\n\n- Every word timed to the audio from real word timings; one to four words\n  on screen.\n- The stressed word is biggest, heaviest or in the accent; soft words small.\n- Vary layout with the rhythm: stack, scatter, centre, along a path (text\n  `path` with `pathOffset` keyed to slide words along a curve).\n- Move the camera across a large typographic canvas rather than swapping\n  frames; push between lines in one direction.\n- Hits on the beat: a scale slam, a colour flip, a hard cut to a new layout.\n\n## Data story\n\n- One number or comparison per beat; the number is the hero.\n- Build the chart in the order it is spoken; count numbers up; highlight the\n  one series that matters in the accent, the rest grey.\n- Label directly; put the source in small type on every chart frame.\n- Use a familiar comparison for scale (\"the size of three football pitches\").\n- Transitions between charts as morphs where the same data carries over.\n\n## Montage, music video, trailer\n\n- Cut to the music: mark beats (`set_markers`), then cut on beats, mostly on\n  the strong ones; use 1, 2 and 4-beat shots and speed up into the drop.\n- Order shots for contrast: wide to close, still to moving, dark to light.\n- Speed ramps on action, slow motion on the emotional peak.\n- Trailer: three acts that accelerate; title cards between acts; a hard stop\n  to silence before the final title; a sting after.\n- Text sparingly, big and short.\n\n## Event or wedding film\n\n- Story order, not clock order: the feeling of the day, the build, the\n  peak (vows, speech, first dance), the release, the ending.\n- Lead with the best moment in the first 10 s as a teaser.\n- Speech audio carries the story; lay footage over it with L cuts.\n- Warm documentary look; slow, long holds on faces; music with an arc.\n\n## Logo reveal and title sequence\n\n- 3\u20136 s for a logo; the reveal lands on a sound hit and holds at least 1.5 s.\n- Build from the logo's own shapes (draw-on strokes, parts assembling, a\n  mask reveal), never by redrawing the logo; use the real asset.\n- Titles: names on a consistent grid and timing, 2\u20133 s each, over picture\n  that moves.\n- `list_presets` category `logo` and `text` have built-in starting points.\n",
+        "digest": "sha256:3bbe7455c8762affb7029a3dfc5aa4c396b69247dc22207e9a19f68962674dd1"
       }
     ]
   },
@@ -22026,8 +22057,8 @@ var SKILLS = [
       {
         "path": "SKILL.md",
         "uri": "skill://goatedit/goatedit-motion-design/SKILL.md",
-        "text": '---\nname: goatedit-motion-design\ndescription: Motion design for GoatEdit \u2014 easing, durations, stagger, overshoot, hierarchy and holds with exact numbers; how one scene hands motion to the next (direction, matched speed, cutting mid-motion, carriers); the seam techniques (push, zoom-through, inverse zoom, match cut, morph, rack focus); keeping a scene alive without idle wobble; kinetic typography; and which GoatEdit tool does each. Use before animating anything, joining scenes, or when a video feels static, jumpy, floaty or "like slides".\n---\n\n# Motion design\n\nMotion has one job: show the viewer where to look next. Every move answers\n"what changed, and where should the eye go?" A video should feel like one\ncontinuous camera move through ideas, not a stack of slides that each animate\non their own.\n\n## The numbers\n\n| Principle | Rule |\n| --- | --- |\n| Easing | Never linear. Arriving: ease-out `[0.22,1,0.36,1]`. Leaving: ease-in `[0.55,0,1,0.45]`. Moving on screen: in-out `[0.65,0,0.35,1]`. Snappy arrivals: expo-out. |\n| Duration | Nudge 0.15 s. Entrance 0.3\u20130.5 s, never one element over 0.8 s. Across the frame 0.4\u20130.7 s. Camera push at a cut 0.35\u20130.45 s each side. Exit about 75% of its entrance. |\n| Stagger | 30\u201360 ms between siblings, in reading order or outward from the hero; the whole group inside 0.4\u20130.5 s. With 8+ items tighten the gap rather than lengthen the group. |\n| Overshoot | Pops and arrivals overshoot 5\u201310% and settle. Never on camera moves. No bounce-out or elastic-out eases: they read as a toy. |\n| Anticipation | A big exit starts with 0.1 s the other way, 3\u20135% of the distance. |\n| Hierarchy | One hero move at a time; everything else smaller, shorter or later. |\n| Consistency | Similar elements share one ease and one duration. Never a unique pair per element. |\n| Arcs | Organic things travel on curves; type and UI may go straight. |\n| Squash and stretch | Fast round things stretch along their travel and squash on impact. |\n| Motion blur | Only on fast moves, 2D layers only. |\n| Parallax | Background layers move 30\u201360% as far as the foreground. |\n| Holds | After an impact or reveal, hold 0.3\u20130.6 s. Text stays 0.3 s a word plus 0.5 s. |\n| Stillness before the payoff | Leave 0.3\u20130.75 s between the action and its result \u2014 the dramatic comma. |\n| Rhythm | Alternate fast and slow. Don\'t use the same join twice running unless it is a pattern. |\n| Sync | A visual lands 0.1\u20130.25 s before the word it shows, never after. With music, hero moves land on beats. |\n\n## One film, one current\n\n**Pick one direction for the whole video** \u2014 say, leftward \u2014 and send every\nordinary scene change that way. Other directions are reserved and mean\nsomething when spent:\n\n| Vector | Means |\n| --- | --- |\n| The current (e.g. left) | next beat, forward progress |\n| Up | a conclusion or reveal rising above what came before |\n| Zoom forward (push in) | going deeper into the same thought |\n| Zoom backward (pull out) | arrival: something bigger lands, the payoff |\n\n- Never run two scene changes back to back in opposite directions; ping-pong\n  reads as a mistake. A change of direction needs a visible cause (a click,\n  an impact) or a new chapter.\n\n## How one scene hands to the next\n\n**The rule:** how scene A leaves decides how scene B arrives \u2014 same axis,\nsame direction, matched speed, and the cut falls mid-motion on both sides.\n\n1. **Axis.** Sideways stays sideways, vertical stays vertical, zoom stays\n   zoom.\n2. **Direction.** Never mirror. On zoom, direction is whether things grow or\n   shrink: a shrinking (pull-back) exit must be answered by an entrance that\n   also shrinks into place (starts oversized), not one that grows from small.\n   This is the most common mistake, because grow-from-small is everyone\'s\n   default entrance.\n3. **Speed.** Exit with ease-in, enter with the matching ease-out, over the\n   same distance and time \u2014 the two halves of one in-out curve, so the speed\n   matches at the cut.\n4. **Phase.** Cut while both sides are moving. A scene that settles to rest\n   before the cut, or an entrance that starts from rest after it, is a dead\n   beat.\n5. **No crossfades between scenes.** A dissolve has nothing for the eye to\n   follow. Keep dissolves for time passing or a dream-like mood.\n\n**Carriers.** The eye follows objects. The strongest join hands a concrete\nthing across the cut at the same place and speed: a card that becomes the\nnext screen, a word that becomes a heading, a dot that becomes a map pin, a\ncursor mid-path. Plan carriers at storyboard time.\n\n**Partial travel.** Scene pushes travel about 12% of the frame (about 230 px\nat 1920) with a quick fade, not a full-frame slide. Full-frame slides look\nlike a slideshow.\n\n## The joins, and the GoatEdit tool for each\n\n`list_cuts` shows every cut and which ones are still (`stillCuts`).\n`join_scenes` makes them flow. `auto` picks one and says why in `picked`.\n\n| Technique | Use for | GoatEdit |\n| --- | --- | --- |\n| **Push** (cut the curve) | the default scene change, in the film\'s current | `join_scenes` type `push`, `direction` = the current, `duration` 0.3\u20130.4 |\n| **Zoom-through** | going deeper: fly into one hero element, the next scene opens out of it | `join_scenes` type `zoomThrough`, `clipId` = that element. Never into one letter of a row |\n| **Inverse zoom** | the payoff arriving: outgoing shrinks away, incoming arrives oversized and settles | push-out camera keys with `set_keyframes`: out 1\u21920.8, in 1.25\u21921, expo-out, about 0.7 s total. Spend it once or twice per video |\n| **Match cut** | one layer becomes another in the same spot | `join_scenes` type `matchCut` with `fromClipId`/`toClipId` |\n| **Morph** | every layer grows out of its partner (Smart Animate) \u2014 the strongest join | `join_scenes` type `morph`; name partners with the same last word |\n| **Rack focus** | the one cut you want seen: same surface, new state | blur spike 8\u201312 px peak at the cut with a 1.06 scale breath (`set_clip_effect` blur keyframes); at most once every 8 s |\n| **Hard cut on a beat** | energy, music videos, reels | no join; cut exactly on the beat marker |\n\nBlur on zoom joins: about 10 px for text-sized subjects, 18\u201320 px for\nfull-frame surfaces. Use two or three join types per video and repeat them;\nvariety for its own sake reads as a template showcase.\n\n## Keeping a scene alive\n\nA scene that finishes its entrance with seconds left is a planning problem.\nFill it with story, not wobble. Idle loops on graphics (floating, breathing,\npulsing glow) read as "the video is waiting" \u2014 don\'t. Each stretch between\nentrance and exit belongs to one of these:\n\n- **Staged reveals** \u2014 hold content back and reveal it on the words that\n  name it. The default when a scene has two or more ideas.\n- **Camera with intent** \u2014 start wide, travel, arrive on the subject. A slow\n  push on a photo or footage (3\u20138% over the shot) counts; `animate_scene`\'s\n  `hold` drift on pictures does this.\n- **The product doing its thing** \u2014 a progress bar fills, a count ticks, a\n  highlight steps down a list.\n- **Acted-out beats** \u2014 a card files into a stack, an item is dragged, a\n  result assembles.\n- **Cursor-led** \u2014 an oversized cursor walks to a button and its click\n  triggers the next beat.\n\nTest: pause on any second. Something meaningful should be mid-flight.\n\n**Cause and effect.** Chain moves so each is launched by the last \u2014 click,\nsquash, release, flight, impact, recoil, reveal. A reaction starts on the\nframe of its cause, not "shortly after". Heavy things rebound slower; small\nthings snap.\n\n## Entrances\n\n- **Waterfall entry** for titles, openers and lists: words arrive from below\n  one after another, each starting before the last settles, gaps shrinking,\n  the last one snapping. Heavy words travel 60\u201380 px over 0.16\u20130.2 s, normal\n  words 40\u201350 px over 0.13\u20130.16 s, small words 30\u201345 px over 0.1\u20130.13 s.\n  Opacity cuts on rather than fading.\n- **One direction per cascade.** Never ease-in-out on an entrance.\n- **Text keeps its own animation.** A text layer gets a text preset\n  (`set_text_animation`, letters or words, `delay` for its place in the\n  cascade), never a block keyframe move.\n\n| Feel | Hero title | Text | Row of words | Picture hero | Support |\n| --- | --- | --- | --- | --- | --- |\n| smooth | `cinematicRise` | `riseFade` | `riseFade` | blurIn, zoomIn, maskReveal | fadeUp |\n| snappy | `maskRise` | `slideUp` | `maskRise` | popIn, slideIn, maskReveal | slideIn outward from the hero |\n| bouncy | `springUp` | `scaleIn` | `bounceDrop` | dropIn, popIn, spinIn | popIn |\n\nPick one feel for the whole video. `animate_scene` applies these by role\n(ground, hero, support, text, detail, follower) with `style` = the feel; use\n`dryRun: true` to see the plan, then hand-key only the hero move.\n\n## Kinetic typography\n\n- Time every word to the voice: `set_text_animation` with `syncToWords`, or\n  cut each word on at its real start from `get_transcript`.\n- One to four words on screen at a time; the key word bigger, heavier or in\n  the accent.\n- Vary scale and position with the rhythm of the line \u2014 a stressed word hits\n  harder (`slamIn`, `focusPull`), a soft word drifts (`riseFade`).\n- Move the camera, not every word: a group of words can push or rotate as one\n  (parent them to a null with `add_null` and `set_parent`).\n- Hand from line to line with a word-level push in the current\'s direction.\n\n## Stepped motion\n\nFor a hand-made, editorial or collage feel, step graphics at 12 fps inside a\n24\u201330 fps video (`set_clip_effect` `posterizeTime`). Keep camera moves and\nfootage smooth.\n\n## Workflow in GoatEdit\n\n1. Approved stills, one element per layer, layers named for their partners.\n2. `animate_scene` (`all: true` or per scene) in one feel.\n3. Hand-key the hero move with `set_keyframes` (times relative to the clip\n   start; posX/posY are fractions of the frame).\n4. `list_cuts`, then `join_scenes` on each still cut, in the current.\n5. `lint_motion`; run each finding\'s `fix` calls one at a time; lint again\n   until only judgement notes remain.\n6. `export_range` strips around every join and hero move, then fix what you\n   see. A lint pass is not a watch.\n\nGoatEdit specifics: HTML clips crop at their box when moved \u2014 animate inside\nthem with CSS. 3D frames render slowly through the bridge, so keep strips\nshort. `describe_motion` returns the numbers `lint_motion` checks.\n',
-        "digest": "sha256:08747bc838b75e746157bff5051d57e405214144aeede7fb8670b189d8cf2cc9"
+        "text": '---\nname: goatedit-motion-design\ndescription: Motion design for GoatEdit \u2014 easing, durations, stagger, overshoot, hierarchy and holds with exact numbers; how one scene hands motion to the next (direction, matched speed, cutting mid-motion, carriers); the seam techniques (push, zoom-through, inverse zoom, match cut, morph, rack focus); keeping a scene alive without idle wobble; kinetic typography; and which GoatEdit tool does each. Use before animating anything, joining scenes, or when a video feels static, jumpy, floaty or "like slides".\n---\n\n# Motion design\n\nMotion has one job: show the viewer where to look next. Every move answers\n"what changed, and where should the eye go?" A video should feel like one\ncontinuous camera move through ideas, not a stack of slides that each animate\non their own.\n\n## The numbers\n\n| Principle | Rule |\n| --- | --- |\n| Easing | Never linear. Arriving: ease-out `[0.22,1,0.36,1]`. Leaving: ease-in `[0.55,0,1,0.45]`. Moving on screen: in-out `[0.65,0,0.35,1]`. Snappy arrivals: expo-out. |\n| Duration | Nudge 0.15 s. Entrance 0.3\u20130.5 s, never one element over 0.8 s. Across the frame 0.4\u20130.7 s. Camera push at a cut 0.35\u20130.45 s each side. Exit about 75% of its entrance. |\n| Stagger | 30\u201360 ms between siblings, in reading order or outward from the hero; the whole group inside 0.4\u20130.5 s. With 8+ items tighten the gap rather than lengthen the group. |\n| Overshoot | Pops and arrivals overshoot 5\u201310% and settle. Never on camera moves. No bounce-out or elastic-out eases: they read as a toy. |\n| Anticipation | A big exit starts with 0.1 s the other way, 3\u20135% of the distance. |\n| Hierarchy | One hero move at a time; everything else smaller, shorter or later. |\n| Consistency | Similar elements share one ease and one duration. Never a unique pair per element. |\n| Arcs | Organic things travel on curves; type and UI may go straight. |\n| Squash and stretch | Fast round things stretch along their travel and squash on impact. |\n| Motion blur | Only on fast moves, 2D layers only. |\n| Parallax | Background layers move 30\u201360% as far as the foreground. |\n| Holds | After an impact or reveal, hold 0.3\u20130.6 s. Text stays 0.3 s a word plus 0.5 s. |\n| Stillness before the payoff | Leave 0.3\u20130.75 s between the action and its result \u2014 the dramatic comma. |\n| Rhythm | Alternate fast and slow. Don\'t use the same join twice running unless it is a pattern. |\n| Sync | A visual lands 0.1\u20130.25 s before the word it shows, never after. With music, hero moves land on beats. |\n\n## One film, one current\n\n**Pick one direction for the whole video** \u2014 say, leftward \u2014 and send every\nordinary scene change that way. Other directions are reserved and mean\nsomething when spent:\n\n| Vector | Means |\n| --- | --- |\n| The current (e.g. left) | next beat, forward progress |\n| Up | a conclusion or reveal rising above what came before |\n| Zoom forward (push in) | going deeper into the same thought |\n| Zoom backward (pull out) | arrival: something bigger lands, the payoff |\n\n- Never run two scene changes back to back in opposite directions; ping-pong\n  reads as a mistake. A change of direction needs a visible cause (a click,\n  an impact) or a new chapter.\n\n## How one scene hands to the next\n\n**The rule:** how scene A leaves decides how scene B arrives \u2014 same axis,\nsame direction, matched speed, and the cut falls mid-motion on both sides.\n\n1. **Axis.** Sideways stays sideways, vertical stays vertical, zoom stays\n   zoom.\n2. **Direction.** Never mirror. On zoom, direction is whether things grow or\n   shrink: a shrinking (pull-back) exit must be answered by an entrance that\n   also shrinks into place (starts oversized), not one that grows from small.\n   This is the most common mistake, because grow-from-small is everyone\'s\n   default entrance.\n3. **Speed.** Exit with ease-in, enter with the matching ease-out, over the\n   same distance and time \u2014 the two halves of one in-out curve, so the speed\n   matches at the cut.\n4. **Phase.** Cut while both sides are moving. A scene that settles to rest\n   before the cut, or an entrance that starts from rest after it, is a dead\n   beat.\n5. **No crossfades between scenes.** A dissolve has nothing for the eye to\n   follow. Keep dissolves for time passing or a dream-like mood.\n\n**Carriers.** The eye follows objects. The strongest join hands a concrete\nthing across the cut at the same place and speed: a card that becomes the\nnext screen, a word that becomes a heading, a dot that becomes a map pin, a\ncursor mid-path. Plan carriers at storyboard time.\n\n**Partial travel.** Scene pushes travel about 12% of the frame (about 230 px\nat 1920) with a quick fade, not a full-frame slide. Full-frame slides look\nlike a slideshow.\n\n## The joins, and the GoatEdit tool for each\n\n`list_cuts` shows every cut and which ones are still (`stillCuts`).\n`join_scenes` makes them flow. `auto` picks one and says why in `picked`.\n\n| Technique | Use for | GoatEdit |\n| --- | --- | --- |\n| **Push** (cut the curve) | the default scene change, in the film\'s current | `join_scenes` type `push`, `direction` = the current, `duration` 0.3\u20130.4 |\n| **Zoom-through** | going deeper: fly into one hero element, the next scene opens out of it | `join_scenes` type `zoomThrough`, `clipId` = that element. Never into one letter of a row |\n| **Inverse zoom** | the payoff arriving: outgoing shrinks away, incoming arrives oversized and settles | push-out camera keys with `set_keyframes`: out 1\u21920.8, in 1.25\u21921, expo-out, about 0.7 s total. Spend it once or twice per video |\n| **Match cut** | one layer becomes another in the same spot | `join_scenes` type `matchCut` with `fromClipId`/`toClipId` |\n| **Morph** | every layer grows out of its partner (Smart Animate) \u2014 the strongest join | `join_scenes` type `morph`; name partners with the same last word |\n| **Rack focus** | the one cut you want seen: same surface, new state | blur spike 8\u201312 px peak at the cut with a 1.06 scale breath (`set_clip_effect` blur keyframes); at most once every 8 s |\n| **Hard cut on a beat** | energy, music videos, reels | no join; cut exactly on the beat marker |\n\nBlur on zoom joins: about 10 px for text-sized subjects, 18\u201320 px for\nfull-frame surfaces. Use two or three join types per video and repeat them;\nvariety for its own sake reads as a template showcase.\n\n## Keeping a scene alive\n\nA scene that finishes its entrance with seconds left is a planning problem.\nFill it with story, not wobble. Idle loops on graphics (floating, breathing,\npulsing glow) read as "the video is waiting" \u2014 don\'t. Each stretch between\nentrance and exit belongs to one of these:\n\n- **Staged reveals** \u2014 hold content back and reveal it on the words that\n  name it. The default when a scene has two or more ideas.\n- **Camera with intent** \u2014 start wide, travel, arrive on the subject. A slow\n  push on a photo or footage (3\u20138% over the shot) counts; `animate_scene`\'s\n  `hold` drift on pictures does this.\n  A push through a scene with depth is not one zoom: split it into planes\n  (backdrop, subject, props in front) and let each grow at its own rate \u2014\n  near things grow faster than far ones. Everything on one null scaled\n  equally reads flat.\n- **The product doing its thing** \u2014 a progress bar fills, a count ticks, a\n  highlight steps down a list.\n- **Acted-out beats** \u2014 a card files into a stack, an item is dragged, a\n  result assembles.\n- **Cursor-led** \u2014 an oversized cursor walks to a button and its click\n  triggers the next beat.\n\nTest: pause on any second. Something meaningful should be mid-flight.\n\n**Cause and effect.** Chain moves so each is launched by the last \u2014 click,\nsquash, release, flight, impact, recoil, reveal. A reaction starts on the\nframe of its cause, not "shortly after". Heavy things rebound slower; small\nthings snap.\n\n## Entrances\n\n- **Waterfall entry** for titles, openers and lists: words arrive from below\n  one after another, each starting before the last settles, gaps shrinking,\n  the last one snapping. Heavy words travel 60\u201380 px over 0.16\u20130.2 s, normal\n  words 40\u201350 px over 0.13\u20130.16 s, small words 30\u201345 px over 0.1\u20130.13 s.\n  Opacity cuts on rather than fading.\n- **One direction per cascade.** Never ease-in-out on an entrance.\n- **Text keeps its own animation.** A text layer gets a text preset\n  (`set_text_animation`, letters or words, `delay` for its place in the\n  cascade), never a block keyframe move.\n\n| Feel | Hero title | Text | Row of words | Picture hero | Support |\n| --- | --- | --- | --- | --- | --- |\n| smooth | `cinematicRise` | `riseFade` | `riseFade` | blurIn, zoomIn, maskReveal | fadeUp |\n| snappy | `maskRise` | `slideUp` | `maskRise` | popIn, slideIn, maskReveal | slideIn outward from the hero |\n| bouncy | `springUp` | `scaleIn` | `bounceDrop` | dropIn, popIn, spinIn | popIn |\n\nPick one feel for the whole video. `animate_scene` applies these by role\n(ground, hero, support, text, detail, follower) with `style` = the feel; use\n`dryRun: true` to see the plan, then hand-key only the hero move.\n\n## Kinetic typography\n\n- Time every word to the voice: `set_text_animation` with `syncToWords`, or\n  cut each word on at its real start from `get_transcript`.\n- One to four words on screen at a time; the key word bigger, heavier or in\n  the accent.\n- Vary scale and position with the rhythm of the line \u2014 a stressed word hits\n  harder (`slamIn`, `focusPull`), a soft word drifts (`riseFade`).\n- Move the camera, not every word: a group of words can push or rotate as one\n  (parent them to a null with `add_null` and `set_parent`).\n- Hand from line to line with a word-level push in the current\'s direction.\n\n## Stepped motion\n\nFor a hand-made, editorial or collage feel, step graphics at 12 fps inside a\n24\u201330 fps video (`set_clip_effect` `posterizeTime`). Keep camera moves and\nfootage smooth.\n\n## Workflow in GoatEdit\n\n1. Approved stills, one element per layer, layers named for their partners.\n2. `animate_scene` (`all: true` or per scene) in one feel.\n3. Hand-key the hero move with `set_keyframes` (times relative to the clip\n   start; posX/posY are fractions of the frame).\n4. `list_cuts`, then `join_scenes` on each still cut, in the current.\n5. `lint_motion`; run each finding\'s `fix` calls one at a time; lint again\n   until only judgement notes remain.\n6. `export_range` strips around every join and hero move, then fix what you\n   see. A lint pass is not a watch.\n\nGoatEdit specifics: HTML clips crop at their box when moved \u2014 animate inside\nthem with CSS. 3D frames render slowly through the bridge, so keep strips\nshort. `describe_motion` returns the numbers `lint_motion` checks.\n',
+        "digest": "sha256:d702e8725b07fef02ada42d2a48e236c71d7b1228f00202cad640cf69b6b5033"
       }
     ]
   },
@@ -22043,8 +22074,8 @@ var SKILLS = [
       {
         "path": "SKILL.md",
         "uri": "skill://goatedit/goatedit-video-director/SKILL.md",
-        "text": '---\nname: goatedit-video-director\ndescription: Start here for any GoatEdit video \u2014 reel, short, ad, explainer, product launch, tutorial, talking head, kinetic type, montage. The director\'s workflow (brief, references, script, storyboard, style frames, build, motion, sound, checks), which other GoatEdit skill to load for each step, the quality bar a finished video must clear, and the self-review that catches what lint cannot. Use before the first edit of a new video or a big change to one.\n---\n\n# GoatEdit video director\n\nYou are directing a video, not filling a timeline. Tools do the mechanics; this\nskill and its four siblings carry the taste. Load them as you reach each step:\n\n| Step | Load |\n| --- | --- |\n| Look: type, colour, layout, safe areas, choosing a look | `goatedit-visual-design` |\n| Motion: easing, timing, joins between scenes, kinetic type | `goatedit-motion-design` |\n| Story, cutting, B-roll, captions, sound, grade | `goatedit-editing-story` |\n| The playbook for the kind of video asked for | `goatedit-formats` |\n\nNo skill support in your app? Call `get_design_guide` \u2014 it serves the same\ntext by skill, section or keyword (`get_design_guide({ topic: "captions" })`).\n\n## Order of authority\n\n1. What the user asked for in this conversation.\n2. Their saved style (`get_style_profile`) and brand.\n3. These skills.\n\nA reference video the user gives beats every number here. Measure it\n(`begin_request` with `referenceMediaIds`) and match it.\n\n## The workflow\n\nNever skip ahead. Each step ends with something the user can approve.\n\n1. **Brief.** `begin_request` with the edit type and the user\'s style words,\n   then `get_style_profile`. Write back, in three lines: who it is for, the\n   one thing they should remember, the platform and length. Ask only what you\n   cannot infer: platform, length, brand, whether there is a voiceover.\n2. **References.** Ask for one or two videos they like, or name two you will\n   aim at ("a Vox explainer", "an Apple product film"). Say what you take from\n   each: pacing, type, colour, motion feel.\n3. **Script and beat sheet.** For anything with words, write the script first.\n   Split it into beats, one idea each, with a target duration. Spoken words run\n   about 2.5 a second; a 30 s reel holds about 70 words. With a voiceover the\n   voice is the clock: generate or record it, `transcribe`, and time every beat\n   from real word timings, never from word counts.\n4. **Storyboard.** One line per beat: what is on screen, the hero element, the\n   layout, what each element is built as (see Build map), the move into the\n   next beat. Vary the layouts (full-bleed, split,\n   type-only, close-up, data); never the same composition three beats running.\n   Plan joins now: layers that become each other across a cut share a name\n   ending ("S2 tag Price" then "S3 card Price") so `join_scenes` can morph them.\n5. **Animatic, then style frames.** For motion-graphics pieces, first build\n   a rough draft of every section: black and white, plain type, flat shapes,\n   one simple move each, timed to the voice or music. It proves the plan \u2014\n   which idea goes in which section and when each move lands \u2014 before any\n   polish. Then build two or three key frames as finished stills (the hook,\n   the busiest beat, the end card), `render_preview_frame` each and show the\n   user. Polish nothing until the plan and the look are approved. One element\n   per layer.\n6. **Build.** Lay every beat on the timeline with its real duration. Plan\n   tracks first (overlapping clips on one track replace each other): V1 main\n   picture, V2 B-roll, V3 graphics, V4 captions; A1 voice, A2 music, A3\n   effects. Mark beats with `set_scene`. Where the connector offers `run_tools`,\n   send several edits as one call.\n7. **Motion.** `animate_scene` per scene in one feel for the whole video,\n   hand-key only the hero move, then join the cuts (`list_cuts`, `join_scenes`).\n   See `goatedit-motion-design`.\n8. **Sound.** Music bed, voice, effects only on visible actions, ducking,\n   loudness. See `goatedit-editing-story`.\n9. **Check** (below). Fix, re-check, then hand over with the report.\n\nFor a quick edit (trim this, add captions, swap the music) skip to the step it\ntouches, but still run the checks that cover it.\n\n## Build map: what each element is made of\n\nDecide this per element at storyboard time and write it in the storyboard as\na "build as" column. The rule under every row: **anything the user might want\nto move, retime, recolour or swap is its own layer.**\n\n| Element | Build as | Not as |\n| --- | --- | --- |\n| Designed words \u2014 a headline, a kinetic line, a word that changes colour | text clips (`create_text_clip` + `set_text_animation`), one clip per line, or per word when that word moves on its own | words inside an HTML clip, or caption cards |\n| Spoken words, timed to the voice | captions (`generate_captions`), on their own track, one style | text clips placed by hand, words in HTML |\n| A word that turns into an icon or a picture | the word, the icon and the next word as separate clips; `join_scenes` `morph` or `matchCut` between them | one clip with everything baked in |\n| UI that behaves like UI \u2014 a typing field, chat bubbles arriving, a list scrolling, a toggle, a progress bar | one HTML clip per UI surface, CSS or WAAPI animation, no scripts. Text inside the UI stays in the HTML: it is part of the interface, not the film\'s type | a pile of text and shape clips pretending to be an app |\n| A moving backdrop \u2014 mesh gradient, soft glow blobs, grid, grain | one HTML clip on the lowest track, or a shape with effects | baked into a picture or into the scene\'s HTML |\n| A phone, laptop or monitor showing something | the device as its own layer; the screen content (HTML, footage, still) as another, masked to the screen with `set_mask` and parented to the device with `set_parent`; hands on top as a cut-out | one flat picture of a device with a screen |\n| Floating photos, cut-outs, cards in a collage | one image clip each (`remove_background` for cut-outs), each with its own shadow, parented to a null (`add_null`) so the group drifts or orbits as one | a flattened collage image |\n| Props with depth \u2014 candy shapes, a tumbling object, a glass ring | `create_3d_shape` with one `material` family for the whole video | 3D for flat UI, body text or anything that must be read |\n| A logo with depth, a word as a solid | `create_3d_object` (text, or a transparent PNG or SVG) | \u2014 |\n| Logo reveal | the mark and the wordmark as separate layers so they can assemble | one image that fades in |\n| A scene change | `join_scenes` between the scenes | a transition drawn inside an HTML clip |\n\n**Text: designed or caption?** Ask: if the voice were deleted, would this text\nstill need to be on screen? Yes \u2014 it is designed type: a text clip, placed and\nanimated with the layout. No \u2014 it transcribes speech: a caption. A video can\nhave both; they never share a track or a style, and a designed headline never\ndoubles as the caption of the line it shows.\n\n**When HTML is the right call.** Something that behaves like a web page or an\napp, or motion that is trivial in CSS and miserable to keyframe (a ticker, a\ntyping cursor, a looping gradient). When it is wrong: the parts must animate\nseparately, morph into the next scene, be retimed by the user, or the text is\nthe hero. An HTML clip is one layer to everything else in GoatEdit. HTML clip\nrules: layout in px for the composition size, longhand font properties rather\nthan the `font` shorthand, class-styled divs rather than styled `b` or `span`,\nand animate inside the snippet \u2014 moving the clip crops it at its box.\n\n**When 3D earns its place.** One hero object or a handful of accents a scene,\nlit and finished the same way across the video (one material family, one\nlight direction). It renders slower than anything else, so keep it to the\nmoments that need depth: a logo, a product, props that burst or tumble past a\ndevice. Depth comes from scale, blur and parallax as much as from the model.\n\n**Track order, bottom to top:** backdrop; footage and devices; collage and 3D\nprops; designed type; UI overlays and cursor; captions; brand bug.\n\n**Breaking down a reference.** Watch it through, then for each section write:\ntime in and out, what is on screen, every element with its "build as" from\nthe table above, the move into the next section, and what the music does\nthere. That table is the storyboard; build from it, never from memory of the\nvideo.\n\n## The quality bar\n\nA finished video clears all of these. Each is something a viewer notices.\n\n- **The first frame works as a thumbnail** and the first 2\u20133 seconds say what\n  the video is about, even muted.\n- **One focal point per frame.** The hero is clearly bigger, brighter or\n  sharper than everything else \u2014 about 2\u20133\xD7 the next element. If you squint\n  and two things compete, one goes.\n- **Everything is readable.** Text holds on screen at least 0.3 s a word plus\n  0.5 s, sits inside the safe area, and has contrast of 4.5:1 or better\n  (body) and 3:1 (large display type) against what is actually behind it.\n- **Nothing moves linearly, nothing moves for no reason.** Every move points\n  the eye at what changed. No idle bobbing to fill time \u2014 add story instead.\n- **The cuts flow.** Every scene change is either a deliberate hard cut on a\n  beat or a join where motion carries through.\n- **The layouts vary** and the look stays one look: one type family pairing,\n  one palette, one motion feel, the same caption style throughout.\n- **Every picture earns its place.** B-roll shows the noun being said, at the\n  moment it is said. No generic stock filler, no tiny UI floating in space.\n- **Sound is finished.** Voice clear and on top, music ducked under it, no\n  clipped peaks, loudness near the platform target.\n- **It ends on purpose** \u2014 a payoff, a call to action, or a held end card \u2014\n  never a fade to nothing mid-thought.\n\n## Checks before handing over\n\nRun them and say which ran and what they showed. A check not run is reported\nas not run, never as passed.\n\n1. `lint_timeline` and `lint_motion`; apply each fix one call at a time, lint\n   again until only judgement notes remain.\n2. `list_cuts` \u2014 every cut intended; `stillCuts` joined or deliberate.\n3. `export_range` with 12\u201324 frames over each section (one tiled sheet), and\n   a strip around every join (\u22120.3, \u22120.15, 0, +0.15, +0.35 s). Look for blank\n   frames, flashes, text over faces, captions over the wrong shot.\n4. `render_preview_frame` at the first frame, the busiest frame, the end card,\n   and behind every caption style.\n5. `probe_audio` over the whole video: voice present, `truePeak` at or below\n   \u22121 dBTP, integrated loudness near the platform target.\n6. The self-review below.\n\n## Self-review: critique it like a hard client\n\nLook at the frames from step 3 and score each line 1\u201310. Anything under 7\ngets fixed before you hand over, and you say what you changed.\n\n- **Impact** \u2014 does the first frame stop a scroll? Is there one clear idea?\n- **Hierarchy** \u2014 one dominant element per frame, a clear reading order,\n  weight and size contrast (not everything bold).\n- **Colour and type** \u2014 a deliberate palette (not default pure red, pure\n  black, pure white), at most two families, sizes from one scale.\n- **Motion** \u2014 eases with character, staggered entrances, joins that carry\n  momentum, no dead air and no wobble.\n- **Craft** \u2014 alignment to a grid, consistent margins, no clipped text, no\n  stray layers, captions consistent.\n- **Story** \u2014 hook, build, payoff; every beat earns its seconds.\n\nThen name the single weakest frame and improve it. A lint pass is not a watch:\nyou cannot hear, so ask the user to watch for lip sync and clipped words.\n\n## Failure list \u2014 what makes a video look AI-made\n\n- The same centred title-over-background layout on every beat.\n- Small subjects floating in big empty frames; whole web pages shrunk to phone\n  size.\n- Everything bold, everything the same size, everything the same colour.\n- Default palettes: pure #FF0000, #000000 and #FFFFFF together; rainbow\n  accents; a different accent per scene.\n- Linear moves, everything entering at once, every element fading up the same\n  way, crossfades between every scene.\n- Text that leaves before it can be read; captions that blink or jump styles.\n- Stock shots that only loosely match the words; AI stills used as B-roll;\n  invented numbers or redrawn logos.\n- A music bed at full level over the voice, a whoosh on every cut.\n- Ending on a fade to black in the middle of a sentence.\n\n## Talking to the user\n\n- Before a long run of edits, say the plan in two or three lines, then work\n  without stopping to ask.\n- Offer variants for open-ended requests (one sequence each: fast cut, story\n  cut, minimal cut) and call `record_choice` when they pick, so GoatEdit\n  learns their taste.\n- Never publish or post anything, never promise a video will go viral, never\n  call a draft final \u2014 the user\'s review is the last gate.\n',
-        "digest": "sha256:3fabc6627c045514e004cdcb240d62c4536698004b845a4c50f892b550a36671"
+        "text": '---\nname: goatedit-video-director\ndescription: Start here for any GoatEdit video \u2014 reel, short, ad, explainer, product launch, tutorial, talking head, kinetic type, montage. The director\'s workflow (brief, references, script, storyboard, style frames, build, motion, sound, checks), which other GoatEdit skill to load for each step, the quality bar a finished video must clear, and the self-review that catches what lint cannot. Use before the first edit of a new video or a big change to one.\n---\n\n# GoatEdit video director\n\nYou are directing a video, not filling a timeline. Tools do the mechanics; this\nskill and its four siblings carry the taste. Load them as you reach each step:\n\n| Step | Load |\n| --- | --- |\n| Look: type, colour, layout, safe areas, choosing a look | `goatedit-visual-design` |\n| Motion: easing, timing, joins between scenes, kinetic type | `goatedit-motion-design` |\n| Story, cutting, B-roll, captions, sound, grade | `goatedit-editing-story` |\n| The playbook for the kind of video asked for | `goatedit-formats` |\n\nNo skill support in your app? Call `get_design_guide` \u2014 it serves the same\ntext by skill, section or keyword (`get_design_guide({ topic: "captions" })`).\n\n## Order of authority\n\n1. What the user asked for in this conversation.\n2. Their saved style (`get_style_profile`) and brand.\n3. These skills.\n\nA reference video the user gives beats every number here. Measure it\n(`begin_request` with `referenceMediaIds`) and match it.\n\n## The workflow\n\nNever skip ahead. Each step ends with something the user can approve.\n\n1. **Brief.** `begin_request` with the edit type and the user\'s style words,\n   then `get_style_profile`. Write back, in three lines: who it is for, the\n   one thing they should remember, the platform and length. Ask only what you\n   cannot infer: platform, length, brand, whether there is a voiceover.\n2. **References.** Ask for one or two videos they like, or name two you will\n   aim at ("a Vox explainer", "an Apple product film"). Say what you take from\n   each: pacing, type, colour, motion feel.\n3. **Script and beat sheet.** For anything with words, write the script first.\n   Split it into beats, one idea each, with a target duration. Spoken words run\n   about 2.5 a second; a 30 s reel holds about 70 words. With a voiceover the\n   voice is the clock: generate or record it, `transcribe`, and time every beat\n   from real word timings, never from word counts.\n4. **Storyboard.** One line per beat: what is on screen, the hero element, the\n   layout, what each element is built as (see Build map), the move into the\n   next beat. Vary the layouts (full-bleed, split,\n   type-only, close-up, data); never the same composition three beats running.\n   Plan joins now: layers that become each other across a cut share a name\n   ending ("S2 tag Price" then "S3 card Price") so `join_scenes` can morph them.\n5. **Animatic, then style frames.** For motion-graphics pieces, first build\n   a rough draft of every section: black and white, plain type, flat shapes,\n   one simple move each, timed to the voice or music. It proves the plan \u2014\n   which idea goes in which section and when each move lands \u2014 before any\n   polish. Then build two or three key frames as finished stills (the hook,\n   the busiest beat, the end card), `render_preview_frame` each and show the\n   user. Polish nothing until the plan and the look are approved. One element\n   per layer.\n6. **Build.** Lay every beat on the timeline with its real duration. Plan\n   tracks first (overlapping clips on one track replace each other): V1 main\n   picture, V2 B-roll, V3 graphics, V4 captions; A1 voice, A2 music, A3\n   effects. Mark beats with `set_scene`. Where the connector offers `run_tools`,\n   send several edits as one call.\n7. **Motion.** `animate_scene` per scene in one feel for the whole video,\n   hand-key only the hero move, then join the cuts (`list_cuts`, `join_scenes`).\n   See `goatedit-motion-design`.\n8. **Sound.** Music bed, voice, effects only on visible actions, ducking,\n   loudness. See `goatedit-editing-story`.\n9. **Check** (below). Fix, re-check, then hand over with the report.\n\nFor a quick edit (trim this, add captions, swap the music) skip to the step it\ntouches, but still run the checks that cover it.\n\n## Build map: what each element is made of\n\nDecide this per element at storyboard time and write it in the storyboard as\na "build as" column. The rule under every row: **anything the user might want\nto move, retime, recolour or swap is its own layer.**\n\n| Element | Build as | Not as |\n| --- | --- | --- |\n| Designed words \u2014 a headline, a kinetic line, a word that changes colour | text clips (`create_text_clip` + `set_text_animation`), one clip per line, or per word when that word moves on its own | words inside an HTML clip, or caption cards |\n| Spoken words, timed to the voice | captions (`generate_captions`), on their own track, one style | text clips placed by hand, words in HTML |\n| A word that turns into an icon or a picture | the word, the icon and the next word as separate clips; `join_scenes` `morph` or `matchCut` between them | one clip with everything baked in |\n| UI that behaves like UI \u2014 a typing field, chat bubbles arriving, a list scrolling, a toggle, a progress bar | one HTML clip per UI surface, CSS or WAAPI animation, no scripts. Text inside the UI stays in the HTML: it is part of the interface, not the film\'s type | a pile of text and shape clips pretending to be an app |\n| A moving backdrop \u2014 mesh gradient, soft glow blobs, grid, grain | one HTML clip on the lowest track, or a shape with effects | baked into a picture or into the scene\'s HTML |\n| A phone, laptop or monitor showing something | the device as its own layer; the screen content (HTML, footage, still) as another, masked to the screen with `set_mask` and parented to the device with `set_parent`; hands on top as a cut-out | one flat picture of a device with a screen |\n| A ring, globe, tunnel, orbit, fan or carousel of cards \u2014 pictures, clips or UI stills looping in 3D | `create_showcase` with the right template (the Presets panel\'s Showcase shelf), filled from the bin; tune it with `set_clip_effect` on its showcase effect | cards keyframed one by one round a null |\n| A product with words circling it | `create_showcase` with a product template (`productRing`, `productOrbit`\u2026) and the cut-out or 3D model | hand-built text on a path |\n| A few floating photos or cut-outs that each move on their own | one image clip each (`remove_background` for cut-outs), each with its own shadow, parented to a null (`add_null`) so the group drifts as one | a flattened collage image |\n| Props with depth \u2014 candy shapes, a tumbling object, a glass ring | `create_3d_shape` with one `material` family for the whole video | 3D for flat UI, body text or anything that must be read |\n| A logo with depth, a word as a solid | `create_3d_object` (text, or a transparent PNG or SVG) | \u2014 |\n| Logo reveal | the mark and the wordmark as separate layers so they can assemble | one image that fades in |\n| A scene change | `join_scenes` between the scenes | a transition drawn inside an HTML clip |\n\n**Text: designed or caption?** Ask: if the voice were deleted, would this text\nstill need to be on screen? Yes \u2014 it is designed type: a text clip, placed and\nanimated with the layout. No \u2014 it transcribes speech: a caption. A video can\nhave both; they never share a track or a style, and a designed headline never\ndoubles as the caption of the line it shows.\n\n**When HTML is the right call.** Something that behaves like a web page or an\napp, or motion that is trivial in CSS and miserable to keyframe (a ticker, a\ntyping cursor, a looping gradient). When it is wrong: the parts must animate\nseparately, morph into the next scene, be retimed by the user, or the text is\nthe hero. An HTML clip is one layer to everything else in GoatEdit. HTML clip\nrules: layout in px for the composition size, longhand font properties rather\nthan the `font` shorthand, class-styled divs rather than styled `b` or `span`,\nand animate inside the snippet \u2014 moving the clip crops it at its box.\n\n**When 3D earns its place.** One hero object or a handful of accents a scene,\nlit and finished the same way across the video (one material family, one\nlight direction). It renders slower than anything else, so keep it to the\nmoments that need depth: a logo, a product, props that burst or tumble past a\ndevice. Depth comes from scale, blur and parallax as much as from the model.\n\n**Track order, bottom to top:** backdrop; footage and devices; collage and 3D\nprops; designed type; UI overlays and cursor; captions; brand bug.\n\n**Breaking down a reference.** Watch it through, then for each section write:\ntime in and out, what is on screen, every element with its "build as" from\nthe table above, the move into the next section, and what the music does\nthere. That table is the storyboard; build from it, never from memory of the\nvideo.\n\n**Measure a reference shot before moving anything.** Thumbnails and contact\nsheets are too small to read perspective or depth; guesses from them are\nwrong. Pull full-resolution frames every ~0.1 s across the move (`ffmpeg`, or\n`preview_media` with `saveToDisk`) and measure a few things per frame: the\nsubject\'s width, where its top edge sits, how much that edge narrows (tilt).\nThose numbers tell a camera move (subject grows, edge barely moves) from a\nslide, give the starting tilt, and show *when* it moves \u2014 most moves happen in\na short burst and then hold. Match that timing with the eases; never spread a\nmove evenly because the reference "moves for a second". After every change,\nrender your frame and the reference at the same timestamps, side by side.\n\n## Tool habits that save rework\n\n- **Swap a picture, don\'t re-add it.** `replace_clip_media` changes what a\n  clip plays and keeps its position, scale, effects, grade, keyframes and\n  parent. Deleting and inserting starts the new clip from defaults. A picture\n  of a different shape keeps the same scale \u2014 check the framing.\n- **Parent first, then animate the parent.** `set_parent` measures the child\n  against the parent\'s pose when the child starts (or at `time`), not the\n  playhead. Set the child\'s position and scale for the parent as it is at\n  that moment. To follow a parent that is already animated, pass the `time`\n  you laid the child out at.\n- **One effect on many clips.** Applying an effect with several clips\n  selected adds it to each; in the editor, editing or removing it from the\n  inspector changes all of them. Over MCP, `set_clip_effect` acts on the\n  clip you name \u2014 call it per clip, or use `batch_edit`.\n- **Frames to disk.** Over the local connector `render_preview_frame` and\n  `preview_media` write a full-resolution file by default and return its path;\n  read it with your file tools. Over the cloud connector they come back\n  inline, shrunk to fit. Contact sheets (`times`) are one image either way.\n- **Cut-outs keep their transparency through a colour grade and the CSS-type\n  effects** (brightness, contrast, blur). Grade the cut-out to match the\n  ground it sits on.\n- **3D limits today.** Each 3D layer has its own camera \u2014 fake a shared camera\n  by giving near layers more scale growth than far ones. A 3D layer cannot be\n  a parent: for a screen that tilts with a phone, nest the phone and its\n  screen (`nest_clips`) and put the 3D layer on the nest. A `.glb` model\'s\n  screen cannot show an image or video.\n\n## The quality bar\n\nA finished video clears all of these. Each is something a viewer notices.\n\n- **The first frame works as a thumbnail** and the first 2\u20133 seconds say what\n  the video is about, even muted.\n- **One focal point per frame.** The hero is clearly bigger, brighter or\n  sharper than everything else \u2014 about 2\u20133\xD7 the next element. If you squint\n  and two things compete, one goes.\n- **Everything is readable.** Text holds on screen at least 0.3 s a word plus\n  0.5 s, sits inside the safe area, and has contrast of 4.5:1 or better\n  (body) and 3:1 (large display type) against what is actually behind it.\n- **Nothing moves linearly, nothing moves for no reason.** Every move points\n  the eye at what changed. No idle bobbing to fill time \u2014 add story instead.\n- **The cuts flow.** Every scene change is either a deliberate hard cut on a\n  beat or a join where motion carries through.\n- **The layouts vary** and the look stays one look: one type family pairing,\n  one palette, one motion feel, the same caption style throughout.\n- **Every picture earns its place.** B-roll shows the noun being said, at the\n  moment it is said. No generic stock filler, no tiny UI floating in space.\n- **Sound is finished.** Voice clear and on top, music ducked under it, no\n  clipped peaks, loudness near the platform target.\n- **It ends on purpose** \u2014 a payoff, a call to action, or a held end card \u2014\n  never a fade to nothing mid-thought.\n\n## Checks before handing over\n\nRun them and say which ran and what they showed. A check not run is reported\nas not run, never as passed.\n\n1. `lint_timeline` and `lint_motion`; apply each fix one call at a time, lint\n   again until only judgement notes remain.\n2. `list_cuts` \u2014 every cut intended; `stillCuts` joined or deliberate.\n3. `export_range` with 12\u201324 frames over each section (one tiled sheet), and\n   a strip around every join (\u22120.3, \u22120.15, 0, +0.15, +0.35 s). Look for blank\n   frames, flashes, text over faces, captions over the wrong shot.\n4. `render_preview_frame` at the first frame, the busiest frame, the end card,\n   and behind every caption style.\n5. `probe_audio` over the whole video: voice present, `truePeak` at or below\n   \u22121 dBTP, integrated loudness near the platform target.\n6. The self-review below.\n\n## Self-review: critique it like a hard client\n\nLook at the frames from step 3 and score each line 1\u201310. Anything under 7\ngets fixed before you hand over, and you say what you changed.\n\n- **Impact** \u2014 does the first frame stop a scroll? Is there one clear idea?\n- **Hierarchy** \u2014 one dominant element per frame, a clear reading order,\n  weight and size contrast (not everything bold).\n- **Colour and type** \u2014 a deliberate palette (not default pure red, pure\n  black, pure white), at most two families, sizes from one scale.\n- **Motion** \u2014 eases with character, staggered entrances, joins that carry\n  momentum, no dead air and no wobble.\n- **Craft** \u2014 alignment to a grid, consistent margins, no clipped text, no\n  stray layers, captions consistent.\n- **Story** \u2014 hook, build, payoff; every beat earns its seconds.\n\nThen name the single weakest frame and improve it. A lint pass is not a watch:\nyou cannot hear, so ask the user to watch for lip sync and clipped words.\n\n## Failure list \u2014 what makes a video look AI-made\n\n- The same centred title-over-background layout on every beat.\n- Small subjects floating in big empty frames; whole web pages shrunk to phone\n  size.\n- Everything bold, everything the same size, everything the same colour.\n- Default palettes: pure #FF0000, #000000 and #FFFFFF together; rainbow\n  accents; a different accent per scene.\n- Linear moves, everything entering at once, every element fading up the same\n  way, crossfades between every scene.\n- Text that leaves before it can be read; captions that blink or jump styles.\n- Stock shots that only loosely match the words; AI stills used as B-roll;\n  invented numbers or redrawn logos.\n- A music bed at full level over the voice, a whoosh on every cut.\n- Ending on a fade to black in the middle of a sentence.\n\n## Talking to the user\n\n- Before a long run of edits, say the plan in two or three lines, then work\n  without stopping to ask.\n- Offer variants for open-ended requests (one sequence each: fast cut, story\n  cut, minimal cut) and call `record_choice` when they pick, so GoatEdit\n  learns their taste.\n- Never publish or post anything, never promise a video will go viral, never\n  call a draft final \u2014 the user\'s review is the last gate.\n',
+        "digest": "sha256:2e7e3bbc86aeb1f37c50e77c898ca1e9af330fd7ee225a3a5cc2122e8f840d48"
       }
     ]
   },

package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "goatedit-mcp",
-  "version": "1.1.14",
+  "version": "1.1.15",
   "description": "Local MCP server for the GoatEdit video editor: drive your open editor tab from Claude Code or any MCP client",
   "license": "UNLICENSED",
   "type": "module",