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tymoshenko-dmytrotymoshenko-dmytro/marketing-agent-kit/skills/video-moves/SKILL.md

video-moves

Skill2 starsChanged 23 days agoMITView on GitHub

Camera and editing grammar for any code-built video (HyperFrames) - ads, launch films, UI walkthroughs, illustrated scenes. 24 moves (pan, tilt, dolly, zoom, tracking, orbit, crane, dolly zoom, rack focus, handheld, FPV, dutch angle, slow motion, speed ramp, time-lapse, freeze frame, jump cut, match cut, whip pan, dissolve, wipe, smash cut, J-cut, L-cut): when to use each, how to stage it on the film's own material, numbers, traps, sound, and working code (camera-kit.js rigs, story time for picture and sound, synthesised move sounds). An executor under video-studio, whose laws still apply. Use when a film needs more than hard cuts, a move is named, or video-studio picks a hook, a transition or a signature moment. Triggers: "camera move", "make a transition", "push in", "dolly zoom", "match cut", "speed ramp", "slow motion", "freeze frame", "whip pan", "how to cut this".

1 other project uses a version of this.

Adopted by

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The file

We split this skill into the rules it gives an agent

5 rules. About 0 are common, 1 is distinctive, and 4 are very specific to this project.

  • ≈0

    Common · estimate

    Many files like this have a rule of this kind.

  • ≈1

    Distinctive · estimate

    This author's own choices. Worth a look.

  • 4

    Very specific

    Tied to their project's names, files or tools. Probably skip.

  • Common
  • Distinctive
  • Very specific
  1. Distinctive:

    Every move needs a finished "the camera moves because...".

    line 43
  2. Very specific:

    Before the full render, stills at the start, middle and landing of every move, and either side of every cut (video-check scripts/stills.py).

    line 109
  3. Very specific:

    Keep a project of your own that uses the moves on your material (start from rigs.md section 0) as your house example.

    line 134
  4. Very specific:

    Add "Proven in: <film>" or a rejection note to moves.md as your films use the moves.

    line 136
  5. Very specific:

    Add prompt lines that worked on your video model to references/prompts.md, with the date.

    line 138

≈ “Common” is an estimate: at least 1 in 5 of the 350,495 skill files we read have a rule of the same kind, not the same words. “Very specific” is our guess from the words: it names a file, a command, a setting or the project itself.

Keep what fits and drop the rest. Your version, ready for your agents.
Files
SKILL.md

video-moves

The grammar of the camera and the cut for any HyperFrames film: an ad, a launch film for a product or a side project, a walkthrough, an illustrated or abstract scene. Nothing here is tied to one brand or one piece of material: moves are described in roles (subject, near props, background, shot A / shot B), the code takes any DOM content, and the styles use neutral --mv-* colour tokens that each film sets from its own material (the colours of what is being edited - not a brand).

It came from the "24 camera and editing moves" guide (see THIRD_PARTY_NOTICES.md), ported from Three.js to DOM rigs and tested move by move on a 77 s test reel that staged all 24 on one recorded video call. Each new film stages the moves on its own material.

Input: the film's brief.md (../video-studio/references/brief.md). It owns copy, claims, tone, material, moments and private data; this skill owns the implementation. If the brief cannot be met, say so to video-studio - never change it silently.

video-studio orchestrates the film (format, laws, order of work); video-sound, video-build and video-check do sound, building and gates. This skill owns the moves: which one, how to stage it so it reads, the code, and its sound. video-studio's house laws apply to every film, and your brand laws to your brand's films. When a rule here and a law disagree, the law wins.

Setup. What video-build needs (HyperFrames CLI, Node 22+, FFmpeg). For the move sounds: the sound library's Python venv, installed by ../video-sound/scripts/library.py install.

1. Pick the move by meaning

Every move needs a finished "the camera moves because...". No reason = no move.

The film needsTake
a hook in the first secondsmash cut, crash zoom, dolly zoom
the subject close, the key elementdolly in (we come closer), zoom (a sharp accent)
scale: one of many, the whole picturecrane up, tilt, pull-out to a grid
speed, a process runningtracking, FPV, whip pan
the peak of the action, the promisespeed ramp into slow motion, freeze frame on the peak
time has passedtime-lapse, jump cut, dissolve
two scenes are one ideamatch cut, J-cut, L-cut
a problem, confusiondutch angle, handheld
the finaleorbit, crane, dissolve into the end card
cause here, effect therewhip pan across one world

Rhythm: main cuts are hard. Effect transitions (whip, dissolve, wipe) go in 2-3 key places only. One move per shot. A move starts 0.1-0.3 s after its cut and an important frame holds at least 1 s after the move lands.

Full catalogue - what each move tells the viewer, how to stage it, its numbers, what must be visible for it to read, its traps and its sound: references/moves.md. Read the entries for the moves you pick, not the whole file.

2. Build it

references/rigs.md is the build manual. Its section 0 is a complete two-scene film (a pan and a dolly in) that builds and renders with the files below as they are - start there. The shape:

  1. One pure render function. A single linear driver tween on the paused GSAP timeline calls render(t); each scene is a HyperFrames clip with an IMPL[id](root, scene) whose frame(u) writes every transform from local time u alone. Nothing reads the clock, Math.random or the layout per frame.
  2. Rigs from scripts/camera-kit.js (inline it into the composition): lens2d (pan, tilt, zoom, roll, shake, whip - no parallax) and pose3d on a CSS 3D world under a static-perspective stage (dolly, orbit, crane, tracking, FPV; dolly zoom animates the perspective, which is the focal length).
  3. Story time for slow motion, speed ramp and freeze: one rate curve per scene (piecewiseRate → makeStoryTime), written to scenes.json so the picture and scripts/move_audio.py read the same curve. Words, the voice, a scope - everything in the world - live in story time; the camera and the cut live in real time.
  4. Styles and scaffold to copy into a project: assets/moves.css (rigs, label, readout pill, voice scope, edit strip, focus brackets, freeze border, scene dip; colours are --mv-* tokens - set them per film from the film's own palette) and assets/scaffold.js (scene loop, show(), label timing, 3+3-frame dip, driver tween; its example IMPL entries are placeholders you replace with the film's scenes).
  5. The code for each rig - 2D lens, CSS 3D world, story time, A/B transitions, overlays - is in references/rigs.md sections 2-6, with the numbers from moves.md.

3. Give it sound

references/sound.md: the sound of each move (whoosh with a rising band for the whip, tone 110 → 520 Hz for the dolly zoom, tape stop for the ramp, silence and a 1760 Hz ring for the freeze, the hit on the cut frame for the smash), story-time varispeed of a real recording, J/L-cuts measured from the recording's first word, and the loudness traps. Synths and helpers: scripts/move_audio.py, run with the library venv:

"${VIDEO_LIBRARY:-$HOME/.local/share/marketing-agent-kit/video-library}/tools/.venv/bin/python" \
  ${CLAUDE_SKILL_DIR}/scripts/move_audio.py --demo /tmp/move-sounds   # every synth, for listening

A film's own audio script imports it (import move_audio as ma); mix with video-sound's scripts/mix.py.

4. Check that the move reads

Before the full render, stills at the start, middle and landing of every move, and either side of every cut (video-check scripts/stills.py). For each move ask the question from its entry in moves.md - "does the foreground pass by (dolly) or get cropped (zoom)?", "does something visibly slow down?" - a move that needs explaining does not work. Then video-check's gates and independent review as usual.

5. Generated shots (Atlas)

A model is told the move in words: references/prompts.md has the English camera terms and one prompt line per move. One move per generated shot; cuts inside one generation are unreliable - generate two shots and cut them in HyperFrames.

6. When something new is learned

A move used in a real film and approved by the user: note it in its moves.md entry ("Proven in: <film>") and, if it changes how films are made, in ../video-studio/references/laws.md. A move rejected: write why in its entry and as a rule against it in laws.md. Code fixes go into scripts/ and assets/; re-run the section 0 example in rigs.md so it keeps rendering. Note what changed in the film's own notes; for changes to the skill itself, open a PR (CONTRIBUTING.md).

Adapt it

  • Set the --mv-* tokens per film from that film's own material, after moves.css; the defaults are neutral placeholders.
  • Keep a project of your own that uses the moves on your material (start from rigs.md section 0) as your house example.
  • Add "Proven in: <film>" or a rejection note to moves.md as your films use the moves.
  • Swap the Kenney sounds in move_audio.py (KENNEY map) for sounds from your own library.
  • Add prompt lines that worked on your video model to references/prompts.md, with the date.

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