Skills › HyperFrames › hyperframes › review.md

review.md

51 lines · skills/hyperframes/references/review.md at a595755

Starts an agent

Most marks come from matching words in the file, so treat them as pointers.

1# Review

3You wrote the timeline, so you know what happens; the viewer sees it once, at full speed, often on a phone. Review is how you see the film as they will: as a harsh motion director, not a proud author. `check` catches what is broken; this pass catches what is weak. Run it after `check` passes, on every new film and on any edit that changes timing or layout, before you reply or render.

Review

You wrote the timeline, so you know what happens; the viewer sees it once, at full speed, often on a phone. Review is how you see the film as they will: as a harsh motion director, not a proud author. check catches what is broken; this pass catches what is weak. Run it after check passes, on every new film and on any edit that changes timing or layout, before you reply or render.

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5## 1. Measure, then look

71. `npx hyperframes check --json`. Besides errors it warns on craft it can measure: a line on screen too briefly to read (`line_unread`), more than 3 s with nothing changing (`dead_stretch`), text under 2.6% of the frame's short side (`text_below_floor`), an empty first frame (`first_frame_empty`, the thumbnail on social players), a film over 15 s with no sound (`film_silent`). A warning is a question, not a rule: fix it, or keep it on purpose and say why in the note (a deliberate hold carries `data-hold`).

82. `npx hyperframes snapshot --review` writes three sheets: each scene just after it starts and at its middle, plus each `data-beat`, a strip across every cut (−0.2 s to +0.2 s), and the beat frames at phone width (360 px). Open all three.

93. Motion between the beats: `snapshot --range START,END --frames 8` around the hero move and the payoff; `keyframes --shot` for a path that must arc or land.

104. The rendered file: `npx hyperframes audio <video> --json` shows whether sound is there, where it hits and how loud it is. You cannot hear it; say so.

12Trust the numbers over your eye where they disagree: a clipped label or a 0.6 s line looks fine on a contact sheet.

1. Measure, then look

npx hyperframes check --json. Besides errors it warns on craft it can measure: a line on screen too briefly to read (line_unread), more than 3 s with nothing changing (dead_stretch), text under 2.6% of the frame's short side (text_below_floor), an empty first frame (first_frame_empty, the thumbnail on social players), a film over 15 s with no sound (film_silent). A warning is a question, not a rule: fix it, or keep it on purpose and say why in the note (a deliberate hold carries data-hold).
npx hyperframes snapshot --review writes three sheets: each scene just after it starts and at its middle, plus each data-beat, a strip across every cut (−0.2 s to +0.2 s), and the beat frames at phone width (360 px). Open all three.
Motion between the beats: snapshot --range START,END --frames 8 around the hero move and the payoff; keyframes --shot for a path that must arc or land.
The rendered file: npx hyperframes audio <video> --json shows whether sound is there, where it hits and how loud it is. You cannot hear it; say so.

Trust the numbers over your eye where they disagree: a clipped label or a 0.6 s line looks fine on a contact sheet.

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14## 2. What to look for

16First, describe each beat frame in one sentence as a stranger would, naming every object; an object you would have to explain ("those bars are mirrors") is a P0. Then read the beat frames in order: do they tell a story a stranger follows, each one causing the next? Compare each with its shot in `SPEC.md`; what does not match is a note. Then name every default the frames show (`spec.md` "BANNED by default", or one not on the list yet), add each to the BANNED line, and fix them before anything else.

18Then go through the sheets once per question:

20| Question | What it catches |

21| ----------------------------- | -------------------------------------------------------------------------------------------------------------------------------------------------- |

22| Does it read as what it is? | A shape that reads as another object, a material that reads as plastic, a product screen that reads as a mockup, a face or mascot that reads wrong |

23| Does the subject separate? | Subject and ground too close in value, two focal points in one frame, the eye with nowhere to go |

24| Framing and contact | Crops, text at the edge or under platform UI, collisions at a seam, things floating that should touch |

25| Timing as a first-time viewer | A read shorter than its words (`story.md` §6), something that pops on with no move, a jump at a cut, everything moving at once on one curve |

26| Tells | Which items of `story.md` §8 and `motion.md` "Defaults that look generated" are on screen |

27| The pictures alone | With the words covered, do the beat frames still tell the storyline? |

28| The phone sheet | Can every line meant to be read be read at 360 px? |

2. What to look for

First, describe each beat frame in one sentence as a stranger would, naming every object; an object you would have to explain ("those bars are mirrors") is a P0. Then read the beat frames in order: do they tell a story a stranger follows, each one causing the next? Compare each with its shot in SPEC.md; what does not match is a note. Then name every default the frames show (spec.md "BANNED by default", or one not on the list yet), add each to the BANNED line, and fix them before anything else.

Then go through the sheets once per question:

Question	What it catches
Does it read as what it is?	A shape that reads as another object, a material that reads as plastic, a product screen that reads as a mockup, a face or mascot that reads wrong
Does the subject separate?	Subject and ground too close in value, two focal points in one frame, the eye with nowhere to go
Framing and contact	Crops, text at the edge or under platform UI, collisions at a seam, things floating that should touch
Timing as a first-time viewer	A read shorter than its words (`story.md` §6), something that pops on with no move, a jump at a cut, everything moving at once on one curve
Tells	Which items of `story.md` §8 and `motion.md` "Defaults that look generated" are on screen
The pictures alone	With the words covered, do the beat frames still tell the storyline?
The phone sheet	Can every line meant to be read be read at 360 px?

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30## 3. Notes and fixes

32Write each problem as one line: `t=4.2s · where · problem → exact change · what stays`. Rank them:

34- **P0** breaks the read or the contract: unreadable, wrong, broken, a tell in the hero shot.

35- **P1** weakens the film: a dead stretch, a soft payoff, a seam that jumps.

36- **P2** polish.

38Fix every P0 and the P1s worth their time: text first, then timing, then detail. Then snapshot only what you changed, once. A second pass only when a P0 is still open. Never score the film out of 10: a score finds nothing to fix. When a fix does not hold, snapshot the frames on either side of the problem, list every difference, and change only the line that causes it. A film that feels busy: remove a third of the motion and keep the moves that lead the eye.

40A fresh pair of eyes, when your host can start a sub-agent: give it only `STORYBOARD.md` and the three sheets, ask for P0 and P1 lines in the format above, and keep editing to yourself. Commit or copy the project before you fix, so a fix that makes things worse can be rolled back.

3. Notes and fixes

Write each problem as one line: t=4.2s · where · problem → exact change · what stays. Rank them:

P0 breaks the read or the contract: unreadable, wrong, broken, a tell in the hero shot.
P1 weakens the film: a dead stretch, a soft payoff, a seam that jumps.
P2 polish.

Fix every P0 and the P1s worth their time: text first, then timing, then detail. Then snapshot only what you changed, once. A second pass only when a P0 is still open. Never score the film out of 10: a score finds nothing to fix. When a fix does not hold, snapshot the frames on either side of the problem, list every difference, and change only the line that causes it. A film that feels busy: remove a third of the motion and keep the moves that lead the eye.

A fresh pair of eyes, when your host can start a sub-agent: give it only STORYBOARD.md and the three sheets, ask for P0 and P1 lines in the format above, and keep editing to yourself. Commit or copy the project before you fix, so a fix that makes things worse can be rolled back.

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Starts an agent sub-agent :40

42## 4. The delivery note

44Write `REVIEW.md` at the project root and put its short form in your reply:

46- the creative calls you made, and the storylines you did not build;

47- what you measured and what you only looked at; what nobody checked (the sound was measured, not heard);

48- the weakest shot, and what you would change with more time;

49- warnings you kept on purpose, and why.

51The next turn reads it before changing anything.

4. The delivery note

Write REVIEW.md at the project root and put its short form in your reply:

the creative calls you made, and the storylines you did not build;
what you measured and what you only looked at; what nobody checked (the sound was measured, not heard);
the weakest shot, and what you would change with more time;
warnings you kept on purpose, and why.

The next turn reads it before changing anything.

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