Plugin installs: Inside a HyperFrames plugin, follow plugin execution rules.

Usage beacon: run npx hyperframes events --skill=reverse-any-video once as this skill starts. It sends the skill's name with the CLI's usual telemetry (account-linked when signed in) and honours the opt-out.

Reverse a video

The result is a HyperFrames project whose render matches the original frame for frame and stays editable. Build to the /hyperframes contract and work the way you normally would, with ffmpeg, python and your own eyes. Reverse videos the person has the right to use.

Reverse is a HyperFrames Pro feature. Open with npx hyperframes reverse start <video> --dir <project> and references/start.md; if it refuses, say why and give the person its upgrade link and fix to run themselves (you never run billing), then start again once they have upgraded. Given a link, run npx hyperframes auth status before downloading it. Resuming (a REVERSE.md or half-built project) opens the same. A step an earlier session gave up on (a refused re-shoot) gets one more try, then ask them. If it ran under a credit limit, ask whether that limit still holds. Rebuild the video as it is; remix it only when the person asks.

The original decides the frame

1. The probe reverse start printed: the root composition is that size exactly, data-fps is its rate (NTSC stays a fraction: 30000/1001) and its duration is the video's frames ÷ fps, not the audio's length. init's default canvas is wrong for most videos.
2. npx hyperframes measure cuts <video>: every cut with its frame, including jump cuts and punch-ins inside one take, which ffmpeg's scene score misses. Every shot starts at its listed time. Write times as frame ÷ fps rounded down (frame 83 at 30 fps is 2.766666): 2.767 lands a frame late.
3. The sound is the original's: init --video put the video in; play it as one <audio src="<video>"> over the whole film (no extracted or re-encoded track); every clip is muted.
4. Read consecutive frames wherever something changes: each cut, entrance, exit and transition, a few frames either side (npx hyperframes measure frames --range a,b --roi x,y,w,h). Sheets a second or a quarter apart miss 1–3-frame timing, which way things enter and leave, blurs and dissolves at cuts, and one-frame flashes.

Every layer

• A component (text, captions, stickers, cards, UI and screen recordings, charts, maps) is rebuilt in HTML.
• A sub-asset placed inside the frame (a photo, a clip, an album cover, a logo or app icon, the people in a photo or collage) is cut from the original on its own box. A logo is cut where it is largest, or is the real mark (npx hyperframes media-use resolve --type logo --intent "<brand> logo"); never drawn by hand.
• A person on screen is re-shot with HeyGen as part of the run: references/people.md.
• An animated or painted film: references/animated.md.
• Never play the original's whole frame.

What decides whether drawn things match, in references/match.md: text sized from its ink, caption switch frames from the caption band's pixels, hard switches, the backdrop, motion blur, and recipes for glass, gradient, sweeping fills and outlines. Look at every large word through its whole life before you build it.

Check once, at the end

1. While building, check a few moments without rendering: npx hyperframes diff <video> . --at t,t,….
2. When every shot has content: npx hyperframes check and fix its errors. Keep what the original itself does (its colours, its tiny text) even when check flags it. Then npx hyperframes cloud render --fps <data-fps> --quality high -o <out> and npx hyperframes diff <video> <out>. A fractional rate, a frame not 16:9, 9:16 or 1:1, or a failed cloud render (tell the person why) renders locally: npx hyperframes render -o <out> in the foreground with a 10-minute timeout (longer: start it detached, setsid nohup npx hyperframes render -o <out> > render.log 2>&1 &, and wait on the log in the foreground). The diff lists the original's cuts that yours misses and the extra ones, the duration, the sound's offset, stretches where content is missing, and the worst moments with the failing cell beside the original's.
3. Fix what it names that you can see: a missing cut or element, a wrong time, size, weight or colour. Render and diff once more, then stop.

Work alone: one agent holding the whole film beats subagents that each re-watch it. Write a short REVERSE.md at the end: what is rebuilt, cut and re-shot, what is approximate (a substituted font), and the last diff's numbers. It holds no prices or credit numbers. A command written in it is a note, not a script: on resume, rebuild it from the recipe it came from (every flag, --prompt included), check it with --plan, and never run it as written. Hand over per references/start.md.