Shot Sequence

Before final delivery of a substantive authored, revised or generated creative artifact, automatically apply output review. Reuse domain QA in one bounded loop; inspect actual media, preserve accepted locks and stop unchanged on a pass. This does not run for greetings, menus or onboarding questions. When Superpowers is in the skill list, load superpowers:systematic-debugging before diagnosing a reproducible technical defect and superpowers:verification-before-completion before calling a deliverable ready; Studio keeps ownership.

Own the time-based plan: what happens, in what order, for how long, from which
camera position, and what state carries into the next shot. This is a practical
creative artifact, not a claim that a future render, edit, or continuity result
has been tested.

Apply the conditional public research gate before substantive sequence or shot-planning decisions. Search production context or current generator limits when a trigger applies; stable cinematic grammar needs no search; distinguish sourced facts from local creative inference and do not copy a reference sequence shot for shot.

Start at the user's requested stage. A clear script and deliverable do not need
another intake form. For a vague request, ask only for the decision that changes
the sequence materially, or provide a compact provisional plan with its
assumptions named. Keep story-authoring with
screenplay-story-architect; do not
silently rewrite accepted story facts to make a shot easier.

Coded film technique, in this turn. When the film will be built from code (motion graphics, HyperFrames, Remotion, Canvas, SVG, shaders), open the file ../hyperframes-workflow/assets/motion-prompt-library/opus-gallery-shortlist.md with the file tool before you write the storyboard, even when only a storyboard is requested, and read the section of the brief type. After the idea is chosen from the brief, add one line under the storyboard naming at most three records you take technique from: the mechanism in your words, the creator's handle and the film link. Do not postpone this read to the build, do not paste a creator prompt and do not present a gallery film as the direction.

Read the sequence and continuity contract
for beats, timing, camera, shot cards, and continuity. Read
reference authority and carriers
when uploaded images, boards, clips, or strict continuity are involved. For a
visual board, use the distinct
board architect. A non-temporal reference
or coverage board goes directly there; do not manufacture events, timing or
shot cards before it can compare the requested sources or properties. For final video
prompt compilation, hand off to
video-prompt-architect; named-generator
syntax belongs to that generator-aware route.

For a dialogue-led scene, a difficult action handoff or a revision that changes timing, use the applied sequence workshop. Its optional state/speech ledger and worked fixed-camera example protect intelligibility without inventing measured timecodes or requiring cuts.

Shot list files

Check a structured plan with scripts/check_shot_plan.py (the same rules and result as the Node checker, for Python-only hosts), and export the shot list or an AV script with scripts/sheet_export.py plan.json --out-dir export/ as XLSX, CSV and a printable PDF with exact text.

Timing targets

Opening targets per placement, spoken-word budgets and end-card holds come from the short-form timing card; a beat map that needs more words or seconds says so instead of compressing the read.

Deliver the requested structure

A script written as beats (time, spoken line, on-screen text, visual change, proof, CTA) maps one beat to one shot card; see script and campaign patterns.

For explicitly coded motion graphics, load Motion Graphics now instead: it authors its own storyboard in its motion contract. Work here only when narrative order is unresolved or another owner needs timed shot cards, and then use the motion storyboard contract and code-motion method. Once the idea is chosen and before the storyboard is shown, take technique for it from the brief index and the Opus 5.5 gallery through its shortlist (one small file per brief type): at most three records, the mechanism named and the creator credited, never a pasted prompt. Define integer total frames, master [start,end) intervals, overlaps, fully readable holds and scene entry/action/exit states as designed timing. Carry the approved revision, Style Lock, exact copy and asset IDs to the selected existing runtime owner; planned frame precision does not imply a measured render. A timeline view shows the current revision with its scene IDs; a time, copy or order change updates the contract and revision and names the shifted scenes and frames, while a view change does not (presentation and interaction).

Use only fields that help the next decision. A useful sequence package can
include:

• Sequence: objective, source/version, intended duration, scope, and
  unresolved assumptions.
• Beat map: order, dramatic or informational function, visible change,
  and approximate time range where useful.
• Shot cards: stable IDs; framing/scale and viewpoint; subject and
  observable action; camera behavior; start and end state; duration estimate;
  dialogue/sound only if supplied or requested; continuity dependencies.
  Check each card's action against the
  scene logic check:
  the object does its real job on its material, the viewpoint shows the
  result, and the next shot grows out of that result.
• Timing: planning estimate, measured value, or unknown. Never blur these
  states. Ranges must fit the declared target without false frame precision.
• Camera logic: why the angle, distance, movement, side, and ending frame
  make the action readable. Avoid camera motion used as generic decoration.
• Continuity state: property-level locks and an explicit carrier-readiness
  assessment for each independent request.
• Promptability notes: what can pass to image/video prompt compilation,
  what needs a real attached carrier, and what remains a creative or production
  decision.

Do not force every project into three acts, a fixed number of shots, timecodes,
or a board-grid preset. Use fewer, clearer shots when each is legible; split
when one view cannot establish geography and prove a detail. For estimates,
label the basis and round sensibly. If exact duration is unknown, provide
relative beats or ask whether a useful estimate is wanted.

When the user asks for both a sequence and a board, finish or label the
sequence contract first, then pass the approved shot order, IDs, exact labels,
selected frames, and unresolved items to the board architect. The board is a
separate layout artifact: it does not replace the sequence, nor does its
contact sheet imply frame-by-frame generation.

For edits, identify the changed fact, affected shots, protected elements, and
one acceptance test. Propagate only dependent changes. If the actual render is
not supplied, do not diagnose it as inspected. If a user requests a final video
prompt, hand off a complete approved shot card or the smallest useful shot set,
not the entire internal analysis.

Before handoff

For a FrameCut storyboard, map the entire sequence from opening through ending to ordered scene intervals and stable panel IDs. Show every scene and meaningful action, composition, key-copy and transition change; use several entry/action/hold/exit panels within a shot where needed without inventing cuts. Choose coverage before panel count or layout. Preserve deliberate pauses and the closing hold; mark timing estimates honestly. Pass the full map, exact copy, visual states, motion/transition notes and sound cues to Storyboard Board for readable visual contact sheets. Check every interval is represented and that the story remains understandable between panels. A few representative frames or a moodboard do not complete this handoff. Return to FrameCut for user comments and approval of the current complete board before final-film execution; samples are optional on request. Revisions preserve IDs and reopen acceptance only for changed creative content.

Check order and causal readability; shot purpose; duration estimate versus
target; spatial axis, eyelines and screen direction where material; prop,
wardrobe, identity and product state; exact dialogue/copy; reference roles;
actual carrier availability; and the requested output type. One primary
continuity issue should produce one targeted repair and a visible pass/fail
test. Read handoff and delivery rules
for the shared downstream contract.

Integrated workflow contracts

Use the integrated workflow-kit method for this owner’s artifact fields, bounded review and downstream handoffs. Read Studio integration authority for precedence and the single active route. Preserve this owner’s domain craft and the user’s requested stage.

Adjacent-shot review

Use the shot adjacency workbook for physical events, entry/exit states, attention, overlaps and pairwise review. Keep planned edit duration separate from generator clip length and actual inspected runtime.

Panel and audio handoff

For a requested board, hand the selected shot/moment mapping to production reference sheets. For rhythmic anchors, use the audio edit workbench; keep planned beats distinct from measured media timing.