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name: stage-edit description: Intelligent editing of real user-supplied footage—understand it with transcript/inspected-frame/scene/silence/quality evidence, then choose deterministic timeline operations or a constrained semantic AI edit. Trigger for repurpose, montage, cleanup, localization, narration, or local content changes.

stage-edit

How to intelligently edit real user-supplied footage while keeping source and decisions auditable. Deterministic operations handle cuts, joins, captions, overlays, reframes, and audio. When the request changes pixels semantically—remove an object, alter a background, relight, or make another content-aware local change—keep the EDIT route and execute only that bounded segment as a signed ovs video --operation edit call after paid-generation approval.

Subtitle safety hard rule. Burn captions only through ovs edit burnsubs; do not hand-write ffmpeg subtitle, drawtext, or PNG-overlay fallback commands. If burnsubs fails because the runtime ffmpeg lacks subtitle filter support, stop and report the blocker instead of improvising a custom ffmpeg graph.

If the task is to FIND / SELECT / REDUCE / CLEAN rather than run a known timecode edit — remove dead air, drop fillers, pick highlights, cut a long recording down — read stage-decide first: it covers understanding the footage and producing an evidence-bearing rough cut (the deterministic auto-cuts ovs edit trim-silence / remove-fillers, plus ovs scenes / ovs quality / ovs plan rank-takes). This skill is for executing cuts you have already chosen.

Two assembly paths — pick by whether the result needs to stay re-editable:

• Plan-backed (anything the user may later adjust: narration, multi-shot, segmented edits). Author project/plan.json (the segments EDL — see stage-plan) carrying ONLY the operations the user asked for (the deltas) — everything else is the source, passed through untouched. Keep each editable concern SEPARATE in the plan: each narration line in tracks.narration.segments with its own produced_path, each caption in tracks.captions.lines as data, each segment carrying status/produced_path. Assemble with ovs edit (trim → concat → mix → burnsubs). Because plan.json holds every piece separately, a later "fix one caption / re-voice one line" is a one-entry edit + one re-render — do NOT pre-bake (e.g. one big narration file), which destroys that separability.
• One-shot deterministic (a plain trim or concat the user just wants done). Use ovs edit directly; write no plan.json.

Intelligent Edit Contract

Write project/plan.json#edit_strategy whenever OVS decides what to change rather than merely executing user-provided timecodes. Declare its mode (deterministic, semantic, or mixed), exact objectives, only the evidence signals actually used, and non-empty, non-overlapping preserve/may_change.

Declare every source/reference in top-level references with media type, reproduce/edit/guide intent and basis, roles, required state, preservation boundary, target segments, and video temporal anchors. A semantic video edit is source:"generate", media_kind:"video", operation:"edit" with its original in reference_video_paths or reference_video_urls; it remains owned by EDIT and counts as billable.

For a plan-backed follow-up, invalidate only the changed entry and its derived assembly. Preserve source probes, transcripts, inspected-frame evidence, unaffected cuts, narration, and sibling outputs. A content-identical source moved to a new path is an implementation locator change, not new creative intent.

The deterministic editing loop

1. Ingest — always probe first. For every input clip, read its metadata (duration, resolution, fps, codecs) with ovs edit probe. Never plan a cut blind; a trim past the real duration produces an empty or broken clip.
2. Plan — write an edit_decisions timeline. From the user's intent + the probe results, decide the exact segments and order, and write them to project/edit_plan.json so the plan is inspectable and re-runnable. Shape:

   {
     "segments": [
       { "input": "raw/clipA.mp4", "start": 12.0, "duration": 8.0 },
       { "input": "raw/clipB.mp4", "start": 0.0,  "duration": 5.5 }
     ],
     "subtitles": "raw/captions.srt",
     "overlay": { "media": "assets/logo.png", "x": 40, "y": 40 }
   }
   

   Every start/duration must be inside the probed duration of its input.
3. Execute in order.
   • ovs edit trim each segment to its own file (project/cuts/seg-1.mp4, ...).
   • ovs edit concat the cut files (in plan order) into one (project/render/edited.mp4).
   • If subtitles: ovs edit burnsubs the .srt/.ass onto the concatenated video.
   • If an overlay (logo / lower-third image / PiP): ovs edit overlay it at the planned position.
4. Publish the final file.

Read transcript and screen-grounded editing only for topic-based selection, captions, localization or narration added to existing footage. It owns evidence-first analysis, per-line speech and extracted-frame inspection.

Director judgment (editing line)

Craft calls per repurpose/montage line, on top of the shared craft reference (video-craft).

Cut craft (every editing job — this is the canonical set; the assembly line references it). On top of video-craft (pacing §3, transitions §5, audio §7):

• Cut the moment, not the clip. A 12 s clip usually holds one ~3 s moment that earns its slot — trim to that window. End the cut on a held look, not on the action moving off; leave a few frames of handle at each end so a dissolve doesn't clip the moment, and never freeze on a static last frame (reads as a glitch).
• A restrained transition vocabulary for cut-driven pieces: ≤ 4 types across the whole piece — hard cut (default, most invisible), dissolve (emotional siblings / time passage), fade-to-black (act breaks), fade bookends. In a documentary/montage register, wipes / push-slide / zoom-blur / glitch read as social-media language — avoid (this is stricter than the explainer norm in video-craft §5, where a wipe can mark a step).
• Bridge the hardest cuts with sound — carry the outgoing clip's ambient under the incoming for ~0.5–1.5 s (L-cut), or start the next audio early (J-cut); audio continuity hides a visual seam. Plus the one held silence from video-craft §7.
• Adjacent-diversity + a reason per cut. Don't place the same subject at the same shot size, or the same palette, back-to-back — break the pattern at least every ~4 cuts. If you can't write a one-line reason for a cut, it's arbitrary — reconsider it.

Per repurpose/montage line:

• Social clip / clip-factory — per clip = hook (0–2 s) → sustain → clean outro; optimize the first 2 frames; start on motion/face/result; lock a batch style (caption / hook position / watermark) so a series feels cohesive; don't crowd frame 1 with hook + caption + watermark + lower-third at once.
• Podcast-repurpose — audio is the hero; pick quotable moments; speaker video if it exists, else a simple audiogram / quote card; keep the visual system simple and repeatable; preserve attribution + CTA.
• Screen-demo — zoom only for legibility/orientation, steady while the viewer reads; reset to wide context between phases; ≤ 2 attention cues at once; label sped-up sections; keep UI text sharp (higher bitrate), don't force an unreadable vertical crop.
• Localization — treat each language as its own deliverable; dubbed audio won't match source timing, so plan holds to flex; re-render or cover any baked-in text per language; subtitle line lengths differ by language; lip-sync only where a close-up mouth mismatch would distract.
• Documentary-montage — concrete sensory shot descriptions, not abstract themes; one grade/LUT across all clips is what unifies mixed sources; budget 2–3 hero slots longer holds; a music bed + an end-tag.
• Before publishing, normalize the mix against the targets in video-craft §7 (~−14 LUFS integrated, true-peak ≤ ~−1 dBTP) with ovs edit normalize-loudness; use ovs edit loudness for diagnosis.

Rules

• Timecodes come from the user, from probe, from a transcript, or from inspected extracted frames — never guessed. If the target moment cannot be located from evidence, ask the user for the timestamp.
• Layer composition over footage when the brief needs designed elements (animated lower-thirds, kinetic captions, hooks): produce those with stage-compose as an overlay/element and ovs edit overlay them, rather than trying to draw them in ffmpeg.
• One output file at the end; intermediate cuts live under project/cuts/ and are not the deliverable.

Boundary / non-goals

This skill owns the EDIT workflow. It executes deterministic EDL operations directly and delegates only bounded semantic pixel changes to the signed video-edit provider path. It does not author HTML compositions.

Before showing any plan-backed final, regardless of assembly route, run ovs plan promise-check project/plan.json --probe-produced --video project/render/video.mp4. Repair duration/aspect mismatch, overlapping/truncated narration and unverifiable lines. Explain caption warnings from the actual container/sidecar check; burned captions need visual evidence. Planned duration and a successful mix alone do not prove delivery.

For narration, preserve signed line windows; target_sec is duration. Measure each produced file and voice span. Keep intentional silence, shorten overlong text within authorized scope, and never slide later lines to hide an overlap. A failed/unknown provider request does not authorize automatic repeat billing.