qcut-cityfilm

name

qcut-cityfilm

description

Reproduce the look and structure of a reference city/travel promo film with your own or licensed footage — analyze the reference, gather clips, pick segments, write per-act copy, narrate it with emotional TTS, assemble the timeline in QCut, and mix the final audio bed. Use for 复刻宣传片, 城市宣传片, 旅行 vlog 剪辑, city film, travel promo, reference-driven edit, 参考片拆解, 素材复刻, 多语言配音成片, or turning a reference video into a repeatable edit plan.

QCut City Film

Turn a reference film into a plan, then build your own cut from that plan. The workflow is reference → plan → assets → assembly → mix → proof. Every stage writes an artifact, so a later stage can be rerun without redoing the earlier ones.

Required Order

reference film
  -> contact sheets + transcript + scene-cut pacing   (understand it)
  -> BREAKDOWN.md: acts, pacing, shot language, style  (write it down)
  -> shot-type queries -> licensed footage + MANIFEST  (gather)
  -> per-clip segment picks with in/out points         (choose)
  -> SHOTPLAN.md: act timing, copy, music placement    (plan the cut)
  -> emotional VO per cue, per language                (narrate)
  -> QCut project: import, timeline, subtitles, export (assemble)
  -> ffmpeg audio bed: ambience + music + VO + duck    (mix)
  -> measured levels + extracted frames                (prove)

Never skip the proof stage. A timeline that looks correct in the editor can still export silent — see Verification.

Run

export CITYFILM_ROOT=".agents/skills/qcut-toolkit/qcut-cityfilm"

# Stage 1 — understand a reference film
bun "$CITYFILM_ROOT/scripts/main.ts" analyze /path/to/reference.mp4 \
  --output-dir /path/to/work/analysis

# Stage 6 — narrate a plan (one language at a time)
bun "$CITYFILM_ROOT/scripts/main.ts" vo --plan /path/to/work/plan-zh.json

# Stage 7 — mix the exported picture with music and narration
bun "$CITYFILM_ROOT/scripts/main.ts" mix --plan /path/to/work/plan-zh.json \
  --video /path/to/work/export.mp4 \
  --output /path/to/work/final-zh.mp4

Use npx -y bun@1.3.10 when Bun is not installed globally. The runner resolves this repository's bun run pipeline first, then qcut from PATH, and prefers QCut's staged FFmpeg binaries.

Stage 1 — Understand The Reference

Watch the whole film cheaply, then measure it.

bun "$CITYFILM_ROOT/scripts/main.ts" analyze reference.mp4 -o analysis
qcut analyze transcribe -i analysis/audio.mp3 -m scribe_v2 --srt -o analysis

analyze writes 5×5 contact sheets, scene-cuts.txt, analysis.json, and the extracted audio.mp3. Read every sheet image — that is how the structure is recovered. Tile k of sheet n maps to ((n-1)*25 + k) * duration/frames seconds.

Rules that matter here:

• FAL's speech-to-text rejects video containers; always transcribe the extracted MP3, never the source video.
• QCut's staged FFmpeg has no drawtext filter — do not try to burn timestamps into the sheets; compute them.
• Scene detection at gt(scene,0.30) is a good default for cut-heavy promos.

Write BREAKDOWN.md with: an act table (time range, content, purpose), the per-minute cut counts, the shot-language inventory (which types of shots the film uses — establishing aerials, walking POV, detail macros, portraits, transport, night neon…), the grade and subtitle style, and the copy's emotional arc. That inventory becomes the shopping list for stage 2.

Stage 2 — Gather Licensed Footage

One search query per shot type from the inventory. On YouTube, append &sp=EgIwAQ%253D%253D to filter to Creative Commons, then verify each candidate — the filter is not trustworthy on its own:

yt-dlp "https://www.youtube.com/results?search_query=<q>&sp=EgIwAQ%253D%253D" \
  --flat-playlist -I 1:6 --print "%(id)s | %(duration)s | %(title)s"

yt-dlp --print "%(id)s | %(license)s | %(uploader)s" -- <video-id>

Keep only Creative Commons Attribution license (reuse allowed). Download capped at 1080p, and take only the useful stretch of long walking tours:

yt-dlp -f "bv*[height<=1080]+ba/b[height<=1080]/b" -S "res:1080,vcodec:h264" \
  --merge-output-format mp4 --download-sections "*00:00:00-00:03:00" \
  -o "<dir>/%(id)s - %(title).50s.%(ext)s" -- <video-id>

Write MANIFEST.md with folder, id, uploader, and URL for every clip plus every music track. CC-BY requires attribution in the finished piece; the manifest is what you paste into the credits. Also record which shots the stock footage cannot cover (pieces to camera, product macros, candid portraits of identifiable people) so the gap is explicit.

Stage 3 — Pick Segments

Build a contact sheet per clip and choose in/out points against the act's target shot length. Selection rules, learned from a real pass:

• Never include channel intros, title cards, watermark-heavy moments, or a presenter talking to camera.
• Prefer steady motion, good light, clean composition.
• Avoid close-ups of identifiable children.
• Round to 0.5s; keep every pick inside the clip's real duration.

Store picks as SegmentPick[] (see scripts/types.ts). With many categories, fan this out — one agent per category folder, each returning its picks as JSON.

Stage 4 — Plan The Cut

SHOTPLAN.md plus a machine-readable plan-<lang>.json (CityFilmPlan).

Pacing is the thing being copied. Derive it from the reference's per-minute cut counts, e.g. a montage act at 1.2–1.5s per shot, dialogue/observation acts at 2–2.5s, the emotional act at 3–4s, and the closing card held long.

Copy rules:

• Write original lines. Copy the narrative arc (return → immersion → fatigue → healing → resolve), never the reference's sentences.
• One idea per cue; keep cues inside their act.
• Give every act an emotion directive in the copy's own language — it is fed verbatim to the TTS model.

Stage 5 — Assemble In QCut

qcut editor:project:create --new-name "<name>" --json
qcut editor:project:update-settings --project-id <p> --data '{"fps":25,"width":1920,"height":1080}'
qcut editor:media:batch-import --project-id <p> --items @imports.json --json
qcut editor:timeline:import --project-id <p> --data @timeline.json --replace --json
qcut editor:export:start --project-id <p> --data '{"width":1920,"height":1080,"fps":25,"format":"mp4"}' \
  --output-dir <dir> --poll --timeout 900 --json

Build timeline.json from the plan: media elements laid end to end with trimStart/trimEnd derived from each pick, one text element per cue, and a black tail clip so the closing card has picture under it.

Editor facts that cost time when unknown:

Fact	Consequence
Text x/y are canvas pixels offset from center, not fractions	y: 0.87 puts the subtitle at the middle; use y: 380 on a 1080p canvas
CJK and Latin need different sizing	Latin copy wants ~0.8× the font size and ~0.4× the letter spacing of the CJK cut
timeline:import drops transitions	Plan hard cuts; add fades as elements or in the mix
Export ends at the last picture element	A text-only tail is truncated — hold a black clip under the closing card
batch-import does not notify the renderer per item	Re-check the store before assuming media resolved; import stragglers individually
Elements resolve by sourceName	Import first, then import the timeline, or elements land on the wrong track

Verify the timeline before exporting:

qcut editor:timeline:export --project-id <p> --json   # element count, track types
qcut editor:state:snapshot --project-id <p> --json     # what the renderer actually holds

Stage 6 — Narrate With Emotion

ByteDance Seed Audio takes a parenthesised directive in front of the line. The difference between a flat read and a directed one is large — always direct it.

bun "$CITYFILM_ROOT/scripts/main.ts" vo --plan plan-zh.json
# equivalent single call:
qcut gen tts -m seed_audio -o <dir> \
  -t "(用温柔、怀旧、带一点感慨的语气)好久不见,墨尔本。"

• One directive per act, written in the copy's language.
• Generate each language separately; English lines need their own directives, not translations of the Chinese ones.
• Check each cue's VO against its slot (checkCueFit) and shorten the line rather than speeding up the read.

Keeping one voice across the cut

Seed Audio picks a fresh speaker on every request — a cut narrated cue by cue sounds like several different people. There is no seed parameter and no documented preset voice list, so the voice is pinned with a reference clip:

1. Render one cue on its own; keep the hosted audioUrl it returns.
2. Pass that URL as audio_urls[0] (--audio-url) for every other cue and name it in the prompt as @Audio1. The reference is ignored unless the prompt references it — this is the part that is easy to miss.

runVoBatch does this automatically (lockVoice, on by default) and returns the anchor as voiceAnchorUrl; persist it into the plan so later re-renders and other languages reuse the same speaker.

qcut gen tts -m seed_audio --audio-url "<anchor-url>" -o <dir> \
  -t "@Audio1 (用温柔怀旧的语气)有些街道,一别就是三年。"

Measured on three renders of one line (long-term average spectrum similarity, 1.0 = identical timbre):

Method	Take-to-take similarity
Plain prompt	0.84
--audio-url only, no tag	0.91
--audio-url + @Audio1	0.95

Reference clips are capped at 30s / 10MB, and up to three can be supplied (@Audio1…@Audio3) when a film needs more than one narrator.

Stage 7 — Mix The Audio Bed

QCut's export currently drops CLI-imported audio from its mix, so the exported picture supplies ambience only and the bed is assembled afterwards:

bun "$CITYFILM_ROOT/scripts/main.ts" mix --plan plan-zh.json \
  --video export.mp4 --output final-zh.mp4

The graph: ambience held low, music segmented per act with fades, each VO cue delayed to its cue time, then the music+ambience bus ducked under a copy of the VO bus via sidechaincompress, limited, and muxed with -c:v copy.

Two failure modes to respect: every declared filter label must be consumed or FFmpeg aborts, and music cues that do not cover the timeline shorten the bed unless the gaps are padded. buildMixGraph enforces both.

Verification

Report a cut only after all four checks:

1. ffprobe duration matches the plan within 0.25s.
2. volumedetect over several windows — opening, a montage act, the emotional act, and the closing card — all show speech/music level, not −91 dB.
3. Extract frames at the title card, one mid-film subtitle, and the closing card, and look at them: correct language, no clipping, readable size.
4. The manifest's attribution list is present wherever the film will be published.

Check the exported file, never the timeline alone. A project whose timeline contains music can still export silence.

Output Contract

<work-dir>/
├── analysis/
│   ├── sheet_01..NN.jpg
│   ├── scene-cuts.txt
│   ├── analysis.json
│   ├── audio.mp3
│   └── transcription.srt
├── BREAKDOWN.md
├── assets/
│   ├── <shot-type folders>/*.mp4
│   ├── music/*.mp3
│   ├── vo/vo-<lang>-<cueId>.mp3
│   └── MANIFEST.md
├── SHOTPLAN.md
├── plan-<lang>.json
├── timeline-<lang>.json
└── out/
    ├── export-<lang>.mp4        # picture from QCut, ambience only
    ├── final-<lang>.mp4         # after the mix — the deliverable
    └── frames/*.jpg

Notes

• Keep the reference film out of the deliverable. This skill copies structure, pacing, and treatment — not footage, not copy.
• Attribution is not optional for CC-BY material.
• When the same cut ships in several languages, share the picture export and vary only subtitles and VO — but re-verify levels per language, since VO lengths differ.