vox-explainer

name

vox-explainer

description

Create a 60–90 second, collage-style HyperFrames explainer from a hiding-in-plain-sight topic or supplied documents and links. Use for requests such as 'make a plain-sight explainer', 'Vox-style history of X', 'why is X everywhere?', or 'turn this document into an explainer'. Covers topic or source routing, research, script, static design approval, voiceover timing, motion continuity, build, and numeric quality gates.

Plain-Sight Explainer (Gateway Workflow)

Build against the HyperFrames composition contract (clips, data-* timing, and the #root schema). Install the upstream HyperFrames skills with npx skills add heygen-com/hyperframes, or scaffold with npx hyperframes init, and read the generated project documentation first.

Make a 60–90s explainer about something the viewer sees daily but has never looked at. The film manufactures recognition first, then pays it off with a causal history. Grammar measured from Vox's Cooper Black film; motion from the same frame-by-frame calibration process.

This is a Vox-inspired design vocabulary, not an affiliation or endorsement. Do not use Vox logos or imply that Vox produced the result.

Trust boundary and requirements

• Require Node.js 22 or newer for the bundled seam scripts. When they start a preview server, npx may download the exact HyperFrames version pinned in scripts/seam-gate.mjs from the npm registry.
• Read only the files and URLs the user supplies. Source mode may fetch public citations and public-domain or openly licensed assets from declared sources. Never send private documents, credentials, or private URLs to another service.
• Ask before using any TTS or transcription API. State the provider, data sent, required credential, and possible cost before the call.
• Write project source, downloaded assets, audio, contact sheets, and renders only inside the user's chosen project directory. Do not publish or upload the result automatically.
• The seam verifier starts a local preview server and an isolated Chrome profile. Its --url and --comp-url inputs accept localhost only. A preview may still load remote assets declared by the user's composition.

Reference map

Read only the references needed for the current stage:

• Topic selection: plain-sight-topics.md
• Script and captions: plain-sight-script.md
• Layout and assets: vox-collage-layout.md
• Text and highlights: vox-text-overlays.md
• Collage motion: vox-collage-motion.md
• Motion law and seam gate: motion-continuity.md
• Transition catalog and code: velocity-matched-transitions.md and velocity-matched-transitions-gsap.md
• Multi-stage element motion: animation-overlap.md
• Render-safe seam mechanics: render-safe-seams.md
• Seam ledger and script usage: seam-gate.md

Pipeline (run in order; each gate blocks the next)

1. Entry router — two modes, one gate. Read plain-sight-topics.md.

   • Topic mode (the user names a subject, or asks for ideas): the four-part filter governs IDEATION and tie-breaking only. If a user-chosen topic fails it, name which part fails and what the film loses, offer passing alternatives — then build the film they asked for if they confirm. The filter never refuses a chosen subject.
   • Source mode (the user supplies material — documents: a memo, strategy doc, report, paper, deck, transcript, PDF, or a folder of them; or links: an article, docs page, repo, announcement): the filter does not apply at all. After confirming the allowed network scope, read every supplied file, fetch every supplied URL, and follow at most one public citation hop when needed for a claim. When a citation is dead or truncated (common in exported PDFs), do not guess the source — verify the claim independently on the open web before it becomes a receipt, or cut it. Then run the storyline mine. Person+date and PD-archive requirements are waived; the mechanism beat is not. The audience is the source's INTENDED audience, not "any viewer" — the FAMILIAR beat calibrates to what they see daily. The VO never mentions the source — see plain-sight-script.md.

   The storyline mine (source mode). The source is ore, not an outline — never film it section by section. Extract five things:

   • The on-ramp — the recognition the intended audience already has, in the source's own world (a habit, a number they see weekly, a thing on their screen right now).
   • The tension — the sharpest claim in the source that contradicts what that audience assumes.
   • The turn — the DIG's landing point: a person+date when the source has one, otherwise the decision, number, or moment the story pivots on.
   • The mechanism — the one claim the viewer can verify on screen unaided. If the source only asserts, BUILD the demonstration (two-panel compare, dots redistributed two ways, before/after at equal scale).
   • The receipts — real artifacts from the source plus the open web (charts, screenshots, filings, on-screen attributed quotes). Real-assets rule still holds.

   Map those onto the structural spine; beats the source can't fill honestly get cut, not faked. Multiple sources — or ONE source carrying several candidate storylines — mine each, then pick ONE spine: a film gets one storyline; everything else demotes to receipts. Deliver the beat map for approval before drafting script.

2. Script — read plain-sight-script.md. Draft VO + beat map. GATE: every line passes the deletion test; opener/closer rules hold. If ghost-writing for a specific person, their voice skill outranks this one.

Technique floor (anti-slideshow gate — declare at beat-map time)

Passing the defect gates does not make a film. A build that resolves every beat to cards, side-by-sides, and lower-third text passes lint, seams, and dead-time and still reads as a slideshow — the collage idiom lives in techniques a cautious agent will never volunteer. So techniques are DECLARED in the beat map, not improvised at build time: every beat names its layout recipe AND its motion treatment from the motion reference's catalog, and the film's distribution must clear this floor:

• ≥1 zoom-isolation swap — the camera pushes INTO a photograph, isolates the carrier, and cuts through it (numerically aligned per the motion reference).
• ≥1 inverse zoom-through arrival, spent on a payoff beat.
• ≥2 drive-pasts or scale traversals that exit at/through frame-fill.
• ≥1 background-dropped cutout (subject lifted off its plate) doing motion a flat card cannot — docking into a grid, riding a drive-past, anchoring an iso swap.
• ≥1 newsprint layering moment; the circle reveal (the brand carrier).
• CAPS: static-card / side-by-side layouts ≤ one third of beats; no two consecutive beats share the same layout recipe or the same treatment.
• When a photograph with interior depth is on frame, the camera enters it rather than drifting over the card row — flat drift over cards is the slideshow tell. Entering is governed by the zoom-in contract below.

The zoom-in contract. Pushing into a photograph promises the viewer the payoff is INSIDE the image. Exactly two legal continuations:

1. Background dropout — the subject lifts off its plate and becomes the carrier (iso swap, dock, drive-past);
2. Full-frame hold + callouts — the image holds at/near full-bleed while annotations draw ON it (labels, arrows, attention windows). A push into a photo that then cuts to an unrelated composition is banned — that is a transition wearing a technique's clothes. If neither payoff serves the beat, do not enter the photo.

Contract boundaries (what counts as "entering"): a sustained push whose origin sits inside the image and that reaches near-full-bleed. Seam-scale zooms (~0.2s whole-scene mechanics) and sub-10% camera creeps are different categories and are not entries. An element driving AT the camera is the mirror of an entry and obeys the same contract (it must already be a dropped-out carrier, never a flat card flying at the lens). A traversal may exit through frame-fill only into the same image or into the beat its own motion caused — never into an unrelated composition.

QC: the beat map logs the treatment distribution table; the final keyframe audit verifies each declared treatment actually appears on screen (the seam verifier already measures the zoom-isolation numerically). A film that cannot clear the floor honestly is a planning bug: re-plan the beats, do not pad with decoration. When the floor's minimums and the zoom-in contract conflict, the contract wins and the technique is cut — a missing technique is a smaller defect than an unmotivated one.

Structural spine (weights of a 60s cut)

This weighted spine is authoritative. THE FAMILY (see the script reference) is the back half of FAMILIAR — more instances of the recognition, not a new beat. THE ARTIFACT BEAT sits between STORY and MECHANISM in the script reference's spine too; when the two references seem to disagree, this list wins. In source mode, spine beats the source cannot fill honestly (SECOND WIND, the person in DIG) are CUT and their weight redistributed — the cut-don't-fake rule outranks the spine's completeness.

FAMILIAR 15% → DIG (person + date named) 5% → STORY 15% → THE ARTIFACT BEAT 10% → MECHANISM the viewer verifies on screen 20% → SECOND WIND (a technology removes a constraint) 15% → THESIS in the yellow circle 10% → CLOSE mirrors the open 10%.

Non-negotiables inherited from the motion layer

• motion-continuity.md governs seams. Make hard-looking swaps land inside a verified continuation seam; a literal static-to-static cut is not exempt from the seam gate.
• Real assets only — PD archives (Wikimedia Commons API, LOC), flagged recreations when a scan is missing. Recreating artifacts with shapes reads as slop.
• Highlights always animate on per the text-overlay reference.
• Elements step at 12fps over smooth eases; camera moves stay smooth per the collage-motion reference.