docs(prompting): sync capstone prompt — chip rides the coil, peel needs room, pulses repeat

docs/prompting/capstone.mdx

@@ -55,15 +55,15 @@ This is the full prompt, nothing paraphrased or trimmed. Several of its clauses
 >
 > **Measure (14–21s).** The wire becomes a chart baseline (same line, same thickness — no cut): adapt the **`data-chart` registry block** — six labeled bars rise from the wire itself on spoken cues while a hero numeral counts up beside them in huge tabular mono: **50+ CATALOG BLOCKS** (the real registry count; supporting chips: 19 AGENT SKILLS · 7 RUNTIME ADAPTERS — also real). The bars recede by parallax as the camera moves on; the tallest bar's top edge hands off into the next region's horizon.
 >
-> **Everywhere (21–28s).** The wire arcs and the ground falls away: adapt the **`world-map` registry block** — the dotted world map scrolls beneath while the wire becomes a great-circle route arcing across it. Real render infrastructure, truthfully labeled: pulses light up at AWS and Google Cloud regions (US-EAST-1 · EU-WEST-1 · AP-SOUTH-1) with a "CLOUD RENDER · LAMBDA + CLOUD RUN" kicker — HyperFrames' actual deploy targets. The map fades away as the wire descends into the next region — the pulses hold their size until the fade; nothing on the map ever shrinks.
+> **Everywhere (21–28s).** The wire arcs and the ground falls away: adapt the **`world-map` registry block** — the dotted world map scrolls beneath while the wire becomes a great-circle route arcing across it. Real render infrastructure, truthfully labeled: pulses light up at AWS and Google Cloud regions (US-EAST-1 · EU-WEST-1 · AP-SOUTH-1) — each one pinging repeatedly, not once, so the region still reads as live infrastructure while the camera dwells — with a "CLOUD RENDER · LAMBDA + CLOUD RUN" kicker — HyperFrames' actual deploy targets. The map fades away as the wire descends into the next region — the pulses hold their size until the fade; nothing on the map ever shrinks.
 >
-> **Material (28–39s).** The wire threads into a working canvas where footage is the material on the timeline: a real talking-head clip (generate a short clip of a person speaking one neutral line via the media pipeline's avatar video generation — it is material being processed, not a testimonial; **transcode it to HEVC `hvc1`** so the automatic proxy subsystem carries preview) sits as a clip on the wire. The order of operations IS the story: as the camera arrives and BEFORE the person speaks, the framework mattes the footage — **the background peels away via background removal**, sliding off along the travel direction and leaving the cutout standing alone on the brand ground. THEN they speak, and the main **keywords of their own line — derived from the clip's transcription — land word-synced as huge display text BEHIND the cutout**, each keyword slamming in on its spoken moment with the subject's silhouette occluding it (the two-layer text-behind-subject plate); style the keyword type by adapting a bold **catalog caption component** (`caption-kinetic-slam` or similar) at display scale. A designed lower-third chip renders behind the subject. The clip's own audio ducks the BGM briefly; the VO resumes as the camera pulls away and the worked footage recedes by parallax.
+> **Material (28–39s).** The wire threads into a working canvas where footage is the material on the timeline: a real talking-head clip (generate a short clip of a person speaking one neutral line via the media pipeline's avatar video generation — it is material being processed, not a testimonial; **transcode it to HEVC `hvc1`** so the automatic proxy subsystem carries preview) sits as a clip on the wire. The order of operations IS the story: as the camera arrives and BEFORE the person speaks, the framework mattes the footage — **the background peels away via background removal**, sliding off along the travel direction and leaving the cutout standing alone on the brand ground. Give that beat room: the footage holds with its background on long enough to register, then the plate travels far enough and slowly enough to read as a layer being pulled off — an ease that idles through its first third, or a fade that starts mid-slide, turns the whole demonstration into a blink. THEN they speak, and the main **keywords of their own line — derived from the clip's transcription — land word-synced as huge display text BEHIND the cutout**, each keyword slamming in on its spoken moment with the subject's silhouette occluding it (the two-layer text-behind-subject plate); style the keyword type by adapting a bold **catalog caption component** (`caption-kinetic-slam` or similar) at display scale. A designed lower-third chip renders behind the subject. The clip's own audio ducks the BGM briefly; the VO resumes as the camera pulls away and the worked footage recedes by parallax.
 >
 > **Surface (39–45s).** SANCTIONED SEAM #1: the camera pushes through an **`sdf-iris` shader transition** — the iris opens ONTO the continuation of the same wire (the wire is visible through the iris throughout; this is a lens the journey passes through, not a cut). Inside: frosted-glass inspector panels (real translucency — blur over what's behind; the product's Studio design language) hover above the wire carrying live values (`ease: power3.out`, a color token, an fps readout), over a **generated-artwork backdrop** — a flat abstract mural evoking motion trails, generated **palette-neutral (grayscale) and duotoned live by CSS** from the two variables so it re-skins with everything else. **The mural is a full-frame, screen-fixed backdrop: it never moves on screen — the widening iris circle alone reveals it already in place at full frame, it holds dead still while the wire, glass, and chip travel in front of it, and it exits by fading out. It must never slide, and the iris lens itself must render only its glowing ring — fully transparent outside the circle, no visible container.** Drifting `data-*` tags ride between mural and glass, clear of all text.
 >
 > **Rhythm (45–52s).** The wire becomes a waveform: **resolve the BGM first, run `hyperframes beats` on it, and drive this region on the detected grid** — the waveform pulses and compact media cards (a lyric line, a photo card, a chart flash) snap onto the wire on real analyzed beats while the camera keeps traveling; each snap gets a tick SFX. At least six beat-hits. SANCTIONED SEAM #2: the beat-hits may hard-cut card content ON the beat — the sanctioned exception, because the camera itself never stops moving through them.
 >
-> **Depth (52–56s).** The wire spirals off the flat plane into real 3D — a **Three.js scene via the frame adapter** (never CSS fake-3D): the camera descends following the wire as it coils around a rim-lit faceted form (ink material on charcoal), mono axis readouts landing on cue, then rises back to the plane with the wire leading the way out. The coil winds up out of the wire and collapses back onto it — its ends never float cut off in mid-air — and the protagonist chip joins the 3D scene for the crossing: it rides the wire straight through the coil's loops and passes behind the form with true depth occlusion, never floating over the geometry as a flat overlay.
+> **Depth (52–56s).** The wire spirals off the flat plane into real 3D — a **Three.js scene via the frame adapter** (never CSS fake-3D): the camera descends following the wire as it coils around a rim-lit faceted form (ink material on charcoal), mono axis readouts landing on cue, then rises back to the plane with the wire leading the way out. The coil winds up out of the wire and collapses back onto it — its ends never float cut off in mid-air — and the protagonist chip joins the 3D scene for the crossing: it rides the coil ITSELF, looping around the form with the wire and passing behind it under true depth occlusion — never cutting straight past on a flat plane, never floating over the geometry as an overlay. Stand the internal camera far enough back that all three turns read as a coil in space, and light the tube so its near and far sides shade differently; a flat-shaded tube seen side-on reads as a 2D sine wave, not a helix.
 >
 > **Render (56–60s).** The wire's end plugs into a render chip; the protagonist clip card from the opening arrives (callback — same chip, having traveled the whole film) and snaps into it. A **seeded confetti burst** fires — mulberry32, **seed 42, each piece holding position for exactly two frames before stepping** (stop-motion feel) — and the VO lands the honest punchline: identical on every render, because determinism is the whole point. "WRITE HTML. RENDER VIDEO." locks up with the install line `npx skills add heygen-com/hyperframes`. The camera finally eases to rest — the film's only true stillness, one breath before the end.
 >

docs/prompting/runtimes-and-3d.mdx

@@ -92,7 +92,7 @@ The rule of thumb: anything the video needs to *know* must be present before ren
 
 This is the clause in the [full capstone prompt](/prompting/capstone#the-full-prompt-verbatim) that buys the piece — prompt language you can lift for your own video:
 
-> **Depth (52–56s).** The wire spirals off the flat plane into real 3D — a **Three.js scene via the frame adapter** (never CSS fake-3D): the camera descends following the wire as it coils around a rim-lit faceted form (ink material on charcoal), mono axis readouts landing on cue, then rises back to the plane with the wire leading the way out. The coil winds up out of the wire and collapses back onto it — its ends never float cut off in mid-air — and the protagonist chip joins the 3D scene for the crossing: it rides the wire straight through the coil's loops and passes behind the form with true depth occlusion, never floating over the geometry as a flat overlay.
+> **Depth (52–56s).** The wire spirals off the flat plane into real 3D — a **Three.js scene via the frame adapter** (never CSS fake-3D): the camera descends following the wire as it coils around a rim-lit faceted form (ink material on charcoal), mono axis readouts landing on cue, then rises back to the plane with the wire leading the way out. The coil winds up out of the wire and collapses back onto it — its ends never float cut off in mid-air — and the protagonist chip joins the 3D scene for the crossing: it rides the coil ITSELF, looping around the form with the wire and passing behind it under true depth occlusion — never cutting straight past on a flat plane, never floating over the geometry as an overlay. Stand the internal camera far enough back that all three turns read as a coil in space, and light the tube so its near and far sides shade differently; a flat-shaded tube seen side-on reads as a 2D sine wave, not a helix.
 
 <video controls muted loop playsinline preload="metadata" src="https://static.heygen.ai/hyperframes-oss/docs/images/prompting/capstone-region-depth.mp4" style={{ borderRadius: "0.5rem", marginTop: "0.75rem" }}></video>
 *That clause, rendered — the region cut from the finished film.*