feat(skills): add marketing skills collection

shared/skills/video/references/edit-anatomy.md

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+# Reverse-Engineering an Edit (The Beat Sheet)
+
+A viral short-form video usually isn't winning on the footage — it's winning on the *edit*: the cut rhythm, the caption style, the punch-ins, the on-screen text landing on the exact word, the b-roll cutaways, the sound design. This reference turns a reference edit you admire into a **reusable edit spec** — a beat sheet you (or an editing tool) can execute against your own footage — without copying a single frame of theirs.
+
+This is the tool-agnostic half of "copy any viral edit": the *decomposition*. The generation is whatever you edit with afterward — CapCut, Premiere, Remotion/Hyperframes, or an AI restyle tool. The spec is the deliverable.
+
+## When to use it
+
+- A competitor's or creator's edit keeps stopping your scroll and you want to understand *why* and replicate the technique
+- You have raw footage (a talking-head clip, a demo) and a reference edit whose style you want to match
+- You're briefing an editor or a template and need the edit decisions written down, not vibes
+
+Don't use it to copy someone's actual creative — this extracts the *editing grammar* (structure, rhythm, caption treatment), not the script, footage, or brand. Same rule as mining organic content for vocabulary in the hook system: take the technique, never the creative.
+
+## Step 1 — Pull the reference so you can actually read the edit
+
+You cannot decompose an edit from a description of it. Get the frames and the timing:
+
+- **watch-video** (visual or multimodal mode) — extracts the transcript *and* samples frames at the cut points, so you can read on-screen text, caption style, and shot changes. This is the primary tool.
+- **social-fetch** — pull the post for the caption, engagement, and the media URL when the reference is a specific tweet/Reel/TikTok.
+- Screenshots of key frames also work if the user supplies them — you need the visual, not just the words.
+
+Note the total duration and roughly how many cuts there are before you start — cuts-per-second is the single most telling number about an edit's energy.
+
+## Step 2 — Extract the anatomy, beat by beat
+
+Walk the reference from 0:00 and log every editing decision. The dimensions that define a short-form edit:
+
+| Dimension | What to read off the reference |
+|---|---|
+| **Shot & framing** | Talking head / screen recording / b-roll / text card; close-up vs. wide; headroom, rule-of-thirds, or dead-center |
+| **Cut rhythm** | Where each cut lands and how fast (cuts-per-second); is it on the beat, on the word, or on the breath? |
+| **On-screen text** | The words, when each appears/disappears, and *where* on the frame (top-third caption vs. big centered statement) |
+| **Caption style** | Font, weight, color, outline/box, and animation (word-by-word pop, karaoke highlight, whole-line) |
+| **Motion** | Punch-ins / zoom pushes, shakes, whip-transitions, speed ramps — where and how aggressive |
+| **B-roll & overlays** | Cutaways, stickers, arrows, emoji, screenshots, meme inserts — what's laid over the base footage and when |
+| **Sound design** | Music choice and where it hits, SFX (whooshes, dings, risers), and deliberate silence before a beat |
+| **Hook (first 2s)** | The single most-copied element — what's on screen and said in the opening two seconds, before anyone's committed |
+| **Pacing curve** | Does it stay frantic, or fast-hook → slower-body → fast-CTA? Map the energy over the runtime |
+
+Read the *pattern*, not just the instances: "a hard cut + punch-in on every new sentence," "caption is one word at a time, yellow, karaoke-highlighted, bottom third," "a whoosh SFX on every scene change." Patterns are what make an edit replicable; a list of 40 individual cuts is not.
+
+## Step 3 — Write the beat sheet
+
+Two artifacts: a per-beat table and a short style summary.
+
+**The beat sheet** — one row per beat (a beat = a cut or a distinct edit event):
+
+```
+| Beat | Time      | Shot            | On-screen text        | Caption style        | Transition / motion   | Audio            |
+|------|-----------|-----------------|-----------------------|----------------------|-----------------------|------------------|
+| 1    | 0:00–0:02 | CU talking head | "STOP doing this"     | word-pop, yellow, ctr| hard in, slow push    | music in + riser |
+| 2    | 0:02–0:04 | screen record   | (caption only)        | karaoke, white, btm  | hard cut + whoosh     | click SFX        |
+| …    |           |                 |                       |                      |                       |                  |
+```
+
+**The style summary** — the 3–5 *signature moves* that make this edit recognizable, stated so they're reusable:
+- e.g. "Every sentence gets a hard cut + a 5% punch-in." / "Captions are one word at a time, bottom-third, karaoke-highlighted." / "A whoosh SFX on every cut; music drops out for 0.5s before the CTA." / "The hook is a bold centered statement on frame 1, no logo."
+
+The signature moves are the real deliverable — someone can apply those five rules to any footage and get the style. The table is the detailed backup.
+
+## Step 4 — Review once, then execute
+
+Show the beat sheet before anyone edits anything — the same review-once gate as the ad-creative creative review page. The reviewer checks two things:
+
+- **The on-screen text says what you want** (mapped to your message, not the reference's)
+- **The scene changes land where you want them** (your footage's beats, not a blind copy of the reference's timing)
+
+Approve, then execute the spec with your footage:
+- **Remotion / Hyperframes** — when you want the edit templated and data-driven (see the programmatic-video section in SKILL.md); the beat sheet *is* the composition spec.
+- **CapCut / Premiere / an editor** — hand off the beat sheet + style summary as the brief.
+- **An AI restyle tool** — feed the style summary as the target style.
+
+## Originality guardrail
+
+You are copying the *edit*, not the content. The beat sheet describes technique (cut rhythm, caption treatment, motion, sound design) applied to **your** footage and **your** message. General editing techniques and style cues are usually reusable — U.S. copyright protects expression, not procedures or methods (17 U.S.C. §102(b)) — but the reference's specific creative expression is not, and closely reproducing a finished video's exact selection and arrangement of choices can still create risk. So copy the grammar, not the finished work: use your own footage, message, script, voiceover, licensed music/SFX/samples, and brand elements. If the reference's "style" is really a specific bit or sketch, that's their creative — draw inspiration, don't reproduce it.
+
+## Common mistakes
+
+- **Describing instead of reading** — you can't extract caption style or cut timing from the transcript alone; pull the frames (watch-video).
+- **Logging instances, not patterns** — 40 cut timestamps isn't a spec; "hard cut + punch-in per sentence" is.
+- **Copying the reference's timing onto different footage** — beats land on *your* words and *your* cuts; the reference gives you the grammar, not the calendar.
+- **Skipping the hook** — the first 2 seconds carry most of the retention; decode them in the most detail.
+- **Reproducing the creative** — matching the edit is fine; re-shooting their exact bit, script, or using their footage/music/SFX is not.