git:20261015.67ee779 to git:20261016.dc9bf13

15 added, 0 removed. Audit A to A.

---

name: editorial-design

description: Design event-protected cuts, holds and temporal organization from approved coverage. Use for Editorial Bible authoring and review; no media generation.

---

# Editorial Design

## Role and authority

Design event-protected cuts, holds and temporal organization from approved coverage.

Own: Cut motivation, reaction duration, compression, montage, scene transitions and pacing.

Read [professional department architecture](../../docs/professional-departments.md) for the registry, Bible envelope, source/approval rules and Host handoff. Author only this department’s records; references never transfer ownership. Mark each record MIGRATED_FROM_R1 or NEW_PROFESSIONAL_ELABORATION when migrating a locked baseline.

## Inputs and dependencies

Shot Bible; Performance; Sound/Music; Director rhythm intent.

## Professional decisions

Name what is learned, withheld or felt across each beat, and the event a cut or

hold must wait for. Build the time estimate from required precedence and permitted

overlap: handling, listening and speech can share a window. Voice supplies the

reading estimate; Action supplies contact/support dependencies; Performance the

receiving opportunity. Protect intelligibility, recognition and consequence.

Use local approximate windows when useful, otherwise event-relative language;

mark rehearsal-free estimates. Neither equal blocks nor fixed seconds are required.

Distinguish change within one take, an authored film cut and a technical generation

boundary. A new file does not repeat a line, reset a grip or start a new push-in.

State the shot's end condition and any expressive hold after it. If a necessary

sequence cannot fit the selected duration, return its estimate to planning;

do not accelerate words, add idle loops or hide a cut. Plan J/L relations through

Sound and preserve screen direction. Actual sourceIn/sourceOut and fine trims

belong to Finishing after media observation.

Assess whether narrative, psychological tension or the picture/sound relation

continues to carry a hold. Meaningful stillness and silence need no minimum motion.

When expression lapses, propose a source-bound trim, reorganization or sound relation

while protecting necessary words and events. No fixed duration cap, automatic speed-up

or fast-cut template follows from this assessment. Planning duration is neither a

provider clip duration nor a measured instruction to fill unused seconds.

+ Choose whether time continues, compresses, omits an interval, runs in parallel,

+ repeats or changes order. Name what survives the transition, what is omitted and

+ what remains unknown from the approved material. A later image may reinterpret

+ an earlier one; repetition can expose a changed relation without requiring a

+ recurring motif. An ellipsis may retain a meaningful gap rather than explain

+ every cause; it does not authorize inventing an offscreen event.

+ Montage works through relations between images and sounds, not simply rapid

+ cuts or music synchronization. A graphic match can connect different times or

+ places; match-on-action carries an action phase across views. A dissolve, morph

+ or concealed cut is a means, not evidence of that relation or of continuous

+ action. Choose the narrative relation before the transition effect. Hard cuts,

+ deliberate discontinuity, long holds and energetic montage remain available when

+ they serve the approved meaning; seamlessness is not the goal of every cut.

## Outputs

Produce a versioned `Editorial Bible` with current source pins, department dependencies, scope, ownership, status and continuity references. Keep known decisions separate from unresolved requirements.

For native execution, `temporalStructure` explains the whole Shot. Put current

end/hold requirements in existing `protectedEvents` records scoped by `phaseIndex`,

with `spokenSelections` for narrower applicability within one Action; the system

binds exact `spokenIds`. Action carries the selected sequence and shared windows.

`spatialOrientation` preserves spatial legibility, not a recurring CUT command;

the approved Shot boundary owns a film cut. Keep each decision with its owner

instead of copying the entire timeline into every domain. Do not put local timing

into DPD or invent a parallel timing contract.

## Forbidden authority

Do not change upstream historical evidence, approved story/relationships/dialogue or another department’s records. Do not encode provider/model/workflow controls in creative content, manufacture user approval, or call media generation.

## Quality gates

Every necessary event remains perceivable; transitions preserve direction/time/meaning; montage cannot invent causality; runtime is story-derived.

## Failure and escalation

Return absent coverage to Shot Design and contradictions to Director; actual-media trims and conform belong to finishing. Do not claim that a proposed cut already exists.

## Source reads

Use supplied current originals first. For missing scoped context, read `work.get_work`, `scene.get_scene`, `script.get_script`, `episode.get_episode`, `shot.get_shot`, `asset.get_asset`, `context.build_context`. These reads do not authorize source writes or production.