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Your Level 1 prompts worked because the workflow filled the gaps for you — the palette, the pacing, the structure. This is Level 2: the skeleton is how you take that control yourself. The copy-paste examples share one skeleton. Each part removes a decision agents most often get wrong on a first try:
  • Route with a slash command — it loads the right workflow and the framework rules.
  • Spec duration and resolution up front. Defaults are 1920x1080 at 30fps.
  • Beats get timestamps. Include pacing instructions (“then hold on the blinking cursor”) — agents skip breathing room unless told.
  • Copy is quoted exactly, with / for line breaks. Unquoted copy gets paraphrased.
  • Technique: name registry blocks exactly as they appear in the catalog — they’re adapted starting points, not drop-ins (blocks ship with demo content the agent rewrites to your beat, so naming one pins the technique). Pin a technique wherever the default choice can fail (see the specification dial).
  • Negatives close the gaps: “no narration” is not “silent” — if you want no sound at all, say “no audio”. Avoid ambiguous phrases like “no external assets” (CDN-loaded runtimes are normal; say “no image or media files” if that’s what you mean).
Assembled:
/motion-graphics Make an 8-second 1920x1080 video. Beat 1 (0-4s): dark macOS terminal types “npx skills add heygen-com/hyperframes” character by character, then hold on the blinking cursor. Beat 2 (4-5s): the terminal shatters into fragments. Beat 3 (5-8s): bold white kinetic text on black slams in word by word, snappy: “YOU JUST MADE THIS / WITH HYPERFRAMES.” Adapt the code-typing and vfx-shatter registry blocks; hand-author the kinetic text. No narration, no image or media files.
Rendered from the prompt above, unedited.
The skeleton isn’t just prompting style — the framework enforces a version of it on itself. Since the composition-structure mandate (0aaac7aa3, PR #2599), a hyperframes feedback report on a visual defect requires a COMPOSITION_STRUCTURE: block — element census, attribute presence, timeline shape — auto-filled from the composition’s own HTML; the CLI soft-warns (never blocks) when it’s missing. Same idea as the six parts above: name the shape explicitly, and both you and the framework reason about it faster.

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The beat formula

The skeleton above structures the ask. Inside each beat, describe the content with the same five slots every time:
One sentence per element, slots in any order: “a giant number (element) counts up to $4.2M with an odometer roll (motion), easing out as it lands (timing), centered (layout) in green on dark navy (style).” Elements you don’t describe, the agent designs — which is fine when you trust its taste and a drift risk when you don’t (see the specification dial).
Beat-timestamped prompting — Beat 2 (4-5s): ... — is HyperFrames’ native language. Diffusion video models bolt time segmentation on top of a single clip; here every beat maps directly to a timed clip in the composition, so per-beat descriptions translate losslessly. Use timestamps liberally.

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Common rewrites

The fixes that come up most, as before/after pairs — each exists because of how the engine actually behaves: Freezing the hold. Compositions hold their final state, so a literal “hold” renders a frozen frame — the single biggest cheap-motion tell.
  • ❌ then everything holds motionless to the end
  • ✅ then everything settles into a gentle ambient idle (breathing scale, slow drift)
A duration with no tail. The subtler version of the same mistake: state a runtime longer than the beats you describe and the leftover seconds become a dead hold by default. Validating this guide’s chart example turned up a 12-second ask carrying about five seconds of described content — the builder had to invent the remaining seven. Either shorten the ask to the content, or say what the tail does.
  • ❌ 12-second video. [five seconds of beats]
  • ✅ 12-second video. [beats] … then hold ~5s on the finished chart with the leader pulsing once and a slow ambient drift
Simultaneity collisions. Two things “at 4s” overlap for a few frames; the renderer does exactly what you wrote.
  • ❌ at 4s the counter fades out and READY stamps in
  • ✅ the counter fades out fully by 4.2s; at 4.2s READY stamps in
Vague negatives. “No external assets” is ambiguous — CDN-loaded runtimes are normal infrastructure.
  • ❌ no external assets
  • ✅ no image or media files
Prose where copy belongs. Unquoted text gets paraphrased; quoted text renders verbatim.
  • ❌ show a tagline about shipping faster
  • ✅ tagline: "Ship faster."
Format-blind numbers. An odometer needs fixed digit columns — “counts 0→0 → 4.2M” forces an awkward “$0.0M” start.
  • ❌ counts from $0 to $4.2M
  • ✅ counts up to $4.2M

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The framework’s own vocabulary

The skeleton above is how you ask. This is what the agent writes, and it’s worth recognizing on sight — when you read a composition, review a diff, or get a lint error, these four are the load-bearing pieces: You rarely write these by hand, but naming them in a prompt is legitimate and sometimes necessary — “put the captions on their own track index,” “keep it one composition file, one timeline” — and it’s the vocabulary every error message uses. The full contract lives in the /hyperframes-core skill; the appendix carries the rules that most often bite.
Capstone thread — the Level 7 film makes this table its scenery. In the Mount region the timeline wire splits into three track lanes and clip chips seat onto them, tagging themselves with the very attributes above — the framework’s own vocabulary, staged as a set. And the whole prompt is this chapter’s skeleton at maximum scale: route, spec, beats (its nine regions), copy quoted exactly, technique pinned per region, and a hard negative list.
This is the clause in the full capstone prompt that buys the piece — prompt language you can lift for your own video:
Mount (7–14s). Traveling along the wire: it splits into three parallel track lanes; clip chips slide in along the direction of travel and seat onto the lanes on their spoken cues (audio track chip, video track chip, our protagonist chip among them). Small mono labels (data-start, data-track-index) tag themselves onto chips as the camera passes. The lanes merge back to one wire as the camera accelerates out.
That clause, rendered — the region cut from the finished film. Next: The specification dial — how much of the skeleton to fill in, and when density stops being optional.