docs: address remaining prompt guide feedback

Author: vanceingalls

docs/prompting/capstone.mdx

@@ -6,6 +6,8 @@ description: "One prompt, one continuous camera move, every technique in this gu
 <video controls muted loop playsinline preload="metadata" src="https://static.heygen.ai/hyperframes-oss/docs/images/prompting/capstone-timeline-default.mp4#t=0.1" style={{ borderRadius: "0.5rem", marginTop: "0.75rem" }}></video>
 *"The Timeline" — 1920x1080, ~62 seconds, one prompt, one unbroken camera move, unedited.*
 
+The prompt targeted roughly 60 seconds; the delivered render runs 1:02 because the final lockup holds for a two-second breath.
+
 If you read the guide in order, you have already seen every piece of this film. Each region was cut out and embedded in the chapter that teaches its technique — the typed opening in [Code animations](/prompting/code-blocks), the chart and map in [Data and maps](/prompting/data-and-maps), the footage pipeline in [Media and audio](/prompting/media-and-audio), the glass and mural in [VFX](/prompting/vfx-and-liquid-glass) and [Generated artwork](/prompting/generated-artwork), the beat grid in [Music](/prompting/music-and-slideshows), the 3D coil in [Runtimes and 3D](/prompting/runtimes-and-3d), the continuous camera in [Motion](/prompting/motion), the seeded finale in [Rendering and output](/prompting/rendering-and-output). This page is where the pieces become one composition, and the prompt below is the glue: every paragraph of it is a chapter of this guide restated as a binding clause.
 
 The concept is the product: the viewer travels along one literal timeline — the thing HyperFrames is built on — from the first typed character to the finished MP4. Everything in it is true: real catalog counts, real cloud regions, real product surfaces, footage staged as the material the tool processes. And the film has no scenes in the slideshow sense — it is one continuous camera journey through one wide world, which is the chapter's biggest lesson.

docs/prompting/motion.mdx

@@ -1,6 +1,6 @@
 ---
 title: Motion that reads premium
-description: "Seven motion-grammar rules from frame-by-frame study of professional work — nothing stops, the camera acts, action overlaps, imperfection stays reproducible."
+description: "Eight motion-grammar rules from frame-by-frame study of professional work — nothing stops, the camera acts, action overlaps, imperfection stays reproducible."
 ---
 
 By now you can specify a frame precisely — exact copy, exact colors, exact layout, exact timing. This level makes it move. But "make it move" is the wrong instruction, and it is worth understanding why before you write a single motion clause.

docs/prompting/storyboards.mdx

@@ -5,6 +5,8 @@ description: "For multi-scene work, don't prompt the scenes one by one — promp
 
 [Variables and templating](/prompting/variables-and-templating) was about reusing one composition across many renders. This page is the other axis of scale: one film with many scenes. Past a handful of beats, describing each scene from a blank page — "then frame 2 shows X, then frame 3 shows Y" — is the slow way and the way that drifts, because nothing ties the frames to each other. The fast way is to prompt the **plan** once — the throughline, the job each frame does, the rule that paces reveals — and let the build put frames against it.
 
+This narrative vocabulary is a writing discipline, not additional `STORYBOARD.md` schema: the workflow translates the plan into the smaller machine-readable shape the build consumes.
+
 ## Prompt the plan, not the scenes
 
 A storyboard is a short, structured document that sits above the individual frames: one arc, one direction block that every frame inherits, and a light per-frame spec (not a full description) for each key moment. The workflow reads the plan and builds each frame's HTML sub-composition against it — so a plan that's precise about the *shape* of the film produces frames that already agree with each other on pacing, palette, and payoff, without you re-stating any of that per frame.