Cut the Curve Transitions

Cut the Curve — the technique catalog

Five SEAM techniques, one principle: cut at peak velocity, match direction and speed on both sides of the cut — plus the two in-scene techniques (§6 arrivals, §7 slides). The seam LAW — vector law, the current, the ledger, the Seam Gate — lives in motion-doctrine; read it first. This skill is the parameters and mechanics. All GSAP code templates (worker + registry): examples/gsap-implementation.md.

Catalog

Z direction is a sign

"Same axis" is not enough on Z — the sign of d(scale)/dt must match across the cut:

Banned mirrors: a receding exit answered by a grow-from-small entry (pull flips to push — the common one, since grow-from-small is the default element entrance), and a push exit answered by an oversized retraction. This binds the incoming scene's OWN entrances during the seam window (cut + ~0.5s), not just the wrapper tween: hold the incoming frame composed, or author its entrance to match the sign. Verify per Seam Gate rule 7.

Blur logic (all Z variants)

Same peak blur on both sides at the swap frame. Blur the WRAPPER, never children.

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1. Zoom-Through (forward)

Z-axis velocity-matched cut; never both texts visible. Everything GROWS: the outgoing text accelerates toward camera, a hard swap hides at peak blur, the incoming text keeps growing into the focal plane. Headlines and short phrases only. Total ≈ 0.4s.

Exit opacity MUST be its own linear tween — power3.in holds opacity near 1 too long. On entry all properties share expo.out.

2. Inverse Zoom-Through (backward)

The pull-back mirror: the outgoing element RECEDES; the incoming arrives OVERSIZED (as if just behind camera) and retracts into the focal plane. Everything SHRINKS. Spend on ARRIVAL/payoff beats — a payoff line, a giant reply, a held end-state — never ordinary boundaries. Total ≈ 0.7s (30% exit / 70% entry).

Blur is 10px text-scale; 18–20px only when both sides are full-bleed surfaces.

Sign discipline: the incoming scene arrives as a composed frame inside the retracting wrapper — no grow-from-small intro in the seam window. Staged entrances happen after the retraction settles, or start ≥1 and retract.

3. Cut the Curve (default scene boundary)

X/Y velocity-matched cut — the default for ALL scene-to-scene boundaries, in the film's current, not an accent. The outgoing hero accelerates in one direction, the cut lands mid-motion, the incoming hero continues the SAME direction and decelerates. Total ≈ 0.6s; directions LEFT / RIGHT / UP / DOWN (default LEFT).

Partial travel: ~12% of frame (≈230px at 1920) — never full off-screen moves.

Mechanics:

• Mirrored eases: exit power4.in + entry power4.out, same distance and duration — the two halves of one power4.inOut, so velocity matches exactly at the cut.
• The fade trick: exit opacity completes at ~25–30% of its travel (fade ≈ 0.18–0.3s vs motion 0.3–0.34s); entry ignites at ~0.35 opacity mid-path. Time the last fading element to die right at the cut — a gap where nothing moves reads as dead air.
• Exit 0.2–0.4s; entry ≥ exit. Optional blur 8–10px.
• Stage ground: #root must be opaque (background: var(--canvas-deep, var(--canvas, #000))) — the mid-window cut opens a summed-opacity < 1 window that flashes white otherwise (see seam-craft).

push-slide exists but violates partial-travel and mid-motion phase; prefer cut-the-curve.

4. Waterfall Cut (word-by-word cut-the-curve)

Cut-the-curve at WORD granularity — the strongest leftward cut for text-to-text seams. Outgoing words ramp out on their own curves; incoming words cascade in mid-flight — a wave the eye rides across the seam.

Scope: worker-authored inside one multi-beat comp (stacked full-frame .beat layers), NOT a registry/injector type — it tweens word spans, not clip wrappers. The boundary into and out of the text-beat block still gets a normal registry transition. Does not count against the 2–3 transition budget.

Rules:

• One direction per chain, riding the current. Inverse zoom is the chain's ARRIVAL beat only.
• Pre-set all words to x: +230, opacity: 0 at build time — immediateRender: false alone leaves un-started words visible at rest.
• A short first beat may exit whole-line: its fade ends ~0.02s before the cut so it is still streaking when the next words ignite — no dead gap.
• Transform/opacity only (seek-safe); opaque stage ground applies.

5. Rack-Focus Blur-Cut (the visible cut)

The one variant where the cut is SEEN: a defocus blur SPIKE hides a single-frame hard swap — a handheld-DSLR focus-pull. Use as an occasional flourish for a state swap of the SAME surface within one visual theme; never the default boundary.

Differences from the others: outgoing stays FULLY OPAQUE until the cut (the blur hides the swap — no early fade); eases power2.in / power2.out (soft optics, not momentum).

Rules:

• Fire only at a narrative beat, ≤ once per ~8s; never mid-caption or during a hold.
• Cut at PEAK blur (≥6px; peak 8–12px, ≤16–18px max) — swapping on the way up shows the cut.
• A subtle scale (~1.06 lens-breathing) sells it as optics.
• Same direction on both sides — the vector law still holds. Entry ≥ exit duration.
• Blur the wrapper; never blur + opacity in one tween on one element (headless compositing bug); never blur a <video> directly (wrap it).

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