Video Outline is an example of an agent your team can build in Sylvie: give it a brief, an audience and a runtime, and it returns the beat-by-beat skeleton (hook options, the sections in order, the point each one has to land, the footage it needs and the close) with seconds allocated to every beat. It works from your brand brain, so the angle, the proof points and the structures that have already performed for this client are in the outline before the first review. You build the agent once and it plans every video on that memory.
Sylvie does not ship this agent pre-built. It is an example of an agent your team can build with Sylvie, powered by your brand brain, so it runs your workflow the way you actually run it.
Video Outline is one of the agents a video, content or creative team builds in Sylvie, not a finished product we hand over. It sits between the brief and the script: it turns a one-line request (a 60-second product explainer, a three-minute customer story, a 15-second paid cutdown) into a structure a client or a creative director can approve, with the hook, the section order, the message each beat carries and the time it gets.
Most video rework happens because a script was approved before anyone agreed on the shape. You find out in round two that the demo should have opened the video, or that the case study needed a problem section, and now the script, the shot list and the schedule all have to be rebuilt. Getting the structure right on a page costs an hour. Getting it wrong costs a shoot day.
Tell the agent what the video is for: the objective, the audience, the platform, the runtime and anything that has to be in it. It reads your brand brain for the rest: the client's positioning and proof points, the claims that are cleared, the product facts, the objections this audience actually raises, the hooks and formats that performed in past work, and the outline conventions your team already uses. All of it is permission-aware and scoped to that one brand.
Inside Sylvie it builds the outline: several hook options, the beats in sequence, the point each beat has to land, the proof or footage it needs, the seconds it gets and the close with its CTA. It flags where you have no asset to cover a beat and where a claim still needs approval. You reshape it in the same place, and once the structure is signed off it feeds straight into scripting, so the writer starts from an approved skeleton instead of a blank page.
Structural problems surface in an outline you can fix in ten minutes, not in a script three people have already reviewed. The expensive round of notes happens before anyone writes dialogue or books a crew.
Every beat gets its seconds up front, so a 60-second spot is planned as 60 seconds instead of cut down from 95 in the edit. Editors stop deleting the point of the video to make length.
You can walk a client through the shape of the video before production has spent anything. Sign-off happens on a one-page outline, and the script review becomes a conversation about wording rather than direction.
Opening options come from the angles and formats that actually performed for this brand, held in the brand brain, rather than from a generic template. The first three seconds stop being a guess.
The outline shows where a beat needs footage, a statistic or a customer quote you do not have yet. Producers chase those assets during prep instead of discovering the hole in the edit.
The same angle gets planned as a 15-second paid unit, a 60-second social cut and a three-minute site film, each with its own beat structure. You get a coherent set from one strategy session instead of three separate scoping calls.
An outline agent earns its keep wherever video gets briefed faster than it gets planned. Here is where creative and content teams put one to work.
A client asks for a 90-second explainer and sends three bullet points. The agent returns a full beat structure with hook options, the problem framing, the demo sequence and the close, so the first client conversation happens over a real plan and the project skips a week of back and forth.
A case study video has to be filmed before anything can be scripted, because the story comes out of the interview. The agent outlines the arc and converts each beat into the questions that will produce that footage, so the producer walks in with a question list that guarantees the edit has what it needs.
One hero concept has to run as a 6-second bumper, a 15-second paid unit and a 60-second social film. The agent plans all three from a single angle, each with its own hook and beat allocation, so the set feels like one campaign and reaches the editor in a single briefing.
An agency needs to show a prospective client what a series would look like without producing anything. The agent drafts outlines for a full slate in an afternoon, so the pitch goes in with concrete structures and runtimes instead of format names on a slide.
A B2B brand wants the founder on camera every fortnight, but the recordings ramble and the edits take days. The agent outlines each episode into four tight beats with the point per beat, so a 40-minute recording becomes a 25-minute one and post-production shrinks with it.
A published report or a recorded session needs to become short-form video. The agent reads the source and outlines three or four episodes, each with its own argument and hook, so one asset fills a quarter of the video calendar without a new strategy sprint.
A chatbot gives you a plausible structure for a generic brand. It does not know this client's positioning, which claims are cleared, what this audience objects to or which hooks have already worked for them. The agent reads all of that from your brand brain before it plans anything, so the outline is usable on the first pass instead of a starting point you then have to make real.
This agent settles the shape: hook options, the beats in order, the message per beat and the runtime split. Once that is approved, it hands off to writing (your team, or a scripting agent you have also built in Sylvie), so the script gets written against a skeleton the client already signed off on.
No. This page describes an example of an agent your team builds in Sylvie. You define the outline format, the beat conventions and the review flow, and you build it on your own brand brain, so it plans video the way your producers and clients already work.
It reads the client's positioning, proof points, approved claims, product facts, audience objections and how past videos performed, all permission-aware. That is why the outline arrives with the right angle and the right evidence attached, and why it gets sharper as the brain learns from what you actually shipped.
Yes, and you should. Set the sections your team uses, the level of detail per beat, whether it allocates seconds or word counts, whether it flags missing assets, and the outline lands in the shape your producers and clients already read. Building it means the format bends to you, not the other way round.
Yes. Tell it the platform and runtime and it structures accordingly: a vertical 15-second unit built around a first-second hook is planned very differently from a three-minute YouTube film with a slower build. You can generate the whole family of cutdowns from one angle in a single run.
Book a demo and we will map the workflows worth turning into agents, and show how each one runs on your brand brain.
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