14d1204e82
4 Commits
| Author | SHA1 | Message | Date | |
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Dejvino
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14d1204e82 |
Make grain a treatment, tempo a governor, and params commit harder
Grain was in every video. It was added twice unconditionally — every scene called sigGrain, and the grade added its own on top — so the only thing that varied between two tracks was how much of it there was. That makes grain the renderer's fingerprint rather than a decision about one video. It is now described rather than dialled (look/grain.js): a mode (off / constant / swell / sections / transient), a cell size in pixels, a refresh rate in frames, a mask (uniform, shadows, highlights, edges, bands) and a chroma amount. Roughly 45% of tracks get none at all. The non-constant modes carry a per-frame envelope computed in Show._postAt from frame and features only, so preview and export still agree. Scene-side grain is gated the same way, and a module can decline it outright with `texture: 0` — crisp line work should stay crisp. The post tab grew a real grain block so any of it can be forced per track. Slow songs got fast scenes. `motion` bias was mostly section energy with tempo as a small correction, so a 70bpm track's drop asked for nearly as much speed as a 150bpm one. Motion is now tempo-dominated, and every `rate: true` param is additionally scaled by a per-track rateScale — measured, 84bpm now samples its rate params at 0.276 of range against 148bpm's 0.571. Parameter sampling also commits harder: extremity starts at 0.45 rather than 0.25 and shapes the draw more aggressively. This was first pushed to 0.82 and backed off to 0.72, because the gates caught the overshoot — seeds began collapsing onto the same range ends and a sparse scene sampled at its low end rendered effectively black. Fallout worth recording: turning the default grade grain off exposed two scenes that were never really animating. Dust Chamber and Eclipse Field passed the Phase 7 movement gate only because per-pixel noise was moving underneath them; both now breathe on their own fixed clock, and Dust Chamber needed a brightness floor as well. Four scenes (Classic Wave, Silk Ribbon, Kaleido Tunnel, Slow Orb) express the style trait ONLY through grain and so cannot opt out yet; they hold a reduced share at 0.35 pending real edge and softness response. Phase 3's look-space check now measures its closest pair relative to image brightness, the same correction Phase 10 already documents for sparse scenes: the absolute number was being propped up by grain rather than by look-space width. Five new Phase 10 checks cover grain distribution, treatment variety, envelope range, the texture opt-out, and tempo. 93/93 pass. Two transport bugs, both stale state surfacing in the UI: - Loading a track replaces audio.src, which stops playback silently, so state.playing stayed true and the play button stayed on pause — the first click after a track change only flipped the flag back. Added stopPlayback(). - The controls row wrapped mid-song because two readouts that change length while playing were sized by their content: the clock crossing ten minutes and the section label whenever a scene name is long or a crossfade appears. The clock is now fixed-width with tabular figures and the section label is the row's only flexible item, laying out at zero width and ellipsising into whatever space is left. The two spacers competed with it for that space and are gone; its own text-align does their job. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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ca5a68eb84 |
Phases 8 and 9: shots, and a production design per track
Both phases come out of the manual gate — watching whole tracks — and both
fix something no automated check was looking for.
Phase 8: shots. A section is a STAGE of the song and can run ninety
seconds; one scene held that long reads as a still image with a wobble on
it. Each section kind now gets a roster of three or four stage visuals
instead of one scene, and each section is cut into shots that rotate
between them on phrase lines, never holding past 22s. The roster stays per
kind, so a track's drops still cut between the same images and the video
keeps its identity; the anchor opens each section and the rotation returns
to it, and when a companion is due it is the least recently shown one.
The arc driver stopped working in sections and started working in cues, one
per shot, so a shot cut and a section change take the same code path and
differ only in transition length. The default transition is a slow
dissolve — two bars calm, one loud; a straight cut is reserved for
sections above the energy threshold, because on calm material a cut reads
as a glitch rather than as an edit.
Phase 9: production design. With cuts every fifteen seconds the next
problem was that the images being cut between shared nothing but the
palette. What a music video actually shares across shots is a location, a
cast, a camera operator and an art direction, so each track now generates a
personality in four traits (shape, camera, space, style) off the look seed.
The traits reach shaders as uniforms plus four helpers in the contract, and
each scene expresses them its own way: Classic Wave's rings take the
signature polygon, Metaballs merge as one, Floating Geometry no longer
picks between a box and a circle because the production already decided.
The part that makes it a design rather than a filter: scenes DECLARE which
traits they honour, a track is built on one or two, and a scene that does
not honour all of them is not cast in that track. The library shrinks per
track on purpose.
Two gates keep the declaration honest — lint greps each shader for evidence
of every trait it claims, and a render check measures that each declared
trait actually moves the image (41 scene/trait pairs, weakest response 64
of 255). A layer with no personality renders bit-identically to before,
which is what keeps every earlier sweep and regression valid.
Checks changed rather than added:
- P4 scene-change and drift checks now measure per shot, not per section;
the crossfade check reads its length off the cue.
- P5 flash sweep runs per shot, so the visuals that only appear
mid-section are measured too.
- P6 preview/export parity primes first (as both real paths do) and
compares at the one-LSB tolerance Phase 7 already uses. Measured over
four consecutive shows: 3 frames at delta 1, then bit-exact — GPU
variance on first render, not a divergence.
- P2's contract-uniform list is derived from the contract instead of
retyped, so the signature uniforms cannot fall out of sync.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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59180948d0 |
Phase 5: compositing depth ("C" complete)
Multi-layer stacks with blend modes, feedback, post chain, and a 3D particle layer proving the compositor is genuinely hybrid. Looks now generate accent layers from a different family, composited additively at low opacity, weighted by section energy so intros stay sparse. Adds flash-rate safety (engine/flash.js), which was not in the original plan and should have been. This generates beat-reactive video for publication, and rapid light-dark cycling is the photosensitive-epilepsy trigger; WCAG 2.3.1 caps it at three flashes per second. Classic Wave measured 7-8/s at every output resolution from 96x54 to 1920x1080, so it was a real hazard rather than a sampling artefact. Root cause was general, not one bad shader: `u_time * u_speed` where speed is reactively modulated. Phase is elapsed*rate, so changing the rate at time T jumps phase by T*delta — sixty seconds in, a 0.05 wobble throws the phase three whole units between consecutive frames, and it worsens as the track runs. Fixed by introducing rate params: - schema flag `rate: true` documents and marks them - Layer.resolveParams skips reactivity on them - ArcDriver skips drift on them - validateModule rejects a reactive entry on one - lint-scenes greps shaders for `u_time * u_X` and fails if X is unmarked, so no future scene can reintroduce it Every rate param across the six scenes is now marked. Two checks were needed to find this: a per-look flash check, and a per-SCENE sweep at aggressive params, since the look generator only samples part of the space and a scene can hide an unsafe region for a long time. Gate 10/10. Worst flash rate now 1/s. Feedback stable over 10,000 frames (luminance 0.17-0.59, no saturation or decay). 0.17ms/frame at 1280x720. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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c9b80308d2 |
Phase 2: param schema, auto-binding, generated UI
All five party-stage shaders now ported. Each declares its params declaratively; uniform binding, UI controls, seeded sampling and arc automation all derive from that one block, so a new scene costs a shader and a schema and nothing else. Port changes: LED-grid masks stripped, hardcoded colours replaced with palette lookups, magic numbers lifted into params. Psychedelic Drift's internal 15-second scene timer removed — keeping the visuals moving is the arc driver's job, and it knows where the song's real transitions are. ParamPanel generates controls from the schema alone and knows about no specific scene; a hand-written control would be a bug. Gate 8/8: schemas valid, uniforms accounted for in both directions, all scenes compile and render, 128 range-sweep frames with no black, blown or flat results, every param exposed in the UI, edits clamped, presets round-trip and survive schema drift. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |