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Commits
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 DejvinoandClaude
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7736390f9c |
Comfort: agitation ceiling, composition validator and whole-screen caps
Whole-screen flashing/coherent motion is now a gated comfort signal rather than a hunt-and-tweak. Three-arm agitation (flash/3, tile-motion/0.32, structure/0.12) over a 1s floating window, worst window wins — engine/agitation.js. Policy centralised in look/comfort.js: director comfort appetite, per-scene agitationOf proxy, agitationWeight lean and stackAgitation. Canvas beat/flux capped in Layer.resolveParams (0.15/0.25, spike→smooth) so one contract change tames every full-frame scene; lint warns above the cap. Selection now filters before casting (look/scene-filter.js, 12+ ranged metrics from checks/scene-metrics.js, SCHEMA 7) and validates after stacking (look/composition-validator.js) with a deterministic retune: drop overlay → swap quiet composable → reselect filtered shot. Fix validator attempt-3 ground-layer bug that crashed ?song=dusk (LookGenerator now passes module, not layer). Eight canvas shaders window their beat/flux (focusField + per-seed hash mask) and report the scaled amount to Layer so the cap stays authoritative: scan-tear, gate-corridor, analog-wow, block-mosh, metaballs, pitch-shatter, scale-mosaic, tide-rings. Checks: scene-gate comfort gate (agitation ≤ 0.70), filmstrip/gallery meters + per-scene drawer, metadata SCHEMA 7 with ranged metrics and fingerprint over agitation/comfort sources. main.js surfaces COMPOSITION_REFUSED as a user-facing error. Lint: 114 files clean, 71 scenes ok. All 17 songs generate looks. Build passes. metadata.json refresh deferred to gallery → Refresh metadata (SCHEMA 7 writer in vite.config). Co-Authored-By: Claude <noreply@anthropic.com> |
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DejvinoandClaude Opus 5
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89e05459c0 |
Every shot stands on something, and the frame has two ends
A section used to be one scene, and two thirds of the library is composable —
sparse by design, elements ON something. Cast as backgrounds anyway, they left
9 of 40 sampled frames under 20% painted, the darkest at 0.3%: a minute and a
half of a few bright things on black, invisible to every gate because every
gate on the stack was a limit rather than a floor.
Every section now stands on a GROUND: a canvas that fills the frame, cast per
section kind so a shot cut changes the shot and not the world. When the shot
fills the frame itself it IS the ground — two canvases stacked is two pictures
fighting. Above that, a coverage BUDGET: director appetite times the section's
energy times where the story is, capped at two frames' worth of material.
The measured facts move into the repo. scenes/metadata.json is generated from
the gallery — coverage as a shot, coverage as a bed, variety, the structural
profile — tracked in git, stamped with a fingerprint of the scenes and the
metric definitions, and refreshed from gallery.html. `surface` is derived from
it rather than declared; nine scenes claimed `canvas` while painting under a
third of the frame, and declaring it is now a lint error. The generator weights
every layering choice by measured structural distance, because family labels
and the render disagree: two `geometric` scenes can be 0.31 apart and a `flow`
and an `organic` scene 0.04.
The gallery's 0.1 red line is gone. It was right when a section was one scene
and wrong now — nineteen scenes were failing a bar for being consistent, which
is a virtue in an ingredient.
Chasing the numbers turned up four real faults:
* A scene that reads prev() cannot be a ground. It returns the whole
composited frame including the layers above it, so a datamosh under a shot
is eating it: the render stopped reproducing from a seek and two WebGL
contexts diverged by 91/255 against a tolerance of 4.
* Screen was the wrong operator for a shot over a bed. It lightens, so a
median quarter of every frame clipped to paper and whole sections rendered
100% white. Replaced by a lumakey — the shot's brightness is its alpha.
* Feedback was an accumulator: a still image settled at 2.3x its own
brightness. Fine over black, fatal over a filled ground. Normalised at 0.6,
plus a highlight shoulder so the top rolls off instead of clipping.
* useTrack never prewarmed, so a fresh Show's first frame differed from every
later render of it — the export-breaking hazard Compositor.prime documents.
Blazing is a decision now, not a side effect: directors declare an appetite for
it, a section must be loud and late in the story to earn one, and quiet kinds
never do. The ceiling gate matches that — a hard cap per section, and no more
than a fifth of them hot at all.
Rendered across twelve videos, middle of every section:
painted 51% mean, darkest 0.3% -> 87% mean, darkest 43%
clipped white 24% median, worst 100% -> 1% mean, worst 30%
separation 0.10 -> 0.44
Seven scenes can ground a section — five geometric, two organic — so every
quiet section of every video stands on one of two beds. That is the library's
largest hole and it is scene work: there is no minimal or flow canvas that
fills half the frame without reading prev().
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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DejvinoandClaude Opus 5
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1ca9fa2f1f |
Let scenes layer on each other, and give the camera somewhere to look
Two devices that were built, wired up, and doing nothing. OVERLAYS. buildStack gated layering on `surfaceOf(m) === 'composable'`, and no scene in the library declared `surface` — so the only thing that could ever sit on top was the one scene declaring `role: 'accent'`, and the overlay roster excluded accents by construction. Empty intersection, every time: 0/144 stacks carried an overlay. Every layered frame in every song was the same particle field. Labelled the library from the phase 12 coverage gate rather than by eye: the 37 scenes painting under 30% of the frame are composable. Particle Field loses its privileged slot and becomes one of them, keeping only `background: false`, which is the honest part — points in empty space cannot carry a section alone. The reserved accent slot is gone; one roster, two passes at it. 1 distinct overlay scene becomes 27, and the rate lands at 34% of stacks after trimming a base chance that had been tuned while the branch was dead. THE CAMERA. framing.shift moved the frame by a median of 0.029 of a half-frame at a fresh random angle every shot, so successive offsets cancelled and the median jump at a cut was 0.014. Present in every frame, visible in none. look/Camera.js is the director's camera department: the story says tension, order and which act a section is in, and this turns that into where the frame looks and how it travels there. Each director names a camera. Jump distance follows tension and act, speed follows energy, and the curve is one of four. Cuts choose between reframing and matching, so two scenes can still read as one place. Median offset 0.190, median reframe 0.135, and 94% of shots now move during the shot rather than only at the cut. Four new gates, each with a FLOOR — the device this replaces passed every existing check while doing nothing, because the only bound was a ceiling. Also lands the in-progress Epic 4 story layer it builds on: Story.js, phase 13, and the direction statistic. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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DejvinoandClaude Opus 5
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e2e5104646 |
Take the effects off the visualizers and leave them to the grade
Forty-nine scenes carried their own `glow`, every one of the sixty-five added its own grain, and a handful had bloom, chroma, haze, smear or trail besides — all of which the post chain already does, with an envelope and a threshold no scene can see. Two uncoordinated effect layers is the smaller half of the problem. The larger half is that an effect knob sampled per song makes a scene look varied across parameter draws while its structure never moves, so the gallery and the variety harness were both being told a scene was original when only its halo had changed. Removed in three shapes. Scene grain goes entirely — the post chain owns it. Statements that ADD a falloff term scaled by the effect are bloom by another name and are deleted. What remains is an intensity on something already drawn, so the uniform is pinned to its default and the knob deleted: the picture survives, the fake variety does not. Reactive entries driving those params went too, since an effect modulated by the audio was the most convincing fake of the lot. That broke the style trait, which is the interesting part. Surface treatment had been leaving the scenes for two commits — sigGrain to post, sigEdge to inkStroke — and removing the last of it left `style` with almost nothing to express: a style+shape signature had two eligible scenes in the whole library. The trait is not obsolete, it has moved, so inkStroke and inkMask now read u_sigLine and u_sigSoft alongside the ink's own weight and edge. A scene drawing in the song's hand honours the track's line weight by construction, and the runtime probe confirms it rather than taking it on trust. This reverses a call made two commits ago for a reason that only became true now. One check needed re-aiming rather than fixing. Two independently built shows are two WebGL contexts, and engine/hash.js says at the top that bit-exactness is a same-context guarantee; the check had been demanding it anyway and getting away with it because the scenes it happened to cast were bit-stable. A casting change put smooth-gradient scenes in frame and the last bit moved. Measured before touching the check: three levels out of 255 across 2.6% of pixels, invisible. The cross-context comparison is now a distance with a ceiling of four, and bit-exactness within one show is still demanded by the check below it. 89/89 checks, 11/11 tests, all static gates. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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DejvinoandClaude Opus 5
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e5bb7d77e0 |
A reproducible migration, and the first eighteen scenes through it
The library is sixty-one scenes, which is too many to convert from memory or from taste, so the migration is a queue with a gate rather than a judgement call per file. Three pieces. A classifier reads each shader and assigns a tier from evidence in the source — drawn, figure, field, treatment — so two passes over the library reach the same answer and the work has an order. MIGRATION.md is the recipe per tier, written to be followed mechanically. And a gate makes the result verifiable: `consumes` is now a schema field, the lint enforces it in both directions, and the per-scene battery renders each scene under two deliberately distant identities and requires the picture to change. That gate is the part that matters. Without it `consumes` is a comment, and the whole inversion becomes unverifiable at exactly the point where it stops being checkable by eye. With it, a scene that declares the cast and ignores it fails. Eighteen scenes migrated. Four by hand at the drawn tier — Firefly Drift, Metaballs, Floating Geometry, Prism Bloom — and ten at the field tier by script, which is one declaration and one wrapped return. All eighteen pass. The field tier is honestly marginal and the gate says so: every one of the ten moves by 37 to 39 of 255, against 173 to 255 for the drawn tier, and the uniformity across ten unrelated scenes is the tell. That is one global posterisation applying, not ten scenes expressing anything. Cheap, real, shallow. The decomposition moved from identity being worth 54% of the container to 158%, but the stage set changed underneath the measurement and part of that is Metaballs expressing a cast better than Constellation did. What survives the caveat is the useful finding: a migrated library scene carries the identity better than a stage written from scratch to carry it. The four bespoke stages were the wrong shape of effort. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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DejvinoandClaude Opus 5
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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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DejvinoandClaude Opus 5
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9d15c3cf49 |
Phase 7: grow the scene library to 16
Ten new scenes, with 'minimal' first: the family was empty, so intros and breakdowns fell through to flow/organic and every track opened at full density. Quiet sections now land on a restful family 48/48 times across 24 seeds, 28 of them minimal. New: Horizon Lines, Spectrum Sculpture, Slow Orb (minimal); Curl Flow (flow); Plasma Bloom, Metaballs (organic); Kaleido Tunnel, Moiré Grid (geometric); Ridge Terrain (structural); Scan Tear (glitch). Four real bugs, three of which the existing gates could not have caught: 1. SHADER PROGRAMS LINK ASYNCHRONOUSLY. three.js uses KHR_parallel_shader_compile, so draws against an unlinked program render wrong. The heaviest scene had its first TEN frames differ from every later render of the same frames. Preview hides this entirely; export renders each frame once, so those frames would ship broken. Added Engine.prime() — WebGLRenderer.compile() plus a discarded warm frame — and the exporter now primes before encoding. Rendering a throwaway frame and reading it back is NOT sufficient; measured, it left 3-5 frames wrong. 2. Moiré Grid declared a param on u_width, which the shader contract already uses for stereo width. GLSL redefinition, and the only symptom was a black frame. Lint now rejects any param uniform colliding with the contract. 3. Spectrum Sculpture strobed at 4 flashes/s. Two causes: rotation measured in turns meant bar-crossing frequency was bars x rate (82 bars put a slow-looking 0.12 turns/s at 10 Hz), and hard band-tier boundaries made every bar switch band simultaneously. Rotation is now in segment units so the rate IS the crossing frequency, bands interpolate, and the range is capped where the flash meter measures zero. 4. Particle Field was being chosen as a primary background despite being mostly empty by design. Scenes now declare role: 'accent'; those are never primary and are judged on variance rather than luminance. Three checks were themselves wrong and were rebuilt: mean-distance metrics unfairly fail sparse scenes for being tasteful rather than static, so "animates" and "no duplicates" now use max channel delta. PLAN.md §1 gains two refinements: programs must be primed before the first frame, and even same-machine the heaviest shaders vary by one LSB under differing GPU load — so the per-scene criterion is max delta <= 1 rather than an identical hash. A real bug scores in the tens there. Full suite 67/67 across all seven phases. Worst 4K frame 3.8ms, worst flash rate 0/s, worst determinism delta 1/255. Adds README.md. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |