7aa60d7336
10 Commits
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Dejvino
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7aa60d7336 |
Epic 5 Phase 0 — actors have bodies; the stage has depth
ActorGenerator is the cast with bodies: generateActor{mpl} takes
{summary,rng,archetype,personality,identity} and returns a serialisable
ActorSpec — same audio-tilts-centre / seed-picks-within rule as
Personality/Identity, forked rng so adding an actor never shifts later
decisions. Five archetypes (monolith/swarm/walker/vehicle/structure),
per-track actor set on look.actors, HUD helper included. Stage C will
grow as a library on this without infra changes.
Mesh twin of Identity.form: actors/meshes.js builds BufferGeometry from
the same assembly (cast SDF → Shape → ExtrudeGeometry, box/capsule/
torus/sphere primitives, symmetry folding radial/mirror/stack). Shared
with the shader impostor path — one character, two projectors.
Renderer depth targets: createDepthTarget / createTarget{depthTexture}
for WebGL DepthTexture plumbing.
Compositor shared rig: one PerspectiveCamera + DepthTexture so a ground
mesh can occlude a subject mesh from another layer. 4/scale dolly,
Personality.camera drift/sway/spin, framing shift — matches particles.js
and shader epilogue behaviour. ModelLayer (kind:model) with
build/update(actorSpec) and sharedCamera injection; createLayer dispatches
on model. Shader contract gains MODEL_PREAMBLE.
LookGenerator now derives actors before scenes; ArcDriver._actorFor +
_layerFor wires ActorSpec into ModelLayer; schema validates kind:model
and actor archetype; lint determinism gate covers actors/.
Gate: lint 107 files clean, 70 shader literals, 68 scenes green; vite
build 294 modules; ActorGenerator determinism + mesh smoke tests pass.
Co-Authored-By: Claude <noreply@anthropic.com>
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Dejvino
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144c8c918e |
The song brings a body, not only an outline
A silhouette is the same picture from every angle, so a scene that turns one is
showing you the same shape rotated. That is the ceiling the cast has been under:
it can be notched and hollowed and it still cannot be walked around.
So the identity generates an ASSEMBLY — two to six parts, each a primitive with
an offset, a scale, a rotation and a boolean op, all under a symmetry. The
symmetry is the load-bearing half: parts unioned at random positions read as
debris, the same parts folded read as designed, and only a designed object is
worth calling a protagonist. Prism parts are the existing 2D profile extruded,
so the solid and the silhouette stay one character rather than two generators
running side by side.
It travels as data like every other artifact: three vec4 rows per part in
u_formPart, plus the scalars. Scenes declare `consumes: ['form']` and get
castSDF3, castMarch, castSolid, castChorusSolid and castLit; with no identity
they fall back to the flat profile extruded, so the helpers are safe to call
unconditionally. The chorus is the same rows with fewer parts and its own
proportions — a relative, not a second generator, and no extra uniforms.
Three scenes carry it. Effigy is new and holds the object still while it turns.
Floating Geometry and Swarm were already loops of stamps and are now loops of
bodies; Swarm is what the chorus solid exists for. That is 34.8% of videos
containing a 3D cast, against 11.9% when only Effigy had it.
Measured, the outline does change rather than merely spin: over one turn the lit
area of Effigy's subject varies 14-113% against Soloist's 3-51% for the same
rotation. Whether that reaches the variety blocks is not yet measured, and
HOWTO-variety says so rather than claiming the win.
Four costs, each found by measuring rather than by reading:
* every pixel evaluated every instance's field — Swarm at 59ms/frame against a
60ms ceiling. Bounding-sphere reject first, now 12.3ms.
* instances overlap several deep at the top of the size range, and marching
all of them made Floating Geometry's own gate run for minutes. First-wins
instead of last-wins, which was arbitrary either way.
* a normal inside the march loop multiplies four copies of the SDF by the step
count, because GLSL unrolls a fixed bound. Hoisted out.
* the helpers in the shared preamble made all 68 scenes compile what 3 of them
call. FORM_PREAMBLE is appended per scene instead.
The lint's backtick check was green through two of my own breakages: quoting a
name in a doc comment adds backticks in PAIRS, so parity survives and the
pair-scanner just re-partitions the file. It now finds where a shader literal
opens and requires the next backtick to be a real terminator — which
immediately found a second stray pair.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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ec38def1a9 |
Epic 3, first slice: the song brings its own cast
Four stages, an identity layer, and an A/B that says the idea is right and the
reason it works is not the reason I expected.
A stage has no image of its own. It owns arrangement — a procession, a
constellation, a soloist, a swarm — and what it arranges comes from the track:
`castMain` and `castChorus` for the forms, `inkMask` and `inkValue` for the hand
they are drawn in. The identity generates a protagonist and a chorus with sides,
notches and hollows, plus an ink treatment of weight, edge, fill, outline and
posterisation. All of it travels as uniforms, so it is data rather than code and
a stage consumes it without knowing any other stage exists.
The protagonist IS the signature form rather than a second opinion about it.
They were separate draws in the first version, which let a track built on
hexagons put a round protagonist on screen — the signature said one thing and
the picture said another, and the shape trait stopped meaning anything for
stages. The cast now reads its geometry from the personality live and adds the
notches and hollows that turn a shape into a character.
Measured across seven songs, three arms, same instrument:
arm floor observed spread
stages, four of them 0.0801 0.1133 +0.0332
legacy scenes, four of them 0.0830 0.1122 +0.0292
the unrestricted generator 0.1058 0.1146 +0.0088
The prediction in EPIC-3 §7 was that sharing a cast would drop the floor
sharply. The floor did drop sharply — by a quarter — but nearly all of that came
from casting FEWER scenes per video, not from sharing content: the legacy arm,
four ordinary scenes with no cast at all, gets most of the same benefit. Stages
add about 14% on top of that.
That is worth knowing before building the other four registers. The single
largest available win was hiding in the roster size all along, and it costs one
number to take.
One result runs the wrong way and is recorded rather than explained: coupling is
+0.29 on the legacy arm and -0.18 on the stages. At twenty-one pairs neither is
distinguishable from zero, so it is a flag for a larger sample rather than a
finding.
Also fixed: a backtick inside the shader preamble's template literal, which
closed it and made every check page hang on "starting…" with no error in the
console.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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e6f5a2f0d5 |
Epic 2.5.2: make the framing actually reach the image
Revisiting the framing layer turned up that it was not reaching four of the forty-two scenes, and that none of its gates could have told us. Those gates check the PLAN — cue sizes, the distribution of shot sizes across a population, headroom, seek determinism — and a plan that never reaches the image passes every one of them. Rendered at wide, normal and close, Scan Tear, Pylon Grid, Pitch Shatter and the 3D Particle Field came back byte-identical at every size. The cause was a category error in the first implementation. Framing was applied inside sigCamera, which is gated on the `camera` personality trait — so a scene that declined the track's drift and sway silently declined the shot size as well. That gating is right for a TRAIT and wrong for framing, which is not one: framing is where the camera is standing for this shot, and no scene should be exempt from it because of an unrelated art-direction decision. - Framing now lives in the shader epilogue, applied to the coordinate every fragment scene is handed, so honouring it is not optional. uv is left unframed on purpose: it is screen space, and prev() and sigGrain belong to the output image rather than to the scene being filmed. - Scan Tear and Pitch Shatter build their image from uv deliberately — a signal artefact happens to the signal, not to the world behind it. They now slice on raw uv and build the field they displace from a new framedUv(p), so the tear stays locked to the frame while the imagery behind it is filmed wide or close. - Particle Field receives framing in update() and honours it as a camera dolly, which is what framing literally is when a layer has a real camera. Distance divided by scale, matching the fragment path where the coordinate is divided by it. New gate renders instead of inspecting: 42 of 42 scenes now respond to framing, weakest Ridge Terrain at 0.22 of its own brightness, against a 0.05 floor. Also drops a stale comment on Layer.setFraming that still claimed sigCamera applied it. 105/105 checks pass including the slow set. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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19bfff8651 | Epic 2.5.1: basis for framing layer | ||
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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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2e4e1d7613 | Add OSD with song name | ||
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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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7e31c19d6e |
Phase 0: determinism spine
Engine core: Timeline (fixed dt, audio-mastered in realtime), seeded Rng, Renderer, Layer/ShaderLayer/SceneLayer, Compositor with blend modes, feedback and post chain. Shader scenes are compiled against a fixed uniform contract and define only `vec4 scene(vec2 uv, vec2 p)`, so adding a scene costs a shader plus a params block. Deep Nebula ported from party-stage as the first one. Gate passes, 7/7 in checks.html: - 300 frames rendered twice are bit-identical - a fresh Engine reproduces the same frames - simulated dropped frames change nothing (proves dt is fixed) - seek matches sequential playback - 320x180 vs 1280x720 agree within 0.010 (limit 0.06) - seeded rng reproducible, forked streams independent - compositor reset clears feedback history Static gates: no wall-clock or unseeded randomness in deterministic directories; scene schemas and shader sources agree in both directions. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |