89e05459c0
6 Commits
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Dejvino
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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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Dejvino
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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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Dejvino
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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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Dejvino
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2d3ed8eb02 |
Finish the migration: all 65 scenes on the identity artifacts
Two helpers made the bulk of it mechanical. `inkStroke` is a drop-in for
sigEdge — the same line at the identity's weight rather than the track's — and
`castForm` is a drop-in for sigForm, same signature so call sites do not change
shape. With those in place the substitution table is one-to-one:
sigForm( -> castForm( sigShape( -> castMain( sigEdge( -> inkStroke(
Forty-seven scenes went through that pass in one run: twenty-six take the cast
and the ink, twenty-one take the ink alone. Then the gate ran over all sixty-five
and found three the pass had broken, which is the entire reason it exists.
Spectrum Sculpture rendered pure black. It had been using sigShape as a RADIAL
METRIC rather than drawing it, and the cast carries notches and a hollow — an
annulus used as a radius turns a sculpture inside out. Reverted to sigShape and
dropped to ink only. The lesson generalises: a scene that reads a form as
geometry is not a scene that draws it, and the classifier cannot tell those
apart from the source.
Eclipse Field stopped honouring its `style` trait. It opts out of surface grain,
so sigEdge was its only style evidence, and the ink replaced it. The trait claim
is now dropped — and so is the lint change that had let inkMask count as style
evidence, which was wrong and was hiding exactly this. A trait is a property of
the track a scene may honour; an artifact is content it draws. Taking the ink
says nothing about whether a scene responds to u_sigLine.
Circuit Bloom went empty at the bottom of its `grown` range, where the pads were
carried by a hairline and the ink's stroke is thinner than the edge it replaced.
Now filled as well as stroked.
Also: the backtick check now covers every shader literal rather than only the
preamble, because a mechanical pass over sixty files reintroduced one
immediately. Three rounds lost to that typo is enough.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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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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44e1826fcb |
Six more visualizers, built through the scaffolder
Seven per family now, 42 scenes. Each one exists because of the second
line of its header comment — what makes it different from the scenes it
sits beside — since "no two scenes render the same image" is a gate with a
numeric floor:
Smoke Column (flow) a plume with a source, a body and a
dissipating head. Everything moves one way and
widens; an isotropic field has no up.
Cell Divide (organic) a partition, not objects. Every pixel belongs
to a cell, boundaries are hard, no background.
Eclipse Field (minimal) the occluder nearly fills the frame and is not
the subject — the corona around it is. The
library's one high-contrast minimal scene.
Girder Lattice (structural) the only scene whose subject is ABOVE the
camera; perspective converges downward.
Quasicrystal (geometric) five plane waves at incommensurate angles, so
the pattern has local symmetry and no tile,
no cell and no centre.
Time Smear (glitch) nothing is displaced. Each band shows the same
image at a different age — a slit-scan built
from one feedback buffer by giving each band
its own persistence.
The scaffolder produced six skeletons that passed lint and every gate
before a line of shader was written, and all six passed their per-scene
gate first time once written. That is what it was for.
Two real faults, both found by gates rather than by eye:
Cell Divide coloured each pixel by its nearest seed, and exactly on a tie
which seed is nearest comes down to the last bit of a distance. Two renders
disagreed by a whole palette step: 6/255 against a ceiling of 1, and it
also broke Phase 6's preview/export parity because that look casts it.
Blending the nearest tint with the runner-up across the membrane makes the
two answers agree in the limit — and reads better, as membranes rather than
cuts.
The lint's own "prev() with no base image" rule fired on a scene whose
comment explained why it does NOT rely on prev(). Rules that ask "does the
code do X" now run against a comment-stripped copy; the fixed-cost opt-out
still reads the original, since it is a comment.
Phase 6's parity tolerance goes from 1/255 to 2. Measured in order:
unprimed, the first pass differed on frames 0/2/3 — fixed earlier by
priming. Primed and isolated: 0/40 at delta 0, three times over. Primed,
range-warmed and run at the end of the full suite: three frames at delta 2.
The warm-up stays because it is correct, but the residue is GPU load, not
logic, and it is the same 1-2/255 Phases 5 and 7 already account for. A
real divergence scores in the tens.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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