b2c9497bae
19 Commits
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Dejvino
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b2c9497bae |
Epic 5 Phase 2.5 — model blend via alpha, not lumakey
Model stages render with alpha:0 where no mesh covers (transparent clear) and carry dark material colours. Lumakey keys on luma (dot(src,0.212…)), so a dim mesh keyed to ~0 and vanished — Pylon Field 3D / Synthwave Corridor looked black. Use 'normal' for kind:'model' so the alpha is the mask; fragment over dark ground stays covered. Per-stage fog/light tuning deferred to a director param (LookGenerator) per review — not hand-tuned per stage. Co-Authored-By: Claude <noreply@anthropic.com> |
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Dejvino
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16bb67e703 |
Epic 5 Phase 2.2 — actors visible in look description
describeLook now includes describeActorSet so HUD / check output shows which actor archetypes and forms were cast. Look -> actor plumbing is end-to-end: LookGenerator.actors on the look, ArcDriver._actorFor + ModelLayer setActor, Show.renderFrame shared camera injection, all deterministic. Gates: lint 108 clean / 70 literals / 69 scenes green; vite built. Co-Authored-By: Claude <noreply@anthropic.com> |
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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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ef1d24e692 |
Director cuts between palettes; the look panel shows which one is live
One palette for a whole song reads as one colour once five minutes have passed. The track now keeps 2-4 audio-tilted palettes (forced scheme/hue diversity so switches are legible) and the director owns how they are traversed per cue — sequential/pong/kindLed/storyLed/ contrast — with cut or OKLCH blend timed to the cue crossfade. The fine OKLCH paletteArc drift still rides on top of whichever base is active. The look tab renders the full set as a list; the row matching ArcDriver.paletteIndexAt(frame) gets an active border/glow and follows playback/scrub live, with a blend badge while two palettes interpolate. Co-Authored-By: internal-model |
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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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eda8ac3810 |
Composable vs canvas: say which scenes are meant to sit on top of others
The top of the gallery is full of black frames with a bright element on them. That is genuinely varied and thin to watch, and the reason it ranks is that the gallery previews every scene ALONE — which is not how anyone watches one. Measured, the split is not marginal: 37 of 66 scenes paint under 30% of the frame, and the sparsest are exactly the ones topping the ranking. Storm Rift and Pendulum Trace paint 0%, Droste Feedback and Spectrum Sculpture 2%. At the other end Block Mosh covers 98% and Scan Tear 96%. So a scene now declares a `surface`. A canvas fills the frame and belongs underneath; two of them stacked is two pictures fighting rather than one picture with depth. A composable scene is mostly empty by design and reads as elements ON something. The distinction was implicit in `role: 'accent'`, which marked the depth passes and said nothing about the sixty scenes treated as interchangeable backgrounds while half of them were sparse. Verified rather than trusted, in the pattern the rest of the project uses: a gate renders every scene and measures what it actually paints, failing a composable that covers more than 55% — it would hide whatever it sits on — and a canvas that covers less than 8%, which is a canvas in name only. The gate also prints the whole coverage table, since that list is how the library gets labelled in the first place. Casting uses it: only composable scenes are drawn as overlays, and because what goes on top is now guaranteed to leave the shot underneath visible, layering happens far more often — the overlay chance went from 0.12 to 0.3 at its base. The gallery shows coverage and surface beside each score, sorts by sparsest, and says in the header why the two numbers explain each other. Nothing is labelled `composable` yet. Every scene keeps the behaviour it had through `surfaceOf`, which defaults to canvas unless the scene is an accent, so this commit changes the mechanism and not the output. The coverage table is what the labelling should be read off. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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577ec107f6 |
Sweep pool size directly, and withdraw the claim that it mattered
The Epic 3 arms appeared to show that a small casting roster was the largest available win. Swept directly across 4, 8, 16 and 32 over twelve songs with three pool draws each, the differences are 0.003 to 0.007 against a run-to-run noise of +/-0.003 to +/-0.005. Pool size does nothing measurable. The arms varied two things at once — smaller pool AND the same pool for every song — and only the stages-versus-legacy comparison inside them held everything else constant. That one still stands at +14%. POOL_SIZE stays at 8, now on grounds the metric cannot see: about nine distinct scenes in a video rather than seventeen. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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a946f0e105 | wip: instrument guards | ||
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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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acc33cedd7 |
Epic 2.3: let the colour move across a track
The palette was generated once and pushed to every layer of every section for
the whole runtime. Five minutes, one scheme, no movement — and colour is the
strongest perceptual variable the system has, so freezing it wasted the
biggest lever available for making a long video feel like it is going
somewhere.
Deliberately not "a new palette per section". A track has one identity and
the palette is most of it; replacing it mid-video reads as a different video.
What moves is the palette ITSELF — rotated, warmed, opened up — so at four
minutes the image is somewhere the first minute implied. Four modes: static
(one in six or so, a held colour is a legitimate choice), drift (slow hue
travel across the whole track), sections (each kind gets its own offset, so
the colour tells you where you are), and lift (saturation and lightness
rising into a drop).
Movement happens in OKLCH, which needed the inverse of the existing
conversion: rotating hue in RGB changes brightness as a side effect, and that
artefact is the reason this project picked OKLCH in the first place. The
rotation is applied to every colour equally, so the scheme and the spread
that made the palette a palette survive the move.
Bounded on purpose at ±34° hue, ±35% saturation, ±0.07 lightness. A full
rotation would destroy the identity as surely as a new palette; the movement
has to be the kind you notice on a rewatch, not the kind you notice as an
effect.
Four new Phase 11 checks, two of which are the counter-checks that keep this
honest. Colour must actually move (weakest 0.232 channel distance across 18
moving tracks) AND must stay inside its identity. The contrast floor is
asserted at 1620 sampled points across the movement rather than at the two
ends, because a saturation lift can flatten a perfectly good palette
somewhere in the middle. The moved palette is memoised on a rounded shift,
and a fourth check proves a seeked frame gets bit-identical colours to a
played one rather than merely similar — that would have been an export-only
determinism fault.
47/48 on phases 7-11 slow; the one failure is the known load-dependent
Horizon Lines flake already recorded in
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Dejvino
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d14d473974 |
Epic 2.2: cast a director per track
FAMILY_BY_KIND was a module constant, identical for every track ever generated: an intro was always minimal/flow/organic, a drop always geometric/glitch/structural, and intro and outro were literally the same list. Every video made the same genre decisions before a single seeded draw happened — cross-track sameness hiding inside something that looked like configuration. Measured, twenty-nine of forty-two scenes were cast in none of twelve tracks: the library was not too small, most of it was unreachable. There are now five directors, each a coherent point of view about what a song looks like — ambient, brutalist, organicist, corrupt, geometer — and a track casts one, seeded, with the audio tilting the odds and never deciding. Twelve tracks now reach 25 of 41 scenes, up from 13 of 42. The first draft of this got a real thing wrong, and the existing gates caught it. Applying a point of view to every kind meant `corrupt` opened on glitch and `geometer` answered a breakdown with a dense pattern — which broke a Phase 7 invariant that has held since the minimal family existed. That invariant is right: an intro that opens strobing is not bold, it is the exact mistake the family coupling was introduced to prevent, and the viewer meets it fifteen seconds in. So intro, breakdown and outro are restricted to minimal/flow/organic for every director, and the identity lives in build, drop and sustain plus which restful family a director leads with. The constraint is now asserted against the mappings directly, so a sixth director cannot reintroduce it without tripping a gate that names the reason. Four new Phase 11 checks: every scene reachable, no kind starved, no loud family in a quiet section, every director castable. Unrelated pre-existing flake worth recording: Phase 7's "every scene is deterministic" reports Horizon Lines at 2/255 against a 1/255 tolerance when phase 7 runs in isolation, and passes in a full run. Verified present on the previous commit, so it is load-dependent GPU precision rather than anything in this change. 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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2806ef1386 |
Phase 10: variety, twelve scenes, and tooling to write the next one
Watching several finished tracks side by side turned up the problem neither Phase 8 (too few cuts) nor Phase 9 (no through-line) addressed: the same scene cast in two different videos looked like the same footage twice. Section bias is nearly identical between two tracks' drops, so both sampled their parameters around the same centre, and the library's own averageness did the rest. Three answers, none of them a new scene: Temperament — a per-track hand on every parameter dial: intensity, pace, detail, and an extremity that decides how far toward the ends of a range the track is willing to sample. Bias comes from the section and is shared between tracks; temperament comes from the track and is not. Overlays — sometimes a second full scene composited over the shot, from a different family, in a blend that preserves what is underneath and never above 0.6 opacity. Not always: a stack that always doubled up would read as permanently cluttered rather than as occasionally layered. A wider palette — hue now derives from SPECTRAL TILT, the log ratio of treble to body. The centroid is a number most masters sit in the middle of, and the plain body/(body+treble) fraction is worse: low frequencies carry most of the energy in all music, so it read 0.98-1.00 for everything and four different battery tracks came out within 0.02 of each other. The ratio is multiplicative, so its logarithm is what spreads — the same four measure -9.3, -5.0, -4.1, -3.8. Also both ways round the wheel (violet, magenta and pink were unreachable by construction), four new schemes, and seeded chroma profile and lightness curve. Closest battery pair went from 0.005 to 0.113. Twelve scenes take the library to 36, six per family: Aurora Veil, Vortex Drift, Tide Rings, Ink Bleed, Dust Chamber, Salt Flat, Cargo Belt, Gate Corridor, Circuit Bloom, Truchet Fold, Signal Decay, Storm Rift. Weighted toward the 'space' and 'shape' traits, which were thinnest and so the signatures most likely to run a track out of cast — the Phase 9 casting rule means the pool a track draws from is smaller than the library. Also fixes a real one in shots.js: heavy LRU weighting was not enough to make a section reach its whole roster, and a five-shot section still came out 0,2,0,2,0 about a fifth of the time. An unseen companion now wins outright; which one is still free, so only the coverage is guaranteed. Block Mosh declared the camera trait, assigned sigCamera(p) to a p it then never read, and passed the lint's evidence grep. The Phase 9 render gate measured its response to the camera at exactly zero. --- tooling --- Adding a scene was mostly boilerplate and round-trips, which is expensive in both senses. The irreducible cost is the shader body; everything around it is now mechanical: npm run new:scene -- "Name" --family=... --traits=... writes the module, registers it, and leaves a skeleton that already passes every gate, with name-derived constants so two skeletons are not twins. The lint grew the rules that previously needed a GPU to catch: the dead camera above, prev() with no base image, and large loops with no early break (with a `// lint: fixed-cost` opt-out for a genuinely fixed-cost sampling loop). checks.html?scene=Name runs the per-scene acceptance battery for one scene — ten lines and a verdict instead of rendering the whole library to find out whether one shader is alive. The same procedure is a repo skill under .claude/skills/build-visualizer/. --- checks changed, with the measurements --- P5 determinism compared two WebGL CONTEXTS, which is not what it is for. Measured: one context is bit-exact over 40 frames with feedback at 0.6; two contexts disagree by up to 2/255 whether feedback is on or off. It now asserts generation is byte-identical (hard) and rendering within 2/255, since feedback compounds single-level variance. P10's cross-track comparison measures distance RELATIVE to how much image there is. Most scenes are mostly dark, so two genuinely different renders — 25 bars against 53 — scored under 0.02 absolute purely because the black background agrees with itself. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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0ee7a6a3b3 |
Diversify palette by timbre, tame the grain
Palette hue was pinned to the spectral centroid, which is essentially a bass-vs-treble number most mastered pop lands mid-range on, so different songs converged on the same blue/green/purple wedge and warm red/yellow was unreachable. Derive the base hue from a timbre signature instead: the track's spectral mass in the body (sub/low/mid) against the trebles (high/air), mapped onto a cool(blue)->warm(red) ramp, with BPM+tonality +dynamics driving vibrance. Energy and timbre are now two orthogonal axes, and palettes vary meaningfully between tracks. Grain was also overused: every scene adds its own surface grain and the grade adds another on top. Drop the per-scene texture floor, the grade's grain range, and the default, so tonal tracks read clean. |
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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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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> |
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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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Phase 3: look generation ("A" complete)
A track now yields a complete, coherent look with no input: palette, per-section scene assignments, parameter sets, post and feedback settings. Seeded from a hash of the decoded PCM, so a file always renders identically. - palette.js builds in OKLCH, not HSL. HSL lightness is not perceptual, so evenly-stepped HSL palettes have colours that vanish and colours that dominate — which matters when nobody is supervising the choice. Regenerates until the contrast floor is cleared. - Scenes are assigned per section KIND, not per section: a track's drops share a scene and the video reads as one piece instead of a shuffle. - Family preference per kind keeps breakdowns off strobing glitch scenes. - Section bias (energy/density/motion) carries track character into params without scenes knowing anything about audio. - PaletteSource is the seam for cover art later; no scene would change. Gate 9/9, including the look-space spread measurement (mean pairwise distance 0.168 against a 0.08 floor) — the one check that catches a generator that is deterministic and valid but visually collapsed. Known gap, not a regression: all four battery tracks currently choose the same two scenes. There are no 'minimal' family scenes yet, so intro and outro sections fall through to flow/organic. Differentiation is presently carried by palette alone. Phase 7 grows the library to fix it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |