c216e31413
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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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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c099501ead |
Raise the variety bar to 0.1
Deliberately a target rather than a description of where the library sits. Of the scenes measured since the region block went in, only Droste Feedback at 0.324 is comfortably over; Plasma Bloom is 0.082, Voronoi Shatter and Apollonian Gasket 0.062, Moiré Grid 0.047. Most of the library fails this, which is the point — a bar set where the work already is measures nothing. Third value in two days, and both previous moves were instrument corrections rather than changes of mind: the motion block was reading zero for the entire library, and adding the region block made the total a mean over six blocks instead of five. Both raised every score, so 0.04 had quietly drifted down relative to the thing it was judging. Documented as something to re-read off a fresh gallery whenever the descriptor changes, rather than a number to carry forward. The marker now sits at the middle of each meter and the grades land where they should: 0.047, 0.062 and 0.082 all red, 0.140 amber, 0.324 green. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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b879abe230 |
A region block: how differently the parts of a frame behave from each other
The descriptor could say where a frame's energy sat and not whether one part of
the picture was doing something different from another — and that second thing
is what "nothing to watch" means. A pattern spread evenly over the screen has no
subject precisely because every region is the same region, and `layout`
normalises that away: a uniform field and a field with a form standing in it can
come out at nearly the same distribution.
So each ninth of the frame is now characterised in its own right — how much
detail, which way it runs, how many elements — and expressed as its deviation
from the frame's average. Heterogeneity rather than level, so a brighter or
busier frame does not register as a more varied one.
It is immediately the strongest block in the descriptor, and it credits scenes
the old one was underrating:
Apollonian Gasket 0.039 -> 0.062 region 0.180
Plasma Bloom 0.053 -> 0.082 region 0.182
Moiré Grid 0.037 -> 0.047 region 0.097
Droste Feedback 0.219 -> 0.324 region 0.446
Apollonian Gasket is the interesting one. It was called out as looking good and
scoring badly, and the answer turns out to be partly that the instrument was
missing the axis it is good on rather than that beauty and variety are simply
different things. Both were true; only one of them was the instrument's fault.
The metric's own gates still hold, which is the condition for believing any of
this: recolour moves structure 0.019 while moving colour 0.723, a quarter turn
moves it 0.0000, and the same scene against itself is 0.0000 against 0.0992 for
two different scenes.
EVERY SCORE HAS MOVED. The total is a mean over six blocks now rather than five,
and the 0.04 bar was derived under the old one. It needs re-deriving from a fresh
gallery before it is used to judge anything.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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8defef3ed0 |
Tell a dead shader apart from a boring scene in the gallery
A failed shader compile renders black, and black frames are identical to each other, so every block scores 0.000 and the row reads as the least varied scene in the library rather than as a broken one. That happened yesterday — the subject helpers were declared above the ink they call, GLSL has no forward declarations, the whole preamble failed to compile, and the gallery reported a variety of exactly 0.000 with no indication anything was wrong. It is a particularly bad failure mode for a tool whose entire job is ranking scenes by that number. A scene whose first frame has no luminance and no variance is now reported as broken, with both figures and a pointer to the console, and the row is coloured apart from the merely flat ones so it cannot be mistaken for a bad score. The summary counts them separately. Verified against both answers rather than only the happy one: a healthy Moiré Grid comes back 0.0365 with no error, and a deliberately broken copy of the same scene comes back with the diagnosis instead of a zero. Recorded in HOWTO-variety.md alongside the other instrument traps, since the general lesson outlives this instance — a broken render produces the most boring possible numbers rather than an error. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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10eeddcf6d |
A guidance document for building visualizers that vary
HOWTO-visualizers.md gets a scene working. Nothing said how to make one look different from song to song, which is the thing the library is worst at and the thing every measurement this epic has been about. Written as evidence rather than advice: each claim carries the number behind it, so a later change can contradict it. Several already contradict things believed earlier in the same week. It records the failures at least as carefully as the wins, because they were more informative and each looked obviously right beforehand — effects as parameters inflating a score without changing a picture, concentrating disturbance instead of adding it, the roster-size theory that a direct sweep found to be nothing, and reading a form as a metric rather than drawing it. It also documents what the descriptor cannot see, since half of "why is my score low" is there: brightness, colour, rotation, quality, and layout for anything that fills the frame. And it is explicit about which numbers to trust. Direct render comparisons have a noise floor of zero; aggregate ratios swing enough to have produced four withdrawn conclusions in one epic. Ongoing by design, with the open questions listed: coupling has never moved off zero, fixed-geometry scenes have no known route to variety, and the 0.04 bar was set against scores that were depressed by a measurement bug. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |