c216e31413
7 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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0a89676cc8 |
One scene, wide: songs against seeds
Six thumbnails is enough to rank sixty-eight scenes and far too few to study one. Worse, six songs at one seed each confounds the two inputs: a scene whose frames are interchangeable might be ignoring the identity or ignoring the music, and the library gallery cannot say which. So a scene's name in the gallery now opens it on a grid — songs down, seeds across, up to every song in the bank by ten draws. Buttons pick the size and walk onto a fresh block of seeds, which is a much better answer to "is it flat or was that ten unlucky rolls" than staring at the same ten. The state lives in the URL, so every button is also a back button. Three scores rather than one, and the two new ones are the diagnosis: ACROSS SEEDS is the same song with a different draw, so low means the scene ignores the identity; ACROSS SONGS is the same draw against different music, so low means it ignores the song. They point at different fixes. The closest pair is outlined, because at 170 cells no eye is finding it. The first version hashed the song name into the seed so a column would not be one roll repeated down the grid. It reads better and measures nothing: with the seed varying on both axes the two scores are the same comparison, and they came back within 0.001 of each other for every scene tried. A column holds its seed fixed now, which is what makes it attributable to the music — and the scores separate, with the seed moving every scene tried more than the song does. 170 cells in 9s. The songs are the slow part and are analysed one at a time so the count moves, then cached for the session. 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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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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71ddd37711 |
A minimum variety bar in the gallery, drawn as a red line
A visualizer that looks the same wherever it appears does not just fail to vary — it leaks between songs, because it is cast into many of them and the viewer who watches two videos ends up recognising the shot rather than the song. That makes the floor a property of the scene, so the gallery now states it and the scene has to clear it. 0.04 to start with, and honestly a starting bar rather than a derived one: set where the flat cluster measurably sits, to be raised as scenes are lifted to it. Drawn twice, because the two readings are different questions. Every meter carries a red marker at the bar, so a single row can be judged on its own. And in the default sort the list is cut by one red line where the scores cross it, which answers the browsing question — everything above that line repeats itself between songs. Also restored progressive drawing, which the caching rewrite had quietly lost: every draw had moved to the end of the build, leaving three minutes of spinner and nothing to look at. The first rows are the interesting ones, since the sort puts the repetitive scenes on top. Verified by seeding the cache with rows spanning the bar and reloading: four below, four above, the line between them, the marker at 20% of each meter, and the grade colours switching at the right place. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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e90951c277 |
Cache the gallery against a fingerprint of the source that built it
Three minutes of GPU work is fine once and intolerable on every page load, so the gallery now builds once and comes back from IndexedDB after that. The key is the part worth getting right. A cache you clear by hand is worse than no cache: it will eventually show last week's pixels while you are judging this morning's change, and it will look like a render, so you will believe it. Here the key is a fingerprint of every file under src/, collected through import.meta.glob so it covers the shaders, the identity, the look generator, the engine and the descriptors without naming any of them — the file that invalidates a render is exactly the one nobody remembers to list. Edit anything and the entry stops matching and the page rebuilds without being asked. Thumbnails are WebP blobs rather than raw pixels: sixty-five scenes at six frames of 256x144 is 57MB raw, and measured, the compressed form is 4.1MB for the whole library. Saving a build evicts every other one, so the store cannot grow without bound. The spinner is a CSS animation on purpose. Building blocks the main thread in bursts and a JS-driven spinner would freeze mid-turn, which reads as a hang exactly when the page most needs to look alive. Verified rather than assumed, six behaviours: the fingerprint is stable across calls; a build round-trips through storage and decodes to a real image (51% non-black); a different fingerprint misses; saving a new key evicts the old; and appending one comment to one scene file moved the fingerprint from 125-f842b05e to 125-c056d7b9, which is the invalidation working end to end. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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c6d96c9d40 |
A gallery, and a debug index to reach it from
Sixty-five visualizers, six renders each, one per song — each carrying that song's whole identity: its cast, ink, lattice, palette and a fresh parameter draw. Side by side, a scene that cannot be changed by the song is obvious in a way no aggregate could show, which is the complaint this answers. It scores as well as shows. Each row carries the mean structural distance between its own six frames, on the same descriptor the variety harness uses and with colour excluded, so six palettes cannot disguise one image. Sorted least-varied first, because browsing sixty-five scenes hunting for the repetitive ones is precisely what a sort order should do for you. The result names names. Thirteen scenes barely change across six songs, and they fall into two groups that were already known separately. The ink-only migrations — Analog Wow, Halftone Misprint, Pitch Shatter, Block Mosh, Scan Tear — are the shallow tier flagged in MIGRATION.md, where the whole migration was one posterisation. And Moiré Grid, Isometric Blocks, Quasicrystal, Truchet Fold, Voronoi Shatter and Apollonian Gasket are the structural twin cliques the library sweep found weeks of measurement ago, arriving here by a completely different route: the sweep compared scenes to each other, the gallery compares a scene to itself, and they agree on the same offenders. debug.html collects the tools, since there are now enough of them that knowing which to open is its own problem. It also carries the two things a newcomer would otherwise learn the hard way: which measurements are safe to steer by (direct render comparisons) and which are not (aggregate ratios), and what to do when a page renders perfectly and does nothing. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |