2 Commits

Author	SHA1	Message	Date
Dejvino	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>	2026-08-20 09:02:01 +02:00
Dejvino	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>	2026-08-05 23:59:20 +02:00