c950f8f3b1
11 Commits
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Dejvino
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c950f8f3b1 |
Give a full-frame field a subject the eye can track, and let the song choose
what it does "One pattern across the screen" scenes have nothing to watch. Warping the field around a focal point was the previous attempt and it did not fix that — measured on Voronoi it raised orientation variety while layout stayed at 0.004, which is another way of saying the cells changed and the frame still had no subject. So a subject is now a form that does something TO the field, and which thing is the song's decision rather than the scene's: shift, warp, punch, morph or overlay. The same form punching a hole, bending the pattern or running it at another rate are three different videos, and across six songs the bank picks overlay, morph, shift, morph, warp and punch — so it is a real axis rather than a constant with five names. subjectSDF, subjectMask, subjectEdge and subjectWarp are in the contract, so any field scene can take a subject without knowing where the focal points are. Moiré Grid is the pilot and implements all five impacts. 0.031 to 0.037 — up a fifth, and the layout block moved from essentially nothing to 0.018, which is the first time anything has moved layout on a full-frame field. That is the number that speaks to the complaint: the frame's energy is no longer spread evenly, so there is somewhere to look. It is still under the 0.04 bar, and I have not seen it. The score says there is now a subject; whether it is worth watching is the question the gallery cannot answer. One bug worth recording: the subject helpers were placed above the ink in the preamble, and subjectEdge draws with inkStroke. GLSL has no forward declarations, so the whole preamble failed to compile and every scene using it rendered pure black — which the gallery reported as a variety of exactly 0.000 across all six blocks rather than as an error. An all-zero row means a dead shader, not a boring scene. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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b1e58a6603 |
A focus: somewhere for a full-frame field to be about, tried on Voronoi
Edge-to-edge textures have no composition to vary. Two songs of Voronoi Shatter measured 0.004 apart in the layout block, and that was honest rather than a metric failure — the cells changed and the arrangement did not, because there was no arrangement. So the identity now decides a FOCUS: one to three points, a reach, and a pull that either draws the field in and densifies it or opens a void. The points come off the same lattice everything else is placed on, so a scene using them is composing in the song's terms rather than inventing a centre of its own. focusField and focusWarp are in the contract, available to any field scene that wants somewhere to be about. Voronoi Shatter is the pilot. It tiles in the warped coordinate, so cells crowd toward the focus or pull away from it, and its seams tighten where the field gathers so the effect reads as a change in the shatter rather than a brightness blob laid over one. 0.0463 to 0.0588, comfortably clear of the bar. It did NOT work the way the hypothesis said. The gain is in orientation, 0.140 to 0.194, and in texture; the layout block moved from 0.004 to 0.007, which is still nothing. Warping where the cells sit changes what they look like without changing where the energy is, because the field still covers the frame corner to corner. Layout stays blind to this family until a field is allowed to actually fall away from its focus and stop being full-frame — which is a bigger change to what these scenes are, and worth deciding rather than sliding into. 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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6e4106048b |
Staging: a shared lattice, and the element size the songs were all sharing
The cast and ink slice lowered the floor as predicted but left `scale` — feature
size — consistently WORSE than the legacy arm, 0.033 against 0.053 and well
outside the noise. Every stage still chose its own element size from its own
param range, so every song landed in the same place: the videos shared a cast
and also, accidentally, shared how big everything was.
Staging is the third artifact. A lattice — grid, radial, spiral, scatter,
strata — with jitter, spread, a size hierarchy and a bias toward the middle or
the edges, transported the same way the cast is: uniforms plus a `stageNode`
function in the preamble, no new engine plumbing. Constellation, Swarm and
Procession place on it; the stage keeps its motion and gives up its composition.
Soloist takes only the scale, since a close-up has no composition to share.
`elementScale` is the part that mattered. It is the song's answer to "how big is
this made of", spanning about a factor of six, and it is the decision that was
missing rather than mis-set. Measured, over twelve songs and three runs:
stages spread +0.0111 ±0.0043 → +0.0143 ±0.0008
scale block 0.033 ±0.004 → 0.041 ±0.007
Against the legacy arm at +0.0108 ±0.0071 the harness still says
indistinguishable, and it is right to: the gap is +0.0035 and the legacy arm's
own run-to-run range is twice that. What can be said is narrower and holds up.
Stages have the lowest floor of the three arms by a clear margin — 0.082 against
0.095 and 0.104 — so sharing content does make a video look like itself, which
was the central prediction. And the targeted fix moved the block it was aimed at
in the direction it was aimed.
Also added: a lint check that the shader preamble contains no backticks. Twice
now one has closed the template literal and produced a check page that hangs on
"starting…" with an empty console, which is an expensive way to find a typo.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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ec38def1a9 |
Epic 3, first slice: the song brings its own cast
Four stages, an identity layer, and an A/B that says the idea is right and the
reason it works is not the reason I expected.
A stage has no image of its own. It owns arrangement — a procession, a
constellation, a soloist, a swarm — and what it arranges comes from the track:
`castMain` and `castChorus` for the forms, `inkMask` and `inkValue` for the hand
they are drawn in. The identity generates a protagonist and a chorus with sides,
notches and hollows, plus an ink treatment of weight, edge, fill, outline and
posterisation. All of it travels as uniforms, so it is data rather than code and
a stage consumes it without knowing any other stage exists.
The protagonist IS the signature form rather than a second opinion about it.
They were separate draws in the first version, which let a track built on
hexagons put a round protagonist on screen — the signature said one thing and
the picture said another, and the shape trait stopped meaning anything for
stages. The cast now reads its geometry from the personality live and adds the
notches and hollows that turn a shape into a character.
Measured across seven songs, three arms, same instrument:
arm floor observed spread
stages, four of them 0.0801 0.1133 +0.0332
legacy scenes, four of them 0.0830 0.1122 +0.0292
the unrestricted generator 0.1058 0.1146 +0.0088
The prediction in EPIC-3 §7 was that sharing a cast would drop the floor
sharply. The floor did drop sharply — by a quarter — but nearly all of that came
from casting FEWER scenes per video, not from sharing content: the legacy arm,
four ordinary scenes with no cast at all, gets most of the same benefit. Stages
add about 14% on top of that.
That is worth knowing before building the other four registers. The single
largest available win was hiding in the roster size all along, and it costs one
number to take.
One result runs the wrong way and is recorded rather than explained: coupling is
+0.29 on the legacy arm and -0.18 on the stages. At twenty-one pairs neither is
distinguishable from zero, so it is a flag for a larger sample rather than a
finding.
Also fixed: a backtick inside the shader preamble's template literal, which
closed it and made every check page hang on "starting…" with no error in the
console.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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e6f5a2f0d5 |
Epic 2.5.2: make the framing actually reach the image
Revisiting the framing layer turned up that it was not reaching four of the forty-two scenes, and that none of its gates could have told us. Those gates check the PLAN — cue sizes, the distribution of shot sizes across a population, headroom, seek determinism — and a plan that never reaches the image passes every one of them. Rendered at wide, normal and close, Scan Tear, Pylon Grid, Pitch Shatter and the 3D Particle Field came back byte-identical at every size. The cause was a category error in the first implementation. Framing was applied inside sigCamera, which is gated on the `camera` personality trait — so a scene that declined the track's drift and sway silently declined the shot size as well. That gating is right for a TRAIT and wrong for framing, which is not one: framing is where the camera is standing for this shot, and no scene should be exempt from it because of an unrelated art-direction decision. - Framing now lives in the shader epilogue, applied to the coordinate every fragment scene is handed, so honouring it is not optional. uv is left unframed on purpose: it is screen space, and prev() and sigGrain belong to the output image rather than to the scene being filmed. - Scan Tear and Pitch Shatter build their image from uv deliberately — a signal artefact happens to the signal, not to the world behind it. They now slice on raw uv and build the field they displace from a new framedUv(p), so the tear stays locked to the frame while the imagery behind it is filmed wide or close. - Particle Field receives framing in update() and honours it as a camera dolly, which is what framing literally is when a layer has a real camera. Distance divided by scale, matching the fragment path where the coordinate is divided by it. New gate renders instead of inspecting: 42 of 42 scenes now respond to framing, weakest Ridge Terrain at 0.22 of its own brightness, against a 0.05 floor. Also drops a stale comment on Layer.setFraming that still claimed sigCamera applied it. 105/105 checks pass including the slow set. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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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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2e4e1d7613 | Add OSD with song name | ||
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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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7e31c19d6e |
Phase 0: determinism spine
Engine core: Timeline (fixed dt, audio-mastered in realtime), seeded Rng, Renderer, Layer/ShaderLayer/SceneLayer, Compositor with blend modes, feedback and post chain. Shader scenes are compiled against a fixed uniform contract and define only `vec4 scene(vec2 uv, vec2 p)`, so adding a scene costs a shader plus a params block. Deep Nebula ported from party-stage as the first one. Gate passes, 7/7 in checks.html: - 300 frames rendered twice are bit-identical - a fresh Engine reproduces the same frames - simulated dropped frames change nothing (proves dt is fixed) - seek matches sequential playback - 320x180 vs 1280x720 agree within 0.010 (limit 0.06) - seeded rng reproducible, forked streams independent - compositor reset clears feedback history Static gates: no wall-clock or unseeded randomness in deterministic directories; scene schemas and shader sources agree in both directions. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |