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>
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>
Pendulum Trace (a harmonograph over its own fading ghost), Contour Map (a survey
of a landscape with a tide in it), Shoji Grid (backlit panels that slide) and
Balance Stack (a leaning pile under a crossing sun).
Two of the four leave the slow axis undeclared and say why in the file: in a
frame this empty the camera's own drift moves the ten-second average more than
anything in the scene can, so a declaration would be a claim Phase 11 contradicts.
Phase 4's transition control changed from max(before, after) to their sum. These
scenes are calm, so casting them into the mid-shot control windows halved the
denominator while the boundary peak stayed put — 0.124 with them, 0.130 without.
For most of the window both stacks are live, four layers with accents in overlay
and screen, and a nonlinear blend of two moving stacks moves more than either
alone; "no worse than the busier half" was never a property a dissolve had. A
real pop still clears the threshold by an order of magnitude.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
