music-video-gen

dejvino/music-video-gen

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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	518e9ea731	Epic 4: record why direction was negative, and what is left The first measurement offered three readings for a direction of -0.14. The third one — the arc is not reaching the image — was correct, and it is now +0.24 against an arcless reference of -0.02, with the floor rising exactly as §8 predicted. Records what the two dead channels were, since neither was visible from the source and both passed every gate that existed: the overlay path had an empty candidate set (0/144 stacks), and the camera moved the frame by a median of 0.029 of a half-frame at a random angle so successive shots cancelled. Both cleared their checks because every bound on them was a ceiling. A gate on a device needs a floor. Also ranks what remains, with the broken seed-variety instrument first: three of the four open items are measurements and they all report through it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-19 06:58:27 +02:00
Dejvino	1ca9fa2f1f	Let scenes layer on each other, and give the camera somewhere to look Two devices that were built, wired up, and doing nothing. OVERLAYS. buildStack gated layering on `surfaceOf(m) === 'composable'`, and no scene in the library declared `surface` — so the only thing that could ever sit on top was the one scene declaring `role: 'accent'`, and the overlay roster excluded accents by construction. Empty intersection, every time: 0/144 stacks carried an overlay. Every layered frame in every song was the same particle field. Labelled the library from the phase 12 coverage gate rather than by eye: the 37 scenes painting under 30% of the frame are composable. Particle Field loses its privileged slot and becomes one of them, keeping only `background: false`, which is the honest part — points in empty space cannot carry a section alone. The reserved accent slot is gone; one roster, two passes at it. 1 distinct overlay scene becomes 27, and the rate lands at 34% of stacks after trimming a base chance that had been tuned while the branch was dead. THE CAMERA. framing.shift moved the frame by a median of 0.029 of a half-frame at a fresh random angle every shot, so successive offsets cancelled and the median jump at a cut was 0.014. Present in every frame, visible in none. look/Camera.js is the director's camera department: the story says tension, order and which act a section is in, and this turns that into where the frame looks and how it travels there. Each director names a camera. Jump distance follows tension and act, speed follows energy, and the curve is one of four. Cuts choose between reframing and matching, so two scenes can still read as one place. Median offset 0.190, median reframe 0.135, and 94% of shots now move during the shot rather than only at the cut. Four new gates, each with a FLOOR — the device this replaces passed every existing check while doing nothing, because the only bound was a ceiling. Also lands the in-progress Epic 4 story layer it builds on: Story.js, phase 13, and the direction statistic. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-19 06:48:13 +02:00

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

518e9ea731

Epic 4: record why direction was negative, and what is left

The first measurement offered three readings for a direction of -0.14. The
third one — the arc is not reaching the image — was correct, and it is now
+0.24 against an arcless reference of -0.02, with the floor rising exactly as
§8 predicted.

Records what the two dead channels were, since neither was visible from the
source and both passed every gate that existed: the overlay path had an empty
candidate set (0/144 stacks), and the camera moved the frame by a median of
0.029 of a half-frame at a random angle so successive shots cancelled. Both
cleared their checks because every bound on them was a ceiling. A gate on a
device needs a floor.

Also ranks what remains, with the broken seed-variety instrument first: three
of the four open items are measurements and they all report through it.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

2026-08-19 06:58:27 +02:00

Dejvino

1ca9fa2f1f

Let scenes layer on each other, and give the camera somewhere to look

Two devices that were built, wired up, and doing nothing.

OVERLAYS. buildStack gated layering on `surfaceOf(m) === 'composable'`, and
no scene in the library declared `surface` — so the only thing that could ever
sit on top was the one scene declaring `role: 'accent'`, and the overlay roster
excluded accents by construction. Empty intersection, every time: 0/144 stacks
carried an overlay. Every layered frame in every song was the same particle
field.

Labelled the library from the phase 12 coverage gate rather than by eye: the
37 scenes painting under 30% of the frame are composable. Particle Field loses
its privileged slot and becomes one of them, keeping only `background: false`,
which is the honest part — points in empty space cannot carry a section alone.
The reserved accent slot is gone; one roster, two passes at it. 1 distinct
overlay scene becomes 27, and the rate lands at 34% of stacks after trimming a
base chance that had been tuned while the branch was dead.

THE CAMERA. framing.shift moved the frame by a median of 0.029 of a half-frame
at a fresh random angle every shot, so successive offsets cancelled and the
median jump at a cut was 0.014. Present in every frame, visible in none.

look/Camera.js is the director's camera department: the story says tension,
order and which act a section is in, and this turns that into where the frame
looks and how it travels there. Each director names a camera. Jump distance
follows tension and act, speed follows energy, and the curve is one of four.
Cuts choose between reframing and matching, so two scenes can still read as one
place. Median offset 0.190, median reframe 0.135, and 94% of shots now move
during the shot rather than only at the cut.

Four new gates, each with a FLOOR — the device this replaces passed every
existing check while doing nothing, because the only bound was a ceiling.

Also lands the in-progress Epic 4 story layer it builds on: Story.js, phase 13,
and the direction statistic.

Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>

2026-08-19 06:48:13 +02:00

3 Commits