e90951c277
17 Commits
| Author | SHA1 | Message | Date | |
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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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e5bb7d77e0 |
A reproducible migration, and the first eighteen scenes through it
The library is sixty-one scenes, which is too many to convert from memory or from taste, so the migration is a queue with a gate rather than a judgement call per file. Three pieces. A classifier reads each shader and assigns a tier from evidence in the source — drawn, figure, field, treatment — so two passes over the library reach the same answer and the work has an order. MIGRATION.md is the recipe per tier, written to be followed mechanically. And a gate makes the result verifiable: `consumes` is now a schema field, the lint enforces it in both directions, and the per-scene battery renders each scene under two deliberately distant identities and requires the picture to change. That gate is the part that matters. Without it `consumes` is a comment, and the whole inversion becomes unverifiable at exactly the point where it stops being checkable by eye. With it, a scene that declares the cast and ignores it fails. Eighteen scenes migrated. Four by hand at the drawn tier — Firefly Drift, Metaballs, Floating Geometry, Prism Bloom — and ten at the field tier by script, which is one declaration and one wrapped return. All eighteen pass. The field tier is honestly marginal and the gate says so: every one of the ten moves by 37 to 39 of 255, against 173 to 255 for the drawn tier, and the uniformity across ten unrelated scenes is the tell. That is one global posterisation applying, not ten scenes expressing anything. Cheap, real, shallow. The decomposition moved from identity being worth 54% of the container to 158%, but the stage set changed underneath the measurement and part of that is Metaballs expressing a cast better than Constellation did. What survives the caveat is the useful finding: a migrated library scene carries the identity better than a stage written from scratch to carry it. The four bespoke stages were the wrong shape of effort. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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00ad1d8c2b |
Measure where visual difference comes from, and correct the epic's framing
Two cheap measurements settled a question three expensive ones had not, and both
of them contradicted the diagnosis offered for it.
The stated diagnosis was that the identity's expressive range had become the
bottleneck. It has not. A census of the identities themselves — no GPU, seconds
to run — puts mean distance between twelve songs at 0.43 with no near-identical
pairs and full coverage of every decision space: six of six fills, five of five
lattices, six of six protagonist forms, three of three element scales. The songs
are handed genuinely different designs.
The decomposition then asked whether those designs reach the picture, by holding
the container fixed and varying only the identity, then the reverse:
identity only 0.0299
container only 0.0557
both 0.1101
neither 0.0000
Identity is worth 54% of what the container is worth, against an instrument
noise floor of exactly zero, and the two compose to more than their sum. The
inversion works at the frame level. What it does not do is replace the container.
That corrects EPIC-3 §5, which proposed a song picking two to five stages on the
theory that shared content would substitute for container variety. Container
variety is the larger of the two effects and identity adds to it. Four stages
with a rich identity throws away the 0.056 the library was already providing —
which is exactly the shape of every measurement in this epic: stages have the
lowest floor of any arm and no advantage in spread.
The direction is therefore not a small set of stages. It is the whole library
consuming the cast: keep the sixty-one containers and make them draw the song's
content rather than their own. The migration was filed as a cost; it is the
payoff.
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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e0c0dd664a |
Give the sections shapes, and the songs an opinion about their own edges
Two complaints, one cause: stages were flat blocks and the noise bed was glued to the pad level, so the bed was a constant hiss under a track that never went anywhere. Sections have contours now — rise, fall, swell, dip, surge — sampled per note rather than per stage, so a build builds through its chords instead of stepping between two flat halves. The noise gets its own per-stage level instead of following the pad, which makes it an arrangement element: a riser through a build with its filter sweeping up, a wash under a drop, nearly absent in a breakdown. That is also the better test signal, since the segmenter classifies a section partly on its energy slope and a build that does not build is one it has to guess at. Transition hardness is a per-song axis. Genres differ on this more than they differ on tempo — an ambient record dissolves between its sections and a club record cuts — and until now every song in the bank cut. Soft songs crossfade across a couple of bars; the hardest get the pre-drop trick, where everything stops for most of a beat before the loud stage lands. Five soft, three mid, nine hard, and the builder fails if the bank ever loses either end. The contours immediately broke the axis they were layered onto: section-to- section contrast is dynamic range, so adding it put a floor of 0.50 under a statistic that had reached 0.18. That is what compression IS, so contour depth now scales with the track's dynamics — a limitered master has shallow section contrast as well as a shallow crest. Back to 0.29, which is as low as enveloped notes and hard cuts will go. One regression accepted rather than fixed: the soft fades cost the beatless entries their tempo detection, since the attack that gave a drone a pulse is exactly what a crossfade removes. `drone` reads 170bpm for a 62bpm source. A beatless track has no tempo and the detector is guessing either way; `ember` exists to anchor the low end with a beat that is actually there. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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cfe77fd524 |
Finish the song bank: axis ranges that are real, and a collinearity check
Completes the bank whose first half went in with the scene commits. The remaining work was all in what "covered" means. Two axis ranges were wrong, and being wrong made the coverage report lie in both directions. Loudness is a raw mean spectral magnitude, not a normalised 0..1, so every song read as 0.00 and the axis looked dead. Centroid is mapped to a log frequency axis, so a track of nothing but sub-bass and a 55Hz pad still measures 0.28 and pure hiss measures 0.93 — against a nominal [0,1] the bank would have reported a permanent 50% gap that no synth change could close. Both now carry the range the statistic can really take on, with the reason. Spread on every axis is not coverage of the space, so the tool also measures correlation between axes. It immediately found brightness and noisiness moving together at r=0.95: noise colour had been tied to brightness, one axis wearing two names, leaving the dark-and-noisy quadrant unreachable. Noise colour is now its own parameter — hiss over a sub-bass pad is an ordinary record. That got r to 0.94, and no further. Flatness is the geometric mean of the spectrum over its arithmetic mean across the whole band, so a signal only measures flat if it has energy everywhere, which is the same thing as measuring bright; band-limiting the noise to hold the centroid down empties the top and drops the flatness with it. It is a property of the analyser and real material does the same, so it is allowlisted with its reason. Anything not on that list still fails — the check is there to catch a bank that has collapsed, not to relitigate physics every run. The output is gitignored. It is 172MB of deterministic audio derived from a table that will keep changing: rebuild it, do not carry it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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0c5b0a8d4d |
Close out the twenty: what the gates taught
Three lessons worth more than the scenes: a slow axis has to move a large low-frequency area or the camera's own drift beats it, whole-frame luminance on the kick is the strobe the flash gate exists for and it arrives by accident, and a style trait expressed only as grain measures as no style at all. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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905c217193 |
Three glitch scenes: a press, a loop and a tape
Halftone Misprint is a printing fault rather than an electronic one — the image is never damaged, only separated and reassembled out of register, and nothing else in the library is made of dots. Droste Feedback scales the previous frame where Time Smear translates it, so the image never clears. Analog Wow is the continuous, wet counterpart to Scan Tear and Block Mosh: the error varies smoothly down the frame because every line was written at a different moment. Three things that had to be got right. The halftone ruling is a count of dots across the frame, not a pixel pitch, or a 4K export is the same dot on a bigger sheet. The Droste loop has to CONTRACT — expanding pushes every copy off the edge and leaves a plume instead of a corridor. And all three expressed style only through grain at first, which is the Side Quest 1 complaint: they now put the track's line weight and edge softness into the dot, the ring and the band boundary, taking the measured style response from 24/11/18 to 86/255/88. Neither feedback scene declares a slow axis, with the numbers recorded in the files: their own history moves the ten-second average further than any parameter does. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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91e74ff167 |
A cast census, and the arrangement it needed to be true
"Twenty-three of sixty-one scenes are never cast" was an artefact of the song it was measured on. synthesizeSectioned has one change point, so it segments into exactly two sections and both are quiet kinds — and intro, breakdown and outro are restricted to the restful families for every director. Half the library was unreachable before a seed was drawn, and the measurement reported that as a casting failure. synthesizeArrangement builds a real one: intro, build, drop, breakdown, drop, outro, shaped to hit the segmenter's own classifier rather than to sound like anything. Measured against a bank of those, two scenes out of sixty-one are never a background, not twenty-three. The census exists because "never cast" without a reason is unactionable. A scene can die at the signature gate, at the director's family table, or in the roster draw, and those are three different repairs — a trait declaration, a table, and arithmetic that neither fixes. It reports which one, and it separates being cast as a background from appearing as a translucent overlay, because a library can look fully used while nine scenes carry every frame. What it finds is that eligibility is almost entirely a function of how many traits a scene declares. Four-trait scenes are eligible for every track and open half of all videos; two-trait scenes are eligible for one track in fourteen; the single scene declaring one trait is eligible for none, ever. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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b7c6fd1c5a |
Fix export frame loss: reject codec profiles that reorder frames
The exporter was losing roughly three of every four frames. A 20s render
muxed 319 samples instead of 1200 and played at 15.9 fps, with no error
reported and a file that looked superficially fine.
The cause was B-frames. WebCodecs delivers chunks in decode order, but
EncodedVideoChunk carries only a presentation timestamp — there is no decode
timestamp to recover the real order from. Handed presentation timestamps as
if they were decode timestamps, mp4-muxer saw DTS run backwards and rejected
every reordered chunk. That throw happened inside the encoder's output
callback, where it could not reach the export loop, so it surfaced as an
uncaught error and the render carried on. Only the I/P frames survived, one
per 4-frame GOP, which is exactly the stts pattern the files showed.
Writing the correct timeline instead is not available to us: it needs
negative composition offsets, and mp4-muxer emits ctts as a version-0 box,
which is unsigned. isConfigSupported says nothing about reordering, and
measurement showed latencyMode: 'realtime' does not prevent it either.
So pickVideoConfig now test-encodes 12 frames per candidate and checks the
order they come back in, taking the first profile that does not reorder.
Candidates stay in quality order, high profile down to baseline, so browsers
that never reorder keep the better profiles; baseline forbids B-slices by
spec and is the guaranteed floor. If every supported profile reorders the
export fails up front rather than after minutes of rendering.
Two guards so this class of loss cannot be silent again:
- The output callback catches, routing muxer rejections to the error list
the loop actually checks.
- Frames in and chunks accepted are counted and compared after flush, with
the reordering count and a gap histogram alongside. The count deliberately
tracks chunks the muxer took, not chunks that arrived — counting arrivals
reports success for frames rejected a line later.
Failures now raise a toast over the stage that stays until dismissed. An
export that dies after a long render should not sit unread in a panel.
Also corrects the record from
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Dejvino
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44e1826fcb |
Six more visualizers, built through the scaffolder
Seven per family now, 42 scenes. Each one exists because of the second
line of its header comment — what makes it different from the scenes it
sits beside — since "no two scenes render the same image" is a gate with a
numeric floor:
Smoke Column (flow) a plume with a source, a body and a
dissipating head. Everything moves one way and
widens; an isotropic field has no up.
Cell Divide (organic) a partition, not objects. Every pixel belongs
to a cell, boundaries are hard, no background.
Eclipse Field (minimal) the occluder nearly fills the frame and is not
the subject — the corona around it is. The
library's one high-contrast minimal scene.
Girder Lattice (structural) the only scene whose subject is ABOVE the
camera; perspective converges downward.
Quasicrystal (geometric) five plane waves at incommensurate angles, so
the pattern has local symmetry and no tile,
no cell and no centre.
Time Smear (glitch) nothing is displaced. Each band shows the same
image at a different age — a slit-scan built
from one feedback buffer by giving each band
its own persistence.
The scaffolder produced six skeletons that passed lint and every gate
before a line of shader was written, and all six passed their per-scene
gate first time once written. That is what it was for.
Two real faults, both found by gates rather than by eye:
Cell Divide coloured each pixel by its nearest seed, and exactly on a tie
which seed is nearest comes down to the last bit of a distance. Two renders
disagreed by a whole palette step: 6/255 against a ceiling of 1, and it
also broke Phase 6's preview/export parity because that look casts it.
Blending the nearest tint with the runner-up across the membrane makes the
two answers agree in the limit — and reads better, as membranes rather than
cuts.
The lint's own "prev() with no base image" rule fired on a scene whose
comment explained why it does NOT rely on prev(). Rules that ask "does the
code do X" now run against a comment-stripped copy; the fixed-cost opt-out
still reads the original, since it is a comment.
Phase 6's parity tolerance goes from 1/255 to 2. Measured in order:
unprimed, the first pass differed on frames 0/2/3 — fixed earlier by
priming. Primed and isolated: 0/40 at delta 0, three times over. Primed,
range-warmed and run at the end of the full suite: three frames at delta 2.
The warm-up stays because it is correct, but the residue is GPU load, not
logic, and it is the same 1-2/255 Phases 5 and 7 already account for. A
real divergence scores in the tens.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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Dejvino
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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> |
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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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9d15c3cf49 |
Phase 7: grow the scene library to 16
Ten new scenes, with 'minimal' first: the family was empty, so intros and breakdowns fell through to flow/organic and every track opened at full density. Quiet sections now land on a restful family 48/48 times across 24 seeds, 28 of them minimal. New: Horizon Lines, Spectrum Sculpture, Slow Orb (minimal); Curl Flow (flow); Plasma Bloom, Metaballs (organic); Kaleido Tunnel, Moiré Grid (geometric); Ridge Terrain (structural); Scan Tear (glitch). Four real bugs, three of which the existing gates could not have caught: 1. SHADER PROGRAMS LINK ASYNCHRONOUSLY. three.js uses KHR_parallel_shader_compile, so draws against an unlinked program render wrong. The heaviest scene had its first TEN frames differ from every later render of the same frames. Preview hides this entirely; export renders each frame once, so those frames would ship broken. Added Engine.prime() — WebGLRenderer.compile() plus a discarded warm frame — and the exporter now primes before encoding. Rendering a throwaway frame and reading it back is NOT sufficient; measured, it left 3-5 frames wrong. 2. Moiré Grid declared a param on u_width, which the shader contract already uses for stereo width. GLSL redefinition, and the only symptom was a black frame. Lint now rejects any param uniform colliding with the contract. 3. Spectrum Sculpture strobed at 4 flashes/s. Two causes: rotation measured in turns meant bar-crossing frequency was bars x rate (82 bars put a slow-looking 0.12 turns/s at 10 Hz), and hard band-tier boundaries made every bar switch band simultaneously. Rotation is now in segment units so the rate IS the crossing frequency, bands interpolate, and the range is capped where the flash meter measures zero. 4. Particle Field was being chosen as a primary background despite being mostly empty by design. Scenes now declare role: 'accent'; those are never primary and are judged on variance rather than luminance. Three checks were themselves wrong and were rebuilt: mean-distance metrics unfairly fail sparse scenes for being tasteful rather than static, so "animates" and "no duplicates" now use max channel delta. PLAN.md §1 gains two refinements: programs must be primed before the first frame, and even same-machine the heaviest shaders vary by one LSB under differing GPU load — so the per-scene criterion is max delta <= 1 rather than an identical hash. A real bug scores in the tens there. Full suite 67/67 across all seven phases. Worst 4K frame 3.8ms, worst flash rate 0/s, worst determinism delta 1/255. Adds README.md. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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Dejvino
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59180948d0 |
Phase 5: compositing depth ("C" complete)
Multi-layer stacks with blend modes, feedback, post chain, and a 3D particle layer proving the compositor is genuinely hybrid. Looks now generate accent layers from a different family, composited additively at low opacity, weighted by section energy so intros stay sparse. Adds flash-rate safety (engine/flash.js), which was not in the original plan and should have been. This generates beat-reactive video for publication, and rapid light-dark cycling is the photosensitive-epilepsy trigger; WCAG 2.3.1 caps it at three flashes per second. Classic Wave measured 7-8/s at every output resolution from 96x54 to 1920x1080, so it was a real hazard rather than a sampling artefact. Root cause was general, not one bad shader: `u_time * u_speed` where speed is reactively modulated. Phase is elapsed*rate, so changing the rate at time T jumps phase by T*delta — sixty seconds in, a 0.05 wobble throws the phase three whole units between consecutive frames, and it worsens as the track runs. Fixed by introducing rate params: - schema flag `rate: true` documents and marks them - Layer.resolveParams skips reactivity on them - ArcDriver skips drift on them - validateModule rejects a reactive entry on one - lint-scenes greps shaders for `u_time * u_X` and fails if X is unmarked, so no future scene can reintroduce it Every rate param across the six scenes is now marked. Two checks were needed to find this: a per-look flash check, and a per-SCENE sweep at aggressive params, since the look generator only samples part of the space and a scene can hide an unsafe region for a long time. Gate 10/10. Worst flash rate now 1/s. Feedback stable over 10,000 frames (luminance 0.17-0.59, no saturation or decay). 0.17ms/frame at 1280x720. 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> |