2806ef1386
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>
90 lines
3.6 KiB
JavaScript
90 lines
3.6 KiB
JavaScript
// Structural family: a corridor of nested gates receding to a vanishing point,
|
|
// travelled through.
|
|
//
|
|
// Rectilinear depth, which the library did not have: Kaleido Tunnel recedes but
|
|
// is radial and folded, Pylon Grid stands still, Neon City is front-on. Here the
|
|
// camera moves forward through a series of frames that scale up and pass, and
|
|
// the ring geometry is the track's signature form, so a hexagonal video travels
|
|
// through hexagonal gates.
|
|
//
|
|
// Motion is a saw on log-depth, which is what makes gates emerge from the
|
|
// vanishing point at a constant apparent rate instead of rushing at the end.
|
|
|
|
export const gateCorridor = {
|
|
name: 'Gate Corridor',
|
|
family: 'structural',
|
|
kind: 'fragment',
|
|
traits: ['shape', 'camera', 'space', 'style'],
|
|
|
|
params: {
|
|
gates: { type: 'int', range: [3, 14], default: 8, uniform: 'u_gates', bias: 'density' },
|
|
aperture: { type: 'float', range: [0.15, 0.9], default: 0.45, uniform: 'u_aperture' },
|
|
thickness:{ type: 'float', range: [0.02, 0.3], default: 0.09, uniform: 'u_thickness' },
|
|
travel: { type: 'float', range: [0.02, 0.7], default: 0.2, uniform: 'u_travel', bias: 'motion', rate: true },
|
|
rails: { type: 'float', range: [0, 1], default: 0.4, uniform: 'u_rails' },
|
|
lamps: { type: 'float', range: [0, 1.4], default: 0.5, uniform: 'u_lamps', bias: 'energy' },
|
|
vanish: { type: 'float', range: [0, 0.5], default: 0.15, uniform: 'u_vanish' },
|
|
palette: { type: 'palette', count: 5 },
|
|
},
|
|
|
|
reactive: {
|
|
lamps: { feature: 'beat', amount: 0.35, response: 'spike' },
|
|
aperture: { feature: 'bandLow', amount: 0.15, response: 'smooth' },
|
|
},
|
|
|
|
shader: `
|
|
vec4 scene(vec2 uv, vec2 p) {
|
|
float t = u_time * u_travel + u_seed;
|
|
p = sigCamera(p);
|
|
|
|
// The vanishing point sits on the track's horizon, slightly off centre.
|
|
vec2 vanishAt = vec2(sin(u_seed) * u_vanish, sigHorizonY() * 0.35);
|
|
vec2 q = p - vanishAt;
|
|
|
|
vec3 col = pal(0) * 0.04;
|
|
|
|
// Depth rails converging on the vanishing point.
|
|
if (u_rails > 0.01) {
|
|
float ang = atan(q.y, q.x);
|
|
float spokes = abs(fract(ang * 1.9098 + 0.5) - 0.5) * 2.0; // 12 rails
|
|
float rail = smoothstep(0.06, 0.0, spokes) * smoothstep(0.02, 0.5, length(q));
|
|
col += pal(1) * rail * u_rails * 0.25;
|
|
}
|
|
|
|
for (int i = 0; i < 14; i++) {
|
|
if (i >= u_gates) break;
|
|
float fi = float(i);
|
|
|
|
// Log-spaced depth with a saw: each gate walks forward, and when it
|
|
// passes the camera it wraps to the far end.
|
|
float phase = fract((fi / float(u_gates)) + t);
|
|
float scale = u_aperture * exp(phase * 3.2) * 0.35;
|
|
|
|
float d = abs(sigShape(q / max(scale, 1e-3)) * max(scale, 1e-3));
|
|
|
|
// Near gates are drawn thicker and brighter: the only depth cue that
|
|
// matters once the geometry is right.
|
|
float near = phase;
|
|
float w = u_thickness * (0.25 + near * 1.2) * (0.5 + u_sigLine);
|
|
float frame = smoothstep(w, w * 0.25, d);
|
|
|
|
vec3 tint = palRamp(fi * 0.13 + 0.1);
|
|
col += tint * frame * (0.25 + near * 0.75);
|
|
col += tint * exp(-d * 14.0) * near * 0.2;
|
|
|
|
// A lamp at the top of every third gate, pulsing on the beat.
|
|
if (mod(fi, 3.0) < 0.5) {
|
|
vec2 lampAt = vanishAt + vec2(0.0, scale);
|
|
col += pal(4) * exp(-length(p - lampAt) * 26.0) * u_lamps * (0.3 + near);
|
|
}
|
|
}
|
|
|
|
col = sigAir(col, p, 1.0 - smoothstep(0.0, 1.2, length(q)));
|
|
col += sigGrain(uv);
|
|
return vec4(col, 1.0);
|
|
}
|
|
`,
|
|
};
|
|
|
|
export default gateCorridor;
|