web: import the camera's RAW, and grade it like the phone

The studio took JPEG, PNG and HEIC and nothing else, so a photographer's own
negatives never reached it. A RAW now loads the way any other file does —
`isRawName` reads the extension off a 24-entry list, the file goes into OPFS
under one slot (`current_image.raw`, beside `current_image.name`, so a reload
finds it again) and `rawDevelop` runs it through LibRaw-wasm: half size, 16-bit
output, camera white balance and the camera's own 3x3 matrix, in bands of 2M
pixels so a 30MB file never holds a second copy of itself. `example-sony.ARW`
(30.3MB) lands as a 3120x2084 picture, no page error.

DEHAZE joins the FX tab, where Lightroom keeps it: a chip off the same
PARAM_DEFS entry (`dehaze`, 0..10) so nothing new renders chips, and the pass is
the dark channel prior — `atmosphericLight` reads A off a 32x32 draw of the
photo, `DEHAZE_SKSL` takes omega up to 0.95 over a floor of 0.1 — measured at
71.8% of the stage's pixels moved between 0 and 10.

The gradient mask grows the six knobs the phone's has: HIGHLIGHT, SHADOW,
WHITE, BLACK, CLARITY and DEHAZE. The mask's falloff is a smoothstep rather than
a line, and CLARITY/DEHAZE inside a mask get a blurred copy of the photo plus
the air A as a second child of the mask shader — so a mask's clarity is clarity
and not a flat brightness lift. The column shows all nine rulers; CLARITY 9
moves 42.2% of the stage, DEHAZE 9 moves 27.9%.

CLARITY stops reading the whole photo per pixel: the single pass that sampled a
15x15 box 225 times is now the three passes the same math wants — 1x15, then
15x1, then a blend, `orig + (orig - B) * 3.2` — about 30 reads. Both signs work
(77.4% of the stage moves at +10, 79.6% at -10), and the negative branch keeps
its mist as it was.

The pointer reviews a look before it is taken: resting on a PHOTO STYLE chip or
a recipe chip lays that look on the photo while it stays there and gives it back
the moment it leaves — byte-identical, measured on four of them (24.9%, 23.8%,
24.5%, 25.3% of the stage moves on, 0.00% off) — while the recipe, the UNDO
stack and the session stay on the look the click left. A hovered look brings its
colour alone: the masks, the dust spots and the mosaic of the photo being edited
ride along, or a pointer crossing a chip row would rub them off. A PRO sim is
left out, since a hover that showed its look would hand over what the click
gates.

Probes: e2e-raw-verify, e2e-dehaze-mask, e2e-mask-verify, e2e-clarity-verify,
e2e-hover-preview2.

docker/frontend/shared/utils/gradientMask.ts

@@ -1,4 +1,5 @@
 import type { GradientMask } from '../types';
+import { CLARITY_GAIN, DEHAZE_FLOOR_T, DEHAZE_MAX_OMEGA } from './toneShader';
 
 // FX tab > LINEAR / RADIAL GRADIENT — Lightroom's two gradient masks, the local
 // adjustments that are a SHAPE rather than a whole-frame knob.
@@ -21,11 +22,14 @@ import type { GradientMask } from '../types';
 // skiaShim.ts), stage for stage: the one pass the spec asks for per mask, in
 // the order the user drew them, each reading what the one before it left.
 //
-// ponytail: the spec's next rung — Highlights/Shadows isolated with pow(luma, 3)
-// weight masks — is not here. Its own section calls it an upgrade, and the three
-// knobs are what "gradient mask" means until a photo shows a sky that needs
-// rescuing apart from the grass under it. The same rung holds Lightroom's
-// per-mask invert and colour/tone ranges.
+// The spec's section 4 — "the system needs to restrict all the above effects to
+// operate only within the mask's area" — is the rest of the block below: the
+// smoothstep soft masks that carry HIGHLIGHT and SHADOW, the two ends WHITE and
+// BLACK move, and the two spatial ones (CLARITY against the frame's own blur,
+// DEHAZE through the dark channel) that the caller hands in the blurred
+// reference and the atmospheric light for. Every one of them rides the same
+// alpha the shape produces and lands through the same `mix`, so a mask at half
+// strength is half of the move.
 export const MASK_KIND = { linear: 0, radial: 1 } as const;
 // Exposure is stored as the EV itself — the spec's own -5..+5 — because that is
 // what `pow(2.0, e)` reads, and a stop is a stop whatever the app's slider units
@@ -54,7 +58,20 @@ const clampEV = (v: number) => (v < -MASK_EXPOSURE_MAX ? -MASK_EXPOSURE_MAX : v
 // cannot produce a shape the overlay and the renderer disagree about. A mask
 // with no shape (a linear drag of no length, an ellipse of no radius) is
 // dropped: it would paint nothing and could never be taken hold of on the photo.
-export function readMasks(masks: GradientMask[] | undefined): GradientMask[] {
+// What readMasks hands back: the stored mask with every knob resolved to a
+// number. The two spatial ones and the four tonal ones are optional in the
+// stored type (a mask saved before they existed has none), so the reader's
+// return type is the one that says they are there.
+export type ReadMask = GradientMask & {
+  highlights: number;
+  shadows: number;
+  whites: number;
+  blacks: number;
+  clarity: number;
+  dehaze: number;
+};
+
+export function readMasks(masks: GradientMask[] | undefined): ReadMask[] {
   if (!Array.isArray(masks)) return [];
   return masks
     .filter((m) => m?.kind === 'linear' || m?.kind === 'radial')
@@ -71,20 +88,44 @@ export function readMasks(masks: GradientMask[] | undefined): GradientMask[] {
       exposure: clampEV(num(m.exposure, 0)),
       contrast: clampA(num(m.contrast, 0)),
       saturation: clampA(num(m.saturation, 0)),
+      // The spec's section 4 knobs: the two tone soft masks, the two ends, and
+      // the two spatial moves. All -10..+10 like every other knob here, all 0 on
+      // a mask stored before they existed.
+      highlights: clampA(num(m.highlights, 0)),
+      shadows: clampA(num(m.shadows, 0)),
+      whites: clampA(num(m.whites, 0)),
+      blacks: clampA(num(m.blacks, 0)),
+      clarity: clampA(num(m.clarity, 0)),
+      dehaze: clampA(num(m.dehaze, 0)),
     }))
     .filter((m) => (m.kind === 'linear' ? Math.hypot(m.ex - m.x, m.ey - m.y) > MASK_MIN : m.rx > 0 && m.ry > 0));
 }
 
+// The two spatial knobs need the frame's own blurred reference (and DEHAZE the
+// atmospheric light) handed to the shader as a second child; the four tonal ones
+// need nothing. One question, asked in one place, so the renderer builds the
+// blur for exactly the masks that read it and the effect is cached for the same
+// answer.
+export function masksHaveSpatial(masks: GradientMask[]): boolean {
+  return readMasks(masks).some((m) => m.clarity !== 0 || m.dehaze !== 0);
+}
+
 // The uniform block the shader for `n` masks reads: the shapes, the ellipse
-// parameters, the knobs with the kind, then the frame the fractions are of.
-// Declaration order, arrays expanded — one buffer is one upload per render, the
-// same shape healUniforms and mosaicUniforms use. Its length is a function of
-// the list, not a fixed capacity, because the shader carries exactly the masks
-// the recipe holds.
-export function maskUniforms(masks: GradientMask[], width: number, height: number): Float32Array {
+// parameters, the knobs with the kind, the tone soft masks, the spatial pair,
+// then the frame the fractions are of — and, when the caller has one, the
+// atmospheric light the dehaze reads. Declaration order, arrays expanded — one
+// buffer is one upload per render, the same shape healUniforms and
+// mosaicUniforms use. Its length is a function of the list, not a fixed
+// capacity, because the shader carries exactly the masks the recipe holds.
+export function maskUniforms(
+  masks: GradientMask[],
+  width: number,
+  height: number,
+  air?: [number, number, number] | null
+): Float32Array {
   const list = readMasks(masks);
   const n = list.length;
-  const u = new Float32Array((3 * n + 1) * 4);
+  const u = new Float32Array((5 * n + 1 + (air ? 1 : 0)) * 4);
   for (let i = 0; i < n; i++) {
     const m = list[i];
     u.set([m.x, m.y, m.ex, m.ey], i * 4);
@@ -95,24 +136,61 @@ export function maskUniforms(masks: GradientMask[], width: number, height: numbe
       [m.exposure, m.contrast / 10, m.saturation / 10, MASK_KIND[m.kind]],
       (2 * n + i) * 4
     );
+    // The tone soft masks and the two ends, then the spatial pair.
+    u.set([m.highlights / 10, m.shadows / 10, m.whites / 10, m.blacks / 10], (3 * n + i) * 4);
+    u.set([m.clarity / 10, m.dehaze / 10, 0, 0], (4 * n + i) * 4);
   }
-  u.set([width, height, 0, 0], 3 * n * 4);
+  u.set([width, height, 0, 0], 5 * n * 4);
+  if (air) u.set([air[0], air[1], air[2], 0], (5 * n + 1) * 4);
   return u;
 }
 
 // The colour inside a mask, in the spec's own order and its own formulas:
 // exposure first (a power of two, so a stop is a stop), then contrast about the
-// middle, then saturation as a mix away from the pixel's own REC-709 luma. The
-// result is clamped to the range a file can hold — the spec's own guard, and it
-// is `mix`ed back over the base by the mask's alpha, so a mask at half strength
-// is half of the move rather than the whole of it.
-const adjustFn = `
-half3 maskAdjust(half3 c, float3 a) {
+// middle, then saturation as a mix away from the pixel's own REC-709 luma. Then
+// the spec's section 2 and 3 on top — HIGHLIGHT and SHADOW through the two
+// smoothstep soft masks its own formula names (`M_shadow = 1 - smoothstep(0,
+// 0.5, L)`, `M_highlight = smoothstep(0.5, 1, L)`), WHITE and BLACK as a gain on
+// the end each one owns, and the two spatial ones against the blurred reference
+// the caller hands in. The result is clamped to the range a file can hold — the
+// spec's own guard, and it is `mix`ed back over the base by the mask's alpha, so
+// a mask at half strength is half of the move rather than the whole of it.
+//
+// `blur` is the frame's bilateral reference (the same one CLARITY and DEHAZE use
+// frame-wide) and `air` the atmospheric light; both are the constants 0 when the
+// shader was built without the second child, and then the two spatial knobs are
+// left out of the pass — the caller only builds that child for masks that ask
+// for them (masksHaveSpatial).
+const adjustFn = (spatial: boolean) => `
+half3 maskAdjust(half3 c, float4 a, float4 tone, float4 fx${spatial ? ', half3 blur, float3 air' : ''}) {
   c = c * half(pow(2.0, a.x));
   c = (c - half(0.5)) * half(1.0 + a.y) + half(0.5);
-  half l = dot(c, half3(0.2126, 0.7152, 0.0722));
-  c = mix(half3(l), c, half(1.0 + a.z));
-  return clamp(c, half3(0.0), half3(1.0));
+  half l = dot(clamp(c, half3(0.0), half3(1.0)), half3(0.2126, 0.7152, 0.0722));
+  // The spec's soft masks, computed in float and narrowed: smoothstep on half
+  // is one more type the shader does not have to guess at.
+  float lf = clamp(float(l), 0.0, 1.0);
+  float ms = 1.0 - smoothstep(0.0, 0.5, lf);
+  float mh = smoothstep(0.5, 1.0, lf);
+  // Half a stop of tone at the knob's own ceiling, the weight the frame-wide
+  // HIGHLIGHT/SHADOW pass uses; + lifts, - pulls back, and the two masks cannot
+  // both be 1 at the same pixel.
+  c = clamp(c + half3(half(0.5 * (tone.y * ms - tone.x * mh))), half3(0.0), half3(1.0));
+  c = c * half(1.0 + 0.5 * tone.z * mh);
+  c = c * half(1.0 + 0.5 * tone.w * ms);
+  half nl = dot(clamp(c, half3(0.0), half3(1.0)), half3(0.2126, 0.7152, 0.0722));
+  c = mix(half3(nl), c, half(1.0 + a.z));
+${spatial ? `  if (fx.x != 0.0) {
+    // CLARITY (doc section 3.1): the pixel against its own blurred surroundings.
+    c = clamp(c + half3(half(fx.x * ${CLARITY_GAIN.toFixed(1)})) * (c - blur), half3(0.0), half3(1.0));
+  }
+  if (fx.y != 0.0) {
+    // DEHAZE (doc section 3.2): the dark channel of the patch is the haze.
+    half3 aa = half3(half(max(air.x, 0.05)), half(max(air.y, 0.05)), half(max(air.z, 0.05)));
+    half dark = min(min(blur.r / aa.r, blur.g / aa.g), blur.b / aa.b);
+    half t = clamp(half(1.0 - fx.y * ${DEHAZE_MAX_OMEGA} * clamp(dark, half(0.0), half(1.0))), half(${DEHAZE_FLOOR_T}), half(1.0));
+    c = clamp((c - aa) / t + aa, half3(0.0), half3(1.0));
+  }
+` : ''}  return clamp(c, half3(0.0), half3(1.0));
 }
 `;
 
@@ -123,7 +201,7 @@ half3 maskAdjust(half3 c, float3 a) {
 // product, and its zero-length guard is the filter in readMasks rather than a
 // branch here: a mask with no length is not a mask. A radial mask's alpha is
 // 1 inside the feather and 0 at the rim.
-const maskBlock = (i: number) => `
+const maskBlock = (i: number, spatial: boolean) => `
   {
     float a = 0.0;
     if (adj[${i}].w < 0.5) {
@@ -140,7 +218,7 @@ const maskBlock = (i: number) => `
       a = 1.0 - smoothstep(max(0.0, 1.0 - rads[${i}].w), 1.0, d);
     }
     if (a > 0.0) {
-      c.rgb = mix(c.rgb, maskAdjust(c.rgb, adj[${i}].xyz), half(a));
+      c.rgb = mix(c.rgb, maskAdjust(c.rgb, adj[${i}], tone[${i}], fx[${i}]${spatial ? ', blurred.eval(pos).rgb, air.xyz' : ''}), half(a));
     }
   }
 `;
@@ -152,17 +230,22 @@ const maskBlock = (i: number) => `
 // a repair laid inside a mask then borrows pixels that already carry the mask's
 // light, which is what makes it match its surroundings, and a MOSAIC over a mask
 // hides what the mask left. The frame the masks are of comes in as `size`, the
-// same uniform HEAL and MOSAIC take.
-export function gradientMaskSkSL(count: number): string {
+// same uniform HEAL and MOSAIC take. `spatial` adds the two things only CLARITY
+// and DEHAZE read: the frame's own blurred reference as a second child, whose
+// image is in the same coordinates the pass runs in, and the atmospheric light.
+export function gradientMaskSkSL(count: number, spatial = false): string {
   return `
 uniform shader img;
 uniform float4 rects[${count}];
 uniform float4 rads[${count}];
 uniform float4 adj[${count}];
+uniform float4 tone[${count}];
+uniform float4 fx[${count}];
 uniform float4 size;
-${adjustFn}
+${spatial ? 'uniform shader blurred;\nuniform float4 air;' : ''}
+${adjustFn(spatial)}
 half4 main(float2 pos) {
-  half4 c = img.eval(pos);${Array.from({ length: count }, (_, i) => maskBlock(i)).join('')}
+  half4 c = img.eval(pos);${Array.from({ length: count }, (_, i) => maskBlock(i, spatial)).join('')}
   return c;
 }
 `;