224ff0b935bb6a0ffe09530c221e5a684f068c22
6 Commits
| Author | SHA1 | Message | Date | |
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 3dtours
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9164bf3228 |
web: read DEHAZE off the dark channel, and let it run both ways
DEHAZE read its haze estimate out of the frame's own bilateral reference — the
patch AVERAGE — where the Dark Channel Prior asks for the patch MINIMUM. That
one word is the whole prior: `dark = min(min(r,g,b)/A)` over a neighbourhood
reads 0 for any patch that holds a shadow or a black frame line, so the
transmission stays at 1 and the patch is left alone, while the average of a
patch that holds a dark pixel is still bright, so every patch looked hazy. The
positive end therefore ground the frame down instead of taking haze out of it:
at +9 the mask moved its own middle band -0.2127 and the frame-wide row moved
the whole frame -0.2311, and the local contrast went the WRONG way (dhp -0.0060
on the mask, -0.0056 frame-wide) — a haze remover that lowers contrast is a haze
remover that is lowering everything.
The pass reads the dark channel from the image it is correcting, five by five
taps at DEHAZE_PATCH_STEP (0.625% of the frame's width per tap, a 2.5%-wide
patch — the DCP's own 15 pixels on a 600px frame, and the same fraction of a
4000px export) in DEHAZE_SKSL and in gradientMask's block, so the mask and the
frame-wide row are the same neighbourhood at every render size. Five by five
rather than fifteen by fifteen because 225 child reads per pixel is what
CLARITY_BLUR_SKSL already refused for a reference the prior does not need to be
that wide. The bilateral reference is now only what CLARITY compares against, so
DEHAZE no longer takes a second child at all.
DEHAZE is signed, which it was not: the knob was 0..10 and the export engine
skipped the pass unless the amount was above zero, so a negative value was a
slider the UI would not even offer. It is -10..+10 now, and the transmission
carries the sign — positive pushes t below 1 and `J = (I - A)/t + A` takes the
scattered light out, negative pushes it above 1 and the same expression scatters
light back in. That is the direction a photo shot through mist wants, and it
needs no second formula: one expression, both signs, the ceiling at
1 + DEHAZE_MAX_OMEGA.
CLARITY's negative side was the last place where a knob meant two different
things depending on where it was read: the frame-wide row softened with a mist
blur of its own radius (MakeBlur, sigma |c|/10*4) while a mask mixed toward the
bilateral reference the positive side reads — two neighbourhoods, two strengths,
one name. CLARITY_BLEND_SKSL now carries both directions of the one move (above
zero the doc's unsharp, below it the mix back toward the same reference, gain
1), so the frame-wide row and a mask's CLARITY are the same reference at the
same strength, and the frame-wide mist blur is gone.
Measured in one harness, one photo, one session, knob at +-9, before -> after,
mask phase and frame phase in the same run (the box is the mask's own middle
box for the mask, the stage's own box for the frame-wide row):
- FRAME DEHAZE +9: dmean -0.1680 -> -0.0751, dhp -0.0056 -> +0.0036, white
band -0.2156 -> -0.0522 — it darkens the haze and raises the contrast
instead of lowering both.
- FRAME DEHAZE -9: dmean +0.0469 (was not offered), dhp -0.0010 — the same
knob on the other side, and the frame gets hazier.
- MASK DEHAZE +9: dmean -0.1490 -> -0.0513, dhp -0.0060 -> +0.0039, white band
-0.1234 -> -0.0274, dark band -0.0595 -> -0.0075 — a mask's DEHAZE is now
the frame-wide move on the mask's own pixels (dhp +0.0039 against the
frame's +0.0036).
- MASK DEHAZE -9: dmean +0.0319, dhp -0.0013.
- FRAME CLARITY -9: dhp -0.0200 -> -0.0094, white band -0.1112 -> -0.0203, so
the frame-wide row no longer pays for its soften by flattening every white
in the frame; MASK CLARITY -9 is the same move (dhp -0.0150, white band
-0.0103) and the two now agree in direction, sign and rough magnitude at
-9. CLARITY +9 is untouched on both sides (+0.0335 mask, +0.0307 frame) and
every other knob's numbers are unchanged to within +-0.0005, which is the
run-to-run noise of the same harness.
`step` was the uniform's first name and SkSL refused the shader with it (a
builtin), which is how a whole DEHAZE row came back with all-zero deltas in the
first measurement after the change; `stepPx` is what compiles. `npm run
typecheck` and `npm run build` are clean, and the stage draws with no page error
(the only console error is the dev server's own `/api/events` 404).
Not ported: nothing. The phone's renderer has no gradient mask and no
atmospheric-light estimate to mirror; `shared/utils/toneShader.ts` and
`shared/utils/gradientMask.ts` are the web engine's own files.
Probes: measure-parity (both phases in one run, one photo, before and after —
the same harness the previous commit was scored with), measure-dehaze2 (the same
script with only DEHAZE in both phases, plus a console listener, which is how
the `step` uniform was caught), sim-dehaze-dcp (the offline simulation that
picked the min-patch over the average: clear frame +9, contrast 0.0248 -> 0.0292
against the average's 0.0248 -> 0.0235).
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3dtours
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97bdf605e2 |
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. |
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3dtours
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0e9f78bd5e |
web: give the grain a size of its own, and read the count off the print
MONOCHROME GRAIN was one integer knob 0..10 with one meaning, how much. It is now
a strip of three: AMOUNT — the same knob, in half steps — SIZE, a percentage of
the stock's own grain cell (50..200%, so the same number means the same texture
relative to the picture on both platforms), and an inert readout of N/INCH, the
clump count the two knobs and the stock add up to in the print's own terms (300
dpi = 300px of the 1080-wide reference the knob was tuned at).
Emulsion is not one grain size across the frame: the coating settles unevenly.
The field now prints that — the same hash read slowly (ZONE_FREQ = 1/96 cells,
turned off the axes, smoothed so a border between two patches is a slope and not
a seam) swings each patch's own cell by half of ZONE_SWING either way, ±20%.
Nothing in it moves the field's mean: a coarser patch prints bigger clumps, not a
brighter one, which is why the strip can read out one number while the frame
carries a range.
A patch may not swing a cell under the pixel the target can print, or the clumps
are sub-pixel and print as static — aliasing, not a finer emulsion. The shader
takes that floor as a `mincell` uniform beside the cell (u, mincell, seed.xy, in
declaration order): an export passes one output pixel, a preview one device pixel
(1 / PixelRatio), which is the floor the phone's preview already needed.
SIZE is stored as an integer percent so no float noise reaches the recipe JSON,
and it is read by the same two engines that read grain: the web's
grainCell(width, stock, sizePct) and the phone's grainCell(width, minCell,
sizePct). The chip above the strip carries the amount in half steps the way TEMP
carries the kelvin, and the readout moves with SIZE, not with AMOUNT.
Measured:
grain-controls-test.cjs 20/0 — the strip carries grp-grain, grain:amount,
grain:size and grain-inch; the AMOUNT ruler is 0..10 step 0.5, and 3 -> 3.5
moves the frame (sigma 18.53 -> 21.91, new hash) without moving the readout;
10 -> sigma 60.43, 0 -> sigma 0; SIZE 200% -> 130/INCH (sigma 40.06), 50% ->
522/INCH (66.56: under the preview's pixel floor what is printed is static,
not finer grain); the region claim on an 8x8 grid of the flat frame gives
tile sd 51.0..66.1, max/min 1.295, and a tile mean spread of 1.14 — a coarser
patch is not a brighter one.
grain-size-test.cjs 17/0 (was 12/0) — the SIZE rule and the readout on the
module itself: 200% doubles the cell, 50% halves it, the output pixel still
floors the smaller one. 4000px file cell 3.704 against 1.083 device px on a 3x
preview, the old one-dp floor 2.77x coarser, rho1 0.627 against 0.074. The
harness built its own 3-uniform array; it now passes [u, mincell, seed.xy]
like every other caller.
_grain-zone-ck.cjs — the zone's own contribution, at preview scale (cell 1.70,
1600px, 8x8 tiles of 200px): zone on, tile sd 23.22..24.82 (ratio 1.069);
zone off, 24.42..24.79 (ratio 1.015). Nothing else differs.
_grain-ck.cjs — the clump field is otherwise what it was: rho1 0.62
classic-neg / 0.12 velvia, residual autocorr 0.035 against 0.036 with the
swing forced to 0, peak/median 32.3 against 27.6.
_grain-spectrum.cjs (app, 1600px render) — residual autocorr 0.017..0.018,
spectral peak/median 4.6..6.1: the slow lattice adds no peak of its own.
grain-stock-test 53/0, sims-test 31/0, fx-mono-test 15/0, wb-preset-test 33/0,
temp-swatch-test 33/0, wm-font-test 38/0, grain-analog-test 7/0 (its grain
selectors moved to the strip).
tsc: web clean; the phone's scoped config reports exactly the pre-change
baseline (Viewfinder.tsx's own errors, none new).
ponytail: the amount is fractional now, so the two recipe-create forms read grain
through their own half() instead of the int() that would truncate the half the
ruler just spent — every other knob there is still whole. The SIZE knob is one
number for the whole strip: no way to dial a single patch, and no seed control.
The readout is the DESIGN count the field is built on, never a per-patch
measurement.
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3dtours
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8308b3e65f |
web: move WHITE/BLACK onto the WB tab as per-channel points
LIGHT already spends its slope budget on the tone knees, so the two end points were doing nothing a tone knob could not. On WB they act on each channel's own distance from the end: the darker channel of a shadow and the brighter channel of a highlight move most, which neutralises a cast at the toe and the shoulder. Both shuffles stay cubic in the channel value, so every channel's curve is still monotonic (>= 0.46). |
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3dtours
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1c4cdf8af1 |
web: put the white and black points on the LIGHT tab
WHITE (whites) and BLACK (blacks) get the same slider rows as HIGHLIGHT and SHADOW, so the tone curve's two ends are editable on the stage, not only typed into the CREATE form. |
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3dtours
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8c6e7930db |
Add self-contained docker/ stack for the web UI
`docker/` now holds the whole web build — frontend (Vite + React + CanvasKit),
backend (Fastify + SQLite) and the compose file — so the folder can be moved to
another machine and run without the React Native project:
cd docker && cp .env.example .env && docker compose up -d --build
Only `${WEB_PORT:-8090}` is published; nginx serves the SPA and proxies /api to
the `api` container over Docker's DNS. Photos never reach the server.
The shared render code is vendored into `docker/frontend/shared/` and aliased to
a CanvasKit shim, so the app's own frameUtils/toneShader/jpegDpi run unchanged.
Fix the all-black render on GPU surfaces: `MakeWebGLCanvasSurface` creates a
separate WebGL context per call, and a texture from one context cannot be
sampled by a surface on another — so any pass that drew a snapshot onto a second
surface (output sharpen, screen sharpen, polaroid/wallframe cards) came out
solid black, while the raster fallback was correct. Use one shared
GrDirectContext + MakeRenderTarget instead.
Verified in headless Chromium against the running stack: 12MP JPEG in, preview
mean=120.5 sd=60.5, export 2048x1536 mean=107.2 sd=62.1, JFIF density 300/300,
EXIF present, no console errors; health/signup/login/me/recipes all 2xx through
the nginx proxy.
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