3ee0137d0db7aee48928603bc06f9add44170818
22 Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
 3dtours
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3ee0137d0d |
web: repair dust with a brush that borrows a patch of the same photo
A sensor speck is not a filter: it is a small lie in one place, and every
slider in the panel is global, so there was no way to say "here, and only
here". The FX row now has a HEAL chip. Arming it turns the pointer into a
circle you can size S, M or L, and every click on a speck covers it with a
patch of skin borrowed from a few radii away — the repaired sites persist in
the recipe like any other edit, and UNDO takes them back one click at a time.
The spot is stored in the rendered photo's fractions, not in the preview's
pixels: x, y and a radius that is a fraction of the photo's WIDTH, so the
circle stays round on a tall or a square frame and the same recipe heals at
preview resolution and at export resolution without a second code path.
`readHeal` is the only door in, and it validates, clamps and drops the spots
with no radius before anything downstream sees them.
The source patch is searched for, not asked for. `findHealSource` walks eight
directions at three distances — 2.6r, 4.2r, 6.5r — and each candidate's mirror
through the spot as well, scores every one with a nine-tap comparison of the
neighbourhood, and hands back the first that actually resembles the ring around
the speck. When nothing fits — a brush wide enough to swallow the whole frame —
it returns null and the click is refused rather than smearing a wrong colour
over it. There is no colour-matching model here and no second draggable source
circle: Lightroom lets you place the donor, this finds one.
The pass runs last on the photo's own pixels. It is inserted after the grade,
the curve and the grain and before the frame, so the patch it pastes is copied
from pixels that have already been graded and grained — it matches by
construction, with no second copy of the pipeline to keep in step — and the
frame, the card and the watermarks are drawn over the result, so healing can
never erase the furniture of the render. The brush is a feathered circle at
0.55r, which is what keeps a repair from reading as a sticker.
SkSL indexes a uniform array by a constant only, so the shader is the block
unrolled HEAL_MAX = 16 times, the same trick the tone curve's mixer already
uses. Sixteen is the ceiling and the oldest spot falls out when the
seventeenth arrives. CLEAR drops the whole field — turning the chip off keeps
the repairs, which is the distinction between disarming the brush and undoing
the work.
Verified:
heal-skia-lab.cjs (scratchpad, Node + the full CanvasKit build) — 15 PASS,
0 FAIL: HEAL_SKSL compiles through RuntimeEffect.Make and
makeShaderWithChildren; the uniform block is 132 floats in declaration
order (16 spots + 16 sources + size, w/h/feather); a dust speck pinned on
the canvas comes back as the borrowed patch while the rest of the frame is
untouched, pixel for pixel; readHeal clamps, drops zero-radius spots and
caps the list at 16; the search finds a valid donor and returns null for a
brush that covers everything.
heal-probe.cjs (scratchpad, the rebuilt app at http://localhost:8090) —
29 PASS, 0 FAIL, no page errors: the cursor circle is 2 x 0.012 x width and
centred on the pointer, L is visibly bigger, S and L are exclusive; one
click is one spot; a speck at 151 reads 154 at its centre after the heal
and the photo's other specks and empty skin are unchanged; the spot and its
borrowed source are both drawn; the chip goes amber; CLEAR appears and
restores everything; UNDO (the TopBar button) brings the dust back and REDO
heals it again; three specks and one L-sized blob all go; the repairs
survive a reload.
Regressions against the rebuilt app, 0 fail: landing-test.cjs 172,
pro-gate-test.cjs 27, award-column-probe.cjs 18, otp-code-probe.cjs 10,
tone-curve-probe.cjs 42; backend npm test 180 passed, 0 failed.
web tsc --noEmit clean.
ponytail: spots live in the rendered photo's coordinates, so re-cropping or
re-rotating after healing slides them — re-heal or CLEAR when that matters; a
coordinate space pinned to the sensor would need the crop and rotation to carry
the spots through. No live brush-size gesture and no colour-matching term: the
donor is chosen by resemblance alone, add a colour term if skin tones ever
mismatch. The list is capped at 16 with oldest-out rather than refusing the
seventeenth click.
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3dtours
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56d4b9df67 |
web: give LIGHT a tone curve, edited on the graph drawn over the photo
The LIGHT rail was sliders only, so the one control that describes a tone
mapping rather than a scalar had nowhere to live. It now has a TONE CURVE chip;
pressing it puts a curve graph on the photo itself — four channels, RGB plus R,
G and B, exactly the shape Lightroom's point curve has — and dragging a point
bends the picture under it while you drag.
A recipe carries the curve as `adjustments.toneCurve`, an optional map from
channel to point list, `Partial<Record<'rgb'|'r'|'g'|'b', [number, number][]>>`.
The field is optional and the API stores the recipe JSON opaquely, so every
recipe and session written before this commit loads unchanged and simply has no
curve; nothing on the API or in the database moved.
The renderer never sees the points. `shared/utils/toneCurve.ts` turns them into
a 256-entry table per channel and the shader looks the table up in a 256x1
texture: SkSL indexes uniform arrays by constant only, so a per-pixel lookup
has to come from a texture, and a table is the cheaper shape anyway — one
`lut.eval(vec2(v * 255 + 0.5, 0.5))` per channel. The interpolation between
points is a monotone cubic (Fritsch–Carlson) rather than a natural spline,
because a spline overshoots between two close points and that overshoot is the
classic tone-curve tell, a bright halo beside a lifted shadow; a monotone cubic
through the points bends through them and never turns back on itself. The table
is built per channel and then composited through the master, the order the graph
draws it in, so an R point in the shadows survives an RGB contrast S and both
land where the lines say.
Render passes: the curve rides the existing `renderPhoto`, as pass 3e, last —
after the stock, the matrix, the mixer and the seasonal grade, so a point placed
on the graph is the last word on that pixel. Preview and export both call
`renderPhoto`, so the two agree by construction rather than by two matching
implementations. The pass wraps whatever shader the pipeline had built
(`paintShader ?? imageShaderOf()`) as a child of the curve shader, and counts
towards `graded` for the same reason the tone shader does: the curve reads the
matrix's output, so when there is a matrix it has to be in the pixels the curve
samples. Turning the curve on costs one extra render pass and nothing else; off,
`curveIsActive` is false and the pass is not built at all.
That pass is also where this spent its time being invisible. The curve data
reached the recipe and the pixels did not move: `Skia.Image.MakeImage` does not
exist in the shim, so the call threw a TypeError inside the render, the preview
effect's catch swallowed it into `setError('err.generic')`, and the chip, the
graph and the recipe all looked healthy while the canvas kept the old frame. The
fix is in `skiaShim.ts`: CanvasKit keeps that factory top-level (`Skia.MakeImage`)
and only puts the encoded and lazy ones under `Image.`, and its ImageInfo insists
on an explicit `colorSpace` where RN Skia's does not — everything this pipeline
builds is sRGB, so the shim fills it in and the call site keeps RN Skia's shape.
Reproduced in Node first (`curve-skia-lab.cjs`, scratchpad): the shim's call
throws, the translated one returns a 256x1 image.
`ToneCurvePanel.tsx` is the graph: a 224px SVG over the photo's layout box, no
zoom transform, grid plus a dashed diagonal, the composite drawn as a ghost
behind a channel line so a channel edit is still visible against the other
three. Ends are pinned to x 0 and 1, a point cannot be dragged past its
neighbours (2% of the axis is the closest they may sit) and cannot be dragged
out of the square, so the graph can never describe a curve the renderer cannot
apply. One pointerdown grabs the nearest point inside 11px or adds one on the
line under the cursor and keeps dragging, so a click is a point and a drag is a
bend. Deleting a point is the graph's own double-click, not the circle's, and it
has to be: grabbing a point takes pointer capture, so the click that follows is
delivered to the SVG rather than the circle under the cursor.
RESET clears the whole graph, all four channels, and hands back an empty object
that `App.tsx` maps to `undefined` so the recipe drops the field rather than
keeping a `toneCurve: {}` — the field's presence is what "this picture has a
curve" means, and an empty map that means the same as no map is a state two
pieces of code would eventually disagree about. One undo step per visit to the
graph, the rule the ruler and the watermark box already ride: a drag is one
edit, not one per pointer move.
No new i18n keys: the chip and the panel labels are literal uppercase, the same
as EXPOSURE and STRAIGHTEN beside them. Not PRO-gated — the curve is a LIGHT
control like the rest of the tab.
Verified:
tone-curve-probe.cjs (new, scratchpad) — a 256x256 greyscale ramp uploaded to
http://localhost:8090, pixels read back off the built app. 33 PASS, 0 FAIL,
no page errors. The ramp is a ramp before (9..246), a flat curve is two
points and no pass, the graph is drawn on the photo (graph 729,280 240x291
against photo 719,325 256x256), every stop of the ramp lands on the drawn
curve (worst deviation 1), black lifts to 132 while white holds 246 -> 252,
a point dragged up bends the line itself (M0.00 112.00 L3.50 110.2...), the
R tab takes the graph over while the composite stays visible behind it and R
drives red at black to 255 with G and B still on the composite (133,132
against 132), the recipe carries toneCurve, it survives a reload (254 -> 254,
chip still amber), a click adds a point and a double-click removes it again,
RESET returns the ramp to its start (worst 0) and drops the field, and close
takes the graph off the photo.
tone-curve-math.cjs (new, scratchpad) — the panel's and the table's own
arithmetic, 11/11: the ends pin and sort, a dragged point lifts where the
graph says, a steeper segment never turns back on itself, a channel curve
runs before the composite, a click lands on the line, two points cannot
share a spot, an end cannot leave the axis, and the two ends survive a
delete where a middle point does not.
Regressions against the rebuilt app, 0 fail: landing-test.cjs 172,
pro-gate-test.cjs 27, award-column-probe.cjs 18, otp-code-probe.cjs 10.
web tsc --noEmit clean.
ponytail: the graph is anchored over the photo, not draggable — it sits at the
photo's own layout box the way the crop frame and the straighten ruler do, and
the one time it would want to move it is when the photo under it is small, at
which point a token drag offset is cheaper than the second positioning system.
Parametric curves (Lightroom's shadows/highlights/darks/lights) are not here:
the point curve is the one the request asked for, and a parametric curve is a
second graph, not a second line on this one — add it as another channel row when
someone asks. The LUT is a texture rather than Skia's table colour filter
because CanvasKit 0.42 has no ColorFilter.MakeTable. The panel's graph size and
hit radius are literals, since exactly one graph exists.
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3dtours
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d37671c359 |
web: print the grain zone by mixing two lattices, not by warping one cell
The coating's patches were drawn by varying the clump CELL with position:
cell = u * (1 + (grainZone(p * ZONE_FREQ) - 0.5) * ZONE_SWING), the same slow
value noise that picks the patch. A lattice whose cell varies with position
smears instead of resizing: its phase accumulates as
d(phase)/ds = 1/cell - s*cell'/cell^2, and c' is read along the radius from the
picture's own origin, so the second term grows with the distance s from it and
the clumps are drawn out wherever the patch's own cell runs. Measured on one
classic-neg paint (1024px, cell 1.09, the app's own Overlay at alpha 0.5, 64
tiles): with the swing on, the tiles' lag-1 correlation of the raw frame spans
-0.065..0.747 — clumps stretched into smooth blotches beside grain. The design's
+-20% swing cannot do that: the SAME field with the swing forced to 0 spans
-0.057..0.045 across its tiles, and the two-lattice field spans -0.055..0.052
(leica: -0.049..0.523 with the swing on, -0.068..0.024 at swing 0).
The zone now MIXES two FIXED lattices, 0.8x and 1.2x the stock's own cell,
weighted by that same patch noise. A fixed lattice's phase is linear in the
picture, so a patch can only choose how much of each is printed, never how
either is shaped — and the two lattices' beat falls at
1/(1/fine - 1/coarse) = 2.4 cells, 2.6px at the 35mm cell: the pixel scale, not
a line the eye reads. The mix is renormalised by sqrt(w^2 + (1-w)^2), the share
of one field's spread a two-field blend carries, so neither the mean nor the
spread follows the patch: the same classic-neg field reads sd 24.85 against
24.91 and leica 23.74 against 23.74, tile by tile.
The zone still reads what it is for. At preview scale (1600px, cell 1.70, 8x8
tiles of 200px) the mixed field's tiles span rho1 0.082..0.265, ratio 3.233,
against 0.169..0.193, ratio 1.141, with the swing forced to 0 — classic-neg;
leica 0.026..0.188, ratio 7.361, against 0.085..0.105, ratio 1.237. A coarser
patch still prints coarser clumps; it just never prints a stretched one.
Both copies carry it: docker/frontend/shared/utils/grainShader.ts and
src/utils/grainShader.ts (the phone's, which the root web harness imports too).
The field is evaluated once per lattice now, so the grain pass costs 1.94x what
one lattice did — the ratio, not the absolute.
Measured:
_grain-zone2.cjs — the 64-tile lag-1 correlation spread above, three modules
on one paint and one seed: swing 0.4 vs swing 0 vs the mix.
_grain-zone-ck.cjs — the zone's own contribution at preview scale, zone on
against the same module with the swing forced to 0, nothing else differing:
classic-neg tile sd 24.21..24.86 (ratio 1.027), hf 0.769..0.937 (1.219),
rho1 0.082..0.265 (3.233) against sd 29.04..32.95 (1.135), hf 0.834..0.858
(1.028), rho1 0.169..0.193 (1.141); leica rho1 0.026..0.188 (7.361) against
0.085..0.105 (1.237). The swing-off row's higher sd is the renormalisation
of a blend with itself (a and b are one field at swing 0), not a contrast
change in the shipped field.
_grain-fft.cjs — same paint, same seeds, three rolls, 1024px: the mix's top
spectral peak sits at 2.6px (classic-neg, cell 1.09) and 2.8..2.9px (leica,
cell 1.00) against the warped field's 3.0/4.3/6.2px and 2.7/3.8/4.5px — both
within a pixel of the clump cell, neither a coarse lattice.
_grain-bench.cjs — 12.68s per 700px field (one lattice) against 24.60s (two),
1.94x on software CanvasKit.
grain-size-test.cjs 17/0 — the SIZE rule and the readout on the module, both
lattices floored at the target's own pixel, file rho1 0.673, preview rho1
0.003.
grain-stock-test.cjs 53/0 on the deployed build — the stock table, the
halation chain and its ordering, no page errors.
grain-controls-test.cjs 20/0 on the deployed build — the patch claim still
holds there: tile sd 56.58..65.48 (mean 61.9, max/min 1.157), tile mean
spread 0.65, so a coarser patch is still not a brighter one.
_grain-spectrum.cjs (app, deployed, 1600px) — residual autocorrelation peak
0.020..0.021, top peaks at 2.0px@20/110 and 2.5px@51.
tsc: web `--noEmit` clean (the docker build runs it); the phone's scoped
config reports its pre-change baseline, nothing in grainShader.ts.
One honest number: the app-level spectral peak/median rises 4.6..6.1 to 10.2
(classic-neg, sim-classic-neg-g6/g10) because two fixed lattices beat where one
warped lattice spread. It is 20x below the value-noise field this work replaced
(29..35, tiling) and 5x below a lattice (50+), and it sits at 2px, the cell
itself.
ponytail: the field is evaluated once per lattice, so the grain pass costs
1.94x. One evaluation cannot hold two cell sizes; revisit only if a preview
budget asks for the pass back. The 0.8/1.2 rungs (ZONE_SWING/2 either side) are
one working set, not a search.
Verified: `grain-stock-test.cjs` 53/0, `grain-controls-test.cjs` 20/0 and
`_grain-spectrum.cjs` against the deployed build at localhost:8090;
`grain-size-test.cjs` 17/0; `_grain-zone2.cjs`, `_grain-zone-ck.cjs`,
`_grain-fft.cjs`, `_grain-bench.cjs` against the module built from HEAD,
`inversesqrt` still the one call the shader needed to renormalise; web
`tsc --noEmit` clean, phone scoped tsc down to its pre-existing errors.
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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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64f1598076 |
web: print the grain as jittered clumps, not as value noise on a grid
The field was 20-degree-rotated value noise on a square lattice, three dyadic octaves at 1 / 0.5 / 0.25 and a sin hash behind it. Value noise prints the density of the cell's four corners, so every clump sat on a knot of one grid, and the grid's own repeat — 13 cells, 44px at the 35mm cell — is what the eye read as diagonal lines. Measured on the old field through the app (`grain-analog-test.cjs`, `_grain-spectrum.cjs`): off-origin autocorrelation peak 0.32-0.40, spectral peak/median 29-35, top peaks at 5.4-7.8px. The field is jittered clumps now, in both copies (docker/frontend/shared/utils/grainShader.ts and src/utils/grainShader.ts). A clump lands at a random spot inside its cell — Worley F1 over the 3x3 neighbourhood, `grainClump` — so no two clumps share a grid, and what is printed is the distance to the nearest: a smooth mound, not one pixel of static. The hash behind the jitter is sin-free (Hoskins' `p3 = fract(vec3 * 0.1031); p3 += dot(p3, p3.yzx + 33.33)`), because a float sinus whose argument grows with the picture folds back on itself and is a lattice of its own. The three octaves are turned to their own angles — 20, 47, 73 degrees — and sit on 0.53 and 0.29 off the dyadic 1 / 0.5 / 0.25, where a coarse octave's cells land back on the fine one's and stack. Clumps sit higher and tighter than the value noise they replace — mean 0.569 against 0.500, sigma 0.123 against 0.081, measured — so the sum is put back on that mean and spread, `n = (n - 0.5685) * 0.52 + 0.5`, before the AMOUNT knob's own gain. The web keeps its uniforms (cell, seed, per-stock weights, spread); the phone keeps 0.55/0.30/0.15 and 2.95, which are the web's classic-chrome row, so the two print the same texture. Measured on the deployed build: `grain-stock-test.cjs` 53/0 — 35mm still coarser than 120, the halation chain intact per stock, the "halation follows the stock" ordering intact, the field still clumped (r1 0.336-0.506) and still surviving a 2x downscale. `_grain-spectrum.cjs` residual autocorrelation peak 0.02 (was 0.32-0.40), spectral peak/median 7.0-12.7 (was 29-35), top peaks only at 2-3px periods, the cell scale. `_grain-ck.cjs` at the preview cell (U=1.481/1.704): rho1 0.093/0.177 against the old 0.505/0.586, acPeak 0.02/0.028 against 0.38/0.467, peak/med 10.1/11.2 against 76/46.5, top peaks 2.0-2.9px against 5.4-7.8px. `grain-size-test.cjs` 12/0. `grain-analog-test.cjs` 7/0 — with the TEMP pair on AUTO, the field's channel split measures 0 at a cast of 0, so the grain is exactly monochrome and no neighbour lag carries structure (max |rho1..8| 0.118). One honest number: the preview's apparent strength at GRAIN 10 is ~25% higher than the old field's (sigma 61.3 against 47.9 in that harness), and that is the PREVIEW, not the field. Step 9 of src/engine/exportEngine.ts sharpens the preview at alpha 0.5, and the clumps now sit at the cell (~1.7px) instead of on the old ~5px lattice, so that sharpen bites harder. The field's own composite spread is 17% UNDER the old one at the same geometry — lab sdRaw 24.9 against 30.0, and geometry-flat where the old one was ~30 everywhere. The 0.52 normalisation was kept rather than re-tuned upward to the app-visible number: the export path does not carry that sharpen, and a grain tuned to it would print too strong. ponytail: the octave angles and the 0.53/0.29 rungs are one working set, not a search. Re-tune only if a stock's cell is changed again. Verified: 53/0 + 12/0 + 7/0 grain harnesses, `_grain-spectrum.cjs` and `_grain-ck.cjs` A/B against the field built from HEAD, `sims-test.cjs` 31/0, `fx-mono-test.cjs` 15/0, no page errors. |
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3dtours
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c2a4740a3f |
web: let the white balance carry its tint, and take its ratio in the light
TEMP was a kelvin and nothing else, and the seven presets were seven numbers the two platforms disagreed about: AUTO 5500, DAYLIGHT 5600, DAYLIGHT -3R 5800, CLOUDY 6500, SHADE 7500 here and 8000 in both recipe-creation forms, TUNGSTEN 3200, FLUOR 4000. A chip tapped in the recipe panel and the same chip tapped on the photo printed different frames. The presets are now the phone's own WB_PAIRS — kelvin AND tint — in all three places, so every chip lands the same pair on either platform: AUTO 5500/0 DAYLIGHT 5500/0 DAYLIGHT -3R 5500/-3 CLOUDY 6500/1 SHADE 7500/2 TUNGSTEN 3200/0 FLUOR 4000/3 SHADE read 8000K in RecipeCreatePanel and RecipeCreateModal; it is the WB tab's 7500K/+2 now, so a recipe created in a form prints what the same chip prints on the photo. AUTO and DAYLIGHT stand for one pair, so the pair alone cannot say which of the two is lit. TEMP is therefore keyed by preset and not by value: `wbChoice` remembers the chip last tapped (the phone's own wbChoice), and `wbValue()` answers it only while the engine pair still matches, else the first preset that pair maps to, else the bare kelvin. `wbLabel()` names that pick on the chip, which now always carries one: TEMP AUTO at the neutral pair, TEMP SHADE on a preset, TEMP 6300K on the app's own default recipe where a hand-dragged ruler landed. Measured on the deployed build (`wb-preset-test.cjs`, 33/0): AUTO and DAYLIGHT print the same frame to the level, DAYLIGHT -3R moves the green away from DAYLIGHT at the same 5500K, the ruler warms monotonically across TUNGSTEN 0.525 / FLUOR 0.730 / AUTO 1.000 / CLOUDY 1.141 / SHADE 1.295, a hand-drag to 10000K names the chip `10000K` and warms the picture R x1.183 B x0.793, SHADE tapped after that drag restores the pair 7500/2 and prints the same frame the first tap did (R 156.8 vs 156.8), and a temperature drag leaves a preset's tint standing (FLUOR's +3). kelvinToRGB itself was the other half. It took the ratio of the sRGB-ENCODED blackbody colours and square-rooted it, which measured R x1.06 / B x0.89 from 5500K to 10000K — a shift a swatch shows and a sunset does not. White balance is a gain on LIGHT, so the ratio is taken in linear light now (`planckianLinear`) and tamed by a new `KELVIN_TAME = 0.5`: the same 10000K moves the frame R x1.16 / B x0.76, and 2500K its mirror, which is what a camera does with its WB set 4500K off the scene. One constant scales the whole ruler and both platforms carry the same one. Measured through the app (`_temp-probe.cjs`, gains against 5500K): 2500 R x0.569 B x1.640, 4000 R x0.866 B x1.197, 6500 R x1.057 B x0.940, 10000 R x1.140 B x0.759 — the readout is compressed against the raw gain because the cast lands on encoded, clipping pixels, which is the reason for the tame in the first place. ponytail: no scene meter, so AUTO stays the neutral 5500K/0 pair and is a name for it, not a measurement. Add one when the engine reads the frame. ponytail: KELVIN_TAME scales the whole ruler both ways. Split it into a warm and a cool constant only if the two ends are ever asked to move apart. Verified: `wb-preset-test.cjs` 33/0 and `_temp-probe.cjs`, `sims-test.cjs` 31/0, `fx-mono-test.cjs` 15/0, `wm-font-test.cjs` 38/0 against the deployed build; web `tsc --noEmit` clean, the phone's scoped check down to its two pre-existing `skiaImage.ts` nulls. |
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3dtours
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4795a2a0ee |
web: give each stock its own grain, and a halo where it belongs
The landing card sells "35mm & 120 Film Grain — authentic grain structures plus halation bloom, tuned per stock rather than one global overlay", and the engine printed one field for everything: a width/1080 cell, one spread, no bleed. `shared/utils/grainShader.ts` (new, the web fork of the phone's src/utils/grainShader.ts) now carries the stock table — format, cell, spread, octave mix, halation, halo radius, halo tint — and `grainStockFor( recipe.baseFilter)` picks the one this recipe prints. FORMAT. 35mm cells are the 1.0 reference the knob was tuned at (classic-negative 1.15, B&W high contrast 1.25); the 120 emulsions sit at 0.55-0.72 and open their base octave (mix 0.55/0.30/0.15 -> 0.62/0.26/0.12), so the same knob prints a finer, smoother texture on the bigger negative. Measured on a flat 128 grey at a 3200px preview (cells 3.41px vs 1.63px), GRAIN 10, luma residual against a 17px box: 35mm CLASSIC NEGIPES r1 0.793 keeps 0.976 35mm CLASSIC CHRIPES r1 0.744 keeps 0.931 35mm B&W HIGH CONTRAST r1 0.812 keeps 1.002 120 PROVIPES r1 0.423 keeps 0.728 120 VELVIPES r1 0.313 keeps 0.672 120 ACRIPES r1 0.543 keeps 0.794 r1 is the lag-1 autocorrelation of the residual — how coarse the clumps are — and "keeps" is the residual sd after a 2x box downscale over the sd before, i.e. how much of its texture a print at half size holds on to. Every 35mm stock beats every 120 stock on both, and VELVIPES (0.55 cell) is finer than PROVIPES (0.62) inside 120, so the format is a look and not a label. Raw sd is NOT the measure: the knob drives one alpha for every stock, so a stock's amount follows its cell and mix rather than the order anyone assumed. HALATION. A new pass 6b thresholds the print (T0 0.62, T1 0.92), tints what is left the stock's halo colour — red, because red is the light the emulsion passes and the backing returns — blurs it at the stock's own radius and screens it back at `halation * grain/10 * 0.6`. Riding the GRAIN knob keeps today's contract: OFF is still a clean frame, the OFF/WEAK/STRONG chips still mean 0/3/6, and a sensor stock carries none at any amount. Measured R-B of the ring around a white block on black, GRAIN 6 minus GRAIN 0 (mean, and the ring's reddest pixel): CLASSIC NEGIPES 7.87 (peak 0 -> 14) VELVIPES 3.71 (0 -> 13) CLASSIC CHRIPES 2.91 (0 -> 10) PROVIPES 2.01 (0 -> 7) B&W HIGH CONTRAST 0.61 (0 -> 5) ACRIPES 0.24 (0 -> 3) LC STREETLIFE CLASSIC 0.09 (0 -> 0) which is the table's own halation column (0.45 > 0.30 > 0.25 > 0.18 > 0.15 > 0.12) in order: the colour negative halates hardest, the B&W emulsions barely, Acros — no colour layer to bleed — least of all, and the sensor not at all. The colour negative's own grade leaves its ring blue at GRAIN 0 (-5.96 there), so the statistic is the change and not the absolute channel; in a crop of the block the bloom itself is unmistakable at GRAIN 6 and 10 and absent at 0. GRAIN_SEED moves here from exportEngine.ts so the roll is still one per page load, and still shared by the preview, the compare copy and the file. Checked: tsc --noEmit clean; grain-stock-test 53 PASS / 0 FAIL; sims-test 31/0, fx-mono-test 15/0, grain-size-test 12/0, grain-analog-test 7/0, wm-font-test green. ponytail: halation rides the GRAIN knob instead of a control of its own, since the card promises no more than "tuned per stock". Add a HALATION chip when the phone grows one. ponytail: `grainCell`'s 1px floor is the aliasing guard, and it also hides the format ratio under a ~1600px preview. Nothing to add: the exported file is always wide enough, and the harness renders at 3200 to see it. |
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3a09674831 |
web: filter the straighten draw so a rotated edge stops staircasing
The FRAME tab's fine rotation drew the photo through canvas.rotate() + canvas.scale() with a plain drawImage, which CanvasKit samples with nearest: the edge landed on the same pixel in every row, so a rotated edge came out as 1px steps every 1/tan(angle) rows. Measured on the 30deg export of a hard black/white edge: 42.3% of rows repeated the previous row's edge position, the step across the edge was 252.9 of 255, and there were no intermediate pixels at all. Only the *Options/*Cubic call shapes take a sampling option, and drawImageRectOptions exists in RN Skia too, so the shared renderer can use it unchanged. The same export now moves the edge in every row (0.2% of rows repeat, 0.35 intermediate pixels per row) and its edge step drops to 222. Cost: the filtered draw takes 0.35s against 0.24s for the 1600px preview copy and 2.0s against 1.4s for a 12MP photo, once per render. Preview and export share the function, so both change together. |
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3dtours
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c403dd04c8 |
web: add the B&W HIGH CONTRAST film sim to the PRESETS rail
The chip lands after ACRIPES and is a mono stock of its own, so it gets its own
baseFilter ('mono-high-contrast') rather than borrowing Acros': the PHOTO STYLE
chips are keyed by baseFilter, and the two greys must sit side by side.
The look is the B&W MIX plus a push at both ends. The mix rides the matrix — a
non-BT.709 row set (0.38/0.56/0.06, identical rows, sum 1.00) so a red roof
reads bright, a blue sky deep, and the separation is contrast before any curve.
The push rides FILM_TONE (shadow -0.32, highlight +0.26) so the ends move
without touching the midtones, and the midtone slope is SIM_CONTRAST_BIAS (4
contrast units) next to the sim's own exposure bias. The knobs stay at neutral:
a sim is colour and tone only.
Both B&W stocks being mono is now asked once, through isMonochromeBase, so the
colour-only stages (saturation, white balance, R/B fine-tune, chrome, hue
mixer) and the MONO strip label can never half-apply to one of them.
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3dtours
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59d90ae068 |
web: the sim chips keep their legacy names
The name table is a reference for what each sim has to look like, not a renaming order: the ten PHOTO STYLE chips go back to PROVIPES, VELVIPES, CLASSIC CHRIPES, CLASSIC VIVIDIPES, CLASSIC NEGIPES, ASTIPES, ETERNIPES, ACRIPES, LC STREETLIFE CLASSIC and LC STREETLIFE VIVID. The comment above FILM_SIMS now says so outright — label on the left, the stock's colour and tone it must match on the right, and neither side moves the other. The grading is untouched: a sim is still colour and tone only, its `adjustments` stay neutral, and LC STREETLIFE VIVID keeps its +2 exposure as SIM_EXPOSURE_BIAS in colorUtils rather than as a knob. |
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3dtours
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428e7fa682 |
web: a film sim is colour and tone only
The ten PHOTO STYLE sims now carry nothing but their stock's own grade, and each is named for the stock it stands for: PROVIA, VELVIA, CLASSIC CHROME, CLASSIC VIVID (Velvia spliced with Classic Chrome at the blue row), CLASSIC NEGATIVE, ASTIA, ETERNA, ACROS, LC STREETLIFE CLASSIC, LC STREETLIFE VIVID. Grain, clarity, saturation and light moves were dropped from their `adjustments`, so a sim is a clean starting point and the general knobs read their defaults while the look still lands on the pixels. LC STREETLIFE VIVID keeps the one brightness step its stock needs, but as SIM_EXPOSURE_BIAS in colorUtils rather than as an adjustment: it is folded in where the Exposure slider applies, so the picture gets the lift and the parameter stays at 0. Also in this checkpoint: the watermark/GPS boxes and their colour pickers, the WATERMARK chip column, the real admin stats, and the fix that stopped presets from doubling and a frame from refusing to come off when a photo was reopened (/file is the finished render, /base the editable pixels). |
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3dtours
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4057566a14 |
web: the three mixer knobs move the whole image, a frame chip toggles itself, ROTATE lets go when STRAIGHTEN steers
HUE, SAT and LUM leave the colour row: behind an IMAGE divider they are hslHue/hslSat/hslLum, seeded into the shader's band accumulator at full weight for every hue, while the eight band chips keep picking which colour the panel on the photo edits. The image lightness term stays ungated so a frame drained to grey by -SAT still answers +LUM. FRAME loses its NO FRAME chip: pressing the frame already on the photo takes it off. ROTATE's quarter turns stop lighting the moment the fine angle leaves 0, so the strip shows which of the two is steering the photo. |
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1b71c0196f | web: the eyedropper reads a colour and the mixer moves that hue band | ||
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d7d7be2c6b |
web: add CLASSIC VIVIDIPES, spliced at the blue row
Classic Chrome's blue row, verbatim, with the red and green rows taken from VELVIPES: skies keep the muted teal/cyan lean while everything that is not blue reads loud. The shadow crush rides along from FILM_TONE, since it belongs to the stock rather than to a row. CLASSIC CHRIPES stays untouched beside it. |
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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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0627f8dd91 |
web: keep a saved photo's look in EXIF and its own row
EXPORT no longer burns the caption strip: the pixels stay the photo's own and the look travels as metadata — ImageDescription (0x010e) for the tag, UserComment (0x9286, ASCII header) for the recipe JSON. SAVE PHOTO now stores the look with the frame (photos.recipe) and the uploader's consent for the community film strip (photos.consent, PATCH /api/photos/:id for the owner). The landing reel skips non-consented frames, and a new MY PHOTOS tab lists the account's saves, reopens one with the settings it was stored with, and carries the two consent switches. |
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3dtours
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f17cb08a63 |
web: fold the create form's groups and add the white/black point rows
The CREATE RECIPES form had grown into one long scroll. The six categorical groups (SIMULATION, DYNAMIC RANGE, GRAIN EFFECT, COLOR CHROME EFFECT, COLOR CHROME EFFECT BLUE, WHITE BALANCE) are now native <details> folds — the browser keeps the open flag, so no state and no library. The two tone-curve ENDS join the numeric grid: EXPOSURE (the matrix gain the IQ tab already drives), EV (the old EXPOSURE COMP. row, renamed to the phone's word), WHITE and BLACK. WHITE/BLACK are new ColorAdjustments fields, applied in TONE_SKSL as cubic end-weights rather than another smoothstep knee — the HL/SH knees already spend the slope budget, and the cubic keeps the curve monotonic for every combination (derivative >= 0.46), so a brighter input can still never come out darker. Both are optional, so stored recipes keep working. |
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3dtours
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f13fc37b5a |
feat(panel): cascading columns, WB colour swatches, stronger HDF glow
Layout - the panel is a cascade of columns: the rail's tabs, the tab's chips, the open chip's sub-chips, then the ruler. A child column no longer hides the column it came from (TEMP -> COLOR TEMP keeps TEMP visible); chips stack one per row instead of wrapping - FRAME's WATERMARK opens its own column, so the frame chips stay put - CREATE RECIPES gets the wide column its two-up form needs WB colour swatches - the ruler draws a colour box under the slider that follows the value: COLOR TEMP is the Kelvin colour (Tanner Helland), TINT runs green -10 -> neutral 0 -> magenta +10 HDF EFFECT - knee 0.55..0.85 -> 0.45..0.75, blur 0.004+0.015n -> 0.006+0.024n of the width, screen alpha 0.15+0.35n -> 0.28+0.52n: a wide halo on the highlights instead of a hairline glow. Web copy of toneShader only — the phone keeps its own tuning. Tabs - rail order is PRESETS, FAVORITED, WB, LIGHT, FX, FRAME, CREATE RECIPES |
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3dtours
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9ba2667c6c | Hang the wall frame landscape too, beside the portrait one | ||
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3dtours
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d31d945827 |
Add the CREATE RECIPES tab to the web app
The phone's RecipeCreateModal becomes a rail tab with the same rows, seeding from the look on screen and clamping the same way. SAVE RECIPE applies the new look, lists it under RECIPES and, when signed in, stores it on the account; a guest's copy stays in memory and goes away with the page. Signed-in users can also export the recipe as the app's encrypted .recipe file (shared/utils /recipeShare.ts vendored byte-identical from the RN project). |
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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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