- scan: rows go down on a clock as well as on a full batch. The reader's folder
of 26 RAWs is under one batch of 50, so nothing of it reached the screen until
the reading was over — a wall that stood empty for the whole scan and then
filled in one go. Frames now reach the screen every 400ms while the roll is
still being read, so the count climbs and the first tiles are drawn as the
frames land.
- tiles: a HEIC or a RAW has its tile written the first time it is drawn, so
every later visit reads the tile back instead of the file.
- resume: a reading a reload cut off is offered by the next visit with a chip
instead of being run behind the reader's back.
- offline listing: the desk's listing is kept whole in IndexedDB under
`recipescam-offline`/`reads`, past the 200 000 characters localStorage held,
so an offline visit opens on the listing it kept instead of on nothing.
- offline writes: a vote or a view cast with no server is held and goes out when
one answers again, with a bar that says how many are waiting.
- sw: the shell precaches its own bundle, stylesheet and icon, read out of the
document — a worker that precached only the document answered an offline
launch with a page whose JavaScript the machine did not have.
- checks in docker/frontend/scripts: tree-scan-check (counts while reading,
resume after a reload, tiles of a long roll), offline-read-check,
offline-queue-check.
A node drew every frame of the branch under it unless the reader shut the
subfolders out, so picking A drew A and everything below it. The pick is
now the scope — the node's own frames — and the branch is what the
SUB FOLDERS chip asks for.
The year filter was already read off the frames the open node drew, so
it follows the same pick. On a tree of 13 frames (r1 r2 | A/a1..a3 |
A/deep/d1 | C/c1..c6 | E/e1, one year per folder) the chip off offers
2024 on the root, 2023 on A, 2022 on A/deep and 2021 on C; the chip on
offers all five years on the root and 2023+2022 on A.
The remembered answer moves to a new key: the chip wrote its first answer
down on the very first visit, so the old key holds 'true' for every
reader who never touched it, and reading it would keep them on a default
they never chose.
A reload drew nothing until the account round trip landed, which on a
faraway API is the whole of the wait: 8.8s to the photo on the studio's
stage and 8.2s to the library's first row, against 0.9s and 0.3s now
(measured with every /api answer held back 8s).
The studio's restore effect returned early on `!authReady`. The gate is
only needed by the two files that ask a tier question — a RAW, which is
a PRO develop, and a catalogue frame, which walks `loadFile` — so it
keeps those and lets the session's own JPEG up on the first pass.
`restoredRef` stops the second pass, when /me lands, from decoding the
frame the first one already showed.
The library mounted nothing until /me answered. What the first paint
reads is now the answer the last visit got, the way the studio reads its
own session back: the frames are already on this disk and have no reason
to sit behind a round trip. An answer the API contradicts puts the note
back on screen the moment it arrives, and an API that never answers is
not written down as this account's standing.
Every range rule now names `input[type="range"]` itself, so the class-only WB
rules tied with the plain hairline that follows them and lost — both sliders
were drawing the same grey line as every other knob, and their node sat a pixel
off the thicker track. Measured on the panel: the gradients are back in amber
and blue, and the ring is centred on the line.
EXPORT only ever wrote a file, and posting it meant leaving the studio, finding
the file and uploading it again. The dialog now offers FACEBOOK, INSTAGRAM,
REDDIT and X beside the sizes, and the render goes to the network instead of the
download folder.
What the browser can do decides how, since a page may not touch another origin's
composer: a phone's share sheet opens the target app with the picture already
attached, a desktop gets the picture on the clipboard and the site in a new tab
for one paste, and an origin with no clipboard API downloads the file beside the
open site. The line under the row says so before the click.
The default ring was a solid disc on a coloured bar, which read as a crude
block next to the rest of the rail; every range input is now a hairline
track with an outline node in the accent colour, and the temperature and
tint strips keep their gradients on the track itself.
CROP, ROTATE and WATERMARK reshape the frame rather than grade it, so they
belong with the tools that work on the whole image.
The scan made a JPEG tile for every frame as it walked, so a wall of 12MP
files spent its whole budget in the walk; the tile now waits until the card
is actually drawn (makeTile + putPhotoThumb), and a rawish frame whose date
is unreadable retries at 4MB instead of stopping at the head.
The year menu was built from the whole catalogue, so it offered values the
open folder could not produce; it now follows the rows on screen and clears
the choice when a move leaves it stale.
The mark was pinned to the folder the reading was asked of, so a walk through
a whole roll said C2 while the frames under it were what was being read. It
now hangs on the folder the reading stands in — `progress.at` — and on every
row above it up to and including the roll's own row: reading D:/A/B1/C2 marks
C2, B1, A and D:, and as the walk moves the chain moves with it. A reading
that has not reached a frame yet has nowhere to stand, and stands on the
folder it was asked of, so the ring is on the column from the click.
The ring said which folder a reading was asked of by taking the row's own
name apart and comparing the pieces, which is the same path spelled twice and
only nearly the same. When the two spellings drifted the asked row never
matched, and the fallback that used to carry the mark on the roll's row had
gone, so a reading ran with nothing on the column at all.
The mark is now built with the key the walk gives the row — `folder/sub`,
through `normPath`, the same way a frame id is spelled — and a reading whose
own row is not on the column (a branch folded away, a folder gone from the
disk) falls back to the roll's own row, so a reading is never invisible.
The column's ring was drawn from the open node's roll: a row of another roll
had no path under it, so the empty prefix matched every row of the roll being
read and the whole column lit up. The roll's own row was marked too, at every
moment of a reading of it, and a reading kept to one folder counted its frames
onto the roll's row as well — a roll counted down to one branch of itself.
A queued request was drawn from the reading's roll instead of its own, so a
request on a second roll showed nothing at all.
A reading this window holds hands each frame over the side as it stores it,
and the screen puts those rows into the strip on a half-second debounce. The
reading ends before that debounce fires, the screen reads the catalogue back
— and that read already carries the frames that were handed over, so the
rows still waiting are appended to a strip that has them: five files of a
plain JPEG folder read "10 photos", the album row read 10, and the strip drew
two tiles for every frame, one of them keyed the same as the other.
Measured on five JPEGs: header 10, album row 10, ten tiles of five ids. The
store held five rows and the reading reported 5/5 new frames the whole time,
so the count was the screen's alone. A second pass over the same folder read
five, because its read-back landed last.
The id is the frame, so the append now skips what the strip already has.
Same folder after: 5 photos, album row 5, five tiles of five ids, and no
duplicate-key warning from React. Six RAW bodies and the studio are untouched:
the fix is inside the catalogue screen's own row append.
Skia's Image.MakeImageFromEncoded applies the embedded JPEG's EXIF
orientation itself. A Panasonic RW2 preview stored 1920x1280 with
orientation 8 therefore decodes as 1280x1920 already — the frame the
camera meant.
previewGrid turned it a second time by its own per-orientation canvas
rotation, so a portrait frame's reference grid met the develop a quarter
turn out, previewMatch rejected the fit as folded and the RW2 opened with
no tone curve at all (~9-13 levels off across the shadows).
Drop the rotation and read the crop rectangle and aspect straight from
bmp.width()/bmp.height(), the display dimensions Skia hands back.
Panasonic RW2 now fits a real curve (dRGB 2.3,-0.0,0.4, was -9.1,-10.3,
-13.2). The five bodies that were already stable — ORF, NEF, DNG, both
RAF — measure exactly as before.
getJpegOrientation had no other caller and goes with it; raw-orf-check
drops its own byte-scanning preview finder, which crashed on DNG and RAF,
and reads the reference through the shipped extractEmbeddedJpeg.
A HEIC is the one camera file no engine on this platform will paint:
Chromium answers createImageBitmap with InvalidStateError and its
WebCodecs take no hvc1 still, and unlike a RAW there is no JPEG preview
inside to lift. It is decoded in software instead, by libheif built to
wasm, in a worker of its own — so a folder of them reads without the tab
stopping for a second, and what leaves the worker is the same JPEG
developRaw hands the studio. Nothing downstream knows the difference.
Into the studio it goes on the same terms as every other frame: dropped,
picked, or opened from the catalogue, no tier asked and the engine's own
colour untouched. The frame's date, ISO and position come off the HEIC
itself, which is passed along as the bytes the stamps read.
The catalogue's tile does not pay the decode: a phone writes a small
HEVC copy of its frame as an item of its own (thmb, 320x240 on an
iPhone), reachable only by walking the container by hand, and it decodes
in milliseconds where the frame takes a second — from the same 256KB the
catalogue already reads for a header.
The shelves themselves now want an account: a guest gets the note and
the way in, and the scan never starts.
VT323, Alex Brush, Tilt Warp, Hahmlet, Pinyon Script, Allura, Dancing
Script and Amatic SC join the two the bundle already carried, each
subset to the same latin / latin-ext / vietnamese ranges and pinned to
its upright 400 instance where it is variable.
The bar under the picture is the grid it needs to be: equal free tracks either
side of the two buttons land them on the picture's own centre whatever OPEN and
the stars measure, and the pair keeps the ends it does not own. Under 700px the
stage is too narrow for one line, so the bar wraps as it did and the lines it
wraps to are centred.
The library stage carried no way to correct a frame shot on its side, and
nothing kept the correction. A quarter turn now rides on the catalogue row
(`rot`, beside `star`, carried over by a rescan), the two chips under the
preview step it, and the tile, the strip thumbnail and the stage all read it
through one bake so a frame is never stood on its side in one place and
upright in another. The studio opens a frame at that angle and a turn made
there is filed straight back onto the row, so either end of the turn is
what the frame comes up at next time.
libraw-wasm moves the buffer it is given into its worker, so raw.open() detaches
the caller's array. developRaw read its embedded JPEG preview as a view of that
same array, so the open emptied the preview, Skia rejected the detached buffer
and the catch returned the emptied preview as the develop - every RAW opened from
the LIBRARY reached the studio as 0 bytes and the app said "Could not develop
this RAW file. Try again, or use its JPG."
Hand the worker a copy instead, in the develop and in the thumbnail path. The
EXIF stamps read off the caller's bytes afterwards are intact again.
The ORF check now hands the bytes over in the transfer list the way the package
does, so it fails on any develop that forgets this.
3dtours
3dtours