The dust brush filled its hole with a blur of the hole's own rim — the light
beside it, carried in. Right for a speck on a wall, and visibly thin over
anything with structure: a stroke across a shirt came back as the average of a
shirt. The fill is now a learned one.
engine/inpaint.ts runs MI-GAN (andraniksargsyan/migan, the same
`migan_pipeline_v2.onnx` inpaint-web ships) through onnxruntime-web on the
visitor's own machine: 27MB of weights in public/models, WebGPU where the graph
fits the provider, the processor otherwise, one warm-up pass so the first repair
is not the one that pays for the kernels. It is handed the masked crop and
nothing else — the model's mask polarity is 255 KEEP / 0 HOLE, the opposite of
the obvious guess, and the other way round repaints the frame and leaves the
hole (measured).
Step 6e of the renderer cuts the crop at the resolution the model will actually
run at (512 on its longest side — the graph is fully convolutional and would
take a whole frame, and ten seconds over one), builds the mask from the brush's
own circles, and draws the answer into the fill surface at its own place in the
box. The composite, the feathered mask and the untouched frame around it are
unchanged, so nothing outside the mask moves — and when the model cannot be had
the blurred fill is still built first and still stands. The preview gets this
for free: renderPhoto was already async and the preview was already debounced.
Node probe: the model + polarity + read/write path run; heal-check.mjs keeps
measuring the fallback and now asserts the wiring and the polarity. Browser:
engine/inpaint.ts in a real Chromium returns a patch (hole moves, kept pixels
within 0.02 of a level), and the built app renders a 42-spot stroke in 4.7s on
single-threaded wasm with no fallback warning — 1.15s and the warning when the
model is taken away.
The background walk behind a cloud node read its pages after the answer the
screen had already been given, and no one told the screen when the last page
landed: the note went on saying a reading was running for the rest of the
visit. The walk now gives its own last word, with the count it read.
The strip and the wall windows were measured off the node the effect was set
up on. The stage is drawn while a node is open, so a visit that loses its
nodes and gets them back draws a new strip and a new wall, and a window
measured off the old node — a box of nothing, a scroll always nought — never
moved again for the rest of the visit. Both now read the element that is up.
HEAL painted a grey blob over the photo it was meant to repair, and the
cause was one draw Skia gets wrong on this build: a snapshot used as a
SCALED source comes back with the alpha multiplied into its rgb a second
time, so a partly transparent rim — which is what the mask's feather is —
was read as a dark wash. A pyramid of halvings is built of exactly those
scaled draws, which is why the repair's own rim came out grey; the same
source read at 1:1 is exact (measured, tmp-src-probe).
So the fill is now a cascade of blurs, all of them 1:1: the cut frame is
blurred at a few widths, widest first, each finer one drawn over it, the
untouched cut on top. The finest is one brush wide, each next is twice the
last, and the count follows the depth of the hole (the stroke's own
diagonal against the widest brush), which is what keeps the middle of a
long hole filled rather than bare. Nothing is copied from anywhere and the
rim arrives with no seam, which is what the passes were always for.
And the fill is built on the brush's own box rather than the frame, padded
by three sigma of the widest level. The composite reads it only where the
mask is, so this changes no pixel of the result (heal-check measures the
same masks either way) and it is what makes the repair affordable at the
zoom a repair is aimed at: at a 3200px preview a single spot went from
1.7s of frozen main thread to 1.2s, and the heal's own share of that from
0.8s to 0.3s. What is left is the pipeline itself, which is a separate
matter.
The FIX brush outlived its tab. It takes the pointer on the photo, and
leaving TOOLS never put it down — so its layer stayed on the stage over a
photo nobody was editing, and its ring came back under the pointer every
time the hand crossed a repair, which reads as the tool re-arming itself.
It now goes down with the tab, with another chip or another strip, and on
a press outside its own two chips, the same way the mask tool does.
And the Immich button was missing for a visitor who had just connected a
server: the studio and the library are two screens of one page, both
mounted, so coming back is a route change and not a mount — the studio's
own effect, which reads the server list once a session, never ran again.
It is read again on a popstate that lands on /app.
Checks: node scripts/heal-check.mjs (the cascade and the box, to the
letter), npx tsc --noEmit, and the studio driven in a browser: the button
appears on the way back from the library, the brush goes down with TOOLS
and re-arms with HEAL, and a stroke over a photo lays one band with no grey
in it.
The dust brush had two faults and the second was hidden behind the first.
A stroke was a row of independent repairs. Every circle the brush laid down
found a patch of its own somewhere else in the frame and pasted it, so a stroke
of twenty spots was twenty pastes with twenty rims to match, and what showed on
the photo was the run of circles itself. The mask was their union on paper but
not on the picture.
And the mask was not a stroke either. The brush only ever dropped a spot where
the pointer's own sample fell, and a fast drag reports a sample every few
centimetres of screen — several brush radii apart. Circles that far apart do not
touch, so their union was the row of dots the tool was complained about. The
segment the pointer travelled is now walked at the brush's own spacing and a spot
is laid at every step, whatever speed the stroke was drawn at.
With the mask one shape, the patch had nothing left to justify it. The fill is
now a push-pull pyramid over the whole mask: the painted pixels are cut out of
the frame as a hole, the remaining pixels are halved and halved again until a
level is small enough that no hole is left in it, and each level is drawn back
over the one below it. What comes up out of that is the photo where the photo
was, and the light of the mask's own rim carried inward where it was not —
nothing is copied from anywhere, and a repair matches the grade, the blur and
the grain around it because those are the pixels it was made from.
Non-destructive as before: the recipe still holds the circles, and the preview
and the full-size export run the two passes in engine/exportEngine.ts, the
shaders and the mask stops in shared/utils/heal.ts. A recipe written by the old
brush still loads; the patch coordinates it stored are simply not read any more.
The dialog knew two shapes: an add form with the saved links above it, and an
album-only view that hid the form. So a saved server could be retick'd but never
renamed, and the duplicate-address warning was only readable from the add side.
One shape now. The list is always drawn, every row carries SỬA beside
REMOVE THE LINK, and SỬA puts that server's name and address in the fields below
— prefill, edit, save. A blank key is the one that server already answers by, so
a rename does not ask for it again, and the backend's single PUT probes before it
stores either way. The desktop bar's button says TÀI KHOẢN CLOUD once there is an
account to manage, and THÊM IMMICH while there is not.
- RAW opens at the colour the camera wrote into it: the develop carries the
difference against the file's own preview (previewResidual) instead of the
per-channel cubic fit, dE00 6.04 -> 0.54; previewMatch.ts keeps only the grid.
- Immich reading: keyset position kept across visits, one reading per node,
a page in flight retried, timeline buckets for the years on offer.
- The wall draws a server frame at the address the proxy serves it (no blob
minted for it), and the 80-thumbnail pre-cache on open is gone.
- Settings lists the cloud links, flags two that answer at the same address,
and forgets one.
- Custom frames imported from a file (engine/customFrame.ts, IndexedDB).
- Upload an edited frame from Studio to Immich Cloud.
The Fujifilm RAF this was reported on opened with magenta through every white
in the frame. The develop itself was the cast, not the tone curve fitted over
it: run flat — white balance, matrix, knee, encode, no curve at all — the
frame's bright neutral blocks came back 232,196,201 against the 223,232,236
the camera's own preview has there. The matrix is not it either; every row of
`rgb_cam` sums to one, so a neutral triple opens neutral. What was wrong is
the balance it was given.
Neither balance LibRaw hands over is the one the frame was rendered with.
`pre_mul` on that frame is R/G 2.296, B/G 1.307; `cam_mul` is 1.795, 1.626;
the balance the preview's own bright neutral blocks imply is 1.588, 1.266 —
and that one is readable: average the sensor triple behind each block the
camera left bright and near neutral, and the ratio that equalises those
blocks is the frame's white.
So the develop reads it there, before the first draw, from the same preview
map the tone curve is fitted on, and keeps LibRaw's tags only as the fallback
a frame with nothing neutral and bright to read (a clipped or dark frame)
falls back to. `cam_mul` is tried before `pre_mul` on that path: as-shot
before daylight, measured 6.73 -> 5.27 on this frame where the reverse gave
6.66.
Measured end to end through the real develop (LibRaw worker + CanvasKit,
64x64 block grid against the file's own preview), mean dE00 / mean dRGB:
HAGIANG-20170202-FUJIFILM-418.RAF 6.73 -> 4.89 +5.8,+0.9,+0.5 -> 0.7,-0.5,-0.7
_DSF3087.RAF 7.52 -> 6.78 +1.6,+0.1, 0.0 -> 0.5,-0.2,-0.7
DSCF1701.RAF 6.86 -> 6.54 ~0 -> -1.5,-1.7,-0.9
_DSF7273.RAF 5.13 -> 4.66 +2.4,+1.0,+1.5 -> 1.8,+0.9,+1.5
_3279791.ORF 5.81 -> 5.93 ~0 -> -0.4,-0.2,-0.5
P1010256.RW2 9.60 -> 9.56 +2.5,+0.6,+0.7 -> 1.6,+0.4,-0.1
The four Fujifilm frames lose the cast; the Olympus and Lumix frames hold.
The two that open as their preview (Nikon NEF, DNG) still do. The bright
neutral fifth of both Fujifilm frames now differs from the preview by the
same figure on all three channels — a difference in brightness, not in
colour, which is the tone curve's business and not this one's.
The read is on the frame, not on the brand or its tags, so the bodies with
no sample here (Sony, Canon, Ricoh, Leica) take the same path.
scripts/raw-develop-check.mjs had gone stale against the module and is back
in step with it — the highlight gate's threshold, the gain's divisor, the
preview-WB read and the tag order are pinned, and previewWhiteBalance now
carries a case that hands it a plane and a map and reads the balance back.
A row of `photos` kept the frame's own FileSystemFileHandle, and reading the
catalogue handed them all to the page at once. Measured on a catalogue of
504290 frames, 458103 of them with a handle, opening the library left the JS
heap at 133MB while the browser process held 5.7GB and the renderer 2.1GB:
handles are not the page's heap, so nothing ever asked the collector to run,
and the rescan's own reload of the catalogue every thirty seconds piled one
such reading on the next until the tab was out of memory.
No row keeps a handle now. The catalogue is read a few thousand rows at a time
— the four and a half gigabytes of live handles came from asking for all of
them at once — and a frame's file is asked of its folder's handle when it is
drawn or opened, `fileHandleFor`. `reconnectPhotosForFolders` no longer writes
handles back into the frames, which is what put them there.
504290 rows read in chunks peak at 1.4GB and settle at 1.1GB, against 8.0GB in
one read before.
3dtours
locpham