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.
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).
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.
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.
`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.
3dtours