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 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.
The blown gate draws a clipped pixel at its own maximum -- one value across
the three channels, so the frame's highlights carry no cast -- but the
per-channel tone curve runs after it and re-tints what the gate had just
made neutral. One cubic a channel, fitted on a grid that has no block left
to fit where the frame ran out (previewMatch drops the fully blown ones),
so at the plateau the three curves agree only at 1.0 and part company
either side of it.
On the ORF this was reported on, the moonlit sky came back 254,255,255 and
253,255,254 -- red under green across a quarter of the frame.
The gate is the develop's own statement that the pixel had no colour of its
own, so it is re-read on the value that leaves the shader. The blown pixels
now measure 254.95,254.94,254.97 (R/G 1.0000) against 253.44,254.94,254.51
(0.9941) before; their two most common triples, 254,255,255 at 149315 and
253,255,254 at 122127, collapse to 255,255,255 at 278099. The bright bands
land at -0.0,-0.0,-0.0 against the embedded preview where they were
-2.1,-0.0,-1.0, and midtones and the lower half are untouched.
The least-squares 3x3 that mapped the develop onto the camera's JPEG won
on luminance, whose variance is ~80x the chroma's, so it paid for its
match by crushing the R-G axis: 11.6 -> 4.6 standard deviations, against
8.3 in the camera's own preview and 12.3 in its JPEG. That is the olive
cast -- the sky and the rice both shifted yellow-green.
The colour chain was never at fault: camera_mul x rgb_cam already agrees
with LibRaw to the digit, and the app's fit is bit-identical to a numpy
reference of the same problem, which is how the 3x3 was cleared.
Fit only the per-channel tone curve now. R-G comes back to 8.6 (900px)
and 10.5 (full), and B/G lands on the preview's 0.841 to three places.
The develop preferred cam_xyz, whose rows are the XYZ of each camera channel and
which nothing normalised: on the ORF this was reported on it left the frame
green and blue (R/G 0.921, B/G 0.886) where the file's own preview sits at
1.013 / 0.841, and saturated reds came back as the dark purple the frame was
reported for — a red pixel's green ran negative through a row that carries
-2.64, so it clipped to 0 while the knee pulled red down with it.
LibRaw hands back dcraw's own rgb_cam, already the camera -> sRGB transform with
rows summing to one, and it is now applied as handed back: R/G 1.020 B/G 0.920,
and the fit against the embedded preview follows to mean 167.5,164.8,138.5
against the preview's 167.0,164.8,138.6 and the camera's own JPEG's 165,162,133.
Dividing rgb_cam by pre_mul — which carries that row normalisation — is what the
frame before this one did instead, and it undoes it.
The cam_xyz chain stays as the fallback for a file with no rgb_cam, with its
rows normalised so a neutral frame opens neutral. invert3x3, unused since the
frame stopped going through the chain, is dropped.
A folder row now asks for the rest of a roll, the whole of it from the top,
or takes its request back. Requests queue behind the reading in flight and
run one at a time; a row waiting its turn draws a ring that does not turn.
A backup folder is picked, not created: the frames in it carry the names a
camera or a person gave them, and Chromium's IsSafePathComponent will not
spell a name back onto a disk if it holds a control or format character, one
of ": * ? " < > | \ /", a space, dot or tilde at either end, or a .lnk/.scf/
.url tail. The library is read through a handle, which lets all of those
through, so the refusal only surfaced on the way out: getDirectoryHandle threw
"Name is not allowed" on the first such folder, the run stopped there and left
an empty thumbs/ behind it.
Spell a component that would be refused as %XX per its UTF-8 bytes, on the way
out and on the way back in, so those frames keep their tiles in the backup and
the restore still finds them. A name that was already safe is handed back
untouched, which keeps an existing folder readable, copyable and rsyncable by
hand.
The run also no longer dies on the one frame that will not write: it skips it,
names it in the console, and finishes the rest.
Opening the export menu imported onnxruntime-web, and importing that runtime is
what starts its thread pool: one Web Worker per thread, each holding a copy of
the 27MB wasm build, held by the page until it dies whether or not an export is
ever asked for. Those workers are the child processes a visitor finds hanging off
the tab (and the tab, and the browser, goes when one of them is killed), and the
memory is what a laptop has none of when the studio is closed and opened again.
The menu now fetches the files by name and lets the browser's cache do the
warming; the runtime is imported by the export that needs it. The threads are
capped at four, and pagehide hands the session back instead of leaving the
renderer to reap it with the page.
The sheet was stretched over the visitor's frame, so the portrait variant
only turned the paper inside whatever shape the photo had: a landscape
photo stayed landscape. The film now has its own opening like the walls
do — the frame is scaled up to the photo, the photo is cover-cropped into
the whole sheet, and `old-film-portrait` is the PNG turned 90° CW, so the
pair is one frame standing and one lying. The torn edge has no straight
sides, so the photo runs under all of it instead of being cut against a
measured window.
SHARPENING was the doc's §4.2 kernel with the two parts of §4.2 missing from
it. `CLARITY_SKSL` evaluated the 3x3 unsharp mask with Mask = 1 on every pixel
and no coring at all, so a flat sky, a cheek and a noise speckle all took the
gain an eyelash took. That is `thay_doi_thong_so_giong_lightroom.md` §1 written
out as a bug: "khi Sharpen, ảnh nổi đầy sạn hạt cát" — the knob could not raise
the contrast of an edge without raising the noise of everything beside it, and
on a grainy frame the second effect won.
`SHARPEN_SKSL` is the doc's own line, `Image + Amount x HighPass x Mask`, with
the two terms it names:
- EDGE DETECTION: the Sobel magnitude G = sqrt(Gx^2 + Gy^2) on luminance, put
through the doc's soft threshold smoothstep(T, T + 0.1, G). Flat fields
read G = 0 and get Mask = 0 — the pixel is handed back untouched.
- DETAIL (halo coring): a high-pass under SHARPEN_CORE is a speckle, not a
detail, and is suppressed. The coring is soft (a ramp across the threshold,
not a cliff) so a detail sitting on it is not switched on and off from one
pixel to the next.
The HIGH-PASS is the doc's Radius, held at one image pixel — 0.7-0.9px on a
Retina panel — and it is a LUMINANCE high-pass carried by all three channels.
A per-channel kernel sharpens a red edge against a green one and draws a colour
fringe down every contour; the file's own §3 rule is to keep R/L, G/L and B/L
where they were.
`scripts/sharpen-check.mjs` pins the three properties the old kernel could not
have: a flat field and a field of grain come back unchanged, a step below the
threshold comes back unchanged, and a hard step moves apart on both sides while
the flat halves beside it stay put. `CLARITY_SKSL` and `clarityUniforms` are
gone with it, and the header note that said CanvasKit had two convolution steps
to replace now says the one it has.
Checked: node scripts/sharpen-check.mjs; node scripts/denoise-check.mjs; node
scripts/tone-base-check.mjs; node scripts/highlight-knee-check.mjs; node
scripts/auto-tone-check.mjs; node scripts/half-check.mjs; node
scripts/mask-wb-check.mjs; node scripts/preview-match-check.mjs; node
scripts/raw-develop-check.mjs; node scripts/white-level-check.mjs; node
scripts/wb-table-check.mjs; npx tsc --noEmit.
The knob was a `MakeBlur` image filter on the draw of the graded photo — one
sigma over all three channels — so at NOISE REDUCTION 100 a 1024-pixel preview
lost every edge finer than 0.6 of a pixel of its own and nothing brought the
luminance detail back. That is thay_doi_thong_so_giong_lightroom.md §4's own
warning ("Noise Reduction sẽ làm nhòe toàn bộ chi tiết sợi tóc và vân da") written
into the engine, and the filter had a second cost: a paint filter is handed the
shader's INPUT, so the pass could never read the graded pixels it was supposed to
correct.
It is a two-child pass now, NR_SKSL, run after the draw: the frame, and a blurred
copy of it (blurredFrame — the snapshot read back through the same MakeBlur the
ramp's base and the negative sharpening use). The output takes its CHROMA from
the blurred child and its LUMA from the frame, the split the tone ramp's header
already describes (`rgb - luma`), so the output's brightness is the input's at
every amount by construction — the eye is nearly blind to a hue change at that
scale, which is the whole reason the colour half is free. The reference reaches
NR_CHROMA_SPAN = 0.4% of the frame's width, the doc's own 3..5 pixels of a
full-resolution frame, where the knob's blur was 0.6 of a pixel.
The luminance half of §4.1 (its bilateral filter) is deliberately not here: it is
the half that costs detail and no frame has shown grain the colour half left
behind. ponytail: add it as a second child of this same pass when one does.
Checked: `tsc --noEmit` clean; `denoise-check.mjs` (new) compiles NR_SKSL on
CanvasKit, asserts the engine still wires both children and no longer blurs the
draw, and renders the pass at five amounts against a flat pair — amount 0 is the
pixel exactly, amount 1 carries the neighbourhood's colour difference, and the
luma never moves at any of them; `highlight-knee-check.mjs`, `tone-base-check.mjs`
and `mask-wb-check.mjs` still green.
BLACK at full deflection returned a soft picture, and on a monochrome frame it
returned the blurred base outright. The tone pass reads the ramp at the
neighbourhood's base and then rebuilds the pixel, and it rebuilt it by the RATIO
the base had moved by — `Base' * (Input / Base)`, the other half of
fix_shadow.md's decomposition. A ratio is a gain, and that gain is a function of
the neighbourhood: the knob that takes the base toward zero scales every pixel's
detail by the same coefficient, so the knob that darkens the frame takes its
texture with it. Measured on lightroom_shadow.jpg at 1024px through tone-sim.mjs,
the pass in plain JS with the shader's own constants: at BLACK -100 the finest
gradient came back at 0.75 of the input under the ratio and at 0.98 under the
sum, while the frame darkened the same either way (mean 0.416 to 0.359 both). A
monochrome stock is the whole frame of that error, because all three channels ARE
the pixel's luma there, which is why the picture came back as the base — soft,
and short of every edge it had.
The reconstruction is `Base' + Detail`, ADDED and not scaled, and it costs
nothing where there is no move to make: with every knob on zero the ramp at the
base IS the base, so the difference is exactly zero and the pass is the identity
however coarse the base is. A caller that hands in no neighbourhood at all — a
mask — hands in the pixel's own image as its base and gets the global move back,
which is what the ratio gave it too. `o` is held inside the cube before the
detail is added, so a neighbourhood the ramp has pushed under the floor keeps the
structure around it instead of carrying its pedestal down onto every pixel in the
region. The bright side of the same move is untouched: the lift is still the
neighbourhood's, and at SHADOW +100 the band above the lifted knot still keeps
0.81 of its spread where the global move kept 0.42.
CLARITY drew a light stroke down every contour, and the reason was in what the
blur called a neighbour. The range weight was the colour difference,
`exp(-dot(d, d) * 24)`, which is loose on any coloured edge — two sides of a hair,
a branch or a rail can share a red and differ in green — so the reference reached
across the edge, and the reference is exactly what the blend subtracts. The wider
it reaches, the more a contour reads as detail. It reads LUMINANCE now, one
decision per tap at the doc's own scale (`CLARITY_RANGE_SIGMA` = 0.04), so an edge
of any hue stops the blur dead.
The blend moved the three channels by their own differences, which is what
coloured fringing along every contour was, and the amount it moved them by was
the MASK's `CLARITY_GAIN` borrowed for a different child. It moves LUMINANCE now
— one value carries the whole pixel back with it, so hue is untouchable and skin
does not go sallow at the top of the knob — under the doc's midtone weight
M(L) = 4L(1-L), which deepens the greys a picture is made of and leaves the burnt
ends and the deepest shadows where they are. The positive side's gain lives
inside the shader (4.5, raised from the doc's 1.8 because the range weight above
reaches less far and carries less detail): clarity-halo.mjs, which measures the
pass pushing a pixel outside the range of its own neighbourhood, reads a bright
stroke of 55.3/255 on lightroom_shadow.jpg and 54.3/255 on DSCF1701.JPG at +10,
against the old pass's 145 and 127 at the same knob — and 8.0 already reads 98, so
the knob does not need to go further to keep the flat areas moving.
`exportEngine` passes the knob's own units now, `[clarityKnob / 10]`, since the
gain and the sign are the shader's business and the mask's gain is not the
frame's.
And a backup folder the browser had stopped letting the page write to wrote
nothing and said so, once, with no way back: a permission outlives the tab only
while the tab does, so the row kept reading a permission of a moment ago while
the write went to the disk without one. A refusal that names the permission, or
the folder that is not there, now goes through the picker ONCE — the picker is
the only thing that hands a folder back — and the run is repeated; anything else
is the folder itself saying no, and is not asked twice. The sentence on the
screen is one line over a strip of photographs and cannot carry a reason, so the
reason goes to the console and a word of it into the note (`{why}`, the name the
browser gave the refusal and never a stack), which is the whole of what tells a
folder that was moved from a permission that lapsed. Both dictionaries learn the
word.
Checked: `tsc --noEmit` clean; `tone-base-check.mjs` and `highlight-knee-check.mjs`
updated to the new reconstruction and passing; `tone-sim.mjs` on
lightroom_shadow.jpg at 1024px for the numbers above; `clarity-halo.mjs` for the
stroke.
The mark was pinned to the folder a reading was kept to, which is a fine thing
to say and no use at all to look at: a reading kept to the roll is kept to the
roll for the whole of an afternoon, so the one row that said anything said the
same word from the first frame to the last while the walk went through every
folder under it. The reader asking which folder is being read was told, in
answer, which folder they had asked about. A reading is where it is, not where
it was pointed, and where it is is a thing only the reading knows — so the walk
now tells it. The frame in hand names the folder it sits in, and the progress
carried to the screen says so with the rest, which is where the column reads it.
The mark is a way down and not a single row: the folder being read says so, and
so does every folder above it. That is what keeps a reading visible under a
branch folded shut — the row doing the work is the row the fold takes away, and
the rows above it are all a reader would have left. Two rows say the same thing
and no more, which is the point: the eye follows the marks down to the work.
The head of the tree is never one of them, and this is the rule that survives
from the last reading of the question. A roll is the head of everything under
it, and a head marked while one folder below it is read says the whole of the
tree is being read — an answer that is both loud and false, and worse than the
silence it replaced. So the mark stops one row short of the top. The one case
left bare is a reading whose frames sit in the roll's own folder and nowhere
else: there is no row between the work and the head, and a flat roll is a roll
in which the toolbar's line, which names the count, is the whole of what there
is to say.
A roll of a hundred thousand frames is read by a walk that tells the screen
about every frame it lands. The column is redrawn out of that count, so the
telling was a whole tree rebuilt a frame at a time — on the large library that
is the reading spending its afternoon drawing itself, and to the reader it looks
like a scan that has started over from the top every time the column breathes.
Five tellings a second is a counter that still moves to the eye and a page that
is doing the reading instead; every frame still lands in the counts, and only
the copy the screen reads waits.
What the counter said was wrong twice over, and both were the same mistake told
two ways. The total was the frames already reached plus the frames still in the
queue, so a roll whose catalogue already holds most of it announced itself as
`29980/61211` — the numbers of the reading underneath, printed as if they were
the numbers of the roll. The reading now measures itself against the frames the
catalogue already holds of the folder it was pointed at: the roll's own size
while the walk is still up in its first folders, and the frames under a
subfolder alone when it was kept to one. And a row says at least what the
catalogue holds of it, never less — where the reading's number alone had the
head of the tree count 29980 while the line above it counted a hundred
thousand, one question with two answers. Nor is a scan of nothing announced as
`0/0` before its first pass has come back; the line waits until it knows what it
is reading.
The third thing is not a number but a weight. The tile kept for a frame is the
tile the grid cell and the strip both paint, and there is one of them per frame
of a roll that reaches six figures. At 512 on the long edge a tile weighed 42KB
and a hundred and sixty thousand of them weighed six and a half gigabytes of the
reader's disk — for a grid cell that is ~240px wide and a strip tile that is 132.
A quarter of the pixels at the quality Lightroom keeps its own grid previews at
puts the same picture in the same cell: the tile is now ~12KB and the roll a
quarter of the disk it was. The canvas a tile is drawn onto is told it is opaque,
so it no longer carries a channel of noughts through every draw and every encode.
The stage loses a little softness at 2.4x, which is the trade and is known.
A roll is dated folders inside dated folders, and the reader who wants April
re-read is not a reader who asked for the four years around it. Right-clicking a
subfolder row carried the roll's own menu, and RESCAN on it read the whole tree
from the top — every folder of every layer opened again, every frame in them
asked for its size and its time, to reach the one folder the pointer was on. On
a library of a hundred thousand that is a walk of minutes for a folder of
twenty.
The scan now takes the folder it was pointed at, spelled as the walk spells a
path: '' for the picked folder, `2026/04/` for a subfolder. The walk is handed
that path as its queue and reads down from there, so the tree is entered three
levels in rather than at its root, and the menu row passes the path of the row
under the pointer. A right click on the head of the tree still reads the whole
roll, which is what a right click on the picked folder has always meant.
What a reading kept to one folder must not do is speak for the roll. What it
names in the column is a branch of the tree, so the column keeps what it has and
the rows outside the folder being re-read stand where they are. What it counts
is a branch too, and its numbers drawn over the rows would count a roll down to
one folder of itself, so the column falls back on the catalogue until the
reading is through — the frame the reader is waiting for is the frame that was
re-read, and it is in the column the moment it lands.
Nor does it write a position down. `walk/ROLL.json` belongs to the reading that
walks the whole roll: a fraction of the tree written into it hands the next
visit a roll with the rest of itself missing from the walk, and it clears a file
another reading may be in the middle of. One folder is short enough to read
again, and the frames it does not re-read are skipped on their size and their
time anyway. A jump is refused for the same reason — the reading answers to the
folder it was kept to, and a click elsewhere is a different reading's business.
RESTORE was dead on a machine that had never written a backup: the button was
`disabled` while no folder was remembered, and nothing in the handler could ever
pick one, so the reader who had carried a copy over on a stick had no way to
point at it. The button now stands, and the folder it restores from is whatever
the reader picks in the dialog that opens — which is the whole of the choice
there is, because a backup is a folder of rows and tiles. The folder on the other
disk, the one made before the edit: the folder is the version.
BACK UP asked for a folder only the first time one was ever chosen. After that
it wrote into it in silence, and after a restart — when the browser takes the
permission back, since a permission outlives the tab only while the tab does —
it wrote nothing and said so, which is a backup that quietly stops happening.
It now picks whenever it cannot write, and the picker is the only thing that can
hand a remembered folder its permission back; a permission asked for with no
picker behind it is one the browser may refuse. The run that follows a scan is
untouched: it is guarded by the permission it would be asking for.
And the folder is a control, not a caption. The line that names it — with the
frames in it and when they were written — is what tells one backup from another,
and pressing it is how a folder is picked, a name given, a permission handed
back. It keeps the hint's own look through five lines of CSS, so the row still
reads as a caption and not as a third button.
What the line says is now read out of the folder rather than out of this
browser's memory of it. `pickBackupFolder` reads the catalogue file inside the
folder just picked and takes its count and its date as the row's own; a folder
with no catalogue of its own has none, and the row says so instead of showing
the numbers of the folder next door. That is also what the confirm names before
a restore — the frames and the time in the folder just picked, which is the
thing about to be restored. `restoreNow` already read that file; this reads its
header first.
Checked on the running bundle with the picker stubbed, since the dialog is one a
probe cannot press: with nothing remembered, RESTORE now opens the picker where
it did nothing at all, the row names the folder the picker returned, and a
folder without a catalogue of its own is refused with a line saying so rather
than restored as an empty catalogue. BACK UP opens it too, from the same fresh
state. The line computes to a button with no border, no background, the page's
own font and the hint's own 12px dim grey — a caption that happens to be
pressable. The wall, the strip, the grid, the deep link and the phone's recipes
all pass their checks.
LIBRARY drew the strip from the catalogue and the catalogue from a `getAll` of
the `photos` store: every row and every thumbnail in it, read back on a clock to
learn what a scan of its own had just stored. On a catalogue of 150,000 frames
one read measured 2036ms and sixty megabytes of rows; under a scan in the same
window, with four lanes of RAW bytes and a LibRaw of a quarter of a gigabyte
beside it, that read is the read that gives way — and a read that gave way
answered `[]`, so the screen threw away the frames it was showing. That is the
strip that loses its count and its thumbnails under a scan, and the frames the
reader cannot pick while the roll is being read.
The reading now hands its frames over as it stores them. `scanFolder` keeps the
rows it met for the first time in the batch they landed in, and `flush` gives
them to `watchRows` the moment the transaction closes; the screen appends them,
so the strip is the roll arriving and not the roll found again. A batch is fifty
frames, so this is fifty rows over a callback where it used to be a hundred and
fifty thousand rows over IndexedDB. A frame the catalogue already held is not
handed over — it is on the strip already, and it takes its place again when the
reading is through.
Which is why the read on the clock is now done for none of them. It stands for
the reading another window holds, whose frames never come through this one: a
reading of this window's hands over every frame it stores, and the counter that
says so is what decides. The scan's own tail read went with it — the screen
watching a reading reads the catalogue back once the reading ends, and that is
the whole catalogue read once per scan instead of twice at the end of every one.
`readPhotos` answers null where `listPhotos` answered an empty list. A read that
came back with nothing is a read that failed, not a catalogue that emptied, and
the frames it would have cleared are the frames the reader is working their way
through. The strip keeps them.
And the strip starts on what the last screen read. STUDIO and LIBRARY are two
screens of one page, not two pages: the reader who goes to develop a frame and
comes back was reading a hundred thousand rows again to see the strip they had
just left.
The folder is walked on the way in only when the last reading of it never
finished. A reading that reaches its end clears its position, so "is there a
position" is "was this roll cut off", answered by one small file opened and
shut. Before this, every visit to the library paid a walk of the folder the
reader was opening — a hundred thousand names off the disk, on the folder they
had just asked to browse — and the reader who came to choose a frame paid for a
scan they never asked for. A folder the reader wants looked at again says so
itself, from the menu on its row.
Checked on the running bundle: a 3000-frame scan reads the catalogue back twice,
one of the two the screen coming up on a catalogue that is still empty — against
three for the commit before this one and thirteen for the one before that, and
nothing read back for the whole of the scan. The peak heap is 116-138MB with no
long tasks, and 3001 rows went in. A reading stopped at 59 of 4000 still leaves
`walk/ROLL.json` at 113,626 characters with no local storage key beside it, and
the visit after a reload carries on with the strip filling under it — 162 rows,
312, 463, 612, 762, 913, 1062, 1212 as the scan went on. LIBRARY on 150,000
frames shows no "No folder yet" at any point and settles on "150000 photos" in
4.9s against the 8.1s it took. The wall, the strip, the grid, the deep link and
the phone's recipes all pass their checks.
LIBRARY read the whole catalogue back on every batch the scan wrote: `reload()`
is a `getAll` of the `photos` store, every row and every thumbnail in it, and on
a catalogue of 150,000 frames one read was measured at 2036ms, twenty of them at
315s with the worst at 58s, the heap behind them going from 44MB to 89MB — beside
a LibRaw open of a quarter of a gigabyte and four lanes of RAW bytes. On a folder
of RAW that is the crash, and on any long roll it is the strip taking the roll's
own time to move.
The read-back now runs on a clock: at most once every five seconds of a scan, and
once more when the reading ends, which is when the last of it is due. A batch
lands every second or so, and reading it back costs every frame in the catalogue
— so a scan that read it back each time spent the roll doing nothing else. The
strip still fills while the scan runs; it fills in steps.
The walk's own position went to the origin private file system. It is one path
per frame the walk has found and not read — about twenty-eight characters each,
measured over a folder of three thousand, which is the 85,626-character write —
and local storage on this origin takes 5,000,000 characters and then throws,
measured the same way. That is a hundred and seventy-five thousand frames: past
it the first write of a long roll fails, the position is nowhere, and the next
visit walks the whole roll from the top. That is the reading that goes back to
the start, and OPFS takes the same text as a file. It goes down at most once
every two seconds, for the same reason the catalogue is read back on a clock:
the string is a few megabytes of paths.
The folder is walked again for being raised no more than once every thirty
seconds. A hundred thousand frames is a hundred thousand stats on the disk, and
this screen is raised every time the reader comes back from the studio.
And the column no longer says there is no folder before it has looked. The note
waited on `folders` alone, which is empty for as long as the screen is coming up:
on the catalogue of 150,000 it said so for the whole of the load and showed the
folder after. It now waits on `loaded`, and says nothing until there is something
to say.
Checked on the running bundle: a 3000-frame scan reads the catalogue back 13
times where the code read it back once per batch, writes the position 21 times,
and leaves the peak heap at 116MB with no long tasks. A reading stopped at 483 of
4000 leaves `walk/ROLL.json` at 101,107 characters naming 3,550 unread frames,
with no local storage key beside it, and the visit after a reload carries on at
585 rather than at the top. LIBRARY on 150,000 frames shows no "No folder yet" at
any point and settles on "150000 photos". The wall, the strip, the grid, the deep
link and the phone's recipes all pass their checks.
The base layer shipped last commit was nine POINT SAMPLES of the child, one
ring out at TONE_BASE_RADIUS. A ring is not an average, and on a frame with
texture at the ring's own scale it is worse than one: the nine lumas differ,
the sample pattern beats against the texture, and the base field comes out
aliased. The gain the pixel then rides, o(base)/base, is a function of the
base with a kink at every knot — so each alias of the base becomes an alias
of the gain, and the reconstruction paints it straight back over the detail
it was supposed to leave standing. Reported on a waterfall: grey patches
loose on a mountainside, a smear across the face of the falls, and plateaus
in cloud and sky (the pass runs whole-frame, so its base is read in the
bright end too).
Measured, 1160x774 at SHADOW +100, the high-frequency part of the gain field
(9px high-pass, where a real base can hold none): 0.0627 for the ring,
0.0048 for a blur of the same radius. Thirteen times. The fix is not more
taps — a 7x7 at a third of the step is still point samples, only smaller —
it is to stop sampling: the caller blurs.
So the base is now a second CHILD of the tone pass, the frame blurred by
Skia's own MakeBlur (blurredBase in exportEngine.ts, the draw drawBlurred
already made for the sharpening pass) at TONE_BASE_RADIUS of the frame width
and sigma TONE_BASE_SIGMA of that radius — a box's equivalent at the radius,
so the neighbourhood is the one the radius always named and the cuts are
smooth instead of hard. The shader reads it ONCE per pixel and baseLuma
loses its loop and its `bx`. That is also the cheaper pass: nine child evals
walked the exposure/matrix chain nine times, one eval does not.
A caller with no frame to blur hands in the image it is already shading as
the base. The tap then lands exactly on t and the ramp is the global move
again — a mask's degenerate bx of zero, spelled as a child that IS the
source, which is what gradientMask.ts's own call (base == t) already meant.
Checks: tone-base-check.mjs is new — SkSL is only compiled at runtime and
nothing here compiled TONE_SKSL whole, so the pass is compiled and rendered
for real, with the frame and the base held at two flat values a little
apart: the pixel has to land on the value the ramp over THAT base predicts
(171 for a 128 pixel over a 76 base), and a base equal to the pixel has to
be the identity. highlight-knee-check now pins the one tap, the absence of
`bx`, the blur, and the two-child wiring. 9/9 pass, build clean.
Skipped: no guided filter proper — the base is a plain blur, so a strong
edge is no longer held out of it the way the range weight held it (a dark
rock a blur's width from the water reads a lifted base and keeps its own
darkness). Add when a frame shows the halo; the doc asks for a plain blur
and this is one.
The four knots were read at the pixel's own luma, which makes the ramp a
global curve: every pixel at luma t lands on the same o whatever surrounds
it. SHADOW's a1 is the head of the quarter above it, so lifting it squashed
that whole quarter to the half slope left over — measured on a real frame,
0.50 of its spread (shadow-band.py), 0.57 on the deployed bundle — the grey
sheet the knob was reported for. A curve drawn through the pixel cannot see
local contrast; that is what the eye was reading.
So the ramp is read at TONE_BASE_RADIUS (2.5% of the frame) of the luma
around the pixel — a 3x3 range-weighted blur, the fix_shadow.md Base x
Detail split — and the pixel then rides the neighbourhood's gain o/base,
keeping its own difference from it. Base moves, detail stays: the same lift
on the same pixels, with the texture inside the region left standing. Full
deflection keeps 0.78 of the band's spread now.
The base is the same maths in every caller: bx = 0 (a mask, which has no
neighbourhood) reads the pixel nine times and gets the old global move back,
and with every knob on zero the ramp at base IS base, so the ratio is 1 and
the pass is the identity however coarse the base is.
Skipped: no chroma compensation (Hunt). Measured, the ratio held saturation
(0.3184 -> 0.3169), so it is not earned yet. No linear-light ramp either:
the multiply is a uniform gain on encoded values, which is the same stop
exposureMove already argues for.
An installed app and a browser tab are one origin, one catalogue and one roll.
Without a word between them the second window opens, finds nothing in flight,
and reads the same frames again — two readers of one folder, two RAW decoders at
256MB apiece, for a progress the first window already has.
The window holding the reading now announces it on every frame and on a
heartbeat, and answers a window that has just opened and asks. A window that
does not hold the reading takes it as its own: the same progress line, the
folder marked as being read, the same STOP — which it relays rather than
redirects — and the same jump. What it does not do is read the disk.
A reading that is through leaves the catalogue behind, and a window watching it
has nothing left to be told, so the screen reads the catalogue back once more
when the session goes away: the frames that arrived with the last flush would
otherwise never be drawn in the window that was only watching.
Measured over one origin (two pages, 24 RAW frames): the second window read 25
frames before and 1 after (the open frame), the peak over an idle browser fell
from 1412MB to 1155MB against 944MB for a single reader.
Raising DEHAZE drew bright copies of every dark detail in the photo, stacked
alongside it. The prior was the reason, and the prior was read wrongly.
The 5x5 patch of DEHAZE_SKSL was sampled inline, five taps out at 0.625% of the
frame's width each — one tap every 6.67 pixels of the 1067-pixel preview, an
average spacing over a 26-pixel patch that is meant to be the minimum over it. A
detail thinner than that spacing therefore sat between two taps on one row and
under a tap on the next, and the transmission swung between "this patch holds a
shadow, leave it alone" and "this patch is all haze, divide hard" with a
7-pixel period around every dark thing on the frame. A rising DEHAZE drew that
period: `t` is a per-pixel divisor, so the rows of the detail that were left
alone stayed put while the rows read as haze came up bright, and the 13.3-pixel
column spacing made the next copy and the copy after that. That is what was
stacking.
Measured on a synthetic frame of sloped haze with four one-pixel dark lines: the
old shader departs from the clean correction by +58 to +102 codes (8-bit) at
exactly +/-6.67 and +/-13.3 pixels around each line — the two spacings, in both
directions, which is the whole signature of the bug. That frame is otherwise
flat, so those deviations are the copies.
Three things had to be got right, and each is the smallest fix that removes one
of them:
- The patch is no longer sampled. The caller builds the dark channel as an image
— a 64x64 copy of the frame, smallest channel over a cell-wide neighbourhood,
then two box passes — and hands it to the pass as its second child, so the
shader's own `dark.eval` IS the patch: one cell covers a whole neighbourhood
rather than sampling it, and the bilinear upscale interpolates it back up with
no period left in it. The box passes are the doc's soft matting in the one form
free here — the map is smoothed, not the pixels. The copy is made with
drawImageRect, rect to rect: a paint shader drawing a 64x64 rect reads only the
source's 4x4 corner, and a one-pixel line in such a copy lands at 166, i.e.
pure haze, because the cell covering it is mostly sky.
- What travels as that image is the dark channel and not the transmission. t is
1 + 0.95 at the negative end of the knob, more than a channel can carry, so a
copy of t would arrive here clipped to 1 and "put the scattered light back"
would become a pass that returns its input. The dark channel is 0..1 by
construction and the signed amount stays a uniform, where it costs no range —
the knob keeps both of its directions. Swept on the real photo, DEHAZE -100
moves 779,237 pixels brighter and 703,114 darker (worst 110 codes) while the
same frame at 0 either side of it moves exactly none, and +100 moves the frame
the other way at atmosphericLight [0.93155, 0.90980, 0.93084].
- The pass was reading a shader that does not exist yet. `effects()` is what it
asks now, not the module variable: nothing above DEHAZE has asked for the
effect, so on the first render the variable is still null and the knob stayed
dead until some later render happened to fill it in.
A map this small only covers the frame if it is told to, and the matrix that does
it is the last thing that had to be right: CanvasKit reads a shader's local
matrix as the map's own pixels to the frame's, so the 64x64 copy needs frame over
map, `[W/64, 0, 0, 0, H/64, 0, 0, 0, 1]`. Without it the pass covers only the
top-left 64 pixels and clamps every pixel past them onto the map's last texel —
one constant t over the whole photo, a global inversion and not a dehaze.
Measured against the ideal ramp, `scaled(n/w)` clamps the same way; the
reciprocal lands on it.
The knob is left to over-correct at the top of its range, and that is deliberate.
A hazy sky still goes white and a saturated colour beside a dark edge still
deepens: `(c - a)/t + a` with an airlight near 0.93 and a plain clamp, which is
the arithmetic the doc asks for. It is smooth on the frame — 6x zoom panels of
the hazy frame at DEHAZE 100 show one wide gradient and no band repeating at any
period — so no knee is added to soften a correction that is no longer producing
the symptom. If that side ever needs taming, DEHAZE_MAX_OMEGA is the one number.
The MASK's DEHAZE still samples the old 5x5 patch inline (gradientMask.ts,
unchanged): the frame-wide pass is what the report was about and what is fixed
here.
Verified: the synthetic harness over four patch configurations puts the new
shader at zero deviation from the clean correction at N=64 — the 16.7-pixel cell
swallows the test line, which is why the real photo is the judge. The real photo
through the running app, with the slider swept 0, 100, -100, 0, is exact at both
zero points and moves the frame at both ends, and its zoomed panels at DEHAZE 100
— roof, floor and a wooden rail at 3x and 6x — show the remaining change as one
smooth region, the blue of a tarp and the green of a floor stain deepening where
the haze was hiding them, with nothing repeated around the dark detail that used
to copy itself. npx tsc --noEmit clean, npm run build clean,
scripts/mask-wb-check.mjs and scripts/highlight-knee-check.mjs both pass.
Co-authored-by: PenguinHarness <noreply@penguin.local>
A folder of RAW took the page down. The catalogue reads four frames at once —
that is what makes a roll land quickly, and for a JPEG it is free — but a RAW is
not read by this page at all: it is handed to libraw-wasm, which opens it inside
a worker of its own, and that worker is built with a quarter of a gigabyte of
linear memory (emscripten's shared memory, 256MB, instantiated per instance) and
the whole frame is copied into it. Four of those at once, on frames of 22.6MB,
is past what a renderer is given before a single tile is drawn, and the page goes
with it — which is the crash this answers.
One open at a time now, whoever asks for it: the gate wraps the read of a RAW and
nothing else, so the frames around the one being opened still have their bytes
read off the disk, their decodes run and their tiles encoded side by side. Only
the open queues. A folder of JPEGs never touches the gate and keeps all four
lanes.
The tile also stops asking the decoder a question the bytes answer. A JPEG — and
the preview a camera writes inside a RAW is one — carries its frame size in its
own header, in the first few hundred bytes the read already holds for the date.
`jpegSize` reads it there, and `tile` is handed the size instead of decoding the
whole frame a second time only to learn which edge is long. `jpegSize` existed
for exactly this and had no caller; it has one now.
Verified:
- library-check.mjs, scan-nav-check.mjs, roll-walk-check.mjs all pass against the
built bundle — the catalogue still reads a roll, a RAW still becomes a tile off
its own preview, a frame still says where it was shot, an interrupted reading
still goes on by itself.
- A stand-in folder answered `showDirectoryPicker`, 48 frames of 22.6MB, resident
memory of the whole browser process tree sampled every 150ms:
- before: 4 frames read at once, peak RSS 1335MB, 565MB before the roll was
picked, 12s, 48 tiles, no error;
- after: 1 frame read at once, peak RSS 1180MB, 32s, 48 tiles, no error.
The 2.6× on the clock is mostly the harness: its `getFile` copies 22.6MB per
frame, so serialising the open serialises that copy too. A real folder pays a
disk read and an open in sequence instead.
- 200 frames of 8.5MB JPEG, same harness: peak 1713MB, 4 at a time, 200 tiles,
no error — the JPEG path is untouched by this commit.
ponytail: reading a RAW could skip LibRaw entirely — the camera's preview is a
plain JPEG and could be cut out of the head of the file this page has already
read. Probed on four samples: RW2 carries a 1920×1280 preview at 54KB, NEF one at
6016×4016 of 1.08MB, but DNG has only 720×480 inside its first 4MB and RAF keeps
almost none, and picking the wrong segment risks a thumbnail for a tile. Not
worth it until a RAW that is neither DNG nor RAF is the common case. The JPEG
path still peaks high (1713MB over 200 frames) and that is `createImageBitmap`
decoding every 5472×3648 frame whole, at four lanes — an app that reads fewer at
once trades time for the same headroom, if a page that large is ever the crash
again.
Co-authored-by: PenguinHarness <noreply@penguin.local>
The catalogue could say what a frame was and when it was shot, and nothing about
whether it was any good. A reader who had been through a roll of two thousand
had no way to say "these four", and the thumbnail wall drew every frame the open
folder held in the one order it had: newest shutter first, always.
The frame that is up now carries its own score — five stars under the picture,
and the star the click lands on is the score it gets. The star it already has
takes the score back, so a score that was given by mistake is taken off without
a sixth control. It is the catalogue's own row and nothing on the disk is
touched: the file is not written and not read, the browser only stores one more
number against a frame it already holds, and the number is the reader's.
The wall is read through three of them. The score is the first — four stars and
up is the floor, any rating is the wall as it was — because that is what a
reader who has just been through a roll wants next. The year the shutter fired
in is the second, offered as the years the open folder actually holds and not a
century of empty ones. The hours it fired in are the third, as a from and a to:
16:00 to 18:00 is the afternoon the reader was out, and either end alone is
"from 16:00" or "up to 18:00". All three read the shutter time, on this
machine's own clock — the same reading the frame's date line prints, so the
afternoon is the afternoon and not an offset of it. Beside them, the order: the
newest shutter first, the oldest first, or the most stars first.
What the filters hold is the wall and only the wall. The strip under the picture
is the shelf the open folder is, and a shelf that quietly loses three quarters
of its frames is not a shelf any more; the frame that is up has to stay reachable
while the wall is narrowed around it. That is also why the filters are drawn in
the thumbnail view: they are a way of looking through the shelf, not a property
of the roll, and nothing about them outlives the visit.
Verified:
library-check.mjs — 52 steps, all passed, five of them new. The frame that is
up is scored from the row under it and the catalogue holds star 4 against it
(aria-pressed on the fourth star true); the wall narrows to one tile at 4★,
to none at 5★, and back to three with the rating cleared; the year 2016 holds
the two JPEGs of three and 16:00–18:00 the same two, out of a roll whose
frames are written years apart in different parts of the day (the JPEG in the
afternoon of 15 Feb 2016, the RAW at seven in the morning of 1 Jan 2026);
read by score, the scored frame comes first. Every earlier step still holds,
including the two that count what a reading costs and the stand-in folder's
two frames — the JPEG carrying the GPS tag and the RAW printing
"26.4mm · f/2.8 · 1/320s".
scan-nav-check.mjs, roll-walk-check.mjs — all passed. frontend tsc --noEmit
clean, vite build clean.
ponytail: the score is one number on the frame's own row — no rating table, no
votes, no accounts; the catalogue is a per-browser shelf and so is the score. The
filters live in the thumbnail view's own state, so a reload starts with the whole
shelf again, which is what a filter is for. No text search: a roll of date folders
is three levels deep at most, and the three that a reader actually digs with are
the ones here — add the box when a folder of mixed names makes one worth typing
into.
Co-authored-by: PenguinHarness <noreply@penguin.local>
A negative is opened to be looked at, and the two things a photographer reads
off it first are the numbers the camera wrote and where it stood when it wrote
them. The stage gave the name, the folder, the date and the weight of the file,
which is what the catalogue knows; the rest was a trip into the studio.
Both are now under the picture. The numbers are the camera's own — ISO, focal
length, aperture, shutter, frame size — printed in the order a photographer
says them, and every one the file does not carry is left out rather than stood
in for: a Fuji RAF gets no line at all, a Panasonic RW2 gets the glass and the
shutter and no ISO, and a JPEG gets the lot. Where the frame was shot is the
GPS it carries, named by the geocoder when one answers and left as the
coordinates it holds when none does — a naming is a network round trip on a PRO
account, and the numbers do not wait for it, so a refusal or a miss costs the
reader nothing.
What this costs is one read of the frame's first few hundred kilobytes, the
same head a scan hands the parser, and only the frame that is up pays it: the
strip walks past a hundred negatives without reading one of them. The read is
held by the read itself and not by the frame object under it, because the
catalogue is read back on a timer while a scan runs, which hands the screen a
fresh object every few hundred milliseconds — a screen that went by the object
would read the same file again and again for as long as the scan lasts.
The check's stand-in folder had no frame of its own with a GPS tag on it, and
none of the samples carries one, so the check writes one: an APP1 segment
holding a GPS IFD and nothing else, spliced in right after the frame's SOI. It
is deliberately the first APP1 — a JPEG carries one EXIF segment and the
catalogue reads the first, so a file that has a place is a file that spent its
EXIF on the coordinates. That is also what makes the RAW the frame that shows a
spec line, and the two frames now check the two halves of the same feature.
The run counts what a reading costs, and a head is not what it counted before:
it counts the whole file a lane develops apart from the head a parser is handed,
because "the RAW was read" is a claim about the scan and the preview legitimately
reads the same file's head.
Verified:
library-check.mjs — 47 steps, all passed, two of them new. The JPEG off the
check's server carries a GPS tag and the page keeps 16.0544, 108.2022 under
the frame, with no geocoder behind it to name them; the RAW prints
"26.4mm · f/2.8 · 1/320s" — the glass and the shutter it has, no ISO and no
frame size it does not. Every earlier step still holds, including the one
that says a scan does not read a RAW whose size and write time have not
moved: whole reads {}, heads {"P1010256.RW2":1,"P1010256.JPG":2}, the one
RAW head being the frame that is up.
scan-nav-check.mjs, roll-walk-check.mjs — all passed. frontend tsc --noEmit
clean, vite build clean.
ponytail: the place is named by the API's geocoder and nothing else — no map, no
picker, no place a reader can type. The coordinates are what the file carries,
and a file that carries none shows no line, which is the honest answer and the
common case for a phone frame with location off. The line is read for the raised
frame only; a grid of hundreds is a list of names, and a row of ISO numbers
under each tile is not what it is for.
Co-authored-by: PenguinHarness <noreply@penguin.local>
The reader opens a roll of a few thousand frames and holds Ctrl+Shift+R while
it is being read — over a reading that takes minutes, that is the one thing
they do. What came back was a reading that started again at the top: every
folder listed a second time, the toolbar counter back at zero, the frames that
were already in the catalogue walked over so that their size and their write
time could say they had not moved.
None of that was in the catalogue, because the catalogue only holds the frames
that were read. What was lost with the page was the reading's position: the
folders the walk had been through, the folders still in its queue, and the
frames it had found and not yet read. The catalogue alone can never answer
where a reading was.
The position is now written to session storage as the reading goes — walked,
pending and the frames in hand — and read back on the way in. Session storage
and not local storage, because a position belongs to the tab: the tab that
reloads carries on from the frame it stopped at, and a tab opened beside it
starts a reading of its own. The key goes when the reading finishes, and goes
with the folder when the folder is removed.
The frames in hand are the part worth spelling out. A frame a lane is in the
middle of, and a frame whose row is in the batch and not yet in the catalogue,
are on neither side of the line the position is written on: the catalogue does
not hold them and the walk will not find them again, so both are written into
the queue and read again. They also were counted when they left the queue, and
the count is written with them — else the reloaded reading would count them a
second time. The counter now carries on from where it was instead of restarting
from zero.
One thing was hidden behind the other: the stand-in folder the check hands the
page had no `getFileHandle` and no `getDirectoryHandle`, so the path that asks
the root for the frames a position names threw and answered nothing — and the
reading then walked the roll from the top, exactly the behaviour the check was
meant to catch. The check's folder answers both now, the way the browser's does.
Verified:
library-check.mjs — 45 steps, all passed, two of them new. The reading is
stopped on the frame it is reading (`check.hold`), the tab is reloaded, and
it comes back at "Scanning 3/3 — 0 new…" — the same line it was stopped at,
not a reading starting over — with the position still holding 4 folders
walked, an empty queue and 3 frames in hand. Listing 3 tiles and letting the
key go, the reading finishes the roll: 3 tiles in the strip, the catalogue
written, the position cleared, and every folder listed once
({"2026":1,"CheckRoll":1,"Empty":1,"04":1}) where a reading that started
over lists each of them twice.
scan-nav-check.mjs, roll-walk-check.mjs — all passed. frontend tsc --noEmit
clean, vite build clean.
ponytail: the position is the tab's, so a reload keeps it and a new tab does
not — the tab that reloaded is the one the reader is looking at, and a second
tab reading the same roll from the top costs a walk and no bytes, because a
frame that has not moved is dropped on its size and its time. The position is
written at the batch beat, so a reload reads at most one batch again, and the
frames in hand are read again on purpose: their rows were never stored.
Co-authored-by: PenguinHarness <noreply@penguin.local>
3dtours