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.
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).
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.
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
`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