The band is traced as one outer boundary again, as df44200 left it, so a
stroke that crosses itself no longer fills as a figure-eight with its lobes
cut open; and an idle band is opacity 0 again, so no wash of the tool's own
stays on the repair once the pointer is off it.
HEAL came back a stain larger and softer than the stain it was asked to
remove, and the model's half of it answered in a colour that appears nowhere
near the repair. Three causes, all inside `engine/inpaint.ts`:
- The fallback's reading ring was the hole dilated by two pixels whatever the
brush, so the boundary of the fill was the dirt's own penumbra and the fill
came back as the dirt. The pad is now proportional to the hole's own radius
(`rimPad`), the fill is an inverse-square average of the clean ring relaxed
into one field by 36 Jacobi rounds, and the hole's grain is read against a
2px box of the clean pixels and taken from the pixel it mirrors through its
own middle. The texture half before this was a no-op — `detail = rgba[p] -
fR[idx]` with `fR[idx]` the same pixel's own colour, so every donor handed
over zero and the hole was the smooth field alone (15.6% of the ground's
detail). Measured on a stain of radius 10 with a halo to 16 under a 12px
brush (`probe-fallback.mjs`): the repair landed 22.3 levels below the ground
it sits in, and comes back 0.06 off it.
- The plate the model reads under the mask was the mean of every pixel of the
crop, so the network met a hard step at the mask's own edge and answered in
that colour. It is now the rim's own light spread inward (`cropPlate`), and
the mask is downsampled by "any hole pixel in this cell" rather than by a
corner sample. Step across the mask's edge: 69.3 levels before, 9.5 after.
- The same repair came back different every time the reader zoomed out of it:
the crop was sized from the stage's own pixels on the zoom ladder
(`PREVIEW_QUANTUM`), so each zoom handed the model a different grid, and
every grid invents its own pixels. The crop's box is now its share of the
FRAME (`INPAINT_REF_LONG`, `exportEngine` 6e), so one spot is one grid at
every zoom and at the export's own size.
The patch is deliberately not baked into the photo: a recipe stays reusable on
other frames and the repair stays a pass. ponytail: the pixels handed to the
model are still read from whatever the stage rendered at, so the answer is the
same repair to within the resampling of its input; a patch cache keyed on the
frame's identity and the spots is the rung that makes it identical, and the one
to take if a zoom still shows a repair move.
VIGNETTING now runs both ways (-10..10): down darkens the four corners, up
lifts the lens' own falloff out of them with a white ink — the same curve and
the same weight. EV was defined and live on the phone but absent from the wide
panel's own Light row, which is `DevelopPanels.tsx` and nothing else.
`npx tsc --noEmit`, `vite build`, `heal-check`, `studio-drag` and the other
suites pass. `studio-export-check` fails one assertion here on the code at HEAD
as well — a frame left behind files its waiting look 9s after the pick — so it
is not this change.
The phone screen was painted in literals — `#101014`, `#f4f4f5` and forty more
— so it stayed dark whatever theme was set: pick Light, press Mobile Cloud,
and the reader is handed a black page with white ink.
Every surface and ink in `styles/mobile-library.css` is now one alias
(`--ml-bg`, `--ml-text`, …) that reads the theme's own tokens, the faint
linings and fills are a `color-mix` of the ink at the alpha they already
carried, and the amber the file already asked `var(--accent)` for is now what
the star, the pressed pill and the selected frame wear too. Only the four
status inks carry a light-theme override, the tokens having no word for them.
The five inline dark styles left in `MobileLibrary.tsx` read the same aliases.
Measured on the running container at 390×800, Light chosen on the desktop: the
phone was `rgb(16,16,20)` on ink `rgb(244,244,245)` whichever theme was set;
it is now `rgb(255,255,255)` on `rgb(20,24,29)` under Light and `rgb(0,0,0)` on
`rgb(242,243,245)` under Dark, held through the handover and on the way back. A
contrast sweep of the grid and the reader in both themes leaves nothing under
3:1 but the tick glyph, which its own box draws.
`mobile-pick-check` asked for one frozen amber; it asks for the accent the app
is using, which is what that outline has become.
The column files a local folder as an absolute key — `/2012` — while a frame
carries its own `dir` as a path from the root, `2012`. `shown` set the two
against each other as they stood, so a frame's dir was never the node's dir, and
never under it either: every folder in the disk tree was counted in the row
above it and stood in no pane at all — the wall white, the frames nowhere.
The key sheds the slash it leads with before the two are set against each other,
the way `markOf` already cleans a reading's own path.
Measured on the live account's own catalogue — 112761 frames, 6 under `/2012`:
the node matched 0 frames before, 6 after; the root's own list is untouched
(927).
The shelf is laid out in the width the wall reports, and that width was read
once, by the effect that watches the wall's own element. The phone's layout
stands where the wall does, so a visit that opens on the phone mounts the wall
with nothing to measure: the effect returned with the width still nought and
never ran again, and every row of the shelf was laid out one pixel wide — a
library of blank boxes until another render made that effect run (SINGLE and
ALL THUMBS are two of them, which is why the toggle brought the pictures back).
It is read after every render now, the way the window of rows the wall draws
already is (see `useWallWindow`), and the effect keeps the resizing itself.
Measured on 8090, phone 390 handed to the desk: the tiles were 1x1 px and are
now 85x113 (and 120x160 at 1440), all loaded, nothing left in `.lib-noimg`.
Coming back from the studio on a phone left the grid where it was: the
frame the studio was holding was lit by nothing and looked for by hand.
The shelf already stamps the frame it was left on and the wide screen
already opens on it; the phone's grid never read it.
The stamp travels down as a landing, and the grid lights that frame,
walks the list out to it when it sits past the rows drawn so far, and
scrolls it under the eye. Each landing is spent once, so a list that
changes under the reader is not dragged back to it.
probe-mobile-return.mjs, on a phone: the frame the studio held is the one
lit and the one in view, both when it is at the top of the shelf and when
it is buried past the first window.
A click on the next frame of the roll emptied the stage before the bytes
were read — `clearPreview` for the picture, and `loadFile` dropping the
catalogue's frame id for the strip — and both the roll and the frame's own
info line lived inside the branch that drew the picture. The whole strip
went with it and was drawn again on the way back: every tile torn down and
read a second time, three loads and three fresh images, for a click that
changed one frame.
The info line and the roll stand outside that branch, so the roll survives
the click, and a caller opening a frame of the catalogue's own roll says so
and keeps the id `loadFile` otherwise clears. The info line now sits above
the roll instead of under it.
probe-strip-click.mjs, desktop and phone: 0 tiles torn down, 0 loads,
the frame clicked is the one lit, the info line above the roll.
The preview copy behind the stage stopped at PREVIEW_HARD_MAX (3200) whatever
the photo was. A 5729px frame opened from Immich, zoomed past 3200 device
pixels, was painted from a 3200px copy stretched over the screen — soft enough
for a reader to call it the thumbnail having opened.
The ceiling is now the photo's own longest edge. `resizedJpeg` never grows a
photo, so at that size it hands the original bytes straight back, and the copy
still only grows when the stage says it needs it: at fitting size the 1600px
one stands and the edit keeps its old cost.
Measured on the operator's own Immich asset (5729x3820, retina 2x, opened on
the stage and zoomed 12 notches in): the stage held 3200x2134 before and
5729x3820 after.
A narrower rail is not the wide one with less of the roll in it: its frames
are a different number of pixels wide, so the scrollLeft the reader was
standing on is a different frame. Opening the studio on a desk and switching
to the phone layout left the strip standing further down the roll than the
frame on the stage — with three hundred frames in the folder, frame 170
where frame 150 was open — and the frames of the open photo were off the
rail. The rail is now put back on the frame in hand whenever its own width
changes, the window is read from where it then stands, and the tiles the
reader is being shown are the ones asked for.
The rail glided to the frame in hand. A glide across a roll of six hundred
fires a scroll event a frame, and every one of them asked the thumbnail
cache for another window: the tiles of the frames being looked at queued
behind two screens of margin, so the strip sat blank exactly where it was
being read while it drew frames nobody had reached. The rail now lands
where it is put, one window is asked for, and the frames in view are the
first asked for a tile.
The strip also keeps its height: `overflow-x: auto` makes the other axis a
scroller too, so a strip squeezed by the column hid its own frames rather
than spilling them. The photo above gives way instead.
The studio is where a frame is graded, and the frame next to the one being
graded is the one the reader almost always wants next — a roll is shot in
order and looked through in order. Until now the only way to it was LIBRARY:
the stage had no way back to the folder the frame came from.
The strip stands between the photo and the row that names the file, on the
phone at the same place. It holds the folder the open frame was filed in —
the frames beside it, not every frame the folder was scanned for, which is
what the row's own `dir` is read for — in a file browser's order rather than
the catalogue's newest-shutter-first, because a roll off a camera is the
order it is looked through in. The frame on the stage is the lit one and the
one the rail is scrolled to, wherever the rail had been left; a click is the
same opening the catalogue's wall makes, so the frame arrives with the look
it was last left at.
The tiles are the shelf's own: `makeThumb` off the same store, and the URL
cache the wall keeps is lent to the strip through the hook that fills it.
docker/frontend/src/ui/Filmstrip.tsx the strip
docker/frontend/src/ui/ImageStage.tsx one optional slot for it
docker/frontend/src/App.tsx the folder, read off the catalogue
docker/frontend/src/Library.tsx the tile hook, exported
docker/frontend/src/styles/app.css the strip and its frames
The picker hands a whole drive over named `\`, which `normPath` folds to the
empty root, and a row of that roll was keyed `Roll` where the reading files its
counts, its walked folders and its frames under `/Roll` — one folder under two
names. Every number beside a subfolder of a picked drive read nought, and the
spinner of a reading stood on the roll's own row and nowhere it was reading.
The row key is the roll's own spelling again, and so is the path `relOf` hands
back for a row under it: a reading kept to one folder of a drive root asks for
`/Roll`, and `sub` counted from the old `Roll/` merged nothing. Both are the
spelling the check at the foot of `scripts/tree-scan-check.mjs` asks for, and it
is green again.
A bounded reading also measured itself against `\/Roll` spelled from the raw
name, which no id is filed under: `held` stood at nought and the line read the
catalogue's whole roll as the ground it was climbing from. It is built from
`normPath` of both, the way an id is.
A press has to mean what it lands on. A drag is a run of spots and the run
has a spine, so a press within half a brush radius of that spine takes the
drag and dragging moves it, while a press in the outer half of the spots —
where the run is not, and a new repair is wanted — lays a stroke against it.
Before, a brush near a repaired one was read as a drag OF it: the second
stroke was folded into the first and the first moved under the user. Spots
carry the drag they came from (stroke), older recipes still answer to the
old radius, and the outline of a repaired run is drawn idle so it can be
taken hold of (app.css).
A repair already made is part of the photo it was made in. The renderer now
solves one drag at a time, in the order they were drawn, each against the
frame the drags before it have already left — so a stroke laid beside a
repaired one invents its pixels from a frame that no longer holds what the
first took away, and the repair the user has already accepted does not move
when they brush next to it. Measured (probe-seam.mjs, a second stroke laid
2.5 brush radii from the first, counted in levels over the first drag's own
circles): 0 at the worst pixel, 0 of 19189 pixels moved by more than two.
The ring the first repair left behind was the fill's and not the model's.
The model's pixels were laid through the mask's own ramp, so the outer
quarter of every spot — where the mask still weighs the fill in at up to
full strength — was the fill's, and the fill is the light of the WHOLE box
it was built in: a stroke a third of the frame long is filled by blurs up to
sixteen brush radii wide, so what it brings there is the box's average and
not the rim's. The model is the repair wherever it has one, so it now owns
the spot out to 0.92 of its radius (HEAL_PATCH_STOPS) and the fill only
meets the photo in the sliver the mask itself fades over. Measured with the
same probe: 0.76 levels of mean change over the repair where it was 1.86,
8.5 at the worst pixel where it was 14.2, and the edge strength at the rim
after the repair 0.92 where the photo's own edges around it are 0.5 (1.52
before) — the band that was 8 to 11 levels dark is gone.
matchToRim goes with them: the relaxation it ran over every crop measures
nothing the band above does not already do, and the probe's numbers are
identical with it removed.
A folder on an Immich server is named by an album's id and a folder on this
machine by a path, and both are drawn in one column, so a preview asked for
by one spelling of an address has to be found by the others. A frame's id
now answers to the spellings of the same path — drive-letter case, either
separator, a leading slash — and the thumbnail cache holds enough of them
that a roll is not read twice.
The cloud catalogue is read by what the folder says it is. Kind 'share', or
a folder with no album ticked, is every album the key can see: one reading,
kept to its own cursor, and the frames no album names found by the
whole-library read behind it. A folder with albums ticked is those albums,
read album by album, and it is complete when the last of them is. The album
rows are written before the node's own number, so the column never says a
number and then grows rows under it.
The inference session runs without a proxy: the worker script a proxy loads
is fetched by the session's own origin, and a cross-origin page is served
by the page's.
3dtours