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