RecipesCam/docker/frontend/shared/utils/toneShader.ts

import { BaseFilter, ColorAdjustments } from '../types';
import { HSL_BANDS, hslBandGaps, isMonochromeBase } from './colorUtils';

// Tone-domain adjustments (Fuji-style Dynamic Range + Highlight/Shadow).
// SkSL runtime effect over a child image shader.
//
// Lightness/chroma split: the curve moves the luma and the colour difference
// (rgb - luma) carries the hue through with most of its chroma. Scaling R,G,B
// by one gain keeps the *ratio* but crushes absolute chroma — that is what
// turned saturated blues black under -SH and bright colours grey under -HL.
//
// Wide, soft knees so the knobs reach like a tone curve instead of biting only
// at the very ends: HL rides the top (0.50..1.00) so it leaves the greys alone
// (a knee that started lower dragged a mid-grey down) while SH rides the lower
// half (0.00..0.55), and the 0.50 midpoint never moves.
//
// HL is two different controls with one knob, because recovery and a lift are
// not the same move:
//
//  -HL is Lightroom's highlight RECOVERY: a soft knee in LINEAR light over the
//  top half (T = 0.5), pulled down by the ratio of the new luma to the old (see
//  the knee in TONE_SKSL). That is the shape the doc asks for, and the shape the
//  encoded domain cannot give — on the encoded value the last stop of headroom
//  is a few code values wide. It is the only term here that is not a shift, so
//  it is also the only one that can put detail back into a blown sky rather than
//  merely darken it. T=0.5 and S = |hl| keep it monotone (the slope leaves the
//  knee at 1 and falls, never rises) and it never brightens, so the frame cannot
//  invert.
//
// +HL is a LIFT, weighted by the headroom that is left, (1 - t): the move falls
// to zero as t reaches pure white, so a lamp or a specular is not turned grey,
// and it rides into the upper midtones where a lift is wanted. The pull peaks
// around t = 0.79 at 0.13 of the ramp for a full +10.
//
// SH stays an additive shift. Shifts keep the curve monotonic (worst slope
// +0.003 at t = 0.99 with HL +10 and SH -10, and the two knees barely overlap),
// so a brighter input can never come out darker. The earlier multiplicative
// form was NOT monotonic: with hl=-1 a grey 0.73 came out darker than 0.80.
//
// dr  - DR strength 0..1: lifts shadows slightly and rolls highlights
//       (Fuji extended DR); 0/auto/DR100 = no extra curve.
// hl  - highlight -1..1: + lifts toward white, - rolls the bright side down.
// sh  - shadow    -1..1: + lifts the dark side, - deepens it.
// wh  - white point -1..1: per channel, from the WB tab. + lifts the shoulder,
//       - rolls it down. Cubic weight in the channel's own value, so the
//       brighter channel of a highlight moves most.
// bl  - black point -1..1: per channel. + lifts the toe (faded black), -
//       crushes it; the darker channel of a shadow moves most.
// vib - vibrance -1..1: chroma-masked saturation. It rides along in this shader
//       (rather than the colour matrix) because it needs per-pixel chroma:
//       already-vivid pixels move least, so skins/skies deepen without the neon
//       clip a plain Saturation boost causes.
// shT/hlT - split tone (per-channel RGB bias, -1..1 each): a fixed cast applied
//       to the shadows and/or the highlights only. A 4x5 colour matrix cannot do
//       this — it is one linear map, so any cast it applies must also hit the
//       midtones and the opposite end. Classic Neg wants green/cyan shadows with
//       warm highlights at once, so the stock ships these values and the pass
//       stays active for it even when every user knob is 0. All-zero still = no
//       pass.
// hslOn/hslH/hslS/hslL - the selective-colour mixer: eight hue bands, each with
//       a hue shift, a saturation scale and a lightness offset (-1..1, from the
//       -10..10 knobs). Which pixels a band owns is decided HERE, per pixel, by
//       hue — so unlike everything else above it, the eight bands are not a
//       global move and cannot live in the colour matrix. See the band block at
//       the foot of TONE_SKSL.
// gh/gs/gl - the mixer's overall move: the same three quantities for the WHOLE
//       image, so they are simply the starting value of the per-band
//       accumulator and every hue gets them at full weight. The lightness one
//       is not gated by saturation (unlike the bands'), so a frame drained to
//       grey by -SAT still answers +LUM.
// The eight band lines of TONE_SKSL's mixer, generated from HSL_BANDS so the
// anchors and the gaps in the shader are the same numbers the chips are built
// from. Each line reads its own band's three values with a CONSTANT index —
// SkSL indexes uniform arrays by constant only, which is why this is unrolled
// rather than looped.
const BAND_BLOCK = hslBandGaps()
  .map(
    (b, i) => `    float w${i} = bandW(hd, ${b.hue.toFixed(1)}, ${b.left.toFixed(1)}, ${b.right.toFixed(1)}) * gate;
    acc += vec3(w${i} * hslH[${i}], w${i} * hslS[${i}], w${i} * hslL[${i}]);\n`
  )
  .join('');

export const TONE_SKSL = `
uniform shader src;
uniform float dr;
uniform float hl;
uniform float sh;
uniform float wh;
uniform float bl;
uniform float vib;
uniform float shTr;
uniform float shTg;
uniform float shTb;
uniform float hlTr;
uniform float hlTg;
uniform float hlTb;
uniform float cc;
uniform float ccb;
uniform float hslOn;
uniform float hslH[8];
uniform float hslS[8];
uniform float hslL[8];
uniform float gh;
uniform float gs;
uniform float gl;
// sRGB <-> HSL. The mixer works in HSL because that is the space the knobs are
// named after: a hue shift must not change how light a colour is, and a
// lightness move must not change its hue, which is exactly what scaling RGB
// does wrong.
vec3 rgb2hsl(vec3 c) {
  float mx = max(max(c.r, c.g), c.b);
  float mn = min(min(c.r, c.g), c.b);
  float l = (mx + mn) * 0.5;
  float d = mx - mn;
  if (d < 0.00001) return vec3(0.0, 0.0, l);
  float s = l > 0.5 ? d / max(0.00001, 2.0 - mx - mn) : d / max(0.00001, mx + mn);
  float h;
  if (mx == c.r) h = (c.g - c.b) / d + (c.g < c.b ? 6.0 : 0.0);
  else if (mx == c.g) h = (c.b - c.r) / d + 2.0;
  else h = (c.r - c.g) / d + 4.0;
  return vec3(h / 6.0, s, l);
}
float hueChannel(float p, float q, float t) {
  t = fract(t);
  if (t < 1.0 / 6.0) return p + (q - p) * 6.0 * t;
  if (t < 0.5) return q;
  if (t < 2.0 / 3.0) return p + (q - p) * (2.0 / 3.0 - t) * 6.0;
  return p;
}
vec3 hsl2rgb(vec3 hsl) {
  if (hsl.y < 0.00001) return vec3(hsl.z);
  float q = hsl.z < 0.5 ? hsl.z * (1.0 + hsl.y) : hsl.z + hsl.y - hsl.z * hsl.y;
  float p = 2.0 * hsl.z - q;
  return vec3(
    hueChannel(p, q, hsl.x + 1.0 / 3.0),
    hueChannel(p, q, hsl.x),
    hueChannel(p, q, hsl.x - 1.0 / 3.0)
  );
}
// One band's ownership of a hue: full at the band's own anchor, falling
// linearly to 0 at each neighbour's anchor (the gaps are uneven — red sits 30°
// from orange and 40° from magenta). Linearity is the point: adjacent tents
// cross at exactly 0.5 at the midpoint, so the eight weights sum to 1 at every
// hue. No pixel is counted twice, no pixel falls between two bands, and a hue
// sitting on an anchor gets that band's full value instead of a share of it.
float bandW(float hue, float anchor, float gapL, float gapR) {
  float d = mod(hue - anchor + 180.0, 360.0) - 180.0;
  return d <= 0.0 ? max(0.0, 1.0 + d / gapL) : max(0.0, 1.0 - d / gapR);
}
// The sRGB transfer pair, the accurate one (0.04045/12.92 + 2.4) — the same
// constants colorUtils.planckianLinear uses on the WB side and EXPOSURE_SKSL
// uses for its own pass. Highlight recovery needs the same space: a knee drawn
// on the encoded value has the wrong shape (the midtones sit high and the last
// stop of headroom is squeezed into a few code values), which is exactly the
// doc's point about working in linear light.
vec3 toLinear(vec3 c) {
  return mix(c / 12.92, pow((c + 0.055) / 1.055, vec3(2.4)), step(vec3(0.04045), c));
}
vec3 toEncoded(vec3 c) {
  return mix(c * 12.92, 1.055 * pow(c, vec3(1.0 / 2.4)) - 0.055, step(vec3(0.0031308), c));
}
vec4 main(vec2 xy) {
  vec4 c = src.eval(xy);
  vec3 rgb = clamp(c.rgb, 0.0, 1.0);
  // HIGHLIGHT RECOVERY (-HL): the doc's soft knee, and it runs in LINEAR light,
  // before the luma and the masks below are read, so every later stage sees the
  // recovered value:
  //   L' = L                                , L <  T
  //   L' = T + (L - T) / (1 + 2 S (L - T))  , L >= T
  // with T = 0.5 and S the knob. The pixel is rebuilt by the ratio L'/L, so
  // every channel keeps its share of the light and the hue and the saturation
  // cannot drift; the curve leaves T with the slope it arrived with (1), so
  // there is no seam at the knee; and the knee never brightens (S = 1 puts the
  // white point on 0.75), which is what a recovery slider has to do.
  if (hl < 0.0) {
    vec3 lin = toLinear(rgb);
    float l0 = dot(lin, vec3(0.2126, 0.7152, 0.0722));
    if (l0 > 0.5) {
      float over = l0 - 0.5;
      float S = min(-hl, 1.0);
      lin *= (0.5 + over / (1.0 + S * over * 2.0)) / l0;
      rgb = clamp(toEncoded(lin), 0.0, 1.0);
    }
  }
  float t = clamp(dot(rgb, vec3(0.2126, 0.7152, 0.0722)), 0.0, 1.0);
  float hlMask = smoothstep(0.50, 1.00, t);
  float shMask = 1.0 - smoothstep(0.00, 0.55, t);
  // NOTE: never name a local 'out' — it is a reserved SkSL qualifier.
  // The (1.0 - t) headroom weight is the whole point of the highlight curve: at
  // t = 1.0 the
  // weight is 0, so the pull-back cannot touch a pure white (a sun, a bulb, a
  // specular) and cannot turn it grey. A LIFT gets the same weight, which rides
  // it into the upper midtones and leaves the clipping where it was.
  // The LIFT only, so max(hl, 0): -HL has already been spent in linear light
  // above, and running it through this additive term as well would double-count
  // it (and, being an additive shift, would darken the white the knee just
  // protected).
  float o = t + max(hl, 0.0) * hlMask * (1.0 - t) + sh * 0.34 * shMask;
  // Dynamic range: gentle shadow lift + highlight roll (protect brights).
  o += dr * 0.12 * shMask * (1.0 - t);
  o -= dr * 0.18 * hlMask * t;
  o = clamp(o, 0.0, 1.0);
  // Lightness takes the curve, hue stays: the colour difference is gained
  // only part-way so darkening cannot collapse a colour to black and lifting
  // cannot blow a dark saturated colour out to white.
  float cg = clamp(o / max(t, 0.0004), 0.55, 1.35);
  rgb = clamp(vec3(o) + (rgb - vec3(t)) * cg, 0.0, 1.0);
  // WHITE/BLACK points, per channel. The weight is cubic in the channel's own
  // distance from the end, so in the shadows the darker channels move most and
  // in the highlights the brighter ones do: the two points pull R, G and B
  // toward a common toe and shoulder, which is a white-balance move (it
  // neutralises a cast) and not another tone slider. Each channel's curve is
  // still monotonic — 1 - 3*0.18 = 0.46 at worst — so no value can invert.
  vec3 dk = 1.0 - rgb;
  rgb = clamp(rgb + bl * 0.18 * dk * dk * dk + wh * 0.18 * rgb * rgb * rgb, 0.0, 1.0);
  // Split tone (stock look): the shadows and the highlights may each carry
  // their own tint, so the two ends of the curve can drift opposite ways
  // (Classic Neg: green-cyan darks, warm brights) without touching mid-greys.
  rgb = clamp(rgb + vec3(shTr, shTg, shTb) * shMask + vec3(hlTr, hlTg, hlTb) * hlMask, 0.0, 1.0);
  // Color Chrome / Color Chrome FX Blue: the two stock-dialed colour effects
  // DEEPEN what is already chromatic and leave neutrals exactly where they are
  // (Fuji: "deeper tone in highly saturated colour"; FX Blue does it for the
  // blue/cyan side only). Both therefore need per-pixel chroma — a 4x5 colour
  // matrix is one linear map, so any gain it applies also moves greys, and a
  // blue-only gain drags the whole white point.
  float mxc = max(max(rgb.r, rgb.g), rgb.b);
  float mnc = min(min(rgb.r, rgb.g), rgb.b);
  // Chroma ratio with a small floor: a near-black pixel with a hair of cast
  // has ratio 1.0 but no colour to deepen, and must stay put.
  float ccChroma = (mxc - mnc) / max(mxc, 0.10);
  // Color Chrome rides the chroma itself: a muted colour barely moves, a vivid
  // one gains density. The 0.25 knee keeps skin, haze and pastels untouched.
  float ccMask = cc * smoothstep(0.25, 0.85, ccChroma);
  // FX Blue: only where blue clearly leads red AND green (so magenta/purple
  // stay out), and richest in a bright blue — a dark blue has no tonality left
  // to deepen.
  float ccbBlue = clamp((rgb.b - rgb.r) * 2.0, 0.0, 1.0) * clamp((rgb.b - 0.5 * (rgb.r + rgb.g) + 0.05) * 3.0, 0.0, 1.0);
  float ccbMask = ccb * ccbBlue * smoothstep(0.15, 0.60, ccChroma) * smoothstep(0.20, 0.70, t);
  float deep = clamp(ccMask + ccbMask, 0.0, 1.0);
  // Density = lightness down with the colour difference riding along, so hue is
  // preserved and the colour cannot collapse toward black (same reason the tone
  // curve above keeps chroma). A touch of chroma is given up as it deepens.
  float l3 = dot(rgb, vec3(0.2126, 0.7152, 0.0722));
  rgb = clamp(vec3(l3 * (1.0 - 0.28 * deep)) + (rgb - vec3(l3)) * (1.0 - 0.10 * deep), 0.0, 1.0);
  // Vibrance: push the LESS-saturated pixels harder than the vivid ones.
  float l2 = dot(rgb, vec3(0.2126, 0.7152, 0.0722));
  float mx = max(max(rgb.r, rgb.g), rgb.b);
  float mn = min(min(rgb.r, rgb.g), rgb.b);
  float chroma = mx > 0.0001 ? (mx - mn) / mx : 0.0;
  float kv = 1.0 + vib * 0.75 * (1.0 - chroma);
  rgb = clamp(mix(vec3(l2), rgb, kv), 0.0, 1.0);
  // Selective colour by hue band — the last move, so a band edit is judged
  // against the colour the user actually sampled off the render.
  //
  // A grey is dropped before the weights are read: rgb2hsl hands it hue 0, so
  // without this fade every neutral pixel in the frame would be treated as
  // pure red and slide with the red band. Below 8% saturation there is no hue
  // to move anyway.
  //
  // The three accumulators are the band values scaled by ownership, so a hue
  // landing between two anchors gets a proportional mix of the two edits —
  // the same blend the weights already sum to. Hue is a turn (±30° at full),
  // saturation is a scale (0 = grey at -10), lightness is additive (±0.25 at
  // full) so it cannot invert the ramp.
  if (hslOn > 0.5) {
    vec3 hsl = rgb2hsl(rgb);
    float gate = smoothstep(0.0, 0.08, hsl.y);
    float hd = hsl.x * 360.0;
    // The overall move is the seed: every hue gets its turn and its saturation
    // scale at full weight, and the bands add their own share on top. The
    // lightness term is added below UNGATED, so it still lifts a colour that a
    // -SAT has already drained to grey.
    vec3 acc = vec3(gh, gs, 0.0) * gate;
${BAND_BLOCK}    hsl.x = fract(hsl.x + acc.x * (30.0 / 360.0));
    hsl.y = clamp(hsl.y * (1.0 + acc.y), 0.0, 1.0);
    hsl.z = clamp(hsl.z + (acc.z + gl) * 0.25, 0.0, 1.0);
    rgb = hsl2rgb(hsl);
  }
  return vec4(clamp(rgb, 0.0, 1.0), c.a);
}
`;

// EXPOSURE / EV — the one pass that has to run in LINEAR light.
//
// A stop is a multiplier on LIGHT, and the old EV row multiplied sRGB-ENCODED
// values: +1 EV took a mid-grey 0.5 straight to a blown 1.0 where a real stop
// gives 0.73. Here the pixel is linearised, scaled by 2^ev, and re-encoded —
// which is what a camera does when the shutter stays open twice as long: every
// value keeps its ratio, the highlights roll instead of flattening, and the
// HIGHLIGHT knob still has something to pull back afterwards.
//
// It sits between the graded image and the tone shader (see exportEngine step 3),
// so `ev` carries the EXPOSURE knob, the stock's own bias and the EV knob added
// up in stops — the caller hands in one number.
//
// The transfer pair is the accurate one (0.04045/12.92 + 2.4, and its inverse):
// the same constants colorUtils.planckianLinear uses on the WB side.
export const EXPOSURE_SKSL = `
uniform shader src;
uniform float ev;
vec3 toLinear(vec3 c) {
  return mix(c / 12.92, pow((c + 0.055) / 1.055, vec3(2.4)), step(vec3(0.04045), c));
}
vec3 toEncoded(vec3 c) {
  return mix(c * 12.92, 1.055 * pow(c, vec3(1.0 / 2.4)) - 0.055, step(vec3(0.0031308), c));
}
vec4 main(vec2 xy) {
  vec4 c = src.eval(xy);
  vec3 rgb = clamp(c.rgb, 0.0, 1.0);
  return vec4(clamp(toEncoded(toLinear(rgb) * exp2(ev)), 0.0, 1.0), c.a);
}
`;

// Bright Pass Filter for the HDF EFFECT pass (HDF), SkSL over a child image
// shader — the pattern TONE_SKSL above already proved on device.
//
// Per channel the old 2.5*in-1.5 curve only zeroed a channel that was dark
// *itself*: a saturated blue (B = 1.0) came out of it fully lit, so a dark blue
// shadow bloomed and a dark saturated colour smeared its hue into the darks.
// Photoshop's Bright Pass filters on the LUMINANCE instead: one knee decides how
// much light a pixel carries, and one gain scales all three channels, so below
// the knee the output is exactly 0.0 (Screen against black = no-op, the shadows
// are untouched) and above it every channel keeps its ratio — the hue cannot
// drift, only the brightness blooms.
//
// Knee t0..t1 = 0.45..0.75. The web demo plays the effect up, so the knee sits
// lower and wider than the phone's 0.55..0.85: the bloom now catches the bright
// end of the midtones (a lit face, a window) instead of only true speculars,
// which is what makes it read on a photo that has no blown white.
export const GLOW_T0 = 0.45;
export const GLOW_T1 = 0.75;

export const GLOW_SKSL = `
uniform shader src;
uniform float t0;
uniform float t1;
vec4 main(vec2 xy) {
  vec4 c = src.eval(xy);
  float luma = dot(clamp(c.rgb, 0.0, 1.0), vec3(0.2126, 0.7152, 0.0722));
  return vec4(c.rgb * smoothstep(t0, t1, luma), c.a);
}
`;

// Flat uniform buffer for `makeShaderWithChildren` — same order as GLOW_SKSL's
// declarations (t0, t1).
export function glowUniformArray(): number[] {
  'worklet';
  return [GLOW_T0, GLOW_T1];
}

// Same values for the declarative <Shader> path, which indexes uniforms by
// NAME (a flat array is only valid for the JS makeShaderWithChildren API).
export const GLOW_UNIFORMS = { t0: GLOW_T0, t1: GLOW_T1 };

// CLARITY (positive): unsharp 3x3 with epsilon 0 — the kernel export pass 4
// builds with MakeMatrixConvolution, re-expressed as a plain shader because RN
// Skia 2.6 exposes no convolution image filter to the declarative JSX writer.
// `px` is one ORIGINAL image pixel expressed in the caller's canvas units, so
// the preview, the camera worklet and the file all sharpen at the same radius.
export const CLARITY_SKSL = `
uniform shader src;
uniform float a;
uniform float2 px;
vec4 main(vec2 xy) {
  vec4 c = src.eval(xy);
  vec4 s = src.eval(xy + float2(0.0, -px.y))
         + src.eval(xy + float2(0.0,  px.y))
         + src.eval(xy + float2(-px.x, 0.0))
         + src.eval(xy + float2( px.x, 0.0));
  return vec4(clamp(c.rgb * (1.0 + 4.0 * a) - a * s.rgb, 0.0, 1.0), c.a);
}
`;

// Named uniforms for <Shader uniforms>, same names as CLARITY_SKSL declares.
export function clarityUniforms(a: number, pxX: number, pxY: number) {
  return { a, px: [pxX, pxY] };
}

// CLARITY's reference image B, one axis at a time — the multiple-pass
// architecture of ki_n_tr_c_multiple_passes_cho_webgpu.md: a single 15x15 kernel
// reads 225 pixels per pixel, a separable pair (1x15 then 15x1) reads 30. The
// kernel is the doc's bilateral filter: the gaussian weight falls off along the
// axis, and a range weight kills a tap whose colour is nothing like the centre's,
// so an edge is not blurred across and the reference does not ghost it.
// `dir` is one tap's step in the caller's units (px along ONE axis, the other
// component 0), so a preview and the file blur the same fraction of the frame.
// SkSL has no dynamic loop bound here, so the 15 taps are the doc's own count.
export const CLARITY_BLUR_SKSL = `
uniform shader src;
uniform float2 dir;
vec4 main(vec2 xy) {
  vec4 c = src.eval(xy);
  vec3 sum = c.rgb;
  float total = 1.0;
  for (int i = 1; i <= 15; i++) {
    float fi = float(i);
    float g = exp(-0.5 * (fi / 5.0) * (fi / 5.0));
    vec4 a1 = src.eval(xy + dir * fi);
    vec4 a2 = src.eval(xy - dir * fi);
    vec3 d1 = a1.rgb - c.rgb;
    vec3 d2 = a2.rgb - c.rgb;
    float r1 = exp(-dot(d1, d1) * 24.0);
    float r2 = exp(-dot(d2, d2) * 24.0);
    sum += g * (r1 * a1.rgb + r2 * a2.rgb);
    total += g * (r1 + r2);
  }
  return vec4(sum / total, c.a);
}
`;

// CLARITY, pass 3 of the doc's architecture: the frame against its own blurred
// reference — `orig + (orig - B) * strength` above zero, the mix back toward B
// below it. One reference, one pass, both directions of one knob: a NEGATIVE
// CLARITY is the positive one's soften, not a second kind of blur picked for the
// sign (that mist had another radius than the reference the positive side reads,
// so -10 and +10 were two different neighbourhoods and a MASK's CLARITY could
// not be the frame's own move). Clamped because a file cannot hold more than
// white. Runs on the ENCODED pixels like every other grade here (only
// EXPOSURE_SKSL is linear light, see colorUtils.exposureStops) — the doc's
// formula is written for linear light, and moving the whole renderer there is a
// bigger change than this pass.
export const CLARITY_BLEND_SKSL = `
uniform shader original;
uniform shader blurred;
uniform float strength;
vec4 main(vec2 xy) {
  vec4 c = original.eval(xy);
  vec3 b = blurred.eval(xy).rgb;
  vec3 d = c.rgb - b;
  vec3 out_rgb = strength >= 0.0 ? c.rgb + d * strength : mix(c.rgb, b, clamp(-strength, 0.0, 1.0));
  return vec4(clamp(out_rgb, 0.0, 1.0), c.a);
}
`;

// Strength that keeps CLARITY 10 where the 3x3 kernel had it: that kernel was
// `c*(1+4a) - a*sum` with a = 0.8, i.e. `c + 3.2*(c - mean4)`, so the same 3.2
// lands the same local contrast through the wider bilateral reference. The gain
// is for the POSITIVE side only: below zero the knob reads as its own fraction
// of the reference (0..1, the same units MASK's CLARITY uses on it).
export const CLARITY_GAIN = 3.2;

// DEHAZE — raw_parameter_processing_gradient_mask_algorithms.md, section 3.2.
// Haze is scattered light: it lifts the DARKEST channel of every patch, which is
// the Dark Channel Prior. The dark channel is the MINIMUM of min(r,g,b)/A over
// the patch, and that minimum is the whole prior: a patch holding anything
// genuinely dark — a shadow, a black frame line — reads 0 and is left alone,
// while only a patch with no dark pixel in it at all is haze and gets corrected.
// The patch AVERAGE this pass used to read instead (the bilateral reference)
// called every patch hazy, so the positive end ground the frame down instead of
// taking haze out. `air` is the atmospheric light the caller estimated from the
// frame, `step` one tap of the patch in the caller's own pixels — a fraction of
// the frame's width, so the preview and the file look at the same neighbourhood
// (DEHAZE_PATCH_STEP).
//
// `amount` is signed. Positive pushes the transmission below 1 and
// `J = (I - A)/t + A` takes the scattered light out; negative pushes it above 1
// and the same expression scatters light back in, which is what a negative
// DEHAZE is for. The floor keeps a flat sky from dividing by zero, and the
// ceiling is the largest amount the knob can ask for either way.
// Ray marching the doc's A estimate would need the histogram; the caller reads a
// 32x32 copy of the frame instead and takes its brightest dark-channel pixel —
// the same 0.1% answer, in one readback (see exportEngine's atmosphericLight).
export const DEHAZE_FLOOR_T = 0.1;
export const DEHAZE_MAX_OMEGA = 0.95;

// The dark channel's patch, and the two ends of the transmission t. The patch is
// `taps` samples out at `step` each — two taps at 0.625% of the frame's width is
// a 2.5%-wide neighbourhood, the DCP's own 15-pixel patch on a 600-pixel frame
// and the same fraction of a 4000-pixel export. Five by five samples rather than
// fifteen by fifteen because the doc's 225 reads per pixel is what
// CLARITY_BLUR_SKSL above already refused, and the prior only needs a patch the
// haze is flat over.
export const DEHAZE_PATCH_TAPS = 2;
export const DEHAZE_PATCH_STEP = 0.00625;

export const DEHAZE_SKSL = `
uniform shader img;
uniform float3 air;
uniform float amount;
uniform float floorT;
uniform float stepPx;
vec4 main(vec2 xy) {
  vec3 c = clamp(img.eval(xy).rgb, 0.0, 1.0);
  vec3 a = max(air, vec3(0.05));
  float dark = 1.0;
  for (int j = -${DEHAZE_PATCH_TAPS}; j <= ${DEHAZE_PATCH_TAPS}; j++) {
    for (int i = -${DEHAZE_PATCH_TAPS}; i <= ${DEHAZE_PATCH_TAPS}; i++) {
      vec3 p = clamp(img.eval(xy + vec2(float(i), float(j)) * stepPx).rgb, 0.0, 1.0);
      dark = min(dark, min(min(p.r / a.r, p.g / a.g), p.b / a.b));
    }
  }
  float t = clamp(1.0 - amount * clamp(dark, 0.0, 1.0), floorT, 1.0 + ${DEHAZE_MAX_OMEGA});
  return vec4(clamp((c - a) / t + a, 0.0, 1.0), 1.0);
}
`;

export function dehazeUniformArray(
  air: [number, number, number],
  amount: number,
  stepPx: number
): number[] {
  'worklet';
  return [air[0], air[1], air[2], amount * DEHAZE_MAX_OMEGA, DEHAZE_FLOOR_T, stepPx];
}

// One tap of that patch in the pixels of a frame this wide.
export function dehazePatchStep(width: number): number {
  'worklet';
  return Math.max(1, width * DEHAZE_PATCH_STEP);
}

export interface ToneUniforms {
  // All zero → no tone adjustment needed (caller can skip the shader pass).
  dr: number; // 0..1
  hl: number; // -1..1 (adjustments.highlight / 10)
  sh: number; // -1..1 (adjustments.shadow / 10)
  wh: number; // -1..1 (adjustments.whites / 10 — WB white point, per channel)
  bl: number; // -1..1 (adjustments.blacks / 10 — WB black point, per channel)
  vib: number; // -1..1 (adjustments.vibrance / 10)
  shT: [number, number, number]; // shadow split-tone RGB bias, -1..1
  hlT: [number, number, number]; // highlight split-tone RGB bias, -1..1
  cc: number; // 0..1 Color Chrome depth (0 = 'none')
  ccb: number; // 0..1 Color Chrome FX Blue depth (0 = 'none')
  hslOn: number; // 1 when any band or the overall move is set (0 skips the mixer)
  hslH: number[]; // 8 × -1..1 per band, in HSL_BANDS order (±30° of hue at full)
  hslS: number[]; // 8 × -1..1 per band (saturation scale, -1 = grey)
  hslL: number[]; // 8 × -1..1 per band (additive lightness, ±0.25 at full)
  gh: number; // -1..1 whole-image hue turn (±30° at full)
  gs: number; // -1..1 whole-image saturation scale
  gl: number; // -1..1 whole-image lightness offset (±0.25 at full, ungated)
}

// Per-stock tone pass. Fuji's Classic stocks are not a plain colour matrix:
// Classic Neg splits its tone (green-cyan darks / warm brights) and Classic
// Chrome crushes the shadows hard while muting colour. Those two parts live
// here instead of in the 4x5 matrix, which cannot move one end of the curve
// without also moving the other.
const FILM_TONE: Partial<Record<BaseFilter, Partial<ToneUniforms>>> = {
  'classic-chrome': { sh: -0.28 },
  // Classic Vivid is Classic Chrome's sibling — the shadow crush belongs to the
  // stock, not to the matrix rows, so it comes along.
  'classic-vivid': { sh: -0.28 },
  'classic-neg': { shT: [-0.018, 0.009, 0.013], hlT: [0.024, 0.008, -0.012] },
  // Acros. A black-and-white stock IS its grey ramp, so this entry only shapes
  // the two ENDS and leaves the middle an identity: a smooth shadow toe that
  // reaches a true black (no film-base lift, no flat grey wash) and a highlight
  // shoulder that stops just short of white instead of clipping a cloud to
  // paper. Mid-tones see neither mask, so the ramp keeps every step the matrix
  // handed over — which is what 'deep black' costs in a colour stock and does
  // not have to cost here.
  // Gains are TONE_SKSL's own (sh * 0.34, hl * 0.22), so -0.12 puts the toe at
  // ~5% and -0.05 trims the top ~1%.
  monochrome: { sh: -0.12, hl: -0.05 },
  // B&W HIGH CONTRAST. Acros' ramp with both ends pushed hard: a deeper toe
  // (-0.32 against Acros' -0.12) so the darks reach true black, and a shoulder
  // that LIFTS instead of rolling (-0.05 → +0.26), which is the whites step of
  // the brief. Midtones see neither mask, so the long smooth stretch between
  // the two ends survives — that is what keeps a hard push off the posterised
  // look, and the strength the stock needs on the greys is its matrix slope
  // (SIM_CONTRAST_BIAS in colorUtils), not another mask here.
  'mono-high-contrast': { sh: -0.32, hl: 0.26 },
};

export function getToneUniforms(adj: ColorAdjustments, baseFilter?: BaseFilter): ToneUniforms {
  const drRaw = adj.dynamicRange ?? 'auto';
  const dr = drRaw === 'auto' || drRaw === 100 ? 0 : (drRaw - 100) / 300;
  const hl = Math.max(-1, Math.min(1, (adj.highlight ?? 0) / 10));
  const sh = Math.max(-1, Math.min(1, (adj.shadow ?? 0) / 10));
  const wh = Math.max(-1, Math.min(1, (adj.whites ?? 0) / 10));
  const bl = Math.max(-1, Math.min(1, (adj.blacks ?? 0) / 10));
  const vib = Math.max(-1, Math.min(1, (adj.vibrance ?? 0) / 10));
  const film = (baseFilter && FILM_TONE[baseFilter]) || {};
  const shT: [number, number, number] = film.shT ?? [0, 0, 0];
  const hlT: [number, number, number] = film.hlT ?? [0, 0, 0];
  // Color Chrome depth per stop of the UI's none/weak/strong. A chrome set is a
  // monochrome look, so both are forced off there: the effect is colour-only
  // (the preview/export matrix skips them for monochrome for the same reason).
  const colour = !isMonochromeBase(baseFilter);
  const chromeDepth = (v: ColorAdjustments['colorChrome'] | undefined) =>
    !colour || v === 'none' || v == null ? 0 : v === 'strong' ? 0.9 : 0.45;
  const blueDepth = (v: ColorAdjustments['colorChromeBlue'] | undefined) =>
    !colour || v === 'none' || v == null ? 0 : v === 'strong' ? 1.0 : 0.5;
  // Selective colour: one slot per band, in HSL_BANDS order, so the flat buffer
  // lines up with the shader's arrays. A band the user has not moved holds
  // three zeroes and costs nothing but its slot.
  const bands = adj.hslBands ?? {};
  const tenth = (v: unknown) =>
    typeof v === 'number' && Number.isFinite(v) ? Math.max(-1, Math.min(1, v / 10)) : 0;
  const hslH: number[] = [];
  const hslS: number[] = [];
  const hslL: number[] = [];
  let hslOn = 0;
  for (const band of HSL_BANDS) {
    const v = bands[band.id];
    const [h, s, l] = v ? [tenth(v[0]), tenth(v[1]), tenth(v[2])] : [0, 0, 0];
    hslH.push(h);
    hslS.push(s);
    hslL.push(l);
    if (h || s || l) hslOn = 1;
  }
  // A monochrome stock has no hue to be selective about.
  if (!colour) hslOn = 0;
  // The mixer's overall move, which every hue receives at full weight.
  const gh = tenth(adj.hslHue);
  const gs = tenth(adj.hslSat);
  const gl = tenth(adj.hslLum);
  if (colour && (gh || gs || gl)) hslOn = 1;
  return {
    dr,
    hl: hl + (film.hl ?? 0),
    sh: sh + (film.sh ?? 0),
    wh,
    bl,
    vib,
    shT,
    hlT,
    cc: chromeDepth(adj.colorChrome),
    ccb: blueDepth(adj.colorChromeBlue),
    hslOn,
    hslH,
    hslS,
    hslL,
    gh,
    gs,
    gl,
  };
}

// Flat uniform buffer for `makeShaderWithChildren` / `<Shader uniforms>` — the
// order must match TONE_SKSL's declarations.
export function toneUniformArray(u: ToneUniforms): number[] {
  return [
    u.dr, u.hl, u.sh, u.wh, u.bl, u.vib,
    u.shT[0], u.shT[1], u.shT[2], u.hlT[0], u.hlT[1], u.hlT[2], u.cc, u.ccb,
    u.hslOn, ...u.hslH, ...u.hslS, ...u.hslL, u.gh, u.gs, u.gl,
  ];
}

export function toneIsActive(u: ToneUniforms): boolean {
  return (
    u.hslOn !== 0 ||
    u.dr !== 0 ||
    u.hl !== 0 ||
    u.sh !== 0 ||
    u.wh !== 0 ||
    u.bl !== 0 ||
    u.vib !== 0 ||
    u.shT[0] !== 0 ||
    u.shT[1] !== 0 ||
    u.shT[2] !== 0 ||
    u.hlT[0] !== 0 ||
    u.hlT[1] !== 0 ||
    u.hlT[2] !== 0 ||
    u.cc !== 0 ||
    u.ccb !== 0
  );
}