3dtours
5f3257a4d8
A gradient mask carried its own copy of the six tonal and spatial formulas, and
four of them had drifted from the columns of the same name. HIGHLIGHT was
inverted: the single shift `0.5 * (shadows*ms - highlights*mh)` put the knob's
`x` on the shadow mask and its `y` on the highlight mask, so turning HIGHLIGHT
up pulled the bright band DOWN and turning it down lifted it — measured at the
mask, +9 moved the top band -0.2295 and -9 moved it +0.0454, and the whole
frame's HIGHLIGHT row reads the other way. WHITE and BLACK were a flat gain on
the end each one owns (`c * (1 + 0.5*k*mh)`), which scales every pixel above the
midtone by the same fraction and so drags the near-whites into the greys rather
than leaving them white: a lowered WHITE took the top band down -0.2117 while
the middle band moved -0.0036, and a raised BLACK pushed the middle band up
+0.0195 for +0.0414 at the bottom — the lift went everywhere except where it was
asked for. CLARITY's negative side was the same unsharp as its positive side
with the sign flipped — `c + k*(c - blur)` with k negative — which is a soften
only in name: it sank the mask's whites (top band -0.0543 at -9) and left the
mask's own contrast where it was (dhp -0.0008), the opposite of what the knob is
named for.
DEHAZE ran after CLARITY, so a mask sharpened its haze and then tried to remove
it; frame-wide the two are the other way round, and for a reason.
The four now mean inside a mask what they mean on the whole frame, because
toneShader.ts is the reference the app's own rows are written from and the same
name on the same knob should not be two different moves. HIGHLIGHT and SHADOW
are TONE_SKSL's additive luma shifts — HIGHLIGHT weighted by the headroom it has
left (1 - t) so it cannot drag a blown white to grey, SHADOW by its own floor —
with the colour difference riding along at TONE_SKSL's damped gain so a lift
cannot collapse a colour. WHITE and BLACK are TONE_SKSL's per-channel point
moves, cubic in each channel's distance from the end it owns, so the toe and the
shoulder move and the midtones stay put. DEHAZE runs before CLARITY, the
frame-wide order. CLARITY's negative side is a real soften, `mix(c, blur, -k)`
toward the same bilateral reference its positive side works against. TONE_SKSL's
two smoothsteps (0.50..1.00 and 0.00..0.55) replace the mask shader's own pair,
and the soft masks are computed in float and narrowed once, the way the
frame-wide shader does it.
Measured in one harness, one photo, one session (the mask's own middle box, knob
at +-9, before -> after on the mask, with the frame-wide knob of the same name
as the reference it is now written from):
- HIGHLIGHT +9: top band -0.2295 -> +0.0298 (frame-wide +0.0547), dark band
0.0000 -> -0.0001 — the lift is a lift, and the inversion is gone.
HIGHLIGHT -9: +0.0454 -> -0.0385 (frame-wide -0.0674).
- WHITE -9: top band -0.2117 -> -0.0646 (frame-wide -0.0860) — a lowered
white stays a white instead of becoming a grey — while the middle band goes
-0.0036 -> -0.0150 (frame-wide -0.0139), which is the move a white ends up
making when it is a point move rather than a gain.
- BLACK +9: bottom band +0.0414 -> +0.0997 (frame-wide +0.1036) and the middle
+0.0195 -> +0.0347 (frame-wide +0.0402) — it goes to the toe it owns.
- CLARITY -9: dhp -0.0008 -> -0.0149 (frame-wide -0.0200) — negative CLARITY
softens now — and the top band -0.0543 -> -0.0113, so it no longer pays for
that soften by sinking the mask's whites. CLARITY +9 was already right
(+0.0333 both sides) and stays.
- DEHAZE, the one knob with nothing on the negative side: unchanged at -9
(-0.1490 both sides, the pass order was the only thing wrong with it), and
the mask and the frame-wide row now agree across the whole range
(1/3/5/7/9 at -0.0124/-0.0397/-0.0711/-0.1074/-0.1490 on the mask against
-0.0133/-0.0423/-0.0759/-0.1151/-0.1619 frame-wide), monotone.
DEHAZE's own numbers are therefore not a mask-only bug: an estimate of the haze
that reads a mask differently from the frame would be inside `atmosphericLight`
and `DEHAZE_MAX_OMEGA`, which both paths share, and changing either moves the
frame-wide DEHAZE column too — left as it is rather than changed under a mask
report.
Everything else about the mask is untouched: `dctrl` is +0.0000 on all six
knobs (a knob still moves the mask's own pixels and nothing outside it), the
shader compiles and the stage draws with no page error.
Not ported: nothing. `shared/utils/gradientMask.ts` is the web engine's own file
and the phone's renderer has no gradient mask to mirror.
Probes: measure-mask-knobs (the six knobs on a selected mask, before and after),
measure-frame-knobs (the same six frame-wide, the reference the mask is now
written from), measure-parity (both phases in one run so the two are the same
photo in the same session), png-parity-report (the before half of that run died
in its frame phase and left no log, so its already-captured mask frames are
re-read off the PNGs with the same box and the same bands), measure-dehaze-curve
(DEHAZE 1..9 on the mask against 1..9 frame-wide, for monotonicity and for the
pass order).
RecipesCam
RecipesCam is a camera and photo-editing app built around recipes — reusable
looks that carry a film simulation plus a full set of adjustments. You shoot or
open a photo, dial in a look, and keep it as a recipe you can apply again, share
as a .recipe file, or save to your account.
It ships twice from one repository: a React Native (Expo) app for iOS and
Android, and a self-contained web build under docker/ that runs the same
render pipeline in the browser.
What it does
- Shoot with a recipe applied. Live viewfinder, GPS-tagged captures, and the recipe baked into the saved file.
- Film simulations. Built-in looks — PROVIPES, VELVIPES, CLASSIC CHRIPES, CLASSIC NEGIPES, ASTIPES, ETERNIPES, ACRIPES, B&W HIGH CONTRAST and the LC STREETLIFE pair — each with its own grain and tone curve.
- The full adjustment set. Exposure, contrast, highlights and shadows, saturation, colour temperature, clarity, grain, and an HSL mixer with a colour picker that samples straight off the photo.
- Geometry. Crop to a fixed ratio or free-form, quarter turns, and a straighten ruler, plus printed frames (classic border, retro instant, wall frame portrait/landscape).
- Finishing. Watermark and GPS stamp, EXIF carried through the export, JPEG written with a proper 300 DPI JFIF header.
- On-device upscaling. A Real-ESRGAN pass runs locally when an export asks for more pixels than the source has — no server sees the photo.
- Recipes. Save, favourite, export and import
.recipefiles; the web build keeps them in your account, the phone build also keeps them on device.
The two builds
| Build | Where | Stack |
|---|---|---|
| iOS / Android | repo root | Expo + React Native, @shopify/react-native-skia for the render pipeline, NativeWind for styling |
| Web | docker/ |
Vite + React, CanvasKit (canvaskit-wasm) for the same pipeline, Fastify + SQLite API for accounts and recipes |
The render engine is shared by design: the web build compiles the app's own
src/utils/* and type definitions unchanged, with @shopify/react-native-skia
aliased to a CanvasKit shim (docker/frontend/src/engine/skiaShim.ts). A look
looks the same on both because it is the same code.
Running the web build
cd docker
cp .env.example .env
docker compose up -d --build
# → http://localhost:8090
Photos never leave the browser: grading, framing, watermarking and JPEG
encoding all run in the visitor's tab; the API only stores accounts and recipe
JSON. See docker/README.md for the layout and the proxy setup.
Running the app
npm install
npx expo start # Expo Go / dev client
npx expo run:android # or run:ios for a native build
Repository layout
App.tsx, src/ the Expo app: screens, tool rail, viewfinder, shaders
docker/ the web build (frontend + API + compose file)
frontend/shared/ vendored copies of the app's types and utils
frontend/src/engine/ CanvasKit shim, export engine, super-resolution
docs/ privacy policy
THIRD_PARTY_NOTICES.md licences of the bundled fonts, models and libraries
Licence
See LICENSE and THIRD_PARTY_NOTICES.md.