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roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<!doctype html>
<html lang="en">
<head>
<meta charset="utf-8">
<meta name="viewport" content="width=device-width, initial-scale=1">
Become arthur: a standalone suite, not an Animator Pro front-end The test renderer turned out to be the product. Everything that decides how the work looks - stabilisation, reduction, timing, frame removal, palette - already happens here, and the flat indexed output already reads the way it should. The reason to leave is in the original design's own rule: never make a timing decision that requires a full render to evaluate. Honouring that moved every judgement out of Animator Pro, which left the host doing nothing but writing a file, in exchange for modal UI, minutes-long renders, one-level undo, FLX delta invariants, a single tween state and a cel singleton. What does NOT change is the constraint. 320x200, indexed palette, flat fills, no antialiasing - inherited, but load-bearing rather than accidental. The rasteriser writes palette indices and expands to RGBA only at the end precisely so nothing can soften an edge. Modern conveniences belong in the workflow. Adds docs/design.md: the principles, carried over without the Poco/FLX/cel machinery, plus architecture and an honest list of what is missing - the largest gap being that plates still have nowhere to be drawn. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:47:41 -04:00
<title>arthur</title>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<style>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
:root { --bg:#0b0d13; --panel:#12151f; --line:#232836; --fg:#e8eaf0;
--dim:#8891a5; --accent:#fbbf24; --ok:#4ade80; --err:#f87171; }
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
* { box-sizing: border-box; }
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
body { margin:0; background:var(--bg); color:var(--fg);
font:13px/1.5 ui-monospace,SFMono-Regular,Menlo,monospace; }
header { padding:12px 18px; border-bottom:1px solid var(--line);
display:flex; gap:10px; align-items:center; flex-wrap:wrap; }
h1 { font-size:14px; margin:0 8px 0 0; letter-spacing:.04em; }
h1 span { color:var(--dim); font-weight:400; }
main { padding:16px 18px 40px; display:flex; flex-direction:column; gap:16px; }
.row { display:flex; gap:16px; flex-wrap:wrap; }
.panel { background:var(--panel); border:1px solid var(--line); border-radius:4px; padding:12px; }
.panel h2 { font-size:11px; text-transform:uppercase; letter-spacing:.08em;
color:var(--dim); margin:0 0 8px; font-weight:500; }
canvas { display:block; image-rendering:pixelated; max-width:100%; border-radius:2px; }
button,input[type=text],select { font:inherit; background:#1c2130; color:var(--fg);
border:1px solid var(--line); border-radius:3px; padding:5px 10px; cursor:pointer; }
button:hover { border-color:var(--accent); }
input[type=text] { cursor:text; }
label.ctl { display:grid; grid-template-columns:132px 1fr 46px; gap:10px;
align-items:center; margin-bottom:6px; }
label.ctl span:first-child { color:var(--dim); }
label.ctl output { text-align:right; color:var(--accent); }
input[type=range] { width:100%; accent-color:var(--accent); }
#status { color:var(--dim); } #status.ok{color:var(--ok)} #status.err{color:var(--err)} #status.warn{color:var(--accent)}
#readout { color:var(--dim); font-size:12px; }
/* the frame strip is the editing surface */
#strip { display:flex; flex-wrap:wrap; gap:4px; }
.fr { position:relative; cursor:pointer; border:2px solid transparent; border-radius:3px; line-height:0; }
.fr canvas { border-radius:1px; }
.fr span { position:absolute; left:2px; bottom:2px; font-size:10px; line-height:1.2;
padding:0 3px; border-radius:2px; background:#000a; color:#fff; }
.fr.keep { border-color:var(--ok); }
.fr.drop { border-color:#2a2f3e; }
.fr.drop canvas { opacity:.26; filter:grayscale(1); }
.fr.cur { border-color:var(--accent); }
Paint: copy previous should skip empty frames Copy previous looked for the nearest earlier ENABLED frame, and every frame is enabled until you thin the strip out - so it resolved to f-1, which has nothing on it, and the button appeared to only ever copy the immediate sibling while reporting "nothing to copy". It now takes the nearest earlier enabled frame that actually carries a drawing. That behaves identically before and after you curate the strip, which is the point: the rhythm of the drawings should not depend on whether you have got round to deleting frames yet. Cels stay tied to the keep-set. They are plate drawings and they hold until the next enabled frame, as originally specified - an earlier version of this commit gave them their own independent set, which is wrong for what they are. Frames carrying a drawing are now marked in the strip, because "copy previous" reaching back to a frame you cannot see is not much better than it reaching to the wrong one. Also fixes stale paint labels: onChange refreshed the strip and the panes but not the paint header, so the drawn-frames readout lagged a copy behind. Split the text update out of drawPaint so it can run from inside commit() without re-rendering the canvas underneath itself. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:25:15 -04:00
.fr.cel::before { content:'▣'; position:absolute; left:3px; top:1px; color:#c084fc;
font-size:10px; text-shadow:0 0 2px #000; }
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
.fr.keep::after { content:'●'; position:absolute; right:3px; top:1px; color:var(--ok); font-size:10px; }
#sheet { display:flex; flex-wrap:wrap; gap:10px; }
#sheet .cell { display:flex; flex-direction:column; gap:3px; cursor:pointer; }
#sheet .cell span { color:var(--dim); font-size:11px; }
#sheet .cell:hover span { color:var(--accent); }
#palette { display:flex; gap:12px; flex-wrap:wrap; }
.sw { display:flex; align-items:center; gap:5px; color:var(--dim); font-size:11px; }
.sw input { width:26px; height:20px; padding:0; border:1px solid var(--line); background:none; }
.legend { color:var(--dim); font-size:11px; margin-top:6px; }
Paint: vector background cels on the kept frames A sketch, and labelled as one. It exists to test whether the aesthetic holds when a human draws the background rather than the tracker deriving it, and it is meant to be replaced by a real paint surface with onion skin and undo. Kept to one dependency-free module so throwing it away is a delete, not surgery. Cels are drawn on the frames that get their own drawing and hold until the next one - the same rule the plate follows, and literally the same lookup, so the two cannot disagree about what is on screen. Editing always targets the cel you can see, so you can scrub anywhere and keep drawing. Pen places vertices and closes on the first one. Edit drags vertices or whole shapes, shift-click inserts, alt-click removes. Layers stack front-at-top with per-layer colour, show/hide and reorder. Drag a strip thumbnail onto the canvas to seed this cel from that one, every layer, as a deep copy - sharing the point arrays would make two cels silently edit each other. Two rules are enforced rather than left to discipline: Colours are PALETTE INDICES, never RGB. Sampling colour from the source is the one move docs/design.md calls irrecoverable, and a paint tool is exactly where that discipline would leak, so the picker cannot express a colour outside the ramp. Vertices snap to the 320x200 grid. On a hard-edged indexed rasteriser a shape nudged by 0.4px moves an edge by a whole pixel or not at all depending on where it happens to land, so sub-pixel vertices shimmer instead of holding still. Drawings autosave to localStorage per take name. They are the only thing here a person made by hand; everything else regenerates. Not in the .take export yet. Also adds serve.py, a no-store dev server. python3 -m http.server sends Last-Modified and browsers cache ES modules on it hard enough that a reload serves a stale app.js against a fresh index.html: the new knobs appear, nothing wires them, no error fires, and it reads as "your feature does not work". That cost real time this session. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:08:07 -04:00
/* paint: a sketch, see js/paint.js */
#cv-paint { border:1px solid var(--line); cursor:crosshair; touch-action:none; }
#cv-paint.drop { border-color:var(--ok); }
#paintlayers { flex:0 0 280px; max-height:600px; overflow:auto; }
.lay { display:flex; align-items:center; gap:5px; padding:3px 4px; border-radius:3px;
border:1px solid transparent; cursor:pointer; }
.lay.sel { border-color:var(--accent); background:#1c2130; }
.lay i { width:12px; height:12px; border-radius:2px; border:1px solid #0006; flex:0 0 auto; }
.lay b { flex:1; font-weight:400; color:var(--dim); font-size:11px; }
.lay.sel b { color:var(--fg); }
.lay select { font:inherit; font-size:10px; background:#1c2130; color:var(--dim);
border:1px solid var(--line); border-radius:2px; padding:1px 2px; max-width:88px; }
.lay button { padding:0 5px; font-size:11px; line-height:18px; }
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
kbd { background:#1c2130; border:1px solid var(--line); border-radius:2px;
padding:0 4px; color:var(--fg); font-size:11px; }
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
</style>
</head>
<body>
<header>
Become arthur: a standalone suite, not an Animator Pro front-end The test renderer turned out to be the product. Everything that decides how the work looks - stabilisation, reduction, timing, frame removal, palette - already happens here, and the flat indexed output already reads the way it should. The reason to leave is in the original design's own rule: never make a timing decision that requires a full render to evaluate. Honouring that moved every judgement out of Animator Pro, which left the host doing nothing but writing a file, in exchange for modal UI, minutes-long renders, one-level undo, FLX delta invariants, a single tween state and a cel singleton. What does NOT change is the constraint. 320x200, indexed palette, flat fills, no antialiasing - inherited, but load-bearing rather than accidental. The rasteriser writes palette indices and expands to RGBA only at the end precisely so nothing can soften an edge. Modern conveniences belong in the workflow. Adds docs/design.md: the principles, carried over without the Poco/FLX/cel machinery, plus architecture and an honest list of what is missing - the largest gap being that plates still have nowhere to be drawn. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:47:41 -04:00
<h1>arthur <span>— rotoscope + frame removal</span></h1>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<button id="btn-synth">Synthetic</button>
<input type="text" id="framedir" value="frames" size="7" title="frame directory">
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<button id="btn-frames">Load frames</button>
<button id="btn-play">Play</button>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<select id="irisAnchor" title="what the iris hangs off">
<option value="steady" selected>iris: steady</option>
<option value="free">iris: free</option>
<option value="locked">iris: locked</option>
</select>
<select id="gazeOrigin" title="what counts as looking straight ahead">
<option value="median" selected>origin: median</option>
<option value="neutral">origin: neutral f</option>
</select>
<select id="exposure" title="exposure — how often the picture gets a new drawing">
<option value="1" selected>on 1s</option>
<option value="2">on 2s</option>
<option value="3">on 3s</option>
<option value="4">on 4s</option>
</select>
Audio-clocked playback for judging sync Lip sync cannot be judged silently. extract.sh now pulls the audio track and writes manifest.json alongside the frames; the page reads the true extraction rate from it rather than assuming one, since a guessed fps desynchronises picture from sound - the one thing this view exists to show. Audio is the clock: frame = floor(currentTime * fps). A slow render loop drops frames instead of drifting, and half/quarter speed work via playbackRate with the picture following for free. Scrubbing, stepping and clicking a thumbnail all seek the audio too. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:53:09 -04:00
<select id="speed" title="playback speed"><option value="1">1x</option><option value="0.5">½x</option><option value="0.25">¼x</option></select>
<audio id="audio" controls hidden style="height:28px;vertical-align:middle"></audio>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<button id="btn-keepall">Keep all</button>
<button id="btn-suggest">Suggest</button>
<input type="text" id="takename" value="line_01" size="9" title="take name">
Registered photo underlay as the plate reference The generated face oval was never going to be good enough to draw from: MediaPipe's face oval is the FACE boundary, cut at the hairline and excluding hair, ears, jaw and neck, so it is an egg by construction. Segmentation would give a real head outline but costs a 16MB model and per-frame inference for a shape that gets replaced by a drawing anyway. So the plate layer becomes switchable, and the useful modes are photographic: the source frame mapped into raster space through the same transform chain the contours go through. Registration is the whole point - the head sits still and a drawing traced from the underlay is already aligned to the mouth. An unregistered underlay would be decoration. - underlay.js: pixel->raster affine (a general affine, since MediaPipe normalises x by width and y by height), registered draw, palette posterise - plate modes: photo / photo dim / posterized / oval / oval+photo / none, B cycles - worksheet cells are registered composites rather than raw crops - Save frame 4x writes a 1280x800 PNG to draw on - selftest: FACE_OVAL simplicity, which was never asserted; a wrong ordering there reads as a lumpy plate rather than an obvious bowtie Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:57:59 -04:00
<select id="plateMode" title="plate representation (B to cycle)">
<option value="photo-dim">photo dim</option>
<option value="photo">photo</option>
<option value="posterize">posterized</option>
<option value="oval" selected>oval</option>
<option value="oval+photo">oval + photo</option>
<option value="off">none</option>
</select>
<button id="btn-saveframe">Save frame 4x</button>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<button id="btn-export">Export .take</button>
<span id="status"></span>
</header>
<main>
<div class="row">
<div class="panel">
<h2>source + landmarks</h2>
<canvas id="cv-source"></canvas>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<div class="legend">outer lip <b style="color:#4ade80">—</b> · inner lip <b style="color:#f87171">—</b> ·
Brows: traced ring, quantised raise A brow at 320x200 is fourteen pixels wide and three tall. Its shape carries almost nothing at that size; its height above the eye carries the expression, and a brow raise is the most legible beat on a face. So the ring is traced and the height is quantised - the split the eyes already got, where the lid is a traced feature and the iris a quantised primitive. The decomposition is the point. The traced ring already contains the real height, so adding a quantised raise on top would move the brow twice. The height is measured OUT of the ring, quantised, and put back, so the shape that renders is his at a height that snaps between a few levels and holds. Measured at both ends rather than as one number, because raise and tilt are different expressions out of one mechanism: both ends up is surprise, inner up alone is worry, inner down is anger. They share a dwell - the gaze quantiser, renamed quantizeSnap now that it has two callers - so the brow hits its pose in one frame instead of crawling into it with one end arriving before the other. Measured against the eye's corner midpoint, never its lid. Same trap the gaze origin has and worth avoiding twice: brows and lids move together constantly, so a brow that jumped on every blink would read as a tic. Rest pose from the take median rather than the neutral frame, for the reason gaze learned the hard way - that frame is picked by minimum mouth aperture and says nothing about the brows. Two correspondences resolved from geometry, not declared: which ring is which brow, and which end is the outer one. The second matters more - backwards, the tilt mirrors and worry renders as its own opposite, which reads as a directed performance choice rather than a bug and would never be questioned. Which EDGE is upper is deliberately left unresolved: it traverses the same ring the other way, an even-odd fill has no winding, and both ends still land on fixed slots. Also fixes a bug from the exposure work: the live render applied exposure to the plate and the mouth but not to the eyes, so on 2s the preview and the export disagreed. A preview that disagrees with the export is the one bug this tool cannot afford. perfIndex now exists as a named thing so the two paths cannot drift apart again. 91 -> 105 assertions. Ground truth on all four synthetic brow poses, tilt separating worry from anger by sign, a blink not faking a raise, and a shared dwell never emitting a half-raised brow. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:11:25 -04:00
lids <b style="color:#60a5fa">—</b> · iris <b style="color:#fbbf24">—</b> ·
brows <b style="color:#c084fc">—</b></div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
</div>
<div class="panel">
<h2>stabilised (head-local)</h2>
<canvas id="cv-stab"></canvas>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<div class="legend">should sit still except the mouth and eyes · grey = held plate outline<br>
dark green ghost = unshifted mouth when lead ≠ 0 · red lid ring = blink</div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
</div>
<div class="panel">
<h2>flat render — 320×200 indexed</h2>
<canvas id="cv-render"></canvas>
<div class="legend" id="framelabel"></div>
Registered photo underlay as the plate reference The generated face oval was never going to be good enough to draw from: MediaPipe's face oval is the FACE boundary, cut at the hairline and excluding hair, ears, jaw and neck, so it is an egg by construction. Segmentation would give a real head outline but costs a 16MB model and per-frame inference for a shape that gets replaced by a drawing anyway. So the plate layer becomes switchable, and the useful modes are photographic: the source frame mapped into raster space through the same transform chain the contours go through. Registration is the whole point - the head sits still and a drawing traced from the underlay is already aligned to the mouth. An unregistered underlay would be decoration. - underlay.js: pixel->raster affine (a general affine, since MediaPipe normalises x by width and y by height), registered draw, palette posterise - plate modes: photo / photo dim / posterized / oval / oval+photo / none, B cycles - worksheet cells are registered composites rather than raw crops - Save frame 4x writes a 1280x800 PNG to draw on - selftest: FACE_OVAL simplicity, which was never asserted; a wrong ordering there reads as a lumpy plate rather than an obvious bowtie Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:57:59 -04:00
<div class="legend">audio drives the clock — dropped frames, never drift<br>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<b>exposure</b> holds the picture on a grid: rip at 24, render on 2s for
12. The dense track and the audio are untouched, so it is reversible<br>
Registered photo underlay as the plate reference The generated face oval was never going to be good enough to draw from: MediaPipe's face oval is the FACE boundary, cut at the hairline and excluding hair, ears, jaw and neck, so it is an egg by construction. Segmentation would give a real head outline but costs a 16MB model and per-frame inference for a shape that gets replaced by a drawing anyway. So the plate layer becomes switchable, and the useful modes are photographic: the source frame mapped into raster space through the same transform chain the contours go through. Registration is the whole point - the head sits still and a drawing traced from the underlay is already aligned to the mouth. An unregistered underlay would be decoration. - underlay.js: pixel->raster affine (a general affine, since MediaPipe normalises x by width and y by height), registered draw, palette posterise - plate modes: photo / photo dim / posterized / oval / oval+photo / none, B cycles - worksheet cells are registered composites rather than raw crops - Save frame 4x writes a 1280x800 PNG to draw on - selftest: FACE_OVAL simplicity, which was never asserted; a wrong ordering there reads as a lumpy plate rather than an obvious bowtie Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:57:59 -04:00
plate representation: <kbd>B</kbd> cycles · photo modes are <b>registered</b>
into raster space, so tracing them lands on the mouth</div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
</div>
</div>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<div class="panel">
<h2>frames — green kept (gets its own drawing) · dim held from the last kept frame</h2>
<div id="strip"></div>
<input type="range" id="scrub" min="0" max="0" value="0" style="width:100%;margin-top:10px">
<div class="legend">
Registered photo underlay as the plate reference The generated face oval was never going to be good enough to draw from: MediaPipe's face oval is the FACE boundary, cut at the hairline and excluding hair, ears, jaw and neck, so it is an egg by construction. Segmentation would give a real head outline but costs a 16MB model and per-frame inference for a shape that gets replaced by a drawing anyway. So the plate layer becomes switchable, and the useful modes are photographic: the source frame mapped into raster space through the same transform chain the contours go through. Registration is the whole point - the head sits still and a drawing traced from the underlay is already aligned to the mouth. An unregistered underlay would be decoration. - underlay.js: pixel->raster affine (a general affine, since MediaPipe normalises x by width and y by height), registered draw, palette posterise - plate modes: photo / photo dim / posterized / oval / oval+photo / none, B cycles - worksheet cells are registered composites rather than raw crops - Save frame 4x writes a 1280x800 PNG to draw on - selftest: FACE_OVAL simplicity, which was never asserted; a wrong ordering there reads as a lumpy plate rather than an obvious bowtie Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:57:59 -04:00
<kbd>←</kbd> <kbd>→</kbd> step · <kbd>X</kbd> delete · <kbd>K</kbd> keep · <kbd>B</kbd> background ·
Mouth lead: nudge performance tracks ahead of the clock Smoothing does not literally delay anything - a centred moving average has zero phase lag - but it blurs onsets, so the visually salient moment of a mouth opening moves later even though the mean does not. Animators also draw mouth shapes a frame or two ahead of the sound as standard practice, so this is the normal control rather than a workaround. Only the performance tracks shift; the head and audio stay put, since it is the mouth that should anticipate. In photo-underlay modes the vector mouth will therefore no longer match the frame behind it, which is expected. The lead is baked into the exported take - key f carries the pose from source frame f+lead - so the Animator Pro renderer never needs to know about it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:34:08 -04:00
<kbd>[</kbd> <kbd>]</kbd> lead ·
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
click to select · double-click or shift-click to toggle ·
the mouth keeps <b>every</b> frame regardless
</div>
<div class="legend" id="readout"></div>
</div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<div class="row">
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<div class="panel" style="flex:1 1 400px">
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<h2>knobs</h2>
<label class="ctl"><span>vertices</span><input type="range" id="verts" min="4" max="16" step="2" value="8"><output id="vertsv"></output></label>
Mouth lead: nudge performance tracks ahead of the clock Smoothing does not literally delay anything - a centred moving average has zero phase lag - but it blurs onsets, so the visually salient moment of a mouth opening moves later even though the mean does not. Animators also draw mouth shapes a frame or two ahead of the sound as standard practice, so this is the normal control rather than a workaround. Only the performance tracks shift; the head and audio stay put, since it is the mouth that should anticipate. In photo-underlay modes the vector mouth will therefore no longer match the frame behind it, which is expected. The lead is baked into the exported take - key f carries the pose from source frame f+lead - so the Animator Pro renderer never needs to know about it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:34:08 -04:00
<label class="ctl"><span>mouth lead ±f</span><input type="range" id="lead" min="-6" max="6" value="0"><output id="leadv"></output></label>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<label class="ctl"><span>contour avg ±f</span><input type="range" id="contourSmooth" min="0" max="4" value="1"><output id="contourSmoothv"></output></label>
<label class="ctl"><span>anchor avg ±f</span><input type="range" id="smoothWin" min="0" max="8" value="2"><output id="smoothWinv"></output></label>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<label class="ctl"><span>closed-mouth cut</span><input type="range" id="apertureThresh" min="0" max="400" value="120"><output id="apertureThreshv"></output></label>
Fix teeth band filling the whole mouth Three causes, all of them mine: Otsu always returns a split, including on a homogeneous region - given a dark cavity with no teeth it invents a threshold and calls half the pixels bright. The gate is now the separation between the two class means, which is the only thing that says whether the split means anything. Coverage was the wrong signal: it is high both when the mouth is full of teeth and when the region is uniformly dark and Otsu has split noise. The row scan tracked the last qualifying row anywhere rather than where the run from the top stops, so one bright row near the bottom - a lit lower lip inside the ring - pushed the line to full height. It now breaks at the first failing row once the run has started. MediaPipe's inner lip landmarks sit slightly outside the real opening, so the sampled region included lip pixels, which are bright and sit exactly at the boundary where they do most damage. The ring is now eroded toward its centroid before sampling, with the amount exposed as a knob. Adds a diagnostic panel showing the sampled crop, pixels above threshold, and the resolved line, because tuning this from numbers alone does not tell you whether the region being measured is even the right region. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:14:49 -04:00
<label class="ctl"><span>teeth contrast</span><input type="range" id="teethOn" min="1" max="60" value="16"><output id="teethOnv"></output></label>
Teeth as an extracted blob contour, not a clipped band The band filled the mouth because a band is the wrong reduction: the bright region is a blob, and reading it as "everything above a line" throws the shape away. Extracting a contour reintroduces the vertex-correspondence problem that made me avoid it, but for a blob there is a way out. Radial sampling from the centroid along N fixed directions makes vertex k always mean "the extent in direction k": correspondence holds by construction, the count is fixed, and temporal smoothing cannot reorder anything. It also yields a star-shaped reduction, which suits flat colour. Tongue rejection, which the band had no way to express: - pixels red relative to their own brightness are dropped (teeth are neutral) - component choice is biased toward the top of the cavity, since area alone picks the tongue when the mouth is wide - separate inner and outer controls: cavity erode pulls the sampled region off the lip edge, blob grow/erode resizes the found blob Also: a knob wired in app.js but missing from index.html threw during wiring and left a blank page with nothing useful in the console - which is exactly what happened to teethDwell in the previous commit. el() now names the missing id, and window.onerror surfaces it in the status line. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:24:52 -04:00
<label class="ctl"><span>cavity erode</span><input type="range" id="teethErode" min="0" max="45" value="18"><output id="teethErodev"></output></label>
<label class="ctl"><span>blob grow/erode</span><input type="range" id="blobGrow" min="-4" max="4" value="0"><output id="blobGrowv"></output></label>
<label class="ctl"><span>tongue reject</span><input type="range" id="tongueReject" min="2" max="40" value="18"><output id="tongueRejectv"></output></label>
<label class="ctl"><span>prefer upper</span><input type="range" id="topBias" min="0" max="120" value="60"><output id="topBiasv"></output></label>
<label class="ctl"><span>teeth vertices</span><input type="range" id="teethVerts" min="5" max="20" value="10"><output id="teethVertsv"></output></label>
<label class="ctl"><span>teeth avg ±f</span><input type="range" id="teethSmooth" min="0" max="4" value="1"><output id="teethSmoothv"></output></label>
Teeth from mouth-interior image content MediaPipe has no landmarks inside the lips, so teeth have to come from pixels. Tracing the bright blob would give a new contour every frame with no vertex correspondence - the exact boil docs/roto-puppet.md warns about. So the measurement yields a scalar, not a shape: Otsu within the cavity, scanned from the top for where the bright run stops, giving one line height per frame. The teeth polygon is the inner lip ring clipped to that line, so the silhouette is always the mouth's own shape and cannot disagree with the lips around it, and the only per-frame variable is a single number that smooths trivially. Presence gets hysteresis and minimum dwell, as plate selection does: a teeth block blinking on and off for single frames is worse than one simply absent. Tongue is not implemented. The same scalar approach would apply, gated on redness rather than brightness, but it is not visible in the test footage - the cavity reads dark with a bright upper-teeth band and nothing else. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:12:09 -04:00
<label class="ctl"><span>teeth dwell</span><input type="range" id="teethDwell" min="0" max="6" value="1"><output id="teethDwellv"></output></label>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<label class="ctl"><span>eye vertices</span><input type="range" id="eyeVerts" min="4" max="12" step="2" value="8"><output id="eyeVertsv"></output></label>
<label class="ctl"><span>lash line</span><input type="range" id="lashPx" min="0" max="3" value="1"><output id="lashPxv"></output></label>
<label class="ctl"><span>blink cut</span><input type="range" id="blinkCut" min="20" max="300" value="130"><output id="blinkCutv"></output></label>
<label class="ctl"><span>blink hold ±f</span><input type="range" id="blinkHold" min="1" max="5" value="2"><output id="blinkHoldv"></output></label>
<label class="ctl"><span>blink dwell</span><input type="range" id="blinkDwell" min="0" max="4" value="0"><output id="blinkDwellv"></output></label>
<label class="ctl"><span>gaze gain</span><input type="range" id="gazeGain" min="50" max="400" value="100"><output id="gazeGainv"></output></label>
<label class="ctl"><span>gaze step</span><input type="range" id="gazeStep" min="0" max="6" value="2"><output id="gazeStepv"></output></label>
<label class="ctl"><span>gaze dwell</span><input type="range" id="gazeDwell" min="0" max="6" value="2"><output id="gazeDwellv"></output></label>
<label class="ctl"><span>iris size</span><input type="range" id="irisSize" min="20" max="70" value="42"><output id="irisSizev"></output></label>
<label class="ctl"><span>pupil</span><input type="range" id="pupilPx" min="0" max="7" value="3"><output id="pupilPxv"></output></label>
Brows: traced ring, quantised raise A brow at 320x200 is fourteen pixels wide and three tall. Its shape carries almost nothing at that size; its height above the eye carries the expression, and a brow raise is the most legible beat on a face. So the ring is traced and the height is quantised - the split the eyes already got, where the lid is a traced feature and the iris a quantised primitive. The decomposition is the point. The traced ring already contains the real height, so adding a quantised raise on top would move the brow twice. The height is measured OUT of the ring, quantised, and put back, so the shape that renders is his at a height that snaps between a few levels and holds. Measured at both ends rather than as one number, because raise and tilt are different expressions out of one mechanism: both ends up is surprise, inner up alone is worry, inner down is anger. They share a dwell - the gaze quantiser, renamed quantizeSnap now that it has two callers - so the brow hits its pose in one frame instead of crawling into it with one end arriving before the other. Measured against the eye's corner midpoint, never its lid. Same trap the gaze origin has and worth avoiding twice: brows and lids move together constantly, so a brow that jumped on every blink would read as a tic. Rest pose from the take median rather than the neutral frame, for the reason gaze learned the hard way - that frame is picked by minimum mouth aperture and says nothing about the brows. Two correspondences resolved from geometry, not declared: which ring is which brow, and which end is the outer one. The second matters more - backwards, the tilt mirrors and worry renders as its own opposite, which reads as a directed performance choice rather than a bug and would never be questioned. Which EDGE is upper is deliberately left unresolved: it traverses the same ring the other way, an even-odd fill has no winding, and both ends still land on fixed slots. Also fixes a bug from the exposure work: the live render applied exposure to the plate and the mouth but not to the eyes, so on 2s the preview and the export disagreed. A preview that disagrees with the export is the one bug this tool cannot afford. perfIndex now exists as a named thing so the two paths cannot drift apart again. 91 -> 105 assertions. Ground truth on all four synthetic brow poses, tilt separating worry from anger by sign, a blink not faking a raise, and a shared dwell never emitting a half-raised brow. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:11:25 -04:00
<label class="ctl"><span>brow vertices</span><input type="range" id="browVerts" min="4" max="10" step="2" value="6"><output id="browVertsv"></output></label>
<label class="ctl"><span>brow weight</span><input type="range" id="browWeight" min="0" max="3" value="1"><output id="browWeightv"></output></label>
<label class="ctl"><span>brow raise gain</span><input type="range" id="browGain" min="50" max="300" value="100"><output id="browGainv"></output></label>
<label class="ctl"><span>brow step</span><input type="range" id="browStep" min="0" max="6" value="2"><output id="browStepv"></output></label>
<label class="ctl"><span>brow dwell</span><input type="range" id="browDwell" min="0" max="6" value="2"><output id="browDwellv"></output></label>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<label class="ctl"><span>suggest tolerance</span><input type="range" id="tol" min="2" max="60" value="14"><output id="tolv"></output></label>
<div class="legend">
Mouth lead: nudge performance tracks ahead of the clock Smoothing does not literally delay anything - a centred moving average has zero phase lag - but it blurs onsets, so the visually salient moment of a mouth opening moves later even though the mean does not. Animators also draw mouth shapes a frame or two ahead of the sound as standard practice, so this is the normal control rather than a workaround. Only the performance tracks shift; the head and audio stay put, since it is the mouth that should anticipate. In photo-underlay modes the vector mouth will therefore no longer match the frame behind it, which is expected. The lead is baked into the exported take - key f carries the pose from source frame f+lead - so the Animator Pro renderer never needs to know about it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:34:08 -04:00
<b>mouth lead</b> shifts the performance tracks earlier (positive) against
the audio and the head. Averaging has no phase lag but it blurs onsets, so
an opening reads later than it is; animators also draw mouths a frame or
two ahead of the sound as standard practice. <kbd>[</kbd> <kbd>]</kbd>.<br>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<b>contour avg</b> 0 = off, 1 = ±1 frame. Removes per-frame landmark
jitter. Push past 2 and it starts eating articulation.<br>
<b>anchor avg</b> smooths the head transform only — never the contour.<br>
Teeth as an extracted blob contour, not a clipped band The band filled the mouth because a band is the wrong reduction: the bright region is a blob, and reading it as "everything above a line" throws the shape away. Extracting a contour reintroduces the vertex-correspondence problem that made me avoid it, but for a blob there is a way out. Radial sampling from the centroid along N fixed directions makes vertex k always mean "the extent in direction k": correspondence holds by construction, the count is fixed, and temporal smoothing cannot reorder anything. It also yields a star-shaped reduction, which suits flat colour. Tongue rejection, which the band had no way to express: - pixels red relative to their own brightness are dropped (teeth are neutral) - component choice is biased toward the top of the cavity, since area alone picks the tongue when the mouth is wide - separate inner and outer controls: cavity erode pulls the sampled region off the lip edge, blob grow/erode resizes the found blob Also: a knob wired in app.js but missing from index.html threw during wiring and left a blank page with nothing useful in the console - which is exactly what happened to teethDwell in the previous commit. el() now names the missing id, and window.onerror surfaces it in the status line. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:24:52 -04:00
<b>teeth contrast</b> gates on how far apart the cavity's dark and bright
halves are — Otsu always returns <i>some</i> threshold, so this is what
stops it inventing teeth in a dark mouth.
<b>cavity erode</b> pulls the sampled region in from the lip edge;
<b>blob grow/erode</b> resizes the found blob itself.
<b>tongue reject</b> drops pixels that are red relative to their own
brightness; <b>prefer upper</b> biases component choice toward the top of
the cavity, where teeth are and the tongue is not.
<b>dwell</b> is how many frames a presence change must persist.<br>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<b>blink cut</b> is lid gap over corner distance — normalised, so one
value carries across takes. <b>blink hold</b> is the minimum length of a
blink: a real blink is one frame at 12fps and a single frame of closed
eye reads as a dropout, so it is extended to a beat.
Brows: traced ring, quantised raise A brow at 320x200 is fourteen pixels wide and three tall. Its shape carries almost nothing at that size; its height above the eye carries the expression, and a brow raise is the most legible beat on a face. So the ring is traced and the height is quantised - the split the eyes already got, where the lid is a traced feature and the iris a quantised primitive. The decomposition is the point. The traced ring already contains the real height, so adding a quantised raise on top would move the brow twice. The height is measured OUT of the ring, quantised, and put back, so the shape that renders is his at a height that snaps between a few levels and holds. Measured at both ends rather than as one number, because raise and tilt are different expressions out of one mechanism: both ends up is surprise, inner up alone is worry, inner down is anger. They share a dwell - the gaze quantiser, renamed quantizeSnap now that it has two callers - so the brow hits its pose in one frame instead of crawling into it with one end arriving before the other. Measured against the eye's corner midpoint, never its lid. Same trap the gaze origin has and worth avoiding twice: brows and lids move together constantly, so a brow that jumped on every blink would read as a tic. Rest pose from the take median rather than the neutral frame, for the reason gaze learned the hard way - that frame is picked by minimum mouth aperture and says nothing about the brows. Two correspondences resolved from geometry, not declared: which ring is which brow, and which end is the outer one. The second matters more - backwards, the tilt mirrors and worry renders as its own opposite, which reads as a directed performance choice rather than a bug and would never be questioned. Which EDGE is upper is deliberately left unresolved: it traverses the same ring the other way, an even-odd fill has no winding, and both ends still land on fixed slots. Also fixes a bug from the exposure work: the live render applied exposure to the plate and the mouth but not to the eyes, so on 2s the preview and the export disagreed. A preview that disagrees with the export is the one bug this tool cannot afford. perfIndex now exists as a named thing so the two paths cannot drift apart again. 91 -> 105 assertions. Ground truth on all four synthetic brow poses, tilt separating worry from anger by sign, a blink not faking a raise, and a shared dwell never emitting a half-raised brow. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:11:25 -04:00
<b>brow step</b> and <b>brow dwell</b> quantise the brow's HEIGHT above
the eye, not its shape — the traced ring is his, the height snaps between
a few levels and holds. Both ends move independently, so raise and tilt
come out of one control: both up is surprise, inner up is worry, inner
down is anger. <b>brow weight</b> thickens the ring, which it needs at
three pixels tall.<br>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<b>pupil</b> is a square, in whole pixels, 0 to turn it off: at this size
a circle of radius 1.5 is a plus sign with the corners gnawed off and it
changes shape as it moves, where a square stays the mark you drew.<br>
<b>gaze step</b> is the grid the iris snaps to, in raster pixels, and
<b>gaze dwell</b> is how long a new cell must hold — together they turn
drift into saccades. <b>gaze gain</b> exaggerates or damps the throw;
measured excursion is small and a character usually wants more of it.<br>
Frame removal for plates; mouth keeps every frame Sparseness was being applied for two different reasons at once. Aesthetic sparseness is set by the extraction rate; labour sparseness only binds on the plate, because a human draws each one. The mouth is traced and therefore free, and in limited animation lip sync is routinely the densest element - on 1s while heads hold on 2s and 3s. So: the mouth gets a key on every frame, and the frame strip is now the editing surface for deciding which frames need their own plate drawing. All frames start kept; delete the ones you don't want. - strip of face-cropped thumbnails, keep/drop per frame, keyboard driven - worksheet panel lists the drawings needed and the range each one holds - Suggest runs error-tolerance decimation on head pose as a starting point - export writes sparse plate keys + dense mouth keys, with a hold manifest - smoothContours: bounded exception to "never smooth the contour", which held only while keys were sparse enough to reject detector noise by sampling - averages are now a RADIUS in frames: 0 is off, 1 is +-1 - GPU delegate falls back to CPU instead of failing - #synth / #frames autorun for headless smoke tests Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:51:15 -04:00
<b>suggest tolerance</b> only affects the Suggest button: max head movement
allowed before a new drawing is required.
</div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
</div>
Eyes: lids, blinking, line of sight Three parts per eye, stacked the way the mouth is - dark lash ring, sclera inside it, iris inside that, square pupil in the iris. A blink then costs nothing: when the lid shuts the traced ring goes flat and the lash line collapses to a lens, which is a closed eye, drawn correctly, for free. Lids are a FEATURE, rotoscoped like the mouth: head-local, a key on every frame, the same contour avg knob. The iris is a PRIMITIVE - a disc at a quantised position - and that is where the stylisation lives. Line of sight. Gaze is the iris centre relative to the midpoint of the eye's two corners, in units of corner distance. Both corners are in RIGID, so the origin and the scale are immune to the performance being measured; against the lid ring's centroid instead, every blink would drag the origin down and fake a glance at the floor on exactly the frames where the eye is most visible. Both eyes share one gaze - at this size the difference between the two measurements is noise, not vergence, and independent per-eye noise reads as wall-eyed immediately. Openness stays per-eye so a wink survives. Gaze is then quantised to a pixel grid with a dwell, which is not a stylisation imposed on the truth: real eyes move in saccades, and the smooth drift left in the measurement is tracker noise plus head-compensation error. Snapping to a grid removes the noise and recovers the saccade in one operation. The iris is placed in the frame of the already-smoothed, already-subsampled lid ring - slots 0 and 8 of a 16-slot ring are the corners, and subsampling to any even budget keeps them at 0 and n/2 - so it cannot drift relative to its own eye. Size is authored from the take mean, never remeasured per frame: a radius that breathes by a fraction of a pixel flickers a pixel on and off around the whole silhouette. iris anchor toggles steady/free/locked, because how much the eye wanders turns out to be an aesthetic choice and not only a correctness one. Blinking gets hysteresis and a dwell like the teeth, plus one knob they do not have: blink hold. A blink is one frame at 12fps and a single frame of closed eye reads as a dropped frame, so once the eye shuts it stays shut long enough to be legible. Detection accuracy is not the problem; legibility is. The pupil is a square because at three pixels a circle is a plus sign with the corners gnawed off, and it changes shape as it moves. Drawn from a rounded centre shared with the iris so it is exactly its nominal size on every frame. Iris/pupil clip by colour key against the indexed buffer, the way Animator Pro would: the lid crops the iris at extreme gaze for free, so nothing has to clamp the gaze, which would flatten the performance at the extremes that carry it. Which iris block belongs to which eye is RESOLVED from geometry, not declared. A swap looks almost right - each eye still has a disc roughly where it belongs - so it survives an eyeball and then reads as a subtly wall-eyed character forever. Voted across every frame; the test feeds a deliberately swapped track. Also: exposure. Aesthetic sparseness was set by the extraction rate, which made the timing a property of a directory of PNGs - auditioning 12 against 24 meant re-ripping and re-detecting the whole clip. It is now a render-time grid, on 1s/2s/3s/4s, so the dense track keeps everything and the audio clock is untouched. The take format already carried an exposure field; it was never driven. Everything rides the same grid, because a head cutting on the odd frames while the mouth cuts on the even ones reads as two performances laid over each other. 41 -> 91 assertions. The load-bearing new ones: the iris pairing follows a swapped track, a blink does not fake a change of gaze, a stencilled disc cannot spill past its clip, a 3px pupil is 3x3 at every sub-pixel centre, and exposure never reads a pose from the future. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 18:06:04 -04:00
<div class="panel" style="flex:0 1 170px">
<h2>gaze field</h2>
<canvas id="cv-gaze"></canvas>
<div class="legend" id="eyeinfo" style="white-space:pre-line"></div>
<div class="legend">green = every cell the iris visits in the take ·
grey = raw · amber = where it is now, quantised</div>
</div>
Fix teeth band filling the whole mouth Three causes, all of them mine: Otsu always returns a split, including on a homogeneous region - given a dark cavity with no teeth it invents a threshold and calls half the pixels bright. The gate is now the separation between the two class means, which is the only thing that says whether the split means anything. Coverage was the wrong signal: it is high both when the mouth is full of teeth and when the region is uniformly dark and Otsu has split noise. The row scan tracked the last qualifying row anywhere rather than where the run from the top stops, so one bright row near the bottom - a lit lower lip inside the ring - pushed the line to full height. It now breaks at the first failing row once the run has started. MediaPipe's inner lip landmarks sit slightly outside the real opening, so the sampled region included lip pixels, which are bright and sit exactly at the boundary where they do most damage. The ring is now eroded toward its centroid before sampling, with the amount exposed as a knob. Adds a diagnostic panel showing the sampled crop, pixels above threshold, and the resolved line, because tuning this from numbers alone does not tell you whether the region being measured is even the right region. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:14:49 -04:00
<div class="panel" style="flex:0 1 190px">
<h2>teeth measurement</h2>
<div id="cv-teeth"></div>
<div class="legend" id="teethinfo"></div>
Teeth as an extracted blob contour, not a clipped band The band filled the mouth because a band is the wrong reduction: the bright region is a blob, and reading it as "everything above a line" throws the shape away. Extracting a contour reintroduces the vertex-correspondence problem that made me avoid it, but for a blob there is a way out. Radial sampling from the centroid along N fixed directions makes vertex k always mean "the extent in direction k": correspondence holds by construction, the count is fixed, and temporal smoothing cannot reorder anything. It also yields a star-shaped reduction, which suits flat colour. Tongue rejection, which the band had no way to express: - pixels red relative to their own brightness are dropped (teeth are neutral) - component choice is biased toward the top of the cavity, since area alone picks the tongue when the mouth is wide - separate inner and outer controls: cavity erode pulls the sampled region off the lip edge, blob grow/erode resizes the found blob Also: a knob wired in app.js but missing from index.html threw during wiring and left a blank page with nothing useful in the console - which is exactly what happened to teethDwell in the previous commit. el() now names the missing id, and window.onerror surfaces it in the status line. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:24:52 -04:00
<div class="legend">green = kept pixels · amber = extracted contour</div>
Fix teeth band filling the whole mouth Three causes, all of them mine: Otsu always returns a split, including on a homogeneous region - given a dark cavity with no teeth it invents a threshold and calls half the pixels bright. The gate is now the separation between the two class means, which is the only thing that says whether the split means anything. Coverage was the wrong signal: it is high both when the mouth is full of teeth and when the region is uniformly dark and Otsu has split noise. The row scan tracked the last qualifying row anywhere rather than where the run from the top stops, so one bright row near the bottom - a lit lower lip inside the ring - pushed the line to full height. It now breaks at the first failing row once the run has started. MediaPipe's inner lip landmarks sit slightly outside the real opening, so the sampled region included lip pixels, which are bright and sit exactly at the boundary where they do most damage. The ring is now eroded toward its centroid before sampling, with the amount exposed as a knob. Adds a diagnostic panel showing the sampled crop, pixels above threshold, and the resolved line, because tuning this from numbers alone does not tell you whether the region being measured is even the right region. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 15:14:49 -04:00
</div>
<div class="panel" style="flex:1 1 240px">
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<h2>palette</h2>
<div id="palette"></div>
<div class="legend" style="margin-top:12px">
Flat indexed fills, no antialiasing — the rasteriser writes palette
indices, the way <code>csd_render_poly</code> does.
</div>
</div>
</div>
Paint: vector background cels on the kept frames A sketch, and labelled as one. It exists to test whether the aesthetic holds when a human draws the background rather than the tracker deriving it, and it is meant to be replaced by a real paint surface with onion skin and undo. Kept to one dependency-free module so throwing it away is a delete, not surgery. Cels are drawn on the frames that get their own drawing and hold until the next one - the same rule the plate follows, and literally the same lookup, so the two cannot disagree about what is on screen. Editing always targets the cel you can see, so you can scrub anywhere and keep drawing. Pen places vertices and closes on the first one. Edit drags vertices or whole shapes, shift-click inserts, alt-click removes. Layers stack front-at-top with per-layer colour, show/hide and reorder. Drag a strip thumbnail onto the canvas to seed this cel from that one, every layer, as a deep copy - sharing the point arrays would make two cels silently edit each other. Two rules are enforced rather than left to discipline: Colours are PALETTE INDICES, never RGB. Sampling colour from the source is the one move docs/design.md calls irrecoverable, and a paint tool is exactly where that discipline would leak, so the picker cannot express a colour outside the ramp. Vertices snap to the 320x200 grid. On a hard-edged indexed rasteriser a shape nudged by 0.4px moves an edge by a whole pixel or not at all depending on where it happens to land, so sub-pixel vertices shimmer instead of holding still. Drawings autosave to localStorage per take name. They are the only thing here a person made by hand; everything else regenerates. Not in the .take export yet. Also adds serve.py, a no-store dev server. python3 -m http.server sends Last-Modified and browsers cache ES modules on it hard enough that a reload serves a stale app.js against a fresh index.html: the new knobs appear, nothing wires them, no error fires, and it reads as "your feature does not work". That cost real time this session. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:08:07 -04:00
<div class="panel">
<h2>paint — background cels, drawn on the frames that get their own drawing</h2>
<div style="display:flex;gap:8px;align-items:center;flex-wrap:wrap;margin-bottom:8px">
<select id="paintTool" title="tool">
<option value="pen" selected>pen</option>
<option value="edit">edit</option>
</select>
<select id="paintColor" title="palette colour — indices only, never an RGB value"></select>
<button id="btn-celprev">Copy previous</button>
<button id="btn-celclear">Clear cel</button>
<span class="legend" id="paintframe" style="margin:0"></span>
</div>
<div style="display:flex;gap:12px;flex-wrap:wrap">
<canvas id="cv-paint"></canvas>
<div id="paintlayers"></div>
</div>
<div class="legend" id="paintinfo"></div>
Paint: copy previous should skip empty frames Copy previous looked for the nearest earlier ENABLED frame, and every frame is enabled until you thin the strip out - so it resolved to f-1, which has nothing on it, and the button appeared to only ever copy the immediate sibling while reporting "nothing to copy". It now takes the nearest earlier enabled frame that actually carries a drawing. That behaves identically before and after you curate the strip, which is the point: the rhythm of the drawings should not depend on whether you have got round to deleting frames yet. Cels stay tied to the keep-set. They are plate drawings and they hold until the next enabled frame, as originally specified - an earlier version of this commit gave them their own independent set, which is wrong for what they are. Frames carrying a drawing are now marked in the strip, because "copy previous" reaching back to a frame you cannot see is not much better than it reaching to the wrong one. Also fixes stale paint labels: onChange refreshed the strip and the panes but not the paint header, so the drawn-frames readout lagged a copy behind. Split the text update out of drawPaint so it can run from inside commit() without re-rendering the canvas underneath itself. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:25:15 -04:00
<div class="legend" id="paintcels"></div>
Paint: vector background cels on the kept frames A sketch, and labelled as one. It exists to test whether the aesthetic holds when a human draws the background rather than the tracker deriving it, and it is meant to be replaced by a real paint surface with onion skin and undo. Kept to one dependency-free module so throwing it away is a delete, not surgery. Cels are drawn on the frames that get their own drawing and hold until the next one - the same rule the plate follows, and literally the same lookup, so the two cannot disagree about what is on screen. Editing always targets the cel you can see, so you can scrub anywhere and keep drawing. Pen places vertices and closes on the first one. Edit drags vertices or whole shapes, shift-click inserts, alt-click removes. Layers stack front-at-top with per-layer colour, show/hide and reorder. Drag a strip thumbnail onto the canvas to seed this cel from that one, every layer, as a deep copy - sharing the point arrays would make two cels silently edit each other. Two rules are enforced rather than left to discipline: Colours are PALETTE INDICES, never RGB. Sampling colour from the source is the one move docs/design.md calls irrecoverable, and a paint tool is exactly where that discipline would leak, so the picker cannot express a colour outside the ramp. Vertices snap to the 320x200 grid. On a hard-edged indexed rasteriser a shape nudged by 0.4px moves an edge by a whole pixel or not at all depending on where it happens to land, so sub-pixel vertices shimmer instead of holding still. Drawings autosave to localStorage per take name. They are the only thing here a person made by hand; everything else regenerates. Not in the .take export yet. Also adds serve.py, a no-store dev server. python3 -m http.server sends Last-Modified and browsers cache ES modules on it hard enough that a reload serves a stale app.js against a fresh index.html: the new knobs appear, nothing wires them, no error fires, and it reads as "your feature does not work". That cost real time this session. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:08:07 -04:00
<div class="legend">
<b>pen</b> click to place vertices · click the green box on the first one, or
<kbd>Enter</kbd> / double-click, to close · <kbd>Esc</kbd> cancels ·
<kbd>Backspace</kbd> drops the last point<br>
<b>edit</b> click a shape to select · drag a vertex or the shape itself ·
<kbd>Shift</kbd>-click an edge inserts a vertex · <kbd>Alt</kbd>-click a vertex
removes it · <kbd>Del</kbd> deletes the layer<br>
Paint: copy previous should skip empty frames Copy previous looked for the nearest earlier ENABLED frame, and every frame is enabled until you thin the strip out - so it resolved to f-1, which has nothing on it, and the button appeared to only ever copy the immediate sibling while reporting "nothing to copy". It now takes the nearest earlier enabled frame that actually carries a drawing. That behaves identically before and after you curate the strip, which is the point: the rhythm of the drawings should not depend on whether you have got round to deleting frames yet. Cels stay tied to the keep-set. They are plate drawings and they hold until the next enabled frame, as originally specified - an earlier version of this commit gave them their own independent set, which is wrong for what they are. Frames carrying a drawing are now marked in the strip, because "copy previous" reaching back to a frame you cannot see is not much better than it reaching to the wrong one. Also fixes stale paint labels: onChange refreshed the strip and the panes but not the paint header, so the drawn-frames readout lagged a copy behind. Split the text update out of drawPaint so it can run from inside commit() without re-rendering the canvas underneath itself. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:25:15 -04:00
<b>Copy previous</b> takes the last enabled frame that actually has a drawing
— skipping empty ones, so it behaves the same before and after you thin the
strip out. Frames carrying a drawing are marked <b style="color:#c084fc">▣</b>.<br>
Paint: vector background cels on the kept frames A sketch, and labelled as one. It exists to test whether the aesthetic holds when a human draws the background rather than the tracker deriving it, and it is meant to be replaced by a real paint surface with onion skin and undo. Kept to one dependency-free module so throwing it away is a delete, not surgery. Cels are drawn on the frames that get their own drawing and hold until the next one - the same rule the plate follows, and literally the same lookup, so the two cannot disagree about what is on screen. Editing always targets the cel you can see, so you can scrub anywhere and keep drawing. Pen places vertices and closes on the first one. Edit drags vertices or whole shapes, shift-click inserts, alt-click removes. Layers stack front-at-top with per-layer colour, show/hide and reorder. Drag a strip thumbnail onto the canvas to seed this cel from that one, every layer, as a deep copy - sharing the point arrays would make two cels silently edit each other. Two rules are enforced rather than left to discipline: Colours are PALETTE INDICES, never RGB. Sampling colour from the source is the one move docs/design.md calls irrecoverable, and a paint tool is exactly where that discipline would leak, so the picker cannot express a colour outside the ramp. Vertices snap to the 320x200 grid. On a hard-edged indexed rasteriser a shape nudged by 0.4px moves an edge by a whole pixel or not at all depending on where it happens to land, so sub-pixel vertices shimmer instead of holding still. Drawings autosave to localStorage per take name. They are the only thing here a person made by hand; everything else regenerates. Not in the .take export yet. Also adds serve.py, a no-store dev server. python3 -m http.server sends Last-Modified and browsers cache ES modules on it hard enough that a reload serves a stale app.js against a fresh index.html: the new knobs appear, nothing wires them, no error fires, and it reads as "your feature does not work". That cost real time this session. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 19:08:07 -04:00
<b>drag a frame</b> from the strip onto the canvas to copy its drawing, every
layer. Vertices snap to the 320×200 grid, and colours are palette indices —
you cannot pick one that is not in the ramp.
</div>
</div>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<div class="panel">
Registered photo underlay as the plate reference The generated face oval was never going to be good enough to draw from: MediaPipe's face oval is the FACE boundary, cut at the hairline and excluding hair, ears, jaw and neck, so it is an egg by construction. Segmentation would give a real head outline but costs a 16MB model and per-frame inference for a shape that gets replaced by a drawing anyway. So the plate layer becomes switchable, and the useful modes are photographic: the source frame mapped into raster space through the same transform chain the contours go through. Registration is the whole point - the head sits still and a drawing traced from the underlay is already aligned to the mouth. An unregistered underlay would be decoration. - underlay.js: pixel->raster affine (a general affine, since MediaPipe normalises x by width and y by height), registered draw, palette posterise - plate modes: photo / photo dim / posterized / oval / oval+photo / none, B cycles - worksheet cells are registered composites rather than raw crops - Save frame 4x writes a 1280x800 PNG to draw on - selftest: FACE_OVAL simplicity, which was never asserted; a wrong ordering there reads as a lumpy plate rather than an obvious bowtie Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:57:59 -04:00
<h2>drawings needed — registered reference per kept frame, with the range it holds</h2>
roto: video -> take file builder with interactive tuning Analysis half of the pipeline in docs/roto-puppet.md. Stabilises a face out of a clip via a similarity fit on rigid landmarks, reduces the lip contour to a fixed vertex budget, selects sparse keys on velocity minima, and previews the result as flat indexed fills so timing can be judged without an Animator Pro render. - landmarks.js ordered lip/oval rings; slot position is vertex identity - mathutil.js closed-form 2D similarity, Procrustes mean, transform smoothing - pipeline.js stabilise -> subsample -> key-select - raster.js indexed scanline fill, no antialiasing - take.js take-file writer - selftest.js 29 assertions, incl. ring simplicity at every vertex budget Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
2026-09-24 14:38:07 -04:00
<div id="sheet"></div>
</div>
</main>
<script type="module" src="./js/app.js"></script>
</body>
</html>
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