One tool at a time, picked from a strip down the left of the stage or by its
letter, as in Photoshop, Illustrator and Flash: V selects and transforms, P is
the pen, B the brush, E the eraser. The options bar above the stage holds the
tool's settings, and the palette is a grid under the tools with the colour a
new shape gets above it, as Deluxe Paint's was.
The pen's draft is filled into the picture as it is drawn, so the edge on
screen is the pixels the shape will be. Click the first point, Enter, Esc or
leaving the pen closes it; the pen stays the tool. Editing a shape's points is
the pen ON that shape — Figma's vector edit mode — so the separate points mode
is gone: click an edge to add a point, ⌥-click one to delete it, on every key
at once so tweens keep meaning something.
The brush paints a mask, and what it will be is shown while painting: the
stroke is traced round its pixel edges, holes and all, and simplified to a
point every so many pixels of outline by the same function the saved shapes
come from. A hole is bridged into the one ring along a whole-pixel row, which
the fill never samples. Blender's Adjust Last Operation re-traces the last
stroke from what it was made of.
A shape coloured CLEAR is a knockout: its symbol is drawn into a layer of its
own and the knockout clears it, every colour or one. The eraser makes one in
the symbol it starts on, of the colour it starts on, or of every colour with
⌥. A click goes through a knockout to what shows. Previews are drawn in the
stacking context of what they will land in.
The polygon's points no longer stay behind when the shape is moved: they were
read off the saved document while the box handles read the one mid-drag.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Opening the 8625 study froze the main thread for 4.7 seconds and settled at
615MB of heap. A profile put three quarters of a project open inside
mix/wav-bytes, which playback had no business calling at all.
Two separate causes. The peak scan built a lazy sequence of one boxed double
per SAMPLE -- ten million of them for a seven-minute mix -- to compute a
single maximum over data already sitting in Float32Arrays; the hand-written
loop is 73x faster and agrees to the bit. The rest was structural: the WAV
existed only because an <audio> element can hold a URL and nothing else, and
the element existed only to be the clock. So a mixdown that was already
rendered got encoded to 73MB of 16-bit PCM, on the main thread, on open, on
every tab switch and on every edit to a track -- and a symbol with no sound
got silence synthesized and encoded full length so the element had a duration
to report.
arthur.clock keeps its interface and all of its arithmetic; the position now
comes from a backend behind a protocol. clock.graph plays the AudioBuffer
through an AudioBufferSourceNode and derives the frame from the context's own
clock, which is the audio device's position in double precision rather than
whatever the media pipeline last published. clock.element is the old path,
kept switchable while the new one earns trust -- BACKEND, or use-backend! --
which is also why every one of the original clock tests passes unchanged: the
derivation they assert is shared, and the backends can only disagree about the
position under it. 6.5s to 1.8s, 4.7s of blocking to 370ms, 615MB to 68MB.
THE POSITION IS COMPENSATED FOR OUTPUT LATENCY, and piecewise because of it.
currentTime is the quantum being rendered, which the speaker is tens of
milliseconds behind; report the renderer and the picture leads the sound,
which in a lip-sync tool is the only artefact that matters. Audio already
rendered cannot be re-rated, though, so reading it back at a new rate jumped
the playhead backwards by three latencies on every press of the rate button.
Each play, pause, seek and rate change now records a segment and a position is
read against whichever segment was in force when that audio was rendered.
One duplicate fell out of this. Opening a project asked for its clock twice --
once from ::opened and once from a ::refresh-clock the shell raised because it
compared symbol ids, and two different documents both open on :main. The
sounds subscription carries the clip id now, so "an edit under the same
symbol" means what it says.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The gesture was handed the pointer's frame and threw it away, creating at
the playhead instead; and the palette row carried :lane? only once its
track existed, so the first double-click on a palette lane -- the one that
has to make the track -- dispatched nothing at all.
Both are one rule now. ::new-symbol-at uses the frame it is given and
resolves every row through drop-destination, with the destination deciding
what is created: a clip of a palette track is a palette symbol, a clip of
any other lane is blank. A row with no path of its own resolves to the
symbol it names, which is what lets a palette track -- hanging off its
owner by :palette-track rather than placed in it -- be reached without a
special case; it also stops a palette cel's slide resolving against the
open symbol and looking like a transfer out of the track. The one thing
left that knows about palettes is materializing the lane a palette row
names before anything asks where the row leads.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Making a variant meant 16 colour pickers from black: the only button was
"+", which seeds an untitled palette from the built-in defaults. The copy
is selected on creation, so the next colour edit lands on it rather than
on the palette it came from.
`pal/palettes` is the source, so the implicit default — a project that
has never had a palette asset of its own — duplicates like any other.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A paste put an instance of "bg" inside "bg" itself. It saved, loaded, and then
threw "symbol cycle in audio" out of nest/audio-tracks, because a container that
contains itself has no finite expansion.
place-symbol and ui/drag already refused that, each by asking
clip/contains-symbol?. Paste asks clip/problems instead, and problems did not
encode the invariant at all -- it checked missing symbols, pose tracks and audio
links, but never the placement graph. So the rule goes where every command is
already checked: paste, cut, duplicate, correction and the span ops all gate on
problems, so one rule covers them all.
Why it looked like a reasonable thing to do is the other half. place-symbol
copied the symbol's name onto the instance it made, and that copy went stale on
the next rename: the symbol read "bg" in its tab while an instance of it still
read "symbol-18", which is its id from before it was named. One object under two
names, with nothing on screen to connect them.
So instances are no longer given a name at creation, and clip/node-label reads
the symbol's name through on every render. :name on an instance now means only
what a person typed, which is what tells two instances of one symbol apart --
"8625 left" and "8625 right" of one "face" -- so an authored name still wins and
read-through is the fallback. The label logic was duplicated across four call
sites with three different fallback orders; location.cljs already read through
and the others did not. They now share one function.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The grid was five panes at three fixed widths and one fixed height, written as
lengths in the stylesheet. That is a claim about every screen the tool is ever
opened on, and it was wrong on two of them: a phone, where 210 + 250 pixels of
side pane leave nothing for a 320x200 stage, and a large display, where the
inspector is the width somebody once typed rather than the width their work
wants.
So the tracks are custom properties and `ui/layout` owns the numbers. A drag of
an edge is one `assoc-in` and one property on `.app`; no pane's contents
re-render, which is the same reason the picture is painted by `ui/player`'s loop
rather than by anything reactive. Sizes stay in PIXELS and not fractions —
three of these panes hold fixed-width rows, so what you drag an edge to is the
width you meant at any window size.
State, events and widgets are one namespace, which is not this repo's shape
anywhere else. They are the same six integers: `:pool` is a width, a grid track,
a drag's clamp and a button's label at once, and splitting six integers across
`db`, `events/` and `ui/` is more wiring than state.
Three things follow from making it state at all:
SHUTTING A PANE. Pool and inspector unmount; the timeline collapses to its
transport strip instead, because play, pause and the frame readout live in that
strip and a window with nowhere to press play is broken rather than small. The
toggles are in the top bar because a shut pane has no head left to carry its
own handle.
A NARROW WINDOW. Below 760px the grid is one column and the side panes are
drawers over the stage rather than columns beside it. The breakpoint is read
once, at load, and only decides what the layout OPENS at: throwing away the
sizes somebody dragged because they turned a tablet sideways is worse than a
layout that is briefly the wrong shape.
ZOOM. The stage's was already a constant 2 in `ui/stage`; it is now an integer
in [1 8], still CSS over a canvas that is the raster's own size, so the browser
suite still reads 320x200 of real pixels off `canvas.stage`. Whole pixels
only — a fractional scale under `image-rendering: pixelated` draws some rows of
the raster thicker than others, which misrepresents the one thing the preview
exists to judge. The timeline's is the stylesheet's entirely: every mark in the
tracks is positioned as a percentage of their width, so one multiplier on that
width spreads the grid, the spans, the keys, the ruler and the playhead apart
together. Both readouts are the button back to normal, accented while there is
something to return from, because the quick way back belongs in the one place
you already look to find out where you are.
One trap, paid for and then found: the top strip has to scroll sideways on a
narrow screen, and `overflow-x: auto` makes an element a clipping container on
BOTH axes. Every top-bar menu — open, snapshots, share, sign in — was then cut
off by a 30px-tall bar and drawn at whatever x the strip happened to be
scrolled to, which reads as the button doing nothing at all. They are fixed to
the viewport there, as `.menu-drop` already was one pane down for the same
reason. The same shape of bug ate the polygon tool and both zoom readouts: a
flex row that does not fit shrinks every item and pushes the last ones off the
end, so nothing in a strip shrinks now and the strip scrolls as a strip.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Making a lane one row cost the thing a row was for. A clip stopped being a row,
so there was no longer any way to open a clip and see what was inside it, and
the inside of a drawing — the most ordinary thing in the document — became
reachable only by opening it as its own tab. This is that capability back,
from the root timeline, down as far as it goes.
An expanded lane opens exactly ONE clip: the selected one. Its own keys, then
the lanes and nodes of the symbol it places, then theirs, each mapped into this
ruler by the recursive walk that was already there. Twelve clips in a lane
still cost one row, and inspection costs one branch rather than twelve.
Two things that only showed up once it ran. The portal is chosen by the whole
LINEAGE of the selection and not by the selected id: selecting a shape inside
the clip — or the end of its span — is still working inside that clip, and
matching the id alone shut the portal the instant anything under it was
touched. And selecting now waits for the pointer to come UP, because selecting
on the way down re-drew the timeline before the gesture had said anything: it
shut the portal holding the lane being dragged INTO, out from under the
pointer.
A HELD clip opens too, which the old row walk never did either. `source-time`
is nil for a hold, so the walk stopped there and the contents of every drawing
were invisible from here. Its rows are shown across the hold — which is when
the node is on screen — and marked `:unmapped?`: no keys, and no draggable
edges, because a frozen clock gives no frame inside it a place on this ruler.
Refusing to place the keys is the honest half; refusing to show the rows was
not.
Double-clicking a clip opens the symbol it places as a tab, as double-clicking
the same symbol in the pool does. That was already written and had never once
run: the track captures the pointer for a slide, so the click and double-click
that follow are delivered to the track and never to the block. The track now
resolves them itself. Fixing the delivery exposed two more: `symbol/lineage`
reported a `parent cycle` for any id in a symbol with NO nodes, because a
one-element chain is longer than zero nodes — and opening a symbol left the
selection pointing into the symbol being left, which the breadcrumb and the
inspector then tried to resolve. The editor unmounted. Both are fixed where
they were wrong, and the browser test asserts the editor is still standing
afterwards.
Audio is a clip in a lane like everything else. A dropped sound lands in one
and is trimmed and moved by the same commands; a lane holds picture or sound
and not both, which is the explicit capability the model asked for rather than
a guess per frame. The refusal lives in the commands and not only in
validation, because placement claims time: `blank` would have deleted the
sound to make room for the picture and left a perfectly valid document behind.
What is in a lane of the open symbol is drawn as a lane; what is nested inside
a placed symbol is still flattened by `audio-tracks`, so no sound is on two
rows.
Everything that enters the timeline now enters a lane: a converted take, a
symbol brought in from another project, a sound. One rule answers where —
`lane-destination` — and every symbol is born with a lane for it to answer
with. An unaimed drop fills an EMPTY lane rather than taking an occupied one
nobody pointed at, because the alternative is trimming away what was there to
make room for what was dropped.
Shift during a clip-body drag means the other intention: put this node INSIDE
the symbol the clip under the pointer places, through `nest/move-node`, which
is what keeps the world transform and the root timing. Overlap cannot say
which of the two is meant — dropping on occupied time already means claiming
it — so the person says, and a label by the pointer says it back. The label
asks `nest/move-refusal`, the same check the command makes, so it cannot
promise what the drop would refuse. Today it refuses more than it allows:
both clips have to be on screen at one frame, which two clips in one lane
never are, and a held destination has no clock to move through at all.
`docs/lane-nesting-notes.md` argues that the second refusal is stronger than
the facts require and says what would settle it.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A lane was a drawing lane: the only thing that could go in one was a one-frame
held cel, and every other symbol instance stayed a permanent root row of its
own. Those are not two kinds of timing, they are one kind with two creation
policies. `lane/place-symbol` drops any library symbol in as a clip that plays
naturally at speed one, `lane/adopt` moves an instance that is already in the
document into a lane keeping its source, span, playback and corrections, and
`append-drawing`/`overwrite-drawing` keep being the policy that makes a new
empty symbol a one-frame hold. The child shape they produce is the same.
Both new commands claim their interval through `blank` before they write, so
the partition rule is unchanged and unduplicated: placing into occupied lane
time trims, removes or splits the incumbents, and a lane still never stores an
overlap. Real compositing overlap is another lane, where the order is explicit.
Creating a symbol with nothing aimed now makes a lane and a clip in it instead
of a loose root instance, and a pool drop prefers an explicitly targeted lane,
then the selected one, and makes a lane only when there is neither. That is
what stops the row-per-symbol growth coming back in through the drop path, and
it is why `add-lane` now takes a z in front of the existing root nodes and
calls what it makes a "lane" rather than "drawings".
The timeline learned the two gestures that a generic lane needs. A clip body
dragged over another lane's track previews there as a dashed block and lands
through `::adopt-in-lane`; the track is found with `elementsFromPoint` and its
selection read back off the element, because a pointer capture does not
retarget. A pool drop over an existing lane previews as a dashed clip inside
that lane instead of a temporary new row that appears and then vanishes --
which also needed the drag-leave check to be geometric, since inserting the
preview changes the element under the pointer and Chromium then reports a leave
with no related target. Lanes are renameable from their label, by double-click,
F2, or the pencil, through `::rename-node`.
`symbol/lane-cels` is `symbol/lane-clips`, and the vocabulary table in the
handoff now separates the two words it had merged: a clip is an instance in a
lane, and a cel is specifically the one-frame held source that drawing creation
makes. Keeping `cel` for the policy is what lets the lane stop being about
drawings at all.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Step 2 of docs/frame-selection.md, which f7e16e5 planned and left unbuilt: the
preserve-snap, and nothing of the plate side. `pose/snapped-frame` is the whole
rule — the latest mark in `(lo, hi]`, and `hi` when there is none — where `hi`
is the native frame the slot defaults to and `lo` is the one the slot before it
defaulted to. So the interval is exactly the frames this slot is the first to
cover, which are exactly the ones the grid shows to nobody: it recovers a
dropped frame out of its own gap, can never read a frame another slot already
showed, and cannot reach past `hi`.
Backward only. A closure at native 13 in a 12-from-30 output is recovered by the
slot whose default is 15, reading 13 — not by the slot at 12 reaching forward,
which would show the mouth shut 17ms before it did and break the no-lead
invariant `cadence_test` asserts over every grid and native pair. That test now
covers the snap too.
Seated as the DEFAULT pose that `pose/source-frame` reaches, so an explicit hand
cut beats a snap with nothing having to say so, and per pose group rather than
at the slot: snapping where the grid becomes native is one frame for the whole
picture, so a head would go two frames stale to fix one mouth. Groups exist only
in `symbol/base-channel-frame`, which is why the interval is threaded that far
down — `(:pre parent)` carried beside `(:f parent)` through the same time maps,
so an ancestor's exposure fold or retime is already in it.
The marks are the `[:vis]` cuts `flow/freeze` already stores, with their
thresholds and hysteresis already decided: no new signal, no new stored field.
A whitelist of `:roto/mouth-aperture` and `:roto/blink` and not a test for
`:generated`, because a skipped frame, a hidden feature and an absent
measurement are three different facts — snapping onto the frames a teeth contour
happened to be missing on is the cadence being dragged about by an absence.
Off is the default and needs no second code path: an opts map that says nothing
gets the behaviour it got before the snap existed. `:snap` is asked about the
SYMBOL, because the cuts are the face's own nodes' and every placement of one
face has the same ones.
The switch is `performance · <face>` in the inspector, and the readout says it
is the stage only. The document setting docs/frame-selection.md specifies wants
a leaf and a round trip of its own; until then this is `[:ui :smart]`, not
undoable, not synced, and unable to reach an export.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Moves the tracing toggle and its opacity slider off the palette bar. The bar is
what you set before you draw — the tone and the tool — and whether a reference
photo is showing is not that; it is a viewing aid, like solo, and it belongs
with the other things the inspector says about what is on the stage.
Its own `footage` section rather than part of `tracing · <face>`, which is the
whole reason it could come back to the inspector at all. That section needs a
face to be about, so it is absent when a take is open and nothing is selected —
the commonest case there is — and a switch that appears only once the right row
has been found makes the way to see the footage you are tracing depend on what
you clicked, which is what put the thing on the bar in the first place. So the
section keys off `trace/traceable-faces` of the OPEN symbol: present whenever
the picture has any footage behind it, wherever the selection happens to be.
No change to the state or the events. `[:ui :trace]` is still a set of faces and
one opacity, `::trace-faces` still switches every face the open symbol has on
unless they all already are, and a face's own timeline row still singles it out.
The label loses the word "footage" because the section heading now says it.
`.trace-opacity` was 64px to survive a crowded flex bar and is `flex: 1` on a
pane row instead; `.palette-bar label.dim` had no remaining user.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`domain/select`: the choosing half of a selection, pure and handed a plain
vector by each site. `pose/held-frame` was already the shared reading half;
nothing chose automatically at all.
The greedy walk rather than the DP, deliberately — it is what the prototype
shipped, and having two implementations is how the DP gets tested. Several tests
pin its exact output for that comparison and will need rewriting when it lands.
Protection is settled before the walk and is not unioned onto its result,
because a protected frame anchors the walk like any other kept frame. The anchor
is what is on screen, so measuring the next frame's drift from a frame that is
no longer displayed holds a one-frame closure across two frames and shows it
twice as long as it was measured. The test that says so is about the picture
rather than the algorithm: the frames the mouth was measured shut on and the
frames the selection shows it shut on are the same list.
A strict local extremum compares against the nearest DIFFERING samples, not the
immediate neighbours, and a run of equal samples is one extremum at the frame it
begins. Immediate neighbours find nothing at all on a closure lasting more than
one frame, which is most of them.
One width for the whole signal, so `distance` is never comparing the prefix two
samples happen to share; a non-finite tolerance falls back to nought, since NaN
compares false against everything and would quietly collapse a performance to a
single pose.
THE EXTREMA HALF HAS NO CALLER under the plan as it now stands, and this is the
commit to revert if it stays that way: `segments`, `turns`, the `:extrema`
branch of `propose` and the multi-component refusal that only guards it, plus
the three tests over them. Plate selections take no extrema by design, and the
performance half gets its closures from the `[:vis]` cut `flow/freeze` already
stores, so nothing asks this code for anything. It is correct and tested and
speculative; docs/frame-selection.md says so beside the build order.
Also corrects `ring/subsample-slots`, which claimed every even budget lands on
the cardinal positions. The corners do; the lip centres survive only multiples
of 4, so the aperture pair cannot be read off a subsampled ring at verts 6, 10,
14 or 18. That is why the performance signal reads a stored cut instead.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The source-to-stage mapping moves off :main's :face group and onto each face's
own :place, above its head. `face-placement` computes exactly what it computed
before, over every subject together, so two faces filmed side by side keep
their filmed relation — it is written into each face instead of onto a group
above them all. Same transform, same subtree, one level lower, and the
composite is identical to the pixel: a digest over every op :main emits across
the whole take is unchanged either way.
THE OWNER IS THE POINT. A face carrying its own mapping is the right size
wherever it is put — dropped into another symbol, or opened in its own tab to
be drawn over — and the take that holds it needs to know nothing. On a group
above the instances the scale belonged to the take, so a face taken out of it
had no size at all and drew at a fraction of a pixel.
The pool's thumbnails drop the workaround that knew about this: a symbol is
rendered rooted at itself again, because a face now carries the placement that
makes that honest, so the pool needs to know nothing about where a symbol
happens to be used. `domain/node` and `arthur.export` leave its requires with it.
The tests here were reading the placement off :main. The photo registration
test changes shape rather than location: its premise was that face-1's head is
its own root, so a photo sitting where it was filmed was image pixels over
image height and nothing else. The head still cancels — that is what the test
is about — but it now cancels against the face's own placement, which is why
the photo comes with the face into its own tab instead of sitting at a
fraction of a pixel beside it.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Every row is one line now — a thumbnail at the stage's own 16:10, the name,
and the one number you need before dragging it somewhere — at the timeline's
own row height. Two always-open folders cost eight headings before the first
row in a pane 210px wide; they are two tabs, and a search counts its hits in
the scope you are not looking at so nothing can hide behind the one you did
not pick.
Symbols draw their own first frame, through the resolver and rasteriser the
stage uses. A PLACED symbol is drawn where it is placed, with the rest of its
host isolated away: rooting at a symbol renders its DRAWING, and a rotoscoped
face is head-local in units of one image height, so the source-to-stage scale
that makes it pixels lives on the :face group of whatever places it. Rendered
rooted at itself a face is correct and under a pixel across. Thumbnails are
smoothly downscaled for the same kind of reason the preview is not: at a tenth
of the stage's size nearest neighbour samples one pixel in a hundred, and the
silhouette is the whole of what makes a thumbnail recognisable.
Names are editable, and that is two operations behind one pencil. A symbol's
name is a field of this document, so it is an undoable edit and blank gives it
back its id. Footage and sounds live beside projects rather than inside one,
so theirs is a server write shared by every project using the row — PATCH on
the existing Footage.label, and a new Sound.label kept separate from the
filename, which is a fact about the upload and not somebody's name for it.
No TIMELINES section beside a SYMBOLS one: every symbol here IS a timeline, so
that pair named one thing twice. What is true is that exactly one of them is
where the work happens, and clip/opens-on already answers which — it leads the
pane as PROJECT, drawn at a size you can read a pose off, with the library
under it. Still not :main being special; rename it or place it inside
something else and the pool follows.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Constant, ramp, and return offsets now append ordinary channel layers to a lane or cel in explicit owner frames. The inspector exposes the commands as one undoable transaction, shows conflicts, and offers removal or retry while preserving generated bases through regeneration.
Ordered-stack compatibility is shared by validation, conflict reporting, and regeneration, including adjacent replacement coverage. Cel-sheet gaps and headers select their lane, so commands cannot fall through to another column's stale selection.
437 tests, 5,804 assertions; both browser flows; 56 Django tests; optimized frontend build.
The cel sheet is a second projection of the same lane rows: frames run down, lanes run across, and each occupied cell carries the timeline cel's exact selection address. The shared action strip proves the point in the browser test by selecting a cell and issuing the existing hold command.
Before exposing that second entrance, fix the boundary mistakes it revealed. Nested commands now convert the open playhead through their enclosing instance path. Overwrite composes blanking with non-rippling placement as one transaction. Picture-rate and pose sampling select only the generated base frame while hand corrections retain the node's authored frame. Stack validation follows covering replacement layers so a document accepted by the validator cannot throw solely because a later offset sees a different shape.
429 tests, 5,767 assertions; both browser flows; 56 Django tests; optimized frontend build.
Four words had accumulated for a node that puts a symbol inside another symbol.
`instance` was the document's, from the model. `placement` was the stage and
export work's. `occurrence` came in with the lane model. `exposure` came in with
me, because it is what an animator would say. Three bodies of work each brought
a word and none of them retired anybody else's, which is how you get a codebase
that reads like three people describing the same object over each other.
It is a CEL. One drawing, held for some duration. `cel` was already the view's
word — `.tl-cel`, the cel strip — so choosing it was also the smallest change,
and the app already says "drawing" for the content, which is what frees the word
up: historically a cel IS the celluloid with the drawing on it, and that sense
has somewhere else to live here.
instance the `:kind`. The general thing, anywhere in a document.
cel an instance in a lane. UI labels, command names, prose.
lane the group with `:layout :sequence`.
drawing the content a cel names.
placement kept ONLY for where a node sits — `nest/placement` and the
transform that puts a face on the stage. Retired as a noun for the
node itself.
occurrence gone.
AND IT SETTLES A COLLISION I SHOULD HAVE SEEN EARLIER. `:time :expose` already
existed and means something else entirely: how many frames each step of a
subtree lasts, which is what shooting on twos is. Had the block been called an
exposure too, `node/expose`, `clock/exposed-frame` and `subs/render ::exposure`
would have been permanently confusable with it. Choosing `cel` lets the word
`exposure` keep the thing it actually names, and every remaining use of it in
`src` is now that one.
`:layout :sequence` stays as the field, and it is the one place two words are
kept deliberately: the layout names the RULE — children follow one another and
may not overlap — and a group carrying it is called a lane. `node/lane?` says so
where the two meet.
The second view is traditionally the exposure sheet. It will be the CEL SHEET,
for one vocabulary.
Renamed with a script and then read, because a blind pass does real damage: it
produced "an cel" thirty times, renamed the `::exposure` sub that is about the
`:expose` grid, and turned an "exposure grid" into a "cel grid" in two
docstrings. All three classes are fixed. `arthur.domain.sequence` is now
`arthur.domain.lane`, which is what its test file was already called.
424 tests, 5,749 assertions, and both browser flows — `test/browser/lane.mjs`,
renamed too.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Trim, move and blank, and the decision they all three walked into: is the shot's
length authored, or derived from what is in it?
AUTHORED. `:frames` is the symbol's window — how long the shot IS — and the
occupied extent of its lanes is a different fact, read off the occurrences. A
command grows the window when the caller says `:grow-symbol` and NEVER shrinks
it, so blanking the end of a shot leaves a shot with empty frames at the end.
That is a true statement about what somebody authored, and the alternative is
deleting the last drawing and quietly shortening the film. `finish` had the
right behaviour by accident — `(apply max (:frames sym) ...)` — and now says
which number is which: `needed` is where the occurrences reach, `:frames` is
what was authored, and the only thing that makes the second follow the first is
a caller asking.
The three commands turned out to be one piece of geometry, which is `split`'s.
A `:span` is in the occurrence's OWN frames and `:time` says where those land in
the lane, so moving an edge of an exposure is ONE WRITE to `:span` and `:time`
and `:playback` are never touched. `local` and `edged` are the whole of it, and
split now goes through them too.
trim narrows one edge and moves nothing else. Lengthening is `extend-hold`,
which carries a ripple policy and a shot-length policy because it needs
them; letting trim grow as well would give one gesture two sets of
rules and a way to overlap its neighbour.
move one write to `:time :at`, and a destination that would overlap is
REFUSED rather than rippled. Moving a drawing and re-timing the ones
around it are different intentions, and a move that pushed the rest
would be the second wearing the first one's name. Clear the room first.
blank leaves a gap and does not close it. Wholly inside the range goes,
overlapping an end is trimmed to it, spanning the range is split — the
one case that needs an ID, and it asks for one instead of inventing it.
Because the source clock is untouched, trimming the front of a playing insert
starts it LATER INTO its animation rather than restarting it, which is the
difference between trimming and slipping and the reason they stay two commands.
The test samples the frames it kept and asserts they show what they showed.
Blanking leaves the drawings in the library. A lane does not own its content,
and a drawing whose last exposure is gone is still a drawing somebody made.
Overwrite is now `blank` then `place` and needs no policy argument of its own,
which is why it still is not one.
424 tests, 5,749 assertions. The browser flow trims an exposure at the playhead,
moves it into the gap that made, blanks it, and checks the shot is still as long
as it was authored.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The loop the layer design exists for, tested for the first time: correct a
generated channel by hand, turn the generator's knob, and get the new base with
the correction still on it. `replace-feature` already carried `:over` across —
somebody anticipated this — so the feature path needed a test and not a fix.
The head path needed a fix, and there was a second fault of my own making.
`regenerate-head` leaves the head's authored channels alone once somebody has
placed it by hand, and decided that by `(= (:channels old) (:measured old))`.
Sound, until a correction exists: an `:over` layer makes those unequal, so the
FIRST correction anyone made would have stopped the head following
re-measurement for good — the exact opposite of what a layer is for. It compares
the channels without their layers now. The test fails against the old guard,
which is how I know the bug was real and not a story about one.
The other fault was mine, from the commit before this one. An `:offset` whose
shape does not match its base threw, which is right for authored data — the
validator catches it — but WRONG for the case the model actually names: turn the
mouth's `:verts` knob and the re-freeze gives it a different number of points,
so a correction that was correct when it was made stops fitting through nobody's
error, and a throw in the read path takes the stage down.
So a base that has outgrown a correction is a CONFLICT, and a conflict is the
third thing beside applied and discarded. The regeneration records `:conflict`
on the layer; the layer stays exactly where it is; `over-at` skips it, so the
picture is the base meanwhile; and `clip/conflicts` lists them for a view to
offer. A later regeneration that restores the shape clears the mark, so
resolving one can be as simple as putting the knob back.
Deliberately NOT `problems`. A document with a conflict loads, evaluates and
saves — it contains a decision nobody has made yet, and refusing to open it
would be the persistence layer taking a side in an editing question. The
distinction in the validator is one line: a shape mismatch nobody has recorded
is an authoring bug, and one a regeneration recorded is a conflict.
`channel/conflict-with` is the single rule for "can this layer apply to this
base", used by the validator, by `conflicts`, and by the regeneration that marks
them. Only `:offset` can conflict, since `:replace` states a whole value and has
nothing to agree with; a shape that cannot be read yet — an empty key map — is
not a disagreement. `value-shape` answers it without sampling anything.
414 tests, 5,696 assertions, and `:verts` in the test is a real topology change
rather than a synthetic one.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`:over` was specified in animation-model.md, refused in two places, and
produced by nothing: `check-unimplemented!` threw on read and `channel/problems`
reported it. It reads now. This is the part of the model the rotoscoping half
depends on — generate motion, correct it by hand, turn the knob, keep the
correction — and it was the last thing in the design that had never been tried.
The shape that made it small: A LAYER'S VALUES ARE A CHANNEL.
{:id :nudge :support [88 98] :op :offset
:values {:animated? true :interp :linear :keys {88 [2 0], 96 [0 0]}}}
So the three commands the lane model asks for over a selected range — a
constant adjustment, a ramp, a return motion — are one mechanism and not three:
framed values say the same thing on every frame they cover, keyed values move,
and neither needs a new way to say what a value is over time. A layer reads
through `value-at` and `cursor` like any channel, which is also what stopped
blending from becoming two implementations: `over-at` is shared, and the
specification and the playback path differ only in how they READ a layer —
recursively through `value-at`, or through a reading head of its own. One level
deep; a layer's values may not carry layers, which the stack already orders.
That was the risk worth spiking for. A cursor that drifts produces the wrong
pose rather than an error, and a stack means several reading heads per channel
where there was one. The agreement test that holds the cursor to the
specification in forward, backward and random frame order now covers stacked
channels too — including a layer whose head is asked for nothing across the long
stretches outside its support and then asked again, which is where drift would
hide.
`:support` is half-open and explicit. Outside it the base evaluates exactly as
it did before, which is the whole difference between a bounded correction and
inserting boundary keys: the latter alters the neighbouring segments, and the
lane model says so.
A LAYER HAS NO TIME SPACE OF ITS OWN, and this is the design question the doc
left open. Its support and its values' keys are in the frames the base channel's
keys are in — the node's. A correction on a lane is therefore in lane frames and
reaches across the drawings exposed beneath it; one on a single occurrence is in
that occurrence's frames and travels with it when the exposure moves. Ownership
had already answered it, so there is no field to disagree with, and both halves
are under test at lane level.
Two things cost nothing, which is worth recording. A channel is ONE LEAF, so a
correction persists inside it with no codec change at all. And `node/problems`
already reports every channel's problems, so a malformed layer surfaces at the
document level and in the sequence commands' post-check without plumbing.
What is still missing is a command that MAKES one, and with it the question of
how a view offers a constant, a ramp and a return over a selected range. The
evaluator no longer has an opinion about that, which was the point.
`offset` adds component-wise and never writes into a dense value, which is a
view onto the block itself; a shape mismatch throws rather than being dropped,
since a correction that silently does not take is the failure this design exists
to prevent. `replace` can supply a value over an absent base and `offset`
cannot, as animation-model.md required.
408 tests, 5,655 assertions.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
