181 Commits

Include renames

Author	SHA1	Message	Date
dtourolleandClaude Opus 5	0cd3ef1b3f	Run a node declaration without compiling it ... `ops/*.yaml` plus `build.rs` has been the class-1 plugin format since the declarative nodes landed — it was simply resolved at build time. Nothing about a declaration requires the compiler: everything it produces is data plus a WGSL string, and the composer already assembles WGSL at run time from whatever operations are active. So this is not a new mechanism. It is the existing one, loaded later (FR-PLG-2). `DeclaredOp` implements `Operation` from an owned `Declaration` — one interpreter over many declarations, where `build.rs` emits generated code per node. The generated path stays, as FR-PLG-2 says it should: a generated `match` is faster than an interpreted one, the built-ins' declared `tests:` have to run under `cargo test`, and generated source is inspectable in a way an interpreter's state is not. **The reader is now one file, read by both.** `src/declared/decl.rs` and `src/declared/expr.rs` are `#[path]`-included by `build.rs` as well as being modules of the crate, and they produce a neutral `Declaration` that names no Rust type. The build script's job is reduced to *rendering* that declaration as Rust; `DeclaredOp` converts the same declaration into descriptors and `Expr::eval` walks the same tree the renderer writes out. There is one grammar, one set of validations and one set of error messages, so "a plugin is the same kind of thing as a built-in" is structural rather than aspirational. What remains genuinely written twice is the pair of backends — an arithmetic node rendered as Rust here and evaluated there — and that is what the parity test stands between. `tests/declared_parity.rs` parses every built-in declaration at run time and asserts the composed WGSL is byte-for-byte what the generated implementation produces, with the uniform block bit-for-bit identical, at both ends of every parameter's range and at four interior points; then again over the whole develop chain with the declared nodes swapped in, which is what covers uniform slot ordering and helper de-duplication between operations. A third test asserts the declared and hand-written nodes partition `ops/` between them, so coverage cannot shrink silently. Bit-for-bit rather than within a tolerance, because a tolerance is where a real divergence hides. The one thing that had to be got right for that to hold is number literals: `expr::as_f32` rounds a decimal exactly once, through the same shortest-round-trip text the compiler is handed, rather than rounding an `f64` a second time. Not in scope, and deliberately untagged: load-time WGSL validation (FR-PLG-11), id namespacing, a plugin directory read at startup, and pass nodes (FR-PLG-2a). Those are separate work, and tagging them from here would be the overstatement the spec's own §7 warns about. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 19:08:34 +02:00
dtourolleandClaude Opus 5	0c3b8cb1c4	Hand out descriptors a declaration could produce ... `Operation::descriptor()` returned `&'static OpDescriptor`, and that lifetime is the whole reason a build-time node is free and a run-time node is impossible: only a compile-time literal can satisfy it, so no amount of reading `ops/*.yaml` at startup could ever produce a descriptor the rest of the application would accept. FR-PLG-2 says a bundled operation and a third-party plugin are the same kind of thing, differing only in where the file was found — and a lifetime outsiders cannot meet is exactly the second, weaker format that requirement forbids. So a descriptor is now owned and handed out as `Arc<OpDescriptor>`, with `Vec` where it held `&'static` slices. `Arc` rather than a `&self`-borrowed reference because the callers want to *keep* it: the develop panel collects descriptors and then mutates the graph, and a borrow would tie the descriptor's lifetime to a borrow of the operation it came from, which is the one thing `&'static` was doing right. The identifier newtypes deliberately did not follow. `ParamId` is `Copy`, is compared in `match` arms against generated constants, is a map key in the sidecar and history, and reaches Slint model rows; an `Arc<str>` there would cost a refcount on every one of those and would take `match id { EXPOSURE => .. }` away from the generated code. They gain an interner instead, which is honest about its lifetime rather than pretending to one — the set of ids is bounded by deduplication and is process-lifetime by construction, because the sidecar on disk names its parameters and an id has to stay resolvable for as long as any edit naming it can be opened. No behaviour changes. Every descriptor that was a `static` is a `LazyLock` initialiser now, `Operation::helpers` borrows from `self` instead of being `'static` so a future run-time node can own its list, and `Warp` and `Framing` follow `Operation` so there is one shape rather than two. The one place a descriptor is read per frame is `compose_full`, which takes `descriptor().id` to prefix each active operation's uniforms, and `dr-ui` composes on every frame it draws. That is a dozen atomic increments beside a composition that is already building several kilobytes of WGSL on the same call; it is noted at the trait method rather than left for a profiler to find. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 19:02:25 +02:00
dtourolleandClaude Opus 5	b846b312b8	Run the formatter over the face branch before it reaches CI ... The merge of the SCRFD/MobileFaceNet work brought 69 rustfmt diffs across dr-catalog, dr-face and dr-ui with it, so `cargo fmt --all -- --check` fails on master and the Desktop job stops at its Format step — before clippy, the tests or the release build have run at all. That makes the whole desktop half of CI blind: a real compile error behind this would look exactly the same from the outside. There was nothing behind it, as it turns out — with the formatting fixed, clippy, the test suite and the release build all pass. Every .rs hunk is `cargo fmt --all` on the pinned 1.92.0 toolchain, not a hand edit, but it is worth being precise about what that moved, because it is more than whitespace. Besides reflowing signatures and call chains, rustfmt reordered the `pub mod` and `pub use` items in dr-face/src/lib.rs so the `#[cfg(feature = "inference")]` entries sort in place, added the trailing semicolon inside `let ... else { return }` bodies in identity_ui.rs, wrapped a bare closure body in braces in cluster.rs, adjusted trailing commas, and dropped a stray blank line at the end of identity_ui.rs. All of it is semantically inert; none of it changes behaviour. docs/traceability.md rides along because it has to. The matrix records each TRACES tag by line number, and reflowing develop.rs, lib.rs, faces.rs, identity.rs and identity_ui.rs moved them — FR-CAT-8, FR-CAT-9, FR-CULL-10, FR-DEV-3, FR-DEV-3a and FR-DEV-3c all shift by a line or two. The matrix was verified up to date on d777f7f before this commit, so this is drift these formatting changes introduced, not pre-existing staleness being swept up. Leaving it for a follow-up commit would hand traceability-check.yml a failure caused entirely by a whitespace change. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 13:12:49 +02:00
dtourolle	d777f7f44d	Merge branch 'master' into worktree-faces-scrfd-mbf ... # Conflicts: # docs/traceability.md # ui/dr-ui/src/develop.rs # ui/dr-ui/src/segmentation.rs	2026-08-27 11:57:38 +02:00
dtourolleandClaude Opus 5	ce201c7dd6	Name the two spaces a photograph lives in, so a turn cannot go the wrong way ... Every orientation bug this codebase has had has been the same bug: a turn of the right size applied in the wrong direction. That failure is worth naming precisely, because it does not look like one — a quarter turn applied backwards lands 180 degrees from right, so the result is a plausible transform of the picture rather than anything obviously broken, and on landscape frames it is not wrong at all. It was the straighten shear, and it was the segmentation overlay, and each time it was found by eye rather than by a test. The reason it keeps happening is that "rotate 90 degrees clockwise" cannot be checked by reading it. The reader has to hold in their head which of the two images is being rotated and which way the y axis runs, and there were four hand-written copies of the permutation to hold it for: the shader prologue, its CPU twin, the thumbnail path, and the segmentation. So nothing added here says clockwise, anticlockwise, horizontal or vertical. The functions say *which space they take and which space they return* — `into_shown` and `into_stored`, `source_pixel` and `shown_pixel`, `into_shown_rect` and `into_stored_rect` — and each takes the dimensions of the space it reads from, so no caller has to work out which pair it is holding. `StoredRect` and `ShownRect` are separate types because they are the same four numbers meaning different things, which is exactly the case where a mistake is silent: a shown rect measured against stored dimensions produces a rectangle in the wrong place, not an error. Underneath there is one permutation. `source_pixel` was already shared by the prologue and the thumbnails; `source_point` is its normalised twin, written beside it so the two cannot drift, and everything else is those two read forwards or backwards. `Orientation::inverse` is the group inverse rather than `4 - turns`: mirrors apply after the turn, so undoing means undoing them first, and a mirror seen from the far side of an odd turn is about the other axis. That is the diagonal-mirror case, tags 5 and 7, and getting it wrong renders as — again — 180 degrees. Three call sites lose their own copy: the thumbnail path, `dr-ui`'s segmentation, and `dr-gpu`'s `local` example. "Upright" now means one thing across the application rather than one thing per caller. The gate that matters most is `the_render_and_the_orientation_map_agree`. The shader prologue and `Orientation` answer the same question by different routes, and until now nothing checked that they answered it the same way. It now checks every EXIF tag against every user rotation and mirror on top of it, because the composition is where the two could agree singly and disagree together. The rest earn their place by having caught something. Writing these found two real errors in this commit's own new code before it ran anywhere: `shown_pixel` was handed the dimensions of the wrong space and overflowed, and the rect map turned the wrong way for the diagonal mirrors. A round trip that returns what went in is the only check worth having here, since every wrong answer is still a picture. No behaviour changes. The permutations are the ones that were already being applied; they are simply applied from one place now. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-27 09:46:24 +02:00
dtourolleandClaude Opus 5	f00b92a0e6	Turn face boxes back into sensor space before matching regions ... Faces are found on the thumbnail, which is cached the right way up -- the grid would lie on its side otherwise. Segmentation runs on a proxy rendered through a neutral edit graph, which carries no orientation and is therefore in sensor order. For anything shot in portrait the two differ by a quarter turn, so a face and the person containing it were being compared in spaces 90 degrees apart: no match, or worse, a match against somebody else's region. The transform goes on the face rather than on the proxy. Instance masks are defined in the proxy's space and sampled long afterwards, so turning that space would be a far larger change than naming a region warrants. Also two things the first screenshot of the running app showed that no test would have: 110 of 23,528 displayed as "0%", which reads as the feature having done nothing. One decimal below ten percent, and a floor so real progress never shows as none. The rail picked some near-black covers, because the largest face in a group is often the nearest one in a badly lit frame and a black square beside a name identifies nobody. It now cuts the best few and takes the first legible one, falling back to the largest when a person's every photograph is dark -- which happens, and showing it beats showing nothing. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 23:28:52 +02:00
dtourolleandClaude Opus 5	b55812812a	Name segmented people from the faces already recognised in them ... The segmenter knows it found a person; the face index knows which person. Joining them turns "person" in the mask list into "Anna", which is the difference between a vocabulary of eighty COCO classes and one that includes the user's family. Selecting a subject in a group photograph stops being a guessing game between three identical rows. Containment, not IoU. A face is a small part of the person it belongs to, so a correct pairing has an IoU near zero and anything IoU-based would reject every true match. Confirmed names only. A suggestion is the system's guess, and printing a guessed name onto a mask region would launder it into a fact. Writing the tests corrected the design once: a tight head-and-shoulders portrait, where the face fills most of the person box, is the case where naming is most certain, not least. An earlier guard rejected exactly that and has been removed, with the reasoning left as a test because it is easy to get backwards a second time. The names hang on the develop session, set when the image opens because that is the one moment the catalog and the image id are both in reach. Every segmentation run afterwards picks them up for free, and a library with no face indexing behaves exactly as it did before. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 23:10:46 +02:00
dtourolleandClaude Opus 5	d7a81375ee	List the steps, and let a photographer step straight to one ... Undo answers "take back the last thing", which is the question asked about a mistake just noticed. It is the wrong instrument for one noticed six adjustments later: eight presses, each changing the picture, with no way to see how far back the mistake is without passing through it. A step is a whole state, so arriving from six away costs what arriving from one does — which is what makes a row worth making clickable rather than decorative. `Edit::Discrete` had to go for the list to be worth drawing. Seventeen call sites recorded the same anonymous step, which is fine for deciding whether two changes are one gesture and useless for a panel: seventeen rows reading "Discrete" is not a history. Every variant now carries enough to name itself, and the compiler enumerated the sites that had to start saying so. A step that moved a parameter is still named out of the descriptor, so an operation added as a YAML declaration appears in the history correctly named with nothing written for it (FR-DEV-3c). Choosing a film stock was not undoable at all. The pick went straight to `choose_film`, which nothing on the history's path ever sees. `pick_film` records it, and is separate because the same call is also how a *restored* edit gets its tables back — recording that would push a step for the undo the photographer had just asked for. The list is rebuilt off a revision rather than off every redraw. A drag ends in a redraw per frame while folding into one step, so the unconditional version would tear down and recreate every row sixty times a second to arrive back at the list already on screen. The counter is process-wide: a per-instance one starts every photograph at the same number, so a frontend holding "the revision I last drew" would keep the previous image's steps on screen — invisible while every image opens with one identical row, and a wrong-photograph bug the moment persisted history means it does not. The step names that no descriptor can supply are constants with a roll, and a test walks the roll rather than a second copy of it. `resolve` splits so that "is this catalogued?" can be asked: `derive` turns `history.mask_toggled` into "Mask Toggled", which names a field rather than an act and, being perfectly readable, is a mistake nobody would look at twice. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 23:04:35 +02:00
dtourolleandClaude Opus 5	b89f1cfece	Snapshot the whole edit in the history, so a drawn mask can be taken back ... The undo stack snapshotted a `Preset` — the parameter map — and a mask layer is deliberately not a parameter. So drawing one changed nothing the history could see: `record` returned `false`, no step opened, and the layer the photographer had just painted had no way back. The interface went on calling `record` in good faith, including from the mask controls, and nothing failed. A film stock went missing the same way. The snapshot is an `EditState` now, so the history is complete by construction rather than by anyone keeping a list in their head. `undo` and `redo` return a `Step` rather than a `bool`. Stepping is not the only outcome a caller has to act on — a step across a change of film leaves the graph without its tables, and only the caller can bake them — and a `bool` would let that be dropped by writing nothing at all, which is the shape of mistake this module had already made once. `DevelopSession` settles the debt either way; a step that found nowhere to go is left alone, since clearing the film because undo hit the floor would take the stock off the picture. Five tests, all of which fail against the old snapshot: a drawn layer is undoable and redoable, a layer's own settings are a step of their own, a change of stock is a step and names what it needs baked back, clearing the film is undoable, and an exposure move does not deep-copy the mask stack. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:54:55 +02:00
dtourolleandClaude Opus 5	93efdf27a6	Keep the film stock when an edit is saved ... `Version::update` is the write path an automatic save goes through. It copied the parameters and the masks and said nothing about the film, so a photograph developed on a stock was written back without it and opened the next time without its emulsion. Nothing reported a failure — the line was simply not there. It is the third of the three routines that captured "the edit" and the only one that got it wrong, which is the argument for not having three. All of them now destructure one `EditState`, so `from_graph`, `update` and `apply` cannot disagree about what an edit consists of, and the next part of one cannot be lost by anybody writing a line too few. Two tests, both of which fail without the fix: the field survives `update`, and the stock survives the round trip through the file. `apply` returns the `FilmRebake` it always implicitly owed, so `apply_version` now reads the debt off the call rather than off `version.film` — and pays it in both directions, since a version with no film has to clear the adjust pass too or it keeps textures bound that nothing will sample. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:53:00 +02:00
dtourolleandClaude Opus 5	5622a58ce3	Give an edit one complete state, and make omitting part of it a compile error ... An edit used to be a bag of scalars. That stopped being true when the mask stack and the film stock arrived, both deliberately held apart from `ops` because a layer is not a scalar and a stock is not a scalar — and nothing announced the change. What happened instead is that three routines each captured "the edit" and each captured a different subset of it. `EditState` is all of it: the parameter map, the masks, the stock. What keeps it complete is not a comment. `EditGraph::state` destructures the graph exhaustively, `EditGraph::set_state` destructures the state exhaustively, and the fields are public so every construction site is a struct literal naming all of them. Adding a fifth kind of graph state — FR-DEV-8's spot removal is the one already asked for — fails to compile until somebody has decided whether an undo has to put it back. Verified both ways round by adding a field to each type and watching five call sites refuse to build. A compiler error rather than a runtime check, because the failure being prevented is silence: the missing halves produced no panic, no warning and no failing test. The stack is now shared rather than owned, and that is about the drag path rather than memory: `state` runs on every parameter change, which during a drag is once a frame, and deep-copying a painted brush sixty times a second to record an exposure move would be a cost paid for nothing. `masks_mut` is the one door a stack is modified through, so it clones on write. `FilmRebake` is the one thing a caller is still owed. Restoring a stock always needed the profile database this crate does not link (ARCH §6.5a); it was a comment before, and it is a `#[must_use]` return value now. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:50:11 +02:00
dtourolleandClaude Opus 5	96d07da15f	Sync face data as sealed shards, so a second device does not re-index ... Indexing 23,500 images is about two hours of CPU, and the result is byte-identical on every device: the same model over the same proxy produces the same embedding. Paying for it once per account rather than once per device is the point. Shards rather than the catalog snapshot, because the snapshot goes up whole on every sync and a fully indexed library carries roughly 30 MB of embeddings. That is exactly the cost the thumbnail store's 25 MB cap exists to bound, so face shards use the same cap -- imported from dr_thumbs rather than restated, since the number is a statement about sync cost and the two must not drift apart. The split follows the one already there: bulk immutable data in sealed shards, small mutable data in the catalog snapshot. Faces, landmarks, embeddings and run markers shard; people, names and assignments ride the catalog and merge by uuid. Keyed on oc:fileid throughout, never on image_id, because a row id means nothing on another device. The run marker travels with the faces it describes. Without it a receiving device cannot tell an image with no faces from one never examined, and would re-detect every landscape it had just adopted. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:41:50 +02:00
dtourolleandClaude Opus 5	4a82753d22	Show the detector the photograph, not the sensor's scanlines ... "Find subjects" was handed the proxy in the sensor's own orientation, so every frame shot on a body held sideways reached the model lying on its side — and a model trained on upright photographs is very bad at those. Measured end to end on a 22 MP frame of two people and a dog: `person 0.36` and nothing else, against `dog 0.82, person 0.61, person 0.49` for the same pixels stood up. Nothing failed; the panel simply offered one poor subject where there were three good ones. The orientation was never dropped on purpose. The proxy is deliberately rendered through a *neutral* graph — the detection has to survive an exposure change, or every slider would invalidate the masks built on it — and neutral took the file's orientation with it along with everything else. Landscape frames were unaffected, which is why it stood for as long as it did. The turn is `Orientation::source_pixel`, the same function the grid's thumbnails already go through, so the detector and the thumbnailer now agree about which way is up rather than holding two opinions. What it is turned by is `Framing::effective_orientation` — the file's EXIF tag and the photographer's own rotations composed into one permutation, by the group law rather than by adding the turns, which is a distinction `Framing` already had to make and had already tested. Rotating the picture and pressing the button again therefore does what it looks like it does. The proxy stays in sensor space and the masks come back into it. That is not a detail to be tidied later: the generated shader samples the mask array at `uv_src`, *after* the framing map, so a mask stored upright would sit a quarter turn off the subject it was drawn around. That is a wrong mask rather than a weak one, and nothing announces it. So the picture is stood up for the model and laid back down for everything else, and `upright`/`lay_down` are returned as a pair because calling one and forgetting the other is silent. Both directions are the one function: `upright` gathers through `source_pixel` and `lay_down` scatters through it. A quarter turn is a bijection of the pixel grid, so the round trip is exact — no filter, no resampling, and no hole to fill — and an inverse written out by hand would be a second thing to keep in step, whose way of being wrong is a mask mirrored about the wrong axis, which still looks like a mask. The orientation joins the confidence and the tiling flag in the segmentation signature, and for the same reason: turning the photograph changes what the model recognises, so two runs either side of a rotation are different instance lists. Two that happened to come out the same length would otherwise share a signature and a stored layer would be silently re-indexed from one into the other. The refine pass had it too — it re-runs the model over a crop rendered in the same sensor space — so it makes the same turn, and would otherwise have handed back a worse mask than the one it was asked to improve, on the subject the photographer had just pointed at. `dr-gpu`'s `local` example is fixed with it. It exists to be the shipping path with pictures attached, and a diagnostic that reproduces the bug it is meant to catch is a trap for whoever reads it next. Seven tests. The round trip is the identity over all eight EXIF tags on a non-square asymmetric grid; a turn carries whole pixels rather than shearing the channels apart; a sideways frame reaches the model upright; a box comes back in sensor pixels, worked out by hand for the one turn a portrait frame actually writes; a restored box still reads low-to-high for every tag, since the rest of the pipeline takes `x1 - x0` without checking the sign; and the eight tags cannot collapse into one signature key. The existing composition test now runs against `effective_orientation` itself, over all 8 x 16 baseline-and-user pairs. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:40:58 +02:00
dtourolleandClaude Opus 5	26a1eb7e28	Record that face detection has run, not just what it found ... An image with no faces in it was indistinguishable from one that had never been looked at, so every landscape, still life and document scan in the library was re-detected on every pass, for ever. In a real library that is most of it: on the 23,527-image test library, 64 of the first 110 images indexed contain no face at all. Schema v9 adds face_index, a run marker per (image, model) carrying the face count and the proxy edge it read. Keyed on the model, so a model change puts every image back in the queue by itself. That makes a coverage figure possible, which is the thing a user actually wants to see. The audit also splits the outstanding set by whether a proxy exists, because 23,417 awaiting a proxy and 110 ready to index are different problems, and telling the user to run indexing again would not fix the first. The Identity screen gains Index faces, Stop, and the coverage line. examples/face_index.rs is the same check and sweep without a window, which is the right shape for an overnight pass. Measured on the real library in release: 3.5 images/second, 110 images and 125 faces in 30 seconds, and a second run correctly finds nothing left to do. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:13:41 +02:00
dtourolle	e0cb968e04	Merge remote-tracking branch 'origin/master' into worktree-spot-removal ... # Conflicts: # docs/traceability.md	2026-08-26 21:56:32 +02:00
dtourolleandClaude Opus 5	e14bc34a9e	Ask which frame this was taken on, because grain is enlargement ... A crystal is a fixed size in micrometres. How grainy a photograph looks is therefore not a property of the emulsion alone -- it is film size against output size, and the frame is the half a digital file cannot supply. This assumed 35 mm for everything. The same emulsion on 4x5 averages about 3,800 crystals into the pixel that holds 300 on 35 mm, so it renders roughly 3.5 times smoother at the same print; every large-format photograph was being rendered as grainy as a half-frame. `Format` now carries the real image widths -- the gate, not the nominal inches, since a "4x5" exposes about 121 mm -- and the film node asks for it. It is a genuinely fixed list, unlike the stocks, so it is a declared `enum` parameter and gets its control, its sidecar entry and its undo step for nothing. It is also the first enum in the develop chain, and it broke two tests by being one. A row has to compare equal to itself across two builds or `sync_rows` replaces it on every parameter event -- destroying the elements built from it, including whichever TouchArea holds the current gesture, so the format picker would have fought every slider drag in the panel. `ModelRc` compares by identity and the row built a fresh choices model each call. `no_choices` already shares one empty model for exactly this reason, and the build site already said "see no_choices for why the identity matters". The fix follows it: memoise the model per variant list. Curve rows solve the same problem the other way, writing values through the existing model, which is not needed here -- a variant list is fixed at compile time, so one model can serve forever. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 21:47:19 +02:00
dtourolleandClaude Opus 5	8ab9440190	Put the repair tool on the photograph ... A third chip beside Crop and Local, and the mode strip's own comment predicted the shape: a mode that arms a gesture on the canvas and scopes the column. Click a mark to cover it, drag the disc to move the repair, drag the source circle to say where the patch comes from, Delete to remove it. The source starts two and a half radii towards the middle of the frame, which is FR-DEV-8's automatic placement in its cheap form — dust sits on skies and skies are smooth, so it is usually right and always one drag from fixed. Two things are drawn deliberately. The circles are the size the repairs actually are, because whether a disc covers a speck is the whole judgement being made and a fixed-size dot would say nothing about it; the reach around them is padded to a touch target so a spot on a dust mark can still be picked up on a phone. And only the selected repair shows its source: a dusty sky carries a dozen, and two dozen circles with nothing saying which belongs to which is less information rather than more. The panel edits what is stored while the canvas draws what is mapped, and the two are pushed separately for that reason — a slider deriving its value from the drawn radius would move differently at different zoom levels. It is also the one panel built from SliderRow rather than a live track: a repair has no OpId to coalesce a drag under, so a row that fires once per gesture is what keeps undo one step per decision. Verified as far as this environment allows: the strip renders and the column re-scopes, photographed under XWayland. Synthetic clicks do not reach this application, so the gestures are as-written rather than as-felt, and docs/spot-removal.md says so. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:58:13 +02:00
dtourolleandClaude Opus 5	2ac069a6b3	Index the library's faces, and group them into people ... Wires dr-face to dr-catalog: a background sweep that reads the proxy the grid already built, detects, aligns, embeds and stores, then a clustering pass that turns those embeddings into suggested people. Detection runs on the Large thumbnail tier and nowhere else. That is what makes the feature affordable -- a browsed library has already paid for its proxies, so face indexing adds no RAW decode that was not already happening -- and it is why an image whose proxy is missing is skipped rather than fetched: requesting one here would put face indexing on the network path FR-CULL-8 keeps it off. The sweep keeps no cursor. It asks the catalog what is missing, so it resumes after process death with no repeated work beyond the in-flight image, and cancelling is dropping the receiver. recluster writes only the suggested half. Confirmed faces go in as anchors and come back untouched, and a cluster of one stays nameless -- naming every stray face would fill the People view with noise the user then has to dismiss. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:49:30 +02:00
dtourolleandClaude Opus 5	2958444835	Let undo reach the repairs before the tool can make one ... A history state was a Preset — a map of scalars — which was right while every edit in the graph was a parameter. A spot is not one, and undo is the first thing anyone does with a repair: place it, dislike it, take it back. Left as it was, that press would have stepped some unrelated slider and left the spot on the photograph, which reads as undo being broken rather than as undo being absent. So a state is now the pair, params and spot set. The same door is the one the mask stack will come through: mask edits are outside undo today for exactly this reason, and FR-DEV-5 is not finished until they are not. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:27:34 +02:00
dtourolleandClaude Opus 5	f00b3ae924	Take the tone from the hole and the texture from beside it ... A clone gets the texture right and the level wrong. Dust on a gradient sky is copied from a patch a little lighter than the hole it fills, and the repair reads as a disc even though every grain in it is correct — which is why FR-DEV-8 asks for heal and not only for clone. Heal adds the membrane: the difference between the two neighbourhoods, sampled at twenty-four points around the rim and interpolated across the disc by inverse square distance. Solving the Poisson problem properly is tens of Jacobi iterations, and an iteration here is a dispatch — sixty dispatches to remove a dust spot is not a frame budget. The closed form costs one loop over the rim, no state, and no second pass. The spec called for mean-value weights; inverse squares are two transcendentals per sample cheaper and agree wherever the boundary difference varies smoothly, which is every repair anyone makes. What decides whether that trade holds is the measurement, so the measurement is the test: on a ramp steep enough to leave a clone wrong by 38 levels out of 255, the heal is wrong by 0. docs/spot-removal.md §6.1 records what shipped and what it would take to go back. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:22:10 +02:00
dtourolleandClaude Opus 5	5323608051	Draw the repairs, before anything sharpens what they removed ... A spot set now composes detail passes of its own, one per round, and they go ahead of every operation's kernel. That placement is the decision worth recording: a sharpening pass reads a neighbourhood, so sharpening a dust mark before removing it smears its edge into pixels the repair's disc does not cover, and what survives is a faint over-sharpened ring around an otherwise perfect patch. It also disagrees with ARCH §5.2, which draws spot removal after clarity — docs/spot-removal.md §5.1 is where that is argued out. Every length reaching the shader is in render pixels, converted here where the framing is in scope. Both the centre and the source go through `Framing::output_at` — the same map the fused pass applies to every pixel — so a rotated photograph rotates the offset with no trigonometry, and the radius is found by mapping a point one radius above the centre and measuring, rather than by multiplying by a ratio this function has no business knowing about. The tests turn and crop the frame and expect the mark to stay gone, which is the property that arrangement buys. compose_full now takes the spot set, because a photograph with a repair and no sharpening still has a detail stage: a fused pass that encoded its own output there would quantise twice and bind to a texture of the wrong format. compose_detail_for takes the source size for the same kind of reason — a RenderScale describes the region on screen, and a spot is stored against the photograph. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:17:51 +02:00
dtourolleandClaude Opus 5	00e78dc2ac	Cluster faces into people, and calibrate what a similarity means ... FR-CULL-9 forbids thresholding a bare cosine anywhere in the subsystem, so calibrate fits P(same person) per library and reports whether the fit is trustworthy. Two details carry most of the weight. The fit runs against a 200-bin histogram rather than a pair list: a 25,000-face library has ~3e8 pairs and no gradient descent is running over that. And a fresh library has no valid calibration, because the positives have to come from user confirmations or burst siblings -- bootstrapping them from high cosine would fit the calibration to the belief it was supposed to test. Clustering defends against the over-merging FR-CULL-10 warns about with constraints rather than a better threshold: two faces in one photograph never merge, and two groups confirmed as different people never merge. Average link rather than single link, so one strong edge cannot weld two families together. Calibration is defined once, in dr-face, and dr-catalog re-exports it. Two implementations of one probability model is exactly how a number comes to mean the wrong thing. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:10:33 +02:00
dtourolleandClaude Opus 5	aac3136407	Store faces and the people they belong to ... Schema v8: people, faces, face_person, face_person_rejected, and the per-library calibration. Follows catalog.md 10.1 with two additions the spec work turned up. crop_px, because at the 1024px proxy tier a group shot reaches the embedder at ~50 source pixels upsampled to 112 and a portrait at 340. FR-CULL-9 names face size as an axis along which an uncalibrated similarity misbehaves, so it is a stored feature rather than a UI hint. face_person_rejected, because rejection is not the absence of an assignment. Without it the next clustering pass re-suggests exactly the face the user just pushed away, and the tool feels broken. record_detections replaces rather than appends, since DetectFaces is coalesced per image -- and carries confirmations across the replacement by box overlap, so re-indexing with a better model cannot discard the user's own labelling. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:02:52 +02:00
dtourolleandClaude Opus 5	6997c0f7ac	Let a detail pass carry a list, not only a kernel ... Every neighbourhood pass so far has been a convolution, whose whole description fits in the uniform block because its structure fixes how many numbers it needs. Spot removal is not that shape: sixty-four repairs and one repair are the same shader with a different buffer behind it. So a pass may declare `storage`, which arrives at binding 3 as `array<vec4<f32>>` with `arrayLength` in scope. The alternative — packing the list into uniforms — needs a fixed maximum paid for on every frame, a composer that can emit vec4 fields because a uniform array's stride is 16 whatever it holds, and it gives the next operation that wants a table nothing to build on. The property worth having is what stays out of the generated source: the count is in the buffer, so placing the tenth spot uploads 512 bytes and reuses the compiled pipeline, exactly as moving a slider does for the fused pass. `changing_the_list_does_not_recompile` is that, asserted. One bind group entry rather than two more layouts, and one placeholder buffer allocated in `new` rather than sixteen bytes per pass per frame — a zero-length storage buffer cannot be bound, and per-frame allocation is what this module's documentation exists to refuse. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:00:24 +02:00
dtourolleandClaude Opus 5	19981c1033	Detect, align and embed faces with SCRFD and MobileFaceNet ... Ports the pipeline from the C++ reference in ../scene-actor-extraction (MIT, same author). End to end on real portraits it separates identities the way the reference's fitted calibration says it should: 0.596 between distinct photographs of one person, 0.05 between different people, either side of MBF's 0.267 boundary. Three things are structural rather than incidental: Aligned112 can only be built by align::warp, so Embedder::embed cannot be handed an unaligned bounding-box crop. That mistake yields 512 plausible unit-norm numbers and no error, so the type system refuses it instead. Embedding carries its ModelId and cosine() returns None across models, because a cross-model similarity is the one mistake that produces plausible garbage rather than a failure. The model-free half -- alignment, embedding arithmetic, f16 storage -- sits outside the inference feature and is covered by 11 tests that need no weights on the machine. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 19:57:56 +02:00
dtourolleandClaude Opus 5	44444f7768	Write the repairs down, one line each, and merge them by id ... A spot is eight numbers, so it goes in the version block as a line rather than in a block of its own the way a mask does — sixty-four blocks would bury the rest of the file. A line per spot rather than one line for the set, because the line is what a diff shows and what a merge resolves. The parse arm sits ahead of the op.param arm deliberately: without it, `spot.abc123 = 0.4 0.6 …` reads as an operation called `spot` whose value will not parse, and the repair is dropped with a warning about a corrupt number. The prefix is safe precisely because a spot is not an operation, so no ops/ declaration can claim the name. Merging is merge_masks by id, one level down, and it is where the derived ids earn their keep: two devices that removed different marks hold different ids and both survive, while two that removed the same piece of dust hold the same id and the merge sees the one repair it is. A spot both sides dragged resolves whole to the higher revision — eight numbers describe one disc, and half of each is a repair neither photographer made. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 19:52:54 +02:00
dtourolleandClaude Opus 5	72410f39c6	Answer M1: tract loads both face graphs once their dims are pinned ... Neither InsightFace export parses as shipped -- SCRFD fails at its input node, ArcFace at the first Conv -- which is the same wall dr-segment hit on YOLO's dynamic export. Both load cleanly with the input dims frozen, so the pure-Rust runtime holds for the face pipeline too. tools/fix-face-model-shapes.sh does the freezing, and exists so the artefact is reproducible rather than a binary someone once produced. It takes two forms because the two graphs need different ones: ArcFace's batch is a named dim_param, SCRFD's H and W are dynamic but unnamed. Also notes YuNet loading with no intervention, which matters for the licence question in faces.md 2.3. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 19:51:02 +02:00
dtourolleandClaude Opus 5	97479a0512	Hold the repairs a photographer makes, and say which may share a pass ... A spot is a disc, a source offset and four numbers, and it lives beside `ops` for the reason `masks` and `film` do: the operation trait is ParamId -> f32, and a list of repairs is neither scalar nor fixed. Two decisions here are not obvious. The id is derived from the position rather than counted, because two devices editing offline would each mint `spot3` for different marks and the sidecar merge would then treat two repairs as one — from the position, two devices that removed the same piece of dust agree, and two that removed different ones do not. And every length is in the frame's isotropic units, not a mixture of those and shorter-edge fractions: one unit for the radius, the feather and the offset agrees on a landscape frame and on a portrait one, where a mixture only agrees on the first. `rounds` is the arithmetic that keeps a source from reading a destination. Every spot in one pass reads the photograph as it stood before that pass, so a spot sourcing from an earlier spot's destination would copy the mark that spot was removing. Grouping is not a pass per spot — that is sixty-four dispatches for a case that almost never arises — it is a new round only when the sources actually collide. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 19:50:00 +02:00
dtourolleandClaude Opus 5	f14176de29	Give the projector lamp a name instead of a warning ... Every bake of a Vision3 stock logged: unknown illuminant "K75P", falling back to D55 K75P is a cinema xenon short-arc lamp, and Kodak 2383 and 2393 -- the projection print films those stocks print onto -- name it as the light their result is looked at under. It was never implemented, so it fell through to the unknown branch. The fallback was the right family: a xenon arc sits near 6000 K, close to daylight and nothing like the tungsten enlarger above it. So the pixels do not move. What changes is that D55 is now a documented choice rather than the consolation prize for an unrecognised string, with the approximation stated -- an arc has line structure a Planckian curve cannot express, and the residue of that is small here because the viewing step adapts the white point out either way. The test is the point of the commit. A profile naming a light nobody implemented should fail the suite, not whisper into a log that only gets read when somebody happens to be looking for something else -- which is how this was found. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 17:41:34 +02:00
dtourolleandClaude Opus 5	ff1a3e0e80	Print the black-and-white negatives instead of showing the scan ... Choosing Ilford HP5 Plus showed an inverted grey frame. So did Double-X. They are negatives, and upstream leaves `target_print` null on every monochrome stock, so nothing was ever printed and the scan was all there was. A colour negative at least announces itself -- the orange mask says plainly that you are looking at a negative. A monochrome one just looks broken. They print on Kodak 2302 now, which is a monochrome print film and is what such a negative is actually printed onto; Double-X onto 2302 is the standard cine chain. For the Ilford stocks it stands in for an Ilford paper, which nobody has measured, and is at least the right kind of material. The scan is still reachable through the Scanned/Printed toggle. It is a thing to choose now rather than the only thing on offer. `every_shipped_stock_bakes` did not catch this, and could not: it derives "should this be inverted?" from the stock's kind *and whether it names a paper*, so it looked at an inverted HP5, concluded that was right for an unprinted negative, and passed. The assertion was self-consistent and the situation was still wrong. The new test asserts the thing that actually matters -- a camera negative must name a paper, that paper must be a printing stock, and it must be the same kind of material, so a monochrome negative cannot end up on colour paper. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 17:35:25 +02:00
dtourolleandClaude Opus 5	ce6458547a	Develop longer, from the measurements rather than from a contrast slider ... Pushing was not a thing to simulate. It was measured data being thrown away: Double-X and 2302 each ship five characteristic curves, one per development time, and this shipped the 6.5-minute column and discarded four. All five now ship and interpolate. The axis is real. Double-X runs 4 to 12 minutes, and across it the average gradient goes 0.472 to 1.034 while Dmax goes 1.19 to 2.56. The control is in stops, because that is what a photographer means, and one stop is a factor of about 1.41 in time. That mapping is checked rather than assumed: against Double-X's own axis it lands within 2% of the 9-minute column for +1, and near 12 minutes for +2, which are the times the datasheet gives for exactly that. There is a test. **Pushing must not recover shadow detail, and this does not.** Across the whole measured range the speed point moves about a third of a stop while the gradient doubles; three stops under mid-grey, density goes from 0.008 to 0.035, which is still nothing. Developing longer multiplies what was already recorded and cannot record what never hit the film. A push built as added exposure or global contrast brightens those shadows instead and looks convincing until someone who shoots film sees it, so that property has a test of its own. Interpolated in *log* time, because development is multiplicative: 4 to 5 minutes is the same amount of push as 9 to 12, and interpolating linearly would bunch the control at one end. Clamped at both ends, because past the published range there is no data and extrapolating a contrast curve invents an emulsion nobody tested. A stock measured at one process ignores the control entirely rather than inventing a curve for it -- Portra 800's pushes are separate *measured* profiles, which is the honest way to offer those. Costs nothing per pixel and changes no shader. The curves are a per-stock table, so the interpolation happens on the CPU at bake time, where choosing a stock and moving its sliders already rebakes. The Vulkan shader is untouched. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 17:35:25 +02:00
dtourolleandClaude Opus 5	e9b3598841	Add five Ilford stocks, and say plainly that they are constructed ... They were asked for and they are here, but not on the same footing as the Kodak profiles, and the files say so in their first line. What I had claimed, and had to withdraw: that Delta 100 is "quoted around 9" and HP5 "around 12". Ilford publish no such figures. The word granularity does not occur anywhere in their technical information -- grain is described as "fine" and "finest" and nothing more. That claim was in this crate's documentation as though it came from a datasheet; it is corrected there too. Two further traps found while looking: - Kodak colour negatives publish Print Grain Index, not RMS granularity. PGI is a perceptual scale from viewer surveys -- 25 is roughly the threshold of visibility, four units a just-noticeable difference -- and Kodak state it cannot be compared to RMS. So a Portra number cannot be dropped into the granularity field, and none has been. - RMS proper is published mostly for black-and-white, reversal and motion picture stocks. Every shipped stock therefore still carries the same default, which means grain does not yet tell one film from another. That is per-stock data, not code, and is now written down where somebody will find it. So the Ilford profiles are built rather than extracted, and each part rests on something different: speed published and exact -- ISO 400/27 for HP5 is a fact contrast ISO 6:1993's normal development, average gradient 0.62 spectral borrowed from Kodak Double-X, a *measured* panchromatic negative, shifted by the speed difference. Conventional panchromatic sensitisation is much alike across black-and-white films, and this is far better founded than reading pixels off a printed curve silver neutral, which is not an approximation: developed silver absorbs flat, and Double-X's measurement is flat granularity estimated, ordered by each film's known relative grain They render as a film of that speed and contrast. They are not a measurement of that emulsion, and the two stocks that share a speed differ only in the estimated part. `every_shipped_stock_bakes` is tightened to match, because a constructed profile fails in a way a measured one does not: the curve parses, bakes, and sits entirely off one end of its own exposure range, rendering every frame black or blown while passing a finiteness check. It now asserts mid-grey lands somewhere photographic and that the tone response runs the way the stock's kind says it should. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 10:08:51 +02:00
dtourolleandClaude Opus 5	4b2ee0ac50	Count the silver instead of adding noise ... An emulsion is a suspension of crystals. Light sensitises some; development turns a sensitised one opaque, all or nothing. So a patch of film's density is a *count* of developed grains, and a count of independent yes/no events has a variance whether or not anyone wanted texture: mean = D variance = D * (Dmax - u * D) / N That expression is the whole feature. It peaks in the middle of the density range and vanishes at both ends -- clear film has nothing developed to vary, black film has nothing left to develop -- so grain lives in the midtones as a consequence rather than as a "midtone bias" slider. I was wrong earlier that this needs the detail stage. Nothing in it reads a neighbouring pixel; the only reason to move it was that grain must be fixed in film space rather than screen space, and that solves itself: N is grains *per pixel*, so it scales with the film a pixel covers. Zoom out, each pixel averages more grains, less variance -- correct, with nothing super-sampled and nothing filtered. It stays in the fused pass. Grain goes on the density and *before* the dye, which is the physical order and not cosmetic. Perturbing the finished colour -- what an effect does -- tints highlights wrong, because that noise never passes through the dye. Crystal habit lives in `rms_granularity`, the number every datasheet publishes, now a profile field. It measures exactly what differs between a cubic emulsion and a tabular one: at equal speed, tabular crystals present more area per unit silver, so the film reads finer. Delta 100 is quoted near 9 where HP5 is near 12, and that gap *is* the habit. Adding a stock whose grain is its whole reputation is therefore editing one line, not writing a model. Three things this cost, all of them worth writing down: - The default granularity is a colour negative's, blue coarsest. Applied to Tri-X it put *colour* speckle on a black and white photograph. Monochrome stocks collapse it at parse, where every other per-layer table is already replicated from the one measured channel. - Helpers cannot read uniforms. The composer prefixes a uniform with its operation's id and rewrites references inside a fragment body only; helpers are shared and deduplicated, so a bare `gn0` names nothing. `film_lut` already took its size as an argument for this reason, and now says so. - The end-to-end test compares the shader against the CPU model, and grain is stochastic, so that comparison now runs with grain off. Which means a grain that never left the CPU would look exactly like a passing suite -- hence a second test that grain off is bit-identical, one grain per pixel moves it, and ten thousand move it less. Not here, deliberately: no grain slider. The parameters are physical and `rms_granularity` is the honest place to scale one from, but its range wants choosing rather than guessing. Nor a film format -- 35 mm is assumed, and medium format at the same stock is far less grainy per unit of picture. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 10:08:51 +02:00
dtourolleandClaude Opus 5	56978fdf35	Clear the clippy warnings that were failing CI before this branch ... Nothing here is film simulation. These are lints that fail master today, under the -D warnings CI runs with, mostly from a toolchain that learned new ones rather than from anybody's code -- `is_multiple_of` and the derivable `Default` did not exist as lints when this was written. They are fixed rather than allowed, and by hand rather than by trusting `cargo clippy --fix` wholesale: its automatic pass split a derive in two and left a stray blank line, which is the sort of thing that is correct and still wrong to commit. The four that needed a decision rather than a rewrite: - The distance transform's inner loop writes through its iterator now. `q` stays, because it is the position the parabola is evaluated at as well as the index it is written to -- the lint is about the write. - `to_source` and `to_proto` take `self` by value. Their receiver is `Copy`, so this is the same machine code and the honest signature. - The export path's return type is five levels deep and now has a name, plus a line saying why the `Option` wraps the `Result`: `None` is cancellation, which is not a failure and has no error to report. - A test fills a range instead of looping over one. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 22:35:02 +02:00
dtourolleandClaude Opus 5	3b5952769b	Emit floats an f32 can hold, and drop the format! that formats nothing ... CI runs cargo fmt --check and clippy -D warnings, and this branch had never been through either. Both would have failed it. The bulk was the generated colour tables: eight significant figures where an f32 carries about 7.2, so the eighth is noise that rounds away at compile time and clippy's excessive_precision says so 109 times over. Fixed in the generator rather than only in the file, so it stays fixed -- and the file is trimmed in place rather than re-derived, because regenerating it needs a colour-science stack that has nothing to do with the defect. The format! in the composer is mine too, from extracting the rendering tail: the braces in it were escaped because the text used to live inside a larger template, and once extracted the escapes are noise and the call formats nothing. Also here, and clearly not mine: an unused import and a shadowed binding in dr-gpu, and an unused import in a test. They are pre-existing -- clippy has been failing on master before this branch existed, on lints like is_multiple_of that arrived with a toolchain rather than with anyone's code. Fixed because CI cannot go green around them, and called out because a merge commit is a bad place to quietly edit someone else's crate. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 22:28:14 +02:00
dtourolle	6925aa2a86	Merge master into film-simulation ... Master gained the library's index paging while this branch was building the film simulation, and the two met in library_ui.rs. Only the generated traceability matrix conflicted; it is regenerated here rather than hand-resolved, which is what it is for.	2026-08-25 20:34:28 +02:00
dtourolleandClaude Opus 5	6d18517d28	Ship every stock that exists, black and white included ... Three profiles was what the first cut needed to prove the model. This is the rest of the open data: 23 camera stocks and 9 papers, which is all of spektrafilm. Black and white was the gap, and it turned out not to be a gap in the data -- it was a gap in where I looked. Upstream's `main` has 28 colour profiles and nothing monochrome; `dev` has three more, and they are Tri-X, Double-X and the 2302 print film they go onto. So the answer to "do we have B&W" was yes all along, and it needed the dev branch rather than a fortnight digitising Ilford's datasheet graphs by eye. Those three are pinned to `dev` per stock; the colour stocks stay on the released branch. A monochrome profile is single-channel -- one emulsion, not three -- and spreading that one layer across all three is exact rather than an approximation: three layers with identical sensitivity and identical curves respond identically, which is what one layer does. The dye is the trap. The renderer *sums* the three layers' contributions, so replicating it unchanged renders every frame three times too dense -- neutrally, and therefore plausibly. A third each reconstructs the single emulsion, and two tests hold both halves: that the densities stay equal, and that they sum to one emulsion and not three. Double-X and 2302 ship five curves apiece, measured at five development times -- 4 to 12 minutes for Double-X. That is push and pull processing as measured data. The standard 6.5 minutes is what ships; the rest is in the upstream file waiting for a control to ask for it. Two stocks are `support: film` and are nevertheless what a negative is printed *onto*: the cine projection films 2383 and 2393, which the Vision3 stocks print to. Filtering the picker on support alone offered a projection stock as something to load in a camera, so it filters on stage, with a test saying so. The picker had to change shape twice over. Chips were right for three stocks and off the edge of a 280px column at twenty-four, and the column that replaced them was a thousand pixels standing between the photographer and every slider below. It is a disclosure now: one row carrying the answer, opened to change it, closed again on choosing. That is the opposite of the argument this panel used to take the lids off its sliders, and deliberately so -- an instrument you compare wants to be visible, and a list you consult once wants to be out of the way. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 20:30:11 +02:00
dtourolleandClaude Opus 5	6d6ef8d34b	Page the grid along an index instead of sorting the library each time ... Scrolling jittered, and this was the largest single reason. Every window the grid loads is `ORDER BY ... LIMIT n OFFSET k`, and neither half of that was being answered the cheap way. **The sort.** `GRID_ORDER` leads with `captured_at IS NULL`, so undated frames fall to the end. No ordinary index answers that — the leading term is an expression, not a column — so SQLite sorted the whole library into a temp b-tree on every window read, then threw away the first `k` rows of it. Schema V7 indexes the expression exactly as the query writes it, partial on the same `shadowed_by IS NULL AND trashed_at IS NULL` the grid filters by, so the read becomes a walk along the index. **The join.** `LEFT JOIN remote` was paged *after* it was joined, so reading 280 cells at offset 20,000 first seeked into `remote` for all 24,000 rows and then discarded 23,720 of them. The file ids are now fetched for the 280 rows that survived — the shape the badge and rating reads already use, one query for the window rather than one per cell. Measured together on 24,000 images at offset 20,000: **15.2 ms → 0.36 ms**, inside a scroll handler that has 16.7 ms to draw a frame. The test asserts on the query plan rather than on a duration, because there is no other symptom. A `GRID_ORDER` edited out of step with the index, or a column added back that drags `remote` in again, both still return exactly the right cells — just after sorting the library — and the jitter would come back with nothing to point at. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-25 20:01:04 +02:00
dtourolleandClaude Opus 5	baa8957e80	Let a photographer choose the film, and remember which one ... The stock model rendered correctly and nothing could ask for it. This is the picker, and the sidecar key that makes the choice outlive the session. How the choice persists was the open question, and the answer was already written down twice in sidecar.rs: `rating` is a top-level key "because a rating is not an edit", and `masks` are one "because a layer is not a scalar". A stock is that kind of thing -- a choice of material, not a number a slider moves -- so it is a top-level key too. It stores the **id**, not an index. Stocks are files that users add, so an index would mean installing a profile silently changed which film every existing photograph had been developed on. A name this build has no profile for still round-trips untouched, because the alternative is that syncing to an older phone quietly un-develops the picture. Only the names travel. Turning one back into tables needs the profile database, which dr-pipeline deliberately does not link, so `Version::apply` clears the film and the session re-bakes -- after the parameters, because the bake reads the film's own exposure sliders and the print balance is solved against them. That is also why moving those sliders rebuilds the lookup where no other control in the panel does: an enlarger's filtration depends on how the negative was exposed. The panel keeps its rule. It still names no operation and still generates every control from a declared parameter kind; the stock gets a bespoke control beside those, exactly as the mask stack does, and for the same reason. The film's exposure and print exposure arrive as ordinary generated sliders. Two defaults worth stating. Picking a colour negative prints it, because an unprinted one is an orange strip and offering that as the first thing somebody sees after choosing Portra reads as a bug rather than as a choice -- the toggle is there for anyone who wants the scan. And a paste carries no film: a preset is a parameter map, and a stock is not a parameter, so pasting one would paste a choice the clipboard never took. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 19:57:41 +02:00
dtourolleandClaude Opus 5	4a2fcb6d22	Render a film stock on the GPU, and let it take over the rendering ... The stock model landed in dr-film with no way to see it. This is the pipeline node, the two texture bindings it reads, and the end-to-end test that proves the shader agrees with the model. The design point is that a film simulation is not an adjustment. Every other node changes a picture; this one makes it. A stock's characteristic curve does the camera profile's base curve's job -- from measurements rather than from a curve somebody drew -- so running both renders the scene twice: the camera's rendering, and then a film's rendering of that. It looks like neither, and it reads as a colour-management bug with no colour-management bug to find. So `Operation::renders` is new. A node declaring it takes camera RGB and hands back linear sRGB, and the composer emits neither the base curve nor the conversion out of camera space. Both halves move together, and the composer keeps them as one string precisely so that getting half of it right is impossible. The tables are not parameters, for the reason vignetting's coefficients are not: they are measurements. dr-pipeline declares the layout as a plain struct and keeps its no-dependency property; the two crates share no types on purpose. `EditGraph::set_film_tables` offers them to every node rather than to the one that wants them, because knowing which concrete type is which is what the graph is organised not to know. Bindings 4 and 5 follow the masks precedent: declared unconditionally so one bind group layout serves every generated shader, bound to 1x1 placeholders when no stock is loaded. Both are interpolated by hand with textureLoad -- this pipeline binds no sampler, and adding one for two lookups would cost a binding in every shader. Uploads are keyed on content so an unchanged stock does not push half a megabyte across the bus per frame. The end-to-end test earned its place immediately: it found the density lookup being filled z-fastest while a 3D texture upload wants x-fastest, so the red and blue axes were transposed. Green matched exactly, which is what that bug looks like -- a plausible photograph of the wrong colour, and one that every unit test on either side of the seam passes. dr-film now pins the layout in a test that needs no device, and states it where the field is declared. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 15:12:56 +02:00
dtourolleandClaude Opus 5	b6a95e1965	Simulate a film stock from its measurements, not from someone's grade ... FR-DEV-3f asks for look emulation and proposes HaldCLUT import to inherit the free film-simulation ecosystem. This takes the other road for the stocks where the measurements exist: run the physics. A stock here is its manufacturer's own datasheet -- spectral sensitivity, characteristic curves, dye densities. Light exposes three emulsion layers, the layers develop to densities, the densities are dyes that absorb, and what is left is what reaches the eye. A colour negative comes out orange and upside down because that is what a colour negative is; it becomes a photograph when a paper profile prints it, with the enlarger's filtration solved rather than dialled. What that buys over a LUT is that the parameters stay physical. Opening up a stop moves the picture along the film's real characteristic curve, shoulder and all, instead of scaling a number baked at one exposure. The data cost runs the other way too: a stock is 17 kB of published measurements where one HaldCLUT is 800 kB of one person's grade. It looks like it needs a spectral integration per pixel. It does not, and that is the whole design: - Exposure is a 3x3 matrix. The reconstructed scene spectrum is linear in the sRGB triple, so the integral collapses into nine numbers, exactly -- no approximation. - The characteristic curve is three 1D functions, sampled exactly. - Everything after that -- dye absorption, the print through the negative, the paper, the viewing illuminant, the adaptation -- takes exactly three numbers in, so it bakes into one 32^3 lookup. Per pixel: a matrix multiply, three curve taps, one fetch. Splitting the curve out of the 3D lookup rather than baking one LUT over exposure is measured, not assumed: the curve carries the sharp shape and the dye mixing is smooth, so folding them together would need three times the resolution for the same error. At 32^3 the worst error is 0.003 in linear sRGB, under one 8-bit code value, and a test says so. No wgpu dependency, deliberately, and the same isolation argument dr-lens makes: the model is plain f32 with a documented layout, so every property worth asserting is asserted on the CPU. Binding it to a texture is dr-gpu's job and is not done here yet. The expected values in tests/ came from a Python prototype running against a different colour-science stack. Agreement to three decimals is evidence about the model rather than about one implementation of it -- a transposed matrix or a mispasted observer row would pass every unit test and fail that one. Profiles are converted from spektrafilm by Andrea Volpato, CC BY-SA 4.0. The converter is in the tree and runnable, so what was changed from upstream is auditable rather than taken on trust; profiles/CHANGELOG.txt records it, including the one deliberate deviation -- Mallett & Yuksel's 1 kB basis instead of Hanatos's 4 MB table, which costs accuracy at the gamut edge and saves four megabytes. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 14:44:54 +02:00
dtourolleandClaude Opus 5	fa4ad6e2d6	Drag the date range on the axis it is chosen from ... The range could be turned on with a finger and not aimed with one. Its two ends were typed as `YYYY-MM-DD` into 108px fields behind a soft keyboard, to name days already drawn on the axis a thumb away; and the chip that seeds them takes its span from the timeline's zoom and pan, which are a wheel and a middle button. A touch screen has neither, so on Android the filter was a switch with no aim. The band is now on the timeline. Two ends with grips, dragged along the bars, released to filter — the histogram was already how a period is found, and this makes it how a period is stated. Both ends snap to whole days, which is what the typed fields mean, what `show_range` reads back out, and a floor under a range dragged shut. The fields stay for what dragging cannot do: name an exact day, and say in words what the range is. For that to work the axis had to stop following the range. Redrawn to the band, it moved the ground under the very handles doing the narrowing, and there was nothing outside the range left to widen back into. While there: a fixed number of equal bins instead of calendar buckets. Between one calendar unit and the next the bar count is free to wander by a factor of twelve, so zooming in halved it two steps out of three — the same picture drawn wider until it jumped back to fine. Equal bins also include the empty ones, so a bar's position on the track and the date under it are finally the same quantity; before, a library with gaps drew a February six months wide and the marker, the band and a click all pointed somewhere else. The count is a setting, 32 or 64, because the right answer is a question about the screen. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 18:42:42 +02:00
dtourolleandClaude Opus 5	4b7648082e	Let a date range be stated, and draw the axis at the scale it deserves ... "Limit to range" did nothing, and the reason was not visible from the button. It took its span from the timeline's zoom, which is zero until someone zooms — so `zoomed_span` returned the whole library and the filter narrowed to everything. The chip lit up and the grid did not change. The range has ends now, shown and typed as `YYYY-MM-DD`. Seeding them from the timeline is kept, because zooming to a fortnight and pressing the chip is the fast path; the fields say which fortnight it landed on and let it be corrected. Ends given backwards are swapped rather than refused — there is exactly one range between two days — and the closing day is included, since "to the 5th" means the whole of the 5th and a range ending at its midnight contains none of it. `parse_date` refuses anything that is not a date rather than guessing at an order, because the alternative is a library silently filtered to a span nobody asked for. The axis then follows the range. It used to keep drawing the full extent while a range was on, because it was the only way back out; the typed ends are the way back out now, so it is free to show what was asked about. And bucket size is chosen by how many bars it makes rather than by fixed cut-offs. Each zoom step halves the span, so under thresholds the bar count halved with it until a boundary was crossed: fifteen years went 15 bars, 8, then 46, 23, 11, and finally 6. Zooming in made the picture coarser, which is the opposite of what zooming is for. Aiming at forty bars keeps the count in the same neighbourhood at every level, and the test asserts the property directly — halving a span never coarsens the bucket. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 12:40:14 +02:00
dtourolleandClaude Opus 5	7a5e1adf51	Merge what two tiles saw of one subject, instead of picking a side ... "Look closer" tiles the frame so a small subject reaches a fixed 640x640 model at its own size. A tile sees only the part of an object inside it, so an object on a seam produces two *partial* masks — neither of them the object. This kept the higher-scoring one and discarded the other, which quietly threw away what tiling had just been paid 2.8 seconds for: a bird with its tail cut off at a tile edge, described by whichever tile happened to hold more of the bird. Both halves existed; one survived. They are unioned now, and the overlap is what makes that sound. At 25% every pixel is seen by at least one tile at full resolution and pixels near a seam by two, so the pointwise maximum is the better estimate everywhere rather than a compromise: where one tile saw a pixel its opinion is the only one there is, and where both did, the higher value came from the tile with more context around it. A maximum of soft coverage also stays soft, which is what `prior.rs` weights merges by and what a mask layer's edge treatment needs. Each quantity gets the operation that suits it: maximum for coverage, union for the box, and the higher score rather than a blend — the score is shown to a photographer and means "how sure the model is this is a bird", so averaging in a tile that saw a wingtip would make a confident detection look doubtful for straddling a seam. The test fails against the old rule with "pixel 4 was seen by a tile and must survive the merge", which is the whole defect in one line: not a crash, not a duplicate, just a plausible mask missing half its subject. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 11:14:53 +02:00
dtourolleandClaude Opus 5	89f0f1fb4b	Merge branch 'fix/collection-members-by-fileid' ... Collection membership merged on a column that is NULL on every scanned library, so collections synced their names and arrived empty everywhere. Keyed on oc:fileid now, as keyword assignment already was. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 21:20:27 +02:00
dtourolleandClaude Opus 5	67f15bffb7	Key collection membership on the identity that exists ... Collections synced their names and arrived empty on every device. The names are keyed on a uuid and worked; the membership union was keyed on `images.content_hash`, and the schema says plainly what that column is: "computed only when something needs it (import dedup, reconnect-by-hash), never in a scan". A library that has only ever been scanned has one for no image at all, so the join matched nothing and `WHERE ri.content_hash IS NOT NULL` discarded whatever survived. The union could never have moved a single row. Measured on a real catalog: 23,174 images, content hashes for 0 of them, `oc:fileid` for all 23,174, twelve collections, zero members. So membership now resolves through the file id first, exactly as keyword assignment already did — `ASSIGN_BY_FILE_ID` was added for this same reason and its doc comment even notes that membership was still on the hash. It is recorded for every image the moment a remote scan sees it, survives server-side rename and move (FR-NC-5), is the same integer on every device pointed at one Nextcloud, and is already what the thumbnail shards are keyed by. The content-hash union is kept rather than replaced: a local-only library has no `remote` rows, and where a hash has been computed it is a true identity that survives a library moving between servers. Both statements run; `INSERT OR IGNORE` against the primary key makes the overlap free. This repairs the merge. It cannot invent membership that no device recorded — where the rows were never written, collections stay empty until they are filled in again. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 21:19:13 +02:00
dtourolleandClaude Opus 5	c75849040c	Format the tree the way the gate asks for it ... `cargo fmt --check` is a required step and had drifted across 45 files. Most of it arrived this week: several operations were written in parallel worktrees and merged by hand, and a hand-merge resolves conflicts without ever running the formatter over the result. No behaviour changes — this is `cargo fmt --all` and nothing else, kept as its own commit so the next reader can skip it wholesale rather than search it for one that matters. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 21:16:34 +02:00
dtourolleandClaude Opus 5	d04087af83	Import into the library, which is on the server ... There was a local destination, defaulting to ~/Pictures, and an "upload" switch that could be turned off. That was wrong twice over. DarkRoom's library *is* a folder on a Nextcloud server (FR-NC-6) — there is no local library — so a user-chosen local destination built a second pile of photographs that no view in the application ever lists, and made "where did my import go" a question with two answers. An import now has exactly one destination and the page asks nothing about it. With no account there is nowhere to go at all, so Import is refused rather than quietly filling a folder. What lands on the device is a staging copy in a directory the app owns, the same shape `export` uses for its outbox and for the reason its module docs give: staging first is the only path, not a fallback for being offline. The bytes have to reach disk before the network — streaming a card straight to the server would let a move-import erase a card against an in-flight upload, and would make importing impossible with no connection (FR-NC-10). A staged file is removed once the server confirms it; one that is not confirmed stays queued, and the next import drains it. And the rule that was stated but never enforced: `retirable` was reported and `dr_ingest::retire` was never called by anything, so a move-import silently behaved as a copy. The card is now emptied by the worker, of exactly those photographs the *server* has confirmed — not those merely written here, because the staging copy is removed moments later and anything unconfirmed would then exist nowhere at all. FR-NC-7b said "copied locally first ... then queued for upload", which is a staging area; it has been rewritten to say so in terms that do not also permit what was built. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 21:09:26 +02:00
dtourolle	56dd3187f1	Merge integration into wip/ingest ... Second pass, against the detail-stage and thumbnail work that has landed since the first. Resolved and verified here rather than in the shared merge worktree, so what goes back is a fast-forward. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> # Conflicts: # docs/traceability.md	2026-08-22 19:44:42 +02:00
dtourolle	36e03258d8	Let texture on a thumbnail render, now that the seam it named is closed ... `texture_contributes_nothing_where_its_scale_does_not_exist` asserted that the detail chain composed *nothing* when texture's kernel rounded away, and its comment recorded that empty chain as a gap: the fused pass had already decided to hand on linear working values, so an empty chain left the output transform undone and the render was rejected. It said fixing it meant composing both halves together, at the composition boundary rather than in that file. Noise reduction closed it there in the same round, by emitting a bodyless `detail/resolve` pass for exactly this case. So the assertion was describing a defect that no longer exists, and failing because the defect was fixed. Now asserts the property it was always about — texture contributes no kernel, `radius() == 0` — while the chain carries the one pass that finishes the render. Two agents working in parallel each saw one half of this; it is only visible with both merged.	2026-08-22 19:36:34 +02:00