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>
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>
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>
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>
dtourolleandClaude Opus 5