An earlier commit claimed to move `film_sim` from `[tone, colour]` to
`[effect]` and did not. It edited `ops/film_sim.yaml`, where `attributes:` is
read, validated against the vocabulary, and then dropped: a `rust:` node
publishes its own descriptor, and the type still said tone and colour. The
stock went on appearing in the Light group beside exposure and again in Colour
beside white balance, exactly as before, and every test passed.
Nothing caught it because nothing could. The declaration parsed, the parity
tests compare ids rather than attributes, and an operation filed under the
wrong groups renders perfectly. It surfaced only on screen, as a missing
Effects tab — which is indistinguishable from a category that genuinely has
nothing in it, and is precisely how `Optics` looked for as long as it was
empty.
So three changes rather than one:
`FilmSim`'s descriptor declares `Attribute::Effect`, which is the move the
earlier commit described.
`attributes:` joins the keys a `rust:` node may not carry, beside `params`,
`uniforms`, `wgsl`, `helpers`, `define` and `label`. The rule was already
written — "its descriptor comes from the type" — and attributes were the one
field that slipped past it. A key that is silently ignored is worse than one
that is rejected, because it reads as though it worked; the eight hand-written
declarations lose a line that never did anything.
And a test asserts that every attribute the chain carries reaches the tab
strip. That is the property that was actually broken, and its failure mode is
invisible from every direction: the controls exist, they are in the shader,
and there is no way to filter to them.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
`Attribute::Geometry` becomes `Attribute::Compose`, and `film_sim` moves
from `[tone, colour]` to `[effect]`.
Two categories were doing the wrong job. "Geometry" describes what crop,
straighten and the quarter turns do to coordinates — but it describes lens
distortion correction exactly as well, and that is not a compositional
choice at all. Naming the attribute for the photographer's decision is what
separates it from `Optics`: one is what the lens did, the other is what
they chose. The maths the two have in common is not the thing worth
filing them under.
A film stock declared both `tone` and `colour`, so "Kodachrome" appeared in
the Light group beside exposure and again in Colour beside white balance —
two places, neither of which is where anyone looks for it. It is neither:
`Effect` is defined in this same file as "applied rather than corrected — a
look, not a fix", which is what a stock is. That it moves tone and colour
is true of every look, and is not what the attribute is for.
`from_name` still accepts "geometry" on the way in. That string is
persisted in `develop.copy_attributes`, and an entry it fails to parse is
not an error — `presets::scope_for` logs it and drops it — so without the
alias an existing settings file would have quietly narrowed what a paste
carries. `name` writes the current spelling, so the file migrates itself
the first time it is saved.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
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>
dtourolleandClaude Opus 5