abstract-looks-1
abstract-looks-1
ABSTRACT · LOOKS 1 — the first six of eighteen 4-second look studies. This is the SECOND reel that lived in abstract.promo, and it is a different kind of thing from RICH-SCENES: not one continuous argument across thirty shots but eighteen independent rooms, each one a single claim about light or material, each cut to the next on a plain `match`.
Read the rig's notes
# scene dur the claim
01 s01-kinetic-brass 4.0 four masts and nine booms; a black lacquer floor at rough 0.22 is what returns the brass
02 s02-brutalist 4.0 five concrete masses, one directional at 47 deg — the PICTURE is the shadow
03 s03-sheer-light 4.0 the inverse of 02: no shadow anywhere, only transmission, through two 1.5 m curtains
04 s04-liquid-chrome 4.0 entirely reflection — chrome at rough 0.045 has no diffuse response at all
05 s05-optical-bench 4.0 187 tapped holes and seven emissive laths on seven solved angles, 3.2 deg apart
06 s06-shutter 4.0 a 12-blade iris solved rather than drawn; no floor — the mechanism IS the frame
SOLVED, NOT DRAWN, is the through-line. 02's diagonal is what the 3.2 m
monolith actually casts, and the slot of black at the left is a real recess.
04's splash is a 175 mm torus with 22 capsules tangent to it, each aimed
along the ring's own tangent. 05's rainbow is not a texture — it is seven
laths leaving the prism's exit face in spectral order, and the fan they make
is the refraction the prism would cause. 06's blades are each TANGENT to the
aperture circle: for blade i at station psi = i*30 deg the plate's centre
sits at (a + H/2) along psi and its long axis at psi - 90, so the twelve
inner edges close on a circle of radius a = 118 mm exactly; a further 7 deg
of blade twist is what makes it read as closing rather than as a dodecagon.
TWO TRAPS 02 AND 12 SHARE: shadow maps have to be ON, and the shadow camera
has to be authored — the 20-unit default renders nothing at this scale.
THE UNITS. 1 page unit = 100 mm. The kit is fist-sized (a 100 mm chamfered
cube, a 98 mm torus), the cameras sit 600-1200 mm out, and the devices render
at true physical size — 159.5 mm of iphone standing next to a 100 mm cube is
the whole reason the shots read as objects on a table rather than as
graphics. Every length in this file is a millimetre.
LOOK — shared across every part:
ink #e9e6df dim #7c7970 line #23232a
mark #ffb347 the one accent; every emissive surface is this
cool #7ad7ff the dark stage's side source
warm #ffa25e its opposite
backgrounds s1 #101116 · s2 #0b0c10 · s3 #05060a · s4 #121014 ·
s5 #04050a · s6 #04040a · s7 #0a0b0f
HAZE. Three lobes, hz0/hz1/hz2, matched across every scene, so the room is
continuous under the cuts. Colours per shot are the shot's own key/fill:
amber + cool on the studio shots, cool + warm on the dark stage. They drift on
a linear position track — no pulse, no decay, sizes 900-2600 mm so they read
as LOBES against the near-black background, never as a full-frame wash.
POST. bloom -> unreal_bloom, grain/vignette -> film_grain, then fxaa last on
every shot to settle thin-edge crawl. prismatic_dispersion is authored ONLY
on the shots that carry chroma-split as a look (spread 0.01) — running it at
spread=0 elsewhere is a full-screen pass per frame doing nothing.
THE EXPOSURE LADDER. Bloom strengths sit BELOW the source page's and the
thresholds well above them, and that is a port decision, not a transcription
error: the page shaded with no lights at all and its bloom picks highlights
out of an already-dim frame, where this reel has real area lights shaping
real device hardware. What survived: ambient 0.09-0.16, one area key at
1.5-2.6, env intensity 0.16 (dark stage) to 0.5 (studio). Anything above that
and the reel stops being a dark reel.
FOG is per-shot, tinted to that shot's background (fog(color= near= far=),
near/far x100 like everything else). It is what stops each floor plane from
reading as a lit grey slab behind the subject.
CAMERA GRAMMAR. Every shot is one continuous move authored as a <frame>
track: explicit position/look_at rows, and a node= fill= row wherever the
shot lands on its device. The device landing is the added beat — the source
page never framed anything, so each shot has somewhere to arrive.
NO AUDIO. This is a primitives reel: no VO clips exist for it and no music is
authored, so there is no <audio> block. Add one at assembly time.
SPLIT FROM abstract.promo. This file is one of eight parts cut out of the
943 KB abstract.promo; the reel-level document that used to head that file is
now README.md in this directory. Scene bodies are byte-identical to the
original.
BOUNDARY. s06-shutter closed on `transition=match transition-duration=0.6` when it had
a successor in the same file. It is the last scene here, so it carries
transition=none; restore the line above it when re-concatenating.
Capture: nx run tools:capture:webgl -- --project promos/primitives/scenes/abstract/abstract-looks-1.promo --width 1920 --height 1080
Preview: /packages/runtime/index.html?project=promos/primitives/scenes/abstract/abstract-looks-1.promo- Topic
- scenes
- Scenes
- 6
- Kind
- reference rig
//
ABSTRACT · LOOKS 1 — the first six of eighteen 4-second look studies. This
is the SECOND reel that lived in abstract.promo, and it is a different kind
of thing from RICH-SCENES: not one continuous argument across thirty shots
but eighteen independent rooms, each one a single claim about light or
material, each cut to the next on a plain `match`.
# scene dur the claim
01 s01-kinetic-brass 4.0 four masts and nine booms; a black lacquer floor at rough 0.22 is what returns the brass
02 s02-brutalist 4.0 five concrete masses, one directional at 47 deg — the PICTURE is the shadow
03 s03-sheer-light 4.0 the inverse of 02: no shadow anywhere, only transmission, through two 1.5 m curtains
04 s04-liquid-chrome 4.0 entirely reflection — chrome at rough 0.045 has no diffuse response at all
05 s05-optical-bench 4.0 187 tapped holes and seven emissive laths on seven solved angles, 3.2 deg apart
06 s06-shutter 4.0 a 12-blade iris solved rather than drawn; no floor — the mechanism IS the frame
SOLVED, NOT DRAWN, is the through-line. 02's diagonal is what the 3.2 m
monolith actually casts, and the slot of black at the left is a real recess.
04's splash is a 175 mm torus with 22 capsules tangent to it, each aimed
along the ring's own tangent. 05's rainbow is not a texture — it is seven
laths leaving the prism's exit face in spectral order, and the fan they make
is the refraction the prism would cause. 06's blades are each TANGENT to the
aperture circle: for blade i at station psi = i*30 deg the plate's centre
sits at (a + H/2) along psi and its long axis at psi - 90, so the twelve
inner edges close on a circle of radius a = 118 mm exactly; a further 7 deg
of blade twist is what makes it read as closing rather than as a dodecagon.
TWO TRAPS 02 AND 12 SHARE: shadow maps have to be ON, and the shadow camera
has to be authored — the 20-unit default renders nothing at this scale.
THE UNITS. 1 page unit = 100 mm. The kit is fist-sized (a 100 mm chamfered
cube, a 98 mm torus), the cameras sit 600-1200 mm out, and the devices render
at true physical size — 159.5 mm of iphone standing next to a 100 mm cube is
the whole reason the shots read as objects on a table rather than as
graphics. Every length in this file is a millimetre.
LOOK — shared across every part:
ink #e9e6df dim #7c7970 line #23232a
mark #ffb347 the one accent; every emissive surface is this
cool #7ad7ff the dark stage's side source
warm #ffa25e its opposite
backgrounds s1 #101116 · s2 #0b0c10 · s3 #05060a · s4 #121014 ·
s5 #04050a · s6 #04040a · s7 #0a0b0f
HAZE. Three lobes, hz0/hz1/hz2, matched across every scene, so the room is
continuous under the cuts. Colours per shot are the shot's own key/fill:
amber + cool on the studio shots, cool + warm on the dark stage. They drift on
a linear position track — no pulse, no decay, sizes 900-2600 mm so they read
as LOBES against the near-black background, never as a full-frame wash.
POST. bloom -> unreal_bloom, grain/vignette -> film_grain, then fxaa last on
every shot to settle thin-edge crawl. prismatic_dispersion is authored ONLY
on the shots that carry chroma-split as a look (spread 0.01) — running it at
spread=0 elsewhere is a full-screen pass per frame doing nothing.
THE EXPOSURE LADDER. Bloom strengths sit BELOW the source page's and the
thresholds well above them, and that is a port decision, not a transcription
error: the page shaded with no lights at all and its bloom picks highlights
out of an already-dim frame, where this reel has real area lights shaping
real device hardware. What survived: ambient 0.09-0.16, one area key at
1.5-2.6, env intensity 0.16 (dark stage) to 0.5 (studio). Anythi