abstract-looks-2

ABSTRACT · LOOKS 2 — the middle six of eighteen 4-second look studies, and the heaviest of the three parts: 07, 08 and 10 are the file's three big procedural builds.

Read the rig's notes

# scene dur the claim
07 s07-porous-porcelain 4.0 38 tori on a sphere, each ring's axis the outward normal — the GAPS are the pores
08 s08-data-terrain 4.0 a ridged heightfield read twice: as a surface, and as 26 contour rings
09 s09-eclipse 4.0 the crescent is CAUSED — a 1.9 m emissive torus occluded to its outer 22 mm
10 s10-crystal-lattice 4.0 a cylinder at radial_segments=6 IS a hexagonal prism; 74 of them, no bespoke mesh
11 s11-deco-arch 4.0 the only symmetric shot, and the only camera dead on axis at x=0
12 s12-editorial 4.0 four of eleven objects have no support — a promo node has no gravity to opt out of

THE MECHANISMS:
· 07 lights its shells from WITHIN — a warm emissive core and a point light
inside every shell, so the light genuinely leaves through the holes.
· 08's 112 gold pins stand ON the field: each one's foot is the field's own
height at that x,z, evaluated with the same fBm the heightfield is built
from. The contour rings are what make the dunes read as a topographic
PLOT and not as landscape.
· 09's limb survives from any camera on the axis because the planet's own
1.9 m sphere occludes all of the concentric torus but its outer 22 mm.
The bright upper-left is a second thing: a cool directional from behind
the planet, which also edge-lights the regolith.
· 11 runs its hero at scale 1.5 — 239 mm — because the reference's arch is
built around a panel, not a phone, and the arch is sized to it rather
than the other way round. Seven marble treads widen 900 -> 1620 mm.
· 12's cost is the SHADOW, not the floating: shadow maps on, one soft key
from frame right, and the phone balanced on a 190 mm stone sphere so the
contact is a point and the shadow proves it.
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. s12-editorial 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-2.promo --width 1920 --height 1080
Preview: /packages/runtime/index.html?project=promos/primitives/scenes/abstract/abstract-looks-2.promo

Topic: scenes
Scenes: 6
Kind: reference rig

//
    ABSTRACT · LOOKS 2 — the middle six of eighteen 4-second look studies, and
    the heaviest of the three parts: 07, 08 and 10 are the file's three big
    procedural builds.

      #   scene                  dur  the claim
      07  s07-porous-porcelain   4.0  38 tori on a sphere, each ring's axis the outward normal — the GAPS are the pores
      08  s08-data-terrain       4.0  a ridged heightfield read twice: as a surface, and as 26 contour rings
      09  s09-eclipse            4.0  the crescent is CAUSED — a 1.9 m emissive torus occluded to its outer 22 mm
      10  s10-crystal-lattice    4.0  a cylinder at radial_segments=6 IS a hexagonal prism; 74 of them, no bespoke mesh
      11  s11-deco-arch          4.0  the only symmetric shot, and the only camera dead on axis at x=0
      12  s12-editorial          4.0  four of eleven objects have no support — a promo node has no gravity to opt out of

    THE MECHANISMS:
      · 07 lights its shells from WITHIN — a warm emissive core and a point light
        inside every shell, so the light genuinely leaves through the holes.
      · 08's 112 gold pins stand ON the field: each one's foot is the field's own
        height at that x,z, evaluated with the same fBm the heightfield is built
        from. The contour rings are what make the dunes read as a topographic
        PLOT and not as landscape.
      · 09's limb survives from any camera on the axis because the planet's own
        1.9 m sphere occludes all of the concentric torus but its outer 22 mm.
        The bright upper-left is a second thing: a cool directional from behind
        the planet, which also edge-lights the regolith.
      · 11 runs its hero at scale 1.5 — 239 mm — because the reference's arch is
        built around a panel, not a phone, and the arch is sized to it rather
        than the other way round. Seven marble treads widen 900 -> 1620 mm.
      · 12's cost is the SHADOW, not the floating: shadow maps on, one soft key
        from frame right, and the phone balanced on a 190 mm stone sphere so the
        contact is a point and the shadow proves it.
    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