abstract-looks-3-best
abstract-looks-3-best
ABSTRACT · LOOKS 3 — the last six of eighteen 4-second look studies, and the flattest, quietest end of the set. Five of the six get their whole picture from ONE decision — a material, a lens, a light — rather than from a build.
Read the rig's notes
# scene dur the one decision
13 s13-paper-plaster 4.0 LAMBERT, not standard: diffuse-only, no specular lobe at all
14 s14-colour-glass 4.0 the white key sits BEHIND all eighteen panes, so they filter instead of tinting
15 s15-bauhaus 4.0 fov 20 at 1.2 m — the LENS is what flattens it
16 s16-cushions 4.0 sheen=1 at sheen-roughness 0.32 is what makes a sphere read as velvet
17 s17-void 4.0 the darkest room, and the phone at 18 % of frame height
18 s18-steel-disc 4.0 one key, three roughnesses — 0.42, 0.045, 0.88 — and the distance between them
WHY EACH ONE WORKS:
· 13. A sheen on a folded sheet reads as plastic. Thirteen folds of paper
in a quarter-circle fan, each a solved wedge at 6 deg of pitch, one soft
key from the upper left, shadow maps on, nothing else.
· 14. A coloured pane lit from the front is a tinted mirror; lit from
behind it is a filter. Every value on screen is the back key having
crossed one, two or three slabs — which is why the crossings are the
darkest, most saturated parts of the frame rather than the brightest.
· 15. fov 20 at 1.2 m compresses the 300 mm the fifteen plates are spread
across to almost nothing, so a stack of real planes reads as printed
colour. Quarter-circles are not cut — a full circle is occluded by the
plate in front of it. The only 3D thing in frame is the phone, and its
shadow proves it.
· 16. Sheen is a retroreflective lobe at grazing angles, and that rim is
the whole look of cloth. Each pillow is a squashed sphere plus two seam
tori on solved axes; the hero is nested between four and touches none.
· 17. The shaft on the floor is a real cast: a spot standing behind the
240 x 900 mm doorway at 2.6 m, decay 2, so its intensity is I = E*d^2
with d in MILLIMETRES — 4.2 million for an exposure of about 0.6. The
long shadow reaching toward camera is the phone's own, and it is the
subject.
· 18. The disc is a cylinder turned face-on so it has real 24 mm edges that
catch the key; a circle would have none.
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.
Capture: nx run tools:capture:webgl -- --project promos/primitives/scenes/abstract/abstract-looks-3.promo --width 1920 --height 1080
Preview: /packages/runtime/index.html?project=promos/primitives/scenes/abstract/abstract-looks-3.promo- Topic
- scenes
- Scenes
- 6
- Kind
- reference rig
//
ABSTRACT · LOOKS 3 — the last six of eighteen 4-second look studies, and the
flattest, quietest end of the set. Five of the six get their whole picture
from ONE decision — a material, a lens, a light — rather than from a build.
# scene dur the one decision
13 s13-paper-plaster 4.0 LAMBERT, not standard: diffuse-only, no specular lobe at all
14 s14-colour-glass 4.0 the white key sits BEHIND all eighteen panes, so they filter instead of tinting
15 s15-bauhaus 4.0 fov 20 at 1.2 m — the LENS is what flattens it
16 s16-cushions 4.0 sheen=1 at sheen-roughness 0.32 is what makes a sphere read as velvet
17 s17-void 4.0 the darkest room, and the phone at 18 % of frame height
18 s18-steel-disc 4.0 one key, three roughnesses — 0.42, 0.045, 0.88 — and the distance between them
WHY EACH ONE WORKS:
· 13. A sheen on a folded sheet reads as plastic. Thirteen folds of paper
in a quarter-circle fan, each a solved wedge at 6 deg of pitch, one soft
key from the upper left, shadow maps on, nothing else.
· 14. A coloured pane lit from the front is a tinted mirror; lit from
behind it is a filter. Every value on screen is the back key having
crossed one, two or three slabs — which is why the crossings are the
darkest, most saturated parts of the frame rather than the brightest.
· 15. fov 20 at 1.2 m compresses the 300 mm the fifteen plates are spread
across to almost nothing, so a stack of real planes reads as printed
colour. Quarter-circles are not cut — a full circle is occluded by the
plate in front of it. The only 3D thing in frame is the phone, and its
shadow proves it.
· 16. Sheen is a retroreflective lobe at grazing angles, and that rim is
the whole look of cloth. Each pillow is a squashed sphere plus two seam
tori on solved axes; the hero is nested between four and touches none.
· 17. The shaft on the floor is a real cast: a spot standing behind the
240 x 900 mm doorway at 2.6 m, decay 2, so its intensity is I = E*d^2
with d in MILLIMETRES — 4.2 million for an exposure of about 0.6. The
long shadow reaching toward camera is the phone's own, and it is the
subject.
· 18. The disc is a cylinder turned face-on so it has real 24 mm edges that
catch the key; a circle would have none.
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. B