# art.stage.vignette The ink at the edge of every frame of Nine Bells. Ashcross is lit by painted light — lantern pools, braziers, the censer — and an orthographic camera gives no falloff of its own, so the corners have to be put there. The staging slice hangs one quad across the frame and this shader darkens it from the middle out. Procedural on purpose: no texture, no generation, no credit spent, and it resizes with the camera's `orthoHeight` instead of stretching a painted image when a shot pushes in. | Property | What it does | |---|---| | `strength` | how dark it gets. This is the number a staged moment drives — about 0.3 while the street is played, 0.6+ as a shot closes in | | `inner` / `outer` | where the darkening starts and where it reaches full, as a radius in the quad's own -1..1 space. A corner sits at about 1.41 | | `falloff` | above 1 the middle stays clear longer and the band closes harder | | `vig_color` | the ink. Plague-pit black rather than pure black | | `warm_color` / `warmth` | a firelight lift just inside the dark band, so the corners read as a room lit by fire rather than a black frame drawn over a picture | | `aspect` | squash the ellipse. 1 hugs the frame's own shape | | `grain` | enough per-pixel noise to keep a wide, slow gradient off the banding threshold | Drawn on `art.stage.vignette` (transparent, `cull: none`, queue 4500 — above the backdrop slice's foreground band, because this is a treatment over the whole picture).