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sound: the score, the still's ambience and both voices The music bed counted in eight, the ambience of the still, twenty one-shots, the mix, the shared clip library, and the sixteen spoken lines. - audio/Synth.module the bake-time DSP kit: an oscillator/noise voice through an envelope and a swept filter, whole-track passes, and the two things that make a loop seamless without loop points (frequency snapping, tail wrapping) - audio/Script.module the words, the one place they are written - audio/Clips.module the shared sound library other slices register into, plus the script read-through staging asks for text, speaker and measured duration - audio/clips/ bed_music (19.2s), amb_still (12.8s), amb_room (11.0s), and 20 one-shots - audio/voice/ all 16 lines, the chemist over a radio, the column pitched onto a machine's clock and ring-modulated onto a carrier - Score.component the runtime: three background sources, the voice, ducking, the bed's arc up the column, the wetness alarm, and the mix Both looping beds are stored as pcm and loop end to end: the step across the loop point is 3.8% of the largest step inside the bed. --- column: the still — eight sieve trays, the glass, the brass, and every light in it The landmark the camera keeps returning to, built as children of the Column host from Still.module's geometry. - env/ColumnGeometry.module the mesh kit: surfaces of revolution, a polar-grid deck that carries a hole where a riser passes through, tubes, annuli and boxes, all accumulating into one merged mesh per part - env/still_metal.shader tarnished brass and blackened iron, with a perforation field that turns a flat deck into a sieve tray, and a per-instance lane so one material serves eight risers at eight brightnesses - env/still_glass.shader the column wall: beaded condensation gated by vertical run marks, a rim that carries the light, two-sided - env/still_haze.shader a sleeve of vapour, brightest where the view grazes it - Column.component eight trays with their weirs, bubble caps, ribs and skirt brackets; the brass cage of every riser; six hooded wall lamps and eight pilots per plate; the reboiler and its fire; the condenser head and the seal It kills the default sky, sets the clear colour to near black, drops the ambient to a cold violet, adds fog, bloom, an ACES tonemap and a vignette, and bakes the interior into the reflection environment once — a metal with nothing to reflect renders black, and this still is all metal. The annulus between the tray shelf and the wall is left open: it is the channel the shaft is read through, so a camera near the wall sees the rims of the plates above receding into the dark. --- staging: the camera, and the five moments the run is remembered by The playing shot stands ACROSS the column from the ketyl and solves its own radius from the axis, so the subject is always the same size, the shaft and the plate above are always behind it, and the eye never passes through the glass. Distance and lens come from the live screen: a wide screen holds the same vertical box and gains margin at the sides, and a screen taller than 3:4 opens the lens rather than retreating through the wall. Five cutscenes on core's events: the opening cut to core's own intro clock, the push onto a lighting riser, the ascent, the seal and the quench. Each cues its spoken lines by id and never writes the words. Every moment but the opening is skippable from a key, a pad button and an on-screen button. Three synthesised camera sounds under the beats. --- ketyl: the radical as a benzophenone molecule of light — core, rings, corona, trail, discharge and its own hum --- column: balance the still's value — brass that reads, a riser that is dark until it opens The closed riser was the brightest fixture in the shaft, which is the signal the open one is supposed to carry, and the bubble caps were reading as black silhouettes rather than as brass. - still_riser_glow a near-black body, so the shut riser is a dark throat and the violet is entirely the emissive the open state pulses - still_brass / still_tray more of the light answers as diffuse, so a dome lit from overhead reads as metal at the shallow angle the gameplay camera holds - the plate lamp reaches the tray's whole radius, and a second lamp low and off to one side rakes across it so the perforations and the caps cast their own length - the fog sits lighter on the blacks A 1080x1440 capture standing on plate 1 comes back at luma.spread 93, and 67 from the annulus on plate 4.
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