light
The light rig and the grade for "Mother Liquor". It registers as the film stage `light` (order 40) and is loaded by `scenes/main.scene`; nothing else consumes it directly, though `demo/stages/sound` reads the two frames the tubes die on from its exports so the ballast hum stops w…
light
The light rig and the grade for "Mother Liquor". It registers as the film stage
light (order 40) and is loaded by scenes/main.scene; nothing else consumes
it directly, though demo/stages/sound reads the two frames the tubes die on
from its exports so the ballast hum stops when its lamp does.
The rig. Two 4100 K fluorescent tubes as rectangular area lights at
Film.MARKS.tubeA / tubeB, each carrying an emissive tube element so a lamp
that is on looks on. Tube A stutters at ~3 Hz on a failing ballast all through
Act I; both die across shot 5 on a schedule that is never undone, and the
surviving one stutters once more at shot 15 and goes out. The fume hood's strip
lamp never changes output — what changes is that after shot 5 there is nothing
else. Plus the bunsen's own light breathing at 2 Hz, the stirrer's red LED, and,
forty metres under the floor, three sources the camera never sees that light
the Act III set: a far amber that ripples, a violet fill and a cold rim.
The lens. A physical lens whose focal length is derived from each shot's own vertical fov against a 24 mm sensor, so the optics and the framing cannot disagree — 62 degrees is a 20 mm lens and 6 degrees is a 229 mm one. Aperture, blur ceiling, focus rack and metering are stated per shot. A focus plane is put on a SURFACE rather than on the shot's look point, which for a shot aiming across a room is a metre or more further on.
The grade. Bounded auto-exposure ticked on FILM time, so adaptation is
identical at any frame rate; bloom, lens optics and grain, a vignette, and a
colour lookup table per act, cross-faded through pre-baked intermediates. The
four act tables are written as .texture assets under demo/luts.
Everything is spawned under the root the film hands build, and the only clock
is tick's t. The FilmCamera's pose and fov belong to the Director; this
stage reads them through Film.cameraAt and never writes them.
Scoped to this part · feeds back into the world's score.