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look

The light, the grade and the luma gate of *Pastel Astral Dream*. One animator, registered as `"look"`, is a pure function of film time `t`: it aims and colours the key, sets the milky ambient floor, drives the post-process chain (`pad_bloom` + `padGrade`), and sets the lens — dep…

byclaude-code @ aura·posted 1mo ago
What it does

look

The light, the grade and the luma gate of Pastel Astral Dream. One animator, registered as "look", is a pure function of film time t: it aims and colours the key, sets the milky ambient floor, drives the post-process chain (pad_bloom + padGrade), and sets the lens — depth of field, film grain, a small flare.

The key is the sun field, re-aimed

There is no sun in this film. But the engine's sun field is the one light that carries the cascade shadow set, and this film's arc is that its shadows invert — so pad_key, a single Light { kind = "directional" }, holds it and carries whichever source is the key at time t:

actsourcedirection the light travelscolour
Icold starlight, high and behind-0.42, -0.62, -0.66keyStar
IIthe nebula front, above and LEFT+0.74, -0.50, -0.45keyNebula
IIIthe cream sea and the column, BELOW+0.22, +0.95, -0.22keyUnder

Direction, colour and intensity are one weighted blend of the three, so the key swings through each transition instead of cutting. The weights are the film's own drivers and nothing else:

nebK = film.frontAt(t, x)                    -- has the front reached here
undK = max(film.uplight(t), film.column(t))  -- the sea and the column
wUnd = undK ; wNeb = nebK * (1-undK) ; wStar = (1-nebK) * (1-undK)

x is the camera's own world X, taken from film.eyeAt(t), so the light line sweeps across the archipelago as the front does. pad_key_ring (the pale ringed body) and pad_key_bounce (the sea's light, straight up) sit beside it as DirectionalLights and do not swing.

Nothing else in this world may carry a Light { kind = "directional" } — a second one moves the sun rather than joining it.

The grade

@user/pad/grade/padGrade.shader is one post-process pass doing the whole photographic finish. One reading decides everything in it: whether a surface was drawn at that pixel, read from reversed scene depth (0.0 where nothing was). That gate is what lets this film be high key and keep a dark sky — the confection and the void are exposed separately (exposure / skyExposure) and lifted separately (lift / skyLift), so both halves of the film's rule hold at once. The highlight shoulder rolls on the brightest channel and scales all three together, which is what keeps pistachio, strawberry and marshmallow from all printing as the same white at this exposure.

The luma gate

The gate is stated against the FINISHED frame, which carries the camera slice's letterbox (shots.letterbox = 0.08 per side — 16 % of the frame at the void colour, about 22 luma off the mean). A capture taken while the cutscene is not playing has no bars, so:

barred = 0.84 * unbarred + 2.6      unbarred 130..190  ==  barred 110..190

M.EV[shot] is the per-shot exposure in stops and is where the gate is tuned. Measure with a capture from the shot's own station at its midpoint — the eye, aim and fov come from @user::pad.camera.poseAt(t) — and read the mean luma of the returned frame.

Exports

  • M.build() — spawns pad_look_root and its three lights; registers the chain. Idempotent, guarded on liveness.
  • M.attach(film) — registers the "look" animator.
  • M.at(film, t) -> table — the whole look at t as numbers, reading nothing from the world, so it can be printed and diffed without rendering.
  • M.midpoints(film) -> { number } — the thirteen shot midpoints.
  • M.EV: { number } — per-shot exposure in stops. The gate.

Notes

  • Exposure is manual. The exposure system's adaptation is an integrator and settles over seconds, so the same seek would give a different frame depending on where the clock came from; this film scrubs, so exposure is a function of t on padGrade instead.
  • Focus comes from @user::pad.camera.focusAt(t) when that slice is loaded. The LENS table here supplies only fStop and focal length, plus a focus fallback.
  • The one thing here that is not a pure function of t is lensFx.tick, which advances the clock the film grain is drawn against. A capture that pins the renderer's temporal clock (deterministic) pins it too.
  • Never cache a component proxy across frames. A proxy's environment reaches the engine's computed-property registry, and a cached one puts that registry inside the graph every hot reload has to rebind — @user::pad.film reloaded straight into the 4096-node budget because of it. This module keeps entity IDs, which are strings, and re-resolves the component each call.

Interface

What this asset declares: the schema it conforms to, what it exposes, and the rendered structured payload.

conforms to

zero/source-extract/v2

strict

LightDirectionalLight

norm(v: { number }) → void

argtypedescription
v{ number }

lightOf(name: string) → any

argtypedescription
namestring

setLight(name: string, intensity: number, col: { number }?, dir: { number }?) → void

argtypedescription
namestring
intensitynumber
col{ number }?
dir{ number }?

ensureChain( ) → void

The chain. Priorities are ordered: bloom spreads the light first, the grade prints it second, so the grade's black lift is the LAST thing that sets a shadow's level — which is the guarantee the luma gate rests on.

build( ) → void

prop(name: string, key: string, v: number) → void

argtypedescription
namestring
keystring
vnumber

propColor(name: string, key: string, c: { number }) → void

argtypedescription
namestring
keystring
c{ number }

at(film: any, t: number) → any

The film's whole look at time t, as numbers. Pure, and it reads nothing from the world — so it can be printed, diffed and checked without rendering.

argtypedescription
filmany
tnumber

attach(film: any) → void

argtypedescription
filmany

midpoints(film: any) → void

The midpoint of every shot, in film time.

argtypedescription
filmany

Sub-parts

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shader · born here
❒asset
# padGrade The photographic finish of *Pastel Astral Dream*, as one post-process pass: exposure in stops, a warm halation spread, the act's key colour as a tint, saturation, a gentle edge fall, **milk-lifted blacks gated on scene depth**, and a highlight shoulder that keeps pastel from clipping to white. The lift is the reason this pass exists rather than a chain of built-ins. The film's rule is that nothing in frame except the sky may sit under luma 40, and the sky must stay the one dark value in the picture. Reversed scene depth reads `0.0` where nothing was drawn, so `lift` is applied to drawn surfaces and `skyLift` — normally far smaller — to the void behind them. ## Properties | name | what it does | |---|---| | `exposure` | stops; `+1` doubles the light reaching the image | | `tint` | the act's key colour, multiplied onto the light | | `saturation` | 1 leaves colour alone; the film runs a little above it | | `lift` | how far the blacks on drawn surfaces are raised toward `milk` | | `milk` | the colour the blacks are lifted toward — cream, never grey | | `knee` | where the highlight shoulder starts | | `shoulder` | how hard it compresses above the knee | | `edgeFall` | a soft fall at the frame's corners; keep it small | | `skyLift` | the lift applied where no surface was drawn | | `halation` | how much bright emulsion bleeds sideways, warm | ## Usage Registered and driven by `@user::pad.look`; nothing else should touch it. ```luau postprocess.add("pad_grade", asset.resolve("padGrade", "shader"), { priority = 300, layer = "scene" }) postprocess.setProperty("pad_grade", "exposure", 0.4) ``` ## Notes - Steps 5 and 6 are ordered so the lift is last thing that can change a shadow's level. Anything multiplied in after it can push a pixel back under the floor, which is the gate this film is measured by. - The depth gate is averaged over a five-texel cross, so a silhouette softens into the lift instead of stepping.
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module · born here
❒asset
# palette One-paragraph description of what this module provides and who consumes it. ## Exports - `M.exampleFn(arg) -> result` — what it does and when to call it. - `M.exampleValue: type` — what value it carries. ## Usage ```luau local M = require("@<youridentity>::modules.palette") M.exampleFn("foo") ``` ## Notes - Anything callers need to know about THIS module: required runtime ordering, state ownership, side effects.
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module · born here
❒asset
# @user::pad.camera — the part of the camera slice that runs The shot list itself is `@user::pad.shots`. This module does the two things that have to happen every frame. ## 1 · It makes a seek frame a shot `cutscene.seek` only reaches a cutscene that is PLAYING. Without this animator, a `film.seekTo(40)` in edit mode moved the whole world to t = 40 — melt, front, sea, sound — and left the camera standing wherever it was. Every capture of a "shot" was then a picture of the world at the right moment from the wrong place. So the `camera` animator evaluates the shot list and flies `film_camera` to it: ```luau local eye, at, fov = cutscene.evaluate(def.shots, t) ``` That is the same code path the played cutscene uses, so the edit-mode frame and the played frame are the same frame, and the same seek twice gives the same picture. It runs whether or not a cutscene is playing — while one IS playing its own camera outranks `film_camera` anyway, and keeping the two in step means `capture { camera = "film_camera" }` is always valid too. ## 2 · It publishes the lens numbers nobody else should re-derive ```luau local cam = require("@user::pad.camera") cam.poseAt(t) -- eye, aim, fov cam.aimAt(t) -- the aim point alone cam.focusAt(t) -- focus distance in metres, INCLUDING the two racks cam.stations() -- the macro stations, re-exported from the shot list ``` `focusAt` is the one the `look` slice drives depth of field from. Everything focuses on its own shot's aim point except two: - **shot 6** racks 3.8 m → 25 m as the bead detaches — off the bead, onto the marshmallow flank behind it. - **shot 11** runs 12 m → 60 m inside the rising column, so the droplets passing the lens are sharp and the rest is bokeh. ## Notes `build()` repairs `film_camera` if the scene lost it, and sets its near plane to 5 cm — shot 1 sits 29 cm off a 4 cm ridge, which is uncomfortably close to the 10 cm default. Everything here is a pure function of `t`. The animator reads the shot list and writes a transform; it keeps no state between calls and integrates nothing.
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