# updraftShots UPDRAFT's fifteen camera set-ups, as data. `film.updraftFilm` reads `definition()` on every `play()` and ticks the resulting cutscene runtime at a fixed 1/24 s, so **retuning a shot means editing this table** — never calling `cutscene.play`. ## The cut 96 seconds, five movements, boundaries at **19 / 38 / 64 / 83**. | Mv | Shots | Window | |----|-------|--------| | I | 1–3 | 0–19 | | II | 4–6 | 19–38 | | III | 7–10 | 38–64 | | IV | 11–13 | 64–83 | | V | 14–15 | 83–96 | `windows()` derives the per-shot windows from the durations. `evaluate(t)` gives the eye, the look point and the lens at any film second without playing anything — the way to check a frame while authoring. ## `check()` — the three things that must stay true Call it; an empty list is the pass. 1. **The cut.** The fifteen durations sum to `Film.DURATION` and the movement boundaries land on 19 / 38 / 64 / 83 exactly. 2. **The repeat.** Shot 12 IS shot 2's set-up — the *same three tables*, shared by reference, not a copy. The film turns on that frame reading as one camera in two different buildings, and a copy would let one of them be nudged and quietly break the rhyme. `check()` compares them with `rawequal`. 3. **Nothing in the masonry.** No camera anchor stands between `shelfFace` and the outer wall. The shaft is clear inside `walkwayInner`, the walkway runs out to `shelfFace`, and past `innerRadius` is stone. ## Anchors — how to make a shot track something that moves A shot's `pos` / `look` is a world position, a list of them the camera travels along, or **the name of an entity**, resolved on the frame it is drawn. Four subjects in this film would rather track than guess, and `M.ANCHORS` names them: | Key | Entity name | Used by | |---|---|---| | `folio` | `FilmFolio` | shot 1's look — the open folio on Desk 7 | | `lamp3` | `FilmLamp3` | shot 4's look — the oil lamp that cracks | | `fallingMass` | `FilmFallingMass` | shot 10's look — the twelve metres of Gallery 12 | | `skyFolio` | `FilmSkyFolio` | shot 15's near look — the same folio, burning, at 400 m | **Spawn an entity under one of those names and the camera locks to it for free.** Until one exists the shot frames a world position instead, so nothing is refused for naming something that has not been built yet — `definition()` re-resolves every anchor on every play. ## Two set-ups that are deliberately not obvious - **Shot 3** dollies the Gallery 14 ring as a three-point polyline at r = 15.2, between the brass rail and the shelf face. A straight move between its two ends would cut the chord through the shelving. - **Shot 15** racks off the folio and down onto the tower as **hold, rack, hold** — each anchor repeated, so a third of the shot sits on the burning page, a third swings, and a third sits on the tower. A two-point look interpolates the aim point across three hundred metres of empty air and spends the middle of the shot framing neither end of it. ## What this module does not own The clock, the curves and the registry are `film.updraftFilm`. The sound is `film.updraftSound`, which shares this slice and reads `M.shots` directly to put the scene's `Listener` on the lens every frame.

# updraftFilm <!-- zero:scaffolded-readme --> <!-- Replace the line below with what this module provides and who consumes it, then delete both comment lines. --> TODO: describe this module.

# updraftGrade UPDRAFT's grade, in the two halves that answer different questions. **The base look** is a 32-entry colour cube — one fixed, non-linear transform of the whole image that never changes across the film. Shadows are pulled toward the cold blue of the moon, highlights toward the bone-white of burning paper, and the toe is lifted a fraction so black reads as ink rather than as a hole. A shape that never changes belongs in a table read by trilinear interpolation: it costs the same eight texel reads whatever it does. `installBase()` bakes it and installs it as the texture the `lut` post effect reads; `transform(r, g, b)` is the same function in Luau, so a value can be checked without rendering a frame. **The movement correction** is four numbers per movement — brightness, contrast, saturation and a tint — cross-faded across each boundary so the grade arrives rather than cuts. It carries the arc: Movement I is desaturated almost to monochrome and cold, Movement IV is warm and lets the colour back in, Movement V is cold again with almost nothing left in the frame to be coloured. `at(t)` returns the correction in force at a film time, already faded. Read by `film.updraftLook`, which pushes the correction onto the `color_correction` post effect each frame.