# deadlight.cut.sound The whole sound of DEADLIGHT: three beds, three score cues and twenty-two one-shots, every one of them mixed against `Film.t`. ## The layers - **Beds** run for the whole film and are never retriggered, only faded. The surface wash dies over the first ninety metres of depth; the abyss pressure bed comes up behind it and never leaves; the thruster is spatial and rides `Film.subPoseAt(t)`; the silt roar is spatial and exists only where the vehicle has disturbed something. - **Score** is three looping cues — descent, the ship, the leaving — crossfaded across the cuts at 24 s and 70 s, with a 62% duck through the reach in shot 13 and an 80% fade out over the last eight seconds. - **One-shots** are re-cued by writing `state`, and each fires exactly once at its own film time. The two that matter land on shot boundaries: the swell at 32.0 s opens shot 6 (the bow) and the ballast vent at 84.0 s opens shot 14 (the leaving). ## Spatial and not The listener rides `FilmCamera`, so a spatial source is heard from where the camera is standing. The thruster (`maxDistance` 95 m, rolloff 1.6), the silt, the hull ticks and the bioluminescent flash are spatial. The beds, the score, the sonar and the comms are not: they are the film's own room. Nobody speaks in this film. The comms clip is the carrier opening and closing and a two-tone acknowledgement — no words. ## The clips are synthesised Thirteen `.soundClip` assets, generated from a deterministic 32-bit LCG so a re-bake is bit-identical, at 24 kHz mono. Looping clips are closed with an equal-power crossfade of the tail over the head so the seam does not tick. `Sound.bake()` is an **authoring** step, not a runtime one: it resolves what is there and generates only what is missing. `ensure()` never generates. Run `bake()` once, commit the assets. ## Reading it ```luau require("deadlight.cut.sound").report() ``` returns the mixer channels and, per source, its gain, its channel, whether it is spatial and where it is standing.

# film The shared constants and the film clock for DEADLIGHT. Every slice of the demo reads this module and nothing restates its numbers. It holds three things: - The timing spine — the 14 shots, their durations and their windows. `Film.SHOTS`, `Film.shotAt(t)`, `Film.window(n)`, `Film.movementAt(t)`. Durations live here and nowhere else. - The world contract — the shared coordinate frame (`Film.WORLD`), the named entities each slice owns (`Film.NAMES`), the submersible's contracted path (`Film.SUB_PATH` / `Film.subPoseAt(t)`), the anchor fallbacks that let the film play while it is still being built (`Film.ANCHORS`), the palette (`Film.PALETTE`) and the water's optics (`Film.WATER`). - The clock — a fixed 1/24 s step advanced once per RENDERED frame by `deadlight.FilmDirector`, never from wall time. 2,256 rendered frames is exactly the 94-second film, every time. ```luau local Film = require("deadlight.film") Film.restart() -- t := 0, every slice resets, playing := true Film.seek(48.0) -- deterministic scrub to a moment Film.status() -- where the film is and who has joined it Film.register("abyss", { -- join from your own component's awake() reset = function() end, tick = function(t, dt) end, shot = function(n, tLocal) end, }) ``` Handlers run inside `pcall`, so one slice erroring cannot stop the film for the others. Registering a name twice replaces its handlers.

# deadlight.cut.look The grade of DEADLIGHT. Lens, meter, colour and grain, all as functions of `Film.t`. ## The chain - **DepthOfField** — `focalLength` is derived from the shot's own field of view against a 24 mm sensor (84 deg becomes 13 mm, 24 deg becomes 56 mm) and `focusDistance` is the distance from the eye to the point the shot is aimed at, both read off `cutscene.path`. A lens is never authored twice. Shots 7, 10, 12 and 13 run between f/1.8 and f/2.8. - **MotionBlur** — a 180 degree shutter for the whole film, which at 24 frames is a 1/48 s exposure. - **AutoExposure** — a meter, but integrated on the fixed 1/24 s step rather than adapted from the frame, so its travel repeats bit for bit. It runs from -8.1 stops under the sunlit surface to +6.8 in the last shot: **fifteen stops**, opening at 0.95 stops per second and closing at 3.2, which is what makes the travel visible in shots 2 to 4 rather than instant. - **dl_lut** — one of three 32-entry tables, cut at the movement boundaries. Both cuts land on shot boundaries (t = 24 and t = 70), so the swap happens on an edit and is invisible. - **dl_vignette** — opens from 0.16 to 0.44 across the film. - **LensFx** — the flare, huge on the sunball in movement I and small on a lamp afterwards, and the grain, which grows with `Film.depthAt(t)` from 0.010 at the surface to 0.055 on the bottom. ## The three tables | table | movement | what it does | |---|---|---| | `dl_lut_descent` | I | cobalt and rich — the last colour in the film | | `dl_lut_ship` | II | crushed black, warm mids, so lamplit rust reads ochre | | `dl_lut_leaving` | III | the same darkness, desaturated: emptier | ## Reading it ```luau require("deadlight.cut.look").report() ``` returns the shot, the field of view, the derived focal length, the focus distance, the aperture, the meter's current stop, the grain, and which table is bound. ## Where it lives Four render-feature components on one entity, `CutGrade`, spawned lazily and marked temporary. The tables are `.texture` assets under `/source/deadlight/cut/luts`, authored once and resolved by literal name afterwards.