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* feat: bundle standalone taste distillation and application workflows * docs: fix imported taste skill markdown lint * docs: align Turkish agent catalog with taste skills * refactor: make ECC the canonical reusable video engine * fix: preserve video duration when applying image overlays * fix: preserve background colors in image compositing * fix: report best-effort duration targets and shortfalls * feat: ship verified Fusion presets with compatibility provenance * feat(tasteforge): preserve native edits in application bundles * feat(tasteforge): compile local preservation without hosted input * fix: update js-yaml to patched 4.3.2 * test: report bounded Stop wrapper failure diagnostics * fix(tasteforge): fail closed on unsafe output names, missing overlays and cadence - cli: default report and spec paths are derived from pack name and profile genre; require the manifest's name pattern before using either as a filename part so a traversal string cannot write outside cwd/out. - apply_local: a pack without cadence.json, or with no measured shots and no explicit mean_shot, raises instead of silently planning 1.0s shots and reporting a measured cadence. - legacy apply: a missing overlay aborts before any paid upload; forge() would have rejected it after every take was generated. - requirements-live: pin fal-client>=0.13.0, the first release whose subscribe() accepts client_timeout. Addresses the five P1 findings from the independent review of #3033. Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_015fxHRsydPqEcYngGbqkgt1 --------- Co-authored-by: Claude Fable 5.1 <noreply@anthropic.com>
199 lines
8.5 KiB
Markdown
199 lines
8.5 KiB
Markdown
# flashethereal — handoff to Resolve and Blender
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Everything below is measured from your three reference clips, not chosen. Where
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a number appears, it came out of `mint.py` and is reproducible by re-running it.
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---
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## 1. What you have been given
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| File | What it is |
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| `FINAL_v3.mp4` | Viewing copy. 33 shots, 14.12s, 1280x720 @ 24fps. **Do not grade this** — every cut is baked in. Passes all 7 verification checks. |
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| `FINAL_v3.fcpxml` | The same 33 cuts as a real timeline. **This is the working file.** |
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| `FINAL_v3.edl` | Same timeline, CMX3600, for anything that will not take FCPXML. |
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| `out/forge_work/` | The individual graded shot files the timeline points at. **Deleting this breaks the timeline** even though the mp4 still plays. |
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| `stylepacks/flashethereal/look.cube` | 33³ node LUT. Validated: 35,937 rows, in gamut, monotonic neutral axis. |
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| `stylepacks/flashethereal/plates/` | Screen-blend overlay elements on black. No keying needed. |
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| `stylepacks/flashethereal/stills/` | Full-res frames from the longest shots. |
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## 2. DaVinci Resolve
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### Import
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```
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File > Import > Timeline > Pre-Conformed EDL / FCPXML → FINAL_v3.fcpxml
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```
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It lands as 24 clips at 1280x720 / 24fps, contiguous, no gaps — verified: total
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timeline length 14.542s matches the mp4 to the millisecond, 0 dangling asset
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references, all 24 media files present.
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Set the project to **24 fps before importing.** Resolve locks timeline frame
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rate on first timeline creation and will silently conform the cadence if the
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project is at 23.976 or 30. At a 0.66s mean shot length that conform is visible.
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### The LUT, and where it goes
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`look.cube` is a **normalising** LUT: it takes neutral footage to the reference's
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grade. It is not a creative look on top of a grade.
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Node order on the clip:
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```
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[1] look.cube ← 3D LUT, node 1, nothing before it
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[2] your adjustments ← exposure/balance corrections, after
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[3] creative ← anything you want on top
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```
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Put it in `~/Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT/`
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(macOS) or `%APPDATA%\Blackmagic Design\DaVinci Resolve\Support\LUT\` (Windows),
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then right-click node 1 → 3D LUT → flashethereal.
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**The shots in `forge_work/` are already graded.** The LUT is there for new
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material you cut in, and for matching. If you apply it to the supplied shots you
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will double-grade them.
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### What the grade is
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| | Measured |
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|---|---|
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| Contrast (std L\*) | **34.55** |
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| Black point (1st pct) | **0.00** |
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| White point (99th pct) | **99.66** |
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| Background (share below L\*10) | **26.3%** |
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| Grain sigma | 0.0071 |
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Chroma by luminance zone — this is the whole identity, and it lives in the
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**lower midtones**, not globally:
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| Zone | a\* | b\* | chroma |
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|---|---|---|---|
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| L\*≈7.5 | −0.22 | −0.41 | 0.5 — neutral |
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| **L\*≈25** | **+19.75** | **−14.20** | **24.3 — violet/orchid, the signature** |
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| L\*≈45 | +18.16 | −6.75 | 19.4 |
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| L\*≈65 | +2.03 | −4.22 | 4.7 |
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| L\*≈87.5 | +1.16 | −1.08 | 1.6 — neutral |
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Near-neutral at both ends, violet through the shadows and low mids. If you pull
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a global tint you will destroy this — the ends are supposed to stay clean.
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Accent in the palette: `#2938e7` electric blue, which is a separate accent, not
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part of the cast.
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### The cut
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| | Reference | Delivered cut |
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|---|---|---|
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| Shots | 77 | 33 |
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| Mean shot | 0.78s | 0.74s (5% off) |
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| Median shot | 0.47s | — |
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| p25 / p75 | 0.33s / 0.75s | — |
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| Cuts/min | 77 | 81 |
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| Rhythm variance (std/mean) | 1.06 | — |
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Variance of 1.06 means this is **not metronomic** — long holds punctuated by
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very fast runs. If you retime, keep the variance; evenly spaced cuts at the same
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average will read completely differently.
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The delivered cut runs 5% faster than the reference, which is inside tolerance.
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**The borrowed shots are UI-cropped.** The references are screen recordings with
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a like button, a view counter and a comment bubble baked into the pixels; an
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earlier cut shipped all of it. The crop is detected per clip (74% wide x 85%
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tall on this one) from edge energy in the temporal median, and the result is
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scaled to cover rather than padded, so there are no black bars.
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### Overlay plates
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`plates/*/glow_*.png` and `streak_*.png` are elements lifted onto black, sized
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so they cover 2–12% of frame. Composite mode **Screen** (or Add) — they are
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premultiplied against black, so the blacks drop out with no keying and no matte.
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They are used in the delivered cut every 3rd shot at 0.30 base opacity, each
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one tightened to its own content and placed at a varied scale, position and
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rotation. That variation is deliberate: one plate in one spot every Nth shot
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reads as a watermark, which is how the first cut looked.
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`plates/r0/grain.png` is the reference's measured grain at sigma 0.0071. Use
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**Overlay** blend, not Screen. Generated footage is conspicuously clean and a
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clean image graded toward a grainy reference still does not read as the
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reference.
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---
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## 3. Blender
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```bash
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blender -b --python blender_prop.py -- \
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--pack stylepacks/flashethereal \
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--mesh stylepacks/flashethereal/props/<prop>.glb \
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--out out/prop.blend --render out/prop_frames
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```
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Drop `-b` to keep the UI open and keep working in the scene.
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The script derives its lighting from the pack rather than guessing:
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- **World is black, film transparent.** The references are 26% pure black; a
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grey world would light the prop from all directions and kill the silhouette.
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Transparent film means the render composites straight over footage.
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- **Key + rim, no fill.** With a key alone the silhouette dies against black
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wherever the surface turns away.
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- **Rim colour is the pack's signature zone**, Lab→linear sRGB — for this pack
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`(0.392, 0.236, 0.401)`, the same violet the footage is graded to. The prop
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picks up the cast instead of you matching it by eye.
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- **View transform is Standard, not AgX/Filmic**, and there is no grading in
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Blender. `look.cube` is the single source of truth; AgX would apply its own
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tone curve before the LUT ever saw the pixels, and grading twice compounds.
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### The prop that ships with this pack
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`props/helmet.glb` is real: 300,000 faces, 168,217 verts, one geometry, full PBR
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material set (baseColor + metallicRoughness + normal). Minted live. Also in the
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folder: `helmet_plate.png` (the generated reference image it was built from) and
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`helmet_preview.png`. `props/_dryrun_placeholders/` holds the old stub files —
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they are text, not meshes, and can be deleted.
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`turntables/helmet.mp4` is a 72-frame / 3s turntable rendered locally, and
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`out/helmet_graded_cut.mp4` is that turntable graded with the pack and cut at
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the reference cadence — chroma MAE **1.21**, contrast 23.21 → **31.83**. That is
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the whole point of the 3D branch: once a prop is a turntable it is ordinary
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footage and every downstream stage already handles it.
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To mint another (~$0.68), **use the two-step path**:
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```bash
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python mint3d.py --genre flashethereal --plate \
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--prompt "a cracked chrome visor" --render
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```
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`--plate` generates a clean single-object image first and meshes *that*. The
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endpoint's own guidance is "simple background, single object, object >50% of
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frame" — the pack's stills are glitch collages with several subjects, which is
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close to the worst possible input, so lifting a prop straight from them yields
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sculpted noise. The extra $0.15 is the difference between a usable mesh and a
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discarded one.
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Multi-view is the other big lever, and it is **named per-angle fields**
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(`back_image_url`, `left_front_image_url`, …) — not a list. A wrong angle label
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is worse than omitting the view, because the model trusts it.
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**fal cannot render a mesh.** Its 3D category only consumes 2D and emits 3D, or
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consumes 3D and emits 3D — there is no `3d-to-image` or `3d-to-video` endpoint at
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all. That is why rendering happens here or in `taste/render3d.py`, and it is not
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an oversight to route around.
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---
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## 4. Things that will bite you
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| Don't | Why |
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| Grade the delivered shots again | They are already graded; the LUT is for new material |
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| Apply a global tint | The signature is zone-local; both ends are meant to stay neutral |
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| Import at 23.976 or 30 fps | Resolve conforms silently and the cadence goes with it |
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| Delete `out/forge_work/` | The timeline references those files by absolute path |
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| Space the cuts evenly | Variance 1.06 is the rhythm; the average alone is not |
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| Screen the grain plate | Grain wants Overlay; Screen lifts the blacks you just protected |
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| Trust the mp4 as a master | It is a viewing copy with every cut baked in |
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