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• What version rule does the Rive runtime enforce on .riv files, and what is the runtime licence? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At rive-runtime 91a25f40 (runtime-v0.1.604) the importer rejects files whose major version differs from 7 (two major-only checks) and accepts minor differences; the runtime repository is MIT-licensed. This says nothing about the Rive editor or hosted service terms.
• What does Spine document about its JSON/binary export, version compatibility with runtimes, and runtime licensing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Spine's versioning page says the editor major.minor used for export must always match the Spine Runtimes version; the Spine Runtimes License (last updated April 5, 2025) ties use of the runtimes to Spine Editor licences held by each user of the Products.
• What do the OS/2 fsType bits mean for embedding, and what do fontTools and fontbakery report or enforce about them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  fontbakery v1.1.0 requires fsType 0 in its googlefonts profile and 8 in its microsoft profile (profile-specific, not a contradiction in the spec). No file in the fontTools 4.67.0 subset package mentions fsType or embedding, so the subsetter does not consult bit 8 (no subsetting) by code reading.
• Where does Google Fonts record which licence a font family uses, and what are the possible values? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In google/fonts at 45e3d526 the top-level directory indicates the licence of the files within it, and the METADATA spec (gf-docs 8ad6ca1e) lists APACHE2, OFL and UFL as license values.
• Beneath the guild and union agreements, what statutory rest and meal floors do the UK Working Time Regulations and California's motion picture wage order state, and which of the two names the motion picture industry? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UK Working Time Regulations reg. 10 (11 consecutive hours daily rest) and reg. 12 (rest break when daily working time exceeds six hours; 20 minutes absent an agreement) as served on 2026-10-21; California IWC Order 12-2001 applies to the motion picture industry and states a 30-minute to one-hour meal period, a 16-hour daily maximum including meals, and exempts administrative, executive and professional employees from the hours sections.
• What turnaround, weekend rest, meal-timing and meal-penalty numbers does the IATSE Local 212 (Alberta) 2024-2027 motion picture agreement state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The IATSE Local 212 (Alberta) 2024-2027 agreement as hosted by Negotech states a 10-hour minimum rest between shifts, 54 hours on a five-day week (reducible to 52 under conditions), 34 hours on a six-day week, 74 hours on a three-day break, encroachment paid on the invaded hours only, a $3.00 per tenth-hour meal penalty and a nine-hour limit without a meal.
• At Godot 4.7.2-stable, how do resource UIDs (.uid sidecars, uid in .tscn/.tres headers and in .import) keep references stable, and what happens when files are moved, renamed or copied outside the editor? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Godot 4.7.2-stable (ed1daf0b), resources whose loader lacks custom UID support keep their UID in a '<file>.uid' sidecar, created only when none exists; text resources resolve ext_resource references UID-first and fall back to the stored path with an 'invalid UID ... using text path instead' warning; the UID registry is cached in uid_cache.bin under the project data path; the class docs state the sidecar rule.
• How is an HDR still stored as an SDR JPEG plus gain map (Ultra HDR / Adobe gain map / ISO 21496-1), and what colour-profile and metadata rules decide what a reader reconstructs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Android's Ultra HDR specification says the SDR primary image's colour profile defines the HDR image's colour space and that Ultra HDR and ISO 21496-1 gain-map metadata can share one gain-map image in a JPEG; AVIF 1.2 allows a tmap derived image item grouped with the base item; libjxl defines a jhgm box whose metadata is an ISO 21496-1 blob - three container families for gain maps.
• When a screenplay with locked scene numbers moves between Trelby, Starc, Beat and afterwriting, where are the numbers written and where are they read? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the pinned commits, Starc (when its scene-number option is on) and Beat write a Number attribute on FDX scene-heading paragraphs, Trelby writes none, and none of the four importers read (Starc, Beat outside tag definitions, Trelby, afterwriting) take a scene Number from FDX, so locked scene numbers such as 12A are at risk of renumbering on any FDX round trip through these tools (static reading).
• Equation by equation, does the OpenEXR repository's TheoryDeepPixels.rst match the 2018-amended PDF, and where does it differ from the 2013 text? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The rst follows the 2018 form at equations 6-7, omits author/date/amendment context, uses 11 Sphinx labels instead of the PDF's numbered equations, and keeps the merge case-4 typo ('alpha_a=1 and alpha=1'), which implementers should read as alpha_b=1.
• What does Hillman's original paper contain that OpenEXR's current TheoryDeepPixels web page does not show, and are the formulas the same? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The OpenEXR website's TheoryDeepPixels.rst (69b2604f, titled 'Theory of Deep Samples', SPDX BSD-3-Clause) follows the 2018 amendment of Hillman's paper at equations 6-7 (t = T^(1/n)) and keeps the derivation structure, but carries no author, organisation, date or amendment note.
• What is lost or silently changed when converting a LUT between CLF and .cube (ordering, domain, bit depth, interpolation, precision), and how could it be tested with three small files? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Copying a 3D table verbatim between CLF (blue-fastest) and Adobe Cube (red-fastest) transposes the red and blue axes; OCIO's Iridas reader (10a43ec1) converts from red-fastest order and turns DOMAIN_MIN/MAX into a min/max op, while its baker writes only LUT_3D_SIZE and six-decimal data with no DOMAIN lines, so baked .cube files carry no input-domain information (static reading).
• How do the MPEG glTF extensions (MPEG_media, MPEG_buffer_circular, MPEG_accessor_timed, MPEG_texture_video, MPEG_scene_dynamic, MPEG_viewport_recommended) wire timed video, V3C and dynamic scene data into a glTF scene? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Khronos-hosted MPEG glTF extension READMEs (7cee0fcd) are based on ISO/IEC FDIS 23090-14 and define timed media through MPEG_media (alternatives with required mimeType, listed value video/mp4), a circular buffer (count default 2, minimum 2), a timed accessor that scenes with timed data shall use (suggested update rate default 25) and a video texture (format default RGB); each README states Copyright ISO/IEC 2022 with use subject to ISO's licence and IPR policy, not the repository licence.
• What does the W3C imsc-tests repository contain (TTML source files and reference PNG renderings) and under what licence text can its files be used? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  w3c/imsc-tests (14dfb678) licenses its documents under both the W3C Test Suite License (which grants no right to modify and says tests may not be altered) and the W3C 3-clause BSD licence, at the licensee's choice, unless a document carries another compatible licence; the imsc1 README attributes 58 TTML files to IRT tests under an Apache-2.0 licence and 196 to the W3C TTML and IMSC implementation reports.
• What are the practical SCC/CEA-608 limits (columns, rows, timing, capacity) that public tools document? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  pycaption (ad2ddba8) writes SCC for CEA-608 pop-on, roll-up and paint-on modes on a 32-column, 15-row grid, wraps lines at 32 characters, caps a caption at 80 tokens including 8 control codewords, supports drop-frame and non-drop-frame timecode, and times one codeword at 1/29.97 s (static reading).
• What do Xbox Accessibility Guideline 104 and the Game Accessibility Guidelines require for subtitles and captions in games beyond linear-video rules? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Xbox Accessibility Guideline 104 asks for subtitles for all spoken content with speaker identification and spatial cues, independent on/off toggles for caption types such as dialogue, background dialogue and ambient sounds, lines of no more than about 40 characters, at most two lines, and text scalable to at least 200% of the default; the Game Accessibility Guidelines give 40 characters per line, two lines (three exceptionally) and a 46px-at-1080p minimum size.
• How does OpenUSD UsdVol represent OpenVDB volumes and their animation over time? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At OpenUSD v26.08 (ee47c679), a Volume binds fields through 'field'-prefixed relationships, an OpenVDBAsset field is animated by authoring filePath time samples per frame (the overview example maps frames 101-104 to separate .vdb files) because '$F' pattern substitution is not supported, fieldDataType must be authored (a missing value is an error) and fieldClass maps to OpenVDB grid classes; the same schema file defines ParticleField prims.
• How did Netflix's published M&E true-peak wording change across archived versions of the Sound Mix Specifications, and where does a 2.0 stereo M&E rule live now? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across archived Netflix Sound Mix Specifications (v1.1 2019, v1.4 2022, v1.5 2023, v1.6 2026), every stated M&E ceiling is -2 dB true peak (+18 dBu / -2 dBFS over a -20 dBFS reference); the 5.1 M&E section stated it in 2019 but not in v1.4 onward (by reference via the Atmos rerender rule), the 2.0 stereo M&E section persists in v1.4 although its change log says it was removed in 2020, v1.5 records its removal in 2023, and v1.6 removed Atmos true-peak language.
• What true-peak and loudness limits do Netflix's public sound specifications state for a Music and Effects (M&E) mix? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the Netflix Sound Mix Specifications v1.6 (archived 9 Aug 2026), the 5.1 M&E section states no numeric peak or loudness value of its own; M&E peak compliance is by reference to the Netflix Peak specification, -2.3 dBFS limiter settings are recommendations, and the theatrical 0 dB true-peak allowance belongs to a different deliverable.
• At the replacement Netflix Studio Partner page, how are VFX plates named, versioned and padded, and when is the plate number versus the plate version incremented? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's 'VFX Plate Naming Best Practices' page names plates as shot name + plate number + plate version, then frame number and extension (AGM_104_065_010_PL01_v001.[1001-1058].exr), with versions starting with v and typically 3-4 digits, legal characters limited to letters, digits, period, underscore and hyphen, optional typed or word plate codes, and two options for head/tail extensions.
• At the replacement Netflix Studio Partner page, what fields, separators and padding does the VFX shot and version naming recommendation state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's replacement 'VFX Shot and Version Naming Recommendations' page (fetched 22 Oct 2026) recommends underscore-separated fields in the order showID, episode, seq, scene, shotID#, task, vendorID, version (example AGM_104_TCC_067_0010_comp_NFX_v001), 3-4 digit shot IDs usually incremented by 10, versions beginning with v, and consistent field inclusion across vendors and shots within a project.
• What do ITU-R BT.2100, BT.2408 and BT.2446 specify for PQ/HLG, HDR reference white and HDR-to-SDR conversion, and how do BT.2446 methods A, B and C differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ITU-R BT.2100-3 (Feb 2025) defines PQ as an absolute EOTF up to 10,000 cd/m2 and HLG with a display-dependent system gamma of 1.2 at a 1,000 cd/m2 nominal peak, and sets HDR reference white (100% reflectance card) at 203 cd/m2; Report BT.2408-8 (2024) marks that level as 75% HLG / 58% PQ on a waveform and discusses conversion at a 1,000 cd/m2 reference condition; Report BT.2446-1 (2021) describes static HDR-to-SDR methods (Method B using a 291 cd/m2 nominal peak) and notes that adaptive or dynamic methods exist.
• What preconditions does GGPO state for rollback netcode (determinism, fixed quanta, saveable state), and how does it detect violations? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  GGPO's developer guide (7ddadef8) requires a fully deterministic simulation, fully encapsulated and serializable game state, and the ability to load, save and step one frame without rendering; it recommends (not enforces) a fixed time quantum per frame and separating game state from render state, requires RNG seed and state in the game state, and offers a sync-test session that rolls back one frame every frame and errors on state differences. Its frame-delay thresholds (more than 1 frame noticeable in fighting games; 4-5 tolerable in board/puzzle games) are author judgement without cited measurements.
• Where do the Fountain 1.1 syntax page, an FDX sample, and the BBC Writers format PDFs agree and disagree about screenplay elements, and what could not be read (Nicholl, Final Draft documentation)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Fountain 1.1 (changelog 14 Mar 2014) marks dual dialogue with a trailing caret on the second character cue; the Final Draft sample .fdx expresses it with a DualDialogue XML wrapper and carries (CONT'D) in three character cues (typographic apostrophe) plus an automatic-continueds setting; the BBC film-format sample prescribes layout (double-spaced action, short paragraphs) and says CONT'D is not essential.
• What exactly is stored in a Cryptomatte EXR (hashing, channel layout, manifest) and how should an agent read or write it safely? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Cryptomatte 1.2.0 (repository commit 968d5e4b) suggests 6 ranks in three numbered EXR layers (00-02) with preview channels deprecated, hashes UTF-8 names with MurmurHash3_x86_32, converts to float32 by bit-copy with the exponent clamped to [1:254], supports little-endian only, and gives a test vector ('torus' -> 4053562365, -1.54943624832e+30); OpenEXR's Deep IDs document notes Cryptomatte's fixed per-pixel ID count, FLOAT ID channels that must not be colour-managed or rewritten as HALF, and an ID space just under 2^32.
• Which aces-core commit introduced the peak-scaled lower-hull gamma (1.14 + 0.07*log_peak) in the ACES 2.0 CTL, and what did its message or PR say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In aces-core, commit cd5017c5 (Scott Dyer, 30 Aug 2024) changed lowerHullGamma from the constant 1.14 to 1.14 + 0.07 * log_peak to improve the inverse at higher peak luminance; the 2 Sep 2024 Developer Release 3 changelog records it and says SDR outputs reduce to the former value; the formula is still present (as lower_hull_gamma) at 069b0bc3 (Sep 2026). Documentation stating a constant 1.14 therefore lags the code from at least 30 Aug 2024.
• What colour information survives export to PNG/web, which chunk wins when several are present, and what is assumed when an image is untagged? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  PNG Third Edition (W3C Recommendation, 24 June 2025) ranks colour chunks cICP 1, iCCP 2, sRGB 3, cHRM+gAMA 4 and says the lowest number 'should' take precedence with the others ignored (decoders use the highest-precedence chunk they understand); mDCV is informative mastering-display metadata that must be accompanied by cICP; CSS Color 4 says untagged images must be treated as sRGB.
• What does the ASC Media Hash List v1.0 specification define for hashes, process types, chain of custody and verification when offloading and copying camera media, and what does it leave to tools? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ASC MHL v1.0 (15 Mar 2022) makes manifests immutable, labels each recorded hash original, verified or failed, allows only original or verified hashes for verification, records manifests as transfer, in-place or flatten processes, and defines a hash of hashes over same-algorithm child hashes sorted lexicographically; the ascmhl reference tool v1.2 defaults to xxh128 and prioritises md5 first for verification (tool constants, not specification text).
• How do Ren'Py's save/load, rollback, default statement, after_load label and _version variable work together when a game script changes after players have saves? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Ren'Py's docs (fbf45aa0) say engine-release save compatibility is not guaranteed, only variables changed after init (and defaulted ones) are saved, 'default' fills a variable missing at load, the after_load label can repair data (with renpy.block_rollback), and _version is set once at new-game start and must be updated by the game itself.
• How does SugarCube 2 define what a save contains, what happens when a save from an older story version is loaded, and how can saves be versioned and upgraded? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SugarCube 2 (docs at ba17b123) saves the state as of the last moment, which is created only on passage navigation; loading a save replaces the current state, so variables introduced in StoryInit after the save are undefined; save versioning is opt-in via Config.saves.version (no default) and is only useful with Save.onLoad upgrade handlers.
• What exactly is in an ink save-state JSON and which version numbers gate loading it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At ink 35c63e52 (v1.2.1) a save JSON records inkSaveVersion 10 and inkFormatVersion 21; loading rejects saves without inkSaveVersion or below 8, and compiled stories outside inkVersion 18-21 are rejected with a warning for in-range mismatches. The runtime-format document's example (inkVersion 10) is stale relative to the engine constant (21).
• What rights information does the Europeana Search API expose, and how does its reusability filter relate to rights URIs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Europeana's Search API documentation (archived 13 Apr 2024) offers a reusability filter whose 'open' bucket covers PDM, CC0, CC BY and CC BY-SA and whose 'restricted' bucket covers NC and other restricted statements, with a 'permission' bucket for the rest; the API requires a registered key.
• Addendum to C3-B396-01: what ComfyUI "governance enforcement for custom nodes" does active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  PR #16167 (merged 2026-10-06): normal installs are unchanged (GOVERNANCE_REQUIRED False; initialize returns early). A governed build ships an Ed25519-signed policy that is verified before prestartup scripts, ComfyUI-Manager or any custom node runs (exit on failure). Every custom node pack is checked at prestartup and import against an allowlist (content digest of .py/.pyd/.so/.dll/.dylib/.js etc.) or a blocklist; symlinked, unreadable or bytecode-carrying packs are refused; bytecode writing is disabled; ComfyUI-Manager is turned off under any policy because its prestartup runs pack install scripts before checks; extra model path configs adding custom_nodes folders are still checked; --disabled-nodes-config can hide node ids even on normal installs. Known limit stated: time-of-check/time-of-use - a local process editing a pack between check and import is out of scope. Implication: an organisation can ship a locked-down ComfyUI with only approved nodes; ordinary users gain nothing aut...
• What changed in ComfyUI v0.39-v0.42 (5-19 Oct 2026) that matters to AI video/image production? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  From the GitHub release notes. Camera/shot control: CameraAngle node outputting camera_info and a shot prompt, CreateCameraInfo node + CameraInfoState widget (v0.40.0). Reference/latents: ReferenceMultiLatent node (v0.41.0), latent-geometry nodes, LatentOperationBlend with start/end percent. Colour pipeline: ImageSDRToHDR node (v0.41.0); Save EXR gains 16-bit float and it becomes the default for "exr", EXR compression, EXR previews in assets; higher-quality Save Video encoding defaults (v0.39.0). Local models: MiniMax H3 support work (LightVAE, LynnReal light VAE, tiled VAE blending, single images decoded as first latent), FLUX 3 Image (v0.41.0), MOSS-image (v0.42.0; v0.42.1 fixes crashes in its template), Qwen 3.x/3.5 speedups and low-VRAM fixes, native LoRA stack loader nodes. Operations/security: "governance enforcement for custom nodes" (PR #16167, v0.40.0); new --offline and --disable-partner-nodes flags, --disable-api-nodes deprecated (v0.39.0); cryptography dependency removed...
• PROPOSAL on 1916 practice: which failure modes does Sargent name for motive and plausibility, which are claims and which examples, and what check could an agent run on an outline using only those? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  From Sargent's ch. X, XII and the passages they point to (ch. XI, XXXIII, XLVI) I list ten failure modes: unexplained action, a plot-needed event with no cause, motive held to the denouement, an unreasonable motive, a possible but improbable incident, an extraordinary premise offered as fact, convenient arrivals, overworked conveniences, an unshown enabling trait, and a plant shown too openly. Each is a Sargent claim or a Sargent example, labelled as such. The outline check below is the worker's proposal that applies those 1916 rules; Sargent gives no test and nothing here was run. The check is not a validated detector and the 'average spectator' standard is a 1916 US editor's.
• What does Sargent mean by possible, probable and plausible, and why does he say a true but improbable incident should be cut? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sargent (ch. XII 'Plausibility') says an incident can be explained, prepared for and correctly coloured and still fail because the average spectator will not accept it as a likely thing. His test is acceptance, not truth: 'possible' is not 'probable', and a possible but improbable incident is worse than a fantastic one that is offered as imagination. So he tells writers to prefer a story that sounds true to one that is true, and to drop true events that are too strange. The exemption is a declared fantasy. His examples (Capitol dome, policeman and aeroplane, sea serpent, Verne) illustrate these claims; none is tested. The standard is an editor's account of the 'average spectator' in 1916.
• How early and how openly must a motive or enabling fact be planted before the act that needs it, and how does Sargent treat coincidence and convenient arrivals? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sargent's rule in ch. X (para 7) is that the motive be given clearly in action as the story goes on, not held back for the denouement. The fuller rule is in ch. XLVI 'Preparation for the Event' (outside the assigned chapters): give the explanation in advance, casually, in footage where there is time, because an event with no preparation 'cannot be understood or accepted' yet a plant shown too openly kills suspense. For coincidence, ch. X to XII never use the word (0 of 7 whole-text hits lie in flat chars 96409-118827); Sargent's rule sits in ch. XXXIII paras 21-23: characters cannot just 'happen to be' where the author needs them, so give each arrival its own purpose, and avoid shortcuts such as the death-bed confession. He gives no definition of coincidence, no count and no placement rule. His rules are claims; the Andrew, Frank, John and Henry stories are examples.
• In Sargent's 1916 manual, why must every action in a photoplay have a motive the audience can see, and how does he tell an explained or self-motived action from an unmotived one? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sargent (Technique of the Photoplay, 3rd ed. 1916, ch. X 'Motives') says a character always has a reason, but an audience cannot see it unless the film shows it, so an act that is neither obvious nor explained 'is absurd'. He asks for motives that an audience will accept as 'reasonable and logical', and he gives 'motivation' a second job: every important action must show a definite bearing on the plot and advance it toward the climax. His examples (green-cow drunk, fence beside an open gate, suitor ejected as a drug fiend, plot-needed fire) illustrate these claims; they are not tests. This is one trade editor's 1916 rule set for silent one- and two-reelers, with no measured effect.
• Whose script is the Chapter XX five-reel specimen, what permission statement does the book print for it, and how should an agent treat it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Chapter XX prints 'Everybody's Girl' as adapted from O. Henry's short story 'Brickdust Row' by A. Van Buren Powell and produced in film form by the Vitagraph Company. The only permission statement is footnote 35: 'Used by permission. Copyright, 1918, by the Vitagraph Company of America. All rights reserved.' It gives no licence terms (scope, term, territory, redistribution). The authors say the printed text is the script in the form accepted for production; footnote 60 says it is the script before it reached production. Treat the script as a RIGHTS HOLD: short excerpts with line numbers only, no bulk reproduction, until curation decides. This row concludes no legal clearance and does not decide the status of the O. Henry story, the film or the Gutenberg wrapper.
• What audience-driven changes does the printed Kismet scenario record, and do its marginal notes agree with the reasons Baker gives in Chapter X? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1919 stage practice, one play. Baker says he printed the full Kismet scenario 'chiefly' to show the changes it underwent. In Chapter X he gives two: the love passage of Hajji was moved away from the murder plotting (judged in rehearsal by actor and author to protect audience sympathy), and the torture of Hajji became a blow with the key (the horror was too great 'when acted'). Bracketed marginal notes in the printed scenario (annotator not named) agree on both and add reasons and timing: the scene was split because Hajj 'could not have a love scene' while brooding about the assassination, and the order was altered in rehearsal at an actor's suggestion; the torture was cut 'as too long and too ugly' and altered during rehearsal. Other notes record a scene cut at rehearsal as irrelevant to the story, a scene cut before rehearsal on a friend's suggestion, and a scene enlarged in rehearsal. All of this concerns insiders' judgement in rehearsal, not measured audiences.
• Which of Forster's statements in Ch. VI-VII are general claims and which are his readings of named novels, what does he hedge or exclude, and how do his claims relate (by candidate ID only) to the existing worldbuilding and Forster rows? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1927 criticism, with a worker's map. Forster presents fantasy and prophecy as one 'fantastic-prophetical axis' for books that the usual apparatus of story, people and plot does not fit (E1, E2), and says that for these lectures the tools were laid down (E4). General claims are few: the extra demand on the reader (E16), fantasy leaving the governing forces of the universe untouched (E14), prophecy as tone of voice (E17), and the contrast of fundamental versus incidental confusion (E15). Most of the chapters' length is reading of named novels, and the practical handling remarks sit inside those readings (see -02, -04). He hedges repeatedly: the approach is 'not critically sound' but his heart refuses to assent (E5), books can only be known by reading them (E8), classification is risky (E7), and he keeps a reservation about prophecy (E9). Compared by ID: his reader-demand view differs from Tolkien's world-side consistency criterion (C3-B175-S37-01); his bounded-departure remark (E14) i...
• What does the prophetic tone demand of the writer and the reader according to Forster (1927, ch. VII), and what failure modes does he name for novels, critics and readers? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1927 criticism. Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). Prophetic fiction has a recognisable shape: spasmodic realism and the sensation of song (E14), intermittent realism in the ordinary objects (E12), no reflection and no hammering (E15). The costs and failures he names: the furniture of the novel gets broken (E9, E10); philosophising writers such as Hardy give surveys, not sound (E20); Joyce is too workmanlike (E18, E19); Lawrence also preaches and bullies (E21, E22); readers who mock or obey lose the treasure (E23); turning images into symbols or harmonising the incidents kills the work (E24, E25). He ends with a reservation abou...
• What does Forster (1927, ch. VII) mean by 'prophecy' in a novel, and how does it differ from predicting the future, from preaching and from fantasy? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1927 criticism. Prophecy is not foretelling the future (E1); it is 'a tone of voice' (E4), an accent in the novelist's voice (E2): the novelist 'proposes to sing' rather than say something about the universe (E3). Which faith or view is implied does not matter; the implication is what signifies (E5, E6). He separates preacher from prophet by two readings: in George Eliot God and the furniture 'are all in the same plane', while in Dostoevsky characters stand for more than themselves yet remain individuals (E9, E10, E11, E12); he says the Karamazov world is not a veil and not an allegory (E13). Prophecy faces unity where fantasy 'glances about' (E18), and Forster can name only four writers for it (E19). He admits the lecture 'promises to be so vague and grandiose' (E7), and gives no checklist for recognising the tone.
• What does Forster (1927, ch. VI) claim or show about handling a fantastic element so it stays alive inside a novel, separating his general claims from his readings of Flecker's Magic, Zuleika Dobson, Joseph Andrews, The Magic Flute and Ulysses? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1927 criticism. Forster gives no rule set for making a fantastic element convincing: in Ch. VI the words 'rules', 'plausible' and 'convincing' do not occur and 'consistent' occurs twice (E25). His general claims are that fantasy reaches events but not 'the forces that govern' the universe (E1) and that fantastic novels have an 'improvised air' (E2). The explicit handling remarks sit inside readings of single novels: the true fantasist merges magic and common sense 'by using words that apply to both' (E11); Matson's individual, definite protagonist 'causes the book to grip' (E7); for Zuleika Dobson 'all will depend on the handling' and resting it on one supernatural machine would be 'inept' (E12, E14). The rest is description the worker can read as technique (passengers behaving as if nothing is happening, wish logic escalating by little shocks) that Forster does not label as rules. Failures he names: heavy or thin fantasy from one machine (E14), an unsatisfying ending (E16), fantasy...
• What does E. M. Forster (Aspects of the Novel, 1927, ch. VI) say fantasy is, what does it ask of the reader, and which devices does he list? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  1927 criticism. Forster defines fantasy by the demand it makes on the reader: it asks us 'to pay something, extra' (E2). The fantasist asks the reader first to accept the book as a whole, then to accept certain things in it that could not occur (E3, E4); some readers grant the first and refuse the second, then stop or read coldly (E5, E6), and he says this is no discredit to them (E8). He says fantasy 'implies the supernatural, but need not express it' (E10; Tristram Shandy has none, E11) and lists devices in four groups: a god, ghost, angel, monkey, monster, midget or witch brought into ordinary life; ordinary people put in no man's land, the future, the past, the earth's interior or the fourth dimension; divisions of personality; parody or adaptation (E12, E13, E14). He calls their number strictly limited and says they do not go stale (E15, E16). This passage gives no rule list for making them convincing (see -02).
• Is the 1X world-model challenge data and are the GENIE_138M/35M weights gated or behind a terms-acceptance step on Hugging Face, and what licence label does each repository carry? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At observation (2026-10-22 13:29-13:30Z) the Hugging Face API returned gated:false for all four repositories (tokenised dataset, raw-video dataset, GENIE_138M, GENIE_35M) to unauthenticated GETs; no terms were accepted or needed for the metadata. Licence labels: tokenised data apache-2.0; raw video cc-by-nc-sa-4.0; both GENIE weight repositories apache-2.0; the 1xgpt GitHub repository carries a full Apache-2.0 LICENSE text. Only labels (not licence prose) are present in the Hugging Face repositories, and the dataset ids used in older links now redirect.
• What is the simplest test of whether a character agent refuses facts that the character could not know, and what numbers have been reported with it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two papers use a multiple-choice test with an explicit refusal option. KBF-QA (arXiv 2606.25632v1): for a named character, each question has four answers plus 'I cannot answer this from my own knowledge'; items whose fact the character could witness have a normal gold answer, items it could not witness have the refusal as gold; 4,386 items over eight novels. CHARM (arXiv 2609.01352v1): separate 'is this outside the character's knowledge' yes/no questions and abstention-enabled questions, 40 characters, 2,748 questions. Reported: retrieve-everything RAG recalled 63.8 to 66.4 and refused only 8.7 to 11.3 on KBF-QA; the visibility-bounded ReverieMem refused 81.2; on CHARM GPT-4o recognised the boundary 91.3 percent of the time but still answered in 72.1 percent of cases.
• Which licence terms are recorded for the Unity Recorder package components (source code, other package content, third-party GIF encoder) and what does the Unity Companion License v1.4 text say about use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The package's LICENSE.md (copyright 2022 Unity Technologies) says source code is under the Unity Companion License (UCL) "otherwise" under the Unity Package Distribution License (UPDL); Third Party Notices lists gif.ski as a commercial licence (Kornel Lesinski). The UCL v1.4 text served by unity.com on 2026-10-22 grants copyright rights only in connection with authoring/distributing content under a valid Unity Engine License, bars competitive analysis and competing products, and assigns derivative works of the Work to Unity. UPDL text and gif.ski terms were not read. No legal clearance is concluded.
• Does any openly readable on-set VFX data template record who captured each item (operator/person) and whether it was checked or unverified, and if not what is the nearest documented substitute? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Negative result with partial analogues. In the VES Camera Report spec the only person field is slate-level 'Wrangler' (person entering data); the VES On-Set VFX Data Guide (v1.1.0 file) assigns a Creator role per data item (role names, not persons). Across the pinned VES texts read there is no verified/unverified or checked field; the nearest items are the 'Under Protest' VFX Work flag, the guide's Clips Report 'data confirmation' and the timestamped virtual-production scene snapshot. A synthesis proposal adds 'Tk Captured By' and 'Tk Verification Status' columns, which the spec's own extension rule and sample reader would carry (untested).
• I need a free, ready-made on-set VFX camera report: which fields does the VES form have, what person field exists, and what does it let the wrangler tick as captured? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The VES Camera Report (VES Technology Committee, camerareports.org) is a free Filemaker database, blank paper PDF and CSV interchange spec whose slate/take fields cover lens (focal length, focus distance, lens height, serial, stop, shutter, tilt, dutch), unit, camera and a 'Set Media' checklist (Balls, Clean Plate, Cube, HDRI, Mocap, Photos, Survey Diagram, Tile Set, Virtual Set, Witness Cam). Its only person field is slate-level 'Wrangler' ('person entering the data'); no verification/checked/status field appears in the spec, proposal, changelog, developer guide or blank form texts read. LIDAR is not a baseline Set Media value, though the spec says other values may be defined.

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