articles

API: /v1/records?type=article

• Which field in a Smithsonian Open Access (EDAN) record tells me an item is CC0? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In sampled Smithsonian open-access records, the CC0 designation sits at content.descriptiveNonRepeating.metadata_usage.access for edanmdm records but at content.metadata_usage.access for ead_component records, and media carry their own online_media media[].usage.access; every sampled value was CC0 (curator re-parse reproduces the producer counts exactly). Agents must check the path by record type.
• What exactly does the Openverse images API return for licence, attribution, provider and source, and what do its docs and terms say about relying on those fields? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At schema version 639e9266 an Openverse image record carries license, license_version, license_url, creator, provider, source, foreign_landing_url and a generated attribution; provider and source can differ (a live Smithsonian record shows provider 'smithsonian' and source 'smithsonian_national_museum_of_natural_history' with no creator), license_url and attribution are generated, and Openverse does not verify licences.
• I have an asset search result from Openverse, Smithsonian, Europeana or Wikimedia Commons: which field tells me its licence, which tells me what credit to give, and which fields must I not treat as final? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Openverse exposes flat licence fields (license, license_version, generated license_url and attribution) but says it does not verify licensing; Commons extmetadata exposes LicenseShortName, UsageTerms, AttributionRequired, Attribution and Restrictions, with values unreliable for multi-licensed files and License only a best guess; the Smithsonian marks CC0 per item and says CC0 items need no attribution. Each provider tells reusers to verify.
• What does a major stock licence say about editorial content, model and property releases, and use of content as a trademark? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Getty Images EULA says editorial content is not model or property released, makes the licensee responsible for third-party approvals before commercial use, warrants publicity/privacy and trademark only where Getty states a release was obtained (and only for content as delivered), bars use as the distinctive feature of a trademark or logo, and carries a separate no-machine-learning/AI/biometric restriction.
• For reference images of logos, branded props, museum interiors or artworks, which non-copyright restrictions does Wikimedia Commons say remain with the reuser? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Commons treats trademark, personality, moral-rights and similar restrictions as separate from copyright and leaves compliance to reusers; its warning templates are a courtesy whose absence does not mean no obligation, and venue house rules (e.g. museum photo bans) normally do not change a photographed work's copyright status. The CC FAQ likewise says CC licences do not license trademarks.
• What does Wikimedia Commons say about using photos of identifiable people (consent, public versus private places, free licences, model releases)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Commons guideline separates the photographer's copyright from subjects' personality rights (publicity and privacy): private-place and commercial uses usually require consent, consent to take a photo is not consent to publish or reuse, rules vary by country, a model release is more permissive than Commons requires, and a free licence covers only the photographer's rights. It is community guidance giving general advice.
• If a reference photo or logo image carries a Creative Commons licence, does that licence also cover the people, trademarks or property shown in it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  CC BY 4.0 licenses copyright and similar rights only: moral, publicity, privacy and personality rights and patent and trademark rights are not licensed, and the licensor waives only rights it holds, as far as needed for the licensed use. Rights held by others (a person pictured, a brand shown) are unaffected, CC does not guarantee model releases, and licensors are advised to mark third-party rights.
• Which ACES 2.0 Output Transform presets exist, how do I choose one (rendering target versus display), and where do the docs and the repository disagree on names or coverage? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ACES 2 presets combine a rendering target (limiting gamut, peak luminance, creative white) with a display encoding; at the pinned aces-output commit the curator counts 54 forward and 54 inverse CTL presets, every one named with '_in_', while the implementer notes' example uses '_as_' (a docs/repo naming mismatch). Working-group members say little-used targets (e.g. Rec.2020 gamma 2.4) were dropped because nobody was known to use them.
• In plain terms, what is the ACES 2.0 Output Transform, what stages does it run in what order, and how is that different in structure from ACES 1.x? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ACES 2 Output Transforms concatenate a Rendering Transform (scene ACES to display-limited colorimetry, informed by peak luminance and limiting primaries) and a Display Encoding Transform. Rendering converts to a JMh space from a simplified Hellwig 2022 model, tone-maps J only, compresses chroma and gamut, then limits white, whereas ACES 1 tone-mapped AP1 RGB directly (RRT and ODT merged as 'Output Transform' since 1.1). Some technical pages are still placeholders.
• What do Canon's white papers define for Canon Log, Canon Log 2, Canon Log 3 and Cinema Gamut, and which curve do they recommend for ACES? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Canon's 2018 white paper gives Canon Log, Log 2 and Log 3 formulas only as images; the curator's recomputation reproduces every 10-bit code in its table (inputs in scene linear, with reflection = 0.9 x scene linear) and confirms Canon Log 3's linear segment joins its log branches. Canon recommends Log 2 with Cinema Gamut for ACES where all curves exist, calls Log 3 the successor to Canon Log (it matches Canon Log at 0% and 20%), and its 2014 paper describes Cinema Gamut only qualitatively.
• What exactly do Panasonic's V-Log and V-Gamut reference define (curve constants, primaries, matrices)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Panasonic's V-Log is 5.6x+0.125 below 0.01 and 0.241514*log10(x+0.00873)+0.598206 above, which the curator's recomputation matches to the published 10-bit codes 128/433/602; V-Gamut primaries are R (0.730, 0.280), G (0.165, 0.840), B (0.100, -0.030) with D65 white, and the manual gives XYZ, BT.709 and ACES conversion matrices and Varicam clip levels.
• What are Sony's published S-Log3 encode/decode formulas and code values, and how do S-Gamut3 and S-Gamut3.Cine differ in intent? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sony's S-Log3 encodes scene-linear reflection as (420 + 261.5*log10((x+0.01)/0.19))/1023 above 0.01125 with a linear toe below; the curator's recomputation reproduces the published 10-bit codes 95/420/598 for 0/18/90 percent reflection and confirms continuity at the breakpoint. S-Log3 is full range; S-Gamut3.Cine is slightly wider than DCI-P3 and S-Gamut3 near camera native and suited to ACES and BT.2020. Numeric primaries are not in the PDF's text.
• What structural vocabulary do Korean institutional and Korean-language scholarly sources use for film screenplays, and do they use gi-seung-jeon-gyeol? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Korean-language scholarly abstracts read analyse screenplays with three-act vocabulary (Field's five focal points and three-act structure, Seger, Gulino's eight sequences; feature scripts divided into three acts), KOFIC's 2025 contest notice sets eligibility and formatting but no structure, and a Korean Wikipedia stub says scripts mainly use three-act composition. None frames screenplays as gi-seung-jeon-gyeol.
• What does Zeami's Shudosho say about jo-ha-kyu, as read in a public translation, and how does the translator frame it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Bohner's 1961 German translation of Zeami's Shudosho, jo-ha-kyu allocates a day's programme: the waki noh is jo, pieces two to four are ha and the fifth is kyu; when more pieces are ordered, the troupe should stretch jo-ha-kyu across the whole performance. Bohner's own introduction glosses all noh as a three- or five-part unfolding (translator's interpretation, not Zeami's text).
• What Korean institutional or scholarly sources describe Korean screenplay structure (including gi-seung-jeon-gyeol), and how do they differ from Anglo-American teaching? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No Korean institutional source on screenplay structure was found; an open article on four Korean cult films uses Western narrative theory and never names gi-seung-jeon-gyeol, and a K-drama thesis abstract says published analysis of K-drama structure is limited. Thin, television-skewed evidence.
• How do English-language scholarly and practitioner sources describe qi-cheng-zhuan-he as a screenplay structure and how does it differ from Anglo-American three-act teaching? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  English-language sources describe qi-cheng-zhuan-he as a four-part model built on a turn: Zhang et al. (CC BY; three Chinese animated films; inter-rater alpha .87) contrast it with three-act and Vogler models; a screenwriting trainer contrasts a future-facing Hollywood second act with a more retrospective Chinese one and says early Chinese screenwriters learned from Hollywood (no counts); scholarship on Xia Yan describes Chinese literary tradition combined with Hollywood narration. No Chinese-language teaching text was read.
• How does Miyazaki describe developing story through storyboards while production runs, and what risks does he give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Miyazaki (Paris press debate reported by Midnight Eye, translated) says his films start without a finished script, the story develops as he draws storyboards while production is already under way, and calls this a dangerous way to make an animated film; Spirited Away grew to 1,415 shots from about 1,200 envisioned. AWN (2010) quotes him saying the world grows more complex as he storyboards.
• How do story supervisors and directors describe building and iterating story reels, and what limits do they name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Pixar story supervisor Jason Katz says Pixar screens its story as reels every three to four months, reel goals vary by director, films tend to have 'two lives' with story staff rotating around screening four or five, and Coco's first version centred on death before research shifted it; Klaus director Sergio Pablos records performances, pairs them with storyboards and cuts a story reel to test how scenes play, including trying music in the reel. Practitioner accounts; reel limits not stated.
• What do documentary makers say about paper edits, string-outs and card walls, and where do they disagree on how much structure to plan before editing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Roger Nygard surveys documentary editing: paper edits from transcripts, assistant-built topic string-outs by transcript word search (his own method), story cards on a wall whose order can invert, interview-first blind assemblies with talking heads moved repeatedly, and judgment-based endings, plus Herzog's counter-position of shooting what you want for the screen. Statements by other filmmakers are second-hand in this article.
• How does a documentary editor describe finding structure from raw footage (string-outs, breakdowns, card boards), with examples and limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Editor Maya Mumma organises verite footage by stringing out each card, then each shoot day, then breaking days into beat sequences sorted by character, location and event; she starts archival films with chronology, builds an early card board of beats with parallel thematic columns, keeps a 'good things' bin for strong lines, and found one film's structure by cutting five filmed subjects to three. She says each project differs.
• What do two working screenwriters say about writing dialogue from listening to real speech, with their examples and caveats? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Scriptnotes 438, John August and Craig Mazin treat film dialogue as an optimised synthesis of real speech: listen to real talk for patterns, interruptions and listening behaviour, but do not transcribe it verbatim; emotional speakers become less, not more, eloquent; rehearsed and discovering speakers can share a scene. The episode does not discuss subtext by name. Hosts' opinions, unmeasured.
• How does a working writer-director describe writing dialogue that carries subtext, with a concrete technique, scene examples and an example where direct speech was kept? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Dee Rees (BAFTA Screenwriters' Lecture, 2017) advises writing dialogue several steps back from what characters feel (her professor's 'triple bumper': back off three times), building scenes on avoidance, letting action and blocking carry the unspoken, and giving each character a distinct vocabulary; she also kept a direct line the actors fought for and changed the blocking to make it work. One practitioner's account.
• Which glTF features and extensions does Unity glTFast (6.20.0) say it imports, and which survive import into Unity materials, meshes and animation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  glTFast (Apache-2.0; Unity 6000.0+) claims full glTF 2.0 core support with minor remarks: sparse accessors only for morph targets and vertex positions, up to eight UV sets imported but only two used by its shaders, animation via the legacy system (Mecanim clips import unassigned; Playables removed because SetCurve works only for legacy clips at runtime), clearcoat partial in URP, full in HDRP and absent in Built-In, DOTS experimental. Known issues from Unity API limits: duplicated shared accessors/images, minFilter overriding magFilter and NEAREST_MIPMAP_LINEAR falling back to NEAREST.
• What does Unreal Engine 5.8 documentation say about which USD features load through the USD Stage (prims, animation, blend shapes, materials, variants, payloads), and could the Unreal glTF importer documentation be obtained? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Unreal's Beta USD Stage represents static and skeletal meshes, HISM, materials, lights, cameras, variants, animation and blend shapes as prims, loads .usd/.usda/.usdc/.usdz, supports payload loading, UsdPreviewSurface textures and PreviewSurface/DisplayColor materials (MDL via a schema), shows xform animation as Transform tracks and other animated values on a Time track in a Level Sequence, and needs FORCE_ANSI_ALLOCATOR=1 for runtime loading. Unreal glTF import docs were unreadable (producer).
• What do articy:draft JSON export and its localisation exports (xlsx) preserve for localisation IDs, text states and conflict handling? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  articy:draft 3 JSON export with Localization replaces localisable text with LocaIDs (keys in Excel column A, text in column B) and leaves parsing to the user; the Unity importer uses LocaIDs built from TechnicalName plus property name (not to be changed), an optional 'Is final?' column that stops overwrites, and loc_<package>_<language>.xlsx files. articy:draft X imports carry text states (In Progress, Final, Outdated) and offer abort or skip on multi-user claiming conflicts.
• What do Yarn Spinner v3.2.1 compiled programs and string tables preserve about line IDs, localisation and variables, and which line IDs are stable across recompiles? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Yarn Spinner v3.2.1 compiles dialogue to a protobuf Program whose line and option instructions carry only a line ID and substitution count; text lives in a StringTable keyed by line ID with node, file, line number, metadata and shadow-line ID. Implicit IDs are stable only while the source file is unchanged, so localised projects should add #line: tags. Command text is embedded in the program rather than in the StringTable.
• What do the W3C MAUR and UAAG 2.0 ask of media players for caption customisation, keyboard operation and sign-language windows? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  W3C's MAUR (2015 Note) lists player requirements: configurable caption fonts, sizes, colours and background opacity, caption track toggling, keyboard operation of all functionality, and sign-language video as a track or file shown as picture-in-picture, overlay or parallel video with a user toggle. UAAG 2.0 (2015 Note) adds that alternatives must not obscure controls or video, captions are user-configurable, and alternatives can be resized to at least 50% of the viewport and repositioned. Both are Notes, not Recommendations.
• How do vrecord and QCTools document capturing and checking videotape transfers, and what do they record as fixity and metadata? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  vrecord captures via MediaArea's ffmpeg-ma with Blackmagic cards (or AVFoundation for DV on macOS) to FFV1 version 3 with GOP 1 and slice CRCs, writes a framemd5 and logs by default (QCTools XML highly recommended; frame MD5s catch some dropped frames), and checks output against a MediaConch policy (Matroska >= 4, FFV1 >= 3.4, GOP 1). QCTools stores per-frame signal metrics (signalstats, cropdetect, psnr, ssim, ebur128) in a report for review. Neither is a standards conformance tool.
• What audio and asset deliverables does Netflix require from a dubbing studio besides the script, and what public detail exists on dub cards? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's premix spec asks for a mono offline-bounced WAV of all premix dialogue with group walla attenuated by 10 dB and a -6 dB true-peak limiter on dialogue or the bounce bus, and the dialogue editorial session as a store-only ZIP named with 48k24b; dub-card requirements could not be read (page is a JavaScript shell; the article API returns not found).
• What script format and content rules does Netflix publish for the dubbing script (as-recorded script) a dubbing studio must deliver? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's as-recorded dubbing script is delivered in TTAL (direct upload or its Script Authoring tool) and validated; events are timed to the first and last spoken word, split at pauses of about two seconds, with WALLA for indistinct crowd dialogue; delivery is due three calendar days before the secondary audio (changed from five on 2024-09-17).
• How much do renderers disagree on SVG features according to the resvg test suite, and how reliable is that record? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The resvg suite's manual vdiff results (1679 tests; 1 pass, 2 fail, 3 crash, 0 undefined) recount exactly to the producer's figures: resvg passes most (1522), then Chrome 1425, Firefox 1387, Safari 1343, librsvg 1171, Inkscape 987, Batik 978 (200 crashes), qtsvg 593 and svgnet 530 (424 undefined); resvg and Chrome disagree mostly in filters, text and painting. The record has no renderer versions, is maintained by resvg's author, and the site counts undefined as passed.
• Where do LibRaw, RawTherapee and darktable document deviating from or only partly implementing the DNG colour and opcode model? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  LibRaw 0.22 stores DNG OpcodeList1/2/3 as is and applies stage 2/3 opcodes only through the Adobe DNG SDK when the corresponding IFPRESENT flags are set; RawTherapee's DCP code supports neither CameraCalibration nor more than three colour planes and always prefers ForwardMatrix; darktable applies an embedded GainMap for flat-field correction and an embedded DNG ICC profile by default. Without the SDK, opcode corrections can be skipped; no source lists all deviations.
• Which WER variants and text normalisations change ASR subtitle scores, and is COMET usable for subtitle translation evaluation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  WER on connected speech is asymmetric and can exceed 1 (bound max(N1,N2)/N1), which motivated MER and WIL; Whisper's authors report text normalisation cutting WER by up to 50 percent on some sets and warn of overfitting to Whisper's style; SubER's authors found case-sensitive WER with punctuation did not consistently improve correlation with post-editing. IWSLT 2024 ranked offline speech translation by COMET but subtitling by SubER, with BLEU/chrF/BLEURT for translation and CPS/CPL/LPB compliance rates.
• Is IMF an archive format for finished films, what do archives and the Library of Congress say about IMF, DCP and MXF as wrappers, and what remains unclear? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  LoC's RFS lists IMF (MXF essence, CPL, packaging XML) first for file-based final video; the Academy forum describes IMF as a wrapper in significant industry use, notes an LoC MXF archiving subset (SMPTE RDD 48) and IMF App 5 ACES (ST 2067-50); FIAF 2019 found only CNC and LoC requesting a mezzanine on deposit, with CST recommending IMF (ST 2067-40) as mezzanine. Evidence of IMF as an actual long-term archive master remains thin.
• For a born-digital feature, what do film archives and the Library of Congress say should be deposited: DSM, DCDM or an unencrypted DCP? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  FIAF's Technical Commission (2010) accepts only a DCDM or an unencrypted DCP for long-term preservation: the DCDM is ideal but may never exist as a complete set, while the unencrypted DCP is lossy but shows the work exactly as audiences saw it. FIAF's 2019 survey counted unencrypted DCP deposit at 9 archives and DCDM at 7, and LoC's 2025-2026 RFS prefers an unencrypted interop DCP for motion pictures, asking depositors to contact it about DCDM/DSM.
• What do the SPZ v4 and PlayCanvas SOG formats specify for compression, structure and licensing, and how do viewers describe their support? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SPZ v4 (MIT) is a 32-byte plaintext NGSP header plus independently ZSTD-compressed attribute streams (24-bit fixed-point positions, smallest-three 10-bit rotations); v1-3 gzip files are read-only. PlayCanvas's SOG stores quantised attributes as WebP images with log-domain positions/scales and gamma-space DC colour in a right-handed +Y-up frame, and PlayCanvas compares SOG (15-20x smaller than PLY, lossy), SPZ (about 10x, lossy) and lossless GLB with KHR_gaussian_splatting. Its SPZ script parser accepts only v4, up to 3 SH bands, ignoring the antialiased flag and vendor extensions.
• What do archives and tools document about using BagIt with OAIS/PREMIS for audiovisual collections, and what went wrong in practice? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Archivematica documents AIPs as BagIt bags containing METS, but its 1.13 page gives inconsistent manifest algorithms across its own examples. Indiana University's MDPI relied on Matroska per-element CRCs written by FFmpeg (about 100 bytes unprotected), packaged film as BagIt tarballs (DPX, WAV, metadata) with a custom multithreaded verifier, and reported that a vendor bagit.txt reading 'BagIt-version' made them re-handle over 2 PB. Per the L07 correction on C2-B10-G2-07, ABNF quoted strings are case-insensitive, so this shows IU's tooling or acceptance criterion, not a proven RFC nonconformance.
• What rendering failures for RTL, ruby, vertical and text-combine timed text are documented in public renderer issue trackers and test suites? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The imscJS tracker records concrete RTL/CJK failures: per-character spans broke Arabic joining in WebKit (109, closed), sheared vertical Japanese text was cropped by its region (260, closed), rubyReserve broke on Chrome after a switch to CSS ruby-text-container (289, closed 2026-10-10), and ruby style-resolution pruning (162) and xml:space/rubyAlign (185) remain open. One renderer's tracker; a sample, not prevalence.
• What do IMSC/TTML2, WebVTT and the Netflix Japanese guide say about ruby annotations, vertical text and tate-chu-yoko in subtitles? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  IMSC 1.3 permits ruby (via ruby, rubyAlign-minimal, rubyPosition, rubyReserve), text combination and vertical writing; WebVTT has ruby spans, vertical growing-left/right writing and CSS ::cue text-combine-upright but no cue setting for it. Netflix's Japanese profile sets 13 (horizontal) and 11 (vertical) full-width characters per line, half-width counting 0.5, up to 4 characters per second, and ruby/bouten placement by orientation and line.
• Which Lottie / After Effects features do rlottie, ThorVG, Skottie and lottie-web document or log as unsupported? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Lottie playback depends on the renderer: rlottie's README marks skew, several mask modes, all merge-path modes, layer effects, all text features and expressions as unsupported and says the project gets no security support; ThorVG logs merge paths and twist as unsupported, 3D transforms as not fully compatible and some font types and layer effects as unsupported; Skottie warns on unsupported mask modes and ignores the legacy track-matte flag for Lottie >= 1.0. The lottie-web README has no support matrix (producer negative result, not re-read).
• What survives a round trip through OpenRaster for blend modes, groups, adjustment layers and bit depth, per the spec and Krita's implementation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenRaster baseline fixes a closed svg: composite-op list (default svg:src-over) and isolation semantics but leaves pixel storage and blend mathematics to referenced specs. Krita writes blend modes outside that list as krita:<id> (exclusion mapping commented out), saves adjustment layers as a filter element carrying only an applications:krita:<name> type, and reloads them with the filter's default configuration into an rgb8 image, so filter settings and higher bit depth do not round-trip through this code path (code inference).
• How do USD layers/sublayers and Unreal Engine USD multi-user editing support several people working on the same scene, and what limits do the OpenUSD docs state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenUSD treats a layer as the atomic persistent unit, advises sublayering over referencing when namespaces match, and requires single-writer, no-concurrent-read editing of a stage's layers. Unreal's Beta USD multi-user editing syncs prim add/remove/rename, attribute and visibility edits, needs identical file paths on all clients (USD under project source control), and cannot undo prim deletion. No source read describes text-level .usda merging. OpenUSD code is under TOST 1.0 (Apache 2.0 with a different trademark section).
• How do Godot text scenes and resources (.tscn/.tres) support version control and multi-person work, and what merge or diff problems are documented or reported? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Godot docs call TSCN mostly human-readable and VCS-friendly: a header uid, string IDs for ext/sub resources, no central ID metadata, and per-node unique_id (scenes saved with 4.6+) to track moved or renamed nodes; ignore .godot/ and *.translation. An open 2023 user report (4.1.x) says opening scenes on different clients regenerates resource names, producing noisy diffs; whether this persists at 4.7.2 is unverified.
• How do I score machine-generated subtitle files (not just text) against a reference, what does SubER measure, and how far has it been validated? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SubER scores a subtitle file against a reference including text, line breaks and timing (SRT input; Apache-2.0 code); its authors give a rule of thumb (<20% very good, >40-50% bad). In IWSLT 2024 human judgments for translation-focused DA agreed more with BLEURT than SubER (producer reading), so its validation depends on the evaluation target.
• In an OpenEXR handed to compositing, how are layers, parts and channel names defined, and what does Blender's writer do when it writes single-part layers versus multipart? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenEXR names layered channels L.C (nestable) without any stacking or compositing meaning; multipart parts need unique names (dots allowed) and may differ in compression and data window and mix deep and flat. Blender v5.2.2 writes either single-part channels layerpass.view.C or, in multipart mode, one part named layerpass-view with channels layerpass.C.
• How does UsdRender describe render settings, products and AOVs (RenderVars), and what does it leave undefined (naming, file layout)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UsdRender (v26.08) describes outputs as RenderSettings -> RenderProduct (raster or deepRaster; productName passed as authored to the driver) -> RenderVar (prim name is the variable name; sourceType raw/primvar/lpe/intrinsic, with intrinsic unimplemented and LPE extensions non-portable). USD sets no universal RenderVar names, and per-product camera/resolution overrides may force separate renders.
• What does Lasseter's 1987 paper say about timing, spacing, anticipation and follow-through when applied to 3D keyframe animation, and what 3D-specific cautions does it give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Lasseter (1987) maps the principles to 3D keyframing: timing conveys weight and size, anticipation must be larger or the action slower for very fast actions, loose parts overlap and drag by material (feet leaving one or two frames apart), slow in/out is set via spline tension/bias/continuity (with overshoot risk on large changes over few frames), and fast-motion strobing is solved by motion blur or, failing that, volume-preserving squash and stretch.
• What do reviews say about the limits of marker gap filling methods, including learned methods, for motion capture used in animation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A CC BY 2025 Sensors review reports learned mocap recovery overfits benchmarks (CMU, HDM05) and degrades on long gaps and new subjects, clothing or marker sets, while classical interpolation is simple and interpretable but relies on manual input; it cites tree-based regression for long gaps. Method-level claims are secondary.
• Do biomechanics sources agree on how to choose a Butterworth cutoff, and does residual analysis give one answer? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  On eight data sets, four automatic cutoff-selection methods (Challis, Yu, Winter, Jackson) gave widely different optimal cutoffs for the same trial (walking toe x: 12.5, 3.0, 10.0, 4.0 Hz); the effect depends on the parameter (minimum toe clearance varied under 1 mm), and cutoffs above 20 Hz were judged inappropriate for force-plate data. Applying these biomechanics results to animation capture is a proposal.
• What does a mocap vendor document for filling marker gaps and choosing a smoothing cutoff, including limits on how much gap to fill? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OptiTrack Motive recommends trimming about 3 frames at gap ends, filling only gaps below a user-set Max. Gap Size (large gaps not recommended), smoothing with a 4th-degree bidirectional low-pass Butterworth at a commonly used 7-12 Hz (higher for fast, sharp motion), and retaking when a significant marker is occluded; edits change raw trajectories and overuse is discouraged.

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