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• What do RFC 9309 and the major AI crawler operators' documents say a robots.txt rule does for training and for AI features, and what do they not promise? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  RFC 9309 defines robots.txt as a request protocol (not access authorisation) with no AI-specific terms; AI operators publish separate tokens with different stated effects: OpenAI GPTBot (training) vs OAI-SearchBot (search) vs ChatGPT-User (user-initiated; robots.txt may not apply), Google-Extended as a control token with no separate user agent, and Anthropic's three robots. A robots.txt rule is evidence of a stated preference and the operator's stated policy, not of observed crawler behaviour.
• At UniVRM v0.131.4, how does the VRM 0.x to 1.0 migration code map each meta field and what defaults does it set? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UniVRM's VRM 0.x to 1.0 meta migration begins from the most restrictive 1.0 licence values and only loosens what 0.x fields state; the 0.x licenseName (e.g. CC0, CC BY) is not mapped to any 1.0 field (TODO), so 1.0 fields with no 0.x source (redistribution, modification, credit, political/religious use, etc.) stay restrictive after migration, and unrecognised values throw.
• How do the open-source Maya Alembic exporter, maya-usd and Houdini handle sub-frames and non-integer frame rates like 23.976 and 29.97? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  maya-usd v0.37.0 maps Maya's 23.976, 29.97 and 29.97 drop-frame units to exact rational rates (24000/1001, 30000/1001) and writes the value as both timeCodesPerSecond and framesPerSecond, unlike Blender's USD exporter which writes only timeCodesPerSecond.
• When Blender exports USD or Alembic from a 23.976 fps scene, which time values and sub-frame samples does it actually write? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blender v5.2.2's USD exporter writes stage timeCodesPerSecond from the scene rate (e.g. 24000/1001) and exports whole frames only, so it cannot emit sub-frame motion samples, and it does not write framesPerSecond; its Alembic exporter writes shutter-based sub-frame samples and stores the scene fps as FramesPerTimeUnit metadata.
• If I compress a splat cloud with the SPZ library for the draft glTF SPZ extension, which SPZ version and coordinate system must I use, and what has SPZ changed since v3.0.0? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The draft glTF SPZ extension targets SPZ v2 and requires LUF axes, while SPZ main defaults to pack version 4 (ZSTD) and RUB storage with an UNSPECIFIED source system, so a producer using SPZ defaults will not match the draft. The draft's SH table maps degree 1 to COEF_0, COEF_2, COEF_3, which does not match the base extension's COEF_[0-2] (likely a typo; unconfirmed with authors).
• I have a Gaussian-splat glTF: which compression extensions for KHR_gaussian_splatting exist, and which of them are ratified or only open drafts today? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Only the base KHR_gaussian_splatting extension is ratified at the observed main commit; splat compression/transport proposals (SPZ v2, EGSC, L-GSC, MPEG vendor) remain open PRs with Draft status, and the base spec expects compression extensions to decode back to its attributes (a fallback basis).
• Where does OpenEXR v3.5.2's default scanline deep compositor differ from the tidy/flatten procedure in the documents? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenEXR's default deep compositor sorts samples by Z, then ZBack, then input index (only when compositing more than one source) and accumulates them front to back with an early exit at full alpha; it has no split or merge step, so for overlapping volumes it does not implement the documented tidy-then-flatten procedure, and a single-source pixel is assumed already sorted.
• Does OpenEXR v3.5.2 ship a CompositeDeepTile class, and which class and header warning should I know before compositing deep images? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At OpenEXR v3.5.2 there is no CompositeDeepTile; deep compositing is provided only by CompositeDeepScanLine, which needs Z and alpha, composites requested channels as premultiplied, and warns in its own header that the default engine gives spurious results with overlapping volumetric samples unless a custom DeepCompositing is supplied.
• What does an ASC CDL carry (SOP + saturation, .cc/.ccc/.cdl) and how do tools differ in applying it from set to post? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  An ASC CDL is ten numbers (slope, offset, power per channel plus saturation); the v1.2 math clamps to [0,1], but many applications omit clamping, so CLF defines clamped and no-clamp styles and OCIO defaults to no-clamp; the same CDL can therefore render differently across tools, and a CDL names no colour space (ACES AMF adds a cdlWorkingSpace, per producer reading).
• How does Europeana's own code match or categorise legacy www.europeana.eu/rights URIs, and how common were they? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Europeana's corelib resolves rights URIs tolerantly: after lower-casing and https-to-http rewriting, even 'exact' mode is a substring test (to accept version or language suffixes), and loose mode matches short patterns and, by the code's own comment, malformed strings. A test fixture lists legacy europeana.eu/rights values in the millions (rr-f about 8.6 million) at an undated snapshot; this is a fixture, not a published statistic.
• What do Adobe Stock and Shutterstock say about model and property releases for commercial versus editorial content? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Both platforms require a model release per recognisable person for commercial content and property releases for listed property; Shutterstock accepts editorial content without releases (credentials for some events), while Adobe Stock does not accept traditional editorial content and has a separate illustrative-editorial category.
• For Pexels, Unsplash and Pixabay content, what do the licence texts say about attribution, modification and redistribution? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Pexels, Unsplash and Pixabay all say attribution is not required and allow modification, each restricting redistribution of unaltered copies or use to build a competing service in its own words; Pixabay states its summary is not binding (only the full Content License is). None of these is a CC licence, and none licenses non-copyright rights in people or marks shown.
• What does a storyboard tool carry into an animatic export for an editor (names, timing, dialogue audio, notes), and what does OTIO core offer to hold what the export drops? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Storyboarder's FCP7 XML exporter names each board clip from its dialogue, else action, else filename, and puts notes into the clip description; the FCPX exporter names clips by filename and assigns an audio role; neither exporter has a scene-ID or shot-label field, so those survive only if carried in names. Storyboarder does not emit OTIO (producer reading).
• What exactly do Silverstack's audio sync, burn-in and metadata-export settings do, and what are the documented limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Silverstack Lab syncs external audio by timecode with an auditable preview and offset controls, but an ALE handed to editorial does not reflect half-frame audio offsets, and metadata export after transcoding (like dynamic-metadata burn-ins) is Lab-only, so Silverstack XT users lack it. No page reports sync accuracy.
• How is a union rate sheet structured (panels, schedules, daily vs weekly, guarantees, overtime), using a public ICG Local 600 rate card as the example? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A union rate card is a structured table, not a single hourly rate: the ICG Central Region 2024-2025 card has panels by production type, several defined as percentage reductions of Panel 1 (3%, 10%, 12.5%), schedules with daily vs weekly guarantees and overtime triggers (e.g. time-and-a-half after 8 hours) that vary by schedule, plus effective dates and region. It is PDF-only.
• Which fields and formats do production-budget tools actually exchange (Movie Magic Budgeting exports, account codes, accounting links), and where does data drop out? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Movie Magic Budgeting exchanges budgets as .mmbx/.mbd, a stable XML (Basic) export and fuller XML (Advanced)/JSON exports, without a published field schema in the pages read; exporting to MMB7 loses Budget Info and notes, and account numbers are truncated or padded to the coding pattern, which can break accounting imports. The account number string is the only shared key across tools in these sources.
• Which official IPTC reference images and interoperability tests exist for checking embedded photo metadata, and is a reuse licence stated? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  IPTC's reference-images page describes images whose metadata fields spell their own names for interoperability testing but states no reuse terms; terms may sit in the image metadata or elsewhere (unchecked).
• Is there an official C2PA public test-file set for validators, and what licence does it state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The C2PA public test-file repository is CC BY-SA 4.0 as a whole (share-alike applies to derived test packs) and, at this pin, its 2.2 directories hold only READMEs and .gitkeep placeholders, so no C2PA 2.2 media test pack is present there.
• Is there an official public PNG test-image suite and what permission text does it carry? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  PngSuite's licence grants use, copying, modification and distribution of the images for any purpose without fee; it does not separately mention hosting, sale or model training.
• Does Chatterbox mark its generated audio, how can I check whether a clip carries that mark, and what does the code actually do? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Chatterbox's TTS and voice-conversion classes construct Perth's implicit watermarker and apply it before returning audio (the producer reports the same in the multilingual and turbo paths), and the README provides a detection snippet. Robustness claims are the project's own. There is no consent check in the code read. If Perth's implementation fails to import, the class is None, so Chatterbox construction would fail rather than silently skip watermarking (curator code inference, not executed); since the code is MIT, modified copies can omit the call.
• What must an attribution notice contain under CC BY 4.0 and Apache-2.0, how does Creative Commons advise assembling it, and where do licence texts and platform pages impose different or no attribution duties? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  CC BY 4.0 requires, where supplied, keeping creator identification, copyright notice, licence and disclaimer notices and a link to the material, plus stating modifications and the licence; Apache-2.0 requires prominent change notices in modified files, retained attribution notices and the NOTICE file contents. Capture these at intake; the CC TASL guide is advice narrower than the legal text (producer reading of the guide).
• At the master-to-package handoff (IMF or DCP), what do the open validators actually check on structure, hashes, picture and sound, and what stays unchecked? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  'Verified' means different things across open DCP validators: libdcp checks asset hashes only when the option is on and the file is under a configurable size limit, and ClairMeta check profiles can bypass the PKL hash test and downgrade checks to warnings. A stored validation report is interpretable only with its options. No inspected validator checks creative decisions (grade, mix levels).
• What exactly does Shotcut v26.9.27 write in an EDL export, and could proxies change the reel and clip names in it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Shotcut's EDL exporter writes one section per playlist with cuts and dissolves from program time 0 and no header lines; by default the reel name is the media base name (cut at the first dot, non-word characters replaced, padded or truncated to 8 characters), so files sharing their first eight characters collide; an option uses the stored hash instead. With proxies on, names may come from proxy files (producer inference).
• What does Kdenlive v26.08.2 write to and read from an OpenTimelineIO file, and what is not carried? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Kdenlive's OTIO exporter writes tracks (incl. subtitle kind), clips with media references and source ranges, gaps, mixes as SMPTE_Dissolve transitions, colour clips as generator references and markers/guides; it has no effect or speed handling, and the importer leaves image-sequence references as a TODO.
• Which audiovisual-media and e-book products and services does Directive (EU) 2019/882 (the EAA) cover from 28 June 2025, and what are the main carve-outs and transition dates? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The EAA covers consumer terminals used to access AV media services and e-readers (products), and services providing access to AV media services (incl. EPGs) and e-books/dedicated software (services) after 28 June 2025, not AV content itself. The 28 June 2030 transition lets service providers keep using products already in use; it is not a general deadline extension. Microenterprises providing services are exempt.
• How do the engines' docs and source treat sample rate conversion, mix rate and frame-rate divisibility when recording or exporting cinematic audio? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Godot's docs say the Movie Maker mix rate must divide by the FPS, but the code only warns and sizes each frame's audio block with integer division. At 44.1 kHz and 24 fps that is 1837 instead of 1837.5 samples per frame: 12 samples (about 0.27 ms) lost per second, about 16 ms per minute (curator arithmetic). The 48 kHz default divides evenly at 24/25/30/60 fps. FPS is an integer, so 23.976/29.97 need external retiming.
• What do Godot, Unity and Unreal audio docs say about keeping an in-engine mix from clipping and about loudness targets? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Engine docs cover peak safety, not loudness: Godot's hard limiter defaults to a -0.3 dB ceiling and the (soft-clip) limiter to -0.1 dB, so 'add a limiter to Master' does not fix which behaviour you get; no engine page read gives a loudness target or meter, so delivery to a LUFS spec needs external measurement of the exported file.
• How do I get the audio of an in-engine cinematic out as a file in Godot and Unreal, and what format and sample rate will it be? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Godot Movie Maker records audio non-real-time at a 48 kHz default; the PNG writer writes a stereo WAV whose header declares format code 1 (integer PCM) at 32 bits per sample, while OGV/AVI embed audio. Unreal MRQ WAV parameters are not stated in the pages the producer read.
• When a screenplay is imported into a storyboard tool (Storyboarder), which script elements become scene data, how are scenes keyed, and what is dropped or modified? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Storyboarder keys Fountain scenes by the #...# scene number and, when absent, writes '#<count>-<uid>#' into the user's script; for FDX it writes a generated Number attribute but keys scenes as 'G<n>' (the scene_number assignment is commented out); scene durations are word-count estimates, not authored timings. A pipeline that diffs or locks scripts should expect the file to change on first open.
• When I send a Fountain or FDX screenplay into a breakdown/scheduling tool, what comes across (scene headings, characters, tagged elements, revisions, scene numbers) and what must be exported another way? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A plain .fdx import into Movie Magic Scheduling brings only sluglines and speaking characters; breakdown tags need a Final Draft Scheduling Export (.sex). Fountain offers scene numbers, notes, sections and synopses but no tag or revision markup, so a Fountain-only project has no standard carrier for breakdown tags. Revision-mark handling on import is not documented in the pages read.
• I have a Fountain or FDX screenplay and need an edit timeline: at which handoffs does a scene number, a clip name or a timecode survive, and where must I carry it myself? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across screenplay, breakdown, storyboard, animatic and edit timeline, no single identifier is defined end to end in the sources read: scene numbers survive script-to-storyboard, while reel/clip names and timecode become the keys once a cut exists; EDL drops what it has no slot for.
• What does the VGHF/SPN reissue-market study report about how many classic games remain commercially available, and what does it say about emulation and library access? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The VGHF/SPN study (v1.1, 2023) estimates 13.27% of pre-2010 US-released games are 'in release' via rightsholders (n=1500, stated ±2.5% at 95%), with lower rates for older platforms. The stated margins are conservative maximum-variance or finite-population figures (curator check). The report states an advocacy purpose (exemption debates).
• How does the VR180 format define projection meshes, per-eye UV adjustment by stereo mode, and camera-motion metadata? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  VR180 is a profile of Spherical V2 metadata: two projection meshes (one per eye; ~40x40 grids typical), per-eye UV adjustment by stereo mode, and optional camm camera-motion metadata. Mesh index bit widths are ceil(log2(count*2)) with zig-zag deltas (defined in the V2 RFC mesh box, cited by VR180).
• Which OpenUSD changes from v25.05 to v26.11 can break existing assets, tools or builds, and what migration step does each note give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenUSD 26.11 rejects binary crate files older than 0.4.0 by default (update with usdupdatecrate; 0.4.0-0.8.0 still read with a warning; a build constant can restore older reads), removes prim relocates, and treats physics:rigidBodyEnabled = false as if RigidBodyAPI were not applied (collider ownership and joints move to the nearest enabled ancestor), which can change existing physics scenes.
• How does Core Specification v1.0.1 relate to OpenUSD releases, and which OpenUSD behaviours documented after the spec text diverge from or are absent from it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The spec says it derives from OpenUSD and treats OpenUSD behaviour as expected where the spec is silent (an unintentional omission). Spline inner loops are specified in v1.0.1 but deprecated in OpenUSD 26.11, so a spec-compliant implementation carries a feature the reference implementation now warns about; the removal of prim relocates in 26.11 is consistent with the spec listing only layer relocates.
• How is a textless or localised-graphics picture version delivered as an IMF supplemental package at Netflix, and what do SMPTE ST 2067-2/-3 provide for versions and textless markers? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Netflix a textless (or language) picture version is a supplemental IMF package built on the last approved texted package: its CPL reuses the same track-file IDs and adds one textless insert track, so unchanged shots are not re-delivered. SMPTE ST 2067-2 allows packages that are not complete compositions and ST 2067-3 defines textless marker labels (FFTC/LFTC etc.), but neither defines a 'textless version' as Netflix does.
• What tense, person, naming and wording rules do the ACB, DCMP and Netflix audio description guides give for writing a description line? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ACB 2009, DCMP and Netflix v2.5 agree on present tense, active voice, third person (Netflix allows second-person plural for some children's content) and objectivity. On film terms they disagree: ACB advises avoiding 'close-up' or 'fade to black', and Netflix allows common film terms such as 'now in close-up' when needed. On naming, all three describe a character by a visible attribute until the name is established, with exceptions (Netflix allows earlier naming in some cases).
• What do the macOS and Windows docs say must be configured for HDR video to play as HDR on a given screen? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  HDR display state depends on OS settings a page cannot see: macOS needs the external display's HDR setting on and plays HDR as SDR on battery when 'Optimize video streaming' is on; Windows leaves HDR to the user, sets an SDR reference white that apps should match, clips content the display cannot show, and has no single standard tone-mapping algorithm. Reviewers should report these settings with any HDR judgement.
• When review notes go into a CMX3600 EDL as comments (LOC lines) and come back, what is kept and what is lost? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The OTIO CMX 3600 adapter reads '* LOC: <timecode> <COLOR> <text>' into a zero-duration Marker named with the text (source colour word kept in metadata, unknown colours become RED, non-matching lines silently skipped) and writes each marker back as LOC with start timecode, colour and the upper-cased name; duration and Marker.comment are lost and positions depend on the EDL rate. Drawn annotations have no slot.
• If I move review notes between OpenRV and an OTIO timeline, which survive: markers, drawn annotations, hold/ghost settings? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Open RV 27db5464 the OTIO reader imports markers (name, range, colour, metadata as JSON) and turns OTIO annotation layers into RVPaint strokes placed on each layer's end-inclusive frame, with hold/ghost as session settings; the writer exports markers only when the importer-created otio_metadata property exists and has no annotation/paint code, so drawn notes are import-only and RV-native markers may not export (inference from the guard). No Marker.comment is carried either way.
• What does the Code of Best Practices in Fair Use for Software Preservation state about providing access to legacy software through emulation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ARL-hosted Code (US fair use, 2018, revised 2019) treats emulation as a way to give controlled access to preserved software for research, teaching and learning, with limits: notify users, restrict copying or retention, and restrict commercially available software (case by case or local terminals); networked cooperative access (EaaS) has its own conditions. It does not declare any particular emulation service lawful.
• Which exact rights URIs will Europeana accept in edm:rights, and does it still accept its old www.europeana.eu/rights/... URIs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Europeana's accepted-URI page (v36, 2026-08-18) lists six CC licences, CC0 and PDM, and six RightsStatements.org statements (CNE, InC, InC-EDU, InC-OW-EU, NoC-NC, NoC-OKLR), with no europeana.eu/rights URIs; older records may still carry the 2015-era europeana.eu/rights/rr-* URIs, whose current status the page does not state. The page also spells one CC 1.0 row 'by-nd-nc'.
• What did Ofcom's four live-subtitling quality reports measure and conclude, and what does the NER model count, when the original NER chapter is not available? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Ofcom's fourth live-subtitling report (2015) measured 98.55% average NER accuracy (97.93% when subtitles above 200 wpm count as errors) and 5.6 s average latency against the 3 s its guidelines recommend; the 98% acceptability threshold came from its external reviewers, not from a stated regulatory requirement.
• What Lab aim values for paper white and the solid inks does the public FOGRA51 characterisation data give, and how do they differ from FOGRA39? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Recomputed from the ICC-hosted files: FOGRA51 paper white is Lab 95.00/1.50/-6.00 vs FOGRA39L 95/0/-2 (curator CIE76 difference 4.27, all in a*/b*), solids are close (e.g. cyan 56.12/-34.90/-52.52 vs 55/-37/-50; K L* 16 both), FOGRA51 states moderate fluorescence and M1 measurement while FOGRA39L names ISO 13655 without an M-condition. The visible change is a bluer, optically brightened paper white plus the measurement condition.
• What do Epic's public docs say about motion matching database size, search mode and indexing, and where are the GDC 2024 numbers? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Epic's UE 5.8 Motion Matching page gives only qualitative cost guidance (higher sample rate and more channels cost memory/performance; Brute Force vs PCAKDTree search; pruning to save memory) and no minimum or maximum amount of animation data or memory budget.
• What does the enrolled Tennessee Public Chapter 588 (ELVIS Act) say about voice, simulated voice, tools and the fair-use list? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The enrolled ELVIS Act (effective 2024-07-01) contains the narrowed tool clause ('a particular, identifiable individual's ... voice, or likeness, with knowledge'), the voice-includes-simulation definition, the First Amendment fair-use list and the 'reasonably should have known' standard; it confirms that the House amendment wording read in CA-B194 is the enacted text.
• How do hdPrman and Karma name the AOVs/EXR channels they write from USD RenderVars? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At OpenUSD v26.08, hdPrman names each RenderMan AOV after the RenderVar prim name and passes sourceName (prefixed 'lpe:' for LPE sources); the display driver comes from the product file extension (exr/tif/tiff/png, otherwise openexr with a warning; deepRaster + .exr -> deepexr). The render settings prim drives the pass only when the env setting is on or the pass has no AOV bindings, so the same scene can name outputs by different paths. Karma/husk instead derives EXR channel suffixes from the RenderVar data type, with an opt-in lower-case flag.
• Which Apple Music delivery page states a loudness or true-peak limit, and which audio does it apply to? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For music deliverables, the Asset Guide 5.3.19 gives numeric limits only for immersive audio (Dolby Atmos BWF ADM and 5.1/7.1 LPCM .mov: integrated loudness not above -18 LKFS and true peak not above -1 dB TP per BS.1770-4); stereo and Apple Digital Masters sections give no numeric peak/loudness limit, only an encode-clipping audition rule tied to the Apple Digital Master badge. Applying the immersive numbers to stereo masters is not supported by the guide.
• What do the MEI Board stylesheets and MEI MIDI module document about converting between MusicXML and MEI, and which data do the stylesheet defaults discard? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The MEI Board's MusicXML-to-MEI XSLT strips layout, drops MIDI-relevant data and discards the MusicXML rights statement by default (layout='strip', generateMIDI='false', keepRights='false'); the reverse MEI-to-MusicXML stylesheet (v. 0.2) writes the old MusicXML 2.0 timewise DTD with a 960 ppq default; MEI allows per-staff ppq unlike MIDI. The tools are under the Educational Community License. Code reading; no loss table exists.
• What does Epic's Live Link Face documentation say the app outputs (live data, recorded files, timecode, OSC) at UE 5.3? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UE 5.3's Live Link Face guide says the iOS app streams ARKit facial animation to Unreal over the network (not USB); each recording saves a .mov reference video (JPEG-compressed frames, audio, timecode) and a .csv of raw ARKit curves importable via the Beta LiveLinkFaceImporter plugin into a Level Sequence; timecode comes from the system timer, an NTP server (default time.apple.com) or Tentacle Sync, and the app accepts OSC remote control.

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