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• How do I make UI animation respect reduced-motion settings, and what do W3C and MDN require? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Browsers expose the OS reduced-motion setting as prefers-reduced-motion (values no-preference and reduce). 'Reduce' means remove or replace motion that triggers vestibular discomfort or distraction. WCAG 2.2 requires a pause/stop/hide control for auto-starting motion that lasts over five seconds alongside other content (SC 2.2.2, Level A). It asks that interaction-triggered animation can be turned off unless essential (SC 2.3.3, Level AAA), and technique C39 meets 2.3.3 with the media query. Media Queries 5 is still a Working Draft (February 2026).
• What do GOV.UK sources say about using its logo, crown, font and colours in graphics, and when must I not? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  You can reuse GOV.UK Frontend code (MIT) and its documentation (Crown copyright, Open Government Licence v3.0) outside government, but not the GOV.UK identity. A site not on GOV.UK must not present itself as GOV.UK or as official, must not use the crown or GOV.UK logotype in the header, and must not use the GDS Transport typeface or the GOV.UK brand colours (the brand-colour rule was added on 9 July 2026). GDS Transport is mandatory only on service.gov.uk; elsewhere use an alternative typeface. The colour guidance (use functional colour functions, not copied hex values; meet WCAG 2.2 SC 1.4.3 AA) is written for GOV.UK services.
• What does the WGA Television Credits Manual say about source material and source-material credits, and does it address AI-produced material? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The WGA Television Credits Manual (effective since 18 June 2010) defines source material and credit wordings but says nothing about AI. The AI rule is in the 2023 MBA MOA Article 72.C.3: GAI-produced material is not source material for writing credit. The 2026 MOA changes only Article 72.G, adding meetings and notice of GAI training licences, not 72.C.
• When source material exists, how do 'Screen Story by', 'Screenplay by', 'Adaptation by' and 'Based on' credits work in the WGA manual? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the WGA manual, 'Screen Story by' goes, only through arbitration, to a writer who takes just a springboard, character or incident from story-type source material and builds a substantially new story; the source author then gets a form-of-acquisition credit. 'Screenplay by' fits when story-type source material exists. 'Adaptation by' is generally opposed and only awarded by arbitration in unusual cases. 'Based on Characters Created by' goes to writers holding separated rights on sequels.
• What counts as 'source material' under the WGA Screen Credits Manual and what credit wording can it get? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Under the WGA Screen Credits Manual (notices after 31 December 2021), source material is assigned material that was previously published or exploited, or written outside the Guild's jurisdiction, that the story or screenplay is based on. Its author gets a credit naming the form acquired ('From a Novel by', 'Based upon a Story by', ...). Earlier participating writers' material and research are not source material.
• How is word error rate defined, what does the published critique say about it, and how much does the choice of text normaliser (for example Whisper's) change what is counted? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  WER counts substitutions, deletions and insertions against the reference word count, so it can exceed 1 (upper bound max(N1,N2)/N1). Morris et al. (2004) argue that measures of information communicated suit most applications better. WER also depends on text normalisation. Whisper's English and basic normalisers delete bracketed and parenthesised text (so tags like [music] or (laughs) vanish) and standardise numbers and spellings before scoring. WhisperX reports insertion error rate and 5-gram duplicates to catch hallucinated repetition. WER says nothing about timing, speaker labels or punctuation.
• What do peer-reviewed critiques say about how TTS MOS tests are reported and how test design changes the scores? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A bare TTS score like 'MOS 4.2' is underspecified. Kirkland et al. (SSW 2023) found most 2021-22 Interspeech/SSW papers omit the scale labels, increments and listener instructions. In their own test, asking about 'quality' rather than 'naturalness' raised MOS (3.52 vs 3.21). The VoiceMOS 2022 organisers state MOS values can't be compared across listening tests, because each test has its own listeners and systems. ITU-T P.800 also warns that results on the older 0-4 scale must be raised by one to compare. Report the question, scale, listener pool and stimuli with any MOS.
• What room-acoustic and listening-level numbers do EBU Tech 3276 and ITU-R BS.1116-3 state for a reference listening room, and what are they scoped for? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  EBU Tech 3276 (2nd ed., 1998) and ITU-R BS.1116-3 (2015) set the same room targets. Average reverberation time is Tm = 0.25 x (V / 100 m3)^(1/3) seconds (BS.1116-3 measures it over 200 Hz-4 kHz). Early reflections in the first 15 ms should be at least 10 dB below the direct sound between 1 and 8 kHz. Background noise should preferably stay at NR 10 and never exceed NR 15, with -18 dBFS alignment. They differ on listening level: Tech 3276 uses 85 - 10 log(n) dB(A) for n channels, BS.1116-3 uses 78 +/- 0.25 dBA. Both are for assessment and reference listening rooms, not mix-room certification.
• What do the REW help pages say about what room measurements and EQ can and cannot fix, and what RT60 target they give for a small mixing room? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  REW's help says room EQ is valid only at the measured position. EQ can tame response peaks, especially low ones, but not deep narrow dips, which are position-sensitive and need headroom EQ doesn't have. A 1/3-octave RTA is too coarse to see those dips. In domestic-size rooms RT60 isn't meaningful below a few hundred Hz (modal behaviour, no diffuse field). Recommended RT60 is about 0.3 s under 50 m3 and 0.4-0.6 s up to 200 m3. C50 indicates speech clarity and C80 music clarity. REW's room simulator treats every source as omnidirectional.
• Beyond first order, what do the ambix converter, Spatial_Audio_Framework (SPARTA) and IEM Plug-in Suite code define for FuMa support, N3D/SN3D gains and channel order? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Tools disagree on how far FuMa goes, so a higher-order FuMa file converts differently depending on the tool. The ambix converter has real FuMa-to-SN3D gains through 3rd order (W x sqrt 2; 2nd-order 0.866 except the centre 1.0; 3rd-order 0.791/0.745/0.843/1.0). Its table continues to 10th order, but every entry above 3rd order is 1.0 (placeholders, not FuMa definitions). The Spatial Audio Framework (used by SPARTA) supports FuMa at first order only and zeroes higher channels. IEM's plug-in header has only SN3D<->N3D factors (sqrt 3, sqrt 5, ... per order) and no FuMa. ambix converters older than v0.2.6 (April 2016) used a different FuMa W scaling.
• What loudness (LKFS) and true-peak limits do the ABC Australia, Free TV Australia and CBC/Radio-Canada documents state, and which BS.1770 revision do they cite? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Australian and Canadian broadcasters use -24 LKFS and -2 dBTP, not the UK's -23 LUFS and -1 dBTP fail line. ABC (V4.7, 2015) sets -24 LKFS average dialogue level (per Free TV OP48) and -2 dBTP maximum. Free TV OP-59 Issue 4 (2018) allows +/-1 LU and cites BS.1770-3. CBC/Radio-Canada v8.0 (January 2026) requires -24 LKFS +/-2 LU for both programme and dialogue loudness, -2 dBTP, measured with a BS.1770-5 algorithm. CBC v7.0 (2022) also sets -10 dBTP for audio-only content such as podcasts.
• What programme loudness target, tolerance and true-peak limit do the UK DPP-family delivery documents (BBC, Channel 4, ITV, Sky) state, and where do the documents differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UK DPP-family delivery specs all target -23.0 LUFS, recommend -3 dBTP and fail QC above -1 dBTP, but the tolerance depends on which document you read. Channel 4 v5.2 and ITV live v6.3 (2023) allow +/-0.5 LU non-live and +/-1.0 LU live, while the Sky DPP-derived PDF (UK 4.3 2014 / Broadcaster 4.8 2017) allows +/-1.0 and +/-2.0 LU. Loudness range (18 LU) and factual dialogue range (6 LU) are guidance only. The BBC's 2026 file spec gives only a -23 dB dialogue-level setting and refers to DPP010 for QC. NRK v03 allows +/-1.0 LU for live.
• Which W3C timed-text specs (TTML2, IMSC 1.0.1/1.1/1.2/1.3, WebVTT) exist, at what status, and which profile does a major deliverable spec ask for? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  As of 2026-10-22 there are separate dated IMSC Recommendations: 1.0.1, 1.1, 1.2 (August 2020) and 1.3 (21 May 2026). IMSC 1.3 is text-only and drops the image profile. An EBU-TT-D file is generally also a valid IMSC 1.2 Text Profile file, with listed exceptions. WebVTT is still a Candidate Recommendation Draft (20 May 2026), not a Recommendation. Platform profiles are narrower: Netflix accepts its restricted IMSC 1.1 Text Profile only for Japanese timed text, so W3C conformance alone is not delivery conformance.
• How do cinematographers describe building a lighting set-up (key, separation, fill, source logic), with concrete scene examples? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Burum teaches that every light casts a shadow, separates, or fills, that there is no correct fill level (his demo shows none, 8:1 and 3:1 as mood choices), that the set is lit first and fill is added and often reduced after seeing the actors, and that fewer lights are better. Deakins on Prisoners chose locations with their own sources (a gas-station lot rather than a motivated 'moonlight look') and let the shooting day shape the lighting. These are two first-hand methods, not general rules.
• How do working cinematographers describe deciding exposure (rating, key level, fill, day vs night), and what counterexamples exist to any single rule? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Practitioners give conflicting, explicit exposure methods, each for their own cameras and stocks. Burum keeps the same exposure day and night and changes only how much of the frame is black or highlight, using no fill at night. Deakins rated the Alexa at 800 for most of Prisoners, 1,250 for most night exteriors and 1,600 for the darkest, to stay mid-latitude. Clemons rated at 160-200 and exposed many stops above what the monitor showed, and found the shadow gradients smeared in cinema projection. Crudo underexposed the key one stop and the fill two for film low-key work, and now tests with the colourist.
• What fields does the CISAC AVR+ cue-sheet schema (Global Cue Sheet Standard 2.0 implementation) define for productions, cues, works, recordings and shares? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  CISAC's AVR+ (announced 18 June 2026) is a JSON Schema (draft 2020-12, schema version 1.0) for audiovisual music cue sheets, implementing the Global Cue Sheet Standard 2.0. A sheet needs production, cue and cue-sheet sections. Each cue needs a title (or an 'unknown title' flag), duration, usage code and type code. A cue may also carry in/out times, a work block (ISWC, society work codes, per-territory shares by interested party, role and right type) and a recording block (ISRC, artists, label, product codes, master owner). Usage codes are B Background, U Bumper, C Closing Theme, F Featured/Visual, L Logo, O Opening Theme and S Segment Theme; type codes are I Instrumental and V Vocal. The documentation prose mentions 'Jingle' and 'Source', which are not enum values, so the schema enums govern.
• What does the MPEG_animation_timing glTF extension define and what governs its use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  MPEG_animation_timing is a vendor extension (not KHR) in the Khronos glTF registry. It carries only a required pointer to an accessor of BYTE/SCALAR timing samples whose format and synchronisation meaning are defined in ISO/IEC 23090-14 clause 7.6.3, so the README alone cannot be implemented. It also requires MPEG_accessor_timed, MPEG_buffer_circular and MPEG_media. The README was registered for the first edition in February 2023, still cites the FDIS text, and has not changed since March 2023. Use is under the ISO licence and IPR policy, not a Khronos licence.
• Which format should I use for a 3D handoff: glTF, USD, FBX, Alembic or OBJ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Each 3D format says what it is not, which gives a choice rule by payload. glTF 2.0 is for finished runtime assets and says it is not an authoring format. USD is for assembling and layering many assets into sets, shots and worlds, though UsdSkel does not provide general rig execution. Alembic is for baked, computed geometry such as simulation and animation caches, and is not rig storage or a native-scene replacement. OBJ is static geometry and materials, with no animation, skeletons, lights or camera positions. FBX (via the Autodesk SDK or independent readers like ufbx) carries rigged characters with skinning, blend shapes, lights and cameras. The rule itself is a proposal; what the receiving application imports still decides.
• What do w3c/wcag3 issue 192 and the APCA repositories say about APCA's luminance exponents and when? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The w3c/wcag3 issue 192 thread (2019-2025) is marked by its author as early research notes of historical interest, not current guidance. In it the APCA exponents were called 'place holders' in 2020, and APCA's bare 2.4 luminance curve was first questioned on 2024-05-18 (moved to apca-w3 discussion 16). The design rationale for 2.4 lives in apca-w3's regardingexponents.md at 6c5c066; the same-named SAPC-APCA page is a stub. Cite the docs and code at a pinned commit, not the issue thread.
• What do XAG 103 and GAG require for redundant visual and audio cues? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  XAG 103 asks that any visual or audio content critical to gameplay or story also reach players through at least one other sense. Its examples: gunfire shown visually also comes through spatial audio or haptics, and important sounds get an on-screen indicator of type and direction. Text-only dialogue should name the speaker and show where they are. The Game Accessibility Guidelines rate 'no essential information by sound alone' as Hearing, Basic, testable by a first-time playthrough with sound muted, and rate replicating supplementary audio information (such as shot direction) visually as Hearing, Intermediate.
• What do XAG 108 and GAG require for difficulty options? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Xbox's difficulty guideline (XAG 108) asks for four or more difficulty presets, changing difficulty at any time without losing progress, manual and auto-save, an ultra-low mode so players can get through the story, preset names that don't belittle the player, separate adjustment of individual mechanics, and pausing at any time, cutscenes included. The Game Accessibility Guidelines rate 'offer a wide choice of difficulty levels' as General, Basic.
• What graphics does Google Play require (icon, feature graphic, screenshots, TV banner, XR), with exact pixel and format limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Google Play requires a 512x512 32-bit PNG icon (alpha allowed, up to 1024 KB), a 1024x500 feature graphic (JPEG or 24-bit PNG, no alpha), and at least two screenshots across device types. Screenshots are JPEG or 24-bit PNG, 320 to 3840 px, with the long side no more than twice the short side, and up to 8 per device type. Android XR takes 4 to 8 screenshots at 8:5 (up to 8 MB each), and Android TV apps need a banner. To be eligible for Google's large recommendation formats, an app needs at least four screenshots of 1080 px or more at 16:9 or 9:16. Requirements are mandatory; 'Highly recommended' items affect promotion.
• Which screenshot sizes and formats must I supply to App Store Connect for an iPhone, iPad, Mac, Apple TV, Vision Pro or Watch app? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Apple requires 1 to 10 screenshots per device size, as JPEG or PNG with no alpha or transparency. Every app needs an iPhone set at the 'Dynamic Island (medium display)' size (e.g. 1179x2556 or 1206x2622 portrait), and iPad apps also need an iPad 13-inch set. If the UI is the same across sizes, only the highest required resolution is needed and App Store Connect scales it down. Mac, Apple TV, Vision Pro (3840x2160) and Watch have their own size lists. As read on 2026-10-22, the iPhone Duo table also says Duo screenshots will be required from April 2027 for apps built with the iOS 27.1 SDK or later.
• What have the ColorInterop and OpenEXR maintainers said publicly about how readers should handle an unresolved or unknown colorInteropID? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  As of 2026-10-22, the ColorInterop 'bypass' ID issue is still open, and the OpenEXR recommendation was last edited on 2026-07-16. A maintainer's comment on that issue reads the current text this way: an ID other than 'unknown' that matches no colour space is an error that should ideally be shown to the user, while an application that doesn't recognise a new ID may treat it like any missing colour space, possibly by applying file rules. OpenEXR 3.5.0 added header colour-metadata validation helpers but no rule for unresolved IDs.
• What objective methods (STOI/ESTOI, SRMR, speech-loudness measures, SI4B monitoring) are stated for judging dialogue intelligibility in a finished mix, and what limits do the sources give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  STOI/ESTOI (pystoi) are intrusive: they compare a clean reference with processed speech, at 10 kHz over 15 third-octave bands from 150 Hz, in 30-frame segments, after dropping frames more than 40 dB below the loudest. Becerra et al. (2024) call intrusive metrics unsuitable for finished film dialogue because no reference exists, and advise caution with the non-intrusive SRMR. Torcoli et al. (2024) propose loudness-based checks instead: speech loudness deviation (critical below -10 LU) and speech-to-background loudness difference (critical below 0 LU), as a first proposal. On their data, the 0 LU threshold correlated best with self-reported listening effort.
• What do the Commission's Article 50 guidelines (20 July 2026) and the code's deployer section say about synthetic voice, audio deep fakes, music and audio-only labelling? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For audio-only deep fakes, Section 2 of the EU code (for deployers) asks for a short audible disclaimer at the start in plain language (or an earcon with awareness measures), reminders at intervals for long-form or live audio and after interruptions such as ads, and a visual label when a screen is available. The Commission guidelines' examples count voice cloning of real podcast presenters as a deep fake. They do not count fictional-character voices (with no deception about the narrator) or loudness/noise processing that leaves the words unchanged. Speech in a specific real person's voice needs marking, assistive voices (AAC, customised neural voices) do not, music in an existing artist's style is a creative-work deep fake, and playlists are out of scope. The examples are illustrations, not determinations.
• What do Amazon's public Prime Video Tech Docs say about audio delivery: loudness, stems, channel layouts, sample rates? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Prime Video's public Tech Docs, as archived, ask for fully mixed program tracks only (M&E and MOS removed), 48 kHz audio in the stated L-R-C-LFE channel mapping, and descriptive audio typed as Narration and paired with same-locale dialog. They list validation failures such as wrong channel counts and audio-video duration mismatches over 2.0 s. Neither archived page states a loudness target or true-peak limit, so a loudness number for Prime Video cannot be cited from these public pages.
• How are hearing-impaired (HI) and visually-impaired narrative (VI-N) audio tracks represented in a DCP, and how do open tools model and check them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In a DCP, hearing-impaired (HI) and visually-impaired narrative (VIN) audio are dedicated channels inside the main sound track, not separate files. SMPTE ST 428-12 defines HI (0Eh) as a dialog-intelligibility channel and VIN (0Fh) as narration describing picture events, and allows several of each for different languages. libdcp maps the MCA ids 'hi' and 'vin'/'vi-n' to its own channel slots, but its verifier has no HI/VIN-specific check. ClairMeta checks only an even channel count. No inspected tool verifies that a VIN channel actually carries narration or is labelled correctly.
• What does Netflix's 'Dolby Atmos Home Mix Archive Specs' say about archive files, naming and metadata for an Atmos home mix? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Atmos requirements page specifies the archive print master as a Dolby Atmos BWAV ADM file (any bed configuration), with DME separation and group labelling deferred to Netflix's BWAV ADM Creation Guidelines. It gives no Atmos-specific filename pattern or ADM metadata table, so naming must come from the asset-naming page and those guidelines.
• How do the C2PA security requirements differ for Edge, Backend and Distributed generator products, and what does the public Conforming Products List record about them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The security requirements apply to all classes unless noted. Edge binaries must not embed authentication secrets; Edge and Backend subsystems must authenticate each other; Distributed and Backend products have extra documentation and monitoring requirements. The public CPL lists 240 generator products, most at assurance level 1.
• What changed in the C2PA specification between 2.1 and 2.4 (soft bindings, ingredients, actions v2), and which version should an agent cite? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Per the C2PA 2.4 version history: 2.1 added ingredients v3, BMFF v3 hashing, time-stamp manifests and a URN namespace; 2.2 added the Soft Binding Resolution API and ingredient fields for soft-binding manifest recovery; 2.3 deprecated older actions and ingredient versions and added soft-binding validation; 2.4 (April 2026) added crJSON, repository-receipt, environmental-sustainability and AI-disclosure assertions, plus HTML and structured-text embedding. The data-mining assertion was removed in 2.0, and that topic now lives in CAWG. The spec site root redirects to 2.4, so cite 2.4 with its version and date, and older versions only for history.
• Where in a repository's public text can I look for the origin of a specific test fixture when no README states it, and what do those places say for c2pa-rs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Without a fixture README, the public trail for a fixture's origin is its earliest commit, any in-code labels and project docs. For earth_apollo17.jpg the trail ends at the 'Initial public release' commit of 2022-05-23, with no origin or licence, so the trail dates a file but does not establish rights.
• What does OpenUSD's asset resolution layer (Ar) define for asset identity and versions, and what is left to the resolver plugin? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenUSD's Ar layer defines hooks rather than an identity or versioning scheme. A resolver turns asset paths into resolved paths, chosen by URI scheme; contexts can be bound per scope, and any context used must be folded into the resolved path so downstream users need no context. ArAssetInfo offers optional plugin-filled version, assetName and resolverInfo (repoPath is deprecated). USD validates and parses nothing beyond scheme dispatch. Without a custom resolver, ArDefaultResolver treats paths as files with search paths, so database ids or hero-version logic must live in a custom resolver.
• What do the Smithsonian 3D (Voyager) scene schemas define for units, versions and copyright, and is there a licence field? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Voyager's SVX document schema records a presentation-description version (required) and an optional copyright credit string; models carry a unit from inherit/mm/cm/m/km/in/ft/yd/mi; the meta schema has a free-form collection object and no licence field. A copyright credit is not a licence. The client's unit-conversion table has defects: every conversion into km or mi returns 1, and (curator addition) the mile row's inch, foot and yard factors are about 1000 times too large. Conversions involving km or mi are therefore wrong in this code (code reading, not executed).
• How does Babylon.js handle gamma versus sRGB, and what must a custom shader or post-process author do to stay consistent? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Babylon.js's documentation says its shaders encode and decode with a plain 2.2 gamma rather than the piecewise sRGB curve, to save operations, with an option for sRGB textures. Colour textures are authored in sRGB and data textures in linear. PBR materials honour a per-texture gammaSpace flag, and ImageProcessingPostProcess expects linear input, applying 1/2.2, so a custom post-process should hand it linear values. Node Materials convert nothing automatically.
• What coordinate conventions (normalised range, origin, pixel centre, bit depth, premultiplication) do Nuke's STMap documentation and the openfx-misc STMap/IDistort/LensDistortion code use, and what do they leave unstated? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Nuke documents STMap UVs as the absolute source position normalised to 0-1, with (0,0) the bottom-left corner and (1,1) the top-right corner of the input, plus a premultiplied option for renderer output. It does not state the pixel-centre rule or bit depth. The open-source openfx-misc implementation makes the convention explicit: u,v map to the source rectangle with (0,0) at the lower-left corner of the first pixel, IDistort offsets sample at pixel centres (+0.5), UV input must be float, and there are unpremultiply and offset/scale options. A pixel-exact identity STMap therefore stores (x+0.5)/W and (y+0.5)/H (inference).
• Which YCbCr conversion does Blender's Chroma Key use, what range does it assume, and where else in the Keying node does the same conversion appear? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blender's Chroma Key and the Keying node's chroma pre-blur convert RGB to studio-range BT.709 YCbCr (Y = 0.183R + 0.614G + 0.062B + 16, chroma centred at 128, computed on 0-255-scaled values and divided by 255), the same constants on GPU and CPU. Chroma Key rescales Cb/Cr with v*2-1, so neutral grey lands at +1/255 (about +0.0039) rather than 0. The algorithm is credited to Video Demystified, ch. 7. The CPU helper's own FIXME says its 16-235 range comment must be wrong.
• Do inkle's free GDC slides by Jon Ingold state patterns for reconverging branches and keeping logic defensive? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  inkle's free GDC 2015 slides 'Adventures in Text' (OCR of 45 pages) never use the words reconvergence or defensive logic, but the 'Avoiding Explosions' slide lists ways to keep branching manageable: different routes to the same result, shifting focus, coercing the player, hiding the forcing in nested options, using another character and blatant clues, while noting that gamers like explosions. Other slides stress ink's low-cost logic for tracking history and close with 'Branching: do it, and prove it' and 'Game below, story above'.
• Which JSON fields does the articy:draft Unreal importer read for flow pins and connections, and what does it read from the Settings and Project sections? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The importer reads pins' Text, Owner and Connections; outgoing connections' Target and TargetPin and incoming connections' Source and SourcePin as hex-id strings; Settings' localisation, text formatter, script support, export version and two content hashes; and Project's Name, DetailName, Guid and TechnicalName, via JSON_TRY_* macros that leave defaults when a key is absent. As the producer noted, UArticyIncomingConnection::GetSourcePin has an inverted null test: with a database it always returns null, and without one it dereferences a null pointer.
• In articy:draft, how are global variables organised and addressed, and how do they show up in an engine importer? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  articy:draft global variables live in variable sets (namespace-like), each variable typed Boolean, Integer or String with a default, named without spaces or special characters, and addressed as Set.Variable; renaming without update can break scripts. The Unreal importer reads them as namespaces and supports independent variable sets per flow player via Override GV.
• What are the top-level sections and the global-variable and flow-connection fields of an articy:draft JSON export, as an official importer reads them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No public articy page documents the JSON schema; the official MIT Unreal importer shows what it consumes: top-level Settings, Project, Packages, Hierarchy and ScriptMethods (always), plus GlobalVariables and ObjectDefinitions; global-variable namespaces carry Variables with name, description, type (Boolean/Integer/String) and value; flow pins carry Text, Owner and Connections.
• I am preparing a feature screenplay for Nicholl and for guild resources: what do the Academy, Writers Guild Foundation and WGA texts I can read actually require, and is there an official WGA margin spec? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For the Nicholl route via the Writers Guild Foundation, the FAQ asks for an original English-language feature screenplay in standard industry format, as a PDF of 80-125 pages, on US Letter or A4, with a title-only title page and no identifying information (an LoC or WGA registration number is optional). The WGA FAQ page has no margin, font or Courier specification, a bounded negative for one page.
• What numeric margins, font and page-number position does the Academy's own Nicholl format guide state, and what does the 2026 Nicholl FAQ state instead? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Academy's old Nicholl format sample (file dated 1998, 2008 capture) gives left 1.5 in, right 1.0 in, top 1.0 in to the body (0.5 in to the page number), bottom 0.5-1.5 in depending on the page break, and Courier 12 pt 10 pitch, while saying there is no absolute standard format. The current Writers Guild Foundation partner FAQ gives no margin figures; it warns that smaller margins or sub-12-point fonts used to get under 125 pages may count against a script.
• How do FFmpeg, ImageMagick and libwebp represent and handle straight versus premultiplied alpha when reading and writing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  FFmpeg tags frames with an explicit alpha mode (unspecified, premultiplied or straight), set by the user when encoding and by libavcodec when decoding. WebP stores straight (non-premultiplied) RGB: libwebp exposes premultiplied output only through lowercase decode modes (e.g. MODE_rgbA), and by default its lossless encoder rewrites RGB under fully transparent pixels unless WebPConfig.exact is set. ImageMagick's WebP coder decodes to straight RGBA and writes straight ARGB.
• What do FFmpeg, ImageMagick and libwebp document or implement for images with no ICC profile or CICP tags? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For untagged images: the WebP container spec says to assume sRGB (including for alpha blending in linear light); ImageMagick documents a non-linear sRGB default for unknown 8- to 16-bit formats, overridden by file metadata, profiles or -set, and its WebP writer converts non-sRGB-compatible colourspaces to sRGB and embeds an ICCP chunk when the image has a profile. FFmpeg instead marks primaries, transfer and matrix as 'unspecified', passes a WebP ICCP chunk through as frame side data, and its libwebp encoder wrapper files contain no ICC handling, so FFmpeg-encoded WebP drops a source profile unless handled elsewhere. No FFmpeg statement assuming sRGB was found in the files read.
• What do the OCIO 2.4 to 2.6 release notes say about the status of ACES 2.0 support (preview, final, performance, fixes), and which OCIO version should a pipeline require? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OCIO 2.4.0 shipped ACES 2 Output Transforms as a not-for-production Preview, with ACES 1.3 built-in configs. 2.4.1 kept the Preview label and planned finalisation for 2.4.2. 2.4.2 (2025-03-19) removed the label and reported a ~25% speed-up, while ACES 2 stays substantially slower than ACES 1 on CPU and somewhat slower on GPU. ACES 2.0 configs shipped as Config-ACES v3.0.0 (2025-03-15) and became built-in in 2.5.0, whose displays pass negative values. 2.6.0 adds built-in ACES 2.1 configs with unchanged Output Transforms but preliminary AMF IDs that will change in 2.6.1. A pipeline needing production ACES 2 output should require at least 2.4.2, and at least 2.5.0 for built-in ACES 2.0 configs (synthesis).
• Have ACES maintainers published anything on why aces-docs says a constant lower-hull gamma 1.14 while aces-core CTL uses 1.14 + 0.07*log_peak? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  No ACES maintainer statement explains the mismatch as of 2026-10-22. Issue and PR searches in aces-docs, aces-core and aces-output return nothing for 'hull' or 'log_peak'. The docs page has had only housekeeping commits since the 1.14 sentence, and current aces-core main still scales the lower-hull gamma (and several other gamut parameters) with log_peak.
• When did the ACES docs first state that the lower-hull gamma is a constant 1.14, and has the docs repository changed that statement since aces-core commit cd5017c (2024-08-30)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ACES 2.0 docs page says the lower gamut hull uses a constant gamma of 1.14. That sentence was added on 2025-03-05 and is unchanged at docs main 7c34c21 (page last touched 2025-09-11). The aces-core reference CTL has used 1.14 + 0.07*log_peak since commit cd5017c (2024-08-30), so the docs sentence postdates and contradicts the code. Implementers should follow the code, and cite both when explaining the ACES 2.0 gamut mapper.
• What do Unity Localization Smart Strings and Godot gettext/tr_n docs state about plurals, genders and variables in dialogue strings, and what failure cases do they mention? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Unity Localization's Smart Strings (1.5.13) give dialogue lines pluralisation, gender, lists and conditionals with named placeholders; the documented trap is that sources are tried in order, so the same placeholder can resolve to different data, and number formatting follows the table's locale. Godot's tr_n plural support is for zero or positive integers only; its gettext extractor silently skips non-constant string arguments, and NO_TRANSLATE/TRANSLATORS comments steer extraction; pseudolocalisation catches length and hard-coded text but is not a CJK/RTL font test.
• What do the SAG-AFTRA 2023 and 2026 MOA texts each say about Employment-Based Digital Replica definition and Synthetic use, and where do the two wordings visibly differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Comparing the 2023 MOA with 2026 Attachment D: the 2026 text keeps the Employment-Based Digital Replica criteria. A footnote treats an asset made without the performer's physical participation as such a replica for Section 64.A.(2)(b) purposes, with no creation payment. The Synthetic provision gains a stated principle strongly favouring human performance and a notice, meeting (10 business days) and failure-to-agree (15/20 business days) sequence, which sunsets on 2030-06-30 back to the 2023 wording. New text covers footage used to train GAI systems for Synthetics. Because the 2026 PDF is marked up, some final wording is inferred.

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