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• Exactly how does Left 4 Dead's adaptive pacing work (intensity estimate, build-up/peak/relax states, timings, exemptions), and what did a second shipped game keep or change? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Valve's designer documents a small, reproducible controller: estimate each player's 'emotional intensity' from damage and nearby deaths, take the team maximum, and cycle four states (Build Up with full threats until intensity passes a peak threshold, Sustain Peak for 3-5 s, Peak Fade with minimal threats until a natural lull, Relax for 30-45 s or until the team has travelled far enough). Wanderers, mobs and special infected are throttled; bosses are exempt. Warframe's lead AI programmer independently reports a similar damage/kill-based intensity score and a peak-then-hold-off rule at intensity 100. Valve's slides call the estimator crude and give no decay constants or thresholds, and no ablation, so the pattern is documented but its tuning is not.
• What do open sources actually say about ochi (sage) types, and how reliable is the commonly repeated list of twelve? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open primary-leaning sources define the ochi (sage) as the closing pun, wordplay or witty line and the paper calls it the most important part of the comedy, but none of the open sources read gives a classification of ochi types. The only list readable is the English Wikipedia page, which says twelve kinds are 'codified', cites a 1996 newspaper piece, and itself lists only ten (niwaka/jiguchi pun, hyoshi repeat, sakasa reversal, kangae pondering, mawari return-to-start, mitate, manuke silly, totan signature phrase, buttsuke misunderstanding, shigusa gesture). Treat the list as a vocabulary lead, not a verified typology.
• How do the open sources say player agency trades off against authored structure, and what concrete design diagnostics do they give? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Mateas (2000) argues story and agency are not intrinsically opposed: agency arises when material affordances (actions available) are balanced with formal affordances (what the plot makes worth doing); imbalance reduces agency, illustrated with puzzle adventures (too many material options), Quake (balanced) and a hypothetical plot-heavy shooter (plot without new actions). Roberts and Isbell state autonomy and authorial control are in tension; Riedl and Stern describe a coherence-versus-agency trade-off and a story director that adapts the plot; Facade's authors say they traded global for local agency under fixed authoring effort.
• Which data structures do Facade's beat sequencer, the Automated Story Director's narrative-mediation tree and Versu's social practices use to hold story state and authorial control, and what did each paper evaluate? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Three primary papers give three reusable structures. Facade (Mateas and Stern 2005) annotates each beat with preconditions, weights, priorities and tension effects, and picks the unused eligible beat closest to an authored tension arc. The Automated Story Director (Riedl and Stern 2006) holds the story as a partially ordered plan with causal links, precomputes a tree of contingency plans for every player action that threatens a link, and reported a prototype whose tree had over 1000 paths. Versu (Evans and Short 2014) gives characters strong autonomy, uses social practices as suggestion-only joint plans, and makes each episode's story manager a reactive practice. None reports a controlled comparison against alternatives.
• What calendar date does the IATSE 2024 MOA rest-period-penalty formula ("first Sunday that is 90 days after August 4, 2024 or the business day AMPTP receives notice of ratification, whichever is later") give, and how do I resolve such a bracket? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The MOA bracket is a "later of two dates" rule. Synthesis: August 4, 2024 was a Sunday; 90 days after it is Saturday November 2, 2024; the first Sunday on or after that is Sunday November 3, 2024 (91 days after August 4). IATSE announced ratification on Thursday July 18, 2024, 108 days before that Sunday, so the notice branch cannot be the later one unless AMPTP's notice came after November 3 (no source read suggests that). The formula therefore gives November 3, 2024 for productions commencing principal photography on or after it; this is an arithmetic result from the MOA text, not a statement by AMPTP or IATSE about the West Coast Studio Local Agreements (see -02 for executed-text cross-checks).
• What techniques and failure modes for thematic association (leitmotif) follow from Wagner's writings and Wolzogen's thematic guide, does the 'one motif per character' rule hold, and how might it be used for film, games or series? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Wagner's texts do not state 'one motif per character'. He describes themes tied to dominant moods and to the 'weightiest motives' of the drama, kept few and recurring: a fresh motive for each recurrence of the same mood would be the opera-composer's habit he rejects; motives are re-modelled to fit the passing situation (Lohengrin versus the more literal reminiscences of the Flying Dutchman); a motive's first presentation must be justified by the scene; harsh combinations should be softened by tempo and dynamic. Wolzogen's guide names motives after objects, relations and states (Ring, Compact, Renunciation, Walhalla, Captivating Love, Wondrous Power of the golden apples) as well as persons, and notes Alberich acquires his motive only later. A 1920 photoplay manual (Lang & West) shows the same technique in film: a main love theme reused in minor mode, quickened, fragmented, agitated.
• What is the normative definition of MaxCLL and MaxFALL that is openly readable, and what does it say about how they are measured? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The CTA-861.3 text is paywalled, but ITU-T H.265 (V11, 01/2026) clause D.3.35 is a free primary text that defines the content light level SEI in terms CTA-861.3 relies on. Per pixel, take EMax = max(R,G,B) in linear light, convert to a light level as the CIE 1931 luminance of equal-amplitude RGB at EMax, scaled so peak white is 10,000 cd/m2 for PQ. max_content_light_level is an upper bound over all samples of the coded video sequence; max_pic_average_light_level is an upper bound on the maximum, over pictures, of the average over samples. The SEI does not itself specify the conversion from decoded samples to linear light.
• What did Brewer and Lichtenstein's experiments measure, what did they find, and how can I reuse their segment-by-segment rating design to test an outline or draft? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The 1980 report (TR 197) measured suspense and surprise ratings after each of four segments for six discourse versions of three event sequences, then liking and 'is it a story' judgments. Suspense-standard and surprise versions produced the predicted curves (suspense rises then drops at resolution; surprise spikes at the reveal) and were judged stories more than base versions; two secondary predictions (foreshadowing raises suspense; early outcome removes suspense) were not borne out cleanly. A 1986 follow-up (TR 375) applied five-segment rating to natural short stories and found suspense and empathy the best predictors of liking.
• Why do Schloss & Palmer (2011) and Forni et al. (2026) disagree about contrasting hues, and what in their methods could explain it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Schloss & Palmer (48 Berkeley observers, 992 concentric-square pairs of 32 Munsell-specified colours, continuous harmony scale, 'go naturally together' wording) find harmony falls as hue difference rises. Forni, Darmon and Benzaquen (346 online responses, 13 HSL hues at fixed S=0.8 and L=0.5 on equal-area checkerboards, pick the three most and three least harmonious of 12) find hue-averaged preference highest 160-220 degrees apart but strongly hue-dependent. The papers differ in stimulus layout, saturation/lightness control, response format and sample; neither reports inter-observer agreement in the text read, and neither includes a non-Western harmony sample.
• How is a lighting ratio defined and measured, which numbers do primary sources give for colour film, TV and mood, and where do definitions disagree? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 1953 Kodak-published amateur-film magazine article (Heffernan, Movie Makers) defines the ratio as key light reading divided by fill light reading, each metered separately at the subject with an incident meter; 1:1 is flat, colour film seldom above 4:1, black-and-white up to 16:1 for drama. A TV-production report in the same volume gives 2:1 for filmed TV versus 5:1 to 8:1 for theatrical. The ASC formula quoted by Wikipedia, (key+fill):fill, gives a different number for the same lights, so an agent must state which definition it uses.
• Which metadata fields does the SPN Software Metadata Recommended Format guide define for execution and emulation of software such as games? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The Software Preservation Network's metadata guide (v1.1.0, October 2023) groups its elements by use case. Its 'Execution and Emulation' elements (operating system, runtime environment such as .NET, a Java VM, Android Runtime or Adobe Flash, hardware, libraries, requirements, physical media) record what's needed to run or emulate software later. The guide's identifiers are inconsistent: the cover says 1.1.0 but the PDF metadata title says 1.0.0.
• What does the Library of Congress Recommended Formats Statement say should be deposited to preserve a software or video game? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For depositing games, the Library of Congress prefers, in order: uncompiled source, the gold master build, a distribution file (app package or executable), release media, then unpublished media. A video of the software in use can substitute when no preservation copy exists or online dependencies can't be recreated. Console or handheld titles need a virtual or emulated platform, deposited files must carry no DRM or encryption that controls access, and source deposits need rights clearance for the Library to run the compiler.
• What do OBS Studio's libobs docs say about output frame-rate representation and audio/video sync offset, and is a variable-frame-rate recording mode documented? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OBS (libobs at 32.2.2) runs its output at a fixed frame rate expressed as an integer fraction (fps_num/fps_den), set in the UI as a common, integer or fractional value. The UI strings searched have no variable-frame-rate option, so recordings come out constant frame rate, which is convenient for editing.
• What does PBS require of the story, characters and production team in children's content, and how does it differ from the BBC/Ofcom approach? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  PBS's Editorial Standards (adopted 10 June 2025) regulate children's content by its goals rather than its schedule. Every children's programme needs explicit, developmentally appropriate educational goals built into format, characters, settings and stories, and production teams must include early-childhood education advisers. Demeaning stereotypes and slurs are not allowed, and behaviours a child might copy should be avoided.
• What do the BBC Editorial Guidelines require when children or young people take part in content (consent, welfare, identification, impact over time)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The BBC puts a child contributor's welfare above any editorial need. Working with under-18s requires a contributor due-care risk assessment, consent the child can understand, and parental consent for under-16s (except non-sensitive questions). Producers must avoid 'jigsaw identification', where several details combine to identify a child, and consider the impact after publication.
• If I write a story for a children's audience in the UK, what do the BBC Editorial Guidelines and Ofcom Code say I must avoid or justify (violence, imitable acts, language, drugs, scheduling)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UK children's-content rules run in parallel at the BBC and Ofcom. Pre-9pm output must suit a general audience, content made primarily for children is held to a stricter line, and violence, imitable dangerous acts and drugs or alcohol need strong editorial justification. Ofcom bars offensive language in programmes for younger children except in the most exceptional circumstances. Definitions differ: Ofcom's 'children' are under 15, while the BBC's contributor rules use under-18.
• What does C2PA soft binding tell an agent about a watermark or fingerprint, and what does it leave out (robustness, detectability, licence)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  C2PA lets a manifest point to a watermark or fingerprint ('soft binding') so content can be re-matched after the file changes or the manifest is stripped, but a soft binding must never stand in for the cryptographic hard binding. C2PA's registry of soft-binding algorithms lists 28 entries (25 watermarks, 3 fingerprints; 10 cover audio). Entries record only a description, entry date, contact and info URL, with no robustness, detection-rate or licence data. Neither Google's SynthID nor Meta's AudioSeal is listed.
• Which licence does an FFmpeg binary carry by default, and which configure options change it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  FFmpeg's licence depends on how it was built. By default it is LGPL v2.1 or later (some files MIT/BSD-style, LGPL overall). Passing --enable-gpl adds GPL parts and makes the whole build GPL v2+, --enable-version3 moves it to (L)GPL v3, and --enable-nonfree builds announce themselves as not legally redistributable. Running the binary with -L prints its licence, which is the quickest check for a bundled copy. FFmpeg is never offered under proprietary terms, even for payment. Its legal page gives a compliance checklist and is not legal advice.
• What does Android's public camera documentation say about RAW capture, colour metadata and 10-bit/HDR video, and does it define a log profile? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Android's Camera2 API gives RAW capture as a 16-bit mosaic plus the metadata to decode it (black-level pattern, white level, per-illuminant colour matrices), and DngCreator writes a DNG from a capture without extra setup. For video, the dynamic-range profiles are standard 8-bit, HLG10 (required on all 10-bit-capable devices), HDR10, HDR10+ and Dolby Vision variants; API level 37 adds SMPTE ST 2094-50 Dolby Vision modes. There is still no log profile (page last updated August 2026). Vendor log curves like Xiaomi Mi-Log are documented by the vendor and implemented in colour-science.
• How much of a VISION3 negative's density range fits in a 10-bit DPX scan at 0.002 versus 0.0025 density per code value, and what does Kodak say changes downstream? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Kodak says a standard 10-bit scan (0.002 density per code value, D-min at code 95) can encode 1.856 density above D-min. That was enough for VISION2 negative but can clip VISION3's extra highlight range. Kodak recommends 0.0025 per code value, recording the choice in the DPX header, and warns that the flatter files affect compositing and colour correction. Two figures need care. The quoted 0.512 extra density is the full-range difference; above D-min at code 95 the gain is 0.464. The contrast change is a factor of 0.8 (20% lower, needing a 1.25x gain to restore), which the paper calls '25% lower contrast'.
• What does Blackmagic's own documentation (under 25 MB) say about reel names when conforming an EDL/AAF/XML in DaVinci Resolve? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blackmagic's New Features Guides document a few conform aids. Resolve 16 added partial reel-name matching for conform and ColorTrace, ignoring a set number of characters at the start or end of reel names. Resolve 17 can import XML, EDL or AAF timelines into an empty Media Pool, and timelines preconformed from a flattened master via 'Pre-conformed EDL' can take a different input colour space per clip under Resolve Color Management or ACES. Resolve 19's scripting API exports timeline ALE and CDL and imports OpenTimelineIO. How EDL reel/clip columns, ASC CDL comments or AAF tape names are parsed is not stated in these guides.
• What has Netflix's As Recorded Dubbing Script scope of work changed over time, and what does its change log say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's As Recorded Dubbing Script scope of work dates its own changes. The script was due five calendar days before the secondary audio until a 17 September 2024 change made it three. A 24 September 2025 change added episode-title and main-title rules (use the approved title; don't translate freely) and removed the separate TTAL required-fields and appendix sections. Edit timing is bounded only by the captures read.
• How did the audio rules in the Post Production Branded Delivery Specification change between page labels 5.0 (2022-12-09), 5.1 (2024-08-03) and 5.2 (2026-06-06)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's Branded Delivery Specifications changed Atmos rules in two steps. Version 5.1 (change log 12 September 2023) removed the separate 2.0 stereo M&E. Version 5.2 (change log 21 October 2024) widened the Atmos group labels from four (Dialog, Music, Effects, Narration) to seven (adding Group ADR, Backgrounds, Foley), made 5.1 and 2.0 deliverables optional for Atmos mixes, and replaced the '-2 dBFS true-peak' sentence with a recommendation to set limiters at -2.3. The separate Atmos requirements page (v2.3, 'updated for parity' with the Branded spec) still showed the older wording in an April 2026 capture, and showed the 5.2 wording by October 2026 (curator cross-check). So the conflicts recorded earlier were a lagging page, and current Netflix pages agree.
• How does the ARSC Guide to Audio Preservation separate a preservation transfer from restoration, and what does it say about disc speed and equalisation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ARSC Guide to Audio Preservation (CLIR 2015, CC BY-NC-SA 4.0, credited photos excluded) separates preservation from restoration. A preservation transfer reproduces the carrier accurately with aligned machines, the correct stylus and equalization or other decoding as needed. Subjective clean-up is restoration, done only after a preservation copy exists. It defines a preservation master, an access master (which may be restored, e.g. de-noised) and an access copy, and names BWF .wav the de facto archival format. Many '78 rpm' discs should really be played at slightly different speeds (e.g. 76 or 79 rpm), so turntables need incremental speed control.
• What do EBU R 128 s1, s2, s3, s4, Tech 3343, Tech 3344 and (if available) AES TD1004 add beyond R 128 for production and streaming distribution? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The EBU R 128 family as read in October 2026: R 128 V5 (November 2023) is the base. Supplement s1 (August 2020) sets short-form content (ads, promos) at -23.0 LUFS with short-term loudness no higher than -18.0 LUFS and true peak no higher than -1 dBTP, and says loudness range isn't useful for short-form. Supplement s2 (November 2023) keeps streams at -23.0 LUFS, or an interim distribution level of -20 to -16 LUFS when the broadcaster does the dynamic treatment, citing AES 71 and AES 77. Tech 3343 V4 (November 2023) folds in the streaming, radio and cinematic supplements, and Tech 3344 v2.1 (July 2016) covers distribution and reproduction.
• What public DCP test material exists in libdcp and ClairMeta_Data, and what licence text covers it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two DCP test corpora have licences written for software. libdcp is GPL-2.0, with an SMPTE BSD-style licence for portions. ClairMeta_Data (about 1.1 GB of DCP, MXF and XML test packages) carries a BSD-style YMAGIS licence. Neither says whether its licence covers the test essences and packages, so treat the test media's reuse terms as unclear.
• What WebVTT test material is in web-platform-tests, and what licence text covers it, including the shared media and fonts the rendering tests reference? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  web-platform-tests (including its WebVTT tests) is under the 3-Clause BSD licence. The rendering tests depend on shared media and font files outside webvtt/; the fonts README states no separate licence for them, so the repo-level BSD text is the only stated term.
• What are the eight Matroska 'Wave 1' test files, what does each exercise, and what licence does the repository state for them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The IETF Matroska test files (eight .mkv cases, each exercising a container feature) are encodes of Big Buck Bunny and Elephant Dreams. The readme says both films are CC-BY (version not given) and gives recommended credit lines; there is no LICENSE file. Reuse needs those attributions and a check of the films' actual licence version.
• What is the EBU SQAM test material, what does it contain, and what use does the EBU allow? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The EBU SQAM CD (handbook Tech 3253, September 2008) is a set of recordings for subjective sound-quality tests, grouped from alignment and artificial signals through single instruments, voice, speech, orchestra and pop (70 tracks). The handbook states no licence. The EBU's generic test-sequence terms forbid commercial use and redistribution, and the producer's reading of the SQAM download page says downloading means agreeing to R&D-only use.
• Can I build the EBU Tech 3341/3342 loudness test signals myself, or must I use the EBU download, and what are the download terms? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  EBU's loudness-meter compliance tests (Tech 3341, 23 cases; Tech 3342, 6 Loudness Range cases; both November 2023) mostly use synthetic 48 kHz tones; a few cases use authentic programme segments (e.g. a promo-like and a drama-like excerpt). The test sequences may be used only to assess audio equipment in internal R&D. Commercial use, copying, modifying, publishing and redistribution are all forbidden (EBU terms v1.0, July 2019), so they can't be bundled into a product or public test suite.
• What do Ofcom's access-services guidelines say about audio description style and subtitle presentation (speed, layout, synchronisation)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The 2015 Ofcom Code's Annex 4 guidance asks audio description to be in the present tense, to avoid filmic terms like camera angles and the phrase 'we see', and not to cover dialogue or key sounds. It asks pre-recorded subtitles to run normally no faster than 160-180 words per minute, usually in up to two lines, synchronised with speech. The current Code (last updated 15 April 2024) no longer contains this annex and refers to separate Ofcom best-practice guidelines, so cite the 2015 text as a dated version and check the current guidelines.
• What did the ITC's 2000 guidance say about how to write and record an audio description (tense, what to describe, sound levels)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ITC's May 2000 audio description guidance is a describer's manual: seven steps from choosing and viewing the programme through drafting, reviewing, setting the programme sound level, recording and checking. It asks for present-tense description (continuous for ongoing action), not talking over sound effects, and lowering the programme level under description. It is historical guidance from the start of UK digital TV, not current Ofcom policy.
• What do Video.js v10.1.0 docs and v8.24.2 code do with caption, subtitle and description tracks, and what gaps do the maintainers state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Video.js changed approach between versions. Video.js 10 renders captions natively so FCC-required OS caption preferences apply (decision dated 2026-02-26), offers menus only for captions and subtitles, has no caption-appearance menu, and points audio description to a described audio track. Video.js 8.24.2 had a Descriptions button and showed description cues in its own display with aria-live assertive, giving captions and subtitles priority when both were on. Moving from v8 to v10 drops the built-in text-description path.
• How does Able Player (v5.0.0) deliver text-based and separate-video audio description, and what are its documented gaps? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Able Player 5.0.0 (MIT) offers two audio-description routes: a WebVTT descriptions track voiced through the browser's Web Speech API (or written to an ARIA live region), or a separate described-video file (data-desc-src). It can pause the video while a description is read, and puts descriptions in its transcript. Open issues report description problems on iOS and Safari.
• What do the HTML <track> kind values and TextTrack modes mean for description tracks, and is there evidence that browsers voice kind="descriptions" themselves? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The HTML Standard defines a 'descriptions' text track as text intended to be synthesised as audio when the picture can't be seen, and makes voicing it a browser (user agent) job: a showing descriptions track is made available non-visually. Evidence that browsers actually voice such tracks is thin, so web players implement it themselves.
• How does the CRTC's NER-based live-caption accuracy standard work (score formula, error types and deductions, sample size, evaluator certification, monitoring and remediation)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Canada's CRTC (Broadcasting Regulatory Policy 2019-308, August 2019) replaced the 95% verbatim test for English live captions with an NER accuracy score of at least 98. The score is (captioned words minus NER error deductions) / captioned words x 100, with deductions of 0.25 for benign errors and omitted detail, 0.5 for omitted main meaning and 1.0 for false information. Broadcasters monitor two live programs a month and report annually by 30 November. The Commission may ask for monthly calculations if compliance issues arise.
• Which EN 301 549 V4.1.1 clauses does Annex ZB map to the EAA's AV, access-service and e-reader rows, what is outside its scope (e-books), and what is the presumption-of-conformity status at the pinned sources? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  EN 301 549 V4.1.1 Annex ZB maps European Accessibility Act requirements to its clauses. For access services in audiovisual media (Table ZB.5 row 5(b)(ii): subtitles, audio description, spoken subtitles and sign language transmitted fully, synchronised and user-controllable) it lists clauses 4.2.1, 4.2.2, 4.2.4, 4.2.5, 5.1.3.7, 5.1.5, 5.4, 5.5, 5.10, 7, 9.1.2, 10.1.2, 11.1.2 and all control-operation requirements. E-books are out of its scope. Conformity is presumed only for directives under which the standard is cited in the Official Journal; no EAA citation was found in the sources read.
• What does EN 301 549 clause 7 (ICT with video capabilities) require of a media player, and what changed between V3.2.1 (2021-03) and V4.1.1 (2026-09)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  EN 301 549 V4.1.1 (September 2026) clause 7 requires video players with synchronised audio to offer a subtitle mode and to show subtitles within 100 ms of their timecode. They must keep subtitle data when transmitting, converting or recording, let users adapt subtitle presentation where the player controls it, and offer spoken subtitles and selectable, synchronised audio description. Where the player controls activation, it needs a single-operation toggle for subtitles, audio description or spoken subtitles at the same level as the volume control. V3.2.1 (2021) said 'captions' and required these controls at the same level of interaction as the primary media controls.
• From which date must a provider of an AI audio system mark its outputs under AI Act Article 50(2), what does Article 113 now say after the Digital Omnibus, and where is the official text? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Under the EU AI Act as amended by the Digital Omnibus on AI (Regulation (EU) 2026/1744, OJ 24 July 2026), the Act applies from 2 August 2026, and a new Article 111(4) gives existing systems a grace period. Providers of systems generating synthetic audio, image, video or text that were on the market before 2 August 2026 must comply with the Article 50(2) machine-readable marking duty by 2 December 2026. Article 50 paragraphs 1-6 are unchanged; paragraph 7 (codes of practice) was replaced. How the dates apply to a given system is a legal question this record does not answer.
• Which screenplay/film-dialogue corpora (Cornell Movie-Dialogs, ScriptBase, TRIPOD, MovieNet scripts) exist, what terms are stated for code, annotations and script text, and what scene or structure measurements are published from them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  None of the common screenplay corpora states reuse rights for the script texts. The Cornell Movie-Dialogs page (220,579 exchanges from 617 films) has no licence text; ConvoKit's MIT licence covers its software, not the corpus. ScriptBase (1,276 scripts crawled from sites like IMSDb) and TRIPOD have no licence file (GitHub's licence API returns 'not found') and no licence statement in their READMEs. MovieNet distributes through an OpenDataLab user agreement and withholds films for copyright reasons. All rest on scripts crawled from public websites.
• Which audio, video and image formats can c2pa-rs 0.91.4 and c2patool 0.28.2 embed and read manifests for, and which of C2PA 2.4 Appendix A's embeddings have no handler at that pin? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The C2PA Rust SDK (v0.91.4) can embed manifests in WAV, AVI and WebP (RIFF), MP3 and FLAC (ID3-style), and MP4/M4A/MOV (BMFF). Fragmented MP4 (DASH) is supported only for file-based operations. It has no Ogg, font or HTML handler, although C2PA 2.4 Appendix A defines embeddings for Ogg Vorbis (added in 2.3), fonts, HTML, ZIP and text. A ZIP handler exists in code but isn't in the docs table. Ogg Vorbis/Opus support is an open experimental pull request (#2073), not merged as of 2026-10-22. c2patool supports whatever library version it was built with.
• How can an agent read the C2PA Trust List and Conforming Products List as data to see which vendors, media types and spec versions are covered, and what do those lists not tell it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  C2PA's Conforming Products List (270 records: 240 generators, 30 validators) records which media types each product can sign, not individual signing events. By curator recount, 81 generators actually list audio container types (most often WAV 63, MPEG 57, MP4 51), 151 list video and 208 list image; 33 carry an mlModel key, 32 of them empty.
• Which of C2PA 2.4's assertions are modelled as typed labels in c2pa-rs 0.91.4, which newer ones (AI Disclosure and others) have no label constant, and what can c2patool author? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The C2PA Rust SDK does not yet name the C2PA 2.4 additions. At its v0.91.4 release tag (2026-10-19) and at main (head 2026-10-16), labels.rs has no constants for c2pa.ai-disclosure, c2pa.environmental-sustainability, c2pa.repository-receipt or c2pa.alternative-content-representation, all defined in the 2.4 spec. A missing constant doesn't prove such assertions can't be written: custom labels pass through as JSON.
• What containers and metadata encodings does libultrahdr v2.0.2 claim to read and write (JPEG, HEIF, AVIF; XMP, ISO 21496-1), and which API takes which inputs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  libultrahdr offers five encode paths (API-0 to API-4) depending on whether you supply raw HDR, raw SDR, compressed SDR, or a compressed gain map plus metadata, and a decoder option for the display's maximum boost. Its header version table says 2.0.0 added HEIF/HEIC and AVIF containers (via libheif and an ISO 21496-1 'tmap' item, behind the UHDR_ENABLE_HEIF build flag), and 1.5.1 enabled writing both ISO 21496-1 and XMP metadata. The api_changes document still describes these as planned for a 'Potential v2.0.0', so treat container support as build-dependent and verify it in the build you use.
• Which public RenderMan docs page defines points:shape, falloffshape, falloffpower and camerafacing for Points? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The RenderMan for Maya 26 primitive-variables page lists falloffpower only ('used to create fuzzy particles') with no value range, and nothing on points:shape, falloffshape or camerafacing.
• In Blender's Keying node, what exactly do the Tweak (black/white level, garbage and core matte) and Edge stages and the Postprocess stages do, in what order, and what do their parameters mean at the boundary values? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blender's Keying node runs in a fixed order: optional chroma blur of the input, matte computation, a tweak stage, then optional blur, dilate/erode and feather of the matte, then the despilled image. In the tweak stage a pixel is an 'edge' when fewer than 90% of its (2r+1)^2 neighbours are within the edge tolerance (strict less-than). Non-edge pixels are remapped by black/white level, the garbage matte is subtracted, and the core matte is applied last, so core wins over garbage. The Edges output comes from that stage, before blur, dilate and feather. Edge Tolerance 0 makes every pixel an edge, which disables level remapping. A defect (in the commit read and still on main on 2026-10-22) sets the white level from the black-level input, so the shortcut that should skip the tweak at default levels never fires. By curator reading this wastes an extra full-image pass rather than changing the result (not run).
• Exactly which language rows were added, removed or changed between Doc 7's table (version B, 2018-2021) and the registry table today? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ISDCF register (330 rows) is far larger than Doc 7's 62 entries. 270 rows have no Doc 7 counterpart, mostly region and script variants plus new bare languages. Only KG was dropped, and 91 register codes are four letters long (e.g. ARSA, AZCY).
• I found an old ISDCF Doc 7 language table; can I still use its DCNC language codes, or has the registry changed them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Codes from the old Doc 7 table (version B) mostly still hold. In the current ISDCF register, 58 of its 61 coded languages keep both DCNC code and RFC 5646 tag. Three changed: Kyrgyz is KY (Doc 7 said KG), Flemish VLS now maps to nl-BE (was vls), and Malay MSA maps to ms (was zlm). Look codes up in the register, not the old PDF.
• How did ISDCF Doc 7 (digital cinema language codes) change across its Internet Archive captures, and what did the 2020-12-08 revision change? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ISDCF Doc 7 changed in three steps. Version A (2017) was a 3-page code table. Version B (captured 2018-2021) added languages, region subtags and a revision history. Version C (footer 2021-12-08) drops the table, adds a case-sensitivity section and defers to the ISDCF language register, citing a 2020-12-08 revision. On 2026-10-22 the original PDF URL returns 404, so the register is the only live source.
• What concrete timing and easing values do Material motion tokens give, and what does Apple's HIG say qualitatively about motion? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Material Components for Android defines 16 motion duration tokens from 50 ms to 1000 ms and seven easing curves (standard cubic-bezier(0.2, 0, 0, 1); emphasized-decelerate (0.05, 0.7, 0.1, 1)), and says duration should grow with how far the animation travels. The doc read doesn't mention reduced motion. Apple's HIG gives no numeric timings. It asks for brief, purposeful motion that is optional (not the only way to convey information) and warns against sustained oscillation around 0.2 Hz, which people are especially sensitive to.

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