articles

API: /v1/records?type=article

• Beyond the 28 decorators in server.py, which HTTP routes do the user, settings, model, custom-node, subgraph, node-replacement, internal and asset modules register at the pinned commit, and which only read versus change server state? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S1, S2, S3, S4, S5, S8, S10, S12 rest on the producer's pinned reading. At commit 1a82e6d, files read: 44 further route registrations sit outside server.py's own 28: 20 from UserManager (incl. AppSettings), ModelFileManager, CustomNodeManager, SubgraphManager and NodeReplaceManager (each also served under /api, so 40 URLs), 5 under /internal, 16 asset routes and 3 export/task routes with literal /api paths. By HTTP verb 27 are reads (GET/HEAD) and 17 change state (users.json, comfy.settings.json, userdata files, asset database rows, asset scans, terminal-log subscription). The verb is not a clean read/write marker: some GETs create directories or write access times, so G43's read/write split needs these corrections.
• What do the Nuke 17.1v2 docs say CopyCat, Inference, Cattery, CatFileCreator and BigCat do for rotoscoping, how should the training data be built, and how do they tell you to fix bad mattes? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S17, S19, S20, S22, S18, S25, S23, S24 rest on the producer's pinned reading. In Foundry's Nuke 17.1v2 documentation CopyCat is a NukeX/Nuke Studio node that trains a per-shot network from a few Input/Ground Truth frame pairs (for example six frames and six hand-made roto masks) and writes a .cat file that the Inference node applies to the whole sequence. The docs call for diverse frames, matched pair order, faked extra pairs for shadows or defocus not in the data set, checkpoints for retraining, and Grade/RotoPaint cleanup of artifacts; they offer a "Human Matting" initial-weights option. BigCat is a separate node for generalising across many shots, and the docs say CopyCat deliberately overfits one shot. The pages give no accuracy numbers, and the Cattery page describes a library of third-party models whose listing is JavaScript-only (not read).
• What do openly readable sources say about letting sound lead, follow or bridge the picture when moving between scenes? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S1, S4 rest on the producer's pinned reading. Two openly readable sources address it, from different angles. Pudovkin (1929 address and an essay on asynchronism) argues that sound should be edited like picture, heard without its source, and not tied to exactly synchronised speech; his examples are mainly inside scenes. Bordwell (2008) classifies across-scene links by sound and image, with sound-to-sound and sound-to-image links common and image-to-sound rare. No primary editor account of sound bridges (J-cuts, L-cuts) with public text was found; only secondary tutorials turned up in search and were not used.
• What rate, concurrency and spend limits do the services publish, and how should a batch of shots be scheduled against them? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S11, S13, S2, S9, S16, S18, S20 rest on the producer's pinned reading. Published limits are of different kinds. Runway: per-model concurrency by tier (example: Tier 3 allows 5 concurrent Gen-4.5), no requests-per-minute cap, excess tasks queue as THROTTLED, a rolling daily generation cap with 429, and a monthly spend cap. Luma legacy Build tier: Ray 10 concurrent generations and 20 create requests per minute, $5,000 per month. Gemini: RPM/TPM/RPD plus IPM for image models, per project, with spend limits per rolling 10 minutes ($10/$50/$200 by tier); video-model values are only in AI Studio. OpenAI tiers cap monthly usage ($100 to $200,000); model limits are in the console. fal: 2 concurrent requests for new accounts rising to 40. Replicate: 600 prediction requests per minute. Several numeric tables are JavaScript or console only.
• What is ComfyUI's V3 node API (schema, entry point, versions), how does the server load it next to V1 nodes, and which stability and secrecy limits should an agent check before writing or installing a V3 node? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S17, S23, S22, S21, S18, S19, S20 rest on the producer's pinned reading. V3 nodes subclass io.ComfyNode, declare an io.Schema in define_schema and implement a classmethod execute; a module exposes them through an async-or-sync comfy_entrypoint returning a ComfyExtension whose async get_node_list lists the classes. The loader tries NODE_CLASS_MAPPINGS first, then comfy_entrypoint, registering nodes by schema.node_id and skipping a module with a warning if the entry point misbehaves. The versioned API is young: latest and v0_0_2 are STABLE False while a v0_0_1 adapter is STABLE True, which conflicts with the guide's statement that v0_0_2 is the first version. Hidden inputs can hand a node the Comfy account API key, so installing a V3 or V1 node is installing code that may see credentials.
• When T2I-CompBench++ uses multimodal LLMs (GPT-4V, ShareGPT4V, MiniGPT-4) as the judge, how do they compare with specialised metrics, how stable are they, and what failure modes does the paper report? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read none of the cited sources; S3, S5 rest on the producer's pinned reading. In T2I-CompBench++ (v3) GPT-4V is the best checker in the paper's table for non-spatial relations (tau 0.476) and complex prompts (0.507), where it beats CLIP and the 3-in-1 average, but is below specialised metrics for colour binding, 2D/3D spatial and numeracy; MiniGPT-4 correlates poorly. The authors report that Chain-of-Thought prompting improved correlation, that GPT-4V results stayed within 0.032 over five repeats on 50 images (temperature 1.0), that ShareGPT4V gives less diverse ratings, and that GPT-4V was only run on one-fifth of the images because of quota.
• Does any openly readable shot list, camera/blocking breakdown or continuity form carry viewpoint, eyeline/look direction or screen direction as an explicit field, and if not, which existing field should carry them in a camera/blocking handoff? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Negative result with scope: of seven shot-list or continuity templates read (SetHero shot list, Filmsourcing advanced shot list and log, Studiovity guide, the FSU handbook camera log, a textbook-companion log and a form headed School of Filmmaking), none has a dedicated look-direction, eyeline, screen-direction or intended-attention field. Viewpoint appears only as the value 'POV' of an Angle field or abbreviation; blocking and intended attention are left to free-text Description, Notes or Scene Notes. The only explicit Screen direction and eyeline fields found are on a vendor-described facing page (candidate -01). Proposal (synthesis, not a documented template): add Viewpoint owner, Look direction, Screen direction and Intended attention fields to each shot-list row, keeping Angle = POV for optical viewpoint.
• Does arXiv 2610.06637 show that its state-tracking model actually uses the action sequence and resists a false fact in its state, and how strong is that evidence? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two controlled tests in S2, both only on the synthetic CEO-Bench simulator. (1) A fabricated -$5,000/week cash shock injected into the encoded state costs latent-recursive 11.1 SE-score points on average (8-14 at every horizon), latent-SR after distillation 5.4 and the full latent-SR 1.7; an irrelevant latency distractor costs about zero. (2) In a three-branch counterfactual set (60 companies, separate simulator run, horizons 1/3/7/10, statistics at h>=5) only the full latent-SR has a significantly positive adjusted margin (+0.024, sign and permutation p < 0.001); raw-history models are significantly negative on the sign test and every earlier latent-SR stage is null. Neither test exists for Jericho or ScienceWorld, so claims about fiction state tracking from these tests are extrapolations.
• Does a Korean drama producer, in an agency publication, name episode-level endings or script-completion rules that bear on how series are planned (adjacent to writer training)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Not a writer-training source: a KOCCA magazine interview with the producer of MBC Kairos. It is the only source among those read in this batch where an episode-level ending is mentioned: he says every episode of the script ended strongly with repeated reversals, and that shortening the in-story time gap from one year to one month raised tension. He also states the current practice that shooting starts only after at least half of the script is done, in contrast with earlier practice of altering the next episode after viewer reactions. These are one producer's statements, undated on the page.
• How does a working Korean TV-drama writer describe planning a 16-episode miniseries, and what does the KOCCA magazine say about O'PEN's series training? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In a 2023 interview published by the Korea Creative Content Agency (KOCCA), writer Shin Ha-eun (tvN, 2021) says a miniseries usually carries one story over 16 episodes, which cannot be written in one pass, so she builds the plot by "analysis and calculation" and places characters. For an ensemble drama she designs supporting-character stories to blend into the protagonist's narrative and emotional line, and she sets a deadline for each episode script. In the same magazine issue a CJ ENM O'PEN manager says O'PEN is the only programme with systematic series education. Neither passage gives an act or hook structure for the 16 episodes.
• What must a Korean broadcaster's miniseries 기획안 contain and how long is it, and what mistakes do university and academy classes report in the synopsis-to-script chain? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The 2026 MBC drama script contest page requires, for a miniseries of 8 to 16 episodes of 70 minutes, a 기획안 of about 15 A4 pages that must contain a logline, planning intent, character introductions and the full story through to the ending, plus scripts of episodes 1-2 of about 35 pages each (3-4 added at the finals). Size is enforced by exclusion. A 2025 news report shows the single-episode category of the same call had a 10-page proposal. A 2017 abstract of a Seoul university class reports synopsis errors (ignoring broadcast slot length, confused theme) and scene-table errors; MBC Academy lists the same three proposal parts as course items.
• Which structure vocabulary does the MBC Academy drama-writer curriculum teach (three-act, sequences, 기승전결), and what does the course say about miniseries versus single-episode proposals? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The MBC Academy drama-writer course pages (observed 2026-10-22, undated) list three-act structure and "8 sequences and 1 climax" in Stage 1, then "기승전결 that evolved from the three-act structure" and "expanding 기승전결 into 8 sequences" in Stage 2. So the three vocabularies coexist in one broadcaster-academy course, with no stated mapping between them. A separate Stage-1 item names the difference between miniseries and single-episode proposals, but the page does not say what the difference is. The intro tab's 10-step writer workflow runs story, plot, sequences, scenes, synopsis, submission to a producer, and, once shooting starts, writing the next episode. No episode-level terms (엔딩, hook, mid-point, 16부) occur in the three tabs.
• What do the public pages of the Korea Broadcasting Writers Association (KBWA) education centre say about how drama writers are trained, and do they say anything about series structure (16-episode arc, 엔딩, 기승전결)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the 74th-cohort recruitment (page observed 2026-10-22), the KBWA education centre's public pages describe a four-rung drama track (기초/개론, 연수, 전문, 창작), each a 21-week weekly course, an entry class taught by lecture and discussion without a set textbook, and upper classes that workshop two to three of the student's own single-episode (단막극) scripts per term. The sample asked for at promotion is one 70-minute 단막 drama with synopsis. The two pages contain no curriculum list and no structure terms (0 hits for 기승전결, 3막, 16부, 엔딩, 미니시리즈); so the public KBWA material does not show how series structure is taught. What it shows is that the visible training unit is the single episode.
• For a first dubbing handoff, what exactly goes into the Netflix premix dialogue WAV and the dialog editorial session, what stays out, and how are M&E and dialogue kept apart? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two dialogue-only deliverables are defined: (1) a mono premix dialogue WAV for QC, an offline bounce of the whole picture length with group walla attenuated 10 dB and a -6 dB true-peak limiter on the dialog tracks or bounce bus; (2) a dialog editorial session of raw, untreated, synced dialogue, one track per character, zipped store-only, uploaded only after the premix passes QC and arbitration and mostly needed for centralized mixing. The M&E is not a studio deliverable in these articles: Netflix provides it, the studio listens to it while recording (do not re-record reactions already in it), and the mixer leaves it unaltered. The premix article never says whether M&E is summed into the premix bounce; "dialogue units" suggests not, which is an inference. Stems named: the OV dialogue stem (reference only) and the 5.1 dialogue pre-dub for extended versions.
• What do the two Netflix dub premix/mix articles require for timing and sync (picture reference, frame rate, lip-sync, stretching, QC order), and is any tolerance or timecode field given? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sync is specified qualitatively: premix dialogue must be in sync with the provided picture and the bounce must span the whole picture or guide-track length; the editorial session must keep the OV printmaster frame rate, sample rate, bit rate and file format; stretching is a last resort with a listening check; the mixer should tighten lip sync and calibrate the monitoring chain. No numeric tolerance, timecode start, reel or sync-pop is stated in either article (bounded absence check). Timing therefore lives in region positions of the session and in the length of the WAV; script event timing is a separate TTAL item covered by C2-B10-G2-04, and priority moments by C2-B10-G2-05. DAPT keeps begin/end as its own data area and ptulsconv uses clip timecodes (C3-B212-UO-AM02-01/-02).
• In Netflix's two dubbing premix/mix articles, how is performance and delivery intent (effort, breath, emotion, direction) specified for the dubbing studio, and is there any direction-note or emotion field? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Neither article defines a direction-note, emotion or performance-note field, and neither mentions the dubbing director. Performance intent is specified only by reference to the original version (OV): efforts, breaths and screams must match it, dialogue level, projection and tonality must match it, and reactions are recorded only where the original has them. The two numeric items are a level example (-14 dB regular, -6 dB loud, unit unstated) and a warning not to make an over-upfront dub. Where Netflix states directing intent and lip-sync priorities (Key Moments, PLDL/Show Guide) is in other pages already covered by C2-B10-G2-05; the DAPT/ptulsconv comparison (C3-B212-UO-AM02-01/-02/-03) shows formats that at least offer a free-text note, Reason or EFF slot, which these two Netflix articles do not.
• If a pipeline ingests VES Camera Report CSV, what parsing rules does the spec give, which fields and versions are inconsistent or unfinished, and what evidence is there that vendors adopted it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The CRIF spec gives parse rules (CSV, one row per take with slate columns repeated, SlatesUUID as dedupe key, 'Tk ' take prefix, vertical-tab multi-selects, YYYY/MM/DD timestamps, SLATE-CAMERALETTER file names). It also has unfinished or inconsistent parts: footer 'v0.9c 9/25/2013' versus table 'Version 1.1', a 'Start Height' help text on the End field, mixed feet/inches strings under a numeric-only rule, a TODO on Tk Clip Num, provisional stereo fields. Adoption evidence is vendor pledges (press release, 2013) and two listed integrations; no later adoption record was found in the files read.
• If I want to turn a generated Gaussian-splat world into a playable prototype, what steps did VIVERSE and the Gaussian Mansion developer use and what do their pages say about the result? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two World Labs case pages describe game prototypes built on Marble splats. VIVERSE used a five-step flow (generate or select a splat in Marble, import into PlayCanvas, add colliders/triggers/lighting, optimise for browser and mobile, publish). Of three demos only Clockwork Conspiracy was newly generated, from a quoted text prompt. Gaussian Mansion (Unreal Engine 5 rail shooter) used Marble PLY exports stitched in Marble Studio and imported with a 3D Gaussians plugin, and names transparency, material and artifact problems. The only quantity is one developer's "under an hour" quote; neither page reports counts of levels, iterations or ratings.
• I am building a dubbing or ADR handoff: where do I put emotion/effort notes, timecodes and M&E handling, and does any public format tell me? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the two public handoff documents inspected in this batch, none defines an emotion or breath/vocal-effort field. W3C DAPT requirements (Group Note, 08 May 2025) say emotion and intonation data are a possible extension whose format is left undefined (stated for audio description), and ask for a free annotation string per dubbing script event; ptulsconv has a Reason tag and an EFF line-category flag. Timing and mix are separate: begin/end and Mixing Instructions in DAPT; clip timecodes, Ver and Reel in ptulsconv. A beginner should therefore keep three separate columns or fields (timing, direction note, mix/stem note) and name the convention in the file, since no standard supplies one.
• In a documented practitioner ADR cue-sheet tool (ptulsconv), which fields describe why/how a line is re-recorded, which are timing, and how are they split across director, supervisor and talent outputs? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ptulsconv 4.0.2 documentation (open-source Pro Tools ADR report generator) describes line tags: cue number, character, actor, prompt line, Reason (R), priority, time budget in minutes, and boolean flags including EFF (Effort), TV, OPT, ADLIB. Timing comes from clip timecodes plus Ver and Reel tags. It has Reason and EFF flag but no emotion/intent field; any performance note must be a custom {note=...} field. It generates distinct Director, Supervisor and Talent outputs. No M&E field is documented; a Dept tag is shown with Foley as an example.
• Does the W3C DAPT dubbing/audio-description script format (a public standard) have a performance-intent field, and how does it keep that apart from timing and from mix/M&E handling? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At W3C DAPT Candidate Recommendation Draft 26 June 2026, timing, free-text script-event annotation, character/text, and mixing instructions are four separate data-model areas. There is no dedicated emotion, effort or breath field: the closest slots are the free-text Script Event Description (ttm:desc), its small provisional descType registry (pronunciationNote, scene, plotSignificance) and x- user-defined types, plus Rate/Pitch for synthesized speech. No M&E or stem concept appears in the document; mixing is gain/pan. So an agent can use DAPT to keep three kinds of data apart, but must define its own performance-intent convention.
• When captions are delivered, how do the primary sources keep essential visual information (audio description, text descriptions) and structural navigation available? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Captions cover audio; essential visuals are covered separately. WCAG 2.2 requires audio description or a media alternative at Level A and audio description at AA; its definition says description covers actions, characters, scene changes and on-screen text and is not needed if the audio already carries the visual information. MAUR (Note 3 Dec 2015) adds format requirements: time-synchronised description tracks, text video descriptions reachable by screen reader/Braille, and structure-based navigation of media that current players lack.
• What does WCAG 2.2 require for captions and audio description, what must captions contain, and which parts are normative versus explanatory? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  WCAG 2.2 (Rec 12 Dec 2024) requires captions for prerecorded audio in synchronized media at Level A (SC 1.2.2) and live audio at AA (1.2.4); audio description or a media alternative at A (1.2.3) and audio description at AA (1.2.5). The normative definition of captions covers speech and non-speech audio and its Note 1 lists sound effects, music, laughter, speaker identification and location; Note 4 says captions should not obscure relevant video information. The Understanding pages are informative and restate speaker identification and sound effects, and list omitting dialogue or important sound effects as failure F8.
• How does an EPUB state and attribute its accessibility conformance claim (conformsTo, certifiedBy), and what do the specs say about alternates and reading-system support? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  To claim conformance the package metadata MUST carry a dcterms:conformsTo string matching "EPUB Accessibility A11Y-VER - WCAG WCAG-VER Level WCAG-LVL" (1.1 or higher, WCAG 2.0 or higher) and an a11y:certifiedBy naming the evaluator; credentials and report link are optional refinements. Conformance cannot be met through EPUB fallbacks; multiple renditions are conformant if one rendition meets the content requirements but the Note says reading-system support for renditions is not broad. The Techniques Note says its checks are not a conformance claim.
• Unity Manual (R1): IK works backwards from a goal so the end effector reaches it, useful "if you want a character to grab an object or stand on an uneven" surface; API: SetIKPositionWeight, SetIKRotationWeight, SetIKPosition, SetIKRotation, SetLookAtPosition, bodyPosition, bodyRotation; setup:... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Unity Manual (R1): IK works backwards from a goal so the end effector reaches it, useful "if you want a character to grab an object or stand on an uneven" surface; API: SetIKPositionWeight, SetIKRotationWeight, SetIKPosition, SetIKRotation, SetLookAtPosition, bodyPosition, bodyRotation; setup: valid humanoid Avatar, Animator Controller, enable IK Pass on the layer (which sends OnAnimatorIK), then a script sets goals and weights each frame. R2: animation states with humanoid clips expose "Foot IK" ("Enable to respect Foot IK for this state"). Compared with Unreal's documented plant/unplant thresholds and pelvis limits (C3-B567-01), Unity's built-in layer provides the IK solve and weights but leaves contact detection (raycasts), lock/release hysteresis and pelvis lowering to user code or add-on packages (inference from the API surface; Animation Rigging package not read).
• Answers "how do procedural systems keep feet in contact and the body supported?" from engine documentation. Plant (contact) settings (R1): speed_threshold - "Bone is considered planted below this speed" (speed from an FK speed curve or graph root motion); unalignment_speed_threshold - speed at... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Answers "how do procedural systems keep feet in contact and the body supported?" from engine documentation. Plant (contact) settings (R1): speed_threshold - "Bone is considered planted below this speed" (speed from an FK speed curve or graph root motion); unalignment_speed_threshold - speed at which the foot becomes fully unplanted, the range between the two approximating the foot's roll phase (the docs themselves note this "feels innaccurate most of the time"); distance_to_ground - within this distance of the plant plane the bone is planted and fully aligned; unplant_radius and unplant_angle - linear and angular deviation that release the lock; replant_radius_ratio/replant_angle_ratio - below these fractions of the unplant limits the foot replants (hysteresis); min/max_extension_ratio bound how far the leg chain may extend; separating_distance keeps the feet apart; ankle_twist_reduction limits slope alignment twist; adjust_heel_before_planting; reconstruct_world_plant_from_velocity...
• In JPEG XL and AVIF HDR stills, which of ICC, CICP/colr, Exif orientation and HDR light-level metadata take precedence, and what do tools document? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S17, S18, S21, S24; S20 was not re-read by the curator and rests on the producer's pinned reading. JPEG XL keeps everything needed for correct display (including ICC colour and orientation) in the codestream: Exif/XMP boxes do not affect rendering and Exif orientation must be ignored because codestream orientation takes precedence; libjxl's ICC path cannot represent HDR transfer functions exactly. AVIF requires metadata OBUs to match mdcv/clli item properties and says alpha items should omit colr (readers ignore it); libavif also writes CICP into the AV1 sequence header for decoders that ignore colr, and lets a PNG cICP chunk override iCCP.
• What do Foley artists state in first-person interviews about prop choice, performance in sync with picture, layering and the relation to the mix? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S34, S35; S36, S37 were not re-read by the curator and rest on the producer's pinned reading. Foley practitioners describe performing each effect as a separate cue in sync with picture (moves/cloth, footsteps with chosen shoes, then spot effects), judging success only in context with dialogue and music, layering unusual sources (e.g. a damped piano string with copper wire) and choosing props to suit characters; one UK account gives about three days to record effects for an hour of drama.
• What does the REAPER ReaScript API documentation say about BWF timecode start offsets and project drop-frame frame rate? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The curator re-read all cited web sources (S13); nothing was executed. REAPER's scripting API can insert media at its BWF timecode start offset (InsertMedia flag 4096) and read the project frame rate and drop-frame state; the API text has no iXML, pull-up or sample-rate-conversion documentation (the user guide was too large to read).
• Which audio track positions do EBU R 123 and R 48 assign to mixes, international sound (M&E), audio description and multichannel content? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S8, S9; S4 was not re-read by the curator and rests on the producer's pinned reading. EBU R 123 (2009) tabulates audio track allocations for 2-16-track file exchange (e.g. 4b stereo mix on 1-2 with international sound or effects on 3-4; 4c mix plus audio description or foreign language; 8a/8b stereo plus discrete 5.1), defining M&E as Music and Effects and allowing other allocations; R 48-2005 gives older tape allocations such as case 2b (mix on 1-2, international sound on 3-4).
• Where is ExportStringsToCSV invoked in YarnSpinner-UnrealEngine, and how do I reach it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The curator re-read all cited web sources (S3, S4, S5); nothing was executed. In YarnSpinner-UnrealEngine (f2045942) the CSV exporter is a Blueprint-callable library function; within its own source file the only C++ call is the Simple wrapper, so users presumably invoke it from Blueprint or editor scripting (inference; Blueprint assets not inspected).
• On Apple platforms with Metal, which documented APIs let me control when a frame is shown and measure when it actually was? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S4; S3, S5, S6, S7 were not re-read by the curator and rest on the producer's pinned reading. Apple separates pacing controls (CAMetalDisplayLink timing window and preferred rate/latency; present(afterMinimumDuration:)) from measurement: MTLDrawable.presentedTime gives the host time a drawable was shown and is 0.0 if it was not presented or its frame was dropped, so dropped frames can be counted.
• Do ink, Twine/Harlowe and SugarCube document any way to localise story dialogue, or only interface text? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S11, S13; S12, S14, S15, S16 were not re-read by the curator and rest on the producer's pinned reading. ink's writing and runtime-format documentation (35c63e52) has no localisation or translation mechanism; per producer reading, Harlowe lists localisation only as a future item and SugarCube localises only its own UI strings, so dialogue translation is left to authors.
• How do Android Swappy and Apple CADisplayLink let me measure display-aligned frame timing? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S3, S9; S1, S2 were not re-read by the curator and rest on the producer's pinned reading. Swappy (Android Frame Pacing) reports SwappyStats histograms in units of screen refreshes (idle, late, latency, offset from previous frame, total) once stats are enabled; on Apple platforms actual display-link frame rates are factors of the maximum refresh and may change with Low Power Mode, thermal state and accessibility settings, so measured rates can differ from requested ones.
• What does WCAG 2.2 require for captions, sign language and keyboard operation of media, and what does W3C WAI say about presenting sign language? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S33, S35; S34, S36 were not re-read by the curator and rest on the producer's pinned reading. WCAG 2.2 requires captions for prerecorded audio in synchronized media at Level A (except clearly labelled media alternatives for text) and sign language interpretation only at AAA; WAI notes most policies do not require sign language, judges sign-language avatars not adequate, and advises placing the signer (usually bottom right, above tickers) with a visible toggle. These are content criteria, not legal duties.
• What do documentary ethics frameworks and case studies say about participant consent and care, including when AI voice or face synthesis is used, and what is the status of the DAWG framework text? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S15; S12, S13, S16, S17, S18 were not re-read by the curator and rest on the producer's pinned reading. Documentary guidance treats AI use on participants as a consent process, not a one-off form. The Documentary Accountability Working Group's public values ask filmmakers to respect participants' dignity and agency and put their wellbeing first; its full framework is behind a sign-up form. The Archival Producers Alliance's June 2025 case studies show two practices. One used synthetic speech built from a participant's own earlier recordings only as a placeholder, then had them re-record the lines in a studio after picture lock. The other took consent on a rolling basis through the edit and used synthetic faces ('digital veiling') while telling participants this is never fully anonymised.
• How do directors and cinematographers in guild/society publications say they decide blocking and coverage - rehearse first, plan on paper, or neither - and with what scene-level examples? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S22, S23, S24, S25; S27, S28 were not re-read by the curator and rest on the producer's pinned reading. Four first-person accounts show different orders of work: Mendes rehearses one to two weeks and then plans each day with his cinematographer and first AD; Nolan avoids shot lists and storyboards (except action) and keeps coverage in his head; Roach had dolly track laid before blocking was right on a first day and pulled it; The Studio's crew found coverage on set during rehearsal. Individual methods, not a common rule.
• What is a storylet, and along what design dimensions do storylet / quality-based narrative systems vary, according to the scholars who mapped them? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S35; S12 was not re-read by the curator and rests on the producer's pinned reading. Kreminski and Wardrip-Fruin define storylets as discrete, reorderable narrative modules gated by preconditions (term from Fallen London/Echo Bazaar) and map systems on four dimensions: precondition type, repeatability, internal structure and content-selection architecture (player choice, random, weighted, salience-based, search, drama manager), surveying eight systems; relative strengths are left to future work.
• What documented methods lock feet / enforce contact during motion retargeting, and what are their limits? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S44, S46; S45, S47 were not re-read by the curator and rest on the producer's pinned reading. Foot contact is enforced as a separate constraint stage, not by motion plausibility: the reference footskate solver takes explicit plant intervals and exposes a threshold trading knee pops against leg stretching; Auto-Rig Pro Remap documents IK feet as avoiding the sliding seen with FK feet; learned retargeting papers still add IK contact cleanup (producer reading). All methods need contact information, and wrong contact labels create wrong locks.
• What do TLCI, SSI, CRI and TM-30 measure, and what are their documented limits for choosing lights for camera work? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Partially verified: the curator re-read S41; S42 was not re-read by the curator and rests on the producer's pinned reading. TLCI-2012 scores a light through a simulated TV camera and display against a reference at the same CCT; its Qa scale is calibrated so a daylight fluorescent tube scores 50, which EBU treats as the watershed between luminaires colourists can and cannot correct acceptably; EBU says CRI was never intended for television.
• Where can colour intent recorded in an AMF be lost or contradicted between camera, on-set grading, dailies, editorial and VFX? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The curator re-read all cited web sources (S15, S16, S17); nothing was executed. The AMF documents themselves name the handoff risks: transport between stages is not defined; AMF carries no edit points and no RAW demosaic settings; association with clips relies on an optional clipId or optional AMF_UUID/AMF_NAME columns in ALE (host support not guaranteed); referenced CDL/CLF files are found by relative path or URI; dailies may change the look or output transform, with prior pipelines archived and conflicts flagged or prompted rather than silently overwritten; in-camera application may be precision-limited because cameras use small 3D LUTs. These are the authors' statements, not field measurements. Producer synthesis (association loss, reference loss, semantic mismatch) is a reasonable grouping of the stated risks, labelled synthesis.
• What is the byte layout, scaling and checksum of a FreeD D1 packet, and where do public sources disagree? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The stvmyr/freeD Go implementation (722d3054) and Vizrt Tracking Hub 1.7 docs both describe the 0x40-minus-byte-sum checksum over a 29-byte D1 packet; the Go code slices eight 3-byte fields at offsets 2-26.
• What is the FreeD protocol, what camera data can it carry, and what can I not expect from it in a virtual-production setup? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Vendor documents describe FreeD D1 as carrying camera ID, pan/tilt/roll, X/Y/Z, zoom and focus plus a 16-bit spare field, with no lens-distortion data (producer citations; curator confirmed the spare-field and zero-position usage in the Panasonic manual).
• What do Unreal Engine 5.8 Chaos and networked-physics docs state about determinism and client prediction/resimulation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UE 5.8 docs describe networked-physics resimulation triggered when cached state 'differs enough' (no tolerance given); the only determinism wording found is the Chaos Vehicles Asynchronous Physics sentence, not a cross-machine guarantee. Curator GET on 2026-10-21 returned both pages readable.
• Which Unity documentation statements, if any, say floating-point results will match across platforms, and under what conditions (Burst FloatMode, Unity Physics, Havok)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Burst 1.8.31 docs scope FloatMode.Deterministic to 64-bit, Burst-compiled code with deterministic inputs; the Unity Physics 1.3.15 overview asserts determinism without conditions and does not link to the Burst scope; Havok Physics for Unity is documented as similar but not identical to Unity Physics. Bytes match producer pins.
• At Godot 4.7.2-stable, what sequence of checks over .import files, .godot/imported cache files and recorded hashes decides whether an asset is reimported, and which edits trigger a reimport? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Godot 4.7.2-stable (tag ref -> ed1daf0b) the reimport decision is layered: modification-time comparison during scan only queues a test; the test checks the .import md5, then import metadata, then source/dest md5 from a separate .md5 file; the cache base name is keyed on the md5 of the res:// path; docs (godot-docs 9adca4c1) say to commit .import files and that erasing .godot/imported triggers reimport (static reading).
• Which Blender open movies (Big Buck Bunny, Sintel, Tears of Steel, Cosmos Laundromat) can I use as test video, and what licence and credit text does each project page state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Each of the four Blender open-movie project pages states CC Attribution 3.0 for project results (with indicated exceptions); the Blender Studio terms state CC BY 4.0 for Studio digital content. Applicability of the Studio 4.0 text to the 2008-2015 film releases is not stated.
• Which AVIF conformance test files exist in the AOM av1-avif repo and what terms does each vendor folder state? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At av1-avif bf4c18d1, folder notices differ: Netflix CC BY-NC-ND 4.0 (property of Netflix); Apple names CC-BY-SA-4.0 but links the CC BY 4.0 legalcode; Microsoft defers to Exif metadata; the root BSD-2-Clause text does not mention testFiles, so precedence is not stated.
• Can I estimate a film's running time from its screenplay page count (one page = one minute)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Follows (2026-03-30) reports, from his own dataset of 2,520 US Letter feature scripts vs IMDb runtimes, an average of about 55 seconds per page and 18.2% of scripts within 5% of one page per minute; A4 subset 1.02. These are the author's reported analysis (third-party reported_execution), not observed by curator. Final Draft (2026-07-13) presents the rule as a useful estimate (95-110 minutes for 100 pages); the vendor-vs-data tension (aggregate usefulness vs per-script accuracy) is preserved as offered. Curator addition: the same article also reports about 54 seconds per page of story after credits and 22% in range in its 2018 version.
• At pinned revisions, what must a reader of an OpenEXR file do about colour space, where do the ColorInterop prose and its Figure 2 flowchart (and OpenEXR docs) disagree, and what is the conservative reading? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At the pins (ColorInterop 8b7b15cc v1.0.0; OpenEXR 69b2604f v3.5.2; OIIO febb1748) the recommendation prose keys on the attribute 'acesImageContainer' being present, its flowchart on the flag being 'set', while OpenEXR docs/core name it acesImageContainerFlag and require int value 1, and OIIO tests == 1. All bytes match producer pins. For a header with acesImageContainerFlag = 0, a literal reading of the prose yields ACES2065-1 while the flowchart, OpenEXR docs and OIIO yield not-ACES (curator agrees this is the plain reading; synthesis, not tested). Prose both permits fallback for an unrecognised ID and says the failure should ideally be surfaced; the flowchart shows only the fallback path at node J.

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