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• DAWproject at ee4dcdde models clip fades only as fadeInTime/fadeOutTime with a time unit in Project.xsd, although its README feature table lists Crossfades; Project.xsd contains no timecode/SMPTE/frame-rate concept (curator... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  DAWproject at ee4dcdde models clip fades only as fadeInTime/fadeOutTime with a time unit in Project.xsd, although its README feature table lists Crossfades; Project.xsd contains no timecode/SMPTE/frame-rate concept (curator search).
• syncnet_python (907c0b57) conforms video to 25 fps and audio to 16 kHz mono before analysis, reports an integer frame offset (vshift minus argmin of averaged distances) with confidence = median minus minimum, so pipeline offsets are in 25 fps frames (40 ms) regardless of source frame rate; code... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  syncnet_python (907c0b57) conforms video to 25 fps and audio to 16 kHz mono before analysis, reports an integer frame offset (vshift minus argmin of averaged distances) with confidence = median minus minimum, so pipeline offsets are in 25 fps frames (40 ms) regardless of source frame rate; code is MIT while the VGG page offers the model "for research purposes under Creative Commons Attribution License".
• What numeric dialogue-vs-music/background limits and monitoring methods do the BBC, Channel 4/DPP text and EBU publish for dialogue intelligibility in mixes? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Corrected 2026-10-23 - see C3-B645-03; the original statements below are kept for history and are superseded where the correction says so. Broadcaster numbers for dialogue clarity are recommendations from different methods and are not interchangeable. The BBC (Sound Mixing guide v5.0.5) suggests pulling music down 4 dB after the final mix and monitoring on a domestic TV set to 65 dB C-weighted with 20 dB pink noise, noting that passing R128 alone does not ensure clarity. Channel 4 DPP v5.2 recommends at least 4 LU dialogue-to-background separation and a factual dialogue LRA of 6 LU or less, as guidance only. EBU R 128 s4 (2023) says the loudness-to-dialogue ratio of cinematic content should not exceed 5 LU (15 LU or more occurs). A Dutch process cited in an EBU review caps voice-to-programme loudness at 4.5 LU.
• Editor-integrated generation: making a short animated film entirely inside CapCut PC with Seedance 2.5 (extend to 90 s, localized AI edits) active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Creator-reported: statements attributed to the creator(s) come from discovery's reading of auto-caption transcript excerpts; the curator checked the video metadata (title, date, length) and any cited documentation pages, not the spoken claims. Nothing was tested; promotional or sponsored framing applies where stated. Mikkel Lassalle (CapCut promotional, 2026-08-19). Workflow inside one CapCut PC project: Nano Banana Pro style frame (set resolution/aspect first) -> Seedance 2.5 image/reference-to-video up to 30 s -> multiple reference images to define character, environment and camera language -> "AI Extend" continues the same clip preserving character/environment/lighting/camera; two extensions reach a 90 s maximum -> localized natural-language edits (e.g. remove a person from the frame by selecting the clip as reference and prompting) -> edit and export. CapCut video-tab tools listed: stabilize, enhance quality, denoise, optical flow, AI remove, AI expand, AI remix, eye contact, li...
• How does YouTube count unique viewers, and why is subscriber count a poor audience-size measure? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  YouTube Help (captured 2026-10-23): unique viewers is an estimate of distinct people who watched in a period; one person on several devices or watching repeatedly counts once, and the model accounts for shared devices; totals are available for windows up to 90 days, from 2017-08-01; for Shorts, unique viewers are estimated from engaged views (people who stayed to watch). A viewer of several videos counts once per video but once at channel level. YouTube says subscriber counts are not an accurate audience-size measure because viewers subscribe to dozens of channels and do not return for every upload. Completes the missing part of CA-DR-0001-03 (C3-B336-03).
• Artlist MCP connector: searching a licensed music/SFX library and generating media from inside Claude or ChatGPT active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Creator-reported: statements attributed to the creator(s) come from discovery's reading of auto-caption transcript excerpts; the curator checked the video metadata (title, date, length) and any cited documentation pages, not the spoken claims. Nothing was tested; promotional or sponsored framing applies where stated. Mikkel Lassalle (Artlist affiliate, 2026-10-18) shows Artlist's MCP integration: from Artlist's MCP page copy the server URL, in Claude add a custom connector (Settings > Connectors > Add custom connector), log in to Artlist, review tool permissions; then ask in natural language for tracks by mood/genre/BPM/duration or sound effects, play previews inline and open them on Artlist; generation tools (e.g. GPT Image 2 image) ask clarifying questions (aspect ratio, quality) and require per-step approval ("allow once") before spending credits. Practical value: licence-cleared music search without leaving the assistant; approval gating prevents silent credit burn. Unverified: ...
• Assimp's FBX importer (c3f68d29) declares supported FBX versions 7100-7400 ('FBX 2011, FBX 2012 and FBX 2013'); newer files fall outside that window and are handled only as the code's newer-version path allows (producer: warning unless... active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Assimp's FBX importer (c3f68d29) declares supported FBX versions 7100-7400 ('FBX 2011, FBX 2012 and FBX 2013'); newer files fall outside that window and are handled only as the code's newer-version path allows (producer: warning unless strictMode).
• What do creator tests say Kling 4.0 does at launch, and which headline claims are not yet available? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Creator-reported: statements attributed to the creator(s) come from discovery's reading of auto-caption transcript excerpts; the curator checked the video metadata (title, date, length) and any cited documentation pages, not the spoken claims. Nothing was tested; promotional or sponsored framing applies where stated. Two Mikkel Lassalle videos (2026-10-20 promotional showcase linking kling.ai; 2026-10-22 Artlist-affiliate test). Claims: generations up to 30 s at up to 1080p; multiple keyframes (Artlist video: up to 10) to fix states along a long shot; omni/multi-reference (Artlist: up to 15 image+video references, matching fal schema 10 images + 5 videos in C3-B388-01); stereo audio with lip-sync and dialogue in nine languages; much better in-video text, emoji and logo rendering; 21:9 output; Kling 4.0 Flash up to 20 s at 720p. The first video's TITLE advertises "10-Bit HDR, 4K" but its narration says Kling 4.0 "will also be able to support 10 bit HDR, 4K ... and video extension" on...
• How complete is the Croissant that Hugging Face auto-generates for licence and provenance? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Corrected 2026-10-23 - see C3-B644-04; the original statements below are kept for history and are superseded where the correction says so. For the four datasets checked (a sample, not a rate), Hugging Face's auto-generated Croissant carries a single dataset-level licence URL copied from the card's licence tag (choosealicense.com form), with no citation, provenance or responsible-AI fields filled, no per-file licences, and a GitHub-issue URL in place of each file's sha256. A dataset without a card licence tag (common_voice_17_0, now distributed via Mozilla Data Collective) gets plain schema.org JSON with no licence or distribution. Auto Croissant is therefore not a provenance or rights record.
• How does the LTX "layout to render" ComfyUI workflow turn a 3D blockout plus a style frame into a controlled local AI shot? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Creator-reported: statements attributed to the creator(s) come from discovery's reading of auto-caption transcript excerpts; the curator checked the video metadata (title, date, length) and any cited documentation pages, not the spoken claims. Nothing was tested; promotional or sponsored framing applies where stated. Mikkel Lassalle (LTX-promotional, 2026-10-02 UTC). Steps: install ComfyUI (desktop or browser), Manager > Custom Nodes Manager > install "ComfyUI-LTXVideo" by Lightricks, drag the published layout-to-render workflow JSON into ComfyUI, download the six LTX models listed in the workflow notes into the folders shown (the missing-model panel offers copy-link), restart and confirm the load-models node. Inputs: a blockout render from any DCC (he uses Cinema 4D; Blender/Unreal fine) with only enough geometry to lock camera, composition, perspective, layout and timing, plus a reference/style frame (AI style frame, concept art, photo or live-action still) and positive/negative p...
• What do RenderMan 26's public docs say about Points primitives (shape, falloff, width, camera-facing) that matters for rendering Gaussian splats as points? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Corrected 2026-10-23 - see C3-B643-03; the original statements below are kept for history and are superseded where the correction says so. RenderMan 26's public docs describe points as disks (with normals) or real spheres (without), sized by constantwidth or per-point width (default 1.0, object space), and list a falloffpower primvar (default 0) for point primitives. None of the pages read documents points:shape, falloffshape, camerafacing, Gaussian falloff or splat rendering. So the override values hdPrman uses for Gaussian splats (seen in earlier reviews) can't be explained from public RenderMan docs.
• ElevenLabs Music: what each plan lets you do with generated songs - no film, TV, radio or studio games below Enterprise Music (terms of 9 Oct 2026) active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Primary terms (Exhibit A). Media Rights for Free, Starter, Creator, Pro, Scale, Business and Enterprise Music Lite: "All online and offline commercial use permitted, except film, TV, radio, and Studio Games"; only Enterprise Music (contact sales) permits all commercial use. So a filmmaker scoring a film or TV piece with Eleven Music needs Enterprise Music. Studio Game vs Indie Game: indie = under $500,000 lifetime game revenue AND the developer/publisher under $1,000,000 annual game revenue (net, incl. affiliates); if a game stops qualifying you have 60 days to upgrade or stop using the output (already-distributed copies may continue). Other table rows: eligibility - Free to Pro individual use only, Scale < 10 employees, Business < 50; monthly generation 11 / 17 / 62 / 304 / 1,100 / 4,800 minutes (Free..Business); monthly downloads not permitted on Free, then 30 / 250 / 500 / 1,500 / 4,000 minutes; streaming distribution prohibited on Free and Starter, permitted from Creator up; mus...
• Which AI music models produce the most preferred songs with vocals? Artificial Analysis vocal board snapshot (23 Oct 2026) active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Closes the open follow-up on the vocal music board (the instrumental board was captured earlier). AA-Music-Vocal v1.1, pairwise human-preference Elo anchored at MiniMax Music 3.0 = 1000, about 2,600-2,800 samples per model, 95% intervals about +/-19-20. Ranking: 1-2 Suno v6 1147 and Suno v6-mini 1130 (statistically tied top pair); 3 Mureka V9.5 1106; 4-6 Mureka V9 1059, Lyria 3 Pro 1051, Lyria 3.5 1051; 7 Eleven Music v2.5 1013; then a tied cluster MiniMax Music 3.0 1000, Eleven Music v2 997, MiniMax Music 2.6 997, Eleven Music 997, MiniMax Music 2.5+ 987; Melodia v3 970. Practical reading: rank ranges matter more than single ranks - the cheaper Suno v6-mini is statistically indistinguishable from Suno v6 here; Lyria 3.5 did not beat Lyria 3 Pro. Preference is not licensing: commercial-use terms and training-data/copyright risk differ by provider (see creator observation of memorised-sounding songs in C3-B393-02) and must be checked separately; prices not captured on this page.
• Kling 3.0 native 4K and multi-shot: claimed uses (pickup shots, documentary inserts) and how to read "world first" claims active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-23
  Creator-reported: statements attributed to the creator(s) come from discovery's reading of auto-caption transcript excerpts; the curator checked the video metadata (title, date, length) and any cited documentation pages, not the spoken claims. Nothing was tested; promotional or sponsored framing applies where stated. Mikkel Lassalle (Kling promotional, 2026-05-07). Kling 3.0 with native 4K output: one prompt with the multi-shot toggle yields several angles with consistent characters; workflow = meta-prompt (ask ChatGPT for a detailed documentary-style prompt with a reference prompt) -> generate in 4K; for more control generate an image first, then image-to-video; create extra angles of the same scene via image-to-image ("drone shot of the lion") and animate them. Suggested production use: generate a missed close-up instead of a reshoot. Claims "World's First Native 4K AI Model" (title) are marketing; not verified. Cross-check: Runway lists kling3.0_4k at 43 credits/s ($0.43/s) and f...
• What does Aristotle's Poetics say about chance events that look designed, outside rescue (deus ex machina), the irrational kept outside the action, and the 'probable impossible', and how do two translations word it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In ch. IX/9 Aristotle praises chance events that 'have an air of design' (the statue of Mitys falling on the murderer), because they read as caused; in ch. XV/15 the unravelling must come from the plot and not from the 'machine', with the exception that a god may be used for events outside the drama (before or after, beyond human knowledge); in ch. XV and XXIV/XXV the irrational should be excluded from the action or placed outside it (Oedipus not knowing how Laius died) and a convincing impossibility is preferred to an unconvincing possibility; in ch. XVIII and XXV Agathon's point that it is probable that improbable things happen is cited. Butcher renders the last as 'probable impossibilities'; Fyfe as 'convincing impossibility' / 'convincing though impossible'. This candidate adds to C3-B001-S1-05 (which covers ch. 8-10, 15 on dia tade/meta tade and the machine) the Mitys case, the outside-the-action exception, the probable impossible and the outside-the-action rule for the irratio...
• How does a working primary colourist describe balancing, shot matching and contrast in a transcribed talk? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  One post-house colourist describes an order of work for matching: balance each shot, match the balanced shots, then apply the look, while noting the steps overlap in practice and that a well-balanced shot responds better to later keys and colour separation. Matching by piling on keys and windows tends to fall apart or look digital; for a hard match she overshoots the correction and dissolves the node's opacity back, and keeps a prepared node that lowers contrast while raising saturation to hold saturation even. Practitioner testimony from one Resolve-centred colourist, with no numeric method.
• When exporting a simulated garment from Marvelous Designer, what do the Alembic and cache-animation (MDD, PC2, Maya cache) exports include, and what do the help pages leave out? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Marvelous Designer hands cloth on as per-vertex motion: Alembic (HDF5 or Ogawa) or garment-only caches (Maya .mc/.mcx, Point Cache 2, MDD in two variants). Export options cover weld vs unweld seams (which changes vertex counts and object splitting), thickness, merged vertices, unified 0-1 UVs, optional avatar shape, scale, axis conversion and frame range; strain or stress as vertex colour is documented only for Alembic. Pattern, physical-property and sewing data travel only as an optional XML with the cache export. The pages do not say how fabric materials or simulation settings reach a renderer.
• How do USWDS colour tokens, contrast rules and Identifier logo guidance constrain graphics for US federal-style sites? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  USWDS asks sites to use its colour tokens rather than custom colours and expresses contrast as a grade difference: 40+ meets WCAG 2.0 AA for large text, 50+ AA (or AAA large text) and 70+ AAA. Its accessibility baseline is WCAG 2.0 AA, it aims at 2.1 AA, and it notes 2.2 is not yet legally required, so the magic-number rule is a 2.0-ratio shortcut. The Identifier must show the parent agency (not a product logo) and should not be used where it would mislead or on test or unofficial sites. Most USWDS code and guidance is CC0, but bundled icons (Apache-2.0) and fonts (SIL OFL 1.1) keep their own licences. Synthesis (producer, supported): an agent should not generate government Identifiers for non-agency work.
• How does Europeana's own rights-statement set relate to RightsStatements.org, and what should an agent expect to see in Europeana records? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Europeana accepts 14 rights values: Creative Commons licences and tools plus six RightsStatements.org statements (InC, InC-EDU, InC-OW-EU, NoC-NC, NoC-OKLR, CNE); InC-RUU, NoC-US, NoC-CR, UND and NKC are not in its list. It states rights statements are not licences, discourages CNE (the RS vocabulary itself describes CNE neutrally) and requires providers' best efforts, warning that a wrong public-domain label misleads users. RS JSON-LD closeMatch links point at legacy Europeana rights URIs (InC to europeana.eu/rights/rr-f/, CNE to /rights/unknown/, InC-OW-EU to /rights/orphan-work-eu/; InC-NC to CC BY-NC 4.0), so legacy and RS URIs may both appear in older data.
• How does an agent read a RightsStatements.org URI as data, and which machine-readable properties does each statement actually carry? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Each of the 12 RightsStatements.org 1.0 URIs returns JSON-LD under content negotiation (all dated 2022-04-27, version 1.0). The machine layer is thin: closeMatch links on 4 statements, relatedMatch on 10, and a CommercialUse prohibition only on InC-NC and NoC-NC; InC-EDU's educational permission exists only in prose (an ODRL prefix is declared but unused). The technical white paper says URIs are opaque to machines and requires HTML5+RDFa, JSON-LD and Turtle representations. So software can classify a status but cannot read most permissions from the data.
• What do the LGPL 2.1 and GPL 2 texts and FFmpeg's checklist say about linking and distributing FFmpeg in a media pipeline, and what do they leave unaddressed? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The licence texts shipped with FFmpeg say: under LGPL 2.1 a program that links the library is a 'work that uses the Library' and may be distributed on the distributor's own terms if they allow customer modification and reverse engineering for debugging and provide either relinkable materials/source or use a shared-library mechanism; under GPL v2 a work containing GPL code must be licensed as a whole with corresponding source. Both say running the program is not restricted and its output is covered only if it is itself a work based on the program. FFmpeg's checklist offers one conservative route (no --enable-gpl or --enable-nonfree, dynamic linking). The texts do not discuss subprocess pipelines or hosted services, and the project declines to answer patent questions.
• Overview: for capture to render, what does each file or API in the chain actually carry (markers, blendshape weights, skeleton animation, caches, render products), and what is not carried? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Synthesis (producer, supported by verified statements): each capture-to-render carrier defines its own fields but not the mapping to the next: C3D labelled markers, ARKit/MediaPipe 52 named coefficients, UsdSkel joints with world-space bind transforms, Alembic time-sampled geometry whose topology may change between samples, UsdRender settings with no universal RenderVar names, and EXR named channels whose layer naming implies no stacking order. None carries a rig, a character or an intent, so marker-to-joint, blendshape-name and RenderVar-to-channel mappings must be authored and recorded.
• What are sRGB, Display P3 and an embedded ICC profile, and what happens to an image that carries no colour tag? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Browsers following CSS Color 4 (CRD, 20 October 2026) treat untagged images as sRGB and treat an image with a valid colour tag as being in that space. Display P3 has DCI-P3 primaries, a D65 white and the sRGB transfer curve. PNG 3 lists four ways to tag colour with precedence cICP, then iCCP, then sRGB, then cHRM+gAMA, and asks viewers to treat unknown-gamma PNGs like untagged images. ICC.1:2022 defines embedded profiles so images carry their colour description between systems; the ICC sRGB page advises not mixing v4 and v2 profiles. Inference (code_derived from the defaults, not a quoted statement): an untagged Display P3 image will be shown as sRGB and look less saturated rather than fail, so read the tag, keep it on export and tag output instead of guessing; a profile describes the numbers rather than changing them (curator agrees as reading of the spec's purpose, not a quoted sentence).
• What tools exist for writing branching narrative (ink, Twine, Yarn Spinner, Ren'Py), what does each one store, and how does an agent choose? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ink compiles .ink source to a single JSON runtime file whose top level carries an integer inkVersion, and saves state as JSON from the runtime. A Twine 2 story is HTML (tw-storydata containing tw-passagedata), Twee 3 is the same data as text, and a JavaScript story format decides how passages become the playable HTML. Yarn Spinner compiles plain-text .yarn scripts listed in a JSON .yarnproject, and variable values live in engine-side variable storage (in Unity, InMemoryVariableStorage by default, with JSON serialisation and replaceable storage). Ren'Py saves pickled Python state, excludes unpicklable objects and does not guarantee save compatibility between releases. Code licences read: ink MIT (pinned), Yarn Spinner MIT (repository licence API, current), twinejs GPL-3.0 (pinned). These are code licences only; Ren'Py terms and any licences for story formats, sample content or templates were not read. Proposal (producer synthesis, untested): choose by delivery target: browser-playabl...
• How do working colourists describe contrast, look development and shot matching decisions, with examples and counterexamples? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Two public accounts show opposite contrast outcomes for different projects: an interviewed colourist finishes on a soft, film-like contrast curve and says small screens read more contrasty, while a 2016 trade article on Moonlight reports contrast deliberately pushed on set after preproduction tests with the colourist, a three-step look (thick colour from the mid-tones, blue in the blacks, teased highlights) and a different film-stock emulation per chapter. Both place the colourist as translating the cinematographer's intent after early discussion. Shot matching is named only as a duty; no matching method is given. The interviewee's rule of thumb is about 80 hours of grading for a 90-minute film.
• Is the OpenEXR prose-versus-flowchart discrepancy (attribute 'present' versus flag 'set') reported in a public ColorInterop tracker issue, and what do the issues say about it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ColorInterop OpenEXR recommendation is internally inconsistent on ACES container detection, and this was still true on main on 2026-10-22. The reading steps say the acesImageContainer attribute takes precedence if it is present; the flowchart asks whether the flag is set. The name also differs from OpenEXR's: OpenEXR's PR 2560 (merged 2026-09-05) added the standard attribute as 'acesImageContainerFlag', not 'acesImageContainer'. Readers should test for the OpenEXR attribute name and decide explicitly whether presence or a true value counts.
• How do Dragonframe's audio workspace and Harmony's sound tools break dialogue into per-frame mouth shapes, and what must exist before automatic detection works? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Dragonframe track reading is manual: you type the dialogue and phonetic cues, Dragonframe splits the words into frame cells, and you drag them into place against the waveform. Face sets come from Photoshop layers, and the reading appears in the X-sheet and can be exported and re-imported. Toon Boom Harmony instead detects phonemes automatically and writes one of eight standard mouth-chart letters per frame, but only if the mouth layer already has drawings named with those letters. The letters are labels for mouth shapes, not the sounds themselves.
• What are IMF, DCP, ProRes and FFV1/Matroska each for (distribution master, cinema, editing mezzanine, preservation)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Format roles differ by purpose: FFV1 (RFC 9043) is lossless intra-frame coding suited to preservation or intermediate use; the Library of Congress prefers, for finished films, an unencrypted DCP (24/48p, at least 2048x1080) among other forms and ProRes 4444(XQ)/4444/422 HQ, and for file-based video lists IMF packages, FFV1 v3 in Matroska and ProRes in that order. Ask whether the file is for hand-off, screening, editing or archive before choosing.
• How did the ISDCF language registry grow and which tag rows were edited over time, and does the registries-site gitlink lag it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The registry grew from 62 entries (2020) to 303 in the March 2022 bulk update and 330 by 2026-06-30; Malay briefly changed from MSA to MS (2022-03-09) and was reverted to MSA (2022-04-29), so a table captured in March-April 2022 carries a code later reversed.
• When did the ISDCF language registry change the Kyrgyz DCNC code from KG to KY, and in which commit? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the ISDCF language registry the Kyrgyz DCNC tag changed from KG (first version, 2020-07-08) to KY in the 2022-03-09 commit 'Update Missing Languages (#342)'; it was replaced in place rather than listed as an obsolete tag.
• What does Netflix Photon actually validate for IMF (ST 2067 / App #2E), and what is left unchecked? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix Photon parses and validates IMF packaging (AssetMap, PackingList, CPL, track files) and application constraints for App #2E and App #5 ACES; its App #2E validator checks that images are JPEG 2000 within IMF 2K/4K/Broadcast profile resolutions, HTJ2K sub-descriptor and RPCL progression, and permitted colorimetry/sampling/quantisation combinations. In the files read there are no loudness or picture-quality checks, so Photon conformance is structural, not a QC pass.
• What do the public licence texts and access pages say about using the ARRI, RED and Blackmagic RAW SDKs (who may use them, redistribution, reverse engineering), without downloading or accepting anything? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Three different regimes: Blackmagic's BRAW SDK is governed by a separate royalty-free Developer License Agreement (for building compatible software and distributing the API libraries in object code within it), distinct from the fee-based single-system licence shown first on the same page; RED's R3D SDK is royalty-free for internal development, allows redistribution of listed binaries only unmodified inside your program, forbids reverse engineering of R3D formats and carries an indemnity; ARRI's SDKs come through a free two-year Partner Program membership, with some functions possibly charged.
• How do ITU-T P.800 and P.808 define the MOS scale, listener rules and crowdsourcing controls, and how do the two Recommendations differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ITU-T P.800 defines the listening-only ACR test whose 5-point mean is the MOS (with a note that older results must be shifted by one to compare) and requires naive listeners (no subjective test in 6 months, no listening-opinion test in a year); P.808 (in force, 2021) adapts ACR/DCR/CCR to crowdsourcing with one gold-standard and one trapping question per 10 stimuli, two-eared headphones and a two-week listening-test gap, and says crowdsourcing complements rather than replaces laboratory tests. Neither defines a TTS-naturalness protocol.
• Before I write an as-recorded dubbing script for Netflix, what must it contain and how must events be timed and labelled? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  As captured in May 2026, Netflix collects only the as-recorded dubbing script (a TTAL transcription of the final dub plus forced narratives), timed so each event runs from the first to the last spoken word, with a new event after pauses of about two seconds or more (reactions and efforts count as pauses), forced-narrative events tagged with on-screen position, due three calendar days before the secondary audio.
• What archival assets must a dubbing vendor hand Netflix after the dub mix, and how has that deliverables page changed (its change log)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  As captured on 2026-03-11, Netflix requires dubbing/AD archival assets within 20 business days of final secondary audio via Source Management, split into Standard and Occasional deliverables; an Atmos dubbed dialogue stem must have at least a 7.1.2 bed and at most 118 objects as long-play 48 kHz/24-bit BWAV ADM; the page change log lists 2020-12-02 and 2023-07-13. The live JSON on 2026-10-22 returned only the introduction, so currency after March 2026 is unconfirmed.
• Before I clean dialogue out of a documentary or reality mix, what does Netflix tell nonfiction partners to deliver as M&E, and what has the page changed since 2020? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  For nonfiction, Netflix recommends Foley (a cloth pass gives substantial fill) and, without a Foley budget, married music and effects stems plus a separate dialogue stem from which its dubbing team builds a faux M&E; the Dialogue Guide is the 5.1/5.0 dialogue stem or its mono mixdown, and optional tracks may be Mono to 7.1.2.
• What belongs in the body of a Netflix M&E, what goes on optional tracks, what must be delivered for M&E QC, and what changed recently? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix asks for a fully filled, long-play, discrete-channel M&E; language-specific material (non-dialogue vocalisations, language-specific walla and chants, on-screen TV/radio dialogue) goes on separate Optional Tracks rather than the M&E body; a mix reference video is needed only when the stems are not aligned to the latest locked or final cut.
• What must I label and how must I build beds and objects when delivering a 5.1 or Atmos mix to Netflix as BWAV ADM? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix's branded BWAV ADM guideline lets beds and objects be any channel width but requires each to carry a Group label of Dialogue, Music, Effects or Narration (from a published list), true-peak limiting at -2.3 dBFS on material routed to the renderer, and 5.1 stems that sum to the printmaster; BWAV ADM delivery is preferred, not required.
• Which oiiotool switches and config hints control premultiplied versus unassociated alpha at OpenImageIO v3.2.1.2, and what do the docs warn? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  oiiotool premultiplies unassociated-alpha inputs on read by default; --no-autopremult (or the input config oiio:UnassociatedAlpha=1) keeps them unassociated for subsequent inputs. Colour-transform commands accept :unpremult=1 to un-premultiply around the transform, but default to 0, transforming associated values directly. Combine with CA-B398 for the alpha-0/1 edge behaviour.
• What does Smith and Blinn (1996) define as the matting equation for constant-colour backings, why is single-backing matting underdetermined, and which failure cases and constraints does it name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Smith and Blinn show that pulling a matte from a single constant-colour backing is underdetermined (three colour equations, four unknowns per pixel), so practical keyers rely on constraints about foreground colour (such as no blue, which rules out all greys but black, about two-thirds of hues and all pastels) or need triangulation with two different backings; blue spill, flare, backing shadows and impurities are named practical problems. This is why keyer results depend on assumptions and fail on foreground colours near the screen colour.
• Which body-text size, line spacing and line length should I pick, and which of those numbers rest on measurement rather than one designer's opinion? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Butterick's widely used numbers (10-12 pt print, 15-25 px web, 120-145% line spacing, 45-90 characters per line) are stated recommendations without measurements on those pages, while Legge and Bigelow's review of reading-speed data gives a fluent print-size range of roughly 0.2 to 2 degrees x-height (about 4-40 pt at 40 cm) and a critical print size around 0.15-0.3 degrees; the measured evidence constrains size relative to viewing distance but does not validate spacing or line-length rules.
• Field by field, how do the ratified KHR_gaussian_splatting extension and OpenUSD's ParticleField3DGaussianSplat schema define a splat's position, rotation, scale, opacity, spherical harmonics, kernel, projection, sorting, colour space and frame, and where do they differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Both definitions store linear scale and linear 0..1 opacity (CA-B035), but defaults and fields differ: glTF KHR_gaussian_splatting requires a colorSpace string and defaults sortingMethod to cameraDistance, while the OpenUSD usdVol schema defaults sortingModeHint to zDepth and has no colour-space attribute, so a converter that copies defaults changes the declared sort metric and loses colour-space provenance. The glTF README carries an SPDX CC-BY-4.0 header and also a Khronos copyright statement limiting reproduction to the unmodified specification.
• I am new to preproduction: what is the difference between a storyboard, a shooting plan (overhead camera/blocking diagram) and a shot list, and which drawing symbols and fields do beginner-level sources use for each? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A director's teaching blog distinguishes storyboards (what each shot looks like), overhead shooting plans (placement and movement of actors and camera, with triangles as cameras whose angle suggests field of view) and shot lists (derived from boards or plan, valued by ADs), and warns boards can be unachievable on location while a shooting plan 'will help keep you honest'; the Penn State tutorial is CC BY 4.0 except where noted, while the blog shows no licence notice.
• Where do the declared 1.0 meta fields (and the 0.x to 1.0 migration output) and the VRM Public License text read differently? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  VRM 1.0's meta.md defines commercialUsage values personalNonProfit (default), personalProfit and corporation, but the English VRM Public License 1.0 text uses only 'Non-commercial' and 'personal use' wording (no 'corporation' or 'personal profit'); UniVRM (efd20f62) migrates VRM 0.x commercial 'Allow' to personalProfit, never to corporation, writes the Japanese licence URL on export, and defines an English URL constant that returned 404.
• What OCIO and CLF test data are public at a pin, and what does the repository say about their licence? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenColorIO (22dd9c4f) states that all data under tests/data/files (265 files, about 34 MB, including 7 ICC-named test files) is BSD-3-Clause, copyright OpenColorIO contributors, while THIRD-PARTY.md lists SampleICC under the ICC Software License 0.2 without mentioning the test data; the texts read do not say which governs the ICC test files.
• What does the ACES 2.0 tone scale do, which constants define it, and what changed from the ACES 1.x RRT (glow, red modifier, global desaturation) that sat before its tone curve? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The ACES 2 docs require a monotonic S-shaped tone scale with mid-grey log-log slope below ACES 1's 1.55, presets for 48/100/108/1000 nits and a Michaelis-Menten-based curve, and tabulate 18% grey output of 10.000 nits at 100 nits and 14.512 at 1000 nits; the ACES 2 CTL sets c_d = 10.013 for 18% grey output; ACES 1.3.1's RRT used glow (0.05/0.08), red modifier (0.82) and 0.96 global desaturation. Licence texts differ by tag: Apache-2.0 at aces-core 069b0bc3, Academy ACES component terms at the 1.3.1 commit fc189808.
• How does the Universal Category System define CatID and filenames, which version is published, and how do tools carry UCS data in BWF/iXML? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The UCS site describes UCS as a public-domain initiative and announces version 8.2.1 (January 2024), whose only CatID change corrects WOOD-HANDLE to WOODHndl; the MIT-licensed third-party ucsrename tool (9fa45437) embeds the v8.2 list with 'WOODHandl', builds filenames as CatID_FXName_CreatorID_SourceID_UserData.Extension and rejects underscores in field values. The filename rules come from the tool, not a UCS specification text.
• What are SMPTE ST 2086 mastering-display metadata and CTA-861.3 MaxCLL/MaxFALL, and what can be verified from free public texts? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  SMPTE ST 2086 exists as 2014 and 2018 (stabilized) publications in the SMPTE library, and its text was not read; the free AV1 specification carries the same mastering-display data model (three primaries and white point as 0.16 fixed-point CIE 1931 coordinates, max luminance 24.8 and min luminance 18.14 fixed-point in cd/m2) and defers MaxCLL/MaxFALL definitions to CEA-861.3 Appendix A; FFmpeg stores these as rationals and unsigned cd/m2 values without defining how to measure them.
• Who records lens, f-stop, filter and exposure data for continuity: the script supervisor, the second AC, or both? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Public role descriptions assign lens and exposure records differently: the ScreenSkills script supervisor description includes recording ISO, colour temperature and per-camera lens, focal length, t-stop, filters and non-standard shutter/FPS; IATSE Local 634 says the script supervisor may note lenses, focal length and zoom 'as a courtesy to the Camera Department'; the FSU film handbook has the 2nd AC complete a camera continuity log only when there is no script supervisor, otherwise a camera report.
• What is the AICP bid form, how is it organised, and what is the difference between a firm bid and cost-plus-fixed-fee? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The AICP National Live Action Guidelines (revised April 2020) describe a bid form whose live-action cost groups A-K take a single company mark-up; a firm bid becomes the contract price barring specification changes with no accounting for actual costs, while cost-plus-fixed-fee suits jobs with unknown factors, is estimated on a six-page cost summary, and ends with billing of actual direct costs plus the fixed fee; the guidelines are optional and not AICP policy or agreement.

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