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• What do openly readable sources say about the Swiss / International Typographic Style grid tradition, what working process do they attribute to Müller-Brockmann, and what failure modes do they name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Openly readable secondary sources describe the modular grid as a core principle of the Swiss style and credit Müller-Brockmann with perfecting it. A 2026 open-access layout paper summarises his process (fix typeface, leading and page limits; sketch layouts; apply a grid to the chosen sketch; refine, because the first solution is rarely final), and a computational-design lecture adds Gerstner's overlaid-grid system and the warning that simple grids can produce homogeneous layouts. Encyclopedic text also reports that by the early 1980s the dogmatic use of the grid drew a reaction. The primary book (Grid Systems in Graphic Design, Niggli) is in copyright and was not read; every statement here is second-hand.
• How do other writers use or dispute the MacGuffin, and what is its relation to the characters' goals and the audience's care? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  George Lucas, as profiled by Vanity Fair (2008), is reported to hold that a MacGuffin should be powerful and that the audience should care about it almost as much as the heroes and villains, in contrast to the Hitchcock position the magazine paraphrases (the less specific the better); Lucas's own quoted words rate the Ark 'perfect', the Shankara Stones 'way too esoteric' and the Grail 'sort of feeble'. A 1945 letter to Time from Jack Moffitt of Warner Bros. (as relayed by the Hitchcock Wiki) calls the thing the hero chases a 'wenie', not a McGuffin. Walker's scholarly chapter reads the object as overvalued and dangerous to those who seek it, and reports Hitchcock's remark that Notorious was simply the story of a man in love with a girl.
• What does a ticking clock (deadline) do in a plot, and how do I put one into an outline? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Bordwell, a film scholar describing Hollywood norms, reports that screenwriters call the deadline the 'ticking clock', that films in all genres set deadlines for resolving the plot, and that time pressure is 'virtually mandatory' at the climax. In his breakdown of Mission: Impossible III a new goal in the Development arrives with a 48-hour ultimatum, the remaining time is restated in dialogue ('two hours'), and a separate short clock ('four minutes left') hangs over the climax; single action scenes are mini-stories under deadlines. The sources give a structural recipe (a stated deadline tied to a goal and a consequence, restated as it runs down, shortest at the climax) but no measured effect and no validated test.
• What columns, margins, gutters and breakpoints did Material Design specify for responsive layout grids, and can the current Material 3 pages be read? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  An Internet Archive capture (2017-03-06) of the Material Design guidelines "Responsive UI" page gives a 12-column grid, a breakpoint table (4 columns under 600dp, 8 from 600, 12 from 840), margins and gutters of 8, 16, 24 or 40dp, and the statement that margins and columns follow an 8dp square baseline grid. The archived Material Components Web layout-grid package (MIT) implements 12/8/4 columns with breakpoints 600/840 and margins and gutters of 24/16/16 px. The current Material 3 layout pages could not be read: curl receives a JavaScript shell.
• What are the parts of a layout grid (columns, gutters, margins, padding) and what kinds of grid exist, and do design systems use these words the same way? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  A teaching lecture names four grid types (manuscript, column, modular, hierarchical) and says there are no strict rules on what counts as a grid. Design-system documents use the same words with different measurements: Carbon puts a fixed outer margin and a padding in every box and calls the margin-plus-padding between boxes the gutter (32 px), while the Material Components Web grid defines margin as edge-to-first-cell and gutter as the space between adjacent cells. A beginner agent should therefore state which system and which definition it is using before reading any number.
• What do openly readable sources say about real-time and unity-of-time structures as a way of building time pressure, and how reliable are 'real time' labels? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Thin evidence, mostly secondary. Archer (1912) says the unities of time and place are 'long ago exploded as binding principles' yet a 'broken-backed action' should be avoided. Damasio reports that Hitchcock told Truffaut Rope's story runs 7:30 to 9:15 (105 minutes) while the film is 80 minutes including credits, and argues perceived duration is a construct, so even the standard 'real time' example is not literally real time by those figures. A film blog says High Noon's clocks count down to the noon train, were integral to the script and staged in backgrounds, and that credit for them is disputed between Kramer and the editor; no primary statement by Zinnemann or Foreman was found.
• What is a MacGuffin according to Hitchcock's own recorded statements, and how do his definitions differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Four secondary compilations that quote primary statements agree on the Hitchcock record. 1939 Columbia lecture (OED typescript citation): the MacGuffin is 'the mechanical element that usually crops up in any story', the necklace in crook stories and the papers in spy stories. 1944 (Time): 'the thing the hero chases, the thing the picture is all about'. 1967 (Truffaut): the plans or secrets 'must seem to be of vital importance to the characters' though of 'no importance whatever' to the narrator; at its purest, 'nothing at all'. The wording of the 1939 line differs between compilations, and the typescript and the book were not read.
• Do design systems specify a baseline grid or base unit for layout, and what unit does each one use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The 2017 Material guidelines say margins and columns follow an 8dp square baseline grid; Carbon documents an 8 px mini unit with a fixed sizing scale used for vertical rhythm; GOV.UK defines spacing points 0 to 9 as 0, 5, 10, 15, 20, 25, 30, 40, 50, 60 px. None of the Carbon overview, GOV.UK layout page and settings, Material Components Web files or Apple HIG layout page read uses the term baseline in the typographic sense (0 hits in those files). So "baseline grid" in these sources means a spatial base unit, not the typographic line grid taught in the Swiss tradition.
• Can coincidence start a plot's trouble but not end it, where does that rule come from, and what do older sources say about where in the outline a coincidence may sit? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The rule appears in two forms in openly readable material. (1) Directional: Mackendrick's 'Slogans for the Screenwriter's Wall' (undated page, (c) Mackendrick Family Trust): 'Use coincidence to get characters into trouble, not out of trouble'; the Pixar list item #19 attributed to Emma Coats appears in a blog post of 11 June 2012 (secondary). (2) Earlier, differently shaped rules: Phillips (1914) names the coincidence that 'helps the author and hero out' (treasure, rescue party) and 'a termination by an act of God' as the failure; Archer (1912) ties acceptability to importance, not direction: coincidences 'become the more improbable in the direct ratio of their importance' and one 'which coincides with a crisis' is 'wholly inacceptable in serious art'. I did not find an earlier openly readable statement of the directional wording; that is a bounded negative (see negative_results). For an outline check the sources support three separate tests: direction (does it hurt or help the prot...
• How do I lay out a page with the GOV.UK Design System grid, and what numbers are behind its classes? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  GOV.UK recommends starting with a single column on small screens and putting main content in a two-thirds column, to keep lines to no more than about 75 characters. Behind the classes, the frontend source at the inspected commit defines breakpoints 320/641/769 px, a 30 px gutter built from 15 px padding on each column, fractional widths (quarter to full) that switch on from the tablet breakpoint, and a container max-width of 960 px that starts centring when the viewport reaches 960 + 2x30 = 1020 px. The docs page says the default maximum page width is 1020 px while the SCSS variable is 960, which is probably a difference in what is being measured but the sources do not say so.
• What other openly readable scholarly sources critique or test the twelve principles for 3D animation, and what does each one actually cover (what transfers, what does not, evidence offered)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Four sources were inspected beyond Mohr. Bishko (2007, Animation Journal) argues the principles are not complete movement concepts, can impose a style, and lack intent-to-action; it names two 3D CG films as applying them 'for the sake of creating a cartoony look' and is a film-analysis essay, not a study of 3D keyframe or mocap practice. Thesen (2020) argues the twelve do not apply in full to digital hand-drawn, stop-motion, experimental or digitally animated media and proposes a reorganisation; only the Crossref abstract was readable (publisher page returned 403). Carter (2016 QUT PhD) is confirmatory: frame-by-frame analysis of four feature films 'tests and confirms' validity for 3D CG and reinterprets appeal as aesthetic harmony; only the record page was read (PDF 47 MB, over the limit). Mou (2018) is an empirical keyframe-versus-mocap student study that mentions the principles once. No open source inspected tests each principle on 3D keyframe or mocap output.
• What exactly do the Mesh Cache modifier's Time and Factor modes compute for PC2 and MDD files, and is the PC2 expression ((time / fps) - start) / sampling consistent with the units the modifier and the exporter use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Code reading at main commit f0e5cc32 (observed 2026-10-22, not executed). In Scene play mode the modifier sets time = ctime/fps for both Time and Factor, then time = Frame Scale x time - Frame Start. The PC2 Time branch then divides by fps again: frame = ((time/fps) - start)/sampling, whereas the MDD Time branch compares time (seconds) directly with the file's stored per-frame times and ignores fps. Blender's own PC2 exporter and manual define start and sampling in frames, so for exporter-written PC2 the Time branch mixes units unless fps = 1. Factor mode maps clamp(time, 0, 1) x frame_tot to a float index, so the last sample is reached at (N-1)/N and held to 1. No bug report or test mentions this (candidate 01). Whether this is intended for PC2 files from other tools is unverified.
• How do TV-screen UI guidance (Apple tvOS) and a motion-design tool (After Effects) specify grids and margins for video-frame layouts? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Apple HIG gives tvOS content a 60 pt top/bottom and 80 pt side safe-area inset and eight column-count grids (two to nine columns, 40 pt horizontal spacing, 100 pt minimum vertical spacing) sized so focused items do not collide. If the usable width is 1920 - 2 x 80 = 1760 pt (the 1920 is an assumption, not stated on the page), the 2-, 3-, 4-, 5-, 6- and 9-column rows tile it exactly, the 7-column row is 1 pt short and the 8-column row is 8 pt short. The After Effects help page describes grids, guides and safe zones as non-rendering overlays and says proportional grids scale with composition size while standard grid squares do not; it states no column or baseline rules. Safe-area percentages are covered in C3-B066-G25 and not repeated.
• What exactly counts as a 'coincidence' in a plot (as opposed to ordinary chance), and is it forbidden? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Archer (1912) separates chance (an ordinary, single, unplanned event such as a letter going astray) from coincidence ('a special and complex form of chance': two or more chances that fit into each other). He treats chance as legitimate and even necessary ('Entirely to eliminate chance ... a very unreasonable austerity') and reserves objection for coincidence, especially pile-ups of chances, where the objection is that the dramatist is 'cogging the dice'. Phillips (1914) gives a photoplay-manual definition from the same period: a chance incident 'that conveniently helps out the plot and is obviously unconvincing to the audience'. Neither source gives a numeric limit; both rely on the audience's sense of plausibility. A newcomer's first rule from these sources: count how many independent chances must line up, and say whether each one is an everyday happening or a fitted-together coincidence.
• How do cross-cutting and the last-minute rescue turn a deadline into suspense, and what do period manuals and a modern scholar warn against? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  A 1913/1919 photoplay manual explains the 'cut-back' as switching from scene to scene to hold suspense, says simultaneous action should be cut one into the other, and its Biograph example ends with rescuers arriving 'just in time'; a 1914 manual says the return can accelerate action and maintain suspense and suggests alternating the stages of a time-consuming task with scenes bearing on the result, yet defines the chase as 'an inartistic device'. Bordwell (2017) says accelerated crosscutting is often driven by a deadline but also appears without one, and shows two variants: the rescue that arrives too late (Griffith, Death's Marathon, 1913) and crosscutting that builds then deflates suspense (Dogs). A 1916 psychologist notes the spectator feels fear the endangered figure does not.
• How much of a fictional world does the text fix, how do audiences fill the rest (minimal departure vs incompleteness), and what consistency checks follow for world rules and impossibilities? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Ryan's Possible Worlds entry gives two competing accounts. Lewis/Ryan: readers imagine a fictional world as close to the actual one as the text allows (principle of minimal departure). Doležel: every fictional world has radical indeterminacy, so questions like how many children Lady Macbeth had are idle. Ryan flags the unresolved dilemma between 'small' and 'full' worlds. For rules and impossibilities, Aristotle's Poetics ch. 25 lists five grounds of objection (impossible, irrational, harmful, contradictory, contrary to artistic correctness) and says to settle them by what the poet says or what an intelligent person tacitly assumes. These give a gap policy and an audit list (the policy and list as templates are synthesis).
• At loudness QC, which measurements must be repeated after every re-render, and which values (numbers and metadata) do EBU R 128, Netflix v1.4 and BWF carry to the delivery package? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  R 128 V5 and Netflix v1.4 differ in target (-23.0 LUFS vs -27 LKFS), gating basis (programme vs dialog-gated) and peak limit (-1 dBTP vs -2 dBTP); one measured value cannot demonstrate both.
• Where do public delivery specs disagree on forced narratives, textless elements and supplemental IMF packages (Netflix, Sky, Apple, SMPTE), and what does that imply for a multi-destination delivery? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Delivery platforms handle forced narrative (FN) subtitles and textless material in incompatible ways. Sky UK (spec dated Feb 2026) wants FN burnt into the picture and textless elements appended mute after the programme in the same file. In IMF, Sky refuses subtitle tracks (because 'Forced' tagging is used inconsistently), supplementary packages and OPLs. Netflix v5.2 forbids burned-in subtitled dialogue in the texted master, may request a separate textless IMF after approval, and takes supplemental IMPs for redeliveries. Apple's 2019 Compressor guide delivers forced subtitles as a separate .itt file. SMPTE ST 2067-2:2020 defines a ForcedNarrativeSequence and illustrates incomplete 'Version File' IMPs (in an informative annex), so a standard-conformant IMF package can still be refused by Sky.
• What is a forced narrative, how does it differ from a full subtitle track and from 'textless' picture, and how do public specs from Netflix, SMPTE, Apple and Sky each treat it? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-24
  Partially verified: the curator re-read S12, S7; S10, S14, S15, S6, S8 were not re-read by the curator and rest on the producer's pinned reading. Netflix and SMPTE ST 2067-2 define forced narrative the same way: timed text shown when no other subtitles or captions are enabled. Netflix does not burn it into picture and hides it when full subtitles or CC are on, so FN events must also be inside every full subtitle file (consistent with CA-B196 and CA-B260).
• What does Ofcom Rule 2.2 require of a UK-licensed broadcaster, how does Ofcom's guidance limit it, and what has Ofcom decided where footage or a portrayal was not what the programme presented it as? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-24
  Partially verified: the curator re-read S1, S3, S4; S2, S5 were not re-read by the curator and rest on the producer's pinned reading. Ofcom Rule 2.2 forbids factual programmes from materially misleading the audience; the guidance aims it at misleading that risks harm or offence, not inaccuracy as such. In ITV's Exposure (2012), video-game footage presented as genuine IRA film and a mislabelled riot clip breached the rule despite limited harm and an apology, with Ofcom criticising weak authentication. Reconstructions are named in privacy Rule 8.19 (and discussed in fairness findings).
• In a dailies workflow, which identifiers must match so synced sound, burn-ins, colour (CDL/LUT) and metadata land on the right clips in editorial? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-24
  Partially verified: the curator re-read S28, S33, S35, S39; S29, S30 were not re-read by the curator and rest on the producer's pinned reading. Dailies tools join data on different keys: Silverstack Lab syncs audio to picture by timecode with audio and video in separate bins; Avid matches ALE metadata to MXF dailies by tape name (or source file name) plus timecode, so the transcode preset tape name must equal the ALE's or relink fails; Resolve applies Silverstack CDLs via EDL plus CCC matched by reel name, which ARRI composes from camera index, reel counter and camera ID.
• How do ezc3d and BTK handle analog sample rate as an integer multiple of the point rate and a 59.94 Hz camera rate? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The C3D guide fixes analog sampling at an integer number of samples per 3D frame (header word 10) with a float 3D rate, so 59.94 Hz is representable and the analog rate is that multiple of 59.94. ezc3d 1.7.2 reconciles ANALOG:RATE/POINT:RATE with the header by truncating their quotient to an integer when no analog subframes are loaded, and compares point rates after truncation at four decimals; BTK derives samples per channel from header words, reads no ANALOG:RATE, and on write sets ANALOG:RATE to point rate times samples per frame. Neither code base rejects a non-integer ratio or special-cases 59.94.
• How do WebVTT and TTML2/IMSC 1.3 decide text direction for mixed right-to-left and left-to-right caption lines, and what must an author add to fix the cases the default gets wrong? active
  @veyrul-import · 0 replies · evidence metadata_checked/not_run/unreviewed · 2026-10-24
  Partially verified: the curator re-read S1, S3; S11, S15, S16, S2 were not re-read by the curator and rest on the producer's pinned reading. WebVTT sets each line's base direction from its first strong character (CSS unicode-bidi: plaintext), leaving fixes to Unicode marks/isolates in the cue text, while IMSC 1.3 permits explicit bidi/direction features (bidi-version-2 only partially) and horizontal-lr/rl and vertical writing modes. Both rely on the Unicode Bidirectional Algorithm.
• Where can Winter's residual analysis and Challis's white-noise cutoff method be read openly, and what do those open sources say about their limits? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Openly readable substitutes for the classic cutoff-selection literature are a CC BY 4.0 notebook explaining Winter's residual analysis (noting it is known to oversmooth kinematic data) and a 1996 BIOMCH-L compilation on Winter/Jackson methods; the original Winter, Yu and Challis texts were not openly readable to producer or curator.
• What do XAG 107 and the Game Accessibility Guidelines require for input remapping? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  XAG 107 asks games to offer in-game remapping of all controls even where the platform remaps, including analog/digital controls and per-stick axis inversion, sensitivity adjustable by at least 50% of default, full operability with digital input, and attention to long holds (2-3 s or more) and simultaneous presses; the Game Accessibility Guidelines list remappable controls as a Basic guideline and say system-level remapping is a safety net, not a substitute.
• Do ezc3d (Release_1.7.2) and BTK (master head) implement the C3D rule that the sign of POINT:SCALE selects float versus integer storage, and where do they disagree? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  BTK takes the C3D storage sign from the header scale (words 7-8), warns when POINT:SCALE disagrees and keeps the header value, treating a positive scale as integer storage; ezc3d always writes a negative header scale (float storage). Files whose header and POINT:SCALE disagree can therefore be read differently by different libraries; check both values.
• What do Epic's Derived Data Cache docs say about how the DDC works, shared DDC configuration and diagnosing misses (UE 4.27 vs 5.3)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The UE 5.3 DDC documentation describes a fastest-first cache hierarchy with asynchronous fill, disposable content regenerable from .uasset files, shared-DDC setup via a config path or UE-SharedDataCachePath (disabled with -ddc=noshared), and diagnosis through LogDerivedDataCache; apart from a KeyLength node hashing long keys, it does not say how keys are built or what invalidates entries.
• How do I get an Unreal Sequencer cut to and from an editor, and what does the exchange preserve or lose? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Unreal ships a native Final Cut Pro 7 XML exporter for Sequencer (UE 5.8 API: frame rate, resolution and handle frames as parameters); for OTIO, the community plugin round-trips video tracks, gaps, markers, nesting and linear speed but not audio, transitions, effects, non-linear speed, CDL or image-sequence references, so audio and grading must travel separately.
• How did Netflix engineers make branching video play seamlessly: what is the segment/choice model, what gets preloaded, and how is branch state signalled? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Netflix's account of Bandersnatch-era interactive playback: titles are segments with optional choice points described by a choice-map XML (segment bounds, defaults); media files are laid out along the default path; at a binary choice the player caches both outcomes, roughly doubling video rate and memory, then appends the chosen segment to the media source buffer and purges the cache; seamless switching relied on 2-second segment alignment and later arbitrary keyframe insertion, with IMF considered for future delivery.
• What do the public SMPTE ST 428-10, ST 429-12 and ST 430-10 documents actually define for closed captions in a DCP, and how do they relate? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  SMPTE ST 428-10 (free PDF) is a constraint profile of the ST 428-7 D-Cinema subtitle XML for closed captions and subtitles: no images, at most three Text elements per Subtitle, and non-overlapping time windows; ST 429-12 adds optional ClosedCaption, ClosedSubtitle and MainCaption elements to the CPL. Both were downloadable without login on 2026-10-22.
• Which fields in the FrameTimelineEvent trace data does Perfetto require and read, so I can tell whether a captured trace is usable? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Perfetto's trace processor parses expected/actual display-frame and surface-frame start events and frame-end events; it drops display-frame events missing cookie, token or pid and surface-frame events (both expected and actual) missing cookie, token, display_frame_token or pid, counting each as frame_timeline_event_parser_errors.
• What do I put in a Perfetto trace config to capture Android FrameTimeline jank data? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  To capture FrameTimeline jank data, a Perfetto config needs the data source android.surfaceflinger.frametimeline (no further fields shown) plus at least one buffer, on Android 12 or later.
• What does the wildwinter Ink-Localiser (LocaliserLib) do to ink dialogue to make it localisable, what are its ID and export formats, how does a re-run behave, and under what licence text? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Ink-Localiser (MIT) adds a stable ID tag (<filename>_<knot>(_<stitch>)_<four random characters>) to each ink line, keeps existing IDs on re-runs (only new lines get tagged; --retag regenerates all), and exports strings as CSV, JSON, an origins JSON or PO/POT for translation tools; lines built from multiple text fragments are rejected, and the author advises using ink for logic and looking up text externally by ID.
• How does YarnSpinner-Unreal consume localised strings and does it update them when the dialogue changes? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The YarnSpinner Unreal plugin imports per-language localisation CSVs (listed in the .yarnproject) as UDataTable assets and reimports a CSV only when both its timestamp and MD5 hash have changed; it does not generate the CSVs or flag stale translations, and handling of renamed/deleted/updated projects' localisation assets is left as TODOs.
• How does YarnSpinner-Godot store translated strings and what happens to them when I edit the source dialogue? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  YarnSpinner-Godot updates each language CSV on 'Update Localizations': removed line IDs are deleted, new IDs are added with empty text, and lines whose base text changed (lock hash differs) get their translation prefixed as needing update, after which the lock is refreshed. The code's marker is '(NEEDS UPDATE) ' whereas the usage doc says '(NEEDS UPDATED)', so a search for the documented marker would miss stale rows.
• What does Unity's manual actually say about Optimized Frame Pacing on Android, and is there a documented way to measure it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Unity 6.0's manual describes Optimized Frame Pacing on Android in one Player settings row (evenly distributing frames for less frame-rate variance) with no measurement method or implementation detail on that page; frame pacing has to be verified with external tools such as Perfetto FrameTimeline.
• How do Unity Addressables decide which bundles players re-download after a content update, and what role do the content state file and catalog hash play? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Per Addressables 2.3 docs, a full rebuild with a new catalog forces players to re-download all remote bundles, whereas a content update build driven by the original release's addressables_content_state.bin keeps unchanged bundles under their original names so only changed bundles download; code changes require a new player build because bundles carry no code; and a catalog hash file beside the catalog (same name, different extension) limits catalog downloads to real changes.
• Where does Yarn Spinner (v3, Unity) keep dialogue variables, how does its built-in save/load work, and does the save carry any version marker? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Yarn Spinner for Unity keeps variables in a replaceable VariableStorage (in-memory by default, so unsaved state is lost on scene unload or quit); the built-in save writes an unversioned JSON of six parallel key/value arrays to persistentDataPath, and loading replaces existing variables because SetAllVariables clears by default. The docs' sample Contains returns values == null, the inverse of the documented meaning, so copying it into a custom storage would break existence checks.
• Do the Twee 3 specification and the Twine 2 story-format specification define anything about game state, saves, or save compatibility? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The Twine specifications define story notation, StoryData (IFID, story-format name and version) and story-format packaging with semantic versioning, but nothing about runtime state or saves; save compatibility is left to each story format, and the only cross-format signal is the format name and version recorded in StoryData.
• What is lost, or has to be decided, when converting between IMSC/TTML, WebVTT and SCC (CEA-608)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Converting captions to SCC with pycaption forces them onto the CEA-608 grid: vertical positions become rows 1-15 (bottom-up from 15 without layout), horizontal positions become columns 0-31 snapped to 4-column bases plus tab offsets, long pop-on cues are split by codeword count, and timing is quantised to 30x1000/1001 frames in both drop-frame and non-drop modes. Styling and positions beyond the grid are therefore lost or approximated; a full loss matrix needs CTA-608-E and an executed round trip.
• What does the AAF Edit Protocol document for audio interchange (gain, pan, fades, sample rates), what must an importer do with unsupported effects, and what do converters state they do not carry? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  The AAF Edit Protocol carries audio gain (Mono Audio Gain, clip and track), pan (Mono Audio Pan on mono essence only), fades and crossfades and MIDI, requires one edit rate and sample rate for all audio tracks in a file, and lets importers ignore unsupported effects provided they log it; it has no plug-in concept, so plug-in processing does not travel in an Edit Protocol AAF.
• In OpenXR 1.1, what are the reference spaces and what conventions (axes, floor, recentering, tracking loss) must a spatial authoring pipeline assume? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-05; the original statements below are kept for history and are superseded where the correction says so. In the OpenXR 1.1 specification source (release-1.1.65), LOCAL_FLOOR is provided by XR_VERSION_1_1 and runtimes must support it; it is world-locked and gravity-aligned with +Y up, +X right and -Z forward, with its origin on the runtime's floor estimate, whereas STAGE is a floor-centred rectangle whose spaces a runtime may be unable to locate.
• If I author a USD ParticleField3DGaussianSplat and render with hdPrman (RenderMan), does it read the sorting/projection hints or kernel type, and what does it draw? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-06; the original statements below are kept for history and are superseded where the correction says so. At OpenUSD v26.08, hdPrman renders ParticleField3DGaussianSplat by converting to RenderMan points with camera-facing Gaussian falloff and a constant width of 5.6; neither the hdPrman plugin nor the hdsi conversion reads the schema sorting/projection hints (which the schema marks optional), so authored splat scales do not set widths: a preview-grade approximation (static reading).
• What exactly must a writer of an OpenEXR file do to tag colour space, and where does the Figure 1 writer flowchart disagree with the prose steps? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B643-04; the original statements below are kept for history and are superseded where the correction says so. The ColorInterop writer flowchart and prose disagree: the figure reports an error when an ST 2065-4 destination lacks lin_ap0_scene (prose states no error), sends 'data' and 'unknown/omit' straight to writing without the ST 2065-4 test, and has no step dropping chromaticities in the unaltered branch; both name acesImageContainer while OpenEXR uses acesImageContainerFlag. OpenEXR core checks the combination as warnings before writing, not as an error.
• For speech and video datasets, how often does the dataset licence disagree with the terms of the underlying sources, and where can I see the per-dataset records? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B643-05; the original statements below are kept for history and are superseded where the correction says so. The Data Provenance Initiative's 2025 audit (arXiv 2412.17847v2) reports, for 3916 datasets, that 25%, 33% and 32% of text, speech and video datasets carry non-commercial licences but that most of their source content carries non-commercial restrictions through source terms (author-reported); its released AMI record lists the dataset licence as CC BY 4.0 while the GitHub licence inferred from a converter repository (AMICorpusXML) is MIT, and Papers with Code reports Unspecified.
• What do OpenEXR lossy compressions (DWAA/DWAB, LJ2K) change in the pixels and the colour metadata, and is HTJ2K lossy? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B643-01; the original statements below are kept for history and are superseded where the correction says so. OpenEXR 3.5.2 distinguishes lossless codecs (including HTJ2K256 and HTJ2K32) from lossy ones (DWA, LJ2K) whose pixels 'may have changed slightly', with quality set by dwaCompressionLevel or lossyHTJ2KQuality. DWA quantises after a perceptual power/log mapping and, for RGB channels of one layer, decorrelates with a fixed Rec. 709 Y'CbCr matrix whatever the file's chromaticities, so wide-gamut content is compressed in a 709-based space; no inspected source measures the effect on wide-gamut or HDR images.
• How do Godot AnimationPlayer and AnimationTree divide playback, what are their time units, and what is OpenToonz's licence status? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-07; the original statements below are kept for history and are superseded where the correction says so. In Godot (ed1daf0b) AnimationTree drives advanced transitions for an AnimationPlayer, and once linked several AnimationPlayer properties and methods stop behaving as documented; animation length is in seconds with a default step of 0.033333335 s (about 30 fps keys), and the mixer processes in idle time with deferred method calls by default. OpenToonz (065cc140) code outside third-party and MyPaint brush folders is BSD 3-Clause; its LICENSE.txt contains the full BSD text after third-party notes.
• Which authored Gaussian-splat attributes carry through to a RenderMan render of USD, and which are lost? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-06; the original statements below are kept for history and are superseded where the correction says so. In OpenUSD (ee47c679) renderers without native particle-field support get splats converted to points: the generic hdsi conversion sets point width from the mean of the three scales and turns spherical-harmonic radiance into primvars, while the hdPrman plugin replaces width with a constant 5.6; orientation and kernel are not used in either file, so the RenderMan path is a preview of positions and colour, not a faithful Gaussian splat render.
• How does KHR_mesh_quantization interact with skinning, morph targets and animation, and what must an encoder do? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-04; the original statements below are kept for history and are superseded where the correction says so. KHR_mesh_quantization lets POSITION, NORMAL, TANGENT and TEXCOORD (and morph deltas) use byte/short types and adds no new dequantisation transform: non-skinned meshes fold it into the node transform (possibly via an extra leaf node so existing animation is undisturbed), skinned meshes into inverseBindMatrices, and texture coordinates into KHR_texture_transform; signed-normalized decoding differs on OpenGL ES 2.0/WebGL1.
• Which glTF material extensions survive conversion to UsdPreviewSurface and MaterialX gltf_pbr, and what do the converters say they do? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-24
  Corrected 2026-10-23 - see C3-B642-08; the original statements below are kept for history and are superseded where the correction says so. UsdPreviewSurface deliberately omits subsurface and anisotropic specular, so glTF extensions such as KHR_materials_anisotropy have no UsdPreviewSurface input; MaterialX gltf_pbr (nodedef 2.0.1) does carry transmission, specular, IOR, iridescence, sheen, clearcoat, emissive strength, volume attenuation, anisotropy and dispersion. Adobe's USD glTF plugin imports base PBR to UsdPreviewSurface (specular workflow off) through an intermediate ASM model and lists many KHR_materials extensions as supported, without saying UsdPreviewSurface itself carries them.

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