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V3: Connected Dots edge snap (+ Contour Graph and Facets styles) - #198
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…roup failures Media load callbacks now ignore replaced or removed passes and pending loads are cleared on disposal. Strict-mode pass failures are reported once at the originating pass instead of at every group boundary.
Publishing now drops every descendant of a hidden group and clears the parentId of any retained layer (the audio source) whose parent was removed, so the published scene passes hierarchy validation on reopen.
Cap the neighbor row and column search to two cells each side so the worst-case cellAt count per fragment is 25 instead of unbounded in the packed minimum-size, maximum-stroke configuration. Mirrored in the runtime package.
…e on buttons Clear the active paint layer when the layer stops being paintable (selection, mode, visibility or lock change) so Paint never resumes without Edit Paint. Only preventDefault on Space for non-interactive targets so focused buttons and links still activate.
three 0.186.1 compiles some TSL graphs with a variable assigned inside only one branch of an If/select and read outside it, so other pixels read 0 (three #34339). None of the composition checks fail on most of those reads, so upgrades need a second gate. wgsl-capture.mjs runs every registered composition check (discovered from window, plus the baseline projects) and saves each unique shader module the checks create. THREE_DIR swaps in an unpacked three package through a Bun build plugin, so a candidate version can be captured without touching the installed one; CHECKS limits the run. wgsl-scan.mjs tracks which variables each block has assigned, treating an if/else chain as assigning a variable only when every arm does, and reports reads with no assignment on the path. Given a baseline capture it reports only new patterns and exits non-zero. On the September 29 captures it finds 40 new patterns on 0.186.1 in exactly the six layers that broke, and none comparing 0.185.1 with itself. The roadmap gets a "Para retomar" block: what is pending acceptance, the unfinished full run on the stack and unconfirmed CI, the six steps for moving to r187 (types, runtime peer and changeset, MCP reference, dropping the r186-fixed pose workaround, suite, shader scan), and that the path-traced Render mode can start on 0.185.1.
Connected Dots cost 43-50 ms per frame at 1080p on an Apple GPU and was the main source of heat. Each pixel recomputed 81 dot sites; a pre-pass now stores the 25 distinct sites once per cell and the shader reads them back, and only the active mode's link maths runs. It now takes about 5 ms. Other passes, native GPU at 1080p, before -> after (ms): Displaced Rings 5.4 -> 2.3, Focus Blur depth of field 3.2 -> 0.3 and tilt-shift 3.4 -> 1.9, Glass hammered 3.5 -> 1.3, Plotter stipple 3.2 -> 1.0, Signal Rot 1.95 -> 0.65, Outline stroke 2.0 -> 1.2, Photocopy 1.0 -> 0.4-0.85. The savings come from running only the selected pattern, mode or shape, skipping work whose slider is 0, sharing dependency chains with Fn/toVar, and skipping the blur pyramid when no pixel reaches its first level. The editor pipeline redrew every layer each frame whenever any layer animated. It now caches the static layers at the bottom of the stack when a continuous layer sits above them, and reuses them until something changes. A photo with Connected Dots and Glass under an animated Signal Rot goes from 8.0 to 0.9 ms per frame, and the cached frame is pixel-identical to a full render. Passes now learn whether their input may have changed this frame. Blob Tracking uses it to stop forcing continuous rendering once its temporal state settles (it previously redrew the whole pipeline forever), restarts when a layer below changes, and joins the static cache while settled. Annotations re-read the Edges field only when their input changes instead of every third frame, and shade only each mark's own kind. Outline, Flares and Relief bound two texture nodes to one placeholder, which merged into a single binding when the material compiled before its first render; they now use separate placeholders. Verified with the composition suite (all checks pass; 83 of 95 renders byte-identical, the rest within 1/255 except 4 pixels at 3/255) and a native-GPU dump of every style of every V3 layer at 1080p against HEAD. Lumen Print Sabattier re-rolls grain on single-pixel columns and Dot Grid Night moves a few dot edges by less than a pixel at rounding ties.
… asset in the reopen test - Carry fill-opacity and stroke-opacity onto the SVG materials so semi-transparent logo parts stay translucent in Original mode - Make the save/reopen check register the SVG asset, assert it resolves after reopen, and render the reopened project
Preset -> Custom shows a Motifs tray under the preset: up to ten images or SVGs, added several at a time with the + tile or by dropping files on the tray. Dragging a tile lifts and tilts it while the others make room (the user's sketch, reference 35); the drop is one undo step and Esc cancels. Alt+arrows reorder and Delete removes from the keyboard. Motifs are drawn into an RGBA atlas that keeps their colors, instead of the presets' thresholded mask. The first motif covers the lightest perceptual tones and the last the darkest, in equal bands; Invert reverses the order. The new Motif colors mode draws each motif's own colors over the Background, and is chosen when the first motifs are added if the mode was still Source. The other modes tint the motif's silhouette through its alpha. Bars, Candles and Shapes are unchanged. The ordered list is `patternAssetIds` on the layer, so it follows save, autosave, history, duplication and publishing through collectReferencedAssetIds. A motif missing on reopen is dropped with "Missing motif: <file>"; one that fails to decode is reported while the others still render. The runtime config gains `patternAssets`, with a distinct /replace/image/ placeholder per motif. The limit of ten keeps a scene under the community's twelve-asset cap. pattern-motifs.mjs checks the editor and runtime passes on a tone ramp, the project path and runtime parity; reversing the bands fails it.
… paths, drag handling - Keep the motif load warning until a load succeeds (src and runtime pass) - Treat Motif colors as source color for built-in pattern presets - Make exported motif placeholder paths unique across all layers - End the undo interaction when a tile loses pointer capture or is cancelled, outside the state updater - Check motif capacity after loading and report files that did not fit
Shape -> SVG takes an uploaded file as the layer's asset. The SVG is rasterized once at 1024 px on its long side with a margin, and an exact Euclidean distance transform (inside and outside, refined by the anti-aliased alpha at the edge) turns it into a half-float signed distance field. The shape shader samples it as kind 7 of the same branchless shader, so switching shapes still doesn't recompile, edges stay sharp at any size, and Softness and Outline mean exactly what they mean on the procedural shapes. A distance field was chosen over rasterizing like the Image layer for that reason. Original colors come from a color texture whose colors are dilated outward, so softness never shows a dark fringe. File colors are listed from attributes, inline styles, <style> rules, gradient stops and the implicit black of shapes without a fill, and each can be changed; recoloring reuses the distance field and only redraws colors. Single color and Outline use the layer Color. Because the SVG is the layer's assetId, saving, autosave, history, duplication, publishing, the Missing asset notice and export work as on Image layers. Replaced fields are disposed a few frames later so a texture is never freed while still bound.
…opic edges - Keep SVG interior opacity through the distance field and color texture - Preserve alpha when extracting and replacing SVG file colors - Skip the implicit-fill swatch when a parent group sets fill - Retry a failed SVG load on the next sync - Keep the export wait entry until the current SVG request finishes - Scale sampled SVG distance per axis for stretched shapes
The ramp was a JSON text param, so it could not be animated. It is now one timeline property, Ramp, with a new "gradient" value type: the diamond next to "Dark to light" keys the whole ramp, Auto-Key edits at the playhead create or update keyframes, and without Auto-Key an edit only previews until keyed, like every other animated param. Between two keyframes the ramps are aligned stop by stop. With equal counts the sorted stops pair up and glide in position and color. With different counts the shorter ramp gains stops at the positions of the unmatched ones (a monotone matching that minimises position travel), colored by sampling the shorter ramp itself, so it looks unchanged and nothing pops at either keyframe; nested presets crossfade exactly. Colors blend in sRGB like the ramp and color tracks already do, per-keyframe easing applies, and the alignment is cached per keyframe pair. The same code runs in the editor and the runtime timeline, so preview, PNG/video export and shader export agree. The pass rewrites its LUT in place and only when the evaluated ramp string changes, so static scenes and projects without ramp tracks behave as before.
- Interpolate inserted ramp stops between the adjacent matched stops so overlapping stops keep the correct side of the color change (app and runtime copy) - Pass onInteractionStart/End through GradientRamp to its ColorPicker so a color drag is one interaction
The roadmap left three Annotations items open: connected dots (reference 21), placement guided by image regions, and rotating individual elements. Placement → Regions reuses the 128×72 field Edges already renders and reads back only when the image changes. A second edge material writes the Sobel magnitude unchanged plus averaged tone and two chroma axes; the CPU groups cells into regions with warm-started k-means, a majority filter and connected components, drops thin slivers, and keeps region ids across frames by overlap, so marks glide with video instead of blinking. Boxes frame compact regions, dots, crosses and labels sit on outlines picked by seeded anchors, rings sit on centers, and every per-region mark uses its own seeded stream so regions appearing or disappearing do not reshuffle the others. Connected Dots draws small constellations: a minimum spanning tree over a few seeded nodes plus occasional second-neighbour links, respecting every placement and drawn last so the element budget drops it first. Rotation Jitter turns rings, crosses and boxes by a hashed angle, and Align to Edges turns them along edge tangents or each region's long axis; text, rulers and metadata stay upright. Every new control starts off and draws from separate random streams, so saved projects keep their exact layout; a golden digest of legacy layouts computed from the previous code guards that. Plain Edges keeps its original material and field.
…sts in the harness The Annotations region study seeks through aura.mp4 72 times. Chrome aborts in-flight media range requests on every seek, which the harness counted as a failed request. Only media requests aborted by the element itself are ignored now; every other failed request still fails the run.
… edge angles, spread sparse marks - Annotations pass redraws its output once the edge/region readback completes so still texture sources no longer keep seeded marks - Edge tangents are converted from the 128x72 grid to the composition aspect before rotating marks - eachRegion spreads limited marks evenly across regions instead of filling the first IDs - Mirrored into packages/shader-lab-react
Lumen Print's grain is static and tied to the print look; the user asked for grain as its own layer so photos and video can get real film grain that moves. Grain is one cheap pass: three rotated lattices of a small shared noise texture (bilinear with smoothstep weights) give isotropic, clumpy grain skewed toward dark silver specks instead of symmetric TV static, sized in document pixels so every export resolution matches. Chroma adds per-layer color grain with zero luma, so it never changes brightness. Response weights the midtones like film, and Soft Light and Overlay scale the pixel uniformly so grain keeps its hue, while Add behaves like sensor noise. Speed steps to a new pattern 24 times a second at 1 instead of sliding, derived only from the clock time so preview and export agree; at Speed 0 the layer is static and joins the reusable static prefix. Five styles follow references 31, 22, 06/12 and 07 plus a digital sensor look.
The Grain check renders three illustrative video frames through a video layer. SwiftShader can't import decoded video frames, so those renders are black there and their paired validation errors don't always balance. They are only artifacts, so they now render on hardware adapters only.
- GrainPass advances its frame from the timeline time so preview and export agree - Scale the chroma offset so no channel clips below zero and shifts brightness - Render 30 timing frames per style instead of 150 in the grain composition test
The roadmap left snapping the dots to the image's edges open, and the user asked for it: reference 21 reads as a portrait because its dots and links follow the jaw, eyes and hair. Edge Snap moves each cell's site toward the strongest edge inside its cell, so contours come out as rows of dots and links, and Mesh triangles line up with silhouettes. A small parallel pass scores a 4x4 set of candidates per cell (luma and alpha gradient plus a dark-ridge term, so thin dark lines pull points onto the line instead of its flanks, above a noise floor so grain does not move sites). The site pre-pass then pulls the jittered site toward the proximity-weighted centroid of the strong candidates, scaled by how localized the edge is, so smooth gradients do not collapse the jitter into a grid. The main shader is untouched for Graph, Blobs and Plexus. Mesh now reads its points from the same pre-pass instead of recomputing 36 sites per pixel, and the mesh and dot shaders are built separately so neither carries the other's registers. At Edge Snap 0 every existing style renders pixel-identical to before (checked at 1080p and on two other inputs); Mesh is about twice as fast and Edge Snap costs well under 0.2 ms at 1080p. Contour Graph and Facets are new styles that use it; existing styles keep it at 0.
Control descriptions moved from captions under each label to an info icon that shows them on hover, and the explanations under each effect's Style picker went into the same icon. Controls in the new V3 layers now follow the order you work in: mode first, then geometry, then output and finishing. Controls that do nothing in the current mode are hidden, and a control whose parent toggle is hidden now hides too, so Plotter's Cross Angle no longer shows outside Hatch mode. Annotations had two preset pickers; the one in Text now fills Words and Metadata, and its palette and brush tools sit under Color and Placement. Connected Dots' palette sits under Color. Paint brushes use a full-width Edit button with a trash button beside it.
…ha edges Disable edge snap when the edge target would exceed 8192 pixels, such as Ultra exports at minimum spacing. Score edges with alpha-weighted darkness so light cutouts over transparent black snap to the opaque side.
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Roadmap 6.6 item 4: Connected Dots snapping to image edges. It's stacked on #197 (Grain). This is the last V3 delivery.
What you get
Edge Snap (0–1, default 0) pulls each dot toward the strongest image edge in its cell.
How it works.
Works in Graph, Blobs, Plexus and Mesh. The main dot shader is unchanged.
Cost. Snapping costs under 0.2 ms at 1080p. Mesh now reads its points from the per-cell pass, which makes Low Poly and Wireframe about 2× faster (2.2 → 1.1 ms).
Two new styles:
No existing style changed. At Edge Snap 0, all ten existing styles are pixel-identical to before.
Tests
connected-dots-edges.mjs, 107 cases:bun run test:compositionsuite passes on this commit (SwiftShader), and the existing Connected Dots renders match the pre-V3-performance baseline within 1/255.Manual test:
tests/composition/CONNECTED-DOTS-EDGES-MANUAL-QA.md.Notes
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