reze-engine 0.43.0 → 0.50.0

package/dist/math.js

@@ -616,12 +616,29 @@ export class Mat4 {
     static identity() {
         return new Mat4(new Float32Array([1, 0, 0, 0, 0, 1, 0, 0, 0, 0, 1, 0, 0, 0, 0, 1]));
     }
-    // Perspective matrix for LEFT-HANDED coordinate system (Z+ forward)
-    // For left-handed: Z goes from 0 (near) to 1 (far), +Z is forward
-    // Zero-alloc perspective into an existing column-major array (same values as perspective).
+    /**
+     * Perspective for a LEFT-HANDED system (+Z forward), mapping z ∈ [near, far]
+     * onto clip z ∈ [0, w] — WebGPU's range, and D3D's.
+     *
+     * It used to write the OpenGL matrix, which maps onto [-w, w]. That is not a
+     * style difference: WebGPU clips everything with z < 0, so half the mapping was
+     * being thrown away and the near plane silently sat at TWICE the requested
+     * near. With the camera's own floor of 0.5 that put the real clip at 1.0 units
+     * — and since most materials draw with no face culling, a close-up did not fade
+     * the front of a head, it cut it open and showed the inside of the skull.
+     * Reported from the wild as 穿模 on imported camera work, which is exactly
+     * where it would show: a wide-angle shot is composed by moving the camera in.
+     *
+     * REVERSED-Z is this same function with near and far passed the other way
+     * round: it maps near → 1 and far → 0, which is worth doing on a float depth
+     * buffer because 1/z crowds precision at the near plane and float crowds it at
+     * zero, and the two cancel. On a UNORM buffer it is pointless — the precision
+     * curve is identical, only mirrored — so the caller decides, and decides on
+     * whether it got a float depth format.
+     */
     static perspectiveInto(out, fov, aspect, near, far) {
         const f = 1.0 / Math.tan(fov / 2);
-        const rangeInv = 1.0 / (far - near); // Positive for left-handed
+        const rangeInv = 1.0 / (far - near);
         out[0] = f / aspect;
         out[1] = 0;
         out[2] = 0;
@@ -632,11 +649,11 @@ export class Mat4 {
         out[7] = 0;
         out[8] = 0;
         out[9] = 0;
-        out[10] = (far + near) * rangeInv;
+        out[10] = far * rangeInv;
         out[11] = 1; // Z+ forward (LH)
         out[12] = 0;
         out[13] = 0;
-        out[14] = -near * far * rangeInv * 2;
+        out[14] = -near * far * rangeInv;
         out[15] = 0;
     }
     static perspective(fov, aspect, near, far) {
@@ -1100,16 +1117,6 @@ export const scratchMat4Values = [
     new Float32Array(16),
     new Float32Array(16),
 ];
-export const scratchVec3 = [
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-    new Vec3(0, 0, 0),
-];
 export const scratchQuat = [
     new Quat(0, 0, 0, 1),
     new Quat(0, 0, 0, 1),

package/dist/midi-loader.d.ts

@@ -0,0 +1,10 @@
+import type { MidiNote } from "./engine";
+/**
+ * Parse a Standard MIDI File into notes on the scene clock, sorted by onset.
+ *
+ * Throws only on a file that is not a MIDI file at all; a truncated or partly
+ * unreadable track yields the notes it managed rather than nothing, because a
+ * score that plays most of a piece is worth more than an exception.
+ */
+export declare function parseMidi(data: ArrayBuffer): MidiNote[];
+//# sourceMappingURL=midi-loader.d.ts.map

package/dist/midi-loader.d.ts.map

@@ -0,0 +1 @@
+{"version":3,"file":"midi-loader.d.ts","sourceRoot":"","sources":["../src/midi-loader.ts"],"names":[],"mappings":"AAgBA,OAAO,KAAK,EAAE,QAAQ,EAAE,MAAM,UAAU,CAAA;AAkDxC;;;;;;GAMG;AACH,wBAAgB,SAAS,CAAC,IAAI,EAAE,WAAW,GAAG,QAAQ,EAAE,CA6IvD"}

package/dist/midi-loader.js

@@ -0,0 +1,247 @@
+// Standard MIDI File → MidiNote[], for setMidiNotes.
+//
+// The engine already parses PMX and VMD; this is the third loader and the
+// smallest, because a score needs four numbers per note and a .mid carries far
+// more than that. Everything not needed to place a note in TIME is skipped:
+// instruments, controllers, pitch bend, lyrics, key signatures.
+//
+// THE TEMPO MAP IS THE WHOLE JOB. A MIDI file measures time in ticks against a
+// tempo that changes as often as the music does — the piano transcription this
+// was written against has 89 tempo changes across four minutes, because rubato
+// is what makes it sound played rather than sequenced. Divide by a single
+// average and every note after the first change lands at the wrong moment, and
+// the drift compounds. So tempo changes are collected across ALL tracks first
+// (format 1 puts them in track 0, but nothing requires that), then ticks are
+// integrated through them segment by segment.
+/** 120 bpm — what the spec says to assume when a file states nothing. */
+const DEFAULT_US_PER_QUARTER = 500000;
+class Reader {
+    constructor(d) {
+        this.d = d;
+        this.offset = 0;
+    }
+    get remaining() {
+        return this.d.byteLength - this.offset;
+    }
+    u8() {
+        return this.d.getUint8(this.offset++);
+    }
+    u16() {
+        const v = this.d.getUint16(this.offset);
+        this.offset += 2;
+        return v;
+    }
+    u32() {
+        const v = this.d.getUint32(this.offset);
+        this.offset += 4;
+        return v;
+    }
+    bytes(n) {
+        // Big-endian integer of n bytes — tempo is three of them.
+        let v = 0;
+        for (let i = 0; i < n; i++)
+            v = (v << 8) | this.u8();
+        return v;
+    }
+    /** Variable-length quantity: seven bits per byte, high bit continues. */
+    vlq() {
+        let v = 0;
+        for (;;) {
+            const b = this.u8();
+            v = (v << 7) | (b & 0x7f);
+            if ((b & 0x80) === 0)
+                return v;
+        }
+    }
+    tag() {
+        return String.fromCharCode(this.u8(), this.u8(), this.u8(), this.u8());
+    }
+}
+/**
+ * Parse a Standard MIDI File into notes on the scene clock, sorted by onset.
+ *
+ * Throws only on a file that is not a MIDI file at all; a truncated or partly
+ * unreadable track yields the notes it managed rather than nothing, because a
+ * score that plays most of a piece is worth more than an exception.
+ */
+export function parseMidi(data) {
+    const r = new Reader(new DataView(data));
+    if (r.remaining < 14 || r.tag() !== "MThd")
+        throw new Error("not a MIDI file (no MThd header)");
+    const headerLength = r.u32();
+    const headerEnd = r.offset + headerLength;
+    r.u16(); // format: 0, 1 and 2 all parse the same way here — every track is read
+    const trackCount = r.u16();
+    const division = r.u16();
+    r.offset = headerEnd;
+    if (division & 0x8000) {
+        // SMPTE: ticks are absolute frames, so there is no tempo map to apply.
+        // Vanishingly rare for music files and it would silently mis-time
+        // everything, so say so rather than pretend.
+        throw new Error("SMPTE time division is not supported — export the file with a tick-based division");
+    }
+    const ticksPerQuarter = division || 480;
+    const tempos = [];
+    const raw = [];
+    for (let t = 0; t < trackCount && r.remaining >= 8; t++) {
+        if (r.tag() !== "MTrk")
+            break;
+        const length = r.u32();
+        const end = Math.min(r.offset + length, r.offset + r.remaining);
+        let tick = 0;
+        // Running status: an event may omit its status byte and inherit the last
+        // one. Dropping this reads the file as garbage from the first omission on.
+        let status = 0;
+        while (r.offset < end) {
+            tick += r.vlq();
+            let b = r.u8();
+            if (b & 0x80) {
+                status = b;
+                b = r.offset < end ? r.u8() : 0;
+            }
+            const kind = status & 0xf0;
+            if (status === 0xff) {
+                const meta = b;
+                const len = r.vlq();
+                if (meta === 0x51 && len === 3)
+                    tempos.push({ tick, usPerQuarter: r.bytes(3) });
+                else
+                    r.offset += len;
+            }
+            else if (status === 0xf0 || status === 0xf7) {
+                // A sysex length was already consumed into `b` above only if the status
+                // byte was present; re-read defensively from the current position.
+                r.offset -= 1;
+                r.offset += r.vlq();
+            }
+            else if (kind === 0xc0 || kind === 0xd0) {
+                // Program change / channel pressure: one data byte, already in `b`.
+            }
+            else if (kind === 0x80 || kind === 0x90) {
+                const velocity = r.offset < end ? r.u8() : 0;
+                // Note-on at velocity 0 IS a note-off — the common encoding, because it
+                // lets a run of notes share one running status byte.
+                const on = kind === 0x90 && velocity > 0;
+                raw.push({ tick, on, pitch: b, velocity, channel: status & 0x0f });
+            }
+            else {
+                // Everything else with two data bytes: controller, pitch bend, aftertouch.
+                if (r.offset < end)
+                    r.u8();
+            }
+        }
+        r.offset = end;
+    }
+    tempos.sort((a, b) => a.tick - b.tick);
+    // Ticks → seconds, integrating the tempo map. Walked once in tick order
+    // rather than searched per note: the events are already sorted, so this is
+    // linear where a per-note scan would be quadratic on a 1500-note file.
+    const toSeconds = makeTickClock(tempos, ticksPerQuarter);
+    raw.sort((a, b) => a.tick - b.tick || (a.on ? 1 : 0) - (b.on ? 1 : 0));
+    const pending = new Map();
+    /**
+     * Note-offs that found nothing to close, by key, in the order they were read.
+     *
+     * At the same tick the sort above puts every off AHEAD of every on, which is
+     * what makes a restrike pair correctly — the release of the held note is read
+     * before the strike that follows it. The cost is a note whose off is at its
+     * own onset tick: genuinely zero-length, and its off arrives before the on
+     * exists to be closed. Dropping it here left the on unpaired, so the note
+     * hung to the end of the file — the one case where the ordering that fixes
+     * restrikes creates a note nothing wrote.
+     *
+     * Kept rather than discarded so the flush below can look again. An off at any
+     * OTHER tick really is stray and stays dropped.
+     */
+    const orphanOffs = new Map();
+    const notes = [];
+    for (const e of raw) {
+        const key = e.channel * 128 + e.pitch;
+        if (e.on) {
+            const list = pending.get(key);
+            if (list)
+                list.push({ tick: e.tick, velocity: e.velocity });
+            else
+                pending.set(key, [{ tick: e.tick, velocity: e.velocity }]);
+            continue;
+        }
+        // FIFO against the same key: a pedalled passage can restrike a pitch before
+        // releasing it, and pairing the newest would leave the older one hanging
+        // forever — the note would last the rest of the piece.
+        const list = pending.get(key);
+        const start = list?.shift();
+        if (!start) {
+            const seen = orphanOffs.get(key);
+            if (seen)
+                seen.push(e.tick);
+            else
+                orphanOffs.set(key, [e.tick]);
+            continue;
+        }
+        const t0 = toSeconds(start.tick);
+        notes.push({
+            start: t0,
+            duration: Math.max(0, toSeconds(e.tick) - t0),
+            pitch: e.pitch,
+            velocity: start.velocity / 127,
+        });
+    }
+    // Anything still held at the end of the file gets the file's own length, so a
+    // missing note-off shows as a long note rather than as a lost one.
+    const lastTick = raw.length ? raw[raw.length - 1].tick : 0;
+    for (const [key, list] of pending) {
+        // The pitch comes back out of the map key. Writing a literal 0 here — as
+        // this did — does not lose the note, it MOVES it: every hanging note lands
+        // on C-1, which then drags the score's reported pitch range down to it and
+        // lays every keyboard out against an octave nothing plays in.
+        const pitch = key % 128;
+        const orphans = orphanOffs.get(key);
+        for (const p of list) {
+            const t0 = toSeconds(p.tick);
+            // The second look: an off read at this note's OWN tick is its off, seen
+            // early because same-tick offs sort first. One off closes one note, so it
+            // is consumed — two zero-length strikes of a pitch need two offs.
+            const i = orphans ? orphans.indexOf(p.tick) : -1;
+            if (i >= 0) {
+                orphans.splice(i, 1);
+                notes.push({ start: t0, duration: 0, pitch, velocity: p.velocity / 127 });
+                continue;
+            }
+            notes.push({ start: t0, duration: Math.max(0, toSeconds(lastTick) - t0), pitch, velocity: p.velocity / 127 });
+        }
+    }
+    notes.sort((a, b) => a.start - b.start);
+    return notes;
+}
+/** Tick → seconds through the tempo map, as a closure over the segments. */
+function makeTickClock(tempos, ticksPerQuarter) {
+    // Precompute the elapsed seconds at each tempo change, so a lookup is a walk
+    // over segments rather than a re-integration from zero.
+    const marks = [];
+    let seconds = 0;
+    let lastTick = 0;
+    let us = tempos.length && tempos[0].tick === 0 ? tempos[0].usPerQuarter : DEFAULT_US_PER_QUARTER;
+    marks.push({ tick: 0, seconds: 0, usPerQuarter: us });
+    for (const t of tempos) {
+        if (t.tick > lastTick) {
+            seconds += ((t.tick - lastTick) * us) / ticksPerQuarter / 1e6;
+            lastTick = t.tick;
+        }
+        us = t.usPerQuarter;
+        marks.push({ tick: t.tick, seconds, usPerQuarter: us });
+    }
+    return (tick) => {
+        // Binary search for the last mark at or before `tick`.
+        let lo = 0;
+        let hi = marks.length - 1;
+        while (lo < hi) {
+            const mid = (lo + hi + 1) >> 1;
+            if (marks[mid].tick <= tick)
+                lo = mid;
+            else
+                hi = mid - 1;
+        }
+        const m = marks[lo];
+        return m.seconds + ((tick - m.tick) * m.usPerQuarter) / ticksPerQuarter / 1e6;
+    };
+}

package/dist/model.d.ts

@@ -134,7 +134,7 @@ export interface Morph {
 export interface Morphing {
     morphs: Morph[];
 }
-export interface MorphComputeData {
+interface MorphComputeData {
     basePositions: Float32Array;
     rowStart: Uint32Array;
     colMorph: Uint32Array;
@@ -143,18 +143,6 @@ export interface MorphComputeData {
     vertexCount: number;
     entryCount: number;
 }
-export interface SkeletonRuntime {
-    nameIndex: Record<string, number>;
-    localRotations: Quat[];
-    localTranslations: Vec3[];
-    worldMatrices: Mat4[];
-    ikChainInfo?: IKChainInfo[];
-    ikSolvers?: IKSolver[];
-}
-export interface MorphRuntime {
-    nameIndex: Record<string, number>;
-    weights: Float32Array;
-}
 export declare class Model {
     private _name;
     get name(): string;
@@ -509,4 +497,5 @@ export declare class Model {
     private computeSingleBoneWorldMatrix;
     computeWorldMatrices(): void;
 }
+export {};
 //# sourceMappingURL=model.d.ts.map

package/dist/model.d.ts.map

@@ -1 +1 @@
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package/dist/param-track.d.ts

@@ -0,0 +1,48 @@
+/**
+ * A material parameter over time.
+ *
+ * The other half of step 5: dissolve, teleport, a look that changes on a beat.
+ * The per-material channel already exists — setStyleParam writes straight into
+ * the style uniform — so what was missing was only a way to drive it from the
+ * scene clock rather than from whenever a caller happened to fire.
+ *
+ * WHY THE SAMPLING LIVES HERE, alone in its own file: everything else in this
+ * feature needs a GPU, and this does not. Keeping it pure is what lets the
+ * interpolation be tested exhaustively in a headless suite, which matters
+ * because it is the part with edge cases — the ends, a single key, keys at the
+ * same instant.
+ *
+ * NOT bezier. Bone animation has curves because a VMD carries them and a body
+ * needs ease; a material parameter is a dial, and a dial that needs shaping can
+ * be shaped by placing more keys. If eased segments are ever wanted, they
+ * belong as a property ON a key, not as a second sampler.
+ *
+ * DETERMINISTIC BY CONSTRUCTION: the value is a pure function of the scene
+ * clock, so an offline export stepping frame by frame produces exactly what
+ * playback did. Anything read from wall time would not, which is the same rule
+ * the score and audio interfaces already follow.
+ */
+/** A parameter value: a scalar, or a vector for the vec3 params. */
+export type ParamValue = number | [number, number, number];
+export type ParamKey = {
+    /** Seconds on the SCENE clock — the same clock an export steps. */
+    t: number;
+    v: ParamValue;
+};
+/**
+ * The value at `t`.
+ *
+ * Outside the track it HOLDS rather than extrapolating: a parameter that ran
+ * off the end of its keys and kept going would leave the scene somewhere its
+ * author never described, and the last key is the last thing they said.
+ *
+ * Keys must be sorted by `t` — setStyleParamTrack sorts on the way in, so this
+ * can binary-search rather than scan, and a track with a thousand keys costs
+ * the same per frame as one with four.
+ */
+export declare function sampleParamTrack(keys: ParamKey[], t: number): ParamValue | null;
+/** Whether a freshly sampled value differs from the last one written. Tracks are
+ *  evaluated every frame and most of them are flat most of the time, so this is
+ *  what keeps a still scene from writing a uniform per parameter per frame. */
+export declare function paramChanged(a: ParamValue | null, b: ParamValue | null): boolean;
+//# sourceMappingURL=param-track.d.ts.map

package/dist/param-track.d.ts.map

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package/dist/param-track.js

@@ -0,0 +1,80 @@
+/**
+ * A material parameter over time.
+ *
+ * The other half of step 5: dissolve, teleport, a look that changes on a beat.
+ * The per-material channel already exists — setStyleParam writes straight into
+ * the style uniform — so what was missing was only a way to drive it from the
+ * scene clock rather than from whenever a caller happened to fire.
+ *
+ * WHY THE SAMPLING LIVES HERE, alone in its own file: everything else in this
+ * feature needs a GPU, and this does not. Keeping it pure is what lets the
+ * interpolation be tested exhaustively in a headless suite, which matters
+ * because it is the part with edge cases — the ends, a single key, keys at the
+ * same instant.
+ *
+ * NOT bezier. Bone animation has curves because a VMD carries them and a body
+ * needs ease; a material parameter is a dial, and a dial that needs shaping can
+ * be shaped by placing more keys. If eased segments are ever wanted, they
+ * belong as a property ON a key, not as a second sampler.
+ *
+ * DETERMINISTIC BY CONSTRUCTION: the value is a pure function of the scene
+ * clock, so an offline export stepping frame by frame produces exactly what
+ * playback did. Anything read from wall time would not, which is the same rule
+ * the score and audio interfaces already follow.
+ */
+const lerp = (a, b, k) => a + (b - a) * k;
+/**
+ * The value at `t`.
+ *
+ * Outside the track it HOLDS rather than extrapolating: a parameter that ran
+ * off the end of its keys and kept going would leave the scene somewhere its
+ * author never described, and the last key is the last thing they said.
+ *
+ * Keys must be sorted by `t` — setStyleParamTrack sorts on the way in, so this
+ * can binary-search rather than scan, and a track with a thousand keys costs
+ * the same per frame as one with four.
+ */
+export function sampleParamTrack(keys, t) {
+    if (keys.length === 0)
+        return null;
+    if (keys.length === 1 || t <= keys[0].t)
+        return keys[0].v;
+    const last = keys[keys.length - 1];
+    if (t >= last.t)
+        return last.v;
+    // The last key at or before t.
+    let lo = 0;
+    let hi = keys.length - 1;
+    while (lo < hi) {
+        const mid = (lo + hi + 1) >> 1;
+        if (keys[mid].t <= t)
+            lo = mid;
+        else
+            hi = mid - 1;
+    }
+    const a = keys[lo];
+    const b = keys[lo + 1];
+    const span = b.t - a.t;
+    // Two keys at the same instant are a STEP, and the later one wins. Dividing
+    // by the zero span would be a NaN written into a uniform every frame.
+    if (span <= 0)
+        return b.v;
+    const k = (t - a.t) / span;
+    if (typeof a.v === "number" && typeof b.v === "number")
+        return lerp(a.v, b.v, k);
+    // Mixed scalar and vector keys are an authoring mistake, not something to
+    // guess at: hold the segment's start rather than inventing a conversion.
+    if (typeof a.v === "number" || typeof b.v === "number")
+        return a.v;
+    return [lerp(a.v[0], b.v[0], k), lerp(a.v[1], b.v[1], k), lerp(a.v[2], b.v[2], k)];
+}
+/** Whether a freshly sampled value differs from the last one written. Tracks are
+ *  evaluated every frame and most of them are flat most of the time, so this is
+ *  what keeps a still scene from writing a uniform per parameter per frame. */
+export function paramChanged(a, b) {
+    if (a === null || b === null)
+        return a !== b;
+    if (typeof a === "number" || typeof b === "number")
+        return a !== b;
+    return a[0] !== b[0] || a[1] !== b[1] || a[2] !== b[2];
+}

package/dist/physics/types.d.ts.map

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package/dist/physics/types.js

@@ -13,5 +13,8 @@ export var RigidbodyType;
 (function (RigidbodyType) {
     RigidbodyType[RigidbodyType["Static"] = 0] = "Static";
     RigidbodyType[RigidbodyType["Dynamic"] = 1] = "Dynamic";
+    // The loader no longer emits this — it maps mode 2 to Dynamic, which is the
+    // fix above. The member stays because the physics step still names it when
+    // asking "does this body follow its bone", and a host may set it directly.
     RigidbodyType[RigidbodyType["Kinematic"] = 2] = "Kinematic";
 })(RigidbodyType || (RigidbodyType = {}));

package/dist/reflection.d.ts

@@ -0,0 +1,27 @@
+/**
+ * The debug view: the reflection target drawn over the finished frame — the
+ * only way to SEE whether the mirror pass is right before anything consumes
+ * it, the same instrument discipline as setIdDebug. The target is HDR linear;
+ * a Reinhard fold plus a square-root keeps highlights readable without
+ * involving the real view transform, which a diagnostic does not need.
+ */
+export declare const REFLECTION_DEBUG_WGSL = "\n@group(0) @binding(0) var t: texture_2d<f32>;\n@group(0) @binding(1) var s: sampler;\n\nstruct VSOut { @builtin(position) pos: vec4f, @location(0) uv: vec2f, };\n\n@vertex fn vs(@builtin(vertex_index) i: u32) -> VSOut {\n  var out: VSOut;\n  let x = f32(i32(i / 2u) * 4 - 1);\n  let y = f32(i32(i % 2u) * 4 - 1);\n  out.pos = vec4f(x, y, 0.0, 1.0);\n  out.uv = vec2f(x * 0.5 + 0.5, 0.5 - y * 0.5);\n  return out;\n}\n\n@fragment fn fs(in: VSOut) -> @location(0) vec4f {\n  let c = textureSample(t, s, in.uv).rgb;\n  return vec4f(sqrt(c / (vec3f(1.0) + c)), 1.0);\n}\n";
+/**
+ * Reflection about the horizontal plane y = h, column-major.
+ *
+ *   p' = (x, 2h - y, z)
+ */
+export declare function reflectionAboutY(h: number): Float32Array;
+/**
+ * Fill a camera-uniform block for the mirror pass from the live one.
+ *
+ * Layout is the material CameraUniforms: view at 0, projection at 16, eye at
+ * 32, render-target height at 35 — the same 36 floats the main camera writes,
+ * copied rather than re-derived so the two cannot disagree about anything but
+ * the reflection.
+ *
+ * view' = view × R (column-vector convention, matching `projection * view *
+ * pos` in the vertex shaders); projection unchanged; eye reflected.
+ */
+export declare function buildMirrorCamera(camera: Float32Array, planeY: number, out: Float32Array): Float32Array;
+//# sourceMappingURL=reflection.d.ts.map

package/dist/reflection.d.ts.map

@@ -0,0 +1 @@
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