kinema

Kinema (Greek κίνημα: motion, the thing moved and the movement itself — the root the whole cinema is named from). Everything a render KNOWS about motion before a single frame is encoded, held as pure arithmetic: the frame times of a span at a FREE rate with 24 and 30 as named presets; the plan that deals every cut its frames by MASTER TIME, so a cut of one second at thirty owns exactly thirty frames, the frame standing on a boundary belongs to the NEXT cut, no frame is ever drawn twice or missed, and a cut of no length owns none; two ways of making a pixel size even, because the two bodies that forged this road rounded differently and both roundings are right about their own question; the codec walk as DATA — VP9 first, VP8 as the older fallback, and H.264 probed LAST and REFUSED BY NAME, because a machine offering only H.264 cannot write a WebM and a render must say so rather than mislabel the container; a take's sound sliced to EXACTLY the samples a cut needs, padded with silence and never stretched, laid planar as an encoder wants it; many clips summed onto one mono line at their own starts and clamped rather than wrapped; back-pressure as a GAP and never a single threshold, so the decision to stop the frame source cannot chatter on the boundary; and the encoded chunks ordered by timestamp with the picture first on a tie. Beside the arithmetic stands a surface and never an implementation: four doors — a video encoder, an audio encoder, a muxer, and the frames themselves — declared and supplied by nobody here, so the engine that walks them can be proven in a room with no browser in it. No codec, no container, no canvas, no disk, no network, and NO CLOCK: a moment is six numbers a consumer declares. Numbers in, numbers out.