Foliage roughness was pinned to 1.0 and grazing Fresnel switched off, so nothing green
in the game had a highlight anywhere. The glint off waxy leaves and wet needles is most
of what makes a stand look alive rather than painted.
The reason it was off is real: a crown is card quads, and at a grazing angle the card's
normal is a lie, so a specular lobe frosted whole crowns white against the sky. The sheen
returns as its own term gated on exactly that - it fades as the card turns edge-on, which
is where its normal stops meaning anything. A tight lobe for the glint, a weak wide one
for the waxy rim, nothing at the angles that frosted.
Translucency reaches 260 m rather than 140, and a dense crown passes 0.45 of it rather
than 0.3, so a backlit stand glows for as far as you can see it.
400 frames: GL 7.1 s, VK 7.4 s. Backends agree to 0.14/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Correcting the previous commit, which said this was unfixed. It is fixed, and I had the
wrong knob: raising the mudstone tint's magnitude from 0.14 to 0.38 made the face LIGHTER
rather than REDDER and it came out pale tan. The shader's own DEBUG_ALB view measured
red:blue at 1.56 on the peak where maroon mudstone wants nearer 4, which says plainly that
what needed moving was green and blue DOWN, not red up.
The built-in DEBUG_MAT view is what settled it, and I should have reached for it an hour
earlier instead of inventing my own: it shows the Bells as pure red, rockW = 1, so the
face is rock and always was. That also explains why painting the snow albedo bright red
changed nothing and I wrongly read that as "this surface is not drawn by this shader" -
there is no snow on those faces to paint.
The far tier's fallback moves with it, so the cheap tier keeps the near tier's mean.
Backends agree to 0.60/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
55% of every ground pixel was the orthophotograph, at every distance and on every
material. A survey image records WHERE the forest and the scree are well and what a
steep rock face is coloured badly - it is shot through kilometres of air at an angle no
player stands at. The photograph keeps the meadow and the forest and gives the rock back
to the rock, by material and by elevation and never by distance: a distance fade used to
live here and was removed because the photograph has the day's own shadows baked in, so
grass grew dark patches as you backed away and they slid as you walked.
The far tier's rock fallback is the maroon mean, not a neutral grey - TFAST_3 skips the
rock sample and leaves that constant standing in for a whole mountain.
Ortho-classified snow needs altitude now. Bright and unsaturated is what snow looks like
from a satellite and also what a sunlit rock face looks like. Gully snow is gated on the
snow line rather than two absolute heights.
Distance desaturation eased 1.9 -> 1.15: tuned on a valley whose rock was grey anyway.
NOT FIXED, and I want it recorded rather than implied: the Bells themselves are still
not maroon. The near and middle rock is warmer and measurably so, but the distant peak
does not respond to ANY of this - not the rock tint, not the ortho weight, not the snow
line, not the gully gate. Painting sA bright red left it unchanged, so whatever surface
that is, it is not this shader's snow and not this shader's material blend. Somebody
should find out what draws it before tuning any of these numbers further.
400 frames: GL 7.0 s, VK 7.2 s. Backends agree to 0.62/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Everything before this made the air a COLOUR APPLIED TO A SURFACE. Nothing put light
in the space between surfaces, so the basin had no shafts, no pooled mist and no rays
off a ridge at any hour, whatever was done to the fog.
A half-resolution march from the camera to the depth buffer, asking the same shadow
the rest of the frame asks - the cascades, the baked height-field shadow and the cloud
mask - so a shaft is cast by the actual trees and the actual ridge and a passing cloud
dims its own rays. Henyey-Greenstein scattering, because real air throws light forward.
Density and a separate ground-hugging mist layer ride the sun's elevation, so mist
forms in the cold at either end of the day and burns off by mid-morning.
Composited with the bloom pyramid's own tent upsample under ONE/ONE - what was wanted
and already there - and before bloom, so a shaft blooms. Into post_hdr, not post_scene:
post_scene is what the water refracts and shafts added there would sit under the lake.
The tuning that mattered was the sky term, which is added at every step: at 0.06 it
accumulated into a flat grey wash lifting lit and shadowed air equally, which is the
contrast a shaft is made of, and the valley came out one pale sheet. At 0.012 the sun
dominates and there is light rather than fog. I cut the density and mist three times
before the frame looked like air instead of paint.
R3D_NOVOL=1 for an A/B; Off in Settings skips the pass whole.
400 frames at 07:00: GL 7.1 -> 7.3 s, VK 7.2 -> 7.4 s. Backends agree to 0.08/255.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Aerial perspective is a curve now. A low sun shines through far more air than a
high one and shines ALONG the ground rather than down onto it, so density, height
falloff and forward scatter all ride the sun's elevation; overcast thickens the air
and flattens the scatter, because a grey sky has no disc to scatter from. `lowsun`
falls away BELOW the horizon as well as above it, or the middle of the night gets a
dawn's haze with no dawn to justify it.
The term that was missing entirely is distance DESATURATION. Blending a saturated
green ridge toward a saturated blue noon sky leaves a saturated ridge - which is why
the same valley read as a photograph at dusk, where the fog colour happened to be a
warm grey, and as a toy at one o'clock. A surface is now pulled toward its own
luminance faster than the fog itself arrives. Measured far/near saturation at the
camp: 07:00 1.11 -> 0.89, 09:00 1.04 -> 0.93, 13:00 0.98 -> 0.89.
The grade is the hour's too - nine literals bound at the draw, written by
daylight_set now. Noon is the case worth naming: direct sun is warm-white and the
only thing filling a midday shadow is a blue sky, so noon gets a cool balance over a
blue-lifted shadow with hard contrast, and dawn and dusk the reverse. Ground R-B,
lit vs shadowed: 07:00 +42.8/+14.2 -> +48.9/+15.1, 13:00 +32.2/+14.8 -> +25.2/+2.9.
Gain is left alone deliberately: the grade is `c * gain + lift * (1 - c)`, so warming
it warms the whole frame, and warming it at noon made one o'clock yellower than seven
in the morning - the opposite of the point.
The visible sky is relit. Turning a photograph on its axis does not change what
colour it was taken at, so every sunset had a mid-morning blue overhead. An analytic
sky supplies the chroma and the photograph keeps the luminance: the cloud stays where
it is and goes orange at dusk, the zenith goes deep blue at noon, and no second sky
is shipped. It fades out under the horizon and eases off under cloud.
The ground bounce follows the ground, crossing meadow to rock at the map's treeline
instead of being one green constant everywhere including above the scree.
R3D_NOAIR=1 restores all of it, so a before-and-after comes from one binary at one
hour; it joins R3D_NOCLOUD / R3D_NOSHADOW / R3D_NOGI.
Verified on macOS OpenGL, macOS Vulkan (MoltenVK) and Windows Vulkan (RTX 3070 Ti).
Backends agree: mean difference 0.15-0.88/255 within a machine. Across machines the
ORIGINAL renderer already differed by 5.02/255 at 19:12 and this build differs by
2.80, so cross-platform variance is pre-existing and did not grow. 400 frames: GL
7.4 s before and after, VK 7.0 s before and after.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A reflecting body is clipped to its ellipse like every other unless it is an
unbounded sea, so a map whose reflection belongs to its lake (Maroon Lake, once
its sea sits below it) does not draw that lake's level over every hollow in the
survey. The terrain's wet shore and its forest and scree gates read the carved
lake's line inside its outline (u_lake), the rule grass already used. SPIR-V
regenerated.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
r3d_hdr_calibrate(peak, paper, black) feeds the tonemap's and the overlay's HDR10 variants and
the display's HDR metadata; ov_hdr_nits draws a calibration patch at a number of nits.
gpu_caps_probe asks the running Vulkan renderer's instance instead of making and destroying a
second one under Streamline's interposer, which left the next swapchain rebuild calling address 0.
The overlay gets an HDR10 variant, and the tonemap brightens HDR highlights by one factor rather
than per channel.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The chunked grass path draws each chunk as one mesh-shader dispatch when the
setting asks and the card has VK_EXT_mesh_shader: work group y is a tile, x a
batch of 16 of its blades, and a blade the placement, density, frustum, water
or slope tests reject emits nothing - the instanced path still runs its eight
vertices to a degenerate position. grass.mesh generates the same blades as
grass.vert (grass_blade_mesh(4)'s rows, the same hashes, sway and lighting
normal), capped at the instanced path's 65535 a tile.
Vulkan: VK_EXT_mesh_shader with meshShader, and maintenance4 (glslang's mesh
stages declare LocalSizeId); vkCmdDrawMeshTasksEXT looked up per device, as the
Streamline interposer exports none; a *.mesh program's pipeline takes the mesh
stage and no vertex input, its bindings the mesh stage bit. gpu_has_mesh,
gpu_draw_mesh_tasks; r3d_mesh_grass and R3D_MESH_GRASS / R3D_NO_MESH.
bin/ludic-dev rebuilt: the committed binary predated the shader tool's mesh
support and compiled grass.mesh as a vertex stage.
PC (RTX 3070 Ti): the camp matches the chunked path; validation only the
no-window present-id message.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
HDR output: an HDR10 swapchain (A2B10G10R10, ST 2084 over BT.2020) when the
setting asks and the display offers it, with HDR metadata. The tonemap's HDR10
variant keeps the SDR picture up to a 200-nit paper white and rolls highlights
on to 1000 nits; the overlay's converts the interface to the same white. The
screen and LDR images go 10-bit with it; screenshots refuse while it is on.
OpenGL and the Vulkan SDR frame are unchanged. The instance asks for
VK_EXT_swapchain_colorspace. HDR metadata only where the loader has
vkSetHdrMetadataEXT: Streamline's interposer does not, and calling the thunk
crashed the game the moment the swapchain came up HDR10. PC 4K monitor: HDR10,
validation 0. R3D_HDR overrides the setting.
DLSS:
- the vertical jitter offset flips with Streamline's image (rows from the top):
unflipped, Quality resolved the ground into concentric rings;
- preset K in every mode: the default M put Performance at 18 ms a frame at 4K
on an RTX 3070 Ti (33 fps against 41 with DLSS off; with K, 60);
- the camera is jittered only while this frame holds a token and the last
evaluate worked.
R3D_DLSS_PRESET, R3D_CAM_LOG (the camera and DLSS state a frame) and
R3D_NOGRAIN for measuring.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
tersun.frag rasterised every terrain patch a second time into a screen buffer, because on OpenGL the
cascade read inside terrain.frag fell off a driver cliff (about 6 ms a frame). Vulkan has no such
cliff: its terrain programs are the SUN_INLINE variant, which evaluates the same two tiers with the
same normal and cross-fade in the ground's own shader, and terrain_draw skips the pass - in the frame
and in the water reflection. OpenGL keeps the pass. R3D_SUN_PASS=1 keeps it on Vulkan, for comparing.
Mac Vulkan town 1759 -> 1692 draws; frames within 2/255 of the pass (15331 px, float rounding). PC camp
1984 -> 1882 draws, 3.9 s for 400 frames either way, self-tests 59/59, validation 0. OpenGL frames
byte-identical.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A panel and its label alternated the white and font textures, and every switch closed the overlay's
draw range: 77-91 ranges a frame in town. The font atlas is now bound beside the image texture for the
whole flush, and v carries 4 x the vertex's mode (0 image, 1 font, 2 flat colour) on top of its real
coordinate, so only a different image texture or a clip rectangle closes a range. Town: 24 ranges.
OpenGL frames byte-identical at all five viewpoints; MoltenVK with validation adds no message.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Grass (Vulkan with multi-draw indirect): every visible tile is a record in one buffer, uploaded once a
frame, and each band draws its records 256 at a time. A record's firstInstance is its place in the
chunk times 65536; grass.vert's TILES variant reads that place's corner and indices per cell from
u_tiles. R3D_GRASS_TILES=1 keeps a draw per tile. OpenGL is unchanged.
Casters: a LOD level with no impostor is drawn into a shadow cascade only when its distance band,
widened by six times its height, the camera's height over the ground and the frustum's corner reach,
can touch that cascade's receivers. The flowers' mesh levels (6 - 30 m) leave the three outer
cascades. R3D_CAST_ALL=1 draws every level everywhere. OpenGL frames byte-identical at all five
viewpoints; alpha-tested shadow draws at a 460 -> 244.
gpu_has_mdi() guards both this and the GPU-culled trees' multi-record draws.
Camp: Mac Vulkan 2645 -> 2191 (grass) -> 2034 draws; PC 2657 -> 2046, self-tests 59/59, validation 0.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Every level of a kit tree or rock carries the same materials, so a GPU-culled layer merges each
material's levels into one mesh (layer_arena_build) and scatter_cull.comp writes a record per
(material, level) naming that level's index and vertex range; one indirect draw covers them all.
A conifer's lit pass and prepass go from 8 draws to 2, its shadow LOD from 6 to 2. Layers that do
not fit (card levels, other materials or attributes, 32-bit indices) keep the CPU path.
GPU culling is now the Vulkan default (R3D_GPU_CULL=0 turns it off). Camp benchmark, 400 frames:
PC 2791 -> 2657 draws, 4.3 -> 4.1 s (both runs); Mac 2791 -> 2657, 8.0/7.4 -> 7.7/7.2 s.
Self-tests 59/59 on both machines, PC validation 0 errors; frames within run-to-run noise; OpenGL
frames unchanged.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
- r3d_set_anisotropy(level) updates every mipmapped texture already loaded (OpenGL parameter,
Vulkan sampler record), not only later uploads; the game's setting never reached the scanned
materials, which load before the settings are read.
- shadow_set_res(size) remakes the cascades at 1024 / 2048 / 4096 (shadow_res replaces the
SHADOW_RES constant); lighting.glsl reads the texel size from the map, so OpenGL frames at
2048 are unchanged.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
- Device: multiDrawIndirect, drawIndirectFirstInstance and drawIndirectCount where present.
- Buffers carry storage and indirect usage; a GPU-owned buffer is never swapped under a draw.
- Compute programs from shaders/compute.list (binding 0 parameters, 1.. storage buffers),
built by `ludic-dev shaders`; gpu_compute / gpu_dispatch / gpu_draw_mesh_indirect in gpu.ludic.
- R3D_VK_PROBE=1: a dispatch read back (OK on the RTX 3070 Ti).
- scatter_cull.comp: a tree layer's frustum test and LOD split on the GPU, with the lit, prepass,
impostor and shadow-LOD draws reading its records. Behind R3D_GPU_CULL=1 and off by default:
at the camp it is slower (43.0 fps against 53.3), because the frame's cost is per-draw
descriptor sets and it adds empty-level draws. Validation-clean; OpenGL frames unchanged.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
OpenGL links a vertex output to a fragment input by name; SPIR-V links them by location, and
glslang's --auto-map-locations numbered each stage in its own declaration order. The foliage
prepass's depth.frag declares v_wpos then v_uv where model.vert writes v_wpos, v_nrm, v_uv, so
the prepass read a normal as its texture coordinate, its alpha test cut every flower head and
leaf, and the lit pass (depth EQUAL) drew nothing over them. `ludic-dev shaders` now gives both
stages explicit locations: the vertex stage's out order numbers them and the fragment stage looks
each in up by name. All 45 variants checked: every fragment input sits on its vertex output.
Also:
- A clear still waiting for its pass when the framebuffer changes now runs on that framebuffer,
instead of becoming the load op of whichever pass began next.
- R3D_DUMP_ATLAS writes every impostor and card atlas a run bakes (build/atlas_<n>_*.ppm); the
40 baked on Vulkan match OpenGL's.
The PC's Vulkan frame now shows the flowers as OpenGL does, validation-clean. ludic-dev test 140
passed; OpenGL frames byte-identical at the five viewpoints; 59 self-tests pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three things the first Vulkan frames on the RTX 3070 Ti showed against OpenGL on the same PC:
- Exposure: the adaptation pass reads the HDR scene's smallest mip, and a render target made
without pixels had one level, so exposure came from a single texel. A target asked for mipmaps
now grows a full chain (level 0 kept), and passes draw through level-0 views keyed by the
image's generation.
- Foliage: the depth prepass and the lit pass (depth EQUAL) are different variants. Vulkan vertex
stages now declare an invariant gl_Position so both land on the same depth.
- Alpha to coverage is enabled only on a multisampled pass. OpenGL ignores it without MSAA; Vulkan
with one sample dropped every fragment under half alpha.
vk_resources also checks a big-endian 16-bit RGB upload (a normal map). VKRES OK; ludic-dev test
140 passed; the PC's Vulkan frame is validation-clean; OpenGL frames byte-identical at the five
viewpoints with 59 self-tests passing.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The renderer's projections are OpenGL's, whose clip-space depth runs from -w to w; Vulkan clips
everything below 0. `ludic-dev shaders` now wraps each vertex stage - its own main runs, then
gl_Position.z = (z + w) / 2 - so every variant's depth lands in [0, w]. The GLSL the OpenGL
renderer compiles is untouched. No y flip is needed: a Vulkan target's row 0 is where OpenGL's is
(NDC y = -1), so render to texture, sampling and gl_FragCoord agree between the two, and only the
present and the screenshot flip.
45 vertex modules regenerated (spirv-val clean, manifest unchanged); ludic-dev test 140 passed.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Vulkan cannot compile GLSL when the game starts, so the programs render3d builds are listed
(shaders/variants.list, 45 of them, collected with R3D_PROGRAMS_LOG across the self-tests, the
screens, the viewpoints and the debug switches) and `ludic-dev shaders` compiles each into
shaders/spv/<id>.vert.spv and .frag.spv with a manifest of what the backend needs: each
stage's uniform block and member offsets, the samplers' bindings, the vertex inputs.
The GLSL is the renderer's own, assembled as programs.ludic assembles it, through glslang's
relaxed Vulkan mode, so gpu_uniform / u_* can write the same uniforms into a block on Vulkan.
Bindings are assigned by the tool (glslang's own numbering put several samplers of one stage
on binding 0): the vertex block is 0, the fragment block 1, samplers from 2 in name order,
shared across both stages. Every stage passes spirv-val; `ludic-dev test` rebuilds and compares
wherever the Vulkan SDK is installed.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Needle-card crowns are many cut-out quads deep and a discarding shader turns early depth
rejection off, so every card behind the front one ran the full lighting shader. The near
tree LODs now write depth first (depth.frag, the same alpha coverage test), terrain under
them is rejected before shading, and the lit pass draws them with no discard and an equal
depth test (invariant gl_Position). R3D_NOPREPASS=1 restores the old path.
Dense forest on a Windows PC: 61 -> 78 fps at 3840x2160, 116 -> 164 fps at 1920x1080.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
A water body other than the reflecting one drew its whole bounding rectangle,
so the corners outside the lake's carved ellipse showed water over dry ground;
those bodies now discard outside the ellipse. r3d_fog_base (default 0) is the
height the height fog is measured from, so maps sharing one datum at different
heights get the same air.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
terrain_reload/terrain_unload release one map's height field, survey, photograph
and patch bounds and generate another at any TERRAIN_HALF; scatter_clear_all
(with streams), actor_clear_all, col_reset and mesh_free empty the scene;
water_body_add/water_bodies_clear draw several still-water planes with one
reflecting; terrain_sea separates the coast's sea level from the carved lake's,
and grass keeps off both. Fixes CDLOD patch bounds for TERRAIN_HALF != 4096 and
water_init leaking a mesh and program per call. examples/rendering/reload.ludic.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Three things a game could not say, each of which had been worked around.
Audio.play_at(id, gain:, pitch:, pan:) fires a one-shot with its own gain,
pitch and stereo position. Audio.volume and Audio.pitch are global - they are
the options screen - so a game placing a sound in the world was fighting them,
and distance attenuation was simply not expressible. The backend already took
volume and rate per call; this adds setPan: alongside them and stops routing
through the master state.
ludic.render3d gains outline_model(model, mat, width, r, g, b): a rim around
something that is not an Actor. The outline pass walked the actor list and
stopped, so instanced scatter - a forest - could not be highlighted at all. It
is a queue flushed by the same pass, which is what gets the depth test right
when the caller does not control pass order.
And terrain_coast(cx, cz, margin, fall), the other way to make an island:
the sea around the survey's own edge rather than cut out of the middle of it.
terrain_island measures a radius from a centre, which drowns two thirds of a
real survey to make an island of the rest; this measures inward from the
boundary, so everything the data covers stays land and the coast is where the
data runs out. Both modes gained a strand - the last few metres of height
either side of the water line compressed, which stretches a cliff plunge out
into beach and shallows.
132 regression tests and the self-host fixpoints pass.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`terrain_island(cx, cz, r, fall)` keeps land out to `r` and then scales the
terrain down into the water over `fall` metres and on to a shelf. Scaling rather
than blending to a fixed bed is what makes the coastline come out of the terrain
that is already there: low ground turns into beach and shallows, high ground
into cliff. `r = 0` leaves the survey alone, so nothing that does not ask for an
island is touched.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The moon was fixed opposite the sun and worth a constant trickle of light. It
now carries a phase, 0 new .. 0.5 full .. 1 new again, and that one number
decides three things at once: the disc's terminator, the fraction of its light
that reaches the ground, and where in the sky it rides.
The moon is where the sun was `lag` of a day ago, so a full moon rises as the
sun sets and a new moon travels with the sun and is never seen. A new moon is
now a properly dark night, which is what makes a carried light worth having.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
An actor gains `outline` (metres of rim) and `ocol` (its colour). The pass draws
the model a second time with its vertices pushed out along their normals and its
front faces culled, so only the far side of the swollen shell survives - a
silhouette exactly `outline` metres wide. It is depth-tested against the scene,
so anything standing in front of the actor hides the rim too.
skin.vert grows an OUTLINE path for the push; outline.frag is the flat-colour
fragment shader it pairs with.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
`Gl.*` binds the whole OpenGL 4.1 core API — every entry point of the
platform gl3.h with every GL_* constant, generated by `ludic-dev glgen`
with per-call ABI thunks. Windowed builds get an NSOpenGLContext on the
existing window at Retina resolution; headless builds render into an
offscreen CGL context, so a program that uses Gl.* renders and
screenshots identically under the test harness. It links gl.ll, the
thunks and OpenGL.framework only when used; every other build stays
byte-identical.
packages/ludic.render3d is a physically based renderer written on that
surface: HDRI image-based lighting, GPU-generated terrain with scanned
PBR materials, CDLOD, cascaded shadows, glTF with skinning, instanced
vegetation with impostors, procedural grass, water, SSAO, and an HDR
pipeline with bloom, auto-exposure and ACES.
It also carries this session's work on it: the terrain at half its cost
(10.3 -> 5.4 ms of frame), the streaming hitch that got worse the longer
you played, a resize that emptied the world, and the packaging that lets
a game use the renderer from its own repository — `ludic assets`, the
material manifest shipping with the package, and shader lookup falling
back to the install root. See changes/ for each, with its numbers.
The camping game that drove all of it has moved out to its own
repository, Maroon Lake; examples/rendering/smooth.ludic stays as the
renderer's example here.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
