The log.

Phase 09 had two jobs. The first was to remove the last named fault in the aerial slice: the 20 metre grid of cells that the phase-08 glint showed, put there by a function the coordinator's own brief had offered. The implementer replaced it with the derivative of a different noise, one whose slope does not vanish on any line, and rendered a proof of the slope alone every round so the grid's absence could be seen rather than inferred. Both spectral bands pass; the eye agrees at native scale and at three times.

The second job was to start looking from where a visitor will stand. Two cameras at eye level, E on the beach and F in the middle lane of the fishing town, were rendered every round as baselines, scored on nothing. The world was then given a clock: 273 palms sway within 300 metres of the cameras, smoke rises from six cottages at c.1700, eight birds cross the sky, the surf foam moves, the cattle lift their heads. At time zero every judged still is unchanged to the pixel, fifteen out of fifteen. At three seconds, not one changed pixel lies outside the palms, the water, the smoke, the birds and the animals.

And one figure went through the character route as a bounded proof. The first mesh could not be rigged, exactly as a pilot had failed on the tenth; the named fallback mesh rigged at once, twenty-four bones at 1.70 metres. The animation service returned its clips on a two-hundred-triangle stand-in, so the implementer carried the joint motion across to the real mesh in Blender. The man has a face that reads at three metres, a moustache, a head-wrap and a white veshti. He walks a ten-metre path on the sand in front of camera E and turns back.

The judgment held the aerial score at 8.0 for the third phase, with every number matching the report to the digit for the sixth. It also found the two faults the report had already confessed to and named their causes from the figure's own data: his feet slide because the clip's stride moves at about two-thirds of the speed he was pushed across the sand, and his idle leans because the borrowed rotations were copied onto a body that rests differently. The frame rate missed its line for the third phase by a single long frame while every median frame arrived on time, so the rule, not the world, was changed.

Phase 10 is the first phase judged at eye level. The floating cubes leave the skyline, the boatman gets his speed, his posture and a shadow, and two more people are ordered: a woman with a pot on her head walking the lane past camera F, and a man mending a net at the boats.