feat: real fire on the boards, the LA office as a twin, and a night sky worth reading

The world stops being a simulation of California and starts being California.

**THE PROMOTION GATE WAS THE FIRST COMMIT, BEFORE ANY ORANGE PIXEL EXISTED.**
On today's live store the SoCal board contains 22 incidents. Every one has NULL
acreage and fifteen are nameless LA County dispatch numbers. Drawn naively that
is 22 orange marks over Los Angeles on a day nothing is burning — in a frame that
contains no other warm colour, so one glyph would be the most salient object on
the board and twenty-two would spend its credibility permanently.

`acres >= 10 AND contained < 80 AND type != 'RX' AND last_seen = max(last_seen)`
returns 0 on SoCal, exactly 5 on California, 0 on the Bay — same body, same day,
three correct answers. The empty board is a deliverable, not a fallback: it says
"No active fire on this board — CAL FIRE and WFIGS, just now", states that 21
records were gated and why, lists the largest fires burning OUTSIDE the frame
with distances, and counts the hot pixels it is deliberately not drawing.

**The privacy leak is structurally impossible rather than carefully avoided.**
cloud-1 serves a projection; the four home-relative columns never leave that box.
`observations.threat` was the one that nearly got through — it is
`(16/distance)^2 x log10(acres) x momentum x containment x wind-alignment`, so
with acreage and containment public it inverts to a distance circle around a
house and three fires give an intersection. A grep of the built bundle for
distance_km, bearing_deg, threat, 7762 and the street name returns nothing.

**Deliberately not used, and both would have produced a confident wrong answer:**
the store's `air` table retains only the last parameter of each poll, so all 78
rows read "Good" while the live feed reports ozone 101 "Unhealthy for Sensitive
Groups" — haze driven off it would clear the sky during a smoke event. And
`weather` is written only inside the NWS alerts loop, so a quiet day stores no
wind at all. Tera's own per-region NWS wind is already correct and already what
the clouds drift on.

Satellite detections are drawn as evidence and never as incidents. The permanent
industrial heat source 4.7 km from the owner's house is flagged persistent and
dropped, asserted by a test that first proves it is present in the fixture.
MODIS integer confidence and VIIRS string confidence are branched on `sat`.

**The LA office is a twin.** Its entire authored second storey — Model Loft,
Model Bay, The Materials Room, 430 lines nobody had ever stood in — is reachable
on foot: a walker crosses level-1 to level-2 in 73 fixed steps, floorY 0 to 5,
verified against the real pack rather than a synthetic plan. Its two studio
devices read real hardware through a field-allowlisted bridge: mute, volume and
reachability only. Never level, because there is no passive level upstream and
obtaining one would record a room with people in it. Never dB, because upstream
is gainPct across four different native scales. The bridge refuses all writes.

Fixed at its root: an anonymous visitor was getting permanently at-rest
instruments backing off against a 401. The tier moves into `createDeviceSource`,
so anon gets the living simulator three file headers already promised.

**Item 8 is closed, not fixed, and the correction is the point.** The Bay Area
"stutter" was GPU power management — the card sat at 500 MHz of 2725 through
every run that reproduced it, 4096/2048/1024/256 shadow maps all render in
1.21-1.31 ms, and two consecutive runs over a byte-identical dist gave 33.4 then
16.7. The allowance is removed and the cell is back to 16.7. Geometry is the
gate; frame time is advisory.

Item 7 was re-scoped after measuring: 1,069,006 of the Bay Area's 2,265,056
triangles were the second submission of the same buildings into the shadow pass.
Mobile now has its own triangle caps and bay-area mobile draws 1,266,096.

Also: bridges and the freeway corridor light up at night as emission, not lights
— 1,614 deck lamps and 18 tower heads on the Bay in two draw calls. The single
change that made US-101 legible was moving its edge lines from the lit material
to the unlit one: retroreflective paint, the argument the SFO night frame already
makes. California went 21,991 lamps to 4,051, clustered at the 17 town districts,
because a rural interurban corridor genuinely is unlit.

Tests 1137 -> 1340, server 280. All ten budget cells pass on first attempt with
no cap raised.

Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>

scripts/brand-assets/shots.mjs

@@ -228,9 +228,18 @@ const SHOTS = [
       alt: "The Golden Gate Bridge from above in late afternoon light, international orange, its two towers cross-braced and the main cable sagging to mid-span between them, with the Marin headlands on one side and the Presidio on the other.",
     },
     night: {
-      at: "2026-08-06T20:50:00-07:00",
-      note: "Ten to nine, sun seven and a half degrees under — nautical twilight, and an hour earlier than every other night frame here. That is not a preference. The other nine are cities, and a city at half past nine is carried by its own windows; a bridge over open water has none, so the hour that works everywhere else renders this one as a black rectangle. What is left at this one is the residual sky, the deck lamps, and orange going to brown.",
-      alt: "The same bridge in deep twilight, the international orange darkened almost to brown, the towers and cables silhouetted against the last light on the water.",
+      /*
+       * Half past nine, the same hour as every other night frame here — and it
+       * is worth recording that it used to be 20:50 and why it no longer has to
+       * be. A city at this hour is carried by its own windows; a bridge over
+       * open water has none, so this shot was taken at nautical twilight instead
+       * to keep a silhouette against the residual sky. The crossing now carries
+       * its own deck lamps, so it draws itself at any hour, and a special case
+       * that existed only to work around an unlit bridge could go.
+       */
+      at: "2026-08-06T21:35:00-07:00",
+      note: "Twenty-five to ten, sun fifteen degrees under, and the bridge is now the brightest thing over the strait rather than the darkest. The lamps follow the deck down through both towers and up onto the Marin approach, with a red light standing over each tower head — all of it emissive rather than lit, so nothing on this crossing casts anything on anything else.",
+      alt: "The same bridge after dark, the international orange gone to silhouette and the deck picked out by a running line of small lamps through both towers, a red light standing over each tower head, and the Marin headlands black behind.",
     },
   },
   {
@@ -239,19 +248,47 @@ const SHOTS = [
     city: "sf",
     chapter: 11,
     expect: "The Bay",
-    aim: { lat: 37.7995, lng: -122.3775, zoom: -5, azimuth: 24, elevation: 16 },
+    /*
+     * Broadside to the crossing, from over the water off Alameda, and every
+     * number here is the fix for a specific fault in the frame this replaces.
+     *
+     * That one seeked to 37.7995, -122.3775 — a point on the *west span*, a
+     * kilometre and a half from the SF landing — at `zoom: -5`, which is a
+     * standoff of about 1.8 km. From there the crossing could not fit: it ran
+     * diagonally out of the top-right corner, the whole right half of the frame
+     * was open water, and only the San Francisco shore was in it. A picture
+     * called `bay-bridge` that does not contain the Oakland end is a picture of
+     * a bridge to nowhere, and the caption had to say so.
+     *
+     * So: seek to 37.8085, -122.363 — a point on the causeway just east of
+     * Yerba Buena, which is the *midpoint of what has to fit* rather than the
+     * midpoint of the structure, because the panel eats the left 310 px and the
+     * frame is therefore not symmetrical about its centre. `zoom: -4` puts the
+     * camera about 4.1 km back, which is where the 6.4 km of crossing spans
+     * roughly two thirds of the picture with both landings inside it.
+     *
+     * `azimuth: -45` is the one that matters. The chapter's own stance looks
+     * almost due north (`rotation: 0.15`), and the crossing runs ENE at about
+     * 57°, so from there it can only ever be a diagonal. Forty-five degrees of
+     * drag turns the camera to look NNW, which is broadside: the bridge lies
+     * across the frame, San Francisco at one end, the East Bay shore at the
+     * other. `elevation: -6` drops the camera far enough to put the horizon in
+     * — Marin, Angel Island and the Golden Gate close the top of the picture,
+     * which is what stops the water reading as empty.
+     */
+    aim: { lat: 37.8085, lng: -122.363, zoom: -4, azimuth: -45, elevation: -6 },
     place: "The Bay Bridge",
     caption:
-      "The same kit, given the real 2013 topology: two suspension towers west of Yerba Buena, one east, and a piered causeway into Oakland. The classifier is the whole difference between this and the Golden Gate — a reach no cable could hold up gets a deck on piers instead, and a pier is skipped wherever the ground has already come up to meet it, which is what lands the crossing on the island rather than standing it on stilts over the top. Towers, cables, hangers and piers merge into two draw calls: the painted structure, and the roadway on it.",
+      "The same kit, given the real 2013 topology: two suspension towers west of Yerba Buena, one east of it, and a piered causeway running on into Oakland. The classifier is the whole difference between this and the Golden Gate — a reach no cable could hold up gets a deck on piers instead, and a pier is skipped wherever the ground has already come up to meet it, which is what lands the crossing on the island rather than standing it on stilts over the top. Towers, cables, hangers and piers merge into two draw calls: the painted structure, and the roadway on it. The lamps down the deck and the red light over each tower head are two more and no triangles at all — they are points, not lights, because a crossing this long lit for real would spend more of the frame budget than the whole city does.",
     day: {
       at: "2026-08-06T17:40:00-07:00",
-      note: "Twenty to six, looking north-east from off the city. One crossing, three different answers to the same water: two suspension spans off the waterfront, a single tower east of Yerba Buena, and a causeway on piers running out toward an Oakland that is past the top of the frame.",
-      alt: "The Bay Bridge from above in late afternoon light, leaving the San Francisco waterfront over two suspension spans, crossing Yerba Buena Island and continuing east on piers toward Oakland.",
+      note: "Twenty to six, broadside to the crossing from over the water off Alameda, with the light coming down the length of it. One bridge, three different answers to the same water: two suspension spans off the San Francisco waterfront on the left, a deck that comes down onto Yerba Buena rather than standing over it, a third tower east of the island, and then piers the rest of the way to the East Bay shore in the corner.",
+      alt: "The Bay Bridge from across the water in late afternoon light: two suspension spans leaving the San Francisco skyline at the left, the deck crossing Yerba Buena and Treasure Island in the middle, a third tower east of the island, and a causeway on piers running down to the East Bay shore at the right, with Marin and the Golden Gate behind.",
     },
     night: {
       at: "2026-08-06T21:35:00-07:00",
-      note: "Twenty-five to ten, and only one of the two shores it joins is in the frame. The deck leaves San Francisco's lit ground and runs north-east over water with nothing on it, so what carries the structure at this hour is the silhouette of the towers and the cable rather than the crossing.",
-      alt: "The same crossing at night, the lights of San Francisco filling the lower left and the bridge leaving them as a dark line over unlit water.",
+      note: "Twenty-five to ten, and both shores it joins are still in the frame — San Francisco's lit ground at one end, the dark East Bay flats at the other, and between them the only continuous line of light on the bay. The moon lays its broken path across the water behind the deck, which is the one thing here that was already bright at this hour.",
+      alt: "The same crossing after dark, the deck drawn as a running line of small warm lamps from the lit San Francisco waterfront across to the dark East Bay shore, a red light over each tower head, and the moon's reflection broken across the water behind it.",
     },
   },
   {
@@ -395,8 +432,8 @@ const SHOTS = [
     },
     night: {
       at: "2026-08-06T21:15:00-07:00",
-      note: "Quarter past nine, and this corridor at night is what a car on an unlit road actually is: two tail lamps, the markings taking the light back, and a second set of lamps up the carriageway. Nothing here is lit that would not be — the hills either side of US-101 have nothing on them to switch on, which is exactly the argument for shooting the crow over a city instead.",
-      alt: "The same chase camera at night, the car reduced to its tail lamps with the lane markings and edge lines catching what light there is against black hills, and the same heads-up strip along the top.",
+      note: "Quarter past nine, and the car is now carrying its own light: a low beam widening away from the bumper up the carriageway with the markings inside it, two tail lamps back at the camera, edge lines and a yellow median pair running to the horizon, and cat's eyes ticking along beside the dashes. Nothing here is lit that would not be — the hills either side of US-101 still have nothing on them to switch on, and the beam is a pool drawn on the road rather than a lamp added to the scene, because the sun and the moon own every light in it.",
+      alt: "The same chase camera at night: the car throwing a low beam up the road in front of itself with the lane markings inside it, its two tail lamps facing the camera, and continuous edge lines and a yellow median pair defining both carriageways into the dark, with the same heads-up strip along the top.",
     },
   },
   {