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3d-wood-lighting-scorecard

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Light carved wood in a dark room in three.js, with procedural grain and pores, one warm key through a window, soft shadows that touch, light shafts, background rays and dust, then score the render out of 10 on an anchored rubric with a runnable headless scorecard and iterate until each item reaches the target. Use for oiled timber, kumiko, joinery and workshop scenes; wood that reads flat, plastic or washed out; volumetrics that lift the blacks; "score this out of 10"; or "get the lighting to 8".

agent-skills/3d/3d-wood-lighting-scorecard/SKILL.md

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# 3D Wood Lighting Scorecard

Wood only looks like wood under one directional key raking across a dark room, so the grain, the shadow seam and the light shafts are lit by the same window, tone-mapped once at the end, and each is measured on the finished frame instead of judged by mood.

Verified stack: Three.js r169 (unpkg), WebGL2, GLSL patched into `MeshPhysicalMaterial.onBeforeCompile`, a half-float MSAA target and a hand-written ACES pass. The demo is `demo.html`; the numbers are `references/`.

Boundaries. This is the lighting-and-material layer for one lit interior. For sun shafts that must be cut by real trees and rooflines use `3d-sky-rays` (screen-space occlusion); here the shafts are authored planes. For scanned or painted PBR maps, texel budgets and delivery use `3d-high-resolution-textures`; here the wood is procedural from one shared 1024 noise field. For a bright rim on dark metal use `3d-specular-rim-glow`; for glass use the studio-box ladder, not this. For the scoring habit alone use `workflow-score-to-target`; this skill supplies the wood rubric and the machine that measures it.

Extracted from Kibori (木彫), a scroll-driven WebGL woodworking page: its `woodMat`, `buildEnvironment`, key rig, shaft planes, dust and final pass are ported, with the window moved to where the shafts need it.

## Build order

1. Renderer: `NoToneMapping`, `LinearSRGBColorSpace`, `HalfFloatType` target with `samples: 4`, `autoClear = false`. Draw everything, additive shafts and dust included, into that target. Tone-map once in a last full-screen pass.
2. One window. Put the emissive paper, the key light's direction, the shaft planes, and the window card in the PMREM environment on the same line. Nothing else.