Corona option B, live: the three licensed moons and Helu, recoloured into the album palette, lit from behind, positioned by the same 24-hour clock. Totality at 20:10 local time, widest spread at 08:10.
Before the alignment, Helu lights the moons from behind and their faces remain dim. At the Ormara, the moons turn bright iridescent pearl and emit their own light and energy. Their radiance fills the gathering below. The Fill light control adjusts the softer violet illumination visible before that transformation.
Three things arrive together in the last couple of hours either side of the 20:10 local peak, and are absent the rest of the day. The corona's rays break into fourteen hard-edged crystal shards with clean gaps, each breathing at its own rate. A prismatic ring lights just clear of the discs, hue winding with angle and with radius the way thin-film banding does. And the stone itself turns: the sheen is patched into the moons' own material so it rides the normal map, every crater and ridge catching its own band — the darkest moon becomes an iridescent pearl at exactly the moment the three cross. Iridescence at 0 keeps all of it strictly in palette; winding it up folds in a cyan stop, which is what makes light read as split rather than merely coloured.
The same scene, driven by the album's playhead instead of the clock, so no video file is ever rendered. Totality is pinned to the centre of the Diva Machina triptych, which means the record's peak and the eclipse's peak are the same instant: the album opens at widest spread, converges for forty-two minutes, and separates again over the descent. Lyrics are set in the Velori script with the English beneath. Track 12 is populated as a working example; press T to stamp each line as it lands and C to copy the timings out, which is how the other fifteen get built without hand-writing timecodes. On the real site the one line that reads the playhead becomes audio.currentTime.
Shards intrude from the border and leave the middle clear, as on the cover. It is built in two parts. Stacked sets of parallel planes at different angles give the long straight edges that cross the frame and the translucent panes that stack and brighten where they overlap — a single Voronoi layer cannot do this, because every pixel belongs to exactly one cell and nothing crosses anything. Under that sits the cell layer, for chunky shard silhouettes with the void showing between them. Half the sets are parallel and half are wedges converging on a point off the frame, since the artwork's planes taper rather than run parallel; the spacing between edges is warped so it is irregular, because plain repetition is a grating and a grating reads as a grid. Every edge is drawn with its red, green and blue boundaries a fixed distance apart, so it fringes into rainbow rather than going white. Facet layers sets how many sheets cross; Crystal frame at 0 removes the whole pass.
The moons read as near-equal discs, as they do in the artwork — 1.02×, 1.08× and 1.14× of Helu. Their radii are solved against depth rather than chosen, since apparent size falls off as r / (camZ − z): the nearest moon carries the smallest radius to land the same size on screen. All three drift the same direction at their own rate, so they form a row ordered pale, rose, dark, with slow Orun still closest to the disc.