The Recomposition

A ship falls in, stretches into a noodle and swirls around the hole until it is gone. Then time runs backward.

Spin 60%

Real physics

The black hole and disk are drawn by tracing light along exact Schwarzschild paths. The ship’s pieces are placed through a table of the same light paths, so you also see the second image that light carries over the top of the shadow.
The black hole spins (you choose how fast). Every piece of the ship falls on its own exact orbit in the Kerr solution, the spinning-hole answer to Einstein’s equations: 2,400 orbits, worked out in the background when the page loads or the spin changes, and interpolated between them.
The swirl is real. The centre of the ship has an orbit just under the capture limit, so it circles the last unstable orbit before it plunges. Physicists call this a zoom-whirl orbit. The faster the hole spins, the closer in that orbit sits and the more turns it makes, because the spin drags space round with it.
Close to the hole the stream is drawn inside the light tracer itself, so its light bends exactly like the disk’s, including the image carried over the top of the shadow. Its colours come from the exact energy of that light in each piece’s own frame: Doppler shift, gravitational redshift and the drag of the spin together. The side swinging toward you is blue-white and bright; the side moving away is red and dim.
Farther out (beyond about 9 horizon radii) the pieces and the whole ship are placed through a table of non-spinning light paths. Out there the spin changes those paths very little.

Chosen or invented

How the orbits differ across the ship is chosen, not calculated from a breakup. The nose’s orbit sits a little further below the capture limit than the tail’s, so the nose plunges first and the tail whirls longest. A real ship’s spread would depend on its size and strength.
The red-hot glow where the hull is stretched is artistic. Its colour still shifts with each piece’s real motion.
A real black hole never gives anything back. Recompose is the same fall played backward. The welding, the engine burn and the escape at the end are invented.
Light-travel time is left out: you see every piece where it is “now” on a distant clock. So the last pieces near a spinning horizon appear to circle with it as they fade, rather than freezing in place as they really would.
The pace is a time-lapse: it speeds up through the slow crawl near the horizon. The disk is idealized, not a calibrated image of an astronomical object.
Reveal debris brightens the pieces and stops the disk hiding them. The paths stay the same. Tidal study is a separate close-up of a tiny cloud stretching on the way in.

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