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Merge remote-tracking branch 'upstream/main' into aep-import-lumetri
# Conflicts: # crates/aep/src/container/effect_map.rs # crates/aep/src/export/effects.rs # crates/aep/src/import/effects.rs # crates/aep/tests/it/export/effects.rs # crates/aep/tests/it/import/effects.rs # docs/aep-import.md
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# After Effects project format (`.aep`)
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> **Last reviewed:** 2026-11-05 · **Last updated:** 2026-11-07 · **Change:** footage: an image sequence without a filename prefix stores only the suffix `Utf8`, and one imported with Force alphabetical order stores its file list in `LIST StVc` / `StVS` (section 3, footage); before that: versions: `svap` is the version that wrote the file, `head` bytes 4 to 7 the version it is written for, and what a Save a Copy As 25.x / 24.x of After Effects 2026 changes (section 1, "Versions"); before that: the stretch numerator is signed (a negative one reverses the layer, 981-983); layer styles (3.12b, 950-980); before that: footage: `sspc@118` of an image sequence is its folder's modification time (860, read-back x1-x3); before that: text: paragraph `/24`, `/35` and style `/68` are neutral for 0 and 1 (732-734, edited in place); before that: keyframes: the ease of mask path keys (599, 700), the spatial speed unit of fractional values (597, 598, 730); before that: text: character and paragraph settings, manual kerning, vertical text, `/nil` is neutral (S17: 538-578, 595, 596); before that: cameras, lights and 3D rotations (S16: the auto Position of a two-node camera is where After Effects renders it, 537; camera and light defaults read back 255, 256; Orientation `otst/otda` 488), Timewarp (529-533), an expression on an effect parameter (534); before that: text: style slot /13 is superscript / subscript (526-528; every scripted text of the corpus is superscript), wrapping box text 517; before that: effects of batch 5 (409-450, 511-516: integer sliders, checkbox defaults in `pard`, arbitrary data of Hue/Saturation and Levels, the parameters of Invert, Fast Box Blur, Gaussian Blur, Drop Shadow, Glow; section 3.7); before that: shape items of batch 5 (451-484, 519: ellipse, fill and stroke opacity, fill rule, group transform, shape layer anchor, trim paths, rectangle roundness, polystar fields, gradient default, nested groups, the defaults of every item; section 3.9); before that: track mattes: mode at `ldta` byte 107 and the matte layer id at byte 160 (cases 402-408, section 3.1); before that: text: automatic leading is verified (400); Exposure (`ADBE Exposure2`, cases 389-397): group start / end parameter types 13 / 14, float slider valid minimum and slider range (section 3.7); before that: text: U+0003 is a paragraph break (386, 387); before that: a stored text Anchor Point is pixels (385, now V); before that: the XML form `.aepx` is read into the same chunk tree (section 1, "The XML form"); the `head` save counter is a `u32` at byte 16; text documents for the importer (stroke colour, automatic leading, the font of each run, the undecoded-slot check, the text-layer Anchor Point, the Source Text record); before that: third round of verified field layouts (explicit-default semantics, type-major bezier ease, exact time stretch and in / out points, Time Remapping state, comp pixel aspect / shutter phase / display start, Point default, Layer Control None, dropdown selection, one `mkif` per mask, polystar and radial gradient records, text styles, camera and light options, marker cue data, audio and image-sequence footage) added to the typed view of `effectcraft-aep` · **Target:** Adobe After Effects 2026
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> **Last reviewed:** 2026-11-05 · **Last updated:** 2026-11-07 · **Change:** Puppet (`ADBE FreePin3`, 3.7): the property tree from an external scripting listing, **?** until a byte sample exists (#3093); before that: footage: an image sequence without a filename prefix stores only the suffix `Utf8`, and one imported with Force alphabetical order stores its file list in `LIST StVc` / `StVS` (section 3, footage); before that: versions: `svap` is the version that wrote the file, `head` bytes 4 to 7 the version it is written for, and what a Save a Copy As 25.x / 24.x of After Effects 2026 changes (section 1, "Versions"); before that: the stretch numerator is signed (a negative one reverses the layer, 981-983); layer styles (3.12b, 950-980); before that: footage: `sspc@118` of an image sequence is its folder's modification time (860, read-back x1-x3); before that: text: paragraph `/24`, `/35` and style `/68` are neutral for 0 and 1 (732-734, edited in place); before that: keyframes: the ease of mask path keys (599, 700), the spatial speed unit of fractional values (597, 598, 730); before that: text: character and paragraph settings, manual kerning, vertical text, `/nil` is neutral (S17: 538-578, 595, 596); before that: cameras, lights and 3D rotations (S16: the auto Position of a two-node camera is where After Effects renders it, 537; camera and light defaults read back 255, 256; Orientation `otst/otda` 488), Timewarp (529-533), an expression on an effect parameter (534); before that: text: style slot /13 is superscript / subscript (526-528; every scripted text of the corpus is superscript), wrapping box text 517; before that: effects of batch 5 (409-450, 511-516: integer sliders, checkbox defaults in `pard`, arbitrary data of Hue/Saturation and Levels, the parameters of Invert, Fast Box Blur, Gaussian Blur, Drop Shadow, Glow; section 3.7); before that: shape items of batch 5 (451-484, 519: ellipse, fill and stroke opacity, fill rule, group transform, shape layer anchor, trim paths, rectangle roundness, polystar fields, gradient default, nested groups, the defaults of every item; section 3.9); before that: track mattes: mode at `ldta` byte 107 and the matte layer id at byte 160 (cases 402-408, section 3.1); before that: text: automatic leading is verified (400); Exposure (`ADBE Exposure2`, cases 389-397): group start / end parameter types 13 / 14, float slider valid minimum and slider range (section 3.7); before that: text: U+0003 is a paragraph break (386, 387); before that: a stored text Anchor Point is pixels (385, now V); before that: the XML form `.aepx` is read into the same chunk tree (section 1, "The XML form"); the `head` save counter is a `u32` at byte 16; text documents for the importer (stroke colour, automatic leading, the font of each run, the undecoded-slot check, the text-layer Anchor Point, the Source Text record); before that: third round of verified field layouts (explicit-default semantics, type-major bezier ease, exact time stretch and in / out points, Time Remapping state, comp pixel aspect / shutter phase / display start, Point default, Layer Control None, dropdown selection, one `mkif` per mask, polystar and radial gradient records, text styles, camera and light options, marker cue data, audio and image-sequence footage) added to the typed view of `effectcraft-aep` · **Target:** Adobe After Effects 2026
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What `crates/aep` ([`effectcraft-aep`](../crates/aep/README.md)) reads and writes, and the evidence
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for each statement. Everything here was observed on project files we generated ourselves; no
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@@ -559,6 +559,36 @@ compositions, the items from one composition per popup item).** Each set value i
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| `ADBE Offset` | 1 Shift Center To: point, default the layer centre; 2 Blend With Original: fixed, **max 1 (a 0..1 fraction)**, default 0 |
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| `ADBE Deflicker` (Color Stabilizer) | 1 Stabilize: popup (Brightness, Levels, Curves), **default 2 (Levels)**; 2 Black Point, 3 Mid Point, 4 White Point: points, defaults 0.2 / 0.5 / 0.8 of the width at half the height; 5 Sample Size: fixed, max 50, default 3. The reference frame the Set Frame button picks is not among the parameters |
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**Importer block 2026-11-05, #3112 (`1300-thirdparty.aep`; V for the parameter lists, H for the
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data layouts, read from default instances only):**
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| Effect (match name, plug-in version) | Parameters (`parT` index: type, valid range, default) |
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|---|---|
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| `CS Color Neutralizer` (CC Color Neutralizer, 1.3) | 1 / 7 / 13 Shadows / Midtones / Highlights Unbalance: colours (black, 127 grey, white; pickers: setting one sets the range's sliders, e.g. [0.27, 0.55, 0.85] gives Red 42.94, Green 1.18, Blue -44.12 = (mean - channel) x 150 / 255 on 8-bit values, and leaves no colour record); 2-6, 8-12, 14-18 a group per range (start, Red, Green, Blue, end) with float sliders -100..100 (slider -50..50), default 0; 19 Pinning: float 0..100 (slider 0..50); 20 Blend w. Original: float 0..100; 21-25 the Special group: 22 View popup (Final Result, Correction B to W, Correction Stair), default 1, 23 Black Point float 0..49.9, default 0, 24 White Point float 50.1..100, default 100 |
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| `EXtractoR` (2.6.6) | 1 Channel Info (`EXtractoR-0013`): arbitrary data, 688 bytes, below; 2-6 the Process group: 3 Black Point and 4 White Point float sliders, valid ±3.4028235e38 (the float32 range; slider ±1 000), default 0 / 1; 5 UnMult: checkbox (empty `pard` name, the label in `pdnm`), default off |
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| `IDentifier` (2.6.6) | 1 Channel Info (`IDentifier-0005`): arbitrary data, 148 bytes, below; 2 Display: popup (Colors, Luma Matte, Alpha Matte, Raw), default 1; 3 ID: integer slider, max 2 147 483 647, default 0 |
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EXtractoR's Channel Info is the plug-in's own **little-endian** layout: `u32` 1 and 28 bytes, then
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four 164-byte records (Red, Green, Blue, Alpha), each a kind in byte 0 (1 a channel of the footage by
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name: `R`, `G`, `B` by default; 2 the input's own channel, named `(copy)`: Alpha by default) and the
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channel name NUL-terminated from record byte 35. EffectCraft imports kind 2 as its EXtractoR's `(copy)`,
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the effect input's channel of the same position as earlier effects left it, not as `A` (which names
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an OpenEXR footage's own alpha plane). The rest is not read: it differs between instances
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with the same channels (uninitialised-looking values, also in bytes 1..4 of a record: `02 00 00 32`
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on Alpha in one definition's default, which is why only byte 0 is the kind). **A chosen channel**
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(`extractor-07-preset-channel-z`, a preset of our own that reads `Z` into Red, Green and Blue) is kind
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1 with its name (`Z`), and the `u32` at record byte 4 is then 13, which looks like the channel's
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position in the EXR's sorted channel list of 14 (the defaults hold 0 there: H). IDentifier's data
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differs between instances with the same settings except for **the chosen channel's name**,
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NUL-terminated from byte 19, which is `Object ID` when no channel is chosen. After Effects lists
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only integer (UINT) channels: in 1300's EXR (a FLOAT `ID` channel) it found none ("No ID channels
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available"), so that block's preset `identifier-09-preset-channel-id` only sets ID 2; in 1310's
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EXR (UINT `objectId` and `IndexOB.X` added) the preset `identifier-09-preset-channel-objectid-id2`
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stores `objectId`, with 15 at byte 4 (the channel's position in the sorted list of 16, as for
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EXtractoR: H). Without a chosen channel After Effects leaves the layer unchanged (1300 and 1310
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defaults). The other bytes are not read. API: `ExtractorChannels`,
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`identifier_channel_type`.
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**Curves and Mesh Warp** (961-965, 985; applied from presets, the data is not scriptable): their
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arbitrary-data parameter (type 11) always has a record (`tdbs` with a 4-byte `cdat`) and a `LIST
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aRbs` / `aRbp`, also at the default. Curves (`ADBE CurvesCustom-0001`, 1644 bytes): `u16` 1, 1;
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@@ -669,6 +699,52 @@ presets, and After Effects draws exactly the picked objects as selected (`crypto
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`crypto-07`: box and disc, the two objects of `mat_paint`). API: `CryptomatteData` (refuses data without `cry1`, a length past the end or
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a non-zero byte at 112).
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**Puppet (`ADBE FreePin3`; ?: external listing, not the corpus, #3093).** No file of the
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corpus, the committed fixtures or the samples holds a Puppet. The tree below comes from outside
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the corpus: a public scripting listing of the effect's properties (a forum post, an After Effects
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release from before the Advanced and Bend pins and Density). It is not bytes we have seen; that
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After Effects writes it by the general rule (a `tdmn` and the `LIST tdgp` or `tdbs` it names,
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nested in the instance's value group `sspc/tdgp`, as masks, shapes and layer styles are) is
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**H**:
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```text
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Puppet ADBE FreePin3
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On Transparent ADBE FreePin3 On Transparent
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arap ADBE FreePin3 ARAP Group (hidden)
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Auto-traced Shapes ADBE FreePin3 Outlines
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Mesh ADBE FreePin3 Mesh Group (hidden)
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Mesh 1 ADBE FreePin3 Mesh Atom
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Mesh ADBE FreePin3 Mesh (hidden: the triangulation)
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Triangles ADBE FreePin3 Mesh Tri Count
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Expansion ADBE FreePin3 Mesh Expansion
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Deform ADBE FreePin3 PosPins
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Puppet Pin 1 ADBE FreePin3 PosPin Atom
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Vertex Offset ADBE FreePin3 PosPin Vtx Offset (hidden, 2 values)
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Vertex Index ADBE FreePin3 PosPin Vtx Index (hidden; 4294967295 = none)
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Position ADBE FreePin3 PosPin Position
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Overlap ADBE FreePin3 HghtPins (hidden while empty)
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Stiffness ADBE FreePin3 StarchPins (hidden while empty)
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```
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A pin's rest place is not a property: it is a vertex of the hidden mesh (Vertex Index) plus an
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offset, so it cannot be read without decoding the mesh data. The unit of Position (layer pixels,
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or a fraction of the layer as effect points are) is **?**. The match names of the Overlap and
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Starch pin atoms and their properties, of the Advanced and Bend pins (Scale, Rotation) and of
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Density, Mesh Rotation Refinement and the Puppet Engine are **?**, and so is which of them are
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`parT` parameters; whether After Effects stores some `parT` parameters of a fresh Puppet even at
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their defaults (the importer would then report them every time) is **?**; whether a Puppet
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without pins has an (empty) Mesh Group, or no ARAP group at all, is **?**. The importer
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(`import/puppet.rs`) therefore brings the effect in as EffectCraft's Puppet without meshes or
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pins and reports, per mesh, Triangles, Expansion and per pin group the pins, how many are keyed
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or carry an expression, and their atom match names; every entry outside this tree is named in the
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report. The sample that settles it: a fresh Puppet with no pins in one composition and, in
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another, a 400 x 800 solid in a larger composition (pixels against fractions) with a Puppet of
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three Position pins (one keyed, one moved off its rest place without
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keys), one Advanced, one Bend, one Starch and one Overlap pin, Triangles, Expansion and Density
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off their defaults, a second mesh, and a scripting read-back of every property's match name and
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value, the hidden ones included. Pins added by script are reported to come out disabled, so the
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pins are placed by hand or by a preset.
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### 3.8 Masks and bezier paths (`tdgp[ADBE Mask Parade]`)
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| Field | Chunk path | Offset | Type | Meaning | Evidence | Conf. |
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@@ -953,6 +1029,7 @@ another value).
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**Effects**
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- `pard` byte 48 (flags: **?**), 68 / 72 (the point default as a percent pair: **V** in the corpus for 074 and 368, not exposed), 120 (the float slider default again as f32: **V**, not exposed), 124 (display decimals: **H**), 132..147 (fixed slider slider-max, default copy and flags; the low bit of @144 is set on the two percent-displayed sliders and clear on Scatter: **H** "display as percent"), the colour default copy at @60, and the stale memory after the parameter name. The fixed slider valid minimum is not decoded (the float slider one is, 389).
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- Puppet (`ADBE FreePin3`, 3.7): the hidden mesh data, a pin's Vertex Index and Vertex Offset (its rest place), the unit of a pin's Position, the Overlap, Starch, Advanced and Bend pins, Density, Mesh Rotation Refinement and the Puppet Engine: no sample (**?**).
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- Effects renamed, or stacked twice on ONE layer (`Gradient Ramp 2`: does the second keep an empty `parT`?); which instance keeps the full `parT` when a second instance is created on a layer below the first; expressions on effect parameters; keyed per-channel Exposure values and a keyed checkbox; Curves / Levels (arrays), Fractal Noise, and whether the `tdpi` of a Layer Control holds an id or an index after the referenced layer is reordered or deleted.
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**Masks, shapes**
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+24
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# After Effects project import
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> **Last reviewed:** 2026-11-05 · **Last updated:** 2026-11-05 · **Change:** Lumetri Color's master RGB curve, Hue vs Sat curve and colour wheels are imported (1200 presets made by hand); before that: Lumetri Color is imported (1200: every slider, checkbox and popup with a counterpart, by match name, also from records in the default state; switched-off sections, LUTs, looks, undecoded curves and wheels are reported); before that: the report names the After Effects version a file is written for and the one that wrote it (`aeVersion`); copies saved as 25.x and 24.x import like the 2026 save; before that: Curves and Mesh Warp are imported (961-965, 985; FORMAT S of the corpus); before that: a shape item's eye switch is imported (bit 0 of its group flags, 986 / 987: a switched-off Fill under Trim Paths is no longer drawn, render equal to After Effects), and a layer style's (switch group `tdsb` 0, 988); before that: a negative time stretch (Time Reverse Layer) is imported: in and out point in order, the layer plays backwards (981-983: render equal to After Effects at 7 points); before that: After Effects' None on Compound Blur, Displacement Map and Set Matte arrives as an explicit None (`NO_LAYER`), not as the owning layer; before that: layer styles are imported (the nine styles and Blending Options, 951-979; Global Light becomes the composition's); before that: the 27 effects of round 3 are in the table (`effectcraft_aep::effect_map`); before that: a layer of a clip, sequence or sound ends at its source's end (After Effects ends it there when it opens a project, read-back test f1), unless it is remapped or looped or runs less than a frame past; before that: keys of shape colours are read (the reader took their 152-byte spatial records for plain ones: `tdb4` byte 7 is 0 there, 854); before that: the effect table moved to `effectcraft_aep::effect_map`; point defaults in percent and a popup default slot of 0 (After Effects' save of a project it opened, e1 / e2 re-saves) are read; before that: the justification of right-to-left paragraphs is read relative to the direction (t7); before that: 24 more layer blend modes (906, 907); before that: 27 more effects are imported (batch 6: 903-905), with layer parameters; before that: a Rec. 709 working space also sets the output space (After Effects renders in the working space, 902); before that: a mask whose path was never set arrives as the source rectangle (900, 901); before that: Offset Paths' Copy Offset arrives as EffectCraft's (After Effects' value minus 1, 828); before that: project settings, image sequences, conformed clips and effect instance names are imported, next to the mattes, shapes, text settings and animators, effects, markers, time remapping, cameras and lights); before that: parallel and ambient lights (701, 702) and keyed Orientation (703) are imported; before that: masks on text and shape layers (705, 706: AE vs EffectCraft render 12 and 0 of 5184 points, glyph edges) and Merge Paths, Offset Paths, Repeater (707-710, 731; merge renders equal but for edges; Repeater copy opacity and Offset Paths' outline differ in EffectCraft's renderer) are imported; before that: keyframes: the ease of Anchor Point, effect point, effect colour and mask path keys is imported (597-599, 700, 730: within 0.5 px of After Effects' read-backs); before that: effects: Directional Blur, Radial Blur, CC Radial Blur, Venetian Blinds, Channel Blur, Black & White, Tritone, Luma Key, Simple Choker, Matte Choker and Transform are imported (711-723; render checks: CC Radial Blur and Channel Blur equal, Directional Blur within 5/255; Venetian Blinds, Radial Blur, Black & White (8/255), Tritone (19/255), Luma Key, Matte Choker and Transform differ in EffectCraft's renderer, see STATUS); before that: text: character and paragraph settings (stroke, scales, baseline shift, kerning, ligatures, tsume, indents, spacing, justified text, composer, direction, vertical text; 538-578) and text animators with range selectors (579-594, 114) are imported; render checks 594 (keyed range selector at 0 / 0.5 / 1 / 1.5 / 2.5 s), 595, 596 equal but for glyph edges; before that: cameras, spot and point lights, X / Y Rotation and Orientation, Timewarp and expressions on effect parameters are imported (render checks 486, 535-537 equal but for edges; 488 differs by 5.25 %, cause in EffectCraft's renderer not isolated); before that: text: superscript and subscript are imported (526-528); before that: effects: Invert, Fast Box Blur, Gaussian Blur, Drop Shadow, Glow, Fill, Hue/Saturation, Levels and five expression controls are imported, popups are mapped by item name, checkbox defaults come from the file; before that: shape layers are imported (groups, paths, paints, trim paths, round corners; 451-484, 519 added); before that: markers and Time Remapping are imported (509, 510 added); before that: track mattes are imported (402-408); before that: text: automatic leading is verified (400); effects: Exposure is Line truncated
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> **Last reviewed:** 2026-11-05 · **Last updated:** 2026-11-07 · **Change:** After Effects' Puppet arrives as EffectCraft's Puppet without its meshes and pins, which are reported mesh by mesh (#3093; the storage is not sampled yet, aep-format 3.7); before that: Lumetri Color's master RGB curve, Hue vs Sat curve and colour wheels are imported (1200 presets made by hand); before that: Lumetri Color is imported (1200: every slider, checkbox and popup with a counterpart, by match name, also from records in the default state; switched-off sections, LUTs, looks, undecoded curves and wheels are reported); before that: the report names the After Effects version a file is written for and the one that wrote it (`aeVersion`); copies saved as 25.x and 24.x import like the 2026 save; before that: Curves and Mesh Warp are imported (961-965, 985; FORMAT S of the corpus); before that: a shape item's eye switch is imported (bit 0 of its group flags, 986 / 987: a switched-off Fill under Trim Paths is no longer drawn, render equal to After Effects), and a layer style's (switch group `tdsb` 0, 988); before that: a negative time stretch (Time Reverse Layer) is imported: in and out point in order, the layer plays backwards (981-983: render equal to After Effects at 7 points); before that: After Effects' None on Compound Blur, Displacement Map and Set Matte arrives as an explicit None (`NO_LAYER`), not as the owning layer; before that: layer styles are imported (the nine styles and Blending Options, 951-979; Global Light becomes the composition's); before that: the 27 effects of round 3 are in the table (`effectcraft_aep::effect_map`); before that: a layer of a clip, sequence or sound ends at its source's end (After Effects ends it there when it opens a project, read-back test f1), unless it is remapped or looped or runs less than a frame past; before that: keys of shape colours are read (the reader took their 152-byte spatial records for plain ones: `tdb4` byte 7 is 0 there, 854); before that: the effect table moved to `effectcraft_aep::effect_map`; point defaults in percent and a popup default slot of 0 (After Effects' save of a project it opened, e1 / e2 re-saves) are read; before that: the justification of right-to-left paragraphs is read relative to the direction (t7); before that: 24 more layer blend modes (906, 907); before that: 27 more effects are imported (batch 6: 903-905), with layer parameters; before that: a Rec. 709 working space also sets the output space (After Effects renders in the working space, 902); before that: a mask whose path was never set arrives as the source rectangle (900, 901); before that: Offset Paths' Copy Offset arrives as EffectCraft's (After Effects' value minus 1, 828); before that: project settings, image sequences, conformed clips and effect instance names are imported, next to the mattes, shapes, text settings and animators, effects, markers, time remapping, cameras and lights); before that: parallel and ambient lights (701, 702) and keyed Orientation (703) are imported; before that: masks on text and shape layers (705, 706: AE vs EffectCraft render 12 and 0 of 5184 points, glyph edges) and Merge Paths, Offset Paths, Repeater (707-710, 731; merge renders equal but for edges; Repeater copy opacity and Offset Paths' outline differ in EffectCraft's renderer) are imported; before that: keyframes: the ease of Anchor Point, effect point, effect colour and mask path keys is imported (597-599, 700, 730: within 0.5 px of After Effects' read-backs); before that: effects: Directional Blur, Radial Blur, CC Radial Blur, Venetian Blinds, Channel Blur, Black & White, Tritone, Luma Key, Simple Choker, Matte Choker and Transform are imported (711-723; render checks: CC Radial Blur and Channel Blur equal, Directional Blur within 5/255; Venetian Blinds, Radial Blur, Black & White (8/255), Tritone (19/255), Luma Key, Matte Choker and Transform differ in EffectCraft's renderer, see STATUS); before that: text: character and paragraph settings (stroke, scales, baseline shift, kerning, ligatures, tsume, indents, spacing, justified text, composer, direction, vertical text; 538-578) and text animators with range selectors (579-594, 114) are imported; render checks 594 (keyed range selector at 0 / 0.5 / 1 / 1.5 / 2.5 s), 595, 596 equal but for glyph edges; before that: cameras, spot and point lights, X / Y Rotation and Orientation, Timewarp and expressions on effect parameters are imported (render checks 486, 535-537 equal but for edges; 488 differs by 5.25 %, cause in EffectCraft's renderer not isolated); before that: text: superscript and subscript are imported (526-528); before that: effects: Invert, Fast Box Blur, Gaussian Blur, Drop Shadow, Glow, Fill, Hue/Saturation, Levels and five expression controls are imported, popups are mapped by item name, checkbox defaults come from the file; before that: shape layers are imported (groups, paths, paints, trim paths, round corners; 451-484, 519 added); before that: Line truncated
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File ▸ Import ▸ After Effects Project… (`file.importAep`) reads an `.aep` or its XML form `.aepx`
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||||
and adds its items to the open project, in a folder named after the file (as After Effects does when it imports a project).
|
||||
@@ -51,14 +51,14 @@ refused losses) leaves the project unchanged.
|
||||
| Project settings | colour depth, working space (None, sRGB, Rec. 709 Gamma 2.4; another one is reported as `project settings`), working gamma, Linearize Working Space, Blend Colors Using 1.0 Gamma, time display (timecode, frames, feet + frames 35 / 16 mm), frame count start (620-634). A colour depth, time display, frames-per-foot or frame count start code
|
||||
outside the sampled ones keeps the current value and is reported as `project settings`. After Effects renders in the working space (902: in a Rec. 709 Gamma 2.4 project an sRGB PNG step of 128 comes out as 135 and a grey 0.5 solid as 128, in the Render Queue output and in the captures), while EffectCraft converts its output to `output_space` (sRGB when unset): a Rec. 709 working space therefore also sets the output space to Rec. 709 (902 within 1 level of After Effects, was up to 13). They come in `ImportResult::settings`; the library never changes the project's own settings, `file.importAep` applies them when the project has no compositions yet (or with `applySettings: true`) |
|
||||
| Composition | name, size, exact frame rate, duration, work area, background colour (8 bit), pixel aspect, composition motion blur switch, shutter angle and phase (as stored), display start time, Classic/Advanced 3D renderer |
|
||||
| Layers | solid, null, adjustment, footage, precomposition and **text** layers: name (the source's name when the layer has none; for a text layer its first line), in/out/start and time stretch (exact ratios, e.g. 50 % and 150 %); a layer of a clip, sequence or sound ends at its source's end as After Effects ends it (unless remapped, looped or less than a frame past; f1), enabled/audio/solo/shy/locked/effects/motion blur/collapse/3D/guide switches, draft quality, label, blend mode (Normal, Multiply, Add, Screen, Overlay, Difference; Soft Light, Hard Light, Darken, Lighten, Exclusion, Color Dodge, Color Burn by name, 906; Classic Difference, Hue, Saturation, Color, Luminosity, the Stencil and Silhouette modes, Classic Color Dodge / Burn, Linear Dodge / Burn, Linear, Vivid and Pin Light, Hard Mix by render, 907: each code rendered by After Effects matched exactly one EffectCraft mode; 906 renders within 1/255 of After Effects), parent, **track matte** (alpha, alpha inverted, luma, luma inverted; the matte layer anywhere in the composition, also below its target; 402-408) |
|
||||
| Layers | solid, null, adjustment, footage, precomposition and **text** layers: name (the source's name when the layer has none; for a text layer the first 40 characters of its first line, as EffectCraft names a text layer after its text), in/out/start and time stretch (exact ratios, e.g. 50 % and 150 %); a layer of a clip, sequence or sound ends at its source's end as After Effects ends it (unless remapped, looped or less than a frame past; f1), enabled/audio/solo/shy/locked/effects/motion blur/collapse/3D/guide switches, draft quality, label, blend mode (Normal, Multiply, Add, Screen, Overlay, Difference; Soft Light, Hard Light, Darken, Lighten, Exclusion, Color Dodge, Color Burn by name, 906; Classic Difference, Hue, Saturation, Color, Luminosity, the Stencil and Silhouette modes, Classic Color Dodge / Burn, Linear Dodge / Burn, Linear, Vivid and Pin Light, Hard Mix by render, 907: each code rendered by After Effects matched exactly one EffectCraft mode; 906 renders within 1/255 of After Effects), parent, **track matte** (alpha, alpha inverted, luma, luma inverted; the matte layer anywhere in the composition, also below its target; 402-408) |
|
||||
| Transform | Anchor Point, Position, Scale, Rotation, Opacity, **X and Y Rotation** (486, 487) and **Orientation**, static (488) or keyed (703: key values, times, linear and hold sides; a bezier side becomes linear and is reported; After Effects slerps between the keys, EffectCraft interpolates each angle, so in-between values differ, e.g. 703 at 1 s `[6.26, 9.35, 15.22]` against `[5, 10, 15]`; an expression-driven orientation is reported): the stored value, or the default when the file stores none; keyframes with time, linear/bezier/hold on each side, temporal ease (speed and influence, per dimension for Scale), automatic or manual spatial tangents, roving and key labels |
|
||||
| Expressions | on the transform and mask properties and on effect, camera and light parameters (534): source text and enable switch |
|
||||
| Cameras and lights | **cameras** (one-node and two-node, from `ldta` byte 38 bit `0x40`): point of interest, Position as stored (also the auto Position `[0, 0, -zoom]`, where After Effects renders it, 537), orientation and rotations, Zoom (absent: `-z` of the auto Position, else the 50 mm default), Depth of Field, Focus Distance (absent: the zoom), Aperture (absent: 25.309 at 1920 px, read back from 256; scaled with the width, which is not sampled, E); **spot, point, parallel and ambient lights** (light type 1, 2, 0, 3: 701, 702): point of interest (not for point and ambient lights), Position, Intensity, Color, Cone Angle, Cone Feather, Casts Shadows; keys and expressions as for the transform; 251-256, 341-345, 535-537, 701, 702. Environment lights are reported |
|
||||
| Text | the Source Text of a text layer: the text (paragraphs separated by CR; a hard line break is a CR too; U+0003 is laid out by After Effects exactly like a CR (386 against 387) and becomes a CR), per style run the font (PostScript name), size, fill and stroke colour, whether fill and stroke are drawn, stroke width, stroke over fill (one switch for the text), tracking, leading (automatic or explicit), faux bold, faux italic, all caps, small caps, superscript and subscript (526-528), horizontal and vertical scale, baseline shift, automatic kerning (metrics, optical, none), ligatures, tsume (538-578); per paragraph the justification (left, centre, right and the four justified variants), first-line / start / end indent, space before / after, direction, composer, hanging punctuation (in a right-to-left paragraph the stored justification is relative to the direction: After Effects lays 0 and 3 out flush right and 1 and 4 flush left, read-back test t7, so they arrive as right / left); point text or box text (box size and top-left in layer pixels); vertical right-to-left text (575) |
|
||||
| Text animators | every animator with its name and its range selectors (Start, End, Offset, or the Index range when Units is Index; Units, Based On, Mode, Amount, Shape, Smoothness, Ease High / Low, Randomize Order, Random Seed) and the properties Anchor Point, Position, Scale, Skew, Skew Axis, Rotation, Opacity, Fill Color, Stroke Color, Stroke Width, Tracking Amount, Line Spacing, Blur, Character Offset and Character Range, with keys and expressions (579-594, 114, 728). Values are stored as After Effects shows them; popups are 1-based in the file |
|
||||
| Masks | every mask of an imported layer, in stack order (on text and shape layers, which have no source, the stored mask box is in layer pixels: 705, 706): name, path (vertices and tangents in layer pixels, open or closed), mode (None, Add, Subtract, Intersect, Lighten, Darken, Difference), inverted, feather (x, y in pixels), opacity (percent), expansion (pixels); path keyframes (time, linear or hold sides, roving, label), feather / opacity / expansion keyframes with ease |
|
||||
| Effects | **Lumetri Color** (1200; see *Lumetri Color* below), **Curves** (961-964: the five curves' points from the arbitrary data as EffectCraft's `x,y` points in 0..1; render within 6 levels: EffectCraft interpolates monotone, After Effects stores a natural spline) and **Mesh Warp** (965, 985: Rows, Columns, Quality and the Distortion Mesh as per-vertex offsets in layer pixels; Bezier handles moved on their own are kept as eight extra numbers of the vertex for the export and reported, EffectCraft draws the mesh bilinear; the header is rows + 1, columns + 1; render 985: 1.4 % of pixels > 2 levels around the moved vertex), **Tint**, **Gradient Ramp**, **Exposure**, **Invert**, **Fast Box Blur**, **Gaussian Blur**, **Drop Shadow**, **Glow**, **Fill**, **Hue/Saturation**, **Levels**, **Timewarp** (Method, Adjust Time By, Speed with keys, Source Frame; 529-533), **Directional Blur**, **Radial Blur**, **CC Radial Blur**, **Venetian Blinds**, **Channel Blur**, **Black & White**, **Tritone**, **Luma Key**, **Simple Choker**, **Matte Choker**, **Transform** (all parameters; 711-723) and the expression controls **Slider**, **Angle**, **Checkbox**, **Color** and **Point Control** (table below) on any imported layer (also text and shape layers and layers with masks), in stack order, with the instance name, every parameter (static value or default) and its keyframes; also the second and later instances of a type, whose parameter definitions are only in the project's shared definition list. Other effects are reported (below) |
|
||||
| Effects | **Lumetri Color** (1200; see *Lumetri Color* below), **Curves** (961-964: the five curves' points from the arbitrary data as EffectCraft's `x,y` points in 0..1; render within 6 levels: EffectCraft interpolates monotone, After Effects stores a natural spline) and **Mesh Warp** (965, 985: Rows, Columns, Quality and the Distortion Mesh as per-vertex offsets in layer pixels; Bezier handles moved on their own are kept as eight extra numbers of the vertex for the export and reported, EffectCraft draws the mesh bilinear; the header is rows + 1, columns + 1; render 985: 1.4 % of pixels > 2 levels around the moved vertex), **Tint**, **Gradient Ramp**, **Exposure**, **Invert**, **Fast Box Blur**, **Gaussian Blur**, **Drop Shadow**, **Glow**, **Fill**, **Hue/Saturation**, **Levels**, **Timewarp** (Method, Adjust Time By, Speed with keys, Source Frame; 529-533), **Directional Blur**, **Radial Blur**, **CC Radial Blur**, **Venetian Blinds**, **Channel Blur**, **Black & White**, **Tritone**, **Luma Key**, **Simple Choker**, **Matte Choker**, **Transform** (all parameters; 711-723) and the expression controls **Slider**, **Angle**, **Checkbox**, **Color** and **Point Control** (table below) on any imported layer (also text and shape layers and layers with masks), in stack order, with the instance name, every parameter (static value or default) and its keyframes; also the second and later instances of a type, whose parameter definitions are only in the project's shared definition list. **Puppet** arrives in its place with its name and fx switch but without meshes and pins (a pin's rest place lies in the mesh data, not decoded yet); per mesh the report gives Triangles, Expansion and each pin group's pins, keyed pins and atom match names. Other effects are reported (below) |
|
||||
| Layer styles | Drop Shadow, Inner Shadow, Outer Glow, Inner Glow, Bevel and Emboss, Satin, Color Overlay, Gradient Overlay and Stroke when applied (switch group `tdsb` 1): every parameter, starting from After Effects' defaults (Use Global Light is off there), with keys on scalars and colours and expressions; Blending Options: Fill Opacity, the channel switches, Blend Interior Styles as Group, Use Blend Ranges, and Global Light Angle / Altitude, which the composition adopts (one setting per composition here). Units and popups through `effectcraft_aep::style_map` (aep-format 3.12b). Render check against After Effects (`proof\styles`): drop shadow, inner shadow, satin, colour overlay, stroke within a few levels; glow and bevel intensities and the Gradient Overlay direction differ in EffectCraft's renderer |
|
||||
| Shape layers | groups (nested, with anchor, position, scale, skew, skew axis, rotation, opacity), rectangle (size, position, roundness), ellipse (size, position), polystar (star or polygon, points, position, rotation, radii, roundness), bezier path (vertices and tangents in layer pixels, path keys), fill (colour, opacity, fill rule), stroke (colour, opacity, width, cap, join, miter limit), gradient fill and stroke (linear or radial, start and end point; the default white-to-black colours), trim paths (start, end, offset, trim multiple shapes), round corners (radius), merge paths (mode; 707, 708), offset paths (amount, line join, miter limit, copies, copy offset; 710; After Effects offsets copy *i* by Amount x (*i* + Copy Offset), default 1, EffectCraft by Amount x (*i* + 1 + copyOffset), so the copy offset arrives 1 less, also its keys; an expression on it is kept and reported; 826-828, 828 renders equal to After Effects on every grid point), repeater (copies, offset, composite, transform; 709), in file order, with keyframes and expressions, the operators' defaults as After Effects reads them back (731); the layer anchor in pixels; 238-242, 330-333, 451-484, 519, 705-710, 731 |
|
||||
| Markers | layer and composition markers: time (layer time for layer markers, exact frames), duration (1/600 s units, 509, 510), comment, chapter, URL, frame target, label, cue point (name, event or navigation, parameters); 122, 123, 249, 347-349, 509, 510 |
|
||||
@@ -180,6 +180,7 @@ parameter gets the file's value:
|
||||
| Batch 6 (903 defaults, 904 / 905 set values): `ADBE Brightness & Contrast 2`, `ADBE Turbulent Displace`, `ADBE Fractal Noise`, `ADBE Laser` (Beam), `CC Radial Fast Blur`, `ADBE Noise2`, `ADBE Pro Levels2` (Levels (Individual Controls)), `ADBE Corner Pin`, `ADBE Grid`, `ADBE Sharpen`, `ADBE Linear Color Key2`, `ADBE Radial Wipe`, `ADBE Remove Color Matting`, `CC Bend It`, `CC Power Pin`, `ADBE 4ColorGradient`, `ADBE Change Color`, `ADBE Extract`, `ADBE Noise HLS2`, `ADBE Scatter`, `CC Light Sweep`, `ADBE Compound Blur`, `ADBE Displacement Map`, `ADBE Set Matte3`, `ADBE Gaussian Blur` (legacy), `ADBE OFMotionBlur` (Pixel Motion Blur), `ADBE Layer Control` | the EffectCraft effect of the same name, every parameter EffectCraft has | sliders as stored (each checked against its valid maximum); Beam Length, Time and Softness and CC Power Pin Perspective are 0..1 fractions, percentages here; points as layer pixels; popups by item name (Set Matte's `Red Channel` ... is `Red` ...); twirl-down group markers and the Levels histogram carry nothing; **layer parameters** (below) | 903, 904, 905; 220, 320, 321 |
|
||||
| `Cryptomatte` (the Cryptomatte plug-in) 1 Settings data, 2 Output, 3 Selection Mode | `ec.3d.cryptomatte` `layerName`, `selection`; `display`, `matteOnly` | the layer name and the selection text from the data, verbatim (`CryptomatteData`; Layer Name picks the footage's Cryptomatte layer of exactly that name, the Layer popup is the fallback; the `<hex>` selection tokens are EffectCraft's selection grammar); Output Colors -> Display Colors, Matted RGBA -> Display Matte, Matte Only -> Matte Only on (Display Matte); **Matted Colors** (the ID colours keyed by the selection) has no counterpart: imported as Display Matte (the same matte over the layer's own colours) and reported; no Output record is the plug-in's default Colors (also for a borrowed definition; Colors too for an Output that is keyed, has an expression or cannot be read, each reported); Selection Mode (the plug-in's picking switch) is reported when on, also in the default-state record After Effects writes for it; keys or expressions on any of them are reported; unreadable data is damaged data (no layer, no selection). **Render-compared** with After Effects (1400): with a chosen layer and a picked object (the two preset compositions, Output Colors) EffectCraft's matte covers exactly the pixels After Effects draws as selected (6 012 fully covered for the box on CryptoObject, 10 962 for box and disc on CryptoMaterial, the same counts; on the 190 edge pixels of the latter the coverage implied by After Effects' frame is EffectCraft's within 0.0002); After Effects' Colors draws the selection as `c * (1 - m) + m` (a fully selected pixel white), EffectCraft's Colors as `c * (1 - m / 2) + m / 2`, and the ID colours themselves differ, so Colors is not compared per pixel. With the fresh data (empty selection, every matte 0): Matted RGBA matches (transparent); Matte Only differs in alpha (After Effects: the matte in RGB, opaque; EffectCraft: the matte in RGBA, so the same over black and as a luma matte, not as an alpha matte); Matted Colors is transparent in After Effects and in the imported Matte; Colors is a preview of the IDs and not compared per pixel (After Effects' colours are near black and, with no layer chosen, show the footage's first Cryptomatte layer, CryptoMaterial in 1400, where EffectCraft's Layer popup starts at CryptoObject); what Selection Mode draws is not reproduced | aep-format 3.7 (88 instances of one project; 1400); test `import::cryptomatte` |
|
||||
| Importer block 2026-11-05 (`1100-quickwins.aep`: per effect defaults, set values, minimum and maximum, every popup item, a keyed and an expression parameter): `ADBE HDR ToneMap` (HDR Highlight Compression) 1 Amount; `ADBE Echo` 1 Echo Time, 2 Number Of Echoes, 3 Starting Intensity, 4 Decay, 5 Echo Operator; `ADBE Linear Wipe` 1 Transition Completion, 2 Wipe Angle, 3 Feather; `ADBE Offset` 1 Shift Center To, 2 Blend With Original; `ADBE Deflicker` (Color Stabilizer) 1 Stabilize, 2-4 Black / Mid / White Point, 5 Sample Size | `ec.utility.hdrcompression` `amount`; `ec.time.echo` `echoTime`, `numberOfEchoes`, `startingIntensity`, `decay`, `echoOperator`; `ec.transition.linearwipe` `completion`, `angle`, `feather`; `ec.distort.offset` `shift`, `blend`; `ec.color.colorstabilizer` `stabilize`, `blackPoint`, `midPoint`, `whitePoint`, `sampleSize` | percent (float, valid 0..100, default 100); seconds (float, valid ±30 000), integer (valid 30 000), 0..1 (float), Decay as stored (float, valid 0..100), popup by name: EffectCraft's Echo uses at most 255 echoes and a Decay up to 1, a value or key beyond that is imported as stored and **reported**; percent (fixed, 100), degrees, pixels (fixed, 32 000); point in layer pixels, Blend 0..1 x 100 = percent; popup by name (**fresh default Levels**), points in layer pixels, Sample Size as stored (fixed, valid 50, default 3; its unit, pixels here, is not verified). Color Stabilizer's reference frame (Set Frame) is not a parameter in the file and is not imported (EffectCraft's Reference Frame stays 0 s) | `tests/it/import/effects_quickwins.rs`; render comparison below |
|
||||
| Importer block 2026-11-05 (`1300-thirdparty.aep`), plug-ins that ship with After Effects: `CS Color Neutralizer` (CC Color Neutralizer) 19 Pinning, 20 Blend w. Original; `EXtractoR` 1 Channel Info data, 3 Black Point, 4 White Point, 5 UnMult; `IDentifier` 1 Channel Info data, 2 Display, 3 ID | `ec.color.cccolorneutralizer` `pinning`, `blendWOriginal`; `ec.3d.extractor` `red`, `green`, `blue`, `alpha`, `blackPoint`, `whitePoint`, `unMult`; `ec.3d.identifier` `channelType`, `display`, `id` | CC Color Neutralizer: percent (float, valid 100); its correction is the Red / Green / Blue slider of each range (the Unbalance colours are pickers that set them and keep no record), with View and Black / White Point: **EffectCraft's effect has no counterpart, each is reported when stored** (EffectCraft's Unbalance / Balance stay at their identity defaults). EXtractoR: each output channel by the footage channel's name, which EffectCraft's EXtractoR reads by the same name (the default R, G, B; `Z` from our preset), and `(copy)` as the input's own channel of that position (EffectCraft's R, G, B or A; the default Alpha is A); a record of another kind or without a name is reported and R, G, B, A used (`ExtractorChannels`), Black and White Point as stored (float, valid ±3.4e38; a value beyond ±1e9 is reported as damaged data, as for every number), UnMult a checkbox, Clip stays off. IDentifier: Display by name, ID as stored (integer, valid 2 147 483 647); the Channel Info names the chosen channel (`identifier_channel_type`): After Effects lists only the footage's integer (UINT) channels, and with none chosen (the data then says `Object ID`) it leaves the layer unchanged, where EffectCraft draws the footage's object ID channel: **reported**; a chosen channel named `ObjectID` or `MaterialID` (without regard to case, `objectId` in our preset) is the one EffectCraft's IDentifier reads itself (Channel Type Object ID or Material ID), any other name is reported (EffectCraft's IDentifier has no channel choice) | `tests/it/import/effects_thirdparty.rs`; render comparison below |
|
||||
| `ADBE Slider Control`, `ADBE Angle Control`, `ADBE Checkbox Control`, `ADBE Color Control`, `ADBE Point Control` (parameter 1) | `ec.control.slider` `slider`, `ec.control.angle` `angle`, `ec.control.checkbox` `checkbox`, `ec.control.color` `color`, `ec.control.point` `point` | float (valid max 1 000 000) as stored; degrees; checkbox; colour; point in layer pixels | 071, 073, 217-219, 221, 304, 310 |
|
||||
| `ADBE Lumetri` by match-name suffix (1200), not by index: -0062 High Dynamic Range; -0063 HDR White; -0007 / -0008 Temperature / Tint; -0020 Saturation; -0011 Exposure; -0012 ... -0016 Contrast, Highlights, Shadows, Whites, Blacks; -0064 HDR Specular; -0026 Look Intensity; -0028 Faded Film; -0029 Sharpen; -0030 Vibrance; -0031 Saturation; -0033 Tint Balance; -0074 Show Mask; -0075 mask style; -0076 Invert Mask; -0081 Denoise; -0082 Blur; -0086 ... -0090 the HSL correction's Temperature, Tint, Contrast, Sharpen, Saturation; -0051 ... -0054 Vignette Amount, Midpoint, Roundness, Feather; -0073 the HSL key data; -0039 the first of the four RGB curves; -0042 Hue vs Sat; -0047 the Shadows, Midtones and Highlights wheels | `highDynamicRange`, `basicCorrection/tone/hdrWhite`, `basicCorrection/whiteBalance/temperature` / `tint`, `basicCorrection/saturation`, `basicCorrection/tone/exposure`, `.../contrast`, `highlights`, `shadows`, `whites`, `blacks`, `hdrSpecular`, `creative/lookIntensity`, `creative/adjustments/fadedFilm`, `sharpen`, `vibrance`, `creativeSaturation`, `tintBalance`, `hslSecondary/key/showMask`, `maskStyle`, `invertMask`, `hslSecondary/refine/denoise`, `blur`, `hslSecondary/correction/*`, `vignette/*`; `hslSecondary/key/hue*`, `saturation*`, `lightness*`; `curves/rgbCurves/master`; `curves/hueSaturationCurves/hueVsSat`; `colorWheels/shadowsWheel`, `midtonesWheel`, `highlightsWheel` | sliders: the stored number x 1 (valid maxima 1000, 300, 300, 7, 150, 200, 150, 100, 100, 300, 150, 100, 1000, 5, 100 as in `pard`); checkboxes and the popup as elsewhere, **also from records in the default state** (`tdsb` 3); the key: hue centre x 360 degrees, range x 360 as the half width, tolerance x 360 as the softness, saturation and lightness centre +- range x 100 percent, tolerance x 100, once a colour was picked; the master curve's points as `x,y` (0..1); Hue vs Sat's points with y as `0.5 + y / 2` (After Effects' y 1 doubles the saturation, EffectCraft's y 1 too); a wheel's hue (degrees) and distance as the HSL colour of that hue with saturation = distance and lightness 0.5 | 1200: all 62 read-backs of mapped controls in sections that act equal after import (min, max, sections, popups); the other 61 lie in sections that do nothing and are reported; keys and the expression on HDR White (`-56-keys`, `-57-expr`); the presets `-60-preset-curves-rgb`, `-61-preset-curves-huesat`, `-62-preset-wheels` |
|
||||
|
||||
@@ -391,6 +392,26 @@ ranges of Lumetri Color among them), are those of the 2026 plug-in in all three
|
||||
over 25 (EffectCraft's samples drift, After Effects' frame stays unchanged) and with keyed
|
||||
sample points. The renders do not exercise a Decay above 1 (After Effects' set value has
|
||||
Starting Intensity 0) or what Color Stabilizer corrects (the test card does not flicker).
|
||||
- `crates/aep/tests/it/import/effects_thirdparty.rs` (#3112): CC Color Neutralizer, EXtractoR and
|
||||
IDentifier built into `synthetic.aep` like the #3110 effects. Render check of the 29 compositions
|
||||
of `1300-thirdparty.aep` (as above): CC Color Neutralizer at its defaults and the minimum and
|
||||
maximum compositions match within one level (no composition isolates Pinning: the maximum has
|
||||
Blend w. Original 100, which shows the original), the compositions with reported Red /
|
||||
Green / Blue corrections or View differ as reported (up to 5 levels, View 25); EXtractoR at its
|
||||
defaults and with UnMult within 3 levels on 6 % of the pixels, keyed and expression Black Point
|
||||
within one level, the ±3.4e38 compositions differ (reported as damaged data). IDentifier: After
|
||||
Effects' frame is the unchanged EXR in every variant (its default Object ID finds no channel in
|
||||
that EXR), while EffectCraft's IDentifier finds the EXR's `ID` channel and draws it; the import
|
||||
reports this for every IDentifier. The follow-up presets (our own): `extractor-07-preset-channel-z`
|
||||
(`Z` into Red, Green and Blue) imports without a loss and renders equal to After Effects (within
|
||||
3e-5 at After Effects' 1/10 PNG scale; the background's Z of 100 clips there in both). IDentifier
|
||||
needs an integer channel: block 1310 (`1310-identifier-uint.aep`, the EXR with UINT channels
|
||||
`objectId` and `IndexOB.X` added) with the preset `identifier-09-preset-channel-objectid-id2`
|
||||
(`objectId`, ID 2) imports without a loss, and EffectCraft's IDentifier finds the same channel:
|
||||
the ID regions are the same pixels (8 449, 2 400, 1 515, 1 256, 780), the colours differ (After
|
||||
Effects draws flat colours per ID and does not highlight the chosen ID, EffectCraft draws its
|
||||
own ID colours with the chosen ID white). At its defaults (no channel chosen) After Effects
|
||||
leaves the EXR unchanged in 1310 too.
|
||||
- `crates/aep/tests/it/import/combined.rs`: masks and effects on the same layer, an effect on a text
|
||||
layer, and the same through `.aepx` (built in-test from the fixtures: the effect parade of one
|
||||
fixture grafted onto the layer of another).
|
||||
|
||||
@@ -713,6 +713,11 @@ in the Plug-in Library: [publishing-plugins.md](publishing-plugins.md).
|
||||
step (separated X/Y/Z Position; Orientation and X/Y/Z Rotation on 3D layers).
|
||||
* Rename a layer with Enter (or double-click a name): the whole name is selected, Enter or a
|
||||
click elsewhere commits, Escape cancels; `layer.rename {layer, name}` does it directly.
|
||||
A text layer's name follows its text until it is renamed; renaming it to an empty name makes
|
||||
it follow the text again (After Effects). `layer.setText` and typing on canvas rename a text
|
||||
layer whose name still follows its text; `layer.newText {name}` and a name set by
|
||||
`layer.settings` or a script's `layer.name = …` (which runs `layer.rename`) stay, and an empty
|
||||
`layer.settings` name follows the text again too.
|
||||
* Ctrl/Cmd-click on the current-time display (Timeline or Composition panel) toggles the Time
|
||||
Display Style between Timecode and Frames: `file.projectSettings {"timeDisplay": "frames"}`.
|
||||
* `prop.pickWhip {layer, prop, target: {layer, prop, dimension?}}` links a property as its
|
||||
|
||||
+37
-10
@@ -240,16 +240,43 @@ converted on demand with the HDR step and without the exposure; the Info panel s
|
||||
frame's float values. The browser keeps 8-bit frames for now (its frame workers send RGBA8).
|
||||
|
||||
A persistent **disk cache** (`render::disk_cache`, Settings ▸ Media & Disk Cache) backs both
|
||||
the layer cache and the viewer's RAM preview: layer buffers that were slow to render and every
|
||||
preview frame are written (LZ4, atomic rename, checksummed) under 128-bit content keys — the
|
||||
comp's content hash (the comp, what it uses, footage file size and time) plus frame, scale and
|
||||
view for frames; the layer key salted with the footage fingerprint for layers — so entries
|
||||
survive restarts and never go stale. Frame entries are 8-bit RGBA, or for 32 bpc viewer frames
|
||||
half floats with their bytes shuffled into planes before LZ4 (the entry header's format byte
|
||||
tells them apart; the render options in the key keep the two kinds apart). LRU eviction keeps it under the size limit; Edit ▸ Purge
|
||||
empties it, `cache.diskStats` reports it, and the timeline draws disk-only frames in blue. In the
|
||||
browser the frames live in the Origin Private File System: frame workers write them, the page
|
||||
keeps the index (`DiskIndex`) and reads hits ([web.md](web.md#disk-cache)).
|
||||
the layer cache and the viewer's RAM preview: layer buffers that were slow to render, every
|
||||
preview frame and Roto Brush / Object Matte segmentations are written (LZ4, atomic rename,
|
||||
checksummed) and survive restarts. The design (#3184):
|
||||
|
||||
- **Keys from memory.** A frame's key is its comp's content key plus frame, scale, view and
|
||||
render options; the content key hashes the project settings and the items the comp can draw
|
||||
(its layers but those that can't change the picture, nested comps, footage with its settings
|
||||
and paths, solids, Media Replacement footage, proxies: `Project::pixel_reach`). Expressions
|
||||
among them add what they can read: every layer of their comps, the markers, the comps and
|
||||
footage they name with literal names (`comp("Name")`, `footage("Name")`, and which items have
|
||||
those names), or the whole project when they compute a name or reach items another way
|
||||
(`expression_reach`). An edit to anything else keeps the key. A layer buffer's key is the
|
||||
layer cache's content key (which names the footage it uses with its paths) and the renderer
|
||||
version. Nothing here looks at a file, and nothing ever scans the project's files.
|
||||
- **File lists checked on hit.** Every frame and layer entry keeps the source files it was
|
||||
made of, with the size and modification time they were read with (the browser: size and
|
||||
content hash). An entry is used only while they are unchanged: one `metadata` call per listed
|
||||
file when it is read. A changed, missing or unreadable file, a damaged entry or an older
|
||||
format is a miss; the entry is deleted and the frame renders again and replaces it.
|
||||
- **Incomplete lists stay in memory.** A frame or buffer whose files can't all be named (a
|
||||
source that doesn't say what it read, more than 4096 files) is shown but never written.
|
||||
- **Reload Footage drops entries.** File ▸ Reload Footage deletes the frame and layer entries
|
||||
whose lists name the item's files (the writer thread reads each entry's list, not its
|
||||
pixels), so a file replaced by one with the same size and time is read again. A reload while
|
||||
the cache is off is remembered for the session and applied when it is switched on, before it
|
||||
is read. A render already under way offers entries made of the files as they were: each
|
||||
render takes the cache's drop generation before it reads, and an entry listing a file dropped
|
||||
after that is refused (`DiskCache::drop_generation`); the frame is shown, never stored.
|
||||
- **Edits keep what they can't change.** RAM frames outside an edit's dirty spans are kept
|
||||
(`Project::dirty_spans`), and their disk entries are linked to the comp's new key.
|
||||
|
||||
Frame entries are 8-bit RGBA, or for 32 bpc viewer frames half floats with their bytes shuffled
|
||||
into planes before LZ4 (the entry header's format byte tells them apart; the render options in
|
||||
the key keep the two kinds apart). LRU eviction keeps the cache under the size limit; Edit ▸
|
||||
Purge empties it, `cache.diskStats` reports it, and the timeline draws disk-only frames in blue.
|
||||
In the browser the frames live in the Origin Private File System: frame workers write them, the
|
||||
page keeps the index (`DiskIndex`) and reads hits ([web.md](web.md#disk-cache)).
|
||||
|
||||
**Deferred readbacks** (`effectcraft-gpu` `deferred`): where a readback can't be waited for (WebGPU
|
||||
in a browser worker) a frame renders in passes. `Accelerator::frame_begin` / `pass_begin` /
|
||||
|
||||
@@ -8,7 +8,8 @@ the AI models named in `Co-Authored-By` trailers.
|
||||
- Two files, both **compiled into the binary** by the UI crate's `build.rs` (nothing is read from
|
||||
disk or the network at run time; the web build has them too):
|
||||
- [`contributors/contributors.json`](../contributors/contributors.json): commit stats per GitHub
|
||||
username. Never hand-edit.
|
||||
username. Never hand-edit. Release builds regenerate it for the release commit
|
||||
(`.github/workflows/release.yml`, `credits` job); the copy in the repository is not updated.
|
||||
- [`contributors/people.toml`](../contributors/people.toml): the names people chose for
|
||||
themselves. **Each contributor adds only their own entry**, in their own PR.
|
||||
- Each contributor gets one line: GitHub username (always), display name (opt-in, or their synced
|
||||
|
||||
+6
-1
@@ -142,7 +142,12 @@ Commands (CLI, MCP, control channel):
|
||||
it supports it)
|
||||
- `disk.diskCacheEnabled`, `disk.diskCacheMaxGb`, `disk.diskCacheFolder`: the persistent disk
|
||||
cache of processed layers and frames (in the browser: frames in the Origin Private File System,
|
||||
at most half the origin's quota; the folder setting does not apply there). The Disk page also
|
||||
at most half the origin's quota; the folder setting does not apply there). On the desktop the
|
||||
cache never fills its disk: it leaves 5% of the disk free, at least 2 GB and at most 10 GB, and
|
||||
is smaller than `disk.diskCacheMaxGb` when free space requires it. The Disk page shows the limit
|
||||
in effect in MB under Maximum Disk Cache Size, with a note naming the space kept free when free
|
||||
disk space lowers it (with less than 64 MB of room nothing is written, and frames and layers
|
||||
are not compressed for it). The Disk page also
|
||||
shows **Browser Storage** in the web app: usage and quota, persistent storage, Clear buttons
|
||||
(`storage.info` / `storage.persist` / `storage.clear`, see [web.md](web.md))
|
||||
- `disk.mediaCacheFolder`: audio waveform summaries kept between sessions (`Peaks/`)
|
||||
|
||||
+10
-5
@@ -332,9 +332,13 @@ pixels.
|
||||
|
||||
Settings ▸ Disk ▸ Disk Cache works in the browser, backed by the **Origin Private File System**
|
||||
(`src/diskcache.rs`): viewer frames are kept under `effectcraft-cache/v1/frames/<32 hex>.ecc`
|
||||
between visits, in the desktop cache's format (`disk_cache::frame_entry`: 8-bit premultiplied
|
||||
RGBA, LZ4, a checksum), keyed by the same content hash (the comp and everything it uses, frame,
|
||||
scale, view, render options).
|
||||
between visits, in the desktop cache's format (`disk_cache::frame_entry`: the source files the
|
||||
frame read with their size and content hash, then 8-bit premultiplied RGBA, LZ4, a checksum),
|
||||
keyed by the same content hash (from memory: the comp, everything it can draw and what its
|
||||
expressions can read, frame, scale, view, render options; see
|
||||
[architecture.md](architecture.md)). The page reads an entry only while the files it lists are
|
||||
unchanged; a frame whose files can't all be named is not stored. Reload Footage has nothing to
|
||||
drop here: the file table's identities are content hashes, so a replaced file never matches.
|
||||
|
||||
- A render request to a frame worker carries the frame's disk key; the worker posts the frame,
|
||||
then writes the entry with a **synchronous access handle** into a temporary file moved into
|
||||
@@ -352,8 +356,9 @@ scale, view, render options).
|
||||
Cache / `edit.purge {what: "disk"}` clears it. `effectcraft.info().diskCache` has the same.
|
||||
|
||||
**Layer buffers (M13.30).** Slow layer buffers (≥ 20 ms to render) go to the disk cache too
|
||||
(`effectcraft-cache/v1/layers/<32 hex>.ecc`, `disk_cache::layer_entry`, keys salted per project
|
||||
and footage as on the desktop). A layer lookup happens in the middle of a synchronous render,
|
||||
(`effectcraft-cache/v1/layers/<32 hex>.ecc`, `disk_cache::layer_entry`, keyed as on the desktop:
|
||||
`disk_cache::layer_disk_key`; each entry keeps the source files its buffer was made of, with
|
||||
the file table's size and content hash, and is used only while they are unchanged). A layer lookup happens in the middle of a synchronous render,
|
||||
where the browser's file system can't be read, so it is made synchronous by fetching first:
|
||||
|
||||
1. Each frame worker backs its layer cache with a `PrefetchStore` (`effectcraft_render::cache`):
|
||||
|
||||
Reference in new issue
Block a user