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Merge remote-tracking branch 'origin/main' into codex/778-effect-migration
# Conflicts: # crates/aep/src/container.rs # crates/aep/src/container/aepx.rs # crates/aep/src/container/arbitrary.rs # crates/aep/src/container/camera.rs # crates/aep/src/container/effects.rs # crates/aep/src/container/footage.rs # crates/aep/src/container/header.rs # crates/aep/src/container/keys.rs # crates/aep/src/container/masks.rs # crates/aep/src/container/read.rs # crates/aep/src/container/settings.rs # crates/aep/src/container/shapes.rs # crates/aep/src/container/textdoc.rs # crates/aep/src/container/typed.rs # crates/aep/src/container/values.rs # crates/aep/src/container/version.rs # crates/aep/src/container/write.rs # crates/aep/src/import/markers.rs # crates/aep/tests/it/container.rs # crates/aep/tests/it/container/batch3_core.rs # crates/aep/tests/it/container/batch3_objects.rs # crates/aep/tests/it/container/cases_600.rs # crates/aep/tests/it/container/header.rs # crates/aep/tests/it/container/helpers.rs # crates/aep/tests/it/container/keyframes.rs # crates/aep/tests/it/container/layer_switches.rs # crates/aep/tests/it/container/matte.rs # crates/aep/tests/it/container/robustness.rs # crates/aep/tests/it/container/text_markers_footage.rs # crates/aep/tests/it/container/typed.rs # crates/aep/tests/it/container/values.rs
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@@ -119,6 +119,11 @@ counterpart (a name that is not 1 to 4 characters) are skipped with their conten
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with the byte offset. It runs without recursion; the nesting depth (`Limits::max_depth`) and the
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element count (`Limits::max_chunks`) are bounded, and everything it allocates is bounded by the
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size of the input.
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- There are two readers. `read_aepx` builds the owned tree element by element. The importer, which
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only reads, uses a second reader that decodes every body (hex, text, the alias JSON, the
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numbers) into one buffer and records the chunks as a flat depth-first list whose bodies are
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ranges of that buffer; it indexes that buffer (`TreeIndex`) as it indexes an `.aep`. The tests
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hold both readers to the same tree and the same errors.
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- Tests: `tests/aepx.rs` compares the five fixture pairs chunk by chunk and byte by byte, compares
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the typed view of both forms, and runs truncated, bit-flipped, deeply nested and oversized
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inputs; `crates/aep/tests/it/import/aepx.rs` imports both forms of each pair and expects the same
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@@ -138,7 +143,7 @@ write on their own.
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| `svap` (4 bytes, the first top-level chunk) is the version of the After Effects that **wrote** the file: `0f 11 0e 02` in all 36 (a down-saved copy keeps the 2026 word) and in all 1 192 other `.aep` files of the local corpus folders. After Effects opens a file without `svap` (`t-nosvap`). | All 36; corpus scan. |
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| `head` bytes 4 to 7 are the version the file is **written for**: `0f 11 0e 02` (= `svap`) in the 2026 saves, `0f 0b 06 61` in the 25.x copies, `0f 03 06 41` in the 24.x copies, the same word in every family. After Effects refuses a file whose word is zero ("created with an older version [0.0x0]", `u-zhead`). | All 36; `u-zhead`. |
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| The word is packed (bit 31 first): bits 25-24 and 21-19 the major, 18-15 the minor, 14-11 the bug-fix, 10-8 a stage (6 in all), 7-0 the build; bits 31-26 (`000011`) and 23-22 (`00`) are the same in all samples and not decoded. `0f110e02` = **26.2.1x2**, which is what the saving After Effects reports for itself (`app.version` recorded by the corpus scripts) - this one sample fixes minor, bug-fix and build. The copies read as **25.6.0x97** and **24.6.0x65** (major **V** from three consecutive majors; minor, bug-fix and build of the copies **E**: one other word decides their positions). `effectcraft_aep::AeVersion`, `AepFile::file_version`, `AepFile::saved_by_version`. | Tests `decodes_the_sampled_words`, `the_container_of_a_copy_states_its_version_in_head_and_the_writer_in_svap`. |
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| `head` bytes 0 to 1 (a `u16`) step with the major: 97 (`0x61`) in the 2026 saves, 96 in 25.x, 95 in 24.x; bytes 2 to 3 are 5, 9 and 6 (**?**). Bytes 8 to 15 differ between families, not between versions; bytes 16 to 19 are the save counter (one higher in each copy). Nothing is derived from bytes 0 to 3 (`AepFile::head_revision` exposes the `u16`). | All 36. |
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| `head` bytes 0 to 1 (a `u16`) step with the major: 97 (`0x61`) in the 2026 saves, 96 in 25.x, 95 in 24.x; bytes 2 to 3 are 5, 9 and 6 (**?**). Bytes 8 to 15 differ between families, not between versions; bytes 16 to 19 are the save counter (one higher in each copy). Nothing is derived from bytes 0 to 3, and the reader does not expose them. | All 36. |
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| The XMP packet after the container is no guide: its `CreatorTool` is "Adobe After Effects 2026" in the copies too. | All 36. |
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| **26 against 25.x** (per family, chunk tree aligned by item and layer id): besides `head`, `nhed` / `nnhd` differ in 6 bytes (`nhed` 20-23 and 26-27: `827fa930` / `0015` in the 2026 save, `00000000` / `011b` in both copies; session state, see section 4). Every **solid's** `Pin /CLRS` changes: the 2026 save has `dcui` (1 byte, 1), `apid` all `0xff` and an empty `Utf8`; the copies drop `dcui`, set `apid` to a GUID (`601e9973...`, the same in all) and embed a 935-byte JSON with an ICC profile (`baseColorProfile/colorProfileData`). A **footage** item that the 2026 save stores with an assigned profile (`mcsp` = 1 and a profile JSON) loses `mcsp` and that JSON in the copies, and its `epid` becomes all `0xff`. The rest is save noise: the footage alias `ascendcount_base` (the copies were saved in another folder), `sspc` byte 112 of a footage item (a modification time), the `oEXR` `opti` of an EXR item (the copies hold the display device name `\.\DISPLAY1` as UTF-16 at byte 126 and, in the 24.x copy, a few non-zero bytes from byte 2 102 that look like uninitialised memory; the 2026 save has zeros), the plug-ins' sequence data `sdat` of Lumetri Color (16 instances and the project's `EfdG`), the mask counter `mkif` byte 8. No chunk is added or reordered, and no `pard`, `cdat`, `ldta`, `cdta`, `tdb4`, keyframe, text or shape chunk differs. | All 12 families. |
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| **25.x against 24.x**: only `head` (bytes 1, 3, 5 and 7), and the session noise in `opti` and `sdat` above. | All 12 families. |
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@@ -216,12 +221,12 @@ the value from the corpus manifest (test file in parentheses at the end of each
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API: `LayerHeader` (`is_video_enabled`/`is_enabled`, `is_audio_enabled`, `is_effects_enabled`,
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`is_auto_oriented`, `light_type`, `blend_mode`, `stretch` / `stretch_den`, `stretch_ratio`,
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`stretch_percent`, `in_point`, `out_point`); the same switches on `Layer`; `Layer::track_matte`
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`in_point`, `out_point`); the same switches on `Layer`; `Layer::track_matte`
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(`TrackMatte`, `MatteMode`; test `tests/matte.rs`). `stretch` is now the
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numerator of the ratio (it was the whole multiplier before 50 % and 150 % were sampled). Tests:
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`tests/header.rs`, `tests/layer_switches.rs`. The layer name itself is the `Utf8` child of the
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`Layr` (empty while the name is the source's); the layer then shows the name of its source item
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(`Project::layer_display_name`).
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(`Project::layer_source(...)` then `Item::display_name`, the rule the importer uses).
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### 3.2 Composition header (`Item/cdta`, 204 bytes; the decoder needs the first 176) and renderer
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@@ -246,9 +251,9 @@ numerator of the ratio (it was the whole multiplier before 50 % and 150 % were s
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The inert `ADBE Time Remapping` record of every AV layer has `tduM` = the source's duration in seconds: 5 for 5 s compositions (124, 257, 258), 3 and 2 for a 3 s and a 2 s composition (600, 601), 1 for the 1 s WAV (351), 0.1 for the three-frame sequence (353), 0 on solids and stills (000, 126). Every property's keyframe time scale (`tdb4` bytes 12 to 15) follows the composition (23 976 in every
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property of `L` after 229 and 230). The corpus manifest calls the classic renderer
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`ADBE Advanced 3d`; the file stores `ADBE Escher` / `Classic 3D`. API: `CompHeader::frame_rate_exact`
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(exact fraction), `duration_frames`, `shutter_phase`, `display_start`, `display_start_seconds`,
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`display_start_frame`. Tests: `tests/header.rs`, `tests/layer_switches.rs`.
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`ADBE Advanced 3d`; the file stores `ADBE Escher` / `Classic 3D`. API: `CompHeader::{time_base,
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frame_rate_fixed, duration_units, shutter_phase, display_start}` (`display_start` is the exact
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fraction). Tests: `tests/header.rs`, `tests/layer_switches.rs`.
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### 3.3 Items, footage and precomps
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@@ -293,7 +298,8 @@ name. A footage layer shows the item's name while it has no name of its own (351
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Test: `tests/header.rs` (precomp), `tests/text_markers_footage.rs` and `tests/batch3_objects.rs`
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(footage), `tests/layer_switches.rs` (solid colour). API: `Footage::{duration, native_frame_rate,
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bits_per_pixel, file_size, audio_sample_rate, is_sequence, sequence_frame_count}`.
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bits_per_pixel, file_size, audio_sample_rate, is_sequence}`; `Item::sequence_info` (with
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`SequenceInfo::frame_count`).
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### 3.4 Properties: sparse storage, static values and units
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@@ -402,8 +408,8 @@ out speed, at 40 out influence**). Scale key 1 of 305 (`n = 3`, in 0 / 33 %, out
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15 / 66) is `0,0, .33,.33, 15,15, .66,.66`. Component `i` uses slot `i` of each block (**V** for the
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block layout and the units, Scale speed in fractions per second and Mask Feather speed in pixels
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per second; **E** that different values per dimension sit in the slot of their dimension, because
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the tool that made the corpus applies one ease to all dimensions; **V** since the exporter wrote three different eases for the three Scale dimensions and After Effects read the same three back, aep-export.md R13). `Keyframe::plain_ease_slots`
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returns the doubles as stored, `Keyframe::ease_component(i)` one component's `KeyEase`. Layout of
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the tool that made the corpus applies one ease to all dimensions; **V** since the exporter wrote three different eases for the three Scale dimensions and After Effects read the same three back, aep-export.md R13). `Keyframe::ease_component(i)`
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returns one component's `KeyEase`, `Keyframe::ease_components` all of them. Layout of
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the spatial template: `u32` at 8 (1 normally, 0 after the spatial auto-bezier and continuous
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switches were turned off together, 054), `f64` arc length of the segment to the next key at 16
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(100 in 204 key 1, 0 on the last key and right after creation; safe to ignore), **ease at 24 in
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@@ -428,7 +434,7 @@ in tangent (`n` x `f64`, relative offset from the value) at `56 + 8 n`, out tang
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| **ease, colour switched to bezier** | spatial n=4 @24..55 | keyframe.set_interpolation bezier on two colour keys stores speed 0 and influence 0 on both sides, and After Effects interpolates them linearly (598 Start Color red to blue: 0.75 / 0.5 / 0.25 red at 0.5 / 1 / 1.5 s); a custom colour ease cannot be set by script | 598 | V |
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| **ease, mask path** | 64-byte record @24..55 | in speed, in influence, out speed, out influence as in the spatial template: 599 out / in influence 0.75, 700 0.2 / 0.5, speeds 0 (the path at 0.5 s is 5.42 % / 28.0 % of the way). The `f64` at 16 is 1 (093) or 2 (599, 700) on the first key and 0 on the last (not decoded) | 093, 599, 700 | V (influence), ? (speed unit) |
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API: `Keyframe::{interpolation_in, interpolation_out, kind, value, ease, ease_component, ease_components, plain_ease_slots, color_distance, spatial}`;
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API: `Keyframe::{interpolation_in, interpolation_out, kind, value, ease, ease_component, ease_components, spatial}` (the `f64` at byte 16 of a colour key is `SpatialKey::segment_length`);
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`Property::keys()` hands the property's template to its records. Marker record (16 bytes): time,
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`03 03` hold bytes, 8 stale bytes. Mask path record (64 bytes): the common fields and the ease at byte 24 (599, 700). Test:
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`tests/values.rs`, `tests/keyframes.rs`.
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@@ -765,7 +771,7 @@ pins are placed by hand or by a preset.
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328), so mode and inverted are reported per mask. `mkif` byte 8 is the running mask id counter of the
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**layer** in the session (1, 2 for the two masks of 328; 329 then gets 3; undo does not reset it; a new
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layer starts at 1 again): exposed as `Mask::counter`, a session counter and not a stable id. API:
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`Mask::{mode, inverted, counter}`, `Project::mask_vertices_px` (vertices in layer pixels), `Layer::mask_atoms` (`MaskAtom`: the mask with its atom group, its path property and its shapes by position, for the keys and expressions of the mask properties). Tests:
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`Mask::{mode, inverted, counter}`, `ShapePath::vertices(size)` (vertices in layer pixels: `size` is the size of the layer's source, `Project::layer_source_size`; a text or shape layer has no source size and its mask boxes are already pixels, so the importer passes 1 x 1), `Layer::mask_atoms` (`MaskAtom`: the mask with its atom group, its path property and its shapes by position, for the keys and expressions of the mask properties). Tests:
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`tests/masks.rs` (with a synthetic check of the handle order), `tests/batch3_objects.rs`.
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### 3.9 Shape layers (`tdgp[ADBE Root Vectors Group]`)
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@@ -893,7 +899,7 @@ groups as on other layers, with these conventions:
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| What | Path | Stored | Evidence | Conf. |
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|---|---|---|---|---|
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| camera Position, default (auto state) | `ADBE Transform Group/ADBE Position`, `tdb4` 76 and 77 = 1 although no expression exists | `[0, 0, -2666.67]` (x and y are 0 whatever the composition size; z = -zoom). A **one-node** camera reports `[0, 0, -2666.67]` (251). **Correction (S16): a reopened two-node camera reports `[0, 0, -2666.67]` too (256 read back), and After Effects renders it there**: the default two-node camera of 537 above the 3D solid of 486 renders from `[0, 0, -2666.67]` towards the point of interest, not like the composition's default view (537 differs from 486 in 24 % of the grid points, and EffectCraft's import with the stored position matches 537 but for 4 edge points). The `[960, 540, ...]` of the batch-3 notes was not reproduced (535 and 537, created by script, read back the stored value too); `CameraPosition::reported` keeps the old rule and is marked as contradicted | 256, 251, 537 | V |
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| camera Position, default (auto state) | `ADBE Transform Group/ADBE Position`, `tdb4` 76 and 77 = 1 although no expression exists | `[0, 0, -2666.67]` (x and y are 0 whatever the composition size; z = -zoom). A **one-node** camera reports `[0, 0, -2666.67]` (251). **Correction (S16): a reopened two-node camera reports `[0, 0, -2666.67]` too (256 read back), and After Effects renders it there**: the default two-node camera of 537 above the 3D solid of 486 renders from `[0, 0, -2666.67]` towards the point of interest, not like the composition's default view (537 differs from 486 in 24 % of the grid points, and EffectCraft's import with the stored position matches 537 but for 4 edge points). The `[960, 540, ...]` of the batch-3 notes was not reproduced (535 and 537, created by script, read back the stored value too); the reader keeps only the stored value (`CameraPosition::stored`) | 256, 251, 537 | V |
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| camera Position, set by the user | same, `tdb4` 76 and 77 = 0 | the absolute value `[100, 200, -1000]` | 253 | V |
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| camera point of interest | `ADBE Anchor Point` | `[960, 540, 0]` in **pixels** (not a fraction); the record's `tdsb` is 1 on a two-node and 3 on the one-node camera (not asserted) | 251, 253, 256 | V (value), E (`tdsb`) |
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| light Position, default | same as the camera | `[0, 0, -1333.33]`, as After Effects reports it (255 read back); the point of interest `[960, 540, 0]` | 254, 255 | V |
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@@ -909,10 +915,8 @@ groups as on other layers, with these conventions:
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A point light made by converting a spot light has a different property set (`Orientation`, `Rotate
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X/Y/Z`, `Cone Angle`, `Cone Feather 2` in the default state) that a spot light lacks (252); whether that
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is an artefact of the conversion is untested. API: `Layer::camera_position`,
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`CameraPosition::reported`, `Layer::camera_point_of_interest`, `Layer::light_intensity`,
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`Layer::{camera_zoom, camera_depth_of_field, camera_focus_distance, camera_aperture, light_color,
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light_cone_angle, light_cone_feather}`, `DEFAULT_CAMERA_ZOOM` (2 666.67 is verified for the 1920 px
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is an artefact of the conversion is untested. API: `Layer::camera_position`; the camera and light
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options are read by the importer's table (`import/camera.rs`); `DEFAULT_CAMERA_ZOOM` (2 666.67 is verified for the 1920 px
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composition only), `Layer::orientation` (`Orientation`; test `orientation_is_otst_otda` in
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`tests/batch5.rs`). Render checks against After Effects (20 px grid, 5 184 points): 486 1 point
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off, 535 2, 536 0, 537 4 (anti-aliased edges); **488 (Orientation `[10, 20, 30]`): 272 points
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