Merge pull request #3129 from vangel76/aep-import-lumetri

.aep import: map Lumetri Color

docs/aep-format.md

@@ -604,6 +604,64 @@ suffix is a parameter id, not the `parT` position (Curves -0002 Channel before -
 -0005 Quality before -0004). API: `CurvesData`, `MeshData`, `curve_lut`. [V; details: corpus FORMAT
 S]
 
+**Lumetri Color** (`ADBE Lumetri`, 1200: 63 compositions in After Effects 2026, 32 bpc, working space
+None; by script: defaults, all set, one per section, valid minima and maxima, every popup item the script
+can set, checkboxes toggled, keys, an expression; from presets made by hand, `-58` ... `-62`: an Input
+LUT, a Look, the RGB curve, Hue vs Sat, the colour wheels): 131 `parT` entries. The `-NNNN` suffix is a
+parameter id, not the position (`-0127` ... `-0130` sit between `-0005` and `-0026`), so the importer
+keys by suffix. Float sliders (type 10) store the value After Effects shows; the valid ranges (`pard`
+104 / 108) are wider than the slider's (112 / 116): Temperature / Tint -300..300 (slider -100..100),
+Saturation 0..300 (0..200), Exposure -7..7 (-5..5), Contrast, Highlights, Shadows, Whites, Blacks,
+HDR Specular, Tint Balance -150..150 (-100..100), Faded Film 0..150 (0..100), HDR White 100..1000,
+HDR Range 100..10000, Refine Blur 0..1000 (0..30), Vignette Amount -5..5 (-3..3); the read-backs of
+`-19-min` / `-20-max` equal the stored numbers. **Hidden controls are recorded in the default state**
+(`tdsb` 3) and still hold the value After Effects reads back: High Dynamic Range `-0062` (1.0),
+HDR Specular `-0064` (22), the second Look popup `-0128` (26.16 as set, read back 26), Legacy Tone And
+Saturation `-0097` (its `pard` default reads off as the script saved the project and on once the
+project was opened and saved again, `versions/1200-lumetri-26`, `-25x`, `-24x`; a fresh instance reads
+back off), Auto Color `-0124`, Face Detection `-0102`, the Auto Intensity `-0123`
+(`EffectParam::recorded_value`). Each section has an Active checkbox (blank `pard` name; `-0003` Basic
+Correction, `-0023` Creative, `-0037` Curves, `-0118` RGB Curves, `-0104` / `-0105` / `-0107` / `-0109` /
+`-0111` the hue / saturation curves, `-0046` Color Wheels, `-0068` HSL Secondary, `-0050` Vignette, on
+by default); off, the section does nothing (`-03-sec-basic-correction`, `-17-sec-vignette` render as
+`-00-defaults`). Arbitrary data (type 11, a record and `aRbs` in every instance; empty is `fe fe`):
+`-0001` an XML copy of the grade written only when the Look changes (not kept current: `-01-set-all`
+holds defaults for controls set after the Look; it names the LUT file, `Fuji F125 Kodak 2393 (by
+Adobe).cube`); `-0096` the Look's name, UTF-16LE (`SL BLUE ICE`, `Fuji F125 Kodak 2393 (by Adobe)` in
+`-59-preset-look-lut`; the popup `-0025` itself has no record, `-0128` can disagree with it:
+`-07-sec-creative` names item 20 while `-0128` holds 23), `-0095` likewise for the Input LUT
+(`ALEXA_Default_LogC2Rec709`, `-58-preset-input-lut`; the popups `-0005` / `-0127` keep no record,
+`-0004`, `-0024` and the assets `-0125` / `-0126` stay `fe fe`: the LUTs are After Effects' own files,
+named, not embedded); `-0129` the Look colour space's 16-byte id (the GUID `LookColorSpace` of `-0001`
+in Windows layout: the first 4, 2 and 2 bytes little-endian; zero for None; the Color Space popup
+`-0130` writes no record of its own, `-22-pop38-1` ... `-53-pop38-33`);
+`-0032` Split Toning (32 zero bytes); `-0039` the four RGB curves and `-0042`, `-0106`, `-0108`,
+`-0110`, `-0112` the hue / saturation curves, 520 bytes each: `i32` type (3 for the hue curves, 2 for
+Luma vs Sat and Sat vs Sat, 0 for an RGB curve), `u32` point count, then little-endian `f64` pairs x, y
+sorted by x (bytes after the counted points are stale). RGB: x and y 0..1, (0, 0), (1, 1) by default;
+the first of the four is the master curve (`-60-preset-curves-rgb`: (0.491, 0.787) lifts R, G and B
+alike, and the render follows a natural cubic spline through the points within 0.003); the order of
+the other three is H (the `-0001` XML names `ToneCurvesLuma`, `Red`, `Green`, `Blue`; no sample moves
+one). Hue / saturation: x the hue (0 red, 1/3 green) or the luma / saturation 0..1, y the offset from
+neutral 0; a fresh curve has no points, the selector colours `-0113` ... `-0117` add three at y = 0,
+the hue picked +- 0.0556. Hue vs Sat's y scales the saturation by 1 + y in linear light
+(`-61-preset-curves-huesat`: (0.0155, 0.97) takes pure red's linear saturation to 1.96 times, (0.263,
+-0.03) and (0.765, -0.02) green, cyan and blue to 0.97); the other four curves' scale is H. `-0047`
+Color Wheels, 4 `f64` triples: hue in degrees (0 red, 120 green), brightness slider 0..1 (0.5
+neutral), distance from the centre 0..1; 0, 0.5, 0 each by default; Shadows, Midtones, Highlights, then
+a fourth wheel of unknown role (`-62-preset-wheels`: Shadows 229.1, 0.370, 0.547 towards blue with the
+slider down; Midtones 0.1, 0.5, 0.395 towards red; Highlights 93.4, 0.727, 0.319 towards yellow-green
+with the slider up; the fourth at its default); `-0085` the HSL correction wheels (8 triples, the same
+default; layout H); `-0073` the HSL key, 40 bytes: a flag byte (1 once a colour was picked), then hue,
+saturation, lightness, each centre, range, tolerance (`f32` LE, fractions) and an enabled byte (fresh:
+0.5, 0, 0, on; picking RGB 0.02 0.55 0.85 gives hue centre 0.5605 = that colour's hue and lightness
+centre 0.435 = its HSL lightness, range 0.05, tolerance 0.1: `-01-set-all`; whether range is the half
+or full width is H); `-0122` the Auto Tone analysis (UTF-16 JSON). The project saved as 25.x and 24.x
+copies (`versions/1200-lumetri-25x`, `-24x`: the 58 scripted compositions, saved by After Effects
+2026) stores every Lumetri definition, valid range and value as the 26 save does. [V for the sliders,
+checkboxes, popups, the `tdsb` 3 values, the master RGB curve, Hue vs Sat, the colour wheels and the
+LUT names; H where marked]
+
 **Cryptomatte plug-in** (match name `Cryptomatte`, the free Cryptomatte plug-in, 2.6.6 in our
 sample; read from 88 instances in one production project, not made by us, and from our own After
 Effects 2026 sample 1400 (corpus `aep/cryptomatte.aep`: a fresh instance, Selection Mode on, each

docs/aep-import.md

@@ -1,6 +1,6 @@
 # After Effects project import
 
-> **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: 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 imported (Channels, all twelve sliders, Bypass, keys), next to Tint and Gradient Ramp; before that: text: U+0003 is a paragraph break (386, 387); before that: a stored textLine truncated
+> **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
 
 File ▸ Import ▸ After Effects Project… (`file.importAep`) reads an `.aep` or its XML form `.aepx`
 and adds its items to the open project, in a folder named after the file (as After Effects does when it imports a project).
@@ -58,7 +58,7 @@ outside the sampled ones keeps the current value and is reported as `project set
 | 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 | **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) |
+| 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 |
@@ -182,6 +182,7 @@ parameter gets the file's value:
 | 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` |
 
 - **Nothing to import:** the implicit input-layer parameter (index 0), the Swap Colors buttons
   (Tint 4, Ramp 8: they always have a record and hold no value), Exposure's twirl-down group
@@ -233,6 +234,44 @@ parameter gets the file's value:
   column just outside the layer: After Effects' Glow draws a dark halo about 10 px wide outside the
   layer (red 0.55, 0.65, 0.74, 0.92 at 0, 1, 2, 5 px), EffectCraft's Glow none (an effect
   difference, recorded for a separate fix).
+- **Lumetri Color** (1200, `crates/aep/src/import/lumetri.rs`). The parameters are found by match
+  name (After Effects inserted `-0127` ... `-0130` mid-list; five tone sliders share one valid range,
+  so an index shift would not be caught). Values come from every value record, also those in the
+  default state (`tdsb` 3), where Lumetri keeps High Dynamic Range, HDR Specular and the second Look
+  popup. EffectCraft's Lumetri has no section switches: a section that is off in After Effects
+  (Basic Correction, Creative, Curves / RGB Curves, each hue / saturation curve, Color Wheels, HSL
+  Secondary, Vignette), and HSL Secondary without a picked key colour, does nothing there, so its set
+  values are listed in one report line and not imported (the frame stays as After Effects draws it).
+  The Input LUT and the Look are reported by name (LUT files are not in the project). Controls
+  without a counterpart (the Auto tone's Intensity, RGB Curves' HDR Range, Color Wheels' HDR White and
+  Face Detection, Legacy Tone And Saturation, Auto Color, SpeedGrade Custom Layer), the eyedropper
+  colours, the red, green and blue curves (only the master curve is sampled, so which is which is
+  not known), the colour wheels' brightness sliders and their fourth wheel, Split Toning, the HSL
+  correction wheels and moved points of the other four hue / saturation curves (not sampled) are
+  reported when set. The master RGB curve arrives as its points; Hue vs Sat with y as `0.5 + y / 2`
+  (After Effects' y is the offset from neutral, 1 doubling the saturation; EffectCraft's y = 1
+  doubles it); a colour wheel's hue and distance as the HSL colour of that hue with saturation =
+  distance, lightness 0.5 (EffectCraft's wheels have no brightness slider). Legacy Tone And
+  Saturation is reported when a record says on: its `pard` default turns from off to on when the
+  project is saved again. Render check at 0.5 s against After
+  Effects' 32 bpc PNGs (stored as value x 6553.5 in 16 bits, so read as raw / 6553.5): every
+  composition whose grade After Effects draws as identity (defaults, set-all with every section off,
+  the switched-off sections, the popups, keys, expression) is within 1/255 in EffectCraft; the
+  graded ones differ by EffectCraft's Lumetri formulas, not by the import: White Balance (sec-color:
+  After Effects warms and brightens, max 0.10 above the default; EffectCraft darkens, mean error
+  0.015), Exposure / tone (sec-light: After Effects rolls highlights off and lifts the blacks to 0.18,
+  EffectCraft clips at 1 and keeps black at 0; mean 0.12), Creative adjustments (sec-adjustments:
+  Faded Film lifts black to 0.07 in After Effects, 0.035 here) and the extremes (min / max: mean 0.063 /
+  0.454; max: After Effects' vignette at +5 and the tone sliders give mid grey, EffectCraft white).
+  The 32 bpc PNGs hold the pixel value with no transfer curve (the defaults' ramp reads x / 320
+  exactly), so values above 1 survive up to about 10; the comparison clips After Effects at 1 as
+  EffectCraft's 8-bit frame does. The hand-made presets: the master RGB curve within 0.024 (mean
+  0.009; After Effects' curve is a natural cubic spline through the points, within 0.003, while
+  EffectCraft's Lumetri interpolates monotone); Hue vs Sat mean 0.008, max 0.18 (After Effects
+  scales the saturation in linear light, red reaching 1.26; EffectCraft in display values, 8.3 % of
+  pixels > 2 levels); the colour wheels mean 0.042, max 0.13 (the hues go the same way: Shadows
+  lift blue at black by 0.13 in After Effects, 0.17 here; Highlights add green; the brightness
+  sliders are not imported); the Input LUT and the Look are not imported (mean 0.088 / 0.076).
 - **Colour.** After Effects stores the colour its picker shows as ARGB doubles 0..255 in the
   project's working-space encoding; EffectCraft's parameter colours are straight RGBA 0..1 that the
   render pipeline hands to the effect as stored (`crates/render/src/color.rs`: authored colours are
@@ -454,5 +493,5 @@ The other direction, File ▸ Export ▸ After Effects Project… (`file.exportA
 
 ## Not done yet
 
-Effects outside the table (Lumetri; EXtractoR: its channel choice is arbitrary data; Stroke: its path is a mask reference), environment lights, the ease of bezier Orientation keys, wiggly and expression selectors and the other text animator properties (Character Value, Character Alignment other than its default, the Hue / Saturation / Brightness / Opacity variants, 3D rotations, variable font axes), manual kerning, No Break, the stroke line join, the Japanese leading model, Source Text keyframes, layer-style gradients, Pattern Overlay and the switch state 3, Mesh Warp handles moved on their own,
+Lumetri Color's section switches (a switched-off section is reported and its values left out), its LUTs and looks (files After Effects names: reported by name), its red, green and blue curves (no sample tells which is which), the colour wheels' brightness sliders and the fourth wheel, Split Toning and the HSL correction wheels (not sampled: reported when set) and moved points of the four hue / saturation curves other than Hue vs Sat (the scale of y is not sampled); effects outside the table (EXtractoR: its channel choice is arbitrary data; Stroke: its path is a mask reference), environment lights, the ease of bezier Orientation keys, wiggly and expression selectors and the other text animator properties (Character Value, Character Alignment other than its default, the Hue / Saturation / Brightness / Opacity variants, 3D rotations, variable font axes), manual kerning, No Break, the stroke line join, the Japanese leading model, Source Text keyframes, layer-style gradients, Pattern Overlay and the switch state 3, Mesh Warp handles moved on their own,
 separated dimensions and footage interpretation need verified layouts in the reader first.

docs/file-format-parity.md

@@ -22,7 +22,7 @@ trips and renders, checked by tests, not against After Effects), **partial** (na
 
 | Format | After Effects | EffectCraft read | Write | Fidelity / notes | Tested by |
 |---|---|---|---|---|---|
-| Project `.aep` | R/W (native) | partial | partial | Main file format; the clean-room method is in [aep-format.md](aep-format.md), the maintainers' decision on it is open (#190). `crates/aep` reads and writes the RIFX container losslessly (byte-identical round trip) with a typed view of the decoded fields, from our own generated files only ([aep-format.md](aep-format.md)). File ▸ Import ▸ After Effects Project… (`file.importAep`, `effectcraft_aep::import`): folders, project settings, compositions, every layer kind, Transform, keyframes, expressions, masks, text with animators, shapes, cameras, lights, track mattes, markers, time remapping, layer styles, the built-in effects of a table shared with the exporter (Curves, Levels, Glow, Fractal Noise, Gradient Ramp, … and the expression controls), footage and image sequences; everything else is reported ([aep-import.md](aep-import.md)). File ▸ Export ▸ After Effects Project… (`file.exportAep`, `effectcraft_aep::export`) writes the same scope with every chunk built in code; exports were opened and read back in After Effects 2026 ([aep-export.md](aep-export.md)); everything else is reported. Effects outside the table (plug-ins, Lumetri, …) are not converted | `crates/aep` tests (`tests/container`, `tests/import`, `tests/export`) |
+| Project `.aep` | R/W (native) | partial | partial | Main file format; the clean-room method is in [aep-format.md](aep-format.md), the maintainers' decision on it is open (#190). `crates/aep` reads and writes the RIFX container losslessly (byte-identical round trip) with a typed view of the decoded fields, from our own generated files only ([aep-format.md](aep-format.md)). File ▸ Import ▸ After Effects Project… (`file.importAep`, `effectcraft_aep::import`): folders, project settings, compositions, every layer kind, Transform, keyframes, expressions, masks, text with animators, shapes, cameras, lights, track mattes, markers, time remapping, layer styles, the built-in effects of a table shared with the exporter (Lumetri Color, Curves, Levels, Glow, Fractal Noise, Gradient Ramp, … and the expression controls), footage and image sequences; everything else is reported ([aep-import.md](aep-import.md)). File ▸ Export ▸ After Effects Project… (`file.exportAep`, `effectcraft_aep::export`) writes the same scope with every chunk built in code; exports were opened and read back in After Effects 2026 ([aep-export.md](aep-export.md)); everything else is reported. Effects outside the table (plug-ins, …) are not converted | `crates/aep` tests (`tests/container`, `tests/import`, `tests/export`) |
 | XML project `.aepx` | R/W | partial | none | Read into the same chunk tree as `.aep` by `crates/aep` (`read_aepx`; mapping in [aep-format.md](aep-format.md) section 1), so `file.importAep` imports it with the same coverage as `.aep`; not written | `crates/aep` `aepx` tests (container and import) |
 | Templates `.aet` / `.aetx` | R/W | none | none | Own `.ectemplate` (Home ▸ Templates, Save as Template) | `templates.rs` tests |
 | Motion Graphics template `.mogrt` | W (and R in Premiere) | none | none | Own `.ectemplate` Essential Graphics templates; FilmCraft rejects our `.fcgt` export (#611) | `essential.rs` tests |