PR #2491 moved the modules; the instance3d changes follow the new layout:
- tests_instance3d.rs lives in src/tests/instance3d.rs now (declared in src/tests.rs)
- solo_3d moved from render/src/lib.rs to render/src/pipeline.rs, pub(crate),
and its FxHost::layer caller moved to render/src/fx_host.rs
- cmd/create.rs, effects/channel2.rs, gpu/fx_pixel2.rs and render/cache/dependencies.rs
followed their moves automatically (rename detection)
Conflict in crates/text/src/layout.rs (paragraph direction at the top of
paragraph()), against the closure-to-method-path cleanup (4e9fa51f): kept this
branch's direction resolved once from BidiInfo.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Wiggle Paths had Size, Detail, Points, Wiggles/Second, Correlation,
Temporal Phase and Random Seed, but no Spatial Phase, which After
Effects lists among its properties (ADBE Vector Spatial Phase). Spatial
Phase now moves each point's own displacement along its subpath: 360
degrees is once around, and a fraction of a point is interpolated
between neighbors. At 0 degrees a path draws as before.
A project saved without the property gets it at 0 degrees, after
Temporal Phase, when it opens. Scripts can read and set every Wiggle
Paths property by its match name.
solo_3d passed the layer to the 3D pipelines whatever the comp time, so an
instance (CC Composite referencing a model layer) rendered before the source
layer's in-point or after its out-point. Like any other layer reference, there
is nothing to read outside the range: return the transparent canvas.
Layer > Create > Create 3D Layer Instance, as After Effects (public docs):
3D model layers take no masks or effects, so the command puts a comp-sized
solid at the top of the layer stack with CC Composite referencing the
selected model, and switches the model off (back on to keep its shadow) -
a 2D copy of its render, through the comp's camera, that 2D effects can be
applied to.
- CC Composite (ec.channel.cccomposite) gains an optional Layer parameter:
with a layer chosen it takes the original's place; In Front replaces the
solid's pixels, alpha included, the other Composite Original modes blend
with them. The GPU compositor runs such an instance on the CPU.
- FxHost serves a referenced model or primitive layer as After Effects
does - the layer rendered on its own through the comp's camera
(Renderer::solo_3d); the owner keeps no cache entry for it (it moves with
the camera and lights, without a trace in its own properties).
- layer.create {op: instance3d} skips layers that are not 3D model or
primitive layers (the ones that take no effects); one undo step, the copy
selected, the model's video off.
Tests: tests_instance3d.rs (behaviour, pixels, undo/redo, serde, 2D effects
on the copy), a CC Composite layer-parameter unit test; docs/effects.md
regenerated (3033 parameters).
Conflicts in project/src/lib.rs and ui-egui/src/frames.rs: Comp::same_settings
takes with_markers and is shared by same_pixels_with and changed_span (#1641);
frames identity uses same_pixels_with/reads_markers and drops
same_pixels_ignoring_markers and project_has_expressions.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
For a precomp layer whose composition had a proxy, the renderer
decoded the proxy file with frame_with and drew it as decoded.
Interpret Footage > Proxy's Invert Alpha, Interpret As Linear Light
and Separate Fields had no effect on the render, and neither did the
layer's Frame Blending. A footage item's proxy already goes through
footage_frame and gets all of them.
The composition proxy now goes through footage_frame too, so it is
decoded the way a footage proxy is.
The PCF tap jitter was keyed on the receiver's 1/8-texel cell in the
shadow map. The GPU computes the receiver's map position with last-bit
differences from the CPU, so a receiver next to a cell line could take
another cell's jitter on one backend, and every tap moved. In a wide
penumbra that changed the coverage by several 8-bit levels:
gpu_matches_cpu_wide_penumbrae failed on Windows with 15 of 4159
shadowed pixels on an NVIDIA RTX 5080 and 22 on an AMD Radeon iGPU,
against a budget of 8.
tap_jitter now blends the hashes at the four corners of the cell by
the receiver's position in it, in shade.rs and in advanced3d.wgsl. At
the lattice points the jitter is the per-cell hash it was before. A
CPU test checks that the coverage does not jump at a lattice line.
Poison recovery, OsStr::to_str and char predicates only; S4325 casts are
f64 to f32 and stay.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Shadow maps use the full scene-derived size (point-light faces capped
at 2048) under a 26M-texel scene budget halved largest-first; the PCF
filter measures its reach in output pixels with a two-texel minimum,
samples texel centres on a jittered adaptive 5..10 grid, and compares
each texel against the receiver plane's own depth so wide kernels never
self-shadow lit casters. The WGSL mirror is parenthesised (Tint rejects
the old form) and guarded by a shader-wide grammar test; the CPU
reference and shader remain step-for-step parity-tested.
The camera's Set Focus Distance to Layer command compared only 'd <= 0.0', which NaN passes, and two finite but extreme positions can overflow their difference to infinity; a stored non-finite focus distance serializes as null and leaves the project unsavable. Reject it, fall back to the zoom plane in the camera evaluation, and count a non-finite focus or depth as in focus. The Classic 3D blur radius itself was unbounded: a 0%-scaled or very distant layer scales it by up to 1e9, and the padded blur buffer sized from it aborts the process. Cap each plane's radius to a padded buffer that fits the renderer's 16 Mpx layer budget, don't blur planes whose pixels cover under a thousandth of a comp pixel, saturate the padded sizes, and refuse padded buffers past the project's maximum layer size. Regression tests for each guard.
On an adjustment layer Motion Tile kept the comp-sized buffer whatever the
Output Width / Height, and the adjustment draw dropped any stack result whose
size differed from the canvas. After Effects grows (or crops) the comp
rectangle there as on any layer, so a Transform after it brings the extra
tiles into view, as in the frames attached to #1727 and #1409.
- motion_tile_frame: one output frame for the CPU and GPU effect; on an
adjustment it grows about the comp rectangle on whole pixels, keeps the
buffer at 100 % and past 16 384 pixels a side.
- adjustment_crop: the CPU and GPU adjustment draws put a stack result whose
frame changed back onto the canvas instead of dropping it (Enc::crop on
the GPU).
Tests: the #1727 After Effects frames (910 x 340 % and 90 x 340 % then
Scale 12 %), tiles past the frame and cropping on CPU, GPU vs CPU for
adjustment and full-frame layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review: styled() kept the buffers it rendered instead of the ones LayerCache::insert returned, so
without a blending-space conversion concurrent misses still returned separate body and pass
buffers (and the GPU uploaded each).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Preview workers that start together miss the layer cache together, and each kept its own copy
of every layer; on the GPU each copy was uploaded and packed into its own Classic 3D atlas, which
ran the device out of memory on a cold start. LayerCache::insert now keeps the first buffer of a
key and returns it, and the renderer goes on with the returned buffer, so the workers share one.
Renders don't wait for each other: on the shared frame pool a blocking wait could end up beneath
the work it waits for (tried, it stalled playback for the wait's timeout).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review: mask motion blur draws an animated mask at the shutter's other times, but the layer key
hashed its value at this time only. Two frames with the same mask value (a hold before a move)
shared a cached layer, with the wrong blur. This applied to solids, text and shapes already, and
to stills since this PR.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Footage layers had no layer cache key, so a still made a new layer buffer every frame on every
preview worker, and the GPU compositor uploaded it again each time (its upload cache is keyed
by buffer). Stills (without a proxy) are now keyed like text and shape layers, without the
source time; movies and sequences are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- first_ascent: a "d" shorter than 0.3 x the font ascent (a symbol or icon font) no
longer puts box text's first baseline almost at the box top; the font ascent is used,
as before the "d" rule (CodeRabbit on #1875). Test:
a_short_d_falls_back_to_the_font_ascent.
- CharXf::track_before / track_after are pixels, not 1/1000 em (CodeRabbit).
- The Lottie export of style-run tracking is back to what it was: the pixel conversion
was not checked against a player, so it is left for a separate, verified change.
- The Subtract clamp in Mode::combine is intended for every animator property: the
selectors combine into one selection per character for the whole animator, as in
After Effects; the read-back observed it through Tracking (now said in the code).
- Per-character 3D rotation notes that #1876 adds Mat4::rotation_xyz for the same order.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Above MAX_GRID_PX the padded feather grid fell back to the unpadded buffer, so a
feathered Add mask just outside a very large layer (e.g. 8192 x 8192, feather 40)
covered nothing and the whole layer vanished (CodeRabbit on #1874). The grid is now
coarsened by 2, 4, ... until it fits; radii and padding scale with it, so the feather
of an edge outside the layer still fades into it. The doc comment on the Linear falloff
no longer says it is unchanged: wide linear ramps now go through the coarse grid.
Regression tests: a_grid_too_big_is_coarsened_and_keeps_its_padding,
a_coarsened_grid_still_feathers_a_mask_outside_the_buffer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With per-character 3D on, After Effects turns each character by Rx * Ry * Rz
(Z first), as it turns a 3D layer's X / Y / Z Rotation (case 931, AE 2026:
"H" at 400 px with animator X / Y / Z Rotation 40 / 30 / 20). EffectCraft
composed Rz * Ry * Rx, so the glyph faced another way: 23 of 5184 grid
points off (max 255), now 3 at the anti-aliased edge (mean 0.015/255). The
same order fix-orientation uses for layers; texts with one rotation axis
are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A text animator's Tracking Amount is in pixels in After Effects 2026, not in
1/1000 em like the Character panel's tracking: Amount 30 on every character
adds 30 px between neighbours (half before, half after each) at 80 px and at
40 px. And a Subtract range selector over characters the first selector
leaves out keeps them at 0 instead of selecting them negatively. With both,
the EXPORTER's t8 layer D (Tracking 30 on characters 2-4 by index, Subtract
over the last 20 %) puts every glyph where AE does (it ended 88 px short,
1553 vs 1641; now 1641).
The "Tracking In" text preset animates 40 -> 0 px (was 400 -> 0 thousandths
of an em, about the same at 100 px text); Lottie export writes a style run's
tracking (1/1000 em) as pixels for its tracking animator, which Lottie
players add in pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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