The merge of main put craft_quit::on_close_request inside
EffectcraftApp::tick, so the control channel, autosave, screenshots and the
desktop host's file dialogs still ran after it in the same logic callback.
The tick keeps the unsaved-changes check; each desktop host's logic now calls
panels::unsaved::quit_on_close last, after the device-loss close as well.
Found while testing crates/lottie/src/import.rs:48-51 (hex_color)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The policy check now reads the compiled AppSearch and RegLocator rows for the
remembered-folder properties (registry root, key, value name and type for both
scopes) and runs the DIR, FOLDER, PATH and legacy exe actions in sequence order
against seeded values, so their precedence and the preset-folder guard cannot
regress. It also replays the wizard folder actions in sequence order (a
remembered folder beats the new-install default, a typed folder beats both) and
requires the machine restore action between the scope page and costing.
An 8 bpc render has no finer values to dither, so its exports stay byte for byte what
they were (the pinned H.264 and ProRes files) and keep their size; 16 and 32 bpc renders
are still dithered on the way to 8 bits.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FYXhNN7W7nB6sKjwwU7CDM
`backpressure` stopped writing at the first WouldBlock. On macOS the
accepted stream does not keep the listener's 4 KiB receive buffer (it
gets about 114 KiB), so that WouldBlock only meant the 4 KiB send buffer
was full; it drained into the peer, and the 64 KiB write in
a_write_to_a_peer_that_stops_reading_fails_after_the_timeout and
a_blocked_socket_doesnt_hold_up_the_others_and_close_interrupts_it then
succeeded instead of blocking. Both tests failed on every run.
The helper now stops only after writes have stayed blocked for 200 ms,
still within its 16 MiB and 5 s limits. The socket code is unchanged.
The ROI crop clamped every converted edge to +/-20_000 px, which changed
valid crops: a supported 30_000 x 100 frame at scale 1 with ROI
[10000, 0, 20000, 100] produced 10_000 x 100 instead of 20_000 x 100.
Valid edges reach about 120_000 px (30_000 px at render scale 4.0).
Clamp converted edges to +/-1_000_000 instead, subtract from the frame size
in i64 and narrow to i32 with saturation, and widen the arithmetic in
OutputModule::frame_size to match. Hostile quads (huge, inf, NaN) still
degrade to a valid 1 px frame without overflow.
Regression test next to hostile_roi_cannot_overflow_crop_math covers the
30_000 x 100 case, a scale 4.0 wide case and hostile inputs.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FYXhNN7W7nB6sKjwwU7CDM
Exports converted the float frame to 8 bits by plain rounding, so a smooth
gradient rendered at 16 or 32 bpc came out as flat bands, the same as at
8 bpc: raising the depth changed nothing visible. After Effects dithers
colours converted to 8 bpc for render and export; do the same.
- raster: dither_u8 and Image::to_rgba8_dithered / to_rgba8_over_dithered
round each channel up or down against a hash of the pixel position with
a fixed seed (deterministic, no clock or global RNG). A value already on
an 8-bit code, as everything rendered at 8 bpc is, is unchanged.
- export: Cx::pixels dithers the colour for every 8-bit output (stills,
H.264, ProRes, HEVC, AV1, VP9); GIF keeps plain rounding (palette).
- export: the Render Settings' Color Depth now overrides the project's
depth for the whole render instead of only quantising the finished
frame, so a 16 bpc render of an 8 bpc project keeps its precision.
Tests: crates/export/tests/it/banding.rs (ramp export at 8/16 bpc and with
Color Depth overrides), raster unit tests for dither_u8.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FYXhNN7W7nB6sKjwwU7CDM
Turbulent Displace read its noise through value_noise, whose quintic fade also
eased the evolution axis. Near every whole revolution the pattern hardly moved:
Evolution 0 and 37 degrees (or 360 and 400) differed by well under a hundredth of
the frame, so different Evolution values looked identical, and the motion sped up
and slowed down within each revolution (the #1816 symptom).
Add value_noise_linear_z (x and y keep the fade, z is linear) on the CPU and in the
WGSL kernels and use it for Turbulent Displace on both paths. value_noise is
unchanged, so the other effects and the pinned simulation goldens are unaffected.
Tests: CPU test that non-equivalent Evolution values (fractional, past 360, past
720) all differ and that Cycle Evolution still matches 0/360; unit test of the
linear z axis; GPU-vs-CPU cases at small and large Evolution.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FYXhNN7W7nB6sKjwwU7CDM
The pre-signing check matched any folder named Program Files, so it rejected
a valid MSI when Windows resolves Program Files elsewhere, accepted the 64-bit
root for an x86 package and accepted a different app name. Build the expected
folder from the package architecture's resolved root and the policy name.
Two names that differ only in case are one file on Windows and on macOS as they
come, and Win32 drops a trailing dot or space, so `clip.png` with `CLIP.png`,
and `a.png` with `a.png.`, still landed on each other: ten entries extracted to
nine files on APFS, one footage item holding the other's picture. Collisions are
now looked up by a key with the case folded and those characters off the end,
while the name written stays as the entry asked.
Found by CodeRabbit on the pull request.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The fallback name was never checked against the names already taken, so an
entry called exactly what the fallback produces took the same file: `media/1/a:b.png`,
`media/2/a_b.png` and `media/3/2-a_b.png` extracted to five files for six
entries, the third overwriting the second, and both items' footage pointing at
it. Deduplication now runs on the name actually written and counts up until it
is free.
The collision predates making the names safe (two entries named `a_b.png` and
`2-a_b.png` collide on their own), but sanitising gives more ways in, so it
belongs with it.
Found by CodeRabbit on the pull request.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Dropping the points a later stroke of the other kind painted over could leave
a stroke with none, even though most of it was still painted: a small Alt tap
in the middle of a large foreground dot removed its only point, and the
selected model was skipped for the classical cut. Points are now kept by the
resolved ownership under them, and a stroke that loses every sampled point
but still owns pixels is prompted from the one deepest inside them. A stroke
painted over completely still prompts nothing.
Green, Alt (red) over part of the object, then green there again, as the
Layer panel sends them through roto.stroke: the render follows the last
stroke, and Undo / Redo step between the two results.
Segmentations and rendered frames are keyed by their strokes, which now
segment differently where strokes overlap; bumping both versions keeps old
entries from showing the old result. Frozen mattes are stored in the project
and are untouched.
A trained model is no longer prompted with both labels at one spot: points
along a stroke that a later stroke of the other kind painted over are
dropped, and the propagated matte's points, box and mask take this frame's
strokes over it.
A Refine Edge stroke over an earlier Alt (erase) stroke now restores the band
there; the band carried from the previous frame stays under this frame's
strokes.
A green stroke over an earlier Alt (red) stroke now restores the area: where
strokes overlap, the one painted last sets the hard constraint, for the cut,
the colour samples and the cleanup seeds alike.
Dylan M. Taylor
dotCooCoo
tylerjenningsw
NetterSilverandClaude Haiku 5.5
Kristian Myram
aiongg
Jeremy
aiongg
minhero
Anubhav RaiandClaude Opus 5