Starting and Ending Thickness take 0..4000, After Effects' recorded valid
range in the same units (pixels). The CPU and GPU renderers draw the beam
per pixel from its distance to the segment, within the layer's buffer, so
a thicker beam costs the same.
Default and slider are unchanged.
Scatter Amount takes 0..1000, After Effects' recorded valid range in the
same units (pixels); the slider stays 0..127. The CPU and GPU renderers move
each pixel by one random offset of up to the amount, so a larger amount
costs the same; samples outside the layer are transparent.
Default and slider are unchanged.
Feather takes 0..32000, After Effects' recorded valid range in the same
units. The CPU and GPU renderers evaluate the feather per pixel in closed
form (a Gaussian of the distance to the wedge, radial_wipe_alpha), so a
wide feather costs the same and stays finite.
Default and slider are unchanged.
Width takes 1..32000 and Feather 0..32000, After Effects' recorded valid
ranges in the same units (pixels). The work stays bounded: the renderers
floor the width at 1 buffer pixel, sum at most 40 Gaussian terms per
pixel, and above 8 widths the feather is the even veil
(venetian_cover; the GPU hands that case to the CPU, as before).
Default and slider are unchanged.
Border takes 0..2000, After Effects' recorded valid range in the same units
(pixels). The CPU and GPU renderers compute the border per pixel in closed
form, so a wider border costs the same; one wider than the cells covers
them.
Default and slider are unchanged.
Hue Transform takes -1800..1800 degrees, After Effects' recorded valid range
in the same units. The CPU and GPU renderers wrap the hue (rem_euclid /
fract_euclid), so five turns render like the hue they end on, at the same
cost.
Default and slider are unchanged.
Hue, Lightness and Saturation go up to 1000 % and Grain Size down to 0 (it
keeps its wider maximum, 100), After Effects' recorded valid ranges in the
same units. Noise HLS Auto shares the controls and widens with them.
Defaults and sliders are unchanged.
The renderers need no change: hue wraps, lightness and saturation clamp per
pixel after the noise is added, and Grain Size is floored at 0.1 px on the
CPU and the GPU, so the new values cost the same and stay finite.
The amounts were written as "percent" in keyframe text because their range
was 0..100, and Grain Size would become "percent" at 0..100; UNITS rows keep
the units they had.
Blend goes up to 10000 (it keeps its minimum of 1, below After Effects' 5)
and Jitter up to 500 %, After Effects' recorded valid ranges in the same
units. Defaults and sliders are unchanged.
The CPU and GPU renderers capped Jitter's dither at 100 %, so higher values
would be stored but render as 100. Both now take it from one function,
four_color_jitter, which keeps the dither linear up to 500 %. Blend 10000
is a finite softening (Blend squared) at the same cost.
Jitter was written as "percent" in keyframe text because its range was
0..100; a UNITS row keeps that unit.
Input/Output Black and White of every channel take -10000..10000 and Gamma
goes down to 0 (it keeps its wider maximum, 10), After Effects' recorded
valid ranges in the same units (the .aep mapping is Conv::Plain). Defaults
and the 0..1 / 0.1..3 sliders are unchanged.
Gamma 0 renders as the existing 0.01 floor, an exponent of 100, so an HDR
value a few times Input White would overflow f32 and an infinite curve
times an empty output range is NaN. The curve is now bounded at +-1e6 on
the CPU (Lv::apply) and the GPU (fxt_lv), so the output stays finite over
the whole range; values below the bound are unchanged.
The engine regression (tests/effect_ranges.rs) sets both ends of each row
through prop.set, checks undo/redo, save and reopen, and that a project
saved with the narrower ranges opens with the new ones and its values.
Reload Footage Changed on Disk of a file whose metadata didn't change keeps the
project's revision; PurgeCaches emptied the viewer frame cache but the new
frame came back under the key of the one on screen, so neither the Composition
viewer nor the passive viewers uploaded it. Count purges and mix the count into
the frame key's options, as #3493 does with the LUT generation.
A test walks every effect parameter the .aep table maps to a recorded After
Effects definition (fx_defs) and checks that the effect's hard range
(ParamUi::Slider min..max, what prop.set and the value editors clamp to)
covers After Effects' valid range, converted to EffectCraft's units the way
the importer converts values. Conv::number_scale is that conversion, now
shared by the importer and the test.
The parameters still narrower are allow-listed by issue (#3460-#3492); the
test fails on a new narrower parameter and on a row that is no longer
needed, so the list shrinks as the issues are fixed.
On a precomp layer the key covered only the nested comp's size, rate and
duration, so an edit inside the precomp kept a stale analysis. The key now
writes the precomp layer's Essential Properties and what its comp draws, field
by field and recursively. Each comp is written once per key and nesting is
capped, so shared, deep or cyclic precomps are keyed in bounded time. Docs say
what clears an analysis.
Their analyses are made from the layer's input to the effect (masks, then the
effects above it), but the key covered only the layer's frames, so a mask or
effect edit kept a stale analysis. frames_key::analysis_key adds the masks,
the effects above the instance and the Effects switch. Keys saved before
(frames only) stay valid while each edit keeps the input.
Move the LUT cache that follows files by size and modification time into
effects::file_cache and use it for ocio::lut::load_file and
ocio_config::load_config. A config's entry depends on the .ocio file, the LUTs
its FileTransforms read and the search-path places it looked for missing ones.
check_lut_files and lut_generation now cover all three caches.
Expressions find effects by name and read names (thisProperty.name,
propertyGroup(1).name), and seed random/wiggle with the property uid, so
both can change the frames. The Debug-based key had them.
Whether a footage file is there is an observation (footage.check sets
Footage::missing without an edit), not part of the footage. The
signature leaves it out, and keys saved by 0.22-0.24, which hashed it,
are recognised with the file either online or offline. Warp Stabilizer,
3D Camera Tracker and Roto Brush analyses are kept through the next edit
while the footage is offline and after it comes back.
analysis::frames_key writes what a layer's frames are made of field by
field: every struct and enum it writes is destructured or matched in full
and each variant is a fixed word, so a new field doesn't compile until it
is decided and a rename doesn't change keys. Names, labels, UI hints and
markers are left out. Roto Brush's Input Key writes masks and the effects
above it the same way, instead of their Debug text.
Keys saved by 0.22-0.24 are recognised by the old code, moved unchanged
to frames_key::legacy, and kept rather than rewritten (frozen mattes hash
them).
A fixture keyed by the current release: Warp Stabilizer, 3D Camera Tracker
and Roto Brush keys keep matching through edits that keep the frames, undo
and save/reopen, and real changes still clear them.
It arrived as a plain number, so Effect Controls neither dragged it over its
slider range nor clamped an edit to its valid range, as After Effects does.
* Expressions, Scripting: a layer's property numbers follow After Effects
In After Effects a layer's top-level number reaches the same group on every layer of a kind:
Marker is 1, and slots the layer has not used yet (Time Remap, Motion Trackers, Layer Styles,
Data, Sets...) keep their place. EffectCraft numbered only the groups a layer holds, without
Marker, so `layer(n)` and `layer.property(n)` reached a different group, and the numbers moved
as groups were added. Rigs that read a palette by number, such as
`comp("Palette").layer(1)(4)(n)(1)` on a shape layer, read Transform instead of Effects; their
`try` fell back to the stored value and every linked colour rendered near-black, with no
expression error.
`effectcraft_project::ae_order` holds After Effects' slot order per layer kind, observed in
After Effects 26.3 from a script (`layer.property(i).matchName`) and from an expression
(`thisComp.layer(..)(i).name`) on new layers of each kind. The expression host and the
scripting model resolve a layer's numbers through it: 1 is the markers, a used slot is its
group, an unused one is an empty group (never null, so loops over `numProperties` are safe).
`numProperties` at layer level and `propertyIndex` of top-level groups are After Effects'
numbers too. 3D model and primitive layers keep EffectCraft's own numbers.
* Expressions: a layer's top-level groups by After Effects match name
`thisLayer("ADBE Effect Parade")`, as scripts such as Karton write their expressions, reaches the
group through the same table as the layer's numbers: Effects, or an empty group for a slot the
layer has not used, and `("ADBE Marker")` the markers.
* Expressions, Scripting: review follow-ups for After Effects layer numbers
- An enabled Time Remap (a top-level property) reports After Effects' number 2 as its propertyIndex.
- In scripting, an unused slot resolves to the same empty group by match name
(`property("ADBE Layer Styles")`) as by number (`property(7)`).
- The empty group is callable like any group: `layer.property(7)(1)` is null, not a TypeError.
A definition of parameters that are not kept, shared by many instances, was
walked again for each one without spending the budget; long popup item
names were kept per instance with each item counted once.
A pseudo effect's match name (Pseudo/0.25) was its group's match id, so a
match path to its parameters (keyframe paste, pick whip) was cut apart at
'/' and '.' and found nothing. The effect id stays the match name.
A docked panel's solid bars, once shown, took their width from the viewport, so a window that exactly filled its dock stayed too large and kept its bars. The bars are now hidden while the window fits its dock (to the whole point, #2585) and stay solid when it overflows (#269).
The viewers replace their picture only when the frame key changes, and a
frame rendered again after a LUT change had the same key, so the old look
stayed on screen. The viewer frame keys carry the LUT generation (in memory
only), which also leaves frames still rendering with the old LUT unasked
for, so the refusal of late frames is no longer needed.
A precomp instance whose Essential Property names another LUT file renders
with that file, but a layer reading the instance through a layer parameter
was keyed on the nested comp's own file, so editing the overriding file left
that layer cached.
Past 1024 followed files, the trim kept only files with a cached LUT and
dropped the one being noted (its LUT is cached right after), so a later
edit to it went unnoticed. The tests start from an empty folder.
The watcher stamped only the files whose parsed LUT was still cached, so
with more LUTs than the cache keeps, an edit to an evicted one left the
viewer's frames stale. The cache now remembers the stamp each LUT file was
last read with (bounded separately), and keeps at most 64 LUTs and 512 MiB
of tables. Frames finishing while the viewer empties its cache are refused.
arnav-hiwarkar
Sean Hawkey
Dylan M. Taylor