- Rename RenderOpts::scene_output to skip_hdr_step (Pipe::without_hdr_step):
the consumer decodes with Pipe::output_linear or applies the step itself.
- Alpha-only EXRs hold the alpha as it is in every output space (it is
coverage, not encoded colour; it used to be sRGB-decoded).
- Tests: a half-opacity layer over a coloured background (premultiplied and
RGB-over-background paths, golden hashes taken before the change), Rec.
2100 PQ and HLG EXR outputs, raw alpha, and a visible skip of the GPU test
without an adapter.
- docs/architecture.md: the Working Gamma curve for unmanaged projects, and
no HDR step for unmanaged projects or PQ / HLG outputs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
B44 and B44A pack only half floats, so at 32-bit float the menu and the
render log say the samples stay uncompressed. Half-float frames hold samples
above 65 504 at that limit instead of writing infinity. The EXR parameters
move into their own helper; exr_out is public for other writers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
OpenEXR renders (Render Queue sequences and Save Frame As ProEXR) received
the frame after Project Settings > HDR, so Compand and Tone Map (the default
of every OCIO project) compressed highlights and changed values below 1.0
before the writer decoded them, always with the sRGB curve.
- RenderOpts::scene_output: the top-level comp converts to the output space
without the HDR step (CPU and GPU walks, via Renderer::output_pipe).
- Pipe::output_linear: the writers decode with the output space's curve
(the Working Gamma's when unmanaged) instead of a fixed sRGB curve.
- Render Queue EXR jobs and ProEXR set the flag; PSD layers, 8-bit stills,
movies and the viewer keep the HDR step. The flag is part of the viewer
frame and disk cache keys (opts_hash).
Golden hashes, taken before the change, pin PNG/TIFF/Targa bytes for
8/16/32 bpc x Clip/Compand/ToneMap, Clip-mode EXR samples with an sRGB
output, and the layered PSD bytes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
OpenEXR sequence output modules get two settings, exrCompression (none,
rle, zips, zip, piz, pxr24, b44, b44a, dwaa, dwab; scan lines in each
method's own block height) and exrBitDepth (half or float). The defaults
are ZIP and 32-bit float, so existing projects render the same bytes as
before. They go through the project file, Output Module templates, the
renderQueue commands and renderQueue.formats, the CLI (--exr-compression,
--exr-depth), the Output Module menu (lossy methods are marked) and the
render log. Half rounds each sample to the nearest half float.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
animator_uid matches a uid before an index, so an animator whose uid
equals an index is picked over the one at that position. The four
commands that take `animator` (layer.addTextAnimatorProperty,
layer.addTextSelector, text.addSelector, text.animatorFontAxes) now say
so; text.addSelector also said only `uid|index` before. The test gives a
second animator uid 1 and checks that `animator: 1` picks it.
- `dialog.comp.view` is the scroll area's viewport (its clip rect). Cut
by the content's max rect, it lost the scrolled amount at the bottom.
- When the dialog's width changes, the pass laid out at the old width is
discarded and a repaint requested.
- The measured width keeps room for a vertical scroll bar. Without it,
switching the language with the dialog open left the two scroll bars
trading places every frame: the UI never settled and OK was clipped
every other frame.
- `content_width` becomes `dialog_width`, which returns the dialog's
width, so the 600-point rule is in one place.
Tests: the view keeps its place when the dialog scrolls, and switching
to French and back with the dialog open settles with OK inside it.
layer.addTextAnimatorProperty, layer.addTextSelector and
text.animatorFontAxes take `animator: uid|index`, counted from 1 as the
code and `#n` references do, but the parameters didn't say so and
`animator: 0` failed with only "no animator 0". The parameters now say
1-based, and the error says what the value can be.
Synthetic single-layer, multi-layer, multi-part and windowed files in
half, float and uint, with RLE, ZIP, PIZ and DWAA, decoded through the
media pool picture first and channels first. The hashes are taken on
main before the decode is reworked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Comp::unique_layer_name and Project::numbered_item_name each stripped
every trailing digit before numbering. Both use one helper now,
numbered_name, which replaces a trailing number only when a space sets
it off (Red Solid 1 -> Red Solid 2); digits that end a word stay.
SAM 2's instance now reads wgpu's environment variables, as the render context's does, so a driver such as
Mesa's Dozen (WGPU_ALLOW_UNDERLYING_NONCOMPLIANT_ADAPTER=1) is visible to it, and WGPU_POWER_PREF applies.
An adapter without compute shaders is refused before a device is made on it, so the CPU takes over with one
line instead of a validation error per kernel. The refused adapter is kept for the life of the process, as
the device on it was: dropping it crashed the tests on WSL2's GL driver. Gpu::shared no longer repeats
"SAM 2 compute:" in its errors.
The dialog was a fixed 600 points wide inside a scroll area, so a row
wider than that in another language (French "Conserver la fréquence
d'images en cas d'imbrication ou dans la file d'attente de rendu", the
French and Spanish Lock Aspect Ratio row) pushed OK past the right edge,
reachable only by scrolling sideways.
The dialog now measures the widest row of its three tabs (as it already
measured their heights) and takes that width, or 600 points if that is
more, capped by the window as before. English keeps 600 points.
Every MP4 export said BT.709 whatever the Output color space, in the
colr box and in the bitstream, so Rec. 2020, P3, PQ and HLG renders
were labelled as BT.709.
Move the ProRes colr mapping to output_codes and use it for every movie
path: the nclx colr box, FilmCraft's H.264 ColorConfig (VUI), and new
colour fields in effectcraft-hevcenc (VUI) and effectcraft-av1enc
(color_config), which wrote 1-1-1 as constants. The matrix stays BT.709,
the coefficients every path converts with. Default renders don't change.
* Follow-up to #2823: box each of several objects around its whole matte on correction frames
With several objects, a correction frame's box came from the model's cut
of that object's strokes on the frame alone. A stroke on part of the
object boxed only that part, and SAM 2 followed only that part from
there on. Each object's matte is now carried to the frame with its own
strokes, from its first prompted frame or its nearest tracked frame, by
the walk Chain::ensure uses (now Chain::carry). These mattes are not
cached, since object keys hold tracked results.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Follow-up to #2823: carry corrections before the base from the base outwards
Prompt frames were visited in ascending order, but before the base the
carry walks towards it, so each correction there re-walked from the
root. Visit each side from the base outwards and sort the prompts back
into frame order for the tracker.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Follow-up to #2823: find an object's carry root in one pass over its strokes
The root search scanned every frame's strokes from the prompt frame to
the base, for every prompt. Take the object's foreground stroke on the
way that is nearest the base in one pass instead; the root is the same.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* M13.35: reproduce an earlier object correction losing tracked matte
* M13.35: carry earlier object corrections from valid tracked mattes
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <FredApps@users.noreply.github.com>
Timewarp's Adjust Time By = Speed showed source time t x speed(t) / 100,
using only the Speed value at the current frame. With Speed keyframed
(a speed ramp), the source jumped to another part of the footage at the
change, and while Speed eased down it ran backwards or held still.
An animated Speed (keyframes or an expression) is now integrated over
layer time from 0 through the effect host's param_at, on a fixed
sub-frame grid with a bounded sample count. A static Speed keeps the
exact previous formula, so the Timewarp goldens are unchanged.
Local: effectcraft-effects time_fx lib tests (8), timewarp golden,
clippy -p effectcraft-effects. Full cargo xtask ci deferred to GitHub CI.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Which clips use an hour or more of timecode was decided in seconds, so in a
29.97 fps drop-frame list a clip cut at 01:00:00;00 (3599.996 s) was left
out, and a missing file it used went unnamed. The hour is now 01:00:00:00 at
the sequence's rate and drop-frame setting.
A run reads the project, edits it and writes the whole file back, so two
at once silently dropped the edits of whichever saved first. A run that
saves over the file it opened (--save, or --save-as the same file) now
holds an OS lock on `.<name>.lock` next to the project from before its
read until it exits. The next run says so on stderr, waits, then edits
what the first one saved. Ported from filmcraft-cli
(storytold/filmcraft#3926).
The OS drops the lock however the process ends, so a crash leaves nothing
stale. If the lock can't be taken the run warns and saves as it did
before. A missing project stops the run before it opens anything, with
the same error opening gives, so a project created in between is never
saved without the lock. The desktop app and `mcp` don't take this lock.
profile_of matched BT.2020 primaries before looking at the transfer, so
HDR10 and HLG footage got the Rec. 2020 profile and a managed project
decoded it with the 2.4 gamma. A PQ render of a solid that is 191,64,128
re-imported as 130,73,101, and HLG as 156,36,97.
Map BT.2020 + PQ to Rec. 2100 PQ and BT.2020 + HLG to Rec. 2100 HLG, the
profiles Interpret Footage already offers. A PQ and an HLG ProRes render
now read back into an sRGB project as the solid they came from.
A Lottie file can carry glyph outlines in `chars` for players that lack
the fonts. The import drops them and sets the text in installed fonts,
which can draw it in a fallback font. It now says so in the warnings,
naming the font families the glyphs were for.
Fixes#2844.
frame_matte looked up the frozen mattes for every frame, and that hashes
the whole serialized cache and recomputes its keys, so freezing a long
span again grew with frames times cache size. The Freeze job now
resolves the applicable cache once (applying_frozen) and passes it to
frame_matte.
The import now does the rebase FilmCraft's reader asks for, so passing the
reader's note on told people to do something already done. It is dropped
when every file the list uses at an hour or more of timecode was rebased,
and replaced by a warning naming the ones that weren't (the file is missing
or has no start timecode).
Animator Opacity stacked by multiplying, so once one animator set 0 %
no animator below it could raise it again. Each animator now blends the
opacity left by the ones above it toward its own value. A single Opacity
animator gives the same result as before.
Fixes#2838.
Bodymovin 3.x and early 4.x write `cl` on a mask and `closed` on an `sh`
item, with no `c` in the path, so the import brought these masks and
paths in open. An open mask doesn't cut its layer, and masked solids
filled the frame. The path's own `c` still wins.
Fixes#2837.
FilmCraft's EDL reader keeps source timecodes as media time and leaves the
rebase to the caller after probing. The probe now keeps the file's start
timecode (Footage::file_timecode), and an EDL import rebases each found
file's clips with filmcraft_interchange::rebase_source_timecode before the
layers are made, as FilmCraft's own import does.
With frozen mattes now used in a session without the model that froze
them, a second Freeze in such a session still segmented every frame
again, so it replaced the model's matte with the session engine's.
frame_matte, which only Freeze calls, now returns a frame's frozen matte
while the frozen mattes apply, and segments only frames that have none.
The frozen key hashes the chain keys, whose seed holds the session's
model, so mattes frozen with SAM 2.1 didn't match in a session on
Classic, such as a fresh effectcraft-cli render, and the frame was
segmented again with Classic. Accept the key under any Roto Brush model
too, as Object Matte has done since #1852. frozen_key is unchanged for
projects frozen today, and editing a stroke or a matte setting still
makes the frozen mattes stale.
* Fix#2823: Propagate boxes SAM 2 around the matte shown on the stroked frame
The tracker's box prompt came from the classic graph cut of the strokes,
which can leak into the background; SAM 2 then filled the whole box.
Build the box from the model's own matte (segment_with), the one shown
before Propagate. segment_with falls back to the classic cut when the
model can't segment, so non-model paths are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Fix#2823: box a lone object around the matte shown on correction frames too
A correction frame shows a matte propagated from the frame before, not a
fresh model cut, so the tracker's box came from a different matte than
the one on screen. With one object the box now comes from Chain::ensure,
the matte shown on that frame. Several objects share one shown matte, so
each keeps the model's cut of its own strokes. Cancelling while the shown
matte is computed stops instead of falling back, and the prompt frame is
read only when needed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A tile boundary that lands exactly on an output pixel centre puts the tile
fraction at exactly 0 or 1, and the sample position at the source's geometric
edge — where sample_bilinear mixes in half a texel of the transparent outside.
The fold column comes out half-faded: a visible seam line along the mirrored
boundary, which sweeps the tile as Tile Center animates across pixel centres
(#2820). Both the CPU path and the GPU kernel switch to the clamped sampler,
which repeats the edge texel there; interior samples are untouched, and the
default single-tile identity mapping already sampled texel centres.
The regression test puts the folds exactly on pixel centres (tileWidth 50%,
centre on the layer, mirror on) and asserts the fold columns stay opaque and
equal the edge texels they mirror — it fails on the unfixed code at alpha 0.5.
Fixes#2820
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
camera.solveStatus said `solved: true` for any stored solve, but the solver
keeps the frames it cannot resect as unsolved and interpolates the camera
there. `solved` now needs every frame, the same check camera.exportBlender
makes, and `partial` marks a solve with gaps, next to `solvedFrames`.
The FreeBSD run of run_reads_commands_from_a_file_or_stdin hit a race: the CLI
exits with code 2 on the usage-error cases before the helper finishes writing
its standard input, so write_all fails with BrokenPipe and the unwrap panicked
at apps/effectcraft-cli/tests/it/cli.rs:139:61.
Ignore exactly BrokenPipe while writing the piped standard input and assert on
any other error kind, so an early exit keeps feeding the assertions below
instead of failing the harness.
Fixes#2794
Co-authored-by: rahul05ranjan <11793455+rahul05ranjan@users.noreply.github.com>
image's OpenEXR encoder writes 64x64 RLE tiles, which FilmCraft and other
scan-line readers refuse. Write the frames with the exr crate in scan lines
with ZIP, like comp.saveFrameAsExr.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Under load its thread pulled samples before the test read the clock, so
'from the first frame' saw frame 1 and a_started_preview_follows_its_sound flaked.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The PR pinned the head of a fork branch, not in craft-libs history; the crate
source is byte-identical at both revs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
vangel76
Brandon ThomasandClaude Opus 5.5
JonRC
ljkx
FredApps
Bar BorerandClaude Opus 5.5
arnav-hiwarkarandClaude Opus 5.5
rahul05ranjan
Rahulandrahul05ranjan
heojunfoandClaude Opus 5.5
Brandon Thomas