Such an item is shown on the document, which the size does not confirm; it is now reported in unsupported_items, when the opti stores the document's size.
An item as big as its layer's bounds was taken for Retain Layer Sizes. When
the layer is also as big as the document but not at its corner, a
document-framed item has the same size, so it may show shifted. The opti
record holds the document's size at bytes 32 and 36 (1000, 1000 in every
record of the issue's project, the .psd's size); with it, that case is
reported. The layer still shows at its own bounds.
A GPU project whose Render Queue job measured the CPU faster (#3335) rendered
every frame of a batch at once on the CPU, one per thread, with no memory cap:
on a 16-thread machine at about 1.4 GB a frame the app ran out of RAM and
exited without an error (0.23.1, Windows).
While a job renders on the CPU after a GPU frame measured its working memory,
CPU frames in flight now fit half the memory the system has free at that size
per frame, 1 to one per thread, settled once per job and logged. The probe's
timed CPU frames use the same cap. EFFECTCRAFT_CPU_INFLIGHT still overrides
it; Software Rendering projects, with no measurement, are unchanged. The host
reads the free memory through the new JobOptions::free_memory.
* Scripting: export commands a script runs directly respect Allow Scripts to Write Files
CompItem.saveFrameToPng and exportAsMotionGraphicsTemplate checked the
file-write preference only in their JavaScript wrappers. A script could call
comp.saveFrameAs or essential.exportTemplate itself (app.run, __exec) and the
native handlers wrote the file with the preference off.
Session::refuse_export and write_output_with now refuse when the running
command was issued by a script and the preference is off, so every command
that writes a path it is given is gated the same way. The wrappers check the
gate with a new side-effect-free __file("checkWrite") instead of writing an
empty file at the destination.
* address review: clear stale export test dir before use
* test: allow script writes in script_imports_footage_and_saves
load_lut took any source containing "LUT_" for inline .cube text, so a
path like /luts/LUT_Rec709.cube was parsed as text, failed, and the
effect passed the image through. A .cube can only parse with a size
header and data rows on separate lines, so a newline (after trimming,
as the path already is) is what tells text from a path.
popup_key lowered only ASCII letters, so an item starting with a capital
outside ASCII (French "Écran") kept it and never matched the same word in
lower case. After Effects stores popup items in its UI language, and
#3432 starts matching such names through popup_alias, keyed by
popup_key. Use Unicode lower case; ASCII keys are unchanged.
* .aep import: recognize French names for Levels' Channel and Clip popups
After Effects stores a popup's items in the UI's own language. A project saved
by a French After Effects writes "RVB", "Activé" and "Désactivé pour la
couleur 32 bpc" for Levels' Channel and Clip to Output Black / White.
EffectCraft's own popup options are English only, so these never matched by
name and the parameter fell back to its default, reported as "has no
counterpart".
Add popup_alias, a small table of confirmed After Effects labels in other
languages, used as a fallback in popup_mapping after the exact name match
fails. A synthetic test reproduces the three losses from a real file and
checks they are gone, with the same values as the English original.
* Cover Levels' French Red, Green and Blue popup items too
popup_alias only mapped "rvb" (RGB), so a French Levels with Red, Green or
Blue selected still lost that selection the same way. Add "rouge", "vert"
and "bleu" (from the same real pdnm list, confirmed against it); "Alpha" is
already the same word in both languages. A direct test on popup_alias covers
every item of the Channel popup it claims to know.
---------
Co-authored-by: sunkidda <sunkidda@users.noreply.github.com>
Footage made from one layer of a layered .psd showed the whole document and
was named after the file. Its opti (tag 8BPS) stores the layer: the record
index (BE i32 at 14, -1 for the merged image), the bounds (LE i32 at 78-93)
and the name (UTF-8 at 344). The item now shows that layer as EffectCraft's
own Photoshop import does (at its own size with Retain Layer Sizes), named
<layer>/<file>. A layer without pixels (an adjustment layer) keeps the merged
image and is reported.
An Orientation with an expression was reported as "not decoded" and lost its
value and keys too. The expression is stored in the otst's tdbs like on any
property, so it now arrives with the stored value or keys.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shape Direction, blend mode, composite order and the gradient highlight
values were reported when their record was in the default state (tdsb 3),
which holds After Effects' default (docs/aep-format.md 3.4), so a plain
guide rectangle reported "shape direction not imported". They are now read
only from written records, keys or an expression.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The prompt showed 3 detail lines per category under a bare count, which read
as the project's total. The headline now says how many occurrences are left
out or changed, every line the report keeps shows, and "… and N more" counts
the rest. The import report records that number as `unlisted` (an unmapped
effect's line covers all its instances); unmapped effects are listed most
used first.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
picks_what_the_viewer_shows_across_sizes_scales_zoom_pan_resolution_and_proxies looped over four
independent window-size and display-scale cases, each with its own session. As one test it took
~90 s in the gate and ~590 s under coverage, where it alone set the slowest SonarCloud shard.
Each case is now its own test, running the same checks, so nextest runs them in parallel and
partitions them across shards. The "more than 100 hovers checked" floor becomes more than 25 per
case, which still adds up to more than 100.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In a comp whose Start Timecode is negative, the current-time display shows
the first frames as `-0:00:00:12`, but typing that back (the Go to Time
dialog opens with it since #3419, and the Timeline's time field takes it)
read the leading `-` as "move back", so OK on an unedited dialog jumped to
another frame. There, a `-` before a full timecode is now the time's sign,
as it already is before Feet + Frames; a bare `-n` still steps back, and
comps that start at 0 or later are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Synchronize Time of All Related Items clamped each related comp's time
with its own duration-minus-one-frame rule, so a nested comp whose
duration is off the frame grid could not reach its final partial frame.
Use comp_frame_at, as direct moves and restored times do.
A frame-rate change can leave the duration off the frame grid. The
current-time clamp used duration minus one frame, which put the last
reachable frame before a final partial frame, so a layer fitted to a
work area inside it never got the playhead. Clamp to the last frame
that starts before the end instead; on-grid durations are unchanged.
The work area need not sit on frames (a typed start, a frame-rate
change), so rounding its start to the nearest frame could land before
the new layer's in-point. show_span now rounds up to the first frame in
the span and moves nothing when the span holds no frame.
show_span now checks and moves the playhead of the comp the layer was
made in, through a new Session::set_time_of that set_time uses for the
active comp, so time sync and the text editor boundary stay the same.
With Fit New Layers to Work Area on and the playhead outside the work
area, the Type tool, shape tools and Pen now move the playhead to the
work area start so the new layer and its controls show. Layer timing is
unchanged; Layer ▸ New commands leave the playhead.
Settings ▸ General ▸ Fit New Layers to Work Area (off by default) makes
new text, solid, shape, null and adjustment layers start at the work
area start and end at its end. It applies to Layer ▸ New, the shape
tools and the Pen tool, and wins over Create Layers at Composition
Start Time. Footage and compositions keep their own length.
#2944 (497a056c) normalises each box-blur mean in f64 and rounds once
(it was rounded to f32 first, then scaled), and counts repeated edge pixels
with one multiply instead of adding them one by one. Its PR states results
change only by float rounding, and it added the focused regression test the
golden-test rule asks for (box_row matches a direct sum). The golden hashes
are only enforced on aarch64 macOS, so Linux PR CI passed, and every
completed macOS CI run on main since #2944 has failed (497a056c's own run
was cancelled by a newer push).
Bisected on an M5: the golden tests pass at ed085bd4 and fail at 497a056c
with the same 52 hashes macOS CI reports. All 52 are 32 bpc frames of
effects that blur through box_plane/gauss_plane (Lightning, Advanced
Lightning, Inner/Outer Key, Caustics, Paint Bucket, Vegas); every 8 bpc frame
is unchanged. All 52 frames differ by at most 4.8e-6 per channel, with no new
non-finite values.
Only the pinned hash values change; LIBM_VARIANTS is untouched.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
architecture.md and web.md still said every job renders on the project's
renderer (#414); since #3335 a GPU job times both compositors on its first
frames and keeps the faster.
Clears all 29 open SonarCloud issues.
- `examples/plugin-catalog/scripts/validate.sh`: `[[ ]]` in place of `[ ]` for bash tests (SonarCloud shell:S7688). Every script has a bash shebang; no test uses `-a`/`-o`, escaped parentheses or an unquoted pattern on the right of `=`.
- `crates/expr/src/prelude.js`, `crates/script/src/prelude.js`, `crates/script/src/scriptui.js`: `Number.isFinite` / `Number.isNaN` / `Number.parseInt` (javascript:S7773). Every call already has a number (a `typeof` check or `Number()` before it), and `Number.parseInt === parseInt`, so nothing changes in boa.
- `packaging/windows/test-legacy-fixture.ps1`: dot-sources `[scriptblock]::Create($block)` in place of `Invoke-Expression $block` (powershelldre:S8659). It runs in the same scope, so `$LegacyWxs` is still set after it.
- `sonar-project.properties`: S7773 and S8786 are not raised on `*.jsx`. Those are After Effects ExtendScript (ES3), which also runs in After Effects and has no `Number.isFinite` or `String.prototype.trim`. The ignore covers 7 issues in `Ease Presets.jsx` and `Rename Layers.jsx`.
* Gradients: bound the stops sampled per pixel
Gradient sampling scans the stops linearly and shape painting samples once
per pixel, so a gradient with a huge stop list multiplied every frame's
work. Sampling now looks at the first 256 colour and opacity stops, and the
plain JSON form (coerce_json) refuses gradients with more than 256.
* address review: bound tagged gradients to the stop limit
* Text: merge variable font axes by tag and cap their number
Each tag in a variations object scanned the style's growing axis list, so a
large object cost quadratic time, twice (validation probe and apply). The
object is now merged in one keyed pass, refused when it names more than 64
axes, and a merge that would leave a style with more than 64 is refused
without changing the style.
* cargo fmt
* address review: refuse variation over every run before changing any
* address review: empty-document range cannot overflow in set_attr
* Auto-trace: bound the nesting, simplification and fitting work
Many separate regions made the nesting depth test every pair of contours,
Douglas-Peucker could rescan a span once per point (and recurse as deep as
the loop is long), and the curve fit searched the raw contour from its start
for every simplified vertex.
- Depth: each loop's bounding box goes into a coarse grid; a loop's first
point is tested only against loops whose box holds it. Same depths as
testing every pair.
- Douglas-Peucker: spans wait on an explicit stack, with a budget of 64
distance evaluations per point; spans still waiting when it runs out keep
all their points, so the outline stays exact.
- Fitting: uses the raw indices the simplifier kept instead of searching.
* cargo fmt; clippy manual_is_multiple_of
* address review: keep wide contour boxes out of the nesting grid
arnav-hiwarkar
FredApps
Dylan M. Taylor
sunkiddaandsunkidda
nazar-gavrylyk
lisn0