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>
The pace counted cached frames among the next ahead x 2, but the prefetch never requests more than the RAM preview holds (offsets 0..fit-1 from the current frame). With room for only a few frames the lead could never fill, so a preview that rendered every frame at once was slowed to a fraction of its frame rate, with Lower Resolution When Playback Can't Keep Up off (the default). The lead is now counted over at most the frames the prefetch keeps after the current one, and with none of those (room for at most two frames) the clock runs in real time as before pacing.
The dialog's Frame field held the engine's zero-based frame, so with frames shown
from 1 the viewer's 00013 opened as 12, and typing 13 went to the frame displayed
00014. It now holds the time in the project's display style (timecode, frames from
Start Numbering Frames At, or feet + frames), which time.set already reads that
way. The now-unused 'Frame' translation rows go.
The step-down was skipped while the achieved frame rate read as keeping up, and that rate comes from the frames shown in the last second they were shown: through a stall it kept the rate from before it, so a preview that played a cached stretch and then stalled never stepped down. A rate whose last frame is more than a second old no longer counts.
The time display in the Composition panel's bottom bar only reacted to
Ctrl/Cmd+click, which switches timecode and frames. A plain click now opens the
Go to Time dialog (View > Go to Time), as in After Effects. The Ctrl/Cmd+click
test follows: its plain click now opens the dialog, which it closes.
Only a lane's drain thread waits for a GPU slot. A lane runs one drain at a time (it is idle, and started again, only once its drain found no job), and its other threads only help with that frame's parallel work, as Rayon helpers that never wait. The comments said lanes had one thread; the test now runs on a lane LANE_WIDTH wide and checks that its other threads decline while the drain thread waits.
AutoPick::ticket chooses a side and reports the frame's time once; dropped without one it ends the frame unmeasured. The viewer's frames, the renderer's top-level frames and frames rendered in passes use it, so an Auto CPU frame turned away by GPU admission (#3028), a cancelled export frame or any later exit no longer leaves its frame counted as running. The frame server keeps its choice across calls and still ends a replaced frame itself.
The paced clock counted the cached lead out of twice the prefetch depth even when fewer frames were left before the end, so a fully cached preview that doesn't loop slowed down over its last frames, and one shorter than that depth played slow throughout (and could step down). The lead now counts out of the frames left.
A GPU frame that failed or failed its health check, and a remote frame replaced before it finished, stayed counted as running on its side, so every later frame there was timed as one of several side by side and that side looked cheaper. AutoPick::abandoned releases them.
Settings > Previews > Lower Resolution When Playback Can't Keep Up (on by
default): a preview at Resolution Auto that stalls on uncached frames and
shows under 80 % of its frame rate for two seconds plays on at half the
scale, and two seconds later at a quarter if still slow, no lower than the
Adaptive Resolution Limit. Stopping goes back to the viewer's resolution
and Cache Frames When Idle fills it in. An explicit Resolution, the comp's
or the Preview panel's, is kept as set.
First playback of a 1080p comp with a blur (cache_bench --play): 9.0 to
22.1 frames/s on the CPU (about 27 once at Half), 4.1 to 16.1 with Mercury
Auto on an integrated GPU; plain clips that keep up stay at Full.
A comp left alone for a second fills its RAM preview from the current time,
so the first playback is cached instead of rendering frame by frame. Saved
settings keep their value. Two UI tests that assumed the old default set it
explicitly.
A render thread handed each frame to the disk cache already copied pixel by
pixel and LZ4-compressed (~9 ms per 1080p frame) before it could start the
next one, and layer buffers were encoded even when the queue then dropped
them. The queue now holds raw RGBA (one memcpy via ColorImage::as_raw) and
Arc<Buf>s; the writer thread encodes them. Every frame of a 120-frame bench
run now reaches disk (113–119 before). cache_bench prints the flush time.
A Shift-press on an unselected bar adds it to the selection, so the drag now moves that
selection and its layers are no snap targets. Tests cover the selection drag and that a
moved layer's own marker is no target.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Moving a layer bar or dragging its In / Out end with Shift held snaps the moved edge, within
8 px of the pointer, to the current time, comp and layer markers, visible keys, the work area,
the comp's start and end, and other layers' In / Out points, as in After Effects. The edited
layers' own ends are no targets (nor, when moving, their markers and keys). Targets are
gathered once per drag; snapping is measured from the pointer, so dragging on lets go.
Without Shift a drag moves by the whole frames the pointer covered, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merge current main while preserving continuous audio and prefetch behavior. Fix sibling method visibility, audio-only unmute, queue/cursor handoff, end-of-span replay, and expression-driven audio invalidation. Add mixer and preview-output regression coverage. Formatting checked; builds and tests run in hosted CI.
* #3389: a viewer click selects the topmost layer over a selected one
Clicks in the viewer went through pick(), which prefers a selected layer
under the pointer so a covered layer can be dragged (#230). A large
selected layer lower in the stack therefore captured every click inside
its bounds, and the layers in front of it could not be selected there
(#1535, #3389).
Add click_pick(), the same hit test without that preference: the
topmost layer, keeping the selection when it is already selected. The
left click (Selection and fallback tools, Roto Brush), the double-click
and the right-click menu use it; drag starts keep pick(), so dragging a
covered selected layer works as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: rustfmt the viewer's shapes imports
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: test the right-click where both layers cover the pointer
The right-click check ran after the drag had moved the layer behind out
from under the pointer, so the old pick() passed it too. It now runs
before the drag with the layer behind selected, then closes the menu.
pick()'s doc names the Puppet tool's pin placement as a click that uses it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: a click on a covered path of the selected layer keeps that layer
With clicks going to the topmost layer, a click on a mask or shape path
of the selected layer where a layer in front covers it selected the
layer in front. Its paths went away, so a double-click there could no
longer free-transform the path. A plain click on a shown path now stays
on its layer, as pick() did; Shift-click still toggles the topmost one.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: a right-click on a covered path of the selected layer keeps it
The context menu picked as a left click did before the path fix, so a
right-click on the selected layer's path, under a layer in front,
selected the layer in front. It now keeps the path's layer like a left
click. pick() and click_pick() docs describe the Puppet and path
exceptions exactly.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The unit test re-implemented Marquee::selection's box/outline split, so it
only covered `targets`. Move the anchor math into `Anchor::press` /
`Anchor::selection` over a plain `View`, call it from the test, and add a
scrolled-drag case that fails with a screen-fixed anchor.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dropping an .aep or .aepx on the window, or picking one in File > Import > File...
or Multiple Files... (also from the Home screen and the Project panel), imports it
as File > Import > Adobe After Effects Project... does, instead of failing as
unsupported footage: the losses prompt first when parts cannot come over, its
items in a folder named after the file, its first composition open.
- Several projects are asked about one at a time: the others wait in the
prompt's queue, and Cancel skips only the one it asks about. A prompt another
dialog replaced (Save changes?) strands nothing: its projects are tried with
the next import or queued behind the next prompt.
- The other files of a drop or pick import as footage, into the Project panel
only when a project is in the drop. While the prompt shows, a Photoshop file
or image sequence imports with its defaults instead of replacing the prompt,
an Interpret Footage question leaves a note instead, and a dropped .ecproj is
skipped with a note. While Save changes? waits for a dropped .ecproj, the rest
of the drop is skipped with a note instead of landing in the replaced project.
- Errors of every picked project reach the status line on both the blocking and
the non-blocking file dialog.
- The Import File dialogs list .aep, .aepx, .ecproj and .ecprojx; Replace
Footage offers footage only.
- For scripts and agents, file.import hands After Effects projects to
file.importAep; a refusal (new EngineError::Refused) names the menu entry and
`file.importAep` with `allowLosses`.
- File > Import / Export name the entry Adobe After Effects Project..., as
Adobe Premiere Pro Project...; File > Import keeps After Effects' order with
the project imports together and the formats only EffectCraft imports after a
separator. All 13 menu catalogs and the losses dialog title are updated.
- Docs: aep-import, aep-export, footage, file-format-parity, agents.
Supersedes #3312.
Since #595 (v0.19.0) a playing preview and Cache Frames When Idle render one frame per
lane, a lane per core, each recording, submitting and reading back a whole frame on the
GPU the window draws with. On a GPU that can't keep up, the window froze for hundreds of
milliseconds to seconds and the playhead jumped ahead when it came back.
Lanes now take a GPU frame only while fewer than a limit of them composite. The limit
starts at one lane and adapts to the window's frame gaps while a preview plays: a stall
(>100 ms) with lanes compositing halves it, half a second of smooth frames (<50 ms) with
every allowed lane busy adds one, up to every lane; a limit that stalled is tried again
only after 10 s. Frames on the CPU (Software Only, no or retired GPU, GPU memory
pressure) and disk-cache hits use every lane; the pool and the viewer's frame are not
limited, and frames ahead of the playhead still start first.
Related to #1365. Display labels only; effect, command, parameter, panel and serialized ids and the AEP/script match-name tables are unchanged.
- 69 Cycore CC effects, Key Light, Mocha shape, Lumetri Color/Scopes and the Mercury renderer labels get descriptive names; the old names stay case-insensitive lookup and search aliases.
- Backend::parse accepts the new renderer labels, so reported settings round-trip.
- Display names are unique per language in every effect catalog (new test).
- Warp Stabilizer and Roto Brush keep their names until RFC-0029 settles.
- Mapping in docs/feature-naming.md.
* Preview: the sound plays on through stalls, the picture drops frames (#2473)
A preview whose rendering fell behind stopped its sound at the first frame
that wasn't cached and started it again once frames were cached, which
chopped it into bursts. Now the sound plays on: the picture shows the latest
frame rendered up to the sound, and the prefetch and the cache's eviction
order follow the sound's frame rather than the picture's.
The stall backoff from #3272 no longer has anything to do and is removed.
The start of a preview still waits for its first frames (#947).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Preview: a picture behind its sound never shows past the sound's frame
`latest_cached_before` stopped only on the sound's exact frame, which a
picture off the plan's frame step steps over and a sound behind the picture
in a non-looping preview never reaches, so it could return a frame ahead of
the sound. The walk now stops at the first frame that isn't between the
picture and the sound in play order (across the loop's end once the sound
has wrapped). Also brings `Playback::starting`'s doc up to date.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Preview: each stall doubles the frames the held sound waits for (#3260)
A preview that renders just below real time stopped its sound at the first
uncached frame, then started it again as soon as the silent preview kept up
with `ahead` frames cached. Those ran out within a few frames, so the sound
started and stopped over and over, which plays as distortion (#2473, #3260).
Each stall that stops the sound now doubles the cached frames ahead it waits
for before starting again, up to what fits in the RAM preview. A new preview
starts counting from zero.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Preview: cap the held sound's wait at frames the prefetch can keep cached
Once the doubling reached the RAM preview's `fit`, the held sound waited for
offsets 0..fit, but the prefetch only requests offsets below fit - 1, and
while the silent preview moves on its last requests are still rendering. The
sound then stayed silent almost to the end of the preview even after
rendering recovered.
The backoff now stops at half of the frames the prefetch requests, and never
below the wait before any stall. A new test caches only the frames playback
itself requests, with a RAM preview of `ahead + 2` frames.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: record the source files each frame reads
Part of #3184 (step 1): renders now report which footage files they read,
each with its identity (size and modification time) as read. Nothing uses
the list yet: images, cache keys and cache behaviour are unchanged.
- render: `reads` module with `FileStamp`, `ReadFile`, `ReadFiles` (sorted,
deduplicated, bounded; marked incomplete when it can't vouch for every
file) and the thread-safe `ReadLog`. `Renderer::reads` collects a frame's
files; `FootageSource::recording` lets a source note what it reads.
`file_stamp` uses the same identity.
- Layer cache entries keep the files their buffer was made of and report
them on every hit; derived entries (styles, blend space, flattened) keep
their base's. Buffers from the disk cache or the browser store don't know
their files yet and mark the list incomplete.
- Media pool: every file read notes its identity, taken from the file it
opens. Decoded frames, opened movies, GIFs, models and EXR channels keep
it with the cache entry, so a frame served from memory reports its file
without touching the disk.
- Viewer frame worker collects each frame's list and carries it to where
the disk entry is written (step 2 stores it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Automation: confined footage passes on the files it reads
Part of #3184: ConfinedFootage forwards FootageSource::recording to the
source it wraps, so renders of an automation session list their files
instead of coming back incomplete. The read tests also render through the
viewer's CancellableFootage wrapper.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: frame entries keep their source files, comp key from memory
Part of #3184 (step 2). Fixes#3175: opening a comp no longer stamps every
footage file of the project before its first frame can show.
- The comp's content key (`disk_cache::comp_content_key`) is taken from the
project in memory alone: no footage or proxy file is stamped, no
`VirtualFileId` is asked. `comp_content_key_with` is gone; `frame_key`
hashes a new entry version, so entries of the earlier format are never
looked up again (LRU evicts them).
- Frame entries (formats 2 and 3) store the files the frame read
(`EntryFiles`: size and modification time as read; size and content hash
through `VirtualFileId` for files from memory; missing files), then the
pixels. Formats 0 and 1 read as misses and are deleted.
- Check on hit: `get_frame`/`get_frame_f16` look only at the listed files
(one metadata call each) on the frame worker. A changed, back or unreadable
file, or a damaged entry, is a miss: the entry is deleted and the frame
rendered and stored again.
- A frame whose file list is incomplete is shown but not stored. The RAM
preview keeps each frame's files, so `persist_missing` writes only frames
with a complete list.
- Remote frame worker: `FrameServer` records each frame's reads
(`take_files`); the web worker stores them with the entry and the page
checks them through the file table before using it. The browser's media
epoch existed only for the old key and is removed. Export does not use
frame entries.
- The cache indicator still only asks whether an entry exists.
Tests: entry format round trip and damage, the check per file, and in the
viewer: a changed file re-renders exactly its frames (and a reopen reads the
rest from disk); a frame checks only its own files in a project with a large
unused sequence and the key looks at no file; missing, unreadable files and
damaged entries never serve a stale frame.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: layer entries keep their source files, no footage salt
Part of #3184 (step 3 of 4).
Layer buffers on disk (and in the browser's layer store) now carry the
files they were made of, like frame entries since step 2, and are checked
against exactly those files when used. The project-wide footage salt is
gone: nothing stamps every footage file any more.
- Layer entry format 4: the buffer's EntryFiles, then the pixels. A hit
checks only the listed files (metadata, or the VirtualFileId hook for
files from memory; Missing must still be missing); a change, a damaged
entry or the old format 0 is a miss and the entry is deleted, so the
re-rendered buffer replaces it. A hit reports its file list, so frames
made of buffers from disk are complete and get stored again.
- Buffers whose files can't all be named are not written.
- Layer disk keys: layer_disk_key = hash of the layer entry version, the
renderer version and the layer cache key (which names the footage items
with their paths and settings, from memory).
- PrefetchStore checks on use; an entry made of changed files is dropped
and forgotten, so the new buffer is queued over it. FrameServer passes
its virtual-file hook to its layer cache.
- Removed: footage_salt(_with), file_stamp, footage_stamp,
set_disk_salt, set_store_salt, Session::refresh_disk_salt,
poll_disk_salt, footage_fingerprint, disk_salt, disk_salt_background,
disk_salt_job, DiskSaltJob, the UI's per-frame poll, the salt in
FrameServer and in the availability worker (with its cache_enabled
plumbing). The disk cache is attached as soon as it is configured.
- Docs: architecture.md, web.md.
Tests: layer entries check their files (size, time, missing/back,
folder, damaged, old format, incomplete); virtual files; prefetch store;
media tests with a real pool across restarts (only the changed file is
read, projects with the same item ids never share an entry, missing,
unreadable and damaged never serve stale buffers); engine tests that the
cache is attached at once and edits do no file work (#1926, #3106).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: no-salt worker test, sequence paths in the frame-blend key
Part of #3184 (step 3 of 4).
- A frame-blended footage frame's layer-cache key now hashes the
sequence's file list: with no project-wide salt, two projects whose
items share an id and a first frame must not share its disk entry.
- Test: a frame worker syncing, patching and rendering a project with an
unused 5000-frame sequence asks its file hook only about the file its
buffer reads (the salt asked about every file at every sync).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: the comp key covers what its expressions can read
With an expression anywhere in the project, every comp's disk key hashed
every item of the project, so any edit (another comp, an unused footage
item) threw away every comp's frames on disk. The key now covers what the
comp can draw plus what the expressions among it can reach
(Project::pixel_reach):
- without expressions: the items the comp draws, without silent layers,
plus the footage its precomp layers swap in (Media Replacement);
- with expressions: every layer of the comps they reach, their markers,
the comps and footage they name with string literals (comp("Name"),
footage("Name")) together with which items have those names now, and
the footage named like a reached source (its data is read by name);
- the whole project when an expression computes a name, uses the object
model's constructors or internals, dynamic code, computed keys or
writes, or text the scanner can't read for sure (regex literals,
template strings, escapes): expression_reach errs towards reaching more.
Markers count only where an expression can read them (#1083). Memory
only, no file is looked at.
Tests: scanner and reach unit tests in the project crate; engine tests
for the key (own-comp expressions keep the key through edits elsewhere,
comp("Other") follows Other and not a third comp, a second comp taking
the name counts, a computed name counts every item, markers read from
another comp); a ui-egui test that the disk frames outside an expression
layer are carried when the comp it names changes.
Part of #3184. Part of #1492.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: Reload Footage drops the entries of its files, docs
File > Reload Footage now deletes the frame and layer entries whose file
lists name the reloaded item's files (DiskCache::drop_files), so a file
replaced by one with the same size and modification time, which the
check on hit can't tell apart, is read again. The index knows keys, not
files: the writer thread reads the files section at the start of each
frame and layer entry (not the pixels) after the writes queued before
it, and deletes the entries that list one of the files. Until it is
done, an entry made of one of them is a miss and frames aren't linked to
new keys. The entries are gone for good, so they don't come back after a
restart. Automatic reloads don't drop anything: they follow a changed
stamp, which the check on hit catches. The browser needs nothing (its
file identities are content hashes).
Removed: disk_cache::seal, which steps 2 and 3 left without callers (the
tests use seal_format). Updated the module, seal_format and forget_media
docs, and docs/architecture.md / docs/web.md describe the final design:
what is cached, keys from memory, file lists checked on hit, nothing
scans the project, incomplete lists stay in memory, Reload Footage drops
entries, edits keep the frames they can't change.
Tests: render unit tests (same size and time passes the check but not
the drop; other files' entries stay; an entry queued before the drop is
dropped; a layer entry too; written again afterwards it is used; the
drop survives a restart; a pending drop is a miss), and an engine test
through file.reloadFootage.
Closes#3184. Part of #1492.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: file stamps keep the whole modification time
A file's modification time was nanoseconds since 1970 as u64: a time before 1970
read as "no time" (two such files of one size looked alike) and times after 2554
were truncated. It is now i128 nanoseconds, negative before the epoch; None only
means the file system has no time. The content-key hash writes a presence tag and
the full value.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Automation: a refused footage read leaves the render's file list incomplete
Footage outside the read roots shows nothing and was noted as no file at all, so a
picture made without it had a complete, empty list and could be kept on disk for
a later session with other roots. A refused read during `recording` now marks the
list incomplete.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Render: a buffer kept by another worker comes with its own files
LayerCache::insert returns the files of the buffer it keeps, and Renderer::keep
notes them in the render's log and returns them, so a render that uses another
worker's buffer lists that buffer's files (a file changed between the two reads
then has two identities and the list is incomplete).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Render: sampleImage and text fonts note the files they read
EvalCtx carries the render's read log. A sampleImage render records its footage
reads, keeps them with its per-thread cached buffer and notes them in the
evaluating render's log on every use. Text notes the font files it is drawn with,
with the identity their bytes were read with; a family that isn't installed, a
fallback or missing glyph, or a font from memory leaves the list incomplete.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: frame entries store the whole modification time
A frame entry's file list stores a file's modification time as i128 nanoseconds
since 1970 (negative before), as the file stamps now keep it; the frame entry
format version goes to frame-entry-files-2 so entries in the old layout are not
read.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: layer entries store the whole modification time
Layer entries share the frame entries' file list layout, which now stores the
full i128 modification time: the layer entry format version goes to
layer-entry-files-2. The module doc names the font files text is drawn with
among an entry's source files, and what keeps a list incomplete.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Layer cache: buffers that read other layers are keyed by the switches passed down
A layer whose effect reads another layer (Gradient Wipe, Set Matte, Blend…) gets
that layer drawn by its own renderer. Through a precomp layer, Switches Affect
Nested Comps, the switches inherited from the precomp layers above and motion
blur on change those pixels, but the key held only the layers' own switches: a
buffer made with the setting on was reused (from memory or the disk cache) with
it off. Such layers now derive their key with what the renderer passes down.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Layer cache: masked buffers are keyed by the mask motion blur gate
A mask with Mask Motion Blur On blurs even when the layer's own switch is off,
as long as the render's gate is open (Render Settings motion blur, and with
Switches Affect Nested Comps the precomp layers above). The key held the
layer's own motion blur state only, so a buffer blurred with the gate open was
reused with it closed (and the other way round), also from the disk cache.
Masked layer, input and footprint keys now tell a closed gate apart.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Render: cached buffers list what their expressions and substituted characters read
- Buffers made under `Renderer::recorded` (layer content, a Time effect's input, an adjustment
layer's footprint) evaluate their masks, shapes and effects with the context that notes into
the buffer's own read log, so a file an expression reads (`sampleImage`, also at shutter times
mask motion blur adds and the cache key doesn't see) is in the buffer's files.
- A styled layer served from the cache lists the files of the cached body and passes too, so
the buffers made of it (flattened, blending space) don't get a complete list when one of them
came with an incomplete one.
- A character put in by Character Offset or Character Value without a relayout notes the font
it is drawn with; a fallback face (or none) leaves the list incomplete.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Render: text lists the font file of a run that draws no glyph; tests clean their temp dirs
An empty first paragraph draws no glyph, but in a box its face sets the
first baseline that places every later line. The read list took faces only
from glyphs, so it could be complete without that file. Note each style
run's resolved face as well.
The font-reads and confine tests use tempfile::tempdir(): a fresh
directory per run, removed on panic too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: Reload Footage closes the gaps around its drop (#3184)
- A reload while the disk cache is off is kept on the session
(pending_disk_drops) and applied when the cache is switched on, before
anything is read from it.
- Each render takes the cache's drop generation before it reads (frame
worker; layer cache at the miss). An entry listing a file dropped after
that is refused under the queue's lock, so a render that was under way
during the reload can't store pixels from before it. Such a frame is
shown with an incomplete file list, so persist_missing skips it too.
The per-file record is bounded (past it, everything older is refused).
- An entry read while its drop was pending is a miss even when the
writer ends the sweep between the read and the check (a stale hit
found under load): the pending drops and the generation are taken
before the entry is read.
- Test: a reopened project serves its frame from disk with no source file
opened or decoded.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: RAM frames keep the drop generation their render started at
Reload Footage empties the RAM preview, but an idle pass of
persist_missing may already hold a frame from before the reload. It
took the cache's drop generation when it ran, after the drop, so the old
pixels could be written back and, with the file's size and time
unchanged, served again after a restart.
Each RAM frame now keeps the disk cache its render started with and
that cache's drop generation then. persist_missing writes a frame only
to that cache, with that generation, and skips it once one of its files
was dropped since; a frame rendered without that cache is not written
from there.
Tests use tempfile directories (the layer drop test, the frame_files
folders under target/).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Doc comments for the functions this PR touches
* Disk cache: cap the free-space reserve at 10 GB, skip encodes the limit refuses
The reserve the cache leaves free on its disk was max(2 GB, 5% of the
disk) (#2551). On a 4 TB disk with 190 GB free that is 200 GB, so a
cache set to 20 GB had a limit of 0: every write was refused, the cache
never held anything, and only a log warning said so.
The reserve is now clamp(5% of the disk, 2 GB, 10 GB). It is there to
keep the cache from filling the disk, not to keep a share of a large
disk free: 10 GB leaves the system room to work on any disk, a small
disk still keeps 2 GB, and a 100 GB disk keeps 5 GB as before. After
Effects has only a maximum cache size and no reserve; a clamp keeps
the floor for small disks, where a fixed 10 GB would take most of the
space.
Writes the limit refuses cost no work: DiskCache::accepts_writes (one
atomic read) is checked before a frame is converted (put_disk_frame)
and before frames and layers are compressed (put_frame, put_frame_f16,
put_layer). The frame workers spent about 8 ms per frame and 14 ms per
layer on encodes that were then refused. persist_missing returns at
once at limit 0 instead of converting the RAM frames on every idle pass.
Settings > Disk shows the limit in effect in MB under Maximum Disk
Cache Size, with a note when free disk space lowers it
(settings.disk.cacheLimit).
* Disk cache: refuse writes below 64 MB of room, show this disk's reserve
Review follow-ups to the reserve fix:
- accepts_writes also refuses while free disk space leaves less than
64 MB of room (a limit the setting asks for is always used): a few
frames would fill it, and the rest would be compressed only to be
refused.
- While writes are refused the idle passes ask for no repaint, so the
UI keeps a frame coming every 5 s: the free space is read again and
the RAM frames are written once there is room.
- Settings > Disk names the space kept free on this disk (the reserve
the last reading applied; the rule from MIN/MAX_DISK_RESERVE when it
is unknown), and the "no room" note follows accepts_writes.
- The settings.disk.cacheLimit automation label is machine-readable
and the same in every language: limitMb, maxMb, reserveMb,
spaceLimited, writes.
- cargo fmt.
* Disk cache: follow 3D model sources in the comp's reach
The reach walk followed comp, footage and solid sources but not
LayerSource::Model. An expression reading a model layer's source
(thisComp.layer("Model").source.name) left the model item out of the
comp's content key, so renaming the model kept the key and the old
frames on disk were served. Every source item is followed now
(LayerSource::item), which also counts the model when no expression
reads it (Advanced 3D draws it).
The same omission is fixed in the RAM preview's content walk
(frames.rs) and in the layer key's walk of referenced layers
(cache/dependencies.rs).
* Disk cache: a render's drop generation travels with its reads; no disk entries for Expression Selectors
Drop generation per render: the layer cache recovered a buffer's drop
generation from the latest miss of its key, so a second render of the
key that started after File > Reload Footage lent its generation to a
render still running from before, and that render's buffer (the file as
it was) was written after the sweep. Now Renderer::recorded starts each
buffer's read log at the store's drop generation before anything is
read (ReadLog::starting_at); ReadFiles carries the earliest generation
through merges, so derived buffers (styles, the blend-space copy, the
flattened layer) and frames that use a buffer from memory carry it too.
LayerCache::insert keeps a buffer made of a file dropped since its
reads began neither on disk nor in memory; a list that doesn't say
counts as made before every drop. DiskCache::dropped_since takes the
list's own generation too. missed_at keeps only the miss time.
Expression Selectors: the layer key evaluates a text Expression
Selector's amount for the first character only, so a per-character
dependency such as textIndex == 1 ? 0 : footage("ref.png").width was
not in the key, and after the footage item's width changed a reopened
session reused the old layer entry. A text layer with an Expression
Selector now marks its reads unkeyed (ReadFiles::is_unkeyed), which
merges like the generation; such buffers stay in memory and are never
written to disk. Frame entries are unaffected: the comp's frame key
hashes what the expressions name. The equality and hash of ReadFiles
ignore both new fields.
* Disk cache: never serve a RAM layer buffer made before a drop of its files
A render that passed the drop check could sit in put_layer's encode
while Reload Footage cleared the layer cache and dropped the file, then
publish its old pixels to memory after the purge; get, and a fresh
render's insert, then served them. The disk-hit promotion went through
the same insert_mem.
Every way the cache hands out a RAM buffer (get, the kept-first path of
insert, an existing entry in insert_mem) now checks the entry's files
against the store's drops from their own generation (ReadFiles::since):
an entry made before a drop of one of its files is forgotten and the
lookup misses, so a fresh render's buffer replaces it. insert_mem also
re-checks a buffer just before publishing it.
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A project file, an .aep, a timeline document or a Lottie file could give a
layer a time stretch of 1e-300 %, 0 or 1e300 %. Layer and comp time divide
by it and the audio mix read about usize::MAX source samples for one block,
which overflowed or tried a huge allocation and aborted the app.
- limits::stretch brings a stretch within After Effects' range (±1 % to
±9900 %, Layer.stretch in the scripting guide), sign kept; 0 and NaN are
100 %. Opening a project file corrects each layer and says so; a stretch
written as null (NaN in an auto-save) now opens instead of failing.
- .aep import and Lottie import clamp and report the stretch; timeline
import clamps the clip speed and warns.
- layer.timeStretch refuses a non-number and more than 9900 %; the Time
Stretch dialog's ranges match.
- Layer::layer_time / comp_time and the audio mix use the clamped stretch,
so a value set in memory can't divide by zero or read without bound.
Fixes#3247
arnav-hiwarkarandClaude Opus 5.5
FredApps
FredApps
nazar-gavrylyk
vangel76
Dylan M. Taylor
dotCooCoo