In After Effects, text animator Tracking Amount adds the value in absolute
pixels between neighbouring characters, independent of font size. EffectCraft
previously scaled tracking by 1/1000 em (matching static Character-panel
tracking), causing tracking reveals to have significantly reduced spread.
Apply Tracking Amount directly in pixels during glyph positioning layout,
update existing tracking tests to reflect pixel units, and add a regression
test verifying font-size independence.
Fixes#1798
Exporting still frames via comp.saveFrameAs previously flattened the
rendered frame against the composition background color, stripping
the alpha channel. Single still frames queued in the Render Queue also
defaulted to an RGB-only PNG sequence output module.
Preserve straight alpha by default in comp.saveFrameAs (while honoring
transparent: false if requested), and set TemplateSlot::Still to default
to 'PNG Sequence with Alpha'.
Fixes#1815
The menu had an extra "Half On" at position 10, where After Effects has
"Full Off", so a project or script written for After Effects set a channel
to 50 % grey instead of turning it off, with no error: the RGB-split recipe
(three copies, each keeping one channel and setting the other two to Full
Off, blended with Add) rendered pastel instead of pure red, green and blue.
After Effects' ten options now come first, in its order, and "Half On" sits
last as an EffectCraft extra, so values 1 to 10 mean what they mean in After
Effects and nothing is lost. Instances saved with the old order keep the
option they chose: upgrade_instance already remaps popup values by label.
The GPU path keeps its own copy of the table, so it is reordered to match;
a GPU-vs-CPU parity case now covers the constant sources at the end of the
menu, where the two tables could drift apart unnoticed. Both paths clamped
the index to a hardcoded 10 and now use SHIFT_ORDER.len() - 1, so the clamp
cannot go stale if the list changes again.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
startup_finishes_when_extended_viewer_frames_are_larger failed on busy
machines. The harness clock moves 1/30 s per step however long a frame
takes, so a slow first frame could use up the startup's limits in
harness time. The test now waits for the first frame in real time
before stepping on, as it is about the wait for the frames ahead, and
checks the fake device was started and not stopped.
Under load the first frame could take longer than STARTUP_WAIT to be
cached. The start then gave up, started the sound on that uncached
frame, and the stall path stopped it in the same step, so the opening
played silently.
STARTUP_WAIT (2 s) now counts from when the first frame is cached, and
only bounds the wait for the frames ahead. A new STARTUP_LIMIT (10 s
from Play) still ends the wait for a first frame that never gets cached.
The sound is never started on a frame that isn't cached: the preview
goes on as a stalled one does, and the sound starts once frames are in.
Tests (ui_audio_scrub): a first frame held uncached for 3 s still gets
its sound from frame 0, and the device keeps playing (fails on the
previous commit). The two give-up tests now check that no sound is
started and dropped.
Tests that share a fixture each generate it on a first run and rename
their temp file into place. On Windows the losing rename fails with
PermissionDenied while the winner has the file open. Treat a failed
rename as "another test made it first" when the fixture exists, as
`png_sequence` already does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
`Stills` is only used by the `#[cfg(unix)]` part of
`footage_on_other_computers_is_never_looked_at`. On Windows it was dead
code, so `cargo xtask ci` stopped at clippy (`-D warnings`).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A WAV's markers were never read, so its audio layer showed none. The importer
now reads the file's cue points (`cue ` chunk named by `LIST/adtl` `labl` and
`note`, sized by `ltxt`) and Adobe's XMP markers (`_PMX` chunk, `xmpDM:markers`
entries as elements or attributes, in frames of the track's `xmpDM:frameRate`).
A marker present in both encodings is listed once. The reader is bounds-checked
and caps the marker count and XMP size.
- `Footage.markers` (optional in the file format) holds them at footage time; a
layer made from the footage starts with them.
- Layer ▸ Markers ▸ Update Markers From Source also works on footage layers.
- Markers from a file have no label colour.
Tests: reader unit tests (cue, note, ltxt, both XMP forms, both encodings,
truncated and hostile files), a probe test, and an end-to-end test through the
fully wired session. Not checked against a WAV written by Adobe's tools.
Claude-Session: https://claude.ai/code/session_013fTnVxnXTv2MBW6uj2PPyU
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A named marker drew its name as bare text beside the flag. After Effects puts
it in a small outlined box. The box uses the theme's field fill, field outline
and text tokens, so it follows Dark, Darker and Light instead of a fixed grey.
It applies to every marker with a name, composition markers included; the dimmed
names of nested-comp markers on a precomp layer's bar are unchanged.
Split out of the WAV markers change (#1423), where the review asked for it to be
its own decision. Test: ui_marker_names renders the timeline in Dark and in
Light, samples the box's fill and outline pixels, and checks they equal that
theme's tokens and differ between the themes.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
crypto_aux_image_with now takes CryptoAux::{ColorsAndMatte, MatteOnly}
instead of a bool, and CryptoAux::for_display holds the rule for which
displays read the ID colours (Colors without Matte Only). IdColorMemo uses
get_mut instead of indexing, and the CPU effect zips the pixels with the
aux index map instead of indexing it. No behaviour change.
Windows ships a UI variant of its Japanese and Chinese families (`Meiryo`/`Meiryo UI`, `Yu
Gothic`/`Yu Gothic UI`, `MS Gothic`/`MS UI Gothic`, `Microsoft YaHei`/`Microsoft YaHei UI`,
`Microsoft JhengHei`/`Microsoft JhengHei UI`) whose kana and kanji are drawn for the screen, and its
own link table for `Segoe UI` picks the UI one for everything it draws. The interface should ask for
it - but the same lists feed `fonts::fallback_for`, which shapes composed frames, so reordering them
would change how existing projects render. The two orders are therefore separate: this leaves
`crates/text/src/fonts.rs` exactly as it is and gives the interface its own candidate list in
`install_script_fallbacks`, which falls back to the shared choice when the platform has no UI variant,
none is installed, or it does not cover the probe.
`PMingLiU` is in the interface list for its proportional spacing, not as a sibling of `MingLiU`: it is
MingLiU's proportional relative.
The rendered order is pinned by a test now: the Japanese list keeps `Yu Gothic` ahead of `Yu Gothic
UI`, and no UI name appears in the lists a document renders with. `the_interface_asks_for_the_
platforms_ui_faces` pins the interface list and checks that every other script the install probes has
none, so a script that draws correctly in any face keeps the shared order.
Review fixes: the locale is mapped once (the call passes the language, the helper maps it), the new
test sits after the #394 test it had split from its doc comment, and the fonts.rs test asserts instead
of panicking inside a closure. Rebased on current main; #1395 has not landed yet, so there is nothing
to rebase after it.
Kushagra Kumar
Michael Higgins
Anubhav-RaiandClaude Opus 5
tylerjenningsw
Charles BaumerandClaude Opus 5.5
Davit MatchakhelidzeandClaude Opus 5.5
Kristian MyramandClaude Sonnet 5.5
Brandon Thomas
Matej Kozlovský
FeiLiuEM