* av1enc: motion search with a visited set and early-exit SAD, fixed-size SATD, region-only BlockDecoded snapshot
- motion_search remembered nothing: the diamond search evaluated the previous
centre again and every SAD ran to the last row even when it had already
lost. Full-sample and sub-sample positions are now tracked in a visited
list (costs are deterministic, so a position that was evaluated cannot beat
the best cost again), and the SAD stops after a row once sad + mv cost can no
longer be below the best cost. The stop test is the same f64 expression as
the strict "<" the callers apply, and it is monotone in the SAD, so the
chosen vector is the same.
- satd runs with a fixed block size (satd_k::<4> / satd_k::<8>): the
difference block is a [[i32; K]; K], the vertical butterflies work on whole
rows at once, and the old per-column gather is gone. The sum is an integer
sum of the same values.
- A snapshot copies only the BlockDecoded cells of the block area (at most
16x16 per plane), the only flags coding inside the block can change, instead
of the whole 3x35x35 array.
The encoded stream is unchanged. A unit test compares the new SATD with the
previous implementation for 4..32 sample blocks at 8 and 10 bit.
Fixes#2387
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* av1enc: tests for the region-only BlockDecoded snapshot and the bounded SADs
- `snapshot_restore_brings_back_every_blockdecoded_flag`: for every block
size of a 64x64 superblock (4x4 .. 64x64) at every aligned position in two
superblocks, from an all-clear and a random flag state, marking every
sub-block of every size inside the block and restoring gives back the whole
3x35x35 array, so the 16x16 region covers every flag coding can set and
leaves the neighbours alone.
- `bounded_sad_stops_only_once_the_cost_cannot_win`: `sad_ref` and
`sad_bounded` return the full SAD whenever `sad + lb < bound`, and
otherwise a partial sum that already loses the strict `<` of the callers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: Codex <noreply@openai.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* opusenc: memoise SILK rate-loop trials, ring buffer for noise feedback
Rate loop: each probe clones the encoder and the range coder and codes the
whole frame, about 7 trials per frame. The hard-limit check recomputed the
trial of the chosen offset and the final step coded the frame a third time.
Keep every trial (offset, bits, encoder state, range coder): the hard-limit
check now hits the memo and the final step adopts the memoised state and
coder. If the chosen offset is somehow not in the memo it is coded as before.
Quantiser: the noise-feedback history was shifted with copy_within for every
sample (the quantiser runs about 7 times per frame). Keep it in a
double-length ring so the 16 most recent errors are one contiguous slice;
the dot product reads the same pairs in the same order, and the history is
written back to the channel at the end.
The packet streams are byte-identical to before (cmp on 24 configurations
of 90 s: speech-like and music-like input, mono and stereo, SILK NB/MB/WB
and hybrid SWB/FB).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* opusenc: noise-feedback ring as a helper type, equivalence tests for the SILK rate loop
`quantize` was at cognitive complexity 31 on current main (limit 30). The
double-length ring for the noise-feedback history moves into `NfRing`
(push / window / to_array), and the end-of-frame bookkeeping of `encode`
into `end_frame`.
Tests: the ring matches a shifted history over 100 pushes, and an encoder
that adopts the memoised trial produces the same bytes, noise-feedback
history and LPC state, frame after frame, as one that codes every frame
again at the chosen offset (the step before the memo), for 8/12/16 kHz,
mono and stereo, with and without a tight hard limit.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* Subspace Warp: QL eigen solver and banded mesh solve (#2319)
plan() spent 43-96 % of its time in the cyclic Jacobi sym_eigen, whose
absolute stop test never triggers on Gram matrices of magnitude ~1e8, and
then ran a dense Cholesky on a mesh normal matrix of bandwidth ~30.
Use Householder tridiagonalisation plus implicit QL inside subspace.rs
(only the leading subspace is used, so basis and sign do not matter), and
accumulate and factor the mesh normal equations in lower-band storage,
without a Vec per data row. camtrack/linalg.rs is untouched.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Subspace Warp: replace the QL eigen solver with a clean-room symmetric QR
The previous sym_eigen_ql followed a well-known published tred2/tqli listing
too closely for the clean-room rules. It is replaced by sym_eigen_qr, written
from the textbook method (Golub & Van Loan, Matrix Computations, ch. 8) in
its own structure:
- householder_tridiagonal: explicit reflectors with the symmetric rank-2
update B -= v w^T + w v^T (p = beta B v, w = p - (beta p^T v / 2) v), Q
accumulated as rows of Q^T.
- wilkinson_qr_step: one implicit QR step with the Wilkinson shift, Givens
rotations chasing the bulge from the top of the unreduced block down.
- sym_eigen_qr: deflation of negligible off-diagonal entries and the step
driver, split so each function stays under the complexity limit.
It returns None for non-finite input, a size mismatch or no convergence
within 30 n steps; smooth_trajectories then falls back to the Jacobi
sym_eigen, so it can never loop for ever or be worse than before.
Tests: random symmetric matrices (n = 1..61) against Jacobi eigenvalues,
residual |A v - lambda v| and V^T V = I; identity, repeated 3x3 blocks, zero,
1x1, 0x0, rows scaled from 1e-8 to 1e8 and a 1-2-1 tridiagonal; NaN, infinity
and size mismatch return None; the leading-subspace projector of Gram-like
low-rank matrices matches Jacobi. An ignored benchmark times plan() on a
300-frame synthetic parallax shot.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* Roto Brush: propagate on the band bounding box
propagate() ran the signed distance, gauss, graph cut, model fit and
clean over the whole frame. Work on the crop of the band bounding box
(|sd| <= r plus the core, padded) and paste the labels back; fall back
to the full frame when the crop is not smaller. warp_prior stays
full-frame.
Fixes#2323
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Roto Brush: band crop padded by the prior blur, models fitted on the full frame
Review follow-up for the band bounding-box crop in propagate:
- The crop pad is now the reach of the prior blur (three box passes of
matting::gauss, exposed as matting::gauss_reach) instead of 1 px, so every
band pixel sees the same blur window as on the full frame.
- When the previous frame has no colour models they are fitted on the full
frame before cropping, as the full-frame path does.
- The free pixels and the clean seeds are cut out of the full-frame signed
distance instead of being recomputed on the crop; the seeds equal
core_of(prior.soft), which saves one signed distance per frame.
- The full-frame path and the crop share recut_band/cut_band; full frame is
just the whole rectangle. A frame with no band and no core (no
foreground) skips the cut, which was a no-op.
- The w - 1 / h - 1 underflow on zero-sized frames is gone (band_rect
returns None); regression test for 4x0, 0x4 and 0x0 (panicked before in
debug builds).
Tests: crop vs full frame labels on a disk, a disk at the frame corner, a
donut, r = 2 and r = 3 with prior edges wider than the band, and no
foreground, each with fitted, given and equal colour models; the padded crop
blurs the prior like the full frame at every band pixel while a 1 px pad
does not.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* Roto Brush: reuse scratch vectors in the distance transform
matting::distance allocated four vectors per column plus a staging copy
and three vectors per row. Run the columns and rows through four reused
scratch vectors instead; the dt1 arithmetic is unchanged.
Fixes#2324
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Roto Brush: keep the distance transform parallel, with per-split scratch
The previous commit made the column and row passes serial, which was measured
on one thread only. Both passes are parallel again: the column pass runs on a
transposed buffer so every column is a contiguous chunk, and rayon's
for_each_init gives each work split one set of scratch vectors instead of
four allocations per line. The square root is folded into the row pass.
A test keeps the old per-line implementation and checks that the output is
bit-identical on a disk, its inverse, 1xN, Nx1, all-true, all-false, seeds on
the frame edge and a sparse 333x211 pattern. An ignored benchmark prints the
1080p median and the rayon thread count.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Roto matting: size the distance-transform scratch per pass (columns h, rows w)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
On a hosted macOS runner the_shader_is_the_reference found 168 of 16384
bytes one step off, just over the 1 % a real GPU is allowed.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* EXR golden test: hash samples near, not bit for bit (temporary: print the new goldens)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* EXR golden test: the new near hashes
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Native division isn't correctly rounded on real GPUs, so
posterize_matches_the_cpu_on_every_8bpc_pair failed on NVIDIA and Apple
GPUs while passing on the software renderer hosted CI uses.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: map the Cryptomatte plug-in to EffectCraft's Cryptomatte
The importer reported every instance of the free Cryptomatte plug-in
(match name `Cryptomatte`) as a lost effect. It now becomes
`ec.3d.cryptomatte`:
- CryptomatteData decodes the plug-in's Settings data (its own
little-endian layout, documented in docs/aep-format.md 3.7): the
Cryptomatte layer name and the selection text, both carried verbatim.
- Output maps to Display / Matte Only (Colors -> Colors, Matted RGBA ->
Matte, Matte Only -> Matte Only). Matted Colors, Selection Mode when on,
keys or expressions and anything else stored are reported, and
unreadable data is reported as damaged.
- EffectCraft's Cryptomatte gains a Layer Name text parameter. A layer the
footage has under exactly that name wins; otherwise the Layer popup
decides as before. The CPU, GPU and pick paths share one resolver
(AuxChannels::resolve_crypto_layer_named). Without it, plug-in layer
names such as Crypto_Material would silently fall back to the first
layer.
On a real production project this takes the effect losses from 132 to 44.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: check Cryptomatte against an After Effects 2026 sample of our own
A sample made in After Effects 2026 (plug-in 2.6.6: a fresh effect,
Selection Mode on, each Output item, with read-backs and renders)
corrected three points of the mapping:
- Selection Mode on was dropped silently: After Effects writes it as a
default-state record (tdsb 3) holding 1, which the general reader does
not take. The Cryptomatte step reads that record itself and reports it.
- No Output record is now the plug-in's default Colors, also for an
instance that borrows the project's definition (every instance after
the first), which was reported as having no reliable default and fell
back to EffectCraft's Preview. Keyed or unreadable Output values fall
back to Colors too, still reported.
- Matted Colors imports as Display Matte (the same matte over the layer's
own colours) instead of Preview, still reported as an approximation.
docs/aep-format.md 3.7 gets the sampled Output default, the tdsb 3
Selection Mode record and the real fresh Settings data (an empty text of
length 1 and its MurmurHash3, twice, not cry1 and zeros); docs/aep-import.md
the render comparison with After Effects (Matted RGBA matches; Matte Only
differs in alpha; Colors with no layer chosen shows another layer).
Tests: the exact fresh Settings bytes, tdsb 3 Selection Mode, borrowed
definitions, and an opt-in test against the sample once it is in the
corpus (aep/cryptomatte.aep, ignored until the corpus pin includes it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: write Cryptomatte's popup items in the test as After Effects does
The injected Cryptomatte definition wrote `pdnm` and `fnam` as `LIST`
chunks. After Effects writes them as plain chunks whose body is chunks
(`NESTED_IDS`), and the reader only looks there, so the tests never read
Output's item names: they passed through the fallback for a definition
with four items and no `pdnm`, which uses the plug-in's own list.
The harness now writes both as After Effects does. New tests check that
the injected definition reads back with its items and instance name,
that Output is mapped by the item the stored index names (items in
another order, case, an unknown item), and that the fallback without a
`pdnm` still works. With the old `LIST` form, or with the mapping
ignoring the items, the new tests fail.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: check Cryptomatte's layer and selection against presets of our own
The After Effects 2026 sample 1400 now has two preset compositions that choose a layer and
pick one object (box_red on CryptoObject) or one material (mat_paint on CryptoMaterial).
CryptomatteData reads both as they are; the picked tokens are the EXR manifest's hashes,
which EffectCraft's selection grammar reads the same as the names.
- The u32 at 108 is MurmurHash3 of the selection text with its NUL (three texts).
- A unit test pins the 127-byte preset data; the sample test now covers all eight
compositions with their layer and selection.
- Render check: EffectCraft's matte covers exactly the pixels After Effects draws as
selected, edge coverage within 0.0002. docs/aep-format.md 3.7 and docs/aep-import.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Cryptomatte import: report damaged Settings and Selection Mode records
Review follow-ups for #3109:
- CryptomatteData refuses a selection text without its NUL and checks the zero byte
at 112 for an empty text too.
- A Settings record without its data, and a Selection Mode record whose value cannot
be read, are reported as damaged data, not taken as the default.
- Layer Name is the effect's last parameter, so the earlier parameters keep their
indexes and upgraded instances have the same order as new ones.
- A Cryptomatte layer name is matched as given before it is trimmed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Cryptomatte settings: require the selection's NUL to end its declared length
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Cryptomatte: match rank planes by the exact layer name
crypto_rank_planes looked planes up with a case-insensitive whole-name match, so
layers Crypto_A and crypto_a shared planes. The layer prefix now matches
case-sensitively; component letters still match in either case.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Format
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* AEP: the exporter knows Extra::Cryptomatte; rustfmt
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* #1335: accessibility slice 2: Info, Flowchart, Script Console and the 3D Camera Tracker block named, described and keyboard-operable
The audit gets read-outs, graphics and logs as described items (a name is required in a fixed panel), dedicated maximized scenarios for the panels the shared loop squeezes, and minimum counts for the new zero panels.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Review: Enter/Space on a favourite star only toggles it; keyboard activation of a property label; settings page scrolls to focus; sharper UI test assertions
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Refresh the accessibility audit baseline after merging upstream/main
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* a11y audit: hold the machine-dependent Media Browser scenario to its upper bound
The Media Browser opens on the home folder, so a runner with fewer files finds fewer controls and
the 'improved, lower the entry' check failed in CI. The entry stays an upper bound.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Merge upstream/main and updated feat-gap25-a11y-audit into feat-gap25-a11y-panels-2
Brought in the updated feat-gap25-a11y-audit (which already contains upstream/main). Conflict: crates/ui-egui/src/menus.rs, which upstream split into menus/*.rs. Took the slim module and re-applied this branch's Flowchart hunks where the code now lives: nudge() skips the Flowchart (menus/invoke.rs) and Enter is left to the Flowchart in handle_shortcuts (menus/shortcuts.rs).
Also removed a duplicate MACHINE_DEPENDENT const in tests/ui_accessibility_audit.rs that the two branches both added. The audit BASELINE still matches the measured findings.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Flowchart: split show() to pass the stricter clippy limits from main
Main now denies cognitive_complexity (30) and too_many_arguments; the
merged flowchart panel exceeded it. The keyboard navigation, the
key-to-node mapping, pan-into-view, node commands, the accessible node
name and the option params move into small helpers with unchanged
behaviour.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Camera tracker a11y test: wait for the analysis result instead of one frame
The test pressed Enter, ran one frame and expected to see the background job.
On a fast runner the job starts, ends and is written back inside that frame,
so the state was never seen. Undo the first analysis, press Enter, and wait
(bounded) for the new analysis step in the undo history.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Accessibility: one hours range for the accessibility pass in ui-parity.md; test that Flowchart automation labels stay English
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Flowchart toolbar: keep the English label for the automation registration
The translated text is shown and spoken; the automation label stays English.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: OpenAI Codex <noreply@openai.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* Timeline: hover texts for the icon-only column headers and layer switches
The Timeline's column header is painted as one click target, so its
icon-only headers (A/V Features, Label, #, the eight switches and the
Modes column's T) had nothing to hover and nothing explained them.
HEADER_TIPS lists each one with a short name and an explanation in our
own words. Hover-only widgets on top of the header show the text, carry a
named ColumnHeader AccessKit node and register automation ids
(timeline.header.av.*, timeline.header.switches.*,
timeline.header.modes.preserveTransparency). The header's clicks and
right-click column menu still work underneath. The layer rows' A/V and
switch toggles and the Preserve Transparency box show the same texts.
The accessibility audit's Timeline baseline drops from 89/42 to 72/25
because the switches now have accessible names.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Timeline headers: accessible description, Preserve Transparency text, English menu test
The header's node is named before its hover text is added, so screen readers get the
explanation; Preserve Transparency says the layer follows the alpha below it, partial alpha
included; the hover test sets English before checking the translated Hide This item.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge main: keep both sets of timeline tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Timeline tests: close the test before the merged one
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
show() went one over the cognitive complexity limit once #3094 landed on
current main, which failed clippy on every later commit.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Cryptomatte: the Layer popup lists the footage's Cryptomatte layers (#473)
The popup was the constant CryptoObject / CryptoMaterial / CryptoAsset. It now lists the
Cryptomatte layers of the layer's OpenEXR footage, and those three when there are none. The
stored value keeps its meaning (0-2 the standard layers, 3 and up the file's other layers in
name order), so older projects render the same.
Refs #473
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Cryptomatte Layer popup: timeline editor, one menu helper, probe and fallback tests (#473)
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Cryptomatte Layer popup: give further layers of a standard kind a custom slot
A.CryptoObject keeps slot 0; B.CryptoObject and later ones get 3+ instead of
being dropped, so they can be selected, picked and rendered.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Format; note same-kind layers in the footage docs
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Format the merged code with rustfmt
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Viewer exposure on the full float range of 32 bpc frames (#2797)
32 bpc viewer frames on the desktop are rendered without the HDR step (skip_hdr_step,
#2916) and kept as half floats in the RAM preview. A display pass on egui-wgpu's device
turns each frame into one RGBA8 texture with mips per viewer, in this order: decode,
exposure in linear light, Compand / Tone Map, encode, display colour, Show Channel,
rounding. Before, exposure was an 8-bit lookup applied after tone mapping, clamping and
the display conversion, so -2 EV could not bring values above 1.0 back.
- engine: viewer::DisplayPass describes the pass as data; its pixel() is the CPU
fallback (no device) and the shader's reference. It replaces exposure_lut /
display_transform. FrameEncoding records a frame's curve and the HDR step it still
needs. 32 bpc snapshots are taken without the HDR step; snapshot_rgba8 applies it.
- ui-egui: FrameImage::CpuF16 (half crate, F16C at run time), byte accounting at 8 bytes
a pixel in the cache and the prefetch estimates; display_gpu.rs + display_gpu.wgsl;
main viewer, snapshot and passive viewers draw through the pass; the 8-bit image other
panels read is made on demand with the HDR step; the Info panel shows float values.
- Half-float frames are not written to the disk cache yet.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Viewer display pass: f16 disk cache entries, window-device gating, review fixes
- Disk cache: half-float frame entries (format byte in the entry header, byte planes +
LZ4); 8-bit entries keep format 0 and stay valid. 32 bpc viewer frames are written and
read again, and the timeline's disk bar sees them. A damaged half-float entry is
deleted.
- The display pass runs on the window's egui-wgpu device, with or without the GPU
compositor (still building, failed, GL fallback). Its pipelines are made inside error
scopes; a backend that rejects them gets the CPU pass instead of a blank viewer.
- A new LUT of the same size (another ICC profile, Preserve RGB, another display) runs
the pass again.
- f32 to f16: one pass per L1-sized block, the NaN / infinity fix-up on the bits, no
fill of the buffer (4K: 4.7 ms, as the 8-bit conversion).
- Mips of odd-sized levels include the last column / row; the snapshot's half floats
and texture go with the snapshot; no placeholder texture ids; u64 size checks.
- Tests: LUT profiles and negative values against the shader, Bake reruns, the passive
viewer's colour, f16 disk round trips; exact comparisons allow 1 LSB on software
rasterizers. Docs: the display pass and the f16 disk entries in architecture.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Viewer f16 disk-cache test: temp dir removed on failure too, wait for the queued disk write
Review points: the test's directory was only removed by its last statement
(now tempfile::TempDir), and the frame is released before its disk write is
queued, so flush() could return early (now waits for the entry).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Viewer: oversized half-float frames use the CPU display pass, so exposure/HDR come before the averaging down
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Viewer: fmt and a debug assert for the half-float upload path
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Disk cache: persist_missing also writes half-float frames
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Passive viewer: oversized half-float frames take the CPU display pass instead of leaving a stale texture
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: set the corner roundness of a Rounded Rectangle mask (#3067)
layer.addMask takes a roundness (corner radius in px) for shape rounded, and the new
mask.setRoundness changes it afterwards on a rectangular mask.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Mask roundness: refuse ellipses, keep feather points and key correspondence
mask.setRoundness accepted any closed path whose vertices lie on its bounding
box, so an ellipse was replaced by a rectangle. It now accepts only a plain
rectangle (four corner vertices, straight sides) or a rounded one (eight
vertices, straight sides alternating with circular corners).
The rebuilt path keeps the old start vertex and direction, and its feather
points, so an animated path's other keys and the feather points still line
up. A change between square and rounded corners changes the vertex count; it
is refused when the path is keyed or has feather points instead of leaving
keys with different counts or dropping the points.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Layer: Quick Set Anchor, nine anchor points with Position compensation (#2967)
layer.quickSetAnchor moves the Anchor Point of 2D layers to a corner, edge midpoint or the
centre of their content and shifts Position and its keys so nothing moves. Layer > Transform >
Quick Set Anchor lists the nine points.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Quick Set Anchor: skip layers with an animated Anchor Point, Scale or Rotation
The anchor is set at the current time and the Position shift is worked out
from the current Anchor Point, Scale and Rotation, so on a layer where any of
them is keyed or has an expression the layer would move at other frames.
Such layers are skipped like 3D and locked ones (an error when none is left).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Quick Set Anchor: skip layers with a Position expression or Auto-Orient along the path
An expression on Position (or the separated X/Y) overrides the shifted value,
and Auto-Orient along the path adds a rotation the shift does not account for;
both would make the layer jump, so they are skipped like 3D layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Quick Set Anchor: error when no selected layer has content bounds
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Quick Set Anchor: test separated, keyed Position keeps the layer in place
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Viewer: Alt-drag duplicates the dragged layers (#2968)
Alt/Option-drag of the selected layers in the Composition viewer duplicates them and drags
the copies; the copy and the drag are one undo step. edit.duplicate takes a merge key for it.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Alt-drag: duplicate from a 3D gizmo arrow, no double move of a selected child
Alt-dragging a gizmo arrow moved the original; it now duplicates and moves the
copy along the axis. A selected layer whose parent is dragged too follows the
parent, so its own Position no longer gets the drag a second time (with or
without Alt).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Project panel: the Name column fits long names and resizes
The Name column was 40 % of the panel and at most 260 points wide, with
no way to resize it, so long item names (compositions of an imported
After Effects project) ended in "..." even in a wide panel.
It now fits the longest listed name, never narrower than before and at
most the panel's width less the Label column (the optional columns keep
scrolling under it). Dragging the column's edge in the header resizes
it, a double-click on the edge fits the names again. The width is kept
in UiState::project_name_w (None = fit the names); the edge has the
automation id project.nameColumn.edge.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Project panel: the Name column leaves room for the optional columns; no name fit for a manual width
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Timeline: one selection box spans the layer list and the time graph (#3056)
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Timeline box test: say what it tests
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Timeline box: a box kept in the time graph selects keys only
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Format the timeline box test and box_targets signature
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Timeline box test: drive the real drag across the outline and the time graph
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Color Stabilizer: sample the reference where the points were at the reference time (#3125)
After Effects 2026 samples the reference frame at the positions the
Black / Mid / White Points had at the reference time. With keyframed
points it therefore corrects even a static picture: our importer sample
(colstab-43-keys, Levels, Black Point (64, 90) -> (151, 99) over 1 s)
renders at 0.5 s as the Levels map out = a + b*v of the ramp with
b 1.2935..1.2965 and a -0.2365..-0.2350, which is the Black Point's
current sample (107.5, 94.5) sent to the reference sample at (64, 90).
EffectCraft sampled both frames at the current points, so the card
stayed unchanged (slope 1). The samples now read the points at the
reference time through the host (params_at), falling back to the
current points without one. CPU and GPU share the sampler
(color_stabilizer_maps).
Sample Size's unit is not pinned by the samples (every size 1..40 leaves
the card unchanged in After Effects; that only bounds the sampled area)
and is left as it is.
Part of #3125
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Linear Wipe: After Effects' edge position and feather profile (#3125)
Measured on our importer samples (linwipe-*, 2026-11-05, After Effects
2026, 320 x 180):
- The edge sits at lo + completion * (hi - lo) whatever the feather (the
set-all render's 50 % line is at -5.25, predicted -5.266); 0 % keeps
the layer and 100 % clears it even with Feather 32000. EffectCraft
extended the travel by the feather, 13 px off at Feather 16.
- The feathered edge is the hard matte blurred with the layer's edges
repeated: three box passes of radius 6 per axis fit Feather 16
(sigma 6.35..6.6, taken as Feather / 2.5), including the extra
opacity where the edge meets the layer's left side. EffectCraft drew
a linear ramp Feather px wide.
- Without feather the edge pixel is anti-aliased (143/255; coverage
gives 0.6). EffectCraft drew a hard step.
set-all alpha: before max 195, 4646 px (8.1 %) off by more than 2/255;
after max 15, 529 px (0.9 %), all along the layer's left side (at most
2 elsewhere). Feather 0 renders: max 112 -> 10 on the edge column.
CPU: coverage matte, raster::gaussian_blur (3 box passes, edges
repeated); GPU: the same matte from gen_linear_wipe (new modes), its
gaussian_blur, then a multiply, so both match. Sigma is capped at twice
the layer's longer side; NaN values leave the layer as it is.
Projects saved before keep the old ramp: a hidden legacyFeather
parameter that migrate::legacy_default sets on upgrade (as for Ripple
and Block Dissolve).
Part of #3125
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Linear Wipe on the GPU: 100 % clears the layer before the angle is read
A NaN angle left the layer unchanged on the GPU while the CPU cleared it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: the report names the After Effects version of the file (#3115)
svap holds the version of the After Effects that wrote a project, head
bytes 4 to 7 the version the file is written for; Save a Copy As 25.x /
24.x of After Effects 2026 keeps svap and writes the older version into
head. AeVersion decodes the packed word (26.2.1x2), AepFile gains
file_version, saved_by_version and head_revision, and ImportReport gains
aeVersion (fileVersion, savedBy, tested; "unknown" when the file does not
say). A version outside 24 to 26 is imported as usual and gets a
limitation line, not a loss.
The 12 corpus families saved as 2026, 25.x and 24.x copies import to the
same project and report; docs/aep-format.md lists what the copies change
in the container. The fixture tests are ignored until the corpus holds
the files.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: doc comments on the version tests and helpers
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import docs: tested is a major-version classification from copies saved by After Effects 2026
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import docs: the importer reports detected losses, not every loss
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* aep tests: compare the imported settings across version copies too
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: map HDR Highlight Compression, Echo, Linear Wipe, Offset and Color Stabilizer
The importer reported these five effects as lost. They now become
EffectCraft's effects of the same name with every parameter After Effects
stores (ranges, defaults and popup items from our own After Effects 2026
project, documented in docs/aep-format.md 3.7):
- ADBE HDR ToneMap -> ec.utility.hdrcompression (Amount)
- ADBE Echo -> ec.time.echo (Echo Time, Number Of Echoes, Starting
Intensity, Decay, Echo Operator by item name)
- ADBE Linear Wipe -> ec.transition.linearwipe
- ADBE Offset -> ec.distort.offset (Blend With Original is a stored 0..1
fraction, a percentage here)
- ADBE Deflicker -> ec.color.colorstabilizer (fresh Stabilize default
Levels, points, Sample Size)
A table row can name the range EffectCraft's effect works in
(ParamMap::limit): Echo values or keys beyond 255 echoes or a Decay of 1
are imported as stored and reported.
Tests build each effect into the committed synthetic.aep (fx_inject.rs,
which also checks its pard layout reads back). On the sample project the
effect losses go from 75 to 3 (the out-of-range Echo values).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: doc comments on the quick-win test helpers and tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* AEP import: Echo keyframe regression for the range loss
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* #3113: use After Effects' effect match names in scripting
Checked every row of crates/script/src/matchnames.rs against After Effects
26.2 (app.effects, canAddProperty and the layer property trees). Fourteen
effect names were wrong: twelve did not exist (Pixel Motion Blur is
ADBE OFMotionBlur, Shadow/Highlight is ADBE ShadowHighlight, Ellipse is
ADBE ELLIPSE, ...), and Noise and Photo Filter pointed at After Effects'
hidden obsolete versions (now ADBE Noise2 and ADBE PhotoFilterPS). A
light's Casts Shadows is ADBE Casts Shadows.
The old names stay accepted for lookup (addProperty, property(), and
parameters such as "ADBE Noise-0001"), so existing scripts keep working;
.matchName emits only the After Effects name. A names-only fixture of
After Effects' first-party match names backs the new test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Scripting: match names that changed only in case still find effects and parameters
property("ADBE Ellipse") and "ADBE Grow Bounds-0001" found nothing after the names became
ADBE ELLIPSE / ADBE GROW BOUNDS.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: stamp footage files for the salt off the UI thread
Importing an After Effects project whose footage includes long image
sequences on a network share froze the desktop app for 15-27 s. The
import itself takes about 0.25 s; the time went into the edit's bump(),
where refresh_disk_salt() stats every footage file (13,466 sequence
frames in the measured project, ~15 s) on the UI thread whenever a disk
cache is attached. File > Open and footage reload hit the same path.
With Session::disk_salt_background (set by the desktop app) the salt is
taken on a worker thread and picked up by poll_disk_salt() from the UI
tick. Until it lands the layer cache runs memory-only, so keys under the
old salt (other files, or another project's items) are never read. A
newer footage change supersedes a salt still being taken. Headless
sessions keep taking it synchronously.
A settings change that keeps the disk cache folder no longer re-stamps
every footage file either.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Disk cache: opening a project drops the footage salt being taken
A salt job still running for the old project was kept when the new project named the
same footage, so the salt stamped before the files changed stayed in use.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Home screen: leave it when a menu command opens a composition
File > Import > After Effects Project... from the Home screen imported the
project (the toast said so), but the Home screen stayed on top, so it
looked as if the import had done nothing. Only the Home screen's own
buttons left it.
run_engine now leaves the Home screen when a command succeeds and changes
the active composition to one that is open, the rule scheduled script
tasks already follow. Frontend events run afterwards, so Help > In-App
Tutorials and New Project from Template still show it. A command that
opens no composition (or fails) keeps it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Home screen: also leave it for a project that replaces one with the same composition id, a picked file and the New Composition dialog
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* interchange: probe EDL media the reader flags offline (#2836)
An EDL line without a SOURCE FILE comment only names its clip. The reader
guesses the path beside the list and flags the media offline, and the
importer never probed offline media, so the file next to the EDL stayed
missing. Offline media is probed like the rest; a path that is not there
still becomes a placeholder.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* interchange: probe guessed paths of EDL media only (#2836)
An OTIO missing reference also gets a path built from the clip name and
is flagged offline, so a same-named file beside the document would have
replaced the intended clip silently. Only EDL imports probe offline media.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* interchange: confine guessed EDL paths to the list's folder before probing (review point)
CodeRabbit: an EDL clip without SOURCE FILE gets a path from its clip name; a
name like ../x.mov or an absolute one could link a file outside the EDL folder,
and rebase_to_file_timecode probed it too. Such guessed paths are now not
probed and stay placeholders; SOURCE FILE paths are kept as before.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* EXR export: write the output space's chromaticities attribute (#3037)
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* EXR chromaticities: tests for unmanaged and PQ ProEXR, every space once
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* EXR export: note why the comp background is added before decoding (review point)
CodeRabbit asked to convert Comp.background to the output space before
compositing. Every output path (Image::to_rgba8_over) adds the background to
the output-encoded frame as it is, so the EXR now matches the other outputs;
converting would make the EXR colour differ from the PNG of the same comp.
Comment only.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Format the merged code with rustfmt
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
After Effects 2026 accepts 0 to 200 for Brush Size of both effects (a
script setting 201 is refused with "out of range 0 to 200"); the range
here ended at 50. The slider keeps its 0 to 50 travel; larger values are
typed.
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* Content-Aware Fill: bit-pack holes, spill frames to disk, stream outputs (#2570 phases 2-4)
* Content-Aware Fill phases 2-4: bit-pack holes, spill frames, stream outputs (clippy clean)
* Address CodeRabbit review: spill safety, streaming correctness, perf, memory guard (#2570)
* Address the remaining CodeRabbit review findings on Content-Aware Fill (#2570)
A non-streaming fill returned empty frames, progress could jump backwards between
the sink and the fill, the memory guard ignored the membrane frames still resident
for the flow pass (and wasm's in-RAM copies), and the GPU fill stages ran outside
an error scope, so an OOM retired the shared context instead of falling back to
the CPU for that frame.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
* Content-Aware Fill: sample spilled frames without decoding them, check spill errors (#2570)
Tracing sampled spilled frames by decoding whole frames under the shared cache lock, so
parallel traces across neighbouring frames evicted each other and mostly paid a full-frame
read while every other thread waited. Sample only the 2x2 bilinear support with positioned
reads on an open handle instead, and report a failed spill read in the no-hole branch
rather than streaming black frames as a successful fill.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
* Content-Aware Fill: spill membrane/propagated frames, unquantized input, surface scratch errors (#2570)
Flow and propagation now write their intermediate frames to scratch spills beside
the output instead of holding the whole range as float RGBA, and the input spill
uses 32-bit floats whatever the project depth so the fill sees the same values as
the old in-memory path. Spill reads/writes and scratch creation report through a
shared error slot that run_plan surfaces instead of masking disk failures as a
cancellation. Sampling uses positioned reads; the guard models the packed masks
plus per-thread scratch.
* Content-Aware Fill: report a membrane-spill write failure instead of cancelling (#2570)
* Content-Aware Fill: include the flow fields in the memory guard (#2570)
* Content-Aware Fill: scale the memory guard with workers and check scratch space (#2570)
The guard's scratch term was a fixed 8 frames, which under-counted a wide
machine with Lighting Correction by several times. It now models the sequential
synthesis stage plus a few frames per worker (from available parallelism) and
takes Lighting Correction into account.
Native fills write three f32 copies of the range to scratch beside the output,
so a range that cannot fit on that volume is now refused up front with the
free space in the message, before any frame is rendered.
Tests cover the worker/lighting budget, the scratch formula, a shared error slot
between the input and secondary spills, an uncreatable spill folder, and the
engine surfacing a spill failure as an error instead of a cancellation.
* Content-Aware Fill: resolve a relative output folder for the scratch check (#2570)
A bare relative output name has an empty parent, so the walk-up found no
existing ancestor and skipped the free-space check. Resolve it against the
process directory first, and cover that in the test.
* Do not reformat the GPU fill tests in the spill branch (#2570)
The file was already not rustfmt-clean upstream, so the formatter only added
noise to a file this PR no longer needs to touch: phase 1's call-site changes
are already on the base branch.
* Content-Aware Fill: measure peak RSS and correct the per-worker scratch model (#2570)
The ignored measure_peak_rss_of_a_fill test fills a spilled 640x360 range and
reports VmHWM. On this 18-worker machine 90 frames peak at 340-470 MB across
runs (35 MB with RAYON_NUM_THREADS=1) and 600 frames at 582 MB, so the scratch
slope is ~7 frames a worker, not the 2 the first guard revision assumed.
Scaling the summary down showed a clean linear slope at 8 and 4 workers, and
Lighting Correction stayed below the flow stage's peak.
Budget 8 frames a worker (9 with Lighting Correction), just above the measured
top of the range, and adjust the guard test to the real numbers. At 600 frames
the measured peak is 582 MB against ~11.1 GB for the old five-copies model, a
19x reduction.
* Contributors: credit Madhav Agarwal in the About window
Adds the self-chosen real and display name for @gmrmad1. The generated
contributors.json picks it up once the PR is merged.
* Address CodeRabbit: size the guard from the rayon pool; migrate GPU tests (#2570)
fill_workers used available_parallelism, but the parallel fill stages run on
the rayon pool, which RAYON_NUM_THREADS can size larger. Use
rayon::current_num_threads so the scratch budget follows the threads that
actually run; wasm keeps rayon's single-thread fallback.
The GPU inpaint tests still used the pre-spill FillInput API. The earlier
'do not reformat' revert dropped their API migration along with the
formatting, leaving cargo test -p effectcraft-gpu uncompilable. Restore the
Frames::Memory / HoleMask / sink migration and verify the 15 inpaint tests.
* Fix gate: flatten the wasm prop lookup and keep the budget wrapper test-only (#2570)
* Address CodeRabbit review: spill error check, global-pool preflight, docs (#2570)
* Include RAM-backed spill in the preflight and guard streaming reads (#2570)
* Resolve relative spill paths, prefer stacked mounts, guard the Edge Blend sink (#2570)
* Make the fill spill anonymous and test the streaming claims (#2570)
The spill was a named file in the output folder that only Drop removed, so
an out-of-memory kill or a force-quit left a multi-gigabyte
effectcraft-fill-* file in the user's project folder, and a failed set_len
after keep() leaked it too. The spill is now an anonymous temporary file
(tempfile_in), which the system reclaims when its last handle closes; every
read and write is positioned on that one handle (pwrite/seek_write join the
existing pread/seek_read), and the folder is kept only so the propagated
frames spill beside the input.
Also:
- Edge Blend checks for a failed read before handing a frame to the sink,
so a black fallback frame never streams.
- The propagation workers stop as soon as the spill records an error.
- HoleMask::get/set use get()/get_mut(), so a mask whose public words are
shorter than len cannot panic.
New tests cover the PR's headline claims: a spilled range fills
bit-identically to the same frames in RAM (returned and streamed), the sink
sees frames strictly in order, a truncated spill fails with a recorded
error and streams nothing, a failure mid-stream stops before the next frame,
propagation stops after a failure, the spill has no name in its folder, and
HoleMask round-trips at word boundaries.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: clean up a stopped fill and count two scratch copies (#2570)
- A fill that fails or is cancelled after frames started streaming deletes
the PNGs it wrote, and the output folder when the fill made it and it is
left empty (OutputFiles, dropped after the spill so Windows can remove
the folder).
- After a successful fill, run_plan checks that every frame has a file, and
apply_plan/add_fill_layer return an error on an empty range or file list
(a job worker's reply) instead of indexing [0].
- scratch_need charges two f32 copies (32 B/px): flow_pairs drops the
membrane spill before the propagated one is created, so the third copy
never coexists.
- The spill-creation error carries a stable "spill: cannot make the scratch
file" marker; the panel test asserted on the OS wording, which on Windows
is "Cannot create a file when that file already exists".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: a stopped fill leaves files it didn't create (#2570)
A fill into a given outputDir that already holds an earlier sequence
overwrites its frames as it goes (as before). The cleanup of a failed or
stopped fill deleted every path it wrote, including those earlier frames, so
a layer still using that sequence lost them. It now deletes only the files
the fill created (CodeRabbit on #3079).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Codebuff <noreply@codebuff.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* #293: use conformant ProRes alpha run termination
Pin the direct ProRes encoder to FilmCraft e4be1577 while preserving all other codec pins. Add a full MOV export regression for final alpha runs across both 4444 profiles, alpha modes and blur settings.
* #293: document ProRes alpha export regression
* export: repin FilmCraft to the merged ProRes alpha fix and move the round-trip regression into roundtrip.rs
All FilmCraft deps pinned to d5ead4ba (squash merge of filmcraft #2991). H.264 pinned movie bytes move 104341 -> 104342: only the encoder version string in the SEI (0.8.0 -> 0.12.0) and five size fields change.
* Grow the buffer to the pinned quad so Corner Pin draws outside the layer rectangle (#1938)
* Corner Pin: grow through pad_sides, skip adjustment layers, clamp to the pixel budget (#1938)
grow_sides returns the four sides for Buf::pad_sides on both paths, replacing grow_to/regrow and the inline GPU copy. Growth is skipped on adjustment layers, cut proportionally to the shared pixel budget (and 16384 per side) instead of giving up, and covered by tests for a far pin, an adjustment layer and a degenerate quad.
* Corner Pin: give the grow_sides test its own doc comment (#1938)
* effects: Corner Pin keeps a finite buffer for non-finite pins and grows without popping as a pin moves far away
* effects: rustfmt the Corner Pin non-finite pin test
---------
Co-authored-by: skylar <hi@skylar.cc>
The reference test now checks the bound the PR states in the code space of the renders
(the sRGB curve x 6553.5) instead of a linear 2e-3, which allowed about 28 codes at the dark end.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A record in another tdsb state is reported as damaged data again, as before the
default-state change. The synthetic test checks Levels' recorded popup directly.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
New After Effects 2026 renders of the same EXR at Amount 25, 50 and 75
(our own 1110-extra sample, 16-bit PNGs) confirm the transfer curve that
was fitted at 84, 90 and 100. The worst channel error over all pixels is
4.0, 5.5 and 4.3 of 65535, against 997, 2415 and 3867 for the old soft
knee. The code is unchanged.
The measured-reference test now covers all six Amounts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The effect used a soft knee on the brightest channel and left everything
below the knee unchanged. After Effects compresses the whole range. Fitting
our own 16-bit renders of an HDR ramp and coloured patches (Amount 0, 84,
90, 100) gives:
Y = max(0.30 R + 0.59 G + 0.11 B, 0)
comp = min(c / (1 + Y), 1) per channel
out = ((1 - t) c^0.4 + t comp^0.4)^(1/0.4) t = Amount / 100
A grey value x maps to x / (1 + x) at Amount 100. The worst error against AE
drops from 985 to about 2-4 of 65535 at Amounts 100, 90 and 84. Amount 0
stays identical.
CPU and GPU change together. Tests: a reference table of measured values,
GPU parity at Amount 90, and over-range input that exercises the clip at 1.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects records some effect parameters as value records in the
default state (tdsb 3) that still hold the value it uses. A survey of 839
corpus and sample files finds 25 such effect records, all in Lumetri
Color (its hidden controls) and Cryptomatte (Selection Mode on); every one
differs from its pard default and reads back in After Effects as recorded.
No effect record in the default state holds a value that does not count.
The general reader now takes them: EffectParam::recorded_value (the same
name, signature and body as in the Lumetri import) reads a record whatever
its state, value() and is_default() use it, and the importer's mapped
parameters read it, so such a record imports like a written one instead of
being reported as an unreadable value with the default used.
stored_value keeps to written records.
Layer, camera, light, shape and text properties in the default state all
hold After Effects' defaults or values with no effect on that layer
(the point light cone, a polygon's inner radius, a camera's opacity), so
their readers are unchanged. docs/aep-format.md records both findings.
Closes#3126
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Matte Only on, Cryptomatte wrote the matte into all four channels:
a premultiplied white only as opaque as the matte. After Effects'
Cryptomatte plug-in shows Matte Only as an opaque grey picture, the
matte in RGB with alpha 1 (its Matte Only render of 2026-11-05 is opaque
black where nothing is selected). The CPU effect and the GPU shader now
both give (m, m, m, 1).
Projects saved before keep their render: a hidden Matte Only In Alpha
switch (off for new instances, presets and AEP imports) is turned on by
migrate::legacy_default when an older instance is upgraded on open, and
then keeps the matte in every channel on CPU and GPU.
Tests: the CPU path for a partly covered pixel, an unselected one and
outside the aux area, in both forms; the upgrade of a saved instance;
the GPU parity test over every display with Matte Only off, on and on
with the legacy switch; the host pick tests read whole pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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skylar taylor-barrick
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