* fix(model): FBX records stay within their parent, and textures, materials and links are indexed
A binary child record could end past its parent: the parent's end was then restored and the
child's tail parsed again. A failed array decompression printed the decompressed bytes in the
error. Texture objects aliasing one embedded Video or file each decoded and kept their own
pixels, outside the import budget. Each polygon scanned the primitive groups for its material,
and each object scanned every connection for its children.
* address review: FBX textures: key image cache by the source used, charge decoded size before decoding, propagate budget errors
* Import: a model's left-out parts reach the user as an import warning (Model::warnings, Importer::probe_noting)
* Import: a model's left-out parts reach the user as an import warning
* FBX: textures past the limits are left out with an import warning, not a failed import; 2^29-pixel allowance
* Render: memoized audio detection, bounded stretch, preroll, waveform, cache entries, 3D bounds, solids and selector time
comp_has_audio walked a precomp again for every layer using it; each comp
is answered once. A tiny stored stretch made one audio block fetch a vast
source range; playback speed is capped at 100x. Effect preroll is capped at
10 s. Waveforms stop where the audio ends and summarise at most a day.
Disk cache entries are decompressed only when their stated size matches
what their dimensions need (and at most 1 GiB). Advanced 3D triangle bounds
are clamped on both sides before narrowing. Solids larger than 16 Mpx are
made at a lower scale. A camera-facing layer's parent recursion is bounded.
A layer's Expression Selectors share one time allowance. A disk cache
folder under the temp folder is made private and may not be a link.
* address review: audio detection by breadth-first search, private cache folder resolved before the temp check, oversized layers not written, solid cap after rounding, selector static amount, viewport i32 clamp
* address review: private-folder check skips the temp folder itself; override value in expression fallback; assert alias cache opens
* address review: refuse the shared temp folder itself as a disk cache folder
* address review: shared counted selector budget, 30 s preroll, cache hardening (shared temp roots, matte discard, exact LZ4 length, render version 7), orient nesting guard
* fix(media): check still, EXR channel, GIF and WebP canvas sizes before allocating
* address review: GIF frame allocation limit, lower wasm32 still limit, no EXR fallback after a size-limit error
* address review: the 2^25-pixel still limit also applies on 32-bit native targets
* Media: raise the still pixel limit to 2^28 (16384 x 16384) on 64-bit targets
* fix(engine): refuse to convert an expression on a layer of more than 2^18 frames
* address review: refuse a non-positive frame duration; count a partial last frame; check every selected layer before converting
* Convert Expression to Keyframes: cap at 2^20 frames (a 3-hour 60 fps comp is 648,000)
* Timewarp: bound the motion search's total comparisons by coarsening the vector grid
* Timewarp: coarsen within the frame, keep the pyramid depth and the window inside the frame
* Import: a model's left-out parts reach the user as an import warning (Model::warnings, Importer::probe_noting)
* Import: a model's left-out parts reach the user as an import warning
Reload Footage Changed on Disk of a file whose metadata didn't change keeps the
project's revision; PurgeCaches emptied the viewer frame cache but the new
frame came back under the key of the one on screen, so neither the Composition
viewer nor the passive viewers uploaded it. Count purges and mix the count into
the frame key's options, as #3493 does with the LUT generation.
On a precomp layer the key covered only the nested comp's size, rate and
duration, so an edit inside the precomp kept a stale analysis. The key now
writes the precomp layer's Essential Properties and what its comp draws, field
by field and recursively. Each comp is written once per key and nesting is
capped, so shared, deep or cyclic precomps are keyed in bounded time. Docs say
what clears an analysis.
Their analyses are made from the layer's input to the effect (masks, then the
effects above it), but the key covered only the layer's frames, so a mask or
effect edit kept a stale analysis. frames_key::analysis_key adds the masks,
the effects above the instance and the Effects switch. Keys saved before
(frames only) stay valid while each edit keeps the input.
Move the LUT cache that follows files by size and modification time into
effects::file_cache and use it for ocio::lut::load_file and
ocio_config::load_config. A config's entry depends on the .ocio file, the LUTs
its FileTransforms read and the search-path places it looked for missing ones.
check_lut_files and lut_generation now cover all three caches.
Expressions find effects by name and read names (thisProperty.name,
propertyGroup(1).name), and seed random/wiggle with the property uid, so
both can change the frames. The Debug-based key had them.
Whether a footage file is there is an observation (footage.check sets
Footage::missing without an edit), not part of the footage. The
signature leaves it out, and keys saved by 0.22-0.24, which hashed it,
are recognised with the file either online or offline. Warp Stabilizer,
3D Camera Tracker and Roto Brush analyses are kept through the next edit
while the footage is offline and after it comes back.
analysis::frames_key writes what a layer's frames are made of field by
field: every struct and enum it writes is destructured or matched in full
and each variant is a fixed word, so a new field doesn't compile until it
is decided and a rename doesn't change keys. Names, labels, UI hints and
markers are left out. Roto Brush's Input Key writes masks and the effects
above it the same way, instead of their Debug text.
Keys saved by 0.22-0.24 are recognised by the old code, moved unchanged
to frames_key::legacy, and kept rather than rewritten (frozen mattes hash
them).
A fixture keyed by the current release: Warp Stabilizer, 3D Camera Tracker
and Roto Brush keys keep matching through edits that keep the frames, undo
and save/reopen, and real changes still clear them.
It arrived as a plain number, so Effect Controls neither dragged it over its
slider range nor clamped an edit to its valid range, as After Effects does.
* Expressions, Scripting: a layer's property numbers follow After Effects
In After Effects a layer's top-level number reaches the same group on every layer of a kind:
Marker is 1, and slots the layer has not used yet (Time Remap, Motion Trackers, Layer Styles,
Data, Sets...) keep their place. EffectCraft numbered only the groups a layer holds, without
Marker, so `layer(n)` and `layer.property(n)` reached a different group, and the numbers moved
as groups were added. Rigs that read a palette by number, such as
`comp("Palette").layer(1)(4)(n)(1)` on a shape layer, read Transform instead of Effects; their
`try` fell back to the stored value and every linked colour rendered near-black, with no
expression error.
`effectcraft_project::ae_order` holds After Effects' slot order per layer kind, observed in
After Effects 26.3 from a script (`layer.property(i).matchName`) and from an expression
(`thisComp.layer(..)(i).name`) on new layers of each kind. The expression host and the
scripting model resolve a layer's numbers through it: 1 is the markers, a used slot is its
group, an unused one is an empty group (never null, so loops over `numProperties` are safe).
`numProperties` at layer level and `propertyIndex` of top-level groups are After Effects'
numbers too. 3D model and primitive layers keep EffectCraft's own numbers.
* Expressions: a layer's top-level groups by After Effects match name
`thisLayer("ADBE Effect Parade")`, as scripts such as Karton write their expressions, reaches the
group through the same table as the layer's numbers: Effects, or an empty group for a slot the
layer has not used, and `("ADBE Marker")` the markers.
* Expressions, Scripting: review follow-ups for After Effects layer numbers
- An enabled Time Remap (a top-level property) reports After Effects' number 2 as its propertyIndex.
- In scripting, an unused slot resolves to the same empty group by match name
(`property("ADBE Layer Styles")`) as by number (`property(7)`).
- The empty group is callable like any group: `layer.property(7)(1)` is null, not a TypeError.
A definition of parameters that are not kept, shared by many instances, was
walked again for each one without spending the budget; long popup item
names were kept per instance with each item counted once.
A pseudo effect's match name (Pseudo/0.25) was its group's match id, so a
match path to its parameters (keyframe paste, pick whip) was cut apart at
'/' and '.' and found nothing. The effect id stays the match name.
A docked panel's solid bars, once shown, took their width from the viewport, so a window that exactly filled its dock stayed too large and kept its bars. The bars are now hidden while the window fits its dock (to the whole point, #2585) and stay solid when it overflows (#269).
The viewers replace their picture only when the frame key changes, and a
frame rendered again after a LUT change had the same key, so the old look
stayed on screen. The viewer frame keys carry the LUT generation (in memory
only), which also leaves frames still rendering with the old LUT unasked
for, so the refusal of late frames is no longer needed.
A precomp instance whose Essential Property names another LUT file renders
with that file, but a layer reading the instance through a layer parameter
was keyed on the nested comp's own file, so editing the overriding file left
that layer cached.
Past 1024 followed files, the trim kept only files with a cached LUT and
dropped the one being noted (its LUT is cached right after), so a later
edit to it went unnoticed. The tests start from an empty folder.
ash
Dylan M. Taylor
Sean Hawkey