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 Luis
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dbcae60e19 |
Release: refresh contributor credits for each release (#3189) (#3190)
About > Contributors still showed an old snapshot, because nothing regenerated contributors/contributors.json before a release. Opt in to the shared refresh from craft-common-actions: a read-only credits job regenerates the snapshot for the release commit, and the shared release workflow installs it before every source build. The snapshot is not committed back. |
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  Valentin KleinandClaude Opus 5.5
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84382487bb |
Disk cache: entries keep the files they read, keys from memory (#3184) (#3191)
* 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> |
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Valentin Klein
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514e16c027 |
.aep import: effects without definitions borrow them from another instance (#3223)
Refs #3170 (the Color Control part). Some files have no project-level effect definition list (EfdG); it was seen in 17 projects, all from inside After Effects-made Motion Graphics templates. In those, one instance per effect type keeps the full parameter definitions (parT) and every other instance of the type has an empty parT. The others were reported "without readable parameter definitions" and dropped (129 Color Controls of one template). The definition index now falls back to the parT of the first instance of the same match name that has its own (DefinitionSource::OtherInstance). Values still come from each instance's own records; a value record that borrowed definitions do not name is reported instead of vanishing. The "Color ... holds an unreadable value" report came from 0.21.1, which read only written records (tdsb 1). Reading default-state records (tdsb 3, #3126) probably fixes it, but that is not confirmed for Color Control; a synthetic test now pins a default-state colour record. |
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Valentin Klein
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99e24f5867 |
.aep import: image sequences without a filename prefix or with Force alphabetical order (#3213)
* AEP import: read image sequences without a filename prefix and with Force alphabetical order (#3174) After Effects leaves out an empty filename prefix, so only one Utf8 (the suffix, such as `.png`) follows the alias. The single part is now placed by the first file name stored in `opti`: a name starting with it has it as the prefix, one ending with it as the suffix; without that evidence a part starting with `.` is the suffix and anything else is not read. A sequence imported with Force alphabetical order stores its files in `LIST StVc` (`StVS` with the count as a little-endian u32, then one Utf8 per file name) instead of prefix and suffix; that list now replaces the numbering. A list with a name that is not a plain file name (a separator, a colon, `.` or `..`) is not read, since the names are joined to the folder. A folder alias whose naming still cannot be read is reported as an import loss instead of silently linking the folder. docs/aep-format.md describes the empty prefix and StVc/StVS. * AEP import: a listed sequence file name with a control character such as NUL is not read (#3174) A NUL or another control character in a Force alphabetical order file name now makes the whole list unreadable, like a separator or a dot directory, so the import reports the naming instead of linking files that cannot exist. * AEP import: a sequence file list without a readable count is not read (#3174) After Effects writes the StVS count before the names. A StVc list without StVS, or with one shorter than its u32, is now reported as unreadable naming instead of taking every listed name. * Doc comments for the functions this PR touches |
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bb2d2005ce |
Layer: Un-precompose a selected pre-comp layer back into its parent composition (#3081)
* Layer: Un-precompose a selected pre-comp layer back into its parent composition (#2918) layer.unprecompose copies the nested composition's layers into the parent at the pre-comp layer's place with timing and position carried over, and refuses what it can't keep exactly. Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com> * Un-precompose: refuse a pre-comp layer with Solo or Guide on A soloed pre-comp layer hides the comp's other layers and a guide layer is left out of renders; the expanded copies carry neither switch, so the picture would change. Listed with the other blockers, in the command description and the agents.md Cookbook entry; the refusal test covers both switches. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Un-precompose: warn instead of refusing, only a locked layer stops it A locked pre-comp layer is still refused, with or without `force`. Every other former refusal reason is a warning: without `force`, `layer.unprecompose` returns an error that lists the reasons and changes nothing. `dryRun` returns `{dryRun, warnings}`. With `force` the layer is unpacked in one undo step and the result carries `warnings`. Whatever the pre-comp layer itself carried is dropped, and other layers' parent, track matte and layer-property links to it are removed. Layer > Un-precompose in the UI lists the reasons in a prompt with Unpack Anyway / Cancel (`dialog.unprecompose.force` / `dialog.unprecompose.cancel`). A layer without reasons unpacks at once. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Un-precompose: warn about expressions that refer to the pre-comp layer An expression on another layer of the comp that names the pre-comp layer would no longer find it once the layer is unpacked. The expression can name it in quotes or call `layer(<index>)` with its index, bare or on thisComp; another comp's comp("…").layer(…) is not counted. Each such property is now listed once as a warning. Like the other warnings, `force` unpacks and `dryRun` lists it. The expressions are left as written. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Un-precompose: warn about lost frame sampling and Position expressions, keep markers in order Review follow-up (CodeRabbit on #3081): - A nested comp that preserves a frame rate other than the parent's samples its layers on its own frames, and the expanded copies would lose that. Motion-blurred nested layers under a different shutter would also blur with the parent's shutter. Both are now warnings. - When the pre-comp layer's Position differs from its Anchor Point, the move is added to the stored Position of the unparented nested layers. An unparented layer whose Position, or a separated axis, has an expression may ignore that move, so it is now a warning. - Copied comp markers are sorted into time order with the comp's own. - New tests: a 10 fps nested comp with Preserve Frame Rate in a 30 fps comp, a different shutter, a Position expression with and without a move, and nested matte and layer-value remapping with shifted markers merged in order. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Un-precompose: warn when an expression's layer numbers shift; the prompt keeps its target Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Un-precompose: a shorter renumbering warning 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> |
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52bca964f5 |
Image sequences: a gap in the numbering holds the previous frame, as After Effects (#3137)
* Image sequences: a gap in the numbering holds the previous frame, as After Effects
Split out of #1876 (originally
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23c1f33c88 |
Echo: Blend, Composite In Back and In Front match After Effects (#3132)
* Echo: swap Composite In Back and Composite In Front (#3124) After Effects 2026 renders of the importer sample (opaque test card with a moving square, one echo at -1/30 s) show Composite In Front keeping the layer on top (the output equals the current frame) and Composite In Back putting the echo over the layer. EffectCraft had the two the other way round, which made ~0.5 % of the pixels differ at the moving edge. The CPU and GPU (fxn_echo) arms are swapped together. A regression test rebuilds row 130 of the test card and checks Add, Maximum, Minimum, Screen and both Composite operators against the measured After Effects row. Blend is left unchanged: the sample (one echo, intensity 1, decay 1) cannot tell its normalisation apart. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Echo: Blend sums the weighted frames like Add (#3124) New After Effects 2026 renders (our own 1110-extra sample, 16-bit PNGs, opaque test card with a moving square) show that Blend does not normalise: - 3 echoes at intensity 1 and decay 1 give four times the layer. - 2 echoes at intensity 0.5 and decay 0.5 give alpha 0.875 (0.5 + 0.25 + 0.125). EffectCraft divided by the number of frames. The division is gone on the CPU and in fxn_echo_fin on the GPU. The same sample pins Composite In Back with three echoes: each older echo goes over what is there with its weight as opacity, so the oldest is on top, as the branch already does. Composite In Front with three echoes equals the current frame. A regression test checks four measured 16-bit rows within 4 codes (24 on square-edge pixels): Blend 3/1/1, Blend 2/0.5/0.5 with alpha, and both composite modes at 3 echoes, -0.08 s, decay 0.5. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Echo: doc comments on the CPU and GPU entry points 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> |
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719b9170dd |
3D rotation order, keyed Orientation, linear-to-eased keyframes and Timewarp behave as in After Effects (#1876)
* 3D: Orientation and X/Y/Z Rotation turn Z first, keyed Orientation slerps, as After Effects After Effects composes a 3D layer's (and a camera's) Orientation and its X/Y/Z Rotation as Rx * Ry * Rz each, Orientation before the axis rotations; EffectCraft used Rz * Ry * Rx. Measured on synthetic AE 2026 cases: Orientation [10,20,30] (488) was 5.2 % of the frame off and now matches to the anti-aliased edge (0.03 %); X/Y/Z Rotation 10/20/30 (800), Orientation + X Rotation (801) and one-node cameras (804, 805) likewise. Keyed Orientation moves along the shortest arc between the keys (quaternion slerp, eased in time, angles written in [0, 360)): keys [0,0,0] -> [10,20,30] read back [6.2643, 9.3531, 15.2190] half-way where EffectCraft gave [5,10,15]; [0,0,0] -> [60,80,40] linear and eased match AE's read-backs within 0.002 deg. lookAt() returns AE's angles (z axis on the target, x axis level; two AE read-backs within 1e-3 deg). The camera tracker, VR editor, Look At and orbit commands use the new decomposition. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Keyframes: a linear side next to an eased side has 16.67 % influence, as After Effects In a segment that is Bezier on one side and linear on the other, the linear side keeps the segment's average speed, but with the 16.67 % influence After Effects shows for linear keys in the Keyframe Velocity dialog (and reports to scripts), not 33.3 %. Measured on an After Effects 2026 time-remap render (a square at x = 50 + 455 * remap): out of a key at 2 s (3.5, speed 0, influence 50 %) into a linear key at 4 s (0.5), AE plays 3.290 at 2.5 s and 2.657 at 3 s; EffectCraft played 3.308 and 2.629 (8 and 13 px off), now the same square positions to the pixel. LINEAR_SIDE_INFLUENCE is used by evaluation (scalar, per-dimension, paths and spatial), side_ease (Graph Editor, velocity dialog, keyIn/OutTemporalEase) and the Lottie export, so exported easing plays as EffectCraft does. Segments linear on both sides stay straight lines. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Timewarp: retime the layer's source without the effects above it, as After Effects After Effects' Timewarp reads the layer's source (with its masks) at the retimed times and ignores the effects applied before it: a red solid with a Gradient Ramp and then Timewarp (Speed 25) renders as the red solid in AE 2026 (EXPORTER e2 read-back). EffectCraft retimed the layer with its effects (mean difference 127.5/255 over the comp), now identical (0, CPU and GPU). Echo, Posterize Time and the other time effects keep reading the effects before them, as measured before. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Image sequences: a gap in the numbering holds the previous frame, as After Effects After Effects 2026 shows the last existing file across a gap in a sequence's numbering (case 860: files 1, 2, 4, 5 show frame 2 at frame 3; VERIFY read-back). EffectCraft drew colour bars there. The media pool now holds the previous file (Footage::sequence_file_held); colour bars remain only where no file precedes the frame. Missing-frame reports on import are unchanged. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Review: keyed Orientation uses LINEAR_SIDE_INFLUENCE for linear sides; real NaN assert evaluate_orientation still gave a linear side (and the unreachable missing-key fallback) 1/3 influence while segment_value, side_ease and the Lottie export use LINEAR_SIDE_INFLUENCE (1/6), so a keyed Orientation next to an eased key moved on a different curve than every other property (CodeRabbit on #1876). New test: orientation_linear_side_next_to_an_eased_side_matches_a_scalar (both directions). The always-true NaN assert in keyed_orientation_slerps_as_after_effects now checks that a non-finite key comes back as given; Property::value_at says why the match_id "orientation" routing is safe. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Format keyframe orientation test (cargo fmt) Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com> * Move the image-sequence gap change out of this branch The gap change (hold the previous file instead of colour bars) reverses #297's documented behaviour and goes to its own PR, as requested in review. pool.rs, sequence.rs, the footage test and docs/footage.md / docs/agents.md are back to main. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Codex <noreply@openai.com> Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com> |
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FredAppsandClaude Opus 5.5
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e284758683 |
CI: run the gate on macOS on pushes to main (#3177)
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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c5bb8bfda4 |
SAM 2 mask decoder: transposed convolutions as matrix product plus pixel shuffle (#3031) (#3035)
* SAM 2 mask decoder: transposed convolutions as matrix product plus pixel shuffle (#3031) Both transposed convolutions of the mask decoder have a 2x2 kernel, stride 2 and no padding, so each input pixel owns its own 2x2 output block. That is one matrix product plus a pixel shuffle, which is about twice as fast on the CPU as candle's conv_transpose2d. The first convolution also takes the decoder's key tokens directly, without the transpose and copy to an image. The candle path stays in the code for the tests. They compare the two to 1e-6 (relative to the largest output value) on the decoder's real sizes, odd and degenerate sizes, large values, zeros and a single hot pixel, check that other kernels are refused, and compare a whole decoder forward pass (single and multi mask) on random weights. Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com> * SAM 2 decoder test: bound the weight discovery loop Co-Authored-By: Claude Sonnet 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> |
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1ac3315ac4 |
SAM 2 tracking: prompt frames in frame order, no second fetch for the size check (#3030) (#3034)
* SAM 2 tracking: prompt frames in frame order, size-check frame reused (#3030) With several objects prompted on three or more frames, the prompts went to the tracker object by object. The tracker keeps features for two frames, so every prompt after the first object fetched and encoded its frame again. Each prompt frame was also fetched once only to check its size and then fetched again for the encoder. Prompts now go to the tracker in frame order (then object order), and the frame fetched for the size check is handed to the tracker the first time it asks for that frame (up to 256 MB of pixel data kept; beyond that the frame is fetched again as before). Objects do not influence each other, so the results are unchanged. Tests cover the prompt order, one host fetch per prompt frame, the order of several prompts of one object on one frame, and the memory cap. Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com> * SAM 2 tracking test: the held-frame cap is cumulative Co-Authored-By: Claude Sonnet 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> |
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a17e1f20d6 |
av1enc: motion search with visited set and early-exit SAD, fixed-size SATD, region-only snapshots (#2406)
* 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> |
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68a637adb9 |
opusenc: memoise SILK rate-loop trials, ring buffer for noise feedback (#2399)
* 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> |
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46f04d1a2d |
Subspace Warp: a symmetric QR eigen solver and a banded mesh solve make plan() 5x cheaper (#2319) (#2332)
* 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> |
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392e827626 |
Roto Brush: propagate on the band bounding box (#2335)
* 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> |
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69114a8294 |
Roto Brush: per-split scratch vectors in the parallel distance transform (#2333)
* 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> |
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FredAppsandClaude Opus 5.5
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4d21269adb |
Display pass tests: a virtual GPU gets the software tolerance (#3182)
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> |
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FredAppsandClaude Opus 5.5
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4465c0ea10 |
EXR golden test: compare samples near, not bit for bit (#3181)
* 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> |
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FredAppsandClaude Opus 5.5
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5047d8b5e7 |
Posterize on the GPU: divide by the levels exactly, as the CPU does (#3179)
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> |
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ca1ff9cfc2 |
.aep import: map the Cryptomatte plug-in to EffectCraft's Cryptomatte (#3109)
* 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> |
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48c8137835 |
Accessibility (gap 25), slice 2: Info, Flowchart, Script Console and the 3D Camera Tracker block named, described and keyboard-operable (builds on #1339) (#1341)
* #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> |
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329ba63f8d |
Timeline: hover texts for the icon-only column headers and layer switches (#3096)
* 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> |
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FredAppsandClaude Opus 5.5
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fb62b9d7e3 |
Project panel: take the Name column's fit out of show() (#3173)
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> |
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Valentin KleinandClaude Sonnet 5.5
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519769299f |
Cryptomatte: the Layer popup lists the footage's Cryptomatte layers (#473) (#3020)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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fdcc715829 |
Viewer exposure on the full float range of 32 bpc frames (#2937)
* 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> |
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Valentin KleinandClaude Opus 5.5
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8948a7cdc9 |
Masks: set the corner roundness of a Rounded Rectangle mask (#3077)
* 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> |
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Valentin KleinandClaude Opus 5.5
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be8b5fd8d4 |
Layer: Quick Set Anchor, nine anchor points with Position compensation (#3080)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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9a32a51793 |
Viewer: Alt-drag duplicates the dragged layers (#3076)
* 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> |
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Valentin KleinandClaude Opus 5.5
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bb920d68ec |
Project panel: the Name column fits long names and resizes (#3094)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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43a47a5d6a |
Timeline: one selection box spans the layer list and the time graph (#3075)
* 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> |
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Valentin KleinandClaude Opus 5.5
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7051fc1f58 |
Color Stabilizer and Linear Wipe: match After Effects (sample positions, feather) (#3135)
* 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> |
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Valentin KleinandClaude Opus 5.5
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93cce09f3c |
.aep import: name the After Effects version in the report; 25.x and 24.x copies import like 2026 (#3136)
* 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> |
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Valentin KleinandClaude Opus 5.5
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ab3674cc2b |
.aep import: map HDR Highlight Compression, Echo, Linear Wipe, Offset and Color Stabilizer (#3119)
* 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> |
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Valentin KleinandClaude Opus 5.5
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fee50dbfd1 |
Scripting: After Effects match names for 14 effects and Casts Shadows (#3122)
* #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> |
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Valentin KleinandClaude Sonnet 5.5
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9408d70da0 |
Disk cache: stamp footage files for the salt off the UI thread (#3106)
* 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> |
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Valentin KleinandClaude Opus 5.5
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9fc73122ea |
Home screen: leave it when a menu command opens a composition (#3092)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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549a4d0540 |
Import: EDL clips without a SOURCE FILE link the file beside the list (#2836) (#3019)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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ae068ff931 |
EXR export: write the output space's chromaticities attribute (#3038)
* 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> |
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Valentin KleinandClaude Sonnet 5.5
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ee7c51740d |
effects: Write-on and Stroke Brush Size goes up to 200 px (#2980) (#3021)
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> |
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Valentin KleinandClaude Opus 5.5
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0f94a1f983 |
Skip the startup update check when started for an agent (#3097)
* Skip the startup update check when started for an agent An app started with --control or EFFECTCRAFT_CONTROL_PORT still checked for updates at start, and the modal "newer version available" prompt blocked agent runs until a person dismissed it. Agent launches already skip crash recovery and the Home screen; now they skip the startup update check too. Help > Check for Updates is unaffected (it goes through updates_ui::check / check_requested, independent of the startup flag). Documents what a control-port launch skips in docs/control-protocol.md and the main.rs module doc, with a unit test for the startup decision. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Control protocol docs: a window-start failure still shows a blocking message box Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Valentin KleinandClaude Sonnet 5.5
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779df34e13 |
contributors: set names for vangel76 (#3041)
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com> |
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FredApps
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8be83ab559 |
Merge pull request #3162 from storytold/house-rules
Copy the shared house rules into AGENTS.md |
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FredApps
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357c72ea33 |
Copy the shared house rules into AGENTS.md.
The blocks come from craft-contrib at dde09ea31e2e457f5b4653a6e76f7cdf55944bdf. CLAUDE.md imports AGENTS.md. The house-rules workflow checks the copy. |
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 ash
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7fc1be0bf2 |
Report offline footage and recover automatically when media returns (#3161)
* 3118: report and recover offline footage consistently * 3118: preserve manual reload and refresh data watch paths * 3118: document availability and reload contracts |
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Valentin Klein
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ce9eaec650 |
Add After Effects project export (#2594)
Add After Effects project export with chunks built in code, explicit loss reporting, engine and UI integration, and regression coverage. |
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ash
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bc4b96a5fc |
Reveal newly created mask controls in the Timeline (#3149)
* 3145: Reveal newly created mask controls in the Timeline * 3145: Document mask reveal contracts and regression cases * 3145: Make stale-event regression cases exhaustive |
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FredApps
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3102b6e632 |
Merge pull request #2915 from vangel76/perf/exr-output-options
Render Queue OpenEXR: choose compression and half or 32-bit float |
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FredApps
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e2010893d2 |
Merge pull request #3130 from vangel76/cryptomatte-matte-only
Cryptomatte: Matte Only puts the matte in RGB with alpha 1, as After Effects does |
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vangel76andClaude Opus 5.5
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4934de892d |
Merge upstream/main into cryptomatte-matte-only
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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vangel76andClaude Sonnet 5.5
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f9b860838c |
Merge upstream/main into perf/exr-output-options
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com> |