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8
Commits
| Author | SHA1 | Message | Date | |
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 Khawar Zamman Wani
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86ddfb72f7 |
Reuse large buffers so returning freed memory to the OS doesn't slow filters (#10479) (#10514)
* perf: reuse large buffers so a pinned glibc trim threshold costs no speed (#10479) With MALLOC_TRIM_THRESHOLD_ set (#8743), glibc maps every allocation over 128 KiB fresh, so tiles, compositor bands and filter scratch were page-faulted in on every call: viewport compose 3.6x slower, Gaussian Blur up to 1.8x, .pcraft save 2.4x. - photocraft_raster::scratch: a process-wide, capped pool of large Vec buffers (u8/u16/f32/[f32; 4]). A miss drops the oldest buffers worth its size down to a 256 MiB floor, so peak memory stays near glibc's defaults. The engine releases the pool after any command that closes a document, Headless::close does too, and an idle thread releases it after 2 s unused. - Tiles, compose Buffer/masks/bands, algo Image and the blur paths, engine adjustment/filter scratch, GPU tile upload and io import buffers go through the pool. - .pcraft save reuses one zstd FrameCompressor per worker (byte-identical). - interactive_bench reports minor page faults per run. 36 MP, trim threshold set vs glibc defaults: viewport 5.6 vs 6.1 ms (was 22.7), Blur r4 445 vs 437 ms (was 852), Curves CPU proxy 35.0 vs 35.7 ms (was 50), flatten 146 vs 147 ms (was 237), save .pcraft 251 vs 230 ms (was 545). RSS after closing a 5400x7200 document: 21 MB with trim set. * fix: corpus tests build again; return remaining pooled buffers (#10479 review) - Corpus-gated io tests and the Photoshop-oracle test moved `.px` out of a `Buffer`, which now implements `Drop` (E0509 with `--features corpus`): use `into_px()`. - io: masks, the merged image, extra channels, smart-filter masks, smart-object pixels and patterns give their `interleave` buffers back to the scratch pool after writing them. - compose: recycle the mask values of a pass-through group, `effect_shape` and both `split_parts` callers. - Styled Free Transform preview copies each band out instead of moving it, so the band returns to the pool. - interactive_bench: the fault count covers each whole run, untimed setup included; say so. * fix: recycle the masks of adjustment-atop and shape layers (#10479 review) * fix: recycle effect hiding masks (#10479 review) * fix: recycle knockout, CMYK and GPU shape masks; release the pool when Split/Merge Channels close a document (#10479 review) * fix: release the pool when a closed document's cancelled workers exit; idle-release switch for tests; don't pool PSD planes (#10479 review) * fix: release the pool for workers cancelled before their document closes; take the pool lock for budget and idle-release changes (#10479 review) * fix: idle release rechecks activity under the lock; try_take_exact releases the pool and retries before failing (#10479 review) * test: cover a successful try_take_exact miss; name the failed-reservation test for what it checks (#10479 review) * fix: pool the final GPU effect shape buffer and return it after use (#10479 review) * docs: describe scratch pool lifecycle regression invariants * test: verify polling releases cancelled document scratch buffers * perf: recycle remaining transform selection and PSD scratch buffers * fix: free PSD gather bands before allocating channel planes * test: assert exact scratch take reuses pooled storage |
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 Khawar Zamman WaniandFredApps
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209bce8d46 |
Budget PSD pattern expansion and bound multichannel conversion (#10541)
* Stream PSD user and real masks into tile rows * Correct streamed-mask fixture metadata and test lint issues * Budget PSD pattern expansion and bound multichannel conversion --------- Co-authored-by: FredApps <FredApps@users.noreply.github.com> |
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 Federico Olivares
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11ae3d026c |
Address the maintainer's review of the pattern work
Align measures shape extents at the document's own sample type, a render keeps two of the largest patterns converted per call instead of rebuilding the second for every tile, a pattern too large to paint is named by every command that would use it, by pattern.list and by a PSD open warning, and a style-only edit restyles the older Photoshop's legacy text objects too, checked against the real psd-tools text.psd. |
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  Michael HigginsandClaude Opus 5.5
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5697c40361 |
PSD: write pattern transparency where Photoshop keeps it (#8054) (#8756)
* PSD: write pattern transparency where Photoshop keeps it (#8054) A pattern defined over transparency (delete the Background, Define Pattern, then a Pattern Fill layer from it) was saved with its alpha plane in the virtual memory array list's user mask slot (24), and Photoshop refused the PSD. Photoshop keeps pattern transparency in the last (sheet mask) slot and leaves the user mask unwritten (psd-tools multichannel-pattern-fill.psd, written by Photoshop CC 2019). The same writer serves `Patt`/`Pat2`/`Pat3`, `.pat` and `.abr`. Files saved by older builds still open (the reader takes the first written array after the colour channels as transparency), and saving them again rewrites their pattern block instead of keeping the raw bytes, which `block_has_user_mask` detects. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * PSD: rewrite only legacy pattern blocks, keep unreadable ones (#8054) When the document's patterns are unchanged, a pattern block with transparency in the user mask array is now rewritten in place from its own patterns, and every other block (pattern blocks that fail to decode included) is kept verbatim. Previously a legacy block forced the replace-all path, which dropped an unreadable pattern block that an unchanged save used to keep. Blocks are decoded in order with one shared budget, as from_global_blocks does. Addresses CodeRabbit review on #8756. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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a7301f1db8 |
PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) (#5207)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * Raw: measure the Nikon D90 image area (4288x2848 at (10, 10)) Aligning the decoded D90 sensor plane with the camera's own JPEG puts the image at (10, 10) in the 4352x2868 sensor plane, giving the camera's 4288x2848 frame (10-pixel margins; the right border reads the camera's flat 255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the camera's frame instead of the uncropped plane, and make a measured profile leave a file that carries its own colour calibration (a DNG) untouched. * Codecs: open Cineon (.cin) film frames read-only Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from the same Kodak header family: the generic header (big-endian, orientation at 192, channel count at 193, the channel-1 bits/dimensions), one or three channels, three 10-bit samples packed into each 32-bit word on a word boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the file's log black/white points are a display choice and are not applied. A depth other than 10 bits or a channel count other than 1/3 is Unsupported; truncation errors rather than panicking. Read-only (no Cineon writer), so .cin joins the open filters and Cineon read closes part of #1049's G10 gap. * PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) - Patterns: one PatternBudget (decoded bytes + zero padding) is shared by every pattern of a block, a .pat file and the pattern blocks of one document; .abr patt sections are charged to the samples' budget. - Patterns: a channel whose depth differs from the first is rejected (the parsed pattern could not be written back). - Slices: descriptor numbers no longer wrap; out-of-range ids are no id, coordinates clamp to i32, and a v6 trailing entry without a usable id attaches its outsets to no slice. - LayerInfo::unpadded_len is computed from field sizes instead of serializing every record into a scratch buffer. - abr desc presets are moved out instead of cloned; UnFl and shmd counts use the bounded preallocation; ImageData::decode_channel (decoded every plane to return one, unused outside its test) is removed. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * PSD: write tiff blocks without copies, inflate merged ZIP once - ImageSourceData::to_bytes writes the global mask and global blocks straight from the model with 4-byte alignment instead of cloning each block (data included) to set its padding. Same bytes. - The tiff transcoder's nested regions and blocks write into the parent's buffer (taken and handed back, error or not) instead of building their own output and copying it up per nesting level. Bodies that fail or are not transcoded are truncated before being copied as stored or dropped. Same bytes. - PsdFile::from_bytes_and_merged decodes the merged image with the parse when asked: a ZIP stream is inflated once (the decode's stream check is the parse's); the parse-only check runs only when the decode fails, to keep from_bytes' errors. PSD import uses it with merged_needed. - PsdBuilder::composite documents that Gray/CMYK composites stay straight. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366) Removing long, thin objects (coiled guitar strings, wires) left their outline as darker and lighter blotches and copied pieces of other strings into the fill. The pyramid shrank until the hole's bounding box was four patches across: for a string across the image that is a level where the hole has swallowed its surroundings, so the matches found there copy whatever looks like the blur, and the finer levels (refine-only for wide bounds) keep them. A hole at most a quarter as thick as its bounds are long now counts as thin: the pyramid stops while it is still about two patches thick, and that level starts from a membrane across it (over a few pixels, the surroundings themselves) instead of the onion peel, whose exhaustive search is what made a shallow pyramid unaffordable. Compact holes are unchanged bit for bit. Refs #1366 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366) Two more causes of ghosts when removing strings and the small knobs selected with them: * Auto sampling summarises the selection's surroundings by a few clusters. Around a long selection those come from the strings' surroundings, so a small part elsewhere (a tuning knob in a differently coloured corner) lost its own surroundings and was filled from far away in another colour. Around a thin selection the Auto area now always reaches as far as the selection is thick. * The membrane that starts a thin hole now starts a patch radius out, past the anti-aliased fringe or halo that a selection drawn close to the object leaves outside it. Refs #1366 * Content-Aware Fill: peel a thin hole where that stays affordable (#1366) Starting every thin hole from a membrane smoothed Spot Healing on film grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain 9.0 against 12.1 around). The onion peel copies the grain; it was only given up because its exhaustive search is too slow on the big level a long thin hole stops at. It now starts the thin hole whenever hole cells times sources stay within 2^28 comparisons, and the membrane only beyond. Refs #1366 * Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open Users on #2788 reported Select Subject dropping clothes that are close in colour to a plain wall and bridging the gap between an arm and the torso. Both come from the same place: the saliency pass labels low-contrast parts of the subject as background, the background colour model then learns them and explains them away, and the final blind hole fill closes every enclosed gap up to 5 % of the mask. Two changes in crates/algo: - A second GrabCut pass whose background model only knows the backdrop. A colour model fitted to the image frame (minus a margin around the salient blob, in case the subject runs out of the picture) marks every pixel it explains as probable background; the blob and whatever the backdrop cannot account for start as probable foreground. Only components that touch the first pass's result survive. - Hole filling that consults the colour models: specks (<= 0.2 % of the mask) always fill, larger holes up to 5 % fill only when their pixels fit the foreground model better than the background's. Tests: two regressions (a cream-shouldered figure on a near-white wall keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus ignored timing and picture-dump helpers. The 6 MP first run goes from about 100 ms to about 200 ms on one core; the P29 repeat path is untouched. * Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2) Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults), and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes Photoshop's HTML list of every bound command by menu. edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use and whether it is modified. Bad names, keys or counts are errors that change nothing. * .kys import: tool keys and sets saved on Windows (K3) Photoshop's <tool> rows now import: each matches our tool by name (our tool names are Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own becomes its override, while its own letter keeps the tool cycling with the others (#5036). A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that would also mean Control on a Mac. The import reports `windows`. * cargo fmt the extension lists Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Gert Pellin <gert@pellin.be> Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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Brandon Thomas
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4832e08aad | PSD fidelity: 16/32-bit colour modes, Lab, Levels, Exposure, Dissolve oracle (corpus 133 → 140, psd-tools 212 → 222) (#202) (#202) | ||
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Brandon ThomasandClaude Opus 5.5
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f7eb6ea9e7 |
Format: adopt the craft-family rustfmt.toml and format the workspace
CI's `cargo fmt --all -- --check` has failed on every run because the repo had no rustfmt config and was never formatted. Use the same settings as EffectCraft/FilmCraft (max_width 160, use_small_heuristics Max), which also keeps the churn small. Formatting only; no code changes. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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Brandon Thomas
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536a7346fb | more algorithms, progress |