Cause: CC Particle World projected its particles through a fixed camera
(distance 2 layer widths, looking at the layer centre) and never asked the
host for the comp camera, so moving or orbiting a camera layer left the
particles flat on the layer. It also had no Extras > Effect Camera. Separately,
the layer cache key ignored the comp camera and lights, so the effects that
read them (Card Dance / Shatter / Card Wipe Comp Camera, First Comp Light,
Caustics) kept a stale frame when the camera, a light or the layer moved.
Fix: as the Cycore manual describes, Particle World sees its particles through
the comp's active camera layer when there is one (EffectHost::comp_scene now
says whether its camera is a camera layer's, CompScene::camera_layer), through
card3d's comp-camera projection (factored out of Card Dance as comp_proj, with
Proj::view for depth, size scale and screen velocity). Otherwise it uses the
new Extras > Effect Camera: Distance (2), Rotation X / Y / Z (0) and FOV (50)
orbit the world origin; FOV moves the camera so the origin's plane keeps the
scale Distance gives it, so the defaults reproduce the old fixed camera bit for
bit (golden hashes unchanged) and old projects render as before. The Effect
Camera is left out of the simulation cache key, so animating it doesn't
restart the simulation. The plan is shared, so the GPU compositor follows too.
The layer cache folds the comp scene into the key of layers running an effect
in effects::READS_COMP_SCENE (render::comp_scene is shared with the host).
Tests: sim particle_world_follows_the_comp_camera (panning a camera layer moves
the particles, zooming spreads them, the Effect Camera is ignored then, the
default view keeps the Effect Camera, cameras facing away / zero / NaN draw
nothing) and particle_world_effect_camera (missing params = defaults, rotation,
distance and FOV change the view, extremes stay finite, the sim key ignores the
camera); render particle_world_follows_the_comp_camera (a real camera layer
panned 40 px moves the particles left, and the cached render after the move
equals an uncached one: it failed with the old cache key); gpu
particle_world_through_the_comp_camera (CPU vs GPU at 8 / 32 bpc, full and
half resolution). particle_golden / sim_golden unchanged. effects.md
regenerated; parity.md and gaps.md describe the fix.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
What: each property row that can take an expression (it has a stopwatch) now
has a property pick whip in the Parent & Link column, as in After Effects
CC 2018 and later (automation id `timeline.prop.<uid>.propertyPickWhip`).
Dragged onto another property's name or one of its values, it runs
`prop.pickWhip`: the reference is added as the property's expression, or
replaces the one it has, and the expression is enabled. A drop on one value
picks that dimension (`position[1]`).
The parent, expression and property pick whips share one widget and one
drop path (rubber band, autoscroll, dimension pick); only the expression
pick whip inserts at the cursor of an expression being edited.
Pick whips (expression and property) now also drop on properties in
Effect Controls: its property rows register as targets while a pick whip
is dragged, with their per-dimension value fields.
Why: the last part of #363. Adobe's docs say the Property Link pick whip
adds the expression without enabling expressions first, and a pick whip
outside an edit replaces the whole expression text. No modifier keys for
the property pick whip are documented, so none are implemented.
Tests: `the_property_pick_whip_links_a_property_to_another` (ui_inline_edit)
drops it on a property's name, on one of Position's values, on a property
with a disabled expression (replaced and enabled), on an Effect Controls
slider and one value of a point, and on itself (no change). It fails
before the change; with Effect Controls' targets removed it fails at the
slider. Looked at the result with the headless snapshot.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: the config reader didn't know ColorSpaceTransform or
ExponentWithLinearTransform and passed colours through them silently.
Blender's Linear Rec.709 -> sRGB therefore stayed in its E-white XYZ
reference space (the blue cast) without the sRGB curve. Display
colorspaces, view transforms, v2 views, looks, AllocationTransform,
BuiltinTransform and .spi1d / .spimtx files were missing too, and
nothing told the user.
Fix (from the OCIO v2 documentation and the CLF "moncurve", not OCIO's
source): ExponentWithLinear, ColorSpace, Look, DisplayView, Allocation
and Builtin transforms (identity, ACES AP0/AP1 matrices, ACEScct /
ACEScc, the sRGB / P3 / Rec.1886 / gamma / PQ displays). RangeTransform
now clamps and takes one-sided ranges. Display colorspaces meet the
scene reference through the default view transform. Added v2 views,
view looks, the looks section and .spi1d / .spi3d / .spimtx files. A
conversion is built once as a flat list of steps (Config::path /
display_path) for both the CPU effect and the GPU colour program (new
moncurve and clamp ops and the ACEScc curve; a program over the
kernel's 255 ops renders on the CPU). Named-transform resolution is
limited to 16 levels and 4096 steps, and YAML nesting to 64 levels, so
hostile or looping configs stop. Transforms that are still unsupported
(Grading Primary / Tone, ACES output, HLG…), unreadable configs and
unknown spaces are now reported: a warning under the effect in Effect
Controls, and the new effect.warning query.
Tests: ocio_config::blender_like_config_converts_linear_rec709_to_srgb
(CST, display colorspaces, v1 / v2 views, allocation, looks, builtin,
range, loops), moncurve_matches_srgb_and_inverts, builtin_styles,
yaml_nesting_is_bounded, ocio::spi_files_parse,
tests_effects::ocio_effect_warns_about_unsupported_config_transforms,
gpu tests_fx_lut::ocio_custom_config_v2 (GPU = CPU).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: float footage (OpenEXR, float TIFF) was always sRGB-encoded on
decode, and Interpret Footage could not turn that off, so an OCIO effect
on the layer converted values that were already encoded.
Fix: After Effects' Interpret Footage ▸ Color ▸ Preserve RGB
(Footage::preserve_rgb; file.interpretFootage {"preserveRgb": true}; a
checkbox in the Interpret Footage form; Remember / Apply Interpretation
carry it). The decoder keeps float values linear, and the working-space
conversion from the colour profile and Interpret As Linear Light don't
apply, so the file's values enter the composition unconverted. The media
cache key includes the flag, so both interpretations decode separately.
Tests: pool::preserve_rgb_reads_float_exr_values_unconverted,
tests_color::preserve_rgb_footage_is_not_converted (managed, linearized
and not), tests_proxy::guess_alpha_invert_and_linear_light (command,
render, Apply Interpretation).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: a multi-layer OpenEXR without an unnamed RGB layer showed its
first colour layer unless one was named combined / beauty / rgba. A
Blender compositor File Output names the beauty pass "Image", and its
Cryptomatte layers (lowercase r, g, b, a) sort first, so the picture was
CryptoMaterial00.
Fix: the picture is the unnamed RGB layer, else the beauty pass by the
last part of its name (Combined, Beauty, Image, RGBA, RGB, Color), else
the first colour layer that isn't a data pass (Cryptomatte, depth, mist,
normals, vectors, positions, IDs). A layer without R, G and B shows its
own first channel as grey. After Effects shows a file's main RGBA and
leaves the other layers to EXtractoR, which is unchanged.
Tests: exr_channels::layered_exr_shows_the_beauty_pass_not_cryptomatte
(the reported Blender layout, ViewLayer.Combined, no beauty name,
data-only files).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: Auto dropped to Half below 75 % magnification, so text between
50 % and 75 % was rendered with fewer pixels than the screen shows and
looked soft. Below 100 % the frame texture was minified with a plain
bilinear sampler and no mip levels (Full at 46 % skipped most frame
pixels), so edges stair-stepped.
Fix:
- Auto renders the pixels the magnification needs, as in After Effects:
the coarsest whole factor that still gives every screen pixel a
rendered one (Full above 50 %, Half down to 33.3 %, Third down to
25 %, Quarter below).
- GPU frames: the display texture carries a full mip chain, each level
the 2 x 2 mean of the one above (display.wgsl `mip`, same bind group
layout as `display`), sampled trilinearly with Viewer Zoom Quality
More Accurate (Faster keeps the nearest pixel of the full-size frame).
- CPU frames (egui-wgpu textures have no mips): uploaded averaged down
by the whole factor that leaves about one texel per screen pixel, the
same box average as the texture-limit fit (#201), re-uploaded when the
magnification calls for another factor; drawn with texture coordinates
that keep each texel over its pixels when the size isn't a multiple.
Show Channel / exposure textures follow.
Tests: gpu tests::display_frames_are_mipmapped (level count and level 1
= 2 x 2 means of level 0), viewer_tools
auto_resolution_follows_the_magnification (60 % was Half) and
minified_frames_keep_their_texels_in_place.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Text is vector in After Effects and stays sharp at any Scale. Here a
text layer was drawn at its font size and the bitmap resampled by Scale
unless Continuously Rasterize was on, so text grown with Scale went soft.
This reworks #200 (reverted in 29c4d3a for kinetic_typography).
Why kinetic_typography failed: its time remap key at 1.9 s sits on
frame 23 (1.917 s), so main-comp 0.3 s shows the precomp at 1.6026 s,
but the test compared it with the precomp rendered at 1.6 s. The moving,
motion-blurred title already differed by 0.89 of the 1.0 mean-difference
budget on main (0.987 in all); with continuous rasterisation the "Sub"
line, whose expression scale is 84.00 % at 1.6 s and 84.105 % at
1.6026 s, falls on either side of the 2^-1/4 quarter-octave step and was
drawn at 0.84 at one time and at 1.0 at the other, pushing the total to
1.075.
Fix: raster_scale treats text layers as always continuously rasterised
(shape layers and vector footage still follow the switch), and rounds
the quarter-octave step up past rounding noise only: an unscaled layer
at a fractional position measured its scale as 1 + 1e-15 and was
rasterised at 2^1/4, softening unscaled text. The QA test now compares
the remapped precomp with the precomp at the time the remap really
shows (read back from the property): difference 0.63, all of it the
title's motion blur, the Sub line identical.
Tests: tests_collapse::text_scaled_up_stays_sharp_without_the_switch
(from #200: 10 px text at 800 % matches 80 px text),
tests_collapse::unscaled_text_rasterises_at_the_output_scale (fails
without the noise tolerance), automation qa kinetic_typography.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: the interior styles were blended over the layer body with the
content's coverage folded into their opacity. On an edge pixel at 50 %
coverage a Gradient or Color Overlay went over the half-transparent body
as a half-transparent layer, so the result kept a quarter of the layer's
own fill and its alpha rose to 0.75: a light rim (the white fill
showing through) on styled text.
Fix: blend_clipped composites the interior styles (Gradient Overlay,
Color Overlay, Satin, Inner Glow, Inner Shadow and the inside of
Stroke) onto the layer within its shape: the body is divided by the
content coverage, blended with the style at its own opacity, and
multiplied back, so the alpha is kept and an edge pixel mixes the style
with the layer's colour inside the shape only, as a clipped layer does.
Fill Opacity and Blend Interior Styles as Group behave as before.
Tests: tests_styles::overlays_leave_antialiased_edges_clean (a masked
square with half-covered edge columns; Color Overlay, Gradient Overlay
and an inside Stroke now match a plain layer of the overlay colour;
Color Overlay's edge was 0.41 red against 0.23 before).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: each glyph's fill was rasterised and composited on its own, so
where two glyphs share an edge (the crossbars of "ff") two half-covered
pixels composited to 0.75 coverage instead of 1: a thin light seam,
where After Effects draws the line as one outline.
Fix: consecutive fill passes of the same opaque colour, without Blur,
under Normal Inter-Character Blending are rasterised as one coverage
mask (the glyphs' outlines in layer space, wound the same way so
overlaps add up under NonZero). Characters of other colours, translucent
or blurred ones, strokes and the other blending modes are drawn one by
one as before.
Tests: text::tests::touching_glyphs_join_without_a_seam (two glyphs
sharing an edge mid-pixel: 0.75 before, 1.0 now; opposite windings and
overlaps stay filled; other colours and Multiply still composite one by
one).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Right-clicking a property's name in the Timeline did nothing, so
Position's dimensions could be separated only from the Graph Editor.
As in After Effects, it now opens the property's menu: Reset, Edit
Value…, Separate Dimensions (Position and, once separated, X / Y / Z
Position, checked), Add / Remove Expression and Add Property to
Essential Graphics. Only Position separates, as in After Effects
(Scale stays one property).
`prop.reset` without `default` used to leave the value as it was: it
now gives the property its own default (an effect parameter's, or a
Transform property's, shared with Layer ▸ Transform ▸ Reset), which
also makes the Properties panel's Reset reset the values. `prop.set
{layer, prop}` without `value` opens the value dialog, like
`keys.set`.
Tests: timeline_property_names_have_the_property_menu
(ui_blank_context_menus), reset_gives_a_property_its_default (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Tab in a value being typed (hot text) dropped the keyboard: egui moved
the focus to the next widget, and the inline editors asked for the
focus again every frame, which also reset what keys a field keeps for
itself.
As in After Effects, Tab now commits the value and types in the next
value field of the same panel (the next dimension, then the next
property's), Shift+Tab the previous one. The hot-text fields of each
panel register in drawing order; the dock tags each panel's Ui so the
order stays within it. `keep_focus` asks for the focus only when the
field doesn't have it.
Tests: tab_commits_a_value_and_moves_to_the_next (ui_inline_edit:
Timeline and Effect Controls).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The inline expression field took its height from the saved
expression, so lines typed into it ran over the rows below until the
expression was committed.
Its height now comes from the text being typed (up to 8 lines, as
before), and its bottom edge drags it to any height in whole lines, as
in After Effects; the dragged height is kept per property in the
Timeline state (`expr_lines`).
Tests: the_expression_field_grows_while_editing_and_drags_taller
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dropping the expression pick whip on one of a property's values (the X
of Position) referenced the whole property. As in After Effects, a
drop on one value now picks that dimension: `transform.position[0]`;
a drop on the name still picks the whole property.
`prop.pickWhip` takes `target.dimension`.
The rest of #363 is unchanged: inserting at the cursor landed with
#284, and After Effects' property pick whip in the Parent & Link
column is left for later.
Tests: pick_whip_picks_one_dimension_of_the_target (engine),
the_expression_pick_whip_picks_the_dimension_it_is_dropped_on
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A pick whip dragged to the top or bottom of the Timeline's layers left
them where they were, so a property out of view couldn't be picked.
While a pick whip (expression or parent) is held within a row of the
top or bottom edge of the layers, or past it, the layers scroll that
way, faster the deeper, as in After Effects.
Tests: the_pick_whip_scrolls_the_timeline_at_its_edges
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Time Display Style could only be changed in Project Settings. As in
After Effects, Ctrl-click (Cmd-click on macOS) on the current-time
display of the Timeline or the Composition panel now toggles it between
Timecode and Frames (Feet + Frames goes to Timecode). It runs
`file.projectSettings {timeDisplay}`, so it is one undo step.
Under the Timeline's display the other style shows now (frames under
timecode, timecode under frames), as in After Effects; it always showed
frames.
Tests: ctrl_click_on_the_time_display_toggles_timecode_and_frames
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Every bounding-box handle in the Composition viewer showed the
north-west / south-east resize cursor, so two corners and all four
edges showed the wrong direction.
Each handle now takes the cursor along the direction it scales, worked
out from the on-screen box: a corner points between its two edges (the
box's diagonal whatever its proportions), an edge handle across its
edge. The cursors turn with the layer's rotation, as in After Effects.
Tests: handle_cursors_follow_each_handle_and_the_layer_rotation
(ui_viewer: a wide box at 0°, 90° and 45°).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: pipeline::Cx rendered with Backend::Auto, which picks the CPU or the
GPU compositor for each top-level frame from measured frame times
(render::AutoPick: warm-up on both sides, a re-probe every 48 frames). The
two compositors differ slightly, so frames came out differently depending
on which side the timings favoured in that run, and two GPU exports of the
same frames differed.
Fix: the job renders every frame on the project's renderer, as After
Effects renders a job with one renderer: Backend::Gpu with Mercury GPU
Acceleration (frames the GPU declines still render on the CPU, as they do
in every GPU render), Backend::Cpu with Mercury Software Only. The viewer
and previews keep Auto. Docs (architecture, parity, web) say so.
Tests: render_settings::a_job_renders_on_one_compositor exports ten frames
with a stand-in GPU compositor that keeps Auto history and draws solid
green: with Mercury GPU Acceleration every frame is green and two runs are
identical (with Auto the warm-up sent frames to the CPU: it fails), with
Software Only the stand-in is never asked. The web worker GPU job test's
comment no longer describes Auto.
Diagnosis by @pat-the-wizard.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Ease Presets panel (#254) is modelled on a third-party panel, so,
as with third-party tools in After Effects, it isn't core any more: it
is `extensions/scriptui-panels/Ease Presets.jsx`, a ScriptUI panel
bundled as an optional extension (Window ▸ Ease Presets.jsx), written
only against the public scripting API. Clicking a preset eases every
pair of neighbouring selected keyframes in one undo step (per
dimension, along the motion path for spatial properties, the keys'
other sides as they play); the fields edit the working curve, which the
panel draws; From Keys, Save, Rename and Delete as before. The twelve
built-in curves are unchanged.
Scripting API fixes it needed (After Effects parity):
- `app.settings` lasts between runs (`script_settings.json` in the
settings folder; `script.settings.get` / `script.settings.save`).
- Per-key methods (`setTemporalEaseAtKey`, `setInterpolationTypeAtKey`,
`removeKey`, the continuous / auto-Bezier / roving setters) no longer
change the user's key selection (they selected the key they edited).
- `keyInTemporalEase` / `keyOutTemporalEase` report linear and
auto-Bezier sides as they play, `keyIn/OutSpatialTangent` the
tangents the motion path plays.
- `selectedProperties` includes the properties of selected keyframes.
- `isInterpolationTypeValid` is false for Linear / Bezier on values that
only hold.
Removed from core: Window ▸ Ease Presets, the `keys.easePreset.*`
commands, `engine::ease_presets` and the `ease_presets.json` store,
`keyframe::EaseCurve` (nothing else used it) and the egui panel. User
presets saved by the v0.6.0 panel move into the panel's app.settings
section the first time settings load (the old file is left as is).
Docs: plugins.md (bundled extensions), parity.md, gaps.md G8, agents.md.
Test: app_settings_last_between_runs,
per_key_methods_keep_the_key_selection_and_report_eases_as_they_play,
spatial_tangents_are_reported_as_the_path_plays (each fails before),
the_ease_presets_panel_eases_every_selected_pair_in_one_undo_step,
a_typed_curve_scales_to_each_dimension_and_follows_motion_paths,
user_presets_save_rename_delete_and_persist,
presets_saved_by_the_old_core_panel_carry_over (script, through the
panel's controls), ease_presets_panel_eases_the_selected_keys_from_its_list
(UI: the panel docks and a click on a preset eases the keys).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Interpret Footage has Start Timecode: Use Source File
Timecode, or Override Start, which changes the timecode the footage
shows and leaves its frames alone. The Start Frame field that trimmed or
padded a sequence's head isn't in After Effects, so it is replaced.
Footage.start_timecode (Override Start, in frames at the footage's
rate; None = Use Source, 0 as file timecode isn't read) relabels source
time: the Footage panel's current time and footage.info's `timecode`
count from it. file.interpretFootage takes `overrideStart` and
`startTimecode` (timecode, read at the footage's rate after any frame
rate change, or a frame number, 0 to 1e9). It applies to every footage
with time, not only sequences, and Reload keeps it. A sequence's frames
always run from its first file's number to its last.
Test: start_timecode_only_relabels_source_time (project),
interpret_footage_start_timecode_relabels_source_time (engine: the
reply, the Footage panel's timecode, frame numbers, Use Source, the
footage's rate, bad values, undo), Reload keeps it, and the Interpret
Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Effects: effect points on shape layers start at the layer centre (#227)
# Conflicts:
# crates/ui-egui/src/panels/puppet_tool.rs
# crates/ui-egui/src/panels/viewer.rs
After Effects shows a missing frame of an image sequence as a
placeholder (colour bars) and has no Hold Previous Frame or Skip choice
in Interpret Footage, so EffectCraft doesn't either.
Interpret Footage loses its Missing Frames field, file.interpretFootage
its missingFrames parameter, and Footage its missing_frames setting. A
gap in a numbered sequence's numbering always shows colour bars. A
sequence imported with Force Alphabetical Order still plays its files
one after another (its numbering doesn't count), as in After Effects;
that is now an internal Footage.alphabetical flag, set on import and
kept by Reload. The Interpret Footage note lists the missing frames.
Projects saved before this have no such field and open with the After
Effects behaviour: a sequence with gaps shows placeholders where it
used to close them up.
Test: project sequence unit tests (placeholders, alphabetical order,
projects saved without the flag), tests_sequence (Start Frame instead
of Hold / Skip), sequence_gaps_show_placeholders (media) and the
Interpret Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Settings > Appearance > UI Scale (appearance.uiScale, 75-200 %, default 100)
scales the whole interface on top of the display's own scaling, live as it is
chosen; Cancel puts it back, OK saves it and a saved scale applies from the
first frame. The Settings dialog's choice rows show a number setting with
choices as its text. Automation id: settings.appearance.uiScale.
egui's own Ctrl+= / Ctrl+- / Ctrl+0 zoom is off now: Ctrl+0 (Window > Project)
also reset the zoom behind the app's back, and the scale is a setting.
Test: engine tests_settings ui_scale_is_a_percentage_from_75_to_200; ui_panels
ui_scale_setting_sizes_the_interface.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
As in After Effects, the right end of the Timeline's time ruler has a
composition marker bin (an original icon drawn in code). Dragging out of it
shows a marker following the pointer along the ruler's marker strip, snapping
like a dragged marker (current time, work area, other markers); releasing over
the time ruler's width adds a composition marker there with comp.addMarker (one
"Add Marker" undo step). Dropped back on the bin, nothing is added. The time
graph ends 18 px before the panel edge to leave the bin a column above the
layers' scroll bar. Automation id: timeline.markerBin.
Numpad * (or * typed with Shift+8), the keymap's Add Marker, now works in the
window too: egui has no key for it, so it comes as text.
The marker glyph and colour are shared helpers now (markers, nested markers,
the dragged marker).
Test: ui_timeline_zoom dragging_out_of_the_marker_bin_adds_a_comp_marker.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The in-window menu bar now works from the keyboard as After Effects' does on
Windows: Alt pressed and released on its own focuses the bar, Left / Right move
between its menus and Down, Enter or Space opens one. In an open menu Up / Down
move the highlight (skipping disabled entries, wrapping around), Right opens the
highlighted submenu and Left closes it (on a plain entry they open the next /
previous menu), Enter or Space chooses the entry and Escape closes the menus.
Hovering an entry moves the highlight there, and a highlighted entry scrolls
into view in long menus.
While a menu, context menu or popup list is open, or the bar has the keyboard,
keys go to the menus only: the app's shortcuts don't run (Space started the
preview behind an open menu) and the panels don't see the keys (Enter on an
entry no longer reaches the Project panel's rename).
Tall menus already scroll inside the window since #277 (ui_scrolling's
a_menu_taller_than_the_window_scrolls). F10 stays View > Switch 3D View > Front,
as in After Effects.
Test: ui_menus (shortcuts_wait_while_a_menu_is_open,
arrow_keys_drive_the_menu_bar, enter_chooses_the_highlighted_entry).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Image sequences were found only by the desktop media prober: one picked
numbered still brought its whole run, with no way to import just that
frame, picking every frame made one sequence item per frame, the browser
couldn't make sequences at all, and a gap in the numbering closed up
silently.
The engine now groups numbered stills itself (engine/src/sequence.rs):
one picked file brings its run from its folder, several picked files of
one run import as that range, a picked or dropped folder imports its
files with each run as a sequence, and Force Alphabetical Order takes
every image of that type in the folder by name. `file.import` takes
`sequence` (default on), `alphabetical` and `frameRate`; Replace Footage,
Reload, proxies and render outputs probe the same way. The media layer
probes one file; the browser lists its file table for the run and
registers every frame with its media pool.
File > Import > File... asks, like After Effects' "PNG Sequence"
checkbox, whether picked numbered stills import as a sequence, with
Force Alphabetical Order and the frame rate. Sequences are named
`shot_[0001-0250].png`.
Interpret Footage gains Missing Frames (Show Placeholder, colour bars as
in After Effects, the new default; Hold Previous Frame; Skip) and Start
Frame (the frame number at the footage's first frame: trims or pads the
head). Saved projects keep Skip, so their sequences play as before.
Form notes keep a readable width and the form fits its rows, so OK stays
in view. docs/footage.md explains importing footage and sequences.
Test: tests_sequence (engine: run, picked range, every frame, Sequence
off, folder, alphabetical, Interpret Footage Missing Frames / Start
Frame, Replace Footage and Reload), project sequence unit tests,
sequence_gaps_show_placeholders_hold_or_close_up (media),
import_dialog_offers_the_image_sequence_option and
dropped_frames_import_as_one_sequence_with_sequence_interpretation (UI).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
EXtractoR's Red, Green, Blue and Alpha are text parameters naming
channels, and Effect Controls drew nothing for text parameters: there
was no way to choose a layer or channel. And a multi-layer OpenEXR file
whose colour is only in named layers (`diffuse.R`, Blender's
`ViewLayer.Combined.R`) didn't import at all: the image decoder wants an
unnamed RGB layer ("does not contain non-deep rgb channels").
- Effect Controls: EXtractoR gets a Layer popup listing the footage's
OpenEXR layers. Picking one sets red, green, blue and alpha to its
channels in one undo step, as After Effects' EXtractoR dialog does (a
one-channel layer such as depth goes in all three colours). Red /
Green / Blue / Alpha are popups of the layer's own R, G, B, A, every
channel of the file, and (none). The lists are read only while open,
so playing an EXR sequence doesn't parse files on the UI thread.
- `layer.channels {layer}` lists a layer's EXR layers and channels and
what each layer shows in red, green, blue and alpha, for agents.
- Media: an EXR without an unnamed RGB layer imports and shows its
colour layer (one named combined, beauty or rgba first); its channels
stay available to EXtractoR and the 3D Channel effects.
- Raster: AuxChannels::layers / layer_rgba and split_channel.
Test: extractor_shows_the_chosen_layer_and_channels_of_a_layered_exr
(host: a layered EXR written with the exr crate imports, layer.channels,
EXtractoR renders spec and depth; it failed to import before),
extractor_offers_the_exr_layers_and_channels (UI: Layer popup, one undo
step, channel popup), layered_exr_without_an_unnamed_rgb_layer_imports
(media).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shape and text layers have comp-sized effect bounds centred on their
origin, but effects measured positions from the origin: a point at its
default "layer centre" sat at the comp's bottom-right corner, so Twirl
on a centred shape changed nothing and Bulge only its bottom-right
quarter. As in After Effects, effects now work in effect space,
measured from the top-left of the layer's effect bounds.
The renderer moves the layer buffer into effect space for the whole
stack (Buf::rebase, CPU and GPU alike) and hands effects everything
else in it: masks, other layers' pixels for layer parameters (each in
its own effect space, so Set Matte and displacement maps see a whole
shape layer), the layer's own frames (layer_input, also what Puppet,
Roto Brush and the Layer panel read) and the comp camera
(CompScene::rebased). Layer bounds are now right for every effect, so
pin_rect and EffectEnv::bounds_origin go and layer_rect serves edge
pinning too. Adjustment layers still run on the comp below as it is.
effect_bounds / EvalCtx::effect_to_comp replace the repeated "comp size
when there is no source" code; the viewer's effect point handles and
eyedroppers, Puppet pins, the Layer panel (paint, Roto Brush) and the
tracker's Corner Pin output use them.
Project schema 2: opening a schema 1 project moves positions held by
effects on shape and text layers by half the comp size, so set points
keep their place (point parameters with keyframes, Paint paths and
clone positions, Puppet seeds and pins, Liquify and Roto Brush
strokes). Points still at their default become the layer centre;
expression controls, adjustment layers and expressions are left as
they are (docs/architecture.md). The disk cache's render version is
bumped.
Tests: default_effect_points_sit_at_the_centre_of_a_shape_layer and
layer_parameters_see_a_whole_shape_layer (render, both fail before),
effect_points_on_a_shape_layer (GPU vs CPU),
opening_a_schema_1_project_moves_shape_layer_effect_points_into_effect_space
(engine), and the effects migration tests.
Part of #227
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Environment light existed (LightKind::Environment) but layer.newLight's help
and the kind errors of layer.newLight and layer.lightSettings listed only
Parallel|Spot|Point|Ambient, so agents could not find it. The help now lists it
and says how to give it an equirectangular image: prop.set
lightOptions/source to that layer's id, or leave it empty for the comp's
Environment Layer (layer.environment). layer.lightSettings documents its kind
values too.
docs/parity.md (3D) notes that Advanced 3D surfaces reflect only the
Environment light and that Appears in Reflections is stored but has no visible
effect yet. Object-to-object reflections stay tracked in #261.
Test: tests_3d::environment_light_is_listed_and_takes_a_source_layer (help and
both kind errors name every LightKind; an Environment light takes a source
layer by id, with undo).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01S1RGTt6AE3ysiaMQ7X6Nea
gaps.md records the seven reports of 6 October (#85, #88, #89, #93, #103,
#106, #117), what they found in features marked done, their fixes of 7
October and the regression tests; parity.md's Interface, Animation and
Preview rows, the ROADMAP's reliability note and the README's panels
paragraph (drag and drop between panels) follow.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
gaps.md records the Windows report and its fix under real-user experience and G2; parity.md's
Text row, the ROADMAP's reliability note and the README's Text bullet say text can use any
installed font; architecture.md says when the system font scan runs.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_019EjTYdt76hTG4Kh2CJFnCr
- effectcraft-segment: a FaceModel interface (find a face in a region, follow it; a Topology
maps the model's points to the tracker's landmarks and outline), a TensorFlow Lite reader and
interpreter (float ops, float16 weights folded; matches ai-edge-litert to ~1e-6), and
MediaPipe Face Landmarker (Google, Apache-2.0: BlazeFace + Face Mesh V2, 3.8 MB, pinned
SHA-256). The registry gains a task and authors per model; installed weights get a NOTICE.
- effectcraft-track: FaceTracker::new_with uses the model, falls back to the classical fitter
when it finds no face; chin and jaw come from the outline either way so measurements agree.
- Engine: roto_models becomes models (both tasks); face.models / face.model.* commands,
Settings ▸ Face Tracking, `wait` on select/install/download for scripts; track.mask reports
faceModel.
- Credits: ATTRIBUTION.md lists the optional models and the Apache-2.0 specs the code follows.
- Docs: README, ROADMAP (G7), gaps, parity (TRK-3 score unchanged pending G1), agents,
preferences, architecture, segment README.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- New L1 crate effectcraft-segment: the MaskModel interface (prompts → foreground probability),
a registry of open-licensed models (licence must be MIT/Apache/BSD/…; URL, size, SHA-256),
a PyTorch checkpoint reader (zip + pickle subset), dependency-free SHA-256, and MobileSAM
(TinyViT-5M + SAM prompt encoder / two-way transformer / mask decoder) on rayon and ndarray's
safe GEMM. Loads the official mobile_sam.pt as published; checked against candle
(embedding 0.3% RMS, 99.9% equal mask pixels); ~0.7 s/frame encoder at 32 threads, cached
per frame, ~0.1 s decoder.
- track::roto: segment_with / propagate_with prompt a model with the strokes or the flow-warped
matte (box, core points, mask); its probability is a strong, unblurred prior for the same
graph cut (strokes stay hard constraints); a failing model or one disagreeing with the flow
(IoU < 0.5) is ignored. Prior gets a weight.
- effects::roto: Version 2.0 / 3.0 use the model chosen in Settings (set_model / model_for);
the model id is part of the chain seed.
- engine: roto_models (roto.models, roto.model.select / install / download / remove), weights in
the models folder (host::config_dir()/models, shared by the app, CLI and MCP), background
loading, downloads through the system curl, verified; Settings ▸ Roto Brush page (prefs
roto.model). host::config_dir moved from the desktop app.
- Tests: segment (kernels vs direct sums, checkpoint reader, SHA-256 vectors, registry), track
(fake model: prior shapes the cut, failing / disagreeing models ignored; real weights with
EFFECTCRAFT_MOBILESAM: base IoU 0.989, propagated ≥ 0.980 vs classic 0.973), engine (registry,
verification, selection; real install + load), MCP.
- Docs: README, ROADMAP, parity (MSK-4 done: 90/2/0), preferences, agents, architecture,
crates/segment/README.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
parity.md's ≈99% measures breadth only. docs/gaps.md assesses real-world
readiness by dimension (fidelity, .aep interop, stability, platform
reliability, performance, media, AI tools, maturity) with evidence, and
sets prioritised workstreams with done criteria. ROADMAP, README, parity.md,
AGENTS.md and CLAUDE.md point agents at it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- audio::AudioScrub: an open output that plays a faded snippet (one frame, 30–100 ms) of the
comp's mix at each new frame, replacing what is still queued; holding still repeats nothing.
The mixing is shared with the preview feeder (mix_block); AudioFeed::clear.
- The Timeline ruler: Ctrl/Cmd-drag scrubs audio (EffectcraftApp::scrub_audio opens the output
through the audio device hook on first use). The Audio panel meters follow the snippets; an
idle second closes the output.
- playback.scrubAudio {time?} for agents.
- Tests: ui_audio_scrub (snippet length, fades, same-frame no-op, replace not pile up, silent
comps, Cmd-drag in the ruler, idle close) with a fake device. Docs: parity.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- commands::markers::nested_markers: a precomp layer's comp markers at their times in the
containing comp (start and stretch in closed form; with time remapping or a stretch over
protected regions, the first frame whose source time reaches them), within In–Out.
- markers.nested {layer}: the same list for agents.
- Timeline: drawn on the precomp bar as outlined read-only markers (positions cached per
revision), hover names them, double-click opens the nested comp at the marker; automation id
timeline.layer.<id>.nestedMarker.<i>.
- Tests: engine (start, stretch, trim, time remap, non-precomp error), UI (draw, label, open).
Docs: parity, control protocol.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- PanelKind::Viewer(n): more Composition viewers (panels::viewers). One is active (the full
interactive viewer, showing the active comp); the others show their own comp's frame at that
comp's current time (CPU or GPU frames, their own textures) and become active on a click or
their tab, their comp becoming the active comp.
- view.newViewer (View menu, the Composition panel menu, Alt+Shift+N): a new viewer of the
active comp next to the one in use, which is locked. Opening a comp while the active viewer
is locked shows it in an unlocked viewer, or a new one when every viewer is locked. Closing
the active viewer hands over to another with its comp. Tabs are named after their comp, with
their own lock and swatch; Preview full screen maximizes the active viewer.
- UI state: viewers (comp per viewer) and active_viewer (serde).
- Tests: ui_viewers (lock on New Viewer, routing, click to activate, all locked → new viewer,
close hand-over, tab titles; an ignored snapshot). The bounded-drag frames test asserts what
holds when freed addresses are reused. Docs: parity, control protocol.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- FrameKey's identity is the comp's content (frames::comp_content), not the project revision:
an edit keeps the cached frames of comps it doesn't touch and undo finds the frames of the
state it returns to. The identity hashes the addresses of the comps a comp draws (~0.1 ms on
the 1500-layer test project; the full content hash took ~117 ms), by value the footage, solids,
proxies and project settings; with expressions, every item. Frames::content_of keeps a
project snapshot per identity with frames (or in flight), so Arc::make_mut always copies an
edited comp and its address can't be reused meanwhile; past 64 identities the least recently
used go with their frames (long drags).
- drop_stale is gone (frames of other contents are evicted least-recently-shown first).
- disk_cache::comp_content_key covers items' proxies and Use Proxy (it served stale frames).
- Tests: frames (content keys, edits elsewhere and undo, bounded drags, in-place edit safety),
ui_ram_preview (end to end), the disk cache proxy key. Docs: roadmap (M4 done), parity.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Home covers the whole workspace below the Tools bar (the panels wait behind it) instead of
the Composition panel.
- Left rail: New Project (primary) and Open Project, the Home / Templates / Learn pages with
icons, and the community links and ArtCraft apps at its foot.
- Home page: "Welcome to EffectCraft", quick-start tiles (New Composition, Open Demo Project,
Import Footage, New from Template) and Recent as a table — thumbnail, name and folder,
Opened (relative), Size, Kind — with a filter field, Clear list and an empty state.
- Theme tokens throughout (light themes follow); web_time for "now" (works on the web).
- Tests: formatters (opened / size / kind) and the new automation ids. Docs: parity.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Collapsed precomps: the renderer records the precomp layers a nested comp is drawn through;
motion-blur sub-samples re-evaluate their transforms (when their motion blur is on) and map
times down through each one, so the precomp layer's own motion blurs its nested layers. The
containing (outermost) comp's shutter applies to collapsed layers. The GPU compositor gets
this through Renderer::placement.
- Shape and text layers whose content changes within the shutter (compared by its cache key)
draw their source at Samples Per Frame times and average them; the cache key covers every
sub-sample's content.
- Tests: tests_motion_blur_depth (collapsed vs flat, the containing shutter, shape content vs
the same move by Position); each fails without the change.
- Docs: roadmap, parity.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- The Timeline shows one tab per open comp (dock DocTab). Clicking a tab shows that comp; ×
or middle-click closes that comp's Timeline (comp.close), not the panel. Opening a comp brings
its viewer and Timeline tab to the front.
- Project panel: a double-click on an item's name opens it (a comp gets its own tab) instead of
renaming; Enter and the context menu rename.
- Tab drags: over a tab strip an insertion mark shows where the tab lands, and it lands there
(Layout::insert_tab), which also reorders a group's own tabs; side zones are unchanged.
- Tests: ui_tabs (double-click, tab switch / close, drag reorder and cross-group insert; an
ignored mid-drag snapshot); the Timeline close test follows the new behaviour.
- Docs: parity, control protocol.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- effect.pickColor {effect, param|prop, x, y (layer px), average?}: the colour of the effect's
input at a point, set on the parameter (one undo step). Keying effects' Effect Controls
eyedroppers use it, since the shown frame is already keyed; Ctrl/Cmd+click averages 5x5.
- effects::aliases / name_matches: Effects & Presets and effect.list (MCP list_effects) find
Key Light by After Effects' name ("Keylight (1.2)").
- End-to-end test: a green-screen plate with an uneven screen, spill and soft edges keyed via
effect.apply "Keylight (1.2)", pick, Clip Black / White and a render; UI eyedropper test.
- Docs: parity, agents (green-screen recipe).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- J / K (Go to Previous / Next Keyframe) and Ctrl+Alt+A (Select All Keyframes) act on what the
Timeline shows, as in After Effects: the keys of its revealed properties, layer and comp
markers and the work area (they used every property of the selected or all layers, revealed
or not). The commands take `visible: [{layer, prop}]`, which the Timeline fills in; agents
calling them without it keep the previous behaviour.
- Graph Editor ▸ Auto-Select Graph Type (an "Auto" button, on by default as in After Effects):
the speed graph when every property shown is spatial (Position, Anchor Point…), else the
value graph; choosing Value or Speed turns it off.
- Docs: parity, agents.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- parity: the status note covers the M3.9–M4.12 passes (feature counts unchanged: they fixed
behaviour inside features already counted done) and the GPU effect count matches EFF-5 (280);
the Layers, Compositions, Interface, Project and Preview rows name what is left and what
landed; landed items in "Highest-value gaps" are struck through with where they landed, the
gaps the passes left are items 16–18, and the closing paragraph no longer says 69 menu entries
are disabled.
- ROADMAP: what is left includes the preview gaps.
- web: a restored session with unsaved changes stays modified and asks before closing.
- preferences: Adaptive Resolution Limit applies while dragging, not to playing previews.
- agents: nested comp settings and New Comp from Selection for several items.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- `Project::to_file_json` writes `savedBy` (the EffectCraft version) ahead of the project and
checks that the text reads back before anything is written: JSON has no NaN or infinity, so
such a value made a file that saved but could never be opened. Save now fails with a message
and the file on disk is left as it was.
- Opening a project saved by a newer EffectCraft warns that settings this version doesn't know
are lost on saving; `file.open` reports `savedBy`. A file that isn't a project names itself in
the error.
- Increment and Save keeps the extension (`.ecprojx` stays XML); Save a Copy writes XML for
`.ecprojx` / `.xml` paths, like Save As.
- Docs: architecture (document model), parity.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
bflatastic
Brandon Thomas
pat-the-wizard
Claude