Problem: FilmCraft exports OpenEXR sequences (#806) but could not open
.exr files at all, so EXR plates and renders from other apps could not
be imported (docs/gaps.md G10).
Fix: a clean-room OpenEXR reader in filmcraft-media (still/exr.rs) for
single-part scan-line files with no, RLE, ZIPS or ZIP compression and
half / float / uint channels, with our own zlib/DEFLATE decoder (no new
dependency). R, G, B, A (or luminance Y) become premultiplied linear
RGBA float frames, the compositor's working format, so values above 1.0
survive; the data window is placed in the display window. Stills open
through open_bytes, sequences through ImageSequenceSource; tiled, deep,
multi-part, subsampled and PIZ / PXR24 / B44 / DWA files are refused
with a clear error.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: `cargo xtask parity` (#781, #782) measured only the menu bar; the
Effects panel's effects and transitions had no measured parity figure
(docs/gaps.md G7).
Fix: `--area effects|transitions` compares the catalogue the engine's
effect definitions list in the Effects panel (new `effect_catalog`
example in filmcraft-project, the panel's own top-folder filter) with a
reference of folder paths or bare names (default the local, never
committed plan/premiere/<area>.json). Same report, caps and `--min` as
menus; placement by folder; Presets / Lumetri Presets and the other
area's items are out of scope, so one panel snapshot serves both areas.
`--area menus` (default) is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: a graphics driver that crashes inside wgpu instance or device
creation (Intel Vulkan igvk64.dll #512#413#793, AMD atio6axx.dll #477)
killed every launch the same way until the user set WGPU_BACKEND by hand;
a start-up error wgpu did report ended in an error dialog.
Fix: each start leaves a marker in the data folder (graphics-start.json),
cleared once the window has painted two frames. A marker still pending at
the next launch moves on along the platform's ladder (Windows: Vulkan+DX12,
DX12 only, software/WARP; Linux: default, software/lavapipe or llvmpipe)
and keeps the mode that works. A wgpu start-up error moves on within the
same process (eframe reuses its event loop). Fallback modes don't register
the GPU export renderer, whose own instance would load the failed driver.
An explicit WGPU_BACKEND leaves the marker alone.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere imports Targa and DPX as stills and numbered sequences.
FilmCraft exports both (#779) but could not read either: the extensions
were not importable and the image crate has no DPX reader, so even our
own Targa / DPX renders could not come back in.
Fix: clean-room decoders in filmcraft-media. Targa from the TGA 2.0 spec:
image types 1/2/3 and RLE 9/10/11, colour maps, 15/16/24/32-bit, 8/16-bit
grayscale, any origin. DPX from SMPTE ST 268: first element, luma / RGB /
RGBA / ABGR, 8/16-bit, filled 10/12-bit (methods A and B), either byte
order, padded lines, orientations 0-3. Both bound allocations by the
data present and reject hostile headers with errors. Stills and image
sequences share one decode_raster entry point; "tga" and "dpx" join the
importable still extensions.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere's "AAC Audio" format has no FilmCraft equivalent. AAC
was only written inside H.264 / H.265 / AV1 movies; the only audio-only
exports were Waveform Audio and AIFF.
Fix: a new `aac` export format ("AAC Audio") that encodes the sequence
mix with the existing AAC-LC encoder into an MPEG-4 audio file (.m4a,
encoder delay in an edit list), or a raw ADTS stream when the path ends
in .aac. Bitrate, sample rate, channels and loudness normalisation follow
the audio settings. Adds an "AAC Audio 48 kHz 320 kbps" Audio Only
preset, CLI extension guessing (.m4a / .aac), es/fr/ja/zh-cn strings, and
updates G13 (also noting ProRes 4444 / XQ is already in the export UI).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: symphonia rejects every Layer II frame whose bit rate / mode
combination ISO/IEC 11172-3 does not allow (mono above 192 kbit/s, stereo
below 64 kbit/s). ffmpeg writes mono MP2 at 384 kbit/s by default, so such
tracks played as silence in MPEG-TS / PS, Matroska and raw .mp2 files.
Fix: new L0 crate filmcraft-mpa, a clean-room Layer I / II decoder written
from ISO/IEC 11172-3 and 13818-3 (all modes incl. joint stereo, MPEG-1/2/2.5
rates, the disallowed combinations decoded with the allocation table their
bit rate per channel selects). PacketDecoder::mpeg_audio uses it for layers
I and II (packets of several frames too); raw .mp2 files decode with it,
resyncing after damage. Oracle tests vs ffmpeg: 73-84 dB SNR on ffmpeg /
twolame streams and synthetic Layer I / joint stereo frames; fuzzed damaged
frames never panic.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere 26's redesigned mask tools give rectangle masks
rounded corners; FilmCraft masks only had sharp corners.
Fix: MaskPath::with_rounded_corners replaces each sharp corner between
straight edges by a circular fillet (two vertices joined by a cubic arc,
handles 4/3·tan(φ/4)·r, shrunk to fit half of each edge; hostile radii
and indices are clamped or ignored). masks.add takes `cornerRadius` for
a rounded rectangle, and the new masks.roundCorners command rounds an
existing mask's corners (or the listed vertices) in one undo step, on
every Mask Path keyframe so animated paths keep interpolating.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere offers OpenEXR as an image-sequence export format;
FilmCraft could not write EXR at all (docs/gaps.md G13).
Fix: a new export format (id exr, "OpenEXR") writing numbered .exr stills,
with a preset, the Include Alpha Channel option, the file.exportMedia format
list and es/ja/zh-cn strings. The writer in crates/export/src/raster.rs
follows the public OpenEXR file layout: version 2 single-part scan-line
file, half-float B/G/R(/A) channels, no compression, one scan line per
chunk, Rec.709 chromaticities; values are scene-linear (the pipeline's
transfer undone) with premultiplied alpha, as EXR defines. No new
dependency. ZIP / PIZ / DWA compression stays open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Morph Cut rendered as a plain Cross Dissolve, so a jump cut in a
talking-head shot showed the subject twice at half opacity during the
transition, and the GPU plan mixed it as a dissolve too.
Fix: Morph Cut warps both frames along the dense optical flow between them
(the Lucas-Kanade flow of #780, crates/render/src/flow.rs) and blends, so the
subject moves from its place in the outgoing shot to its place in the incoming
one; where the frames do not correspond it stays the cross dissolve. Frames
inside a Morph Cut are planned whole on the CPU (no longer a GPU-mixable
"simple" transition) and cost as a complex transition in the preview estimate.
Morph Cut goldens re-blessed. No face tracking yet.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: MP4 and QuickTime name MPEG audio without its layer (ffmpeg
stores MP2 as `mp4a` + esds object type 0x6B), and we always made the
layer III decoder for it. symphonia's decoder reads only the layer it
was made for, so every MP2 frame was rejected and the track played as
silence; MOV's `.mp2` sample entry was not recognised at all.
Fix: the MPEG audio decoder for MP4 / MOV is made on the first packet,
for the layer its frame header names (ISO/IEC 11172-3 2.4.2.3);
`.mp2` maps to the MPEG audio codec like `.mp3`; the track is labelled
"MPEG Audio" for layers I/II, as Matroska's is. Decoded tracks now match
ffmpeg sample-exactly (edit list trims the 481-sample encoder delay).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: French, one of Premiere's interface languages and one of the
12 key languages in docs/gaps.md G14, had no catalog; #498 asked for it.
Fix: a new fr.tsv catalog with every entry Spanish has (menus, panels,
dialogs, Settings pages, the Effects / Effect Controls registry, the
Keyboard Shortcuts dialog, status messages) plus the native macOS
Settings item, written from the plain meaning of the English text with
ordinary French editing vocabulary (infinitive commands, "vous", French
sentence case and spacing). Language::Fr is persisted as `fr`;
app.language.french joins Edit > Language (checkmark, native macOS menu),
Settings > General offers Français, and System Language picks French for
any fr-* locale. Like Japanese, tests require only the core menus, so
later strings show in English until translated; a French entry without
a Spanish one fails. A new test checks the bundled fonts cover every
French letter (the glyph check is shared with Ukrainian). Docs: G14,
localization-parity, ROADMAP language row, ui-egui README.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: with a transition selected, Effect Controls showed only its
settings. Premiere puts the transition's own timeline beside them (clip
A, clip B and the transition over their cut), where it can be slid
over the cut or resized by dragging; FilmCraft could do that only in the
Timeline.
Fix: right of the settings (the clip view's divider and width), a time
ruler over the cut, clip A above, the transition between, clip B below,
the cut and the playhead. Dragging the transition's middle slides it,
dragging an end changes its duration from that end (the Timeline's
rules, transitions::drag_span), measured against the view the drag began
in; each drag is one undoable sequence.setTransition. The ruler moves the
playhead. Every part has an automation id; no new UI strings.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: ffmpeg stores the encoder priming as CodecDelay in ns (1024 AAC
samples at 48 kHz = 21.333 ms, 256 AC-3 samples at 44.1 kHz = 5.805 ms)
and block timestamps in ms. The demuxer subtracts the delay rounded to
1 ms, and fixed-length packets were anchored on that rounded stamp, so
the whole track played up to 16 samples late against ffmpeg's decode.
Only Opus undid the rounding.
Fix: one stamp-to-samples conversion for every Matroska audio codec
that undoes the demuxer's rounding and removes the exact CodecDelay
(rounded to the nearest sample; the element holds whole ns), with
checked math against hostile timebases.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere offers JPEG, Targa and DPX as image-sequence export
formats; FilmCraft only wrote PNG, TIFF and BMP sequences (docs/gaps.md G13).
Fix: three new export formats (ids jpg, tga, dpx), numbered like the other
sequences, with presets, the export UI (JPEG quality slider, Targa alpha)
and es/ja/zh-cn strings. JPEG uses the image crate at the export quality;
Targa (TGA 2.0, uncompressed 24/32-bit) and DPX (SMPTE ST 268, 10-bit RGB
method A, BT.709) are written by a small hostile-input-safe writer in
crates/export/src/raster.rs. Format::is_image_sequence replaces the
hand-kept format lists. OpenEXR stays open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: a speed-changed clip set to Time Interpolation > Optical Flow
rendered exactly like Frame Blending, a cross-fade of the two neighbouring
source frames, so moving objects showed double images.
Fix: new filmcraft_render::flow. It computes dense coarse-to-fine
Lucas-Kanade flow both ways on a luma pyramid at most 640 px wide, drops
motion wherever standing still explains the window as well (flicker on
static content), forward-splats both flows to the in-between time
(Baker et al. 2011), and warps both frames there. Each fetch is weighted
by how well its own flow agrees, so uncovered background comes from the
frame that shows it. Pixels that look the same in both frames, or where
neither fetch agrees, fade to the plain cross-fade. media_image uses it
for OpticalFlow clips. docs/gaps.md G18 and target-app-parity updated
(also drops the #415 / #458 items, already fixed on main).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: files with E-AC-3 audio (MP4 ec-3, MOV, Matroska A_EAC3, MPEG-TS)
imported silent: filmcraft-ac3 refused bsid 11-16.
Fix: clean-room E-AC-3 decoding from ATSC A/52:2012 Annex E in filmcraft-ac3:
bsi and audfrm syntax, 1/2/3/6-block syncframes, reduced sample rates,
frame-based exponent strategies (exponents reused across short syncframes),
SNR offset strategies, default band structures, spectral extension
(translation, notch filter, noise blending). Independent substream 0 is
decoded; dependent substreams and other programs are skipped (7.1 plays as
its 5.1 core). AHT and enhanced coupling are refused as unsupported. The
audio blocks share the AC-3 path; AC-3 output is unchanged. filmcraft-codecs
routes E-AC-3 in MP4/MOV, Matroska and TS to the decoder; the TS splitter
joins dependent substream frames to their access unit.
Tests: ffmpeg oracle for raw E-AC-3 (64.8-91.0 dB SNR) and in MP4, MOV,
Matroska and TS (79.5-91.3 dB, random access identical), mutation fuzz,
synthetic frames for headers, substream skipping, refusals and exponent
reuse across 1-block syncframes, spectral extension unit tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Render Effects In to Out and Render In to Out rendered every
render-bar segment that In/Out touched, in full. Segments run between
edit points, so In/Out inside one long clip rendered the whole clip
(often the whole timeline).
Fix: render only the marked frames of each segment as a partial preview,
`<hash>-<off>-<len>.mov`, frames counted from the segment start (so a
ripple keeps it, like whole `<hash>.mov` previews). The store indexes
parts per hash; the render bar is green over rendered frames only,
playback reads the part holding a frame, later renders fill only the
gaps, and Delete Render Files In to Out removes only files holding
marked frames.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the menu parity figure in docs/target-app-parity.md came from an
ad hoc label-matching script over string literals; nothing repeatable
measured the real menu bar (docs/gaps.md G7).
Fix: `cargo xtask parity` dumps the shipped menu bar (new
`menus::default_menu_items`, deterministic: English, default prefs,
built-in workspaces; printed by `examples/menu_tree.rs`) and compares it
with a reference list of menu paths, by default the local, never-committed
`plan/premiere/menus.json` (any JSON of paths via --reference; parsing is
depth- and size-capped). Presence and placement are reported separately
(same path, elsewhere, missing); app/Help/recent/account/macOS items are
out of scope. Writes a markdown checklist (target/parity/ or --out) and
--min fails below a presence threshold. Without a reference it prints our
inventory only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
vangel76
Brandon Thomas