- AudioSettings gains `float`; `bits` takes 16, 24 or 32. `SampleFormat` (Int16 / Int24 /
Int32 / Float32) and `ExportSettings::supports_sample_format` decide what each codec and
container stores: WAV, AIFF and QuickTime PCM all four, MXF integers, FLAC integers.
`validate` refuses float without 32 bits and float in FLAC or MXF.
- WAV float is WAVE_FORMAT_IEEE_FLOAT (EXTENSIBLE for more than two channels) with a `fact`
chunk; AIFF float is AIFF-C `fl32`; QuickTime float is `lpcm` with the float flag; MXF writes
32-bit integers. Float keeps the mix as it is, peaks above 0 dBFS included; 16 and 24 bit
write the same bytes as before.
- FLAC encoder: 8-32 bits. 32-bit stereo is coded independently (a side channel would need 33
bits), the sample range check no longer overflows, and 32-bit frames point at STREAMINFO for
the size, which symphonia 0.5 (FilmCraft's own FLAC import) and ffmpeg both read.
- Export mode: Sample Size shows 16 bit, 24 bit, 32 bit and 32 bit float like Audio Format
does, greying out what the format cannot store with the reason on hover; a size that stops
being available (float after switching to FLAC) becomes 32-bit integer. es, fr, pt-br, id,
ja and zh-cn strings.
- Tests: writer layouts and ffprobe codecs for every new format, round trips through ffmpeg
and FilmCraft's own readers in WAV, AIFF, MOV, MXF and FLAC, headroom of a +6 dB tone,
refused combinations, full-scale 32-bit FLAC through ffmpeg (MD5 too) and symphonia, and a
UI test of the selector.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_015nzevSsTNZxHPpUngfGTAw
Keep FLAC beside main's new AAC Audio format (21 formats, both audio-only
presets), use is_mp4_with / is_mp4_video in audio_codec() and the Audio
Format picker so MP4 (incl. AV1) offers AAC or FLAC, and add flacLevel to
main's export.media params.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: OpenEXR sequences (#806) were written uncompressed only, because the
workspace had no deflate encoder; the files are 2-4x larger than necessary and
Premiere offers an EXR compression choice.
Fix: a small clean-room DEFLATE (RFC 1951) encoder in a zlib (RFC 1950)
wrapper in filmcraft-export (greedy LZ77 with bounded hash chains; stored,
fixed or dynamic Huffman per block, whichever is smallest; length-limited
codes). The EXR writer gains RLE, ZIPS (1 line) and ZIP (16 lines) chunks with
the format's byte interleave + delta predictor; chunks that do not shrink are
stored raw. New ExportSettings::exr_compression (default None, as before),
`exrCompression` param on file.exportMedia, Compression combo in Export mode
(es/fr/ja/zh-cn strings).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the GIF exporter gave every frame the same delay of
1000·den/num ms, which the encoder truncates to whole centiseconds.
At 24 fps each 41.67 ms frame became 4 cs, so a 4.0 s sequence played
in 3.84 s (4 % fast); other non-integer rates drifted the same way.
Fix: each frame's delay now runs from its rounded start time to the
next frame's (gif_delay_cs), so delays alternate (4, 4, 5, 4, 4, 4 cs
at 24 fps) and add up to the exact duration. Checked i128 math also
replaces the unchecked `(1000 * den) as u32` cast.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With NVENC registered on Linux, `filmcraft-cli --test cli` aborts in 2 of 45 runs on an RTX 3090
(`malloc(): mismatching next->prev_size`, `malloc(): unaligned fastbin chunk detected`) right
after an export finishes; 0 of 30 runs fail with this reverted.
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: 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: 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>
The NVENC HEVC encoder (Main 8-bit SDR and Main 10 HDR PQ / HLG) was gated to
Windows. It now also runs on 64-bit Linux, on the CUDA device the H.264 encoder
already uses: the H.265 format and HDR probes are registered there and the
HEVC tests run on both systems.
NVENC registration on Linux now happens after the VA-API probe. Started beside
it, the background HEVC probe's first cuInit could deadlock with
libva-nvidia-driver, which calls cuInit from its library constructor under the
loader lock.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With GPU rendering on, a frame the planner hands back whole (an adjustment
layer, a complex transition, an HDR / wide-gamut sequence) was still rendered
by render_sequence, but inside RendererPool::with: as many frames at a time as
there are pooled renderers (2 to 4) instead of one per export thread. A
timeline graded on an adjustment layer exported slower with Auto than with Off.
Pipeline::frame asks the planner first (plan::is_cpu_frame, the test
plan_frame itself makes) and renders such a frame on the CPU directly. It
counts as a fallback now, not as a GPU frame. The picture does not change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Format::Av1 in export settings and jobs, SampleEntry::av1 (av01 + av1C) in
isobmff, and the Export panel's Format list, profile and encoder rows. No
encoder ships here: like H.265, AV1 is listed greyed out until a platform
encoder registers a probe, and a job without one fails with "AV1 encoder not
available yet". Split out of #409; the VA-API AV1 encoder follows on main's
vaapi::va design.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the ProRes encoder already codes 4444 / 4444 XQ (optionally
with alpha), but export only knew the four 422 flavours: any other
proresProfile fell back to HQ and the encoder was always fed a 4:2:2
frame, so graphics could not round-trip with their alpha.
Fix: proresProfile accepts 4444 and 4444xq. The ProRes export encoder
builds a 4:4:4 frame for them and, with Include Alpha Channel, codes
the straight alpha of the unflattened picture (ExportSettings::
supports_alpha / keeps_alpha). Export Settings offers both profiles and
the alpha checkbox for them; new presets Apple ProRes 4444, 4444 with
Alpha and 4444 XQ; summary text and the MXF coding label name the
profile (and the MXF descriptor keeps its 12-bit 4:4:4 depth).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
No conflicts. main's new Chinese catalog requires every tl! string:
added zh-CN for the FLAC labels (format, preset, Audio Format entry,
Compression Level and its hint).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Conflict in crates/engine/src/export_tools.rs: both sides added an
import (BitrateMode for CRF, GpuRendering from main); both kept.
main's new Chinese catalog requires every tl! string: added zh-CN for
"Quality (CRF)" and "CRF (constant quality)".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
New L0 crate filmcraft-flac, a FLAC encoder written from RFC 9639:
constant / verbatim / fixed / LPC subframes (Levinson-Durbin on Tukey-
windowed autocorrelation, up to order 12), partitioned Rice residuals,
left/side, side/right and mid/side stereo, CRC-8/CRC-16, STREAMINFO with
MD5 (RFC 1321, own implementation), levels 0-8, all lossless.
Export:
- Format::Flac, an audio-only .flac (16/24-bit), streamed one second at
a time like WAV/AIFF; STREAMINFO is rewritten at the end with frame
sizes, total samples and MD5. Preset "FLAC 48 kHz 24-bit".
- AudioCodec::Flac in MP4 and QuickTime (fLaC + dfLa), one frame per
sample with the short last frame timed exactly; the dfLa STREAMINFO
is replaced before the moov is written (Mp4Writer::set_sample_entry).
MXF stays PCM.
- AudioSettings::flac_level (default 5); Export panel: FLAC (lossless)
audio format and Compression Level; file.exportMedia `format: "flac"`,
`audioCodec`, `flacLevel`. Spanish and Japanese strings.
ffmpeg oracle: every stream decodes bit-exactly with the STREAMINFO MD5
equal to ffmpeg's hash; .flac and FLAC-in-MP4/MOV exports decode to the
same samples as a WAV export of the range.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- GpuRendering defaults to Off (opt-in per export) until measured on Windows and macOS;
docs and ROADMAP say so.
- The shared export device installs an uncaptured-error handler and a device-lost callback
that log once and retire GPU export for the session (frames go to the CPU) instead of
wgpu's default panic.
- RendererPool drops a renderer that panicked and retires the pool, so the rest of the
export renders on the CPU (regression test in gpu_hook_scenarios); the duplicate
hostile-size test that raced on the global registry is folded into it.
- Rebased onto main's render_plan/transitions: render_export_prepared reads the linear
accumulator after render_plan; transition (Composite) plans fall back to the CPU.
- es/ja rows for the new Export strings; web_time::Instant in the export pipeline.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
WAV and AIFF sizes were 32-bit with unchecked arithmetic: past 4 GiB
(24-bit 5.1 at 96 kHz after about 41 minutes) a debug build panicked
and a release build wrote a wrapped, corrupt header. The whole file was
also built in memory first.
- WAV past 4 GiB is written as RF64 (EBU Tech 3306) with a ds64 chunk;
smaller files stay plain RIFF.
- AIFF has no 64-bit form: a longer one is refused before anything is
written, naming WAV instead.
- The header is written from the known length, then the samples one
second at a time, so memory stays flat; progress advances per second.
- Odd-sized data chunks get their pad byte; hostile lengths, channel
counts and sample rates are errors.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Adds BitrateMode::Crf with ExportSettings::crf (0-51, default 23) and
maps it to the built-in encoder's RateControl::Crf, which export never
used. The Export panel offers "CRF (constant quality)" with a Quality
(CRF) slider in place of the bitrate fields; file.exportMedia takes
`crf` and `bitrateMode: "crf"`. H.265 (hardware only) rejects it, and
VideoToolbox / NVENC decline it so the built-in encoder runs. Settings
saved before this read as CRF 23.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
NVENC export: keep main's Main 10 / Main dispatch and time both colour
conversions (rgbf_to_yuv420_10, rgba_to_yuv420_8) as Stage::Convert.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Keeps #359's contiguous_starts audio timing, now per stream in Mp4Audio /
MkvAudio (starts and preroll in source sample frames). MP4 audio streams and
their decoders are built from the same (track, info) pairs so they stay
index-aligned. Adapts new main code to audio_streams / TrackItem::audio_stream.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
encode / encode_10 compute the plane sizes they check with saturating_mul;
fill_p010, rgbf_to_yuv420_10 and the HDR export test use as_chunks instead of
chunks_exact with a constant size (clippy::chunks_exact_to_as_chunks).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
pool::trim() from Pipeline::drop flushed the whole process-wide pool after every
render-preview segment and proxy, and threw away playback's U8/U16 planes too.
Now Pipeline::drop calls pool::trim_f32() only when !settings.part_of_batch.
PoolStats gains f32_idle_bytes so the tests can check the float shelf alone.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merlin's effects-heavy bench scene (GPU3c) settles it: with layers and
effects the GPU compositor exports 2.4x faster at 1080p (13.0 -> 5.0-5.6 s,
737 -> 238 CPU ms/frame) and 3.2x at 4K (38.7-39.3 -> 12.0 s, 2955 -> 775
CPU ms/frame); a single plain clip takes the same time either way
(decoding / encoding bound). Every Auto row rendered all its frames on the
GPU, without fallbacks. The CPU reference renderer stays the fallback for
anything the GPU stage does not run.
Trade-off: the GPU matches the CPU within the compositor's parity
tolerance, not bit for bit, so an export's bytes can depend on the
machine's GPU; Off keeps them byte-reproducible (the determinism tests
register no GPU renderer and are unaffected).
- settings: GpuRendering::Auto is the #[default]; ExportSettings::default.
- test: the default, settings saved without the field, and "off".
- docs/performance.md: GPU3 results (1080p and 4K).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
GPU export rendering was ~20 % slower in wall-clock time than CPU
rendering: one renderer behind a mutex made the export workers queue.
- Export workers share a pool of up to four renderers on one wgpu device
(one per worker was no faster: the read-back then contends for memory
bandwidth).
- render_export_prepared composites into the linear accumulator and
copies it to a reused staging buffer in one submission (no sRGB resolve
pass); read_accumulator shares the read-back, which now returns None
instead of stale pooled values when a row is missing.
- f16_to_f32_fast: same result as f16_to_f32 for all 65536 inputs (test).
- Timing counters (export::export_lock_wait, gpu::export_renderer::timing)
printed by the export bench.
RX 7900, same build, Off / Auto / Off: H.264 + AAC 4.67 / 4.71 / 4.76 s,
ProRes 422 4.20 / 4.21 / 4.21 s; CPU per frame 287-292 -> 277 (H.264),
316-317 -> 300 (ProRes). Was 4.86 -> 5.78 s. Parity, not faster: on this
single-clip scene decoding and encoding dominate (rendering is ~15 of
~290 CPU ms per frame), so GPU rendering stays Off by default.
Gates: fmt, clippy (gpu, export, ui-egui), layers, assets; gpu
export_pipeline, golden and export tests pass. Pre-existing on the
previous commit: fx_tests::gpu_effects_match_cpu_exactly fails on this
AMD GPU, and the gpu unit tests segfault in the driver when run in
parallel (pass serially apart from that test).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Set GpuRendering default to Off in ExportSettings so exports use the CPU
reference renderer by default until GPU export achieves lower wall-clock time.
🤖 Written by agy (Antigravity Agent, Gemini 3.8 Flash)
Add off-screen GPU export renderer (filmcraft-gpu::ExportRenderer) reading back
the linear float accumulator as premultiplied RGBA f32, plug it into the
export pipeline via FrameRenderer hook and GpuRendering setting, register
in desktop app and CLI, and record export.gpu_frames statistics.
🤖 Completed by agy (Antigravity Agent, Gemini 3.8 Flash) based on draft by Merlin
Brandon Thomas
Claude
JordyUSA
Nigel Ihza Firdausy
Earl Co
vangel76
SilentYeti
Tommaso Maccagni
Manuel Camacho
Vikram Bhaskaran