- Missing media no longer fails: opening a project scans for missing files
(`media.findMissing`, `file.open` → missingMedia). Missing clips render our own
offline slate (render::offline: red striped field, warning triangle, "MEDIA NOT
FOUND", file name, hint) with silent audio, and the Link Media dialog opens.
- Media identity: imports record the size and a fast content fingerprint (hash of
size + first/last MiB) in MediaClip::identity (optional field, older builds
ignore it, no schema bump).
- media.relink checks file name / extension / fingerprint ("Clip ID") / duration /
media start / frame size+rate+channels, refuses a mismatched fingerprint unless
forced, supports Align Timecode (Project::shift_media_time), and relinks the
others automatically by the derived folder remap (Windows/macOS separators).
- media.autoRelink {from,to} | {folder}, media.search, media.replaceFootage,
media.makeOffline {deleteFiles?}, media.offlineAll, media.status, media.linkMedia.
- Media pool caches sources per reference (path, offline flag), so relink, Make
Offline and undo take effect at once; proxy-aware resolution and a full-res
provider that export uses.
- codecs::gop no longer holds its lock while decoding: rayon decoders inside a
parallel export could steal another frame of the same source and deadlock.
- UI: Link Media dialog (rows, match options, folder search with preview, Locate…,
Link, Offline, Offline All, Cancel), Make Offline dialog, Project panel offline
markers and context menu, media thumbnails keyed by media reference.
- Tests: moved media opens offline (slate rendered) and relinks others by folder,
prefix remap and folder search, fingerprint mismatch refused, Make Offline,
headless UI test of the dialog.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- model: SequenceSettings::color (ColorPipeline: working space, wide gamut, Auto Tone Map Media;
serde default Rec. 709) and Interpretation::color_space (override; None = metadata)
- render::colorman: source colour space from the override or VUI/colr/MKV metadata, decode tables
(camera log with super-whites, PQ, HLG + OOTF), gamut matrix, tone mapping into SDR working
spaces, gamut mapping; working → SDR monitor transform at the top level
(RenderOptions::working_output keeps working values for HDR export and scopes). Plain Rec. 709
media in a Rec. 709 sequence keeps the old fast path and stays on the GPU; managed layers and
HDR/wide-gamut sequences composite on the CPU
- export: H.264 and ProRes of a PQ/HLG sequence encode BT.2020 PQ/HLG and signal it: VUI / ProRes
header, colr (nclx/nclc), and for PQ mdcv + clli boxes and H.264 SEI (payloadTypes 137/144);
`sdr: true` (and render previews) export tone-mapped SDR. isobmff reads/writes mdcv and clli
- commands: sequence.colorSettings (Sequence ▸ Color Management…), clip.interpretFootage
(Clip ▸ Modify ▸ Interpret Footage…, Project panel context menu), color.spaces,
media.colorInfo; dialogs with automation ids colorDialog.*
- scopes: HDR sequences show a cd/m² waveform on a PQ scale (203 marked) and a BT.2020
vectorscope from the working-space render (scopes.hdrWaveform)
- display-referred wide-gamut input is desaturated into gamut keeping in-gamut colours exactly;
the soft compression is reserved for camera gamuts
- tests: colorman unit tests, engine (interpret/undo, PQ working space values and display),
goldens log_to_rec709 and hdr_tone_map (own renders + sidecars), export PQ/HLG × ProRes/H.264
read back by our demuxer and ffprobe (color_transfer/primaries/space, mastering display and
content light side data), headless UI (dialogs, HDR scopes)
- docs: architecture §5.2 (pipeline, HDR export, display colour management: no macOS EDR yet)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- project: ItemKind::Graphic (transparent canvas source, hidden from the Project panel,
unlimited duration); graphic layers are hidden effect instances graphic_text /
graphic_shape on the clip (serde for free, keyframes on every animatable property,
Source Text holds), with appearance (fill, two strokes outer/centre/inner, background
box with radius, drop shadow) and transform (position, anchor, scale, rotation,
opacity); eval_layer gives a plain LayerSpec. No schema migration: all additive.
- render: graphic_clip rasterises each layer straight to the output transform (crisp at
any Motion scale/rotation), caches layer rasters, composes a tight image for the GPU
plan; standard effects on a graphic run at source resolution first.
- engine: graphics.newText (Cmd+T) / newShape (new clip above the footage at the playhead
or a layer in an existing clip), setText (typing coalesces into one undo step), set,
selectLayer, deleteLayer, arrangeLayer, align (frame / selection), distribute,
graphics.list, fonts.list. EditorState.graphic_layers holds the layer selection.
- goldens: graphic_title, graphic_shapes (CPU and GPU parity).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- New L1 crate filmcraft-text: fonts (bundled Inter Regular/Medium/SemiBold/Bold/Italic,
JetBrains Mono, Noto Serif; DirectorySource scans system font folders reading only name/OS2
tables; family/style resolution with synthetic bold/italic; per-char fallback), layout
(harfrust kerning/ligatures, unicode-bidi, unicode-linebreak, alignment incl. justify,
leading, tracking, baseline shift, all/small caps, underline, carets/hit-test/selection,
cached), raster (moved from captions; active-edge list, shapes, emboldening), render
(outline + sub-pixel glyph-mask caches; transformed-outline path for rotation/skew),
mask (distance-transform strokes, blur).
- Captions burn-in now shapes and kerns via the engine (font.rs/raster.rs removed).
- Timecode / Clip Name effects draw real text (full clip names, not seven-segment digits);
text_burnin golden re-blessed.
- UI takes its font bytes from the text crate (no duplicate copies in the binary).
- New fonts: Inter Bold, Inter Italic (OFL-1.1, rsms/inter v4.1), Noto Serif Regular
(OFL-1.1, notofonts) with sidecars, ATTRIBUTION.md rows and licence text.
- Perf: 3-line 96 px title at 1080p ~1.6 ms cold / 0.15 ms warm (release).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
crates/golden (test-only, L3): nine procedural 320x180 scenes (transform
and opacity, blend modes, Gaussian Blur, Lumetri basic, Crop, Cross
Dissolve / Dip to Black / Wipe mid-transition, timecode/clip-name text)
rendered on the CPU and compared with committed goldens (PSNR >= 45 dB,
max <= 12, p99 <= 2); FILMCRAFT_BLESS=1 regenerates them with
attribution sidecars. testkit::golden adds PNG I/O, diff metrics and
failure images. The same scenes are composited on the GPU and compared
with the CPU.
GPU parity exposed a real bug: GpuCompositor cached uploads by
pixel-buffer address without owning the buffer, so a new frame
allocated at a freed frame's address was drawn with a stale texture
(whole wrong frames, PSNR ~12 dB). The cache now keeps the buffer
alive; regression test upload_cache_keeps_buffers_alive.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Brandon Thomas