Interpret Footage: Cineon Settings convert DPX and Cineon log scans

DPX and Cineon footage showed its log code values as stored, with no
way to convert them. Interpret Footage now has the Cineon Settings that
After Effects' help page describes: Logarithmic Conversion, the
Converted Black and White Points, the 10 Bit Black and White Points,
Current Gamma, Highlight Rolloff and Units. With Logarithmic
Conversion on, the code values of each decoded frame are converted
from printing density to the Current Gamma between the converted
points, before Separate Fields, Frame Blending, Interpret As Linear
Light and the working space use them. With it off (the default), the
values stay as stored.

file.interpretFootage and file.interpretProxy take the settings as
parameters and report them. They return an error for out-of-range
values, and for Cineon parameters when none of the items is a DPX or
Cineon file. Apply Interpretation copies the settings between DPX and
Cineon files.

docs/file-format-parity.md

@@ -49,7 +49,7 @@ trips and renders, checked by tests, not against After Effects), **partial** (na
 | BMP | R | yes | — | good |
 | WebP | — | yes (still; animated WebP as footage with its frames, timing and alpha, #762) | — | beyond After Effects |
 | Targa `.tga` | R/W | yes (still and sequence; alpha interpreted on import) | none | good for import (#745); no Targa output |
-| DPX / Cineon `.dpx` `.cin` | R/W | yes (still and sequence; 8/10/12/16-bit luma, RGB, RGBA, both byte orders; log code values shown as stored) | none | partial: import (#756); no Interpret Footage ▸ Cineon Settings (log to linear), no DPX output; common in film VFX |
+| DPX / Cineon `.dpx` `.cin` | R/W | yes (still and sequence; 8/10/12/16-bit luma, RGB, RGBA, both byte orders; log code values shown as stored, or converted by Interpret Footage ▸ Cineon Settings ▸ Logarithmic Conversion) | none | partial: import (#756) and Cineon Settings; no DPX output; common in film VFX |
 | Radiance `.hdr` | R/W | yes (still and sequence, 32-bit linear float like OpenEXR) | none | good for import (#745); no Radiance output |
 | SGI, PICT, ElectricImage, RLA/RPF images | R | none | none | Legacy; RPF camera data import exists (`keys.rpfCameraImport`) |
 | Camera Raw (DNG, CR3, NEF…) | R (Camera Raw) | none | none | LightCraft has decoders that could be shared |

docs/footage.md

@@ -94,16 +94,21 @@ used, and layers that ran to the end of the footage keep doing so.
 | Fields, pixel aspect, loop | As in After Effects. |
 | **Assign Profile**, **Interpret As Linear Light** | The colour profile the file's values are in (the working space converts from it), and whether they are linear light. |
 | **Preserve RGB** | The file's values enter the composition unconverted: no colour profile, linear light or working-space conversion, and float files (OpenEXR, float TIFF) keep their linear values instead of being sRGB-encoded. Use it to convert chosen layers yourself with an OCIO effect, or to read data passes (depth, mist, normals) as numbers. |
+| **Cineon Settings** (DPX and Cineon files) | With *Logarithmic Conversion* on, the file's log code values are converted to the *Current Gamma* (1.7 by default; 1 gives linear light): the *10 Bit Black Point* (95) becomes the *Converted Black Point* (0), and the *10 Bit White Point* (685) becomes the *Converted White Point* (1023). *Highlight Rolloff* (20) rolls values near and above the white point off gradually; at 0, a 32 bpc project keeps over-range values. *Units* shows the converted points as 10-bit, 8-bit or float values. With Logarithmic Conversion off (the default), the code values are shown as stored. |
 
 Settings ▸ Import ▸ **Report Missing Frames** (on by default) lists the missing frame numbers
 when a sequence imports; Interpret Footage lists them too.
 
 **File ▸ Interpret Footage ▸ Remember Interpretation / Apply Interpretation** copy the alpha,
-fields, pixel aspect, loop and colour settings (Preserve RGB too) to other footage.
+fields, pixel aspect, loop and colour settings (Preserve RGB too, and Cineon Settings between
+DPX and Cineon files) to other footage.
 
 Agents: `file.interpretFootage {"items": [id], "frameRate": 24, "alpha": "premultiplied",
 "startTimecode": 1001, "preserveRgb": true}` (timecode or a frame number; `"overrideStart":
-false` goes back to Use Source File Timecode).
+false` goes back to Use Source File Timecode). Cineon Settings: `{"logConversion": true,
+"tenBitBlack": 95, "tenBitWhite": 685, "currentGamma": 1.7, "highlightRolloff": 20,
+"cineonUnits": "8bit", "convertedBlack": 0, "convertedWhite": 255}` (converted points in
+`cineonUnits`, else the footage's Units).
 
 ## Multi-layer OpenEXR
 

docs/gaps.md

@@ -73,7 +73,7 @@ are grouped by area; the issue tracker has the rest.
 | 14 | **Object Matte** (26.2, disk cache in 26.5) | First slice (#783): the Object Matte effect (Effect ▸ Matte) and `objectMatte.apply` turn a point (and optional box) on a reference frame into a matte and follow the object up to 600 frames each way, or segment every frame on its own; Roto Brush's engine, cache and model (MobileSAM from Settings ▸ Roto Brush, classical graph cut without it). Since then: the Object Matte tool in the viewer (click / drag a box, hover crosshair), the box as the model's box prompt, background tracking with progress and cancel, Freeze, and segmentations kept in the disk cache (26.5). Missing: a comparison with After Effects ([plan](fidelity/object-matte.md)) | The new one-click roto | 10–20 h | G7 · [target-app-parity.md](target-app-parity.md) |
 | 15 | **Hardware video decode and encode** | No VideoToolbox, NVENC, Quick Sync or VA-API; #498 asks for it (answered: CUDA / NVENC need Nvidia's proprietary SDK through FFI, which the no-`unsafe` rule forbids); open PR #819 adds hardware decoding via `filmcraft-platform`; FilmCraft has VideoToolbox / NVENC / VA-API paths to borrow | 4K playback and export speed | 25–45 h | G5/G6 · [hardware-parity.md](hardware-parity.md) |
 | 16 | **Localization depth** | Menus in 11 languages (ja, zh-hans, zh-hant, uk, es, pt-br, ru, fr, de, cs, ka: 628 rows each); panels in 7 (ja, zh-hans, zh-hant, uk, pt-br, cs, ka); effect names translated in Simplified Chinese and Georgian (307, plus the generated Effect menu), their ~1,650 parameter names untranslated; Korean and Italian (After Effects ships them) absent; Hangul probe added (#599 closed) | After Effects is used heavily in Japan, China, Korea, Brazil, Europe | 60–110 h + native review | G9 · [localization-parity.md](localization-parity.md) |
-| 17 | **Media Browser lists files import refuses** | `media_browser.rs` lists AVI; `media::is_importable` has none of them (Targa and Radiance HDR import since #745; DPX and Cineon since #756, log shown as stored: no Cineon Settings conversion yet; MXF OP1a / OP-Atom since #767; FilmCraft has no AVI demuxer); #431 and #324 closed | Confusing failures on common VFX formats | 15–30 h | G6 · [file-format-parity.md](file-format-parity.md) |
+| 17 | **Media Browser lists files import refuses** | `media_browser.rs` lists AVI; `media::is_importable` has none of them (Targa and Radiance HDR import since #745; DPX and Cineon since #756, log shown as stored unless Interpret Footage ▸ Cineon Settings converts it; MXF OP1a / OP-Atom since #767; FilmCraft has no AVI demuxer); #431 and #324 closed | Confusing failures on common VFX formats | 15–30 h | G6 · [file-format-parity.md](file-format-parity.md) |
 | 18 | **Relative paths and relinking** | Projects store absolute footage paths; no relink when a project moves | Moving or sharing a project breaks it | 6–12 h | G4 · [file-format-parity.md](file-format-parity.md) |
 | 19 | **Plug-in ecosystem** | No After Effects SDK hosting (#600, #327 OpenFX, #334, #376 plug-in manager); our WebAssembly API has no third-party plug-ins | Many pro projects depend on Trapcode, Element, Saber… | 40–80 h for API growth; SDK hosting needs an owner decision | G8 · [scripting-parity.md](scripting-parity.md) |
 | 20 | **Multi-monitor and video output** | #486: any panel can move into a native window of its own (panel menu ▸ Move Panel to New Window, `window.panelWindow`) and so onto another screen, restored with the workspace; still missing: dragging tabs between those windows, app shortcuts while one has the focus, named workspaces remembering them, Mercury Transmit to video hardware (we have a second preview window only) | Two-screen setups are standard for professionals | 10–20 h | G2 · [hardware-parity.md](hardware-parity.md) |