Conflicts came from upstream splitting crates/project/src/lib.rs and moving the
frames tests. Re-applied the branch's change in the new places:
- Layer::same_pixels_with now in crates/project/src/layer.rs
- Comp::same_pixels_with, same_settings(o, with_markers), pixel_form_with and the
timing-marker helpers in crates/project/src/comp.rs (same_pixels_ignoring_markers
stays removed)
- Project::reads_markers in crates/project/src/item.rs
- crates/ui-egui/src/frames.rs uses reads_markers/same_pixels_with; the branch's
two marker tests replace the old ones in crates/ui-egui/src/frames/tests.rs
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
render: upstream moved the tests_*.rs modules into crates/render/src/tests/; the branch's
tests_mask_feather.rs now lives at tests/mask_feather.rs and is registered in tests.rs.
path: rect() keeps the branch's explicit-outline version with an added NaN guard on the
roundness clamp bound (main's fix for the same panic).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The Casts Shadows option Environment lights got is only half a fix if
nothing shades for it: an image lights the scene from every direction,
and what occludes that light is the image itself — its dominant bright
region, the sun in a sky map.
- dominant_direction finds it: the radiance-weighted mean texel
direction (solid-angle weighted, rotation applied). A uniform image
cancels to zero — a flat default environment shines from everywhere
at once and casts no shadow, which a uniform environment test pins.
- The shadow is one orthographic map over the scene from that
direction, after the lights' maps, like a parallel light's: PCF
widened by Shadow Diffusion, darkened by Shadow Darkness, cleared
when nothing casts, the image is directionless, or the texel budget
drops it.
- It darkens the environment's own diffuse and specular light on
Accepts Shadows surfaces and counts in Cast Shadows Only. CPU and
GPU (WGSL) do the same; Globals carries the environment's sun
direction and shadow settings (40 → 44 floats, preflight updated).
A bright-disc environment turned to shine from behind the camera now
shadows a sphere onto the floor behind it, Cast Shadows off lights it
evenly again, and the GPU scene's sky gradient takes a shadow-casting
Environment light. Also: the renderer-switch toasts read "...renderer,
which draws 3D models", the dialog's Casts Shadows checkbox gets an
auto id (dialog.light.casts) the tests click, and the docs' Environment
notes cover the shadow.
After Effects lists Targa among its still-image output formats; EffectCraft
imported Targa (#745) but could not render to it.
- OutputFormat::TargaSequence ("Targa Sequence", `.tga`, numbered like the
other sequences; `tga` / `targa` as a format name or output extension).
- Written by the `image` crate's Targa encoder (its `tga` feature, already
enabled in effectcraft-media; no new crates, Cargo.lock unchanged), with
run-length compression off: an 18-byte header, top-left origin, 24-bit BGR
for RGB, 32-bit BGRA with 8 alpha bits in the image descriptor for
RGB + Alpha (straight or premultiplied), 8-bit grey for Alpha.
- The render queue's size estimate counts the uncompressed bytes.
- CLI usage, the renderQueue command specs, README, architecture.md and
file-format-parity.md name the new format.
Tests: each Targa frame holds exactly the pixels of the PNG sequence of the
same job, with the expected header, numbering and size; the frames read back
through the Targa importer as the same picture (straight, and premultiplied
when interpreted so); the image-sequence round trip, the format parser and
the renderQueue commands cover it too.
An Environment light had no visible effect, and its Light Settings dialog had
no Casts Shadows option — both halves of #2436.
No effect had two causes:
- Classic 3D (the default for new comps) skips Environment lights entirely,
so creating one did nothing. Adding one (or changing a light's type to it)
now switches the comp to Advanced 3D in the same undo step, with a toast,
exactly as model and primitive layers already do; switching back to
Classic 3D with an Environment light in the comp explains itself too.
- In Advanced 3D, a light with no Source and no Environment Layer produced no
environment at all. It now falls back to a flat default environment of the
light's colour × intensity, as After Effects does, so the light always
lights the scene per its parameters.
Cast Shadows was missing because the dialog and the light's property groups
shared one gate (Falloff and Shadows together) that excluded Environment.
The two are now split: every light but Ambient gets Casts Shadows, Shadow
Darkness and Shadow Diffusion (stored, edited and carried over on type
changes), while Falloff stays on Parallel/Spot/Point only — an environment
light shines from every direction at once and has no use for a falloff.
Tests: the renderer lights a card from a sourceless Environment light (colour
and intensity drive it, zero intensity lights nothing), the engine switches
Classic comps to Advanced 3D on creation and type change (one undo step,
toast, and the Classic 3D switch-back toast), Environment lights take and
carry shadow options but no Falloff, and the dialog ticks Casts Shadows on
a new Environment light.
upgrade_shape_contents now visits nested groups with a work list, so a
project with very deeply nested shape groups does not run out of stack
while Wiggle Paths gains Spatial Phase. The new test nests a Wiggle
Paths 100,000 groups deep and upgrades it on a 2 MiB stack.
Wiggle Paths had Size, Detail, Points, Wiggles/Second, Correlation,
Temporal Phase and Random Seed, but no Spatial Phase, which After
Effects lists among its properties (ADBE Vector Spatial Phase). Spatial
Phase now moves each point's own displacement along its subpath: 360
degrees is once around, and a fraction of a point is interpolated
between neighbors. At 0 degrees a path draws as before.
A project saved without the property gets it at 0 degrees, after
Temporal Phase, when it opens. Scripts can read and set every Wiggle
Paths property by its match name.
Conflicts in project/src/lib.rs and ui-egui/src/frames.rs: Comp::same_settings
takes with_markers and is shared by same_pixels_with and changed_span (#1641);
frames identity uses same_pixels_with/reads_markers and drops
same_pixels_ignoring_markers and project_has_expressions.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A shape layer's Contents > Add menu had every After Effects path operation
except Wiggle Transform. It is now a shape item (layer.addShapeItem kind
wiggler, "ADBE Vector Filter - Wiggler" for scripts) with Wiggles/Second,
Correlation, Temporal Phase, Spatial Phase, Random Seed and a Transform
group whose Anchor Point, Position, Scale and Rotation set how far each
transformation wiggles.
The values come from the Wiggly selector's noise, with each Repeater copy
as one unit: the copies of a Repeater above the operation, in its group or
a nested one, wiggle independently as far as Correlation allows, and the
copies of a Repeater below it wiggle the same way. A paint above it whose
paths all move by one matrix moves its gradient and stroke scale with them.
The layer cache keys a layer with a Wiggle Transform by time.
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.
Poison recovery, OsStr::to_str and char predicates only; S4325 casts are
f64 to f32 and stay.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
- New `crates/project/src/file_check.rs`: a no-output `Serializer` that walks the value once. It refuses non-finite numbers and nesting past 127 levels, and it allocates only on error.
- `to_file_json_with_view` runs that check, then writes the file. It also refuses a project schema newer than this build, the remaining thing `from_json` would reject in a file we wrote.
- **Debug builds still reparse the text as well**, so a new kind of mismatch still shows up in tests.
The bytes written are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Smooth feather is three separable box passes of 2 round(0.37 F) + 1
pixels (a quadratic B-spline reaching ~1.11 F either side), fitted to
After Effects 2026 renders of feather 100, 300 and 1000 (rows, columns,
corner diagonal, case 398): max error under 1/255, where a Gaussian of
any width misses by 3/255 or more (it was sigma = F / 2). The coarse
grid for wide feathers picks the step whose three windows add up
closest to the full-resolution ones. Linear is unchanged (unmeasured).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A WAV's markers were never read, so its audio layer showed none. The importer
now reads the file's cue points (`cue ` chunk named by `LIST/adtl` `labl` and
`note`, sized by `ltxt`) and Adobe's XMP markers (`_PMX` chunk, `xmpDM:markers`
entries as elements or attributes, in frames of the track's `xmpDM:frameRate`).
A marker present in both encodings is listed once. The reader is bounds-checked
and caps the marker count and XMP size.
- `Footage.markers` (optional in the file format) holds them at footage time; a
layer made from the footage starts with them.
- Layer ▸ Markers ▸ Update Markers From Source also works on footage layers.
- Markers from a file have no label colour.
Tests: reader unit tests (cue, note, ltxt, both XMP forms, both encodings,
truncated and hostile files), a probe test, and an end-to-end test through the
fully wired session. Not checked against a WAV written by Adobe's tools.
Claude-Session: https://claude.ai/code/session_013fTnVxnXTv2MBW6uj2PPyU
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
One list of movie extensions, in effectcraft-project, with AVI added:
FilmCraft reads AVI 1.0 / OpenDML. Tests against ffmpeg fixtures: Motion
JPEG with PCM audio, an unsupported codec (imports and says why it has no
picture), a file that isn't an AVI (an import error), and a damaged one
(a truncated recording imports as far as it goes; a garbled packet loses
its own frame only).
Layer times were already saved and read back as exact ticks; the values in
the issue are 34f, 315f and 3033f at 59.94 fps. The viewer was black because
the playhead wasn't saved: a reopened comp started at 0, before its layers.
The project file's view (`activeComp`, `openComps`) now also records each
comp's current time (`compTimes`), restored on open within the comp's frames.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Turning Solo on or off hides or shows every other layer at every frame, so it
now recaches the whole comp. The kept span is widened by the comp's shutter
(phase and angle), since a frame's motion blur samples cameras, lights and
transforms up to three frames away. Comp::any_solo is shared with the
renderer so both read Solo the same way.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Clamping each side on its own broke the aspect ratio (a 30000x15000 comp
at 4x came out 30000x30000). The effective scale min(s, MAX_SIZE/w,
MAX_SIZE/h) keeps both sides within the comp limit, and the export
pipeline and the locked-aspect width derivation render at that same
scale, so nothing requests a frame larger than output_size reports.
A 30 000 px comp (the repaired MAX_SIZE on load) at resolution 4.0
produced 120 000 px sides, which overflow u32 in the exporters'
w * h * 4 (debug panic, release wrap then slice panic) after already
requesting a ~57 GB frame. The resize path in the same file clamps to
30 000; output_size now does too.
Regression test: output_size_never_exceeds_the_comp_limit — on main it
returns (120000, 120000); with the clamp (30000, 30000), through both
RenderSettings and the OutputModule wrapper.
The RAM preview keyed every frame by one identity of the whole comp, so any
edit (a cut, a trim, a nudge) made every cached frame a miss and the whole
comp recached. When only some of a comp's layers change, frames outside their
In-Out span now move to the new identity. Settings changes, reorders,
expressions, and edits that reach other layers (parents, track mattes, effect
layer pickers) still recache everything.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The roi quad is stored raw from the control channel (crop.useRoi passes
serde_json's [f64;4] straight through, unlike the sibling edge fields,
which are clamped to plus/minus 20 000) and nothing repairs it on load.
Crop::edges converted it with round() as i32 and subtracted raw: an x of
-1e12 saturates to i32::MIN and w as i32 - l overflows in debug builds,
wrapping to a wrong-but-bounded crop in release.
Clamp each converted edge to the same plus/minus 20 000 the sibling
fields use and subtract with saturating_sub in edges() and frame_size().
Regression test: hostile_roi_cannot_overflow_crop_math — panics at
crates/project/src/render_queue.rs:774 on main; with the fix the hostile
quad degrades to a 1x1 frame and the sane-ROI behavior is unchanged.
Project::comp_contains recursed through precomp layers with no visited
set or depth limit. A damaged project with a precomp cycle that doesn't
pass the queried comp (A and B nesting each other, C unrelated) recursed
until the stack ran out, which aborts the process ("stack overflow,
aborting"): it can't be caught as a command error, so unsaved work is
lost. layer.addItem checks it before adding a precomp, and the renderer
calls it for every nested comp and its audio. A long chain used the
stack the same way, and comps shared by many paths were walked once per
path (exponential for nested diamonds).
It is now an explicit stack with a visited set: same answers (a comp
contains itself; a target reached through a cycle is found), each comp
visited once, no recursion. The renderer already skips a precomp that
contains the comp being rendered, so a cyclic project now renders
instead of crashing; nothing is repaired on load.
Tests: project comp_contains_ends_on_cycles_long_chains_and_shared_
precomps (cycle with an unrelated target, self-nesting, a target through
a cycle, 40 levels of diamonds, a 20 000-comp chain); engine
a_project_with_a_precomp_cycle_opens_adds_and_renders_without_running_
out_of_stack (file.open, layer.addItem both ways, render). On main the
engine test aborts with a stack overflow.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
pixel_form_with borrowed the comp unchanged when it held only comp markers and no layer
markers, so a lone plain comp marker still reached the disk key. Tests: a lone comp marker
keeps the key; a protected marker with a duration (and its duration) on a stretched precomp's
source changes the key of the comp that nests it.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Upstream's #1167 fix and this branch both stop marker edits from invalidating
cached frames. Kept this branch's shared Project::reads_markers/same_pixels_with/
pixel_form_with (viewer frames, disk cache, nested comps) and folded upstream's
rules into them: any expression counts as reading markers, protected time
markers with a duration still change the frames.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Adding a marker replaced the comp, so every cached frame stopped matching and the preview had to
re-render before its audio could carry on. Plain markers change no pixels; protected time markers
with a duration still do (Responsive Design). Markers count in full again when a project uses
expressions, which can read them.
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Guides can store a percent of the comp so they follow comp-size changes
(View > Add Percentage Guide, Convert Guides to Percentage / Pixels); an
effect instance has an optional colour label (effect.setLabel, Effect Controls
header bar and Label menu). Both are serde-defaulted, so old projects load.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Project::reads_markers and Comp::pixel_form_with are shared by the RAM and disk frame caches.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Markers counted as pixels in a comp's frame identity, so every marker edit
dropped the cached frames; the playing preview then hit an uncached frame
and stopped its sound. They now count only when an expression mentions markers.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
File > Import > EffectCraft Project (and .ecproj/.ecprojx given to File > Import)
merges the project into a folder named after the file, with every id shifted past
the open project's, in one undo step. Relative footage resolves next to the file;
the result lists comps, root comps, primaryComp and missing media.
offset_ids now shifts tracker Motion Targets and saturates instead of overflowing;
fix_next_id saturates too, so a damaged file can't overflow on open or import.
Menu entry translated in all ten menu catalogues.
Rebased onto current upstream main for the split of #858 (test module list in
engine lib.rs; es/pt-br/ru/fr/de/cs menu translations).
(cherry picked from commit 19c653fccc95133fb35e978a7f7f20a18c0e8c89)
(cherry picked from commit 4e751ad2)
(cherry picked from commit ceed706cc3b5f3755769738a1ddb3d965a94ab6b)
