While a text layer was being edited, Edit > Deselect All and its shortcuts
selected every character (or did nothing) instead of ending the edit and
deselecting the layer.
- deselect_all now commits the open edit first, through the same route as
text.endEdit: a created-but-empty type-tool layer is discarded, anything
typed is kept, and no extra undo step is introduced.
- While the in-canvas editor holds the keyboard, the editor forwards the
command's currently assigned shortcut (and any function-key chord) so
Deselect All reaches the command from the comp; bare-letter bindings stay
typing, and Select All still selects characters.
- The Project-panel focus redirects (invocation and menu enabled-ness) stand
down while a text edit is open, so the menu and shortcut end the edit even
when focus stayed on Project after Layer > New > Text.
Tests: three engine cases (commit + discard semantics), six UI kittest cases
(chords, F2, rebinding, menu enabled-ness, Project focus), RED at base.
Switch the bash packaging scripts from [ to [[ for conditional tests,
give positional parameters descriptive local names, and end the shared
env.sh helpers with an explicit return. No behaviour change: every
comparison is against a literal, and a bare return keeps the last
command's status.
* segment: bound checkpoint tensors and pickle work
* segment: bound entry size, memo clones, and total tensor elements
* segment: cap cumulative decompressed storage bytes
The stat is the validation that rejects anything but an existing regular
file; annotate it with that reasoning.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
The path is the developer's own CLI build, stat'ed as a regular file before
use; suppress the taint finding with that reasoning.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
Sonar applies NOSONAR to the line that carries the marker, so the
explanation above the call did not suppress anything.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
Resolve the argument and require a regular file before spawnSync, which
never uses a shell and only runs fixed binaries or that validated path.
🤖 Generated with Codebuff
Co-Authored-By: Codebuff <noreply@codebuff.com>
Shadow maps use the full scene-derived size (point-light faces capped
at 2048) under a 26M-texel scene budget halved largest-first; the PCF
filter measures its reach in output pixels with a two-texel minimum,
samples texel centres on a jittered adaptive 5..10 grid, and compares
each texel against the receiver plane's own depth so wide kernels never
self-shadow lit casters. The WGSL mirror is parenthesised (Tint rejects
the old form) and guarded by a shader-wide grammar test; the CPU
reference and shader remain step-for-step parity-tested.
Reload Footage probed every item the way File ▸ Import does by default,
so a still such as Photo_2.jpg with Photo_1.jpg beside it was grouped
into a run and measured from the run's first file. The still took
Photo_1's size. Sequence items still probe as a run; everything else
reads its one file.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A raster footage layer's Timeline menu now also has to leave out Create Shapes from Vector Layer. The viewer check keeps the solid selected, so the menu has to follow the layer under the pointer rather than the selection. With the viewer's caps merge made a no-op, the test fails at the viewer check.
file.projectSettings takes frameStart (0|1), the Project Settings dialog shows Frame Count, and scripts get app.project.framesCountType and displayStartFrame. The setting was already read by the Frames and Feet + Frames time display; nothing could change it.
Double-clicking a property name in Effect Controls did nothing. The test double-clicks the name and checks the Timeline marks the property revealed and shows its row. Without the fix nothing is revealed.
The focused panel's outline was painted before the panel body, so body fills hid it. The test finds the outline in the painted shapes and checks no filled rect painted after it reaches its one-pixel ring. Without the fix a body fill overlaps the ring.
Right-clicking vector footage in the Timeline or the Composition viewer offered no vector conversion. The test imports an SVG and checks the item is absent for a solid, present on the SVG layer in both menus, and converts it. Without the fix the menu item is missing.
Resampling footage audio divided by the requested mix rate, so a rate of 0 panicked. The test decodes a 44.1 kHz WAV at rate 0 and expects a read of the requested length. Without the guard it panics with 'attempt to divide by zero'.
Nothing cleared a `Value::Layer` reference when its layer was deleted, so the id stayed behind:
`env_pixels` resolved it to nothing and rendered no environment at all, while the UI showed "None",
which is documented as "fall back to the comp's Environment Layer". The delete path already
unparents children and drops a track matte that pointed at a deleted layer; a layer reference now
goes the same way, in the same history step, so undo restores the layer and the reference together.
This covers every layer-reference property, not only an Environment light's Source: 73 of them
across the effects (Clone Source, Set Matte, Back Layer, Water Surface, Sky, Ground…). Keyframes
carry the same value kind as the property, as in `essential.rs`, and are fixed too.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The setters go through `comp.settings`, which defaults to the Composition Settings dialog's
centre anchor, so `comp.width = 800` on a 400-wide comp shifted every unparented layer — and
all of its position keys — by 200 px. A script that resized a precomp then found its pixel
coordinates had moved under it.
After Effects' width and height setters only change the frame; moving the contents is what
"resize from centre" scripts do for themselves. The setters now pass `anchor: 0` (top left).
The dialog, which is where the anchor belongs, is untouched.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
The Composition Settings dialog draws 「ピクセル縦横比」 and 「フレーム縦横比」, and its checkbox reads
「縦横比を 1:1 (1.00) に固定」. Three existing rows said アスペクト比.
Co-Authored-By: DeepSeek V4.1 Flash <noreply@deepseek.com>
The Timeline drew a layer-valued property (an Environment light's Source, a
Displacement Map's layer parameter) as read-only text holding the raw layer
id, so a light's Source could not be chosen in the UI at all - only through
prop.set from the command line, scripting or MCP. Effect Controls already
had a working drop-down for exactly these values: extract it into one shared
widgets::layer_picker (the current entry, "None" first, then "N. name" for
every layer of the comp, the list built only while the popup is open) and
draw it from both panels.
In the Timeline the pick writes through the same set closure as every other
value arm - an undoable prop.set (layer id, or null for None) - and
registers timeline.prop.<uid>.value like its neighbours, so the row names
the layer instead of exposing its id. Effect Controls keeps its rect,
automation id and write; its closed dropdown's "None", previously a
hardcoded literal, now follows the interface language. The dead "Layer {n}"
id text leaves the i18n catalogs with it.
ui_layer_source_picker drives both panels headlessly (open, pick, undo,
dismiss, current-entry highlight, translated None, picking None to clear a
set value), and an ignored wgpu snapshot test keeps the visual record
reproducible.
Every selector of a comma list cloned the whole declaration block, and every
element scanned every rule, so a sub-megabyte <style> could demand billions of
string pairs. Selectors now index one shared block, the sheets are capped at
20 000 selectors and 50 000 declarations, rules are bucketed by id/class/type
so an element checks only candidates, and matching work over all elements is
charged against a 50M-step budget that fails the import instead of doing it.
Found while testing crates/geom/src/lib.rs:362-390 (pivot check at line 367)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Christopher Linnett