Problem: the Media Browser listed .dpx files and After Effects imports
DPX and Cineon scans (stills and numbered sequences), but import
refused them: nothing could decode either format, and .cin was not even
an image to the browser, so its runs never grouped into sequences.
Fix: a small pure-Rust reader written from the public SMPTE 268M and
Kodak Cineon specifications (crates/media/src/dpx.rs): luma, RGB, RGBA
and ABGR at 8/10/12/16 bits, 10-bit filled method A/B, 12-bit in 16-bit
words, both byte orders, lines padded to 32-bit words, unrotated
orientations and the pixel aspect ratio; the codec names the transfer
(log, linear, ...) and code values are shown as stored. RLE, signed,
float, Y'CbCr, packed 10/12-bit and transposed files are refused with a
clear error; every header field is bounds-checked and the data length
verified before allocating. Probe and frame decode use it first;
is_importable, the Media Browser kinds and the import dialog list
.dpx/.cin.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: EffectCraft shipped only 8 original text-animator presets against
After Effects' 621; there was no Transitions category (ranked gap #7).
Fix: an original preset library, crates/engine/presets/transitions.json
(23 presets on our own Transition effects and layer opacity: fades,
directional and diagonal wipes, clock and fan reveals, blinds and slats,
pixel/mosaic dissolves, card flips, CC grid, radial scale, line sweep and
jaws wipes; In and Out). New commands anim.applyBuiltinPreset (adds the
effects with values and keyframes from the current time, one undo step,
reports any path that doesn't fit) and anim.builtinPresets. Effects &
Presets lists them under * Animation Presets > Transitions; double-click
applies. Sidecar and ATTRIBUTION.md entry; gaps/effects-parity updated.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26.3's font menu can show only variable fonts.
EffectCraft's font menus (Character panel, Properties ▸ Text) had no such
filter, and text.fonts / MCP list_fonts didn't say which families are
variable.
Fix: the font scan marks a face variable when its table directory has an
fvar table declaring axes (header read only, no extra file loading). The
font menu gets a "Variable fonts only" checkbox above the results; it
combines with the typed search, keeps the keyboard in the search field and
stays set while the app runs. text.fonts reports `variable` per family and
takes `{variable: true}`; list_fonts passes it through. Catalog rows for
ja, zh-Hans, zh-Hant and uk.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: In Advanced 3D, an extruded shape or text layer was one mesh in
its paint colour. After Effects colours the front, bevel, side and back
of an extrusion separately (shape Contents ▸ Add ▸ Front/Bevel/Side/Back,
text Animate ▸ Front/Bevel/Side/Back), and EffectCraft had none of it.
Fix: The extruder can split its mesh by surface (front cap, bevel rings,
walls, back cap). Shape layers get Front / Bevel / Side / Back contents
items (layer.addShapeItem kinds frontColor…backColor, one item per
group, colouring every paint of the group and its nested groups; the
innermost wins). Text animators get Front / Bevel / Side / Back Color,
blended over the character's fill or stroke by the selection. Paints
with a surface colour render as one mesh per surface. Menus, the
Contents Add: pop-up and the menu translations list them. The other
surface material properties (Ambient, Diffuse, Specular, Metal,
Reflection, ...) remain.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser lists .tga and .hdr files (and groups them into
image sequences), but media::is_importable had neither extension and the
still decoder never tried them, so importing them failed.
Fix: enable the image crate's built-in tga and hdr decoders (no new
dependency), add both to STILL_EXTENSIONS and the File > Import dialog, and
pick a still's format by signature with an extension fallback, since Targa
has no signature. Radiance HDR is linear float light and is sRGB-encoded like
OpenEXR (super-white kept); Targa alpha goes through the existing
unlabeled-alpha interpretation.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: with shape layers selected, the Tools bar's Fill Options / Stroke
Options (None, Solid Color, Linear Gradient, Radial Gradient, and the
swatch's Alt-click cycle) only changed the defaults for new shapes.
shape.fillStroke had no kind, so a selected layer's fill or stroke could
not be removed or turned into a gradient from the toolbar; it had to be
edited in the Timeline. The swatch also kept showing the tool's kind, not
the layer's.
Fix: shape.fillStroke takes fillType / strokeType. None switches the
layers' Fills and Gradient Fills (or Strokes) off; another kind switches
them on and turns them into that kind, keeping the uid and the
properties both kinds share (blend mode, opacity, width, dashes...), and
gives a group with paths and no such item one (gradients span the
group's paths). It reports the first layer's fillType / strokeType, and
the toolbar shows them. The kind picks in the options popup and the
Alt-click cycle apply to the selected shape layers, one undo step each.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26 imports FBX models into Advanced 3D comps; File > Import rejected
.fbx, so FBX product shots and scenes could not be used.
Fix: a clean-room FBX 7.x reader in effectcraft-model (binary node records with 32/64-bit
offsets and zlib arrays, ASCII syntax) and a scene builder: meshes with normals, UVs and
per-polygon materials, the Model hierarchy with the SDK transform (pivots, offsets, pre/post
rotation, rotation order, geometric transform), Lambert/Phong materials onto
metallic-roughness with embedded or relative textures, and GlobalSettings axes turned to
Y-up. Wired into import, probing, the media browser and the file dialog. Hostile input
(truncation, corruption, huge arrays, deep nesting) fails with an error.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Mesh Warp keeps its Distortion Mesh in a hidden text parameter,
and the viewer only draws handles for point parameters (Bezier Warp's),
so with Mesh Warp selected there was no grid and nothing to drag: the
effect could not warp anything from the UI.
Fix: with a Mesh Warp effect (or one of its parameters) selected and
layer controls shown, the viewer draws the (rows+1)x(columns+1) grid
over the layer in effect space, with a handle on every vertex
(automation id viewer.meshWarp.<fx>.<row>.<col>). Dragging a vertex
writes its offset to the `mesh` parameter through prop.set, one undo
step per drag; a mesh that does not match Rows/Columns starts from the
undistorted grid, as it renders.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26.3 pastes copied vector artwork as shape layers. Edit ▸ Paste only
knew the app's own clipboard, so SVG markup on the system clipboard was ignored; turning SVG
into shapes needed an imported footage file and Create Shapes from Vector Layer.
Fix: a new `edit.pasteSvg {svg, name?, comp?}` command builds a shape layer from SVG text with
the same conversion as Create Shapes from Vector Layer (paths, fills, strokes, gradients, clip
masks), above the selected layer with the SVG canvas centred in the comp, as one undo step;
oversized, non-SVG or shapeless text is rejected. In the UI, Ctrl/Cmd+V (and the native Edit ▸
Paste) run it when the system clipboard holds SVG. Copying in the app already replaces the
system clipboard with a note, so SVG there is newer than the app's clipboard.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26.3 copies the current composition frame to the
system clipboard; EffectCraft could only write it to a file (Save Frame As).
Fix: new command comp.copyFrame {comp?, time?, scale?} renders the frame as
Save Frame As ▸ File does and emits Event::CopyImage (pixels not
serialized); the egui frontend puts it on the clipboard after checking the
buffer size. In the Composition menu (translated) and the viewer's context
menu; drivable by id over the control channel / MCP.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26 imports STL models besides glTF and OBJ; we
refused .stl files, and the Media Browser and import dialog did not list
them as models.
Fix: a pure-Rust STL reader in effectcraft-model (binary and ASCII,
detected from the contents; several ASCII solids and polygon loops;
VisCAM/SolidView and Materialise Magics facet colours as plain
materials; Z-up turned to the model's Y-up; faceted normals from the
winding). Truncated, empty or non-finite input is an error, never a
crash. .stl is now a model extension for import, probing, the Media
Browser, the import dialog and the system report.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: dropping a PSD/PSB file on the window imported it straight away.
The drop handler always passed `importAs` (Settings > Import > Default Drag
Import As) to `file.import`, and the Import Photoshop File form only opens
when `importAs` is missing, so the dialog that File > Import > File...
shows never appeared for drops.
Fix: a drop that includes a Photoshop file leaves `importAs` out, so the
form asks (other drops keep passing the preference). For dropped files the
form's Import Kind starts at Default Drag Import As; File > Import keeps
starting at Composition. The engine already falls back to the preference
for `drag` imports without `importAs`.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: with the project's Time Display Style set to Frames, the
current-time display showed frame numbers but the Timeline ruler kept
labelling its ticks in seconds:frames (`00:15f`). The label format was
hard-coded and never read the project settings.
Fix: a `ruler_label` helper prints the frame number in Frames mode the
same way the current-time display does (`{:05}`, counted from Start
Numbering Frames At), and keeps seconds:frames for the other styles.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Settings > Appearance > UI Scale offered only 75, 100, 125, 150, 175 and
200 %, so a size between 75 and 100 wasn't possible. It is now the shared
numeric field (Kind::Int(75, 200, "%")): type or drag any whole
percentage. The engine already stored the scale as a clamped integer and
the UI applies it with set_zoom_factor, so the range, the default, live
preview, Cancel and saved preferences are unchanged; the preset list
goes.
Numeric settings now apply a typed number once it is entered (Enter or
leaving the field), not at every keystroke: typing 85 used to apply the
partial 8, clamped to 75, and resize the whole interface before the 5.
Dragging still applies as it moves.
Tests: the UI Scale test types 85 a key at a time (nothing applies and
the field keeps the keyboard until Enter), Cancel, 50 and 300 clamp to
75 and 200, 90 with OK, and a new app with the saved preferences starts
at 90 %. The GPU Information transaction test types 125.
The stop colour now uses widgets::srgb_color_button, the After Effects-style
picker every colour input opens (#638): hex field, HSB/RGB fields, OK and
Cancel, sRGB as the project stores colours. The stop keeps its alpha.
The dialog Escape handler only stepped aside for egui popups, and this
picker isn't one, so in a modal dialog Escape with the picker open closed
the dialog too. The picker now marks the pass it was open in
(color_picker::open_recently), and the handler leaves Escape to it: Escape
restores the colour the picker opened with and closes only the picker.
Tests: ui_gradient_editor clicks inside the picker's colour field over the
modal editor, types a hex code, closes the picker by clicking outside it
and saves the stop; a new test checks that Escape and the picker's Cancel
restore the stop's colour and keep the editor and its other edits. That
test fails without the Escape change. ui_color_hex still passes.
Settings > Previews > GPU Information was fixed text ("Compositing: CPU, N
threads... Display: egui on wgpu."): it never named a GPU, even while the GPU
compositor was running, so a card looked undetected. The System Report's GPU
line only said whether the compositor started.
sysinfo::gpu_summary builds the graphics lines from the session: the compositor's
adapter, or the reason compositing is on the CPU, and the adapter the window
itself got. The dialog uses it.
This does not explain why a particular card isn't used for compositing; that
needs the reporter's System Report (Help > System Report).
Tests: engine gpu_summary_names_the_adapter_or_says_why_there_is_none and UI
gpu_information_names_the_adapter_and_why_the_gpu_is_off (fails with the old
text). The six engine tests that fail on this Windows machine (relative footage
and render-queue paths) fail on main too.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The Timeline's "Edit Gradient…" on a gradient property (Gradient Fill /
Gradient Stroke ▸ Colors, Gradient Overlay) only painted its label. It now
opens a Gradient Editor (prop.editGradient): opacity stops above a preview
bar and colour stops below. Click to add a stop (it takes that track's
own value there), drag or type a Location to move it, set its opacity or
colour (egui's colour picker), Delete removes it (never the last of a
track, never while typing). The tracks stay in order while editing and the
selection follows its stop.
The editor works on a draft. OK sets the property once with prop.set at
the composition time it opened, snapped to the frame, with
timeBase: "comp" (offset and stretched layers get the key where it was
opened): one undo step, and nothing at all when the draft is unchanged, so
OK adds no keyframe. Cancel and Escape change nothing; Escape with the
picker open closes only the picker. On an animated gradient only the
keyframe at that time changes; when its stop counts no longer match a
neighbouring keyframe's (gradients only blend with equal counts) the
editor says so. The draft is saved in the typed form, so one colour stop
and each stop's RGBA survive.
prop.editGradient checks its target is a gradient property before the UI
opens anything, so agents get an error for a wrong one. New Gradient
color_at / opacity_at sample one track each (sample() multiplies opacity
in, which would apply it twice to a new stop).
Tests: ui_gradient_value (fails on main: the value had no automation id),
ui_gradient_editor (11), gradient_editor and keyframe unit tests.
Every viewer request spawns a job on the frame pool. A pool thread blocked
inside a render (waiting on a parallel loop's join) runs other pool work
meanwhile, rayon's injected jobs included: the spawn of the next request
started a whole frame render on top of the waiting one. Dragging makes a
new revision, and a new viewer frame, every UI frame, so renders nested
without bound on every thread, each holding its buffers (a large image's
full-resolution copies), until all memory was used. Holding the layer still
makes no new revisions, which is why only moving it did this.
A spawn now drains the queue, and one that lands inside a render on its
thread returns at once; the render below takes the queued jobs when it is
done. Each pool thread renders one frame at a time.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The Scrub helper and the real-properties test discarded FullOutput, so the
first pass' font-atlas texture delta panicked on drop in debug builds —
which is how the FreeBSD CI gate failed. Consume the delta the way the
rest of the crate's egui tests do.
Preserve legacy selection repair, modifier routing, viewer lifecycle and workspace persistence through the shared docking integration. Qualify the complete workspace gate by refreshing the 18 stale Audio Spectrum hashes for the existing linear renderer, with an independent synthetic-tone regression.
The file dialogs were blocking rfd::FileDialog calls made inside eframe's frame,
that is inside winit's event handler. On macOS the dialog runs a nested modal
event loop there; a file dragged over the window while it was open reached
winit's handler again, which refuses re-entry with a panic across the
Objective-C boundary, aborting the app (Import with Cmd+I, then a drag).
Hooks gains file_dialog_async: a host that sets it shows a command's file dialog
(Import, Open, Save As, Save Frame As, presets, guides, templates, Collect Files,
Relink...) without blocking, and the command runs with the answer on a later
frame (menus::dialog_answered, drained at the start of each frame); a cancelled
dialog runs nothing. The macOS app implements it with rfd::AsyncFileDialog, a
sheet on the window answered when it closes, outside the frame. Other platforms
keep the blocking dialogs (winit queues their re-entrant events), as do the few
panel buttons that pick a file in place (Settings paths, shortcut import/export,
effect file pickers).
Test: with a non-blocking hook, Save As and Save Frame As return at once without
the blocking dialog, the save happens when the answer arrives from another
thread, and a cancelled dialog writes nothing. The macOS sheet itself needs a
manual check (Cmd+I, drag a file over the window, pick or cancel).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
widgets::keep_focus (Project panel rename and comment, Render Queue, Essential
Graphics and Timeline fields) selected the whole text whenever it saw its field
without the keyboard focus, not just on the frame the editor opened. Anything
that took the focus for a frame (an input method, another handler) then
re-selected the name, so the arrow keys seemed to do nothing and Backspace erased
the whole name, as reported on Linux. The editor now remembers the pass it was
last shown: it selects all only when it opens and otherwise just takes the
keyboard back with the caret where it was.
The harness does not reproduce the report's Linux behaviour itself (arrows reach
the field there); the tests cover the path that did: a unit test drops the focus
for a frame and checks the caret survives (and that reopening selects all), and a
kittest renames a Project item and a Timeline layer with Left / Right / Up /
Down / End and Backspace, editing part of each name.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Motion-path hits were only handled for the Selection tool, so the Pen slot's
tools did nothing on a layer's motion path, and every Pen slot tool showed the
same crosshair. As in After Effects, on a motion path:
- Add Vertex (and the Pen) add a Position keyframe at the clicked frame dot,
with the path's value there (prop.addKey), so the path keeps its shape;
- Delete Vertex removes the clicked keyframe (keys.select + keys.delete);
- Convert Vertex switches it between Linear and Auto Bezier spatial
interpolation (keys.interpolation {spatial}).
motion_path now reports its frame dots for the hit test. Over the viewer the Pen
slot tools draw their own pen glyph (Pen, Add, Delete, Convert, Mask Feather) at
the pointer in place of the system cursor, and the Pen shows Add Vertex's pen over
a mask, shape or motion path it would add a point to.
Test: ui_viewer clicks a two-key motion path with each tool and checks the added
key, its spatial interpolation both ways, its removal, and the pointer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
On Adreno (Windows ARM64) a failed vkAllocateMemory surfaces as an internal
ERROR_INITIALIZATION_FAILED, not out-of-memory. Gpu::within_memory only scoped
OutOfMemory, and wgpu's DeviceExt::create_buffer_init maps the new buffer at
creation and panics ("Failed to get mapped range") when the allocation failed,
taking down a frame thread. Buffers with initial contents are now created unmapped
and filled through queue.write_buffer (context::buffer_init), so a failed
allocation is only an invalid buffer and an error for the caller's scope, and
within_memory scopes Internal errors too, discarding the frame for the CPU path
as it does for out-of-memory.
The device was then lost, and egui-wgpu panicked on the main thread staging the
next frame's index buffer on the dead device. Once the host reports the
presentation device lost, the app draws nothing more (no mesh to stage), auto-saves
unsaved changes, keeps the crash-recovery marker so the next launch offers them,
and closes its window.
Tests: a device with a small buffer limit gets an over-limit and an unaligned
buffer_init without a panic and sees the error in its scope; the UI harness
reports a device loss and checks the next frame has no shapes, closes the window
and wrote the auto-save.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Effect Controls painted effect headers with fixed dark fills (#2a2a2a,
#2f3a52 when active) under the theme's text colour, so on Light the effect
names were dark on dark (1.1:1). The Timeline kept the selected layer's
time-graph row, the A/V and switch wells, the time navigator, the work area
bar and the expression field on fixed dark fills too.
Those surfaces are now theme tokens (fx_header, fx_header_active,
tl_graph_selected, switch_well, tl_nav_bar, tl_work_area_bar, expr_bg,
expr_text) with the dark values unchanged and light ones for Light. The
expression editor's syntax colours come from the theme as well: on the
light field a darker set keeps every category, enabled/disabled
expressions, matched brackets and line numbers at 4.5:1 or better
(contrast test, with a negative control showing the dark set fails there).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A typed value committed by clicking elsewhere could be applied as an
offset, because dragged_id() is set on the press that commits it; a scrub
now needs a decided drag. In the Timeline, clicking a stopwatch or the
keyframe button acts on that layer's property only, as in After Effects
(the Properties panel and keyboard shortcuts act on every selected layer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With several layers selected, After Effects applies a property edit to the same property of
every selected layer; we changed only the layer whose row was edited (the Properties panel
showed only the first selected layer), so a stopwatch switched on one layer and later moves
of the others had nothing to keyframe (#355), and scaling or rotating a selection changed
one layer (#491).
- Engine: `prop.set`, `prop.toggleAnimation` and `prop.toggleKey` take `selected: true`:
the change also goes to the same property (by match path, `transform/scale`,
`effects/<effect>#n/<param>`) of every other selected, unlocked layer whose value has the
same kind, in one undo step (a scrub keeps folding into it through its `merge` key). With
`offset: true` (a scrub) each layer changes by the same amount from its own value; a typed
value sets them all. Position with Separate Dimensions is handled per layer.
- The Timeline, Properties and Effect Controls panels pass `selected` (and `offset` while a
value is dragged). The Properties panel heads "(N) Selected Objects" (zh-CN / zh-TW / ja /
uk rows).
- Viewer: a bounding-box handle drag scales every selected layer by the same ratio about its
own anchor point; the Rotation tool turns them all by the same angle (one undo step).
Tests: engine test (stopwatch, scrub offset, typed value, keyframe button, one undo step,
unselected layers untouched); kittests: the Properties panel with three layers selected
(header, stopwatch on all three undone in one step, a scrub moving all three by the same
amount) and a handle drag scaling two selected layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The viewer projected a 3D layer's box, its axis gizmo and its Extended Viewer outline
through the camera with a plain perspective divide. A point at or behind the camera
(w ≤ 0) flips through infinity, so a layer turned or moved so that part of it reaches past
the camera drew long lines across the viewer, and its handles and hit area flipped too.
- `layer_quad` (handles, hit tests, marquee) is None for a layer reaching past the near
plane, so nothing is placed or picked on a flipped quad.
- `layer_outline` clips the box to the part in front of the near plane (Sutherland-Hodgman
in homogeneous coordinates); the selection outline and the Extended Viewer use it.
- The 3D axis gizmo's arrows are clipped the same way (`project_segment`).
Tests: a box crossing the near plane keeps only its front part, one wholly behind draws
nothing; gizmo segments are cut at the plane and never flip.
Note: the reporter's exact setup (ellipse, X/Y Rotation, Orientation) wasn't reproduced
in a headless probe with the default camera, where the layer stays in front of it; this
fixes the projection fault that draws such lines.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A stack (the Default workspace's right column) held one panel per frame. Dropping a panel
onto the middle or the tab strip of a stacked panel inserted a new stacked frame below it,
and dropping on its top or bottom edge split the whole column.
A stacked frame now holds tabs (`StackEntry { panels, active, open, height }`):
- Center / tab strip drops add the panel as a tab of the anchor's frame and show it.
- Top / Bottom drops add a frame of its own above / below the anchor's frame only.
(Left / Right still split the column: a frame can't hold a side-by-side split.)
- Clicking a frame's shown tab (or its header bar) expands / collapses it; another tab
shows that panel. Closing a tab keeps the frame; its last tab removes it.
- Saved workspaces from before (`{"panel": …}` per frame) still load.
Tests: dock unit tests (Center / Top / Bottom on a stack, insert_tab, close, old saved
entries); a kittest dragging Effect Controls onto Properties makes a two-tab frame whose
tabs switch the shown panel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A shape's Fill and Stroke Color (and every other colour property) in the
Timeline only had a swatch that opens the colour picker; After Effects puts
an eyedropper next to it to sample a colour from the Composition panel.
The Timeline now shows that eyedropper (`timeline.prop.<uid>.eyedropper`),
reusing Effect Controls' viewer pick: click it, then click in the
Composition panel, and the property is set to the sampled colour.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
apply_visuals pinned egui's theme preference to Light or Dark on every
apply. egui syncs that to the native window (ViewportCommand::SetTheme),
winit then gives the NSWindow an explicit Aqua/DarkAqua appearance, and a
window with its own appearance no longer receives the system's
ThemeChanged events, so Sync with System froze on the first frame's
appearance.
Our visuals now go into both of egui's styles (light and dark), and the
preference is System while the appearance mode is Sync with System, so the
window keeps following the OS; fixed Light / Dark modes still pin it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
After Effects' `app.project.workingGamma` (2.2 or 2.4, ignored with a working space) sets
the curve an unmanaged project uses: at 2.2 the piecewise sRGB curve, at 2.4 a pure 2.4
power curve. EffectCraft always used sRGB, so linear EXRs (Interpret As Linear Light) from
a 2.4 project came out darker in the shadows (0.18 → 0.461 instead of 0.490).
- `ProjectSettings::working_gamma` (default 2.2, serde default for old projects).
- The colour pipe's unmanaged curve is the Working Gamma's (sRGB, or Rec. 709's pure 2.4
curve): Interpret As Linear Light encodes untagged footage with it and Blend Colors Using
1.0 Gamma linearizes with it; it is part of the pipe's cache key. The GPU path takes the
same conversions.
- `file.projectSettings {workingGamma: 2.2|2.4}` (other values are refused, as in AE),
`app.project.workingGamma` in scripts and a Working gamma choice in Project Settings.
Test: render test with linear 0.051 / 0.18 / 0.5 footage (0.290 / 0.490 / 0.749 at 2.4,
0.250 / 0.461 / 0.735 at 2.2, the values measured in AE), linear blending at 2.4, a working
space ignoring the setting, and the cache key.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With no GPU compositor the report only said "GPU: none", though the host had recorded the
reason (`Session::accel_note`: the compositor's setup error, a retired GPU preview, a
headless start) and the window's wgpu adapter was known. Users with a capable GPU (#596, an
RTX 4070) couldn't tell why it wasn't used.
The report now carries `gpuNote` (the reason, when there is no compositor) and
`windowGraphics` (the adapter, backend, device type and driver the window draws with, which
the desktop app records when it sets up the GPU), and the text shows
"GPU: none (CPU compositing): <reason>" and "Window graphics: …"; the issue line names the
reason too.
Test: the compatibility report test sets a reason and an adapter and checks the JSON and text.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The ruler scrub set the time under the pointer and never moved the visible span, so with
the timeline zoomed in a scrub couldn't go past the edge, and a preview ran the CTI out of
view. As in After Effects:
- zoomed in, a scrub held past either end of the ruler scrolls the timeline that way,
faster the further past, with the CTI riding the edge (repainting while held);
- during playback, when the CTI leaves the visible span the view pages to start at it
(not past the comp's end).
Tests: a unit test of the paging and edge speed, and a kittest that holds a scrub past the
right end (the view scrolls, the CTI stays at the edge), then past the left end, then plays
from beyond the view (it pages to the CTI). (#468's Shift+F and black-layer items need
more information and aren't part of this.)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
In the right-hand panel stack only the tab (the name plus its padding) answered clicks, so
the rest of the header bar did nothing, a small target for short names like Audio. As in
After Effects, the rest of the strip now toggles the panel too and focuses it. A stack group
holds one panel, so the bar is unambiguous; the panel menu keeps its own click. The bar
registers the automation id `panel.header.<Panel>`.
Test: a kittest clicks near the right end of Preview's header bar (collapses), its middle
(expands) and its panel menu button (stays open).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
