Right-clicking imported footage offered no way to change its
interpretation. As in After Effects, right-clicking an item now selects
it, and footage items' menu has the File menu's footage commands:
Interpret Footage (Main, Proxy, Remember / Apply Interpretation),
Replace Footage, Reload Footage and Reveal in Explorer / Finder, with
the menu bar's labels, shortcuts and enabled state
(menus::submenu_at / entry_for). The panel's Interpret Footage button,
which only ever said to select footage, opens the dialog for selected
footage.
Test: footage_context_menu_interprets_the_footage (ui_project_rows).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The label menus listed the labels' names only, so a label couldn't be
picked by its colour. Every place a label is chosen now shows its
colour swatch before its name, as After Effects does: the Timeline's
label swatch (which now opens its menu on a click too, not only a
right-click), the Project panel's label swatch and a new Label submenu
in its item menu, Edit > Label, keyframe Label menus and the marker
dialog. One shared widget (widgets::label_entry / label_popup) draws
them; keyframe labels now show the names set in Settings > Labels.
Tests: label_swatch_opens_the_label_menu (ui_project_rows),
the_label_swatch_menu_shows_the_label_colours (ui_timeline_switches),
edit_label_menu_shows_the_label_colours (ui_panels).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Double-clicking a mask or shape path's point (or segment) put its points
in a free-transform box but left only the clicked point selected, so
once the box was gone a drag moved that one point. As in After Effects,
the double-click now selects all the path's points too: dragging inside
the box, or afterwards any of the points, moves the whole mask.
The test also draws a mask with the Pen, moves a point and undoes: each
undo takes back one action (the move, the closing, the last point).
Test: pen_mask_undoes_step_by_step_and_double_click_moves_the_whole_mask
(ui_viewer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Position motion path drew a key's spatial handles only where its
tangent wasn't zero, and auto-Bezier keys have none at the path's ends,
so a two-key path (the usual start) had no handles to pull it into a
curve. Auto-Bezier keys now show a handle on such a side too, pointing
where the path leaves the key, a third of the way to the next key;
dragging it makes the key Bezier with that tangent. Linear keys still
show none.
Keyframe Interpolation > Spatial Bezier copied those zero tangents, so
the keys stayed straight with no handles (and read back as Linear); it
now gives them the same handles. The path keeps its shape and timing.
The handles come from the new keyframe::spatial_handles.
Tests: spatial_bezier_gives_a_straight_path_handles (engine),
a_straight_motion_path_has_handles_to_curve_it (ui_viewer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The arrow keys did nothing to a selected layer, so it couldn't be lined
up precisely. As in After Effects, over the Composition panel or the
Timeline an arrow key moves the selected layers 1 pixel at the viewer's
magnification (half a comp pixel at 200 %, so sub-pixel steps come from
zooming in) and Shift+arrow 10, one undo step per press; holding the
key repeats. Not while typing or with mask points selected.
The move is the new engine command layer.nudge {x, y (comp pixels),
layers?}: through each layer's parents into Position (or X/Y Position),
a key at the current time when Position is animated, locked layers left
alone. It shares the Align panel's move.
Tests: nudge_moves_layers_by_comp_pixels (engine),
arrow_keys_nudge_the_selected_layer_at_the_viewer_magnification
(ui_viewer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A footage or precomp layer dragged out past its source's end holds its
last frame, but its bar looked the same all the way, so the source's
end couldn't be seen. That part of the bar (and any part before the
source's start) is now darkened and striped in the label colour, with
an automation id (timeline.layer.<id>.bar.afterSource / beforeSource);
with time remapping on, the remap decides what shows there, so it isn't.
Enable Time Remapping on such a layer put its end key at the extended
out point; it now ends at the source's end, where the last frame starts
to hold (After Effects). Trimmed and reversed layers keep their keys.
Tests: time_remap_on_an_extended_layer_ends_at_the_source_end (engine),
the_bar_past_the_source_end_is_striped (ui_timeline_switches).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dragging an expression's pick whip always replaced the whole
expression, also while it was being edited (and the editor then wrote
its old text back over the reference). As in After Effects, a pick
whip pressed while the expression is being edited now puts the
reference at the cursor, replacing the selected text, and the editing
goes on with the cursor after the reference. Without an edit in
progress it replaces the expression as before.
`prop.pickWhip` takes the text being edited (`expression`) and the
selection in it (`range`, in characters) to insert there.
Tests: the_expression_pick_whip_inserts_at_the_cursor_while_editing
(ui_inline_edit), pick_whip_inserts_into_the_expression_being_edited
(engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With a Puppet tool, a click off the pins picked the topmost layer under
the pointer by its own bounds, and selected it. So a click where the
deformation had stretched the mesh past the layer's bounds went to the
layer behind (selecting it and giving it a Puppet effect), and any
click on another layer switched to it.
While selected layers have a Puppet effect, a click (or a press that
might start a pin marquee) now works only on them, as in After
Effects: on the layer whose mesh, as deformed now, is under the
pointer (the pin lands on the deformed shape), else the one whose own
art is (a new mesh); elsewhere nothing happens and the selection
stays. Without a rigged layer selected, the tools pick and rig the
layer under the pointer as before.
`puppet::contains` tests a point against a deformed mesh; `puppet.addPin`
uses it too (its own test only held for one triangle winding).
Test: puppet_pins_go_on_the_deformed_mesh_and_the_tool_stays_on_the_rigged_layer
(ui_viewer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Effect eyedroppers (other than keyers', which pick from the effect's
input) sample the composite the viewer shows; a test covers that on
main. But they, and the Info panel, read the shown frame as if it
covered the whole comp. With a Region of Interest, or the Extended
Viewer of a 3D view, the frame covers only that area, so they read a
pixel somewhere else. They now map the point through the area the
frame covers (`shown_region`, `frame_pixel`).
Tests: the_eyedropper_samples_under_the_pointer_in_a_region_of_interest
(ui_effect_controls), eyedropper_samples_straight_colour (fx_widgets).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dragging a Bezier handle in the Graph Editor changed only that key's
ease. As in After Effects, the same side's handles of every selected
key now move with it, by as much as the pointer moved (time and value
or speed alike), in one undo step. Each handle keeps its offset from
where the drag began, so a handle stopped at a limit (100 % influence)
doesn't drag the others on.
Test: a_graph_handle_drag_moves_the_handles_of_every_selected_key
(ui_keyframes).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each half of a keyframe glyph had a 1 px near-black border, so keys
that overlap read as a tangle of borders. Keys are now flat, as in
After Effects: each half is filled and edged in the key's own colour
(the hairline closes the seam between the halves), so overlapping keys
read as one shape. The Light theme's keyframe grey is darker so
unselected keys still stand out on its light time graph without the
border.
Test: keyframes_are_drawn_without_a_dark_outline (icons).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
As in After Effects, pressing a property's stopwatch toggles it, and
dragging on over the stopwatches above or below gives every property
the pointer passes the state the first one got (animated or not),
whatever its own, in one undo step. Alt+click still adds an
expression.
The gesture is the layer switches' press-and-drag from #238, moved
into `switch_gesture` and shared by both. `prop.toggleAnimation` takes
`merge` so the drag folds into one undo step.
Tests: dragging_over_stopwatches_sets_them_all (ui_timeline_switches),
stopwatch_toggles_with_a_merge_key_are_one_undo_step (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#284 reported no cache indication in the Timeline. Main has one: a
green line under the work area bar for the frames cached at the
viewer's resolution, view and options (blue for disk-cached frames).
This test pins it down: once the viewer's frame has rendered, the
Timeline paints the green line from the start of the work area.
Test: the_timeline_shows_the_cached_frames_in_green (ui_ram_preview).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shift-clicking a layer's name selected the layers from the last one
clicked to it, but Shift-clicking a layer bar in the time graph only
added that layer. Bars now select the same range (shared with the
name column: `shift_range`), and a click on a bar becomes where the next
range starts, as a click on a name does.
Test: timeline_shift_click_on_layer_bars_selects_the_range
(ui_workflow_selection).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Scrubbing asks for the viewer frame under the pointer at every step.
Each newer request only demoted the earlier ones to prefetch, so every
frame the pointer passed was still rendered, oldest first, holding the
frame threads the frame under the pointer needed. A newer viewer frame
of a comp now drops that comp's viewer frames that haven't started
(and releases them, so they can be asked for again). Frames already
rendering finish into the cache (rendering can't be interrupted
mid-frame), and the viewer keeps its last frame until the new one is
in. Prefetch frames and other comps' viewer frames stay queued.
Test: a_newer_viewer_frame_drops_the_ones_still_waiting (frames).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The ruler moved the current-time indicator only once the pointer had
dragged past egui's drag threshold, or on release for a click. As in
After Effects, the time now jumps to the pointer as soon as the button
goes down in the ruler, then follows the drag.
Test: a_press_in_the_ruler_moves_the_current_time (ui_timeline_zoom).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Renders on macOS came out as `Comp 1.mov.ecproj`, and an image
sequence's every frame as `Comp 1_00001.png.ecproj`; another output
was `Comp 2.mov.mov`.
Cause: the save dialogs for anything but a project went through the
project dialog hook, which filters to `.ecproj`; macOS's save panel
appends the allowed extension to any other name. 0.4.0's Render Queue
Choose File… used it (#192 moved Output To to its own dialog since),
and Save Frame As, Save Current Preview, Export Lottie, Save a Copy As
XML, Collect Files, Watch Folder and the Premiere export form's Browse
still did. Nothing then fixed the name: Output To kept `.ecproj` (no
format claims it), and changing the format replaced only the last
extension (`Comp 2.mov.ecproj` → `Comp 2.mov.mov`). `[compName]` of a
comp named `Comp 2.mov` also doubled it.
Fix: `Hooks::save_dialog` asks the dialog for the default name's own
extension (`pick_save_file`), the project dialog only for projects or
on hosts without another (the web); the desktop dialog has no filter
for a name without an extension (folders). `OutputFormat::with_extension`
makes an output path end in the format's extension exactly once
(project extensions and repeats of the format's dropped, a missing one
added; `logo.png.mov` kept), used by Output To, format changes and
`resolve_output`, so existing projects and templates render to the
right name too. Output To picks the file type from the extension
before a stray `.ecproj`.
Test: output_names_end_in_the_format_extension_once (project),
output_to_ends_in_the_format_extension_once (engine) and
save_dialogs_offer_the_file_extension (ui); the engine and ui tests
fail with the fix reverted.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Reviewed #321 (the alternative Simplified Chinese catalog) row by row against Adobe's
Simplified Chinese After Effects documentation and kept what the documentation confirms:
- Adobe's "混合模式和图层样式" page names the blend modes verbatim, so 相乘 (Multiply), 相加
(Add), 相减 (Subtract), 相除 (Divide), 动态抖动溶解 (Dancing Dissolve), 模板 Alpha /
模板亮度 / 轮廓 Alpha / 轮廓亮度 (Stencil / Silhouette) and 冷光预乘 (Luminescent Premul)
come from it. 滤色, 深色, 浅色, 实色混合 and 明度 stay, because that page gives those names too.
- "设置、选择和删除关键帧" gives 指数比例 (Exponential Scale), 消隐 (Shy), 对齐 (Snapping) and
the 选定 wording; "预合成、嵌套和预渲染" gives 合成微型流程图; the motion-graphics templates
page uses 基本图形 for the panel but 动态图形模板 for the template; the keyboard-shortcuts
page gives 双立方 (Bicubic sampling), 灰度系数 and 主要.
- The 16 label colours now carry the 色 suffix the Chinese edition uses (浅绿色, 淡紫色, 桃红色,
紫红色, 海泡沫, 深绿色), plus a few Adobe-standard phrasings: 置于顶层 / 置于底层, 与图层相同,
色彩管理, Internet 标准 RGB, 另存为模板, 时间伸缩, 减少项目, 单独尺寸, 倾斜, 关.
- Kept mine where those pages contradict #321 (屏幕 for Screen, 较深的颜色, 较浅的颜色,
纯色混合, 发光度, 资源管理器 for Finder, 整理工程 for Dependencies, 素材 for Material), where
they drop the spaces Adobe's own pages use around Latin text (3D 图层, RPF 摄像机导入,
在 Finder 中显示), and where the sibling apps' catalogs agree with this file.
`TRADITIONAL_CHINESE` mirrors the same changes (37 rows). Credit to @cjcwwww for #321, where
these rows come from.
- New TRADITIONAL_CHINESE catalog: the same (command, English label) keys as JAPANESE and
SIMPLIFIED_CHINESE, one entry per fixed menu row (618 rows). The wording follows the
Traditional Chinese catalogs PhotoCraft, PdfCraft, VectorCraft and LightCraft already ship
(`檔案`, `開啟`, `儲存`, `圖層`, `遮色片`, `影格`, `預設集`, `快速鍵`, …).
- Match System maps a Traditional Chinese locale (`zh-TW`, `zh-HK`, `zh-Hant`, `zh_MO`) to
`zh-hant` instead of English, now that there is a catalog for it.
- `simplified()` and `traditional()` replace the Simplified-only `chinese()`; the macOS Services
item is 服务 in Simplified and 服務 in Traditional.
- `general.language` gains 繁體中文; `docs/preferences.md` documents the locale mapping.
- Tests: all three catalogs must cover the same fixed TREE entries; the shape check covers both
Chinese catalogs; label/undo/panel-title/submenu/native-menu behaviour in zh-hant with file and
layer names kept verbatim; the Traditional locale mapping; the preference round-trips.
- The i18n module now selects a catalog by language code instead of testing for Japanese:
`language(app)` returns the code, `lookup` is shared by every catalog, and the undo/redo
and workspace / 3D-view titles are formatted per language.
- New SIMPLIFIED_CHINESE catalog: the same (command, English label) keys as JAPANESE, one
entry per fixed menu row of the engine tree (618 rows).
- `general.language` gains 简体中文 (`zh-hans`). Match System maps a Simplified Chinese locale
(zh, zh-CN, zh_CN.UTF-8, zh-Hans-CN, zh-SG) to it and a Traditional one (zh-TW, zh-HK,
zh-Hant) to English, which has no catalog of its own yet.
- The macOS Services menu item is 服务 in Chinese.
- Tests: both catalogs must cover the same fixed TREE entries; `...`, brackets and spacing
keep the English shape; label/undo/panel-title/submenu/native-menu behaviour in zh-hans
with file and layer names kept verbatim; the locale mapping; the preference round-trips
through prefs.json.
`supported` was only called on desktop builds, so the wasm32 check
warned that it was never used. The browser build, which has no system
locale here, now resolves Match System through supported(None)
(English) instead of a literal.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shape and text layers have comp-sized effect bounds centred on their
origin, but effects measured positions from the origin: a point at its
default "layer centre" sat at the comp's bottom-right corner, so Twirl
on a centred shape changed nothing and Bulge only its bottom-right
quarter. As in After Effects, effects now work in effect space,
measured from the top-left of the layer's effect bounds.
The renderer moves the layer buffer into effect space for the whole
stack (Buf::rebase, CPU and GPU alike) and hands effects everything
else in it: masks, other layers' pixels for layer parameters (each in
its own effect space, so Set Matte and displacement maps see a whole
shape layer), the layer's own frames (layer_input, also what Puppet,
Roto Brush and the Layer panel read) and the comp camera
(CompScene::rebased). Layer bounds are now right for every effect, so
pin_rect and EffectEnv::bounds_origin go and layer_rect serves edge
pinning too. Adjustment layers still run on the comp below as it is.
effect_bounds / EvalCtx::effect_to_comp replace the repeated "comp size
when there is no source" code; the viewer's effect point handles and
eyedroppers, Puppet pins, the Layer panel (paint, Roto Brush) and the
tracker's Corner Pin output use them.
Project schema 2: opening a schema 1 project moves positions held by
effects on shape and text layers by half the comp size, so set points
keep their place (point parameters with keyframes, Paint paths and
clone positions, Puppet seeds and pins, Liquify and Roto Brush
strokes). Points still at their default become the layer centre;
expression controls, adjustment layers and expressions are left as
they are (docs/architecture.md). The disk cache's render version is
bumped.
Tests: default_effect_points_sit_at_the_centre_of_a_shape_layer and
layer_parameters_see_a_whole_shape_layer (render, both fail before),
effect_points_on_a_shape_layer (GPU vs CPU),
opening_a_schema_1_project_moves_shape_layer_effect_points_into_effect_space
(engine), and the effects migration tests.
Part of #227
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Files dropped on the window or picked in the Import dialog were probed
one after the other on the UI thread: the app froze while a video was
read, nothing said what was being imported or how many files were
left, and only the last new item was selected. People ended up
importing the same file again and again.
file.import takes `background`: the files are probed in a background
job (Window > Progress, jobs.list / jobs.cancel) that names the file
being read and how many there are ("b.png (2 of 3)"); then they are
added in one undo step, all selected (the Project panel scrolls to
them, a file already in the project arrives again as in After
Effects) and a toast reports the count ("Imported 3 items", with the
first error). Drops and the Import dialog use it, and an Importing
card at the bottom left shows the job with its progress bar and
Cancel. Agents and scripts still import at once by default. The
toast registers an automation id.
Test: background_imports_report_progress_and_select_what_arrived
(engine), dropped_files_show_import_progress_then_the_items_they_made
(ui_drag_drop).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Moving a puppet pin keys its Position, but the Timeline didn't show
those keys where people look for them. U revealed every pin's Position
as one more flat "Position" row under the layer, indistinguishable from
the layer's own Position and from each other, and the reveal was a
snapshot: a pin placed or moved after U (or with the layer twirled open
and Effects closed) got keys that no row showed.
As in After Effects, revealed properties inside an effect now show
under the effect and its groups (Puppet > Mesh 1 > Deform > Puppet
Pin 1 > Position), twirled open by the reveal and closable like any
group; Transform and mask properties stay as they were. Placing, moving
or recording a pin in the viewer keeps its Position in view: on a
twirled-open layer its groups open, and a U reveal takes it in. A
collapsed layer stays collapsed. The keys select, move and delete like
any others.
Test: puppet_pin_keys_show_under_their_pins_in_the_timeline,
placing_a_pin_opens_its_groups_on_a_twirled_open_layer (ui_viewer).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Learn workspace opens the Home screen on its Learn tab, but no other workspace closed it, so
after Learn the tutorials stayed over Default, Review and the rest until a project was created or
Home was toggled. It wasn't about clicking quickly: any switch away from Learn kept them. Leaving
Learn for another workspace now closes the Home screen it opened.
Test: ui_panels leaving_the_learn_workspace_closes_its_tutorials (clicks through the workspace
tabs: the Home screen and the tutorials show only on Learn).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Most panels lay out their own rows and scrolled only with the mouse wheel: Effect Controls,
Effects & Presets, the Media Browser, Ease Presets and the Timeline's layer rows had no scroll
bar, Properties and Preview a thin indicator that couldn't be dragged, and Render Queue, History,
Markers, Character, Paragraph and Info didn't scroll at all, so a panel shorter than its content
cut it off. Without a wheel or a working touchpad there was no way down. The Project panel had
the only real scroll bars, hand-rolled, and its vertical one was hit-tested under the rows, so it
only dragged where no row was.
- widgets::scroll_bar: the Project panel's bars generalised (horizontal or vertical, drag the
thumb or press the track to move it there, automation id with "scroll/max"); the Project
panel's two bars and the Timeline's column bar use it, drawn over the rows.
- widgets::PanelScroll: the wheel offset, its clamping and the bar for a panel's own rows, used by
Effect Controls, Properties, Effects & Presets, Media Browser, Ease Presets, Preview, Render
Queue, History (which still follows the current state), Markers, Character, Paragraph and Info.
The Timeline's layer rows get a bar on the right edge.
- Effect Controls: an animated vector's values (a puppet pin's Position) ran under the keyframe
navigator in a narrow panel. They now end before it, moving left over the name, which is cut
short.
Test: ui_scrolling panels_taller_than_their_space_have_a_scroll_bar_to_drag (eleven panels in a
short window: a press on the track and a thumb drag scroll them),
effect_values_stay_clear_of_the_keyframe_navigator.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The menu bar's own menus (Edit has 30 entries) had no scroll area, only their submenus did, so
on a short screen Edit ran past the bottom of the window. The font menu was capped at 420
points and never moved up, the Preview panel's and the viewer's popup lists neither scrolled nor
moved, and the Timeline's Blending Mode and Expression Language submenus didn't scroll. egui's
scroll bars also only appeared while the pointer was over the list, so a list could only be
scrolled with a wheel or touchpad.
- widgets::popup_list: the one popup list behind popup_menu, the font menu, the Preview panel's
dropdowns and the viewer's popups: as tall as the window allows, scrolling beyond, moved up to
fit the window.
- widgets::menu_scroll: the same for menus and submenus (the menu bar's, Blending Mode, the
Expression Language menu, the viewer's Select menu).
- Scroll bars always show (solid scroll style), so they can be dragged.
- A first window that doesn't fit the screen is maximized: the 1680 x 1020 default on a smaller
screen is only shrunk to the monitor's size, so with its title bar it ran under the taskbar and
cut menus off at the bottom of the screen even when they fitted the window.
Test: ui_scrolling a_menu_taller_than_the_window_scrolls (Edit in a 520-point window scrolls
its last entry into view and it takes the click); overflows_screen unit test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
get_project / render.backend reported "gpuAcceleration": true with
"active": "cpu" and no reason, which read as a broken GPU. The
headless MCP server only attaches the GPU compositor when started with
--gpu, which docs/agents.md didn't mention, and a failed --gpu said
only "no usable GPU adapter" (the adapter's error went to a log no
one sees). The session now keeps the host's reason there is no GPU
compositor (accel_note): the CLI's "headless: renders on the CPU
unless started with --gpu", or the desktop app's compositor setup or
retirement error. The status reports it as `why` whenever it renders
on the CPU (or that the project's renderer is Software Only). --gpu
failures include the adapter's error (Gpu::try_headless).
docs/agents.md documents `mcp --gpu`.
Test: render_backend_says_why_it_renders_on_the_cpu (engine).
Checked with effectcraft-cli mcp and mcp --gpu.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A dockable panel (our own design) for the keys.easePreset commands. A
value graph shows the working curve with its two handles, which drag
to edit it; Apply eases the selected keyframes with it and From Keys
loads the curve between the first selected pair. Every preset is a
thumbnail drawn in code; a click loads it and applies it to the
selected keys. Save Current keeps the working curve under the name in
the field, and Rename and Delete act on the selected user preset.
Wide panels put the presets beside the graph; narrow ones below it,
the graph shrinking to leave a row of presets, scrolled with the wheel.
The panel state (working curve, selection, name) is serde in the UI
state, and every control registers an automation id (easePresets.*).
widgets::text_field is the search field without its magnifier.
Test: clicking_an_ease_preset_eases_the_selected_keys_and_handles_edit_the_curve
(ui_keyframes); every_panel_registers_automation_ids_for_its_widgets
covers the new panel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Scaling a layer by a bounding-box handle didn't snap, so it couldn't
be scaled exactly to the comp. With snapping on (Cmd/Ctrl toggles it
during the drag), the dragged handle now snaps like a dragged layer's
feature: to the comp's edges, corners and centre and to other layers'
edges, corners, centres and anchor points, as the Snapping options
allow. A corner snaps both axes, an edge its own axis; with Shift the
corner slides along its line from the anchor point to the nearer
snapped edge, so the proportions stay and the layer lands on, say, the
comp's size.
Test: handle_drags_snap_to_the_comp_edges.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shift-dragging the work area's begin or end handle now snaps it to the
current-time indicator, keyframes, layer in and out points and markers
within 8 px, with the snap candidates the CTI and keyframe drags use.
The work area bar itself drags too, as in After Effects: it moves the
work area and keeps its length, and with Shift the nearer end snaps.
Test: shift_dragging_the_work_area_snaps_to_the_current_time.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dragging a layer already snapped its feature nearest the pointer to
other layers' edges, corners, centres, anchor points and path points
and to the comp's edges and centre, and Cmd/Ctrl held during the drag
already turned snapping on or off against the checkbox. What was
missing were After Effects' Snapping options beside the Tools bar's
checkbox. The new menu turns Snap Edges Extended off (a layer's edges
then snap only along the layer, not across the comp) and each feature
family (edges, corners, centres, anchor points, mask and shape path
points) on or off, for the dragged layer's snap features and for the
targets alike. Agents set them with view.snappingOptions.
Layers whose eye is off (or that a solo hides) are no longer snap
targets, mask and shape path points of the dragged layer snap too, and
while snapping is on the feature that snaps is boxed during the drag.
Test: layer_drag_snaps_to_other_layers_edges_ctrl_toggles_and_options_apply
(UI), snapping_options_pick_the_targets and
snapping_options_command_sets_and_toggles (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Clicking (or marquee-selecting) keyframes in the Timeline selected only
the keys. Their property and layer stayed unselected, so the Graph
Editor, which shows the selected properties or else the animated
properties of the selected layers, came up empty until the property
was selected separately. As in After Effects, the Timeline's key
selection now selects the keys' properties and layers too (Shift adds
to them). keys.select takes this as `selectProperties`; the Graph
Editor's own key clicks leave what it shows alone.
Test: a_key_clicked_in_the_timeline_shows_in_the_graph_editor
(ui_keyframes).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The logger kept warnings in memory and wrote to a file only after Help
▸ Enable Logging, and it ignored RUST_LOG. An app that never opens its
window (macOS 27 on Apple Silicon, #234) therefore left no trace. Now
RUST_LOG (a level, or env_logger-style `target=level` directives)
also prints what it lets through to stderr, including eframe, winit
and wgpu. The desktop app logs its start-up milestones: opening the
window, the graphics adapter, the app created, the first frame drawn,
the window being asked to close, and the window closed.
Test: rust_log_filters_by_level_and_target (engine logging). Checked
by running the app with RUST_LOG=info and quitting it over the control
channel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Tools bar had Fill and Stroke swatches and a Stroke Width, kept in
the interface only, so agents couldn't set them and new shapes could
only be a solid fill with a solid stroke. As in After Effects:
- With a shape layer selected and a shape tool or the Pen active, Tool
Creates Shape / Tool Creates Mask choose whether drawing adds shapes
to the layer or masks on it (Fill and Stroke hide while drawing
masks).
- Clicking the word "Fill" or "Stroke" opens Fill Options / Stroke
Options: None, Solid Color, Linear Gradient or Radial Gradient, the
blend mode and the opacity. The swatches show the kind; Alt-click
steps through the kinds.
- New shapes and Pen paths are painted with them: a Gradient Fill or
Gradient Stroke across the shape for the gradient kinds.
The options are engine state (EditorState.shape_tool) set with the new
shape.toolOptions command; shape.newShape and shape.newPath use them
unless given paint parameters (which now include fillType, fillBlend,
fillOpacity and their stroke twins; layer.newShape takes them too). A
Pen path without paint parameters now takes the Tools bar's stroke
(none by default) instead of a fixed 2 px white one. layer.addMask also
draws rounded rectangle, polygon and star masks, so every shape tool
makes a mask on a selected footage or solid layer (rounded rectangles,
polygons and stars made a new shape layer).
Test: shape_tool_options_paint_new_shapes,
masks_of_every_shape_tool_kind,
tool_creates_mask_draws_a_mask_on_the_selected_shape_layer,
fill_options_paint_the_next_shape.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Edit > Duplicate (Ctrl+D) with a shape group or other shape item
selected in the Timeline duplicated the whole shape layer. As in After
Effects it now duplicates the selected items inside their group, each
copy above its original and numbered on ("Rectangle 1" gives
"Rectangle 2"), and selects the copies. With only layers selected the
layers are duplicated as before.
Test: duplicate_with_shape_items_selected_duplicates_them_in_place,
ctrl_d_duplicates_the_selected_shape_group_in_its_layer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Edit > Copy with a shape group (or a path, fill, stroke or path
operation) selected in a shape layer's Contents copied the whole layer,
and Paste made a new layer. As in After Effects, Copy now copies the
selected items, Paste puts them into each selected shape layer's
Contents (above its selected item, in that item's group, else on top,
with names kept unique there: "Rectangle 2"), and Cut removes them, so
Cut + Paste moves them. Pasting with no shape layer selected is an
error rather than a new layer. Copying anything else clears the shape
item clipboard, as it does the other clipboards.
Test: shape_contents_copy_cut_and_paste_between_shape_layers,
ctrl_c_and_ctrl_v_copy_a_shape_group_into_another_shape_layer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With a shape layer selected, the Rectangle, Rounded Rectangle, Ellipse,
Polygon and Star tools made a new shape layer for every shape. After
Effects draws into the selected shape layer instead: the shape becomes a
new group on top of its Contents ("Rectangle 2", ...), placed by the
group's Transform. The new shape.newShape command does that (in the
layer's space, so a moved or scaled layer still gets the shape where it
was drawn), and makes a new shape layer only when no unlocked shape
layer is selected. The viewer's shape tools use it; masks on other
selected layers are unchanged. layer.newShape and the Pen's
shape.newPath share its layer and Contents helpers.
Test: shape_tools_draw_into_the_selected_shape_layer,
shape_tool_draws_into_the_selected_shape_layer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Each layer switch toggled on its own click only, so hiding or locking
many layers took a click per layer. As in After Effects, pressing a
switch in the A/V Features or Switches column now sets it at once, and
dragging up or down gives the same switch of every layer the pointer
passes the state the first one got, whatever their own state was
(rows passed in a quick drag included). The whole drag is one undo
step: layer.setSwitch takes a `merge` key like other gesture edits.
A single click still changes only that layer, so clicking the eye of
one selected layer doesn't change the others (Layer > Switches still
sets all selected layers).
Test: dragging_over_layer_switches_sets_them_all.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dragging Project items onto the Create a new Composition button at the
bottom of the Project panel did nothing. As in After Effects, the
button now takes the drop and runs File > New Comp from Selection with
the dragged items (the selection when the dragged item is in it): one
item becomes a comp of its size, frame rate and duration holding it,
and several open the New Composition from Selection dialog. The button
is outlined while items are dragged over it.
Test: project_items_dropped_on_new_comp_make_a_composition.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Right-clicking the Effect Controls panel did nothing outside an
effect's header. As in After Effects, a right-click anywhere a control
has no menu of its own (the empty area, property names, buttons such
as Reset) now opens the Effect menu: Effect Controls, Last Effect,
Remove All, Manage Effects and every effect category, applying the
chosen effect to the selected layers. It is the menu bar's own Effect
menu tree and drawing code; an effect header keeps its own menu.
Test: right_click_in_effect_controls_shows_the_effect_menu.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Spacebar started or stopped the preview on its press, so holding it to
pan the Composition panel (Space+drag already panned there) also
toggled playback. As in After Effects, plain Spacebar now runs its
shortcut when it is released, and only if no mouse button went down
while it was held and the press didn't go to a text field; key
auto-repeat toggles nothing more. Shift+Spacebar and the numpad
preview shortcuts still run on the press.
Holding Spacebar over the Timeline's ruler and time graph is the Hand
tool there too: dragging scrolls the time graph (when zoomed in, never
before the comp's start or past its end) instead of moving bars, keys
or markers.
Test: spacebar_taps_preview_and_held_spacebar_pans_the_viewer,
spacebar_drag_scrolls_the_time_graph.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
