kernels.wgsl repeats Glow's bright-pass gain 8.0 and knee 0.0611 as literals; they now
name effects::GLOW_GAIN / GLOW_KNEE (exported) and the test
glow_constants_match_the_cpu (no GPU needed) fails if they drift. docs/effects-parity.md:
the summary row no longer says no effect is compared with After Effects while the
Blur & Sharpen row reports Radial Blur's comparison (CodeRabbit on #1873), and the
Radial Blur changelog row says CPU only (it has no GPU path).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
WGSL cannot read Rust constants, so the Rec. 601 luma (Tint, Tritone, Luma Key /
Extract), Black & White's tint weights and Exposure's 2.2 power stay literals in the
kernels; they now name their Rust source (effects::LUMA_601, BW_TINT_LUMA,
EXPOSURE_LINEAR_GAMMA, newly exported) and the test shader_constants_match_the_cpu
(no GPU needed) fails if a literal drifts. gpu_tint_defaults_match_after_effects_greys
says "skipped: no GPU adapter" when it skips (EFFECTCRAFT_REQUIRE_GPU=1 still makes it
fail). docs/effects-parity.md: Brightness & Contrast is close to, not the same as,
After Effects (up to 6.2/255), and the summary row lists what is measured.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Curves effect interpolates its points with a natural cubic
spline (zero curvature at the ends), clamped to 0..1: AE 2026 renders of an
RGB curve (0,0) (125,199) (255,255) and a Red curve (0,0) (128,44)
(255,255) (cases 962 / 963, ROUND4) give exactly the natural spline's values
on every grey step (0, 30, 59, 115, 164, 202, 227, 242, 250, 255 and 0, 0, 1,
6, 19, 44, 83, 135, 194, 255). EffectCraft used a monotone (Fritsch-Carlson)
spline: 34 / 67 / 125 / 171 ... on the RGB curve, up to 10/255 off (ROUND4
measured up to 6 levels on real projects); now within 1/255, CPU and GPU (the
same Hermite tables carry the spline's knot slopes). Lumetri's curves and
Glow's Arbitrary Map keep the monotone spline (not measured).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects draws the Transform effect as position + K * R * S * (p - anchor)
with the skew K = rot(-axis) * shearY(tan skew) * rot(axis) applied after the
rotation, and keeps what lands outside the layer's bounds. EffectCraft skewed
before rotating (shearX about the axis) and clipped to the layer.
Measured in AE 2026 on a grey 960x540 solid (cases 723, 819, 820): 723 (anchor,
position, scale 120/80, skew 10 axis 20, rotation 30, opacity 70) differed in
11.25 % of the frame and now in 0.065 % (edges, max 16/255), CPU and GPU alike;
819 / 820 (skew 15 axis 60, rotation -25, scale 130/70, anchor) match to the
edge. The buffer grows on each side by that side's overshoot (also for the
motion-blur samples), capped at 16 384 px a side and 16 Mpx in all so a layer
moved far away costs a bounded allocation (regression test); adjustment layers
keep their size.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 draws Fractal Noise's Block noise at Scale 100 and
Complexity 1 in cells of 66.67 px (the value changes every 66.67 px along a
row), not 100 px; Soft Linear noise has the matching correlation length.
EffectCraft's lattice is now Scale x 2/3 px (NOISE_CELL), CPU and GPU. Case
904 E03 (Soft Linear, Complexity 4, Scale 100): the noise's autocorrelation
at 32 px was 0.68 (AE 0.41), now 0.54; pixel values cannot match (other
seeds). Still open: AE's noise spreads about 20 % wider around its mean (std
48 vs 40/255 in E03). Existing projects and the Backgrounds presets with
Fractal Noise get finer noise (two thirds of the former cell size).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects feathers both edges of the wiped wedge (the start ray too) with
a Gaussian whose width is constant in pixels: Completion 40, Start Angle 30,
Counterclockwise, Feather 20 (AE 2026, case 904 E12) fits sigma = 0.4 x
Feather = 8.0 px at every radius (mean alpha error 0.0002 over the frame).
EffectCraft ramped only the moving edge, linearly over Feather degrees, so
the edge was 14 px wide near the centre and 140 px wide at 400 px out, and
the start edge was hard: 378 of 5184 grid points off (max 111/255, 6.6 % of
pixels > 8), now 1 (max 3), 0.009 % of pixels > 8 (near the centre). CPU and
GPU (the kernel now measures distances to the two rays). 0 % and 100 % are
unchanged, so the three Transitions presets keep their end frames; their
Feather (6 / 10) now means pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects measures the blinds' phase from the layer's centre and softens
both edges of the transparent band with a Gaussian of sigma = Feather / 2; the
band runs from the origin's phase to Completion x Width. EffectCraft measured
from the buffer corner and ramped only one edge linearly over Feather (a hard
edge on the other side). Fitted to AE 2026 renders of Completion 40,
Direction 30, Width 50, Feather 5 on a 960 x 540 and a 480 x 270 layer (the
origin is the centre + 0.6 px): case 715 was 499 of 5184 grid points off
(max 91/255, 7.1 % of pixels > 8), now 28 (0.056 %), all within ~6 px of the
layer edge where AE differs (up to 48/255, not modelled); away from it within
6/255 (test: one AE row of the 480 x 270 render). CPU and GPU (new erf-based
kernel, same term count). Completion 0 / 100 are unchanged, so the
Transitions presets keep their start and end frames.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Radial Blur keeps a layer's edges: Zoom 20 on a flat grey 960x540
solid over red (case 713) stays flat and opaque to its edge, and a zoomed
full-frame ramp (case 829) keeps the frame opaque (2/255 at x = 2, 253/255 at
x = 1917 on row 540). EffectCraft sampled transparency outside the layer, so its
edges faded and the red below showed through (713: 3.9 % of the frame off, max
64/255). Now 713 is identical to AE (max 0/255), CPU and GPU. CC Radial Blur
(already matching AE) is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Glow Colors = Original Colors, After Effects thresholds each channel of
the straight colour separately and the glow is 8 x (value - threshold +
0.061) per channel (times Intensity), nothing below: fitted to AE 2026
renders of grey 0.65 / 0.8 / 0.9 / 1, orange (1, 0.5, 0) and (0.2, 0.6, 1)
solids at Threshold 40 / 60 / 80 % and Radius 10 / 30 (36 channel values,
exact to the 8-bit capture; an orange solid glows red only). EffectCraft
scaled the colour by a luminance threshold (k = (L - thr) / (1 - thr)), about
3.7 x too dim on white. Cases 806 / 810 / 811 (32 bpc): outside the layer
now within 3/255 of AE (806 white at Intensity 1: 119 = AE, was 32); grid
0 points off for 806-810. The glow's alpha (the blurred layer alpha) and the
Arbitrary Map / A & B colours and alpha-based glows are unchanged.
Stacked on fix-glow-halo (same lines). Not changed: Composite Original's
semantics are swapped against AE's names (EffectCraft's "On Top" adds the
glow over the original, which AE calls "Behind"; AE's "On Top" keeps the
original over the glow), so imported AE Glows at the default Behind show
no glow inside the layer (811 interior 204 vs AE 255).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Glow Based On Color Channels, After Effects gives the glow the layer's whole
alpha (blurred), not the thresholded part, and Intensity scales only its colour:
a layer below the threshold darkens what lies under its edge. Fitted to AE 2026
renders of a grey solid over red (cases 524, 807-809): the halo is the same at
Intensity 1 and 3 and with Composite Original Behind or On Top, and its edge is
an erfc step of sigma = 0.384 x Glow Radius at radius 10 and 30 (was radius / 2).
524 (Glow defaults on a 50 % grey solid): EffectCraft had no halo (max 116/255
off at the edge); now red 248/234/208/165/140 at 7.5/5.5/3.5/1.5/0.5 px outside
vs AE 249/235/206/164/140, max 2/255 over the frame, CPU and GPU. The blur
width applies to every glow; alpha-based glows keep their coverage rule
(thresholded alpha, scaled by Intensity). Not matched yet: the brightness of glows above the
threshold (AE about 3.7 x brighter for a white solid, cases 806, 810, 811).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Without a Fill Mask, After Effects turns the layer into the fill colour and
applies Opacity to its alpha; nothing of the original shows through. AE 2026
renders Fill (0, 0.5, 1) at Opacity 50 % on a Gradient Ramp over a red solid
as premultiplied (0, 0.251, 0.502) at alpha 0.502 at every pixel; EffectCraft
mixed the fill with the ramp (mean difference 95.5/255), now within 1/255,
CPU and GPU. Invert fills the transparent part the same way. With a Fill
Mask the mix with the original is unchanged (not measured). Lottie's fill
effect (colour, alpha x opacity) now plays the same in EffectCraft.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects weighs each of the four points by its inverse squared
distance softened by Blend squared, 1 / (d^2 + Blend^2) in pixels: fitted to
AE 2026 renders of the default gradient at Blend 10, 100 and 300 and case
904 E16 at Blend 50 (power 2.00 at every Blend, softening 0 / 2367 / 9817 /
90127 = about Blend^2; mean error 0.27/255, max 0.9). EffectCraft used
1 / (d^2 / (100 Blend))^1.5, in which Blend cancels out: E16 was 34/255 off
on 99 % of the grid, now 0 grid points off, max 1/255, CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 keys Luma Key and Extract (Channel Luminance) on Rec. 601
weights of the working-space values: Key Out Darker / Extract Black Point at
65, 166 and 24 on pure red, green and blue keep red (601: 76, 709: 54) and
blue (29 / 18) and key out green (150 / 182) - Rec. 709, which EffectCraft
used, decides all three the other way. Case 904 E18 (Extract 30 / 220 /
softness 10 on grey and colour steps): 513 of 5184 grid points off (pure blue
kept at 231 in AE, keyed out in EC), now 0, max 0. CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Luma Key removes everything darker (or brighter) than Threshold
and ignores Tolerance for those two key types; Tolerance only sets the band of
Key Out Similar / Dissimilar. EffectCraft ramped the matte over Tolerance, so
case 719 (a 50 % grey, Key Out Darker, Threshold 140, Tolerance 20) kept about
80 % of the layer where AE keys it out completely.
Measured in AE 2026 on a vertical grey ramp (cases 812-814): Darker keys up to
level 139.9 and keeps 140.1 (EffectCraft now the same row); Similar keys levels
120.3-160.0; with Edge Thin 1 / Edge Feather 2.5 the matte rises over rows
591-596 (EffectCraft within 0.2 of AE's alpha there). CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In After Effects 2026 the non-legacy curve of Brightness -40 is the inverse
of Brightness +40 (within 2.6/255 on a full black-to-white ramp) and Contrast
-50 the inverse of Contrast +50. EffectCraft fitted the negative brightness
with its own power (2^(1.32 |b|) on v), 20/255 off AE at -40; the negatives
now use the reciprocal exponents of the positive curves: Brightness -40 max
6.2/255 (was 19.8), Contrast -50 4.1 (was 7.0); positives unchanged (40:
5.5, 80: 7.8, Contrast 50: 2.7, 90: 5.0; B20 C30: 6.6, which confirms
brightness before contrast). The #681 oracle samples still pass. CPU and GPU.
The positive curves' remaining 5-8/255 needs a better curve family (a
two-point spline fits each capture within 1.6/255), left open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 in a 32 bpc project, Levels (Individual Controls) with RGB
(0.1, 0.9, gamma 1.5, 0.05, 0.95), Red Gamma 0.8, Green Input White 0.8 and
Blue Output Black 0.2 on grey steps 0..255 (case 904 E07): every step matches
"each channel's controls, then the RGB controls" with nothing clipped
(values below Input Black end below Output Black, above Input White above
Output White). EffectCraft ran RGB first and clipped "Off for 32 bpc Color"
(it could not see the bit depth): up to 27/255 off on 95 % of the grid; now
0 grid points off, max 1/255, CPU and GPU.
EffectEnv gains float_depth (the renderer sets it for 32 bpc projects), so
"Off for 32 bpc Color" clips in 8 / 16 bpc projects as before. Unclipped
values below 0 take the gamma mirrored through 0. Plain Levels keeps its
order (its channel controls were not measured); its clipping follows the same
rule. EffectCraft's own projects default to 8 bpc and are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
All twelve sliders (Master, Red, Green, Blue) take After Effects'
ranges: Exposure valid -100..100, slider -4..4, 2 decimals (was -20..20,
slider -5..5); Offset -2..2, slider -0.5..0.5, 4 decimals (unchanged);
Gamma Correction valid and slider 0.1..10, 2 decimals (was 0.01..9.99,
slider 0.1..3).
Every value inside the old Exposure and Offset ranges stays valid. Saved
values are not clamped on load, so a gamma below 0.1 from an older
project or a Photoshop import (0.01..9.99) is kept and still renders
(the renderer's 0.01 floor is unchanged); only new edits clamp to 0.1.
Test of the ranges and of an old gamma surviving the load refresh.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Bypass Linear Light Conversion off, Exposure decoded and re-encoded
with the piecewise sRGB curve. After Effects 2026 renders (sRGB working
space, 32 bpc) of Offset 0.0005 / 0.002 / 0.02 / 0.1 on black measure
8 / 15 / 43 / 90, which a pure 2.2 power predicts (8.06 / 15.13 / 43.08 /
89.54) and the sRGB curve does not (1.65 / 6.59 / 38.68 / 89.04).
The effect now uses its own 2.2 power curve on the CPU and in the GPU
kernel; the shared colour functions and other effects are unchanged. As
before, the conversion applies whatever the working space, also a
linearised one. Negative values go through both curves mirrored (input
was clamped at 0 before), so defaults are an identity for 32-bpc values
and a negative Offset darkens past black without NaN.
New test against the AE values; existing Exposure tests still hold.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects tints Black & White's gray like a Color blend: the tint colour's
hue and saturation at the gray's luminosity (weights 0.3 / 0.59 / 0.11, channels
outside 0..1 pulled back toward the gray). EffectCraft used the gray as HSL
lightness. Measured in AE 2026, Tint Color [1, 0.5, 0]: a red solid at Reds 10
(case 717) AE (43, 21, 0), EffectCraft was (51, 26, 0), now (43, 21, 0); a
yellow solid at the default sliders (gray 0.6, case 825) AE (255, 129, 2), now
(255, 129, 3); white stays white. The six sliders already matched AE on eight
colours (cases 816, 817). CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Tritone weighs the working-space values with Rec. 601 (0.299,
0.587, 0.114), as its Tint does; EffectCraft used Rec. 709. Case 718 (red solid,
Highlights [1,1,0.8], Midtones [0.6,0.2,0.2], Shadows [0,0,0.3], Blend 25):
AE (132, 23, 46), EffectCraft was (113, 16, 49), now (132, 23, 46). On a grey
ramp (case 815) the shadows / midtones / highlights mapping already matched and
still does within 1/255. CPU and GPU (fx_color op 4).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 (sRGB working space, not linearised) maps red, green,
blue and 50% grey solids at Tint's defaults to 76, 150, 29 and 128/255:
Rec. 601 weights on the working-space values, not Rec. 709. CPU and GPU
kernel changed; tests pin the four greys within 1/255.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the built-in animation preset library had no Backgrounds category
(gap 7: 31 presets against After Effects' 621).
Fix: 23 original Backgrounds presets in crates/engine/presets/backgrounds.json,
built from our own generator, noise, colour and stylize effects: Soft Gradient
Drift, Aurora Veil, Slow Fog, Cloud Bank, Dark Smoke, Ember Haze, Magma Flow,
Ice Flow, Pastel Plasma, Cell Drift, Crystal Facets, Hex Mosaic, Mirrored Silk,
Water Caustics, Blueprint Grid, Checker Scroll, Scrolling Stripes, Pulse Rings,
Bokeh Drift, Spotlight Floor, Dawn Sky, Sweeping Light, Grainy Wash.
The preset format gains `expr` (an expression per property, so backgrounds keep
moving for the whole layer) and point parameters written as fractions of the
layer size. Effects & Presets lists them under * Animation Presets > Backgrounds.
Tests: catalogue uniqueness and categories, apply/undo/redo of every preset
(engine), render of every preset with the expression engine: finite,
non-flat, deterministic, moving (host), panel listing and apply (ui-egui).
Sidecar, ATTRIBUTION.md, gaps.md row 7 and effects-parity.md updated.
Co-Authored-By: Claude Sonnet 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>
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>
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
