A text layer's name followed its Source Text whenever the name started with "Text", so a user's
"Text Title" was replaced by the next text edit. The layer now records whether its name follows
the text (`name_follows_text`, optional in the project file). A new text layer named after its
text follows it; a name given at creation or by Rename (Enter, layer.rename, a script's
layer.name, Layer Settings' name) is the user's and stays; renaming to an empty name shows the
text again and follows it; committing the unchanged name changes nothing; copies keep the state.
On-canvas typing and layer.setText share the rule. The name is the text's first paragraph, which
ends at a line feed or a bare carriage return (After Effects' paragraph break).
Projects saved without the state keep the old rule for the names that followed: a name that is
empty, the text's own, or "Text"/"Text 2"... follows; any other name stays. AEP import records a
stored layer name as the user's and no name as following, and names an empty text layer without
a name "Text" instead of "Layer"; export writes no name for a following layer and keeps the name
the user gave, even when it equals the text.
Fixes#3233
* Layer: Un-precompose a selected pre-comp layer back into its parent composition (#2918)
layer.unprecompose copies the nested composition's layers into the parent at the pre-comp
layer's place with timing and position carried over, and refuses what it can't keep exactly.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Un-precompose: refuse a pre-comp layer with Solo or Guide on
A soloed pre-comp layer hides the comp's other layers and a guide layer is
left out of renders; the expanded copies carry neither switch, so the picture
would change. Listed with the other blockers, in the command description and
the agents.md Cookbook entry; the refusal test covers both switches.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Un-precompose: warn instead of refusing, only a locked layer stops it
A locked pre-comp layer is still refused, with or without `force`. Every
other former refusal reason is a warning: without `force`,
`layer.unprecompose` returns an error that lists the reasons and changes
nothing. `dryRun` returns `{dryRun, warnings}`. With `force` the layer is
unpacked in one undo step and the result carries `warnings`. Whatever the
pre-comp layer itself carried is dropped, and other layers' parent, track
matte and layer-property links to it are removed.
Layer > Un-precompose in the UI lists the reasons in a prompt with
Unpack Anyway / Cancel (`dialog.unprecompose.force` /
`dialog.unprecompose.cancel`). A layer without reasons unpacks at once.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Un-precompose: warn about expressions that refer to the pre-comp layer
An expression on another layer of the comp that names the pre-comp layer
would no longer find it once the layer is unpacked. The expression can
name it in quotes or call `layer(<index>)` with its index, bare or on
thisComp; another comp's comp("…").layer(…) is not counted. Each such
property is now listed once as a warning. Like the other warnings,
`force` unpacks and `dryRun` lists it. The expressions are left as
written.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Un-precompose: warn about lost frame sampling and Position expressions, keep markers in order
Review follow-up (CodeRabbit on #3081):
- A nested comp that preserves a frame rate other than the parent's
samples its layers on its own frames, and the expanded copies would
lose that. Motion-blurred nested layers under a different shutter
would also blur with the parent's shutter. Both are now warnings.
- When the pre-comp layer's Position differs from its Anchor Point, the
move is added to the stored Position of the unparented nested layers.
An unparented layer whose Position, or a separated axis, has an
expression may ignore that move, so it is now a warning.
- Copied comp markers are sorted into time order with the comp's own.
- New tests: a 10 fps nested comp with Preserve Frame Rate in a 30 fps
comp, a different shutter, a Position expression with and without a
move, and nested matte and layer-value remapping with shifted markers
merged in order.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Un-precompose: warn when an expression's layer numbers shift; the prompt keeps its target
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Un-precompose: a shorter renumbering warning
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* 3D: Orientation and X/Y/Z Rotation turn Z first, keyed Orientation slerps, as After Effects
After Effects composes a 3D layer's (and a camera's) Orientation and its X/Y/Z
Rotation as Rx * Ry * Rz each, Orientation before the axis rotations; EffectCraft
used Rz * Ry * Rx. Measured on synthetic AE 2026 cases: Orientation [10,20,30]
(488) was 5.2 % of the frame off and now matches to the anti-aliased edge (0.03 %);
X/Y/Z Rotation 10/20/30 (800), Orientation + X Rotation (801) and one-node
cameras (804, 805) likewise.
Keyed Orientation moves along the shortest arc between the keys (quaternion
slerp, eased in time, angles written in [0, 360)): keys [0,0,0] -> [10,20,30]
read back [6.2643, 9.3531, 15.2190] half-way where EffectCraft gave [5,10,15];
[0,0,0] -> [60,80,40] linear and eased match AE's read-backs within 0.002 deg.
lookAt() returns AE's angles (z axis on the target, x axis level; two AE
read-backs within 1e-3 deg). The camera tracker, VR editor, Look At and orbit
commands use the new decomposition.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Keyframes: a linear side next to an eased side has 16.67 % influence, as After Effects
In a segment that is Bezier on one side and linear on the other, the linear
side keeps the segment's average speed, but with the 16.67 % influence After
Effects shows for linear keys in the Keyframe Velocity dialog (and reports to
scripts), not 33.3 %. Measured on an After Effects 2026 time-remap render (a
square at x = 50 + 455 * remap): out of a key at 2 s (3.5, speed 0, influence
50 %) into a linear key at 4 s (0.5), AE plays 3.290 at 2.5 s and 2.657 at
3 s; EffectCraft played 3.308 and 2.629 (8 and 13 px off), now the same
square positions to the pixel.
LINEAR_SIDE_INFLUENCE is used by evaluation (scalar, per-dimension, paths and
spatial), side_ease (Graph Editor, velocity dialog, keyIn/OutTemporalEase) and
the Lottie export, so exported easing plays as EffectCraft does. Segments
linear on both sides stay straight lines.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Timewarp: retime the layer's source without the effects above it, as After Effects
After Effects' Timewarp reads the layer's source (with its masks) at the
retimed times and ignores the effects applied before it: a red solid with a
Gradient Ramp and then Timewarp (Speed 25) renders as the red solid in AE
2026 (EXPORTER e2 read-back). EffectCraft retimed the layer with its
effects (mean difference 127.5/255 over the comp), now identical (0, CPU and
GPU). Echo, Posterize Time and the other time effects keep reading the
effects before them, as measured before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Image sequences: a gap in the numbering holds the previous frame, as After Effects
After Effects 2026 shows the last existing file across a gap in a sequence's
numbering (case 860: files 1, 2, 4, 5 show frame 2 at frame 3; VERIFY
read-back). EffectCraft drew colour bars there. The media pool now holds the
previous file (Footage::sequence_file_held); colour bars remain only where no
file precedes the frame. Missing-frame reports on import are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Review: keyed Orientation uses LINEAR_SIDE_INFLUENCE for linear sides; real NaN assert
evaluate_orientation still gave a linear side (and the unreachable missing-key fallback)
1/3 influence while segment_value, side_ease and the Lottie export use
LINEAR_SIDE_INFLUENCE (1/6), so a keyed Orientation next to an eased key moved on a
different curve than every other property (CodeRabbit on #1876). New test:
orientation_linear_side_next_to_an_eased_side_matches_a_scalar (both directions).
The always-true NaN assert in keyed_orientation_slerps_as_after_effects now checks that
a non-finite key comes back as given; Property::value_at says why the match_id
"orientation" routing is safe.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Format keyframe orientation test (cargo fmt)
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Move the image-sequence gap change out of this branch
The gap change (hold the previous file instead of colour bars) reverses
#297's documented behaviour and goes to its own PR, as requested in review.
pool.rs, sequence.rs, the footage test and docs/footage.md / docs/agents.md
are back to main.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Codex <noreply@openai.com>
Co-authored-by: FredApps <153173854+FredApps@users.noreply.github.com>
* Masks: set the corner roundness of a Rounded Rectangle mask (#3067)
layer.addMask takes a roundness (corner radius in px) for shape rounded, and the new
mask.setRoundness changes it afterwards on a rectangular mask.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* Mask roundness: refuse ellipses, keep feather points and key correspondence
mask.setRoundness accepted any closed path whose vertices lie on its bounding
box, so an ellipse was replaced by a rectangle. It now accepts only a plain
rectangle (four corner vertices, straight sides) or a rounded one (eight
vertices, straight sides alternating with circular corners).
The rebuilt path keeps the old start vertex and direction, and its feather
points, so an animated path's other keys and the feather points still line
up. A change between square and rounded corners changes the vertex count; it
is refused when the path is keyed or has feather points instead of leaving
keys with different counts or dropping the points.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
Unselected layers parented to, or track-matted by, a layer that moved into the
new composition kept ids that no longer exist in the outer comp. The command's
default name was always "Pre-comp 1"; it now picks the lowest unused number.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01RDvxCS8xcR28VArjzn1x7U
A slip on a layer with no source handles succeeded with `delta: 0` and nothing else, which
read like a no-op bug. The result now carries `requested` (seconds) and, per layer, `clamped`
when the source could not move that far.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Alt+] (Trim Layer Out Point to Current Time) used to set the Out edge exactly at the playhead; the layer interval is half-open, so the playhead's frame was already gone - nothing showed in the current frame. The edge now lands one frame after the playhead, as in After Effects, so its frame is the layer's last visible one. A layer still keeps at least one frame; Alt+[ (In point) is unchanged.
Review of the first commit found three places that still asserted the old cleanup: the UI integration
test (which would have failed CI), docs/agents.md, and the comments on TextEdit::created, layer.newText
and the engine test itself.
Co-Authored-By: DeepSeek V4.1 Flash <noreply@deepseek.com>
Carry property, Font and Media Replacement overrides into the collapsed nested EvalCtx so nested layers render beyond the precomp frame instead of falling back to a clipped, flattened image. Key the layer cache on instance overrides to keep distinct collapsed instances isolated.
Conflict in crates/ui-egui/src/panels/viewer_text.rs: main moved the
editor's key handling into key_event(). Took main's version and moved
this branch's Duplicate forwarding arm into key_event(), using its ctx
parameter.
A shape's painted bounds can be tiny enough (a 1e-305 px rectangle) that
the fit scale overflows to infinity. Non-finite bounds are skipped and a
non-finite scale returns an error before anything is written, instead of
storing infinity in the document.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
layer.transform's fit / fitWidth / fitHeight ops took the layer's size
from render::source_size, which returns (0, 0) for layers without a
source item — shapes and text — so the ops matched nothing and silently
did nothing, for the shortcut, the menu item and the command alike.
When the source size is empty and a fit op runs, the size falls back to
the layer's painted content bounds at the current time, and the anchor
goes to the bounds' centre: content bounds live in layer space, where a
shape is centred on the origin and text sits above its baseline, so
(w/2, h/2) would fill the frame but land off-centre. Reset and the
other ops keep the source size, so their defaults are unchanged.
The regression test asserts what the viewer shows — the painted bounds
mapped to comp space span [0, 0, 640, 360] after fit, and fitWidth
spans the width centred vertically — for a rect shape and a text layer.
Co-Authored-By: GLM-5.3-Flash <noreply@z.ai>
Every undoable edit keeps the previous project for undo, so the comp it touches
is shared and Arc::make_mut deep-copies it: every layer and every keyframe. An
edit therefore costs time in proportion to the comp's size, and a script that
sets many keyframes in a big comp goes quadratic (a 1,600-layer build with
~100k sampled keys took ~45 minutes).
Comp::layers is now a Layers collection backed by Vec<Arc<Layer>>: copying the
stack copies pointers, and only the layer an edit changes is copied. The API
mirrors Vec<Layer>; serialized form is unchanged (a list of layers).
Comp::layer_mut and the iter_mut().filter/find call sites use find_mut /
iter_mut_where so they copy only the layers they actually change.
- prop.addKey in a 400-layer comp: 1.36 ms -> 0.16 ms per key (flat in comp size)
- the 1,600-layer script build: ~45 min -> 47 s, frames pixel-identical
- regression tests: an edit leaves the other layers shared with undo; layers
round-trip as a plain list
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01VkpGcKfWyCudfSsQNiWAaG
Opening the editor keeps the keyframe and mask-vertex selection as well as the property one,
and Duplicate cleared only the properties. With the copy selected, Clear then deleted a key or
vertex of the original instead of the copy. During an edit the copies now take the selection the
way a click on them does: layer.select's rule, moved into one helper both use. With no edit
open, Duplicate's selection is unchanged.
vangel76