On an adjustment layer Motion Tile kept the comp-sized buffer whatever the
Output Width / Height, and the adjustment draw dropped any stack result whose
size differed from the canvas. After Effects grows (or crops) the comp
rectangle there as on any layer, so a Transform after it brings the extra
tiles into view, as in the frames attached to #1727 and #1409.
- motion_tile_frame: one output frame for the CPU and GPU effect; on an
adjustment it grows about the comp rectangle on whole pixels, keeps the
buffer at 100 % and past 16 384 pixels a side.
- adjustment_crop: the CPU and GPU adjustment draws put a stack result whose
frame changed back onto the canvas instead of dropping it (Enc::crop on
the GPU).
Tests: the #1727 After Effects frames (910 x 340 % and 90 x 340 % then
Scale 12 %), tiles past the frame and cropping on CPU, GPU vs CPU for
adjustment and full-frame layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Found while testing crates/keyframe/src/value.rs:79-95 (ShapePath::feather_after_remove, called from crates/engine/src/commands/mask.rs:330)
Co-Authored-By: Claude Haiku 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Adds .coderabbit.yaml so CodeRabbit no longer reviews or comments on PRs opened by dependabot[bot].
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A 2-D point property took any array: `[1, 2, 3]` and `[1, 2, 3, 4]` were cut to `[1, 2]` and
`[1]` was broadcast to `[1, 1]`, each reported as success, so a script holding a wrong value
silently did something else instead of failing. After Effects raises "Array is not of the
correct dimension" and leaves the property unchanged.
The length must now match the property's dimension, with the one exception After Effects also
makes: two values for a 3-D property, where z stays 0, so `position.setValue([x, y])` keeps
working.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
Review: styled() kept the buffers it rendered instead of the ones LayerCache::insert returned, so
without a blending-space conversion concurrent misses still returned separate body and pass
buffers (and the GPU uploaded each).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Alt/Option-drag a Project item onto a Timeline layer, or press Ctrl+Alt+/ (Cmd+Opt+/) with layers and an item selected, to swap the layer's source. The layer keeps its name, timing, transforms, keyframes, expressions, effects, masks, switches, parenting and track matte; a source with audio adds Audio properties when missing. Precompositions can't be nested inside themselves.
AVLayer.replaceSource now runs the same engine command and closes the replaceSource part of #813.
Preview workers that start together miss the layer cache together, and each kept its own copy
of every layer; on the GPU each copy was uploaded and packed into its own Classic 3D atlas, which
ran the device out of memory on a cold start. LayerCache::insert now keeps the first buffer of a
key and returns it, and the renderer goes on with the returned buffer, so the workers share one.
Renders don't wait for each other: on the shared frame pool a blocking wait could end up beneath
the work it waits for (tried, it stalled playback for the wait's timeout).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Looking up to the whole RAM preview for uncached frames let the workers spread over the preview
while the playhead waited. On the GPU each worker then built a Classic 3D atlas for its own set
of layers, and on a cold start of the #1812 project the device ran out of memory far more often
(first pass 1-56 % of real time instead of 63-81 %). The window now keeps its old width but
starts at the first frame ahead that isn't cached, so a loop or a restart still renders on at
once.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review: two footage items of one file with different nominal sizes could share a sized entry,
though one is resampled and the other kept as decoded.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review: mask motion blur draws an animated mask at the shutter's other times, but the layer key
hashed its value at this time only. Two frames with the same mask value (a hold before a move)
shared a cached layer, with the wrong blur. This applied to solids, text and shapes already, and
to stills since this PR.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Review: still_at_size returned a smart object's pixels unresampled when they differed from the
footage's nominal size. It now follows footage_buf: pixels larger than nominal are resampled to
the requested size, smaller ones are left for the renderer to scale up.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Index-units test now opens the Units popup in the Timeline and picks
Index, asserts the stored Units value, then reads the painted Start, End
and Offset, so it also fails when the Units control doesn't update the
session.
Review: frame_at_size at a still's native size made a second cache key, so the pool decoded
and kept a second full-size copy of a frame thumbnail() or frame() already had.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The playback prefetch only looked ahead*3 frames (96 with 16 workers) for uncached frames.
After a loop or a restart from the start those were all cached, so the workers stood idle until
the playhead came within that window of the end of the cached run, then the preview stalled.
A playing preview now looks as far ahead as the RAM preview holds (and the range spans) for
the next uncached frames, still queuing at most ahead at a time; eviction already spares the
frames the playhead reaches first (#595).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Footage layers had no layer cache key, so a still made a new layer buffer every frame on every
preview worker, and the GPU compositor uploaded it again each time (its upload cache is keyed
by buffer). Stills (without a proxy) are now keyed like text and shape layers, without the
source time; movies and sequences are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The media pool honoured the requested size only for movies; stills came back
at full size and the renderer resampled them on every frame. A 21120 px wide
plate at Quarter was re-filtered each frame, and four of them (1.85 GB as f32)
did not fit the 1 GiB pool, so they were also decoded again and again.
Stills are now resampled once with effectcraft_raster::resample (the same
call the renderer made, so pixels are unchanged) and the pool keeps the
reduced copy under the sized key.
#1812 project at Quarter, CLI bench: 410 ms -> 33 ms a frame (26 ms with the
layer cache); desktop playback 2% -> 60-99% of real time.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
xtask bench passed the whole layers scenario on one command line, longer
than Windows' 32 767-character limit (os error 206), so no scenario past
demo ran. effectcraft-cli run takes --args-file F (one argument per line)
and bench writes its commands there.
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>
Menus 628 rows (every menu catalog), panels 886 (695 shared with the Chinese
catalogs plus 191 Georgian-only), effect names 307 + 21 categories; gaps.md
and localization-parity.md now agree.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01YMTAbGNRxnMEzRvYnQGphF
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>
The panel catalog's \"Type\" is the kind (Camera Settings, the Project column), so
the Type page drew as \"kind\" in Chinese; its title now comes from the
app.settings menu row (文字), as the Settings submenu draws it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01YMTAbGNRxnMEzRvYnQGphF
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>
Start, End and Offset are read as painted in the Timeline: with % under
Units = Percentage, without it under Units = Index. Fails on the old
suffix rule ("0.0%").
With Units set to Index the selector already counts characters (words,
lines), but the timeline kept showing Start, End and Offset as
percentages ("3.0%"), so switching looked like it did nothing. They are
now shown without the % sign while Units is Index
(render::text::in_index_units).
layer.setSwitch with no value toggles relative to the first selected layer in
composition order, so with a mixed selection (A checked, C unchecked) clicking
C's box could leave C unchanged. The checkbox now sends the value it toggles
to, as the switches do.
The Timeline draws the Video switch (the eye) on every layer's row, nulls,
cameras and lights included, but set_switch_others and hide_other_video
skipped cameras and lights: Alt-clicking the eye of a selected layer neither
set them apart with the selection nor hid them with the rest.
Both now use the rule the eye cell shows: every layer but track mattes.
