An EXR's display window sizes a plane per channel, so 60000² over a 1×1 data window
was a multi-gigabyte allocation per channel; past 16384² (the vector footage limit)
the file is refused. An audio header's sample rate scales the samples read, so
0xFFFFFFFF Hz made one conform chunk about 47 GB; rates outside 1–768 kHz are an
error, and the audio reads as silence as for any unreadable source.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A project can name /dev/zero, a FIFO or a folder as footage; reading those whole
never ended (or ran out of memory). The media layer's whole-file reads (probe,
pool, model side files) and the engine's FsServices::read_file now open the file,
refuse a non-regular one, and reserve its length fallibly, so a sparse file that
claims more than memory is an error too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An SVG or PDF declaring up to 30000×30000 was drawn into one 14 GB image whose failed
allocation aborted the app. Decoding now refuses sizes past what Continuously Rasterize
draws (16384 a side, shared as MAX_VECTOR_SIDE) with an error naming the size.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Gesture::Vertices took the raw drag delta; it now goes through one_axis, as a
Shift-dragged layer's move does, before snapping.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
file.import without the flag (scripts, agents, files opened from the command line,
the CLI's templates) turned `lockin_line1.png` into a one-frame image sequence.
ImportOptions.sequence defaults to false in After Effects, so picked and dropped files
now import as stills unless `sequence: true`; folders' numbered runs still import as
sequences, and the Import dialog's Sequence checkbox is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Timeline's comp tabs had a × on the shown comp only, so closing another
comp meant showing it first. A comp tab the Timeline does not show now shows
its × while the pointer is over it, and clicking it closes that comp without
showing it. Every comp tab keeps the ×'s room, so a tab keeps its width when
it is shown or hovered. Automation: `panel.tab.Timeline.<comp>.close` for
each comp's ×; `panel.tab.Timeline.close` stays for the shown comp's.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Composition and Layer viewers took every scroll as a zoom, so a trackpad
could not pan. A trackpad's two-finger scroll now pans; a pinch,
Ctrl/Cmd+scroll, a mouse wheel and Alt + a trackpad scroll zoom around the
pointer.
Where the platform names the device (egui's MouseWheelSource, macOS), that
decides. Elsewhere browsers and some high-resolution wheels report a mouse
wheel in points, as a trackpad does, so the unit alone doesn't decide. A
scroll in points pans only once it has shown it is a trackpad: a touch phase,
movement on both axes at once, or a pinch. That holds until a wheel scrolls
in lines. Until then the vertical part zooms and the horizontal part pans.
ui.scroll gains unit (point|line), source (wheel|trackpad) and pinch so
agents can drive both gestures.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The button row followed each tab's content, so it jumped when switching
between Basic, Advanced and 3D Renderer. The tabs not on show are laid out
unseen each frame and the dialog pads to the tallest, so Cancel and OK stay
put with any font, language or scale.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The viewer lock in a tab group's header drew the same closed padlock in
both states, told apart only by brightness. Unlocked now draws an open
padlock, locked the closed one.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The fill holds every frame as float RGBA, its hole mask and the filled copy until it
finishes, so a long or large range ran out of memory partway through (22-33 % on the
reports). Planning the fill now compares that lower bound with the system's available
memory and refuses with what it needs and how to shorten the range.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>