Cause: the config reader didn't know ColorSpaceTransform or
ExponentWithLinearTransform and passed colours through them silently.
Blender's Linear Rec.709 -> sRGB therefore stayed in its E-white XYZ
reference space (the blue cast) without the sRGB curve. Display
colorspaces, view transforms, v2 views, looks, AllocationTransform,
BuiltinTransform and .spi1d / .spimtx files were missing too, and
nothing told the user.
Fix (from the OCIO v2 documentation and the CLF "moncurve", not OCIO's
source): ExponentWithLinear, ColorSpace, Look, DisplayView, Allocation
and Builtin transforms (identity, ACES AP0/AP1 matrices, ACEScct /
ACEScc, the sRGB / P3 / Rec.1886 / gamma / PQ displays). RangeTransform
now clamps and takes one-sided ranges. Display colorspaces meet the
scene reference through the default view transform. Added v2 views,
view looks, the looks section and .spi1d / .spi3d / .spimtx files. A
conversion is built once as a flat list of steps (Config::path /
display_path) for both the CPU effect and the GPU colour program (new
moncurve and clamp ops and the ACEScc curve; a program over the
kernel's 255 ops renders on the CPU). Named-transform resolution is
limited to 16 levels and 4096 steps, and YAML nesting to 64 levels, so
hostile or looping configs stop. Transforms that are still unsupported
(Grading Primary / Tone, ACES output, HLG…), unreadable configs and
unknown spaces are now reported: a warning under the effect in Effect
Controls, and the new effect.warning query.
Tests: ocio_config::blender_like_config_converts_linear_rec709_to_srgb
(CST, display colorspaces, v1 / v2 views, allocation, looks, builtin,
range, loops), moncurve_matches_srgb_and_inverts, builtin_styles,
yaml_nesting_is_bounded, ocio::spi_files_parse,
tests_effects::ocio_effect_warns_about_unsupported_config_transforms,
gpu tests_fx_lut::ocio_custom_config_v2 (GPU = CPU).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Cause: float footage (OpenEXR, float TIFF) was always sRGB-encoded on
decode, and Interpret Footage could not turn that off, so an OCIO effect
on the layer converted values that were already encoded.
Fix: After Effects' Interpret Footage ▸ Color ▸ Preserve RGB
(Footage::preserve_rgb; file.interpretFootage {"preserveRgb": true}; a
checkbox in the Interpret Footage form; Remember / Apply Interpretation
carry it). The decoder keeps float values linear, and the working-space
conversion from the colour profile and Interpret As Linear Light don't
apply, so the file's values enter the composition unconverted. The media
cache key includes the flag, so both interpretations decode separately.
Tests: pool::preserve_rgb_reads_float_exr_values_unconverted,
tests_color::preserve_rgb_footage_is_not_converted (managed, linearized
and not), tests_proxy::guess_alpha_invert_and_linear_light (command,
render, Apply Interpretation).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Right-clicking a property's name in the Timeline did nothing, so
Position's dimensions could be separated only from the Graph Editor.
As in After Effects, it now opens the property's menu: Reset, Edit
Value…, Separate Dimensions (Position and, once separated, X / Y / Z
Position, checked), Add / Remove Expression and Add Property to
Essential Graphics. Only Position separates, as in After Effects
(Scale stays one property).
`prop.reset` without `default` used to leave the value as it was: it
now gives the property its own default (an effect parameter's, or a
Transform property's, shared with Layer ▸ Transform ▸ Reset), which
also makes the Properties panel's Reset reset the values. `prop.set
{layer, prop}` without `value` opens the value dialog, like
`keys.set`.
Tests: timeline_property_names_have_the_property_menu
(ui_blank_context_menus), reset_gives_a_property_its_default (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dropping the expression pick whip on one of a property's values (the X
of Position) referenced the whole property. As in After Effects, a
drop on one value now picks that dimension: `transform.position[0]`;
a drop on the name still picks the whole property.
`prop.pickWhip` takes `target.dimension`.
The rest of #363 is unchanged: inserting at the cursor landed with
#284, and After Effects' property pick whip in the Parent & Link
column is left for later.
Tests: pick_whip_picks_one_dimension_of_the_target (engine),
the_expression_pick_whip_picks_the_dimension_it_is_dropped_on
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Ease Presets panel (#254) is modelled on a third-party panel, so,
as with third-party tools in After Effects, it isn't core any more: it
is `extensions/scriptui-panels/Ease Presets.jsx`, a ScriptUI panel
bundled as an optional extension (Window ▸ Ease Presets.jsx), written
only against the public scripting API. Clicking a preset eases every
pair of neighbouring selected keyframes in one undo step (per
dimension, along the motion path for spatial properties, the keys'
other sides as they play); the fields edit the working curve, which the
panel draws; From Keys, Save, Rename and Delete as before. The twelve
built-in curves are unchanged.
Scripting API fixes it needed (After Effects parity):
- `app.settings` lasts between runs (`script_settings.json` in the
settings folder; `script.settings.get` / `script.settings.save`).
- Per-key methods (`setTemporalEaseAtKey`, `setInterpolationTypeAtKey`,
`removeKey`, the continuous / auto-Bezier / roving setters) no longer
change the user's key selection (they selected the key they edited).
- `keyInTemporalEase` / `keyOutTemporalEase` report linear and
auto-Bezier sides as they play, `keyIn/OutSpatialTangent` the
tangents the motion path plays.
- `selectedProperties` includes the properties of selected keyframes.
- `isInterpolationTypeValid` is false for Linear / Bezier on values that
only hold.
Removed from core: Window ▸ Ease Presets, the `keys.easePreset.*`
commands, `engine::ease_presets` and the `ease_presets.json` store,
`keyframe::EaseCurve` (nothing else used it) and the egui panel. User
presets saved by the v0.6.0 panel move into the panel's app.settings
section the first time settings load (the old file is left as is).
Docs: plugins.md (bundled extensions), parity.md, gaps.md G8, agents.md.
Test: app_settings_last_between_runs,
per_key_methods_keep_the_key_selection_and_report_eases_as_they_play,
spatial_tangents_are_reported_as_the_path_plays (each fails before),
the_ease_presets_panel_eases_every_selected_pair_in_one_undo_step,
a_typed_curve_scales_to_each_dimension_and_follows_motion_paths,
user_presets_save_rename_delete_and_persist,
presets_saved_by_the_old_core_panel_carry_over (script, through the
panel's controls), ease_presets_panel_eases_the_selected_keys_from_its_list
(UI: the panel docks and a click on a preset eases the keys).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
EffectCraft's extension points compared with After Effects' (public
user guide and Scripting Guide) are now in docs/plugins.md, which
becomes "Plug-ins and extensions": scripts, ScriptUI panels and effect
plug-ins, with a short guide and an example panel for writing your own.
ScriptUI panels already came from `Scripts/ScriptUI Panels/` in the
settings folder, were listed at the bottom of the Window menu and
docked as tabs. What was missing: After Effects reopens the panels
that were open when it quit. Now the open panels are remembered in
`scriptui_panels.json` in the settings folder (a panel is added when
it opens and dropped when its tab or its script closes it; quitting
leaves the list), and `window.restoreScriptPanels` opens them again;
the desktop and web apps run it at start-up. A panel whose script is
gone or fails is reported and forgotten, and the others still open.
Where a panel was docked isn't kept, as workspace layouts aren't saved
between launches.
Gaps recorded in plugins.md and gaps.md G8: the Startup and Shutdown
script folders, keyboard shortcuts for scripts, ExtendScript's
`#include` / `#target` directives and `.jsxbin`.
Test: open_panels_open_again_at_the_next_launch (fails before: no
restore command), a_panel_dropped_in_the_folder_is_listed_and_opens_as_a_panel
(script), panels_open_at_quit_dock_again_at_launch (UI: the restored
panel docks with its controls; closing the tab forgets it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Tools bar's Snapping options menu (#265) offered per-feature
toggles (Edges, Corners, Centers, Anchor Points, Mask and Shape Path
Points) that After Effects' Snapping menu doesn't have. It now has the
two After Effects has:
- Snap Edges Extended (as before).
- Snap to Features in Collapsed Compositions and Text Layers: the
visible layers inside a precomp layer with Collapse Transformations
on are snap targets too, mapped into the outer comp (points always,
edge lines while the precomp layer is unrotated); a snap highlights
the precomp layer. Nested collapsed precomps are followed eight deep.
Every layer feature snaps again (corners, edge midpoints, centre,
anchor point, mask and shape path points); the snapping engine itself
is unchanged. `view.snappingOptions` takes `edgesExtended` and
`collapsedFeatures` (and `toggle` of either); the old keys are refused.
Test: collapsed_precomp_features_snap (fails before: no such option),
snapping_options_command_sets_and_toggles (the per-feature keys are
refused), snapping_options_pick_the_targets (AE behaviour kept: edges
extended or not, hidden layers, guides only), and the Snapping menu UI
test (only the two options are listed).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Interpret Footage has Start Timecode: Use Source File
Timecode, or Override Start, which changes the timecode the footage
shows and leaves its frames alone. The Start Frame field that trimmed or
padded a sequence's head isn't in After Effects, so it is replaced.
Footage.start_timecode (Override Start, in frames at the footage's
rate; None = Use Source, 0 as file timecode isn't read) relabels source
time: the Footage panel's current time and footage.info's `timecode`
count from it. file.interpretFootage takes `overrideStart` and
`startTimecode` (timecode, read at the footage's rate after any frame
rate change, or a frame number, 0 to 1e9). It applies to every footage
with time, not only sequences, and Reload keeps it. A sequence's frames
always run from its first file's number to its last.
Test: start_timecode_only_relabels_source_time (project),
interpret_footage_start_timecode_relabels_source_time (engine: the
reply, the Footage panel's timecode, frame numbers, Use Source, the
footage's rate, bad values, undo), Reload keeps it, and the Interpret
Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Effects: effect points on shape layers start at the layer centre (#227)
# Conflicts:
# crates/ui-egui/src/panels/puppet_tool.rs
# crates/ui-egui/src/panels/viewer.rs
After Effects shows a missing frame of an image sequence as a
placeholder (colour bars) and has no Hold Previous Frame or Skip choice
in Interpret Footage, so EffectCraft doesn't either.
Interpret Footage loses its Missing Frames field, file.interpretFootage
its missingFrames parameter, and Footage its missing_frames setting. A
gap in a numbered sequence's numbering always shows colour bars. A
sequence imported with Force Alphabetical Order still plays its files
one after another (its numbering doesn't count), as in After Effects;
that is now an internal Footage.alphabetical flag, set on import and
kept by Reload. The Interpret Footage note lists the missing frames.
Projects saved before this have no such field and open with the After
Effects behaviour: a sequence with gaps shows placeholders where it
used to close them up.
Test: project sequence unit tests (placeholders, alphabetical order,
projects saved without the flag), tests_sequence (Start Frame instead
of Hold / Skip), sequence_gaps_show_placeholders (media) and the
Interpret Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Image sequences were found only by the desktop media prober: one picked
numbered still brought its whole run, with no way to import just that
frame, picking every frame made one sequence item per frame, the browser
couldn't make sequences at all, and a gap in the numbering closed up
silently.
The engine now groups numbered stills itself (engine/src/sequence.rs):
one picked file brings its run from its folder, several picked files of
one run import as that range, a picked or dropped folder imports its
files with each run as a sequence, and Force Alphabetical Order takes
every image of that type in the folder by name. `file.import` takes
`sequence` (default on), `alphabetical` and `frameRate`; Replace Footage,
Reload, proxies and render outputs probe the same way. The media layer
probes one file; the browser lists its file table for the run and
registers every frame with its media pool.
File > Import > File... asks, like After Effects' "PNG Sequence"
checkbox, whether picked numbered stills import as a sequence, with
Force Alphabetical Order and the frame rate. Sequences are named
`shot_[0001-0250].png`.
Interpret Footage gains Missing Frames (Show Placeholder, colour bars as
in After Effects, the new default; Hold Previous Frame; Skip) and Start
Frame (the frame number at the footage's first frame: trims or pads the
head). Saved projects keep Skip, so their sequences play as before.
Form notes keep a readable width and the form fits its rows, so OK stays
in view. docs/footage.md explains importing footage and sequences.
Test: tests_sequence (engine: run, picked range, every frame, Sequence
off, folder, alphabetical, Interpret Footage Missing Frames / Start
Frame, Replace Footage and Reload), project sequence unit tests,
sequence_gaps_show_placeholders_hold_or_close_up (media),
import_dialog_offers_the_image_sequence_option and
dropped_frames_import_as_one_sequence_with_sequence_interpretation (UI).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
EXtractoR's Red, Green, Blue and Alpha are text parameters naming
channels, and Effect Controls drew nothing for text parameters: there
was no way to choose a layer or channel. And a multi-layer OpenEXR file
whose colour is only in named layers (`diffuse.R`, Blender's
`ViewLayer.Combined.R`) didn't import at all: the image decoder wants an
unnamed RGB layer ("does not contain non-deep rgb channels").
- Effect Controls: EXtractoR gets a Layer popup listing the footage's
OpenEXR layers. Picking one sets red, green, blue and alpha to its
channels in one undo step, as After Effects' EXtractoR dialog does (a
one-channel layer such as depth goes in all three colours). Red /
Green / Blue / Alpha are popups of the layer's own R, G, B, A, every
channel of the file, and (none). The lists are read only while open,
so playing an EXR sequence doesn't parse files on the UI thread.
- `layer.channels {layer}` lists a layer's EXR layers and channels and
what each layer shows in red, green, blue and alpha, for agents.
- Media: an EXR without an unnamed RGB layer imports and shows its
colour layer (one named combined, beauty or rgba first); its channels
stay available to EXtractoR and the 3D Channel effects.
- Raster: AuxChannels::layers / layer_rgba and split_channel.
Test: extractor_shows_the_chosen_layer_and_channels_of_a_layered_exr
(host: a layered EXR written with the exr crate imports, layer.channels,
EXtractoR renders spec and depth; it failed to import before),
extractor_offers_the_exr_layers_and_channels (UI: Layer popup, one undo
step, channel popup), layered_exr_without_an_unnamed_rgb_layer_imports
(media).
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>
Selecting Time Remap in the Timeline (its name, which selects all its
keys) and pressing Delete removed the keys, and a second Delete then
deleted the whole layer. As in After Effects, Edit > Clear with Time
Remap selected now turns time remapping off (Layer > Time > Enable Time
Remapping off), in one undo step, and the layer stays; one selected
Time Remap key on its own is still deleted as a key.
Test: deleting_time_remap_turns_time_remapping_off (engine).
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>
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>
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>
The EXR sequence writer and comp.saveFrameAsExr clamped colour to 0..1 before the sRGB decode, so a 32 bpc project lost every over-range value. The lower bound stays at 0 and alpha stays clamped. Tests cover Rgba and Rgb sequences and saveFrameAsExr.
Importing a glTF / OBJ model opened Interpret Footage: the probe
reports straight alpha and the file has no alpha label, so with
Settings ▸ Import ▸ Interpret Unlabeled Alpha As at Ask User (the
default) the model was listed as unlabeled. Only image footage
(stills, sequences, video) can have unlabeled alpha; a model renders
its own, and audio and data have none.
Test: importing_a_model_does_not_ask_about_alpha (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Imported GLB/glTF models were invisible in the Composition viewer while
text showed. Only the Advanced 3D renderer draws model and primitive
layers, and new compositions (and New Comp from Selection) are Classic
3D by default, but adding a model layer left the comp's renderer alone,
so the model drew nothing on every backend. It wasn't the reporter's
GPU: on this machine the viewer showed nothing for a GLB in a new comp
with the GPU compositor (Vulkan) and with Mercury Software Only, and
the model in both once the comp used Advanced 3D.
As After Effects documents ("Advanced 3D gets automatically selected
when you add a 3D model to the composition"), layer.newModel /
layer.addItem of a model and layer.newPrimitive now switch a Classic
3D comp to Advanced 3D inside the same edit (one undo step, Geometry
Options added to its text and shape layers like Composition Settings
does) and toast that the comp changed renderer. Switching a comp that
has model layers back to Classic 3D toasts why they disappear.
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>
The Environment light existed (LightKind::Environment) but layer.newLight's help
and the kind errors of layer.newLight and layer.lightSettings listed only
Parallel|Spot|Point|Ambient, so agents could not find it. The help now lists it
and says how to give it an equirectangular image: prop.set
lightOptions/source to that layer's id, or leave it empty for the comp's
Environment Layer (layer.environment). layer.lightSettings documents its kind
values too.
docs/parity.md (3D) notes that Advanced 3D surfaces reflect only the
Environment light and that Appears in Reflections is stored but has no visible
effect yet. Object-to-object reflections stay tracked in #261.
Test: tests_3d::environment_light_is_listed_and_takes_a_source_layer (help and
both kind errors name every LightKind; an Environment light takes a source
layer by id, with undo).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01S1RGTt6AE3ysiaMQ7X6Nea
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>
keys.easePreset.apply {preset | curve} eases every pair of neighbouring
selected keyframes of each selected property in one undo step: the out
side of the earlier key and the in side of the later one. A curve is
given as {outInfluence, outSpeed, inInfluence, inSpeed} or as handles
[x1, y1, x2, y2]. keys.easePreset.capture reads the curve between the
first selected pair; keys.easePreset.save {name, curve?} keeps it (or a
given curve), and list, rename and delete manage the user presets.
Twelve built-in curves are our own numbers (Linear, Smooth, Ease In-Out
Soft / plain / Strong, Accelerate and Decelerate with Strong variants,
Expo In-Out / Accelerate / Decelerate) and can't be renamed, deleted or
overwritten. User presets live in the config store (ease_presets.json),
loaded with the other settings. A file that isn't JSON gives no user
presets, and entries that don't parse, have no usable name or repeat a
name are skipped and logged. A failed write leaves the presets as they
were.
Test: a_preset_eases_every_selected_pair_in_one_undo_step,
a_curve_scales_to_each_dimension_and_follows_motion_paths,
apply_needs_neighbouring_keys_and_a_known_curve,
user_presets_save_rename_delete_and_persist,
a_corrupt_presets_file_loads_what_it_can (effectcraft-engine).
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 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>
Every pin move re-rendered the Puppet's input (source, masks and the
effects before it) at full size on the UI thread and deep-copied it
for the mesh overlay: the cache key of a layer's input hashed all of
its effects, so moving a pin of the Puppet changed the key of its own
input. The input key now covers only the effects that run before the
Puppet, and the overlay shares the cached buffer.
Test: input_keys_ignore_later_effects.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
- Selecting a mask in the Timeline (its row or Mask Path), or a shape's
Path, selects all its points, so dragging one in the viewer moves the
whole mask, as in After Effects. Delete still removes the mask, and
selecting another property deselects the points.
- Mask Feather has the chain link (Constrain Proportions, on by
default, Alt edits one value) and no longer takes negative values;
Scale's link shows as a toggle too.
- Dragging in the Project panel's empty area draws a selection box
(Shift / Cmd adds); a click there deselects.
Tests: selecting_a_mask_selects_its_points,
mask_feather_values_are_linked_and_not_negative,
dragging_in_the_empty_area_box_selects_items.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
- With a shape layer selected, the toolbar shows its Fill, Stroke and
Stroke Width (with any tool) and editing them changes the layer's
fills and strokes, as in After Effects (new shape.fillStroke, one
undo step per picker or drag). Shapes drawn without a stroke get one
when a stroke colour or width is set, so changing the stroke now works.
- Alt+Shift+P (A, S, R, T) reveals the property it keyed on each layer.
- A click in the time graph below the last layer deselects the layers
(it only deselected keyframes), so a shape tool draws a new shape
layer instead of a mask on the selected image.
Tests: toolbar_fill_and_stroke_paint_selected_shape_layers,
toolbar_stroke_edits_the_selected_shape_layer,
add_position_key_reveals_position,
clicking_below_the_layers_deselects_them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
Trim Paths, Merge Paths, Repeater and the other path operations
existed (layer.addShapeItem) but no menu added them to a shape layer.
Like After Effects, a shape layer's Contents row now has "Add:" with
Group, Rectangle, Ellipse, Polystar, Path, Fill, Stroke, Gradient Fill,
Gradient Stroke and the path operations; with a shape group selected
they go into it. layer.addShapeItem gains the empty Path and Gradient
Stroke kinds.
A 3D text or shape layer in a Classic 3D comp now shows Geometry
Options with "Change Renderer…", which opens Composition Settings on
its 3D Renderer tab (Advanced 3D comps show the extrusion options).
Popup menus are as tall as the window allows and open upward near its
bottom: the 20-entry Add menu was cut at 420 px, hiding Trim Paths.
Tests: shape_contents_add_menu_adds_path_operations,
classic_3d_shape_layers_offer_change_renderer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
apply_output checked `channels: rgba` against the module before it
applied `webmCodec`, and choosing AV1 then quietly dropped the channels
to RGB. So `render --format webm --webm-codec av1 --channels rgba` (one
renderQueue.add) succeeded and wrote an opaque AV1 stream.
The codec options now apply before Channels, so the existing "has no
alpha channel" error (how an unsupported channels request is already
reported) refuses the combination; for WebM it names the codec: "AV1
WebM has no alpha channel (VP9 WebM has)". Choosing AV1 alone on an
RGBA VP9 item still switches it to RGB, as changing the format does.
Test: av1_webm_refuses_requested_alpha.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
apply_output switched the format whenever the Output To extension mapped
to a different format, and `.mp4` maps to H.264 only, so
renderQueue.setOutput with an .mp4 path (even the item's own default
name) turned an HEVC or AV1 module into H.264 and the render wrote an
H.264 stream.
The extension now changes the format only when the current format
doesn't write it (OutputFormat::extension): HEVC, AV1 and H.264 all write
.mp4, so they stay; `.mov` on H.264 still picks ProRes and `.mp4` on
ProRes still picks H.264.
Test: output_to_keeps_a_format_that_writes_the_extension.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Their params docs wrote the renderer as `renderer? classic3D|advanced3D`.
Without a `:`, the doc parser reads `|` as "or another key", so
`advanced3D` became an accepted key in the schemas and the unknown-key
check: `comp.new {"advanced3D": true}` succeeded and made a Classic 3D
comp.
The docs now use the value-list form the other commands use,
`renderer?: classic3D|advanced3D`. The key is removed rather than
implemented: it would only duplicate `renderer` (and could contradict
it). A scan of every command's schema found no other key that came from
a value list.
Test: renderer_values_are_not_parameter_keys (not in the schema, rejected
as unknown, `renderer` still works on both commands).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
prop.setExpression keeps an expression with a syntax error but disables
it, and says why only in its own reply. MCP set_property answers with
prop.get instead, and prop.get reported `evaluated` / `expressionError`
only for enabled expressions, so set_property, get_property and prop.get
all showed the broken expression as if it were installed.
prop.get now reports a disabled expression too: `evaluated` is the
static value that renders, and `expressionError` is its syntax error.
Test: expression_syntax_errors_reach_the_reply (set_property and
get_property carry the SyntaxError; runtime errors and valid expressions
report as before).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
