Problem: probe() and MediaPool's movie sources called std::fs::read and then
filmcraft_codecs::open_bytes, so a clip cost its full size in memory, twice
while probing (a 245 MiB MP4 peaked at 494 MiB just to import).
Fix: container footage on disk is opened through a positional-read
ByteReader (stream::FileReader) and FilmCraft's reader openers
(filmcraft_media::reader::open_reader; MP4/MOV, Matroska/WebM, MXF, Ogg,
MPEG-PS/TS), which read the index and then single samples. Probing takes this
path only when nothing probed before containers (still/model extensions,
PSD/SVG/PDF, image magic) claims the file; everything else, whole-file audio
formats, in-memory files (add_bytes) and wasm32 builds keep the byte path.
Regression test: probing and decoding a frame and audio of a movie with a
256 MiB tail grows peak RSS by <64 MiB (512 MiB before), same results.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: scrubbing a long movie showed the frame under the pointer
seconds after the pointer stopped. Every viewer frame a free frame-pool
thread had started kept running: each seeked the movie's one decoder and
decoded up to a GOP, and the newest frame waited behind all of them on
the decoder's lock (45 min 1080p H.264/HEVC, GOP 250: 1.8-3.6 s for the
last frame of a drag; a single jump is 0.1-0.4 s). FilmCraft's decoder
already polls a cancellation flag, but nothing set one.
Fix: FootageSource::cancellable / called_off and CancellableFootage (a
per-render view whose frame reads run under the render's own flag, so
reads on other threads answer to the right render). MediaPool runs them
under filmcraft_media::cancel::with_cancel. The frame workers render
through it, and a newer viewer frame calls off the comp's running viewer
frames of other times. A called-off render is not cached (frames, disk,
layer cache). Drag latency is now 0.1-0.3 s.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: an animated WebP (e.g. ffmpeg -c:v libwebp_anim) imported as a
still and showed only its first frame; probe_bytes handed every WebP to
the still path. Found while measuring #719.
Fix: a webp_anim module, following the animated GIF path. Probing reads
the RIFF chunk headers (VP8X animation and alpha flags, one ANMF per
frame) and describes a WebP with two or more frames as Video footage
(codec "WebP", alpha Straight or Ignore from VP8X). Frame delays give the
rate: delays within 1 ms of each other read as the standard rate they
round to (24, 25, 29.97...), else 1000 / gcd of the delays so uneven
timing is exact; delays of 10 ms or less count as 100 ms as in browsers.
Frames are decoded once with the image crate's WebP AnimationDecoder and
cached in the pool's existing GIF slot; gif_anim::Anim now keeps frame
starts as Ticks and serves both formats. Canvas x frames beyond the
existing memory cap is refused before decoding; a damaged tail keeps the
frames before it; a file without frames is a clear decode error. Still
WebP stays a still.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser listed .dpx files and After Effects imports
DPX and Cineon scans (stills and numbered sequences), but import
refused them: nothing could decode either format, and .cin was not even
an image to the browser, so its runs never grouped into sequences.
Fix: a small pure-Rust reader written from the public SMPTE 268M and
Kodak Cineon specifications (crates/media/src/dpx.rs): luma, RGB, RGBA
and ABGR at 8/10/12/16 bits, 10-bit filled method A/B, 12-bit in 16-bit
words, both byte orders, lines padded to 32-bit words, unrotated
orientations and the pixel aspect ratio; the codec names the transfer
(log, linear, ...) and code values are shown as stored. RLE, signed,
float, Y'CbCr, packed 10/12-bit and transposed files are refused with a
clear error; every header field is bounds-checked and the data length
verified before allocating. Probe and frame decode use it first;
is_importable, the Media Browser kinds and the import dialog list
.dpx/.cin.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: with no working space and Working Gamma 2.4, a linear EXR still
converted with the sRGB curve (0.18 -> 0.4627, After Effects 0.4902):
float footage was sRGB-encoded at decode, before the render knew the
project's curve. Interpret As Linear Light on float footage then encoded
a second time (0.18 -> 0.7255).
Fix: FootageSource::frame_with asks for float footage with a FloatCurve
(sRGB, a pure 2.4 power curve, or as stored). The renderer asks for the
Working Gamma's curve when unmanaged, sRGB when managed, and the stored
values when Interpret As Linear Light encodes them afterwards.
MediaPool decodes float values that way (Preserve RGB still reads them
as stored) and caches each curve apart.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser lists .tga and .hdr files (and groups them into
image sequences), but media::is_importable had neither extension and the
still decoder never tried them, so importing them failed.
Fix: enable the image crate's built-in tga and hdr decoders (no new
dependency), add both to STILL_EXTENSIONS and the File > Import dialog, and
pick a still's format by signature with an extension fallback, since Targa
has no signature. Radiance HDR is linear float light and is sRGB-encoded like
OpenEXR (super-white kept); Targa alpha goes through the existing
unlabeled-alpha interpretation.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A multi-layer OpenEXR file without an unnamed RGB layer (Blender's compositor File Output)
was decoded twice per frame: `layered_image` decoded every channel to find the picture,
then `MediaPool::aux` decoded the same bytes again into the aux-channel cache for
EXtractoR and Cryptomatte. The first EXtractoR layer doubled the frame time.
The footage path now reads the picture from the aux-channel cache (`cached_layered_image`),
so the decode it makes is the one EXtractoR and Cryptomatte reuse. (Step 1 of the issue;
reading only the picture's channels and keeping half channels as f16 are still to do.)
Test: after a frame of a layered file is decoded, its aux channels come from the cache
without reading the file again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The exr crate reads HTJ2K (OpenEXR 3.4's High-Throughput JPEG 2000) headers
but can't decompress the pixels, and the image paths turned that into a
misleading "no non-deep rgb channels" (multi-layer files) or imported the
file and showed a transparent frame (single-layer files).
`exr_channels::unsupported_compression` reads the headers; import (probe)
and frame decoding fail with "<file>: OpenEXR HTJ2K compression isn't
supported yet: re-save the file with ZIP, PIZ or DWAA compression".
Decoding HTJ2K itself needs a pure-Rust JPEG 2000 Part 15 decoder and is
left for later.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With the Conformed Audio folder on (the default), the conform thread wrote
whatever `decode_audio` returned, and that returned silence when the source
couldn't be opened or a read failed. The conformed file is found by the
source's path, size and date, so one failed decode (an MP3 the decoder
stumbled on once) kept the footage silent in previews and exports in every
later session, while a renamed copy played.
The conform path now decodes with `try_decode_audio`, which fails instead of
returning silence; a failed conform removes its temporary file, writes
nothing and isn't retried this session (reads go to the decoder). Playback
reads still fall back to silence. CONFORM_VERSION goes to 3 so the silent
files earlier builds wrote are ignored and conformed again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Reload Footage (Cmd+Alt+L) updated an item's metadata but left the media
pool's decoded frames and the layer cache in place, so the old image kept
rendering until Edit > Purge. It also replaced the footage with a probe of
the merged document, so a Photoshop layer item lost its layer and its
Retain Layer Sizes bounds.
Reload now re-reads only what the file decides (size, a movie's duration,
streams and frame rate, codec, a data file's text), keeps the layer or
page and the interpretation, finds a Photoshop layer again by name, and
makes the media layer forget the file (FootageSource::forget, which also
drops the EXR aux-channel cache) and clears the layer cache.
Settings > Import > Reload Footage Changed on Disk (on by default): the
desktop app stamps footage files (size + modification time) on a worker
thread every two seconds and when the window comes back to the front, and
reloads what changed. Not an undo step and it doesn't modify the project;
a file still being written is retried on the next check.
footage.reloadChanged runs one check (CLI, MCP, agents).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
GIFs went through the still-image path, so an animated GIF came in as a
single frame with zero duration. A GIF with two or more frames is now
probed as a movie: its frame rate is chosen so every per-frame delay is
a whole number of frames (uneven timing is kept exactly), delays of 0
or 1 hundredths count as 10 like in browsers, and the pool decodes the
frame shown at the requested time. A single-frame GIF stays a still.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Cause: at Half, Third and Quarter resolution (the viewer's Auto resolution
in most windows) every movie frame was converted from Y'CbCr to f32 RGBA at
full size and then resampled down. In the browser (wasm, one thread) that
was about 8 ms converting a 1080p frame, 6 ms resampling it and 2 ms
zeroing a 33 MB buffer, per layer and frame, for a frame shown at a
quarter or a ninth of its pixels; the footage frame cache held the
full-size frames.
Fix: FootageSource::frame_at_size asks for a frame shown at a given size
(default: the full frame, as before). The renderer asks for it where it
resampled footage (below 3/4 scale; not for proxies, fields or Interpret
Footage's pixel options, which need the full frame). MediaPool makes opaque
4:2:0 movie frames of the footage's own size there: it box-filters them to
half size in Y'CbCr before converting (each 2x2 block of luma, and the
[1 6 1]/8 neighbourhood of its chroma sample, which is the mean of the
upsampled chroma its pixels get), resamples the rest of the way and caches
the result per size. Conversion is linear until colours clip, so this is
the RGB box filter resample starts with, except in blocks where some
colours clip. Other frames convert at full size and resample as before.
In the browser the conversion and resampling take about 4 ms instead of
16. Docs (architecture).
Tests:
- convert::scaled_conversion_matches_resampling_the_converted_frame: half,
third, quarter and odd sizes of an unclipped 4:2:0 frame are within 1e-5
of resampling the converted frame; larger sizes, odd frame sizes and
4:4:4 convert at full size.
- tests_footage_size::reduced_renders_take_footage_resampled_by_the_source:
a source that resamples frames itself renders the same frames as one
that doesn't, at 8 and 32 bpc and every resolution, and is asked only
below 3/4 scale, and not with Invert Alpha.
- footage::h264_frames_at_reduced_sizes (ffmpeg fixture): 1080p H.264
testsrc2 frames, whose saturated colours clip, at 960x540, 640x360,
480x270 and 323x182 are 58-62 dB from the resampled full frames, and
are cached per size.
- convert's ignored 1080p bench also times the conversion at a third.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
The freeze and quit during a FLAC preview did not reproduce on current
main (Windows 11): a 4-minute stereo and a 10-minute 24-bit 6-channel
96 kHz FLAC played through a RAM preview with a real-time audio pull,
after trimming and zooming, with no stall, no growing queue and memory
bounded by the RAM preview budget; 150 cpal output start/stop cycles
ran clean. Three defects in that path were found and fixed:
- FilmCraft decodes FLAC, MP3, Ogg and AIFF files whole when they are
opened (8 s and 1.4 GB for the 10-minute 6-channel file). MediaPool
opened a file outside its lock, so every caller asking before the
first open finished decoded the whole file too: a preview's frame
workers, audio feeder, conform and waveform threads at once (8 reads
at once: 8 decodes). Each path now opens once; the others wait for it.
- AudioPlayback::start mixed its first 50 ms on the calling (UI)
thread, so the first read of such a file froze the UI for the whole
decode (audio-only previews start the sound right away). All mixing
is on the feeder thread now; the device plays silence until the first
block arrives, and the clock (frames actually played) waits for it.
- Conforming (Settings > Disk > Conformed Audio Folder, on by default)
held the whole conformed track in memory before writing it, sized by
the footage duration from the file's header: a header claiming a
month of audio aborted the app on a failed 995 GB allocation. The
conformed file is now written a chunk at a time, and footage longer
than 24 hours is read from its decoder instead of conformed.
Tests: media concurrent_first_reads_open_a_file_once (8 threads: 8
opens before, 1 now; PoolStats::opened), pool
a_header_claiming_a_month_of_audio_is_not_conformed (aborted before),
ui-egui audio starting_audio_does_not_wait_for_slow_footage (start took
the footage's 2 s before), conformed_flac_audio_reads_back_like_the_
decoder, and the robustness test flac_audio_of_any_shape_reads_in_
device_blocks (2 minutes of 24-bit 6-channel 96 kHz, mono 8 kHz,
11.025 kHz, 192 kHz and 8-channel FLAC read in 1024-frame blocks at
48 kHz through and past the end: level, silence after the end, opened
once). FLAC fixtures come from ffmpeg (skipped without it).
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>
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>
A requested rate of 0 would divide by zero in the resampler; it now
reads through the plain path, which returns silence for it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
clippy 1.99 flags chunks_exact_mut with a constant size; the skip offset
was also an unchecked slice.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
AAC audio in an MP4/MOV whose sample rate differs from the mix rate
(a 44.1 kHz clip in the 48 kHz preview or export, or the reverse)
stuttered and sounded low-pitched in previews and in exported movies.
Cause: FilmCraft's MP4 reader, asked for audio at a rate other than
the file's, applied the edit list's priming offset (1024 samples for
AAC) twice when it resampled: each read started about 1024 source
samples early and extrapolated a ramp over its first ~940 samples
(peaks near 100 against a 0.5 tone). Export and the preview mix ask
for audio a frame or a device buffer at a time, so the ramp repeated
dozens of times a second. Same-rate reads take FilmCraft's copy path
and were exact. FilmCraft fixed this upstream in 5bf2203, 87 commits
past the pinned revision.
Fix: MediaPool reads footage audio at the source's own rate and
resamples it itself (linear, by absolute sample position, so a range
comes out the same however it is split into reads), for every
container.
Test: resampled_audio_read_in_frame_pieces_matches_ffmpeg (44.1 kHz
AAC read at 48 kHz and 48 kHz at 44.1 kHz in 29.97 fps frame pieces,
against ffmpeg's decode: max error 44 before, 0.002 after) and
movies_carry_resampled_footage_audio (a 29.97 fps comp with 44.1 kHz
AAC footage exported to MP4/AAC and MOV/PCM, decoded by ffmpeg: max
error 8.7 before, 0.03 / 0.002 after).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Conforming a footage file's audio (Settings ▸ Disk ▸ Conformed Audio
Folder, which preview playback reads) timed each 65,536-frame chunk as
`frame index × ticks per second / rate` in i64, which overflows past
36,310,516 frames: 12:36.47 at 48 kHz (25:13 at 24 kHz, hence the
workaround). Chunks after the overflow decoded at a wrapped, negative
time and came out silent, so preview audio stopped at 12:37.76 (the end
of the last chunk that started in time) in every long file.
Chunk times now come from Tick::from_units (exact, 128-bit). The
conformed files' names include a format version, so files written by
earlier builds are ignored and conformed again.
Test: conform_chunks_keep_their_times_on_long_files (every chunk start
of a 2-hour file at 24–96 kHz); it failed before (multiply overflow).
Checked end to end: a 13-minute file's conformed audio has sound at 760 s
and 790 s.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Every purge emptied the viewers' RAM preview; Purge ▸ All Disk Cache and Snapshot now leave
it (Image Cache Memory, All Memory, All Memory & Disk Cache, All and All 3D Cache still
clear it).
- The memory purges also drop the decoded footage frames (`FootageSource::purge`, the media
pool's `clear_frames`; decoders stay open), so footage reads decode again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Text with embedded TrueType, CFF (Type1C / CIDFontType0C / OpenType), Type 1 and Type 3 fonts,
standard-14 fallback to the bundled OFL fonts; Flate / DCT / inline / stencil images with SMask,
Indexed and ICC alternates; luminosity / alpha soft masks and the 16 blend modes in the SVG
render tree; tiling patterns; calculator functions; file.import page and Footage::page;
Create Shapes from Vector Layer keeps clips (page clips as layer masks, nested clips as Merge
Paths Intersect).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Reconciled with main's keyframe labels (same Keyframe::label field; keys.setLabel and
keys.selectLabelGroup from main are kept, M14.5's duplicates removed; Edit ▸ Label on
selected keys delegates to the label helper), proxies (RenderOpts::proxy next to
nested_switches/draft_shadows), offloaded renders (Work carries nested_switches), wasm
audio pump (preview mix rate), variable font axes and mask feather points.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Comps expose controls (properties typed as text/color/slider/checkbox/point/angle/dropdown,
Media Replacement, groups, comments); precomp layers get an Essential Properties group whose
edits override per instance (Push to Comp / Revert); templates export/import as an open ZIP
(manifest.json + project subset + media + poster). Stretched precomps keep protected regions
at their original speed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Aux-channel model (effectcraft_raster::channels3d: depth, object/material
ID, normals, UV, coverage, Cryptomatte ranks + manifests, MurmurHash3);
EffectHost::aux; multi-layer OpenEXR channels via the exr crate
(FootageSource::aux); the compositor's depth / layer-ID / Cryptomatte pass
(Renderer::comp_aux) so the effects work on precomps of 3D comps.
3D Channel Extract, Cryptomatte, Depth Matte, Depth of Field, EXtractoR,
Fog 3D, ID Matte, IDentifier.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
New crate effectcraft-model (L2): glTF 2.0 (.gltf/.glb, data URIs, external buffers and
images, PBR metallic-roughness with base/MR/normal/occlusion/emissive textures, node
hierarchy, skins, step/linear/cubic animations) and OBJ/MTL import, parametric primitives,
extruded/bevelled outline meshes and polygon triangulation with holes.
Project: FootageKind::Model, LayerSource::Model/Primitive, Layer::environment, Geometry and
Material Options builders, Environment light Source. Media probes and loads models
(FootageSource::model). Engine: layer.newModel, layer.new3dPrimitive/newPrimitive,
comp.renderer, layer.environment, material.set/reset/duplicateAssign/revealSource (stubs
replaced); File > Import and layer.addItem pick up models. Hand-written fixtures with
attribution sidecars.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A real Settings model in the engine (`engine::prefs`): serde, versioned, dotted keys
(`general.undoLevels`, `labels.3.name`), migration of older layouts, unknown keys kept,
persisted through a `ConfigStore` trait (platform config dir on the desktop; MemoryConfig
for tests; the web app can back it with localStorage).
- After Effects 2026 pages (General … Scripting & Expressions) as a schema shared by the
dialog, `prefs.pages` and docs/preferences.md (rows not wired yet are listed there and
kept in step by a test).
- Commands: prefs.get, prefs.set {key, value | values}, prefs.reset {page?}, prefs.open
{page?}, prefs.pages.
- Wired settings: undo levels, path point size, tool tips, layers at comp start / CTI,
default spatial interpolation linear, Home screen on launch, new project template,
rendering progress in Info, adaptive resolution limit, cache when idle, fast previews,
theme + UI brightness, label names/colours everywhere (Label menu, timeline, project,
render queue, viewer), label colour for handles, grid colour/spacing/subdivisions, guide
colour, safe margins, still footage duration, sequence fps, audio output device and
output mapping, layer / footage / preview cache budgets, default 3D renderer.
- Settings dialog: AE's left page list + right content, OK / Cancel (restores) / Previous /
Next, every widget with an automation id.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A rayon worker running frame_at could wait on the in-flight condvar for a
frame whose decode sat lower on its own stack (work stealing during the
decoder's parallel join), hanging footage playback and the media tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
