Problem: After Effects 26 imports STL models besides glTF and OBJ; we
refused .stl files, and the Media Browser and import dialog did not list
them as models.
Fix: a pure-Rust STL reader in effectcraft-model (binary and ASCII,
detected from the contents; several ASCII solids and polygon loops;
VisCAM/SolidView and Materialise Magics facet colours as plain
materials; Z-up turned to the model's Y-up; faceted normals from the
winding). Truncated, empty or non-finite input is an error, never a
crash. .stl is now a model extension for import, probing, the Media
Browser, the import dialog and the system report.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Timeline's "Edit Gradient…" on a gradient property (Gradient Fill /
Gradient Stroke ▸ Colors, Gradient Overlay) only painted its label. It now
opens a Gradient Editor (prop.editGradient): opacity stops above a preview
bar and colour stops below. Click to add a stop (it takes that track's
own value there), drag or type a Location to move it, set its opacity or
colour (egui's colour picker), Delete removes it (never the last of a
track, never while typing). The tracks stay in order while editing and the
selection follows its stop.
The editor works on a draft. OK sets the property once with prop.set at
the composition time it opened, snapped to the frame, with
timeBase: "comp" (offset and stretched layers get the key where it was
opened): one undo step, and nothing at all when the draft is unchanged, so
OK adds no keyframe. Cancel and Escape change nothing; Escape with the
picker open closes only the picker. On an animated gradient only the
keyframe at that time changes; when its stop counts no longer match a
neighbouring keyframe's (gradients only blend with equal counts) the
editor says so. The draft is saved in the typed form, so one colour stop
and each stop's RGBA survive.
prop.editGradient checks its target is a gradient property before the UI
opens anything, so agents get an error for a wrong one. New Gradient
color_at / opacity_at sample one track each (sample() multiplies opacity
in, which would apply it twice to a new stop).
Tests: ui_gradient_value (fails on main: the value had no automation id),
ui_gradient_editor (11), gradient_editor and keyframe unit tests.
file.import stores a path as given, so footage imported by the CLI or an
agent as `clip.mp4` was saved relative, and opening the project looked it
up from the working directory. The CLI, started in the project's folder,
found it; the desktop app, started from the Finder, Explorer or a launcher
in another folder, showed and rendered neither its picture nor its sound,
while the Project panel still listed the saved duration.
On open, a relative footage path that doesn't exist from the working
directory but does next to the project file is resolved there (After
Effects also looks for footage relative to the project). Paths that exist
as they are, and absolute ones, are kept.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With several layers selected, After Effects applies a property edit to the same property of
every selected layer; we changed only the layer whose row was edited (the Properties panel
showed only the first selected layer), so a stopwatch switched on one layer and later moves
of the others had nothing to keyframe (#355), and scaling or rotating a selection changed
one layer (#491).
- Engine: `prop.set`, `prop.toggleAnimation` and `prop.toggleKey` take `selected: true`:
the change also goes to the same property (by match path, `transform/scale`,
`effects/<effect>#n/<param>`) of every other selected, unlocked layer whose value has the
same kind, in one undo step (a scrub keeps folding into it through its `merge` key). With
`offset: true` (a scrub) each layer changes by the same amount from its own value; a typed
value sets them all. Position with Separate Dimensions is handled per layer.
- The Timeline, Properties and Effect Controls panels pass `selected` (and `offset` while a
value is dragged). The Properties panel heads "(N) Selected Objects" (zh-CN / zh-TW / ja /
uk rows).
- Viewer: a bounding-box handle drag scales every selected layer by the same ratio about its
own anchor point; the Rotation tool turns them all by the same angle (one undo step).
Tests: engine test (stopwatch, scrub offset, typed value, keyframe button, one undo step,
unselected layers untouched); kittests: the Properties panel with three layers selected
(header, stopwatch on all three undone in one step, a scrub moving all three by the same
amount) and a handle drag scaling two selected layers.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The UI behaves as in After Effects (the Import dialog's Sequence checkbox
starts off, dropped files are stills, dropped folders make sequences), but
file.import without sequence or drag keeps importing a numbered still's
run, so existing scripts and agents keep working.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
After Effects' `app.project.workingGamma` (2.2 or 2.4, ignored with a working space) sets
the curve an unmanaged project uses: at 2.2 the piecewise sRGB curve, at 2.4 a pure 2.4
power curve. EffectCraft always used sRGB, so linear EXRs (Interpret As Linear Light) from
a 2.4 project came out darker in the shadows (0.18 → 0.461 instead of 0.490).
- `ProjectSettings::working_gamma` (default 2.2, serde default for old projects).
- The colour pipe's unmanaged curve is the Working Gamma's (sRGB, or Rec. 709's pure 2.4
curve): Interpret As Linear Light encodes untagged footage with it and Blend Colors Using
1.0 Gamma linearizes with it; it is part of the pipe's cache key. The GPU path takes the
same conversions.
- `file.projectSettings {workingGamma: 2.2|2.4}` (other values are refused, as in AE),
`app.project.workingGamma` in scripts and a Working gamma choice in Project Settings.
Test: render test with linear 0.051 / 0.18 / 0.5 footage (0.290 / 0.490 / 0.749 at 2.4,
0.250 / 0.461 / 0.735 at 2.2, the values measured in AE), linear blending at 2.4, a working
space ignoring the setting, and the cache key.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With no GPU compositor the report only said "GPU: none", though the host had recorded the
reason (`Session::accel_note`: the compositor's setup error, a retired GPU preview, a
headless start) and the window's wgpu adapter was known. Users with a capable GPU (#596, an
RTX 4070) couldn't tell why it wasn't used.
The report now carries `gpuNote` (the reason, when there is no compositor) and
`windowGraphics` (the adapter, backend, device type and driver the window draws with, which
the desktop app records when it sets up the GPU), and the text shows
"GPU: none (CPU compositing): <reason>" and "Window graphics: …"; the issue line names the
reason too.
Test: the compatibility report test sets a reason and an adapter and checks the JSON and text.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Cause: SequenceOptions::from_params defaulted `sequence` to true for
file.import, so any numbered still (IMG_0001.jpg) brought its whole numbered
run from its folder, and several picked or dropped stills with a common
prefix became one sequence. Dropped files never asked, and the Import
dialog's "<format> Sequence" checkbox started ticked.
Fix, matching After Effects: file.import takes picked and dropped files as
stills unless `sequence: true` (the Import dialog's Sequence checkbox, which
now starts unticked; Force Alphabetical Order implies it), while the numbered
stills inside a picked or dropped folder still import as sequences
(SequenceOptions::folders), and `sequence: false` (Alt-drag of a folder)
imports a folder's files one by one. Replace Footage, reload, proxies and
render outputs keep detecting their sequence (SequenceOptions::default and
from_params are unchanged), and mediaBrowser.import keeps bringing a numbered
still's run unless `sequence: false`. docs/footage.md and docs/agents.md
describe the new defaults.
Tests: sequence import_takes_stills_unless_asked_for_a_sequence and engine
numbered_stills_import_as_stills_by_default (one dropped still and two picked
IMG_ stills stay stills, a dropped folder makes one sequence, the checkbox
brings the run); the existing sequence tests pass `sequence: true`; ui
import_dialog_offers_the_image_sequence_option (unticked by default: a still;
ticked: the run) and a_dropped_folder_imports_as_one_sequence_with_sequence_interpretation
(two dropped frames: two stills; the folder: one sequence).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit aa3c31db9ab3a774ee2f8ba867e1bafc1fce7aba)
Cause: render::content_bounds (used by snapping's targets and source, Align,
Distribute, the viewer's bounding box and handles) took shape layers' bounds
from draw_bounds, the rasteriser's safety rectangle: 1 px of anti-aliasing
padding around fills and width x miter limit / 2 + 1 around strokes. Two
squares snapped edge to edge therefore stayed 2 px apart, or much more with
strokes.
Fix: shapes::content_bounds uses visual bounds, as After Effects' layer bounds
do: the path bounds plus half the stroke width (through the draw's group
scale), with no anti-aliasing or miter padding. Rendering keeps draw_bounds.
Tests: render shape_content_bounds_are_the_visual_edges (a 100 x 100
rectangle is exactly +-50, +-55 with a 10 px stroke); engine
shape_layers_align_by_their_visual_edges (widths 100 / 110, Align Left puts
both edges exactly at 0).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit bfd0abd7437ad1d38652e3aef51f9ba5dea9100b)
Cause: puppet::solve binds each moving pin to its nearest mesh vertex and fixes
that vertex at position + (vertex - rest), an offset in rest space with no
rotation or scale. puppet.addPin set a new pin's position to the click, so in
a bent region the bound vertex was pulled to where it would be unrotated, and
the mesh jumped as soon as the pin was added.
Fix: addPin picks the position that keeps the bound vertex at its current
deformed place: the vertex's deformed position minus the rest offset. On an
unbent mesh that is the click itself (round-off is snapped back to it), so
existing pins behave as before.
Test: a_pin_added_to_a_bent_mesh_moves_nothing (two pins, one moved to bend
the layer, then pins added at three places on the bent part: at most a few
edge pixels change from solver round-off; before the fix about 250 did).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit 16151203b304d565b425873fdd33ae082cae483b)
Cause: edit.copy handled text editing, selected keyframes, effects and shape
items, then fell back to copying the selected layers. Selecting a property
selects its keys, so an animated property copied, but an unanimated one (or
the Transform group, whose keys prop.select doesn't select) copied the whole
layer, and Paste added a duplicate layer instead of setting the property.
Fix: with properties (or the Transform group) selected, Edit > Copy copies, as
After Effects does, each animated property's keys (the selected ones, else all
of them, through keys.copy) and each unanimated property's value into a new
value clipboard keyed by match path. Edit > Paste sets those values on the
same properties of the selected layers (a key at the CTI where the target is
animated) and pastes the keys at the CTI, as one undo step (keys.paste now
honours `merge`). Keys alone still answer with their count, as before.
Test: copy_a_selected_property_pastes_onto_the_same_property (static
Position, then the Transform group with animated Opacity: values and keys
land on layer B, no layer is added, one undo step each).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit 8267519ebe20e889196e538de23b85b04a1fa76a)
A running script reached `prefs.set` through `app.run` and could turn on
Settings > Scripting & Expressions > Allow Scripts to Write Files and Access
Network (or turn off Warn User When Executing Files), which the File, Socket
and system.callSystem gates then read: the permission the user withheld was
the script's to take.
Commands a script issues now go through `Session::execute_for_script`, which
marks the session as running for a script for the command and everything it
runs (engine.batch, ScriptUI callbacks, scheduled tasks). While it is,
`prefs.set` refuses any change that would leave the Application Scripting
settings different (compared on the resulting settings, so dotted keys,
whole-page objects and batches are all covered), and a script's
`prefs.reset` keeps them as the user set them. Command scripts read from a
file (File > Scripts > Run Script File... with .json/.jsonl) count as
scripts too. The UI, CLI, control channel and MCP still change them.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Timecode and Frames entries were parsed as absolute counts without the composition Start Timecode or Start Numbering Frames At offset, so committing the displayed text jumped to another frame.
- file.relinkFootage (#461): close the params doc so checked execution
(MCP, control channel) rejects unknown keys; translate its menu entry.
- general.language lists Português (Brasil) (#217).
- docs/agents.md: set_property / add_keyframe take timeBase (#522).
- #299's MCP test no longer sends get_property a value.
- The Automatically Reload Footage sequence test uses PNG frames.
- h264_frames_at_reduced_sizes (#507): the bar depends on the fixture's
encoder; 50 dB with ffmpeg 6.1's x264.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The params parser reads ':' as the start of a value, so 'OpenType?:
discretionaryLigatures?' declared a bogus OpenType key and hid
discretionaryLigatures, and 'ss01?…ss20?' declared only ss01.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Image sequences are watched only with All Footage (the default,
Non-Sequence Footage, leaves them alone). Purge also forgets the viewer's
per-revision disk keys, which hash footage files' size and time, so a
file reloaded without a new revision is keyed again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
effect.reset looked parameters up by their full spec id among the effect's direct
children, so every 'group/param' id (most of Fractal, Scribble, and other grouped
effects) was skipped and Reset did nothing for them. Fixes#526
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Brandon Thomas