The gains of an AAC source now come from the configuration FilmCraft decodes
it with, read from MP4/MOV (esds), Matroska (CodecPrivate) and LATM in MPEG
TS/PS (its first StreamMuxConfig). Channel configurations 3 to 6, 11 and 12
arrive reordered to WAVE order, 4 as L R C Cs, 7 in element order. A program
config element goes by its element positions, except the six structures in
which ffmpeg's encoder fills its own channel order across them (an LFE in a
side SCE, a back centre in a side pair), recognised by its "Lavc" comment.
ADTS can only signal configurations 1 to 7 that FilmCraft decodes, which the
channel count tells apart. A decode of fewer channels than the layout keeps
its first ones (7 of configuration 7's 8 in MPEG-TS LATM).
The encoder's first-frame user_data_unregistered SEI now lists its settings
("... - options: rc=vbr bitrate=10000 ... scenecut=1", 211 bytes where
"filmcraft-h264enc 0.1.1 - clean-room H.264 encoder" took 50): +161 bytes.
The same build gives (104322, 11051847956767423392), the pin Linux CI took on
a base before the 19-byte nclx colr box, when that box is left out, so the
bytes match across platforms.
FilmCraft reorders AAC configurations 3 to 6, 11 and 12 to WAVE/SMPTE order
and leaves configuration 7 and program config elements as coded, so the
channel count alone can't say which order arrives: ffmpeg writes 7.1 as
configuration 7 (C L R first) and 6.1 as a PCE it fills in its own order
(L R C LFE Cs Ls Rs), while FilmCraft's encoder writes a centre-first PCE.
The order is now read from an MP4/MOV's AudioSpecificConfig when the source
opens; other containers keep a channel-count guess.
The ffmpeg oracle test gains configuration 12 (ffmpeg's 7.1 relabelled) and
skips PCE files ffmpeg 4.2 marks as stereo, which FilmCraft reads as two
channels.
Since #2604 a picked numbered still imports as itself unless the import
asks for a sequence, as in After Effects. The compositing and tracking QA
scenarios import a PNG run, so they pass `sequence: true`; docs/agents.md
describes the new default.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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>
tylerjenningsw