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>
Review of the first commit found three places that still asserted the old cleanup: the UI integration
test (which would have failed CI), docs/agents.md, and the comments on TextEdit::created, layer.newText
and the engine test itself.
Co-Authored-By: DeepSeek V4.1 Flash <noreply@deepseek.com>
dominant_direction weighted texels by their raw channel sum before the
light's colour tinted the radiance, so equally bright red and blue regions
on opposite sides cancelled to no sun and no key — while a red Environment
light's tint removed the blue contribution and left the scene lit
directionally red, with no shadow for its Cast Shadows to show. The tint
now weights the direction sum (a white light weights [1; 3], a coloured
one its normalised colour), so the sun and key are derived from the
radiance the light actually emits; add_environment computes the tint once,
before the direction pass, and reuses it for the texel tinting. An
achromatic image is unaffected (its weights scale uniformly), so the
default studio and white-lit scenes keep their shadows exactly.
Tests: opposed red and blue texels cancel to a white light but a red tint
points the sun straight at the red one (a blue tint, at the blue one); end
to end, a red Environment light over an image with equally bright red and
blue regions on exactly antipodal positions casts the shadow a white light
over the same image does not — and the shadow falls opposite the red
region, the side the tinted radiance comes from.
Two review points on the merge:
- env_pixels returned None both for an unconfigured light (no Source, no
Environment Layer) and for a failed source (a deleted layer, missing
footage, a failed decode), so a selected source that failed silently
swapped in the default studio environment — relighting and reshadowing
the scene behind the user's back. It now tells the three apart
(EnvPixels::Absent/Image/Failed): only the unconfigured light uses the
default; a failed source contributes nothing, exactly like a layer whose
source fails renders nothing. The repair the user can act on stays where
it already lives — missing footage is flagged on the item, with the
relink commands to fix it.
- The docs claimed only a uniform image casts no shadow. A non-uniform one
can be directionless too: opposing bright regions cancel, and anything
under 1% directional is rejected. agents.md, architecture.md and the
sun/dominant_direction doc comments now say an image without a
sufficiently strong dominant direction.
Tests: an unreadable Environment Layer (auto-picked), an unreadable
selected Source and a deleted one all light nothing — pixel-equal to the
unlit render, no studio default, no default-environment shadow — while an
unconfigured light still lights; two equal bright spots at opposite
azimuths cancel to no sun and no key, and tilting the balance re-emerges
pointing at the brighter spot.
The default studio environment's level-preserving mean of 1 acted like a
100% white Ambient light: with only the Environment light on, a white floor
rendered at full white (95% of the frame saturated) while its shadow core
went to pitch black — a fog over the scene, nothing like After Effects'
default. Three changes bring the look in line, CPU and GPU alike:
- The default environment is a dim studio now: a solid-angle-weighted mean
of 0.3 (and a stronger key gradient), so a white floor reads a mid gray
and the light's colour x intensity still scales the level.
- The shadow occludes only the image's directional (key) fraction of the
light — |sum of dir x radiance| / sum of radiance, computed beside the
dominant direction and carried in the scene — so the fill keeps shining
inside the shadow: an area-light shadow, partial like After Effects'
(a lone bright spot on black still shadows almost fully; a uniform image
not at all).
- The environment shadow map's penumbra has a floor — eight output pixels,
or four map texels where those are coarser — because the map covers the
whole scene bounding sphere rather than the view, and its texels would
otherwise stair-step the edge (all the more in a draft render's flat 512
budget). Shadow Diffusion widens it further, as before.
Tests: the key fraction tracks directionality; the default keeps its dim
level, its direction and its key; the default and a bright key both shadow
the floor (the default partial, the key deep) with Cast Shadows off lit
everywhere; and the full look — a mid-gray lit floor (no fog), a partial
core, and a soft edge ramp in quality and draft renders alike.
After Effects' default environment map casts shadows out of the box: an
Environment light with Cast Shadows on shadows the scene with no Source
set. The flat default cancelled its dominant direction to zero, so the
option did nothing until a Source image arrived. Give the default a soft
studio gradient (bright above and toward the initial camera, dark below
and behind), level-normalised so the light's colour x intensity still
sets the overall brightness; its dominant region drives the existing
shadow pipeline, CPU and GPU alike.
The Casts Shadows option Environment lights got is only half a fix if
nothing shades for it: an image lights the scene from every direction,
and what occludes that light is the image itself — its dominant bright
region, the sun in a sky map.
- dominant_direction finds it: the radiance-weighted mean texel
direction (solid-angle weighted, rotation applied). A uniform image
cancels to zero — a flat default environment shines from everywhere
at once and casts no shadow, which a uniform environment test pins.
- The shadow is one orthographic map over the scene from that
direction, after the lights' maps, like a parallel light's: PCF
widened by Shadow Diffusion, darkened by Shadow Darkness, cleared
when nothing casts, the image is directionless, or the texel budget
drops it.
- It darkens the environment's own diffuse and specular light on
Accepts Shadows surfaces and counts in Cast Shadows Only. CPU and
GPU (WGSL) do the same; Globals carries the environment's sun
direction and shadow settings (40 → 44 floats, preflight updated).
A bright-disc environment turned to shine from behind the camera now
shadows a sphere onto the floor behind it, Cast Shadows off lights it
evenly again, and the GPU scene's sky gradient takes a shadow-casting
Environment light. Also: the renderer-switch toasts read "...renderer,
which draws 3D models", the dialog's Casts Shadows checkbox gets an
auto id (dialog.light.casts) the tests click, and the docs' Environment
notes cover the shadow.
An Environment light had no visible effect, and its Light Settings dialog had
no Casts Shadows option — both halves of #2436.
No effect had two causes:
- Classic 3D (the default for new comps) skips Environment lights entirely,
so creating one did nothing. Adding one (or changing a light's type to it)
now switches the comp to Advanced 3D in the same undo step, with a toast,
exactly as model and primitive layers already do; switching back to
Classic 3D with an Environment light in the comp explains itself too.
- In Advanced 3D, a light with no Source and no Environment Layer produced no
environment at all. It now falls back to a flat default environment of the
light's colour × intensity, as After Effects does, so the light always
lights the scene per its parameters.
Cast Shadows was missing because the dialog and the light's property groups
shared one gate (Falloff and Shadows together) that excluded Environment.
The two are now split: every light but Ambient gets Casts Shadows, Shadow
Darkness and Shadow Diffusion (stored, edited and carried over on type
changes), while Falloff stays on Parallel/Spot/Point only — an environment
light shines from every direction at once and has no use for a falloff.
Tests: the renderer lights a card from a sourceless Environment light (colour
and intensity drive it, zero intensity lights nothing), the engine switches
Classic comps to Advanced 3D on creation and type change (one undo step,
toast, and the Classic 3D switch-back toast), Environment lights take and
carry shadow options but no Falloff, and the dialog ticks Casts Shadows on
a new Environment light.
Reconcile main 991904888a and preserve the reviewed lifecycle, IME, rendering and lockfile changes.
Formatting, strict lint, layers, assets and WASM passed. Full CI retained 3,961 passes, 14 baseline-matching GPU failures and 31 ignored executions. The local review commit has explicit approval to retain these documented failures; native/browser acceptance and paired app performance remain open.
Unfiltered, list_commands returns ~134 KB and list_effects ~480 KB, more
than MCP clients accept in one tool result. With `compact: true`,
list_commands (and its command_list alias) returns only each command's
id and label, and list_effects only each effect's id, name and category
(~40 KB and ~23 KB). Default output is unchanged; filter and
enabled_only still apply.
Scripts in Scripts/Startup and Scripts/Shutdown in the settings folder
were never run. The desktop and web apps now run the Startup scripts at
launch, before a project opens, and the desktop app runs the Shutdown
scripts as it quits, after the project is closed. Each folder runs in
alphabetical order with case ignored, and files larger than 16 MiB are
not run. A Startup script that fails is reported in a toast and in the
log, a Shutdown script that fails is reported in the log, and the next
one still runs.
A Startup script that waits in a modal dialog goes on when the dialog
closes, while the next scripts run. A Shutdown script's dialogs close
as if canceled. With the settings folder on disk, each script runs as
its file, so #include, $.fileName and $.evalFile resolve against the
script's own folder.
The new commands file.runStartupScripts and file.runShutdownScripts
return the scripts that ran, those still waiting in a dialog, and those
that failed. Like script.run, both are refused in confined automation
sessions, in batches and in script steps, which now read one list of
script commands (RUNS_SCRIPTS). The list also holds window.scriptPanel
and window.restoreScriptPanels, which run ScriptUI panel scripts and
were not refused on main either. The apps still call
window.restoreScriptPanels at launch. plugins.md, scripting-parity.md,
gaps.md, target-app-parity.md and agents.md describe the folders. Each script
still runs in its own global scope, so a Startup script's variables are
not available to later scripts.
* Dev profile: line tables only for workspace crates, no debug info for dependencies
* xtask ci: dev-profile gate, nextest, tests without examples, wasm --keep-going
* One integration-test binary per crate
* xtask ci: run effectcraft-gpu's shared-device tests in one cargo test process
* xtask ci: run every stage and report all failures
* xtask ci: name the stage type (clippy type_complexity)
* xtask ci: run every test pass and report all failures
* cargo fmt
Engine part of viewer picking: replace / add / remove the top-coverage ID at a
layer-space point in one undo step, at the time the Selection was read. The
aux channels come from the render's own path (Renderer::layer_aux, shared with
the effect host; footage at its source time, 3D precomps) through a renderer
set up like Session::render (expressions, render prefs, layer cache). An
optional scale snaps the point to the pixel a preview at that resolution
samples. New effects::crypto_select quotes names and falls back to <hex> for
unnamed, wildcard-looking or ambiguous names. effect.cryptomatteAt is the
read-only hover query.
A terminal already gets a live `[1/1] frame 16/180 ... ~14.2s left` line while
`effectcraft-cli render` runs. A program that starts the CLI (FilmCraft runs it to
render a composition for a clip) reads stderr through a pipe, so it saw nothing
until the render ended.
`--progress` prints one line per update instead, at most four a second:
progress <frames done> <frames total> <seconds elapsed> <seconds left, or - when unknown>
It has no effect on a terminal, which keeps its live line. Without the flag
nothing changes.
Documented in the usage text, the module header and docs/agents.md.
Tests: cargo fmt --check and cargo clippy --all-targets -D warnings pass; the
effectcraft-cli tests pass except render_out_is_relative_to_the_working_directory,
which already fails on Windows (it compares a canonicalize()d `\?\` path with the
path the CLI prints) and is unrelated to this change.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The face's own style (Figtree's Light) is its default instance, so it
resolves without axis values and lays out as before, on the static path.
docs/agents.md says how named instances are selected.
Retry only explicitly read-only control queries after connection failures. Report ambiguous edit outcomes without resending mutations, reconnect on the next explicit call, and reject request-ID exhaustion without overflow.
Add loopback regressions for lost and malformed replies, read-only retries, playback queries versus edits, and unknown methods.
Fixes#1247
Follow up on #1210: remove the fixed menu index from automation and click handling, and move the preset-folder documentation into the Effects & Presets section.
In After Effects, holding Alt while dropping the expression pick whip
refers to an effect's property by its index, effect("Color Control")(1),
instead of its name, ("Color").
prop.pickWhip takes byIndex: the effect keeps its name and each
property inside it is selected by its one-based place among its group's
children (nested groups too), which is what an expression's (1) reads.
Other properties, dimensions ([1]), insertion at the cursor and match
names (Compact English off) are as before. An index still reads a
renamed property, but another one if properties are reordered.
Tests: pick_whip_by_index_selects_effect_properties_by_their_index
(engine, the references); effectcraft-host pick_whip (by index and by
name read the same values, nested and per dimension).
On a selected layer's row, the Parent menu and pick whip and the Track
Matte menu now set every selected layer's parent or matte, as moving a
selected layer's bar moves them all; on an unselected row they set that
layer's alone. Each is one undo step. A selected layer chosen as the
parent or the matte is left out of the layers it links, and parenting
that would make a loop is refused as a whole.
A new matte layer keeps each layer's mode (layer.setTrackMatte with
kind: preserve); a mode and No Track Matte apply to all of them.
The Track Matte column gets a pick whip, like the parent's
(timeline.layer.<id>.trackMattePickWhip, with a translated tooltip):
dropped on an audio-video layer's row, it makes that layer the matte.
The layers a parent or matte pick whip links are taken when its drag
starts.
Tests (ui_batch_links): the Parent menu and pick whip, and the Track
Matte menu, mode, No Track Matte and pick whip, with real clicks and
drags: selected layers change together and unselected ones don't, modes
are kept, one undo puts links, compensated transforms and the matte's
visibility back, and a refused cycle changes nothing. Both fail on main.
bflatastic