Refraction samples are clamped to the layer rectangle instead of the buffer, so a sample past the
layer's edge in a buffer with transparent padding (a half-resolution preview's, a text or shape
layer's) repeats the layer's edge pixels rather than reaching the pale colour that stands in for
transparent ones. Transparent pixels inside the layer still show it. Same bounds on the GPU path.
Re-pins the four half-resolution CC Bubbles golden hashes (aarch64 macOS); the full-resolution
ones are unchanged. Adds a CPU test and a GPU-vs-CPU parity test on padded buffers.
occlusion computes its three channels as one vector instead of writing a
vector component through a loop index, which FXC cannot address and tried
to unroll every enclosing loop for (X3550/X3511). classic3d now also
builds like the effect kernels: if a compiler rejects it, 3D runs render
on the CPU instead of the whole compositor failing to start. The ignored
FXC diagnostic test now checks classic3d instead of the stale pointwise
failure.
Resolve the conflict in crates/gpu/src/fx_stylize.rs: main moved ops::warp to
the ops::WarpOptions parameter struct; the branch's per-sample transform loop
(motion-blur samples, now passing the sample by reference) uses the new
signature with the branch's reference argument kept.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Accelerator::comp_frame_yuv420 (default None) renders a top-level comp frame and
converts it over the background to the H.264 export's 8-bit BT.709 limited-range
4:2:0, every byte within one level of the CPU conversion (the GPU kernel follows
it operation for operation, including NaN and half-away-from-zero ties, but a
driver may contract its arithmetic). A 4K frame then reads back 12 MB of planes
instead of 133 MB of RGBA f32.
The H.264 export asks the accelerator for planes when a frame needs nothing after
the render (progressive, project depth, no crop/resize, rendered at the output
size) and otherwise renders and converts on the CPU as before. Deferred
readbacks (a browser worker) keep the pass-based path. Sizes the kernel can't
take (width not a multiple of 8, odd height) are declined before any GPU work.
Like Cx::frames, h264_frames caps GPU frames in flight only while the
accelerator is up (map_frames_while with the same liveness check): once the GPU
stops for good, the remaining frames render on the CPU side by side instead of
one at a time.
rgba_to_yuv420 moves to effectcraft_raster::yuv so the export and the GPU tests
share one reference. The GPU tests skip without an adapter (tests::gpu()), as
the crate's others do.
Turbulent Displace read its noise through value_noise, whose quintic fade also
eased the evolution axis. Near every whole revolution the pattern hardly moved:
Evolution 0 and 37 degrees (or 360 and 400) differed by well under a hundredth of
the frame, so different Evolution values looked identical, and the motion sped up
and slowed down within each revolution (the #1816 symptom).
Add value_noise_linear_z (x and y keep the fade, z is linear) on the CPU and in the
WGSL kernels and use it for Turbulent Displace on both paths. value_noise is
unchanged, so the other effects and the pinned simulation goldens are unaffected.
Tests: CPU test that non-equivalent Evolution values (fractional, past 360, past
720) all differ and that Cycle Evolution still matches 0/360; unit test of the
linear z axis; GPU-vs-CPU cases at small and large Evolution.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FYXhNN7W7nB6sKjwwU7CDM
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.
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.
Near the borders a bubble's refraction (liquid) or reflection (metal) sample
lands outside the layer. sample_bilinear returns transparent there, so the
pale stand-in colour for transparent pixels showed through, a band of washed-out
bubbles along every edge. Sample with edge pixels repeated instead, on the CPU
and in the GPU kernel; the pale colour stays for genuinely transparent pixels.
The CC Bubbles golden hashes are re-pinned (the half-resolution cases pad the
buffer with transparent pixels and are unchanged).
The PCF tap jitter was keyed on the receiver's 1/8-texel cell in the
shadow map. The GPU computes the receiver's map position with last-bit
differences from the CPU, so a receiver next to a cell line could take
another cell's jitter on one backend, and every tap moved. In a wide
penumbra that changed the coverage by several 8-bit levels:
gpu_matches_cpu_wide_penumbrae failed on Windows with 15 of 4159
shadowed pixels on an NVIDIA RTX 5080 and 22 on an AMD Radeon iGPU,
against a budget of 8.
tap_jitter now blends the hashes at the four corners of the cell by
the receiver's position in it, in shade.rs and in advanced3d.wgsl. At
the lattice points the jitter is the per-cell hash it was before. A
CPU test checks that the coverage does not jump at a lattice line.
Shadow maps use the full scene-derived size (point-light faces capped
at 2048) under a 26M-texel scene budget halved largest-first; the PCF
filter measures its reach in output pixels with a two-texel minimum,
samples texel centres on a jittered adaptive 5..10 grid, and compares
each texel against the receiver plane's own depth so wide kernels never
self-shadow lit casters. The WGSL mirror is parenthesised (Tint rejects
the old form) and guarded by a shader-wide grammar test; the CPU
reference and shader remain step-for-step parity-tested.
The gradient antialias could leave a half-covered pixel where an opaque source reaches h = 1. Add an endpoint guard on CPU and GPU and cover an opaque edge in the regression test.
Use the measured Softness kernel (sigma = 0.42 * Softness), threshold the blurred height with a ~1 px antialias, and allow Cut Away 100 to empty the matte. Split the source-matte displacement from the height-field RGB refraction: the matte uses a z=1 bevel normal fitted to the T2 step edges, while RGB follows the measured z=height refraction. Align the documented AE defaults and add CPU regression tests for the cut threshold, Cut Away 100, and the inward matte warp. Update the GPU kernel and parameters to match, keeping CPU/GPU parity.
kernels.wgsl repeats Glow's bright-pass gain 8.0 and knee 0.0611 as literals; they now
name effects::GLOW_GAIN / GLOW_KNEE (exported) and the test
glow_constants_match_the_cpu (no GPU needed) fails if they drift. docs/effects-parity.md:
the summary row no longer says no effect is compared with After Effects while the
Blur & Sharpen row reports Radial Blur's comparison (CodeRabbit on #1873), and the
Radial Blur changelog row says CPU only (it has no GPU path).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
WGSL cannot read Rust constants, so the Rec. 601 luma (Tint, Tritone, Luma Key /
Extract), Black & White's tint weights and Exposure's 2.2 power stay literals in the
kernels; they now name their Rust source (effects::LUMA_601, BW_TINT_LUMA,
EXPOSURE_LINEAR_GAMMA, newly exported) and the test shader_constants_match_the_cpu
(no GPU needed) fails if a literal drifts. gpu_tint_defaults_match_after_effects_greys
says "skipped: no GPU adapter" when it skips (EFFECTCRAFT_REQUIRE_GPU=1 still makes it
fail). docs/effects-parity.md: Brightness & Contrast is close to, not the same as,
After Effects (up to 6.2/255), and the summary row lists what is measured.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects feathers both edges of the wiped wedge (the start ray too) with
a Gaussian whose width is constant in pixels: Completion 40, Start Angle 30,
Counterclockwise, Feather 20 (AE 2026, case 904 E12) fits sigma = 0.4 x
Feather = 8.0 px at every radius (mean alpha error 0.0002 over the frame).
EffectCraft ramped only the moving edge, linearly over Feather degrees, so
the edge was 14 px wide near the centre and 140 px wide at 400 px out, and
the start edge was hard: 378 of 5184 grid points off (max 111/255, 6.6 % of
pixels > 8), now 1 (max 3), 0.009 % of pixels > 8 (near the centre). CPU and
GPU (the kernel now measures distances to the two rays). 0 % and 100 % are
unchanged, so the three Transitions presets keep their end frames; their
Feather (6 / 10) now means pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects measures the blinds' phase from the layer's centre and softens
both edges of the transparent band with a Gaussian of sigma = Feather / 2; the
band runs from the origin's phase to Completion x Width. EffectCraft measured
from the buffer corner and ramped only one edge linearly over Feather (a hard
edge on the other side). Fitted to AE 2026 renders of Completion 40,
Direction 30, Width 50, Feather 5 on a 960 x 540 and a 480 x 270 layer (the
origin is the centre + 0.6 px): case 715 was 499 of 5184 grid points off
(max 91/255, 7.1 % of pixels > 8), now 28 (0.056 %), all within ~6 px of the
layer edge where AE differs (up to 48/255, not modelled); away from it within
6/255 (test: one AE row of the 480 x 270 render). CPU and GPU (new erf-based
kernel, same term count). Completion 0 / 100 are unchanged, so the
Transitions presets keep their start and end frames.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Radial Blur keeps a layer's edges: Zoom 20 on a flat grey 960x540
solid over red (case 713) stays flat and opaque to its edge, and a zoomed
full-frame ramp (case 829) keeps the frame opaque (2/255 at x = 2, 253/255 at
x = 1917 on row 540). EffectCraft sampled transparency outside the layer, so its
edges faded and the red below showed through (713: 3.9 % of the frame off, max
64/255). Now 713 is identical to AE (max 0/255), CPU and GPU. CC Radial Blur
(already matching AE) is unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Glow Colors = Original Colors, After Effects thresholds each channel of
the straight colour separately and the glow is 8 x (value - threshold +
0.061) per channel (times Intensity), nothing below: fitted to AE 2026
renders of grey 0.65 / 0.8 / 0.9 / 1, orange (1, 0.5, 0) and (0.2, 0.6, 1)
solids at Threshold 40 / 60 / 80 % and Radius 10 / 30 (36 channel values,
exact to the 8-bit capture; an orange solid glows red only). EffectCraft
scaled the colour by a luminance threshold (k = (L - thr) / (1 - thr)), about
3.7 x too dim on white. Cases 806 / 810 / 811 (32 bpc): outside the layer
now within 3/255 of AE (806 white at Intensity 1: 119 = AE, was 32); grid
0 points off for 806-810. The glow's alpha (the blurred layer alpha) and the
Arbitrary Map / A & B colours and alpha-based glows are unchanged.
Stacked on fix-glow-halo (same lines). Not changed: Composite Original's
semantics are swapped against AE's names (EffectCraft's "On Top" adds the
glow over the original, which AE calls "Behind"; AE's "On Top" keeps the
original over the glow), so imported AE Glows at the default Behind show
no glow inside the layer (811 interior 204 vs AE 255).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Glow Based On Color Channels, After Effects gives the glow the layer's whole
alpha (blurred), not the thresholded part, and Intensity scales only its colour:
a layer below the threshold darkens what lies under its edge. Fitted to AE 2026
renders of a grey solid over red (cases 524, 807-809): the halo is the same at
Intensity 1 and 3 and with Composite Original Behind or On Top, and its edge is
an erfc step of sigma = 0.384 x Glow Radius at radius 10 and 30 (was radius / 2).
524 (Glow defaults on a 50 % grey solid): EffectCraft had no halo (max 116/255
off at the edge); now red 248/234/208/165/140 at 7.5/5.5/3.5/1.5/0.5 px outside
vs AE 249/235/206/164/140, max 2/255 over the frame, CPU and GPU. The blur
width applies to every glow; alpha-based glows keep their coverage rule
(thresholded alpha, scaled by Intensity). Not matched yet: the brightness of glows above the
threshold (AE about 3.7 x brighter for a white solid, cases 806, 810, 811).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Without a Fill Mask, After Effects turns the layer into the fill colour and
applies Opacity to its alpha; nothing of the original shows through. AE 2026
renders Fill (0, 0.5, 1) at Opacity 50 % on a Gradient Ramp over a red solid
as premultiplied (0, 0.251, 0.502) at alpha 0.502 at every pixel; EffectCraft
mixed the fill with the ramp (mean difference 95.5/255), now within 1/255,
CPU and GPU. Invert fills the transparent part the same way. With a Fill
Mask the mix with the original is unchanged (not measured). Lottie's fill
effect (colour, alpha x opacity) now plays the same in EffectCraft.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects weighs each of the four points by its inverse squared
distance softened by Blend squared, 1 / (d^2 + Blend^2) in pixels: fitted to
AE 2026 renders of the default gradient at Blend 10, 100 and 300 and case
904 E16 at Blend 50 (power 2.00 at every Blend, softening 0 / 2367 / 9817 /
90127 = about Blend^2; mean error 0.27/255, max 0.9). EffectCraft used
1 / (d^2 / (100 Blend))^1.5, in which Blend cancels out: E16 was 34/255 off
on 99 % of the grid, now 0 grid points off, max 1/255, CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 keys Luma Key and Extract (Channel Luminance) on Rec. 601
weights of the working-space values: Key Out Darker / Extract Black Point at
65, 166 and 24 on pure red, green and blue keep red (601: 76, 709: 54) and
blue (29 / 18) and key out green (150 / 182) - Rec. 709, which EffectCraft
used, decides all three the other way. Case 904 E18 (Extract 30 / 220 /
softness 10 on grey and colour steps): 513 of 5184 grid points off (pure blue
kept at 231 in AE, keyed out in EC), now 0, max 0. CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Luma Key removes everything darker (or brighter) than Threshold
and ignores Tolerance for those two key types; Tolerance only sets the band of
Key Out Similar / Dissimilar. EffectCraft ramped the matte over Tolerance, so
case 719 (a 50 % grey, Key Out Darker, Threshold 140, Tolerance 20) kept about
80 % of the layer where AE keys it out completely.
Measured in AE 2026 on a vertical grey ramp (cases 812-814): Darker keys up to
level 139.9 and keeps 140.1 (EffectCraft now the same row); Similar keys levels
120.3-160.0; with Edge Thin 1 / Edge Feather 2.5 the matte rises over rows
591-596 (EffectCraft within 0.2 of AE's alpha there). CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In After Effects 2026 the non-legacy curve of Brightness -40 is the inverse
of Brightness +40 (within 2.6/255 on a full black-to-white ramp) and Contrast
-50 the inverse of Contrast +50. EffectCraft fitted the negative brightness
with its own power (2^(1.32 |b|) on v), 20/255 off AE at -40; the negatives
now use the reciprocal exponents of the positive curves: Brightness -40 max
6.2/255 (was 19.8), Contrast -50 4.1 (was 7.0); positives unchanged (40:
5.5, 80: 7.8, Contrast 50: 2.7, 90: 5.0; B20 C30: 6.6, which confirms
brightness before contrast). The #681 oracle samples still pass. CPU and GPU.
The positive curves' remaining 5-8/255 needs a better curve family (a
two-point spline fits each capture within 1.6/255), left open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 in a 32 bpc project, Levels (Individual Controls) with RGB
(0.1, 0.9, gamma 1.5, 0.05, 0.95), Red Gamma 0.8, Green Input White 0.8 and
Blue Output Black 0.2 on grey steps 0..255 (case 904 E07): every step matches
"each channel's controls, then the RGB controls" with nothing clipped
(values below Input Black end below Output Black, above Input White above
Output White). EffectCraft ran RGB first and clipped "Off for 32 bpc Color"
(it could not see the bit depth): up to 27/255 off on 95 % of the grid; now
0 grid points off, max 1/255, CPU and GPU.
EffectEnv gains float_depth (the renderer sets it for 32 bpc projects), so
"Off for 32 bpc Color" clips in 8 / 16 bpc projects as before. Unclipped
values below 0 take the gamma mirrored through 0. Plain Levels keeps its
order (its channel controls were not measured); its clipping follows the same
rule. EffectCraft's own projects default to 8 bpc and are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Bypass Linear Light Conversion off, Exposure decoded and re-encoded
with the piecewise sRGB curve. After Effects 2026 renders (sRGB working
space, 32 bpc) of Offset 0.0005 / 0.002 / 0.02 / 0.1 on black measure
8 / 15 / 43 / 90, which a pure 2.2 power predicts (8.06 / 15.13 / 43.08 /
89.54) and the sRGB curve does not (1.65 / 6.59 / 38.68 / 89.04).
The effect now uses its own 2.2 power curve on the CPU and in the GPU
kernel; the shared colour functions and other effects are unchanged. As
before, the conversion applies whatever the working space, also a
linearised one. Negative values go through both curves mirrored (input
was clamped at 0 before), so defaults are an identity for 32-bpc values
and a negative Offset darkens past black without NaN.
New test against the AE values; existing Exposure tests still hold.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects tints Black & White's gray like a Color blend: the tint colour's
hue and saturation at the gray's luminosity (weights 0.3 / 0.59 / 0.11, channels
outside 0..1 pulled back toward the gray). EffectCraft used the gray as HSL
lightness. Measured in AE 2026, Tint Color [1, 0.5, 0]: a red solid at Reds 10
(case 717) AE (43, 21, 0), EffectCraft was (51, 26, 0), now (43, 21, 0); a
yellow solid at the default sliders (gray 0.6, case 825) AE (255, 129, 2), now
(255, 129, 3); white stays white. The six sliders already matched AE on eight
colours (cases 816, 817). CPU and GPU.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects' Tritone weighs the working-space values with Rec. 601 (0.299,
0.587, 0.114), as its Tint does; EffectCraft used Rec. 709. Case 718 (red solid,
Highlights [1,1,0.8], Midtones [0.6,0.2,0.2], Shadows [0,0,0.3], Blend 25):
AE (132, 23, 46), EffectCraft was (113, 16, 49), now (132, 23, 46). On a grey
ramp (case 815) the shadows / midtones / highlights mapping already matched and
still does within 1/255. CPU and GPU (fx_color op 4).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
After Effects 2026 (sRGB working space, not linearised) maps red, green,
blue and 50% grey solids at Tint's defaults to 76, 150, 29 and 128/255:
Rec. 601 weights on the working-space values, not Rec. 709. CPU and GPU
kernel changed; tests pin the four greys within 1/255.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
