# Architecture

EffectCraft is a stack of small Rust crates. The engine knows nothing about the user interface;
the egui frontend, the command-line tool and the MCP server all sit on top of the same `Session`
and drive it through the same command registry.

## 1. Crates and layering

Dependencies only point downward (or along the few same-layer edges listed below). `cargo xtask
layers` enforces this, and fails the build if a crate below L5 depends on egui, eframe, winit, rfd,
cpal or muda. Everything in L0 to L4, the egui UI and the web app also build for
`wasm32-unknown-unknown` (`cargo xtask wasm`); see [web.md](web.md).

| Layer | Crate (`effectcraft-…`) | Responsibility |
|---|---|---|
| L0 | `time` | `Tick` (254 016 000 000 per second), rational frame rates incl. NTSC, SMPTE and drop-frame timecode |
| L0 | `geom` | Vectors, matrices, quaternions, the layer transform (anchor, position, scale, orientation, rotation) |
| L0 | `color` | sRGB and linear, HSL/HSV, luminance, the 38 blend modes, label colors |
| L1 | `raster` | Premultiplied float images, sampling, affine and projective warps, blurs, compositing (parallel with rayon) |
| L1 | `keyframe` | Animated values, keyframes with temporal ease and spatial Bezier, roving, hold, velocity |
| L1 | `path` | Bezier paths, path operators (trim, offset, round corners, zig zag, twist, merge…), stroking, coverage masks |
| L2 | `project` | The document: items, compositions, layers, the property tree, render queue model, `.ecproj` serde |
| L2 | `text` | Fonts, shaping, layout, per-glyph geometry, text animators and selectors |
| L2 | `effects` | The effect registry (241 effects) and their CPU implementations |
| L2 | `track` | Motion tracking: feature/search region point tracking (pyramid normalized cross-correlation, Lucas–Kanade sub-pixel refinement), confidence, homography/affine/similarity solves |
| L3 | `render` | Evaluation and compositing: sources, masks, effects, transforms, 3D, motion blur, mattes, blending, layer cache, audio mixdown |
| L3 | `media` | Footage decoding (FilmCraft's pure-Rust codecs), image sequences, frame cache |
| L3 | `expr` | The expression engine (JavaScript via boa) with the After Effects object model |
| L3 | `export` | Render queue encoding: H.264, ProRes, PNG/JPEG/TIFF/EXR sequences, GIF, audio |
| L3 | `lottie` | Lottie JSON / dotLottie import and export (layers, precomps, eased and spatial keyframes, shapes, masks, mattes) with a warnings list for what Lottie cannot express |
| L4 | `engine` | `Session`: project, undo history, editor state, the command registry and menus |
| L4 | `host` | A fully wired `Session` (media, expressions, exporter) for the frontends |
| L5 | `ui-egui` | The desktop interface: docking, panels, viewer, timeline, graph editor, dialogs, control channel |
| L5 | `automation` | The MCP server, headless or bridged to the running app |
| L6 | apps `effectcraft`, `effectcraft-cli`, `effectcraft-web` | Desktop app; command-line tool (render, exec, get/set, MCP); the browser app (wasm32, [web.md](web.md)) |

Allowed same-layer edges: `path → keyframe, raster`, `text → path`, `effects → project, text, path`,
`media / expr / export → render`, `export → media`, `lottie → format`, `host → engine`.

## 2. Time

All time is an integer `Tick`, 254 016 000 000 per second, the least common multiple of every
broadcast frame rate (×1001) and audio sample rate, so frame and sample positions are exact.
Keyframe times are in **layer time**; `layer_time = (comp_time - start_time) / stretch`, and a
Time Remap property overrides the source time. Commands snap layer times, keyframe times and
comp durations to whole frames, as After Effects does. Timecode is only a display.

## 3. Document model

```
Project { settings, items, render_queue }
Item    { id, name, label, parent folder, kind: Folder | Comp | Footage | Solid }
Comp    { size, pixel aspect, frame rate, duration, start timecode, background, work area,
          layers (index 0 = layer #1), markers, motion blur shutter, renderer }
Layer   { id, name, source (footage | comp | solid | text | shape | null | camera | light),
          in/out/start, stretch, switches, blend mode, track matte, parent, props }
```

Everything animatable is a `Property` in the layer's `PropGroup` tree, addressed by a path such as
`transform/position`, `effects/#1/blurriness`, `masks/#1/feather`, or by `@uid`. Effects, masks,
text animators and shape contents are groups in the same tree.

## 4. Rendering

`Renderer::comp_frame(comp, t)` walks the layers bottom to top. For each visible layer it renders
the **source** (solid, footage frame, text, shape contents, or a nested comp), applies **masks**,
then **effects** in order, then **layer styles**, then the **transform** into comp space (with motion blur sub-samples
when enabled), the **track matte**, and finally **blends** into the accumulator. Adjustment layers
apply their effects to the accumulator. Runs of 3D layers are composited per pixel through the
active camera, with lights, shadows and depth of field.

A **layer cache** keeps each layer's finished pixels (source, masks and effects) keyed by a hash of
its evaluated inputs, excluding the transform. Static and transform-only layers render once;
editing one layer re-renders only that layer. Effects that read the clock directly are declared in
`effects::TIME_DEPENDENT`, and a test checks every registered effect against that list.

**Time effects** (Echo, Posterize Time, Timewarp…) read the layer at other times through
`EffectHost::self_at`: the renderer renders the layer's source and masks (plus, optionally, the
effects before it) at that layer time via `Renderer::layer_input`, cached under separate *input*
keys, with a nesting-depth guard.

**Audio** is mixed by `render::audio::mix_comp` in blocks: Audio switch, solo, Audio Levels and
the Effect > Audio effects (`effects::audio_fx`, applied per layer with a pre-roll so blocks are
independent). Export and preview playback share it; the desktop app plays it through cpal and the
audio clock drives preview playback (`ui-egui::audio`).

**Layer styles** (Layer ▸ Layer Styles; `crates/render/src/styles.rs`) render in layer space and
may grow the layer's bounds. Drop Shadow and Outer Glow become separate passes composited below the
layer with their own blend modes; the interior styles, Stroke and Bevel and Emboss are baked into
the layer body. Layer opacity fades the whole stack; Knockout and the R/G/B channel switches apply
at composite time. Styled pixels are cached separately from the layer content, so editing a style
reuses the cached source/masks/effects. Global Light is one setting per comp, mirrored into every
layer's Blending Options and kept in step after each edit.

**Paint and Puppet** are effects whose instances carry nested groups. Paint (`effects::paint`)
holds Brush / Clone / Eraser strokes (Path, Stroke Options, Transform, hidden Duration span);
strokes rasterize as brush-tip dabs and composite in order, and the layer cache key includes which
strokes are visible at the frame. Puppet (`effects::puppet`) holds meshes and pins: the mesh is
traced from the input alpha, expanded, and triangulated (Delaunay + constraint recovery, cached
by content); pins drive an as-rigid-as-possible solve (Igarashi et al. 2005) each frame and the
input is texture-mapped through the deformed triangles. The renderer flattens nested effect
groups into `Params` keys (`effects::flatten_params`). Commands: `paint.*`, `puppet.*`.

Half, Third and Quarter resolution render proportionally fewer pixels end to end.

**Colour and bit depth** (`crates/render/src/color.rs`, `crates/color/src/space.rs`). Pixels are
`f32`, but 8 and 16 bpc projects clamp and quantise each layer after its source and masks and
after every effect, and the comp after every layer (16 bpc uses 0..32768), so over-range values
(Add, Screen, Exposure…) only survive in 32 bpc; blend modes without HDR support clamp their
inputs in 32 bpc. With a working space (sRGB, Rec. 709, Rec. 2020, Display P3; matrices derived
from the published primaries), footage is converted from its colour profile (stream metadata or
Interpret Footage, else sRGB) and the top-level comp is converted to the sRGB display. Linearize
Working Space runs everything in linear light; Blend Colors Using 1.0 Gamma linearises only for
blending. Layer cache keys include these settings.

**Frame blending**: footage and precomp layers whose source time falls between source frames
(rate conform, stretch, remap) blend the two neighbouring frames, by cross-fade (Frame Mix) or by
hierarchical block-matching optical flow and a bidirectional warp (Pixel Motion,
`raster::flow`).

**Collapse Transformations**: a collapsed precomp layer without masks, effects or styles draws
its nested layers straight into the parent with concatenated transforms (one resample), so
nested blend modes and adjustment layers act on the parent's layers; nested 3D layers use the
parent's camera and lights and, when the precomp layer is 3D, are depth-sorted with the parent's
3D run. Masks, effects or styles force a flattened render. On text and shape layers the switch is
Continuously Rasterize: the source is rasterised at its on-screen scale. Quality: Draft samples
nearest-neighbour, Wireframe draws the layer bounds. Slip edit (`layer.slip`, Alt+PageUp/Down,
dragging the source bar in the timeline) moves the source under fixed in/out points.

**Motion tracking** (Animation ▸ Track Motion / Stabilize Motion, Window ▸ Tracker): a tracker
is a `Tracker` group under the layer's Motion Trackers group, with Track Point groups (Feature
Center, Feature Size, Search Offset, Search Size, Confidence, Attach Point, Attach Point Offset)
keyframed per analysed frame. `track.analyze` renders the layer's source frames
(`Renderer::layer_source`) on a background thread (`engine::tracking`, polled like the render
queue; blocking with `wait`), and `effectcraft-track` matches each point in parallel. One undo step
covers an analysis. `track.apply` keys the target's Position/Rotation/Scale, the tracked layer's
Anchor Point and Position (Stabilize), or a Corner Pin effect (Parallel / Perspective).

## 5. Expressions

Expressions are JavaScript, run by boa, with After Effects' object model (`thisComp`, `thisLayer`,
`time`, `value`, `wiggle`, `loopOut`, vector maths on arrays, and so on). A syntax error keeps the
text, disables the expression and shows a warning, like After Effects.

## 6. Commands, the UI seam and automation

Every action is a command: an id, a label, a menu path, a shortcut, a parameter description,
`enabled()` and `run()`. The menu bar is a tree of command ids. The desktop UI, the command line,
the JSON control channel and the MCP server all dispatch by id, so anything a person can do from a
menu, an agent can do too. Every interactive widget registers an automation id, so agents can also
inspect and click the interface. See [agents.md](agents.md) and
[control-protocol.md](control-protocol.md).

Settings (`engine::prefs`), keyboard shortcut presets (`engine::shortcuts`) and auto-save /
crash recovery (`engine::autosave`) live in the engine too; they persist through a
`ConfigStore` the frontend provides (a directory on the desktop, `localStorage` on the web).
The shortcut dispatcher and the menus read the active preset. See
[preferences.md](preferences.md).