Merge origin/main into the NVENC branch. #183 already provides the
HardwareEncoding enum, ExportSettings.hardware_encoding, the
hardwareEncoding export param and the Export > Video > Hardware Encoding
checkbox, so the duplicates from this branch are dropped and NVENC uses
them. filmcraft-export is now an all-platform dependency of
filmcraft-platform (VideoToolbox and NVENC both register encoders).
Never-crash fixes in the NVENC backend:
- submit() rejects a driver input pitch narrower than a row (and unlocks
the buffer); fill_nv12 uses get_mut instead of slicing rows.
- composition offsets use saturating math and i32::try_from; frame-rate,
size and timestamp casts are checked; sizes above u16::MAX decline.
- Annex B scanning and NAL type checks use get()/first().
- A failed nvEncOpenEncodeSessionEx that returns a handle destroys it.
ffi.rs carries NVIDIA's MIT notice for nvEncodeAPI.h, listed in
ATTRIBUTION.md under a new "Third-party source code" section.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
refresh() cleared the Missing badge, but the media pool kept the
MEDIA NOT FOUND slate cached under the item, so the monitors kept
showing it. The regression test now checks the rendered frame too.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Type-tool click now goes through new_text_action; Vertical Type swaps
in graphics.newVerticalText and never draws a paragraph box (vertical text
is point text). Drops the dated ROADMAP log line (the maintainers keep the log).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
graphics.newFromFile resolved the Motion anchor with the sequence frame size
instead of the imported picture's size, so a picture smaller than the frame
got its anchor at the frame centre (e.g. 960,540 for a 4x2 image). Setting
Motion ▸ Position then moved the wrong point and the picture landed far from
where it was asked to go. place_video_clip now resolves auto points with the
source's own size (Project::source_size), falling back to the frame size.
The new-layer-from-file test checks the anchor is the picture's centre; it
fails before this change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Root cause: the only Select All was `edit.selectAll`, which fills the
timeline clip selection (`state.selection`). Nothing filled the Project
panel's selection (`state.project_selection`), so with 161 imported
items the user had to click each one.
Fix:
- `project_panel::commands()` gets `project.selectAll` (selects every
item in the project) and `project.deselectAll` (clears the Project
panel selection). They are regular journalled commands with no menu
entry and no shortcut of their own, so they add no shortcut conflicts.
- `handle_shortcuts` (ui-egui) remaps a fired `edit.selectAll` /
`edit.deselectAll` to the `project.*` command when the Project panel
has focus. Cmd+A / Cmd+Shift+A keep acting on timeline clips
everywhere else, and `edit.selectAll` behaves exactly as before.
Out of scope: no menu entry. The Edit ▸ Select All menu item still
calls `edit.selectAll` directly, because menu clicks don't go through
the focus remap. The regression test checks the engine commands but not
the UI keyboard remap.
Regression test: project_panel_tests::select_all_selects_every_project_item
(fails without the fix: unknown command).
Co-Authored-By: ninso112 <ninso112@pm.me>
Co-Authored-By: Luna161 <Rosenkranzrene@gmail.com>
Adds `Format::Hevc` (Export > Format > H.265 (HEVC); `"format": "hevc"` in
`file.exportMedia`): HEVC Main, 8-bit 4:2:0, in MP4 (`hvc1`) or QuickTime, with AAC audio,
encoded by the macOS hardware encoder. There is no built-in H.265 encoder (one in pure Rust
is a project of its own, and x265 is GPL), so the format exists only where the OS has one.
- `videotoolbox_encode`: the session wrapper creates HEVC sessions too (`VtProfile::HevcMain`;
the profile also says which codec). Keyframes are the HEVC random access points (NAL types
16 to 21); the parameter sets are VPS / SPS / PPS; the `hvcC` record in the MP4 sample
entry is the one VideoToolbox writes (sample description extension atoms), so profile,
level and flags are the encoder's own. `VtEncoder::uses_hardware()` asks VideoToolbox
whether the session runs on a hardware encoder (a test checks H.264 and HEVC), so a
requirement dropped by accident could never become a silent software encode.
- `hardware_encode`: one adapter for both codecs. Choosing the format is the opt-in (the
`hardware_encoding` setting is for H.264). `hevc_available()` (one small hardware session,
created once) is registered with the new `filmcraft_export::register_format_probe`, so
`available(Format::Hevc)`, the format list of Export mode and `exportFormats` follow the
machine. `Format::has_builtin_encoder` says which formats need such a probe.
- `export`: `Format::is_h26x` where H.264 and H.265 behave alike (MP4 or QuickTime, AAC, size
estimate, summary line). Two-pass VBR is refused up front ("H.265 export has no two-pass
mode") and HDR sequences export as SDR, because there is no encoder to fall back to.
- Export mode: H.265 shows H.264's multiplexer, audio, metadata and bitrate controls, without
profile, level, two-pass or the hardware checkbox, and says "Encoder: Hardware".
Apple M1 (8 cores), 1080p25, a 9:29 timeline (camera clip, ProRes 4444 overlays, AAC,
loudness): hardware H.265 at 10 Mb/s 195 s, hardware H.264 at 20 Mb/s 204 s (CPU 1029 s and
1042 s; the same H.264 export took 193 s and 200 s on other runs). It is not faster: the codec
that compresses further is the more expensive one (raw encoders: 166 and 189 frames/s), and
the export is bound by the CPU compositor, not by the media engine.
Quality per bit, 30 s of the same timeline against a ProRes 422 HQ export (average PSNR over
the three planes, SSIM): 20 Mb/s 46.88 dB / 0.9902 (H.264) and 46.91 dB / 0.9903 (H.265);
10 Mb/s 44.96 / 0.9863 and 45.09 / 0.9863; 6 Mb/s 43.72 / 0.9833 and 44.31 / 0.9843; 4 Mb/s
42.91 / 0.9807 and 43.64 / 0.9825; 3 Mb/s 42.37 / 0.9786 and 43.05 / 0.9807. The same picture
at 10 Mb/s and above; at 3 to 6 Mb/s H.265 needs 22 to 31 % less bitrate for the same PSNR.
Both formats therefore keep the same default bitrate. Details in docs/performance.md (HW3).
Tests: tests/hardware_encode.rs gets the HEVC counterparts of the H.264 ones (what is taken
and declined, a round trip through our HEVC decoder with luma PSNR above 30 dB, keyframes, MP4
and QuickTime exports with AAC, ffmpeg / ffprobe reading `hevc` / `Main` / `hvc1` /
`yuv420p` / BT.709, exact sizes, hostile configurations, encoders dropped at any point, the
format list agreeing with the probe, sessions on the hardware encoder); settings_tests.rs
checks names, ids, defaults, the summary, two-pass refusal and the probe; export_ui.rs the
controls H.265 shows and hides.
Stacked on the hardware H.264 encoder (the first commit of this branch).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Export mode, the status bar and the Progress panel showed "Encoding 37%" and nothing about how
long the rest would take. They now say "37% · 2:05 left".
- `Progress::eta()` (the new `pace` module) is the time left at the job's speed over the last
15 seconds. Each call is also a reading, so the UI polling on every frame it draws the job
feeds it, and none of the places that advance `done` had to change. A trailing window follows
the real speed changes of an export (an intro, a banner, plain camera footage) where an
average since the start lags; a stall makes the estimate grow instead of freezing it; a long
idle start (the loudness pass) is not counted as the job's speed; nothing is shown until a
second of readings has progress, and nothing once the job is done or finished.
- `format_eta`: `45 s`, `2:05`, `1:02:05`, rounded up.
- Shown in the status bar ("Exporting... 37% · 2:05 left", and the `status.job.progress`
automation label), in the Export queue (on its own line: the column is narrow) and in the
Progress panel. The engine adds `etaSeconds` (null while unknown) to every job of `jobs.list`
and to the encoding items of `export.queue.list`; docs/agents.md says so.
Measured on a whole 9:29 export (193 s, Apple M1), asking every 3 s: the first estimate comes
after 6 s; from 30 s on, the predicted end of the export is on average 1.1 s early and never
more than 14.5 s off (7.5 % of the run). The status bar read "9% · 3:00 left" at 21 s and
"97% · 5 s left" at 184 s.
Tests: `pace` (steady job, speed change, stall, idle start, count going back, bounded history,
extreme values, a whole `Progress`), `format_eta`, the engine (`etaSeconds` of jobs and queue
items), and export_ui (status bar label and queue item).
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
The CPU compositor, which is what export runs, works on premultiplied linear f32 images,
33 MB each at 1080p, and every layer was one of them. A profile of a 9:29 export with a
hardware H.264 encoder (so the encoder is no longer the bottleneck) put 61-64 % of the busy
CPU in compositing, 12 % in zeroing and copying memory, 8-11 % each in the float -> 8-bit
and RGBA -> Y'CbCr conversions and 4-7 % in decoding the ProRes overlays: a banner that is
transparent except for its bottom 100 rows still cost a whole conversion and a whole mix,
and the bottom layer paid for a zero-filled canvas and a pass that mixes it over that canvas.
Three changes, each of which gives the bits the general path gives:
- The canvas is allocated when a layer needs it, and an opaque first layer (a Y'CbCr frame
without an alpha plane, opacity 100 %, Normal blend, the size of the output) becomes the
canvas instead of being mixed over zeros.
- A clip of plain media whose frame has an alpha plane (a ProRes 4444 banner) is converted
and mixed only inside the rectangle where its alpha is not zero: `VideoFrame::alpha_region`,
`to_linear_f32_region` and `blend::composite_at` (`composite` is `composite_at` at the
origin; Dissolve's pattern follows the pixel's place in the output). A clip with effects,
opacity masks, frame blending, colour management or a picture that is not placed one to
one on the output takes the general path, as before.
- `filmcraft_frame::pool` keeps idle f32 images (320 MiB at most). `take_f32_overwritten`
hands one back with its old contents, which the conversions overwrite whole (so no
zero-fill), and the export pipeline gives each frame's image back after the 8-bit
conversion.
Apple M1 (8 cores), a machine that was not idle, so the two builds alternate and the
median is reported:
- Synthetic 1080p frame (`cargo run --release -p filmcraft-render --example frame_bench`,
5 rounds): camera only 8.9 -> 6.5 ms, camera + banner 16.2 -> 7.8 ms, same picture checksum.
- A real project (1080p25 camera clip, ProRes 4444 banner and subscribe bar), 30 s with the
banner exported with the built-in encoder, which is deterministic: 46.4 -> 36.7 s, and
both exports are the same file (same MD5), so every frame of the real pipeline matches.
- The same project with a hardware encoder, 3 rounds: 30 s with the banner 17.4 -> 11.2 s
(CPU 99 -> 56 s), 30 s of the camera alone 11.4 -> 8.8 s, 20 s with the subscribe bar
11.1 -> 7.0 s.
Tests: `render/src/region_tests.rs` compares each shortcut with the general path bit for bit
(an opaque bottom layer, banners over and under a camera, an 8-bit sticker, every blend mode,
several opacities, moved, scaled and effect clips, a bigger source, reduced-resolution
rendering), each render twice so the second starts from recycled buffers, and checks which
layers take a shortcut; the frame tests check that a region is the crop of the whole
conversion, that `alpha_region` is the box around what is not transparent, and that a buffer
full of NaN never leaks into a conversion, for every pixel format. Breaking a shortcut on
purpose (a region one pixel off, an opaque layer taken as the canvas at half opacity, a
conversion that skips the alpha channel) makes them fail.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Export encodes H.264 on the CPU with the built-in encoder, which is most of the time
of an export (about two thirds of the busy CPU in a profile of a 20 s export). On
macOS the media engine can do it: a VideoToolbox compression session behind
`filmcraft_export::VideoEncoder`, registered by `filmcraft_platform::register()`.
- `ExportSettings::hardware_encoding` (`HardwareEncoding::Off` | `Auto`; Export > Video >
Hardware Encoding, `"hardwareEncoding": "off|auto"` in `file.exportMedia`, a boolean is
understood too), off by default: the built-in encoder's output is byte-identical on
every machine, a hardware encoder's is not.
- `videotoolbox_encode` (FFI, same containment as the decoder: SAFETY comments, no
panic across the callback, safe API) and `hardware_encode` (safe adapter and factory).
- The factory declines, so the built-in encoder is used, for other formats, MXF, two-pass
VBR, HDR, odd sizes, non-square pixels and any configuration VideoToolbox cannot create a
hardware session for. An encoder that fails mid-export stops it with an error: unlike a
decoder, it cannot hand a half-written stream to another one.
- No B-frames: on real 1080p footage the quality is the same with and without them
(+-0.3 dB at equal bitrate) and the bitrate lands closer to the target, and without
them every frame is presented at its decode time (no composition offsets, no edit list).
- `export::register_encoder` ignores a factory registered twice; `encoder_registered`.
Apple M1, 8 cores, single runs: a 9:29 timeline (camera clip, ProRes 4444 overlays with
alpha, AAC, loudness) exports in 311 s instead of 793 s (2.5x faster); its densest 134 s
in 84 s instead of 395 s (4.7x). The outputs compare at SSIM 0.990 / PSNR 46.5 dB. The encoder
alone runs 200 fps at 1080p (docs/performance.md).
Tests (tests/hardware_encode.rs): what is taken and declined, a round trip through our
software decoder, an export that decodes in our decoder and in ffmpeg, the fallback for
everything hardware declines, exact output sizes, an empty range, hostile configurations
and encoders dropped at any point; the engine's `hardwareEncoding` parameter.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
NVENC through nvEncodeAPI64.dll (API 12.1, FFI layout checked against the C header by generated
tests), registered as an Export encoder in front of the software one; Export > Hardware encoding
(off by default). Declines two-pass VBR, HDR, MXF, unsupported sizes; B-frames, IDR/GOP, VUI, avcC.
Tests: decode with our decoder (PSNR), pipeline export vs software, decline paths.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01MMorBHwct72udS2LiC3ZHp
Language::PtBr is persisted as pt-br and translated through a new
PORTUGUESE table with the same 347 menu labels as SPANISH, so every
translated key still resolves to a real menu item. The new
app.language.portuguese command checks, switches and restores the
language like the other three, and the native menu maps it back.
Cargo.lock is untouched.
file.import created new items but never rebuilt Session::offline.missing.
The UI reads that list to drive the Program slate and the Project
panel 'Media missing' badge, so any re-imported item the project
already listed as missing stayed listed as missing until on_open ran
again (project reopen) or the caller manually relinked.
Add a single crate::relink::refresh(s) call at the end of file.import,
matching the call on_open already makes after a project opens. Closes
the slate/badge symptom without requiring reopen or per-item relink.
The deeper SharedSource cache eviction issue the reporter observed
with media.autoRelink is out of scope here; a follow-up should call
MediaPool::remove for items whose path now resolves before re-insert.
Co-Authored-By: ninso112 <ninso112@pm.me>
Co-Authored-By: Luna161 <Rosenkranzrene@gmail.com>
Add Edit always cut every targeted track, so with one clip selected it cut
all tracks. As in Premiere, selected clips under the playhead are now cut
and nothing else; with none there, the targeted tracks are, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
egui 0.36 reports pressing Shift, Ctrl, Alt or the Windows / Cmd key as a
key event of its own, before the key they modify. The Keyboard Shortcuts
recorder took that first press and refused it ("AltLeft can't be used as a
shortcut"), so no chord with a modifier could be recorded. Modifier keys on
their own are now skipped; the chord is recorded with the key they modify.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Every layer of the selected graphic was outlined on the Program monitor,
so a box stayed after its layer was deselected, and a layer whose
visibility was off kept its box and could still be clicked and dragged.
As in Premiere Pro 26: a layer has a box only while it is selected (or
typed into), and a layer whose visibility is off is not on the monitor
at all: no box, no handles, no click target.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Looking at a folder probes each visible file for its properties. A format
no streaming reader takes (AVI, which isn't supported at all, and WAV,
MP3 and the other byte-opened formats) fell through open_reader's
whole-file path: a 290 MB AVI took 518 MB of memory and a full read just
to report that it isn't supported, a 247 MB WAV 500 MB.
- filmcraft-media: open_reader_within(.., max_whole) refuses, after the
sniffing head, a file no reader opener takes when it is larger than
max_whole. open_reader is open_reader_within with no limit.
- engine: MediaPool::probe_file uses it with PROBE_WHOLE_FILE_MAX (64 MiB);
media_browser::probe calls probe_file. Import and playback still use
open_file.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Extends the Windows backend (#141) to VP9 (profiles 0 and 2) and AV1 (main, 8/10-bit), 4:2:0.
- codecs::hw: FrameStreamInfo (vpcC / av1C): profile, bit depth, chroma, picture size and colour as
the software decoders report them (vp9_color / av1_color are now shared with them), random-access
samples, in-band format changes; StreamInfo lets HybridDecoder handle NAL and frame-coded streams.
- platform: media_foundation::stream (what each codec needs: DXVA profile, MFT request, input
format), MfDecoder generalised; VP9 frames / AV1 temporal units go in as they are; the MFT's
declared picture size (display aperture) is checked against the bitstream's.
- Declined up front: VP9 profiles 1/3, AV1 profiles 1/2, 4:2:2/4:4:4, mono, 12-bit, no codec
extension, no DXVA profile. A key frame of another size or a different sequence header falls back
to the software decoder.
- Tests: bit-exact parity (360p / 1080p / 2160p, seeks, resets, flush, hidden frames), forced
failure, damaged samples and av1C, format change fallback, WebM / Matroska through the media stack.
- Bench: AV1 fixtures with libaom when ffmpeg lacks SVT-AV1.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01MMorBHwct72udS2LiC3ZHp
readFile (missing path), importUrl and openProject (HTTP errors) and openProject (neither a File
nor a URL) rejected with plain strings, so e.message was undefined and e instanceof Error false,
unlike execute / request. Their promises now go through as_error, which wraps a string in an Error
and passes an Error through unchanged.
Checked in Chrome against the web build: all four cases reject with an Error carrying the message
("/files/nope.mp4: not found", "…: HTTP 404", "need a File or URL").
Fixes#90
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The manifest granted only xdg-pictures, on the premise that the portals make filesystem access
unnecessary. But a project refers to its media by absolute path and the document portal exposes
only the project file, so a project in ~/Videos or ~/Music opened with all its media missing.
Grant the home directory and the usual external-drive mount points (/media, /run/media, /mnt), as
other video editors on Flathub do; nothing system-wide.
Fixes#107
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- docs/releasing.md (#99): release.yml points readers to it twice and it didn't exist. Written from
the workflow and packaging scripts as they are (macOS, Windows x64/x86/arm64, Linux x86_64/aarch64
with the glibc 2.35 floor, web; draft release, secrets).
- filmcraft-cli help (#86): export lists --scale, --quality, --no-audio and --queue, and apv among
the formats.
- README (#87): more than 650 engine commands (671 today), not about 135.
- README (#88): the web line says the browser app ships with every release and links docs/web.md.
- CLAUDE.md (#85): the Illustrator-class sibling is ../vectorcraft (formerly DrawCraft).
Fixes#85Fixes#86Fixes#87Fixes#88Fixes#99
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
