* Tests: one integration-test binary per crate
Each crate with several tests/*.rs files keeps them as modules of tests/it/,
so cargo links one test executable per crate instead of one per file. Files
that change process-wide state or time a workload stay binaries of their own.
* Profiles: line tables for workspace crates, no debug info for dependencies
* Windows ARM64: nightly and on release pushes instead of every push to main
* xtask ci: clippy and tests in the dev profile
The release profile's thin LTO and single codegen unit made linking the test
binaries take most of the gate. The codec and audio crates stay at opt-level 3
in the dev profile, so their tests run at release speed.
* xtask ci: nextest, doctests, no examples, one wasm check
Tests run with cargo nextest when it is installed (cargo test otherwise) and
build with --lib --bins --tests, so examples aren't linked; doctests run
separately. The wasm check keeps going past the first failing crate. VP8
fixture generation locks across processes, since nextest runs each test in
its own.
* VP9 synthetic fixtures: write aside and rename
A test in another process could read a fixture ffmpeg was still writing.
* Fuzz tests: a third of each sweep by default, all of it with FILMCRAFT_FUZZ_ITERS
Every seed, mutation kind and thread count still runs. Header bytes each get
one overwrite value and two bit flips in rotation, so every value and bit
index still occurs across the region. FILMCRAFT_FUZZ_ITERS=N runs the whole
sweep plus N random rounds per seed, as before.
* Platform fallback tests: one failure point per hybrid path
The failure-anywhere test injected a failure at four points around every
restart point; the hybrid's paths differ only in the first GOP, around the
second and last restart points, at the end and never. The replay test needs
the first two GOPs.
* Export tests: shorter ranges with the same checks
The bitrate test measures 0.5–1.5 s, where each preset reaches its own
target (on 0–3 s the simple demo left two presets at the same rate). The
every-preset test exports three frames per preset.
* Audio tests: effects in parallel, a table-driven FFT for the Opus quality metric
The extreme-settings test keeps both settings and the 40 s tail for every
effect, one thread each. The Opus quality metric's FFT builds its twiddles
once and allocates nothing per transform (same algorithm and summation order).
* CI: dev-profile gate with nextest
xtask ci no longer builds with --release, so the release-profile overrides
go; nextest is installed for the test step.
* CI: apt packages through the cached install-apt-packages action
* Review fixes: fuzz tests with a panic hook in their own binaries, loud fixture lock
The fuzz tests of av1, h264, hevc, mpeg2v, vp8 and vp9 count panics through
a process-wide hook, so a panic in another test of the same process would
fail them; they are binaries of their own again. The VP8 fixture lock fails
the test instead of skipping it silently, and the full-sweep doc comments say
how many truncation points the full run samples.
* Fuzz tests: rotate the default subset per run (FILMCRAFT_FUZZ_SEED replays one)
* platform tests: decode-switch tests in their own binaries, one NVENC lock
Use a checked localhost prefix probe so Unicode file URLs retain their media paths without slicing inside a UTF-8 character. Add public converter, resolver and EDL import regressions.
Fixes#1591
Co-authored-by: Codex <noreply@openai.com>
Premiere writes a stereo clip to FCP7 XML as two mono clip items on two
tracks (sourcetrack trackindex 1 and 2). The importer already picks
channel 0 and channel 1 for them, but left both centred, and a centred
one-channel clip plays on both sides. So both channels summed on L and
on R: +3 dB per channel for an uncorrelated stereo effect (and its L-R
doubled), +6 dB for dual-mono dialogue.
Import: a clip that plays one channel of a split two-channel file is
panned to that channel's side (channel 0 left, channel 1 right). An
Audio Pan filter on the clip item still overrides it.
Export: a one-channel clip always writes its Audio Pan, also when it is
centred, so a centred Breakout to Mono round-trips centred.
Measured with filmcraft-cli (import, export WAV): a split stereo file
and a split dual-mono file now come out at 0.00 dB and sample-identical
to the source (before: +3.01 dB and +6.02 dB per channel); a mono file
on a mono track was and stays at 0 dB.
Tests (crates/interchange/tests/fcp7.rs):
split_stereo_halves_are_panned_to_their_side and
split_stereo_half_keeps_its_audio_pan fail without the import change;
centred_mono_breakout_round_trips_centred fails without the export
change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_012HrAqZmrrDLRpxBJatxvaJ
Timeline clipitem markers already round-tripped; source-media annotations on
master clips were omitted with an empty export report. Write those markers on
<clip> so re-import keeps them.
Fixesstorytold/filmcraft#900.
Export was overwriting Stack markers with the using clip's markers, so a nest with no instance markers lost its sequence markers, and instance markers were imported onto the nested sequence. Keep sequence markers on the Stack and store clip instance markers in metadata.filmcraft.clip.
FCPXML writes point markers as one frame at the sequence rate. Import
compared duration to 1 tick, so a 24fps one-frame marker became a
range. Treat duration ≤ one sequence frame as a FilmCraft point.
A split-stereo left clip exported trackindex 1 and re-imported as full stereo,
losing the left/right split. Treat trackindex 1 as channel 0 when another
audio clip item of the same file in the sequence uses a higher index.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Keeps #359's contiguous_starts audio timing, now per stream in Mp4Audio /
MkvAudio (starts and preroll in source sample frames). MP4 audio streams and
their decoders are built from the same (track, info) pairs so they stay
index-aligned. Adapts new main code to audio_streams / TrackItem::audio_stream.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
write_clip rounded start, end, in and out to frames independently, so
a clip placed by seconds at 23.976 (start 0, in 20 s, 3 s long) was
written as start 0 / end 72 / in 480 / out 551: 71 source frames for
72 record frames.
At normal speed and on a freeze frame the source span is the record
span, so out is now in + (end - start). Speed-changed clips keep their
independently rounded out. The master duration is raised to out when
rounding pushes out past it; pproTicksIn/Out still carry exact ticks.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Update MediaInfo to store all discovered audio streams in audio_streams
- Retain independent stream metadata and decoder state for MP4/MOV and Matroska/WebM
- Update audio_placement_specs to allocate successive tracks via ensure_audio_tracks
- Isolate clip rendering to read assigned audio stream rather than replaying stream 0
- Bump project schema to v13 with backwards compatibility for legacy v12 projects
Resolves#312Fixes#200Fixes#315
A nested sequence was left out of both formats as a gap, with a report entry
telling the user to "render and replace" it first (a command FilmCraft does
not have). An AAF with nested compositions was read with gaps in their place.
What Premiere Pro 26.5.2 does, read off files it exported for a sequence with
a nest:
- AAF: the nested sequence is a composition mob of its own, and its clips are
source clips that point at it.
- OMF: the nested sequence's sound is rendered into the document as one clip
named after the sequence.
Export
- AAF: a nested sequence is written as a composition mob (no usage code; the
exported sequence stays the top-level one). A clip of it is a source clip
at that mob's first slot of the clip's kind, its start in that slot's edit
units. Nests in nests are followed; a nest used twice is written once. With
embedded or consolidated audio, the media of the clips inside a nest is
prepared with the rest (`NestNeeds::Inside`).
- OMF: `audio_needs` lists the range of the nested sequence each nest clip
plays (`NestNeeds::Render`); the engine mixes it through the export audio
pipeline with what is on the clip, and it is written as media. Without that
essence the nest is a gap and the report names the sequence.
Import (AAF)
- A source clip that points at a composition becomes a clip of a nested
sequence; the composition is read once.
- Premiere Pro's layout is read: all video tracks in one slot (a nested scope
with a segment per track; before, only the last segment was read, so a
Premiere AAF came in with one video track), and "top-level" tagged on nested
compositions too (top-level are those no other composition uses).
- A composition without a frame size takes that of the first picture it
shows, not of the first picture in the file.
A sequence that claims to be inside itself is a gap with a report entry in
both directions; the walks are bounded (16 levels).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The export report already said a nested sequence is written "as a single
source (reel AX)", but the reel came from the reel mode: with the default
(file name) a nest called "Nested Sequence 02" got reel NESTED_S. A nested
sequence has no tape and no file, so its reel is now AX whatever the mode.
Premiere Pro 26.5.2 writes the same for a nest (seen in an EDL it exported):
one event from reel AX, the nested sequence's name in "FROM CLIP NAME", and
the nested sequence's own time as source timecode. A test pins that event.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: a clip item whose `<file id="...">` reference has no definition
anywhere in the document was dropped without a word, so a sequence could
come back one clip short with an empty import report. FilmCraft's own
export writes titles and adjustment layers this way.
Solution: the importer adds a warning that names the clip item: `clip
"Title" refers to a file the document does not define; skipped`. Nothing
else about the import changes.
Test: `fcp7_import_reports_a_clip_item_whose_file_is_not_defined`
(FilmCraft's own export, a hand-written document, and a document whose
files are all defined).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: exporting a sequence with a graphic (title) clip to Final Cut
Pro 7 XML returned a report that listed other losses and said nothing
about the title. The XML holds a clip item for it that points at a file
the document never defines, and importing the XML gives the sequence
back without the title. OTIO (a clip with a missing media reference,
read back as offline media) and EDL (an ordinary event) were silent in
the same way; FCPXML said "clip without media skipped" and AAF "graphics,
titles and adjustment layers are not exported" without saying which clip.
Adjustment layers take the same paths.
Solution: every exporter names each graphic clip and adjustment layer
it cannot carry, one warning per clip, with what was written instead:
`graphic clip "Title" at frame 48 has no Final Cut Pro 7 XML equivalent:
it is written as a clip item without media and is not read back on
import`. One helper (`common::uncarried_clip`) builds the name for all
formats. What is written is not changed, byte for byte.
Why only a warning: FCP7 XML has a Text generator, but this crate's
importer does not read one (unknown generators become Black Video), and
a title here is a stack of text and shape layers with per-character
styles, pins and roll settings that the generator's few parameters
cannot hold. Writing one would need a new import path and would still
lose most of a title, so the honest result for now is to say what
happens. crates/interchange/README.md has the table per format.
Tests: crates/interchange/tests/uncarried_clips.rs (each format names
the title and the layer once; two titles are two lines; nothing is said
without such clips; a re-import gives back what the report says), and
the engine's `interchange_export_reports_the_title_it_cannot_carry`
through `file.exportInterchange`. The two naming tests fail without the
change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Lumetri grades PQ / HLG working spaces in their own signal normalised to
HDR White (Basic Correction) / HDR Range (Curves) in cd/m²
(filmcraft_color::GradeSpace): exposure in stops of light, highlights above
HDR White kept, HDR Specular scales them; Rec. 709 unchanged.
- HDR static metadata (mdcv/clli, Matroska MasteringMetadata/MaxCLL/MaxFALL)
on VideoStreamInfo::hdr; PQ media use MaxCLL / mastering peak as the
BT.2390 source peak; media.colorInfo reports it.
- HSL Secondary Refine: Denoise (median of the key) and Blur (Gaussian).
- Lumetri Presets (18 original looks in 4 folders) with thumbnails rendered by
our Lumetri on a procedural preview picture; Effects panel rows and a
thumbnail grid when wide; lumetri.presets / applyPreset / presetThumbnails.
- Color Match: Comparison View toggle; Apply Match uses its reference frame.
- Goldens lumetri_hdr_pq and lumetri_presets_grid; D-Log M stays unsupported
(no published formula).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Shared mob-style composition model; AAF objects in structured storage over
filmcraft-cfb; OMF objects in a Bento container; embedded / consolidated audio
supplied by the caller (essence::audio_needs, MediaOptions).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Missing media no longer fails: opening a project scans for missing files
(`media.findMissing`, `file.open` → missingMedia). Missing clips render our own
offline slate (render::offline: red striped field, warning triangle, "MEDIA NOT
FOUND", file name, hint) with silent audio, and the Link Media dialog opens.
- Media identity: imports record the size and a fast content fingerprint (hash of
size + first/last MiB) in MediaClip::identity (optional field, older builds
ignore it, no schema bump).
- media.relink checks file name / extension / fingerprint ("Clip ID") / duration /
media start / frame size+rate+channels, refuses a mismatched fingerprint unless
forced, supports Align Timecode (Project::shift_media_time), and relinks the
others automatically by the derived folder remap (Windows/macOS separators).
- media.autoRelink {from,to} | {folder}, media.search, media.replaceFootage,
media.makeOffline {deleteFiles?}, media.offlineAll, media.status, media.linkMedia.
- Media pool caches sources per reference (path, offline flag), so relink, Make
Offline and undo take effect at once; proxy-aware resolution and a full-res
provider that export uses.
- codecs::gop no longer holds its lock while decoding: rayon decoders inside a
parallel export could steal another frame of the same source and deadlock.
- UI: Link Media dialog (rows, match options, folder search with preview, Locate…,
Link, Offline, Offline All, Cancel), Make Offline dialog, Project panel offline
markers and context menu, media thumbnails keyed by media reference.
- Tests: moved media opens offline (slate rendered) and relinks others by folder,
prefix remap and folder search, fingerprint mismatch refused, Make Offline,
headless UI test of the dialog.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Timeline/Stack/Track/Clip.1+2/Gap/Transition/Marker/External/Missing/GeneratorReference,
LinearTimeWarp/FreezeFrame, SerializableCollection; exact RationalTime↔Tick by rate snapping;
nested sequences as Stacks; metadata.filmcraft round-trips effects, labels, links, groups,
gain, track state, sequence settings and media info. Golden plain-OTIO document with gaps
and transitions; lossless property round trips including sample-accurate audio.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exact rational time strings, formats/assets/media/effect resources, library/event/project,
spine with asset-clip/clip/ref-clip/gap/transition, connected clips and secondary storylines
by lane, srcEnable audio/video merge, timeMap constant speed/reverse/freeze, adjust-transform/
blend/volume with keyframes, markers and chapter markers. Golden document and round trips.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Project/bin/clip/sequence, clipitems with pproTicks-exact source, files by id, nested
sequences, generatoritems, transitionitems with alignment, Basic Motion/Opacity/Time Remap/
Audio Levels/Audio Pan filters with keyframes, generic effects by id/name, labels, markers,
links, enabled/locked. Golden Premiere-style document and property round trips.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
aiongg