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>
A text layer is now one of two types, each with Premiere Pro 26's handles:
- Point text (Type tool click): every handle scales the layer about its
anchor point, both axes alike; the font size is untouched.
- Paragraph text (Type tool drag): the dragged rectangle is a box the text
wraps in. Handles move that side or corner of the box, the opposite side
stays, the text re-wraps at the same size. Lines below the box are not
shown and the bottom-right handle turns into a red plus.
- The anchor point can be dragged with the Selection tool; the layer stays.
It is picked before anything under it, so a shape dragged by its exact
centre moves its anchor.
- Properties > Text > wrench opens Text Properties, where Text Layer Type
switches a layer between the two (graphics.setTextType); the text stays
where it is.
Shapes keep stretching away from their opposite side.
New: text layer parameter box_height, graphics.newText `box`, and
textType / box / overflow / anchor / scale in graphics.list. A layer saved
before a parameter existed can now be given it with graphics.set.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A negative clip duration no longer panics the clamp when a nest follows its contents; a nested
sequence's claimed sample rate is clamped before it sizes the mix buffer; audio_needs lists each
nested sequence once.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Frame plan. A nest was always handed to the compositor as one image rendered
on the CPU. A plain nest (same frame size and colour settings as the sequence
it is in, no effects, masks, opacity, blend mode or motion on the clip, every
layer inside it blended normally, not a multicam angle) now contributes its own
layers to the plan, with its captions, so the GPU composites them directly.
Nests in nests are followed up to the nesting depth limit. Anything that is
not plain is planned as one image as before.
Waveforms. Premiere draws a waveform on the sound clip of a nest. The Timeline
now mixes the nested sequence in the background (under `catch_unwind`), keeps
one peak per 256 samples, and mixes again when the sequence's sound changes,
showing the old waveform until the new one is ready.
Tests: a plain nest is planned as its own layers and looks the same as the
reference render, also nested twice and over another layer; five kinds of nest
that are not plain are still drawn right; a nest's sound clip gets a waveform
that follows its sequence.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Sound. A nest's audio went around the path that clips of media take, so speed,
reverse and the clip's audio effects did nothing to it, and a nested sequence
at another sample rate was mixed at the outer rate without converting. The
nested mix is now read through the same path as a media source (`effected`
takes a reader instead of a `MediaSource`): it is mixed at the nested
sequence's own rate, resampled to the outer one, and then goes through speed,
reverse and the clip's effects like any clip. The nesting depth limit still
applies.
Captions. Premiere Pro 26.5.2 draws the captions of a nested sequence in the
sequence it is nested in, as part of the nest's picture. A nested sequence is
now rendered with its captions whether or not the outer sequence shows its
own, and the preview cache key of a nest covers its caption tracks.
Tests: a nest sounds as its sequence does, keeps pitch and timing at another
sample rate, changes with speed and reverse like a clip, and starts later when
trimmed in; speed, reverse and frame hold pick the right frame of the nested
sequence; opacity and a Crop effect apply to the nest's whole picture; nested
captions are drawn and outer ones only when asked for.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A nested sequence whose frame size differs from the sequence it is in comes in
centred at its own size with Scale 100, as in Premiere Pro 26.5.2 (a 1280x720
nest in a 1920x1080 sequence). The clip context menu gains Premiere's "Fit to
frame" and "Fill frame" next to "Scale to Frame Size".
Tests pin the behaviour: a smaller nest sits in the middle, a larger one is
cropped by the frame, a nest at another frame rate shows its sequence at the
same moment, Fit and Fill frame set Scale to 150 for that pair of sizes, and
Scale to Frame Size fills the frame and leaves Scale alone.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A sequence placed inside itself (directly or through another nest) crashed the
app: nested audio mixing and the frame plan's multi-camera shortcut recursed
until the stack overflowed.
- render: the audio mixer and the multi-camera shortcut follow nests to the same
depth as the picture (MAX_NEST_DEPTH), then give silence / fall back.
- project: Project::nest_cycle finds a sequence that contains itself.
- engine: every edit that would create one is refused, whichever command asks
(place, Source insert/overwrite, paste, ...). A project opened with a cycle
already in it can still be edited and repaired.
Regression tests: both crashes (stack overflow before), the refusals, repair.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A media clip whose enabled standard effects all have a GPU implementation
plans as a GPU layer carrying them (render::plan::LayerFx): parameters are
evaluated on the CPU at the frame's time (render::gpufx::FxOp::eval, shared
with the CPU path so both clamp hostile values identically), the source is
drawn into an Rgba32Float working image at the size the CPU decodes it, the
effects run as WGSL compute passes (gpu::fx, fx.wgsl) with the CPU
reference's math, and the result is placed with Motion, opacity and blend
mode as before. Layers without effects keep the single draw.
GPU effects: Brightness & Contrast, ProcAmp, Tint, Black & White, Color
Balance, Leave Color, Change to Color, Color Pass, Color Replace, Channel
Mix, ASC CDL, Gamma Correction, Levels, Extract, Invert, Posterize, Alpha
Adjust, Gaussian / Camera / Directional Blur (+ legacy aliases), Sharpen,
Unsharp Mask, Crop, Edge Feather, Transform, H/V Flip, Mirror, Offset.
Masked effects, opacity masks, non-finite parameters and minifying
Transform/Crop zooms stay on the CPU. Devices without compute shaders run
the effects on the CPU inside the compositor.
Also fixes a debug-build overflow in Image::transformed for non-finite maps.
Parity tests (exact f32 checks and composited plans), a golden test that
plans effect chains as GPU layers, and the stack3-fx playback benchmark.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
All 27 blend modes now composite on the GPU instead of sending the
whole frame to the CPU.
- render::plan: PlanLayer carries its Blend; plan_frame no longer falls
back to a CPU frame for non-Normal modes. Media, graphic clips,
multicam angles and CPU-rendered layer images (standard effects) keep
their clip's mode; inside a transition the mode is Normal, as in the
CPU reference. execute_cpu composites with each layer's mode.
- gpu: Normal keeps the single fixed-function pass. Dissolve also uses
fixed-function "over": the CPU's 64-bit pixel hash is reproduced in
WGSL on u32 pairs (pattern bit-exact). The other 25 modes copy the
accumulator region under the layer's quad into a backdrop texture and
composite in fs_blend with the CPU math (sRGB-encoded straight colour,
W3C formulas, back to linear, same premultiplied mix and clamping).
- Tests: per-mode GPU-vs-CPU parity (gpu crate: overlapping transformed
layers, partial opacity/alpha, empty/partial backdrop; golden: every
mode through plan_frame incl. an effect layer, blended clips in a
cross dissolve), exact-value edge cases (black/white, Divide by 0,
Dodge/Burn at 0 and 1, zero alpha) within 4.9e-4, Dissolve pattern
exact, off-output layers, quad bounds.
- Bench: new stack3-blend playback scenario (V2 Screen, V3 Overlay);
CPU ms/frame 151-214 -> 86-89, Full 19/173 and 138/54 -> 191/1, 192/0.
- Docs: architecture §5, gpu crate docs, testing, performance.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Rust/clippy 1.99 added `chunks_exact_to_as_chunks` and tightened
`needless_late_init` and `drain_collect`, failing `clippy -D warnings`
on main.
- `chunks_exact(N)` / `chunks_exact_mut(N)` with a constant N become
`as_chunks::<N>()` / `as_chunks_mut::<N>()` (fixed-size arrays, so
several byte reads drop their per-element indexing). relink's
fingerprint uses the `(chunks, remainder)` split; its hash output is
unchanged.
- Late-initialised `let`s in ac3 bit allocation and opus CELT
bands/rate become `let x = if/match …`.
- `dpb.drain(..).collect()` becomes `std::mem::take(&mut dpb)`.
No behaviour change; `cargo xtask ci` passes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- gpu: `composite` returns its output view by value (a cheap handle clone) taken from the
render-target setup, so the accumulation/output views no longer `expect` their slots.
- render: lightning bolt subdivision, tracker pyramid and the Lumetri preset instance without
`expect`.
- cli: dotted parameter insertion without `expect`; the render/mcp backend arms report a usage
error instead of `unreachable!`.
- Each crate denies unwrap/expect/panic/unimplemented/todo/unreachable outside tests.
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>
Multi-Camera view: automatic / 2x2 / 3x3 / 4x4 grid layouts paged when the
angles don't fit (page arrows, keys 1-9 pick cameras on the shown page),
Multi-Camera Selection Top Down, Show Multi-Camera Preview Monitor (grid
fills the monitor when off), Auto-Adjust Multi-Camera Playback Quality
(lower cell decode scale while playing), Transmit Multi-Camera View (stored,
no device yet), Edit Cameras dialog with a thumbnail per angle. Only the
shown page's angles are decoded, at the cell scale. Engine commands
multicam.gridLayout/page/nextPage/prevPage/selectionTopDown/
showPreviewMonitor/autoAdjustQuality/transmitView/grid.
Subclips: restricted subclips limit trims, rolls, slides and slips on both
sides (EditCtx::media_start); the Source monitor shows a subclip's range
(or the whole master with the range as In/Out when unrestricted), opens at
its In and shows the master clip's markers inside it (source.inspect);
Convert to Master Clip keeps the range as In/Out and the inherited markers;
Make / Edit Subclip and Convert to Master Clip in the Project panel menu.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Settings > Playback > Draft decoding (off by default): the Program monitor
asks for draft frames only while playing at 1/2 resolution or lower
(FrameKey::draft, filmcraft_media::cancel::with_draft). The GOP cache runs
the decoder in draft mode for those requests and serves draft frames to draft
requests only, so paused frames, renders and exports always get exact
pictures (codecs test: exports after draft playback match ffmpeg). Draft
plans hand the GPU box-decimated YUV planes at the drawn size. perf.stats
reports draft frames, H.264 threads and the preference; the bench gains
2160p quarter and draft playback cases.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
5.1 / multichannel:
- audio-dsp::channels: layouts (L R C LFE Ls Rs), ITU-R BS.775 up/downmix, 5.1 Mixdown Types,
equal-power 5.1 panner (puck, Center %, LFE).
- Mixer graph buses are 2 or 6 channels wide; 5.1 tracks/submixes/Mix; strips feeding a 5.1 bus
use the 5.1 panner (lanes pan51.x/y/center/lfe stored in MixerStrip::lanes, no schema change);
5.1 strips fold into stereo buses with BS.775; per-channel meters; clip effects on 6 channels.
- file.newSequence {mix, trackType}, sequence.settings {mix}; playback honours the 5.1 Mixdown
Type preference on stereo devices and plays 6 channels on 5.1 devices.
- Export Audio Channels 5.1: WAV WAVE_FORMAT_EXTENSIBLE (mask 0x3F), QuickTime PCM with a chan
atom, AAC channel configuration 6 (reordered to C L R Ls Rs LFE).
- Track Mixer: 5.1 panner puck with Center/LFE, N-channel meters, Show/Hide Tracks, Meter
Input(s) Only; transport record button runs voice-over.
Voice-over: engine AudioInput trait + SyntheticInput, cpal input in the app, audio.voiceover.*
commands (punch-in, pre/post-roll, countdown cues, WAV next to project / scratch disk, one undo
step), track header mic button and Voice-Over Record Settings dialog.
Remix: beat tracking + chroma/cepstra self-similarity planner in audio-dsp, hidden `remix` clip
effect holding the plan, render::remix playback with equal-power crossfades, clip.remix.*
commands, Remix tool and Remix Properties dialog.
Clip Mixer automation: per-track Latch/Touch/Write (clipMixer.setMode/touch/release) heard live
and written as thinned clip Volume/Panner keyframes at the end of the pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- project: vtransition.rs registry. Animation, Dissolve, Grunge & Distort,
Immersive Video, Lights & Blurs, Slide, Smart Tools, Text, Transformers
and Wipe folders, plus Legacy > Video Transitions. Old ids are kept:
modern versions reuse push/slide/split/whip/clock_wipe/radial_wipe/
cross_zoom/page_peel, the old behaviour lives under *_legacy ids, and
removed transitions move to a hidden Obsolete folder. Parameters are
not animatable; find_transition looks up by kind (Mosaic/Mirror/
Directional Blur names are shared with video effects).
- render: transitions/ module with procedural CPU implementations, a
field-wipe engine (feather, border width/colour, anti-aliasing, centre),
a 3D card renderer (flips, cube, folds, spins), page curl, blur/light/
grunge families and flat VR approximations. Endpoints are exact,
pixel params scale with the render resolution, and Reverse now plays
B->A backwards. There is no GPU transition path, so the plan keeps
only the symmetric dissolves on the GPU.
- engine: applyVideoTransition takes params/reverse; new
sequence.setTransition; effects.list adds folder/kind filters,
badges and detail paramInfo; sequence.inspect shows transition params.
- ui: the Effects panel shows the Legacy top folder and all badges;
ui.set effectsSearch.
- tests: per-transition endpoint, continuity, midpoint, determinism,
NaN, parameter-wiring and direction properties; golden fingerprints;
tree counts; apply-every-transition via command; UI panel test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Edit: Label ▸ 16 colours + Select Label Group, Paste Attributes… (⌥⌘V, with
Scale Attribute Times), Remove Attributes…, Select All Matching, Remove
Unused, Consolidate Duplicates. File: New ▸ Sequence From Clip, Bin From
Selection (⇧B), Offline File…; Close Project (⇧⌘W, asks to save), Save All.
Clip: Make Subclip… (⌘U, Restrict Trims), Edit Subclip…, Modify ▸ Audio
Channels… (⇧G) / Timecode…, Video Options ▸ Frame Hold Options…, Add Frame
Hold (now splits at the playhead), Insert Frame Hold Segment, Field
Options…, Time Interpolation (Frame Sampling / Frame Blending / Optical
Flow, blending rendered on CPU; optical flow falls back to blending),
Fit to frame / Fill frame; Audio Options ▸ Breakout to Mono, Extract Audio
(WAV next to the project, imported); Replace With Clip ▸ From Source
Monitor / Match Frame / From Bin. Hold Filters: effects animate through a
hold unless set. Menus support nested submenus (egui and native) and follow
Premiere's order. Dialogs in panels::clip_dialogs with automation ids and
ui.set {clipDialog}.
Project schema v9 (no-op migration v8→v9, v8-subclip fixture): clip
time_interpolation / hold_filters / field_options / source_channels,
Interpretation.audio_channels, Subclip.restrict_trims.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Vertical text layout in the text engine (one line per character, columns right to left).
All edits are undoable engine commands; engine tests cover each menu group.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
masks.track {direction, frames?, method?, wait?}: progress + cancel via jobs.*, keyframes written live as one undo step per run. Synthetic known-motion tests: <0.75 px drift over 10 frames (render), 0.29 px max vertex error over -8..+12 frames end to end (engine).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- render::color_match: non-ML statistics matching — Oklab means per tonal range (smoothstep
shadow/midtone/highlight weights) plus mean chroma; "Face Detection" down-weights skin-tone
pixels (Oklab hue 20–75°) in the colour statistics and then limits the skin hue shift to 8°;
the grade is solved in Lumetri's own parameters (3 wheels, their lightness, saturation) by
damped Gauss–Newton through the real Lumetri implementation, so the result stays editable
- render::render_clip: one clip's layer at a time (the shot as Lumetri sees it)
- lumetri.applyMatch {clip?, referenceTime|Frame|Timecode, faceDetection} sets the grade in one
undo step and reports the statistics distance before/after; refuses a reference inside the
clip itself
- Lumetri panel: Color Match row (reference timecode, Face Detection, Apply Match; automation
ids lumetri.match.*)
- tests: Oklab reference values, self-match is a no-op, a known grade is recovered (residual
−86 %), skin protection holds the skin hue shift to ≤ 8° (51° without), engine and headless
UI tests
- docs: control protocol (colour commands and ids), testing; ROADMAP M8 row and log
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>
- model: SequenceSettings::color (ColorPipeline: working space, wide gamut, Auto Tone Map Media;
serde default Rec. 709) and Interpretation::color_space (override; None = metadata)
- render::colorman: source colour space from the override or VUI/colr/MKV metadata, decode tables
(camera log with super-whites, PQ, HLG + OOTF), gamut matrix, tone mapping into SDR working
spaces, gamut mapping; working → SDR monitor transform at the top level
(RenderOptions::working_output keeps working values for HDR export and scopes). Plain Rec. 709
media in a Rec. 709 sequence keeps the old fast path and stays on the GPU; managed layers and
HDR/wide-gamut sequences composite on the CPU
- export: H.264 and ProRes of a PQ/HLG sequence encode BT.2020 PQ/HLG and signal it: VUI / ProRes
header, colr (nclx/nclc), and for PQ mdcv + clli boxes and H.264 SEI (payloadTypes 137/144);
`sdr: true` (and render previews) export tone-mapped SDR. isobmff reads/writes mdcv and clli
- commands: sequence.colorSettings (Sequence ▸ Color Management…), clip.interpretFootage
(Clip ▸ Modify ▸ Interpret Footage…, Project panel context menu), color.spaces,
media.colorInfo; dialogs with automation ids colorDialog.*
- scopes: HDR sequences show a cd/m² waveform on a PQ scale (203 marked) and a BT.2020
vectorscope from the working-space render (scopes.hdrWaveform)
- display-referred wide-gamut input is desaturated into gamut keeping in-gamut colours exactly;
the soft compression is reserved for camera gamuts
- tests: colorman unit tests, engine (interpret/undo, PQ working space values and display),
goldens log_to_rec709 and hdr_tone_map (own renders + sidecars), export PQ/HLG × ProRes/H.264
read back by our demuxer and ffprobe (color_transfer/primaries/space, mastering display and
content light side data), headless UI (dialogs, HDR scopes)
- docs: architecture §5.2 (pipeline, HDR export, display colour management: no macOS EDR yet)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Lumetri gains input_lut (Basic Correction) and look_lut (Creative) references: lib:<id> for
LUTs imported into the project's library (embedded .cube/.3dl text, parsed once and cached by
content), builtin:<id> for LUTs generated from code: camera log → Rec. 709 conversions from the
published curves, and the procedural Creative looks (no third-party LUTs)
- section switches basic_on/creative_on/curves_on/wheels_on/vignette_on (+ hsl_on) bypass their
sections; older projects without them render as before
- commands lut.import, lut.list, lut.remove, lut.export (cube/3dl), lumetri.setInputLut,
lumetri.setLook (lut ref or path; imports on the fly), lumetri.setSection; effects.setParam
fills in parameters missing from instances saved by older builds
- Lumetri panel: Input LUT and Look LUT menus (None, built-ins, library, Browse… file dialog),
working section switches (automation ids lumetri.input_lut, lumetri.look_lut,
lumetri.switch.<section>); combo boxes no longer widen the panel
- filmcraft-gpu: GpuLut WGSL compute pass with the same tetrahedral interpolation; parity test
vs Lut3d::apply for 2³–65³ and a non-unit domain (max |Δ| 1.8e-7)
- tests: engine (import/apply/bypass/undo/save, export→import round trips for both formats),
render (built-ins reproduce the looks, library resolution), headless UI (color_ui.rs)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- project::essential: Dialogue/Music/SFX/Ambience settings (Loudness, Repair, Clarity, Creative,
Ducking, Pan, Clip Volume, Mute), our own EQ/reverb/type presets, and apply(): settings become
ordinary clip effects (EffectInstance::essential) in canonical order; only changed parameters
are written, so keyframes survive; auto-match gain → clip gain, Clip Volume → Volume offset,
Pan → Panner
- effect defs: DeEsser, DeReverb (params), Enhance Speech, Stereo Width; render mappings for them,
and DeNoise amount / DeHummer gain now reach the DSP; Mute; render::audio::clip_signal
- engine essentialSound.* (inspect, setType, clearType, set, applyPreset, savePreset,
deletePreset, autoMatch, generateDucking), undoable; per-type loudness targets and user presets
in preferences
- tests: auto-match within 0.001 LU of target (−23 / −16, with and without a chain), ducking
keyframes within 20 ms on a synthetic dialogue+music project and −15.00 dB in the mix, repair
metrics (hum −39 dB, rumble −22 dB, noise floor −13 dB, sibilance −19 dB, reverb tail −10 dB),
render chunking bit-identical and WAV export = render; full Dialogue chain 22× realtime (release)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- clip.audioGain takes mode set|adjust|normalizeMax|normalizeAll (the
old {db, relative} form still works); peaks are measured on the
clips' source ranges. Normalize Max Peak applies one adjustment so the
loudest clip lands on the target; Normalize All Peaks sets each clip.
- clip.audioPeak reports the selection's peak amplitude (with gain).
- Clip > Audio Gain... (G) opens the dialog with the four options, dB
fields and the peak amplitude; automation ids audioGain.*.
- effects.setDefaultTransition sets the default video or audio
transition (Constant Power / Constant Gain / Exponential Fade) that
sequence.applyAudioTransition (Cmd+Shift+D) uses.
- tests: gain modes and peaks, dialog by automation id, transition
curves (power / amplitude preservation, end points).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
