- A failed, cancelled or finished place-names download is reported once
as a toast (failures as an error toast that says what to do), and
metadata.placeNamesStatus reports downloading / lastDownload / lastError.
- The parsed GeoNames data is cached in the session and re-read only when
the cities file's size or modification time changes.
- End-to-end download test against a fake HTTP server on 127.0.0.1:
a synthetic zip, a garbage zip, a truncated body and 404s.
- Info panel: Fill Location gets its own row (it was clipped beside
Show on Map in a narrow panel).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
New crate lightcraft-geocode (L1): parses the GeoNames cities dump and finds the
nearest place within 50 km through a 1-degree cell index; NaN / out-of-range
positions and malformed lines find nothing. Engine commands
metadata.reverseGeocode (Photo menu, Info panel "Fill Location"; fills only
empty fields unless overwrite, one undo step, activity row for batches),
metadata.downloadPlaceNames (background download of the CC-BY 4.0 GeoNames
files into the settings folder, cancellable activity row) and
metadata.placeNamesStatus. No data is bundled; NOTICE records the licence.
Fixes#582.
Sources: GeoNames dump readme (prose); haversine (textbook); PKWARE APPNOTE
(ZIP, prose); cell index own design.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
folder.create {parent, name} makes a folder on disk (one undo step; undo
removes it again while it is empty). photo.moveToFolder {folder, ids?}
moves the photos' files with their XMP sidecars into another folder and
relinks them as one undo step (undo moves them back); virtual copies
follow their master. It never overwrites: a name already taken in the
destination refuses the whole move with an actionable error. Missing or
offline originals and Local photos are refused. Across volumes a file is
copied, compared byte for byte and only then removed. The move holds a
row in the activity stack.
UI: New Folder on Disk… and Move Selected Photos Here on a Folders row,
Move to Folder… in the photo context menu; strings in every catalog.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
`lightcraft-cli run --library <dir>/catalog.snap` failed with the OS's "File exists"
(creating a folder over the file). Session::open_library now opens the folder that holds
catalog.snap / catalog.log / catalog.lock, and says "is a file; a library is a folder"
for any other file.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Photo > Edit In > Edit in PhotoCraft (Cmd+Shift+E, also on the photo
context menu) renders a copy with the edits as a flat 16-bit PSD, which
PhotoCraft saves back to in place, stacks it on the original and opens
it in PhotoCraft, found where its installers put it. Edit in Other
Editor (Cmd+Alt+E) keeps the configured program. Per-editor format,
colour space and bit depth in Settings > External Editing. Export gains
a flat PSD format.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01T4kqvR9KVCPia3SSXyB8WG
A raw shot in a monochrome picture style records full colour, but its
camera JPEG is grey: neither the full look nor the partial look has
colour to fit, so the photo started from the spectral matrices or the
neutral fallback with the default tone curve, about 1.3 EV darker than
the same body's colour-shot photos. The grey JPEG still shows the
camera's tone curve.
When no look was fitted and the JPEG is black and white (`monochrome`),
fit the quantile tone curve alone on top of the colour the photo gets
otherwise: the camera profile's (in `fit_preview`), else the spectral
matrices or the fallback (`monochrome_look`, after the spectral step).
The chroma curve stays neutral; the partial look's checks apply. A
tone-only look keeps the file's colour model for white balance.
LOOK_VERSION 2 -> 3, RENDER_CACHE_VERSION 42 -> 43.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
View > Export Slideshow... (and Export PDF / JPEG / Video in Settings >
Slideshow) writes the photos in view as their composed slides, between
the intro and ending screens that are on:
- PDF: a page per slide (1024/1920/3840 px long side, JPEG quality),
/Dur and /Trans fades per page, optional /PageMode /FullScreen. The
contact sheet's writer moves to engine/src/pdf.rs and streams to disk.
- JPEG: <name>-001.jpg... in a folder.
- Video: AV1 (rav1e, speed 10, low latency) in MP4 or WebM written by
our own muxers (codecs/src/video.rs); fades rendered as blended frames,
held slides one key-frame sample with a long duration; 720p/1080p,
24/30 fps; no audio; capped at 2 hours.
slideshow.export runs in the background with a row in the activity
stack (activity.cancel stops it); outputs are written as .part and
renamed when complete, so cancel or failure leaves nothing behind. A
photo that can't be rendered is skipped with a warning.
slideshow.exportStatus reports the result.
Soft Proofing's Profile menu takes a printer / paper ICC profile (Other…;
`view.softProof {profile, intent, paperInk}`), RGB or CMYK, matrix or LUT.
The CMS (moxcms) builds a 33^3 proof table over the working space: forward with
the chosen intent (Perceptual / Relative), back relative colorimetric; the
destination gamut warning comes from the colorimetric round trip. Simulate
Paper & Ink renders absolute colorimetric: the profile's media white replaces
screen white and the ink black is unscaled. The pipeline gets the table by id
(`Proof::profile`, `register_proof_profile`), so Proof stays Copy and render
keys include it. Proof copies are named after the profile.
Sources: ICC.1:2022 (rendering intents, media white point, absolute
colorimetric); own design for the proof table.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
New `inpaint` crate (L1): multi-scale patch-based completion with a PatchMatch
nearest-neighbour field, seeded by a membrane fill. Deterministic, no panics on
hostile sizes, cancellable. Ported from PhotoCraft (MIT OR Apache-2.0).
Remove tool: a fourth spot mode, `fill` ("Content-Aware"), rebuilds the spot
from patches of its surroundings instead of one source; coarse-to-fine, so the
structure is chosen at a scale set by the spot size and preview and export agree
(tested). spot.add leaves its source unset.
Sources: C. Barnes et al., PatchMatch (SIGGRAPH 2009); Y. Wexler, E. Shechtman,
M. Irani, Space-Time Completion of Video (TPAMI 2007); P. Perez et al., Poisson
Image Editing (SIGGRAPH 2003) for the membrane fill; code ported from PhotoCraft
crates/algo/src/inpaint.rs + poisson.rs (a680ed22).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
library.buildPreviews rendered one photo at a time, and each photo's thumbnail job decoded the
file again at thumbnail level after (before, in fact) the view job had decoded it at preview
level. Now the view renders first and its decoded source serves the thumbnail, and photos
render in as many lanes as an export batch (two for 1:1 previews, a full-size source each);
a panic in one photo counts as that photo's failure.
100 24 MP ARWs, standard previews, loaded machine: 49.4 s -> 38.4 s (CPU 3m28 -> 2m49).
Sources: own design.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
No location in the XMP sidecar or the DNG's packet; exporting an original
that embeds GPS with the option on is refused instead of leaking it.
Sources: own design.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Raws without an embedded lens correction look their EXIF lens up in the
user-supplied database; the profile goes through the existing Enable Profile
Corrections path (amount sliders, CPU/GPU geometry stage, DNG export).
Synthetic-grid test renders a distorted chart through the pipeline.
Sources: own design (see lightcraft-lensdb for the model sources).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Between a kept luminance share of 0.15 and 0.25 the table colour is now blended in with a smoothstep,
so noisy shadows show no step between pixels that get the table colour and pixels that keep theirs.
At 0.25 and above pixels render exactly as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A slideshow template is the Playback (not "prepare previews"), Layout /
Options / Backdrop, Overlays and Titles settings as one versioned JSON
document (format lightcraft.slideshowTemplate, version 1).
- Engine: slide_template (SlideLook, Template, built-ins, user template
files in <settings>/slideshow-templates read through each section's own
merged() validation; size and count caps; newer versions refused; bad
files reported and skipped; file names sanitised so ids never leave the
folder). Applying replaces the four settings in one step and keeps the
replaced ones as "previous" for the session (prefs have no undo).
- Five built-ins of our own: Plain Black, Gallery Wall, Edge to Edge,
Cinema Wide, Shooting Data (no Lightroom names or designs, no images).
- Commands slideshow.templates.list/apply/save/update/rename/delete/
import/export; slideshow.preview {template} previews without applying.
- UI: Template Browser at the top of Settings > Slideshow (built-in, user,
previous settings; click applies, hover previews on the selected photo,
right-click update / rename / export / delete; save and import), file
dialogs on the desktop; strings in the nine locales.
- Docs: parity row (partial), whats-new, control protocol and MCP.
The CRX 0x200 QP map opens with its first symbol as a 32-bit literal; every
later symbol is Rice coded with a limited-length escape: 23 zeros, the
terminating 1 and the symbol in 8 bits (the ITU-T T.87 layout for a 32-bit
limit and 8-bit symbols, without its minus-one offset). The old rule (an
escape after 16 zeros with a 16-bit literal) matched only the first symbol,
which is all the R8 and R7 maps need. R5 Mark II maps (QP 150-162) jump by up
to 12 where the Rice parameter is 0, giving 18- to 22-zero prefixes that
misparsed ("Canon CRX adaptive QP value -21087"): 174 of 306 sampled files
from a private R5 Mark II library opened as previews. Every QP map of its
33,665 C-RAW files now decodes to the exact end of its entropy stream; the six
oracle fixtures are unchanged. Established by black-box analysis of the
bitstream; no third-party decoder source consulted.
Adds the four CC0 R5 Mark II samples (raw.pixls.us 7881-7884) to the corpus
with pinned sensor hashes (the crop-mode framing is left to #754), bumps
RENDER_CACHE_VERSION to 43, and updates cr3.md, raw-parity (235 verified
models), coverage, gaps, the checklist rows, ROADMAP, target-app-parity and
What's New.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Rebased onto the activity stack (#601). An export adding its files to
Photos keeps its row through that step, with "Adding to Apple Photos…" as
the detail. The worker turns the row's ✕ off (TaskHandle::set_cancellable)
before its last look at the cancel flag and reports what it saw, so a
cancel either stops the export before Photos is asked or is refused, never
both "cancelled" and imported. activity: a per-task gate orders a cancel's
decision against a step switching cancelling off, so a cancel can't be
accepted between the switch and the step's look at the flag and then be
ignored. An import of its own (export.addToPhotos, or
the Photos step left running after a foreground app.export) holds a row of
kind applePhotos while Photos works: no ✕, no count, the album as detail.
The desktop app refuses export.addToPhotos {wait: true}: its window's
thread never waits for Photos. The label is in every catalog; tests assert
the rows, the refused cancel and the refused wait.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Ten minutes plus five seconds a file per import (was one minute): the
first live run timed out while macOS's permission prompt was still up,
and Photos' duplicates question waits for a person too.
- Files go to osascript 200 at a time, all within the import's one time
limit: one run with every path went over macOS's 1 MiB argument limit
at about 10,000 files, and Photos got nothing. A failed later batch says
how many files Photos had added.
- The progress line "Adding to Apple Photos…" is translated on the UI
thread; on the export worker it was always English.
- docs/apple-photos.md: who can add what (the control port is reachable by
any local program, other users' included), batching, the new limit, and
tested end to end (macOS 26.6.2, Photos 11.0, packaged app). The parity
row says so; What's New has an entry.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The Export dialog gets "Add to Apple Photos" with an optional album (macOS
only). app.export takes addToPhotos / photosAlbum (dialog, Export with
Previous, presets, MCP, lightcraft-cli run and render --opt); the new
export.addToPhotos {paths, album?, wait?} adds files already on disk and
export.photosImports {job?} reports how imports went.
A constant AppleScript run by /usr/bin/osascript asks Photos' import
command (Apple Events, not synthetic input) to import the files into a
top-level album of exactly that name (made when missing; albums in folders
are never used; several of that name: refused), skip check duplicates
false, and returns the media item ids. Album names and paths are passed
only as separate arguments (on run argv), never spliced into the script.
The runner is injectable (Session::apple_photos): with_fs installs the real
one on macOS only, and tests use fakes, so no test starts osascript or
Photos.
Imports are jobs (Session::apple_photos_imports), one at a time. The
desktop app (Session::apple_photos_background, set in open_session) never
waits for Photos on its UI thread: the background export adds on its
worker, app.export without background and export.addToPhotos answer with
the running job, and the app announces the outcome. Without a window (MCP,
lightcraft-cli) imports wait by default, and both headless front ends (the
MCP/CLI backend and the snapshot UI) wait for a running one before the
process ends, on every exit path, through one engine helper
(Session::wait_for_photos_imports) whose deadline follows the job: a
writing allowance while an export still writes, then the import's own
time limit from when Photos was asked, under an overall cap. A runner that panics, waiting or on a
worker, ends its import as failed and frees the slot (panic guard plus a
completion guard). Session::after_export reserves
the import slot before an export writes anything and frees it on every
exit path (handed the files, cancelled, failed, dropped), so a competing
import is refused with the export's job number instead of the export
failing its Photos step after writing. Permission (-1743), missing Photos,
cancel, timeouts, ambiguous albums, busy imports, other osascript failures
and partial imports produce actionable messages; the export's files are
kept either way. Hidden on other platforms; the web build compiles it out.
Packaging: the hardened-runtime entitlements gain
com.apple.security.automation.apple-events (app and CLI) and Info.plist
gains NSAppleEventsUsageDescription, without which macOS refuses the
events without asking.
Not yet tested end to end against a real Photos library: manual steps,
with the packaged app, in docs/apple-photos.md. Parity row LR-EXP-PHOTOS is
now partial.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Open Library given a Lightroom Classic catalog folder, one of its .lrdata /
.lrcat-data folders, Backups/, the .lrcat or its -wal/-shm/.lock files used to
create an empty LightCraft library inside Lightroom's folder (or, for the
.lrcat file, close the current library and then fail). Now:
- engine: lightroom_folder::lightroom_catalog_at (names only, top-level scan
bounded to 10 000 entries, never fails); Session::open_library refuses those
places with EngineError::LightroomCatalog {path, catalog} before creating
anything. A LightCraft library (catalog.snap / catalog.log) always wins.
- app: app.openLibrary checks before closing the current library, keeps it,
returns {opened: false, lightroomCatalog, path} and shows a dialog with
Import Lightroom Catalog… (file.importLightroom with the catalog found) and
Cancel. The library problem window gets the error instead.
- Lightroom import status keeps the catalog path after the task ends.
- CLI --library explains how to import instead.
Intro and ending title screens (Lightroom Classic's Titles panel): each on
or off, a background colour and, centred, the Overlays identity plate or a
line of text, in the plate's colour or an override colour, at a scale, for
its own duration (default: the slide duration).
- Playback timeline: titles are items (Item::Title) of Playback; the intro
plays once before the first photo, the ending after the last photo when
repeat is off; random order never moves them; arrows step across them;
fades, pause and readiness work as for slides; n of N counts photos only.
- Engine: slide_title (TitleSettings in prefs.json, TitleCompose drawing
through the slide composer and overlay text renderer), slideshow.titles
get/set, slideshow.preview {title}.
- UI: titles composed on a render worker (Renderer::request_title), the
control bar shows Intro / End, Settings > Slideshow > Titles section and
a Photo / Intro / Ending preview choice; strings in the nine locales.
- Docs: parity row (partial), playback note, whats-new, control and MCP.
Compare and Reference drew each pane from a whole-frame render of at most
2560 px, so 1:1 was a magnified preview and focus could not be checked.
Each pane now also renders the window on screen from the photo's own
pixels (Slot::CompareRegion), as the loupe does (#323). The media cache
keeps up to two full-size originals while either view is open, so one
pane's window does not evict the other's source.
Docs: gaps.md entry 4 shrinks to overlays and soft proofing; checklist
LR-VIEW-ZOOM / LR-VIEW-COMPARE and ui-parity zoom row updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01UyHnpE9573a7nJFQqnGNex
Lightroom's Light panel "HDR" switch (`crs:HDREditMode`, `1`/`True` on,
`0`/`False` off) now sets `hdr.enabled` when importing XMP sidecars, presets,
DNG presets and Lightroom catalogs, instead of being reported as unmapped (an
off value was already silent). The rest of the HDR settings keep their
defaults. Follow-up to #646, ported from #466.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
An HDR edit's preview shows its SDR rendition, so its histogram said nothing
about the highlights above SDR white. Now it shows the HDR rendition:
`pipeline::hdr_histogram` renders the edit small (384 px, float HDR, same
framing) and bins it with SDR on the left half and the HDR range on the right
(`Histogram::of_hdr`, `HdrBins`), on a fixed scale of Hdr::MAX_EV_LIMIT (5)
stops above SDR white so it doesn't rescale when the headroom limit changes.
The engine's `develop()` (CPU and GPU renders) and the web worker swap it in
for HDR edits; high-bit-depth, windowed and proofed requests keep the image's
histogram, and a display profile's histogram doesn't replace it. Web workers
carry the HDR bins across their wire (`Histogram::to_words` / `from_words`).
The panel draws it in Lightroom's layout: a solid line at SDR white, dashed
lines between the stops, the headroom limit as an orange line with the range
past it dimmed, a bar under the plot (white; one band per stop in Visualize
HDR range's colours while that is on), SDR / HDR labels and an info tooltip.
Follow-up to #646, ported from #466.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Readers that don't read the PNG cICP chunk show the PQ samples as if they
were sRGB (flat, washed out): expected for PQ PNG, but it surprises people.
Noted in What's new (with the gain map JPEG as the look-right-everywhere
choice), as the export dialog's HDR PNG hint, and in the option and encoder
docs. Review suggestion on #664.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With HDR output on, a photo edited in HDR exports as a 16-bit PNG with the PQ
curve in Rec. 2020 (SDR white at HDR_REFERENCE_WHITE_NITS), described by a
`cICP` chunk (PNG third edition: BT.2020 primaries, PQ, RGB, full range) and
a `cLLI` content light level chunk (the levels the HDR AVIF records). EXIF,
XMP and print resolution are kept; no ICC profile next to cICP. Photos without
an HDR edit, and HDR edits with HDR output off, export as before.
`codecs::encode_png_pq` sits next to `encode_avif_pq` and takes the same
input. Follow-up to #646, ported from #466.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Exercise both separator directions for folder and individual-file imports.
Verify duplicate detection, stable photo IDs, added/deleted file detection,
and reuse of a confirmed scan when the folder spelling changes.
Co-Authored-By: GPT-6 Astra <noreply@openai.com>
Rebuild fixture path components with native separators so expected paths
match directory scans on Windows, including files that have been removed.
This is a prerequisite for Windows validation and overlaps the path-helper
fix in upstream PR #660; it can be dropped once that change lands.
Co-Authored-By: GPT-6 Astra <noreply@openai.com>
The grid already showed the camera's embedded preview first, then queued a render of the whole raw
to replace it. For a 512 px thumbnail that render decodes 50 of a 56 MB Fuji RAF's bytes for a
picture the 4 416 × 2 944 embedded JPEG already covers — 45 s a photo on the 1.2 MB/s share this was
measured on, 8.3 GB of traffic for a 149-photo folder, and a queue that delayed the render the user
was actually waiting for (measured: the first loupe render of a cold photo finished 174 s after the
click, most of it spent behind thumbnails). Idle for a minute afterwards, the same folder read 12
previews (26.9 MB) and decoded zero raws for thumbnails, against 638 MB of whole-file reads before.
- `Session::embedded_thumb_is_final` answers whether a photo is an unedited raw whose camera JPEG the
viewer is showing — the same `has_import_look` gate the preview path uses.
- `grid::skips_the_real_render` is the decision (unit-tested): a cached render as stand-in, an edited
photo and a raw without an embedded JPEG all still render, because their thumbnail must show the
pipeline's output rather than the camera's.
- `Renderer::remember_embedded_thumb` records the quick render's key and the bucket, and
`thumb_quick_is_final` / `thumb_quick_pending` let the per-frame grid request stop at the embedded
preview instead of rebuilding the render job (and its cache key) every frame.
- The thumbnail key still follows the settings hash, so editing a photo re-renders its thumbnail
through the ordinary background path.
`docs/raw-preview-reads.md` and the `LR-IMP-PREVIEW-READ` parity row record the behaviour and the
numbers.
Co-Authored-By: DeepSeek V3.2 <noreply@deepseek.com>
HueSat::apply restores luminance with before / after. Near black, where noise makes some channels
negative, the hue/saturation table can bring after close to 0, and the gain turned single pixels
white (isolated white dots in dark areas, most visible at fit). Luminance is now restored only if
the table kept at least 25 % of it; such colours keep their colour, like black and non-finite ones.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A Sony body shot in Adobe RGB writes ColorSpace Uncalibrated with InteropIndex R03 in the raw's EXIF and leaves the
embedded JPEG untagged, so the look was fitted against the JPEG decoded as sRGB. The EXIF fallback now applies to
all makes (the Nikon maker note still wins); DNGs are skipped, since their previews come from the converter.
A watermark (text, horizontal or vertical, or a graphic) can be turned 0,
90, 180 or 270 degrees clockwise, like Lightroom Classic's rotate buttons.
It is sized before it is turned and placed and inset by the turned box; the
shadow still falls down and to the right. New watermark key `rotation`
(other values are errors); settings without it draw unturned. The Export
dialog gets a Rotate row.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Watermark.inset becomes inset_x (from the left or right edge) and inset_y
(from the top or bottom edge), like Lightroom Classic's watermark editor.
The watermark keys are insetX and insetY; the old inset key still reads as
both, so saved presets and existing MCP calls keep working.
The Export dialog's Inset slider becomes Horizontal inset and Vertical
inset, each greyed out when the position is centred along its axis.
cargo fmt reflows WM_POSITIONS and its test from the previous commits.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Watermark on, the Export dialog shows the first photo it will export
(its cached thumbnail) with the watermark drawn as the file will have it.
The watermark is redrawn on a copy only when it or the output size changes.
draw_watermark_preview scales the 6 px minimum text size and the 1 px
minimum shadow offset by the preview size over the export size, so a small
watermark doesn't look bigger in the preview than in the file. Exports draw
with a scale of 1 and are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Color Grading gets 3-Way / Shadows / Midtones / Highlights tabs (3-Way by
default). 3-Way shows three equal wheels; a range tab shows one large wheel
with that range's Hue, Saturation and Luminance sliders. Blending and Balance
are in every tab.
Precision (#559):
- Shift-drag on a wheel locks the hue and changes saturation only; the whole
spoke is drawn as a guide. Shift can be pressed or released mid-drag.
- A white dot marks each wheel's neutral centre.
- The large wheel has dashed 25/50/75 % saturation rings.
- 3-Way shows the hovered wheel's hue and saturation above it.
Each wheel has an eye (bottom-left, on hover) that hides its effect for
viewing only: RenderJob::with_hidden_grading renders those wheels neutral
under their own key, never cached as the photo's preview. Not an edit, not
saved, reset on another photo; export is unaffected.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Canon EOS R50 C-RAW files reach QP 168 (quant 44, step 102, measured about 100). The quantization step and the adaptive QP map range accept it; anything above stays rejected. Bumps RENDER_CACHE_VERSION since such files change from the embedded preview to a raw decode.
- Engine: slide_overlay (OverlaySettings in prefs.json, the new slideshow.overlays
command): identity plate (text, or a PNG/JPEG file with its transparency; size,
colour, opacity; render behind image), rating stars (own vector stars), up to 16
text overlays with tokens ({caption}, {exposure}, {file}, {date}, {focal}… plus
every rename token; unknown tags show as typed and are reported) and a drop
shadow, each at one of nine anchors of the slide or photo plus an offset, kept on
the slide; the export watermark on the photo. Sizes relative to the slide's
shorter side; validated and clamped.
- Drawn by the engine as a second pass over lightcraft_slideshow::compose_with
(new behind hook for "render behind image"); the watermark's text renderer moved
to engine text.rs (TextLayout, Inter + craft-fonts CJK) and is shared; glyphs
off the image are skipped so huge text stays cheap.
- rename::expand_tokens_with lets overlays add tokens without changing rename.
- Playback composes slides when overlays are on; slideshow.preview returns each
overlay's box. Settings > Slideshow > Overlays section with live preview.
- Docs: parity row (partial), whats-new, control/MCP docs, nine locale catalogs.
- Tests: tokens, nine anchors, star count, plate image opacity and missing file,
text shadow, resolution independence, hostile input, big-slide cost, CJK with
craft-fonts, prefs persistence, preview and headless playback pixel checks.
Claude