docs/parity-checklist.md: header keeps the newer date; LR-IMP-FORMATS row keeps both sides' changes.
docs/raw-parity.md: header change note names both sides' changes.
docs/raw/coverage.tsv: merged cleanly; same rows as both sides, no duplicates (regenerated on the combined branch).
crates/engine/src/camera_preview.rs: LOOK_VERSION keeps both history lines and the higher value.
crates/engine/src/media.rs: RENDER_CACHE_VERSION keeps the higher value.
crates/engine/src/camera_preview.rs: LOOK_VERSION keeps the higher value; fit_tone_only_pairs (from #1616) takes the HighlightCheck of #699 from fit_tone_only_on, and fit_dark_tone passes its frame's (empty, as no JPEG pixel reaches 0.85) check.
crates/engine/src/media.rs: RENDER_CACHE_VERSION keeps the higher value.
docs/parity-checklist.md: LR-PROF-CAMERACOLOR row keeps both sides' changes.
crates/engine/src/camera_preview.rs: LOOK_VERSION keeps both history lines and the higher value.
crates/engine/src/media.rs: RENDER_CACHE_VERSION keeps the higher value.
An X-T30 RAF shot in Acros embeds a black-and-white camera JPEG, so the
per-file look fits only the tone curve, and the colour came from the
neutral "camera RGB ~ sRGB" fallback: a grey sky and muted colours. The
raw decode (lossless compressed) was correct.
Add a hand-kept SAME_SENSOR alias list next to the generated
rawtoaces-data table: the 26.1 MP X-Trans CMOS 4 bodies (X-T30, X-T30 II,
X-Pro3, X100V, X-S10, X-E4) use the X-T3's measured matrices, and their
white balance reads in Kelvin through them.
Canon's maker-note ColorData lists the levels of each white-balance preset
with Canon's colour temperature for it. For versions -4 and 13-15 the
Daylight, Shade, Cloudy, Tungsten and Flash rows now give a Kelvin curve
(kelvin_presets, generalised from five fixed points to any number, with a
from_unordered constructor that sorts and drops points that would turn the
curve back). Fluorescent (off the locus) and the Kelvin row (the dial's last
setting) are left out. Enabled for the PowerShot G1 X Mark III, which has no
colour matrices: its nine as-shot white balances read within 4 % of the
camera's own ColorTempAsShot.
Sources: own design on the existing kelvin_presets model; ColorData row
positions from the ExifTool Canon tag-name documentation, confirmed with
ExifTool run as a black-box tool on sample files.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Use luminance pairs after the existing camera looks fail their colour-pair
minimum. Keep the source colour, exclude clipped pixels from training, and
check held-out luminance and each clipped pixel before accepting the curve.
The darkest supplied D610 sample changes from +2.81 to -0.09 stops at the
median. The other 15 renders are byte-identical. Add synthetic coverage for
source-colour precedence, independent holdout and invalid or clipped input.
Bump LOOK_VERSION to 10 and RENDER_CACHE_VERSION to 67 after checking open PRs.
Engine tests pass. Workspace tests pass with only the known #1457 overlay
test excluded. Formatting, Clippy, HEIC, parity, layers, assets and WASM pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Both tone fits refused a curve when the brightest 1/32 of the training
pairs was less than 1.5x the darkest 1/32, a hard cliff before any
acceptance gate: a hazy ILCE-7RM4 burst (issue #631) opened with the
neutral fallback on frames just under it (DSC01630: range 1.489, dE76 vs
the camera JPEG 23.8) and with a camera look on the frame just over it.
MIN_TONE_RANGE = 1.2 still refuses nearly uniform pairs.
A curve under the old 1.5 must also keep the bright areas (camera JPEG
luminance 0.85 and up), which the fit and the held-out gates leave out, no
further from the camera JPEG than the neutral fallback (highlights_hold,
full and partial looks): fitted to a narrow range it extrapolates them, and
reviews found synthetic frames whose accepted curve rendered a 0.93 sky at
0.28 to 0.61. The bright pixels come from the proxies before any training
filter, and for DRO photos the curve is checked lowered as it will be
used, inside the search. The tone curve of a black-and-white camera JPEG
(#577) comes from the same fit, so it gets the same check, by luminance as
its own gates compare: a synthetic frame's 0.93 sky rendered at 0.28
without it. DSC01630 (DRO Auto): look accepted, dE76 1.94. Every other
file of a 309-file sweep (135 public Sony) renders pixel-identical, also
with the camera JPEGs made grey. RENDER_CACHE_VERSION 63, LOOK_VERSION 6
(smart previews refit).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Stacked on rb/1592: LOOK_VERSION 8 -> 9; the PR's corpus-profile helper is the base's corpus_uses_the_bundled_profile.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Resolved against rb-base-36: LOOK_VERSION 6 -> 7; starting_colour_tags passes no lens (merge frames arrive without it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Docs conflicts resolved on upstream's text; MRW edits reapplied with
coverage re-measured by docs/raw/coverage.py (243 verified, 946
unverified, 221 preview). Drops stale duplicate rows upstream's docs
carried in raw-parity.md and gaps.md.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Fitted with `lightcraft-cli calibrate` to 144 usable ILCA-99M2 ARWs (of
150, seven shooting days, Standard creative style, DRO Auto) and their
in-camera JPEGs; aggregate colour statistics only.
On 30 withheld photos (profile fitted to the other 120) mean dE76 against
the camera JPEG goes 5.11 -> 4.87; 25 of 30 improve, the worst
regression is 0.24. All 150 photos stay accepted. The public raw.pixls.us
ILCA-99M2 file, not used for fitting, stays accepted (5.57 -> 5.73).
A corpus test checks that this public sample's fit keeps exactly the
built-in profile's matrix and table; the ILCE-7CR test now shares its
body. LOOK_VERSION 5 -> 6, as the profile changes the fit of this model.
docs/sony-ilce7rm6-lens-corrections.md records the three Sony tables, the
measured conventions with their residuals, the conversion to
WarpRectilinear and its fit gate, the model allowlist and how to extend
it, the measurement method, the verification and the limits.
Verified locally on 54 ILCE-7RM6 photos with four lenses. The corrected
render lines up with the camera JPEG within 0.679 px at 1440 px at the
corners and edge midpoints of the 33 measurable photos shot with
in-camera correction on (up to 17.3 px uncorrected). The 13 controls show
the model's own shift. Every fit passes the 0.25 px gate (margin 0.075).
Lateral CA stays within 0.3 px, but applied after demosaic it raises the
render's corner CA (rms 0.032 -> 0.052 px); the doc and tracker say so.
Its "Two conventions" section sets these conventions next to the
ILCE-7RM4A's (vendor::arw_lens, docs/sony-lens-corrections.md, #498):
on the 34 measurable ILCE-7RM6 photos that formula gives 1.429 / 0.319 px
(max / rms) against 0.596 / 0.143, failing only on the 24-70 GM II and
fitting the 100 mm and 200-600 better; no single unit fits every lens
under either, and what would settle it (Sony On/Off exports of a wide
zoom, more lenses). docs/sony-lens-corrections.md gains a pointer to it.
Tracker rows LR-EDIT-OPTICS-PROFILE (one note for both bodies) and
LR-IMP-CAMERA-COVERAGE in docs/parity-checklist.md, gap 8 in
docs/gaps.md, the lens-profile section of docs/raw-parity.md (lens score
unchanged), whats-new (lossless ARWs now; Compressed / Compressed HQ once
the ARW 6.0 decoder, #625, lands) and the colour-fit follow-up note are
updated.
Co-Authored-By: Claude <noreply@anthropic.com>
The HDR merge has the same cause as the panorama: its result took the
reference frame's colour tags, and a raw whose white balance is only in the
vendor's multipliers (CR2, NEF, ARW...) has no AsShotNeutral in them.
merge_hdr now takes the median multipliers of all its inputs (the rule of
consensus_multipliers: the mean of the middle two for an even count; missing,
non-finite and non-positive values do not vote) and sets the result's
AsShotNeutral to their reciprocal, as stitch does. With no multipliers (DNG
sources) the reference frame's tags are kept, as before. HdrResult carries the
multipliers so that the brackets of an HDR panorama vote as frames of their own
when the merged brackets are stitched (the engine passes them on).
In the app and the CLI the neutral from starting_colour_tags (#965) is already
there for frames balanced alike, so those renders do not change.
Tests: an HDR merge of raw-style frames gets the median AsShotNeutral (odd and
even counts, missing and unusable multipliers ignored) and the written DNG says
it; without multipliers the reference frame's colour is unchanged.
A raw whose white balance is only in the vendor's multipliers (CR2, NEF, ARW...)
has no AsShotNeutral of its own. Loading a frame dropped the multipliers and
stitch copied the first frame's colour tags, so a panorama of frames that reach
the stitcher without a neutral wrote a DNG with neither AsShotNeutral nor
AsShotWhiteXY, and a viewer had no white to start from (a strong colour cast
until White Balance > Auto).
Frames now carry the multipliers (Frame::wb_multipliers, filled from the decoded
raw; load_frame_with is split so a decoded raw can be tested without a file).
stitch takes the median R/G and B/G of the multipliers of the frames that are in
the panorama (the mean of the middle two for an even count; frames without
multipliers, or with non-finite or non-positive ones, do not vote) and sets the
result's AsShotNeutral to their reciprocal, green = 1. The source's
AsShotWhiteXY is dropped with it: a reader takes it before the neutral and the
DNG spec makes the two exclusive. With no multipliers anywhere (DNG sources) the
first frame's tags are kept, as before.
In the app and the CLI a raw without colour matrices already gets a neutral from
starting_colour_tags (#965). For frames balanced alike the new neutral renders
the same (checked in the engine crate); it differs when the camera balanced the
frames differently: the panorama follows the median instead of the first frame.
Tests: the frame carries the multipliers; the consensus for odd and even counts,
with missing and unusable values; stitching raw-style frames gives the median
AsShotNeutral, ignores frames outside the panorama and leaves the colour as it
was without multipliers; the written DNG, read back with the raw reader, has the
reciprocal AsShotNeutral and the white balance the source's multipliers give.
Held-out and library-wide calibrate runs on real CR3s (calibrate's CR3 /
CR2 input is #1073): profiles change little (R7 2.52 -> 2.57, R6 Mark II
6.12 -> 6.09 mean dE), so none is bundled; notes the CRX adaptive QP
172/175 files that stay preview-only. The catalog test pins that an EOS
R6 Mark II (Exif "Canon EOS R6m2") edits in Kelvin through its measured
matrices and an EOS R7 stays relative.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01CzWyUn77ZWLe3q3qMiQbVt
#1123 gives HDR and panorama merges of raws without colour matrices the colour they open with, but writes
ColorMatrix1 from the forward matrix, so the as-shot white the DNG declares lands wherever the fitted look and the
generic camera model take it. On real ILCE-7M3 brackets the HDRs opened at As Shot 6113–7307 K / +115 (Duv +0.038)
where the ARWs show 3932–5268 K / +7, and any white-balance edit turned them green (CIEDE2000 11–13 against the ARW
at the same Temp/Tint). The render at As Shot was right (0.4–0.8).
The colour matrices now declare the white balance the source shows, decided by files::WbScaleOf (new dng_white):
the camera's measured matrices when they give the source's scale (lightcraft_raw::spectral; the DNG then reads every
white as the source does), else a matrix under which the as-shot neutral is the white the scale shows (Sony's
presets' reading, 6500 K / 0 on the relative scale, the file's own white otherwise). Forward matrix and neutral are
unchanged, so is the render at As Shot.
Measured on the same brackets with this change on a fork build: As Shot 4813 / 5268 / 3932 K, +8 / +8 / +7 as the
ARWs (declared white Duv +0.003); same Temp/Tint within CIEDE2000 0.8–1.7 of the ARW for most changes, about 5 for
the largest (5268 → 3200 K, 3932 → 6500 K: the ARW adapts its look with Bradford, the DNG rebalances in camera space).
Tests: a merged DNG shows its source's As Shot on all four scales (measured matrices, presets, relative, own); with a
look that tints white the DNG declares the shown white, gives the measured model's multipliers at other whites and
renders at As Shot as the source does. Both fail on main (ILCE-7M3 case: (7342, 115) for (5268, 8)).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_015gRtdWF1E9358FfzhzYqCS
Sony ARWs of cameras without measured colour matrices were edited on the
relative scale (6500 K / 0 = as shot). Their SR2SubIFD stores the
multipliers of the camera's presets at 2500, 3200, 4500, 6000 and 8500 K;
lightcraft_raw::kelvin_presets reads the as-shot multipliers on the curve
through them and they take the spectral matrices' place in the #730
design (as-shot Kelvin and tint only; look, Bradford adaptation and the
pixel-identical legacy upgrade unchanged).
Covered: ILCA-99M2, ILCA-77M2, SLT-A33, DSC-RX10, ILCE-3500, ILCE-7S.
Kelvin-dial shots read back 3400 -> 3396, 5200 -> 5193, 4700 -> 4708,
5600 -> 5594 K; Shade 7493 K. Off-curve constants (isotherm tilt 0.74,
tint spacing 1) measured from the 14 Sony bodies with both spectral
matrices and presets.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Add correlated dark holdouts that reject misleading training and accept
matching training. Check finite, monotone curves in both cases. Confirm
the regression fails with the error gate removed and passes when restored.
Qualify the improvement claim when no original curve can be fitted, and
explain the source-look process policy and offline smart preview refresh.
Co-Authored-By: Codex <noreply@openai.com>
Use separate luminance pairs for tone fitting so the camera look follows
its JPEG into deep shadows. Keep colour pairs and holdouts unchanged.
Require enough correlated shadow samples and lower held-out error, with
noise and compression floors and the existing median curve fit.
Add synthetic regressions, bump look and render cache versions, and
record the public multi-make and private numeric validation in the docs.
Fixes#1307
Co-Authored-By: Codex <noreply@openai.com>
Photo Merge decoded each raw itself and wrote the reference frame's own colour
tags into the merged DNG. A CR2 (and NEF, ARW and the other raws whose colour is
fitted from the camera JPEG) has none, so an HDR merge of CR2s rendered with no
camera colour: green and about 16 L* dark.
`lightcraft_merge::load_frame_with` takes the raw's colour tags from the caller,
and the engine passes `starting_colour_tags`: the colour the raw opens with
(`starting_colour`) as DNG tags. That is one forward matrix with a colour matrix
and AsShotNeutral that agree with it at the as-shot white, the look's hue/sat
table as ProfileHueSatMap and its tone curve as ProfileToneCurve. Raws with
their own matrices (DNG) keep their tags. The look's chroma curve has no DNG
tag and is left out.
On two CC0 CR2s (EOS 550D, 40D) an HDR merge of three copies against the photo
alone: mean CIE76 dE 26.15 -> 1.07 and 22.89 -> 0.47.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Sources: TIFF 6.0 and own black-box analysis of the three CC0 samples;
white-balance estimate from the embedded preview: own design.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
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>
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