Tie background results to their rendered source, borrow cached mattes for the
approximation notice, and cover provenance and matte access with regressions.
Co-authored-by: Codex <noreply@openai.com>
(cherry picked from commit 9922a180f5)
Reuse the engine's import extensions in MCP and CLI discovery. Add
recursive, case-insensitive discovery tests and record that DSC-F828
SRF import remains preview-only.
Co-Authored-By: Codex <noreply@openai.com>
MediaCache::enforce_budget never evicts the original of the photo on screen (set_on_screen), but it still
counted it. A 64 MP original (Sony A7R VI: 9984×6656 linear float, 760 MiB) nearly fills the default cache
share (768 MiB) alone, so the loop evicted everything else instead: the photo's preview and thumbnail sources,
the rendered previews and the prefetched neighbours. Every edit at 1:1 (the whole-frame render and the
thumbnail), every zoom out and every step to the next photo then decoded the raw again.
The pinned original is now left out of what is compared with the budget. The rest still fits the share; the
original sits over it, as the first commit of this PR already allowed.
Co-Authored-By: Claude <noreply@anthropic.com>
Each drag tick changed the edited photo's settings, so the filmstrip asked
for a new thumbnail render every frame. For an unedited raw shown with its
embedded preview, the thumbnail-level source had never been decoded, so each
of those renders decoded the whole raw (a 64 MP ARW: over a second), several
side by side, and the loupe's drafts queued behind them.
- The edited photo's thumbnail is not re-rendered during a slider drag while
it has one; it follows once the drag ends.
- A thumbnail of a photo whose preview-level source is decoded (the one in
the loupe) is cut from that source (SourceRef::Fit) instead of decoding the
file again; not when the photo has a denoised picture.
Co-Authored-By: Claude <noreply@anthropic.com>
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>
grlessa