* perf(photomerge): build multi-band bands in bounded batches (#7758)
panorama::multiband built every source's Laplacian and weight pyramids
at once and kept them all until accumulation, so Photomerge's peak
memory grew with the image count (~5 GB for four 24 MP sources). Build
the bands in batches under a 2 GiB estimate (at least one image) and
add each batch before building the next. Each pixel still adds the
bands in image order, so the output is bit-identical.
Planes now move into the pyramids instead of being cloned, and the
coverage and push-pull masks are freed once used: with one image built
at a time those clones were serial passes. seam_blend shifts its ROIs
in place instead of cloning every source for the blend.
Peak during the blend: 4x24 MP 5.04 -> 2.81 GB, 8x12 MP 5.50 -> 2.61 GB,
at +5% time (2x24 MP unchanged). New example bench_multiband measures it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* perf(photomerge): let up to four 24 MP sources build their bands together
A 2 GiB band budget built every 24 MP source alone, which made the usual
2-4 image Photomerge 12-36% slower on a 32-thread desktop. The native
budget is now 5 GiB, so those still build side by side and only larger
stacks are batched. wasm32 has no threads, so it adds each band as soon
as it is built.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(filters): Lens Blur reads its depth from an alpha channel, listed in Depth Map › Source as in Photoshop (#7400)
* test(filters): Lens Blur depth from an alpha channel by name or index, its errors, and the Source menu (#7400)
When the crop quad's horizon crossed the layer and most of the layer
(or its centre) lay beyond it, warp picked the source's majority side
and skipped every output pixel, so the crop came out blank. A clip
wholly on one side of the inverse horizon only ever samples that side,
so draw it; a straddling clip keeps the majority rule (#4863).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Conflict in crates/engine/src/filters.rs: main made keep_alpha pub(crate) for the
plug-in runner (#6770); kept the PR's parallel, cancellable keep_alpha with that
visibility, and the plug-in caller now passes a never-cancelled check and propagates
the Result.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
They acted inside a circle fitted to the bounds' shorter side, so on a wide
or tall image only a central disc changed. Like Photoshop's, they now act
inside the ellipse inscribed in the bounds (selection or layer), reaching all
four edges; square bounds are unchanged.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Screen as 1 - (1 - c)(1 - a) pulls a 32-bit value above white down
towards 1.0 (2.0 with a = 0.5 became 1.5, the core became 1.0). Add
a·max(1 - c, 0) instead: the same result for c <= 1, unchanged above.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
#6462 left Mean, Variance, Standard Deviation, Skewness and Kurtosis 5–15%
slower than the old serial loop on one thread. The cause: `stat` matched on
the mode three times per pixel inside one shared loop. `combine` now picks
the statistic once and hands `combine_with` a closure with a constant mode,
so each statistic gets its own loop with the match folded away. The sample
buffers are sized to the layer count and filled by index instead of `push`,
which re-checked the capacity per sample.
Every output is bit for bit the same (121 hashes match main).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FUAqfMqVHdoeDa2y68KQQw
The fast local Laplacian filter upsampled every remapped level in full for
every reference (up to 96), but each pixel reads that level for at most two
references. `llf` now samples it only where the weight is nonzero, with
`up_at` (same terms, same order as `up`; row taps found once per row,
`mirror` only near the edges). `quantile` selects its element instead of
sorting the whole work copy (5 sorts per render, serial).
36 MP dialog, all cores: Shadows 252 -> 168 ms, Highlights 275 -> 184 ms,
all 14 sliders 627 -> 411 ms. Output hashes match main.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01FUAqfMqVHdoeDa2y68KQQw
`stat` raised each deviation from the mean to a power with `f32::powi`,
with the exponent passed through the moment closure. On
x86_64-pc-windows-msvc that call goes to the C runtime's `powf`, whose
cubes and fourth powers can differ from repeated multiplication in the
last bit. On Linux the same call gives the bits of repeated squaring, as
compiler-builtins' `__powisf2` computes it. Kurtosis
came out one ULP higher on Windows in two values of the test fixture, and
`stack::tests::statistics_are_bit_identical_to_the_serial_implementation`
failed there.
The moments and Skewness's `sd³` now use `ipow`, which multiplies by
repeated squaring: `x·x²` for the cube and `x²·x²` for the fourth power.
Results on Linux do not change, and the recorded bits stay as they are.
`blocks` and `fnv` exist only for `harris_and_describe_hashes_recorded_from_the
_serial_code`, which is `#[cfg(all(target_os = "linux", target_arch =
"x86_64"))]` because the hashes it compares against go through the platform's
hypot / ln / cos / atan2 / sin_cos. Everywhere else the test is compiled out and
the two helpers are left unused, so `-D warnings` fails on `dead_code`:
error: function `blocks` is never used crates/algo/src/features.rs:704
error: function `fnv` is never used crates/algo/src/features.rs:708
They now carry the same cfg as the only thing that calls them.
CI's matrix is ubuntu-latest and windows-latest and runs clippy on both, so this
fails the Windows leg as much as a local run on macOS: `target_os = "linux"` is
false for both.
N is the whole algo-side Photomerge pipeline on 3 × 8 MP photos (register at the engine's
scale with the Auto layout, gain + vignette fit, seams, multi-band blend), 16 threads:
1042 ms before, 264 ms after, 3.9×, rounded to 4×. The engine's own glue (reading regions,
building weights, writing layers) is not in this number.
Registration and multi-band blending ran almost entirely on one thread per image (four
images on 16 threads), so most of the machine sat idle. Every output is bit for bit what
the serial code produced: a probe that hashes the public Photomerge entry points
(detect_many, match_pairs, align for every layout, photometric, seam_labels, multiband at
1 to 7 levels with 1 and 3 channels, with holes in the alpha, with images sticking out of
the canvas, plus direct harris / describe calls) matches on all 349 outputs before and
after, on 4 × 2 MP, 3 × 8 MP, 97×61, 211×157, 333×251, 320×240 two-image and 40×35 sets,
at 16, 3 and 1 threads.
- features `blur` (Harris window and BRIEF smoothing): the row pass runs rows in
parallel; the column pass cuts the image into bands of 64 columns, each holding the
`&mut` row segments of its own columns (no unsafe), run in parallel. Every column keeps
its own f32 running sum, started from its first window summed in order and updated in
the same order, so only the loop nest changes.
- `harris`: Sobel, the corner response and the non-maximum scan are parallel by rows (the
candidates are fully ordered by score, y, x afterwards, so arrival order is irrelevant).
`describe`: one descriptor per corner in parallel, kept in corner order.
- `reduce`, `expand`, `push_pull`: per-row maps in parallel. `reduce`'s column pass adds
five whole rows in tap order (same per-element sum, now vectorised); `expand` works out
its source columns once and truncates instead of calling libm `floor` (the clamped
position is never negative); `push_pull` builds each coarse row from its two fine rows in
raster order, which is the order the serial scatter-add used.
- `multiband`: grid fill per image, Laplacian difference, band accumulation (every row
walks the bands in the original order), normalisation, collapse and the coverage union
are parallel. Float additions are never reordered.
Left serial on purpose: the peak fold in `harris` (about 1 ms, an order-free max but not
worth the proof), the corner spacing grid, `seam_labels` (a dynamic-programming path whose
rows depend on the previous one), `photometric` sample gathering, and the pyramid levels
themselves (each level needs the one above).
Median of 5 (8 MP rows: 7), release, ms, interleaved before/after runs. The laptop was
busy with unrelated builds the whole time (load average 11 to 18 on 16 threads), so the
1-thread rows are noisy (a single thread is time-sliced against them) and rows can move
by 10 to 20 percent.
| Case (probe) | before (16 thr) | after (16 thr) | speedup | before (1 thr) | after (1 thr) |
|--------------------------------|----------------:|---------------:|--------:|---------------:|--------------:|
| register, 4 × 2 MP | 154 | 60 | 2.6× | 336 | 167 |
| multiband, 4 × 2 MP, 3 ch | 407 | 108 | 3.8× | 591 | 407 |
| multiband, 4 × 2 MP, 1 ch | 307 | 73 | 4.2× | 813 | 566 |
| whole pipeline, 4 × 2 MP | 437 | 160 | 2.7× | 716 | 504 |
| register, 3 × 8 MP (full size) | 327 | 124 | 2.6× | 978 | 391 |
| multiband, 3 × 8 MP, 3 ch | 2348 | 916 | 2.6× | 1742 | 1150 |
| whole pipeline, 3 × 8 MP | 1042 | 264 | 3.9× | 2264 | 1280 |
The 8 MP multiband row at 16 threads is the noisiest (minimum of 7: 959 to 224 ms, 4.3×);
the whole-pipeline row is steady. Max RSS for the 3 × 8 MP whole pipeline (the probe's
inputs are about 1.05 GB of it): 2.79 GB before, 2.79 GB after (three runs each).
Tests: the serial `blur`, `reduce`, `expand`, `push_pull` and `multiband` are kept in the
test modules as references and compared bit for bit over sizes that cross every band and
row boundary (1×1, 1-wide, 1-high, odd sizes, 63 / 64 / 65 / 129 columns, radius 0 to
wider than the image, holes, partial and zero weights, ROIs outside the canvas, 1 to 7
levels). Hard-coded hashes recorded from the old code cover multiband, push_pull,
reduce + expand everywhere (plain f32 arithmetic), and harris + describe on Linux x86-64
(they go through the platform's hypot / ln / cos / atan2 / sin_cos).
Claude-Session: https://claude.ai/code/session_01AfRHB1wHUjrJx6agBYGnVu
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Layer › Smart Objects › Stack Mode (`algo::stack::combine`) was one serial
per-pixel loop (1.0x parallelism, identical at 1 and 16 threads), and Entropy
built a HashMap per channel per pixel.
- Output pixels are computed in parallel in 4096-pixel chunks (`par_rows`, so
wasm keeps its serial path). Each chunk owns its scratch buffers.
- Each pixel uses exactly the same arithmetic in the same order as before, so
every mode except Entropy is bit-identical: 110 output hashes (10 modes x 11
cases: 3 x 24 MP, 7 layers of odd/mismatched sizes, transparency, HDR values,
1 layer, no layers) match the old code.
- Entropy: a `[u32; 256]` histogram plus a short list of the bins touched
replaces the HashMap; touched bins are summed in ascending order, so the result
is now deterministic. The old HashMap summed in random iteration order and
differed run to run (up to 1.2e-7 between two runs of the old code). New vs old
output: max abs difference 1.19e-7 (one f32 ulp near 1.0), on up to ~10% of
values in the 7-layer cases; the 3-layer 24 MP case is identical.
- Modes that never use the mean (Median, Min, Max, Range, Summation, Entropy) no
longer compute it; Median uses an unstable sort (same result under total_cmp).
3 x 24 MP, release, median of 5 interleaved before/after runs (load average
~3.5-4.5 from an unrelated build running alongside), ms:
| Mode | before | after (16 thr) | speedup | after (1 thr) |
|------------|-------:|---------------:|--------:|--------------:|
| Median | 1100 | 99 | 11.1x | 1064 |
| Mean | 308 | 36 | 8.6x | 338 |
| StdDev | 342 | 41 | 8.3x | 380 |
| Entropy | 4727 | 269 | 17.5x | 2730 |
| Kurtosis | 458 | 55 | 8.3x | 488 |
| Maximum | 368 | 36 | 10.1x | 346 |
The other modes land between 8x and 10x. Max RSS for Median is unchanged
(1.50 GB, of which 1.13 GB is the input layers).
Tests: hard-coded bit patterns recorded from the old code for every mode but
Entropy; Entropy against hand-computed values and run-to-run determinism; and a
chunk-boundary test comparing a multi-chunk image to per-pixel results.
Claude-Session: https://claude.ai/code/session_01AfRHB1wHUjrJx6agBYGnVu
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
photocraft_algo::faces::detect finds faces in an RGBA image with a score, a box and five landmarks, through a pure-Rust port of libfacedetection's YuNet network (Shiqi Yu, BSD-3-Clause; licence, NOTICE and ATTRIBUTION rows included). The weights are the library's, converted to half precision (107 KB), parsed defensively. image.detectFaces reports the document's faces to scripts and agents; it is read-only with no history step and no menu entry. The network is compiled out of the browser build, where the command reports itself unavailable. Head outputs are pinned against the C++ reference.
Part of #3603.
The local Laplacian filter behind Shadows and Highlights builds a whole
pyramid per reference value (up to 96). Three costs dominated it:
- blur_step called mirror() (an integer remainder) for every tap of every
pixel; the source rows are now found once per row and columns mirror only
within two pixels of an edge.
- up() blurred a zero-stuffed plane, three samples in four zero; it now adds
only the nonzero taps, in the same order.
- the small pyramid levels were split into one-row rayon tasks, costing more
in scheduling than the rows; planes under 32K samples run on one thread.
The output is bit for bit the same: a new test checks blur_step and up
against the plain versions on odd, even, tiny and parallel-sized planes.
Conflicts:
- distort_ui.rs: main's `drop_foreign` (#5092, #5123) closes the Content-Aware Fill workspace
too when another document becomes active or its own is closed, stopping its background
preview as Cancel does; what Apply wrote stays. New test
`the_workspace_is_dropped_when_another_document_becomes_active`.
- sr, tr, vi catalogs: both sides' rows. Dropped es's High, Low, Duplicate Layer and Contract,
which main has now with the same translations.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Photoshop's Replace Color shows the replacement colour under the Hue,
Saturation and Lightness sliders; picking one in its Color Picker sets the
sliders so the sampled colour becomes it. tone::replace_color_result gives
the swatch (the sampled colour after the shift) and tone::replace_color_shift
the slider values for a picked colour.
Cancelling a 24 MP Gaussian Blur r 50 job took up to ~400 ms (P25, budget
200 ms max). Stage timings showed two stretches without a cancel check:
- The transparency-lock pass (keep_alpha) that puts a Background layer's
alpha back after the filter ran serially over every changed tile, about
400-450 ms on 24 MP, with no cancel check. It now fixes the tiles in
parallel, each in its own scratch surface, and checks for cancellation
before each tile. Results are bit-identical to the serial pass (tested
against it at 8, 16 and 32-bit).
- Box-blur column strips checked only before each strip; with ~31 strips
per band and 32 threads one strip is tens of ms. line_passes now checks
between passes.
P25 max: 337-399 ms -> 13-44 ms over five runs. The uncancelled job is
also faster: p50 about 690 -> 400 ms.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Image > Mode > Bitmap now opens a dialog laid out like Photoshop's:
Resolution (Input, read-only; Output in pixels/inch or pixels/centimeter),
Method (50% Threshold, Pattern Dither, Diffusion Dither, Halftone Screen,
Custom Pattern) with a pattern picker enabled for Custom Pattern, and the
Halftone Screen settings (Frequency, Angle, Shape) shown only for that method.
The image.mode.bitmap command gains `resolution` (resamples to the Output
resolution keeping the print size, then sets it) and the `customPattern`
method (threshold map ranked from the pattern's lightness, tiled from the
top-left). The halftone screen is laid out at the output resolution. The
live preview keeps the canvas size.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open
Users on #2788 reported Select Subject dropping clothes that are close in
colour to a plain wall and bridging the gap between an arm and the torso.
Both come from the same place: the saliency pass labels low-contrast parts
of the subject as background, the background colour model then learns
them and explains them away, and the final blind hole fill closes every
enclosed gap up to 5 % of the mask.
Two changes in crates/algo:
- A second GrabCut pass whose background model only knows the backdrop. A
colour model fitted to the image frame (minus a margin around the
salient blob, in case the subject runs out of the picture) marks every
pixel it explains as probable background; the blob and whatever the
backdrop cannot account for start as probable foreground. Only
components that touch the first pass's result survive.
- Hole filling that consults the colour models: specks (<= 0.2 % of the
mask) always fill, larger holes up to 5 % fill only when their pixels
fit the foreground model better than the background's.
Tests: two regressions (a cream-shouldered figure on a near-white wall
keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus
ignored timing and picture-dump helpers. The 6 MP first run goes from
about 100 ms to about 200 ms on one core; the P29 repeat path is untouched.
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Gert Pellin <gert@pellin.be>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
* Warp: a thin layer stretched and bent keeps its curve on commit (#5793)
The mesh warp sized its triangle grid by the source rectangle only (one cell per 4 source px). A 3 px column scaled into a wide band and then warped got a single cell across, so the committed result was a straight, affine band while the preview showed the curve. The grid now also follows the destination length of the mapped rows and columns.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Warp: module doc describes the grid sized on both sides of the map (#5793)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
warp() computed the source-centre fallback as (x0 + x1) in i32 and the
inverse-mapped tile footprint as `floor() as i32 - 3` / `ceil() as i32 + 3`.
With a strongly skewed finite affine (for example Homography
[1, 1e12, 0, 0, 1, 0, 0, 0, 1] on a 32x32 clip) the float-to-int cast
saturates at i32::MIN/MAX and the following -3/+3 overflows, panicking in
debug builds and wrapping in release. A source rect with coordinates near
1.5e9 would overflow the centre sum the same way.
Widen the centre sum to f64 and use saturating_sub/saturating_add for the
footprint, which is intersected with src_rect afterwards anyway.
Add crates/algo/tests/warp_clipped.rs covering clipped-vs-full equivalence,
huge scale allocation, the extreme-affine footprint, and the far-origin
source centre.
Refs #3446
With alpha kept (Lock Transparent Pixels, Fill's Preserve Transparency),
the brush, mixer, Fill, Gradient and Paint Bucket composited source-over
and then restored the old alpha, so a half-transparent pixel took the new
colour by as / ao instead of as. They now blend source-atop, as Photoshop
does: Co = (1-as)*Cb + as*B(Cb,Cs), alpha unchanged. New shared helper
blend::composite_atop; over_native's lock branch lerps by the source alpha.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Stretching a 1 px row or column faded out along the stretch: bicubic and
bilinear sampling read transparent pixels past the source edge, and with a
selection the edge was the whole layer's bounds (lifted pixels kept their
colour at zero alpha). Samples past the source rect now repeat the edge and
the outline is antialiased by coverage, and the lifted pixels' bounds are the
selected pixels'.
Fixes#3773
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
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