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sonar-fix/enforce-https
3466
Commits
| Author | SHA1 | Message | Date | |
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 xsvm
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9009683671 |
refactor(gpu): bevel fields are asked for, windowed and checked as one pair
- the bevel program asks for both fields with B::bevel_fields, so they always come with the same reach; - field and bevel_fields share one windowing (fields_in_windows: one window, or bands on wasm), so wasm pairs them per band instead of taking a separate path; - compose's bevel_height and bevel_distance_fields share bevel_dists; - sync_fx recomputes the pair together and returns Unsupported when the two are not over the same rectangle at the same reach, instead of falling back to one at a time. Test: paired_bevel_fields_equal_the_fields_one_at_a_time also checks the banded path. |
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xsvm
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5a93e93a44 |
perf(gpu): a chisel bevel's two fields find their sharp edges once
On the GPU canvas a bevel size change recomputes BevelInside and BevelOutside on the CPU, one distance_field call each, and each call ran sharp_edges (edge pixels and refined normals) on the same window again; the CPU compositor already shares them (bevel_height). sharp_edges was ~17% of the CPU time of those size changes. When both fields are recomputed over the same rectangle at the same reach (a size change, a new shape), sync_fx now computes them together: compose::effects::bevel_distance_fields finds the sharp edges once and returns both. Same window, same functions, so both fields are bit for bit the ones computed one at a time; the chamfer fields, wasm and a single bevel field keep the old path. Test: paired_bevel_fields_equal_the_fields_one_at_a_time (reach 3, 9, 40; whole region and two parts; bit-equal to field() of each kind). |
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xsvm
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d743c2532d |
perf(compose): bevel maps shade, chisel and mix rows on threads, results unchanged
A chisel bevel size change rebuilds the bevel maps of the whole layer region. The distance fields already run on threads (#2119), but the passes after them still ran on one thread over every pixel: the chisel height from the two distances, the texture term, the highlight/shadow shading (once, or twice for emboss styles) and the emboss inside/outside mix. Each of these computes a pixel from its own inputs only (the height map, the shape, the distances), so they now go row by row through par_units / par_fill like the fields: the same arithmetic in the same order per pixel, so the maps are bit for bit the old ones whatever the thread count. Maps under 65536 pixels and wasm stay on the calling thread. Test: bevel_maps_do_not_depend_on_the_threads (4 shapes x 5 styles x 3 techniques, with soften and a texture, 1 vs 2, 5 and 16 threads, every map bit-equal). |
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itsF4LCON
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494308a038 |
Image Size: Indexed Color resamples with Nearest Neighbor only (#6019)
An Indexed Color document holds only its colour table's colours, and a save quantises to them. Interpolating methods showed blended colours on screen that the saved file then lost. image.imageSize now resamples an Indexed document with Nearest Neighbor whatever method it is given, and the dialog offers only Automatic and Nearest Neighbor for one. |
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df055f3dcb |
CI: fix the tests that keep main red, and ship the wasm as compressed parts (#5926, #5302) (#5941)
* Fix two ui-egui tests broken on main by concurrent landings - profile_open_tests: #5614 renamed the built-in profile to "(PhotoCraft)" after #5208 hard-coded "(Photocraft)" in the Use-embedded button label. - smart_object_curves_preview_keeps_its_size_on_a_reduced_proxy (#5779): the reduced square is in the right place, but its corner pixels are 220/255 after the smart object's resampling; assert full coverage inside and over half at the corners. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Web: ship the wasm as compressed parts behind a boot module (#5302) The release site held the app's wasm as one file, which sits at the 25 MiB per-file cap of Cloudflare Pages, so the 24 MiB gate failed unrelated PRs. packaging/web/package.sh now gzips the wasm and cuts it into parts of at most 20 MiB under app/, and ships the page of a new crate, apps/photocraft-web-boot. That module fetches the parts in order, has the browser inflate them (DecompressionStream) and passes the stream to the app's own wasm-bindgen loader, so the browser still compiles while it downloads. A failed download is retried twice, then the page says so. The check is now that no file in the site is over 24 MiB. trunk build in apps/photocraft-web and the Docker image still give one .wasm. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Web boot: inflate the parts in the module where the browser can't (#5302) * Tests: the adjustment-layer drag preview test follows #5778 (#5926) #5778 caps a live adjustment-layer preview by the view's zoom, so at 100 % the drag shows full resolution even with Low Resolution Previews on. The test still expected the reduced copy there. It now checks that at 100 % every column shows by default, and moves the low-res on/off comparison to 50 %, where the reduced copy is still used: on, the drag shows only the (inverted) black columns; off, it matches the committed view. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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itsF4LCON
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5b39b2b3af |
Help › Search: typed letters go to the field, not to menu mnemonics (#5996)
In an open menu a plain letter runs the row with that mnemonic. Typing into Help › Search did too: "S" ran System Info and "A" opened the ArtCraft website, so only "De" of "Deselect" could be typed. Mnemonics now wait while a text field in the menu has the keyboard. |
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Christian Gleissner
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181bd3be39 | fix(count): reject unknown target groups before adding markers | ||
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Persi
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11e4b40735 | PSD export: check the Background's opacity from its tiles | ||
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Muhammad Saad
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205c9c1737 |
History Brush: bound the stroke before its dense buffers (#4961)
The History Brush renders its coverage and reads its source region densely over the stroke's bounds. Coverage is accumulated in tiles, so a thin stroke holds only the tiles it touches, but dense_coverage() materialises the whole bounding box and Region::read allocates that box again for every channel. Neither is admitted first, and both go through the infallible vec!, which aborts the process instead of returning an error. Pattern Stamp already refuses a stroke it cannot render: reject_huge_stroke bounds it from the points and the brush size before anything is rendered, reject_bounds checks the rendered box, and MAX_STROKE_PIXELS (8192 squared) leaves room for a stroke that runs corner to corner across a 24-36 MP canvas. The three were private to that module. Move them to the shared retouch_cmds module and apply them in the History Brush: reject_huge_stroke before the source surface is cloned or any coverage is rendered, reject_bounds before the dense source read. The budget is unchanged, so every stroke that worked before still works. Clone Stamp, Healing Brush, Spot Healing and Remove reach the same conversion and are left for a follow-up. Test: a stroke whose box dwarfs the canvas is refused with the size error and leaves the pixels as they were, while one that runs corner to corner across the canvas still paints, at 8, 16 and 32 bits. |
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Bram HeerinkandClaude Opus 5.5
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f49564d281 |
PSD: keep guide resources 1092/1097 only while they match the guides (#5966)
Photoshop writes image resource 1092 (guides v2: 1032's guides plus a colour per guide) and 1097 (one GUID per guide) next to 1032. Export regenerated 1032 from the document but wrote 1092 and 1097 back verbatim, so after Clear Guides, New Guide, a move or a recolour the file carried two guide lists that disagree. Both are now written back only while 1092 still describes the document's guides (positions, directions and colours) and 1097 has as many entries; otherwise both are left out and the file carries 1032 alone, as files from before guides v2 do. Import takes the guides' own colours from 1092 (Photoshop's default Cyan stays with the preference colour), the read half of #5967. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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ad96df566b |
File > Save As / Save a Copy / CLI can write PDF (#3401) (#3441)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * PSD: a smart object's filter mask shows when the file opens Photoshop stores a smart object's layer pixels with its filters applied but not its filter mask. When it composites, it mixes the unfiltered pixels (cached in FEid) back in through the mask. We showed the stored pixels as they were, so a PSD whose smart filter has a mask opened with the filter everywhere. Only after something re-rendered the smart object did the mask appear, because our re-render mixes it. - compose::filter_mask holds the mix, moved from the engine, and its inverse. - Import decodes the unfiltered pixels from FEid (smart_map::unfiltered_from_item) and keeps the mixed result as the smart object's pixels, as the engine's re-render does. - Export writes the layer record the way Photoshop does: unmixed with the unfiltered pixels it writes (or keeps) in FEid, so Photoshop mixes back to what the document showed. Transparent pixels stay empty. Photoshop oracles: sf-filter-mask-hard, sf-filter-mask-gradient and sf-stack-blend-and-mask pass (145 -> 148 of 258); floor 145 -> 148. psd-tools and io corpora unchanged. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11) DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr stream for three-sample LinearRaw. The decoder arm from #2021 read the streams but widened every sample by 257, so the values no longer matched the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped everything to white and a 256-entry LinearizationTable was indexed past its end. It also required the JPEG frame to match the clipped row count, which rejected the padded edge tiles real tiled files carry. The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit data) and the LinearizationTable apply to them exactly as for every other compression. A tile may be coded at the full tile size (edge tiles padded, as the spec says) or at the image's row count; a strip at its row count; the width must be the segment's. BitsPerSample must be 8 and the JPEG's component count must equal SamplesPerPixel (1 or 3); anything else is an error, never a silent conversion. The frame header is checked before any pixel is decoded and the JPEG decoder's own size cap is the segment the IFD declares (already charged against the limits), so a hostile SOF cannot size a buffer past the tile. testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles and strips at 37x23 (partial edge tiles, a short last strip), the default white level, black/white scaling and a LinearizationTable against the uncompressed path, and hostile inputs: a truncated tile, frame-size and component-count mismatches, a 65535x65535 SOF under default and tight limits, a tile over the allocation budget, and 12/16-bit or 4-sample files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw file. The parity doc's DNG row is updated; the scorecard row is left for the coordinating branch. * 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. * File > Save As / Save a Copy / CLI can write PDF: one flattened page with the embedded profile (#3401) * 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. * Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195) - flatten: a path's flattened points are capped at 1 << 20; past it every curve keeps a proportional share of its pieces (at least one), so hostile handles from files (vmsk, SVG, effect outlines) cannot exhaust memory. fill_rasterizer flattens the whole path under one budget. - stroke: past the dash step budget (or below coordinate precision), dash_polyline keeps the dashes made so far and draws the rest solid instead of dropping the stroke. Open polylines are no longer copied. - raster: coordinates are clamped to +-1e15 and edges with a non-finite slope (vanishingly short) are skipped, so huge finite coordinates no longer produce NaN coverage. fill_rasterizer sorts edges once instead of after every component (stable sort, identical order). - Cleanups: dead miter `half`, dead loop-length check in trace_mask, shared mask render body, map_knots helper, shared straight-segment test. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) - Patterns: one PatternBudget (decoded bytes + zero padding) is shared by every pattern of a block, a .pat file and the pattern blocks of one document; .abr patt sections are charged to the samples' budget. - Patterns: a channel whose depth differs from the first is rejected (the parsed pattern could not be written back). - Slices: descriptor numbers no longer wrap; out-of-range ids are no id, coordinates clamp to i32, and a v6 trailing entry without a usable id attaches its outsets to no slice. - LayerInfo::unpadded_len is computed from field sizes instead of serializing every record into a scratch buffer. - abr desc presets are moved out instead of cloned; UnFl and shmd counts use the bounded preallocation; ImageData::decode_channel (decoded every plane to return one, unused outside its test) is removed. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Vector: bound stroke outline points (#5211) - stroke_polygons dashes all lines first, then counts round caps and joins. When their full-resolution tessellation would exceed 1 << 20 outline points, every round cap and join gets the same smaller segment count (down to 4 per circle, 1 per join; area-exact radius kept). Strokes under the budget are unchanged; no piece is dropped. - The dash step budget (100000) is now shared by all lines of a stroke instead of per polyline, so many subpaths cannot multiply the dash (and cap) count. Past it the rest is drawn solid, as before. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Gert Pellin <gert@pellin.be> Co-authored-by: timothydaly1 <tadaly04@protonmail.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Fabio Lissi <fabio.lissi@gmail.com> Co-authored-by: vangel76 <vangel1976@googlemail.com> Co-authored-by: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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4e1e325b17 |
PSD: a smart object's filter mask shows when the file opens (#5005)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * PSD: a smart object's filter mask shows when the file opens Photoshop stores a smart object's layer pixels with its filters applied but not its filter mask. When it composites, it mixes the unfiltered pixels (cached in FEid) back in through the mask. We showed the stored pixels as they were, so a PSD whose smart filter has a mask opened with the filter everywhere. Only after something re-rendered the smart object did the mask appear, because our re-render mixes it. - compose::filter_mask holds the mix, moved from the engine, and its inverse. - Import decodes the unfiltered pixels from FEid (smart_map::unfiltered_from_item) and keeps the mixed result as the smart object's pixels, as the engine's re-render does. - Export writes the layer record the way Photoshop does: unmixed with the unfiltered pixels it writes (or keeps) in FEid, so Photoshop mixes back to what the document showed. Transparent pixels stay empty. Photoshop oracles: sf-filter-mask-hard, sf-filter-mask-gradient and sf-stack-blend-and-mask pass (145 -> 148 of 258); floor 145 -> 148. psd-tools and io corpora unchanged. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11) DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr stream for three-sample LinearRaw. The decoder arm from #2021 read the streams but widened every sample by 257, so the values no longer matched the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped everything to white and a 256-entry LinearizationTable was indexed past its end. It also required the JPEG frame to match the clipped row count, which rejected the padded edge tiles real tiled files carry. The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit data) and the LinearizationTable apply to them exactly as for every other compression. A tile may be coded at the full tile size (edge tiles padded, as the spec says) or at the image's row count; a strip at its row count; the width must be the segment's. BitsPerSample must be 8 and the JPEG's component count must equal SamplesPerPixel (1 or 3); anything else is an error, never a silent conversion. The frame header is checked before any pixel is decoded and the JPEG decoder's own size cap is the segment the IFD declares (already charged against the limits), so a hostile SOF cannot size a buffer past the tile. testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles and strips at 37x23 (partial edge tiles, a short last strip), the default white level, black/white scaling and a LinearizationTable against the uncompressed path, and hostile inputs: a truncated tile, frame-size and component-count mismatches, a 65535x65535 SOF under default and tight limits, a tile over the allocation budget, and 12/16-bit or 4-sample files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw file. The parity doc's DNG row is updated; the scorecard row is left for the coordinating branch. * 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. * Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195) - flatten: a path's flattened points are capped at 1 << 20; past it every curve keeps a proportional share of its pieces (at least one), so hostile handles from files (vmsk, SVG, effect outlines) cannot exhaust memory. fill_rasterizer flattens the whole path under one budget. - stroke: past the dash step budget (or below coordinate precision), dash_polyline keeps the dashes made so far and draws the rest solid instead of dropping the stroke. Open polylines are no longer copied. - raster: coordinates are clamped to +-1e15 and edges with a non-finite slope (vanishingly short) are skipped, so huge finite coordinates no longer produce NaN coverage. fill_rasterizer sorts edges once instead of after every component (stable sort, identical order). - Cleanups: dead miter `half`, dead loop-length check in trace_mask, shared mask render body, map_knots helper, shared straight-segment test. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) - Patterns: one PatternBudget (decoded bytes + zero padding) is shared by every pattern of a block, a .pat file and the pattern blocks of one document; .abr patt sections are charged to the samples' budget. - Patterns: a channel whose depth differs from the first is rejected (the parsed pattern could not be written back). - Slices: descriptor numbers no longer wrap; out-of-range ids are no id, coordinates clamp to i32, and a v6 trailing entry without a usable id attaches its outsets to no slice. - LayerInfo::unpadded_len is computed from field sizes instead of serializing every record into a scratch buffer. - abr desc presets are moved out instead of cloned; UnFl and shmd counts use the bounded preallocation; ImageData::decode_channel (decoded every plane to return one, unused outside its test) is removed. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Vector: bound stroke outline points (#5211) - stroke_polygons dashes all lines first, then counts round caps and joins. When their full-resolution tessellation would exceed 1 << 20 outline points, every round cap and join gets the same smaller segment count (down to 4 per circle, 1 per join; area-exact radius kept). Strokes under the budget are unchanged; no piece is dropped. - The dash step budget (100000) is now shared by all lines of a stroke instead of per polyline, so many subpaths cannot multiply the dash (and cap) count. Past it the rest is drawn solid, as before. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Gert Pellin <gert@pellin.be> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Fabio Lissi <fabio.lissi@gmail.com> Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com> Co-authored-by: vangel76 <vangel1976@googlemail.com> Co-authored-by: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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8a6af66cf6 |
DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11) (#5112)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11) DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr stream for three-sample LinearRaw. The decoder arm from #2021 read the streams but widened every sample by 257, so the values no longer matched the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped everything to white and a 256-entry LinearizationTable was indexed past its end. It also required the JPEG frame to match the clipped row count, which rejected the padded edge tiles real tiled files carry. The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit data) and the LinearizationTable apply to them exactly as for every other compression. A tile may be coded at the full tile size (edge tiles padded, as the spec says) or at the image's row count; a strip at its row count; the width must be the segment's. BitsPerSample must be 8 and the JPEG's component count must equal SamplesPerPixel (1 or 3); anything else is an error, never a silent conversion. The frame header is checked before any pixel is decoded and the JPEG decoder's own size cap is the segment the IFD declares (already charged against the limits), so a hostile SOF cannot size a buffer past the tile. testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles and strips at 37x23 (partial edge tiles, a short last strip), the default white level, black/white scaling and a LinearizationTable against the uncompressed path, and hostile inputs: a truncated tile, frame-size and component-count mismatches, a 65535x65535 SOF under default and tight limits, a tile over the allocation budget, and 12/16-bit or 4-sample files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw file. The parity doc's DNG row is updated; the scorecard row is left for the coordinating branch. * 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. * Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195) - flatten: a path's flattened points are capped at 1 << 20; past it every curve keeps a proportional share of its pieces (at least one), so hostile handles from files (vmsk, SVG, effect outlines) cannot exhaust memory. fill_rasterizer flattens the whole path under one budget. - stroke: past the dash step budget (or below coordinate precision), dash_polyline keeps the dashes made so far and draws the rest solid instead of dropping the stroke. Open polylines are no longer copied. - raster: coordinates are clamped to +-1e15 and edges with a non-finite slope (vanishingly short) are skipped, so huge finite coordinates no longer produce NaN coverage. fill_rasterizer sorts edges once instead of after every component (stable sort, identical order). - Cleanups: dead miter `half`, dead loop-length check in trace_mask, shared mask render body, map_knots helper, shared straight-segment test. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) - Patterns: one PatternBudget (decoded bytes + zero padding) is shared by every pattern of a block, a .pat file and the pattern blocks of one document; .abr patt sections are charged to the samples' budget. - Patterns: a channel whose depth differs from the first is rejected (the parsed pattern could not be written back). - Slices: descriptor numbers no longer wrap; out-of-range ids are no id, coordinates clamp to i32, and a v6 trailing entry without a usable id attaches its outsets to no slice. - LayerInfo::unpadded_len is computed from field sizes instead of serializing every record into a scratch buffer. - abr desc presets are moved out instead of cloned; UnFl and shmd counts use the bounded preallocation; ImageData::decode_channel (decoded every plane to return one, unused outside its test) is removed. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Vector: bound stroke outline points (#5211) - stroke_polygons dashes all lines first, then counts round caps and joins. When their full-resolution tessellation would exceed 1 << 20 outline points, every round cap and join gets the same smaller segment count (down to 4 per circle, 1 per join; area-exact radius kept). Strokes under the budget are unchanged; no piece is dropped. - The dash step budget (100000) is now shared by all lines of a stroke instead of per polyline, so many subpaths cannot multiply the dash (and cap) count. Past it the rest is drawn solid, as before. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Gert Pellin <gert@pellin.be> 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: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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a7301f1db8 |
PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) (#5207)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * 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: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198) - Patterns: one PatternBudget (decoded bytes + zero padding) is shared by every pattern of a block, a .pat file and the pattern blocks of one document; .abr patt sections are charged to the samples' budget. - Patterns: a channel whose depth differs from the first is rejected (the parsed pattern could not be written back). - Slices: descriptor numbers no longer wrap; out-of-range ids are no id, coordinates clamp to i32, and a v6 trailing entry without a usable id attaches its outsets to no slice. - LayerInfo::unpadded_len is computed from field sizes instead of serializing every record into a scratch buffer. - abr desc presets are moved out instead of cloned; UnFl and shmd counts use the bounded preallocation; ImageData::decode_channel (decoded every plane to return one, unused outside its test) is removed. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Gert Pellin <gert@pellin.be> Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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1a4f867958 |
TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab (#4949)
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation 8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft saved Lab documents as sRGB TIFFs. - codecs: a Lab channel layout (Lab, LabA) holding a* and b* as PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD importer), with its own Lab <-> sRGB conversion (same formulas as photocraft-color; codecs stays standalone) for formats without Lab, which now warn LabConverted. - TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the tiff crate as RGB and labelled Lab; a* and b* are converted from the file's encoding (signed a / 256a, or offset). - TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab is written with 16 bits (DepthReduced). - io: a Lab TIFF opens as a Lab document; a Lab document with one plain layer is written to TIFF in Lab (other formats still use sRGB). Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its own RGB conversion matches within one level at 8 bits and exactly at 16 bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same L*a*b* values. Fixes #4936 * 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Finn Newick <finnnk@gmail.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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47cf5af9fd |
perf: keep effect-cache pins and History snapshots inside the memory budgets (#5336)
* 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 * perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * fix(history): count snapshot-only tiles against the history budget History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * 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: Diego Chagas <drochachagas@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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c7d9ade95b |
Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open (#4462)
* 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> |
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cb8ed7620e |
Content-Aware Fill: no ghost edges or object colour around thin removed objects (#5290)
* 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> |
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4446ec6d65 |
PSD: write tiff blocks without copies, inflate merged ZIP once (#5221)
* 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> * 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: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Tanish Manku <tmanku.dev@gmail.com> |
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5dafbeeafc |
Codecs: open Cineon (.cin) film frames read-only (#4691)
* 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. * cargo fmt the extension lists Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Vikram BhaskaranandBrandon Thomas
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7edc7aa03d |
Raw: measure the Nikon D90 image area (4288x2848 at (10, 10)) (#4323)
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. Co-authored-by: Brandon Thomas <echelon@gmail.com> |
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17c85e4175 |
fix(ui): brush outline matches the stroke on Wayland at fractional scales (#5796)
* fix(ui): brush outline matches the stroke on Wayland at fractional scales On Hyprland at 1.25 the brush outline was 1.25x too large and sat right of and below where the brush painted, by more the larger the brush. The engine places dabs exactly; the OS cursor bitmap was wrong. winit 0.30 sizes custom cursor bitmaps on Wayland with a wp_viewport destination whenever the scale isn't 1, and Hyprland (like Mutter before GNOME 48) ignores viewports on cursor surfaces: it shows the bitmap one pixel per logical pixel with the hotspot winit divided by the scale. A client can't tell which compositors do this, so on Wayland at any scale but 1 the brush outline and crosshairs are painted in-app, as on the web. Other platforms and Wayland at scale 1 keep the low-latency OS bitmap. Measured on Hyprland 0.56.2 at 1.25 (100 % zoom, 100 px brush): dab centre (288.5, 560.5), diameter 97 px; outline before (303, 574.5), ~130 px; after (288.5, 562), 107 px including its border. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Merge main; cargo fmt Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> |
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96c683b25d |
Info panel: show guide coordinates while dragging outside the canvas (#5728) (#5768)
* Fix Info panel guide coordinates during ruler drags (storytold/photocraft#5728). Show the dragged guide position on one axis while the pointer is outside the canvas, matching Photoshop. Co-authored-by: Cursor <cursoragent@cursor.com> * Merge main; fill GuideDrag's new press field in the test; cargo fmt Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Cursor <cursoragent@cursor.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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FredApps
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be32a7c651 | fix: commit type editing on Layers-panel selection (#5584) (#5612) | ||
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David MannandClaude Opus 5.5
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8987980d16 |
Dialogs: a close box in the title bar cancels like Cancel (#5496) (#5505)
Dialogs drawn by the shared renderer had no close box: the only ways out were Cancel/OK or Esc. As in Photoshop on Windows, the title band now ends in a × (the icon button the floating panels close with) on Windows, Linux and the web, none on macOS. A click on it joins Esc in the single cancel path of `dialogs::show` (outcome = Cancel -> `cancel()`), so the live preview goes and nothing reaches the document or history. The × is left out of the title band's drag area, so a drag starting on it neither moves nor closes the dialog; the rest of the band still drags. Check Spelling (an untitled window) gets the same close box; it is Done, as every change there is already made. Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com> |
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Valentin KleinandClaude Opus 5.5
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94b1f0a4cb |
Warp: a thin layer stretched and bent keeps its curve on commit (#5793) (#5810)
* 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> |
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bazandClaude Opus 5.5
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38b96f273a |
Move: Show Transform Controls frames every selected layer (#5917)
As in Photoshop, with several layers selected (Shift-click with Auto-Select, or the Move marquee) Show Transform Controls draws one frame around all of them (the Background excluded) and outlines every selected shape layer. Before, the frame showed only the active layer, so the other selected layers had no feedback on the canvas. The frame joins the boxes Free Transform would open on each layer (transform_frame), and it hides while a corner radius widget is dragged. Free Transform works on one layer, so the shared frame has no handles and a press on it doesn't start Free Transform; a drag inside still moves every selected layer. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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WendelVolm
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0c7308adc5 | Snapping: snap a drawn marquee, Object Selection box or shape by its edges while Space repositions it (#5748) | ||
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Michael HigginsandClaude Opus 5.5
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0c5709e9bd |
Free Transform: shapes and paths stay on whole pixels (#5751) (#5841)
* Free Transform: shapes and paths stay on whole pixels (#5751) With Snap Vector Tools and Transforms to Pixel Grid on, only the pointer was rounded, and only while a shape tool was active. Under the Move tool, or with a grab offset or a proportional scale, the box landed between pixels (a rectangle dragged to 540 px came out 539.6). An upright box on a shape layer or path now keeps whole-pixel edges whatever the tool. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * Format (cargo fmt) Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Michael HigginsandClaude Opus 5.5
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6729fa1e50 |
Layer Style: drag on the image to move a drop or inner shadow (#5701) (#5893)
As in Photoshop, with the Layer Style dialog on a Drop Shadow or Inner Shadow page, dragging on the image moves the shadow: its offset follows the pointer and is stored as the effect's angle and distance (whole degrees and pixels), moving the shared global light angle when the effect uses it. Space and the middle button still pan; colour pickers still sample. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Michael HigginsandClaude Opus 5.5
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56d3b7f983 |
Pen and Path Selection: Delete deletes the finished work path (#5702) (#5732)
A finished work path is drawn whenever the Pen, Freeform Pen or Path Selection tool is active, and it is saved with the document, as in Photoshop. But once the path was finished, Delete/Backspace fell through to Edit > Clear (the pixels under it), so the only ways to remove it were the right-click Delete Path and the Paths panel, and it looked impossible to delete. With those tools, no path being drawn and the work path the one they edit (no shape layer or targeted vector mask in front of it), an unmodified Delete/Backspace now runs path.delete on the work path: one undoable Delete Path step. Direct Selection and the Curvature Pen are left alone, since Photoshop deletes their selected anchors, not the path. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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David MannandClaude Opus 5.5
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8226139806 |
Image Size, Canvas Size: points and picas follow the Point/Pica Size preference (#5756) (#5757)
The dialogs converted points and picas at a fixed 72 pt/in, while the rulers, Info, layer properties and the shape dialog use Preferences > Units & Rulers > Point/Pica Size. With Traditional (72.27) a document showed different point sizes in the rulers and in Image Size. The dialog now stores the preference's points per inch when it opens (__ptPerIn, 72 when missing) and uses it for points, picas (points / 12) and typed units in the Width/Height fields. Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com> |
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David MannandClaude Opus 5.5
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b404d50581 |
Type: Swap and Default Colors recolour the selected text (#5690) (#5808)
The toolbar's Switch Colors and Default Colors buttons ran their commands without type_tool::foreground_changed, so characters highlighted in the type layer being edited kept their colour. As in Photoshop, they now take the new foreground, like picking a colour in the Color or Swatches panel. Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com> |
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envy-ai
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e47086717a |
Channels: load the targeted layer mask as selection (#5562)
* Load the targeted layer mask from Channels footer * Fix Channels test setup after mask reveal |
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Vikram Bhaskaran
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f02c0cbef7 |
File › Scripts › Browse: reject Photoshop ExtendScript (#5406) (#5435)
* File › Scripts › Browse rejects Photoshop ExtendScript. The picker listed .js/.jsx files that parse_script cannot run. Filter to JSON/text/droplet scripts and return a clear error for .js/.jsx paths. * File › Scripts › Browse keeps Photoshop extensions in the picker. Review feedback on #5435: filtering .js/.jsx out of the picker hid the rejection error from UI users. List Photoshop's script types (as #2452 asked) alongside PhotoCraft's so selecting one shows the ExtendScript error instead of hiding the file. |
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safvanedgeandsafvanedge
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cc9967654c |
fix(ui): restore previous tool when committing or canceling text edit (#5527) (#5528)
* fix(ui): restore previous tool when committing or canceling text edit initiated via double-click * fix(ui): restore return tool only while on type and stay on type for layer thumbs - commit_with/cancel: restore return tool only while app.ui.tool.is_type() - edit_active: keep tool on Type when editing from layer thumbnail (matches Photoshop) - clear text_edit_return_tool when text_edit is dropped on lost text or stale transform - test tool switch mid-edit and edit_active remaining on Type --------- Co-authored-by: safvanedge <241307593+safvanedge@users.noreply.github.com> |
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David MannandClaude Opus 5.5
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8d8db22c94 |
Type: a scaled type layer keeps its size when the Character fields show it (#5717) (#5718)
egui's DragValue clamps an existing value to its range and reports a change, so showing a type layer scaled past 1296 pt (or below 0.1 pt) sent type.setStyle with the clamped size. Value fields now clamp only edits, never a value they merely show. Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com> |
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Stevan MarjanovićandStevan Marjanović
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49f878d91b |
Scaling around reference point no longer snaps center of image to reference point (#5510)
Co-authored-by: Stevan Marjanović <stevan.marjanovic@juratech.group> |
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Michael HigginsandClaude Opus 5.5
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3fd787a2b5 |
Canvas: no scroll glide with Enable Animations off (#5721) (#5883)
Interface > Enable Animations off already made scroll areas jump straight to their target, but the canvas still panned from egui's smoothed wheel delta, gliding for several frames after each notch. With the preference off a plain wheel scroll now moves the canvas by the whole notch in the frame it arrives and stops there. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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midasmatterhorn
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f79f21931e |
fix(ui): smart filter adjustments open their own editor on double-click (#5812)
An Image > Adjustments recorded on a smart object (Brightness/Contrast, Levels, Curves...) stores image.adjustments.<kind>. The Layers panel row called smart_ui::open_editor, which only knew filter_dialog and silently did nothing for those commands, so the filter could never be reopened. Route adjustments to adjust_dialog, seed it with the recorded params and let OK run layer.smartFilter.setParams (#5689). |
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Michael HigginsandClaude Opus 5.5
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f44d3b6f06 |
Brushes: dragging a preset to the list's edge scrolls the list (#5741) (#5862)
A preset, group or folder dragged in the Brushes panel or the Brush Preset picker couldn't reach rows out of view: the list didn't scroll while dragging, so the drag stopped at the last visible row. Holding the drag at the list's top or bottom edge (or past it) now scrolls it, with the same ramp as the Layers panel's row drags. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Michael HigginsandClaude Opus 5.5
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b8e48d6d4c |
Filter dialogs: a Random button for seeds (#5710) (#5886)
Clouds, Difference Clouds, Add Noise, Fibers and the other seeded filters exposed a seed number, but a new pattern meant typing a different one. A Random button beside every seed field now picks a fresh seed, which the live preview renders at once. "Random" gains its row in the zh-Hans, zh-Hant, ru, fr and id catalogs, which claim complete coverage. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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dotCooCoo
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f8cc7fca50 |
Brushes: importing an .abr file numbers repeated brush names in linear time
brush.presets.importAbr named each imported preset with unique, which
compared a candidate name with the names of the presets one by one and
tried "Name", "Name 2", "Name 3" and so on until one was free. A
version 1 or 2 brush with a computed tip and no name is named after
its tip ("9 px Round"), so a file of n such brushes of one diameter
cost about n^3/6 string comparisons. In a test build, importing 10,000
of them took 25 minutes (22 minutes of CPU time).
The import now builds the set of preset names once and keeps the next
number to try for each repeated name, as swatches.import does for
swatch and group names. Names still compare case-insensitively, and
every preset gets the same name as before. brush.presets.importImage
names its one preset with the same code.
repeated_brush_names_are_numbered_in_linear_time imports 10,000 such
brushes on a thread of its own and fails when the import takes more
than 20 seconds. repeated_brush_names_take_the_first_free_number
checks the names when the file repeats a name in other letter cases,
when a preset already holds one of the numbers, when the file has a
name that the import already gave to an earlier brush, and when a
name clashes with a built-in preset.
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fd28da56da |
Type: keep text selection highlight visible while Command/Ctrl is held (#5542)
* Type: keep text selection highlight visible while Command/Ctrl is held * Type: match Photoshop 1px dark frame and handle styling for type transform * Merge main; keep the transform box and underline colours from the theme tokens The selection-highlight fix stands on its own; the hard-coded box and underline colours and the removed reference point were unrelated to it. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: safvanedge <241307593+safvanedge@users.noreply.github.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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7efebfa050 |
fix(path): Shift locks a Direct Selection anchor drag to 45° (#5475) (#5498)
Dragging selected anchors with the Direct Selection tool ignored Shift, so lengthening a slanted bar also nudged it vertically. As in Photoshop, Shift now locks the anchor move to multiples of 45° from the press, in the live preview and in the committed path.moveAnchors. It works whether Shift is held from the press or added during the drag; Shift at the press still toggles the anchor's selection as before. Reuses stroke_constraint::snap45 (the Gradient tool's Shift lock). Fixes #5475 Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> Co-authored-by: Brandon Thomas <echelon@gmail.com> |
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Michael HigginsandClaude Opus 5.5
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3887d8f738 |
Title bar: dialogs no longer stop the window dragging on macOS (#5826) (#5860)
The overlay that keeps the title strip's free gap draggable under a dialog's modal layer (#4913) only ran with the custom title bar. macOS keeps the OS traffic lights over the app's own title strip (custom_titlebar is false), so with the Embedded Profile Mismatch prompt or any dialog open the window could not be moved. The overlay now runs whenever the strip is drawn. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Michael HigginsandClaude Opus 5.5
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8e2c5ddb40 |
macOS: a bundled app keeps its own Dock icon (#5849) (#5879)
The main window set a runtime PNG icon everywhere. On macOS that replaces the app bundle's PhotoCraft.icns in the Dock, so the system couldn't render it in its own style (Liquid Glass and its tinted and dark variants). The runtime icon is now skipped when running from an .app bundle; unbundled runs and the Windows and Linux builds still set it. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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nrq6993-a11yandCursor
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b6cdb16caf |
UI: unsaved-changes buttons show every key in one style (storytold/photocraft#5564) (#5603)
German showed "Ja (Y)" next to "(N)ein". Keys now go inside the words only when
every translated label starts with its key; otherwise all labels append it
("Ja (Y)", "Nein (N)", "Abbrechen (C)").
Co-authored-by: Cursor <cursoragent@cursor.com>
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Michael HigginsandClaude Opus 5.5
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3aaffdde68 |
Adjustment layers: a live preview is never coarser than the screen (#5764) (#5778)
Dragging a Curves point (or any control) in the Properties panel of an adjustment layer previews through `canvas::ensure_proxy_preview`, which picked its downscale factor from the document size alone (`proxy::preview_factor`): any document over 5 MP was drawn from a 2-5x reduced copy at every zoom, so at 100 % the canvas turned blocky until the mouse was released. Cap the factor by the view's zoom with the rule the Image > Adjustments dialogs already use (`adjust_preview::proxy_factor`: the proxy stays at least at screen resolution) when the wgpu compositor can draw the full-size document. At 50 % and closer the drag now shows the full-size composite; zoomed out, the proxy still saves the work. Documents the GPU compositor doesn't cover keep the old proxy (the full size would be a CPU composite per change). Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |
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Michael HigginsandClaude Opus 5.5
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be4cadd83d |
Rulers: Alt-drag makes a guide of the other orientation (#5698) (#5885)
As in Photoshop, dragging a guide out of the top ruler with Alt/Option held makes a vertical guide, and out of the left ruler a horizontal one; without Alt each ruler makes its own kind, as before. Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com> |