* fix(doc): variable definitions follow layer id remapping on copy and load
A duplicated document (image.duplicate, history.newDocument) or a .pcraft
loaded with remapped ids assigned fresh layer ids but cloned VariableDef.layer
unchanged, so datasets silently drove no layer (or, after remap, a colliding
one). Remap variable targets through the same id map as layer comps and
slices; a dangling target keeps a non-colliding placeholder. A merged-only
duplicate drops the whole variable binding set, matching how it drops comps.
Closes#4969
* style: cargo fmt duplicate_variables test
---------
Co-authored-by: highperfocused <highperfocused@pm.me>
* Arrow-key nudges: a run of nudges is one History state, with Tools preferences (#2259)
Tapping or holding an arrow key nudged the selected layers one pixel per
History state, so one Undo took back one pixel. Nudges of the same thing
that follow each other now share one `coalesce` key (the engine already
folds edits with the same key into one step), so a run is one state and
one Undo takes it back.
- nudge_bundle.rs decides which run a nudge belongs to: the previous nudge
was of the same thing (layers, selection outline), came within the
pause, and left the document as it is now (no other edit, Undo/Redo,
layer selection or save in between).
- move_mods.rs runs layer.translate and select.transformSelection through
it; Alt-nudges (a copy each) never join a run. Selected pixels float
until dropped, which is one state already.
- Free Transform keeps its own session history; its box nudges fold into
one session step (transform_tool.rs).
- Tools preferences: Bundle Arrow-Key Nudges (default on; off gives a
state per press as before) and Nudge Bundle Pause (ms) (default 1000,
100..10000, hidden while bundling is off). Labels translated in all
catalogues.
The two #1428 tests that asserted a state per press for the selection
outline now cover both settings.
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Export As: exact pixels, named presets, and profile options
Users can set an exact pixel size with the aspect ratio locked or free,
save and reuse named export presets in the preferences document, and
choose whether to convert to sRGB, embed the colour profile, and keep
EXIF or all metadata. Percent scale and the last-used settings stay.
Part of #2289
Co-authored-by: Zer0C00L01 <Zer0C00L01@users.noreply.github.com>
* Translate Export As's Color Profile and EXIF labels in every catalog
---------
Co-authored-by: Cursor Agent <cursoragent@cursor.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* feat(engine): view.editGuide changes a guide in one step
Photoshop's Edit Selected Guides (the guide context menu) reopens New
Guide on the selected guide. view.editGuide takes the guide by orientation
and index and changes whatever is given: "newOrientation", "position"
(pixels or a length with a unit, % of the new orientation's extent) and
"color" (a name or "#rrggbb"), as one undoable "Edit Guide" step. A guide
that keeps its orientation keeps its index; one that turns goes to the
end of the other list. Without "color" the guide keeps its own colour, or
none. Bad params are refused without a history step.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): select guides, the guide context menu and Edit Selected Guides
As in Photoshop, a click on a guide with the Move tool (or ⌘ with a
selection tool) selects it, drawn in Photoshop's selected-guide blue
(#0000ff); a press anywhere else deselects it, and Delete or Backspace
deletes it, before Edit › Clear can reach the pixels. A guide that is
dragged stays selected, and a click no longer nudges a guide to the
pointer. One guide at a time.
Right-click on a guide selects it and opens Photoshop's guide menu: Edit
Selected Guides, Lock Guides, Clear Guides, Clear Canvas Guides, Clear
Selected Guides and Clear Selected Artboard Guides. Edit Selected Guides
opens the New Guide dialog on the guide (its orientation, its position in
the ruler unit and its colour, Cyan for a guide dragged from a ruler) and
OK runs view.editGuide, sending the colour only when it was changed.
The selection is view state (UiState.selected_guide, readable over the
control channel), keyed by document, orientation and position like guide
colours, so it lapses by itself when its guide goes. The menu's two new
labels are in every catalogue.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Alt-click turns a guide; double-click opens the guide preferences
As in Photoshop, with the Move tool:
- Alt-clicking a guide turns it: a vertical guide becomes horizontal
through the point clicked, and the other way round. It keeps its colour
and stays selected; one undoable Edit Guide step (view.editGuide).
Locked or hidden guides can't be turned.
- Double-clicking a guide opens Preferences › Guides, Grid & Slices.
docs/ui-parity.md lists the guide interactions.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(i18n): Hungarian and Turkish strings for the guide menu
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(ui): the spelling rows call engine_call with the app
main's spelling suggestions (choose_spelling) came in calling
engine_call(menu, command); on this branch engine_call takes the app
first (the guide menu needs it), so the merge didn't compile.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n(sr): translate the guide context menu items
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(ui): give main's move-hover test guide drag a press point
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>
* Shortcuts: a command can answer a second key (F2/F3/F4, Shift+F7, Cmd++) (#3665)
Photoshop's default set gives some commands a second key besides the one
its menu shows: F2/F3/F4 Cut/Copy/Paste beside Cmd+X/C/V, Shift+F7 Inverse
beside Cmd+Shift+I, Cmd++ beside Cmd+= for Zoom In, Shift+Backspace for
Fill. A command could hold only one key here, so these couldn't exist and
a .kys import kept only a row's first key (a set listing Copy as Cmd+C and
F3 could leave Cmd+C unbound).
- prefs::ALTERNATE_SHORTCUTS holds Photoshop's second keys;
Preferences.alternate_shortcuts (alternateShortcuts) replaces a
command's defaults, [] removes them. Old settings files load unchanged.
- edit.keyboardShortcuts takes `alternates`; reset, moving a key (taken
from another command's main key or alternates) and the conflict list
count every key, and a call's changes now apply atomically.
- .kys import keeps a row's other keys as the command's alternates.
- Dispatch matches every key (a user's main key wins over a default
alternate); the UI-only SECONDARY table is folded in, so Fill's
Shift+Backspace survives an override of its main key. Menus still show
only the main key.
- Keyboard Shortcuts dialog shows each command's alternates, removable
one by one, with Add Shortcut to add one; Use Default / Reset All
restore them.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Translate Add Shortcut into Hungarian; regenerate the scorecard
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Scorecard: regenerate for the new alternate_shortcuts preference
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Crop tool: Content-Aware fill of the area a rotated or extended crop uncovers (#3823)
image.crop gains contentAware (bool, default false). After a turned crop or one that extends
past the canvas, the area the original image doesn't cover is filled from its surroundings on
the Background (else the active pixel layer), in the crop's one undo step. Each connected piece
(corner, edge strip) gets its own Content-Aware sampling window and samples only covered pixels;
the patch search is Edit > Fill > Content-Aware's (fill_cmds::content_aware_native, shared). A
crop that uncovers nothing is unchanged; one with nothing to sample from fails and rolls back.
Crop options bar: Fill: Background (Default) / Content-Aware Fill (ToolOptions
crop_content_aware, ui.set cropFill). Generative Expand is not offered.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Crop: adapt to Document::background after main removed is_background
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Crop: translate Background (Default) for Hungarian and Turkish
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Fix the merge with main: UI_SET_FIELDS length, Serbian Background (Default)
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Merge main: UI_SET_FIELDS counts both new fields
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
#5267 and #5263 gave 16-bit adjustment layers Photoshop's measured Posterize and
Threshold rules, but the destructive commands still passed no depth for 16-bit
layers and used the 8-bit rules. The live preview (an adjustment layer) then
disagreed with what OK wrote by up to 92/255, failing ui-egui's
adjust_preview::preview_composite_matches_the_destructive_command on main.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Curvature Pen: drag an anchor of the active path without a modifier
As in Photoshop, the Curvature Pen with no path being drawn shows the active
path's anchors (work path, active shape layer or targeted vector mask), and a
press-drag on one moves it with no Ctrl/Cmd. The curve reflows: every smooth
knot of that subpath gets its handles recomputed with the Curvature Pen's own
curvature_knots, so it keeps flowing through all its anchors; corners keep
their handles. The drag previews live and commits one history step.
- vector: edit::move_anchors_curvature
- engine: path.moveAnchors takes "curvature": bool=false
- ui-egui: direct_select routes the idle Curvature Pen press (Edit::Curvature)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Curvature Pen: add anchors, toggle smooth/corner and adapt the cursor on finished paths
As in Photoshop, with no path being drawn the Curvature Pen also:
- adds an anchor where a segment of the active path is clicked
(path.addAnchor), and a drag pulls it like any anchor; adding and dragging
are one history step;
- toggles an anchor between smooth and corner on a double-click
(path.convertPoint with the new "curvature" param, vector
edit::toggle_curvature_point): a Pen-drawn corner rounds off and the
segments around it curve through it; a second double-click makes it a
corner again;
- shows what a press does in its cursor: + over a segment, four arrows over
an anchor (also an anchor of the path being drawn).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* rustfmt
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Modern Brightness/Contrast: Photoshop's brightness curve
The modern brightness curve was a line rolled off by a v^P term. It sat
up to 4 levels off Photoshop's in the highlights, and up to 2.3 levels
off for lowered brightness.
The curve is refit to the Photoshop ground truth we have:
- the ±50 samples from 4759d12b;
- the photoshop corpus's brightness +25 / contrast +30 files,
inverted through the (exact) contrast curve.
Raised, it is the line s*x (s = 1.375^(b/50)) up to a knee at 80/255,
then a cubic Hermite to white with end slope s^-6.6. Lowered, it is the
exact inverse of the curve raised by as much (the -50 samples confirm
this to within a level). Every measured point is within about a level.
For strong values the knee moves down so the curve stays monotone
across -150..150.
Brightness then contrast are evaluated through one 4096-entry table,
built in 55 us. The GPU uses that same table through the Levels/Curves
kernel instead of rebuilding the curves in WGSL, so GPU and CPU agree
by construction.
Photoshop oracles: rgb8/16/32 and gray8/16/32 brightness-contrast now
pass (145 -> 151 of 258). The floor goes 133 -> 151.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: Brightness/Contrast curves each ink, as Photoshop does
Photoshop applies Brightness/Contrast in a CMYK document to each ink's
stored value, 1 - ink, black included. Both the modern and the legacy
curve do this; the cmyk8 brightness-contrast(-legacy) oracles match it
within a level on every pixel of the files' own inks. Raising
brightness takes ink away. We applied it to the screen colour instead.
- cmyk_channel_adjustment gains Brightness/Contrast. apply_in builds
the channel curve once (brightness_contrast_lut) and runs each
separated ink through it (ink_through).
- Destructive Image > Adjustments on a CMYK layer curves the stored
inks directly, so it is exact; a selection mixes them.
adjusted_channels now takes the per-pixel operation, and works out
luma only for CMYK Threshold, which compares it.
- The GPU leaves CMYK Brightness/Contrast to the CPU, like the other
ink rules.
cmyk8/16 brightness-contrast oracles, bad pixels:
- modern: 72% -> 48-57%, max error 0.19 -> 0.09
- legacy: 71% -> 51-53%
The rest is our separation of the RGB composite, not the rule.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK Threshold compares the inks' own luma, as Photoshop does
Photoshop's CMYK Threshold splits on the Rec. 601 luma of the inks' plain
complement, (1 - c)(1 - k) and so on, whatever the document's profile.
On the files' own inks this puts every pixel of cmyk8 and cmyk16
threshold-128.psd on the right side of level 128. The profile's RGB luma
missed 100.
stored_channels works the luma out from the inks itself (ink_luma), so it
no longer takes one; the engine's stored-channel path no longer converts
each pixel to RGB at all. Through the separated RGB composite the cmyk
threshold oracles drop from 1.6% to 0.2% bad pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK legacy Brightness/Contrast pivots at 128 in ink
Photoshop's legacy contrast pivots at level 128 of the ink, which is 127
of 255 of the stored value (1 - ink) that the curve runs on, not 128 as
in RGB. On Photoshop's own 16-bit inks (cmyk16
brightness-contrast-legacy.psd) ours sat a constant 0.43 of a level
above. That is exactly the one-level pivot shift times contrast +30's
slope minus one; with the pivot moved, the inks match within 0.01.
brightness_contrast_lut is now ink_brightness_contrast_lut, since its
legacy curve is the CMYK one.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: adjustment layers composite on the document's own inks
The compositor works in display RGB. In a CMYK document, an adjustment
layer that Photoshop evaluates on the inks could only act on our
separation of the RGB composite, and that separation's black differs
from the file's. So even exact ink rules missed: CMYK Invert was 10%
off, Levels and Curves 50-65%.
The ink-native compositor (compose::native, until now only for
flattening plain raster stacks) now takes adjustment layers too:
- Invert, Posterize, Threshold and Brightness/Contrast (modern and
legacy), and Levels and Curves on CMYK channels, prepared once
(InkStack, InkOp) and applied to the straight inks.
- Opacity and an unfeathered layer mask mix the inks linearly, as in
Photoshop; raster layers' masks scale their coverage the same way.
- A CMYK stack of plain raster layers and such adjustments renders this
way for display, export and reduced views (render_cmyk, tiles in
parallel); flattening and merging keep the adjusted inks exactly.
- Stacks of raster layers alone keep the RGB compositor, which the GPU
matches. The GPU already leaves these adjustments to the CPU.
Photoshop oracles: cmyk8 and cmyk16 invert, posterize-4, threshold-128,
levels, curves, brightness-contrast and brightness-contrast-legacy all
pass (14 files), 151 -> 165 of 258; floor 151 -> 165. psd-tools and io
corpora unchanged. 24 MP CMYK8 with one adjustment renders in 286 ms on
the inks, against 442 ms through the RGB compositor.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK ink compositing inlines open groups
The ink compositor gave up on any group. Now a group at full opacity
without a mask is inlined:
- a pass-through group's children composite straight onto the backdrop,
so an adjustment inside it reaches the layers below;
- an isolated (Normal) group of raster layers alone composites as its
children would, since Normal is associative.
An isolated group with an adjustment, which only sees the group's
content, keeps the RGB compositor. So do a translucent group and an
artboard. Nesting is bounded.
psd-tools' CMYK adjustment files keep their swatches in pass-through
groups. With #4948's fair comparison, curves_cmyk drops from 37% to 0.3%
bad pixels and levels_cmyk from 14% to 0.2%. The photoshop corpus is
unchanged at 165.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: Hue/Saturation and Color Balance keep the black ink
In a CMYK document Photoshop applies Hue/Saturation (not Colorize) and
Color Balance to C, M and Y as the complement of an RGB colour, and
leaves the black ink alone. On the photoshop corpus's own inks,
cmyk16 hue-saturation.psd follows this on every pixel within half a
level (cmyk8 within two), and color-balance within our RGB Color
Balance's own error. We applied both to the separated screen colour,
which also rewrote K.
- adjust::cmy_adjustment and apply_cmy run the RGB adjustment once per
band on (1 - c, 1 - m, 1 - y).
- The ink compositor (InkOp::Cmy), the RGB compositor's CMYK branch and
destructive Image > Adjustments (pixels::adjusted_cmy) use them. The
GPU leaves these to the CPU in CMYK documents, as it does the other
ink rules.
- Colorize separates its colour again, black included, so it keeps the
screen-colour path.
cmyk8/16 oracles, bad pixels:
- hue-saturation: 100% -> 0.4-0.7%
- color-balance: 74% -> 25%
Neither passes yet. Half a level of cyan ink is three levels of red
through the profile at saturated cyan, and our RGB models leave that
much. The pass count stays at 165.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* 32-bit: legacy Brightness/Contrast, Channel Mixer, Photo Filter and B&W tint unclipped
In 32-bit documents Photoshop keeps these adjustments' results above 1
and below 0. On the photoshop corpus's rgb32/gray32 files:
- Legacy Brightness/Contrast pivots its contrast at 127 of 255 (8/16-bit:
128) and is exact on every pixel.
- Channel Mixer cuts each source percentage to 1/1024 toward zero, counts
255/512 of the constant and is exact on pure red, green, blue, black
and white.
- Photo Filter works on the linear samples, negative results included.
- The Black & White tint is the Color blend mode without the clip at 1,
as the blend mode is there; white tints to (1.05, 1.00, 0.87).
We clipped all four to 0..1. The GPU kernels follow suit under F_HDR
(the legacy pivot and the mixer's steps come from the planner), and the
HDR parity test covers them.
Photoshop oracles: rgb32 and gray32 brightness-contrast-legacy, rgb32
channel-mixer and black-white-tint pass (145 -> 149 of 258); floor
145 -> 149. rgb32 photo-filter improves (0.19 -> 0.035 max); the rest is
its colour (#3790).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Modern brightness: knee at output 126, fit out to -95 and +150
psd-tools' brightnesscontrast_rgb.psd masks four Brightness/Contrast
layers to their own columns. Read through the exact contrast curve, it
gives Photoshop's brightness at -95, -31, +23 and +150, well past the
+/-50 samples the first fit had. The +/-50 curve extrapolated badly
there: 22 levels off at -95 and 25 at +150.
Every setting puts the knee at about the same output level, not input.
The roll-off's end slope falls as 1/(1 + 0.084 b). With the knee at
126/255 and that end slope, the cubic Hermite fits -95, -50, -31, +23,
+25 and +50 within 1.4 levels. Past about +110 no such cubic stays
below white, so there the roll-off is 1 - (1 - y0)(1 - u)^alpha, with
the slope continuous at the knee. That gives +150 within 6 levels,
where every curve family tried bottoms out. Lowered curves are still
the inverse of raised ones.
The photoshop corpus's six brightness-contrast oracles still pass.
psd-tools brightnesscontrast_rgb goes from 0.13 to 0.020 max error and
_grayscale from 0.098 to 0.016. The new measurements are pinned in
modern_brightness_matches_photoshop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Levels: whole levels at every step and Photoshop's shadow toe
In 8 bits Photoshop rounds each of the three Levels steps to a whole
level (half up): the input-range stretch (already modelled), the
midtone gamma and the output range. A narrow output range therefore
merges neighbouring gamma levels: psd-tools levels_rgb maps R 43..48 to
58 through a 0.47 channel gamma and the master's 48..255, where the
unrounded curve gave 56..59 (3 levels off in blue).
The gamma above 1 starts along a toe a*u - b*u^q of slope a = 2^gamma
that joins the power curve with the same value and slope (q = 2.2,
fitted). With the rounding, that is exact on 1116 of the 1118 levels
of gamma 1.16, 1.22, 1.3, 1.78 and 2.0 oracles; the soft-min it replaces
missed 52. Gamma below 1 stays the plain power curve (0.67 and 0.7:
every level exact).
Oracles: psd-tools levels_rgb 0.0118 -> 0.0039 (PASS); photoshop
rgb8/stack-levels-curves-hue-posterize 0.2000 -> 0.0000 (PASS); rgb8 and
gray8 levels.psd 0.0039 -> 0.0000; rgb16/gray16 0.0039 -> 0.0020. Floors:
photoshop 145 -> 146, psd-tools 236 -> 238 (main is at 237).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Lab: adjustment layers composite on the stored L, a and b
The compositor reads a Lab document's layers through display RGB, which
clips colours outside its gamut, so the adjustments Photoshop evaluates
on L, a and b (Invert, Posterize, Threshold, Brightness/Contrast, Levels
and Curves with Lab records) only saw the clipped colours: the photoshop
corpus's Lab oracles were up to 11 levels off on saturated colours.
compose::native_lab works a Lab stack of plain layers out on the stored
values instead, like the CMYK ink path: Normal mixes L, a and b
linearly, an opaque layer keeps them exactly, a layer mask scales the
mix, and adjustment layers run adjust::lab_stored_op on each pixel.
Stacks with such adjustments render for display this way; flattening a
plain Lab stack keeps its stored values (exports no longer clip).
Anything else (other blend modes, effects, other adjustments) keeps the
RGB compositor.
Photoshop oracles 145 -> 152: lab16 invert, posterize-4, levels, curves
and brightness-contrast-legacy; lab8 invert and posterize-4. lab8
levels and legacy B/C come within a level (their 8-bit rules are #5143
and #5132). psd-tools and io unchanged; every round trip unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: Posterize works on the stored values (1 - ink)
Photoshop posterizes a CMYK channel's stored value, 1 - ink, not the
ink: with levels whose steps are uneven (3, 7, 13, 21) the two differ,
e.g. 3 levels take an ink of 85 to 128, where posterizing the ink drops
it to none. psd-tools posterize_cmyk.psd goes from 13.8 % of pixels off
to exact; psd-tools 241 -> 242, floor 242.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Raise corpus floors to the results of the landed adjustment fixes
Photoshop-authored 165 -> 185 of 258, io 146 -> 148 of 170, psd-tools 242 -> 249 of 309,
measured with the CMYK, Lab, 32-bit, Levels, Threshold, Posterize, feather and
pass-through PRs merged together.
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>
* Modern Brightness/Contrast: Photoshop's brightness curve
The modern brightness curve was a line rolled off by a v^P term. It sat
up to 4 levels off Photoshop's in the highlights, and up to 2.3 levels
off for lowered brightness.
The curve is refit to the Photoshop ground truth we have:
- the ±50 samples from 4759d12b;
- the photoshop corpus's brightness +25 / contrast +30 files,
inverted through the (exact) contrast curve.
Raised, it is the line s*x (s = 1.375^(b/50)) up to a knee at 80/255,
then a cubic Hermite to white with end slope s^-6.6. Lowered, it is the
exact inverse of the curve raised by as much (the -50 samples confirm
this to within a level). Every measured point is within about a level.
For strong values the knee moves down so the curve stays monotone
across -150..150.
Brightness then contrast are evaluated through one 4096-entry table,
built in 55 us. The GPU uses that same table through the Levels/Curves
kernel instead of rebuilding the curves in WGSL, so GPU and CPU agree
by construction.
Photoshop oracles: rgb8/16/32 and gray8/16/32 brightness-contrast now
pass (145 -> 151 of 258). The floor goes 133 -> 151.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK: Brightness/Contrast curves each ink, as Photoshop does
Photoshop applies Brightness/Contrast in a CMYK document to each ink's
stored value, 1 - ink, black included. Both the modern and the legacy
curve do this; the cmyk8 brightness-contrast(-legacy) oracles match it
within a level on every pixel of the files' own inks. Raising
brightness takes ink away. We applied it to the screen colour instead.
- cmyk_channel_adjustment gains Brightness/Contrast. apply_in builds
the channel curve once (brightness_contrast_lut) and runs each
separated ink through it (ink_through).
- Destructive Image > Adjustments on a CMYK layer curves the stored
inks directly, so it is exact; a selection mixes them.
adjusted_channels now takes the per-pixel operation, and works out
luma only for CMYK Threshold, which compares it.
- The GPU leaves CMYK Brightness/Contrast to the CPU, like the other
ink rules.
cmyk8/16 brightness-contrast oracles, bad pixels:
- modern: 72% -> 48-57%, max error 0.19 -> 0.09
- legacy: 71% -> 51-53%
The rest is our separation of the RGB composite, not the rule.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK Threshold compares the inks' own luma, as Photoshop does
Photoshop's CMYK Threshold splits on the Rec. 601 luma of the inks' plain
complement, (1 - c)(1 - k) and so on, whatever the document's profile.
On the files' own inks this puts every pixel of cmyk8 and cmyk16
threshold-128.psd on the right side of level 128. The profile's RGB luma
missed 100.
stored_channels works the luma out from the inks itself (ink_luma), so it
no longer takes one; the engine's stored-channel path no longer converts
each pixel to RGB at all. Through the separated RGB composite the cmyk
threshold oracles drop from 1.6% to 0.2% bad pixels.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* CMYK legacy Brightness/Contrast pivots at 128 in ink
Photoshop's legacy contrast pivots at level 128 of the ink, which is 127
of 255 of the stored value (1 - ink) that the curve runs on, not 128 as
in RGB. On Photoshop's own 16-bit inks (cmyk16
brightness-contrast-legacy.psd) ours sat a constant 0.43 of a level
above. That is exactly the one-level pivot shift times contrast +30's
slope minus one; with the pivot moved, the inks match within 0.01.
brightness_contrast_lut is now ink_brightness_contrast_lut, since its
legacy curve is the CMYK one.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* 32-bit: legacy Brightness/Contrast, Channel Mixer, Photo Filter and B&W tint unclipped
In 32-bit documents Photoshop keeps these adjustments' results above 1
and below 0. On the photoshop corpus's rgb32/gray32 files:
- Legacy Brightness/Contrast pivots its contrast at 127 of 255 (8/16-bit:
128) and is exact on every pixel.
- Channel Mixer cuts each source percentage to 1/1024 toward zero, counts
255/512 of the constant and is exact on pure red, green, blue, black
and white.
- Photo Filter works on the linear samples, negative results included.
- The Black & White tint is the Color blend mode without the clip at 1,
as the blend mode is there; white tints to (1.05, 1.00, 0.87).
We clipped all four to 0..1. The GPU kernels follow suit under F_HDR
(the legacy pivot and the mixer's steps come from the planner), and the
HDR parity test covers them.
Photoshop oracles: rgb32 and gray32 brightness-contrast-legacy, rgb32
channel-mixer and black-white-tint pass (145 -> 149 of 258); floor
145 -> 149. rgb32 photo-filter improves (0.19 -> 0.035 max); the rest is
its colour (#3790).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Modern brightness: knee at output 126, fit out to -95 and +150
psd-tools' brightnesscontrast_rgb.psd masks four Brightness/Contrast
layers to their own columns. Read through the exact contrast curve, it
gives Photoshop's brightness at -95, -31, +23 and +150, well past the
+/-50 samples the first fit had. The +/-50 curve extrapolated badly
there: 22 levels off at -95 and 25 at +150.
Every setting puts the knee at about the same output level, not input.
The roll-off's end slope falls as 1/(1 + 0.084 b). With the knee at
126/255 and that end slope, the cubic Hermite fits -95, -50, -31, +23,
+25 and +50 within 1.4 levels. Past about +110 no such cubic stays
below white, so there the roll-off is 1 - (1 - y0)(1 - u)^alpha, with
the slope continuous at the knee. That gives +150 within 6 levels,
where every curve family tried bottoms out. Lowered curves are still
the inverse of raised ones.
The photoshop corpus's six brightness-contrast oracles still pass.
psd-tools brightnesscontrast_rgb goes from 0.13 to 0.020 max error and
_grayscale from 0.098 to 0.016. The new measurements are pinned in
modern_brightness_matches_photoshop.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Levels: whole levels at every step and Photoshop's shadow toe
In 8 bits Photoshop rounds each of the three Levels steps to a whole
level (half up): the input-range stretch (already modelled), the
midtone gamma and the output range. A narrow output range therefore
merges neighbouring gamma levels: psd-tools levels_rgb maps R 43..48 to
58 through a 0.47 channel gamma and the master's 48..255, where the
unrounded curve gave 56..59 (3 levels off in blue).
The gamma above 1 starts along a toe a*u - b*u^q of slope a = 2^gamma
that joins the power curve with the same value and slope (q = 2.2,
fitted). With the rounding, that is exact on 1116 of the 1118 levels
of gamma 1.16, 1.22, 1.3, 1.78 and 2.0 oracles; the soft-min it replaces
missed 52. Gamma below 1 stays the plain power curve (0.67 and 0.7:
every level exact).
Oracles: psd-tools levels_rgb 0.0118 -> 0.0039 (PASS); photoshop
rgb8/stack-levels-curves-hue-posterize 0.2000 -> 0.0000 (PASS); rgb8 and
gray8 levels.psd 0.0039 -> 0.0000; rgb16/gray16 0.0039 -> 0.0020. Floors:
photoshop 145 -> 146, psd-tools 236 -> 238 (main is at 237).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Masks: feathers blur with exactly the feather's variance
A mask feather is a Gaussian with sigma = feather, which we approximate
with three box passes per axis. Whole-pixel boxes rounded the variance:
a 6 px feather blurred like 6.48 px and a 3 px one like 3.46 px, so
feathered edges were too soft by up to 4 levels against Photoshop
(psd-tools mask-parameters-no-real-channel.psd: a 6 px vector and 3 px
pixel feather).
Each pass is now an "extended box" (Gwosdek et al. 2011): weight 1 on
the whole radius and a fractional weight on the two samples beyond it,
so three passes have variance sigma^2 exactly. It stays O(n), reusing
the window's leaving sample for the low end weight (50 MP at a 1000 px
feather: 180 ms parallel, was 172).
psd-tools: mask-parameters-no-real-channel 0.0168 -> 0.0060 (PASS),
layer_mask_data.psd 26.9 % -> 3.9 % of pixels off (psb 25.9 % -> 1.8 %).
Corpus test 239 -> 240; floor 236 -> 240.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Lab: adjustment layers composite on the stored L, a and b
The compositor reads a Lab document's layers through display RGB, which
clips colours outside its gamut, so the adjustments Photoshop evaluates
on L, a and b (Invert, Posterize, Threshold, Brightness/Contrast, Levels
and Curves with Lab records) only saw the clipped colours: the photoshop
corpus's Lab oracles were up to 11 levels off on saturated colours.
compose::native_lab works a Lab stack of plain layers out on the stored
values instead, like the CMYK ink path: Normal mixes L, a and b
linearly, an opaque layer keeps them exactly, a layer mask scales the
mix, and adjustment layers run adjust::lab_stored_op on each pixel.
Stacks with such adjustments render for display this way; flattening a
plain Lab stack keeps its stored values (exports no longer clip).
Anything else (other blend modes, effects, other adjustments) keeps the
RGB compositor.
Photoshop oracles 145 -> 152: lab16 invert, posterize-4, levels, curves
and brightness-contrast-legacy; lab8 invert and posterize-4. lab8
levels and legacy B/C come within a level (their 8-bit rules are #5143
and #5132). psd-tools and io unchanged; every round trip unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Threshold: split on Photoshop's luminosity of whole samples
Photoshop's Threshold splits on the luminosity 0.30 R + 0.59 G + 0.11 B
(the blend modes' lum, as Gradient Map uses), not the Rec. 601 grey,
taken over the document's whole sample values:
- 8 bits: 30 R + 59 G + 11 B > 100 level - 50, i.e. the luminosity
rounded to a level with halves down reaches the level;
- 16 bits: 30 R + 59 G + 11 B >= 100 x the level in 16 bits
(round(level x 32768 / 255): mid grey 16448 is level 128);
- 32 bits: the luminosity reaches the level.
Exact on every pixel of psd-tools threshold_rgb (36432 px; Rec. 601 split
28 the other way), threshold_16bits_rgb (100) and threshold_16bits_
grayscale, and the photoshop corpus's rgb16 threshold-128. The sums are
exact in f32, on the CPU and in the GPU kernel, so ties (grey exactly on
the level) split the same way on both.
psd-tools: threshold_rgb and threshold_16bits_rgb pass; corpus test
239 -> 241, floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Posterize: 16-bit documents bin the 16-bit sample, as Photoshop does
At 16 bits Photoshop doesn't round to 8-bit levels before binning. It
bins the 16-bit sample, floor(v16 * n / 32768), and lands on 8-bit levels
through a 16-bit step: floor(b * 32768 / (n - 1)), converted with
floor((o * 255 + 16384) / 32768). So the middle of 3 levels is 128 where
8 bits give 127, while 42.5 and 25.5 stay 42 and 25.
Exact on every sample of psd-tools posterize_16bits_rgb (levels 3, 7,
13, 21) and posterize_16bits_grayscale (2, 6, 9, 11); the 8-bit rule
missed up to half the range at bin edges. The same rule applies to
CMYK and Lab channels at 16 bits: on the stored inks (#4945's native
path) psd-tools posterize_16bits_cmyk goes from 4.26 % to 0.01 % of
pixels off. 8-bit Posterize is unchanged.
The GPU kernel runs the same rule; 16-bit layers reach it as half
floats, so a sample within their precision of a bin edge can land in
the neighbouring bin there (the CPU, which exports, is exact).
psd-tools 239 -> 241; floor 236 -> 241.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Groups: a pass-through clipping base with an adjustment renders isolated
A pass-through group composites its children straight into the
backdrop, so an adjustment layer inside reaches the layers beneath.
When the group is the base of a clipping group and holds an adjustment
layer, Photoshop renders it isolated instead: in psd-tools
passthrough_clipping_mask_adjustment an Exposure in such a group leaves
the layers beneath alone (we darkened them: half the image 170 levels
off). The same group with a Linear Dodge child and no adjustment keeps
reaching the backdrop (passthrough_clipping_mask_blendmode), and so do
clipping-mask3/4/5, so the rule is the adjustment, not the clipping
alone (isolating every pass-through clipping base broke those two).
CPU compositor and GPU plan alike. psd-tools 239 -> 240; floor 240.
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>
* Layers panel: Clip Thumbnails to Layer Bounds (#4281)
Add interface.clipThumbnailsToLayerBounds (off by default), toggled from the
Layers panel menu or Preferences > Interface. When on, a pixel layer's
thumbnail frames the layer's own pixels (cut to the canvas) instead of the
whole canvas, so small objects in a large document stay visible. Empty or
fully off-canvas layers keep the canvas frame.
The frame is computed only when the thumbnail is rebuilt (tile-cached
content bounds) and is part of the cache key, so toggling rebuilds it.
Closes#4281
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: badaaif <17384158+badaaif@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Brush Settings: a response curve per dynamic control (#3294)
Every brush Dynamic (Size, Opacity, Flow, Roundness, Scatter, Count,
Depth, Foreground/Background...) now carries its own response curve for
its control (Fade, Pen Pressure, Pen Tilt, Stylus Wheel, Rotation),
applied after the global Preferences pen curve. It is part of the brush
JSON, so tools.setBrush sets it (e.g. shapeDynamics.size.curve), actions
record it and presets keep it; linear by default, so existing brushes
paint unchanged.
- paint: ResponseCurve, the global pen curve's monotone cubic moved down
from the engine as a fixed-size Copy type (no allocation per dab);
serialises as its point list. dynamics::dynamic_value applies it.
- engine: prefs::PressureCurve is now that type.
- ui-egui: each Control row gets a curve button (lit when the curve isn't
linear) that shows the same editor as Preferences > Tools.
- scorecard: TOOL-213-11 done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n: Response curve for hu, tr
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Fix i18n after merge: Serbian Response curve, drop duplicate hu row; regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Brushes: import an image file as a brush tip (#3279)
`brush.presets.importImage` reads an image (path, or base64 data with
an optional fileName) through the normal importer, so any format and
bit depth File > Open reads works. Its composite becomes a sampled tip
the way Define Brush Preset reads a selection: darkness x alpha,
cropped to the painted extent, at most 2500 px a side. The bounds are
found band by band first, so a large mostly-white image never needs a
full-size buffer. The preset is named after the file (never replacing
an existing one) and becomes the current brush unless select is false.
Import Brushes... in the Brushes panel and the brush preset picker now
opens a picker for .abr and image files; images go to the new command,
.abr files to brush.presets.importAbr as before. Automation refuses an
ambient `path` for it like the other import commands.
Define Brush Preset and the new command share `sampled_brush`.
Scorecard TOOL-213-12 -> done.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Regenerate docs/scorecard.md after merging main
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* fix(ui): remember the selected tool between launches
* fix(ui): preserve explicit Eraser selection during temporary tool overrides
Clear temporary pen and spring state for explicit toolbar, menu, preset and control selections. Keep spring-loaded key behavior; only permanent key choices clear the pen marker. Add exit/relaunch coverage for explicit Eraser with pen and spring overrides.
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Batch: Include All Subfolders (AUTO-219-5, #3753)
File > Automate > Batch and File > Scripts > Image Processor take an
optional "includeSubfolders" (default false): a folder input also yields
the images in its subfolders, walked depth first in name order, bounded at
32 levels and 100000 files, with a seen-set of canonical folders against
symlink loops and the output folder left out. Each result keeps its
relative subfolder under the output folder, so same-named files in
different subfolders no longer collide. A non-boolean value is BadParams.
Both dialogs gain an "Include All Subfolders" checkbox (translated in
every complete catalog). Scorecard AUTO-219-5 stays partial (naming
template, progress/cancel, error log file); gaps.md G11 updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Batch: translate Include All Subfolders for Hungarian and Turkish
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
With a selection, ⌘T and the Move tool's Show Transform Controls framed the
layer's content clipped to the selection, so the box was smaller than the
marching ants wherever the layer did not fill the selection. The ants then
stayed where the selection started until the transform was applied.
- transform_frame / target_frame (engine): the box is the selection's own
bounds when a selection limits the transform. transform_bounds is unchanged,
so snapping and the command defaults are as before.
- The selection outline is drawn through the open box (homography, or the warp
in Warp mode), so it follows move, scale, rotate, skew, distort, perspective
and warp before the transform is applied. The whole outline is traced while
such a box is open, not only the part in view where it started.
- marching_ants_lines: ants along screen-space lines; non-finite lines are
skipped and very long ones are clipped to the view.
Part of #3402.
Claude-Session: https://claude.ai/code/session_015vKPoMXFhSvWmX5D9XM646
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
An action can take one of Photoshop's button colours, and the panel can switch to Button Mode so a click plays that action. The colour is stored on the action and is empty until it is set. The new labels are in every complete catalog.
Co-authored-by: Cursor Agent <cursoragent@cursor.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The engine, renderer and PSD mapping already supported Smooth, Chisel Hard
and Chisel Soft, but the dialog's Bevel & Emboss page had no control for it.
Add the Technique dropdown under Style (Photoshop's order), a smooth default
for new bevels, and translations.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* ACEScg: File Handling option opens colour-less EXR renders in the ACES working space
Our render pipelines write ACEScg (AP1 primaries, ACES white ~D60,
linear) and — like most — state no colour space in the EXR header, so
io's linear-sRGB default misrepresented them (saturated hues shifted).
- cms: AcesCg joins the built-in profiles, generated from the published
AP1 primaries and ACES white point with a linear TRC (id "aces-cg",
aliases acescg).
- engine: File Handling gets "Open color-less EXR as ACEScg". When on,
an EXR that io tagged with the linear-sRGB default opens as ACEScg
instead; embedded or EXIF-declared profiles stay untouched.
Translated in every catalog. ACES view transforms (OCIO-based display)
remain future work; this covers the document's source colours.
* scorecard: 26 of 158 (main's #3472 preference added one too)
* Regenerate docs/scorecard.md after merging main
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Layer styles: editing effects no longer re-enables a disabled effect list (#3648)
* Layer styles: follow #3648's exact dialog steps in a test
Preview off shows the document as saved (the in-dialog stroke disable is
a pending edit), so the state the issue reports is Photoshop's preview
semantics, not a resurrected effect: the live preview honours the
disable, and OK applies it.
* style: cargo fmt
On top of #5001. Two UI-thread stalls it leaves on a 16000 × 10000, 30-layer PSB
whose layers exceed the GPU memory budget:
- GpuCanvas::composite checked the memory budget for full refreshes only. Hiding
or showing a layer that covers most but not all of the canvas took the
synchronous GPU path, paging every layer in on the UI thread. Damage of
DEFER_PX or more now gets the same check, so it goes to the background redraw.
Small edits keep the GPU path without the check.
- The first draw after a background open scanned every layer's content bounds
on the UI thread (GPU planning). The open job now warms the shared tile bounds
cache before handing the document over (warm_layer_bounds, cancellable between
layers).
Co-authored-by: syncroot <24667144+syncroot@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Interface: a preference to hide the Home screen's recent files (#4382)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* i18n: drop the hu/tr 'Enable animations' lines, #4362 adds them
Both PRs added the same two lines; whichever merged second would leave a duplicate key (bundled_catalogs_are_consistent rejects it).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* docs: regenerate scorecard after merging main
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge main; fix i18n (duplicate ja row, missing sr row) and regenerate scorecard
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Drop the duplicate hu row
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>
Hiding Edit › Menus (or Keyboard Shortcuts) left no way back into the
dialog, and Save, Save As, Exit and Preferences could disappear too.
edit.menus now refuses to hide them, the dialog greys their Visible box,
and the menus keep them even when a preferences file lists them.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The eyedroppers (the points/subtractPoints params, and clicks on the
canvas while the dialog is open) refused points outside the active
selection. Photoshop samples anywhere and only limits the result to the
selection, which Color Range already does; the refusal is gone.
* Record action layer selections by name and show their targets
* Use document pixel format in grouped-layer regression
* Document the named layer action UI with a synthetic capture
The layers were only in document.inspect, together with history,
channels and much more, so agents looked for a layer.* command that
didn't exist.
layer.list returns the layers top-down with id, name, kind, visibility,
bounds, selected and active; groups list their children, or with
"flat": true every layer is one row with its depth and parent group.
It takes the same optional "document" index as document.inspect, is not
journaled and bad params are errors.
Stretching a 1 px row or column faded out along the stretch: bicubic and
bilinear sampling read transparent pixels past the source edge, and with a
selection the edge was the whole layer's bounds (lifted pixels kept their
colour at zero alpha). Samples past the source rect now repeat the edge and
the outline is antialiased by coverage, and the lifted pixels' bounds are the
selected pixels'.
Fixes#3773
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Smart Objects: inspect and Replace Contents show shared instances (#4075)
Placed layers that share a source have imported as one set of contents
since #2222, and Replace Contents changes every instance, but nothing
reported it: `linkGroup` is Link Layers, and `smartSource` can't tell
copies of one contents from independent copies of the same file.
document.inspect now gives each smart object `smartContents`: the
contents `id` its copies share and how many `instances` there are.
Replace Contents, Relink to File and Convert to Embedded/Linked list the
`instances` they changed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Test rendered caches after shared Smart Object replacement
---------
Co-authored-by: jonathnwxh <258340642+jonathanwxh-cell@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* feat(commands): find the Elliptical Marquee by 'ellipse' or 'marquee' (#5060)
The Elliptical and Single Row/Column Marquee are options of select.rect
("ellipse":true, "line"), but the command-list filters only looked at
the id and the label ("Rectangular Selection"), so 'ellipse' and
'marquee' found nothing.
Commands can now carry search keywords. command.list / engine.commands
rows include them as "keywords", and the three filters (CLI commands
--filter, the engine.commands RPC and the MCP command_list) share one
matcher over id, label and keywords. select.rect gets the Photoshop
marquee names as keywords.
* Command list replies: document the optional keywords key
The reply-shape test from #3684 pins the exact keys of each row; select.rect
now also carries keywords, so the test and docs/control-protocol.md allow
that one optional string.
* Map .atn duplicate-into-new-document (Mk) to layer.duplicate
Photoshop records Layer > Duplicate Layer with Destination: New as a
Mk event (document class + layer Usng, Nm = new doc name, LyrN = copy
name), verified against a ScriptListener/XTensions export. Import maps
it to layer.duplicate {document: new}; export writes it back, so the
steps round-trip instead of becoming kept Photoshop steps that fail at
playback. A Dplc with a T document reference (another open doc) now
imports as a kept step rather than misplaying as a same-doc copy.
* Fix Rust formatting in ATN command tests
* Fix rustfmt formatting in ATN command tests
* Tests: bad-layer-id checks use an id that can't exist (#3343)
Layer ids come from one process-wide counter (shared with document and
smart-object ids, and bumped by ensure_ids_above on file loads). A full
`cargo test` run passes ids like 9999, so a layer a test just created can
get the "bad" id, the command succeeds and the assertion fails at random
(seen on CI in type_extra_cmds::tests::vertical_orientation_renders_columns_inside_the_canvas).
Use u64::MAX, which the counter never reaches, for every "no such layer"
sentinel in the engine and ui-egui tests. Test-only change.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Tests: use u64::MAX for bad-layer-id sentinels added on main since (#3343)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A mask made from the selection takes the selection with it in Photoshop: after
Layer > Layer Mask > Reveal Selection (the Layers panel's mask button with a
selection) the marching ants are gone. PhotoCraft kept the selection, so the
usual next step, Invert (Cmd/Ctrl+I) on the new mask, inverted only the part
inside the old selection and left the whole mask black, instead of flipping
the mask. Hide Selection (the Alt-click variant) already dropped it.
Reveal Selection now clears the selection in the same history step as the
mask: one undo brings the selection back and removes the mask.
Tests: adjust_cmds::tests::reveal_selection_drops_the_selection_so_invert_flips_the_whole_mask
(8/16/32-bit). Tests that deselected right after Reveal Selection no longer
need to (Deselect is disabled without a selection); layer_mask_depth and the
automation agent tasks now expect the selection to be gone.
Co-authored-by: abc2cb <271337822+abc2cb@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Session::execute catches a command's panic and returns an ordinary Err (the
last-resort guard in jobs.rs), so the unwind never reached panic_hunt's own
catch_unwind and a panicking command counted as a pass.
The harness now installs a panic hook that counts every panic in the process,
including on rayon workers, and a run fails if the count moved. Runs are
serialised so a panic is charged to the run that caused it. No production
code changes.
Test: contained_panics_count_and_graceful_errors_do_not. A contained panic
fails the run and a graceful Err passes; the first assertion fails without
the hook. The full --ignored fuzz stays green, so no command panics today.
Co-authored-by: prekabreki <prekabreki@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* test(engine): add Color Range fuzziness 0 exact-match test (#214)
Adds an explicit test for Sampled Colors at Fuzziness 0 (point sampling
and hex colors) asserting that exact matches are fully selected and
adjacent shades are rejected. Updates scorecard TOOL-214-3 to done.
* docs: regenerate scorecard (TOOL-214-3 done)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_017WeVmjnnPPKdxVTpr2Vjtw
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Opacity and Fill are fractions in layer.setProps but percentages in the
Layer Style commands, and a value above 1 was clamped silently: 55 gave
an opaque layer. Out-of-range or non-numeric values now fail with an
error that names the range, and the layer is left alone.
select.object samples the active layer by default. On an empty layer
(scripts often add one above the photo) it found nothing and returned
without an error; the failure only surfaced at the next command that
needed a selection. It now fails with an error that names the cause and
the sampleAllLayers option, also when the layer's pixels lie outside the
rectangle or point.
Fibers renders from the foreground and background colours without
reading the layer, but its output area was the layer's content grown by
a zero halo: on an empty layer that is empty, so nothing was drawn (and
a following transform found nothing to transform). On a partly filled
layer only the content's bounding box was filled. It now writes the
reference bounds (the selection's, else the canvas) like the global
filters, without reading the whole layer as they do.
The Background has none of them. layer.setProps applied them to it as it
was, and Select and Mask's Layer Mask output gave it a mask. Like
Photoshop (and like PhotoCraft already does for moving, transforming,
erasing, styles and Layer > Layer Mask), it now becomes a normal layer,
"Layer 0", first. Values that leave its look alone (opacity and fill
100 %, Normal) keep it the Background.
Fixes#4836
Tanish Manku