6 Commits

Include renames

Author	SHA1	Message	Date
Dylan M. TaylorandCodebuff	1695f323e6	fix(psd): retain pattern budget charges after parse failures (#8767) ... Keep allocation charges monotonic when malformed pattern blocks fail, so later sections cannot reuse budget already consumed. 🤖 Generated with Codebuff Co-authored-by: Codebuff <noreply@codebuff.com>	2026-10-23 08:38:15 -04:00
Derek GliwaandClaude Opus 5.5	d53101c9a1	Brushes: keep the 512 MiB .abr cap on 32-bit targets ... On wasm32 a near-1 GiB .abr arrives as base64 and is copied several times before decoding; with a 1 GiB sample budget the import could pass 4 GiB and abort the tab instead of failing cleanly. Pick the decoder budget by pointer width (like MAX_DECODED_BYTES) and derive the engine's file cap from it. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>	2026-10-20 08:53:55 -05:00
Derek GliwaandClaude Opus 5.5	2cf274f991	Brushes: accept .abr files up to 1 GiB ... Import Brushes refused .abr files over 512 MiB: the engine's preset file cap and the .abr decoder's sample budget were both 512 MiB. Raise both to 1 GiB for brush files only; gradient, swatch, action and image-tip imports keep the 512 MiB cap. A compile-time assert keeps the reader and decoder caps equal. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>	2026-10-17 15:38:11 -05:00
8 people	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>	2026-10-15 00:51:37 -04:00
David MannandClaude Opus 5.5	03bb64a681	Brushes: keep the folder hierarchy of imported .abr files (#1851) (#2001) ... * Brushes: keep the folder hierarchy of imported .abr files (#1851) Photoshop CC brush files keep their Brushes panel folders in a `phry` (preset hierarchy) section; the importer skipped it, so every preset of an .abr landed in one flat group named after the file. - photocraft-psd: `abr::parse` reads `phry` (a token stream of `Grup` {Nm, zuid}, `preset` and `groupEnd` objects) into `AbrFile::folders`, one folder path per preset. A damaged hierarchy never fails the parse: a stray groupEnd, more or fewer preset tokens than presets, folders nested deeper than MAX_FOLDER_DEPTH (32) or an unreadable section become warnings and the affected presets land at the top level. `write_v6_folders` writes `phry` back (`write_v6` is unchanged). - photocraft-paint: `BrushPreset::folder`, the nested folder path inside its group (serde default, so older JSON loads unchanged). - photocraft-io: the file's folders nest inside the group named after the file, as Photoshop's Import Brushes does. - Preset store: each stored preset records its `folder`; group files written before this change load with every preset directly in its group (no rewrite). Paths from disk and from imported .pcpresets files are bounded. - Commands: brush.presets.move, moveGroup, renameGroup and deleteGroup take an optional `folder` path to move a preset into a folder, or to move a folder among its siblings, rename or delete it. importAbr reports the number of folders kept. - Brushes panel and Brush Preset picker: nested folders are drawn indented under their group (list and grid), open and close like groups, take dropped presets, reorder among their siblings by drag and drop, and have Rename/Delete in their context menu. Checked against the 4-folder ABR Photoshop 25.1 exports of its default brushes (8/6/6/8 presets): all 28 land in their folders, and a write/parse round trip keeps them. Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com> * Brushes: bound phry folder allocation; reword the move folder param Review on #2001: - read_phry now runs after every section is read, so it builds folder paths only for the presets in desc (a phry may precede desc), and the paths it holds are capped at 16 MB; presets past the cap import at the top level with a warning. - brush.presets.move documents `folder` as folder names, so the automation filesystem-path classifier no longer flags it. Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>	2026-10-09 19:46:07 -04:00
Brandon ThomasandClaude Opus 5.5	d881785fde	Photoshop brushes: .abr import, stylus pressure/tilt, 36 grouped presets, .grd import (#74) ... * psd: .abr brush (v1/v2/v6+) and .grd gradient (v5) parsers and writers Clean-room from public format descriptions: legacy computed/sampled brushes, 8BIM-sectioned samp/patt/desc files, 8/16-bit raw and PackBits tips. Bounded (MAX_EDGE, MAX_TOTAL_BYTES), damaged brushes are skipped with warnings, hostile input returns Err. Adds an abr fuzz target. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * paint: 36 grouped built-in brush presets and new procedural tips General / Dry Media / Wet Media / Special Effects groups (pressure size/opacity variants, airbrush, pencils, charcoal, pastel, crayon, rake, watercolour, ink, oil, foliage, grass, stipple, sparkle, halftone…). Leaf, grass, charcoal, sponge, star and rake tips are generated in code. BrushPreset gains a group. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * io: map .abr brushes onto BrushSettings Tip shape, shape dynamics, scattering, texture (embedded patt patterns), dual brush, colour dynamics, transfer, pose, noise, wet edges, build-up and captured tool options; unmapped settings are reported as warnings. Includes bench_abr (100-brush import, 5000-dab stroke). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * engine: brush.presets.importAbr and gradient.presets.importGrd Path or base64 data, group per file (re-import replaces), unique names next to the built-ins; graceful-failure tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> * ui: real stylus pressure/tilt, grouped Brushes panel, Import Brushes Pen force from egui Touch events (Windows WM_POINTER via winit), Pointer Events pressure/tilt/twist on the web, tilt via ui.pointer; mouse stays 1.0. .abr/.grd open from File > Open, drag-and-drop, Brushes panel and Preset Manager. Preset previews keyed on a cheap signature instead of the full brush JSON. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> --------- Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>	2026-10-04 16:26:16 -04:00