* Preserve HDR range in float adjustments and stack statistics
* Cover HDR exposure round trips and Levels record order
* Report the backend used by GPU parity tests
* Compare float PSD oracles at native depth and preserve signed Exposure
* Retain merged alpha metadata when decoding float references
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Every effect with a contour (Drop/Inner Shadow, Outer/Inner Glow, Satin,
Bevel & Emboss Gloss Contour and Contour element) now shows a contour
thumbnail with a preset picker and an Anti-aliased checkbox. Clicking the
thumbnail opens the Contour Editor: add/drag/delete points (the shared
point-curve editor), Corner per point, Input/Output, Preset, and Load…/Save…
of .shc contour files, read and written from Adobe's public File Formats
Specification (Contours). Edits go to the dialog's pending params, so the
preview follows and OK applies them in the one layer.layerStyle.replace.
- doc: Contour::Custom gains per-point corner flags (serde default).
- compose: contour_curve_lut splits the spline at corner points; CPU and
GPU effects use it.
- engine: the 12 standard presets with our own control points (older names
still accepted); `contour` params also take a curve object
{name, points, corners}; antiAlias params; Satin contour; the bevel
Contour element edits in place; contours_from_shc / contour_to_shc.
- io: PSD contour points read and write the Cnty (continuity) flag.
- psd: shc.rs parser/writer.
- scorecard FILE-215-15 missing -> partial.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A dab that painted past a layer's stored tiles changed its resident page
region, which recreated the texture and converted and uploaded every tile
of the layer in that page cell again. Copy the overlap from the old
texture on the GPU instead (in its own submission, ahead of the queued
tile writes) and keep its tile map, so only new or changed tiles upload.
32-bit float RGB/gray tiles also convert to RGBA16F straight from their
samples (same bytes as the general path) instead of decoding into a float
buffer and converting pixel by pixel.
P16 (32-bit, 20 layers) brush dab + refresh, median of 6 alternating runs:
p50 8.9 -> 3.1 ms, p95 27.2 -> 7.5 ms. P13 is unchanged (~1.6 / ~4.5 ms).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Speed up large feathered mask refreshes
* Format preference label for workspace check
* gpu test: allow float noise on a one-code vector-mask parity step
The combined mask is cached as U16 now; one pixel lands exactly one 8-bit
code apart (1.0000075/255), within the <=1/255 parity rule.
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>
* perf(gpu): reuse unchanged lower-stack composite chunks
* test(gpu): verify half-float composite checkpoint reuse
* docs: record measured GPU composite reuse gains and limits
* perf(gpu): admit whole grid chunks, serve partial damage as sub-rect copies
Cache entries were keyed by the exact damage rectangle, so brush strokes
(a new partial rect every frame) filled the budget with entries that
never hit again. Entries are now whole chunk-aligned, chunk-sized grid
cells: a capture merges into the cell it overlaps at the rectangle's
offset, a read is served as a sub-rect copy of the covered part, and
coverage is tracked per cell so a resume only happens where every pixel
of the requested rectangle is cached. After a full render, any in-bounds
partial rectangle hits.
Regression test: two series of disjoint strokes inside the same chunks
leave composite_cache_bytes unchanged (no entry-per-rectangle growth),
a full refresh still finds its chunks and a top-layer edit afterwards
reuses them. The old partial-damage test now expects the covered-chunk
hit and checks outside-the-document renders admit nothing.
* docs: record the GPU reuse measurement in target-app-parity.md
The honest assessment moved from roadmap.md to target-app-parity.md on
main; keep main's roadmap and add only the dated measurement.
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>
A live gradient's dither adds a fraction of a level of noise, but gradient
fill layers kept it in float. Color Dodge divides by 1 - cs, so under a
bright dodge layer that sub-level noise came out as speckle several levels
high, and channels at 0 were lifted off black (coloured fringes).
Dithered gradient pixels are now rounded to the document depth's levels
(8/16-bit; float documents unchanged), as a painted gradient stores them.
Same rounding in the GPU shader. Regression tests in compose and a GPU
parity case for stacked dithered gradients under Color Dodge.
Claude-Session: https://claude.ai/code/session_01Qpa5z8GksXAFiDavFkmh4R
Co-authored-by: Leel Wasanatha <260480244+kavishkashehan726-sudo@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Colorize floored saturation at 25% on both the CPU (compose::adjust::hue_saturation) and the
GPU shader, so dragging Saturation to 0 with Colorize ticked still tinted the image. Photoshop
leaves only the lightness at 0%. The floor is gone from both paths, so 1-24% now tint
progressively too.
The floor also stood in for Photoshop's 25% starting saturation when Colorize is switched on.
The dialog's checkbox already sets that; the hueSaturation params now do the same when a call
turns Colorize on without giving a saturation, so {"colorize": true, "hue": 30} still tints.
Fixes#2326.
Co-authored-by: lloyd <lloyd@stackworx.io>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Blend modes: Fill below 100% works inside the blend for Photoshop's special eight
In Photoshop, Fill and Opacity are the same for most blend modes, but not
for eight: Color Burn, Linear Burn, Color Dodge, Linear Dodge (Add),
Vivid Light, Linear Light, Hard Mix and Difference. PhotoCraft treated
Fill as Opacity for all of them, so a Difference layer at 50% Fill gave
(150,90,110) where Photoshop gives (150,60,10).
Measured on Photoshop 27.11 (scripted, 24 cases at Fill 25/50/75% with
two colour pairs): below 100% Fill, Photoshop pulls the layer's colour
toward the mode's neutral colour (black for Color Dodge, Linear Dodge,
Difference; white for Color Burn, Linear Burn; 50% gray for Vivid and
Linear Light) and blends that at full strength; Hard Mix becomes
clamp((b - f(1 - t)) / (1 - f)). Opacity still mixes the result in.
That reproduces 31 of 32 values within 1 level (Hard Mix at 75%: 3).
CPU (psblend::composite_fill, the final blend of plain pixel, shape and
type layers) and GPU (Kernel::Blend takes Fill in the spare uniform slot)
agree; Dissolve keeps Fill as coverage. Layers with effects, adjustment
layers and groups keep the old behaviour for now.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* GPU: composite_fill with a single blend_rgb call, so fs_blend stays small
The first version added a third inlined copy of blend_rgb (every blend
mode) to fs_blend: composite_g's two plus blend_rgb_fill's. Windows CI
(software WARP adapter) then timed out rendering the UI in
arbitrary_rotation_preview, which passes on main; a larger shader
compiles noticeably slower there.
composite_fill now handles every case itself with one blend_rgb call
(Fill as coverage for normal modes, the special-eight blend, Lab Normal
mixing, the text gamma space) and is fs_blend's only composite path,
leaving it with fewer inlined copies than on main. Same results: the 35
GPU parity tests pass.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
- Hue, Saturation, Color and Luminosity no longer clip 32-bit documents to 0..1, so values above 1 survive in the CPU compositor (blend_rgb_hdr now uses blend_rgb_within at f32::MAX) and in the GPU shader (under the existing F_HDR flag). 8/16-bit results are unchanged apart from rounding at white.
- ClipColor returns the grey when the luminosity is outside the in-gamut range, instead of dividing by max − lum rounding noise. The old formula turned colours inside out (Luminosity of a grey of 2 over (0.5, 0.25, 0.125) gave (1.0, 2.32, 2.99)), and CPU and GPU disagreed (Hue over a grey of 2: CPU 1.0, GPU 2.82).
- Tests: 8/16-bit inputs match the ISO 32000 formula, HDR cases in compose, psblend::with_hdr nesting, and a CPU/GPU parity test across depths.
Co-authored-by: hideoneric <hideoneric@users.noreply.github.com>
Squashed onto main, with the maintainer's asks applied:
- Photoshop's blend menus (layers, brush, pencil, gradient, layer style) stay as they are;
the Layers panel and Blending Options list a Paint.NET mode only for a layer that uses one.
- The six Paint.NET mode labels are translated in every catalog, and the blend-mode i18n test
iterates layer_modes().
- pdn::pixels rejects truncated uncompressed (version 1) data before allocating its buffer.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
An RGB pattern (every built-in one) showed in colour as a pattern fill or
Pattern Overlay in a Grayscale or CMYK document, unlike Edit > Fill, the
export, and Photoshop, which fills in grey but keeps the pattern's colours
(a Grayscale round trip brings them back).
pattern::pattern_rgba projects a pattern's pixels through the document's
mode when painted; the CPU prepared tiles and the GPU pattern textures use
it. Patterns themselves are unchanged.
Co-authored-by: Claude <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
The 4096-entry ramp LUT interpolated across a hard stop, showing grey where the CPU export is
white. Gradient fills, Gradient Maps and gradient effects with coincident colour or opacity stops
now return Unsupported so the canvas uses the CPU oracle. Fixes#974.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Changed tiles are grouped by shared Arc and converted once each in parallel batches; a tile
shared by several coordinates (a solid fill, a cleared area, a non-zero default) is uploaded
once to a scratch tile and copied on the GPU, and new pages take the same path. 16-bit RGB and
gray tiles convert to RGBA16F through a lookup table. Select All + Fill on a 50 MP 16-bit page
refreshes in 15-19 ms instead of about 1.4 s. Fixes#1774.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Two results exactly one 8-bit step apart can land a few f32 ulps past 1/255 after premultiplying
and subtracting (NVIDIA, Hue/Saturation in adjustment_layers); allow 4 epsilon of slack. Fixes#1848.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Linear Dodge (Add) and Divide keep values above 1 in 32-bit float documents, clipped only at f32::MAX. Integer depths still clip at 1.
- CPU: add psblend::HDR and generic::blend_rgb_hdr / blend_channel_hdr; render sets the flag per document depth.
- GPU: add the F_HDR pass flag, and compose.wgsl uses it for the same clip bound.
- Non-separable modes are unchanged.
- Tests: colour unit tests, compose depth tests, and the GPU parity test float_documents_blend_past_white.
Co-authored-by: hideoneric <hideoneric@users.noreply.github.com>
Saturation −100 greyed to the HSL lightness, so a yellow (255, 255, 0) became grey 128 where
Photoshop shows near-white: a yellow logo with Brightness/Contrast +150 and Vibrance › Saturation
−100 clipped to it stayed yellow under Lighter Color. Measured black-box on Photoshop 25.4
(16-bit runs of 7,400-colour charts and HSV sweeps; sRGB, Adobe RGB and ProPhoto documents), both
sliders work in linear light through the document tone curve, Vibrance first, then Saturation:
- Saturation moves each colour from the grey 0.288 R + 0.712 G (blue has no weight, in every
profile) by 1 + s, clipping per channel: within 0.07/255.
- Negative Vibrance is an HSV change in linear light keeping the hue, in closed form: 0.2/255 on
average, the deepest shadows (V < 0.05) drift.
- Positive Vibrance: the brightness term is exact; the saturation boost (stronger for dull and
dark colours, damped on reds and skin) is a fit, 0.4 (+10) to 5 (+100) /255 on average.
CPU (compose::adjust::vibrance_px) and GPU (compose.wgsl) share the constants; the parity test
gains a negative Vibrance and Saturation −100. photocraft-corpus adjustments/rgb8|rgb16/
vibrance.psd (Vibrance +60, Saturation −15): 25.6/255 mean, 89 max → 0.38 mean, 5 max.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Fill 0 % + an Outside stroke is Photoshop's "outline only" look, but on pixel
layers the stroke lay beneath the whole interior at full coverage, relying on
the layer composited on top to hide it. With the fill lowered the interior
showed the stroke colour (a solid disc instead of a ring).
The share beneath an interior pixel is now (1 - a) / (1 - c), with a the
shape's coverage and c the layer's alpha after fill: 1 under an opaque
layer (100 % fill renders exactly as before, so PSD oracles don't move),
1 - a at 0 % fill. CPU compositor and the wgpu shader agree (the layer's
alpha now rides along the coverage seed for pixel layers too).
Tests: compose regression at 8/16/32-bit (0 %, 50 %, 100 % fill), and a GPU
parity case at fill 0 and 0.5 (fails without the shader change).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
- A layer about the canvas's size keeps its whole effect region even where it overhangs the
edge, so the region keeps its size while the layer is dragged and the GPU moves its effect
maps with it instead of rebuilding the shape, distance fields and every effect each frame.
- Surface::translated moves a surface by copying encoded tile bytes tile to tile (no float
round trip, no full-size intermediate; whole-tile moves share the tiles): 2.3x faster than
to_interleaved + write_interleaved. Used by layer.translate, Move tool drags and
algo::resample::translate_surface.
- perf_scenarios: Move tool drag frame rows (styled layer, full-canvas layer with and without
a drop shadow).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Photo Filter and gradient glows render like Photoshop (#442, #443)
Photo Filter multiplied encoded RGB by the filter colour and rescaled to Rec.601 luma. Photoshop
multiplies the pixel's D50 XYZ (relative to white) by the filter colour's, mixed by density, and
Preserve Luminosity restores the encoded luminosity like the Luminosity blend mode (SetLum +
ClipColor); 32-bit documents keep luminance Y. rgb16 photo-filter.psd now matches within 0.6/255
(was 125/255); rgb8 mean error 0.3/255 (was 20.8).
Outer and Inner Glow gradients were laid out across the canvas (a vertical linear gradient), so
the colour bands ran top to bottom. Photoshop colours the glow at strength v with the gradient at
1 - v (first stop at the edge) and the glow is opaque from v = range^2. outer-glow-gradient.psd:
mean 1.4/255, max 9.9 (was 252).
CPU and GPU paths updated together; photoshop oracle floor 132 -> 133.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge origin/main; regenerate docs/scorecard.md
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>
Rebased onto the paged GPU compositor (#187): the first-frame empty submit moves into encode_inner, and the test GPU lock covers the paged compositor too.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Adjustments: full parameter sets for every kind, Hue/Sat ranges, CMYK/Lab tone channels
- doc: Hue/Saturation gains six colour ranges (HueRange), Gradient Map a dither flag,
Levels/Curves a ToneSpace (RGB, CMYK inks + black, Lab) for mode-native channels.
- engine: new adjust_params module (from_params over a base / to_params) used by
image.adjustments.*, layer.newAdjustmentLayer.* and layer.setAdjustment. Curves,
Color Balance, Channel Mixer, Black & White, Gradient Map and Photo Filter now honour
their params; bad params are BadParams errors; setAdjustment merges (empty = reset).
- compose/gpu: hue-range tables, CMYK/Lab tone channels (CPU; GPU falls back), dithered
Gradient Map, Black & White from grey/secondary/primary parts; GPU parity extended.
- io: hue2 ranges, grdm dither, CMYK/Lab Levels/Curves records round-trip.
- destructive adjustments use the document's tone transfer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Adjustments UI: one editor per kind for Properties and Image › Adjustments dialogs
- adjust_editors: Brightness/Contrast (legacy), Levels and Curves (per channel in RGB, Gray,
CMYK and Lab, histogram behind), Exposure, Vibrance, Hue/Saturation (master + six ranges with
draggable range sliders, colorize, before/after spectrum), Color Balance (tones, preserve
luminosity), Black & White (six weights, tint colour), Photo Filter (presets or colour,
density), Channel Mixer (outputs, constant, monochrome, total), Posterize, Threshold
(histogram), Gradient Map (stops, presets, reverse, dither). Replaces the M7 placeholder.
- Properties previews live (GPU) while a control moves and commits one setAdjustment per gesture.
- adjust_dialog: Image › Adjustments opens the same editor modally; the canvas previews the
real command on the proxy, Preview checkbox, OK = one history step, Cancel leaves the doc.
- Curves (#43): hit-test at the press origin, Delete/Backspace removes the selected point when
the graph has focus, Cmd/Ctrl-click removes, dragging off removes (and back on restores),
arrows nudge; endpoints and the last two points stay; pressing the gradient bars does nothing.
- tone: histograms per channel space, of the image below a layer or of the target layer alone.
- kittests: every adjustment layer kind edited through the Properties panel with real input at
8/16/32-bit RGB, Gray, CMYK and Lab (#12); Curves point interactions; dialog preview/OK/Cancel.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* io tests: adjustment round trip covers the new Levels/Curves/Hue-Sat/Gradient Map fields
#60's round-trip tests predate #68's doc-model additions (tone space and black channel,
Hue/Saturation ranges, Gradient Map dither); fill them with their defaults.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Once Format stopped failing first, the Linux runner reached the GPU tests
for the first time: its software adapter (GL) can't render Rgba32Float or
R32Float. The app already picks Rgba16Float there, but the effect-map
pipelines (R32Float/R16Float) still panicked. They are now built inside an
error scope; where they can't be, documents with layer effects use the CPU
compositor and everything else stays on the GPU.
The exact-parity tests skip on adapters without 32-bit float targets (the
app uses the CPU compositor there), like they already skip without an
adapter; the fallback-path tests build with try_new_with_format.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
On D3D12 without DXC, wgpu compiles HLSL with FXC, which aborted on
fs_adjust ("internal error: compilation aborted unexpectedly"). wgpu turns
that into a panic, so every GPU test failed on the Windows runner, and the
app would crash where the same path is taken. A bisect on the Windows
runner pinned it to two cases of adjust()'s switch, Exposure and Selective
Color: both looped over dynamically indexed vector components. They are
now written per channel / per range with the same math (GPU-vs-CPU parity
is unchanged and passes on Metal and on the Windows runner).
Compositor::try_new_with_format catches validation and internal errors
while building the pipelines and returns Err; the canvas then uses the CPU
compositor (once, remembered) instead of crashing.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
CI's `cargo fmt --all -- --check` has failed on every run because the
repo had no rustfmt config and was never formatted. Use the same settings
as EffectCraft/FilmCraft (max_width 160, use_small_heuristics Max), which
also keeps the churn small. Formatting only; no code changes.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Some drivers (e.g. Intel Vulkan on Linux/Windows) can't render to Rgba32Float,
so creating the 'fs_content' pipeline panicked with 'Format Rgba32Float is not
renderable' as soon as a document/image was opened. The accumulation format is
now chosen per adapter: Compositor::preferred_acc_format() keeps Rgba32Float
where it's a valid render target and falls back to Rgba16Float otherwise. The
compositor carries the format (pipelines, accumulation texture, byte size and
the readback half-decode all follow it); the app picks it from the eframe
adapter. Capable GPUs are unchanged (parity still exact, 18/18). A new test
forces the Rgba16Float path on any GPU and confirms it renders within display
tolerance (blend + adjustment). wasm green.
Co-authored-by: Claude Opus 4.8 <noreply@anthropic.com>
Gradients/Patterns/Styles/Shapes/Tool Presets/Clone Source panels with
headless preset commands and a Custom Shape tool; Color card tabs match
Essentials. Character and Paragraph Styles (doc model, .pcraft, PSD style
sheets), Glyphs panel + type.insertText, Check Spelling (SCOWL-50 list).
Checkpoint also includes compiling in-progress work of the remaining agents.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
