Footage paths stored in a project are resolved through craft-docpath against
the project file when it is opened or imported: relative paths are taken from
the project's folder, and an item whose path is on another computer, names a
device or is a non-file URL is marked missing without being looked at. The
footage check, the changed-on-disk scan, Reload Footage, Relink, Edit Original
and Reveal in Finder resolve the path again before touching the file, and the
Project panel, Metadata panel and waveforms read no file details of missing
footage.
Lottie image assets are resolved against the Lottie file; one on another
computer is skipped with a warning. Files a 3D model names are read only when
local or on the model's own share.
Reveal in Finder refuses a folder that would open as an app or other bundle.
Files imported or relinked in this session are opened as given.
The PDF / Illustrator import dialog now offers Composition - Retain Layer
Sizes. Each file layer's footage is cropped to its artwork bounds (fills,
stroke outlines, images, clips) and positioned to keep its place on the
page. Decoding, continuous rasterisation, shape conversion and reload share
one crop (effectcraft_pdf::layer_doc_with_sizes), so they agree.
Also collapses a match guard in the STL reader for current stable clippy.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Phones and messaging apps store frame times rounded to whole milliseconds
(33/34 ms at 30 fps, 16/17 ms at 60 fps). FilmCraft's reader takes the
median duration, so such clips imported at 30.303 or 58.824 fps, and New
Comp from Selection and renders followed that rate. When the median is no
standard rate, the durations near it are averaged and snapped to the
standard rate within 0.5 %; exact and variable rates keep the reader's
estimate.
- Footage sources: the cancellable wrapper (#784) forwards frame_with (#752 float curves)
and problem (#887); problem's default lives on the trait.
- Media: a called-off decode (#784) is not a footage problem (#887).
- Effect Controls rename (#953): Escape cancels (egui drops focus on Escape the same
frame), the Rename item is translated; regression test.
- i18n (#873): drop the /out-i18n/ ignore rule and the note about an uncommitted script.
- Tests: text range selector caps (#926) re-borrow the layer; the RAM preview test (#793)
sets the comp's own Resolution (#462).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#755 decoded stills of an extension-decided format with load_from_memory_with_format,
bypassing #827's oriented decode: load_oriented now takes the format.
The DPX ffmpeg oracle test expected the bare codec name; ffmpeg builds that write
the transfer characteristic make it "DPX 8-bit RGB, linear".
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Opening movies in place (#796) skipped the whole-file bytes #827 read the
track matrix from, so the pool and the probe lost the turn for movies on
disk. stream::movie_header reads just the ftyp and moov boxes (bounded,
positional reads) and both in-place paths derive the orientation from it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: footage audio kept only its first two channels, so the centre, LFE and surrounds of a 5.1 file were dropped. AAC 5.1 was worse: FilmCraft's AAC-LC decoder delivers AAC's own order (C L R Ls Rs LFE), so the left output was the centre and front-right was lost.
Fix: crates/media/src/downmix.rs holds one ITU-R BS.775 stereo downmix (centre and surrounds at -3 dB, LFE left out, fixed normalisation by the largest row sum so full scale cannot clip), with channel orders for 3 to 8 channels in WAVE/SMPTE order and AAC's native order, and only the front pair for more than 8. MediaPool::read_stereo applies it, which preview, waveform and export mixdown all read through. Mono and stereo are unchanged.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Problem: a movie whose profile the software decoders lack (H.264 High 4:2:2 / 10-bit)
probes fine, then every frame read fails; MediaPool logged the error per frame and returned
None, so the layer rendered black with no sign why in the viewer, Project panel or for agents.
Fix: MediaPool records the reason once per file (codec from the probe plus the decoder's text
without error wrappers; I/O errors stay with missing-footage handling), logs it once, and
exposes it through the new FootageSource::problem. The Composition viewer shows it on the
affected layer, the Project panel marks the item with a warning whose tooltip is the reason,
and project.summary / footage.info carry a "problem" field. Cleared when the file is
forgotten; only set when decoding really failed, so a hardware decoder that handles the file
shows nothing.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
A movie shot with a phone held upright stores sideways frames and says so
in its video track header; it imported lying on its side. Probing now
reports the turned size, and decoded frames (full and reduced size) are
turned to match. Only the rotation is used, snapped to a quarter turn;
mirroring, scaling and offsets in the header are ignored.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A photo taken with the camera held sideways (or a mirrored scan) imported
as stored, lying on its side. Probing now reports the size the picture is
seen at, and the still and smart-object decodes apply the rotation or
mirroring to the pixels. A missing or invalid tag decodes as stored.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: probe() and MediaPool's movie sources called std::fs::read and then
filmcraft_codecs::open_bytes, so a clip cost its full size in memory, twice
while probing (a 245 MiB MP4 peaked at 494 MiB just to import).
Fix: container footage on disk is opened through a positional-read
ByteReader (stream::FileReader) and FilmCraft's reader openers
(filmcraft_media::reader::open_reader; MP4/MOV, Matroska/WebM, MXF, Ogg,
MPEG-PS/TS), which read the index and then single samples. Probing takes this
path only when nothing probed before containers (still/model extensions,
PSD/SVG/PDF, image magic) claims the file; everything else, whole-file audio
formats, in-memory files (add_bytes) and wasm32 builds keep the byte path.
Regression test: probing and decoding a frame and audio of a movie with a
256 MiB tail grows peak RSS by <64 MiB (512 MiB before), same results.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: scrubbing a long movie showed the frame under the pointer
seconds after the pointer stopped. Every viewer frame a free frame-pool
thread had started kept running: each seeked the movie's one decoder and
decoded up to a GOP, and the newest frame waited behind all of them on
the decoder's lock (45 min 1080p H.264/HEVC, GOP 250: 1.8-3.6 s for the
last frame of a drag; a single jump is 0.1-0.4 s). FilmCraft's decoder
already polls a cancellation flag, but nothing set one.
Fix: FootageSource::cancellable / called_off and CancellableFootage (a
per-render view whose frame reads run under the render's own flag, so
reads on other threads answer to the right render). MediaPool runs them
under filmcraft_media::cancel::with_cancel. The frame workers render
through it, and a newer viewer frame calls off the comp's running viewer
frames of other times. A called-off render is not cached (frames, disk,
layer cache). Drag latency is now 0.1-0.3 s.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser lists .mxf files, but File > Import's dialog
filtered them out and media::is_importable refused them, although the
pinned FilmCraft codecs behind crates/media already demux MXF (AVC,
MPEG-2 / XDCAM / D-10, VC-3 / DNxHD, ProRes, PCM audio) by content.
Fix: add "mxf" to VIDEO_EXTENSIONS and to the File > Import and Set
Proxy dialog filters. Tests check MPEG-2 4:2:2 long-GOP + 24-bit PCM and
DNxHD 36 MXF against ffmpeg frames (>35 dB, measured 64-67 dB), audio
level, and that the Import dialog offers MXF. AVI stays open: FilmCraft
has no AVI demuxer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: an animated WebP (e.g. ffmpeg -c:v libwebp_anim) imported as a
still and showed only its first frame; probe_bytes handed every WebP to
the still path. Found while measuring #719.
Fix: a webp_anim module, following the animated GIF path. Probing reads
the RIFF chunk headers (VP8X animation and alpha flags, one ANMF per
frame) and describes a WebP with two or more frames as Video footage
(codec "WebP", alpha Straight or Ignore from VP8X). Frame delays give the
rate: delays within 1 ms of each other read as the standard rate they
round to (24, 25, 29.97...), else 1000 / gcd of the delays so uneven
timing is exact; delays of 10 ms or less count as 100 ms as in browsers.
Frames are decoded once with the image crate's WebP AnimationDecoder and
cached in the pool's existing GIF slot; gif_anim::Anim now keeps frame
starts as Ticks and serves both formats. Canvas x frames beyond the
existing memory cap is refused before decoding; a damaged tail keeps the
frames before it; a file without frames is a clear decode error. Still
WebP stays a still.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser listed .dpx files and After Effects imports
DPX and Cineon scans (stills and numbered sequences), but import
refused them: nothing could decode either format, and .cin was not even
an image to the browser, so its runs never grouped into sequences.
Fix: a small pure-Rust reader written from the public SMPTE 268M and
Kodak Cineon specifications (crates/media/src/dpx.rs): luma, RGB, RGBA
and ABGR at 8/10/12/16 bits, 10-bit filled method A/B, 12-bit in 16-bit
words, both byte orders, lines padded to 32-bit words, unrotated
orientations and the pixel aspect ratio; the codec names the transfer
(log, linear, ...) and code values are shown as stored. RLE, signed,
float, Y'CbCr, packed 10/12-bit and transposed files are refused with a
clear error; every header field is bounds-checked and the data length
verified before allocating. Probe and frame decode use it first;
is_importable, the Media Browser kinds and the import dialog list
.dpx/.cin.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: with no working space and Working Gamma 2.4, a linear EXR still
converted with the sRGB curve (0.18 -> 0.4627, After Effects 0.4902):
float footage was sRGB-encoded at decode, before the render knew the
project's curve. Interpret As Linear Light on float footage then encoded
a second time (0.18 -> 0.7255).
Fix: FootageSource::frame_with asks for float footage with a FloatCurve
(sRGB, a pure 2.4 power curve, or as stored). The renderer asks for the
Working Gamma's curve when unmanaged, sRGB when managed, and the stored
values when Interpret As Linear Light encodes them afterwards.
MediaPool decodes float values that way (Preserve RGB still reads them
as stored) and caches each curve apart.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: the Media Browser lists .tga and .hdr files (and groups them into
image sequences), but media::is_importable had neither extension and the
still decoder never tried them, so importing them failed.
Fix: enable the image crate's built-in tga and hdr decoders (no new
dependency), add both to STILL_EXTENSIONS and the File > Import dialog, and
pick a still's format by signature with an extension fallback, since Targa
has no signature. Radiance HDR is linear float light and is sRGB-encoded like
OpenEXR (super-white kept); Targa alpha goes through the existing
unlabeled-alpha interpretation.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: `read_exr_channels` kept the exr crate's whole decoded image alive
while it built every f32 plane, and copied each channel through an extra
`Vec` (`values_as_f32().collect()`) before placing it. One decode of a
2560x1440 Blender file with 32 channels briefly held ~320 MB of samples next
to ~470 MB of planes, per concurrently decoded frame.
Fix: consume the decoded image channel by channel, so each channel's samples
are freed (or moved) as its plane is made. A channel that covers exactly the
display window is converted in one pass, and an f32 one (Cryptomatte ranks)
becomes its plane without a copy; other channels are placed into the display
window with bounds-checked indexing, as before. Keeping half channels as f16
and sizing the channel cache by bytes stay open.
Test: a full-window f32 channel's plane is the same allocation; f16 / u32
channels and offset or clipped data windows are placed as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26 imports FBX models into Advanced 3D comps; File > Import rejected
.fbx, so FBX product shots and scenes could not be used.
Fix: a clean-room FBX 7.x reader in effectcraft-model (binary node records with 32/64-bit
offsets and zlib arrays, ASCII syntax) and a scene builder: meshes with normals, UVs and
per-polygon materials, the Model hierarchy with the SDK transform (pivots, offsets, pre/post
rotation, rotation order, geometric transform), Lambert/Phong materials onto
metallic-roughness with embedded or relative textures, and GlobalSettings axes turned to
Y-up. Wired into import, probing, the media browser and the file dialog. Hostile input
(truncation, corruption, huge arrays, deep nesting) fails with an error.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: After Effects 26 imports STL models besides glTF and OBJ; we
refused .stl files, and the Media Browser and import dialog did not list
them as models.
Fix: a pure-Rust STL reader in effectcraft-model (binary and ASCII,
detected from the contents; several ASCII solids and polygon loops;
VisCAM/SolidView and Materialise Magics facet colours as plain
materials; Z-up turned to the model's Y-up; faceted normals from the
winding). Truncated, empty or non-finite input is an error, never a
crash. .stl is now a model extension for import, probing, the Media
Browser, the import dialog and the system report.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Release prep: bump to 0.8.0 and add a Linux riscv64 release build
- release.yml: new `linux-riscv64` job, ported from GridCraft. It cross-compiles on
ubuntu-24.04 against riscv64 libraries from ports.ubuntu.com (the Linux job's X11/Wayland/GL
-dev packages plus ALSA), ships effectcraft-<v>-linux-riscv64.tar.gz, and smoke-tests
effectcraft-cli under qemu-riscv64. The draft-release job now needs it, so its tarball is
uploaded and covered by SHA256SUMS.txt.
- packaging/linux/package.sh: cross-compiles when CROSS_ARCH/CROSS_TARGET/CROSS_COMPILE are set
(cargo --target, the cross strip, the EMULATOR smoke test), as GridCraft's does.
- Version 0.7.0 -> 0.8.0 (cargo xtask version set), Cargo.lock refreshed.
- README and docs/releasing.md list the riscv64 tarball.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Fix FreeBSD CI: pointer_wrap test harness, wasm32 target, clippy as_chunks
- pointer_wrap tests: the harnesses dropped run_ui's FullOutput with the font atlas upload still
in textures_delta, and epaint 0.36's drop check panics on that in debug builds. Every
pointer_wrap test failed on every platform; FreeBSD is the only CI that runs them. Clear the
delta, as the other UI tests do.
- freebsd.yml: install wasm32-unknown-unknown in the VM. Without it the host plug-in test's build
of examples/plugins/posterize-bands failed (E0463, no std) and the test skipped silently; now
it builds and runs.
- media/convert.rs: chunks_exact(2) -> as_chunks::<2>() (clippy chunks_exact_to_as_chunks,
new in Rust 1.99); same pairs, same dropped remainder.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A multi-layer OpenEXR file without an unnamed RGB layer (Blender's compositor File Output)
was decoded twice per frame: `layered_image` decoded every channel to find the picture,
then `MediaPool::aux` decoded the same bytes again into the aux-channel cache for
EXtractoR and Cryptomatte. The first EXtractoR layer doubled the frame time.
The footage path now reads the picture from the aux-channel cache (`cached_layered_image`),
so the decode it makes is the one EXtractoR and Cryptomatte reuse. (Step 1 of the issue;
reading only the picture's channels and keeping half channels as f16 are still to do.)
Test: after a frame of a layered file is decoded, its aux channels come from the cache
without reading the file again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The exr crate reads HTJ2K (OpenEXR 3.4's High-Throughput JPEG 2000) headers
but can't decompress the pixels, and the image paths turned that into a
misleading "no non-deep rgb channels" (multi-layer files) or imported the
file and showed a transparent frame (single-layer files).
`exr_channels::unsupported_compression` reads the headers; import (probe)
and frame decoding fail with "<file>: OpenEXR HTJ2K compression isn't
supported yet: re-save the file with ZIP, PIZ or DWAA compression".
Decoding HTJ2K itself needs a pure-Rust JPEG 2000 Part 15 decoder and is
left for later.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With the Conformed Audio folder on (the default), the conform thread wrote
whatever `decode_audio` returned, and that returned silence when the source
couldn't be opened or a read failed. The conformed file is found by the
source's path, size and date, so one failed decode (an MP3 the decoder
stumbled on once) kept the footage silent in previews and exports in every
later session, while a renamed copy played.
The conform path now decodes with `try_decode_audio`, which fails instead of
returning silence; a failed conform removes its temporary file, writes
nothing and isn't retried this session (reads go to the decoder). Playback
reads still fall back to silence. CONFORM_VERSION goes to 3 so the silent
files earlier builds wrote are ignored and conformed again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
- file.relinkFootage (#461): close the params doc so checked execution
(MCP, control channel) rejects unknown keys; translate its menu entry.
- general.language lists Português (Brasil) (#217).
- docs/agents.md: set_property / add_keyframe take timeBase (#522).
- #299's MCP test no longer sends get_property a value.
- The Automatically Reload Footage sequence test uses PNG frames.
- h264_frames_at_reduced_sizes (#507): the bar depends on the fixture's
encoder; 50 dB with ffmpeg 6.1's x264.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Image sequences are watched only with All Footage (the default,
Non-Sequence Footage, leaves them alone). Purge also forgets the viewer's
per-revision disk keys, which hash footage files' size and time, so a
file reloaded without a new revision is keyed again.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Reload Footage (Cmd+Alt+L) updated an item's metadata but left the media
pool's decoded frames and the layer cache in place, so the old image kept
rendering until Edit > Purge. It also replaced the footage with a probe of
the merged document, so a Photoshop layer item lost its layer and its
Retain Layer Sizes bounds.
Reload now re-reads only what the file decides (size, a movie's duration,
streams and frame rate, codec, a data file's text), keeps the layer or
page and the interpretation, finds a Photoshop layer again by name, and
makes the media layer forget the file (FootageSource::forget, which also
drops the EXR aux-channel cache) and clears the layer cache.
Settings > Import > Reload Footage Changed on Disk (on by default): the
desktop app stamps footage files (size + modification time) on a worker
thread every two seconds and when the window comes back to the front, and
reloads what changed. Not an undo step and it doesn't modify the project;
a file still being written is retried on the next check.
footage.reloadChanged runs one check (CLI, MCP, agents).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
