Shape and text layers have comp-sized effect bounds centred on their
origin, but effects measured positions from the origin: a point at its
default "layer centre" sat at the comp's bottom-right corner, so Twirl
on a centred shape changed nothing and Bulge only its bottom-right
quarter. As in After Effects, effects now work in effect space,
measured from the top-left of the layer's effect bounds.
The renderer moves the layer buffer into effect space for the whole
stack (Buf::rebase, CPU and GPU alike) and hands effects everything
else in it: masks, other layers' pixels for layer parameters (each in
its own effect space, so Set Matte and displacement maps see a whole
shape layer), the layer's own frames (layer_input, also what Puppet,
Roto Brush and the Layer panel read) and the comp camera
(CompScene::rebased). Layer bounds are now right for every effect, so
pin_rect and EffectEnv::bounds_origin go and layer_rect serves edge
pinning too. Adjustment layers still run on the comp below as it is.
effect_bounds / EvalCtx::effect_to_comp replace the repeated "comp size
when there is no source" code; the viewer's effect point handles and
eyedroppers, Puppet pins, the Layer panel (paint, Roto Brush) and the
tracker's Corner Pin output use them.
Project schema 2: opening a schema 1 project moves positions held by
effects on shape and text layers by half the comp size, so set points
keep their place (point parameters with keyframes, Paint paths and
clone positions, Puppet seeds and pins, Liquify and Roto Brush
strokes). Points still at their default become the layer centre;
expression controls, adjustment layers and expressions are left as
they are (docs/architecture.md). The disk cache's render version is
bumped.
Tests: default_effect_points_sit_at_the_centre_of_a_shape_layer and
layer_parameters_see_a_whole_shape_layer (render, both fail before),
effect_points_on_a_shape_layer (GPU vs CPU),
opening_a_schema_1_project_moves_shape_layer_effect_points_into_effect_space
(engine), and the effects migration tests.
Part of #227
Co-Authored-By: Claude Opus 5.5 <[email protected]>
get_project / render.backend reported "gpuAcceleration": true with
"active": "cpu" and no reason, which read as a broken GPU. The
headless MCP server only attaches the GPU compositor when started with
--gpu, which docs/agents.md didn't mention, and a failed --gpu said
only "no usable GPU adapter" (the adapter's error went to a log no
one sees). The session now keeps the host's reason there is no GPU
compositor (accel_note): the CLI's "headless: renders on the CPU
unless started with --gpu", or the desktop app's compositor setup or
retirement error. The status reports it as `why` whenever it renders
on the CPU (or that the project's renderer is Software Only). --gpu
failures include the adapter's error (Gpu::try_headless).
docs/agents.md documents `mcp --gpu`.
Test: render_backend_says_why_it_renders_on_the_cpu (engine).
Checked with effectcraft-cli mcp and mcp --gpu.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A dockable panel (our own design) for the keys.easePreset commands. A
value graph shows the working curve with its two handles, which drag
to edit it; Apply eases the selected keyframes with it and From Keys
loads the curve between the first selected pair. Every preset is a
thumbnail drawn in code; a click loads it and applies it to the
selected keys. Save Current keeps the working curve under the name in
the field, and Rename and Delete act on the selected user preset.
Wide panels put the presets beside the graph; narrow ones below it,
the graph shrinking to leave a row of presets, scrolled with the wheel.
The panel state (working curve, selection, name) is serde in the UI
state, and every control registers an automation id (easePresets.*).
widgets::text_field is the search field without its magnifier.
Test: clicking_an_ease_preset_eases_the_selected_keys_and_handles_edit_the_curve
(ui_keyframes); every_panel_registers_automation_ids_for_its_widgets
covers the new panel.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
keys.easePreset.apply {preset | curve} eases every pair of neighbouring
selected keyframes of each selected property in one undo step: the out
side of the earlier key and the in side of the later one. A curve is
given as {outInfluence, outSpeed, inInfluence, inSpeed} or as handles
[x1, y1, x2, y2]. keys.easePreset.capture reads the curve between the
first selected pair; keys.easePreset.save {name, curve?} keeps it (or a
given curve), and list, rename and delete manage the user presets.
Twelve built-in curves are our own numbers (Linear, Smooth, Ease In-Out
Soft / plain / Strong, Accelerate and Decelerate with Strong variants,
Expo In-Out / Accelerate / Decelerate) and can't be renamed, deleted or
overwritten. User presets live in the config store (ease_presets.json),
loaded with the other settings. A file that isn't JSON gives no user
presets, and entries that don't parse, have no usable name or repeat a
name are skipped and logged. A failed write leaves the presets as they
were.
Test: a_preset_eases_every_selected_pair_in_one_undo_step,
a_curve_scales_to_each_dimension_and_follows_motion_paths,
apply_needs_neighbouring_keys_and_a_known_curve,
user_presets_save_rename_delete_and_persist,
a_corrupt_presets_file_loads_what_it_can (effectcraft-engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
An EaseCurve is the temporal ease of one segment independent of its
duration and values: the out side of the first key and the in side of
the second, as influence (%) and speed relative to the segment's
average speed (1 = linear, 0 = at rest). Its handles in the normalised
value graph are cubic-bezier points. apply() eases a pair of keys per
dimension, along the motion path for spatial values and as overall
progress for paths and gradients, the way Easy Ease shapes them; an
Auto Bezier key keeps its other side as it plays. measure() reads the
curve a segment plays back. Non-finite numbers are rejected and
influences and speeds clamped.
Test: handles_round_trip_and_reject_non_finite_numbers,
applied_curve_scales_to_each_dimension_and_measures_back,
spatial_curve_follows_the_motion_path,
linear_and_auto_bezier_sides_measure_as_they_play (effectcraft-keyframe).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Scaling a layer by a bounding-box handle didn't snap, so it couldn't
be scaled exactly to the comp. With snapping on (Cmd/Ctrl toggles it
during the drag), the dragged handle now snaps like a dragged layer's
feature: to the comp's edges, corners and centre and to other layers'
edges, corners, centres and anchor points, as the Snapping options
allow. A corner snaps both axes, an edge its own axis; with Shift the
corner slides along its line from the anchor point to the nearer
snapped edge, so the proportions stay and the layer lands on, say, the
comp's size.
Test: handle_drags_snap_to_the_comp_edges.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Shift-dragging the work area's begin or end handle now snaps it to the
current-time indicator, keyframes, layer in and out points and markers
within 8 px, with the snap candidates the CTI and keyframe drags use.
The work area bar itself drags too, as in After Effects: it moves the
work area and keeps its length, and with Shift the nearer end snaps.
Test: shift_dragging_the_work_area_snaps_to_the_current_time.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dragging a layer already snapped its feature nearest the pointer to
other layers' edges, corners, centres, anchor points and path points
and to the comp's edges and centre, and Cmd/Ctrl held during the drag
already turned snapping on or off against the checkbox. What was
missing were After Effects' Snapping options beside the Tools bar's
checkbox. The new menu turns Snap Edges Extended off (a layer's edges
then snap only along the layer, not across the comp) and each feature
family (edges, corners, centres, anchor points, mask and shape path
points) on or off, for the dragged layer's snap features and for the
targets alike. Agents set them with view.snappingOptions.
Layers whose eye is off (or that a solo hides) are no longer snap
targets, mask and shape path points of the dragged layer snap too, and
while snapping is on the feature that snaps is boxed during the drag.
Test: layer_drag_snaps_to_other_layers_edges_ctrl_toggles_and_options_apply
(UI), snapping_options_pick_the_targets and
snapping_options_command_sets_and_toggles (engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Clicking (or marquee-selecting) keyframes in the Timeline selected only
the keys. Their property and layer stayed unselected, so the Graph
Editor, which shows the selected properties or else the animated
properties of the selected layers, came up empty until the property
was selected separately. As in After Effects, the Timeline's key
selection now selects the keys' properties and layers too (Shift adds
to them). keys.select takes this as `selectProperties`; the Graph
Editor's own key clicks leave what it shows alone.
Test: a_key_clicked_in_the_timeline_shows_in_the_graph_editor
(ui_keyframes).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On some older Intel integrated GPUs (UHD 600, UHD with 2020 drivers)
the graphics driver crashes EffectCraft as its window's DirectX 12 or
Vulkan device is created (exit code 0xC0000005): the process
disappears with no message, and only WGPU_BACKEND=gl helped. A driver
crash can't be caught, so each launch now leaves a marker in the
settings folder until its window draws. A launch that finds the
previous one's marker switches the new Settings ▸ Startup & Repair ▸
Window Graphics (Automatic / OpenGL) to OpenGL and says so in the
status bar. A window that fails to open says the next launch will try
OpenGL. WGPU_BACKEND still wins; macOS has no OpenGL backend, so it
never switches there.
Tests: a_launch_that_never_drew_switches_the_next_to_opengl (app),
window_graphics_is_validated (engine). Checked end to end with a
leftover marker: the app opened on OpenGL with the notice and cleared
the marker.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On OpenGL the compositor translated its compute kernels for tens of
seconds (22 s on an RTX 4090) before one failed validation and it fell
back to CPU compositing, all before the window's first frame. It now
declines GL adapters up front, as it declines adapters without compute
shaders. OpenGL is what Window Graphics falls back to for drivers that
crash with DirectX 12 or Vulkan.
Test: opengl_adapters_get_cpu_compositing_at_once (gpu tests_init;
skips without an OpenGL adapter).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On macOS 27.2 (rustc 1.98) one of the 404 pinned simulation hashes,
CC Mr. Mercury at non-default settings, 32 bpc, t = 2.2 s, came out
different. The reporter rendered every case at the commit that pinned
the hashes and at current main on that machine, and the frames were
byte-identical. So the code didn't change: the platform's libm did
(the hashes are exact f32 bits through sin, cos and powf). The test
now also accepts listed per-case libm variants, with that hash as the
first, and every other case stays exact. Its docs say how to tell a
libm difference from a code change.
Test: libm_variants_are_accepted_for_their_case_only (sim_golden; runs
on every platform).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The logger kept warnings in memory and wrote to a file only after Help
▸ Enable Logging, and it ignored RUST_LOG. An app that never opens its
window (macOS 27 on Apple Silicon, #234) therefore left no trace. Now
RUST_LOG (a level, or env_logger-style `target=level` directives)
also prints what it lets through to stderr, including eframe, winit
and wgpu. The desktop app logs its start-up milestones: opening the
window, the graphics adapter, the app created, the first frame drawn,
the window being asked to close, and the window closed.
Test: rust_log_filters_by_level_and_target (engine logging). Checked
by running the app with RUST_LOG=info and quitting it over the control
channel.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Tools bar had Fill and Stroke swatches and a Stroke Width, kept in
the interface only, so agents couldn't set them and new shapes could
only be a solid fill with a solid stroke. As in After Effects:
- With a shape layer selected and a shape tool or the Pen active, Tool
Creates Shape / Tool Creates Mask choose whether drawing adds shapes
to the layer or masks on it (Fill and Stroke hide while drawing
masks).
- Clicking the word "Fill" or "Stroke" opens Fill Options / Stroke
Options: None, Solid Color, Linear Gradient or Radial Gradient, the
blend mode and the opacity. The swatches show the kind; Alt-click
steps through the kinds.
- New shapes and Pen paths are painted with them: a Gradient Fill or
Gradient Stroke across the shape for the gradient kinds.
The options are engine state (EditorState.shape_tool) set with the new
shape.toolOptions command; shape.newShape and shape.newPath use them
unless given paint parameters (which now include fillType, fillBlend,
fillOpacity and their stroke twins; layer.newShape takes them too). A
Pen path without paint parameters now takes the Tools bar's stroke
(none by default) instead of a fixed 2 px white one. layer.addMask also
draws rounded rectangle, polygon and star masks, so every shape tool
makes a mask on a selected footage or solid layer (rounded rectangles,
polygons and stars made a new shape layer).
Test: shape_tool_options_paint_new_shapes,
masks_of_every_shape_tool_kind,
tool_creates_mask_draws_a_mask_on_the_selected_shape_layer,
fill_options_paint_the_next_shape.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edit > Duplicate (Ctrl+D) with a shape group or other shape item
selected in the Timeline duplicated the whole shape layer. As in After
Effects it now duplicates the selected items inside their group, each
copy above its original and numbered on ("Rectangle 1" gives
"Rectangle 2"), and selects the copies. With only layers selected the
layers are duplicated as before.
Test: duplicate_with_shape_items_selected_duplicates_them_in_place,
ctrl_d_duplicates_the_selected_shape_group_in_its_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edit > Copy with a shape group (or a path, fill, stroke or path
operation) selected in a shape layer's Contents copied the whole layer,
and Paste made a new layer. As in After Effects, Copy now copies the
selected items, Paste puts them into each selected shape layer's
Contents (above its selected item, in that item's group, else on top,
with names kept unique there: "Rectangle 2"), and Cut removes them, so
Cut + Paste moves them. Pasting with no shape layer selected is an
error rather than a new layer. Copying anything else clears the shape
item clipboard, as it does the other clipboards.
Test: shape_contents_copy_cut_and_paste_between_shape_layers,
ctrl_c_and_ctrl_v_copy_a_shape_group_into_another_shape_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With a shape layer selected, the Rectangle, Rounded Rectangle, Ellipse,
Polygon and Star tools made a new shape layer for every shape. After
Effects draws into the selected shape layer instead: the shape becomes a
new group on top of its Contents ("Rectangle 2", ...), placed by the
group's Transform. The new shape.newShape command does that (in the
layer's space, so a moved or scaled layer still gets the shape where it
was drawn), and makes a new shape layer only when no unlocked shape
layer is selected. The viewer's shape tools use it; masks on other
selected layers are unchanged. layer.newShape and the Pen's
shape.newPath share its layer and Contents helpers.
Test: shape_tools_draw_into_the_selected_shape_layer,
shape_tool_draws_into_the_selected_shape_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Each layer switch toggled on its own click only, so hiding or locking
many layers took a click per layer. As in After Effects, pressing a
switch in the A/V Features or Switches column now sets it at once, and
dragging up or down gives the same switch of every layer the pointer
passes the state the first one got, whatever their own state was
(rows passed in a quick drag included). The whole drag is one undo
step: layer.setSwitch takes a `merge` key like other gesture edits.
A single click still changes only that layer, so clicking the eye of
one selected layer doesn't change the others (Layer > Switches still
sets all selected layers).
Test: dragging_over_layer_switches_sets_them_all.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dragging Project items onto the Create a new Composition button at the
bottom of the Project panel did nothing. As in After Effects, the
button now takes the drop and runs File > New Comp from Selection with
the dragged items (the selection when the dragged item is in it): one
item becomes a comp of its size, frame rate and duration holding it,
and several open the New Composition from Selection dialog. The button
is outlined while items are dragged over it.
Test: project_items_dropped_on_new_comp_make_a_composition.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Right-clicking the Effect Controls panel did nothing outside an
effect's header. As in After Effects, a right-click anywhere a control
has no menu of its own (the empty area, property names, buttons such
as Reset) now opens the Effect menu: Effect Controls, Last Effect,
Remove All, Manage Effects and every effect category, applying the
chosen effect to the selected layers. It is the menu bar's own Effect
menu tree and drawing code; an effect header keeps its own menu.
Test: right_click_in_effect_controls_shows_the_effect_menu.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Spacebar started or stopped the preview on its press, so holding it to
pan the Composition panel (Space+drag already panned there) also
toggled playback. As in After Effects, plain Spacebar now runs its
shortcut when it is released, and only if no mouse button went down
while it was held and the press didn't go to a text field; key
auto-repeat toggles nothing more. Shift+Spacebar and the numpad
preview shortcuts still run on the press.
Holding Spacebar over the Timeline's ruler and time graph is the Hand
tool there too: dragging scrolls the time graph (when zoomed in, never
before the comp's start or past its end) instead of moving bars, keys
or markers.
Test: spacebar_taps_preview_and_held_spacebar_pans_the_viewer,
spacebar_drag_scrolls_the_time_graph.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The interface language was English unless Japanese was chosen in
Settings ▸ General ▸ Language. Language now has a Match System choice
(`general.language` = `system`), the new default: the operating
system's interface language where EffectCraft has a translation
(Japanese), else English, as After Effects installs in the system's
language. English and Japanese can still be chosen; a language chosen
before stays. The browser build stays in English with Match System,
since it has no Japanese font of its own.
The system language comes from sys-locale (MIT OR Apache-2.0, no
dependencies on the desktop platforms), on desktop builds only.
Tests: match_system_uses_the_system_language_where_there_is_a_catalog
(i18n), interface_language_is_validated_persisted_and_backward_compatible
(engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A press in the Composition panel always acted on the topmost layer
under the pointer, so a selected layer could not be dragged where
another layer covered it: the press selected the layer in front. As in
After Effects, a selected layer under the pointer now comes first: it
stays selected and a drag moves it. With no selected layer there the
topmost layer is picked as before, and Shift still toggles the topmost
one. The context menu's list of layers under the pointer shares the
same hit test.
Test: viewer_press_prefers_a_selected_layer_under_the_pointer
(ui_viewer).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Project panel's vertical scroll bar clamped its thumb between 16
points and the track's height. When the track was shorter than 16
points (an empty project in a 1280 x 800 browser window at device pixel
ratio 2, or any short panel), that clamp panicked on the first frame:
the browser canvas went blank and the app stopped responding. The
thumb is now at most the track's length, and both scroll bars share
the calculation.
Test: a_short_project_panel_draws (ui_project_rows).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edge pinning (Turbulent Displace's default Pin All, Wave Warp's
Pinning, Bulge's Pin All Edges) holds the layer bounds still: a
comp-sized rectangle for shape and text layers. That rectangle started
at the layer's origin, but a shape layer's content surrounds its origin
(anchor 0,0), so everything left of or above the origin counted as
outside the layer and was pinned: only the bottom-right quadrant of a
centred shape moved.
The renderer now passes the bounds' top-left in layer coordinates
(EffectEnv::bounds_origin): (-w/2, -h/2) for layers without a source
rectangle, (0, 0) otherwise. util::pin_rect places the bounds there and
the three effects use it on the CPU and the GPU. Effect point
parameters keep their current layer coordinates.
Test: edge_pinning_displaces_all_of_a_centred_shape_layer,
edge_pinning_on_a_shape_layer (GPU vs CPU).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
* About: contributors compiled in from contributors.json (grab bag + table, sortable, name toggle)
About EffectCraft now has tabs About · Contributors · Models, following the craftrules standard
(standards/contributors.md): contributors/contributors.json is generated by
craftrules/scripts/contributors.py and baked into the binary by crates/ui-egui/build.rs as static
tables. Each contributor line: @username, opt-in display/real name, PRs, commits, lines +/−/Δ,
binary assets +/−, first/last commit. Sortable by every column; alphabetical ignores case and
the leading @. Every control registers an automation id (about.tab.*, about.credits.*).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
* Contributors: self-submitted names in contributors/people.toml; AGENTS.md credit-yourself section
build.rs reads contributors/people.toml next to the generated contributors.json and shows a name only
for entries the generator verified as written by that person (craftrules standards/contributors.md).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
* Contributors: regenerate (verified people.toml entries)
Co-Authored-By: Claude Opus 5.5 <[email protected]>
---------
Co-authored-by: Claude Opus 5.5 <[email protected]>
Every pin move re-rendered the Puppet's input (source, masks and the
effects before it) at full size on the UI thread and deep-copied it
for the mesh overlay: the cache key of a layer's input hashed all of
its effects, so moving a pin of the Puppet changed the key of its own
input. The input key now covers only the effects that run before the
Puppet, and the overlay shares the cached buffer.
Test: input_keys_ignore_later_effects.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
- Selecting a mask in the Timeline (its row or Mask Path), or a shape's
Path, selects all its points, so dragging one in the viewer moves the
whole mask, as in After Effects. Delete still removes the mask, and
selecting another property deselects the points.
- Mask Feather has the chain link (Constrain Proportions, on by
default, Alt edits one value) and no longer takes negative values;
Scale's link shows as a toggle too.
- Dragging in the Project panel's empty area draws a selection box
(Shift / Cmd adds); a click there deselects.
Tests: selecting_a_mask_selects_its_points,
mask_feather_values_are_linked_and_not_negative,
dragging_in_the_empty_area_box_selects_items.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
- With a shape layer selected, the toolbar shows its Fill, Stroke and
Stroke Width (with any tool) and editing them changes the layer's
fills and strokes, as in After Effects (new shape.fillStroke, one
undo step per picker or drag). Shapes drawn without a stroke get one
when a stroke colour or width is set, so changing the stroke now works.
- Alt+Shift+P (A, S, R, T) reveals the property it keyed on each layer.
- A click in the time graph below the last layer deselects the layers
(it only deselected keyframes), so a shape tool draws a new shape
layer instead of a mask on the selected image.
Tests: toolbar_fill_and_stroke_paint_selected_shape_layers,
toolbar_stroke_edits_the_selected_shape_layer,
add_position_key_reveals_position,
clicking_below_the_layers_deselects_them.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
Trim Paths, Merge Paths, Repeater and the other path operations
existed (layer.addShapeItem) but no menu added them to a shape layer.
Like After Effects, a shape layer's Contents row now has "Add:" with
Group, Rectangle, Ellipse, Polystar, Path, Fill, Stroke, Gradient Fill,
Gradient Stroke and the path operations; with a shape group selected
they go into it. layer.addShapeItem gains the empty Path and Gradient
Stroke kinds.
A 3D text or shape layer in a Classic 3D comp now shows Geometry
Options with "Change Renderer…", which opens Composition Settings on
its 3D Renderer tab (Advanced 3D comps show the extrusion options).
Popup menus are as tall as the window allows and open upward near its
bottom: the 20-entry Add menu was cut at 420 px, hiding Trim Paths.
Tests: shape_contents_add_menu_adds_path_operations,
classic_3d_shape_layers_offer_change_renderer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
An 11000 x 2200 comp at Full resolution renders on the CPU, and the
frame went to egui as one texture over the device's 8192 px limit:
the upload failed every frame (a panic in debug builds) and the window
stopped drawing. Creating a comp that size at Full did the same.
Frames, snapshots, the channel / exposure view, other viewers, the
Layer and Footage panels and the Roto Brush overlay now go up averaged
down by the smallest whole factor that fits. The full frame stays
readable for pixel readouts.
Tests: frames_over_the_texture_limit_are_averaged_down and
full_resolution_frames_wider_than_the_texture_limit_fit (panicked
before).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
Since #103, a preview with audio stayed silent until every frame from
the playhead to the end of the preview (or what fits in the RAM
preview) was cached. The prefetch only renders a few frames ahead, so
on a normal work area the sound came near the end or on the second
loop, even when the comp rendered in real time.
The held sound now also starts once the silent preview has kept real
time for a quarter second with the prefetch window ahead cached. A
comp that can't render in real time still waits for the cache, as #103
intended; a stall clears the measured rate so the sound doesn't cut in
and out.
Test: preview_with_audio_sounds_once_rendering_keeps_up (a 30 s comp
sounds within 2 s, without skipping a frame first).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
Both visualisers read their Audio Layer's samples around the frame
time, but they weren't in TIME_DEPENDENT, so the viewer's layer cache
gave the layer one key for every frame and showed the first frame's
spectrum for the whole preview. Export doesn't use that cache, which is
why it rendered correctly.
Test: audio_spectrum_follows_time_through_the_layer_cache renders a
tone that starts at 0.5 s through a shared layer cache after t = 0 and
compares it with an uncached render (it showed the stale baseline).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
Clicking an item's Output To file name opened an inline editor on the
name template (`[compName].[fileExtension]`), so there was no way to
pick a folder from there. Choose File… in the menu beside it did open
a dialog, but the project save dialog: filtered to .ecproj and opening
wherever the OS chose.
As After Effects' Output Movie To, clicking the file name now opens a
save dialog at the current output (its folder and name) for the output
format's extension, and the chosen file becomes the output. Choose
File… opens the same dialog. Alt-click still edits the template in
place, and hosts without a save dialog (the web) keep the inline
editor. The desktop `pick_save_file` hook opens in the folder of a
default path.
Test: clicking_the_output_file_name_opens_the_save_dialog.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Save as New Workspace stored the layout and `window.workspace` could
switch to it, but the Workspace submenu was a fixed list of the
built-in workspaces, so a saved one never appeared and could not be
chosen from the menu.
The submenu now has a `savedWorkspaces` dynamic node after the
built-ins (DynCtx carries the saved names), in the in-window and native
menus, with a check mark on the current one as the built-ins have.
The in-window submenu was also too short to show it. egui lays out a
new submenu in a default 400 pt area, and the scroll area inside took
that height and kept it, so Window ▸ Workspace (514 pt) opened with its
last rows (Undocked Panels and below, where saved workspaces go)
scrolled out of view. Submenus now open at their full height and scroll
only when taller than the window.
Tests: saved_workspace_is_listed_in_the_workspace_menu (picks it from
the menu bar), saved_workspaces_are_in_the_native_workspace_menu.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
apply_output checked `channels: rgba` against the module before it
applied `webmCodec`, and choosing AV1 then quietly dropped the channels
to RGB. So `render --format webm --webm-codec av1 --channels rgba` (one
renderQueue.add) succeeded and wrote an opaque AV1 stream.
The codec options now apply before Channels, so the existing "has no
alpha channel" error (how an unsupported channels request is already
reported) refuses the combination; for WebM it names the codec: "AV1
WebM has no alpha channel (VP9 WebM has)". Choosing AV1 alone on an
RGBA VP9 item still switches it to RGB, as changing the format does.
Test: av1_webm_refuses_requested_alpha.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
apply_output switched the format whenever the Output To extension mapped
to a different format, and `.mp4` maps to H.264 only, so
renderQueue.setOutput with an .mp4 path (even the item's own default
name) turned an HEVC or AV1 module into H.264 and the render wrote an
H.264 stream.
The extension now changes the format only when the current format
doesn't write it (OutputFormat::extension): HEVC, AV1 and H.264 all write
.mp4, so they stay; `.mov` on H.264 still picks ProRes and `.mp4` on
ProRes still picks H.264.
Test: output_to_keeps_a_format_that_writes_the_extension.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Their params docs wrote the renderer as `renderer? classic3D|advanced3D`.
Without a `:`, the doc parser reads `|` as "or another key", so
`advanced3D` became an accepted key in the schemas and the unknown-key
check: `comp.new {"advanced3D": true}` succeeded and made a Classic 3D
comp.
The docs now use the value-list form the other commands use,
`renderer?: classic3D|advanced3D`. The key is removed rather than
implemented: it would only duplicate `renderer` (and could contradict
it). A scan of every command's schema found no other key that came from
a value list.
Test: renderer_values_are_not_parameter_keys (not in the schema, rejected
as unknown, `renderer` still works on both commands).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
add_effect ran effect.apply and then one prop.set per `values` entry as
separate commands: each became its own undo step, and a bad value (an
unknown parameter id) returned an error but left the effect, and any
values set before it, on the layer, so a corrected retry landed at
effects/#2.
It now runs them as one engine.batch, named like effect.apply's own undo
step ("Apply Gaussian Blur"): one undo removes the effect with its values,
and a failing step rolls the whole call back. The reply is unchanged.
Test: add_effect_is_one_undo_step_and_all_or_nothing.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
prop.setExpression keeps an expression with a syntax error but disables
it, and says why only in its own reply. MCP set_property answers with
prop.get instead, and prop.get reported `evaluated` / `expressionError`
only for enabled expressions, so set_property, get_property and prop.get
all showed the broken expression as if it were installed.
prop.get now reports a disabled expression too: `evaluated` is the
static value that renders, and `expressionError` is its syntax error.
Test: expression_syntax_errors_reach_the_reply (set_property and
get_property carry the SyntaxError; runtime errors and valid expressions
report as before).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
`effectcraft-cli script FILE` passes the file's text to script.run, which
ran a compiled .jsxbin script as JavaScript and failed with "SyntaxError:
unexpected '@'" at 1:1, while file.runScript already says .jsxbin isn't
supported.
script.run now refuses a script named `.jsxbin` or whose text starts with
the `@JSXBIN@` header, with file.runScript's message (one shared
constant). The check is in the command, so the CLI with or without
--bridge, MCP run_script and the Script Console all report it.
Tests: engine_entry_points (by header and by name), script_file_and_eval
(the CLI exits 1 with the message and no SyntaxError).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: a `DockNode::Stack` laid its panels out from fixed heights (Preview
46 pt) with the rest shared, but only split gutters were interactive, so
the right column's panels could be expanded or collapsed and never resized.
Fix: the gap below a stacked panel drags the nearest open panels above and
below it against each other, neither going below 40 pt. The new sizes are
stored as the entries' heights, so they persist in the layout like split
sizes. The last panel without a height keeps sharing the rest, and when no
panel takes the rest, or space runs short, the heights scale so the stack
fills its column. Split and stack gaps share one `gutter` helper.
Automation ids: `dock.gutter.<path>s<i>` for the gap below stacked entry i.
Test: ui_tabs `stacked_panel_gaps_resize_the_panels` (drag, persistence,
collapse/expand, minimum); dock unit tests `stacked_panels_fill_their_column`
and `dragging_a_stack_gap_trades_height_between_its_neighbours`.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: the click-to-edit fields (hot numbers and revolutions, the Timeline
time display and layer comments, Project rename/comment, the Render Queue
output path, Essential Graphics control names) opened a text edit with
egui's default caret at the end of the text, so typing appended to the old
value. The Timeline time display, layer comment and Essential Graphics name
editors also re-requested focus before checking `lost_focus()`, which hid
the loss, so Enter, Escape and clicking away never closed them.
Fix: a shared `widgets::keep_focus` keeps an open inline editor focused and
selects its whole text on the frame it opens (`widgets::select_all`, which
the layer rename now reuses). Those editors check for a lost focus first,
and Escape now cancels in the time display and the Essential Graphics
name editor.
Test: ui_angles `typing_replaces_the_clicked_value` (degrees and revolutions
in Effect Controls, Timeline and Properties, typed without Ctrl+A);
ui_inline_edit `project_rename_replaces_the_name` and
`timecode_field_replaces_commits_and_cancels`.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Conforming a footage file's audio (Settings ▸ Disk ▸ Conformed Audio
Folder, which preview playback reads) timed each 65,536-frame chunk as
`frame index × ticks per second / rate` in i64, which overflows past
36,310,516 frames: 12:36.47 at 48 kHz (25:13 at 24 kHz, hence the
workaround). Chunks after the overflow decoded at a wrapped, negative
time and came out silent, so preview audio stopped at 12:37.76 (the end
of the last chunk that started in time) in every long file.
Chunk times now come from Tick::from_units (exact, 128-bit). The
conformed files' names include a format version, so files written by
earlier builds are ignored and conformed again.
Test: conform_chunks_keep_their_times_on_long_files (every chunk start
of a 2-hour file at 24–96 kHz); it failed before (multiply overflow).
Checked end to end: a 13-minute file's conformed audio has sound at 760 s
and 790 s.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A frame whose last byte happened to match the superframe marker pattern
(0b110xxxxx, Annex B) was taken by decoders for a superframe with an
index at its end: ffmpeg rejected it ("Invalid le value at
frame_sizes[i]"), libvpx reported a corrupt frame, and later frames lost
their reference. In the reported WebM, 3 of 60 frames (10, 22, 24) ended
in 0xc8, 0xc0 and 0xca. The render still reported success.
Such frames now get a zero byte after the last tile; the last tile's
bool-coded data may end in zero padding (9.2.3).
Test: frames_never_end_in_a_superframe_marker encodes sequences until a
frame needs the padding, checks no frame ends in a marker byte, and that
the padded frames decode exactly with FilmCraft's decoder and with
ffmpeg (clean error log). It failed before ("96x64 q40 frame 22 ends in
0xde"). The ffmpeg IVF oracle is shared with the existing inter test.
Checked with the reporter's steps: 60/60 frames, no errors from ffmpeg's
vp9 or libvpx, RGB and RGB + Alpha.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Project panel (like other panels) runs comp.open while it draws, so the
new comp became the active comp mid-frame. Later in the same frame the
active, locked viewer drew and recorded the active comp as its own. On the
next frame on_open_comp compared that record with the opened comp, found
them equal and skipped the lock, so the locked viewer switched comps.
The active viewer no longer records its comp while an OpenComp event is
pending (it asks for a repaint instead); on_open_comp then sees the comp
the locked viewer really shows and routes the new one to an unlocked or
new viewer.
The viewers test's click helper now releases a frame after the press, as
a hand does: a press in a tab strip focuses the shown panel first, and a
same-frame press and release refocused it after the tab's own click.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
