Ported onto the current language plumbing next to Spanish (catalog codes,
Match System for pt-* locales, native menu Services label, docs, tests);
the language list and settings validation stay the shared LANGUAGES table.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Ported onto the current language plumbing next to Ukrainian (catalog
codes, Match System, native menu Services label, docs, tests), and the
stale Ease Presets row (a ScriptUI panel since #404) dropped.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A footage file the automatic reload couldn't read (still being written, or
one the importer doesn't read) kept its old stamp, so every two-second look
saw it as changed and probed it again. It now keeps its new stamp and is
tried again once it changes again (when the other app finishes writing it).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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 <[email protected]>
Cause: at Half, Third and Quarter resolution (the viewer's Auto resolution
in most windows) every movie frame was converted from Y'CbCr to f32 RGBA at
full size and then resampled down. In the browser (wasm, one thread) that
was about 8 ms converting a 1080p frame, 6 ms resampling it and 2 ms
zeroing a 33 MB buffer, per layer and frame, for a frame shown at a
quarter or a ninth of its pixels; the footage frame cache held the
full-size frames.
Fix: FootageSource::frame_at_size asks for a frame shown at a given size
(default: the full frame, as before). The renderer asks for it where it
resampled footage (below 3/4 scale; not for proxies, fields or Interpret
Footage's pixel options, which need the full frame). MediaPool makes opaque
4:2:0 movie frames of the footage's own size there: it box-filters them to
half size in Y'CbCr before converting (each 2x2 block of luma, and the
[1 6 1]/8 neighbourhood of its chroma sample, which is the mean of the
upsampled chroma its pixels get), resamples the rest of the way and caches
the result per size. Conversion is linear until colours clip, so this is
the RGB box filter resample starts with, except in blocks where some
colours clip. Other frames convert at full size and resample as before.
In the browser the conversion and resampling take about 4 ms instead of
16. Docs (architecture).
Tests:
- convert::scaled_conversion_matches_resampling_the_converted_frame: half,
third, quarter and odd sizes of an unclipped 4:2:0 frame are within 1e-5
of resampling the converted frame; larger sizes, odd frame sizes and
4:4:4 convert at full size.
- tests_footage_size::reduced_renders_take_footage_resampled_by_the_source:
a source that resamples frames itself renders the same frames as one
that doesn't, at 8 and 32 bpc and every resolution, and is asked only
below 3/4 scale, and not with Invert Alpha.
- footage::h264_frames_at_reduced_sizes (ffmpeg fixture): 1080p H.264
testsrc2 frames, whose saturated colours clip, at 960x540, 640x360,
480x270 and 323x182 are 58-62 dB from the resampled full frames, and
are cached per size.
- convert's ignored 1080p bench also times the conversion at a third.
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
Cause: the browser build kept the desktop's cache budgets (1 GB layer
cache, 1 GB footage frame cache) inside the page's memory, which wasm32
caps at 4 GiB. FilmCraft's decoders keep up to 384 MB of decoded frames
per open movie beside them, so a comp of eight stacked 1080p H.264 clips
grew the page by about 55 MB/s while playing and ran it out of memory
after about 50 s ("unreachable": a failed allocation).
Fix: in the browser Prefs::cache_budgets keeps the Layer Cache within
512 MB and the Footage Frame Cache within 256 MB (WEB_LAYER_CACHE,
WEB_MEDIA_CACHE); smaller settings and the desktop are unchanged, and
the RAM preview keeps its budget. Docs (web, preferences) say so.
Tests: tests_m145::web_cache_budgets_leave_room_for_the_decoders: with
4 GB settings the web budgets are the caps, the desktop's are the
settings, and smaller settings stay as they are.
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
Translate the 396 current panel catalog rows and route Ukrainian Reveal
labels for Finder, Explorer and File Manager. Enforce catalog parity,
placeholder preservation and platform label coverage; update language docs.
Use a fixed-size OCIO row iterator to satisfy the current Clippy gate.
Co-authored-by: Codex <[email protected]>
ui.rs gets a Japanese table with the same 396 rows as the Simplified and
Traditional Chinese ones, so Japanese now translates the interface below
the menu bar too (it covered the menus only). The shape test keeps the
three tables listing the same source strings; a new test checks that
Japanese reads its own rows and fills values in order. The existing
"no rows yet" check uses Ukrainian instead.
ROADMAP.md and docs/preferences.md say which catalogs have panel rows.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
What: the Composition panel's Resolution (Auto, Full, Half, Third, Quarter, Custom) is now a
property of the composition (`Comp::resolution`, moved with its `Resolution` type from the UI
into the project crate) instead of one global viewer setting. Switching to another comp shows
that comp's resolution, switching back shows the first one's again, and saving and reopening the
project keeps them. `view.res.full|half|third|quarter|custom` and the new engine command
`view.res.auto` set it (headless too, with an optional `comp`); `ui.set {viewer: {res}}` sets
the active comp's and `ui.inspect` still reports `ui.viewer.res`; `comp.info` reports
`resolution` and `resolutionFactor`; View ▸ Resolution's check marks come from the engine.
Why: After Effects saves each composition's Resolution with the project (CompItem.resolutionFactor
is a per-comp attribute). As there, changing it marks the project modified but adds no undo step:
undo, redo and History jumps carry the current values over to the restored state. It is not part
of the comp's pixels (`Comp::same_pixels` ignores it and `Comp::pixel_form` normalises it), so
changing it keeps the comp's RAM and disk cache keys. Auto is not written (serde default and
skip_serializing_if), so projects saved before open with Auto and older versions read new files.
The magnification is not saved per comp: Adobe's documentation doesn't say it is.
Tests: project `comp_resolution_is_saved_and_old_projects_load_with_auto`,
`resolution_factors_and_scales`; engine
`each_comp_keeps_its_resolution_outside_the_undo_history_and_in_the_file` (switching comps,
no undo step, undo/redo keep it, save/open round trip, menu check marks, Custom dialog);
ui-egui `each_comp_keeps_its_viewer_resolution` (the viewer popup on comp A, comp B through
`ui.set`, back to A, unchanged frame cache identity, save/open). They don't build before the
change (no `Comp::resolution`, no `view.res.auto` engine command).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A same-named file is used only when kind, size, codec, and for moving pictures the rate and duration agree. Symlinks are not followed, and duplicate names are left alone.
Cause: CC Particle World projected its particles through a fixed camera
(distance 2 layer widths, looking at the layer centre) and never asked the
host for the comp camera, so moving or orbiting a camera layer left the
particles flat on the layer. It also had no Extras > Effect Camera. Separately,
the layer cache key ignored the comp camera and lights, so the effects that
read them (Card Dance / Shatter / Card Wipe Comp Camera, First Comp Light,
Caustics) kept a stale frame when the camera, a light or the layer moved.
Fix: as the Cycore manual describes, Particle World sees its particles through
the comp's active camera layer when there is one (EffectHost::comp_scene now
says whether its camera is a camera layer's, CompScene::camera_layer), through
card3d's comp-camera projection (factored out of Card Dance as comp_proj, with
Proj::view for depth, size scale and screen velocity). Otherwise it uses the
new Extras > Effect Camera: Distance (2), Rotation X / Y / Z (0) and FOV (50)
orbit the world origin; FOV moves the camera so the origin's plane keeps the
scale Distance gives it, so the defaults reproduce the old fixed camera bit for
bit (golden hashes unchanged) and old projects render as before. The Effect
Camera is left out of the simulation cache key, so animating it doesn't
restart the simulation. The plan is shared, so the GPU compositor follows too.
The layer cache folds the comp scene into the key of layers running an effect
in effects::READS_COMP_SCENE (render::comp_scene is shared with the host).
Tests: sim particle_world_follows_the_comp_camera (panning a camera layer moves
the particles, zooming spreads them, the Effect Camera is ignored then, the
default view keeps the Effect Camera, cameras facing away / zero / NaN draw
nothing) and particle_world_effect_camera (missing params = defaults, rotation,
distance and FOV change the view, extremes stay finite, the sim key ignores the
camera); render particle_world_follows_the_comp_camera (a real camera layer
panned 40 px moves the particles left, and the cached render after the move
equals an uncached one: it failed with the old cache key); gpu
particle_world_through_the_comp_camera (CPU vs GPU at 8 / 32 bpc, full and
half resolution). particle_golden / sim_golden unchanged. effects.md
regenerated; parity.md and gaps.md describe the fix.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Add a Spanish catalog for the menus (618 entries), the computed titles and the macOS Services label, and list Español in the Language preference. Match System now maps es, es-ES, es_MX and es-419 to it. Add llopjulen to contributors/people.toml.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01HcDWLRR3UfieXAyFa9cq4p
What: each property row that can take an expression (it has a stopwatch) now
has a property pick whip in the Parent & Link column, as in After Effects
CC 2018 and later (automation id `timeline.prop.<uid>.propertyPickWhip`).
Dragged onto another property's name or one of its values, it runs
`prop.pickWhip`: the reference is added as the property's expression, or
replaces the one it has, and the expression is enabled. A drop on one value
picks that dimension (`position[1]`).
The parent, expression and property pick whips share one widget and one
drop path (rubber band, autoscroll, dimension pick); only the expression
pick whip inserts at the cursor of an expression being edited.
Pick whips (expression and property) now also drop on properties in
Effect Controls: its property rows register as targets while a pick whip
is dragged, with their per-dimension value fields.
Why: the last part of #363. Adobe's docs say the Property Link pick whip
adds the expression without enabling expressions first, and a pick whip
outside an edit replaces the whole expression text. No modifier keys for
the property pick whip are documented, so none are implemented.
Tests: `the_property_pick_whip_links_a_property_to_another` (ui_inline_edit)
drops it on a property's name, on one of Position's values, on a property
with a disabled expression (replaced and enabled), on an Effect Controls
slider and one value of a point, and on itself (no change). It fails
before the change; with Effect Controls' targets removed it fails at the
slider. Looked at the result with the headless snapshot.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Follow-ups from the #365 review:
- serve() no longer hangs when a reply cannot be written: the stdin reader thread is
detached instead of scoped, so a failed write returns at once rather than waiting for a
read that only ends at EOF. serve() now takes a 'static reader (serve_stdio is unchanged).
- A test pins down requests during a render: a second render is refused however it is
started (blocking, wait: false, inside a batch), and edits apply to the project while the
job keeps rendering its snapshot.
- docs/mcp.md: isError is true for any JSON result with failed > 0; what requests mean
mid-render; wait: false renders are polled with renderQueue.list.
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
Cause: the config reader didn't know ColorSpaceTransform or
ExponentWithLinearTransform and passed colours through them silently.
Blender's Linear Rec.709 -> sRGB therefore stayed in its E-white XYZ
reference space (the blue cast) without the sRGB curve. Display
colorspaces, view transforms, v2 views, looks, AllocationTransform,
BuiltinTransform and .spi1d / .spimtx files were missing too, and
nothing told the user.
Fix (from the OCIO v2 documentation and the CLF "moncurve", not OCIO's
source): ExponentWithLinear, ColorSpace, Look, DisplayView, Allocation
and Builtin transforms (identity, ACES AP0/AP1 matrices, ACEScct /
ACEScc, the sRGB / P3 / Rec.1886 / gamma / PQ displays). RangeTransform
now clamps and takes one-sided ranges. Display colorspaces meet the
scene reference through the default view transform. Added v2 views,
view looks, the looks section and .spi1d / .spi3d / .spimtx files. A
conversion is built once as a flat list of steps (Config::path /
display_path) for both the CPU effect and the GPU colour program (new
moncurve and clamp ops and the ACEScc curve; a program over the
kernel's 255 ops renders on the CPU). Named-transform resolution is
limited to 16 levels and 4096 steps, and YAML nesting to 64 levels, so
hostile or looping configs stop. Transforms that are still unsupported
(Grading Primary / Tone, ACES output, HLG…), unreadable configs and
unknown spaces are now reported: a warning under the effect in Effect
Controls, and the new effect.warning query.
Tests: ocio_config::blender_like_config_converts_linear_rec709_to_srgb
(CST, display colorspaces, v1 / v2 views, allocation, looks, builtin,
range, loops), moncurve_matches_srgb_and_inverts, builtin_styles,
yaml_nesting_is_bounded, ocio::spi_files_parse,
tests_effects::ocio_effect_warns_about_unsupported_config_transforms,
gpu tests_fx_lut::ocio_custom_config_v2 (GPU = CPU).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: float footage (OpenEXR, float TIFF) was always sRGB-encoded on
decode, and Interpret Footage could not turn that off, so an OCIO effect
on the layer converted values that were already encoded.
Fix: After Effects' Interpret Footage ▸ Color ▸ Preserve RGB
(Footage::preserve_rgb; file.interpretFootage {"preserveRgb": true}; a
checkbox in the Interpret Footage form; Remember / Apply Interpretation
carry it). The decoder keeps float values linear, and the working-space
conversion from the colour profile and Interpret As Linear Light don't
apply, so the file's values enter the composition unconverted. The media
cache key includes the flag, so both interpretations decode separately.
Tests: pool::preserve_rgb_reads_float_exr_values_unconverted,
tests_color::preserve_rgb_footage_is_not_converted (managed, linearized
and not), tests_proxy::guess_alpha_invert_and_linear_light (command,
render, Apply Interpretation).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: a multi-layer OpenEXR without an unnamed RGB layer showed its
first colour layer unless one was named combined / beauty / rgba. A
Blender compositor File Output names the beauty pass "Image", and its
Cryptomatte layers (lowercase r, g, b, a) sort first, so the picture was
CryptoMaterial00.
Fix: the picture is the unnamed RGB layer, else the beauty pass by the
last part of its name (Combined, Beauty, Image, RGBA, RGB, Color), else
the first colour layer that isn't a data pass (Cryptomatte, depth, mist,
normals, vectors, positions, IDs). A layer without R, G and B shows its
own first channel as grey. After Effects shows a file's main RGBA and
leaves the other layers to EXtractoR, which is unchanged.
Tests: exr_channels::layered_exr_shows_the_beauty_pass_not_cryptomatte
(the reported Blender layout, ViewLayer.Combined, no beauty name,
data-only files).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: Auto dropped to Half below 75 % magnification, so text between
50 % and 75 % was rendered with fewer pixels than the screen shows and
looked soft. Below 100 % the frame texture was minified with a plain
bilinear sampler and no mip levels (Full at 46 % skipped most frame
pixels), so edges stair-stepped.
Fix:
- Auto renders the pixels the magnification needs, as in After Effects:
the coarsest whole factor that still gives every screen pixel a
rendered one (Full above 50 %, Half down to 33.3 %, Third down to
25 %, Quarter below).
- GPU frames: the display texture carries a full mip chain, each level
the 2 x 2 mean of the one above (display.wgsl `mip`, same bind group
layout as `display`), sampled trilinearly with Viewer Zoom Quality
More Accurate (Faster keeps the nearest pixel of the full-size frame).
- CPU frames (egui-wgpu textures have no mips): uploaded averaged down
by the whole factor that leaves about one texel per screen pixel, the
same box average as the texture-limit fit (#201), re-uploaded when the
magnification calls for another factor; drawn with texture coordinates
that keep each texel over its pixels when the size isn't a multiple.
Show Channel / exposure textures follow.
Tests: gpu tests::display_frames_are_mipmapped (level count and level 1
= 2 x 2 means of level 0), viewer_tools
auto_resolution_follows_the_magnification (60 % was Half) and
minified_frames_keep_their_texels_in_place.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Text is vector in After Effects and stays sharp at any Scale. Here a
text layer was drawn at its font size and the bitmap resampled by Scale
unless Continuously Rasterize was on, so text grown with Scale went soft.
This reworks #200 (reverted in 29c4d3a for kinetic_typography).
Why kinetic_typography failed: its time remap key at 1.9 s sits on
frame 23 (1.917 s), so main-comp 0.3 s shows the precomp at 1.6026 s,
but the test compared it with the precomp rendered at 1.6 s. The moving,
motion-blurred title already differed by 0.89 of the 1.0 mean-difference
budget on main (0.987 in all); with continuous rasterisation the "Sub"
line, whose expression scale is 84.00 % at 1.6 s and 84.105 % at
1.6026 s, falls on either side of the 2^-1/4 quarter-octave step and was
drawn at 0.84 at one time and at 1.0 at the other, pushing the total to
1.075.
Fix: raster_scale treats text layers as always continuously rasterised
(shape layers and vector footage still follow the switch), and rounds
the quarter-octave step up past rounding noise only: an unscaled layer
at a fractional position measured its scale as 1 + 1e-15 and was
rasterised at 2^1/4, softening unscaled text. The QA test now compares
the remapped precomp with the precomp at the time the remap really
shows (read back from the property): difference 0.63, all of it the
title's motion blur, the Sub line identical.
Tests: tests_collapse::text_scaled_up_stays_sharp_without_the_switch
(from #200: 10 px text at 800 % matches 80 px text),
tests_collapse::unscaled_text_rasterises_at_the_output_scale (fails
without the noise tolerance), automation qa kinetic_typography.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: the interior styles were blended over the layer body with the
content's coverage folded into their opacity. On an edge pixel at 50 %
coverage a Gradient or Color Overlay went over the half-transparent body
as a half-transparent layer, so the result kept a quarter of the layer's
own fill and its alpha rose to 0.75: a light rim (the white fill
showing through) on styled text.
Fix: blend_clipped composites the interior styles (Gradient Overlay,
Color Overlay, Satin, Inner Glow, Inner Shadow and the inside of
Stroke) onto the layer within its shape: the body is divided by the
content coverage, blended with the style at its own opacity, and
multiplied back, so the alpha is kept and an edge pixel mixes the style
with the layer's colour inside the shape only, as a clipped layer does.
Fill Opacity and Blend Interior Styles as Group behave as before.
Tests: tests_styles::overlays_leave_antialiased_edges_clean (a masked
square with half-covered edge columns; Color Overlay, Gradient Overlay
and an inside Stroke now match a plain layer of the overlay colour;
Color Overlay's edge was 0.41 red against 0.23 before).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: each glyph's fill was rasterised and composited on its own, so
where two glyphs share an edge (the crossbars of "ff") two half-covered
pixels composited to 0.75 coverage instead of 1: a thin light seam,
where After Effects draws the line as one outline.
Fix: consecutive fill passes of the same opaque colour, without Blur,
under Normal Inter-Character Blending are rasterised as one coverage
mask (the glyphs' outlines in layer space, wound the same way so
overlaps add up under NonZero). Characters of other colours, translucent
or blurred ones, strokes and the other blending modes are drawn one by
one as before.
Tests: text::tests::touching_glyphs_join_without_a_seam (two glyphs
sharing an edge mid-pixel: 0.75 before, 1.0 now; opposite windings and
overlaps stay filled; other colours and Multiply still composite one by
one).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Right-clicking a property's name in the Timeline did nothing, so
Position's dimensions could be separated only from the Graph Editor.
As in After Effects, it now opens the property's menu: Reset, Edit
Value…, Separate Dimensions (Position and, once separated, X / Y / Z
Position, checked), Add / Remove Expression and Add Property to
Essential Graphics. Only Position separates, as in After Effects
(Scale stays one property).
`prop.reset` without `default` used to leave the value as it was: it
now gives the property its own default (an effect parameter's, or a
Transform property's, shared with Layer ▸ Transform ▸ Reset), which
also makes the Properties panel's Reset reset the values. `prop.set
{layer, prop}` without `value` opens the value dialog, like
`keys.set`.
Tests: timeline_property_names_have_the_property_menu
(ui_blank_context_menus), reset_gives_a_property_its_default (engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Tab in a value being typed (hot text) dropped the keyboard: egui moved
the focus to the next widget, and the inline editors asked for the
focus again every frame, which also reset what keys a field keeps for
itself.
As in After Effects, Tab now commits the value and types in the next
value field of the same panel (the next dimension, then the next
property's), Shift+Tab the previous one. The hot-text fields of each
panel register in drawing order; the dock tags each panel's Ui so the
order stays within it. `keep_focus` asks for the focus only when the
field doesn't have it.
Tests: tab_commits_a_value_and_moves_to_the_next (ui_inline_edit:
Timeline and Effect Controls).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The inline expression field took its height from the saved
expression, so lines typed into it ran over the rows below until the
expression was committed.
Its height now comes from the text being typed (up to 8 lines, as
before), and its bottom edge drags it to any height in whole lines, as
in After Effects; the dragged height is kept per property in the
Timeline state (`expr_lines`).
Tests: the_expression_field_grows_while_editing_and_drags_taller
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dropping the expression pick whip on one of a property's values (the X
of Position) referenced the whole property. As in After Effects, a
drop on one value now picks that dimension: `transform.position[0]`;
a drop on the name still picks the whole property.
`prop.pickWhip` takes `target.dimension`.
The rest of #363 is unchanged: inserting at the cursor landed with
#284, and After Effects' property pick whip in the Parent & Link
column is left for later.
Tests: pick_whip_picks_one_dimension_of_the_target (engine),
the_expression_pick_whip_picks_the_dimension_it_is_dropped_on
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A pick whip dragged to the top or bottom of the Timeline's layers left
them where they were, so a property out of view couldn't be picked.
While a pick whip (expression or parent) is held within a row of the
top or bottom edge of the layers, or past it, the layers scroll that
way, faster the deeper, as in After Effects.
Tests: the_pick_whip_scrolls_the_timeline_at_its_edges
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude