A text or shape layer's effect bounds are comp-sized (as in After Effects),
but its buffer surrounds only its content, and each effect grows the buffer
itself when it needs room. CC Smear and CC Tiler never did, so a smear was
cut off where the glyphs end and tiles filled only the text's box.
CC Tiler now covers the whole layer rectangle; CC Smear grows by how far it
moves pixels (Reach x From->To), at most to the layer bounds, so footage
layers, whose buffer is their bounds already, are unchanged. CPU and GPU
alike.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Every viewer request spawns a job on the frame pool. A pool thread blocked
inside a render (waiting on a parallel loop's join) runs other pool work
meanwhile, rayon's injected jobs included: the spawn of the next request
started a whole frame render on top of the waiting one. Dragging makes a
new revision, and a new viewer frame, every UI frame, so renders nested
without bound on every thread, each holding its buffers (a large image's
full-resolution copies), until all memory was used. Holding the layer still
makes no new revisions, which is why only moving it did this.
A spawn now drains the queue, and one that lands inside a render on its
thread returns at once; the render below takes the queued jobs when it is
done. Each pool thread renders one frame at a time.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Auto-Bezier end keys now carry handles along the path, so a straight two-key move went through
the arc-length table and landed a rounding error off its keys' midpoint (80.00000000000001).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A tool can hand EffectCraft its own font library (a path list) without
installing the fonts system-wide; the folders are scanned like the
system ones.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Effect Controls painted effect headers with fixed dark fills (#2a2a2a,
#2f3a52 when active) under the theme's text colour, so on Light the effect
names were dark on dark (1.1:1). The Timeline kept the selected layer's
time-graph row, the A/V and switch wells, the time navigator, the work area
bar and the expression field on fixed dark fills too.
Those surfaces are now theme tokens (fx_header, fx_header_active,
tl_graph_selected, switch_well, tl_nav_bar, tl_work_area_bar, expr_bg,
expr_text) with the dark values unchanged and light ones for Light. The
expression editor's syntax colours come from the theme as well: on the
light field a darker set keeps every category, enabled/disabled
expressions, matched brackets and line numbers at 4.5:1 or better
(contrast test, with a negative control showing the dark set fails there).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A typed value committed by clicking elsewhere could be applied as an
offset, because dragged_id() is set on the press that commits it; a scrub
now needs a decided drag. In the Timeline, clicking a stopwatch or the
keyframe button acts on that layer's property only, as in After Effects
(the Properties panel and keyboard shortcuts act on every selected layer).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With several layers selected, After Effects applies a property edit to the same property of
every selected layer; we changed only the layer whose row was edited (the Properties panel
showed only the first selected layer), so a stopwatch switched on one layer and later moves
of the others had nothing to keyframe (#355), and scaling or rotating a selection changed
one layer (#491).
- Engine: `prop.set`, `prop.toggleAnimation` and `prop.toggleKey` take `selected: true`:
the change also goes to the same property (by match path, `transform/scale`,
`effects/<effect>#n/<param>`) of every other selected, unlocked layer whose value has the
same kind, in one undo step (a scrub keeps folding into it through its `merge` key). With
`offset: true` (a scrub) each layer changes by the same amount from its own value; a typed
value sets them all. Position with Separate Dimensions is handled per layer.
- The Timeline, Properties and Effect Controls panels pass `selected` (and `offset` while a
value is dragged). The Properties panel heads "(N) Selected Objects" (zh-CN / zh-TW / ja /
uk rows).
- Viewer: a bounding-box handle drag scales every selected layer by the same ratio about its
own anchor point; the Rotation tool turns them all by the same angle (one undo step).
Tests: engine test (stopwatch, scrub offset, typed value, keyframe button, one undo step,
unselected layers untouched); kittests: the Properties panel with three layers selected
(header, stopwatch on all three undone in one step, a scrub moving all three by the same
amount) and a handle drag scaling two selected layers.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The viewer projected a 3D layer's box, its axis gizmo and its Extended Viewer outline
through the camera with a plain perspective divide. A point at or behind the camera
(w ≤ 0) flips through infinity, so a layer turned or moved so that part of it reaches past
the camera drew long lines across the viewer, and its handles and hit area flipped too.
- `layer_quad` (handles, hit tests, marquee) is None for a layer reaching past the near
plane, so nothing is placed or picked on a flipped quad.
- `layer_outline` clips the box to the part in front of the near plane (Sutherland-Hodgman
in homogeneous coordinates); the selection outline and the Extended Viewer use it.
- The 3D axis gizmo's arrows are clipped the same way (`project_segment`).
Tests: a box crossing the near plane keeps only its front part, one wholly behind draws
nothing; gizmo segments are cut at the plane and never flip.
Note: the reporter's exact setup (ellipse, X/Y Rotation, Orientation) wasn't reproduced
in a headless probe with the default camera, where the layer stays in front of it; this
fixes the projection fault that draws such lines.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A stack (the Default workspace's right column) held one panel per frame. Dropping a panel
onto the middle or the tab strip of a stacked panel inserted a new stacked frame below it,
and dropping on its top or bottom edge split the whole column.
A stacked frame now holds tabs (`StackEntry { panels, active, open, height }`):
- Center / tab strip drops add the panel as a tab of the anchor's frame and show it.
- Top / Bottom drops add a frame of its own above / below the anchor's frame only.
(Left / Right still split the column: a frame can't hold a side-by-side split.)
- Clicking a frame's shown tab (or its header bar) expands / collapses it; another tab
shows that panel. Closing a tab keeps the frame; its last tab removes it.
- Saved workspaces from before (`{"panel": …}` per frame) still load.
Tests: dock unit tests (Center / Top / Bottom on a stack, insert_tab, close, old saved
entries); a kittest dragging Effect Controls onto Properties makes a two-tab frame whose
tabs switch the shown panel.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
GpuContext::new built every compute pipeline up front and failed as a
whole when one didn't build. On DirectX 12, FXC (wgpu's default D3D shader
compiler) aborts on the `pointwise` effect kernel, so the whole app fell
back to CPU compositing.
The compositor's own kernels are still required, but the effect kernels
(`pointwise`, the blur/glow/shadow passes and every fx_* kernel) are now
optional: one that fails to build is logged and listed
(GpuContext::unavailable_kernels), and a GPU effect chain that dispatches a
missing kernel reports it (Enc::take_missing) so those effects render on
the CPU while everything else stays on the GPU.
This does not make FXC accept `pointwise` (that needs a Windows/FXC box to
bisect); it limits the damage to the effects using it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Measured against After Effects 26.3 with the original
examples/ae-spatial-tangents.jsx (three paths, ten keys, even and uneven
timing): an auto-Bezier key's out tangent is (next - previous) / 6 and
the in tangent its mirror, whatever the key times; an end key uses its
one neighbour, (neighbour - key) / 6. EffectCraft gave end keys none and
scaled middle tangents by segment length, so paths with auto-Bezier keys
ran up to 28 px from AE's. All ten tangents now match; path samples are
within 0.05 px.
Tests that relied on end keys having no tangent now expect AE's: Spatial
Bezier keeps auto keys' handles (linear keys still get a third), the
motion-path handle is drawn at a sixth, and a straight loopOut path is
compared within 1e-9. docs/fidelity records the method and scores.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A shape's Fill and Stroke Color (and every other colour property) in the
Timeline only had a swatch that opens the colour picker; After Effects puts
an eyedropper next to it to sample a colour from the Composition panel.
The Timeline now shows that eyedropper (`timeline.prop.<uid>.eyedropper`),
reusing Effect Controls' viewer pick: click it, then click in the
Composition panel, and the property is set to the sampled colour.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
apply_visuals pinned egui's theme preference to Light or Dark on every
apply. egui syncs that to the native window (ViewportCommand::SetTheme),
winit then gives the NSWindow an explicit Aqua/DarkAqua appearance, and a
window with its own appearance no longer receives the system's
ThemeChanged events, so Sync with System froze on the first frame's
appearance.
Our visuals now go into both of egui's styles (light and dark), and the
preference is System while the appearance mode is Sync with System, so the
window keeps following the OS; fixed Light / Dark modes still pin it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
cargo +1.95 clippy --workspace --all-targets --release -- -D warnings
stopped on seven `if` blocks that clippy wants folded into their match
arm (psd, text, effects x2, pdf x2, render). Each becomes a match guard.
The behaviour is unchanged: when a guard is false the value falls through
to arms that can't match it and then to `_ => {}`. The one exception is
the PDF PostScript calculator, where a `{` past the nesting limit would
fall through to the operator arm; it keeps its own no-op arm, so it is
still skipped rather than pushed as an operator.
Measured against After Effects at 32 bpc:
- Classic Color Dodge, Classic Color Burn and Classic Difference at partial opacity: AE
fades the source toward the mode's neutral colour (0 for Dodge and Difference, 1 for
Burn) by the opacity and applies the classic formula at full strength (b / (1 − k·o),
|b − k·o|, 1 − (1 − b) / (1 − k·(1 − o))). We mixed the full-strength result by opacity:
up to 45/255 off on ordinary 0–1 footage.
- Overlay, Exclusion, Luminosity, Color Burn and Classic Color Burn keep their plain formula
for values above 1 (HDR passes). They were missing from `supports_hdr`, so their inputs
were clamped to 0–1 (Exclusion was up to 208/255 off); Classic Color Burn also clamped
its result at 0, where AE keeps negative values.
The CPU blend (color::blend_pixel) and the GPU kernel (common.wgsl) change together.
Tests: the reporter's formulas for each case (blend.rs); the CPU/GPU parity test of every
blend mode at every bit depth (over-range values, 70 % opacity) passes.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Spatial properties move along their path by arc length: a table of 96 chords per segment,
read back by linear interpolation of the curve parameter. Within each cell that mapping is
linear, so the speed (the Graph Editor's speed graph, a central difference of the
position) jumped at every cell boundary and was off by up to ~2 % on a curved path: a
sawtooth over a constant-speed move, and a slight wobble in the motion itself.
The table now holds Gauss-Legendre arc lengths, and `at_length` refines the cell's linear
guess with Newton steps on the true arc length (|B'(u)| as the derivative), so position and
speed follow the path exactly.
Test: linear keys along a strongly curved path give a constant speed (within 0.1 %) at
every sample; the old mapping was off by 2 %.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
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 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A nested comp too deep or too large for a GPU texture now takes the CPU
path for its layer, as before #641, instead of failing the whole frame;
only a device failure does. The warning no longer fires every frame
(which pushed every other warning out of the System Report's log), and
names the no-readback case and regions of interest.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The UI behaves as in After Effects (the Import dialog's Sequence checkbox
starts off, dropped files are stills, dropped folders make sequences), but
file.import without sequence or drag keeps importing a numbered still's
run, so existing scripts and agents keep working.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
After Effects' `app.project.workingGamma` (2.2 or 2.4, ignored with a working space) sets
the curve an unmanaged project uses: at 2.2 the piecewise sRGB curve, at 2.4 a pure 2.4
power curve. EffectCraft always used sRGB, so linear EXRs (Interpret As Linear Light) from
a 2.4 project came out darker in the shadows (0.18 → 0.461 instead of 0.490).
- `ProjectSettings::working_gamma` (default 2.2, serde default for old projects).
- The colour pipe's unmanaged curve is the Working Gamma's (sRGB, or Rec. 709's pure 2.4
curve): Interpret As Linear Light encodes untagged footage with it and Blend Colors Using
1.0 Gamma linearizes with it; it is part of the pipe's cache key. The GPU path takes the
same conversions.
- `file.projectSettings {workingGamma: 2.2|2.4}` (other values are refused, as in AE),
`app.project.workingGamma` in scripts and a Working gamma choice in Project Settings.
Test: render test with linear 0.051 / 0.18 / 0.5 footage (0.290 / 0.490 / 0.749 at 2.4,
0.250 / 0.461 / 0.735 at 2.2, the values measured in AE), linear blending at 2.4, a working
space ignoring the setting, and the cache key.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With no GPU compositor the report only said "GPU: none", though the host had recorded the
reason (`Session::accel_note`: the compositor's setup error, a retired GPU preview, a
headless start) and the window's wgpu adapter was known. Users with a capable GPU (#596, an
RTX 4070) couldn't tell why it wasn't used.
The report now carries `gpuNote` (the reason, when there is no compositor) and
`windowGraphics` (the adapter, backend, device type and driver the window draws with, which
the desktop app records when it sets up the GPU), and the text shows
"GPU: none (CPU compositing): <reason>" and "Window graphics: …"; the issue line names the
reason too.
Test: the compatibility report test sets a reason and an adapter and checks the JSON and text.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
The ruler scrub set the time under the pointer and never moved the visible span, so with
the timeline zoomed in a scrub couldn't go past the edge, and a preview ran the CTI out of
view. As in After Effects:
- zoomed in, a scrub held past either end of the ruler scrolls the timeline that way,
faster the further past, with the CTI riding the edge (repainting while held);
- during playback, when the CTI leaves the visible span the view pages to start at it
(not past the comp's end).
Tests: a unit test of the paging and edge speed, and a kittest that holds a scrub past the
right end (the view scrolls, the CTI stays at the edge), then past the left end, then plays
from beyond the view (it pages to the CTI). (#468's Shift+F and black-layer items need
more information and aren't part of this.)
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
In the right-hand panel stack only the tab (the name plus its padding) answered clicks, so
the rest of the header bar did nothing, a small target for short names like Audio. As in
After Effects, the rest of the strip now toggles the panel too and focuses it. A stack group
holds one panel, so the bar is unambiguous; the panel menu keeps its own click. The bar
registers the automation id `panel.header.<Panel>`.
Test: a kittest clicks near the right end of Preview's header bar (collapses), its middle
(expands) and its panel menu button (stays open).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
A split's first side was sized with `f32::clamp(20.min(avail), (avail - 20).max(0))`.
`f32::clamp` panics when its lower bound exceeds its upper one, which happened for any
split with 0 < avail < 40 pt. Dragging the viewer/Timeline divider up takes the area above
it down to 40 pt, so the splits nested there (the right column's vertical split and
others) got about 36 pt and the layout panicked; no guard covers egui's update, so the app
closed with no dialog.
The split size now goes through `split_first` / `clamp_ordered`, which never panic: when
the room is too small for both minimums the lower bound wins, and non-finite sizes fall
back to it. The gutter drag uses the same clamp.
Tests: a dock unit test lays out every workspace in rects too short and too narrow for its
minimums (it panicked before) and checks `split_first` on hostile sizes; a kittest drags the
divider above the Timeline 2000 pt up and 3000 pt down.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
Cause: the Roto Brush and Refine Edge diameters live in the editor state and
the roto.options command sets them, but the UI never did: the Layer panel
only painted strokes and the bottom bar only set the view mode, so the brush
size could not be changed.
Fix, as in After Effects: Cmd-drag (Ctrl-drag on Windows and Linux) in the
Layer panel resizes the active brush (Roto Brush or Refine Edge) without
painting. The circle stays at the press point, its edge follows the pointer,
and the size is shown while dragging. The tools bar shows a Diameter field
(header.roto.diameter) while a Roto Brush tool is active. Both go through
roto.options, and the next stroke uses the new radius. Diameter is in all
four interface catalogs.
Test: roto_brush_ctrl_drag_resizes_the_brush (a 20 px Cmd/Ctrl-drag makes a
40 px brush and paints nothing, the next stroke's radius is half of it, and
the Diameter field is registered).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit b4183c28eea34ba097d7a16153b84fcf7aeea045)
Cause: Apply Color LUT's only parameter, `lut`, was ParamUi::Hidden (set only
through commands), so the effect could not be used from the UI. Effect
Controls also had no widget for any ParamUi::Text parameter (only EXtractoR's
channels had one), so Cryptomatte's Selection, the OCIO effects' config file /
file / config names and Colorama's Output Cycle could not be set either.
Fix: a new ParamUi::File { filters } for paths. Effect Controls shows the
file's name (None when empty) and a Choose... button that opens the host's
file dialog with those extensions and sets the path (prop.set, so agents use
the same command). As in After Effects, applying an effect with an empty file
parameter from the UI (Effect menu, Last Effect, drops, Effects & Presets)
opens the file dialog straight away; cancelling keeps the effect without a
file. Apply Color LUT's LUT (.cube) and the OCIO Config File (.ocio) and File
(.cube/.3dl/.csp/.cc/.ccc/.cdl/.spi1d/.spi3d/.spimtx) use it. Text
parameters get a single-line field that sets the value when it loses the
focus (Esc keeps the old text). Saved projects are upgraded on open: a
Hidden or Text parameter whose spec is now a File parameter takes the File
UI and keeps its path (effects::migrate). docs/effects.md regenerated.
This covers #473's first part (the Selection field); picking mattes in the
viewer, the layer popup from the file's metadata, the GPU path and quoted
commas are separate.
Tests: effects hidden_and_text_paths_become_file_parameters (migration); ui
file_and_text_parameters_have_widgets (the LUT is asked for on apply and
inverts red to cyan, the Choose... button picks another LUT, typing into
Cryptomatte's Selection sets it).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit 403863f703999d19d3a83d9976f76bdc7577e682)
Cause: SequenceOptions::from_params defaulted `sequence` to true for
file.import, so any numbered still (IMG_0001.jpg) brought its whole numbered
run from its folder, and several picked or dropped stills with a common
prefix became one sequence. Dropped files never asked, and the Import
dialog's "<format> Sequence" checkbox started ticked.
Fix, matching After Effects: file.import takes picked and dropped files as
stills unless `sequence: true` (the Import dialog's Sequence checkbox, which
now starts unticked; Force Alphabetical Order implies it), while the numbered
stills inside a picked or dropped folder still import as sequences
(SequenceOptions::folders), and `sequence: false` (Alt-drag of a folder)
imports a folder's files one by one. Replace Footage, reload, proxies and
render outputs keep detecting their sequence (SequenceOptions::default and
from_params are unchanged), and mediaBrowser.import keeps bringing a numbered
still's run unless `sequence: false`. docs/footage.md and docs/agents.md
describe the new defaults.
Tests: sequence import_takes_stills_unless_asked_for_a_sequence and engine
numbered_stills_import_as_stills_by_default (one dropped still and two picked
IMG_ stills stay stills, a dropped folder makes one sequence, the checkbox
brings the run); the existing sequence tests pass `sequence: true`; ui
import_dialog_offers_the_image_sequence_option (unticked by default: a still;
ticked: the run) and a_dropped_folder_imports_as_one_sequence_with_sequence_interpretation
(two dropped frames: two stills; the folder: one sequence).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit aa3c31db9ab3a774ee2f8ba867e1bafc1fce7aba)
Cause: render::content_bounds (used by snapping's targets and source, Align,
Distribute, the viewer's bounding box and handles) took shape layers' bounds
from draw_bounds, the rasteriser's safety rectangle: 1 px of anti-aliasing
padding around fills and width x miter limit / 2 + 1 around strokes. Two
squares snapped edge to edge therefore stayed 2 px apart, or much more with
strokes.
Fix: shapes::content_bounds uses visual bounds, as After Effects' layer bounds
do: the path bounds plus half the stroke width (through the draw's group
scale), with no anti-aliasing or miter padding. Rendering keeps draw_bounds.
Tests: render shape_content_bounds_are_the_visual_edges (a 100 x 100
rectangle is exactly +-50, +-55 with a 10 px stroke); engine
shape_layers_align_by_their_visual_edges (widths 100 / 110, Align Left puts
both edges exactly at 0).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit bfd0abd7437ad1d38652e3aef51f9ba5dea9100b)
Cause: write_on_plan drew a single dab at the current Brush Position. Stroke
Length, Brush Spacing and the Paint/Brush Time Properties were declared but
unused, so an animated brush showed a moving dot that dropped every earlier
mark.
Fix: as After Effects describes Write-on, a dab is laid every Brush Spacing
seconds from the layer's start up to the current time, each lasting Stroke
Length seconds (0: for ever). Their positions come from the host's parameters
at their times (EffectHost::params_at, which the renderer implements). Paint
Time Properties > Opacity and Brush Time Properties > Size (or Size &
Hardness) keep each dab's own opacity / size; otherwise the current values
apply to all. One frame draws at most 4096 dabs (longer strokes space them
out and join them). Without a host the current dab draws, as before. Colour
and hardness stay one per stroke (the paint plan has one colour and hardness),
so Paint Time Properties > Color and per-dab hardness aren't modelled. The GPU
path uses the same plan.
Test: write_on_accumulates_a_stroke_along_the_animated_brush (the report's
fixture: start and midpoint marks stay at 0.5 s with the end still clear, all
marks at 1 s, Stroke Length 0.25 keeps only the recent trail, Brush Spacing
0.5 gives three separate marks, per-dab opacity).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit c82c9aeb685eab0cb36ca69c0b337781f4bad258)
Cause: puppet::solve binds each moving pin to its nearest mesh vertex and fixes
that vertex at position + (vertex - rest), an offset in rest space with no
rotation or scale. puppet.addPin set a new pin's position to the click, so in
a bent region the bound vertex was pulled to where it would be unrotated, and
the mesh jumped as soon as the pin was added.
Fix: addPin picks the position that keeps the bound vertex at its current
deformed place: the vertex's deformed position minus the rest offset. On an
unbent mesh that is the click itself (round-off is snapped back to it), so
existing pins behave as before.
Test: a_pin_added_to_a_bent_mesh_moves_nothing (two pins, one moved to bend
the layer, then pins added at three places on the bent part: at most a few
edge pixels change from solver round-off; before the fix about 250 did).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit 16151203b304d565b425873fdd33ae082cae483b)
Cause: edit.copy handled text editing, selected keyframes, effects and shape
items, then fell back to copying the selected layers. Selecting a property
selects its keys, so an animated property copied, but an unanimated one (or
the Transform group, whose keys prop.select doesn't select) copied the whole
layer, and Paste added a duplicate layer instead of setting the property.
Fix: with properties (or the Transform group) selected, Edit > Copy copies, as
After Effects does, each animated property's keys (the selected ones, else all
of them, through keys.copy) and each unanimated property's value into a new
value clipboard keyed by match path. Edit > Paste sets those values on the
same properties of the selected layers (a key at the CTI where the target is
animated) and pastes the keys at the CTI, as one undo step (keys.paste now
honours `merge`). Keys alone still answer with their count, as before.
Test: copy_a_selected_property_pastes_onto_the_same_property (static
Position, then the Transform group with animated Opacity: values and keys
land on layer B, no layer is added, one undo step each).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
(cherry picked from commit 8267519ebe20e889196e538de23b85b04a1fa76a)
Claude