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]>
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]>
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]>
The Time Display Style could only be changed in Project Settings. As in
After Effects, Ctrl-click (Cmd-click on macOS) on the current-time
display of the Timeline or the Composition panel now toggles it between
Timecode and Frames (Feet + Frames goes to Timecode). It runs
`file.projectSettings {timeDisplay}`, so it is one undo step.
Under the Timeline's display the other style shows now (frames under
timecode, timecode under frames), as in After Effects; it always showed
frames.
Tests: ctrl_click_on_the_time_display_toggles_timecode_and_frames
(ui_inline_edit).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Ease Presets panel (#254) is modelled on a third-party panel, so,
as with third-party tools in After Effects, it isn't core any more: it
is `extensions/scriptui-panels/Ease Presets.jsx`, a ScriptUI panel
bundled as an optional extension (Window ▸ Ease Presets.jsx), written
only against the public scripting API. Clicking a preset eases every
pair of neighbouring selected keyframes in one undo step (per
dimension, along the motion path for spatial properties, the keys'
other sides as they play); the fields edit the working curve, which the
panel draws; From Keys, Save, Rename and Delete as before. The twelve
built-in curves are unchanged.
Scripting API fixes it needed (After Effects parity):
- `app.settings` lasts between runs (`script_settings.json` in the
settings folder; `script.settings.get` / `script.settings.save`).
- Per-key methods (`setTemporalEaseAtKey`, `setInterpolationTypeAtKey`,
`removeKey`, the continuous / auto-Bezier / roving setters) no longer
change the user's key selection (they selected the key they edited).
- `keyInTemporalEase` / `keyOutTemporalEase` report linear and
auto-Bezier sides as they play, `keyIn/OutSpatialTangent` the
tangents the motion path plays.
- `selectedProperties` includes the properties of selected keyframes.
- `isInterpolationTypeValid` is false for Linear / Bezier on values that
only hold.
Removed from core: Window ▸ Ease Presets, the `keys.easePreset.*`
commands, `engine::ease_presets` and the `ease_presets.json` store,
`keyframe::EaseCurve` (nothing else used it) and the egui panel. User
presets saved by the v0.6.0 panel move into the panel's app.settings
section the first time settings load (the old file is left as is).
Docs: plugins.md (bundled extensions), parity.md, gaps.md G8, agents.md.
Test: app_settings_last_between_runs,
per_key_methods_keep_the_key_selection_and_report_eases_as_they_play,
spatial_tangents_are_reported_as_the_path_plays (each fails before),
the_ease_presets_panel_eases_every_selected_pair_in_one_undo_step,
a_typed_curve_scales_to_each_dimension_and_follows_motion_paths,
user_presets_save_rename_delete_and_persist,
presets_saved_by_the_old_core_panel_carry_over (script, through the
panel's controls), ease_presets_panel_eases_the_selected_keys_from_its_list
(UI: the panel docks and a click on a preset eases the keys).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
After Effects' Interpret Footage has Start Timecode: Use Source File
Timecode, or Override Start, which changes the timecode the footage
shows and leaves its frames alone. The Start Frame field that trimmed or
padded a sequence's head isn't in After Effects, so it is replaced.
Footage.start_timecode (Override Start, in frames at the footage's
rate; None = Use Source, 0 as file timecode isn't read) relabels source
time: the Footage panel's current time and footage.info's `timecode`
count from it. file.interpretFootage takes `overrideStart` and
`startTimecode` (timecode, read at the footage's rate after any frame
rate change, or a frame number, 0 to 1e9). It applies to every footage
with time, not only sequences, and Reload keeps it. A sequence's frames
always run from its first file's number to its last.
Test: start_timecode_only_relabels_source_time (project),
interpret_footage_start_timecode_relabels_source_time (engine: the
reply, the Footage panel's timecode, frame numbers, Use Source, the
footage's rate, bad values, undo), Reload keeps it, and the Interpret
Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Effects: effect points on shape layers start at the layer centre (#227)
# Conflicts:
# crates/ui-egui/src/panels/puppet_tool.rs
# crates/ui-egui/src/panels/viewer.rs
#365 rejects arguments missing from a tool's schema; both tools read `id`
as an alias of `command`, so declare it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
After Effects shows a missing frame of an image sequence as a
placeholder (colour bars) and has no Hold Previous Frame or Skip choice
in Interpret Footage, so EffectCraft doesn't either.
Interpret Footage loses its Missing Frames field, file.interpretFootage
its missingFrames parameter, and Footage its missing_frames setting. A
gap in a numbered sequence's numbering always shows colour bars. A
sequence imported with Force Alphabetical Order still plays its files
one after another (its numbering doesn't count), as in After Effects;
that is now an internal Footage.alphabetical flag, set on import and
kept by Reload. The Interpret Footage note lists the missing frames.
Projects saved before this have no such field and open with the After
Effects behaviour: a sequence with gaps shows placeholders where it
used to close them up.
Test: project sequence unit tests (placeholders, alphabetical order,
projects saved without the flag), tests_sequence (Start Frame instead
of Hold / Skip), sequence_gaps_show_placeholders (media) and the
Interpret Footage fields in ui_drag_drop.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Image sequences were found only by the desktop media prober: one picked
numbered still brought its whole run, with no way to import just that
frame, picking every frame made one sequence item per frame, the browser
couldn't make sequences at all, and a gap in the numbering closed up
silently.
The engine now groups numbered stills itself (engine/src/sequence.rs):
one picked file brings its run from its folder, several picked files of
one run import as that range, a picked or dropped folder imports its
files with each run as a sequence, and Force Alphabetical Order takes
every image of that type in the folder by name. `file.import` takes
`sequence` (default on), `alphabetical` and `frameRate`; Replace Footage,
Reload, proxies and render outputs probe the same way. The media layer
probes one file; the browser lists its file table for the run and
registers every frame with its media pool.
File > Import > File... asks, like After Effects' "PNG Sequence"
checkbox, whether picked numbered stills import as a sequence, with
Force Alphabetical Order and the frame rate. Sequences are named
`shot_[0001-0250].png`.
Interpret Footage gains Missing Frames (Show Placeholder, colour bars as
in After Effects, the new default; Hold Previous Frame; Skip) and Start
Frame (the frame number at the footage's first frame: trims or pads the
head). Saved projects keep Skip, so their sequences play as before.
Form notes keep a readable width and the form fits its rows, so OK stays
in view. docs/footage.md explains importing footage and sequences.
Test: tests_sequence (engine: run, picked range, every frame, Sequence
off, folder, alphabetical, Interpret Footage Missing Frames / Start
Frame, Replace Footage and Reload), project sequence unit tests,
sequence_gaps_show_placeholders_hold_or_close_up (media),
import_dialog_offers_the_image_sequence_option and
dropped_frames_import_as_one_sequence_with_sequence_interpretation (UI).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
EXtractoR's Red, Green, Blue and Alpha are text parameters naming
channels, and Effect Controls drew nothing for text parameters: there
was no way to choose a layer or channel. And a multi-layer OpenEXR file
whose colour is only in named layers (`diffuse.R`, Blender's
`ViewLayer.Combined.R`) didn't import at all: the image decoder wants an
unnamed RGB layer ("does not contain non-deep rgb channels").
- Effect Controls: EXtractoR gets a Layer popup listing the footage's
OpenEXR layers. Picking one sets red, green, blue and alpha to its
channels in one undo step, as After Effects' EXtractoR dialog does (a
one-channel layer such as depth goes in all three colours). Red /
Green / Blue / Alpha are popups of the layer's own R, G, B, A, every
channel of the file, and (none). The lists are read only while open,
so playing an EXR sequence doesn't parse files on the UI thread.
- `layer.channels {layer}` lists a layer's EXR layers and channels and
what each layer shows in red, green, blue and alpha, for agents.
- Media: an EXR without an unnamed RGB layer imports and shows its
colour layer (one named combined, beauty or rgba first); its channels
stay available to EXtractoR and the 3D Channel effects.
- Raster: AuxChannels::layers / layer_rgba and split_channel.
Test: extractor_shows_the_chosen_layer_and_channels_of_a_layered_exr
(host: a layered EXR written with the exr crate imports, layer.channels,
EXtractoR renders spec and depth; it failed to import before),
extractor_offers_the_exr_layers_and_channels (UI: Layer popup, one undo
step, channel popup), layered_exr_without_an_unnamed_rgb_layer_imports
(media).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Keep serving during long renders, recover failed workers, and remove only files opened by the interrupted export. Cover progress, cancellation, EOF and output ownership with regression tests.
Co-Authored-By: OpenAI Codex <[email protected]>
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
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]>
Adds a short Pitfalls section to docs/agents.md: layer time vs comp time
for keyframe tools (#257), layer.timing to set a start time, app.run()
in scripts and undo groups, saving early in headless mode (#258),
`mcp --gpu` and renderer.active (#262), and the Environment light with
lightOptions/source (#261).
Docs only; every statement checked against main and a 0.4.0 build.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01S1RGTt6AE3ysiaMQ7X6Nea
The desktop app opened the demo project whenever it wasn't given a
project file, so File ▸ New Composition on the Home screen added "Comp
4" to the three demo comps. As in After Effects, a launch now starts
with an empty Untitled Project. --demo opens the demo (Help ▸ Open
Demo Project and the Home screen tile still do); --empty is kept.
The arguments are parsed by a function now, with a test
(no_arguments_start_an_empty_project).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_018gnTnH3Jmk5zr4tMq1Mc9f
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]>
Args::parse kept any unrecognised `--option` as a valueless flag nobody
read, so `exec comp.new --bogus` ran with defaults and exit 0, and a
misspelt valued option left its value behind as a positional:
`--saveas z.ecproj` opened z.ecproj as the project and failed with an
unrelated "cannot read" error.
Options are now checked against the declared lists (VALUED and the new
FLAGS) before anything runs; unknown ones are a usage error naming them
(exit 2), and `--flag=value` on a flag says it takes no value.
render-frame's `--transparent` (the MCP render_frame option) was one of
the silently ignored options; it now keeps the frame's alpha.
Tests: unknown_options_are_refused, every_option_read_is_declared (every
option the code reads is declared, so none is refused),
unknown_options_are_usage_errors (exit 2, nothing runs or renders, and
--transparent renders alpha).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Tools table gains history and script_ui, get_layer's depth,
add_keyframe's comp and the bridge screenshot's max_side and path.
agents_doc_tools_table_is_current (effectcraft-automation) fails when a
tool or an argument of its input schema is missing from the table, as
effects_doc_is_current guards docs/effects.md.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A Windows user reported that the Properties panel's font menu offered only the bundled Inter,
JetBrains Mono and Noto Serif. The system font folders were scanned only when a project asked for
a family the bundled fonts lack, so until then every font menu (Properties, Character, Essential
Graphics) and `file.findMissing {what: fonts}` saw the bundled families alone, on every
platform. Listing the families now scans the system fonts first, and the desktop app starts that
scan on a background thread at launch so the menus are complete when first opened.
The style menus in the Properties and Character panels list the chosen family's own styles
instead of a fixed Regular / Medium / SemiBold / Bold / Italic. Both menus build their lists only
while open.
New query for agents: `text.fonts {query?, rescan?}` (MCP tool `list_fonts`) lists every family
with its styles, origin (bundled / system / user) and own-language name; `rescan` picks up fonts
installed since launch.
Tests: a fresh-process test that the family list includes every family in the platform's font
folders without a prior scan (failed before), and `text.fonts` filtering, rescan and per-family
styles, and the `list_fonts` MCP tool.
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
Claude-Session: https://claude.ai/code/session_019EjTYdt76hTG4Kh2CJFnCr
- effectcraft-segment: a FaceModel interface (find a face in a region, follow it; a Topology
maps the model's points to the tracker's landmarks and outline), a TensorFlow Lite reader and
interpreter (float ops, float16 weights folded; matches ai-edge-litert to ~1e-6), and
MediaPipe Face Landmarker (Google, Apache-2.0: BlazeFace + Face Mesh V2, 3.8 MB, pinned
SHA-256). The registry gains a task and authors per model; installed weights get a NOTICE.
- effectcraft-track: FaceTracker::new_with uses the model, falls back to the classical fitter
when it finds no face; chin and jaw come from the outline either way so measurements agree.
- Engine: roto_models becomes models (both tasks); face.models / face.model.* commands,
Settings ▸ Face Tracking, `wait` on select/install/download for scripts; track.mask reports
faceModel.
- Credits: ATTRIBUTION.md lists the optional models and the Apache-2.0 specs the code follows.
- Docs: README, ROADMAP (G7), gaps, parity (TRK-3 score unchanged pending G1), agents,
preferences, architecture, segment README.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- New L1 crate effectcraft-segment: the MaskModel interface (prompts → foreground probability),
a registry of open-licensed models (licence must be MIT/Apache/BSD/…; URL, size, SHA-256),
a PyTorch checkpoint reader (zip + pickle subset), dependency-free SHA-256, and MobileSAM
(TinyViT-5M + SAM prompt encoder / two-way transformer / mask decoder) on rayon and ndarray's
safe GEMM. Loads the official mobile_sam.pt as published; checked against candle
(embedding 0.3% RMS, 99.9% equal mask pixels); ~0.7 s/frame encoder at 32 threads, cached
per frame, ~0.1 s decoder.
- track::roto: segment_with / propagate_with prompt a model with the strokes or the flow-warped
matte (box, core points, mask); its probability is a strong, unblurred prior for the same
graph cut (strokes stay hard constraints); a failing model or one disagreeing with the flow
(IoU < 0.5) is ignored. Prior gets a weight.
- effects::roto: Version 2.0 / 3.0 use the model chosen in Settings (set_model / model_for);
the model id is part of the chain seed.
- engine: roto_models (roto.models, roto.model.select / install / download / remove), weights in
the models folder (host::config_dir()/models, shared by the app, CLI and MCP), background
loading, downloads through the system curl, verified; Settings ▸ Roto Brush page (prefs
roto.model). host::config_dir moved from the desktop app.
- Tests: segment (kernels vs direct sums, checkpoint reader, SHA-256 vectors, registry), track
(fake model: prior shapes the cut, failing / disagreeing models ignored; real weights with
EFFECTCRAFT_MOBILESAM: base IoU 0.989, propagated ≥ 0.980 vs classic 0.973), engine (registry,
verification, selection; real install + load), MCP.
- Docs: README, ROADMAP, parity (MSK-4 done: 90/2/0), preferences, agents, architecture,
crates/segment/README.md.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- effect.pickColor {effect, param|prop, x, y (layer px), average?}: the colour of the effect's
input at a point, set on the parameter (one undo step). Keying effects' Effect Controls
eyedroppers use it, since the shown frame is already keyed; Ctrl/Cmd+click averages 5x5.
- effects::aliases / name_matches: Effects & Presets and effect.list (MCP list_effects) find
Key Light by After Effects' name ("Keylight (1.2)").
- End-to-end test: a green-screen plate with an uneven screen, spill and soft edges keyed via
effect.apply "Keylight (1.2)", pick, Clip Black / White and a render; UI eyedropper test.
- Docs: parity, agents (green-screen recipe).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- J / K (Go to Previous / Next Keyframe) and Ctrl+Alt+A (Select All Keyframes) act on what the
Timeline shows, as in After Effects: the keys of its revealed properties, layer and comp
markers and the work area (they used every property of the selected or all layers, revealed
or not). The commands take `visible: [{layer, prop}]`, which the Timeline fills in; agents
calling them without it keep the previous behaviour.
- Graph Editor ▸ Auto-Select Graph Type (an "Auto" button, on by default as in After Effects):
the speed graph when every property shown is spatial (Position, Anchor Point…), else the
value graph; choosing Value or Speed turns it off.
- Docs: parity, agents.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- parity: the status note covers the M3.9–M4.12 passes (feature counts unchanged: they fixed
behaviour inside features already counted done) and the GPU effect count matches EFF-5 (280);
the Layers, Compositions, Interface, Project and Preview rows name what is left and what
landed; landed items in "Highest-value gaps" are struck through with where they landed, the
gaps the passes left are items 16–18, and the closing paragraph no longer says 69 menu entries
are disabled.
- ROADMAP: what is left includes the preview gaps.
- web: a restored session with unsaved changes stays modified and asks before closing.
- preferences: Adaptive Resolution Limit applies while dragging, not to playing previews.
- agents: nested comp settings and New Comp from Selection for several items.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Locked layers can't be selected (Timeline click, Select All, Ctrl+Up/Down; shy layers while
hidden too) and are left alone by Clear/Delete, Arrange, Layer ▸ Transform and Center Anchor
Point, which fail when every target is locked (`commands::unlocked`, `commands::selectable`).
- Deleting a parent unparents its children where they are, in the same undo step: the
pick-whip compensation moved out of `layer.setParent` into `layer::parent_fixes` /
`ParentFix::apply`, which now also handles separated X/Y Position.
- Bring Forward / Send Backward move each selected layer one step (a non-contiguous selection
was squeezed into one block).
- Center In View / Fit to Comp keep a 3D layer's Z (and Fit keeps Scale/Anchor Z); Reset /
Center / Fit / Center Anchor Point work with separated dimensions (`layer::update_position`).
- Duplicate and paste keep parents and track mattes, following the copies when both were
copied; paste dropped them always.
- Docs: agents, parity.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Layer ▸ Layer Settings on a solid or adjustment layer opens Solid Settings on the layer's
solid (it ran an empty command before): name (renames the layer and the solid), size, Pixel
Aspect Ratio, colour, and "Affect all layers that use this solid". It starts off, as in After
Effects, so changing a solid other layers share gives this layer its own copy.
`layer.settings {pixelAspect?, affectAll?}` → `{layer, solid?}`; `layer.newSolid {pixelAspect?}`.
- Nulls ask for their name; text and shape layers have no settings (the entry is disabled).
- Composition Settings / New Composition and Solid Settings register an automation id for
every control (`dialog.comp.*`, `dialog.solid.*`). Composition Settings takes any typed frame
rate besides the list, and New Composition starts from the last settings used.
- Colour buttons in both dialogs show the stored sRGB colour (`widgets::srgb_color_button`);
egui's linear picker showed it lighter.
- Docs: agents, parity.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- Quit and the window's close button, File ▸ New Project, Open Project, Open Recent, Close
Project, the demo project and a Home template show Save / Don't Save / Cancel when the
project has unsaved changes (Save asks for a path when untitled; cancelling that keeps the
project open). File ▸ Revert asks to discard. Before, all of them dropped unsaved work
without asking.
- The window title shows the project's path and `*` while it is modified.
- The modified mark follows undo: the session keeps the snapshot it last opened or saved
(`Session::saved_project`), so undoing, jumping in the History panel or rolling back a batch
to the saved state clears it.
- An edit that changes nothing (a value set to what it already is) records no undo step and
doesn't mark the project modified (`Project::same_content`, comparing untouched comps by
pointer).
- Agents' `engine.execute` / MCP calls are never asked; `ui.menu.invoke` shows the prompt like a
click (automation ids `dialog.unsaved.save` / `dontSave` / `revert` / `cancel`), and the
control channel's `app.quit {force: true}` skips it.
- Docs: architecture, agents, control protocol, parity.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Bump the FilmCraft crates from 89cfbf2 to 2c5ba7a (118 commits; no API
changes needed here), whose Matroska reader now decodes the VP9 alpha
stream from BlockAdditions. The compositing QA scenario now checks that
WebM renders round-trip their alpha like ProRes 4444.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- footage.check: background footage check after File > Open (Progress panel), not an undo step
- timeline: track-matte / parent menus built only while open (was O(n^2) per frame);
expression-row lookup per layer; panels hold Arc<Comp> snapshots instead of deep clones
- Project panel: virtualised vertical scrolling, selection reveal, thumbnails rendered off
the UI thread
- effectcraft-cli bench --ops (engine::perf + ui-egui::bench)
Co-Authored-By: Claude Opus 5.5 <[email protected]>
