- Footage sources: the cancellable wrapper (#784) forwards frame_with (#752 float curves)
and problem (#887); problem's default lives on the trait.
- Media: a called-off decode (#784) is not a footage problem (#887).
- Effect Controls rename (#953): Escape cancels (egui drops focus on Escape the same
frame), the Rename item is translated; regression test.
- i18n (#873): drop the /out-i18n/ ignore rule and the note about an uncommitted script.
- Tests: text range selector caps (#926) re-borrow the layer; the RAM preview test (#793)
sets the comp's own Resolution (#462).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
#755 decoded stills of an extension-decided format with load_from_memory_with_format,
bypassing #827's oriented decode: load_oriented now takes the format.
The DPX ffmpeg oracle test expected the bare codec name; ffmpeg builds that write
the transfer characteristic make it "DPX 8-bit RGB, linear".
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Opening movies in place (#796) skipped the whole-file bytes #827 read the
track matrix from, so the pool and the probe lost the turn for movies on
disk. stream::movie_header reads just the ftyp and moov boxes (bounded,
positional reads) and both in-place paths derive the orientation from it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: footage audio kept only its first two channels, so the centre, LFE and surrounds of a 5.1 file were dropped. AAC 5.1 was worse: FilmCraft's AAC-LC decoder delivers AAC's own order (C L R Ls Rs LFE), so the left output was the centre and front-right was lost.
Fix: crates/media/src/downmix.rs holds one ITU-R BS.775 stereo downmix (centre and surrounds at -3 dB, LFE left out, fixed normalisation by the largest row sum so full scale cannot clip), with channel orders for 3 to 8 channels in WAVE/SMPTE order and AAC's native order, and only the front pair for more than 8. MediaPool::read_stereo applies it, which preview, waveform and export mixdown all read through. Mono and stereo are unchanged.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: a movie whose profile the software decoders lack (H.264 High 4:2:2 / 10-bit)
probes fine, then every frame read fails; MediaPool logged the error per frame and returned
None, so the layer rendered black with no sign why in the viewer, Project panel or for agents.
Fix: MediaPool records the reason once per file (codec from the probe plus the decoder's text
without error wrappers; I/O errors stay with missing-footage handling), logs it once, and
exposes it through the new FootageSource::problem. The Composition viewer shows it on the
affected layer, the Project panel marks the item with a warning whose tooltip is the reason,
and project.summary / footage.info carry a "problem" field. Cleared when the file is
forgotten; only set when decoding really failed, so a hardware decoder that handles the file
shows nothing.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
A movie shot with a phone held upright stores sideways frames and says so
in its video track header; it imported lying on its side. Probing now
reports the turned size, and decoded frames (full and reduced size) are
turned to match. Only the rotation is used, snapped to a quarter turn;
mirroring, scaling and offsets in the header are ignored.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A photo taken with the camera held sideways (or a mirrored scan) imported
as stored, lying on its side. Probing now reports the size the picture is
seen at, and the still and smart-object decodes apply the rotation or
mirroring to the pixels. A missing or invalid tag decodes as stored.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: probe() and MediaPool's movie sources called std::fs::read and then
filmcraft_codecs::open_bytes, so a clip cost its full size in memory, twice
while probing (a 245 MiB MP4 peaked at 494 MiB just to import).
Fix: container footage on disk is opened through a positional-read
ByteReader (stream::FileReader) and FilmCraft's reader openers
(filmcraft_media::reader::open_reader; MP4/MOV, Matroska/WebM, MXF, Ogg,
MPEG-PS/TS), which read the index and then single samples. Probing takes this
path only when nothing probed before containers (still/model extensions,
PSD/SVG/PDF, image magic) claims the file; everything else, whole-file audio
formats, in-memory files (add_bytes) and wasm32 builds keep the byte path.
Regression test: probing and decoding a frame and audio of a movie with a
256 MiB tail grows peak RSS by <64 MiB (512 MiB before), same results.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: scrubbing a long movie showed the frame under the pointer
seconds after the pointer stopped. Every viewer frame a free frame-pool
thread had started kept running: each seeked the movie's one decoder and
decoded up to a GOP, and the newest frame waited behind all of them on
the decoder's lock (45 min 1080p H.264/HEVC, GOP 250: 1.8-3.6 s for the
last frame of a drag; a single jump is 0.1-0.4 s). FilmCraft's decoder
already polls a cancellation flag, but nothing set one.
Fix: FootageSource::cancellable / called_off and CancellableFootage (a
per-render view whose frame reads run under the render's own flag, so
reads on other threads answer to the right render). MediaPool runs them
under filmcraft_media::cancel::with_cancel. The frame workers render
through it, and a newer viewer frame calls off the comp's running viewer
frames of other times. A called-off render is not cached (frames, disk,
layer cache). Drag latency is now 0.1-0.3 s.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Media Browser lists .mxf files, but File > Import's dialog
filtered them out and media::is_importable refused them, although the
pinned FilmCraft codecs behind crates/media already demux MXF (AVC,
MPEG-2 / XDCAM / D-10, VC-3 / DNxHD, ProRes, PCM audio) by content.
Fix: add "mxf" to VIDEO_EXTENSIONS and to the File > Import and Set
Proxy dialog filters. Tests check MPEG-2 4:2:2 long-GOP + 24-bit PCM and
DNxHD 36 MXF against ffmpeg frames (>35 dB, measured 64-67 dB), audio
level, and that the Import dialog offers MXF. AVI stays open: FilmCraft
has no AVI demuxer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: an animated WebP (e.g. ffmpeg -c:v libwebp_anim) imported as a
still and showed only its first frame; probe_bytes handed every WebP to
the still path. Found while measuring #719.
Fix: a webp_anim module, following the animated GIF path. Probing reads
the RIFF chunk headers (VP8X animation and alpha flags, one ANMF per
frame) and describes a WebP with two or more frames as Video footage
(codec "WebP", alpha Straight or Ignore from VP8X). Frame delays give the
rate: delays within 1 ms of each other read as the standard rate they
round to (24, 25, 29.97...), else 1000 / gcd of the delays so uneven
timing is exact; delays of 10 ms or less count as 100 ms as in browsers.
Frames are decoded once with the image crate's WebP AnimationDecoder and
cached in the pool's existing GIF slot; gif_anim::Anim now keeps frame
starts as Ticks and serves both formats. Canvas x frames beyond the
existing memory cap is refused before decoding; a damaged tail keeps the
frames before it; a file without frames is a clear decode error. Still
WebP stays a still.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Media Browser listed .dpx files and After Effects imports
DPX and Cineon scans (stills and numbered sequences), but import
refused them: nothing could decode either format, and .cin was not even
an image to the browser, so its runs never grouped into sequences.
Fix: a small pure-Rust reader written from the public SMPTE 268M and
Kodak Cineon specifications (crates/media/src/dpx.rs): luma, RGB, RGBA
and ABGR at 8/10/12/16 bits, 10-bit filled method A/B, 12-bit in 16-bit
words, both byte orders, lines padded to 32-bit words, unrotated
orientations and the pixel aspect ratio; the codec names the transfer
(log, linear, ...) and code values are shown as stored. RLE, signed,
float, Y'CbCr, packed 10/12-bit and transposed files are refused with a
clear error; every header field is bounds-checked and the data length
verified before allocating. Probe and frame decode use it first;
is_importable, the Media Browser kinds and the import dialog list
.dpx/.cin.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: with no working space and Working Gamma 2.4, a linear EXR still
converted with the sRGB curve (0.18 -> 0.4627, After Effects 0.4902):
float footage was sRGB-encoded at decode, before the render knew the
project's curve. Interpret As Linear Light on float footage then encoded
a second time (0.18 -> 0.7255).
Fix: FootageSource::frame_with asks for float footage with a FloatCurve
(sRGB, a pure 2.4 power curve, or as stored). The renderer asks for the
Working Gamma's curve when unmanaged, sRGB when managed, and the stored
values when Interpret As Linear Light encodes them afterwards.
MediaPool decodes float values that way (Preserve RGB still reads them
as stored) and caches each curve apart.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Media Browser lists .tga and .hdr files (and groups them into
image sequences), but media::is_importable had neither extension and the
still decoder never tried them, so importing them failed.
Fix: enable the image crate's built-in tga and hdr decoders (no new
dependency), add both to STILL_EXTENSIONS and the File > Import dialog, and
pick a still's format by signature with an extension fallback, since Targa
has no signature. Radiance HDR is linear float light and is sRGB-encoded like
OpenEXR (super-white kept); Targa alpha goes through the existing
unlabeled-alpha interpretation.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: `read_exr_channels` kept the exr crate's whole decoded image alive
while it built every f32 plane, and copied each channel through an extra
`Vec` (`values_as_f32().collect()`) before placing it. One decode of a
2560x1440 Blender file with 32 channels briefly held ~320 MB of samples next
to ~470 MB of planes, per concurrently decoded frame.
Fix: consume the decoded image channel by channel, so each channel's samples
are freed (or moved) as its plane is made. A channel that covers exactly the
display window is converted in one pass, and an f32 one (Cryptomatte ranks)
becomes its plane without a copy; other channels are placed into the display
window with bounds-checked indexing, as before. Keeping half channels as f16
and sizing the channel cache by bytes stay open.
Test: a full-window f32 channel's plane is the same allocation; f16 / u32
channels and offset or clipped data windows are placed as before.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: After Effects 26 imports FBX models into Advanced 3D comps; File > Import rejected
.fbx, so FBX product shots and scenes could not be used.
Fix: a clean-room FBX 7.x reader in effectcraft-model (binary node records with 32/64-bit
offsets and zlib arrays, ASCII syntax) and a scene builder: meshes with normals, UVs and
per-polygon materials, the Model hierarchy with the SDK transform (pivots, offsets, pre/post
rotation, rotation order, geometric transform), Lambert/Phong materials onto
metallic-roughness with embedded or relative textures, and GlobalSettings axes turned to
Y-up. Wired into import, probing, the media browser and the file dialog. Hostile input
(truncation, corruption, huge arrays, deep nesting) fails with an error.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: After Effects 26 imports STL models besides glTF and OBJ; we
refused .stl files, and the Media Browser and import dialog did not list
them as models.
Fix: a pure-Rust STL reader in effectcraft-model (binary and ASCII,
detected from the contents; several ASCII solids and polygon loops;
VisCAM/SolidView and Materialise Magics facet colours as plain
materials; Z-up turned to the model's Y-up; faceted normals from the
winding). Truncated, empty or non-finite input is an error, never a
crash. .stl is now a model extension for import, probing, the Media
Browser, the import dialog and the system report.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
* Release prep: bump to 0.8.0 and add a Linux riscv64 release build
- release.yml: new `linux-riscv64` job, ported from GridCraft. It cross-compiles on
ubuntu-24.04 against riscv64 libraries from ports.ubuntu.com (the Linux job's X11/Wayland/GL
-dev packages plus ALSA), ships effectcraft-<v>-linux-riscv64.tar.gz, and smoke-tests
effectcraft-cli under qemu-riscv64. The draft-release job now needs it, so its tarball is
uploaded and covered by SHA256SUMS.txt.
- packaging/linux/package.sh: cross-compiles when CROSS_ARCH/CROSS_TARGET/CROSS_COMPILE are set
(cargo --target, the cross strip, the EMULATOR smoke test), as GridCraft's does.
- Version 0.7.0 -> 0.8.0 (cargo xtask version set), Cargo.lock refreshed.
- README and docs/releasing.md list the riscv64 tarball.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
* Fix FreeBSD CI: pointer_wrap test harness, wasm32 target, clippy as_chunks
- pointer_wrap tests: the harnesses dropped run_ui's FullOutput with the font atlas upload still
in textures_delta, and epaint 0.36's drop check panics on that in debug builds. Every
pointer_wrap test failed on every platform; FreeBSD is the only CI that runs them. Clear the
delta, as the other UI tests do.
- freebsd.yml: install wasm32-unknown-unknown in the VM. Without it the host plug-in test's build
of examples/plugins/posterize-bands failed (E0463, no std) and the test skipped silently; now
it builds and runs.
- media/convert.rs: chunks_exact(2) -> as_chunks::<2>() (clippy chunks_exact_to_as_chunks,
new in Rust 1.99); same pairs, same dropped remainder.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
---------
Co-authored-by: Claude Opus 5.5 <[email protected]>
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
The exr crate reads HTJ2K (OpenEXR 3.4's High-Throughput JPEG 2000) headers
but can't decompress the pixels, and the image paths turned that into a
misleading "no non-deep rgb channels" (multi-layer files) or imported the
file and showed a transparent frame (single-layer files).
`exr_channels::unsupported_compression` reads the headers; import (probe)
and frame decoding fail with "<file>: OpenEXR HTJ2K compression isn't
supported yet: re-save the file with ZIP, PIZ or DWAA compression".
Decoding HTJ2K itself needs a pure-Rust JPEG 2000 Part 15 decoder and is
left for later.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
With the Conformed Audio folder on (the default), the conform thread wrote
whatever `decode_audio` returned, and that returned silence when the source
couldn't be opened or a read failed. The conformed file is found by the
source's path, size and date, so one failed decode (an MP3 the decoder
stumbled on once) kept the footage silent in previews and exports in every
later session, while a renamed copy played.
The conform path now decodes with `try_decode_audio`, which fails instead of
returning silence; a failed conform removes its temporary file, writes
nothing and isn't retried this session (reads go to the decoder). Playback
reads still fall back to silence. CONFORM_VERSION goes to 3 so the silent
files earlier builds wrote are ignored and conformed again.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01QiAJeFttZp83Fh7YuzAR5f
- file.relinkFootage (#461): close the params doc so checked execution
(MCP, control channel) rejects unknown keys; translate its menu entry.
- general.language lists Português (Brasil) (#217).
- docs/agents.md: set_property / add_keyframe take timeBase (#522).
- #299's MCP test no longer sends get_property a value.
- The Automatically Reload Footage sequence test uses PNG frames.
- h264_frames_at_reduced_sizes (#507): the bar depends on the fixture's
encoder; 50 dB with ffmpeg 6.1's x264.
Co-Authored-By: Claude Opus 5.5 <[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
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]>
GIFs went through the still-image path, so an animated GIF came in as a
single frame with zero duration. A GIF with two or more frames is now
probed as a movie: its frame rate is chosen so every per-frame delay is
a whole number of frames (uneven timing is kept exactly), delays of 0
or 1 hundredths count as 10 like in browsers, and the pool decodes the
frame shown at the requested time. A single-frame GIF stays a still.
Co-Authored-By: Claude Sonnet 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]>
The freeze and quit during a FLAC preview did not reproduce on current
main (Windows 11): a 4-minute stereo and a 10-minute 24-bit 6-channel
96 kHz FLAC played through a RAM preview with a real-time audio pull,
after trimming and zooming, with no stall, no growing queue and memory
bounded by the RAM preview budget; 150 cpal output start/stop cycles
ran clean. Three defects in that path were found and fixed:
- FilmCraft decodes FLAC, MP3, Ogg and AIFF files whole when they are
opened (8 s and 1.4 GB for the 10-minute 6-channel file). MediaPool
opened a file outside its lock, so every caller asking before the
first open finished decoded the whole file too: a preview's frame
workers, audio feeder, conform and waveform threads at once (8 reads
at once: 8 decodes). Each path now opens once; the others wait for it.
- AudioPlayback::start mixed its first 50 ms on the calling (UI)
thread, so the first read of such a file froze the UI for the whole
decode (audio-only previews start the sound right away). All mixing
is on the feeder thread now; the device plays silence until the first
block arrives, and the clock (frames actually played) waits for it.
- Conforming (Settings > Disk > Conformed Audio Folder, on by default)
held the whole conformed track in memory before writing it, sized by
the footage duration from the file's header: a header claiming a
month of audio aborted the app on a failed 995 GB allocation. The
conformed file is now written a chunk at a time, and footage longer
than 24 hours is read from its decoder instead of conformed.
Tests: media concurrent_first_reads_open_a_file_once (8 threads: 8
opens before, 1 now; PoolStats::opened), pool
a_header_claiming_a_month_of_audio_is_not_conformed (aborted before),
ui-egui audio starting_audio_does_not_wait_for_slow_footage (start took
the footage's 2 s before), conformed_flac_audio_reads_back_like_the_
decoder, and the robustness test flac_audio_of_any_shape_reads_in_
device_blocks (2 minutes of 24-bit 6-channel 96 kHz, mono 8 kHz,
11.025 kHz, 192 kHz and 8-channel FLAC read in 1024-frame blocks at
48 kHz through and past the end: level, silence after the end, opened
once). FLAC fixtures come from ffmpeg (skipped without it).
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]>
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]>
A requested rate of 0 would divide by zero in the resampler; it now
reads through the plain path, which returns silence for it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
