Model::read bounded each tensor but nothing else, so a tiny hostile
.tflite could make Model::run abort on a huge CONV_2D patch allocation,
or keep it busy for minutes. Read now works out from the static shapes,
with checked arithmetic, what one run takes and refuses a model over a
fixed budget: kernel side (32), one operator's working space (2^22
floats), multiply-adds (2^33), values written (2^30), floats alive at
once (2^29) and constant values decoded or laid out at load (2^27).
The shapes run() computes itself now have to match the declared ones
(PAD, CONCATENATION, MAX_POOL_2D channels), and a zero dimension no
longer lets the others grow without bound.
Reported by KazW, with the suggested load-time budget.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
clippy 1.99 flags chunks_exact_mut with a constant size; the skip offset
was also an unchecked slice.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A filesystem without lock support returned an error from try_lock, which
read as 'held' and disabled crash detection for good.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On FreeBSD the only adapter is llvmpipe over GL, which GpuContext::new
declines for its backend before checking limits; accept either reason.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Reviewed #321 (the alternative Simplified Chinese catalog) row by row against Adobe's
Simplified Chinese After Effects documentation and kept what the documentation confirms:
- Adobe's "混合模式和图层样式" page names the blend modes verbatim, so 相乘 (Multiply), 相加
(Add), 相减 (Subtract), 相除 (Divide), 动态抖动溶解 (Dancing Dissolve), 模板 Alpha /
模板亮度 / 轮廓 Alpha / 轮廓亮度 (Stencil / Silhouette) and 冷光预乘 (Luminescent Premul)
come from it. 滤色, 深色, 浅色, 实色混合 and 明度 stay, because that page gives those names too.
- "设置、选择和删除关键帧" gives 指数比例 (Exponential Scale), 消隐 (Shy), 对齐 (Snapping) and
the 选定 wording; "预合成、嵌套和预渲染" gives 合成微型流程图; the motion-graphics templates
page uses 基本图形 for the panel but 动态图形模板 for the template; the keyboard-shortcuts
page gives 双立方 (Bicubic sampling), 灰度系数 and 主要.
- The 16 label colours now carry the 色 suffix the Chinese edition uses (浅绿色, 淡紫色, 桃红色,
紫红色, 海泡沫, 深绿色), plus a few Adobe-standard phrasings: 置于顶层 / 置于底层, 与图层相同,
色彩管理, Internet 标准 RGB, 另存为模板, 时间伸缩, 减少项目, 单独尺寸, 倾斜, 关.
- Kept mine where those pages contradict #321 (屏幕 for Screen, 较深的颜色, 较浅的颜色,
纯色混合, 发光度, 资源管理器 for Finder, 整理工程 for Dependencies, 素材 for Material), where
they drop the spaces Adobe's own pages use around Latin text (3D 图层, RPF 摄像机导入,
在 Finder 中显示), and where the sibling apps' catalogs agree with this file.
`TRADITIONAL_CHINESE` mirrors the same changes (37 rows). Credit to @cjcwwww for #321, where
these rows come from.
`effectcraft-cli render --out proj/out/d.mp4 --project proj/x.ecproj` wrote
`proj/proj/out/d.mp4`: the Render Queue resolves a relative output against its own base, while
`--project` and every other CLI path are relative to the working directory. The CLI now makes
`--out` absolute against the working directory before queueing it, so the file lands where the
shell user expects; an absolute path is unchanged, and `rendered[].output` in the JSON result is
the absolute path. Render Queue outputs set inside a project (and `render --queue`) resolve as
before: tokens expanded, then `export.defaultOutputFolder`, the project's folder, the working
directory.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
- New TRADITIONAL_CHINESE catalog: the same (command, English label) keys as JAPANESE and
SIMPLIFIED_CHINESE, one entry per fixed menu row (618 rows). The wording follows the
Traditional Chinese catalogs PhotoCraft, PdfCraft, VectorCraft and LightCraft already ship
(`檔案`, `開啟`, `儲存`, `圖層`, `遮色片`, `影格`, `預設集`, `快速鍵`, …).
- Match System maps a Traditional Chinese locale (`zh-TW`, `zh-HK`, `zh-Hant`, `zh_MO`) to
`zh-hant` instead of English, now that there is a catalog for it.
- `simplified()` and `traditional()` replace the Simplified-only `chinese()`; the macOS Services
item is 服务 in Simplified and 服務 in Traditional.
- `general.language` gains 繁體中文; `docs/preferences.md` documents the locale mapping.
- Tests: all three catalogs must cover the same fixed TREE entries; the shape check covers both
Chinese catalogs; label/undo/panel-title/submenu/native-menu behaviour in zh-hant with file and
layer names kept verbatim; the Traditional locale mapping; the preference round-trips.
Face::has_char counted any non-zero cmap entry as coverage. Some fonts map
whole scripts to empty glyphs (a decorative Latin font installed on a Linux
machine maps あ, 水, ア and 。 to glyphs with no contours), so once such a
face was loaded, fallback_for could pick it and Japanese text rendered as
nothing; cjk_falls_back_to_a_system_family failed whenever another test had
loaded that face first.
has_char (and file_covers, used for faces not yet loaded) now also require
the glyph to draw something: an outline with at least one segment, a colour
glyph, or a bitmap in any strike. Characters that are blank by nature
(whitespace, and the default-ignorable code points such as soft hyphen,
joiners and variation selectors) still count as covered by any mapping.
Face::glyph is unchanged, so shaping with the chosen face is as before.
Test: an_empty_glyph_does_not_cover_its_character builds a minimal TrueType
font in code (no font file added to the repo) mapping U+E000 to an empty
glyph and U+E001 to a triangle, and checks has_char and fallback_for.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Claude-Session: https://claude.ai/code/session_01K3vVft4VXvvy8SpbbUceTW
- The i18n module now selects a catalog by language code instead of testing for Japanese:
`language(app)` returns the code, `lookup` is shared by every catalog, and the undo/redo
and workspace / 3D-view titles are formatted per language.
- New SIMPLIFIED_CHINESE catalog: the same (command, English label) keys as JAPANESE, one
entry per fixed menu row of the engine tree (618 rows).
- `general.language` gains 简体中文 (`zh-hans`). Match System maps a Simplified Chinese locale
(zh, zh-CN, zh_CN.UTF-8, zh-Hans-CN, zh-SG) to it and a Traditional one (zh-TW, zh-HK,
zh-Hant) to English, which has no catalog of its own yet.
- The macOS Services menu item is 服务 in Chinese.
- Tests: both catalogs must cover the same fixed TREE entries; `...`, brackets and spacing
keep the English shape; label/undo/panel-title/submenu/native-menu behaviour in zh-hans
with file and layer names kept verbatim; the locale mapping; the preference round-trips
through prefs.json.
AAC audio in an MP4/MOV whose sample rate differs from the mix rate
(a 44.1 kHz clip in the 48 kHz preview or export, or the reverse)
stuttered and sounded low-pitched in previews and in exported movies.
Cause: FilmCraft's MP4 reader, asked for audio at a rate other than
the file's, applied the edit list's priming offset (1024 samples for
AAC) twice when it resampled: each read started about 1024 source
samples early and extrapolated a ramp over its first ~940 samples
(peaks near 100 against a 0.5 tone). Export and the preview mix ask
for audio a frame or a device buffer at a time, so the ramp repeated
dozens of times a second. Same-rate reads take FilmCraft's copy path
and were exact. FilmCraft fixed this upstream in 5bf2203, 87 commits
past the pinned revision.
Fix: MediaPool reads footage audio at the source's own rate and
resamples it itself (linear, by absolute sample position, so a range
comes out the same however it is split into reads), for every
container.
Test: resampled_audio_read_in_frame_pieces_matches_ffmpeg (44.1 kHz
AAC read at 48 kHz and 48 kHz at 44.1 kHz in 29.97 fps frame pieces,
against ffmpeg's decode: max error 44 before, 0.002 after) and
movies_carry_resampled_footage_audio (a 29.97 fps comp with 44.1 kHz
AAC footage exported to MP4/AAC and MOV/PCM, decoded by ffmpeg: max
error 8.7 before, 0.03 / 0.002 after).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Importing a glTF / OBJ model opened Interpret Footage: the probe
reports straight alpha and the file has no alpha label, so with
Settings ▸ Import ▸ Interpret Unlabeled Alpha As at Ask User (the
default) the model was listed as unlabeled. Only image footage
(stills, sequences, video) can have unlabeled alpha; a model renders
its own, and audio and data have none.
Test: importing_a_model_does_not_ask_about_alpha (engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
`supported` was only called on desktop builds, so the wasm32 check
warned that it was never used. The browser build, which has no system
locale here, now resolves Match System through supported(None)
(English) instead of a literal.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Two measurements on Turbulent Basic: with one 16 px layer whose lattice
lines run through pixel centres, the slope across the lines relative to
the average slope (0.019 with the quintic fade, 0.75 now; must be over
0.5); and at the issue's settings, the gradient along the lattice axes
against the diagonals (1.21 before, 1.03 now; must be under 1.15).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Soft Linear was value noise with a quintic fade between two lattice
values per axis. That fade has zero slope across every lattice line and
at every lattice point, so the noise's contours met the lattice at right
angles and flattened around its points. The turbulent fold (1 - |s|) and
high contrast turned that into a visible square grid at each layer's cell
size (Turbulent Basic, Contrast 140, Brightness -35: gradients 1.3x as
strong along the axes as along the diagonals; Spline 1.1x).
Soft Linear is now linear interpolation softened by a one-cell box
filter, i.e. the uniform quadratic B-spline over the 3 x 3 lattice values
around the nearest one (evolution still fades between two slices): smooth
everywhere, with half the neighbours' difference as its slope on lattice
lines, and cheaper than Spline (9 taps instead of 16). Averaging
lowers the noise's spread, so a fixed gain about mid-grey restores the
quintic fade's variance and existing projects keep their contrast and
brightness (issue settings: mean 0.356 -> 0.362, std 0.147 -> 0.152,
axis bias 1.28 -> 1.05).
Only Fractal / Turbulent Noise's Soft Linear changes: generate's
value_noise and its other callers are untouched. noise3 now shares
generate's lattice hash and fade instead of copying them. The GPU
kernels (pointwise Fractal Noise and fxn_fractal) call the same
soft_linear_noise. No golden hashes pin these cases.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- release.yml: `freebsd` job (FreeBSD 14.3 VM, the freebsd.yml packages) running the new
packaging/freebsd/package.sh; `flatpak` matrix (x86_64 on ubuntu-24.04, aarch64 on
ubuntu-24.04-arm) repackaging the Linux tarball with packaging/linux/flatpak-bundle.sh and the
new ai.storyteller.effectcraft.bundle.yml; both added to the draft release's needs.
- AppImages embed gh-releases-zsync update information and ship a .zsync beside them; the Linux
job installs zsync and checks both.
- version, Linux and web jobs drop `environment: release` (they read no secrets), so a dispatch on
a branch is a full dry run of every unsigned job; the draft release still needs the signed jobs.
- Flatpak finish-args documented and shared by the bundle and Flathub manifests (lint checks they
match); audio, GPU, portals, xdg-pictures/videos/documents, network for the optional model
downloads. The Flathub manifest now also installs effectcraft-cli.
- packaging-lint runs the FreeBSD layout dry run.
- README: Downloads section (every file a release ships) and nav entry; docs/releasing.md updated.
Co-authored-by: Brandon Thomas <[email protected]>
Co-authored-by: Claude Opus 5.5 <[email protected]>
The host test writes a binary glTF cube (built in the test), imports it
with the real media layer, makes New Comp from Selection and renders
with no accelerator (the CPU path an Intel HD Graphics 5500 most likely
gets): the comp is Advanced 3D and the red cube covers part of the
frame. Before the fix the comp stayed Classic 3D and drew nothing. The
engine test checks the switch, its single undo step, the toasts, that a
second model doesn't switch again, and primitives.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Imported GLB/glTF models were invisible in the Composition viewer while
text showed. Only the Advanced 3D renderer draws model and primitive
layers, and new compositions (and New Comp from Selection) are Classic
3D by default, but adding a model layer left the comp's renderer alone,
so the model drew nothing on every backend. It wasn't the reporter's
GPU: on this machine the viewer showed nothing for a GLB in a new comp
with the GPU compositor (Vulkan) and with Mercury Software Only, and
the model in both once the comp used Advanced 3D.
As After Effects documents ("Advanced 3D gets automatically selected
when you add a 3D model to the composition"), layer.newModel /
layer.addItem of a model and layer.newPrimitive now switch a Classic
3D comp to Advanced 3D inside the same edit (one undo step, Geometry
Options added to its text and shape layers like Composition Settings
does) and toast that the comp changed renderer. Switching a comp that
has model layers back to Classic 3D toasts why they disappear.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Files dropped on the window or picked in the Import dialog were probed
one after the other on the UI thread: the app froze while a video was
read, nothing said what was being imported or how many files were
left, and only the last new item was selected. People ended up
importing the same file again and again.
file.import takes `background`: the files are probed in a background
job (Window > Progress, jobs.list / jobs.cancel) that names the file
being read and how many there are ("b.png (2 of 3)"); then they are
added in one undo step, all selected (the Project panel scrolls to
them, a file already in the project arrives again as in After
Effects) and a toast reports the count ("Imported 3 items", with the
first error). Drops and the Import dialog use it, and an Importing
card at the bottom left shows the job with its progress bar and
Cancel. Agents and scripts still import at once by default. The
toast registers an automation id.
Test: background_imports_report_progress_and_select_what_arrived
(engine), dropped_files_show_import_progress_then_the_items_they_made
(ui_drag_drop).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Moving a puppet pin keys its Position, but the Timeline didn't show
those keys where people look for them. U revealed every pin's Position
as one more flat "Position" row under the layer, indistinguishable from
the layer's own Position and from each other, and the reveal was a
snapshot: a pin placed or moved after U (or with the layer twirled open
and Effects closed) got keys that no row showed.
As in After Effects, revealed properties inside an effect now show
under the effect and its groups (Puppet > Mesh 1 > Deform > Puppet
Pin 1 > Position), twirled open by the reveal and closable like any
group; Transform and mask properties stay as they were. Placing, moving
or recording a pin in the viewer keeps its Position in view: on a
twirled-open layer its groups open, and a U reveal takes it in. A
collapsed layer stays collapsed. The keys select, move and delete like
any others.
Test: puppet_pin_keys_show_under_their_pins_in_the_timeline,
placing_a_pin_opens_its_groups_on_a_twirled_open_layer (ui_viewer).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Two copies opened close together made the second take the first's
launch-pending marker for a crash and switch Window Graphics to OpenGL.
Where OpenGL can't open a window (NVIDIA on X11: "gl not compatible with
provided surface"), every later launch then failed, with no way to reach
the setting.
The marker is now locked while its launch runs, so a locked marker is a
launch still opening, not a crash. And a window that fails to open on
OpenGL puts Window Graphics back to Automatic.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
