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]>
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]>
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]>
The Learn workspace opens the Home screen on its Learn tab, but no other workspace closed it, so
after Learn the tutorials stayed over Default, Review and the rest until a project was created or
Home was toggled. It wasn't about clicking quickly: any switch away from Learn kept them. Leaving
Learn for another workspace now closes the Home screen it opened.
Test: ui_panels leaving_the_learn_workspace_closes_its_tutorials (clicks through the workspace
tabs: the Home screen and the tutorials show only on Learn).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Most panels lay out their own rows and scrolled only with the mouse wheel: Effect Controls,
Effects & Presets, the Media Browser, Ease Presets and the Timeline's layer rows had no scroll
bar, Properties and Preview a thin indicator that couldn't be dragged, and Render Queue, History,
Markers, Character, Paragraph and Info didn't scroll at all, so a panel shorter than its content
cut it off. Without a wheel or a working touchpad there was no way down. The Project panel had
the only real scroll bars, hand-rolled, and its vertical one was hit-tested under the rows, so it
only dragged where no row was.
- widgets::scroll_bar: the Project panel's bars generalised (horizontal or vertical, drag the
thumb or press the track to move it there, automation id with "scroll/max"); the Project
panel's two bars and the Timeline's column bar use it, drawn over the rows.
- widgets::PanelScroll: the wheel offset, its clamping and the bar for a panel's own rows, used by
Effect Controls, Properties, Effects & Presets, Media Browser, Ease Presets, Preview, Render
Queue, History (which still follows the current state), Markers, Character, Paragraph and Info.
The Timeline's layer rows get a bar on the right edge.
- Effect Controls: an animated vector's values (a puppet pin's Position) ran under the keyframe
navigator in a narrow panel. They now end before it, moving left over the name, which is cut
short.
Test: ui_scrolling panels_taller_than_their_space_have_a_scroll_bar_to_drag (eleven panels in a
short window: a press on the track and a thumb drag scroll them),
effect_values_stay_clear_of_the_keyframe_navigator.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The menu bar's own menus (Edit has 30 entries) had no scroll area, only their submenus did, so
on a short screen Edit ran past the bottom of the window. The font menu was capped at 420
points and never moved up, the Preview panel's and the viewer's popup lists neither scrolled nor
moved, and the Timeline's Blending Mode and Expression Language submenus didn't scroll. egui's
scroll bars also only appeared while the pointer was over the list, so a list could only be
scrolled with a wheel or touchpad.
- widgets::popup_list: the one popup list behind popup_menu, the font menu, the Preview panel's
dropdowns and the viewer's popups: as tall as the window allows, scrolling beyond, moved up to
fit the window.
- widgets::menu_scroll: the same for menus and submenus (the menu bar's, Blending Mode, the
Expression Language menu, the viewer's Select menu).
- Scroll bars always show (solid scroll style), so they can be dragged.
- A first window that doesn't fit the screen is maximized: the 1680 x 1020 default on a smaller
screen is only shrunk to the monitor's size, so with its title bar it ran under the taskbar and
cut menus off at the bottom of the screen even when they fitted the window.
Test: ui_scrolling a_menu_taller_than_the_window_scrolls (Edit in a 520-point window scrolls
its last entry into view and it takes the click); overflows_screen unit test.
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]>
A dockable panel (our own design) for the keys.easePreset commands. A
value graph shows the working curve with its two handles, which drag
to edit it; Apply eases the selected keyframes with it and From Keys
loads the curve between the first selected pair. Every preset is a
thumbnail drawn in code; a click loads it and applies it to the
selected keys. Save Current keeps the working curve under the name in
the field, and Rename and Delete act on the selected user preset.
Wide panels put the presets beside the graph; narrow ones below it,
the graph shrinking to leave a row of presets, scrolled with the wheel.
The panel state (working curve, selection, name) is serde in the UI
state, and every control registers an automation id (easePresets.*).
widgets::text_field is the search field without its magnifier.
Test: clicking_an_ease_preset_eases_the_selected_keys_and_handles_edit_the_curve
(ui_keyframes); every_panel_registers_automation_ids_for_its_widgets
covers the new panel.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
keys.easePreset.apply {preset | curve} eases every pair of neighbouring
selected keyframes of each selected property in one undo step: the out
side of the earlier key and the in side of the later one. A curve is
given as {outInfluence, outSpeed, inInfluence, inSpeed} or as handles
[x1, y1, x2, y2]. keys.easePreset.capture reads the curve between the
first selected pair; keys.easePreset.save {name, curve?} keeps it (or a
given curve), and list, rename and delete manage the user presets.
Twelve built-in curves are our own numbers (Linear, Smooth, Ease In-Out
Soft / plain / Strong, Accelerate and Decelerate with Strong variants,
Expo In-Out / Accelerate / Decelerate) and can't be renamed, deleted or
overwritten. User presets live in the config store (ease_presets.json),
loaded with the other settings. A file that isn't JSON gives no user
presets, and entries that don't parse, have no usable name or repeat a
name are skipped and logged. A failed write leaves the presets as they
were.
Test: a_preset_eases_every_selected_pair_in_one_undo_step,
a_curve_scales_to_each_dimension_and_follows_motion_paths,
apply_needs_neighbouring_keys_and_a_known_curve,
user_presets_save_rename_delete_and_persist,
a_corrupt_presets_file_loads_what_it_can (effectcraft-engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
An EaseCurve is the temporal ease of one segment independent of its
duration and values: the out side of the first key and the in side of
the second, as influence (%) and speed relative to the segment's
average speed (1 = linear, 0 = at rest). Its handles in the normalised
value graph are cubic-bezier points. apply() eases a pair of keys per
dimension, along the motion path for spatial values and as overall
progress for paths and gradients, the way Easy Ease shapes them; an
Auto Bezier key keeps its other side as it plays. measure() reads the
curve a segment plays back. Non-finite numbers are rejected and
influences and speeds clamped.
Test: handles_round_trip_and_reject_non_finite_numbers,
applied_curve_scales_to_each_dimension_and_measures_back,
spatial_curve_follows_the_motion_path,
linear_and_auto_bezier_sides_measure_as_they_play (effectcraft-keyframe).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Scaling a layer by a bounding-box handle didn't snap, so it couldn't
be scaled exactly to the comp. With snapping on (Cmd/Ctrl toggles it
during the drag), the dragged handle now snaps like a dragged layer's
feature: to the comp's edges, corners and centre and to other layers'
edges, corners, centres and anchor points, as the Snapping options
allow. A corner snaps both axes, an edge its own axis; with Shift the
corner slides along its line from the anchor point to the nearer
snapped edge, so the proportions stay and the layer lands on, say, the
comp's size.
Test: handle_drags_snap_to_the_comp_edges.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Shift-dragging the work area's begin or end handle now snaps it to the
current-time indicator, keyframes, layer in and out points and markers
within 8 px, with the snap candidates the CTI and keyframe drags use.
The work area bar itself drags too, as in After Effects: it moves the
work area and keeps its length, and with Shift the nearer end snaps.
Test: shift_dragging_the_work_area_snaps_to_the_current_time.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dragging a layer already snapped its feature nearest the pointer to
other layers' edges, corners, centres, anchor points and path points
and to the comp's edges and centre, and Cmd/Ctrl held during the drag
already turned snapping on or off against the checkbox. What was
missing were After Effects' Snapping options beside the Tools bar's
checkbox. The new menu turns Snap Edges Extended off (a layer's edges
then snap only along the layer, not across the comp) and each feature
family (edges, corners, centres, anchor points, mask and shape path
points) on or off, for the dragged layer's snap features and for the
targets alike. Agents set them with view.snappingOptions.
Layers whose eye is off (or that a solo hides) are no longer snap
targets, mask and shape path points of the dragged layer snap too, and
while snapping is on the feature that snaps is boxed during the drag.
Test: layer_drag_snaps_to_other_layers_edges_ctrl_toggles_and_options_apply
(UI), snapping_options_pick_the_targets and
snapping_options_command_sets_and_toggles (engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Clicking (or marquee-selecting) keyframes in the Timeline selected only
the keys. Their property and layer stayed unselected, so the Graph
Editor, which shows the selected properties or else the animated
properties of the selected layers, came up empty until the property
was selected separately. As in After Effects, the Timeline's key
selection now selects the keys' properties and layers too (Shift adds
to them). keys.select takes this as `selectProperties`; the Graph
Editor's own key clicks leave what it shows alone.
Test: a_key_clicked_in_the_timeline_shows_in_the_graph_editor
(ui_keyframes).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A user suggested py-aep (MIT, Python), which reads and writes .aep
files. G4 now records it for the clean-room decision, with the two
ways it could be used: as an external converter, or ported, which
means reading another implementation of the format.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On some older Intel integrated GPUs (UHD 600, UHD with 2020 drivers)
the graphics driver crashes EffectCraft as its window's DirectX 12 or
Vulkan device is created (exit code 0xC0000005): the process
disappears with no message, and only WGPU_BACKEND=gl helped. A driver
crash can't be caught, so each launch now leaves a marker in the
settings folder until its window draws. A launch that finds the
previous one's marker switches the new Settings ▸ Startup & Repair ▸
Window Graphics (Automatic / OpenGL) to OpenGL and says so in the
status bar. A window that fails to open says the next launch will try
OpenGL. WGPU_BACKEND still wins; macOS has no OpenGL backend, so it
never switches there.
Tests: a_launch_that_never_drew_switches_the_next_to_opengl (app),
window_graphics_is_validated (engine). Checked end to end with a
leftover marker: the app opened on OpenGL with the notice and cleared
the marker.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On OpenGL the compositor translated its compute kernels for tens of
seconds (22 s on an RTX 4090) before one failed validation and it fell
back to CPU compositing, all before the window's first frame. It now
declines GL adapters up front, as it declines adapters without compute
shaders. OpenGL is what Window Graphics falls back to for drivers that
crash with DirectX 12 or Vulkan.
Test: opengl_adapters_get_cpu_compositing_at_once (gpu tests_init;
skips without an OpenGL adapter).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
On macOS 27.2 (rustc 1.98) one of the 404 pinned simulation hashes,
CC Mr. Mercury at non-default settings, 32 bpc, t = 2.2 s, came out
different. The reporter rendered every case at the commit that pinned
the hashes and at current main on that machine, and the frames were
byte-identical. So the code didn't change: the platform's libm did
(the hashes are exact f32 bits through sin, cos and powf). The test
now also accepts listed per-case libm variants, with that hash as the
first, and every other case stays exact. Its docs say how to tell a
libm difference from a code change.
Test: libm_variants_are_accepted_for_their_case_only (sim_golden; runs
on every platform).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The logger kept warnings in memory and wrote to a file only after Help
▸ Enable Logging, and it ignored RUST_LOG. An app that never opens its
window (macOS 27 on Apple Silicon, #234) therefore left no trace. Now
RUST_LOG (a level, or env_logger-style `target=level` directives)
also prints what it lets through to stderr, including eframe, winit
and wgpu. The desktop app logs its start-up milestones: opening the
window, the graphics adapter, the app created, the first frame drawn,
the window being asked to close, and the window closed.
Test: rust_log_filters_by_level_and_target (engine logging). Checked
by running the app with RUST_LOG=info and quitting it over the control
channel.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The reports of 8 October (#225-#227, #229-#231), their fixes (#235,
#237-#241), what remains of #227 (multi-monitor support, the Project
panel's empty-area menu, effect points on shape and text layers) and
the regression tests for each.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Tools bar had Fill and Stroke swatches and a Stroke Width, kept in
the interface only, so agents couldn't set them and new shapes could
only be a solid fill with a solid stroke. As in After Effects:
- With a shape layer selected and a shape tool or the Pen active, Tool
Creates Shape / Tool Creates Mask choose whether drawing adds shapes
to the layer or masks on it (Fill and Stroke hide while drawing
masks).
- Clicking the word "Fill" or "Stroke" opens Fill Options / Stroke
Options: None, Solid Color, Linear Gradient or Radial Gradient, the
blend mode and the opacity. The swatches show the kind; Alt-click
steps through the kinds.
- New shapes and Pen paths are painted with them: a Gradient Fill or
Gradient Stroke across the shape for the gradient kinds.
The options are engine state (EditorState.shape_tool) set with the new
shape.toolOptions command; shape.newShape and shape.newPath use them
unless given paint parameters (which now include fillType, fillBlend,
fillOpacity and their stroke twins; layer.newShape takes them too). A
Pen path without paint parameters now takes the Tools bar's stroke
(none by default) instead of a fixed 2 px white one. layer.addMask also
draws rounded rectangle, polygon and star masks, so every shape tool
makes a mask on a selected footage or solid layer (rounded rectangles,
polygons and stars made a new shape layer).
Test: shape_tool_options_paint_new_shapes,
masks_of_every_shape_tool_kind,
tool_creates_mask_draws_a_mask_on_the_selected_shape_layer,
fill_options_paint_the_next_shape.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edit > Duplicate (Ctrl+D) with a shape group or other shape item
selected in the Timeline duplicated the whole shape layer. As in After
Effects it now duplicates the selected items inside their group, each
copy above its original and numbered on ("Rectangle 1" gives
"Rectangle 2"), and selects the copies. With only layers selected the
layers are duplicated as before.
Test: duplicate_with_shape_items_selected_duplicates_them_in_place,
ctrl_d_duplicates_the_selected_shape_group_in_its_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edit > Copy with a shape group (or a path, fill, stroke or path
operation) selected in a shape layer's Contents copied the whole layer,
and Paste made a new layer. As in After Effects, Copy now copies the
selected items, Paste puts them into each selected shape layer's
Contents (above its selected item, in that item's group, else on top,
with names kept unique there: "Rectangle 2"), and Cut removes them, so
Cut + Paste moves them. Pasting with no shape layer selected is an
error rather than a new layer. Copying anything else clears the shape
item clipboard, as it does the other clipboards.
Test: shape_contents_copy_cut_and_paste_between_shape_layers,
ctrl_c_and_ctrl_v_copy_a_shape_group_into_another_shape_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With a shape layer selected, the Rectangle, Rounded Rectangle, Ellipse,
Polygon and Star tools made a new shape layer for every shape. After
Effects draws into the selected shape layer instead: the shape becomes a
new group on top of its Contents ("Rectangle 2", ...), placed by the
group's Transform. The new shape.newShape command does that (in the
layer's space, so a moved or scaled layer still gets the shape where it
was drawn), and makes a new shape layer only when no unlocked shape
layer is selected. The viewer's shape tools use it; masks on other
selected layers are unchanged. layer.newShape and the Pen's
shape.newPath share its layer and Contents helpers.
Test: shape_tools_draw_into_the_selected_shape_layer,
shape_tool_draws_into_the_selected_shape_layer.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Each layer switch toggled on its own click only, so hiding or locking
many layers took a click per layer. As in After Effects, pressing a
switch in the A/V Features or Switches column now sets it at once, and
dragging up or down gives the same switch of every layer the pointer
passes the state the first one got, whatever their own state was
(rows passed in a quick drag included). The whole drag is one undo
step: layer.setSwitch takes a `merge` key like other gesture edits.
A single click still changes only that layer, so clicking the eye of
one selected layer doesn't change the others (Layer > Switches still
sets all selected layers).
Test: dragging_over_layer_switches_sets_them_all.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Dragging Project items onto the Create a new Composition button at the
bottom of the Project panel did nothing. As in After Effects, the
button now takes the drop and runs File > New Comp from Selection with
the dragged items (the selection when the dragged item is in it): one
item becomes a comp of its size, frame rate and duration holding it,
and several open the New Composition from Selection dialog. The button
is outlined while items are dragged over it.
Test: project_items_dropped_on_new_comp_make_a_composition.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Right-clicking the Effect Controls panel did nothing outside an
effect's header. As in After Effects, a right-click anywhere a control
has no menu of its own (the empty area, property names, buttons such
as Reset) now opens the Effect menu: Effect Controls, Last Effect,
Remove All, Manage Effects and every effect category, applying the
chosen effect to the selected layers. It is the menu bar's own Effect
menu tree and drawing code; an effect header keeps its own menu.
Test: right_click_in_effect_controls_shows_the_effect_menu.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Spacebar started or stopped the preview on its press, so holding it to
pan the Composition panel (Space+drag already panned there) also
toggled playback. As in After Effects, plain Spacebar now runs its
shortcut when it is released, and only if no mouse button went down
while it was held and the press didn't go to a text field; key
auto-repeat toggles nothing more. Shift+Spacebar and the numpad
preview shortcuts still run on the press.
Holding Spacebar over the Timeline's ruler and time graph is the Hand
tool there too: dragging scrolls the time graph (when zoomed in, never
before the comp's start or past its end) instead of moving bars, keys
or markers.
Test: spacebar_taps_preview_and_held_spacebar_pans_the_viewer,
spacebar_drag_scrolls_the_time_graph.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The interface language was English unless Japanese was chosen in
Settings ▸ General ▸ Language. Language now has a Match System choice
(`general.language` = `system`), the new default: the operating
system's interface language where EffectCraft has a translation
(Japanese), else English, as After Effects installs in the system's
language. English and Japanese can still be chosen; a language chosen
before stays. The browser build stays in English with Match System,
since it has no Japanese font of its own.
The system language comes from sys-locale (MIT OR Apache-2.0, no
dependencies on the desktop platforms), on desktop builds only.
Tests: match_system_uses_the_system_language_where_there_is_a_catalog
(i18n), interface_language_is_validated_persisted_and_backward_compatible
(engine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A press in the Composition panel always acted on the topmost layer
under the pointer, so a selected layer could not be dragged where
another layer covered it: the press selected the layer in front. As in
After Effects, a selected layer under the pointer now comes first: it
stays selected and a drag moves it. With no selected layer there the
topmost layer is picked as before, and Shift still toggles the topmost
one. The context menu's list of layers under the pointer shares the
same hit test.
Test: viewer_press_prefers_a_selected_layer_under_the_pointer
(ui_viewer).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
When the page's WebGPU device was lost, the canvas kept showing its
last frame: edits still went through and rendered frames were right,
but the editor never showed them and nothing said why (the status
message about it is drawn in the canvas that can't present any more).
The page now covers the canvas with a notice that offers Save Project
(a download) and Reload. Reload first writes pending changes to
browser storage, so the session snapshot brings the project and its
unsaved changes back; if that write fails it says so and offers
Reload Anyway. Without a kept session (?empty, memory storage) the
notice says to save first.
Test: apps/effectcraft-web/tests/page.mjs (Node, fake DOM).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Add Files... and Upload Folder... read every picked file in one go and
rejected on the first file the browser couldn't read; the Media
Browser dropped that rejection, so nothing was added and nothing said
why. Each file is now read on its own: the readable ones are added and
the status bar names the unreadable ones with the browser's reason and
suggests picking them again. Cancelling the picker is not reported.
Test: apps/effectcraft-web/tests/page.mjs (Node, fake DOM).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Project panel's vertical scroll bar clamped its thumb between 16
points and the track's height. When the track was shorter than 16
points (an empty project in a 1280 x 800 browser window at device pixel
ratio 2, or any short panel), that clamp panicked on the first frame:
the browser canvas went blank and the app stopped responding. The
thumb is now at most the track's length, and both scroll bars share
the calculation.
Test: a_short_project_panel_draws (ui_project_rows).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Edge pinning (Turbulent Displace's default Pin All, Wave Warp's
Pinning, Bulge's Pin All Edges) holds the layer bounds still: a
comp-sized rectangle for shape and text layers. That rectangle started
at the layer's origin, but a shape layer's content surrounds its origin
(anchor 0,0), so everything left of or above the origin counted as
outside the layer and was pinned: only the bottom-right quadrant of a
centred shape moved.
The renderer now passes the bounds' top-left in layer coordinates
(EffectEnv::bounds_origin): (-w/2, -h/2) for layers without a source
rectangle, (0, 0) otherwise. util::pin_rect places the bounds there and
the three effects use it on the CPU and the GPU. Effect point
parameters keep their current layer coordinates.
Test: edge_pinning_displaces_all_of_a_centred_shape_layer,
edge_pinning_on_a_shape_layer (GPU vs CPU).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Clicking an item's Output To file name opened an inline editor on the
name template (`[compName].[fileExtension]`), so there was no way to
pick a folder from there. Choose File… in the menu beside it did open
a dialog, but the project save dialog: filtered to .ecproj and opening
wherever the OS chose.
As After Effects' Output Movie To, clicking the file name now opens a
save dialog at the current output (its folder and name) for the output
format's extension, and the chosen file becomes the output. Choose
File… opens the same dialog. Alt-click still edits the template in
place, and hosts without a save dialog (the web) keep the inline
editor. The desktop `pick_save_file` hook opens in the folder of a
default path.
Test: clicking_the_output_file_name_opens_the_save_dialog.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Save as New Workspace stored the layout and `window.workspace` could
switch to it, but the Workspace submenu was a fixed list of the
built-in workspaces, so a saved one never appeared and could not be
chosen from the menu.
The submenu now has a `savedWorkspaces` dynamic node after the
built-ins (DynCtx carries the saved names), in the in-window and native
menus, with a check mark on the current one as the built-ins have.
The in-window submenu was also too short to show it. egui lays out a
new submenu in a default 400 pt area, and the scroll area inside took
that height and kept it, so Window ▸ Workspace (514 pt) opened with its
last rows (Undocked Panels and below, where saved workspaces go)
scrolled out of view. Submenus now open at their full height and scroll
only when taller than the window.
Tests: saved_workspace_is_listed_in_the_workspace_menu (picks it from
the menu bar), saved_workspaces_are_in_the_native_workspace_menu.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
apply_output checked `channels: rgba` against the module before it
applied `webmCodec`, and choosing AV1 then quietly dropped the channels
to RGB. So `render --format webm --webm-codec av1 --channels rgba` (one
renderQueue.add) succeeded and wrote an opaque AV1 stream.
The codec options now apply before Channels, so the existing "has no
alpha channel" error (how an unsupported channels request is already
reported) refuses the combination; for WebM it names the codec: "AV1
WebM has no alpha channel (VP9 WebM has)". Choosing AV1 alone on an
RGBA VP9 item still switches it to RGB, as changing the format does.
Test: av1_webm_refuses_requested_alpha.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
apply_output switched the format whenever the Output To extension mapped
to a different format, and `.mp4` maps to H.264 only, so
renderQueue.setOutput with an .mp4 path (even the item's own default
name) turned an HEVC or AV1 module into H.264 and the render wrote an
H.264 stream.
The extension now changes the format only when the current format
doesn't write it (OutputFormat::extension): HEVC, AV1 and H.264 all write
.mp4, so they stay; `.mov` on H.264 still picks ProRes and `.mp4` on
ProRes still picks H.264.
Test: output_to_keeps_a_format_that_writes_the_extension.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Their params docs wrote the renderer as `renderer? classic3D|advanced3D`.
Without a `:`, the doc parser reads `|` as "or another key", so
`advanced3D` became an accepted key in the schemas and the unknown-key
check: `comp.new {"advanced3D": true}` succeeded and made a Classic 3D
comp.
The docs now use the value-list form the other commands use,
`renderer?: classic3D|advanced3D`. The key is removed rather than
implemented: it would only duplicate `renderer` (and could contradict
it). A scan of every command's schema found no other key that came from
a value list.
Test: renderer_values_are_not_parameter_keys (not in the schema, rejected
as unknown, `renderer` still works on both commands).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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]>
`effectcraft-cli script FILE` passes the file's text to script.run, which
ran a compiled .jsxbin script as JavaScript and failed with "SyntaxError:
unexpected '@'" at 1:1, while file.runScript already says .jsxbin isn't
supported.
script.run now refuses a script named `.jsxbin` or whose text starts with
the `@JSXBIN@` header, with file.runScript's message (one shared
constant). The check is in the command, so the CLI with or without
--bridge, MCP run_script and the Script Console all report it.
Tests: engine_entry_points (by header and by name), script_file_and_eval
(the CLI exits 1 with the message and no SyntaxError).
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 CLI printed with println!/eprintln!, which panic when the stream is
gone, so `exec --list | head` (or any output larger than the pipe buffer)
ended in a broken-pipe panic with exit status 101.
Output now goes through say!/note!, which never panic. Once stdout fails,
later output is dropped but the command still finishes its work (a
`run ... --save` sequence isn't cut short); a closed pipe is quiet and
exits 0, any other stdout error is reported and makes the exit status 1.
The MCP server ends quietly when its client closes stdout.
Test: a_closed_stdout_is_not_a_crash (info --json, exec --list, a saving
run sequence and mcp with stdout closed before they write).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: a `DockNode::Stack` laid its panels out from fixed heights (Preview
46 pt) with the rest shared, but only split gutters were interactive, so
the right column's panels could be expanded or collapsed and never resized.
Fix: the gap below a stacked panel drags the nearest open panels above and
below it against each other, neither going below 40 pt. The new sizes are
stored as the entries' heights, so they persist in the layout like split
sizes. The last panel without a height keeps sharing the rest, and when no
panel takes the rest, or space runs short, the heights scale so the stack
fills its column. Split and stack gaps share one `gutter` helper.
Automation ids: `dock.gutter.<path>s<i>` for the gap below stacked entry i.
Test: ui_tabs `stacked_panel_gaps_resize_the_panels` (drag, persistence,
collapse/expand, minimum); dock unit tests `stacked_panels_fill_their_column`
and `dragging_a_stack_gap_trades_height_between_its_neighbours`.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Cause: the click-to-edit fields (hot numbers and revolutions, the Timeline
time display and layer comments, Project rename/comment, the Render Queue
output path, Essential Graphics control names) opened a text edit with
egui's default caret at the end of the text, so typing appended to the old
value. The Timeline time display, layer comment and Essential Graphics name
editors also re-requested focus before checking `lost_focus()`, which hid
the loss, so Enter, Escape and clicking away never closed them.
Fix: a shared `widgets::keep_focus` keeps an open inline editor focused and
selects its whole text on the frame it opens (`widgets::select_all`, which
the layer rename now reuses). Those editors check for a lost focus first,
and Escape now cancels in the time display and the Essential Graphics
name editor.
Test: ui_angles `typing_replaces_the_clicked_value` (degrees and revolutions
in Effect Controls, Timeline and Properties, typed without Ctrl+A);
ui_inline_edit `project_rename_replaces_the_name` and
`timecode_field_replaces_commits_and_cancels`.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Conforming a footage file's audio (Settings ▸ Disk ▸ Conformed Audio
Folder, which preview playback reads) timed each 65,536-frame chunk as
`frame index × ticks per second / rate` in i64, which overflows past
36,310,516 frames: 12:36.47 at 48 kHz (25:13 at 24 kHz, hence the
workaround). Chunks after the overflow decoded at a wrapped, negative
time and came out silent, so preview audio stopped at 12:37.76 (the end
of the last chunk that started in time) in every long file.
Chunk times now come from Tick::from_units (exact, 128-bit). The
conformed files' names include a format version, so files written by
earlier builds are ignored and conformed again.
Test: conform_chunks_keep_their_times_on_long_files (every chunk start
of a 2-hour file at 24–96 kHz); it failed before (multiply overflow).
Checked end to end: a 13-minute file's conformed audio has sound at 760 s
and 790 s.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A frame whose last byte happened to match the superframe marker pattern
(0b110xxxxx, Annex B) was taken by decoders for a superframe with an
index at its end: ffmpeg rejected it ("Invalid le value at
frame_sizes[i]"), libvpx reported a corrupt frame, and later frames lost
their reference. In the reported WebM, 3 of 60 frames (10, 22, 24) ended
in 0xc8, 0xc0 and 0xca. The render still reported success.
Such frames now get a zero byte after the last tile; the last tile's
bool-coded data may end in zero padding (9.2.3).
Test: frames_never_end_in_a_superframe_marker encodes sequences until a
frame needs the padding, checks no frame ends in a marker byte, and that
the padded frames decode exactly with FilmCraft's decoder and with
ffmpeg (clean error log). It failed before ("96x64 q40 frame 22 ends in
0xde"). The ffmpeg IVF oracle is shared with the existing inter test.
Checked with the reporter's steps: 60/60 frames, no errors from ffmpeg's
vp9 or libvpx, RGB and RGB + Alpha.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The Debian and RPM description (nfpm.yaml) was PhotoCraft's image-editor text. It now
describes the motion graphics and visual effects compositor; the RPM Summary is its first
line. The AppStream description, which read "EffectCraft is a motion graphics editor. Motion
graphics and visual effects compositor", gets the same wording.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- #174: the file names are fixed (effectcraft_web.js, effectcraft_web_bg.wasm, worker.js,
sw.js…), not content-hashed, so the guide's year-long immutable caching kept returning
visitors on the old release after an in-place upgrade. The guide, nginx example, _headers
and .htaccess now revalidate (no-cache) the .wasm, .js and index.html, and suggest a
versioned path for longer caching. The file table lists the real files.
- #180: the .wasm is about 58 MB (17 MB gzip, 10 MB Brotli) for v0.3.1, not 13 MB / 5 MB;
docs/web.md's 38 MB figure is updated too.
- #165: preferences live in the origin's browser storage (OPFS, IndexedDB or memory), not
localStorage.
- #164: relative URLs come from the page itself (and package.sh's check), not a Trunk.toml
that doesn't exist.
The iframe example's title no longer says image editor.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
