They ran on every push to main and on any PR touching Cargo.toml/Cargo.lock,
which is nearly every PR. See craftrules release/playbook.md §2.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- release.yml: new `linux-riscv64` job, cross-compiled on ubuntu-24.04 against
ports.ubuntu.com riscv64 libs (ported from GridCraft), tar.gz only, CLI
smoke-tested under QEMU. Installs libasound2-dev:riscv64 for cpal/ALSA; the
VA-API and NVDEC/NVENC paths are loaded with libloading at run time, so they
need no riscv64 libraries. The draft-release job now needs it, so its tarball
is uploaded and covered by SHA256SUMS.txt.
- packaging/linux/package.sh: CROSS_ARCH / CROSS_TARGET / CROSS_COMPILE /
EMULATOR support, as in GridCraft.
- README and docs/releasing.md list the riscv64 tarball.
- cargo xtask version set 0.6.0 (Cargo.toml, Cargo.lock); refresh contributors.
Co-authored-by: Claude Opus 5.5 <[email protected]>
With NVENC registered on Linux, `filmcraft-cli --test cli` aborts in 2 of 45 runs on an RTX 3090
(`malloc(): mismatching next->prev_size`, `malloc(): unaligned fastbin chunk detected`) right
after an export finishes; 0 of 30 runs fail with this reverted.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Premiere imports Targa and DPX as stills and numbered sequences.
FilmCraft exports both (#779) but could not read either: the extensions
were not importable and the image crate has no DPX reader, so even our
own Targa / DPX renders could not come back in.
Fix: clean-room decoders in filmcraft-media. Targa from the TGA 2.0 spec:
image types 1/2/3 and RLE 9/10/11, colour maps, 15/16/24/32-bit, 8/16-bit
grayscale, any origin. DPX from SMPTE ST 268: first element, luma / RGB /
RGBA / ABGR, 8/16-bit, filled 10/12-bit (methods A and B), either byte
order, padded lines, orientations 0-3. Both bound allocations by the
data present and reject hostile headers with errors. Stills and image
sequences share one decode_raster entry point; "tga" and "dpx" join the
importable still extensions.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Premiere's "AAC Audio" format has no FilmCraft equivalent. AAC
was only written inside H.264 / H.265 / AV1 movies; the only audio-only
exports were Waveform Audio and AIFF.
Fix: a new `aac` export format ("AAC Audio") that encodes the sequence
mix with the existing AAC-LC encoder into an MPEG-4 audio file (.m4a,
encoder delay in an edit list), or a raw ADTS stream when the path ends
in .aac. Bitrate, sample rate, channels and loudness normalisation follow
the audio settings. Adds an "AAC Audio 48 kHz 320 kbps" Audio Only
preset, CLI extension guessing (.m4a / .aac), es/fr/ja/zh-cn strings, and
updates G13 (also noting ProRes 4444 / XQ is already in the export UI).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Zooming a monitor took the zoom dropdown, which zooms about the middle
of the picture, and then scrolling or the Hand tool to bring the part
you wanted into view; at Fit the wheel did nothing.
Now, on the Program and Source monitors:
- The mouse wheel (or a pinch) zooms about the pointer, from Fit too,
between the dropdown's 10% and 1600%: the point under the pointer
stays under it. It zooms as fast as the Timeline's wheel zoom, through
the same wheel_input.
- A middle-button drag that starts over the picture pans it, whatever
the tool; the Hand tool still pans with the left button.
- Fit resets zoom and pan, and each monitor keeps its own, as before.
Comparison View, which always fits both frames, ignores the wheel.
Tests: view_ui (wheel zoom about the pointer, middle-button pan, the 10%
floor, Fit, Source untouched).
Problem: Premiere 26's redesigned mask tools give rectangle masks
rounded corners; FilmCraft masks only had sharp corners.
Fix: MaskPath::with_rounded_corners replaces each sharp corner between
straight edges by a circular fillet (two vertices joined by a cubic arc,
handles 4/3·tan(φ/4)·r, shrunk to fit half of each edge; hostile radii
and indices are clamped or ignored). masks.add takes `cornerRadius` for
a rounded rectangle, and the new masks.roundCorners command rounds an
existing mask's corners (or the listed vertices) in one undo step, on
every Mask Path keyframe so animated paths keep interpolating.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
New Bin only selected the folder and started rename, so Clear still targeted clips that were selected before. The trash button and Delete then removed those items and left the bin. Clicking a bin already deselects items; creating one now does the same, and Clear drops the rename field so it does not keep editing a bin that is about to go.
Problem: Premiere offers OpenEXR as an image-sequence export format;
FilmCraft could not write EXR at all (docs/gaps.md G13).
Fix: a new export format (id exr, "OpenEXR") writing numbered .exr stills,
with a preset, the Include Alpha Channel option, the file.exportMedia format
list and es/ja/zh-cn strings. The writer in crates/export/src/raster.rs
follows the public OpenEXR file layout: version 2 single-part scan-line
file, half-float B/G/R(/A) channels, no compression, one scan line per
chunk, Rec.709 chromaticities; values are scene-linear (the pipeline's
transfer undone) with premultiplied alpha, as EXR defines. No new
dependency. ZIP / PIZ / DWA compression stays open.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Morph Cut rendered as a plain Cross Dissolve, so a jump cut in a
talking-head shot showed the subject twice at half opacity during the
transition, and the GPU plan mixed it as a dissolve too.
Fix: Morph Cut warps both frames along the dense optical flow between them
(the Lucas-Kanade flow of #780, crates/render/src/flow.rs) and blends, so the
subject moves from its place in the outgoing shot to its place in the incoming
one; where the frames do not correspond it stays the cross dissolve. Frames
inside a Morph Cut are planned whole on the CPU (no longer a GPU-mixable
"simple" transition) and cost as a complex transition in the preview estimate.
Morph Cut goldens re-blessed. No face tracking yet.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: MP4 and QuickTime name MPEG audio without its layer (ffmpeg
stores MP2 as `mp4a` + esds object type 0x6B), and we always made the
layer III decoder for it. symphonia's decoder reads only the layer it
was made for, so every MP2 frame was rejected and the track played as
silence; MOV's `.mp2` sample entry was not recognised at all.
Fix: the MPEG audio decoder for MP4 / MOV is made on the first packet,
for the layer its frame header names (ISO/IEC 11172-3 2.4.2.3);
`.mp2` maps to the MPEG audio codec like `.mp3`; the track is labelled
"MPEG Audio" for layers I/II, as Matroska's is. Decoded tracks now match
ffmpeg sample-exactly (edit list trims the 481-sample encoder delay).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: French, one of Premiere's interface languages and one of the
12 key languages in docs/gaps.md G14, had no catalog; #498 asked for it.
Fix: a new fr.tsv catalog with every entry Spanish has (menus, panels,
dialogs, Settings pages, the Effects / Effect Controls registry, the
Keyboard Shortcuts dialog, status messages) plus the native macOS
Settings item, written from the plain meaning of the English text with
ordinary French editing vocabulary (infinitive commands, "vous", French
sentence case and spacing). Language::Fr is persisted as `fr`;
app.language.french joins Edit > Language (checkmark, native macOS menu),
Settings > General offers Français, and System Language picks French for
any fr-* locale. Like Japanese, tests require only the core menus, so
later strings show in English until translated; a French entry without
a Spanish one fails. A new test checks the bundled fonts cover every
French letter (the glyph check is shared with Ukrainian). Docs: G14,
localization-parity, ROADMAP language row, ui-egui README.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: with a transition selected, Effect Controls showed only its
settings. Premiere puts the transition's own timeline beside them (clip
A, clip B and the transition over their cut), where it can be slid
over the cut or resized by dragging; FilmCraft could do that only in the
Timeline.
Fix: right of the settings (the clip view's divider and width), a time
ruler over the cut, clip A above, the transition between, clip B below,
the cut and the playhead. Dragging the transition's middle slides it,
dragging an end changes its duration from that end (the Timeline's
rules, transitions::drag_span), measured against the view the drag began
in; each drag is one undoable sequence.setTransition. The ruler moves the
playhead. Every part has an automation id; no new UI strings.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Premiere offers JPEG, Targa and DPX as image-sequence export
formats; FilmCraft only wrote PNG, TIFF and BMP sequences (docs/gaps.md G13).
Fix: three new export formats (ids jpg, tga, dpx), numbered like the other
sequences, with presets, the export UI (JPEG quality slider, Targa alpha)
and es/ja/zh-cn strings. JPEG uses the image crate at the export quality;
Targa (TGA 2.0, uncompressed 24/32-bit) and DPX (SMPTE ST 268, 10-bit RGB
method A, BT.709) are written by a small hostile-input-safe writer in
crates/export/src/raster.rs. Format::is_image_sequence replaces the
hand-kept format lists. OpenEXR stays open.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a speed-changed clip set to Time Interpolation > Optical Flow
rendered exactly like Frame Blending, a cross-fade of the two neighbouring
source frames, so moving objects showed double images.
Fix: new filmcraft_render::flow. It computes dense coarse-to-fine
Lucas-Kanade flow both ways on a luma pyramid at most 640 px wide, drops
motion wherever standing still explains the window as well (flicker on
static content), forward-splats both flows to the in-between time
(Baker et al. 2011), and warps both frames there. Each fetch is weighted
by how well its own flow agrees, so uncovered background comes from the
frame that shows it. Pixels that look the same in both frames, or where
neither fetch agrees, fade to the plain cross-fade. media_image uses it
for OpticalFlow clips. docs/gaps.md G18 and target-app-parity updated
(also drops the #415 / #458 items, already fixed on main).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: files with E-AC-3 audio (MP4 ec-3, MOV, Matroska A_EAC3, MPEG-TS)
imported silent: filmcraft-ac3 refused bsid 11-16.
Fix: clean-room E-AC-3 decoding from ATSC A/52:2012 Annex E in filmcraft-ac3:
bsi and audfrm syntax, 1/2/3/6-block syncframes, reduced sample rates,
frame-based exponent strategies (exponents reused across short syncframes),
SNR offset strategies, default band structures, spectral extension
(translation, notch filter, noise blending). Independent substream 0 is
decoded; dependent substreams and other programs are skipped (7.1 plays as
its 5.1 core). AHT and enhanced coupling are refused as unsupported. The
audio blocks share the AC-3 path; AC-3 output is unchanged. filmcraft-codecs
routes E-AC-3 in MP4/MOV, Matroska and TS to the decoder; the TS splitter
joins dependent substream frames to their access unit.
Tests: ffmpeg oracle for raw E-AC-3 (64.8-91.0 dB SNR) and in MP4, MOV,
Matroska and TS (79.5-91.3 dB, random access identical), mutation fuzz,
synthetic frames for headers, substream skipping, refusals and exponent
reuse across 1-block syncframes, spectral extension unit tests.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Render Effects In to Out and Render In to Out rendered every
render-bar segment that In/Out touched, in full. Segments run between
edit points, so In/Out inside one long clip rendered the whole clip
(often the whole timeline).
Fix: render only the marked frames of each segment as a partial preview,
`<hash>-<off>-<len>.mov`, frames counted from the segment start (so a
ripple keeps it, like whole `<hash>.mov` previews). The store indexes
parts per hash; the render bar is green over rendered frames only,
playback reads the part holding a frame, later renders fill only the
gaps, and Delete Render Files In to Out removes only files holding
marked frames.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The NVENC HEVC encoder (Main 8-bit SDR and Main 10 HDR PQ / HLG) was gated to
Windows. It now also runs on 64-bit Linux, on the CUDA device the H.264 encoder
already uses: the H.265 format and HDR probes are registered there and the
HEVC tests run on both systems.
NVENC registration on Linux now happens after the VA-API probe. Started beside
it, the background HEVC probe's first cuInit could deadlock with
libva-nvidia-driver, which calls cuInit from its library constructor under the
loader lock.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the menu parity figure in docs/target-app-parity.md came from an
ad hoc label-matching script over string literals; nothing repeatable
measured the real menu bar (docs/gaps.md G7).
Fix: `cargo xtask parity` dumps the shipped menu bar (new
`menus::default_menu_items`, deterministic: English, default prefs,
built-in workspaces; printed by `examples/menu_tree.rs`) and compares it
with a reference list of menu paths, by default the local, never-committed
`plan/premiere/menus.json` (any JSON of paths via --reference; parsing is
depth- and size-capped). Presence and placement are reported separately
(same path, elsewhere, missing); app/Help/recent/account/macOS items are
out of scope. Writes a markdown checklist (target/parity/ or --out) and
--min fails below a presence threshold. Without a reference it prints our
inventory only.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
