The CRX 0x200 QP map opens with its first symbol as a 32-bit literal; every
later symbol is Rice coded with a limited-length escape: 23 zeros, the
terminating 1 and the symbol in 8 bits (the ITU-T T.87 layout for a 32-bit
limit and 8-bit symbols, without its minus-one offset). The old rule (an
escape after 16 zeros with a 16-bit literal) matched only the first symbol,
which is all the R8 and R7 maps need. R5 Mark II maps (QP 150-162) jump by up
to 12 where the Rice parameter is 0, giving 18- to 22-zero prefixes that
misparsed ("Canon CRX adaptive QP value -21087"): 174 of 306 sampled files
from a private R5 Mark II library opened as previews. Every QP map of its
33,665 C-RAW files now decodes to the exact end of its entropy stream; the six
oracle fixtures are unchanged. Established by black-box analysis of the
bitstream; no third-party decoder source consulted.
Adds the four CC0 R5 Mark II samples (raw.pixls.us 7881-7884) to the corpus
with pinned sensor hashes (the crop-mode framing is left to #754), bumps
RENDER_CACHE_VERSION to 43, and updates cr3.md, raw-parity (235 verified
models), coverage, gaps, the checklist rows, ROADMAP, target-app-parity and
What's New.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Open Library given a Lightroom Classic catalog folder, one of its .lrdata /
.lrcat-data folders, Backups/, the .lrcat or its -wal/-shm/.lock files used to
create an empty LightCraft library inside Lightroom's folder (or, for the
.lrcat file, close the current library and then fail). Now:
- engine: lightroom_folder::lightroom_catalog_at (names only, top-level scan
bounded to 10 000 entries, never fails); Session::open_library refuses those
places with EngineError::LightroomCatalog {path, catalog} before creating
anything. A LightCraft library (catalog.snap / catalog.log) always wins.
- app: app.openLibrary checks before closing the current library, keeps it,
returns {opened: false, lightroomCatalog, path} and shows a dialog with
Import Lightroom Catalog… (file.importLightroom with the catalog found) and
Cancel. The library problem window gets the error instead.
- Lightroom import status keeps the catalog path after the task ends.
- CLI --library explains how to import instead.
Compare and Reference drew each pane from a whole-frame render of at most
2560 px, so 1:1 was a magnified preview and focus could not be checked.
Each pane now also renders the window on screen from the photo's own
pixels (Slot::CompareRegion), as the loupe does (#323). The media cache
keeps up to two full-size originals while either view is open, so one
pane's window does not evict the other's source.
Docs: gaps.md entry 4 shrinks to overlays and soft proofing; checklist
LR-VIEW-ZOOM / LR-VIEW-COMPARE and ui-parity zoom row updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <[email protected]>
Claude-Session: https://claude.ai/code/session_01UyHnpE9573a7nJFQqnGNex
Lightroom's Light panel "HDR" switch (`crs:HDREditMode`, `1`/`True` on,
`0`/`False` off) now sets `hdr.enabled` when importing XMP sidecars, presets,
DNG presets and Lightroom catalogs, instead of being reported as unmapped (an
off value was already silent). The rest of the HDR settings keep their
defaults. Follow-up to #646, ported from #466.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
HDR editing is switched with an HDR button in the Edit panel header, beside
Auto and B&W and drawn the same way (the shared text_button: highlighted
while on), instead of a checkbox at the top of the Light panel. While HDR is
on, the Light panel still shows Visualize HDR and the headroom slider above
the light sliders; with HDR off they're hidden.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Readers that don't read the PNG cICP chunk show the PQ samples as if they
were sRGB (flat, washed out): expected for PQ PNG, but it surprises people.
Noted in What's new (with the gain map JPEG as the look-right-everywhere
choice), as the export dialog's HDR PNG hint, and in the option and encoder
docs. Review suggestion on #664.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With HDR output on, a photo edited in HDR exports as a 16-bit PNG with the PQ
curve in Rec. 2020 (SDR white at HDR_REFERENCE_WHITE_NITS), described by a
`cICP` chunk (PNG third edition: BT.2020 primaries, PQ, RGB, full range) and
a `cLLI` content light level chunk (the levels the HDR AVIF records). EXIF,
XMP and print resolution are kept; no ICC profile next to cICP. Photos without
an HDR edit, and HDR edits with HDR output off, export as before.
`codecs::encode_png_pq` sits next to `encode_avif_pq` and takes the same
input. Follow-up to #646, ported from #466.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
storytold/craftrules is not a public repository, so the standards link in the
Chinese/Japanese fonts note was a 404 for anyone outside the maintainers. The
rule the sentence states lives with the font repo it points at anyway.
Raws with a fitted camera look (e.g. Nikon NEF) rendered HDR with the
generic tone curve instead, more than a stop darker through the midtones
than the SDR render: PQ JPEG XL / AVIF exports looked dark everywhere,
and gain map JPEGs carried negative gains, so they went dark on HDR
displays. ToneMap::camera_hdr keeps the camera curve up to 1.5 EV over
grey and lifts highlights as ToneMap::hdr does.
Co-Authored-By: Claude <[email protected]>
Exercise both separator directions for folder and individual-file imports.
Verify duplicate detection, stable photo IDs, added/deleted file detection,
and reuse of a confirmed scan when the folder spelling changes.
Co-Authored-By: GPT-6 Astra <[email protected]>
Rebuild fixture path components with native separators so expected paths
match directory scans on Windows, including files that have been removed.
This is a prerequisite for Windows validation and overlaps the path-helper
fix in upstream PR #660; it can be dropped once that change lands.
Co-Authored-By: GPT-6 Astra <[email protected]>
HueSat::apply restores luminance with before / after. Near black, where noise makes some channels
negative, the hue/saturation table can bring after close to 0, and the gain turned single pixels
white (isolated white dots in dark areas, most visible at fit). Luminance is now restored only if
the table kept at least 25 % of it; such colours keep their colour, like black and non-finite ones.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The preview was capped at 348 × 200 pt, so a portrait photo showed about
130 pt wide. It now spans the dialog for any photo shape. The cached 512 px
thumbnail still shows at once; a render at the preview's own pixel size
(in 128 px steps) then replaces it, so the wider preview stays sharp. The
web build, which has no worker thread, keeps the thumbnail only.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The crop tool's rotate pointer always bulged up, which only reads right
above the box. It now turns to bulge away from the nearest point of the box
outline: right beside the right edge, down below it, left beside the left
edge, diagonally off a corner, and following a box that is already rotated.
icons::paint_turned draws an icon turned about its centre; icons::paint is
unchanged.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
A Sony body shot in Adobe RGB writes ColorSpace Uncalibrated with InteropIndex R03 in the raw's EXIF and leaves the
embedded JPEG untagged, so the look was fitted against the JPEG decoded as sRGB. The EXIF fallback now applies to
all makes (the Nikon maker note still wins); DNGs are skipped, since their previews come from the converter.
- release.yml: new linux-riscv64 job (ported from GridCraft): cross-compiles on
ubuntu-24.04 against ports.ubuntu.com riscv64 libs, packages a tar.gz with
package.sh --formats tar, smoke-tests lightcraft-cli under QEMU. The release
job needs it, so its tarball lands in the draft and SHA256SUMS.
- packaging/linux/package.sh: CROSS_ARCH/CROSS_TARGET/CROSS_COMPILE/EMULATOR
support (target dir, cross strip, emulated --version).
- README Downloads and docs/releasing.md list the riscv64 tarball.
Co-authored-by: Claude Opus 5.5 <[email protected]>
A watermark (text, horizontal or vertical, or a graphic) can be turned 0,
90, 180 or 270 degrees clockwise, like Lightroom Classic's rotate buttons.
It is sized before it is turned and placed and inset by the turned box; the
shadow still falls down and to the right. New watermark key `rotation`
(other values are errors); settings without it draw unturned. The Export
dialog gets a Rotate row.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Watermark.inset becomes inset_x (from the left or right edge) and inset_y
(from the top or bottom edge), like Lightroom Classic's watermark editor.
The watermark keys are insetX and insetY; the old inset key still reads as
both, so saved presets and existing MCP calls keep working.
The Export dialog's Inset slider becomes Horizontal inset and Vertical
inset, each greyed out when the position is centred along its axis.
cargo fmt reflows WM_POSITIONS and its test from the previous commits.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
With Watermark on, the Export dialog shows the first photo it will export
(its cached thumbnail) with the watermark drawn as the file will have it.
The watermark is redrawn on a copy only when it or the output size changes.
draw_watermark_preview scales the 6 px minimum text size and the 1 px
minimum shadow offset by the preview size over the export size, so a small
watermark doesn't look bigger in the preview than in the file. Exports draw
with a scale of 1 and are unchanged.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
In the side-by-side and top/bottom Before/After layouts a click in the
Before view was mapped to image coordinates through the After view's
rectangle, so the White Balance Selector sampled the wrong point (at Fit,
the photo's edge). The click tools in general_interaction now use the
Before view's image rectangle when the pointer is in the Before view's
pane; the pane decides, since zoomed in an image reaches past its pane.
New headless test tests_before_after.rs clicks the same image point in
the After and Before views (side by side, top/bottom; Fit and 100 %) and
expects the same white balance. Without the fix: Before 8202 K / +116,
After 2710 K / +33.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
In Compare a filmstrip click made the clicked photo active without
showing it, so the Edit panel and the rating keys acted on a photo on
neither side (a headless test rated the hidden photo 2 -> 3 stars). The
click now puts the photo into the active side (the candidate after
entering Compare, the select after clicking the select's photo); a photo
already on the other side swaps the two. The active photo is always one
of the two shown. Other views keep the usual selection clicks.
New UI command compare.set {id, side?: "select" | "candidate"} for the
same through the control channel and MCP.
New headless tests in tests_compare.rs: the active photo stays on screen
and no hidden photo is rated (Fit and 100 %), and replace / swap /
explicit side / unknown side.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
lightcraft-web-<version>.zip carried Cargo host build output next to the site: deps/ (81 files, 90.6 MB), build/ (149 files, 22.4 MB) and .fingerprint/ (297 files), ~113 MB that the app never references and that leaked build paths and crate names to anyone hosting the zip.
Cause: xtask wrote the bundle to <target>/web (SITE in packaging/web/package.sh) while building with --profile web. Cross-compiling with --target wasm32-unknown-unknown makes Cargo write the selected profile host artifacts (build scripts, proc-macros, deps/, build/, .fingerprint/) to <target>/<profile>/, so they landed in the bundle directory and package.sh copied the whole tree into the zip.
Fix: write the bundle to <target>/web-site, a directory that is not a Cargo profile name, and point SITE at it. The wasm32/web/ target artifacts and the web profile are unchanged, so the rust-cache keys and the CI web job keep working.
Guard: package.sh now fails if deps/, build/ or .fingerprint/ exists in $SITE, and a unit test asserts the bundle directory is not a Cargo profile name, so the collision cannot come back silently.
Reference (#793)
The White Balance Selector button in the Edit panel only armed the tool,
so in Compare (which doesn't handle on-image tools) it did nothing while
W opened the photo in Detail with the selector armed. The button now runs
tool.wbPicker like W; a second click still disarms it.
New headless test tests_wb_selector.rs clicks the button in Compare and
expects Detail with the selector armed on the photo that was active; it
fails without the fix (the view stays Compare).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Color Grading gets 3-Way / Shadows / Midtones / Highlights tabs (3-Way by
default). 3-Way shows three equal wheels; a range tab shows one large wheel
with that range's Hue, Saturation and Luminance sliders. Blending and Balance
are in every tab.
Precision (#559):
- Shift-drag on a wheel locks the hue and changes saturation only; the whole
spoke is drawn as a guide. Shift can be pressed or released mid-drag.
- A white dot marks each wheel's neutral centre.
- The large wheel has dashed 25/50/75 % saturation rings.
- 3-Way shows the hovered wheel's hue and saturation above it.
Each wheel has an eye (bottom-left, on hover) that hides its effect for
viewing only: RenderJob::with_hidden_grading renders those wheels neutral
under their own key, never cached as the photo's preview. Not an edit, not
saved, reset on another photo; export is unaffected.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Canon EOS R50 C-RAW files reach QP 168 (quant 44, step 102, measured about 100). The quantization step and the adaptive QP map range accept it; anything above stays rejected. Bumps RENDER_CACHE_VERSION since such files change from the embedded preview to a raw decode.
view.back (Esc) closed dialogs, the keyword painter, full screen and an
armed on-image tool, but not the crop tool (a right panel, not
app.ui.tool), so Esc with the crop tool open went straight to the grid.
It now closes the crop tool like C does (the crop stays); the next Esc
goes back to the grid.
Esc that ends an edit in a text field (the crop tool's Angle field) also
ran Back: egui drops the field's focus as Esc arrives, before
shortcuts::handle checks egui_wants_keyboard_input(). The app now
records whether a text field had the keyboard at the end of the last
frame (LightcraftApp::text_focus); that Esc is then left to the field,
like one that closes a popup.
New headless tests in tests_crop_tool.rs; both fail without the fix
(the existing escape_in_the_angle_field_keeps_the_angle fails with only
the crop step).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
The frame dropped the flips together with the crop (flip_h: apply_crop &&
...), so the crop tool's uncropped view (render and screen <-> image
mapping) ignored Flip H / Flip V until the tool was closed. A flip isn't
part of the crop: the frame now keeps it without the crop. Cropped
renders and exports are unchanged.
The crop overlay's dimming paired the photo's corners with the crop
box's corners in data order; flipped, the box reaches the screen
mirrored and the photo was dimmed inside the box. It now takes the box's
corners in screen order (flipped_corners). Box, handles, drags and guides
already go through the frame's mapping.
Tests: geometry uncropped_frame_keeps_the_flips (fails without the fix)
and detail flipped_crop_box_corners_come_in_screen_order; headless
screenshots for H, V and H+V checked.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Measured with RawNIND on a 20.8 MP raw: an Apple M3 does a tile in 116 ms, an
RTX 3060 Ti over Tailscale 345 ms there and back; sharing blindly made the
export take 34 s instead of 6.4 s while the photo waited for the server's last
tiles. The greeting now times a check tile there and back, and tiles are
shared only when that beats this computer's own time per tile (the card's, or
the CPU's with its threads counted as `card_is_faster` does). Otherwise
`denoise.status` → `device.remote` says `slower` with both times. With the
server configured but slower the export takes 7.2 s (greeting + check tile).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Zoomed in, each view's photo reaches past its pane. The whole-frame renders
were drawn unclipped (only the window renders were clipped to their pane),
so the After's magnified whole-frame render covered the Before pane's margins
and the gap between the panes with a blurred picture, and the Before side
looked like it didn't fill its pane. Both whole-frame renders are now clipped
to their pane, like the windows over them; the Before / After labels stay
under the pane instead of moving off screen with the photo's bottom edge.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
- `lightcraft_denoise::remote`: protocol v1 over TCP (JSON lines + byte-shuffled,
deflated half-float tiles), a `Remote` client (connection pool, four slots,
greeting checks the model's SHA-256 and tile size, gives up after three failed
tiles) and `serve` (shared token compared in constant time, size caps including
payloads that inflate past their tile, connection limit, timeouts).
- Engine: with LIGHTCRAFT_DENOISE_URL / LIGHTCRAFT_DENOISE_TOKEN set, the loaded
model greets the server on first use and adds its slots to this computer's
tiles at once; a tile goes to a free server slot, else runs here, and a tile
the server fails runs here too. `denoise.status` → `device.remote` says where.
- `lightcraft-cli denoise-serve` serves the installed, selected model on this
computer's card (checked against the CPU, as in the app) or CPU.
- docs/denoise.md: setup, safety (unencrypted: VPN/LAN only) and the protocol.
Tested: protocol round trips, refusals (token, model, tile size, hostile
payloads), fallback and give-up; the engine model with a live, a mismatched
and a dead server; the CLI binary serving a synthetic model end to end.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
