scan and read copied the 32-byte head of every packet and every pack, PSM
and PES packet (up to 64 KB) with to_vec before looking at it. They now
borrow the window; the borrows end before the next window access. Output is
unchanged: the new large-stream test (two streams, over 2 MiB, MPEG-1 and
MPEG-2 packs, cuts inside the last packets) passes on the old and the new
code, as do the existing round-trip and truncation tests. The allocation
saving follows from the removed to_vec calls; it is not measured (the
workspace forbids unsafe, so there is no counting allocator).
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
A window refill resized the buffer to at least 1 MiB although read_some can
only fill what the file still holds. Near the end of the file, where the
previous window was shorter, that zeroed about a megabyte for every packet
whose length ran past the end. The buffer is now capped at the bytes left.
Window contents are unchanged: proved against the old refill for many
lengths, positions and sizes, and the zeroed byte count is asserted (at most
1000 against about 500 MiB for the old refill in the tail scenario).
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
One table lookup per byte instead of eight shift steps. Proved equal to the
old bitwise loop (kept in the test as the reference) for every single byte,
random inputs of 0..4096 bytes, the CRC-32/MPEG-2 check value and the
section-plus-own-CRC-is-zero property.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Unit.pos for transport streams is a byte offset (scan stores off + k *
packet_size), not a packet index; frame_bytes carried the doc line of
frame_info above its own.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: in ts::scan every packet-parse failure re-read a whole 4096-packet
block from an offset that advanced about one packet. packet() returned None
both for a bad sync byte and for an adaptation_field_length that overruns the
packet, so aligned packets with a bad adaptation field cost one ~770 KB read
each (a 564 KB file made ByteSource::read_at fetch 846 MB). The fallback
offset (`pos + got`) also overshot by k packets, skipping unread data, and the
five-packet sync window only looked at the first packet_size start positions.
Fix: packet() distinguishes Bad::Sync from Bad::Adaptation. A bad adaptation
field means "no payload, grid intact": count a warning and go on with the next
packet. A real sync loss is repaired inside the loaded block (resync(): first
start whose five sync bytes line up, any distance); the block is refilled
from the file at the exact new offset only when it is used up. read() skips a
bad-adaptation packet instead of ending the unit.
Tests: read-volume tests with a counting ByteSource (bad adaptation fields,
sync byte every 189 bytes), and a resync test with a garbage prefix and
mid-stream garbage around the block boundary for 188- and 192-byte packets.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: frame_info indexed byte 6 of an AC-3 header that is only guaranteed
6 bytes long (panic), and gave E-AC-3 fscod2 3 a sample rate of 0. The PES
modes of Splitter never pruned their chunk list. read_unit reserved up to
4 GiB up front, the unit table was uncapped and 4-byte E-AC-3 "frames"
amplified input 16x. PesAsm kept passing continuation packets of a non-PES
unit start, and an adaptation-field-only unit start destroyed the PES in
progress.
Fix: b.get(6)? and None for the reserved rate; no chunk bookkeeping where
positions come from feed(); EAC3_MIN_FRAME = 8; MAX_UNITS (2^23) per stream
with a warning; read_unit preallocates at most 1 MiB and refuses units over
128 MiB; PesAsm gets a dropping state and ignores payload-less unit starts.
Regression tests for each.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: packet_len accepted an MPEG-1 pack header (b[4]>>4==2) with
only 6 bytes available, but scan reads the SCR from head[4..9]. A file
ending inside the last pack header (00 00 01 BA 21 00 00) panicked with
"range end index 9 out of range".
Fix: packet_len requires the full 12-byte MPEG-1 pack header; a shorter
tail is not a packet and takes the normal resync path. The MPEG-2 branch
already needs 14 bytes (b.get(13)) before scan reads 10, so it is fine.
Tests: truncate a valid MPEG-1 and MPEG-2 program stream at every byte
length, plus the minimal 7-byte input; both panicked before the fix.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: the Properties panel laid its sections out in a plain child ui, so
when the panel was shorter than its content (Transform, Crop, Audio, the
speed button) the lower part was cut off and the wheel did nothing.
Fix: put everything below the clip header in a vertical ScrollArea, keeping the
rows 14 px clear of the scrollbar so the keyframe arrows at the row end stay
clickable. The speed button gets the automation id `properties.speed`.
Regression test properties_scroll_ui scrolls a short panel and checks the
speed button moves; it fails without the fix.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: Premiere reads Radiance HDR (.hdr) pictures; FilmCraft listed
the extension nowhere and could not open them.
Fix: clean-room RGBE decoder in filmcraft-media from the public format
description: header with FORMAT, all eight axis orders, flat, old
run-length and new per-channel run-length scan lines. Frames are linear
float (Rec.709), like EXR. Allocations are bounded by the data present;
hostile headers and truncated data return errors. "hdr" joins the
importable still extensions; stills and image sequences share the decoder.
Output equals ffmpeg's decode exactly for flat and RLE files; EXPOSURE and
PRIMARIES lines are ignored and XYZE is refused.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: Shift snapped pen segments (#853) but dragging an existing mask
vertex or the whole mask still moved freely.
Fix: while Shift is held the movement since the press is constrained to
horizontal/vertical/diagonal steps (accumulated raw vs applied totals per
gesture, so each frame's delta stays a single undo step). Unit test for
the pure step function; gaps.md G18 updated.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: OpenEXR files with PXR24 compression (a common lossy 24-bit
float format from renderers and compositors) were refused with "not
supported yet".
Fix: decode PXR24 chunks (16 lines, deflated byte planes of per-line
sample differences; floats keep their top 24 bits) into the existing
scan-line pipeline. Bounds-checked, no panics on damaged data. Tests:
hand-built chunks with half/float/uint channels and a partial last
chunk, damaged-file cases, and an OpenImageIO-written oracle comparing
our decode with OpenEXR's own (skips without oiiotool). Docs updated;
stale AVI / FLAC-in-MP4 entries removed from G10.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: the Matroska demuxer mapped A_MPEG/L2 and A_MPEG/L3 only, so a
Layer I track was reported as an unsupported codec even though the MP1/MP2
decoder (#809) reads Layer I.
Fix: add Codec::Mp1 for A_MPEG/L1 and route it through the same packet
duration and decoder path as Mp2. Test remuxes synthetic Layer I frames
into Matroska with ffmpeg and compares our decode (max error 3e-5).
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: `export --list-presets h264` returned nothing because the query
only matched name, description and category, while `h264` is the format
id the CLI takes everywhere else.
Fix: also match the preset's format id and label, compared with
punctuation stripped, so `h264`, `h.264` and `H.264` are equivalent.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: timeline.nudgeUp/nudgeDown returned an error for the whole selection when any selected clip was already on the outermost track in that direction. A video clip with its linked audio (A1 has no track above) therefore could never be nudged.
Fix: clips with no destination track stay where they are; the command only errors when nothing could move. Regression test covers a linked selection.
Co-Authored-By: Claude Sonnet 5.5 <[email protected]>
Problem: the Timeline followed the playhead only while playing, so a jump
while stopped (Home, End, edit points, markers) left the playhead off screen.
Fix: when the playhead of the shown sequence changes while stopped and falls
outside the view, the view scrolls to it with the page-scroll margin.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Shift-click in the Project panel toggled one item like Ctrl/Cmd-click; the items between were never selected and there was no anchor.
Fix: remember the last item clicked without Shift as the anchor (ProjectPanelUi::anchor); Shift-click selects the range anchor..clicked in the order the view shows (List, Icon, Freeform, search filter respected), Ctrl/Cmd+Shift adds it to the selection. Ctrl/Cmd-click still toggles. Pure helper click_selection with unit tests.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: .dng files were not importable, and a DNG (a TIFF) would have
gone to the TIFF decoder, which reads at best the embedded preview. A
CinemaDNG shot (a folder of numbered DNG frames) could not be edited.
Fix: "dng" joins the importable still extensions. filmcraft-media
develops DNGs with filmcraft-dng into scene-linear Rec. 709 float
frames (transfer Linear, like OpenEXR), so highlights above 1.0 reach
the compositor. A single DNG is a still; a numbered folder imports
through the existing image-sequence path as one clip, whose frame rate
and start time code come from the first frame's CinemaDNG FrameRate and
TimeCodes tags (else Settings > Media > Indeterminate Media Timebase).
Lossy and JPEG XL DNGs are refused as unsupported by name.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: camera RAW is at 0% (docs/codec-parity.md, #383). CinemaDNG,
the one cinema RAW format with a public specification, could not be
read at all.
Fix: new L0 crate filmcraft-dng, written from the public DNG 1.4-1.7,
TIFF 6.0 / TIFF-EP, ITU-T T.81 and CinemaDNG specifications only (no
other decoder's source read; editions in the crate README):
- TIFF container with SubIFDs, bounded (64 IFDs, 4 levels, cycles end
the walk) and checked offsets; the main raw IFD is the largest
NewSubFileType 0 CFA / LinearRaw image.
- Raw data: 1-16-bit uncompressed (MSB-first packing) and lossless JPEG
(process 14, predictors 1-7, 1-4 components, point transform, line
restarts), strips and tiles, tiles decoded in parallel; allocations
capped by size and by the data present.
- Processing per the DNG model: ActiveArea, LinearizationTable, per-site
black levels with deltas, white levels, as-shot white balance with
neutral highlight clipping, Malvar-He-Cutler Bayer demosaic (bilinear
for other patterns), DefaultCrop, ColorMatrix / CameraCalibration /
ForwardMatrix with illuminant interpolation, Bradford to linear
Rec. 709, BaselineExposure; output scene-linear RGBA floats.
- CinemaDNG FrameRate, TimeCodes and ReelName tags.
- A test-only writer (feature `writer`) synthesises DNGs. Tests: raw
samples bit-exact for every depth / predictor / layout, processing
against hand-computed values, hostile files (every truncation, 12k
mutations, cyclic IFDs, huge sizes, bad offsets), and LibRaw's
unprocessed_raw as an external oracle reading the same samples
(skipped when not installed).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the interpolation filters took their taps as an array of T
slices built per block row with `array::from_fn`. The array went through
the stack and was read back with wider loads than it was written with
(store-forwarding stalls): about 10 % of the 8-tap luma interpolation
time, plus the per-tap Option handling.
Fix: the filters take the taps as a function (row shifted by k, or k-th
row from x), inlined into the multiply-add loop, so the tap addresses stay
in registers. Same arithmetic, same samples.
Tests: the interpolation unit tests (16-bit lanes against the 32-bit
filter, in-place against copied windows), conformance suite, identical
YUV on the five bench streams. User instructions -1 to -4 % on all five;
cycles -2 to -5 % except g250_500 (within the run-to-run noise of the
shared machine).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: x265 (by default) and other encoders set weighted_pred_flag in the
PPS and then signal the default weights (2^denom, offset 0) for most
slices. Every block of those slices took the scalar 32-bit explicit
weighting path (8-265 / 8-266) instead of the 16-bit-lane default one, and
lost the full-sample copy shortcut.
Fix: when every list a block predicts from has the default weight and a
zero offset for a component, the block uses the default weighted
prediction (8-262 / 8-263) and, for uni-prediction at full-sample
positions, the reference copy. With log2WD = denom + shift1 the weighted
sums are exactly the default ones multiplied by 2^denom, so the samples
are identical.
Tests: a unit test checks the identity for every block width, bit depth
and denominator, and explicit weighting against 8-265 / 8-266 with extreme
weights and offsets; the weighted-prediction conformance fixtures; identical
YUV on the five bench streams. Cycles: -5 % on 1080p x265 medium, -8 % on
the weighted-prediction stream, -3 % on 10-bit, neutral elsewhere.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: after each picture the decoder classified every 4x4 block for
DecodeStats with an if / else-if chain: about 130 000 unpredictable
branches per 1080p picture, 1.5-2 % of single-thread decoding time.
Fix: `block_counts` sums flag comparisons in one branch-free pass
(inter = coded - intra - skip), with the same results.
Tests: a unit test compares it with the if / else-if chain over every
flag combination; identical decoded YUV on the five bench streams.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: every prediction block copied its whole reference window (block
plus filter margin, w + 7 by h + 7 luma samples) into a 16-bit scratch
buffer before interpolating, one line at a time with a row lookup per line.
After the move to 8-bit storage this copy was the largest single cost of
motion compensation (about 10 % of decoding time on 1080p streams with
much motion), and windows crossing the left or right picture edge were
copied sample by sample with a clamp each.
Fix: when the window lies inside the picture horizontally (almost always),
`Frame::window_rows` hands out the reference lines themselves (lines above
or below the picture replicated by clamping the line index, 8-228) and
the filters read the 8- or 16-bit samples directly: horizontal taps are the
line shifted by k, vertical taps the k-th line. Only windows crossing the
left or right edge are still copied, now as edge fill + run copy + edge
fill. The arithmetic is unchanged, so the prediction is identical.
Tests: in-place interpolation equals interpolation of the copied window
for random fractional vectors, block sizes, both chroma planes and both
sample types (2000 blocks each, inside and across every edge); edge
replicated lines equal the per-sample clamp for every offset; conformance
suite and identical YUV on the five bench streams at 1 and 3 threads.
User instructions on 1080p: -9 % (g250_500), -2 to -6 % elsewhere.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: every picture was stored with 16-bit samples whatever its bit depth.
For 8-bit streams (almost all Main content) that doubled the memory traffic
of the hottest paths: motion-compensation reference windows and full-sample
copies, deblocking and SAO, the per-picture planes and published rows, and
the output copy, which also had to narrow every sample to u8.
Fix: a `Sample` trait (u8, u16) and `Frame` rows stored in the picture's
type (`Rows::U8` when luma and chroma are 8-bit, `Rows::U16` otherwise).
`PicState`, `SliceDecoder`, the interpolation / weighting stores, intra
prediction and the in-loop filters are generic over the sample type and
monomorphised once per type; the decoder picks the type per picture from
its SPS. All arithmetic stays in the same integer types as before, so the
output is unchanged sample for sample. 8-bit output rows are now copied as
they are. Reading a frame with the other sample type (never done: the DPB
is flushed when the bit depth changes) yields nothing instead of a panic,
and the non-threaded build no longer has an `expect` on unpublished rows.
Tests: new unit tests for the storage type, exact crops of both types and
harmless wrong-type access; the full-sample copy test now runs on u8 and
u16 frames; the ffmpeg conformance suite (with and without the threads
feature); identical decoded YUV on five 1080p/720p streams (8-bit, 10-bit,
weighted prediction) at 1 and 3 threads.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the software HEVC decoder was 2.7-4x slower per core than ffmpeg
on 1080p Main. Motion compensation was about half of the profile: the
weighted-prediction stores clipped in emulated 32-bit SSE2 lanes, every
block line of a reference window was a libc memmove call, and full-sample
uni-prediction went through window copy, shift and store. Deblocking
divided per edge to find the slice of each block.
Fix (output unchanged, sample for sample):
- put_uni / put_bi in 16-bit lanes (prediction samples are 14-bit; bi uses
the exact halved-sum identity), dispatched on constant block widths.
- 8-bit first interpolation passes accumulate in 16-bit lanes (the
filtered value stays within -24*255..88*255).
- Full-sample uni-prediction without weighting copies the reference
samples straight into the picture (Frame::copy_block), and block lines
are copied as fixed-size arrays instead of memmove calls.
- Deblocking takes the slices from edge_params instead of dividing per
edge, returns bS 0 for identical motion in one slice, and filters luma
edges on a gathered 4x8 block.
- 8-bit output planes are copied to u8 directly.
Tests: equivalence against the 32-bit formulas and the previous filter
(new unit tests), the ffmpeg conformance suite, and identical decoded YUV
on five 1080p/720p streams (8-bit, 10-bit, weighted prediction).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the post stage of a VP9 frame (band assembly, loop filter,
publication) ran on one thread. Later frames wait per band for their
references, so the serial loop filter (~30 % of the profile) set the
pace of every inter frame; 16 threads were only ~1.8x one thread.
Fix: rows of a frame's loop filter run as a wavefront, row r two
superblocks behind row r - 1 (what the raster order of 8.8.1 allows),
taken by the post thread and helper jobs on the decoder's pool. No lock
is held while a superblock is filtered: each row filters its own band
and rows exchange copies of the 8 rows the filter reaches across a band
boundary. Output stays bit-identical; one thread / wasm run the rows in
order as before. A row is only taken by a running thread, so waits
always make progress, and helpers run under catch_unwind (a failure
publishes placeholder bands as before). New conformance fixture
narrow_tall (2 superblock columns) and a repeated multi-thread 1080p
decode test. 1.2-1.5x faster with 16 threads on a shared machine.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Review on #827: a start marker left pending by any early exit (force-quit,
hang, unrelated crash, two launches racing) moved the user down a rung for
good, with no way back but deleting a file.
- Each start writes its own attempt file (graphics-start/<pid>-<n>.json)
that is removed after two painted frames, on a normal exit, or 15 s after
launch whatever happened. A later launch only counts attempts that are
older than that window, so a hang, a later crash or force-quit, and an
instance that is still starting are never failures.
- graphics-start.json now holds {mode, failures}: two failed starts in a row
in the same mode move on to the next one; a start that paints resets the
count. A wgpu start-up error still moves on at once.
- All files are written to a per-process temp name and renamed into place,
so concurrent launches never see or leave half a file.
- A fallback mode shows a notice (graphics.notice) with Use Default Graphics
(graphics.notice.reset) and Close; es, fr, ja and zh-cn strings.
- --graphics default|dx12|software picks a mode by hand and keeps it;
`--graphics default` undoes a fallback. Modes this platform lacks are
refused.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
ffmpeg's CLI handles Matroska priming differently by version: 9.x trims
the 481-sample CodecDelay, 2023-24 static builds keep the priming
samples, so comparing from sample 2 put the priming ramp against our
tone (max error = peak 0.125). The .mkv case now searches lags within
two samples of 0 (trimmed) and of the stream's own CodecDelay (kept),
over the interior of both decodes; the plain .mp2 file stays at lag 0.
Review nits: the ID3v2 skip offset uses saturating_add (test with the
largest tag size); every Layer II table's sblimit is checked <= 32 at
compile time and clamped to SUBBANDS before indexing the per-subband
arrays (row() is a match, so it cannot index out of range).
Verified with ffmpeg 9.0.2 and the static N-71064 (2024-06) build.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
ffmpeg's CLI handles Matroska priming differently by version: 9.x trims
CodecDelay, 2023-24 static builds keep the priming samples (AAC 1024,
AC-3 / E-AC-3 256, MP3 1105), so a +-40-sample best-lag search against
its decode landed on a spurious minimum (4 or 24 samples).
matroska_audio_oracle now has ffmpeg encode a reference signal we
generate (low-passed xorshift noise) and asserts our decode lines up
with that signal to the sample, the stream's own CodecDelay trimmed:
version-independent, and it fails on the old ms-rounded trim (-16).
ffmpeg's decode is compared after a best-lag search bounded by the
CodecDelay; its lag is reported, the waveform must match (< 1e-3).
E-AC-3 joins the cases. eac3_oracle's .mkv case accepts lag 0 or the
256-sample priming; MP4 / MOV / TS stay strictly at lag 0.
Verified with ffmpeg 9.0.2 and the static N-71064 (2024-06) build.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Conflict in apps/filmcraft/src/main.rs: kept the graphics start loop and
app_creator, and carried over --control-input-only (#881) into them.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the AV1 in-loop filters ran on one thread per frame (postfilter::apply
had an unused pool). On a single-tile stream they are a quarter to a third of a
frame, and since references are waited for as whole frames, that serial tail
sat on the critical path of every frame that references it.
Fix: the three filters run in bands of 64 luma rows on the decoder's existing
rayon pool, one join per filter per frame. CDEF and loop restoration write only
their own rows of a separate output. The loop filter's edges never touch the
same sample, and only a band's top horizontal edges reach into the band above:
each band refilters the vertical edges of a copy of the 8 rows above it, runs
those edges against the copy, and the samples they changed are written back.
With one thread the code path is the old one. Output stays bit-exact (1 vs 16
threads vs libdav1d; new 4:2:2 / 4:4:4 libaom fixtures). perf.rs gains a
low-delay 1080p and a single-tile 2160p fixture and the all-core stage
breakdown. 16 threads: 1080p GOP 1.16-1.30x, low delay 1.28x, 2160p 1.14x.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: OpenEXR sequences (#806) were written uncompressed only, because the
workspace had no deflate encoder; the files are 2-4x larger than necessary and
Premiere offers an EXR compression choice.
Fix: a small clean-room DEFLATE (RFC 1951) encoder in a zlib (RFC 1950)
wrapper in filmcraft-export (greedy LZ77 with bounded hash chains; stored,
fixed or dynamic Huffman per block, whichever is smallest; length-limited
codes). The EXR writer gains RLE, ZIPS (1 line) and ZIP (16 lines) chunks with
the format's byte interleave + delta predictor; chunks that do not shrink are
stored raw. New ExportSettings::exr_compression (default None, as before),
`exrCompression` param on file.exportMedia, Compression combo in Export mode
(es/fr/ja/zh-cn strings).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Indonesian, one of the 12 key languages in
docs/localization-parity.md, had no catalog (0%), so Indonesian users got
the interface in English and System Language never picked Indonesian.
Fix: add crates/ui-egui/src/i18n/id.tsv, clean-room translations of every
entry in the Spanish catalog plus the native macOS Settings menu (3,541),
with a glossary in its header. Language::Id ("Bahasa Indonesia") is
persisted as `id`; it appears in Edit > Language (also the native macOS
menu), Settings > General, and System Language picks it for `id-*` locales
and the legacy `in-*` code older Java/Android runtimes report. Tests cover
the core menus, reject entries without a Spanish counterpart, check glyph
coverage with the bundled fonts, switching/persistence and locale
matching. Attribution sidecar, ATTRIBUTION.md row, docs (gaps.md G14,
localization-parity, ROADMAP, ui-egui README) updated.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: #802 gave Edit > Label a colour swatch per label, but the Label
submenus of the Project panel item menu and the Timeline clip menu still
listed bare built-in names: no colour, no custom names from Preferences >
Labels, and no automation ids.
Fix: a shared menus::label_choice draws each choice as Edit > Label does
(the user's name, a swatch of the user's colour in the left gutter) and
registers it (project.itemMenu.label.<Label>,
timeline.clipMenu.edit.label.<Label>); both context menus use it, and their
Label submenu buttons get automation ids too.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the GIF exporter gave every frame the same delay of
1000·den/num ms, which the encoder truncates to whole centiseconds.
At 24 fps each 41.67 ms frame became 4 cs, so a 4.0 s sequence played
in 3.84 s (4 % fast); other non-integer rates drifted the same way.
Fix: each frame's delay now runs from its rounded start time to the
next frame's (gif_delay_cs), so delays alternate (4, 4, 5, 4, 4, 4 cs
at 24 fps) and add up to the exact duration. Checked i128 math also
replaces the unchecked `(1000 * den) as u32` cast.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Portuguese (Brazil) catalog, one of Premiere's interface
languages and one of the 12 key languages in docs/gaps.md G14, covered
only the menus (348 of ~3,540 strings); panels, dialogs, Settings pages,
effect names, the Keyboard Shortcuts dialog and status messages showed
in English.
Fix: pt-br.tsv now has every entry Spanish has plus the native macOS
Settings item, written from the plain meaning of the English text with
ordinary Brazilian video-editing vocabulary (infinitive commands,
polite imperative instructions, sentence case); the header records the
conventions and a term glossary. Like Japanese and French, tests
require only the menus (now every menu label, not just the core set),
so later strings show in English until translated; a Portuguese entry
without a Spanish one fails, and a new test checks the bundled fonts
cover every Portuguese letter. The core-menu set that Ukrainian,
German, Russian and French must cover moves from pt-br.tsv (no longer
menus-only) to the menus-only Ukrainian catalog, unchanged in content
for those tests. Attribution sidecar and ATTRIBUTION.md entry added.
Docs: G14, localization-parity, ROADMAP language row, ui-egui README.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: program-monitor markers.add (and markers.addRange, addRangeInOut,
addChapter, addFlashCue) mapped `color` with Label::from_name and fell back
to Green on any unknown name, so `{color:"Red"}` succeeded and stored Green;
markers.edit silently ignored an unknown colour.
Fix: one marker_color_p helper turns a non-label `color` into a bad-params
error that lists the accepted label names; every marker command (and the
Source monitor path, which already rejected it) uses it. Absent or null
still means the default.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the pen mask tool ignored Shift, so straight horizontal,
vertical or diagonal mask edges could not be drawn precisely (Premiere
26.0 constrains mask lines with Shift). Separately, path_from_json
accepted the `{"p","in","out"}` vertex form through serde first, which
silently dropped the `in`/`out` tangents, so a pen mask's dragged-out
curves were committed as corners.
Fix: with Shift held, a new pen point snaps onto the nearest 45° ray
from the previous point (in screen space), the rubber-band preview
follows, and a Shift-drag constrains the Bézier handle it pulls out.
path_from_json now parses the vertex forms before falling back to the
serialized MaskPath.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the desktop app picked the project among its launch files with a
case-sensitive ends_with(".fcproj"), so CUT.FCPROJ opened through a Windows
file association or the Linux MIME glob was imported as media. Relative
launch paths were stored as given and went missing from another folder.
std::env::args panicked on a non-Unicode argument. filmcraft-cli import
used canonicalize, which stores \\?\ verbatim paths on Windows.
Fix: args::project_and_media finds the project by a case-insensitive
extension and makes every launch path absolute with std::path::absolute
(no verbatim prefix, symlinks kept). Both apps read args_os; the desktop
app keeps --data-dir exactly. filmcraft-cli import uses std::path::absolute.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: masks.roundCorners (#813) rounded rectangle/polygon mask corners only from the
command line, control channel or MCP; the Program monitor had no Premiere 26-style
corner-roundness handle.
Fix: a selected mask with sharp corners between straight edges shows a roundness handle
just inside its top-left corner (automation id program.mask.roundness). Dragging it into
the shape moves it along the corner bisector, previews the rounded outline live with the
radius, and on release dispatches one masks.roundCorners (one undo step per drag). The
radius is capped where no corner can grow further. Ellipses, pen masks and rounded corners
show no handle. Tooltip translated (es/fr/ja/zh-cn). New headless UI test
mask_roundness_ui; docs/gaps.md G18 updated.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the cpal error callback marked the stream failed on its first
error of any kind, so the UI stopped audio and played the rest of the
playback without sound. cpal's ALSA backend reports transient errors
(POLLERR after an xrun, spurious poll returns, short writes) that way
and keeps the stream alive; after POLLERR it no longer calls back.
Reports: a second or two of audio, then silence while meters move (#23).
Fix: AudioOut::recover, called every playback frame, lets CpalOut
restart the stream: at once when the device is gone, or when an error
was reported and no samples were consumed for 300 ms. The restarted
stream reuses the shared play-ahead mixer and played-frame clock and
must keep the sample rate and channel count; at most 3 restarts in
10 s, then playback falls back to the wall clock as before. Errors
while samples keep flowing no longer silence playback. The device
callback runs the mixer under catch_unwind: a panic plays silence.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: no test did a real editing job end to end. Codec and container
oracles exist, but nothing imported phone- or camera-like media, edited
it through the command layer and checked the exported file (G6).
Fix: apps/filmcraft-cli/tests/workflows.rs drives the `filmcraft-cli mcp`
binary over stdio on media generated with ffmpeg into target/fixtures:
- a VFR H.264 + AAC MP4: sequence from clip, extract, -6 dB audio gain,
title, H.264 MP4 export;
- a long-GOP H.264 MKV with AAC + AC-3 tracks: ripple trims, colour matte,
centred cross dissolve, save; a new CLI process exports ProRes.
ffprobe / ffmpeg check streams, frame count, duration, which source frame
lands where, A/V sync across the cut, title pixels, the dissolve mix and
audio levels. The tests skip without ffmpeg (testkit oracles).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: DPX import rejected the 10/12-bit packed layout (packing 0)
and the Y'CbCr descriptors (100 CbYCrY, 101 CbYACrYA, 102 CbYCr,
103 CbYCrA) with an "unsupported" error.
Fix: unpack packed components back to back, low bits first, each scan
line on a 32-bit boundary (as ffmpeg reads 12-bit packed files), and
convert Y'CbCr to RGB with the matrix the colorimetric field names
(BT.709; BT.601 for the 601 and composite codes; by picture size when
unspecified), in video range unless the reference codes span the full
code range; 4:2:2 chroma is shared by each pixel pair. Unit tests for
every new layout and hostile headers; an ffmpeg oracle test builds
packed 12-bit RGB and 8-bit 4:2:2 / 4:4:4 / 4:4:4:4 files from
ffmpeg's test picture and matches its decode within one 8-bit step.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: FilmCraft exports OpenEXR sequences (#806) but could not open
.exr files at all, so EXR plates and renders from other apps could not
be imported (docs/gaps.md G10).
Fix: a clean-room OpenEXR reader in filmcraft-media (still/exr.rs) for
single-part scan-line files with no, RLE, ZIPS or ZIP compression and
half / float / uint channels, with our own zlib/DEFLATE decoder (no new
dependency). R, G, B, A (or luminance Y) become premultiplied linear
RGBA float frames, the compositor's working format, so values above 1.0
survive; the data window is placed in the display window. Stills open
through open_bytes, sequences through ImageSequenceSource; tiled, deep,
multi-part, subsampled and PIZ / PXR24 / B44 / DWA files are refused
with a clear error.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: `cargo xtask parity` (#781, #782) measured only the menu bar; the
Effects panel's effects and transitions had no measured parity figure
(docs/gaps.md G7).
Fix: `--area effects|transitions` compares the catalogue the engine's
effect definitions list in the Effects panel (new `effect_catalog`
example in filmcraft-project, the panel's own top-folder filter) with a
reference of folder paths or bare names (default the local, never
committed plan/premiere/<area>.json). Same report, caps and `--min` as
menus; placement by folder; Presets / Lumetri Presets and the other
area's items are out of scope, so one panel snapshot serves both areas.
`--area menus` (default) is unchanged.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a graphics driver that crashes inside wgpu instance or device
creation (Intel Vulkan igvk64.dll #512#413#793, AMD atio6axx.dll #477)
killed every launch the same way until the user set WGPU_BACKEND by hand;
a start-up error wgpu did report ended in an error dialog.
Fix: each start leaves a marker in the data folder (graphics-start.json),
cleared once the window has painted two frames. A marker still pending at
the next launch moves on along the platform's ladder (Windows: Vulkan+DX12,
DX12 only, software/WARP; Linux: default, software/lavapipe or llvmpipe)
and keeps the mode that works. A wgpu start-up error moves on within the
same process (eframe reuses its event loop). Fallback modes don't register
the GPU export renderer, whose own instance would load the failed driver.
An explicit WGPU_BACKEND leaves the marker alone.
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]>
Problem: symphonia rejects every Layer II frame whose bit rate / mode
combination ISO/IEC 11172-3 does not allow (mono above 192 kbit/s, stereo
below 64 kbit/s). ffmpeg writes mono MP2 at 384 kbit/s by default, so such
tracks played as silence in MPEG-TS / PS, Matroska and raw .mp2 files.
Fix: new L0 crate filmcraft-mpa, a clean-room Layer I / II decoder written
from ISO/IEC 11172-3 and 13818-3 (all modes incl. joint stereo, MPEG-1/2/2.5
rates, the disallowed combinations decoded with the allocation table their
bit rate per channel selects). PacketDecoder::mpeg_audio uses it for layers
I and II (packets of several frames too); raw .mp2 files decode with it,
resyncing after damage. Oracle tests vs ffmpeg: 73-84 dB SNR on ffmpeg /
twolame streams and synthetic Layer I / joint stereo frames; fuzzed damaged
frames never panic.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
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]>
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: ffmpeg stores the encoder priming as CodecDelay in ns (1024 AAC
samples at 48 kHz = 21.333 ms, 256 AC-3 samples at 44.1 kHz = 5.805 ms)
and block timestamps in ms. The demuxer subtracts the delay rounded to
1 ms, and fixed-length packets were anchored on that rounded stamp, so
the whole track played up to 16 samples late against ffmpeg's decode.
Only Opus undid the rounding.
Fix: one stamp-to-samples conversion for every Matroska audio codec
that undoes the demuxer's rounding and removes the exact CodecDelay
(rounded to the nearest sample; the element holds whole ns), with
checked math against hostile timebases.
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]>
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]>
Problem: the Timeline only reacted to double-clicks on transitions and
nested sequences, so double-clicking an ordinary clip did nothing instead
of Premiere's opening it in the Source monitor.
Fix: `source.open` takes an optional `clip` (a clip of the active
sequence): its media opens in the Source monitor, parked on the frame
under the playhead when the playhead is over the clip, otherwise on the
clip's first frame. The Timeline's Selection-tool double-click on a clip
body (not its edge, not a nested sequence or graphic) dispatches it.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Source monitor only knew the one clip it showed. Opening
another clip forgot the previous one, there was no list to switch back
from, and no way to close a Source clip (Premiere keeps a list of the
recently opened clips with Close / Close All).
Fix: EditorState keeps `source_history` (most recent first, at most 20),
updated after every command; items removed from the project drop out.
New commands `source.close` (the next most recent clip opens in its
place) and `source.closeAll`. The Source panel menu lists the recent
clips (the shown one ticked) to switch between, then Close / Close All.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a file that opens but whose picture FilmCraft cannot decode
(H.264 High 10 / 4:2:2 / 4:4:4, interlaced, a codec without a decoder)
rendered black with no sign of why. The H.264 and HEVC decoders'
"unsupported" errors reached the media source as generic decode errors,
and the renderer drops frames that fail.
Fix: the H.264 / HEVC wrappers report unsupported features as
CodecError::Unsupported. The media pool wraps every file source it opens
so a frame failing as unsupported renders the existing MEDIA UNREADABLE
slate and the item is marked Unreadable with the decoder's reason (as
for files that fail to open). Decodable frames, damaged frames and the
sound are untouched.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the panel menu's Maximize Frame replaced the whole dock tree with a
one-panel group, so there was no way back short of resetting the workspace,
and closing that panel left an empty dock. DockNode::open_near only inserted
beside the requested neighbour, Project or Program, so with those gone (or
no panel left) every Window > panel command was a silent no-op.
Fix: the panel menu now toggles the same Maximize/Restore Frame state as
` / Shift+` (labelled Restore Frame while maximized) and keeps the tree;
a maximized panel that was closed counts as restored, and switching
workspace clears it. open_near falls back to the first group, even an
empty one, as its doc comment promised.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Quit, Cmd+Q or the window's close button exited at once with
unsaved changes, leaving them to the recovery journal, so every launch
after an unsaved session offered a recovery (docs/project-files.md: no
"Save changes?" prompt on quit yet).
Fix: a close request with unsaved changes is cancelled and the existing
Save Project prompt asks Cancel / Don't Save / Save (automation ids
quit.*), as in Premiere. Don't Save discards the changes and their
recovery snapshot; Save on a never-saved project (here and in Close
Project) opens the Save dialog and returns to the prompt when cancelled.
The control channel's app.quit still quits without asking.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: file.exportFrame rendered and wrote the still without looking at
filmcraft_media::pending. On the web, a frame WebCodecs is still decoding
(or whose Blob bytes are still loading) is left out of the render, so the
command succeeded with a transparent/blank picture passed off as the
requested frame.
Fix: clear the pending flag before rendering and check it afterwards; when
a read was deferred, fail with "the frame is still loading; export it
again in a moment" and write nothing. A later call exports the real frame.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: dragging a clip's edge with the Selection tool (a regular trim)
moved the edge but left a fade in from nothing / fade out to nothing where
it was; only Ripple trims moved transitions along with the cut.
Fix: after a regular trim, the trimmed clip's one-sided transitions are put
back on its edges, and shortened when the clip gets shorter than them.
Transitions between two clips are untouched (a regular trim cannot move
their cut).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: moving a clip dropped the transitions at its edges (#227, point 8
of #374). `edit::move_items` deletes the moved clips before placing them
again, and that deletion removes every transition that refers to them, so
a fade on a clip's edge, or the cut between two clips moved together,
vanished.
Fix: before the move, collect the transitions whose clips all move onto one
track by one offset, and put them back on that track shifted by the offset
once the clips have landed (overwrite and insert moves). A crossfade whose
partner stays behind is still dropped.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: dropping a project item in the empty space above the top video
track or below the last audio track did nothing: the Timeline only
accepted drops on an existing track row, and timeline.place could only
target existing tracks.
Fix: timeline.place accepts "new" as `track` / `audioTrack`. It adds a
track after the last one of its kind for each stream the item carries,
then places the clip there, as one undo step (the new tracks are removed
again if the placement fails). The Timeline shows the drop ghost in the
empty space and places on a new video track (above) or audio track
(below); the other stream goes on the track of the same number, or on a
new one when that track does not exist.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: in the Effects panel, the Lumetri Presets rows and the wide-panel
thumbnail grid only sensed clicks. They applied through double-click or the
Apply menu, never through a drag, unlike every other effect and preset.
Fix: rows and grid cells sense drags and start an effect payload
`lumetri:<name>`. The Timeline's effect drop applies it to the clip under the
pointer with `lumetri.applyPreset` (one undo step). The drag ghost shows the
preset's name.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a bin stayed wherever it was created. `project.moveToBin` only
moved project items, and bin rows and cards in the Project panel could not
be dragged, so the only way to nest bins was to create them inside each
other.
Fix: `project.moveToBin` also takes bin ids in `items` (as `project.delete`
does) and moves the bin with everything in it, skipping the root and any
move that would put a bin inside itself. In the Project panel, bin rows
(List view) and bin cards (Icon view) can be dragged: dropping one on
another bin nests it there, and dropping it on empty space moves it into
the bin the view shows.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a project had nowhere to keep free text (to-dos, instructions
for whoever opens it next, frame numbers).
Fix: plain-text `Project::notes` (schema v15, no-op migration so older
builds refuse instead of dropping it), `project.notes` /
`project.setNotes {text, merge?}` engine commands (undoable, capped at
1 MiB; calls with one `merge` key share an undo step), and a
Window > Project Notes panel whose editor (`notes.text`) commits every
change, one typing session per undo step. Translations for es, ja,
zh-cn (and the panel title for pt-br, uk).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: every New Bin entry (Cmd+B, File > New > Bin, the Project panel
menu, the footer button and the context menus) ran `file.newBin` with the
fixed name "New Bin", so each bin had to be renamed by hand afterwards.
Fix: `file.newBin` without a `name` from the UI makes the bin in the shown
bin (or the given parent), selects it and opens its inline rename field;
agents that pass `name` still name it directly.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: the Lumetri vignette scaled its horizontal coordinate by
`1 + vround * 0.0` and applied aspect correction only for negative
Roundness, so 0 … +100 rendered identically (CPU path, the GPU op and the
GPU shader parameters alike). Negative values moved towards a circle,
the direction positive values should go.
Fix: one helper, `gpufx::lumetri_vignette_aspect`, scales the horizontal
coordinate by aspect^roundness: 0 keeps the ellipse that follows the
frame, +100 is a circle, negative values widen the oval. Non-finite or
out-of-range values fall back safely. The CPU path, the CPU FxOp and the
GPU parameter packing all use it, so they stay in parity.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: MkvSource used the raw Segment timestamps as media time and the
absolute Info/Duration endpoint as the clip length. A remux that keeps its
source's first PTS (ffmpeg -copyts, 1.48 s in the report) repeated its
opening picture until then and made a 3.48 s clip out of 2 s of media.
Fix: after opening, every track moves back by the earliest start among the
playable tracks (an audio track's start before CodecDelay, never below
zero), so a delay between picture and sound survives. The duration is the
Segment end minus that origin, never less than the main track's samples.
Zero-origin files are unchanged.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: Markers > Clear Selected Marker removes only a marker exactly at
the playhead, but a click on a marker on the Timeline ruler left the
playhead on the frame under the pointer (with snapping off), and
right-clicking a marker opened the clip menu, so a marker placed on the
Timeline could not be removed from there.
Fix: a press on a marker's pentagon puts the playhead exactly on it, and
right-clicking a marker opens a marker menu (Clear Selected Marker, Clear
Markers; automation ids timeline.markerMenu.<command>). The pentagon's
rect is shared by drawing and hit-testing (timeline_hit::marker_rect).
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: timeline.slideLeft/Right(5) slid every expanded selection member by
the raw requested delta, so when a neighbour limited only one linked partner
(e.g. a short sound-only follower), picture and sound ended up at different
starts. timeline.slide already clamped to a common delta.
Fix: add edit::slide_items, which clamps the delta by the most restrictive
item and slides all items by it, and use it from both the keyboard Slide
commands and timeline.slide.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: `filmcraft-cli --demo --version` (or `--compact -V`, `--data-dir d
--version`) failed with "missing subcommand" and exit 2. The version check only
looked at the very first argument, so a preceding global option left
`--version` to the option parser and no subcommand behind.
Fix: parse the arguments first and treat `--version` anywhere, or `-V` in the
subcommand position, as a version query (`Args::wants_version`), still before
the hardware decoders are registered. `--help` keeps priority.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: our AAC decoder outputs channels in AAC element order (C, L, R,
Ls, Rs, LFE for channel configuration 6) and PacketDecoder passed that
through unchanged, while the mixer, panner, loudness and export all use
WAV/SMPTE order (L, R, C, LFE, Ls, Rs). A 5.1 AAC import therefore put
centre in L, L in R, R in C, the surrounds one slot early and LFE in Rs.
The export path already reorders for the encoder; the decode path did not.
Fix: PacketDecoder reorders AAC output for channel configurations 3-6
into WAV/SMPTE order, like the AC-3 decoder and Opus mapping family 1
already do. The Opus reorder now shares the same bounds-checked helper.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: a video track with no edit list (x264 MP4 written without
elst, fragmented MP4) kept its raw first PTS, the B-frame composition
delay, as its origin. Media time zero repeated the first picture for
that delay, and since the clip lasts the media duration, the last
pictures never appeared in a sequence made from it.
Fix: when the video track has no edit list, move every track back by
the earliest start among the video and audio tracks, as ffmpeg does
with an input's start time. Video-only files now start at their first
picture; a file whose audio starts at zero keeps its A/V sync, and
explicit edit lists (empty edits, delays) are untouched.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: `--gpu-rendering` was missing from the CLI's list of
value-taking options, so `export --gpu-rendering off out.wav` stored the
option without a value and turned `off` into the output path (or dropped
the setting silently when the option came after the filename).
Fix: list `--gpu-rendering` among the valued options, as documented in
the CLI help.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
Problem: mediaBrowser.import flattened a folder into its first-level
files (not recursive) and created no bins, so sub-folders were skipped
and the folder hierarchy was lost in the project.
Fix: a folder becomes a bin named after it (in `bin`, else the root)
holding its files, and each sub-folder with media a bin inside that, as
Premiere's Media Browser does. Folders without media get no bin. The
walk is bounded (depth 32, 4096 folders) against symlink loops. The
result also lists the new `bins`. Import as Image Sequence and plain
file imports behave as before.
Co-Authored-By: Claude Opus 5.5 <[email protected]>
