Main now falls back to CPU effects when an adapter cannot render to
Rgba32Float, so the scene, blend and transition parity tests still run
on such adapters. Only gpu_effect_chains_match_cpu_render needs a float
render target, and it is the one test that skips without it. Also revert
the import reorder, which failed cargo fmt --check on edition 2024.
AMD and Intel GPUs expose VA-API EncSlice, not NVENC. The export path
still opened NVENC first and then waited forever on wgpu map_async
(radv). Probe EncSlice before NVENC, fall through to the software
encoder, and bound GPU readback waits to eight seconds so a wedged
device fails the GPU path instead of blocking the export.
Clear used to strip every track item that referenced a deleted Project file. Those clips now stay on the sequence as Media Offline, and media.relink still finds the item. Unused media, bins, and generators are still removed.
Source marks only read `time` (ticks) and otherwise used the Source playhead,
so agents passing `frame:24` marked frame 0. Parse the same time formats as
Program, using the Source item rate.
The vertical layout path never emitted underline rectangles, so layer and
run underlines were a no-op. Place a tall strip to the right of each
underlined cell (vertical-rl) and compare horizontal vs vertical "A" at 60px.
Plain layout() underlines sat on the unshifted baseline while layout_rich()
runs already subtracted baseline_shift. Match the two so underline y tracks
the glyphs for a full-paragraph style.
Placement already limited overlap to half of each clip, but Cross Dissolve
still used the requested overlapFrames, so a 30-frame dissolve on two
20-frame clips started before the first clip. Apply the clamped per-cut
overlap as the transition length.
OK used to close the dialog even after file.newSequence failed, so
reopening reset the name and settings. Stay open on validation
errors so one field can be fixed.
Replace With Clip ▸ Match Frame used a forward-only offset, so a reversed
clip lined the Source monitor up with the wrong media time (source 50 at
sequence 20 became 69). Align source_in from reverse-aware source mapping.
Non-ripple clip.speedDuration shortened the clip but left one-sided
out-edge transitions at the old timeline range. Reposition them with
the same edge-follow used for a regular trim.
Selecting two clip edges and trimming by frames applied each edge as its own
timeline.trim, so Undo restored only the last clip. Collapse those edits (and
extend-to-playhead / apply-default-transition) into one history snapshot so
Undo and Redo cover every selected point.
A neighbour on only one track used to clamp that partner alone, so picture
and sound stayed linked at different rates. The tightest room now limits
the whole group.
The Browse panel's Install… button calls the module's route directly and drops its
result, while only menus.rs surfaced a refused file — so installing another
application's template package (an EffectCraft .ectemplate ZIP renamed to .fcgt,
the case in the report) looked like nothing happened. The engine has refused ZIP
archives with a clear message since M10.7; the route now puts that message on the
status bar itself, whichever caller arrives.
Headless: clicking Install with the picker pointed at a ZIP-named file requires
the status bar to name the ZIP archive; without the surfacing the status stays
empty — the reporter's exact symptom.
Timeline clipitem markers already round-tripped; source-media annotations on
master clips were omitted with an empty export report. Write those markers on
<clip> so re-import keeps them.
Fixesstorytold/filmcraft#900.
Export was overwriting Stack markers with the using clip's markers, so a nest with no instance markers lost its sequence markers, and instance markers were imported onto the nested sequence. Keep sequence markers on the Stack and store clip instance markers in metadata.filmcraft.clip.
FCPXML writes point markers as one frame at the sequence rate. Import
compared duration to 1 tick, so a 24fps one-frame marker became a
range. Treat duration ≤ one sequence frame as a FilmCraft point.
Trim, roll, slip, slide, rate stretch and Speed/Duration now fail with
"track is locked" instead of changing clips on a locked track, matching
same-track move. Linked partners on locked tracks are left alone.
file.openDemoProject left Session.path pointing at the previous
.fcproj, so File ▸ Save overwrote that project with the demo.
Match New Project: drop the path (and the associated preview dir)
so Save requires Save As and the original file stays intact.
Startup scan used to delete an unlocked recovery session whenever
session metadata could not be parsed, even if snapshot.fcproj was
intact. Offer that snapshot for recovery instead of removing it.
A drag of Effect Controls / Properties numbers already used merge+begin, but
the press-start memory was only written on frames that emitted setParam.
egui drops unused temp data after a quiet frame, so a Scale scrub that
paused between percents began a new undo step for every 1%. Refresh the
drag session on idle frames while the button is down; still begin a new
step on the next press. Same keep-alive for graphics property drags.
file.reveal is enabled when a selected clip has a local path, greyed out
with no selection, and the OS opener reveals the file (xdg-open of the
parent folder on Linux).
Transport and program streams listed a single audio stream, so file.import
and New Sequence From Clip kept one clip. Probe every audio PID (capped),
decode each independently, and place linked clips per stream. MP4/MKV
already did this; MXF same-rate PCM is still interleaved as one stream.
Pin GOP-cache eviction on the requested pts so a burst past the playhead
does not drop the target and walk the GOP again. Preroll only schedules
the frames that gate clock start. bench_playback no longer meters preroll
jobs as on-clock latency.
This is the seek stall from #848, not the ~3× per-core gap vs ffmpeg.
timeline.roll follows linked partners at the same through-edit when linked
selection is on, so a +12 frame roll on V1 also moves A1. The command
reports linked:false when the cut is not followed as a pair. Reversed
clips keep the unmoved-edge media mapping (#526/#558).
Clips and markers before sequence start were accepted, then unreachable
in the GUI and cut off on export. Time, frame and seconds before 0 now
return a parameter error; zero remains valid.
Copy and Cut snapshot files or an image already on the system clipboard.
Paste ignores that same media so Cmd+V and the Edit menu paste the clips
instead of re-importing stale files the platform left beside the clip names.
Dragging files from the explorer onto the Timeline imported them into the
Project bin but never placed them when no sequence was open, because only
the clip-area interact path consumed pending_timeline_drop. The empty
Timeline now creates a sequence from the first imported item and places
any further items after it, matching the existing Project-panel drop.
Audio effects applied to the video side of a pair now land on the linked audio, and Effect Controls lists that clip's parameters and Custom Setup while the picture is selected.
File ▸ Close aliases Close Sequence. The shortcut editor targeted
sequence.close while Cmd+W lived on file.close (and Timeline), so Clear
left the chord bound. Treat the pair as one shortcut family.
Fixesstorytold/filmcraft#773
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.
The Transform effect listed a shutter angle but had no override, so motion blur never used it. Checking Use Effect Shutter Angle now samples the animated transform across that angle.
Camera files such as CLIP.MOV were hidden or skipped on Linux because sibling matching and tests assumed lowercase suffixes. Import, the media browser, and image-sequence numbering now accept mixed-case extensions.
Headless import merged into the current project, so a demo or leftover timeline mixed into export. replace:true starts from file.newProject with the same name, then imports, which is the documented empty-project-start workflow.
Relaxed and Aggressive previously only scaled two internal multipliers, so the matte stayed at Default. Switching Setting now writes Premiere-like matte values and the renderer uses that set, including Custom for hand-tuned keys.
The project Look-Ahead Time parameter was stored but never applied, so 0 ms and 30 ms mixed the same clip. The limiter now sizes its look-ahead from that parameter and pre-rolls for the chosen window.
Stops were mixed in encoded sRGB, and any run with its own fill turned the whole layer into a solid colour. The ramp now blends in linear light, turns with the layer, and leaves a per-character fill solid.
Appearance › Fill Type paints a ramp across the layer bounds, and the ramp turns with the layer. A per-character fill colour still paints those characters as a solid.
Vikram Bhaskaran