* fix(flatpak): allow release checks and self-update helpers
* test: keep Flatpak permission parsing within strict Clippy rules
* chore: bump version to 0.24.1 for the Flatpak update fix
* UI: ScriptUI images decoded within a size limit; effect detection answers each comp once
ScriptUI decoded any image and converted it to full RGBA without a size
check; images are decoded through image's limits (4096 px per side and a
matching allocation cap). comp_has_effects walked a nested comp again for
every layer using it; each comp is now answered once.
* address review: effect detection by breadth-first search so depth cannot hide a comp
The prompt showed 3 detail lines per category under a bare count, which read
as the project's total. The headline now says how many occurrences are left
out or changed, every line the report keeps shows, and "… and N more" counts
the rest. The import report records that number as `unlisted` (an unmapped
effect's line covers all its instances); unmapped effects are listed most
used first.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
picks_what_the_viewer_shows_across_sizes_scales_zoom_pan_resolution_and_proxies looped over four
independent window-size and display-scale cases, each with its own session. As one test it took
~90 s in the gate and ~590 s under coverage, where it alone set the slowest SonarCloud shard.
Each case is now its own test, running the same checks, so nextest runs them in parallel and
partitions them across shards. The "more than 100 hovers checked" floor becomes more than 25 per
case, which still adds up to more than 100.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
In a comp whose Start Timecode is negative, the current-time display shows
the first frames as `-0:00:00:12`, but typing that back (the Go to Time
dialog opens with it since #3419, and the Timeline's time field takes it)
read the leading `-` as "move back", so OK on an unedited dialog jumped to
another frame. There, a `-` before a full timecode is now the time's sign,
as it already is before Feet + Frames; a bare `-n` still steps back, and
comps that start at 0 or later are unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
With Fit New Layers to Work Area on and the playhead outside the work
area, the Type tool, shape tools and Pen now move the playhead to the
work area start so the new layer and its controls show. Layer timing is
unchanged; Layer ▸ New commands leave the playhead.
The pace counted cached frames among the next ahead x 2, but the prefetch never requests more than the RAM preview holds (offsets 0..fit-1 from the current frame). With room for only a few frames the lead could never fill, so a preview that rendered every frame at once was slowed to a fraction of its frame rate, with Lower Resolution When Playback Can't Keep Up off (the default). The lead is now counted over at most the frames the prefetch keeps after the current one, and with none of those (room for at most two frames) the clock runs in real time as before pacing.
The dialog's Frame field held the engine's zero-based frame, so with frames shown
from 1 the viewer's 00013 opened as 12, and typing 13 went to the frame displayed
00014. It now holds the time in the project's display style (timecode, frames from
Start Numbering Frames At, or feet + frames), which time.set already reads that
way. The now-unused 'Frame' translation rows go.
The step-down was skipped while the achieved frame rate read as keeping up, and that rate comes from the frames shown in the last second they were shown: through a stall it kept the rate from before it, so a preview that played a cached stretch and then stalled never stepped down. A rate whose last frame is more than a second old no longer counts.
The time display in the Composition panel's bottom bar only reacted to
Ctrl/Cmd+click, which switches timecode and frames. A plain click now opens the
Go to Time dialog (View > Go to Time), as in After Effects. The Ctrl/Cmd+click
test follows: its plain click now opens the dialog, which it closes.
It never steps back up during a play, so a looping preview kept playing at a quarter of its resolution after its first loop. Without it the paced first loop caches the viewer's resolution and the next loops play in real time, as in After Effects. The setting stays for whoever prefers a lower first pass.
Only a lane's drain thread waits for a GPU slot. A lane runs one drain at a time (it is idle, and started again, only once its drain found no job), and its other threads only help with that frame's parallel work, as Rayon helpers that never wait. The comments said lanes had one thread; the test now runs on a lane LANE_WIDTH wide and checks that its other threads decline while the drain thread waits.
AutoPick::ticket chooses a side and reports the frame's time once; dropped without one it ends the frame unmeasured. The viewer's frames, the renderer's top-level frames and frames rendered in passes use it, so an Auto CPU frame turned away by GPU admission (#3028), a cancelled export frame or any later exit no longer leaves its frame counted as running. The frame server keeps its choice across calls and still ends a replaced frame itself.
The paced clock counted the cached lead out of twice the prefetch depth even when fewer frames were left before the end, so a fully cached preview that doesn't loop slowed down over its last frames, and one shorter than that depth played slow throughout (and could step down). The lead now counts out of the frames left.
A GPU frame that failed or failed its health check, and a remote frame replaced before it finished, stayed counted as running on its side, so every later frame there was timed as one of several side by side and that side looked cheaper. AutoPick::abandoned releases them.
Settings > Previews > Lower Resolution When Playback Can't Keep Up (on by
default): a preview at Resolution Auto that stalls on uncached frames and
shows under 80 % of its frame rate for two seconds plays on at half the
scale, and two seconds later at a quarter if still slow, no lower than the
Adaptive Resolution Limit. Stopping goes back to the viewer's resolution
and Cache Frames When Idle fills it in. An explicit Resolution, the comp's
or the Preview panel's, is kept as set.
First playback of a 1080p comp with a blur (cache_bench --play): 9.0 to
22.1 frames/s on the CPU (about 27 once at Half), 4.1 to 16.1 with Mercury
Auto on an integrated GPU; plain clips that keep up stay at Full.
--play SECS runs the app headless (egui_kittest) on the bench comp, with
the viewer at 100 %, Resolution Auto, nothing cached and Cache Frames When
Idle off, presses play and steps it for SECS seconds of wall time. It
prints the frames shown per second, the time the clock stalled on uncached
frames, the frame reached and the share of passes at each viewer scale.
--gpu composites on the GPU (Mercury Auto) as the desktop app does;
--res N sets the comp's Resolution to every N-th pixel.
--gpu renders on a headless GPU of its own and reads the frames back, as the
desktop viewer does; --backend cpu|gpu|auto picks the compositor (default
auto, the viewer's Mercury GPU Acceleration). With auto the bench prints
Auto's per-comp timing history: how many frames each side rendered and how
long they took.
A comp left alone for a second fills its RAM preview from the current time,
so the first playback is cached instead of rendering frame by frame. Saved
settings keep their value. Two UI tests that assumed the old default set it
explicitly.
A render thread handed each frame to the disk cache already copied pixel by
pixel and LZ4-compressed (~9 ms per 1080p frame) before it could start the
next one, and layer buffers were encoded even when the queue then dropped
them. The queue now holds raw RGBA (one memcpy via ColorImage::as_raw) and
Arc<Buf>s; the writer thread encodes them. Every frame of a 120-frame bench
run now reaches disk (113–119 before). cache_bench prints the flush time.
A Shift-press on an unselected bar adds it to the selection, so the drag now moves that
selection and its layers are no snap targets. Tests cover the selection drag and that a
moved layer's own marker is no target.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Moving a layer bar or dragging its In / Out end with Shift held snaps the moved edge, within
8 px of the pointer, to the current time, comp and layer markers, visible keys, the work area,
the comp's start and end, and other layers' In / Out points, as in After Effects. The edited
layers' own ends are no targets (nor, when moving, their markers and keys). Targets are
gathered once per drag; snapping is measured from the pointer, so dragging on lets go.
Without Shift a drag moves by the whole frames the pointer covered, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Merge current main while preserving continuous audio and prefetch behavior. Fix sibling method visibility, audio-only unmute, queue/cursor handoff, end-of-span replay, and expression-driven audio invalidation. Add mixer and preview-output regression coverage. Formatting checked; builds and tests run in hosted CI.
* #3389: a viewer click selects the topmost layer over a selected one
Clicks in the viewer went through pick(), which prefers a selected layer
under the pointer so a covered layer can be dragged (#230). A large
selected layer lower in the stack therefore captured every click inside
its bounds, and the layers in front of it could not be selected there
(#1535, #3389).
Add click_pick(), the same hit test without that preference: the
topmost layer, keeping the selection when it is already selected. The
left click (Selection and fallback tools, Roto Brush), the double-click
and the right-click menu use it; drag starts keep pick(), so dragging a
covered selected layer works as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: rustfmt the viewer's shapes imports
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: test the right-click where both layers cover the pointer
The right-click check ran after the drag had moved the layer behind out
from under the pointer, so the old pick() passed it too. It now runs
before the drag with the layer behind selected, then closes the menu.
pick()'s doc names the Puppet tool's pin placement as a click that uses it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: a click on a covered path of the selected layer keeps that layer
With clicks going to the topmost layer, a click on a mask or shape path
of the selected layer where a layer in front covers it selected the
layer in front. Its paths went away, so a double-click there could no
longer free-transform the path. A plain click on a shown path now stays
on its layer, as pick() did; Shift-click still toggles the topmost one.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* #3389: a right-click on a covered path of the selected layer keeps it
The context menu picked as a left click did before the path fix, so a
right-click on the selected layer's path, under a layer in front,
selected the layer in front. It now keeps the path's layer like a left
click. pick() and click_pick() docs describe the Puppet and path
exceptions exactly.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The unit test re-implemented Marquee::selection's box/outline split, so it
only covered `targets`. Move the anchor math into `Anchor::press` /
`Anchor::selection` over a plain `View`, call it from the test, and add a
scrolled-drag case that fails with a screen-fixed anchor.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Dropping an .aep or .aepx on the window, or picking one in File > Import > File...
or Multiple Files... (also from the Home screen and the Project panel), imports it
as File > Import > Adobe After Effects Project... does, instead of failing as
unsupported footage: the losses prompt first when parts cannot come over, its
items in a folder named after the file, its first composition open.
- Several projects are asked about one at a time: the others wait in the
prompt's queue, and Cancel skips only the one it asks about. A prompt another
dialog replaced (Save changes?) strands nothing: its projects are tried with
the next import or queued behind the next prompt.
- The other files of a drop or pick import as footage, into the Project panel
only when a project is in the drop. While the prompt shows, a Photoshop file
or image sequence imports with its defaults instead of replacing the prompt,
an Interpret Footage question leaves a note instead, and a dropped .ecproj is
skipped with a note. While Save changes? waits for a dropped .ecproj, the rest
of the drop is skipped with a note instead of landing in the replaced project.
- Errors of every picked project reach the status line on both the blocking and
the non-blocking file dialog.
- The Import File dialogs list .aep, .aepx, .ecproj and .ecprojx; Replace
Footage offers footage only.
- For scripts and agents, file.import hands After Effects projects to
file.importAep; a refusal (new EngineError::Refused) names the menu entry and
`file.importAep` with `allowLosses`.
- File > Import / Export name the entry Adobe After Effects Project..., as
Adobe Premiere Pro Project...; File > Import keeps After Effects' order with
the project imports together and the formats only EffectCraft imports after a
separator. All 13 menu catalogs and the losses dialog title are updated.
- Docs: aep-import, aep-export, footage, file-format-parity, agents.
Supersedes #3312.
Dylan M. Taylor