The count of a SubFileDecode filter bounds what it passes through, not
what it allocates, but the reader refused counts over 4 MiB as a
rangecheck. Ghostscript's eps2write files read each content stream with
currentfile Length () /SubFileDecode filter, so a page whose stream is
longer than 4 MiB failed to open.
bind makes each procedure it goes into read-only and ignores read-only
procedures (PLRM 3rd ed., bind). The reader bound them again, so a prolog
that binds a procedure holding an earlier-bound one, after defining a name
such as M as an operator, turned that procedure's own variable M into
setmiterlimit. Ghostscript's eps2write prolog does this, and its files with
sampled functions (transfer, black generation) failed to open.
document.save's params text, which file.saveAs, file.saveCopy and
file.saveAsTemplate share, now says that the warnings also name each key
given in `options` that the format doesn't read.
save_file's note for a key in `options` that the written format doesn't
read named every .ai file a PDF-compatible .ai, also when the save wrote
a version 7 file (`aiVersion: "7"`) or one without PDF content
(`pdfCompatible: false`).
The save itself now writes that note, beside its note on a top-level
`compress`, `version`, `preview` or `precision`, and names the file it
writes, including when it reuses the options the document was last saved
with. save_file returns the save's reply unchanged, and
`run_command document.save` and the other save commands give the same
notes.
The reader put an opacity mask's art in a group every time, so a mask
made from one path came back from a saved .ai as a group holding the
path, while Make Opacity Mask keeps one object as the art. This also
changes how existing files with single-object masks open, because
the editing data of a .ai, an EPS and a PDF goes through this reader:
the art is the object.
A hidden object or a guide stays in a group, because the canvas draws
the art's root whether it is shown or not and whether guides show. A
clipping path alone stays a clipping group.
The editing copy writes a plain group of one object as a group (u, the
object, U), so it reads back as a group. Its other plain groups are
still written as their members. Hidden mask art is written shown,
because the canvas draws it and a group read back would not.
Encryption keeps the /ID already in the trailer and draws one from the
seed only when there is none. A PDF 1.3 export draws no random bytes, so
it repeats with SOURCE_DATE_EPOCH set, while PDF 1.4 and later differ
between runs. Their random bytes are in the encryption dictionary and,
at PDF 1.6 and later, in the AES initialization vectors.
The panel menu's item added the artboard and left the active artboard
where it was, while the panel's button, the Control bar and Properties
made the new one active. All four now call one helper. With the Artboard
tool, the new artboard is then the only one selected.
The sample planes an image is decoded from, and the strings a procedure
data source hands back to fill them, are freed once the image is
decoded, so they stop counting against the 1 GiB budget then; the pixels
kept still count. A file of many images whose procedure returns one
large buffer each time no longer runs out of budget.
When the link-watch worker unwound before storing its stamps,
poll_link_scan returned None on every frame and left link_scan set. The
app then asked for a repaint every 100 ms and start_link_scan returned
early, so the app did not look for changed linked files in the
background again for the rest of the session.
poll_link_scan now clears a look that has ended without stamps. The new
ended_without_stamps helper holds the slot's lock across its read of the
stamps and its read of the ended flag, so a look whose worker stores its
stamps during the check is applied. The app goes back to its two-second
wake, and the next look starts on schedule. A look still running and a
look that stored its stamps behave as before.
Art brush objects whose first number is 1, as older files write them, have one
field fewer before their numbers and 8 numbers at the end. The reader wanted
exactly 15 and left every such brush out with a note, though an Art brush is
read from its art's name alone. Scatter brushes still need all 15 numbers.
A page that paints a gradient as a row of abutting one-colour strips (as
Level 2 writers draw smooth shades) imported as hundreds of separate
fills. Each anti-aliased on its own, they left seams where the art below
showed through every shared edge (PDF 32000-1 §10.6.4, conflation): thin
stripes, and a pale tint over strips a pixel or two wide. An Illustrator
EPS whose page drew its gradients that way then differed from its layers
and opened as its page with empty layers.
A run of at least six such strips under the same clips, side by side in
one direction with no gap, each a small colour step from the last, now
becomes one object filled with a linear gradient through the strips'
colours (stops on a straight colour ramp dropped), and the clip path
itself when it was the clip's only art. Abutting blocks of distinct
colours stay apart.
Don Omondi