Two more built-in presets follow Default in Settings > Labels > Label
Color Presets. Bright is 16 saturated hues spaced around the colour
wheel plus a gray, named Red to Gray. Roles names the labels after what
clips are (B-Roll, Footage, Dialogue, Graphics, Interview, Sequence,
Visual Effects, Bin, Titles, Music, Sound Effects, Voice-Over, Captions,
Ambience, Color Grade, Stock), ordered so the label defaults for new
video, movies, audio, stills, sequences, Dynamic Link items, bins and
captions land on the matching role. Like Default they can be chosen
and reverted to but not deleted, and an imported preset with one of
their names is renamed "<name> (imported)".
A Label Color Presets row under Label Defaults picks the 16 label names
and colours from a preset. The dropdown lists the built-in "Default"
(the labels FilmCraft ships with) and the presets in the Label Presets
folder beside the preferences, and reads "<name> (Modified)" once the
labels differ from the chosen preset. Icon buttons: Revert (back to the
preset's colours and names), Import (copies a preset file into the
folder and selects it), Export (saves the dialog's labels to a file
named as the preset), Show Folder, and Delete (user presets only).
Choosing a preset or reverting applies on OK like the other fields;
Cancel discards it.
Presets are small JSON files: a name and 16 labels, each a name and a
labels, names trimmed and at most 64 characters, valid colours); a bad
file shows its error in the dialog and changes nothing. The same is
reachable as labels.presets, labels.importPreset, labels.exportPreset
and labels.deletePreset, with the selection stored as labels.preset.
timeline.place kept a sub-frame start and rounded the duration to whole
frames, so the clip ran past time + duration and the sequence ended
between frames. The start and the end now each snap to the nearest frame,
as a timeline drag already does. sequence.inspect's durationFrames now
comes from the same frame_span export uses, so the two always agree.
Fixes#1101
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
The interface had no face for Arabic or Hebrew, so caption text, track and media names showed
missing-glyph boxes in the Text panel and on the timeline while the Program monitor drew them.
crates/ui-egui/src/rtl.rs adds the craft-fonts Arab / Hebr faces, else one installed face per
script (Noto Sans Arabic, SF Arabic, Segoe UI...), as the last fallbacks of every UI font family,
as cjk.rs does for Chinese.
egui already shapes each font run with harfrust, so the letters join, but it lays runs out left to
right with no bidi pass and multi-word Arabic read backwards. rtl::Lines lays captions out in
reading order: lines are broken on the logical text as egui wraps it, each line is reordered with
unicode-bidi (UAX #9, as crates/text does for titles) and every right-to-left word is its own
layout section for egui's shaper. Caption blocks on the timeline and the Text panel caption list
use it; a caption being edited keeps egui's logical order, since TextEdit places the caret by
character index. Left-to-right text is laid out exactly as before.
Exports and rendered frames now record which offline items (missing,
made offline, unreadable) they drew the placeholder slate for. The engine
reports them as `offlineMedia` in file.exportMedia (wait), jobs.list
export entries and export.queue items; the bridge and MCP long exports
pass it through. filmcraft-cli export and render name each item on
stderr and exit 1, unless --allow-offline accepts the placeholders.
Fixes#1054
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
German (de) landed in #630: the localization parity table and the
ROADMAP language table now list it as menus only, 371 of 3,498 strings
(10.6%), native-reviewed. The localization dimension counts 2
menus-only and 5 none, and 5 of Premiere's 10 languages well and 2
partly.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
Pressing Escape during an active drag in the Timeline cancels the operation without committing changes on mouse release. For ruler scrub, restores the playhead to its starting time.
While the Program or Source monitor plays and its time ruler is zoomed
in, the zoom range follows the playhead the same way the Timeline does,
honouring Settings > Timeline > Timeline Playback Auto-Scrolling: page
scrolling moves the range so the playhead is near its left edge when it
runs off the right edge or jumps before the left one; smooth scrolling
keeps the playhead in the middle; no scrolling leaves the range alone.
The range keeps its width. Scrubbing, clicking and moving the playhead
while stopped never move it.
The Program and Source monitors get a zoom scroll bar under their time
ruler, drawn like the Timeline's: drag a handle at either end of the
thumb to zoom in or out (down to five frames), drag the middle to
scroll, or press beside the thumb to move it there. The ruler then
shows only that part: playhead, markers, In/Out handles and ticks are
mapped to it, clicks and scrubs set a time within it, and anything
outside it is not drawn. Each monitor keeps its own range in its view
state (time_zoom).
The transport buttons are now 28 pt square with larger icons, spaced
6 pt apart and centred; on a narrow monitor the spacing tightens before
buttons move to the overflow menu.
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
- release.yml: new `linux-riscv64` job, cross-compiled on ubuntu-24.04 against
ports.ubuntu.com riscv64 libs (ported from GridCraft), tar.gz only, CLI
smoke-tested under QEMU. Installs libasound2-dev:riscv64 for cpal/ALSA; the
VA-API and NVDEC/NVENC paths are loaded with libloading at run time, so they
need no riscv64 libraries. The draft-release job now needs it, so its tarball
is uploaded and covered by SHA256SUMS.txt.
- packaging/linux/package.sh: CROSS_ARCH / CROSS_TARGET / CROSS_COMPILE /
EMULATOR support, as in GridCraft.
- README and docs/releasing.md list the riscv64 tarball.
- cargo xtask version set 0.6.0 (Cargo.toml, Cargo.lock); refresh contributors.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
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 <noreply@anthropic.com>
Brandon Thomas