DDS textures can now be saved, not just opened: uncompressed (BGRA, BGRX, L8, A8L8; lossless) or BC1/BC2/BC3 (DXT1/3/5) from a clean-room block encoder, with an optional box-filtered mip chain, in the legacy header. Save As and Save a Copy ask with DDS Options; scripts pass `ddsCompression`/`ddsMipmaps` (file commands, control `app.save`, RPC `doc.save`, MCP `doc_save`/`doc_export`), and the CLI takes `--dds-compression`/`--dds-mipmaps`. Targa and DDS answers travel together as `FormatChoices` through the Save As flow.
Review follow-ups:
- File › Save behind DDS or Targa Options records a plain Save with its answer, and replaying `file.save` applies it (#3531).
- The block encoder finds the principal axis from every channel, so a channel that varies on its own can't hide the others' variation.
- DDS joins the shared round-trip suite; the header is built before the output buffer is allocated.
- Enter on a focused Cancel in DDS, Targa or TIFF Options cancels instead of saving.
* PNG: keep a stereo file's sTER pairing on save (#6063)
Read the sTER chunk (PNG Extensions 1.4.0 §3.6) when a PNG opens, store it
on the document's FileEncoding, and write it back when saving, so a stereo
PNG still says it is a stereo pair. Covers the ordinary and the palette
PNG encoders, including interlaced output.
* io tests: pass the new sTER argument to encode_png_indexed
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: highperfocused <highperfocused@pm.me>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Wind, Extrude and Tiles applied as smart filters were dropped from PSD
saves with a warning, and the same filters in a Photoshop PSD opened only
as verbatim, uneditable entries. smart_map.rs now maps them both ways in
filterFX:
- Wind (`Wnd `, filterID 1466852384): `WndM` enum (`Wnd `/`Blst`/`Stgr`)
<-> method; `Drct` enum: `Left` <-> fromRight (streaks extend to the
left), `Rght` <-> fromLeft.
- Extrude (`Extr`, 1165522034): `ExtT` enum (`Blks`/`Pyrm`) <-> type,
`ExtS`/`ExtD` long <-> size/depth, `ExtR` enum (`Rndm`/`LvlB`) <->
depthMode, `ExtF`/`ExtM` bool <-> solidFrontFaces/maskIncompleteBlocks.
- Tiles (`Tls `, 1416393504): `TlNm`/`TlOf` long <-> count/maxOffset,
`FlCl` enum (`FlBc`/`FlFr`/`FlIn`/`FlSm`) <-> fill; the entry's
`FrgC`/`BckC` <-> foreground/background.
Our random seed has no PSD key and is not written. Missing keys, wrong
value types, out-of-range numbers and unknown enum values keep the entry
verbatim; params with no PSD equivalent are reported, never guessed.
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back; each code also checked on a test image (pixels
compared). Scorecard FILE-215-2 note and file-format parity updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Mezzotint and Color Halftone applied as smart filters were dropped from PSD
saves with a warning, and the same filters in a Photoshop PSD opened as
unsupported (verbatim) smart filters. smart_map.rs now maps them both ways:
- Mezzotint: filterID/class `Mztn`, `MztT` enum (FnDt, MdmD, GrnD, CrsD,
ShrL, MdmL, LngL, ShSt, MdmS, LngS) <-> `type` (fineDots .. longStrokes).
PhotoCraft's `seed` has no Photoshop equivalent and is not saved.
- Color Halftone: filterID/class `ClrH`, `Rds ` and `Ang1`-`Ang4` longs <->
`maxRadius`, `channel1`-`channel4`, written within the dialog ranges
(4..127, -360..360).
Unknown enum codes, wrong value types and out-of-range values are kept
verbatim as unsupported filters, never a panic.
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back; codes confirmed by rendering each option.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Smart Sharpen (filter.sharpen.smartSharpen) and Dust & Scratches
(filter.noise.dustAndScratches) smart filters are now mapped both ways in
the PSD filterFX list instead of being dropped on save and opening as
uneditable entries.
- Smart Sharpen: filterID 1131 (numeric), stringID class smartSharpen;
useLegacy bool, Amnt UntF #Prc, Rds UntF #Pxl, noiseReduction UntF #Prc,
blur blurType enum. PhotoCraft removes a Gaussian blur, so it writes
blur GsnB with useLegacy false. Entries with Lens Blur (Photoshop's
default), Motion Blur (with Angl), legacy mode, any other key, wrong
types/units or out-of-range values stay verbatim. presetKind
(presetKindType) is accepted on open but not kept or written: the
engine takes no such parameter, and Photoshop leaves it out of entries
with explicit values.
- Dust & Scratches: filterID / class DstS; Rds and Thsh long (radius
1..500, threshold 0..255; PhotoCraft params are rounded on write).
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back (Smart Sharpen default / Gaussian / Motion,
Dust & Scratches 1,0 and 4,20). Tests cover the measured shapes, option
round trips, malformed descriptors kept verbatim and hostile params.
Scorecard FILE-215-2 note and file-format parity doc updated.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
smart_map.rs maps four more filters both ways in filterFX:
- Diffuse: filterID `Dfs `, Fltr `Dfs ` { Md = DfsM enum Nrml / DrkO / LghO /
anisotropic (long id) } <-> filter.stylize.diffuse `mode`.
- Trace Contour: `TrcC` { Lvl long 0-255, Edg = CntE enum Upr / Lwr }
<-> filter.stylize.traceContour `level`, `edge`.
- Crystallize: `Crst` { ClSz long 3-300 } <-> filter.pixelate.crystallize.
- Pointillize: `Pntl` { ClSz long 3-300 } plus the entry's BckC as the
`background` colour <-> filter.pixelate.pointillize.
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back. Our random `seed` has no PSD key and is not
written. Missing keys, wrong value types, out-of-range numbers and unknown
enum values keep the entry verbatim; values with no PSD equivalent on save
are reported instead of guessed.
Scorecard FILE-215-2 note and docs/file-format-parity.md updated (stays
partial).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Blur, Blur More, Average, Despeckle, Find Edges, Facet, Fragment, Sharpen,
Sharpen More, Sharpen Edges and Solarize now map both ways in a smart
object's filterFX. Photoshop stores these filters with hasoptions false, no
Fltr descriptor and only the four-char filterID as a long (Blr , BlrM, Avrg,
Dspc, FndE, Fct , Frgm, Shrp, ShrM, ShrE, Slrz). PSD saves write exactly that
item (Nm, blendOptions, enab, hasoptions, FrgC, BckC, filterID) instead of
dropping the filter with a warning, and Photoshop's entries open as the
editable PhotoCraft filter instead of a verbatim pass-through. An entry that
carries a Fltr with settings, or an unknown or mistyped filterID, is still
kept verbatim.
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back.
Scorecard FILE-215-2 note and docs/file-format-parity.md updated (25 filters
mapped).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Map three more smart filters both ways in filterFX (smart_map.rs):
- Surface Blur: filterID 1135 (numeric), Fltr class `surfaceBlur`,
`Rds ` UnitFloat #Pxl -> radius, `Thsh` long -> threshold.
- Smart Blur: filterID `SmrB`, `Rds ` / `Thsh` doubles, `SmBQ` enum
(SBQL/SBQM/SBQH -> low/medium/high), `SmBM` enum
(SBMN/SBME/SBMO -> normal/edgeOnly/overlayEdge).
- Radial Blur: filterID `RdlB`, `Amnt` long, `BlrM` enum (Spn/Zm ->
spin/zoom), `BlrQ` enum (Drft/Gd/Bst -> draft/good/best).
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back. Every measured Fltr descriptor is written back
byte for byte (checked against the measured files locally; they are not
committed). Entries with missing keys, wrong types, out-of-range or NaN
values, unknown enum values or keys we don't model stay verbatim, as does
Radial Blur at its defaults (no Fltr stored). An off-centre Radial Blur
centre and unknown enum names are reported on save, not guessed.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Offset (filter.other.offset) and Custom (filter.other.custom) applied as
smart filters were left out of PSD saves with a warning, and the same
filters in a Photoshop PSD opened only as verbatim, non-editable entries.
smart_map.rs now maps both ways in filterFX:
- Offset: filterID/class Ofst; Hrzn and Vrtc as long (signed), Fl as the
FlMd enum: Wrp = wrap, Rpt = repeat, Bckg = transparent ("Set to
Transparent" on a layer). Unknown enum values, wrong types or missing
keys keep the entry verbatim.
- Custom: filterID/class Cstm; Scl and Ofst as long, Mtrx as 25 longs,
row-major 5 x 5. Written as the engine renders it (no kernel = identity,
missing cells 0, values clamped to -999..999, 1..9999, -9999..9999);
fractional values have no PSD equivalent and are reported. On open,
values outside Photoshop's ranges or a matrix that is not 25 longs keep
the entry verbatim.
Measured in Photoshop: applied through Action Manager to a smart object,
saved, filterFX read back (Offset Wrap 0/0, Set to Background 12/-7,
Repeat 5/3; Custom default sharpen and a blur at Scale 2, Offset 10).
The measured files open as the editable filters and survive export and
re-import unchanged (checked locally, not committed).
Scorecard FILE-215-2 note and the file-format parity doc list the two
filters (still partial).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Photoshop writes image resource 1092 (guides v2: 1032's guides plus a
colour per guide) and 1097 (one GUID per guide) next to 1032. Export
regenerated 1032 from the document but wrote 1092 and 1097 back verbatim,
so after Clear Guides, New Guide, a move or a recolour the file carried
two guide lists that disagree.
Both are now written back only while 1092 still describes the document's
guides (positions, directions and colours) and 1097 has as many entries;
otherwise both are left out and the file carries 1032 alone, as files
from before guides v2 do. Import takes the guides' own colours from 1092
(Photoshop's default Cyan stays with the preference colour), the read
half of #5967.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab
Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation
8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft
saved Lab documents as sRGB TIFFs.
- codecs: a Lab channel layout (Lab, LabA) holding a* and b* as
PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD
importer), with its own Lab <-> sRGB conversion (same formulas as
photocraft-color; codecs stays standalone) for formats without Lab,
which now warn LabConverted.
- TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the
tiff crate as RGB and labelled Lab; a* and b* are converted from the
file's encoding (signed a / 256a, or offset).
- TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab
is written with 16 bits (DepthReduced).
- io: a Lab TIFF opens as a Lab document; a Lab document with one plain
layer is written to TIFF in Lab (other formats still use sRGB).
Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its
own RGB conversion matches within one level at 8 bits and exactly at 16
bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same
L*a*b* values.
Fixes#4936
* PSD: a smart object's filter mask shows when the file opens
Photoshop stores a smart object's layer pixels with its filters applied
but not its filter mask. When it composites, it mixes the unfiltered
pixels (cached in FEid) back in through the mask. We showed the stored
pixels as they were, so a PSD whose smart filter has a mask opened with
the filter everywhere. Only after something re-rendered the smart object
did the mask appear, because our re-render mixes it.
- compose::filter_mask holds the mix, moved from the engine, and its
inverse.
- Import decodes the unfiltered pixels from FEid
(smart_map::unfiltered_from_item) and keeps the mixed result as the
smart object's pixels, as the engine's re-render does.
- Export writes the layer record the way Photoshop does: unmixed with
the unfiltered pixels it writes (or keeps) in FEid, so Photoshop mixes
back to what the document showed. Transparent pixels stay empty.
Photoshop oracles: sf-filter-mask-hard, sf-filter-mask-gradient and
sf-stack-blend-and-mask pass (145 -> 148 of 258); floor 145 -> 148.
psd-tools and io corpora unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11)
DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a
baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr
stream for three-sample LinearRaw. The decoder arm from #2021 read the
streams but widened every sample by 257, so the values no longer matched
the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped
everything to white and a 256-entry LinearizationTable was indexed past
its end. It also required the JPEG frame to match the clipped row count,
which rejected the padded edge tiles real tiled files carry.
The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are
the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit
data) and the LinearizationTable apply to them exactly as for every other
compression. A tile may be coded at the full tile size (edge tiles padded,
as the spec says) or at the image's row count; a strip at its row count;
the width must be the segment's. BitsPerSample must be 8 and the JPEG's
component count must equal SamplesPerPixel (1 or 3); anything else is an
error, never a silent conversion. The frame header is checked before any
pixel is decoded and the JPEG decoder's own size cap is the segment the
IFD declares (already charged against the limits), so a hostile SOF cannot
size a buffer past the tile.
testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via
the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for
hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out
when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles
and strips at 37x23 (partial edge tiles, a short last strip), the default
white level, black/white scaling and a LinearizationTable against the
uncompressed path, and hostile inputs: a truncated tile, frame-size and
component-count mismatches, a 65535x65535 SOF under default and tight
limits, a tile over the allocation budget, and 12/16-bit or 4-sample
files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw
file. The parity doc's DNG row is updated; the scorecard row is left for
the coordinating branch.
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* File > Save As / Save a Copy / CLI can write PDF: one flattened page with the embedded profile (#3401)
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195)
- flatten: a path's flattened points are capped at 1 << 20; past it every
curve keeps a proportional share of its pieces (at least one), so hostile
handles from files (vmsk, SVG, effect outlines) cannot exhaust memory.
fill_rasterizer flattens the whole path under one budget.
- stroke: past the dash step budget (or below coordinate precision),
dash_polyline keeps the dashes made so far and draws the rest solid
instead of dropping the stroke. Open polylines are no longer copied.
- raster: coordinates are clamped to +-1e15 and edges with a non-finite
slope (vanishingly short) are skipped, so huge finite coordinates no
longer produce NaN coverage. fill_rasterizer sorts edges once instead of
after every component (stable sort, identical order).
- Cleanups: dead miter `half`, dead loop-length check in trace_mask,
shared mask render body, map_knots helper, shared straight-segment test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198)
- Patterns: one PatternBudget (decoded bytes + zero padding) is shared by
every pattern of a block, a .pat file and the pattern blocks of one
document; .abr patt sections are charged to the samples' budget.
- Patterns: a channel whose depth differs from the first is rejected (the
parsed pattern could not be written back).
- Slices: descriptor numbers no longer wrap; out-of-range ids are no id,
coordinates clamp to i32, and a v6 trailing entry without a usable id
attaches its outsets to no slice.
- LayerInfo::unpadded_len is computed from field sizes instead of
serializing every record into a scratch buffer.
- abr desc presets are moved out instead of cloned; UnFl and shmd counts
use the bounded preallocation; ImageData::decode_channel (decoded every
plane to return one, unused outside its test) is removed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Vector: bound stroke outline points (#5211)
- stroke_polygons dashes all lines first, then counts round caps and
joins. When their full-resolution tessellation would exceed 1 << 20
outline points, every round cap and join gets the same smaller segment
count (down to 4 per circle, 1 per join; area-exact radius kept).
Strokes under the budget are unchanged; no piece is dropped.
- The dash step budget (100000) is now shared by all lines of a stroke
instead of per polyline, so many subpaths cannot multiply the dash
(and cap) count. Past it the rest is drawn solid, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers
Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(history): count snapshot-only tiles against the history budget
History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open
Users on #2788 reported Select Subject dropping clothes that are close in
colour to a plain wall and bridging the gap between an arm and the torso.
Both come from the same place: the saliency pass labels low-contrast parts
of the subject as background, the background colour model then learns
them and explains them away, and the final blind hole fill closes every
enclosed gap up to 5 % of the mask.
Two changes in crates/algo:
- A second GrabCut pass whose background model only knows the backdrop. A
colour model fitted to the image frame (minus a margin around the
salient blob, in case the subject runs out of the picture) marks every
pixel it explains as probable background; the blob and whatever the
backdrop cannot account for start as probable foreground. Only
components that touch the first pass's result survive.
- Hole filling that consults the colour models: specks (<= 0.2 % of the
mask) always fill, larger holes up to 5 % fill only when their pixels
fit the foreground model better than the background's.
Tests: two regressions (a cream-shouldered figure on a near-white wall
keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus
ignored timing and picture-dump helpers. The 6 MP first run goes from
about 100 ms to about 200 ms on one core; the P29 repeat path is untouched.
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Gert Pellin <gert@pellin.be>
Co-authored-by: timothydaly1 <tadaly04@protonmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Fabio Lissi <fabio.lissi@gmail.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Finn Newick <finnnk@gmail.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Diego Chagas <drochachagas@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab
Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation
8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft
saved Lab documents as sRGB TIFFs.
- codecs: a Lab channel layout (Lab, LabA) holding a* and b* as
PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD
importer), with its own Lab <-> sRGB conversion (same formulas as
photocraft-color; codecs stays standalone) for formats without Lab,
which now warn LabConverted.
- TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the
tiff crate as RGB and labelled Lab; a* and b* are converted from the
file's encoding (signed a / 256a, or offset).
- TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab
is written with 16 bits (DepthReduced).
- io: a Lab TIFF opens as a Lab document; a Lab document with one plain
layer is written to TIFF in Lab (other formats still use sRGB).
Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its
own RGB conversion matches within one level at 8 bits and exactly at 16
bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same
L*a*b* values.
Fixes#4936
* PSD: a smart object's filter mask shows when the file opens
Photoshop stores a smart object's layer pixels with its filters applied
but not its filter mask. When it composites, it mixes the unfiltered
pixels (cached in FEid) back in through the mask. We showed the stored
pixels as they were, so a PSD whose smart filter has a mask opened with
the filter everywhere. Only after something re-rendered the smart object
did the mask appear, because our re-render mixes it.
- compose::filter_mask holds the mix, moved from the engine, and its
inverse.
- Import decodes the unfiltered pixels from FEid
(smart_map::unfiltered_from_item) and keeps the mixed result as the
smart object's pixels, as the engine's re-render does.
- Export writes the layer record the way Photoshop does: unmixed with
the unfiltered pixels it writes (or keeps) in FEid, so Photoshop mixes
back to what the document showed. Transparent pixels stay empty.
Photoshop oracles: sf-filter-mask-hard, sf-filter-mask-gradient and
sf-stack-blend-and-mask pass (145 -> 148 of 258); floor 145 -> 148.
psd-tools and io corpora unchanged.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11)
DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a
baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr
stream for three-sample LinearRaw. The decoder arm from #2021 read the
streams but widened every sample by 257, so the values no longer matched
the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped
everything to white and a 256-entry LinearizationTable was indexed past
its end. It also required the JPEG frame to match the clipped row count,
which rejected the padded edge tiles real tiled files carry.
The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are
the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit
data) and the LinearizationTable apply to them exactly as for every other
compression. A tile may be coded at the full tile size (edge tiles padded,
as the spec says) or at the image's row count; a strip at its row count;
the width must be the segment's. BitsPerSample must be 8 and the JPEG's
component count must equal SamplesPerPixel (1 or 3); anything else is an
error, never a silent conversion. The frame header is checked before any
pixel is decoded and the JPEG decoder's own size cap is the segment the
IFD declares (already charged against the limits), so a hostile SOF cannot
size a buffer past the tile.
testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via
the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for
hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out
when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles
and strips at 37x23 (partial edge tiles, a short last strip), the default
white level, black/white scaling and a LinearizationTable against the
uncompressed path, and hostile inputs: a truncated tile, frame-size and
component-count mismatches, a 65535x65535 SOF under default and tight
limits, a tile over the allocation budget, and 12/16-bit or 4-sample
files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw
file. The parity doc's DNG row is updated; the scorecard row is left for
the coordinating branch.
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195)
- flatten: a path's flattened points are capped at 1 << 20; past it every
curve keeps a proportional share of its pieces (at least one), so hostile
handles from files (vmsk, SVG, effect outlines) cannot exhaust memory.
fill_rasterizer flattens the whole path under one budget.
- stroke: past the dash step budget (or below coordinate precision),
dash_polyline keeps the dashes made so far and draws the rest solid
instead of dropping the stroke. Open polylines are no longer copied.
- raster: coordinates are clamped to +-1e15 and edges with a non-finite
slope (vanishingly short) are skipped, so huge finite coordinates no
longer produce NaN coverage. fill_rasterizer sorts edges once instead of
after every component (stable sort, identical order).
- Cleanups: dead miter `half`, dead loop-length check in trace_mask,
shared mask render body, map_knots helper, shared straight-segment test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198)
- Patterns: one PatternBudget (decoded bytes + zero padding) is shared by
every pattern of a block, a .pat file and the pattern blocks of one
document; .abr patt sections are charged to the samples' budget.
- Patterns: a channel whose depth differs from the first is rejected (the
parsed pattern could not be written back).
- Slices: descriptor numbers no longer wrap; out-of-range ids are no id,
coordinates clamp to i32, and a v6 trailing entry without a usable id
attaches its outsets to no slice.
- LayerInfo::unpadded_len is computed from field sizes instead of
serializing every record into a scratch buffer.
- abr desc presets are moved out instead of cloned; UnFl and shmd counts
use the bounded preallocation; ImageData::decode_channel (decoded every
plane to return one, unused outside its test) is removed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Vector: bound stroke outline points (#5211)
- stroke_polygons dashes all lines first, then counts round caps and
joins. When their full-resolution tessellation would exceed 1 << 20
outline points, every round cap and join gets the same smaller segment
count (down to 4 per circle, 1 per join; area-exact radius kept).
Strokes under the budget are unchanged; no piece is dropped.
- The dash step budget (100000) is now shared by all lines of a stroke
instead of per polyline, so many subpaths cannot multiply the dash
(and cap) count. Past it the rest is drawn solid, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers
Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(history): count snapshot-only tiles against the history budget
History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open
Users on #2788 reported Select Subject dropping clothes that are close in
colour to a plain wall and bridging the gap between an arm and the torso.
Both come from the same place: the saliency pass labels low-contrast parts
of the subject as background, the background colour model then learns
them and explains them away, and the final blind hole fill closes every
enclosed gap up to 5 % of the mask.
Two changes in crates/algo:
- A second GrabCut pass whose background model only knows the backdrop. A
colour model fitted to the image frame (minus a margin around the
salient blob, in case the subject runs out of the picture) marks every
pixel it explains as probable background; the blob and whatever the
backdrop cannot account for start as probable foreground. Only
components that touch the first pass's result survive.
- Hole filling that consults the colour models: specks (<= 0.2 % of the
mask) always fill, larger holes up to 5 % fill only when their pixels
fit the foreground model better than the background's.
Tests: two regressions (a cream-shouldered figure on a near-white wall
keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus
ignored timing and picture-dump helpers. The 6 MP first run goes from
about 100 ms to about 200 ms on one core; the P29 repeat path is untouched.
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Gert Pellin <gert@pellin.be>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Fabio Lissi <fabio.lissi@gmail.com>
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Finn Newick <finnnk@gmail.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Diego Chagas <drochachagas@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
* TIFF: read and write CIE L*a*b* (CIELab, ICCLab); Lab documents stay Lab
Photoshop saves Lab documents as CIELab TIFFs (PhotometricInterpretation
8, a* and b* signed), which PhotoCraft could not open, and PhotoCraft
saved Lab documents as sRGB TIFFs.
- codecs: a Lab channel layout (Lab, LabA) holding a* and b* as
PhotoCraft's Lab documents do ((a + 128) / 255; 16 bits like the PSD
importer), with its own Lab <-> sRGB conversion (same formulas as
photocraft-color; codecs stays standalone) for formats without Lab,
which now warn LabConverted.
- TIFF read: CIELab and ICCLab (8 and 16 bits, alpha) are handed to the
tiff crate as RGB and labelled Lab; a* and b* are converted from the
file's encoding (signed a / 256a, or offset).
- TIFF write: Lab and LabA as CIELab, as Photoshop writes it; float Lab
is written with 16 bits (DepthReduced).
- io: a Lab TIFF opens as a Lab document; a Lab document with one plain
layer is written to TIFF in Lab (other formats still use sRGB).
Photoshop 2025's Lab TIFFs open with the colours Photoshop shows (its
own RGB conversion matches within one level at 8 bits and exactly at 16
bits), and Photoshop reads PhotoCraft's Lab TIFFs back with the same
L*a*b* values.
Fixes#4936
* DNG: decode lossy (JPEG-compressed) DNG tiles (FILE-215-11)
DNG 1.4 lossy JPEG (compression 34892) stores each tile or strip as a
baseline-DCT JPEG of 8-bit samples: a gray stream for CFA data, a YCbCr
stream for three-sample LinearRaw. The decoder arm from #2021 read the
streams but widened every sample by 257, so the values no longer matched
the file's levels: an 8-bit WhiteLevel (or its default, 255) clipped
everything to white and a 256-entry LinearizationTable was indexed past
its end. It also required the JPEG frame to match the clipped row count,
which rejected the padded edge tiles real tiled files carry.
The arm is now `lossy_jpeg()` in sensor.rs. The decoded 8-bit values are
the stored samples, and BlackLevel, WhiteLevel (default 255 for 8-bit
data) and the LinearizationTable apply to them exactly as for every other
compression. A tile may be coded at the full tile size (edge tiles padded,
as the spec says) or at the image's row count; a strip at its row count;
the width must be the segment's. BitsPerSample must be 8 and the JPEG's
component count must equal SamplesPerPixel (1 or 3); anything else is an
error, never a silent conversion. The frame header is checked before any
pixel is decoded and the JPEG decoder's own size cap is the segment the
IFD declares (already charged against the limits), so a hostile SOF cannot
size a buffer past the tile.
testgen writes true 8-bit lossy fixtures (`LossyJpegTiles`, and strips via
the new `LossyJpegStrips`), accepts pre-encoded `lossy_segments` for
hostile-input tests, exposes `baseline_jpeg()`, and leaves WhiteLevel out
when `white` is 0. The DNG tests cover CFA and LinearRaw RGB from tiles
and strips at 37x23 (partial edge tiles, a short last strip), the default
white level, black/white scaling and a LinearizationTable against the
uncompressed path, and hostile inputs: a truncated tile, frame-size and
component-count mismatches, a 65535x65535 SOF under default and tight
limits, a tile over the allocation budget, and 12/16-bit or 4-sample
files. The hostile mutation set gains a lossy CFA and a lossy LinearRaw
file. The parity doc's DNG row is updated; the scorecard row is left for
the coordinating branch.
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* Vector: bound flattening memory, keep over-budget dashes, cheaper edge build (#5195)
- flatten: a path's flattened points are capped at 1 << 20; past it every
curve keeps a proportional share of its pieces (at least one), so hostile
handles from files (vmsk, SVG, effect outlines) cannot exhaust memory.
fill_rasterizer flattens the whole path under one budget.
- stroke: past the dash step budget (or below coordinate precision),
dash_polyline keeps the dashes made so far and draws the rest solid
instead of dropping the stroke. Open polylines are no longer copied.
- raster: coordinates are clamped to +-1e15 and edges with a non-finite
slope (vanishingly short) are skipped, so huge finite coordinates no
longer produce NaN coverage. fill_rasterizer sorts edges once instead of
after every component (stable sort, identical order).
- Cleanups: dead miter `half`, dead loop-length check in trace_mask,
shared mask render body, map_knots helper, shared straight-segment test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: cap pattern memory across a parse, reject mixed-depth pattern channels (#5198)
- Patterns: one PatternBudget (decoded bytes + zero padding) is shared by
every pattern of a block, a .pat file and the pattern blocks of one
document; .abr patt sections are charged to the samples' budget.
- Patterns: a channel whose depth differs from the first is rejected (the
parsed pattern could not be written back).
- Slices: descriptor numbers no longer wrap; out-of-range ids are no id,
coordinates clamp to i32, and a v6 trailing entry without a usable id
attaches its outsets to no slice.
- LayerInfo::unpadded_len is computed from field sizes instead of
serializing every record into a scratch buffer.
- abr desc presets are moved out instead of cloned; UnFl and shmd counts
use the bounded preallocation; ImageData::decode_channel (decoded every
plane to return one, unused outside its test) is removed.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Vector: bound stroke outline points (#5211)
- stroke_polygons dashes all lines first, then counts round caps and
joins. When their full-resolution tessellation would exceed 1 << 20
outline points, every round cap and join gets the same smaller segment
count (down to 4 per circle, 1 per join; area-exact radius kept).
Strokes under the budget are unchanged; no piece is dropped.
- The dash step budget (100000) is now shared by all lines of a stroke
instead of per polyline, so many subpaths cannot multiply the dash
(and cap) count. Past it the rest is drawn solid, as before.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: measure a thin hole by its thickness, not its bounds (#1366)
Removing long, thin objects (coiled guitar strings, wires) left their
outline as darker and lighter blotches and copied pieces of other strings
into the fill. The pyramid shrank until the hole's bounding box was four
patches across: for a string across the image that is a level where the
hole has swallowed its surroundings, so the matches found there copy
whatever looks like the blur, and the finer levels (refine-only for wide
bounds) keep them.
A hole at most a quarter as thick as its bounds are long now counts as
thin: the pyramid stops while it is still about two patches thick, and
that level starts from a membrane across it (over a few pixels, the
surroundings themselves) instead of the onion peel, whose exhaustive
search is what made a shallow pyramid unaffordable. Compact holes are
unchanged bit for bit.
Refs #1366
* perf(compose,gpu): effect caches reserve tile addresses instead of pinning layers
Effect map cache entries kept a clone of their layer (a deep clone for groups) so the tile addresses the cache key hashes couldn't be reused. That kept an edited or deleted layer's pixels alive, uncounted, until the entry was evicted. Keep a Weak to each hashed tile instead: it reserves the address without keeping the pixels. The GPU compositor's styled-group pins and shape-source tile snapshots do the same. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(history): count snapshot-only tiles against the history budget
History panel snapshots outlived every budget: a Merged Layers snapshot is a full flattened copy that neither the history budget, the GPU budget's document bytes nor Purge accounted for. Trim now counts the tiles only snapshots hold as fixed cost, the GPU budget includes them, and Purge > Histories no longer reports tiles a kept snapshot still holds as freed. Part of #4530.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Content-Aware Fill: every part of a thin selection keeps its surroundings (#1366)
Two more causes of ghosts when removing strings and the small knobs
selected with them:
* Auto sampling summarises the selection's surroundings by a few
clusters. Around a long selection those come from the strings'
surroundings, so a small part elsewhere (a tuning knob in a differently
coloured corner) lost its own surroundings and was filled from far away
in another colour. Around a thin selection the Auto area now always
reaches as far as the selection is thick.
* The membrane that starts a thin hole now starts a patch radius out, past
the anti-aliased fringe or halo that a selection drawn close to the
object leaves outside it.
Refs #1366
* Content-Aware Fill: peel a thin hole where that stays affordable (#1366)
Starting every thin hole from a membrane smoothed Spot Healing on film
grain (spot_healing_keeps_film_grain_through_overlapping_strokes: grain
9.0 against 12.1 around). The onion peel copies the grain; it was only
given up because its exhaustive search is too slow on the big level a
long thin hole stops at. It now starts the thin hole whenever hole cells
times sources stay within 2^28 comparisons, and the membrane only beyond.
Refs #1366
* Select Subject: keep subject parts coloured like the backdrop, leave enclosed gaps open
Users on #2788 reported Select Subject dropping clothes that are close in
colour to a plain wall and bridging the gap between an arm and the torso.
Both come from the same place: the saliency pass labels low-contrast parts
of the subject as background, the background colour model then learns
them and explains them away, and the final blind hole fill closes every
enclosed gap up to 5 % of the mask.
Two changes in crates/algo:
- A second GrabCut pass whose background model only knows the backdrop. A
colour model fitted to the image frame (minus a margin around the
salient blob, in case the subject runs out of the picture) marks every
pixel it explains as probable background; the blob and whatever the
backdrop cannot account for start as probable foreground. Only
components that touch the first pass's result survive.
- Hole filling that consults the colour models: specks (<= 0.2 % of the
mask) always fill, larger holes up to 5 % fill only when their pixels
fit the foreground model better than the background's.
Tests: two regressions (a cream-shouldered figure on a near-white wall
keeps its shoulders; a ring keeps its backdrop-coloured hole open), plus
ignored timing and picture-dump helpers. The 6 MP first run goes from
about 100 ms to about 200 ms on one core; the P29 repeat path is untouched.
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Gert Pellin <gert@pellin.be>
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: vangel76 <vangel1976@googlemail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Finn Newick <finnnk@gmail.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Diego Chagas <drochachagas@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
* Raw: measure the Nikon D90 image area (4288x2848 at (10, 10))
Aligning the decoded D90 sensor plane with the camera's own JPEG puts the
image at (10, 10) in the 4352x2868 sensor plane, giving the camera's
4288x2848 frame (10-pixel margins; the right border reads the camera's flat
255 from column 4310). Add the measured ImageArea so a D90 NEF opens on the
camera's frame instead of the uncropped plane, and make a measured profile
leave a file that carries its own colour calibration (a DNG) untouched.
* Codecs: open Cineon (.cin) film frames read-only
Cineon is the 10-bit logarithmic film-scan format DPX grew from. Read it from
the same Kodak header family: the generic header (big-endian, orientation at
192, channel count at 193, the channel-1 bits/dimensions), one or three
channels, three 10-bit samples packed into each 32-bit word on a word
boundary. The 10-bit code values open as U16 (round(c x 65535 / 1023)); the
file's log black/white points are a display choice and are not applied. A
depth other than 10 bits or a channel count other than 1/3 is Unsupported;
truncation errors rather than panicking. Read-only (no Cineon writer), so
.cin joins the open filters and Cineon read closes part of #1049's G10 gap.
* PSD: write tiff blocks without copies, inflate merged ZIP once
- ImageSourceData::to_bytes writes the global mask and global blocks
straight from the model with 4-byte alignment instead of cloning each
block (data included) to set its padding. Same bytes.
- The tiff transcoder's nested regions and blocks write into the parent's
buffer (taken and handed back, error or not) instead of building their
own output and copying it up per nesting level. Bodies that fail or are
not transcoded are truncated before being copied as stored or dropped.
Same bytes.
- PsdFile::from_bytes_and_merged decodes the merged image with the parse
when asked: a ZIP stream is inflated once (the decode's stream check is
the parse's); the parse-only check runs only when the decode fails, to
keep from_bytes' errors. PSD import uses it with merged_needed.
- PsdBuilder::composite documents that Gray/CMYK composites stay straight.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Keyboard shortcut sets: Set menu, New Set, Save, Delete, .kys Export and Summarize (K2)
Edit › Keyboard Shortcuts gets Photoshop's set management. A set is a saved copy of the
bindings (Preferences.shortcutSets, the one in use in shortcutSet; "" is PhotoCraft Defaults),
and the Set menu shows "(modified)" when the bindings differ from it. New Set…, Save and
Delete wait for OK like the rest of the dialog. Export… writes the dialog's bindings as a .kys
file (commands then tools, Photoshop's macOS key spelling), each row carrying our id as pc-id
so PhotoCraft imports its own sets back exactly, whatever the label; Summarize… writes
Photoshop's HTML list of every bound command by menu.
edit.keyboardShortcuts takes useSet (before the call's edits), saveSet, deleteSet, sets and
activeSet (after them), exportKys and summarize; every reply reports the sets, the set in use
and whether it is modified. Bad names, keys or counts are errors that change nothing.
* .kys import: tool keys and sets saved on Windows (K3)
Photoshop's <tool> rows now import: each matches our tool by name (our tool names are
Photoshop's) or by pc-id in sets PhotoCraft exported, and a letter other than the tool's own
becomes its override, while its own letter keeps the tool cycling with the others (#5036).
A set saved on Windows spells the primary modifier Ctrl where a Mac set writes Cmd and keeps
Control for the Control key. A set with no Cmd or Opt anywhere but some Ctrl is read as a
Windows set, its Ctrl as our Cmd: Ctrl+L is the Cmd+L default, not a Control-key override that
would also mean Control on a Mac. The import reports `windows`.
* cargo fmt the extension lists
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Vikram Bhaskaran <vikram.bhaskaran@outlook.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Tanish Manku <tmanku.dev@gmail.com>
aiongg