* G13: TikTok, Instagram Reels and YouTube Shorts export presets
Three Web & Social presets for short-form vertical video: H.264
1080×1920 (9:16), scaled to fill, at the sequence's frame rate, AAC
48 kHz stereo, with Loudness Normalization on at −14 LUFS and a −1 dBTP
ceiling, the level the platforms play at; 10, 8 and 12 Mbps VBR. They
share a short_form() helper; Social Vertical is unchanged.
short_form_presets_are_vertical_and_loudness_normalized checks size,
rate, scaling, bitrate, audio and loudness. Real exports measured
−14.1 LUFS from both a −19 and a −8.4 LUFS source.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* G13: the short-form presets test checks each maximum bitrate
CodeRabbit on #3721: assert max_bitrate_kbps (12, 10 and 16 Mbps) and
the VBR 1 pass mode next to the target bitrate, so a change to the
ceiling alone fails the test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
An export, Render Previews and proxy jobs read the media pool's sources, the
ones the monitors read: one decoder per file behind a lock. Playing a clip
while it was exported made the two take turns on that decoder, seeking it
between the export's frame and the playhead's for every request (4K60 H.264:
94 % of playback frames dropped, monitor decode p95 ~285 ms).
MediaPool::own_source opens a job's own copy of a file through the host's
streaming reader; PoolProvider::own_sources makes a full-resolution provider
use those copies, which close with the provider. Generators, image sequences,
media made or last seen offline, hosts without a reader and formats that
would be read whole still share the pool's source.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Export > Hardware encoding on macOS was CPU-bound by its own colour conversion: the
encode thread converted every RGBA frame to NV12 (rgba_to_yuv420_8) while the rayon
pool rendered the next batch, so the serial conversion took 20-27 ms a 1080p frame
and the media engine waited (perf.stats: convertMs 29.6 s of a 33.7 s export). The
VideoToolbox session now takes the export's RGBA pictures as 32BGRA buffers tagged
BT.709 and converts them itself, as NVENC has since #486; the encode thread copies
8 MB a frame (0.3-0.4 ms). A VideoToolbox that refuses RGB input on the first picture
gets the planar session and the CPU conversion back, so nothing depends on it.
Apple M2 Max, A/B interleaved, median of 3: hardware-encode export of a 60 s 1080p
timeline 35.8 s -> 29.4 s (now render-bound, waitMs 18-25 s), with GPU rendering
22.2 s -> 18.7 s at 277 % -> 219 % CPU; the software-encoder export is byte-identical.
Co-Authored-By: Claude Fable 5.1 <noreply@anthropic.com>
A `bitrateKbps` given in `settings` was ignored when the starting settings had an adaptive
bitrate (every Match Source preset): `ExportSettings::resolve` uses `adaptive_bitrate` in place of
`bitrate_kbps` whenever it is set, and only the flat `bitrateKbps` cleared it. Over "Match Source -
Adaptive High Bitrate", `settings: {bitrateKbps: 5000}` exported 720x480 at 29.97 at the preset's
2,072 kbps.
It now clears the adaptive bitrate as the flat parameter does, unless `adaptiveBitrate` is given
with it.
- AudioSettings gains `float`; `bits` takes 16, 24 or 32. `SampleFormat` (Int16 / Int24 /
Int32 / Float32) and `ExportSettings::supports_sample_format` decide what each codec and
container stores: WAV, AIFF and QuickTime PCM all four, MXF integers, FLAC integers.
`validate` refuses float without 32 bits and float in FLAC or MXF.
- WAV float is WAVE_FORMAT_IEEE_FLOAT (EXTENSIBLE for more than two channels) with a `fact`
chunk; AIFF float is AIFF-C `fl32`; QuickTime float is `lpcm` with the float flag; MXF writes
32-bit integers. Float keeps the mix as it is, peaks above 0 dBFS included; 16 and 24 bit
write the same bytes as before.
- FLAC encoder: 8-32 bits. 32-bit stereo is coded independently (a side channel would need 33
bits), the sample range check no longer overflows, and 32-bit frames point at STREAMINFO for
the size, which symphonia 0.5 (FilmCraft's own FLAC import) and ffmpeg both read.
- Export mode: Sample Size shows 16 bit, 24 bit, 32 bit and 32 bit float like Audio Format
does, greying out what the format cannot store with the reason on hover; a size that stops
being available (float after switching to FLAC) becomes 32-bit integer. es, fr, pt-br, id,
ja and zh-cn strings.
- Tests: writer layouts and ffprobe codecs for every new format, round trips through ffmpeg
and FilmCraft's own readers in WAV, AIFF, MOV, MXF and FLAC, headroom of a +6 dB tone,
refused combinations, full-scale 32-bit FLAC through ffmpeg (MD5 too) and symphonia, and a
UI test of the selector.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_015nzevSsTNZxHPpUngfGTAw
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>
Problem: Premiere's "AAC Audio" format has no FilmCraft equivalent. AAC
was only written inside H.264 / H.265 / AV1 movies; the only audio-only
exports were Waveform Audio and AIFF.
Fix: a new `aac` export format ("AAC Audio") that encodes the sequence
mix with the existing AAC-LC encoder into an MPEG-4 audio file (.m4a,
encoder delay in an edit list), or a raw ADTS stream when the path ends
in .aac. Bitrate, sample rate, channels and loudness normalisation follow
the audio settings. Adds an "AAC Audio 48 kHz 320 kbps" Audio Only
preset, CLI extension guessing (.m4a / .aac), es/fr/ja/zh-cn strings, and
updates G13 (also noting ProRes 4444 / XQ is already in the export UI).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: symphonia rejects every Layer II frame whose bit rate / mode
combination ISO/IEC 11172-3 does not allow (mono above 192 kbit/s, stereo
below 64 kbit/s). ffmpeg writes mono MP2 at 384 kbit/s by default, so such
tracks played as silence in MPEG-TS / PS, Matroska and raw .mp2 files.
Fix: new L0 crate filmcraft-mpa, a clean-room Layer I / II decoder written
from ISO/IEC 11172-3 and 13818-3 (all modes incl. joint stereo, MPEG-1/2/2.5
rates, the disallowed combinations decoded with the allocation table their
bit rate per channel selects). PacketDecoder::mpeg_audio uses it for layers
I and II (packets of several frames too); raw .mp2 files decode with it,
resyncing after damage. Oracle tests vs ffmpeg: 73-84 dB SNR on ffmpeg /
twolame streams and synthetic Layer I / joint stereo frames; fuzzed damaged
frames never panic.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere 26's redesigned mask tools give rectangle masks
rounded corners; FilmCraft masks only had sharp corners.
Fix: MaskPath::with_rounded_corners replaces each sharp corner between
straight edges by a circular fillet (two vertices joined by a cubic arc,
handles 4/3·tan(φ/4)·r, shrunk to fit half of each edge; hostile radii
and indices are clamped or ignored). masks.add takes `cornerRadius` for
a rounded rectangle, and the new masks.roundCorners command rounds an
existing mask's corners (or the listed vertices) in one undo step, on
every Mask Path keyframe so animated paths keep interpolating.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere offers OpenEXR as an image-sequence export format;
FilmCraft could not write EXR at all (docs/gaps.md G13).
Fix: a new export format (id exr, "OpenEXR") writing numbered .exr stills,
with a preset, the Include Alpha Channel option, the file.exportMedia format
list and es/ja/zh-cn strings. The writer in crates/export/src/raster.rs
follows the public OpenEXR file layout: version 2 single-part scan-line
file, half-float B/G/R(/A) channels, no compression, one scan line per
chunk, Rec.709 chromaticities; values are scene-linear (the pipeline's
transfer undone) with premultiplied alpha, as EXR defines. No new
dependency. ZIP / PIZ / DWA compression stays open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: Premiere offers JPEG, Targa and DPX as image-sequence export
formats; FilmCraft only wrote PNG, TIFF and BMP sequences (docs/gaps.md G13).
Fix: three new export formats (ids jpg, tga, dpx), numbered like the other
sequences, with presets, the export UI (JPEG quality slider, Targa alpha)
and es/ja/zh-cn strings. JPEG uses the image crate at the export quality;
Targa (TGA 2.0, uncompressed 24/32-bit) and DPX (SMPTE ST 268, 10-bit RGB
method A, BT.709) are written by a small hostile-input-safe writer in
crates/export/src/raster.rs. Format::is_image_sequence replaces the
hand-kept format lists. OpenEXR stays open.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Problem: a project had nowhere to keep free text (to-dos, instructions
for whoever opens it next, frame numbers).
Fix: plain-text `Project::notes` (schema v15, no-op migration so older
builds refuse instead of dropping it), `project.notes` /
`project.setNotes {text, merge?}` engine commands (undoable, capped at
1 MiB; calls with one `merge` key share an undo step), and a
Window > Project Notes panel whose editor (`notes.text`) commits every
change, one typing session per undo step. Translations for es, ja,
zh-cn (and the panel title for pt-br, uk).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Progress docs per craftrules standards/progress-docs.md: target-app parity, gaps, roadmap with alpha gate, readiness by audience (full / mainstream / essentials) with Opus 5.5 hours, and feature, format, hardware, UI and localization parity docs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Headless import merged into the current project, so a demo or leftover timeline mixed into export. replace:true starts from file.newProject with the same name, then imports, which is the documented empty-project-start workflow.
- GpuRendering defaults to Off (opt-in per export) until measured on Windows and macOS;
docs and ROADMAP say so.
- The shared export device installs an uncaptured-error handler and a device-lost callback
that log once and retire GPU export for the session (frames go to the CPU) instead of
wgpu's default panic.
- RendererPool drops a renderer that panicked and retires the pool, so the rest of the
export renders on the CPU (regression test in gpu_hook_scenarios); the duplicate
hostile-size test that raced on the global registry is folded into it.
- Rebased onto main's render_plan/transitions: render_export_prepared reads the linear
accumulator after render_plan; transition (Composite) plans fall back to the CPU.
- es/ja rows for the new Export strings; web_time::Instant in the export pipeline.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- Narrations take schema v14 (main's v13 is audio streams): v13_to_v14, docs updated.
- neural-voices is off by default in the desktop app, like whisper; the model download stays
an explicit, confirmed job.
- Removed the debug probe2 test module from tts-text.
- project_subset prunes narrations of items it drops.
- unique_wav_path is bounded (99 999 names) and returns an error instead of looping.
- narration.rs uses web_time::Instant (wasm clock test); tts.* commands get the
"Text to Speech" shortcut category, with es/ja rows for it and Edit Narration.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
A 1440x1080 clip with 4:3 pixels showed squeezed: the demuxers read its
pixel aspect ratio, but nothing after import used it. New Sequence From
Clip made a 1440x1080 sequence with square pixels, the Motion transform
sized clips from storage pixels (pillarboxed at 1440 wide in a 1920x1080
sequence), and the monitors drew the frame at its storage aspect.
- project: checked_par / sane_par / par_ratio / conformed_size treat
file and project ratios as hostile (a zero term, or more than 8:1
either way, is square). MediaClip::pixel_aspect (Interpret Footage
wins over the file), Project::source_par (subclips follow the parent,
nested sequences have their own, graphics and adjustment layers have
none) and Project::conformed_source_size.
- render: motion_matrix takes the source's ratio and works in square
display units (anchor in source pixels, position in sequence pixels,
scale and rotation at the display aspect); Scale to Frame Size fits
the display size. CPU, GPU plan, adjustment regions and the mask /
graphics overlays share it.
- engine: New Sequence From Clip, New Sequence from an item and
multicam sequences copy the clip's ratio; default media scaling and
Fit / Fill frame use the display size; generators made for a
non-square sequence get its pixels; transcodes render pixel for
pixel. clip.interpretFootage takes pixelAspect ([num, den] or "file").
- ui: the Source and Program monitors draw the picture at its display
aspect; overlays map both axes; Sequence Settings shows the display
aspect (16:9 for 1440x1080 at 4:3).
Tests: render par_tests (fill, GPU plan parity, Scale to Frame Size,
non-square sequences, rotation, Interpret Footage, hostile ratios),
engine par_tests (New Sequence From Clip, overwrite into 1920x1080,
default scaling, Fit / Fill, Interpret Footage with undo and refused
values, hostile file ratios, generators, and ffmpeg-made MP4 and MKV
files), project unit tests, and the headless par_ui monitor test.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
main gained NVENC H.265 Main / Main 10 (#328, #360), export stage timings
(#370) and VA-API decoding (#358). Resolution: main's NVENC session, FFI and
export factory, with this PR's changes ported onto them:
- ffi: the portable Guid (now also for the HEVC GUIDs), NV_ENC_DEVICE_TYPE_CUDA;
- session: device.rs (Direct3D 11 / retained CUDA primary context), the
Linux libnvidia-encode.so.1 loader, Device::KIND;
- export: factory_with and its tests, the even-size check, the saturating
max bitrate; H.265 through NVENC stays Windows-only (the factory declines
it on Linux, where nothing probed or tested it);
- Cargo.toml: main's Linux libloading dependency covers both users;
- docs: README / ROADMAP / architecture now say NVENC H.264 runs on Windows
and Linux; ADR and platform README keep both addenda / test rows;
- abi_tests: note why the MSVC-generated expectations hold on LP64 Linux.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
pool::trim() from Pipeline::drop flushed the whole process-wide pool after every
render-preview segment and proxy, and threw away playback's U8/U16 planes too.
Now Pipeline::drop calls pool::trim_f32() only when !settings.part_of_batch.
PoolStats gains f32_idle_bytes so the tests can check the float shelf alone.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Move Video Limiter from CPU (crates/render/src/vfx/color.rs) to the GPU
compositor (filmcraft_render::gpufx::FxOp, crates/gpu/src/fx.rs, crates/gpu/src/fx.wgsl).
Parity matches CPU reference within 9.28e-6 across all axis modes, clip levels,
compressions, and gamut warning color.
🤖 Written by agy (Antigravity Agent, Gemini 3.8 Flash)
Add Vignette effect to the GPU effect stage (render::gpufx, gpu::fx,
fx.wgsl). Evaluated parameters are shared between the CPU reference and
GPU compute passes. Replaces old CPU vignette body in vfx::color with
gpufx::FxOp::eval and gpufx::FxOp::apply.
Gates: fmt, clippy, test -p filmcraft-render, test -p filmcraft-gpu,
layers, wasm all verified.
🤖 Written by agy (Antigravity Agent, Gemini 3.8 Flash)
Runtime-load the NVIDIA encode and CUDA driver libraries, retaining the primary context through session destruction. Preserve the Windows Direct3D path and default-off selection, and test driver rejection and deterministic software fallback.
Co-Authored-By: OpenAI Codex <noreply@openai.com>
HDR sequences export as real 10-bit HEVC Main 10 through NVENC where the GPU
reports 10-bit HEVC: float BT.2020 R'G'B' -> rgbf_to_yuv420_10 -> P010 input;
VUI BT.2020 + PQ/HLG; HDR10 mastering-display / content-light as SEI on every
IDR (PQ); colr/mdcv/clli in the sample entry. New register_hdr_probe /
hdr_available in the export crate; macOS and GPUs without 10-bit keep
tone-mapping HDR sequences to 8-bit SDR HEVC. ABI asserts extended and
re-verified against nvEncodeAPI.h 12.1 (0 drift). 8-bit SDR HEVC unchanged;
the two #328 tests that asserted HDR is declined now expect Main 10.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
HEVC through VA-API the same way as H.264: the software HEVC decoder's
parsers and DPB (now generic over the picture type in filmcraft-hevc:
POC, reference picture sets, reference lists, output order, RASL
handling) drive the stateless hardware. Main, Main 10 and Main Still
Picture, 4:2:0 8/10-bit (P010 read-back); scaling lists, tiles, WPP,
dependent slices, weighted prediction. Missing references and range
extensions go to the software decoder.
Tests: hardware parity on HEVC Main / Main 10 incl. open GOP, scaling
lists, slices+WPP, weighted prediction, tskip+AMP, 1080p/2160p (streamed
comparison to stay within memory); HEVC front end against a recording
stand-in on every OS; ABI checks extended to va_dec_hevc.h. Benchmark on
Iris Xe: 4K HEVC 203 -> 10 ms CPU per frame, 4K Main 10 212 -> 18 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Stateless VA-API decoding with FilmCraft's own H.264 host side: the
software decoder's SPS/PPS/slice-header parsers and its DPB (now generic
over the picture type in filmcraft-h264) drive the GPU, so reference
marking, reference lists and output order are shared and the pictures are
bit-exact with the software decoder. libva is loaded at run time; no libva
or driver means software decoding as before. frame_num gaps (open-GOP
seeks) get the software decoder's stand-in frames. HybridDecoder keeps the
transparent software fallback.
Tests: hardware parity on 7 H.264 streams incl. 1080p/2160p, seeks,
flushes, forced failures, fuzzing, concurrency; front end against a
recording stand-in on every OS; ABI checks against va.h. Docs: platform
README, ADR 0001 addendum, architecture, performance (H.264 2160p CPU per
frame 417 -> 11 ms on Iris Xe), roadmap.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- register() asks the HEVC probe on a thread of its own (the first probe is
about half a second: D3D11 device + NVENC session), so the first draw of
Export's format list does not wait for it; tests/nvenc_hevc_warm.rs.
- A machine with no HEVC encoder is not a declined hardware attempt: the
factory returns None without counting `declined`.
- HEVC tests skip only when the probe says there is no HEVC encoder; on a
machine that has one, a configuration NVENC refuses fails the test.
- Wording: NVENC is FilmCraft's only HEVC encoder on Windows (Windows itself
ships others).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
John