filmcraft/crates/ui-egui

FilmCraft interface

The egui frontend draws panels and dialogs, and dispatches project changes through the engine. Interactive controls keep stable automation ids regardless of the interface language.

Export range warnings

The Export panel shows the selected range's length in sequence frames and seconds beside Range (export.range.duration). When Source In/Out covers just one sequence frame and at least one mark is set, export.range.warning explains how to export the whole sequence instead (#3364). The warning is advisory: exporting one frame remains valid. Entire Source, Work Area and Custom ranges do not show this warning. export_ui::single_frame_in_out_warning_updates_with_range_and_marks checks the warning and duration as marks and range selections change; the same test can render export-single-frame-warning.png with FILMCRAFT_UI_SNAPSHOT_DIR.

Control input limits

The control channel bounds ui.click to 10 clicks and ui.drag to 1024 movement steps (#2784). The MCP bridge sends null for omitted counts/steps, so the validator treats null like an absent field: one click or 12 drag steps. Negative, fractional, non-numeric and over-limit values still return errors before queuing any input. Zero clicks emit no button events; 0–1 drag steps use 2. control::input_bounds_tests covers defaults, rejection, unchanged pending input and valid gestures; keyboard_ui verifies that rejected requests leave the UI usable. See the control protocol.

Transition drop previews

Dragging a video or audio transition over a compatible clip shows its actual time span, the selected cut and an In/Out label. Shared cuts center the span; isolated edges use a one-sided span. The preview uses the engine's read-only transition planner, including Timeline duration preferences, and release dispatches effects.apply with the same edge. Locked tracks and incompatible clip types show no valid transition preview. The drop snaps to Start at Cut, Center at Cut or End at Cut by where the pointer is relative to the cut. Ordinary effects retain their clip outline. timeline.transitionDropPreview exposes the span and alignment to automation.

transition_drop_ui covers the three alignments on video/audio cuts and a one-sided clip edge, hover without project edits, the committed span and undo. Set FILMCRAFT_UI_SNAPSHOT_DIR to render screenshots with wgpu.

Localisation

Edit > Language offers English, Japanese, Spanish, Brazilian Portuguese, Ukrainian, Simplified Chinese, German, Russian, French, Indonesian, Korean, Italian, Czech, Polish, Swedish and Turkish (all but Ukrainian cover the whole interface; Ukrainian covers the core menus). The language is stored in the engine's general.interfaceLanguage preference, restored on startup, and also available in Settings > General. Its default, System Language (system), follows the operating system: the first of the user's preferred languages that the interface has (the host supplies them through HostHooks::system_languages: sys-locale on the desktop, navigator.languages on the web), otherwise English. The app.language.* UI commands and prefs.set reach it through the control channel. Japanese requires a craft-fonts build or a suitable installed font.

English source strings are lookup keys in src/i18n/<code>.tsv. tl! translates literals, tlf! fills translated templates, and i18n::t translates names from registries. Placeholder values (including user filenames containing braces) are inserted literally. Catalog translations are original work using ordinary language, without proprietary localisation resources.

Spanish, Japanese, Simplified Chinese, French, Brazilian Portuguese, German and Russian cover menus, panels, dialogs, settings and registry labels. Searches accept both the translated label and its English source, including Unicode capitals. Project content, command ids and preference values retain their original values. Engine errors, CLI and MCP messages remain English. Ukrainian currently covers the core menus; it falls back to English elsewhere.

A string a catalog lacks shows in English, so a missing translation never fails a test or a build. cargo xtask i18n-report prints each language's missing strings (menus, tl! literals and registry names) and its entries whose source the interface no longer has; cargo xtask ci prints the same report in its log.

Verification: cargo test -p filmcraft-ui-egui checks catalog syntax, duplicate keys, placeholders and UI behaviour in other languages (switching, search, font coverage); cargo xtask ci runs the workspace gates. Visual checks use the control channel to switch language and capture the resulting panels.

Source playback

source_playback.rs auditions media independently of Program playback. It reuses MediaSource decoding, output mapping, the device clock and the desktop play-ahead buffer. Only one monitor owns the device at a time. Source frame jobs use the existing frame server and Source resolution. The live project, undo stack and timeline playhead are unchanged. See monitor documentation for behavior, commands, limitations and regression tests. Source playback tests use synthetic demo media and fake audio outputs; no third-party assets are introduced.

Source drag controls snapshot the selected span and dispatch timeline.place for video, audio, or linked video/audio. Full-clip marks are implicit until set by the user. The engine owns edits, range validation and undo; the UI owns the drag gesture. See source_drag_ui and the engine's source_placement_tests for regression coverage.

Source range handles use transient gesture previews and the engine's integer-frame source_monitor::adjust_range; release dispatches one mark edit. Monitor command routing keeps Source navigation, markers and marked-range playback separate from Program.

Pane layout controls

The panels use craft-ui::docking with its split-tree settings: craft-ui draws the frames, tab strips, floating windows and drag previews and owns the gestures; dock_ui.rs draws the panel bodies, the ≡ panel menu and the Timeline's sequence tabs. Bounded split geometry and keyboard-accessible resize handles use craft-ui::layout. Panel tabs or their group's drag bar move between tab groups, split at a group's or the window's edge, reorder, or float when released with Cmd/Ctrl; a release over no target cancels. Tools and the Audio Meters keep their widths as the window resizes (fixed split sizes, which a divider drag keeps fixed); the other groups resize with the window. Every group resizes down to the same minimum and has no maximum. Timeline sequence tabs retain their sequence-opening, closing and horizontal reorder behavior.

On desktop each floating panel opens in its own OS window. Tool panels are palettes: they stay above other windows and hide while another application is active. The video viewers (Program, Source, Reference Monitor, Lumetri Scopes) are normal windows, say on a second display: they stack with the main window and stay shown in the background. A floating window moves by its title bar, resizes from every edge and splits like the main window. While a modal dialog is open (Settings, Recovery, Revert, a file dialog), the native windows are dimmed and take no input. The main window's input rewrite (macOS Control+Click as a secondary click, --control-input-only) also runs in each native window, and files dropped on one are imported like files dropped on the main window; on the Timeline they land at the drop point. A drag from a panel (a clip from the Source Monitor or the Project panel, an effect, a template) drops on a panel in any of the app's windows. On Wayland floating windows stay inside the main window. Where egui embeds viewports (tests), floating windows stay inside the main window too.

Named workspaces save the layout, floating windows included; workspaces saved in the earlier layout format still load. While every floating window is one tab group, a save also writes the earlier format, so earlier versions still open the workspace. Automation IDs and workspace commands remain the integration boundary.

Tools and dock tabs expose their actual egui widget IDs, paint keyboard focus, and support Tab/Shift-Tab traversal and Space/Enter activation. Control-injected keys can reach focused widgets in a background window. The optional --control-input-only native launch mode isolates automation from native widget/menu input; ui.inspect reports native and effective focus separately. Focus and input-ownership regressions cover document/playhead preservation.

Compact monitor layouts separate the current and duration timecodes from zoom, resolution and settings. Source video/audio drag choices retain their existing placement behavior. Transport buttons use craft-ui::layout::fit_toolbar; commands beyond the available width remain available through More, including their selected state and Source/Program routing. A scrolling fallback retains all commands if even More cannot fit. monitor_geometry checks the painted readouts, control bounds, overflow actions and Source drag payloads across monitor widths and themes.

Marker properties

Right-click a timeline or Markers-panel marker and choose Edit Marker…. The window edits time/duration, name, notes, author, type, and color. Existing presets are shown as swatches; project custom swatches are below them. Done makes one undoable marker edit; Cancel discards the marker draft. The compact form orders Name, Author, Time/Duration, scrolling Notes, then Color and marker types. Previous/Next save valid changes before opening the neighbouring marker; unchanged navigation adds no Undo step. Unchecked Duration saves a point marker even when its disabled field retains a draft value. Timecodes require complete numeric fields with colons; Done stays disabled until timing is valid. Text fields support normal clipboard shortcuts and local text Undo/Redo.

The + square below the presets opens a separate color editor. macOS uses the native Colors panel; other hosts and native-picker failures reuse the established egui picker. FilmCraft retains exact six-digit sRGB hex entry and explicit confirmation. Add color saves a reusable swatch to this project's palette through colors.addCustom (a separate undoable operation) and selects it in the marker draft. Canceling the marker edit afterward does not remove a deliberately saved palette color. The project stores at most 64 custom swatches shared by markers and clips; duplicate additions are no-ops. Used custom colors also appear for reuse. Marker/color dialogs belong to the opened project instance, close when that project is replaced, and are not restored from saved UI preferences. Unrelated edits keep marker drafts open; editing or removing that marker elsewhere closes its stale draft rather than overwriting newer data.

Markers and clips now share the existing 16 clip preset colors; clip RGB values and preset names are unchanged. Markers no longer collapse those names onto seven display colors. Red/Rose, Orange/Mango, Cyan/Teal and Pink/Magenta resolve to the same presets. Exact custom colors (including white, black, pink, and gray) override a marker's preset. Preset color filters leave custom markers visible. Selecting a preset clears the override, preserving the author. The preset colors also follow Settings → Labels in both views.

The opaque sRGB editor lives in widgets::color_picker, independently of marker models, dialogs and project commands. Callers provide a ColorDraft, automation registry and id prefix. Its HSV conversion operates on sRGB channels; using linear-light saturation would make the center too white. Lumetri's grading wheels remain separate: they edit grading offsets. Existing effect/graphics pickers retain their alpha/float/color-space semantics.

The same author and hex values are available to Source marker commands. Existing markers have an empty author; FilmCraft never infers authorship from the operating-system account. Projects (schema 17) retain marker properties, Web Link URLs and the project palette. Marker CSV reports and FilmCraft OTIO metadata retain individual marker authors, URLs and colors. OTIO also retains custom clip label colors and the palette in FilmCraft metadata. Other interchange exports warn when they cannot preserve those marker properties. Importing an OTIO document merges its saved swatches after the current project's swatches, omitting duplicates and respecting the 64-swatch limit. This does not add AVB marker import or Avid track-bound markers.

Regression coverage includes project palette persistence/isolation/bounds/undo, marker commands and reopen, separate picker and marker drafts, preset/custom swatch reuse, sRGB wheel conversion, CSV escaping, and OTIO round trips.

Clip and Project-panel Label menus expose the same project custom palette below the presets. Add custom color opens the shared picker; Add and apply saves the swatch and applies it to the captured selection in one undoable operation. edit.label accepts a preset/alias or hex, explicit clips/items targets, and optional saveColor:true. Choosing a named preset clears that item's custom override. Duplicated items and newly inserted source clips retain the exact custom label color. Bright custom timeline fills use dark text for readability.

The marker editor also edits exact frame time and duration, switches between point and range markers, and deletes by marker ID. Double-click a timeline, monitor, or panel marker to edit it; right-click exposes Edit Marker and Delete Marker. Source and sequence ownership is shown and captured at opening, so changing the open clip or sequence does not redirect edits. Unchanged time fields preserve imported subframe ticks. A source range cannot extend beyond its source.

The Markers panel switches between Sequence and Source, searches name/notes/author, filters preset and custom colors, and supports Command/Ctrl-click, Shift-click, and Select all for the visible rows. Bulk color changes and deletion are each one undo step. Hidden rows leave the selection. markers.edit and markers.delete take an explicit sequence (program) or item (source) and either marker or markers; invalid IDs reject the entire operation.

Manage Colors is available from the Markers panel and clip Label menus. The separate project palette manager adds, names, edits, and removes swatches using the shared color picker. Editing or removing a saved swatch preserves already assigned hex values; used colors remain available for reuse. colors.addCustom, colors.updateCustom, and colors.removeCustom are undoable. Names persist in the project and FilmCraft OTIO metadata; existing sixteen presets are unchanged.

Editable clip duration

The Clip Speed / Duration dialog lets you type a duration as timecode. Duration and Speed describe the same source span: editing either updates the other. Duration uses the sequence frame rate; invalid, zero, or out-of-range durations cannot be applied. The field is available to automation as speedDuration.duration. OK uses the existing speed command, including its linked-clip, ripple, neighbour, and Undo behaviour; Cancel discards the draft. The selected clip's duration is the reference when more than one clip is selected, matching the existing Speed control.

clip_dialogs_ui::duration_text_edits_speed_and_rejects_invalid_input exercises real text input, validation, application, Cancel, and Undo/Redo.