* 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>
* 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: 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: Gert Pellin <gert@pellin.be>
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>
A pattern fill or layer style copies its pattern into the document, but
the tile visitor behind History's byte budget skipped Document::patterns.
The pattern's pixels were left out of the budget, of trimming and of
Edit > Purge > Histories, including after an undo left them only to the
redo states.
Related to #4972.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* ops: count selection masks in history pixel budget
* test: expect unclipped HDR levels in float documents
* web: optimize engine code for the wasm size budget
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Every edit's History::trim rebuilt a set of every tile in every retained state, even well
under the budget. Retained tile references are now counted as states are recorded, evicted,
undone, redone, purged and cleared, and below the budget trim only looks at the current
document's tiles. Record plus trim on a 24 MP, 150-layer document with 50 states drops from
62 ms to under 2 ms.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Selecting a layer is not a history step, so each state kept the target it
had when it was created. Undoing a step therefore jumped back to whatever
was selected when the previous step was taken: rasterize a shape with the
Background active, select the rasterized layer, paint, Ctrl+Z, and the
Background became active again.
The state a step leaves behind now targets what was selected just before
the step (Session::edit and compound steps set the current state's target
before recording), as in Photoshop: undo of a stroke or fill keeps the
painted layer, undo of New Layer or Merge goes back to the layers selected
before it.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Elliptical Marquee selections record "Elliptical Marquee" in History (#513)
Both marquee tools commit through `select.rect`, which named every step
"Rectangular Marquee" whatever its `ellipse` param. The step is now named
after the tool that made it; the rectangular marquee keeps its name.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Preset filters record their own names in History (#528)
Blur, Blur More, Sharpen, Sharpen More, Sharpen Edges and Despeckle run
a generic algorithm with fixed parameters and recorded its name
("Gaussian Blur", "Unsharp Mask", "Surface Blur"). The presets now live
in one table with their names, used for the history step and the job
progress text; Gaussian Blur, Unsharp Mask and Surface Blur keep theirs.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Vertical type command no longer claims it renders horizontally (#446)
Vertical type has rendered in columns since #199, but the params text of
`type.orientation.vertical` still said it was "rendered horizontally for
now". It now documents the same `{"layer":id?}` as Horizontal.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Frame from Layers is one history step (#496)
It grouped the layers through `layer.new.groupFromLayers` (its own
"Group Layers" step) and then recorded "Frame from Layers", so one undo
left the group behind. The grouping step is now folded into the frame
step with `purge_last`, as Transform Again on a copy does; if the group
can't be framed, the grouping is undone with nothing left to redo.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Undo and redo restore the layers each history state targeted (#495)
History states held only the document, so after undo or redo the active
layer stayed whatever it was: redoing New Layer left the old layer
active (a Fill then painted it), and undoing Delete Layer left the
restored layer unselected. Each state now also keeps the active and
selected layers it had when it was created (when the document was
opened, or right after the step that made it), and undo and redo target
them again where they still exist. Selecting a layer is still not a
step and doesn't change any state's target, so selecting another layer
and then undoing or redoing goes back to that state's target, as the
reference app's Step Backward does.
The History panel lists redo labels from a new `redo_labels` accessor
instead of cloning and replaying the history every frame.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The hidden shortcut for step-and-repeat was missing. A new command,
`edit.transform.againCopy` (no menu item, Cmd+Alt+Shift+T), duplicates
the active layer and repeats the last transform on the copy, as one
history step labelled "Transform Again", so repeated presses lay out a
row (or a ring) of copies one transform apart. The transform is worked
out before anything changes (`transform_again_params`, now shared with
Edit › Transform › Again), so nothing to repeat leaves no copy; a copy
that can't be transformed (position locked) is taken back with nothing
left to redo (`History::clear_redo`).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Move/Free Transform modifier keys (#90); sharp full-resolution transform preview (#91)
Move tool: Shift locks the drag to the dominant axis (re-evaluated with
hysteresis, so moving far enough the other way switches it); Alt at drag
start duplicates the selected layers once the pointer moves and moves the
copies, folded into one "Duplicate + Move" history step; arrow keys nudge
1/10 px (Alt duplicates first) and nudge the Free Transform box. All in a new
move_mods module with two one-line hooks in canvas::tool_event.
Free Transform: Shift on the body locks to 8 directions, Alt-click moves the
reference point, Cmd on an edge skews (Shift: along the edge, Alt: about the
centre), Cmd+Alt+Shift on a corner = perspective.
Preview (#91): the moving pixels were sampled down to 2048 px (nearest
decimation) and drawn bilinear, so a 24 MP layer previewed at 1/3
resolution. Now uploaded at full resolution (up to the device limit, box
filtered beyond), with a lazily built box-filtered mip chain for zoomed-out
views and nearest filtering at >= 200% (or Nearest Neighbor interpolation).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* test: clear texture deltas in transform gpu_ctx helper
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Compose: render in place and in bands; area-reduced and proxy thumbnails
render_tiled wrote every tile into a Vec and then copied them into the output:
two full-size float copies (6.3 GB for a 14000² document). Tiles are now
written straight into the output band by band.
New streaming APIs so large documents never need a full-size float
composite: render_bands (sink per band of ~8 MP), render_reduced (banded
area average, bit-identical to the old flatten-then-average thumbnail) and
flatten_to_surface (Flatten Image, Merge Visible, Copy Merged and the other
flattened-surface users).
thumbnail() reduces a downsampled proxy (moved from ui-egui to
compose::proxy, now also scaling spot channels) for documents over 16 MP
when that is faithful (no layer effects or vector masks), so navigator,
channel and histogram thumbnails of a 196 MP document cost milliseconds.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* GPU canvas: request the adapter's real limits; banded CPU fallback; navigator thumbnail
egui-wgpu asks for an 8192 px texture limit, so the wgpu compositor rejected
every document wider or taller than 8192 px and each refresh fell back to a
full CPU flatten. The desktop and web apps now request the adapter's own
max_texture_dimension_2d and max_buffer_size (gpu_canvas::use_adapter_limits);
the benches use the same limits.
The CPU fallback (documents beyond the GPU limit, or features it lacks) is
GpuCanvas::refresh: it renders and uploads the composite band by band
instead of a full float composite plus a full RGBA8 copy. The CPU canvas
texture is reduced in bands too, and the Navigator on the GPU canvas uses a
cached thumbnail instead of a full-resolution CPU composite per revision.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* IO: banded export and import; no full-size copies in encoders; larger decode limits
- Flat export renders the composite in bands and quantises each band; alpha
is dropped in place when every pixel is opaque. The single-layer native
path copies surface rows a band at a time (no f32 read_region and no
per-pixel Vec). Buffers come from try_reserve: Err, not an abort.
- PSD export encodes the merged image band by band into its planes (no
flatten, no second plane copy); near-opaque documents are re-encoded
without the white matte so the output is unchanged. Layer interleaved
bytes are freed before their planes are compressed.
- Flat import converts in ~32 MB bands (and not at all when already RGBA);
the PSD merged-image un-matte works per tile row.
- Encoders borrow the image when no conversion is needed (Image::converted)
instead of cloning it; PNG only copies 16-bit data for the byte swap.
- Decode limits: 2^30 pixels and 8 GiB on 64-bit targets (a 20000² JPEG
was refused at 2^28).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Filters: write tile results in memory-bounded groups
apply_tiled collected every tile's float result before writing any (3.1 GB
for a 14000² layer). Results are now produced and written in groups of about
256 MB (at least one tile per core).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* History: bound pixel memory by Preferences > Performance > Memory Usage
History::max_bytes caps the current document's tiles plus the tiles only
history holds (layers, masks, alpha channels); History::trim drops the
oldest states beyond it after every recorded step and when preferences
change, always keeping the last step undoable. The engine sets it from
memory_usage_mb, which was unused.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Large-image benchmark (14k / 20k): open, refresh, thumbnails, filter, stroke, saves
One operation per run on a cached synthetic photo, with the GPU device created
the way the app creates it, so /usr/bin/time -l reports that operation's peak
memory. Documented in docs/development.md.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
