Best was a mixture of two experts and a gate, 110 GMAC a megapixel;
Medium a single network at 48 that was softer on real edges. fb-combo
(darkroom-denoise, 20 000 steps from fb-edges2, taught by the mixture
with a quarter of its crops from the edge-rich parts of the frames) is
Medium's shape and holds the mixture's edges on real photographs:
edge PSNR within 0.04-0.06 dB at ISO 1600/6400/25600, more sharpness
kept at all three, the chart's edge 0.89 photosites wide against 0.82.
It is 0.27 dB short on smooth areas at ISO 25600. It becomes Best, and
the methods are Bilinear, Fast and Best.
Saved edits keep their numbers: 2, which was Medium, is now Best, and
3, which was Best, is past the end and reads as the default, Best.
The network ships as mosaic-hq, a new name: the result cache keys a
model by name and size, and this one is byte for byte the old Medium's
size. Its tablet form (A16W16) lost 0.00 dB in simulated QDQ at every
ISO and at most 0.09 dB across the noise bracket.
The APK's ONNX Runtime is the QNN build, which carries no WebGPU, so a
non-Qualcomm phone had nothing above the CPU provider. The APK now also
carries Microsoft's stock onnxruntime-android 1.29.0 (32 MB) as
libonnxruntime_generic.so, and the app offers it after the QNN build.
The runtime search stops at a perfect fit, so on a Qualcomm device the
QNN build — listed first — is all that is opened, and the generic build
never loads beside it. A Qualcomm SoC is read from ro.soc.manufacturer
or, before Android 12, from Qualcomm's FastRPC library being present:
a Qualcomm device mistaken for another would trade its Hexagon for the
generic rung.
A runtime carries one vendor's providers, only one loads per process,
and a device can now hold several: the package's OpenVINO or WebGPU
build, a CUDA build the user fetched, the distribution's ROCm build.
`api::install` opens each it finds, lists its providers with
GetAvailableProviders, and installs the one scoring highest against the
GPUs `hardware::detect` reads from files — a vendor rung on its own
vendor's GPU above OpenVINO on an Intel one above the generic WebGPU
rung above a CPU-only build. Equal scores keep the old first-found
order, and DARKROOM_ORT_DIR still wins outright. The losers stay mapped
rather than unloaded.
The Linux fingerprint now names the OpenCL drivers too, so installing
Intel's re-probes. `ladder` takes DARKROOM_ORT_DIRS to show the choice.
AI Denoise's Apply switch becomes Method: Bilinear, Fast, Medium, Best,
default Best, so an untouched raw writes nothing and develops through the
mixture. `apply` is still read and never written: 0 is Bilinear, 1 keeps
a network already chosen.
- Best is the mixture of a flat and an edge expert with a learned gate;
Medium and Fast are students distilled from it. 2.48 s, 0.79 s and
0.57 s for a 20 MP frame on TensorRT fp16.
- Each network carries its own tile border (256 for the mixture, 192 for
the students) through `dr_denoise::Shipped` and `TileNet::halo`.
- The file is hashed once at open and each network keys its own cached
result; Bilinear keeps the result in memory for the way back.
- Each has an .a16w16 sibling for the Hexagon: 0.00 dB on the 6D gate,
at most 0.11 dB with the noise scaled x0.5 to x4.
- APK BUNDLED 19 -> 23; the PKGBUILD installs all three.
The app's hot-pixel pass takes gross defects only; at ISO 6400-25600 a 6D
frame keeps 1000-2000 photosites more than 8 sigma beyond all their
same-colour and adjacent neighbours, which the network turned into specks.
The same two tests with the threshold in the photosite's own sigma, plus
the factor of two that keeps a bright point of light (where 8 sigma is a
sliver of the signal). The next model is trained behind exactly this; on
an ISO 25600 frame the Rust and training code both repair 935.
Photographs opened with an earlier Lightroom edit now import its HSL
saturation as fitted against the library's own Lightroom 6 exports, rather
than one band to one band.
Measured on two looks' exports and their raws (darkroom-lrfit, hsl_map_fit),
by encoded hue: Lightroom's saturation bands act about 45 degrees either
side on our wheel, wider than ours, and not all at our strength. Each is now
shared between two or three of our bands — Aqua mostly cyan and azure, where
skies are; Blue mostly blue and violet; Orange, where skin is, at about 0.4
of its value. Values add when two of Lightroom's bands share one of ours.
On the measured skies the import now lifts muted sky blues about 1.9× against
Lightroom's 2.1×, where it gave 1.15×. Hue and luminance still go one band to
the band of the same hue; they were not measured.
Every photograph with a colour-mixer saturation edit now renders differently:
a raised band is stronger, most of all on muted colours.
The mixer matched bands and judged saturation on scene-linear values, and
scaled chroma by the same factor whatever a colour started at. Against the
photographer's earlier exports of two looks (~90 photographs, their raws, by
encoded hue), a sky band raised by 58 there lifted muted sky blues about
2.1×; here the mixer gave 1.15×, and less in the muted tones that carry most
of a sky or a shadowed snowfield.
Bands are now matched and saturation judged on display-encoded values. A
raised band pushes muted colours hardest and tapers to nothing at full
saturation, at a gain of 3.0, which at the same value lifts muted sky blues
about as those exports did. Lowering saturation still scales every colour
alike. Hue shifts work on the same encoded colour; luminance still scales in
linear light.
The bundled presets that use the mixer, and those whose colour was tuned
against the default rendering, are rescaled to the amount of colour they
had: Vivid 1.30, Vivid warm 1.30, Vivid landscape 1.38, Vivid, strong 1.45,
Vivid portrait 1.15, Punch 1.12, Blue sky 1.08, Deep blue sky 1.12, Polariser
1.26, Blue sky, golden land 1.13 — mean CIELAB chroma over the default
rendering, on 30 raws from the library. Negative values (skin protection)
are left as written.
Every raw rendered through a camera profile — the library's DNGs with an
embedded profile, and CR2s given one — now renders differently: more
colourful in near-neutral tones. The profile's look table is no longer
applied unless its slider is raised; PROFILE_LOOK names the strength the
profile states.
Against the photographer's earlier exports with no look applied, the default
rendering scores the same with the look table at 100, 50 or 0 (held-out MSE
140, 140, 143), and is 9 % more colourful at 0: the table lowers the
saturation of near-neutral tones, which is exactly where the default
rendering was short of those exports. The user chose more colour.
The engine knew f32 and int8, and gave the Hexagon int8 for every role it
served. Measured on the tablet itself (inference.md §1.5), int8 lost
5% of the detector's faces at 40-80 px, moved the landmarks 1.5 px,
emptied the segmenter's scores and cost the denoiser 5-9 dB; fp16 the HTP
refuses outright. `Form` gains A16W8 and A16W16, and `Rung::form` now
names one per role: detectors and landmarks A16W8, the segmenter, scene
model, border filler and denoiser A16W16, XFeat int8. The embedder and
the eye classifiers stay on the CPU.
Each loader resolves its `<stem>.<form>.onnx` sibling; the segmenter and
XFeat, compiled into the binary, embed their quantised forms on Android
only and pick through `choose_embedded`. The probe, the compile step and
the cache fingerprint follow the form instead of assuming int8. Detectors
on the new form write `scrfd_*_a16+w600k_mbf`, and `model_ids` answers
for all three spellings.
On the tablet (ORT 1.29 + QNN 2.42), each shipped file against f32 on the
same inputs, and against the CPU's f32 time:
SCRFD 500m/2.5g/10g A16W8 100% of faces in every band 4.2/5.1/9.0 ms vs 17/56/198
landmarks A16W8 0.25 px in the 192 crop 0.5 ms vs 2.8
YOLO26n-seg A16W16 98.2% found, mask IoU 0.994 12.9 ms vs 90
scene model A16W16 98.9% of cells agree 15 ms vs 151
MI-GAN A16W16 41 dB from f32 in the fill 87 ms vs 488
XFeat int8 pano alignment 0.45 px (f32's own spread 0.41) 6.5 ms vs 58
denoiser A16W16 0.00 dB at every ISO 95 ms vs 1510 a tile
Face numbers are over public COCO val2017 photographs, not a library.
The APK carries the siblings (BUNDLED 15 -> 19; the old int8 detectors
removed), about 43 MB more. The Windows installer and its CI count skip
them; the Arch and Flatpak packages list their files and never had them.
The ladder example takes a role per model, which is how the per-role
forms above were seen landing on the NPU from the real probe.
The hot-pixel pass could only repair: it returned how many photosites it
changed and threw away which. find_hot_pixels runs the same pass and
returns them as sensor coordinates, leaving the frame alone, so a sensor's
defects can be tracked across frames.
sensor_scan prints each frame's candidates, and with --probe reads a list
of coordinates back out of every frame. Run over 53 6D raws from 2015 to
2026, it found 32 persistent defects, 2 in 2015 and 32 by 2026, and showed
what a defect map has to account for: a frame that does not flag a
photosite proves nothing unless its neighbourhood is dark, and the 6D
hides some of its defects itself above ISO 5000. docs/dev/sensor-health.md
records the findings and the design they argue for.
Presets were the one piece of the photographer's work that never left
the device: faces, sidecars, albums, collections, keywords and camera
profiles all travel with the sync pass, the preset library did not.
It now goes to <derived>/presets/library.drpl. PresetLibrary::merge
decides each name against the base the last exchange left (kept per
library beside place.json), so presets added on two devices both
survive, a deletion reaches the other device instead of being restored
by it, and an edit outlives a deletion made elsewhere. The upload is
If-Match / If-None-Match on the server's copy, and a 412 reads and
merges again, so two devices exchanging at once cannot save over each
other. A server copy that will not parse (a newer build's) is left
alone, and a local file that will not read stops the exchange rather
than being taken for an empty library.
The develop view's save merges with the file when the sync changed it
since the view read it, and a sync that brought presets reloads and
redraws the list.
Also corrects the register, which still said camera profiles do not
sync.
Contrast2012 and the four recovery sliders were imported one to one. They do
not mean the same thing here: fitted on the library's Lightroom 6 exports and
their raws — each photograph's sliders carried across as slider × factor, one
factor per slider, on about 90 exports with no look applied, on the Camera Raw
default rendering — ours needed contrast at about a tenth (Lightroom's −100
imported as ours flattens a frame to grey), highlights ×1.4, shadows ×1.9 and
blacks ×1.25. Whites fitted below 1 every time without agreeing where; 0.5 is
a hedge, and says so. Vibrance stays one to one: the op itself is now
calibrated to Lightroom's.
The learned demosaic was an option under Detail, off by default. It is
now how a Bayer raw is developed: on by default at full strength on
every device — which hardware runs it is the inference engine's choice
— and first in the Adjust panel, since it decides what every control
below is applied to.
Strength (0-100, default 100) replaces Keep grain: grain = 100 -
strength, the same luminance-only blend, so moving it is one GPU pass
and never a re-run. 0.21.0's sidecars stored grain; it is still read,
as the inverse, and never written.
With it on for every photograph, the result is now kept on disk
(denoise.md §7.1, §12): the network's output as half floats, keyed on
a SHA-256 of the file's bytes and the model, oldest first past a 5 GB
budget, beside the inference engine's cache. A reopened photograph and
an export of one already developed read it back instead of running the
network again; a damaged entry is a miss.
The macOS ladder was the CPU provider alone, with CoreML listed as a gap.
It is now CoreML, then the CPU, then tract — unmeasured, since nobody here
has a Mac, and safe to ship unmeasured because the probe's clock rejects a
CoreML slower than the CPU and `attempt` refuses one that crashes.
- `Rung::CoreMl`, a compiling rung like TensorRT: an ML Program with every
compute unit allowed, falling back to the CPU until each model's program
is built. The embedder stays on the CPU, as on the Hexagon (§7).
- The cache is one directory per model and runtime version. CoreML keys a
model committed from memory on its input and node names, not its
weights (ONNX Runtime 1.29, coreml_execution_provider.cc), so two
exports of one architecture would otherwise share a program.
- The fingerprint on macOS is the chip and the OS release, which ships
CoreML.
- The desktop looks for the runtime in the bundle's Contents/Frameworks
and Homebrew's prefixes; fetch-desktop-runtime.sh on a Mac downloads
ONNX Runtime 1.29.0 for Apple silicon, which carries CoreML.
docs/dev/macos.md says what exists, how to build it, and which log lines
to ask a Mac user for.
A window of cells whose thumbnails were cached but whose dates were not
sent a header read per cell, and offline each one was three attempts at
a 15 s connect timeout: `is_transient` counts a network error as worth
retrying, and `read_metadata_only` returned a bare bool that could not
say why a read failed. So the grid sat on "reading N dates" for minutes
against a server that was not there, and no banner went up, because
nothing in that loop ever reported the connection.
`read_metadata_only` now returns a `DateRead`: reached, failed, or
offline. An offline error is returned on the first attempt rather than
retried — a dead server answers the second exactly as the first — while
a 423 lock is still retried, which is what the retry was for. The grid's
worker stops on it and sends `Offline`, as its fetch loop already did,
so the banner goes up and the bar stops. The sweep's lanes stop on it
too, one timeout each rather than one per image.
Offline, a grid zoomed past 256px was blank wherever it had not been
zoomed over before. The store was asked only for the exact class the cell
wanted, and the sweep stores only the grid class, so every zoomed cell
missed and went to a server that was not there — with its 256px thumbnail
sitting in the store the whole time. Online it cost the same round trip,
just without the blank cell at the end of it.
The split now tries the other class on a miss. A smaller one stands in
and the fetch for the real class still goes out; a larger one answers
the request outright, since there is nothing a fetch would improve on.
`ThumbnailReady` carries the class its pixels are, and the drain records
that rather than the batch's class, so a stand-in is replaced on the next
reload instead of being counted as served. `already_served` counts a
held large thumbnail as serving the grid class too, so zooming back out
does not re-read the store for pixels already on screen.
The split moves into `split_by_store` so it can be tested without a
worker thread or a network.
Decides D21 by measurement. The photo gallery holds Lightroom 6 exports of
raws in the library, each carrying its Camera Raw settings; clustered by
those settings, 663 had no look applied. On 60 of them with their raws,
a third held out, the held-out MSE against Lightroom's JPEG was about 1200
for 0.20.0's sigmoid (0.7 EV darker and flatter), 224 for the DNG reference curve
after baseline exposure, and about 140 once its input is bent by 1.5/1.4
about grey.
So the curve choice defaults to the DNG reference, keeping its index (sidecars
record it), and the default contrast is 1.5. Contrast under the DNG reference curve is
now a power relative to REFERENCE_CONTRAST (1.4), where the table is
untouched; the sigmoid at that contrast still matches the retired base
curve. JPEGs are unaffected: the view transform skips a rendered source.
One sample of the ACR3 table is 0.70711, which clippy reads as an
approximation of 1/sqrt(2). It is the curve's published value, so the
lint is allowed on the table with that reason rather than the number
replaced. And the pair-count check uses is_multiple_of.
The view transform's second curve is the DNG SDK's published reference
rendering — the ACR3 default curve applied by RefBaselineRGBTone — so
it is the "DNG Reference" curve in the panel, D21 and the code, not a
name borrowed from another product. Comments and docs that justified a
choice by another editor doing it ("as their Amount", "so a
photographer arriving from it finds the name") now give the actual
reason. The Vivid presets no longer describe themselves as reaching
for another editor's look; they are DarkRoom's own.
Factual mentions stay: which program wrote the library's DNGs, what
was measured against, and preset import. camera-profiles.md gains §15,
on starting a photograph from the edit it already carries.
The library's DNGs carry the photographer's earlier develop settings
in their embedded XMP — the house style their photographs were made
with. A photograph opened with no edit of DarkRoom's now starts from
that earlier edit, translated (HSL bands, highlights, blacks and the
rest), as one undoable step named "Earlier Edit"; from there it is an
ordinary edit, saved with the photograph. Export does the same, so a
photograph never opened exports as opening it would show.
Only on positive evidence that there is no DarkRoom edit: a local file
with no sidecar beside it, or a server that answered "no such file"
with nothing in the cache. The stored-edit fetch now says which
(FetchedSidecar::absent). Offline, unreachable or unreadable never
counts — the earlier edit would otherwise be saved over a real edit
that merely failed to arrive.
The library's DNGs carry a Lightroom house look in their embedded XMP
— Blue +58, Aqua +50, Yellow and Purple +23, Highlights -40, Blacks
-20 on most — and that, not the camera profile, is why the same files
look richer in Lightroom. The importer skipped exactly that part: the
HSL panel was on its list of structures it did not translate.
Lightroom's eight HSL bands now map onto the colour mixer, hue,
saturation and luminance each one for one: Aqua to our cyan and Purple
to our violet, the nearest of our twelve bands by hue; chartreuse,
spring, azure and rose are left alone. The figures are a first
translation that lr-fit's measurement against Lightroom's output may
yet scale.
read_embedded finds the XMP packet in a photograph's bytes by its
delimiters and translates it, or answers None for a file whose XMP has
no Camera Raw settings — darktable's sidecars, a camera's own packet.
A test reads the library's _MG_9080.dng when it is present.
The Camera Raw default rested on comparing against Lightroom previews
of photographs that carry the user's Lightroom edits — HSL saturation
Blue +58, Aqua +50 and more, Highlights -40, Blacks -20, in every
DNG's XMP — so it measured the house look, not Camera Raw's base
rendering. Under the ACR3 curve _MG_9080 renders brighter than its
Lightroom preview (mean 0.39 against 0.31).
So the curve choice's first variant, the default, is the sigmoid again
and every raw renders as in 0.20.0 apart from baseline exposure. D21
and camera-profiles.md §12 now say the default is open, to be decided
by measuring against Lightroom exports of unedited photographs. Tests
that are about Camera Raw's tone choose it explicitly.
camera-profiles.md §13: the derived sync pass gains a profiles step,
after the catalog and before the place, that exchanges the profiles
directory with <library>/.darkroom-derived/profiles. Profiles are
immutable and named for what they hold, so name and size decide: it
uploads what the server lacks or holds at another size and downloads
what this device lacks — parsed before it is kept, written beside its
name and renamed — then reloads the set, so a profile copied out of a
DNG on the desktop renders the body's CR2s on the tablet after its
next sync. Like the place it never fails the pass. Not a catalog
table: a schema change would stop an older peer merging at all.
Labels for the view transform's new curve choice: Curve, Camera Raw,
Sigmoid.
The rendering half of camera-profiles.md §11-§12 (D21). The view
transform gains a curve choice — Camera Raw (the default) or D19's
sigmoid. Camera Raw converts to linear ProPhoto, clips to [0, 1], runs
the curve on the largest and smallest channel and places the middle
one at its old fraction between them (RefBaselineRGBTone), and
converts back: hue kept, saturation raised where the curve is steep,
which is where Adobe Standard's look desaturated. White sets the input
scale (1 at its default, so sensor white is display white) and
contrast bends the input about grey (1 at its default).
The curve rides in the profile buffer after the tables: the profile's
own, else the ACR3 default, which the placeholder every profile-less
source binds also carries — so a CR2 with no .dcp still gets Camera
Raw's tone. Baseline exposure is a gain folded into the rendering
matrix at upload; RawImage::color_matrix stays the file's for the
merge's linear DNG.
camera_raw::apply_reference is the CPU statement; GPU tests hold the
shader to it on 256 colours and on greys against the ACR3 table. The
sigmoid's own tests now choose it explicitly.
The decoding half of camera-profiles.md §11-§12. RawImage gains
baseline_exposure: the file's BaselineExposure plus the chosen
profile's BaselineExposureOffset, as the DNG SDK sums them (+0.25 for
the library's 6D DNGs). A profile copied out of a DNG carries that
DNG's baseline as its offset, so the body's CR2s, which have none,
land at the same total.
ProfileTables gains the profile's ProfileToneCurve, resampled at
decode onto 1025 points with a natural cubic spline; an identity curve
counts as none. dr-types now holds Camera Raw's ACR3 default curve,
RawTherapee's adobe_camera_raw_default_curve copied value for value,
for every raw whose profile has no curve. Nothing renders through
either yet.
A Bayer photograph keeps its mosaic in the session and is offered the AI
Denoise switch. Asked for, the network runs on the decode executor from a
hot-pixel-repaired copy — the app's own pass — with the frame's noise from
its best source, and its progress in the activity bar; the classical
demosaic shows until the result lands, and the finished job says where the
noise figures came from. Keep grain is a GrainBlend of the two, made once
per value; the render draws it as its source and the adjust pass never
knows. demosaiced stays the classical result, so the raw histogram, the
white balance picker, masks and segmentation still read the sensor.
The develop view reconciles on a 250 ms poll rather than on each way an
edit can change (slider, undo, preset, version, a sidecar from another
device): two comparisons when nothing changed, and no path that can forget.
A failure is not retried until the switch is toggled. An export of a
photograph that asks for it waits for a running job or computes it.
Whether to use the learned denoise, and how much grain to keep, are what a
photographer sets, so they travel the one road every setting does: published
as a capability, captured by Preset, stored in the sidecar, replayed by the
undo stack (FR-DEV-3c). Published only on a photograph that can take it, for
the lens switch's reason; the availability is derived from the file and is
not in the state. Off by default, grain 0; a reset returns both.
DemosaicedImage::from_rgb_f32 takes the network's linear camera RGB and
stands it beside the classical source of the same photograph: the matrix,
profile tables and as-shot balance are that source's, the id is new, so
nothing downstream can tell which demosaic ran and every cache keyed on the
source sees a new one.
GrainBlend is the denoise's live control. It returns only the brightness of
the noise the network removed, taken after the as-shot balance and handed
back divided by it, so the grain is neutral in the finished picture; colour
speckle and demosaic false colour stay out. It writes a new source rather
than adding a term to the adjust shader: the blend depends on two images and
one number, a 20 MP pass is milliseconds, and a fresh source id is all the
adjust pass's caches need. The test reads it back: at 0 the network's
result, at 1 the same white-balanced step in every channel.
The probe built one zero tensor from the first input and ran the session
with it. Every model so far had one input; the denoiser has two (mosaic and
sigma), so every rung failed with "Missing Input: sigma" and the role was
left on the CPU: 14.4 s for a 20 MP frame where TensorRT fp16 takes 3.1 s.
Zeros now go to each input by name.
The learned demosaic-and-denoise (denoise.md) runs through the engine like
every other model. fp16 cost it nothing measurable (0.00 dB at every ISO on
validation tiles), so it takes TensorRT's and MIGraphX's fp16 like the
detectors. int8 cost it 6 to 9 dB, far past a 0.5 dB gate, so the Hexagon
refuses the role outright rather than relying on no int8 sibling existing,
and the tablet runs it on the CPU.
The learned demosaic replaces the classical one and takes its input, the
mosaic hot_pixels.wgsl leaves (denoise.md §2), so its training data and its
input in the app must come through that pass and not a lookalike. The pass
was recorded inline in Demosaicer::run; it is now built by hot_pass and
recorded by record_hot_pass, which run still uses unchanged, and
Demosaicer::repair_hot_pixels runs it on its own and reads the mosaic back.
mosaic_dump moves to dr-gpu to call it, records how many photosites changed,
and keeps --unrepaired for a raw readout.
denoise.md §4.4 requires the training repo to read photosites through
dr-decode, not LibRaw, so black and white levels, the active area and the
CFA phase match what the app will feed the network. mosaic_dump reads
`input<TAB>prefix` lines and writes the whole readout as .npy plus a JSON
of what decode and metadata report. The masked border is kept: its
optically black photosites are a free dark frame for the noise profile.
The info panel gains a line under the lens: "Adobe Standard · in the
file", the .dcp it came from, "· off" when the photographer switched it
off, or "No camera profile · matrix only" — the ordinary case for a
CR2, worded as a fact rather than a failure. A DNG whose embedded
profile may be copied, for a body with no installed profile, also gets
"Use this profile for every Canon EOS 6D →", which saves it into the
profiles directory; the body's CR2s render through it from their next
decode.
The profiles directory is <data>/profiles, read at start-up on desktop
and Android before anything decodes. The library open path never set
the lens line; it now sets both. Labels: Camera Profile, Use Profile,
Look Amount.
The second half of D20: a camera_profile scene operation at order 25
that converts working colour into linear ProPhoto, runs the DNG SDK's
HSV lookup through the HueSatMap and then the LookTable, and converts
back. Hue and saturation do not change under the uniform gains before
it, so a 2.5-D HueSatMap gives the same answer as straight after the
matrix, and the look sees the photographer's exposure as it does in
the SDK. Two departures for scene-referred values: value is not
clamped on the way out, and a colour outside ProPhoto passes through.
The operation holds only the switch (on by default) and a look
strength of 0-200 %. It is composed while the switch is on — a new
Operation::composes() separates "does something" from "moved from the
defaults", so an untouched raw renders through its profile and still
writes nothing. The tables come from the source: dr-gpu uploads the
ones DemosaicedImage carries into a storage buffer at @binding(8),
whose two-entry header tells the fragment whether there is anything to
apply, and binds a header of zeros for every other source.
apply_reference is the lookup on the CPU. The GPU test holds the
shader to it over 256 colours, through synthetic tables strong enough
that a wrong index shows, and through the library's real Adobe
Standard tables when the 6D DNG is present.
The first half of D20. dr-decode now finds a camera profile's HueSatMap
and LookTable in the order camera-profiles.md §4 gives: the profile a
DNG embeds, then a .dcp in the profiles directory whose
UniqueCameraModel names the body, then none. A .dcp brings its own
matrices, since its tables were measured against its forward matrix.
The HueSatMap is blended for the frame's colour temperature with the
same mired weight the matrices use, once per decode, and the result
rides on RawImage as profile_tables beside color_matrix, so every path
that renders a decoded file gets the same profile without a setter to
forget. Nothing applies the tables yet.
A profile whose embed policy allows copying can be written back out as
a .dcp (rawler's TIFF writer with the RC magic patched in), which is how
the library's 6D CR2s will get the Adobe Standard their DNGs carry. The
table type lives in dr-types because decode, pipeline and GPU all need
its layout. Tests read the library's 6D DNG when it is present.
The view was the same fraction of each axis, so it kept the frame's
aspect at every zoom: a portrait zoomed on a landscape screen stayed a
portrait strip with the screen's sides empty. Each axis now shows as
much of the frame as the viewport holds at that magnification, capped
at the whole frame, and the render is fitted to the viewed region
rather than to the frame. A redraw re-cuts a zoomed view about its
centre when the viewport or the crop changes shape.
A step along the roll showed up to four pictures: the grid thumbnail,
the previous photograph again (the thumbnail was dropped when the bytes
landed, while the canvas still held the last texture through the decode
and first render), the new one at its defaults when a cached original
beat the sidecar, and then its edit.
The thumbnail now stays up until render_now draws the new photograph's
first frame, and that first frame waits up to 400 ms for the stored edit
before drawing at the defaults. A later arrival still redraws.
A stored edit that arrived after the view had stepped on was applied to
whatever session was open by then — the next photograph's. The wait now
stops once the open it belongs to is no longer the current one.
A queued export could not see the server, so its name check always
answered "free" and the upload PUT over whatever was there: Increment
and Skip behaved as Overwrite on Nextcloud, and two exports of the same
name queued before either uploaded landed on one file.
The batch now names around what the album records of earlier exports
and what the outbox already holds for that folder. The outbox record
carries the policy, and the drain lists each destination folder once
and applies it against what the server holds: Increment steps past a
taken name and re-points the album's row, Skip drops the entry. A
record without a policy (older builds, a merge's composite) is sent as
named, as before. The album is recorded before the drain starts so a
rename has a row to move.
The presets menu at the foot of the tool rail is a PopupWindow, and
showing a popup takes focus off the develop view until it closes. The
menu held nothing focusable, so Android's Back gesture, pressed to
dismiss it, found no focus item, went unanswered, and the platform
closed the application. Slint closes a popup on Escape by itself but
not on Back.
The menu now holds a key scope, as the film list does, that closes it
on Back or Escape. The next Back leaves develop for the grid.
The merge weighted every overlap pixel by its distance from each frame's
edge, a 200 px linear cross-fade. Anything the frames disagreed on —
parallax in the near foreground, grass in the wind, a walker — came out
twice at half strength: a soft double edge at 1:1.
dr_pano::seam picks, per output texel at proxy resolution, which frame a
pixel comes from. Where a new frame overlaps the composite the cost is the
gain-corrected difference plus local detail plus nearness to either
frame's edge, taken as the worst over a small window, and the cut is a
dynamic-programming path across the overlap. merge.wgsl weights each frame
by its tent-filtered share of that map, a 64 px blend that follows the
seam, with the edge feather kept as the fallback. The page's preview uses
the same map, and examples/merge.rs takes --feather-only for comparison.
WhatsApp strips every EXIF tag and names the file "WhatsApp Image
2023-06-15 at 07.00.42.jpeg"; Windows Phone, Android cameras and
darktable's import put the date in the name too. Those images sorted
after everything else and were absent from the timeline.
name_dates reads a date (and a time, when one follows) from the file
name, then from the innermost folder that states one. A sequence number
after a date is not read as a time, and a bare year folder is not a date.
EXIF always wins: only examined rows still undated are filled.
The sweep and the metadata repair fill as they mark an image examined,
and the open backfill fills catalogs examined by earlier builds. On the
reference library that takes 274 undated images to 10; the no-op case is
a seek on images_captured, 0.6 ms an open.
Import was switched off on Android: `imports_supported` was true only for
`target_os = "linux"`, and its comment said Android has no path to read a
card by and nowhere to write the copies. Neither holds. With "all files
access" (MANAGE_EXTERNAL_STORAGE, API 30) an app reads the root of an SD
card or a USB card reader by path, `/storage/9C33-6BBD`, and the importer
only ever writes into its own staging directory, which is a plain
directory on Android too. So the engine runs unchanged; what was missing
was finding the card and the permission.
- The manifest declares MANAGE_EXTERNAL_STORAGE, and
READ_EXTERNAL_STORAGE up to API 29 with requestLegacyExternalStorage,
which is the same access on 28 and 29.
- Cards.java lists the mounted non-primary volumes through
StorageManager and opens the system "All files access" page for this
app. dr_ui::cards is the JNI bridge, through saf's helpers.
- The import page on Android asks for the permission with an "Allow
access" button until it has it, rather than showing an empty list that
reads as "no card", and watches for the grant so the list fills in when
the user comes back from settings.
Google Play restricts this permission to file managers and the like;
DarkRoom is sideloaded, so that does not apply.
A crop handle straddles the picture's edge. With the photograph fitted
to the whole canvas, the bottom handles sat in the photo roll's band,
whose swipe handler takes every press inside it, and the bottom-left
one under the "Done Composing" row, which is declared after the overlay
and whose buttons press 44px tall. Both were drawn and could not be
grabbed: on a laptop-shaped window, one or the other for nearly any
photograph.
While composing, the canvas box is inset 16px from its clip and stops
above the band, the row's margin and the row's hit height. The band is
measured once, on the canvas, and the row reads it from there.
The panorama scene now ends in the grid, on the composite in its wide
cell beside the twelve frames it was made from, with the thumbnail the
merge made: the picture is taken straight after the merge, before any
rescan could have found the file. The manual's library section says how
a panorama's cell is sized and packed, and its panorama section that the
composite is in the grid the moment it is written. panorama.md §9 records
the race that kept it out, the catalogue-then-register path that
replaced it, how the thumbnail is developed, and the layout's classes.
The presets menu and sheet listed every preset under flat section
headings, seventy rows to scroll past. They now list folders, closed
until opened, with how many presets each holds; opening one shows what
is inside it, folders and presets indented beneath.
A category is spelled in the name: "Portraits/Warm skin" is Warm skin
in a Portraits folder under Yours. The file format does not change, so
an older build lists the whole path as the name; renaming a preset is
how it moves, and saving or renaming into a folder opens the way to it.
A Lightroom import names what it reads after the folders below the one
chosen, and a "/" in a displayed name becomes "∕" so it files nothing.
The shipped film sections become Film › Colour, Cinema and Black and
white.
The tree is built and flattened in Rust (PresetTree), each row carrying
its depth, and which folders are open is remembered for the session.
A PopupWindow keeps the size it was shown at, so a folder opened in the
menu pushed its contents under "Save or manage…"; the menu is shown
again after each toggle to take its new height. That is a function on
the rail because Slint 1.17 generates Rust that does not compile for a
popup's close() reached from inside the popup. The sheet's list takes a
preferred height of up to 400px, since a Flickable reports next to
nothing and an opened folder showed three rows.
The manual describes the folders and naming. Its pictures show the menu
with Film › Colour open, and a black-and-white stock applied from Film
› Black and white; the scenes aim popup rows from the rail's entry, and
pick the menu's "Film" over the develop column's film chooser.
A 22927×8966 Lightroom panorama opened as its embedded preview with
develop withheld, because no texture could hold it. DevelopSession now
opens a linear DNG past PROXY_EDGE (8192) on a box-reduced copy, and
keeps the full resolution on the CPU. The canvas at fit, the thumbnail,
the histograms and the masks work from the copy; a render finer than
it — the canvas zoomed in, a tile of the export — samples a window cut
from the full resolution, kept while the view stays inside it. The
export renders in halo-grown tiles of 4096 and assembles them.
On the panorama: decode 1.6 s, open 210 ms, canvas 37 ms, a zoomed
window 130 ms, the full-size export 5.9 s.
DemosaicedImage::linear_rgb16_window uploads part of a linear DNG, or a
box-reduced copy of it, and says where it sits in the frame; size() now
reports the frame and texture_size() the texels, and the fused pass
writes the window into the shader's uniforms. EditGraph::source_region
finds the part of the source a view reads, and tiles::plan cuts a render
too large for one texture into halo-grown, grid-aligned tiles.
The GPU test renders frames a tile at a time from their own windows and
compares them with the whole: identical for point operations, within one
code value when straightened with clarity on.
dtourolle