2cde2874402ed1909238b78ea49cea43fc4b3a13
43
Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
 dtourolle
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6b99f67f47 |
Develop a mask layer's film on its own settings
A layer offered the film's sliders and they moved nothing: its copy of the node was never given the stock, so it stayed inactive. Film now works in a layer the way the other adjustments do, as offsets to the photograph's settings, but blended as settings rather than as results, since a film is a rendering and cross-fading two developments is not what a region on a pushed film looks like. - dr-film bakes no slider. Exposure is a gain in the shader; push interpolates the stock's measured processes, one curve row each; the print is split at the paper's log exposure, so print exposure is an addition between two lookups and exact at any setting. The enlarger stays balanced at the photograph's exposure. - film_sim reads all four settings as uniforms, format one-hot over a grain count per format, so every uniform is linear in what it does. - Operation::blends_settings lets the composer average each overlapping layer's uniforms with the global ones by mask weight, the global setting taking whatever weight the layers leave, and run the fragment once. Three layers at full weight give the mean of their settings. - The stock picker is hidden on a layer. Only the photograph's exposure re-solves the print balance; push, print exposure and format need no rebake at all now. |
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dtourolle
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a7b090cf36 |
Ship presets with the application instead of seeding them
The six starter presets were copied into the photographer's own library on a first run and were theirs from then on. That cannot grow into a real collection: a copy is frozen at the release that wrote it, so an improved preset reaches nobody who had the old one, and re-seeding would overwrite a preset someone had tuned. `dr_pipeline::bundled` now holds the shipped presets as `.drpl` files compiled into the binary, in sections — Essentials (the former six) and three sections of film presets, one per measured stock in dr-film, printed on the paper its profile names — and never writes them to the user's file. Every shipped preset is a look (`Reach::Named`), so applying one keeps the corrections a photograph already has. A name links a photographer's copy to a shipped preset. Saving over a shipped name makes their version the one that name applies; it is listed in the shipped section, marked as changed, and deleting it reverts to the shipped one. Renaming it makes it one of their own and the shipped preset reappears. Keyed on the name because that is what the photographer sees and chooses by. Copies an older first run seeded are forgotten on load where they are still exactly as seeded — otherwise all six would list as changed and stay frozen at their old values. A tuned one is kept and now overrides. The sheet lists "Yours" first, then each shipped section, with headings. Shipped rows apply and nothing else; a changed row offers Revert where the photographer's own offer Delete. A dr-ui test checks every shipped film names a stock this build can bake, on that stock's own paper, because dr-pipeline does not link the profile database. The film presets name stocks by id; the measurements behind them are spektrafilm's (CC BY-SA 4.0), attributed in each file as in dr-film. |
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dtourolle
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90c0695c05 |
Let a preset name its film, and let a look reach only what it names
A preset could not choose a film stock. The stock is a choice of material rather than a parameter, so `Preset` — a map of `op.param = value` — had nowhere to hold it, and "Portra 400, printed" could not be saved, copied or shipped as a look. Worse, the film node's own sliders *were* parameters: a paste moved one stock's exposure and push onto whatever stock the target was on, and left the target's tables baked from the values it had just replaced. A preset now carries a `FilmRef` beside its parameters. It travels under whichever scope carries the film node, so the stock and its sliders are never split, and by the replacement rule every other parameter follows: applied at that scope, a preset without a film develops the target without one. `Preset::apply` returns the `FilmRebake` it owes, as `EditGraph::set_state` already did, because this crate cannot bake a stock; the develop session pays it before recording the step, and the batch paste writes the stock into each sidecar through `film_for`. The library file spells it `film =` / `film_print =`, as a sidecar does, and an older build keeps those lines as ones it does not understand. `EditState` keeps the film in its own field only: the parameters it captures leave it out, so one edit has one place to say which stock it is on. Second, a preset now has a reach. Replacement is right for a copy of a whole edit — "make these match" — and wrong for a look: a stock-only "Portra 400" applied that way would put the photograph's exposure, white balance and noise reduction back to default. `Reach::Named` replaces only the operations a preset names (whole operations, so a look that sets the blacks resets the whites beside them) and the film only if it names one. Saved edits and the clipboard keep `Reach::Whole`; the line `reach = named` is written only for the other, so existing libraries write the same bytes. |
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dtourolle
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1dc7b45cfe |
Read the fit view's source gather once per framing, not once per frame
At fit, every output pixel of the fused pass loads one texel from a source three or four times its width, on a stride. The memory system fetches the texels it skips along with the one it wanted, so on a 60 MP rgba16float source that gather was most of what the fused pass cost: 10.6 ms of a 2560x1600 frame against 3.8 ms for the same shader reading a contiguous window (the 1:1 view). At 3840x2160 it was 21.1 ms. Those are the laptop RTX 3050 with its clocks held at 420/810 MHz by the power cap; unthrottled the same frames were about 2.0 and 3.2 ms, and the gather is the same share of them. Which texel an output pixel reads depends only on the framing prologue, the framing and warp uniforms, the source and the render size. None of those move during a slider drag, so the gather is the same work every frame. The fused shader now takes a render-sized rgba16float cache of it (bindings 6 and 7, declared in every generated shader like the masks) and a pair of uniform flags: write what was gathered, or read it back at the pixel's own coordinate. AdjustPass keeps the cache and decides per dispatch. The composer supplies `ComposedShader::sample_key`, a hash of the prologue and those uniforms, and AdjustPass adds the image and the size; an image gets a process-unique id for this rather than being held alive by the key. The picture is bit-for-bit the same. The source is rgba16float and so is the cache, so the stored texel is the texel, and only the path that reads a texel whole takes part: an interpolated sample (straightening, lens warps, CA) is a blend that f16 could not hold exactly, so the composer gives it no key and it reads directly as before. The cache is written on the second frame with a given key, not the first: a crop or zoom drag changes the key every frame, and writing then would add a render-sized write to exactly the gestures that can afford it least. It is kept only up to 3840x2400, so an export never parks a full-frame copy on the device, and `release_caches` drops it. Measured with a scratch probe rendering the synthetic 60 MP frame from examples/frame_budget.rs, forty frames per run after six warm-up, five runs of each binary alternated, median of the per-run p50 (GPU idle apart from the power cap): scene before after neutral 2560x1600 fit 10.62 ms 3.88 ms exposure 2560x1600 fit 10.83 ms 3.87 ms nr chroma 2560x1600 fit 19.84 ms 12.69 ms neutral 3840x2160 fit 21.05 ms 7.11 ms exposure 3840x2160 fit 21.08 ms 6.94 ms clarity 3840x2160 fit 42.20 ms 27.88 ms neutral 2560x1600 1:1 3.83 ms 3.84 ms (control: nothing to gain) The rgba8 output of every scene hashed identically before and after, in isolated runs and across all 38 scene/size/view combinations of the probe. New tests walk a pass through direct, write and read frames, a slider move, a neighbourhood operation and a framing change, and compare every frame with a fresh pass that can only have read directly. |
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dtourolle
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9772785f81 |
Measure which mask layers a crop takes out of the frame
Mask geometry is stored in source coordinates, so re-cropping tighter never destroys a layer. It makes it invisible: the layer stays in the panel and the sidecar, its adjustment lands on pixels nobody will see, and nothing says so. The spec had no clause for this; FR-DEV-17 now states it, under the ID issue #10 reserved. dr_pipeline::orphan samples each layer's mask on a 64x64 lattice over the source, with the gradient, radial, brush and model-raster geometry the mask shader uses, folds the parts by their joins and inversions, and maps the samples through the framing to see how much of the coverage the crop keeps. `hidden_by_crop` reports the layers whose share fell below a tenth, and only those the change newly hid, so an already stranded layer is not announced again on every later adjustment. Ranges follow the picture and region selections need a label map this crate does not hold, so a layer that adds either is never reported: a false alarm on the common path would teach the notice to be dismissed unread. |
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dtourolle
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4576499c3b |
Refuse a clipped highlight as a neutral
Sampling the overcast sky on a Canon 6D frame set tint to -100 and temperature to -15 for a patch the canvas showed as pure white. A clipped photosite is sensor white, not a colour: every channel stopped counting, so what the tap hands back is the as-shot multipliers themselves, which are strongly magenta, and the solver dutifully drove green to its stop. The display shader already fades such a pixel to a neutral of the same brightness before any operation runs, so the picker was balancing against something the photographer could not see. The probe now refuses a sample with any channel at or above the onset the shader fades from, the way the solver already refuses black. The threshold is one constant, CLIP_ONSET, formatted into the shader and read by the probe, so the two cannot drift apart. |
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dtourolle
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901f51e6c4 |
Point at something grey and let the pipeline work out the rest
FR-DEV-3 has asked for "white balance (temperature/tint, and picker)" since it was written, and only the first half existed. `WidgetKind::WhitePoint` was in the vocabulary and `develop::supported` answered false for it, so the node degraded to two sliders — correct behaviour that had quietly become the only behaviour. Sampling a neutral is the first move of the global tonal pass and every colour judgement afterwards is measured against where the grey was put, so guessing at two sliders until a wall stops looking green is the wrong way round. The awkward part is that a picker genuinely needs to know how far a hundred units of temperature move red against blue, and that number is declared in the node's own file. So the inversion lives in `dr_pipeline::neutral` rather than in the interface: the canvas hands over a colour, the core finds the operation that asked to be driven by a pixel and bisects its declared response until the sample comes back grey. Nothing in `ui/` names white balance, and nothing holds a second copy of a response that would be wrong the first time somebody adjusted the range. A bisection rather than a closed-form inverse because only monotonicity is part of the bargain — the expression is free to become a table tomorrow. The result is rounded to the precision the control is drawn at, which is not cosmetic: unrounded, sampling something already neutral lands a ten-thousandth off zero, and the photograph comes back modified with an undo step for a correction of nothing. On the panel side this needed one distinction the generated path was missing. `is_on_canvas` was being read as "and so the panel draws nothing for it", which is right for a crop — four edge fractions are not controls anyone drags in a list — and wrong for an eyedropper, which *writes* temperature and tint and leaves them exactly the controls a photographer reaches for next. So a sampling widget keeps its sliders and puts the affordance that arms the canvas in the group's heading, built like the reset beside it. One click, one sample, one history step: `Edit::Action` never coalesces, and there is no hover preview to fill the stack with temperatures nobody chose. Declaring the presentation also groups temperature and tint under one undo step, where they were two. That follows from what `Presentation` means and reads correctly — white balance is one decision — but it is a change, and worth saying so. |
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 dtourolleandClaude Opus 5
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c4ddcbe0f7 |
Look the lens up and say plainly whether one was found
`dr-lens` has held a complete Lensfun lookup — distortion, TCA and vignetting coefficients from a lens name, a focal length and an aperture — with no dependents anywhere in the workspace. The three corrections it feeds now exist in the graph, so this connects the two and finishes the chain. The coefficient structs stay duplicated. `dr-pipeline` is organised around having no dependencies so its codegen is testable without a device or a database (ARCH §6.5a), and `dr-lens` carries an XML parser and 5.5 MB of profile data. Neither crate can convert to the other, so the conversion goes above both, in `develop.rs`, which is the only place that sees them together. Both traits grow the same defaulted door. The optical corrections do not sit on the same side of the fetch — distortion and CA rewrite coordinates and are `Warp`s, vignetting applies a gain to the pixel already there and is an ordinary node — and fanning a profile out by which trait each happens to implement would make the caller reason about that distinction. Each correction takes its own share of the whole profile instead, and `set_lens_profile` walks both lists identically. The lookup happens in `set_source_metadata` rather than in its caller, because that is the one place a session is told which file it came from. Doing it there makes it unforgettable, in the shape `FilmRebake` already uses for the other derived thing — and, more to the point, makes *clearing* unforgettable: a session that opened a second photograph while still holding the first one's profile would correct it for the wrong optics, invisibly, in a way that looks exactly like the lens. It needs the whole shot and not just a name. Distortion is interpolated across a zoom's focal range and vignetting depends strongly on aperture — a fast prime can be two stops down in the corners wide open and clean by f/8 — so a lookup missing either returns coefficients measured for a shot nobody took. Missing any of the three refuses rather than guesses. A profile is derived, not persisted: it comes from the file's EXIF and a database, so it is not a parameter, not in the sidecar and not undoable. What is an edit is the manual trim beside it, which each correction composes with the measurement — so a photographer can lean on it, override it, or work without one. `InfoPanel` gains a lens line, and it distinguishes three cases rather than two. `dr-lens` states the rule it exists for: an automatic correction that silently did nothing is worse than one the user can see is unavailable. A session with no header draws nothing, a header naming no lens reads "Lens not recorded", and a lens the database has never heard of reads "· no profile". Collapsing the last two would send somebody hunting for a profile that was never missing — which, for third-party and adapted glass, is the ordinary case. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
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89c4ff1820 |
Store what the model found, so a reopened photograph keeps its masks
A subject or category layer was written to the sidecar as identity alone —
which run, which instance, which category — on the reasoning that the pixels
are reproducible by running the same model over the same image. They are, but
only by *running the model*, and nothing runs one except a photographer
pressing "find subjects". So on every path that did not already have a run in
memory the layer resolved to no coverage, `MaskPass::render` logged "has no
distance field; skipping", and the adjustment was silently absent:
- reopening an edited photograph rendered it without its local adjustments,
and then saved that state back on the way out;
- a batch export from the grid could not have them at any point, because
`render_from_library` opens a session, applies a version and renders, and
there is no model anywhere on that path. Three hundred files written
without the edits their photographer made, over a log warning.
Neither failure announced itself. The generated shader still emits the layer's
block and the empty placeholder multiplies it by zero, so the result is a
well-formed frame that is simply missing an edit — `mask_is_stale` already
named the state and called it "not stale, just unrenderable".
The coverage now travels in the file, as one `coverage = w h levels payload`
line at the end of the layer's block.
Two levels, and that is not a compromise. The model hands out a byte per pixel
but `Shaped::build` measures its distance field from `coverage >= 128` and
throws the shoulder away on the first line; everything soft about the rendered
edge comes afterwards from the layer's feather and falloff, which are read off
the distance. So one bit per pixel is not an approximation of what the model
said — it is exactly the part of it that reaches a pixel, and the stored mask
renders the identical frame. Storing all 256 levels would have stored 1.7 MB
of bilinear interpolation to reconstruct a predicate, and would not even have
compressed: a model mask is a bilinear upsample of a coarse grid, so almost no
two adjacent bytes are alike. Measured on a simulated sky and a simulated
figure at 1600x1067, against 1.71 MB raw: 4.0 kB and 6.5 kB at two levels,
46 kB and 76 kB at sixteen, 835 kB and 1.43 MB at all 256. The level count is
still written into the line, so a later build that finds a use for the
shoulder can write sixteen and this one will read them rather than misreading
a stream of lengths as pairs.
The coder is hand-rolled — run-length pairs in a base-64 varint — because
`dr-pipeline` links nothing, which is the property that lets the descriptor
and codegen logic be tested without a device. `flate2` would have been fewer
lines and a dependency in the one crate that has none.
Where it lives matters more than how it is coded. The raster sits on
`MaskLayer` beside the source, not inside `MaskSource::Subject`: the source is
*identity*, which is what makes it diff as a handful of numbers and merge per
field under FR-NC-9, and a raster in there would have given the merge a binary
blob to arbitrate. It takes no part in `MaskLayer`'s equality for the same
reason — a device that has run the model and one that has not hold the same
edit, and counting the difference would raise a conflict over a cache and let
`remote_wins` answer it by discarding the only copy of the pixels.
Encoding happens in `masks_for_storage`, on the save path, rather than in
`ensure_subject_fields` where every coverage already funnels through.
`ensure_subject_fields` runs on a drag — dilating a mask with a compound
morphology rebuilds the field every frame — and encoding a megapixel raster
per frame is the kind of work NFR-P5 exists to keep off a gesture. Saving
happens once, when the photograph stops being the open one, and already costs
a network round trip.
Version skew holds both ways. A file with no `coverage` line reads exactly as
it did before, which is a layer that needs the model run; an unreadable one
costs the pixels and not the layer, because the layer is the edit and the
raster is a cache of it. An old build reading a new file drops the key it does
not understand, which costs a model run and no work. And a payload that will
not compress is refused rather than truncated: a checkerboard would encode to
twice the raster it came from, so past 64 kB nothing is stored and the
behaviour falls back to what it was — half a mask would render as a mask that
is confidently wrong, which is the failure that tells nobody.
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dtourolle
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91fe6cf300 |
Merge master into partial-preset-scope
🐳 Android image / Build and push (push) Successful in 8s
Build and test / android-image (push) Successful in 8s
Build and test / Desktop (Linux) (push) Failing after 1h17m12s
Build and test / Layer separation (push) Successful in 56s
Traceability / Requirement traces (push) Successful in 1m33s
Build and test / Android (aarch64) (push) Successful in 1h0m38s
# Conflicts: # docs/traceability.md # ui/dr-ui/ui/app.slint |
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dtourolleandClaude Opus 5
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754ab91347 |
Bring a Lightroom library across, and start with something in the list
Two halves of the same complaint: a preset sheet that opens on "No presets yet" is homework, and a photographer with ten years of presets in Lightroom has no way to bring them. `dr-preset-xmp` reads Camera Raw `.xmp`. The mapping turned out to be mostly a rename rather than a conversion, because Adobe and this pipeline already agree: exposure is in stops in both, and contrast, the four recovery controls, clarity, texture, vibrance and saturation are all ±100 in both. That is not imitation, it is the convention raw developers converged on — `highlights_shadows.yaml` cites it in as many words. Only sharpening needed arithmetic, Adobe's 0…150 against our 0…100. The white balance does not come across, and says so rather than guessing. Adobe writes absolute Kelvin for a raw file where ours is a relative nudge from what the camera recorded, so converting needs the *target image's* as-shot white balance — exactly what a preset cannot carry, since the same preset lands on a frame shot at 3200K and one shot at 7000K. A guess would be wrong on most images and invisibly so. A folder is read as readily as a file, nested, because that is the shape an exported preset folder is in and importing ninety files one at a time is asking someone not to bother. `dr_pipeline::starter` is six presets a first run begins with, written against this pipeline in its units and deliberately mild — a starting point, not a caricature. They are seeded when the library *file* does not exist rather than when the library is empty, so deleting all six does not hand them back on the next launch. Both of these name operations, and `ui_names_no_operation` was right to stop them living in `ui/`. That test exists because the failure is silent and cumulative, and it caught exactly what it was written for: a preset called "Punch" is a statement about contrast, clarity and vibrance, and a table mapping Adobe's vocabulary to ours is a statement about the pipeline. Neither is a fact about an interface. So the starter set went into `dr-pipeline`, and the importer into its own crate — between two walls, since `dr-pipeline` depends on nothing on purpose and XMP is real XML not worth hand-rolling. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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ab0ef6a26d |
Say which requirements the code was already satisfying
Thirteen requirements were surveyed as built but untagged. Eight of them were: R3, R6, FR-DEV-1, FR-UI-6, FR-NC-6d, NFR-OPS-3, NFR-PORT-2 and NFR-SEC-3. Each was read against its full text in requirements.md and against the code before the tag was added, because a tag that is wrong is worse than an absent one — it turns a visible gap into an invisible one. The five that were refused, and why, because the reasoning is the part worth keeping: R2 carries "(figure TBD)" in its own acceptance criterion and asks for a stated prefetch margin and cache-hit rate; neither figure exists anywhere in the tree and neither quantity is measured, while TD-2 and TD-3 both describe the thumbnail path falling short of it. R5 asks for three things and the code does one. The display pipeline does run at viewport resolution, but "only visible tiles are computed" and "panning recomputes only newly exposed tiles" need a tile scheduler that does not exist — and frame_budget.rs currently argues for striking tiled computation from the interactive path rather than building it. FR-RAW-2 asks for a trait taking a SourceRef, so that a second decoder can be added without changing callers. What exists is free functions over &[u8]. That meets the requirement's stated *purpose* — the same decoder serves a local file, a SAF document and a byte range, which is exactly why it takes bytes — but there is no trait and no second implementation seam, so the requirement should probably be amended rather than tagged. NFR-ARCH-1 asks for named executors with stated thread counts. architecture.md §7.1 states the table; nothing implements it. Workers are twenty-odd ad-hoc std::thread::spawn sites, each building its own one-worker tokio runtime, with no decode pool, no GPU-submit executor and no I/O pool. The requirement's own text says R4 and NFR-P9 "assert an outcome with no stated means", and that is still true. NFR-SEC-4 is satisfied by absence — there is no telemetry — and absence has no module to tag. A tag would point at nothing. NFR-OPS-3 was the closest call of the eight taken. The store is single, separate from the catalog, survives a catalog rebuild and does not sync between devices; it has no version *field*, deliberately, and settings.rs argues why and names the condition that would need one. The substance is met and the reasoning is recorded where it belongs. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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5a8327824f |
Keep an edit under a name, not just on the clipboard
FR-DEV-6 asks for three things — named presets, copy/paste between images, and batch-apply to a selection. The last two have been here for a while; this is the first. The format is the sidecar's, deliberately. A preset *is* the non-default half of a version, so the lines are the same lines keyed the same way, which makes the two files diffable against each other and lets someone debugging an edit paste a block from one into the other. One file rather than one per preset: a preset per file makes the name a path, and every name then has to survive a filesystem — a `/` becomes a directory, a name differing only in case collides on one platform and not another, and renaming becomes two operations that can half-fail. As a key in a document it is none of those. Unknown *parameters* needed no machinery. `Preset` already holds whatever keys it is given and resolves them against the descriptors only at apply time, so one written by a newer build survives by being stored. Only lines that are not `op.param = float` at all are preserved verbatim, which is the sidecar's version-skew promise made here too. Applying is the paste path with a different source, so a preset reaches a selection through the sidecar read-modify-write that was already there: no graph, no decode, no GPU, forty files or one. Two smaller decisions worth the record. A library that fails to parse is held empty in memory and *not* written back over — settings regenerate themselves and this is work, so a parse failure must not be the moment it is destroyed. And every save persists immediately and rolls the in-memory copy back if the write fails, so the sheet never lists a preset the file does not have. The grid's "Presets" button is gated on the selection alone, unlike the "Paste to 40" beside it. That button needs a clipboard armed this session; the preset list is whatever was saved last month, and hiding it behind an unrelated action is what makes a feature only its author knows about. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0cd3ef1b3f |
Run a node declaration without compiling it
`ops/*.yaml` plus `build.rs` has been the class-1 plugin format since the declarative nodes landed — it was simply resolved at build time. Nothing about a declaration requires the compiler: everything it produces is data plus a WGSL string, and the composer already assembles WGSL at run time from whatever operations are active. So this is not a new mechanism. It is the existing one, loaded later (FR-PLG-2). `DeclaredOp` implements `Operation` from an owned `Declaration` — one interpreter over many declarations, where `build.rs` emits generated code per node. The generated path stays, as FR-PLG-2 says it should: a generated `match` is faster than an interpreted one, the built-ins' declared `tests:` have to run under `cargo test`, and generated source is inspectable in a way an interpreter's state is not. **The reader is now one file, read by both.** `src/declared/decl.rs` and `src/declared/expr.rs` are `#[path]`-included by `build.rs` as well as being modules of the crate, and they produce a neutral `Declaration` that names no Rust type. The build script's job is reduced to *rendering* that declaration as Rust; `DeclaredOp` converts the same declaration into descriptors and `Expr::eval` walks the same tree the renderer writes out. There is one grammar, one set of validations and one set of error messages, so "a plugin is the same kind of thing as a built-in" is structural rather than aspirational. What remains genuinely written twice is the pair of backends — an arithmetic node rendered as Rust here and evaluated there — and that is what the parity test stands between. `tests/declared_parity.rs` parses every built-in declaration at run time and asserts the composed WGSL is byte-for-byte what the generated implementation produces, with the uniform block bit-for-bit identical, at both ends of every parameter's range and at four interior points; then again over the whole develop chain with the declared nodes swapped in, which is what covers uniform slot ordering and helper de-duplication between operations. A third test asserts the declared and hand-written nodes partition `ops/` between them, so coverage cannot shrink silently. Bit-for-bit rather than within a tolerance, because a tolerance is where a real divergence hides. The one thing that had to be got right for that to hold is number literals: `expr::as_f32` rounds a decimal exactly once, through the same shortest-round-trip text the compiler is handed, rather than rounding an `f64` a second time. Not in scope, and deliberately untagged: load-time WGSL validation (FR-PLG-11), id namespacing, a plugin directory read at startup, and pass nodes (FR-PLG-2a). Those are separate work, and tagging them from here would be the overstatement the spec's own §7 warns about. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0c3b8cb1c4 |
Hand out descriptors a declaration could produce
`Operation::descriptor()` returned `&'static OpDescriptor`, and that lifetime
is the whole reason a build-time node is free and a run-time node is
impossible: only a compile-time literal can satisfy it, so no amount of
reading `ops/*.yaml` at startup could ever produce a descriptor the rest of
the application would accept. FR-PLG-2 says a bundled operation and a
third-party plugin are the same kind of thing, differing only in where the
file was found — and a lifetime outsiders cannot meet is exactly the second,
weaker format that requirement forbids.
So a descriptor is now owned and handed out as `Arc<OpDescriptor>`, with `Vec`
where it held `&'static` slices. `Arc` rather than a `&self`-borrowed
reference because the callers want to *keep* it: the develop panel collects
descriptors and then mutates the graph, and a borrow would tie the
descriptor's lifetime to a borrow of the operation it came from, which is the
one thing `&'static` was doing right.
The identifier newtypes deliberately did not follow. `ParamId` is `Copy`, is
compared in `match` arms against generated constants, is a map key in the
sidecar and history, and reaches Slint model rows; an `Arc<str>` there would
cost a refcount on every one of those and would take `match id { EXPOSURE =>
.. }` away from the generated code. They gain an interner instead, which is
honest about its lifetime rather than pretending to one — the set of ids is
bounded by deduplication and is process-lifetime by construction, because the
sidecar on disk names its parameters and an id has to stay resolvable for as
long as any edit naming it can be opened.
No behaviour changes. Every descriptor that was a `static` is a `LazyLock`
initialiser now, `Operation::helpers` borrows from `self` instead of being
`'static` so a future run-time node can own its list, and `Warp` and `Framing`
follow `Operation` so there is one shape rather than two.
The one place a descriptor is read per frame is `compose_full`, which takes
`descriptor().id` to prefix each active operation's uniforms, and `dr-ui`
composes on every frame it draws. That is a dozen atomic increments beside a
composition that is already building several kilobytes of WGSL on the same
call; it is noted at the trait method rather than left for a profiler to find.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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dtourolleandClaude Opus 5
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d7a81375ee |
List the steps, and let a photographer step straight to one
Build and test / Desktop (Linux) (push) Successful in 19m30s
Build and test / Layer separation (push) Successful in 25s
🐳 Android image / Build and push (push) Successful in 1s
Build and test / android-image (push) Successful in 1s
Traceability / Requirement traces (push) Successful in 23s
Build and test / Android (aarch64) (push) Failing after 33m5s
Undo answers "take back the last thing", which is the question asked about a mistake just noticed. It is the wrong instrument for one noticed six adjustments later: eight presses, each changing the picture, with no way to see how far back the mistake is without passing through it. A step is a whole state, so arriving from six away costs what arriving from one does — which is what makes a row worth making clickable rather than decorative. `Edit::Discrete` had to go for the list to be worth drawing. Seventeen call sites recorded the same anonymous step, which is fine for deciding whether two changes are one gesture and useless for a panel: seventeen rows reading "Discrete" is not a history. Every variant now carries enough to name itself, and the compiler enumerated the sites that had to start saying so. A step that moved a parameter is still named out of the descriptor, so an operation added as a YAML declaration appears in the history correctly named with nothing written for it (FR-DEV-3c). Choosing a film stock was not undoable at all. The pick went straight to `choose_film`, which nothing on the history's path ever sees. `pick_film` records it, and is separate because the same call is also how a *restored* edit gets its tables back — recording that would push a step for the undo the photographer had just asked for. The list is rebuilt off a revision rather than off every redraw. A drag ends in a redraw per frame while folding into one step, so the unconditional version would tear down and recreate every row sixty times a second to arrive back at the list already on screen. The counter is process-wide: a per-instance one starts every photograph at the same number, so a frontend holding "the revision I last drew" would keep the previous image's steps on screen — invisible while every image opens with one identical row, and a wrong-photograph bug the moment persisted history means it does not. The step names that no descriptor can supply are constants with a roll, and a test walks the roll rather than a second copy of it. `resolve` splits so that "is this catalogued?" can be asked: `derive` turns `history.mask_toggled` into "Mask Toggled", which names a field rather than an act and, being perfectly readable, is a mistake nobody would look at twice. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
b89f1cfece |
Snapshot the whole edit in the history, so a drawn mask can be taken back
The undo stack snapshotted a `Preset` — the parameter map — and a mask layer is deliberately not a parameter. So drawing one changed nothing the history could see: `record` returned `false`, no step opened, and the layer the photographer had just painted had no way back. The interface went on calling `record` in good faith, including from the mask controls, and nothing failed. A film stock went missing the same way. The snapshot is an `EditState` now, so the history is complete by construction rather than by anyone keeping a list in their head. `undo` and `redo` return a `Step` rather than a `bool`. Stepping is not the only outcome a caller has to act on — a step across a change of film leaves the graph without its tables, and only the caller can bake them — and a `bool` would let that be dropped by writing nothing at all, which is the shape of mistake this module had already made once. `DevelopSession` settles the debt either way; a step that found nowhere to go is left alone, since clearing the film because undo hit the floor would take the stock off the picture. Five tests, all of which fail against the old snapshot: a drawn layer is undoable and redoable, a layer's own settings are a step of their own, a change of stock is a step and names what it needs baked back, clearing the film is undoable, and an exposure move does not deep-copy the mask stack. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
5622a58ce3 |
Give an edit one complete state, and make omitting part of it a compile error
An edit used to be a bag of scalars. That stopped being true when the mask stack and the film stock arrived, both deliberately held apart from `ops` because a layer is not a scalar and a stock is not a scalar — and nothing announced the change. What happened instead is that three routines each captured "the edit" and each captured a different subset of it. `EditState` is all of it: the parameter map, the masks, the stock. What keeps it complete is not a comment. `EditGraph::state` destructures the graph exhaustively, `EditGraph::set_state` destructures the state exhaustively, and the fields are public so every construction site is a struct literal naming all of them. Adding a fifth kind of graph state — FR-DEV-8's spot removal is the one already asked for — fails to compile until somebody has decided whether an undo has to put it back. Verified both ways round by adding a field to each type and watching five call sites refuse to build. A compiler error rather than a runtime check, because the failure being prevented is silence: the missing halves produced no panic, no warning and no failing test. The stack is now shared rather than owned, and that is about the drag path rather than memory: `state` runs on every parameter change, which during a drag is once a frame, and deep-copying a painted brush sixty times a second to record an exposure move would be a cost paid for nothing. `masks_mut` is the one door a stack is modified through, so it clones on write. `FilmRebake` is the one thing a caller is still owed. Restoring a stock always needed the profile database this crate does not link (ARCH §6.5a); it was a comment before, and it is a `#[must_use]` return value now. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
5323608051 |
Draw the repairs, before anything sharpens what they removed
A spot set now composes detail passes of its own, one per round, and they go ahead of every operation's kernel. That placement is the decision worth recording: a sharpening pass reads a neighbourhood, so sharpening a dust mark before removing it smears its edge into pixels the repair's disc does not cover, and what survives is a faint over-sharpened ring around an otherwise perfect patch. It also disagrees with ARCH §5.2, which draws spot removal after clarity — docs/spot-removal.md §5.1 is where that is argued out. Every length reaching the shader is in render pixels, converted here where the framing is in scope. Both the centre and the source go through `Framing::output_at` — the same map the fused pass applies to every pixel — so a rotated photograph rotates the offset with no trigonometry, and the radius is found by mapping a point one radius above the centre and measuring, rather than by multiplying by a ratio this function has no business knowing about. The tests turn and crop the frame and expect the mark to stay gone, which is the property that arrangement buys. compose_full now takes the spot set, because a photograph with a repair and no sharpening still has a detail stage: a fused pass that encoded its own output there would quantise twice and bind to a texture of the wrong format. compose_detail_for takes the source size for the same kind of reason — a RenderScale describes the region on screen, and a spot is stored against the photograph. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
97479a0512 |
Hold the repairs a photographer makes, and say which may share a pass
A spot is a disc, a source offset and four numbers, and it lives beside `ops` for the reason `masks` and `film` do: the operation trait is ParamId -> f32, and a list of repairs is neither scalar nor fixed. Two decisions here are not obvious. The id is derived from the position rather than counted, because two devices editing offline would each mint `spot3` for different marks and the sidecar merge would then treat two repairs as one — from the position, two devices that removed the same piece of dust agree, and two that removed different ones do not. And every length is in the frame's isotropic units, not a mixture of those and shorter-edge fractions: one unit for the radius, the feather and the offset agrees on a landscape frame and on a portrait one, where a mixture only agrees on the first. `rounds` is the arithmetic that keeps a source from reading a destination. Every spot in one pass reads the photograph as it stood before that pass, so a spot sourcing from an earlier spot's destination would copy the mark that spot was removing. Grouping is not a pass per spot — that is sixty-four dispatches for a case that almost never arises — it is a new round only when the sources actually collide. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
4b2ee0ac50 |
Count the silver instead of adding noise
An emulsion is a suspension of crystals. Light sensitises some; development
turns a sensitised one opaque, all or nothing. So a patch of film's density
is a *count* of developed grains, and a count of independent yes/no events
has a variance whether or not anyone wanted texture:
mean = D
variance = D * (Dmax - u * D) / N
That expression is the whole feature. It peaks in the middle of the density
range and vanishes at both ends -- clear film has nothing developed to vary,
black film has nothing left to develop -- so grain lives in the midtones as a
consequence rather than as a "midtone bias" slider.
I was wrong earlier that this needs the detail stage. Nothing in it reads a
neighbouring pixel; the only reason to move it was that grain must be fixed in
film space rather than screen space, and that solves itself: N is grains *per
pixel*, so it scales with the film a pixel covers. Zoom out, each pixel
averages more grains, less variance -- correct, with nothing super-sampled and
nothing filtered. It stays in the fused pass.
Grain goes on the density and *before* the dye, which is the physical order
and not cosmetic. Perturbing the finished colour -- what an effect does --
tints highlights wrong, because that noise never passes through the dye.
Crystal habit lives in `rms_granularity`, the number every datasheet
publishes, now a profile field. It measures exactly what differs between a
cubic emulsion and a tabular one: at equal speed, tabular crystals present
more area per unit silver, so the film reads finer. Delta 100 is quoted near 9
where HP5 is near 12, and that gap *is* the habit. Adding a stock whose grain
is its whole reputation is therefore editing one line, not writing a model.
Three things this cost, all of them worth writing down:
- The default granularity is a colour negative's, blue coarsest. Applied to
Tri-X it put *colour* speckle on a black and white photograph. Monochrome
stocks collapse it at parse, where every other per-layer table is already
replicated from the one measured channel.
- Helpers cannot read uniforms. The composer prefixes a uniform with its
operation's id and rewrites references inside a fragment body only;
helpers are shared and deduplicated, so a bare `gn0` names nothing.
`film_lut` already took its size as an argument for this reason, and now
says so.
- The end-to-end test compares the shader against the CPU model, and grain
is stochastic, so that comparison now runs with grain off. Which means a
grain that never left the CPU would look exactly like a passing suite --
hence a second test that grain off is bit-identical, one grain per pixel
moves it, and ten thousand move it less.
Not here, deliberately: no grain slider. The parameters are physical and
`rms_granularity` is the honest place to scale one from, but its range wants
choosing rather than guessing. Nor a film format -- 35 mm is assumed, and
medium format at the same stock is far less grainy per unit of picture.
Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>
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dtourolleandClaude Opus 5
|
3b5952769b |
Emit floats an f32 can hold, and drop the format! that formats nothing
CI runs cargo fmt --check and clippy -D warnings, and this branch had never been through either. Both would have failed it. The bulk was the generated colour tables: eight significant figures where an f32 carries about 7.2, so the eighth is noise that rounds away at compile time and clippy's excessive_precision says so 109 times over. Fixed in the generator rather than only in the file, so it stays fixed -- and the file is trimmed in place rather than re-derived, because regenerating it needs a colour-science stack that has nothing to do with the defect. The format! in the composer is mine too, from extracting the rendering tail: the braces in it were escaped because the text used to live inside a larger template, and once extracted the escapes are noise and the call formats nothing. Also here, and clearly not mine: an unused import and a shadowed binding in dr-gpu, and an unused import in a test. They are pre-existing -- clippy has been failing on master before this branch existed, on lints like is_multiple_of that arrived with a toolchain rather than with anyone's code. Fixed because CI cannot go green around them, and called out because a merge commit is a bad place to quietly edit someone else's crate. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
baa8957e80 |
Let a photographer choose the film, and remember which one
The stock model rendered correctly and nothing could ask for it. This is the picker, and the sidecar key that makes the choice outlive the session. How the choice persists was the open question, and the answer was already written down twice in sidecar.rs: `rating` is a top-level key "because a rating is not an edit", and `masks` are one "because a layer is not a scalar". A stock is that kind of thing -- a choice of material, not a number a slider moves -- so it is a top-level key too. It stores the **id**, not an index. Stocks are files that users add, so an index would mean installing a profile silently changed which film every existing photograph had been developed on. A name this build has no profile for still round-trips untouched, because the alternative is that syncing to an older phone quietly un-develops the picture. Only the names travel. Turning one back into tables needs the profile database, which dr-pipeline deliberately does not link, so `Version::apply` clears the film and the session re-bakes -- after the parameters, because the bake reads the film's own exposure sliders and the print balance is solved against them. That is also why moving those sliders rebuilds the lookup where no other control in the panel does: an enlarger's filtration depends on how the negative was exposed. The panel keeps its rule. It still names no operation and still generates every control from a declared parameter kind; the stock gets a bespoke control beside those, exactly as the mask stack does, and for the same reason. The film's exposure and print exposure arrive as ordinary generated sliders. Two defaults worth stating. Picking a colour negative prints it, because an unprinted one is an orange strip and offering that as the first thing somebody sees after choosing Portra reads as a bug rather than as a choice -- the toggle is there for anyone who wants the scan. And a paste carries no film: a preset is a parameter map, and a stock is not a parameter, so pasting one would paste a choice the clipboard never took. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
4a2fcb6d22 |
Render a film stock on the GPU, and let it take over the rendering
The stock model landed in dr-film with no way to see it. This is the pipeline node, the two texture bindings it reads, and the end-to-end test that proves the shader agrees with the model. The design point is that a film simulation is not an adjustment. Every other node changes a picture; this one makes it. A stock's characteristic curve does the camera profile's base curve's job -- from measurements rather than from a curve somebody drew -- so running both renders the scene twice: the camera's rendering, and then a film's rendering of that. It looks like neither, and it reads as a colour-management bug with no colour-management bug to find. So `Operation::renders` is new. A node declaring it takes camera RGB and hands back linear sRGB, and the composer emits neither the base curve nor the conversion out of camera space. Both halves move together, and the composer keeps them as one string precisely so that getting half of it right is impossible. The tables are not parameters, for the reason vignetting's coefficients are not: they are measurements. dr-pipeline declares the layout as a plain struct and keeps its no-dependency property; the two crates share no types on purpose. `EditGraph::set_film_tables` offers them to every node rather than to the one that wants them, because knowing which concrete type is which is what the graph is organised not to know. Bindings 4 and 5 follow the masks precedent: declared unconditionally so one bind group layout serves every generated shader, bound to 1x1 placeholders when no stock is loaded. Both are interpolated by hand with textureLoad -- this pipeline binds no sampler, and adding one for two lookups would cost a binding in every shader. Uploads are keyed on content so an unchanged stock does not push half a megabyte across the bus per frame. The end-to-end test earned its place immediately: it found the density lookup being filled z-fastest while a 3D texture upload wants x-fastest, so the red and blue axes were transposed. Green matched exactly, which is what that bug looks like -- a plausible photograph of the wrong colour, and one that every unit test on either side of the seam passes. dr-film now pins the layout in a test that needs no device, and states it where the field is declared. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
c75849040c |
Format the tree the way the gate asks for it
`cargo fmt --check` is a required step and had drifted across 45 files. Most of it arrived this week: several operations were written in parallel worktrees and merged by hand, and a hand-merge resolves conflicts without ever running the formatter over the result. No behaviour changes — this is `cargo fmt --all` and nothing else, kept as its own commit so the next reader can skip it wholesale rather than search it for one that matters. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
|
ec4283e37f |
Finish reconciling the whole-chain tests the three kernels each rewrote
Sharpening, noise reduction and clarity were written in parallel and each rewrote the same two tests, which had counted one fused block per operation — true only while every operation was a point function. Kept the exclusive-or formulation: each operation must reach exactly one of the two stages. A count cannot tell "moved to the detail stage" from "vanished from both", and that ambiguity is what broke these tests three times over. The merge left two fragments of the versions it replaced — a loop over a set that no longer exists, and the tail of an assertion whose head was gone. The loop is not restored: `point ^ neighbourhood` already asserts per operation what it checked over the set. The assertion is, because it catches a different fault from the exclusive-or — a block in the shader that nothing in the chain asked for, rather than an operation in the wrong stage. |
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dtourolle
|
5852e14a5c |
Merge branch 'worktree-agent-a75c901968abfa183' into integration
# Conflicts: # core/dr-gpu/src/adjust.rs # core/dr-pipeline/ops/README.md # core/dr-pipeline/src/lib.rs # core/dr-pipeline/src/ops/mod.rs # ui/dr-ui/src/develop.rs |
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dtourolle
|
690e76a51f |
Let the fully-active chain test account for both stages
Activating every operation now activates a kernel too, and a kernel emits no block in the fused shader. Assert that each operation reaches exactly one of the fused pass and the detail chain, rather than counting fused blocks against the length of the chain. |
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dtourolleandClaude Opus 5
|
00663a870b |
Teach the chain test that a detail node has no fused fragment
every_operation_can_be_activated_together counted one block per operation in the chain, which was true only while every operation was a point function. A neighbourhood operation is a dispatch of its own and emits no fused block, so the count now excludes the operations the detail chain names, and each of them is separately asserted absent rather than the comparison being loosened. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
|
c963dafd09 |
Merge branch 'worktree-agent-afd449f5e7a01e341' into integration
# Conflicts: # core/dr-gpu/src/adjust.rs # core/dr-pipeline/ops/README.md # core/dr-pipeline/src/lib.rs # docs/traceability.md |
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dtourolleandClaude Opus 5
|
7407a82aa7 |
Let an operation read the pixel next to it, and settle where sharpening belongs
The fused pass hands a fragment a colour and no coordinate. That is what buys one dispatch for a whole edit, and it is also a wall: sharpening, noise reduction, clarity, texture, dehaze and spot removal are each defined by what the neighbours are doing, and FR-DEV-3 and FR-DEV-8 ask for all six. None of them could be written at any price. So there is now a detail stage. An operation implements `Operation` for its parameters exactly as before — the panel, the sidecar, the history and the presets all work unchanged — and additionally returns `Affects::Detail` and a `DetailStage` yielding one pass per dispatch. `Affects` grows the third variant `docs/requirements.md:250` designed and nothing had cut. Where the stage sits is a colour-science decision, not an arrangement of convenience. It runs after every point operation and every mask layer, so an amount chosen against a tone curve survives the curve moving; in linear sRGB after the camera matrix, because camera RGB has no luminance to sharpen against; and before the output transform and the clip, because FR-DEV-2 allows one quantisation and a highlight clipped before a convolution grows a dark ring. The fused pass therefore ends one of two ways, and when a detail stage follows it hands on unclipped f16 and the last detail pass encodes. At render resolution rather than on the source, which is the whole of FR-DSP-1: a pass before the framing prologue would cost 24 MP to draw a 2 MP preview. `RenderScale` is what makes that survivable — a radius is stored as a fraction of the frame's shorter edge, exactly as a mask feather already is, or as a count of source pixels, and converted per render. It also reports when a radius is smaller than a proxy pixel rather than drawing a plausible lie; zooming to 1:1 makes the preview exact with no second path. `Invalidation` gives FR-DEV-3d something to mean. Moving a detail parameter leaves the colour key alone, so `AdjustPass` keeps the linear intermediate and skips the fused dispatch: dragging a sharpening slider costs a convolution. Moving exposure does re-run the detail passes, because they read what the colour pass wrote, and there is no arrangement of keys that avoids it while keeping sharpening after tone. Validated by a separable box blur that is not a develop operation, behind the `detail-probe` feature and absent from a shipping build. An abstraction with no consumer is a guess; a box blur's answer is known in closed form, so the tests assert every byte of the ramp rather than that the edge got softer. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
|
743fefe7f1 |
Render each body through the profile its own files describe
Colour came from whichever matrix rawler happened to key `D65`, the second one was discarded, and the rendering was left linear. That is the dcraw default, and FR-DEV-3e names it as the reason people abandon a converter in the first hour: correct in the abstract, flat and poor on skin in practice. The decoder now builds a camera profile. - `ColorMatrix1/2` and `CalibrationIlluminant1/2`. rawler surfaces these as an illuminant-keyed map — for DNGs from the tags, and for native formats from its own camera database — so a Canon CR2 arrives with a tungsten matrix and a daylight matrix exactly as an Adobe DNG of the same frame would. Dual-illuminant support is therefore not a DNG feature here. - `ForwardMatrix1/2`, read straight from the root IFD, because rawler parses them and never surfaces them. Where a file carries both, they replace the inverted colour matrix: the same relationship measured in the direction rendering actually wants, rather than an inversion that amplifies the measurement error exactly where skin lives. - `AsShotNeutral`, used to estimate what the scene was lit by and to interpolate between the two calibrations in mireds. The estimate is circular — the temperature needs a matrix and the matrix needs the temperature — so it is a fixed point, three rounds, as Adobe's SDK does it. Bodies calibrated at neither D65 nor A stopped rendering uncalibrated as a side effect: a Phase One IQ3 carries D55 and D75 and used to get no matrix at all. And a base curve, applied per channel in camera RGB between the last adjustment and the conversion out of camera space — a toe, a steep midtone and a shoulder, which is the difference between a photograph and a scan of one. It is not an edit: no slider, nothing in the sidecar, because it belongs to the body rather than to anything anyone decided, and a sidecar is shared between bodies. It is not a develop node either, and `ops/README.md` now records why. It evaluates on the tone curve's own spline rather than a second copy, so a profile author placing a control point and a photographer dragging one mean the same thing by it. The curves are data. `core/dr-decode/profiles/base_curves.yaml` ships inside the binary as a floor and is superseded by any copy on disk carrying a higher `version:`, so a body can be added and distributed without a release — and, under the GPL, contributed. The comparison runs both ways: a stale pack cannot hold an upgraded binary back at last year's rendering. Canon EOS 6D and R6, Nikon Z 6 and D750, Sony A7 III and Fujifilm X-T3 ship with their own curves. Every other body gets a conservative default, which is much closer to right than the identity is for any of them. A JPEG gets none — it has already been rendered once, by the camera. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
|
7421837c8a |
Let an operation say what it is about, so the panel can group without naming
Tool tabs need a taxonomy, and the taxonomy was the problem: a table in `ui/` mapping operation to tab breaks FR-DEV-3a, and a `group:` field risks what `ui-refinement.md` condemned `starts-group` for — the core deciding where the panel draws things. `Attribute` threads the needle. It says what an operation *is* — tone, colour, detail, optics, geometry, effect — which is the same category as `ParamKind` and squarely on the core's side of ARCH §4.3a's line. What is drawn, where it sits and whether it is visible stay the frontend's. There is no attribute for "the third tab", the enum's order is declaration order rather than screen order, and a frontend may render these as tabs, as headings, or ignore them. The payoff is that a tab strip can be *derived*: the groups are the attributes present in the capability list, so the interface names no operation and needs no table to keep in step. An operation joins the right group by declaring what it is, which is the one thing its author is well placed to say. Plural, because the tone curve is genuinely both — an RGB curve is tonal and the per-channel curves are chromatic, and filing it under one would hide it from half the people looking for it. Required and non-empty, enforced in `build.rs`, and the failure was checked by removing the line rather than assumed. An operation with no attribute is invisible to a panel that groups by them; a build that stops costs ten seconds, a control nobody can find costs more. The vocabulary is closed for the same reason: a typo would otherwise invent a category holding exactly one operation, which looks like a deliberate one until somebody counts. Six tests over the real chain, including the hand-written operations that `build.rs` never sees and so cannot check. |
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dtourolle
|
c6a846a1f9 |
Brighten her face without touching the sky behind her
A mask layer is an ordinary develop chain plus a rule about where it applies. Nothing in the chain knows it is being masked, so every operation that works globally now works locally and a newly declared op in `ops/` arrives with local support already done. The composer emits each layer after the global chain and before the conversion out of camera space, which is what a photographer means by "and *then* lift the shadows on her face". Op fragments write to a `c` they expect to own, so a layer block shadows it and copies the result back out through a carrier — assigning the outer one from inside is impossible precisely because it is shadowed. The fused dispatch survives: three global adjustments and two masked ones remain one shader, one read, one write. Masks rasterise on the GPU and never exist in CPU memory (ARCH §5.4). That is the whole reason darktable's brush masks lag, and it is architectural rather than tuning, so it is not a thing to inherit and fix later. The rasteriser is a render pass rather than the compute shader it obviously wants to be, and the format is why: R8Unorm is not a core storage format, so a compute path has to widen masks to four bytes per pixel — 768 MB across eight layers of a 24 MP export, against 192 MB at one byte. A colour attachment takes R8Unorm happily. The array slice comes from the attached view, so no slot uniform exists to disagree with where the pass writes. Region masks index a compacted label field rather than the watershed's raw basin roots, because a root is a sparse index into pixel space and indexing a per-region array by one would need a table the size of the image. Changing a selection then costs a few kilobytes, not a re-upload. Stored as region ids, not as pixels: diffable, mergeable per-field under FR-NC-9, and cheap in a sidecar. The ids only mean anything alongside the segmentation that produced them, so each layer carries that signature and is treated as stale rather than applied when it does not match — a confidently wrong mask being much worse than an absent one. Seven device tests render actual frames and read them back. The unit tests either side check halves that would both pass if the two agreed with each other and were both wrong; a mask sampled with x and y swapped satisfies them and fails these. |
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dtourolleandClaude Opus 5
|
7f524d2fd0 |
Give a mis-drag a way back
Develop edits now save themselves to a sidecar the moment you leave the image, so until this there was no way to undo one — the mistake was persisted and the only recourse was to remember the old number. The history is a stack of snapshots, because the edit graph is already plain data: `Preset::capture` reduces it to what differs from default and `Preset::apply` puts it back, so undo is those two calls and nothing else. A command object per action, with an inverse beside it, would have been a second thing every operation had to register — and operations are declared in YAML precisely so that a new one needs no code written for it. A snapshot cannot fall behind them. The interesting part is coalescing. A slider drag emits an event per frame and must be one step, not forty. Nothing in the interface reports a gesture boundary — the same wall the render coalescing hit, and it is answered the same way rather than by threading a "finger is down" out of every slider, curve point and crop handle. What stands in for the boundary is the control plus recency: changes to the same control within 700 ms amend one step. Which control is "the same" is asked of the graph, not listed: an operation whose declared presentation claims a parameter is one where a single gesture moves several — a curve point carries an x and a y — so those coalesce as one widget. Nothing in the history names the tone curve. The compromise, and it is a real one: a control let go of and picked up again within the window is one step rather than two. Buying the other answer costs a gesture-boundary signal on every control, which is more surface than the difference is worth. The stack is bounded at 64 states for NFR-RES-1 — a develop session stays open for hours. Sixty-four rather than a byte cap: what is being bounded is steps a photographer would want back, and a byte cap would give the elaborate edit the shallowest history, which is exactly backwards. The session owns its history and every mutator records into it, so the callbacks in `lib.rs` cannot change the edit and forget to — with a dozen generic callbacks that would have been one press of undo away from wrong every time a control was added. Opening a photograph makes its stored edit the floor rather than a step: it is not work done in this sitting, and an undo reaching behind it would discard a previous session's edit and then save that on the way out. Not yet done, from FR-DEV-5: history is per-session and in memory, and there are no named snapshots. What mattered was that a saved mis-drag had no way back at all. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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e00c99b864 |
Let a photograph leave: an export button, and a cache to leave from
dr-export could turn a frame into bytes and nothing could ask it to. This is the button, and the place the bytes go. **Everything is staged first.** An export bound for the server is written to a local outbox and uploaded afterwards; offline is not a special case, it is the same path with a drain that finds the server absent. Doing it the other way — upload directly, stage only on failure — makes the failure path the one that is rarely exercised and always broken, and a network drop mid-batch leaves some exports existing and some not with nothing recording which. Staged first, an export is finished the moment it is written and the upload is a promise kept later. The outbox sits beside the catalog rather than under the cache. dr_catalog's cache already draws that line: passive entries are a convenience and go under LRU, pinned ones are a promise and never do. An export awaiting upload is a promise — the user was told it succeeded — and sweeping it for disk would destroy the only copy. Bytes are written before the destination record, so a kill between the two leaves an orphan the drain ignores rather than a record pointing at nothing. The status line says "Queued for Exports/2026", never "Exported to Nextcloud", until it has actually landed. There is a test asserting that wording, because the tempting shorter sentence is a claim the app cannot keep. The drain runs on the sync pass, before the shards: a thumbnail shard can be rebuilt from the originals and the catalog is an index, but a queued export exists nowhere else. `DevelopSession::render_for_export` renders the framed size rather than reusing the frame on screen, which is deliberately viewport-sized (FR-DSP-1) — encoding that would hand the user a soft, screen-sized file with nothing to say anything had been lost (FR-EXP-9). One compromise, recorded rather than hidden: the export runs synchronously on the UI thread, so the window is unresponsive for the few hundred milliseconds a full-resolution render and encode takes. Moving a DevelopSession and its GPU pass to a worker is a larger change than one button earns, and it is batch export that makes the wait intolerable rather than merely noticeable. Still missing: the Nextcloud folder *picker*. The destination is typed into Settings for now. `FolderBrowser` in launch.rs is already the reusable model for it — it browses a remote tree and nothing about it is specific to choosing a library root — but wiring it into the settings page needs a listing worker and browser UI there, which is its own piece of work. Carries in-flight work from a parallel session — presets, the develop copy and paste, and the node schema's `presentation` and `enum` support. One misplaced callback in settings_ui.rs is moved from `render` to `wire`: registered in `render` it borrowed a `&SettingsController` into a 'static closure and would not compile, and that file's own docs say render pushes properties while wire connects callbacks. 992 tests pass, clippy and fmt clean. Traceability 48.3% -> 51.0%. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0a331c717e |
Give the controls a vocabulary, and let a node ask for one
widgets.slint set the rule — screens consume components, and a bare `Theme.*` at a call site means a component is missing — and it set it for chrome only. The controls never got the same treatment, so they were written wherever they were first needed and copied from there. **The slider was private to the develop panel.** `SliderTrack`, with the fifty-line preamble explaining how it wrests a drag away from a Flickable, lived inside adjust.slint and no other screen could reach it. It shows: export quality is a 1-to-100 value, and the settings page offered a free-text box for it, with the range written in a hint and enforced nowhere. `to-float()` answers 0 for anything it cannot parse, so a typo saved a quality of 0 and the page displayed the 0 back as though it had been asked for. The tick-box was written twice, in launch.slint and settings.slint, from the same 18px box and the same handler; the second carried a comment deferring the lift until a third caller appeared. The label-and-hint header was written three times inside settings.slint alone. controls.slint is the input layer beside widgets.slint's chrome layer, and the constraint that makes it reusable is that **nothing in it knows about `ParamRow`** — that struct is the develop panel's flattening of the capability model, and a control that imported it could only ever be used by the develop panel. The primitives take plain numbers; the ParamRow-shaped wrappers stay in the panel that owns the model. 658 lines came out of the three screens. `SliderRow` is the slider-plus-number-box ARCH §4.3 names as the pointer presentation of a bounded scalar, and quality is its first adopter. It commits on gesture end rather than on every movement, because the settings page saves to disk on change and a two-second drag is a couple of hundred writes where a text field committed once. The develop panel keeps the live stream — that is what its pipeline is for — so `SliderTrack` now reports both. **The other half is the descriptor.** FR-DEV-3a and ARCH §4.3a already specify more than was built: an ordered preference list of widgets rather than one, the demands a widget makes, and kinds beyond scalar and bool. - `Presentation.widgets` is now a list, walked by `choose`, falling back to plain sliders. Falling off the end is not an error, and there is a test asserting an operation asking only for an unimplemented widget still yields one control per parameter. - `WidgetDemand` carries what a widget inherently needs — two-dimensional dragging, precise pointing — and no pixels, breakpoints or platform names. - `WidgetKind` grows to the specified set. There is deliberately no `Colour` *kind*: a colour is three numbers, and a value type that is not an `f32` would reach through the graph, the uniform block and the sidecar format to buy what `ColourWheel` over three scalars already describes. Every widget here is a hint over ordinary scalars, which is what keeps the fallback honest. - `ParamKind::Enum` is the one new shape, and it fits because a variant index is exact in binary32. `kind: enum` with a `variants:` list works in `ops/*.yaml`, so a node declaring one gets a segmented control with no UI file edited — which is the promise ops/mod.rs already makes. The panel's dispatch was duplicated: a lone parameter and a grouped one each wrote out their own list of kinds, so `enum` would have had to be added twice and a kind added to one would appear or vanish depending on how many parameters its operation happened to declare. `ParamControl` is now the only such chain. `rows_from` is free-standing rather than a method, which is what lets the FR-DEV-3c acceptance test requirements.md asks for actually be written: an operation the frontend has never heard of, appearing in a generated panel, with no GPU in sight. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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9b2ee0d0eb |
Show the colour mixer as three runs of twelve, each row a colour
Build and test / Desktop (Linux) (push) Successful in 17m20s
Build and test / Layer separation (push) Successful in 33s
🐳 Android image / Build and push (push) Successful in 2s
Build and test / android-image (push) Successful in 2s
Traceability / Requirement traces (push) Failing after 26s
Build and test / Android (aarch64) (push) Failing after 8m59s
The mixer was thirty-six sliders reading "Hue / Sat / Lum" twelve times over with nothing saying which band any row belonged to. The identity was there all along — the descriptor declares param.mixer.orange.sat and BANDS carries orange at 30° — and was discarded on the way out: labels.rs had no mixer entries, so every key fell through to a derived label that yields the bare channel name. A parameter can now say which aspect it adjusts and which subject it adjusts it on, with the subject's hue where the subject is a colour (descriptor::Facet). That is data about what the operation does, not a layout: the mixer genuinely weights pixels around 30°. What to draw from 30°, and in what order to stack the runs, stay in dr-ui (ARCH §4.3a) — develop.rs brings rows sharing an aspect together and marks the first of each, and adjust.slint names the run once and draws a swatch, a track and a readout on one line. Grouped by channel rather than by band because an edit is almost never "everything about orange"; it is the saturation of the greens, made by comparing one channel across neighbouring bands. Twelve band sections put those twelve rows in twelve different places. The swatch is the label, which is what makes twelve rows fit where four did. The band name is not lost: it is the row's accessible label, so the control is not colour-only, and labels.rs is where the mapping is written down — including chartreuse as "Yellow-Green" and spring as "Blue-Green", since nobody hunting foliage scans a list for "Spring". Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolle
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9f5e9955d5 |
Add sidecar serialisation for the edit graph
Sidecars are the only thing in the trust path: the catalog can be rebuilt from them, so they carry the edit graph and its version in a form that survives a schema change. Assisted-by: LLM |
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dtourolle
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f630a3ff81 |
Wire the launch screen into the app
The app now opens on the login screen when there is nothing else to show
— no local paths and no configured library — and goes straight to the
images otherwise. Making someone click past a login they already
completed is pure friction.
launch.slint imported by app.slint, replacing the window rather
than overlaying it: there is no library to look at
until an account is configured
launch_ui.rs the Slint wiring, kept out of lib.rs so the launch
flow can change without touching the develop window
Login runs on a worker thread and posts results back through a channel,
since Slint's event loop is single-threaded and a 20-minute browser wait
cannot block it. The system browser is opened via xdg-open, never an
embedded webview (FR-NC-1).
Sign-out deletes the local credential even if server-side revocation
fails: a network error must not leave a usable secret on the machine.
Format tick-boxes persist on each toggle, so a selection survives a
crash before the library is opened.
Two things deliberately incomplete rather than faked:
- "Choose folder" lists the account's folders and reports them, but
there is no picker widget yet, so selection still happens via the
connect example.
- "Open library" logs the request. Opening a remote library needs the
scan-and-cache path, which belongs with the catalog work in flight.
Earlier I broke the other in-flight dr-ui work by calling
slint_build::compile twice, which replaces the generated module. The
correct wiring is an import inside app.slint, which is what this does.
30 dr-ui tests passing; both launch paths verified by running the app.
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dtourolle
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09e3043f4c |
Add secure credential storage, sessions, and a launch screen
Login now persists properly rather than through the JSON file the test
harness was using.
dr-plat SecretStore trait plus a Secret Service backend.
Verified against the live GNOME Keyring: store,
retrieve, delete, confirm-gone all round-trip.
Session/SessionStore splits credentials from settings — the app
password goes to the keyring (FR-NC-2), while
server, login, chosen root and format selection are
ordinary config. A test asserts the credential never
appears in the config file.
LaunchModel the launch-screen state machine, testable without a
display server: sign in, approve in browser, choose
folder, tick formats, sign out.
launch.slint the screen itself, in its own file.
Absence of a secrets daemon is an explicit degraded mode, not a silent
fallback to plaintext — the screen says sign-in will not persist rather
than letting the user find out next launch. Android's Keystore backend
fails loudly for the same reason: a no-op store would look like it
worked and then lose the credential.
Two bugs caught by tests rather than by running it:
- fail() after busy() signed the user out, because busy() had already
discarded the session. A failed *scan* would have logged you out.
Busy now carries the session.
- normalise_server upgrades http:// to https:// rather than accepting
it. NFR-SEC-3 requires TLS, and silently sending a credential in the
clear is not a decision to make on the user's behalf.
launch.slint is not yet wired into app.slint. Calling slint_build::compile
twice replaces the generated module rather than adding to it, which broke
the other in-flight work on dr-ui; I reverted that immediately. Wiring it
needs an import inside app.slint, which is that work's file to change.
419 tests passing across ten crates.
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dtourolle
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c8bb08e661 |
Add folder scan with format selection; validate A3 on a real library
Library setup as the user described it: pick a folder, choose which RAW
types to look for, scan recursively.
dr-types::FormatFilter the tick-box selection, seeing through VFS
placeholder suffixes so a dehydrated CR2 still
matches as a CR2
dr-sync::scan recursive walk, Depth:1 per directory, pruning
unchanged subtrees where the backend propagates
directory ETags
Verified against nextcloud.tourolle.paris (34.0.2) on a real library:
browse root 32 entries, 98ms
scan PhotosRaw 17,185 RAW files in 334 directories, 34.1s
(7,836 CR2 + 9,349 DNG)
range read 262KB of a 21.5MB DNG in 119ms — 1.22% of the file,
and enough to read "Canon EOS 6D | ISO 100"
That last line is assumption A3 validated on real data. Cataloguing this
library by whole-file fetch would move roughly 370GB; the range path
moves a few MB.
Pruning is capability-gated rather than assumed: with per-entry ETags a
probe costs a request and proves nothing about children, so it is skipped
entirely. A test asserts zero probes in that case.
Still unresolved: /core/preview returns 400 for every parameter
combination tried, including on a JPEG the server reports as having a
preview. Not a request-shape bug — it fails identically bare. Recorded
rather than worked around; ARCH §6.7 already treats server previews as
opportunistic, so nothing depends on it.
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dtourolleandClaude Opus 5
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78e3e6b846 |
Add the develop pipeline: demosaic and seven raw adjustments
Decode through display, on the GPU: black/white normalisation, Bayer demosaic, camera colour transform, and the first seven adjustment operations — white balance, exposure, highlights/shadows, blacks/whites, brilliance, vibrance, saturation. Composable shaders. Each operation contributes a WGSL fragment rather than owning a pass, and dr-pipeline fuses the *active* ones into a single compute shader. One texture read and one write per frame regardless of how many adjustments are in play, while the operations stay independent in Rust — adding one is a new file, with no central shader to edit. An operation at neutral settings contributes no code, no uniform and no branch. Uniforms are prefixed per operation so two may both declare `amount`; helpers dedupe by name from a single source of truth. Pipelines cache on a structure hash covering the op-set and its order but not the values, so dragging a slider uploads uniforms and reuses the compiled pipeline. Measured on a 24 MP CR2: 0.60 ms re-render, one pipeline compiled across ten slider positions. The UI is generated, not written. EditGraph::capabilities() reports parameters with their kinds, ranges, defaults and current values; the panel builds one control per entry chosen by ParamKind. No file in ui/ names an operation, and dr-pipeline has no wgpu dependency, so codegen is testable without a device (ARCH §6.5a). Three defects found against real files, each silent: - rawler 0.7.2's `xyz_to_cam` is all zeros — deprecated and no longer populated. The live matrices are in `color_matrix`, keyed by illuminant. Reading the old field yields no colour transform at all. - `cam_to_xyz_normalized()` returns all NaN on any Bayer sensor: it divides each of four rows by its own sum, and the unused fourth (emerald) row sums to zero. Inverting the 3x3 ourselves avoids it. `wb_coeffs[3]` is NaN for the same reason and is normalised at decode. - As-shot white balance reached the uniform block but no shader read it, so the first render of a real CR2 came out violently green. Green photosites collect roughly twice the signal of red and blue. Now applied unconditionally before any operation, with tests on ordering. Demosaic is Malvar-He-Cutler rather than bilinear: gradient-corrected interpolation at one 5x5 neighbourhood per pixel, where bilinear leaves visible zippering on any high-contrast edge at 1:1. Two of the four packed CFA constants were wrong on the first attempt, so all four layouts are asserted to reconstruct the same colour. Crop origins at odd coordinates re-phase the pattern; without that, red and blue swap. X-Trans reports GpuError::UnsupportedCfa rather than approximating with the Bayer path, which would look like a corrupt file. 206 tests, including GPU tests proving every operation and the full seven-operation chain generate compilable WGSL. Known gaps: the display path still reads back to the CPU each frame, which ARCH §6.1 forbids and AC-8 asserts against — it is gated behind the `readback` feature and waits on spike S1 wiring Slint's texture import. Curve shapes are a first draft and want tuning against real photographs. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |