70 Commits

Include renames

Author	SHA1	Message	Date
dtourolleandClaude Opus 5	b858fc029a	Record what per-display colour actually cost ... The status table said FR-DSP-8 was absent and §5.2 assumed Slint reports window moves. It does not — there is no `on_moved` on any backend — so the position is sampled instead. §5.4 records the two trades that are worth someone finding later: a display profile is matched to the nearest of four spaces rather than applied through a CMM, and on Wayland the canvas follows the first output rather than the window, because a Wayland client is never told where its window is and the protocol's own answer needs a `wl_surface` that Slint does not expose. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 19:03:24 +02:00
dtourolleandClaude Opus 5	131004393d	Follow the canvas from one display to the next ... The rest of FR-DSP-8. The develop session now carries the space its canvas is encoded into, and `render` composes for it instead of for sRGB — which is the whole of the change to the pixel path, because the output space was always a parameter of composition and always entered the structure hash. A display change is a recomposition. The space is set on the way into every render rather than pushed when the window moves, so a photograph opened while the window already sits on the second monitor is right on its first frame instead of flashing the wrong colour until the next poll. Which display that is comes from sampling the window's position and scale factor twice a second — Slint reports neither a move nor a display change — and re-surveying only when they differ. Settings shows what came back under ABOUT: the display, the space, why, and the other monitors, because the failure FR-DSP-8 names is one that is invisible from the display you are reading the page on. Fractional scaling: the canvas is now rendered at the physical pixel size of the box it occupies rather than the logical one, so the compositor presents it 1:1. At 1.25 it was previously handed 1600 samples to fill 2000 device pixels, and the softness that produces reads like a bad demosaic rather than like a scaling bug. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 18:44:51 +02:00
dtourolleandClaude Opus 5	b846b312b8	Run the formatter over the face branch before it reaches CI ... The merge of the SCRFD/MobileFaceNet work brought 69 rustfmt diffs across dr-catalog, dr-face and dr-ui with it, so `cargo fmt --all -- --check` fails on master and the Desktop job stops at its Format step — before clippy, the tests or the release build have run at all. That makes the whole desktop half of CI blind: a real compile error behind this would look exactly the same from the outside. There was nothing behind it, as it turns out — with the formatting fixed, clippy, the test suite and the release build all pass. Every .rs hunk is `cargo fmt --all` on the pinned 1.92.0 toolchain, not a hand edit, but it is worth being precise about what that moved, because it is more than whitespace. Besides reflowing signatures and call chains, rustfmt reordered the `pub mod` and `pub use` items in dr-face/src/lib.rs so the `#[cfg(feature = "inference")]` entries sort in place, added the trailing semicolon inside `let ... else { return }` bodies in identity_ui.rs, wrapped a bare closure body in braces in cluster.rs, adjusted trailing commas, and dropped a stray blank line at the end of identity_ui.rs. All of it is semantically inert; none of it changes behaviour. docs/traceability.md rides along because it has to. The matrix records each TRACES tag by line number, and reflowing develop.rs, lib.rs, faces.rs, identity.rs and identity_ui.rs moved them — FR-CAT-8, FR-CAT-9, FR-CULL-10, FR-DEV-3, FR-DEV-3a and FR-DEV-3c all shift by a line or two. The matrix was verified up to date on d777f7f before this commit, so this is drift these formatting changes introduced, not pre-existing staleness being swept up. Leaving it for a follow-up commit would hand traceability-check.yml a failure caused entirely by a whitespace change. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-27 13:12:49 +02:00
dtourolle	d777f7f44d	Merge branch 'master' into worktree-faces-scrfd-mbf ... # Conflicts: # docs/traceability.md # ui/dr-ui/src/develop.rs # ui/dr-ui/src/segmentation.rs	2026-08-27 11:57:38 +02:00
dtourolleandClaude Opus 5	7e1c33ebed	Draw the subjects on the photograph, not on the sensor ... "Find subjects" would recognise a person on a portrait frame and then paint the outline into the hillside behind them. The detection was right and the mask was right; what was wrong was the picture drawn to show them. Instance masks live in sensor space, and correctly so — the generated shader samples them at `uv_src`, after the framing map, which is what keeps a mask on its subject through a zoom, a pan and a crop. The overlay is the one consumer that is *not* sampled by that shader. It is a flat image handed to the compositor to lay over a photograph that has already been through the framing map, so it has to arrive in the same space that photograph is in, and it did not. On a frame from a camera held sideways the outlines were drawn a quarter turn away from the subjects they described. `overlay_clip` had the same fault one layer down, and it is the more insidious of the two because it looks right. The crop and the viewport are fractions of the photograph as the user sees it — the prologue maps an output pixel through `crop_rect` *before* it unturns the frame — and they were being measured against the sensor's width and height. Two numbers, correct type, wrong axis. Both now go through `Orientation::into_shown`, so the overlay and its clip are in the photograph's space and the turn is the same one the render and the thumbnails make. Neither was noticeable until this week, and the reason is worth writing down: before the detector was given an upright frame it found almost nothing on a portrait photograph, so there was rarely an outline to be in the wrong place. Fixing the detector is what made this visible. Landscape frames were never affected, which is most of them, and is why an overlay that ignored orientation entirely survived this long. Verified on `_MG_9080.CR2`, a portrait frame of two people and a dog: the overlay was a 1599x1066 image drawn onto a 1066x1599 canvas, with the colour sitting in the mountainside above the subjects. It is now 1066x1599, and each outline is on the thing it names. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-27 09:46:48 +02:00
dtourolleandClaude Opus 5	f00b92a0e6	Turn face boxes back into sensor space before matching regions ... Faces are found on the thumbnail, which is cached the right way up -- the grid would lie on its side otherwise. Segmentation runs on a proxy rendered through a neutral edit graph, which carries no orientation and is therefore in sensor order. For anything shot in portrait the two differ by a quarter turn, so a face and the person containing it were being compared in spaces 90 degrees apart: no match, or worse, a match against somebody else's region. The transform goes on the face rather than on the proxy. Instance masks are defined in the proxy's space and sampled long afterwards, so turning that space would be a far larger change than naming a region warrants. Also two things the first screenshot of the running app showed that no test would have: 110 of 23,528 displayed as "0%", which reads as the feature having done nothing. One decimal below ten percent, and a floor so real progress never shows as none. The rail picked some near-black covers, because the largest face in a group is often the nearest one in a badly lit frame and a black square beside a name identifies nobody. It now cuts the best few and takes the first legible one, falling back to the largest when a person's every photograph is dark -- which happens, and showing it beats showing nothing. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 23:28:52 +02:00
dtourolleandClaude Opus 5	b55812812a	Name segmented people from the faces already recognised in them ... The segmenter knows it found a person; the face index knows which person. Joining them turns "person" in the mask list into "Anna", which is the difference between a vocabulary of eighty COCO classes and one that includes the user's family. Selecting a subject in a group photograph stops being a guessing game between three identical rows. Containment, not IoU. A face is a small part of the person it belongs to, so a correct pairing has an IoU near zero and anything IoU-based would reject every true match. Confirmed names only. A suggestion is the system's guess, and printing a guessed name onto a mask region would launder it into a fact. Writing the tests corrected the design once: a tight head-and-shoulders portrait, where the face fills most of the person box, is the case where naming is most certain, not least. An earlier guard rejected exactly that and has been removed, with the reasoning left as a test because it is easy to get backwards a second time. The names hang on the develop session, set when the image opens because that is the one moment the catalog and the image id are both in reach. Every segmentation run afterwards picks them up for free, and a library with no face indexing behaves exactly as it did before. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 23:10:46 +02:00
dtourolleandClaude Opus 5	d7a81375ee	List the steps, and let a photographer step straight to one ... 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>	2026-08-26 23:04:35 +02:00
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>	2026-08-26 22:54:55 +02:00
dtourolleandClaude Opus 5	93efdf27a6	Keep the film stock when an edit is saved ... `Version::update` is the write path an automatic save goes through. It copied the parameters and the masks and said nothing about the film, so a photograph developed on a stock was written back without it and opened the next time without its emulsion. Nothing reported a failure — the line was simply not there. It is the third of the three routines that captured "the edit" and the only one that got it wrong, which is the argument for not having three. All of them now destructure one `EditState`, so `from_graph`, `update` and `apply` cannot disagree about what an edit consists of, and the next part of one cannot be lost by anybody writing a line too few. Two tests, both of which fail without the fix: the field survives `update`, and the stock survives the round trip through the file. `apply` returns the `FilmRebake` it always implicitly owed, so `apply_version` now reads the debt off the call rather than off `version.film` — and pays it in both directions, since a version with no film has to clear the adjust pass too or it keeps textures bound that nothing will sample. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:53:00 +02:00
dtourolleandClaude Opus 5	4a82753d22	Show the detector the photograph, not the sensor's scanlines ... "Find subjects" was handed the proxy in the sensor's own orientation, so every frame shot on a body held sideways reached the model lying on its side — and a model trained on upright photographs is very bad at those. Measured end to end on a 22 MP frame of two people and a dog: `person 0.36` and nothing else, against `dog 0.82, person 0.61, person 0.49` for the same pixels stood up. Nothing failed; the panel simply offered one poor subject where there were three good ones. The orientation was never dropped on purpose. The proxy is deliberately rendered through a *neutral* graph — the detection has to survive an exposure change, or every slider would invalidate the masks built on it — and neutral took the file's orientation with it along with everything else. Landscape frames were unaffected, which is why it stood for as long as it did. The turn is `Orientation::source_pixel`, the same function the grid's thumbnails already go through, so the detector and the thumbnailer now agree about which way is up rather than holding two opinions. What it is turned by is `Framing::effective_orientation` — the file's EXIF tag and the photographer's own rotations composed into one permutation, by the group law rather than by adding the turns, which is a distinction `Framing` already had to make and had already tested. Rotating the picture and pressing the button again therefore does what it looks like it does. The proxy stays in sensor space and the masks come back into it. That is not a detail to be tidied later: the generated shader samples the mask array at `uv_src`, *after* the framing map, so a mask stored upright would sit a quarter turn off the subject it was drawn around. That is a wrong mask rather than a weak one, and nothing announces it. So the picture is stood up for the model and laid back down for everything else, and `upright`/`lay_down` are returned as a pair because calling one and forgetting the other is silent. Both directions are the one function: `upright` gathers through `source_pixel` and `lay_down` scatters through it. A quarter turn is a bijection of the pixel grid, so the round trip is exact — no filter, no resampling, and no hole to fill — and an inverse written out by hand would be a second thing to keep in step, whose way of being wrong is a mask mirrored about the wrong axis, which still looks like a mask. The orientation joins the confidence and the tiling flag in the segmentation signature, and for the same reason: turning the photograph changes what the model recognises, so two runs either side of a rotation are different instance lists. Two that happened to come out the same length would otherwise share a signature and a stored layer would be silently re-indexed from one into the other. The refine pass had it too — it re-runs the model over a crop rendered in the same sensor space — so it makes the same turn, and would otherwise have handed back a worse mask than the one it was asked to improve, on the subject the photographer had just pointed at. `dr-gpu`'s `local` example is fixed with it. It exists to be the shipping path with pictures attached, and a diagnostic that reproduces the bug it is meant to catch is a trap for whoever reads it next. Seven tests. The round trip is the identity over all eight EXIF tags on a non-square asymmetric grid; a turn carries whole pixels rather than shearing the channels apart; a sideways frame reaches the model upright; a box comes back in sensor pixels, worked out by hand for the one turn a portrait frame actually writes; a restored box still reads low-to-high for every tag, since the rest of the pipeline takes `x1 - x0` without checking the sign; and the eight tags cannot collapse into one signature key. The existing composition test now runs against `effective_orientation` itself, over all 8 x 16 baseline-and-user pairs. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 22:40:58 +02:00
dtourolle	e0cb968e04	Merge remote-tracking branch 'origin/master' into worktree-spot-removal ... # Conflicts: # docs/traceability.md	2026-08-26 21:56:32 +02:00
dtourolle	bc07c32611	Merge branch 'master' into worktree-spot-removal ... # Conflicts: # docs/traceability.md	2026-08-26 21:51:47 +02:00
dtourolleandClaude Opus 5	e14bc34a9e	Ask which frame this was taken on, because grain is enlargement ... A crystal is a fixed size in micrometres. How grainy a photograph looks is therefore not a property of the emulsion alone -- it is film size against output size, and the frame is the half a digital file cannot supply. This assumed 35 mm for everything. The same emulsion on 4x5 averages about 3,800 crystals into the pixel that holds 300 on 35 mm, so it renders roughly 3.5 times smoother at the same print; every large-format photograph was being rendered as grainy as a half-frame. `Format` now carries the real image widths -- the gate, not the nominal inches, since a "4x5" exposes about 121 mm -- and the film node asks for it. It is a genuinely fixed list, unlike the stocks, so it is a declared `enum` parameter and gets its control, its sidecar entry and its undo step for nothing. It is also the first enum in the develop chain, and it broke two tests by being one. A row has to compare equal to itself across two builds or `sync_rows` replaces it on every parameter event -- destroying the elements built from it, including whichever TouchArea holds the current gesture, so the format picker would have fought every slider drag in the panel. `ModelRc` compares by identity and the row built a fresh choices model each call. `no_choices` already shares one empty model for exactly this reason, and the build site already said "see no_choices for why the identity matters". The fix follows it: memoise the model per variant list. Curve rows solve the same problem the other way, writing values through the existing model, which is not needed here -- a variant list is fixed at compile time, so one model can serve forever. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 21:47:19 +02:00
dtourolleandClaude Opus 5	626780276d	Draw with OpenGL on Android, where the driver owns the display rotation ... The grid tore while scrolling on the tablet, in portrait only, and was flawless in landscape. It was not vsync and it was not the grid. Measured on the device, same build, only the tablet rotated: landscape bufferTransform=ROT_180 composition=DEVICE (2) clean portrait bufferTransform=ROT_270 composition=CLIENT (1) torn The panel is mounted landscape — 1920x3000 at installOrientation 3 — so a portrait window needs a 90 degree rotation before scanout. wgpu-hal hardcodes the swapchain's `preTransform` to `IDENTITY` and says so in a comment beside the line: // On Android 10+, libvulkan's `vkQueuePresentKHR` returns // `VK_SUBOPTIMAL_KHR` if not doing pre-rotation ... This is always the // case when the device orientation is anything other than the identity // one, as we unconditionally use `VK_SURFACE_TRANSFORM_IDENTITY_BIT_KHR`. That is gfx-rs/wgpu#3345, and it cannot be fixed by setting the field: `preTransform` is a *promise* that the content is already rotated, so keeping it needs the renderer to rotate what it draws, which wgpu cannot do on Skia's behalf. We do not have to be on that swapchain. `AndroidWindowAdapter` chooses `SkiaRenderer::default_wgpu_29` only because this crate enables `unstable-wgpu-29`; without it `SkiaRenderer::default` resolves — through i-slint-renderer-skia's build script, which selects OpenGL on anything that is not Apple, Windows or wasm — to Skia over OpenGL, where the driver owns the rotation and there is no transform to get wrong. So both renderer features move to the desktop-only dependency, and desktop is untouched. # The cost, stated rather than hidden Skia over OpenGL cannot sample a `wgpu::Texture`, so the develop view's frame comes back through memory: `AdjustPass::export_pixels`, already ungated and already used by the export path, into a `SharedPixelBuffer`. That is the round-trip ARCH §6.1 and AC-8 exist to forbid, and it is the right trade only because of what the alternative actually is — not a faster develop view, but a grid that tears in the orientation a tablet is mostly held in. Two things keep it small. The device is still opened on Android, so demosaic and the adjust pass are untouched on the GPU; only the last hop changes. And `render` fits the pass to the canvas before it runs, so the readback is at viewport resolution, a fraction of the ~7 ms at 4K the original measurement was taken against. Four other explanations died on the way here, each by measurement rather than argument: the present mode (a patch confirmed in the installed binary reached `AutoVsync`, and the rows still duplicated), our shared wgpu device (Slint opened its own, unchanged), Skia's partial rendering (off for GPU surfaces), and client composition itself (unavoidable in portrait on this panel, so it cannot be what distinguishes a torn frame from a clean one). Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 21:47:02 +02:00
dtourolleandClaude Opus 5	8ab9440190	Put the repair tool on the photograph ... A third chip beside Crop and Local, and the mode strip's own comment predicted the shape: a mode that arms a gesture on the canvas and scopes the column. Click a mark to cover it, drag the disc to move the repair, drag the source circle to say where the patch comes from, Delete to remove it. The source starts two and a half radii towards the middle of the frame, which is FR-DEV-8's automatic placement in its cheap form — dust sits on skies and skies are smooth, so it is usually right and always one drag from fixed. Two things are drawn deliberately. The circles are the size the repairs actually are, because whether a disc covers a speck is the whole judgement being made and a fixed-size dot would say nothing about it; the reach around them is padded to a touch target so a spot on a dust mark can still be picked up on a phone. And only the selected repair shows its source: a dusty sky carries a dozen, and two dozen circles with nothing saying which belongs to which is less information rather than more. The panel edits what is stored while the canvas draws what is mapped, and the two are pushed separately for that reason — a slider deriving its value from the drawn radius would move differently at different zoom levels. It is also the one panel built from SliderRow rather than a live track: a repair has no OpId to coalesce a drag under, so a row that fires once per gesture is what keeps undo one step per decision. Verified as far as this environment allows: the strip renders and the column re-scopes, photographed under XWayland. Synthetic clicks do not reach this application, so the gestures are as-written rather than as-felt, and docs/spot-removal.md says so. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-26 20:58:13 +02:00
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>	2026-08-26 20:17:51 +02:00
dtourolleandClaude Opus 5	4b50648870	Rebuild the film tables when the film's own sliders move ... Push and print exposure did nothing at all. The parameter was set and the tables were never rebuilt, so the shader went on running the stock as it had been baked. The check asked the wrong list: self.rows() // one entry per *parameter*, tab-filtered .get(op_index as usize) // indexed by an *operation* index .map(|_| ()) .and( ...the real check... ) `op_index` counts over the scoped capabilities -- it is what `lookup` resolves a slider through -- so capabilities is the only list to ask. Indexing `rows()` served no purpose, and past its end the `and` short-circuited to None and the rebake silently never happened. Both halves of that are worth saying. It was wrong, and it was convoluted, and the convolution is what hid the wrongness: a one-line check would have been obviously right or obviously broken. This is a class of bug the suite cannot reach. The tables are rebuilt in the interface layer, in response to a control, and every test either side of it passed throughout -- dr-film computed the pushed curves correctly and the shader rendered whatever it was handed. Only moving the slider showed it. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 17:35:25 +02:00
dtourolleandClaude Opus 5	ce6458547a	Develop longer, from the measurements rather than from a contrast slider ... Pushing was not a thing to simulate. It was measured data being thrown away: Double-X and 2302 each ship five characteristic curves, one per development time, and this shipped the 6.5-minute column and discarded four. All five now ship and interpolate. The axis is real. Double-X runs 4 to 12 minutes, and across it the average gradient goes 0.472 to 1.034 while Dmax goes 1.19 to 2.56. The control is in stops, because that is what a photographer means, and one stop is a factor of about 1.41 in time. That mapping is checked rather than assumed: against Double-X's own axis it lands within 2% of the 9-minute column for +1, and near 12 minutes for +2, which are the times the datasheet gives for exactly that. There is a test. **Pushing must not recover shadow detail, and this does not.** Across the whole measured range the speed point moves about a third of a stop while the gradient doubles; three stops under mid-grey, density goes from 0.008 to 0.035, which is still nothing. Developing longer multiplies what was already recorded and cannot record what never hit the film. A push built as added exposure or global contrast brightens those shadows instead and looks convincing until someone who shoots film sees it, so that property has a test of its own. Interpolated in *log* time, because development is multiplicative: 4 to 5 minutes is the same amount of push as 9 to 12, and interpolating linearly would bunch the control at one end. Clamped at both ends, because past the published range there is no data and extrapolating a contrast curve invents an emulsion nobody tested. A stock measured at one process ignores the control entirely rather than inventing a curve for it -- Portra 800's pushes are separate *measured* profiles, which is the honest way to offer those. Costs nothing per pixel and changes no shader. The curves are a per-stock table, so the interpolation happens on the CPU at bake time, where choosing a stock and moving its sliders already rebakes. The Vulkan shader is untouched. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-26 17:35:25 +02:00
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>	2026-08-26 10:08:51 +02:00
dtourolleandClaude Opus 5	56978fdf35	Clear the clippy warnings that were failing CI before this branch ... Nothing here is film simulation. These are lints that fail master today, under the -D warnings CI runs with, mostly from a toolchain that learned new ones rather than from anybody's code -- `is_multiple_of` and the derivable `Default` did not exist as lints when this was written. They are fixed rather than allowed, and by hand rather than by trusting `cargo clippy --fix` wholesale: its automatic pass split a derive in two and left a stray blank line, which is the sort of thing that is correct and still wrong to commit. The four that needed a decision rather than a rewrite: - The distance transform's inner loop writes through its iterator now. `q` stays, because it is the position the parabola is evaluated at as well as the index it is written to -- the lint is about the write. - `to_source` and `to_proto` take `self` by value. Their receiver is `Copy`, so this is the same machine code and the honest signature. - The export path's return type is five levels deep and now has a name, plus a line saying why the `Option` wraps the `Result`: `None` is cancellation, which is not a failure and has no error to report. - A test fills a range instead of looping over one. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 22:35:02 +02:00
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>	2026-08-25 22:28:14 +02:00
dtourolleandClaude Opus 5	6d18517d28	Ship every stock that exists, black and white included ... Three profiles was what the first cut needed to prove the model. This is the rest of the open data: 23 camera stocks and 9 papers, which is all of spektrafilm. Black and white was the gap, and it turned out not to be a gap in the data -- it was a gap in where I looked. Upstream's `main` has 28 colour profiles and nothing monochrome; `dev` has three more, and they are Tri-X, Double-X and the 2302 print film they go onto. So the answer to "do we have B&W" was yes all along, and it needed the dev branch rather than a fortnight digitising Ilford's datasheet graphs by eye. Those three are pinned to `dev` per stock; the colour stocks stay on the released branch. A monochrome profile is single-channel -- one emulsion, not three -- and spreading that one layer across all three is exact rather than an approximation: three layers with identical sensitivity and identical curves respond identically, which is what one layer does. The dye is the trap. The renderer *sums* the three layers' contributions, so replicating it unchanged renders every frame three times too dense -- neutrally, and therefore plausibly. A third each reconstructs the single emulsion, and two tests hold both halves: that the densities stay equal, and that they sum to one emulsion and not three. Double-X and 2302 ship five curves apiece, measured at five development times -- 4 to 12 minutes for Double-X. That is push and pull processing as measured data. The standard 6.5 minutes is what ships; the rest is in the upstream file waiting for a control to ask for it. Two stocks are `support: film` and are nevertheless what a negative is printed *onto*: the cine projection films 2383 and 2393, which the Vision3 stocks print to. Filtering the picker on support alone offered a projection stock as something to load in a camera, so it filters on stage, with a test saying so. The picker had to change shape twice over. Chips were right for three stocks and off the edge of a 280px column at twenty-four, and the column that replaced them was a thousand pixels standing between the photographer and every slider below. It is a disclosure now: one row carrying the answer, opened to change it, closed again on choosing. That is the opposite of the argument this panel used to take the lids off its sliders, and deliberately so -- an instrument you compare wants to be visible, and a list you consult once wants to be out of the way. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com>	2026-08-25 20:30:11 +02:00
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>	2026-08-25 19:57:41 +02:00
dtourolleandClaude Opus 5	33847a0bbc	Open one GPU device for the tests, and stop the checkout dying over LFS ... Two CI failures, unrelated except that both were mine. **The test binary faulted under parallel threads.** Every GPU test opened its own `GpuContext`, and `cargo test` runs on as many threads as there are cores — so a full run asked the driver to bring up a dozen Vulkan devices at once and died with SIGSEGV. Serially it passed, which made it look like flakiness rather than a fault in the harness. One device now, behind a `OnceLock`: a `GpuContext` is an `Arc<Device>` and an `Arc<Queue>`, so sharing it is a refcount, and the losers of the race block until the winner is done. 416 tests now pass in parallel, in half the time twenty-six devices took. **`lfs: true` on the checkout made the checkout fail.** The intent was right — the model is in LFS, a plain checkout writes a 133-byte pointer, and the build script panics on it — but on this server `git lfs fetch` is rejected at `/info/lfs/objects/<oid>` with a client error: the credential `actions/checkout` installs for git is not one the LFS endpoint accepts. So a fetch problem presented as a checkout problem and took the whole job with it. The object is on the server; a clean clone over SSH with `git lfs install --local` pulls all 11 MB of it. It is now its own step with an explicit token, and `continue-on-error` so a credential problem cannot masquerade as a broken checkout — if it fails, the build still runs and fails with the build script's own message, which names the real problem. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-24 19:36:34 +02:00
dtourolleandClaude Opus 5	3a42c63b5b	Format the refine tests the way the gate asks for it ... `cargo fmt --check` is a required step and the mask-refine work landed with a test body it disagrees with. Whitespace only — kept as its own commit so it can be skipped wholesale rather than read for a change that matters. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 13:24:48 +02:00
dtourolleandClaude Sonnet 5	b3641b5307	Let a subject's mask be refined, and let several masks be edited at once ... Two related gaps in the mask panel, from the same conversation: a subject's outline is only ever as sharp as the whole-frame pass that found it, and a change meant for several layers had to be dragged once per layer. ## Refine mask A "Refine mask" button on a subject layer re-runs detection on a padded crop around that instance's own box instead of the whole frame — the subject reaches the model at its own size rather than squeezed into the model's fixed 640x640 window alongside everything else in the photograph. `RefineJob` mirrors `SegmentationJob`'s split (built on the session, run off it, adopted back), and the crop itself is rendered through `Framing::set_view` — the same ephemeral viewport the interactive zoom already uses to render a region above proxy resolution, so no new render path and no change to the model's own input size was needed. `dr-segment` is untouched: `Tiling::Whole` already treats whatever buffer it is handed as the one window. The result is still downsampled onto the shared proxy grid every instance's mask lives on, but from a sharper source than the whole-frame pass ever saw for that subject, which is what the edge actually reads out of. ## Multi-select `active_mask: Option<String>` is now `active_masks: Vec<String>`. A plain click still replaces the selection; a control- or command-click toggles one layer in or out of it. `set_param` and `reset_op` fan out to every selected layer, each set to the exact value the slider now shows rather than offset by however far it already was — one slider, one reading, applied everywhere selected. Dragging a gradient's on-canvas handle is deliberately not extended to multi-select: several gradients have no single geometry a shared handle could move, so `gradient_handles` stays empty unless exactly one layer is selected. Co-Authored-By: Claude Sonnet 5 <noreply@anthropic.com>	2026-08-23 13:17:07 +02:00
dtourolleandClaude Opus 5	fbf286d504	Keep the mask when the photograph is closed ... A local adjustment survived until the session ended and then did not exist. Nothing reported it, because nothing had failed. The sidecar format has carried masks since they were added, `Version::apply` restores them into the graph, and `Version::update` captures them — that work landed complete and was never called. The autosave writes `copy_settings()`, which is a `Preset`: a map from (operation, parameter) to a number. A mask is not a parameter. It is a rule about *where*, with a chain of its own, so it fell outside the only thing being written, and the read path had nothing to read. The save now carries the stack beside the preset, on both the local and the remote path. Deliberately not merged but replaced wholesale: this is the stack as it stands, so a layer the user deleted has to leave the file too. Merging two devices' stacks is `Sidecar::merge`'s job and belongs to sync (FR-NC-9). A paste still carries no masks, and the `Option` is how that is said. Settings travel between photographs; a mask does not, because it is drawn against one frame and describes nothing on another — and `Scope` cannot express that, since it filters parameters and a mask is not one. The test fails against the old save path with "the mask must come back with the photograph", which is the whole of the defect: not a crash, not an error, just an edit that was not there in the morning. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 12:29:41 +02:00
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>	2026-08-22 21:16:34 +02:00
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	2026-08-22 19:29:39 +02:00
dtourolleandClaude Opus 5	b321556dbe	Sharpen the capture with a separable unsharp mask ... Capture sharpening as a two-pass unsharp mask in the detail stage: blur along x, then along y, each pass applying a one-dimensional high-pass to luminance so the composite preserves a flat field exactly and matches the textbook kernel on any locally one-dimensional edge. The radius is stated in source pixels and converted once per render, so a radius tuned on a fit view is the radius the exported file gets. Below one render pixel the operation declines to draw rather than showing sharpening the file will not contain, and emits a single pass-through that still carries the output transform. The develop session now renders through render_detailed, which is what lets an active neighbourhood operation reach the screen at all. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 19:13:00 +02:00
dtourolle	5db234bdf3	Sync with integration	2026-08-22 19:04:24 +02:00
dtourolle	b4e55b47c1	WIP: noise reduction ... Checkpoint committed by the coordinator, not by the authoring agent: the session hit its API limit mid-task and left this work uncommitted. Committed so it survives, NOT because it is finished - expect failing tests and half-applied changes. The agent resumes from here.	2026-08-22 19:01:18 +02:00
dtourolle	0d9910efc6	Merge branch 'worktree-agent-a89309a856c8f4947' into integration	2026-08-22 19:00:56 +02:00
dtourolleandClaude Opus 5	13d003b89d	Let the curve widget plot whichever curve is asked for ... An operation with four curves and a panel that draws one plot needs a way to say which. The panel finds out the way it finds out everything else: the points are faceted with the subject they act on, consecutive parameters sharing a subject are one curve, and a widget spanning several of them gets a selector over their names. Nothing in ui/ contains the word "red", and an operation that grows a fifth curve arrives with a fifth chip. The names ride on the panel rather than on the curve's row, because a Slint model is compared by identity: a fresh list built on every parameter event would make the row look changed every time, and rewriting a row rebuilds the element holding the drag in progress. That is the hazard the in-place point update already exists to avoid. Which curve is on show is interface state, not an edit. It changes no pixel, so it takes no history step, reaches no sidecar, and redraws nothing — the photograph on screen is already right. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 16:06:21 +02:00
dtourolle	610f679881	Reconcile the three branches ... Two faults textual merge could not see. Both agents added a `mod tests` to masks_ui.rs — the module boundary was an artefact of them being written apart, and the tests do not overlap, so they fold into one. And `segment` lost its context argument when the work moved to a worker, which a test written on another branch still passed.	2026-08-22 13:33:55 +02:00
dtourolle	5bcd0e0269	Merge branch 'worktree-agent-a22a049c461818dbe' into integration ... # Conflicts: # core/dr-pipeline/tests/mask_sidecar.rs	2026-08-22 13:23:34 +02:00
dtourolleandClaude Opus 5	96a7b405c2	Say which photograph the sliders are pointed at ... Selecting a mask layer silently re-points about thirty controls at that layer's chain. Same panel, same order, same sliders, different meaning — and the only thing that said so was a sentence in the panel above, which a photographer reaching for the exposure slider has no reason to read. An exposure change lands on the whole frame when it was meant for a face, or the reverse; both are silent, and both are discovered later. `ui-navigation.md` §1.1 calls it the dangerous one and it is: the others in that document cost time, this one costs work. The remedy is the classic one for a modal fault — make the mode visible — and the application already had the pattern. Crop arms a canvas interaction, draws an overlay, gives the column one job and is left by the control that entered it. Local masking is the same animal built as a peer panel, and that is what created the ambiguity. So `crop-mode` stops being a bare boolean and becomes one value of a three-state mode, which is the point: two modes could both be on before, and now that is not a state the interface can be in rather than one it is tested against. **One strip, not two.** The mode control was going to sit beside the group strip that filters the adjustments, which is two controls above one column answering the same question — what am I working on. They are one control now, `Crop · Local │ All · Light · Colour`, which is the shape Lightroom Mobile's bottom strip has for the same reason. The two halves are different kinds of state and are drawn differently: a mode is a chip that fills with the accent when it is on, a group is a word with a rule under it. That difference is what lets both be read at once, which they routinely are — picking Light while a mask is selected filters *that layer's* chain and does not leave the mode. Dropping the scope on a group press would be the same fault coming back from the other end, and would make Light mean two things depending on where it was pressed. The strip stays pinned above the develop column rather than moving to the top of the canvas as the document proposed. The half that filters the column belongs to the column, and the photograph is the subject. The canvas keeps one button, which now names the mode it leaves rather than saying "Done" — that was unambiguous with one mode and would not be with two — because the column can be closed on a narrow window and no mode may be inescapable. Entering a mode is a side effect, so Rust owns it rather than the strip writing the property: crop drops the zoom, local turns the overlay on, and leaving clears the selection. That last one is the fix. The "Overlay" and "Select" toggles are gone because they armed things that are simply what the mode *is* — a mode that has to be switched on separately is one you can enter and have do nothing. Escape and the Android back gesture join `back_step` as one `LeaveMode` rather than a second exit concept, and the mode is left before the zoom is: it was entered later, and it is the bigger step back. The heading is where the scope goes. Not a caption beside the panel, the heading *of* the panel that changed — `ADJUST` becomes the layer's name, the same string the selected row in the stack shows. That is the difference between describing a hazard and removing it. **Handles on the photograph.** A linear or radial mask could be created and then not moved, so a radial sat at the centre of the frame at its default size for ever. Three faults stood in the way of drawing one. The first is that a gradient did not render at all until the model had run. The rasteriser was built on the way out of `segment` and the array's size was read *off* the segmentation, so a gradient added to an unsegmented photograph produced nothing — silently, in the same way exports and thumbnails once did: the shader still emits the layer's block and the empty placeholder multiplies it by zero. The proxy size is a property of the photograph. Both are derived from it now, and deliberately at the same size rather than by coincidence, because a subject's distance field is sampled against that array. The second is hit-testing. A handle is drawn in output coordinates and stored in source ones, and between them lie the crop, the zoom, the pan, the straightening and the turns. `Framing::source_at` is `wgsl_prologue` evaluated on the CPU, kept in that file beside it so that keeping the two in step is one file's problem — a handle mapped through anything less drifts off the mask the moment the view moves, which is exactly what masks are rasterised in source space to avoid. The third is that a drag is a displacement, not a destination. Each handle answers to the movement of the pointer since the press, applied to where the mask was when the press landed. Snapping the handle to the pointer instead jerks it by up to half a touch target on the first press, and the target is finger-sized because a tablet has no hover to reveal a control and no modifier to qualify it. A ramp gets three handles — centre, width, angle. An ellipse gets three too: centre and one per semi-axis, the major one carrying the direction as well as the length, because where an axis is put says both. It had a fourth, and it is gone: standing off the shape by a fixed distance, the rotation arm began outside the photograph at the size a new radial is created at, so the first thing anyone saw was a control they could not reach without first shrinking the mask. Two faults here were found by looking at the screen rather than at the source, both of the kind that cannot be found any other way. A `1px` rule with a size and no position is *centred* by Slint, so the seam between the photograph and the column was a hairline down the middle of the panel, through the histogram and every slider under it — twice, once in `app.slint` and once in `AdjustPanel`. And handing Slint a fresh model for the handles on every pointer event made the repeater rebuild its items, taking the `TouchArea` holding the gesture with them: the handle jumped once and then went dead under a finger that was still down. `develop.rs` carries the same warning about the parameter rows, where it broke slider drags; the model is rewritten in place now. The tests worth having are the ones about ambiguity and about the map. That the same row reads the frame's value, then the layer's, then the frame's again is §1.1 in one assertion. That dragging a handle onto another gradient's matching handle *produces* that gradient closes the loop between the two directions of the framing map, through a view that is cropped, zoomed, panned, straightened and quarter-turned at once — a one-legged map is invisible when the framing is neutral, because then both legs are the identity. Not done here: the histogram still reports the whole frame while the sliders edit a layer. That disagreement is real and is N3's, which this unblocks. The strip has room for a Brush entry beside Crop and Local when the painted masks land in the core, and it needs nothing here but the canvas interaction. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 13:20:41 +02:00
dtourolleandClaude Opus 5	c0e1179936	Find the subjects without stopping the window ... "Find subjects" took the UI thread for two thirds of a second on a 22 MP frame — a proxy render, a readback and a YOLO pass through `ort` — and for that time the interface was simply gone. The panel apologised for it rather than hiding it: a "Looking…" label, and a 16 ms `single_shot` so the label reached the screen before the freeze began, with a comment saying the obvious fix needed the develop session restructured and was not being taken. The obstacle was never `Send`. `DevelopSession` is `Send` — the device, the source texture and the passes all are. What cannot go to a worker is the `Rc<RefCell<Option<DevelopSession>>>` that every callback in the window reaches through, and the window has to keep reaching through it while the work runs. Handing the session over would freeze the interface exactly as thoroughly as blocking on it did. So the work takes a copy of what it needs instead. A `SegmentationJob` is the device, the demosaiced source behind an `Arc`, and the name of the session that asked. Taking one is two `Arc` bumps; running one is 495 ms on this desktop; none of it touches the session, and there is deliberately no `&mut DevelopSession` in scope for a caller to hold across it. The proxy render travels with it rather than staying behind — a `GpuContext` and a texture handle are both `Send`, and the model was never the only expensive half. So does building the mask rasteriser, which is a shader compile: adopting the result was costing 23 ms, a dropped frame on the one redraw the user is waiting for, and the rasteriser is needed exactly when the subjects arrive and never before. What is left on the UI thread is a microsecond. The answer comes back through a channel a `slint::Timer` polls, which is the shape `apply_when_ready` already uses for a sidecar fetch. **A result can outlive the photograph it describes.** Two thirds of a second is long enough to press the button, think better of it and swipe to the next frame — and the result landing then would fill the panel with subjects that are not in the picture, drawing outlines around a dog two photographs back. Nothing downstream can tell: the masks rasterise and the overlay draws either way. So every session is minted with an id, a job carries the id it was taken from, and `delivery` compares the two before anything is applied. An id rather than a counter beside the session slot, because that slot is written from four places in `lib.rs` and the fifth would be the one that forgot. A discard touches nothing on the way out. `segmenting` belongs to whichever photograph is open now, which may well have a run of its own going, and clearing it would re-enable a button that is correctly insensitive. One run at a time, and abandonment is what stops that being a trap. A job left over from a photograph the user has left is displaced rather than waited for — otherwise the next frame's "Find subjects" would do nothing for the length of a run nobody wants, which is the wait this exists to remove. `ort` offers no way into the inference, so abandoning is checked at the seams there are: before the job starts, and between the readback and the model. Abandoned early it costs nothing, abandoned mid-inference it costs the run it was already committed to, and either way the answer is dropped at the channel. `DevelopSession::segment` survives as a test-only convenience. Left public it is precisely the shape that put two thirds of a second on the UI thread in the first place, and the next caller would reach for it. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-22 12:26:11 +02:00
dtourolle	1d7106c94d	Apply the masks to the thumbnail and the export, not only the screen ... Reported as a thumbnail bug; the export had it too, which is the serious half. You would have exported a photograph missing every local adjustment. Both called the unmasked `render`, and the failure is silent by construction: the generated shader always declares the mask binding and always emits a block per active layer, so binding the empty placeholder multiplies each of them by zero. No error, no warning, no missing texture — the adjustments are simply not there. From inside either path there is nothing to see. Every path that produces pixels now goes through one helper that binds the array, and that is the point of it being one helper rather than three correct call sites. The array is rasterised in source space at proxy size and sampled through the framing map, so one array serves every output size: a 256px thumbnail and a 24 MP export bind the same texture. Three tests, and the first is the fault stated directly — render the same edit with and without the array and assert they *differ*. If binding it ever stops mattering, the masks have stopped reaching the shader. The third checks the masked share of the frame is the same at 32px and 128px, because "both non-empty" would pass while a mask that scaled wrongly still ruined every thumbnail.	2026-08-22 10:38:49 +02:00
dtourolle	924a837389	Group the panel by what operations say they are about ... A strip of groups over the adjust panel — Light, Colour, Detail — derived from the attributes the operations declare. `adjust.slint` names none of them: the strings arrive resolved and the panel only draws them, so a new operation joins the right group by saying what it is and this file does not change (FR-DEV-3a). A group nothing carries is not offered, so a tab never opens onto nothing. Geometry is left out because its one operation prefers an on-canvas widget and is skipped by the row builder — a Geometry tab would be empty while `GeometryPanel` holds the real controls. The strip appears only when there is more than one group to choose between; a single tab is a control with one option. The selected group is underlined rather than filled. The accent means *modified* everywhere else in this interface, and spending it on "which tab" would blunt the one signal the panel has. **The trap, and it nearly bit again.** `op_index` on a row counts over every capability, not over the ones a filter kept — it is how a row routes back to the core. Renumbering it while filtering would make a slider drive a different operation, which looks like a rendering fault rather than a routing one. `rows_filtered` keeps `enumerate` over the full list and only `group_head` is a position within the emitted rows; a test moves a value through a filtered row and checks it lands where it was asked to. Six tests, including that a nonsense index falls back to showing everything rather than to showing nothing.	2026-08-22 10:22:47 +02:00
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.	2026-08-22 10:10:00 +02:00
dtourolle	e7dbdeb21f	Keep the overlay on the photograph when the view moves ... The overlay is a source-space picture; the canvas beside it shows whatever the crop, the zoom and the pan selected out of that same space. Drawn whole it stayed frame-sized while the photograph moved underneath, so zooming in left a map of the whole picture stretched over a detail of it. It now reports the visible rectangle as a clip, which the compositor applies for nothing. Resampling on the CPU instead would mean rebuilding a megapixel image on every frame of a drag, and putting it on the GPU would add a second texture to keep in step with the view. Pushed from the render path rather than the panel's sync: a pan changes no mask and no row, so nothing else needs to run, and rebuilding the row models on every frame of a drag would be waste. Straightening is handled by rotating the image. A quarter turn or a flip permutes the axes and a clip rectangle cannot say that — noted where it happens rather than left to be discovered. The proper fix is to run the overlay through the same shader prologue the photograph goes through, which is the right answer and a larger one than this. Four tests, and the one that matters asserts the clip *narrows* when zoomed — which is precisely what it failed to do.	2026-08-22 08:53:02 +02:00
dtourolle	37f63edbf9	Take the watershed out of the product path ... It does not work on a photograph, so nothing should offer it. `Segmentation` is now one model pass and what it recognised: no region field, no merge tree, no label upload, no granularity slider, and no readback of the whole proxy to build a graph that collapses. A click means "the object under the cursor". The region-selection path went with the hierarchy it indexed — including the shift-click add/subtract, which has no meaning for a whole object and would have been a modifier that silently did nothing. The passes, the hierarchy and the semantic prior stay in `dr-gpu` and `dr-segment`, tested and documented. It is the *merge criterion* that fails — the saddle is the minimum gradient along a boundary, so one weak pixel merges two regions and real gradient noise puts a weak pixel on every boundary. That is one function to replace, and the evidence for replacing it is worth keeping. What is gone is the wiring, the option, and the control that offered a user a choice with no outcome. `MaskSource::Regions` remains in the pipeline: it is tested, it round-trips through the sidecar, and a stored layer that names regions must still load and be reported stale rather than failing to parse.	2026-08-22 08:39:17 +02:00
dtourolle	6163b63895	Put the edge controls where the mask is ... Feather, falloff, grow/shrink/close/open and their amount, on the selected layer. All four read the one distance field, so all four are live — nothing recomputes except a compound morphology, and the session keys on that separately so a feather drag rebuilds nothing. Shown only for sources that go through the distance field. A gradient carries its own falloff in its geometry, and offering a second one would be two controls fighting over the same edge. Picking an operation seeds a small amount if none is set. Selecting "Grow" and seeing nothing happen would read as a broken control rather than as a radius of zero.	2026-08-22 08:39:17 +02:00
dtourolle	ec713585a5	Measure the distance to the edge, and get four controls for one transform ... Feathering, growing, shrinking, closing and opening are the same number read differently. With the signed distance from the boundary in hand, dilation is the set where d >= -r, erosion where d >= +r, and a feather of any shape is a function of d. So the field is computed once and the controls are arithmetic on it. The **field** is what reaches the GPU, not a finished alpha, and that is the point: growing a mask or changing its falloff then costs a uniform upload and no recomputation, which is what makes them live controls rather than ones that stall on every drag. Only closing and opening rebuild, because after the first threshold the shape has changed and the old distances describe the old one. Exact Euclidean, via Felzenszwalb's separable transform — not a chamfer approximation, which leaves a mask visibly octagonal once grown more than a few pixels. A test asserts the diagonal is √2 rather than 1 or 2. It runs on the CPU, which ARCH §5.4 forbids for masks. The rule is about brush lag — a stroke rasterised per frame — and this is a different operation: once per mask edit, on input the model already produced here, producing a field the GPU then samples for free. What it buys is exact determinism, which matters because masks reach the sidecar as indices and a field that varied by vendor would mean a mask meaning one thing on the desktop and another on the phone. The half-pixel in `signed_distance` is not a detail, and a test caught it. Measuring to the nearest opposite pixel *centre* puts the smallest magnitude at 1 either side, so the boundary is nowhere and **eroding by less than a pixel removes nothing**. A control whose first notch does nothing is a broken control. Half a pixel off each side puts the boundary where it physically is, and eroding by 1 takes exactly the outermost ring. Every falloff curve is 0.5 at the boundary by construction, asserted for all five: changing the curve should change how the transition looks and never where it sits.	2026-08-22 08:39:17 +02:00
dtourolle	ee10097435	Mask the subject the model found, not the regions underneath it ... The watershed hierarchy does not survive a photograph, so local masking stops depending on it. A layer can now be one recognised object, and the object's own coverage is the mask. `Options::watershed` defaults off. It costs ~80 ms plus a full-resolution readback to produce a ladder that collapses, and paying that on every photograph buys a control that misleads. Kept switchable rather than deleted: the passes and the hierarchy are correct in themselves and it is the merge criterion that fails, which is a change to one function. Masks now rasterise in **source** space at proxy resolution and are sampled by the composed shader after the framing map. That fixes a real bug: they were rasterised in output space, so zooming slid the photograph underneath a mask that stayed pinned to the viewport, and cropping moved every adjustment to a different part of the picture. Doing it this way also leaves the framing map in exactly one place — a second copy in the mask shader would have been a second thing to keep in step, failing only when straightened. A subject is stored as identity, not pixels: the mask is megabytes and is reproducible by running the same model over the same image, so the sidecar carries the index, the class and the score, and the session carries the pixels. The class is there to be checked — if instance 3 comes back a "car" where it was a "dog", something changed and the layer is stale rather than silently masking the wrong thing. The overlay now draws instances and is transparent everywhere else. The region version covered every pixel and so hid the photograph it was drawn over; the question it exists to answer is whether an outline follows the subject, which you can only answer by seeing both. `examples/local.rs` is the worked example: subject in colour with the rest monochrome, and the subject lifted out of its background. Run on a 5472x3648 CR2 it finds two people and two cars, and the colour-pop keeps her hat and hair while the wall and grass behind go grey.	2026-08-22 08:39:17 +02:00
dtourolle	9b4f0815e5	Show the regions, click one, and adjust it ... The local panel sits above the adjust panel because it decides what those sliders act on; below it, a photographer would set an exposure and only then discover which scope it landed in. Selecting a layer re-scopes the existing controls to that layer's chain — there is no second set of sliders, and there must not be, or every operation added to `ops/` would need a local twin. The overlay is drawn over the canvas rather than blended into the render, because it is a diagnostic and not an edit: it must not reach the histogram, an export, or the texture handed to the compositor. Nearest- neighbour always — the map's values are *names*, so smoothing between region 4 and region 9 invents a colour belonging to neither and softens exactly the edge the overlay exists to show. Picking gets its own touch area above the pan handler. Panning wants press-drag-release and picking wants a click; interleaving them in one handler is how a drag ends up selecting a region the user was scrolling past. Shift is tracked as window state because a TouchArea's click carries no modifiers. Three states a layer can be in are worth distinguishing, and each has a different remedy: stale needs re-segmenting, "no adjustment yet" needs a slider moved, and the ordinary case needs nothing said. A bare selection renders nothing and looks identical to a broken mask, which is the first thing a new user will hit. Known rough edge, commented where it happens: segmentation blocks the UI thread for about half a second. Moving it to a worker needs the develop session — GPU resources behind a RefCell shared with every callback — to be reachable from another thread, which is a restructuring rather than a change to the call. The button says "Finding regions…" first so the stall is announced rather than looking like a hang.	2026-08-22 08:39:17 +02:00
dtourolle	5ecb35864f	Put the region map behind the sliders that were already there ... A mask layer holds a real develop chain, so the develop panel can edit one with no new controls: select a layer and the same sliders read and write its chain instead of the graph's. An operation declared in `ops/` tomorrow becomes locally adjustable by existing, which is the payoff for making a layer a chain rather than a handful of special-cased parameters. `segmentation.rs` joins the two arms into the one thing the view needs. The model reads the image through a neutral graph rather than the edited one, so a segmentation survives an exposure change instead of being invalidated by every slider. Arm B failing is not fatal: a missing or unreadable model leaves a working watershed map, because refusing to segment at all would trade a working feature for a strict one. The overlay colours groups by a golden-angle walk over hue. Deterministic rather than random, so a region keeps its colour across a level change and the eye can track it; boundaries drawn black over the fill, because two adjacent groups landing on near hues read as one region and telling them apart is the whole reason to look at it. Clicking the photograph creates the layer if none is selected — that is how a local adjustment begins, and making the user press "add layer" first would be a step with no decision in it. Shift-click extends, and clicking a region already selected removes it, so one gesture both adds and corrects. `segment-readback` is a new dr-gpu feature and not a loosening of `readback`. The region-graph transfer is once per image on a worker; the one AC-8 forbids is per frame in the render loop. Sharing a switch would have forced a build wanting local masking to unlock the other. F3 still stands and the feature name says so.	2026-08-22 08:39:17 +02:00
dtourolle	caf61d41a5	Re-thumbnail a photograph from its own edit ... A thumbnail comes from the file's embedded preview, which is the camera's idea of the photograph and knows nothing about what has been done to it since. So a frame could be cropped, turned upright and pulled two stops back, and the grid would go on showing the original — making the library, where a photographer spends most of their time, the one view in which an edit is invisible. The render is the framed output, not the sensor: `output_size` is what a crop, a quarter turn, a flip and a straighten all act on, so a thumbnail taken from the raw frame would be the right pixels in the wrong shape and still the wrong way up. It is the same path an export takes, at a size the store wants rather than at full resolution, and always sRGB — this is a JPEG in a shard that syncs between devices and is drawn as a cell, not a file anyone is finishing. Both size classes are replaced. The store keys on the class, so refreshing only the one the grid happens to be drawing leaves the other holding the unedited preview, and a zoom across the boundary would show the edit undoing itself. Each is rendered rather than downscaled from the larger, which would be a second and worse resampler than the GPU has already applied. It runs on the way out of develop, after the sidecar write is queued and never instead of it — the edit is what must not be lost, and a render that failed must not take the save down with it. Two cases are worth the work: an edit made in this sitting, which `can-undo` records even when it ends back at neutral, and an image opened with an edit already in its sidecar and left untouched, whose cached thumbnail has never shown that edit at all. A neutral image nobody touched fails both and costs nothing. Not covered: a batch paste onto a selection, which deliberately never opens a session — there is no rendered frame to take a thumbnail from, and downloading forty RAWs to make forty is exactly what that path exists to avoid.	2026-08-21 22:48:10 +02:00