9cba420fd56aa53726f67c83df39b01605460c49
9
Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
 dtourolle
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83f0461ce7 |
Sync develop presets through the library
Presets were the one piece of the photographer's work that never left the device: faces, sidecars, albums, collections, keywords and camera profiles all travel with the sync pass, the preset library did not. It now goes to <derived>/presets/library.drpl. PresetLibrary::merge decides each name against the base the last exchange left (kept per library beside place.json), so presets added on two devices both survive, a deletion reaches the other device instead of being restored by it, and an edit outlives a deletion made elsewhere. The upload is If-Match / If-None-Match on the server's copy, and a 412 reads and merges again, so two devices exchanging at once cannot save over each other. A server copy that will not parse (a newer build's) is left alone, and a local file that will not read stops the exchange rather than being taken for an empty library. The develop view's save merges with the file when the sync changed it since the view read it, and a sync that brought presets reloads and redraws the list. Also corrects the register, which still said camera profiles do not sync. |
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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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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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5a500118ae |
Correct converging verticals with a keystone in framing
There was no perspective transform anywhere in the pipeline: framing offered a ±45° straighten, quarter turns and flips, and a building shot looking up kept its leaning walls. Framing gains a vertical and a horizontal keystone (-100..100). They are parameters of framing rather than a new stage, so they carry its Compose attribute, persist in the sidecar under framing, and are withheld from a default paste exactly as the crop is. In the prologue the keystone runs after the crop and the straightening and before the stored orientation and the lens warp, so "vertical" is the photograph's displayed height and the lens still sees its whole frame. The map takes the output frame onto a trapezoid inside the source, built as a homography from four corners and uploaded as three columns in the framing uniform block (which grows from two vec4s to five). A keystone on its own therefore never exposes an empty corner and leaves any crop valid. Combined with a straightening angle the empty area is a pulled-back quadrilateral the closed-form inscribed rectangle cannot describe, so max_inscribed_crop searches for the largest centred rectangle whose corners all have a source pixel behind them. source_at and output_at apply the same map, so masks, gradients and spot handles follow it. |
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dtourolle
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af89433aee |
Offer the lens profile as a tick box, since applying it silently reads as absent
The develop panel's Optics group is three manual sliders: distortion, chromatic aberration and lens vignetting. The automatic correction was already there — the file's EXIF lens is matched against the bundled Lensfun database on open and the coefficients are fanned out to all three — but nothing in the interface said so except a line of grey text under the camera reading "· corrected", and there was no way to decline it. From the outside that is indistinguishable from the feature not existing, which is how it was read. `dr-lens` states the rule this breaks: an automatic correction that silently does nothing is worse than one the user can see is unavailable. The caption satisfied the letter of it and not the point — a photographer looking for "apply the lens profile" found three sliders and no switch. So the profile is now a control. It is a capability rather than a flag on the session, because everything a photographer sets travels one road: the capability list feeds the generated panel, `Preset` captures it, the sidecar stores it and the undo stack replays it. A bool on the side would have needed adding to each of those four by hand and would have been forgotten in at least one — which is exactly how the mask stack came to be missing from the history. It is on by default, which is what `switch_on` is for: the coefficients are a measurement of the lens that took the photograph, so accepting them is neutral and declining them is the edit. The sidecar therefore stores nothing for the ordinary case and the correction still happens. The switch appears only where a profile was matched. A tick box on a photograph whose lens the database has never heard of would be a control that looks available and does nothing, which is the failure the rule above names rather than an instance of following it — those photographs are told "· no profile" in words instead, and one whose box is unticked now says "· profile off", which is a third fact and not either of the other two. Two things had to be built underneath. `ParamKind::Bool` was in the core's closed enum and mapped to a row kind here, and had no control behind it in `adjust.slint`: a parameter declaring itself a switch was flattened into a row that drew nothing at all. Nothing shipped had one until now, so the gap cost nothing and was invisible. And `Check` self-toggled, which is right for a settings page that owns its value and wrong for a panel row that is a view of the edit graph — the click would have answered by replacing the binding with a literal, and the next undo or pasted preset would have moved the value with the tick left where the finger put it. It now takes `controlled`, and the generated row uses it. The manual sliders are unchanged and still trim whatever the profile leaves, so switching it off is "correct this by hand" rather than "stop correcting". |
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 dtourolleandClaude Opus 5
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8e7b1350bf |
Name the frame's category for the decision, not the maths
`Attribute::Geometry` becomes `Attribute::Compose`, and `film_sim` moves from `[tone, colour]` to `[effect]`. Two categories were doing the wrong job. "Geometry" describes what crop, straighten and the quarter turns do to coordinates — but it describes lens distortion correction exactly as well, and that is not a compositional choice at all. Naming the attribute for the photographer's decision is what separates it from `Optics`: one is what the lens did, the other is what they chose. The maths the two have in common is not the thing worth filing them under. A film stock declared both `tone` and `colour`, so "Kodachrome" appeared in the Light group beside exposure and again in Colour beside white balance — two places, neither of which is where anyone looks for it. It is neither: `Effect` is defined in this same file as "applied rather than corrected — a look, not a fix", which is what a stock is. That it moves tone and colour is true of every look, and is not what the attribute is for. `from_name` still accepts "geometry" on the way in. That string is persisted in `develop.copy_attributes`, and an entry it fails to parse is not an error — `presets::scope_for` logs it and drops it — so without the alias an existing settings file would have quietly narrowed what a paste carries. `name` writes the current spelling, so the file migrates itself the first time it is saved. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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bb35665bd2 |
Let a paste carry some kinds of edit and not others
FR-DEV-6 asks for presets "covering a subset of the edit graph". What landed with the named presets covered two subsets: everything, and everything but the crop. "Match the colour but not the sharpening" had no way to be said. `Scope` is now a set of `Attribute` — the same six kinds every operation already declares and the develop panel already builds its tabs from. The photographer ticking "tone and colour" is naming the groups they navigate by, and neither this module nor the interface has to name an operation to do it (FR-DEV-3c). The pleasing part is what left. Framing used to be excluded by an explicit test against one operation's id; it is now excluded because Geometry is not in the default set. The special case dissolved into the general rule, and the argument for it — a crop is a decision about *this* photograph, and carrying it across forty destroys forty compositions — is now a statement about a kind of edit rather than about a node. All thirty-three existing preset tests pass unchanged, which is the evidence that the generalisation kept its promises. One decision that is a field rather than a rule, because the two cases genuinely differ. An operation this build cannot classify — from a newer version, arriving over sync — travels under "everything" and "everything but the crop", because those are claims about the whole edit and an unrecognised operation is part of it (FR-NC-8). It does not travel under a hand-picked set, because that is a claim about kinds, and an unknown kind is not one of the kinds that were ticked. The settings page's "Copy crop and rotation" checkbox is gone, replaced by the same chips the preset sheet draws. It asked the right first question — geometry is the kind whose accidental travel destroys work — but it was the only question a boolean could ask. The field stays in `Settings`, read exactly once to seed the new set, so anyone who had ticked it keeps their behaviour. The chips are deliberately not in the develop column. Six of them there would set the width of the whole sidebar, which is the bug `ChipGrid`'s comment records at length. Co-Authored-By: Claude Opus 5 <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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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> |