27 Commits

Include renames

Author	SHA1	Message	Date
dtourolle	e3acbdf4a3	Wrap the falloff and edge chips so a category mask cannot widen the column ... Five chips in one row declare 440px, and the develop column takes the widest panel's request — so selecting a category mask levered the sidebar past the window's edge, clipping the histogram, the group strip and the subject list. The same trap ChipGrid's comment records for film formats.	2026-09-20 00:21:14 +02:00
dtourolle	4574c35236	Let a part be left out of a mask without being taken out of it ... A layer built from parts was missing the one control a correction most often wants: seeing what it did. The question a subtracted gradient raises is whether it took only the sky, and the question a stroke raises is whether it filled the shoulder — and the only way to ask either was to remove the part and look, which answered the question and lost the part. The layer's own ring answers a different question, about the adjustment, and hiding eight layers to check one correction is not an A/B anybody performs. So a part carries `hidden`. It is an edit and a history step, as the layer's switch is, and it is folded into the render fingerprint because hiding a part changes the mask as surely as removing it does. Where the mask is built the shown parts are walked rather than the parts, which is what makes a hidden base hand the fold to the first part that is shown — and a revealed layer whose every part is hidden clears its slice rather than leaving whatever the last rasterisation put there to be read back. `covers` asks the same shown parts, so a layer whose only adding part is hidden costs no slice at all. In the sidecar the key is `hidden`, in the part's block or, for the base, in the mask block — under a word that cannot be confused with the layer's `enabled`, which has always meant the layer. Absent means shown, so no file written before the switch existed reads any differently. The row wears the same ring the layer does, one row down, because it is the same question about a smaller thing.	2026-09-12 01:08:10 +02:00
dtourolle	9cc52fd72b	Bind the two develop gestures that were described and not bound ... FR-DEV-16's book said resetting a control and hiding a mask layer were reachable by pointer and by finger, and stopped there. The reason was honest: the generated rows have no focus, so "reset the focused control" named a thing the panel could not point at. But a photographer at the keyboard means something narrower than focus. They mean the slider they just dragged too far, and that is a thing the panel can remember. So the Adjustments global keeps the last control moved — two indices, written where the panel forwards the change and cleared when the next photograph opens, so a reset cannot reach back into the previous edit through an index that happens to be shared. R puts it back, through the same callback the track's double-click takes, and is silent until something has moved. The mask layer needs no such notion, because the panel already has a selection: the rows the edge controls point at. H hides or shows those, through the path the ring at the head of the row takes, so it is an edit and a history step exactly as the ring is. A mixed selection goes to shown, since the layer nobody can see is the one being asked about. Both tags now carry the key, and the book says so.	2026-09-12 01:08:09 +02:00
dtourolle	a87139b838	Give every mask an eye and a colour, and put the brush where the mask is ... The first build of seeing a mask showed the selected layer's, in one global style, from a strip at the top of the panel. It answered the wrong question and answered it somewhere nobody looked. What a photographer asks of two masks is how they meet — where the sky's edge sits against the building's — and that needs both on screen at once, in colours that can be told apart. So each row of the stack has an eye, drawn in the colour its mask is shown in, and each mask has six swatches to choose that colour from. Several can be open at once; a new one comes up open, in the first colour nothing else is using. The style — tint, alpha, outline — is the one setting that stays global, above the stack, because three styles at once are three pictures that cannot be read against each other. Alpha now draws every shown mask, each in its colour, on black. In the pipeline a `Reveal` is a list of `(layer, colour)` rather than one layer, and every reveal block carries its own colour. The brush moves too. Select, Paint and Erase and the three sliders under them sat at the top of the panel, appeared only once a row was selected, and said nothing about which mask they acted on — so "how do I paint" and "how do I correct the model's outline" both had the same answer and nobody found it. They sit under the selected mask's parts now, beside the swatches, and on a subject or a category the hint says what a stroke there does: it becomes a part of this mask, joined to the model's, and can be taken out again. Eyes and colours are viewing state, on the session and not on the layer, so a photograph reopened has every eye closed — the stored-mask round-trip test asserts it.	2026-09-11 19:03:51 +02:00
dtourolle	76ad667fd6	Offer a mask that is nothing but a hand ... Every route to a layer began with a selection — a gradient, a band, a subject, a category — and painting was reachable only by making one of those and joining a painted part to it. So the answer to "brush a correction onto this corner of the sky" was "add a radial gradient you do not want, then paint into that", which is not an answer. Paint sits beside Linear and Radial and makes a layer whose base is a brush. It covers nothing until a stroke lands in it, so pressing it arms the brush and shows the mask as well: a row that appeared and changed no pixel, with the pointer still in "select", is indistinguishable from a button that did nothing.	2026-09-10 20:28:09 +02:00
dtourolle	c045702a47	Show the photographer the mask they are shaping ... Nobody can refine an edge they are not being shown. The only thing drawn on the canvas was the region overlay — a false-coloured picture of what the model *detected* — which knows nothing of a layer's feather, its falloff, its morphology, its invert or its opacity, and nothing at all about a gradient, a range or a stroke. Every control added for mask editing therefore acted on something invisible, which is why the whole feature reads as absent rather than as unfinished. A layer's finished mask now draws over the photograph in one of three styles: a tint for whether the right thing is selected, an alpha for where the edge is, an outline for whether that edge is registered against the detail the other two hide. The hard part is not the shader. A selection with no adjustment on it changes no pixel, so it is not active, so it holds no slice of the mask array and is never rasterised — and that is exactly the layer somebody wants to look at, for the whole of the time between choosing a subject and deciding what to do to it. So `MaskStack::rendered` is `active()` plus the layer being looked at, and the rasteriser, the composer and the distance-field builder all index by position in it. Which is also why the design's "two uniforms, no recompile" is not available: a uniform can select a slot, it cannot conjure one. The reveal is never on the graph. It reaches the pipeline as an argument to `compose_revealing`, and `compose_for` — which the exporter, the thumbnail and the neutral probe all call — has no way to ask for one. A flag on the graph would have been shorter, would have type-checked, and would have been one forgotten reset away from a red tint baked into an exported file. And the tools that shape a mask now arm. `Masking.tool` is an `in` property only Rust may write, and the handler wrote nothing back, so the strip reported "Select" however many times Paint was pressed and the paint area was never enabled — the brush, the parts and the whole of FR-DEV-19b reachable from no control in the application. The region overlay stands down while a mask is being shown, and its button now says what it hides: two overlays that look alike and mean different things is worse than either.	2026-09-10 20:28:06 +02:00
dtourolle	193b35a249	Start a category mask where the photograph can bear it ... Clicking "architecture" made a layer whose mask was gone. Every category layer began at STRICTNESS_DEFAULT, and that constant was fitted on the synthetic sky the refine tests build — its own note warns that a real photograph's noise "moves every crossing down together", which turns out to be a considerable understatement. Measured over seven ordinary frames, half scale removes 76% to 99.5% of `architecture`, 36% to 93% of `ground` and 18% to 91% of `vegetation`. Only sky, the category the number was calibrated against, survives it. An empty mask is indistinguishable from a broken one: the layer is listed, the adjustment moves, and no pixel changes. So what this looks like from outside is that the segmentation does not make masks at all. No smaller constant fixes it either, because a nat of evidence means different things over a smooth sky and over a stone facade — the useful position is above 5 on one frame and below 1 on the next. So the frame is asked instead: `Refinement::gentle` walks down from half scale and takes the first rung whose gate removes no more than a sixth of the category's weight, and the model's own outline when none of them does. One `apply` on a friendly photograph and four on an unfriendly one, paid when a layer is made rather than for eight categories nobody masked. The slider's reset went to 4 as well, so taking the control back to its "default" emptied the mask. It goes to zero now, which is the one position documented to mean something: exactly what the model weighted.	2026-09-10 20:27:40 +02:00
dtourolle	0a5eab0487	Wire the develop panels through globals, so a second copy is one line ... Every panel in the develop column declared its inputs and its callbacks and had `app.slint` bind each one to a property or a callback on the window root. That is fine while a panel is drawn once. N9 draws them a second time, in the portrait dock, and the wiring is what would have to be copied: `MaskPanel` alone ran to forty lines of forwarding, and a callback added to one copy and not the other compiles, renders, and simply does nothing on the layout nobody was looking at. So the wiring moved to Slint globals. A panel reads the global and calls the global; Rust hooks the global instead of the window; and the instantiation in the column is now the panel's name and a pair of braces — every one of the ten children of the column, with no property that differs by placement left to supply. There is a global per panel family rather than one for all of them, and the reason is an import cycle. Each panel's model struct — `ParamRow`, `MaskRow`, `HistogramView` — is declared in the panel's own file, so a single global holding `[MaskRow]` and `[ParamRow]` would have to live in a file importing `masks.slint` and `adjust.slint` while both imported the global back, which Slint rejects. Breaking that needs six model declarations relocated, which is a change to the data model and not to the plumbing this is about. A global beside the panel it serves also lets each name drop the prefix it was carrying only because the window root is one flat namespace: `root.spot-radius` is `Repair.radius`, and `root.peaking-on` is `Peaking.showing`. `session.slint` is new and holds the two facts every family needs and none of them owns: whether there is an open photograph to edit, and which mode the view is in, with the three readings of the mode derived once instead of at each of the dozen places that tested one. `ViewMode` moves there from `adjust.slint`, where it was only ever a lodger. Nothing on screen changes. What is not here: the tool rail and the status strip still take their properties at the instantiation, because they are drawn once and N9 does not copy them; the preset sheet's own state stays on the window, because the library grid opens the same sheet and a global cannot bind the window's state — which is why `Transfer.open-presets` is handled in `presets.rs`, beside the summary it already had to compute.	2026-09-07 20:01:01 +02:00
dtourolle	df741a8a49	Let one mask be built from more than one selection, and paint into it ... A mask the model draws arrives approximately right — stopping inside a shoulder, leaking into the hair — and FR-DEV-3's edge controls move the *whole* boundary, so no value of feather or dilation fixes two errors that go opposite ways. What fixes them is a second selection joined to the first, and a layer that held exactly one source had nowhere to put one. The brush the core has had all along was reachable from no control in the application. A layer is now an ordered list of parts. Each names a source and how it joins the mask before it — added to it, or taken out of it — and carries its own edge treatment, because a model's soft coverage and a stroke painted where it stopped short do not want the same feather. Invert and opacity stay on the layer, where the composed shader already reads them. The sidecar grows `[part]` blocks and nothing else. A layer of one part writes exactly the bytes it always did; a mask block with no part blocks after it reads back as one part; and a stroke, a join or a source this build cannot read costs that part rather than the layer. So every sidecar in every library still parses to the edit it always was. On the device the parts fold into the layer's one slice, so eight layers still cost eight channels: union is a `max` blend and subtraction is the erase blend the brush already used. A part is drawn into a scratch texture before it is joined, and that is not incidental — an erase stroke means a hole in *that part*, not a hole in the mask, and drawn straight onto the accumulator it would punch through the subject underneath. A layer of one part skips all of it and takes the path it always took. In the interface: a part list under the selected layer with a chip saying which way each joins, Add and Subtract beside it, a Select/Paint/Erase strip with the brush's size, hardness and flow, and a drag on the photograph that paints. Pressing Paint on a mask that cannot hold a stroke joins a part that can, rather than explaining that a subject is not a brush. A whole stroke is one step in the history. The edge controls now shape the part that is selected rather than the layer, which is the one behaviour change to an existing control: with a correction selected, the feather slider softens the correction and leaves the model's mask alone.	2026-09-07 20:00:40 +02:00
dtourolle	3994caba12	Write down the develop gestures, since only their author knew them ... FR-UI-4 says a gesture with no visible counterpart is a feature only its author knows about, and the vocabulary the application actually publishes had two sections in it — the library grid and people. Develop had none. Every one of its gestures was documented in the comment beside the `TouchArea` that implements it, which is where the previous sixteen were before this scanner existed, and unreachable to anybody not reading the source. Thirteen now carry tags: magnify by pinch or wheel, pan a magnified frame, fit and 1:1, hold to see the original, sample a neutral, undo and redo, step through the folder, reset one control, show or hide a mask layer, choose a group of adjustments, and copy and paste the settings. Each has a pointer and a touch route, so none of them is keyboard-only. Three bindings were genuinely missing and are added here rather than merely described. Ctrl+C and Ctrl+V for the settings clipboard, which the Settings panel's own comment has claimed existed for as long as the panel has and nothing bound; and [ and ] to step through the adjustment groups. The groups are whatever the operation set declares itself to be about, so there are as many as the pipeline has and no key can name one of them — stepping is the binding that survives a node being added, and "everything" is part of the cycle rather than a way out of it. Two are described and not bound. Resetting a control from the keyboard and toggling a mask layer from the keyboard both need a notion of which control or layer has focus, and the generated panel has none — the rows are a model the repeater rebuilds, and inventing a focus ring for them is a larger change than a keyboard shortcut. Both are reachable by pointer and by finger, and the tags say so rather than promising a key that is not there.	2026-09-06 19:01:52 +02:00
dtourolle	68ebf5d78b	Let a mask start from a tone or a colour, not only a shape ... Every local adjustment began from a shape: painted, drawn with a handle, or found by a model. So the only way to hold back a sky was to draw a line near where it ended, and the only way to warm skin was to paint round it — both of which put the edit's edge where the photographer put a gesture rather than where the picture changes. A gradient across a treeline halos, and an adjustment traced round a face stops on the outline of a hand. MaskSource grows two variants that select by what a pixel *is*. Luminance carries two bounds on the perceptual tone scale plus a softness; Colour carries an arc of hue, a range of chroma, and one softness for every edge of both. Five floats and three, so they diff, sync and merge per field under FR-NC-9 exactly as a gradient's geometry does — the property a stored raster has none of, and the reason the model's coverage had to sit beside its source rather than inside it. The pixels are the shader's business and nowhere else's. `mask.wgsl` takes the demosaiced source as a sixth binding and two new modes read it: decode, balance, pull a clipped photosite back to neutral, apply the camera matrix, then weigh the band. Nothing crosses to the CPU but the numbers and the matrix, and each mask texel averages its own footprint in the source, so a band lands on the tone an area is rather than on whichever texel a proxy grid happened to land on. The photograph it measures is the one the camera recorded, before this edit. A band over the edited result would slide out from under the edit as the edit was made — raising the highlights would change which pixels counted as highlights, and the slider would chase its own mask. Feather, falloff and morphology stay off a range layer, which is what `shapeable` already meant. All three are functions of the signed distance from a boundary, and a range has no boundary to be at a distance from; its edge is the softness of its own band, in the band's units. Offering them would be four controls that move and change nothing.	2026-09-06 19:01:48 +02:00
dtourolleandClaude Opus 5	f6c9343bcc	Ask the pixels where the edge is, not just what belongs ... The colour gate decided *what* was in a category and had no way to decide *where* its edge fell. A colour test has no notion of an edge. So a refined sky lost its flag and kept the model's twenty-pixel-blocky outline, and no setting of the control could move that outline onto the horizon. This adds the second half: a **marker-based watershed**. The mask is eroded to give two markers, and the flood runs in the ribbon left between them, meeting along the most expensive line it can find. The cost is a sum of terms exactly as docs/segmentation.md §2 specifies — the photograph's own edges, and the colour model's disagreement. ## Why this is not the watershed §15 threw away That path failed because the merge *ladder* collapsed: 45,808 basins reduced to one region plus specks. There is no ladder here. Markers prevent over-segmentation by seeding rather than by merging afterwards, so the one component that broke is the one component this does not have. The markers are also better than the textbook's. scikit-image derives them by thresholding the gradient — guessing where objects are — where these come from a model that knows what sky is. Marker selection is what normally goes wrong with this method, and it was already solved. ## The gate still runs, and it runs first A flood cannot replace the colour gate. It only refines contours that already exist, and there is no contour around a flag precisely because the model never noticed one — the flag in the tests sits forty-five pixels from the boundary against a ribbon of six. The tests caught this; the first version of this commit had the flood standing in for the gate and the flag stayed. So the gate goes first and *creates* the contour, and the flood then puts every contour — the horizon and the new hole alike — onto a real edge. ## Erosion that does not delete flagpoles Eroding by a cell and a half destroys anything thinner than three cells: a mast, a bare branch, and equally a strip of sky between two of them. Those would be left unseeded and the flood would fill them from whichever side surrounds them, so a flagpole would come back — and come back *confident*. Erosion therefore stops at the ridge of the distance transform. Whatever would otherwise vanish keeps a one-pixel seed down its centre, floored at `min_thickness` so a hot pixel does not qualify. That floor also moves the signal-versus-noise decision out of colour space, where it was a share of a fitted distribution nobody can picture, and into image space, where it is a width in pixels a photographer can see. ## Two modelling errors the outward test found Both were invisible while the refinement could only subtract, because the gate was multiplied by weights that were already zero outside the mask. The moment the boundary could move outward they decided the answer. **A diagonal covariance is wrong along a gradient.** Sky moves along all three opponent features together — luminance up, red-green drifting, blue-yellow down — so treating them as independent charges a colour two deviations along that gradient three times over. Measured: sky fifteen rows past the sample scored 11.6 against a threshold of 11.34, so the model refused the very thing it was refining. The fit now carries a full 3x3 covariance, inverted by cofactors rather than by a dependency (D13, the NDK). **Eroded seeds understate the spread, always, in a known direction.** The sample is drawn from the middle of a category and never from its edge, so for anything with a gradient the colours nearest the boundary are exactly the ones left out. The broad mode is therefore fitted wider than its sample by `SHOULDER`. Same pixel: Mahalanobis 5.9 uncorrected, 1.5 corrected — the difference between refusing the horizon and reaching it. Only the broad mode is widened; the tight ones are what discriminate. ## What was given up Strict subtractivity. It bounded the damage and kept `scene.rs`'s partition true for free, and it had to go: a mask that may only shrink can sharpen a horizon inward but never outward, so wherever the coarse contour sat inside the true edge, the error survived every setting of the control. The travel bound replaces it. Everything beyond the ribbon is already a marker, so the flood never reaches it — not "can only remove" but "can only move this far", and the distance is the model's own uncertainty. That single bound also retires the connectivity test, the reachability radius and the separate additive path that an outward-growing rule would have needed. A blue car below the horizon cannot be gained, not because a rule forbids it, but because the flood is never there. `the_colour_gate_only_removes` keeps the older property where it still holds; `the_flood_cannot_travel_further_than_the_ribbon` holds the new one across the whole travel of the control. ## Cost The flood visits only unlabelled pixels, so confining it to the ribbon is not an optimisation added on top — it is what a seeded flood does. A ribbon of a few tens of pixels around one contour is a small part of a proxy. The distance transform is no longer cached, because it has to be measured from the mask as the gate leaves it and the gate moves with the control. That is one transform plus one flood per change of the control, against a precompute that runs the model once. Verified: fmt clean, clippy --workspace -D warnings clean, 63 dr-segment tests. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-30 21:29:12 +02:00
dtourolleandClaude Opus 5	4efab496c2	Put the refinement on a slider, per layer ... The evidence was being gathered and spent immediately at one strictness nobody could see or change. This makes it a control. `MaskLayer::refine` is shaping, like the feather, and it lives on the layer for the layer's reason: two layers may sit on the same category and want different amounts of it, and the model ran once for both. ## What the segmentation now stores `CategorySummary` keeps the **coarse** mask and the `Refinement` beside it, rather than a refined mask. That is what gives the control an off position that is bit-for-bit the model's own weighting, and what stops a strictness change from needing the model again. `category_mask_at` borrows at zero and wherever no refinement could be fitted, so a layer nobody has touched costs nothing over the old path. The fit moved to the far side of the orientation permutation. The verdict is a per-pixel field over the same grid as the mask it gates, so fitting it upright would mean permuting a proxy-sized buffer afterwards to match — a second rotation, and a second chance to get one wrong. One logit cell is the same number of pixels either way: the letterbox scales by the longer edge and a permutation does not change which edge that is. The two frames became a `Frames` struct rather than six parameters. This function reads the picture twice for opposite purposes — the model needs it upright or it recognises far less, the refinement needs the sensor's grid — and a transposed pair produces a plausible mask over slightly the wrong pixels, which is the failure this module is most prone to. ## It rebuilds the field, and the signature says so `refine` is mixed into `subject_signature`. Unlike a feather, which is read off a field that is already correct, this changes which pixels are in the mask at all — so it changes the coverage the field is measured from. Omitting it is the bug where the slider moves and nothing happens until some unrelated control invalidates the cache. That puts it in the same cost class as a close or an open, which is why the row takes `SliderRow::changed` — already once-per-gesture, since that row takes `SliderTrack`'s `committed` internally — rather than a live stream. The slider is offered only where there is something to move: a category source, *and* a refinement the frame actually gave enough to fit. A control that moves and does nothing is worse than an absent one. ## Two defaults that are deliberately different A layer added from the panel starts at 4.0, because a category's edges are twenty proxy pixels wide before anything is done to them and a photographer adding a sky mask wants the sky rather than the sky plus every chimney in it. A layer read from a sidecar with no `refine` key starts at **zero**. A file written before this control existed has to render as it did then, and a default of 4 on absence would quietly re-grade every stored category mask in the catalogue. `a_categorys_refine_strictness_survives_and_defaults_off` holds both halves, and `an_out_of_range_refine_is_clamped` holds the file to the scale — past the top of it every colour fails and the mask deletes itself, which reads as lost work rather than as a bad file. `MAX_REFINE` is dr-pipeline's own constant mirroring `dr_segment::STRICTNESS_MAX`, following `Falloff` and `Morphology`: this crate holds the description of an edit and must not depend on the crate that runs a model. dr-ui is where the two meet, and the only place that converts. Verified: fmt clean, clippy --workspace -D warnings clean, 488 dr-pipeline and 60 dr-segment tests. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-30 18:30:40 +02:00
dtourolleandClaude Opus 5	7f350e8c4c	Offer the categories in the masks panel ... Everything before this was reachable only from an example that writes PPMs. This is the part a photographer can touch: a list under the subjects, click one, get a mask layer for every pixel of that category. ## Under the subjects, and the order is the argument Clicking the photograph is how a local adjustment usually starts, so the things the model *found* come first. A category is the move you reach for deliberately — grade the sky, not this one bird — and putting it second says so without a word of explanation. Coverage is shown for the same reason a subject's score is: it tells the photographer whether a category is worth a click before they spend one finding out. ## Not a new tab, which is what was asked for A develop tab is derived from `Attribute`, not declared — the tabs exist because operations claim an attribute, and no amount of Slint adds one. A seventh attribute would have meant duplicating every adjustment once per category, and the combinatorics get silly by the third. Reached through masks instead, a category composes with every adjustment that already exists, and inherits feather and falloff rather than needing its own. What was described as "per-category sliders with feather and decay" is exactly what this is; only the door is different. ## Verified as far as it can be here Compiles, populates, round-trips, 560 dr-ui tests green. **Not clicked** — synthetic input is blocked on this setup, so how it looks and feels is unverified and wants a human at the window. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-30 14:02:34 +02:00
dtourolleandClaude Opus 5	ef07e6ca3e	Give the canvas tools a rail of their own, and the column one width ... Crop, Local and Repair were chips at the head of the develop column, sharing a row with the adjustment groups and told apart from them by the shape of their highlight. Three things followed from that, and only the last is cosmetic: the column closes, so the way out of a mode went away with the way in — hence the duplicate "Done Cropping" over the canvas; the chips are generated from the operation set, so the widest thing in the sidebar was a row nobody had chosen the contents of; and a mode and a filter are different kinds of state wearing one control. They are a fixed 60px rail down the left now, generated from a single table in toolrail.slint. A tool is one row of it plus a drawing plus a ViewMode variant; nothing in app.slint is touched to add one. What is left of the strip is the group filters, so it is GroupStrip. The column stops measuring itself. Every panel published a content-width and declared it as min-width, and the column took the largest — which spent the photograph's pixels on whatever happened to be widest, and moved the image sideways when switching tools swapped one set of panels for another. It is panel-width now, one number in style.yaml. That number is 360 and it is measured, not picked: the contents report a minimum of 344 in every mode, and they do not compress below it because a Text that does not elide reports the same minimum as preferred. 320 was tried and sliced Paste down the middle. The Flickable's viewport is floored at the layout's minimum rather than its preferred width for the same reason — content that is never told how much room it has cannot adapt to having less. Removing the eight content-width declarations repairs three comments an earlier edit had spliced sentences into. The raw histogram's note on keeping its hint short is rewritten rather than dropped: an over-long hint no longer widens the column, it pushes the column's minimum past the width it has and clips the panel, which makes that constraint sharper rather than obsolete. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-30 09:59:50 +02:00
dtourolleandClaude Opus 5	3e19628324	Stop a subject's name from setting the width of the develop column ... The column moved sideways the moment segmentation finished. It takes the widest minimum any panel declares, each panel publishes `layout.preferred-width` as that minimum, and `MaskPanel` gained rows whose width came from the model's output -- so a photograph the user was looking at jumped because a label said "traffic light". `overflow: elide` did not prevent it and was never going to. Eliding is what a `Text` does when it draws; at layout time it still asks for the width of its whole string, and it is the asking that reaches the column. Both the subject rows and the mask entries are bounded, because a mask is itself a segmentation result -- without the second half the column moved when a subject was clicked instead of when one was found. The bound is stated for the reason `ChipGrid` declares its width from its column count rather than from its options (ff6c313): what a panel asks for must follow from its structure, never from its data. 160px is the same judgement as that commit's 88px chip, and it is a policy rather than a measurement -- there is no harness in the tree that measures a panel's width, and the 482-to-351 figure in ff6c313 was read off the running app. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-29 21:49:33 +02:00
dtourolleandClaude Opus 5	4fa914cbb1	Send each canvas overlay home to its own domain ... The crop rectangle, the gradient handles and the repair discs were 480 lines inside `canvas-area` in app.slint, while the panels that drive them already lived in adjust.slint, masks.slint and spots.slint. spots.slint even opens by describing "what is drawn over the photograph, and what a finger can take hold of" -- which was not in it. They stayed behind because all three are positioned against `shown-*`, the fitted image rect the develop view derives because Slint does not report it. That is now the interface rather than the obstacle: each overlay is *given* that rect as its own bounds, so every position inside is a plain fraction of `root.width`, and none of them reaches out to `canvas-area` for an origin any more. GradientHandles joins MaskPanel in masks.slint and SpotHandles joins SpotPanel in spots.slint, each file now holding one domain's panel and its canvas overlay together, matching masks_ui.rs and spots_ui.rs. CropOverlay gets crop.slint of its own rather than growing adjust.slint. Arithmetic is unchanged: the old fraction-x subtracted shown-x from a coordinate measured relative to canvas-area, and the new one measures from an origin that already is shown-x. The handles stay unconditional rather than gaining an emptiness guard, so the repeater identity that spots_ui::sync_handles warns about is untouched. app.slint: 2834 -> 2490 lines. Verified by running the desktop app on a photograph, with the crop overlay's guard temporarily forced open so all three instantiate -- no binding loop, no panic. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-27 21:35:08 +02:00
dtourolleandClaude Opus 5	cafa63ca6f	Let the develop column ask how wide it needs to be ... The column was 280px, a number chosen for a tablet, with 380px bolted on later for a desktop. Both were guesses at how much room the widest row inside needs, and a guess is what cannot work here: the mode strip is one chip per attribute the *operation set declares*, so the row is generated and no constant in app.slint can track it. When the guess came up short the failure was not a tidy clip. The Flickable inside the column never had its `viewport-width` set, so the viewport took its content's preferred width, and a viewport wider than its Flickable is *centred* in it — the same rule the note on the seam's `x: 0` already records a few lines below. So the column lost half of each edge rather than one of them: "HISTOGRAM" read "ISTOGRAM", "Straighten" read "aighten", Copy sat centred while Paste ran off the far side. It looked like a rendering fault and it was an alignment one. So the column asks instead of guessing. Every panel that can appear in it — image, histogram, geometry, settings transfer, masks, repairs, adjust, history — now publishes a `content-width`: how wide it has to be before it starts clipping itself, read off its own layout rather than asserted. Each declares that as its `min-width` too, and that is what makes the aggregation automatic: `column` is a layout, so it already reports the largest minimum among its children, and it does so for the panels that come and go with the mode as well, which live inside `if`s and cannot be named from outside. Grep `content-width` in ui/dr-ui/ui to see every panel with a say in the answer. The mode strip is named explicitly only because it is pinned outside that layout, so nothing else measures it. There is no floor left. A floor is one more guess and the panels state their own minimums now. The only thing still above the measurement is `panel-max-width`, which is not a size but a policy — a column may not take the window from the photograph it exists to serve — and it comes from Rust beside `layout-class` because a width read from `root.width` inside the layout that `root.width` depends on is a binding loop. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-27 21:23:44 +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	7fcb8dc107	Give the develop column room, and the mask a way out of the way ... Three faults reported together, and they share a shape: each is something the panel decided on the photographer's behalf. **The column was 280px on every screen.** That width was chosen for a tablet, where the column is a large fraction of the display and every pixel of it is taken from the photograph. On a desktop window the mode strip alone — two modes, a separator, "All", and a chip per attribute the operation set declares — does not fit, so it scrolled sideways. A control you have to pan to reach is one you do not know is there. 380px when the window is classed expanded, 280px when it is not; driven off `layout-class` because reading the window width inside the layout that sets it is a binding loop. **The overlay could not be hidden.** An earlier "Overlay" button was removed for a good reason — it *armed* the overlay, so local mode could be entered and still show nothing. Hiding is the opposite need and was never served: a mask is judged against the photograph beneath it, and that photograph is exactly what the overlay covers. `overlay-hidden` is kept separate from `overlay-on` so a recompute cannot switch the overlay back on under someone who just turned it off. **The masks were coarse because the model saw the subject small.** The graph's input is a fixed 640x640 and every frame is letterboxed into it, so a bird 200px across in a 1600px proxy reaches the model at 80px. `Tiling::Grid` has been implemented and tested since the segmentation spike and defaulted off, because it costs one inference per tile — 2.8s for a 3x2 grid against 470ms. Now offered as "Look closer (slower)", which says what it costs, rather than spending it on every image or on none. The tiling choice enters the segmentation signature. A mask stores the signature its region ids index into, and a tiled run finds different instances in a different order; sharing a signature would silently reinterpret a layer built against the coarse pass — a wrong mask rather than a stale one, and nothing announces it. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>	2026-08-23 10:54:35 +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
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	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	b1433ad4a9	Give a mask an edge treatment, and find out the watershed has none worth having ... Two things, and the second is why the first matters more than expected. Mask layers gain a feather, a falloff curve and a morphology, all defined against a signed distance from the boundary rather than as separate features — one exact distance field answers "how soft" and "how far" at once, so dilation is a threshold at -r, erosion one at +r, and closing and opening are one of each in sequence. The compound pair costs a second distance field, which is why they are named rather than presented as a radius that happens to be signed. Types, defaults and sidecar round-trip only; the field itself is next. `edge-feather` and `edge-falloff`, not `feather` and `falloff`, because a radial mask already writes `feather` for the fraction of its radius it ramps over. Same word, different quantity, different units — sharing the key would have made an existing file ambiguous. The diagnostic that provoked this is committed as an ignored test, because "does the ladder land on things a person means" is the question S15 exists to answer and it should not depend on whoever still has the script. On bus.jpg it answers badly: 35,075 regions at blur 2 over an 810x1080 frame, and cutting that to 400 gives *one* region covering nearly the whole picture plus 399 noise specks. Not over-segmentation — collapse. Almost every saddle is near zero, so the merge order joins everything meaningful before it joins anything spurious, and a global cut spends its entire budget on grain. So the granularity ladder does not currently work on a photograph, and the region masks built on it inherit that. Recorded rather than worked around: the next commits move local masking onto the model's instances, where the edge treatment above is what makes a quarter-resolution mask usable.	2026-08-22 08:39:17 +02:00
dtourolle	12d320cf33	Record what the spec got wrong about the model that exists ... docs/segmentation.md §4 priced arm B as costing a C dependency under the NDK and treated that as most of the difference between the arms. It is not a cost that has to be paid: `ort`'s `alternative-backend` disables its linking entirely and `ort-tract` supplies the API from tract, which is pure Rust. D13's "largest exception the policy would tolerate" turns out not to be needed, and the answer generalises to the face pipeline — so D13's runtime half is now answered and only its licensing half is open. Three findings contradict §4 outright and are recorded as F4-F6 rather than quietly designed around. There is no ADE20K-trained YOLO, so the shipped vocabulary selects subjects and not stuff — "select the sky" comes from the watershed or from nowhere. It is instance segmentation, so it partitions nothing and two people come back as two instances. And tract cannot parse a dynamic-shape export, which fixes the input at 640 square and makes tiling the only route to more semantic resolution. Arm C ships, but §8's criteria are not what decided it, and saying so matters more than claiming the process worked. §8 asked for a two- interaction margin over arm A on a traced corpus. That comparison was never run: F4 and F5 changed what the arms are, and a model that recognises subjects but has no word for sky cannot be a selection tool alone, while a watershed cannot tell a person from the wall behind them. They stopped being candidates and became complements. What is *not* done is written down as plainly: the 24-image corpus is untraced, so M1-M4 have no numbers and "this feels right" has not become one. M5 is answered on one device only, and region ids now reach the sidecar — so a cross-vendor divergence would mean a mask written on the desktop meaning something else on Android. F3 stands.	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