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Commits
| Author | SHA1 | Message | Date | |
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  dtourolleandClaude Opus 5
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d44bffa4a8 |
Remember where the photographer was
Opening the application was always a fresh arrival at the beginning of the library, whatever you had been doing when you closed it. What is written down is the view, the scope, the rating filter and the photograph on screen -- the open one in develop, the first visible one in the grid. Not just a scroll position: a position without the filter that produced it names a row of a list that no longer exists. Restoring them has an order for the same reason -- scope, then filter, then position, then the view -- because each step changes what an ordinal *means*. Addressed by remote path and collection UUID, never by an ordinal or a row id. `images.id` and `collections.id` are local to one catalog, and a grid ordinal is local to one ordering; a record naming either would land somewhere arbitrary on a second device and after any filter change on this one. Where the ordinal is needed, `library::ordinal_of_path` computes it through the grid's own `ORDER BY`, taken verbatim by a window function rather than spelled a second time as an inequality -- which is the mistake `grid_order_for` already warns about, and which a manually ordered collection would make unreadable. Every failure degrades rather than reports. A collection this device has not merged leaves the scope at the whole library; a photograph that has since been deleted falls back to when it was taken, which puts the grid in the right week; a torn file yields no place and the library opens at the top. Reopening develop is the one thing that requires an exact match, because a canvas on a path that no longer resolves is a filename over an empty frame. The record lives in `dr-types` beside `Settings` and the store lives here beside `SettingsStore`, for the reason `dr-types`' manifest gives: a JSON serialiser in `core/` would be paid for by every crate there. Two files and two lifetimes, though -- resetting preferences must not forget where you were. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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8bf5e13faf |
Centre the photo roll on the frame it opens with
The roll brought the open photograph into view by the shortest move, which is right for stepping along it and wrong for the first look: a frame near either end of the loaded window arrived hard against an edge, with nothing on that side to give it any context. It now centres on the first settle of a develop session and steps minimally after that. A one-shot request that the strip itself clears -- the only thing that knows the request has been honoured is the code honouring it -- rather than something recomputed on creation, because the strip is created far more often than a session begins: leaving develop for Settings and coming back rebuilds it, and re-centring then would undo a roll the user had scrolled by hand. Raised on the two ways into develop from the grid, and not on a pick along the roll, which is a step within a session rather than the start of one. Centring is clamped to the ends: the third photograph of a window cannot be centred without scrolling empty space in beside it, and a strip that begins with a gap reads as broken rather than as centred. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0ff1e01ec3 |
Come back from develop on the photograph you were editing
Leaving develop returned to where the *grid* was, which after a walk along the photo roll can be a thousand rows from the frame you had just finished. So the one photograph you were certainly interested in was the one the grid came back without. Two positions, and the rule is not to pick one of them. The grid seeks to the remembered position, then reveals the keyboard cursor -- which is now put on the open photograph, and which moves the viewport as little as will bring its row into view. A frame inside the remembered screenful moves nothing at all; one outside it scrolls exactly far enough. One rule, both behaviours. The cursor rather than the selection, deliberately: `place_cursor` also rewrites the selection, and a set of forty photographs assembled in the grid must survive having one of them opened. `reveal()` now also runs on the grid's `init`, since `cursor-row` is initialised rather than changed when the subtree is rebuilt and no handler would otherwise fire. Both it and the roll's centring defer while the element has no height yet -- `init` runs before layout, where a height of zero makes every row look off screen -- and a latch brings the first real height back to the cursor without letting every later resize haul the viewport around. The capture-time marker follows the same move, for the same reason: `load_window` rebuilds the axis only when the scope, the filter or the total has changed, and none of them has. It is the same library seen from a different row. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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eed27eb36d |
Keep the grid's place when another screen covers it
Opening Settings, Import or People and coming back landed at the top of the library however deep in it you had been. The grid is gated on an `if` in the markup, so every route away from it destroys the subtree and rebuilds it. A Flickable being destroyed passes its viewport through zero on the way out, and that reaches `on_library_scrolled` looking exactly like the user having flung the grid to the top. The handler already guarded against it -- but on `show-library`, which means "the library rather than develop" and stays true while any of those four screens replaces the window. So the guard covered the develop route and none of the other three: `resume_at` was overwritten with 0 on the way out, and the position was gone before anything could restore it. The condition the `if` is actually spelled with is now computed once, in `app.slint`, and Rust reads that. The two cannot drift apart again because there is only one of them. That fixes the overwrite. The second half is that nothing replayed the position on the way back in: `on_back_to_library` does it by hand, and Settings, Import, People and the launch screen do not go through it. Rather than teaching three more modules to call it, `scroll-to` is now kept current on every scroll. It is read by `seek()`, which runs on a token change and on `init`, so writing it without bumping the token cannot move the grid on screen -- and is exactly what the next grid reads when it is built. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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4dc954f01a |
Take the photo roll's grab band off the buttons that end a mode
Benchmarks / CPU and I/O (per commit) (push) Successful in 3m53s
Benchmarks / Frame budget (on demand) (push) Skipped
Build and test / Desktop (Linux) (push) Failing after 58s
Build and test / Layer separation (push) Successful in 45s
🐳 Android image / Build and push (push) Successful in 4s
Build and test / android-image (push) Successful in 4s
Traceability / Requirement traces (push) Failing after 1m0s
Build and test / Android (aarch64) (push) Failing after 31s
"Done Cropping", "Done Repairing", "Done Masking" and "Fit" float over the foot of the canvas. So does the photo roll's swipe handler, and a gesture handler is not a layout box — it is an input surface. A press inside one is delayed, then offered to that handler's own children and to nothing else: `input_event_filter_before_children` returns `DelayForwarding`, which aborts the hit-test traversal outright, and the replay afterwards visits only the handler's subtree. Everything behind it is never asked, hover included. The band was `strip-height + reach` — 136px along the bottom — whether the roll was out or away. So the button that ends a mode was drawn, was lit, and did nothing for as long as a library was open, which is the whole time anybody is developing from one. The tool rail kept working because it is a sibling of the canvas rather than behind the roll, which is exactly why this looked like two dead buttons rather than a dead region. The band now goes where the roll goes. The handler carries the strip instead of standing still while the strip animates inside it: closed, only `reach` is on screen and the rest hangs below the window where nothing can press it; open, it still covers the thumbnails, which is what lets a swipe down anywhere across them put the roll away. The 180ms travel moved from the strip onto the handler, so the drawn positions in both states are what they were. The controls are then positioned against that band rather than against the bottom of the canvas, and ride up with the strip when it comes out. Reordering them in front of the roll would have been the other fix, and it is the wrong one — the band would become the thing that cannot be reached, and a gesture nobody can start is worse than a button with a second way out. `roll-strip` and `roll-reach` are tokens now, because two files have to agree on where that band is for either of them to keep out of it. The bottom of the photograph comes back with it: the crop's lower handles and a repair placed near the bottom edge were inside the same 136px and had the same fault. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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3d248cfb79 |
Export the photograph, not the canvas
Zooming the develop view changed the exported file. `Framing::view` is kept out of the sidecar, out of `is_active` and out of `output_size` precisely so that it cannot — but those exclusions keep it out of the *edit*, and an export is a *render*. `visible_rect` deliberately folds the view into the single rect the fused shader's prologue samples, so `render_for_export` inherited it: at 4:1 it wrote the middle of the frame, magnified to fill the file at the full output size, with the detail kernels scaled four times over because `render_scale` folds the view in as well. `render_thumbnail` did the same to the grid. `render_uncropped` already suspends the view for this exact reason, so the fix is its pattern: one `render_the_file` that both file-producing paths go through, composing inside the suspension since the view reaches the shader as a uniform baked at composition time. Restored whatever happens — leaving the graph un-zoomed after a failed export would throw away where the photographer was looking. Nothing caught it because the guard checked the wrong things. `zooming_does_not_change_the_exported_image` asserted the output size and the crop; both held perfectly throughout. Renamed to `zooming_does_not_change_the_size_or_the_crop`, which is what it tests, and the pixels are now guarded where pixels exist. The new test uses a ramp rather than quadrants deliberately: a four-quadrant frame is self-similar under a centred zoom, and the first version of this test passed against the bug because of it. Traces FR-EXP-9, which asks for the full-quality pipeline "regardless of what the display was showing". Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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4af3b93dfa |
Index faces from the native render, not from a preview of it
Implements the FR-CULL-8 written two commits ago. The sweep fetched the JPEG preview embedded in each RAW and used that one buffer for both detection and the crop; it now fetches the original, renders it through the same path export uses, reduces that for the detector, and warps the crop back out of the native frame. Three pieces, and each exists for a reason worth stating. dr_face::Pixels lets the warp sample 8-bit RGBA directly. A 24 MP native frame is 96 MB as RGBA and 288 MB converted to the f32 RGB align.rs was written against, and the warp reads about forty thousand pixels out of it. Converting the whole frame to sample 0.2% of it is NFR-RES-2's budget spent on a copy, per image, for a whole library. The variant costs one branch per sample and a test asserts both layouts produce identical crops. The detector gets a box-filtered reduction to 1600px, not the native frame and not a point-sampled one. Averaging rather than sampling because the detector's job is finding small faces and decimation is precisely the operation that removes them: at 4x, fifteen of every sixteen pixels are discarded and a 40px face survives or not depending on where it falls relative to the sample grid. 1600 rather than 640 leaves the letterbox a mild 2.5x rather than a 9x, and bounds the f32 buffer at 20 MB. Landmarks come back in the reduction's coordinates and are scaled to native in one place before any crop pixel is read. This is the failure mode that would not announce itself -- unscaled landmarks put every crop near the top-left corner, which yields faces of something else, cleanly embedded and confidently clustered. The sweep fetches SWEEP_LANES-wide and renders sequentially. Not a placeholder for a parallel version: there is one GPU, so concurrent renders queue on it regardless, and each materialises a native frame. Overlapping them would multiply the one allocation that threatens the memory budget while buying parallelism that does not exist. The chunk drops from 96 to 6 for the same reason -- 96 held 8 MB previews, this holds whole RAWs. The stored edit is deliberately not applied, which is where this departs from export::render_from_library. Face geometry is normalised to the frame, so indexing a cropped render would record boxes against a frame that changes whenever the user changes their mind, and every stored box would quietly become wrong. Orientation is applied: that is a fact about the file rather than an edit. examples/face_native.rs renders one file and indexes it both ways, so the claim behind all of this can be checked against photographs rather than re-read out of the catalog it came from. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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e7b526c550 |
Specify face indexing at native resolution, and say what the proxy cost
FR-CULL-8 said detection runs against the thumbnail or proxy tier and never a full decode, and faces.md §5 said the aligned crop is sampled from that same proxy. Both are wrong in the same place: they treat detection and cropping as one resolution problem when they are two, with opposite answers. Detection does not care. §4.1 fixes the graph's input at 640x640 and letterboxes whatever arrives, so a face filling 2% of the frame reaches the model at 12px whether the buffer handed over is 1024px or 6000px. Every pixel above the detector's own input is discarded before inference. The crop cares about nothing else. §5's warp produces the fixed 112x112 ArcFace sees, so source resolution converts directly into whether those 112 pixels were photographed or interpolated. Reading crop_px across the 18,671 faces the proxy-tier implementation stored: 47.3% were upsampled to reach the embedder, 314 of them by more than 2x, the smallest from 34 source pixels. An upsampled crop does not fail loudly -- it yields a confident embedding of detail that was never there, and the damage appears three stages later as clusters that will not separate. So FR-CULL-8 now specifies four stages with the resolutions named separately: render native through FR-EXP-9's pipeline, downscale for the detector, map boxes and landmarks back to native, crop and align from the native render. The affordability the old rule bought is met instead by when the pass runs -- background, preempted, resumable -- and the requirement says plainly what it now costs on a remote library: the original rather than FR-NC-3's byte range, 412 GB across the reference library's 19,107 images, so a whole-library pass is a transfer under FR-NC-6 rather than something that may start on its own. MIN_CROP_EDGE replaces the MIN_DETECT_EDGE this branch briefly had. Same number, guarding the quantity that turned out to matter. faces.md §7b records both measurements, and marks the second as unexplained rather than dressing it as a finding. Grouped by the buffer detection ran against, faces per image was 0.078 at 1024 or below and 1.82 at 2048 or better, controlled for file type and size. That gap is real and reproducible and I cannot account for it, because the letterbox above says detector input should not matter. M4 is where it gets settled. The crop measurement does not depend on it. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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144d2e4e84 |
Revert the detection floor: it guards the wrong resolution
Reverts 53f7cdf and e92d22d. The floor those added sat on Detector::detect, refusing any buffer under 1025px on the reasoning that a small buffer finds no faces. That reasoning does not survive §4.1: the detector letterboxes every input to 640x640, so a face occupying 2% of the frame presents at 12px to the model whether it is handed a 1024px buffer or a 6000px one. Detector input is precisely the quantity that does not matter. Worse than merely useless, it blocks the design FR-CULL-8 now specifies, where the detector is deliberately fed a downscale and the crop is taken from the native render. A guard on detect() rejects exactly that call. What the measurement actually supports is a floor on the *crop* source, which is where resolution converts into embedding quality, and which faces.crop_px already records: 47% of the reference library's faces were upsampled to reach 112x112. That floor is a separate change against the native-resolution path and does not belong on the detector. The 23x faces-per-image gap by source_edge that motivated the original commit is kept in faces.md §7b, restated as the unexplained observation it is rather than the causal claim it was written as. V12 stands: those runs cropped at 1024 whatever detection did, and that is reason enough to look at them again. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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6783d0c723 |
Settle the images whose best preview is under the floor
The floor introduces a state the sweep had no arm for. An image whose largest embedded preview is genuinely smaller than 1025px now comes back from index_preview as an error, lands in the generic Err arm, and is counted as failed -- which means no face_index row, which means it is still outstanding, which means the next sweep fetches exactly the same bytes and refuses them again. For ever, on every run, at one range request each. The previous behaviour was wrong but at least terminated; this would not. So ProxyTooSmall gets its own arm, and it records a marker at the true edge rather than nothing. That is the difference between "we looked and found nothing" -- which would be a lie, since nothing was looked at -- and "this was examined at 900px, which is the best this file has". The first is unrecoverable; the second is a fact source_edge was added to carry, and a later floor or a bigger proxy can select on it deliberately the way V12 just did. Counted separately from failures all the way up, because they are not failures and reading them as such would misdescribe a library of small scans as a broken network. The summary line says how many and why. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0a6509de93 |
Forget the face runs made on proxies too small to see a face
The floor added in the previous commit stops this happening again; it does nothing about the 1,824 images in the reference library that already carry a face_index row written against a proxy of 1024 or less. Those rows are why the damage is permanent rather than merely past. The work list is "images with no row for this model", so an image examined against a 1024px proxy -- 0.078 faces per image, nine in ten finding nothing -- is indistinguishable from one examined properly, and no later pass will ever offer it to the detector again. V12 deletes exactly those markers, and nothing else. The faces those runs did find stay in place and keep drawing the People screen until a better pass replaces them, and record_detections re-attaches the user's confirmed names across that replacement by box overlap, so a library somebody has spent an evening naming does not lose that evening. The cost is a re-fetch of the affected images. Deleting the marker rather than teaching the work-list query to select on source_edge, which was the other option and is worse. A standing `source_edge < floor` predicate never lets go: an image whose largest embedded preview is genuinely smaller than the floor would be re-fetched on every sweep for ever, because the next pass cannot do any better than the last one did. A one-off deletion gives each affected image exactly one more attempt through the good path and then lets the ordinary "has a row" rule settle it. The threshold is written out in the SQL instead of referring to dr_face::MIN_DETECT_EDGE. A migration has to keep meaning what it meant when it ran; binding it to a constant someone may raise later would quietly change what an old catalog gets migrated to. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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f87bf6ebc0 |
Charge a colour mode for its rarity, and keep the verdict
The refinement worked and could not be controlled. Pruning modes below a share threshold made the flag's removal a *discrete* event: below the line its Mahalanobis distance was enormous and nothing rescued it, above the line it sat at zero and nothing removed it. A control over that would appear dead through most of its travel and then start eating sky. So the prune is gone. A mode is charged `−ln(share × k)` nats, floored at zero, and that cost enters both tests — doubled in the chi-square, which is a squared distance, and directly in the log density. Rarity becomes a distance rather than a threshold, and the things a photographer wants to remove separate along it. Measured on the synthetic frame the tests build: a flag holding 1.6% of the sky is more than half gone by **2.95 nats** and a cloud bank holding a third of it survives to **5.75**. The whole interval between them is somewhere a control can sit. `the_flag_goes_before_the_cloud_does` pins the ordering, which is the property that makes one slider worth offering at all. Measured against an even split rather than against one, so raising `clusters` describes a category more finely without making every colour in it look rarer. Floored at zero so a dominant mode earns no *discount* — a bonus there would let the commonest colour outvote a bad chi-square, which is the one direction this must not bend. `Refinement` holds the per-pixel verdict, quantised to a byte over ±16 nats — an eighth of a nat per step, far finer than the narrowest transition the gate can be asked for, and the same size as the coverage buffer it sits beside. `apply` is then a smoothstep, and the model is never consulted again. That is `distance.rs`'s arrangement deliberately: there a signed distance field is computed once and feather, grow and shrink become arithmetic on it, "which is what makes those live controls rather than ones that stall on every drag". Same shape, different field. The blur moved with it, from the gate to the verdict. Smoothing the evidence rather than the decision means it is paid for once in `compute` instead of on every frame of a drag, and it is the better thing to smooth in any case. `apply` at `STRICTNESS_OFF` returns the weights untouched without reading the verdict at all. A control whose off position is *very nearly* the unrefined mask cannot answer "is this helping"; one whose off position is the unrefined mask can. `strictness_zero_changes_nothing` holds it to that, and `strictness_is_monotonic` holds the rest of the travel to only ever removing more — a slider that gave weight back partway up would be one whose direction nobody could predict. The synthetic sky is smooth enough to sit on `VARIANCE_FLOOR`, where a real one has noise and therefore a real spread, which moves every crossing down together. The ordering survives that; the placement is a calibration. Which is the honest argument for a control rather than a constant, and why the default sits at half scale instead of at the flag's measured crossing. The example sweeps the whole range and writes a frame per nat, because the question a photographer asks of a slider is where to put it, and that needs the travel rather than a point on it. Verified: fmt clean, clippy -D warnings clean, 60 dr-segment tests. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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4f4abd335f |
Cut a scene category back to the pixels that agree with it
A flag in the sky came out weighted as sky, and no feather setting fixed it. The scene model's logits are `[1, 150, 80, 80]`, so one cell is eight input pixels; at the 1600px proxy the letterbox scale is 0.4 and **one cell is 20 proxy pixels**, which `rasterise`'s bilinear then spreads across one more either side. A flag is a handful of cells whose softmax is dominated by the sky around it. The information was never in the grid, so nothing downstream of the grid can recover it. Tiling is the answer for an instance and is not available here: a category has no bounding box to tile over — sky is wherever the sky is. But the photograph is at full proxy resolution even though the weights are not, and it knows exactly where the flag is. So the model says *what*, and the pixels say *which of them*, which is the division of labour arm C already draws between the instance model and the watershed. ## Seeds, and why the erosion radius is not a guess Threshold the weights high, take `signed_distance`, and keep what is more than 1.5 cells inside. One cell *is* the model's resolution and the bilinear spreads it across one more, so the band either side of the boundary is smear rather than evidence. Deriving the radius from `Scene::cell_pixels` rather than picking a pixel count means it stays right if the proxy edge or the export changes. The mirror of that set is a confident *exterior*, free from the same field. ## Dropping small modes is the step that makes it work Four k-means modes per side, not one Gaussian: sky is blue at the zenith, white where the cloud is and pale at the horizon, and one blob over all three rejects two of them. Then modes holding under 3% of a side are discarded, and without that step the whole thing fails on the case it was built for. A small flag deep in the sky has both a high weight and a large distance from the boundary, so it lands in the interior sample and teaches the model its own colour. It cannot be excluded geometrically. It can be excluded by share. Luminance is weighted at a quarter against chrominance for the same reason the watershed's gradient is. Sky's variance is dominated by luminance, so at equal weight the distribution is a long bright streak that a mid-grey flag sits comfortably inside. A flag is separated by chrominance; a cloud is separated by luminance alone. Not zero, or a dark bird against a bright sky survives. ## Two tests, because either alone is wrong Absolute — is this colour plausible under the category, as a chi-square on the Mahalanobis distance. Comparative — is it likelier inside than outside. A pixel must pass both. The absolute test is what catches the flag, whose colour is far from *both* sides and which the comparative test alone would leave at even odds. The comparative test is what stops the absolute one needing a constant tuned per category. ## What this cannot do, written down rather than left to be discovered An intruder large enough to hold its own mode is kept. By share, a flag over a fifth of the sky and a cloud bank over a fifth of the sky are the same object, and colour does not separate them either — a white cloud is as far from blue sky in chrominance as many intruders are. So `min_cluster` is not a threshold with a correct value waiting to be found; it is the trade-off itself, set where a photographic intruder falls. Both ends are pinned by tests — `a_flag_in_the_sky_is_removed` and `an_intruder_larger_than_min_cluster_survives` — so that moving the number reads as moving the trade-off rather than as fixing a bug. The case left open is a large unrecognised object in a clean category, which wants the boundary snapped to watershed basins and is a different mechanism. ## Safe to apply without a control It is subtractive: the output is the input times a factor in `0..=1`. The worst failure available to it is losing part of a real sky, never gaining a region, so a blue car below the horizon that was never in the mask cannot be pulled into it. And a factor in `0..=1` cannot raise a sum, so `scene.rs`'s partition still holds when every category is refined independently — the weight taken off the flag lands in the unlisted remainder, which is where a flag belongs, ADE20K having no class for one. Every path without the evidence to judge returns the weights untouched and says which path it took. A refinement that silently did nothing is indistinguishable from the feature being off, and an empty seed set fitted to a distribution would reject every pixel. The signature is deliberately unchanged: categories are addressed by name, not by index, so a sharper mask cannot create the stale-index hazard the signature exists to guard against. The example writes `<prefix>-<category>-refined.ppm` beside the coarse one, never instead of it — whether this is an improvement is a comparative judgement and one image cannot answer it. Verified: fmt clean, clippy -D warnings clean, 57 dr-segment tests. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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8131706394 |
Regenerate the matrix over the merged rail work
The merge moved tagged lines in identity.rs, identity_ui.rs and the two Slint files; the matrix tracks line numbers, so it goes stale on a move alone. A merge commit does not run the pre-commit hook that would normally have staged this. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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0845d4ee20 |
Regenerate the matrix over the merged branches
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
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80f0a0eeac |
Merge branch 'master' into feat/library-toolbar
# Conflicts: # docs/gestures.md # docs/traceability.md |
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dtourolleandClaude Opus 5
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677146883f |
Decide what the header gives up when it cannot hold everything
Three faults, all invisible in the source and all found by looking at the window. `alignment: start` on the selection bar. Slint only hands space to `horizontal-stretch` children under the default `stretch` alignment; under `start` every child takes its preferred width and the stretch is ignored without complaint. That was harmless while the bar held four controls. Now that it holds every selection verb it is the difference between a count that gives way and a row that can only scroll, so the alignment goes and the stretch does its job. The title collapsed to "…". An eliding Text has a minimum of nothing, so once the buttons had taken their own minimums the title was the cheapest thing in the row to give away — the window stopped saying which library was open while the byte counts beside it stayed. It gets a 90px floor. And the status line does not get one. After the sidebar takes its 232, a 1100pt window leaves this header about 868, and the buttons want most of that before a character is drawn — so something must degrade, and the order is the whole question. A floor here bought a readable status by pushing Settings off the right edge, reachable only by knowing to flick-scroll, which is precisely the fault the row's own Flickable comment warns about. A control you cannot see is worse than a sentence you cannot finish. The status line is also the most redundant thing in the header — the sidebar states the library's count and the filter chips state it again — so it is what gives, and it grows back the moment there is room. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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9994bb4ce7 |
Regenerate the matrix over the third wave
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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c7e1822f77 |
Put the two collection actions in the collections panel
"Keep offline" and "Change library" were buttons in the library header, in a row that is otherwise entirely library-wide. Both refer to the tree instead. "Keep offline" could only ever mean the scoped collection, while sitting nowhere near the tree that says which that is — and while the sidebar already offered the same question twice, on each row's tray and on a held row. It now sits under the tree, in the panel whose selection decides what it acts on, in the same place and shape the trash already gives Restore and Empty. It stays a labelled control rather than being dropped for the tray: a 26px row's tray is a small thing to hit, and "Kept offline" spelt out for the collection you are looking at is the discoverable version. "Change library" was wedged between Sync and Rescan, two buttons that act on the library you already have. Reading it as one of that group is a way to lose a scan by aiming badly. It is now the last thing in the panel, under the tree it replaces wholesale, behind a rule. On a tablet both are one tap further away, behind the sidebar toggle that leads the header. That is the panel a user is already in when they scope the grid to a collection, so it is where they are when either of these becomes the thing they want. The grid keeps `pin-done`/`pin-total` and its progress bar: the transfer is worth reporting wherever it was started from, including a row the grid is not scoped to. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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f4fbabf18b |
Say what the grid is showing in one line, not four
The header carried four readouts beside the title: the image count, the selection count, the scan's status and where in the library the visible window sits. Each had `horizontal-stretch: 1`, which is what actually lets a Text shrink in Slint — so between them they claimed about a third of a 768px header and left the buttons to scroll off the end of it. The selection count goes to the bar at the foot of the grid, beside the buttons that act on it. The other three are one subject and are now one sentence with separators, sharing one stretch. Two of them were also saying the same words while a sweep ran: "indexing 300 / 12 480" appeared both as the status and, redundantly, in place of the window position. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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18063152f9 |
Ask where these photographs go once, not twice
The selection bar had "Add to collection" and "New collection" side by side. Both answer the same question — where do these go? — and the bar asked it before showing the list that decides it: a user who wants a collection they already have and a user who wants a new one press different buttons before either has seen what exists. "New collection…" moves into the filing sheet, under the list of collections. That is where you look after failing to find the one you wanted, and it is the only place the choice can be made informed. It also fixes the sheet's empty state, which said "Make one with + in the sidebar" — advice that cannot be followed on a tablet, where the sidebar is instantiated but not drawn. The first collection can now be made from the sheet that noticed there were none. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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8510a2f6a7 |
Give the selection one bar instead of two ends of the window
"What can I do with these twelve photographs?" was answered in two places. Six buttons in the header — Add to collection, Keywords, Presets, Paste to N, Export N, Remove from collection — and four more on the floating bar at the foot of the grid, beside the count that says what they would act on. The header half was the worse of the two. Those six appeared and disappeared from the middle of the row as photographs were picked, so Sync, Settings and everything beside them slid several hundred pixels sideways at the exact moment a hand was already travelling toward one. On a tablet the header scrolls sideways, so they were often not on screen at all. All six move to the bar. It now reads left to right as shaping the selection — Clear, Select all, Select to… — then acting on it, with a gap between the two thoughts. The header keeps only what belongs to the library, and changes only when the library does. Two consequences worth stating. The bar holds ten controls in the worst case, so it scrolls sideways like every other row in this view, for the reason set out on the header's Flickable: a layout given less width than its children need overruns rather than shrinking, and the buttons past the edge are simply gone. And the bar now stays up for a running export whatever the selection has since become, because Cancel export lived on a button that used to have its own `|| exporting` escape hatch — the grid's viewport inset follows the same condition so the last row of thumbnails is never trapped underneath. `settings-summary` went with them: threaded from the window into the grid and into HeaderActions, and never once drawn. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
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458025c607 |
Merge the scene model: a second, ADE20K-trained graph for per-category grades
Five commits. `models/` becomes one tree at the repository root so the weight the application carries is a single `du -sh`; the export script stops building its multi-gigabyte venv in RAM; `yolo26s-sem-ade20k` joins the instance model rather than replacing it; the decoder turns its logits into a partition of unity over eight photographic categories; and four packaging routes put the file somewhere each platform can find it. The instance model stays exactly where it was. A semantic model merges every pixel of a class into one region, so it cannot separate two people, and separating two people is what clicking a subject needs. The scene tab grades whole categories and does not care. docs/segmentation.md §16. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> # Conflicts: # docs/traceability.md |
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dtourolleandClaude Opus 5
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8df6000e4b |
Decode the scene model into per-category weights
The weights landed last commit with nothing to read them. This is the decoder, and the shape of it follows from one property worth stating before the code: the categories must partition the image. ## Why a partition, and not a mask per category The scene tab applies one grade to every pixel of a category — lift the sky, desaturate foliage — and both grades meet at the horizon. If each category carried an independent mask, feathering them outward would make the boundary band belong to both, so both grades would land there and every horizon would acquire a visible seam. Feathering has to *blend* there, not accumulate. So `marginalise` takes one softmax over all 150 channels and sums within each category. Grouping cannot change a total of one, so the listed categories plus the unlisted remainder sum to one at every pixel, by construction rather than by normalising afterwards. `parse_categories` refuses a descriptor that claims a class twice, because that is the one input that would quietly make the property untrue. ## The descriptor is data, and hand-written `models/scene/categories.txt` groups ADE20K's 150 classes into the eight a photographer would recognise. It is a file rather than a table in Rust for the reason `models/LICENCE.md` predicted — a vocabulary is model metadata — and it is line-oriented with comments rather than JSON like the `.classes.json` beside it, because that file is generated and this one is argued. Why `swimming pool` is water and not architecture belongs next to the line that says so. Classes are named, not indexed. An index is silently wrong after a re-export; a name is loudly wrong, and the loader refuses one the model does not have. ## Resolution, kept visible `Scene` holds the native 80×80 logit grid and resamples on demand rather than upsampling once at load. The coarseness is real — it is what the graph produces — and a type that hides it behind an early resize invites callers to expect detail that was never there. `rasterise` is where the letterbox inverse lives, once. `Letterbox` and `Window` become `pub(crate)` and `to_proto` generalises to `to_grid`, because both dense outputs this crate reads are an even fraction of the same letterboxed square and differ only in the divisor. ## Verified by looking, which is the only way this gets verified `examples/scene.rs` writes the photograph dimmed outside each category. A transposed axis or an off-by-one in the inverse produces perfectly plausible weights over slightly the wrong pixels, and no unit test catches that. On an indoor frame the person mask lands on the person, including the outstretched arm, and sky reads ~5% against a bright ceiling. It doubles as the benchmark, because every timing quoted while this model was chosen came off a laptop compiling other things and none of them belong in a document. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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258aae71d6 |
Regenerate the matrix without the tool's own fixtures
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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ef07e6ca3e |
Give the canvas tools a rail of their own, and the column one width
Build and test / Desktop (Linux) (push) Failing after 1h14m38s
Build and test / Layer separation (push) Successful in 48s
🐳 Android image / Build and push (push) Successful in 16m30s
Build and test / android-image (push) Successful in 16m31s
Traceability / Requirement traces (push) Successful in 1m47s
Build and test / Android (aarch64) (push) Successful in 1h0m21s
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> |
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dtourolleandClaude Opus 5
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b120ce48ec |
Float the selection bar over the grid instead of above it
Selecting the first photograph inserted a 40px row into the view's vertical flow, so every cell in the grid moved down by it. The act of selecting shifted the thing being selected out from under the finger — and a second tap aimed at the neighbour landed on the row below it, which is the worst possible response to a gesture whose whole job is to say "this one". The bar is a floating one now, at the foot of the view. Nothing above it is re-laid out, so selecting changes what is drawn and never where. The grid's viewport grows by the same 40px while the bar is there rather than the Flickable shrinking, which is what keeps that change invisible too: every cell stays exactly where it was and there is simply further to scroll, so the last row can be brought clear of the bar instead of being trapped under it. It also swallows presses that land on it. A bar floating over the grid is a bar a thumb can reach for and miss into. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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ea88216008 |
Follow the raw histogram's line numbers after the module doc grew
Five tags in dr-gpu moved by three lines when lib.rs's module doc was corrected. Coverage is unchanged at 68.2%; only the anchors moved. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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49787414fb |
Regenerate the matrix after taking master in
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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091306f736 |
Gate the gesture vocabulary the way the matrix is gated
🐳 Android image / Build and push (push) Successful in 3s
Build and test / android-image (push) Successful in 3s
Build and test / Desktop (Linux) (push) Failing after 1h16m50s
Build and test / Layer separation (push) Successful in 39s
Traceability / Requirement traces (push) Successful in 50s
Build and test / Android (aarch64) (push) Successful in 22m27s
Three holes, all found by the gate catching itself out. **Prose that mentions the tag was read as a tag.** `dr-ui`'s module list carries a comment saying where the generated table comes from, and it names `GESTURE:` in passing; the scan extracted that sentence fragment as a gesture with no place and no way to perform it. A tag must now *open* its comment. A line that merely mentions it is describing the mechanism, not declaring a member of it, and position is the only thing that tells the two apart — which also makes the string-literal guard fall out for free rather than being a special case. **Neither artefact was regenerated on commit.** They cite line numbers, so they go stale on anything that moves a line — the sheet commit made the document wrong about every gesture in `library.slint` without touching a single one. The pre-commit hook that already keeps the matrix in step now keeps these too, and unlike the matrix it *fails* rather than shrugging when the scan does: a matrix that will not build leaves a stale one in place, where a malformed gesture block means a user about to be told the wrong thing. **CI did not check them at all.** It does now, blocking. The matrix is read; the gesture table is *shown to somebody using the application*, and a stale one tells them to perform a gesture that no longer exists — from which they will conclude the application is broken rather than the page. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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1cd5ab6815 |
Put the gesture reference in the application
The document the previous commit generates is for somebody reading the repository. The person who needs it most is holding a tablet, has just discovered that a hold does something, and has nowhere to ask what else does. So the same scan writes a table the application draws: a "Gestures" button beside Settings, a sheet with the same scrim and dismissal as the ones that file and name, and every gesture grouped by where it applies with its touch, pointer and keyboard routes side by side. Not the `why` — that is the argument for the design and belongs in the document; on a phone-sized card it would bury the one line the sheet was opened to read. The sheet's file knows nothing about what a gesture is. It draws the rows it is handed, and the rows come from the generated table, because a help screen with its text typed into it is a second description of one behaviour — and the second description is always the one that goes stale. The commit before this deleted a gesture; a hand-kept sheet would still be describing it. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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20c368d3fc |
Give each touch gesture one meaning, and give tap-to-open back
I broke opening a photograph. The dwell added in "Tell a tap on a photograph from a hand going past" required a finger to stay down 120 ms, and a deliberate tap is routinely quicker than that — so the grid stopped opening anything. Duration was the wrong discriminator: a tap and a brush are the same length. **Travel is what separates them, and a graze is by definition a moving contact.** A press now records where it landed and the release compares: within 12px it is a tap, beyond that the hand was going somewhere else. No dwell, so no deliberate tap can be refused, and the rule is the same for a finger and a mouse — one rule instead of two, and the `touch` argument the dwell needed goes away with it. Two real conflicts went with it, because a gesture set that overlaps itself is unlearnable however each half is documented. **A drag was also a hold.** Grabbing a cell and moving inside 450 ms left the hold timer armed underneath the drag, so it fired mid-gesture and put the grid into selection mode nobody asked for — the drag finished into a mode that changed what every later tap meant. Starting a drag now cancels it, exactly as a pinch already did. **A double tap was also a range.** In selection mode two taps on one cell selected everything back to where selecting began: no visible state, no warning, from a thing a hand does by accident. "Select to…" does that job and announces itself first, so the double tap is gone and two taps are now two toggles that land where they started. `extend_to_row` went with it — a second range implementation that only the double tap reached, where every other range goes through `apply_press`. The resulting vocabulary, one meaning each: tap opens, tap-and-slide does nothing, hold starts selecting, drag files, two fingers resize, and while selecting a tap only ever toggles. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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2955cad654 |
Regenerate the matrix over a night's merges
Coverage 59.8% to 67.0% (120/179). Eight of those came from tagging what was already built; the rest are tonight's features -- FR-CULL-3's peaking half, FR-CULL-5, FR-PLAT-AND-5. FR-PLAT-LIN-3 and NFR-COMPAT-2 stay untagged deliberately. Both were satisfied by a manifest and a document, and there is no source file to hang a tag on that would fail if the behaviour went away. This is also the first commit tonight the pre-commit hook has checked. Every branch used --no-verify, because the hook runs the traceability build and the branches were under a no-build rule; the matrix each of them left untouched is regenerated here, once, over all of them. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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f5edd49b6b |
Let a manual collection be put in the order it is meant to be seen in
`collection_members.position` and `Sort::CollectionPosition` have been in the catalog since collections were, and nothing above dr-catalog has ever written or read either: `collections::set_order` had no callers, and the grid ordered everything by capture time whatever it was scoped to — dr-ui does not construct a `Query` at all, it has its own `GRID_ORDER` constant. So a manual collection was a set with an order nobody could see or change. Three pieces, because it could not be fewer: `grid_order_for` decides the ordering from the scope, and both readers take it from there. That is the load-bearing part. An ordinal only names a photograph relative to an ordering, so the window read and the span read have to agree — a shift-click resolved through a different ORDER BY than the cells were drawn with selects a different run than the one on screen, and the user finds out when the export runs. `read_ids_span` already stated that invariant about `GRID_ORDER`; this widens it to an ordering that depends on the scope. Only a single manual collection has one. A set draws its descendants' images too, and two children's positions are unrelated integers that interleave arbitrarily; a smart collection has no member rows to carry a position at all. Both fall back to capture time and refuse the drop rather than pretending. The drop is on the cell, on whichever half of it the finger landed — the trailing edge is the only way to name the last place in a collection, since there is no cell beyond the last one to drop in front of. `reordered` is pure and the membership is rewritten whole. `set_order` sets the positions it is given and leaves the rest, so a partial write would interleave the moved run with rows nobody touched; and it is read unfiltered, so what the filter is hiding keeps its place relative to what the user can see. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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9d11554c71 |
Make the range gesture visible, and offer the whole grid at once
Touch has had a range gesture for as long as selection mode has: double-tap the far end. It is invisible, it is unreliable on a grid that scrolls under the second tap, and it extends from the anchor *before* the two taps moved it — a rule subtle enough that the code needs two paragraphs to explain it to itself. Nobody who was not told about it has ever used it. "Select to…" is the same operation with state you can see. Press it, the strip stops reporting and says "Tap the last photograph", and the next cell taken is the far end. It reaches Rust as shift on `cell-pressed`, so it lands in `apply_press` as the ctrl+shift it already is, and there is no third selection policy to keep in step with the other two. This is deliberately not the sweep gesture. A drag that paints cells can only reach what is on screen, and the ranges that hurt on a tablet are longer than a screenful — between the two taps here the user may scroll as far as they like, and the run is resolved by the catalog rather than by what happened to be loaded. A sweep is still worth having for short runs; it is not what this should have rested on. "Select all" beside it, asked of the catalog for the same reason: a select-all that quietly meant "the hundred cells that happen to be loaded" is a lie the user cannot see until the export runs. The double-tap stays. It is tested, and an accelerator that costs nothing is worth keeping for whoever has already learnt it. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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d1f3b97245 |
Ask for the collection's name where the keyboard can reach it
"New collection from selection" created the collection under a placeholder name and then opened the rename field in the sidebar tree. On a tablet the sidebar is not on screen. It is instantiated all the same — app.slint collapses it to zero width and `visible: false` rather than using an `if`, because an `if` there is a layout loop Slint panics on — so the rename field was created, its `init` took focus, and Android raised the on-screen keyboard over a box nobody could see. Nothing else on the screen is focusable, so the keyboard had nowhere to go: it stayed, the name could not be typed, and the collection was already written under the name the user did not want. Asked in a sheet instead, on the same card as the filing and keywording sheets, before anything is written. That also fixes what was hiding behind it: an abandoned rename used to leave a "New collection" in the tree, because the collection existed before the name did. `Field` gains `take-focus()` so a sheet whose field is the only thing to do in it can answer the keyboard for the user — a function rather than a property, because focus is an event and a bound property would re-take it on every unrelated re-evaluation. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolle
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91fe6cf300 |
Merge master into partial-preset-scope
🐳 Android image / Build and push (push) Successful in 8s
Build and test / android-image (push) Successful in 8s
Build and test / Desktop (Linux) (push) Failing after 1h17m12s
Build and test / Layer separation (push) Successful in 56s
Traceability / Requirement traces (push) Successful in 1m33s
Build and test / Android (aarch64) (push) Successful in 1h0m38s
# Conflicts: # docs/traceability.md # ui/dr-ui/ui/app.slint |
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dtourolleandClaude Opus 5
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754ab91347 |
Bring a Lightroom library across, and start with something in the list
Two halves of the same complaint: a preset sheet that opens on "No presets yet" is homework, and a photographer with ten years of presets in Lightroom has no way to bring them. `dr-preset-xmp` reads Camera Raw `.xmp`. The mapping turned out to be mostly a rename rather than a conversion, because Adobe and this pipeline already agree: exposure is in stops in both, and contrast, the four recovery controls, clarity, texture, vibrance and saturation are all ±100 in both. That is not imitation, it is the convention raw developers converged on — `highlights_shadows.yaml` cites it in as many words. Only sharpening needed arithmetic, Adobe's 0…150 against our 0…100. The white balance does not come across, and says so rather than guessing. Adobe writes absolute Kelvin for a raw file where ours is a relative nudge from what the camera recorded, so converting needs the *target image's* as-shot white balance — exactly what a preset cannot carry, since the same preset lands on a frame shot at 3200K and one shot at 7000K. A guess would be wrong on most images and invisibly so. A folder is read as readily as a file, nested, because that is the shape an exported preset folder is in and importing ninety files one at a time is asking someone not to bother. `dr_pipeline::starter` is six presets a first run begins with, written against this pipeline in its units and deliberately mild — a starting point, not a caricature. They are seeded when the library *file* does not exist rather than when the library is empty, so deleting all six does not hand them back on the next launch. Both of these name operations, and `ui_names_no_operation` was right to stop them living in `ui/`. That test exists because the failure is silent and cumulative, and it caught exactly what it was written for: a preset called "Punch" is a statement about contrast, clarity and vibrance, and a table mapping Adobe's vocabulary to ours is a statement about the pipeline. Neither is a fact about an interface. So the starter set went into `dr-pipeline`, and the importer into its own crate — between two walls, since `dr-pipeline` depends on nothing on purpose and XMP is real XML not worth hand-rolling. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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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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0d9f802f88 |
Regenerate the matrix that this branch is about
Eight requirements gained a tag in this branch's first commit, so the generated matrix is stale until it is rerun. Coverage moves from 59.8% (107/179) to 64.2% (115/179), and the untagged list drops from 72 entries to 64. Regenerating here rather than leaving it to the pre-commit hook, because this branch's subject *is* the matrix: a reader comparing the two commits should see the number move for a stated reason. The eight are R3, R6, FR-DEV-1, FR-UI-6, FR-NC-6d, NFR-OPS-3, NFR-PORT-2 and NFR-SEC-3, and none of them is new work — every one was already satisfied by code that had simply never said so. Six of the thirteen tag sites were new `TRACES:` lines rather than additions to existing ones, so the tag count moves 896 → 902 while the covered count moves by eight. Orphan tags remain at zero. Run from source with `cargo run -p traceability -- report`, never from a prebuilt binary, and note that the tool tracks line numbers — the six prepended module tags shift every subsequent line in their own files, which accounts for the churn in this diff that is not a coverage change. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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5a8327824f |
Keep an edit under a name, not just on the clipboard
FR-DEV-6 asks for three things — named presets, copy/paste between images, and batch-apply to a selection. The last two have been here for a while; this is the first. The format is the sidecar's, deliberately. A preset *is* the non-default half of a version, so the lines are the same lines keyed the same way, which makes the two files diffable against each other and lets someone debugging an edit paste a block from one into the other. One file rather than one per preset: a preset per file makes the name a path, and every name then has to survive a filesystem — a `/` becomes a directory, a name differing only in case collides on one platform and not another, and renaming becomes two operations that can half-fail. As a key in a document it is none of those. Unknown *parameters* needed no machinery. `Preset` already holds whatever keys it is given and resolves them against the descriptors only at apply time, so one written by a newer build survives by being stored. Only lines that are not `op.param = float` at all are preserved verbatim, which is the sidecar's version-skew promise made here too. Applying is the paste path with a different source, so a preset reaches a selection through the sidecar read-modify-write that was already there: no graph, no decode, no GPU, forty files or one. Two smaller decisions worth the record. A library that fails to parse is held empty in memory and *not* written back over — settings regenerate themselves and this is work, so a parse failure must not be the moment it is destroyed. And every save persists immediately and rolls the in-memory copy back if the write fails, so the sheet never lists a preset the file does not have. The grid's "Presets" button is gated on the selection alone, unlike the "Paste to 40" beside it. That button needs a clipboard armed this session; the preset list is whatever was saved last month, and hiding it behind an unrelated action is what makes a feature only its author knows about. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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5133e53bc8 |
Give back what a straighten took, when the angle comes back
Build and test / Desktop (Linux) (push) Successful in 2h16m6s
Build and test / Layer separation (push) Successful in 52s
🐳 Android image / Build and push (push) Successful in 4s
Build and test / android-image (push) Successful in 4s
Traceability / Requirement traces (push) Successful in 51s
Build and test / Android (aarch64) (push) Successful in 47m10s
The auto-crop only ever shrank. Straighten to 20 degrees and the corners are cropped away correctly; come back to 3, or all the way to zero, and the crop stays at the size 20 degrees demanded. Nothing on screen explains why the photograph is still small, and the only way back was undo. The cause was that each correction was computed from the previous correction's output, so it accumulated: every angle the slider rested at took its cut and none was ever returned. The fix is to stop accumulating and recompute. The applied crop is now always the user's own rectangle fitted into the current angle's safe area, so as the angle falls and that area opens up the crop grows back — and stops, exactly, at the rectangle they chose. At zero the safe area is the whole frame and the fit is the identity, which is what carries it the last of the way home. There is deliberately no early exit for the upright case now: that exit is precisely what would strand the crop small. **The intent is remembered as a pair, so it repairs itself.** The session keeps `(applied, intended)` — what the correction wrote, and what it was derived from — and trusts the remembered intent only while the graph still holds `applied`. Every other route to the crop leaves something else there: a handle dragged, a ratio chosen, a sidecar loaded, a paste, an undo. That mismatch is the signal the memory is stale, and the current rectangle becomes the new intent. The alternative was a write into this field from each of those paths, which is the kind of bookkeeping that is correct until someone adds a seventh path. Dragging a handle therefore *is* the user choosing, including at a non-zero angle: the correction will not later grow the crop past what they dragged it to. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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ff6c313bab |
Wrap the chip rows, so one six-choice parameter stops sizing the sidebar
The develop column asked for 482px. Every comment in it, a dozen of them, describes it as a 280px column — and on a tablet it was taking 40% of the screen from the photograph it exists to serve. Measured rather than guessed, because none of it is visible in the source: the column takes the widest width any panel declares, `AdjustPanel` wanted 482 of it, its rows wanted 458, and after the 44px scroll gutter the widest single row was 414. That row is `film_sim`'s `format` — six film formats from 35mm to 8x10, laid out by `Segmented` as six 64px chips in a `HorizontalLayout` that cannot wrap. 6 x 64 + 5 x 6 = 414, exactly. Nothing about that is the film simulation's fault. An operation declares its parameters and the panel decides how to draw them (FR-DEV-3a), so a node is entitled to offer six choices; it is the drawing that has to cope. Any future operation with a five-choice enum would have done the same thing, silently, to every screen in the application. `ChipGrid` is the general answer: chips placed by index arithmetic inside a plain `Rectangle`, wrapping at a column count, declaring a width that depends on the columns rather than on the number of choices. `Segmented` takes a `columns` property and uses it when asked — zero, one row however many chips, stays the settings page's behaviour, where the page is full-width and reading the alternatives side by side is the whole argument for chips over a dropdown. The generated enum rows and the curve-channel picker now wrap at three, and the crop ratio chips use the shared grid instead of the private copy of it they shipped with last week. The column measures 351 now, down from 482, and what sets it is the mode strip rather than a parameter — which is a control the user chose to have on screen rather than an accident of one node's variant list. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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bd33487054 |
Say which axis each export dimension is, in the one place that renders
The box modes put two numeric fields one above the other, and on screen they are two anonymous numbers: `TextRow` draws its label behind the field rather than above it, so "Width" and "Height" never appear. That fault is older than this feature — the storage panel's cache sizes have the same missing labels, and the single "Size value" row always did — and it belongs in its own change rather than being fixed under cover of this one. But one unlabelled number is survivable and two are not, so the axis goes where the page does render it: the unit. It reads "3840 px wide" above "2160 px high", which is the sentence the user is trying to write anyway. The `label` bindings stay correct and stay where they are, so this becomes redundant rather than wrong the day `TextRow` is fixed. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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c38df01bf7 |
Hang the auto-crop off the slider's commit, not off the pointer passing over
The straighten auto-crop worked once and then stopped. It was keyed on `PlainSlider::drag-changed`, whose name is a lie inherited from what it forwards: `SliderTrack` defines `engaged` as `has-hover || claimed`, and it has to — a `Flickable` withholds the press for 100ms, so hover is the only signal that arrives in time to stand the scrolling ancestor down. That is the right definition for the job it was written for and the wrong one for this. Keyed on hover, the correction fires when the pointer first crosses the track — before anything has been dragged — and then does not fire again for as long as the pointer stays on it, however many times the angle is changed. Which is exactly what "it only works once" looks like. `SliderTrack` already publishes the signal this wants. `committed` fires on release, once per gesture, after the final `changed`, and its doc comment says so in as many words. It was simply not forwarded through `PlainSlider`, so it now is, and the geometry panel's callback is a `committed(float)` rather than a `drag-changed(bool)`. The angle needs no re-applying here: the track emits its last `changed` before it commits, so the value is already in the graph by the time this runs. What is left is the correction that has to happen exactly once. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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2c8768ac29 |
Lay the ratio chips out by hand, because Slint will not lay them out
The ratio chips shipped inside a `GridLayout` with `row` and `col`
computed from the repeater's index. It compiles. On screen every chip
piles into a single row that runs off the panel, and the terminal fills
with
Internal error in Slint: RepeatedItemTree::grid_layout_input_data()
not implemented
once per frame. A `for` inside a `GridLayout` is not supported, and
nothing says so until it is running.
A `HorizontalLayout` is not the answer either: six chips side by side
need over 400px, and this column's width is the largest width any panel
declares — so one row would widen every other panel in the application to
fit a control that is on screen only while cropping.
So the grid is arithmetic over the index inside a plain `Rectangle`. It
costs the layout engine nothing, it wraps a seventh ratio onto a third
row by itself, and — because a bare `Rectangle` declares no preferred
width — it takes the width the column already has instead of setting it.
The Portrait chip gets a container of its own for the same reason: a
`ChoiceChip` dropped straight into a `VerticalLayout` is stretched the
full width of the panel and reads as a button for the section rather than
as one more chip.
The three conditional pieces are also now individually-conditional
children of the one layout rather than a nested layout under a single
`if`, which is the convention `app.slint` and `masks.slint` already carry
notes about: a conditional nested layout under-reports its height here
and the panels below it draw on top of one another.
All of this was invisible in the source and obvious in a screenshot.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
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dtourolleandClaude Opus 5
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52c655e6cf |
Turn the ratio lock with the photograph when it is turned
A quarter turn carries the crop with it — that is what makes turning a photograph keep its composition rather than sliding the selection onto a different part of the picture. So a rect locked to 16:9 comes out of the turn at 9:16, of a frame whose axes have also swapped, and the lock was left claiming landscape over a portrait rect. The next drag would then snap it back upright and undo what the turn had just done. The orientation switch now turns with it, on odd numbers of quarters. `Original` is deliberately excluded, and getting that wrong flips it twice: it is resolved against the framed size every time it is asked for, and the turn has already swapped that frame's axes — so it has turned by the time anything asks. `turns_with_the_frame` is the one predicate that separates the two cases, with a test that pins both. `CropAspect` arrived without tests of its own; it has them now, including the round trip this fixes. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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3bb68cff69 |
Export at an exact resolution, and offer the panels worth naming
Export sizing could bound an image but not fix it. Long edge, short edge and percentage all preserve the aspect ratio by letting one dimension fall where it may, which is right for most work and useless against a display that accepts one resolution and rejects everything else — a television's art mode, a digital frame, a wallpaper slot. FR-EXP-3 has always listed both halves of the answer, and this adds them. **Fit box** scales to fit inside a width and height, so nothing is thrown away and the result is smaller than the box on one axis unless the crop already matches it. **Fill box** scales to cover the box and cuts the overhang off the middle, so the file is exactly the pixels asked for. Fill is the only mode in the file that discards image data, so two things about it are worth stating. The overhang comes off symmetrically: the crop tool is where a photographer decides which part of a frame survives, and this stage having an opinion of its own would fight it. And locking the crop to the same ratio leaves nothing here to cut, which is the workflow the two features are meant to be used in. With upscaling off and a source too small to cover, a fill box keeps its *shape* rather than falling back to the source's: exporting a 3:2 file where 16:9 was asked for is silently wrong in exactly the way the mode exists to prevent, so the box shrinks instead. The existing rule — clamp, never fail — is otherwise unchanged. Four panel sizes are offered as buttons beside the fields. Getting 3840 x 2160 by typing four digits twice is a step at which the mistake is discovered after the upload rather than before it. They fill in the numbers and nothing else, in particular not the fit/fill choice: both are legitimate against a screen, and guessing would discard the edges of a photograph for a user who wanted them. The list is panels rather than platforms, because a screen has one exact pixel count for ever where "what a photo site wants" would rot in the file. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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d9eb8faffd |
Crop away the corners a straighten exposed, once the slider is let go
Turning a rectangle inside its own bounds exposes its corners: there is no source pixel out there, and the shader renders it black. Nothing in the render prevents that, deliberately — a free angle does not change the output size, which is what leaves the frame where the user put it while the slider moves. Correct during the drag; four black wedges on the finished photograph. Letting go of the slider now pulls the crop inside the area the angle leaves defined. `Framing::max_inscribed_crop` already computed that bound and had no caller; this is the caller its doc comment described. **Once, at the end of the gesture.** Applied per frame it would shrink the crop on every step of the slider and never grow it back, so a user who overshot to 20° and came back to 3° would be left with a crop ratcheted down by the excursion rather than by the angle they settled on. Per gesture it is bounded by the angles actually rested at, and undo steps back through them. **The crop is fitted into the bound, not replaced by it.** A crop placed deliberately off-centre is a decision, and an automatic correction that recentred it would undo the user's work to fix a problem they did not have. `CropRect::fitted_into` scales only as far as the bound demands and then slides the rect the shortest distance needed to be inside — so a ratio locked in the crop panel survives the straighten too, since the shape is never touched. It returns the rect unchanged, bit for bit, when nothing needed to move. That matters more than it looks: this runs on every release of the slider, including releases at zero, and a rect that drifted by a rounding error each time would be an edit recorded for no reason. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |
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dtourolleandClaude Opus 5
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e6ad906bc1 |
Let the crop be held to a ratio while it is dragged
A photographer cropping for a print, a phone wallpaper or a 16:9 frame is not choosing four edges — they are choosing one edge and a known shape. Free-dragging every corner made them do that arithmetic by eye on every drag, and get it slightly wrong. The panel now offers Free, Original, 1:1, 3:2, 4:3 and 16:9, with a Portrait switch for the ones that have two orientations. Original follows the frame rather than naming a number, so it stays right on the next photograph from another body and after a quarter turn. **The ratio is of output pixels, and the rect is not.** `CropRect` is stored in fractions of a frame that is not itself square, so holding a shape needs the frame's size — `ratio * height / width` of the frame. Skipping that gives a "1:1" crop that is square only on a square photograph, which is the one case nobody would test on, so the conversion lives in `CropRect::with_aspect` where it is explained and pinned by a test that asserts the fractions are *not* equal. Two decisions worth recording: The reshaped rect **grows** onto the ratio rather than shrinking onto it, then scales down only as far as the frame's edge demands. Fitting inside instead makes a one-axis drag do nothing at all — the other axis clamps the first straight back, and the handle simply refuses to move. The overlay now reports **which corner the drag is holding**, because reshaping onto a ratio has to know which corner is nailed down and only the handle that took the press knows that. A move reports no corner and keeps its shape: reshaping about a centre would pull an over-moved rect smaller instead of sliding it along the edge. The lock lives with the window rather than the session. A `DevelopSession` is per image, and cropping a set of frames to one shape is exactly when the lock earns its place. It is not an edit and reaches no sidecar — what is saved is the rectangle it produced. Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com> |