davinci-resolve-mcp 2.191.0 → 2.192.0

package/CHANGELOG.md

@@ -2,6 +2,30 @@
 
 Release history for the DaVinci Resolve MCP Server. The latest release is summarized in the root README; older entries live here to keep the README focused.
 
+## What's New in v2.192.0 — E140: a .drt retime decodes to its speed
+
+### Added
+
+- **A `.drt` retime decodes to its speed.** The keyed `MediaTimemapBA`
+  (`Sm2TimeMap`) that E139 could only flag now reads through the DRP library's
+  `decodeTimemap`, the same reader the `.drp` side uses: the keyframe slope is
+  the speed ratio, `XMax 60000` with a zero slope is the freeze sentinel, a
+  negative slope is a reverse. The parser's `timemap` becomes an object
+  (`kind` linear | linear-multi | constant | variable | freeze | unknown,
+  `speed`, `reverse`, durations, ramp `segments`), and a DRT event carries
+  `speed` in the percent every other parser speaks with `srcOut` following the
+  record window at that speed; a freeze is the zero-speed in==out event; a map
+  the decoder cannot read stays `speed`/`srcOut` null + `retimeUnknown`, never
+  a faked 100%. Measured on the real REEL_02 export: all four retimed clips
+  read 80, and their `srcOut` lands frame for frame on what Premiere wrote for
+  the same cuts (42423, 41949, 42178, 42178); the Black Video generator reads
+  as a freeze; the tail leader reads as a reverse; nothing is left unknown.
+
+### Measured (filed in api-limitations)
+
+- A 19.1.3.7 EXPORT_DRT writes `KeyframesBA` in the protobuf point form, not
+  the keyed-dict form its XMEML retime import writes; both decode.
+
 ## What's New in v2.191.0 — E139: a .drt timeline walks into events; two Resolve versions diff
 
 ### Added

package/README.md

@@ -2,7 +2,7 @@
 
 English | [简体中文](README.zh-CN.md)
 
-[![Version](https://img.shields.io/badge/version-2.191.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
+[![Version](https://img.shields.io/badge/version-2.192.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
 [![npm](https://img.shields.io/npm/v/davinci-resolve-mcp.svg?label=npm&color=CB3837)](https://www.npmjs.com/package/davinci-resolve-mcp)
 [![API Coverage](https://img.shields.io/badge/API%20Coverage-100%25-brightgreen.svg)](docs/reference/api-coverage.md)
 [![Tools](https://img.shields.io/badge/MCP%20Tools-36%20(353%20full)-blue.svg)](#server-modes)

package/README.zh-CN.md

@@ -2,7 +2,7 @@
 
 [English](README.md) | 简体中文
 
-[![Version](https://img.shields.io/badge/version-2.191.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
+[![Version](https://img.shields.io/badge/version-2.192.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
 [![npm](https://img.shields.io/npm/v/davinci-resolve-mcp.svg?label=npm&color=CB3837)](https://www.npmjs.com/package/davinci-resolve-mcp)
 [![API Coverage](https://img.shields.io/badge/API%20Coverage-100%25-brightgreen.svg)](docs/reference/api-coverage.md)
 [![Tools](https://img.shields.io/badge/MCP%20Tools-36%20(353%20full)-blue.svg)](#服务器模式)
@@ -12,7 +12,7 @@
 [![Python](https://img.shields.io/badge/python-3.10+-green.svg)](https://www.python.org/downloads/)
 [![License](https://img.shields.io/badge/license-MIT-blue.svg)](https://opensource.org/licenses/MIT)
 
-> 本翻译对应 v2.191.0 版 README。如与英文原版有出入，以 [英文原版](README.md) 为准。
+> 本翻译对应 v2.192.0 版 README。如与英文原版有出入，以 [英文原版](README.md) 为准。
 
 一个 Model Context Protocol (MCP) 服务器，让 AI 助手通过官方脚本 API 控制 DaVinci Resolve Studio（达芬奇）。它提供完整的 API 覆盖，外加带护栏的工作流助手，涵盖剪辑、媒体池整理、渲染设置、审阅标记、调色、Fusion、Fairlight、项目生命周期任务、扩展开发，以及不碰源媒体的媒体分析。
 

package/docs/reference/api-limitations.md

@@ -305,8 +305,8 @@ equivalent, blocking full automation.
 
 - **Object:** `Timeline`
 - **Signature:** `(filePath, EXPORT_DRT) -> bool`
-- **Behavior:** Measured on a Studio 19.1.3.7 export of a 229-clip reel (E139). A SeqContainer clip (Sm2TiVideoClip / Sm2TiAudioClip) carries its record window as <Start> and <Duration> (frames, absolute), its SOURCE in-point as <In> (frames) — written EMPTY (<In/>) on every audio clip and on generator tails — <MediaFilePath>, <MediaStartTime> (seconds), <MediaFrameRate> as a 16-hex blob = one little-endian IEEE double + 8 pad bytes (24.0 = 0000000000003840…), and <MediaTimemapBA>: tag byte 0x02 + one double (the media length in seconds) on a 100% clip, a keyed curve opening 00000001… on a retimed clip and on generators. An Sm2TiTransition sits in the same <Items> list as the clips with <Start>/<Duration> (its span), <PrettyType> (Cross Dissolve), <AlignmentType> and <Position>: type 2 centres the span on the cut, type 3 ends it at the cut (11/11 witnessed against the clip edges; the one-sided 8-frame fade-in is type 3 / Position 1). The container carries NO frame rate, start or resolution — they live in the pool folder's embedded Sm2Sequence: <FrameRate> (LE double blob), <MediaExtents> = two LE doubles, record start SECONDS then duration SECONDS (7192.0 → frame 172608 = 01:59:52:00 at 24), <Resolution> = two big-endian uint64, width then height.
-- **Workaround / current handling:** Read record timing from Start/Duration, source in from In (null when empty — do not fake 0 silently), fps and start from the pool sequence (frames = round(seconds × fps)); treat a curve timemap as a retime whose speed is not decoded here (speed null) rather than 100%. The parser exposes these and editorial.parse_interchange {format:'drt', content: PATH} walks one timeline into normalized events so two timeline versions diff through turnover_changelist (v19 vs v20 of a real reel: identical, 229 of 229 retained).
+- **Behavior:** Measured on a Studio 19.1.3.7 export of a 229-clip reel (E139). A SeqContainer clip (Sm2TiVideoClip / Sm2TiAudioClip) carries its record window as <Start> and <Duration> (frames, absolute), its SOURCE in-point as <In> (frames) — written EMPTY (<In/>) on every audio clip and on generator tails — <MediaFilePath>, <MediaStartTime> (seconds), <MediaFrameRate> as a 16-hex blob = one little-endian IEEE double + 8 pad bytes (24.0 = 0000000000003840…), and <MediaTimemapBA>: tag byte 0x02 + one double (the media length in seconds) on a 100% clip, a keyed Sm2TimeMap opening 00000001… on a retimed clip and on generators — its KeyframesBA is the protobuf point form (NOT the keyed-dict form a 19.1.3.7 XMEML retime import writes) and decodes with the DRP library's decodeTimemap: the keyframe slope is the speed (0.79999 on all four retimed clips of a real reel = Premiere's 80 for the same cuts, srcOut = In + round(Duration × 0.8) matching Premiere's frame for frame), XMax 60000 with a zero slope is the freeze sentinel (a Black Video generator), a negative slope is a reverse (a reversed tail leader). An Sm2TiTransition sits in the same <Items> list as the clips with <Start>/<Duration> (its span), <PrettyType> (Cross Dissolve), <AlignmentType> and <Position>: type 2 centres the span on the cut, type 3 ends it at the cut (11/11 witnessed against the clip edges; the one-sided 8-frame fade-in is type 3 / Position 1). The container carries NO frame rate, start or resolution — they live in the pool folder's embedded Sm2Sequence: <FrameRate> (LE double blob), <MediaExtents> = two LE doubles, record start SECONDS then duration SECONDS (7192.0 → frame 172608 = 01:59:52:00 at 24), <Resolution> = two big-endian uint64, width then height.
+- **Workaround / current handling:** Read record timing from Start/Duration, source in from In (null when empty — do not fake 0 silently), fps and start from the pool sequence (frames = round(seconds × fps)); decode a keyed timemap to its speed (E140) and report a map the decoder cannot read as speed null rather than 100%. The parser exposes these and editorial.parse_interchange {format:'drt', content: PATH} walks one timeline into normalized events so two timeline versions diff through turnover_changelist (v19 vs v20 of a real reel: identical, 229 of 229 retained).
 - **Tags:** timeline, export, drt, interchange
 
 ### Timeline.Export EXPORT_EDL (video-only, reel AX, clip-name comments)

package/install.py

@@ -37,7 +37,7 @@ from src.utils.update_check import (
 
 # ─── Version ──────────────────────────────────────────────────────────────────
 
-VERSION = "2.191.0"
+VERSION = "2.192.0"
 # Only hard floor: mcp[cli] requires Python 3.10+. There is no upper bound —
 # Resolve's scripting bridge loads into newer interpreters on recent builds
 # (Python 3.14 verified against Resolve Studio 20.3.2). Older Resolve builds

package/package.json

@@ -1,6 +1,6 @@
 {
   "name": "davinci-resolve-mcp",
-  "version": "2.191.0",
+  "version": "2.192.0",
   "description": "NPM bootstrapper for the DaVinci Resolve MCP Server.",
   "license": "MIT",
   "author": "Samuel Gursky <samgursky@gmail.com>",

package/resolve-advanced/server/editorial.mjs

@@ -622,7 +622,9 @@ export function parseInterchange(format, content, opts = {}) {
  * <Start>/<Duration>, its source in-point <In> (EMPTY on audio clips and on
  * generator tails — reported srcInAbsent, never faked to 0 silently), its
  * media <MediaFilePath>; <MediaTimemapBA> tag 0x02 = linear 100%, a keyed
- * curve = a retime this reader does not decode (speed null + retimeUnknown);
+ * Sm2TimeMap decodes to the speed (E140: constant 80% on a real reel's four
+ * retimes = Premiere's 80; XMax 60000 + zero slope = freeze; negative = reverse;
+ * an unreadable map stays speed null + retimeUnknown);
  * Sm2TiTransition alignment 2 centres on the cut, 3 ends at it. Record
  * positions are sequence-relative (start frame subtracted), like every other
  * parser here; `startFrame` is returned beside the events.
@@ -651,16 +653,27 @@ export function drtEventsFromParsed(parsed, opts = {}) {
         const srcIn = c.in != null ? c.in : 0;
         const media = c.mediaFilePath || null;
         const isGen = !media && !c.compound;
+        // E140: the decoded Sm2TimeMap gives the speed. A ratio becomes the
+        // percent every other parser speaks (0.8 → 80); the source OUT follows
+        // the record window at that speed (37 record frames × 0.8 = 30 source
+        // frames — the same srcOut Premiere wrote for the same cut); a freeze
+        // is the zero-speed in==out event the other parsers emit; a map the
+        // decoder could not read stays speed/srcOut null + retimeUnknown.
+        const tm = c.timemap && typeof c.timemap === 'object' ? c.timemap : null;
+        const kind = tm ? tm.kind : (c.timemap === 'curve' ? 'unknown' : 'linear');
+        let speed = 100, srcOut = srcIn + c.duration, unknown = false;
+        if (kind === 'freeze') { speed = 0; srcOut = srcIn; }
+        else if (kind === 'constant' || kind === 'variable') { speed = Math.round(tm.speed * 10000) / 100; srcOut = srcIn + Math.round(c.duration * tm.speed); }
+        else if (kind === 'unknown') { speed = null; srcOut = null; unknown = true; }
         const ev = {
           index: index++, track: label, source: media ? base(media, c.name) : (c.name || 'BL'),
-          // A keyed speed curve makes the source OUT unknowable here — null, never
-          // srcIn + duration as if it played at 100%.
-          srcIn, srcOut: c.timemap === 'curve' ? null : srcIn + c.duration, recIn: c.start - startFrame, recOut: c.start - startFrame + c.duration,
-          speed: c.timemap === 'curve' ? null : 100, reverse: false, transition: null, fps,
+          srcIn, srcOut, recIn: c.start - startFrame, recOut: c.start - startFrame + c.duration,
+          speed, reverse: Boolean(tm && tm.reverse), transition: null, fps,
         };
         if (media) ev.sourcePath = media;
         if (c.in == null) ev.srcInAbsent = true;
-        if (c.timemap === 'curve') ev.retimeUnknown = true;
+        if (unknown) ev.retimeUnknown = true;
+        if (kind === 'variable') { ev.variableSpeed = true; ev.retimeSegments = tm.segments; }
         if (c.compound) ev.compound = c.compound;
         if (isGen) ev.generatorName = c.name || null;
         events.push(ev);

package/resolve-advanced/server/tools/editorial.mjs

@@ -87,7 +87,7 @@ const markerSchema = z.object({
 export const editorialTool = {
   name: 'editorial',
   description:
-    'Editorial integrity (Cluster E) — turnover interchange → normalized events → changelist + conform manifest with TIMING silent-lie guards (flattened retime / dropped J/L-cut audio / framerate-pulldown slip / reverse dropped / transition-handle starvation → flag, skip-not-fake). Report-only (gate: review). Actions: parse_interchange (EDL/OTIO/XMEML natively — incl. Resolve-written OTIO generator clips (a Solid Color is a Clip with a NULL media_reference; it walks as a BL leg with generatorName, and an OTIO GeneratorReference carries its colour) and nested OTIO Stacks (compound clips — Resolve\'s writer nests them with a trim window) FLATTEN into record time with fromCompound on each cut, so Resolve\'s own OTIO exports re-conform (its FCP7 XML writer flattens a compound to ONE media-less clipitem instead — tagged `compound`, which the bridge drops with a reason in unresolvedCompounds unless the sourceMap maps the compound name to a flattened media file), Resolve-written FCP7 -1 junction edges (paired in record order) + Solid Color / Color Matte generators carrying their `fillcolor` (BL legs with `color` → fade-to-white and colour mattes author, E110), XMEML audio-track transitionitems as audio cross-fades on numbered lanes A/A2/…, and CMX FROM/TO CLIP NAME comments over the generic AX reel — + AAF via pyaaf2 (flat sound/picture slots number A/A2/… and V/V2/… in slot order so separate beds keep their lanes; NestedScope layers keep layer numbering; a NESTED SEQUENCE used as a clip — a SourceClip referencing a named CompositionMob — flattens through its reference window with fromCompound, like OTIO Stacks) + PRPROJ via gunzip+XML (real Premiere 2025 files — uuid ObjectUID/ObjectURef graph, TrackGroups, ClipTrackItem→SubClip→VideoClip→MediaSource→Media chain, zeros written as absence — and the legacy ObjectID/VideoTracks shape both walk; measured on a 739-sequence turnover that used to list ZERO; a NESTED SEQUENCE used as a clip — Source = Video/AudioSequenceSource → Sequence — flattens through its in-point window with fromCompound, like OTIO Stacks and AAF nested compositions; 13,711 such events on one real reels project; real transitions live in the track\'s TransitionItems list — read alongside ClipItems, attached with their DisplayName as type, HasOutgoingClip/HasIncomingClip false = fade from/to black or silence; tracks number as lanes V/V2…/A/A2… and a flattened nested sequence\'s inner lanes first-fit above what the parent already stacks — laneShift records the shift; markers are the sequence\'s OWN, read from Premiere\'s DVAMarker JSON) → normalized events incl. span-explicit transitions, BL fade legs, and freezes as zero-speed events (OTIO FreezeFrame, XMEML timeremap 0, PrProj in==out, AAF 0% motion effects); for AAF/PRPROJ/DRT/DRP pass the file PATH as content; DRT/DRP walk ONE timeline (`timeline` = pool name or index; default the first timeline-kind container) into events with sequence-relative record positions + the returned startFrame/startTimecode/fps read from the pool sequence — <In> is the source in-point (EMPTY on real audio clips → srcInAbsent), a keyed MediaTimemapBA curve is a retime this reader does not decode (speed null + retimeUnknown, never faked to 100%), Sm2TiTransition alignment 2 centres on the cut and 3 ends at it — so two Resolve timeline VERSIONS diff through turnover_changelist (E139); AAF also returns per-sequence startTimecode/startFrame — build the timeline at THAT start, not the Resolve 01:00:00:00 default — and per-clip `geometry` for Avid transform effects), list_sequences (ONE offline picker entry point across xml/edl/otio/drt/drp/aaf/prproj → [{id,name,eventCount}], plus startTimecode/startFrame for AAF and nestedIn — an AAF composition another composition uses as a clip is NESTED in it; offer the parent, its cuts arrive flattened), convert_to_interchange (author OTIO/EDL/DRT Resolve CAN import from events or a parsed source; the EDL target writes CMX transition pairs incl. BL fades — the .prproj→Resolve conform bridge, no Premiere needed; editorial timing/transitions survive and per-clip effects/color do not. SPEED/REVERSE survive on the otio (LinearTimeWarp) and edl (M2) targets ONLY — this FLAT drt target flattens every retime to 100% forward and returns `flattened`/`flattenedCount` naming each event that lost one (`flattened` is always present on `drt`, empty when there were none); for a .drt that AUTHORS retimes/dissolves/multi-track/audio, use drt.assemble_from_interchange), turnover_changelist (diff old vs new → a SHAPE verdict first — identical | subset (new keeps some of old\'s cuts unchanged in place and nothing else: a patch/selects reel of the same cut, NOT N deletions; a real Premiere auto-save kept 3 of 335) | superset (the reverse) | edit — with retained/oldCuts/newCuts, `sparse` and the retainedWindows for subset/superset, a transition that vanished or appeared with the cuts it joins counting as a consequence not an edit; then moved/retimed/trimmed/replaced/new/gone PLUS the junction diff: transition_added/transition_dropped/transition_changed with fade in/out or dissolve, outgoing/incoming, span and duration/type/pre-roll deltas — zero-length CMX carrier lines and the BL legs that carry fades fold into the junction diff instead of reading as gone/new sources; events pair by closest record position, consumed once, so a source cut twice at two speeds compares instance to instance; + timing flags incl. transition_dropped and dropped_split_audio on any A-track; a compound seen collapsed in one cut and flattened in the other reports compound_collapsed/compound_expanded once, never replaced+gone), conform_manifest (per-event assert: source resolved/handles/retime/reverse/TC-base; BL-aware — black legs need no source, fades no black-side handles, and a fade-out tail requirement lands on the picture source; a compound clipitem fails source_resolved by NAME with the remedy — map it to a flattened file or turn over as OTIO), marker_roundtrip (markers with provenance tags), verify_roundtrip (input events vs re-export events -> pass/mismatches + fitted per-source TC offsets + marker compare w/ markersNotInExport honesty flag; FADE-AWARE: BL/Solid-Color legs merge out as blackSegments and fade-window boundary reshapes are excused into fadeReshapedBoundaries instead of failing; RETIME-AWARE: speed/reverse compare pairwise — EXPORT_OTIO carries an authored Sm2TimeMap back as LinearTimeWarp (measured), so a flattened/lost retime fails as drift geometry alone cannot catch; AUDIO-AWARE: declared audio events compare (a video-only export such as EXPORT_EDL flags audioNotInExport instead of failing) (channel legs deduped, mismatches tagged trackType audio) while the mirrored-A1 export of a video-only turnover stays informational; COLOUR-AWARE: an input generator leg carrying a fillcolor (fade-to-white, colour matte) must come back on the same track over its span with the same colour — Resolve\'s FCP7 writer emits it — else generator-colour fails (generatorColours reports the compare) — pass exportedFormat: an OTIO/EDL re-export cannot carry colour (measured) and reports generatorColourNotInExport instead of failing; COMPOUND-AWARE: an XML re-export that collapsed a compound to one clipitem over cuts the input flattened from that compound reports compoundsCollapsedInExport instead of count/source drift; the conform QC loop-closer). Offline (AAF needs pyaaf2; live AAF/DRP import is on the Python davinci-resolve MCP).',
+    'Editorial integrity (Cluster E) — turnover interchange → normalized events → changelist + conform manifest with TIMING silent-lie guards (flattened retime / dropped J/L-cut audio / framerate-pulldown slip / reverse dropped / transition-handle starvation → flag, skip-not-fake). Report-only (gate: review). Actions: parse_interchange (EDL/OTIO/XMEML natively — incl. Resolve-written OTIO generator clips (a Solid Color is a Clip with a NULL media_reference; it walks as a BL leg with generatorName, and an OTIO GeneratorReference carries its colour) and nested OTIO Stacks (compound clips — Resolve\'s writer nests them with a trim window) FLATTEN into record time with fromCompound on each cut, so Resolve\'s own OTIO exports re-conform (its FCP7 XML writer flattens a compound to ONE media-less clipitem instead — tagged `compound`, which the bridge drops with a reason in unresolvedCompounds unless the sourceMap maps the compound name to a flattened media file), Resolve-written FCP7 -1 junction edges (paired in record order) + Solid Color / Color Matte generators carrying their `fillcolor` (BL legs with `color` → fade-to-white and colour mattes author, E110), XMEML audio-track transitionitems as audio cross-fades on numbered lanes A/A2/…, and CMX FROM/TO CLIP NAME comments over the generic AX reel — + AAF via pyaaf2 (flat sound/picture slots number A/A2/… and V/V2/… in slot order so separate beds keep their lanes; NestedScope layers keep layer numbering; a NESTED SEQUENCE used as a clip — a SourceClip referencing a named CompositionMob — flattens through its reference window with fromCompound, like OTIO Stacks) + PRPROJ via gunzip+XML (real Premiere 2025 files — uuid ObjectUID/ObjectURef graph, TrackGroups, ClipTrackItem→SubClip→VideoClip→MediaSource→Media chain, zeros written as absence — and the legacy ObjectID/VideoTracks shape both walk; measured on a 739-sequence turnover that used to list ZERO; a NESTED SEQUENCE used as a clip — Source = Video/AudioSequenceSource → Sequence — flattens through its in-point window with fromCompound, like OTIO Stacks and AAF nested compositions; 13,711 such events on one real reels project; real transitions live in the track\'s TransitionItems list — read alongside ClipItems, attached with their DisplayName as type, HasOutgoingClip/HasIncomingClip false = fade from/to black or silence; tracks number as lanes V/V2…/A/A2… and a flattened nested sequence\'s inner lanes first-fit above what the parent already stacks — laneShift records the shift; markers are the sequence\'s OWN, read from Premiere\'s DVAMarker JSON) → normalized events incl. span-explicit transitions, BL fade legs, and freezes as zero-speed events (OTIO FreezeFrame, XMEML timeremap 0, PrProj in==out, AAF 0% motion effects); for AAF/PRPROJ/DRT/DRP pass the file PATH as content; DRT/DRP walk ONE timeline (`timeline` = pool name or index; default the first timeline-kind container) into events with sequence-relative record positions + the returned startFrame/startTimecode/fps read from the pool sequence — <In> is the source in-point (EMPTY on real audio clips → srcInAbsent), a keyed MediaTimemapBA Sm2TimeMap decodes to the speed (E140: the four retimed clips of a real reel read 80 — Premiere\'s 80 for the same cuts — with srcOut following the record window at that speed; XMax 60000 + zero slope = a freeze → the zero-speed in==out event; a negative slope = reverse; a map the decoder cannot read stays speed null + retimeUnknown, never faked to 100%), Sm2TiTransition alignment 2 centres on the cut and 3 ends at it — so two Resolve timeline VERSIONS diff through turnover_changelist (E139); AAF also returns per-sequence startTimecode/startFrame — build the timeline at THAT start, not the Resolve 01:00:00:00 default — and per-clip `geometry` for Avid transform effects), list_sequences (ONE offline picker entry point across xml/edl/otio/drt/drp/aaf/prproj → [{id,name,eventCount}], plus startTimecode/startFrame for AAF and nestedIn — an AAF composition another composition uses as a clip is NESTED in it; offer the parent, its cuts arrive flattened), convert_to_interchange (author OTIO/EDL/DRT Resolve CAN import from events or a parsed source; the EDL target writes CMX transition pairs incl. BL fades — the .prproj→Resolve conform bridge, no Premiere needed; editorial timing/transitions survive and per-clip effects/color do not. SPEED/REVERSE survive on the otio (LinearTimeWarp) and edl (M2) targets ONLY — this FLAT drt target flattens every retime to 100% forward and returns `flattened`/`flattenedCount` naming each event that lost one (`flattened` is always present on `drt`, empty when there were none); for a .drt that AUTHORS retimes/dissolves/multi-track/audio, use drt.assemble_from_interchange), turnover_changelist (diff old vs new → a SHAPE verdict first — identical | subset (new keeps some of old\'s cuts unchanged in place and nothing else: a patch/selects reel of the same cut, NOT N deletions; a real Premiere auto-save kept 3 of 335) | superset (the reverse) | edit — with retained/oldCuts/newCuts, `sparse` and the retainedWindows for subset/superset, a transition that vanished or appeared with the cuts it joins counting as a consequence not an edit; then moved/retimed/trimmed/replaced/new/gone PLUS the junction diff: transition_added/transition_dropped/transition_changed with fade in/out or dissolve, outgoing/incoming, span and duration/type/pre-roll deltas — zero-length CMX carrier lines and the BL legs that carry fades fold into the junction diff instead of reading as gone/new sources; events pair by closest record position, consumed once, so a source cut twice at two speeds compares instance to instance; + timing flags incl. transition_dropped and dropped_split_audio on any A-track; a compound seen collapsed in one cut and flattened in the other reports compound_collapsed/compound_expanded once, never replaced+gone), conform_manifest (per-event assert: source resolved/handles/retime/reverse/TC-base; BL-aware — black legs need no source, fades no black-side handles, and a fade-out tail requirement lands on the picture source; a compound clipitem fails source_resolved by NAME with the remedy — map it to a flattened file or turn over as OTIO), marker_roundtrip (markers with provenance tags), verify_roundtrip (input events vs re-export events -> pass/mismatches + fitted per-source TC offsets + marker compare w/ markersNotInExport honesty flag; FADE-AWARE: BL/Solid-Color legs merge out as blackSegments and fade-window boundary reshapes are excused into fadeReshapedBoundaries instead of failing; RETIME-AWARE: speed/reverse compare pairwise — EXPORT_OTIO carries an authored Sm2TimeMap back as LinearTimeWarp (measured), so a flattened/lost retime fails as drift geometry alone cannot catch; AUDIO-AWARE: declared audio events compare (a video-only export such as EXPORT_EDL flags audioNotInExport instead of failing) (channel legs deduped, mismatches tagged trackType audio) while the mirrored-A1 export of a video-only turnover stays informational; COLOUR-AWARE: an input generator leg carrying a fillcolor (fade-to-white, colour matte) must come back on the same track over its span with the same colour — Resolve\'s FCP7 writer emits it — else generator-colour fails (generatorColours reports the compare) — pass exportedFormat: an OTIO/EDL re-export cannot carry colour (measured) and reports generatorColourNotInExport instead of failing; COMPOUND-AWARE: an XML re-export that collapsed a compound to one clipitem over cuts the input flattened from that compound reports compoundsCollapsedInExport instead of count/source drift; the conform QC loop-closer). Offline (AAF needs pyaaf2; live AAF/DRP import is on the Python davinci-resolve MCP).',
   async handler({ action, args }) {
     if (action === 'parse_interchange') {
       const p = parseSchema.parse(args);

package/resolve-advanced/vendor/drt-format/drt-parser.js

@@ -56,17 +56,39 @@ function beUint64(hex, offset = 0) {
   const v = Number(Buffer.from(h.slice(offset, offset + 16), 'hex').readBigUInt64BE(0));
   return Number.isFinite(v) ? v : null;
 }
-// <MediaTimemapBA>: tag byte 0x02 + one double = a LINEAR (100%) clip whose
-// double is the media length in seconds; a blob opening 00000001… is a keyed
-// speed CURVE (retime) whose speed this parser does not decode — it is
-// reported as 'curve' so a consumer never fakes 100%.
-function timemapKind(hex) {
+// <MediaTimemapBA> (E139/E140): tag byte 0x02 + one double = a LINEAR (100%)
+// clip whose double is the media length in seconds; a keyed Sm2TimeMap
+// (00000001…) is a speed map. E140 decodes it through the DRP library's
+// decodeTimemap (the same reader the .drp side uses): the keyframe slope is
+// the speed ratio (0.8 on all four retimed clips of a real reel — Premiere's
+// 80 for the same cuts), XMax 60000 with a zero slope is the FREEZE sentinel,
+// a negative slope is a reverse. A map the decoder cannot read is 'unknown',
+// never a faked 100%.
+const FREEZE_XMAX_SENTINEL = 60000;
+function decodeTimemapField(hex) {
   const h = String(hex || '').replace(/[^0-9a-fA-F]/g, '').toLowerCase();
   if (!h) return null;
-  if (h.startsWith('02') && h.length === 18) return 'linear';
-  if (h.startsWith('02')) return 'linear-multi';
-  if (h.startsWith('00000001')) return 'curve';
-  return 'unknown';
+  if (h.startsWith('02')) {
+    return { form: 'identity', kind: h.length === 18 ? 'linear' : 'linear-multi', speed: 1, reverse: false };
+  }
+  let d;
+  try {
+    d = require('../drp-format/media-timemap').decodeTimemap(h);
+  } catch {
+    return { form: 'retimed', kind: 'unknown', speed: null, reverse: false };
+  }
+  if (!d || d.form !== 'retimed') return { form: 'retimed', kind: 'unknown', speed: null, reverse: false };
+  const slope = d.segments && d.segments.length ? d.segments[0].speed : null;
+  const base = { form: 'retimed', recordDurationSec: d.recordDurationSec ?? null, sourceDurationSec: d.sourceDurationSec ?? null };
+  if (d.recordDurationSec === FREEZE_XMAX_SENTINEL && slope === 0) return { ...base, kind: 'freeze', speed: 0, reverse: false };
+  if (!Number.isFinite(slope) || slope === 0 || Math.abs(slope) > 100) return { ...base, kind: 'unknown', speed: null, reverse: false };
+  return {
+    ...base,
+    kind: d.variable ? 'variable' : 'constant',
+    speed: Math.abs(slope),
+    reverse: slope < 0,
+    ...(d.variable ? { segments: d.segments } : {}),
+  };
 }
 // Sm2TiTransition alignment (E139, witnessed against the cut points of 11
 // real dissolves): 2 = centred on the cut, 3 = ends at the cut (the
@@ -124,7 +146,7 @@ function extractClipsFromTrackXml(trackXml, trackType) {
       in: inRaw === null || inRaw === '' ? null : (Number.isFinite(Number.parseInt(inRaw, 10)) ? Number.parseInt(inRaw, 10) : null),
       mediaStartTime: mst === null || mst === '' ? null : (Number.isFinite(Number(mst)) ? Number(mst) : null),
       mediaFrameRate: leDouble(extractScalar(inner, 'MediaFrameRate')),
-      timemap: timemapKind(extractScalar(inner, 'MediaTimemapBA')),
+      timemap: decodeTimemapField(extractScalar(inner, 'MediaTimemapBA')),
       prettyType: extractScalar(inner, 'PrettyType') || null,
     });
   }

package/src/granular/common.py

@@ -87,7 +87,7 @@ if not logging.getLogger().handlers:
         handlers=[logging.StreamHandler()],
     )
 
-VERSION = "2.191.0"
+VERSION = "2.192.0"
 logger = logging.getLogger("davinci-resolve-mcp")
 logger.info(f"Starting DaVinci Resolve MCP Server v{VERSION}")
 logger.info(f"Detected platform: {get_platform()}")

package/src/server.py

@@ -11,7 +11,7 @@ Usage:
     python src/server.py --full       # Start the 353-tool granular server instead
 """
 
-VERSION = "2.191.0"
+VERSION = "2.192.0"
 
 import base64
 import os

package/src/utils/api_truth.py

@@ -2743,8 +2743,17 @@ API_TRUTH: List[Dict[str, Any]] = [
                    "little-endian IEEE double + 8 pad bytes (24.0 = "
                    "0000000000003840…), and <MediaTimemapBA>: tag byte 0x02 + "
                    "one double (the media length in seconds) on a 100% clip, a "
-                   "keyed curve opening 00000001… on a retimed clip and on "
-                   "generators. An Sm2TiTransition sits in the same <Items> "
+                   "keyed Sm2TimeMap opening 00000001… on a retimed clip and on "
+                   "generators — its KeyframesBA is the protobuf point form "
+                   "(NOT the keyed-dict form a 19.1.3.7 XMEML retime import "
+                   "writes) and decodes with the DRP library's decodeTimemap: "
+                   "the keyframe slope is the speed (0.79999 on all four "
+                   "retimed clips of a real reel = Premiere's 80 for the same "
+                   "cuts, srcOut = In + round(Duration × 0.8) matching "
+                   "Premiere's frame for frame), XMax 60000 with a zero slope "
+                   "is the freeze sentinel (a Black Video generator), a "
+                   "negative slope is a reverse (a reversed tail leader). An "
+                   "Sm2TiTransition sits in the same <Items> "
                    "list as the clips with <Start>/<Duration> (its span), "
                    "<PrettyType> (Cross Dissolve), <AlignmentType> and "
                    "<Position>: type 2 centres the span on the cut, type 3 ends "
@@ -2759,8 +2768,9 @@ API_TRUTH: List[Dict[str, Any]] = [
         "recommended": "Read record timing from Start/Duration, source in from "
                        "In (null when empty — do not fake 0 silently), fps and "
                        "start from the pool sequence (frames = round(seconds × "
-                       "fps)); treat a curve timemap as a retime whose speed is "
-                       "not decoded here (speed null) rather than 100%. The "
+                       "fps)); decode a keyed timemap to its speed (E140) and "
+                       "report a map the decoder cannot read as speed null "
+                       "rather than 100%. The "
                        "parser exposes these and editorial.parse_interchange "
                        "{format:'drt', content: PATH} walks one timeline into "
                        "normalized events so two timeline versions diff through "