davinci-resolve-mcp 2.194.0 → 2.195.0

package/CHANGELOG.md

@@ -2,6 +2,34 @@
 
 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 v2.195.0 — E143: a retimed DRT clip's source-in is record-domain
+
+### Fixed
+
+- **A retimed DRT clip's source-in is record-domain.** On a keyed
+  `Sm2TimeMap` Resolve's `<In>` indexes the source stretched by 1/speed (the
+  DRP library measured this live and writes `In = srcIn / speed` for exactly
+  that reason), so the first source frame a retimed clip shows is `In × speed`,
+  not `In`. E140 read `In` as a source frame, wrong by `(1/speed − 1) × In`:
+  10,537 frames on a real 80% clip. The DRT event now carries `srcIn = In ×
+  speed` (reverse: measured from the source tail), `srcOut` following at that
+  speed, and the raw value as `recordDomainIn`.
+- **Which meant a wrong "match".** Against the Premiere pix-lock, the hand
+  conform's four 80% layers had read as unchanged because its `In` values
+  equalled Premiere's source frames numerically — the very mistake: typing a
+  source frame straight into `In` of an 80% clip shows a frame 20% of `In`
+  earlier. Read correctly: the bridge-authored timeline (`In` 52682) matches
+  Premiere frame for frame on all four layers, and the hand conform (`In`
+  42145) shows source 33715 — 8,430 frames early — which the changelist now
+  reports as four trims. The media volume was offline in this session, so the
+  render witness for those four layers is owed; the law itself stands on the
+  DRP library's live measurement.
+
+### Measured (filed in api-limitations)
+
+- The record-domain `<In>` law on retimed clips, with both real timelines as
+  witnesses.
+
 ## What's New in v2.194.0 — E142: a cut re-aligned inside a dissolve is the same picture
 
 ### Added

package/README.md

@@ -2,7 +2,7 @@
 
 English | [简体中文](README.zh-CN.md)
 
-[![Version](https://img.shields.io/badge/version-2.194.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
+[![Version](https://img.shields.io/badge/version-2.195.0-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-2.194.0-blue.svg)](https://github.com/samuelgursky/davinci-resolve-mcp/releases)
+[![Version](https://img.shields.io/badge/version-2.195.0-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 v2.194.0 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 v2.195.0 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

@@ -305,7 +305,7 @@ 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 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.
+- **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). On a retimed clip <In> is RECORD-domain (E143): the map spans the whole source stretched by 1/speed and the clip windows into that, so the first source frame shown is In × speed — two timelines of the same reel carried the same 80% map with In 52682 (bridge-authored: source 42145, Premiere's frame) and In 42145 (hand conform: source 33716, 8,429 frames early). 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
 

package/install.py

@@ -37,7 +37,7 @@ from src.utils.update_check import (
 
 # ─── Version ──────────────────────────────────────────────────────────────────
 
-VERSION = "2.194.0"
+VERSION = "2.195.0"
 # 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": "2.194.0",
+  "version": "2.195.0",
   "description": "NPM bootstrapper for the DaVinci Resolve MCP Server.",
   "license": "MIT",
   "author": "Samuel Gursky <samgursky@gmail.com>",

package/resolve-advanced/server/editorial.mjs

@@ -624,7 +624,9 @@ export function parseInterchange(format, content, opts = {}) {
  * media <MediaFilePath>; <MediaTimemapBA> tag 0x02 = linear 100%, a keyed
  * 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);
+ * an unreadable map stays speed null + retimeUnknown) and, on a retime, <In> is
+ * RECORD-domain — the event's srcIn is In × speed (E143), with the raw value
+ * kept as recordDomainIn;
  * 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.
@@ -661,16 +663,33 @@ export function drtEventsFromParsed(parsed, opts = {}) {
         // 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;
+        // E143: on a keyed retime Resolve's <In> is RECORD-domain — the map
+        // spans the whole source stretched by 1/speed and the clip windows
+        // into that (measured live on 19.1.3.7; the bridge writes In =
+        // srcIn/speed for exactly this reason). The source frame the clip
+        // starts on is In × speed. Reading In as a source frame was wrong by
+        // (1/speed − 1) × In: 10,537 frames on a real 80% clip at In 52682.
+        // Reverse: the map descends from the source tail, In measures from
+        // the END — source start = sourceFrames − In×speed − duration×speed.
+        let speed = 100, srcOut = srcIn + c.duration, unknown = false, srcStart = srcIn;
         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 === 'constant' || kind === 'variable') {
+          speed = Math.round(tm.speed * 10000) / 100;
+          const span = Math.round(c.duration * tm.speed);
+          if (tm.reverse && tm.sourceDurationSec != null) {
+            const sourceFrames = Math.round(tm.sourceDurationSec * fps) + 1;
+            srcStart = Math.max(0, sourceFrames - Math.round(srcIn * tm.speed) - span);
+          } else srcStart = Math.round(srcIn * tm.speed);
+          srcOut = srcStart + span;
+        }
         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'),
-          srcIn, srcOut, recIn: c.start - startFrame, recOut: c.start - startFrame + c.duration,
+          srcIn: srcStart, 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 (srcStart !== srcIn) ev.recordDomainIn = srcIn;
         if (c.in == null) ev.srcInAbsent = true;
         if (unknown) ev.retimeUnknown = true;
         if (kind === 'variable') { ev.variableSpeed = true; ev.retimeSegments = tm.segments; }

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

@@ -90,7 +90,7 @@ 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 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; RELINK-AWARE (E141): sourceAliases ({from,to} | {pattern,replace}) rename old sources before pairing, a systematic rename is INFERRED from unpaired cuts sharing a record window (one-to-one, recurring or clearly the same name) and reported in sourceAliases — a real offline→online turnover paired 15 of 228 cuts until the "4K-2K" proxies aliased to the "4K" masters, then 186 — and a constant per-source source-window shift witnessed on ≥2 cuts is a TC REBASE (sourceTcOffsets), not trims; a cut moved INSIDE an unchanged dissolve span with the incoming\'s source-in and the outgoing\'s source-out sliding by the same delta is ONE junction_realigned (E142: Premiere keeps a fractional alignment, Resolve\'s conform re-centres it — 9 of 10 residual moves on a real reel were this; same picture, a consequence not an edit) and two labels of one transition family ("Cross Dissolve (Legacy)" vs "Cross Dissolve") are a relabel in transitionRelabels, so a picture-identical conform reads shape `equivalent`; 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 — and on a retime <In> is RECORD-domain (E143, measured live: the map spans the whole source stretched by 1/speed and the clip windows into that), so the event\'s srcIn is In × speed with the raw value kept as recordDomainIn; a hand conform that typed the source frame straight into In of an 80% clip shows a frame 20% of In earlier than intended, and this reader now says so; 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; RELINK-AWARE (E141): sourceAliases ({from,to} | {pattern,replace}) rename old sources before pairing, a systematic rename is INFERRED from unpaired cuts sharing a record window (one-to-one, recurring or clearly the same name) and reported in sourceAliases — a real offline→online turnover paired 15 of 228 cuts until the "4K-2K" proxies aliased to the "4K" masters, then 186 — and a constant per-source source-window shift witnessed on ≥2 cuts is a TC REBASE (sourceTcOffsets), not trims; a cut moved INSIDE an unchanged dissolve span with the incoming\'s source-in and the outgoing\'s source-out sliding by the same delta is ONE junction_realigned (E142: Premiere keeps a fractional alignment, Resolve\'s conform re-centres it — 9 of 10 residual moves on a real reel were this; same picture, a consequence not an edit) and two labels of one transition family ("Cross Dissolve (Legacy)" vs "Cross Dissolve") are a relabel in transitionRelabels, so a picture-identical conform reads shape `equivalent`; 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/src/granular/common.py

@@ -87,7 +87,7 @@ if not logging.getLogger().handlers:
         handlers=[logging.StreamHandler()],
     )
 
-VERSION = "2.194.0"
+VERSION = "2.195.0"
 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 = "2.194.0"
+VERSION = "2.195.0"
 
 import base64
 import os

package/src/utils/api_truth.py

@@ -2752,7 +2752,13 @@ API_TRUTH: List[Dict[str, Any]] = [
                    "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 "
+                   "negative slope is a reverse (a reversed tail leader). On a "
+                   "retimed clip <In> is RECORD-domain (E143): the map spans the "
+                   "whole source stretched by 1/speed and the clip windows into "
+                   "that, so the first source frame shown is In × speed — two "
+                   "timelines of the same reel carried the same 80% map with In "
+                   "52682 (bridge-authored: source 42145, Premiere's frame) and "
+                   "In 42145 (hand conform: source 33716, 8,429 frames early). An "
                    "Sm2TiTransition sits in the same <Items> "
                    "list as the clips with <Start>/<Duration> (its span), "
                    "<PrettyType> (Cross Dissolve), <AlignmentType> and "