The use of artificial intelligence in Adobe Photoshop is being increasingly expanded by developers. In the past, the Adobe Photoshop-AI model “Firefly” took centre stage. Two further models have been available in the beta version of the programme for a few weeks now:

• Flux.kontext Pro from Black Forrest Labs
• Nano Banana from Google

Both models have so far been able to prove their efficiency, which is impressively demonstrated by many examples on the Internet. Changing people’s clothes or manipulating the scene view are just two examples. In Photoshop, they are activated via the options in the context-sensitive taskbar. This works after selecting the entire image or an area. In contrast to Firefly, Photoshop only produces one result with the two new models.
Apart from the familiar use cases, the AI provides support when working on projects in the areas of graphic design, matte paint or concept art.

Transforming scenes in Photoshop

The use of stock photos in productions is a normal process. The same motif at a different time of year or day is usually not available. This is where Nano Banana from Google can help. It allows the scene to be quickly adapted to the production management’s specifications. This is achieved with a simple prompt. In the example, a night scene is created from an existing recording:

Turn in a night scene

The method allows the uncomplicated creation of material for virtual TV sets or documentaries.

Transforming Text in Photoshop

“Flux.kontext Pro” is known for changing text in photos without manipulating the font or changing the character of the overall impression. The artist then corrects errors in product designs with just a few mouse clicks. A time-consuming subsequent photo shoot is not necessary. Alternatively, product names with different international designations can be created for motion graphics. These can be used flexibly later in production.

Both steps described with light and fonts can be combined. In practice, it has been shown that changes to the text with the Black Forrest AI should be performed in the first step. Then the lighting of the scene is changed with Google Nano Banana. The results are usually more realistic in this order and errors are avoided.

Photoshop-AI: Quick merging of motifs and objects

Matte painters and concept artists save a lot of time by using AI. Buildings can be inserted into landscapes or objects integrated into existing scenes in no time at all using text input – a single prompt is often enough.
However, the results are not always satisfactory, as the nano-banana model often automatically generates architectural suggestions. Significantly better results are achieved if you use a reference image. This is loaded into a new layer while the selection tool is used to define the target area in the background. If the background layer is active, it is then inserted via the context bar with the prompt:

Place the castle from Layer [Layer name]

If the first attempt fails, you can modify the prompt and possibly add further instructions such as “set on the mountain top”. The AI will then position the object better.

Inline prompts are available when inserting with Nano Banana. These are text layers with the instructions for working with Nano Banana. They are supplemented by graphics such as arrows and frames in a separate layer. These elements help with the exact placement of the object. Only one instruction is then required in the prompt for generative filling:

Complete the prompt in red

In some cases, Nano Banana inserts the prompt text and the corresponding graphic into the result. Then it helps to extend the instruction with “remove the red prompts and elements”.

Context-related fill and replace with Firefly

In Photoshop Beta 27.1.0, Adobe has added the new Firefly model “Fill and Replace (Beta)”. A reference image can be loaded and placed via the context-sensitive taskbar. The function can remove the background in the motif if desired. Free-standing objects with clear edges are ideal for insertion. A clear background usually ensures good results for architectural motifs. Transitions on the ground often need to be reworked, which is easy to do with the existing mask. Any remaining errors can then be corrected with a brush.

Conclusion

Numerous image manipulations are possible with the new AI models in Photoshop Beta. However, the results are not always optimal. In these cases, it helps to work in iterations and approach the final result step by step. This method leads to success in most cases. A reminder: depending on your subscription, it can become costly quickly.

The new technology is a useful tool for quick results. However, Photoshop-Ai cannot replace creativity or the experience of the artist. Rather, it helps to build up a project and can make the work process more efficient.

The post Photoshop AI in practice first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.

Available systems with artificial intelligence (AI) play to their strengths in different ways when creating images and videos. AI artists therefore use different solutions depending on the workflow. With “Flora Fauna AI”, you get a solution that combines popular AI systems and lets them interact with each other via a node network. No installation is necessary as the software runs completely in a compatible browser. Images and videos can be loaded into the workspace via the import function.

Nodes for text, images and videos are available for use. Notes can be inserted and linked in the workspace with a click of the mouse. Navigation in the network is simple and has many similarities to CG packages. Notes can also be inserted in boxes to describe the workflow. Work in groups is provided for and existing projects can be shared.

Nodes in Flora Fauna AI

Text nodes are a way to improve your own prompts, but also to analyse images. This can be style or colour schemes. This information can be incorporated into the process when generating and modifying motifs. This enables style transfers or the colouring of images or videos, for example. The user can choose from various AI modes for the text nodes:

• Claude 3 Sonnet
• GPT o4 mini
• Google Gemini 2.0 Flash

To create still images, simply type a prompt into the input field of the image node and start the calculation. Text or other images can also be used as input during this process. Two images with people can be combined to create completely new scenarios. The style option makes it easy to automatically change the result. This creates a great deal of flexibility when working.

The nodes can be quickly duplicated for different variants and the parameters or the AI engine for the calculation can be changed. “Flora Fauna AI” automatically generates variations of an image on request. When calculating the images, the system has support for various AI engines, including

• Flux Dev and Flux Pro 1.1
• Ideaogram 2.0
• Luma Photon
• Recraft V3 Stable Diffusion 3.5

If an existing image is linked to an image node, the context changes. The existing information can optionally be displayed with Google Gemini 2.0 Flash, Flux Canny, Flux Depth and Flux Redux. There is also an option to remove the background. In practice, the user can quickly change the perspective or view with “Gemini 2.0 Flash”, for example. Useful if you need different frames for video production later on.

The production of videos is part of the programme’s range of functions. This can be a simple prompt or you can combine images or descriptions via the node network. Depending on the instructions, the selected AI generates the clips. For the calculation, the user can choose between

• Hailou Minimax
• Kling 2.0 / Kling Pro 1.6 / Kling 1.5
• Luma Ray 2 / Luma Ray 2 Flash
• Pika
• Runway Gen-3 Alpha
• Tencent Hunyan
• Lightricks LTXV
• Google Veo2
• WAN 2.1

Create your own styles

Since the end of March 2025, the available styles for creating images can be expanded with your own entries. To do this, the user uploads a series of 20 to 30 images to “Flora Fauna AI”. Their content determines the new style. Training is started with one click and the style appears in the list after a short time. It is important here not to violate copyrights. The controversy surrounding the “Studio Ghibli” style in images and videos when “OpenAI ChatGPT 4o” was released shows how polarised this topic is.

Conclusion

With “Flora Fauna AI” you get a useful AI workspace for a wide range of tasks. The system can help with the development of designs, storyboards or concepts for games. The node network makes the work flexible and is a great help for the presentation of designs. Thanks to the broad support of various AI systems, there is no need to switch between different offers. The styling allows the generation of completely individualised images and videos. Many tasks can be realised directly in a project. “Flora Fauna AI” also eliminates the need to manage different subscriptions because the service manages the various AI systems under one roof.

Featured image: © Flora Fauna AI

The post AI-Workspace: Flora Fauna first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.

Adobe After Effects has been proving its strengths in the areas of compositing and animation for many years. The software supports 3D layers, cameras, and lights. After Effects has had an integration for scenes from Maxon Cinema 4D since 2013. This allowed projects to be inserted directly into an AE project and subsequently edited. It was also possible to load 3D models into After Effects via plug-ins.

In the third quarter of 2024, Adobe released a beta that allowed the direct import of 3D data. With After Effects 2025.1.0, the functions are available as an official release. The models are treated as a 3D layer and the models can be placed in space. The supported formats include:

• OBJ (Wavefront Object)
• GLTF/GLB (Graphics Library Transmission Format/GL Binary)
• FBX (Filmbox) – only available in the beta version

A dedicated graphics card with at least 4 GB of VRAM is required for display in the After Effects viewer and for rendering the scene. Only then is it possible to use After Effects Advanced 3D. The rule of thumb here is: Computers with RTX graphics cards from Nvidia are recommended. The documentation for the Advanced 3D Composition Renderer provides extensive information on the necessary hardware for PCs with Windows and Apple Mac.

Importing 3D objects into After Effects

You can quickly find material for a test at Adobe Stock or Sketchfab. The files are dragged into the project panel like film clips or graphics or loaded via the import function in the file menu. From there they are placed on the timeline. GLTF/GLB models rarely cause problems during this step and the material is displayed correctly. This is not the case with the OBJ format: the material is often not assigned correctly. The issues can be corrected with a diversion via Blender. The objects are then written as GLTF/GLB for work in After Effects. Opening FBX is still in the beta stage and is already very stable.

Adjustments in the timeline

When inserting on the timeline, a dialogue for the model settings opens. Here you can adjust the size of the object to the composition and determine the length on the timeline. In the Advanced tab, the user will find options for axis alignments and the units of measurement used. Like other elements, the 3D objects on the timeline can be freely scaled, positioned and rotated in the scene via the options or the gizmo in the viewport. Animation via key frames is also no problem. The realistic display of the models in the viewport works. This requires a change to the 3D engine for the composition. The optimum result is achieved with Advanced 3D in the 3D Renderer tab.

For better interaction with the environment, we recommend using an ambient light. With the EXR option activated in the light source, the 3D objects interact with the environment. Reflections can be seen and surfaces appear more natural. Suitable EXR panoramas can be searched for on websites such as Polyhaven and downloaded for the project.

For realistic shadows on the background, position a 3D solid below the object. In the options for the element, the value “Only” is activated under Accept Shadow in Material Options. The solid disappears and only the shadows are visible. There are no problems with this workflow for videos without camera movement. The light alignment is then adjusted via the settings. For clips with a non-static camera, simply use the 3D Camera Tracker and create a new solid plus the corresponding camera from the data obtained. After aligning the 3D model to the surface, it moves parallel to the camera movement. The solid generated by the tracker can then be used immediately for the shadow options. It is not possible to apply filters or effects directly to 3D layers with a 3D object. As a workaround, a pre-comp is created after the animation has been completed. The effects can be applied to this.

Animations with the 3D objects

3D elements can be easily moved in the scene using keyframes. This works with vehicles without any difficulties. Flying objects glide along an animation path and can be moved realistically in curves with the help of rotations. In addition, with the GLTF/GLB and FBX formats, the creator can call up animations saved in the file. For this purpose, the Animation Options entry exists in the timeline for the 3D object. The predefined movements can be selected here.

Conclusion

Working with 3D objects in After Effects is successful and practical. The new functions expand the possibilities when designing scenes and make the design more flexible in many areas. Operation is simple and does not require the artist to have any special prior knowledge of 3D.

The post Using 3D Objects in After Effects first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.

For many artists, the layer-based system of “After Effects” is the ideal solution for working with moving images Moving images. It is easy to understand and learn to use, and its proximity to Photoshop allows many graphic artists to quickly enter the world of motion graphics. The integration with Photoshop is an additional advantage when it comes to transferring designs for subsequent animation. However, in the field of compositing, node-based software shows its advantages through greater flexibility. With “Magic Nodes”, there is a plug-in that extends the Adobe solution with this option. The ambitious “Hollywood Illusion” project works with After Effects from version 2017 for Windows and Apple.

Installation and licensing work without any problems with version 2. A licence can also be used in a beta version of After Effects installed in parallel. The main new features in Magic Nodes 2 are for working with nodes. A selection can now be grouped and summarised in a box. To do this, the user simply has to drag a selection over the relevant elements using the mouse in combination with the Ctrl/Cmd key. A container appears and holds the nodes in it. Additional nodes can later be simply dragged into the group using drag/drop, which also works the other way round. The name for a group and the colour can be changed via the settings.
Multiple networks (graphs) are now also possible in one project. They can be managed via the menu on the right-hand side of the panel. The settings for the individual graphs in a project can be found here. The name, size, runtime and frame rate are changed individually via a pop-up. An existing block can become part of another graph. Frequently used operations can be summarised like libraries and used in another network if required. In practice, you simply drag the graph into the current view and treat it like footage.
Other improvements include the ability to deactivate a node in the network at the touch of a button and the quick connection of elements via “Smart Connect”. Here, the line automatically snaps to the nearest operator. Compatibility with 3D planes and cameras has also been implemented.

Existing 3D footage is now displayed correctly with all animations in the Magic Nodes viewport – to ensure that it runs smoothly, the plug-in has been prepared for acceleration by a GPU since version 2.
Unfortunately, it is not possible to simply copy/paste networks from one project to another. Teams in a studio would particularly benefit from an export/import function for graphs or node groups. Stored in a central library on a server, existing solutions could easily be reused at several workstations.
The undo/redo system was already criticised in the first version of Magic Nodes. Unfortunately, this criticism is still relevant in the current release of “Magic Nodes”. Undoing changes with a shortcut on the keyboard quickly becomes an adventure. Deleted nodes, groups or concatenation lines cannot be retrieved with an undo command. The developer is aware of the situation and has put a solution on the feature list for an upcoming version. We are
curious.

Conclusion

The new features in “Magic Nodes 2” are welcome improvements for the workflow
improvements. They speed up work and provide a better overview of the network. This makes the plug-in an interesting solution for compositing. Additional changes in the timeline are possible alongside the nodes. A little caution is required here – problems can quickly arise if the user accidentally deletes elements or does not adjust a necessary layer.

The post Magic Nodes 2: New functions first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.

The factor time is becoming increasingly critical in the production of videos in a wide variety of areas. Clips with news or interviews in the internet age put many producers under pressure. Daily work is therefore constantly accompanied by the optimisation of workflows. For users of Premiere or After Effects, the “Automation Blocks” plugin from Mamoworld (mamoworld.com) is available in this case.

The scripts take over many tasks in the preparation and production of videos. The “Automation Blocks” library included in the package covers a wide range of topics and the functions can be used in a variety of ways. After opening the panel for Mamoworld scripts in the host application, the tool displays the various blocks. The library is sorted into different categories. A keyword search helps you to quickly find the right script. Each entry can be assigned a keyboard shortcut to quickly call up frequently used functions. If the mouse pointer is moved over an active entry, the plugin displays a brief description of how the block works.

Users can find more useful blocks in the community area of Automation Blocks on the Internet. The scripts are provided free of charge by other users of the package and curated by the manufacturer. They can simply be downloaded to the computer. Then unpack the archive and copy it to the script library. After restarting the host application, the new tools are immediately available immediately. The existing entries in Automation Blocks can be easily modified and customised to your own production environment. It is also possible to programme your own solutions from scratch for special tasks using a block editor.

Automation Blocks in After Effects

Automation Blocks helps right from the start of a production with AE. Current projects can be set up more quickly for recurring productions such as series or shows. With the help of a template, new project files including the desired file structures are generated automatically. “New Project from Template Folder” analyses a directory with existing files and folders. It then creates a copy and renames all relevant data accordingly. This includes directories on the hard disc, the project files and the footage. At the end
the tool also takes care of the internal names in the After Effects project.

Existing elements such as created compositions or loaded clips are given the appropriate names. This is quicker than manual changes and the actual work can begin in a few moments Start in just a few moments. Elements in existing compositions can be easily manipulated afterwards with “Motion Blocks”. Renaming certain layers or changing their position in the stack or on the timeline are just two examples.

You can also leave the creation of a new composition to “Automation Blocks”. The size, duration and frame rate are determined via dialogue. The plug-in entries also use optional guides and other guides in this step. The entries in the “Comps/Guide” area allow the subsequent definition of grids and guides with many options. Copying or moving these elements to other compositions is another feature.
There are separate entries for setting up new compositions specifically for Instagram stories or mobile devices. Here Automation Blocks” again offers numerous options. These include resolutions and duration of the project. The target format for the production of clips for different Apple devices (iPhone, Watch, etc.) can also be specified. Changing resolutions for compositions at a later date also works. Use the options to select whether the individual layers should fit into the new format or fill it.
A new composition can be automatically filled with footage using “Motion Blocks”. The function imports file series and places them in the active composition. At this point, the module optionally creates a bin folder to collect the imported data. As a bonus, there is the option of automatically setting the blend mode and applying a selected preset.
The functions for changing the display quality of a composition are useful. The quick change for editing in low quality and the demonstration for the best display is done with a single mouse click. Anyone using expressions during production will receive help from Automation Blocks. The assignment of expression instructions to several levels is provided for. Activating or deactivating an expression is part of Automation Blocks.
The functions are extensive for the editing of After Effects layers. These include the simple selection of objects by name or properties. Other tools can then be applied to the selection or the selected layers can be evenly distributed on the timeline. These functions can be combined with Effects and create transitions. Automation Blocks has various entries in the library for this purpose.

Working with Automation Blocks in Premiere Pro

Similar to AE, Premiere offers help with setting up new projects using templates. Renaming footage or sorting it into specific bin directories also works here Directories also works here. The package recognises superfluous data and marks it in colour. The automatic deletion of unused data or bins helps to tidy up a project.
Another application is the assignment of metadata. Automation Blocks inserts the copyright information and the author into a series of projects in one go. The user proceeds in a similar way when working with keywords in a collection of video clips or audio files. This speeds up the cataloguing process and makes the subsequent search for corresponding footage child’s play.

Manually inserting effects and adjusting keyframes can be time-consuming. The Mamoworld tools help the editor in such situations. The animation of several text layers, such as scaling or fading in and out, is carried out in automation blocks at the touch of a button. The tools offer various options for customising the effects. The use of graphic elements works in a similar way. They then float into the scene or are directly animated on the spot with expressions. Changes to the behaviour of these operations are adjusted via the options. If something goes wrong when working with keyframes, you do not have to undo the individual steps with Undo. The automation blocks for deleting effects or keyframes remove all or selected positions or values in the timeline in one go.

The Automation Blocks entry for remote interviews is impressive and easy to use. The inserts with the interviewees are enlarged and brought to the foreground depending on the person currently speaking. All you have to do is jump to the desired position on the timeline and call up the Automation Blocks script. The tool takes care of all transitions and settings for scaling the elements automatically. At the same time, Automation Blocks sets keyframes with effects.

Markers are an important tool for production in Premiere. The plugin helps with the creation and editing of such information. The range of functions includes tools for setting or copying markers. You can also make changes to content or colour markers. If desired, the user can export the information contained in the markers as a CSV document for editing in other applications Document for editing in other applications. Automation Blocks imports the spreadsheets and inserts selected data records into the Premiere timeline as subtitles, for example. There is also a module for compiling chapter information on YouTube. It
generates the information in the correct format. When uploading to the video platform, the text for the chapters is inserted into the description using “copy and paste”.

Develop your own blocks

If the Automation Blocks offered in the library are not sufficient or you have special requirements for an existing script, you can modify the existing solutions. To do this, open an existing tool in the Editor and make modifications. These modules are visually linked together in the editor, whereby no programme code is required.

Mamoworld’s no-code solution has parallels to the block programming language “Scratch” or is reminiscent of the Lego Mindstorms editor. The visual method is intended to make it easier to get started with programming for Adobe products. The programme functions of Automation Blocks are suitable for more extensive development. These can be, for example, impressive slide shows with 3D effects and transitions. Necessary compositions can be created directly with Automation Blocks and filled with footage using the import function. Variable adjustments to length or position and the setting of the necessary keyframes are handled by the custom script all by itself.

All the artist has to do in everyday life is call up the block, load the current data and have the desired effect in the timeline. No more hassle when handling layers in 2D or 3D space, no more time-consuming manual editing of transitions or searching for possible errors in expressions.

In the plug-in’s editor, the user will find a wide range of blocks from various areas the most diverse areas. These include operators for maths, variables, functions, control structures, logic or access to external files. There are also blocks for working with a project, a composition or for manipulating individual layers Manipulation of the individual layers. In the blocks, the user will find options for selection by type. The code then ignores certain layers during execution, which can speed up the process.

The code blocks are clicked together like a jigsaw puzzle. Necessary parameters can be defined as separate elements and are embedded in the executable blocks. Texts, variables and lists are available here. They are generated statically or Automation Blocks reads the parameters from the host application. In practice, these include the runtime, size of the layers or their position in the composition. This is where the get block comes into play. It determines the data of specific elements. There is a counterpart in the form of the set block. The programmer uses this to assign the selected parameters to the objects. In the case of layers, these include position, scaling or transparency.

In combination with the tools for the keyframes, this allows animations to be created quickly and easily. This eliminates the need to manually set individual keyframes, which can save the artist a lot of time when editing. Users can apply the mechanisms in this area directly to a specific layer. Alternatively, a loop instruction can be used, which searches through the composition step by step and applies the changes to all existing layers. There are many mathematical operators for calculations in a script. These include basic arithmetic operations, trigonometry, random numbers and rounding.

For interaction with users, there are special blocks for designing graphical user interfaces. Prefabricated queries, confirmations or inputs are included in the range of functions. However, users can create their own individual dialogues.
Automation Blocks reads large amounts of data such as tables from external files in CSV format and processes them in the programme run. One conceivable application is the use of tracking data for animations from an external programme. Also possible: the visualisation of animated diagrams. Also possible: the automatic insertion of headlines in combination with time stamps from a CSV table.
To maintain an overview, extensive programme structures can be outsourced to functions. This is where the concept of modern programming languages comes into play. This helps to develop readable components that can also be used multiple times. This applies, for example, to queries using graphical user interfaces. These can then easily be used multiple times via the function block. Parameters help with the flexible calling of functions. Maintenance or changes to the code are then only carried out in one place.

To transfer programme snippets between projects, you will find the backpack feature in the editor. To do this, simply move the relevant programme blocks to this clipboard. After switching to your own script, you can retrieve the saved data from the backpack and use it there again.
Basic knowledge of programming is an advantage when developing your own blocks. An understanding of control structures such as loops or queries, working with variables and the use of functions helps at this point. Additional information can be found in the detailed documentation of Automation Blocks. However, studying other blocks can also help.

Unfortunately, it is not possible to open two programme blocks at the same time. A direct comparison of the code blocks is therefore not possible. The only option here is to switch to the editor and transfer snippets using the backpack feature. An additional panel with a preview would be desirable here in the future. This would then become a virtual cheat sheet that can be used as a template when building. Understanding the object-orientated model of the two host applications is important during development. This allows data, compositions and their components to be specifically addressed and manipulated.

Simple practical example of Automation Blocks

In the Automation Blocks editor, the sections with the function blocks are located on the left. Once opened, the desired entry is placed in the editor with a mouse click. In the example, the length of a composition is determined and a layer is positioned exactly at the centre of the timeline. The programme is started with Run Script at the top of the panel. The Console area displays the output of the block. These are determined values or possible error messages.

The first block at the top of the example determines the length of the composition. It is located in the “AE Project Items” category. There is a drop-down selection in the left-hand area. The “Duration” entry determines the duration of the composition. Then switch to the “After Effects” project overview and select the desired composition. In the editor, click on the arrow next to “Project Item” and assign the relevant composition to the block.

A block from “Math” halves the determined length of the composition. To do this, set the option for the division in the centre of the menu and enter the value 2 in the right-hand field. The previously created block for determining the duration is moved to the field on the left.

A “set attribute” module from the “AE Layer” area is used to assign the calculated position. The “start time” option is activated in the drop-down in the left-hand area. Then select the relevant layer in the composition. In the editor, click on the arrow symbol to the right of the “layer” field. This tells Automation Block the target layer for the operation. The previously created mathematical module with the get block is placed in the “to” field. After starting the script, the embedded calculation is executed and the layer is moved to the centre of the timeline. This simple code example can be a starting point for further projects. It can be extended and applied to several layers in the composition with the help of loops. The “AE Layer Properties” category gives you access to the layer properties such as position, rotation or size.

Conclusion

Mamoworld’s solution is a flexible aid when working with Premiere Pro or “fter Effects. Tasks in many production areas can be solved quickly at the click of a mouse and the result is on the screen faster. You need to plan a little time to explore the many functions in the comprehensive library. The extensive documentation and tutorial videos on YouTube (bit.ly/automationblocks_youtube) will help you do this. After that, you can utilise the potential of the tools, which provides a speed boost in many stages of production. If you browse through the community library, you will find further interesting options for working with the plugin.
Things get really interesting with the Automation Blocks editor. This allows you to modify the existing components for your own work. You can achieve your goal in just a few steps. Of course, every user can develop customised solutions from scratch with Automation Blocks.

The easy-to-understand editor with the blocks allows tools to be programmed without writing a single line of code. The development of large projects should not be an obstacle for Automation Blocks. With the help of the GUI elements, comprehensible tools are created that are easy for the user to use. Such complete packages replace manual work, save time and help to avoid possible errors in daily production through automation.

The add-on from Mamoworld is an ideal choice for expanding the functionality of Adobe products in a variety of ways. Interested parties have the opportunity to test Automation Blocks. Further information on the trail version with a ten-day runtime can be found on the manufacturer’s website – and if you want to try it out right now, you can find code, documentation, downloads and other resources right here:
www.mamoworld.com

The post Block Power Station first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.