For those who don’t know the tool: V-Ray runs inside SketchUp, Rhino, and 3ds Max. Update 3 pulls real-time from Vantage, feeds assets from Cosmos, and pushes approvals through Cloud, with traffic extras via Anima.

Real time, now without the app hopping

Chaos released V-Ray 7 Update 3 for SketchUp, Rhino, and 3ds Max. Update 3 adds real-time rendering directly in the V-Ray viewport through a Vantage Viewport Live Link workflow. The goal sits squarely on convenience: keep modeling, keep assigning materials, keep nudging lights, and see the result update instantly.

The live viewport workflow supports continuous scene edits. Walls, columns, material tweaks, and object selections update in real time. Assets dropped in from Cosmos appear immediately as high-quality models, including people, vegetation, and props.

Lighting edits also happen inside the viewport workflow. Cosmos light fixtures with built-in light sources work in this mode, and V-Ray lights can be placed and adjusted interactively, including intensity adjustments while the real-time view stays active.

The real-time viewport mode supports large scenes. Vantage can handle millions of polygons with no noticeable lag in the described workflow, and it uses full ray tracing, without rasterization or approximation in that workflow description.

The real-time viewport workflow includes camera and look controls for composition and presentation. It supports adjusting the sun and adding effects including lens flares, photometrics, fog, and depth of field, while staying inside the host application viewport.

Parallax interiors go native, and finally leave OSL behind

Parallax interiors in Update 3 target a familiar archviz cheat: add convincing depth behind windows without modeling full rooms. Update 3 adds a native parallax texture map that works across integrations and also works in Vantage. This matters for integrations that do not expose Open Shading Language, where older OSL-based approaches were less usable.

Cosmos includes parallax interior shaders designed for drag-and-drop use behind windows. The shaders maintain depth and perspective from any camera angle and support variation controls to avoid obvious repetition across facades.

Quick caustics and Gaussian splats get more practical

Quick Caustics in Update 3 bring sunlight caustics through water, a common request for pools, lakes, and other outdoor scenes. V-Ray includes a general caustics engine, and the update adds a specific option intended to quickly approximate caustics caused by sunlight going through water surfaces. The workflow is enabling Quick Caustics in the material and lighting with V-Ray Sun so caustics appear immediately.

The current Quick Caustics behavior works best with displaced surfaces. It works with the built-in V-Ray water texture in SketchUp and Rhino, and it also supports other displacement textures. A depth parameter controls how far the caustics effect reaches. Reflective caustics can be enabled for shimmering patterns, and the caustics render element can be isolated for easier adjustment after the render.

Gaussian Splats Relighting allows Gaussian splats to receive illumination from scene lights so they blend more naturally with the rest of the scene. A dedicated parameter controls how the lighting blend behaves, and V-Ray lights can be used with their full parameters in this workflow.

Node materials arrive, scatter gets a brush, decals get distributed

Update 3 adds a node-based material editor for V-Ray for SketchUp and V-Ray for Rhino in preview. The node editor supports creating, picking, and editing materials and textures in a visual graph. Cosmos assets can be dragged directly into the graph. Texture nodes can be added and combined, maps can be mixed, and materials can be combined visually. Material types including blend, two-sided, overrdie, and wrapper appear as nodes.

V-Ray 7.3 also adds a scatter brush workflow in V-Ray for SketchUp and V-Ray for Rhino. Objects can be scattered using a paintbrush approach for precise distribution of plants and similar objects. The workflow supports building a base layer and painting additional clusters, following predefined lines from plans or painting freely. Density can be adjusted via brush radius, and unwanted areas can be painted out. The workflow also supports shaping vegetation placement to match camera angles for composition.

AI Mood Match and AI Enhancer focus on faster look decisions

AI Mood Match expands the Light Gen workflow for V-Ray for SketchUp and V-Ray for Rhino. It adjusts environment lighting to match a visual reference instead of trial-and-error tweaks. The workflow describes uploading a reference image, generating multiple lighting scenarios, browsing results, choosing one, and applying it with a click, then refining lighting further as needed.

AI Enhancer adds improved accuracy and object-level control. The described workflow includes detecting characters, vegetation, and large surfaces after upload, then enhancing selected elements without affecting the rest of the image.

For people, the controls include parameters such as age, gender, ethnicity, hair color, and facial expression, with results applied as an enhancement. A creativity mode adds refinement while preserving the original look. Multiple selections can be enhanced at once, enhanced objects appear in an object enhancement list, and results can be saved as a new version.

Large Surface Coverage targets fast breakup of flat or repetitive surfaces. Controls include creativity to add intrical detail and an age option intended to introduce natural weathering, including stains, micro-cracks, and subtle color variation.

AI Materials now support 4K generation and higher-resolution maps. The described workflow includes a redesigned interface and an interactive 3D preview that can switch between sphere, box, and cylinder models, plus lighting direction adjustments and normal and roughness tweaks with instant updates.

Frame Buffer tweaks and per-camera controls in 3ds Max

V-Ray for 3ds Max adds Physical Camera tools intended to make scene variations and view management easier. Objects can be excluded from visibility per camera without affecting the rest of the scene. Focus can be set to object mode by picking an object to remain in focus, keeping it sharp regardless of camera target position, which changes depth of field control behavior.

Update 3 also improves the V-Ray Frame Buffer. A new histogram widget provides insight into color distribution and exposure. Background and foreground folders support reference images, watermarks, and backgrounds. Scaling and positioning tools improve alignment, and effects apply consistently to added elements in this workflow description.

Cloud reviews, video notes, and 3D streaming annotation

Cloud Reviews adds a review hub for sharing work with teams and clients. Reviews can be started from the render engine or created in a review tab workflow. Renders can be uploaded and stakeholders invited. Stakeholders can explore images or 360-degree experiences and leave comments directly on elements that need adjustment. Project status can be updated, new versions uploaded, and an approvers list used to finalize the design.

Video collaboration adds timeline-based commenting. Comments can be pinned to an exact second or a time span, and comments can be repositioned. Annotation tools include markers such as drawing, line, and rectangle tools for pointing out specific areas. Comments can fade out automatically after their time span for a cleaner preview.

3D streaming in the same ecosystem allows real-time navigation once a scene is uploaded. The workflow includes switching cameras and adjusting lighting dynamically, sharing a 3D stream for interactive exploration, and adding annotations. Comments save automatically, and annotations can include attached images or links for context. If your review chain includes external stakeholders, run a dry test early to catch permission and browser issues before a deadline catches you. Or you have an audience, when you try to remember your password.

Have a look at the tools here: Chaos Cloud Reviews documentation
https://documentation.chaos.com/space/VCLOUD/521797640/Reviews

Anima 6: parking lots and smarter vehicle lighting

Anima 6 adds tools aimed at faster traffic population and more believable vehicle behavior. A parking lot feature lets users define parking zones and fill them with vehicles. Zones can be resized, orientations adjusted, density changed, vehicles added or removed, and layouts regenerated.

Anima 6 also adds automatic vehicle lighting for traffic simulation. Brake lights activate when stopping and turn signals engage when changing direction. A road staying tendency parameter controls whether vehicles continue straight or take available turns. If you want to show somebody how they should be driving their bloody SUVs, Anima will help make it look like it should, not like the BMW drivers do mostly behave.

Cosmos sets and new assets

Cosmos adds Sets, described as curated groups of assets that can be placed as a set and then rearranged or duplicated as needed.

Update 3 adds over 700 new assets, including 400 high-detailed plant models from Globe Plants, plus additional branded models. Cosmos also includes new models from Evermotion, new people assets, and additional scatter presets and scan material range in the described workflow.

Pricing and availability

Update 3 releases first for V-Ray for SketchUp and V-Ray for Rhino. Real-time rendering in the V-Ray viewport requires an active Vantage license or an active V-Ray Collection license.

New features can shift habits fast. Test Update 3 on real scenes, real assets, and your actual hardware before it enters a production .

https://www.chaos.com/vray

The post Chaos V-Ray 7 Update 3 goes real time first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Photomontage lives or dies on perspective. If the camera does not match the photograph, everything downstream becomes a negotiation with angles, scale, and taste. CameraMatch AutoSetup v6 targets that first domino by generating an aligned 3D camera from a single photo, then setting up supporting scene items that normally take a few manual passes.

What CameraMatch AutoSetup v6 does

CameraMatch AutoSetup v6 is an automated camera-matching tool for photomontage work. It detects vanishing points and lines in photographs and uses that information to create a 3D camera aligned to the plate, aimed at architectural visualisation and general 3D scene setup.

Once the camera alignment happens, the tool also covers a set of setup chores that tend to get skipped until they break a comp. It can calculate and display the horizon line. It can create a physical camera with an accurate field of view. It can match the render output resolution to the background image resolution. It can set a viewport background overlay that shows vanishing point lines and the horizon. It can also export cameras using the FBX format so the camera can travel to other applications.

The overall pitch reads like a checklist of common photomontage necessities, bundled into a single automated pass. That pitch also includes marketing claims about ease and straightforwardness, which remain marketing claims.

Host apps today, and what is promised next

The currently available versions work with 3ds Max and Blender. A version for Maya is described as planned, and additional host versions are described as coming next week.

Camera matching tools often stumble on the unglamorous details of units and output sizing, so it is notable that the material calls out unit setup dialogs and scene unit contexts as part of the broader setup conversation. That framing keeps the tool squarely in production reality rather than demo land.

Why this matters for post and VFX

A good plate match is not just about placing geometry. It is about making every downstream decision cheaper. When the camera and horizon are consistent, the layout behaves. Lighting behaves. Shadow direction behaves. Reflections behave. Even simple matte work becomes more predictable because perspective lines agree across layers.

For photomontage-heavy teams, the time sink is usually not the final render. It is the first 20 minutes of making sure the camera is believable, the frame matches the plate, and the viewport does not lie. CameraMatch AutoSetup v6 positions itself as a shortcut through exactly that part of the day, with its strongest promise being camera alignment plus the surrounding setup steps in one go. If you have ever watched a project drift because two artists picked two slightly different horizons, you already know whcih argument this tool wants to prevent.

Availability, docs, and pricing reality

Documentation exists as a free manual hosted on Google Drive. The manual is covering the script for 3ds Max, Blender, and Maya. Distribution is offered through two storefront channels: Gumroad and Patreon. A one off purchase option for the Gumroad of 45USD, or through a

The download description also references a full script with files for 3ds Max and Blender, and it mentions direct contact as an option. The complete contents of the downloadable package are not listed in the provided material beyond that.

Practical notes before you point it at a deadline

Automation shines when you can trust the inputs. This tool relies on reading vanishing points and lines from photographs, so images with heavy lens distortion, weak straight line cues, or ambiguous architecture may still need human judgment and cleanup.

As always, new tools and innovations should be tested before use in production. Run it against known plates, compare results to your established camera match method, and confirm the exported camera behaves as expected in your pipeline before you bet a delivery on it. And yes, it can be both fast and correct, but only after teh boring validation pass that everyone wishes they could skip.

https://jamiecardoso.gumroad.com/l/boqjtv?layout=profile

The post CameraMatch AutoSetup v6 speeds photo matches first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: 3ds Max is a DCC for modeling, animation, and rendering, often paired with Arnold and OpenUSD for lookdev and pipeline handoffs across VFX, broadcast, and realtime.

The newsroom tries to explain Max to itself

Over in the Digital Production newsroom, there is a special kind of silence that happens whenever I say the words modifier stack. Half the team nods like they understand. The other half quietly searches for a button called “Make It Pretty”. So here is the deal. 3ds Max 2027 lands with new modeling tools, new deformation noise, selection upgrades, performance work, viewport cleanup, and a few foundation updates that matter to pipeline folks who like their tools modern and their crashes vintage.

Smart Bevel: post Boolean intersections, less cleanup

Boolean modeling can be fast, brutal, and wonderfully irresponsible. The new Smart Bevel feature targets post Boolean intersections and focuses on creating cleaner bevels with less fuss. Smart Bevel is designed for post Boolean intersections and is presented as a way to create cleaner and more intricate bevels with ease. It is framed as a dedicated approach to getting better looking edges after Boolean work, aimed at reducing the need for manual cleanup.

This fits neatly into the hard surface rhythm a lot of artists know too well: cut the shape, stare at the resulting edge spaghetti, then spend quality time repairing the part that was supposed to be the fast part. Smart Bevel tries to make that edge repair step less of a ritual. And yes, Bela asked if this means booleans are finally safe. The answer is still no. But fewer sharp edges turning into a bveel shaped tragedy is a welcome upgrade.

Extrude and Spline Chamfer: splines get better directions

The Extrude modifier now supports a custom direction workflow. Splines can extrude with orientation and direction rather than only local Z. For spline driven workflows, that is a practical change, because it reduces the need to pivot objects around just to make an extrusion behave.

Spline Chamfer also gets updates, including the ability to use a fixed radius for consistent circular corners. This focuses on predictability, which matters when spline corners must stay consistent across revisions, instancing, or exported geometry. If you have ever watched a single inconsistent corner ripple into five downstream fixes, you already know why this is worth caring about.

Noise Plus: more fractals, animation, tiling controls

A new Noise Plus modifier arrives with new fractal types, animation ability, and tiling controls. It is positioned as a more capable procedural noise option for pushing results further. The legacy Noise modifier also gets updates. It now uses a modern Qt interface and supports Paramblock2 for user-defined defaults. The animated Phase parameter now uses linear interpolation rather than ease in and out, for more predictable animation behaviour. For deformation work, predictable interpolation is the unglamorous hero. It keeps animation curves from feeling like they are fighting you.

Field Helper: more precise component selections

A new Field Helper is introduced for more precise component selections for manipulating items, including driving selections.

This is paired with a performance note elsewhere in the release that Volume Select soft selection performance has been improved for polys. The stated goal is smoother, more responsive soft selection performance on high poly objects. In practical terms, selection quality and selection speed both matter. Selection is not just a click. It is the start of most modeling and deformation decisions, and it tends to multiply into every other step you do.

Viewport grid and display improvements: cleaner and less annoying

Viewport grid and background display have been refreshed to provide a cleaner, more focused environment. This is the part where the newsroom says, “Cool, so the background looks nicer!”, and searches for snacks.. Then a Max user quietly smiles, because they live in the viewport. The viewport is where time goes, and small friction reductions add up quickly.

Arnold for 3ds Max: MaxtoA updates

The included Arnold for 3ds Max plug-in is version 5.9.0. Updates since 3ds Max 2026.3 include lightweight OpenUSD instancing, a new hair scattering mode, more flexible light sampling, plus other enhancements and bug fixes. If your pipeline touches Arnold, these plugin updates matter because they affect how features show up inside the host.

Retopology and Shape Map: faster processing, better targets

Flow Retopology has been relocated to Tools and is now under Tools > Flow Retopology to make it easier to find and access as part of core modelling workflow. Retopology performance is described as improved via faster ReForm processing. It is presented as providing quicker results and improved support for meeting quad target goals, with more reliable and consistent outputs.

Shape Map performance is also described as much faster, reducing wait times when working with shape keys and morph targets. This is a more responsive shape-based workflow, especially with complex character rigs or detailed morphing operations.

Colour management: sampling and OCIO

Colour management gets updates. You can sample underlying colours from the scene space in windows that support it, including viewports and the Rendered Frame Window. The Colour Selector eyedropper includes options to sample display colour or sample scene colour. The software also uses the latest version of the OpenColorIO library (OCIO v2.5.1).

Autodesk Assistant: tech preview help inside the app

A tech preview called Autodesk Assistant is included. It is described as an AI-powered tool / LLM that helps you quickly find information about features and workflows directly within the product. This might be cool for beginners, or if you are looking for that feature you know is in there, but can’t find. Only time will tell if it works.

Bela asked if it can also explain why someone would stack twelve modifiers and still sleep at night. No promises were made.

Autodesk prices Subscriptions are at 255 USD per month or 2,010 US Dollars a year. In many countries, artists earning under 100,000/year and/or working on projects valued at under 100,000 Dollars per year can get the Indie subscription, which now cost 330 US Dollars a year. Before you roll this into a pipeline, do the boring but essential checks. Open hero scenes, validate modifier stacks, confirm export paths, and compare renders. New tools and innovations should be tested before use in production.

https://help.autodesk.com/view/3DSMAX/2027/ENU/?guid=GUID-7CC2F041-F797-4DB9-B2F9-326AAB994F37

P.S. If you are asking yourself, “Where does he get the cat pictures?” Be in a chat with Bela for any amount of time, and you’ll have them, too.

The post 3ds Max 2027 is here. first appeared on DIGITAL PRODUCTION and was written by Mike Kuhn.

For those who don’t know the tool: Maya is a core DCC for modeling, rigging, animation, FX, and rendering, with Maya Creative as a leaner sibling. It plugs into USD workflows, Arnold rendering, and FX via Bifrost, with a shortcut out to Flow Studio when you need the cloud.

The 2027 drop hits modeling, animation, FX, and pipeline

Autodesk has released Maya 2027 and Maya Creative 2027, with updates spanning modeling, character work, animation, simulation, rendering, and interoperability. Maya Creative gets the same new features as Maya except for Bifrost 3.0. A tech preview of an in-product help chatbot called Autodesk Assistant ships in this release. It searches product documentation and answers workflow questions inside the app.

Smart Bevel wants your Booleans to calm down

A new modeling feature called Smart Bevel (Also available in 3ds Max) generates bevels by following the surface shape rather than the underlying topology. That matters most when topology gets uneven, especially after Boolean modeling. The tool is positioned as producing more predictable results on irregular meshes, including at Boolean intersections, where classic bevel workflows often demand extra cleanup.

It is also non-destructive, keeping construction history so you can continue to refine the result. That makes it easier to treat beveling as part of the modeling flow, not a final bake-and-pray step.

MotionMaker teaches horses new tricks

A new horse archetype lands in MotionMaker, aimed at one of animation’s oldest time sinks: believable quadruped locomotion. The horse archetype can generate a believable base motion for horses in seconds. It covers core gait work, including trots and gallops, and it can generate transitions between them. The point is not just getting a loop, but getting the in-between that usually eats hours of tweaking, like moving from trot to catner without the rhythm falling apart. And since we only heard the phrase, but don’t know what it is: The special island Pony gait of “Tölt” isn’t covered, as far as we can see. But considering we all don’t know what that exactly is, we shouldn’t be too annoyed.

The horse joins existing motion styles for bipeds and canines inside the growing MotionMaker library. The workflow framing stays consistent: generate a base, then push performance choices yourself, like changing speed while keeping a natural gait, or adjusting action beats without rebuilding the whole setup from scratch.

If you have ever watched a horse walk cycle drift into floating-hoof limbo, you already know why this matters. Still, treat it like any new tool: test thier output on real shots before you bet a delivery on it.

Sequencer gets rebuilt for shot work, not nostalgia

The Sequencer has been modernized, with changes aimed at previs and layout artists cutting multi-shot sequences. Shot trimming and time scaling are now edge-driven interactions. You drag a shot edge to trim, and you use a time scale mode to scale by dragging the edge. The interface adds custom labels, color coding, automatic thumbnails, and smarter grouping behavior.

Playblasting gets its own menu and supports playblasting selected shots, all shots on a track, or the entire sequence. There is also a re-playblast option for a selected shot. File naming templates add support for a Scene keyword, and unsupported filename characters get replaced with underscores. A dedicated Sequencer workspace ships as well, and playblast output is described as improved with viewport-matching results, scene names, and full audio.

Bifrost 3.0 adds surface tension and scalable destruction tooling

Bifrost 3.0 introduces surface tension settings for liquid simulations, aimed at more realistic droplets and splashes at high resolution. Rigid Body Dynamics workflows also get attention, with performance improvements and a push toward procedural iteration. The destruction workflow is described as fully procedural, with the ability to adjust physics, tweak constraints, refine fractures, and re-simulate without rebuilding the setup. There is also a cloud option called Flow Wedging that can generate multiple variations in parallel directly from Bifrost.

OpenUSD authoring gets more guided inside the DCC

The release adds tools intended to simplify asset authoring for OpenUSD pipelines, where correctness and consistency matter as much as creativity. A guided workflow called Component Creator can build USD components through an interface designed to help structure assets properly from the start. A related Variant Manager helps define and manage asset variations.

On the 3ds Max side, an Asset Resolver is described as helping keep asset resolution stable by giving more control and visibility over how assets resolve and how paths map. It is framed as a way to reduce guesswork when something fails to load or appears changed. But more on Max tomorrow, it’s late.

Rendering and lookdev: speed, style, and portable graphs

Rendering updates focus on speed and creative control in Arnold, with improvements described for complex scenes and volumes like smoke or clouds, including GPU and volume rendering areas.

New shading tools include a stylised line option and a nearest points shader for point-based effects and data-driven shading. Hair is described as looking more natural in close-ups, and bloom rendering is described as more refined for realistic and stylised lens effects.

On the lookdev side, there is support for plugging third-party solutions into LookdevX for AI-driven generative texturing. This is presented as a workflow connection rather than a single locked-in generator. For interchange and portability, MaterialX workflows in LookdevX add support for relative paths in documents, with options to make paths relative to the scene file or workspace, and tools to toggle between relative and absolute paths.

Flow Studio gets a front door inside Maya

A new button in the Status Line can open Flow Studio directly from inside Maya. The release notes also call out Wonder 3D in Flow Studio, described as a generative AI model that can quickly generate 3D characters or objects from a text prompt or reference image, with export paths to Maya, 3ds Max, Blender, and Unreal Engine.

Pricing and system requirements

Maya is rental-only, with subscriptions listed at US$255 per month or US$2,010 per year. Maya Indie is listed as priced at US$330 per year for qualifying artists earning under US$100,000 per year and working on projects valued under US$100,000 per year. Maya Creative is pay-as-you-go, with pricing starting at US$3 per day and a minimum spend of US$300 per year.

Maya 2027.0 is available for Windows 11, macOS 14.0 or later, and Linux distributions including RHEL and Rocky Linux. Whatever part of the pipeline you touch, put the new features through your usual validation before they enter production, especially anything that changes core geometry, rig weighting, USD structure, or render outputs.

https://blogs.autodesk.com/media-and-entertainment/2026/03/25/whats-new-in-maya-and-3ds-max/

The post Autodesk ships Maya 2027 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Forest Pack scatters huge scenes inside Autodesk 3ds Max, living between layout and lookdev where forests, rocks, and crowds multiply faster than notes.

The headline change: collisions stop playing favorites

Forest Pack 9.3.5 expands collision checking to every distribution mode, including Path, Reference, and Particle Flow.

That sounds simple, but it lands right in the messy middle of environment work, where you swap distribution approaches as the shot evolves. One day you block a treeline with a path, the next day you need to reference hero trees, and then someone asks for “just a bit more variation” and you end up driving density through a different method. In 9.3.5, collision checking no longer depends on which distribution mode you picked.

The practical result is consistency. Your layout rules do not have to change just because your distribution method changes. If your day-to-day involves dense assets where intersections become a constant cleanup tax, collision checking across modes targets that pain directly.

This release also frames collision parity as a feature-parity and consistency push across distribution methods, with the stated goal of removing limitations that force workarounds. That positioning is a marketing claim, but the core functional change is specific and concrete: collision checking now covers all distribution modes in the tool, including Path, Reference, and Particle Flow.

Materials that travel: .pmat lands in the Library Browser

9.3.5 adds support for portable material libraries in the Library Browser using the .pmat format. The .pmat format is a custom material library format used internally for the developer’s own libraries. The key design point is independence from specific 3ds Max versions, which supports a wider range of releases without maintaining separate libraries per version.

That same mechanism now applies to user asset libraries through the Library Browser for Forest objects. In practical pipeline terms, the feature targets studios that keep multiple 3ds Max versions in flight, plus anyone babysitting long-lived projects with legacy requirements.

Effects gets two new levers, one of them watches the camera

The Effects system in Forest Pack picks up new attributes aimed at more precise control of items and camera-based logic.

First up is fpItem.geomSubID. It returns an item’s sub-index in the Geometry List. The use cases include defining indices within groups, ForestLOD, and ForestSet, and targeting individual elements inside grouped geometry, ForestLOD setups, or Forest Sets.

That matters because many environment assets arrive as grouped geometry, or they become grouped once the shot starts demanding variants and LOD juggling. With a sub-index available, Effects can target specific components inside an asset. The examples given for what that enables include enabling or disabling a component, plus adjusting scale, rotation, or position independently from the rest of the asset.

Second is Max.cameraPos. It returns the camera position in Forest local coordinates. The functional promise here is camera-aware behavior in Effects, including custom look-at logic or changes based on distance from the camera.

Together, these two attributes push Effects toward finer-grained procedural control without changing existing setups. The release messaging says the additions aim to expand what Effects can do without adding more UI complexity or affecting existing scenes. That intent statement is not a measurable guarantee, but the attributes themselves are explicit and new.

One caveat for production sanity: camera-driven logic often looks great until you cache, render, and discover that one overlooked camera switch turns your forest into a mutating alien organism. Test new setups before you bet a delivery on them.

Pricing and licensing: what is stated and what is not

Forest Pack 9.3.5 is available to users with an active Maintenance Plan.

A store page lists Forest Pack with a total price excluding VAT of 250,00 €.

A Maintenance Plans page lists a total price excluding VAT of 80,00 € for Forest Pack maintenance.

A free edition, Forest Pack Lite, is also availabe here Forest Pack. It includes many of the core features of the Pro version and can be used in commercial projects.

https://docs.itoosoft.com/changelog/2026/03/15/forestpack-9_3_5

https://www.itoosoft.com/blog/forestpack-935-released

The post Forest Pack 9.3.5 broadens collisions first appeared on DIGITAL PRODUCTION and was written by Bela Beier.