Motion designer Mike Gaynor built Caddis over four months in nights and weekends, and pitched it as the layer timeline you already know paired with a node graph inside every single layer.

Work starts in a familiar stack of layers, with keyframes and timing edits on a timeline. Select a layer and its node contents appear in a graph panel beside the timeline and viewport. The idea is to avoid choosing a single paradigm when motion work often lives between both. Inside that per-layer grahp, the beta already includes more than 100 nodes to wire together. Nodes can drive parameters directly, with examples like linking rotation to scale, scale to audio, and audio to color.

Caddis Layers can stay simple, or turn fully procedural

A layer can stay as basic as one line of text, or expand into a fully procedural build with fields, shapes, video, and audio flowing through it. The demo frames it like patching a modular synth, with links between values, movement, and math. The product site leans into the same concept with a promise of visual logic in place of expressions, and a workflow where every parameter becomes something you can wire, modulate, or replace. It also positions the node graph as the home for compositing work like blending, masking, and mattes. Color tokens appear in the demo as a way to recolor a whole project in one click. The demo also shows saving subgraphs as recipes, then reusing or sharing them as a single file.

Responsive comps, plus GPU-native rendering

The demo says designs can be responsive, showing a resize from 16 by 9 to 9 by 16 with the layout adapting on its own. Caddis describes itself as a native desktop app on a modern GPU pipeline. The website calls out GPU-native rendering, aiming for a responsive viewport while iterating, and exports without leaving the tool. Treat that as a marketing claim until your own workstation agrees. Either way, new tools and innovations should be tested before use in production, ideally on real shots, real deadlines, and at least one truly cursed client change request. Beta is coming, so we obviously haven’t tried it yet – sign up as well, we’ll learn together what actually appears when Caddis comes out.

Import and export reality check

Caddis positions itself as an alternative rather than a drop-in replacement for After Effects and does not import After Effects projects. Instead, it works by importing media and rebuilding comps inside the app. On export, the product site lists standard formats including Apple ProRes, MP4, and image sequences including H.264 and ProRes, plus PNG and OpenEXR image sequences, and standard web formats. The demo additionally names WebM and GIF, plus PNG sequences, as native.

Caddis Pricing, beta status, and platform notes

Caddis is free during beta. The product site lists a $99 launch price for early adopters and $129 regular pricing, positioned as a one-time purchase with no subscription. The software should be compatible with macOS 12.0 or later, with a Windows version due shortly after launch. If you plan to roll it into a pipeline, assume the usual early-tool homework: bake out deliverables, double-check colour management expectations, and confirm the layer graph behaviour does not change between beta waves.

https://www.caddis.app/

The post Caddis mixes layers with nodes per layer first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: KeenTools makes tracking plugins for Nuke, Blender, and Adobe After Effects. The new GeoTracker for SideFX Houdini sits between matchmove and FX layout, and it runs as a SOP node in OBJ and Solaris.

Houdini gets geometry first tracking

GeoTracker for Houdini runs as a native SOP node inside Houdini and works in both OBJ and Solaris contexts. The tool targets geometry based object tracking and camera tracking from 2D footage, with the goal of keeping the full workflow in the Houdini scene rather than bouncing to a separate tracking app.

The core interaction stays intentionally direct. You align an imported or scene built 3D model to the filmed object, then use viewport pinning to keep that object stuck to the plate while the tool reconstructs motion across the shot. That tracked geometry can then feed downstream Houdini work where it actually matters, like driving FX timing, layout, and interactions.

If you already treat layout as the first FX department, this kind of geometry tracked handoff can save a lot of back and forth. It also means you can keep shot scale, scene units, and the rest of your Houdini context consistent, instead of trying to trcak down why a solve looks fine in one app and wrong in another.

Camera solves, lens guesses, and the boring parts

Alongside object motion, the Houdini beta supports camera tracking by aligning static objects or environment models, including LiDAR style environment meshes. It also includes focal length estimation for cases where camera parameters are unknown, plus zoom tracking to follow focal length changes over time.

The Houdini integration also calls out camera import and export in both OBJ and Solaris contexts. That matters because camera plumbing can become the silent time sink, especially when a show uses Solaris for USD centric lighting and layout but still relies on OBJ context for parts of the FX build.

GeoTracker remains geometry based, so you need a 3D model to start tracking. That model can be anything you import or create in the Houdini scene. More detail can help, but extremely dense meshes can get heavy. The beta also includes Surface Masks to exclude parts of the model from tracking when occlusions or reflections would otherwise pollute the solve.

Beta reality check, installs, and pricing

The plugin ships as an open beta and it is free during that beta period. Each beta version stays valid for 30 days, with regular updates planned until a stable release is ready.

Installation stays old school by design. You drop the extracted package into your Houdini packages directory on Windows, macOS, or Linux, and Houdini picks it up. Updates and removal work the same way: delete the old files, replace with new ones, or remove them entirely. There is no auto updater for the beta yet, so you own the housekeeping.

System requirements keep the target clear: Houdini 20.5 or newer on 64 bit Windows, macOS on Intel or Apple Silicon, or Linux. The guidance for graphics hardware stays refreshingly unromantic: a decent GPU that can handle Houdini.

As always, treat new tools like you treat new render builds: test in a controlled setup before you bet a delivery on it, even if the demo looks clean.

https://keentools.io

https://keentools.io/products/geotracker-for-houdini

The post KeenTools GeoTracker enters Houdini open beta first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Keentools is a 3D tracking node for Nuke and an add-on for Blender and After Effects, sitting between matchmove and comp where your patience goes to die.

Preview in new tab

KeenTools shipped 2026.1.0 with a clear theme: newer host versions, fewer annoying edge cases, and one new refinement switch that trades absolute accuracy for steadier motion.

The Nuke package now supports Nuke 16.1 and Nuke 17.0 across the nodes in the package. The Blender pack now supports Blender 5.1. GeoTracker for After Effects fixes a bug that caused inverted mesh UVs when exporting to Alembic. TextureBuilder received a fix aimed at full compatibility with Nuke’s new USD-based 3D system.

Nuke: new Refine modes, same tracker

In Nuke, GeoTracker adds two Refine modes in the Smoothing tab: Precise and Smooth. Precise mode behaves like the prior default. It targets maximum tracking accuracy. The notes also call out a known downside: inconsistent keyframes can lead to tiny jumps. That matches the kind of micro jitter that can make a trcak feel wrong even when the overall solve looks solid.

Smooth mode aims to remove those tiny jumps when keyframes do not align perfectly. The release notes also state that Smooth can slightly affect absolute tracking accuracy. That makes the intent explicit: Smooth exists for shots where visual steadiness beats the last bit of numeric precision.

The update does not change the basic concept of GeoTracker. It gives artists a more direct choice at the end of the refinement step, instead of forcing endless keyframe nudging and re-running refine until the twitch goes away.

Host support matters here too. The same update adds Nuke 16.1 and Nuke 17.0 support across the nodes in the Nuke package. That helps facilities that keep multiple Nuke versions installed and need the same toolset available in both.

Nuke: TextureBuilder and USD

TextureBuilder received a fix intended to make it fully compatible with Nuke’s new USD-based 3D system. The release notes keep it at that level, with no extra detail about which USD features, scene layouts, or node setups the fix touches.

USD has a way of turning minor incompatibilities into big time sinks, because the problems tend to surface late, when a scene graph comes in from somewhere else and the viewer looks fine until it does not. This update targets that failure mode by addressing USD support inside TextureBuilder in the context of Nuke’s new 3D system.

Blender: 5.1 support and texturing repair

The Blender pack now supports Blender 5.1. including a fix for a texturing issue in GeoTracker and FaceTracker in Blender. After the fix, the texture grab works as it should.

After Effects: Alembic export UVs

GeoTracker for After Effects fixes a bug that caused inverted mesh UVs when exporting to Alembic. The release notes describe the fix as helpful for sending tracking data to third-party tools. The bug description stays specific to UV orientation during Alembic export.

UV flips can hide in plain sight, especially when a downstream tool or shader setup masks the problem until someone changes a render path. Fixing the export at the source reduces that risk when geometry leaves After Effects for another stage.

If you rely on Alembic in your handoff chain, test an export after updating and inspect UV orientation in the next tool in the chain using a known reference asset.

https://keentools.io/

The post KeenTools 2026.1: Nuke 17 and Blender 5.1 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Autograph is a 2D plus 3D compositor with a USD core, can hook into Maxon Studio and Red Giant, and imports SVG from Adobe Illustrator and Figma plus PSD from Affinity and Adobe Photoshop.

Free now, with a catch that is not scary

Maxon has released Autograph 2026.0.0 and made it free for anyone with a (free) MyMaxon account. The same release adds native integration with Maxon Studio for searching, navigating, and applying Red Giant effects, and it adds full OpenFX support for third-party plugins. Pricing beyond that free individual access is not specified yet.

The Autograph pitch in plain production terms

Autograph is a motion graphics and compositing application that mixes a layer-based timeline with a 3D mode for manipulating 3D assets. Think Nuke met After Effects at the Flame Birthday party, and they got drunk.

From the left..

The new kid on the block!

The timeline includes a standard layer stack and a dope sheet, then it switches into a 3D workspace when you need to push assets around in depth.

Autograph also promotes a responsive design workflow aimed at delivering multiple resolutions and aspect ratios from a single project file. Autograph calls these “responsive-design compositions”. Elements can be positioned relative to frame dimensions so one project can render multiple aspect ratios without duplicating layouts.

On the feature list side, Autograph describes itself as a tool for motion graphics, VFX and compositing, plus 2D and 3D projects. So, eveything Comp. It also sports a GPU-powered engine and extensible capabilities as part of how the tool approaches performance and expansion.

OpenUSD 3D inside a compositor timeline

Autograph includes an integrated 3D workspace powered by OpenUSD. The 3D space blends with the 2D workflow and supports extruded vector shapes and text, using compositions as textures, and compositing with multi-pass renders inside the same application.

That same 3D space is useful for motion designers who want depth, lighting, and dimensional design without moving to another application, and for 3D artists who want to streamline texture creation and final composite across the broader toolchain.

Plug-ins, Studio integration, and the new OFX door

Autograph 2026.0.0 introduces full OpenFX support. That matters if your shop already lives and dies by OFX (because, why wouldnt it…), or if you want a compositor that does not treat third-party effects as an afterthought.

The release also adds native integration with Maxon Studio. The stated goal is quick search, navigation, and application of Red Giant effects from inside Autograph. Capsules are explicitly not available in Autograph yet.

One naming change also comes with the re-release: Instancer has been renamed to Cloner, aligning naming with Cinema 4D terminology. The Sources do not list additional feature renames beyond that one.

System requirements and supported platforms

Autograph 2026.0.0 supports Windows and macOS. On macOS, the supported versions listed are macOS 15 Sequoia and macOS 26 Tahoe, and the supported hardware requirement listed is Apple Silicon M1 or better, with 16 GB of memory.

On Windows x64, the supported operating systems listed are Windows 10 version 22H2 and Windows 11. The minimum CPU requirement listed is a 64-bit Intel or AMD CPU with AVX2 support. The minimum GPU requirement is either an NVIDIA GPU from the Maxwell generation or newer with at least 4 GB of VRAM, or an AMD RX 570 or RX 580 with 4 GB or 8 GB, or a discrete GPU with at least 4 GB VRAM and support for OpenCL. The memory requirement is 16 GB.

Test new tools and updates before you put them into a production-critical pipeline!

https://support.maxon.net/hc/en-us/articles/26689114527388-Autograph-2026-0-0-April-15-2026

The post Maxon Autograph 2026 is here first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Beeble runs AI relighting and pass generation in the browser via the Cloud app and locally via Beeble Studio, using SwitchLight for video-to-PBR work and SwitchX for background swaps, with exports that slot into comps in Nuke and motion work in After Effects.

Background Remover does not add a brand new trick. It pulls the same AI masking model used in VFX Pass Generator into a standalone, faster workflow meant for the quick matte job, with the provided materials calling it more credit-efficient than a full pass as a marketing claim. Exports lean hard into practical comp handoffs, including RGBA video with alpha, RGBA PNG sequences, and alpha-only sequences, which fits motion graphics work where you want clean holdouts so titles and design layers can live behind moving subjects.

For more background, see Digital Production coverage of SwitchX background swaps, Studio local 4K relighting, and SwitchLight 3.0.

The real news is the shortcut

Background Remover lives inside the Cloud app as a standalone alpha extraction workflow. The core promise is not mystery science. It is a packaging change that targets one task, foreground mattes, with fewer steps and fewer credit demands than running a broader multi-pass job.

That matters because a lot of shots do not need a full buffet of passes. Plenty of days you just want a clean subject cutout so you can comp a replacement plate, push a quick relight downstream, or build motion graphics behind a moving performer. Background Remover aims at that moment when you would normally sigh, open your roto tool of choice, and start paying for coffee by the hour.

It also draws a bright line between where it runs and where it does not. Background Remover is available exclusively in the Cloud app and it is not available in the desktop product yet.

Inputs that match real-world chaos

The tool accepts three kinds of input: a single image, a video, or an image sequence. Single images support common formats, including PNG and JPEG. Image sequences support up to 2,000 frames. For video, the supported container and codec combinations include MP4 using H.264 and MOV using ProRes 422, ProRes 4444, or H.265. The maximum file size is 2 GB. The tool supports up to 2K resolution at 2048 pixels, and it will downscale larger video. It supports clips up to 60 seconds and up to 30 fps, with higher frame rates reduced.

Color handling has a practical bias. Rec. 709 for video and sRGB for images are called out as the best quality settings, while other color spaces such as Log can degrade quality. That is less of a moral stance and more of a reminder that alpha extraction likes predictable input, not surprise curves.

Preview first, then commit, unless you like living dangerously

Background Remover runs a two-phase workflow for video. First comes a preview stage that extracts a preview frame and generates rough alpha previews. This stage exists for sanity checking. The preview alpha is explicitly rough, not pixel-perfect, and fine details like hair edges and semi-transparent areas are refined during full extraction.

If you want to steer the result, there is an interactive refinement step. The workflow uses an Edit Alpha action inside the preview dialog. That opens a rotoscoping UI designed around quick subject selection. The demo workflow shows clearing the existing mask and selecting only the subjects you want to keep by clicking them, then applying the alpha.

There is also a Skip Review mode. It bypasses preview and refinement and runs full extraction immediately. In that mode, the first frame becomes the reference and the pipeline runs without manual review. It is intended for simpler shots with clear subjects and consistent backgrounds. None of this replaces judgment. It simply gives you the option to front-load a small amount of control before you burn the full render.

Exports that behave in comps

Background Remover produces two output types: RGBA results with transparency applied, and grayscale alpha mattes. For RGBA, it can output a MOV file with an embedded alpha channel, plus RGBA PNG output as a sequence or a single image. The MOV output is 10-bit RGBA in sRGB. The PNG RGBA output is 8-bit in sRGB.

For alpha-only delivery, it can output an MP4 grayscale matte as well as grayscale PNG output as a sequence or a single image. Grayscale alpha outputs are 8-bit and represent the matte range from 0.0 to 1.0.

The point here is pipeline friction. An embedded-alpha MOV can drop straight into After Effects, DaVinci Resolve, or Final Cut Pro without juggling a separate matte file. When you do want a separate matte, the alpha-only options cover both video-centric and frame-centric workflows.

If you build motion graphics, this is the part that keeps paying rent. A clean matte lets typography, UI, and graphic elements sit behind a moving subject while staying readable. That trick stays stubbornly useful, even when the rest of the shot changes.

Credits, pricing, and the part everyone asks first

Pricing is expressed in credits and it is published on the official pricing page for the Cloud plans. Background Remover is listed at 1 credit per second of video, and 1 credit per image. VFX Pass Generator is listed at 3 credits per second of video, and 3 credits per image. That is the math behind the one-third claim.

Plan details and credit bundles live on the Cloud pricing page, including per-plan limits. Note that Background remover is not included in the free tier.

Limits that matter when you are on a deadline

Image and image-sequence uploads have a maximum of 100 MB per file. Resolution supports up to 2K at 2048 pixels, and larger files are rejected. Video uploads support up to 2K, with larger video downscaled. Video duration supports up to 60 seconds and frame rates up to 30 fps, with higher rates reduced.

Bulk handling exists too. The tool supports bulk downloading multiple completed results at once. For anybody juggling variants, alt takes, or multiple elements, that avoids the classic cloud workflow of clicking download until your wrist files a complaint.

Where it fits in the larger toolset

Background Remover sits as a focused subset next to the broader pass workflows. If you only need a matte, it keeps you out of the heavier multi-pass path. If you need more, the pass generator remains the place for depth, normals, and other map outputs that support relighting and downstream work in 2.5D and 3D contexts.

https://app.beeble.ai/

The post Beeble Background Remover hits Cloud app first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: SynthEyes by Boris FX is a dedicated 3D camera tracking and matchmoving software used across film, VFX, and advertising production. It interfaces smoothly with Nuke, After Effects, Fusion and other DCC applications, delivering fast, precise solves for integration of CG into live action. Part of the Boris FX Suite, SynthEyes sits alongside tools such as Mocha Pro, Continuum, Sapphire, and Silhouette, forming a tightly integrated pipeline of visual effects and finishing plugins.

Free matchmove mastery – for a limited time

Boris FX has announced SynthEyes Essentials, a new training series designed to teach both the conceptual foundations and practical workflows of matchmoving in SynthEyes. The package, usually priced at USD 95, is available as a free premium download until 31 December 2025.

The offer includes over three hours of professional instruction, spread across eighteen videos, with accompanying project files and sample footage. The series is taught by Boris FX product specialist Christoph Zapletal, a long-time VFX artist and trainer – and Digital Production’s own Compositing, Flame and Star trek Author.

Topics include matchmove theory, camera solving, AI-assisted workflows, roto masking, lens distortion management, mesh generation, and object tracking. Boris FX positions the series as a comprehensive, concept-driven training rather than a feature-by-feature tutorial. If you want to learn what you are doing, and not just which button to press, this is the course for you.

What do you get?

Across eighteen lessons and twelve blocks, SynthEyes Essentials builds a structured learning path from theory to application. It starts with conceptual understanding, progresses through tracking, solving, calibration, and ends with practical export and integration workflows. Each block is designed to be modular, allowing artists to focus on specific parts of the matchmove process or follow the series sequentially for a full onboarding to SynthEyes.

Foundations and Core Concepts

The course opens with an Introduction and a clear explanation of the Underlying Concepts of matchmoving. These first lessons establish the theoretical foundation of what camera solving actually does, namely mapping 2D image data into a consistent 3D coordinate space. Christoph outlines how SynthEyes interprets motion, focal length, and parallax, giving artists a solid base before they begin working hands-on. This section sets the tone for the entire training: conceptual understanding first, tools second.

Tracking Workflows

Once the principles are clear, the series moves into practical tracking. Lessons on Automated Tracking and Supervised Tracking demonstrate SynthEyes’ two primary approaches to extracting tracking data. Automated tracking covers point generation and solving for shots that can be processed algorithmically. The supervised section focuses on when and how to step in manually: tuning track points, correcting drift, and controlling motion paths when the automated system struggles. Together, these chapters establish a complete understanding of tracking strategies for real production footage.

Solving and Refinement

The next stage is “The Solver Room”, where all the accumulated tracking data is converted into a working 3D solve. The solver section demonstrates how SynthEyes interprets the camera’s path and reconstructs the scene’s geometry. The training then introduces Roto Masking, showing how to isolate moving foreground elements or exclude unwanted regions from the tracking process. This not only improves accuracy but also keeps solves stable in complex or occluded shots.

Lens and Calibration

Zapletal then focuses on optical parameters in three consecutive chapters: Lens Distortion, Lens Calculation, and Lens Calibration. These lessons explain how real-world lenses introduce distortion, how SynthEyes models and compensates for it, and how to calculate or calibrate lenses from footage or reference data. This block is particularly useful for artists working with varying cameras or mixed-format source material, where lens data is inconsistent or missing.

Coordinate Systems and Scene Setup

The two lessons titled Coordinate Systems Part 1 and Part 2 explain how SynthEyes handles scene orientation, scale, and alignment. Understanding coordinate spaces is crucial when exporting solves to downstream 3D applications such as Nuke or Maya. These chapters ensure that solved data lines up correctly with CG scenes and compositing environments, avoiding scale and rotation mismatches in later stages of production.

Mesh Generation

The Mesh Generation Part 1 and 2 chapters explore SynthEyes’ built-in mesh tools. Artists learn how to create proxy geometry that helps verify solves, anchor objects in space, and visualise tracking quality. These lessons demonstrate both automated and manual mesh workflows, preparing users for typical use cases like ground plane setup or background modelling for compositing reference.

Object Tracking

Next, Object Tracking Part 1 and Part 2 move beyond camera solves to show how SynthEyes handles independent object motion. This section is key for shots with multiple moving elements—cars, props, or handheld devices. It explains how to isolate and track objects independently while maintaining a consistent world space between multiple solves.

Export and Integration

The final three chapters deal with transferring the finished solve to other applications. Zapletal demonstrates exporting cameras, point clouds, meshes, and nulls to standard 3D and compositing packages. Topics include export format choices, scaling conventions, and verification of data integrity. The course closes with best practices for integrating SynthEyes results into downstream VFX or editing pipelines.

Availability and next steps

Artists can download SynthEyes Essentials for free via the Boris FX webshop until the end of December 2025. From 1 January 2026, it will be priced at USD 95 for the premium download, though the videos will remain freely viewable on the Boris FX website. As with any training-based workflow adoption, users are advised to validate techniques and settings against their own production data before deploying in critical pipeline stages, but, after we have seen a few of the videos, this one will be useful for pretty much everybody.

The post SynthEyes Essentials Training is here and Free for the Holidays first appeared on DIGITAL PRODUCTION and was written by Bela Beier.