For those who don’t know the tool: Beeble is a AI based VFX toolset built around video to video processing, including SwitchX for background replacement, object inpainting, and relighting, plus Switch Light for generating compositing passes such as normals, albedo, roughness, specular, metalness, depth, and alpha.

The short version: yes, you can use it in Nuke

The Nuke Plugin enables a workflow that stays inside Nuke: load a pass set, connect it to a controller, then drive lighting with dedicated nodes. It targets relighting work where you want quick iterations without building a full CG relight setup from scratch, but still want predictable inputs and knobs you can animate. You need Nuke 14.1v2 or newer. The plugin is working on Windows and macOS. If your show sits on Linux, that missing test line matters.

Install: one folder, one line, one restart

Installation is classic Nuke: unzip the plugin folder, move the Beeble folder into your .nuke directory, then add a single plugin path line to init.py. On macOS, the target path is ~/.nuke/Beeble/. On Windows, it is C:\Users.nuke\Beeble. After restart, the plugin appears on the toolbar as a new menu.

If you want the lowest-drama rollout on a facility machine, treat it like any other Nuke plguin deployment: version the folder, keep init.py changes minimal, and test on a clean user profile before you touch shared configs.

What the plugin actually wants: a very specific PBR stream

The plugin’s key constraint is the PBR multi layer format. It expects a single image stream containing multiple Nuke layers named Source, Normal, Basecolor, Roughness, Specular, and Metallic. The node reference calls this “PBR multi layer stream” the core input, and the controller and light nodes all build on it.

There are three supported ways to feed it: EXR sequences, PNG sequences, or MP4 videos. EXR needs each frame to carry multiple passes packed into layers in a single EXR file per frame, such as Frame_000001.exr. PNG and MP4 need one pass per sequence or video, arranged so the loader can map names to the expected pass inputs.

This is also where the tool draws a hard line between convenience and correctness: if your pass naming or folder layout drifts, import stops being one click.

Load PBR Passes: the most important button is the first one

The Quick Start flow begins in the Nuke toolbar: Beeble, then Load PBR Passes. You point it at an unzipped folder of VFX passes. For PNG, the folder must contain subfolders for each pass, and each subfolder holds a PNG sequence like Normal/Normal_000001.png. For MP4, the folder must include one video per pass named .mp4 such as Normal.mp4.

When you load PNG or MP4, the plugin automatically creates a PBRPacker node to pack the six inputs into a single multi layer stream. For EXR sequences, the PBRPacker is not needed because the passes are already packed into layers. If you ever need to build the stream by hand, the helper menu exposes PBR Packer, and it takes exactly six inputs in this order: Source, Normal, Basecolor, Roughness, Specular, Metallic.

PBR Controller: fix the material before you blame the light

After import, the plugin creates a PBRController node. It exists for one reason: adjust pass intensities and blending before lighting.

Source Blend ranges from 0 to 1 and blends between BaseColor at 0 and Source at 1. Roughness Exposure, Specular Exposure, and Metallic Exposure each run from minus 2 to 2 and adjust intensity in stops. This is the difference between a light that looks wrong and a material that was weighted wrong.

If you plan to publish a facility preset, this is the node to standardize. It is also the node to keyframe if you need a shot that shifts from dry to wet, but still stays within the same pass set.

Lights: three nodes, clear ranges, and a Merge plus

Lighting lives under Beeble, then Lights. The basic rule stays consistent: connect the PBRController output to the light input, tweak properties, then stack more lights with a Merge set to plus. That Merge plus step is explicitly called out for multi light setups.

Directional Light exposes a horizontal rotation from 0 to 360 degrees and a vertical rotation from minus 90 to 90 degrees, plus light color and an intensity multiplier that starts at 0 and defaults to 1.0.

Point Light exposes XY position in pixels, Z depth from minus 5 to 5, light color, intensity starting at 0 with default 1.0, decay starting at 0 with default 2.0 described as inverse square, and maxDistance starting at 0 where 0 means infinite reach.

Environment Light applies image based lighting using an HDRI and takes two inputs: the PBR multi layer stream plus the HDRI. The Quick Start notes you load the HDRI file and connect it to the light input. The node reference describes HDRI as the second input, and the environment light output is RGBA like the other light nodes.

Limits and gotchas you should not ignore

The documentation states the prerequisites clearly: Nuke 14.1v2 or newer, tested on Windows and macOS. It also defines the pass set rigidly as six layers in one packed stream. If your pipeline produces additional passes like depth or alpha, the Nuke Plugin page does not list them as inputs for the PBR stream.

Use it where you can afford to iterate and where the pass set stays stable across the shot. Lock your ingest, standardize your pass naming, then let artists work with Directional, Point, and HDRI lights like they would in any comp, with the added bonus that they can animate light behavior using regular Nuke tools. And yes, test it before you commit. New tools are great at demos and even better at breaking when a client sends a new plate at 2am.

https://docs.beeble.ai/integration/nuke-plugin
https://docs.beeble.ai/tutorial/nuke-tutorial

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The post Beeble Nuke plugin: relight with passes first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Beeble builds AI relighting and video transformation tools for VFX, post, and virtual production, and Canvas is its very new node based environment that wires SwitchX and SwitchLight into repeatable shot workflows.

A node graph, but for AI outputs you can wrangle

Canvas lands as a node based AI compositing environment aimed at complex workflows across VFX, post, and virtual production. The pitch is straightforward: put AI video models, compositing utilities, and workflow automation into one visual system so teams can iterate across multiple shots without rebuilding the same logic over and over.

In practical terms, it targets the part of the job where you already juggle plates, masks, reference stills, and multiple look directions, then repeat that dance across a sequence.

What is actually in the box

Canvas presents itself as a node graph workflow editor for final render, with a catalog grouped into Input, AI Tools, Edit, and Utility. Input supports text prompts plus image files in PNG, JPEG, or WebP, and video files in MP4 or MOV. In other words, it starts where most editorial and comp workflows already start: media in, decisions next.

https://digitalproduction.com/2026/05/20/beeble-canvas

The AI Tools section includes a node for SwitchX, the same model as the standalone product, with source and alpha handled as video inputs. It also includes an LLM node that can generate files from a prompt with up to four media inputs, plus image generation and video generation nodes that can route to external models. For rotoscoping style work, Canvas includes a Video Matte node that outputs an alpha matte plus RGBA, with an automatic mode and an interactive selection mode, plus options aimed at general footage and green screen keys.

On the classic comp side, the Edit nodes cover the expected utility moves: extract a frame, trim, crop, resize, curves, invert, flip, and morphology operations like erode and dilate. Utility nodes cover housekeeping: sticky notes, routing for cleaner graphs, a viewer, side by side compare, and export. It’s not fully Nuke yet, but…

That combination matters because it lets artists keep the media prep and look development steps next to the model calls, instead of bouncing between separate tools and hoping filenames stay honest.

Relighting and PBR passes, now wired into the graph

The system includes access to SwitchLight for generating physically based rendering passes. In the Canvas node catalog, the VFX Pass Generator extracts PBR material maps including BaseColor, Normal, Depth, Roughness, Specular, and Metallic from image or video using SwitchLight 3.0.

That puts relgihting adjacent tasks into the same graph where you also assemble mattes, feed references, and generate variations. It also matches the stated intent of supporting controllable, iterative pipelines across multiple shots, not one off experiments.

Automation, batches, and the part everyone really wants

Canvas claims to be built around repeatability: build workflows once, apply them to shot sequences, and automate iteration without rebuilding node logic shot by shot. It also calls out batch processing and maintaining scene consistency across projects.

Those claims describe the correct pain point. Anyone who has ever reconnected the same five nodes fifty times will understand why a programmable layer matters. Still, treat the automation story like any new tool claim: test it in your own pipeline with your own edge cases before you bet any delivery on it.

The API angle: SwitchX in your pipeline, with pricing details

SwitchX API for video transformations in YOUR pipeline

Alongside Canvas, the SwitchX API is positioned for studios and developers who want to integrate video transformation and relighting capabilities directly into custom pipelines and software environments.

The developer portal offers a REST style workflow with uploads, job creation, and polling, and it explicitly supports 720p and 1080p output. It also has pay as you go credits in US Dollar, and pricing can start at $0.10 per generation. That pricing applies to the API offering as described there, while Canvas pricing is not specified, since it is part of Bebble Online.

Beeble Studio: 4K AI relighting on YOUR desktop

Availability, media assets, and credits

Canvas is available now via the Beeble platform, with a launch video hosted on YouTube (The Video we embedded above…) .

The boring but necessary reminder

New tools and innovations should be tested before use in production, especially when they touch shot consistency, automation, and delivery formats. Run a small sequence through, break it on purpose, and see how it fails before you trust it on a deadline.

https://docs.beeble.ai/beeble/canvas
https://docs.beeble.ai/beeble/overview

The post Beeble Canvas first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: D5 Render from Dimension 5 is a realtime rendering engine used across architecture, design, and visualisation pipelines. It connects with 3ds Max, Blender, Cinema 4D, Revit, Rhino, SketchUp, ArchiCAD, and Vectorworks via direct sync plugins.

Oceans, clouds, and skies

Version 3.0 introduces two major environment tools: an Ocean object for animated water surfaces and a Volumetric Clouds system with multiple presets such as cumulus and cirrus. The ocean object allows control of wave scale, wind speed, and interaction near shorelines.

Volumetric clouds integrate with improved fog and light scattering options for more natural outdoor illumination. Enhancements to the existing Geo Sky model provide finer control over sky intensity and sun balance, improving consistency between time-of-day setups.

Rendering and material control

A new True Displacement option replaces parallax mapping with physically accurate surface relief. The trade-off is a higher render cost, but it yields more convincing depth in materials such as stone or concrete. Additional material updates include CMYK texture support and a toggle for HDRI resolution, allowing lighter scene loads when full 16K environment maps are unnecessary. Users can now also set a custom viewport background colour, aiding previs or presentation renders that do not require a full environment.

AI generation expands inside D5

Dimension 5 continues its exploration of integrated AI tools. The new Image-to-3D feature creates simple 3D models from one to three reference photos, processed directly inside D5. In the AI Agent suite, Scene Match allows textual adjustment of scene elements, while Asset Recommendation searches the asset library based on descriptive keywords or reference images. At press time, these AI tools remain early implementations, and output quality varies depending on subject complexity.

Experiments with Gaussian splats

D5 Render 3.0 introduces experimental import of Gaussian splats, a point-based 3D representation format derived from neural rendering research. The implementation is explicitly labelled experimental, and Dimension 5 advises users to expect incomplete material or lighting behaviour.

Workflow refinements and licensing

Navigation within scenes has been overhauled with a free-camera mode and refined controls. Several features previously restricted to Teams subscribers, such as Caesium geographic data and XR Tours, are now available in the Pro tier. The procedural city generator is also promoted from Teams to Pro.

D5 Render continues to be offered in three tiers: a Community edition that remains free, plus paid Pro and Teams subscriptions.

D5 Lite: a lightweight sibling

Alongside the main update, Dimension 5 announced D5 Lite, a compact edition designed for early-stage design work, initially integrated with SketchUp. D5 Lite runs in two modes: Real-Time Rendering for viewport previews and AI Generation for cloud-based image synthesis from screenshots. Future versions of D5 Lite are planned for 3ds Max, Revit, and Rhino, though no release schedule has been released.

Compatibility and system support

D5 Render 3.0 supports Windows 10 and later. The recommended GPU baseline is an NVIDIA GeForce GTX 1060, AMD Radeon RX 6400 XT, or Intel Arc A3 series. Integration plugins remain available for all major DCC and CAD tools. As with any major rendering update, users are advised to test D5 Render 3.0 and its AI features on non-critical projects before integrating them into live production.

The post Ocean, clouds, and splats: D5 Render 3.0 sets sail first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Beeble has released Beeble Camera, a free iOS app that uses Apple’s LiDAR and ARKit frameworks to track iPhone movement in real time while recording. The app anchors captured footage to real-world space and uploads it directly to the Beeble Web platform for AI processing. According to the developer, uploaded shots are processed into camera-tracked, rotoscoped and relightable VFX passes. These passes can then be composited in Beeble Studio, the online Beeble Editor, or exported into Blender and Unreal or using a dedicated plugin, or any other DCC through a straight export.

Setup and Shooting

After installing Beeble Camera from the App Store, users must scan their environment with the iPhone to allow ARKit to detect surfaces. A floor grid can be tapped to set the origin point for tracking. The app also allows insertion of reference geometry by placing a .usdz file into the scene. This can be scaled, rotated and moved as needed. Once the environment is prepared, recordings capture both video and camera metadata. For improved results, Beeble recommends using a gimbal, ensuring a clean lens (D’uh), and shooting under even lighting conditions.

Uploading and Processing

Recorded clips are uploaded from the phone to Beeble Web, where AI routines create roto masks and relightable passes. These are automatically aligned with tracked 3D data from the shoot. The same 3D reference model used on-set can be converted to .glb and imported into the Beeble Editor, where metadata ensures accurate placement in the composite. Alternatively, Blender users can bring in the footage via the Beeble add-on, which carries over the camera-tracking data.

Availability

Beeble Camera is available now as a free download on the iOS App Store. Processing and compositing features require a Beeble Web account.

What’s Next from Beeble

Beeble CEO Hoon Kim has confirmed plans for a local version of the platform in future updates. He discusses this roadmap and accessibility of AI-based relighting in our Digital Production interview, so read on over there :)

We have to talk about Switchlight 2.0

The post iPhone for Tracking: Beeble Camera enables Free “Virtual Production” first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Masterpiece X has launched WorldEngen, a desktop AI scene editor that promises to compress weeks of 3D scene building into a handful of hours. According to the company, the software can cut the average scene creation time from around 148 hours to just 3, a claimed 50x acceleration.

WorldEngen is positioned as the “first AI assistant for 3D worldbuilding.” Instead of scattering asset generation across multiple disconnected tools, it acts as a central hub for AI models and assistants, tied directly into established workflows in Blender, Unreal Engine, and Unity.

Why WorldEngen exists

Masterpiece X frames its tool as a response to what many studios already experience: too many disconnected AI experiments and plugins, scattered across multiple browser tabs and applications. The company describes a “digital desktop littered with half-finished assets” and “creative vision lost in the chaos of disconnected tech demos.”

The problem is not the lack of AI models: there are plenty generating characters, props, textures, and concept art. The issue, according to Masterpiece X, is the absence of a unified, production-ready environment where AI assets can be directed, combined, and finalised into a coherent 3D scene.

Features on paper

WorldEngen introduces the concept of specialised AI “agents” that can be directed like team members. The workflow begins with layout and scene agents generating a greybox: a rough environment built from primitives that defines scale, composition, and spatial relationships.

From there, concept art agents help establish a consistent visual direction through a Style Guide, ensuring assets share the same look and feel. Once approved, an Image Kit Agent extracts objects from concept art and prepares them for 3D generation. Other agents refine, restyle, or edit images. Finally, a Scene Agent exports assets and layouts directly into Blender or Unreal Engine for further work.

A notable inclusion is the AI Video Agent, which can automatically render pre-vis clips based on the scene. This function is aimed at pitches, internal reviews, and fundraising decks.

Technical architecture

WorldEngen runs as a desktop editor, but its AI computations are performed in the cloud. The company stresses that users keep their files local, which avoids the need for high-end GPUs on the client side. This architecture could make it accessible to smaller studios or freelance artists, though it does raise questions about bandwidth requirements, file handling, and long-term reliability.

Real-time iteration is another selling point. Masterpiece X claims that layouts and asset updates can be adjusted instantly without repeated exporting or rebuilding. If this proves true in practice, it could cut down on one of the more frustrating bottlenecks in scene assembly.

Availability and access

WorldEngen is currently available only via Early Access, open to select studios and production teams. Interested professionals must apply through the official site. No general release date or pricing information is yet available.

The sceptical view

At present, all reported speed gains and cost savings come directly from Masterpiece X or its quoted design partners. No independent benchmarks or third-party tests have been published. Claims of compressing 148 hours of work into three remain unverified. As such, actual performance in production conditions is unknown.

Another open question is stylistic consistency. While WorldEngen introduces style guides and workflow control, the common criticism of AI models generating inconsistent or unusable results has not been conclusively addressed. Until production artists test it at scale, the reliability of its outputs remains uncertain.

Context in the industry

WorldEngen enters an increasingly crowded space of AI tools promising to “revolutionise” 3D workflows. Artists are already experimenting with pipelines that combine Midjourney, Stable Diffusion, Runway, and various asset-generation APIs. What Masterpiece X offers is consolidation: a single editor designed to unify these processes, with direct export into DCCs, which is easier to use than ComfyUI.

This makes the tool potentially appealing for studios exhausted by scattered pipelines. But as always, consolidation comes with trade-offs: lock-in to one ecosystem, reliance on proprietary AI agents, and dependence on cloud connectivity.

Test before you trust

Studios considering Early Access should evaluate WorldEngen with controlled pilot projects before integrating it into production-critical workflows. As with all new AI-driven tools, actual usability and reliability will only be clear once artists put it through the rigours of real-world deadlines.

Masterpiece X WorldEngen

The post WorldEngen promises AI-built 3D scenes in hours, not weeks first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Autodesk has overhauled its Flow Studio subscription model, adding new tiers, lowering prices, and making notable feature changes. The browser-based, cloud-rendered platform, formerly known as Wonder Studio, is aimed at AI-assisted character replacement and animation.

The update introduces five subscription options:
Free: $0/month
Lite: $10/month
Standard: $45/month
Pro: $95/month
Enterprise: contact sales

Free means watermarks

The Free tier now allows 720p exports, 300 credits/month, 1 GB of storage, up to 100 MB uploads, three custom character uploads/month, and tracking for a single actor per project. Output is watermarked, making it suitable for testing or non-commercial uses.

Lite gets cheaper—and leaner

The Lite tier drops from roughly $20/month to $10/month. Credits fall to 2,100/month, maximum resolution is 1080p, storage is 5 GB, uploads are capped at 500 MB, custom character uploads are limited to six, and tracking is capped at two actors per project. Autodesk has removed Lite’s ability to export character passes, PNG image sequences, and USD scene files. Wonder Tools, used for tasks like camera tracking and clean-plate generation, are also no longer included.

Standard as the middle ground

The Standard tier costs $45/month, includes 6,000 credits/month, supports 4K exports, offers 20 GB of storage, a 500 MB upload limit, up to 15 custom character uploads, and tracking for three actors per project. It also omits character pass and PNG exports, and USD export capability is absent.

Pro drops into double digits

The Pro tier is now $95/month (down from $99.99), with 12,000 credits/month, 4K export, 80 GB storage, 2 GB upload limit, up to 50 custom characters, and four-actor tracking. All export formats and Wonder Tools are included. Pro is also now bundled in Autodesk’s Media & Entertainment Collection, alongside Maya, 3ds Max, Arnold, Golaem, Mudbox, MotionBuilder, ReCap Pro, and more.

Enterprise for scale

The Enterprise tier offers 48,000 credits/month, 4K export, 1 TB storage, 2 GB uploads, up to 50 custom characters, and tracking for up to seven actors. Pricing is available only via Autodesk sales.

Platform and pipeline notes

Flow Studio runs in Chrome or Safari; mobile browsers are not supported. All processing is cloud-based, using a credit system tied to project complexity and output settings. Export restrictions in Lite and Standard may affect USD-based or multi-pass compositing workflows. As always, studios should test any new subscription tier in a controlled environment before integrating it into production.

The post Flow Studio prices drop, tiers multiply, features shift first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In a move that might make brand strategists giddy, Autodesk has rebranded Wonder Studio, the AI-infused platform for seamlessly inserting CG characters into video footage, as Autodesk Flow Studio. This rebranding officially integrates the service into Autodesk’s Flow cloud platform for media and entertainment. Despite the new moniker, users can rest easy knowing that the platform’s availability and pricing remain unchanged.

AI-Powered CG Integration

Launched in 2023 and acquired by Autodesk in 2024, Wonder Studio—now Autodesk Flow Studio—leverages artificial intelligence to automate the integration of CG characters into live-action footage. The platform tracks live actors, replaces them with CG counterparts, and matches lighting conditions, producing clean plates, alpha masks, camera tracks, and motion-capture data. For those who like their data portable, the platform supports exports to Blender, Maya, Unreal Engine, or in USD format for applications like 3ds Max, Houdini, or Unity.

Introducing ‘Wonder Tools’

In February 2025, the platform received an update introducing standalone services dubbed ‘Wonder Tools.’ These tools allow users to extract clean plates—backgrounds without actors—and obtain camera tracking data from footage. Notably, the Camera Track Wonder Tool can process footage sans actors, while the Clean Plate Wonder Tool is designed to remove human actors (up to four per shot) but doesn’t extend its vanishing act to animals or inanimate objects.

Pricing and Accessibility

Autodesk Flow Studio operates as a browser-based platform compatible with Chrome or Safari—sorry, mobile users, you’ll need to switch to a desktop. The platform offers two subscription tiers:

• Lite: Priced at $29.99/month or $299.88/year, this tier allows 1080p video exports and access to mocap data, clean plates, camera tracks, and 3D scenes.
• Pro: At $149.99/month or $1,499.88/year, subscribers can export at 4K resolution and receive additional features like roto masks.

Both plans operate on a credit system, with one second of video processing consuming 20 credits. Lite subscribers receive 3,000 credits/month, while Pro users enjoy 12,000 credits/month. citeturn0search0

As with any new tool, it’s advisable to evaluate Autodesk Flow Studio’s features in the context of your project’s specific requirements before full integration.

For a visual overview of the rebranding and new features, check out the video below:

The post Wonder Studio Rebrands: Now Flowing with Autodesk first appeared on DIGITAL PRODUCTION and was written by Bela Beier.