Previs Pro 3, the iPad-only storyboarding and previs app for filmmakers, has been released. The update introduces animatics, an AI-driven lighting system, and a free edition aimed at students and independent creators. The new animatics system lets users turn their storyboard frames into timed sequences, complete with sound effects and audio tracks. This makes it possible to test pacing and shot rhythm before production begins.

The addition of animatics also strengthens collaboration. Directors and editors can review not just static storyboards but moving sequences with timing and audio cues. That allows quicker iteration before camera equipment or crew are booked. The developer highlights that this feature is designed to export easily into editing suites for further refinement. Another key addition is “AI Light Grade.” The tool uses automated lighting analysis to adjust scene lighting within the app, designed to give quick previews of mood and exposure. The developer has not provided technical details on the underlying AI model.

AI Light Grade is integrated into the existing 3D environment system. It enables users to run quick test passes on scenes without manually adjusting every lighting parameter. While this promises speed gains, the company has not clarified whether the AI lighting is deterministic or adaptive, nor whether its results are intended only for previs visuals or can be matched to real-world set lighting. Not independently verified at press time.

Previs Pro 3 is also available in a new free edition. It includes a limited feature set, capped at 10 projects and 10 shots per project, but otherwise provides access to the main toolset. Paid versions remain available via subscription. The monthly price is $39.99, the yearly price is $179.99, and the lifetime price is $399.99.

The free edition is clearly targeted at students, hobbyists, or independent filmmakers who want to test the app without committing to a subscription. Its hard cap of 10 shots per project limits its usefulness for larger productions, where shot counts quickly run into the hundreds. The Pro tier removes these restrictions and adds unlimited projects, making it the only practical option for professional workflows.

Availability

Previs Pro runs exclusively on iPadOS. The app is distributed via the Apple App Store. No desktop or Android versions have been announced.

The rest of the toolset

Beyond the new features in version 3, Previs Pro’s core workflow remains unchanged. The app lets filmmakers build storyboards and previs sequences by combining 3D characters, props, and environments inside a touch-driven interface. It supports augmented reality (AR) location scouting, enabling users to preview shots on real-world sets using an iPad camera feed.

Previs Pro includes an asset library for characters, props, and vehicles, with pose controls and camera tools to define shot composition. Storyboards can be exported as images, PDFs, or video animatics for use in editing pipelines. For production planning, the app also provides tools to manage shot lists, camera metadata, and location data, making it possible to link previsualisation directly with scheduling and on-set reference.

As always, new tools should be tested carefully before relying on them in active productions.

The post Animatics, AI Lighting, and a Free Tier: Previs Pro 3 Expands Storyboarding on iPad first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

We had a close look at the public beta, which should be close to general release.

Instruments and Features

CineMon is offering all the features you’d expect from a full featured monitor, like Grids, Center Mark, Safe Areas, Framing/Blanking, Flip/Flop/Rotate, anamorphic De-squeeze, Focus Peaking, and Zebras. All of these are highly configurable, e. g. separate Zebras can be freely adjusted for a lower and upper limit in different colors. De-Squeeze has not only all the usual ratios, but is also freely adjustable with a slider.

False Color allows the choice of a few versions from high-end cameras, but you can also define your own with unlimited flexibility. These can be saved in the program or exported, to be used by others with the same software. The same applies to complete presets for your own needs in CineMon, both of such settings are saved and read as .json files. Individual presets are indispensable in the light of such impressive flexibility of the toolset.

Dual Spot Meter

A unique feature is the dual spot meter in photometric EV values. This tool allows you to check middle grey at 0 EV or measure the contrast ratio of specific zones by placing a second spot. It works with gamma 2.4 (for Rec. 709) or with log profiles, which are pretty much complete for all manufacturers, from Arri to Sony. They are integrated and can be chosen directly in the software, while LUTs have to be imported first.

Another photometric tool based on log video input is an exposure slider. If you expose to the right (ETTR) to reduce noise, you can use this to see how your footage will look like when corrected in post. This is particularly useful with some hybrid cameras, like older Sonys, which force you into overexposure when shooting log (SLog2 in particular).

These image adjustments will also simulate changes to contrast or saturation. Of course you can also use LUTs. They should come as .cube files with 33 point lattices, and they can be used as input LUTs or as display LUTs. On the iPad, you can compare looks by swiping between your presets.

The built-in organizer allows renaming or rearranging presets in the list, which also applies to LUTs or false color versions. If a setting has been changed from the saved status, it’ll show in orange. The context menu will give you the option to revert, to save the new status or duplicate under a new name.

If needed for a busy scene with much detail, focus peaking can show edges only. Framing is optionally shown with dimmed look-around blanking areas. Overlaying a freeze from a live source or a loaded still supports precise placement of the camera or objects.

Or you choose a reference frame to match exposure, contrast, color, etc. with the camera settings for the current scene. The CineMon video scopes will process the mixed frame in this case. The difference mode, with a user-defined contrasting color, will immediately show if something has changed in a scene. This will help to spot a missing or misplaced object immediately.

Color Key Preview

Color key preview is not a full quality chroma keyer, but a real-time preview over a checkerboard or background still you have read in. It helps in spotting uneven lighting of the background color or adapting the foreground lighting to the planned environment. It’s even good enough to show problem areas to wardrobe or make-up artists. You can find a video showing all the tools here: cinemon.app

As you may have expected, CineMon has professional scopes, which can be placed and arranged freely, even with adjustable transparency as an overly to the live feed. They adapt to vertical video, but can also be switched to be shown fullscreen. You’ll find a histogram, waveform, and vectorscope with all the usual features and options. If compared with the scopes in DaVinci Resolve with the help of a video read in, they also look very precise. But, obviously, this raises the big question:

How precise is the incoming signal?

If you are using a MacBook, precision interfaces are coming from Blackmagic or from AJA, and they work as expected. But those from Blackmagic need Thunderbolt and don’t work with an iPad, and those from AJA may cost as much as the iPad itself. So, next we’ll look at alternative solutions.

The post CineMon 1.0 (Beta) for iPad and Mac first appeared on DIGITAL PRODUCTION and was written by Uli Plank.

The release of the Blackmagic Camera App for Android brings professional digital film features and controls to Samsung Galaxy and Google Pixel smartphones. This innovation provides Android users with tools previously only used in high-calibre film productions.

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Range of functions and use

The Blackmagic Camera app allows artists to adjust key camera settings such as frame rate, shutter angle, white balance and ISO with a single tap. The ability to record directly to the Blackmagic Cloud greatly simplifies collaboration on projects with DaVinci Resolve. The app supports video recording in industry-standard formats up to 8K, offering a high degree of flexibility for a wide range of production requirements.

Integration into the VFX pipeline

One of the outstanding features of the Blackmagic Camera App is its full integration with the Blackmagic Cloud and DaVinci Resolve. This integration enables seamless collaboration between different artists worldwide. Through the cloud features, artists can instantly upload and share their shots with other team members, speeding up the workflow. This is particularly useful for VFX projects where quick adjustments and feedback are required.

Technical features and controls

The app’s heads-up display (HUD) shows all important shooting parameters such as histogram, focus peaking, levels and image guides. The interactive controls allow users to adjust settings directly by tapping without having to navigate through complex menus. The app also offers advanced monitoring tools such as Zebra Settings and Focus Assist, which are specially tailored to the needs of VFX artists.

Media management and collaboration

Media management within the Blackmagic Camera app offers multiple options for organising and syncing footage. Users can save clips directly to their phone or upload them to the Blackmagic Cloud where they are automatically synchronised with projects. This functionality is particularly beneficial when multiple cameras are used in different locations and the media needs to be synchronised in real time. This greatly simplifies collaboration in post-production.

Communication and project management

Another useful feature of the Blackmagic Camera App is the integrated chat workspace. This allows team members to exchange information about recordings and give feedback quickly. Everyone involved in a project can see and reply to messages, which makes communication and coordination much easier.

Future prospects and recommendations

The Blackmagic Camera App for Android is a significant step forward for mobile video production, providing VFX artists with powerful tools right on their smartphone. However, as with all new technologies, any innovation should be independently reviewed before being used in ongoing projects. Every artist should try the app to see if it helps with their specific day-to-day tasks.

The post Blackmagic Camera App now also available for Android first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The “Quad Maker” add-on is designed to optimise the retopology process in Blender. It offers functions that enable more efficient modelling. The main features are the automatic recognition and adaptation of topology patterns and the simplification of complex meshes. This promises to improve the way VFX artists, game designers and other users work.

The Quad Maker integrates seamlessly into Blender’s existing user interface and complements it with new tools for the creation of topology quads. Using the add-on saves time and effort by automating repetitive retopology tasks. Another feature is the option to analyse and improve existing topologies. This can be particularly useful for optimising existing models for animations or game engines by removing unnecessary polygons and making mesh structures more efficient.

The tool offers various presets that can be customised depending on the application. Users can define specific topology presets to maintain precise control over the final result. These presets are helpful when different requirements are placed on models, such as organic shapes or technical models. In addition, Quad Maker can be integrated into existing Python-based scripts, which increases the level of automation.

Another highlight is the add-on’s ability to retain the original shape of the model while adapting the topology. This ensures that the artistic expression of the original is retained in the retopology. The automatic recognition of edge loops and polygon areas helps to further reduce working time. The tool makes it possible to focus on the creative aspects of modelling instead of wasting time on technical details.

Before using Quad Maker in ongoing projects, each function should be thoroughly tested to ensure that it fulfils the requirements and does not cause any unexpected problems. The results of the add-on are based on algorithms and techniques that, although advertised as efficient by the developers, may not be optimised for every possible requirement.

Licence model and pricing

Quad Maker is available as a paid add-on. Licensing terms and pricing vary, with both single user and team licences available. Details on prices and licence models can be found on the manufacturer’s website.

More information about the Quad Maker add-on.

The post Blender add-on “Quad Maker” for more efficient retopology first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The mobile video editing tool LumaFusion has introduced two interesting functions with its latest update 5.0: Speed Ramping and Improved Keyframing. Speed Ramping enables smooth adjustment of video speed within a clip, while enhanced keyframing offers more precise control over animations and effects.

Speed ramping is a technique that is widely used in video production and allows you to seamlessly integrate speed changes within a clip. This feature allows you to emphasise certain moments or create dramatic effects by dynamically adjusting the speed. LumaFusion now offers the ability to set speed control points directly in the timeline and smooth the transition between different speeds. This eliminates the need for third-party software and keeps the editing process entirely within one application.

Another key feature of the update is the improved keyframing. Keyframing is a fundamental technique for creating animations and controlling the movement or transformation of clips over time. With the new version of LumaFusion, artists can now set more precise keyframes and fine-tune their movements. This allows more precise control over the position, scale, rotation and transparency of clips. These improvements make complex animations and movements easier, which is particularly helpful when creating effects and transitions.

In addition to speed ramping and keyframing enhancements, LumaFusion now supports a wider range of file formats. In addition to common formats such as MP4 and MOV, ProRes files can now also be imported and edited. ProRes, a high-quality format known for its balance between image quality and file size, is primarily used in professional film production. This extended format support allows you to create projects in LumaFusion that were previously only realisable on desktop software.

In addition to these main functions, the update contains further improvements in the area of audio editing. New audio keyframing options and a more detailed waveform view give you more precise control over the soundtrack of your projects. These improvements are particularly useful when it comes to seamlessly synchronising audio effects and music with visual effects.

As with all software updates, it is recommended that you try out the new features in test projects first to ensure that they work reliably and meet the specific requirements of your workflow.

Pricing and licensing model

LumaFusion is available in the App Store as a **one-time purchase **. For a one-off fee of currently around 30 euros, you get access to all the basic functions of the app, including future updates such as the current one. There are no monthly subscription fees, which makes LumaFusion particularly attractive for artists and filmmakers looking for a cost-effective solution for mobile video editing. Additional in-app purchases, such as special effects and extensions, are also available and can further extend the app’s functionality.

Further details on the latest features can be found on the official LumaFusion website .

The post LumaFusion 5: New features for mobile video editing first appeared on DIGITAL PRODUCTION and was written by Bela Beier.