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.

Re: Novation is now open for submissions from March 24, 2026 through June 9, 2026, with the submission cutoff set at 15:00 GMT. Judging starts June 10, 2026, and the winners are scheduled for announcement on June 24, 2026.

The core setup stays delightfully unforgiving: Everyone starts from the same base 3D building model. The job is to transform it into a finished scene that sells an idea through architecture, environment, and lighting. That can mean changing the purpose of the building, reshaping the facade, adding or removing floors, and building a world around it. The original structure still needs to remain recognizable, so this is a renvoation, not a witness protection program. There are great prizes and strong sponsor support: multiple prize categories, a cash component for top placements, and additional sponsor awards.

The rules focus on process, not just pixels

Participation starts with process proof. Artists are asked to publish a work in progress thread on a personal website, blog, portfolio, or social media page that clearly identifies them as a 3D artist. The first post needs to include the participation tag text for the challenge and a clickable link to the contest page or an at mention on social platforms. The intent is to show the work began during the challenge window and to support originality checks. The base model comes via a short form used to request the download. The model arrives in multiple formats: FBX, OBJ, 3DS, C4D, MB, and LWO. No premade Gaussian Splats, yet.

Scene freedom comes with a few hard stops. The rules allow third party assets such as vegetation, furniture, human figures, kitbash elements, and other asset library content. Post-production is allowed, but photobashing and paintovers are not. The final image must not show third party advertising, watermarks, or branding other than the provided sign that needs to appear visibly in the scene. The rule set also bans adult content, including blood, violence, eroticism, and politics.

The competition bans AI. The image must be created with 3D modeling software, and the rules also frame the work in progress requirement as part of verifying entries are original and not AI-generated.

Animation arrives, with guardrails

This edition introduces a dedicated Animation Category. Animation is optional, but entering it requires a still render submission as the main entry. Animation entries must run at least 15 seconds and must show the architectural scene, meaning the building and its environment.

The submission method routes animation through hosting platforms. Artists publish the final video on YouTube or Vimeo and provide the link with their submission. The minimum resolution is 1080p.

The animation must match the same scene as the still render. Work in progress recordings, timelapses, and screen captures do not qualify as animation entries. The animation rules also tighten the no AI stance further by banning AI-generated animation, motion capture from AI tools, and AI-assisted camera paths.

Animation judging criteria include camera work, pacing, lighting and mood transitions, storytelling, and technical quality. The broader judging criteria for the overall contest include visual appeal, concept originality, presentation, technical complexity of the model and scene, and overall execution quality.

Deliverables, specs, and the stuff that gets you disqualified

A finished submission needs a final render plus a clay or wire render of the scene. The render must be at least 1500 pixels on the longest side and must be delivered as JPG or PNG. File size should not exceed 5 MB.

The rules reject single-color background renders, test renders, unfinished work, pixelated or low-quality renders, screenshots, and models placed on wallpaper or photos. The rule text also states the contest model is for contest purposes only and cannot be used for other projects beyond the Re: Novation entry.

Entries can be updated during the contest, but the idea cannot change or be modified drastically, with only reasonable changes allowed. Artists can also correct the description and the tools list after submission by contacting the team.

One extra procedural detail matters for anyone trying to game the calendar. After sending the work via the contact form, a confirmation email is expected within one business day and includes a link to the gallery page. If that email does not arrive, participants are instructed to contact support.

Prizes and what is actually specified

The prize structure spans multiple categories: three main winners, one Animation Category winner, plus special sponsor award winners.

The top placements include cash prizes. First place lists a $1000 cash prize. Second place lists a $500 cash prize. Additional prizes include software licenses, subscriptions, training access, and render credits, along with challenge-time bonuses and discounts tied to participating sponsors. Some prizes may not be available in all regions.

The full details, rules, and sign-up sit on the official page at Re: Novation, and the organiser is 3DModels.org.

The post Re: Novation ArchViz Challenge opens first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Redshift is a GPU renderer built for fast lookdev and final frames. Vectorworks is a BIM (Building Information Modeling) and CAD hub where buildings get drafted and organised.

Architectural visualisation pipelines love a clean handoff, but they hate the part where you wait for it. Redshift for Archviz positions itself as a single-environment loop: preview inside your BIM tool, iterate while the model still feels editable, then render without rebuilding the whole look in a second app.

The core pitch is direct integration with Vectorworks, aimed at letting artists and designers stay in the same workspace while moving from real-time previews to final renders. The platform targets the usual ArchViz pressure points: quick iterations, look development that stays consistent from draft to final, and visuals that survive client meetings without the dreaded “we will render it later” disclaimer. Maxon describes this as an expansion of the same rendering technology used in its existing ecosystem, tuned for real-world, real-time architecture design workflows

Real-time lighting that behaves like a grown-up

In the feature set, the real-time preview leans hard into lighting, materials, and environment response. The toolset includes controls to change the time of day, sun position, and cloud cover, to show how natural light interacts with the design as you adjust conditions.

Cloud cover control is quite precise, spanning conditions from clear to fully overcast, specifically to visualize how clouds affect natural light, shadows, and the overall mood of an architectural render. That kind of environment knob matters because it ties directly to decision-making. When lighting direction and softness update instantly, material choices stop being theoretical and start becoming compositional tools.

Assets, materials, and the eternal fight against empty rooms

The content side is framed around libraries that help you get to “inhabited space” faster. A growing asset library includes materials, lights, and ready-to-use assets intended to speed up scene building while keeping physical accuracy and visual consistency.

On top of that, the feature descriptions call out drag-and-drop population of interiors and exteriors with a selection that includes furniture, vehicles, realistic plants, and people, and these assets interact naturally with surfaces.

Material coverage is physically correct, spanning concrete and metal through glass, wood, and textiles, with the promise that materials react naturally to light and environment. The workflow emphasis stays on applying, adjusting, and previewing changes in real time, so look development can happen while you are still shaping the design.

Mac and Windows parity, right from the start

Platform coverage is plain: Redshift for Archviz is available for Windows and macOS, andfeature parity across both platforms from the outset. That matters whether you bounce between machines in a studio or your clients do. It also matters if your pipeline includes artists who bring their own gear and do not want a surprise feature gap halfway through a project.

The Cinema 4D escape hatch for the fancy stuff

When a still image turns into a walkthrough, you need more than a preview window. The workflow includes the ability to send a project to Cinema 4D with a simple click, with the intent of enabling more advanced architectural visualisation work, including procedural animations and simulations.

The FAQ describes export from the Redshift for Archviz plugin to Cinema 4D, and states that geometry, materials, cameras, and basic lighting generally transfer well. Once in Cinema 4D, refining scenes, materials, and lighting with a higher level of control is as usual, and then extending the project with animation and simulation.

This is a practical bridge for teams who want the speed of in-app previs but still need a DCC stage for shot craft, camera choreography, or heavier scene management. It also keeps the promise of visual continuity: the same scene, lighting, and materials across preview and final output.

Installation and the beta-shaped reality

The tooling around installation is explicit enough to be useful. The install notes state that the current availability is for Vectorworks, with Revit and Archicad coming soon.

For the Vectorworks side, the guide references installing Vectorworks 2026 using default settings, downloading and signing into the Maxon App, installing an AEC Viewer, then activating the plugin inside the host application by customising the workspace and adding the Redshift entry from the Rendering category. Launch is a Auto Synch button inside the host environment. Use requires creating a MyMaxon account and accepting an EULA. The subscription bundle (Plans and Pricing) supports multiple instances with up to eight GPUs on a single computer.

Because this is new workflow territory, treat early adoption like you treat any new renderer, plugin, or bridge. Run a proper test scene, push the corner cases, and validate the round-trip before you bet a deadline on it. Do that before you put it into production.

What this means for working artists

The practical story is simple: real-time previews inside a BIM host, asset and material libraries geared at architectural scenes, cross-platform support on Windows and macOS, and a pipeline bridge into Cinema 4D for animation and simulation.

If you live in the overlap between design and storytelling, this kind of integration can reduce handoffs and shorten iteration loops. If you live in the overlap between client expectations and physics-based lighting, real-time environment controls can turn “maybe” into “yes” quickly.

Just remember the unglamorous part: new tools and innovations should be tested before use in production, even when the marketing copy sounds like it was written by a very confident sunbeam.

https://www.maxon.net/en/article/maxon-introduces-new-real-time-rendering-and-cinematic-previews-solution-for-architects

The post Maxon ships Redshift for Archviz 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.

When a group of architectural illustrators set out to test Chaos Vantage, they planned a few small real-time experiments. Instead, they built Unbox, a fully animated short film where an architectural cube folds open like a mechanical puzzle. From “a few little minis,” it grew bigger – there are worse outcomes for a stress test.

DP: What was the initial spark for testing Chaos Vantage and why risk it on a narrative short instead of a comfy archviz sizzle?

Peter Stulz: Honestly, at first we intended to do a few little minis in Vantage… and then the second test spinned out of control and grew bigger each day. But no regrets, we embraced the prospect to develop a narrative architectural piece ourselves.

You see, we are architects and not an animation studio. So this was a massive learning journey for us: sequencing shots in an attractive manner, telling a story, how to reveal information and how to retain it… Vantage was fantastic, because it allowed us to be quite experimental here, make mistakes and learn while working on it.

DP: Give us the pipeline in one breath: DCC(s), renderers, interchange (Alembic/FBX/USD), and the editorial path from storyboard/animatic to picture lock.

Peter Stulz: Natively we use 3ds Max in our studio, still the main tool for architecture. Our studio mostly renders in Corona Render, but I feel very home in Vray. For asset creation I use Blender which then sent to Max via FBX. The animation was rendered in Vray CPU – 5 months was tight enough and I know Vray as an engine that delivers without funky surprises.

For the creative part, I drew initial sketches and the storyboard in Procreate. We were lucky to have my friend and cinematographer Olaf Aue (LinkedIn) on board, who was kind enough to share some of his Know-How. The storyboard was straight away sequenced in Resolve with some stand-in SFX and music, just to get a feeling for timing. The stills were then replaced with Vantage Previz shots; the iteration frequency could be kept fastpaced due to Vantage, that was a tremendous relief. Finally for that project we also familiarized ourselves just enough with character creator and Iclone to pull off a somewhat decent protagonist – which then is mostly kept out of focus anyhow :).

Depth of field and lighting are crucial in linear storytelling formats. Vantage allows for having these available during the early layout phase, enabling us to evaluate the flow and precise timing of edits early on, resulting in fewer iterations and more streamlined communication, features that Olaf, as a cinematographer, found lacking in the animation feature films he previously worked on.

DP: Hardware reality check: what exactly were the two workstations (CPU/GPU/VRAM/RAM/storage), and how did that cap scene size, proxies, and iteration speed?

Peter Stulz: There are two parts to this, the GPU and CPU specs: For working with Vantage, I had a 4060TI with 16GB. It was mainly the ground displacement in Vantage that was the key factor for VRAM necessity. Otherwise Vantage is smart when scaling to smaller GPUs. You don’t need massive GPUs to get started with Vantage.

For the final CPU rendering – we have several AMD 9950x in our studio with 64GB Ram, totally unspectacular workstations. In fact rendering moved between machines, whatever was available, the bottleneck was that we had just two render licenses available. Another thing, that I really appreciate about Vray CPU – it stays pretty consistent even if you throw in an older architecture.

DP: How did you keep the master scene nimble?

Peter Stulz: 3ds Max can become a real chore, when scenes get too heavy. I wholeheartedly hate unresponsive scenes – anything that breaks the creative flow has to be solved. Technically, there are several approaches: obviously using Proxies for heavy assets is a must; staying parametric if possible also keeps my scenes small; my modifier stacks can get quite impressive and I avoid baking them.

I xref wherever it makes sense, especially if parts of your scene are used in different settings. If I find the time, I localise heavy textures and reduce them – tedious but worth the effort later. Ideally the Master Scene only contains the camera, the lights and a few key assets. All the heavy load is loaded from external files. These scenes mostly are only a few MB in itself – helping with autobackups.

DP: Camera language before pixels: how did boards/animatic evolve once you could “walk the set” in Vantage?

Peter Stulz: It was important to develop a storyboard outside of 3D first to avoid thinking as a 3d designer. The environment was conceived like a sandbox, so we could freely explore the set with different lenses and angles. The superfast iterations we could do with Vantage really helped to test alternatives. That felt very powerful. Obviously some storyboard shots were then adapted or omitted. Vantage was great to secure we are on the right path.

DP: Lighting in Vantage: What translated 1:1 to finals, and where did parity crack?

Peter Stulz: At first it is scarily impressive how close Vantage can feel to the final look. We did a few final shots directly in Vantage and realised afterwards we could have done more in Vantage to prove the point. The extra turntable animation is done 100% in Vantage, but we really had to go deep in the settings to get rid of some flickering.

You have to understand, Vantage works like this: It downscales automatically to achieve close-to realtime speed and then gradually refines the look. But that logic causes limitations: For example GI depth in tricky setups might cause visible flickering. If you want to get rid of unwanted artefacts like these, you have to go deeper into the settings; and then you get these Vray 2010 vibes again :). Apart from that the denoiser might create some artefacts, textures are getting blurry, VDBs were not possible etc.

DP: Materials & lookdev: which shader features were non-negotiable, and what did you simplify for real-time parity?

Peter Stulz: Since we decided to use Vray CPU for finals, we just accepted that some stuff for Previz looked different – we knew it would be ok in the finals. But to answer the question we used Vantage for a another client project and it became clear again: If you want to produce in Vantage you can not set stuff up in Vray and hope for the best. In that case we had a semitranslucent ocean setting and that looked quite diffferent in Vantage and had to be especially adapted.

DP: The moving house: How was it rigged , and what broke first under real-time playback?

Peter Stulz: The architectural cube is in fact one scene with 2000 frames of animation. No cheap tricks – nothing appears magically out of thin air – it’s all in there. Only the initial cube with the rough surface is a different prop because it had a tricky blending shader which was animated ( animating materials in 3ds Max is a disaster …).

The rig for the unfolding was very basic and was built out of a lot of nested helpers. That was the most simple way to avoid the “locked axis” problem. What is this? Well, rigging a rubics cube is in fact not so straightforward as it seems: after a few twists the individual parts start to move quite unexpectedly – try it yourself, it’s actually pretty hard. The nested helpers solved this, now it was a matter of adjusting the right timing; how fast is the right speed for a massive 12m cube? You want to correspond a certain weight without boring the viewer. At the end we sprinkled some subtle secondary movements on top.

DP: Performance metrics: What were typical FPS for look-dev in Vantage and per-shot render times? Both for Vantage previews and V-Ray finals?

Peter Stulz: We could render out playblasts in Vantage (+/- 200 frames) over a toilet break in 1.5k resolution at 1:2.39. For finals in Vray I attempt to stay around 10 minutes / frame. If you want to use Vantage for final quality in FullHD, you crank up the settings to 1 minute / frame. If there was any noise left, the Resolve temporal denoiser is the last polish.

DP: The famous 95%: where did Vantage land “close enough” to V-Ray and what are the missing 5%?

Peter Stulz: Every “resolution” in Vantage is more coarse. I am not only talking textures, but sampling, atmospherics, global illumination. Obviously the denoiser also tends to smear everything. Everything is just lower definition than in Vray / Corona. That’s why oldschool rendering is still very valid to achieve that crispy level of detail.

DP: Editorial rhythm: how often did you re-cut while “shooting in engine,” and what told you a shot was edit-locked before triggering finals?

Peter Stulz: In our case that answer is quite simple: the presentation date was coming up, so we had a very strict timeframe when shots had to be done. Only thing we updated in the last days, we extended a few shots by 30 frames, because they felt rushed in the beta cut. That little change improved the rythm quite substantially.

DP: Pitfalls & fixes: three things that wasted time before you found the trick and what was the trick?

Peter Stulz: Vantage is built in a way that it actually could be used as a standalone loading in VrayScenes. Since I had my friend Olaf Aue as a cinematographer on board we tried to use it in that way. Theoretically that works, but with a lot of drawbacks and very limited editing and getting the changes from Vantage back into 3dsMax is hard.

We omitted that concept and resorted to live link only with 3ds Max. But actually that standalone option is not so bad – Chaos could really focus there more.

DP: If you rebuilt “Unboxed” today at 100% Vantage, what would the delivery plan look like? QC, shot classes that stay real-time, and the shortlist that still goes offline?

Peter Stulz: I know, that there are more shots that could be realised in Vantage directly. But if you plan this, it is smart to set up the whole project more focused on Vantage directly. Switching to Vray, if needed, is easy, the other way can be frustrating.

DP: What did “Unboxed” change in how you scope, price, and pitch real-time narrative work to clients?

Peter Stulz: We can offer fast animation works more easily which don’t need very high quality or are visually suitable for Vantage (clay shots).

DP: Wishlist to Chaos: What are the top parity/features that would let you ship more shots straight out of Vantage next time?

Peter Stulz: I would like easier quality settings if you intend to use Vantage as final renderer. We had to do a lot of tweaking for specific scenes or even change the 3d scene to avoid artefacts. Additionally Vantage ships with specific assets like a water surface or animated plants. These are great, but in LiveLink they are hard to be used, because there is not way to insert them in your Root Scene.

DP: For Vantage newcomers: What is your “first-day” checklist?

Peter Stulz: Familiarize yourself with the basic UI and do some stress tests to find the limits. Additionally I would look for a study project that comes close to a client environment. There is no point in having all the bells and whistles, if in a real production case you are missing the crucial components.

DP: One more hypothetic: with one extra week or one extra GPU, which single area would you invest in—and why?

Peter Stulz: Funny alternatives. As described above a half-decent GPU is good for previz which was the main usage in “Unbox”. Having a week extra is always great – so I would opt for that!

DP: Where exactly did you keep the “cube layer” for the whole piece: did we start life on the Blender Default Cube, and how much of that origin survived?

Peter Stulz: It sure was great that we could hire the mighty default cube as a support role. It didn’t even mind too much to be shipped into another 3d-suite – what a humble character and it really outshined itself in our short. 3d-artists should show more appreciation to have it per default all free!

DP: The cube’s side text: What does it say, and why?

Peter Stulz: The cube text gives instructions how to mix the perfect Daiquiri as it is served on Kepler 5 but it is quite explicit so I can’t go into depths here. But if you look for easter eggs, we have hidden various personal items in the architecture. Talking about audio my friend Olaf had a lot of fun browsing through his SFX library and pull out quite unusual sounds for the cubes inner mechanics.

The post The Cube Moved: Go for the Chaos (Ad) Vantage first appeared on DIGITAL PRODUCTION and was written by Bela Beier.