Tl;DR: AutoCut lives inside Adobe Premiere Pro and DaVinci Resolve, so editors can nuke busywork in the same timeline where deadlines go to scream.

AI that cleans up after the creative decisions

There is a familiar moment in every edit: the story finally works, the pacing clicks, and then the timeline reveals the bill. Breaths to trim. Dead air to delete. Captions to build. Takes to compare. Chapters to mark. Shorts to slice. It is not glamorous, but it is where hours disappear.

AutoCut targets that stretch of the process with a set of automation tools that run directly in the host editor. The plugin bundles 10 distinct tools into a single subscription and runs in Premiere Pro versions from 2023 through 2026. It also supports DaVinci Resolve 18.6 and 19 or later, including the free version of Resolve.

The goal is simple: keep editors on the same Timeline and offload repetitive cleanup that does not need creative judgment, while leaving the actual choices in human hands. New tools and innovations should always be tested before use in production, especially when they touch timing, dialogue, and deliverables.

Silence cutting with knobs editors actually recognize

Silence removal sits at the centre of the toolset, and it is the feature on which the plugin originally built its name. The workflow starts with something editors already do every day: define an in point and an out point on the timeline. From there, the editor sets a noise floor value in dB and tunes the minimum silence duration and the minimum speech duration, then lets the analysis do the trimming.

For fast iteration, it also provides preset profiles ranging from Calm to Jumpy that adjust how aggressively gaps are removed. In practice, that means the editor can decide whether the cut should feel conversational or more like a caffeinated highlight reel, without manually razor-blading every pause.

This is the kind of automation that tends to fit high-volume talking-head work: solo presenters, interview-heavy pieces, video journalism, and anyone cutting long-form dialogue where micro-pauses add up to macro time loss. It is also relevant to podcast workflows, especially when the job includes preparing multiple versions of the same content for different platforms and runtimes.

About one third into a real-world edtiing day, silence trimming is usually where optimism goes to die. This is where automation earns its keep.

Captions, chapters, profanity, resizing, and the rest of the boring buffet

The plugin’s ten-tool bundle extends beyond silence cutting into other mechanical steps that commonly stack up after an edit locks. It includes animated captions and translation, along with tools aimed at podcast and short-form production.

The feature set also covers take selection via repetition detection, profanity bleeping (a f**** usefull feature depending on the topic… though we haven‘t tested it with the creative swearing that comes from an 8+ hour editing session…) , and chapter creation for long videos. There is also an aspect ratio conversion tool for resizing deliverables for different formats, which matters when a single cut needs to ship in multiple aspect ratios under the same deadline.

One module focuses on turning long videos into short-form clips by identifying key segments. Another uses AI to add B-rolls, with the B-roll feature listing Storyblocks as the stock footage source powering that portion of the workflow. These features sit squarely in the current reality of editorial: one master timeline often needs to feed a whole ecosystem of cutdowns, captions, and platform-specific versions.

The plugin includes a podcast module and a multicam podcast editing workflow, which targets a common pain point for creators and small teams: syncing the cameras is the easy part, but cleaning up the dead air, surfacing the best takes, and generating captions can turn a quick turnaround into a multi-hour grind.

Licenses, trials, and what it costs when the honeymoon ends

The plugin ships with a 14-day free trial that requires no credit card. After that, pricing splits into three plans, with monthly and annual billing options.

The Basic Plan unlocks only the silence-removal tool. It costs $6.60 per month when billed annually, listed as $79 per year, or $9.90 per month when billed monthly.

The AI Plan includes the full set of ten tools. It costs $14.90 per month when billed annually, listed as $178.80 per year, or $19.80 per month when billed monthly.

The Enterprise Plan starts at three seats and is priced at $19.90 per seat per month when billed annually, listed as $238.80 per seat per year, totaling $716.40 for the minimum three-seat configuration. It includes priority support, on-demand demo calls, team licensing, and centralized billing.

On the payment side, the pricing page notes secure checkout by Stripe. The plugin is also listed as working on both macOS and Windows.

A single license activates on one computer at a time, with the option to transfer between machines via an account dashboard. That is a practical detail for editors who bounce between a studio workstation and a travel laptop, or who split their time across different facilities.

Where it fits in a modern post pipeline

The plugin’s appeal is not about replacing editorial decisions. It is about compressing the cleanup stage that follows those decisions. When you are cutting dialogue-driven content at volume, the work is not only creative but also procedural. The procedural part tends to be the same every time, making it a strong candidate for automation.

The best way to judge tools like this is to throw real timelines at them. Use a project with messy audio, uneven pacing, multiple cameras, and actual delivery requirements, then validate the output against your standards. If the tool saves time without introducing new cleanup, it earns a spot. If it creates edge-case errors, it stays in the sandbox until it behaves.

https://www.autocut.com

The post AutoCut brings AI cleanup inside Premiere Pro first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

dy Install Libs is built to make installing libraries smooth and simple, with the stated goal of avoiding manual edits and broken installs. It ships as a shelf toolset for Houdini, aimed at the everyday stuff artists actually do: bring in a library, make sure it loads, and move on with their lives. The headline feature in v1.3 is Library Manager, a custom UI tool to download, install, enable, and disable local libraries. Version v1.3 is dated March 24, 2026, with a follow up v1.3.1 dated March 26, 2026.

The part you came for: Library Manager

Library Manager adds a single interface for discovering, installing, and managing open-source and commercial Houdini libraries. That matters because library installs rarely fail in exciting ways. They fail in slow, petty ways, like a missing file, a wrong path, or a package file that loads everywhere except the one machine that counts.

This release frames Library Manager as an evolution and combination of the earlier toolkit tools. The idea is simple: fewer trips into the filesystem, fewer chances to fat finger a package entry, and more time spent actually using the tools you installed.

There is also an explicit caveat: it may not work for installing render engines, since they typically require a custom JSON package file to set up environment variables and paths. In other words, the tool targets the library side of life, while heavyweight integrations can still demand a hand-tuned setup.

What dy Install Libs does around the manager

The toolkit includes several functions that cover the library lifecycle, from bringing in data to keeping package files aligned with where the library lives. Library from JSON imports a downloaded library using its JSON file and automatically copies and updates the package file in your library folder. This is the one for when a library arrives with its own packaging info and you want it to just land cleanly.

Install Library generates a new JSON package from scratch tied to your library folder. That means you can start from nothing and still end up with a package file that points where it should. Library from GitHub clones and installs libraries straight from a GitHub URL, which is handy when the library lives as a repo instead of a zip. It also supports downloading repository releases. That support is listed in v1.1 dated August 5, 2025.

Create Library builds a library scaffold with templates and auto-generates the package file, which aims at standardizing how a library starts its life on disk. Restart Houdini to reload everything with one click, when you want the tool to do the classic on-and-off ritual for you.

GitHub reality: releases, missing packages, and relative paths

Git based libraries come with their own quirks. The release notes for v1.1 include a fix for cases where a repo does not have a package file, replacing an older path JSON variable with hpath. It also adds support for relative paths using the $HOUDINI_PACKAGE_PATH variable in installed package files.

That combo matters because repos vary wildly in structure. Some ship a tidy package file. Some ship nothing but hope. Tooling that acknowledges those differences tends to be more usable in real production setups, where you do not control every library you need to install.

Small fix, big impact

v1.3.1 lists support for the enable key from package files when it appears as a string, while it should be a boolean. It also lists a URL key fix for when a library from a database is installed manually as a standalone library, along with small fixes and improvements.

Pricing and the practical bit

The tool is free to download, with a Gumroad listing shown as $0+. Pricing beyond that is pay what you tink it is worth.

Pipeline advice that still counts

Even if Library Manager makes installs feel effortless, new tools and innovations should be tested before use in porudction. Try it in a clean preferences setup first, confirm your package behavior matches expectations, and then let it anywhere near a show.

https://cdordelly.gumroad.com/l/dy_install_libs

The post dy Install Libs adds Library Manager to Houdini first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

EditingTools.io has released QuickSweep, a plugin panel for Adobe Premiere Pro that focuses on cleaning up project-bin clutter by automatically categorising items into a chosen bin structure, a productivity plugin intended to eliminate project clutter and sort assets into the project bin structure.

EditingTools.io has released QuickSweep, a productivity plugin for Adobe Premiere Pro that automatically categorises loose project items into your chosen bin structure.

QuickSweep sorts using metadata, file extensions, and smart keyword scoring. Its detection targets Sequences and Nests, Video Footage, Graphics and Stills, SFX, and Music. You set where each category should land through Bin Mapping, and a Sync button refreshes the bin list. If you want it to keep cleaning while you work, Auto-Sweep runs in the background every four seconds. When something goes walkabout, a Moved Items log tracks what was moved and offers a Reveal action that loads the item in the Source Monitor.

Online / Offline

QuickSweep is designed to work offline, stores its configuration locally, and states it shares no data with any AI service. It also states it does not share project data with EditingTools.io, with one clearly described exception: using an Upload to EditingTools.io feature uploads metadata from the collected list to your personal EditingTools.io account. You can have that if you want, but Quicksweep works offline as well.

Compatibility is Premiere Pro CC 2022+ on Windows and macOS. The OS baseline named in the FAQ is Windows 10 and macOS 12 Montery. Installation uses a ZXP workflow, with ZXP Installer or Anastasiy Extension Manager suggested. The panel appears in Premiere Pro under Window > Extensions > QuickSweep.

Licensing is perpetual. EditingTools.io offers single-user, team, and enterprise licensing, with team licensing starting at three licences. Checkout is handled via Paddle as Merchant of Record, and single-user purchase is also listed via the Adobe Exchange Store. New tools and innovations should be tested before use in production, ideally on duplicate projects, because automation is only funny until it rearranges the wrong bin.

https://editingtools.io/plugins/quicksweep/

The post QuickSweep sorts your Premiere bins while you blink first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

LOOKSfilm brought Overmind Studios in as the sole VFX vendor for all six episodes of A World Divided, a historical drama following six real figures from World War II through the 1960s. The series blended archival material with recreated drama and moved across locations from New Mexico and China to Russia, Israel and French Algeria.

Shot in Germany, Belgium, Luxembourg, and Poland, the project demanded constant geographic reshaping and period-authentic cleanup to sell multiple continents and decades, all while working to rolling episodic deadlines.

Tobias Kummer was VFX lead on A World Divided at Overmind Studios. He supervised on set on key shoot days, built the project pipeline and delivered the work alongside André Gerhardt as a two-person VFX team. (Site | IMDB | Linkedin | Xing)

DP: How did you come onto A World Divided, and what was the overall scope?

Tobias Kummer: LOOKSfilm brought us in as the sole VFX vendor for all six episodes. We’ve worked with them before, so there was already trust there. The series was a historical drama following six real figures from World War II through the 1960s. It wove archival material together with recreated drama and jumped across locations from New Mexico and China to Russia, Israel and French Algeria.

André Gerhardt and I handled the VFX work as a two-person team, with me also covering on-set supervision on key days. Across the season, we delivered around 125 shots in total.

DP: What were the main categories of VFX work across the season?

Tobias Kummer: Most of the work fell into a handful of categories. The biggest chunk was geographic transformations and set extension work. The show was shot in Germany, Belgium, Luxembourg, and Poland, but it needed to represent locations across multiple continents, so we were constantly reshaping the world. We made the Pustynia Błędowska desert in Poland read as New Mexico in some scenes and as Israel in others. We replaced window views with believable locations and extended sets to fit both the period and the geography.

Period cleanup was the other constant. Removing anachronisms took up a steady portion of the workload, such as power lines, phone masts, wind turbines, modern signage, contemporary vehicles, basically anything that didn’t exist between the 1940s and 1960s. Some removals were straightforward paint-outs, while others required proper tracking and reconstruction for moving shots, especially given the anamorphic lens characteristics to account for.

Beyond that, there was a lot of environmental and atmospheric work. We added snow to summer shoots where winter was required, enhanced practical smoke and explosions with additional elements, and built the nuclear explosion sequence. There were also the smaller, problem-solving shots that always appeared on a show like this, including window inserts, moon replacements, damage work, retouching visible wig seams and removing on-set facilities from reflections. Many shots weren’t just one technique. A single exterior might have needed cleanup, set extension and atmos all layered in one comp.

DP: What constraints shaped the work most?

Tobias Kummer: What shaped the work was the schedule and the fact that we were a two-person team delivering an episodic shot count with rolling deadlines. Episodes moved into colour on a rolling basis, which meant we had to work sequentially and finish each episode properly before moving on to the next. We couldn’t cherry-pick shots across the whole season when we needed breathing room. There was a clear rhythm to the work. However, we had to maintain strict discipline.

“What shaped the work was the schedule, and the reality of being a two-person team delivering an episodic shot count with rolling deadlines.”

DP: How did the anamorphic photography affect VFX, especially cleanup?

Tobias Kummer: The anamorphic photography added complexity in places you might not expect. Distortion and breathing made tracking more challenging than it would have been with spherical lenses, particularly on handheld or more dynamic shots. We had everything from locked-off tripod plates to dolly moves, cranes, and handheld coverage, so even simple cleanup could have become complicated if you wanted it to sit cleanly while preserving the anamorphic feel.

DP: What did on-set supervision change for you in practical terms?

Tobias Kummer: On-set supervision helped in practical ways. Sometimes it was about making sure we had clean plates and tracking markers. At other times, it was flagging modern details before they became post problems. Or it was a small camera placement decision that saved hours of rotoscoping later. We had an initial planning phase with the DOP and directors in May 2023, and on-set supervision ran through the shoot from May to July.

Then there was a long gap. We didn’t receive VFX plates until May 2024, nearly a year after wrapping, because production was working through the edit in the meantime. That delay reinforced something I always try to stress. Write everything down during on-set supervision. No matter how certain you are that you’ll remember something, you won’t a year later. Good notes made it possible to pick the work up again without having to guess.

DP: How did the schedule work once plates started arriving?

Tobias Kummer: Once plates started arriving, we had roughly two weeks per episode, regardless of complexity. VFX production ran for over 12 weeks across the six episodes. Shot complexity varied widely. Some cleanups were quick, while sequences with multiple iterations took longer, but the template system helped. The first shot of a new type might have taken time to establish the approach, but similar shots afterwards moved much faster.

Approvals were efficient. Most shots were approved in versions 1 or 2, and only a handful needed additional revisions. When revisions did happen, they were usually about creative direction rather than technical fixes, which came back to communication and understanding intent early.

DP: How did you split responsibilities as a two-person team?

Tobias Kummer: André and I divided the work in a clear way, but we kept shot ownership flexible. I handled on-set supervision, project planning, client communication and pipeline setup, and I also did shot work as well. André focused on shot execution and handled the motion graphics. We didn’t rigidly assign shot types. It was more fluid. Whoever was free took the next thing that needed doing. Because we were working remotely, communication was essential. We stayed connected throughout the day, and if one of us got stuck, a quick call and a screen share often solved what might have taken hours otherwise in minutes.

DP: What did you use for project management?

Tobias Kummer: For project management, we used Ramses by RxLaboratory. That was our central truth for what was in progress, what was out for review, and what was approved.

I wanted to avoid the usual folder wrangling that came with episodic work, so I built a small Fusion plugin that connected directly to the Ramses API. In practice, it meant that when you opened a shot, the setup was already done. Correct plates, correct naming, correct version number, correct saver paths, and comp settings that matched the show spec. It wasn’t glamorous work, but it prevented mistakes and kept us moving. Templates were the other foundation. I kept them rigid where mistakes were expensive and flexible where a shot needed freedom.

DP: Can you break down the plate specs and colour pipeline?

Tobias Kummer: Plates came from Avid as 4K MXF containers in DNxHR HQX 12-bit with a 1.8 anamorphic squeeze, in ARRI Wide Gamut 4 and LogC4.
We composited in scene-referred linear, so the input linearisation was standardised. Output was standardised too. For review, we rendered previews in Rec.709 using the client reference LUT, so the work looked close to the intended look. Finals went out in ARRI Wide Gamut 4 and LogC4 so the grade could treat VFX shots like any other plate. The LUTs were helpful for context, but we couldn’t bake them into the finals without limiting the colourist’s downstream options.

DP: Why Fusion Studio, and what tools mattered most?

Tobias Kummer: All compositing happened in Fusion Studio, because it was what we knew and because the node-based approach was genuinely flexible under episodic revision pressure. When notes came back, you could restructure a comp non-destructively. Insert processing, reroute parts of the tree, try alternatives, without rebuilding from scratch.

Fusion’s tracker and planar tracker held up well on the anamorphic plates, which mattered for both cleanup and set extension work on moving shots. Magic Mask helped as well. It wasn’t perfect in every case, but it saved us more than once from manual roto. We supplemented with a handful of Reactor tools and some custom tools we’d built, but the aim was to rely on Fusion’s core toolset and maintain a consistent pipeline for broadcast delivery.

We also used Blender for 3D elements and set extension geometry, EmberGen for pyro and atmospheric simulations, SynthEyes for more complex camera solves and Affinity Photo for detailed paint work. All rendering was done locally rather than on a farm, which gave us more control and faster iteration.

DP: Pick one shot that best represented the season. What was it, and how did you approach it?

Tobias Kummer: If I had to pick one shot that summed up the work, it was a vast desert establishing shot where we turned the Polish Pustynia Błędowska into an Israeli desert landscape. The plate was shot on a crane mount, so there was a slight shake, and the camera racked focus between foreground and background. In the original plate, you could see the forest at the edges of the location, which didn’t sell the intended geography at all.

This was a case where on-set supervision paid off. Had we gone with the initial framing, we would have had the actors’ heads and the car crossing the horizon line, which would have meant rotoscoping them out to replace the background. I asked for a slight adjustment to the camera placement so everything stayed below the horizon. That saved hours of roto later and made the background replacement much cleaner.

In Fusion Studio, we used a few point tracks to stabilise and reapply the move, and we paid close attention to the rack focus because anamorphic lenses can shift and breathe, causing the background to drift if you ignore it. We built a matte painting from Israeli desert reference photos for the mountainous backdrop. We added blowing sand using an EmberGen simulation we had created and reused across multiple desert shots, and we added heat haze with a simple Fast Noise feeding a Displace node. The focus rack was matched by hand with keyframes. The shot was approved in version two.

DP: What were the key lessons you took from delivering this as a small team?

Tobias Kummer: If I had to distil it down to what kept us on time while maintaining quality, it came down to a few habits. First, learn some scripting, Python or whatever your tools support, and automate the repetitive, error-prone parts of the job. The time savings compounded quickly, especially for a small team, and you don’t need to build for massive scale to benefit.

Second, organise everything and document it. When you’re juggling episodes, you can’t waste time on version mix-ups or folder hunting, and the year gap between shoot and plate delivery made that even more important. Lastly, don’t waste time being stuck. Fresh eyes solved problems faster and a quick screen share could save hours. And honestly, sometimes the best decision was to stop and sleep. If you weren’t making progress, you’d often solve it faster in the morning.

The post A World Divided: Shaping a Global WWII Epic at Overmind Studios first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Adobe Firefly is Adobe’s browser-based generative AI studio within the Adobe ecosystem, complementing Creative Cloud tools. The Firefly Video Editor adds AI-assisted video editing in the cloud, positioned for fast-turnaround content and lightweight workflows.

From blank timeline to first cut

Adobe has introduced Quick Cut in beta for the Firefly Video Editor. The company describes it as an AI-supported feature that generates a structured first-draft edit from a natural-language description. According to Adobe’s documentation, users describe their video concept in natural language. Quick Cut then creates an initial sequence that serves as a starting point for further refinement. The stated goal is to reduce the time spent reviewing footage and assembling a first edit.

Adobe positions this as a response to a common bottleneck in video production: the initial review and assembly phase that precedes narrative refinement. The feature is presented as particularly relevant for formats such as social media videos, product demos, interviews and event recaps. The beta is available from today.

Text prompts as edit instructions

Adobe specifies that users can describe the intended structure or concept of a video, such as an interview or event recap. Quick Cut uses these inputs to automatically generate a structured draft edit. The resulting edit can be refined and adjusted by the user. Adobe states that creators retain control over parameters including aspect ratio, pacing and B-roll organisation.

There is no published information on supported codecs, maximum timeline length, track limits, or interchange formats. It is also not specified whether sequences can be exported to other Creative Cloud applications such as Premiere Pro.

Positioned for fast-turnaround content

Adobe explicitly frames Quick Cut as optimised for “creator workflows,” particularly for social videos, product demos, vlogs, and event recaps. The documentation highlights use by hobby editors and time-constrained creators who want a structured starting point without engaging in a complex editing process.

This positioning indicates a focus on rapid content production rather than high-end broadcast or feature post pipelines. There is no mention of advanced editorial controls such as multi-cam handling, script-based editing, EDL export, or collaborative review workflows. Whether Quick Cut will expand beyond these use cases has not been announced.

Firefly as a creative AI hub

Quick Cut is part of Adobe Firefly, which Adobe describes as its all-in-one creative AI studio. Firefly spans image, video and other generative workflows within Adobe’s broader Creative Cloud strategy. Adobe states that Quick Cut integrates with the existing Firefly Unlimited offering. The company presents this as enabling greater iteration speed and flexibility. As with other Firefly features, Adobe emphasises commercial safety in relation to its own Firefly image and video models.

Unlimited Firefly and model access

Adobe is offering access to Quick Cut beta through the Firefly app. Users can register until 16 March to benefit from what Adobe describes as unlimited image and Firefly video generations at resolutions up to 2K.

The offer applies to customers on Firefly Pro, Firefly Premium, 4,000-credit, 7,000-credit and 50,000-credit plans. Adobe states that this includes unlimited generations using image models such as Google Nano Banana Pro, GPT Image Generation and Runway Gen-4 Image, alongside Adobe’s own Firefly image and video models. No detailed technical comparison between these third-party models is included in the announcement. Adobe does not specify which models are used by Quick Cut for edit generation versus image or video asset generation.

What is not specified

The currently available documentation does not clarify several points relevant to professional pipelines. There is no explicit statement about media ingest limits, storage quotas, or project retention policies within Firefly Video Editor. Integration with on-prem or MAM systems is not mentioned. There is no information about API access, automation hooks, or enterprise deployment models.

Colour management, LUT handling, audio track control, and support for professional camera formats are not described in the Quick Cut overview. These omissions may reflect the current scope of the beta, but they are not addressed in the official text. Professionals considering use in production environments should evaluate these factors directly within the beta before committing deadlines or client deliverables.

Beta status and production caution

Quick Cut is explicitly labelled as beta. As with any beta feature, stability, performance and feature completeness may evolve. New tools and innovations should always be tested before use in production.

// https://helpx.adobe.com/de/firefly/web/firefly-video-editor/create-quick-cut/quick-cut-overview.html

The post Adobe adds Quick Cut to Firefly Video Editor first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

With some plug-ins, scripts and extensions, you wish you had known about them long before the start of the last project, in our case, a 100-minute archive documentary with over 1,000 individual media files. The “Project Sorter” script saves a lot of time when editing and post-processing larger projects, especially when it comes to sorting and cataloguing different media types.. Project Sorter is a bit like the post office clerk who sorts letters by city, district and street – only for media, not for direct mail items.

How Project Sorter works

But first things first… Who hasn’t been there: you find (or receive) one (or more) media files, drag them into Adobe Premiere (or After Effects) for processing, and leave them at the highest project level until you completely lose track of them and grudgingly (or the intern) start putting all the elements away individually and neatly in the bins provided for them. Only to be faced with the same problem of a completely overloaded project level a week later.

Project Sorter provides a fully automatic remedy here by sorting the elements into the correspondingly defined bins during import (including drag-and-drop directly into the timeline). Sounds simple? It should be, provided you make the effort and define a reasonably well thought-out order at the start of the project – which is actually common practice for larger productions. If even this first step is too time-consuming, you can simply rely on the “demo” settings supplied with the script to ensure at least basic sorting into audio and video bins.

Setup

The actual script can be found under Window -> Extensions and opens a three-column mask where the corresponding sorting parameters are defined. The user is not only limited to the type of file, for example video, sound or images, but can also search through metadata and file paths via a second column in order to carry out a precise sub-sorting.

An example: If you organise your raw material on the hard drive according to days and recorded cards, you can specify in the Project Sorter that all media from shooting day XY of card 1 (with the corresponding path on the hard drive) are also stored in the project bin with the same name. The secret lies in so-called sub-filters that can be defined within the “Video” filter column.

Project Sorter even goes so far as to change not only the names of the bins but also the names of the elements within Premiere (or After Effects). Instead of an element in Premiere being generically named “KLB0011.MXF”, it can be automatically renamed to “[creation-date] [creation time] cam 01″, which makes it much easier to find the clip again (if the editor knows the shooting date and time).

To perform a sort, the small chain symbol above the Project Sorter window must be activated. If you click on the “Play” button after an import, the bins are created, renamed and sorted automatically. If the link button remains pressed, the sorting function is also permanently activated, but this is not necessarily to the user’s advantage, as a file that is imported immediately disappears in the corresponding bin and must first be found there again. To avoid immediate sorting, deactivate the linking, import the element, process it in the timeline or comp, and reactivate the linking later, for example at the end of the working day (or if you lose track after a few hours), to restart the automatic sorting.

Subtleties

The Project Sorter includes lots of individual options and parameters, most of which you will never need in your entire professional life. What proves to be very useful, however, is the fact that you can add new sorting filters for each project using the ” ” symbol. The filter collections are retained and are not saved with the project so that the user can also access old settings at a later date.

In addition to the file type and creation date, the very useful sorting parameters also include file extensions, so that PSD and PNG files, for example, are not only sorted into one image folder but into different bins, as well as image sizes and resolutions, which can be used to separate HD, 4K and 6K material in the project. You can also sort by frame rates, alpha channels and multicam clips. In addition to the aforementioned sorting and renaming of project elements, the “Actions”, i.e. the tasks that the Project Sorter performs automatically, also include adding labels and automatic scaling to the active frame size.

Conclusion

The Project Sorter is not very easy to understand at first (which even the programmer admits), but once you have got behind the logic of the script, the sorter makes a lot of work steps easier that you either regularly procrastinate on, or the user may generally shy away from, for example renaming video elements according to shooting days and cards.

So if you don’t shy away from the time it takes to familiarise yourself with the software and invest 50 US dollars, you will save yourself many, many hours of work in the long run. Work hard, sort fast, retire young.

Info box

Leyero – Project Sorter v1.75: Script for automatic sorting and naming of media files.
Price for Project Sorter 1.75: USD 50
Host application: from After Effects / Premiere 2022
Further information: https://aescripts.com/project-sorter

The post Work Hard, Sort Fast: Project Sorter 1.75 first appeared on DIGITAL PRODUCTION and was written by Andreas Zerr.

Artists working in Visual Effects, Animation and Games often find themselves working in increasingly technical environments. In technologically-driven industries like films and games, the artistic and technical aspects go hand-in-hand to create the final product.

“The art challenges the technology, and the technology inspires the art.” – John Lasseter

More and more artists feel the need to work with code to create faster and better work, but struggle with the steep learning curve to create automations associated with scripting and programming. In this article, we will discuss how artists with limited technical expertise can still integrate code snippets into their work and use them effectively.

VFX pipelines have grown in complexity. Artists now handle larger volumes of assets and ever more intricate workflows. The bottleneck is rarely artistic skill but the accumulation of repetitive tasks. Renaming files, batch exporting, or importing dozens of assets is neither creative nor rewarding. Python scripting eliminates these time sinks.

Python excels at readability. Compared to C++ or other low-level languages, Python is approachable even for those without programming backgrounds. For VFX artists, this lowers the barrier of entry: one script can replace hours of manual work without requiring years of software engineering expertise.

Scripting as a survival skill

Learning Python is no longer optional for technical roles. Studios increasingly expect artists to at least navigate basic scripts. Even a beginner’s grasp can automate exports, format files correctly, or build small utility tools. For those pursuing careers as technical directors or pipeline engineers, deeper Python knowledge is the foundation for collaboration and complex workflow design.

The investment depends on the target role.

• Technical Artist (approx. 8 weeks): Enough to read and write Python scripts, automate repetitive tasks, and create smaller tools.
• Technical Director (6–12 months): Skills to design pipeline applications, collaborate with teams, and build more complex workflows.
• Software Developer (2–3 years): Proficiency to create advanced applications and transition into a full programming role.

You’re not sure if Python and scripting is for you? Check out this article!

Richter’s curriculum

Alexander Richter – author at Digital Production – offers structured Python training built specifically for artists. His masterclasses come in distinct “flavours” that mirror industry-standard tools: Maya, Houdini, Nuke, and 3ds Max. An advanced masterclass deepens into complex scripting, aimed at those planning to move into technical director positions.

The masterclasses emphasise practical application over abstract theory. Participants start with real production problems: Batch processing in Nuke, asset management in Maya, procedural setups in Houdini, or naming conventions in 3ds Max. Step by step, they build scripts that cut hours of manual work. And graduates from previous cohorts have already implemented custom in-house tools and automation pipelines.

The post Python for Artists Cohort starts soon first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

Samsung’s Corporate LED Studio Bundle, launched with ARRI and Realtime Department, is not just another “all-in-one” video set. This is a tightly engineered system targeting the growing demand for high-quality corporate, hybrid, and virtual production. This package includes: Samsung’s The Wall LED, ARRI’s ALEXA 35 cinema camera, UNIQVUE automation as well as connection, workflow, and control paths mapped out for reliability, efficiency, and image integrity.

Why this solution?

But why? One use case for modern productions is the “corporate setting,” which, as every VFX artist who has ever worked for an agency can attest, are not naturally integrating compatible with broadcast and post pipelines. Many studios with the necessary technical and artistic chops capabilities aren’t bidding for these projects, and many corporations use out-of-date technology that delivers sub-par results. 

And this is where the turnkey solution comes in: The Corporate LED Studio Bundle is not a mere video “kit.” It’s a technical system—hardware, automation, and colour pipeline—built to deliver studio-grade content on demand. Without external less crew, rental fees, minimal preproduction and rehearsal, with g and Graphics and set assets handled digitally. Also, which is quite sad, no Crew Catering (We love crew catering). But let’s get into the pieces of this puzzle.

Who Provides What?

ARRI ALEXA 35: Supports the full ARRI colour pipeline, Genlock for LED synchronization, SDI and IP video outputs, advanced metadata for post, high dynamic range, and built-in LUT management for instant “look” application.

Samsung The Wall IVC: 12,288 Hz refresh, 384 fps, Micro LED, high contrast, no visible pixel grid, suitable for hybrid live/virtual sets, and minimal artifacting even at short shooting distances.

UNIQVUE: A modular and flexible digital framework that offers live show control, supports both remote and in-room operation, provides a template-driven interface for non-expert users, includes built-in corporate identity colours and graphic styles, and integrates a PowerPoint remote control directly within the show control interface.

Samsung The Wall IVC: Micro LED for the Studio Age

The Wall IVC is Samsung’s broadcast-optimized LED display, used as the visual anchor of the bundle. Its Micro LED panels deliver crisp, realistic visuals at a 12,288 Hz (No Typo: 12+ kHz.) refresh rate and support up to 384 frames per second. These numbers matter for close-up camera work, where traditional LED walls risk introducing flicker lines and artefacts. The Wall IVC simply does not.

The modular design lets the studio double as a boardroom, virtual stage, or traditional broadcast space. The Wall IVC integrates into room and media control systems, managed through UNIQVUE’s remote and automated control layer.

ARRI ALEXA 35: Too Much Camera? Maybe. But Also Just Right.

It’s fair to say that for classic boardroom use, an ARRI ALEXA 35 is “overkill.” This camera is a staple on high-end film sets and Oscar-nominated productions. But the inclusion is more than marketing. The ALEXA 35 brings a 4.6K Super 35 sensor, true 17 stops of dynamic range, and ARRI’s REVEAL Colour Science pipeline, allowing for precise colour matching, low noise, and accurate skin tones. This technical foundation is not just about bragging rights; it’s about keeping every pixel in sync across LED, virtual, and real sources.

ARRI’s colour science is critical in LED/virtual production, where even minor shifts can break immersion. The bundle includes native support for ARRI’s colour pipeline and full calibration routines to ensure LED wall output matches camera input—no “cheap” LED look, and no out-of-sync backgrounds. The robust connection options (Ethernet, SDI, full Genlock, advanced metadata pipelines) allow for direct integration with broadcast controllers, colour grading workstations, and automation triggers.

UNIQVUE: Automation and Workflow Orchestration

UNIQVUE, from Realtime Department, ties everything together and translates technical firepower into accessibility. This system sits at the nerve center of the studio, automating what would usually require a small control room staff. Through template-based production workflows, UNIQVUE offers presenters and producers the ability to drag & drop 3D Backgrounds and content modules and combine them to complex scenes, manage lighting and camera presets, and deploy graphics – often at the push of a single button.

The interface supports real-time show control, including a PowerPoint remote module, speaker notes, and even a stage timer, all available from a single control surface. For rooms with existing AV and media control infrastructure, UNIQVUE integrates easy with all main protocols, making adoption frictionless for facilities
teams. Its modular structure allows for reconfiguration between layouts and formats – one day as a boardroom, the next as a full training studio – without expert operators for most uses.

Concrete Application Examples

For organizations running high-frequency video, explainer, or hybrid events, the math is straightforward: higher output, lower spend, faster time to delivery.

• Product presentations and function demos: Presenters interact directly with content, reducing prep and making every session authentic—no separate voiceover or stand-in required.
• Town hall events: All participants—live and remote—see and interact with the same real-time content, with no need for dedicated technical crew or separate vision mixing.
• Marketing and explainer films: Digital backgrounds, props, and graphics can be swapped, updated, and reused, lowering costs and increasing flexibility.
• Training, internal communication, and PR: “What you see is what you get” production for internal teams, with drastically lower costs and faster turnaround.

Broadcast, But Smarter: Why the ALEXA 35 Matters Here

You probably have been thinking it all this time: The ARRI ALEXA 35 is a bit of an “overkill” choice for simple corporate broadcasting. Yet for virtual production, precise colour science and robust sync are not luxury add-ons, they are essential. The ALEXA 35’s connectivity (Genlock, SDI/IP, metadata, LUT support) is vital to keeping virtual and real elements in sync, colour-matched, and ready for both live broadcast and post workflows. It’s the difference between “looks okay on Zoom” and “ready for every frame.”

And That’s It?

Future articles will go deeper into colour pipeline management with ARRI, the practical realities of The Wall IVC installations, and case studies from the Realtime Department. Stay tuned!

The post Samsung Debuts Corporate LED Studio Bundle: ARRI ALEXA 35 Camera Included first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Miau’s latest “Fit Camera to Objects” script for 3ds Max allows users to align their cameras with selected objects in the viewport, streamlining the setup of complex shots.

Fit Camera to Objects simplifies camera positioning in Autodesk’s 3ds Max by automating the camera alignment to selected objects. This tool enables Artists to position their cameras accurately in relation to specific elements, saving time on manual adjustments. The script is especially useful for projects that involve dynamic object arrangements or multiple camera angles. This new release focuses on functionality and reliability, avoiding unnecessary features while ensuring it fits seamlessly into existing workflows.

The tool lets you align the camera either by target or perspective, making it flexible for various needs. It supports multiple selections, allowing users to fit cameras to several objects simultaneously. Artists working on animations or still scenes will appreciate the precision it offers, cutting down on tedious camera setup. This script is compatible with versions from 3ds Max 2014 onwards, ensuring broad usability across a wide range of projects.

For more information on the tool’s documentation, visit Scriptspot. The script was developed by Miau, a well-known name in the 3ds Max scripting community, and offers regular updates and support – all for the low price of 5 US-Dollars. With your purchase you can get installers for 2(two) versions of 3ds max, and an installer for the next major update of 3ds max.

Before integrating this script into production environments, it is recommended to test it in smaller projects to ensure compatibility and stability.

The post Fit Camera to Objects Script for 3ds Max first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The factor time is becoming increasingly critical in the production of videos in a wide variety of areas. Clips with news or interviews in the internet age put many producers under pressure. Daily work is therefore constantly accompanied by the optimisation of workflows. For users of Premiere or After Effects, the “Automation Blocks” plugin from Mamoworld (mamoworld.com) is available in this case.

The scripts take over many tasks in the preparation and production of videos. The “Automation Blocks” library included in the package covers a wide range of topics and the functions can be used in a variety of ways. After opening the panel for Mamoworld scripts in the host application, the tool displays the various blocks. The library is sorted into different categories. A keyword search helps you to quickly find the right script. Each entry can be assigned a keyboard shortcut to quickly call up frequently used functions. If the mouse pointer is moved over an active entry, the plugin displays a brief description of how the block works.

Users can find more useful blocks in the community area of Automation Blocks on the Internet. The scripts are provided free of charge by other users of the package and curated by the manufacturer. They can simply be downloaded to the computer. Then unpack the archive and copy it to the script library. After restarting the host application, the new tools are immediately available immediately. The existing entries in Automation Blocks can be easily modified and customised to your own production environment. It is also possible to programme your own solutions from scratch for special tasks using a block editor.

Automation Blocks in After Effects

Automation Blocks helps right from the start of a production with AE. Current projects can be set up more quickly for recurring productions such as series or shows. With the help of a template, new project files including the desired file structures are generated automatically. “New Project from Template Folder” analyses a directory with existing files and folders. It then creates a copy and renames all relevant data accordingly. This includes directories on the hard disc, the project files and the footage. At the end
the tool also takes care of the internal names in the After Effects project.

Existing elements such as created compositions or loaded clips are given the appropriate names. This is quicker than manual changes and the actual work can begin in a few moments Start in just a few moments. Elements in existing compositions can be easily manipulated afterwards with “Motion Blocks”. Renaming certain layers or changing their position in the stack or on the timeline are just two examples.

You can also leave the creation of a new composition to “Automation Blocks”. The size, duration and frame rate are determined via dialogue. The plug-in entries also use optional guides and other guides in this step. The entries in the “Comps/Guide” area allow the subsequent definition of grids and guides with many options. Copying or moving these elements to other compositions is another feature.
There are separate entries for setting up new compositions specifically for Instagram stories or mobile devices. Here Automation Blocks” again offers numerous options. These include resolutions and duration of the project. The target format for the production of clips for different Apple devices (iPhone, Watch, etc.) can also be specified. Changing resolutions for compositions at a later date also works. Use the options to select whether the individual layers should fit into the new format or fill it.
A new composition can be automatically filled with footage using “Motion Blocks”. The function imports file series and places them in the active composition. At this point, the module optionally creates a bin folder to collect the imported data. As a bonus, there is the option of automatically setting the blend mode and applying a selected preset.
The functions for changing the display quality of a composition are useful. The quick change for editing in low quality and the demonstration for the best display is done with a single mouse click. Anyone using expressions during production will receive help from Automation Blocks. The assignment of expression instructions to several levels is provided for. Activating or deactivating an expression is part of Automation Blocks.
The functions are extensive for the editing of After Effects layers. These include the simple selection of objects by name or properties. Other tools can then be applied to the selection or the selected layers can be evenly distributed on the timeline. These functions can be combined with Effects and create transitions. Automation Blocks has various entries in the library for this purpose.

Working with Automation Blocks in Premiere Pro

Similar to AE, Premiere offers help with setting up new projects using templates. Renaming footage or sorting it into specific bin directories also works here Directories also works here. The package recognises superfluous data and marks it in colour. The automatic deletion of unused data or bins helps to tidy up a project.
Another application is the assignment of metadata. Automation Blocks inserts the copyright information and the author into a series of projects in one go. The user proceeds in a similar way when working with keywords in a collection of video clips or audio files. This speeds up the cataloguing process and makes the subsequent search for corresponding footage child’s play.

Manually inserting effects and adjusting keyframes can be time-consuming. The Mamoworld tools help the editor in such situations. The animation of several text layers, such as scaling or fading in and out, is carried out in automation blocks at the touch of a button. The tools offer various options for customising the effects. The use of graphic elements works in a similar way. They then float into the scene or are directly animated on the spot with expressions. Changes to the behaviour of these operations are adjusted via the options. If something goes wrong when working with keyframes, you do not have to undo the individual steps with Undo. The automation blocks for deleting effects or keyframes remove all or selected positions or values in the timeline in one go.

The Automation Blocks entry for remote interviews is impressive and easy to use. The inserts with the interviewees are enlarged and brought to the foreground depending on the person currently speaking. All you have to do is jump to the desired position on the timeline and call up the Automation Blocks script. The tool takes care of all transitions and settings for scaling the elements automatically. At the same time, Automation Blocks sets keyframes with effects.

Markers are an important tool for production in Premiere. The plugin helps with the creation and editing of such information. The range of functions includes tools for setting or copying markers. You can also make changes to content or colour markers. If desired, the user can export the information contained in the markers as a CSV document for editing in other applications Document for editing in other applications. Automation Blocks imports the spreadsheets and inserts selected data records into the Premiere timeline as subtitles, for example. There is also a module for compiling chapter information on YouTube. It
generates the information in the correct format. When uploading to the video platform, the text for the chapters is inserted into the description using “copy and paste”.

Develop your own blocks

If the Automation Blocks offered in the library are not sufficient or you have special requirements for an existing script, you can modify the existing solutions. To do this, open an existing tool in the Editor and make modifications. These modules are visually linked together in the editor, whereby no programme code is required.

Mamoworld’s no-code solution has parallels to the block programming language “Scratch” or is reminiscent of the Lego Mindstorms editor. The visual method is intended to make it easier to get started with programming for Adobe products. The programme functions of Automation Blocks are suitable for more extensive development. These can be, for example, impressive slide shows with 3D effects and transitions. Necessary compositions can be created directly with Automation Blocks and filled with footage using the import function. Variable adjustments to length or position and the setting of the necessary keyframes are handled by the custom script all by itself.

All the artist has to do in everyday life is call up the block, load the current data and have the desired effect in the timeline. No more hassle when handling layers in 2D or 3D space, no more time-consuming manual editing of transitions or searching for possible errors in expressions.

In the plug-in’s editor, the user will find a wide range of blocks from various areas the most diverse areas. These include operators for maths, variables, functions, control structures, logic or access to external files. There are also blocks for working with a project, a composition or for manipulating individual layers Manipulation of the individual layers. In the blocks, the user will find options for selection by type. The code then ignores certain layers during execution, which can speed up the process.

The code blocks are clicked together like a jigsaw puzzle. Necessary parameters can be defined as separate elements and are embedded in the executable blocks. Texts, variables and lists are available here. They are generated statically or Automation Blocks reads the parameters from the host application. In practice, these include the runtime, size of the layers or their position in the composition. This is where the get block comes into play. It determines the data of specific elements. There is a counterpart in the form of the set block. The programmer uses this to assign the selected parameters to the objects. In the case of layers, these include position, scaling or transparency.

In combination with the tools for the keyframes, this allows animations to be created quickly and easily. This eliminates the need to manually set individual keyframes, which can save the artist a lot of time when editing. Users can apply the mechanisms in this area directly to a specific layer. Alternatively, a loop instruction can be used, which searches through the composition step by step and applies the changes to all existing layers. There are many mathematical operators for calculations in a script. These include basic arithmetic operations, trigonometry, random numbers and rounding.

For interaction with users, there are special blocks for designing graphical user interfaces. Prefabricated queries, confirmations or inputs are included in the range of functions. However, users can create their own individual dialogues.
Automation Blocks reads large amounts of data such as tables from external files in CSV format and processes them in the programme run. One conceivable application is the use of tracking data for animations from an external programme. Also possible: the visualisation of animated diagrams. Also possible: the automatic insertion of headlines in combination with time stamps from a CSV table.
To maintain an overview, extensive programme structures can be outsourced to functions. This is where the concept of modern programming languages comes into play. This helps to develop readable components that can also be used multiple times. This applies, for example, to queries using graphical user interfaces. These can then easily be used multiple times via the function block. Parameters help with the flexible calling of functions. Maintenance or changes to the code are then only carried out in one place.

To transfer programme snippets between projects, you will find the backpack feature in the editor. To do this, simply move the relevant programme blocks to this clipboard. After switching to your own script, you can retrieve the saved data from the backpack and use it there again.
Basic knowledge of programming is an advantage when developing your own blocks. An understanding of control structures such as loops or queries, working with variables and the use of functions helps at this point. Additional information can be found in the detailed documentation of Automation Blocks. However, studying other blocks can also help.

Unfortunately, it is not possible to open two programme blocks at the same time. A direct comparison of the code blocks is therefore not possible. The only option here is to switch to the editor and transfer snippets using the backpack feature. An additional panel with a preview would be desirable here in the future. This would then become a virtual cheat sheet that can be used as a template when building. Understanding the object-orientated model of the two host applications is important during development. This allows data, compositions and their components to be specifically addressed and manipulated.

Simple practical example of Automation Blocks

In the Automation Blocks editor, the sections with the function blocks are located on the left. Once opened, the desired entry is placed in the editor with a mouse click. In the example, the length of a composition is determined and a layer is positioned exactly at the centre of the timeline. The programme is started with Run Script at the top of the panel. The Console area displays the output of the block. These are determined values or possible error messages.

The first block at the top of the example determines the length of the composition. It is located in the “AE Project Items” category. There is a drop-down selection in the left-hand area. The “Duration” entry determines the duration of the composition. Then switch to the “After Effects” project overview and select the desired composition. In the editor, click on the arrow next to “Project Item” and assign the relevant composition to the block.

A block from “Math” halves the determined length of the composition. To do this, set the option for the division in the centre of the menu and enter the value 2 in the right-hand field. The previously created block for determining the duration is moved to the field on the left.

A “set attribute” module from the “AE Layer” area is used to assign the calculated position. The “start time” option is activated in the drop-down in the left-hand area. Then select the relevant layer in the composition. In the editor, click on the arrow symbol to the right of the “layer” field. This tells Automation Block the target layer for the operation. The previously created mathematical module with the get block is placed in the “to” field. After starting the script, the embedded calculation is executed and the layer is moved to the centre of the timeline. This simple code example can be a starting point for further projects. It can be extended and applied to several layers in the composition with the help of loops. The “AE Layer Properties” category gives you access to the layer properties such as position, rotation or size.

Conclusion

Mamoworld’s solution is a flexible aid when working with Premiere Pro or “fter Effects. Tasks in many production areas can be solved quickly at the click of a mouse and the result is on the screen faster. You need to plan a little time to explore the many functions in the comprehensive library. The extensive documentation and tutorial videos on YouTube (bit.ly/automationblocks_youtube) will help you do this. After that, you can utilise the potential of the tools, which provides a speed boost in many stages of production. If you browse through the community library, you will find further interesting options for working with the plugin.
Things get really interesting with the Automation Blocks editor. This allows you to modify the existing components for your own work. You can achieve your goal in just a few steps. Of course, every user can develop customised solutions from scratch with Automation Blocks.

The easy-to-understand editor with the blocks allows tools to be programmed without writing a single line of code. The development of large projects should not be an obstacle for Automation Blocks. With the help of the GUI elements, comprehensible tools are created that are easy for the user to use. Such complete packages replace manual work, save time and help to avoid possible errors in daily production through automation.

The add-on from Mamoworld is an ideal choice for expanding the functionality of Adobe products in a variety of ways. Interested parties have the opportunity to test Automation Blocks. Further information on the trail version with a ten-day runtime can be found on the manufacturer’s website – and if you want to try it out right now, you can find code, documentation, downloads and other resources right here:
www.mamoworld.com

The post Block Power Station first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.