For those who don’t know the tool: CrumplePop from Boris FX provides AI audio restoration and separation tools for editors and post facilities. Its plugins run inside applications such as Adobe Premiere Pro, DaVinci Resolve, and Avid Pro Tools. The included SoundApp standalone utility processes files outside the NLE or DAW.

Audio engineers often repeat a simple rule. Once a stereo mix is exported, the ingredients are baked together for good. Boris FX would prefer that rule to be more of a suggestion.

The company has released the 2026 version of CrumplePop, expanding the toolkit beyond dialogue cleanup into demixing and stem reconstruction. The update centres on SoundApp, the standalone application included with the CrumplePop toolkit. The redesigned software introduces several AI models capable of splitting finished audio or video mixes into separate elements such as voice, music, or sound effects.

The premise is simple and familiar to anyone who has opened an archive project at 2 a.m. and discovered that the original audio session is missing. Instead of reopening a DAW or NLE project and hunting through old drives for multitrack files, the user can import a rendered mix and attempt to isolate the individual components directly from the master.

CrumplePop’s separation models attempt to reach inside that master file and reconstruct stems such as drums, bass, vocals, or dialogue. All processing runs locally on the user’s machine. No cloud upload is required, and there are no server-side processing limits.

The demonstration material frames the concept in familiar terms for audio engineers. Once a stereo master is rendered, individual elements are normally fixed inside the mix. CrumplePop positions its separation models as a way to reopen that mix and extract elements such as drums, bass, vocals, and instruments as independent stems.

A tidier SoundApp

SoundApp itself has been redesigned for the 2026 release with a darker interface and updated layout aimed at music and postproduction workflows. A new model manager provides a central location for downloading and managing AI models used by the application. The interface allows users to browse and install new denoise or demixing models as they become available. The manager is accessible through a laboratory-style icon in the interface or from the model selection menu.

The system allows the application to evolve over time as improved models are released. One practical addition is on-the-fly processing. Instead of analysing the entire file before playback, the user can move the playhead to a specific point and begin rendering from that position.

In practice, this means the user can scrub through a file while the system processes the section around the playhead. For long recordings, that behaviour may reduce the amount of waiting normally associated with demixing tools. Waveform visualisation has also been expanded. SoundApp displays separated stems dynamically as the user adjusts settings. The tracks can be shown as overlapping waveforms or as individual layers. The intention is to make it easier to see which sections contain speech, music, or effects while the separation process runs.

Three models for different mixes

The update introduces separation models designed for different types of material. Music 4 Stems divides a finished music mix into four categories: vocals, drums, bass, and other instruments. The final group includes guitars, synthesisers, and melodic parts. Maybe even Bagpipes.

Each component can be exported as an individual track after processing. Users can rebalance the mix, remove elements, or repurpose isolated stems in other projects.

Voice 2 Stems focuses on separating vocal material from background audio. It can extract vocals from music recordings or isolate spoken dialogue from mixed audio. Possible uses include generating instrumental tracks, preparing remix material, or removing background music from dialogue recordings. Or getting tracks ready for Karaoke, we are not judging. The model may also reduce recording artefacts such as headphone bleed or environmental noise that appears alongside speech.

Cinema demixing for editorial triage

The third model, Cinema 4 Stems, is aimed at video editors dealing with finished programme audio. The model splits imported audio into four tracks: voice, music, sound effects, and other material.

One example involves online video that contains copyrighted music playing in the background. If a platform detects the music, the video may be demonetised. By isolating the music stem, the editor can mute it while preserving the spoken dialogue track.

Another demonstration shows extracting a clean sound effect from mixed audio. In the example, a rocket launch recording contains both a spoken countdown and the launch sound. The separation model isolates the effect so the voice track can be muted.

A further scenario involves removing speech from environmental recordings. If someone talks during otherwise useful B-roll audio, the voice stem can be muted while leaving the ambient sound intact. These workflows happen directly inside SoundApp. The user imports the finished media file, separates its audio components, adjusts or mute selected stems, and exports the result.

The familiar restoration tools remain

CrumplePop continues to include the audio restoration models that originally defined the toolkit. These tools address common recording problems such as wind noise, traffic rumble, echo, and uneven vocal levels. The models improve dialogue clarity while reducing environmental noise or room tone. The corrections are applied directly within the interface. These restoration tools remain available both in SoundApp and as plugins inside editing and audio software.

Integration with editing and audio software

CrumplePop continues to ship both as a standalone application and as plugin effects. Plugin versions are supported in editing and audio applications including Adobe Premiere Pro, Adobe Audition, Avid Media Composer, Avid Pro Tools, Apple Final Cut Pro, and DaVinci Resolve. Music applications such as GarageBand and Logic Pro are also supported. SoundApp operates alongside these plugins as a standalone environment for analysing or repairing mixed audio.

Pricing and availability

SoundApp is included with every purchase of the CrumplePop toolkit. Subscription pricing begins at 18 USD per month or 180 USD per year. Perpetual licences, upgrade and support renewal plans are also available through the company’s online store. Customers with an active CrumplePop subscription, a Boris FX Suite subscription, or a current upgrade and support plan receive the 2026 release as part of their existing entitlement.

A familiar problem, now with algorithms

The underlying problem addressed by the update will be familiar to anyone working in audio post. Once a mix has been rendered to stereo or surround, the original elements are usually locked inside the file. Recovering dialogue or removing music normally requires the original multitrack project.

Machine learning separation models have recently begun to address this problem by reconstructing stems from mixed audio. CrumplePop 2026 joins that group of tools. Whether the separation quality holds up under complex mixes will depend heavily on the material.

The cautious verdict

CrumplePop 2026 expands the toolkit well beyond dialogue repair into broader audio demixing and remix preparation. The addition of GPU processing, on-the-fly rendering, and multiple separation models suggests that SoundApp is gradually evolving into a central utility for working with mixed audio.

Whether it consistently delivers clean stems from dense mixes remains to be tested in production environments. Because, as always, new tools and innovations should be carefully tested before deployment in professional pipelines.

https://borisfx.com/products/crumplepop/

The post CrumplePop targets baked audio mixes first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool, SynthEyes from Boris FX is a standalone 3D camera-tracking and matchmove application used in VFX pipelines. It exports to major DCC and compositing tools and sits upstream of layout, animation, and comp, quietly solving cameras so others can focus on lighting.

Boris FX has announced SynthEyes 2026 with a faster, more responsive camera solve release aimed at reducing iteration cycles and workflow interruptions in feature film and high end streaming projects. The update introduces a Mocha Point Tracker, Live Preview for geometric hierarchy solving, user interface revisions and expanded USD support. According to the company, the release is shaped by user feedback and focuses on daily production tasks rather than broad architectural changes.

Faster supervised tracking

As shots become more complex, trackers require more manual attention. Rapid camera moves, whip pans and motion blur increase the likelihood of drift or failure. But a classical point tracker operates by defining a small target area and a larger search area. On each frame, the tracker searches for the target area’s pixel pattern within the search region by scanning left, right, up, and down. This works reliably when the camera is locked off or moves in a controlled manner on a dolly, gimbal or tripod.

The limitation is that a standard RGB point tracker does not inherently account for rotation or scale changes in the pattern over time. These are affine transformations: translation, rotation, scaling, and shear. If the tracked feature rotates or changes size significantly, the tracker may drift or lose the pattern entirely.

SynthEyes provides options such as updating the reference frame at defined intervals. However, between those reference updates, the tracker still searches primarily by translation, allowing drift to accumulate. In shots with strong rotation or scale change, this can result in unstable supervised tracks and broken solves.

For these scenarios, SynthEyes 2026 introduces the Mocha Point Tracker. The feature leverages Mocha’s planar tracking technology under the hood directly into the supervised tracking workflow. The goal is to combine the robustness of planar tracking with the point data required for camera solving.

Planar brain, point output

Planar trackers are designed to compensate for rotation, scale and other affine transformations across a defined surface patch. Instead of following a single pixel pattern, they analyse the motion of a planar region.

The Mocha Point Tracker tracks a small planar patch and returns the coordinates of the centre of that patch as point tracking data. In practical terms, artists still obtain a single 2D point suitable for solving, but that point is derived from a planar solve rather than an RGB comparison.

In the user interface, switching a tracker from the traditional RGB mode to Mocha Point Tracker updates the tracker controls without launching Mocha. The planar patch can be reshaped freely. Corners can be adjusted individually, and the centre point can be offset by holding Shift while dragging.

The planar patch does not need to remain a strict rectangle. Artists can enlarge it to capture more contrast detail, for example, around the edges of an architectural feature. During tracking, the patch visibly rotates and scales with the image content, while the returned centre point remains tightly locked.

This behaviour addresses a core limitation of classical point trackers: Because the planar patch models translation, rotation, scale and affine deformation, it remains stable under perspective and motion changes that would cause a standard tracker to drift.

Parameters for unruly shots

The Mocha Point Tracker includes adjustable parameters for more demanding material. By default, each tracker automatically determines how much of the initial pattern must be visible in subsequent frames before continuing. This percentage threshold can be manually adjusted.

Users can also select different motion models. The default model is 2D TRSA, which stands for Translation, Rotation, Scale, and Affine. Alternative models constrain the tracked motion to fewer parameters. For heavy perspective change, a 3D Perspective model is available.

All models ultimately return single-point data, but they use different internal motion assumptions to generate that data. In addition, advanced controls allow users to increase the expected per-frame rotation and scale change. By default, SynthEyes expects up to one degree of rotation and half a per cent scale change per frame. These limits can be raised for more aggressive camera movement. These advanced controls are typically unnecessary, as the planar tracking approach is quite forgiving at default values, but who knows what happened on set? Sometimes it is best not to ask.

Mixing tracker types

SynthEyes continues to support mixing different tracker types within a single supervised tracking setup. The Mocha Point Tracker is particularly useful for bridging gaps where feature trackers fail. In such cases, adding larger planar patches can help maintain continuity across problematic frames, enabling a continuous solve where feature tracking alone breaks down.

This highlights a workflow caveat: When combining two Mocha Point Trackers into a single tracker, SynthEyes first converts them into classical point trackers before merging. This avoids merging two planar patches directly, which would be unstable. After conversion, the resulting track retains point data but no longer allows modification of the original planar patch.

Boris FX positions the Mocha Point Tracker as a complementary tool rather than a replacement. Traditional RGB trackers remain better suited for manual frame by frame adjustments, where artists may need to babysit a track through occlusions. The supervised tracking system is designed to allow mixing and matching tracker types as needed.

In short, when the camera behaves politely, classical point tracking remains efficient. When it does not, the Mocha Point Tracker offers a planar fallback inside the same workflow, without requiring artists to leave SynthEyes. If neither works, demand reshoots.

Real time GeoH feedback

SynthEyes 2026 introduces Live Preview for geometric hierarchy, referred to as “GeoH”. Live Preview is a toggleable checkbox located above the axis lock controls in the GeoH interface. When enabled, the GeoH setup dynamically adjusts while users manipulate trackers and selected parameters.

With Live Preview active, artists can adjust trackers, focal length and distortion parameters and see the hierarchy update instantly in the current frame. The primary use case described by Boris FX is tracker adjustment. Instead of replaying the shot after every modification, the result is visible immediately.

In addition, the feature operates hierarchically. Users could typically enable Live Preview on the object level where downstream elements should animate in real time. For example, activating it on a shoulder joint would allow the arm chain beneath it to update in real time. In practice, it can also be enabled on the topmost root object if required.

In current builds, enabling Live Preview highlights the affected hierarchy in yellow, providing visual feedback about which nodes are active. This is particularly useful in larger hierarchies where dependencies can become difficult to track.

But why?

The system updates without requiring repeated play-stop-check cycles. Users can move trackers, adjust seed positions, tweak pivots, unlock or rebalance axes and modify lens or offset parameters while seeing the result immediately. You can think of GeoH in SynthEyes as a lightweight rigging system inside the tracking environment. Objects are created at mesh pivots and parented hierarchically. Animation channels must be explicitly unlocked before they can be driven by trackers or mesh deformation. Locked parameters remain static.

A typical workflow involves creating a GeoH object from a mesh, branching joints from parent nodes, adjusting pivots in Edit Pivots mode and painting vertex weights to define influence regions. Trackers can then be parented under specific GeoH objects, with seed points projected onto the mesh to drive animation.

With Live Preview enabled on a GeoH object, moving a tracker updates the mesh deformation or joint rotation immediately in the viewport. The effect is comparable to interactive rig manipulation in DCC applications, with the mesh responding as trackers are repositioned.

Before finalising animation for export, users should disable Live Preview on all relevant nodes and then play through the shot so that the animation is fully realised. This step ensures the resulting keyframes are baked from the tracked motion. Or, don’t do that, and we’ll see what happens :) Jokes aside, the feature should cut iteration time by at least one order of magnitude.

SynthEyes Special: The Interface refresh begins

The 2026 release marks the beginning of a “multi-phase user interface modernisation”. The current update focuses on the left panel and room navigation – one thing after the other. Boris states that improved labelling, more consistent layout and interaction behaviour, and a clearer visual structure are intended to enhance discoverability and daily usability. At the same time, existing workflows and muscle memory are said to be preserved.

The changes are positioned as incremental rather than disruptive. Advanced users are expected to retain familiar workflows, while first-time users may find the application more approachable. Because, as good as Syntheyes is, the Interface was always a bit … particular.

USD moves upstream

And another thing: SynthEyes 2026 expands USD support, allowing USD assets and scenes in the application. Users can import individual meshes or full USD scenes while preserving hierarchy, cameras, lights, animation and metadata, including parent-child relationships and transforms. USDZ assets import with embedded textures intact.

Whole scene transforms and STMaps

A new Whole Scene Transform mode allows scale, rotation or translation to be applied to the entire scene, including cameras, objects, trackers and meshes, while preserving relative motion and solve integrity.

This mode is intended for late-stage adjustments, including multi-camera projects. The company states that relative motion and solve integrity remain intact, though no technical detail is provided on the underlying implementation.

Distortion map export, commonly referred to as STMap export, is now integrated directly into the standard Export menu and the Multi Export system. This enables distortion data to be generated alongside other outputs in a single export pass rather than as a separate step. STMaps are commonly used in compositing to apply or remove lens distortion via UV maps. Integrating STMap export into the main export pipeline reduces the number of discrete export operations required.

Pricing and availability

SynthEyes remains a standalone application. Subscription, perpetual, upgrade and support renewal options are available. Pricing starts at 325 USD per year or 62 USD per month. Customers with an active SynthEyes or Boris FX Suite subscription, or with an upgrade and support plan, receive the 2026 release as a complimentary update.

Further details are available via the SynthEyes product page on the Boris FX website.

As with any update that affects solving, hierarchy behaviour or export fidelity, new tools and innovations should be tested before use in production.

// SynthEyes 2026 What’s New
// https://borisfx.com/products/syntheyes/whats-new/

The post SynthEyes 2026 Speeds Up first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

If you don’t know the tool: Sequoia is a Windows only high end DAW from Boris FX for mastering, broadcast and audio post. It focuses on object-based editing, precise routing and reliability rather than trend chasing.

Boris FX has released Sequoia 2026, marking the first major version since the DAW joined the company’s product portfolio. The update focuses on video playback, external control and performance reliability rather than new creative paradigms.

The release targets audio post production, mastering and broadcast environments where Sequoia is typically used alongside picture and external hardware systems. Boris FX describes the update as a consolidation release that combines visible workflow enhancements with under-the-hood engine improvements.

GPU-accelerated video, properly integrated

The most significant change in Sequoia 2026 is a new, fully GPU-accelerated video engine. Boris FX states that the engine supports NVIDIA, AMD and Intel GPUs and is designed to improve playback stability and responsiveness when working to picture.

The engine introduces native decoding for AVC, HEVC and AV1, and adds native Apple ProRes support without requiring external transcodes. Boris FX also states that the video engine provides full resolution monitoring without preview downscaling and supports frame rates up to 60 fps. These performance claims are vendor statements and not independently verified at press time.

The company positions the new video engine as a practical requirement for modern audio post-production, rather than a feature expansion, citing smoother playback and reduced friction when working with contemporary picture formats.

Audio engine refinements for dense sessions

Sequoia 2026 includes updates to its VST3 based audio engine. Boris FX states that multicore CPU distribution has been improved, with smarter allocation across cores and reduced processing load from high latency plugins and AUX sends.

The company also highlights strengthened engine testing and error handling, intended to improve playback reliability during complex mastering and mixing sessions. Additional changes include an updated plugin buffer dialog and overload and noise protection refinements.

A new one click export option allows users to bypass active effects chains during rendering, enabling clean reference exports without altering project setups. These changes are presented as safeguards for critical production and mastering work rather than new functionality.

OSC support and external control

Sequoia 2026 adds native support for OSC, Open Sound Control, enabling remote triggering of recording, editing, mixing and transport functions over a network. Boris FX explicitly references use with broadcast consoles, large format desks, StreamDeck devices and OSC capable applications. The feature is aimed at multi room studios and facilities where DAW control is distributed across operators or locations.

The available documentation does not specify command coverage, mapping depth or latency characteristics. But there is an OSC monitor to check outgoing and incoming strings, and you can use the search field to display the menu ID. The program help contains some examples and suggestions. Facilities planning to rely on OSC control should verify behaviour against their specific hardware and network setups.

Soundly integration inside Sequoia

The release integrates the Soundly cloud-based sound effects library directly into Sequoia. Users can browse, search and preview sounds from within the application and transfer assets directly into projects. According to Boris FX, the library includes thousands of sound effects, Foley recordings, atmospheres and field recordings at multiple sample rates. Organisational features include tagging, favourites and custom libraries.

Routing and fades, incrementally improved

Sequoia 2026 introduces an enhanced FX IO Matrix. The updated matrix allows more detailed multichannel routing through plugins, including channel remapping, side chain setups and a Thru mode for distributing mono or stereo effects across surround and immersive buses.

The Crossfade Editor has also been revised. Boris FX describes improved visual context, quicker access to fade shapes via object handles, real time preview of fade curves and looped auditioning without interrupting playback. These changes are aimed at dialogue, classical music and broadcast editing workflows where precision matters. The underlying object based editing model remains unchanged.

Official onboarding and training material

Alongside the release, Boris FX has published an official introductory walkthrough video. The material focuses on interface navigation and foundational workflows rather than documenting new 2026 features. The walkthrough covers the Arranger, object-based editing, the Object Editor, track-based workflows using the Track Editor and Mixer, VST instrument handling, ASIO driver configuration, project creation, recording and export. It is positioned as an entry point for new users and a refresher for existing ones.

Pricing and availability

Sequoia 2026 is available immediately. It remains a standalone DAW offered via subscription, perpetual licence and upgrade and support plans. Pricing starts at 595 US dollars per year or 95 US dollars per month, according to Boris FX. Customers with an active Sequoia or Boris FX Suite subscription, or a current Sequoia upgrade and support plan, receive the 2026 release as part of their existing entitlement. As always, new releases should be tested carefully before use in real production and mastering environments without assumptions.

The post Sequoia 2026 gives audio post a video engine first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Boris FX Sapphire is a long-standing plugin suite for compositing, finishing, and broadcast design. It runs in Premiere Pro, After Effects, Avid Media Composer, DaVinci Resolve, and Nuke. Sapphire Builder, the node-based editor inside Sapphire, lets users combine multiple filters and create reusable presets for a consistent studio look.

From Synthesis to Sapphire

Following the well-received Syntheyes Essentials training, Boris FX is back with Sapphire Builder Essentials, a free 11-part video course that takes about an hour to complete. Published in December 2025, the training focuses on getting both editors and artists comfortable with Sapphire’s Builder environment and its cross-host workflows.

The videos, presented by product specialist Grant Kay, introduce Sapphire’s extensive filter library, Lens Flare Designer, and the Builder’s node-based workflow for combining multiple effects. The lessons are structured for quick learning, moving from basic setup to professional features such as linked parameters, preset export, and transition creation.

Get all the Videos here: https://borisfx.com/free-training/sapphire-builder-essentials/

Multi-host, one look

Once the groundwork is set, Kay demonstrates how Builder expands Sapphire’s traditional one-filter-per-clip workflow into a modular, node-based design space. Users can layer, branch, and combine filters into complex effects while keeping parameters clearly organised for team-wide use.

Smart presets, real pipelines

A significant portion of the course covers parameter linking and preset management, features often overlooked in casual plugin use but essential in production environments. Viewers learn to connect parameters, expose only relevant controls, and export custom presets to the shared Sapphire Preset Browser, ensuring every workstation produces identical results.

Further episodes explore practical aspects such as handling multiple inputs (foreground, background, and matte), integrating text or graphics from the host, and managing preset compatibility across machines. The training ends with a look at Builder’s system messages and how to handle common warnings, particularly those related to parameter limits in Premiere Pro and time-based effects.

Designed for working artists

Although relatively short, the course presents a clear path for professionals wanting to bring order and repeatability to Sapphire-based looks. By concentrating on collaboration, preset standardisation, and version consistency, Sapphire Builder Essentials positions Sapphire not only as a creative toolkit but also as a reliable production component across hosts. The entire 11-part training is available for free on the Boris FX training portal. As with all new tools and updates, users are advised to test Builder workflows in a controlled environment before rolling them out to client projects.

The post Sapphire gets the “Essentials” treatment first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Mocha Pro 2026 is out, and Boris FX’s Emmy and Academy Award-winning planar tracker returns with an update that focuses on refinement rather than reinvention. The 2026 release adds new AI-driven roto and matte tools, smarter 3D-solve cleanup, and a rebuilt Curve Editor, all tuned to make shot-fixing and cleanup faster and more predictable for working compositors.

The update also aligns with VFX Reference Platform 2025, adding support for Qt 6.5.4 with PySide 6, Python 3.11, OpenEXR 3.4.5, Alembic 1.8.8, and FBX 2020.3.7. This ensures fewer pipeline compatibility issues in studio environments.

Matte Refine ML: AI for tricky edges

The new Matte Refine ML system expands Mocha Pro’s machine-learning masking family, which already includes Object Brush ML, Matte Assist ML, and Face ML. It analyses existing masks and automatically refines soft or semi-transparent edges which is useful for hair, fur, motion blur, and defocus.

Two refinement modes are available: one optimised for soft motion or blur, the other for sharper edges. Additional post-processing sliders (Black Clip, White Clip, Edge Grow, Shrink/Grow, and Blur) let artists fine-tune how transparency and detail are blended along the edge.

For multi-layer composites, the new Group Layer Mattes option merges multiple layers into a single matte clip, improving render and playback performance. Combined with Matte Assist ML, this creates an efficient path from object masking to refined alpha without intermediate renders.

Refine Solve: faster, cleaner 3D tracking

The Refine Solve tool targets 3D camera solves that have drifted or accumulated bad data. Using the Clean Up Features dialog, users can delete unstable or short-lived tracking points, then recalibrate the existing solve without starting over.

Because Refine Solve builds on the original solve data, it preserves previous adjustments such as ground-plane alignment or scene scaling. For extended tracking and finishing, the refined data can be exported directly into SynthEyes for further cleanup. The result: faster iterations and fewer re-solves for 3D match-move tasks in complex shots.

Blips and 3D

Technically, Mocha’s camera solver identifies trackable “blips” in the image and converts them into 2D trackers, which are then triangulated into static 3D feature points. The software measures the average deviation between the 2D trackers and 3D points as HPix (horizontal pixel error). A low HPix value signals a stable camera solve, while spikes in the error curve expose moments where the 3D reconstruction drifts. These spikes often correspond to unstable track data caused by motion blur, occlusion, or minor parallax inconsistencies.

The Clean Up Features system provides targeted filters to address these issues. It can automatically disable feature points during high-error frames, discard very short or inconsistent trackers, and remove features that contribute excessive deviation. Once unwanted data is removed, Refine recalibrates the existing camera without re-solving from scratch, updating only the relevant calculations while maintaining previously established orientation and coordinate systems. This allows technical directors to preserve scene alignment and object placement while improving solve precision.

Refinement should be applied only when the base camera movement is physically plausible. If the initial camera path is incorrect or erratic, a full re-solve remains necessary. However, for typical production shots where the solve is broadly correct but slightly unstable, this incremental workflow offers a reliable way to tighten accuracy, lower HPix variance, and maintain alignment integrity across multiple refinement passes.

Curve Editor rebuilt for modern pipelines

After a long hiatus, Mocha Pro’s Curve Editor makes a full return. The interface has been rewritten from the ground up, with tighter integration between the Dope Sheet and Graphs panel. Artists can now visualise tracking, roto, and camera-solve data as curves, then smooth, zoom, or isolate problem areas directly. A new offset-curve overlay in the Adjust Track module displays how refinements affect the original track in real time. Filtering options allow users to display only keyframed parameters or selected spline points, helping to pinpoint problematic data without clutter.

Smaller but useful refinements

Beyond the headline features, Boris FX lists numerous “quality-of-life” updates under the hood. Playback of refined mattes no longer requires separate rendering, and composite mattes can now be applied directly in other Mocha render modules, such as Insert or Remove.

Mocha Pro 2026: Pricing and availability

Mocha Pro 2026 is available as a standalone application and as plugins for Adobe After Effects, Premiere Pro, Avid Media Composer, Foundry Nuke, Blackmagic Fusion, Autodesk Flame, and VEGAS Pro. Subscription pricing starts at €42 per month or €290 per year. Perpetual licences (from €675), upgrades, and support plans are also offered. Customers with active Mocha Pro or Boris FX Suite subscriptions receive the 2026 update at no additional cost.

Reality check

While the AI-driven refinements and rebuilt Curve Editor mark significant usability improvements, studios should validate performance and matte accuracy in controlled conditions before integrating Mocha Pro 2026 into production pipelines.

The post Mocha Pro 2026: Refined, re-solved, re-edged first appeared on DIGITAL PRODUCTION and was written by Bela Beier.