For those who don’t know the tool: Adobe Animate is Adobe’s 2D animation and interactive authoring tool, used for vector animation, rigged characters, and legacy Flash-style pipelines inside the wider Adobe Creative Cloud ecosystem.

What actually happened

Following several days of confusion, contradictory reporting, and one notably premature obituary, Adobe has formally clarified the status of Adobe Animate. The application is not being discontinued. It is not being removed. It is not being sunset on a fixed date. Instead, Animate has been placed into what Adobe calls maintenance mode, indefinitely.

Adobe updated its official Animate knowledge base article on February 4, 2026. The wording is explicit and repetitive, likely by design. Adobe states that Animate will continue to be available to both existing and new customers, with no deadline for removal. The company also states it has no plans to discontinue or remove access to the application. This represents a change from an earlier customer email that suggested a clearer end-of-life trajectory. Adobe now says that information is no longer valid and that the position has changed.

The distinction matters, particularly for studios and freelancers still shipping broadcast graphics, educational content, and lightweight 2D animation using Animate-based pipelines.

Maintenance mode, defined precisely

Adobe’s definition of maintenance mode is narrow and unambiguous. Animate will continue to receive security updates and bug fixes. It will continue to be supported. It will remain downloadable for new users. It will continue to open existing projects.

It will not receive new features.

Adobe repeats this point multiple times in its documentation. There is no language about feature backlogs, paused development, or future reassessment. Maintenance mode is described as indefinite. This is not an uncommon status for mature tools with stable user bases, but Adobe rarely uses such blunt phrasing for Creative Cloud applications.

Access to existing content

One of the central concerns raised by users was long-term access to authored content. Adobe explicitly addresses this. The company states it is committed to ensuring Animate users retain access to their content regardless of future changes in development status.

This applies to individual subscribers, small businesses, and enterprise customers. Adobe does not describe any technical mechanisms beyond continued availability of the application itself. No migration tools or export guarantees are mentioned. There is also no mention of file format deprecation or conversion paths. Animate documents remain Animate documents.

The backlash and the cleanup

The clarification follows widespread reporting that Animate was being discontinued outright. Digital Production published an article stating that Adobe had pulled the plug on Animate. That headline was based on earlier information provided by Adobe and has since been overtaken by events. The company’s own documentation now contradicts that earlier messaging.

Adobe pulls the plug on Animate at last

Adobe acknowledges this directly, stating that what it initially shared has changed. This is a rare case where the vendor explicitly reverses a communicated product trajectory, rather than quietly rephrasing it.

Implications for production users

For production artists, the practical outcome is stability without evolution. Existing pipelines can continue to function. Security vulnerabilities should be addressed. Bugs may still be fixed, though Adobe does not define the scope or frequency. There will be no new animation tools, no workflow improvements, and no modernisation beyond what is required to keep the application operational.

For some teams, this is acceptable. For others, it confirms the need to plan exits, even if no forced deadline exists. Animate becomes a frozen dependency, not an actively developed one. The key point is that this decision is now explicit, not implied.

// Adobe Animate maintenance mode documentation
// https://helpx.adobe.com/animate/kb/maintenance-mode.html

The post Animate re-animated first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Digital Production is taking a short end-of-year break. We would happily keep going until the very last calendar page, but the news situation has become impressively sparse and the editorial cat has formally vetoed any further attempts, insisting on a pause. When the cat is right, the cat is right.

Before you disappear into the holidays, one gentle reminder. Back up your data. All of it. And maybe take a moment to sort out the chaos folder. We all have one, were files like “final_really_this_one” quietly acumulate, along notes, software you defintily wanted to test and those meeting notes that were oh-so-important. Cleaning that up may even provide a respectable excuse for postponing visits to THOSE relatives.

Behind the scenes, we are still here. If anything genuinely relevant pops up, we will jump back in. Otherwise, we will see you next year with fresh news, new tools, and the usual mix of things you needed and things you did not know you cared about.

Thank you for reading, supporting Digital Production, and sticking with us through the year. Have a calm end of the year, enjoy the holidays, and see you on the other side.

The post That’s It for This Year: Digital Production Wishes You Happy Holidays first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Update: The Event came, was great, and if you want to know who said what, here is the Recording:

Beyond VFX returns on Wednesday, 26 November 2025, as part of the ICE.ART conference series, in partnership with the Visual Effects Society’s Megabrain Masterclasses. This time, the focus turns to AI ethics in visual effects, a topic increasingly relevant as generative and assistive AI tools actually enter production pipelines (Hell, it’s difficult to avoid it when updating any part of your pipeline). Registration is free of charge via linktr.ee/VESxICE.

The panel

A heavyweight panel will unpack how AI reshapes artistic authorship, production safety, and creative control in VFX.

• Dr Jana Sedlakova, philosopher and ethicist from the University of Zurich and soon Oxford, examines how human-AI interaction affects responsibility and legitimacy in digital systems.
• Ben Lock, BAFTA-winning producer and Director of Production Strategy at Moonvalley, brings decades of production experience from ILM, Framestore and Aardman and insights into building artist-centric AI workflows.
• Victor Perez, award-winning VFX supervisor and director, adds his well-known compositing precision and long-running interest in the intersection of science, technology and art.
• Frank Govaere, filmmaker and creative technologist, contributes his perspective on storytelling in an era of machine-assisted imagination.

Familiar faces at the helm

Moderation comes from Agon Ushaku, Chair of VES Germany, curator of VES Megabrain Masterclasses and a long-time friend of Digital Production together with Matthias Buehler, founder of vrbn group AG and Head of ICE. Both are known for connecting the VFX community through ICE.ART and FMX partner events.

Free, open, and worth your calendar

The Beyond VFX series has built a reputation for clear-eyed discussions and genuinely open exchange between artists, researchers, and studios. This upcoming session promises the same mix of practical production insight and critical reflection as Ice.Art.

Attendance is free, but registration is required at linktr.ee/VESxICE. The organisers encourage professionals, students, and studios alike to join the debate on how AI tools can serve, rather than steer, creative work.

The post Beyond VFX dives into AI Ethics first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The animation-tool makers at Cosmo Mídias have released a new add-on for Blender called 3D Onion Skinning. According to the official documentation and the product page, it adds a simple but powerful way to visualise animation timing directly in the 3D viewport.

3D Onion Skinning uses Blender’s Python API and Geometry Nodes to create translucent “ghost” frames around the current frame in an animation. This lets animators preview frames before and after the current moment in the viewport, allowing them to analyse timing, spacing and motion arcs without switching between editors.

Key features

The add-on can display relative frames both before and after the current frame, with independent control over how many frames are visible and what colour each ghosted frame should use. It includes an auto-update system that refreshes the ghosted frames whenever the user scrubs the timeline or adjusts keyframes and graph handles, so the preview remains accurate during animation.

It supports multiple object types including meshes, curves, surfaces, fonts, metaballs and instanced collections. The developers also note compatibility with library overrides and linked data. Visualisation works in both solid view and render view. In render view, the ghost frames automatically fade based on their distance from the current frame, improving clarity when previewing dense motion.

The interface is compact and minimal. A shortcut (Ctrl + Shift + Alt + O by default) opens or hides the add-on panel. Each parameter has a tooltip to explain its effect, keeping the design consistent with Blender’s native UI conventions.

Compatibility and implementation

The developers state that 3D Onion Skinning works natively with Blender 4.5 LTS and newer. The add-on does not require any external dependencies beyond Blender itself. It generates baked cache files on disk to store ghosted frame data. The (Quite cool and interactive) documentation recommends saving these caches to a local SSD path rather than a cloud-synchronised folder such as Dropbox or Google Drive, as doing so could cause update issues.

Use-cases

Cosmo Mídias presents the add-on as useful for a wide range of animation tasks. It helps students and educators learn timing and spacing, supports character animators refining pose-to-pose transitions, and aids motion-graphics artists working on complex movement. It can also help game-animation teams fine-tune short gameplay loops directly in the viewport without exporting repeatedly.

Pricing and availability

The 3D Onion Skinning add-on is available for purchase at a price of 9.90 USD from the Superhive marketplace, formerly known as Blender Market.

Why this matters

Checking timing and spacing in 3D animation often requires switching between frame playback, dopesheets or graph editors. Traditional onion-skin tools are typically 2D overlays, which lose depth and spatial accuracy. 3D Onion Skinning moves that preview into the 3D viewport, allowing animators to observe geometry movement directly in space relative to the current frame.

For production, this tool could reduce iteration time when refining animation or motion-graphics sequences. The ability to display motion trails and ghosted frames together can help animators and supervisors communicate adjustments more clearly during reviews.

Final thoughts

3D Onion Skinning focuses on a single function: frame ghosting in three-dimensional space and implements it using Blender’s native tools. This simplicity means low maintenance, no extra dependencies and minimal setup time. However, as with all new tools, artists should test it in their own pipelines, particularly when working with linked assets or large scenes, before integrating it into production.

The post New add-on for Blender brings onion skinning layering into full 3D first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Autodesk’s Maya 2026.3, now available through the Autodesk Account portal, delivers substantial mid-cycle additions. The update introduces new animation management tools, Bifrost rigid bodies, expanded USD support, and deeper integration with Autodesk Flow 0.11.0.

Animation: Channel Sets and contextual tools

Animators gain new control with Channel Sets in the Graph Editor, which allow grouping and sharing collections of channels for cleaner scene management. A new toggle lets artists hide or show pins, shifting focus toward organised channel groups. Animate in Context now includes a demo project showcasing its capabilities, and the MotionMaker Editor gains a contextual right-click menu for faster access to character key operations.

Technical rigging: Dynamic Geometry Attributes

Dynamic Geometry Attributes give technical artists per-vertex analysis tools to identify rigging problem areas and improve deformation quality. They can also drive procedural effects such as animated wrinkles. Example scenes are available in the Content Browser under Animation > Dynamic Geometry Attributes.

Camera Sequencer: refined shot creation

The Camera Sequencer now offers a more intuitive and flexible shot-creation workflow. Autodesk describes this as an expansion of existing functionality rather than a major overhaul, focusing on smoother editing and management of camera sequences.

LookdevX 1.10.0: refined look development

LookdevX 1.10.0 brings colour-management updates, improved generative-texture APIs, and clearer documentation. These refinements aim to stabilise the framework for shader and material development across pipelines.

USD 0.34: new Asset Resolver

USD for Maya 0.34 introduces the Asset Resolver, simplifying asset loading and improving portability between different production environments. The update refines asset referencing and streamlines project structure handling.

Bifrost 2.15.0.0: rigid bodies debut

Bifrost 2.15.0.0 delivers its first implementation of rigid-body dynamics, adding simulation capabilities for solid objects alongside the existing fluid and aerosol solvers. It also brings fracturing, Boolean modelling tools, and a range of general stability improvements.

Rendering: Arnold for Maya 5.5.4

Arnold integration advances to MtoA 5.5.4, adding a new Inference imager, enhancements to Global Light Sampling, and various bug fixes.

Autodesk Flow 0.11.0 integration

Flow 0.11.0 now installs automatically with Maya 2026.3, connecting Maya to Autodesk’s collaborative ecosystem. It supports Animate in Context and other Flow-based features through a background desktop service.

The post Autodesk launches Maya 2026.3 & Creative 2026.3 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Blender Foundation has released version Blender 4.5 LTS (Long-Term Support), the final LTS in the 4.x series, while the 2024 user survey sheds light on community needs, and the upcoming 5.0 beta offers a first look at the next major version.

Modelling, sculpting, and precision updates

A new Manifold Boolean algorithm replaces the old “Fast” option, providing much faster and more accurate results on watertight meshes. Snapping now respects the 3D cursor’s rotation, and objects can be parented to specific vertices without entering edit mode. Curves editing gains new operators, while the point cloud object type is now fully supported with its own edit mode. In sculpt mode, brushes such as Draw, Clay Strips, and Plain now respond to pen tilt, with Clay Strips around 22 percent faster.

Artists can mask by colour, and brush jitter controls for hue, saturation, and value have been added. Performance improves when using small brushes on large meshes. UVs can now be previewed in object mode, even across multiple selected objects — a small but meaningful workflow enhancement for texture artists.

Geometry Nodes overhaul

Geometry Nodes receives its biggest expansion since 4.0. There’s a new Set Mesh Normals node for manipulating tangent-space normals and storing sharpness data. Six new import nodes allow direct reading of external data types — OBJ, STL, PLY, VDB, CSV and TXT — and files can be dragged straight into the editor to create the corresponding nodes automatically.

Additional nodes include Match String, BitMath, and Camera Info, along with new field utilities like Field Average, Field Min/Max, and Field Variance. Geometry Nodes now supports drag-and-drop creation of input sockets from the sidebar and nested frame colouring for complex networks. Grease Pencil also gains three node types, Set Grease Pencil Colour, Set Softness, and Grease Pencil Depth, bringing 2D animation closer to procedural workflows.

Animation, rigging, and shape keys

Pose mode adds quick selection of children, parents, or siblings via Shift-G. Playhead snapping has been standardised across all timeline-based editors, including the Graph Editor and VSE. Keying Sets now behave consistently, and individual bones can override their display type. Shape-key workflows benefit from two long-requested tools: Duplicate Shape Key and Update from Objects, allowing direct refresh of multiple shape keys from mesh changes. Script authors should note an API rename from graph.keyframe_jump to screen.keyframe_jump.

Grease Pencil 3.0 integration

The version integrates Grease Pencil 3.0 more deeply with Blender’s render passes and compositor. A new Grease Pencil Render Pass enables per-layer compositing with proper alpha handling, and new supersampling anti-aliasing produces cleaner line art in final renders. Modifiers can now target specific layers or groups, and boundary strokes (Fill Guides) can be drawn interactively to close gaps during fills. Several legacy operators, including outline stroke generation, return for compatibility.

Rendering and lighting

Lights now include colour temperature and exposure controls, plus a normalisation option that keeps brightness consistent regardless of light size. The Cycles and EEVEE engines both gain a new Volume Coefficients Shader for physically accurate scattering, absorption, and emission.

EEVEE introduces shadow-terminator controls to fix self-shadowing on low-poly assets, a new reverse-Z algorithm for large scenes, and initial Vulkan backend support, offering smoother viewport performance and GPU subdivision.

Cycles receives a major boost to adaptive subdivision, now multi-threaded and roughly 10–15× faster. Normal-map filtering has been improved, and scripted OSL cameras allow physical lens simulation. AMD GPUs now use HIP ray-tracing acceleration by default.

Compositor and VSE improvements

The compositor now starts with a Viewer Node by default and can share compatible nodes with Shader and Geometry editors. A new Image Info Node exposes pixel dimensions; Relative to Pixel ensures resolution-independent blurs; and boolean inputs appear as checkboxes. GPU denoising and gizmos for Box and Ellipse Masks make compositing more intuitive.

In the Video Sequence Editor, playback performance is improved, metadata-rotated clips play correctly, and the Slip Tool is now smoother with synced keyframes. HDR previewing is supported, and several obsolete effects and the old cache system have been removed.

Asset browser, import/export, and file I/O

Screenshots can now be used as custom asset thumbnails with transparent backgrounds. Asset labels support multi-line text, horizontal lists improve node browsing, and import settings for geometry collections have moved to a central panel.

File import/export has expanded considerably: Geometry Nodes can now load and save PLY, OBJ, STL, VDB, CSV and TXT directly. USD import adds animated camera support, dome lights, and new primitives; FBX import is rewritten in C++ and is 3–15 times faster. GLTF export gains options for vertex colours, workbench materials, and AO baking.

UI and usability

Pen tablet support is improved with clearer region highlights, larger hit-boxes, and consistent pen-tilt response. Number-field scrolling now works on text boxes, and mouse-wheel fine-tuning behaves uniformly. The Outliner, Properties and Spreadsheet editors all received readability tweaks and new layout options. The light theme, icons, and scrollbars have been refined; Linux users get sharper Wayland cursors, macOS gets text-editing shortcuts, and Windows users will notice fewer white flashes during startup. On the housekeeping side, the developers confirmed that Intel macOS builds and COLLADA import/export are being deprecated. These removals simplify maintenance but may impact legacy pipelines. As always, Digital Production recommends testing the update in your own environment before deploying it in ongoing projects.

What the user survey reveals

The user survey is stil going – take part now!

Blender user survey 2025 – time to tell the team what you really think

What to expect in Blender 5.0 and the beta

Blender 5.0 entered public beta in October 2025. The current schedule foresees a release candidate around 5 November and a final release approximately a week later, on 11 November 2025. The beta already showcases some substantial changes to rendering, colour management, and user experience.

The most visible shift is expanded support for HDR and wide-gamut colour workflows, including improved ACES handling for compositors and colourists. Geometry Nodes continue to mature, with new modifiers, curve improvements, and better import support for external data. The user interface has been streamlined; over 300 theme settings were removed to unify the appearance and simplify customisation.

For technical directors, the key takeaway is that Blender 5.0 will mark a major version jump, and it may introduce breaking changes. Some add-ons and Python scripts may need updates to remain compatible. As of press time, not all release notes are complete, and several API changes remain undocumented, so early pipeline testing is strongly recommended.

What studios should consider now

For productions currently in progress, Blender 4.5 LTS should be considered the stable baseline. Its two-year support cycle makes it a safe anchor for long-term projects. Technical directors should also note the dropped support for Intel macOS builds and the gradual phase-out of COLLADA, to prevent unexpected pipeline breaks.

At the same time, teams can use the beta phase of Blender 5.0 to begin parallel testing. Doing so will identify add-on incompatibilities and prepare asset libraries for the Vulkan-based rendering core that will eventually replace OpenGL entirely. The Blender 2024 survey results offer valuable insight: stability is now the community’s strongest demand. Adopting the LTS version while cautiously evaluating 5.0 beta aligns with that philosophy.

The post Blender 4.5 LTS lands first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Hello from my virtual IBC studio at Musikpark Mannheim—complete with coffee, cables, and a bit of latency. For this Digital Production feature, I sat down with Victoria Nece from Adobe at their booth in Amsterdam to talk about what’s new in After Effects.

Victoria is one of those product managers who actually uses the software she’s talking about. Her demos are fast, her shortcuts surgical, and her experience in Broadcast and Motion Graphics shines through. This time she came armed with three deceptively simple tools: Quick Offset, Paste Reversed Keyframes, and Smooth Zoom. Plus a look at new 3D lighting and compositing features that make After Effects feel distinctly modern again.

Quick Offset: My Favourite New Shortcut

We started with Quick Offset, and honestly, it’s the kind of thing that makes you wonder how you ever worked without it. By holding Option + Command (Mac), the cursor switches to a new “staggered layers” icon. From there, you can click and drag directly in the timeline to spread layers or keyframes over time. No expressions. No maths. No “did I offset the null or the child?”.

Victoria demoed this with a map of the U.S. states and locators sliding in at once. Within seconds, she dragged out the timing into a clean cascade. The motion instantly looked more designed, and no spreadsheet-level calculations were involved. It’s tactile, it’s quick, and it’s one of those updates that feels designed by someone who actually animates for a living.

Paste Reversed Keyframes: Exit Stage Left

Once everything is animated on, the next challenge is getting it off the screen again. Enter Paste Reversed Keyframes. Victoria showed how you can now copy keyframes, then paste them in reverse from the Edit menu. The animation plays backwards, perfectly timed to the original entrance. She used it to make states appear, wiggle, then fade back out—all without touching expressions or timelines manually. For those of us who still remember the “calculate offset” method, this feels like closure.

Smooth Zoom: Scroll, Don’t Jump

Then came Smooth Zoom, another small fix that quietly transforms daily work. Previously, zooming in the composition viewer jumped in awkward increments. Now, scrolling in and out is continuous! Victoria scrolled through a complex comp like she was skating. You can zoom, pan, and adjust keyframes without losing context. It’s one of those features that doesn’t sell subscriptions, but saves hours over time.

A 3D Scooter, an Environment Light, and a Shadow Catcher

After the 2D fun, Victoria opened a 3D scene: a scooter textured in Substance 3D. After Effects now imports GLB, glTF, FBX, and OBJ models directly. She added an Environment Light, which uses an image, video, or animation as a lighting sphere around the scene. Her demo used a live-action plate as the light source—turning the background into illumination and reflection. When the actor walked into frame, you could literally see her reflection in the scooter’s headlight. Next came the Shadow Catcher, a transparent solid that receives shadows but hides everything else. It’s a quick way to ground a 3D object in live footage without third-party plugins. And yes, you can pick the shadow colour from the footage itself. No more neon-black shadows that ruin composites.

Beta Lighting: Spotlights, Parallel Lights, and Speed

In the public beta, Adobe is testing spot and parallel light shadows that render faster and allow more precise art direction. Performance has improved as well—playback and caching both feel snappier, although Adobe has not published formal benchmarks. As Victoria said, “After Effects is updated almost every day.” Given how often animators have begged for smaller, quality-of-life fixes, that’s welcome news.

Tested in the Booth, Try It in Production

All these features—Quick Offset, Paste Reversed Keyframes, Smooth Zoom, and the new 3D environment tools—are available now. The expanded lighting system is in public beta. I’ve seen many After Effects demos at IBC, but this one stood out because it’s not about buzzwords or “revolutionary pipelines”. It’s about fixing small irritations that slow artists down.

Before rolling these tools into client work, test them on your own setups—especially the 3D lighting features, which still vary by GPU and renderer. But if you spend your life inside the AE timeline, Quick Offset alone might make your week.

The post After Effects Gets Hands-On: Victoria Nece Shows Off Quick Offset & Co. first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

RE:Vision Effects has released REZup Version 2, its updated video and animation upscaling plugin. The launch date is 4 August 2025, and the announcement emphasises improved upscaling with two newly integrated machine-learning models. REZup remains structured as two plug-ins—Resize (for upscaling or zooming) and Enhance (for refining image quality)—now enhanced with fresh capabilities.

Built-In Temporal Denoising and Colour Handling

REZup V2 adds a built-in temporally denoise option to suppress noise during upscaling. It also refines colour-space handling, making transitions and grading more reliable across varied footage.

Two ML Models — One for Everything, One Just for Faces

The update introduces two new machine-learning models:

• DNN 3 is a general-purpose model suitable for wide-ranging content, from live-action to rendered 3D animation.
• DNN 2 is optimised for faces and close-ups, promising detail retention such as fine hair strands, and even performs well on anime-style footage.

The company highlights that the models are “particularly adept” at 4× upscaling, for example transforming HD to 8K. Other scaling factors are shown in RE:Vision Effects’ demo videos.

Performance and Compatibility

REZup V2 supports AMD, NVIDIA, and Apple Silicon GPUs, and is expected to work with Intel Arc B60 discrete GPUs—though Intel users are invited to report test results. The company notes that upscaling from 1080p to 8K demands at least 8 GB VRAM; GPUs with more memory (12 GB to 96 GB) will handle higher resolutions more smoothly.

Pricing and Update Strategy

REZup V2 is priced at US $189.95, with an upgrade path from Version 1 available for US $39.99. The plugin is also included in RE:Vision Effects’ Effections bundle.

Host Application Support

The update is compatible with a wide range of host applications, including Adobe After Effects and Premiere, Resolve and Fusion, Apple Final Cut Pro, Assimilate Scratch, Nuke}, HSA-Art Diamant and Film Buster, Flame, Boris FX Silhouette, and other OpenFX-based hosts. A note indicates DNN 2 and 3 are not yet available on Flame Linux.

Combining with Twixtor

When used alongside Twixtor, REZup Resize enables reframing VR footage or remastering high-resolution content with no quality loss.

Note to readers: Confirm VRAM, host compatibility, and scaling results in your specific pipeline before adopting REZup V2 for critical deliverables.

The post RE:Vision Effects ups the ante with REZup V2 (and yes, it’s 4× sharper) first appeared on DIGITAL PRODUCTION and was written by Jürgen Firsching.

Apple has updated its smartphone filming companion, Final Cut Camera, to version 2.0. The free expansion unlocks advanced recording capabilities on the iPhone 17 Pro and Pro Max, including ProRes RAW recording, genlock, open-gate capture, Apple Log 2, expanded timecode options, and full integration with Live Multicam in Final Cut Pro for iPad and Mac.

ProRes RAW on a Phone

The iPhone 17 Pro models are the first smartphones to support ProRes RAW. This format preserves unprocessed sensor data, providing extended dynamic range and grading flexibility. ProRes RAW files benefit from Apple’s Media Engine for export acceleration and storage efficiency.

Genlock: Frame-Sync for Multicam

Final Cut Camera 2.0 introduces genlock, allowing iPhones to synchronise with other cameras via a reference signal. This ensures frame-accurate alignment and removes the need for manual syncing.

Apple has also released a genlock API, already supported by Blackmagic Design’s Camera ProDock. The feature enables professional-grade techniques such as bullet-time rigs with multiple iPhones shooting in perfect sync.

Support for open-gate capture allows use of the iPhone’s full sensor area, beyond the standard 16:9 or DCI 4K crop. This offers flexibility for reframing, stabilisation and creative aspect ratios in post without quality loss.

Apple Log 2 and Timecode

Final Cut Camera 2.0 adds Apple Log 2, a flatter capture profile available in ProRes and HEVC, with extended colour representation and compatibility with LUT workflows. Timecode handling now includes Time of Day, Record Run, and external timecode input, offering professional clip management and multicam reliability.

The update adds manual controls for the new Center Stage front camera on the iPhone 17 line, including the iPhone Air. The square sensor records in both portrait and landscape orientation without rotating the device, a practical option for vloggers and journalists. Final Cut Camera now supports recording from the 200 mm Telephoto lens on iPhone 17 Pro at ProRes up to 4K60 fps. This extends creative framing options directly from the handset.

Rollout and Requirements

Final Cut Camera 2.0 will be available as a free App Store download later in September 2025. The app runs on iPhone Xs or newer with iOS 18.6 or later, though ProRes RAW and genlock require iOS 26 and an iPhone 17 Pro model. Parallel updates to Final Cut Pro 11.2 (Mac) and Final Cut Pro 2.3 (iPad) are planned to support these workflows, but Apple has not confirmed release dates.

For production teams, this update significantly broadens the iPhone’s potential. Still, as with any new recording format or feature, these workflows should be tested under production conditions before deployment.

The post iPhones Go “Pro” with Final Cut Camera 2.0 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Rahul Parihar has released Clay 4.Doh, the latest update to his procedural clay shader and toolkit for Blender. Announced on 22 August 2025, the update is free to existing users and continues the promise of one‑time purchase pricing with perpetual updates. The toolkit, originally designed to mimic the look and behaviour of real clay, now expands into new territory with additional tools, modifiers, and shader refinements.

Clay 4.Doh retains its foundation on Blender’s Principled BSDF shader, which ensures physically accurate rendering without requiring UV unwrapping or manual texturing. A single master node drives all clay variants, streamlining material creation for artists working across Cycles and Eevee. This design makes the shader predictable and consistent, an important consideration for production environments where stability outweighs novelty.

New Tools and Modifiers

The update introduces several new creative tools including a Pottery tool, Clay Text, and Eyes. These extend the procedural approach, allowing users to generate complex clay‑like effects without leaving Blender. Clay Text supports all fonts and languages, broadening its use in motion graphics as well as character work. The Eyes tool integrates directly into the clay system, enabling stylised character creation with consistent shading.

Clay 4.Doh also brings modifiers for Mesh, Curve, Grease Pencil, and VDB objects. This widens compatibility across Blender’s different object types, allowing artists to maintain the clay aesthetic whether working with geometry, strokes, or volumetrics. Fingerprints and finger dents have been upgraded, producing finer, more realistic surface variation. These refinements address one of the key demands in claymation‑style projects: believable tactile detail.

Animation, Surface Effects, and Rendering

Support for sticky textures ensures materials move correctly with animated meshes, preventing sliding artefacts. Clay 4.Doh continues to include stop‑motion capabilities, enabling animators to simulate the frame‑by‑frame look of traditional clay animation directly inside Blender. Additional surface overlays have been added, including glitter, dust, and crackle effects. These run alongside existing shader controls such as subsurface scattering, ambient occlusion, and transmission, giving artists flexibility in shading without adding complexity to the node setup.

The toolkit is positioned as a production‑ready material system. By remaining tightly bound to Blender’s existing rendering engines and keeping everything node‑based, the workflow avoids external dependencies. This ensures projects can be archived or shared without versioning headaches.

Pricing and Availability

Clay 4.Doh is sold exclusively through Superhive Market. Pricing is tiered: Clay Doh Solo at 35 US dollars for individual users, Clay Doh Team at 140 US dollars for up to five users, and Clay Doh Studio at 299 US dollars for up to fifteen users. All licences are non‑subscription and include future updates at no extra cost. For a limited time, buyers can apply the discount code “claydoh25” for 25 percent off. The package includes tutorials and documentation, with further training available on Rahul Parihar’s YouTube channel.

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ClayDoh Product Page – Superhive Market

The post Clay 4.Doh Update Sculpts Blender Workflow first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

“One of the hardest things in life is accepting that we’ve a problem.”

At TD Meetup 19, I dove into one of the most important skills for any Technical Director or artist: true problem-solving. It’s not about quick fixes or duct tape solutions—it’s about understanding the root of an issue and aligning your fix with the bigger production goals. In the talk, I break down the four levels of problem-solving, share the mindset and skills that separate problem solvers from problem fixers, and explain why scripting, curiosity, and collaboration are key to thriving in VFX and games. And how to become a key figure as a Technical Director.

If you’ve ever felt like you’re just firefighting instead of moving projects forward, this session is for you. Think of it as a practical guide to turning daily chaos into opportunities—and maybe sharpening your Python blade along the way.

Watch the FULL event

The post Problem Solver for VFX | TD Meetup 19 first appeared on DIGITAL PRODUCTION and was written by Alexander Richter.

Milk VFX’s work on Heads of State opens with a high‑octane “La Tomatina” sequence dominated by CG mayhem. VFX Supervisor David Sadler‑Coppard – IMDb | LinkedIn led his team through a shoot‑interruption due to strikes, transforming a modest placeholder‑tomato setup into an extensive, fully digital fruit fight.

DP: So, I heard there was a Food Fight at Milk VFX … 

David Sadler-Coppard: I was assigned as VFX Supervisor for Heads of State at Milk when we were first awarded the show. Initially, we were bidding on several sequences, with the La Tomatina Festival scene being relatively modest in scope. The festival is a real thing, by the way. However, after the production went on hiatus for about a year due to the strikes, we reviewed the first assemblies and quickly realised the sequence needed far more work.

We were basically briefed to replace all of the tomato ‘matts’ practical placeholder red matts used on set which didn’t really hold up in camera with CG tomatoes, tomato pulp and tomato liquid, also to add additional flying tomatoes and tomato splats and additional texture to walls/buildings as needed. While there was other work in the Tomatina sequence, the tomatoes were the star, and they had to be convincing without distracting from the action, especially since this was the film’s opening scene.

What began as a seemingly simple brief grew into a complex undertaking as post progressed, from intricate simulations and crowd integration to the careful management of ongoing feedback. We had a schedule from around July to November, which ended up extending into January. At peak I think we were around 30 artists.

DP: The Tomatina sequence is a tomato lover’s nightmare and a VFX artist’s dream (or possibly the other way around). What were your first thoughts when you saw the plates?

David Sadler-Coppard: It became clear very quickly that La Tomatina needed a lot of help from VFX. Almost every shot had either a few red matts on the ground or nothing at all and thus required tomatoes. There was also lots of stunt, rig and wire work that needed to be brought together and integrated well. For me seeing some of the wide shots with hundreds of people running around on an empty plaza and being briefed to add tomatoes underneath them.. That was quite a challenge.

DP: What were the plates from the set like? Was it at least wet and glistening, or did they just throw around some red fabric?

David Sadler-Coppard: The production was very organised and Milk was provided with plenty of shoot information such as clean plates, HDRIS, Lidar and 3D assets if applicable and anything we needed really to get things going. 

Some shots featured placeholder tomato matts on the ground, though these often caused more problems than they solved, as they tended to “slide” and interfere with shadows or contact points with the crowd. Other shots had nothing at all, while certain close-ups included a scattering of real tomatoes. In the end, we often replaced even the practical ones, as it was ultimately easier and gave us more control over consistency and integration.

A lot of the stunts and setpieces were filmed or partially filmed practically like the explosions and Milk usually just ‘enhanced’ or extended and further integrated these set pieces together. Originally the crowd work was larger in scope and we had bid to do more 3d crowd extension work but in the end we only ended up using them in a few shots, it’s just how the edit came out. They were only meant to be used to fill out the background.

DP: So, roto must have been a nightmare?

David Sadler-Coppard: Roto and paint was certainly a challenge but managed brilliantly by Ben Thomas (HOD Roto/prep –find him on LinkedIn | IMDB ). As well as all the actors and props, we also had to roto all the shadows on the ground, which we couldn’t key properly in some cases (sometimes due to the matts), to ensure seamless CG integration.

DP: Since no tomatoes were harmed in the making of this scene, you had to create them digitally. What were the big technical hurdles in making thousands of CGI tomatoes fly, splat, and interact with actors and the environment?

David Sadler-Coppard: As we had a fixed region with the Plaza we opted to create a large environment pass scattering all the pre-made CG tomato chunks, liquid and pulp everywhere. This was masterminded by the very talented Charles- Henri Vidaud, our Head of Environments (Find hiim on IMDb | LinkedIn).

It took many rounds of feedback and notes to get the overall ‘layout’ approved, essentially the coverage and boundary of the whole tomato area. Luckily shoot continuity was quite good so once all the cameras were conformed the layout was more or less in place quite quickly, although some shots had additional custom tomatoes added.  For the final section where Priyanka slides through the tomatoes on her back, we created a custom hero section with extra detail to hold up close to camera.

We also created additional texture passes across the plaza, tyre tracks, footprints, extra stains, and even a depth pass isolating the plaza’s pebble mortar, to capture the effect of tomato juice seeping into every crack and crevice. These IDs were rendered alongside the other CG passes, giving comp a safety net in case the CG alone didn’t fully achieve the desired look.

With regard to the simulations it was quite time consuming. Obviously we could not matchmove every single foot in every shot so we had to pick the ‘best’ ones that we felt would help sell interactions the best. The tomato layout area was then isolated around those feet and passed to FX where just that patch was simulated and then pass back and merged with the lighting scene. 

For hero simulations like people sliding around in the tomatoes we did full body tracking not just for the sim but also for shadow casting back onto the tomatoes. Getting that interaction working  really helped sell the CG for me and our HOD Andres Tollar oversaw all that team and their work.

The flying tomatoes consisted of simulated chunks and liquid that was randomly emitting across the whole plaza and could be enabled or disabled depending on the notes as the directive was usually to just add into the background of shot for extra chaos as needed. The shot specifically where Priyanka slides and comes to a stop in the tomato goo took about 40 versions to get just the right consistency and behaviour approved.

DP: And why were no real tomatoes used in that scene? They could have collected the pulp and put it in barrels labelled “Artisanal Ketchup”—the hipsters would buy that…

David Sadler-Coppard: As with these large vfx tasks we started simple and just grew it organically.  We thought we might be able to tackle the ground tomatoes with a procedural setup which looked good but was not very directable. We ended up creating several tomato chunks of different sizes and scattering them with some logic to that as well as a general ‘pulpy’ layer which was essentially large patches of displaced geo, randomly scattered around to fill out the square.

The advantage of this is we had lots of flexibility to move things around and generate IDs for comp, but it was very heavy to work with. We also used the lidar to hold out sections of the tomatoes to help them feel more embedded into the ground.

From there it was really nailing down the shading of everything. We did lots of work on the ‘wetness’  and spent a long time really pushing the liquid feel as much as we could not just in the lighting but well into the compositing as well. Specifically in comp, our Lead Emily Vaillincourt (find her on IMDb | LinkedIn) built a whole fake reflection system using the data passes and roto to help create the wet feeling as it was a common note and a tricky one to address.

The client was also keen on having tomatoes smushed into the cracks and gathering in corners and this is where the texture passes in comp really helped as the CG didn’t always fit exactly.

We did pick several ‘key’ shots across all the different angles and lighting conditions and worked these up first to try and find the look the director was happy with. We did have some issues getting a consistent look across all the shots, as not only did the lighting change quite significantly, we would receive quite specific notes on singular shots, and had to constantly extrapolate them across the sequence.

Creatively we found that if we had enough variation and breakup across the shots especially the wide shots within the lighting then the shots usually looked successful. We did research on the actual Tomatina Festival and the whole plaza quickly turns into a very uniform pulp which, if we had recreated perfectly, probably wouldn’t have looked as interesting compared to what we ended up with. So I suppose there was a small element of stylisation to our tomatina. 

DP: There are a lot of people in that square. How did you handle the crowds? 

David Sadler-Coppard: Honestly, the CG crowd component was significantly reduced in the final film so there isn’t a huge amount to talk about. Production did manage to shoot with a very large amount of SA’s and several larger shots used tiled plates or element plates to help fill out the square. O

ur biggest crowd shot was the drone shot showing the entire square and festival from the air and that used a crowd system within houdini using animated caches, some made in house and some using stock animations, with some logic on the layout and animations themselves. We had to match the overall density and look for the crowd with surrounding real plates so that was a little tough. 

DP: Any unexpected “aha!” moments?

David Sadler-Coppard: We had several concepts for key shots in the film that were approved on the first or second pass, which was a pleasant surprise — normally there’s a lot more back-and-forth. I suppose we got a bit lucky!

One memorable moment came when we delivered a nearly final version of a huge, complex building destruction shot, fire, smoke, the works. That’s when the VFX Supervisor told us it needed to be in HFR, meaning we had to re-simulate all the fire and smoke. The team had to find a way to preserve the overall fire composition while adjusting the frame rate, and they pulled it off brilliantly.

It wasn’t exactly an “aha” moment, but getting our first big tomato shots approved was a real relief. That was when we knew our quality level was locked in, and the finish line was in sight.

We faced plenty of technical challenges internally, though most were to do with pipeline and rendering,  not the most glamorous side of VFX. Working with heavy deep passes and at native 4K anamorphic meant we had to be extremely optimised and rely on well-structured templates in comp to keep things running smoothly.

DP: About that scene in the safe house: How many iterations on the exploding door/Claymore?

David Sadler-Coppard: We were given an offline temp for the beat of the exploded safehouse door. The concept made sense in principle, but it got me thinking about how to make it work in reality. We explored a range of angles and animation tests with our animation team and client editorial, fine-tuning timings and composition until we had approval.

It wasn’t immediately clear whether the corridor needed to be built in CG, but it became obvious once we considered the specific lenses and angles the client wanted — it just wasn’t feasible to shoot practically. The exact moment when the claymore is triggered took some back-and-forth. In the end, we decided to create a proximity sensor in our CG claymore, complete with a blinking light, to guide the audience through the action.

The final version ended up quite different from v1. Initially, we worked over the supplied plates, which featured simpler camera moves. The door animation itself remained largely the same, but the cameras evolved into something far more dynamic.

DP: And, after running that through sim: Would that actually work? Or is it complete Hollywood Physics?

David Sadler-Coppard: It was a combination of research and references. The client had mentioned the Matrix elevator fire shot which was a good reference and we started with that. Essentially the explosions were all smoke simulations with a fire shader applied to them which gave us these nice undulating rolling fire shapes. We didn’t have any practical fire in camera in any shots so we were free to design it as needed.

During the initial explosion simulations, it quickly became clear they needed a fair amount of direction in terms of scale and timing to keep the action readable. The client was also keen to make them all feel very “dirty”, full of texture and detail,  even though, in reality, the blast would probably just blow out the sensor completely.

And as for the flying door… I’m almost certain it would never bounce back and forth so cleanly, but that’s Hollywood for you. We did experiment with it ricocheting around the corridor or shattering into dented fragments with a lot more impact, but it never quite looked right, and the director wasn’t a fan of those versions anyway.

DP: The shot with the two characters in the VERY small lift: Was that the easiest shot ever? Or am I missing something?

David Sadler-Coppard: This was one of the first shots we started on, and, as often happens, it became one of the last to final. The client had a clear vision for a dynamic raking light-and-shadow effect playing across the wall behind the characters, so we built the entire environment in CG to give full control. We carefully layered in details,  mortar, texture, even cobwebs, to give the space a gritty, lived-in feel.

Later, we explored adding subtle camera shake and sway to enhance the sense of atmosphere and movement. After refining it together through multiple iterations, we reached a version everyone loved, approved towards the end of the show.

DP: And, of all the 239 shots – what is your personal favourite shot?

David Sadler-Coppard: I’m incredibly proud of all the Tomatina work, and of the entire team who brought it to life. It was an emotional journey with plenty of late nights, but seeing it come together was worth every moment. Let’s just say I’ll never look at a bottle of Heinz quite the same way again.

DP: And finally, what’s next for you and the Milk team? Are you staying out of food fights for a while?

David Sadler-Coppard: Milk has several exciting projects coming up and I am nearly wrapped on The Witcher Season 4 myself. It’s an exciting, if slightly nerve-wracking time in the industry right now, but working with a talented, passionate, artistic team on such a tough but rewarding job reminds you why you love VFX in the first place. 

The post Tomato Warfare: Milk VFX on Heads of State first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

UModeler Inc. has released UModeler X Personal, a subscription license for its all-in-one 3D creation plugin embedded in Unity. The tool is aimed at indie developers, 3D artists and metaverse creators working on platforms such as VRChat or ZEPETO. UModeler X Personal enables users to perform modeling, rigging, painting, curve mesh creation and 3D text generation directly within Unity’s Editor, eliminating the need to switch between external DCC tools.

Pricing and Launch Details

UModeler X Personal launched officially on 5 August 2025. The subscription costs USD 9 per month. A 45-day free trial is available, with no credit card required. Pricing information is available on the official site.

Permanent Fallback License (PFL)

Every subscription includes a Permanent Fallback License (PFL). This means that after maintaining a subscription, users retain permanent access to the version available at the point of subscription expiry. According to UModeler, this ensures continuity of use even if a subscription is not renewed.

Features Inside Unity

UModeler X Personal integrates a full set of 3D asset creation features into the Unity Editor. The scope is designed for in-engine prototyping, rapid iteration, and lightweight production workflows:

• Modeling: Users can create and edit polygonal geometry directly in Unity. The toolset covers primitive creation, extrusion, beveling, subdivision, boolean operations and curve-driven mesh generation. Compared to external tools such as Blender or Maya, the modeling functions are simplified but sufficient for level blockouts, modular asset construction and fast iteration.
• Rigging: UModeler X provides a basic bone system for assigning skeletal structures to meshes. This allows quick preparation of assets for animation inside Unity. It is not positioned as a replacement for full rigging pipelines in Maya or 3ds Max, but is useful for lightweight character rigs, VR avatars, or interactive props.
• Painting: Users can apply vertex colours and texture painting directly on meshes inside the Editor. This eliminates the need to export to Substance Painter or Photoshop for quick colour passes. However, the painting functions are not as advanced as external texture authoring suites.
• Curve Mesh: The curve mesh tool allows procedural geometry generation from splines, suitable for roads, cables, pipes or decorative trim. It is comparable to simple curve-based workflows in Blender or Houdini, but remains focused on rapid environment asset generation in Unity.
• 3D Text: Text primitives can be created, extruded and adjusted in Unity. This is intended for titles, signage and UI elements inside immersive environments. It does not replace external typography or design tools but streamlines simple 3D text creation in-engine.

These functions remove the need for repeated export/import cycles between Unity and third-party software, though they remain focused on simplified, production-adjacent workflows rather than full-scale DCC replacement. Not independently verified at press time.

Limitations for Professional Pipelines

While UModeler X Personal reduces friction for Unity-based prototyping, it is not a substitute for specialised DCC packages in a professional pipeline:

• Modeling: No support for advanced sculpting, retopology, or high-resolution mesh workflows. Blender, Maya or ZBrush remain necessary for complex asset creation.
• Rigging: No advanced rig logic, skin weighting refinement, or control rig systems. For animation-heavy projects, external rigging remains essential.
• Painting: Texture workflows lack PBR material layering, smart masks, or procedural texturing. Substance Painter, Mari, or Photoshop continue to be required for production texturing.
• Curve Mesh: Limited compared to procedural generation in Houdini. It is suitable for fast environment dressing but not complex parametric design.
• 3D Text: Restricted to simple forms; no kerning, ligature handling, or type design tools. Graphic design software remains the standard for production typography.

These limitations mean that UModeler X Personal is best used for iteration, prototyping, and Unity-native workflows, rather than as a full replacement for DCC software in VFX or large-scale game development.

Upgrade Offers for Existing Users

UModeler confirmed special upgrade options:

• UModeler X Plus owners receive one year of UModeler X Personal for free, plus a PFL.
• Original UModeler owners get 30% off their first subscription year. If they maintain the subscription for one year, they also receive a PFL at no extra cost.

Final Notes

For production environments, artists should test UModeler X Personal within their pipeline before committing. While the tool promises a simplified Unity workflow, stability and compatibility with existing assets must be confirmed in practice.

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Sources

UModeler X – Pricing Page
UModeler Blog – Personal License 2025
UModeler Documentation – UModeler X FAQ

The post UModeler X Personal Arrives Inside Unity Editor first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Adobe brings a fresh wave of innovation to Photoshop – powered by AI for faster, more precise, and more intuitive workflows.

The highlights

Harmonize (Only in the Beta Version): Automatically adjusts colors, lighting, and shadows to new objects – creating seamless composites without manual tweaking.

Enhanced Remove Tool: Removes unwanted objects more realistically thanks to the new Firefly model – fewer artifacts and share-ready results. This is already in the release version and does not use credits.

Generative Upscale (Only in the Beta Version): Upscale images to 8 MP with sharp, detailed results – perfect for print, social media, or giving old files new life.

Gen AI Model Picker: Switch between Firefly models directly in Photoshop to better match your personal style and creative vision. In some cases the old firefly version brings more suitable results.

Projects (Only in the Beta Version): Keep all project files in one place and share with your team easily – goodbye version chaos.

Let’s try!

With these updates, Photoshop is more flexible than ever, helping creatives focus on what truly matters: their ideas. We have tested the new features. Here are some real-world use case.

For me, the most interesting feature is Harmonize. It can save a ton of time adjusting the light circumstances.
It works fine with objects, but with real people it sometimes looks a bit artificial. That is because there is a complete relighting happening, which also includes shadows on the floor. And as the faces are kind of rebuilt it sometimes looks a bit softer like an AI generated picture. But as it is a generated overlay, it often helps to reduce the transparency a bit or erase some parts in the layer mask. For objects like furniture or shiny robots or spaceships it works really fine.

To test the Harmonize feature, I took an exported picture from a DJI Osmo Pocket 3 4k Video, that I filmed at night in my hood in Mannheim. Then I randomly populated it with very different footage that I did cutout with remove background in Adobe Photoshop. These cutouts consist of exported videoframes (me), stock footage from Envato Elements (umbrella / women with can / women in armchair / fire) photos from my Samsung Note 25 Ultra (cart with hat) and Adobe Firefly generated Footage (red race car). The proportions are not perfect, but you get the idea how it affects lightning and shadows. But it is like always. Those tools do the job, but if you want Hollywood, you have to book a real talented editor, that spends plenty of time to make it really believable. Another thing worth mentioning, is that the maximum resolution for the generated content is 1024 x 1024 pixels. And it alway generates the whole picture with a layer mask. That is one of the reasons, why the generated content might look blurry. A workaround can be using the crop tool to only generate the desired area. How this works and some other tricks will be shown in a future workshop.

The new Enhanced Remove Tool improves the workflow for removing unwanted objects. It is a function that also worked before with the generative fill, leaving the prompt field blank. But that often generated unwanted objects. The new tool focuses more on generating what might have been behind the removed object and is already integrated in the release version of Adobe Photoshop.

The Generative Upscale uses AI to enhance the upscaled pictures. It is comparable to the well known and expensive Topaz Photo AI. The results are pretty good, but there’s is no way to change parameters. You just have the choice of upscaling 2, 3 or 4 times and the resolution is limited to 4096 pixels. But it is great having this tool without spending extra money.

With the Gen AI Model Picker you can switch between the different Adobe Firefly models, what brings more possibilities to generate the desired results.

With Projects Adobe integrated a new way of collaborating – and finally in the Photoshop desktop beta! Adobe introduces Projects, a workspace for organizing creative assets in one place. Projects consolidates files previously scattered across drives, streamlines collaboration, and removes the need to send individual assets manually. Teams can now share entire collections, minimizing version confusion and enabling smoother creative workflows by centralizing assets and collaboration.

Share for review: browser‑based feedback link

Photoshop now offers a Share > Share for review option that creates a web link to your document, whether local or cloud. Reviewers can view the file in a browser and leave general or pinned comments. Comments appear in real time inside Photoshop’s Comments panel, accessed via Window > Comments. Reviewers may reply to feedback and the owner can refresh the link to push the latest version. Access control options include “Anyone with link can comment” or “Invited only can comment.” Pins are anchored to canvas areas. The Share panel also supports Invite to edit (for collaborative editing) and Quick export as PNG.

Send to apps: export control from Share panel

A new Send to apps workflow allows users to export images via native apps like Mail, Notes, Slack, or Adobe Lightroom. A gear icon in the Send to Apps panel enables format selection (JPG, PNG, or PSD) and resolution setting (Original or Small). Slack integration requires selecting the workspace on first use to avoid errors. These exports occur directly from the Share panel alongside other options.

See the documentation HERE and more information in this BLOGPOST

The post Photoshop 2025.7 adds smarter Remove, Firefly‑model control, and refined sharing first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

Anyone working with Gaussian Splatting in Houdini can thank David Rhodes and Ruben Diaz for the kind of open-source toolkit that doesn’t just patch holes, but gives artists an entire toolbox. Now under the CG Nomads banner, GSOPs 2.6 lands as a free, AGPL‑licensed Houdini Digital Asset package—ready to import, edit, relight, mesh, animate, and export both 2D and 3D Gaussian Splats, all from inside Houdini 20.5.

Built for Houdini Artists, Not Marketers

Installation isn’t a mystery hunt: clone the develop branch, open the bundled installer HIP file, and (optionally) grab sample data with a checkbox. The full suite is compatible with Houdini 20.5 on Windows and macOS; Linux gets no official love, at least for now. Documentation and a detailed wiki are live on GitHub, and yes, it really is free—unless you want Early Access, which adds some exclusive toys for $10/month.

Not Just 3D—2D Splats Arrive, Too

While GSOPs has supported 3DGS (.3DGS) files for a while, v2.6 brings in support for 2DGS (.2DGS) files as well. Artists can load, render, and edit both 2D and 3D Gaussian Splat models right in Houdini’s viewport, with real-time GPU rendering and full attribute support. No more conversions or third-party hops just to view your splats.

Viewport Renderer and a Node Roster for Everything

The GSOPs SOP suite is far from a one-trick import node. Here’s what you actually get:

• Importers for .ply, .2DGS, .3DGS models, converting them to native Houdini point clouds, including spherical harmonics (SH) for view-dependent rendering.
• Viewport Source SOP: Real-time GPU-based splat rendering.
• Alignment and Transformation: Tools like gaussian_splats_align_by_points and gaussian_splats_transform allow full reposition, rotation, and per-point scale, with SH support baked in.
• Clean-Up Nodes: Use gaussian_splats_dbscan to remove noise or isolate regions with gaussian_splats_crop.
• Attribute & Color Control: Adjust SH coefficients, tweak attributes, or drop a Hald CLUT for color corrections.
• Deformation & Animation: gaussian_splats_deform enables mesh-driven deformation, and a set of “toys” includes advect, font, and jellify (Vellum soft-body splats).
• Mesh Generation: Convert splats to coarse meshes using nodes like vdb_from_gaussian_splats, or build sparse polygon graphs for further edits and downstream workflows.
• Synthetic Data Output: The gaussian_splats_generate_training_data SOP renders out training datasets (PNGs, COLMAP cameras) and is compatible with Karma and third-party renderers.
• Relighting and IBL: Relight splats with image-based lighting (gaussian_splats_relight_ibl), exploiting SH for dynamic effects.
• Exporters: Dump splatted models back to disk with full point and SH data for round-trip pipelines or external use.

Early Access: Karma & Solaris—Now with USD Integration

Those who support CG Nomads on Patreon get a little extra: USD integration and Solaris-native LOP nodes, including the “Gaussian Splats Import LOP.” This node injects splats into the Solaris USD pipeline, baking SH into Houdini’s v@Cd color attribute. Result? Real splat relighting, shadows, and reflections in the Karma renderer—and direct compatibility with USD-based lookdev and lighting workflows. Early Access also unlocks premium demo scenes.

Motion, Synthetic Data, and Feature Analysis

GSOPs isn’t just about static scans. It supports playback and editing of motion sequences—one splat file per frame—for workflows in Unity, Postshot, or SuperSplat. The toolkit also generates synthetic data for AI training or procedural content, and includes nodes for statistical analysis and data cleanup, giving artists deeper insight into their splat clouds.

Community, Support, and Licensing

GSOPs is AGPL-licensed—so it’s open for most studios and indie teams, with custom licensing for larger commercial studios if required. Community feedback and bug tracking are handled via GitHub, with further community showcases on LinkedIn and video reels linked in the repository. GSOPs recently placed third in the SideFX Houdini H20 Tech Art Challenge, earning a nod from the developer crowd.

What’s Missing? Official Linux Support and Caution

No official Linux support yet—Windows and macOS only. Documentation is extensive, but as with any new rendering pipeline, test every feature in your own environment before deploying in production. Real-time viewport speed depends on GPU horsepower and splat count; massive scenes may challenge Houdini’s interactive preview.

Closing Note for Cautious Professionals

GSOPs 2.6 is the most comprehensive Gaussian Splatting toolkit yet for Houdini, opening the full edit–relight–mesh pipeline for both static and animated point-based volumetric models. Karma and Solaris USD integration makes it genuinely production-minded, not just a tech demo. But, as always: test before you trust, especially if your deadline depends on it.

Cited Sources

// GSOPs official docs, feature list, node breakdown, licensing, installation // GSOPs – cgnomads/GSOPs GitHub
// GSOPs node documentation // GSOPs Wiki – github-wiki-see
// Karma/Solaris features, demo scenes // LinkedIn post by Ruben Diaz

The post GSOPs 2.6: The Swiss Army Knife for Gaussian Splatting in Houdini first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Forget digital transformation buzzwords—this is the real thing. The entire Digital Production archive PDF download is now online and available to subscribers. No hoops, no proprietary apps, no DRM. Simply download the PDF or read it in your browser. Every available issue comes as a separate Dropbox link in the archive. Whether you’re after a dose of nostalgia or searching for a technical article lost to time, all you need is an active subscription and a working internet connection.

No DRM. No App. No Nonsense.

There’s no copy protection, no custom reader, no forced sign-ups beyond your subscription. Just PDFs—freely accessible for all subscribers. Anyone hoping for lengthy FAQs about DRM workflows will be disappointed. Here, access is as straightforward as it gets.

Technically Simple, Artist-Friendly

The archive is intentionally simple: each issue is a Dropbox link. One click, and your PDF is ready to download or view directly in your browser. No cumbersome portals, no app compatibility drama—just instant access. Download for offline use, or read on the fly.

Who Gets In?

The archive is strictly for subscribers. If you don’t have a subscription yet, you can sign up and get instant access to the entire PDF archive, from the very first to the latest available issue. Already a subscriber? Log in, visit the archive, grab your PDFs. Done.

That’s It

The archive is online, it works, and it’s included in your regular subscription. Happy browsing, researching, or binge-reading.

The post No DRM, No Fuss: Digital Production Archive Now Online first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

When your shot breakdowns live in spreadsheets and your supervisors spend more time data wrangling than supervising, something’s broken. Jindrich Cervenka, lead developer at PFX, decided to fix it. The result? The Crossbow VFX pipeline tool: a project management and review tool aimed at automating the grind, integrating with platforms like Ftrack, and keeping productions in context, whether you’re running dailies or fighting through last-minute chaos. We asked Jindrich what Crossbow actually shoots, how it’s built, and whether it really makes life better for VFX and animation teams.

DP: What’s the story behind Crossbow and what exactly does it shoot?

Jindrich Cervenka: What exactly does it shoot? That’s the question. Let’s just say there are quite a few arrows, but what matters most is that they hit the target. The initial idea came from bidding and project planning before anything goes into production. Back then, supervisors would collect or enter shot information into spreadsheets and look up shots in the editing timeline. It was a manual, tedious process where they spent more time hunting data than actually supervising. When the edit changed, comparing everything manually became a nightmare. So the first goal was to make that process simpler, more pleasant. That first “arrow” was the project breakdown.

The second idea was about eliminating duplicated tasks across different departments and making their handoff smoother. For example, you do a shot breakdown based on an edit, probably splitting it into the shots you’ll be working on. You place markers to clarify things with the director or producers. At the same time, you start preparing an online workspace where you’ll view the shots in context and update them continuously. That means you’re effectively cutting the film twice. Online has to be frame-accurate, while the breakdown can afford a frame or two of imprecision. Different types of work, different precision and so, why even pass shots around?

Meanwhile, someone prepares artist tasks based on the breakdown by importing it into a project management system (in our case, Ftrack) or worse, recreates it manually. In online, you’re constantly checking whether the shots are trimmed properly, whether the versions are correct. Then during dailies, you’re jumping around trying to find who made which comment. It can be quite frustrating, time-consuming and error-prone with many people involved and several departments.

So Crossbow shoots arrows into systems like online, Ftrack and others and it can also receive data back from them. The goal was never to replace existing platforms, but to simplify communication, speed up workflows, improve precision, and make handoffs easier. Within the app, you’re constantly building the project and shooting arrows where needed. No need to worry about workflows or multiple logins. Fewer meetings, more clarity. You just simply shoot arrows.

DP: What kind of productions are you building this tool for?

Jindrich Cervenka: It can be used for any audiovisual work, animated projects, films, music videos, etc. It keeps you in context and helps you quickly orient yourself. The benefits really shine on bigger projects, say, 100+ shots with varying complexity.

Our primary users are supervisors, team leads and coordinators. But when I think about it, it would also make life easier for independent freelancers. The app is designed primarily for internal use, but we are discussing a version that could be released publicly.

DP: Four years of development – that’s either a well-funded software odyssey or a very committed side hustle. What’s the tech stack under the hood?

Jindrich Cervenka: Let’s say someone wanted to make their life easier. The app runs standalone on any machine with an SSD and a mid-range GPU. Everything created in the app is stored within the project and can be fired off as an arrow to third-party systems. It doesn’t rely on any other software to work.

Surprisingly, the core isn’t Python, it’s built with Electron and NodeJS. For I/O, it uses custom C++ plugins wrapping existing libraries like OpenImageIO and FFmpeg. Thanks to Electron, it’s highly modular and the UI is very responsive with virtually unlimited flexibility. It runs smoothly. Whether a new feature gets added depends on how well it fits into the ecosystem we work in. But users can also write their own custom scripts if they’re up for it.

DP: How do you actually enter a bid into Crossbow?

Jindrich Cervenka: First, I want to separate two concepts: Ballpark and Bidding. For us, these are two different terms. A ballpark estimate is based on the script and happens far in advance. Actual bidding only begins once we receive video material. Until then, everything is just an approximation and that doesn’t go into Crossbow.

The starting point is having a rough cut. Ideally, we receive EDL, XML, or OTIO files from the client – those can be imported directly. Then you start marking shots, creating assets, adding tags, writing or drawing notes, and uploading references.

There are tools for cut detection, and even AI to detect shot names if they’re burned into the video. That AI can be used during edit updates to help match finished bids with new video inputs even when clip names don’t match. You can tag shots or link them to assets and bid based on their context. Then you can do local adjustments. You can bid either in absolute mandays or per second. You can also create shot playlists and batch-edit them dynamically.

DP: What factors are considered when calculating the bid?

Jindrich Cervenka: The app doesn’t know how packed our studio schedule is. It just produces a breakdown. That breakdown gets reviewed by the Head of Studio. Booking is handled by other tools. And those people don’t need visuals, just an Excel sheet with numbers.

DP: Does Crossbow understand the production context of a show?

Jindrich Cervenka: You can change statuses and attributes of every task in the app. It can also connect to multiple systems at once. So if we’re working with two vendors, and we’ve agreed to share access to their ShotGrid or Ftrack, the integration can happen simultaneously. We can see their tasks and attributes in context with ours including comments.

For example, on a recent animated film, we had linked Ftrack instances: each studio worked on a different part of the film or exchanged animation that we rendered. Thanks to this, we could watch the entire film in the latest version from both companies without ever exchanging actual files. This was especially important for animators to stay in sync in terms of continuity and style. And it’s all on-demand. You just click “Update,” and it happens.

DP: How flexible is the final number?

Jindrich Cervenka: Great question! But no, the app doesn’t care about the client, only the project. It gives you the output and statistics. What you do with that is up to you.

DP: Will others ever get to try Crossbow?

Jindrich Cervenka: That’s currently under internal discussion. I can’t share any details yet.

DP: Walk us through a typical day in Crossbow – who logs in first and who gets to ignore it the longest?

Jindrich Cervenka: Usually, the first ones to log in are lead artists and supervisors. Crossbow often stays open all day, sometimes for several days, unless an app update forces a restart. Each user sets up their own filter, just like in Ftrack, and focuses only on what matters to them: assigned artists, specific tasks, statuses, deadlines, etc.

During active production, Crossbow primarily serves as a review tool. Supervisors can browse shots directly in the timeline, without switching between tools. For example, they can open 10 shots in a grid, play them back simultaneously, and comment either individually or in bulk. We often use it during client calls, set up a board of shots, add notes, and quickly navigate between different parts of the film.

You can time comments directly in the video and export them as clear reference frames or previews, which the client can receive almost immediately. Everything is designed for smooth, real-time information flow.

For artists, Crossbow is mainly a feedback source, they see all notes under their assigned tasks directly in Ftrack. The same goes for production: any comments or changes created in Crossbow are automatically synced to Ftrack. So the production team doesn’t even need to open Crossbow unless they want to.

But if they do, they’ll find tools that go far beyond task lists, project status reports, visualizations, aggregated stats, planning tools. Crossbow combines data, visuals and production context in one environment. It’s less about day-to-day operations and more about making production decisions and having live discussions with full visual context.

Just three years ago, before Crossbow was ready, we often spent hours on calls with directors just to clarify intentions across the film. Today, that process is much quicker and clearer because we can jump straight into scenes and shots, without long prep. Everything can be published to Ftrack right away.

It’s an incredibly flexible tool that significantly speeds up communication, decision-making, and project orientation.

DP: Real-time two-way bridge with Ftrack – so does that mean no more copy-pasting of shot status into emails?

Jindrich Cervenka: Exactly. Crossbow has real-time, two-way integration with Ftrack. Any change in shot status, version or task update is synced instantly, no manual copy-pasting needed.

The only exception is notes: you can have private notes inside the app, while choosing when and what to publish to artists. This way, you can refine or expand them before pushing them live. Those are published manually when the user decides.

Aside from that, everything related to tasks is synchronized – comments, statuses, asset versions, preview media, and metadata. Crossbow intentionally doesn’t handle higher-level production features, like multi-project overviews, that’s Ftrack’s job. Crossbow is focused on detailed work inside a single project.

Within a project, users can open any version of any shot or asset. In the timeline, they choose what they want displayed, the default is the latest version with an attached EXR or video preview, but all earlier versions are accessible. So work history and feedback are always easy to track.

At PFX, we version every publish, even ones not meant for review, like standalone animation caches. What gets used for previews or client deliveries is then defined by the pipeline. Crossbow isn’t a pipeline tool, it’s a visual and organizational layer on top of what the pipeline prepares.

DP: You mentioned that during dailies, people keep sending in shots until the very last minute, sometimes mid-session. That sounds… chaotic. Crossbow handles this without caching?

Jindrich Cervenka: Production can definitely get chaotic especially near deadlines. But if you know how to handle it, that chaos becomes controlled momentum.

We used to work in Resolve or Hiero, where shots had to be prepped in advance, pulled into the timeline, aligned, transformed, cached, version-checked. For larger dailies with 40–60 shots, that could mean 2–3 hours of prep the night before or even right before the session. And even then, we often screened the wrong version, or missed shots due to time pressure. I’d frequently leave dailies frustrated by what we’d just watched.

Crossbow completely automates that process. You can update the full timeline or just a selection with a single click, and the app will automatically insert the latest outputs from the relevant tasks. For example, if you’re only interested in animation, slap comps or comps, you set your filter and run the “insert latest versions” command. Crossbow finds the latest publishes for those categories and adds them to playback. In the background, it analyzes and optimizes the data. The whole process takes just a few seconds.

Technically, there’s no magic involved. Crossbow is built on reliable open-source components and merges them into a robust, responsive UI. The app’s philosophy is simple: speed and continuity without timeline limits. EXR playback is available, but we typically use high-quality H.264 previews, usually 4K at 40 Mbps. From experience, that’s good enough for 90% of production needs. The remaining 10% where pixel-perfect quality matters is handled by the QC team with differential keying.

So creative reviews run smoothly and without delay. And when quality matters, you can switch to EXR, zoom into pixel level, and adjust exposure, gamma, and more. Thanks to this, dailies are no longer “events” that require huge prep, they’ve become more dynamic and constructive.

DP: And what happens when you’re off the network – say on a train, in a client meeting or, worst case, in a hotel lobby with 1.5 Byte/s upload?

Jindrich Cervenka: Yes, Crossbow can work offline. When you’re on a decent connection, you simply run a timeline update, and the media is cached locally. You can then play it back without needing to connect to the studio infrastructure. That said, when you’re offline, you don’t have access to all versions of every task, only the ones that are already part of the timeline. And if you’re downloading previews from Ftrack, the image quality will naturally be lower. But you can still work with the full edit, make comments, and once you’re back online, you just publish your notes. It’s designed to let you stay productive even when disconnected.

DP: Let’s talk about crunch: Locked was running on tight deadlines, and yet you managed to coordinate with new departments and even a new director. Does Crossbow really help with that, or does it just make the panic more visible?

Jindrich Cervenka: Prioritization is a living process in every project, we reevaluate it every day based on the current situation and schedule. Personally, I don’t know the detailed status of what every single person is working on, that’s the coordinators’ job. And when production is running in parallel across multiple offices, the overall picture gets even more complicated.

Crossbow helps a lot in this regard, it immediately shows whether the artists on a sequence are creatively aligned, and lets you make a quick call to clarify what’s working and what isn’t. It speeds up brainstorming and decision-making, which is absolutely critical during high-pressure phases.

Example: imagine you’ve got 15 days left until the hard deadline, and 110 shots are still at 0%. You need to involve 10 compositors from two locations at once, and they’re working on similar shots within the same sequence. In that scenario, you either have a system that helps you prioritize quickly, catch issues and dependencies, or you spend the final 8 days in extreme stress, hoping things will work out, while still reviewing 80 shots and only then starting to finalize them. In that case, Crossbow wasn’t a panic amplifier, it was a stabilizer.

DP: After years of iteration do you still open Crossbow and go: “Why is that button there?”

Jindrich Cervenka: Absolutely. Even after four years, there are still a few buttons like that. And sometimes sneaky UI bugs show up, especially on displays with less than 2.5K resolution. I never really focused on visual styling or design. What mattered more to me was navigation and accessibility. The goal was for everything important to be no more than three clicks away. I was inspired by the simplicity of old-school Flame, no unnecessary layers, no visual clutter. I stuck to minimalism: tools shouldn’t get in the way, but they should always be within reach.

The hardest part? Teaching people how to use it. Although the app seems simple, it offers a lot of depth.

DP: Every project pushes the app forward. So what did “Locked” change about Crossbow and what’s coming in Crossbow 2.0?

Jindrich Cervenka: Locked showed us the need for a proper shot board, a space where notes can be pinned visually. The more diverse a project gets, the more you outgrow timelines, groups, lists, and tags. You want to lay things out in a visually meaningful way.

That project also led us to add retime functionality. I’m resisting turning this into a full-blown editing tool, but it’s slowly leaning that way. And of course, more AI-based functions are creeping in. So yes, we’re starting to see the outline of version 2.0 take shape.

DP: And finally: What’s the feature in Crossbow you personally use the most, the one you’d refuse to work without?

Jindrich Cervenka: It’s mostly about the speed you work with in the app. No lagging, absolute minimum waiting.

More from PFX

Crossbow Confidential: PFX’s Digital Dashboard Keeps ‘Locked’ Rolling

The Hungarian Dressmaker – by PFX

Zatopek | VFX Breakdown

The post Crossbow: Workflow Automation for VFX & Animation first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

LotPixel has released over 1,500 scan‑based PBR texture sets in JPEG format, with resolutions up to 8 K, and cleared for commercial use. Each set includes diffuse/albedo, metallic, roughness, specular, glossiness, ambient occlusion, normal, and displacement maps. Registration is required to access downloads.

This free offering represents roughly a quarter of LotPixel’s full commercial library, which offers decals and 3D-scanned models behind a credit-based system. Paid plans start at US $14/month with 45 credits, and additional credit packs are available from US $22 for another 45 credits.

What Sets LotPixel Apart

The LotPixel textures offer scan-level realism with full PBR support at resolutions up to 8 K. The range includes common architectural and material types—stone, wood, concrete, brick, metal, fabric, plaster, plastics, flooring, walls, asphalt, and more. Delivery in JPEG format ensures broad compatibility with DCC applications and engines like Unreal or Unity.

Check out the free collection HERE

While we are at it: Check out LotPixel’s Blog!

A Reminder for Professionals

High-resolution textures demand significant GPU memory and proper map setups. As best practice, test new assets in a sandbox pipeline before deploying them in production, verifying tiling, UV layouts, gamma settings, and memory consumption.

Other Free Texture Packs Featured on Digital Production

Earlier this year, Digital Production covered Marmoset’s Toolbag 5 Material Library Drop 06, a free collection of PBR materials—including metals, fabrics, and stones—built for real-time rendering in Toolbag 5

Marmoset’s Material Library Drop: Free Textures for Toolbag 5

The post Over 1,500 Free PBR Textures from LotPixel’s Library first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

ICE.ART kicks off a new sub-brand: ICE Nexus. Its first edition goes live June 25, 2025, from 6:00 to 8:00 pm CEST. The two-hour online event is free to attend and focuses on real-time 3D pixel streaming, co-hosted by Arcware.

Register for free here!

The Stream Scene: Agenda Highlights

After a short intro by ICE’s Matthias Buehler, Arcware’s Manolis Emmanouilidis and Derk Steemers explain how their solutions enable Unreal Engine pixel streaming for developers and 3D artists. Topics include sharing immersive 3D experiences and making real-time content accessible.

Presentations follow on a range of use cases. AVAR’s Madis Kirsman opens with a talk on virtual 3D showrooms. AccessPoint AI’s Rudi Witt and Steffen Schreiber dive into LLM-driven digital humans. 3DW’s Fabrice Bourrelly covers “The Realtime Revolution”, and BizzLogic’s Fatih Inan explores visualizing virtual and real worlds.

A live Q&A and panel discussion close the session, focused on how pixel streaming supports current production and what’s expected next.Topics range from technical workflows and production design to broader career-oriented themes: industry entry, budgeting, contracts, and job security. Tracks are thematic, not deeply technical—yet. The idea is to inspire professionals beyond their silos and to give juniors valuable career insight. The long-term goal: elevate art, artists, and collaboration at the intersection of disciplines.

Good to Know

This ICE Nexus event is part of the larger ICE.ART conference family. While the next full ICE.ART conference is set for October 1st/2nd, 2025, Nexus sessions are more focused one-offs. All industries tied to 3D environments are welcome, including entertainment, GIS, AEC/BIM, and training simulations.

Registration & Contact

To join, register directly at ice.art. Questions? Contact conference@ice.art or info@arcware.com.

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Testing reminder: All workflows and technologies presented at ICE Nexus should be tested in controlled environments before use in production.

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ICE Nexus agenda and event details: ICE.ART Homepage

The post ICE Nexus: Now Streaming, Pixel by Pixel first appeared on DIGITAL PRODUCTION and was written by Ice.Art.

Digital Production, in cooperation with Evans Research Associates, launches a market analysis on the changing needs of german video software users. The study targets professionals who use video tools regularly—yes, that means you, editors, cutters, A/V-pros, colorists, compositors, and DiTs in Germany. Evans Research, an independent market research firm, handles the execution and confidentiality of the study.

>> Go directly to the Questions (In German)

The full survey takes approximately 12 minutes, depending on your responses – it is focussed on german editors. To sweeten the deal: if you belong to the target group and answer all questions completely, you’ll receive a €15 Amazon.de gift card—provided you’re one of the first 250 participants to complete it. No mouse-clicking marathons required, just honest answers and maybe a little caffeine.

This isn’t a pitch for shiny new toys. It’s an attempt to understand how real-world users—from editors to post houses—actually use their tools, where the pain points are, and what needs fixing. As always: don’t base current production decisions on early trends. Let the data bake first.

Click, Answer, Forget

The survey data will be aggregated and anonymised. No personalised results, no separate reports. Just grouped results for a broader picture of what the industry’s up to. The details on how your data is treated can be found here.

>> To take part, click here. If you already took the survey, ignore this—and feel smug.

What’s in it for you (besides a probable headache)?

Besides the guaranteed €15 voucher for the first 250 eligible participants, there’s a prize draw with the following Amazon.de gift card goodies: One €500 voucher, two €200 vouchers, five €80 vouchers and twenty-five €20 vouchers. So even if you don’t make it into the fast-responders’ club, there’s still a chance to win. If you happen to be screened out after the initial questions—because you’re not the intended target group—you’re still automatically entered into the draw. No one walks away empty-clicked.

Final Clicks

Click here to join the survey. Get your voucher. Maybe win more. And contribute to shaping the tools you rely on—without having to scream into your NLE timeline.

The post Share Your Thoughts On Editing, Snag a Reward! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.