Neat Video is a GPU-accelerated denoising plug-in for NLEs, compositors and grading systems, including Premiere Pro, After Effects, Final Cut Pro, Motion and Baselight. It builds device specific noise profiles and applies spatial and temporal filtering inside the host application.

OFX plug in across Windows, macOS and Linux

Neat Video v6 is available as a plug in for OpenFX hosts on Windows, macOS and Linux. Version 6.1 of the Neat Video v6 plug in for OFX hosts adds support for Baselight 7. This extends compatibility for grading workflows using OpenFX on macOS and Linux in that host.

Expanded support in other hosts

According to the vendor, version 6.1 adds compatibility with the latest versions of several major host applications. These include Premiere Pro 2026 on Windows and macOS and After Effects 2026 on Windows and macOS. On macOS, version 6.1 supports Final Cut Pro 12 and Motion 6 from Apple. The plug-in is compatible with standalone versions purchased from the App Store as well as bundled versions of Final Cut Pro 12 and Motion 6 included in Apple Creator Studio. The vendor states that the Neat Video 6.1 plug in functions identically in both cases, allowing users to switch between those versions if required. Support for Baselight 7 has also been added, as noted above, via the OFX plug in.

Default Noise Profile and Filter Preset controls

A key update in version 6.1 is the introduction of new controls to simplify using a fixed noise profile and filter preset when working with a series of clips with the same noise. The stated aim is to speed up the overall setup process when applying multiple instances of the noise-reduction effect to similar materials.

Users can now set the Default Noise Profile using the current noise profile. This is implemented through a new button with a popup menu in the Device Noise Profile panel and through new commands in the main menu under Profile.

Similarly, users can set the Default Filter Preset using the current filter settings. This is available via a new button with a popup menu in the Filter Settings panel and through new commands in the main menu under Filter. When the filter is applied to additional clips in the same series, new instances automatically load the Default Noise Profile and Default Filter Preset.

The improved representation of the names of the current noise profile and current filter preset makes it clear when defaults are in use. Their names are displayed in the Device Noise Profile and Filter Settings panels.

The Input Data Gain section in Preferences is disabled when the Default Noise Profile is used. The vendor states that this is because the actually applied gain is determined by the Default Noise Profile in that case.

Reset controls and minor fixes

Version 6.1 adds a new Reset button in the Device Noise Profile panel and a corresponding command in the main menu under Profile to reset the current noise profile. A new Reset button with a popup menu has also been added to the Preferences dialog. This allows users to reset settings on the current page, reset settings on all pages, or re enable all optional messages and dialogs that were previously disabled.

Neat Video 6.1 is available as a free update for licensed users of version 6. Users of earlier major versions can upgrade with a discount. Demo editions are available for evaluation. As always, new tools and updates should be tested in a controlled environment before deployment in production.

// https://www.neatvideo.com/blog/post/neat-video-61-host-support-better-workflow
// https://www.neatvideo.com/download/history/ofx-plugin

The post Neat Video 6.1 updates OFX and host support first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Sitni Sati is preparing the release of FumeFX 7.5 for 3ds Max, introducing NVIDIA CUDA acceleration for smoke and fire simulation. The developer reports a performance increase between two- and five-fold compared to CPU-based simulations.

The GPU acceleration targets volumetric fluid effects such as explosions, smoke and fire. It supports both simulation and real-time viewport preview. In official demonstrations, the feature ran on an NVIDIA RTX 4090 and produced detailed motion and shading.

No more memory crashes

A common limitation of GPU fluid solvers is restricted video memory. Sitni Sati claims that FumeFX 7.5’s GPU solver automatically falls back to CPU once GPU memory is exceeded. This prevents crashes and lets complex simulations complete without manual intervention. The hybrid approach allows artists to benefit from GPU speed while maintaining the stability of CPU computation. The developer also states that the GPU solver maintains visual detail and motion quality where other sparse fluid solvers may lose resolution. At press time, this claim has not been independently verified.

What remains to be clarified

As of the current beta, Sitni Sati has not published detailed release notes specifying which FumeFX features are fully CUDA-enabled. It is unclear whether all node types, caches, and modifiers run on GPU or whether some processes remain CPU-bound. Likewise, parity between GPU and CPU results, regarding noise behaviour, reproducibility, and memory consumption has not yet been confirmed by third-party testing.

Implications for production

GPU acceleration promises faster iteration for artists working with smoke, fire, and explosion setups, particularly on modern CUDA-based hardware. The automatic CPU fallback adds safety for heavy scenes that exceed GPU resources. Studios should nonetheless test the new GPU mode thoroughly within their pipelines before relying on it for client work, as simulation consistency and cache behaviour can vary across hardware configurations. FumeFX 7.5 remains in beta. Sitni Sati has not yet announced a release date or updated pricing.

The post FumeFX 7.5: Fire Meets GPU soon first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Noise reduction remains one of the slowest parts of compositing. Whether you’re cleaning plates, prepping greenscreens, or integrating CG inside Nuke, denoising can stall entire pipelines. The freshly released Neat Video 6 tackles that: doubling render speed, halving memory usage, and managing CPU/GPU optimization automatically.

Automatic Performance Tuning

Older Neat Video versions required users to manually enable GPU acceleration and tune performance settings. Version 6 eliminates that setup hassle: it detects available CPUs and GPUs, distributes load dynamically, and adjusts on the fly when resolution, effects, or system load change.
For compositors, that means smoother playback, faster previews, and less downtime during roto or cleanup work.

CPU + GPU Optimization

The new Fast Floating Point Processing mode speeds up rendering without sacrificing image quality. Neat Video’s re-engineered engine now performs parallel processing alongside the host app, reducing idle time in complex Nuke scripts. Depending on system specs, artists can expect up to 2× faster output compared to version 5.

Memory Efficiency for High-Res Comps

Compositors working on 4K–8K plates will notice the difference: Neat Video 6 uses up to 2× less RAM / VRAM and dynamically adjusts GPU memory use. That means fewer slowdowns, fewer GPU crashes, and less reliance on SSD-based virtual memory, extending both performance and hardware lifespan.

HDR Accuracy and Premiere GPU Integration

Neat Video 6 introduces an adjustable gain control that improves denoising on HDR or underexposed footage. Premiere Pro users benefit from a new GPU data exchange path that sidesteps the notorious Lumetri slowdown, cutting render times and avoiding color pipeline mismatches.

Hardware and Platform Support

The update supports Apple Silicon M4 systems and NVIDIA RTX 50-series GPUs, and is available for Nuke (OFX), Premiere Pro, DaVinci Resolve, and After Effects on both macOS and Windows. Give the trial a whirl here.

Pricing

• Home edition – Full HD, 1 GPU, non-commercial use, from $80
• Pro edition – Unlimited resolution, multi-GPU support, commercial use, from $130

Conclusion

Version 6 is less about shiny new buttons and more about workflow sanity: automatic optimization, leaner memory use, and shorter render queues. For studios knee-deep in Nuke scripts, that’s enough reason to take notice.

Read more: Official release thread on Neat Video Forum

The post Neat Video 6: Smarter Noise Reduction for Nuke and Beyond first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

At IBC 2025 in Amsterdam, Jason Druss of Adobe’s Premiere Pro team turned the booth into a live editing stage. His demo of Premiere Pro 25.5 showed off what happens when Adobe swallows a plug-in maker whole. Spoiler: the result is faster cuts, fewer render bars, and one button literally called Surprise Me.

Film Impact now plays natively

Druss opened a typical social-media timeline (fine, but flat) and replaced a cut with a VHS Damage transition. Instantly the edit pulsed with digital static, running in real time. No caching, no excuses. The magic: Film Impact’s entire library of transitions, effects, and motion tools now ships with Premiere Pro 25.5. Editors no longer need to install or license Film Impact separately. Everything lives in the Effects panel or via the new Film Impact Dashboard, which previews transitions before you drop them onto the timeline.

The “Surprise Me” aera

Each effect is deeply editable in the Effect Controls panel, position, hue, angle, or motion curves, but Druss’s crowd-pleaser was a big randomise button labelled Surprise Me. Click once, get a new version. Click again, get another. The audience watched him roll through styles until he hit a violet-tinted lens flare that fit perfectly. With 90 base effects and thousands of tweakable parameters, Druss quipped that you could “spend your career without repeating a single transition.” Editors can save any custom setup as a preset and share it with colleagues, useful when you finally hit something great by accident.

Real-time motion and look development

Druss then ditched footage altogether and animated two static PNGs using only Film Impact transitions. The result looked closer to an After Effects comp than a quick Premiere mock-up. He cloned and animated elements with Clone FX, layered bokeh blur and chromatic aberration, and key-framed the strength of the blur. He then toggled on Mosaic, instantly turning the piece into a dancing 8-bit animation, all running live on a 16-inch MacBook Pro, without rendering once. Other look-driven effects – light leaks, volumetric rays, halation, vignettes, channel shifts, now sit a click away from the main timeline. For many quick jobs, After Effects can stay closed.

But is this also working fine on my Lenovo ThinPad P16 ? We all have seen the “Realtime” Demos, and were impressed, only to learn later that there was a huge machine in the back. So, for really testing it in realtime, my trusty workhorse is:

Testing for real!

And I tried hard to put too many effects on my timeline – way more then look good or resaonable, just to see when the timeline would stutter. You can see the result in the intro of my tutorial. Did it work ? You will find out when you watch the realtime vMix screenrecording below.

Tl;DR: All the New Features

Feature	Description / Benefits
90+ new real-time effects, transitions & animations	Dramatic boost in motion capability — new dissolves, glitches, chromatic aberration effects, glows, vignettes, etc. All of these are GPU-accelerated and customizable.
New animation tools	You can animate text, video, graphics using drag-and-drop transitions (less need to round-trip to After Effects).
Live waveform editing	Audio waveforms now update in real time as you adjust volume, add keyframes, or perform ripple/roll edits — making audio edits more visual.
Multi-Transitions editing	You can apply, edit, and manage transitions across multiple audio/video clips simultaneously, improving consistency and speed.
Snappier timeline playback / responsiveness	Under-the-hood improvements to make dragging, skimming, and general timeline interactivity more fluid.
Hardware acceleration enhancements	• 10-bit 4:2:2 H.264/HEVC acceleration on NVIDIA Blackwell GPUs (Adobe Hilfezentrum) • Hardware acceleration for Canon Cinema RAW Light (Adobe Hilfezentrum) • Support for decoding ARRIRAW HDE (High Density Encoding)
New preferences for graphics / font defaults	You can set default fonts for text, subtitles, and captions; import wide-aspect CEA-708 captions properly; and control how graphics preferences behave. (Adobe Hilfezentrum)
Advanced Search / Media Intelligence filtering	The Search panel supports metadata-based filters to refine results.
Label colors in sequence tabs	You can show and change sequence tab colors directly in the Timeline panel to help visually organize your project.
Improved color & metadata handling	Better automatic data range application for DNxHR / DNxHD and PNG files (preserving super whites, sub blacks), improved color management workflows, and precise HDR/SDR export control.
Generative Extend (using AI)	Add frames (at the beginning or end of clips) via generative AI to smooth transitions, extend reactions, or mash up ambient room tone.
Translation of captions / multilingual captions	Automatically translate captions into many languages (over 27) to support global reach.
Import MKV (H.264/AAC) support	Premiere Pro improved its MKV import performance and compatibility.
Export with Content Credentials	You can attach content credentials (metadata about creation / provenance) to your exported videos.
Rounded corners for timeline clips	A more comfortable, modern visual design for clips in the timeline view.
Object Masking (only in beta)	This allows isolating specific areas of footage for applying effects or selective adjustments. Because it is in beta, it may have limitations, be unstable, or change in future releases.

Smoother playback, quicker feedback

Premiere Pro 25.5 also gets more responsive. Druss pressed spacebar, playback started almost instantly. Adobe claims latency below 0.1 seconds between command and action. Audio waveforms stay visible while dragging clips, and users can adjust multiple fades or keyframes simultaneously. Format handling is tidier too: acceleration for H.264/HEVC on new NVIDIA GPUs, improved support for Canon Cinema RAW Light and ARRIRAW HDE, and better import of 16-bit PNG files. It’s not glamorous, but it keeps editors editing instead of watching progress bars.

Premiere on iPhone: serious, not cute

Druss also teased Premiere on iPhone, calling it “craft-grade mobile editing.” The mobile version includes multi-track timelines, waveform display, and access to Adobe Stock assets. Generative AI via Firefly lets users create elements or sound effects on-device. Editors can start a project on the phone, then send it straight to desktop Premiere for finishing, no re-conforming required. For Druss, it’s less about replacing laptops and more about keeping creative momentum on the move.

One editor, one ecosystem

Druss’s booth demo summed up Adobe’s current direction: keep editors inside one app for everything, cutting, motion design, grading, and even sound. By baking Film Impact directly into Premiere Pro 25.5, Adobe removes a plug-in layer while giving back real-time speed and playful control. Still, production teams should test before updating. Adobe hasn’t confirmed whether every legacy Film Impact effect made the cut, and older projects might behave unpredictably. Premiere Pro 25.5 is available now via Creative Cloud. Try the new effects, hit Surprise Me, and see whether the randomness improves your edit or just your mood.

The post Jason Druss makes Premiere sparkle at IBC 2025 first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

Cinema 4D represents a decisive break with its legacy colour system. New projects now default to OCIO (OpenColorIO) with ACEScg as the working render space. Instead of juggling Redshift’s OCIO workflow and Standard/Physical’s ICC-based linear workflow, artists now work under a unified model.

The new pipeline enforces a three-stage structure: input, working, and view. Every texture, material colour, and data map must be explicitly tagged with its source colour space. Rendering calculations occur in wide-gamut ACEScg, which is linear by definition. At output, results are mapped to a display space via a view transform, typically the ACES tone mapper, though OCIO configurations allow alternatives such as AgX or Filmic.

The advantages are clear. Lighting and shading now behave consistently across renderers, with greater fidelity in highlights and shadows, and predictable desaturation in overbrights. But adoption requires care. Legacy projects will not automatically match the new defaults, and asset libraries must be properly colour-managed. Maxon provides templates in the Asset Browser, but the burden falls on studios to test, calibrate, and align their pipelines.

Liquids, UDIMs, and AI in Cinema 4D

Beyond colour, Cinema 4D deepens its Unified Simulation Framework with GPU-accelerated liquid dynamics. Fluids can be spawned from a dedicated Liquid Fill Emitter, or converted from particles using a Liquify Modifier. Once active, fluids respect viscosity, surface tension, and collisions with rigid bodies. Artists can shape results with forces already present in the simulation system. For render, a Liquid Mesher object converts the fluid particles into polygonal geometry.

The system is optimised for speed and art-direction rather than exhaustive physics. It excels in motion graphics and short-form production where controllability outweighs realism. Large-scale fluid behaviour such as foam or spray remains outside its remit, but the system is fast enough to support iterative design directly in the viewport.

Cinema 4D also addresses long-standing UV workflow gaps with UDIM support and texel density tools. UV shells can be freely arranged across UDIM tiles, textures can be packed efficiently, and texel density can be standardised with presets for different production contexts, from game assets to cinematic props. For texturing artists, this means Cinema 4D finally integrates more smoothly with Substance Painter, Mari, and other UDIM-centric applications.

On the organisational side, the Asset Browser gains an AI search engine. It scans the visual content of assets rather than relying solely on metadata, and it runs entirely locally. This ensures that data never leaves the user’s machine, addressing privacy concerns while enabling faster retrieval across large studio libraries.

Redshift: Atmosphere and Efficiency

The bundled renderer, Redshift 2025.0, focuses on both atmosphere and interactivity. Its new Procedural Clouds system integrates with the existing Sun & Sky rig, allowing artists to generate volumetric skies without heavy voxel caches or external plugins. The system balances plausibility with art-directable controls, enabling environments ranging from photorealistic to stylised.

Redshift’s handling of displacement has also been upgraded. Artists can now preview and adjust displaced geometry interactively, with less reliance on dense subdivision. This shortens iteration cycles and lowers memory requirements for complex shaders.

A further improvement is the adoption of Scene Units. Shaders and materials now scale relative to the project’s world units, ensuring that displacement, noise, and procedural textures behave consistently across different projects. This eliminates one of the more persistent sources of unpredictability in cross-scene rendering.

Together, these refinements push Redshift closer to the expectations of large-scale production, particularly for architectural visualisation, cinematic environments, and real-time look-development.

ZBrush: Python Scripting and iPad Parity

ZBrush continues to expand in both desktop automation and mobile parity. On desktop, the arrival of Python scripting allows studios to build automation layers, connect ZBrush to asset management systems, or develop custom batch operations. For technical artists, this is a long-awaited way to make ZBrush play more predictably within pipeline automation.

Surface detail workflows have also been upgraded. The Surface Noise system now supports per-noise resets, alpha transforms, and undo/redo functionality. These refinements make it easier to layer and adjust procedural detail without destructive editing.

On the mobile side, ZBrush for iPad now supports 3D printing export, giving portable sculpting workflows a direct path to prototyping. The interface has been optimised for touch, with a repositionable bottom bar, customisable modifier wheel, and savable UI layouts. These features allow artists to adapt ZBrush to personal working styles, even on a compact device. Upcoming releases promise UV editing and hard-surface modelling tools on iPad, which would push it further toward full production parity with desktop.

Maxon Studio and Cineware for Unreal

Maxon Studio builds on its Capsule system, enabling editors and colourists to embed assets directly into templates. Capsules can now be reused across multiple projects, preserving brand consistency while cutting setup times. This supports large-scale editorial workflows where repeatability and visual consistency matter as much as flexibility.

For real-time pipelines, Cineware for Unreal Engine has been expanded. The bridge now respects Cinema 4D modifiers, creates material instances automatically, and enhances texture tag handling. The aim is to reduce the amount of re-authoring required when transferring assets between Cinema 4D and Unreal, a critical bottleneck in virtual production and interactive environments.

A New Identity for a Unified Ecosystem

All of this comes wrapped in Maxon’s new brand identity. Each tool now has a modular geometric logo, designed to echo the honeycomb motif of Maxon One. Colours and typography have been standardised to emphasise the sense of a single family of applications, rather than a loose collection. Maxon argues that this signals its evolution into a cohesive ecosystem, both visually and technically.

A Word of Caution

Cinema 4D 2026, Redshift , and ZBrush’s expanded toolset bring real technical progress, particularly in colour science, simulation, and automation. But adoption is not trivial. As always: validate before deployment.

The post Maxon Autumn Release: New Colour Science, Liquids, Clouds and a Logo first appeared on DIGITAL PRODUCTION and was written by Bela Beier.