The latest update to Nuke Stage stays with the preview: real-time playback of photoreal environments on LED walls, plus live compositing tools that shoulkd feel familiar to artists. The tool targets virtual production and in camera visual effects (ICVFX), with a workflow designed to keep VFX artists in creative control on set.

The core stays high-resolution playback for 2D and 2.5D environments, with EXR as the playback format and USD used for 3D geometry. Live compositing comes from a set of Nuke nodes rewritten for real-time performance, so operators can blend the on-set environment with the physical build and manage the relationship between camera and screen.

The practical takeaway: this is not a game engine project that happens to output to a wall. It is a VFX-flavoured playback and live comp system that tries to keep your pipeline language intact.

The parts you actually run on set

Foundry built a three part architecture: an editor where the operator works, a headless networking relay, and render nodes that run on each machine driving the wall. A launcher defines where those processes run and can start them across a larger stage, then the editor connects to the relay and render nodes and reports cluster health.

A typical topology puts the editor and relay on the control machine, distributes renders to the render nodes, then sends images to the wall. The setup flow walks through networking first, then hardware outputs and physical displays, then display mapping, and then cameras and tracking. Configurations can be exported and imported so teams do not have to repeat the same stage setup every day. Unless they want to. But in general, that is the unglamorous part of virtual production that still decides whether you shoot before lunch or after dinner.

Metadata Vault: your future self says thanks

The headline feature is metadata capture via a Vault that records on-set decisions for handoff into post. The Nuke Stage supports logging scene data, camera tracking, lens metadata, timecode, scene settings, and colour decisions. The Vault documentation also describes two capture workflows: Snapshots for a point-in-time save, and Take Record, which creates a camera USD file between defined start and end points.

If you have ever tried to reproduce a wall look from a vague note like “match take three but slightly warmer with some *Ooompf* “, this aims to make the record concrete. It will not fix bad habits, but it can at least preserve what you actually did on set.

NotchLC and EXR playback, plus a faster sequencer loop

On the playback side, the feature list now includes native support for NotchLC and B44 EXR for high-resolution background playback. There is a drag-and-drop sequencer panel, one-click keyframing, and editing and interpolation tools for timing changes.

In the operator view, the track-based sequencer remains central. Content created in Nuke can be staged over time, keyframed, and adjusted live for collaborative iteration with the on-set team.

USD scenes and splats, now aimed at the wall

Nuke Stage supports importing OpenUSD scenes that can be edited and overridden for real-time blending of virtual and physical sets. For file and colour standards, the tool lists OpenEXR and OpenColorIO alongside ACEScg support via ACES. It also claims support for HDR and a color pipeline intended to carry creative decisions from set into post.

For scene representations, the tool now highlights importing and controlling Gaussian Splats for high fidelity 3D scenes, alongside standard USD geometry. In the broader ecosystem, Foundry also shipped Gaussian Splat support in Nuke and built a USD based 3D system in there too, which positions splats and USD as shared data types across stage and post.

Standard hardware, scaling, and the usual fine print

The product page repeats the goal of running on commodity hardware without specialist media servers or bespoke equipment, and scaling across render node clusters. It frames this as cost and setup-time control and as a way to make stages repeatable.

Pricing is not specified in the sources. The product page offers a register your interest contact flow.

New tools and innovations should be tested before use in production, especially anything that touches playback codecs, cluster timing, genlock, tracking inputs, and colour consistency. Run your own worst-case plate, your own camera tracking feed, and your own handoff into post before you bet a shoot day on it.

https://www.foundry.com/products/nuke-stage

The post Foundry expands Nuke Stage for LED walls first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Fallout Season 2 asked for more scale and less forgiveness. Rise delivered 244 shots across seven episodes, with the heaviest work landing early, and kept two sites moving as one crew. The playbook stayed familiar, but the demands went feral: closer cameras, heavier mechanical interaction, city-wide procedural destruction, and sand-driven reveals that punished every shortcut.

Fallout!

Andreas Giesen is a Rise VFX Supervisor with a Houdini-heavy background and a track record on FX-intensive shows. He is credited by the Television Academy for a 2024 Primetime Emmy nomination for Fallout in “Outstanding Special Visual Effects in a Season or a Movie”. His Rise FX credits include serving as the studio VFX Supervisor on The Matrix Resurrections, as well as work on has worked on X-Men, The Matrix, The Last of Us and the various entries in the Marvel universe, among others.

DP: When we last spoke about Fallout Season 1, you worked on a show that combined large-scale environments, destruction, Vertibirds, Power Armour, and complex integration work. On Season 2, where did the challenge shift?

Andreas Giesen: The challenge shifted purely to massive scale and extreme scrutiny. In Season 1, we were establishing the rules. In Season 2, we took those rules and stress-tested the pipeline. We had a huge jump in scale, like procedurally destroying the entirety of Los Angeles or dealing with the multi-layered sand reveals of Area 51, but we were operating with roughly the same core team size. Brute forcing was not an option. We had to lean heavily on our procedural setups and the USD foundation we built in Season 1 just to survive the shot count.

DP: Did Season 2 feel like a continuation of an established visual language, or more like a technical reset because the demands had changed so much?

Andreas Giesen: Artistically, it was a continuation. We already had that shorthand with Jay Worth and Jonathan Nolan, so we knew what that tactile, grounded Fallout look felt like.

Technically, though, it was a massive upgrade. We did not throw everything away, but we had to rebuild or upgrade many assets because the camera was suddenly much closer or the interactions were much more complex. The Vertibird docking with the Caswennan, for instance, required a whole new level of mechanical detailing that just was not necessary in Season 1.

DP: RISE delivered work across several episodes, with particularly dense work in some of the early ones. How did that affect the structure of the production on your side?

Andreas Giesen: We delivered 244 shots spread across seven episodes, but the bulk of the heavy lifting hit right in episodes 2 and 3. To keep the chaos in check across our Berlin and Stuttgart offices, we operated as one unified team. We ran single VFX dailies so it never felt like two separate facilities. We relied heavily on our in-house production management tool, risebase 3, to keep the sites synced.

Honestly, a massive shoutout to our VFX Producer Annelie Dangel , Production Manager Scott Kunysz, and the coordination team. They were the real firewall keeping the production structured while the artists dealt with the pixel pushing.

DP: You mentioned that the work was divided into more specialised teams. How exactly did that division work in practice?

Andreas Giesen: Instead of splitting the work purely by department, where an asset just gets tossed over the wall, we built small, cross-functional strike teams dedicated to specific sequences. For example, we had a dedicated Area 51 team and a completely separate Caswennan team.

Each of these pods basically consisted of one layout artist, one lighting artist, and an FX artist if the sequence required it. This meant the artists became absolute experts on the continuity, lighting setups, and specific technical hurdles of their assigned sequence, rather than constantly context switching between different environments.

DP: The Caswennan ship has become even more important in Season 2. At what point does a hero asset like that stop being “just a vehicle”?

Andreas Giesen: When you get that close, it absolutely stops being just a vehicle and becomes a massive flying set. The layout has to treat it like a static environment just to block the shots, especially when we are tracking complex character animation and heavy mechanical interactions, like the Vertibird docking, directly onto the hull.

DP: What were the rebuild decisions under the hood?

Andreas Giesen: It was actually a really interesting round-trip process. Since the flight deck scenes were shot on a virtual stage, we received the Unreal Engine asset from production as our starting point. Funny enough, that Unreal asset was originally based on our own Season 1 dirigible model!

So, our CG team, led by Jenny Leupold , took the updated proportions from the virtual stage, brought the asset back into our pipeline, and completely re-engineered all the high-res cinematic details and shading quality.

DP: How did you approach balancing a highly detailed close-up asset with practicality for layout, lighting, and shot iteration?

Andreas Giesen: We relied heavily on our USD workflows and instancing. We had to design functional heavy hydraulics and complex mechanical joints so the lifting arm physically made sense up close, but we could strip that back or use lighter variants for wider layout tasks so the scene would not grind to a halt in the viewport.

DP: In Season 2, there seems to have been a stronger overlap between physical production, virtual production, scans, and final CG. How did that affect the pipeline in concrete terms?

Andreas Giesen: It meant we lived and breathed LIDAR. For the Area 51 reveal and the hangar sequences, production gave us incredible plates and highly accurate scan data. Having that precise spatial data was the only way to guarantee a seamless transition from the practical sets into our massive digital extensions. Once that data enters production, it locks in your scale, distance, and speed, which were crucial for making the flight dynamics feel grounded in reality.

DP: There was also mention of Unreal-based virtual production material related to the airship. How did you manage the relationship between real-time assets, scanned set data, and final cinematic assets?

Andreas Giesen: Again, USD was the bridge. We took the Unreal assets, which gave us the exact scale and spatial relationships from the LED volume, and used them as the spatial framework to build our final pixel cinematic assets over the top. It ensured that when we integrated the final CG back into the live action plates, all the contact points and lighting references matched the physical set pieces perfectly.

DP: Was the biggest benefit from USD technical elegance, or simply that it stopped artists from stepping on each other’s work?

Andreas Giesen: Ha, a little bit of both, but honestly, stopping the file overwrites is worth its weight in gold. On a more technical level, the real elegance was how flawlessly it let us bridge the gap between Maya and Houdini.

For the Shady Sands environment, our Layout Lead Karin Wolf and her team built the pristine, non-destroyed city parts in Maya. We then brought that via USD straight into Houdini to scatter all the granular details and endless cornfields. Being able to mix and match layouts without friction meant artists could just stay in the tool they were fastest in.

DP: The Vertibird work in Fallout has always been interesting because it needs to feel stylised and believable at the same time. What were the challenges for it in Season 2?

Andreas Giesen: The challenge is that it is a massive, lumbering vehicle, but it still needs personality. For Xander Harkness arriving at Area 51, he is a fantastic, slightly cocky pilot, so we had to inject this aggressive precision and specific swagger into the flight path and mechanical braking.

The integration challenge, especially during the Caswennan docking, was finding that fine balance of heavy momentum. We had to ease the mass and simulate procedural micro vibrations to show it buffeting in the air currents. The hardest part was nailing the exact frame where the mechanical arm takes over the full weight and the rotors power down.

DP: How much of selling a vehicle like that comes from animation, and how much from camera language, editorial rhythm, and integration into atmosphere and environment?

Andreas Giesen: Animation gets you the weight and the performance, but the environment integration is what sells the lie. In the hangar landing, the plate was dramatically backlit. Our lighters had to introduce specific light sources to shape the geometry nicely and match the foreground. Then the FX rotor wash tied everything together. We simulated heavy CG dust and debris blowing right past the lens, matching the practical wind from the live-action plate to physically anchor the digital ship into the real set.

DP: For sequences involving scanned practical sets, such as hangar or landing environments, what are the biggest pitfalls once the scan data actually enters production?

Andreas Giesen: The biggest pitfall is that the scan data and the live action plate lock you into absolute physical reality. If the plate has a specific wind direction or interactive lighting, absolutely every piece of CG vegetation, dust, or vehicle integration has to physically react to that exact same environmental energy, or the illusion breaks immediately.

DP: Fallout still has this very specific balance: it is heightened and absurd in places, but the world still needs physical credibility. How does that affect VFX decisions in review?

Andreas Giesen: You have to ground the absurdity in absolute, boring physical reality. For the dramatic dirigible crash, which is inherently a heightened, spectacular moment, we went straight to historical footage of the Hindenburg. We ran intense, clustered simulations starting with plastic deformation for the metal bending, triggering RBD sims for the hull ripping apart, and feeding that into multiple layers of pyro for flames, smoke, and contact sand. If the physics are incredibly strict, the audience will buy into the universe’s stylised madness.

DP: On a show like this, where does proceduralism genuinely save time, and where does it still need a heavy layer of manual art direction to become production-ready?

Andreas Giesen: Proceduralism saves you on the sheer volume, but art direction saves the shot. For the destroyed Los Angeles, we started with basic map data, literally just cubes and planes. Our brilliant TD, Kilian Baur , built a Houdini tool that procedurally converted those cubes into heavily detailed, destroyed buildings. It generated massive amounts of geometry. But you cannot just hit simulate and walk away. We had to manually paint the degree of destruction across different zones for compositional reasons. The tool does the heavy lifting, but the artist still has to compose the frame.

DP: Was there a particular sequence in Season 2 where the real constraint was neither the creative idea nor the client feedback, but simply scene complexity, cache weight, or iteration cost?

Andreas Giesen: The dirigible crash and the Area 51 reveal were absolute beasts for cache weight. For Area 51, we were blending volumetric dust, suspended sand particles, and contact sand actively swirling off the geometry. The dirigible had even more interactive layers, expertly managed by FX TD Arnaud Malherbe under Jens Martensson .

We survived by heavily clustering the sims for faster turnarounds and by relying on deep compositing workflows in Nuke. Our Compositing Supervisor Michael Lankes , Comp Lead Kader Bagli , and Comp Lead Jannik Walzer did incredible work taking those massive datasets and balancing them without bringing the farm to its knees.

DP: What became easier on Season 2?

Andreas Giesen: Things like lookdev for the energy signatures became easier. We reused the core effect for the cold fusion and diode glows from Season 1. But because we had to scale it up to so many more shots, we had to build highly efficient setups in Nuke involving heavy rotomation and complex relighting, since that blue glow affects every shiny metal surface around it. The look was established, but the volume and the necessary integration were significantly harder.

DP: Was there a shot or sequence this season that looks deceptively simple in the final cut, but was technically far more difficult than most viewers would ever suspect?

Andreas Giesen: It has to be the Power Armor enhancements. Production has this absolutely incredible practical suit that a stunt performer wears on set. However, because it is a physical, wearable suit, sometimes individual parts will naturally jiggle or bounce a bit too much during heavy action, which breaks the illusion of solid, heavy metal armor.

In the shot where the massive dirigible is coming down and exploding in the background, we actually had to completely replace the shoulders of the Power Armor while the character is running away. Everyone in the audience is obviously staring at the massive fiery airship crash taking up the sky, but there we are, meticulously tracking and doing invisible CG replacement on shoulder pads just to make sure the suit feels appropriately heavy.

DP: And conversely, was there a shot that looked terrifying at first but became manageable once the right structure or workflow was in place?

Andreas Giesen: Definitely the procedural destruction of Los Angeles. The idea of destroying a city of that scale is terrifying. But once Kilian’s tool was in place, and we utilised our USD pipeline to block the shots with simple geometry while the high-res destruction updated seamlessly in the background, it actually became a highly manageable, iterative process. We could instance the endless piles of rubble and rusted cars, which kept the massive scale from becoming unrenderable.

DP: What is a technical lesson from Fallout Season 2 that would transfer well to other large episodic shows?

Andreas Giesen: The absolute golden rule is to keep everything as procedural as humanly possible so you can actually survive rapid client changes. That, combined with establishing those small expert strike teams we talked about, is how you manage the chaos. But the real lifesaver that transfers to any heavy show is aggressive pipeline automation. For sequences with massive shot counts, we utilised our proprietary riseflow tools to completely automate the heavy lifting.

We could submit CG renders from one principal master scene across 50 different shots before leaving the studio. By the next morning, the pipeline had automatically generated 50 temporary composites, already perfectly combining the new CG with the live-action plates using deep learning. Waking up to 50 ready to review temp comps instead of a massive rendering bottleneck is the only way to deliver a show of this scale.

DP: What is the next project you are working on, insofar as you can already talk about it, and is there anything from Fallout Season 2 that you are taking with you into that next production?

Andreas Giesen: I am currently working on something very exciting, but unfortunately, it is strictly under wraps right now, so I cannot speak about it just yet. But I am absolutely taking the USD workflows and the procedural pipeline strategies we refined on Fallout straight into this next challenge!

The post RISE: Fallout Destroys LA, Politely first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Keentools is a 3D tracking node for Nuke and an add-on for Blender and After Effects, sitting between matchmove and comp where your patience goes to die.

Preview in new tab

KeenTools shipped 2026.1.0 with a clear theme: newer host versions, fewer annoying edge cases, and one new refinement switch that trades absolute accuracy for steadier motion.

The Nuke package now supports Nuke 16.1 and Nuke 17.0 across the nodes in the package. The Blender pack now supports Blender 5.1. GeoTracker for After Effects fixes a bug that caused inverted mesh UVs when exporting to Alembic. TextureBuilder received a fix aimed at full compatibility with Nuke’s new USD-based 3D system.

Nuke: new Refine modes, same tracker

In Nuke, GeoTracker adds two Refine modes in the Smoothing tab: Precise and Smooth. Precise mode behaves like the prior default. It targets maximum tracking accuracy. The notes also call out a known downside: inconsistent keyframes can lead to tiny jumps. That matches the kind of micro jitter that can make a trcak feel wrong even when the overall solve looks solid.

Smooth mode aims to remove those tiny jumps when keyframes do not align perfectly. The release notes also state that Smooth can slightly affect absolute tracking accuracy. That makes the intent explicit: Smooth exists for shots where visual steadiness beats the last bit of numeric precision.

The update does not change the basic concept of GeoTracker. It gives artists a more direct choice at the end of the refinement step, instead of forcing endless keyframe nudging and re-running refine until the twitch goes away.

Host support matters here too. The same update adds Nuke 16.1 and Nuke 17.0 support across the nodes in the Nuke package. That helps facilities that keep multiple Nuke versions installed and need the same toolset available in both.

Nuke: TextureBuilder and USD

TextureBuilder received a fix intended to make it fully compatible with Nuke’s new USD-based 3D system. The release notes keep it at that level, with no extra detail about which USD features, scene layouts, or node setups the fix touches.

USD has a way of turning minor incompatibilities into big time sinks, because the problems tend to surface late, when a scene graph comes in from somewhere else and the viewer looks fine until it does not. This update targets that failure mode by addressing USD support inside TextureBuilder in the context of Nuke’s new 3D system.

Blender: 5.1 support and texturing repair

The Blender pack now supports Blender 5.1. including a fix for a texturing issue in GeoTracker and FaceTracker in Blender. After the fix, the texture grab works as it should.

After Effects: Alembic export UVs

GeoTracker for After Effects fixes a bug that caused inverted mesh UVs when exporting to Alembic. The release notes describe the fix as helpful for sending tracking data to third-party tools. The bug description stays specific to UV orientation during Alembic export.

UV flips can hide in plain sight, especially when a downstream tool or shader setup masks the problem until someone changes a render path. Fixing the export at the source reduces that risk when geometry leaves After Effects for another stage.

If you rely on Alembic in your handoff chain, test an export after updating and inspect UV orientation in the next tool in the chain using a known reference asset.

https://keentools.io/

The post KeenTools 2026.1: Nuke 17 and Blender 5.1 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Neat Video runs as a denoise plug-in inside apps like Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro, Blackmagic Design DaVinci Resolve, and Foundry Nuke. It cleans up shots without making you leave your host, which is the nicest kind of cleaning.

What 6.1.2 actually changes

Neat Video 6.1.2 shipped on 9 April 2026. The update targets three very practical areas: support for new Apple Silicon graphics hardware, compatibility with newly released host versions, and small workflow and stability improvements across plug-ins and platforms.

Boris FX welcomes Vegas Pro

The headline compatibility additions are support for Apple M5 Pro and M5 Max GPUs on macOS, support for Nuke 17 on Windows, macOS, and Linux, support for Nuke Studio 17 and Nuke Indie 17 on Windows, macOS, and Linux, plus support for Vegas Pro 2026 on Windows.

If your pipeline depends on host upgrades staying unblocked, that list matters more than any marketing adjective. A denoiser that falls behind host compatibility turns into the most expensive bypass node you never wanted.

Vegas Pro 2026 support on Windows

6.1.2 adds support for Vegas Pro 2026 on Windows. What is clear is the intent: the update aligns the plug-in with the newest Vegas Pro release line, so editors on that host can update without losing access to the denoise plug-in. If your finishing workflow includes cuts or conform work in Vegas Pro, this update keeps that lane open. And, if you think that EWgas is getting a second wind, you don’t have to miss your favourite denoiser.

Nuke 17, Nuke Studio 17, Nuke Indie 17 compatibility

6.1.2 adds support for Nuke 17 across Windows, macOS, and Linux, and adds support for Nuke Studio 17 and Nuke Indie 17 across the same trio of platforms. In a mixed facility where artists jump between OS builds or where show work crosses between Linux workstations and macOS laptops, that cross-platform statement carries scheduling weight.

Some teams will care about this update purely because it removes friction around moving to Nuke 17. Others will care because they have already moved and need the denoise step to catch up. Either way, the result is the same: one less reason to keep an older host version installed just to keep a plug-in alive.

Apple Silicon M5 Pro and M5 Max support

Version 6.1.2 adds support for Apple M5 Pro and M5 Max GPUs on macOS. The practical promise is simple: GPU-accelerated processing for faster renders on Apple Silicon M5 Pro and M5 Max machines.

Updating, licensing, and what costs money

6.1.2 is described as the latest update improving compatibility and support for new software and hardware, and it is free for licensed users of version 6 of the product.

To update, the release directs users to the My Products page. The My Products page requires login access through the vendor site, so you should expect the usual account-based download flow rather than a public direct installer link for licensed builds, or a line of smooth WinGet.

Upgrading from older major versions gets described in two ways across the official materials provided. Owners of versions 1 through 5 can upgrade to the new major version 6 with a discount. Another official upgrade page adds extra detail: version 6 can coexist with version 5 or older and does not replace it in current projects, a v6 demo is available to try before upgrading, and users who purchased version 5 within the last 12 months receive an additional discount.

Pricing of a single-copy license price is €72.90 for the Home edition and €136.90 for the Pro edition on several host categories. The same page also shows discounted bundle pricing for certain host combinations, but the exact bundles and discount figures vary by host section on that page. If you buy based on a specific host, verify the exact host row you plan to license, because the page layout presents pricing per host family.

https://www.neatvideo.com/news/nv612

The post Neat Video 6.1.2 adds Vegas 2026 and Nuke 17 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

ONYX builds ONYX Ai Matte as a GPU-accelerated matte extraction tool for segmentation, tracking, and mask refinement inside OFX-compatible hosts. It targets hair and fur edge work and shots with more than one subject, and it frames the speed and quality claims as marketing claims. Under the hood, it uses Meta SAM3 and VitMatte models, packaged via ONNX in FP16 and accelerated with NVIDIA CUDA 12.6 and TensorRT 10.x.

Prompts, trimaps, and tracking

The UI exposes five pipeline modes: box or point prompts with auto track, box or point prompts with manual track, text prompts with auto track, mask prompts with auto track, and a trimap workflow using VitMatte with manual track. Point and box workflows let you set foreground and background points and a bounding box. The interface supports up to 32 points.

Text prompt mode detects objects that match your text. If it finds multiple matches, one foreground point picks the instance. Mask prompt mode takes a rough input mask and uses it as the prompt for a refined segmentation. The trimap path expects white foreground, black background, and a grey uncertainty band for edge refinement. Tracking integrates directly into the prompt workflows. In Nuke, the box center can be driven by expressions so a tracker can push it through the shot while size stays consistent. You still need to test any new tool before it goes into production, especially when the alhpa becomes the single point of failure.

Hosts and compatibility

The published host list includes DaVinci Resolve 18 and later, Fusion Studio 18 and later, and Nuke 13 and later. It also positions the plug-in as working in any OFX compatible app, like Autodesk Flame specifically.

System requirements and what is not supported

Minimum requirements list Windows 10 64 bit, an NVIDIA RTX GPU, 6GB of VRAM, 16GB of RAM, and 8GB free space. Windows 11 64 bit is also supported. Text prompts require 8GB of VRAM or more. The baseline GPU callout is an NVIDIA RTX 2060 or better with SM 7.0 or higher. Not supported: GTX 1000 series, AMD Radeon, and Intel Arc.

Trial, licensing, and pricing

A full featured 7-day trial is offered with no credit card required. Licenses are sold as lifetime, one time payments with no subscription, plus free minor updates. Pricing is published in euros as lifetime tiers on the official pricing page. Indie costs €80 for one machine node locked. Studio 3 costs €180 for three machines node locked. Studio 10 costs €450 for ten machines node locked. Studio 10 also includes priority support.

https://onyxofx.com/

The post ONYX Ai Matte for OFX hosts first appeared on DIGITAL PRODUCTION and was written by Bela Beier.