For those who don’t know the tool: Natsura, the Houdini foliage toolkit lives inside Houdini, can push assets to Unreal Engine workflows, and now leans harder into assemblies, mapping, and export glue.

What shipped in 0.6

Version 0.6.0.0 landed on March 25, 2026, with support for Houdini 20.5 and Houdini 21.0. The release calls out modular effectors, Nanite assemblies, an assembly decorator, a revamped UI, analytics, scan extension, and Houdini 21 support. The update introduces an Assembly workflow aimed at quickly rigging twig and branch libraries and assembling canopies. There is also a set of tools for Unreal Nanite skeletal assembly support, paired with wind authoring tools. Assembly-related nodes are flagged as experimental in the release notes, though. Be careful.

On the shaping side, the release adds a modular effector system like a bolt on simulation modifiers with no VEX required. Effectors are an extendable stack, and the base effector node supports writing VEX to extend the simulation and respond to geometry and inputs.

Assemblies, decorators, and Unreal export

The release adds new nodes for an assembly pipeline, including an assembly resource node for mesh library import and auto rigging, an assembly decoration node for canopy decoration that can pick modules based on traits and transform instance hierarchies with rigid rotations, and a classify node for trait-based module classification.

Export to Unreal related workflows gets multiple mentions. The export node for Unreal Nanite assembly lists updates including material support, skeletal and static assembly, fixed instance naming, and removal of a transform on points that broke instancing. There is also a LOP node for USD workflows that creates a Nanite assembly for SOP based creation.

Wind support is expanded through new nodes for wind initialisation and validation, wind class assignment for Unreal, a wind preview visualisation tool that is functional but not accurate or meant to look good, and a node that exports UE5 DynamicWindSkeletalData as JSON. If your environment team already has a wind data convention, this is the part to validate early, especially around naming, material binding, and what your in-engine tooling expects.

Effectors, guides, and growth controls

Several new effectors are listed: deflection, magnet attraction, gravitropism, gravity, and noise based growth perturbation. The grow node line gets a long set of updates in this release, including a new spiral parameter with absolute and relative modes, integration with the effector stack, and an updated decorator stack format to match the effector stack.

One practical change is the way mapping and prim construction are described. Map prim construction is deferred to grow, which is described as reducing node count and compile time. There is also an instant colour preview mentioned, plus options for skeleton swapping and custom draw modules. Growth workflows appear to be treated as a family of versions, with backwards compatibility restored across multiple grow versions and various mapping and parameter warning cleanups.

Rig simplification and reskinning

Rig simplification tooling shows up both as a new simplify rig node and as updates to a simplify rig reskin path, as well as multi stem tree support, chaining of simplify nodes, and added carve method and max joints count. If your pipeline needs a predictable joint budget for game ready trees, this is where you will want to spend time.

Analytics and privacy details

Analytics is “opt-in” and disabled by default, with no data collected without explicit user consent. If you work in an environment with strict compliance rules, the opt in default and EU cloud note are helpful details, but you still need to run your own review. Make sure your team knows what is allowed, and that tool telemetry decisions match your facility policy.

The notes also state that 0.7 will be a breaking release, and this 0.6 release includes precursor work such as a standardised mapping architecture, groundwork for decorator cook trigger decoupling, and a foundation for mappable decorator parameters. Read that as a warning to keep a rollback plan, and to budget time for update testing before you touch active porudction setups.

Compatibility notes for Houdini artists

Houdini 21 support is obvious, including mention of an APEX graph schema enforcement fix. The release also claims continued full Houdini 20.5 support, plus compatibility work around Qt bindings.

In practice, this release spans a lot of surface area: SOP level nodes, UI panels, export to Unreal, USD workflow hooks, analytics, and a mapping engine refactor. That is a lot of moving parts for a minor release number, even if the changelog is transparent about what is experimental. Treat the upgrade like you would any node library update: keep a copy of old scenes, validate the graphs, and test exports end to end before shipping anything client facing.

https://www.natsura.com/

The post Natsura 0.6 adds effectors and Nanite export for Houdini Foliage first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Twinmotion is a real-time viz app powered by Unreal Engine, built for quick scene assembly, lighting, and outputs without living in node graphs.

Photo matching, now less of a dark art

Twinmotion 2026.1 adds a photo matching workflow built around a new Match Perspective tool. You load a background image as a backplate, identify vanishing points (Lines or Grid), and the camera adjusts position and focal length to match the image. The goal is simple: get a 3D model to sit reasonably convincingly inside a 2D photo without hand-tuning camera parameters for an afternoon.

The tool also includes shadow projection from 3D objects onto the calculated ground plane. That helps sell integration when the backplate already has strong directional cues. If you do client-facing previz or quick location studies, this is one of those features that saves time. It also nudges Twinmotion closer to the familiar backplate plus camera-match workflow many artists already use elsewhere, just with fewer steps and less guesswork.

Autosoft edge: a band-aid, in the best way

CG edges can read too sharp, especially when you are chasing photo-like results in a simplified lookdev context. Twinmotion 2026.1 introduces Autosoft edge, a rendering effect you can apply to selected objects to soften hard edges to a specified radius.

Autosoft Edge works in Standard, Lumen, and Path Tracer modes. That means you can keep one scene and one intent while switching render modes, without losing the edge treatment that helps prevent the razor-cut silhouette look. This is not a replacement for proper bevels when the model needs to withstand close-ups or be exchanged with other tools. It is a pragmatic option for when the scene is already in motion, the imported geometry is what it is, and you want a controllable, consistent soften in teh renderer.

Lighting channels: finally, selective light sanity

Twinmotion 2026.1 adds support for lighting channels. Lights only affect objects assigned to the same channel. In practice, this gives you the abiility to isolate what a physical light influences, which is a staple control in many pipelines.

A concrete example: you can keep your background lighting from touching a hero object in a product or fashion setup. That is useful when you want a clean key and fill on the subject, while the environment stays moody or stylised without contaminating the hero’s exposure and specular response.

Lighting channels do not magically solve bad lighting decisions, but they do let you build a scene that behaves more like a studio rig. You can steer light contribution with intent instead of compensating with endless tweaks to intensity and position.

Camera and lens effects: focus breathing for people who enjoy pain

Twinmotion 2026.1 adds Auto focus for depth of field. With Auto focus enabled, the focal point can automatically adjust to the centre of the screen, effectively following the camera’s look-at point. You can set how long it takes to adjust focus.

There is also a hunting behaviour option. The setting lets you choose whether hunting happens occasionally, frequently, or not at all. That is a very specific kind of realism knob, and it is nice to see it treated as a creative control rather than a bug you have to hide.

Depth of field bokeh gets two new characteristics: Anamorphic oval and Petzval. These affect the blur quality in out-of-focus areas, including elongated and swirling bokeh looks. The two can be used individually or combined. Holga-Hipsters, eat your heart out :P

A Barrel distortion slider rounds out the lens pack, curving straight lines near the edges of frame like real lenses, especially wide-angle ones. All of this points at a consistent theme: Twinmotion is leaning harder into camera language, not just lighting and assets. Which is excellent, if your deliverable is stills and clips that need to read as photographs rather than renders.

Particle VFX: more control, less waiting

Twinmotion 2026.1 revamps the particle-based effects in the Twinmotion library. The update optimised performance and visual quality, and it adds new examples.

More importantly for day-to-day work, the particle effects now have exposed parameters, so you can customise them. The examples called out include fire, fog, smoke, and water.

If your scenes lean on atmospherics to sell scale or mood, parameterised VFX is much more useful than locked presets. It turns the library from a look-up table into something you can art-direct.

European trees, and the stuff you only notice when it breaks

Twinmotion 2026.1 adds a European tree pack: 10 new species of photorealistic European trees, each with three variations, added to the Twinmotion library. If you build outdoor scenes for European contexts, that is straight-up practical content, not just another generic “coloured blob” set. And we are not making any political jokes here; we are talking about trees.

The release also changes how asset libraries live on disk. Twinmotion now manages the location of all asset libraries, including user libraries and user-generated content, in a persistent folder structure. This replaces the previous per-version folder structure.

The point is to stop making you copy, move, or redownload content each release. The persistent structure is intended to enable content to be shared across future versions and simplify file paths.

This is the kind of improvement that rarely makes a reel, but it absolutely shows up in the daily friction budget. Fewer duplicate paths also tends to mean fewer broken links, fewer “where did that go” moments, and less time spent doing file system archaeology. N oinformation yet hopw that integrates with existing asset management systems, like das element or others.

Availability and pricing

Twinmotion 2026.1 is available to download. Existing users can download it via the Epic Games Launcher, and subscribers can also download via the Developer Portal.

Pricing depends on who you are and what you need. Twinmotion is free to use for individuals and small businesses under $1 million USD in revenue in the past 12 months, educational institutions, and students. For individuals and businesses over $1 million USD in gross annual revenue, and/or requiring access to Twinmotion Cloud, Twinmotion seats cost $445 per seat per year.

There is also an Unreal Subscription option listed at $1,850 per seat per year, which includes upgrades for Unreal Engine, Twinmotion, and RealityScan for one year, plus access to Twinmotion Cloud. The All-in-one-thingy sub :)

https://dev.epicgames.com/documentation/twinmotion/twinmotion-2026-1-release-notes

The post Epic Games ships Twinmotion 2026.1 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Cargo is a desktop asset browser that connects to Blender, Unreal Engine, Cinema 4D, and more, so you can browse, download, and send models and materials straight into scenes without spreadsheet cosplay.

One app, two libraries, fewer tabs

KitBash3D made the app as the “front door” for discovering and importing its kits, with the bundled library concept now expanded to cover both catalogs.

Two previously separate collections now live side by side inside the same interface, with one sign-in and one search. The combined catalogue includes kits and models alongside scan-based materials, textures, and surface imperfections, all presented as a single system meant to keep structure and surface close together.

That unification also shows up in how content gets packaged. The app emphasizes a consistent pipeline based on OpenUUSDSD and MaterialX, aiming to keep hierarchies and instances intact while translating materials into native shader setups for the target renderer. This is a foundation-level rebuild rather than a cosmetic refresh.

The free starter pack is not tiny

A free account includes a curated set of assets you can browse and download without a credit card. That free set is described as 100 plus assets, and an independent count lists 483 total free items. Its a start :)

245 models, largely building and vehicle parts from two free kits plus a set of semi-abstract biomorphic forms. There are also 189 materials, including fabric, brick, and tile options, plus 44 textures of mostly geometric grids with additional bokeh and dirt textures.

If your day job involves pitching lookdev choices at 9am and shipping frames at 6pm, the free selection matters because it lets you test the pipeline end-to-end. You can confirm how the importer behaves, how instances land, how shader graphs translate, and how your render engine reacts to the material schema before you commit budget.

Search got smarter, and also weirder in a good way

The browsing experience leans hard on discovery features designed to reduce the number of times you type a noun and get punished for it. Smart Search supports natural-language descriptions like “dark industrial”, interpreting intent rather than matching exact keywords. Image Search lets you drop in a reference image and find assets that match its visual style. Show Similar pulls results that share visual DNA with the currently selected asset, encouraging variation hunting without restarting the search. Random Roll reshuffles results within your active filters to push controlled surprise when your brain has gone full beige.

On the surface, these read like creature comforts as they target the most annoying part of asset libraries: you know what you want, but you do not know what the library decided to call it. Natural language and visual matching try to bridge that gap, and the similar and random tools try to keep you moving when the first pick is close but not quite it.

This is also where the unified catalog changes behavior. Similarity searches and random rolls can traverse the combined library rather than staying fenced within a single vendor silo, so discovery sessions can jump between hard-surface set dressing and material detail work without switching apps or accounts.

One click import, persistent connections, and fewer ritual steps

The workflow pitch is straightforward: select an asset, then send it to your scene. The importer is organizing geometry into clean hierarchies and instances, reusing existing assets automatically, and translating materials directly into the native format of the chosen renderer based on render settings. The goal is predictable structure on arrival, so your outliner does not turn into a haunted attic.

The connection model matters as much as the importer. The app supports connecting to installed DCCs and then sending assets through a targeted connector, rather than relying on manual export and import steps for each move. A desktop-based app is available on Windows and macOS including Apple Silicon machines.

Supported host applications and versions are listed in current documentation. The app supports Autodesk 3ds Max versions 2021 through 2024 using a non-USD legacy plugin workflow. It supports Autodesk Maya versions 2024 through 2026. It supports SideFX Houdini versions 20 through 21, including render paths that reference MaterialX. It supports Unreal Engine versions 5.2 through 5.7 using official Epic Games Launcher builds, and it supports Blender versions 4.2 through 5.0 when downloaded from blender.org.

Render engine support is Redshift, OctaneRender, V-Ray, and Arnold. Blender is listed with Cycles and Eevee. Maya is listed with Arnold and Redshift. Houdini is listed with Karma, Mantra, Arnold, and V-Ray.

The practical takeaway is that the connectors and supported versions are specific, not vibes-based. If you live on a source-built Unreal branch or a newer 3ds Max version outside the supported range, you should expect friction and plan your testing accordingly. Also: USD is king here – it might be time to get on the train.

Pricing and membership tiers

Cargo 3.0 is free to download. Subscriptions are three main individual plans and a teams option.
Greyscalegorilla Library plan at $39 per month or $468 billed yearly, which includes 3,500 plus scanned and procedural materials, 1,000 plus models, 650 plus textures, and 600 plus HDRIs.
The KitBash3D Library plan at $59 per month or $708 billed yearly, and includes 20,000 plus textured models, 2,000 plus game ready assets, 300 plus hero props and vehicles, and 200 plus Substance Source materials.
And an Everything Bundle at $79 per month or $948 billed yearly. The Everything Bundle includes full access to every new release from both libraries under one subscription.

There are also Team plans at $99 per user per month billed annually with a four-seat minimum.

What to actually do with this on a deadline

Start with the free assets and run a full pipeline pass in a throwaway project. Test search with a mood phrase, then test Image Search with a real reference frame from your show bible. Send a small cluster of assets into your primary DCC, then verify the resulting hierarchy, instances, and material graphs. Render a quick turntable in your production renderer, then repeat the same asset in a second host app if your studio straddles multiple tools.

If you rely on 3ds Max, treat the legacy plugin note as a sign to double-check compatibility before you promise anything to your producer. If you rely on Unity, the end-of-life date for the older integration means you should map out alternatives now, not when the build breaks the night before a milestone.

Cargo 3.0 sells itself on momentum. The real win is not that it can download assets, every library can do that. The win is whether it reudces the number of tiny interruptions that burn your attention budget. Install, connect, search, send, render, repeat. Then decide if the time saved is real enough to justify the subscription tier you need.

https://kitbash3d.com/pages/cargo

https://kitbash3d.com/pages/pricing
// Quoted info
https://help.kitbash3d.com/en/articles/7833635-cargo-3-0-supported-3d-software-and-render-engines

The post Cargo 3.0 merges two asset libraries first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Feature animation gets performance-obsessed

A new set of feature animation sessions puts character performance front and centre. Supervising Animator Adam Sarophim will present how performance-driven animation gets built at Sony Pictures Imageworks using work from KPop Demon Hunters and GOAT. The session description focuses on crafting emotion, personality, and audience connection through movement, timing, and subtle detail.

Animator Jacob Frey will present The Animation of Zoomania 2 and describe collaboration between art and technology as part of the filmmaking process at Walt Disney Animation Studios. The session description frames the work as an example of how tools and artistic intent meet inside a feature pipeline. Details about specific story beats, pipeline tooling, or shot counts are not specified in the Sources.

Two European-leaning projects also land on the slate: The Last Whale Singer (a teenage humpback whale named Vincent), and a procedural real-time pipeline segment called Trash Island. The speakers listed for that session are Jan Hofmann, a CG Supervisor and Unreal Engine expert at Telescope Animation, and Amir Ashkezari, an FX Supervisor and Technical Director at PFX. The pipeline description centers on Houdini generated assets moving via OpenUSD into both real-time Unreal Engine and a traditional Autodesk 3ds Max and V-Ray workflow, connected by custom tools intended to support daily collaboration between studios in different locations.

Zako is a feature project based on a true story about an Armenian painter during World War II and the Soviet Union. Director Tigran Arakelyan of OnOff Studio will present how VR animation can serve as a core creative tool for sketching, staging, and animating directly in 3D space, as well as practical methods for integrating VR animation into a feature film production pipeline.

AI talks that aim past hype

The Artificial Intelligence track is around practical production use and the question of what AI should do in modern pipelines, with an emphasis on keeping a human artist in the loop.

Ben Grossman of Magnopus is listed for an individual session, followed by a panel appearance. Mohsen Mousavi, Senior Director of Visual Pioneering at Eyeline Studios, is also in an individual session and on the same panel. Hao Li, founder of Pinscreen, is about to present on work spanning computer vision and facial performance technology, having completed AI work on Fallout Season 2. The track is curated by Mike Seymour, co-founder of fxguide.

Cinematography goes deep into the lens mess

The Cinematography track highlights craft from stop-frame production through to photoreal VFX . Cinematographer Dave Alex Riddett will present Work Aard Play Aard, a behind-the-scenes look at decades of cinematography at Aardman and the practical skills involved in stop-frame storytelling.

VFX Supervisor Victor Perez will present GLASS: Capturing the Lens Look for Photorealistic VFX. The session description focuses on lenses having distinct optical characteristics including distortion, chromatic aberration, field curvature, vignetting, iris behavior, and micro-contrast, and on methods to analyze, measure, and reconstruct those characteristics inside VFX pipelines so CGI inherits the visual identity of the camera that shot the plate. The track is curated by Sara Coppola-Nicholson, Director of Research and Education at Cooke Optics.

Partners bring cloud and tools to the conversation

Two newly announced partners add their own angle on production infrastructure and creative tooling. AWS Visual Computing is about cloud-based solutions for visual effects, animation, and 3D content production, including scalable rendering, virtual workstations, and high-performance storage optimised for media workflows. It also highlights AWS Deadline Cloud as a fully managed render management service.

Foundry is … well, if you don’t know the company making Nuke, you should reconsider and read the rest of this website. The partner programming showcases compositing, lighting, look development and texturing, with participating studios named as Industrial Light and Magic, RISE FX, Outpost VFX, and Mikros Animation.

The partner section also includes an in-person day at Raum Mannheim featuring project insights on Fallout Season 2, Netflix’s The Dinosaurs, and Teenage Mutant Ninja Turtles: Chrome Alone 2 – Lost in New Jersey, plus a talk by Director and VFX Supervisor Hugo Guerra.

Dates and tickets, plus the reality check

Tickets are on sale, and the “On Site” runs at Haus der Wirtschaft in Stuttgart from May 5 to 7, Online and On Campus run on May 8, and On Demand runs from May 9 to June 9. See all of you there!

https://fmx.de/en

The post FMX 2026 adds animation, lens talks and of course AI first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blender To Unreal Live Link is built around a simple promise: push models, materials, and textures from Blender into Unreal Engine without bouncing through a traditional export and reimport loop. The workflow centers on a Blender add-on and Unreal-side Python scripts that sit inside your project so the handoff happens from inside your normal working tools. The add-on supports one-click sending, and it also offers an auto-sync mode for iterative work.

Milad Kambari (Artstation) sells the add-on for $18 on Superhive.

Getting connected without guessing

After installing the Unreal plugin and the Blender add-on, the two applications connect through a Start Live Link action on each side. In Blender, the workflow uses a Start Live Link button. In Unreal, the workflow uses a Blender Live Link menu with its own Start Live Link action.

The first connection can take longer than later runs because the network communication between the applications establishes itself for the first time. A connected status indicates the link is established. If you want to confirm the setup path executes correctly, the workflow suggests checking the log and watching for errors shown in red. If you do not see red errors, that indicates the path was set up correctly, and the instruction is to keep the plugin and scripts in the right place and stay patient while the connection finishes.

Send selected, send full scene, and why one is a trap

Once connected, the basic transfer flow centres on selecting assets in Blender and sending them across. The add-on offers two transfer options: Send Full Scene and Send Selected. Send Full Scene is positioned for smaller to medium scenes, and Send Selected is positioned for larger scenes where you only push what you need.

The usage guidance recommends not leaning too heavily on Send Full Scene because real scenes can be heavy, with a large number of objects. The suggested working method is to proceed with Send Selected so you keep control of what moves over, and to transfer heavier scenes piece by piece. The stated goal is better scene management while avoiding the need for extensive hardware resources.

The workflow description also demonstrates sending multiple objects at once using Send Selected, where selecting multiple objects and running the send results in both arriving in Unreal.

Materials, textures, and the two-lane road

Material transfer is included alongside geometry transfer. The tool is described as able to send materials along with textures, including transferring a model together with its texture. The product listing also states that simple physically based materials transfer automatically with textures for base color, normal, roughness, and metallic.

When materials get more complex, the workflow shifts to a different option. The add-on includes a Bake and Send Selected mode intended for complex materials that need baking before they can be sent. The listing describes complex shader setups using nodes such as the Mix node as examples that can require this path. In this mode, materials are baked into clean textures for transfer, and the workflow is described as non-destructive, restoring original materials after the send. The tool detects whether a model has UV maps. If UV maps exist, it does not alter them and uses them for baking. If a model does not have UV maps, it can generate UV maps as needed for baking.

Live sync, but with a leash

Live sync mode sends changes automatically, but the workflow has a specific rhythm. For edit mode changes, the flow relies on exiting edit mode. After you make an edit, you exit edit mode and return to object mode so the edit becomes visible in Unreal.

Live sync is also framed as “something to use carefully”. The developer does not recommend using it extensively because it can require hardware resoruces due to the different graphical structures of the two applications.

Hierarchies, pivots, and scale sanity

On the scene-structure side, the listing describes parent and child support. Selecting a parent object can include its mesh children automatically, which matters when you are working with grouped meshes or hierarchical scene organisation.

It also preserves pivots. Object origins from Blender are preserved in Unreal, so the pivot behaviour you author in Blender carries through after transfer. Scale handling is called out too. The listing describes a 1 to 1 scale relationship between Blender and Unreal, aimed at avoiding the classic scale mismatch workflow pain. Transforms are part of the transfer. Location, rotation, and scale are sent and applied in Unreal.

What is included and what it needs

The package includes a Blender add-on file and Unreal Python scripts named blender_livelink_addon.py, livelink_unreal.py, and init_unreal.py.

System requirements list Blender 5.0 or higher and Unreal Engine 5.5 or higher, plus Windows 10 or 11, with the condition that both applications must run on the same machine.

Pricing is listed as $18.

Practical takeaways for production artists

If your daily loop includes moving assets from Blender into Unreal for lookdev, lighting, layout, or realtime checks, this tool focuses on reducing the friction in that handoff. It provides Send Selected for controlled transfers, Send Full Scene for smaller setups, and Bake and Send Selected for complex material cases that need baking. It also includes live sync for iterative updates, with workflow notes about exiting edit mode so edits propagate.

As with any new pipeline tool, test it in your own environment before you rely on it for production.

https://superhivemarket.com/products/blender-to-unreal-live-link

The post Real-time Blender to Unreal Live Link first appeared on DIGITAL PRODUCTION and was written by Bela Beier.