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.

Godot users can now experience the drama of a boss fight while typing. Ridiculous Coding, a free editor extension by developer John Watson (aka jotson), adds real-time chaos to the script editor: screenshake, fireworks, progress XP bars, and visual effects every time you hit Enter.

The plugin’s only purpose is to make coding “less boring”. When you write code, it rewards progress with particle bursts and celebratory effects. Syntax errors might not yet trigger explosions, but judging from the developer’s sense of humour, it feels inevitable. Watson is also developing The Mailroom, a “cozy horror job simulator” built in Godot, where you process infernal paperwork in a small regional office of Hell, located in Modesto, California. Ridiculous Coding is available now in the Godot Asset Library. As with any experimental editor plugin, artists and developers should test stability before adding it to production pipelines.

Anyone curious how serious Godot development actually works might want to visit Helge Maus on Patreon. His in-depth courses and project breakdowns show Godot at work, without the fireworks.

The post Godot Now Shakes When You Code Badly first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: IDA BEST RETOPO TOOLS by Dmitriy Ismailov is a collection of Python-based add-ons for Blender 4.5 and higher. Built around the Vulkan branch of Blender, these tools provide fast, modular retopology functions inspired by Maya’s Quad Draw system. If your daily routine involves cleaning up dense ZBrush or photogrammetry meshes, these scripts might fit neatly between standard Blender tools and full-blown commercial retopo suites like RetopoFlow or TopoGun.

The News: Vulkan Retopo, the DIY Way

Ismailov’s toolset, IDA BEST RETOPO TOOLS, is a hand-built collection of modular Python add-ons that rethink Blender’s retopology workflow. The author’s motivation was simple: most existing Blender retopo add-ons rely on legacy Python operators originally derived from early tools such as PolyQuilt. While functional, these older scripts become memory-heavy when dealing with multi-million-poly meshes.

The new suite instead uses Blender’s Vulkan rendering backend, introduced experimentally in Blender 4.5, to speed up viewport updates and reduce lag when editing complex models. Each function is distributed as a separate .py add-on rather than a monolithic package, allowing artists to install only the tools they need.

Modular and Explicit Installation

Every Python file in the pack acts as an independent add-on. Users must install them one by one via Install from Disk rather than adding a full folder. After installation, the tools appear in Blender’s N-panel. This modularity allows per-tool debugging and selective updates, at the cost of some setup time.

The Core: Quad-Based Interaction

The heart of the toolkit is a Quad Brush system designed to emulate Maya’s Quad Draw behaviour. With hotkeys such as Ctrl, Shift, and mouse drags, users can place vertices, generate quads, or extrude retopology strokes directly on high-poly geometry. The operator runs in modal mode, reacting to viewport input until manually switched off. Performance considerations are explicitly addressed: undo operations can be unstable when combining reverse and smooth functions, and the author warns users not to press Ctrl Z during some modal interactions. These caveats underline the project’s in-progress nature and its focus on function over polish.

Visual Feedback and Vulkan-Specific Display

The set includes a visual overlay module for highlighting non-manifold geometry and isolated vertices, updating in real time with camera movement. The overlay only works in Vulkan builds and disables itself automatically when switching tools to avoid frame rate drops on heavy meshes. This approach mirrors professional viewport isolation found in Maya or Modo, though it still lacks per-object wireframe isolation. The author notes plans to refine this behaviour later.

Geometry Creation and Snapping

One of the notable features is dynamic snapping to face normals. The Project Along operator reprojects newly created quads onto underlying high-poly geometry, fixing floating polygons common in manual retopo. The process can be triggered manually or bound to custom hotkeys using the PAMenu Editor, a fork of Blender’s abandoned Pie Menu Editor project now maintained by the community.

Additional Operators and Controls

All parameters, including vertex display thickness and overlay colours, can be modified in the N-panel. Several secondary tools extend the base functionality:

The Selection Circle generates loops or cuts across multiple separate objects, aiding hard-surface retopology such as armour pieces or layered clothing.
Smooth Iteration acts as an incremental vertex smoother applied via hotkey S.
Cylinder and Stroke Tools create curved or circular retopo patches with adjustable density using mouse scroll input.
The Flip Normals Script fixes inverted faces, particularly common in imported high-poly ZBrush meshes.

Practical Notes and Warnings

The developer stresses that these tools are designed exclusively for Blender 4.5+ Vulkan builds. Functionality may partially work in earlier versions, but the visualisation layer will not. Users are encouraged to assign custom hotkyes via PAMenu Editor or Blender’s Keymap Preferences for efficient access. Undo behaviour remains limited in modal tools, and certain combinations (Reverse + Smooth) can trigger state loss. The author calls these “known quirks” of the early build.

A Maya-Style Workflow Inside Blender

Functionally, the set delivers a familiar workflow to artists used to Maya’s Quad Draw: click to place vertices, drag to fill quads, Shift to smooth, W to toggle wireframes, and F to flip normals. The result is a more tactile retopology experience than standard Blender’s tools, which still rely on traditional transform operators.

While not as integrated as dedicated commercial solutions, IDA BEST RETOPO TOOLS brings much of the same speed and clarity to Blender’s open ecosystem.

Development Outlook

Ismailov notes that future versions will expand with features akin to Petiq, a now-abandoned Blender retopology tool. The project’s direction remains open and community-driven, with feedback encouraged via Gumroad comments. Given that these tools touch low-level input and viewport operations, users are advised to test them on non-production builds first. Stability, especially under Vulkan, may vary between Blender nightly versions.

Bottom Line

IDA BEST RETOPO TOOLS is not a polished consumer product but a working production hack, a coder-artist’s attempt to make Blender’s retopology as immediate and predictable as Maya’s. For retoop specialists handling multi-million-poly meshes, it is a surprisingly competent and fast addition to the toolkit, as long as you are comfortable installing Python scripts manually and living with occasional visual oddities. Always test such innovations thoroughly before relying on them in live production.

The post Quad Draw Comes to Blender first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Audience expectations of the cinema experience have evolved significantly in recent years. Today, viewers expect image quality that aligns with contemporary production and post-production standards – with accurate color reproduction, high contrast and visual consistency that preserves creative intent. At the same time, cinema operators are challenged to future-proof their technical infrastructure while integrating formats such as HDR in a meaningful and sustainable way. This is where Samsung Onyx comes in.

One response to these requirements is LED-based cinema display technology such as the Samsung Onyx Cinema LED display (ICD series). Designed specifically for cinema environments, the system introduces new possibilities for image reproduction, presentation quality and operational consistency.

LED technology as an alternative to traditional projection

Unlike conventional projection systems, Samsung Onyx relies on self-emissive LED technology. The display supports resolutions up to 4K with a refresh rate of 120 Hz[1] and achieves peak brightness levels of up to 300 nits[2]. This enables bright image areas to remain clearly visible without color washout or loss of detail.

Deep blacks, an almost infinite contrast ratio, and high color accuracy enable nuanced image reproduction across the full brightness range. Especially in high-contrast scenes, this results in more precise detail reproduction – an aspect that is increasingly relevant for both filmmakers and audiences.

HDR in cinema: consistent implementation of modern workflows

As HDR content becomes more widespread, its reliable presentation in cinemas is gaining importance. Modern cinema displays must not only support extended brightness and color spaces technically but also reproduce them consistently in real-world screening environments. Systems such as Samsung Onyx are increasingly designed to support HDR workflows from mastering through to on-screen playback.

This approach helps ensure that creative decisions made during production and post-production remain visible in the cinema environment, strengthening the connection between artistic intent and the final audience experience.

Flexibility for different auditorium layouts

In addition to image quality, flexibility is a key consideration for cinema operators. Samsung Onyx is available in four standard screen sizes – 5, 10, 14 and 20 meters – and can be scaled beyond these formats to accommodate a wide range of auditorium dimensions.[3] This adaptability allows cinemas to optimize screen size without compromising visual performance.

The system is also compatible with established cinema audio solutions such as Dolby Atmos, Meyer Sound, QSC and JBL, enabling integration into existing sound infrastructures.

Digital experiences beyond the auditorium

Modern display technologies are not limited to the screening room itself. Digital signage solutions enable cinemas to enhance visual communication in lobby and service areas. Energy-efficient color e-paper displays[4] can be used to present programmed information or advertising content and are centrally managed via the Samsung VXT device and content management platform.

Additional Smart Signage displays can be deployed for menu boards, trailers or brand communication, creating a consistent visual experience throughout the entire cinema journey – from arrival to the start of the film.

Display technology is increasingly shaping the way audiences experience cinematic stories. As production standards continue to evolve, solutions like Samsung Onyx illustrate how image reproduction, brightness and color accuracy can be aligned more closely with creative intent. For cinemas, this opens new ways to present content in a technically consistent and visually compelling manner – supporting the medium of cinema as it adapts to changing audience expectations.[5]

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[1] Based on the internal data bandwidth of the screen. Actual frame rates may vary depending on the connected IMB.

[2] Peak brightness is supported when using DCI-HDR-supported IMB.

[3] All measurements in metres refer to the screen width, while all measurements in inches refer to the diagonal. The 10-metre Onyx screen is available now, with the remaining models being introduced gradually.

[4] Thanks to advanced technology, color e-paper consumes significantly less energy than many other digital signage devices, especially when displaying static images. This can result in direct cost savings. The 4,600 mAH battery also offers high energy efficiency.

[5] The quality of film screenings may vary depending on the region and cinema.

The post Samsung Onyx: How modern display technology is redefining the cinema experience first appeared on DIGITAL PRODUCTION and was written by Advertorial.

For those who don’t know the event: FMX is Europe’s long-running conference for animation, visual effects, interactive media, games and basically the same topics as Digital Production. It takes place every spring in Stuttgart and online as part of Stuttgart Animated Week. The event is organised by the Filmakademie Baden-Württemberg and runs alongside the Animation Production Days (APD) market and the International Festival of Animated Film Stuttgart. FMX combines technical talks, case studies, workshops, exhibitions and a marketplace for tools and services. Attendance spans creative professionals, technologists and students.

Early Programme Highlights Confirmed

FMX 2026, themed THE ROAD AHEAD, has confirmed the first sessions focusing on visual effects practice and the impact of artificial intelligence on creative workflows. One confirmed session from Pixomondo VFX Supervisor Max Riess will detail the transformation of human actors into animal characters for the feature Woodwalkers 2, covering on-set supervision, digital blend techniques and rendering strategies used to create authentic animal performances. This is one of the first concrete case studies announced ahead of the conference.

Another confirmed talk will feature Dr Aaron Hertzmann from Adobe Research discussing whether AI algorithms can be considered artists, grounded in parallels to historical art technologies. He argues that while generative AI tools reshape production and the understanding of art, they are unlikely to be recognised as artists themselves in the near term.

Larry Cutler, CTO of Baobab Studios, is scheduled to share industry-wide patterns in reactions to “job-killing” technologies, drawing from his experience with AI-driven character systems. These early confirmations suggest FMX 2026 will combine production insight with reflective debate on emergent technologies.

FMX Forum and Partner Participation

In addition to conference talks, the FMX Forum is open for bookings and planned to include workshops, a marketplace for tools and technologies, recruiting hubs, and university showcases. Partners already confirmed include Abstract, CG Wire, RnDeep and VFX PICK for the marketplace; Artineering and Prism Pipeline for workshop slots; Chaos in the company suite; and several studios and educational institutions in the recruiting and campus spaces. These components aim to give attendees direct access to tools, technology and talent pipelines.

Animation Production Days: Submit by February

The Animation Production Days (APD 2026), the business and co-production market that runs from 5–7 May in Stuttgart as part of Stuttgart Animated Week, has opened submissions for animation projects. APD is the key co-production and financing platform in Germany for feature films, TV series, mobile content, games, cross-media and virtual reality projects, bringing producers into curated one-to-one meetings with broadcasters, streamers, distributors and financing partners. Projects should be in concept or development and demonstrate international co-production potential. Up to 50 projects will be selected and showcased at the event. Project entries are accepted until 4 February 2026.

APD also offers a Talent Programme for emerging European producers and creator teams, providing free accreditation and festival access to selected teams, including accommodation support.

Notes for Production Artists
Attendees and presenters should verify final session details when the full FMX programme is published, as early confirmations may be updated with additional technical specifics closer to the event dates. And there is always a boiit of shift.

P.S: This is your reminder: Book hotels well in advance, or you have to stay somewhere in the Swabian mountains. There be dragons!

The post FMX 2026: First Talks Confirmed and APD Project Submissions Open first appeared on DIGITAL PRODUCTION and was written by Bela Beier.