Changelog

Explore the latest updates, improvements, and fixes.

  • v10.5.5 — Upload straight onto the timeline, and Linux that installs on Ubuntu 24.04

    • Add Layer ▸ Media — upload a file straight onto the timeline — Picking a video, picture or sound uploads it into the board’s Media library first, so it gets its proxy and thumbnail like any other file, then places it at the playhead on the selected channel when there is room and on an unsnapped channel of its own when there is not. Sound never joins a picture track, and vice versa.
    • Depth Effects has an icon of its own — It shared the wand with Layer Effects, which sits directly above it in the inspector.
    • The Linux .deb installs and launches on Ubuntu 24.04 — 24.04 restricts the sandbox Electron relies on, so the app aborted at startup with a SUID sandbox error. The package now installs an AppArmor profile of its own, the same shape Ubuntu ships for other Electron apps, and removes it again when uninstalled.
    • Two missing dependencies that stopped Linux starting on a clean system — The app links libasound and libgbm directly and neither was declared, so a minimal Ubuntu or Debian could satisfy every stated dependency and still fail on a missing library.
    • The Linux AppImage runs on Ubuntu 24.04 again — Its launcher needed FUSE 2, which 24.04 no longer ships, so it stopped before reaching any of our code. It now carries a runtime with FUSE built in and asks the host for nothing.
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  • v10.5.0 — Shared boards, a GPU particle solver, and four new effects

    • Boards can be edited by several people at once — Shared rooms carry presence — who is here, what they have selected, and a live “…is editing” chip on the card itself — and two people touching the same card is never silent: conflicts land in a tray with Keep both rather than one edit quietly winning. Media travels with the board through content-addressed sync, so a shared board arrives with its pictures. Hosting sets itself up through a wizard that provisions your own Cloudflare worker and remembers the API token, and the room is rate-limited, audited, snapshotted and killable from the panel. Collaboration is scoped to the upcoming PRO Team plan — Team creates a room, PRO joins one.
    • The Particle Solver runs on the GPU, up to 8,000,000 particles — The engine holds its own graphics device and a memory budget shared across every particle layer, so the old 50,000 ceiling is gone entirely — with live preview on the GPU, smooth scrubbing, and re-simulations that are cancellable, debounced and progressive instead of a freeze. Very large systems now work on cards that cannot address the whole pool in one go, and deleting a particle layer hands its graphics memory straight back.
    • Fluid, smoke and particles that collide with each other — Systems can be driven by a real fluid grid — smoke rising from a place rather than the whole layer, a vortex that stirs it, and force emitters that push it locally. New Packing gives particles genuine particle-to-particle collision: emission refuses to spawn into occupied space, a settled pile wakes when the air around it changes, and a burst now waits for room instead of losing whatever would not fit.
    • Collision grew up, and another layer’s shape can drive the cloud — A system can hold up to four colliders and four layer emitters. A collider can follow its layer — tracking the artwork, not just the pose — fit to the layer, and open a side on a timeline schedule, opening the surface rather than a line through the shape. Proximity effectors drive fifteen properties from another layer’s shape, every number keyframable, and Distribution gained eleven scatter modes so particles can be spread evenly rather than only randomly.
    • New effects: Chroma Key, Echo, TimeShift and Depth Scan — Chroma Key pulls any screen colour, not only green. Echo is an overlay effect that costs nothing until you use it. TimeShift is the ARRI timing-shift box — the shutter still open while the pulldown drags the film through the gate, so an exposure is the picture sliding past it. That is why the look is a streak and not a blur, and why pushing Shift past half a frame pitch makes the tail of the streak draw the previous frame, which no motion blur can do. Depth Scan is a LiDAR sweep through a photo rather than across it, in a new Depth Effects panel. Bloom and Edge Detect joined the chain too.
    • Angles: re-shoot a photo from another camera angle — A new category in image generation where the angle is set on a camera rig rather than in three number boxes, with sliders that follow the cursor and a picker that fits on a short window. Generate from 12 best angles does a full turn in one go, and now shows you which twelve.
    • Stabilize, rebuilt as a real warp stabilizer — It analyses the original rather than a proxy, handles cuts, previews from the original file, and sits directly after Camera Tracking. The preview shaking harder than the untouched footage is fixed.
    • Layer effects now ride through transitions with their layer — Per-layer effects are baked into the clip plate before the transition runs, so a Mockup Frame — or any other layer effect — no longer vanishes for the length of a cross. Advanced Movement also learned perspective and can follow a drawn path.
    • Fixes — A run of orientation bugs is gone: transitions rendering upside down with Motion Blur on, a layer flipping for the length of a transition, transparent WebM and PNG-frame renders coming out inverted, and particle layers and Chroma Key flipping on WebGPU. An mp4 render no longer always declares 130 kbps audio whatever you chose, a failed launch says where it stalled, Draw on Image can save the drawing as a mask, and playback stopped re-rendering the whole editor on every frame.
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  • v10.4.0 — Group moves on the timeline, a paste checklist, and a speed curve you can work on

    • Selected layers now travel together on the timeline — The grabbed layer stays under the cursor while every other selected layer previews the same snapped offset live in its own channel — effect lane and layer markers included — so a group no longer appears to move one clip at a time and then jump into place on release. Cross transitions inside the selection stay connected through the move, while one crossing the selection boundary still breaks as expected when only one side moves. Dropping still commits the whole move as a single undo step.
    • Paste settings now asks what to paste — Right-clicking a clip and choosing Paste settings opens a checklist — Time Curve, Transform, Effects, Keyframes, Transitions, Text Style, Text Animation, Shape Style, Audio and Layer Style — with the source layer named in the header and your choice remembered for next time. Every count is the number of settings the copy actually changes from the defaults, so a restyled caption reads Text Style 6 instead of a catch-all Others 137, and a group you leave unticked is not touched on the target at all. Copy settings now carries the speed curve too.
    • The speed curve’s graph gives slow motion real room, and goes to 20× — The plot used to run evenly from 0 to 12×, squeezing all of slow motion into the bottom twelfth of the box — about 13px to place a point in. Rates are now spaced the way you think about them, so 1× to 2× takes the same height as 2× to 4×, and the 1× line is pinned a quarter of the way up: slow motion owns the bottom quarter, speed-ups the rest. Curves already made play exactly as before — they are simply drawn on a ruler where a rate ramp reads as a curve.
    • Repetile can arrange its copies as rings, a wave, a spiral or a scatter — Four layouts drop the rectangular grid for a figure laid out around the original, which stays exactly where you put it: Radial, Wave, Spiral and Random, sized by Layout Spread and coiled by Turns / Cycles. Reveal Type picks the pose each tile arrives from — Fade, Pop, Rise, Spin or From Center — and new Play Delay lags each tile’s picture behind the layer’s own, so a video grid plays as a canon instead of 25 identical frames in lockstep.
    • The timeline can hide whole channels by what they hold — Manage ▸ Filter by Type offers Hide Video, Voice, Audio, Adjustment, Camera and Rig, each showing how many channels it covers, so a project carrying a voiceover, a music bed, a camera and a rig can be cut down to the picture rows you are actually cutting. It is a view filter and nothing more — a hidden channel still plays and still exports — the Manage button carries a green dot while anything is hidden, and the choice is remembered between sessions.
    • Transitions: your own ones edit from the panel, and Advanced Zoom can spin — A Custom transition’s cog used to give you three rows; it now holds the whole thing — Move, Scale, Opacity, Rotations, Transform Origin, Mirror Tile, Zoom Point, Blur, RGB Split, Optics Compensation, Fisheye, Exposure Flash and Wiggle — laid out exactly like a packaged transition’s options. Advanced Zoom gains a Rotation about the zoom point, so a spin and a push read as one screw motion into the cut; both advanced transitions now lead every list, and Blend window goes to 0% for a single-frame swap with no dissolve at all. A clip carrying a cross transition can also be dragged again instead of springing back to its neighbour.
    • A frame now takes its contents with it — Move to Board used to send the empty frame across on its own and leave every card inside it behind, and Create Sub Board did the same. Both now move the frame with everything it holds — nested frames and their contents, a pipeline’s panes and notes — at their original positions, so the group arrives looking exactly as it did.
    • The Media panel no longer plays over your edit, and photos open inside it — Auditioning a file used to keep running after you dragged it onto the timeline, so a music bed carried on over the editor with no transport to explain it; picking a file up now ends the audition, as does adding one by double-click or the Add button. Clicking a photo’s corner button opens the same in-panel row a video opens, with Crop and Enlarge underneath, and Crop writes a new file beside the original rather than touching the source.
    • Audio clips behave like audio — A snapped audio channel no longer offers a cross transition between its clips — a cross blends two clips’ pixels, so on sound it only pulled the second clip backwards and silently shifted the rest of the channel. The intro and outro fade grips are a compact dot that no longer covers the waveform, with the same grab area, and Manage ▸ Stitch confirms before it moves anything, naming the scope, how many layers move, and that one Undo puts it all back.
    • Smaller fixes — Clips can be trimmed down to 0.1s on both handles, so a single-frame cut-in can be built by hand; in compact channels the track-matte and effects chips stop short of the right edge, leaving the end handle free to drag again; and Grid Builder members no longer render upside-down under WebGPU.
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  • v10.3.0 — Shared boards that update instead of re-uploading, Droste, and a keyframable speed curve

    • Updating a shared board no longer re-uploads it — Pressing Update used to push every image, video and font in the board to Cloudflare again; it now sends only what actually changed, so a small edit to a large board is a quick update rather than a full publish. Deleting a card deletes its file from your storage too, Stop sharing now clears out boards of any size, and the assistant updates an already-shared board in place instead of publishing a second link to it.
    • New PRO layer effect: Droste — Escher’s Print Gallery recursion in a single pass — a layer that falls into itself forever, with an inner radius, a twist that spirals the copies and a Zoom that flies through them. Copies draws a finite stack — set 3 and there are exactly three, running outward as well as inward — with a Void colour filling what lies past them. Leave it at 0 for the endless version. Everything keyframes.
    • Cross transitions choose which clip moves — A cross transition needs its two clips to overlap, and until now the incoming one always gave ground: it slid earlier and the timeline got shorter. The new Order control offers Previous over next, which leaves the incoming clip exactly where it sits and slides the previous clip later instead, keeping the timeline’s full length. Anything welded to the moving clip by its own transition travels with it — plain cuts included, so the move can no longer tear a hole open elsewhere on the channel.
    • Advanced Zoom and Advanced Movement gained real control — Blend point places the crossfade anywhere inside the transition instead of only at its centre, Edges fills each clip’s borders separately rather than forcing one setting on both halves, and Zoom strength runs far past its old 300% ceiling. No fill no longer paints opaque black over what is behind the clip, the point-aimed pair no longer dips dark at the cut, and a layer’s exit easing finally runs forward in time — Ease In accelerates out, Ease Out settles.
    • The speed curve is now a first-class part of the timeline — The clock button in the Speed Curve header hands the whole curve to the Keyframe Builder, so a clip’s rate can be animated; holding R while you retime ripples the rest of the channel; and your timeline and layer markers are drawn on the plot at the frames they belong to. Keyframes can also be captured without moving the layer, from a new button that records it exactly as it stands under the playhead.
    • Colour and compositing — Screen, Lighten and Darken ignored the Opacity slider entirely and Multiply ran the wrong way; every blend mode now fades toward its own neutral, so opacity reads as a real dissolve and a mode’s soft edges stop bruising the frame around them. Colorama gained a Blend Mode and an Original level so a gradient map can be mixed into the picture instead of replacing it, and Repetile’s Expand counts animate — the grid builds itself out ring by ring without re-rolling the tiles already on screen.
    • Canvas, media and the timeline — Animated GIFs play in the video editor instead of sitting on their first frame. The Media panel groups by the frame a file sits in rather than its folder, and search finds a file by its card’s title. Editing a card’s image refreshes its thumbnail instead of leaving the old picture behind, a big video card’s playback controls scale with it, an Instagram carousel imports whole with its videos, Reverse is one click in a card’s Edit menu, music can be dropped onto a timeline with no audio track yet, and layer masks start as a rectangle already in edit mode without making muted videos stutter.
    • Fixed: maximizing on Windows could leave a black window — v10.2.0 put every Windows launch on Chromium’s hardware Vulkan compositor, and on affected display drivers maximizing could kill the graphics process while the app itself stayed alive, leaving nothing but the dark window background. Windows is back on Chromium’s supported default; if a graphics process still fails, the app reloads rather than sitting black, and repeated failures offer a software-graphics restart. The signed Windows release gate now drives the real window through three restore/maximize cycles before a build can ship.
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  • v10.2.0 — The video editor runs on WebGPU, long renders that finish, and notes on cards

    • The video editor can now run on WebGPU — Pick the graphics engine per project in the Renderer panel, or set the default for new projects in App Settings → Video Editor. Every built-in layer effect, transition, 3D layer, particle system, shader background and the Rig / Auto Fill / Motion Trail tools were ported and checked frame-against-frame with the classic renderer, so a project looks the same on either engine. A machine that cannot run WebGPU now says so plainly instead of failing with a developer error, and an effect or transition that only exists on one engine tells you where it will and will not run.
    • Long and large video renders no longer fail — Renders of big clips used to stop with “a clip likely can’t be decoded” on files that decode perfectly, and rendering a range that started anywhere but the beginning failed the same way. Clips are now segmented and prepared for the range actually being rendered, long 4K renders no longer run out of memory near the end, and 23.976 / 29.97 / 59.94 fps renders keep their keyframes throughout instead of carrying just one at the start.
    • A final render can no longer fall back to the preview copy — An export now insists on the full-resolution source instead of quietly using the low-resolution proxy of a clip, and the prepared copies it makes along the way are cleaned up when it finishes.
    • Notes on cards — Any card on the board can carry a note, styled with a single brush shared by every note and frame title.
    • Pipeline panes behave like real frames — Assets, Instructions and Results can be selected directly by their titles, their dividers stay where you drag them, and media dropped into a pane keeps the size it was dropped at instead of being squeezed into a grid. Autolayout gained 1 Column, column presets 1–10 and a fixed-size Grid, sizes the frame to its content, and moves the panes below it without copying their size.
    • Media saved from the Telegram bot lands in its own board frame — Photos, videos, files and downloaded links sent from the bot are collected into one labelled “Telegram Bot” frame instead of being scattered over the board.
    • A presets browser for the agent terminals, and App Settings in tabs — The Presets button opens a proper window rather than a dropdown, and you can add your own commands to it. The gear panel is split into Canvas, Video Editor and AI Agents instead of one long scroll, Exposure Flash is now a section on Advanced Zoom and Advanced Movement, and five shader backgrounds gained colour controls.
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  • v10.0.10 — Exact background colours, a Grid that stays visible, and clipboard fixes

    • The project background renders in the exact colour you set — Solid backgrounds no longer come out darker than every layer (#3366cc rendered near #062197) — in preview and in every export alike — and a plain colour string set through the API now works instead of rendering a black stage.
    • The Mockup builder’s Grid stays visible while images load — Each grid cell fills in behind its own placeholder instead of blanking the whole 3D canvas, with a “Building Grid…” pill while cells are still streaming in.
    • Copying a timeline layer claims the clipboard — A media file left on the system clipboard can no longer hijack every ⌘V in the editor — ⌘C/⌘X on layers replaces it, so paste pastes the layer.
    • GLEA is back in the header bar — The header button returns alongside the Agents rail page — launching from it opens the left Agents pane and runs the chosen agent there. Saved terminal sessions no longer break the pane layout.
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  • v10.0.0 — The video editor gets a Figma-style rail, a Navigator, and on-canvas text editing

    • The video editor’s sidebar is now a Figma-style rail — The four horizontal tabs became a vertical icon rail — Media · MotionFast · Presets · Mockups · Agents · Navigator · Project — each opening its page in the same floating card. GLEA moved onto the Agents page with a run-with select (Claude Code CLI, Codex, Gemini CLI, OpenCode, or a clean shell), Project settings got their own page, and the right panel was refreshed — narrower, tighter, with per-section icons so a collapsed panel scans at a glance.
    • Navigator — the project hierarchy, by channel — A rail page listing every channel with its layers, names and time ranges: click to select and scroll the timeline there, rename inline, collapse all, and sort By Channel, By Type or By Time in 1-minute or 10-second buckets. Selection stays in sync both ways.
    • Edit text right on the preview — Double-click a text layer and type — the words are edited in place, in the layer’s own font, size, spacing, alignment, case and colour, rotated and scaled with the layer and riding the project camera and zoom. Click outside or ⌘+Enter to apply, Escape to cancel, one undo step for the whole edit.
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  • v9.9.5 — Ripple editing: the whole scene follows your edit

    • Ripple editing — hold R and the whole scene follows the edit — DaVinci-style ripple, armed by holding R: drag a clip’s edge and every layer after it slides live with the trim; R+Delete removes a layer and closes the hole; hold R while dropping a clip, media file or preset and the layers after the drop point step aside by its length. A bottom-left notice announces when ripple is on, an amber dashed line marks the edit point, layers that started before it (a music bed under everything) stay put — and one undo reverts the edit and its ripple together.
    • Drops on sequential channels land where the snap line shows — Dropping a clip or media file onto a snapped channel used to show the magnetic line at a boundary between two clips — and then append the layer to the end anyway. It now inserts at that boundary, and the clips after it shift along as for any insert into a sequence.
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  • v9.9.0 — A universal Transition Builder, canvas snapping, and a playhead on the Speed Curve

    • The Transition Builder is universal — every layer brings its own effects — The custom builder now carries a full effect stack per layer: the outgoing and incoming clips each get their own Zoom Point (zoom through a point you drag right on the preview), Blur (Gaussian, Directional or Radial), RGB Split, Optics Compensation and Fisheye, an Exposure Flash in any colour, an Opacity dip, and Wiggle camera shake — each running on its own over-time envelope: build to the cut, settle from it, peak mid, or constant. Everything defaults to off, so transitions you already saved look exactly as before.
    • Wiggle really shakes, Mirror Tile fills the frame — The builder’s Wiggle shakes the layer itself — translation and roll together, noticeably stronger — instead of nudging the picture inside a static plate, and the Mirror Tile edge fill now covers the entire view whatever the transition does to the layer, so the mirrored pattern always runs to the edges of the picture.
    • Cards can snap to each other on the canvas — Turn on Enable snapping in App settings and a dragged card clicks into alignment with the edges and centers of the cards around it — solid guides for edges, dashed for centers, and the matched card lights up. Off by default, and you don’t have to commit: hold ⌘ (Mac) or Ctrl (Windows) during any drag to snap just that move. Works at any zoom, for multi-selections and Alt+drag duplicates alike.
    • The Speed Curve can show the playhead — A timeline toggle in the SPEED CURVE header draws the playhead’s position on the curve — the line tracks playback live, and you can click or drag the curve’s background to scrub the timeline, exactly like the keyframe graph. The toggle is remembered between sessions.
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  • v9.8.0 — Real particles, a solved 3D camera, AI sound design, and device mockups

    • A real particle system, filmed by the project camera — Scene ▸ Particle Solver puts a box of simulated particles into the composition’s 3D space — the camera dollies and orbits past it, layers pass in front of and behind it, and it takes transforms, parenting, effects and blend modes like any other layer. Five presets (Dust, Stars, Snow, Sparks, Bokeh), forces from gravity to five kinds of turbulence, and the whole clip is simulated once from a seed, so scrubbing, range renders and exports agree frame for frame. The particles can be your own layers — images, text, shapes, even a video playing inside every particle — and a layer can dissolve into its own pixels, with a front sweeping through the artwork so a title falls apart in order instead of popping. Up to 100,000 particles, re-baking off the main thread so editing stays smooth.
    • Camera Tracking recovers the actual 3D camera — Create Camera works out where the camera that shot your footage travelled and writes it as a camera layer with keyframes on all six channels — place a layer in the scene afterwards and it sits at a depth and holds there, with the parallax that implies. Solved points become invisible nulls, attach to layers you already have, or drive the project camera to smooth a shaky shot. Footage with no parallax is refused with the reason instead of returning an invented answer.
    • AI Sound Design — Smart AI ▸ AI Sound Design writes foley, ambience or a score for a shot: select a video layer, pick from every video-to-audio and video-to-music model in one list — with capability tags and the price for your exact range — and audition the result playing over the picture before anything lands on the timeline. Every run keeps its take, so Generate again is an A/B rather than a replacement. Pika’s own audio line (Speech, SFX, Music, Soundtrack) joins the catalog, and every model’s Duration now sits on the bar next to it.
    • Mockup Frame — put any layer inside a real device — iPhone 17 and 17 Air, Pixel 10 Pro, iPad Pro 13″, MacBook Pro and Air, iMac, Pro Display XDR, Apple Watch, and a browser window with your own URL. Every chassis is drawn rather than a picture of one, so a camera push finds more detail instead of a softer edge — and the scale, position, rotation, glare and shadow all keyframe, so a mockup can drift, push in or hand off between shots.
    • The timeline gives more and fights less — Layers drag between snapped and free channels in both directions; media adds insert after the selected layer instead of at the end of the row; Transform holds hundredths and gains Scale X and Scale Y; speed curves have tangent handles and the graph shows the speed the clip actually plays at; nearly every value in EFFECTS and all seven FILTERS take keyframes; masks can be drawn by hand with a Pen that curves; N drops a key at the playhead; right-click a clip to Reverse it in place. And hard cuts stopped flashing — shot boundaries open on their exact frame, even across channels and loops.
    • And the rest — Hold Space to carry cards and click the minimap to fast-travel them across a big board; the Media Library filters by file kind and “on the canvas”, offers to build missing video previews, and has live search everywhere; Dynamic List joins MotionFast — a scrolling list where every change is a light cut; Grok Imagine V2 and V2 Edit arrive; and Video Upscaler Pro handles big source videos instead of failing on them.
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