Changelog

Explore the latest updates, improvements, and fixes.

  • 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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  • v9.7.0 — Drag-on-canvas warps, keyframe expressions, and board conflicts you can settle

    • Two people, one board — and conflicts you can actually settle — Working on a board from two machines used to be decided silently in favour of whichever save landed last, with the loser written into a backups/ file nobody would ever open. Every save now carries the version it was based on and is refused if the card moved underneath it — including group operations like dragging a selection, undo, send-to-front and autolayout, where a refusal costs you that one card instead of the whole gesture. Conflicts are recorded, survive quitting the app, and a banner offers Review: the two versions side by side, per card, with Keep mine or Use the folder’s. A board updating from its folder now changes only the cards that actually changed instead of tearing the whole board down and making every open window reload it.
    • Nine new effects, most of them warps you drag on the preview — Mesh Warp lays a lattice over a layer and drags the picture with it; Bezier Warp drives the outline with four curved edges so a banner bows instead of kinking; Corner Pin pastes artwork onto a screen, a wall or a passing van with real perspective. Alongside them: Region Distort (stretch one band of a layer and leave the rest alone), Bend, Motion Trail, Warp Styles, Optics Compensation and Gradient Sweep. Each has a Show Control button that puts its handles straight on the layer, and because the geometry is a percentage of the layer’s own box, a warp rides it through moves, scaling, rotation and parenting. Every point keyframes — with one click to arm a whole mesh or all four corners at once.
    • Keyframe expressions — Every numeric property row now has an ƒx button. Elastic, Bounce and Wiggle reshape the move itself — a layer shoots past its target and rings into place as one continuous motion — and Custom lets you write your own: value + wiggle(2, 0.1), layer("Logo").scale * 0.5, loopOut("pingpong"), or a reach into a sequence’s inner layers. A live read-out shows what it evaluates to at the playhead, a broken expression turns its ƒx red and never breaks the canvas, and anything random is seeded so exports match the preview frame for frame. Expressions are interpreted by the app and never run as JavaScript, so opening a shared project cannot run code hidden in one.
    • Smooth path, on every path in the app — Shape outlines, Lines, layer masks, motion paths, the camera path and the Flipbook’s paths all gained a Smooth… button. Fit refits the curve with as few points as your tolerance allows — a 44-point spiral becomes 9 points sitting within 0.25% of the original; Reduce drops only redundant points and leaves the survivors exactly where they were; Even respaces an exact number of points; Relax smooths the shake out of a tracked or hand-drawn path. It previews live on the canvas at real size, keeps deliberate corners sharp, and drops the same points from every key so a keyframed shape keeps interpolating. The AI can do it too.
    • Circular Wipe, and advanced transitions that work on their own — Circular Wipe opens the next clip through a soft circle you aim anywhere in the frame, with a four-stop gradient beam riding the moving edge and parallax settling the incoming shot out of a zoom — or run it the other way to close onto the point. Advanced Zoom, Advanced Movement and 3D Carousel are now entrance and exit transitions as well as cross ones, with their full option set, so a single layer can zoom, whip or swing on and off by itself.
    • Connected Steps, and 608 sounds — A new MotionFast template: step badges scattered along a winding path, a thin line drawing from badge to badge with a dot at its tip while the camera travels with it, and every arrival flooding the pill with colour from the connection point — with spring hit reactions, four highlight styles and per-step timing. The free Motion Design Pack is now 608 sounds in 21 categories, and an installed pack updates in place: your files are moved rather than copied, and anything you added yourself is left where it is.
    • Editor quality-of-life — Alt-drag a timeline clip to duplicate it where you drop it; Extract frame turns any moment of a clip into a full-resolution still filed in your board’s media; an image layer keeps its own aspect ratio instead of being letterboxed into a frame-shaped plate; a text layer’s selection box hugs the words instead of the whole preview; Cmd + scroll zooms the board canvas on a Mac; arrow keys step a canvas video card frame by frame; and Layer Effects gained a searchable picker and a mute lamp, so an effect can be switched off without losing its settings.
    • Opening the Media Library no longer reads every board on your machine — The panel showed one board and asked the app for all of them — walking every board folder on disk and listing every file, megabytes of it, for rows that draw nothing but a title and a count. It now reads the board you are on and gives the others just their name and file count, fetching a board’s files when you open its row. Reported by a user whose 692-file board took the video editor 200 seconds to open.
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  • v9.6.0 — Motion tracking, RotoScope, and a camera that follows your subject

    • Motion Tracking — Draw a box over a detail in a video — a logo, a face, the corner of a phone — and the editor analyses that footage once and remembers how it moves, scales and turns. Any layer can then follow the track: Ride along adds the tracked motion to the layer’s own, Pin to point puts it straight onto the detail, and Lock cancels the motion so the footage steadies around it. Corrections are the After Effects move: park on a frame the tracker got wrong, drag the box back onto the subject, and the fix is stored as a key beside the measured ones. Every track shows a confidence strip, the engine’s dials sit behind a cog for footage the defaults can’t hold, and a track that loses its subject says where — and continues when you put the box back on it.
    • RotoScope — Cut a moving subject out of footage with Person, Object (Magic Touch), Colour Key or Hand modes. Draw a lasso around the subject, trace, and review the outline as a live preview on the canvas before anything is written — Copy to mask is the only action that touches the layer. A track can continue after an occlusion, and a broken stretch is repaired from any frame: reshape the outline there, re-track forward, and the good part is preserved.
    • The camera follows your subject — The new Follow Object camera-rig type keeps the camera looking at a chosen layer while Radius, Height and Sweep place and circle it — a moving subject drags the camera with it, drone-style. The follow target is keyframable, so a shot can pan from one subject to the next with easing, and two new presets — Drone Follow and Chase Cam — join the rig grid. The Camera Rig also arrives in the After Effects extension: every move and preset as a real two-node AE camera, baked keys or a live expression-driven rig.
    • Local color grades with masked adjustment layers — Draw vector masks on an adjustment layer and its grade, LUT and effect chain apply only inside them, while everything outside stays untouched — with the full mask toolkit: feather, expand, grow, add/subtract/intersect/difference combining, keyframes and an Amount slider.
    • Notes grew up — Icons (ten types, four positions including a corner badge, one-click presets with real Bold and Soft palettes), per-note fonts from the full Typography catalog, and inline formatting — bold, italic, text color and clickable links. All of it renders on shared boards too, with custom fonts bundled along.
    • Sharing looks and works like the app — A consistent new icon set across every toolbar; connectors, drawings and arrows finally render on shares; clicking a card shows its title and source link; Markdown and HTML cards open properly formatted previews; share links unfurl on social media with a pickable preview image; and big boards stay smooth on phones — videos load only when you reach them and far-out cards flatten into cheap tiles.
    • Flipbook caught up with the video editor — Camera rigs (all eight move types and thirteen presets), the full 40+ curve easing catalog, a Line Path scene object, keyframable Look At targets, marquee keyframe selection and group gizmos for path points.
    • Editor quality-of-life — Layers can be renamed from the inspector; prompt @-references show a thumbnail chip of what they point to; the After Effects inputs editor got a readable card layout; template glows no longer collapse on close camera moves; and every Pika chat model works in Board Chat again.
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  • v9.5.0 — Long renders that finish, full-resolution big clips, and an easing picker you can see

    • Long renders finish, and they keep their sound — A render with audio could climb to 99% and stop with “Array buffer allocation failed”, stall partway through a long timeline, or finish silently with a long clip mute. All three came from the same habit of loading whole files into memory: a clip’s soundtrack was read by downloading the entire video, mixed only once it had all arrived, and handed to the file writer last — so nothing reached disk until the very end, and the final step tried to write the whole film in one allocation. Audio is now read from the soundtrack alone, mixed a fraction of a second at a time, and written before the picture, so frames stream out to disk as they are encoded. A forty-minute 2K project finishes instead of failing, and uses less memory throughout rather than only at the end.
    • Very large clips render at full resolution — A clip past a few gigabytes was too big for the browser’s fast decoder, so the render quietly fell back to the same 1280-wide preview copy the timeline uses. The output was the right size, but that clip carried no more detail than a preview for as long as it was on screen. An oversized clip is now prepared the way a heavy one already was — a full-resolution copy sized to stay within what the decoder can take, built once and reused by later renders. On a 5.2 GB, 43-minute clip rendered at 2560×1440 the prepared copy is visually indistinguishable from the master. A clip too long for that, beyond about an hour at 2K, still uses the preview and now says so in the render log instead of leaving it to be noticed.
    • Pick an easing by looking at it — Easing was a list of forty-three names — Circ Out, Power3 Smooth, Impulse — with nothing to say what any of them did, so finding the right one meant applying it, playing it back, and trying the next. It is now a panel that draws every curve the way it actually plays, overshoot and all, grouped so the ones you reach for come first. Search understands families and shapes as well as names, so “spring”, “bounce” or “out” all find their curves; there are filters for In, Out, Smooth and Overshoot, and a grid view for browsing. Point at any easing and it plays along the bottom of the panel before you commit to it, and the curve you land on now shows on the field itself instead of only its name.
    • A new easing: Smooth Overshoot — Overshoot and Elastic both leave at full speed, which makes a move read as thrown. Smooth Overshoot starts from rest, eases in, sails a little past its mark and settles back once — the same springy character without the snap at the start or the wobble at the end. It sits under Springs & overshoot, next to Elastic.
    • SVG artwork stays sharp at any size — An SVG dropped on the timeline used to be turned into a picture once, at whatever size the file happened to declare, and then stretched to fill the frame — so a logo or an icon arrived soft and got softer the closer the camera came. It is now a vector layer: it comes in at its own size and is redrawn from the artwork itself whenever it grows on screen, the same way text and shapes already were. Scale it up, push the camera into it, render it at 4K — the edges stay clean. Its selection box hugs the artwork too, instead of the whole frame.
    • Scale reaches 2000%, and frames stay behind their contents — Transform’s Scale stopped at 300% while keyframed scale already went to 2000%, so a punch-in on a small logo hit a ceiling that animation did not; the slider, the canvas corner handles and the Distributor’s scale ramp now all reach 2000%. Separately, a frame drawn around pictures you already had could end up sitting on top of its own contents — it looked right, but every click landed on the frame. A frame now always sits behind what it holds, and bringing it to the front takes its contents along in their existing order.
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  • v9.4.0 — Layer masks, a real 3D set, and renders you can actually follow

    • Layer Mask — cut a layer with a shape you draw inside it — Until now the editor could hide pixels three ways and none of them was a mask on a layer. Layer Mask is its own inspector section on video, image, text, shape and motion layers: switch it on and reshape the mask on the canvas by dragging its points. Several masks per layer combine the way After Effects combines them — Add, Subtract, Intersect, Difference — each with its own Invert, Opacity, Feather and Expand, and Grow advances the edge outward over the clip for a reveal that needs no keyframes. Everything on the layer respects the mask: glow traces its edge, camera defocus blurs its silhouette. Every mask property animates, including the outline itself, so a rectangle at the start can morph into a circle at the end.
    • A real 3D set, lit from one place — A Rig layer lights every 3D model in the project at once — directional, point, spot, ambient and sky lights, aimed by azimuth and elevation rather than by a vector you have to solve — with real shadows and a cyclorama: nine studio sets your models stand on and cast against. Ordinary flat layers can join that scene too, intersecting models, receiving shadows and occluding one another properly. Lights and path points are draggable directly in the 3D view, and what you frame there is what you render.
    • A camera you can set by numbers — The camera now has a movement type — Free Movement, Motion Path or Camera Rig. The rig gives you orbit, dolly, crane, push-in, truck, spiral and handheld moves with ten presets, keyed to animate the moment you apply one instead of sitting frozen on their opening frame. A path you drew by hand is never rewritten by it, and you can save rigs of your own.
    • Renders you can follow, and that no longer stall — The render bar is now a checklist of the whole job — preparing footage, rendering frames, finalizing, saving — naming the step in progress, what it is working on right now, how far into it you are and the time remaining. Footage that used to jam the renderer minutes in, whether a near-lossless master or a multi-gigabyte clip, is recognised and handled rather than failed, and a render that was merely slow to start is no longer abandoned.
    • New layer effects, and transitions that carry a lens — Repetile tiles a layer into an animatable grid whose tiles need not be identical, Extract keys on luminance with a live histogram and a keyframable range, Curves grades from a reference, and a track matte now keys on the matte layer as you styled it and works inside a sequence. Zoom to Point and Move to Point became Advanced Zoom and Advanced Movement, adding a Fisheye that swells into the cut and flattens out again and a Wiggle that trembles harder as the cut approaches and settles as the new clip arrives.
    • Voice, media and three new templates — Clean sweeps the ums, the uhs and the dead air out of a take; the Voice Editor opens on the take you had selected and can re-speak a whole one in a click; recordings, AI voice and extracted tracks are filed into folders instead of piling up on the board. The Media Library paints its tiles from thumbnails made once on first view rather than full-size originals, and a Sound, Assets and Music Library sit alongside board media, shared by every board. Three new MotionFast templates arrive as well: Code Window, AI Chat and a Comparison Table.
    • Windows installers are signed end to end — Every executable inside the app, the uninstaller and the setup file itself are signed, and each release is now installed and launched on a real Windows machine with Smart App Control in enforcement before it is allowed to ship.
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  • v9.0.5 — Windows board folders, and a media folder that moves when you move it

    • Windows: creating a board in a folder of your own works again — Choosing where a board lives — at board creation, through Connected Folder, or when importing or reconnecting a board folder — linked the board to that folder with a symbolic link, and Windows only grants those to an account running as administrator or with Developer Mode switched on. For everyone else board creation failed outright with “A required privilege is not held by the client”. Windows now uses a directory junction, which needs no special privilege and behaves exactly like the link macOS and Linux use.
    • Changing the Media Folder actually changes it — Picking a new folder under Options only wrote the setting: the running app kept saving into the old folder while every path it looked up pointed at the new one, so new boards went to the old place and then reported themselves missing. The app now stops, moves and restarts as one operation, and offers to bring your boards with it — instantly on the same drive, copied across if not, and put back untouched if anything goes wrong partway. Boards kept in a Connected Folder move as the pointer they are, so your own folders are never copied or touched.
    • A folder the app can’t reach is refused, not half-created — Pointing a board at a network share used to appear to work and then open the board read-only with “the board folder is missing”. The app now checks before anything is moved and says exactly why a folder can’t be used, and every board folder link is walked once before it is accepted — a link that leads nowhere is never left behind.
    • The media folder is checked when you pick it — Board folders and Connected Folder work through a link placed in the media folder, and not every drive can hold one — a network share can’t, and neither can a disk formatted exFAT or FAT32. Choosing one used to be accepted silently and only surfaced later as a broken board. The app now tests the folder on the spot and either accepts it or tells you why it can’t be used, changing nothing when it’s refused.
    • The database file options have been removed from the Options menu — Pointing the app at a different database never moved or merged anything, so it was an easy way to end up with a setup that looks like lost work. If you already set your own database file it keeps being used exactly as before.
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