- 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.
v9.8.0 — Real particles, a solved 3D camera, AI sound design, and device mockups
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