Lumit v0.8.0

v0.8.0 17 October 2026

Another large update. Depth of field pro traces a real lens, node graphs have groups which can be saved, shape layers get Twist and Deform options, and Particulate can emit in bursts, including on the beat.

Exporting is about 7 times faster, projects should generally open faster, and after this release updates download patches to reduce download size and time.

As always please test these new features out and report anything that goes wrong.

What is new

Lenses and depth of field

Depth of field pro traces a real lens into its out-of-focus shapes. This is in addition to the existing Depth of field effect.
Its Depth row reads a depth pass, or distance in metres from a precomp with 3D layers.
One lens window for Depth of field pro and Lens flare picks, imports, and edits lenses.
An edited lens is stored within the project, and can be saved for use in any project.
Lens dirt can be fully customised, with multiple dirt options, out of focus options, and glass curvature. Thanks to @tujlugpam for the original version of this a long time ago.
Both depth of field effects have a Zebra tickbox that stripes whatever is in focus.
In node graphs distance can now be passed via wires between effects, and Depth of field pro can output its focus, f-stop, and glass curvature for other effects, such as lens dirt/flare to work in tandem.

Node graphs

Nodes can be framed in named, coloured groups, and saved to the preset library. Groups can be nested, and notes can be added to the canvas to help organise.
A box keeps the picture past the frame, up to one frame past each edge. File ▸ Project settings… ▸ Node graph overscan has two frames and Maximum.
The Viewer’s guides menu has Picture bounds, a dotted outline of how far the picture reaches past the frame.
A Switch only decodes and renders the input it picks.
Wires have a dropdown with Curved, Angled, and Hanging, and a wire going backwards no longer snaps sideways halfway down.

Shape layers

Twist spins a shape about an axis.
Deform moves the outline with a smooth noise field.
Smooth rounds off the whole path without bulging past its points.
Stroke taper narrows a stroke towards its ends like a brush stroke.
All four are on a new Add menu on a shape’s right-click in the Timeline.

Effects

Particulate has bursts, once at the start, every few frames, or each time Trigger rises past 0.5.
Particulate can also kill or wrap particles at the frame’s edge, drive size, opacity, and colour by speed or a random number, be born where a Density layer is bright, and blend particles with any blend mode.
The marks on a selected effect’s points, such as a Centre or a Light position, can be dragged in the Viewer.
Emit from image, Displacement map, Pick points, and Vary points have Map placement, so a map layer lines up where it sits in the comp.
Seed now sits at the bottom of every effect that has one.

Drivers and expressions

Measure passes size, centre, and edges of a layer’s content, which allows you to automatically adjust backgrounds if text changes for instance. Expressions get sourceRectAtTime for the same info.
Beat trigger turns beat markers, beats found in the audio, or a band crossing a threshold into a pulse, count, and an envelope.
Clicking an expression opens a proper editor over the row. It grows with what is written, and shows the value at the playhead.
A broken expression says why under the text, and the row draws its number in red.
The Expressions panel follows the selected property.
Tab indents in the shader and expression editors.

Footage and importing

Interpret footage… on a footage row’s menu sets alpha, frame rate, start timecode, fields, pulldown, pixel aspect ratio, loop, linear light, Preserve RGB, and colour space.
EXRs with a lone channel, such as a depth pass, open in greyscale at their real values, and multi-pass renders from Blender, Nuke, and Houdini open on their beauty pass. Interpret footage has a Render pass list to pick another.
Opening an After Effects project brings across each item’s interpretation and its OCIO colour management.
The 20 most used third-party After Effects effects now import, to the vendor’s OFX build when it’s installed or the closest Lumit effect otherwise.
A file with several audio streams arrives with them all mixed on one layer, which can be split.
Analyse and Propagate work on precomp layers.
Depth, Remove background, and the Roto brush have a Frames row to analyse every frame, the layer’s in to out, or the work area. Depth and Remove background can save each frame to a folder as a PNG.
The flow Input rate goes up to 10,000 fps.
Settings has a New project template, a project every new one starts as a copy of.

Cut and the Timeline

A clip on a Sequence layer can have its own effects and blend mode.
The effect controls have a keyframe strip. It can be turned off in Settings ▸ Timeline.
Cut has auto ripple, auto crossfade, and quantise, tracks can be dragged taller or shorter, and a footage layer’s sound shows under it.
There’s a Vegas shortcut preset added in Settings.
Speed points take an exact percentage, and markers draw lines down the timelines.
One effect can be saved as a preset, and presets can be dragged onto layers.
Pasting keys with layers selected pastes the keys on the same property of each layer, first key at the playhead, adding the effect if applicable.
The Graph editor has a switch to show the selected curves, every curve on the selected layers, or every curve in the comp. Selecting a key also shows the handles facing it either side.
Copy ease, Paste ease, and Join handles are in the keyframe menus.
Fit selection in the Graph editor, and F fits the keyframes in layer view.
The Hand tool pans the Timeline, the Graph editor, and both node graphs.
Duplicate composition, which asks whether nested comps are shared or copied.
Precomposing a layer whose parent or matte stays outside offers to duplicate them.
Export asks before writing over a file, with Overwrite, Keep both, and Cancel.
The mixer faders taper.

Updates and the window

An update button sits on the bottom bar. It shows download/update percentage, and hovering it lists what each missed release adds.
Updates after this one download patches to update which reduces update time and size.
Windows updates install without a window, and Lumit relaunches on its own.
On Windows the title bar has been merged with the menu bar.
On Linux Lumit’s own title bar is off by default, with a switch in Settings ▸ Appearance.
Toolbars that can’t fit all items now fold their buttons into a ⋯ menu.
Items that can be clicked brighten/enlarge under the pointer, and lists glide with the mouse wheel.
Extensions can keep a short line on the bottom strip.
The first launch screen has a tick on the After Effects and Vegas cards to load their shortcuts, off by default.
Thumbnails on footage rows, layer names on lane bars, marker lines, the minimap, and node graph wires are now set in a Panels section of Settings ▸ Appearance.
The Desk rooms row has gone from Appearance, as the colour scheme menu picks the same.

Performance

Exporting is faster.
When opening a project, the time to load is reduced in many cases.
Playback on cached frames no longer goes out late or drops the sound.
A precomp that isn’t changing is no longer rendered again on every frame while playing.
A precomp under motion blur is no longer rendered twice.
Time spent building the interface while previewing reduced.
Lens flare at Ultra is almost twice as fast.

Fixed

Lumit wouldn’t start on a clean Windows install, as the Visual C++ runtime was missing.
An update on macOS left the app saying it was damaged.
Proxies were never used, and Make proxy failed on some clips.
Footage with uneven frame times drifted against its own sound.
The sound stopped for about a second where a Lens flare started in a loop, and clicked when it stopped, started, or looped.
Lens flare ghosts leaned pink, and a blue coating made yellow ghosts.
Matte mode flares merged lamps far apart into one light that jumped between frames.
Newer Red Giant Universe didn’t show up. Plugins Lumit turns away now have the reason written to plugin-scan.txt beside plugins.json.
A file made from a project kept online, such as a Save as or a copy, opened as the shared project.
An expression on an effect value, JavaScript or Rhai, often didn’t change the Viewer until another value on the effect moved.
An expression on a point, an angle, or a whole number stopped the effect controls drawing.
Motion blur on an adjustment layer smeared the last frame of a shot with the shot after the cut.
The Node panel showed an effect’s internal name, such as lens_flare, instead of its name.
The cache bar flicked short during playback.
A keyed trim, repeater, or path on a shape layer showed one frame while playing, and an expression on a shape value didn’t move.
An effect’s matte or depth layer was stretched over the effect’s own layer, so it didn’t line up when either layer was moved, scaled, or not full frame.
Save group was greyed out unless a driver was picked.
Changing a comp’s size pushed every layer into the top-left corner.
Layer ▸ Split layer only worked on Sequence layers.
Locked layers could still be picked and dragged in the Viewer.
The colour picker’s ring jumped about near black.
Tab in the shader editor moved focus out of the code, and drag-selecting in scrolled text jumped.
On macOS the two halves of the Timeline bounced apart on a trackpad scroll.
The addon model runtime wouldn’t load on macOS.
A pinned taskbar or Start menu shortcut kept showing the old icon after an update.
The main window could be made small enough to break the layout, it now stops at 840 x 560.

Before you update

A file with several audio streams now arrives with all of them mixed on one layer, it used to play only the first. Layers already in a project are left alone.
Several audio streams arrive as in Settings puts it back. If you had set it to The first stream, set it again.
The Colour space menu on a footage row has gone. A footage item’s colour space is now set in Interpret footage…, on its Colour tab.
Lens flares look a little cooler than before, as white light was coming out as pink.
A node graph box now keeps the picture past the frame, so a graph that scales or warps its picture may show what used to be cut off.
Footage with uneven frame times now stays in sync with its sound, so its picture may land a frame differently from before.
An effect’s matte or depth layer is now read where it sits in the comp. If either layer is moved, scaled, or not full frame the picture may change, such as moved footage reading a depth pass that was left where it was.

Known gaps

The Frames row does nothing on a node graph box yet, and the trackers don’t have it.
Measure reads footage as the comp’s frame, and a layer turned in 3D as if it lay flat.
Corner pin and other warps still stay inside the picture they’re handed in a node graph.
Cryptomatte passes are left out of the Render pass list, as they’ll get their own node.
A point driven by an expression isn’t marked in the Viewer, so it can’t be dragged.
On Windows, resting on the maximise button doesn’t open the snap layouts.

Thanks very much to everyone who sent in reports and requests for this release, especially @Airyzz for the node graph ones and Requa for the editors and the colour picker. A lot of this release came straight from your notes.