Klay 0.0.47

The Camera tool turns the view into a camera viewfinder, with shutter, aperture, ISO, focal length and focus in a bar along the bottom. Clicking in the view sets the focus point, which stays sharp as you orbit, and the capture button saves the framed view and adds it to the Canvas. The Look button opens collapsible sections for the frame format, view transform, colour grade, raytracing samples, secondary bounces and sharpening, the denoiser (GPU or CPU, with its strength) and the overlays (rule of thirds, safe frame, level, histogram); Linear and AgX Punchy are new view transforms. The Auto button sets auto exposure, its metering, compensation and adaptation. Both are also available in an exhibition’s Camera mode.

The Curve tool draws a stroke and sweeps a profile along it as an editable mesh. Profiles are preset shapes or custom outlines with sharp, filleted or chamfered corners, and the card sets taper, twist, caps and a hollow wall. Physics lets dragged points swing or stretch the curve, Brushing reshapes many curves at once, and Bake turns a curve into a sculpt layer. Thickness changes along the curve blend smoothly into each other. The Smooth section relaxes the whole tube while keeping its volume, from a light touch to a very strong smoothing. Holding Ctrl turns the curve under the cursor red; a click deletes it, and dragging deletes every curve the cursor crosses.

File › Save as Exhibition saves a .klaylock: an encrypted, view-only copy of the scene with its textures, HDRI, backplates and sounds packed inside. It opens with only Orbit, Walk and Camera, where Camera mode uses the Camera tool’s strip and shutter, and cannot be edited or exported. When the artist allows it, the bottom bar also offers a view menu (Unlit, PBR, PBR full, Raytrace) and a Scene button that switches between the scene’s lighting presets and material bindings. Scene presets can be renamed in the Lighting tab with a right-click or a double-click. The artist’s cameras are not shown. The home screen’s new Exhibitions tab lists curated locked scenes. Each work carries a piece number, such as KL.2026.001, and each artist has a profile page with a header image, portrait and biography. Open in browser, at the foot of the gallery’s list, opens the exhibitions on klaysculpt.com, where each work offers Open in Klay and Download. The sun and moon button at the top of the gallery switches it between light and dark. Settings › Exhibition › Culture is not my friend removes the Exhibitions tab from the home screen; it is off by default.

A speaker plays an MP3 or WAV file inside a sphere in the scene, heard from its position as you orbit, walk or look around in VR. Each speaker sets its radius, volume, soft edge, looping, and what happens when you enter or leave it. A button mutes every speaker while you work.

The Mixer card blends three brushes of the same family on a triangle: drag the point toward a corner to give that brush more weight, and every setting of the three is blended into the brush in use. The card’s switch turns the mix on or off, and Save as brush keeps the result as a new preset. The Global card scales one operator, such as Smooth, across every Clay or Poly brush, from muted to double, with a single pressure response and Reset all.

A camera can follow a track over a block of frames on the timeline. Tracks are drawn point by point or recorded by moving the view, then smoothed, resampled or edited with the gizmo. Each camera adds handheld drift, shake, lag and focus breathing, and keys for focal length, exposure, aperture and a focus point.

Other cameras are drawn in the viewport with their field of view and an optional name. With the Select, Move or Gizmo tool, clicking a camera selects it and the gizmo moves it; dropping it near a track places it on that track.

A small monitor in a corner of the viewport shows the view through the active camera, in Unlit, PBR Fast or Raytrace shading. It can follow the timeline, the selected camera or a pinned one, and can be moved, resized or collapsed.

A render job can be a Still or a Sequence. A sequence renders one camera’s block, or the whole timeline through the camera cuts, with In and Out handles to trim it. Output is MP4 (H.264 or H.265), ProRes 422 HQ or 4444, or an image sequence.

Each camera has an aspect ratio, from 2.39:1 to the portrait 9:16. The Camera tool shows it as the frame, and renders that follow the camera use it. In the Render tab, a job’s Format lists the same ratios beside Camera, and Size sets the long edge; Custom starts from the current size.

Movies sent from the Render tab, and MP4 or MOV files dropped on the Canvas, play as video cards with a player bar, frame steps, speed and loop. Save frame places the current frame on the board as a PNG.

The masked area of a polygon mesh can be extruded into a separate shell, with thickness, direction, smoothing and a rim shape, previewed live on the model. The result is a new layer, or is merged into or cut into the source mesh.

With Consider masking on, the Gizmo tool moves, rotates or scales only the unmasked part of a polygon mesh about the pivot, so a limb can be posed from its joint. A padlock beside the gizmo unlocks the pivot: the gizmo then moves and turns only itself, and the pivot’s position and orientation are saved with the object.

Selected objects and groups go into a list and are shown one at a time with a slider or Prev and Next. Layout places them side by side in a row, grid or column, and Bake positions keeps the arrangement.

A scene can keep several sets of material assignments and switch between them with one click. The materials are shared by all sets; each set records which material each object wears. The plus button adds a copy of the current set, the name under the buttons can be edited, and right-clicking a number duplicates, moves or deletes that set. Sets are saved with the scene.

Clicking an object’s icon in the outliner sets its colour and how it draws: Shaded, Dither, X-ray, Fill, Wire or Bounds. The same menu sets faceted normals, backfaces, shadows, render visibility and whether it can be selected.

A button on each outliner row opens its position, pivot, rotation and scale for typing, in the scene unit. Each channel can be reset or locked, and six slots store transforms; for a group, a slot stores the whole arrangement.

A rotator turns all objects, or one outliner group, around a vertical axis over a block of frames on the timeline. It is moved with the gizmo, and R returns it to the centre of the scene.

After an update, a review lists what changed in your preferences, settings, brushes and presets before the home screen opens. Your preferences and shortcuts are kept, factory brushes and presets take the new version, and each item can be switched to Keep mine, Take new or Keep both. Brush size, strength and hardness always stay yours, and replaced files are kept in a backup folder.

A row of buttons in the lower-right corner of the viewport runs functions in one click; + adds one, right-click replaces or removes it, and press-and-hold reorders. Holding Space shows the bar alone, and releasing Space over a button runs it.

The Rain card now shows only density, speed, wetness, tint and sound, with the rest under Water effects and Advanced. Rain has new water effects, each with its own switch: surfaces under a roof or overhang stay dry, walls facing the rain get wet, water runs down slopes and walls, droplets cling to slopes and slide, drops hang under overhangs, and puddles form on flat ground, filling hollows first. Raindrops can burst into small splashes where they land, and water drips from edges and corners onto the surface below.