Every subject in the shot. Found, named, and held.

A subject-tracking engine for DaVinci Resolve, Premiere Pro, After Effects and Final Cut Pro. No analysis pass. No keyframes. It runs on your machine, on your footage, while you play.

Nx Nexus tracking thirteen subjects on a city street - corner brackets and a label on every person, car and bicycle

DaVinci Resolve

Premiere Pro

After Effects

Final Cut Pro

Motion

Get Nx Nexus Try it with a watermark

Runs entirely on your machine. No cloud, no uploads, no subscription inference.

On footage

Thirteen frames. One plug-in, nothing painted in.

Every frame below came straight out of a timeline with Nx Nexus on the clip. Scroll through, or drag.

Twelve tracked subjects on a city street — **Smart Detect**Twelve subjects in one frame — people, cars, a bicycle, a backpack. Each one named, numbered, and held from frame to frame.

A skateboarder, a dog and two cars tracked in a city square — **Eighty classes**A person, a dog, a skateboard and two parked cars. The detector knows what each one is, and each keeps its own number as it moves.

Ten tracked people with labels stacked apart — **Labels that behave**Ten subjects in a crowd. When labels collide they stack themselves apart and hold that arrangement, so nothing jitters between rows.

Tracked pedestrians, cars, a handbag and two traffic lights — **Not just people**Two traffic lights, two cars, a handbag. If the shot has it and the detector knows it, you can drive an effect from it.

Three faces detected with per-face outlines — **Face Detect**A dedicated face model, ready almost the moment you pick it. Here with the matte outlines drawn over each face.

One subject rimmed with an orange glow, the crowd left plain — **Subject Glow**One targeted subject, rimmed along her real silhouette — hair, sleeve, the hand at her side. Everybody else keeps a plain bracket.

Every subject on a street tinted by its own AI matte — **AI mattes**Every subject cut to its own outline: a cyclist astride a bicycle, a pedestrian mid-stride, each car its own colour.

A woman with a bicycle basket, every subject matted — **Outlines, not rectangles**A basket held in two hands, flowers inside it, a crowd behind. No roto, no keyframes, and it follows the whole clip.

A subject pixelated along her silhouette beside a lake — **Region FX — Pixelate**The mosaic stops at her silhouette. The lake behind her is untouched, even inside the tracking box.

Two subjects rendered in a retro dither palette — **Region FX — Dither**Twenty effects ride the same matte. Two subjects in a hand-held-console palette, the room behind them exactly as shot.

An estimated depth map of two figures in a colonnade — **Depth**A depth map estimated from a single camera. Near is white, far is black — and fog, focus and depth mattes all read from it.

A herd of elephants tracked with curved connection lines — **Connections**Five elephants linked by curved routes. Six topologies, six line routings, five arrowheads — all of it a menu choice.

Children on a tractor tracked with rounded rectangle frames — **Seven frame styles**Rounded rectangles on a grainy plate. Brackets, circles, hexagons, diamonds, reticles and target rings are all one popup away.

Boxes, then outlines

A box tells you where. A matte tells you what.

The same frame, twice. Drag the handle: on one side the tracker’s rectangles, on the other the silhouette it can cut around every one of them — hair, fingers, the gap between an arm and a body. Both come from the same pass over the same clip.

The same frame with every subject cut to its own AI matte

The same frame with tracking boxes, labels and connection lines

Tracking boxes AI mattes

How it thinks

Find it. Follow it. Understand where it sits. Then do something.

Every feature in Nx Nexus hangs off one architecture. Change how a subject is found and nothing downstream has to change — the tracker, the depth, the mattes and the effects all behave the same way.

Find

Eight ways to pick a subject out of a frame: a neural detector that knows eighty everyday objects, a dedicated face model, and six classical vision modes for lights, colours, edges and particles.

Follow

Detections become subjects with identities that survive crossings, crowds, camera pans and a spell out of sight. Up to sixty-four at once, each with a number you can point an effect at.

Understand

A depth map estimated from a single camera, read per subject with a robust sample. Now the flat list of boxes is a scene with a front and a back.

Do

A cinematic HUD, AI mattes, twenty region effects, a rim glow, atmospheric fog, a real rack focus, and clean alpha or depth channels for the rest of your comp.

80Object classes

People, vehicles, animals, sports gear, bags, furniture, street objects — each detection arrives with a name.

64Subjects at once

Identities held simultaneously, with a sticky publish order so labels do not flicker at the limit.

20Region effects

Pixelate, blur, spotlight, thermal, night vision, hologram, halftone, ink sketch, dither and more.

109Controls

Across sixteen groups, ordered the way you work through a shot. Every one documented in the manual.

Detection

Eight ways of seeing.

Sometimes the thing you want is a person. Sometimes it is a light, a colour, a reflection, or a shape with no name at all. The classical modes are not a fallback — for those subjects they are the better tool, and they are nearly free.

Smart Detect (AI)Eighty classes of real-world object, each named and scored. The flagship mode, with a twelve-way class filter so you can keep only what matters.

Face Detect (AI)A small, very fast dedicated face model. Interviews, crowds, privacy work.

LuminanceBright regions, or dark ones inverted. Practicals, headlights, hot spots, silhouettes.

EdgesHigh-detail, high-contrast regions. Textured or graphic subjects, motion-graphics plates.

SaturationVividly coloured regions, gated by brightness so shadow noise never registers as colour.

Select ColorRegions matching a colour you pick. Markers, costumes, brand colours, green screens.

Bright SpotsFeatures brighter than their surroundings. Star fields, LEDs, speculars, particles.

Dark SpotsFeatures darker than their surroundings. Dust, sensor spots, birds against sky.

Identity

The same numbers, every single pass.

Through the mess

Motion prediction, optimal matching and a colour signature for every subject keep identities through crossings and crowds. Two people who cross are told apart by how they look, not only by where they were heading. Raise Revive Frames and an identity survives a spell behind a pillar.

Through a camera move

Global camera motion is estimated and subtracted before anything is matched, so a pan does not read as sixty objects sprinting sideways.

Through a render

Render a sequence twice and the identities come back the same. In After Effects, and across short jumps in Resolve, Nexus goes back for the frames it missed, so a scrub lands on the same numbers as playback. Frames you have already played replay from memory instead of running the detector again.

Click a subject in the viewer to select it. Click another to add it, click it again to drop it, click empty background to clear the selection. That one gesture drives the mattes, the glow, the effects and the exported channels. It works in Resolve, After Effects and Final Cut Pro; in Premiere Pro you type the subject numbers into the panel instead.

Where it runs

Native to the app you already cut in.

One engine, four panels. The detector, tracker, depth, mattes, effects and output modes are identical everywhere — only the panel chrome around them changes.

The Nx Nexus panel in DaVinci Resolve beside a tracked street scene — DaVinci Resolve
OpenFX, on the Edit, Color and Fusion pages. Controls that do not apply to the current mode grey themselves out.

The Nx Nexus effect controls in Premiere Pro and After Effects beside tracked footage — Premiere Pro · After Effects
The same sixteen groups in Effect Controls, GPU accelerated in Premiere with a full CPU path behind it.

The Nx Nexus inspector in Final Cut Pro beside a tracked herd of elephants — Final Cut Pro · Motion
A native FxPlug inspector on macOS, Metal accelerated, with the whole control set in one scroll.

DaVinci Resolve OpenFX

Premiere Pro

After Effects

Final Cut Pro FxPlug

Motion

Hand-off

It does not have to be the last word.

Channels for your comp

Export the subject matte as a white-on-black image or straight into the alpha channel as a ready-made cutout. Export the depth pass as greyscale or in alpha, with black and white levels to pull the range tight around your scene first.

Matte exports honour the subjects you targeted, so you can pull a clean alpha for one actor in a crowded frame, automatically, for the whole clip. Overlays Only renders the boxes, labels and lines by themselves over transparency, so the graphics can sit on their own layer.

Honest about the edges

The depth is relative, inferred from a single image — excellent for separation, focus, fog and mattes, and not a survey instrument. Matte quality scales with how large a subject is in frame and how much it contrasts with its background.

This is an outstanding automatic matte. It is not a replacement for hand roto on a hero VFX shot, and the manual says so in its own chapter.

NormalMatte OnlyMatte in AlphaDepth MapDepth in AlphaOverlays OnlyInvert Output

Requirements

Built for macOS and Windows.

macOS

macOS 14 Sonoma or later, Apple Silicon or Intel. Accelerated through Metal and the Apple Neural Engine.

Windows

Windows 10 or 11, 64-bit. Accelerated through DirectX 12; NVIDIA CUDA for GPU rendering in Premiere Pro.

Everywhere

16 GB of memory minimum, 32 GB recommended for 4K work with depth and mattes on. Every host has a full CPU path that renders the identical picture.

Nothing leaves your computer. Every model ships inside the plug-in and every frame is analysed locally. There is no service to sign into, nothing to download on first run, and no footage, frames or metadata are ever transmitted. On client work under NDA, that is not a convenience — it is the requirement.

1.0.0October 17, 2026

Current

Nx-Nexus-1.0.0-macOS.pkgUniversal·Signed + notarized·SHA-256 b1fd00c8…dbbb4

Download

Nx-Nexus-1.0.0-Windows.exex64·Signed·SHA-256 fd52bd56…52d5

Download

Release notes·User manual·macOS 14 or newer·Windows 10 or newer·Free to try with a watermark

One perpetual license

Two machines. Every app on them.

One activation licenses Resolve, Premiere Pro, After Effects and, on macOS, Final Cut Pro and Motion on that machine. Activate online once, then work offline. Move between machines whenever you like.

Get Nx Nexus

Already using the Nexus DCTL?

Your upgrade is free.

Everyone who bought the Nx Nexus DCTL for Resolve gets the plug-in at no charge. Your license key has been sent to the email address on your order; if it has not arrived, write to [email protected]. The original DCTL stays in your account under DCTL Downloads.

Find anything. Track anything. Make it do something.

Drop it on a clip and play. That is the whole workflow.

Get Nx Nexus Read the manual