How Beeble's SwitchX 3.0 swaps a shot's world but not its actor

Beeble's SwitchX 3.0 rebuilds the world of a shot that has already been filmed and leaves the performance where it was. The model is video-to-video: it takes footage someone has already shot, generates a new background, lighting and props around the subject, and holds the subject itself to the original pixels.

Beeble published the release in a research post dated November 10, 2026, with a changelog entry the next day. SwitchX is not new. The company first shipped it in February 2026, and version 2.0 followed in September. The question for working VFX artists is narrower: what does 3.0 add, what does it cost, and does any of it hold up outside the company's own clips.

What is Beeble's SwitchX 3.0?

SwitchX is a generative model Beeble built for video-to-video work, and the company describes it as "a video-to-video model where you can switch the background, lighting, and literally anything in your video with production-level quality." Production-level quality is Beeble's phrase for its own output, not a measurement, and SLOP TV has not run the model.

Beeble says 3.0 is built on MiniMax H3, an open general-purpose video model. In the company's account it "took it apart and rebuilt it for one job, video-to-video for production," using its own dataset and its own architecture. A final pass, described as running up to 4K, reads the original footage again for detail.

The workflow around it is unchanged from 2.0: a source video, an alpha mask and at least one reference image. The reference is the blueprint for how the new scene should look, and the mask decides what survives from the plate.

How Source-Locked Rendering keeps the actor

The mechanism is an alpha mask, a black-and-white matte the model reads per pixel. White areas are kept from the source footage and only relit to match the new environment; black areas are generated fresh from the prompt and the reference. Beeble calls the result Source-Locked Rendering and says it "uses your alpha to lock your performance pixel for pixel, frame for frame, so only the light and the world around it change."

Beeble's documentation lists four ways to make that mask in the cloud app: Auto, which detects and tracks the main subject; Select, for hand-picking elements such as a costume or a prop; Fill, which covers the whole frame for a full restyle; and Upload, for an alpha matte built in Nuke or After Effects. The claim that matters is the alignment. If the output really sits on the source, a finished render can be treated as a compositing layer rather than a replacement plate, and nothing drifts under a split-screen check.

What SwitchX 3.0 adds over 2.0

Beeble lists four changes in 3.0, on top of the lock and the workflow:

• Up to four reference images in a single job. A wide of a set, a close-up of a prop, or a storyboard can now all feed one generation. Earlier versions took a single reference image.
• Dynamic backgrounds. The generated world moves rather than sitting still, which Beeble describes with traffic passing, crowds walking, fire and falling snow.
• Camera tracking. Beeble says the new world stays locked to the camera through handheld, orbit and running shots, with no markers and no match move. The company calls the tracking "perfect," which is its own description.
• Tighter prompt control. The model is said to understand a prompt better than 2.0 and to follow what happens in the scene, how it moves, and when.

Beeble also states that 3.0 renders 4K output at 10-bit color, that the frame count matches the source exactly, and that the aspect ratio never changes. Those three were already listed for 2.0, which introduced native 4K, 10-bit color and longer takes. The four bullets above are what the company says is new.

What SwitchX 3.0 costs

Beeble charges in credits, and the rate for SwitchX did not move between versions. The credit policy lists SwitchX 3.0 at 6 credits per 30 frames at 720p, 20 at 1080p and 80 at 2160p, with a Finish pass at the same 1080p and 2160p rates. At 30 frames a second that is 6, 20 and 80 credits a second. The changelog says the update ships "at the same credit price as SwitchX 2.0."

On the Cloud pricing page, Creator is $19 a month, or $16 a month billed yearly at 16 percent off, with 540 credits a month. Professional is $75 a month, or $60 a month billed yearly, with 2,400 credits, and it is the plan that unlocks 4K and 10-bit output for SwitchX and Reframe. The free monthly allowance of 90 credits covers the VFX Pass Generator and 3D Relight for non-commercial use; the pricing page says SwitchX needs a paid plan.

One number on that page is worth reading twice. It lists a maximum of 360 frames per video for SwitchX 3.0, against 480 frames for SwitchX 2.0. Beeble's 2.0 documentation describes 480 frames as 20 seconds at 24 frames a second. Neither the research post nor the changelog explains the shorter 3.0 frame ceiling, and the company does not state a maximum clip length in seconds for 3.0 anywhere on the pages SLOP TV read.

What is still unverified

Everything technical here comes from Beeble's own pages. The company shared clips of the model on a launch film and in before-and-after pairs, and it describes what those clips show. SLOP TV has not viewed the output and cannot confirm that the lock holds, that the four references combine cleanly, or that the camera tracking needs no match move in a real shot.

Independent coverage of the 3.0 build had not appeared as of November 11, 2026. The trade and review pieces that exist cover the earlier versions: PostPerspective reported the 2.0 update in September, and RedShark News reviewed the original SwitchX in March. Read the maker's claims with that gap in mind.

What artists report about SwitchX

Independent accounts of the earlier model describe a tool that helps and still needs a human. VFX artist Adnan Can published a hands-on breakdown of a SwitchX roto-and-relight pass that moved two actors from a white room into a cafe. He wrote that the relight "has a narrow sweet spot: push it and skin turns to plastic, hold back and the actors float in front of the room," that the matte needs checking frame by frame on hair, glasses and fingers, and that the tool "does not do the judging."

His notes also carry a practical limit that Beeble's own ProRes guidance repeats: SwitchX takes ProRes 422 HQ at a constant frame rate, and rejects ProRes 4444 and variable-frame-rate files. None of that is a verdict on 3.0, which he did not test, but it sets the bar the new build has to clear.

SwitchX 3.0 is available now, and the next useful thing to watch is whether working artists publish split-screen tests of the 3.0 lock and the new reference handling, which is the point at which the company's claims can be checked against footage SLOP TV did not see.