DaVinci Resolve Studio 21.1 with much more AI

So DaVinci Resolve and Resolve Studio have reached 21.1. with allot of new features, including ways to use DaVinci with your favorite AI Chatbot. new Krokadove effects in Fusion, Photo page control with Color Panels, a greatly enhanced Trim editor that should make AVID Editors gear spin (I was never a trim mode lover personally). It is an impressive amount of updates all the way around. What's new in DaVinci Resolve 21.1 The following features have been added or updated. Media Page Media pool list view text and checkbox fields can now be edited. Search includes sub bins and supports exact text matching. AI tools preference to use proxy media if originals are offline. Original aspect ratio in source viewer with no external monitoring. Source viewer supports interlaced media previews. Preview geometry assets from media pool and media storage. Rename faces in the IntelliSearch Manage Faces window. Ability to change starting timecode for multiple selected clips. Ability to delete selected markers in media pool list view. Created/modified dates for multicams, compound clips and timelines. Delete multiple audio tracks in clip attributes using mouse drag. Import Canon EOS VR clips in VR180 workflows. Stereoscopic 3D clip attributes support swapping eyes. Side by side clip attribute for BRAW, JPEG, PNG and TIFF. Assign custom Apple Immersive ILPDs to OpenEXR sequences. Assign key shortcuts to show or hide media pool bin view. Photo Page Camera control support for Fujifilm cameras. Camera control support for Leica cameras. Camera control support for Sony Alpha 7R VI. Change image settings in inspector using color panels. Improved post decode sharpening for RAW images. Improved sidebar with flexible height and stacked panels. Inspector reset controls for each RAW parameter. DNG file support for lens distortion, aberration and shading. Resolve FX Sky Replacement support for album photos. Assign key shortcuts to toggle capture live view. Cut and Edit Pages Support for inspector presets. Multicam editing mode is now a timeline viewer property. Option to split multicams at gaps when using timecode sync. Switching multicam grid size retains page with selected angle. Multicam key shortcuts now work with timeline or source focus. Assign key shortcuts to decompose multicams. Assign key shortcuts to switch or cut up to 25 multicam angles. Assign key shortcuts for source and auto select for up to 32 tracks. Edit Fusion properties for multiple selected clips in inspector. All new compare timeline workflow with greater control. Data Burn can show clip metadata from a specified video track. Presentation markers support annotations, replies and status. Marker annotation support for drawing ellipses. Zoom audio waveform actions in the edit timeline. Playhead indicator for current clip in inspector and viewer. Clip selections are now cleared when setting timeline in or out. Improved edit page trim editor with mouse drag and nudge. Refine dynamic trim edit point selections with auto select. Switching to dynamic trim enables trim mode by default. Dynamic trim editor loop playback continues when editing. Ability to cut, copy and paste gaps on the edit timeline. Timeline…

Adobe Premiere September 2026 (version 26.5)

Adobe is certainly going all in with AI, and I worry that their focus is not an editor like me, but an editor for social media only. Generate media with the Generative Media Tool Ability to generate video and sound effects from Premiere directly in the timeline. Build sequences faster with Paper Edit select multiple lines of text in the text panel to quickly assemble a sequence from your transcript. This is cool, and I will certainly use it, but I have also worked with Producers who had me edit from a precut, so they would not need an editor for at least the rough cut. Support Sony FX5 cameras, with 32 bit float hi-res audio. Full raw control and enhanced ProRes RAW performance. Match audio settings automatically with Match Source. match Source includes sources audio channels and sample rate, with automatic down mixing and warning when a format can’t support the source’s channel layout. Get smoother Object Masking results. Adjust the smoothness of object masks with new controls for more precise mask edges. Create cinematic looks with new and updated effects. Create Flares with Lens Flare, and updated Twirl and Mosaic. Extend more media with Generative Extend. In formats up to 4K UHD and interlaced and non-square. Certainly all interesting, and worth playing with, most having been in the beta.

Apple’s latest price increases especially for their pro gear is literally insane

So yesterday Apple announce the M6 for the Mac mini and Mac Studio and the M5 Ultra, 2 very powerful chips, but they just show how crazy their new price increases are especially after their recent already high price increases, and the fact that Apple got 2.2 Billion back in Tariff relief! I have an M2 Mac Peo with the top M2 Ultra, and 4 GB of hard drive space, so I decided to spec out an M5 Ultra. Mine cost about $7500 when it came out, and I know Apple would charge more for 256 RAM, but the prices are nuts! The M2 Ultra Mac Studio starts at $5499 with 30 core cpu64 core GPU, but is $1300 to jump to 36 core cpu and 80 core GPU. It comes with 96 gb of RAM, and the only upgrade is to 256 GB and is an eye watering $4000! I have the 4 TB internal Storage and am literally always fighting how full it is, but for the M5 Ultra the 4 TB version is another $1500, and to move up one step to 8TB is $3500! Or $12299 for the 4 Tb and $14229 for the 8 TB version, that is double what I paid! Either the memory and ssd companies have to build more plants or AI needs to crash and stop building these insane data centers because these price increases are literally nuts! I thought 7500 for my Mac was a huge expense, but $5000 more is into insanity! And Apple had better quickly bring down their prices if memory and SAS’s become more affordable again! Already there is less post work, and to have new comp cost 60% in just 3 years is lunacy!

US Government on DJI importers and XTRA which seem to be relabeled DJI Products

From DP Review. The U.S. Federal Communications Commission (FCC) is proposing $25,000 fines against eight companies after they allegedly failed to respond to questions about DJI‑related products sold in the United States. The companies named in the action are Cogito Tech, Fixaxo Technology, Lyno Dynamics, Skyhigh Tech, Spatial Hover, SZ Knowact, WaveGo Tech and Xtra Technology. Xtra of course is releasing basically identical products to the pocket series though not quite compatible with the accessories. I still don’t see why these should be banned since it is a drone ban.

Did my first dive into Premier Pro’s new color mode and realized they really need to upgrade Warp Stabilizer

So I have been shooting footage with my iPhone using the Black Magic Camera app recording to ProRES Raw on an external hard drive. Footage of my son, in the back yard and at the Ren Fair, shot at 23.976., in Open Gate 4:3 4224x3024. The first thing I noticed is that the clips all showed slightly different frame rates from 23.976 to 24.1 thanks to variable frame rate on the iPhone (interestingly they all show up as 23.976 in DaVinci Resolve). And once I set the color management for the clips to ProRes RAW I was able to use color mode. I put permanent scopes up, because that is how I do work when color correcting and was surprised to see that this caused the pop up scope to be extremely low resolution to the point of being unusable, and think it show what is doing on your existing scopes instead of whatever is happening here. My 4 scopes permanently up on my second monitor The low quality pop up scope when I have the 4 scopes open The actual controls work pretty well, though I question the controls that they have selected as the main controls. Now I balance a shot with the color wheels normally, shadow mid and high. Here you use the contrast to kind of set the high, then you have to go in to do it with the darks on exposure to control the darks. I would love to be able to make high mid and low exposure broken out into controls (I have room on my 32” monitors) instead of having them as sub controls under exposure., especially since this is how Lumetri and DaVinci work and would make for an easier shot balance. And removing color casts in shots, I personally find it much easier and faster to have a color wheel and be able to just dial it in, instead of picking a color and trying it individually. Yes it is doable, but for me a color wheel is faster even if it is not the same up down or left right control as the other controls. I feel like they actually made this slower to keep the same control scheme. Copying and pasting the grade is super easy here, and works exactly how it should work., and is very fast and more intuitive than DaVinci’s middle click to copy a grade. The fact that the default is not to always shows scopes though to me means you are not working at truly matching shots, but more doing it to your eye which can lie. Also I had an overexposed shot and was surprised at how easily this lets you push it even more out of limits. Sure it didn’t look as bad as it would have in Lumetri pushing it out of range, but it was still totally pegged out of range, I could never deliver this shot in a commercial. Trying to raise the shadows clipped all the highs.…

OWC’s RocketYard wish list for WWDC 2026

  • Post category:AppleMac

https://eshop.macsales.com/blog/98472-my-macos-wish-list-for-wwdc-2026/?utm_source=feedly&utm_medium=rss&utm_campaign=my-macos-wish-list-for-wwdc-2026 And what I would like. *Fix Liquid Glass without fully getting rid of transparency. So much transparancy is a drag on the computer and the fact that turning it off doesn’t improve performance means it is being rendered and covered when you reduce transparency. This should not happen. *Improve Apple Mail, I agree Apple Mail needs work. Its search is awful, often missing stuff. And the fact that it’s dark mode, doesn’t affect html e-mails which every web based browser manages to do is frustrating and a huge eye sore. *Yes, all around improved search would be great. *Yes Natural language for to dos and calendar items is huge. I used Fantastical for a couple of years, and loved it, but refuse to keep paying another subscription. Apple needs this feature! *Yes More Intelligent window tiling and management! Currently using 3rd party tools for this. *A return of FireWire for DV tapes! I know it won’t happen, but it sure would be great! *Keep my computer private I don’t want AI sending my data anywhere. And honestly I don’t really want AI on my computer except maybe local instances that scan my photos for items to search. I just don’t use it except in my editing software.

PVC on AVID at NAB 2026, on AVID opening up and adding Gemini

https://www.provideocoalition.com/nab-2026-avid-is-opening-up-and-gemini-might-help/ Hmm, I mean good for sure. I want AVID to start catching up. They were so slow to adopt Apple's new Architecture, and their program still feels like it was written in the dark ages. It is great that it is going to script able with great customization. And of course built in transcription is great. Of course I have never run into AVID in the wild on a system that was running the latest and greatest. Rental edit systems are usually really old and stable and with an ancient version of AVID that looks pretty similar to current AVID. Of course to run on modern computers it needs to be a newer version now so maybe those days have changed. I would love to see AVID take a page from Blackmagic and do some quick innovation and add the latest and greatest features before it is an afterthought. It is funny I just saw this article, way after NAB, and I hadn't even thought to think about AVID at NAB. I am a skilled AVID editor, but I just don't prefer it to either Premier or Resolve.

PVC articles on Premiere Pro Color Mode

https://www.provideocoalition.com/why-adobe-rebuilt-color-from-scratch/ https://www.provideocoalition.com/color-mode-vs-lumetri-whats-different-and-why-it-matters/ I still need to spend some time in Colorado mode and will certainly learn it, though these articles do seem to be much more from Adobe’s perspective than a true review of the differences. These are pretty pro color mode, and how amazing it is, and how much better it is than Lumetri. It actually makes me more reticent about it. I watched all Adobe’s videos and was most disturbed that you basically pick an overall look first then work on the rest instead of balancing your shots first. Seems like they are teaching the wrong method for any high end workflow, or anyone who wants to delve deeper into color correction in the future.