It’s important to note what Simon pointed out: the idea of AI is not to replace the person “in the seat” but to provide tools that simply make editing quicker. Let’s have a look at what stood out!

AI script-based pre-editing – Intelliscript

One of the most exciting new features is Intelliscript, an AI-powered tool that assembles timelines based on a written script, a transcript, or an audio transcription. It doesn’t require any special formatting – a basic text file with paragraphs is enough. Editors can use this to auto-assemble long interviews or scripted scenes, with the system matching text to spoken content.

When multiple takes exist, the tool stacks them in the timeline so you can choose the best version during the edit. It also works with multi-camera setups, allowing the same script to be applied across multiple angles.

AI-assisted multicam switching

Nino asked Simon how Resolve handles multicam edits, especially with two or three cameras recording at once. He pointed out the new AI Multicam Smart Switch, an AI tool that analyzes mouth movement and audio to identify who’s speaking and automatically switches angles. It’s useful for podcasts or interviews recorded without live switching. If the footage is synced via timecode, the tool can generate a clean first pass. Simon noted it’s not meant to replace live switching but offers a helpful shortcut in post.

AI Voice Conversion tool and music editing

The update also introduces a voice replacement feature. Editors can swap out a voice using built-in models or a voice sample – for example, to change a voice or an accent or fix a line. Nino asked Simon whether Resolve can actually learn someone’s voice. He confirmed that it can: Resolve includes a learning module that allows users to train a voice model by uploading a sample. While the built-in models cover common needs, users who want something more specific have the option to create their own.

Music trimming has also been improved: Resolve can now automatically identify loop points and restructure a track to match the length of your edit. Instead of manually cutting and blending sections, you can simply drag the cue shorter or longer, and the software adjusts it in the background.

More editing tools for DaVinci Resolve 20

Simon said that many of the tools are meant to save editors time. Here are some examples:

• Media Pool stacking, so you can manually order clips before dropping them into a timeline.
• A new Source Timeline view that lets you edit from one timeline into another – handy for doc-style workflows.
• A redesigned keyframe editor with spline support, bringing more of Fusion’s animation power directly into the edit page. It’s especially useful for animating layered PSD files.

Cut page improvements

The Cut page has been updated with features like dynamic trimming, for example, aimed at speeding up fast-turnaround edits. It now includes a full-height portrait mode, making it easier to work with vertical video for social platforms. Mouse-based trimming has also been added, bringing Speed Editor-style functionality to users without the hardware. In addition, new AI-assisted trimming tools help streamline edits without interrupting the flow of the timeline.

Fusion gets deep image compositing

Although it wasn’t mentioned in the interview, according to their webpage, Fusion offers a Deep Image Compositing toolset. This feature typically allows for advanced layering and depth-based compositing workflows, which is especially useful for VFX-heavy pipelines.

Privacy and AI training

Simon emphasized that no user content is used to train AI models (except when explicitly providing a voice sample for voice conversion). AI tools may perform temporary cloud-based processing, but project files and media stay local.

Price and availability

The public beta is available now, and you can download it here. As in the past, it is free. Some features are still being finalized and could carry a small fee down the line, but nothing has been confirmed yet.

How do you see AI fitting into your editing process? Let us know in the comments below.

Phone cameras have been used by filmmakers daily for years already because of their portability (the best camera is the one you have in your pocket all the time). The two latest generations of Apple iPhones (Pro models), however, took the video quality to the next level thanks to the internal 10-bit Apple Log recording, ProRes, and other pro features.

While the original Apple camera app offers all the main functions, some third-party apps bring more options and flexibility. One of the most popular ones is the free Blackmagic Design camera app (which is now compatible with Android phones, too). Mavis camera app for iPhones has been available for a long time as well, but the company behind the app released a new version with a handful of innovations during this year’s NAB show. Let’s take a quick look at the details.

Mavis camera app

On the NAB show floor, we met with Patrick Holroyd from Mavis to tell us more about the Mavis camera app. One of the unique features of the Mavis app is the integration with Adobe’s frame.io camera-to-cloud (C2C) workflow. The content starts uploading while the camera is still shooting. With a stable internet connection, the process is quick and suitable for fast turnaround content.

On top of frame.io, the newly launched Mavis C2C feature is a paid, subscription-based service that enables progressive uploading to Grass Valley Framelight X, Sony Ci Media, Amazon S3, and MediaSilo.

You can also stream directly from the app to various streaming providers such as YouTube, Twitch, Instagram, and more. Custom RTMP is supported as well.

The way the user interface is designed in the Mavis app allows for a simple operation for users who do not want to deal with manual settings. On the other hand, pro users can dive deeper into all the menus and settings to be able to customize all the settings of the app.

Additionally, the Mavis app features a comprehensive audio system that allows multiple audio inputs. These can be mixed or recorded individually.

Naturally, the app can record in all available frame rates and resolutions, in Apple Log, Pro Res, etc. There are assist features for filmmakers such as focus peaking, expanded focus, false color, vectorscope, histogram, zebras, and more.

Compared to the free Blackmagic app, for instance, the Mavis app offers a simple and elegant user interface and a few extra features, such as direct streaming or SRT, as Patrick told us. The app works natively on iOS devices with iOS 18.0 (iPadOS 18.0) or later, so all the latest iPhone and iPad models are compatible.

Price and availability

The Mavis app is now available for download in the Apple app store. The app itself can be downloaded free of charge. To use some of the more advanced features, such as the audio mixer, frame.io connection, or timecode, you would have to pay around $14.99 for the “Pro Pack” as a one-time in-app purchase.

Mavis C2C will be available for $14.99 per week or $29.99 monthly.

Do you use an iPhone for your video production? What do you think about the Mavis Camera app? Let us know your thoughts in the comments section underneath the article.

Blackmagic Design CEO Grant Petty has traditionally introduced new products in a livestream shortly before the NAB Show. We divided this up into three articles:

• Blackmagic Design hardware news – ATEM, HyperDeck, etc
• Blackmagic Design camera news – PYXIS 12K 
• Blackmagic Design DaVinci Resolve 20

In this article, we focus on the new DaVinci Resolve 20. If you are interested in the other news, feel free to click on the corresponding link. Now, let’s take a quick look at what’s new with the latest generation of Blackmagic Design’s popular NLE.

DaVinci Resolve 20 – in the name of AI

When watching the announcement video, I had the impression that implementing AI automation features was at the forefront of the new DaVinci Resolve 20 improvements. As Blackmagic Design claims, the new Resolve 20 includes more than 100 new features, including AI tools designed to assist with all workflow stages.

For example, an AI IntelliScript can create timelines based on a text script, AI Animated Subtitles animates words as they are spoken, and AI Multicam SmartSwitch is designed to create a timeline with camera angles based on speaker detection.

The cut and edit pages also include a dedicated keyframe editor and voiceover palettes, and AI Fairlight IntelliCut can remove silence and checkerboard dialogue between speakers. In Fusion, explore advanced multi-layer compositing workflows. The Color Warper now includes Chroma Warp and the Magic Mask and Depth Map have also been updated.

The key new features in Resolve 20 include the following points:

• Improved keyframing with dedicated curve view and timeline drawer.
• Voice-over tool with record and monitor options.
• Import Blackmagic Cloud Shared folders to the media pool.
• AI IntelliScript creates timelines with a user-provided script.
• AI Magic Mask v2 with paint brush.
• AI Dialogue Matcher matches clip tone, level, and reverberance.
• AI Audio Assistant automatically creates a finished mix.
• AI IntelliCut removes silences and checkerboards speakers.
• Deep image compositing toolset.

The full list of new features in DaVinci Resolve 20

Here I copied a full list of the new features and improvements included in the new Resolve 20 public beta ordered by pages:

Cut Page

• Voice-over palette with cue, voice tools, and teleprompter.
• Ripple trimming of audio now available on secondary tracks.
• Replay multi-views now show previously used camera angles.
• Tapping time buttons allows camera buttons to preroll replays.
• Auto resync media bins now support stills and sequences.
• Live overwrite now supports edit keys and search dial.
• Mouse drag to live overwrite multi-source and sync bin.
• Trim with safe edit avoids overwriting adjacent clips.
• Media pool metadata palette allows quick review of selected clips.
• Ability to copy, paste, and remove attributes from timeline clips.
• Support for a dynamic trimming mode using JKL controls.
• Full-featured audio mixer.
• Mini timeline now includes a context menu.

Edit Page

• Voice-over tool with record and monitor options.
• AI Multicam SmartSwitch for automatic angle switching.
• AI VoiceConvert with built-in and user-trainable models.
• Support for source tape.
• Ability to view and edit timelines in the source viewer.
• Multicam creation now supports a reference audio track.
• Opening compound clip from timeline matches playhead position.
• Access timeline settings from timeline tab context menu.
• User preference to wrap around 24h timecode.

Cut and Edit Page

• Improved keyframing with dedicated curve view and timeline drawer.
• Import Blackmagic Cloud Shared folders to media pool.
• AI IntelliScript creates timelines with a user-provided script.
• AI Dialogue Matcher matches clip tone, level, and reverberance.
• AI Music Editor automatically edits music to desired length.
• AI-animated subtitles highlight or animate spoken words.
• AI SuperScale now includes 3x and 4x enhanced upscaling.
• AI Detect Music Beats displays and allows beat snapping.
• New optimized UI layouts option for vertical videos.
• Custom grid for sorting and organizing of media pool thumbnails.
• Text+ paragraph, line wrapping and bounding tools.
• MultiText tool with layers and easy transform, clip, and wrap controls.
• Subtitle tracks now support Fusion templates for styling.
• Selectively sync media originals with proxy-only cloud sync.
• Imported PSDs can now be split into individual layers.
• Support for Alert Red viewer background mode.
• Transcription engine now offers extended language support.
• Smooth Cut now supports AI Speed Warp.
• Export audio transcriptions with speaker and timecode.
• Export transcriptions with improved phrase and sentence breaks.

Fusion Page

• Deep image compositing toolset.
• Multi-layer pipelining for OpenEXR, PSD, and stereoscopic 3D.
• Vector warping toolset for image patching and cleanup.
• Support for 180 VR.
• 3D Scene Dome Light.
• Support for native Cryptomatte workflows.
• View color page grade in media out node.
• Faster GPU-based pano map and spherical stabilizer tools.
• Ability to search tool based on effects category.
• User-selectable starting frames for compositions.

Color Page

• AI Magic Mask v2 with paint brush.
• AI Resolve FX Depth Map v2.
• Chroma Color Warper grading.
• Resolve FX Warper features new spline warp controls.
• Open Color IO supported as Resolve FX.
• New optimized UI layouts option for vertical video.
• Display viewer overlays for remote monitoring.
• Stream and monitor H.265 4:2:2 on supported hardware.
• Support for Samsung Log.
• Support for ACES 2.0.
• Ability to generate HDR light-level PDF reports.
• LUTs and colorspaces can now be modified in multi-user projects.
• Node layer controls in the advanced panel.
• Lift, gamma, gain Micro Panel sensitivity improvements.

Fairlight Page

• AI Audio Assistant automatically creates a finished mix.
• AI IntelliCut to remove silences.
• AI IntelliCut to checkerboard dialogue by speaker.
• AI IntelliCut to generate ADR Cues using transcription speaker info.
• Clip EQ now features 6 bands.
• EQ and Level Matcher processes match tone and clip levels.
• EQ and Gain now also available as Fairlight FX plugins.
• Fairlight Chain FX to create and restore frequently chained plugins.
• Drag header color to move tracks and buses in the timeline.
• Automation now supports per channel mode switching.
• Trim automation now remains active through a mix pass.
• Improved view presets store multiple parameters.

Codecs

• Apple ProRes encode support on Windows and Linux.
• Encode MV-HEVC without spatial video metadata.
• MV-HEVC encode support on Nvidia systems.
• Support for side-by-side stereo 3D media decode.
• Side-by-side display mode for stereo 3D clips in source viewer.
• Editable spatial video metadata properties in inspector.
• GPU accelerated H.265 4:2:2 encodes on supported Nvidia systems.
• GPU accelerated H.265 4:2:2 decodes on supported Nvidia systems.
• Support for growing TS, MTS, and M2TS files as media streams.
• Support interlaced rendering for frame-based formats.
• HT JPEG 2000 decode support for EXR.
• Quick Export dialog with custom user preset listings and list view.
• Ability to assign custom icons to user presets in deliver page.
• Support for Sony Burano 2.0.
• Support for RED SDK 8.6.
• Support for audio normalization for Dropbox presets.
• Improved PNG support with HDR and SDR signaling.

General Application

• User-definable location for media created in Resolve.
• Resolve FX AI Set Extender.
• Extras Download Manager for AI models and more.
• Updated remote monitor client with bitrate display.
• Remote monitor now installs with DaVinci Resolve on macOS.
• User preference for automatic cache management.
• Ability to enable dual-screen windows in ultrawide displays.
• Support for OCIO 2.4.2 with ACES 2.0 support. 
• Preference to import all clips with multi-mono audio configuration.
• Bluetooth connection status popup dialog.
• Ability to filter which fonts are visible in Text+.
• Data burn options for synced audio.
• Support for Nvidia Blackwell GPUs with CUDA 12.8.
• General performance and stability improvements.

Price and availability

The new DaVinci Resolve 20 is available now (public beta version), and it can be downloaded free of charge from the Blackmagic Design website. As always, the fully-featured Studio version can be purchased either separately or as a part of select Blackmagic Design products.

Do you use DaVinci Resolve for your post-production work? Which new feature of DR 20 is going to help you the most? Let us know your thoughts in the comments section underneath the article.

We recently compared a number of AI tools for filmmakers, including Artlist, which introduced an AI-generated voiceover. There is a lot of competition in this market, as we all know, and the features offered grow faster than we can write about them. Now we take a look at Artlist’s new video generator. Let’s see how it works and how it compares to others that do the same.

How does it work

The process starts with generating an image, which is then animated using a set of curated models and visual styles. According to Artlist, all generated content is covered by their license and can be used in commercial projects.

AI images and videos can be generated on Artlist.io through the Max plan, which includes access to the full catalog of assets. It’s also included in the AI Suite plan, which features other AI tools like the voiceover generator.

Key highlights

• Curated models designed for visual styles that work well in video
• Regular updates with new models that meet quality standards
• Licensing covers generated content for commercial use
• HD-resolution output
• Interface tailored to video creators’ workflow and language
• Integrated with Artlist’s full catalog of creative assets

Additional features are in development and expected to roll out in the coming months. These include the ability to upload and animate your own images, upscale content to Ultra HD 4K, and use tools like inpainting and generative fill for more precise control over the final result.

What else is out there?

If you work with video, you’re probably aware of other platforms offering similar tools, like Runway’s Gen-4 or OpenAI’s Sora, which tend to be geared toward a broader creative audience and focus more on stylized or experimental results. Artlist’s AI video generator, on the other hand, seems built with practical use in mind – something that fits easily into a typical post-production workflow. It is more limited when it comes to creative control – using curated models instead of open-ended prompts – but that can actually be a plus if you’re looking for something predictable and ready to use. Licensing terms vary between platforms, but Artlist’s setup seems pretty straightforward, so it’s worth a closer look to see if it suits your projects.

Price and availability

The AI video generator is included in both the AI Suite and Artist Max packages, which are credit-based and start at $29.99/month and $39.99/month, respectively, and include up to 50 people. Contact Artlist for Business subscriptions. For more information, please see the Artlist website.

Do you see image-to-video tools fitting into your post-production process? What would make an AI video generator truly useful in your day-to-day projects? Let us know in the comments below.

First, let’s have a brief overview of what’s new in Premiere Pro and After Effects before we go into detail:

• Generative Extend lets you add up to two seconds of new footage to the start or end of a clip using Firefly AI – useful for smoothing transitions without reshoots.
• Media Intelligence automatically tags clips and lets you search using natural language, saving time when hunting for specific shots.
• Caption Translation now supports 27 languages, with multiple caption tracks editable right in the timeline.
• Color Management gets easier with drag-and-drop tools and automatic conversion of log/raw footage to SDR or HDR.
• Plus: dynamic waveforms, colored labels, and better GPU support in Premiere Pro; and in After Effects, a faster playback engine, 3D FBX model support, and HDR monitoring.

Firefly-powered Generative Extend in Premiere Pro

The most talked-about feature is Generative Extend, powered by Adobe Firefly. Editors can now add a few extra seconds (up to two) of generated video to the beginning or end of a clip – helpful for smoothing transitions or extending a moment that feels a little too short. The results match the look and motion of the original shot, and background audio, like room tone or ambient sound, can be extended as well (up to ten seconds).

The tool is built into the timeline, and results can be previewed and adjusted directly within the edit. It runs in the background while you continue editing, and clips are marked with Content Credentials to show where AI was used. It’s free during the rollout but eventually will require Firefly credits, with costs based on the format, frame-rate, and resolution of the video.

AI-Powered media search

Also new is a smarter way to search through footage. A revamped Search panel now uses AI to tag clips automatically, recognizing things like objects, locations, camera angles, and more. Editors can type natural language queries – like “close-up of a woman laughing in a car” – to find what they need faster, even in large, unsorted projects. The system can also pull up related transcript content and metadata like shoot date or camera type, all in one place. Searches run locally, so no internet is required. Adobe also points out that as with all of their tools, your content isn’t used to train models.

Automatic caption translation

Captions in Premiere Pro can now be automatically translated into 27 languages using AI. Multiple caption tracks can be viewed and edited directly in the timeline, making it easier to create multilingual content or localize videos for different regions or language groups.

Color management updates

Premiere’s new Color Management tools are designed to make things simpler when working with log or raw formats. The software can now automatically convert clips to SDR or HDR, reducing the need for manual LUTs and helping match footage from different cameras. A new wide-gamut color pipeline is also available for editors who want more control over grading and color matching.

Performance upgrades under the hood

And finally, some updates that make Premiere Pro faster and more reliable. Dynamic waveforms now update as you adjust audio levels, and sequence tabs can be color-coded for better organization. Editors on Apple silicon and newer Windows systems will see faster playback and export times, especially when working with H.264, HEVC, and Canon Cinema RAW Light. Adobe says they are also working with NVIDIA to support real-time playback and smoother timeline performance on GPUs built with the new Blackwell architecture.

After Effects enhancements

After Effects 25.2 brings major performance improvements and more streamlined 3D tools. A new high-performance preview system now uses both RAM and local disk caching, so longer compositions play back smoothly – even on laptops. Native support for FBX files opens access to a wider range of 3D models, while Animated Environment Lights make it possible to use video layers or 360° footage as moving light sources that cast dynamic reflections and shadows. The update also includes HDR monitoring, simplified 3D workflows with one-click controls, and other small but useful tweaks like custom transparency grids and expanded animation controls.

Price and availability

All features are available now. You can update your Premiere Pro to 25.2 here and After Effects here. For further details and information on the 25.2 release, please see the Adobe announcement here. To see Generative Extend at this year’s NAB 2025, visit Adobe’s Booth SL2210 in the South Hall of the Las Vegas Convention Center. 

What feature are you most interested in trying out? How do you see AI shaping post-production over the next few years? Start the conversation in the comments below!

When I read Apple’s announcement, I couldn’t believe it – Apple has listened and finally added one of the most-requested features ever.

Adjustment clips finally arrive

Perhaps the most significant addition is the introduction of adjustment clips – a feature competitors like Premiere Pro and DaVinci Resolve have offered for years. Editors can now place a single adjustment clip above multiple timeline clips to apply effects and color corrections across a range of footage simultaneously. This streamlines color grading workflows and should reduce the need for compound clips or duplicate corrections.

Apple Intelligence enters the editing Suite

Final Cut Pro now integrates Apple Intelligence through “Image Playground,” allowing editors to generate stylized images from descriptions or references. While potentially useful for creating placeholder graphics or quick visual assets, this feels more like Apple ensuring their AI initiatives reach all their pro applications rather than addressing core editing needs.

Magnetic Mask improvements

The Magnetic Mask tool, introduced in a previous update, receives much-needed attention with performance improvements, bug fixes, and a new keyboard shortcut to toggle the editor interface. These refinements suggest Apple recognized the initial implementation needed optimization – good news for editors who found the feature promising but frustratingly buggy.

In case you missed it, I did a full review of the Magnetic Mask feature when it was released with Final Cut Pro 11. Here is the video:

Audio enhancements

Audio editors will appreciate the addition of the Quantec QRS room simulator effect, which simulates acoustic spaces with more natural-sounding reverbs than previous options. The ability to rename audio effects in the inspector is a small but practical organizational improvement that should help complex sound designs stay manageable.

Under-the-hood fixes

The 11.1 update addresses several critical bugs, including sync issues with 25fps footage in 23.98fps timelines, problems with J-cuts causing audio drift, and reliability concerns when working with ARRI ProRes MXF media. These fixes demonstrate Apple’s commitment to stability for professional workflows, especially when dealing with complex media and delivery requirements.

The bottom line

Final Cut Pro 11.1 exemplifies Apple’s approach to the application: gradual refinement rather than radical reinvention. While missing some features professionals have long requested (collaborative editing remains notably absent), the update delivers practical improvements that address real workflow challenges.

For existing users, 11.1 is an essential update that improves reliability while adding practical tools. For those considering a switch from other NLEs, however, the update doesn’t dramatically change Final Cut Pro’s competitive positioning in the professional editing landscape.

It’s a free update as usual (actually, Apple has not once charged for an update to Final Cut Pro (X) since it was re-released almost 13 years ago), now available in the Mac App Store.

What do you think about the addition of adjustment clips in Final Cut Pro 11.1? Let us know in the comments below.

Launched in October 2024, Eddie AI is an easy-to-use “ChatGPT-like” video editing assistant. As we all know, editing video interviews or podcasts is not the most creative task in the world, especially when you only need to switch between two (or more) cameras. Eddie AI aims to save you time and was primarily designed to help you ingest and organize your footage and create rough cuts for video interviews within seconds.

The company has just released Eddie AI 2.0, a more advanced version with many new features and native Windows/MacOS apps.

Eddie AI v.2 – what’s new?

The most significant addition to Eddie AI 2.0 is the introduction of the Mac and Windows apps, which are officially out of beta. The Eddie app makes importing and editing your footage faster while still being integrated into your video editing workflow.

Indeed, once you’re done in Eddie, you can send everything to your favorite NLE, whether it is Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro.

Next, Eddie AI 2.0 now has a built-in A-roll and B-roll footage organization, which automatically logs interviews and B-roll footage. The tool will analyze your footage and create Metadata descriptions of what’s in it. It makes browsing your B-roll footage and finding the perfect shot way faster because you only have to type in the search bar for what you’re looking for.

Last but not least, this second version of Eddie AI introduces a “magical rough cut” mode. Once your footage is analyzed, you can prompt Eddie to deliver an edit for talking-head and interview-based content. Before you generate all of the cuts, you can talk with Eddie a la ChatGPT to align with your script or intention, which is helpful, especially if your story has multiple chapters/parts.

Also, Eddie AI is now capable of multicam video editing, which is handy as you often have two or more cameras when shooting an interview. When you’re pleased with the output, you can send your rough cut edit to your favorite NLE and make fine adjustments.

Pricing and availability

Eddie AI 2.0 is available now. You can try it for free, but to benefit from the full potential, you’ll have to subscribe to their Plus or Pro monthly subscription for $25 or $100 per month, respectively. The Plus subscription unlocks all of the Eddie AI 2.0 improvements, including the native application for your computer and the new editing modes/options, but is limited to four projects per month. The Pro package is unlimited.

For more information, please visit Eddie’s website here.

What do you think about this update? Have you already tried Eddie AI? What do you think about the idea of having an AI video assistant? Do you already use AI tools in your workflow? Don’t hesitate to let us know in the comments below!

Based on intoPix’s TicoRAW, Nikon’s compressed RAW format first made its debut in the Nikon Z 9 with firmware V2.0 and later found its way into the Z 8 and Z6 III (which, by the way, just got a major firmware update). Overall, N-RAW has proven to be a pretty flexible format but currently suffers from one major limitation. Indeed, at the moment, the only non-linear editing software that supports it is DaVinci Resolve and Edius.

In truth, the Adobe team had already been working on integrating N-RAW support into their video products, but shortly after Nikon acquired RED, they oddly halted the development. Now, they’ve reversed that decision. Let’s take a look!

Nikon N-RAW – coming to Adobe software later this year?

Just a few weeks ago, RED included full support for Nikon N-RAW in the latest release of REDCINE-X Pro (Beta), thus allowing Nikon users to process their N-RAW clips using RED’s IPP2 (Image Processing Pipeline 2) workflow chain.

At the same time, RED updated their SDK (Software Development Kit) to include support for N-RAW. So, technically, this means that any third-party developer could now integrate N-RAW processing into their software, including – but not limited to – Adobe.

As a result, Adobe engineers picked up right where they left off, as confirmed by Fergus Hammond, Principal Product Manager for Adobe Audio & Video, in this thread:

Hi all,
I have good news for people following this thread: we have restarted work on adding Nikon N-RAW support to our video products. We expect to release N-RAW support later this year. 

For the curious, N-RAW support is coming via an update to RED’s SDK. Adobe has worked closely with RED for many years to support RED’s R3D format, so we are delighted that the purchase of RED by Nikon has resulted in N-RAW support being added to the RED SDK.

As soon as N-RAW support is available in public beta, I will update this post. 

Fergus Hammond, Principal Product Manager for Adobe Audio & Video

For more information, please visit the original thread here.

Have you ever tried shooting in Nikon N-RAW? Do you use Adobe Premiere Pro for your video editing needs? If so, are these Adobe updates relevant to you? Let us know your thoughts in the comment section below!

For those unfamiliar with FilmConvert, their CineMatch tool helps adjust colors between different cameras by matching their color science, making it easier to blend footage from multiple sources. FilmConvert Nitrate is a film simulation plug-in that emulates the look of classic film stocks, adding grain and color profiles to digital footage for a more organic, cinematic feel. FilmConvert continuously expands the compatibility of both programs, recently adding support for the Sony a6700 and Sony a7R V cameras, the iPhone 16 Pro – and now the ARRI Alexa 35, integrating their high-end color science into the CineMatch and Nitrate workflow.

The ARRI Alexa 35 – high image cinematic quality in a Super 35 package

The ARRI Alexa 35, released in 2022, retails for $83,000 (The base model starts at $55,000), but not without a reason. The Alexa 35 is a high-end cinema camera featuring a 4.6K Super 35 CMOS sensor with 17 stops of dynamic range, delivering exceptional highlight retention, shadow detail, and much more. CineD’s lab test put the camera through its paces, which you can read about here. Plus, the camera now offers a new Log C4 color profile. For more on the ARRI Alexa 35, you can also have a look at their website.

Pricing and availability

FilmConvert suggests trying out the plugin using the Alexa 35 profile – you can download a free trial here. Both plugins retail for $149, but you can get 10% off through CineD using this link. If you are already a CineMatch or Nitrate user, you can download the camera pack for free – CineMatch can be downloaded here, and Nitrate here.

How do you approach color matching when working with multiple cameras? Do you prefer using CineMatch for color consistency, or do you rely on manual grading? Let us know in the comments!

Unlike other AI video tools, the Adobe Firefly Video Model is built to generate IP-friendly, production-ready content so brands and agencies can use it without worrying about copyright issues or legal trouble. It also integrates directly into Adobe Creative Cloud, making it easy to move AI-generated elements into real production workflows.

For reference, we first covered the Firefly Video Model announcement, including Generative Extend and AI dubbing, here on CineD. Now, let’s see what’s new in the public beta.

What does “commercially safe AI video generation” actually mean?

Generative AI is exciting, but it comes with a lot of baggage, especially when it comes to ownership and ethics. Adobe is tackling these concerns head-on by training Firefly only on licensed Adobe Stock content, public domain materials, and legally acquired assets.

One of the standout features of Firefly is built-in Content Credentials, which act as a digital authenticity tag for AI-generated media. Adobe has been pushing for transparency in AI content, working with the Content Authenticity Initiative to make sure anything generated by Firefly is labeled and traceable.

Bottom line: Firefly-generated videos are designed to be safe for commercial use without the messy copyright concerns other AI models might bring.

New AI video tools for creative professionals

Firefly Video Model isn’t just about cranking out random AI clips. Adobe has packed it with tools that give creators more control over AI-generated video and motion design.

• Text-to-Video & Image-to-Video
• Camera Angle Control
• Custom Motion Design Elements
• Frame & Style Locking

With Text-to-Video and Image-to-Video, you can generate high-quality 1080p video clips just by typing a description or uploading a reference image. This makes it easy to create b-roll, animated sequences, or even rough ideas for a project without needing a full production setup.

Camera Angle Control lets you fine-tune shot composition, whether you want a sweeping aerial view, a dramatic close-up, or a wide establishing shot.

If you want to add a little more visual flair, use Custom Motion Design Elements. This allows you to create animated transitions, background movement, and atmospheric effects, helping AI-generated footage feel more polished.

To keep things consistent, Frame & Style Locking helps maintain colors, lighting, and character details. It works across multiple AI-generated clips, making it easier to mix them into existing edits.

Adobe has already hinted that 4K support is on the way, which could make Firefly Video Model even more useful for high-end production work.

How to access Firefly Video Model’s AI video tools

If you want to try out Firefly’s AI video tools, you can access them through the Firefly web app or in Adobe Premiere Pro under the Generative Extend (beta) feature.

The beta version supports 1080p video generation, but Adobe plans to roll out higher resolutions and new features soon. Firefly is included in select Adobe Creative Cloud plans, but you can also sign up for Firefly Standard or Pro subscriptions if you need more AI generation power. More details on pricing and availability are on the Adobe Firefly Plans page.

Firefly video plans and pricing

Adobe has introduced new Firefly plans to give users different levels of access to their AI-powered video and audio tools. Whether you’re experimenting with AI-generated content or need high-volume production capabilities, there’s a plan for you.

• Firefly Standard – $9.99/month
• Firefly Pro – $29.99/month
• Firefly Premium – Coming Soon

The Firefly Standard plan includes 2,000 video/audio credits, which gives you up to 20 five-second 1080p video generations per month. If you need more, the Firefly Pro plan bumps that up to 7,000 credits and 70 video generations. Adobe is also working on a Firefly Premium plan, offering even more AI-generated content for high-volume creators and teams.

All plans include unlimited image and vector generation, so Firefly isn’t just about video—it’s a full multi-modal content creation tool.

Advancing or undermining creativity?

There’s no doubt that Firefly is an impressive step forward for AI-generated video. For agencies and brands, it could be a game-changer, making it easier (and cheaper) to produce professional-looking content at scale. But for those of us who’ve spent years perfecting the craft of filmmaking, motion design, and post-production, it’s hard to ignore the bigger question. What happens when AI-generated content becomes the norm?

I’ve tested a lot of AI generation models, and honestly, it’s almost too easy to get something that looks polished. But that raises another issue—what is that image or video actually worth? AI has a way of making everything look slick but also strangely generic. The imperfections, the artistic choices, the personality that makes a piece of content feel truly creative—AI strips a lot of that away.

Firefly is built for efficiency, and there’s no doubt companies will use it to cut costs. But if this is where video production is heading, what does it mean for the people behind the camera, the editors, the animators—the ones who bring real artistry to the table?

What do you think? Is Firefly a revolutionary tool for creatives, or is it another step toward making everything feel the same? Drop your thoughts in the comments below!