The importance of using a high-quality cinema monitor while filming cannot be overstated. The image is larger and oftentimes superior to what’s on the camera viewfinder or small onboard monitor. Directors will watch a scene play out on a monitor, seeing what the final shot will look like, minus any color grading and effects. These monitors can range in price from several hundred dollars to thousands of dollars or more. They are a valuable production tool that can be used on any type of shoot.

CineMon features

CineMon v1.0 has many of the features needed in a cinema monitor. The app takes full advantage of Apple’s Metal APIs for maximum performance while keeping battery use to a minimum. It also supports plenty of UVC video hardware options, with even more pro options available on a Mac.

The developers have worked on bringing the tools and features found in a professional cinema monitor to the app and, in turn, an iPad or Mac. This allows cinematographers and shooters an affordable way to check focus, exposure, composition, etc. Plus, there is plenty of customization that can be done and can be saved to switch between configurations.

Connect a pro camera to an iPad or Mac with an HDMI or SDI cable (via USB adapter) and launch the CineMon app to start monitoring your shots. The developers say input from other devices will be supported soon, including Blackmagic’s UltraStudio devices and NDI.

Features include:

• Image-Based Spot Metering: This feature is CineMon’s own spot meter tool (patent pending) that shows precise scene luminance values relative to the middle gray under each movable probe. Customize middle gray level, show contrast ratio overlay, and the probe can help set the middle gray value. Supports log profiles from Blackmagic, RED, ARRI, FUJIFILM, Sony, Canon, Nikon, and Panasonic.
• Focus Assist: Customizable focus peaking and Edge Only mode help with fine-tuning the focus.
• Zebras: Two independent Zebra levels, customizable colors, and overlay highlights and shadows.
• Composition Guides: Grid overlay, center mark, safe area, and a Framing Guide with blanking bars.
• Scopes: Histogram, waveform, and vectorscope.
• LUTs: Import as many LUTs as you wish, with support of cube LUTs up to a 33 grid. Rename and organize the LUTs easily. 
• Image Adjustments: Exposure compensation, contrast, and saturation.
• Color Key Preview: Check the overall quality of green screen backdrops, plus do composites with custom backplates. Adjust exposure to match VFX and finesse the contrast ratios.
• Image Transforms: Flip/flop and de-squeeze anamorphic video, including custom de-squeeze aspect ratio.
• Customizable false color.
• Image Overlay.

There are similar apps to CineMon that turn an iPad or iPhone into a monitor, including Accsoon’s SeeMo Pro SDI, Orion HDMI Monitor app, the Jetset Cinema app, and others. CineMon seems to really bring the full cinema monitor experience to an iPad or Mac.

Price and availability 

CineMon is currently in beta but will soon be available on the App Store for iPad and Mac. You can learn more and sign up for the beta on their website.

What are your thoughts on using CineMon and an iPad or Mac as a cinema monitor? Are you using similar apps and setups? Let us know in the comments below!

The Blackmagic PYXIS 6K camera was unveiled at NAB 2024 and featured a box-style design and a full-frame 6K sensor (36 x 24mm, 6048 x 4032) with 13 stops of dynamic range. It supports filming in open gate 3:2, full height 6:5 anamorphic, and Super 35, plus 6K, DCI 4K, and HD. Supported mounts include Canon EF, L-Mount, or PL.

Blackmagic Camera 9.2 update – New features, enhancements, and improvements 

The Blackmagic Camera 9.2 update allows the new PYXIS 6K full-frame camera to be controlled remotely with the updated Blackmagic Camera app. It also adds support for the PYXIS Monitor with the Blackmagic PYXIS 6K camera, including touchscreen and menu controls.

The full list of features and improvements includes:

• The Blackmagic PYXIS 6K camera can be used with the PYXIS Monitor with full touchscreen support and menu controls.
• Control the Blackmagic PYXIS 6K camera remotely with the Blackmagic Camera app. Using the app on an iPhone or iPad to control the PYXIS 6K’s  focus, white balance, frame rate, shutter angle and more. Start and stop recording, as well. This is great for multi-camera shoots. 
• Adds lens correction data for L-Mount lenses to Blackmagic RAW files recorded on the PYXIS 6K camera. 
• Improved battery life for the PYXIS 6K.
• Enhanced iPhone 15 Pro and iPhone 16 Pro tethering compatibility.
• When the Blackmagic PYXIS 6K’s lock switch is turned on, the built-in touchscreen is locked, but not the buttons below. That support extends to external monitors like the PYXIS monitor.
• Improves the gyro accuracy on the Blackmagic 4K G2. This helps with shot stabilization in DaVinci Resolve.

It wasn’t long ago that Blackmagic Design released the Blackmagic Camera 9.1.2 update. It added support for the PYXIS Monitor with the Blackmagic URSA Cine 12K LF along with other third-party display port USB-C monitors. Get the details of that release here.

Price and availability 

The Blackmagic 9.2 update is available now as a free download. If you own the Blackmagic PYXIS 6K camera, it’s definitely a great update. The camera’s remote control ability while using the Blackmagic Camera app for iOS is a must-have feature. Plus, full touchscreen support of the PYXIS Monitor or a third-party external monitor from the camera is another great feature. Learn more and download here.

Meanwhile, the Blackmagic PYXIS 6K full-frame camera is now shipping and starts at $2,995 (Canon EF, L-Mount, and PL), and the PYXIS Monitor is available for pre-order at $295.

Have you had a chance to shoot with the Blackmagic PYXIS 6K full-frame camera? What are your thoughts on the Blackmagic Camera 9.2 update? Let us know in the comments below!

Since its release, Blackmagic Camera has become a standard for smartphone filmmaking. Its familiar user interface for those who are used to the Blackmagic ecosystem, the number of options, and improved reliability make it one of the top options for mobile filmmakers. Of course, the fact that it’s a free app also helps with its success. Let’s take a look at the new update.

Blackmagic Camera 2.2 new features

The latest iOS update introduces remote control functionality for PYXIS cameras, allowing users to manage settings such as focus, white balance, frame rate, and shutter angle directly from their phones. This is particularly useful in situations where the camera is positioned in hard-to-reach locations, making on-the-spot adjustments more convenient. Users can also start and stop recording the connected PYXIS camera and use it in a multicamera shoot.

Blackmagic Camera 2.2 for iOS also adds one feature I felt was missing from the beginning: the ability to click and drag multiple clips on the media tab. This streamlines the process of uploading or deleting multiple clips simultaneously, making it much faster and more efficient. This version also supports German and Italian and fixes an occasional bug where the image would flip when switching between front and back lenses when controlling a remote camera. 

Price and availability

As with previous versions, Blackmagic Camera 2.2 for iOS is now available for free from the Apple App Store. For more information, please visit Blackmagic Design’s app website.

What do you think of this new update? Are you currently using a PYXIS camera that you can control remotely? Let us know your thoughts in the comments below!

Video has exploded in popularity in recent years. YouTube is the top app amongst Gen Z, and TikTok is all about video. Even adding photos to Instagram gives you the option to turn the post into a video montage with music. Plus, there are plenty of pro-level video and cinematography apps available for iPhone and Android smartphones, including Kino, Blackmagic Camera, Final Cut Camera, Filmic Pro, and others. Smartphone filmmaking is only growing in popularity, especially with big-budget sequel 28 Years Later using iPhones to film the movie.

Kino Pro Video App – features

Kino may not carry the same name recognition as other mobile filmmaking apps, such as Blackmagic Camera and Filmic Pro. Still, it comes from Lux Optics, creator of the award-winning photography app, Halide Mark II.

The pro-level features and intuitive interface found in Kino helped it win the 2024 iPhone App of the Year award. Probably the biggest feature is Instant Grade, pro color presets categorized by Apple Log and SDR. Some of these emulate film stocks. The names behind the Instant Grade presets include Stu Maschwitz (Prolost), Sandwich Video, Kevin Ong, Sebastiaan de With, and Evan Schneider (The LUT Company).

Features include:

• Full manual control of ISO, shutter speed, angle, and more. Also includes automatic exposure with EV adjustment plus AWB and AE lock.
• Control exposure by swiping down on the viewfinder. There is no ‘tap the screen to adjust exposure.’
• Focus peaking, audio levels, color waveform, and other on-screen monitoring.
• Import LUTs.
• Different record settings based on the phone, such as 4K LOG ProRes 422, 4K HDR HEVC, H.264 and others.
• Instant Grade offers several pro color presets, including those that emulate film stocks. They are organized by filming in Apple Log or SDR. And it depends on which iPhone model you have; Kino will only show what your iPhone supports. Export the video with the look baked in. This feature can be turned on and off.
• AutoMotion will automatically select the best exposure settings to help with mimicking cinematic blur. This cuts down on the sometimes overly crisp video images from the phone. Kino will also indicate if it can use AutoMotion or not (green or gray) based on the lighting situation, such as bright daylight. You can put an ND filter over the iPhone’s camera lens to activate AutoMotion if it’s too bright.

When you first open Kino, it will ask about your level of filmmaking, from Beginner to Pro. This will help with the initial setup. The developers also offer a manual and plenty of video tutorials to get you started.

And if you’re familiar with other pro video apps, it might be wise to throw out what you know, figuratively speaking. Kino’s interface is a little different, and they really thought about how to control the settings. So things like ‘tap the screen to control exposure’ don’t exist. You pull it down from the viewfinder. You can also lock features, including disabling the video review and grade selection buttons during recording. This prevents an accidental recording stoppage.

This isn’t the first time Lux Optics won an award from Apple. At the 2022 Worldwide Developers Conference, the company’s Halide Mark II won the Apple Design Award for Visuals and Graphics. 

Price and availability 

You can purchase Kino for a very affordable, one-time purchase of $9.99. And while the app will work with most iPhones, the most recent models take full advantage of it. Learn more here.

Are you using Kino for iPhone for smartphone filmmaking or any other pro video app? Let us know in the comments below!

The Shinobi II is a 5in/12cm HDR monitor with a 1500-nit brightness, designed for daylight visibility and with features that cater to vloggers and other creatives who are on the move and need something portable and easy to use. Atomos released the second iteration of the Shinobi II monitor this summer, redesigned to be brighter and slimmer than the original model released in 2019, and added the Touch to Focus feature with update 11.02.00 in October. With the current firmware update, users can now set focus points in autofocus (AF) tracking mode for supported cameras.

In addition to the ability to set focus points in AF, this update has expanded Touch to Focus camera support for Canon EOS R1, Canon EOS R5 Mark II, Canon EOS R7, Nikon Z8, Sony FX3, and Sony FX30 cameras. Fujifilm F-LOG2 Log/HDR conversions have also been added, alongside bug fixes and overall reliability improvements. Here is a walkthrough of the Shinobi II if you don’t already own one and would like to see how it works:

It’s a Christmas present to our loyal users, the overwhelming success of AF touch to focus from our Shinobi II HDR screen has meant a new improved workflow for videographers and photographers alike. Now, with support for the most popular Canon, Sony and Nikon cameras, this is a true revolution in camera operation. We are listening to customers and supporting the cameras they use; we will continue to upgrade Shinobi II based on this feedback.

Jeromy Young, Atomos CEO

Price and availability

For more information and to download the free 11.03.00 firmware update for the Shinobi II monitor, please see the Atomos website.

Have you tried the Shinobi II monitor with your setup? Are there other features you’d like to see added to the Shinobi II in future updates? Let us know in the comments!

FilmConvert Nitrate is a color grading tool designed to replicate the look of real film stocks. It provides users with adjustable settings for film grain, color density, and exposure. This tool allows precise control over the final appearance of footage. CineMatch, on the other hand, is focused on color matching across different cameras. It uses advanced color science to align footage from various camera models. This ensures consistent color and tone, simplifying workflows for multi-camera productions.

A look at the Sony a6700 and a7R V

The Sony a6700 and a7R V deliver a range of distinct features designed to meet the needs of photographers and videographers.

Released in July 2023, the Sony a6700 is a compact APS-C camera with AI-powered photo and video functions. It supports 4K recording at up to 120fps and includes advanced subject recognition capabilities. While the Sony a7R V, launched in December 2022, is a full-frame mirrorless camera with features such as 8K video recording, a dedicated AI processor, and advanced subject recognition.

Photographers and videographers have embraced these cameras since their release, and FilmConvert shows their dedication to supporting creators by consistently testing and adding popular models like these to their lineup.

Price and availability

The new camera packs for the Sony a6700 and Sony a7R V are available through the camera pack downloader within both FilmConvert Nitrate and CineMatch. If the cameras do not appear in the dropdown menu, users should update to the latest version of the plugin here and restart their video editor.

Both plugins retail for $149, but FilmConvert currently has a 30% off Christmas sale running. After that CineD readers still get 10% off (use our links and the discount will automatically appear). For more information, visit their website to learn more.

What do you think about FilmConvert’s latest updates for the Sony a6700 and a7R V? Share your experiences and thoughts in the comments below!

In the past year alone, we’ve seen 10 updates to DaVinci Resolve, 7 to Adobe Premiere Pro, 12 to After Effects, 5 to Final Cut Pro, and 3 to Avid Media Composer. These frequent updates highlight how competitive the landscape is and how quickly tools are evolving to meet new demands. But while AI helps editors work smarter, it doesn’t make them better. This has led to a wave of less-experienced editors breaking into the industry using AI to handle tasks that once required years of practice. Meanwhile, outsourcing for post-work is increasing, with more companies tapping into cheaper global markets for editing and finishing.

Experienced editors are feeling the pressure, too. They’re being asked to do more than just edit—graphics, animation, and even audio work are now common expectations. Straight editing might be a thing of the past, replaced by a hybrid role that spans multiple disciplines. As we dive into the updates from the major software companies, we’ll see how these trends are shaping the tools we use and what they mean for the future of editing.

Blackmagic DaVinci Resolve

DaVinci Resolve 19 marked a major leap forward for the platform, introducing powerful tools that enhance both creativity and collaboration. The advanced AI-driven features, powered by the improved Neural Engine, streamline tasks like motion tracking, object removal, and smart reframing. Collaboration has also been elevated, with updates to cloud workflows allowing teams to work seamlessly on shared projects. For colorists, enhanced HDR grading tools and expanded Dolby Vision support offer greater precision and control. Universal project compatibility reduces file format issues, while optimizations for GPUs ensure faster renders and playback for high-resolution projects.

Key Elements Updated in Version 19:

• Advanced AI-driven editing and grading tools
• Enhanced cloud collaboration features
• Universal project compatibility
• Expanded HDR grading and Dolby Vision support
• Optimizations for GPU performance and high-resolution playback

Blackmagic recently slashed the monthly fees for their Cloud Storage Service by 50%, making collaborative workflows more accessible than ever. Learn more about this update here.

Resolve’s pricing model continues to be a driving force behind its popularity. The free version offers professional-grade tools, making it accessible to independent creators and small teams. Meanwhile, the affordable studio version provides an enticing option for larger teams looking to save on costs. These factors, combined with strong cloud-based collaboration options, are cementing Resolve’s position as a leader in post-production.

For more on the latest updates, including the refinements in version 19.1.1, check out CineD’s article on DaVinci Resolve 19.1.1.

Adobe Premiere Pro and After Effects

Adobe continues to lead the industry with user-friendly and versatile software, notably Premiere Pro and After Effects. Over the past year, Adobe has focused on simplifying workflows and integrating advanced AI tools to enhance efficiency and creativity. Premiere Pro remains a cornerstone for editors, while After Effects excels in motion graphics and visual effects. Adobe’s push into AI-powered editing underscores their commitment to enabling creators to concentrate on storytelling rather than repetitive tasks.

Premiere Pro 25.0:

• Context-Aware Properties Panel
• Modernized User Interface
• Simplified Project Creation
• Extend the Shot (Generative Extend)

After Effects 25.0:

• Enhanced 3D Workflows
• Per-Character Text Styling via Expressions
• Updated User Interface

One of the most significant additions this year is Adobe’s integration of generative AI tools powered by the Firefly Video Model. The Generative Extend feature allows editors to lengthen clips by creating new frames at the beginning or end. This is a game-changer for covering gaps or fine-tuning timing without reshoots. Adobe’s Firefly also introduces Image-to-Video capabilities, transforming still images into dynamic clips, and AI-powered dubbing, making language localization faster and more accurate. These tools reflect Adobe’s strategy of pushing boundaries in creative automation while retaining professional quality. For a detailed breakdown, see CineD’s coverage of Adobe Firefly Video Model.

However, this year wasn’t without controversy. Adobe faced backlash over privacy concerns, with users questioning their terms of service regarding AI training. Some feared their work might be used without consent. Adobe clarified that they do not use customer content to train their AI models and updated their terms to address these concerns.

Adobe’s continued push toward AI-powered features, combined with more intuitive tools like the Extend the Shot function in Premiere 25, ensures their place as a leader in the editing world. For a full overview of Premiere Pro 25, check out CineD’s article on the latest updates.

Apple Final Cut Pro

It only took 13 years, but in 2024, Final Cut Pro finally made the jump from version 10 to version 11. For a tool so widely used by content creators, the long-awaited update has given FCP some much-needed attention. While it’s not something you often see in post houses or on larger projects, the changes in version 11 make it a compelling choice for freelancers and small studios. Its seamless integration with Apple hardware and macOS continues to make it a favorite for those working on tight deadlines or within the Apple ecosystem.

The Version 11 update brings Final Cut Pro a step closer to competing with other major editing platforms. The cornerstone of this update is the Magic Mask feature, an AI-powered tool for isolating subjects without the need for a green screen. This productivity booster is a game-changer for content creators, streamlining workflows and reducing time spent on tedious masking tasks. Alongside Magic Mask, version 11 introduces better HDR tools, spatial video editing capabilities for Vision Pro footage, and further refinements to stability and performance.

Key Features in Version 11:

• Magic Mask for AI-powered subject isolation
• HDR grading enhancements
• Spatial video editing support for Vision Pro footage
• Performance improvements and macOS integration

While these updates reinforce Final Cut Pro’s reputation as a streamlined, efficient tool, it’s still rare to see it in post houses or on high-budget productions. For larger projects, tools like DaVinci Resolve or Avid Media Composer remain the industry standard. However, the improvements in version 11 make FCP an even more attractive option for independent editors and content creators.

For a deeper look at the Magic Mask feature and how it’s reshaping workflows, check out CineD’s review of Final CutPro 11, and for more information about FCP 11’s capabilities, head over to Apple’s site.

Avid Media Composer

Avid Media Composer has been a staple in high-end post-production for decades, especially in TV and film. Compared to other software, Avid hasn’t made many updates this year—just three, to be exact, the fewest of any major platform. While this might sound like Avid is behind the times, its consistency is exactly what many editors love. It doesn’t chase trends or try to reinvent itself every year. Instead, it sticks to what works.

For editors like me, that reliability is a comfort. I’ve had the same Avid keyboard settings since 2002, and hopping onto any Media Composer system feels like home within an hour. It’s one of the few tools where you can work on any version and still know exactly what you’re doing.

That said, Avid has made a few solid improvements over the past year, focusing on refining workflows rather than introducing flashy features.

Major Updates in the Latest Versions:

Version 2023.12

• Export transcripts as text files
• Import QuickTime files without needing QuickTime installed
• Faster speech-to-text tools with improved PhraseFind AI and ScriptSync AI

Version 2024.2

• A transcription database that spans multiple projects
• Easier subtitle and caption exports with SubCap updates
• OpenTimelineIO (OTIO) preview for better compatibility

These updates are practical, not revolutionary. They keep Avid relevant for professionals while staying true to their roots. And yes, the title tool is still a pain to use. It hasn’t changed, but let’s be honest, no one’s holding their breath for that fix.

Avid’s lack of trend-chasing can make it feel like they’re lagging behind, especially with AI and cloud-first features dominating the industry. But for those of us who value stability and familiarity, Media Composer still feels like home. It’s not flashy, but it gets the job done—and that’s why it’s still a favorite in high-stakes post-production.

For a comprehensive list of Avid Media Composer’s latest features, please visit Avid’s official Media Composer page.

Video editing software is reshaping the industry

The updates across editing platforms are doing more than just improving workflows—they’re transforming the industry. AI tools like automated masking, object removal, and color grading have lowered the barrier to entry, enabling less-experienced editors to break in quickly. While this opens doors for new talent, it also increases competition, putting pressure on seasoned editors to stand out.

For professionals, the expectations are growing. Editors are now expected to handle graphics, animation, and audio alongside traditional editing. These hybrid roles are becoming the norm and those who can’t adapt risk being left behind. Meanwhile, outsourcing to global markets is driving down rates for freelancers in the U.S. and Europe. This trend could force conversations about fair pay and protections for creative workers in the coming years.

What to expect going forward

Looking ahead, editing software will likely become more collaborative, intelligent, and immersive. AI tools are expected to go beyond automation, actively enhancing creativity with features like edit suggestions, tone-based transitions, and even music recommendations. Virtual editing spaces may emerge, where teams collaborate in real-time through augmented or virtual reality.

However, globalization will continue to reshape the workforce. Companies seeking cost savings will likely rely more on editors in lower-cost markets, intensifying competition and reducing rates for established professionals. Addressing this challenge will require advocacy and collective action from editors to ensure fair compensation.

The future of editing is full of possibilities, but it demands adaptability. Whether you’re a pro or just starting out, embracing new tools and staying flexible will be key to thriving in this evolving landscape. The tools are there—it’s up to us to shape what comes next.

What do you think about these updates and where we are heading? Are they improving your workflow or adding challenges? Share your thoughts in the comments below!

Featured Image Credit: Photo by Wendy Wei, Edited by CineD

The Atomos Ninja Ultra debuted last year as the successor to the popular Ninja V and Ninja V+. Features include a 5-inch, 10-bit 1920 x 1080 monitor with 1000 nits of maximum brightness. It records up to 8K at 30p ProRes RAW, along with H.265, ProRes, and DNxHD.

Meanwhile, the Atomos Shogun Ultra also launched in 2023. Both new monitor-recorders feature a 7-inch, 2000-nit IPS display along with Camera-to-Cloud capabilities, up to 8K30p ProRes RAW, AtomOS 11, and more.

AtomOS 11.13.00 – new features

When Atomos released AtomOS 11, they delivered an overhauled operating system that offered a better, more streamlined interface. Major new features included ARRI False Color and El Zone tools to help with exposure, new recording and scheduled playback tools, and more.

They have provided frequent firmware updates following the release of AtomOS 11. These include Touch to Focus camera control for specific cameras and added support for SRT and FUJIFILM F-LOG2. These updates also impacted the Atomos Shinobi II.

AtomOS 11.13.00 adds new features specific to the Canon EOS C80 and R1 and impacts the Atomos Ninja Ultra, Ninja V+, Shogun Connect, and Shogun Ultra. The new features include:

• Support for Canon C80 HDMI RAW 6K modes (6000 x 3164 at 59.94 fps).
• SDI Filenaming for the C80.
• Support for Canon R1 HDMI RAW 6K modes (6000 x 3164 at 23.98, 24, 25, 29.97, 50 and 59.94 fps).

Price and availability

The AtomOS 11.13.00 firmware update is available now as a free update. Learn more about the update plus instructions on Atomos’ support page. The Atomos Ninja Ultra sells for $799/€799, while the Shogun Ultra retails for $1,199/€1,199.

Have you been using the Atomos Ninja Ultra on your projects? What do you think of the AtomOS 11 update with HDMI RAW 6K support for the Canon EOS C80 and C1? Let us know in the comments below!

As usual, Blackmagic Design is adding some useful workflow updates to its ever-evolving post production powerhouse DaVinci Resolve 19.

Editing flexibility is main focus of DaVinci update

The most notable addition is enhanced clip placement functionality. Editors can now paste clips in the timeline either at the playhead or between in and out points, providing more granular control over complex editing workflows. This seemingly small feature can significantly streamline editing processes, especially when working on intricate projects with multiple clip arrangements.

The update also tackles several stability issues on the Edit page, including improved multicam angle switching and resolving crashes related to transition previews. These refinements demonstrate Blackmagic’s commitment to addressing real-world editing challenges.

Fusion and Color Page enhancements

Fusion users will appreciate the improved rendering of fisheye textures in the SphereMap 3D tool and more reliable b-spline polygon creation. For colorists, the update improves spatial photo thumbnail displays and resolves some collaboration-related grading issues.

Audio workflow improvements

Fairlight receives attention with more consistent automation trim controls and more accurate interpretation of AAF imports, particularly regarding clip fade levels. These updates underscore the software’s ongoing development as a comprehensive post-production solution.

Platform and compatibility updates

The update provides notable improvements for users with older hardware and operating systems. Particularly impressive is the enhanced H.265 encoding for older NVIDIA graphics cards and expanded compatibility with Windows 10 media players.

Final Thoughts on this DaVinci update

While DaVinci Resolve 19.1.1 might not be a headline-grabbing release, it represents the kind of incremental improvement that demonstrates a mature, user-focused approach to software development. By addressing specific workflow bottlenecks and enhancing stability, Blackmagic continues to refine what has become an essential tool for filmmakers and content creators.

The update is available now as a free download for users of the free and Studio versions of DaVinci Resolve.

Learning DaVinci Resolve properly

Don’t forget that our education platform MZed has the best courses on DaVinci Resolve in its portfolio. The Beginners Course to DaVinci Resolve by Ollie Kenchington has an average rating of 4.8 stars and is currently still on sale as part of our Black Friday promotion (ending soon!). You can get also get access to the full course as an MZed Pro subscriber for only $199 for a full year of membership (normally $349), alongside 58 other courses (including many others on DaVinci Resolve). Sign up now before it’s too late.

Are you a user of DaVinci Resolve? Let us know in the comments which updates and additions to the software you are still missing and would like to see in the future.

fylm.ai makes color grading easier, a process that generally can feel overwhelming for many filmmakers. In August, the NeuralFilmAI Tool was added with update 2.1, but fylm.ai can do a lot more. To get an idea of what it can do and have a go at it yourself, take a look at my colleague Nino’s article. He will walk you through the details of building your own CineD LUTs in a process powered by fylm.ai.

What exactly is the tetrahedral interpolation tool?

It is as scientific as it sounds – it’s a tool for creating three-dimensional color grades for your images. You can adjust saturation, luminance, hue, density, and more, all while preserving the image’s quality. However, what is unique is that it works in a three-dimensional space; the controls operate independently, taking the spatial relationships between colors into account. Too much science? Have a look at the following video from fylm.ai:

Improved AI Colour Match and AI Auto Correct

According to fylm.ai, AI Colour Match has been completely revamped using new AI matching models, which should lead to significantly better color matching than the previous version. The AI Auto Correct tool, which automatically balances and prepares images for color grading with one click, has also been improved using new AI color correction models to “better understand the context of different color grades.”

flym.ai update 2.2 dedicated skin tone editor

fylm.ai now features a dedicated skin tone editor, letting you precisely adjust hue, saturation, and luminance within a targeted color range. Have a look:

Further updates and improvements in flym.ai update 2.2

A number of other updates have been added, including improvement in RAW file handling, with the company stating that raw files now open 20% faster. Guest Downloads have also been introduced, allowing you to give clients or Guests access to download specific high-resolution, color-graded images.

The Tool Menu has been restyled with the introduction of a Legacy Tools tab. This tab lets you keep the older versions of AI Colour Match, etc., in case you need them in the future or want to continue using them on a project.

AI Colour Extract has been integrated into AI Colour Match, combining the two into a single tool, and, finally, Technical Colour Match has been changed and will now offer you only the best presets that can be used on your footage. If you need to adjust settings, there is now an Advanced Technical Colour Match tool for you to play with.

Price and availability

The fylm.ai 2.2 update is automatic and will install when you reload the app. The company notes that if you have any problems, clear the cache and then reload. For more information, please see their website.

With AI tools becoming more integrated into color grading, what are your thoughts on balancing automation with creative control? How do you currently handle skin tone adjustments, and do you see this new tool improving your process? Let’s hear from you in the comments!