AJA FS8 rackmount video interface centered on a stone surface, with a small front display, control buttons, and ventilation grille in the foreground. Above it, a monitoring screen shows a soccer broadcast and signal status panels, set against a dark background with a sleek, technical feel.

22.09.2026

AJA FS8 Bridges SDI and ST 2110

AJA squeezes SDI/IP conversion, sync, HDR, audio routing and ST 2110 into 1RU, giving post facilities a practical route from baseband to IP.

7 minute read

A dark Stream Deck interface with eight square control buttons, including Pause, Mark In, Mark Out, Select, Stop, and Ready, arranged above a horizontal timeline display. The matte black layout uses purple, gold, and white accents, with four round dials set into a recessed lower panel, creating a compact editing dashboard.

DeckBridge Gives Resolve a Smarter Stream Deck

DeckBridge turns Stream Deck into a Resolve-aware controller with live keymaps, page switching, Fairlight feedback and ten dedicated actions.

22.09.2026

Blender shader nodes for an Attribute feeding a Diffuse BSDF into Material Output sit above a 3D viewport showing a noisy Gaussian splat scene: a small table with clustered objects and a tall central form, lit against a dark background.

Blender 5.3 Brings Gaussian Splats Home

Blender 5.3 brings Gaussian Splats into the core app, with native import, Geometry Nodes access and rendering across Workbench, EEVEE and Cycles.

22.09.2026

A browser-based COLMAP point-cloud view shows a dense golden 3D reconstruction centered on a pale canvas, surrounded by blue camera frustums and sparse floating points. A small control panel in the upper left labels Camera 1 and displays OpenCV calibration values, giving the interface a technical, workspace feel.

COLMAP Moves Into the Browser

Rafael Spring ports COLMAP’s sparse reconstruction workflow into a local browser app, with WebGPU acceleration and standard COLMAP output.

21.09.2026

A Blender character rig fills the screen with colorful facial control curves over a stylized head, while an Animo Sliders panel on the right shows checked options like Tween, Blend to Neighbors, and Scale Left. Below, a dark graph editor and timeline create a technical interface layered over the model, with muted gray, blue, and red accents.

Animo Sliders Bring Maya Controls to Blender

Ehsan Bayat brings 16 Animo animation sliders to Blender for faster pose, timing and keyframe adjustments.

21.09.2026

A vibrant promotional banner for Fusion Studio 21, featuring bold, three-dimensional lettering of'FUSION' glowing against a dramatic cosmic background of fiery orange and deep red hues. To the left, text highlights new features like Lottie animations and updated tools, appealing with vivid, engaging design elements that suggest innovation and creativity. — Advertisement

A sleek black audio panel with an array of illuminated sliders and knobs, featuring vibrant green visual meters that indicate sound levels. The high-tech design is showcased against a dark background, with microphone silhouettes enhancing its professional appeal. — Advertisement

A 3D web editor scene shows a park-like landscape with dense trees, a white bicycle beside a bench, and a small flower arrangement on a draped table in the foreground. Dark UI panels frame the view, with a banner reading “Rebuilt on WebGPU” in the lower left.

SuperSplat 3 Moves Editing to WebGPU

SuperSplat 3 rebuilds its Gaussian-splat editor on WebGPU, shrinking browser memory use and moving sorting, selection and more onto the GPU.

A dark-themed Fusion workspace shows a composition preview on the left with the word “PROPAGATE” in a pink-to-purple gradient over a deep navy background, plus two small icon graphics below. On the right, a node-based flowchart of connected boxes and lines fills the editor, with tool panels framing the screen.

Fridays for Fusion: PROPAGATE, Finally

PROPAGATE copies changed parameters, connections, expressions and animation across Fusion nodes. An obvious idea, now available in software.

Two crystal clusters float on a black background, one with amber and purple points and the other mostly clear and white. Their jagged mineral textures and isolated placement create a stark, gallery-like composition with dramatic contrast.

Pixel Lab Sells Gems Cheaper Than GPUs

Pixel Lab packs 30 gemstones and 40+ ancient tree stumps into PLY Gaussian splats. The gems are cheap. Your workstation probably isn't.

A Maya 3D viewport shows a small, fluffy bird model with orange-brown feathers and a blue beak standing on a white grid floor. The bird is centered on a light gray canvas, surrounded by dark tool panels, sliders, and menus that frame the modeling workspace.

Flair Heads for Unreal, Maya 2027 Ready

Flair is closing in on its Unreal Engine debut while the Maya renderer adds Maya 2027 support and clears out several workflow gremlins.

Split-screen image of a man in a traditional white robe and cap, shown before and after relighting and background replacement. On the left, he stands against a flat green screen while extending his arm beside a phone mount; on the right, an owl perches on his forearm in a warm, softly lit interior with a blurred tan background.

SwitchX 2.0 Adds 2160p and 10-Bit Output

Beeble doubles SwitchX shot length to 20 seconds, adds 2160p and 10-bit output, source-following camera motion and a draft-to-finish path.

A clear beer mug filled with golden lager sits against a dark, softly blurred background, topped with a white foam cap and a small yellow rubber duck labeled MAXON. Warm highlights catch the glass handle and bubbles, giving the composition a playful promotional feel.

Redshift 2026.9 Tightens the Bolts

Redshift 2026.9 adds Houdini 22 support, broader USD workflows and leaner render preparation, while clearing out a useful pile of production bugs.

A Blender workspace shows a dark 3D viewport with a cylindrical CAD mesh and multiple translucent green mesh parts arranged around it. The scene is centered on the model, with tool panels framing the left and right edges and a muted black background that emphasizes the layered geometry.

Hardcraft Tames CAD Meshes in Blender

Hardcraft turns CAD structure into controllable Blender topology, with quads where they help and triangles where they make more sense.

A dark animation workspace displays a white spiral of segmented glowing lines on a black canvas, with small square markers and guide points around it. Tool panels and dense menus frame the composition, giving the screen a technical, motion-graphics editing feel.

GhostPencilPro Gives Max a Grease Pencil

GhostPencilPro brings Grease Pencil-style drawing, animation, .ABR brushes and scripting into 3ds Max, without making Max users learn Blender.

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A dark, cinematic split-screen shows a color calibration interface on the left and a mirrored chef at a stove on the right. Neon green, red, and cyan accents contrast with the warm orange glow of cooking flames, creating a sleek, technical visual.

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Baselight 8: The feature list is the easy part

FilmLight explains why Baselight 8 adds mastering-focused audio tracks, a new linear-light grain model, Color Crosstalk, Color Correlation and ML-assisted Groups View.

A compact black OBSBOT Meet Flip webcam with a centered lens, glowing green indicator, and small speaker grille, shown front-on against a plain black background. Its matte finish and silver hinge create a sleek, minimal look.

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OBSBOT Meet Flip Review: Finally, a Webcam That Knows How to Shut Up

The OBSBOT Meet Flip is tiny, genuinely portable and physically private. Add very good 4K video and surprisingly mature software, and this may be the travel webcam we have been waiting for.

An editing interface displaying audio and video timelines with color-coded clips. Notes and tasks are visible alongside timestamps, organized within a dark-themed layout. The sleek design emphasizes functionality, showing a detailed workflow for wedding highlight editing.

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Digital Anarchy for the Adobe UXP Rewrite

CEP panels still run, but their comfortable retirement is approaching. Jim Tierney explains what UXP migration really costs.

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Why Tape Is Suddenly Cool Again: An Interview with Quantum CEO Hugues Meyrath

Tape is back. Apparently it just needed AI, an energy crisis and a few hundred petabytes to become fashionable again. Quantum CEO Hugues Meyrath explains why.

An EIZO ColorEdge monitor sits centered in a dark, black-backed composition, displaying a recursive screen-within-screen image of red-and-blue abstract light trails. Around it, luminous ribbon-like shapes and smoky blue wisps repeat across the frame, creating a dramatic, high-contrast showcase of color calibration and display performance.

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ColorEdge CS3200X review: The EIZO feeling without the colourist tax?

Two weeks with EIZO's new 31.5-inch CS3200X reveal a colour-accurate 4K production monitor that retains much of the CG experience at roughly a thrid of the price. How?

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Automation Agent for Premiere: Why I Built an AI Workflow Layer Around the Timeline

I built Automation Agent to give AI real Premiere context, scoped permissions and reusable workflows without handing it the creative edit.

A digital handwritten note on a white lined page reads “DIGITAL PRODUCTION” in bold black strokes, with “Test reMarkable Paper Pure” written below in red cursive. A thin red line trails downward in loose loops, and the minimal composition has a clean, sketchlike feel.

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reMarkable Paper Pure: Let’s Test

A production test of reMarkable Paper Pure, covering the display, Marker, exports, Connect subscription, handwriting search and daily note-taking.

A dark video transcription window shows timestamped captions and speaker labels, with repeated lines reading “Speaking in Foreign Language” and brief dialogue below. The interface uses light gray text on a black background, with playback controls along the bottom and a thin scrollbar at the right, creating a sparse, technical layout.

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Hearing Voices: What can AI in DaVinci Resolve 21 do for you?

We have been looking into transcription and subtitles from audio before, but Resolve 21 has added background processing and more AI in this field. Like going the other way, from text to audio, or from one voice to another. Are these features…

A man with short hair sits with hands clasped, smiling confidently next to a collage of images showcasing fire, landscapes, spherical objects, textures, and a house model. The background features the text'das element Asset Library Software'. — Advertisement

A dark-themed software panel lists Maya animation tools in two columns, with colorful square icons beside items like Temp Pivot, Rotate Order, Keys Time, and Animation Layers on the left. A slim vertical scrollbar divides the pane, while the right column shows more commands such as Jump to Next, Jump to Previous, and Smart Copy Key, creating a dense, utility-focused interface.

Animo Packs 500+ Maya Tools Into One Panel

Animo gathers 500+ Maya animation tools into one editor, adds direct reference media, hotkeys and six new sliders. Still beta. Still free.

A side-by-side comparison shows a colorful, flat-shaded robot illustration on the left and its black-and-white line art version on the right, linked by a gray arrow. The left figure uses bright neon greens, pinks, oranges, and blues, while the right version reduces the same mechanical form to clean contour lines and technical detail, set on a white background.

FreePencil2 Draws Blender Lines in One Click

FreePencil2 turns Blender geometry into editable line art with one setup button, compositor edge detection and manual paint fixes.

Screenshot of Autodesk Maya with a rigged humanoid character in a pose, UI panels visible and a caption reading: 'A man walks forward, jumps high into the air, then flees in panic.'

Animcraft 6.0 Adds AI Rigging and Kimodo

Basefount adds automatic skinning and weight processing to Animcraft, plus NVIDIA Kimodo-based text-to-motion generation for character workflows.

A 3ds Max workspace showing a teapot model in multiple viewports, with a purple shaded render in the lower-right perspective view and a wireframe view above. A dark plugin panel and command interface sit on the left and right, while the interface is lit by the software’s muted gray theme.

Max Ultra MCP puts AI agents inside 3ds Max

Max Ultra MCP gives AI assistants a local, tool-based route into live 3ds Max scenes, with scene inspection, MaxScript, viewport and render control.

ArmorPaint’s interface displays a 3D character model in the main viewport, showing a red armored warrior with a horned helmet, leather straps, and a shield. Toolbars frame the scene on the left and top, while material and layer panels sit on the right against a dark workspace.

ArmorPaint 1.0 swaps Haxe for C

ArmorPaint 1.0 swaps Haxe for C, trims memory use and adds local AI, UV tools, sculpting and broader interchange.

An Unreal Engine 5 scene shows a glowing, rigged humanoid figure in the viewport, surrounded by control handles and skeletal guides. Dark editor panels and parameter windows sit to the right, with a playback timeline along the bottom in a sleek black interface.

Vizibeat Drives UE5 Scenes From Music

Vizibeat maps audio, MIDI and show-control signals into procedural Unreal Engine animation, with live performance and Sequencer workflows.

Five Datacolor Spyder Checkr cards fan out on a white background, including grayscale charts and color reference grids with matte black frames. The compact panels overlap in a neat arc, their vivid swatches and neutral patches creating a clean studio product display.

Datacolor expands Spyder Checkr card system

Datacolor adds standalone grey and white balance cards plus Photo and Video card decks, extending Spyder Checkr’s modular colour workflow.

A golden-brown croissant with flaky, layered pastry rests on a pale blue plate with a thin gold rim, set on a light marble surface. Softly blurred cups and saucers in the background add a quiet Paris café feel.

KitBash3D Paris: City Break, No Airport

The Kitbash3D Set "Paris" brings Haussmann blocks, landmarks, street props and a game-ready Unreal path. Your next city break may require 32 GB of RAM.

A dark video-editing interface from Listify shows a clip list in the upper panel and a multitrack timeline below, with orange and teal blocks arranged across timecode markers. Thin columns, grid lines, and a centered playhead create a precise, technical layout, while the muted charcoal palette and small blue controls give the screen a focused post-production feel.

EditingTools.io: The Post-production Toolbox

Rafael Maier explains why EditingTools.io bets on small tools, strict metadata, offline workflows and human support for modern postproduction.

A silhouetted figure appears behind concentric glass-like rings that distort the face and upper body, rendered in warm amber and dark plum tones. The centered composition and rippling circular pattern create a moody, abstract Blender-style visual.

Free Glass Distortion Node for Blender

A free Blender compositor node creates patterned-glass distortion from grayscale textures, with masking and five supplied patterns.

A dark-themed Media Composer editing workspace fills the screen, layered with media bins, timeline tracks, and multiple floating code or text windows. In the upper right, a preview monitor shows a sepia-toned scene, while dense colored clips and green audio bars spread across the lower timeline, creating a busy, technical interface.

Media Composer 2026.8 Changes Shared Projects

Avid opens supported third-party Shared Projects in Enterprise, closes old NEXIS emulation in 2026.8 and adds multicam transcript automation.

A dark cinema auditorium with rows of seated attendees facing a large screen. The screen shows a black-and-white hand-drawn character, while red curtains and cool blue lighting frame the stage, creating a formal festival presentation atmosphere.

ITFS 2027 Opens for Entries

ITFS 2027 opens five film competitions with November and January deadlines, AI-use disclosure and clearly specified delivery files.

Two editors sit back to back at color grading workstations in a dim studio, surrounded by multiple monitors, control panels, and glowing interface screens. Purple accent lighting and the Avid and FilmLight logos above create a sleek, high-tech editorial color workflow scene.

Avid and FilmLight connect editorial colour

Avid and FilmLight want Baselight colour closer to the Media Composer timeline, with fewer handoffs from dailies through finishing.

Adobe video editing interface showing a prompt field, Kling model selector, 1080p and 16:9 settings, and a first-frame thumbnail. Below, green audio waveforms run across the timeline as a woman in a yellow dress appears in the preview.

Adobe Puts a Prompt Layer Across Pro Video

Premiere gains in-timeline generation while After Effects turns plain English into native project work. Adobe’s bigger shift is the interface itself.

Dark-themed DaVinci Resolve interface showing a video frame of a metallic sci-fi machine in the viewer, with a node-based color grading timeline below and a circular color corrector panel on the right. The layout is dense and technical, lit by muted interface grays and vivid color accents.

Resolve 21.1 Adds MCP and Finally Gets Presets

Resolve 21.1 brings MCP, overdue Inspector presets, deeper Fusion tools and a Python move that turns Studio into an automation heavyweight.

Audacity’s dark-themed multitrack audio editor shows several labeled waveform clips arranged on a timeline, with track controls at left and transport tools across the top. Blue, purple, and pink audio regions sit in stacked lanes against a charcoal grid, creating a clean, technical workspace for editing podcasts or music.

Audacity 4 Rebuilds the Fast Audio Editor

Audacity 4 replaces old tool modes with contextual editing, clip grouping, ripple commands and a Qt UI while keeping its free desktop role.

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AJA FS8 Bridges SDI and ST 2110

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