For those who don’t know the tool: Adobe Animate is a 2D vector animation tool in Creative Cloud, used for character animation, interactive content, and legacy web workflows, sitting between After Effects and Illustrator. It has been, under different names like Flash, and in the very beginning, the FutureSplash Animator, around since 1996.

The official decision

Adobe has formally confirmed that Adobe Animate is being discontinued. The information is published in an official end of life. According to Adobe, sales of Adobe Animate will stop on 1 March 2026. After that date, the application will no longer be available for new purchases or new subscriptions.

Adobe states that existing customers will retain access for a limited time, depending on their licence type. Individual subscribers can continue to access and receive support for Adobe Animate until 1 March 2027. Enterprise and education customers will retain access, downloads, and support until 1 March 2029. After those dates, Adobe Animate will no longer be supported or accessible through Adobe systems.

“As technologies evolve, new platforms and paradigms emerge that better serve the needs of the users. Acknowledging this change, we are planning to discontinue supporting Animate.” (Here)

Adobe’s notice is explicit that users should plan ahead. Access to project files stored in Adobe services may end when support expires. Adobe recommends exporting content before the relevant deadlines. No automatic migration tools or replacement workflows are documented, and no guarantees are made regarding future compatibility.

The death notice does not mention artificial intelligence or strategic shifts. Any interpretation beyond the published dates and access conditions is not stated by Adobe and is therefore not verified at press time. However, it doesn’t take a genius to conclude that they haven’t found a way to integrate AI into it, or maybe they just forgot about the tool, so they are taking it to the grave, instead of open-sourcing it.

Access and support timelines

For individual users, Adobe Animate remains usable until March 2027, provided it is already installed and licensed. Updates, bug fixes, and official support will cease at that point. For enterprise and education customers, Adobe extends this window to March 2029, allowing organisations more time to transition archives and pipelines.

Adobe warns that once support ends, downloads may no longer be available, even for previously licensed users. This affects reinstallation, system upgrades, and long-term archiving strategies. The company advises users to export assets to other formats while access is still guaranteed.

A long, slow goodbye

Adobe Animate has a long history under multiple names, including Flash Professional. It has been used for broadcast graphics, web animation, interactive content, and game assets. Over time, its role narrowed as web standards changed and interactive Flash content declined. Animate survived by repositioning itself as a general-purpose 2D animation tool that exports to video, HTML5 Canvas, and other formats.

Despite that repositioning, Adobe Animate remained isolated within Creative Cloud. It does not share a unified timeline and its character animation tools overlap only partially with other Adobe products.

Practical implications for production

For production teams, the shutdown introduces predictable but non-trivial risks. Projects with long lifecycles, educational curricula, and archived content built in Animate will need review. Pipelines depending on FLA or XFL files should be audited well before access deadlines. Asset export and documentation should be treated as a scheduled task, not a last-minute exercise.

// Adobe Animate end of life notice
// https://helpx.adobe.com/animate/kb/end-of-life.html

The post Adobe pulls the plug on Animate at last first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The September 2025 update of Adobe Photoshop (version 26.11) is modest in scope but introduces a structural change: cross-app cloud projects. Alongside that, Adobe has added Firefly asset import and vector rendering for CJK text. The typography and Firefly updates are clear feature upgrades. The cloud projects, however, touch the way teams manage and share assets across applications.

From Libraries to Projects: what changed?

Creative Cloud has offered “Libraries” for years: shared collections of colours, brushes, symbols, and logos. Libraries are lightweight, designed to pass assets around quickly. But they do not handle project-level structure or permissions.

Photoshop 26.11 introduces cloud projects as containers for multiple file types and assets across Illustrator, Photoshop, and Adobe Express. Unlike Libraries, cloud projects can: Group full files (not just swatches or elements) into a single unit. They also can Assign user roles: editors can change content, while commenters can only review and annotate. So to Keep project-wide organisation, rather than loose collections of items.

In essence, a cloud project is Adobe’s attempt at a collaborative folder, integrated directly into Creative Cloud apps.

Collaboration: practical gains and limits

For freelancers and small studios, cloud projects could simplify version control. Instead of shuttling Illustrator vectors, Photoshop comps, and Express exports back and forth via email or cloud drives, everything lives in one Adobe-managed container.

For larger pipelines, the situation is less straightforward. Many VFX, post, and design studios already rely on dedicated asset management (ShotGrid, ftrack, or in-house DAMs). These systems support pathing, metadata, and automation in ways Creative Cloud has historically struggled with.

Questions remain open:

• How are conflicts handled if two editors open the same file?
• Does Adobe keep a file history or only the latest save?
• How are large binary files (e.g. layered PSDs >1 GB) treated inside projects?

Adobe has not provided detailed technical documentation on these points. Until clarified, projects should be considered convenience features rather than replacements for established pipeline tools.

Permissions: useful, but basic

Role-based access in cloud projects is limited to two tiers: edit and comment. Unlike enterprise DAM systems, there is no granular control over layers, linked assets, or export rights. For example, a user with “comment” rights cannot modify a PSD, but they can still see full-resolution assets. This may raise concerns in projects with strict confidentiality requirements. For teams needing more controlled distribution (for instance, advertising agencies under NDA), traditional controlled file-sharing may remain preferable.

The Firefly angle

The new Firefly integration is deliberately narrow. Firefly-generated images can be imported into Photoshop for refinement, but Firefly remains a standalone app. Edits are non-destructive, meaning the Firefly original is preserved while Photoshop creates a modified copy. This workflow may fit well with cloud projects. Teams could keep Firefly outputs and Photoshop refinements in the same shared project container, reducing file duplication across drives and emails. Still, without in-app generation, the workflow remains split across two applications.

CJK text: better previews, fewer headaches

Typography in Chinese, Japanese, and Korean (CJK) has long been one of Photoshop’s weaker areas. Raster-based previews made text appear jagged and inconsistent, especially when shared across machines. Photoshop 26.11 replaces this with vector-based rendering. On-screen previews should now match Illustrator’s fidelity, giving artists sharper results and reducing misalignment in multilingual layouts. In cloud projects, where documents may be passed between different Creative Cloud versions, this could cut down on errors.

Adoption strategy: cautious roll-out

Photoshop 26.11 is available via Creative Cloud subscriptions at no extra cost. Version rollout may vary by OS and region. For individual users, cloud projects and Firefly import may improve daily efficiency. For studios, adoption should be cautious. Cross-app projects may not play well with custom pipeline scripts or local render automation.

As always: test before deploying to production.

The post Photoshop 26.11: Firefly hops in, CJK text sharpens up first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Samesame… but different

At first glance, the Rugged SSD Pro 5 can’t deny its lineage. The form factor is the classic Neil Poulton design that Lacie has used over the last twenty years. Beveled edges and a rubbery surface not only give the device a distinct look, but also added surface adhesion – more on that later. However, if you are used to the larger 2,5” form factor, the drive is now turned 90°, with the Thunderbolt 5/USB-C Port added on the broad side.

Also, like the previous model, LaCie has sadly ditched the lifeboat-like orange color. But instead of the last generations full black, this model comes with a dark blue enclosure. But not only the color has changed – the Rugged SSD Pro 5 comes with a IP68-certification for water resistance. LaCie claims that this will protect the drive not only from your everyday splash of coffee, but it is supposed to last up to thirty minutes in a depth of up to 1,5 meters – and no, we didn’t verify that ourselves.

Neither did we actually check if it would actually survive being driven over by a car with up to two tons in weight – we are confident that some courageous Youtuber will pick up the mantle on these tests.

The numbers

Rather, we focused in on the speed. The Rugged SSD Pro 5 comes in 2 TB and 4 TB. In ideal conditions, LaCie claims this drive achieves speeds of 6.700 MBit/s for reading and 5.300 MBit/s for writing. As both models come with 50 GBs of cache, it can maintain this write speed for quite some time before dropping to a still very acceptable 1.800 MBit/s on the 4 TB version and 1.400 MBit/s on the 2 TB version. And with the cache being this big, this should really only come into play when working with very large RAW- or ProRES-files. 

So we did our own test on a MacBook Pro with the M4 Pro, one of the few computers on the market with Thunderbolt 5 currently built in. There is the Razer Blade 18 and the Schenker Key 17 Pro out there in the Windows Worlds, but at the time of testing we didn’t have access to either of these machines. So for this this test, Mac it is.

As the Rugged is designed for outdoor use, we thought it made sense to test it on a mobile computer and not the Mac Mini, the only non-mobile computer out there with Thunderbolt 5. And as we are talking VFX and video here, we resorted to the Blackmagic Disk Speed Test. Achieving a solid 3.800 MBit/s on Read and a whopping 5.030 MBit/s on Write. Also noticeable: There was no noticeable difference between running the MacBook Pro connected to a power outlet or on battery.

Power Issues

So much speed comes at a price: While the SSD is small, it is definitely hungry. As it has no external power supply – as it is meant for mobile use – it draws all of its power from the Thunderbolt 5 connection. So you always want to use the supplied Thunderbolt 5 cable. And with a length of just 0.3 meters that might force you into some compromises.

For example, when we connected the drive to a iMac Pro, we had to build a rather weird contraption just to not have the drive dangling in mid-air. But even if you use the cable, there are some caveats in regards to backwards compatibility: On a M1 Mac Studio with Thunderbolt 4 the drive was recognized, but the OS asked us to disconnect other peripherals so it would be able to supply sufficient power to the drive. On the previously mentioned iMac Pro, we needed to upgrade to MacOS Sequoia for the drive to be even recognized. After that, it worked like a charm.

And when quickly connecting to the USB-C Port of a small windows PC, the SSD did not even show up. And while current generation iDevices come with a USB-C port, don’t expect the Rugged to show up on an iPhone – not enough power. On a iPad with USB-C however, it SHOULD show up, though we did not test that ourselves. Also, it should be noted that there is only one Thunderbolt 5 port on the device – so if you plan on daisy-chaining, consider the Rugged to be at the end of that chain.

However, once you overcome these little inconveniences, you still have got a really fast drive, only limited by the bandwidth of your Thunderbolt Port.

The rugged takes a trip

But let’s keep in mind what the Rugged series has been designed for from the beginning: Mobililty. So we took that literal, got that MacBook Pro and our Rugged SSD Pro 5 on the next train and started editing in Resolve, as you do. It should be clear from the test data above that editing feels snappy, no matter what format or resolution you throw at that thing. So let’s talk about ergonomics. The choice to put the port on the broad side of the device actually makes a lot of sense. That way, we were able to put it on the left side of the MacBook Pro, in front of the Keyboard. So it is really not in the way when working on the touch pad and suddenly that 30 centimeters of cable are more than enough to connect to your mobile workstation without trapping your own feet in the process.

During that commute, the device became warm, but never hot. With the whole device being encapsulated to provide IP68 water resistance, there is no effective way to dissipate heat, so we will have to see if other devices like the announced OWC Envoy with Thunderbolt 5 can perform better due to a metal enclosure.

However, be careful with what you wish for… The biggest advantage of the Rugged series for mobile users has always been that it is, well, Rugged. The rubber enclosure gives you unparalleled surface adhesion. If you angle your knees, if the train goes into a curve, if somebody bumps into you – a rugged hard drive will likely stay in place rather than follow Newtons laws.

Prices

The Rugged SSD Pro 5 retails at US $ 399.-/€ 429.-  for the 2 TB version and US $ 599.-/€ 689.- for the 4 TB version. This comes with a limited five year warranty and a free month of Adobe Creative Cloud thrown in for good measure. In addition to that, LaCie is so confident in its durability claims that it gives you a free Rescue Date Recovery Service should you suffer data loss inside your warranty. Is that expensive? Yes and no.

Thunderbolt devices are always at a premium, when the latest standard launches, but compare it to upgrading your shiny new MacBook Pros internal SSD to let’s say 4 TB instead of the base configurations 1 TB. That’s going to set you back US $ 1.000.- / € 1.150.- for just 3 TB more instead of the 4 TB the large version of the Rugged SSD Pro 5 offers. And yes, that internal SSD will still be faster due to being connected by PCIE 4.0, but in fairness, Thunderbolt 5 is pretty close.

External Scratchings

Also, we would make the argument that having a external scratch disk has a lot of advantages over using your internal storage for that kind of throughput. Because , you can extend whatever workstation you are working on, and that drive will only be used for Scratch Activies, not for anything else, any software might be looking for. So you get all the Scratching speed.

An, let’s be honest, those files in media production quickly add up, and since the technical term of a 99% filled internal drive with the OS is “unusable”, having all of that data on n external drive makes a lot of sense in day-to-day productions.

Conclusions

So should you buy it? If you want to utilize Thunderbolt 5 right now (February 2025), the Rugged SSD Pro 5 is a great choice. If we take a look at the competition out there, the announced OWC Envoy and the Sabrent Thunderbolt 5 SSD are roughly the same price, all with breathtaking speed. What sets the Rugged SSD Pro 5 apart is the water resistance and the overall durability. This is what really sets it apart and if those factors are important to you, then this should be a no-brainer.

If you are working with a fixed or semi-portable setup and want a fast external scratch disk? In that case we still can highly recommend the Rugged SSD Pro 5. But if you are looking for a solution that has more redundancy for storing project data for longer periods, then it might be worth holding out a little bit more. The OWC Thunderblade X12 has been announced for March, giving you RAID redundancy and a external power supply and the option for far bigger storage.

Other solutions will surely follow very soon if that is what you are looking for. Meanwhile the Rugged SSD Pro 5 holds up to what it promises. A very fast, mobile and durable external scratch disk. If you currently don’t own a Thunderbolt 5-compatibile computer, it might still make sense to invest in the Rugged SSD Pro 5 to future-proof your investment – but be sure to double check that it really works with your current hardware and OS-version. Also be aware that the previous generation with Thunderbolt 3 is still available if you don’t plan to use Thunderbolt 5.

Pro & Contra

Pro: Extremely durable and water resistant
Pro: Big 50 GB Cache
Pro: Very fast read and write speeds
Pro: Proven design with great surface adhesion

Contra: Expensive
Contra: Limited Backwards Compatibility

The post Speed in a small package: LaCie Rugged SSD Pro 5 Review first appeared on DIGITAL PRODUCTION and was written by Christoph Zapletal.

Good news, Creative Cloud users—Frame.io isn’t just for video anymore! Now you can securely share, review, and manage Premiere Pro edits with direct export, upload, and sharing capabilities. But wait, there’s more! Adobe has supercharged Frame.io to handle photos and PDF documents too.

Need top-tier security? Frame.io’s got your back with forensic watermarking—because nothing says “serious business” like being able to track down sneaky data leaks. With nearly 3 million creatives already on board, this platform is your go-to for real-time collaboration in a safe cloud environment.

New upgrades include PDF support (because who doesn’t love a good markup session?) and the ability to transfer RAW photos straight from your camera to the cloud. Plus, forensic watermarking ensures your high-quality content stays locked down tighter than a top-secret movie script.

The post IBC 2024 Frame.io with JJ Powell first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

Adobe has released an update for its Premiere Pro software, integrating advanced AI features that promise to shorten video editing workflows. Central to this release is the incorporation of Adobe’s Firefly video model, an AI-driven toolset designed to simplify various stages of video production.

Adobe’s latest update also introduces the ability to adjust clip duration seamlessly using AI, making it easier to tweak the length of footage without losing important moments. If an Artist needs to add or remove a few seconds from a sequence, Premiere Pro now uses Firefly’s AI to intelligently fill or stretch the video to cover gaps, maintaining the flow without requiring complex manual edits. This is particularly useful in fast-paced edits where timing adjustments are common.

The newer Firefly models are noticeably faster, delivering results almost instantly, even on high-resolution video footage. This speed improvement means Artists spend less time waiting for renders or previews and can experiment with more creative options within tight production schedules.

Lastly, the update includes AI-driven tools for removing unwanted objects or distractions from video scenes. Whether it’s a microphone boom sneaking into the shot or an errant passerby in the background, Firefly analyzes the footage and automatically removes these elements while preserving the surrounding details, making cleanup work much simpler and less time-consuming.

Firefly, already familiar to many Artists from Adobe’s graphic and design tools, now extends into video with this new version. Firefly in Premiere Pro allows Users to generate, refine, and adapt video content using text prompts, effectively automating tasks that would otherwise require hours of manual labor. Adobe markets it as an innovation that will speed up production times, but for Artists, the real value lies in Firefly’s ability to automate mundane tasks while keeping creative control intact.

Another new feature in this update is the “Generative Fill” for video. This tool works much like its Photoshop counterpart, allowing Artists to fill gaps or remove unwanted objects from video scenes. Again, the workflow is text-based: you type in what you want, and Firefly suggests options. This feature is especially useful in post-production, where filling in backgrounds or adjusting objects can slow down projects.

Adobe has also introduced AI-Powered Color Correction, which uses machine learning models to analyze footage and suggest optimized color settings. This is an addition to the familiar Lumetri Color tools but aims to make the color grading process faster and more intuitive.

In terms of pricing, Premiere Pro continues with its subscription model. The standalone subscription costs $20.99 per month, with discounts available for those who bundle it with other Adobe Creative Cloud products. For professionals who want to test out the new features, Adobe offers a free trial version as well.

One key concern with any new tool is stability. While Adobe’s marketing highlights the benefits of AI-driven automation, Artists should approach these tools with caution. Early adoption of new technology always carries risks, especially when implementing them in active projects. Extensive testing is recommended before deploying Firefly-generated assets or relying on AI color correction for final deliverables. The tools show promise, but stability remains critical, particularly for professionals handling tight deadlines and high-profile projects.

For detailed information, Adobe has provided comprehensive documentation on the new features, accessible through the official Adobe Premiere Pro documentation. Those interested in the Firefly AI model can also check out Adobe’s Firefly page. While the excitement around new technology is high, experienced Artists know that adopting tools like Firefly must be balanced with caution, ensuring that new efficiencies don’t compromise quality or stability.

(P.S: The other Updates of Adobe during their Event Adobe Max will come in the next few days – we just started playing around with the new Frame Io, and haven’t even touched the other tools. )

The post What you need to Know: Premiere Integrates AI Video Generation first appeared on DIGITAL PRODUCTION and was written by Nils Calles.