Apple has announced a multi-day educational programme aimed at filmmakers and developers who want to produce content for Vision Pro. The twist: you can attend for free (well, aside from your time and gear). The workshops run from 21 to 23 October 2025, both online (livestreamed) and in person at Apple’s Developer Center in Cupertino.

Two tracks, two signups

There are two separate tracks. The first is a livestreamed online programme, open to anyone who registers before 20 October at 5:00 PM PDT. The second is an in-person workshop in Cupertino, which requires a separate “request to attend” form. That one has limited slots for project consultations—because, of course, exclusivity is part of the Apple experience. In short: one RSVP for your screen, and another if you want to fly to Cupertino and feel like part of the inner circle.

What you’ll actually learn (and play with)

Apple promises to cover framing, spatial interaction, and a host of other topics around immersive production. The curriculum includes concept planning for Apple Immersive Video and spatial storytelling in visionOS 26. It also explores SharePlay and “spatial Personas,” Apple’s branding for multi-user spatial collaboration.

Participants can expect guidance on spatial audio workflows, post and VFX approaches, and lessons learned from prior immersive Apple projects. Those who attend in person will also get hands-on time with the Blackmagic URSA Cine Immersive camera, spatial audio tools, and the option to book one-on-one consultations with Apple engineers. Because nothing says “Apple workshop” quite like limited access to hardware.

When and where (so you don’t miss it)

The workshops take place from 21 to 23 October 2025, running daily from 10:00 AM to 5:00 PM PDT. The online and in-person sessions will occur concurrently, with the Cupertino event hosted at Apple’s Developer Center.

What it means (and what it doesn’t)

For creators experimenting with immersive formats for clients or internal R&D, this is a rare chance to see how Apple envisions its spatial ecosystem. The workshop is educational rather than production-ready, so not every workflow or technique shown will necessarily scale to real projects. It’s a useful orientation for aligning your creative pipeline with Apple’s expectations—but treat it as training, not gospel.

If you’re curious, it’s worth registering for both versions. Worst case: you get some slides and a reminder that spatial video is “the future.” Best case: you pick up practical pointers on how to survive in Apple’s immersive storytelling universe.

The post Apple Offers Free Vision Pro “Immersive Video” Workshops first appeared on DIGITAL PRODUCTION and was written by Jürgen Firsching.

Blackmagic Design has released DaVinci Resolve Studio 20.2, available at no charge to existing users via the Blackmagic support site. While project libraries remain backward-compatible with Resolve 19.1.3, any project created or opened in 20.2 cannot be reopened in 19.1.3. Blackmagic therefore recommends full project library backups as well as individual project backups before migration.

URSA Cine Immersive Workflows

Resolve 20.2 extends the immersive video toolset for productions shot with URSA Cine and intended for Apple Vision Pro playback. Content can now be streamed directly from the Fusion page to Vision Pro, and the PanoMap node has gained immersive options. World pose rotations and flips are supported, stereoscopic 3D renders can be output in full side-by-side or top-bottom formats, and node stacks can now be used in stereoscopic workflows. The release also introduces immersive EXR workflows with full metadata retention, which is particularly relevant for VFX turnovers and stereoscopic finishing.

Cut Page: Replay Handling

For the Cut page, Blackmagic has addressed live-production workflows. Replay stinger transitions now behave more reliably in interlaced timelines, while replay editor and ATEM switcher feedback during replays has been improved.

Edit Page: Sync, Ripple, Metadata

Editing gains a series of workflow refinements. Sync lock controls now ripple edits independently of the auto-select function, while ripple trimming has been redesigned to maintain sync across edit actions. The trim editor automatically opens during dynamic trimming, though users who prefer a single-viewer mode can switch in preferences. Track headers offer improved source and destination patching, and an audio menu action makes it possible to detach synced audio from video while retaining timeline sync. Custom metadata fields can now be created and populated in the timeline, multicam clips with speed changes can be flattened correctly, the source timeline viewer supports audio track soloing, and destination patching can be reset to default through a dedicated sub-menu.

Cut & Edit Pages: Keyframes, Guides, Audio

The Cut and Edit pages now include direct menu actions to move keyframes up, down, left, or right. The timeline curve and keyframe editor has gained a toolbar for common actions, while shift-click toggles multiple parameter states and alt-click enables exclusive toggling. Guides now support individual colours and lock states, and their position can be set in either pixel or percentage units. Fusion, transform, and effect overlays now take precedence over guides under the mouse, ensuring smoother manipulation of elements. Voice-over countdowns have been enhanced with audible beeps, and audio bus automation written in Fairlight now survives ripple edits on the Cut and Edit pages. A ripple delete silence command has been introduced for tightening dialogue or narration, and transcription and voice convert analysis are now up to twice as fast on macOS.

Fusion Page: Multilayer Rendering and Speed

On the Fusion side, guides can now be edited directly in viewers. MultiText has improved alignment and transformation controls, while USD tools support animated image inputs. The 3D renderer now includes multilayer support, and the USD renderer can output multilayer AoV (arbitrary output variable) channels. Performance has also been increased, with the surface tracker running up to twice as fast.

Colour Page: AI Fog and Better HDR

Resolve 20.2 introduces an AI-based Resolve FX called Cinematic Haze, which simulates atmospheric scattering with depth-based fog. Light rays can be extended from existing sources, and air disturbance can break up the fog into smokier turbulence. Light effects now support glow driven by alpha sources, while a new command makes it possible to navigate clips by number. Node colours can be reset for multiple selected clips, advanced colour panels now retain side panel states after restart, and HLG output has been improved when using viewer display profiles. Both RCM and CST conversions now conform to ITU BT.2408 for HLG and PQ. Performance has again improved, with the Resolve FX surface tracker running at double the previous speed.

Codecs & I/O: Big Additions

Resolve 20.2 expands codec and I/O support considerably. The update introduces native Apple ProRes RAW decoding on macOS, Windows, and Linux, as well as encoding support for Samsung APV. Sony ARW still image files can now be decoded, ARRICORE clips are supported, and single-frame WEBP and GIF files can be imported as stills.

General Improvements

General usability gains include a new skim function: pressing and holding the C key moves the playhead under the mouse in viewers. Exported DRT timelines now include linked Fusion comp media. Data burn-ins and render file names can now include current date and time tags, and the scripting API has been extended to support subtitles in render jobs and to allow setting clip names in the timeline and media pool. Performance and stability improvements round out the release.

Minimum System Requirements

For macOS, DaVinci Resolve 20.2 requires macOS 14 Sonoma or later, at least 8 GB of RAM (16 GB if using Fusion), and an Apple Silicon system or a GPU with Metal support. Windows users require Windows 10 or later, 16 GB of RAM (32 GB for Fusion), a GPU with 4 GB of VRAM supporting OpenCL 1.2 or CUDA 12.8, and recent AMD, Intel, or NVIDIA Studio drivers (570.65 or newer). Windows on ARM is now supported with Windows 11 ARM, a Snapdragon X Elite processor, and 16 GB of RAM, with 32 GB recommended for 4K or Fusion. Linux support requires Rocky Linux 8.6, 32 GB of RAM, and a discrete GPU with at least 4 GB of VRAM plus drivers supporting OpenCL 1.2 or CUDA 12.8, with NVIDIA Studio driver 570.26 or newer.

Stability Reminder

Blackmagic Design advises users to back up both project libraries and individual projects before upgrading. Postproduction teams should validate Resolve 20.2 in test environments before integrating into live workflows, especially where new sync, ripple, and immersive EXR features could alter established pipelines.

The post DaVinci Resolve 20.2: Ripple Discipline, ProRes RAW, and AI Fog on Demand first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has reduced prices on its URSA Cine camera kits. The URSA Cine 12K LF kit now starts at $9,495, down from $14,995. The URSA Cine 17K 65 kit is reduced to $22,995 from $29,995. Bundles with the EVF follow similar reductions, reflecting discounts in the 22–36 percent range.

As with previous Blackmagic launches, regional price variation remains significant, driven by tariffs, taxes, and import costs. Outside the U.S., customers should expect noticeably higher pricing or lower pricing that reflects these additional charges. No change there.

The timing of the price cuts is hard to ignore: IBC 2025 in Amsterdam begins in less than two weeks. While totally and defintily unconfirmed, this could indicate that Blackmagic is clearing inventory ahead of a new release, or gently steering attention toward something fresh in their Cine line. The price reductions on existing URSA Cine kits may suggest that Blackmagic is preparing to shift focus to new variants or accessories, potentially a wider rollout of cinema bodies, storage upgrades, or immersive systems. As always, production professionals should test any new or discounted gear in real-world scenarios before committing to deployment.

The post URSA Cine Price Cut first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

FXguide partnered with Main Course Films to shoot Apple Immersive Video (AIV) and Apple Spatial Audio (ASA) using the Blackmagic URSA Cine Immersive camera. They are now offering a first‑ever downloadable .aivu file, playable directly in Vision Pro via Apple Immersive Video Utility (AIVU) .

Read everything here: https://www.fxguide.com/quicktakes/first-look-blackmagic-ursa-cine-immersive-test-footage-for-apple-vision-pro

How to view the footage

The footage comes packaged in .aivu format, which embeds stereo 180° video, projection mapping metadata, and spatial audio . To view it, download the file to your Mac, ensure both Mac and Vision Pro are on the same Wi‑Fi network (preferably Wi‑Fi 6 or later), and use the free Apple Immersive Video Utility on both devices. Import on Mac and save on Vision Pro to view the content in full immersive mode.

What you’ll see

The clip begins with behind‑the‑scenes stereoscopic 1080p 30 fps video from an iPhone 16 Pro Max, then transitions at 2:45 minutes into the immersive Apple Immersive Video mode. That mode presents a full 180° hemispherical view with world‐scale depth and no fisheye distortion even when looking around . You can look up and down from floor to ceiling, and move your head to observe depth and projection accuracy.

Apple Immersive features in DaVinci Resolve Studio are currently in beta. A higher‑quality encode workflow is under development. Resolve promises that projects created with these early versions will remain exportable in future versions.

First look: Blackmagic URSA Cine Immersive test footage for Apple Vision Pro

Blackmagic’s $30,000 URSA Cine Immersive Camera Enters Pre-Order Stage

The post FX Guide: URSA Cine Immersive brings Apple Vision Pro to life first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has introduced a 16 TB Media Module of its proprietary media module for the URSA Cine 12K LF, doubling the capacity of the previous 8 TB module. The new 16TB Media Module installs into the URSA Cine’s media bay and uses M.2 SSDs over four PCIe lanes, enabling professional productions to record 12‑bit Blackmagic RAW and H.264 proxy files at speeds up to 1 432 MB/s—enough for sustained 12K at 24 fps. The module requires in‑camera formatting and ships with a rugged plastic case and standard one‑year warranty.

Bulk storage, cloud‑style workflows

The 16 TB module retains the features of its 8 TB sibling: it works with Blackmagic’s Media Dock for hot‑swappable file transfers, and supports high‑speed 10G Ethernet connectivity, allowing live file access over network or to Blackmagic Cloud Mini setups integrated in the camera. These features position it as “a Cloud Store Mini built into your camera”.

Pre‑order pricing

Available now for pre‑order, the 16 TB module is priced at US $2 965, versus the original 8 TB unit. Delivery timing may vary by region; check with Blackmagic’s reseller network for local availability.

Filmmakers shooting high‑resolution, extended takes can double recording capacity without swapping modules, reducing downtime. Those using dual CFexpress may still prefer existing formats, but for extended 12K workflows this is a significant upgrade.

Final thoughts

This 16 TB offering strengthens Blackmagic’s proprietary media ecosystem for the URSA Cine 12K LF, marrying high‑speed M.2 SSD performance with on‑set networked workflows. As usual, new gear should be tested before deploying in production environments.

The post BMD ups the ante with 16 TB Media Module for URSA Cine 12K LF first appeared on DIGITAL PRODUCTION and was written by Bela Beier.