The use of artificial intelligence in Adobe Photoshop is being increasingly expanded by developers. In the past, the Adobe Photoshop-AI model “Firefly” took centre stage. Two further models have been available in the beta version of the programme for a few weeks now:

• Flux.kontext Pro from Black Forrest Labs
• Nano Banana from Google

Both models have so far been able to prove their efficiency, which is impressively demonstrated by many examples on the Internet. Changing people’s clothes or manipulating the scene view are just two examples. In Photoshop, they are activated via the options in the context-sensitive taskbar. This works after selecting the entire image or an area. In contrast to Firefly, Photoshop only produces one result with the two new models.
Apart from the familiar use cases, the AI provides support when working on projects in the areas of graphic design, matte paint or concept art.

Transforming scenes in Photoshop

The use of stock photos in productions is a normal process. The same motif at a different time of year or day is usually not available. This is where Nano Banana from Google can help. It allows the scene to be quickly adapted to the production management’s specifications. This is achieved with a simple prompt. In the example, a night scene is created from an existing recording:

Turn in a night scene

The method allows the uncomplicated creation of material for virtual TV sets or documentaries.

Transforming Text in Photoshop

“Flux.kontext Pro” is known for changing text in photos without manipulating the font or changing the character of the overall impression. The artist then corrects errors in product designs with just a few mouse clicks. A time-consuming subsequent photo shoot is not necessary. Alternatively, product names with different international designations can be created for motion graphics. These can be used flexibly later in production.

Both steps described with light and fonts can be combined. In practice, it has been shown that changes to the text with the Black Forrest AI should be performed in the first step. Then the lighting of the scene is changed with Google Nano Banana. The results are usually more realistic in this order and errors are avoided.

Photoshop-AI: Quick merging of motifs and objects

Matte painters and concept artists save a lot of time by using AI. Buildings can be inserted into landscapes or objects integrated into existing scenes in no time at all using text input – a single prompt is often enough.
However, the results are not always satisfactory, as the nano-banana model often automatically generates architectural suggestions. Significantly better results are achieved if you use a reference image. This is loaded into a new layer while the selection tool is used to define the target area in the background. If the background layer is active, it is then inserted via the context bar with the prompt:

Place the castle from Layer [Layer name]

If the first attempt fails, you can modify the prompt and possibly add further instructions such as “set on the mountain top”. The AI will then position the object better.

Inline prompts are available when inserting with Nano Banana. These are text layers with the instructions for working with Nano Banana. They are supplemented by graphics such as arrows and frames in a separate layer. These elements help with the exact placement of the object. Only one instruction is then required in the prompt for generative filling:

Complete the prompt in red

In some cases, Nano Banana inserts the prompt text and the corresponding graphic into the result. Then it helps to extend the instruction with “remove the red prompts and elements”.

Context-related fill and replace with Firefly

In Photoshop Beta 27.1.0, Adobe has added the new Firefly model “Fill and Replace (Beta)”. A reference image can be loaded and placed via the context-sensitive taskbar. The function can remove the background in the motif if desired. Free-standing objects with clear edges are ideal for insertion. A clear background usually ensures good results for architectural motifs. Transitions on the ground often need to be reworked, which is easy to do with the existing mask. Any remaining errors can then be corrected with a brush.

Conclusion

Numerous image manipulations are possible with the new AI models in Photoshop Beta. However, the results are not always optimal. In these cases, it helps to work in iterations and approach the final result step by step. This method leads to success in most cases. A reminder: depending on your subscription, it can become costly quickly.

The new technology is a useful tool for quick results. However, Photoshop-Ai cannot replace creativity or the experience of the artist. Rather, it helps to build up a project and can make the work process more efficient.

The post Photoshop AI in practice first appeared on DIGITAL PRODUCTION and was written by Jörn-Erik Burkert.

After eight months of silence, The Mill has been revived. The VFX and post-production icon, once shuttered under Technicolor in February 2025, re-emerges under new ownership: global translation and transcreation heavyweight TransPerfect. TransPerfect acquired The Mill in April 2025, with a stated goal to preserve the studio’s creative heritage while expanding its global reach. The company, active in 140 markets, describes the move as a “commitment to creative excellence”, combining The Mill’s artistry with its own infrastructure and AI-driven localisation technology.

Familiar Faces, New Era

Continuity appears central to the relaunch. In London, creative directors Ross Urien and Ben Blundell (returning from No. 8) are joined by Matthew-Ben Campbell as head of design and Liam Collinwood as VP managing director. The Paris studio also brings back familiar names: Fabien Godeneche as managing director, Benoit Holl leading creative operations, Guillaume Ho as VFX supervisor and creative director, Guillaume Parra as head of CG, Damien Canameras as head of 2D, and Vincent Venchiarutti as head of design.

In Paris, the leadership speaks of both legacy and evolution. Guillaume Ho calls it “breathing new life” into The Mill’s tradition of pushing creative and technical limits, while Guillaume Parra emphasises a “commitment to embracing emerging technologies” to exceed client expectations. Across statements, the tone is clear: the revival is not nostalgic, but operational. Teams are already active in London, Paris, Seoul, and Bangalore, with expansion into the US market under consideration.

From Gladiator to GlobalLink

Founded in 1990, The Mill became synonymous with cinematic craftsmanship, from Ridley Scott’s Gladiator (2000) to pioneering work in real-time and immersive media. The closure of its Technicolor parent earlier this year marked what many in the industry feared was an end to that legacy. Now, with TransPerfect’s backing, The Mill positions itself as a creative brand with “independent spirit and global reach”. The company claims that its new infrastructure will enable faster, scalable production across languages and markets.

Conclusion: Revival with Caveats

The return of The Mill is undeniably good news for the VFX and post community. The brand’s craft-driven ethos and long-standing team continuity offer stability in an industry still recovering from multiple studio closures. However, the success of this new chapter will depend on how well TransPerfect’s corporate infrastructure coexists with The Mill’s culture of artistry. For now, the team’s optimism and The Mill’s survival are reasons to celebrate.

The post The Mill Returns first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

On March 16, from 11:00 to 15:00, Design for Film – Art and Costume Department meets VFX will take place at Kino 2, HFF München. The event brings together professionals and students to discuss the practical and creative intersections between digital and analog film production. Moderated by Waleska Leifeld, the panel includes Prof. Jürgen Schopper (HFF, VFX) and industry experts from Art and Costume Departments in film and series production.

Symposium at HFF München: Where Art Meets VFX

The symposium examines fundamental questions about interdisciplinary collaboration: Who communicates with whom—producers with VFX studios, location scouts with VFX supervisors? Who oversees the overall design? What role does a VFX supervisor’s independence play? At what stage is the decision made between digital and practical effects, and how does budget planning factor into this? The discussion also covers the integration of digital costume and art departments, the crucial on-set interactions between VFX supervisors and costume teams, and the evolving educational landscape for these fields.

Insights from VFX studies at HFF München, Production Design at ZHdK (Zürcher Hochschule der Künste), and Costume Design programs will provide context on how education aligns with industry demands. The symposium concludes with a networking session at Minna Thiel from 15:00 to 16:30.

And if you want to join, write a mail to info@v-sk.de

The post 16.03.25: DESIGN FOR FILM: Bridging Art, Costume & VFX @ HFF Munich first appeared on DIGITAL PRODUCTION and was written by Bela Beier.