For those who don’t know the tool: Revcut is a browser based video review and approval platfrom for sharing cuts with clients and teams. It sits alongside tools such as Frame.io and Vimeo Review, focusing on European hosting and GDPR compliance.

Revcut.io has launched as a European, GDPR focused video review and approval platform aimed at production companies, agencies and post facilities that require client feedback workflows without relying on US hosted services. Revcut positions itself as a privacy first alternative to established cloud review platforms. The service is fully browser based. Users upload video files, share review links and collect timecoded comments directly in the player.

A familiar category

Cloud based review and approval is already a mature segment of the postproduction pipeline. Services such as Frame.io, now owned by Adobe, and Vimeo Review provide frame accurate commenting, versioning and client sharing in browser environments.

Revcut openly addresses this competitive context. On its “Alternatives to Frame.io” page, the company positions itself as a European based substitute for US headquartered platforms. It highlights data residency and privacy as its key distinguishing factors. Revcut does not claim novel codec technology, AI driven indexing, or advanced pipeline automation in its published material. The emphasis is on secure review links, commenting, and European data hosting. That focus is narrow but clear.

GDPR as product feature

The company states that all data is hosted in Europe and that the platform is GDPR compliant. GDPR, the EU’s General Data Protection Regulation, governs how personal data is processed and stored within the European Union. Revcut’s positioning suggests that data sovereignty and regulatory compliance are central to its value proposition, particularly for clients in the EU who are cautious about US cloud providers. For facilities handling sensitive commercial campaigns, unreleased broadcast material or internal corporate communications, data location can be a procurement factor. Revcut is clearly targeting this segment.

Core feature set

The platform provides secure video upload and streaming in browser. Reviewers can leave time based comments directly on the timeline. Users can share review links with clients and collaborators. The company describes the workflow as quick and simple. No API documentation or integration roadmap is publicly referenced in the sections I’ve seen.

There is no mention of direct integration with editors such as Premiere , Avid Media Composer or DaVinci Resolve. Likewise, no mention is made of panel extensions or plugin-based workflows.

Target users

Revcut states that it is designed for video professionals, agencies and production companies. The platform appears intended for client approval cycles, internal team feedback and possibly distributed production environments. There is no mention of large scale VFX shot tracking, asset management or integration with production tracking systems such as ShotGrid.

In that sense, Revcut occupies the lighter end of the review spectrum, centred on cuts rather than shot based workflows. For editors and producers working on commercials, branded content, corporate films or social campaigns, this category of tool typically replaces email attachments and ad hoc file transfer services.

Pricing and access

What is missing

The public documentation reviewed does not include performance benchmarks, uptime statistics or a published service status page. There is no publicly accessible API documentation, SDK or webhook reference that would indicate suitability for integration into automated pipelines. There is also no mention of enterprise features such as single sign on, audit logs, role-based access control or storage redundancy architecture in the sections reviewed. This does not mean such features are absent, only that they are not described in the publicly accessible material examined so far. I haven’t found them. For professional deployment, these details matter. As always, new tools and innovations should be tested before use in production. Stability, performance under load and security documentation should be assessed before migrating live review pipelines.

// Revcut homepage
https://revcut.io/

// Revcut Alternatives to Frame.io page
https://revcut.io/alternatives-to-frameio

The post Revcut launches GDPR first Video-review platform first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has released version 3.2 of its Blackmagic Camera app for iOS. The update introduces native live streaming directly to YouTube, Vimeo, and Twitch, without requiring additional encoders or third-party apps. The app continues to frame the iPhone as a production-ready camera interface with full manual control. Version 3.2 extends this idea to live workflows, letting operators start a professional broadcast straight from the app by entering a stream key for their chosen platform.

SRT for Professional Streams

Beyond platform streaming, the update adds SRT (Secure Reliable Transport) support. This protocol provides encrypted, low-latency transmission suitable for news, remote production, or event coverage over unstable networks. The app can now send SRT video directly to Blackmagic Streaming Decoders or any SRT-compatible receiver, positioning the iPhone as a viable field camera for broadcast environments. Support for custom RTMP and SRT servers allows integration with professional CDNs or in-house streaming systems. Or, you know, Vmix, Streamlabs, Facebook, and all the others.

Smarter Storage Feedback

External recording to SSDs remains supported via USB-C, but version 3.2 refines how the app reports media status. The update adds clear on-screen notifications if an external drive disconnects during recording, standby, or data upload. For mobile ProRes workflows, this is a practical safeguard against lost footage and unclear drive states.

Expanded Remote Control

Multi-view remote monitoring on iPad and Mac has been expanded. Users can now select the number of monitored angles, enabling more flexible layouts for multicamera setups. This builds on the app’s growing role as a companion tool for Blackmagic Cloud and DaVinci Resolve Camera projects.

Under-the-Hood Fixes

Blackmagic Design lists two key bug fixes: a corrected recording issue linked to auto white balance and intermittent audio monitoring dropouts. General stability improvements are included, though no details on performance changes were provided.

Availability

Blackmagic Camera for iOS 3.2 is available now as a free download on the App Store, with no subscription or in-app purchases. As with any newly introduced feature, live streaming and SRT workflows should be tested before critical productions to confirm stability and compatibility.

The post Blackmagic Camera 3.2: iPhone Streams Live, No Extra Steps first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Academy Software Foundation (ASWF) has added OpenAPV to its project lineup, a move bringing Samsung Electronics’ codec technology into an open-source environment for professional video production. OpenAPV promises “perceptually lossless” quality and supports resolutions from 2K to 8K with 10- to 16-bit color depth. Notable for its efficiency, OpenAPV uses around 20% less storage than proprietary codecs, offering an alternative to formats like Apple ProRes and Avid DNxHR. Samsung joins ASWF as a Premier member, reflecting its commitment to accessible media solutions.

While OpenAPV’s technology might appear enticing for real-time graphics and high-res media workflows, production professionals should assess its integration potential carefully. This codec supports high bit-rates, royalty-free usage, and varied chroma sampling, yet its newness in the ASWF “sandbox” means practical adoption will depend on further field testing.

For more, read the ASWF announcement here.

And while we absolute think the ASWF is an amazing organization, that is doing and will be doing great and useful things, we cannot help but be reminded of this XKCD-cartoon.

The post Academy Software Foundation Welcomes OpenAPV as a New Codec Standard first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

This will be a short review – not least because I’m really enthusiastic about the tool, which is admittedly rare.

Do you really need it?

After the initial praise, I have to say that I doubt whether the Checkr will be used as much as it deserves. I have referred to the use of colour charts in many workshops – but I have never seen it used in any production myself, at least none that I have been involved in. Especially if you colour correct yourself and don’t really need it – except when the tools in Resolve don’t always work as far as Resolve’s automatic recognition procedure is concerned. If you wanted to counteract this – at least until now – you had to use colour charts manually, but this was only time-saving to a limited extent and usually quite inconvenient. Unhandy, sensitive and not really standardised. This has changed with the new Checkr video. And before anyone says anything: that’s not a spelling mistake “Checkr Video” is the name Datacolor uses.

There are now also so many different colour checker boards that it can be tedious for the colour grader to select the right module in Resolve using the auto-recognition function. But with the Spyder colour checker, this can be done manually using waveforms and vectorscopes and with any software that has halfway usable grading tools, including Media Composer, Premiere, Final Cut, etc.

Use in front of the camera

Enough adulation, how do you use it? Ideally, we hold it in the main light source or next to the face; depending on the image section, it can also be held under the face (pro tip: be careful, the head casts shadows). It is important to say this loudly (and repeatedly) to anyone who touches a colour chart: Do not touch the colour fields themselves with your fingers, as the slightly acidic skin grease destroys the colours.
Once you have the colour chart in the picture, slowly wiggle it vertically and horizontally. This not only looks funny, but above all ensures that the shiny black surface is at least once in the picture without reflection, thus providing maximum black for contrast. If you’re shooting with studio lighting: put it on a tripod. And if you have to employ an extra useless assistant (someone’s nephew)..

Ideally, we should also not overexpose (or temporarily reduce the aperture when exposing high key). It is also important to mark the shot as a separate clip and make sure that these clips have been exposed once for each lighting situation for all cameras. You can give this to your colourist as a separate collection and save a lot of time when colour-matching very different cameras.

Use in post

The colour warper in Resolve is still quite new and is best suited for colour matching. In all other programmes that do not have one, the Hue vs. Hue and also the Hue vs. Sat controls should be used. However, the latter require more time (especially in Final Cut or Premiere) than the same tools in Resolve. The colour warper is also available as a plugin from Nobe – is.gd/color_remap – it’s really worth the money and we’ve been fans of it for years. If you want to know exactly what’s in the latest version, you can take a look at Uli Plank’s text from page 70 onwards. And to be fair: The 3D LUT Creator by Oleg Sharonov was the first to bring these functions “Conveniently” to the people – See DP 19:03, or in full text here: is.gd/dp_3dlc

Colour grading

Before we do anything with the frames, it is necessary to optimise lift, gamma and gain according to waveform. Colorwarper is then the tool of choice – in comparison, with Hue vs. Hue and Hue vs. Sat you have to use two different tools one after the other and alternately, where you also have to set the colour vector points first, which is particularly time-consuming in Final Cut.
In the colour warper, you can work directly and can already touch the vectors. Only if too many vectors were previously preset, then you should reduce them to six.

Conclusion

The Checkr belongs around the neck of every cameraman or AC or VFX supervisor. And as soon as several cameras of different types are involved, it generally does no harm even with VFX shots if no others are used!
But one more tip: If the part is regularly used outdoors, then you should get a new one every year or every two years (the Checkr costs around 150 euros), because these colours also fade over time, especially due to UV radiation in the sun!

The post Spyder Checkr Video first appeared on DIGITAL PRODUCTION and was written by Michael Radeck.