Based on intoPix’s TicoRAW, Nikon’s compressed RAW format first made its debut in the Nikon Z 9 with firmware V2.0 and later found its way into the Z 8 and Z6 III (which, by the way, just got a major firmware update). Overall, N-RAW has proven to be a pretty flexible format but currently suffers from one major limitation. Indeed, at the moment, the only non-linear editing software that supports it is DaVinci Resolve and Edius.

In truth, the Adobe team had already been working on integrating N-RAW support into their video products, but shortly after Nikon acquired RED, they oddly halted the development. Now, they’ve reversed that decision. Let’s take a look!

Nikon N-RAW – coming to Adobe software later this year?

Just a few weeks ago, RED included full support for Nikon N-RAW in the latest release of REDCINE-X Pro (Beta), thus allowing Nikon users to process their N-RAW clips using RED’s IPP2 (Image Processing Pipeline 2) workflow chain.

At the same time, RED updated their SDK (Software Development Kit) to include support for N-RAW. So, technically, this means that any third-party developer could now integrate N-RAW processing into their software, including – but not limited to – Adobe.

As a result, Adobe engineers picked up right where they left off, as confirmed by Fergus Hammond, Principal Product Manager for Adobe Audio & Video, in this thread:

Hi all,
I have good news for people following this thread: we have restarted work on adding Nikon N-RAW support to our video products. We expect to release N-RAW support later this year. 

For the curious, N-RAW support is coming via an update to RED’s SDK. Adobe has worked closely with RED for many years to support RED’s R3D format, so we are delighted that the purchase of RED by Nikon has resulted in N-RAW support being added to the RED SDK.

As soon as N-RAW support is available in public beta, I will update this post. 

Fergus Hammond, Principal Product Manager for Adobe Audio & Video

For more information, please visit the original thread here.

Have you ever tried shooting in Nikon N-RAW? Do you use Adobe Premiere Pro for your video editing needs? If so, are these Adobe updates relevant to you? Let us know your thoughts in the comment section below!

For those unfamiliar with FilmConvert, their CineMatch tool helps adjust colors between different cameras by matching their color science, making it easier to blend footage from multiple sources. FilmConvert Nitrate is a film simulation plug-in that emulates the look of classic film stocks, adding grain and color profiles to digital footage for a more organic, cinematic feel. FilmConvert continuously expands the compatibility of both programs, recently adding support for the Sony a6700 and Sony a7R V cameras, the iPhone 16 Pro – and now the ARRI Alexa 35, integrating their high-end color science into the CineMatch and Nitrate workflow.

The ARRI Alexa 35 – high image cinematic quality in a Super 35 package

The ARRI Alexa 35, released in 2022, retails for $83,000 (The base model starts at $55,000), but not without a reason. The Alexa 35 is a high-end cinema camera featuring a 4.6K Super 35 CMOS sensor with 17 stops of dynamic range, delivering exceptional highlight retention, shadow detail, and much more. CineD’s lab test put the camera through its paces, which you can read about here. Plus, the camera now offers a new Log C4 color profile. For more on the ARRI Alexa 35, you can also have a look at their website.

Pricing and availability

FilmConvert suggests trying out the plugin using the Alexa 35 profile – you can download a free trial here. Both plugins retail for $149, but you can get 10% off through CineD using this link. If you are already a CineMatch or Nitrate user, you can download the camera pack for free – CineMatch can be downloaded here, and Nitrate here.

How do you approach color matching when working with multiple cameras? Do you prefer using CineMatch for color consistency, or do you rely on manual grading? Let us know in the comments!

Unlike other AI video tools, the Adobe Firefly Video Model is built to generate IP-friendly, production-ready content so brands and agencies can use it without worrying about copyright issues or legal trouble. It also integrates directly into Adobe Creative Cloud, making it easy to move AI-generated elements into real production workflows.

For reference, we first covered the Firefly Video Model announcement, including Generative Extend and AI dubbing, here on CineD. Now, let’s see what’s new in the public beta.

What does “commercially safe AI video generation” actually mean?

Generative AI is exciting, but it comes with a lot of baggage, especially when it comes to ownership and ethics. Adobe is tackling these concerns head-on by training Firefly only on licensed Adobe Stock content, public domain materials, and legally acquired assets.

One of the standout features of Firefly is built-in Content Credentials, which act as a digital authenticity tag for AI-generated media. Adobe has been pushing for transparency in AI content, working with the Content Authenticity Initiative to make sure anything generated by Firefly is labeled and traceable.

Bottom line: Firefly-generated videos are designed to be safe for commercial use without the messy copyright concerns other AI models might bring.

New AI video tools for creative professionals

Firefly Video Model isn’t just about cranking out random AI clips. Adobe has packed it with tools that give creators more control over AI-generated video and motion design.

• Text-to-Video & Image-to-Video
• Camera Angle Control
• Custom Motion Design Elements
• Frame & Style Locking

With Text-to-Video and Image-to-Video, you can generate high-quality 1080p video clips just by typing a description or uploading a reference image. This makes it easy to create b-roll, animated sequences, or even rough ideas for a project without needing a full production setup.

Camera Angle Control lets you fine-tune shot composition, whether you want a sweeping aerial view, a dramatic close-up, or a wide establishing shot.

If you want to add a little more visual flair, use Custom Motion Design Elements. This allows you to create animated transitions, background movement, and atmospheric effects, helping AI-generated footage feel more polished.

To keep things consistent, Frame & Style Locking helps maintain colors, lighting, and character details. It works across multiple AI-generated clips, making it easier to mix them into existing edits.

Adobe has already hinted that 4K support is on the way, which could make Firefly Video Model even more useful for high-end production work.

How to access Firefly Video Model’s AI video tools

If you want to try out Firefly’s AI video tools, you can access them through the Firefly web app or in Adobe Premiere Pro under the Generative Extend (beta) feature.

The beta version supports 1080p video generation, but Adobe plans to roll out higher resolutions and new features soon. Firefly is included in select Adobe Creative Cloud plans, but you can also sign up for Firefly Standard or Pro subscriptions if you need more AI generation power. More details on pricing and availability are on the Adobe Firefly Plans page.

Firefly video plans and pricing

Adobe has introduced new Firefly plans to give users different levels of access to their AI-powered video and audio tools. Whether you’re experimenting with AI-generated content or need high-volume production capabilities, there’s a plan for you.

• Firefly Standard – $9.99/month
• Firefly Pro – $29.99/month
• Firefly Premium – Coming Soon

The Firefly Standard plan includes 2,000 video/audio credits, which gives you up to 20 five-second 1080p video generations per month. If you need more, the Firefly Pro plan bumps that up to 7,000 credits and 70 video generations. Adobe is also working on a Firefly Premium plan, offering even more AI-generated content for high-volume creators and teams.

All plans include unlimited image and vector generation, so Firefly isn’t just about video—it’s a full multi-modal content creation tool.

Advancing or undermining creativity?

There’s no doubt that Firefly is an impressive step forward for AI-generated video. For agencies and brands, it could be a game-changer, making it easier (and cheaper) to produce professional-looking content at scale. But for those of us who’ve spent years perfecting the craft of filmmaking, motion design, and post-production, it’s hard to ignore the bigger question. What happens when AI-generated content becomes the norm?

I’ve tested a lot of AI generation models, and honestly, it’s almost too easy to get something that looks polished. But that raises another issue—what is that image or video actually worth? AI has a way of making everything look slick but also strangely generic. The imperfections, the artistic choices, the personality that makes a piece of content feel truly creative—AI strips a lot of that away.

Firefly is built for efficiency, and there’s no doubt companies will use it to cut costs. But if this is where video production is heading, what does it mean for the people behind the camera, the editors, the animators—the ones who bring real artistry to the table?

What do you think? Is Firefly a revolutionary tool for creatives, or is it another step toward making everything feel the same? Drop your thoughts in the comments below!

On top of that, the software introduces expanded ISO options, including settings like 64, 8000, 10000, 16000, 20000, and 25600. This opens up greater creative control for both Nikon and RED users, especially in challenging lighting conditions. For Nikon shooters working with N-RAW, it means smoother integration with RED’s pipeline and better handling of high-contrast scenes.

Windows users get another important update. The new beta adds official support for Apple ProRes encoding, a long-requested feature that eliminates the need to transfer projects to a Mac for final export. This update significantly improves workflows for teams that use Windows-based editing systems.

Nikon’s strategy behind acquiring RED

Nikon’s acquisition of RED in late 2024 sent shockwaves through the camera industry. Nikon has been pushing deeper into video production for years, with their flagship Z9 already delivering internal 8K recording and advanced video capabilities. (Camera lab test here). By acquiring RED, Nikon aimed to strengthen their foothold in the professional cinema market to better compete with Canon, Sony, and other major players.

This move wasn’t just about cameras. RED’s IPP2 color science, post-production expertise, and highly respected R3D codec all align with Nikon’s ambitions to cater to high-end filmmakers. Nikon now has a chance to integrate cinema-grade technology across their lineup. We discussed this in detail when the news first broke in this earlier article.

The acquisition has allowed Nikon to leverage RED’s reputation for innovation. This new update hints that both companies are starting to explore ways to collaborate more closely.

What could be next?

The addition of N-RAW support to REDCINE-X Pro might be just the beginning. Could we soon see Nikon mirrorless cameras capable of recording R3D internally? That would be a game-changer for filmmakers looking for a hybrid solution that seamlessly integrates with RED’s post-production ecosystem.

Another possibility is native Nikon lens mounts on future RED cameras. Nikon’s Z-mount glass has earned a strong reputation for its sharpness and versatility. Offering native support for these lenses could attract more Nikon users to RED’s cinema line.

Nikon might also collaborate with RED on software integration. Could future firmware updates for Nikon cameras feature IPP2-inspired color controls? Or perhaps Nikon and RED will work on new, hybrid camera technology that bridges the gap between stills and cinema.

There are a lot of directions this partnership could take, and today’s update is an exciting first step.

A more seamless workflow for Nikon and RED users

For filmmakers who work across both Nikon and RED systems, this update is a game-changer. Nikon users can now take full advantage of RED’s post-production pipeline, including its color grading and dynamic range controls. Expanded ISO settings provide greater creative flexibility, and ProRes encoding on Windows eliminates a longstanding workflow bottleneck for Windows-based editors.

The beta version of REDCINE-X Pro is available now. You can download it for Mac here or Windows here.

This update shows how Nikon and RED’s collaboration could evolve, but there is still plenty of room for speculation.

What features would you like to see next? Could Nikon cameras finally get R3D recording? Will RED release cameras with native Nikon mounts? Share your thoughts and ideas in the comments below!

Final Cut Pro X was released on June 21, 2011. I’m sorry if, like me, you’ve started and edited plenty of projects on Final Cut Pro 7—only to realize it was nearly 15 years ago. Time flies, and Apple has released numerous updates over the years while still being on version 10. However, in November 2024, Apple released a significant update, Final Cut Pro 11. This major update introduced many new features, such as Transcribe to Caption, Voice Isolation, and multiple other AI-powered features, such as the Magnetic Mask we reviewed here.

Following that big update, Apple has just released Final Cut Pro 11.0.1, a minor update that fixes bugs and improves stability, reliability, and performance.

Final Cut Pro 11.0.1 – features

As previously mentioned, Final Cut Pro 11.0.1 is a relatively minor update with no significant changes; it’s more or less a patch that fixes bugs and improves existing features. Here is the entire list of what is new inside Final Cut Pro 11.0.1:

• Addresses an issue that caused Custom Overlays to not be visible in the viewer.
• Fixes an issue that caused errors when using Send to Compressor from a timeline that included Magnetic Mask effects.
• Improves reliability of the Show Horizon command in the viewer.
• Improves performance when pressing and holding the H key to scroll the timeline manually.

As always, before you jump into the App Store to install the update, please ensure that your Mac is compatible, and then back up your current version of the Final Cut Pro application and your Final Cut Pro libraries.

Price and availability

This Final Cut Pro 11.0.1 update is now available to download directly from the App Store. If you purchased your license yesterday or back in 2011, it doesn’t matter, as it is still a free upgrade for all current users. If you want to buy it, Final Cut Pro X retails for $299, and Apple still offers a 90-day free trial to give it a try. For more information, please see the Apple website.

What do you think about this update? Do you like the major Final Cut Pro 11 update and new features? What is your go-to editing software? Don’t hesitate to let us know in the comments down below!

What is “Live Switcher Mobile”?

The app allows users to wirelessly connect and control up to four iPhones or iPads during a live stream. You can switch between devices on-the-fly and output directly to platforms like YouTube and Facebook, all without any external hardware. Canon has built-in tools for titles, pre-recorded video playback, and scene transitions, making this app a straightforward option for smaller productions.

This mobile-first approach is great for those who need a lightweight setup. However, its current limitation to iOS devices means it’s aimed primarily at creators already in the Apple ecosystem.

Digital camera support coming

Canon’s press release hints at what could be a major evolution:

“Live Switcher Mobile” will also support digital camera connection in the future to make high quality live streaming easier and more flexible.

This raises some interesting possibilities. Could we see support for models like the EOS R6 Mark II or a Cinema EOS C400? If Canon can pull this off, it might open the door for hybrid workflows, where creators combine mobile convenience with professional camera capabilities. That said, Canon hasn’t yet provided a timeline for when—or if—this functionality will arrive.

Mobile phone vs. traditional live streaming setups

Streaming with phones might seem like a simpler and more budget-friendly solution compared to using a dedicated camera system. However, it’s worth noting that each phone you use in a mobile setup comes at a significant cost. For example, a new iPhone 16 Pro retails for around $1,000. Multiply that by three or four devices, and you’re in the same price range as an all-in-one live streaming solution with SDI inputs and pro features.

For professional streamers, dedicated systems often offer better control over signal integrity, hardware connections, and stability. CineD recently covered both the CineTREAK Stream Master and Stream Master SDI—solutions built for high-quality live streaming with traditional camera setups.

Additionally, there are now hybrid options like the new RØDECaster Video, an all-in-one production console designed to handle both video and audio needs. We took a first look at that system here, which might also appeal to streamers looking for a more integrated workflow.

Ultimately, Canon’s app may appeal more to content creators and smaller teams where mobility and minimal setup are priorities. But those working in high-stakes productions might still lean toward dedicated streaming hardware.

Is streaming Canon’s next step?

With live streaming evolving rapidly, Canon seems intent on carving out a space for their products in this growing market. Smartphones are becoming increasingly capable, and the line between consumer and professional streaming continues to blur. Canon’s move into mobile-first software shows they’re adapting to these shifts.

Still, we’re curious about how much this app will evolve. If Canon can bring full camera integration to “Live Switcher Mobile,” it could become a key tool in hybrid production workflows. But for now, it’s positioned as a convenient option for smaller operations.

Price and availability

Canon’s “Live Switcher Mobile” app is free to download from the App Store, but there are a few catches. The free version limits you to 720p video and adds a watermark to your stream. If you want the full package with 1080p streaming, no watermarks, and no in-app ads, you’ll need to pay $17.99 monthly for a subscription.

For more information, you can check out Canon’s official press release here.

What do you think? Would this fit into your live-streaming workflow? And would camera integration make this app more appealing to you? Let us know your thoughts!

The company consistently brings updates to their smartphone app, so it’s no wonder it has become quite a popular solution for mobile filmmaking. First, if you’ve already worked with a Blackmagic camera, you’ll be happy to see a familiar interface. Second, it is free of charge. And above all, apart from fixing issues and improving general performance, these frequent updates do actually bring new and useful features to the table.

Remote control and multicam

In this case, the biggest highlight of Blackmagic Camera 2.0 for Android is that it allows creators to monitor and remotely control multiple phones simultaneously (just like the same-numbered version for iOS, which was released in August). From now on, you can set up your Android phone as a controller and connect up to 9 other phones running Blackmagic Camera via a wired or wi-fi network. After that, you will be able to see all your cameras in multi-view and sync them. The new feature also allows users to change all the important settings (like zoom, focus, white balance, frame rate, shutter angle, and lens selection) on any connected device or adjust all of them at once.

Support for further Android devices

Also, in this update, Blackmagic Design added support for some Android tablets, including the Xiaomi Pad 6 and Samsung Tab S9, as well as the new Samsung S25, S25+, and S25 Ultra phones. All these devices can be used as either a camera or a controller. Thus, if you need multiple perspectives, you can monitor and control them from a bigger tablet screen using several phones as cameras. Quite a neat setup for quick-paced projects, if you ask me.

There is more to Blackmagic Camera 2.0 for Android

Another long-awaited addition in Blackmagic Camera 2.0 for Android is the ability to click and drag multiple media clips on the media tab with your finger. This makes the selection process easier and faster if you need to upload or delete something.

Apart from that, the 2.0 update for Android includes support for Tilta Nucleus USB devices for lens control, adds German language to the user interface, and allows capturing at 120 and 240 fps on supported Sony Xperia devices.

Blackmagic Camera 2.0 for Android – overview of key features

Key features at a glance:

• Supports controlling multiple phones with Blackmagic Camera;
• Support for Samsung S25, S25+ and S25 Ultra phones;
• Support for selected Android tablets, including Xiaomi Pad 6 and Samsung Tab S9;
• Support for Tilta Nucleus USB devices for lens control;
• Ability to drag-select multiple media clips;
• Added German user interface;
• Ability to shoot 120 and 240 fps on supported Sony Xperia devices.

To read more about the Blackmagic Camera app, head over to their official page.

Price and availability

As with previous versions, Blackmagic Camera App for Android 2.0 is available for free and can be downloaded here. (The current version for iOS users is 2.2; here is the link to the free download).

Do you use this app? Have you already upgraded it to Blackmagic Camera 2.0 for Android? What features do you wish they would add next? Share your thoughts with us in the comments below!

Image source: Blackmagic Design.

I’ve been shooting with the RED Komodo since its release, and I always power my full rig—camera, monitor, follow focus, and SDI insulator—from a single V-Mount battery. Through experience, I know I get about 3.5 hours per battery with my setup.

That works fine when I’m using my own gear, but battery performance is less predictable when you rent equipment for an out-of-town shoot. I’ve overpacked, carrying unnecessary weight, and I’ve also cut it too close, barely making it through a long day.

A tool like this makes sense because it saves you from running out of power before the job is done.

Who is Camera Rentals NYC?

Camera Rentals NYC is a film gear rental house in Times Square that provides cameras, lenses, monitors, wireless video systems, and lighting for productions of all sizes. Their inventory includes cinema staples like the ARRI Alexa 35, RED Komodo, and Atlas Orion Anamorphic lenses. Their focus is on reliable rental kits tailored for everything from indie productions to large-scale commercial shoots.

The CinePower Calculator

The CinePower Calculator is a web-based tool accessible through Camera Rentals NYC’s website. It’s not an app, so there’s no need to download anything. You can use it directly in your browser by visiting their CinePower Calculator page.

The CinePower Calculator estimates battery runtime by factoring in power draw, efficiency, and voltage requirements. Since real-world conditions often impact battery performance, the tool accounts for variables such as heat loss from internal resistance, inefficiencies in voltage conversion, battery aging that reduces capacity, and extreme temperatures that can further affect runtime.

What sets this tool apart is its built-in database of digital cinema equipment, including cameras, monitors, wireless transmitters, and accessories. Instead of relying on generic estimates, it uses real-world power consumption data for industry-standard gear. Users can select preloaded equipment or input custom gear details for setups not included in the database.

The calculator also includes efficiency adjustments, helping filmmakers account for battery wear, environmental factors, and voltage mismatches. Additionally, voltage warnings ensure that batteries meet the power requirements of selected equipment, preventing unexpected shutdowns.

By combining industry-specific data with customizable inputs, the CinePower Calculator helps filmmakers plan power needs more precisely, reducing the risk of overpacking or running out of batteries mid-shoot.

Why battery planning actually matters

Running out of power mid-shoot is more than just annoying—it can throw off the entire production, delay key shots, and cost time and money. But guessing how long a battery will last isn’t as simple as looking at the manufacturer’s specs. Real-world factors like power draw, aging batteries, extreme temperatures, and voltage mismatches can cut battery life down significantly.

That’s where the CinePower Calculator comes in. Instead of estimating based on rough numbers, this tool gives you realistic battery runtime projections based on the exact gear you’re using. Factoring in things like efficiency loss and environmental conditions helps filmmakers avoid surprises and plan their power needs accurately.

Having the right number of batteries is a balancing act—you don’t want to run out, but you also don’t want to lug around a ton of extra gear you don’t need. With CinePower, you can pack smart, avoid unnecessary weight, and keep your shoot running smoothly without worrying about power shortages.

Do you have a big shoot coming up? Head over to Camera Rentals NYC’s website for more information about the CinePower Calculator and to try the tool out for yourself.

Featured photo by Brandon Morgan on Unsplash altered by CineD.

Do you think the CinePower Calculator would be useful for your shoots? Have you ever miscalculated battery needs on set? Leave a comment and share your experience.

While these latest updates show that Adobe is working hard to stay ahead of the curve, they also highlight some of the ongoing challenges I’ve experienced as an editor. They’re clearly focused on giving us new, innovative tools—sometimes ones we didn’t even know we needed—but the software’s reliability and steep subscription costs still leave room for frustration. It’s hard not to compare that to more affordable, stable alternatives like DaVinci Resolve, which continue to offer solid functionality without the same headaches.

Let’s dive in and take a closer look at what these updates bring to the table.

Premiere Pro’s AI-powered Media Intelligence and the new Search panel

The updates in Premiere Pro (beta) focus heavily on improving efficiency for editors. A standout feature is the Media Intelligence system, which uses AI to automatically tag and identify visuals in your footage. This includes objects, locations, camera angles, and other metadata, allowing editors to quickly find specific clips using natural language.

For example, typing “wide shot of a desert landscape” into the new Search panel will instantly surface relevant results. This feature eliminates the need for hours of manual scrubbing through footage, which is a game-changer for large-scale projects​​.

Multilingual caption translation

Another important addition in Premiere is caption translation, which automates the creation of multilingual captions in 17 languages. With captions becoming essential for accessibility and audience engagement, this feature ensures that editors can expand their content’s reach to a global audience without adding excessive time or expense to their workflows. Adobe also allows for multiple caption tracks, enabling editors to prepare content for diverse audiences more efficiently​.

Check out our earlier coverage of Adobe’s updates to Premiere 2025 here.

After Effects gets faster playbacks and HDR support

Motion designers will appreciate the focus on performance in the latest After Effects (beta). The improved caching system is a major advancement, using both RAM and hard drives to allow for faster previews and playback of larger, more complex compositions. Even older systems can now handle extensive projects with fewer interruptions, keeping creative momentum intact​.

The updated HDR support is another step forward. Motion designers working in high-dynamic-range (HDR) can now accurately monitor and export their work, ensuring that vivid, eye-catching visuals maintain their quality throughout the entire production process. Whether you’re working on a laptop or a professional-grade monitor, the workflow improvements make HDR content creation more accessible than ever​.

Frame.io Native Camera to Cloud for Canon C400 and C80

You might recall from our coverage here about Camera-to-Cloud (C2C) coming to the Canon C400 and C80. Now it’s officially available!

This is one of the most exciting updates to Frame.io for a Canon fan like me. This feature allows proxy files to be automatically uploaded to Frame.io during production. With no need for manual file transfers, editors and story producers can begin working on footage almost immediately, even as production is ongoing.

This integration helps teams collaborate in real-time, minimizing delays and reducing the risk of costly reshoots by identifying and addressing issues early. Turnaround times are shrinking across the board, and the fast-paced world of filmmaking is only getting faster. The C2C workflow enables post teams to review footage sooner, giving them the chance to refine edits and perfect their work before deadlines hit.

All you need is a Frame.io account, a Canon C80 or C400, a network connection, and a quick six-digit pairing code to start uploading footage to the Cloud within minutes. As someone who works on large teams in documentary filmmaking, I can see how this could be a big help. When you’re dealing with tons of footage and tight deadlines, having everything ready to review and edit so quickly makes it way easier to stay organized and keep the whole team on track.

All these features for Premiere Pro and After Effects are available now in beta. For more information on how to access the beta apps, please visit the Premiere Pro (beta) page.

End note from an editor on Adobe updates

Adobe’s updates demonstrate their ongoing commitment to providing smarter, faster tools for creators. Features like AI-powered Media Intelligence and Camera-to-Cloud integration show that Adobe is thinking about the challenges of modern production workflows.

However, as an editor, I can’t ignore the issues I’ve faced with the software recently. Stability problems in Premiere Pro and After Effects, especially with multicam workflows and stabilization-heavy projects, are persistent frustrations. It’s worth noting that stability concerns are also the most common feedback I hear from other creators when writing about Adobe’s new features.

Cost is another factor. Adobe’s Creative Cloud All Apps plan is $59.99/month, while Premiere Pro or After Effects individually cost $22.99/month each. Meanwhile, competitors like Blackmagic’s DaVinci Resolve, Final Cut X, and even CapCut offer similar functionality at significantly lower costs, some even being free. Resolve, for instance, has a one-time purchase option, making it far more budget-friendly.

I purchased my Resolve Studio license second-hand in 2011 for just $100, and it’s been worth every penny. It’s a reminder that while Adobe offers cutting-edge features and seamless integration, alternatives exist that can deliver comparable results without the high price tag.

New features and AI tools are great, but the true value in editing lies in the editor’s experience, not the tools alone. While speeding up workflows can be helpful, it often feels more like a way to minimize effort and cut costs for producers rather than elevating the creative process.

What do you think of the latest Adobe updates? Are they enough to improve your workflow, or do you see room for improvement? Share your thoughts in the comments below!

Canon’s Cinema RAW Light format was first introduced in 2017 with the EOS C200 cinema camera. This lightweight version of the original Canon Cinema RAW codec then appeared in multiple other cameras, including the EOS C500 Mark II, EOS C300 Mark III, EOS R5 C, EOS C70, and, more recently, the EOS C80 and EOS C400.

As someone who has often shot in Cinema RAW Light since the EOS C200 days, I find it a nice compromise between file size, quality, and versatility. Indeed, the Cinema RAW Light codec gives you the most dynamic range, and you can easily change your ISO, White Balance, picture profile, and so on. Multiple editing software already allow you to adjust your .CRM files metadata directly, including Adobe Premiere Pro/After Effects and DaVinci Resolve.

Otherwise, most RAW video codecs require a lot of computing/processing power, and the software must be optimized for them. In a recent beta update, Adobe optimized their video software to support Canon Cinema RAW Light codecs better and increase performance.

Adobe Canon Cinema RAW Light hardware acceleration

Adobe’s latest Premiere Pro, After Effects, and Media Encoder beta versions add Cinema RAW Light acceleration for Apple silicon computers. According to the company, future beta version updates will add hardware support for Windows computers. Unfortunately, this update will most likely not be available for Intel-based Apple computer users.

In terms of performance increases, Adobe claims that you should “expect to see significantly improved editing & transcoding performance when using Cinema RAW Light files in the beta: smooth playback on the timeline and export performance improved by up to 10x.”

Please note that the beta installs entirely independently from the release version. This means you can install both versions simultaneously to run some testing, although using beta versions for important production or client projects is not recommended.

For more information, please visit Adobe’s website here.

What do you think about this software update? Do you often edit and work with Canon Cinema RAW Light files? What is your favorite software for processing Canon Cinema RAW Light footage? Don’t hesitate to let us know in the comments below!