It works pretty well. I tried it this morning and in about 15 minutes I had recorded and edited a three minute video.
(I've used AI transcription in resolve before, not this is actually editing the transcript with an llm and then inserting the clips. I also did breath detection and b roll placement. The Python scripting later is poorly documented and only supports a subset of the functionality of Resolve.)
That's not really a critique on the software -- it's not trying to be what it's not. But the criticism of the software is painted by the fact that it's hard to get good at it. Well ok I will critique it: the user interface is garbage. Like they studied old versions of Gimp and thought, "let's do even worse".
The metaphor isn't perfect, but it's got some of that ol' TIMTOWTDI Perl feeling to it.
It's a baffling process flow if you're coming from Lightroom or a manual ACR workflow. But I'm excited to see where this goes. Quite simply, the output results are great. And free!
Also excited about the picture stuff. I on an aging Lightroom version and wouldn't mind something that works well on Linux. Also huge plus point is the licensing model.
I don't think their use of it is bad at all, I'm just tired.
Having said that, for all the AI features, the big one would be setting key frames etc. with an agent, driving the general editing workflow with text,etc. I realize this is non trivial but it's certainly viable for a team of this calibre.
I think if BM added a paid for agent which helped execute their traditional video editing tools (even if it "only" supported a subset) then that's a subscription a lot of people would be willing to pay for, especially as their core tool is so generous.
Will it allow me to drastically improve my workflow (save time for some tedious tasks), increase quality of the outputs etc?
To be clear, my use case is making weekly online videos suck a little less - not grading feature films :)
Recently I edited a few images requiring removing extra people from the frame and I was able to do all editing in Lightroom, in seconds.
As much as I dislike Adobe, Lightroom’s shortcuts and flow are now habits.
I will likely continue using both.
I already used Davinci to make a custom LUT, blended it with the Adobe camera standard profile to use in lightroom as a base for all my edits as Davinci's color tools are much better, and doing it this way just lets you get tones that you couldn't other wise get with Lighroom/ACR alone. This basically removes the need to have lightroom in there as a finishing step.
The only downside is by now I've got a really solid ImagenAI profile based on the 30k photos I've fed it over time, and that obviously relies on a lightroom catalog, and is also capable of applying my LUT since I've made it a slider in LR. I hate adobe, but I'm not sure I could go back to not using Imagen as now I can turn around a full wedding gallery in about 2 days.
For anyone not in the know, Resolve has an exceptionally capable and feature rich free version. A lot of the AI features (and >4k editing) are locked to the Studio licence which is a one-time payment, but works simultaneously on two computers (including different OS's) and allows upgrades across major versions.
I spent less than $300 on it a decade ago and my licence works fine on new v21 released this week. My least-regretted software purchase in 3 decades.
I assumed they would add them later, I hope I'm right!
edit: nope, still only supports Canon, Fuji, Nikon, Sony and iPhone ProRAW.
But their priorities are not always well-set. In Resolve, significant problems remain while more and more functionality is hastily slapped on.
The so-called "integration" with Fusion remains very poor. Compositions' presence in timelines is extremely fragile, and inexplicably degrades source material's resolution to that of the target timeline. This means that if one of your timelines is HD but you bring UHD clips into Fusion, they will be degraded to HD upon ENTRY to your Fusion comp, before they ever get to the timeline. So in Fusion all of your keys and other selective image processing will be chunky garbage.
Also: If you start a project, import your footage, and then drag a clip to the timeline... Resolve will offer to change the frame rate of the timeline to match. But NOTHING ELSE. Every other major NLE offers to match the timeline to the first incoming footage in ALL regards. But not Resolve, despite years and years of vociferous complaints in their forum. This is a basic, expected feature but ignored by BMD.
And finally a core issue: multiple, unrelated node views scattered about. Resolve needs to consolidate them into a single node view for all processing. That would flesh out Resolve's half-assed "integration" of four or five other products and provide a game-changing workflow that is long overdue.
the more SFX-end ones like facial aging and face reshaper, or the talent-replacing ones like speech cloning/ADR, feel both too prescriptive for a director to dial in what they aesthetically want, and also not good enough for the final cut. so I struggle to find where they'd be actually useful in a workflow as opposed to being a trap, looking just fine enough at a glance to sneak into a final cut while looking poor when viewed by the audience.
likewise the focal adjustment and upscaling just feel gross. the kinds of things a good cinematographer can already do, and it'll be so so tempting to use tools instead of taking time to do it right in camera because it'll look good enough in the editing bay, but I feel like it'd really stand out as fake in the final cut unless you're targeting like, heavily compressed social ads. the less you use them the better they'll work, which isn't ideal for a marquee feature.
if the blemish remover really does respect continuity it'd be a nice-to-have, but it also feels like another trap to be careless/cheap on things like makeup or lighting at the shoot, at the expense of looking fake in post
I think that's the broader angle that bugs me the most. all of these tools are convenience tools for editors, but in the end they'll really be justifications for directors/producers/studios/agencies to cheap out and do shittier work faster on the shoot. a cheap, shitty shoot covered in AI bandaids is still going to hit an audience like a cheap, shitty shoot.
It sucks, but I just can't justify their insane pricing scheme. I've been looking for Linux-capable tools for a while, and Darktable / Rawtherapee are a long way from what I'm after. What you describe sounds like a dream.
> BIPA establishes standards for how companies must handle Illinois consumers’ biometric information. In addition to its notice and consent requirement, the law prohibits any company from selling or otherwise profiting from consumers’ biometric information.
https://www.aclu-il.org/campaigns-initiatives/biometric-info...
https://github.com/mhadifilms/dvr/
You can also try pointing Claude to the API surface directly.
The result might be chaotic, but you should be able to automate editing... maybe. :-) Ha. (You'd need a good loop to make sure Claude can see what it's doing..? Beyond screenshots I mean - ie how would Claude know its doing a good job editing?)
(Can confirm - I just opened it on my laptop (I had the latest beta installed) and it prompted me to download the release version)
Where as marketing at all these corporation is trying to genericize "AI features" into anything using an algorithm. "Content aware fill", something we've had for over a decade is now "AI object removal"
"Noise suppression" is "AI voice extraction"
Motion unblur is now "AI motion unblur".
I'm a Premiere migrant to Resolve (Studio) some years ago, biggest hurdle is the opinionated workflow, it basically wants you to use the tabs in the bottom to go from "Media > Cut > Edit > Color > Fusion > Audio > Deliver" (simplified) so different tools available in different areas, made for different use cases, but in general once you've learnt the overall and high-level concepts, it makes editing really easy and smooth.
Besides, it's probably the most stable video editor that runs natively on Linux since ever, I think I've had it crash once, and the Fusion 3D text doesn't work properly for me, but besides that, runs like a dream and UX is miles ahead anything else available.
It does take some getting used to, but the amount of tutorial content on YouTube is another reason I'm happy I made the switch. A lot of really good stuff on there. (Search on 'DaVinci Resolve Fusion' to see some examples of it in action if you want to get a feel).
Different stories shown with different treatment. With CGI, scenes zoomed out to wider shots and effects swelled even louder over lighting, intimacy, acting, etc.
Old styles didn't disappear or stop evolving entirely, of course, but the center of attention profoundly shifted and the "big" production money went with jt.
Generative AI will likely drive some kind of analogous shift in dominant film aesthetics. I don't know where, but I'm not particularly excited by it myself yet.
Artists appreciate and use time saving tools. The AI features in Lightroom, for example, are very well received by photographers (myself included). Automatic subject, background, sky, body part masking, content-aware/generative fill and generative remove are genuinely helpful and time saving.
Not that I spent any extra money on the license compared to what the camera itself costed, but I also feel like the 0 money I spent was well spent :) Harder about the time commitment to move from something you know really well to something new, but the time I spent on that was very well worth it too.
Putting "AI" into the feature title means "this time it actually works"
I'd also get tired if it was "AI ala Microsoft/Google" where the goal is to get you to write forever with a chat bot somewhere else, but these features are very different from that.
My opinion is that, for end users, if you name your feature "AI" to market it, you kind of already failed to read the room. You're writing to VCs while hoping it convinces customers.
Name what the feature does, what it gains them. Call it "smart" if you must imply some black box treatment.
Naming AI as the selling point for everything feels a lot like that Android tablet ad circa 2010:
"Your wife will love the new dual core Tegra™ chipset!"
I know a lot of people are/will build this. I would be specifically interested in Black Magic doing it first party.
My bigger concern is that these neural network based solutions have taken the place of the former rather than supplemented them. Many tools no longer provide the algorithmic/kernel-based approach at all, and have marketed the “AI” (née ML) alternative as a strict superset/upgrade, despite its potential drawbacks.
(Interestingly while the inference-based implementations generally have higher latency (or infinitely worse, cloud and pay-as-you-go requirements), for some computationally difficult kernels the inference-based approach is actually faster!
Likewise, there's been a ton of movies since that could in theory have been done purely with SFX instead of VFX, but which is probably must better from having used VFX/CGI, titles like The Matrix, Lord of the Rings, Inception, Avatar, etc.
Obviously there was also charm in titles like E.T. and Gremlins, and I think there might still be a market for movies like that, such as the 2019 Netflix series The Dark Crystal: Age of Resistance (I loved the 1982 version as a child, though this sequel wasn't for me).
I guess the question is: will generative AI allow new movies to be made, the same way that CGI has? Or will it just be an economic shift: the same quality CGI but at a fraction of the price?
There may still be people out there who believe that AI will never be able to create CGI as good as humans can, these might be the same people who used to say that CGI can never look realistic. And if you work in VFX, I bet that you can spot a fake mountain with the slightly incorrect shadows in the distance easily, but as a simple movie watcher, I really don't see it, especially when it's only on screen for like 3 seconds.
If you look at the ten top-grossing films in the past 15 years, it's almost exclusively computer animations or SFX showcases with some token, quip-based acting thrown in every now and then (all the Marvel universe stuff).
Basically, I'm not even sure if replacing actors with AI would be stylistically perceptible for the average moviegoer. There are interesting films still being made, but almost no one is watching them, because you have the option to watch some SFX explosions and flying superheroes in Avengers VII.
(Darktable doesn't count, it's a scientific software with some wobbly UI).
100% this.
Maybe I live in a bubble, but consumer sentiment regarding AI seems extremely negative. Boasting "AI" features is more likely to lose sales than to create them.
At this point we need a Kickstarter campaign to make Lightroom run in Wine/Proton (no, no matter how much you try, it will not work so far). Edit: or GSOC to support Darktable to improve their UX.
If Darktable had a grant/GSOC just to improve UX, it could be a valid competitor to Lightroom. Currently, it's not. It's bunch of Python/Lua scientific code with some UI, that processes pictures.
Professional creators working at a corporation probably love AI.
Amateur independent creators that weren't making any money from their art hate AI and use it as a scapegoat. They weren't getting commissions before, and now they're claiming it's because AI is replacing commissioned art.

DaVinci Resolve 21 introduces the Photo page, bringing Hollywood's most advanced color tools to still photography! A new generation of AI tools let you search media by content, read slate data, perform de-aging, blemish removal and more. The Edit and Cut pages have improved keyframing and greater graphic format support. Color page workflows are optimized with MultiMaster trim passes, layer list node graphs and group versions. Fusion offers over 70 new graphics via the powerful Krokodove toolset. Fairlight’s folder function simplifies audio track management and navigation. Plus, increased support for immersive and VR workflows puts you at the forefront of the latest deliverable technologies.


Instantly search for people and content with AI IntelliSearch! Analyze media and use the IntelliSearch tool to find specific objects or key words in dialog. You can even search for individual faces! Results appear as whole clips in the Media Pool for faster clip organization and editing.

Generate speech from written text using one of Blackmagic’s voice models or a sample of your own. The DaVinci AI Neural Engine can create a unique voice from as little as a 10 second clip! Adjust speed, pitch and even inflection, to create multiple performances for voiceovers, narration and more.

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Define the focal point of a shot with AI CineFocus! Click to focus on a particular area of a scene and adjust aperture and focal range to change the depth of field. Advanced controls let you select the aperture shape and add optical effects like bokeh. You can even keyframe parameters to rack focus!

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Change an actor’s age with the AI Face Age Transformer tool. Analyze a face, enter the subject’s age and adjust the age offset slider to add or remove age-related features, such as wrinkles and facial fullness. Perfect for maintaining continuity in flashbacks and flash-forward scenes!

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The AI Face Reshaper lets you change facial features’ shape and position on a moving subject. After detecting and tracking a face in a clip, use the AI Face Reshaper parameters to adjust the eyes, nose, mouth, eyebrows and overall face shape. Manual controls let you fine-tune the resulting face.

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The AI Blemish Removal tool is perfect for reducing the appearance of superficial skin imperfections such as acne, discoloration, spots and pores while retaining texture of the natural skin. Use the strength slider to adjust the intensity of the tool to better suit the subject in the scene.

AI Slate ID automatically detects the slate clapperboard details! It intelligently extracts metadata from the slate in the frame, even in dark or out-of-focus clips, saving hours in metadata entry. Media is ready for editing, faster than ever before!

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DaVinci’s most advanced sharpening tool to date lets you produce significantly clearer, high quality moving images. Use AI UltraSharpen with upscaled videos to make previously unusable footage sharp in higher resolutions. AI UltraSharpen can also be used to improve or fix slight focus errors.
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Remove common motion blur artifacts, such as streaks and softness, from video content. AI Motion Deblur analyzes the source media file and generates a new render with significantly reduced blurring for more dynamic images. This tool is perfect for more impactful slow motion and freeze frame effects.


DaVinci Resolve’s powerful post-production workflow now fully integrates photo image editing! The new Photo page lets you import and manage photographs, integrating with the color page for node based grading. Now colorists and photographers can use Hollywood color grading tools on still images!

Now you can easily use the legendary DaVinci color page tools for still images! Use primary color correction, curves, qualifiers, power windows and node editor to adjust color in artistic ways across your entire project. Plus, you can use a DaVinci color panel to adjust multiple parameters at once!

DaVinci Resolve's powerful node based workflow can now be used on still images. Add nodes in series or parallel to build complex grades, apply different corrections to different parts of an image simultaneously and use shared nodes to apply the same look across an entire album of photos at once!

The Photo page lets you reframe and crop images at their original source resolution and aspect ratio. Every adjustment preserves the full quality of your original file, so you can refine your composition at any time without ever affecting image quality.

LightBox view on the Photo page gives you an overview of your entire album with grades applied. Select any image and grade it live while seeing the results update across the whole collection in real time. Filter by graded, ungraded, star rating, flag and clip color for fast library management!

Albums let you build and manage collections directly in DaVinci. Create albums based on shoot days, camera models, or any desired criteria, and save countless hours by tagging and making raw setting adjustments in batches. Albums appear as timelines on the Color, Cut and Edit pages for easy access.

AI IntelliSearch lets you instantly find any photo across your entire project using plain language search. Analyze your albums and search for specific people, objects, animals or scenes without manual tagging. You can even label individuals to search for them by name!

Camera Controls let you tether a Sony or Canon camera directly to DaVinci Resolve for live image capture. Adjust camera settings such as ISO, exposure, white balance, monitor with live view and save capture presets to lock in a consistent look before you shoot. Images save directly into an album!

Resolve FX and Open FX plug-in support is available for still images on the Photo page, allowing you to apply effects, graphics, transforms and DCTLs. You can apply looks directly in the Photo page with the help of LUTs or generate LUTs to later apply looks in-camera or while monitoring.

You can access DaVinci Resolve’s powerful native AI tools within the Photo page. Tools like the AI Magic Mask let you make one click selections of an object or person, and separately color grade different elements on an image. Or use the new AI UltraSharpen to upscale low resolution images.


The Photo page is integrated into DaVinci Resolve’s multiuser collaboration workflow using Blackmagic Cloud. You can share the contents of albums, all associated metadata and tags, and all grades and effects with colorists, visual effects artists and editors, simultaneously anywhere in the world!


Keyframing updates include new ease animations with loop, pingpong and relative modes plus simultaneous adjustments to multiple clips. The curves editor’s normalized zoom mode automatically scales curves to fill the available vertical space. Four-point Bezier easing supports complex video retiming.

You can now adjust Fusion effects directly in the keyframes and curves editors of the cut and edit pages. This allows for more seamless workflows as you tweak text, transitions and motion graphics without leaving the editing pages. For advanced VFX adjustments, simply click the Fusion button!

Native support for OGraf HTML graphics and Lottie animations means that you can now drag .json and .lottie files directly into the media pool, where they will be treated like fully rendered animation clips. Alpha channels are recognized, allowing you to layer graphics and titles over video tracks.

You can now enable multi-language spell check for all text elements, preview fonts in a dedicated font browser window and use emojis in your text. Character level styling lets you assign different attributes such as font size, weight and color within a single text box, simplifying title design.


In the cut page, the bin list dropdown now features smart bins and quick access buttons for creating new bins. Smart bins allow you to design sophisticated media pool filters based on a wide range of rules and criteria. For example, filtering to display only .braw clips that have been flagged green.


The MultiMaster trim manager allows you to generate multiple HDR and SDR trim deliverables from a single timeline. When enabled, the node editor will display additional layers for trim operations, allowing you to color manage the timeline for each output standard and render each iteration in one go.

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The Magic Mask palette now features a render in place option, allowing you to cache a tracked mask as a traveling matte node. The resulting matte will automatically link to your active node, allowing you to continue grading and applying effects in real time, with significantly lighter processing.

You can now change the color page node editor to layers view. Nodes are listed in rows according to their number in the node graph. This typically results in a less crowded interface and allows for easier node management when adding, labelling, switching, locking, bypassing and removing nodes.

When using groups in DaVinci 21, you can now create and manage multiple grade versions. Right-click to add a new version or to change the group version of pre-clip and post-clip node graphs. This affects all clips in a group uniformly. Remove clips from groups for individual grading.


Fusion now proudly features Krokodove, the popular and ever-growing library of compositing tools. The collection ranges from utility tools that improve productivity, to essential vector and data tools, to customizable 2D and 3D graphic templates that can be used throughout DaVinci Resolve.

Building Fusion tools and templates is now even easier with the updated macro editor. Significant interface improvements make developing custom tools and templates faster and more intuitive. Use the newly supported inspector view to effortlessly set up, format and publish macros for immediate use.

The Fairlight Animator modifier connects Fusion to Fairlight’s audio engine, enabling automatic animation based on audio analysis. The audio levels from timeline clips or media pool sources are used to drive the control of parameters such as eyes and lips giving you dynamic animation!

The USD toolset has been updated to USD SDK 25.11 with Hydra 2.0 API for the Storm renderer. This gives VFX artists an improved Fusion USD environment, with support for 3D matte objects and textures, USD Texture Projector and Catcher, plus global in and out controls for the USD loader.


To optimize Fairlight timeline space, you can now assign audio tracks to a folder and collapse into a single composite view. When collapsed, mini rectangles represent the folder contents, indicating the number and duration of the contained clips. Expand a folder to access to individual tracks.

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Clip EQ now features 6 bands on the cut, edit and Fairlight pages. This allows for more tonal control at the clip level, and matches the track EQ in the mixer. So now you can easily copy and paste settings between the clip, track and EQ plug-in for more consistent, flexible and precise control.

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Two new clip processing options let you adjust a target clip’s audio to match a reference clip’s level or tonal spectrum. EQ match is dynamic and is automatically automated across your clip to maintain a tonal match. Level Matcher lets you seamlessly intercut clip sections without manual changes.

If you have a favorite group of plugins that you need to apply together, you can now build a Chain FX to include them, each with customized settings and saved as presets. You can have up to six effects within a chain and also combine Chain FX plugins for longer chains in the channel effects slots.

DaVinci Resolve features some of the most cutting edge technology in the industry today. The DaVinci AI Neural Engine is an advanced machine learning system powering many of the software’s most powerful tools, and is fully supported in Apple M series and Snapdragon X Elite. The inclusion of the latest version of Dolby Vision means users can view HDR on supported monitors, including laptops. The future proof DaVinci Wide Gamut and Intermediate log grading environment let you work on media from any source. You can deliver to every projection, monitoring and archiving standard in use today. Plus DaVinci Resolve is the only software that you can use to edit and grade 8K footage in real time!

Apple Immersive’s powerful image processing now includes support for foveated rendering for improved playback and enhanced viewer experience. Foveated rendering simulates human vision by prioritizing high-resolution rendering only where you are looking, reducing GPU workload in peripheral vision.

The render settings now feature the new MainConcept render option for H.265 and MV-HEVC 4:2:0 and 4:2:2. This allows accelerated, higher quality 2D and 3D renders for supported systems and hardware capable of 3D video content playback. You can select MainConcept in the encoder parameter for H.265.

DaVinci Resolve 21 features the most comprehensive support for immersive tools and workflows to date. The standard immersive option in the master project settings allows you to work with any supported immersive formats for delivery to platforms, such as Meta Quest and YouTube VR.

It is now possible to orient immersive media using spherical Panomap rotation for more intuitive pitch, tilt, pan, yaw and roll adjustments. Additionally, it is now possible to apply ILPD retargeting data in the Fusion page, allowing for more advanced stereoscopic media handling and compositing.


With native support for .lottie files, you can now add graphic animations to a project with a simple drag and drop. When placed on a timeline, the file is treated as a rendered animation with maintained transparency, so you can use Lottie graphics as stingers, lower thirds, transitions and titles.

The new Picture in Picture Resolve FX allows you to quickly resize and reposition a video clip over the top of another clip as a floating frame. Perfect for presentations, reviews and reaction videos! You can adjust parameters such as size, placement, frame rounding, drop shadow and many more.

IntelliScript now supports Final Draft and plain text screenplay formats, allowing you to assemble timelines quickly! Upon import, it compares the script text to the original transcribed audio and creates a cut of the scene. You can then fine tune the result using standard editing tools.

New media pool columns help further improve media management. Access the new rating and tagging parameters in the shot and scene category of the metadata panel. You can rate clips on a five star rating system, or use the tags Good Take, Untagged, Rejected to filter optimal takes and performances.

For content creators on TikTok, Instagram, X, YouTube Shorts, Snapchat and more, there is now a selection of square and vertical video resolutions available in the project and timeline settings. Combine with Smart Reframe to quickly setup your timeline for vertical or square resolution videos.

Link your social media accounts to DaVinci Resolve in order to upload videos directly to YouTube, TikTok, Vimeo and X as you export. Compression settings have been developed based on each site’s best recommendations, meaning your videos will be optimized for visual quality and playback speed.

Live production projects from ATEM Mini ISO models can be opened as a timeline. The sync bin with multiview lets you fine tune edits from the original live production or even replace shots. You can use the ISO recordings from ATEM or relink to Blackmagic RAW camera files for finishing in Ultra HD!

Two powerful tools restore noisy digital footage, even if captured in low light. The GPU accelerated temporal noise reduction algorithm removes noise while intelligently retaining areas of high detail. While the spatial noise tool analyzes the remaining noise pattern to lift it from the image.

The advanced retiming algorithm analyzes a scene’s content, building new frames so you can slow down and extend the action in a sequence without repeating or blending frames into each other. Every frame created with optical flow is sharp and intelligently constructed from existing visual data.

The tracker palette lets you effortlessly follow objects and people to apply secondary grading or effects. When a window is placed on a subject, the tracker can follow its contents in 3D space, resulting in a quick and accurate mask. You can easily emphasize vital elements of a scene!

Streamline your workflow with editing keyboards, grading panels and audio consoles designed to work with DaVinci Resolve software. Faster than just software, dedicated features are placed directly at your fingertips. Adjust multiple parameters simultaneously on the same panels used in Hollywood!

Hollywood’s most popular solution for editing, visual effects, motion graphics, color correction and audio post production, for Mac, Windows and Linux. Now supports Blackmagic Cloud for collaboration!
Free

The most powerful DaVinci Resolve adds DaVinci Neural Engine for automatic AI region tracking, stereoscopic tools, more Resolve FX filters, more Fairlight FX audio plugins and advanced HDR grading.
$295

Includes large search dial in a design that includes only the specific keys needed for editing. Includes Bluetooth with battery for wireless use so it's more portable than a full sized keyboard!
$435

Editor panel specifically designed for multi-cam editing for news cutting and live sports replay. Includes buttons to make camera selection and editing extremely fast! Connects via Bluetooth or USB‑C.
$559

Full sized traditional QWERTY editor keyboard in a premium metal design. Featuring a metal search dial with clutch, plus extra edit, trim and timecode keys. Can be installed inset for flush mounting.
$669

Powerful color panel gives you all the control you need to create cinematic images. Includes controls for refined color grading including adding windows. Connects via Bluetooth or USB‑C.
$559

Portable DaVinci color panel with 3 high resolution trackballs, 12 primary corrector knobs and LCDs with menus and buttons for switching tools, adding color nodes, HDR and secondary grading and more!
$2,319

Designed in collaboration with professional Hollywood colorists, the DaVinci Resolve Advanced Panel features a massive number of controls for direct access to every DaVinci color correction feature.
$33,915

Portable audio control surface includes 12 premium touch sensitive flying faders, channel LCDs for advanced processing, automation and transport controls plus HDMI for an external graphics display.
$3,445

Get incredibly fast audio editing for sound engineers working on tight deadlines! Includes LCD screen, touch sensitive control knobs, built in search dial and full keyboard with multi function keys.
$5,055

Used by Hollywood and broadcasters, these large consoles make it easy to mix large projects with a massive number of channels and tracks. Modular design allows customizing 2, 3, 4, or 5 bay consoles!
From $24,195
Complete Fairlight studio console with 1 channel fader, 1 channel control, 1 audio editor, 2 LCD monitors and 2 bay chassis.
$24,195
Complete Fairlight studio console with 2 channel faders, 2 channel controls, 1 audio editor, 3 LCD monitors and 3 bay chassis.
$32,995
Complete Fairlight studio console with 3 channel faders, 3 channel controls, 1 audio editor, 4 LCD monitors and 4 bay chassis.
$43,995
Complete Fairlight studio console with 4 channel faders, 4 channel controls, 1 audio editor, 5 LCD monitors and 5 bay chassis.
$53,895
Fairlight studio console legs at 0º angle for when you require a flat working surface. Required for all Fairlight Studio Consoles.
$465
Fairlight studio console legs at 8º angle for when you require a slightly angled working surface. Required for all Fairlight Studio Consoles.
$435
Features 12 motorized faders, rotary control knobs illuminated buttons for pan, solo, mute and call, plus bank select buttons.
$4,595
12 groups of touch sensitive rotary control knobs and illuminated buttons, assignable to fader strips, single channel or master bus.
$2,815
Get quick access to virtually every Fairlight feature! Includes a 12” LCD, graphical keyboard, macro keys, transport controls and more.
$5,115
Features HDMI, SDI inputs for video and computer monitoring and Ethernet for graphics display of channel status and meters.
$1,495
Empty 2 bay Fairlight studio console chassis that can be populated with various faders, channel controls, edit and LCD monitors.
$9,455
Empty 3 bay Fairlight studio console chassis that can be populated with various faders, channel controls, edit and LCD monitors.
$10,555
Empty 4 bay Fairlight studio console chassis that can be populated with various faders, channel controls, edit and LCD monitors.
$13,675
Empty 5 bay Fairlight studio console chassis that can be populated with various faders, channel controls, edit and LCD monitors.
$14,295
Use alternative HDMI or SDI televisions and monitors when building a Fairlight studio console.
$309
Mounting bar with locating pins to allow correct alignment of bay modules when building a custom 2 bay Fairlight console.
$415
Mounting bar with locating pins to allow correct alignment of bay modules when building a custom 3 bay Fairlight console.
$689
Mounting bar with locating pins to allow correct alignment of bay modules when building a custom 4 bay Fairlight console.
$805
Mounting bar with locating pins to allow correct alignment of bay modules when building a custom 5 bay Fairlight console.
$925
Side arm kit mounts into Fairlight console mounting bar and holds each fader, channel control and LCD monitor module.
$265
Blank 1/3rd wide bay for building a custom console with the extra 1/3rd section. Includes blank infill panels.
$545
Allows mounting standard 19 inch rack mount equipment in the channel control area of the Fairlight studio console.
$285
Blank panel to fill in the channel control area of the Fairlight studio console.
$219
Blank panel to fill in the LCD monitor area of the Fairlight studio console when you're not using the standard Fairlight LCD monitor.
$469
Blank panel to fill in the fader control area of the Fairlight studio console.
$289
Adds 3 MADI I/O connections to the single MADI on the accelerator card, for a total of 256 inputs and outputs at 24 bit and 48kHz.
$229
Add up to 2,000 tracks with real time processing of EQ, dynamics, 6 plug‑ins per track, plus MADI for extra 64 inputs and outputs.
$1,265
Adds analog and digital connections, preamps for mics and instruments, sample rate conversion and sync at any standard frame rate.
$2,729