I assumed they would add them later, I hope I'm right!
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.
They are both PatchMatch (well the healing brush certainly is), which is a heroic bit of code. Entirely deterministic statistical algorithm. Not AI by really any definition (including back then)
I don’t know enough about anything to determine which opinion is correct.
Is AI output not just matrix multiplication and a random seed?
But what I would observe is that the healing brush does not have a random seed. It will always do the same thing if applied at the same pixel.
(I am actually less sure if content-aware fill randomises; I always got the impression it did not)
This makes it both incredibly powerful and occasionally frustrating.
Because on the one hand, you can learn to apply your judgement to precisely control what it will do, and change the radius or position if you learn it is likely to fail, which becomes instinctive. I absolutely love using it to fix scratches in film scans; it's a quick, precise, controllable tool that can be used in a way that is amazingly convincing, and it ends up quite a "zen gardening" thing as a result. It'll sell you on the cheapest wacom pen once you know how efficient it can be.
On the other hand there are situations where it simply cannot work the way you want because it will always find a pattern you don't want it to.
(You can sometimes use the clone brush tool first, to manually break up the pattern that patchmatch will find)
I have a bunch of photos from a Mini 3 Pro and Mini 4 Pro -- 4 years' worth -- that I haven't published because I don't have a way to process them.
No tools on Linux (RawTherapee, Darktable, RapidRAW) render their colors correctly no matter how you mess with the sliders, and all of the Github issue pages are dismissive of the problem. There is something fundamentally wrong about how Linux RAW libraries are reading DJI photos.
Lightroom on a Mac tested on another computer renders them all correctly, but I don't own a Mac nor Lightroom.
I moved my team to Resolve about 2.5 years ago and I can say with absolute confidence Fusion > AE. Resolve Studio is all you need, period. Lightroom is clearly better right now than their Photo editor but like all their other offerings (ehhh except fairlight lol still mediocre), it's only a matter of time
When it works, it's really nice and I'm sold on the node based workflows, but it's not all entirely roses.
Resolve itself is excellent, Fairlight works just Ok and is still heaps better than Audition ever was. But Fusion I feel like hasn't seen enough love in the past few years.
The whole Reactor setup for installing Fuses feels really broken and for the free users they disabled those entirely in version 19.1.
Most video is going to be AI in the near future. They see the writing on the wall. Their camera business line is going to sharply decline.
That's like saying all fine art would be photography, all film would be CGI, or all music would be synthesized electronica.
That's not how aesthetics seem to work. Artists will make more or less good use of generative AI in their work, and it will probably seep into most media in some way or another, effecting them, but arts mostly don't get replaced and AI doesn't really offer an exception to that history.
Or is it like saying most portraits will be photographs rather than paintings? There are still a lot of portraits painted (maybe even as many as the pre-camera days), but by raw numbers most portraits are created by photographers.
I don’t think they’ll see a decline in cinema camera sales due to AI soon.
Even the frontier models running on insanely powerful hardware could only generate 15 second clips in low resolutions.
And yeah, I saw some demos from Seedance 2.0, and they were awful. It's ridiculous how much people on Xitter were like "You can't even tell it's AI!" and I was like "It's trivial to tell it's AI" and could easily pick out all the markers. An individual screenshot could look good, but every time the camera angle changed, there would be a glaring inconsistency.
You people are either blind, delusional, or outright insane. AI might be used for a quick clip, or used to enhance something recorded by a camera, but "most video" is definitely wrong.
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.
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".
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.
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.
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!
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.
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.
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.
I don't think their use of it is bad at all, I'm just tired.
Putting "AI" into the feature title means "this time it actually works"
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!"
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.
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.
Will it allow me to drastically improve my workflow (save time for some tedious tasks), increase quality of the outputs etc?
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).
> 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...
(Can confirm - I just opened it on my laptop (I had the latest beta installed) and it prompted me to download the release version)
(Darktable doesn't count, it's a scientific software with some wobbly UI).
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.