By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

So this is how those 3D optical illusions were made.

So this is how those 3D optical illusions were made.

Researchers from the National University of Singapore (NUS) have developed a 3D printed, self-powered mechanoluminescent (ML) photonic skin designed for communication and safety monitoring in underwater environments. The stretchable device emits light in response to mechanical deformation, requires no external power source, and remains functional under conditions such as high salinity and extreme temperatures. The findings were published in Advanced Materials by Xiaolu Sun, Shaohua Ling, Zhihang Qin, Jinrun Zhou, Quangang Shi, Zhuangjian Liu, and Yu Jun Tan. The research was conducted at NUS and Singapore’s Agency for Science, Technology and Research (A*STAR). Schematic of the 3D printed mechanoluminescent photonic skin showing fabrication steps and light emission under deformation. Image via Sun et al., Advanced Materials. 3D printing stretchable light-emitting skins with auxetic geometry The photonic skin was produced using a 3D printing method called direct-ink-writing (DIW), which involves extruding a specially formulated ink through a fine nozzle to build up complex structures layer by layer. In this case, the ink was made by mixing tiny particles of zinc sulfide doped with copper (ZnS:Cu), a material that glows when stretched, with a flexible silicone rubber. These particles serve as the active ingredient that lights up when the material is deformed, while the silicone acts as a soft, stretchable support structure. To make the device more adaptable to movement and curved surfaces, like human skin or underwater equipment, the researchers printed it using auxetic designs. Auxetic structures have a rare mechanical property known as a negative Poisson’s ratio. Unlike most materials, which become thinner when stretched, auxetic designs expand laterally under tension. This makes them ideal for conforming to curved or irregular surfaces, such as joints, flexible robots, or underwater gear, without wrinkling or detaching. Encapsulating the printed skin in a clear silicone layer further improves performance by distributing mechanical stress evenly. This prevents localized tearing and ensures that the light emission remains bright and uniform, even after 10,000 cycles of stretching and relaxing. In previous stretchable light-emitting devices, uneven stress often led to dimming, flickering, or early material failure. Mechanical and optical performance of encapsulated photonic skin across 10,000 stretch cycles. Image via Sun et al., Advanced Materials. Underwater signaling, robotics, and gas leak detection The team demonstrated multiple applications for the photonic skin. When integrated into wearable gloves, the skin enabled light-based Morse code communication through simple finger gestures. Bending one or more fingers activated the mechanoluminescence, emitting visible flashes that corresponded to messages such as “UP,” “OK,” or “SOS.” The system remained fully functional when submerged in cold water (~7°C), simulating deep-sea conditions. In a separate test, the skin was applied to a gas tank mock-up to monitor for leaks. A pinhole defect was covered with the printed skin and sealed using stretchable tape. When pressurized air escaped through the leak, the localized mechanical force caused a bright cyan glow at the exact leak site, offering a passive, electronics-free alternative to conventional gas sensors. To test performance on soft and mobile platforms, the researchers also mounted the photonic skin onto a robotic fish. As the robot swam through water tanks at different temperatures (24°C, 50°C, and 7°C), the skin continued to light up reliably, demonstrating its resilience and utility for marine robotics. Comparison of printed photonic skin structures with different geometries and their conformability to complex surfaces. Image via Sun et al., Advanced Materials. Toward electronics-free underwater communication While LEDs and optical fibers are widely used in underwater lighting systems, their dependence on rigid form factors and external power makes them unsuitable for dynamic, flexible applications. In contrast, the stretchable ML photonic skin developed by NUS researchers provides a self-powered, adaptable alternative for diver signaling, robotic inspection, and leak detection, potentially transforming the toolkit for underwater communication and safety systems. Future directions include enhanced sensory integration and robotic applications, as the team continues exploring robust photonic systems for extreme environments. Photonic skin integrated into gloves for Morse code signaling and applied to robotic fish and gas tanks for underwater safety monitoring. Image via Sun et al., Advanced Materials. The rise of 3D printed multifunctional materials The development of the photonic skin reflects a broader trend in additive manufacturing toward multifunctional materials, structures that serve more than a structural role. Researchers are increasingly using multimaterial 3D printing to embed sensing, actuation, and signaling functions directly into devices. For example, recent work by SUSTech and City University of Hong Kong on thick-panel origami structures showed how multimaterial printing can enable large, foldable systems with high strength and motion control. These and other advances, including conductive FDM processes and Lithoz’s multimaterial ceramic tools, mark a shift toward printing entire systems. The NUS photonic skin fits squarely within this movement, combining mechanical adaptability, environmental durability, and real-time optical output into a single printable form. Read the full article in Advanced Materials Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Featured image shows a schematic of the 3D printed mechanoluminescent photonic skin showing fabrication steps and light emission under deformation. Image via Sun et al., Advanced Materials.

So this is how those 3D optical illusions were made.

Deal  When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Hisense U6 Smart Fire TVs are at their lowest prices ever Fiza Ali Neowin @Fiza_Aliii · May 31, 2025 14:48 EDT Ahead of Father's Day, Hisense is offering five variants of the U6 Series Smart Fire TV (2025 model) at their all-time low prices. The U6 Series offers a 4K UHD (3,840×2,160) resolution while its backlight system comprises approximately 1,000 mini-LEDs arranged in a Full Array Local Dimming configuration. Colour reproduction is achieved through QLED quantum-dot technology, enabling the display to render over one billion colours. Furthermore, the panel supports a wide colour gamut, which results in more accurate renditions of natural hues. A Total HDR Solution ensures compatibility with multiple HDR formats, including Dolby Vision IQ, HDR 10 + Adaptive, HDR 10, HDR 10 + Gaming, and HLG. At the core of the U6 Series is the Hi-View AI Engine, a chipset that handles advanced picture processing tasks. These include an AI-powered 4K Upscaler, AI Smooth Motion, and AI Sports Mode. Collectively, these features ensure that fine details are reproduced with greater clarity. For gaming, the TV offers Game Mode Pro, which supports a native 144Hz refresh rate and Variable Refresh Rate (VRR) ranging from 48Hz to 144Hz. An on-screen Game Bar allows users to toggle VRR settings, monitor input lag, and access gaming presets directly. Connectivity options include four HDMI ports (two HDMI 2.1 and two HDMI 2.0), one of which supports eARC via HDMI 1, two USB ports (one USB 3.0 and one USB 2.0), an Ethernet (LAN) port and an optical digital audio output. Moreover, wireless connectivity comprises Wi-Fi 6 and Bluetooth 5.2. The U6 Series runs on the Fire TV platform with Alexa built in, granting access to a library of streaming apps and voice control functionality. Audio is enhanced by Dolby Atmos, and the unit features a 2.1-channel surround-sound configuration. Additional capabilities include noise-reduction processing, closed caption support, a sleep timer, and parental control functions. 55" Hisense U6 Series Mini-LED 4K Smart Fire TV: $528.99 (Amazon US) 34% off 65" Hisense U6 Series Mini-LED 4K Smart Fire TV: $698.99 (Amazon US) 30% off 75" Hisense U6 Series Mini-LED 4K Smart Fire TV: $898.99 (Amazon US) 31% off 85" Hisense U6 Series Mini-LED 4K Smart Fire TV: $1,299.99 (Amazon US) 35% off 100" Hisense U6 Series Mini-LED 4K Smart Fire TV: $2,599.99 (Amazon US) This Amazon deal is US-specific and not available in other regions unless specified. If you don't like it or want to look at more options, check out the Amazon US deals page here. Get Prime (SNAP), Prime Video, Audible Plus or Kindle / Music Unlimited. Free for 30 days. As an Amazon Associate, we earn from qualifying purchases. Tags Report a problem with article Follow @NeowinFeed

Why it matters: A technological leap in fiber optics has shattered previous limitations, achieving what experts once considered impossible: transmitting data at 1.02 petabits per second – enough to download every movie on Netflix 30 times over – across 1,808 kilometers using a single fiber no thicker than a human hair. At the heart of this breakthrough – driven by Japan's National Institute of Information and Communications Technology (NICT) and Sumitomo Electric Industries – is a 19-core optical fiber with a standard 0.125 mm cladding diameter, designed to fit seamlessly into existing infrastructure and eliminate the need for costly upgrades. Each core acts as an independent data channel, collectively forming a "19-lane highway" within the same space as traditional single-core fibers. Unlike earlier multi-core designs limited to short distances or specialized wavelength bands, this fiber operates efficiently across the C and L bands (commercial standards used globally) thanks to a refined core arrangement that slashes signal loss by 40% compared to prior models. The experiment's success relied on a complex recirculating loop system. Signals traveled through an 86.1-kilometer fiber segment 21 times, simulating a cross-continental journey equivalent to linking Berlin to Naples or Sapporo to Fukuoka. To maintain integrity over this distance, researchers deployed a dual-band optical amplification system, comprising separate devices that boosted signals in the C and L bands. This enabled 180 distinct wavelengths to carry data simultaneously using 16QAM modulation, a method that packs more information into each pulse. // Related Stories At the receiving end, a 19-channel detector, paired with advanced MIMO (multiple-input multiple-output) processing, dissected interference between cores, much like untangling 19 overlapping conversations in a crowded room. Schematic diagram of the transmission system This digital signal processor, leveraging algorithms developed over a decade of multi-core research, extracted usable data at unprecedented rates while correcting for distortions accumulated over 1,808 km. The achievement caps years of incremental progress. In 2023, the same team achieved 1.7 petabits per second, but only across 63.5 km. Earlier efforts using 4-core fibers reached 0.138 petabits over 12,345 km by tapping the less practical S-band, while 15-mode fibers struggled with signal distortion beyond 1,001 km due to mismatched propagation characteristics. The new 19-core fiber's uniform core design sidesteps these issues, achieving a capacity-distance product of 1.86 exabits per second per kilometer – 14 times higher than previous records for standard fibers. Image diagram of 19-core optical fiber. Presented as the top-rated post-deadline paper at OFC 2025 in San Francisco, this work arrives as global data traffic is projected to triple by 2030. While challenges remain, such as optimizing amplifier efficiency and scaling MIMO processing for real-world use, the technology offers a viable path to petabit-scale networks. Researchers aim to refine production techniques for mass deployment, potentially enabling transoceanic cables that move entire data centers' worth of information hourly. Researchers aim to refine production techniques for mass deployment, potentially enabling transoceanic cables that move entire data centers' worth of information hourly. Sumitomo Electric's engineers, who designed the fiber's coupled-core architecture, note that existing manufacturing lines can adapt to produce the 19-core design with minimal retooling. Meanwhile, NICT's team is exploring AI-driven signal processing to further boost speeds. As 6G and quantum computing loom, this breakthrough positions fiber optics not just as a backbone for tomorrow's internet, but as the central nervous system of a hyperconnected planetary infrastructure.

Macworld At a glanceExpert's Rating Pros Supports macOS, iOS, iPadOS, Android, and Windows Intuitive, modern user interface Flexible pricing Cons Mac client doesn’t offer features like cloud sync, AI chatbot, OCR, or file conversion Account deletion requires customer support Overpriced monthly plan is Our Verdict SwifDoo is free to download and use, but Apple’s built-in Preview app performs most of the tasks offered, including proper PDF editing, which SwifDoo doesn’t do. Price When Reviewed This value will show the geolocated pricing text for product undefined Best Pricing Today Best Prices Today: Swifdoo PDF for Mac Retailer Price SwifDoo PDF For Mac Free View Deal Price comparison from over 24,000 stores worldwide Product Price Price comparison from Backmarket PDF editors are essential for Mac users living the paperless lifestyle. While macOS can view, annotate, and sign PDFs natively, the OS provides little control over the files’ core content. So, those wishing to tweak the text or images of a certain PDF document will have to rely on third-party solutions. With so many apps out there, however, finding the right pick may be tricky. SwifDoo PDF for Mac is one of the options you may come across when hunting for an editor. Is it any good, though? Pricing and availability SwifDoo PDF supports macOS, iOS, iPadOS, Windows, and Android. Notably, however, the feature sets differ depending on the platform you’re using. So, for example, the Windows app packs distinct capabilities unavailable on macOS or the mobile clients. Similarly, the price differs based on the OS you’re running it on. In this review, we will be evaluating SwifDoo PDF for macOS specifically. The rating, pros, cons, and overall specifications only apply to this particular client. SwifDoo PDF for macOS is available to install and use as a document viewer for free. However, the paid version is required to unlock its core features, such as editing and annotation. At the time of writing, the monthly plan costs $10, while the annual one goes for $20. Alternatively, you could avoid the recurring subscription by paying a one-time fee of $50 or $70 to own a lifetime license for one or two Macs. Before committing to the purchase, you can create an account to claim a 7-day free trial and evaluate the service. Unfortunately, if you decide not to proceed, you’ll need to contact the company’s customer support to have them delete your account and its data. See our round-ups of of the best PDF editors for Mac and our best free PDF editors for Mac. Features Foundry While SwifDoo PDF was designed for Intel Macs and seemingly hasn’t been optimized for Apple silicon chips, it runs pretty smoothly on my MacBook Air M2. It features a clutter-free main page where you can interact with recently viewed files or open a different PDF via Finder. Once you load a document, you can tweak it using the standard annotation tools if you’re using the paid version. These include highlighting, inserting notes, underlining, striking through, drawing, adding text boxes and shapes, stamping, and more. Other SwifDoo PDF perks include page rotation, printing, and an auto-generated index that lets you quickly jump between document sections based on their headings. Beyond the basics, SwifDoo PDF supports simple document manipulation. The software provides full control over PDF files’ core content, letting you intuitively adjust the existing text’s font, alignment, and spacing. Similarly, you get to resize, crop, move, and rotate original images or insert new ones. If you’re handling sensitive files, SwifDoo PDF also enables you to protect documents with a password to prevent unauthorized viewing, editing, or copying. Notably, unlike the Windows client and other rival Mac apps, SwifDoo PDF for macOS doesn’t include an AI chatbot for assistance, optical character recognition (OCR), batch processing, file format conversion, cloud sync, etc. Foundry Should you use SwifDoo PDF? If you’re planning to use the free version of SwifDoo PDF, then the software is not worth it. Given that even annotation tools are now paywalled (a previous version offered them for free), you may want to rely on the built-in Apple Preview app instead. After all, macOS’ native solution requires no additional app installation and offers both viewing and annotation features for free. If you have short-term PDF editing needs and plan to subscribe to the service for just a few months, then you may want to look into alternative PDF editors for the Mac. At the steep price of $10/month, you can find more feature-rich solutions that support the excluded tools mentioned in the previous section. Otherwise, if your PDF editing workflows are limited to basic image and text manipulation, then the software is reliable and may be worth it when opting for the more reasonably priced annual or lifetime licenses. Update: This review has been revised to reflect the latest features and changes in the SwifDoo PDF app for macOS.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A recording of Blackmagic Design’s livestream of its announcements for NAB 2025. You can see the new features in Da Vinci Resolve 20.0 at 2:13:20 in the video. Originally posted on 6 April 2025 for the beta, and updated for the stable release. Blackmagic Design has updated DaVinci Resolve, its free colour grading, editing and post-production software, and DaVinci Resolve Studio, its $295 commercial edition. DaVinci Resolve Studio 20.0 is a major release, adding over 100 tools, including a set of new AI-powered features for video editing and audio production, and is free to all users. Below, we’ve rounded up the key features for colorists and effects artists, including a new Chroma Warp tool, a new deep compositing toolset, and full support for multi-layer EXRs. The new Chroma Warp tool makes it possible to create looks with intuitive gesture controls. Color page: New Chroma Warp, plus updates to the Resolve FX Warper and Magic Mask For grading, the Color page‘s Color Warper gets a new Chroma Warp tool.It is designed to create looks intuitively, with users selecting a color in the viewer, and dragging to adjust its hue and saturation simultaneously. Among the existing tools, the Resolve FX Warper effect gets a new Curves Warp mode, which creates a custom polygon with spline points for finer control when warping images. Magic Mask, DaVinci Resolve’s AI-based feature for generating mattes, has been updated, and now operates in a single mode for both people and objects. Workflow is also now more precise, with users now placing points to make selections, then using the paint tools to include or exclude surrounding regions of the image. Another key AI-based feature, the Resolve FX Depth Map effect, which automatically generates depth mattes, has been updated to improve speed and accuracy. For color management across a pipeline, the software has been updated to ACES 2.0, and OpenColorIO is supported as Resolve FX. Effects artists get deep compositing support in the integrated Fusion compositing toolset. Fusion: new deep compositing toolset For compositing and effects work, the Fusion page gets support for deep compositing.Deep compositing, long supported in more VFX-focused apps like Nuke, makes use of depth data encoded in image formats like OpenEXR to control object visibility. It simplifies the process of generating and managing holdouts, and generates fewer visual artifacts, particularly when working with motion blur or environment fog. Deep images can now be viewed in the Fusion viewer or the 3D view, and there is a new set of nodes to merge, transform, resize, crop, recolor and generate holdouts. It is also possible to render deep images from the 3D environment, and export them as deep EXRs via the Fusion saver node. Fusion: new vector warping toolset, plus support for 180 VR and multi-layer workflows Other new features in the Fusion page include a new optical-flow-based vector warping toolset, for image patching and cleanup, and for effects like digital makeup.There is also a new 360° Dome Light for environment lighting, and support for 180 VR, with a number of key tools updated to support 180° workflows. Pipeline improvements include full multi-layer workflows, with all of Fusion’s nodes now able to access each layer within multi-layer EXR or PSD files. Fusion also now natively supports Cryptomatte ID matte data in EXR files. You can read about the new features on the Fusion Page in our story on Fusion Studio 20.0, the latest version of Blackmagic Design’s standalone compositing app, in which they also feature. IntelliScript automatically generates an edit timeline matching a user-provided script. Other toolsets: lots of new AI features for video editing and audio production DaVinci Resolve Studio 20.0 also features a lot of new AI features powered by the software’s Neural Engine, although primarily in the video editing and audio production toolsets.The Cut and Edit pages get new AI tools for automatically creating edit timelines matching a user-provided script; generating animated subtitles; editing or extending music to match clip length; and matching tone, level and reverberance for dialogue. There are also new tools for recording new voiceovers during editing to match an edit. Workflow improvements include a dedicated curve view for keyframe editing; plus a new MultiText tool and updates to the Text+ tool for better control of the layout of on-screen text. For audio post work, the Fairlight page gets new AI features for removing silences from raw footage, and automatically balancing an audio mix. We don’t cover video or audio editing on CG Channel, but you can find a complete list of changes via the links at the foot of the story. Codec and format support Other key changes include native support for ProRes encoding on Windows and Linux systems as well as macOS.MV-HEVC encoding is now supported on systems with NVIDIA GPUs, and H.265 4:2:2 encoding and decoding are GPU-accelerated on NVIDIA’s new Blackwell GPUs. Again, you can find a full list of changes to codec and platform support via the links at the foot of the story. Upcoming features include generative AI-based background extension. Future updates: new toolsets for immersive video and AI background generation Blackmagic Design also announced two upcoming features not present in the initial release.Artists creating mixed reality content will get a new toolset for ingesting, editing and delivering immersive video for Apple’s Vision Pro headset. There will also be a new generative AI feature, Resolve FX AI Set Extender, available via Blackmagic Cloud. More details will be announced later this year, but Blackmagic says that it will enable users to generate new backgrounds for shots by entering simple text prompts. The video above shows a range of use cases, including extending or adding objects to existing footage, and generating a complete new background behind a foreground object. Price, system requirements and release date DaVinci Resolve 20.0 and DaVinci Resolve Studio 20.0 are for Windows 10+, Rocky Linux 8.6, and macOS 14.0+. The updates are free to existing users.New perpetual licenses of the base edition are also free. The Studio edition, which adds AI features, stereoscopic 3D tools, and collaboration features, costs $295, following a temporary increase in the US following the introduction of new tariffs. Read a full list of new features in DaVinci Resolve 20.0 and DaVinci Resolve Studio 20.0 Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.

Imagine downloading 10,000 4K movies in just a second. A team of Japanese researchers has achieved such a mind-blowing internet speed using a specially designed optical fiber that’s no thicker than what we use today. The researchers set a new world record, transmitting 1.02 petabits (1.02 x 106 GB) of data per second over a distance of 1,808 kilometers (~1,118 miles) using their special coupled 19-core optical fiber. However, this achievement isn’t just about faster internet.  In their new study, the researchers claim that their newly developed optical-fiber technology can help us prepare our networks for a future where data traffic will skyrocket, thanks to AI, 6G, the Internet of Things, and beyond. The science of insane internet speed For years, scientists have tried to increase the amount of data that can travel through optical fibers. While they’ve managed to send petabits per second before, they could only do it over short distances (less than 1,000 km or 621 miles).  Long-distance transmission has always been challenging. That’s because the signal weakens as it travels, and amplifying it across many fiber cores without creating interference is a major technical challenge. The study authors tackled the problem by designing a special type of optical fiber—a 19-core fiber.  Think of it like replacing a single-lane road with a 19-lane superhighway, all bundled into a fiber just 0.125 mm thick, the same size as those used in existing infrastructure. Each core carried data independently, and together they allowed a huge amount of information to move simultaneously. The researchers also developed a smart amplification system. Optical signals lose strength as they move along the fiber, so amplifiers are used to boost them. However, there’s one catch:  each core had to be amplified at the same time, and across two different bands of light (C-band and L-band).  The team built a system that used a combination of special amplifiers to do this in all 19 cores without mixing up the signals. They set up 19 recirculating loops, each using one core of the fiber, and passed the signals through them 21 times to simulate a total distance of 1,808 kilometers.  At the end of the journey, a 19-channel receiver caught the signals, and a multi-input multi-output (MIMO)-based digital processor cleaned them up, removing interference and calculating the data rate.  The result was astonishing. A total capacity of 1.02 petabits per second over 1,808 km was achieved, setting a new world record for optical fiber communication using standard-sized fibers. Even more impressive, the capacity-distance product, a key measure of fiber performance, reached 1.86 exabits per second-km, the highest ever recorded. A powerful and practical fiber technology A table comparing the performance of different fiber-optic cables. Source: NICT This isn’t the first time a 19-core optical fiber has been put to the test. “The transmission over an earlier generation of 19-core coupled-core fiber was limited to 1.7 petabits per second over a relatively short distance of 63.5 km,” the study authors added. However, this is indeed the first time that this revolutionary technology has broken the distance limits by carrying data over 1,800 km. This success could completely reshape how we build the internet of tomorrow.  As the world moves into the post-5G era, with self-driving cars, AI assistants, real-time VR, and billions of connected devices, we’ll need massive data highways to keep everything running.  “In the post-5G society, the volume of data traffic is expected to increase explosively due to new communication services, and the realization of advanced information and communication infrastructure is required,” the study authors added.RECOMMENDED ARTICLES This research shows that it’s possible to build ultra-high-speed, long-distance fiber networks without changing the size of existing infrastructure, which makes real-world deployment much easier. However, when this new optical fiber technology will actually roll out remains to be seen. The study was presented at the 48th Optical Fiber Communication Conference (OFC 2025).