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In the 1860s, two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last veterans of the American Revolution.

Photos: Nelson and Roswell Moore

As a photographer with a strong interest in history, I often find myself captivated when the two worlds collide. Looking at pictures of historical events, even seemingly mundane ones, sparks my imagination and transports me back in time.

More than the historical events themselves, I’m drawn to the people in these photos. I try to envision their lives, their experiences and the world they inhabited. I remind myself that they aren’t just historical figures frozen in time but real people who led lives as complex as you or me, and I often wonder about their experiences, the people they knew, and the eras that shaped them.

Perhaps this is because old photographs serve as a reminder of our own mortality. Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity.

Photo: Nelson and Roswell Moore

This fascination with the past, coupled with my interest in photography, is probably why a recent video by the BBC caught my attention, telling the story behind portraits taken of some of the last survivors of the American Revolutionary War.

The Revolutionary War was fought between Great Britain and her American colonies from 1775 to 1783 over Americans' desire for independence. Ultimately, the colonial forces prevailed, and, as we all know today, the United States became an independent nation.

"Historical photos whisper to us that our time on Earth is finite and that one day, we, too, will become subjects of historical curiosity."

Fast forward about eight decades, and the US found itself embroiled in yet another conflict: the American Civil War. It was around this time that two brothers, Nelson and Roswell Moore, photographers from Connecticut, got the idea to use the then-nascent technology of photography to preserve images of the last surviving veterans of the American Revolution.

According to the BBC, newspapers at the time would publish details of the United States federal budget. This included lists of Revolutionary War veterans who were still receiving government pensions. Don Hagist, author of The Revolution's Last Men: The Soldiers Behind the Photographs and editor of the Journal of the American Revolution, told the BBC that by the 1860s, it was becoming apparent that very few Revolutionary War veterans remained. This realization spurred the Moore brothers to track down what they believed to be the last six living veterans to capture their portraits.

Photo: Nelson and Roswell Moore

The Moore brothers' portraits were unveiled in 1864 and subsequently published that same year in the book The Last Men of the American Revolution by Reverend E.B. Hillard. The book also included biographies of each veteran, based on interviews conducted by Hillard, although, according to Hagist, Hillard likely employed some creative license in his biographical accounts.

Fortunately, these invaluable photographs are not confined to the BBC's archives. They’re preserved and freely available for download from the Library of Congress, an exceptional resource for historical imagery of all kinds.

As it turned out, the six men photographed by the Moore brothers weren't the only remaining Revolutionary War veterans. Following the publication of their photos and Hillard's book, other veterans came forward. However, the images captured by the Moore brothers remain invaluable historical artifacts, preserving the likenesses of men who fought for America's independence. Gazing into their eyes, I’m struck by the realization that these men could have met George Washington in person.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Photos: Nelson and Roswell Moore

One of photography's enduring truths is that we often can’t predict which images will hold significance for future generations. History will ultimately be the judge. However, as photographers, we possess the ability to capture and preserve these visual records, even if their immediate importance is not readily apparent.

Next time you see an old historical photo, pause for a moment to think about the person or people in that photo. Who were they? What were their lives like? And reflect on the fact that, someday, far in the future, someone may be looking at a picture of you, wondering the same thing.

Finally, have you had the opportunity to capture any photos of historical significance or photograph something important before it disappeared forever? If so, I'd love to hear about it in the comments.

Image: Panasonic

Panasonic has made it clear: the torch has passed from its Lumix Sync app to the Lumix Lab app. If you own one of the company's modern phase detect autofocus cameras – that's the S5 II, S5 IIX, G9 II, GH7 and S9 – Lumix Lab can now do pretty much everything that Sync could do, alongside all the new features it brings to the table.

When Lumix Lab originally launched alongside the S9 in May, Panasonic was clear that it wasn't ready to fully replace Lumix Sync for its older cameras; it didn't support critical features such as remote shooting, remote shutter control, image transfer, or live streaming.

That's changed this week, though. Panasonic released firmware updates yesterday, as well as an update to Lumix Lab, which work together to let you fully control and sync your camera from your phone.

Enter the LUT lab Lumix Lab lets you download LUTS made by creators and gives you a library to manage those LUTs alongside the ones you create yourself.

Beyond the functions that already existed with Lumix Sync, Lumix Lab adds several features around Look Up Tables, or LUTs, which are essentially color presets that you can apply to your photos and videos. It has a section that lets you download ready-made LUTs from creators, and you can even create custom LUTs using the app's photo editor. You can then use those LUTs in Lumix Lab, applying them to photos you've synced over from your camera, or send them to your camera, where you can use them with the Real Time LUT that can automatically apply them to your JPEGs and videos.

Lumix Lab also has fairly robust editing features for both photos and videos. You can use it to adjust colors, exposure, sharpening, and more and to apply effects like grain and vignetting. Continuing the LUT focus of the app, if you like the adjustments you've made, you're able to save them as a LUT for later use. Lumix Lab also lets you apply a variety of pre-set crops to stills and videos, making it easy to share them on platforms with a specific aspect ratio, and you can trim videos if you only want to use a small portion of them. Finally, you can share your edited photos and videos straight from the app.

Lumix Lab has a relatively full-featured set of photo and video editing tools, and lets you save your adjustments as custom LUTs. The future of Sync

At the moment, it doesn't seem like the Lumix Sync app is going anywhere – owners of the S1, S1R, the newly released G97, and other older cameras will still need to use it to sync photos to their phones, after all.

However, if you haven't given Lumix Lab a shot yet, and have one of the cameras it works with, it's probably worth a try. It can now not only do the things Lumix Sync could, but much more, making the experience of shooting with your camera and sharing with your phone that much nicer. Even if those don't interest you, it's also worth noting that the latest updates to the S5 II, S5 IIX, GH7, and G9 II could make it more annoying to use with Panasonic's older app, as a camera-to-phone Wi-Fi connection will now require password authentication – the ability to use the app without inputting a Wi-Fi password has been removed.

Lumix Lab is a free download from the Apple App Store and the Google Play Store.

OM System is working to build excitement for a launch happening on February 6. The company released a short teaser video, offering brief glimpses of an unreleased OM System camera. This video follows up on a post from the OM System CEO at the beginning of the month announcing that the company is working on a new camera and lenses. That statement, combined with the content of the video, makes it safe to assume that the focus of this announcement is indeed a camera.

The dedicated teaser webpage poses the question, "Are you born to create?" It also promises "something exciting" coming soon and encourages people to tune in to "discover what’s next in the world of creative photography."

The video, naturally, doesn't show much. It does, however, highlight a front dial, which must be a focus of the new camera. That dial shows four options, named Mono, Color, Art and CRT. We've seen such a dial before on the remarkably popular Olympus PEN-F. Based on the limited information in the video, it doesn't appear to be a follow-up to the PEN-F, as the teaser shows a more traditional SLR-style EVF in the center of the camera, as opposed to the left-corner EVF found on the PEN-F.

Luckily, February 6 isn't too far off, so full details will be coming soon. You can sign up to receive notifications for the launch on the teaser webpage and keep re-watching the 15-second video to attempt to glean more information.

Image: SmallRig

SmallRig has announced it is expanding its lineup with a new cage for the Sony a9 III and a1 II. Like SmallRig's existing offerings, the new cage aims to add additional protection for the camera. Perhaps more importantly, it also offers expansion options, making it easier to attach additional gear like phone mounts, monitors, microphones and more. It offers what SmallRig calls a "brand-new streamlined design with precision-fit protection and unobstructed button access." It's available for purchase now for $99.

Image: SmallRig

SmallRig's latest full cage features a leather grip that fully wraps around the grip of the camera. The leather design allows it to blend in a bit more to the camera, and results in a more polished look worthy of the flagship cameras.

The cage features a three-point locking installation to keep it securely attached to the camera, but doesn't require removing the D-rings. It uses an integrated bottom Arca-Swiss quick release plate for seamless use on a wide range of tripods and gimbals. It comes with a magnetic wrench on the bottom of the plate for easier attachment or removal.

Buy now:

$99 at SmallRig Image: SmallRig

Of course, one of the main benefits to a cage is all the extra attachment points for gear, of which this new offering has plenty. It features 1/4"-20 threaded holes, 1/4"-20 locating holes, ARRI 3/8"-16 locating holes, cold shoe mounts, strap slots and QD socket. All of those attachment points make it feasible to add on a long list of handles, microphones, lights, monitors, straps and more. Plus, the HawkLock H21 NATO rail allows you to quickly add or remove handles.

Image: SmallRig

In addition to the full cage, SmallRig also released an L-Shaped Mount Plate for the Sony a1 II and a9 III. The plate is still marked as "coming soon," and details are sparse in comparison to the full cage. SmallRig did specify that it will offer unobstructed access to switching orientation and feature an integrated bottom Arca-Swiss quick release plate. Perhaps most interesting, though, is the AirTag compartment, helping users keep track of their cameras.

Image: Canon

Canon has developed a 410MP full-frame sensor, which it says is primarily designed for markets such as surveillance, medicine and industrial applications.

Canon doesn't typically disclose details of sensors it plans to use in its cameras prior to those cameras being announced, which is another strong hint that this won't be the basis of the next R-series model. Still, it gives and insight into where Canon's sensor design and technology has got to.

The 410MP chip is a Stacked CMOS design with some signal processing circuitry built into one of the layers of that stack. This design allows it to read all its pixels at a rate of 3,280 megapixels per second. This is sufficient to let it deliver 24K 'video' at up to eight frames per second.

Alternatively, Canon says a monochrome version of the chip can bin the output of four neighboring pixels to deliver "100MP" video at up to 24 fps. These numbers suggest the company is talking about full-sensor, 'open-gate' 12K footage from the full 3:2 sensor region. Given this is its maximum output rate, it's reasonable to assume it would have a rolling shutter rate not much quicker than 1/24 sec (ie: around 40ms), which wouldn't be optimal as the basis of a cinema camera.

Thiose frame rates suggest a sensor that would be well-suited to machine-vision tasks that prioritize resolution over speed, such as checking detailed circuit boards during production, rather than on high-speed production lines where global shutter's ability to freeze movement might be more valued.

The use of the 3:2, 36x24mm 'full-frame' format means the sensor could be used with the vast range of lenses designed for that format, rather than having to specify something custom or very low-volume, by adopting a larger, medium-format size.

When you use DPReview links to buy products, the site may earn a commission. Image: Canon

Canon has announced the RF 16-28mm F2.8 IS STM, a fast wide-angle full-frame zoom that's meant to be a more budget-friendly option for people looking to shoot photos and videos. The lens is lightweight and compact, coming in at a very similar size and weight as its sibling, the RF 28-70mm F2.8 IS STM.

The 16-28mm is explicitly designed to pair with that lens for enthusiasts wanting constant F2.8 capability on a budget.

The lens' optical formula includes 16 elements in 13 groups, with 2 aspherical lenses and 4 UD elements. Like many of Canon's RF lenses – including its higher-end L-series models – the 16-28mm uses of digital corrections as part of its design. At its long end, it has a minimum focusing distance of 0.2m (7.9"). The lens is weather sealed to provide some protection against dust and moisture, though there aren't gaskets on all of its various buttons, switches and rings.

Canon

As its name implies, the 16-28mm F2.8 IS STM uses a lead-screw type stepper motor for focusing, which the company says will provide "fast and accurate" focusing. It also features optical image stabilization, rated for 5.5 stops of compensation at the center of the lens, which gets bumped up to 8 stops when paired with a camera body that can coordinate its sensor stabilization with the lens'.

The lens weighs around 445g (15.7oz) and is 91mm (3.6") long when retracted. It uses 67mm filters and can be paired with an EW-73E lens hood, though it is sold separately.

The 16-28mm F2.8 becomes Canon's fourth wide-angle zoom lens, sitting between the $550 RF 15-30mm F4.5-6.3 IS STM and the $1400 RF 14-35mm F4 L IS USM. The new lens has better weather-sealing than the variable aperture zoom but, is less well-sealed than the slower-but-wider F4 'L' series lens. Above all of these sits the $2400 15-35mm F2.8 L IS USM.

The RF 16-28mm F2.8 IS STM will retail for $1149 and starts shipping on February 11th.

Buy now:

Buy at B&H PhotoBuy at Canon Canon RF 16-28MM F2.8 IS STM Specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length16–28 mmImage stabilizationYesCIPA Image stabilization rating5.5 stop(s)Lens mountCanon RF, Canon RF-SApertureMaximum apertureF2.8Minimum apertureF16Aperture ringNoNumber of diaphragm blades9OpticsElements16Groups13Special elements / coatings2 aspherical, 4UDFocusMinimum focus0.20 m (7.87″)Maximum magnification0.26×AutofocusYesMotor typeStepper motorDistance scaleNoDoF scaleNoPhysicalWeight445 g (0.98 lb)Diameter77 mm (3.03″)Length91 mm (3.58″)SealingYesColourBlackPower zoomNoZoom lockNoFilter thread67 mmHood suppliedNoHood product codeEW-73ETripod collarNo

Photo: Brendan Nystedt

Panasonic has announced a suite of updates for its latest cameras, designed to make sure the S5 II, S5 IIX, GH7, and G9 II are all on level playing field with each other and the S9 in terms of what features they support.

All four cameras will now be able to display multiple frame guide markers at once, which can help if you're trying to frame a shot that will eventually be edited into multiple aspect ratios. The markers are heavily customizable – you can choose different colors for each aspect ratio and position and resize the lines on your screen.

The ability to have multiple frame guides debuted on the S9's v1.1 firmware but is now available across Panasonic's modern lineup.

The updates also add support for Panasonic's "MP4 Lite" codec, which records 3.8K open-gate footage at a lower bitrate, making it easier and faster to transfer to a phone via Wi-Fi. For the S5 II and S5 IIX, the video will be in the same 3:2 aspect ratio as the S9, but for the Four Thirds cameras it'll be in a taller 4:3 aspect ratio.

Speaking of transferring footage to your phone, Panasonic is also bringing full support for its new Lumix Lab app to all the cameras. That means you'll be able to use it, instead of Lumix Sync, to remotely control shooting, transfer images to your phone, and more.

The S5 II, S5 IIX, and G9 II are also getting the enhanced subject detection that the GH7 launched with, meaning that they'll also be able to recognize planes and trains and zero-in on a specific part of a recognized subject, such as a car's driver or a motorcycle rider's helmet. They're also getting the Crop Zoom feature from the GH7 and S9, which will automatically punch in by a selectable amount. In stills mode, this means that the JPEGs will be taken from a center crop of your untouched Raw. In video you'll only be getting the cropped version since there's no Raw. How cropped it is will depend on your shooting resolution.

'Part priority' is now available on all of Panasonic's phase-detect-equipped ILCs.

The full-frame S5 II and S5 IIX are also getting the Hybrid Zoom system from the S9, which combines your lens' optical zoom with Crop Zoom, giving you more reach the further you twist the zoom ring.

There are a few smaller changes as well; each of the cameras will get improvements to operational stability, as well as the ability to save pictures in an "Extra Small" size.

Features being removed

While the updates are obviously full of new features, they also take away some things. European S5 II and S5 IIXs will no longer support wireless image transfers to PCs or RTMP streaming – you'll have to use RTMPS when livestreaming from your camera. While those features will still work in other markets, such as the US, the S5 IIX and the GH7 are losing the ability to act as a RTP/RTSP network camera over a wired internet connection globally. While Panasonic didn't give an specific explanation of why these features were being removed, the company did say they came as part of a security enhancement to the cameras.

Another change that will affect all S5 II, S5 IIX, GH7, and G9 II users: when directly connecting the camera and your smartphone, you'll now have to enter the password each time if you're using the Lumix Sync app; Lumix Lab isn't affected, since it handles authentication over Bluetooth. These changes also won't affect the cameras' Frame.io integration.

The new firmware files – v3.2 for the S5 II, v2.2 for the S5 IIX, v1.3 for the GH7, and v2.3 for the G9 II – are available for download on Panasonic's website.

Hopefully it's not too cold on this mountaintop.

Image: Sony

Sony has expanded a free repair program for some of its CEA-G Series "Tough"-branded memory cards, saying that some units failed to work properly in the extreme conditions they're designed for.

According to a notice spotted by Digital Camera World, some of the Tough CFexpress Type A cards could stop being recognized or, worse, fail to finish writing data in "low-temperature conditions" that are "around the lower limit of the recommended operating temperature range." Sony specifies that the cards are intended to be used in conditions ranging from -10° to 70°C (14° - 158°F), and its page for the cards touts that they're "designed for extended professional use in the most challenging environments – from snow-covered mountains to sand-blown deserts."

The company initially reported the issue last summer, but the version of the notice that appears on its Japanese site says that it found more units that are eligible for free repair. Sony's various sites list the affected lot numbers, which you can check against the one printed on the back of your cards. We've listed the model numbers below, but only specific units are eligible for repair. The additional numbers added this week, which are for 320GB and 640GB models, appear on the Japanese and UK notices, though not the one for the US.

The affected card models are:

• CEA-G80T
• CEA-G160T
• CEA-G320T
• CEA-G640T

If you have one of the affected cards and your lot number is one of the ones eligible for repair, Sony recommends backing it up before you send it in since any data will be deleted. The company says it'll repair cards "free of charge until June 29, 2029," though it's probably one of those issues that's best to solve sooner rather than later.

Image: Samsung

Samsung has announced the Galaxy S25, S25 Plus and S25 Ultra, its latest flagship smartphones. The phones have a heavy emphasis on AI, but also feature the company's highest-end camera systems.

The Ultra is the highest-end model, and has a 6.9" display and four rear-facing cameras. The company says the phone's ultrawide camera is an upgrade from the previous generation, and uses a new 50MP sensor behind an F1.9 lens – the S24 series' ultrawide camera used a 12MP Type 1/2.55 (5.6 x 4.2) sensor. The company hasn't released specifics on the new sensor's size.

The S25 Ultra, shown here, features four rear cameras. The S25 and S25 Plus have three cameras – the 3x zoom and 50MP ultrawide are the same found on the Ultra, but the main camera isn't as high-resolution.

Image: Samsung

Beyond the ultrawide, the S25 Ultra's camera layout appears to be relatively unchanged compared to the S24 Ultra. It still has a 200MP F1.7 main shooter – the S24 Ultra used a Type 1/1.3 (9.8 x 7.4) sensor, which is likely unchanged – as well as two telephoto cameras: a "3x" F2.4 lens in front of a 10MP sensor, and a "5x" F3.4 lens in front of a 50MP sensor. In the S24 Ultra, these cameras used Type 1/3.94 (3.7 x 2.7) and Type 1/2.52 (5.7 x 4.3) sensors, respectively.

The new ultrawide camera also comes to the 6.2" S25 and 6.7" S25 Plus. The main camera and 3x telephoto appear to be the same 50MP Type 1/1.56 (8.2 x 6.1) and Type 1/3.94 (3.7 x 2.7) models as their predecessors.

Main Camera Ultrawide Camera Telephoto Camera S25 / S25 Plus 50MP, F1.8, OIS 50MP, F1.9 3x - 10MP, F2.4 S25 Ultra 200MP, F1.7, OIS 50MP, F1.9 3x - 10MP, F2.4, OIS
5x - 50MP, F3.4, OIS

Many of the S25's camera improvements come from software, such as the Virtual Aperture feature.

Image: Samsung

While there may not have been many hardware updates, the company did announce some new software tricks for the phones. A feature called "Virtual Aperture" lets you control how much simulated depth-of-field your image has, and the phones now feature a Galaxy Log color mode, which should help anyone who hopes to color grade the footage they take with their phones. The company also says it's updated its image processing, saying that it's upgraded its object recognition and improved how it handles color.

The custom filter feature attempts to replicate the look of a reference photo, which you can then apply to your other shots.

Image: Samsung

The S25 also features filters that the company says are inspired by classic film photos. It also allows you to create your own custom filter based on a photo that you give it; it'll try to tweak parameters like saturation and color balance to match the reference image.

The 25 Plus and Ultra also include a feature called "ProScaler," which the company says "delivers a high-definition viewing experience without having to adjust the display settings."

The phones are powered by a chipset called the "Snapdragon 8 Elite for Galaxy," which utilizes Qualcomm's latest technology. Samsung says it delivers "a performance boost of 40% in NPU, 37% in CPU and 30% in GPU compared to the previous generation."

New generations of AI can give you tips on how to improve your pictures of your pets.

Image: Samsung

The company's announcement also placed a heavy focus on AI. In a demo of Google's Gemini Live AI, Samsung showed a person asking the assistant about how they could improve a photo they took, with the assistant giving tips on how to improve composition and color, as well as suggestions on what type of edits the person could make.

The company also announced that it's working with the Coalition for Content Provenance and Authenticity (C2PA) to ensure that AI-generated images from its phones will have metadata marking them as generated imagery.

The phones will be available starting on February 7th. The standard S25 starts at $799 and comes with 128GB of storage, while the S25 Plus costs $999 and comes with 256GB. The S25 Ultra will start at $1,299 – by default it has 256GB of storage, but you can upgrade it up to 1TB.

Details of the phones are currently being announced via a Samsung live stream, which you can watch here.

Developing story... please check back for updates.

Logo: Adobe

Adobe has announced the latest updates for its video platforms, including Premiere Pro, After Effects, and Frame.io. The company says this update aims to "accelerate postproduction and address common pain points that filmmakers face today." The new features and tools aren't entirely groundbreaking, but there are some worthy additions. You can read the full details in the press release below.

These changes are available to use as of today, though the Premiere Pro and After Effects features are only available in the beta apps for the time being. You'll need to be an Adobe Creative Cloud member to access the beta apps, but no additional workarounds are necessary to use the new features.

AI-powered search results and Caption Translation in Premiere Pro beta

One of the most significant updates is Premiere Pro beta's Media Intelligence and AI-powered search panel that aims to make it faster to find clips. This new tool automatically analyzes video content, identifying objects, locations, camera angles and more. Then, using the new Search panel, you can use natural language to find the content you're looking for without hunting down the specific file on your own. The system can pick up on visuals, spoken words or metadata like shoot date and camera type, which should provide more flexibility in how you search.

This new search tool and media analysis happens locally on your system, meaning you don't need to be connected to the internet to use it. Adobe also clarified that, like all of its AI-powered tools, your content remains your own and isn't used to train its AI models.

We haven't used the feature yet, so we can't comment on how successful the new tool is. However, if it works as well as Adobe suggests, it should make it much easier for those working with massive video libraries to find the individual clips they need while working on videos.

Screenshot: Adobe

Beyond faster searches, Adobe also aims to make it faster to generate captions with this update. Adobe announced its Text-Based Editing feature in September 2023, which provided automatic transcriptions using Adobe Sensei. Now, the company is expanding functionality to translate those transcripts and generate captions in multiple languages. Premiere Pro beta will offer automatic translations in 17 different languages. You can also have multiple caption tracks visible simultaneously to display multiple languages.

Faster playback and more HDR support in After Effects beta

After Effects users also get two updates (in the beta app), the most significant of which allows for faster playback due to what Adobe describes as a "more modern caching system that uses both your computer's RAM and high-performance attached hard disks." It says that this means you won't be limited by the amount of RAM on your computer, making it feasible for older computers to play back entire compositions for the first time. There should be no need to pause for caching or rendering since once it is cached, you can simply press play and watch.

Adobe is also bringing HDR monitoring to After Effects beta. Promising that it will be "as easy to work in HDR as it is to work in SDR with the latest version of After Effects beta."

Press release:

Adobe introduces major new updates in Premiere Pro (beta), After Effects (beta), & Frame.io ahead of 2025 Sundance Film Festival

For filmmakers, “hurry up and wait” has always been part of the movie-making process, and nobody knows that better than the filmmakers heading to Park City for the 2025 Sundance Film Festival. Crafting the perfect story takes time. Tedious tasks like holding for sound, chasing the golden hour, or watching a status bar crawl across the screen make it harder to see the big picture and have creative breakthroughs.

We’ve been working hard to reduce tedium for video professionals, which means you’ll spend less time hunting for the perfect clip, transcribing and translating footage, waiting for motion graphics to playback, or troubleshooting color pipelines. Leaving you more time to do the things you love.

Today we’re excited to introduce new features in Premiere Pro (beta), After Effects (beta), & Frame.io that will make editors and motion designers faster than ever.

Find footage faster with AI-powered Media Intelligence and the new Search panel in Premiere Pro (beta)

For editors, finding the perfect shot is hard. Every editor has their own delicate, fastidious system for reviewing, logging, and finding their favorite moments as they piece together their timeline. But if you’re like me, you’ve also had this experience: you’ve finished your edit, handed it off – then found the one magical shot you should have used after everyone starts watching it. It’s the worst.

With new Media Intelligence and the Search panel in Premiere Pro (beta), the power of AI helps you find exactly what you need, when you need it. The content of your clips is automatically recognized, including objects, locations, camera angles, and more. With the new Search panel, you can use natural language to find visuals, spoken words, or content with embedded metadata like shoot date or camera type – all at the same time.
That means you can search footage for descriptive terms like “person skating with a lens flare” or “close up of person running at sunset” and see relevant moments I can quickly scrub through or load in the Source monitor. Or I can search for “California” and find related visuals, transcript mentions, and embedded metadata with shoot location all in one place!

Plus, media analysis is super-fast and happens entirely on your own system, so you don’t need an internet connection to use it. And as with all our AI-powered tools, your content is never used to train any AI models.

Go global in seconds with Caption Translation in Premiere Pro (beta)

Since we launched our popular Text-Based Editing workflow, we’ve had fantastic feature requests like bulk removal of pauses and filler word detection. Now that we’ve added those, we’re working on the next most popular request: caption translation!
Captions have become increasingly critical for accessibility and engagement on social media. Now you can more easily expand your global audience with fast, accurate translations in 17 languages. Plus, you can have multiple caption tracks visible at the same time to display various languages, or even assist you through editing in a different language.

Fast, seamless playback in After Effects (beta)

Everyone wants to work faster and save time. After Effects (beta) is rising to meet that demand with new performance improvements that let you preview more of your comp than ever before.

We’re introducing a faster, more modern caching system that uses both your computer’s RAM and high-performance attached hard disks to preview and playback larger and more complex projects faster than ever before. It makes motion design more interactive, responsive, and fun.

You’re no longer limited by the amount of RAM on your computer when you play back your work. That means even older desktops and laptops can now play back entire compositions in After Effects for the first time, without having to pause for caching or rendering. As soon as a comp is cached, press play, and spend more time watching creative work with less time spent waiting.

Go end to end in HDR in After Effects (beta)

Additionally, we’re bringing HDR monitoring to After Effects (beta). With support for PQ and HLG video, motion designers can now view their HDR comps accurately with improved video scopes that support HDR. Whether you’re working on a laptop or using professional I/O hardware to send an HDR signal to a calibrated reference monitor, it’s just as easy to work in HDR as it is to work in SDR with the latest version of After Effects (beta).

Frame.io Camera to Cloud: Now available for select Canon cameras

We've partnered with Canon to deliver an exciting new integration between Frame.io Camera to Cloud (C2C) and Canon’s C80 and C400 cameras. With a recent firmware update in December, you can now automatically upload proxy files directly from your Canon camera to Frame.io, giving your post-production teams and creative stakeholders access to footage from anywhere within moments of image capture. And since Premiere Pro supports raw camera formats from these cameras, this integration allows teams to get the best of both worlds: speed and quality. Send proxy files to the cloud quickly to start an edit and relink to the camera originals before your final delivery.

This seamless connection between production and post-production enables a whole new way to collaborate in real-time that unlocks faster project turnarounds and the ability to address potential issues before production wraps. By addressing problems as they occur, you can avoid costly reshoots and have greater confidence that everything you’ve captured is securely stored and accessible regardless of location.

With just a Frame.io account, a Canon C80 or C400, a network connection, and a simple six-digit pairing code, you can get started uploading your video files to the cloud within minutes. Whether you’re working on an independent project, or a large-scale production, this integration offers a streamlined, more efficient workflow from capture to edit.

Everything you need, for everything you’ll make.

No matter your workflow, genre, content, or delivery platform, we’re focused on making tools that reduce the tedium so you can focus on what you love: telling your story. And as more professional editors and motion designers than ever choose Premiere Pro, After Effects, and Frame.io, we’re continuing to prioritize core workflows so you can tell your story with powerful industry standard tools.

Many of our Video Team members – product managers, engineers, marketers, and designers – are also editors, motion designers, and filmmakers who are passionate about delivering features that solve everyday pain points. We worked through iterating designs, testing ideas, and incorporating feedback based on real world use cases over months of development, and we’re excited these features are available for you to use today.

We encourage you to try these new features in beta and give us your feedback! If you’re a Creative Cloud member, you have access to beta apps. You can even install the betas side-by-side with the current releases of Premiere Pro and After Effects.

Availability

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