A nova ferramenta permite gerar vídeos e efeitos sonoros a partir da própria linha do tempo, dentro do Premiere.
Para utilizar a Generative Media Tool, basta selecionar o trecho da linha do tempo em que você deseja criar, descrever aquilo que deverá ser gerado, escolher um dos modelos de IA suportados pela ferramenta (Adobe Firefly, Google Veo, Runway, Luma ou Kling) e pronto, o conteúdo gerado já estará presente no seu projeto.
Divulgação/Adobe
Os materiais feitos por IA são adicionados como clipes editáveis, permitindo que o usuário os manipule como quiser. Além disso, caso seja da sua preferência, a ferramenta possui a capacidade de utilizar quadros de vídeos já existentes como referência para aquilo que será gerado, tornando o recurso ideal para estender determinadas cenas.
Já em matéria de áudio, o Premiere possui agora ferramentas (implementadas em fase beta) para tratamento e separação de vozes em falas simultâneas.
Divulgação/Adobe
A Adobe também atualizou o Color Mode, destinado a correções de cor realizadas dentro do Premiere, oferecendo tanto visuais cinematográficos com os novos Style Modules (com os modos Vignette e Midtones) quanto a Auto Color Tool, que corrige automaticamente a exposição e a temperatura de um clipe ou uma sequência.
Por fim, a empresa também anunciou a chegada do seu assistente de IA para os usuários do After Effects (em versão beta), permitindo tanto a novos usuários da ferramenta quanto aos editores mais experientes manipular projetos e criar efeitos a partir de comandos em linguagem natural.
Todas essas novidades já estão disponíveis para os assinantes da suíte Adobe Creative Cloud.
Patrick Brammall is heading into a much darker week on television. Following the Last Seen screening in Sydney, the Colin from Accounts star arrives on Apple TV as a father whose missing daughter has left his life suspended for more than a decade. The Australian thriller premieres September 9, bringing a very different kind of emotional discomfort from the romantic comedy that introduced him to many American viewers.
In Colin from Accounts, embarrassment can become an opening for affection. Last Seen gives Brammall a character with far less room to recover from a bad decision. Ian Ridley is a former detective, now working as a police dispatcher, who receives a call he believes could finally lead him back to his daughter.
The casting offers an immediate reason to be curious. Audiences familiar with Brammall’s comic timing will be watching him carry a story built around loss, uncertainty, and a hope that could become dangerous.
Patrick Brammall Finds a Personal Connection to Ian Ridley
Brammall has described drawing on fatherhood to understand the role. In an interview with Radio Times, he explained that being the father of two young daughters gave him access to an emotional vulnerability he could bring into the performance.
He did not need to imagine the story happening to his own children. Becoming a parent had already changed how available those feelings were to him.
“Ian is like a raw nerve,” he said.
That description gives a more precise sense of the character than the familiar image of a troubled detective. Ian’s professional experience may help him interpret a crisis, but his connection to this particular call makes distance almost impossible.
The challenge for a performance like this lies in keeping both sides believable. An audience needs to understand why Ian recognizes a possibility others might dismiss, while remaining alert to how much he wants that possibility to be true.
Brammall also credited his classical theater training and casting director Kirsty McGregor with helping him move between genres. The dramatic assignment draws on an established acting background, even if it surprises viewers who associate him most closely with comedy.
Image Credit: Apple Inc.
One Phone Call Reopens an Eleven-Year Absence
Maggie disappeared 11 years before the events of Last Seen. Ian has never accepted that she might be gone forever. When a teenage girl calls for help, he becomes convinced that he recognizes his daughter and begins pursuing the possibility of bringing her home.
The premise places an ordinary professional responsibility under extraordinary personal pressure. A dispatcher must listen carefully, gather information, and help someone through an emergency. Ian suddenly has to do that while confronting the possibility that the voice belongs to the person he has spent years hoping to find.
There is tension in the simple absence of a face. A voice offers clues without providing the certainty of seeing someone. Memory, fear, and recognition can arrive together, leaving very little time to sort one from another.
The emotional question extends beyond whether the caller is Maggie. Eleven years have passed for everyone involved. Even a reunion could not return the family to the day before she disappeared.
That gives the story room to explore the difference between finding someone and recovering the life that existed before their loss. It also gives Brammall something more complicated to play than determination alone: a man whose idea of rescue may be tied to a past that cannot be restored.
These are the tensions established by the premise. How the series resolves them remains part of the mystery awaiting viewers.
An Australian Production With a Substantial Supporting Cast
Last Seen adapts Ryan David Jahn’s novel The Dispatcher, with Kris Mrksa serving as writer and executive producer. The series is produced by 60Forty Films and was entirely set and filmed in Victoria, Australia.
The official cast and crew credits name Christian Schwochow as director and executive producer. Brammall is joined by Maxine Peake, Brendan Cowell, Daniel Henshall, Jessica Wren, Zahra Newman, Chloe Jean Lourdes, and Tobias Muhafidin. Executive producers also include Hakan Kousetta, Jamie Laurenson, and Joanna Werner.
For American audiences, the Australian setting gives the show an identity outside the familiar geography of U.S. police dramas. Victoria is the location of the story itself, allowing the adaptation to establish its own surroundings rather than asking local scenery to stand in for another country.
The ensemble also creates room for perspectives beyond Ian’s. A missing-person story can become claustrophobic when every event is filtered through a single person’s conviction. The dramatic interest comes partly from encountering people who have their own knowledge, loyalties, and reasons for responding differently.
Brammall carries the central search, but the relationships around him will determine whether that search feels convincing as a family story.
The Action Was a Physical Challenge
Last Seen also demanded action sequences, and Brammall has been candid about finding them harder at 50 than he once imagined.
Discussing the production with Radio Times, he credited a younger scene partner with taking on much of the physical work during an early confrontation. Asked about the possibility of doing more action, he offered a practical condition: “Give me the right stunt double and I’ll do it.”
His account brings a welcome human detail to the promotional image of a desperate father fighting his way toward an answer. Performing that desperation requires choreography, cooperation, and people prepared to absorb the physical demands of a scene.
For the character, physical vulnerability can be useful territory. Ian’s willingness to intervene does not necessarily mean he is equipped to control what follows. The possibility of getting hurt gives an impulsive decision consequences beyond moving the investigation forward.
When Last Seen Arrives in the U.S.
Apple’s official premiere announcement confirms that the first two episodes arrive together on Wednesday, September 9. The remaining four episodes follow weekly, with the sixth scheduled for October 7.
That gives the thriller a five-week release window. Viewers can begin with a substantial introduction to Ian’s situation, then follow the investigation one chapter at a time. Those who prefer watching a complete season can plan around the final episode’s arrival.
The U.S. Last Seen page provides access to the series through Apple TV. No familiarity with the source novel or Brammall’s previous work is needed to begin.
American viewers will have an unusually sharp contrast available the following day. Paramount+ has confirmed that the third and final season of Colin from Accounts arrives September 10, with all episodes released at once.
Brammall returns there alongside Harriet Dyer, his wife and fellow creator, writer, and star. Their comedy began with a car accident, an injured dog, and two strangers drawn into each other’s lives. Its farewell season places another set of complicated relationships on his schedule, with considerably more space for laughter between the difficult moments.
From NAB in Las Vegas, Matt Bach, Senior Product Manager at Puget Systems, explains PugetBench, a free benchmarking tool for end users that tests real applications such as Premiere Pro, Photoshop, After Effects, DaVinci Resolve, and soon Unreal Engine. Matt discusses why real-world benchmarks beat synthetic scores, how software updates can dramatically change performance, and […]
On the show floor at NAB in Las Vegas, Jim Tierney of Digital Anarchy discusses ShotNotes, a Premiere Pro panel that keeps project notes, time codes, links, timers, and collaboration details inside the edit instead of scattered across documents or sticky notes. He also previews Beauty Box Video AI development and explains where generative AI can help video pros, where traditional AI still shines, and why AI is useful but not a magic bullet.
A Adobeanunciou hoje o lançamento de um plugin unificado para o ChatGPT, reunindo mais de 70 ferramentas criativas da seu suíte diretamente na interface do chatbot por inteligência artificial (IA) da OpenAI.
O plugin conta com ferramentas de aplicativos da Adobe que já possuíam integração com o ChatGPT, além de novos recursos do Adobe Express, Photoshop, Firefly, Premiere, Acrobat, Lightroom, Illustrator, InDesign e Adobe Stock, permitindo que os usuários possam criar peças publicitárias ou adaptar um vídeo para diferentes redes sociais sem precisar alternar entre aplicativos.
A novidade faz parte da estratégia da Adobe de expandir a compatibilidade dos seus recursos com as ferramentas de IA generativa; em junho, a empresa já havia mencionado que levaria esses recursos inclusive para rivais do ChatGPT, como o Claude. No Copilot, no Gemini e no Slack eles chegarão “em breve”, segundo a empresa.
Grande novidade: um novo plugin da Adobe já está disponível no @ChatGPT da @OpenAI! Mais de 70 ferramentas — incluindo @Photoshop, @AdobeFirefly, @Lightroom e @Acrobat — reunidas em um único chat. Crie mockups com suas fotos. Adapte vídeos para qualquer plataforma. Transforme um modelo em um PDF com acabamento profissional. Saiba mais: adobe.ly/3TDrxff
Ainda conforme a desenvolvedora, a novidade foi pensada para “facilitar e agilizar a transformação de ideias em conteúdo de alta qualidade dentro do ChatGPT”, mas a empresa destaca que, para necessidades criativas “mais profundas”, os seus aplicativos nativos seguem sendo a primeira opção.
Questionada pela AI Magazine se o uso dos recursos incorporados ao ChatGPT poderia rivalizar com o uso dos aplicativos nativos, a líder de produtos de IA agêntica da Adobe, Deepti Pradeep, respondeu o seguinte:
Dentro do ChatGPT, a experiência é transformadora: em vez de escolher plugins da Adobe separadamente, os usuários podem experimentar uma única experiência da Adobe que traz o Photoshop, Acrobat, Express e mais juntos.
Nós acreditamos que a consolidação adiciona mais valor aos usuários do ChatGPT. Fora dele, nossos aplicativos nativos permanecem essenciais para um controle mais profundo, preciso e avançado dos fluxos de trabalho.
Para iniciar, é possível utilizar algumas funcionalidades do plugin como convidado, embora a Adobe recomende fazer login com a sua conta para “desbloquear recursos adicionais”.
O plugin da Adobe já está disponível tanto no app quanto na versão web do ChatGPT.
Em mais um dos seus comparativos, o canal do YouTube PhoneBuff colocou o MacBook Neo para disputar com o Dell XPS 13, ambos vendidos lá fora pelos mesmos US$700 (após o reajuste recente de Macs) com 8GB de memória — com diferença no armazenamento, 512GB contra os 256GB iniciais no caso da Apple.
Embora o XPS 13 tenha se mostrado um tanto competitivo em diversos cenários, o Neo se mostrou equivalente ou superior na maioria dos critérios estabelecidos no comparativo.
Quanto ao som dos dois, o computador da Apple, mesmo com metade da quantidade de alto-falantes, apresentou um resultado mais consistente em termos de qualidade — embora o XPS 13 tenha apresentado um volume maior.
Em se tratando da tela, tivemos a primeira grande derrota da Maçã: embora o MacBook Neo apresente maior visibilidade em ambientes com alta exposição à luz, o Dell XPS 13 venceu no conjunto geral ao contar com suporte ao toque, uma taxa de atualização de 120Hz e suporte ao padrão de gama de cores DCI-P3.
Sobre a bateria, embora perca em tempo de carregamento, o MacBook Neo compensa a desvantagem de capacidade física (36,5Wh frente aos 52Wh do XPS 13) com eficiência energética, até mesmo considerando a diferença entre a arquitetura x86 do Intel Core 5 320 e a arquitetura ARM64 presente no chip A18 Pro.
Falando em seus chips, aliás, o desempenho é outro ponto para a Apple: o computador da Dell vence em tempo de inicialização e nos testes de navegador por uma margem pequena (19 contra os 21 segundos do Neo), mas perde para o MacBook na descompactação de um arquivo de 6GB, sendo cerca de três vezes mais lenta na máquina com Windows, e também na abertura de um documento de 500 páginas no Word, com uma diferença de 5 segundos (12 no XPS e 7 no caso do Neo). A Maçã também levou a melhor com os programas da Adobe, concluindo mais rapidamente as alterações em projetos do Photoshop e do Premiere. Em jogos, foi o único momento em que o empate foi ruim o suficiente para ambos; títulos como Cyberpunk 2077 passaram com muita dificuldade da casa dos 30 quadros por segundo.
Câmera foi outro ponto positivo para o MacBook Neo, que apresentou imagens com mais nitidez e um microfone com uma filtragem de voz mais suave que sua contrapartida no universo Windows.
Já tratando de design, na avaliação do canal a vantagem é do Dell XPS 13 por sua leveza, bordas mais finas e a presença de retroiluminação no teclado (embora ele destaque positivamente o trackpad do MacBook) — ausência um tanto criticada por diversos entusiastas de tecnologia.
Em conclusão, ambas as máquinas possuem seus próprios pontos positivos — ou seja, não houve uma vitória clara para uma ou outra.
MacBook Neo
Cores: prateado, blush, amarelo-cítrico ou índigo Armazenamento: 256GB ou 512GB (com Touch ID)
NOTA DE TRANSPARÊNCIA: O MacMagazine recebe uma pequena comissão sobre vendas concluídas por meio de links deste post, mas você, como consumidor, não paga nada mais pelos produtos/serviços usando os nossos links de afiliado.
The Dink is now streaming on Apple TV, bringing pickleball rivalries, family tension and a star-filled ensemble to the platform in a new feature from Apple Original Films.
Jake Johnson leads the sports comedy as Dusty Boyd, a former tennis prodigy whose career has been reduced to coaching unruly children at the suburban country club operated by his father, Chuck, played by Ed Harris.
Dusty remains desperate to earn Chuck approval and supports his campaign against the pickleball players moving into the club. That loyalty becomes harder to maintain when an old injury prevents Dusty from continuing to play tennis and forces him to try the sport he has spent years dismissing.
Mary Steenburgen stars as Candace, the pickleball player who helps Dusty discover that the smaller court and plastic ball may offer more competition, community and personal meaning than he expected.
The official trailer previews the increasingly absurd conflict as Dusty moves from mocking pickleball to treating it with the same intensity that once defined his tennis ambitions.
Image Credit: Apple Inc.
The Dink Turns Pickleball Into a Personal Crisis
The Dink uses the cultural rivalry between tennis and pickleball as the foundation for a familiar but effective underdog story.
Dusty has built his identity around a sport that no longer provides the future he imagined. Coaching children keeps him close to tennis, but it also becomes a daily reminder of the professional career that never reached its expected destination.
Chuck makes that disappointment more difficult to escape. He treats tennis as a tradition worthy of protection and pickleball as an invasion threatening the character of his club. Dusty supports that view partly because opposing the new sport offers another chance to remain aligned with his father.
The injury breaks that arrangement. Dusty can either accept that his competitive life has changed or continue defending a version of himself that no longer exists.
Pickleball gives the movie an accessible way to explore that conflict. The sport has grown rapidly across the United States, attracting recreational players, professional tournaments, celebrity investors and frequent arguments over shared tennis courts.
That expansion has created a real cultural divide. Longtime tennis players sometimes view pickleball as an easier imitation occupying spaces built for their sport. Pickleball players respond that its accessibility, social atmosphere and shorter learning curve are precisely why it has become so popular.
The movie exaggerates those attitudes without requiring viewers to understand tournament rules or follow professional pickleball. Dusty resistance is easy to recognize because the dispute is ultimately about status, pride and adapting when another generation changes the environment.
Johnson brings the frustrated comic rhythm that made his work in New Girl and Self Reliance distinctive. Dusty can recognize the ridiculousness surrounding him while remaining too emotionally invested to step away from it.
Image Credit: Apple Inc.
A Cast Ready for Sports-Comedy Disorder
Ed Harris gives Chuck the kind of dramatic intensity that can make an argument about pickleball sound like a defense of national values.
The performance works because Harris does not need to treat the character as an obvious joke. Chuck absolute seriousness turns court access, club traditions and Dusty choices into matters of personal betrayal.
Steenburgen provides a warmer presence as Candace, whose interest in pickleball is connected to friendship and personal renewal rather than institutional rivalry. Her character gives Dusty an alternative to the approval he has spent years seeking from his father.
The supporting cast adds several different styles of comedy. Chloe Fineman appears as Marisa, while Patton Oswalt, Chris Parnell and Aaron Chen populate the club with characters capable of pushing the central rivalry into increasingly strange territory.
Ben Stiller appears in the movie while also serving as a producer through Red Hour Films. His involvement creates an immediate connection to the broad sports comedies of the 2000s, particularly stories in which an underestimated activity becomes an arena for oversized ambition.
Former tennis champion Andy Roddick also appears, bringing part of Dusty competitive past directly into the story. John McEnroe joins the collection of tennis personalities willing to participate in a movie built around the sport losing territory to pickleball.
The appearances allow The Dink to make fun of tennis culture without presenting it as an invented stereotype. The athletes understand the rivalry and can participate in the joke while giving the movie a recognizable connection to professional competition.
Josh Greenbaum directs from a screenplay by Sean Clements. Greenbaum previously directed Barb and Star Go to Vista Del Mar and the documentary Will & Harper, demonstrating an interest in unusual personalities whose comic journeys contain more sincerity than their premises initially suggest.
Clements brings experience from television comedy, including Workaholics, helping the film maintain an ensemble rhythm rather than depending entirely on pickleball references.
Image Credit: Apple Inc.
Apple Original Films Finds a Lighter Release
Apple acquired worldwide distribution rights to The Dink in August 2025, adding the project to a film catalog that moves between major dramas, action productions, documentaries and mainstream entertainment.
The movie offers a deliberately lighter summer release than many of the prestige projects associated with Apple Original Films. Its appeal depends on character chemistry, physical comedy and a sport already producing arguments in clubs and neighborhoods across the country.
That approach gives Apple TV a feature capable of reaching viewers who may not be looking for another complex series or franchise commitment. The story is contained, the conflict is immediately understandable and the cast combines familiar performers from several generations of comedy and drama.
The Dink also arrives as Apple TV continues developing a broader identity for its movie catalog. Award recognition remains part of the strategy, but accessible comedies can give subscribers a different reason to open the service on a weekend.
The film held its global premiere in Los Angeles on July 20, with Johnson, Harris, Steenburgen, Fineman, Aaron Chen, Greenbaum and Clements attending the event at Westfield Century City.
Johnson also serves as a producer alongside Stiller, John Lesher, Rob Paris and Mike Witherill. That position gives the lead actor a larger role in shaping a comedy built closely around his familiar ability to play disappointed men attempting improbable reinvention.
The timing could also help the film benefit from growing curiosity around pickleball. Viewers who already play will recognize the sport competitive personalities and social appeal, while skeptics may find Dusty hostility uncomfortably familiar.
The Dink runs for one hour and 42 minutes and carries a PG-13 rating for strong language and sexual material. It is available exclusively to Apple TV subscribers through the Apple TV app.
O aplicativo de edição de vídeos Adobe Premiere foi atualizado recentemente na App Store com suporte nativo ao Apple Vision Pro — o que significa que usuários não dependem mais de soluções como o Mac Virtual Display para usar o app no headset.
Em vídeo publicado pelo usuário Justin Ryan no X, é possível ver o aplicativo em ação. Ele conta com uma interface de edição completa — com direito a suporte a painéis flutuantes, clipes espaciais e controles de profundidade para textos.
Here’s a first look at Adobe Premiere running natively on Apple Vision Pro.
The visionOS app features a full spatial editing interface with floating panels, support for spatial clips, and depth controls for text. Available now on the App Store. pic.twitter.com/odQ74V6tJO
Cabe destacar que o aplicativo presente no Vision Pro é a mesma versão universal já disponível para iPhones e iPads — e não o Adobe Premiere Pro, que é o aplicativo clássico, mais completo e avançado, para desktops.
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