Issue link: https://digital.copcomm.com/i/1540216
BITS & PIECES LUMA AI LAUNCHES RAY3 VIDEO MODEL PALO ALTO, CA — Generative AI lab Luma AI (https://lumalabs.ai) has unveiled Ray3, a new video model that's built to think like a creative partner. Available now in the Dream Machine platform, Ray3 empowers filmmakers, advertisers and game developers to move from idea to final cinematic video faster than before, while meeting the technical standards of professional production. Unlike earlier models that could only generate visuals with limited control, Ray3 can reason in visuals and concepts, evaluate its own outputs and refine its results on the fly. It's also able to produce video in true 10-bit, 12-bit, and the 16-bit High Dynamic Range (HDR) ACES2065-1 EXR format, making it suitable for high-end film and advertising pipelines. And with its new draft mode, cre- atives can explore dozens of ideas up to 20x faster, then select and polish the best options into cinematic, 4K-quality HDR. Adobe and Luma AI are partnering to bring Ray3 directly into the Adobe Firefly app, Adobe's all-in-one destination for AI-powered ideation, creation and production. With this integration, Adobe becomes the first partner to launch Ray3 outside of Luma AI's Dream Machine platform. Ray3 is now avail- able globally in the Firefly Video module and Firefly Boards. For customers who want more precise editing and refinement, Ray3 generations in Firefly can be brought into Adobe Premiere Pro. To help users get started, Adobe is offering unlimited Ray3 generations for the first 14 days to customers on a paid Firefly or Creative Cloud Pro plan. "Adobe is building the creative AI ecosystem of the future with Adobe Firefly — our all-in-one destination to access the industry's top creative AI models, including our commercially-safe Firefly models and choice models from trusted partners like Luma AI — all integrated into the tools creators know and use every day," says Hannah Elsakr, VP, new GenAI business ventures at Adobe. "With Ray3 now available in the Firefly app, Adobe customers are among the first to gain access to a powerful new video model that amplifies imagination and transforms workflows. We can't wait to see how they use it to bring their ideas to life." FLANDERS SCIENTIFIC'S NEW MONITOR QUALIFIES FOR DOLBY VISION MASTERING ALPHARETTA, GA — Flanders Scientific's (flandersscientific.com) XMP551 is a 55-inch UHD QD-OLED HDR mastering monitor that offers true refer- ence-grade performance. Built around a 4th-generation Quantum Dot OLED (QD-OLED) panel, the 55-inch UHD monitor qualifies as a Dolby Vision mastering monitor and achieves a peak luminance of up to 4,000-nits. The performance marks a level of brightness that previously wasn't achieved at a price point of $20,995. In addition, the XMP551 delivers a contrast ratio of 8,000,000:1, along with FSI's widest native color gamut to date. The XMP551 is designed for both colorists and clients, offering off-axis view- ing capabilities that ensure both the operator and client see the same image, no matter where they are seated. This enables a grading suite to make use of just a single monitor, helping to save money and space. The AutoCal calibra- tion system allows operators to recalibrate the unit easily. They simply attach a compatible probe and the monitor can generate volumetric 3D LUTs on demand. No external computer is needed. Connectivity includes four 12-Gbps SDI inputs with clean loop-throughs, and four processed SDI outputs, capable of downscaling UHD to HD or mirroring look LUTs. Flanders Scientific began shipping the XMP551 last month. William Town was honored with the "Best Editing" award at the 2025 MTV Video Music Awards for his work on Tate McRae's Just Keep Watching. The track is from the feature film F1 The Movie, and also earned the VMA for "Song of the Summer." Town, who is the founder of bi-coastal creative post studio Modern Post (https://modernpost.com), cut Just Keep Watching in Adobe Premiere. He had an in-person editing ses- sion with McRae back in May, where they locked the final edit. For more on "Music Videos," turn to page 16.