Blackmagic Design Announces DaVinci Resolve 21.1

Blackmagic Design Announces DaVinci Resolve 21.1

Brie Clayton September 8, 2026

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Major update adds AI assistant integration, expanded camera support, enhanced multi-cam workflows, and 25 new Krokodove graphics tools!

Blackmagic Design today announced DaVinci Resolve 21.1, a major new update that introduces AI assistant integration allowing customers to efficiently manage tasks such as organizing media or batch rendering, as well as expanded support for camera formats on the photo page. The Fusion 3D and shape tool kit is further expanded the with over 25 new Krokodove tools, plus there are over 100 new tools and controls for faster editing and color grading workflows. DaVinci Resolve 21.1 is available now for download free of charge from the Blackmagic Design web site.

DaVinci Resolve 21.1 will be demonstrated on the Blackmagic Design IBC 2026 Stand 7.C49.

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DaVinci Resolve 21.1 now supports integration with AI assistants such as Claude, Claude Code and ChatGPT Codex, allowing customers to analyze projects, organize media, adjust settings and batch render using everyday conversational language. Customers can ask their AI assistant to create highlight edits from long form video, remove unwanted clips and render deliverables, so they can spend more time being creative rather than getting bogged down in repetitive tasks.

The photo page now supports a wider range of camera formats including Fujifilm's GFX and X series, Leica SL, and Sony A7R V1, so photographers working with these cameras can import their files natively without needing to convert files. Image settings on the photo page can now be adjusted in the inspector using DaVinci Resolve color panels, including the DaVinci Resolve Micro Color Panel, giving customers hands-on control for faster, more precise adjustments. ResolveFX support has been expanded with enhanced sky replacement capabilities for still images on the Color page.

Many improvements have also been made to the media page allowing for easier media review and management. The source viewer now preserves the source media's original aspect ratio independent of the timeline being vertical or horizontal. This means that customers working with both formats see their media correctly without manual adjustment.

In the media pool, all editable fields can now be modified directly in the list view, and customers can use tab and enter keys to navigate between rows and columns for faster metadata entry. A new decode option in preferences lets customers specify if only full resolution media should be used with AI tools, with fallback to any available media if the preferred media is offline.

When exporting a project archive, customers now have options to include only used media, choose between originals and proxies, and to include render cache, LUTs and gallery stills. When consolidating projects, a .drp file is now included with rendered project media.

Edit page multi-cam workflows are also enhanced with a new timeline viewer multi-cam mode button which displays the current clip in the source viewer for seamless angle switching. This means customers no longer lose their place when previewing media pool clips, as the source viewer automatically returns to multi-cam mode when switching back to the timeline. When creating multi-cam clips, customers can now split at timecode gaps, making it faster to sync footage from multi-camera shoots.

New keyboard shortcuts support control of up to 25 multi-cam angles, so customers working on large concert, sports or event productions can switch between cameras faster. Track selection shortcuts now support up to 32 tracks, and audio waveforms can be automatically scaled to fill available track height, so customers can clearly see audio levels across clips with different volumes without manual adjustment.

The updated trim editor on the edit page allows direct dragging in the viewer for precise frame-level adjustments, and customers can now display clip durations alongside their names in the timeline, making it easier to identify clips at a glance. The inspector panel now supports presets, so customers can save and recall favorite parameter configurations for video, audio, transitions and transforms, eliminating repetitive manual setup across projects.

In the index panel, customers can now export their list of markers as a polished .pdf report, making it simple to share notes with clients or collaborators outside of DaVinci Resolve. Compare with current timeline' features a redesigned interface for easier navigation and review of specific parts of the edit.

The cut page now features two new source timecode timer options when in source tape and multi source viewer mode. This gives customers precise offset and duration reference points during editing. New editing preferences including stop playback on scrub, always play audio when changing frames, and blade selects clip after playhead give customers more control over how DaVinci Resolve responds to their editing style.

On the color page the multimaster trim feature now supports individual trim passes for Dolby Vision, HDR10+, and HDR Vivid workflows, enabling customers to grade each HDR format independently rather than sharing a common trim. This means colorists working on multiple deliverables can fine tune each version without compromising the others. Output sizing can now be overridden for each trim, allowing independent framing for different aspect ratios, and individual timeline caching per t

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