Blackmagic shipped Resolve 21 as the stable release after the beta, with a long list of AI-labeled features, new motion graphics tools, and a new Photo page that pushes the product beyond video editing and into Lightroom territory. That new angle drove most of the interest. A lot of people already see Resolve as the best non-Adobe creative suite deal in the market because the free version is unusually capable and the Studio license is still a one-time purchase with upgrades across major versions. The new release makes that case stronger by bundling basic photo editing and management, more Fusion motion graphics capability, and the usual color tooling Resolve is known for.
The practical consensus was less about hype and more about workflow. Readers who do real editing mostly liked the AI features when they reduced tedious tasks like search, masking, tracking, deblur, transcript work, or slate recognition. They did not treat this as “make art for me” AI. The annoyance was the branding. Many said the features should be described by what they do, not prefixed with AI nine times. The stronger concern was not ethics but quality control. Tools that save editors time can also become excuses to shoot sloppier footage and patch it later.
On the photo side, enthusiasm was real but qualified. Resolve’s color tools and
node-based workflow impressed experienced users, and several people said that alone could make it more flexible than Lightroom for complex grading. But nobody credible claimed the new Photo page is already a clean Lightroom replacement across the board. Lightroom still wins on habit, speed,
AI masking, mature
RAW workflows, catalog-driven ecosystems, and general smoothness. Resolve also has gaps and rough edges, including incomplete camera RAW support, a confusing import and render flow for photographers, and pro-software UX that assumes you will study manuals or courses. Linux users were excited because this is the first serious Lightroom-style option many would even consider, but just as many warned that running Resolve on Linux is fragile, hardware picky, and still weak on
AMD.
The broader read is that Blackmagic keeps winning goodwill by doing something Adobe no longer does. It ships ambitious creative software that people are excited to buy, even when they do not need to, because the pricing feels fair and the updates feel substantial. That goodwill survives plenty of complaints about clunky UI, uneven module integration, Fusion roughness, and platform-specific bugs. People tolerate the weirdness because the value is hard to ignore.