Inside Apelles

Three rooms, one window.

Cutting, motion graphics and colour normally mean three applications and three round trips through an export. Here they are three parts of the same project, and everything below is shipped and working today — nothing on this page is a plan.

01 — Where the video gets its shape.

Edit

A real multi-track editor. Everything a working editor expects to find under their hands is here — and everything here can be asked for in a sentence instead.

A capture of the Edit room existed here, but predates the rename and is being retaken rather than shown stale. The capabilities below are all shipped and documented today.

Video, audio and subtitle tracks composited alpha-over, not opaque top-wins
Ripple, roll, slip, slide, swap-media and the seven edit types on drop
Multi-select, marquee, cross-track ripple and real A/V linking
Per-clip transform with independent width/height, crop, and per-property keyframes
Real cubic-bezier keyframe easing, dynamic zoom, and speed ramps that can run in reverse
Transitions that bridge a cut and read handle media — clips never overlap
Text and title clips, subtitles, and animated caption presets burned into preview and export alike
Per-clip volume, constant-power pan, four-band parametric EQ, track gain and ducking
Frame-anchored timeline markers on Resolve’s own sixteen-colour palette
Export the whole timeline to video with real mixed audio, or to DTD-verified FCPXML 1.7

02 — Where things move on their own.

Motion

Titles, callouts and graphics that animate — built in the same window as the cut, not exported out of a second app and imported back.

No screenshot of the Motion room has been captured yet. Rather than show a mockup, this section lists only what the room really does today.

Ten layer primitives — text, emphasis, matrix, graph, layers, particleflow, labelbox, layerstack, plus claudechat and deviceframe
A multi-scene JSON manifest and compiler, with each scene optionally 3D
A live Remotion player preview with its own transport
On-canvas select, drag, resize, marquee and group-move in world coordinates
A per-row keyframe timeline with a real bezier ease-curve editor
A browsable primitive catalog that actually creates layers, and a typed property Inspector
Render exports every scene as its own video file, auto-imported back into Sources

03 — Where it stops looking like a phone recording.

Colorist

Real colour work, with real colour science underneath — the single biggest difference between footage that looks amateur and footage that does not, and the part nobody teaches you.

No screenshot of the Colorist room has been captured yet. The capabilities listed here are all shipped and documented; the imagery simply does not exist to show yet.

A wgpu/WGSL GPU render pipeline with a layered, non-destructive adjustment stack
Primary, master and per-channel tone curves, lift/gamma/gain wheels, LUT nodes, HSL qualifier
Shape masks (radial, linear, brush) with feather, per-mask adjustments and per-mask blur
SAM 2 subject masks with video propagation, refined through a trimap into ViTMatte
Depth masks via Depth Anything V2, plus a temporally-consistent depth track for moving cameras
Mask keyframes: geometry authored at source frames, interpolated at render time
A live scopes panel — luma, RGB, parade, vectorscope, histogram
Interactive relight: draggable depth-driven light pucks, deterministic and real-time
Closed-loop match_to_reference, depth-haze, ProRes/H.264 export and a .cube bake

Where the project actually is.

Stage: Pre-release
Platform: macOS (Apple Silicon)
Licence: AGPL-3.0
Windows: Surveyed and scoped, not yet built

No downloads, no user numbers and no testimonials on this page, because there are none of those things yet. There is a list.

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