▲ Athene Galiciadis is a Zurich-based artist featured in the new Art Basel in Basel digital collection on Samsung Art Store. Photo courtesy of the artist.

Galiciadis’ “Stillleben (Reflection on Longings and Belongings)” and “Stillleben (Window)” have been selected for the Art Basel in Basel (ABB) 2026 Collection on Samsung Art Store. The works were chosen for their strong use of color and pattern, qualities that translate naturally to the digital viewing experience on Samsung Art Store. Created in partnership with Art Basel, the digital collection features works by Switzerland-based artists from participating galleries and brings contemporary art from the fair to Samsung Art Store subscribers worldwide. Samsung Newsroom spoke with Galiciadis about form, color, the ideas behind the selected works and how digital presentation can bring art into the home.

A Personal Language Through Patterns

Q. Your work has a distinct language of shapes, colors and materials. How did this visual system develop?

I began developing this visual language while studying Fine Arts at ECAL(École cantonale d’art de Lausanne) in Lausanne. At the time, many artists in the Lausanne art scene were working with Neo-Geo aesthetics. I admired the rigor of that language, but I never fully connected with its precision. Rather than adopting it directly, I tried to translate it into something that felt closer to me.

▲ No two hand-painted patterns are exactly the same, with small variations giving Galiciadis’ geometric forms a sense of movement. Photo by Malle Madsen, courtesy of von Bartha Copenhagen.

I started working with geometric forms, patterns, repetition and symmetry, but I deliberately embraced the handmade. Every shape was drawn or painted by hand, making it unique and slightly different from the one beside it. The patterns shifted subtly across the surface, not through a predetermined system, but through the small variations that naturally arise from manual repetition.

Q. How do you think about rhythm, variation and change within a composition?

Repetition has always been central to my practice, but I have never been interested in repetition as exact duplication. Because my forms are drawn and painted by hand, no element is ever completely identical to another. A line becomes slightly thicker, a shape shifts, a color changes in intensity. These differences accumulate and create a sense of movement across the surface.

I often think of repetition in terms of rhythm rather than pattern. A pattern suggests a fixed system, whereas rhythm allows for fluctuation, pauses, accelerations and unexpected turns. In that sense, my compositions are perhaps closer to biology than to geometry. They are structured, but never entirely predictable. They repeat, but never in exactly the same way. Over time, this visual language has become more than a tool. I see it as a placeholder for “in-betweenness,” a way to hold ambiguity, transition and multiple meanings at once.

▲ (From left) Galiciadis stands beside her ceramic works, the installation shows how repeated forms create rhythm and movement across the space. Photo by Malle Madsen, courtesy of von Bartha Copenhagen.

Q. How much of a work is planned before you begin and how much is decided through the act of making it?

I usually begin with a very clear image in my mind. I think visually, so many works start as an almost complete mental picture rather than a concept expressed in words. What fascinates me is that the finished work never looks exactly like that initial image. The image has to pass through materials, gestures, scale, time and the realities of the studio. In that translation, things inevitably shift.

I do not see these deviations as mistakes or compromises. On the contrary, they are often where the work becomes most interesting. While the starting point is often highly defined, the final work is always shaped through the act of making. It is a conversation between intention and discovery, between what I envisioned and what the work itself asks for along the way.

Q. Are there certain materials, colors or forms you find yourself returning to over time? If so, what keeps drawing you back to them?

Yes, there are certain forms, colors and motifs that keep returning: snakes, spirals, pinks, triangles, zigzags and many others. I do not consciously decide to revisit them; rather, they seem to reappear on their own, as if they still have something to teach me.

I often think of artistic research as a spiral rather than a linear progression. You engage with something, move away from it, explore other directions and then return to it later. But when you come back, neither you nor the motif is quite the same. Perhaps this is why I am drawn to recurring forms. They become companions in a long-term conversation. Each time they reappear, they carry traces of previous works while opening up new questions and possibilities.

The Meaning of “Stillleben”

“The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion.”

Q. Your palette often moves between soft pinks, greens and yellows, with darker blues and blacks adding contrast. How do you think about color as a way to shape tension, depth or atmosphere?

For me, color is something deeply personal. I do not approach it primarily as a decorative element or as a way of illustrating an idea. Rather, color is a way of thinking and a form of artistic research.

In many ways, this process replaces language. Instead of formulating thoughts through words, I compose with layered colors. Through this slow accumulation, I search for nuances, tensions and relationships that are difficult for me to articulate verbally. The depth that emerges is not only visual but also emotional and conceptual.

Q. What can you share about the works selected for the Art Basel in Basel 2026 Collection on Samsung Art Store and the moment in which they were made?

This work emerged within a larger constellation of paintings that I was developing simultaneously in the studio. I rarely work on a single canvas at a time. Instead, several works evolve alongside one another, creating a kind of conversation. What appears on one canvas often migrates to another; a color, form, rhythm or idea that begins in one painting may find a different articulation in the next.

▲ From left. “Stillleben (Window)” (2023) by Athene Galiciadis. Photo by Malle Madsen.  “Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis. Photo by Andreas Zimmermann.

Both works were created within such a process. They carry traces of multiple explorations and conversations taking place across different canvases at the same time. Looking back, I see each work as part of an ongoing reflection on questions that continue to occupy me: belonging, displacement, memory, inheritance and transformation. Rather than offering answers, the painting became a space where these themes could coexist and interact.

Q. How did the title “Stillleben (Reflection on Longings and Belongings)” come to the work and what does it add to the viewer’s understanding of the piece?

The title emerged from two conditions that often feel inseparable. Questions of migration, displacement, in-betweenness, transformation, inheritance and identity run throughout my practice and shape how I understand the world. What does it mean to belong? Who is included and who remains outside? Belonging can offer shelter, care and nourishment, but it can also produce boundaries and exclusions.

Longing is particularly difficult to describe. For me, it is often connected to a desire to bridge a gap that is always present but was never entirely my own. It can be inherited across generations, carried through stories, silences, memories and cultural interruptions. It is a longing for connection, continuity and understanding, while knowing that some distances can never be fully overcome.

The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion. For me, “Stillleben (Reflection on Longings and Belongings)”inhabits this space of contradiction. It reflects on the simultaneous desire to belong and the awareness that belonging is never simple, fixed or innocent.

Where Art Finds New Meaning at Home

Q. Samsung Art Store gives people a way to encounter world-class art in the spaces where they live. What interests you about that everyday relationship with artwork?

What interests me most is the possibility of creating an everyday relationship with art. Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time. When you encounter an artwork repeatedly, it becomes part of your daily life and the relationship deepens over time to become a piece of your memories and personal history.

This resonates with my interest in collaboration, participation and community building. I enjoy forms of access that allow art to enter everyday environments. Through projects such as Actioning, I have explored how meaning emerges through shared experiences and sustained engagement. I see art as something that can create connections and become part of a shared cultural life.

Q. How do you think the experience of viewing art changes when a work becomes part of a home environment?

I think the experience becomes slower and more intimate. In a museum, we often encounter artworks briefly and alongside many others. At home, the relationship unfolds over time and the artwork becomes part of everyday life.

You might notice it while drinking your morning coffee, passing through a room or returning home after a difficult day. Sometimes you look closely; other times it simply exists in the background. Yet it continues to shape the atmosphere of a space.

▲ “Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis is displayed on the 2026 OLED TV S95H.

The work becomes an ongoing relationship. Meanings can shift over time and details that initially went unnoticed may suddenly become important. As the viewer changes, the work changes too. This reflects how I understand art: not as a fixed message, but as something open that continues to generate new associations.

“Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time.”

Q. For viewers who may discover your work for the first time through Samsung Art Store, what would you hope they take time to notice?

I would invite them to spend a little time with the work and allow their eyes to wander. At first glance, my paintings may appear structured, repetitive or geometric. But if you stay with them for a while, small shifts, irregularities and transformations begin to emerge.

I hope viewers notice that nothing is ever entirely fixed. Forms repeat, but they also change. Colors overlap, reveal and conceal one another. What may initially seem stable gradually becomes more fluid and complex.

Perhaps most of all, I hope people allow themselves to experience the work without feeling the need to immediately understand or interpret it. Much of my practice is concerned with things that exist between categories: between belonging and displacement, order and unpredictability, memory and imagination. These are experiences that cannot always be translated into words.

If viewers take the time to notice the rhythms, layers and subtle variations within the work, they may discover that the painting is less about providing answers than about creating space for reflection, curiosity and personal associations. I hope everyone can find their own point of entry and build their own relationship with the work over time.

▲ Samsung’s 2026 Art TV lineup offers digital collections of curated artworks through Samsung Art Store. (From left) 2026 OLED S95H, The Frame Pro and Micro RGB.

Samsung Art Store is an art subscription service available on Samsung Art TVs. The service offers more than 5,000 artworks in 4K quality from over 800 artists through more than 80 partners. Available across Samsung’s expanded 2026 Art TV lineup, Samsung Art Store brings curated artwork into everyday spaces through Samsung’s display technology and design.

To meet these changing expectations, Samsung Electronics introduced Vision AI Companion (VAC), an integrated AI platform designed for TVs. Exclusive to Samsung TVs, VAC delivers AI-powered services that present relevant information without disrupting viewing and seamlessly connect users to related content.

In May, Samsung updated the VAC user interface and accelerated the service’s global rollout. Previously available in 38 countries including Korea, VAC has since expanded worldwide,[1] with support extended to more TV models. The company plans to bring the service to additional products and markets, giving more users access to AI-enhanced screen experiences.

Samsung Newsroom spoke with Donghee Han of the Experience Planning Group, Visual Display (VD) Business to learn more about how VAC is shaping the future of TV viewing.

▲ Powered by Samsung’s advanced AI technology, VAC optimizes content experiences for TV viewing.

AI Designed for the TV Screen

As AI becomes increasingly integrated into everyday life, consumers have naturally come to expect new AI-powered capabilities from their TVs. Yet questions remain about what role AI should play on TVs and which functions provide meaningful value.

“Building on Samsung TV’s longstanding technology leadership, we focused on making a wide range of AI features, content and apps easy to access, so users can enjoy them without navigating complex menus,” said Han. “Rather than simply showcasing technology, the goal was to bring together genuinely useful features that offer practical support while watching TV and make them available in one place.”

The starting point for VAC was the unique nature of TV as a device — one that differs from smartphones or PCs. “Because TV is designed primarily for viewing content on a large screen, AI interactions must be seamlessly connected to what is on screen without disrupting that experience,” he added.

▲ VAC helps users find answers in real time without leaving the content they are watching or turning to another device.

When watching a movie, viewers may wonder, “Where was this film shot?” or “Who directed this?” Instead of reaching for a smartphone, they can simply ask questions about what they are watching and get answers instantly. “Conversational search allows users to resolve questions in the moment and continue exploring related content,” said Han. “It’s a fast, intuitive capability that only Samsung TVs can offer and a key differentiator.”

Natural Conversations, Smarter Discovery

VAC’s greatest strength is its natural language capabilities, allowing users to find content through conversations that feel as intuitive as speaking with another person. While traditional TV voice search typically requires an exact title or predefined genre, VAC interprets both the context and intent behind a viewer’s request.

“Even without knowing the exact title, users can describe a mood, actor or plot point that comes to mind — such as ‘Find me a movie where justice is served in a satisfying way’ or ‘Find me an animated movie about K-pop stars’ — and the AI understands the context to surface the most relevant results,” Han explained. “Because entering search terms with a TV remote can be cumbersome, the ability to find something by saying what comes to mind is an innovative leap in the viewing experience.”

▲ VAC recognizes user intent through natural-language conversations and helps users discover relevant content without manually searching with a TV remote.

VAC goes beyond providing information. “Since video is at the heart of the TV experience, we designed the service so conversations don’t end with a single answer,” he said. “By presenting related videos that users can watch immediately, VAC creates a direct connection between discovery and viewing.”

Han also explained the rationale behind developing an integrated platform tailored for TV. “We believed that simply bringing existing global AI services to TV would not be enough to create a truly optimized viewing experience,” he said. “Drawing on Samsung’s extensive expertise in smart TV platforms, we built a dedicated environment where viewing, conversation, information discovery and AI-generated content come together.”

AI-Curated Updates and Content

With the latest update, VAC introduces enhanced lifestyle features. Today’s Topic, for example, uses AI to summarize top news, lifestyle updates and sports highlights — eliminating the need to search for them manually.

“Today’s Topic was inspired by a simple question — what if AI could proactively find and summarize information users might be interested in?” Han said. “Beyond providing text-based information, the feature also recommends related videos worth watching.” As a result, viewers can quickly catch up on key developments and dive deeper into subjects of interest through related content.

▲ The updated Today’s Topic feature uses AI to summarize key news, lifestyle and sports updates on screen while recommending related videos.

Samsung also introduced the zero-depth user interface, designed to minimize unnecessary navigation. By displaying topic-based conversations directly on the home screen, users can explore AI features without moving between multiple screens.

“We focused on making AI features easier to access while preserving the natural flow of TV viewing,” he added.

Responsible AI for the TV Screen

Bringing AI services to a screen as familiar and ubiquitous as the TV presented challenges beyond the technology itself. Establishing strong policies and safeguards — particularly around copyright, privacy and data use — was a top priority.

“There was no clear roadmap for applying rapidly evolving AI technologies to the TV screen,” Han recalled. “Throughout the planning and development process, we had to make decisions and define principles ourselves.”

▲ Prioritizing safety, privacy and responsible AI use was essential to ensuring that Samsung TVs could be used with confidence by millions of people worldwide.

“There was certainly pressure to introduce new features quickly in a global AI landscape where new services emerge almost daily,” he continued. “But as a platform offered to households around the world under the Samsung name, building user trust mattered more than the speed of implementation.”

To support that goal, the team worked closely with Samsung’s legal department from the earliest stages of development, conducting a thorough review to ensure that every feature met company standards and was introduced responsibly. The result reflects not only technical innovation but also a commitment to earning user trust through robust policies and protections.

The Future of TV, Powered by AI

VAC focuses not only on implementing AI technology but also on integrating it naturally into the TV experience. This philosophy underpins Samsung’s vision for the future of screens. Unlike traditional smart TV services limited to predefined features and fixed interfaces, VAC is designed to adapt alongside changing user needs and market trends.

“Samsung TVs will move beyond menu-based navigation to become platforms that understand user intent and proactively connect users to relevant content,” Han explained. “By combining AI-powered conversations with the immersive experience of a large screen, everything from information discovery to content viewing can become part of a single journey.”

▲ VAC is expanding the possibilities of TV viewing by enabling screens to converse, understand and connect users with content.

“TVs will continue to evolve toward a future where they better understand user intent and significantly broaden the viewing experience,” he continued. “Through VAC, we will keep enhancing both features and usability so more users can enjoy intuitive AI experiences on TV.”

Moving beyond screens that simply display content, Samsung TVs are becoming more intuitive companions. With VAC, Samsung is expanding the possibilities of smarter screen experiences by helping users discover information and content more naturally.

[1] Excluding Belarus, China, Cuba, Iran, Russia and Syria

▲Securing computational design data through 4D scanner

Developing wearables with the optimal fit and comfort remains a difficult yet crucial challenge. Not only do these factors make the device feel more seamless to use, but they are directly tied to maximizing overall performance and sensor accuracy. However, the fact that each person’s anatomy is completely unique presents a major hurdle. But what if there was a way to meticulously engineer comfort, fit and sensing so precisely, it could deliver the optimal experience for nearly everyone?

Samsung’s solution is Computational Design. This multidimensional process harnesses AI and advanced computing to analyze hundreds of thousands of quantitative and qualitative data points to generate, test, and refine product designs with greater precision. The result is a fundamental shift from subjective feedback to objective, data-driven engineering, creating superior products with the optimal fit for the widest range of users.

That description captures computational design in the abstract—like a dictionary definition. To understand how computational design is actually used to create superior wearables, Samsung Newsroom visited the Samsung Design Innovation Center (SDIC) in San Francisco, home to the Computational Design Lab.

Federico Casalegno, EVP and Head of the Samsung Design Innovation Center

Spearheading the SDIC is Federico Casalegno, Executive Vice President and Head of the Samsung Design Innovation Center, who has spent the past two decades mastering the practice of computational design and leading the implementation of this core concept into Samsung’s product development. We sat down with Federico to discuss how SDIC employs computational design as a primary tool to create and optimize experiences for Samsung’s wearables, particularly the Galaxy Buds4 series.

Q. Tell us about SDIC’s role.

At SDIC, our mission is to deliver meaningful experiences by understanding people and their evolving lifestyles—always in the context of human-centered design. Ultimately, we want to delight customers and create products that help people live happier, healthier, more creative, and more productive lives, while building a better future for all and preserving the environment. To achieve this, SDIC brings together the power of design and creativity with data-driven decision-making. Supported by AI, machine learning, robotics, and advanced computing, our talented, multidisciplinary team of designers is constantly pushing the boundaries of what’s possible, delivering unparalleled user experiences and real, tangible benefits.

At SDIC, design is combined with AI, data, and computing to achieve maximum comfort for wearable devices.

Q. What exactly is computational design, and what is the philosophy behind it?

While we live in a unique era of technological innovation, Samsung’s approach to design was always deeply human-centered as we believe that technology without humanity is merely perfection without purpose. Computational design is how we bring this philosophy to life—it is the process of harnessing the immense power of AI, data, and computing to design products for people, rather than expecting people to adapt to our products. This approach helps us to create devices that are fundamentally functional, intuitive, comfortable and beautifully crafted. Today, this methodology is applied all across our wearable portfolio, including Galaxy Watch8 and Galaxy Buds4 series.

The computational design process involves various state-of-the-art testing equipment, including 4D scanning.

Q. How does computational design turn the ‘fit’ of a device into an objective, measurable metric?

For developing something as personal as a wearable that remains in contact with you for extended periods, fit is an essential element. It’s not just about comfort though; a secure fit is also needed for maximizing the precision of the device’s sensors. However, traditional design methods fail to measure wearability objectively, as they only rely on a small sample of people for product testing.

Computational design fundamentally changes this. By leveraging massive, digitalized datasets and advanced AI simulations, it transforms wearability into a quantifiable metric that allows Samsung to measure comfort and fit like never before. By being able to consider all the unique shapes and curves of the human ear or the wrist through computational design, our designers are equipped with trustworthy, objective insights that are difficult to attain through traditional methods.

Optimal design parameters are derived through AI and physics-based simulations, which are then cross-verified with robot testing

Q. Tell us in detail how the computational design process works in the lab, and how it was implemented in the Buds4 series.

Our computational design process relies on three elements: real people, digital twins, and robots. We capture 3D and 4D scans of a diverse global audience, integrating precise anatomical data to create ‘digital twins.’ We then run AI and physics-based simulations, cross-validating the results with physical robot testing.

For the Buds4 series, we applied this exact process to achieve perfect wearing comfort and premium sound. We analyzed hundreds of millions of global ear data points and ran more than 10,000 simulations to perfect the new blade design. This objective data led us to subtly reduce the size of the main head[1] and refine the angle of rotation—minor adjustments that resulted in a dramatic, universally validated increase in stability and comfort.

Q. How does Samsung’s computational design ultimately benefit the users?

Samsung’s computational design process is powered by a unique proprietary dataset built exclusively from within Samsung, and our team has developed several specialized AI programs based on this data. This combination gives us unique insights while we constantly innovate our design processes and methods. For Galaxy Buds and Watch specifically, this translates into improved wearing comfort, stability and sensor accuracy—key factors that elevate both the user experience and product performance.

Samsung’s lineup of wearables, such as Galaxy Buds4, Galaxy Watch8, and Galaxy Ring, all incorporate computational design in its development process.

Q. Looking ahead, how do you see Computational Design evolving over the next decade?

Computational design is now a foundational element of Samsung’s development process across all our wearable products. Our goal remains to maximize wearability, fit, comfort and sensor performance to ultimately serve the people using it.

Looking ahead, the true power of this process is its continuous evolution. As our dataset continues to grow, custom AI tools will drive more accurate simulations and deeper insights. These advancements will not only further improve product wearability, but also unlock exponential innovations down the line that lead to an entirely new category of wearables that can redefine the boundaries of user experience. Ultimately, this symbiotic partnership between computational design and AI frees our designers to be more creative, empowering us to deliver measurably superior products and experiences for the people who use them.

[1] Galaxy Buds4 only

In response, Samsung asked a simple question — can anyone create Hollywood-style videos on a Galaxy mobile phone? The answer is the Cinematic Look-Up Table (Cine LUT) feature on the Galaxy S26 series. While the APV codec provides the foundation for cinema-quality video, Cine LUT brings a distinct color style to the footage.

Cine LUT makes professional-level color grading — once reserved for experts — accessible to anyone. Samsung collaborated with internal teams and external specialists to bring the feature to life. The Mobile eXperience (MX) Business led final camera implementation, Samsung Research developed core video processing technologies and U5K Imageworks — a colorist studio behind globally recognized productions — helped shape its visual aesthetic.

Following the introduction of the APV codec, which delivers a visually lossless level of image quality, Samsung Newsroom spoke with three key developers behind Cine LUT — Sugon Baek of the Camera Image Quality R&D Group at the MX Business, Bomi Kim of the Reality Media Lab at Samsung Research and Taesik Eom, CEO of U5K Imageworks — to hear the story of its creation.

▲ (From left) Taesik Eom, Bomi Kim and Sugon Baek

Q. What is a LUT? What sets Cine LUT on the Galaxy S26 series apart?

Baek: A LUT is essentially a “map” that transforms one set of colors into a desired look. Unlike conventional filters that simply overlay color, Cine LUT reinterprets Samsung Log[1] footage to deliver the depth and look of professional filmmaking.

Kim: It’s optimized for Log video. By leveraging its wide gradation,[2] the feature precisely reconstructs color and brightness to preserve subtle tonal details often lost with conventional filters for richer, more natural depth.

Q. What led to the development of Cine LUT?

Kim: While Galaxy devices supported Log video for high-quality capture, color grading remained challenging for users. We aimed to make professional-looking results accessible without advanced editing skills.

Baek: We wanted to create an experience that lets users preview cinematic footage at the moment of capture, then apply a LUT and share the video with a single tap in the Gallery.

▲ (From left) Bomi Kim of the Reality Media Lab at Samsung Research and Sugon Baek of the Camera Image Quality R&D Group at MX Business

Q. How did the collaboration with U5K Imageworks begin? How was Cine LUT developed?

Eom: Our collaboration began two years ago with Rec. 709 LUT advisory work for Samsung Log video, where we refined strong colors into more natural tones — an experience that led to Cine LUT. For this project, we developed multiple versions across three intensity levels — neutral, soft and strong — and tested them in diverse scenes, ultimately selecting four core styles.

Kim: Building on U5K’s color direction, we validated the concepts against quantitative criteria to ensure consistent performance in different environments, refining them through testing until creative intent and technical quality aligned.

▲ Taesik Eom, CEO of U5K Imageworks

Q. What challenges did you face during development?

Kim: We needed a large dataset to validate performance across diverse conditions. Testing in real-world environments — from natural and indoor lighting to day and night — and close collaboration were key to capturing the nuances of color.

Baek: Maintaining consistent, undistorted color in different environments was challenging. Through continuous testing, we developed a LUT that balances subjective preference with objective quality.

Q. What was the key consideration in creating looks optimized for mobile phones?

Eom: Ensuring reliable performance in real-world conditions was key. Since lighting, exposure and white balance constantly vary, we focused on creating looks that remain natural in any situation.

Kim: Quality was our top priority. We analyzed each frame and validated performance using tools like color charts, gray balance and vector scopes.

Q. Why were these four styles chosen for the Galaxy S26 series?

Baek: We analyzed the visual language of popular film genres and identified four representative styles. From the high-contrast Blockbuster to the fresh Coming-of-age, warm Romance and moody Thriller, each color palette was designed to give everyday scenes an instant cinematic look.

Q. Which Cine LUT styles do you recommend for different situations?

Eom: There’s no fixed answer — it depends on the situation. Blockbuster suits high-contrast environments like outdoor and urban scenes; Coming-of-age fits soft, trendy settings like cafes or vlogs; Romance adds warmth to character-driven scenes; and Thriller creates a more striking impression.

Q. What stood out to you in user feedback?

Baek: We expected it might be seen as just another video effect, but the response exceeded expectations. Users quickly recognized that combining Log shooting with Cine LUTs expands creative possibilities beyond simple filters. We’re also seeing more users choose styles based on the scene, with high-quality videos widely shared on social media — and even inspiring new ways to create content.

Q. What are your plans for the future?

Baek: We aim to further establish the Galaxy S26 series as a professional-grade camera. We hope to see more content that resonates with both creators and viewers and will continue to set new standards in video creation.

Kim: As the world changes rapidly, our goal is to identify next-generation technologies. Through close collaboration with business divisions, we will work to bring them into products and deliver innovative experiences to users around the world.

▲ Baek, Eom and Kim watch a video with Cine LUT applied.

Born from close collaboration, Cine LUT on the Galaxy S26 series transforms everyday moments into cinematic visuals. Beyond its technical achievements, the feature marks an important step toward making video creation more accessible — lowering barriers once reserved for professionals and enabling anyone to express themselves.

Heesub Han, a commercial and documentary director, shot a series of short films on Galaxy S26 Ultra using the APV codec and Samsung Log. Explore the videos below to discover the possibilities of Cine LUT through the making-of and short films.

[1] A technique that uses a logarithmic curve to expand detail in darker areas. While camera sensors capture brightness uniformly, the human eye is more sensitive to changes in shadows. Log helps footage better reflect natural perception.

[2] The smoothness and precision of tonal transitions in an image — how it shifts between light and dark.

In the two years that have passed since its introduction, HDR10+ has not only been revolutionizing the home entertainment market but has also debuted on a variety of other devices, including smartphones.  Bill Mandel, Vice President of Samsung Research America’s Digital Media Solutions Lab, sat down with Samsung Newsroom to provide an update on how far HDR10+ has come since 2017.

Building a HDR10+ Ecosystem

The biggest innovation for HDR10+ since its introduction in 2017 has been the expansion of the types of devices that can support the revolutionary picture technology, as well as the number of partners that have adopted it.

Over the past year, the number of HDR10+ certification program adopters has tripled, including many TV makers and various ultra-high-definition (UHD) device and System on Chip (SoC) makers. As Mandel affirms, the technology has become crucial to providing the best possible big screen television experience. “The additional picture information that comes with HDR10+ enables the TV processor to best recreate the color tones, brightness and contrast details with the highest precision and respect for the creative intent,” he notes. “Every scene and frame of a viewer’s content is delivered to the highest possible quality on larger screens thanks to HDR10+ and QLED TV processors.”

Samsung’s US-based Digital Media Solutions Lab are constantly aware that, just as the number of HDR10+-certified devices is constantly growing, so is the amount of content available. “We develop technologies like HDR10+ to be stable over a long time so that we can ensure we offer consistency across all available picture qualities as well as synergy between content producers and the viewing ecosystem,” explains Mandel of their development process, “and we work to provide a roadmap to enable the industry to develop and grow with these and other new video tools and enhancements.”

Providing High Picture Quality Across the Board

Back in 2017, Samsung partnered with 20^th Century Fox and Panasonic to create a logo and certification program that allows displays to be certified for having HDR10+ implementation. Since then, many more displays and much more content have been developed to support HDR10+ by a wide range of partners and collaborators who see the benefits this picture technology has to offer viewing quality.

“Device adopters see the picture quality benefit to HDR with HDR10+, service providers are finding that they can easily update their existing HDR services, and content providers are finding they can achieve greater consistency of quality across a wider variety of televisions,” comments Mandel on the path HDR10+ has forged in the industry. “Recently, at the Samsung Developer Conference in San Jose, we showcased samples of HDR10+ across a variety of devices including mobile, tablets and TVs to many interested developers.”

Looking to the future, Mandel notes that HDR10+ is set to revolutionize not only TV viewing experiences for users, but potentially also cinematic experiences. “Starting with HDR10+ technologies, we are currently working to understand the needs of filmmakers, post-production facilities and studios in order to help post-production workflows and future generations of displays provide even more capabilities and options to consumers and the media industry.”

The Most Vivid Viewing Experience Yet

What sets HDR10+ apart is that it has been designed to reproduce images faithfully by taking advantage of the brightness, darkness and contrast elements of content paired with the performance range of a viewer’s television. Thanks to its advanced tone mapping technology, HDR10+ is able to better reproduce HDR content with the appearance as intended by the creator. “Not only can users enjoy this quality on HDR10+-certified devices, but HDR10+ technology can enable any TV, even with differing sets of performance characteristics, to provide an immersive HDR content experience that fully showcases the care creatives put into their HDR source masters,” explains Mandel.

Mandel recommends dimming the lights in your home when watching HDR10+ content to make the most of the experience. “HDR10+ works with all the picture modes available on Samsung TVs,” adds Mandel, “and our ‘Movie’ picture mode has been optimized by the picture quality engineering team to deliver colors and cinematic texture as envisaged by the original content creators.” Mandel encourages consumers to look for HDR10+ support when considering their next device, “so that they can be sure they are getting the best HDR viewing opportunity possible.”

HDR10+, along with 8K resolution, stands at the forefront of display technology innovation. “Samsung is committed to continuously expanding the capabilities offered by TV screens,” affirms Mandel. “Through industry collaboration with technology initiatives such as HDR10+ and partners throughout the media ecosystem, we are continuously striving to deliver the best possible viewing experience to consumers now as well as in the future.”

Q. When it comes to hardware, what is most notable about the Gear Fit2?

Chaekyu Choe: To improve performance as a sports band, we added a GPS, an application processor (AP) on the level of a smart watch and improved sensors.

With an embedded GPS, the Gear Fit2 allows users can go out and more accurately track their activities, like walking or running, without bringing along their smartphones.

By separating the LED and photodiode, both of which are needed to measure heart rate, we were able to use a bigger photodiode and enhance heart rate accuracy. Generally, many wearable devices have a combined module for the LED and the photodiode due to their small size. Also, the Gear Fit2’s barometer sensor, which is now about 10 times more precise, made it possible to measure elevation accurately enough to know how many stairs people climbed.

Putting all of the functions into such a slim design was difficult because the space was so limited, especially with the curved design. There are two buttons on the side of Gear Fit2, which restricts the space even more. In order to overcome these limitations, we considered how best to arrange components, how to minimize the space between chips, et cetera. We also had to reduce the number of components.

Q. How were you able to embed full GPS capabilities?

John Kim: The antenna has to receive the satellite signals, but getting it to perform well was a challenge. Antennas work better when they are further from the human body. However, as the Gear Fit2 is slim and has a detachable band, it was challenging to find an optimal spot.

So, a new method was devised: a hybrid antenna. In order to place the antenna as far as possible from the wrist, the antenna was embedded inside the display, and an assistant antenna was installed in another area, thus forming a dual antenna that enhanced performance.

Q. How did you improve battery efficiency?

Hyukbeom Kwon: During the development, we found that power consumption can be reduced by controlling how often the GPS is accessed according to signal intensity. In general, exercise that requires GPS data is normally done outdoors where GPS signals are usually strong. So, we decided to make it turn on and off the radio frequency blocking function.

Through this low-power GPS technology, we were able to reduce power consumption significantly, so it uses about one-fourth the power of a regular GPS device.

Q. How does the automatic workout recognition work? And were there any challenges in developing this feature?

Wonhee Lee: The accelerometer sensor is used to identify the user’s motion first, and then the gyroscope sensor detects the direction and type of movement. Based on the sensor data, the Gear Fit2 can detect five types of workout – walking, running, cycling, elliptical trainers and rowing machine – and automatically recognize when those activities have been done for at least 10 minutes.

As there wasn’t any systematized database telling us “this workout is such-and-such,” we had to understand the data and figure out how to use it to identify each type of activity ourselves. To identify the exact type of workout, we had to get data from as many people as possible – because even for the same workout, the speed and intensity differ greatly depending on one’s age, height, gender, and so on.

Even after we found patterns for each activity, it was difficult to set a standard. For instance, when cycling, the Gear Fit2 detected not only changes in speed and direction, but also minute vibrations similar to what’s experienced when riding a small automobile. So we needed to find out how to distinguish between a car and a bicycle. Regarding workout equipment, there are so many types on the market depending on the manufacturer. Whenever we found an elliptical machine in a park or fitness center, we tried to use it.

Q. What are some of the benefits of using the Tizen OS for developers and consumers?

Keunsang Han: Based on our experience developing the Gear S2, we learned a lot, such as data processing methods, communication technology between a wearble and a smartphone, and the sensor API.

From the user’s perspective, many partners are participating to develop watchfaces, and users can download and use it – that’s because Tizen OS-related SDKs are provided and there is an app store. You can also find various fitness-related apps and watchfaces on Galaxy Apps.

Q. Was there anything unusual or different about the product development process?

Hyukbeom Kwon: Since the Gear Fit2 is a sports band, we had to test the performance firsthand, combining continuous field data with results from the lab. Even a minor modification to the hardware or software required more live testing. We would go outside, regardless of the weather, to conduct those tests. We walked and walked in the park, and exercised a lot.

Yonghak Lee: We had to consider how to customize the daily activity record for each region. For instance, we developed the screen in consideration of how Arabic script reads from right to left, and the 24-hour activity tracker needed to be modified according to time differences when going overseas.

(From left to right) Senior Engineer Chaekyu Choe, Senior Engineer Keunsang Han, Principal Engineer John Kim, Senior Engineer Hyukbeom Kwon, Assistant Engineer Yonghak Lee and Senior Engineer Wonhee Lee

Designers and mechanical R&D engineers at the Mobile Communications Business explain how the design of the Gear Fit2 originated, and how it was realized.

Q. What is the design concept of the Gear Fit2?

Jeff Jones: The original Gear Fit, with its thin, sleek look, was designed as a sports band. Then, with the Gear S2, we learned how to create a more premium wearable fit for everyday life.

We took the knowledge that we gained during these development processes and utilized it to create the product design of the Gear Fit2, merging the rectangular screen of the Gear Fit with the materials and design characteristics of the Gear S2. The final concept aimed to make the Gear Fit2 a device that is at once sporty and luxurious, and to fit naturally into Samsung’s wearable portfolio.

Q. What were the defining moments of the design process of the Gear Fit2?

Howard Nuk: There were many areas of focus during the design process because there were so many factors to consider.

First, we wanted the device to fit just about everyone, so we focused on the differences in people’s wrists, such as size variations, as well as their comfort level and desired point of contact when wearing something. As such, we spent a considerable amount of time determining the optimal curvature and size for the device.

We also wanted it to work with a vertical based UX. And we wanted to provide two side-by-side touch zones for usability. So we experimented with many different screen sizes and ratios until we found the ideal combination to meet our requirements. For example, we employed a 1:2 display aspect ratio on the Gear Fit2 so that its music player can display the skip forward and backward buttons in a horizontal line.

Q. Tell us a bit about how you selected the color, materials and finish (CMF) of the Gear Fit2.

Seounghyun Son: We selected colors—black, pink and blue—that are more “lifestyle” (as opposed to high-tech) so that the device could be worn in both fitness environments and everyday life. Overall, the colors are more subtle than bright, thus increasing the likelihood that someone would wear it all day. Additionally, we wanted to increase the appeal of the band by making it softer than the original Gear Fit and by using a 3-dimensional pattern rather than the 2-dimensional pattern of the Gear Fit.

Q. What are the main differences between the Gear Fit2 and the previous model in terms of mechanical features?

Hyunjun Kim: The Gear Fit2 differentiates itself with a premium, more refined design. We accomplished this by applying aluminum materials rather than plastic ones. To avoid discomfort, we worked hard to make it lightweight. Needless to say, applying metal to a wearable was no easy feat, even though Samsung has been incorporating it into its products, including its smartphone models, since last year.

We also included an improved clasp that uses a secure loop to prevent the device from falling off, and created both large and small variants to ensure that it will fit a wide variety of wrist sizes.

Youjung Song: As a sports band, waterproofness is one of the most fundamental features of the Gear Fit2. Since the device boasts a curved display and very thin bezels, we couldn’t use the materials and structures that are typically utilized to ensure waterproofness. So, we employed a special waterproofing material different from the one we used with the Gear Fit, to ensure IP68-level water and dust resistance. In fact, the material is the same one we used in the Galaxy S7 edge.

Q. What was your biggest focus in developing the main body of the Gear Fit2?

Hyunjun Kim: Because the Gear Fit2 is a wearable device, there was no right method for developing the body, since comfort is different for everyone. It was really challenging to create a design that the majority of people would feel comfortable wearing. So we focused on improving the quality of experience (QoE)—which is inevitably subjective—while being faithful to the basics to develop the product and maintain the design concept at the same time.

Youjung Song: To realize the refined design and useful features of the Gear Fit2, we used a wide variety of materials including curved glass, metal, plastic, silicon and urethane compound. Instead of carving the metallic part to create a curve, we applied the appropriate amount of pressure to bend it in the same curvature as the curved glass. This perfectly interlocked it with the main body and band, making the parts appear as a single object.

The fact that each material required different engineering processes made this a challenge.
Furthermore, we also had to find a way to ensure cost-efficient production to make the Gear Fit2 more affordable.

Q. What was the most difficult part of developing the main body of the Gear Fit2?

Youjung Song: Due to its shape, and the device’s small size, there wasn’t enough room to fit all the components inside. So, to make the most of the curved internal space, we applied some changes in its structure, such as splitting the mainboard into three parts. We even had to develop a tool called a “zig” to apply the right amount pressure on a curved surface—a technique we had never tried. We also produced some super-small components exclusively for the Gear Fit2. In particular, ensuring waterproofness required us to tap into different technologies and materials.

Hyunjun Kim: For me, the hardest part of developing the Gear Fit2 was creating its band. We had to find a way to satisfy people with wrists of all sizes and also consider numerous factors including how the ends of the band would be clasped together, whether the band needed an extra clasp to prevent it from falling off, ease of use and consumer feedback. Seeing as the Gear Fit2 is the first wristband design with a clasp, there was a mixed reaction to it.

Q. What makes the Gear Fit2 band so special?

Hyunjun Kim: The Gear Fit2 comes with softer band materials to provide a more comfortable fit than its predecessor and the Gear S2. The joint is certainly one of a kind, as it’s made from a special material with excellent durability to remain unchanged, even after thousands of rounds of clasps. Furthermore, clasping is easier. We also made improvements in the top color coating materials to provide an even better fit.

Seounghyun Son: We applied different patterns on the two sides of the band. On the outer side, we used a 3D pattern to add a touch of luxury, even though it doesn’t affect the usability of the device. We made the inner side of the band fast-drying so that it stays wearable, even when the device is exposed to water.

Q. What was your focus when designing the charging dock of the Gear Fit2?

Hyunjun Kim: There are actually two POGO pins on the charging dock so that the Gear Fit2 can charge upside down or right-side up. In addition, the dock has the same curvature as the Gear Fit2, and is equipped with magnets (which are also embedded in the Gear Fit2’s main body) to make charging an effortless task. Lastly, we continued to make micro adjustments on the dock to prevent corrosion in the case that your device is wet.

From left to right: Engineer Youjung Song, Senior Designer Seounghyun Son and Senior Engineer Hyunjun Kim

Note: Howard Nuk, VP of Samsung Design America, and Jeff Jones, Designer of Samsung Design America, contributed their opinions via email.

The Galaxy S7 edge Injustice Edition comprises a package that includes a sleek, deep-black Galaxy S7 edge, accentuated by gold detailing and an iconic rear seal, inspired by Batman, one of the DC characters featured in the game. But what went into designing the Galaxy S7 edge Injustice Edition? Senior Designer Kwangmoon Kim, Senior Designer Junwon Lee and Assistant Designer Soohyun Kim in the Mobile business explained the ideas and concepts that went into the game-inspired design.

(From left to right) Senior Designer Kwangmoon Kim, Assistant Designer Soohyun Kim and Senior Designer Junwon Lee)

Q. What was the main concept and principle aim behind the Galaxy S7 edge Injustice Edition?

Junwon Lee: Our aim was to create a complete package that had a special meaning for Injustice: Gods Among Us game and Batman character fans. It includes a specially designed Galaxy S7 edge, a smartphone case and a Gear VR. The main color we used was black, and we also added a touch of gold.

Q. Why did you choose black and gold?

Junwon Lee: No matter if you are a fan or not, black and gold are the colors that most often come to mind when people think about Batman. The Batman character’s design has continued to change, but the black and gold themes used in Batman in 1990s’ still resonate with many people. We decided that these two colors best matched this edition, and our partner companies agreed.

Soohyun Kim: The logo – a black bat on yellow background – is very well-known. In the Batman movies and cartoons, the Bat-Signal, a yellow searchlight with a black bat emblem is projected onto the night sky as a means of calling Batman. Gold reminds people of the Bat-Signal and we believe the color can be attractive to both fans and non-fans alike.

Kwangmoon Kim: We thought about ways to add the gold-colored elements without altering the image of the new edition. As a result, the package presents a unique look as a whole, with each device piece imbued with a touch of gold.

Q. What are the differences between the Galaxy S7 edge Injustice Edition and the S7 edge Black Onyx?

Junwon Lee: We wanted to find a unique black hue for the Injustice Edition. The handset mainly consists of two colors: black and gold. Black encompasses the whole body, including the metal frame, unlike the standard Black Onyx version of the S7 edge. This matt-finish black represents Batman’s suit. Gold, on the other hand, was applied on the logo, edge of the home button and rear camera to make them stand out. We examined a number of image samples for the Batman logo on the back, with consideration given to size and dimension, and, following discussions with our partner companies, eventually selected one.

Q. The special edition’s Gear VR and phone case are also unique. What were these items’ main design focus?

Junwon Lee: Our collaboration with the Injustice: Gods Among Us game also led to the creation of the special black version of the Gear VR with a matt finish. The phone case is a reinterpretation of Batman’s suit, and we made an effort to visualize this in a metaphorical sense, rather than make it too obvious. We chose a material that is both comfortable to grip and durable, but that also maximizes the matt texture. The case also needed to combine great looks and optimum protection. We had to make sure it did not compromise the simple beauty of the Galaxy S7 edge by adding too much detail.

Soohyun Kim: I had never really been interested in superheroes, so at first it was hard for me to understand a strong masculine character. However, I soon realized that Batman was not born with superpowers – he is an ordinary person who decided to make the effort to become a superhero. We wanted to showcase his wise and mysterious characteristics on the packaging. Batman uses a variety of gadgets to augment his powers, and we wanted the Injustice Edition package to match with this kind of equipment.

Q. What did you need to consider when you design a product based on a superhero?

Kwangmoon Kim: When we started this project, I was excited about designing the Galaxy S7 edge Injustice Edition as I enjoyed playing the Injustice game recently, especially with the Batman character in it. We came up with an impression of Batman – a matt-black and solid image – from his characteristics. To turn this idea into a product, though, we needed to bear in mind several considerations. Existing Galaxy S7 edge models had their own shape and a glossy look, and our partner companies have guidelines concerning the use of their superhero characters. We truly examined every elements from every kind of angle to blend them into special, but well balanced.

Junwon Lee: We focused on reflecting the character’s nature and meeting the needs of Batman and Injustice: Gods Among Us game fans. Fans might buy this package edition not just to use its devices, but also so as to own products dedicated to their favorite DC Comics hero. We examined and selected each component of the package from a fan’s perspective and also made proactive suggestions to our partners. The first thing you will see when you open the packaging is a Batman logo badge, which emphasizes the fact that this is a special edition. It is carefully crafted and designed in terms of its size, color and texture. We do not think of this package simply as a way to increase sales. We hope more people will come to appreciate the Samsung and Galaxy brand through our fresh approach and this special edition’s emotional appeal.

Q. Do you recall any stand-out episodes you experienced during the design development?

Kwangmoon Kim: In order to realize the black design for the Galaxy S7 Injustice Edition, we had to work hard and cooperate with other teams. For instance, we had to secure specific set of equipment from existing manufacturing facilities to produce the black metal frame for the special edition. We also had to make numerous attempts to adjust the color and texture to fit with the design. In order to create a totally black look, we even made the slit on the metal frame that provides better antenna performance in black.

Soohyun Kim: I was at a library one day when a book about the history of superhero stories caught my attention, even though I had never really been interested in the subject. I read the book attentively. A few days later, I ended up getting involved in this project – an amazing coincidence. During the production phase, I also learned a lot of things that as a designer I had previously not known about. At the production facility, I could see how important it is be precise and accurate when you are making a quality product. Even a small scratch on the box, a minute color difference or a tiny error in the size of the tray inside the packaging is unacceptable. I learned that great design quality comes from cooperation between different departments, not just from designers themselves.