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• Raúl Lavado on Dedicating a Career to Colour, Art and Technology

• RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

• Reaktor Post Grades ‘Érase Una Vez En El Caribe’ on Baselight 6.0

• Research from Adobe Shows Australia’s Agentic AI Use is On the Rise

• Reuters Equips Worldwide Video Journalist Team with Sony Cameras

• RT Software’s Tactic Telestrator Analyses Finland’s National Sport, Pesäpallo

• RT’s Swift Studio Integrates Unreal’s Dynamic Fields for Virtual Studios and AR

• RTÉ Chooses Dalet to Manage and Deliver Ireland’s Content to Viewers

• Signiant Makes Complex File Movement Simple and Fast at Blazing Griffin

• Signiant Shows Camera-to-Any-Cloud Workflow at NAB 2025

• Sinclair Speeds News Gathering via Avid, Sony, Marquis Production Partnership

• SMPTE and Avid Publish New ST 2067-70 Standard for the VC-3 Codec in IMF

• SMPTE METexpo Conference to Address Key Topics from the Broadcast Universe

• SMPTE, EBU and ETC Release Engineering Report on AI and the Media

• Sohonet Acquires Exchange Communications to Connect Productions

• Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

• Spectra Logic and Wasabi Optimise Data Across Cloud and Hybrid Environments 

• Squid Game Season 2 Takes Another Chance at Colour, Drama and Life

• Survival, Disasters and Virtual Production on ‘No Way Up’

• Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

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