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• Light Iron Welcomes Andrew Geary as Senior Colourist

• LucidLink and Magicbox Partner on Live, Remote Virtual Production Workflow

• LUMIX S5IIX / S5II Support High Bit-Rate Video Options and Phase Hybrid AF

• Maxon One Opens Creative Options For VFX, Motion Graphics and 3D Modelling

• Maxon One Speeds Up 3D and Animation, Design and Post Workflows

• Maxon One Spring 2024 Brings Particle Simulations and Non-Photoeal Renders

• Molinare Chooses Nara to Enhance Efficiency in Post-Production Pipelines

• Molinare Welcomes Carlotta Rio to its Colourist Team

• Molinare’s Ross Baker Brings a Love of Colour to Television and Film

• MSI Prestige 16 Studio Wraps Up RTX Graphics, Accurate Colour with Portability

• MTI Cortex v5.5 Adds New AI Tools for Frame Rate Conversion and Up Resolution

• NEP and Grass Valley Develop Competitive IP OB Fleet for the Middle East Region

• Panasonic’s LUMIX GH7 Records Apple ProRes RAW, Adds ARRI LogC3 Profile

• Pebble and NVIDIA Collaborate to Align PRIMA with NVIDIA Holoscan for Media

• PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

• Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

• Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

• Pomfort Upgrades Livegrade with Remote 3D LUT Control for Virtual Production

• Preymaker Welcomes Colourist Mark Sanna to its Creative Team

• Qumulo and HPE GreenLake Scale the Post Environment at Origo Studios

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