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• DaVinci Resolve Studio Handles Complete Picture Finishing for BBC Series ‘Vigil'

• DaVinci Resolve Studio Tames the Colour Grade for ‘Godzilla Minus One’

• Dirty Looks Bring Authenticity to 'The Zone of Interest' with Naturalistic Colour

• Elodie Ichter Builds a Look from History on Baselight for FX’s ‘Shōgun’

• Élodie Ichter Joins Light Iron as Senior Colourist

• ETC Adopts FilmLight FLUX Store for Flexible Post Storage Management

• FilmLight Colour Awards Winners Share Tips, Insights and Stories

• FilmLight Nara Connects Creative Teams with Native Media Decodes and Playback

• FilmLight Nara Simplifies Access to Data and Project Management

• Filmmakers Take the Leap into Space with Blackmagic for 'When We Were Shuttle'

• Finding the Perfect Finish for 'Furiosa: A Mad Max Saga'

• Flanders Scientific XMP310 Monitor Supports SDR/HDR Set-to-Post Production

• Flying Lap Media Uses Blackmagic RAW and Resolve to Capture Life on Track

• Framefloor Builds Creative Post Workflows on AJA Gear

• Grass Valley Adds PHABRIX QxP Portable Waveform Monitor for IP/SDI R&D

• Grass Valley AMPP SaaS Delivers G20 Summit from New Delhi to the World

• Grass Valley's LDX 135 Modernizes Camera Fleet at Mediaset in Italy

• John Daro Masters the Power of Colour from Science to Storytelling

• José Francisco Neto Unravels the Colourist’s Role at FilmLight Colour Awards

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

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