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• FilmLight Baselight Software is Now Ready to Run on macOS Systems

• 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

• FilmLight REMOTE Delivers High-Quality, Low-Latency Remote Grading

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

• Finding a Place for 'Here' in Light, VFX and Colour

• 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

• Harbor Expands with Dedicated Dailies Facility at Shepperton Studios

• Harbor to Join the Avant-garde with Colourist Karim El Katari from France

• Harbor Upgrades UK Advertising and LA Studio with Top New Hires

• Innervision Selects Sony Projector for Cinema Colour Grading Suite

• James Tonkin Selects URSA Cine 12K’s Large Format for The Yardbirds Retrospective

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

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