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• Harbor Expands with Dedicated Dailies Facility at Shepperton Studios

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

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

• 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 Spring 2024 Brings Particle Simulations and Non-Photoeal Renders

• Molinare Welcomes Carlotta Rio to its Colourist Team

• 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

• 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

• Racoon Adds Baselight TWO, Blackboard and a new Senior Colourist to the Team

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

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