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• Colourist Sam Chynoweth Walks the Line from Memory to Life for Black Mirror

• Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

• Colourist Tom Cairns Builds Looks and Stories with Brick and Mortar

• Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

• CRATERR Captures KIA Campaign with Blackmagic URSA Cine 12K LF and PYXIS 6K

• Creating a Supernatural Colour Grade for ‘Salt Along the Tongue’

• Cuez Unifies Production of Three Live Shows as One at ITV Studios

• Damien Vandercruyssen Defines the Colour of Dreams for 'Bardo'

• DaVinci Resolve 20 Upgrades with AI-Driven Tools, Audio and Cloud Innovation

• DaVinci Resolve 21 Dives Deeper into AI, Motion Graphics, Smarter Keyframing

• DaVinci Resolve and Blackmagic Cloud Support Frida’s Remote Post Workflow

• DaVinci Resolve and Fusion 19.1 Update Multi-cam, Audio and VFX Workflows

• DaVinci Resolve Brings Indian Spectacle ‘Kantara’ to Worldwide Audience

• DaVinci Resolve Brings New Zealand’s 'Shortland Street' into the Streaming Era

• DaVinci Resolve Edits and Grades Vibrant Fantasy in ‘Rains Over Babel’

• DaVinci Resolve Studio and Blackmagic Cloud Solve 4K Picture Post at BSQUARED

• DaVinci Resolve Studio Gives a Polished Colour Grade to Sci-Fi Thriller Kraken

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

• DaVinci Resolve Studio Takes an Editorial Role on Anime Feature ‘Look Back’

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

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