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• Bridge Technologies’ Canvas Interface Customises VB440 IP Probe Workspace

• Brompton and La Planète Rouge Collaborate on Immersive Sets for Feature Films

• Brompton, Absen and STS Bring LED Processing for Virtual Production to Life

• Cinegy Air Adds HDR/SDR Playout, Audio Watermarking, Graphics Engine Update

• Colorfront Upgrades SDR/HDR Video Mastering and Streaming Workflows

• Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

• Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

• Dalet AmberFin Adds New Workflow and Pricing Options for Media Processing

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

• DaVinci Resolve Studio and Blackmagic RAW Solve Remote Post for Indie Film

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

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

• Digital Film Technology Appoints Gunter Weidlich as Managing Director

• DIT Kevin Shiramizu Bridges the Worlds of On-Set Production and Post

• EditShare Opens the Way to Flexible Post Workflows at Azimuth

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

• Fifty Frames Enlists AJA Gear to Control and Elevate Live Event Production

• FilmLight Colour Awards Winners Share Tips, Insights and Stories

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

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

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