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

• Colourist Sam Chynoweth Creates a Look in the Mirror for Black Mirror Season 7

• Colourist Sam Chynoweth Recreates Looks from the Past for Black Mirror Series 7

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

• 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

• EIZO Brings SDI I/O to Colour Management Monitoring for Broadcast and Video

• 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

• Framefloor Builds Creative Post Workflows on AJA Gear

• Fujairah TV Studio Upgrade Features Grass Valley Live Production Systems

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