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• PHABRIX QxL Rasterizer Supports Wider Expertise in IP/UHD at Q3 Media Training

• QTAKE Pro 2.2 Adds On-set Dolby Vision and Forensic Watermarking Workflows

• RecodeXR Selects Brompton LED Processing for Full Virtual Production Services

• Reuters Equips Worldwide Video Journalist Team with Sony Cameras

• RTVE Renews Broadcast Training Studios with Sony Mixers and Cameras

• SMPTE Paper Investigates Dynamic Tone Mapping for HDR/SDR Production

• Sony BRC-AM7 4K 60p PTZ Camera Features AI Tracking and Auto Framing

• Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

• Sony FX9 Captures Cinema-quality Live Event Broadcasts for Spain's RTVE

• Sony XVS-7000 Switchers Lead Mediaset’s Live Production Migration to IP

• Sony’s CCU Camera and 4K Live Production Monitors Support ST 2110 IP Workflows

• Spin Digital Integrates Zixi Protocol and Services for 4K/8K Immersive Video

• Stage Sound Services Brings Brompton Colour and INFiLED Screens to Live Theatre

• TAG Develops Automatic Subtitle Language Detection and New Control Interface

• Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

• The HELM Looks Ahead to the Broadcast Production Future with ALEXA 35 Live

• The Rebel Fleet Works On Set with AJA for Assist, DIT and Dailies Workflows

• Time in Pixels and AJA Push Ahead with Video Analysis for Post

• Versatile Video Coding VVC Set for a Year of Advances in 2024

• WLab, Brompton and Pixreal Expand Virtual Production Opportunities for Film

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