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• Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

• Preymaker Welcomes Colourist Mark Sanna to its Creative Team

• Preymaker Welcomes Producers Clairellen Wallin and Mike Pullan 

• Pro Volleyball Federation Teams with LTN on Live Production and Distribution

• Projective and LucidLink's Integration Enables Cloud Post-Production at Scale

• Putting Automated Workflows at the Centre of Agile Media Operations

• Quicklink Studio Connects 80 Countries During MTA’s Jalsa Salana UK Broadcast

• Qumulo Private Availability Launches its Cloud Native File System on AWS

• Qvest Integrates Avid MediaCentral at rt1.tv to Optimise Media Workflows

• Rapid Blue Works with EditShare for TV Post and Distribution

• Raúl Lavado on Dedicating a Career to Colour, Art and Technology

• RCN Colombia Deploys Zixi to Distribute Spanish-language Content to US Affiliates

• RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

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

• REALTIME Launches New Virtual Production and Development Division

• RED Digital Cinema Announces Acquisition by Nikon Corporation

• ReDefine Builds Crowds with Heart for ‘I Wanna Dance with Somebody’

• Remote Production, JPEG XS and Environmental Impacts of Live Sports Broadcasts

• Reuters Equips Worldwide Video Journalist Team with Sony Cameras

• Riedel Acquires Inmotio’s LPM Tracking System

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