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• AFTRS Open Day and Postgraduate Evening Are Coming to Sydney

• 'Dumbo' from Camera to Post – ARRI, Codex and DaVinci Resolve

• 'Paris ETC' DIT puts FilmLight's Prelight to Work on Set and Beyond

• 'Stage Mums' Gets a Good Look with URSA Mini 4.6K and DaVinci Resolve

• Adam Dolniak Mixes Up Technical with Creative for Finishing and Colour

• Adobe Works with Partners on IMF Mastering, VoIP, Colour and 4K HDR I/O

• AJA Io 4K Plus Thunderbolt 3 Powers 4K/UHD, HDR, Audio Workflows

• AJA Delivers Colour Accurate Video On Set for DIT Sam Petrov

• AJA FS-HDR v3.0 Firmware Evolves HDR Standards Support

• Anthony Raffaele Brings Expert Colour to Technicolor PostWorks NY

• Archion EditStor Increases Shared Storage Performance and Functionality

• Areia Creations Defines K-Pop Video with Blackmagic URSA Mini

• Arsenal FX Color Supports Upcoming Colourists for Television

• Atomos Monitor Recorders Support Hi-Res HFR/HDR Workflows

• Azimuth Takes a New Angle on Colour Finishing with Baselight ONE

• Baselight 5.0 Adds Colour Control & Post Tools for Colourists

• Baselight X Seizes a HDR Look for Netflix Thriller 'Mindhunter'

• Beau Leon Makes the Grade at Framestore LA with Baselight

• Ben Allan Final Cut Pro X 10.4 Review

• Ben Gervais Walks the Line for 120P 4K Master on ‘Billy Lynn’

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