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• Adobe Creative Cloud Gets Smarter, Moves Closer to the Cloud

• AFTRS Open Day and Postgraduate Evening Are Coming to Sydney

• Baselight Team Tackles High Frame Rate, High-Res Finish for ‘Gemini Man’

• '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

• ‘Shin Ultraman’ Keeps its Classic Look with Resolve’s Management and FX Tools

• ‘The Painted Bird’ Captures Drama of War in Black and White

• 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 12G-SDI Upgrades Commercial Post to 4K/UHD at ADK Creative One

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

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

• AJA Launches Io X3 Thunderbolt 3 Video I/O, Updates Desktop Software to v16.2

• AJA T-TAP Pro and Desktop Software v16 Increase Compatibility, Connectivity

• AJA Updates FS-HDR with New BBC HLG LUTs and Colorfront Engine Mode

• Aljoscha Hoffmann Charts New Territory in Colour on Baselight

• Andy Elliott Colours True Stories at Directors Cut Films

• Anthony Raffaele Brings Expert Colour to Technicolor PostWorks NY

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