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• Panasonic’s LUMIX GH7 Records Apple ProRes RAW, Adds ARRI LogC3 Profile

• Pebble and NVIDIA Collaborate to Align PRIMA with NVIDIA Holoscan for Media

• PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

• Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

• Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

• Pomfort Upgrades Livegrade with Remote 3D LUT Control for Virtual Production

• Preymaker Welcomes Colourist Mark Sanna to its Creative Team

• Qumulo and HPE GreenLake Scale the Post Environment at Origo Studios

• Racoon Adds Baselight TWO, Blackboard and a new Senior Colourist to the Team

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

• Renderboxes Photon Makes 3D Workstations Portable

• Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

• Sonny Sheridan Lives a Life for Colour

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

• Sony Cine Line Cameras Take Russell Crowe’s Indoor Garden Party on Tour

• Squid Game Season 2 Takes Another Chance at Colour, Drama and Life

• Supervising Colourist Peter Doyle Joins Picture Shop

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

• The Finish Line Completes UHD / HDR Picture Post for ‘I Am a Killer’

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

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