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• Blackmagic DaVinci Resolve 19 Updates Colour, VFX, Editorial, Sound Workflows

• Blackmagic Pocket 4K Camera Tells an Athlete’s Story in ‘Simone vs Herself’

• Brompton LED Processors and Assimilate Integrate to Ease Virtual Production

• Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

• Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

• Colour and Cinematography Push Time and Place on TV Series Eric

• Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

• Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

• Damien Vandercruyssen Defines the Colour of Dreams for 'Bardo'

• DaVinci Resolve and Blackmagic Cloud Support Frida’s Remote Post Workflow

• DaVinci Resolve Brings Indian Spectacle ‘Kantara’ to Worldwide Audience

• DaVinci Resolve Studio and Blackmagic Cloud Solve 4K Picture Post at BSQUARED

• DaVinci Resolve Studio Handles Complete Picture Finishing for BBC Series ‘Vigil'

• DaVinci Resolve Studio Tames the Colour Grade for ‘Godzilla Minus One’

• Dirty Looks Bring Authenticity to 'The Zone of Interest' with Naturalistic Colour

• Elodie Ichter Builds a Look from History on Baselight for FX’s ‘Shōgun’

• Élodie Ichter Joins Light Iron as Senior Colourist

• ETC Adopts FilmLight FLUX Store for Flexible Post Storage Management

• FilmLight Colour Awards Winners Share Tips, Insights and Stories

• FilmLight Nara Connects Creative Teams with Native Media Decodes and Playback

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