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• Peter Barber Joins Atomos as Executive Director

• PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

• Quantum DXi All-Flash Backup Accelerates Data Protection for Continuous Access

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

• RecodeXR Selects Brompton LED Processing for Full Virtual Production Services

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

• Riot Games Chooses Sony’s Networked Live for Distributed e-sports Production

• Rohde & Schwarz Pushes Performance and Connectivity in SpycerNode2

• Ross to Adopt NDI Advanced to Extend Networking and Video Connectivity

• Sony and Plateau Virtuel Develop Europe’s First Sony Crystal LED Virtual Studio

• Sony NXL-ME80 Processors Support Remote Live Production at NEP Group

• Sony PDT-FP1 Transports High-Speed Video Data Over 5G Networks

• Sony’s CCU Camera and 4K Live Production Monitors Support ST 2110 IP Workflows

• Sony’s New DWM-30 Wireless Mic to Increase Stability, Flexibility, Codec Modes

• Stage Sound Services Brings Brompton Colour and INFiLED Screens to Live Theatre

• STRA Uses Appear XC Platform to Maintain TV Services Across Rural Australia

• Summit E16/E13 AI Evo Laptops Are Ready for AI with NPU Power and Wi-Fi 7

• TAG and LiveU Partner to Ensure Live Video Quality for News and Sports

• 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’

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