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• Codex HDE Pushes ‘I Am Woman’ to Large Format RAW capture on ALEXA 65

• Colorfront Dailies and Transkoder Gain ACES, Dolby, Apple M1, Frame.io Support

• Colorfront Develops 8K/HDR Streaming Tools, Updates Mastering Workflows

• Colorfront Develops Near Real-time ACES Pipeline for HDR Production

• Colorfront Engine 2019 Upgrades Post with 8K HDR Camera-to-Screen Workflows

• Colorfront Express Dailies 2020 Subscription and New Mac Pro Lower Costs On-Set

• Colorfront Paves the Way for Remote, Colour-Accurate 4K HDR Post

• CTV Vancouver Island Future-proofs with Sony HXC-FB80 Studio Cameras

• Dalet Equips AmberFin for Dolby Vision and Hardware Acceleration

• DaVinci Resolve 17.4 Gets Apple M1 Acceleration, Automates Colour Management

• DaVinci Resolve 18 Hosts Projects in the Cloud, Adds Proxy Workflow

• DaVinci Resolve 18.1 Upgrades Social Media Output, Audio and Smart Tools

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

• DaVinci Resolve Captures a ‘Streetwise’ Look at Life in Modern China

• DaVinci Resolve Studio Keeps the Story Together on ‘Red Notice’

• DI Colourist Sam Chynoweth Takes a Colour Trip to Bollywood

• Digital Film Technology Appoints Gunter Weidlich as Managing Director

• disguise Adopts ACES, DLSS, DirectX12 to Enhance Unreal Engine Integration

• Dome Productions Acquires Sony PVM-X Monitors for 4K / HDR Production

• Doug Delaney Grades the Divergent looks of Love, Death + Robots, Volume 2

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