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• 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

• EditShare Updates QScan Automated for Video QC Compliance and Analysis

• EI Towers Deploys Scalable Imagine SDI/IP Workflow for Italy’s Lega Serie A

• EIZO HDR Reference Monitor Includes Built-In Calibration and SDI Connectivity

• Eizo to Hold Webinar on Getting Started with HDR Video

• Elite Media Perfects Colour and Mastering on Sony BVM-HX310 Monitor

• Euro Media Group Customises Standardised IP Platform for Live Sports

• Evolutions Upgrades to 4K HDR Post and Colour with MTI, Sony, Calman

• Filmhouse Upgrades to New R&S CLIPSTER for 2021 Edinburgh Film Festival

• FilmLight Baselight 6.0 Modernises Timeline and Look Development for Colourists

• FilmLight Opens Entries for 2023 FilmLight Colour Awards

• Filmmakers Chase ‘Sons of Summer’ with Blackmagic Camera-to-Post Workflow

• Filmmakers Take the Leap into Space with Blackmagic for 'When We Were Shuttle'

• Films at 59 Centralises and Scales Up Storage on Pixit Media’s PixStor

• Finishing Captain Marvel - from VFX to Colour to Deliverables

• Focussing on the Facts about Haivision’s Secure Reliable Transport

• Fox Sports and EVS Play the Game for NFL’s First HDR Super Bowl

• FOX Sports Deploys AJA FS-HDR for Cinematic MLB Broadcast

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