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• Baselight Team Tackles High Frame Rate, High-Res Finish for ‘Gemini Man’

• 'Dumbo' from Camera to Post – ARRI, Codex and DaVinci Resolve

• 'Paris ETC' DIT puts FilmLight's Prelight to Work on Set and Beyond

• 'Stage Mums' Gets a Good Look with URSA Mini 4.6K and DaVinci Resolve

• ‘Flesh and Blood’ Gets Close to the Bone with Blackmagic Design

• ‘Mary Poppins Returns’ Sings, Dances and Swims with VFX Magic

• ‘Top Boy’ Returns to London with ALEXA LF and Cooke S7/i Prime Lenses

• Academy Software Foundation Welcomes New Members, Adopts OpenVDB Project

• Adam Dolniak Mixes Up Technical with Creative for Finishing and Colour

• Adobe After Effects and Premiere Pro Get Smarter, More Efficient

• Adobe Brings Speed, Agility and Intelligence to Creative Cloud 2019

• Adobe CC Applications Gain New Video & Collaboration Workflows

• Adobe CC Updates Graphics, Analytics & Audio for Video Editors

• Adobe Creative Cloud Upgrades Colour, VR & Workflow Integrations

• Adobe Pushes Creative Cloud 2019 Functionality to Mobile Devices

• Adobe Updates CC Desktop Software for Video and Motion Graphics

• Adobe Works with Partners on IMF Mastering, VoIP, Colour and 4K HDR I/O

• AFTRS Adds New Post and Editorial Training Courses

• AFTRS Appoints Eight New Heads of Discipline

• AFTRS Open Day Set to Transform Screen Careers

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