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• Nuke 16.0 Adds Multishot Compositing, Updates BlinkScript and Timelines

• NVIZ Expands Senior Team to Launch a New Phase of Development

• Nyriad and DigitalGlue Optimise Storage Resources, Increase Efficiency for Post

• OpenDrives Atlas 2.9 Helps Mid-Sized Studios Scale Storage and Workflows

• OpenDrives Develops Agile, Accessible Infrastructure for Media Workflows

• OpenDrives’ IBM Aspera Container Brings Media File Transfer Closer to Data

• Option Media Integrates Audio/Video Post Workflows with Resolve Studio

• ORION-CONVERT Pipeline and AJA ColorBox Simplify Colour for Live Productions

• Pacific Games Deploys LiveU's IP-Video Systems to Deliver Live Broadcasts

• Panasonic Brings Processing Speed to Workflows with New S Series Cameras

• Park Jin-ho Pulls a Story from Colour and Contrast in 'No Other Choice'

• Pebble’s Prima Platform Refines Playout, Workflows and Control for Broadcast

• Perifery and ERA Join on Cloud-Based Media Archive and Object Storage Services

• Perifery and pixitmedia Partner to Advance Media Workflow Automation

• Peter Barber Joins Atomos as Executive Director

• PFX Balances Nostalgia, Comedy and VFX Precision for The Naked Gun

• PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

• Phantom Media Group Launches to Unite VFX and Animation Talent

• Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

• Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

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