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• Blackmagic URSA Mini Pro 12K OLPF Preserves Colour and Detail in High Res Video

• Blue Lucy's BLAM Supports Agile Media Operations and Delivery at BBC Studios

• BlueBolt Delivers Authentic VFX for Period Drama ‘My Policeman’

• BlueBolt Recreates Historic Battles in Toulon and Paris for ‘Napoleon’

• Bluefish444 Adds KRONOS K8 I/O Support for Adobe Creative Cloud

• Box to Box Works with MediaSilo to Manage and Review Works in Progress

• Brompton and La Planète Rouge Collaborate on Immersive Sets for Feature Films

• Channel Four Works with Witbe to Automate QA Testing of Streaming App

• Chaos Plans its AI Future for Visualisation and Storytelling

• Church Uses Blackmagic ATEM to Customise Global Live Streaming Workflows

• Cinegy Capture CAPTURES ENVY’s New Remote Workflow Service

• Cinegy Capture Supports Flexible, Multi-Channel Ingest at Notre Dame Studios

• Cinegy Multiviewer 24.2 Optimises Performance, Maximises GPU Acceleration

• Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

• Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

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

• Colour and Cinematography Push Time and Place on TV Series Eric

• Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

• Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

• Conductor Cloud Render Platform Now Supports SideFX Houdini

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