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• Adobe Creative Cloud Gets Smarter, Moves Closer to the Cloud

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

• DIT Sam Petrov Uses AJA ColorBox to Customise On-set Live Grading Workflows

• IBC 2019 Highlights Media Developments from Esports to 5G

• Unreal Engine 4.27 Advances In-Camera VFX and Cloud Workflows

• Viz Arena 5.2 Supports AR in the Cloud

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

• 'Everest' Returns to Large-Screen Cinemas in a New 16K Restoration

• 'Moon Garden’ Returns to Reality Using Cintel Scanner and DaVinci Resolve Studio

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

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

• ‘Nufonia Must Fall’ Plays Live on Stage & Screen with Blackmagic

• ‘Peter Rabbit 2’ Gets a Dolby Atmos Sound Mix at Sony Pictures Post

• ‘Shin Ultraman’ Keeps its Classic Look with Resolve’s Management and FX Tools

• ‘The Expanse’ Reveals Dramatic In-Camera Visuals with Cooke 5/i Primes

• ‘The Painted Bird’ Captures Drama of War in Black and White

• ‘The Railway Children Return’ Revisits a Family Classic with Cooke and MRMC

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

• 12field Animation and Digistor Design Remote 2D Production Pipeline

• 23lunes Creates the Doll Who Changed the Game

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