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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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