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

• Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

• Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

• Colourist Sam Chynoweth Creates a Look in the Mirror for Black Mirror Season 7

• Colourist Sam Chynoweth Recreates Looks from the Past for Black Mirror Series 7

• Colourist Sam Chynoweth Walks the Line from Memory to Life for Black Mirror

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

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

• Comprimato Live Transcoder Adds JPEG-XS for Broadcast Contribution

• Conductor Cloud Render Platform Now Supports SideFX Houdini

• Cooke Anamorphic/i S35 SF Lenses Pull Stories Together for Panic! At The Disco

• Cooke Optics Celebrates Iain Neil's Gordon E. Sawyer Award

• Cooke S4/i Lenses Capture the Light and Atmosphere of 'The Last of Us'

• Corbel 3D Accelerates Image File Transfers on Signiant Media Shuttle

• Corrivium Builds Live OTT Broadcast Workflows on Grass Valley’s AMPP

• Cosmic Dino Studio Scales Up 3D Animation Resources for ‘Scarygirl’

• CP Communications Brings TCS New York City Marathon up to Speed

• CP Communications Takes 2023 TCS New York City Marathon to the Cloud

• CRATERR Captures KIA Campaign with Blackmagic URSA Cine 12K LF and PYXIS 6K

• Creating a Supernatural Colour Grade for ‘Salt Along the Tongue’

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