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

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

• Colvin Theatrical Captures Live Theatre Experiences with Blackmagic

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

• Cooke Lenses Capture Conflict Between Old and New in ‘The Gilded Age’

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

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

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

• Damien Vandercruyssen Defines the Colour of Dreams for 'Bardo'

• Dante AV Supports Scalable, Flexible Networking for Broadcast and Developers

• Dante Studio 2.0 Software Improves AV Network Interoperability and Monitoring

• DaVinci Resolve Studio and Blackmagic RAW Solve Remote Post for Indie Film

• DCS Develops LDT-V2 Wireless Lens Encoder/Streamer for Virtual Production

• Digital Film Technology Appoints Gunter Weidlich as Managing Director

• Dimension Travels from the Ice Age to New York – and Back – for ‘Time Bandits’

• DIT Kevin Shiramizu Bridges the Worlds of On-Set Production and Post

• DNEG Launches New DNEG 360 Division with Partners Dimension Studio

• dock10 and University of York Join on AI Research Project for Virtual Studios

• DP Tim Hawkins Selects Sony BURANO for Versatility and Cinematic Looks

• Dr Raphael Kiesel Appointed New Head of Quality Management at ARRI

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