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• Dallas Cowboys Bring Action Closer with EVS UHD Replays inside AT&T Stadium

• DaVinci Resolve 14 Gains Fairlight Audio and Collaborative Editing

• DaVinci Resolve 15 Packs Fusion with Editorial, Colour and Sound Post Tools

• DaVinci Resolve 17.4 Gets Apple M1 Acceleration, Automates Colour Management

• DaVinci Resolve 18 Hosts Projects in the Cloud, Adds Proxy Workflow

• DaVinci Resolve Brings Expressive Looks to Oscar winner ‘Drive My Car’

• DaVinci Resolve Editor Keyboard Gets Serious on Quatsch Comedy Club

• DaVinci Resolve Fairlight Designs Audio Post on Racing TV Series

• DaVinci Resolve Finishes and Grades Environmental Docmentary for Netflix

• DaVinci Resolve Pipeline Integrates Production with Post for ‘Safety’

• DaVinci Resolve Races through the Decades for ‘Ford vs Ferrari’

• DaVinci Resolve Studio Defines Looks and Matches Locations for ‘Rom’

• DaVinci Resolve Studio Delivers across Episodic TV Spectrum

• DaVinci Resolve Studio Gives 'On My Mind’ a Look to Earn Oscar Nomination

• DaVinci Resolve Studio Handles Grade, Online, Conform for 'Writing With Fire'

• DaVinci Resolve Studio Keeps the Story Together on ‘Red Notice’

• DaVinci Resolve Studio Supports Remote Grading for Sundance Winner ‘Cusp’

• DaVinci Resolve Tells a Spectacular Colour Story for ‘Normal People’

• DaVinci Resolve Tells The Protégé’s Story in Colour and Light

• DaVinci Resolve Unifies Editing, Colour and VFX in IMAGICA’s New Suite

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