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• PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

• Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

• Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

• Pomfort Upgrades Livegrade with Remote 3D LUT Control for Virtual Production

• Preymaker Welcomes Colourist Mark Sanna to its Creative Team

• Qumulo and HPE GreenLake Scale the Post Environment at Origo Studios

• Racoon Adds Baselight TWO, Blackboard and a new Senior Colourist to the Team

• Reaktor Post Grades ‘Érase Una Vez En El Caribe’ on Baselight 6.0

• Renderboxes Photon Makes 3D Workstations Portable

• Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

• RTS Migrates Grading Suites to Resolve, Balancing Overhead with IT Innovation

• Sonny Sheridan Lives a Life for Colour

• Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

• Sony Cine Line Cameras Take Russell Crowe’s Indoor Garden Party on Tour

• Squid Game Season 2 Takes Another Chance at Colour, Drama and Life

• Steven Esparza Captures the Look of a Life on Waves in DaVinci Resolve

• Studio Hamburg Builds a New ‘Red Roses’ Post Pipeline on DaVinci Resolve

• Supervising Colourist Peter Doyle Joins Picture Shop

• TAG’s New Visualisation Tool Analyses Large-Scale Broadcast Services

• Taking a Colourist’s Journey from Camera to Post

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