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• Baselight Team Tackles High Frame Rate, High-Res Finish for ‘Gemini Man’

• 'Dumbo' from Camera to Post – ARRI, Codex and DaVinci Resolve

• ‘Top Boy’ Returns to London with ALEXA LF and Cooke S7/i Prime Lenses

• AJA FS-HDR Delivers Simultaneous HDR / SDR for FA Cup Final at Arena

• Andy Elliott Colours True Stories at Directors Cut Films

• Anevia, Intel and NVIDIA Optimise Performance and Cost of OTT Video Encoding

• ARRI Stellar Adds Live Sync and iCloud Backup for Lighting Controls

• BBC Street and Youngster Modernise Colour with New Baselight Workflows

• Blackmagic RAW 1.5 and Video Assist 12G Update Capture and Compression

• Blue Post Upgrades to Quantum Xcellis Storage for Fast 4K/HDR Post

• Cinematographer Martin Ruhe Captures Life and Death with Cooke and ARRI

• Codex HDE Pushes ‘I Am Woman’ to Large Format RAW capture on ALEXA 65

• Colorfront Engine 2019 Upgrades Post with 8K HDR Camera-to-Screen Workflows

• CTV Vancouver Island Future-proofs with Sony HXC-FB80 Studio Cameras

• Dalet Equips AmberFin for Dolby Vision and Hardware Acceleration

• DI Colourist Sam Chynoweth Takes a Colour Trip to Bollywood

• EditShare Updates QScan Automated for Video QC Compliance and Analysis

• Films at 59 Centralises and Scales Up Storage on Pixit Media’s PixStor

• Finishing Captain Marvel - from VFX to Colour to Deliverables

• Grass Valley EDIUS 9.4 Updates HDR, ProRes and Captioning for Editors

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