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• Adobe Creative Cloud Gets Smarter, Moves Closer to the Cloud

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

• DIT Sam Petrov Uses AJA ColorBox to Customise On-set Live Grading Workflows

• Lenovo Upgrades ThinkStation P620 with AMD’s New Ryzen Threadripper PRO Processor

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

• 'Everest' Returns to Large-Screen Cinemas in a New 16K Restoration

• 'Moon Garden’ Returns to Reality Using Cintel Scanner and DaVinci Resolve Studio

• 'Paris ETC' DIT puts FilmLight's Prelight to Work on Set and Beyond

• 'Stage Mums' Gets a Good Look with URSA Mini 4.6K and DaVinci Resolve

• ‘Flesh and Blood’ Gets Close to the Bone with Blackmagic Design

• ‘Mary Poppins Returns’ Sings, Dances and Swims with VFX Magic

• ‘Peter Rabbit 2’ Gets a Dolby Atmos Sound Mix at Sony Pictures Post

• ‘Shin Ultraman’ Keeps its Classic Look with Resolve’s Management and FX Tools

• ‘The Painted Bird’ Captures Drama of War in Black and White

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

• 27-inch iMac Updates Bring Speed, SSDs, New AMD Graphics

• 3ds Max 2021 Adds PBR and Texture Workflows, Python 3 Integration

• 3ds Max 2021.3 Improves Remeshing Controls, Launches Retopology v1.0

• 3ds Max and Arnold Bring Interactivity and More Speed to 3D Workflows

• 3P Studio Scales Up and Accelerates Operations on EditShare EFS

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