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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

• '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

• ‘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

• A Close-up Review of the Apple Mac Pro

• Academy Software Foundation Welcomes New Members, Adopts OpenVDB Project

• Adam Dolniak Mixes Up Technical with Creative for Finishing and Colour

• Adobe After Effects Adds Lighting Correction to Content-Aware Fill

• Adobe After Effects and Premiere Pro Get Smarter, More Efficient

• Adobe Brings Speed, Agility and Intelligence to Creative Cloud 2019

• Adobe CC Applications Gain New Video & Collaboration Workflows

• Adobe CC Updates Graphics, Analytics & Audio for Video Editors

• Adobe Creative Cloud Picks Up the Pace for Video Production

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