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• Colourist Chris Rodgers Grades out of the Blue

• Colourist Isaac Molina Steps Into 'The House of Flowers' at Oxido

• Colourist Olivier Fontenay Tames Colour and Looks for ‘Lion’

• Commercial Grading Goes On Set with DaVinci Resolve Micro Panel

• Comprimato – Fast, Efficient Compression Preserves Quality & Space

• Comprimato Expands into San Francisco’s Video Compression Market

• Comprimato Generates 4K, 8K & VR Format for Realtime Editing

• Coney Island Returns in 'Wonder Wheel' with Integrated Colour

• ContentAgent v3.6 Turns Up LUT and DNxHR Format Support

• Cooke Anamorphic/i Metadata Gives TV Series ‘Valkyrien’ a New Life

• Corona Renderer Makes Cinema 4D Visualisations Fast and Interactive

• Cospective cineSync 4.0 Tightens Security, Gains iOS App

• Cream VR Captures Curious Minds in VR with Micro Studio Camera 4K

• Dalet Galaxy Manages and Customises Large Scale IMF Operations

• Dalet xN IMF Maker Automates International Content Prep & Versioning

• Dalet’s Galaxy Engine & Amberfin Automate Broadcast Post at Colortime

• DaVinci Resolve 14 Gains Fairlight Audio and Collaborative Editing

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

• DaVinci Resolve Studio Delivers across Episodic TV Spectrum

• Deidre McClelland Tames the Outback with DaVinci Resolve in 'True Blue'

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