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

• Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

• Preymaker Welcomes Colourist Mark Sanna to its Creative Team

• Preymaker Welcomes Producers Clairellen Wallin and Mike Pullan 

• Projective and LucidLink's Integration Enables Cloud Post-Production at Scale

• QTAKE Pro 2.2 Adds On-set Dolby Vision and Forensic Watermarking Workflows

• Quantum Myriad Moves Software-Defined All-Flash Storage to the Cloud

• Qumulo and Superna Partnership Delivers Real-Time Ransomware Protection

• Qumulo Private Availability Launches its Cloud Native File System on AWS

• Qumulo Puts PFX in Control of Studio Storage Capacity, Performance and Scale

• Qvest Integrates Avid MediaCentral at rt1.tv to Optimise Media Workflows

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

• Rapid Blue Works with EditShare for TV Post and Distribution

• Raúl Lavado on Dedicating a Career to Colour, Art and Technology

• RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

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

• REALTIME Launches New Virtual Production and Development Division

• Receive 20% Off Your First Year of Chaos V-Ray and Phoenix

• ReDefine Builds Crowds with Heart for ‘I Wanna Dance with Somebody’

• Renderboxes Photon Makes 3D Workstations Portable

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