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• FilmLight's STUDENT Software Moves Up to Baselight v5

• FilmLight’s Colour Awards Return for 2022

• Filmmakers Capture ‘Last Call’ in a Dramatic Double Take, Graded on DaVinci

• Filmmakers Play ‘Quezon’s Game’ with Blackmagic Cameras and DaVinci Resolve

• Filmmakers Tame Ultra-wide Video for Taronga Zoo’s Wild Screen

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

• Films Graded on Baselight Win Top Honours at Berlin Film Festival

• Filmwerk & Systempiloten Show Talent for Rushes with Facilis TerraBlock

• Final Cut Pro X 10.4 Hits its Stride for Editing, Colour and Finishing

• Finishing Captain Marvel - from VFX to Colour to Deliverables

• FireFly Cinema Captures 'The History of Love' in Colour

• First Mile Technologies Develops Live Camera-to-Cloud Connectivity

• Flame 2020.2 Update Adds AI Tools and Improves Reference Comparison

• Flame 2021 Adds Physical Defocus, Facial Keying, HDR Mastering

• Flame 2022 Automates Camera Tracking, Adds NDI Remote Workflow

• Flame Media Scales Up QC with Editshare's QUALES

• FNTech and Cinedeck Customise Workflow Reality for Big Brother

• FOLKS Blends Physics and Magic for ‘The Umbrella Academy’ VFX

• Ford F-150 Gets a Dynamic Colour Treatment with DaVinci Resolve Studio

• FotoKem Builds on Creative Services with New Hire Andre Trejo

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