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• Cinematographer Keeps Video Conferencing Quality on Track with AJA U-TAP

• Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

• Cloud Playout – Conspiring to Limit Costs and Carbon Footprint

• Cloudbass Adopts Grass Valley for New IP Remote Production Vehicles

• Cobalt Digital Set to Exhibit a Full Line-up at ISE for the First Time

• Cobalt Digital UltraBlue IP-MV Multiviewer Turns the Focus on IP Operations

• Colombia’s Canal 1 Acquires Production-to-Post Workflow from Blackmagic Design

• Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

• Colorfront Develops 8K/HDR Streaming Tools, Updates Mastering Workflows

• Colorfront Upgrades SDR/HDR Video Mastering and Streaming Workflows

• Colour and Cinematography Push Time and Place on TV Series Eric

• Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

• Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

• Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

• Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

• Comprimato Live Transcoder Adds JPEG-XS for Broadcast Contribution

• Conductor Cloud Render Platform Now Supports SideFX Houdini

• Cooke Anamorphic/i S35 SF Lenses Pull Stories Together for Panic! At The Disco

• Cooke Optics Celebrates Iain Neil's Gordon E. Sawyer Award

• Cooke S4/i Lenses Capture the Light and Atmosphere of 'The Last of Us'

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