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• Chunghwa Telecom Monetises Live Sports on Broadpeak’s Dynamic Ad Insertion

• Chyron Delivers AXIS 4.0 Cloud Graphics and Live Graphics Virtual Placement 8.1

• Cinegy Air Adds HDR/SDR Playout, Audio Watermarking, Graphics Engine Update

• Cinegy Expands Playout Capabilities for New Channels at CANAL+ Polska

• Cinegy Multiviewer 24.2 Optimises Performance, Maximises GPU Acceleration

• Cloudbass Adopts Grass Valley for New IP Remote Production Vehicles

• Cloudbass IP OB Vehicles Support Live Remote Workflows on arkona and manifold

• Cobalt Digital and SineSix Make Accessibility Compliance Simple and Engaging

• Colorfront Transkoder Achieves HDR Vivid Colour-Grading Award for Mastering

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

• Colour Grade in DaVinci Resolve Studio Tells a Civil War Story in The Damned

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

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

• Colourist Sam Chynoweth Creates a Look in the Mirror for Black Mirror Season 7

• Colourist Sam Chynoweth Walks the Line from Memory to Life for Black Mirror

• Colourist Tom Cairns Builds Looks and Stories with Brick and Mortar

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

• Comprimato Live Transcoder Adds JPEG-XS for Broadcast Contribution

• Coralbay.tv Selects AJA BRIDGE NDI 3G to Support Hybrid Cloud Playout

• Cosmic Dino Studio Scales Up 3D Animation Resources for ‘Scarygirl’

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