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

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

• REALTIME Launches New Virtual Production and Development Division

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

• RecodeXR Selects Brompton LED Processing for Full Virtual Production Services

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

• Renderboxes Photon Makes 3D Workstations Portable

• Rising Sun Pictures Takes to the Open Sea for Manga Series ‘One Piece’

• Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

• Rose Hancock Joins Axis Studios as VFX Executive Producer

• Shutterstock Launches a Generative 3D API for 3D Scene Building with AI

• SIGGRAPH Asia 2023 – Looking Back at Sydney and Ahead to Tokyo

• SIGGRAPH Asia 2023 Celebrates a World of Animation in Sydney

• Sony and Plateau Virtuel Develop Europe’s First Sony Crystal LED Virtual Studio

• Sony Virtual Production Tool Set Aligns Pre-Production and On-Set Workflows

• Student Filmmakers’ VES Award-Winning Film Visualises a Life in the City

• Students Leap into LED Virtual Production with Pocket Cinema Camera 4K

• Survival, Disasters and Virtual Production on ‘No Way Up’

• Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

• Technicolor Group Appoints David Conley as New MPC President

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