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The facility is equipped with three Sony FR7 robotic cameras and Nanlite professional lighting, as well as Shure SM7B broadcast microphones and Genelec speakers
According to the company, it is "strategically developing the use of artificial intelligence in content, building corresponding solutions along the entire value chain"
Ahead of Hollywood's biggest night, TVBEurope looks back at our coverage of some of this year's Academy Award nominees
Colourist Tashi Trieu employed DaVince Resolve to work on 16 discrete master of the film, which were divided into 15 reels
The move aims to strengthen factual, unscripted, and entertainment capabilities for Home
The company said it intends to continue developing Griptape’s offering to meet the demands of VFX and animation pipelines and will integrate it with...
According to the partners, unifying assets, standards, and governance into a single foundation will allow productions in all media formats to work in tandem,...
Paul Thomas Anderson's One Battle After Another leads the full list of nominations with 14, just two less than the record set by Gandhi
As AI adoption continues apace, the latest report from McKinsey and Company explores potential outcomes across production workflows
The company has also included a new Frame.io V4 panel that keeps users in the edit while bringing in comments, media, and versioning
The Signiant Platform quickly enabled seamless collaboration across distributed teams for post production services company Lost in Space
How RTS reduced overhead and simplified IT management with DaVinci Resolve Studio
Editor Amir Etminan talks to TVBEurope about using his laptop, Premiere Pro, SSDs, and a television to cut the Palm d'Or winning film
Virtual production specialists Dimension detail the one-day motion capture shoot and five-month process of building Christmas Karma’s Jacob Marley (aka Hugh Bonneville)
Prior to the global launch, the in-house developed generative AI large model had already surpassed three million community downloads on Hugging Face
Six colourists were recognised at the event which celebrates the "unsung warriors and heroes" of film and TV
The facility unified the editorial and finishing of BBC Two's Empire with David Olusoga in DaVinci Resolve Studio
Following a round of recent acquisitions, Phantom Media Group's consolidation aims to leverage the its global creative power
Nara provides Harbor's teams with real-time visibility into media storage and metadata, enabling instant validation of file paths, rapid identification of assets, and integrated...
Jones will lead on colour science, workflow automation and deep IT integration, as well as supporting the company's power management system transition to full...
BlueBolt worked on 138 VFX shots for the film, including the opening sequence set in a 1930s Piccadilly Circus
The integration aims to significantly reduce setup time, minimise errors and provide a consistent, structured media environment for each new project
The facility will relaunch as Home Post Production with all 40 creative jobs retained
Integrating Cinema 4D, ZBrush, Redshift, and Red Giant in its redesign, Maxon One aims to expand capabilities across VFX, 3D modelling, and motion graphics...
As part of its 70th anniversary activity, the organisation is launching ITN’s AI and Data Academy, which will support innovation and future skills development...
The companies aim to significantly enhance the quality and performance as well as the time-cost-efficiency in current and future media production
Avid Content Core is a content data platform that connects teams and systems across editorial, operational, and business domains
The acquisition brings together ENVY, Capture, Absolute, and Blind Pig with Halo, Evolutions, and Relay to form the UK’s largest privately owned post production...
A series of guidelines aims to ensure the use of generative AI tools remains legal, ethical and safe, said the company
EGG is also employing EditShare’s Swift Link technology, which enables the company's editors, colourists, and VFX artists to work both on-site and remotely
David O’Callaghan, producer at post house Residence Pictures, explains how the new generation of DI assistants are part engineer, part colourist, and part online...
Building on the experience of its team, TWIN will deliver creative, technological and advisory support across film and episodic content, games and virtual platforms.
The solution enables Mac users to securely access both physical and virtual machines without the need for dedicated receiver hardware
Maikel Popic, head of grade assist and workflow at UNIT, tells TVBEurope about the "magic" feeling he gets from seeing his work on the...
Post production house Molinare employed DataSprint from Dot Group to handle transferring 30 hours of content back to base every day during the filming...
Both studios will continue to operate under their respective names with their leadership teams remaining in position
Spencer Stephens, SVP of production technology and security, MovieLabs, highlights the need for cybersecurity in an increasingly vulnerable media and entertainment environment
Guillaume Aubuchon, senior director of product management at Avid, explores ways to reduce complexity and boost performance in an increasingly cloud-centred environment
Company 3's Jean-Clément Soret talks about his creative freedom on Danny Boyle's zombie sequel and why shooting on iPhones is all the rage
Nara gives any member of the Molinare team permission to view any media file, wherever it is located and in any format
Editor Michelle Tesoro talks TVBEurope through the process of cutting Netflix drama Dept Q, including the technology that enabled the editing team to work...
Colourist Tom Cairns explains why he wanted to create Scotland's only grading theatre, the technology he uses to create the look of TV series...
