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Black Box and FilmLight Collaborate to Offer KVM Extension Solution for Post-Production Grading April 27th 2017 - 03:00 PM

Black Box has announced it is working with FilmLight to offer six different kits incorporating Black Box’s digital KVM extension solution.

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DaVinci Resolve UI showing new Fairlight audio control.

Blackmagic Updates DaVinci Resolve: Adds Fairlight Audio Mix and Edit April 26th 2017 - 10:29 AM

Blackmagic Design has released DaVinci Resolve 14 with a slew of new features, notably the addition of Fairlight audio. At the 2017 NAB press conference CEO Grant Petty explained that “The problem we are trying to solve is audio for the film and television industry.” The company expects that incorporation of Fairlight technology into the color grading and video editing system will transform workflows for the audio-for-video post.

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SGO is turning Mistika into a multi-faceted wonder.

The Mistika NLE is Exploding into Spin-Offs While Still Remaining the Same April 25th 2017 - 01:00 PM

SGO is mining its Mistika Technology to provide a whole family of systems that will empower post production.

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Resolve - used for HDR.

Cine Plus Delivers HDR with Resolve April 18th 2017 - 10:00 AM

Berlin post house Cine Plus has completed its first high dynamic range grade in DaVinci Resolve Studio for German national broadcaster ARD’s feature length thriller, “Sanft Schläft der Tod.”

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QC for HDR.

​How to Quality Control for HDR April 7th 2017 - 01:00 PM

What are the impacts of High Dynamic Range on the Quality Control process? Given the confusion in the industry surrounding the different formats, the impact is greater than you’d think and still being worked through. The Broadcast Bridge took the advice of leading QC tools developers.

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Figure 1: Steenbeck flatbed with its controller indicated by the red arrow.

Field Report:  Lightworks Reimagined: Version 14 March 29th 2017 - 11:00 AM

In the late ‘80s as Avid developed its Media Composer another team in the UK began the development of Lightworks. Both teams realized film could be scanned and transferred, albeit with heavy compression, to a hard disk much as film negatives were copied to workprints that were edited on a KEM or Steenbeck flatbed. See Figure 1.

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