hazyhobby95

Yep, that’s how I’d read it too. Straight on, a decent coating may be close enough that you don’t notice anything, but once you start viewing through the lens at an angle, all bets get a bit more wobbly. Same reason reflections off the glasses can look green, purple or magenta depending on the coating and the light. For grading I’d still avoid anti-glare if you can, or at least do a quick sanity check without glasses when making fine color calls. Full-screen images are usually safer than tiny UI thumbnails too, those little patches are basically bait for optical weirdness.

This is genuinely interesting news, especially if it goes beyond “better plugin integration” and actually keeps color intent alive through editorial, conform and finishing. The renderless roundtrip part is the bit I’ll be watching closest, because that’s where these workflows usually either become magic or become another folder full of mystery versions. If Avid and FilmLight can make Baselight looks feel native in Media Composer without trapping productions in a half-editorial, half-finishing limbo, it could be a big deal for scripted TV and feature pipelines. Curious to see what the first usable implementation looks like, not just the press-release version.