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Baselight-powered color comes natively to Media Composer, connecting creative decisions from dailies through finishing and delivery Burlington, Mass. and London, UK, September 9, 2026: Avid® and FilmLighttoday announced a strategic partnership to bring a new Baselight-powered color experience natively into Avid Media Composer®, marking a major step toward a more connected color pipeline for post production. For decades, Media Composer has been where many of the world’s most demanding film and television stories are shaped, while Baselight has set the standard for high-end color finishing. By bringing these creative environments closer together, Avid and FilmLight are moving beyond traditional plug-in workflows toward a more integrated approach to color both inside Media Composer and beyond it, one designed to help teams preserve intent, reduce handoffs and keep color connected from dailies through finishing and delivery. “This partnership reflects how our products are actually used – by specialists collaborating to create some of the world’s most compelling film and television content,” said Rich Camp, Media Composer Product Manager, Avid. “By bringing FilmLight’s expertise deeper into the Media Composer workflow, we’re giving editors a native color experience with powerful tools directly in the timeline. That means editors can cut and craft their timeline while working more seamlessly with colorists, so more time and focus stays where it matters most: the story.” FilmLight Co-founder Steve Chapman added: “FilmLight has always focused on creating color tools that fit seamlessly into post production workflows. Our collaboration with Avid allows us to combine strengths and deliver new levels of color creativity and accuracy to the editorial experience.” A new approach to editorial color Avid and FilmLight are focusing on four key areas: Native color inside Media Composer: Bringing Baselight-powered color capabilities deeper into the Media Composer experience, so color feels like part of the edit, not a separate step bolted on at the end. A connected path from dailies to delivery: Keeping color decisions open and connected throughout production, helping teams move more fluidly between editorial, review, grading and finishing. Specialist color science at editorial scale: Extending FilmLight’s color technology to a broader community of Media Composer users, while preserving the depth, precision and control required by professional colorists and finishing teams inside the traditional Baselight environment. Expanded online and delivery capabilities: Scaling with the needs of each production, from being able to complete delivery entirely within Media Composer to a renderless roundtrip with full Baselight for teams working at the highest levels of finishing and delivery. From dailies to delivery, with color connected The partnership is designed to help creative teams carry color decisions through production more seamlessly. Instead of treating editorial and color as separate stages connected by exports, renders and conforms, Avid and FilmLight are working toward a more continuous workflow where the edit can better reflect the intended look of the finished project. For editors, that means greater confidence in the timeline. For colorists, it means creative decisions can be reflected instantly between Media Composer editorial and Baselight finishing environments. For facilities and studios, it creates a workflow that can scale from editorial color through online and delivery, including renderless roundtrip with full Baselight for the highest-end finishing needs. Building on the proven Baselight Editions workflow available today, the partnership points to a broader native color direction for Media Composer: specialist FilmLight color science and tools embedded more deeply into the editorial experience, with capabilities designed to scale across different production needs. “Media Composer and Baselight have been at the center of our post production workflow at ENVY for over 20 years, so it’s exciting to see these two companies working more closely together and continuing to play such an important role in our industry,” said Jai Cave, Technical Operation Director at ENVY Post Production, which has produced The Traitors, At Home with the Furys, and The Grand Tour. “Production workflows continue to evolve, with demand for the color journey on-set to flow right through editorial, VFX and finishing post whilst projects combine an increasingly complex array of formats. Closer alignment between editorial and grade has the potential to bring real workflow benefits to creative teams. We look forward to seeing the vision Avid and FilmLight are building.” About Avid Avid is the power behind the content that touches virtually every person on the planet. Every word, every note, every frame, every day. Powering greater creators and trusted newsmakers, Avid enables everyone with a story to tell – from Emmy®, Grammy®, and Oscar® winners to rising talent. Built on a dynamic media intelligence surface, Avid tools support the full production lifecycle, from story assignment and editorial editing through archive and distribution. Avid understands professional media from the inside, combining human creativity with AI-driven orchestration so production moves faster, costs less, and allows organizations to see what their content is worth. www.avid.com About FilmLight FilmLight provides unrivalled color grading, image processing, and workflow tools deployed on-premises or in the cloud – setting new standards for quality, reliability and performance. The company’s streamlined metadata-based workflows employ robust products with cutting edge creative tools, allowing creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight’s core business is centred on the innovation, implementation and support of its products – including Baselight, Baselight Editions, Daylight and Nara – in leading production companies, post-production facilities and film/TV studios around the world. The company is also committed to helping customers build more efficient, connected pipelines via the FilmLight API. FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres and qualified partners worldwide. For more information, visit https://www.filmlight.ltd.uk

Hi all, since this topic comes up quite frequently, here's a tutorial about configuring and customizing your mapping with your grading panel of choice. Supported with SCRATCH are the Tangent Element, Wave, CP200 and Avid Artist Color.

Hi @ all I try to find a Shortcut to toggle between the Operators while you are using Baselight for AVID!? Can anyone help please? Thanks

Just looked intro to BL for Avid on FilmLight page and got intrigued a bit. What i mean is usually i get edit from avid and the thing that was mentioned in the end "see grade while editing" is the case some times it would make sense to Harness. My goal would be to learn that workflow and practice some BL on top seems like good idea to me. Am i missing something here or is there just conform bit that is different? Another part would be to allow to do something that would be usable in the end one way or the other that seems to me not possible with student ? (i also always run out of student time frame when i can do something meaningful)

Hi everyone, new tutorial on how create Avid MXF in SCRATCH and importing them into Media Composer. The interesting part is the source clip metadata being forwarded into the Avid MXF, so you actually don't need any ALE or so to transport metadata anymore. By that we're talking not only Scene and Take info, but any kind of source clip metadata, along with Sound TC, SoundRoll, Circle Take and QC comments from SCRATCH. It's pretty awesome - have a look: Cheers, Mazze

Initially a member of the Technicolor-PostWorks team, Mike Nuget recently branched out on his own, and he has been applying his skills in colour grading, editorial finishing, and visual effects to film, TV and documentaries. Mike shares his recent experiences live using the new Baselight 5 for Avid tools, with a focus on Base Grade, Texture Equaliser, Boost Contrast, and other new features.

BASELIGHT COLOR CORRECTION FOR MEDIA COMPOSER

Any experience with Baselight for Avid? How does it cope with a full hardware based Baselight system when it comes to Speed?

Hi all, here's a tutorial about how to create dailies for Avid in SCRATCH. Even if you are aware of the workflow and not particularly a SCRATCH user, you might still wanna check this video out, as it features a nice trick I used to do on-set 🙂 . Cheers, Mazze *EDIT* updated for v9

I'm working with the latest Avid (8.6.x) and I've noticed that AMA is replaced with a source browser. Maybe that happened a long time ago, but I usually get handed transcoded MXF files made in DaVinci. Anyway, how do I import/transcode r3D files? When trying to "link" it says "cannot be linked" so I'm a bit lost.

Hello, everyone. I'm a Ravensbourne student currently studying Editing and Post Production. As I'm in my final year, I'm currently in the process of writing my dissertation, which mainly investigates how advancements in digital technologies have expanded the creative capabilities of a colourist. If any of you have time, I would love it if you could answer some of the questions I've added below. These answers will definitely help expand/reconsider/polish a lot of the points I've already made. You do not need to answer them all, but if you could answer as many as you can I would really appreciate it. Additionally, if you have any interesting points you'd like to add, or want to suggest any more questions, do not hesitate to let me know. My email is francocuen@gmail.com Why do you think colour is such an important tool in filmmaking? Why do you think black and white was not enough? Do you think being colourist is primarily a technical or creative role? Where do you see the future of colour grading headed? What are some of the new technologies/tools that the industry has to start to consider looking into? What do you think makes colour grading an art in itself? What is your opinion on HDR? What are your opinion on LUTS As third-party plugins for NLE and colour correction software becomes more user-friendly, making it easier for anyone to learn and apply colour grading into their work, why do you think a colourist will still be relevant in 5 years time?

We're establishing a DNxHD workflow and I'm about to deliver a project to an Avid Symphony editor for finishing. Should I deliver MXF OP-Atom and MXF OP1a? What is the difference?

Hi all, here's a tutorial about roundtripping from and to Avid Mediacomposer: Cheers, Mazze