Search the Community

Showing results for tags 'baselight'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author



Filter by number of...

Found 39 results

  1. Hi everyone, Does anyone know if there is a tool to manage bright saturated color clipping (out of gamut colors) in Resolve ? Something similar to the Baselight compress gamut? Thank you,
  2. At Oxido in Mexico, Fernando Medellin grades commercials, features and television: he was in at the beginning of the color workflow for Oscar-nominated 'Roma', grading dailies for Alfonso Cuarón. In this exclusive live 'Meet The Colourist', Fernando talks about his collaborative creative work with the director and DoP on set. He also explains his grading approach on high-end commercials. Colour On Stage_ Fernando Medellin, Colorist, Oxido, Mexico.mp4
  3. New video showing what FilmLight was demonstrating on the show floor at NAB2019 - including the next generation grading tools in Baselight 5.2 and the upcoming 5.3 release, a first look at the new FilmLight API (allowing advanced automation for managing media and Baselight scenes using Python, Javascript or Java), and the debut of the Blackboard Classic panel. NAB2019_Highlights_graded_v2_with_titles.mp4
  4. Goodevening,I am encountering an unexpected behaviour when rendering with baselight 4.4. Due to in progress jobs we are avoiding an upgrade.I am struggling to properly tag the color space of my exported clips.Exporting to quicktime prores4444XQ.Colour Space Tagging: AutomaticOriginal clip CS: Arri log C/wide gamutinput cs: tried both from metadata and setting it to arri log C/wide gamutstack: working colour space:arri log c/wide gamutScene settings tried both setting all to arri log g/wide gamut and leaving Grade result colour space: from stack and Default input coloru space to no conversion.Despite all my rendered files are all tagged as Rec 709 gamma 2.4. Am I missing something?Moreover if in render, as Render Colour Space, I say Input colour space no matter the settings it converts the file to Rec 709 gamma 2.4. Are those know issues of old version of baselight, or am I doing something wrong?Thanks in advance for your help
  5. Save the date... NAB2019 Colour Day. Monday 8 April. Renaissance Las Vegas Hotel Leading colourists will present their individual journeys in colour, as well as the creative tips they have honed over successful careers – all live on Baselight. The colourist lineup includes… Doug Delaney from Technicolor, who recently graded Captain Marvel, Andrea Chlebak and Laura Jans Fazio of Deluxe, and Oxido’s Fernando Medellin, who will explain his grading approach on high-end beauty commercials and his work on the upcoming HDR Netflix show Monarca. They'll be joined by FilmLight colour experts Daniele Siragusano and Andy Minuth. This intensive day of live presentations and practical discussions is designed to guide colourists, DoPs and the wider production and post industry through the opportunities and challenges of modern colour pipelines, via demonstrations of the exceptional colour management and finishing toolset in the latest version of FilmLight’s colour grading system, Baselight v5. Full details will be available soon. Pre-register now for early access to booking – just fill out the form to the right: https://www.filmlight.ltd.uk/news/events/20190408_nab.php
  6. Sylvain Canaux Colourist, St Louis, Paris A native Parisian, Sylvain Canaux started his career at post house St Louis where he quickly gained recognition for his work on beauty grading for high end commercials and photographers, such as Chanel, Yves St Laurent & Dior. Using Baselight v5, Sylvain illustrates the challenges of moving between colour spaces and showed how these challenges can be met through a combination of colour science and artistic skills.
  7. Hello, I'm looking for some clarification, real world examples and best practice of using BLG workflow (in ACES) between BL, Flame and Nuke. Lets say if you have project shot with one camera things are pretty straight forward. Fun starts when you have timeline with Alexa mov, mxf and Arri Raw, few Red shots, little bit of Phantom Cine (that can not be loaded in Flame it seams) and few other exotic cameras and of course shots from CGI. I'm curious how other people tackle this problem. Especially from the Nuke side, since options in BLG for Flame are quite clear. What would be the best way to prep this kind of project? Thanks, Nikola
  8. Hello Everyone! My new project, viideo-course in Baselight 5.0 for beginners (english language). Alex
  9. The third part of this tutorial series covers scene, job and global formats as well as metadata burn-ins.
  10. Part 2 of this three-part series covers the process of creating a centre-extraction format mapping.
  11. The first of a three part series on Baselight and Daylight formats. This video explains how formats are mapped and how to create a new format with a specific mapping.
  12. We are organising a day of exciting presentations at IBC this year. The speakers are: Maxine Gervais, Senior Colourist, Technicolor, Hollywood; she will talk about her recent work on Black Panther, The Meg and Alpha. Sylvain Canaux, Colourist, St Louis, Paris; Sylvain will explain his grading apporach on high-end beauty commercials. Mike Nuget, Freelance Colourist/Editor, New York City; Mike will present his recent experiences live using the new Baselight for Avid tools. Daniele Siragusano, Image Engineer, FilmLight, Munich; In this more techical session Daniele will show what it takes to produce natural images on modern wide gamut displays They will present live from a Baselight system and go into the details of the colour space management and finishing toolset that helped them to create beautiful grades, while navigating modern challenges such as HDR and multiple delivery formats. Seats are limited. Please register at: https://goo.gl/agS9Wh
  13. Hello, I try to find a setting in Baselight to render a good-looking h264 mp4 file. But the settings to render a h264-file a quite complex and I got not very pleasant results. The goal is to get results like out of Media Encoder, so that you don`t have to do two renderings (from ProRes to h264) and find maybe three default render-setups. Has somebody any advice? Thank you
  14. BASELIGHT COLOR CORRECTION FOR MEDIA COMPOSER
  15. Visiting NAB this year? I would like to draw your attention to the following event: https://www.eventbrite.com/e/arri-and-filmlight-workshop-at-nab-2018-registration-44545711422 We will show an effortless BLG workflow between the Alexa and the FilmLight tools. And after that I will present new and upcoming features of Baselight. There is a longer description of the event in the link. See you there, Andy
  16. Hello Everyone! My new project, viideo-course in Baselight 5.0 for beginners (russian language). Alex
  17. Filmlight Blackboard 1 in very good working condition for sale -10,000$ Shipment costs from Israel on the buyer's expence. Michael@cinematyp.com WhatsUp +972544521163
  18. Hello everyone. I've one question. Is there any information that the Baselight will work with the extended version of Tangent. The fact that the Baselight works with the standard Tangent bundle (Kb,Tk,Bt,Mf) is what I know. BUT if for example to put additional modules (for example Tangent Bt) Will the Baselight work with five modules (Kb,Tk,Mf,Bt,Bt)? or Six (Tk,Mf,Kb,Bt,Bt,Bt) Thanks.
  19. EDERLEZI RISING is set in a Socialist dystopian future some fifty years from now. Milutin, is an astronaut sent on a long space flight to Alpha Centuri to deliver an ideology to the colony there. However, on this flight he will be accompanied by a female android, Nimani. The film explores the essence of love and emotion between Milutin and his cyborg companion.Official WebsiteIMDB
  20. Any experience with Baselight for Avid? How does it cope with a full hardware based Baselight system when it comes to Speed?
  21. Hi everyone. Colorgrade - Filmlight Baselight 5.0