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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

WOW! Lowepost is true to their word. I post wondering why there is no FCP forum and within hours there IS a FCP forum. I started out with Final Cut Pro v1 and Premier Pro. For whatever reason these programs never clicked with the way I think about story telling. I came from a still photography and animation background, and kept going back to Final Cut up to version 7 for live action shorts. But was never really into it. Tried Premiere Pro again. Still not clicking. Then came FCP 10 which I started my training in 2012 and I was truly excited. It was very different and it clicked! I made my first short with it 2013-1015, but it wasn't until 2018 that I knew there was nothing better for me for editing. I started to my Premiere Pro training in 2018 while working on a very complicated projected, but quickly went back to FCP 10.3. When Resolve 15 was released I spent two months using nothing but Resolve 15 for a whole production (I've used Resolve for color grading since 2014) and at the end of it I went back to FCP 10.4.4 for editing projects. Why? It is just more fun. I just works with the way I think about organizing and my production pipeline. I think it is the best NLE ever, but then again I never bothered much with Media Composer. I don't much like track based editing styles compared to the magnetic timeline. I hope to connect with other FCPx editors here. What do YOU think?

“real editing software” noob. i recently got passed my changing file names mistake.... i have an issue where i think when i drag new clips to my time line and/or a sound track i notice i lose some stuff. am i doing something wrong amongst my multiple layers? to be specific, I Alt+A to move my starting point back to build an intro. Then i begin adding tons of new clips and sounds to the layers at the start of the timeline. i noticed a few times the intro was bleeding into the start of the footage (which means at some point it was there) finally done with the intro, i play it from the start to see it live and then i notice the first bit of footage is missing the original first bit. (this also happened in another later spot of the timeline) i have to possibly RE edit a good amount of stuff. how can recover and/or AVOID doing what i’m doing incorrectly? sorry for the read friends just need to be specific to avoid confusion.

Hey guys and gals, New to this forum, quick background of myself. Did Audio since 2006 and two years ago gave up audio to do video. Now i am 2 years into video and do everything for my company. I still am having a lot fo trouble learning color correcting and color grading. Im not sure if its my camera, my eyes lol or just not sure what Im doing wrong. I know Ive been filming in AUTO ISO but lately I actuall manually ISO my enviorement. ANy how long does it take to be a good colorist. I am based out of Los angeles if anyone knows anyone who can help !!!

Hey folks, I came across a neat shortcut today, Shift+V, it selects the clip under your playhead, and makes for handy speed life! I quite often have to reframe shots for the various ratios of modern day life (Social Media for example!) and there are times I trip up and forget to select the clip I need to reframe. Shift V fixes that! Proceeds to Move the playhead, shift V, and reframe! Bliss! Protip: Keybind it to something more useful to your workflow, I feel like I never had this problem in Premiere though, it used to know what clip I wanted somehow and I could just zip through the timeline and reframe as I watched! Maybe I'm mis-remembering but... It felt like this and many other things were swifter! If anyone else has some Quality of Life improvements to share I'm all ears; here's some more: 'x' - Creates In/Out points based on selected clip 'Shift+[/]' Trim start / end to playhead 'Cmd+Shift+[/]' Ripple Trim start/end to playhead (Q/W in Premiere)

Hey, I've had this problem a couple of times, when I import an XML in Davinci from Premiere a couple of clips come up as a still from the clip. Since I don't know the work around, I would go back to Premiere and export a high res clip from the timeline and grade that. Has anyone experienced this problem before and has the solution? Thanks for your time, Drew

I found this by Noam Kroll: The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film

At the risk of being cheeky, I wonder why there is no forum for FCP editors? I came for the Fusion training (really impressed), visit the Resolve forum daily too. I am a subscriber.

Hi all, this tutorial focusses on how to animate a still image. In SCRATCH, all clips are managed in slots - and each slot can have a length, independent from the length of the clip inside. To animate a still (which basically is a one-frame-clip), you need to understand the difference between clip and slot length. No worries, it's an easy one ;-) .