FilmLight develops unique colour grading systems, image processing applications and workflow tools that are transforming film and video post-production and setting new standards for quality, reliability and performance. The company’s streamlined metadata-based workflows employ robust products with the best creative tools, allowing creative professionals to work at the forefront of the digital media revolution ‘at every stage’ of modern workflows.
Founded in 2002, FilmLight’s core business is centred on the innovation, implementation and support of its products—including Baselight, Daylight and Prelight—in leading production companies, post-production facilities and film/TV studios around the world. 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.
With the forthcoming release of version 5.0, users will benefit from the same powerful toolkit, and a consistent and familiar user experience, from FilmLight’s flagship Baselight colour grading and finishing system, through Baselight Editions, to Daylight and the new on-set application, Prelight.
Version 5.0 introduces a modern way of handling colour, with the new Base Grade that accurately mimics the way the eye sees colour to yield a more natural feel, with smooth, consistent changes in the controls. 5.0 also blurs the line between traditional colour correction and VFX with new features such as paint, perspective tracking, warping, depth keying, relighting and more.
To meet the needs of DoPs and DITs on set, FilmLight has now taken its colour science and the BLG (Baselight Linked Grade) file format and wrapped it into a simple package, called Prelight. This has the full grading power of Baselight, along with all its colour science, but in a very simple shell so that it can be used on set without getting in the way of the shoot.
There are two versions. One – Prelight – is a free download, and gives the DIT the ability to load looks and tweak the grade using stills. The full version – Prelight ON-SET– puts a lot of power on set.
First, it applies the look to the camera output in real time, either through an external device or, in the case of cameras like the ALEXA SXT, in the camera itself. Because it incorporates all of the Baselight colour science, it can impose one transformation for the display device – there might be an HDR screen for playback on set – and another for the HD output, so the material going to editorial looks right, too.
Once connected, the DIT and DoP can do as much or as little as they want.
They can simply accept the LUTs and maybe any looks pre-set by the colourist. They can choose to match to reference stills. Or, if they want to, they can adjust the grade, using either on-screen controls or a simple panel plugged in to the computer.
All grading information is saved and can be delivered to the colourist upstream, as the foundation of the grade.
The BLG format describes not just colour decisions but also windows, vignettes, shading, position and all the other tools the colourist has. It operates on the basis of cumulative metadata: nothing is baked into the raw footage until the point of rendering the final deliverables. Any decision can be altered or rolled back at any time.
Users can also choose to export LUTs or ASC CDL lists instead to ensure that Prelight can be integrated into any post-production workflow.