At IBC2015, FilmLight is showcasing colour technology for companies that create content for broadcast, film, promos or commercials. Working closely with other best-in-class manufacturers, FilmLight addresses the whole production chain from scene to screen.
“High-quality content creation is getting more complex. That makes a solid and efficient pipeline more important than ever before,” said Wolfgang Lempp, CEO of FilmLight. “Ad hoc solutions – like special LUTs used without context – often lead to mistakes and misunderstandings that can be difficult to put right afterwards. Our aim is to ensure that our customers can take advantage of the latest cameras and displays right now without limiting their creativity.”
The IBC exhibition will feature a range of real-world applications, highlighting the success of the renderless, metadata-driven Baselight Linked Grade (BLG) as well as the Truelight colour technology, which provides the firm foundation enabling all of FilmLight’s products to work together to successfully manage colour from set to deliverables.
All of FilmLight’s solutions deliver HDR and Ultra HD 4K content. On the FilmLight stand (7.F31), visitors can see the latest features of the Baselight colour grading and finishing system using the PQ colour space developed by Dolby. On the Sony stand (12.A10), Sony and FilmLight experts will demonstrate how, together, Baselight and the BVM-X300 monitor offer a greater dynamic range, a wider colour gamut and better finishing.
For on-set grading there will be a demonstration of FLIP, FilmLight’s device that applies looks to the live camera feed on-set and allows directors and DoPs to add an initial or previously applied grade. To illustrate workflow efficiencies for TV and commercials, FLIP will process live images from the RED EPIC DRAGON and ARRI ALEXA cameras and display the colour-matched results on the Canon DP-V2410 4K reference display. The new FLIP Remote Mac Client is now available from FilmLight’s web site and can also be downloaded from iTunes Store. The team at the RED stand (11.C70) will also show RED’s camera workflows for TV with FLIP and the Baselight for Avid plugin for editorial.
FilmLight will also exhibit Daylight, the on-set dailies and high-performance transcoding software. Daylight will show the full power and efficiency of a metadata-based workflow that links production and post, no matter what format, cameras or deliverables are required. Daylight is now available for trial and download from the FilmLight web store.
The latest versions of Baselight for Avid and NUKE will be shown, and there will be a new package on display: Baselight for Avid PLUS is an exclusive IBC2015 offer that includes the Slate control surface and a Baselight Editions licence.
“We all like to think of colour grading as a creative process,” added Lempp. “But it is a waste of time without a solid colour management framework. The world doesn’t simply divide into TV, broadcast and film any more. Making content look its best in any context – whether on set, in post, in the cinema, at home, mastered in HDR, Rec. 2020 or not – needs more than hit and hope. At IBC, we show how this can be achieved.”
FilmLight is exhibiting at IBC2015 (Amsterdam, 11–15 September) on stand 7.F31.
