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In The Press

FilmLight introduces Baselight for macOS

Article courtesy of postPerspective

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FimLight has introduced Baselight S and Baselight M, affordable and accessible software-only subscription versions of its Baselight grading solution running on the Apple macOS platform.

The making of Here – AI, VFX and colour

Article courtesy of British Cinematographer

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DoP Don Burgess, VFX supervisor Kevin Baillie and colourist Maxine Gervais pulled their talents together to create a world for the non-linear story of Here, shot from a single camera’s POV.

Light Iron integrates Nara

Article courtesy of Digital Media World

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Light Iron uses Nara to handle file navigation, content streaming and information sharing workflow efficient through a single, secure interface, making workflows simpler and faster.

Nara – Deep Dive

Article courtesy of Digital Production Germany

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Digital Production Germany magazine editor, Bela Beier, recently talked to Nara’s Steve Britnell, Head of Technical Development, and Sam Lempp, Head of Business Development, about all things Nara.

Creating a supernatural colour grade for ‘Salt Along the Tongue’

Article courtesy of Digital Media World

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Colourist Daniel Pardy talks about building a working LUT for this film with a distinctive 16mm film look, helping the production make creative decisions on set, leading to the ideal final grade.

Luca Guadagnino’s Queer

Article courtesy of Post

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The feature brought together a familiar team that included Guadagnino, DP Sayombhu Mukdeeprom and colorist Claudio Del Bravo.

Behind the look: Disclaimer

Article courtesy of Televisual

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The series was shot by cinematographers Emmanuel Lubezki, ASC, AMC (‘Chivo’) and Bruno Delbonnel, ASC, AFC, and the colour was delivered on Baselight at Postworks NYC by supervising colourist Peter Doyle (now at Picture Shop).

FilmLight introduces REMOTE

Article courtesy of TV Technology

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FilmLight has officially launched FilmLight REMOTE, a remote colour grading solution that allows post houses and colourists to work remotely without sacrificing the high-quality and low-latency monitoring essential for fast and efficient workflows.

The Penguin: Honouring the look of The Batman

Article courtesy of postPerspective

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If you’ve seen the show, you’ve likely noticed its distinctive look, part of which could be attributed to The Penguin’s color grading, which was overseen by Picture Shop’s supervising DI colorist Pankaj Bajpai.

Light Iron selects Nara

Article courtesy of Digital Cinema Report

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Light Iron has selected Nara for its New York and Los Angeles facilities – streamlining its workflow solution and accessibility across sites from dailies through to finishing.

Ross Baker, head of colour, Molinare

Article courtesy of Digital Media World

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Ross Baker, senior colourist and head of grading at Molinare in London, talks about building his career from telecine departments to running a team working across multiple genres…

Professione ‘colorist’, conversazione con Claudio Del Bravo, Frame by Frame

Article courtesy of MonitoR

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Claudio Del Bravo è Senior Colorist e responsabile dei lungometraggi presso lo studio di post produzione Frame by Frame a Roma, Italia. Claudio ha maturato anni di esperienza nella color correction di vari formati tra cui: pubblicità, lungometraggi, film indipendenti, documentari e serie TV…

Press Contact

We’re always happy to promote our customers’ work. Whether it’s a press release or a case study, contact:

Caroline Shawley
e: [email protected]

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