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Filmlight Baselight 2

Filmlight Baselight 2

Price: Contact us
Location: United Kingdom
Condition: Used
Viewed: 1749 times
Date Expires: 15/02/2021
Item ID: 186604

Filmlight Baselight 2

Filmlight Baselight 2

Baselight Two system Gen 5 UHD
Kona 4 SDI 4K option
Truelight Option
Storage: 48TB
Shuttle later FL Node Stream com FC8 EVO
Software 4.4 latest version.
Gen5 hardware, latest generation CPUs,
new 780TI GPU accelerators and AJA Kona 4 4K output card. The server motherboard is now PCIe 3.0 based.
Baselight Blackboard 1 control surface
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This News may interest You
Berlin Film Festival winners finished with Baselight Posted: 15/04/2020
Berlin Film Festival winners finished with Baselight

There is No Evil and Delete History prize winners completed at Optical Art in Germany and Color in Paris

 

At the 70th Berlinale, the 2020 Berlin Film Festival, the Golden Bear was won by There is No Evil, directed by Mohammed Rasoulof; the Silver Bear special prize went to Delete History, directed by Benoît Delépine and Gustave Kerven. Both movies depended on detailed grading and finishing on Baselight.

 

Tags: FilmLight ,Baselight ,Berlin Film Festival ,colourist ,colour grading ,Berlinale ,Golden Bear ,Mohammed Rasoulof ,Silver Bear ,Benoît Delépine ,Gustave Kerven ,Jochen Hinrichs-Stöldt ,MKM Marketing Communications
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FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight ,ARRI ,Paris ,Colour Day ,Matthieu Straub ,workshop ,Thomas Eberschveiler ,Stéphane Azouze ,colourist ,colour science ,BLG format ,Baselight ,Prelight ,Daylight ,MKM Marcomms ,MKM Marketing Communications
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Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight ,Baselight ,Uncut Gems ,Safdie Brothers ,Adam Sandler ,The Mill NY ,colourist ,Damien van der Cruyssen ,Darius Khondji ,Diamond District ,New York City ,BLG metadata workflow ,colour grading ,Netflix ,MKM Marcomms ,MKM Marketing Communications
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Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor ,Baselight ,His Dark Materials ,colour grading ,Jean-Clément Soret ,Justin Brown ,Philip Pullman ,colour science ,creative control ,colour consistency ,convincing visualisation ,MKM Marcomms ,MKM Marketing Communications
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Power of Baselight X on display at the heart of Inter BEE Posted: 31/10/2019
Power of Baselight X on display at the heart of Inter BEE

At Inter BEE, the FilmLight presence will be led by Koichi Matsui, General Manager of FilmLight KK, along with Yoko Kimura, newly appointed sales and product specialist. “FilmLight is one of the world’s leading companies for production and post production technology,” said Koichi Matsui “Yoko’s recent appointment underlines this region’s importance to us, and is a clear indication of the support we are giving to our existing and future customers in Japan.”

Top end post-production is placing ever-more stringent technical demands on technology, in support of the creative ambitions of directors, cinematographers and colourists. 4K and HDR are now commonplace, and 8K is being broadcast today in Japan. Recently, Baselight workstations were chosen for grading and finishing Ang Lee’s new movie, Gemini Man, shot and delivered in 120 frames per second, 4K, high dynamic range 3D.

Only the power of the Baselight X system can handle such a data-intensive project, while still giving the colourist free rein with next-generation creative tools and realtime response. FilmLight will demonstrate these tools as part of its latest software version at Inter BEE 2019, on an 8K display powered by a Baselight X grading system. This includes new productivity features such as the enhanced timeline with collapsing stacks and multiple tracks.

Tags: FilmLight ,Yoko Kimura ,Inter BEE ,Koichi Matsui ,Japan ,Asia Pacific ,post-production ,colourist ,Baselight ,grading ,Ang Lee ,Gemini Man ,Baselight X ,Baselight Editions ,Daylight ,Blackboard Classic ,control panel ,MKM Marketing Communications
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Directors Cut upgrades to Baselight for HDR and 4K Posted: 31/10/2019
Directors Cut upgrades to Baselight for HDR and 4K

Independent London post house Directors Cut Films – owned and operated by its creative staff – has invested in a Baselight TWO colour grading workstation with a Blackboard 2 control panel. Directors Cut works primarily in premium long-form television, as well as drama series, documentaries and feature films, with increasing interest in 4K and HDR.

“Being owned and run by ex-editors, we know what is required to meet and exceed expectations in post,” said Senior Colourist Andy Elliott. “We felt it was the right time to invest and embrace HDR and 4K workflows. HDR in particular produces much more of a positive visual impact, with real benefits in the immersive experience for the viewer.”

Leading broadcasters and production companies in the UK routinely turn to Directors Cut to finish major projects. While the work includes major dramas and some feature films, the company has a reputation for long form TV, especially documentaries. Recent projects graded by Elliott include biographies of Cher and Elton John, an investigation of the Bauhaus for BBC4, and Sir David Attenborough’s call to action Climate Change: The Facts.

Elliott pointed out that such programmes frequently bring together footage shot on multiple different cameras and formats, often in less than ideal circumstances. The task for the colourist is to integrate all of the footage as well as create a coherent look that reflects the story the director wishes to tell. That makes the speed and power of the upgraded Baselight suite an important asset.

Tags: FilmLight ,Directors Cut Films ,independent post house ,Baselight TWO ,colour grading ,Blackboard control panel ,Andy Elliott ,HDR ,4K ,grading suite ,powerful system ,asset ,colourist ,MKM Marcomms ,MKM Marketing Communications
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Fifty Fifty adds second Baselight grading suite Posted: 21/10/2019
Fifty Fifty adds second Baselight grading suite

Leading London boutique post house Fifty Fifty has added a second Baselight grading suite as part of its expansion programme. With the growing interest in top end content for broadcast and streaming, both suites are equipped for 4K and HDR Ultra HD, and certified for Dolby Vision grading and delivery.

 
Originally a short-form house, Fifty Fifty is now best known for its broadcast work. As well as an ambitious expansion into a fourth building next to its original Soho base, to drive future creative and commercial growth, Fifty Fifty has recruited experienced long-form colourist Joe Stabb to run both the department and the new suite.
 
“Our boutique size enables us to offer agile, bespoke solutions,” said Cara Kotschy, managing director of Fifty Fifty. “The addition of beautifully styled and Dolby Vision accredited Baselight suites is a strategic move to put us at the forefront of technology and deliver our strategy within the high-end programming market. Baselight is a name that almost every single client will recognise and trust.”
 
Today, the majority of Fifty Fifty’s OTT deliverables are in HDR, so it is incredibly important that they have the confidence to deliver this new technology. The new suite matches the existing room technically, based on a Baselight TWO workstation with a Blackboard control surface. Fifty Fifty also use Baselight plug-ins in their editorial rooms and Flame VFX.
Tags: FilmLight ,Fifty Fifty ,Baselight ,grading suite ,colourist ,Joe Stabb ,4K ,HDR Ultra HD ,Cara Kotschy ,Dolby Vision ,Blackboard control ,Flame VFX ,colour science ,colour artist ,interoperability ,MKM Marcomms ,MKM Marketing Communications
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Artjail raises the bar with Baselight colour grading Posted: 03/10/2019
Artjail raises the bar with Baselight colour grading
Independent VFX boutique Artjail has added a Baselight grading suite in each of its locations: one in its New York studio, and one in Toronto their newest studio that opened in January. Bringing grading and VFX together will strengthen the studio’s workflow for complex VFX projects. It will also further their reputation for short form advertising projects and long form work.
Tags: FilmLight ,Clinton Homuth ,colourist ,Artjail ,VFX boutique ,Baselight ,grading suite ,Steve Mottershead ,New York ,Toronto ,BLG ,Flame ,NUKE ,Avid ,VFX ,feature set ,MKM Marcomms ,MKM Marketing Communications
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Fast-forward to creative results with FilmLight at IBC2019 Posted: 05/09/2019
Fast-forward to creative results with FilmLight at IBC2019

At this year’s IBC, FilmLight (Amsterdam, 13-17 September, stand #7.A45) is demonstrating new colour management tools and products designed to improve efficiency and flexibility for a wide range of workflows.

Tags: FilmLight ,IBC2019 ,Blackboard Classic ,control panel ,workflow improvements ,colour management tool ,Baselight ,FLUX Store ,VFX ,Daylight ,MKM Marcomms ,MKM Marketing Communications ,IBC 2019 ,IBC 2019
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Creating movie star looks for HBO Big Little Lies Posted: 12/08/2019
Creating movie star looks for HBO and rsquo;s Big Little Lies
The second season of HBO’s runaway hit drama Big Little Lies was completed at Technicolor in Los Angeles. Finishing artist and Vice President of business development Pankaj Bajpai, famed for grading the HBO series Sex in the City, True Detective and Nat Geo’s Genius seasons for both Einstein and Picasso, used Baselight to enhance the distinctly Californian look of the show.
Tags: FilmLight ,Big Little Lies ,HBO ,Technicolor ,Pankaj Bajpai ,Baselight ,Base Grade ,Film Grade ,Flare control ,BLG for Flame ,Baselight for NUKE ,VFX ,color grading ,colour grading ,MKM Marcomms ,MKM Marketing Communications
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