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.”

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.

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.

FilmLight will demonstrate its creative and technical commitment to Japanese television broadcasting and post-production with its own booth at Inter BEE 2018 (Makuhari Messe, Tokyo, 14–16 November, #3311). This marks both the five-year anniversary of the FilmLight office in Tokyo, and provides the opportunity to showcase the latest version of FilmLight’s colour grading and management platform, Baselight v5, for the Japanese market.

FilmLight is to demonstrate remarkably powerful new functionality for its colour grading and management platform Baselight at IBC2018 (Amsterdam, 14–18 September, stand 7.B26). The latest software will be shown on Baselight grading stations, and also implemented across FilmLight’s product range, which includes Prelight for on-set visualisation, the Daylight dailies system and the expanding Baselight Editions range for editing and VFX.

At NAB2018, FilmLight is launching BLG for Flame as the latest product in the popular Baselight Editions range. BLG for Flame is a Linux-only plugin for Autodesk Flame that applies a Baselight grade automatically, either from Baselight Linked Grade (BLG) files or directly from a Baselight scene.

Pinewood Digital, the specialist front-end dailies division of Pinewood Studios Group, is a pioneering user of Daylight and recently extended its investment in the platform with new systems in both London and Atlanta. Daylight is the near-set dailies management tool from FilmLight, which embeds grading decisions to create high quality dailies and other deliverables.

As China increases its professional post-production market sector, growing rapidly with content creation and adopting sophisticated workflows, FilmLight is planning a major presence at BIRTV 2016 (stand 8B21, 2427 August, China International Exhibition Centre, Beijing). As well as exhibiting on its own stand with comprehensive demonstrations of the latest version of its core Baselight software alongside the new Daylight software solution for dailies FilmLight also has a show presence with reseller Jebsen Industrial Cinematic & Broadcasting Solutions and partner soCam. 

FilmLight showcased a broad range of new functionality for the first time at IBC2014 (Amsterdam, 1216 September), designed to seamlessly integrate with todays evolving workflows. Daylight, the new near-set colour grading tool, featured on the FilmLight stand (7.F31) alongside the latest product in the Baselight Editions range, Baselight for NUKE, and the latest release of Baselight 4.4m1.

For their indie feature Odd Brodsky, cinematographer Matthew Irving and director/producer Cindy Baer chose to use LED lighting from Litepanels, a Vitec Group brand.