At IBC 2015, which ran until 15 September in Amsterdam, FilmLight showcased
colour technology for companies that create content for broadcast, film, promos or
commercials. Working closely with other 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.’
The IBC exhibition featured 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, visitors saw the latest features of the Baselight colour grading
and finishing system using the PQ colour space developed by Dolby. On the Sony
stand, Sony and FilmLight experts demonstrated 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 was 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 processed live images from the RED Epic Dragon and Arri Alexa
cameras and displayed the colour-matched results on the Canon DP-V2410 4K
reference display.
FilmLight also exhibited Daylight, the on-set dailies transcoding software. Daylight shows the full power and efficiency of a metadata-based workflow that links
production and post.
“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.’
