Products

Description

Baselight is a powerful color grading and finishing system for film, TV, commercials and broadcast.


 


Baselight Features




Layer Blending

Baselight 4.4 brings you the ability to blend the output of a previous layer into the current layer by any amount you choose and using any of the available Photoshop-style blend modes, such as Mix, Add, Lighten, Darken, Overlay, Screen and so on.

Render Queue

You no longer need to wait for Baselight to finish rendering before you start the next operation—Baselight now has a Render Queue. Pause, re-order and resubmit renders so you can work more efficiently. You can also produce multiple deliverables from the same scene simultaneously.  

Render View

The new render interface has been simplified—with render options and multiple deliverables hidden unless you need them. And if you want to free up resources on your Baselight system, offload the rendering process to a remote Baselight—or even to a FLUX Store system.  

Chalk

The Chalk application lets you customise the buttons on the Blackboard 2 control surface. Change the functionality of an existing button, or swap the locations of buttons to change the layout. You can even create custom buttons. Baselight 4.4 also introduces multiple language support so you can work in your language.  

Extensive Panel Support

Baselight supports an ever-increasing array of control surfaces including Tangent Wave and Element, and the Avid Artist Color and Transport. And, of course, there’s our new Slate panel, which uses the same technological advances as Blackboard 2 but in a size perfect for the demands of today’s multi-purpose post-production facilities.  

Generalised Colour Spaces and ACES

Colour spaces associated with Baselight formats can now be defined externally, with a powerful function set which allows complex transforms formerly only possible with 3D LUT mechanisms (such as Truelight).  

Single Stereo Stack

The left and right eye stacks are no longer placed above each other in the timeline—now, both left and right eye tracks are contained inside the same stack so that mattes and effects are applied to both tracks simultaneously. No need to sync your stacks.  

3D Stereoscopic Colour Match

The new localised colour matcher matches any spatial colour differences found between the left and right eyes, providing for a more accurate match.  

Depth Histogram

Similar to the colour histogram, the depth histogram displays the disparity distribution in your scene. You can also create a Disparity Map to show the disparity between left and right tracks—combine it with a Depth Key to create a mask for grading.  

Working with Avid or Final Cut Pro?

Baselight lets you import an Avid AAF or FCP XML file directly to the timeline. You can then grade shots in Baselight and update the AAF or XML file with the new grade information. Import the updated file back into your editing system and you can access the graded shots straight away—no rendering required.  

Heard about the BLG file (Baselight Grade file)?

It's a multi-track OpenEXR file that lets you create, transfer and review looks. When we use the term 'look', we're not just talking about a LUT or a restricted grade—we mean the full creative intent, including Truelight cubes, conform metadata and keyframes.  

Native Support for Common Encoding Formats

Baselight 4.4 now reads and writes many common broadcast file formats natively, so you no longer need a separate licence for the Decoder Pack 1. Baselight also renders DCI-compliant JPEG2000 files natively so that you can incorporate them into a DCP (Digital Cinema Package) directly, using third-party tools.
 

Third-party Integration

 
  • Use the Baselight Grade (BLG) file to create, transfer and review looks
  • Integrate with Avid systems via AAF import|export, MXF reading, writing|reconform of multi-track timelines, and ALE export
  • Integrate with Final Cut Pro via XML import|export, reading of multi-track sequences, with QuickTime media support for ProRes codecs via Baselight Kompressor
  • Handle digital camera content natively with full metadata control, including RED, ALEXA, and Sony F5, F55 and F65
  • Control all telecine features, including noise reduction, on DFT Digital Film Technology Spirit DataCine|Spirit HD| Spirit 2K|Spirit 4K and Shadow Telecine systems
  • Export Autodesk DLEDL files for Autodesk Flame|Smoke
  • Grade and restore film simultaneously with PFClean
  • Work with an extensive range of image and movie formats in many different codecs

Formats

  • Mix formats freely within a scene or project
  • Produce multiple format deliverables from a single timeline in a single pass
  • Reframe|reformat with 'cascadeable', dynamic pan and scan
  • Define transforms for format conversion or use the standard transforms provided (e.g. Super35 to CinemaScope)
  • Set up format-dependent masks and safe areas
  • Perform complex colour space transforms with externally defined colour spaces
  • Use setups to save options in named configurations, including IO operations and display settings

Conform

  • Import CMX3600, AAF or FilmLight EDLs, Autodesk DLEDLs, or Final Cut Pro XML
  • Filter media based on template, file type and|or metadata
  • Reconform from revised EDL maintaining grade events and keyframes
  • Detect cuts in long-form content

Media Management

  • Access local storage of other Baselight systems, or FLUX Store, in a networked cloud across 10GigE
  • Conform and prepare media on remote systems with optimised streaming access to high-resolution images
  • Manage image data across the network via powerful FLUX browser
  • Mount Baselight storage via NFS so third-party applications can dust-bust, repair and composite material directly
  • Gather all parameters in the input layer so they are fully visible and can be copied and keyframed easily
  • Organise complex projects in the Job Manager: create a folder hierarchy for each job, filter items, and rename|delete scenes
  • Browse source media easily in the Sequence Browser, from where you can view sequence details and play back sequences
 

Grading

  • Insert unlimited primary and secondary grades
  • Grade multiple shots simultaneously with grouped grading
  • Choose from a wide range of grading plugins, including:
    • Film-style grade, calibrated in printer points
    • Video grade with RGB interpolation for keyframing
    • Curve grade with keyframeable spline-based editing of image parameters in RGB and HSL
    • Technical grade, which maps full range printing density data into video for telecine-style grading
  • Select from many filters and effects, including:
    • DSpot for fast, accurate dust and defect removal
    • Looks generated with Truelight to measure real-world processes
    • Blend modes such as darken, screen and overlay, with the option to blend layers by any amount you choose
    • Glow for popular post-production lighting effects
    • Diffuse filter to soften skin tones
    • Third-party filters via OFX support
  • Insert secondary grades through combined chroma|luma keys, multiple soft-edged shapes and imported mattes
  • Use advanced free-form matte shape features, including variable feathering, and quickshapes for easy shape insertion
  • Manipulate mattes in one easy operation with the Matte Tools
  • Auto-track shapes|edges with the area tracker or the multi-point object tracker
  • Display independent matte viewing modes for each cursor
  • Keyframe all controls

Stereoscopic Grading

  • Correct geometry—including rotation, zoom and perspective—with a single click.
  • View both tracks in a single timeline stack, which can be split if you need to grade tracks separately.
  • Match spatial colour differences between tracks with the localised colour matcher.
  • View the disparity distribution in your scene with the Depth Histogram.
  • Combine the disparity map with a Depth Key to create a mask for grading.
 

Timeline and Editing

  • View user interface across multiple monitors so you always have access to the tools you need
  • Define custom workspaces for different tasks
  • Preview timeline in the Cutview for rapid navigation and copy|paste
  • Store graded stacks in the Gallery for each user and|or job
  • Drag and drop grades from the Gallery, and add notes to assist Gallery organisation
  • Store and retrieve grade settings from Blackboard using Scratchpad
  • Edit timeline with extensive functionality including group, copy, move, trim and delete
  • Select contextual timeline elements automatically
  • Add colour-coded timeline marks with notes to help navigation and communication
  • Access thumbnails of shot output and mattes in the layer view
  • Copy and paste elements selectively from a source stack into the current timeline
  • Display a CMX3600 EDL-style view of timeline in the Shots View
  • Sort timeline with a flexible set of options
  • View multiple cursors simultaneously with multiple-view modes
  • Play back even the most complex grades in real-time with flexible automatic caching
  • Access all operations in persistent, unlimited undo|redo system
  • Define strip categories to make it easy to view, bypass or render strips of a certain type
 

Rendering

  • Background render shots to the cache during system downtime
  • Speed up caching of time-intensive operations (e.g. Temporal Degrain) by inserting the Cache strip in the stack
  • Render scenes, shots or selected frames with the fully threaded independent renderer—with floating point GPU renderer on upgraded systems
  • Render to cache, so scenes can be cached up without waiting for them to play through
  • Offload render tasks to other Baselight systems, FLUX Store or render farms (e.g. Alfred, Rush)
  • Use the render queue to manage renders, including pausing, resubmitting or re-ordering
  • Render multiple deliverables from the same scene simultaneously.
  • Select the render options you want to use—the rest stay hidden until you need them.
 

Video and Audio

  • Handle video directly from timeline, including deck control
  • Perform background ingest and playout of SD or HD video from Baselight or standalone VTRE
  • Link audio to an individual shot or to the whole scene; audio can be imported from movie file types or ingested from tape
  • Render audio into movie file types or as a separate audio file for each shot, or play audio back out to tape
 



Specifications & Licensing

Additional Info

Support

RFX is available for all your support needs. Call us at 323-962-7400