In 2010, FilmLight's development team were honoured with four AMPAS Sci-Tech Awards spanning every one of our main product lines. In 2012, this major achievement was followed by an Academy of Television Arts & Sciences Primetime Emmy Award that recognised our innovative colour preview and dailies products—Truelight On-Set and Baselight TRANSFER—as significant innovations in TV technology.
On-set preview of live camera output with real-time application of LUTs and looks.
Live preview of your final look
FLIP is a real-time image processor which applies lookup tables, grades and filter effects to the live output of your camera while you are shooting on set. Inserted directly in the single or dual-link HD-SDI feed between camera and monitor, it utilises GPU accelerated hardware combined with Baselight grading and Truelight 3D LUT technology to apply looks to your raw footage so you can see exactly what the final grade is going to look like in post.
FLIP removes the need to process raw digital files before you can review your shots and gives you complete freedom to interactively experiment with and compare looks, adjust filters, and push things to the edge, trading off what you can do on set with what is possible in post.
The real-time image processing and display emulation system generates an accurate preview of the final look but leaves the captured raw images untouched allowing decisions to be reversed in post and avoiding the need to lock anything down until the very end.
Start the grade on set
Looks developed in the grading theatre during test-shoots can be imported into FLIP, previewed with live footage and then further refined on-set using simple, yet powerful, real-time grading tools. The looks which you create in FLIP are then exported back to the grading theatre and seamlessly combined with the original raw camera footage to reproduce the same looks for the final grade.
Your vision at every stage
Carrying forward all your metadata from set, including the creative decisions you make using FLIP, means the same vision can be seen at all stages in the post-production pipeline. Look data and transform LUTs can be imported directly into Baselight systems and Baselight Editions so you can work on your original raw camera footage with the same looks in VFX, editorial and the final grade.
The ability to export standard ASC CDL lists and 3rd party formatted 3D LUTs enable you to integrate FLIP into any post-production workflow.
Recording and playback
FLIP can capture the incoming video stream and create movie files in a variety of professional codec formats. These movies can be recorded with or without the grade embedded, allowing FLIP to be used as a function in roles both of look management and video assist, and also to generate instant rushes.
FLIP can play back these movies to allow you to review shots, with or without grades.
You can also plug external USB 3.0 or eSATA storage devices into FLIP to use as movie playback sources, allowing reference material to be played back on FLIP and used to assist in look creation.
Adaptive technology for on-set demands
FLIP has a high-resolution multi-touch UI screen as well as soft keys that change as you select options, so the interface is clear and uncluttered.
The system also features two hot-swappable 24V power inputs, so you need never lose power when you're on location.
Not only that, but if you're using an ARRI Alexa camera and FLIP is connected to a wireless network, it can communicate information about looks straight to the camera over its wi-fi interface. No cables, no fuss.
Portable grade format
The BLG (Baselight Grade file) is an multi-track OpenEXR file format that you can use to create, transfer and review looks.
When we use the term 'look', we're not just talking about a LUT or a restricted grade—the look within the BLG is the full creative intent. It includes all grade information including Truelight cubes, conform metadata and keyframes.
You can export your creative decisions from FLIP as Baselight Grade files and import them directly into Baselight or Baselight Editions, or vice versa. You can even use them as a look review format without any FilmLight hardware or software.
When you view a BLG file, it shows the graded image wiped with the original image, along with the BLG logo for easy identification.
For more information about the BLG file, watch our Tutorial.
Designed from the ground up to stream and manage images.
FLUX comprises a post-production server and a management tool, which, when combined, provide a revolutionary new way to store image assets and build an image factory.
Highest quality, pin-registered, digital film mastering
The Northlight scanner is the benchmark for quality, adopted across the industry and in use at all premier studios across the globe.
Northlight is engineered to meet the exceptional demands of feature-length digital film mastering. Built around a non-static, optical bench of solid marble, it produces ultra-quiet, high-resolution, stable scans with superb colour fidelity and repeatability. All spatial information and dynamic range is captured in a single pass. Northlight integrates with other FilmLight or third party applications to produce definitive, DCI-compliant masters without dither or noise.
Northlight is also perfectly suited to back catalogue preservation. It can handle 16 and Super16mm, all 35mm formats, 3 perf, 4 perf, and VistaVision, and special purpose gates are also available for scanning shrunken archive stocks. Switching formats takes just a few seconds.
Northlight handles any output format, crop, or aspect ratio, and robust engineering ensures an exceptionally long service life.
While Northlight 1 provides resolution up to 6K, Northlight 2 matches—and surpasses—the requirements of the feature film industry as it embraces 4K workflow and digital cinema projection. Northlight 2 delivers up to six times the scanning speed of Northlight 1, with an internal resolution of 8K.
On-site upgrades allow all Northlight 1 users to enjoy the powerful features of Northlight 2.
FilmLight is guided by one overriding objective: to provide the best film-digitising system in the world. Acknowledged as an industry leader and installed in most premier studios around the globe, Northlight 1—and now Northlight 2—continues to fulfil that objective.
Flexibility, power and throughput
Colour grading is a demanding creative and technical process for any production—from commercials and long form television to feature film 4K DI. For any finishing process, flexibility and responsiveness are essential.
Baselight delivers performance that exceeds anything else in the marketplace and Blackboard, the dedicated hardware control surface, is specifically designed for non-linear grading and simplifies the creation of complex grades and effects.
We have gone to great lengths to make Baselight productive for multiple workflows. Baselight is a highly flexible system at home with all input and output resolutions and formats, and with linear, video and log image sequences; timelines can even include shots of different formats. Baselight offers real-time connectivity for SD and HD direct to tape, or for all resolutions—up to and including 2K—from a SAN.
Non-linear grading brings new creative opportunities to the grading process. Shots can be easily grouped, graded and compared; external VFX systems can drop in new sequences to be graded in-context; revised EDLs can be used to generate new conformed sequences. Interim deliverables can be created on demand, including QuickTime movies, and clients can use the grading suite as an ongoing review and acceptance resource.
Baselight is at home with all input and output resolutions and formats, and with linear video and log image sequences. The systems offer real-time connectivity for SD, HD and 2K via tape and SAN systems, and provide audio ingest, record and playback.
Baselight systems incorporate Truelight, providing colour-accurate emulation on any grading display. The systems integrate closely with Northlight, our own high-resolution digital scanner, and telecines.
Software systems have the inbuilt advantage of regular feature development and a wide range of tools unconstrained by hardware design. As business needs change and technology advances, the system can be upgraded and extended. Clear system and component upgrade paths protect your investment: upgrading to another level is simple because all systems are based on standard PC building blocks. New motherboard and processor technology, graphics and disk systems are installed at very reasonable cost, maintaining performance and value.
Cloud connectivity technology, standard on all systems, allows Baselight local storage to double up as a shared storage solution. Baselight systems can use each other's local storage as their own, while third-party systems (e.g. Autodesk Flame|Smoke, The Pixel Farm PFClean) can read and write to Baselight in the background.
Sophisticated colour grading
Not all facilities require the power and functionality of a full Baselight system, however most people strive to create the highest quality images using the best tools for the job.
Baselight Editions provide the same core toolset as the full Baselight systems, with the same graphical user interface but as a software-only package which can be incorporated into an existing NLE or VFX workstation. This approach delivers FilmLight's high quality grading tools and Truelight colour management directly into your workstation, and as the Editions share the same data structures as the full Baselight systems, projects can be seamlessly transferred and shared between users and facilities.
The first products to be released in the Baselight Editions range are:
You cannot grade what you cannot see.
Truelight is the world's only complete film colour management system for pre-visualising film images on electronic display devices. Truelight enables artists, colourists, cinematographers and directors to review, accurately, the final look of the film at any point in the digital post-production process—reducing film-outs, matching and rework, and saving valuable time.
Truelight's success lies in its innovative, measurement-based process to generate 3D transforms (known as cubes or LUTs) that convert specific colour spaces. And, unlike desktop publishing or broadcast video devices, the Truelight Monitor and Projector Probes are purpose-built instruments for characterising high-contrast motion picture displays.
As a result, a correctly calibrated Truelight system is able to compensate for any variable in the post-production workflow, such as differing lab processes, film stocks and displays, and generate a preview that is identical to the final print or Digital Cinema Package (DCP).
Truelight is completely adaptable, and can be scaled from a single system to a complete studio. Modular hardware and software components allow for flexible, tailored solutions.
Every product is backed-up by a dedicated international support team with a comprehensive knowledge of colour science.
Truelight is the de-facto standard—adopted worldwide and trusted for use on Baselight as well as other grading systems. Many facilities are also committed to our Truelight Theatre Certification Program, which recognises the standard of the theatre—a key competitive advantage for any DI service provider.