As usual, FilmLight has high-end workflow on its NAB agenda, launching the new look-management system FLIP and previewing a data-management platform for post called FLUX. The company is also expanding its line of products grounded in the Baselight color-grading system to incorporate Nuke and Avid versions along with a near-set digital dailies system.
FLIP, built around a Baselight GPU renderer, lets a production design looks before principal photography begins so that they can be easily applied and refined on set. It can store an unlimited number of looks and spatial filters, saving all decisions as they're made so that they can carry through to dailies and post-production processes.
That's where the new Baselight Transfer system comes in. It's a real-time 4K dailies processing system built to support new digital cinema workflows. As an example, the company said it was used as part of an IIF ACES workflow for M. Night Shyamalan's After Earth, which was shot with the Sony F65. It also supports the ARRI Alexa and Red Epic, among other camera systems. It automatically matches the color of raw camera footage with looks applied and/or refined on set using FLIP.
Baselight is becoming part of more editorial and VFX toolkits, too. FilmLight recently announced Baselight for Final Cut Pro 7
(no, that's not a typo), and at NAB it will show the new Baselight for Nuke and a "preview" of Baselight for Avid Media Composer. Baselight itself is getting an upgrade to v4.3, which the company said will bring "a major advance" in "responsiveness and productivity."
FLUX will be in the FilmLight booth in tech-preview form. It's an open, scalable platform designed to handle data-wrangling in post facilities that need to track files on productions with shooting ratios of 100:1 and a VFX shot counts of 1000 and above.