Sunday, April 30, 2017

Toolbox

  • Friday, Apr. 28, 2017
Vicon launches motion capture software Shōgun at FMX 2017
Shogun in action
OXFORD, UK -- 

Vicon, the motion capture technology specialist for the entertainment, engineering and life sciences industries, will announce the launch of its new VFX motion capture software, Shōgun at FMX 2017 (booth #2.3). Capitalizing on over 30 years of motion capture experience and years of research and development, Shōgun offers the entertainment industry a new level of efficiency and quality, to meet the growing demands of game, film and VR production.
 
Designed from the ground up and based on feedback from the industry and customers alike, Shōgun’s innovative new feature set delivers increased performance alongside intelligent real time system monitoring. A streamlined workflow delivers high fidelity real time data, helping mocap users maximise studio time in order to deliver projects on time and within budget.
 
Live calibration
Shogun eliminates the previously time-consuming process of calibrating performers from captured data in post. Performers now simply enter the capture space and are automatically detected and labelled, the calibration is then run in the background during the range of motion. Boasting a new skeletal mesh model, the software is designed to be highly functional, making data solving easy, visual and immediate. This cuts down the traditionally time consuming process of labelling subjects, cleaning data and calibrating markers.
 
“With today’s large productions featuring anything between 5 to 15 actors, Shōgun has been designed to help industry professionals streamline their captures, saving time and money. Subject calibration – a process that used to take 20 minutes can now be achieved in less than a minute.“ said Tim Doubleday, VFX product manager at Vicon.
 
Streamlined workflow
Shōgun’s data quality ensures that labelling and solving stays true. With Shogun’s unbreakable real-time it’s possible to capture multiple actors undertaking complex interactions, such as folding arms, hugs and stunt work with props. With direct support for all the major real-time game engines, the pre-visualization and animation processes are enhanced--providing direct visualization of the final scene.
 
Users are also able to record their data direct to disk, meaning onset review is almost instantaneous. This saves hours of postproduction time and allows artists to focus on the remaining pipeline. These enhancements help accelerate productions, shaving days off the post production pipeline while increasing data quality and efficiency.
 
Intelligent insights

Re-calibrating motion capture systems can cost time onset, especially for large studio shoots involving multiple actors. Working with Vicon’s industry leading cameras, Shōgun provides intelligent, real-time feedback to users on all the important factors affecting camera and system health. Enabling teams to quickly recalibrate cameras on the fly within minutes, while continuing to capture performances. New features such as the Data Heat Map assist users capturing very challenging shots, as Shōgun automatically finds, highlights and navigates users to frames where data may require attention.
 
Alexandre Messier, technical director at Ubisoft, a leading creator, publisher and distributor of interactive entertainment and services, who has been beta testing the Shōgun software for several months alongside Vicon, said: “Most of our game teams are now asking for real-time previsualization, with Shōgun’s auto skeleton calibration, we can now stream accurate data into 3rd party’s solution in seconds--allowing teams to maximize their precious time on the shoot floor. Shogun is adding speed to our data processing pipeline. Most importantly, that speed is not sacrificing any data quality. Instead it exceeds what we’re producing with Blade.”
 
Imogen Moorhouse, CEO, Vicon said “Shogun is a step change in the way our customers use motion capture. Whether you’re running a large production with a hundred cameras or a small start-up with a handful of cameras, Shogun has been designed to save you time, save you money whilst delivering the highest quality data.”

  • Monday, Apr. 24, 2017
Autodesk showcases latest Flame Family and 3D animation software at NAB
Arnold skin shading using the new standard surface shader (image courtesy of Johan Rimer)
LAS VEGAS -- 

At NAB 2017, Autodesk is showcasing the newest versions of its solutions for media and entertainment. Each update is full of enhancements that simplify the creative process, streamline artist collaboration and equip users for the future of content creation.

New releases being showcased at NAB include: Autodesk Flame Family 2018 update 1 for VFX; the Arnold 5.0 renderer; Maya 2017 update 3 for 3D animation; performance updates for Shotgun production tracking and review software; and 3ds Max 2018 software for 3D modeling.

“Our customers continue to push the limits of our technology to break new ground in film, TV and games. The new products we’re showing at NAB this year blend top customer requested features with tools that they’ll need to stay one step ahead as content creation rapidly evolves,” said Chris Bradshaw, senior vice president, Autodesk Media & Entertainment.

Autodesk Flame 2018 update 1 includes new action and batch paint improvements such as 16-bit floating point (FP) depth support, scene detect and conform enhancements.
Autodesk Maya 2017 update 3 includes enhancements to character creation tools such as interactive grooming with XGen, an all-new UV workflow, and updates to the motion graphics toolset that includes a live link with Adobe After Effects and more.
Arnold 5.0 delivers several significant updates, including better sampling, new standard surface, standard hair and standard volume shaders, Open Shading Language (OSL) support, light path expressions, refactored shading API and a VR camera.
Shotgun updates accelerate multi-region performance and make media uploads and downloads faster regardless of location.
Autodesk 3ds Max 2018 offers Arnold 5.0 rendering via a new MAXtoA 1.0 plug-in, customizable workspaces, smart asset creation tools, Bézier motion path animation, and a cloud-based large model viewer (LMV) that integrates with Autodesk Forge.

Flame Family 2018 update 1, Maya 2017 update 3 and 3ds Max 2018 are all available now via Autodesk e-stores and Autodesk resellers. Arnold 5.0 and Shotgun are both available via their respective websites.

Visit Autodesk in its partner booths at NAB to see a range of these new products in action: Dell (SL6210), Google (SU218), Oracle (SU2202) and Quantum (SL5810). 

  • Saturday, Apr. 22, 2017
Avid unveils Media Composer | First—a free version of the video editing system 
LAS VEGAS -- 

Avid® (Nasdaq:AVID) announced the upcoming availability of Avid Media Composer® | First, a free version of the industry-standard video editing system. Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. And because it’s powered by the Avid MediaCentral® Platform, “First” users can also easily connect and collaborate with other aspiring creative and media professionals through the Avid Artist Community. Avid will showcase Media Composer | First at the Avid booth during NAB 2017 (Booth #SU902).

“It can be really difficult for up-and-coming filmmakers, television program creators and digital media producers to get access to the right tools to tell their stories in a compelling way. Consumer applications are fun to play with but will only take you so far,” said Dana Ruzicka, chief product officer, Avid. “With Media Composer | First, we’re giving any aspiring creative pros access to the same tools used by top industry professionals—for free! And with access to the Avid Artist Community, First users can connect with other aspiring creatives and media professionals, collaborate and get their work out there for others to see.”

Media Composer | First provides users with a comprehensive yet simple-to-use editing toolset with many of the same features and functionality that award-winning Media Composer editors rely on, in a new powerful, streamlined interface. With four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, color correction presets and titling templates, users can quickly cut together layers of video, dialog, music and sound effects to produce captivating, professional-quality video content. Media Composer | First also allows easy sharing, with easy publishing to popular social media channels including YouTube, Vimeo and Facebook. 

“I’ve worked with other tools, but Avid’s model is the most efficient by far,” said Emmy® Award-winning editor, Stuart Bass, ACE (The Office, Arrested Development, Pushing Daisies). “Learning Avid’s industry-standard tools has been essential in making me the successful editor that I am today.” 

Avid’s vibrant Artist Community, an online community designed to foster creative connections and professional opportunities, together with Media Composer | First and Pro Tools® | First, enables emerging creative and media talent to more easily connect, fostering creative and professional growth and opportunities. 

Avid Media Composer | First will be available in June 2017 as a free software download through the Avid website.

  • Friday, Apr. 21, 2017
Japan Institute of Moving Image Uses Cintel Film Scanner
Daisuke Wakabayashi of the Japan Institute of the Moving Image
FREMONT, Calif. -- 

Blackmagic Design announced the Japan Institute of the Moving Image has installed and is using Blackmagic Cintel Film Scanner for archiving student films that have been shot at the college over the past four decades.
 
Japan Institute of the Moving Image history began with the legendary film maker Shohei Imamura’s film school, which was launched in 1975. The college is one of the few film schools that still have classes using film cameras, and there have been more than 300 films over the years that their students have completed using film.
 
“We now deliver in digital, even shooting with a film camera in a class, but we used to create 10 to 20 student films a year using film media. We strongly felt we needed to do data archiving to preserve those films that we have created. Also, the telecine we had used was broken and could not be repaired, so we thought rather than purchasing another telecine, we wanted a film scanner. However film scanners on the market were not something we could afford,” said Daisuke Wakabayashi, the instructor of the school.
 
He continued: “Then I heard Blackmagic acquired Cintel. We installed the Cintel Film Scanner as soon as Blackmagic started shipping it. The affordability of Cintel was a huge benefit for us. And we have installed a number of Blackmagic products, such as DaVinci Resolve. And as Resolve is the same software used to control Cintel, it was even extra comfort to install it because we are already used to the interface.
 
We have many 16mm films, so we used Blackmagic’s 16mm Gate when we scan our films. The scanned image has great image quality.”
 
Japan Institute of the Moving Image also uses a number of other Blackmagic products, such as DeckLink, DaVinci Resolve, Fusion, UltraScope, SmartScope Duo 4, Audio Monitor and the Teranex 3D Processor for both production and post production. The Teranex 3D Processor is used as part of the archiving process to up convert the college’s many Beta Cam, VHS and DVD films, which all are SD and need to be digitally archived along with the films converted with the Cintel.
 
“I like the simplicity of Blackmagic products. I am in charge of selecting equipment to install as well as setting those up once we purchase. I couldn’t have believed before that I could have set up a film scanner by myself before, but with Cintel it was easy. Also, the frequent software updates from Blackmagic are very helpful. Sometimes the feature that I wished to be somehow improved is really improved the way I wished in the next version. The fast response to user’s feedback is very valuable,” Wakabayashi concluded.

  • Thursday, Apr. 20, 2017
MTI Film launches Cortex v4 at NAB
Cortex v4
HOLLYWOOD, Calif. -- 

At NAB 2017, MTI Film will launch updates to its family of Cortex applications designed to take media from set to screen. Unveiled in four editions, Cortex v4 is MTI Film’s most comprehensive toolset to date. In addition to features standard in Cortex for years, such as a comprehensive dailies toolset, IMF and AS-02 packaging, and high-quality up-res algorithms, Cortex v4 adds DCP packaging (with integrated ACES color support), an extended edit tool and officially-certified Dolby Vision metadata editing capabilities.

“We allow users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” said Randy Reck, MTI Film’s director of development. “In the edit tool, they can graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata, and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.”

With the integration of the Dolby Vision ecosystem, Cortex v4 provides a method for simultaneously QC-ing HDR and SDR versions of a shot with Dolby Vision metadata. For delivery, the inclusion of the Dolby Vision IMF-ish output format allows for the rendering and delivery of edited Dolby Vision metadata alongside HDR media in one convenient package.

CORTEX v4 will be showcased throughout NAB 2017 at MTI Film’s booth, SL14808.

CORTEX v4’s Edit Tool has been updated to include industry-standard trimming and repositioning of edited segments within the timeline through its new user-friendly drag-and-drop function. “We’ve always had a very powerful environment within Cortex to do simple editing, which is necessary for generating things like an IMF or DCP,” says Reck. “Now we’ve added a more standard drag-and-drop interface that allows users familiar with non-linear editors to be immediately productive on Cortex using the Edit tool. There is no learning curve.”

The entire look of the Edit Tool (available in the Dailies and Enterprise editions of CORTEX) has also been updated to accommodate a new Dual Monitor layout, making it easier to scrub through media in the source monitor while keeping the composition in context in the record monitor.

Also being released at NAB 2017 is the new subscription based DIT+ edition of CORTEX. “It doesn’t make sense for productions to purchase a full software package if their schedule includes a hiatus when it won’t be used,” explained Reck. “We’re addressing that issue by offering a fully functioning dailies package on a subscription basis for users who need it for a short period of time.”

DIT+ contains all the aspects of the free DIT version of CORTEX with the added ability to render HD ProRes, DNx and H.264 files for delivery. “Cortex was originally designed to facilitate dailies workflows,” said Reck. “DIT+ contains all the functionality needed to go from set to editorial at a very low subscription price starting at $95 per month, and an NAB special price of $595 for the first year.”

  • Thursday, Apr. 20, 2017
Panavision Millennium DXL Camera to be showcased at NAB
Panavision's Millennium DXL 8K Camera
WOODLAND HILLS, Calif. -- 

Panavision, designer, manufacturer and provider of state-of-the-art cinema lenses, high-precision camera systems and innovative postproduction technologies, will bring its Millennium DXL 8K Camera to the 2017 National Association of Broadcasters (NAB) Show, which runs April 24-27 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also offer their insights and expertise during panel discussions throughout the show.
 
Developed through an unprecedented collaboration of three companies, the Millennium DXL brings together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. The DXL camera has been renting since January.
 
Hands-on demonstrations of the DXL will take place at the following locations during NAB:

•LEE Filters, A Panavision Company (Booth C11746)
with LEE’s new remarkably color-accurate ProGlass Cine IRND Filters.

•Vitec Videocom (Booth C6025)
 
•Freefly Systems (Booth C2922)
 
NAB attendees will have an opportunity to hear from some of the experts and designers behind Panavision’s cameras and lenses, and post innovator Light Iron. Following are the discussions Panavision and Light Iron will participate in:
 
(All locations are at the Las Vegas Convention Center unless otherwise noted.)
 
♦On the Verge: How Innovation Threatens the Future of Broadcast: OTT distributors Netflix and Amazon are implementing technological innovations that are being chosen by a new generation of content creators.  How will that impact traditional broadcast and cable companies?
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Saturday, 4/22, 3:20-3:55pm
LVCC Room N262-N264
 
♦Is Cinephilia Dead or Is It Just Expanding? A unique gathering of panelists discuss the infinite palette of technological possibilities and its role in the art of cinema and movie distribution.
Panavision Panelist: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Sunday, 4/23, 9:15-10:15am
LVCC Room S222-S223

♦DXL on Tap – Reduser Meetup Join SVP of Innovation, Panavision and Light Iron Michael Cioni and other DXL experts for a casual chat about 8K, VV, and Light Iron Color.
Sunday, 4/23, 5:00-7:00pm
MGM Grand Hotel - Lobby Bar (3799 S. Las Vegas Blvd.)
 
♦Where Is the Content “Puck” Going to Be? Silicon Valley’s influence over the marketplace is changing not only how content is delivered, but the type of content produced.
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Monday, 4/24, 12:45-1:15pm
LVCC The Studio @ B&H - Booth C10415
 
♦Understanding Optics for 8K Panel: Al Collins, from Panavision, and Matt Duclos, from Duclos Lenses, offer thoughtful guidance on large-format optics, anamorphic vs. spherical glass, and what this all means for the average filmmaker.
Panelist: Al Collins, Optical Technician, Panavision
Tuesday, 4/25, 9:30-10:45am
LVCC Room S2227
 
♦ASC Lens Committee Update & Trends in Optics: After an update on the ASC Lens Committee, American Cinematographer contributor Jay Holben will have a conversation with Dan Sasaki about the increased use of vintage and large-format lenses.
Speaker: Dan Sasaki, VP of Optical Engineering, Panavision
Tuesday, 4/25, 9:30-10:15am
LVCC Tiffen Booth - C6019
 
♦Do We Have Stockholm Syndrome with Apple? Apple fans rejoiced after a recent announcement about the potential future of MacPros. Now is the time to continue to press Apple for the functionality needed to push the boundaries of creativity.
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Wednesday, 4/26, 10:00-10:20am
LumaForge Suite @ Courtyard Marriott (3275 Paradise Road)
 
♦Digital Cinema Trends, 4K, 8K, HDR, VR at 2017 NAB Panel: As another NAB comes to a close, a lively panel of experts will discuss how this year’s exhibits align with the professional world of content creation.
Panelist: Josh Haynie, VP US Operations, Light Iron
Wednesday, 4/26, 3:15-4:00pm
LVCC The Studio @ B&H - Booth C10415

  • Thursday, Apr. 20, 2017
ImmersedLIVE rolls into NAB with HybridVR truck
Inside ImmersedLIVE's HybridVR truck.
LOS ANGELES -- 

ImmersedLIVE is debuting a 53’ HybridVR truck at NAB 2017. The truck is a single OB unit with dual production bays designed to produce shows in 4K and 360° simultaneously, delivering significant cost and production efficiencies for live events. The truck will be in Las Vegas during NAB 2017 on April 25-26.  
 
ImmersedLIVE brings experienced crews on-site to unify 4K video and 360° production, integrating workflows and managing how flat and immersive video coexist to deliver two great shows with minimal additional overhead. Inside of the truck, dual production bays allow for separate direction of 4K flat and 360° feeds.
 
ImmersedLIVE was formed as a collaboration of top creative and engineering talent working in VR production including FlightLine Films, Big Vision Productions, Radiant Images, Subtractive, SkyRae, and SuperSphere.
 
“Each of the individuals that came together to form ImmersedLIVE are among the pioneers of the rapidly emerging 360° video production space. We have included the top experts in camera technology from Radiant Images; leaders in immersive audio from Subtractive; the best in crew and broadcast integration from Big Vision Productions; innovation in 4K streaming and truck design from FlightLine Films; high-end technology and production integration from Skyrae; and my team from SuperSphere who have produced VR shows for Discovery, Sony, Disney, and Fox, to name a few,” said Lucas Wilson, founder of SuperSphere and ImmersedLIVE.

  • Thursday, Apr. 20, 2017
Anomaly adopts IBM Aspera for creative collaboration, digital asset management
Michelle Munson, CEO of IBM Aspera
ARMONK, NY -- 

IBM (NYSE: IBM) announced that international advertising and marketing agency Anomaly has adopted Aspera SaaS Platform along with Aspera Drive to power global creative collaboration and scalable digital asset management.
 
Anomaly required an asset management, exchange and distribution system that eliminated the cost and overhead of on-premises hardware, but also provided improved performance, security and scalability over traditional file sharing services that were too slow and could not adequately support the larger file sizes of their digital assets. Anomaly identified IBM Aspera file sharing and exchange solutions built on the FASP high-speed data transport technology as able to fulfill both the company’s internal and external needs.
 
“Technology is a force that is rapidly disrupting the way we do business,” said Jason DeLand, joint global CEO of Anomaly. “This positive disruption will enable clients, agencies and media publishers greater scale and intelligence. Our team at Anomaly searched far and wide for the best future positive solution, and IBM’s Aspera is in a class all its own.”
 
To create its internal solution, Anomaly adopted the Aspera Files SaaS platform, which extends high-speed transfer and sharing capabilities to cloud environments, completely agnostic to file types, sizes and volumes enabling fast transfers at distance. The solution includes Aspera Drive which allows users to browse, transfer, sync and exchange large digital assets that are stored in the cloud directly from within the users’ native Operating System. Anomaly worked closely with Aspera, providing valuable feedback which inspired Aspera to develop and add several new features to Aspera Drive, including:

  • Check-in / Check-out for Collaborative Editing is a new check-out option in Drive that allows Anomaly users to check out digital assets and download their own local copy. Users can also check-in finished versions to upload the file at high speed and replace the master copy.
  • Remote Share-to-Share transfer capabilities lets users easily “move” and “copy” files across cloud storage locations by dragging-and-dropping within the remote browsing view. This initiates local or around-the-world high speed transfers directly from the user’s desktop. 
  • OS X Finder Mount for Seamless Open and Save allows to open remote files directly in the corresponding local application for editing and to save files directly from their local applications back to the Aspera Drive with the option to then check in the file to upload back to the infrastructure.

In addition to these and a host of other capabilities, the Aspera Files platform offers a comprehensive set of robust APIs. Not only do the APIs allow for a seamless internal end-user application experience, they also provide easy integration into custom software development workflows. With the advent of big data in advertising and the need for brands to scale across diverse populations, Anomaly recognized a gap in creative intelligence capabilities, which led them to develop a new proprietary software platform leveraging custom digital asset management and advanced data collection and analysis technology. The output of the platform is a vast intelligence about content and consumer behavior that powers informed future creative plans and digital asset decisions, directly addressing the business problems of clients.
 
“The Aspera deployment at Anomaly has been an inspiring process,” said Michelle Munson, CEO at IBM Aspera. “The vision of our customers often drives our innovation. In this case, with Aspera Files and Drive as a starting point to achieve fast, easy, scalable media content exchange, we partnered with Anomaly to extend our APIs and feature set to enable new collaboration workflows that are faster and easier to use and fit directly into the creative process to invent brand new ways of managing and providing media.”
 
Aspera is demonstrating Aspera Files Saas and the Aspera Multi-Cloud High-Speed Transfer Service, alongside its entire portfolio of high-speed file transfer, sharing and exchange solutions at NAB 2017 taking place April 24-27 in Las Vegas at Booth SL8124.

  • Wednesday, Apr. 19, 2017
Cooke Optics to unveil S7/i Full Frame Plus lenses at NAB 
Cooke's 50mm S7/i
LEICESTER, UK -- 

Cooke Optics, manufacturer of precision lenses for film and television, will launch the S7/i Full Frame Plus prime lens range at NAB 2017. The new range is designed to cover the emergent full frame cinema camera sensors, up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The range is scheduled to ship from June 2017.
 
“The Cooke S7/i Full Frame Plus range enables you to shoot beautiful 35mm/Super 35mm format now, and also to be prepared when camera sensors go to full frame, VistaVision and beyond,” said Les Zellan, chairman and owner, Cooke Optics.
 
The new lenses--which, like all Cooke lense feature the beloved “Cooke Look”--will be available in 18, 25, 32, 40, 50, 75, 100 and 135mm. All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8. A nine-leaf linear module iris assembly is fitted into the Cooke S7/i lenses. The average weight of an S7/i lens is approximately 3.5kg.
 
Cooke will also debut the Panchro/i Classic range and the new front Anamorphic/i zoom lens at NAB 2017. In addition, visitors to the Cooke booth will see the Anamorphic/i SF lens range, as well as lenses from its leading Anamorphic/i, 5/i, S4/i and miniS4/i ranges, and the Sony E and micro 4/3 mounts for miniS4/i and Panchro/i Classic lenses that enable users of these cameras to benefit from the “Cooke Look” for the first time.
 
Visitors to NAB should note that the Cooke Optics booth has moved from its regular spot; the new booth C5414 is near the Grand Lobby/North Hall exit, opposite JVCKENWOOD and adjacent to For-A.

  • Tuesday, Apr. 18, 2017
FilmLight to preview Baselight STUDENT at NAB 
Steve Chapman, FilmLight founder and CEO
LONDON -- 

At NAB, FilmLight will preview ITS latest product, Baselight STUDENT, a software-only macOS application that answers the call from a growing number of facilities for trained Baselight colorists and assistants. 

Baselight STUDENT is intended as the perfect learning tool, either for those wanting to train to become a professional colorist, to work on short personal projects, or for experienced practitioners moving up to Baselight from other grading solutions. While the new application is free, interested parties must register and be eligible to become a part of the Baselight Learning Programme to obtain a licence.

“We’ve had growing requests from freelance colorists and creative artists for this product,” explained FilmLight founder and CEO Steve Chapman. “But we don’t just want to hand out a free piece of software and walk away. We want to work with training institutions and the creatives to make sure that they have the right resources and support to achieve their goals.”

Baselight STUDENT is a fully functional version of FilmLight’s Baselight color grading software--with GPU rendering--that runs on any supported Mac platform. This includes support for an optional control surface, like FilmLight’s Slate panel, and even SDI monitoring for a full grading suite experience. 

The principal limitation is that the application is restricted to render out only h.264 movies or JPEG images. With no watermarking, this means that Baselight STUDENT can be used to create academic-year projects within the limitation of the delivery formats. Along with conform capability, color space handling, format editing and the ability to render both image sequences and movie files, this also makes the application the ideal tool to learn how to start a career as a professional colorist assistant.

FilmLight will initially talk to participants to assess their individual needs and then provide them with a free licence for the appropriate length of time, along with practice material they can use to get up to speed. FilmLight will also develop regular video tutorials and live best-practice webinars for members of the Baselight Learning Programme.

“We’ve reached pretty far with our team of in-house trainers but it just isn’t physically possible for everyone to access face-to-face training with FilmLight product specialists,” added Chapman. “With the growing popularity of the BLG metadata workflow, and the forthcoming release 5.0 across our product line, this grading software provides a unique opportunity for everyone to get a handle on Baselight’s advanced color tools as used by top-notch artists everywhere.” 

FilmLight will demonstrate Baselight STUDENT at NAB2017 on booth #SL3828 (April 24-27, Las Vegas Convention Center).