To answer the growing demand for advanced television formats among Japanese post facilities and broadcasters, FilmLight is showcasing its HDR colour technology at Inter BEE 2015 (Makuhari Messe, Chiba City, Japan, 18–20 November).
Leading post house GoodJob, based in Osaka, recently expanded its offering with FilmLight’s high-performance grading and finishing system, Baselight, to help meet the local appetite for 4K productions. The facility has already completed several projects for Japanese TV – all in HDR. GoodJob firmly believes that there is a huge demand for 4K and UHD content, not only for TV programs but also for movies and other productions within the consumer market.
“GoodJob is a great example of post-production facilities recognising the workflow benefits as well as the creative capabilities of FilmLight and HDR,” said Koichi Matsui, President at FilmLight KK. “But all of our clients in this region – including IMAGICA, Toei Labotech, and TV production company Kyodo Television – are also working extensively on HDR content and have been using the FilmLight workflow for their 4K TV productions with great success.
“The team at Kyodo TV, for example, interoperates fully between Baselight, FLIP and Baselight Editions using the metadata-based Baselight Linked Grade (BLG) as well as the Truelight colour technology. They manage and adjust complex looks on-set, generate graded DNxHD rushes for editing, and, later, 60p UHD masters, while maintaining the fast turnaround that episodic TV demands.”
Inter BEE visitors can see the native 4K HDR mastering and grading environment on the stand of FilmLight’s new partner Techno House (#5402), with presentations given by colourist Ai Hirata on Baselight TWO with Blackboard 2, the industry’s most advanced control panel with adaptive key technology.
On the Sony stand (#4414), Sony and FilmLight product specialists are running sessions to demonstrate how, together, FilmLight’s solutions and the BVM-X300 TRIMASTER EL™ OLED monitor offer an unprecedented 4K HDR package for greater dynamic range, wider colour gamut and better colour conformity.
Finally, FilmLight is joining the team at the RED stand (#6201) to show workflow efficiencies for TV and commercials between RED’s cameras and FilmLight’s FLIP image processor and Baselight for Avid, which provides 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 Avid workstation. In recent months, Baselight for Avid has been adopted even more by TV stations who grade their TV dramas using FilmLight’s plugin. For those who decide to adopt a more sophisticated renderless colour workflow, they can work collaboratively with a full Baselight grading system or any other product from the range.
Bob Chorley, FilmLight Asia Support Manager, is taking part in a three-day REDucation event, Friday 20 November at 10am, where he will focus on demonstrating a renderless .r3d workflow – from on set through editing to grading, using only native .r3d files.
