Download
        



Truelight Colour Spaces

Webinars

Colour Workflow

More…

Webinars
Webinars

Colour Management in Baselight 5.3 followed by Q&A

With FilmLight’s Daniele Siragusano (Image Engineer) & Andy Minuth (Colourist)

Our first webinar dove into the new and enhanced colour management tools coming soon in Baselight 5.3.

What’s new?

Creativity

  • T-CAM is FilmLight’s well-regarded colour appearance model, which provides the ultimate flexibility to convert images to any viewing condition – both SDR and HDR.
    T-CAM v2 improves appearance matching between viewing conditions, and also includes better shadow details, more saturated shadows and pale skin tones, with less noise in underexposed images.

Collaboration

  • See new native support for Truelight Colour Spaces and T-CAM within Autodesk Flame and OCIO (OpenColorIO) compatible applications.

Confidence

  • Learn about new Scene Looks, designed to work seamlessly with TCAM v2 as well as providing even more classic looks such as Bleach Bypass, ENR and Autochrome.

… and many more exciting improvements for LUTs, ACES and HDR.

Colour Workflow
Truelight CAM

Truelight CAM

Learn about FilmLight’s T-Log / T-CAM colour pipeline, and why it is so popular among colourists. To what extent is it different to other pipelines like ACES, ALF-2 or IPP2? What are camouflage looks? How do I deliver proper plates for VFX? Colour workflow specialist Andy Minuth answers all of these questions and explains how to avoid common pitfalls.

Topics:

  • Truelight CAM overview
  • Why another colour pipeline?
  • Scene templates
  • Working with the inverse DRT
  • Applying scene looks
  • Viewing condition compensation
  • Managing blacks
  • VFX round-trip
ACES and Baselight

ACES and Baselight

The Academy Color Encoding System (ACES) is the most common scene-referred colour pipeline in the motion picture industry, and is popular for collaboration between facilities. Learn the details of ACES and Baselight in this tutorial from Colour Workflow Specialist Andy Minuth.

Topics covered:

  • ACES overview and scene template
  • Loading different types of footage
  • Applying CDL values
  • Dealing with out-of-gamut colours
  • Creating scene looks from LMTs
  • Rendering and preparing VFX plates
ARRI Colour Workflow in Baselight

ARRI Colour Workflow in Baselight

Learn how a native ARRI colour pipeline works inside Baselight. Colour Workflow Specialist Andy Minuth explains the details of the ARRIRAW decode and the ALF-2 (ARRI Look File 2) process.

Topics covered:

  • Installing the ALF-2 DRT family and ARRI Look Library
  • Scene setup
  • Interpreting ARRIRAW and LogC footage
  • Details of the ARRIRAW decode
  • Applying Looks from the ARRI Look Library
  • Notes about the ALF-2 DRT family
  • Rendering VFX plates
RED IPP2 in Baselight

RED IPP2 in Baselight

The Image Processing Pipeline 2 (IPP2) is the native colour process for RED digital cinema cameras. In this tutorial, Colour Workflow Specialist Andy Minuth explains how IPP2 works inside Baselight.

Topics covered:

  • Installing the IPP2 DRT family
  • Scene setup
  • Interpreting RED footage
  • Optimising IPP2 raw decoding
  • Custom IPP2 DRTs
  • Rendering VFX plates
QuickTime Colour Management
QuickTime Colour Management

QuickTime Colour Management

This video explains how to utilise Apple's colour management system, ColorSync, to generate QuickTime files that look as intended on any Apple-based display device by applying the appropriate NCLC tags.

Managing White Points
Managing White Points

Managing White Points

In this video, we take a closer look at the neutral axis, or white points, and their handling with the Truelight Colour Spaces framework. The video explains how to manage creative white points for different viewing conditions, and how to correctly import display-referred material into a grading scene, for example, to verify a render.

International Cinematography Days 2018, Stuttgart
International Cinematography Days 2018, Stuttgart

The FilmLight seminars at the International Cinematography Days 2018 took place in Stuttgart on the 16th and 17th March.

From Photons captured by a Camera to Photons emitted by a Display

From Photons captured by a Camera to Photons emitted by a Display

In this seminar, FilmLight's Daniele Siragusano provided a full and complete picture of how data acquired by a camera is recorded, manipulated, finally interpreted and prepared to be viewed by the audience. Several fundamental concepts were explained:

  • Camera profiling: the principles of camera encoding and operations.
  • A novel way to think about exposing a camera.
  • Different colour grading styles and their heritage.
  • Colour appearance modeling and preferred colour reproduction.
  • Base Grade: a photographic approach to colour grading.
Managing Colour in a Multi-Delivery Production

Managing Colour in a Multi-Delivery Production

In this seminar, Daniele discussed future-proof colour management strategies optimised for multi-delivery (SDR and HDR). First, fundamental differences in display characteristics between HDR and SDR Displays were reviewed from a technical and creative standpoint. Based on those findings, the major HDR distribution standards were examined from a conceptual standpoint. Finally, a distribution agnostic post-production colour workflow, and an outlook on future work, were presented.

Improvements in Baselight 5.0
Improvements in Baselight 5.0

Improvements in Baselight 5.0

This video explains the improvements to colour management in the upcoming Baselight 5.0 release. The video looks at the architectural changes to colour management, including:

  • Mastering Colour Space
  • DRT families and viewing conditions
  • New default colour space (FilmLight: T-Log / E-Gamut)
  • New DRT family (Truelight CAM)
  • Truelight Scene Looks
Effective Colour Management from Production to Distribution
Part 1: Challenges & workflows for colour management today Part 1: Challenges & workflows for colour management today
This video covers two topics: traditional grading workflows, and the challenges faced with modern digital image acquisition and digital colour reproduction.

So that we can view modern workflows in the right context, Daniele Siragusano first describes the behaviour and limits of different traditional workflows when grading an image. He then goes on to explain the new challenges we face when mixing different cameras and different display technologies, so that we can understand how modern colour management concepts - like ACES and Truelight Colour Spaces - can provide an answer.
Part 2: Solutions with ACES & Truelight Colour Spaces Part 2: Solutions with ACES & Truelight Colour Spaces
In the second instalment, Daniele looks at ACES to show how the framework handles the challenges discussed in part 1 around digital image acquisition and pleasing colour reproduction.

He then demonstrates how to use Truelight Colour Spaces to implement the ACES idea, and shows how the concept can be extended for different grading workflows.
Improvements in Baselight 4.4m1
Improvements in Baselight 4.4m1

Improvements in Baselight 4.4m1

This video explains the improvements to colour management in the latest release of Baselight, including:

- new naming convention
- new DRTs
- shot-based colour management
- CDL grade
- support for ARRI look files
- advanced LUT export
- removal of colour spaces from formats
- vectorscope contrast control
- colour space hints
- scene templates

 

This section contains feature tutorials that show you how to use our systems.

 

Related Links

You may also be interested in:

Document Library

In this area, you'll find manuals, white papers and datasheets for all our products.

Image Library

If you're looking for a picture of one of our systems, or a screenshot of a user interface, this is the place to look.

 

Images of products are representative. FilmLight reserves the right to alter the specification without prior notice.


sitemap | accessibility | [email protected]
© 2020 FilmLight Ltd. All rights reserved | Legal/privacy notice |