Technicolor has extended its color grading capabilities in Hollywood with FilmLight’s Baselight X system. Baselight X is the latest and most powerful implementation of the Baselight colour grading and finishing system.
HDR color grading services are available at Technicolor’s postproduction facilities globally, but its Hollywood center obviously represents a major film and television production market. The expansion in Baselight grading in this location reflects the increasing demand from the local industry to deliver an uncompromised finish that still pushes creative boundaries. Baselight X provides exceptional power and performance for HDR projects, along with color space management.
HDR is not the only technology where Technicolor is very active. Over the past few years, the group has made a significant commitment to the growth of several next-generation entertainment formats, such as 120fps stereo 4K, 8K UHD and other custom display formats. The architecture of Baselight X ensures Technicolor can rise to the challenge to work at the maximum resolution through every stage in the process–from the original source material to the final deliverables.
Technicolor’s sr. supervising colorist, Maxine Gervais, has worked with Baselight for many years. “Of the many things that are important to better serve my clients, one is to work directly from raw camera files,” she explained. “The ability to debayer these files live not only saves time, but it preserves image detail that can be accessed and manipulated during the DI.”
The Ultra HD video output – available on all Baselight systems – provides a full 4K 4:4:4 display output at frame rates up to 60p, allowing the user to view 4K work at its native resolution. Additionally Baselight X also incorporates a large, ultra high-speed storage system that connects directly to the internal image processing components, addressing Dolby’s requirement to play 4K 4096×3112 16-bit film scans and cache the results to disk at the same time.
“As camera technologies evolve, it’s become common for shows to capture and deliver 6K raw files,” added Gervais. “And some shows are moving towards a 4K VFX workflow too. The additional processing power and storage capacity of Baselight X is essential in allowing me to work with today’s larger files, without sacrificing the real-time playback with complex colour grading and compositing that my clients have come to expect.”
Technicolor and FilmLight have a long history of collaboration, with Technicolor facilities in Montreal, New York, Los Angeles and London all offering Baselight as part of their DI pipeline. This gives Technicolor’s colorists and color scientists ultimate real-time control over high-resolution, high-bit depth HDR grading and finishing.
DOC NYC Unveils Main Slate Lineup: 31 World Premieres; 24 Films Making Their U.S. Debut
DOC NYC--the documentary festival celebrating its 15th anniversary in-person November 13-21 at IFC Center, SVA Theatre and Village East by Angelika, and continuing online through December 1--has unveiled its main slate lineup. The 2024 festival presents more than 110 feature-length documentaries (including yet-to-be-announced Short List and Winner’s Circle titles) among over 200 films and dozens of events, with filmmakers expected in person at most screenings.
Opening the festival on Nov. 13 at SVA Theater will be the U.S. premiere of Sinead O’Shea’s inspiring portrait Blue Road--The Edna O’Brien Story, a breakout hit from the recent Toronto International Film Festival that honors the legendary Irish writer, who passed away just a few months ago at the age of 93.
Closing the festival on Nov. 21, also at SVA Theatre, will be the world premiere of Peter Yost and Michael Rohatyn’s Drop Dead City--New York on the Brink in 1975, a look back at the circumstances and players involved in NYC’s mid-70s financial crisis. The festival’s Centerpiece screening on Nov. 14 at Village East is the World premiere of Ondi Timoner’s All God’s Children (also part of the festival’s U.S. Competition), a chronicle of a Brooklyn rabbi and Baptist pastor who join forces to create greater unity between their two communities, against all odds.
Included are 31 world premieres and 24 U.S. premieres, with eight of those presented in the U.S. Competition, for new American-produced nonfiction films, and another eight featured in International Competition, for work from around the globe. The Kaleidoscope Competition for new essayistic and formally adventurous documentaries continues, while the festival’s long-standing Metropolis... Read More