Inside the Baselight interface, there are 3 main panels: parameter controls, image display, and the histogram. In effect mode, the Baselight user interface opens up in its own window. Installing Baselight was extremely simple, and the Baselight tool is accessible in the Media Composer Effect Palette as a filter that you can drag and drop onto a clip like any other effect tool. Making color for recurring locations match (shot on different days) was a big thing for this project, so where I would normally have waited until the roundtrip into Resolve to address color issues, I instead used the Baselight color tool to do a temp grade in Avid and fix some problems early on.īaselight was an incredibly useful tool for client screenings and test screeningsalready having a color grade smoothed out so that I was only getting editorial notes, and not questions about whether or not a sequence is working because the color difference is so drastic. As the editor of the final episode of a first season, I was tasked with presenting a coherent episode that stylistically and aesthetically matched the previous episodes, which were much further along in editorial when I got started. On a recent project editing the final episode in a television series, I used the Baselight plugin from an early stage in my edit until picture lock. During my time within the Baselight plugin, I mainly tested out applying base color correction for individual shots, applying LUTs to a timeline, and then customizing color per shot, custom curves, and temporal noise reduction/ degrain for dark, noisy shots.
With a complete color grading suite, Baselight Editions V5 is a dynamic tool to use within Media Composer, allowing you to ditch the roundtrip for your color grade. Filmlight recently released Baselight Editions V5 for Avid Media Composer: a powerful color tool in an AVX plugin.
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