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Hey! Anyone still using their Northlight scanners? I have a Northlight 1 machine that I bought several years back, but never installed - until now. I've got it up and running and things seems to work fine. I got the whole thing with 35m and 16mm + Lamar airflow and stuff (see @filmtek.no on insta for pictures). Will use it for 35mm 4K and 6K scans. It's so slow, but that's cool. I run a small facility and I can do other assignments (or sleep) while the 35mm films are scanned. I was wondering if any current and/or previous users of the machines would be willing to share some wisdom? Ie, right now I'm trying to figure out how to frame the image correctly vertically. Racking up and down doesn't seem to do the trick and I wonder if perhaps I need to do some config changes? Ideally I would want to overscan it also a bit and include the optical track on prints (to be extracted with AEO light). Also, how would I go about if I want to scan a whole roll where I don't know number of frames? Ideally I would like to scan from start to end and possibly have the scanner turn off when finished. Would that be doable? Thanks and best regards, Andreas

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Coding of sensory information changes depending on the stimulation and the environment. Visual adaptation is a highly dynamic process, and we are continuously adapting to the current viewing context. It is continuously regulating our perception and visual experience. Understanding the process of adaptation will tell us not only about our visual system but also about the natural world, because adaptation is highly optimised for natural images. FilmLight Image Engineer Daniele Siragusano will try to put this topic into the context of content creation and colour grading for multi-delivery projects:

With Martin Tlaskal, FilmLight. In this final segment, explore the new input versioning feature in Baselight. Input versioning – either via filenames or making use of the Open Clip XML format – means that a scene can be updated with new versions of shots, providing massive time savings in quick-turnaround VFX jobs where new versions are constantly arriving:

The free 'Colour On Stage' seminar hosted by FilmLight will include two days of live presentations that look at the interaction between colourists, directors, DPs and DITs. To view the programme and register to a session: https://www.colouronstage.com

In Part 1, FilmLight's Daniele Siragusano explained the theoretical foundation of Baselight's next-generation texture tools. In Part 2, Colourist Andy Minuth puts these tools to practical use. He covers all of the features based on FilmLight's advanced frequency separation techniques: Texture Equaliser, Texture Highlight and Texture Blend. Andy showcases real-world examples and explains why the colourist community has adopted them so quickly. To watch Part 2 with Andy Minuth: To watch Part 1 Daniele Siragusano :

Save the date... NAB2019 Colour Day. Monday 8 April. Renaissance Las Vegas Hotel Leading colourists will present their individual journeys in colour, as well as the creative tips they have honed over successful careers – all live on Baselight. The colourist lineup includes… Doug Delaney from Technicolor, who recently graded Captain Marvel, Andrea Chlebak and Laura Jans Fazio of Deluxe, and Oxido’s Fernando Medellin, who will explain his grading approach on high-end beauty commercials and his work on the upcoming HDR Netflix show Monarca. They'll be joined by FilmLight colour experts Daniele Siragusano and Andy Minuth. This intensive day of live presentations and practical discussions is designed to guide colourists, DoPs and the wider production and post industry through the opportunities and challenges of modern colour pipelines, via demonstrations of the exceptional colour management and finishing toolset in the latest version of FilmLight’s colour grading system, Baselight v5. Full details will be available soon. Pre-register now for early access to booking – just fill out the form to the right: https://www.filmlight.ltd.uk/news/events/20190408_nab.php