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Baselight-powered color comes natively to Media Composer, connecting creative decisions from dailies through finishing and delivery Burlington, Mass. and London, UK, September 9, 2026: Avid® and FilmLighttoday announced a strategic partnership to bring a new Baselight-powered color experience natively into Avid Media Composer®, marking a major step toward a more connected color pipeline for post production. For decades, Media Composer has been where many of the world’s most demanding film and television stories are shaped, while Baselight has set the standard for high-end color finishing. By bringing these creative environments closer together, Avid and FilmLight are moving beyond traditional plug-in workflows toward a more integrated approach to color both inside Media Composer and beyond it, one designed to help teams preserve intent, reduce handoffs and keep color connected from dailies through finishing and delivery. “This partnership reflects how our products are actually used – by specialists collaborating to create some of the world’s most compelling film and television content,” said Rich Camp, Media Composer Product Manager, Avid. “By bringing FilmLight’s expertise deeper into the Media Composer workflow, we’re giving editors a native color experience with powerful tools directly in the timeline. That means editors can cut and craft their timeline while working more seamlessly with colorists, so more time and focus stays where it matters most: the story.” FilmLight Co-founder Steve Chapman added: “FilmLight has always focused on creating color tools that fit seamlessly into post production workflows. Our collaboration with Avid allows us to combine strengths and deliver new levels of color creativity and accuracy to the editorial experience.” A new approach to editorial color Avid and FilmLight are focusing on four key areas: Native color inside Media Composer: Bringing Baselight-powered color capabilities deeper into the Media Composer experience, so color feels like part of the edit, not a separate step bolted on at the end. A connected path from dailies to delivery: Keeping color decisions open and connected throughout production, helping teams move more fluidly between editorial, review, grading and finishing. Specialist color science at editorial scale: Extending FilmLight’s color technology to a broader community of Media Composer users, while preserving the depth, precision and control required by professional colorists and finishing teams inside the traditional Baselight environment. Expanded online and delivery capabilities: Scaling with the needs of each production, from being able to complete delivery entirely within Media Composer to a renderless roundtrip with full Baselight for teams working at the highest levels of finishing and delivery. From dailies to delivery, with color connected The partnership is designed to help creative teams carry color decisions through production more seamlessly. Instead of treating editorial and color as separate stages connected by exports, renders and conforms, Avid and FilmLight are working toward a more continuous workflow where the edit can better reflect the intended look of the finished project. For editors, that means greater confidence in the timeline. For colorists, it means creative decisions can be reflected instantly between Media Composer editorial and Baselight finishing environments. For facilities and studios, it creates a workflow that can scale from editorial color through online and delivery, including renderless roundtrip with full Baselight for the highest-end finishing needs. Building on the proven Baselight Editions workflow available today, the partnership points to a broader native color direction for Media Composer: specialist FilmLight color science and tools embedded more deeply into the editorial experience, with capabilities designed to scale across different production needs. “Media Composer and Baselight have been at the center of our post production workflow at ENVY for over 20 years, so it’s exciting to see these two companies working more closely together and continuing to play such an important role in our industry,” said Jai Cave, Technical Operation Director at ENVY Post Production, which has produced The Traitors, At Home with the Furys, and The Grand Tour. “Production workflows continue to evolve, with demand for the color journey on-set to flow right through editorial, VFX and finishing post whilst projects combine an increasingly complex array of formats. Closer alignment between editorial and grade has the potential to bring real workflow benefits to creative teams. We look forward to seeing the vision Avid and FilmLight are building.” About Avid Avid is the power behind the content that touches virtually every person on the planet. Every word, every note, every frame, every day. Powering greater creators and trusted newsmakers, Avid enables everyone with a story to tell – from Emmy®, Grammy®, and Oscar® winners to rising talent. Built on a dynamic media intelligence surface, Avid tools support the full production lifecycle, from story assignment and editorial editing through archive and distribution. Avid understands professional media from the inside, combining human creativity with AI-driven orchestration so production moves faster, costs less, and allows organizations to see what their content is worth. www.avid.com About FilmLight FilmLight provides unrivalled color grading, image processing, and workflow tools deployed on-premises or in the cloud – setting new standards for quality, reliability and performance. The company’s streamlined metadata-based workflows employ robust products with cutting edge creative tools, allowing creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight’s core business is centred on the innovation, implementation and support of its products – including Baselight, Baselight Editions, Daylight and Nara – in leading production companies, post-production facilities and film/TV studios around the world. The company is also committed to helping customers build more efficient, connected pipelines via the FilmLight API. FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres and qualified partners worldwide. For more information, visit https://www.filmlight.ltd.uk

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