FilmLight Prelight On-Set 5.1.10516 MACOSX

Prelight ON-SET is designed to allow a Director of Photography (DoP) and other creatives to freely author,
apply and modify looks.


Prelight ON-SET, extends these tools for the Digital Imaging Technician (DIT) for use during
pre-production, production and post.


We’ve designed Prelight to be a long way removed from a complicated colour corrector.


It is based on the same simple-to-operate controls that we developed for the DIT’s iPad app on our
FLIP hardware box.


But Prelight is much more than a simple LUT generator, which has limited creativity and no way to
convey colour space transforms—the transforms that make the look actually meaningful throughout
the post process.


Prelight allows images to be colour corrected interactively—by live updating LUT boxes, cameras or
monitors directly, or by processing RAW files.


Looks can be created and previewed on set or in down time on imported image files, safe in the
knowledge that the description of that look is going to be truly relevant and useful.


Prelight supports authoring with the full set of Baselight primary and secondary grading tools and
these tools behave identically to a full Baselight system, including spatial operations and all
applicable inside/outside mattes produced by sophisticated keyers.


Looks developed in the grading theatre during test-shoots can be imported into Prelight, previewed
with the latest material and then further refined on-set using simple, yet powerful,
real-time grading tools.


The looks, which you also create from scratch in Prelight, are then exported back to the grading
theatre and seamlessly combined with the original raw camera footage to reproduce exactly the
same looks for the final grade.


Even if the look you want can’t be represented by a LUT you can still use the LUT approximation for
live preview—but then save and pass on a faithful representation of the desired look.


Carrying forward all of your metadata from set, including the creative decisions you make using
Prelight, means the same vision can be seen at all stages in the post-production pipeline.


Look data and transform LUTs can be imported directly into Daylight, Baselight and Baselight
Editions so you can work on your original raw camera footage with the same looks in VFX,
editorial and the final grade.


Of course, you can harness the power of our BLG-based workflow, but the ability to export standard
ASC CDL lists and third-party formatted 3D LUTs mean that you can integrate Prelight into any
post-production workflow.


In fact, Prelight includes tools specifically designed for the CDL grade.


The Library allows grades created in Baselight, Baselight Editions, Daylight, or by Prelight
itself to be quickly applied.


Your previous looks can be recalled easily, no matter where they came from.


Prelight provides powerful metadata filtering tools, and allows you to save these filters on tabs
for easy retrieval of groups of images.


Tabs are automatically updated if the metadata changes, too—or you can lock a filter tab if you do
not want the list of shots to change.


Prelight ON-SET provides comprehensive logging capability.


When you are logging shots – either automatically or manually – Prelight creates one log entry for
each recorded shot.


This entry tracks the look associated with that shot at the point of recording.


Looks can then be exported and automatically correlated with each shot in Daylight or Baselight
later on or, if you’re not working with BLG files, you can export the log as an ALE or EDL to
use further along in your workflow.


Prelight can connect to supported cameras, such as the ARRI Alexa SXT, by WiFi or Ethernet.


The logging system can then extract ANC data from the camera’s SDI monitoring output
(for SDI devices that support this functionality), including the record flag
(so it automatically detects when a shot is recording), timecode and tape name.


Prelight can also grab a thumbnail for each shot; this is then used as the BLG poster frame, if
you’re working with BLG files.


Prelight can grab timecode either from the camera itself, or via its own internal timecode generator.


You can also enter or edit information in the log manually, including capturing the poster frame for
the shot, which updates any underlying BLG files automatically.


Prelight ON-SET channels provide an intuitive and flexible way to link input and output devices
together so that you can easily set up different colour spaces and apply different looks to
each ‘set’ of devices.


When you apply a look in the Library, or change the grade in the Grade view, it applies it to
all devices in the active channel.


For example, you might want to have an extra channel to experiment with a look on your local
display, then publish that look to other channels once you’re happy with it.


Or you may be using multiple cameras and want to set up the colour pipeline for each camera
individually, and apply the same settings to any LUT boxes attached to it.


Original Scene Release Read NFO.