FilmLight Daylight v5.1.10842 (macOS / Linux)

Grades can of course be limited to CDL values or exported as 3D LUTs for standard cross-platform workflows, but you don't need to be constrained by the lowest common denominator. All shots can have full sophisticated Baselight looks-authored and applied using the same compact grading interface familiar to users of Baselight Editions for Avid and NUKE.
And now, the innovative Baselight v5 colour tools have been extended across the entire FilmLight product range. This means you can access the Base Grade-a new primary grading operator for modern colour workflows and HDR-as well as tools that blur the line between traditional colour correction and VFX such as paint, perspective tracking, warping, depth keying, relighting and many others.
Daylight provides comprehensive end-to-end handling of metadata. The system reads all the data it can from the headers of your camera and audio files and displays relevant metadata fields in FLUX Manage and the Shots View-and you can also choose to display information on thumbnails in the Scene and Galleries.
Daylight's extensive metadata handling carries right on over into a sophisticated report generator that includes custom columns, colour accurate thumbnail images and cover pages. This means that you can produce a consistent, professional report at the end of every workday.
Daylight makes use of over 10 years of accumulated Baselight development to provide comprehensive support for all camera and deliverable formats-including audio and retiming capability.
Support for sophisticated rescaling, filtering, masking and burn-in operations, alongside Truelight Colour Spaces for accurate colour transforms, means that all of your deliverable requirements can be met by one application.
Baselight is well regarded for supporting all common RAW camera formats and delivery codecs natively as soon as they are released. This is carried across to Daylight, along with user-defined formats and a sophisticated format mapping system that allows resolution, aspect ratio, frame rate and colour space to be freely mixed within a project.
Audio can easily be synced with your camera footage-either automatically using timecode, or semi-automatically using a clap-detector, which pinpoints the exact time in the audio file that the clapper closes.
Sound files that span multiple camera takes are easily handled and waveforms help you to manually adjust sound sync on a per-shot basis.
Of course, the sophistication of the Daylight render queue is welcome when you have to deliver graded files; however, the fastest renderer is the one that never runs. Instead of images, it delivers grading metadata.
If you are working with a post-production facility equipped with Baselight or Baselight Editions, the full grade from Daylight can be encapsulated in a completely portable, cross-platform BLG file. No amount of additional GPUs or CPUs can be as fast or as flexible as this workflow.

It's a multi-track OpenEXR file format that you can use to create, transfer and review looks. When we use the term 'look', we're not just talking about a LUT or a restricted grade-the look within the BLG is the full creative intent. It includes all grade information: colour space transforms, Truelight cubes, conform metadata and keyframes. It interoperates fully with Baselight, FLIP, Daylight and even Baselight Editions within Avid or NUKE, but you can use it as a review format without any FilmLight hardware or software.
Daylight supports for Tangent Wave and Element panels, as well as Avid Artist Color and Transport devices. However, just because you're grading dailies and don't have the space, it doesn't mean you can't have a purpose-designed control surface. Our Slate panel is an ideal size for the near-set environment.
The Chalk application for Slate also lets you customise the buttons on the control surface to realise the high productivity required in an effective dailies process.
No need to wait for Daylight to finish rendering before you can start the next operation. You can easily pause, re-order and resubmit tasks to the Render Queue enabling you to work more efficiently. You can even optimise the process by producing several deliverables simultaneously from the one scene; for example, producing QuickTime movies at the same time as rendered DPX files.

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