FL BL TM 0801 BLTrainingManual

Baselight
Training Manual

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Table of Contents i
Table of Contents
Training – Section 1 ................................................................................................................................. 1

Setting Up for a Camera Test ...................................................................................................................... 1
Importing Sequences into Baselight without an EDL .............................................................................. 6
Training – Section 2 ............................................................................................................................... 14

Grading a Shot ........................................................................................................................................... 14
Accessing Layers and the Grading Tools ................................................................................................... 14
Did we say Layer 0? ................................................................................................................................... 15
What does Layer 0 mean and how is it different to other layers? ............................................................ 15
Why choose Film Grade? ...................................................................................................................... 17
Let’s Return to the Grading Suite .......................................................................................................... 18
Configuring the Film Grade to work with Printer Lights is simple ......................................................... 19
Configuring Film Grade to Work in Printer Lights ..................................................................................... 19
Accessing the Printer Light Functionality .................................................................................................. 21
Slate and Blackboard ............................................................................................................................. 21
Keyboard ............................................................................................................................................... 21

Navigating the timeline ............................................................................................................................. 24
Understanding the Baselight User Interface ......................................................................................... 24
What is Caching? ....................................................................................................................................... 28

Exporting from Baselight via the Render Panel ......................................................................................... 34

Dailies and Creating a Deliverable ............................................................................................................ 41
What are Dailies? ...................................................................................................................................... 41
What is the Most Important Part of Making the Dailies Process Pain-free? ........................................ 42
Formats ..................................................................................................................................................... 43
What is a burnin? .................................................................................................................................. 47
And what do we do with the burnin? ................................................................................................... 48

Setting Up a Basic Primary Grade ............................................................................................................. 51
Video Grade .............................................................................................................................................. 56
Baselight Training Manual

Table of Contents ii
Viewing Matte Channels and Images ........................................................................................................ 59
Training – Section 7 .............................................................................................................................. 62

Conforming a Sequence ............................................................................................................................ 62
But what does it mean exactly to conform? ......................................................................................... 62
The EDL Import Window ....................................................................................................................... 62

Training – Section 1 1
Setting Up for a Camera Test
Training – Section 1
This section uses the Bar Scene images provided in:
generalised_colourspaces_v01/0_media/0_images/BarScene
Section 1 will introduce you to:

• Formats
• Colour Spaces
• Assembling a timeline via the Sequence Browser or FLUX Manage
• Navigating the Timeline
• Playback

The aim of this section is for you to be able to set up a scene for a camera test, as well as run the camera
test session with the DOP (director of photography) and the director.
In this section you will learn how to set up a ‘Scene’ and to choose an appropriate Working Colour
Space, Input Colour Space and Viewing Colour Space.
1 Open Baselight.
To do this either: double-click the Baselight icon on your desktop or, if on a Linux machine, open a
terminal, type baselight and then press <Enter>.

The software will open with the ‘Job Manager’ already visible. The Job Manager is where you can set up a
Job (a collection of Scenes) and a Scene (a collection of shots — for example, rushes from a day’s shoot or
a conformed commercial or drama). You can also access the Job Manager from the Scene menu at the top
of the UI or by pressing <Ctrl>+<O>.


Image 01. New Job Window - Baselight launches with the Job Manager already open.
In the Job Manager, you see three columns.
The first column on the left-hand side is labeled ‘Host’. This indicates where the job database is located,
so this could be the machine you are working on, or if you are working in a larger facility, it could also be
another Baselight system or a server.
The second column moving to the right (middle column) is where you can create a new job: place the
arrow/mouse on this column and right-click, which will give you the option to create a New Job (or place
the mouse on the Actions menu button and click it). Again, the job is like a folder where you may keep
various scenes.
The third column, on the far right-hand side, displays the Scenes that you have created. These will each
hold collections of shots.
2 In the Job Manager – create a job called “camera_test”. Click the Actions menu button in the
second column and choose ‘New Job’. Once the new job is created, the software focuses on the far
right column. Now click the Actions menu button in the third column, where you can create the
‘Scene’.


Image 02. New Scene Window - when right-clicking on the third column, a new menu opens giving the
option to select ‘New Scene’ (highlighted in blue).
The Scene is where we set the various variables that relate to a project. The Job is really just the name of
the project. The Job does not contain the variables relating to how the scene is set up. It’s the scene that
holds the important information about how the project is set up.
When creating a ‘Scene’ we must choose a:

• Working Format (a resolution)
• Working Colour Space
• Frame Rate
But the software will prompt you.


Image 03. The New Scene window. Here you must choose a) Working Format, b) Working Colour Space
and c) Working Frame Rate. See the definitions at the end of this chapter for more information.
3 Now that you have created a job folder, you can create a ‘Scene’. You should call this “day_1”. You will
also see that the software is prompting you for certain information.
A general rule when setting up a scene, is to choose a wide Working Colour Space such as ACES or ARRI
Log C.
The Working Colour Space that you choose will generally not affect how the image looks but it may affect
how some of the tools in Baselight react. However some tools, such as the Base Grade, which is available
in version 5, have their own internal colour space so will not be affected by the Working Colour Space. We
will look at Base Grade in a later section.
If you are looking for a Working Colour Space that can be used for most situations and you are using
Baselight 5, then you should use Filmlight T-Log E Gamut (Truelight Extended Gamut). If you are not using
version 5, just choose a large Working Colour Space and if you need to understand why, take a quick look
at this chromaticity diagram below.


Image 04. Chromaticity Diagram.
To start to understand the significance of colour spaces look at this diagram. Notice that Rec 709 occupies
a much smaller area than some of the other colour spaces. This is why we would not recommend Rec 709
as a working colour space unless your source images have specifically been shot in Rec 709. A wider
working space encompasses the native colour space of most cameras; thus, when we’re grading we’re
assured we’re not losing any fidelity.

Image 05. Menu with various Working Colour Spaces.
Let’s return to your setup.

4 In the new scene window select the Working Colour Space from the drop-down menu.
• Choose FilmLight T-Log or ARRI Log C Wide Gamut.
5 Set the Working Format (resolution) to Film 2048x1556.

6 Set the Working Frame Rate to 24fps.

7 Close the Job Manager window by selecting the x icon at the top right.
Once the scene is created, if you look at the top right-hand corner of the UI you will see the name of the
scene and its resolution.

Image 06. Scene name and resolution.
So far we have a scene but it has no images. Now, look at the Baselight timeline and you will see a vertical
white line. This is the cursor. You can have multiple cursors in one scene but for the moment we will just
use one.
So what is a cursor? It is just a position on the timeline – it is just like a play head.

Image 07. Cursor on the timeline.
Importing Sequences into Baselight without an EDL
For the Camera test you will insert 4 shots from 4 different cameras into the timeline. When you first
created the scene you chose a Working Colour Space; however, this isn’t the only place where the Colour
Space is significant.

Every time you insert a new set of images into the scene it is essential to identify their correct Input
Colour Space. Colour spaces used by different camera manufacturers are usually different.
Comparing the results of different cameras is the reason why film crews do camera tests – so you need to
get the science right if you are setting up the scene. Fortunately, this process is simple in Baselight.
Baselight will automatically identify the correct input colour space by analysing the file (so you actually
have to do very little – other than understand the process).

If your files are in a raw format, Baselight automatically decodes them into an appropriate Colour
Space. Alternatively, if the source file is not a raw format and there is colour information in the file
metadata, Baselight will read that information in the header and apply the correct Colour Space.

If this is not the behavior that you experience, check the correct options are set in bl-setups. In the New
Scenes tab check that "Prefer Automatic/From Metadata" is active or this won't work.
Let’s recap. In our example you have 4 sets of images from 4 different cameras: C300/ Epic /F65/ Alexa.
You will now insert them into the timeline. The images are inserted at the position of the cursor in the
timeline. Try to keep the cursor at the start of the timeline.
8 Go to the ‘Views’ menu and select ‘Sequence Browser’ (if you are using Baselight 4.4) or FLUX Manage
(if you are using Baselight 5).
9 Navigate to the Bar Scene directory and insert the four clips.

Image 08. Sequence Browser option.

Image 09. Sequence Browser.
10 When you have inserted the four, move the cursor to the first clip. Do this either by dragging the
cursor (the white vertical line) or by repeatedly pressing <Alt>+<X> on the keyboard (<Alt>+<X> will
move you to the middle of a shot). Make sure that the first clip is highlighted to show that it is
selected.


11 Look for the ‘Colour Space’ section on the UI. The ‘Input’ Colour Space for the first selected clip - the
C300 sequence - should be set to From Metadata. You should see something similar to the screen
below.

Image 10. Colour Space section with Input Colour Space set to From Metadata.
When you select a clip in the timeline before any colour correction layers have been applied, only
information relating to the characteristics of the sequence is shown. This information is referred to as
Layer 0. For example, in Layer 0 you will see the file path to the sequence on disk, its resolution and its
input colour space.
12 Now move to the second clip in the timeline (<Alt>+<X> or drag the cursor). If this is the file from the
Epic camera you will see that the Input Colour Space is set to Automatic.

Remember if the source images are in a raw format from manufacturers such as Red or Arri, Baselight
will automatically decode the files into the correct colour space.

Image 11. Colour Space section with Input Colour Space set to Automatic.

Let’s have a quick recap of what you have done so far. You have created a 2K scene and you have chosen a
Working Colour Space of either Arri Log C Wide Gamut or FilmLight T log.
You have now imported 4 sequences from different cameras. You have seen that if a source sequence is in
a raw format, the input colour space will be set to Automatic; if the source image is not a raw format but
has colour information set in the header file the input colour space will be set to From Metadata.
If you want to check out this process, the Colour Space Journey window is useful. This provides an
overview of what is happening on a shot by shot basis to the images in the timeline.
To open the Colour Space Journey:

13 Go to the menu bar at the top of the UI. Select Views and choose Colour Space Journey.

Image 12. Colour Space Journey option.
The Colour Space Journey is useful because it shows you the following:
• The Input Colour Space of the selected clip.
• The Working Colour Space of the scene.
• The Viewing Colour Space of the scene.
It will also provide you with hints if it doesn’t think what you are doing is correct.

Image 13. Hints in the Colour Space Journey.
Now your Scene is set up, we must set a third Colour Space. This is the Viewing Colour Space that we also
sometimes call the Cursor Colour Space. We set a Viewing Colour Space so that your images are viewed
correctly. When we set the Viewing Colour Space we match it to the Colour Space of our viewing device.
On monitors this is often Rec 709 (Rec 1886 2.4 gamma rec 709). And if we are using Baselight STUDENT
on a Mac laptop, then this would probably be sRGB.
14 Set the viewing colour space that is appropriate to your viewing device. Remember you need to know
the viewing colour space of your monitor – and if working on a laptop with no SDI out, the viewing
colour space will be sRGB.


Image 14. Options on the Viewing Colour Space menu.
Note the ‘Use these cursor settings...’ options in the Actions menu within the Cursors section of the UI;
this means you can avoid having to set the Viewing Colour Space every time you open the scene again.
Your timeline is now assembled, so let’s take a look at how you can move between sequences. Remember
during a Camera Test session, you will be under a lot of pressure to react to the client’s request to jump to
different shots and takes.

Image 15. The Metadata Display Menu that you can access by right clicking on the Cutview.
15 <Ctrl>+click on a thumbnail in the area that we call the Cutview to take you directly to a shot. This
puts the play-head (cursor) in the middle of the shot.

Please note that if you are working on Baselight STUDENT on a laptop, use a 3-button mouse to ensure
you have access to all options in the software.
16 Other useful shortcuts to move around a timeline are <Z> and <X> on the keyboard – this will move
you between shots.
17 There are numerous ways to play a clip:
• <Spacebar> will play the clip.
• <Ctrl>+<Spacebar> will play a clip in a loop.
The transport controls on the Slate or Blackboard also allow you to navigate a timeline.
18 It is also very likely that the DOP will ask you to go to a given take on a given camera.
The best way to look at metadata in the timeline is to switch on metadata in the Cutview. Right-click the
Cutview and enable resolution and scene and take.
19 Practice <Ctrl>+clicking to navigate - either with the mouse or Wacom pen. Practice playing a whole
scene with <Shift>+<Spacebar> and <Ctrl>+<Spacebar> - this will toggle between playing the whole
scene and the current shot only.
DEFINITIONS / APPENDIX
What is a working format?
It’s the resolution of an image or the resolution that you want to apply to a scene. Remember, digital
working formats are defined either by how many horizontal and vertical lines (or lines of pixels) they are
composed of (such as 1920x1080) or by their resolution as expressed in how many horizontal lines of
pixels there are (such as 2K or 4K).
What’s in a “K”?
2K and 4K capture are rapidly becoming the standard for HD acquisition in professional work. A 2K image
is one that can measure 2048 pixels across horizontally. A 4K image can measure 4096 pixels across. By
comparison, HDCam (a Sony format) is most frequently shot at 1080. 2K has slightly more resolution than
1080 and 4K is four times the resolution. The vertical measure of pixels may vary somewhat as not all
frames or camera sensors share the same aspect ratio. So what’s a K ? It’s a rough approximation of 1000.
2K, 4K and Higher Resolution Formats
These types of video that offer higher resolution than the 1080 standard are referred to as 2K, 4K, 5K, 8K
and so on. Some people call these higher-resolution formats Super High Def.
What is a pixel aspect ratio? - ie. square pixels vs 2:1 anamorphic pixels
Pixel aspect ratio (often abbreviated PAR) is a mathematical ratio that describes how the width of
a pixel in a digital image compares to the height of that pixel.
Most digital imaging systems display an image as a grid of tiny, square pixels. However, some imaging
systems, especially those that must be compatible with standard-definition television motion pictures,
display an image as a grid of rectangular pixels, in which the pixel width and height are different. Pixel
Aspect Ratio describes this difference.

What is a frame rate?
Frame rate, also known as frame frequency, is the frequency (rate) at which an imaging device displays
consecutive images called frames. The term applies equally to film and video cameras, computer graphics,
and motion capture systems. Frame rate is usually expressed in frames per second (FPS).
What is a Working Colour Space?
The Working Colour Space is an important decision and should be considered carefully. It describes the
Colour Space that you first select when you create a scene – and following this decision it is the Colour
Space that most of the colour operations take place in (unless you use the v5 Base Grade).
Please be aware that the Working Colour Space has no effect on the look of the ungraded image itself, so
long as it is a wider colour space than the input space. So you could choose a Working Colour Space of
Aces or Arri Log C – possibly even Rec 709 – and you may see no difference in how the image looks before
grades are applied. However, the Working Colour Space may affect how some tools react.
You also need to be aware that most Display Colour Spaces are much smaller than the Colour Spaces that
are used when a camera captured an image (the technical phrase for which is a Scene Referred Colour
Space). In Baselight, Display Colour Spaces are identified with a small monitor icon.

Image 16. Working Colour Space menu.

As Display Colour Spaces such as Rec 709 are generally smaller than Colour Spaces such as Arri Log C or
Aces, you should never apply grading operations directly in a Display Space (the full label in Baselight is
Display-referred Colour Space). FilmLight advises you that you would only set your working colour space
to Rec 709 if your source images were captured in Rec 709.
Why do I have to set up Colour Spaces in so many different places – why can’t I keep everything the
same all the way through?
Well, if you really wanted to you could. You could tag everything with one colour space – work in the same
colour space and output in one colour space – but this is not a modern workflow.
By distinguishing between input, working and output colour spaces, you can more easily mix different
types of material in a project and the images should look correct when you start grading. So if you have
set up a scene with a Working Colour Space as Arri Log C wide gamut because most of your material is Arri
– but then a producer asks you to also insert some Rec 709 stock footage - it’s all fine! Remember you just
need to make sure that the input colour space is tagged correctly or you let Baselight do the work and set
the inputs to read From Metadata or Automatic.
If you set up your scene correctly by properly identifying…

• Input Colour Space
• Working Colour Space and
• Display Colour Space
…you can then render to any Colour Space that is required for the project. So yes, you could deliver for
cinema, TV or even Youtube without having to do a regrade.
Baselight seems to be full of different settings for colour spaces – what is the simplest way to set up a
scene?
There are three main areas where you need to set up the colour spaces in Baselight.
• The Working Colour Space when you first set up a scene. This can also be accessed from Views- >
Scene Settings.
• The Input Colour Space when clips are inserted into the timeline.
• The Viewing Colour Space (also known as the Display Referred Colour Space).
The Working Colour Space could almost be considered as the size of the world that you want to work in. In
most instances, a large Working Colour Space is a good thing.
The Viewing Colour space should match your viewing device. By setting this correctly we know we are
viewing the images correctly.
If you’re using an external reference monitor, Rec.1886: 2.4 Gamma / Rec.709 is the correct colour space.
If you’re using a laptop with no external display then sRGB: ~2.2 Gamma / Rec.709 is the correct setting.

Grading a Shot
Grading a Shot
The aim of this section is for you to familiarise yourself with some of Baselight’s grading tools. You will do
a basic exposure (brightness) match between shots using the Film Grade. You will also be introduced to
printer lights.
In this section, we refer to printer lights/bumps and exposure bumps as the same thing.
This section uses your scene from the previous section.
Accessing Layers and the Grading Tools

So, which grading tools will you need for a camera test?
Usually the DOP will ask to see the images without a grade. You would then be asked to match the shots
as each different camera has its own characteristics. Normally this will just involve changing brightness
and possibly saturation.
The two main grading tools in Baselight 4.4 are Film Grade and Video Grade. In version 5, we also offer
Base Grade.
As this chapter proceeds, we will look more closely at the Exposure setting in Film Grade. However, at this
point you may have noticed that you can’t see Film Grade anywhere on the user interface.

Image 17. Timeline before grading layers have been applied. The large red arrow points to the Layer 0
indicator and the small arrow points to the File Name field.

Did we say Layer 0?
Remember Baselight is different from other software in that to access Baselight’s grading tools, you must
first add a grading layer. Grading tools become available to you once you add Layer 1.
However, logically, before Layer 1 there is Layer 0.
Did we say Layer 0?

If you have inserted the clips as we instructed in the previous section, Layer 0 and the information
contained in it should already be visible on the user interface. You don’t have to add Layer 0 – it’s
automatically associated with a clip as soon as you import it.
Take a quick look at the Baselight software. It should resemble something similar to the screengrab above
(Image 01).
What does Layer 0 mean and how is it different to other layers?

Layer 0 doesn’t contain colour grading tools. It really contains just the controls and information relating to
the input sequence. If, for example, you wanted to know where an image was located you would look at
the information contained in Layer 0, specifically the File Name field as indicated in Image 01. You could
also find information relating to resolution and colour space and also whether any kind of retime had
been applied to a shot.
If you only have sequence strips in your timeline (and a sequence strip is selected), then you will have
Layer 0.
No grading tools will be visible because in Baselight you must add a grading layer before you have access
to the tools.

While you are first learning the software, keep in mind the very general premise that grading starts in
Layer 1.
Ok, so now you know that you don’t really grade in Layer 0, let’s turn our attention to the grading layers.
1 To add a layer, make sure the cursor is located on the shot you wish to grade and choose Layer1 from
the grading panel (Slate or Blackboard) or press on the keyboard.
This will add a layer to the shot you have selected in your timeline.
When you add a layer, you are presented with a selection of tools. Take a moment to look at the user
interface. You will see a grid of grading options including Film Grade, Video Grade, Curve Grade and Hue
Shift. If you are using Version 5, you will also see the Base Grade.


Image 18. Grading tools available after you add Layer1. The large red arrow points to the Layer 1
indicator. The small arrow points to the grid of available grading tools. Note also that Film Grade is
selected in the user interface.
When you select a tool, the controls to that tool become active in the panel to the left of the grid. So, if
you select Video Grade you will see controls labelled Lift, Gamma, Gain. If you select Film Grade you will
see controls relating to Exposure, Saturation and Contrast.

Image 19. The full user interface associated with Film Grade. In Film Grade, some of the controls are
organised into tabs. The controls are completely customisable but when you first open the software and
access Film Grade you see two sets of tabs. On the first tab you see Exposure, Contrast and Saturation and
on the second, Shadows, Midtones and Highlights.
By default, when you add a layer and before any grading changes have been made, the name of the tool is
displayed in white. Once a change has been applied, the name of the tool turns purple.

Image 20. The colour of the text in ‘Film Grade’ changes once you start to colour the image.

Why choose Film Grade?
There are many reasons, but one very simple reason is that the Film Grade allows you to work in printer
lights (sometimes also called printer points or exposure bumps). This means you can be very accurate in
dealing with brightness changes or the DOP’s request to add or subtract a couple of points of red. You
cannot do this in the Video Grade.
Let’s spend a moment getting a general feel of the Exposure parameter before we reconfigure.

Image 21. The ‘Film Grade’ colour wheel. The large red arrow points towards the Exposure (Brightness)
slider. The small arrow points to the colour wheel, which allows you to change the overall hue of an image.
2 Move to the first shot in the timeline (<Alt>+<Z> or <X> will move you backwards or forwards to the
middle of a shot or you can use the transport controls on the Slate or Blackboard). Make sure that you
apply a layer to each of the shots. To apply a layer, press on the keyboard or choose Layer 1 from
the Blackboard or Slate.
The Film Grade’s Exposure tool lets you push an overall colour cast into the image via the colour wheel.
You can also decrease a colour cast. Alternatively, if you want to change brightness, you can drag the
slider that sits to the right of the colour wheel.
3 If you are working on Baselight STUDENT, drag the Brightness slider to increase or decrease its value.
To alter the overall colour of the image, drag the dot in the centre of the colour wheel.
4 If you have a Slate or Blackboard use the ring on the track ball to change Brightness and the ball to
change colour.

Image 22. FilmLight Blackboard with the arrow pointing towards the grading trackballs.

If you have the histogram or any of the scopes displayed, these tools will reflect the changes you are
making to the image.
Let’s Return to the Grading Suite
In a camera test, a Director of Photography (DOP) or the Director often tells a colourist to make the image
brighter or darker – warmer or colder. You can answer all of these requests easily with the Exposure
control in Film Grade.
5 Make the first shot warmer. To do this move the colour wheel in the Exposure pane toward red.
6 In the next shot, you make the image cooler by moving the colour wheel toward blue.

Image 23. The Exposure colour wheel pushed towards blue. We can see that changes to the Film Grade
have been made even without looking at the image, because the words Film Grade are displayed in purple.
So, this is all correct – but it’s not exactly subtle.
Remember subtlety in a camera test is essential. Professionals such as Directors of Photography look at
images continually. Their eyes are sharp. A frequent scenario in a camera test is that you would be asked
to add a couple of points of a colour or a couple of points of brightness. You must understand how to be
accurate. For this reason, you need to understand how to reconfigure the software to work with printer
lights/exposure bumps.
7 Please reset each Film Grade that you have changed. To do this in Baselight STUDENT, go to each shot
and press <Cmd>+<Fn>+<Backspace>. (The reset command will reset the tool that is selected).

Configuring Film Grade to Work in Printer Lights

Image 24. Mac keyboard.
If you are on Slate or Blackboard, press the reset buttons in the Film Grade. There are also R symbols
available in the user interface. If you select one of the R symbols adjacent to a parameter that parameter
will be reset.

Image 25. Reset control.
Configuring the Film Grade to work with Printer Lights is simple
How you access the printer lights/exposure bumps will depend on if you are working in Baselight
STUDENT or if you have a Blackboard or Slate available to you.
If you are working in Baselight STUDENT and you wish to experiment with exposure bumps/printer lights,
please attach an external keyboard so that you have a full numeric keypad available to you.

Image 26. A student working on a MacBook Pro with an external keyboard attached.
All tools in Baselight are configurable. For the moment, you will reconfigure only the Exposure settings for
the Film Grade.
8 Click the drop-down menu arrow below the Exposure parameters. You will see a menu of options.


Image 27. Film Grade parameters. An upside-down arrow means you can access a drop-down menu.

Image 28. Open drop-down menu.
9 Choose Overall Exp Bump. This allows you to control brightness either pressing the appropriate
button on the Blackboard or Slate, or by pressing <+> or <-> if you have a keyboard with a numeric
keypad.
10 In the field below what is now Overall Exp Bump, click the drop-down menu arrow and select RGB
Exp Bump. Make sure your interface is set up to match the settings displayed in image 13 below.

Accessing the Printer Light Functionality

Image 29. Film Grade reconfigured with Overall Exposure Bump and RGB Exposure Bumps selected
below the main Exposure controls
Slate and Blackboard
Printer lights will become active on the Slate or Blackboard if you have reconfigured the user interface to
use Overall Exp. Bump.
Keyboard
If you wish to access the printer light functionality on a laptop, please connect an external keyboard. The +
and – keys on the numeric keypad of the external keyboard will let you increase and decrease brightness.
If you don’t have access to an external keyboard, another useful option is to activate gestural editing.


Image 30. Edit menu options. The Gestural Editing option is highlighted in blue.
11 To turn on gestural editing, go to the Edit Menu and choose Gestural Editing.
Once gestural editing is active, if the Film Grade controls are selected and you move your cursor to the
image area, grading controls will be available to you on the display screen.

Image 31. Film Grade Exposure control active on the image area. Gestural Editing has been activated in
the Edit menu.
Let’s recap. You have applied a layer to each of your shots. (If you haven’t applied a Layer 1 to each shot
please move through the timeline and do this now). You have selected a Film Grade and you have

started to explore the Exposure control. You have also seen that the Film Grade is configurable, with
options available like printer lights and gestural editing. Hopefully you have attached an external
keyboard and experimented with printer lights.
If you are working only on a laptop and do not have access to an external keyboard you may have
chosen to work not with printer lights but rather with Gestural Editing. Whichever tool you decide to
use, the aim of this exercise is the same – the brightness of the four shots must match.
You may be wondering why you are working only with exposure. You will have noticed no doubt that
the Film Grade consists of many more options. It does indeed. In later chapters, we will return to them.
However, matching brightness is one of the fundamentals of matching shots, and for this reason you
will now complete the main task of this exercise, which is to simply move through the timeline and
make sure that the brightness of each sequence is roughly equal.
12 Move through the timeline and for each shot change just the Exposure setting so that the shots
match.
In this exercise, you are matching the shots by eye. However, to help with accuracy youcan also start to
look at the histogram, which appears in Baselight by default. We don’t provide a full explanation in this
section, but it’s a useful tool to refer to when working with image.

Image 32. Histogram adjacent to the timeline.

Navigating the timeline

• Navigating a timeline
• Cache
• Marks
• Playback

This section will teach you how to navigate and control the timeline. It also helps you further understand
the Baselight interface. We base the teaching around the scene you created in the previous sections;
however, the information will relate equally if you drop any material into a scene.
Understanding the Baselight User Interface

1 If your software is not already open, please launch Baselight.
Double click the Baselight icon on your desktop, or, if on a Linux machine, open a terminal, type
baselight and then hit Enter.
The software will open with Job Manager visible.
2 From the Job Manager, double click on the camera_test scene that you created in section 1. You will
see the name of the scene in the top right of the user interface.

Image 33. The Baselight menu bar, which appears at the top of the Baselight user interface. In the
screengrab the camera_test:day_1 scene is open, as is indicated at the top right corner of the interface.

3 If you wish to create a new scene with your own images you can do so from the Scene Column of the
Job Manager. As in Section 1 you would use the menu and choose New Scene.
Remember when you create a new scene the software will prompt you for a working format (a base
resolution), a working colour space and a base frame rate.


Image 34. New Scene Window - when right-clicking on third column, a new menu opens giving the
option to select New Scene (highlighted in blue).
Remember the scene’s working colour space can be likened to how much room you have available to you
when you access available colour. If it’s a small colour space, you only have so much room. Imagine a
painter’s palette: you need to have a palette to work inside that can paint all the colours the camera can
produce, as well as all the colours the audience’s intended display can produce. With a smaller colour
space you may not have access to all of these colours – but you will also be completely fine on the whole.
The working colour space has no effect on the colour of an image before you start grading, irrespective
of the working colour space you choose. It will not affect how your picture physically looks before you
start grading.
However, if you start grading and then change your colour space the grade would be changed. Never
change the working colour space after you begin to grade.
4 If you are creating a new scene, you also need to go to the Views menu and open the Sequence
Browser (or if you are using v5 you will open FLUX Manage) and insert a few clips.

Image 35. New Scene window.
In Section 1, we showed you the three important user interface areas where you set colour spaces:
• Working Colour Space when you create a scene.
• Input Colour Space when you drop your clips into a timeline. If you set the input colour space as
Automatic or From Metadata, Baselight will decide on the correct colour space of the clip.
• The Viewing Colour Space, which must always match your viewing device.
Also, please note if you forgot which colour space you chose in section 1, you can double check this by
opening the Scene Settings window from the Views menu and selecting the Format & Colour tab.


Image 36. Scene Settings window. In the Format & Colour tab, we can see the currently selected working
colour space.
You will now start to explore some of Baselight’s menus.

Image 37. Baselight menu. Select Release History to read about changes and bug fixes to Baselight.
The first menu at the top of the user interface is the Baselight menu. This menu contains a number of
useful sub menus, one of which is ‘About Baselight’ where you can view which version of the software is
installed. If you ever have to contact Baselight Support for assistance, the first question they will ask you is
what version are you using, so don’t forget where to look.
Other useful options are the Preferences and Formats menus. Preferences allow you to set things such as
the size of the font text on the Baselight interface or whether you want to be able to drag and drop clips
to different positions in the timeline.
The Formats Window lets you create new resolution templates for Baselight. Let’s say you have some
media with a resolution of 1828x988, but you don’t see this resolution in any of the Baselight’s default
formats. Then you would create a new format with this resolution in the Formats window.
The menus that follow the Baselight menu provide access to the sub-menus for all the main functions in
the system. A useful one to open is the Help menu as it has options to open documents like the Baselight
Keyboard Shortcuts and Blackboard Button Reference.


Image 38. Message Log window. The large arrow points to the message log indicator; the smaller arrow
points to the playback/caching indicators.
Now look towards the upper right of the interface. You can see a small triangle symbol with an
exclamation mark. Click the triangle and it will open the Message Log. Here Baselight lists errors or other
useful information that relate to the timeline.

Image 39. Top right corner of the menu bar.
Have you noticed the menu that resembles a cassette or video tape ?. This is for those systems with a
video capture card attached. This will not be active for Baselight STUDENT.
The next menu looks like three stripes . If you are not playing the timeline, these stripes are grey.
If you press play (press the <Spacebar> on your keyboard, or use the play controls on your Slate or
Blackboard), you will notice that they probably become green.
These three bars are called the Playback/Caching indicators.
The three bars show when the system is reading images, processing images and caching images. They can
also act as a general indicator of how well your images are playing back frames.
Let’s look at these bars in more detail.
The top bar graphs the system’s reading of images from disk. Hopefully when you press play, this bar is
green. Green indicates that your images are being read from disk at real-time and will probably be playing
back at the frame rate that you set when you first created the scene.
If the bar is red, then it’s likely that your images are not playing back in real-time. To check the playback
speed, press <F> on your keyboard and you will see a playback indicator in the top left of the image area.
The camera_test scene that you created in Section 1 was set to 24fps. So if you press <F> on the keyboard,
you ideally see a value of 24 frames per second. However, keep in mind if you are running Baselight
STUDENT that the reliability of your playback will depend on your machine configuration, which may not
have a fast image volume to read from if it is a laptop.
The middle bar graphs the system’s processing of images. If you have a “heavy” effect such as a Temporal
Degrain, Baselight will have to perform a lot of calculation before the system can play the rendered result
back. In this case, you’ll see a red bar until the processing is completed.

What is Caching?
The final bar graphs the system’s writing of rendered images to disk, also called caching.
What is Caching?
Caching is a process that saves a copy of your images to the local storage. By local, we mean you save it to
your machine. Some readers may wonder why this is required.
Caching may be necessary depending on the operations you are using in the timeline, the size of your
images and of course due to the limitations of your hardware configuration.
If for instance you added a filter that required a lot of processing such as a Temporal Degrain, or you were
trying to review a large EXR file, the system will need to work really hard to play the image back in real-
time. Some systems simply don’t have enough power.
You could of course render your work and then reimport it, but, more efficiently, Baselight provides you
with the ability to collapse all of your processes into a single file and play back that file from disk. We call
this caching. The good thing is that the process is seamless and all you need to do is activate it and, of
course, understand exactly how it works.
Remember if you were prepping for or running a camera test session, smooth playback is essential.
As this chapter continues we will show you how to activate caching. Once you have learnt the principles of
how caching works please disable this setting (via the Scene Settings window).
Activating Caching
Let’s open scene’s settings to check that caching is activated.

5 Go to the Views menu and Choose Scene Settings.

Image 40. Open Views Menu. Scene Settings is highlighted in blue.

What is Caching?

Image 41. Scene Settings Window. Caching is set to full.
6 Locate the Timeline Caching setting (on the General Tab).
7 Make sure that Timeline Caching is set to Full.
8 Close the window by pressing the small x in the top right corner.
9 Play the timeline (use the keyboard <Spacebar> or the transport controls on the Blackboard or Slate).
When you play the timeline, you will see that Baselight displays the three-bar icon we’ve discussed at the
top of the screen . Again, the bars depict whether images are being read from disk (top),
processed (middle), or written to disk (bottom). .
The timeline may also now feature a green stripe.

Image 42. Partially cached timeline.
If you see the green stripe on the timeline, we know that full caching has been activated in the Scene
Settings window and that your cached images are ready to be played from disk.
If you don’t see anything, maybe you did not turn on caching in the Views -> Scene Settings window. Or
the background indicator has not been activated in the timeline. You can activate the Background Caching
status by right clicking in the timeline and choosing the appropriate state

Image 43. Background Caching Status menu.

What is Caching?
If you are still having issues activating caching please check that you have a cache directory set up in the
Preferences (activated from the Baselight drop-down menu).

Image 44. Baselight with the Preferences window open. The System tab is selected and here we can
check caching settings. Windows can be closed in Baselight by clicking the small x.
So, are you still wondering why caching can be useful?
If you have been given large images that require a lot of processing it will sometimes be important to
cache these files to ensure real-time playback. Imagine for instance that your source images were loaded
onto a facility’s shared network storage and that you were having to play them via the network. Imagine
that for whatever reason the host network is slow. You would want to cache your files locally before your
clients arrive so that you can ensure smooth playback regardless of load on the network or external
volumes. In Baselight, all images are cached locally.
By setting our Cache to Full, we have chosen for every shot and layer in our timeline to be cached.
Baselight also allows other caching options, including strip caching, which only caches strips when you
explicitly flag them for caching.
This section does not elaborate further on strip caching. Suffice it to say for now that this option is
activated by choosing Strip Caching in the Views -> Scene Settings window. Then you select the strip you
want to cache in the timeline and enable caching by clicking the cache icon in the user interface (see
below).

What is Caching?

Image 45. Background Caching Status menu.
Navigating the Timeline and Useful Tips
OK, let’s return to the scenario of the camera test (and hopefully you have remembered to deactivate
caching as it is not required at this point). You have already matched the brightness of the shots roughly.
The DOP has now asked you to locate the two shots where the couple clink their drinking glasses. He
wants to compare the sharpness of the two cameras.
What he or she doesn’t want to see is you playing endlessly through the timeline.
When a client wants us to just move between specific shots so that they can compare images, the
Baselight markers become useful.

Image 46. Markers in a timeline. Markers are red by default.
10 Move through your timeline and find the points in the clips where the couple’s glasses meet.
You can drag though the timeline by selecting the timeline cursor and dragging with your mouse or
Wacom pen, or you can use the shuttle control on the Slate or Blackboard.

What is Caching?

Image 47. The arrow points towards the shuttle controls on Blackboard 2.

11 Make sure the cursor is located at the point of the glasses meeting, and press <L> on the keyboard to
set a mark.
If you are working on Blackboard or Slate, you can use the Marker button that resembles an I.
A red vertical line will appear in the timeline.
12 Set markers on each shot where the glasses meet.

Image 48. Markers visible in the timeline.

13 Jump between each marker by pressing <Shift>+<Z>/<Shift>+<X> on your keyboard, or use the
appropriate controls on your Slate or Blackboard.

You would probably also be asked to zoom into the image if the DOP was interested in examining a
certain area, such as details on a face.
14 To zoom into a face, place your cursor in the display area.

What is Caching?
On Baselight STUDENT, press the <Cmd> key and drag with the middle button of your mouse.
If using a Blackboard or a Slate, press <Ctrl> and drag with the middle button of your mouse.
15 To reset the zoom, select the Display menu and choose Home Zoom.
Let’s recap what you have learnt in this chapter. You have been reminded how you would create a new
scene (remember, it’s the scene that contains the important information such as resolution and working
colour space) and you have learnt the basics of caching a scene. You have also learnt how to set marks in
the timeline and you have also learnt how to zoom and reset the zoom of an image.
Please explore the Film Grade a little further by yourself. Start by looking at the contrast and saturation. In
the next section, you will learn how to render the two frames that you have marked in the timeline.

Image 49. Zoomed in image and open Display menu.

Exporting from Baselight via the Render Panel
If you prefer to use your own images, you can. Even if you just read this section, it will allow you to
understand the Render Panel.

• The Render Panel
• Formats
In this section, you learn how to export your images from Baselight using the Render Panel. If your
images are going to appear on TV, in a cinema, or even just on a producer’s laptop, you need to export
the files in a way that can be colour-accurately viewed by other people and other software packages.
This section will show you how to manage that process.
If the Baselight software is not already open, please open it and select the scene that you wish to use.
This section will refer to the images that you created in the first chapter of this course. However, the
instructions should apply easily to any scene.
In the previous chapter, you started to mark your timeline with markers (remember those vertical red
lines that flag events on the timeline). If you are using Baselight STUDENT, you would have used the
shortcut <L> to insert a marker.
If you have a Blackboard control surface or a Slate, you would have used the button that resembling a
capital I (though you could also have used the keyboard shortcut).
If the markers are not still visible on the timeline, please re-insert them by pressing <L> on the keyboard.
If you wish to delete markers and reinsert them, you can use the shortcut <Ctrl>+<shift>+<L>, which clears
all markers. Use the <L> shortcut to reinsert a marker (also notice that this shortcut is actually a toggle: if
the cursor is parked on a marker, pressing <L> will also delete it).
You will recall from the previous section that markers are useful to navigate the timeline. Hopefully you
have not forgotten the shortcuts <Shift>+<X> and <Shift>+<Z> which let you move between markers.
Markers are also useful to specify frames that you need to render.
In either camera test or dailies sessions, it is very normal to be asked to render single frames, also known
as stills. These stills are often used as reference frames by the camera team.
Let’s do your first Baselight render. If you decided to experiment and create a completely new scene,
please ensure that it contains markers.


Image 50. Markers in the Baselight timeline.
You will now open the Render Panel.

1 Go to the Views Menu and select Render.

Image 51. Views menu.
2 Take a few moments just to look at the Render Panel. It certainly does have a lot of options, but once
you start to understand the logic it’s fairly simple.
Have you noticed the section that asks which Frames you want to render?

Image 52. First section of the Render panel.
Hopefully this should make sense. It’s either All Frames or specifically Selected Frames (there is a drop-
down menu where you see the words Select Frames).
Now look at the row of tabs labelled Output. These refer to the types of files you want to output.

Image 53. First and second sections of the Render panel. Here we are rendering just two frames, 489
and 1393.

We will eventually be outputting JPEG stills. For this reason, we would not choose Movies and we don’t
have Audio, so the logical option is Sequences.
We will also need to select a Render Format and a Colour Space.

Image 54. Render Panel now with the Format and Colour Space added. Frames 489 and 1393 will be
rendered as JPEG and as 1920x1080.
Take a few moments to familiarise yourself with the Render Panel. When you are ready, proceed to the
next section.
Setting up the Render Panel
You can now start to set up your render options. Your task is to export just the marked frames from the
timeline. Remember when we talk about “rendering”, we really mean just exporting files from Baselight.
Are you ready? If not, just reread the section above. And if you are confident, let’s begin by choosing how
many frames we want to render.
3 Deselect the All Frames button . We are deselecting All Frames because we
want to render only the frames we have marked on the timeline.
4 Click the Select Frames button - this will open a submenu.

Image 55. Screengrab of the Select Frames drop down menu.
5 Choose Timeline-Marked Frames.
Another submenu opens.
6 Select All Marked Frames.
If you have followed the instructions from the previous sections, just two frame numbers will appear in
the Frames To Render field. They don’t have to be the same frame numbers as shown in the screengrab,
however you should see frame numbers separated by a comma. We need to see something similar to the

example in image 07. So, remember the goal of the exercise is to render the frames we have marked in
the timeline.

Image 56. Frames To Render field.
Now you can choose your file type. If you are using Baselight STUDENT, the only file type you can choose
for stills is JPEG. If you are using a full version of Baselight, you will be able to choose other formats such
as TIFF and DPX.
You will now add a Render Format and Colour Space for the files that you are rendering.
7 Click on the icon that looks like an upside-down arrow
A submenu will open.

Image 57. Render field drop-down menu.
8 Select Render Format and choose HD 1920x1080.
9 Now you can choose your Render Colour Space.
Perhaps you are wondering why you are seeing mention of the Colour Space again. It’s simple: When you
render files (export) you need to know that they will look correct on the recipient’s display. Let’s say for
this example that you intend to give the exported stills to the Director of Photography (DOP), and you
know that she’ll be viewing them on her laptop, which has an sRGB display.
In Baselight, if you have set your scene up correctly, you can render to any colour space without the use of
LUTs, including sRGB.
10 Click on the Render Colour Space drop-down menu and you will see a list of colour spaces. Choose
sRGB: ~2.2 Gamma / Rec 709 in order to match the display type of the DOP’s laptop.


Image 58. Some of the colour spaces available to you when you click on the Render Colour Space option.
Here is a useful tip to help you understand colour spaces. When you see a camera icon beside the
colour space name, it generally indicates a colour space in which the images were captured. The more
technically-gifted people in the FilmLight crew will call this a “Scene-referred Colour Space”, but we don’t
need to get too technical. Not just yet anyway.
If you see a small monitor beside the name of a colour space, this is generally a colour space that we
use to view an image (we also call these Display-referred Colour Spaces). So, if when I set up my render, I
know the image will be viewed on a laptop, I would set my output colour space to be a flavour of sRGB. If
I knew the files would be broadcast on television, I would choose a flavour of Rec 709 (ignoring for now
the HDR televisions that are becoming available to consumers).
To keep it simple, just remember: the camera icon indicates colour spaces used when capturing an
image; the monitor icon indicates colour spaces used when viewing images.


Image 59. The output directory for your render.
The final step in this exercise is to understand where you are placing your images on disk. We have
included another section in the Render panel screengrab above. You can see the Directory field - this is
where your files will appear after you have finished your render. You also see the Container field.
The container is the root directory where you are keeping your files. We expand on this in longer courses
but it is outside the scope of this shorter introductory version.
If you are using Baselight STUDENT, your files will be written to a directory called /images1 which was
created on your machine when you first installed Baselight. Images1 will be your Container. In Baselight,
you also see the container represented with the substitution code %C.
If you are using the full version of Baselight, your container directory may vary.
You can see where you file will be written by looking for the First File entry.

Image 60. The Directory field. This shows us the template for where files will be written. If you want to
see explicitly where the files are written, look at the First File entry. This is indicated on the screengrab with
the red arrow.
No doubt you are wondering why we have some funny looking entries next to the Container label.
It all makes sense really. REALLY.
Remember the First File entry on the Render Panel (see Image 10) will tell you the directory path where
your files are being written.

A quick word about those funny looking % codes.
Now let’s look at the meaning of %J AND %S.
By default, these codes are added to the Render Panel unless you specifically change them.
%J means job name. %S mean scene name.
So, by default Baselight writes files into a folder that is the name of your job and then into another folder
directory that is the name of your scene.

If you are having a hard time grasping this, remember to check the First File field. This will show you the
file path for your renders.
OK, now it’s time to Render.

11 If your settings look correct, click Submit Render.
The Queue Monitor should open and hopefully you will quickly see the magic word Done. The Queue
Monitor also logs previous render information, so if you are on a Baselight system that is used by other
people, the Queue Monitor is likely to hold information about previous renders.

Image 61. Queue Monitor. This is where you can check the status of a render.
You may want to try and locate the rendered files. Remember the First File field of the render box shows
you where frames are written to.
If you are using Baselight STUDENT, renders should be sent to /images1/camera_test/day1/, depending
on your job and scene name.
Rendering takes a little practice. Repeat this exercise a second time if required.

Dailies and Creating a Deliverable
This section uses the images provided in:
The camera_test/day_1 scene you created in Section 1 should be open.

• Dailies
• Creating MXF files
• Activating burnins.
Dailies and Creating a Deliverable

This section will teach you how to set up a dailies scene. It will build on your knowledge of formats and it
will show you how to activate masks and burnins. For those of you who are unfamiliar with the concept of
burnins, this section provides a brief explanation.
What are Dailies?
Dailies refers to the process of getting the camera files from the day’s shoot into a format viewable by
various member of the film crew and editorial staff.
Some of you may have worked on a dailies project and some students will have heard the term without
understanding the process.
Dailies have been part of the film making process since, well, the beginning of film making.
In the past, when most features were shot on film, the raw, unedited footage captured during production
was developed at night and printed onto film for viewing the next day by the director, director of
photography, producers, actors and other key crew members. This provided a means of gauging how the
picture was progressing in terms of the quality of performances, cinematography, etc.
The process of dailies has slightly changed over the years as it has been impacted by digital technology.
However, the need for dailies remains the same. It lets film crews check what they have been shooting
and to troubleshoot any technical issues. These may include mechanical issues with the camera, but also
incorrect camera settings that may impact the quality of the images. For example, can you imagine
shooting for two weeks only to discover that the camera was recording images in a compressed format, in
spite of raw images being needed for post-production grading and effects.
There is another reason for dailies: dailies files are also produced so that the editorial team can start
working. It’s sometimes not technically possible or viable for editing systems to work with raw camera
data.
One of the first things that will happen when you start working on a dailies project is that you will be
informed of the technical requirements of the files that you are delivering. This may be done via a short

What are Dailies?
email, verbal instuctions from a producer, or even a lengthy technical specification. Regardless of how,
you will definitely be informed of the deliverable requirements. Your job is to ensure that the delivered
files are technically correct.
Another important discussion between editorial and the dailies department is whether burnins will be
applied to an image and what information those burnins should contain.
In today’s example, you will learn to render your images as movie files at a resolution of 1920x1080.
Productions will often request this combo for use with editing systems. Your render will include a mask
(blanking) and a burnin.

Image 62. Image displayed with a burnin.
In previous sections, you learnt to render single frames. This time you will render whole sequences and
you will also adhere to a fairly strict naming convention.
What is the Most Important Part of Making the Dailies Process Pain-free?
In order to be effective when creating dailies, you must fully understand formats and the Render Panel
described in previous sections. Dailies delivery has very exacting requirements and the turnaround is
typically within 24 hours (there is a reason they are also called rushes).
If a shoot takes place between 8am and 6pm and five cameras are rolling, there is likely to be a massive
amount of data that needs to be processed.
Some readers will be aware that FilmLight has created specific software aimed at the dailies market, which
is called Daylight. However, we are introducing the subject as part of the Baselight learning program as
formats and the rendering procedure are nearly identical in both products.
So whether you are a user of Daylight or Baselight, let us now discuss some of the fundamentals that you
need before you embark on a job.

Formats
Formats
Formats allow the user to tell the system how many pixels are in image, in terms of width and height,
along with information about pixel aspect ratio. They also allow us to set up masks and burnins. And, very
importantly, they contain information explaining how an image in one format should be geometrically
mapped to another format. We would, for example, modify a format to allow us to handle a file shot in
4K but display it in HD 1920x1080.
A format contains the following information:

• Pixel aspect ratio
• Vertical and horizontal resolutions
• Proxy resolutions
• Masks
• Mappings to other formats
• Burnins
We will now open the Formats window.

1 Select the Baselight menu and then Formats.
The first column of the Baselight window displays a list of formats names.

Image 63. First column of the Formats window.
Look at the next column to the right. It should contain three tabs: Masks, Mapping and Burnins.

Formats

Image 64. First two columns of the Formats window. If you click on different formats, different masks
become available to you. The red arrow points to the tabs for Masks, Mapping and Burnings. In this
screengrab we see the masks associated with the Film 2048x1556 format.
Today as you create the dailies files (our “deliverable”), you will also apply a mask and a burnin via these
tabs.
By default, a number of masks and mappings are pre-built into the software. Let’s look at the masks in the
HD 1920x1080 format.
2 Click on the HD 1920x1080 format and select the Masks tab.
Can you see the masks available? The purple box represents the active part of an image when a mask (also
called blanking) is applied to an image.

Formats

Image 65. The whole Formats window. The HD 1920x1080 Format is now selected. The masks associated
with this format are visible in the Masks tab.
3 Click on the Burnins tab associated with the HD 1920x1080 format. Look towards the middle of the
window and you will see two entries, one called Film Dailies and the other called Data Dailies.

Image 66. The red arrow points to the burnins entries associated with the HD 1920x1080 Format.
These settings won’t really make sense unless you can see them in relation to the image. You will now
view your scene in an HD 1920x1080 format. For this reason, we will need to change the Viewing Format
of your scene. Hopefully your day_1 scene is open.

Formats
4 Move the Formats window away from the image area. You can do this by grabbing the top of the
Formats window with your mouse.
5 Make sure that the camera test scene/day_1 is open. You will use this scene to render files with a
burnin and mask applied. Ensure that you can see the image and also that you can access the Viewing
Format menu in the Cursors section of the Baselight user interface.
The options that are associated with the Viewing Format, such as masks and burnins, are activated in
the Baselight interface, but they are actually created in the Formats window.
6 You will now make sure that you are viewing the day_1 scene in an HD 1920x1080 format. Click on
the Viewing Format list. Choose the HD 1920x1080 format.
You might be wondering, “Didn’t we create the scene in 2048x1556?” Yes, we did. However, now we are
viewing it inside a HD 1920x1080 frame. The image should appear identical.
Now that you are viewing via the above format, you have access to the masks and burnins associated with
that format. You will now activate a mask and burnin.

Image 67. Viewing Format changed to HD1920x1080, with a burnin and mask activated.
7 Click on the Mask drop-down menu and choose 3.0.1.
If you look at your image display, the image should now have black strips at the top and bottom of the
image. Sometimes this mask effect is called letter boxing.
8 Click on the Burnin drop-down menu and choose Data Dailies.
Text should now appear over the masked areas.

Formats
What is a burnin?
A burnin relates to information about the file. If this has been requested via editorial, it’s because they
want to have information easily available to them such as the name of the camera, scene, take and file
timecode.
In this example, you are simply learning how to activate the burnin, but in reality, you might be asked to
modify an existing burnin or make a completely new one to suit the particular requirements of the
production.
Remember we are viewing the image in the HD 1920x1080 format and we are seeing the mask and burnin
that is associated with this format. We will now return to the Format Window just to show how to
modify a burnin.
9 If the Formats Window isn’t still open, re-open it, then locate the HD 1920x1080 format. Make sure it
is selected.
10 Click on the Burnin tab. You should be able to see two sets of burnins: Film and Data.
11 Select Data because this corresponds to the burnin that you added when you changed the Viewing
Format.
Reminder: At this point your Viewing Format should be HD 1920x1080 and the Data Dailies burnin
should be active.

Image 68. Viewing Format changed to HD 1920x1080 and the Formats Window with
HD 1920x1080 selected.
You will now modify the Data Dailies burnin slightly by removing one of the grey borders and you will see
the change reflected on the image.
12 From the Formats Window, make sure HD 1920x1080 and Data Dailies is still selected.
13 Select the path to image text (the path to image relates to the text that is displayed at the top of the
image). Change the Border setting from Lozenge to none.

Image 69. The path to image with the lozenge border.

Formats
The path to the image should now be displayed without a border.
And what do we do with the burnin?
Burnins are rendered onto the image.
We are now going to quickly learn how to do this in the render panel. Remember in dailies you don’t
always do much grading. You might match some takes and cameras but not necessarily. On some
productions, you will simply be processing data, so let’s process this data.
14 Go to the Views menu and select Render.
You will render the Bar Scene image with the mask and Data Dailies burnin activated. You will also render
these files as an H264 movie. Editorial have also requested that you render these files with the original file
name and that they are rendered in a Rec 709 colour space.
15 Make sure Frames to Render is set to All Frames.
16 Select Movies – Video Only as we are rendering to a movie format with no audio.
17 Ensure that the codec is set to H264. If you are using Baselight STUDENT, this will be the only option.

Image 70. Render Panel with Output File Type parameters.
18 Click on the upside-down triangle and enable the Masks and Burnins and Render Resolution
options.
You are going to match the settings in the Render Panel to how you have been viewing your scene.
19 Render Resolution should be HD 1920x1080. If we don’t choose the correct render resolution we
won’t have access to the correct burnin or mask.
20 Specify the following variables: Mask - 3.0.1; Burnin - Data Dailies; and Render Colour Space - Rec
1886 2.4 Gamma / Rec709.

Image 71. Render Panel with Colour Space, Mask and Burnin selected.
21 Remember that the editorial team also wants the files with the original name, so please select the
Input File name checkbox.

Formats

Image 72. Render Panel. Input Filename is enabled for output.
Remember all files will be saved according to the path that is defined in the Directory field. The path to
your files will start with the container directory. In Baselight STUDENT this will be images1. Remember the
codes we mentioned previously?
%J means name of job and %S means name of scene. If you find this confusing, just look for the words
First File at the bottom of the page. This will tell you where the rendered files can be found.

Image 73. Render Panel fully set up according to the instructions for this deliverable.
22 Select Verify.
You will see the message “These Frames should render correctly.”
23 Select Submit Render (1 deliverable).
The Queue Monitor will open and if you look at the progress bar you will see the text update, reflecting
that the movies are being written.

Formats

Image 74. Queue Monitor.
24 Once the render has finished you should check that the images seem correct by looking in either the
Sequence Browser or FLUX Manage.
25 Go to the Views menu and choose Sequence Browser. If you are using version 5.0, choose FLUX
Manage instead.
Navigate to the path where you rendered the files. If you are using Baselight STUDENT this will be in
/images1/%J/_renders/%S.
Yes, we are checking that you understand the codes! So, the name of the job (%J) and the name of the
scene (%S).
A quick look in the Sequence Browser will tell you if the render has worked. You don’t need to insert it
into the timeline but hopefully what you see is something similar to the following image. With the
rendered file selected, the Sequence Browser shows the file details on the top right.

Image 75. Rendered file selected in the Sequence Browser.

Setting Up a Basic Primary Grade

• Primary and Secondary grades.
This section will teach you how to set up a primary grade. We will look at Film Grade and Video Grade. We
will also cover shapes and set up a basic ellipse shape, which is often used to apply a vignette effect to a
shot.

1 Launch Baselight.
Either double-click the Baselight icon on your desktop, or, if on a Linux machine, open a terminal, type
baselight and then press <Enter>.
The software will open with Job Manager visible.
2 Create a new scene and call it “Looks”. Set the working format to HD 1920x1080 and choose a wide
colour space such as Arri Log C Wide Gamut or ACES. The frame rate for the scene should match the
material you are importing.
If you do not remember how to create a new scene you can return to the instructions provided in
chapter 1.
Also, if you don’t know the frame rate of your material, you can go to the Views menu and open the
Sequence Browser (or FLUX Manage if you are using version 5.0).
When you navigate to the material you want to use, you can see the frame rate displayed in the browser
window. This information is taken from the metadata of the selected file. Please refer to Image 76.


Image 76. Sequence Browser window. The arrow points to the metadata of the selected file.
When you have created your scene, make sure that you are viewing your images in the correct colour
space. The viewing colour space you set must always match your display device. Look at Image 02 if you
can’t remember where you set this option.
So, for example, if I needed to create a UHDTV job and I had a capable monitor, the monitor would be set
to Rec2020. In Baselight, I would also choose a Rec2020 viewing colour space to match the monitor.
(For readers unsure of the significance of Rec 2020, it is a standard that defines various aspects of Ultra
High Definition television.)
If I was working on a feature film and the projector was set to DCI-P3, then I would make sure that my
viewing colour space in Baselight was also set to P3.
(For readers who are unsure of what the P3 colour space is, it’s an RGB colour space that was designed for
use on digital cinema projectors.)


Image 77. Baselight user interface. The menu for choosing the viewing colour space is open. The red
arrow points to the list of display-referred colour spaces as indicted by the monitor icons.
To save the viewing colour space, select the cog drop-down menu (located in the Cursors Section of the
interface).
It’s probably advisable to always save your viewing colour space. If you were acting as an assistant for a
colourist and the correct viewing colour space was not set before they started work, they would be
mightily unhappy.
In fact, always remember to check that the viewing colour space is correct. Let’s say that one more time:
ALWAYS CHECK THAT YOUR VIEWING COLOUR SPACE MATCHES YOUR DISPLAY DEVICE.

Image 78. Cursor saving option. The red arrow points to the cog menu where you can save the settings.

In the following example, as mentioned previously, we will use the bar scene images, but the instructions
should apply to any sequence. Ideally you are feeling confident enough to experiment and will use your
own material.
Your scene should be open. Remember even if your scene is empty we know if it is open by looking at the
top right corner of the Baselight user interface where the resolution and name of a scene appears. Also,
all scenes have a cursor – even empty scenes. Hopefully you haven’t forgotten that the vertical light blue
line that you see in the timeline is called a cursor. You may want to think of it as a playhead.

Image 79. A scene that has been created but is still empty. The name and resolution are indicated by the
long red arrow. The short arrow points to the viewing colour space, which has not yet been set correctly.

3 Go to the Views menu and open the Sequence Browser (or FLUX manage if you are using v5).
4 Navigate to the shot you wish to use, or if you want to follow these set of instructions exactly navigate
to and insert the clips from:
/images1/generalised_colourspaces_v01/0_media/0_images/BarScene/Epic
Now let’s apply a primary grading layer (Layer 1).

5 Make sure the clip you want to grade is selected.


Image 80. A scene before layers are added. The red arrow points to the first clip, which is selected in the
timeline. When a clip is selected Baselight knows where to add grading layers.

6 If you are using Baselight STUDENT, press on the keyboard. If you are using Blackboard, press
Layer1.
7 Select the Video Grade.

Video Grade
Video Grade

Image 81. The Video Grade parameters. Lift has been reduced and gamma increased to add contrast to
the image.
For those of you who are new to colour, lift controls the shadow areas of the image, gamma, the
midtones, and gain, the highlights.
Video Grade is a popular tool with commercials colourists as it allows them to quickly set contrast. You
may hear people talking about this as adding “punch” to an image.
8 As in the above image, move the lift control downwards and the gain up. The image immediately
appears to have more contrast.
You will also notice that there are two separate tabs inside the Video Grade, RGB and Y’CbCr.
If you make the contrast change in the RGB tab the image will also start to look more saturated. If you do
the same contrast change in the Y’CbCr tab you can affect the contrast without affecting saturation too
much.
9 Reset the Video Grade: If you are using Baselight STUDENT, the shortcut for resetting all parameters is
<Cmd>+<Fn>+<Backspace>. If you are using a full Baselight system, use <Ctrl>+<Backspace> or
<Ctrl>+<Reset> next to the grading ball on the left.

Image 82. Diagram indicating the parameter reset combination on Blackboard.

Video Grade
10 Now apply contrast in the Y’CbCr tab. Move lift down and gain upwards.
11 Decide which look you prefer. If you preferred the effect of the contrast change in the RGB tab, press
<Cmd>+<Z> or <Ctrl>+<Z> (shortcuts for undo) until you return back that look.
It’s useful to note that in Baselight every little change you make is saved in a database, so you can
always return back to what you were doing a few moments earlier.

Image 83. Video Grade. Outside tools are not available until a matte, mask or key has been added.
Are you wondering why Layer 1’s grid of tools doesn’t allow you to access the column marked Outside?
This is because this layer does not contain any mattes.
Mattes in Layer 1 are something you should really avoid. Technically, of course, you can add them.
However, most users set an overall grade first. This is what colourists mean when they talk about setting
up a primary.
In Baselight when users talk of primaries, they are generally referring to either Video Grade or Film Grade.
You will now add Layer 2, and inside you will add a shape.
12 If you are using Baselight STUDENT, make sure Layer 1 is selected and press . This will add a new
layer below Layer 1. If you are using a Slate or Blackboard panel, add another layer using the
appropriate buttons.
13 Don’t start grading yet as you first need to add a shape. Make sure Layer 2 is selected, then press <S>.
A shape will appear above Layer 2. (If you’re on a full Baselight system with separate monitoring for
the image, you can use the appropriate keys on the control surface.)

Video Grade

Image 84. Layer 2 in a selected state.
It’s important to remember in Baselight that new layers append to the bottom of the timeline (not the top
as in some other systems). So, the bottom of the stack is actually the end result of your grade.
Select the shape layer and make sure that new shape is selected (also note that shortcut <Q> will toggle
new shape on and off).

Image 85. Shape tool parameters.
14 Click on the New Curve Mode drop-down menu and choose Ellipse.
15 Move your cursor to the image area, click and drag outwards.
As you create your shape, you will have noticed that you no longer see the image area but rather the
shape you have created.

Viewing Matte Channels and Images

If you look above the grid of operators, you will see that there are two Mona Lisa icons, one in full colour
and the other greyscale . When the full colour Mona Lisa is selected you are looking at an image as
opposed to a matte. You haven’t noticed this yet because this is actually the default mode in Baselight.
The greyscale Mona Lisa lets you view mattes.
When you add the shape, the greyscale Mona Lisa icon is enabled. If, after you have created the ellipse,
you switch between the two icons, you will notice that the display changes from image to shape. (If this
does not happen make sure Layer 2 is selected and press <O> on your keyboard to switch states.)
Baselight users often use the terms mattes, mask, and shapes to refer to the same thing. If you see or
hear any of these terms all you need to remember is that an alpha channel has been created to define
some region or regions of the image.

Image 86. The shape tool after an ellipse has been created.
Once you have created a shape in Layer 2, you can move it by grabbing the middle point of the shape
overlay. If you are working on Slate or a Blackboard, the grading balls will allow you to move and expand
the shape.
16 Now add softness to the shape by changing the Feather Radius.
17 Click on the full colour Mona Lisa icon to ensure that you see the image and that the grading
tools are active (or press the shortcut <O>). Because you have added a shape to Layer 2, you will have
operators available for both inside and outside of the shape. We sometimes call this kind of layer a
secondary because we’re grading only selected areas of the image, as opposed to the primary grade
(usually in Layer 1), which affects the entire image.
18 Once the image is displayed (as opposed to the shape), select the outside Video Grade parameters
and darken the areas outside of the ellipse by decreasing the lift and gain. By darkening the outside
area of the shape, we are trying to draw the viewer’s eyes toward the women as opposed to
extraneous background detail in the image.


Image 87. Video Grade’s outside parameters selected.

Image 88. A shape has been added to Layer2.
This basic trick of darkening or lightening an area is something that colourist performs every day.
So hopefully this brief explanation has shown you how to assemble a very basic primary and secondary
grade. Now experiment further. Add some more layers and shapes. Don’t be shy. In some of the sections
that follow, we will teach you how to keyframe grades and also how to track shapes.
Tips
• <O> is the short cut to view mattes that have been added to a layer.
• Layers in a timeline are also referred to as a stack.
It is possible to move up and down the layers in the timeline using the up/down arrow keys on your
keyboard. This is probably the easiest way of seeing what is happening in your layers. When you first try to
use the arrow keys on your keyboard, you will notice a horizontal blue line. We call this the render cursor.
This indicates what layer we are viewing in the stack. By default, if you don’t move the render cursor, it
remains at the very bottom of the stack so you are viewing the last added layer.


Image 89. The render cursor (the light blue line). In this example, the shape matte is being viewed
because the render cursor has been moved up to the shape layer. Move the render cursor using the
up/down arrow keys on the keyboard.

Conforming a Sequence
This section uses images provided in:
conform/

• The EDL import window
This section will teach you about conforming from an AAF (Advanced Authoring Format) EDL (Edit Decision
List) file. Methods you learn will work almost identically with other EDLs like CMX or XML.
But what does it mean exactly to conform?
For those of you who are unsure of the definition of conforming, it’s a way of replicating what was
achieved on an editing system but inside Baselight or another finishing system. Editing systems typically
work from proxy (low-resolution versions) of the original camera files. (You may recall that we made some
proxy images in earlier sections.) When conforming, the goal is to link up the final edited sequence with
high-resolution images, often the original camera files.
In the editing system, the editor defines the sequences of shots, then exports an EDL - a record of his or
her edit choices. This record - which is just an ordinary text file - can be formatted according to different
industry standards including AAF, XML, or CMX. It can then be passed over to the colourist or the
assistant to use when importing high-resolution media into Baselight. The Baselight operator then sees
the final edit linked to high-quality images suitable for grading.
Without some kind of EDL, the colourist or assistant would have to import and cut each shot manually. It
would be a time-consuming and error-prone process.
So, to conform you need some sort of EDL and, of course, the media.
The EDL Import Window

1 If necessary, launch Baselight. Either double-click the Baselight icon on your desktop, or, if on a Linux
machine, open a terminal, type baselight and then press <Enter>.
The software opens with the Job Manager visible.
2 From the Job Manager, select the camera_test job (you will have created this in the first section of
this guide.)
3 From Scene column, open the menu and choose New Scene.
The New Scene window prompts you for information.
Remember that when you create a scene, you have to know the frame rate of the material you are using.
You can see the frame rate of the material either in FLUX Manage if you are using v5 or in the Sequence
Browser if you are using Baselight STUDENT.
For today’s exercise, the frame rate is 25fps and we will use an HD1920x1080 resolution.

You will also need to set a working colour space. As before, choose a wide-gamut colour space such as Arri
LogC or ACES.
4 Enter the required information and click Done.
When the scene has been created, you will see the name of the job and scene on the top right corner of
the Baselight user interface.

Image 90. Top right corner of the Baselight user interface.
You will now open the EDL Import window from the Views menu.
5 Go to the Views menu and select EDL Import.
Remember, a conform can only happen if a scene is open.

Image 91. Open Views menu. EDL Import is selected.


Image 92. The EDL Import window when first opened. The red arrow points to the button that allows us
to browse for the EDL file.
With the EDL Import window open, the first thing you will need to do is to navigate to the folder where
you have stored the EDL file. In this example, we are using an AAF file. You will also need to tell
Baselight where to look for the images.
6 Select the icon resembling a piece of paper to browse for the AAF file.
7 Navigate to /images1/conform and select BaselightSTUDENT_Conform_Tutorial.aaf.
Baselight will extract the proper frame rate from the EDL. You will note that you cannot change this field.
The EDL you are using is 25fps to match the 25fps media that you are about to conform.
Also, as soon as you select an EDL, Baselight will display the raw EDL in a tab at the bottom of the EDL
Import window. It is always useful to glance at the raw EDL as it will tell you what Baselight may require to
rebuild the edit.


Image 93. The EDL Import window after the AAF file path has been chosen. At this point no other options
have been selected. The red arrow points to the Raw EDL tab.
The next thing you need to do is tell Baselight where to look for the images. You set the path to the
images in the Search Directory field.

Image 94. The EDL import window after both the AAF file and Search Directory paths have been chosen.
8 Click the Search Directory field and navigate to /images1/conform.
At the most basic level, you need to know the locations of your EDL file and the relevant media. You will
notice on the EDL Import window there are lots of options you can manually set, but sometimes it’s
easiest to simply tell Baselight to try all options and let it try to complete the conform.
The Try All Options method has pros and cons. Often the editing may take place elsewhere and you may
not know a lot about the EDL or the data it links to. Try All gives you a quick method of trying the most
likely conform possibilities. You will definitely conform something.
However, Baselight really will try all options and so it will present you with many possible versions of the
conform. Each version is presented to you in a different tab. You could quite easily end up with 20
versions of the conform. It’s up to you to choose the one that the editor intended.

9 Go on, give it a go. Press Start Conform without setting any other further information and let
Baselight run for a few moments.
You will end with a number of tabs. Each one of these tabs represents a different version of the conform.
As you click through the tabs, you will see that the options in the EDL Import window will change. Each
version is a variation on these options.
As a general rule when you do conform, you would use Try All Options when you know nothing about the
media or the EDL. But sometimes you will know how the EDL is meant be conformed (from source rather
than record timecode, for example). When this is the case, you can manually set options to speed up the
conform and have fewer conform versions to choose from when the process is complete.

Image 95. The EDL Import window with no conform options set and Try All Options enabled.
A couple of tips for achieving accurate conforms: Look at the clips’ metadata and also try to understand
how the clips are laid out on disk. You’ll recall that we can view a clip’s metadata in the Sequence
Browser (in Baselight v4.4m1) or in FLUX Manage (in Baselight v5.0).
Let’s quickly open one of the browsing tools and have a look at the metadata. Think of metadata as
information about the clip and keep in mind that it is typically stored in file header of a clip.
10 Open FLUX Manage or the Sequence Browser and select one of the clips that will form part of the
conform. If you look to the right of the window with a clip selected you should see certain information
relating to the clip including resolution, timecode and filename.
Even with just a small amount of information such as timecode, we can ensure the conform is more
efficient. Remember the more accurate you can be with the conform options, the quicker the conform will
be. While you may not notice much of a change in this small tutorial example, you would definitely notice
if you were conforming from a couple of terabytes worth of material.


Image 96. The Sequence Browser with a clip is selected. Metadata from the selected clip is displayed on
the right of the window. The long red arrow points to the clip’s timecode.
You will also notice in the clip’s metadata that we can see mention of a tape name and a clip name.
Metadata such as timecode, clipname and tape name allows us to give Baselight certain information that
it can use to complete the conform more quickly and accurately. The more information we have, the
quicker and more accurate a conform will be.
Now let’s turn our attention to the image file path. If we look at any of the clips in the conform directory,
we see something like:
/images1/conform/Day03A020LV01.5125A5125A1A9.mxf
Let’s try and fill in some of the options in the EDL Window. We at least know we can tell Baselight to use
timecode as one of the options because we have seen timecode in the clips’ metadata.
11 Set the Search Order field to Timecode.
12 Set the Timecode Location to Header.
13 Now click Start Conform again. You will see fewer conform variations presented because you have
limited the possibilities to only those involving timecode.
The next option in the EDL Import window is Overwrite Tape Name. We have seen how the clips are laid
out on disk and there is no tape name mentioned in the path.
14 Click the Overwrite Tape Name drop-down menu and choose With Filename.


Image 97. The EDL Import window showing the first set of conform options selected. We can see
conform variations will be limited to those involving timecode.

15 Also select Match Events by Filename.
16 Now click Start Conform again. You should end up with a single conform (if you end up with 100% and
a 0% conform, just make sure the 100% is selected).
17 Click Done.

Image 98. The EDL Import window showing completed conform limited by several options discussed.
Once you have selected Done, the EDL Import window will close and you are ready to apply a grade to
your shots.

If you wish to experiment further, try adding a single layer to each event/shot by using the shortcut
and practice applying a primary grade using Video Grade or the tool of your choice.
Remember to save your scene before closing.

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Baselight

Training – Section 1 ................................................................................................................................. 1

Training – Section 2 ............................................................................................................................... 14

Training – Section 3 ............................................................................................................................... 24

Training – Section 4 ............................................................................................................................... 34

Training – Section 5 ............................................................................................................................... 41

Training – Section 6 ............................................................................................................................... 51

Baselight Training Manual

Viewing Matte Channels and Images ........................................................................................................ 59

Training – Section 7 .............................................................................................................................. 62

Baselight Training Manual

Section 1 will introduce you to:

Setting Up for a Camera Test

Baselight Training Manual

In the Job Manager, you see three columns.

Baselight Training Manual

When creating a ‘Scene’ we must choose a:

But the software will prompt you.

Baselight Training Manual

Baselight Training Manual

Let’s return to your setup.

Baselight Training Manual

6 Set the Working Frame Rate to 24fps.

Importing Sequences into Baselight without an EDL

Baselight Training Manual

Baselight Training Manual

Baselight Training Manual

To open the Colour Space Journey:

Baselight Training Manual

Baselight Training Manual

What is a working format?

2K, 4K and Higher Resolution Formats

Baselight Training Manual

What is a frame rate?

What is a Working Colour Space?

Baselight Training Manual

If you set up your scene correctly by properly identifying…

Baselight Training Manual

This section uses your scene from the previous section.

Accessing Layers and the Grading Tools

Baselight Training Manual

However, logically, before Layer 1 there is Layer 0.

Did we say Layer 0?

What does Layer 0 mean and how is it different to other layers?

Baselight Training Manual

Baselight Training Manual

Why choose Film Grade?

Baselight Training Manual

Let’s Return to the Grading Suite

So, this is all correct – but it’s not exactly subtle.

Baselight Training Manual

Configuring the Film Grade to work with Printer Lights is simple

Configuring Film Grade to Work in Printer Lights

Baselight Training Manual

Baselight Training Manual

Accessing the Printer Light Functionality

Slate and Blackboard

Baselight Training Manual

Baselight Training Manual

Baselight Training Manual

Section 3 will introduce you to:

Navigating the timeline

Understanding the Baselight User Interface

Baselight Training Manual