User manual
FilmLight Daylight

User Manual for FilmLight Daylight

• Product category: Video Editing FilmLight
• Brand: FilmLight
• Description and content of package
• Technical information and basic settings
• Frequently asked questions – FAQ
• Troubleshooting (does not switch on, does not respond, error message, what do I do if...)
• Authorized service for FilmLight Video Editing

Product description

Full Baselight Creativity
• Grades can normally be limited to CDL values or exported as 3D LUTs for standard cross-platform workflows, but with Daylight all shots can have full sophisticated FilmLight Baselight looks -- authored and applied using the same compact grading interface familiar to users of Baselight Editions for Avid, FCP, and NUKE.

Extensive Metadata Support
• Daylight provides comprehensive end-to-end handling of metadata. The system reads all the data it can from the headers of your camera and audio files and displays relevant metadata fields in the Sequence Browser and the Shots View -- and you can also choose to display information on thumbnails in the Scene and Galleries. You can edit metadata, or create it, directly from these thumbnails or via the Shots View. Depending on the file format, metadata can also be embedded into rendered output files so that all relevant data passes smoothly through your post-production pipeline. Where the output format does not support all the required metadata fields (for example, when producing deliverables on tape) you can export metadata via a separate file such as a standard EDL or an Avid ALE.

Render Queue with Multiple Deliverables
• No need to wait for Daylight to finish rendering before you can start the next operation. You can easily pause, re-order, and resubmit tasks to the Render Queue enabling you to work more efficiently. When working on dailies, where you want to queue up multiple renders from a day's shoot, you can also optimize the process by producing several deliverables simultaneously from the one scene; for example, producing QuickTime movies at the same time as rendered DPX files.

Fast Render
• Instead of images, a fastest renderer delivers grading metadata. If you are working with a post-production facility equipped with FilmLight Baselight or Baselight Editions, the full grade from Daylight can be encapsulated in a completely portable, cross-platform BLG file. No amount of additional GPUs or CPUs can be as fast or as flexible as this workflow. The BLG file (Baselight Grade file) is a multi-track OpenEXR file format that you can use to create, transfer, and review looks.
  
  The term 'look' in this case isn't referring to a LUT or a restricted grade -- the look within the BLG is the full creative intent. It includes all grade information: color space transforms, Truelight cubes, conform metadata and keyframes. It interoperates fully with Baselight, FLIP, Daylight, and even Baselight Editions within Avid, FCP, or NUKE, but you can use it as a review format without any FilmLight hardware or software. When you view a BLG file, it shows the graded image wiped with the original, with the BLG logo for easy identification. Daylight provides you with the mechanism to create BLG files from existing grades, or import BLG files into your scene.

Truelight Color Spaces & ACES
• Color spaces associated with Daylight formats can be defined externally, with a powerful function set that allows complex transforms formerly only possible with 3D LUT mechanisms (such as Truelight). A comprehensive set of camera spaces (such as ARRI LogC and Sony S-Log) and display spaces (such as DCI X'Y'Z' and P3) are provided -- they allow common conversions to be performed with the speed, accuracy, and dynamic range permitted by native floating-point GPU functionality. Truelight Color Spaces are perfectly suited to working within the ACES (Academy Color Encoding Specification) framework, allowing seamless and productive dailies grading with data from multiple camera sources. And since the definitions are external, extra color spaces can be added when new cameras are developed.

Transcoding in Post
• Daylight makes use of over 10 years of accumulated Baselight development to provide comprehensive support for all camera and deliverable formats -- including audio and retiming capability. Support for sophisticated rescaling, filtering, masking and burn-in operations, alongside Truelight Color Spaces for accurate color transforms, means that all of your deliverable requirements can be met by one application. With the multitude of technical choices currently available when transcoding, the ability to create templates for individual clients and workflows allows you to produce consistent deliverable sets. By automating what can be a highly technical -- and often thankless and error-prone -- role ensures your clients receive consistent, accurate material time after time.
  
  This powerful set of functionality makes Daylight with its associated render queue eminently suitable as a transcode workhorse in the post-production arena. For a full list of supported formats, see the Baselight Codec Support datasheet, available on the FilmLight website. Featuring Comprehensive support for cameras and deliverables, Baselight supports all common RAW camera formats and delivery codecs natively as soon as they are released. This is carried across to Daylight, along with user-defined formats and a sophisticated format mapping system that allows resolution, aspect ratio, frame rate, and color space to be freely mixed within a project. Burn-ins can also be added to any output deliverable so that you can display selected metadata alongside customized logos or other text and graphics.
  
  Several preset burn-in templates are provided and a simple editor allows you to create any number of additional templates according to your requirements. And because the application runs on OS X, the most common requirements become simple tasks, like mounting exFAT data packs and attaching Thunderbolt drives.

Professional Panel Support
• Daylight supports Tangent Wave and Element panels, Avid Artist Color and Transport devices, and FilmLight's Slate purpose-designed control surface. The advanced Slate panel features a compact size ideal for the near-set environment.

Use with FLIP
• When used in combination with the FLIP real-time image processor, everyone on set can see the look being developed on the shoot without any compromises. The monitoring output of the digital camera can be set to preview a full Baselight grade; this is then associated in the FLIP log with the camera metadata so Daylight can automatically apply the same look to the RAW camera data.

HD-SDI Monitoring
• Professional grading requires professional monitoring. Daylight can drive an HD-SDI display as an alternative to the computer monitor via the third-party AJA family of display devices such as the Thunderbolt T-TAP, IO-XT, IO-4K, and Kona 3G.

Deploy with Ease
• Daylight will run on any Mac system equipped with OSX 10.9 or above. Daylight uses whatever graphics card is installed without the need for special, CUDA-capable variants -- so you can deploy to custom, high-performance systems or simple, portable laptops as necessary.

Audio Sync & Playback
• Audio can easily be synced with your camera footage -- either automatically using timecode, or semi-automatically using a clap-detector, which pin-points the exact time in the audio file that the clapper closes. Sound files that span multiple camera takes are easily handled and waveforms help you to manually adjust sound sync on a per-shot basis. Where multiple groups of audio tracks have been recorded, these can be monitored separately and selectively rendered into the output deliverables.

Custom Reporting
• Daylight's extensive metadata handling carries right over into a sophisticated report generator that includes custom columns, color accurate thumbnail images, and cover pages. This means that you can produce a consistent, professional report at the end of every workday.

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FilmLight DAYLIGHT Specs

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