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Colour my world

How are Youngster's colourists and creative artists using FilmLight’s Baselight to colour grade content?

Nestled on the top floor of the Heal’s Building on London’s Tottenham Court Road, visual effects boutique facility Youngster was formed when editing companies The Quarry and Whitehouse moved in together. The facility works on everything from commercials to music videos to feature films, offering full colour grading facilities with a dedicated suite running Baselight.

Youngster began working with Baselight in September 2018 and uses it for all colour productions passing through the building. The company has one dedicated Baselight suite and 20 Baselight for Avid plugins, meaning every Avid in the building is able to work with the grading platform.

Jim Bracher is Youngster’s senior colourist and spends most of his day working with Baselight. He first used the platform while working for another post house and then worked with another system while freelancing, but he describes Baselight as being “infinitely better.” Why? “The tools are more in depth,” explains Bracher. “The user interaction with the system is more organic. Of course it’s what you know, but I find that I can do more with it, more quickly, more intuitively. The whole way it’s layer based, for my mind is logical, it works. I’ve never got on with nodes, although Flame uses nodes.”

“Flame has a timeline layer system for the edits, but I also work with nodes for compositing which I can do within the timeline or as a separate render for more complex shots,” adds Robin McGloin, Youngster’s VFX supervisor and Flame artist. “I started with Smoke so when Flame adopted the timeline from its little brother, it was a natural progression for me.”

Read the full interview with Jim Bracher and Robin McGloin in the latest issue of TVBEurope.

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