Baselight Archives - Page 2 of 2

Focus on the Family Tebow

February 7, 2010August 7, 2017

Baselight, HDCam SR, r3d, RED, Super Bowl

Focus on the Family partnered with Tim Tebow and his family to produce the organization’s first Super Bowl commercial. Steve Vidano shot on a RED camera; and he and Paul Murphy edited on Final Cut Pro. Crosspoint’s Baselight color grading system gave them the power to conform the Final Cut timeline from the raw .r3d files and manipulate the images at full 3K resolution. The spots were delivered on HDCam SR for the CBS broadcast. agency | Focus on the Family production co | Vidano Films edit | Paul Murphy and Steve Vidano conform | Steven Lopez, Crosspoint color | Eric Anolin, Crosspoint

Globus COSMOS

October 1, 2009August 7, 2017

Baselight, color grading, Final Cut Pro, HD, Sony EX3

Luke Bishop shot at Crosspoint on our Sony EX3 camera. He edited the footage and designed the stop-motion effect in Final Cut Pro. Eric Anolin graded the final sequence in Baselight and rendered a new .mov to FCP. Chris Walsh found the music, recorded the VO and worked the final mix. The final spot was delivered on Digital Beta.

Powerball Break the Chain

October 1, 2009August 7, 2017

AVID Adrenaline, AVID DS, Baselight, HD, RED

This project was a start-to-finish collaboration with the creative teams at Cactus, The Sweet Shop and Ring of Fire. Eric Anolin was on location for the one day shoot (3K RED). Matt Struck cut a :30 and :60 in Avid MC Adrenaline. Eric delivered color-graded HD .dpx files from Baselight for vfx at Ring of Fire. Donald Corsiglia finished graphics and final conform with vfx in Avid DS.

Network Affiliates

August 1, 2009August 7, 2017

Baselight, color grading, Final Cut Pro, HD

Steven Lopez created graphics, edited and finished sound all within Final Cut Pro.

Colorado Lottery Birth of a Ticket

February 1, 2009August 7, 2017

AVID Adrenaline, AVID DS, Baselight, color grading, HD, HDCam SR

Futuristic Films shot on 35mm film, transferred to HDCam SR at Lightpress. After the first day of rough cut, the creative process was at a standstill. Matt Struck set aside the storyboards and presented a completely different cut, that eventually became the final version with agency, production company and client input. It’s always good to hear a round of applause coming from the AVID suite!

Polaris Ride On

January 7, 2009August 7, 2017

After Effects, AVID DS, Baselight, color grading, HD, HDCam SR

agency | Integer Group
edit and graphics | Donald Corsiglia
color | Eric Anolin

Crosspoint Announces the Addition of a Baselight ONE Colour Grading System

December 10, 2008August 7, 2017

Baselight, color grading, color-correction, daVinci, Filmlight, HD

Crosspoint is announcing a complete HD workflow solution with the addition of a Sony HDCam SR deck and Filmlight’s Baselight ONE color grading system. Baselight completes a start-to-finish, non-linear, data-centric HD workflow at Crosspoint. The Baselight system allows you to grade SD, HD and 2K footage natively, and in real-time. The multi-node architecture developed by FilmLight allows for complex grades in unlimited layers, as well as the ability to compare multiple projects at the same time. With the complete HD workflow solution we can ensure top quality final products quicker and on budget. Crosspoint’s colorist, ERIC ANOLIN, added: “Dedicated color grading has been the missing piece of the HD puzzle not only at Crosspoint, but in the entire region. Our clients were also demanding a broader tool set, with limitless creative options; a working environment on par with the west coast post houses. FilmLight’s Baselight was the obvious choice.” The Baselight system adds to Crosspoint’s wide range of resources. They have already had the opportunity to work on some amazing projects with Baselight and it has proven itself every step of the way. Please contact the General Manager, Kim Croy, at 303-233-2700 or KimC@crosspoint.com, to set up a demo for […]