v 5.2.1 FilmLight Daylight
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An impressive dailies tool for shot management and high-speed transcoding
Daylight provides a comprehensive, efficient solution to ensure your visualization and delivery needs are met – no matter where you shoot. Intuitively designed with both directors and DoPs in mind, Daylight is the perfect tool for grading decisions on set or location ensuring fluidity throughout production.
Daylight was developed as a compact yet powerful grading decision tool to help Directors and Directors of Photography develop looks and visualize what they have shot while on set or on location. Daylight gives DoPs and directors all of the sophisticated deliverables requirements, all in a single application.
Full Baselight creativity
Grades can of course be limited to CDL values or exported as 3D LUTs for standard cross-platform workflows, but you don’t need to be constrained by the lowest common denominator. All shots can have full sophisticated Baselight looks—authored and applied using the same compact grading interface familiar to users of Baselight Editions for Avid, FCP and NUKE.
Deploy with ease
Daylight is available for purchase or quarterly rental, and the freelance licence option allows the licence to be moved from machine to machine using a simple, web-based authentication scheme.
The software will run on any Mac system equipped with OSX 10.9 or above. Using the same philosophy as Baselight Editions, Daylight uses whatever graphics card is installed without the need for special, CUDA-capable variants.
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.
Daylight’s extensive metadata handling carries right on over into a sophisticated report generator that includes custom columns, colour accurate thumbnail images and cover pages. This means that you can produce a consistent, professional report at the end of every workday.
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 Colour Spaces for accurate colour transforms, means that all of your deliverable requirements can be met by one application.
Comprehensive codec support
Baselight is well regarded for supporting all common RAW camera formats and delivery codecs natively as soon as they are released. This is carried across to Daylight, along with user-defined formats and a sophisticated format mapping system that allows resolution, aspect ratio, frame rate and colour space to be freely mixed within a project.
Audio sync & playback
Audio can easily be synced with your camera footage—either automatically using timecode, or semi-automatically using a clap-detector, which pinpoints the exact time in the audio file that the clapper closes.
Sound files that span multiple camera takes are easily handled and waveforms help you to manually adjust sound sync on a per-shot basis.
The fastest renderer never runs
Working with Baselight or Baselight Editions in post?
Of course, the sophistication of the Daylight render queue is welcome when you have to deliver graded files; however, the fastest renderer is the one that never runs. Instead of images, it delivers grading metadata.
If you are working with a post-production facility equipped with Baselight or Baselight Editions, the full grade from Daylight can be encapsulated in a completely portable, cross-platform BLG file. No amount of additional GPUs or CPUs can be as fast or as flexible as this workflow.
Heard about the BLG file (Baselight Grade file)?
It’s a multi-track OpenEXR file format that you can use to create, transfer and review looks.
When we use the term ‘look’, we’re not just talking about a LUT or a restricted grade—the look within the BLG is the full creative intent. It includes all grade information: colour space transforms, Truelight cubes, conform metadata and keyframes.
It interoperates fully with Baselight, FLIP, Daylight and even Baselight Editions within Avid, FCP or NUKE, but you can use it as a review format without any FilmLight hardware or software.
Professional panel support
Daylight supports for Tangent Wave and Element panels, as well as Avid Artist Color and Transport devices. However, just because you’re grading dailies and don’t have the space, it doesn’t mean you can’t have a purpose-designed control surface. Our Slate panel is an ideal size for the near-set environment.
The Chalk application for Slate also lets you customise the buttons on the control surface to realise the high productivity required in an effective dailies process.
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.
You can even optimise the process by producing several deliverables simultaneously from the one scene; for example, producing QuickTime movies at the same time as rendered DPX files.
Daylight Release 5.1.10549 (2018-05-08)
New Features Since Daylight 5.1.10417
* Added “Show All Hosts” option to Job Manager which causes every
Baselight system on your local network to be shown as a database
host [bug 47258]
* Added “Full Area” Guide option to Cursor View [bug 46071]
* Added option to the “Marks” menu to delete all marks in the scene
of a specific category [bug 46667]
* Added Tangent Setup view that allows control over
– Trackball Sensitivity & Acceleration
– Trackball Ring Sensitivity & Acceleration
– Encoder Sensitivity & Acceleration
The Tangent Setup view is accessible via the Baselight or Daylight
menu when Tangent control surfaces are enabled in Preferences
Bug Fixes Since Daylight 5.1.10417
* Improved temporal degrain performance on Gen VII machines
* Updated the format of the ‘ACLR’ atom written when rendering DNx
codecs into QuickTime. This fixes an issue where Avid Media Composer
version 8.6.5 and later would decode the resulting files very
slowly. The legal field in the atom is now set correctly instead of
always being set to full range. This fix also ensures that the
‘ADHR’ atom correctly indicates bit depth and RGB/YCC [bug 45092]
* Fixed crash in bl-mkscene [bug 47413]
* Fixed crash when adjusting Truelight parameters in cursor
* Fixed crash from using Boost Shadows with DRT with no inverse.
* Fixed precision loss when generating Autodesk CTF from cube with
a very non-linear input gamut LUT. [bug 46363]
* Fixed an issue where some AVC-LongGOP encoded MXF files would be
very slow to decode [bug 47425]
* Fixed an issue that caused rendering to DNxHR HQ, LD & SQ codecs to
fail with a message about precision of input component being too low
* Fixed an issue that caused some MXF-files to be unsupported
* Fixed issue that prevented Baselight or Daylight from playing back
on macOS when the system hostname is set to something that cannot
be resolved to an IP address [bug 47441]
* Fixed DVI/HDMI/DisplayPort output from processing gpus [bug 40543]
* Fixed clipping issue when playing or rendering from movies or
audio files containing normalised audio data [bug 28217]
* Changed the default Image Transform Colour Treatment to Native,
because this gives better results on modern wide-gamut camera media
than the Linearised setting. You can revert to Linearised in Setups
or by editing your Scene Templates [bug 32821]
* Fixed crash on Consolidate [bug 47273]
* Fixed repeated import of the same DRT every time a BLG is inserted
* Fixed a bug in bl-conform’s handling of the –template option
* Fixed issue with invalid/missing audio output on AJA SDI hardware on
macOS [bug 47480]
* Fixed changes to Ref TC column or Circle Take column in Shots view
not taking effect [bug 47385]
* Fixed Dolby Vision analysis of a black frame reporting “This shot
has not been analysed” [bug 47505]
* Fixed crash when trying to link an existing one point track
* Fixed performance reduction in stacks containing a mixture of
ColourSpace operators and References to upstream grading layers
* Fixed thumbnails of ProRes 444 media [bug 47237]
* Fixed an issue that prevented the render panel from working with
DCPs using multiple reels [bug 47515]
* Fixed an issue where some DCP parameters were not cleared properly
when unset [bug 47517]
* Fixed bug which prevented the output image from updating when
changing a layer’s “Inside Source” mode (if none of the layer’s
operators had been modified) [bug 47513]
* Fixed ARRIRAW chromaticities being written into rendered OpenEXR
files [bug 46107]
* Fixed crash when applying an operator preset [bug 47477]
* Fixed issue where some operations (e.g. Dolby Vision analysis, Cache
All Cursors) would occasionally pause unless the mouse was moved
* Fixed bug which could result in incorrect frame ranges being
calculated when rendering based on shot category [bug 47590]
* Fixed the operations queue sometimes failing to progress, due to a
pre-render task not correctly completing [bug 47638]
* Fixed hang when rendering with RAW input media and burnins
* Fixed issue when after linking an area tracker to a shape, and
modifying its position or size, the shape would jump [bug 47078]
* Fixed occasional incorrect file timecode metadata when reading R3D
media using a RED Rocket [bug 47709]
* Saturated areas in Photo RAW files can acquire a colour tint when
adjusting the exposure slider in the Photo RAW Parameters operator
while blending highlights [bug 44769]
* Baselight and Daylight are known to hang on macOS 10.13 High Sierra
when run on older (2012) MacBook Pro machines with nvidia graphics
* Sony RAW media added to scenes in Baselight 4.4m1.9217 or earlier
may now fail to decode at half resolution. A workaround is to enable
Max Quality decoding on the cursor and/or Sequence [bug 46625]
Daylight Release 5.1.10417 (2018-04-04)
New Features Since Daylight 5.0.10201
* Daylight 5.1 builds will remain compatible with each other, and
ensure a grade that can be reliably reproduced using BLG data in all
other FilmLight 5.1 products such as Baselight, Prelight and
Editions. This grade exchange compatibility will be retained across
all 5.1 builds. When a new feature is added that could break this
compatibility, a 5.2 release will be made available across all
Scenes created or modified in a Daylight 5.1 build will not open in
Daylight 5.0 or earlier.
In order to make use of files and resources on other FilmLight
systems in your local cloud, all systems will need to have a
Daylight or Baselight 5.1 build installed [bug 45713]
* Some camera movie files can now be trimmed during Consolidate and
FLUX Manage copy. Currently the supported file types are:
– RED R3D files (except some very old RED ONE files)
– Vision Research Phantom Cine files
– Sony XAVC MXF files
– Sony RAW MXF files (F65, F55, F5 etc) [bug 20962]
* Added new Boost Range operator. This boosts the dynamic range of an
SDR image to HDR.
– Create a scene using the FilmLight Scene Template
– Set cursor Colour Space to match the display (ideally HDR)
– Insert SDR video footage, with its Input Colour Space correctly
set to Rec.1886, and Input DRT set to None
– Insert a Boost Range operator, set Boost to 1.0 [bug 43192]
* The updated Look operator offers a selection of colour-space-aware
creative looks. Many of the supplied Looks are optimised to work
with the Truelight CAM DRT, in both SDR and HDR grades. Please see
the tooltips in the Look operator for information on each Look. If
you wish to explore creating your own Looks please contact FilmLight
Support [bug 44050]
* DKey has been reworked to perform better with modern wide gamut
– The picking precision has been improved, particularly for small
– The radius and softness sliders are now logarithmic based, with a
finer granularity. Their maximum value can be altered using an
extended range button [bug 46380]
* Added Client View, which is a web-based presentation of the current
shot accessible to clients using their phone/tablet/laptop. Use the
phone icon in the menu bar to enable this functionality and to set a
passcode for security [bug 45052]
* Added Shots Layout options, which display a shots grid on the main
image display, either 1×1 using the whole display or 1×2 showing the
current cursor’s image above. The metadata and categories shown can
be set using the Customise menu in Shots View. If “Fit Information
Text To Home Area” is enabled then the 1×1 Shots Layout will scale
to fit the shape of the current cursor’s format. Note this feature
is only available when using an external display, and is not
available on Baselight FOUR/EIGHT systems [bug 45119]
* Added the option to show categories on Cuts View, Gallery View,
Burnins and Counters [bug 43910, bug 45259]
* Improved speed and image quality of Apple ProRes 422 media read from
QuickTime and MXF. Note that Sequence operators added in older
Baselight builds will continue to perform and render as they did;
this improvement only affects newly-added media [bug 46567]
* Improved colour of Phantom Cine files [bug 35214]
* Added support for crop areas in Phantom Cine files [bug 45652]
* Added “EDL/ALE files” source option to Multi-paste. It is now
possible to use .edl, .ale, .aaf or .xml EDL files as a source of
data for Multi-paste. This is primarily for use with the new “Paste
Metadata” option, which allows you to merge metadata from these
sources with shots in the current scene.
If the EDL or ALE contains ASC CDL SOP and SAT values, these can be
pasted as grades into the scene using the “Load CDL from EDL”
option, and setting “Paste Grades” to “Yes” [bug 44034]
* Added “Paste Metadata” option to Multi-paste. It is now possible to
paste metadata from any supported data source (Scenes, Copy buffer,
BLGs, EDLs) into the current scene.
You can specify which columns in the destination scene you wish to
update with metadata using the “Metadata Columns” setting.
You can control whether columns containing existing data are
preserved or overwritten using the “Overwrite Existing Metadata”
You can merge new columns of metadata into the scene using the “Add
Extra Metadata” setting. This allows you to merge new columns of
data into the scene from sources such as ALEs, or other scenes
* Added ability to detect grade changes to multi-paste. This can be
enabled using the “Detect Grade Changes” option on the Multi-Paste
View. Once enabled, if the stack being pasted has a different grade
to the existing grade stack, the stack’s shot strip will be tagged
with the category specified.
Additionally, the “Remove If Unchanged” option can be used to remove
the category from the shot strip if the grade being pasted matches
the existing one [bug 45160]
* Added “DJI: D-Log / D-Gamut” Colour Space to Baselight. This colour
space is used by DJI X5s and DJI X7 in ProRes recording
* Added P3 D65 colour space to Baselight [bug 40214]
* Added ability to install and run on macOS 10.13 High Sierra. See
Known Issues for support on older hardware [bug 44949]
* Added the ability to control the type of KDMs issued with a DCP,
making it possible to issue SMPTE KDMs with Interop DCPs, and
Interop KDMs with SMPTE DCPs. The default type of KDM issued with
Interop DCPs has changed from Interop to SMPTE. When issuing a SMPTE
KDM for an Interop DCP, a so called MT1 (Modified Transitional 1)
KDM is written. It is not possible to use the Content Authenticator
field when issuing SMPTE KDMs for Interop DCPs, nor Interop KDMs
for SMPTE DCPs [bug 39580]
* On Blackboard 2 and Slate, added the ability to cycle backwards
through available display layouts by holding Shift as well as
Control [bug 44729]
* Added shot-relative frame number as a Counter [bug 45183]
* Added optional table outline to PDF reports [bug 45580]
* AAC audio encoding is now enabled (without the need for an
additional licence) when writing to QuickTime/MP4 files [bug 45561]
* Added search option in preferences. Clicking on the magnifying glass
in the preference window will open a search dialog. Once a
preference is selected the preference window will switch to that
tab, scroll to the preference section and highlight the label
* In Chalk for Blackboard 2 and Slate, added new Actions allowing the
creation of desk buttons for Base Grade, Denoise, Paint, and over 30
other new operators. Note that Chalk layouts containing these new
Actions will not be recognised in Baselight 4.4m1, and may not be
recognised in earlier Baselight 5.0 builds [bug 45600]
* The Job Manager now shows the user, time and software version of
when the scene was last opened [bug 46137]
* Colour Space Journey View now shows layer numbers, Truelight
operator information and the colour space where grading operations
occur [bug 46015]
* Added a new mode to Auto strip selection called “Deselect on Stack
Change”. This acts similar to Strip Auto Select On except when the
stack is changed the selected strip is changed to the bottom of the
new stack. The Auto selection has also been moved to a new section
in the cursor controls. The default preference has also been updated
* It is now possible to perform searches of the ‘Buttons’ and
‘Actions’ lists in Chalk. To do this, click the small filter icon at
the top-right of the respective list. A new Action Category (‘All’),
which shows the full list of all Actions available for use on desk
buttons, has been added to facilitate searching for available
Actions [bug 46525]
* When “Auto Update When Job/Global Formats Change” is changed to be
active (on Scene Settings View), you are now given the option to
update any scene formats that differ from the corresponding
job/global/factory format [bug 46673]
* You can now use the Job Manager to compact jobs. This reclaims
unused space in the PostgreSQL database for that job. Select a job,
and from its action menu choose “Compact Job” [bug 46656]
* The database backup script, bl-backupdb has gained new
functionality. You can now use a config file to specify multiple
hosts to back-up. This is useful for including a central backup
server in the nightly scheduled backups. The command can also be run
from the shell to perform manual backups. Run ‘bl-backupdb -i’ for
detailed usage information [bug 46281]
* Compaction of jobs is now more robust and usually faster [bug 46409]
* Job Manager now shows the version of scenes that were last saved in
a version (ignoring build number) different from the current
version. Scenes saved from newer versions (e.g. 5.2 when running
5.1) are indicated in orange [bug 47108]
* Added latest Daylight user guides [bug 47126]
Bug Fixes Since Daylight 5.0.10201
* Changed default BaseGrade Contrast Pivot to 0.0 [bug 45251]
* Fixed an issue where DCP options set in the render panel could
persist when switching scenes [bug 45116]
* Fixed crash when creating a new folder in FLUX Manage if the folder
name ends in / [bug 45197]
* The bl-delete help text is updated to reflect the fact that the
command can delete jobs as well as scenes [bug 46408]
* The Job Manager will now show the user and software build of when the
scene was last saved [bug 45973]
* Fix potential crash when upgrading 4.4m1 jobs [bug 46883]
* Updated the audio reading library to include the latest
bugfixes. This fixes an issue that prevented some wav-files from
being read [bug 44300]
* Fixed crash adding custom columns to Shots View [bug 44266]
* Fixed font size of burnins and Text operators to match previous
Baselight versions [bug 45215]
* Fixed crash doing audio sync [bug 43537]
* Add limited diagnostics to Mac build [bug 33703]
* Speed up reading of diagnostic results [bug 45239]
* Clearing undo history will also remove undo history from tagged
renders in the scene, which can potentially reclaim a significant
amount of database storage space [bug 45241]
* Restored the <Browse> option in the Text operator to allow selection
of fonts that are not in the default font folders [bug 45133]
* Fixed the gestural editing of ganged controls. Editing more than one
of the controls in the group using gestures no longer leads to
incorrect values for those previously edited [bug 39068]
* Moved the CDL grade power value to be between 0-10 [bug 45173]
* Fixed coloured lines appearing in over-exposed Phantom Cine footage
* Fixed issue that created duplicate .fltransform files [bug 44740]
* Fixed behaviour of rescan DRT button [bug 44740]
* Fixed bl-codecs so it correctly saves settings [bug 45049]
* Fixed error rendering from some scenes to 12-bit or 16-bit DPX files
* Fixed crash when shots had a negative frame increment and no source
timecode [bug 44671]
* Fixed Shot View menu item duplication [bug 45410]
* Fixed crash when previewing audio file [bug 45413]
* Fixed layer config not applied when inserting a layer from the
keyboard, the insert layer blackboard key and the insert menu
* The NCLC primaries tag and Dolby Vision XML metadata has been
corrected for the colour space “Dolby: ST 2084 PQ / XYZ / 108 nits”
* Fixed issue when multi-pasting metadata only [bug 45435]
* Improved text / burnin rendering speed [bug 45046]
* Fixed issue where selected metadata columns in Multi-Paste view were
not being restored correctly after restarting the software
* Fixed crash when multipasting from an EDL with overlapping events
* Enhanced Filename matching in conform operations to allow filenames
to match if only the extension is different [bug i45307]
* Fixed operator names shown on Blackboard 2 and Slate, e.g. for Boost
Contrast operator [bug 45499]
* Fixed handling of matte merge with values outside 0 to 1
* Added %0S to Render View help [bug 45548]
* When inserting a mark in follow-mode, Baselight now returns the lock
back to the master [bug 46045]
* Render View help text now uses a clearer font for the “%”
substitutions, to make %I clearer [bug 45384]
* Fixed bug which could cause “Join Adjacent Strips” to fail when
joining (input) strips containing audio operators set to “No Audio”
* Fixed crash which could occur when doing a “Pick” drag in Base Grade
with a corrupted colour space [bug 44813]
* Fixed crash when enabling strip caching [bug 37790]
* OpenEXR tracks containing X, Y and Z channels are now read as RGB
rather than just the Y channel as luma [bug 45451]
* Fixed crash in Multi-Paste which could occur if a strip overlapped
multiple shots [bug 36924]
* Fixed appearance of old ARRI camera media (e.g. from D21 camera)
* Fixed an issue identifying and reading certain Scanity DPX-Y 10-bit
single channel DPX files, that previously incorrectly identified as
containing 3×10 bit image data [bug 45650]
* Moved crash report flushing from system bootup script to a background
task. This improves boot time on Linux-based systems [bug 44986]
* Fixed failure to export scenes and jobs where the job name contains
unusual characters [bug 36293]
* Fixed an Area Tracker issue, where the tracking box corners could
not be moved around using the overlay [bug 45690]
* Fixed an issue where the shape keyframe mode changed after inserting
a tracker [bug 45452]
* Added standard masks to UltraHD 3840×2160 format [bug 45671]
* Fixed failure of temporal effects (e.g. Denoise) when applied to the
last frame of a movie file [bug 45597]
* When an RGBA Sequence is marked as Premultiplied, the RGB values are
no longer clipped to [0,1] when unpremultiplying, to fix issues when
compositing HDR images. To update the behaviour in existing Sequence
operators turn Premultipled off then on again [bug 45691]
* Fixed Mastering Colour Space menu not showing some colour spaces in
older scenes [bug 45617]
* Fixed Mastering Colour Space menu not updating correctly after
opening an older scene [bug 45011]
* Fixed failure to delete Chalk layout files whose names contain
spaces [bug 45704]
* Fixed failure to copy sidecar files when using fl-cp to copy from a
non-/vol path [bug 45697]
* Fixed unexpected layer renumbering in an overlap edit when changing
the start for an entire stack. Also preserved the layer number of
strips moving in a different context (a different sub branch or
stack) [bug 45590]
* Fixed failure when loading a P3-space QuickTime movie [bug 45720]
* Fixed potential file permissions problem reading multi-part OpenEXR
files [bug 45117]
* Added Colour Space Journey View warning if using DCI: 2.6 Gamma /
X’Y’Z’ as a Mastering Colour Space [bug 45205]
* Cuts View and Shots View no longer show burnins when they are
enabled in Cursor View [bug 45348, bug 45349]
* Fixed omission of some OpenEXR metadata [bug 45379]
* Fixed the pane description shown on Display View when scrubbing a
thumbnail in Shots View [bug 45381]
* Fixed crash on macOS when switching away from the application and
back again [bug 45385]
* Fixed some buttons not responding correctly to repeated mouse clicks
* Fixed “temporary failure in name resolution” errors caused by DNS
server configuration issues [bug 45476]
* Made baselight more robust against machines disappearing from the
network [bug 43434]
* Consolidate View now explains the reasons why it cannot show an
example path [bug 45735]
* Fixed diag test for Blackboard 2 [bug 45709]
* Correct SMPTE MXF tags and embedded colour tags in the XAVC essence
are now used when writing XAVC encoded Sony MXF files. The legal
range flag embedded in XAVC essence is now interpreted when reading
XAVC encoded MXF files, and the default value of the ‘Legal to Full
Scale’ option on the input strip set accordingly [bug 45109]
* Fixed incorrect Text scale and position when viewing format is
changed [bug 45746]
* The image dimensions of Sony ILCS-7SM2 ARW files are interpreted as
slightly larger than some other applications, e.g. Flame and
Photoshop. These files are now read with an additional crop that
matches the image interpretation of Flame and Photoshop [bug 45273]
* Fixed bug in giving random noise on right hand and bottom edge for
integer 3 frames Denoise. Versioned so old scenes do not change
* Fixed bug which could cause potential crash on exit depending on the
strip selected at the time [bug 45776]
* Fixed error when using Texture Equaliser with matte [bug 45332]
* Fixed inconsistent Merge/Replace pasting to multiple strip
selections [bug 45818]
* Fixed bug which could cause shapes to shift slightly vertically when
“Lock Y Positions” option enabled [bug 45933]
* Fix perspective crash when toggling between tabs [bug 45816]
* Fixed crash related to duplicated colour spaces imported onto a
system under more than one name [bug 42971]
* Fixed playback glitch when adding marks to the timeline [bug 46033]
* Fixed crash when a custom fltransform file refers to an unknown
colour space [bug 46005]
* Fix crash when inserting a new tracker after copying a strip
* Fixed ordering of five-digit build numbers in ‘fl-vers’ tool
* Fixed locked status not being transfered when doing a multi-paste
* Changed behaviour when linking / unlinking a tracker. The keyframes
and their animations will be kept [bug 46236]
* Prevented a crash during a paste operation (from the cut view or the
paste key) when no destination stack is selected [bug 46173]
* Fixed multi-paste of LUTs (also Apply LUTs in EDL Import) when the
same LUT was used on multiple shots [bug 45778]
* Fixed use of up/down arrow keys to adjust Offset in frames in
Sequence parameters [bug 46307]
* Fixed bug in Shapes where using the middle trackball to translate a
perspective shape with “Lock Y Positions” enabled would sometimes
cause the shape to move vertically [bug 46452]
* Fixed crash exporting an EDL to a read only file system [bug 45886]
* Fixed crash when dragging a layer to a layer view [bug 46008]
* Disabled the menu in Matte tool when the strip is locked [bug 45749]
* Fixed issue with the preference search highlight moving the text
* Fixed outdated DRT assigned when using a Scene Template [bug 46200]
* Fixed MXF timecodes for 60@30 drop-frame, 50@25 and 48@24 timecode
frame rates [bug 46602]
* Fixed permissions of cache directory created from Preferences
browser [bug 46003]
* Improved performance when multiple Sequence or Reference operators
in the same stack each read different channels from the same OpenEXR
file [bug 46109]
* Fixed slowdown caused by Truelight operators with long lists of
cubes [bug 46726]
* Fixed diag test for ssh volumes [bug 46825]
* bl-import can now import legacy scenes to databases using a FQDN
hostname [bug 45804]
* Fixed FLUX Manage incorrectly making resolution directories when
copying movie files [bug 46869]
* Fixed crash when dragging from the layer view into a popup layer
view [bug 45988]
* Fixed mastering colour space application to input media when
mastering white space is set to “(from Mastering Colour Space)”.
Note this fix does not change existing scenes, it only applies to
Sequence operators added in version 5.1 or later [bug 47003]
* Fixed use of “:” in volume.cfg to allow mounting a volume with a
space in its name [bug 41219]
* Fixed Apply Workspace not being shown on systems configured with
an output monitor [bug 46987]
* Fixed tabbing between fields in the Shots View causing unintended
edits [bug 45029]
* Improved error message when a scene cannot be loaded due to an
unknown operator [bug 47120]
* Fixed “This render will not proceed” warnings when submitting a
render, notably to a FLUX Store [bug 45786]
* Fixed failures when a user is a member of a very large number of
supplementary groups [bug 46826]
* Fix corrupted audio output when using Stems for audio and
audio channel mappings [bug 46962]
Daylight Release 5.0.10201 (2018-02-08)
New Features Since Daylight 4.4m1.9389
Daylight and Baselight interoperability
* Daylight can now open Baselight scenes providing they are simple
enough. As long as the Baselight scene is shot-based and has no
gaps it will open in Daylight. If a Baselight scene does not meet
this criteria it can be transformed into a form usable by Daylight
by saving a timeline-sorted copy of the scene and then opening this
in Daylight. Stereo scenes from Baselight cannot be opened in
Daylight [bug 44688]
* Base Grade is a new grading operator which works in a linear colour
space modeled on human perception, thus ensuring that changes to
tint and saturation have the same apparent effect regardless of the
colour they are applied to.
* Base Grade is colour-space aware, converting appropriately to its
internal space, so it retains the same feel regardless of the
working colour space. However, this makes it extremely important
that the user is accurate when tagging input material with a colour
space – if input material is incorrectly tagged, then Base Grade
will use an incorrect conversion to/from its internal grading space
and will therefore feel odd.
For this reason, Base Grade is often used first in a stack, when the
input to the Base Grade operator accurately reflects the working
space of the scene. If you wish to use Base Grade lower down the
stack, after something which makes a large contrast change, it will
likely be necessary to insert a ColourSpace operator in “Identify”
mode before the Base Grade to ensure that the Base Grade performs
the correct conversions. So, for example, if the stack contains a
Truelight operator which converts from ARRI LogC Wide Gamut to P3,
then a Colour Space operator in “Identify” mode with “Convert To”
set to “DCI: 2.6 Gamma / P3 DCI” should be inserted after the
Truelight operator and before the Base Grade.
* Base Grade has four settings which affect the entire image:
– Flare: Sets the zero level by modifying the lower part of the
tone curve. Everything lying at the zero level will be
unaffected by exposure changes.
– Balance: Overall exposure and two tint axes.
– Contrast: The overall contrast of the image, around the
Control Pivot setting.
– Saturation: The overall colourfulness of the image.
* In addition, there are 4 additional “zones”, each representing a
part of the tone curve – Dark, Dim, Light and Bright. Each zone has
the following settings:
– Exposure + Tint: Localised exposure and tint change applied
to the zone. The full effect is only realised once past
the falloff area.
– Pivot: Point in the tone curve where the localised changes
begin to take effect.
– Falloff: How quickly the full localised effect of the zone
correction is reached.
– Saturation: The colourfulness of the zone.
* All Exposure and Pivot values are expressed in stops relative to the
18% grey card. This scale was chosen because it is familiar to both
cinematographers and colourists.
* The axes of the graph representing the effect of the Base Grade are
also expressed in stops relative to 18% grey.
* A luma waveform, again expressed in stops relative to 18% grey, is
drawn behind the graph and pivot lines. This makes it very easy to
position pivot points in areas of the tone curve which have very few
pixels, allowing large changes in a zone’s exposure to be made
without introducing artefacts.
* When in trackball mode, all of the parameters relevant for a given
zone can be manipulated directly from a single trackball. By
default, the trackball ring controls the Exposure. However the
Pivot, Falloff and Saturation can be temporarily manipulated by
holding down the modifier buttons lying directly above the
* Base Grade introduces a new on-screen colour wheel control, with the
– Dragging in the colour wheel area now applies a smaller relative
change, rather than exactly following the mouse cursor. This
makes making subtle corrections using only the mouse much more
– There is now a virtual trackball ring around the colour wheel,
any part of which can be dragging in a clockwise/ anti-clockwise
fashion to raise/lower the exposure in a zone.
– The size of the master correction is now shown as a blue arc
drawn superimposed over the left hand side of the virtual
trackball ring. This is much more visible than the old standard
slider and also saves space.
– Secondary parameters for a zone like Pivot, Falloff and
Saturation are represented by text boxes to the bottom-right of
the virtual trackball. They can be directly manipulated by using
the new gestural grading functionality.
* Base Grade supports colour matching, making match-grading of similar
shots much more convenient. Below the graph, there is a colour well
representing the colour to match against – by default it is 18%
grey. To change the match colour, simply enable the “Pick” toggle
and drag in the image viewer – it will sample pixels from the
*output* of the Base Grade and store the average of the drag in the
colour well. If you want to edit this colour, or match a specific
sRGB colour, simply click the colour well to launch Baselight’s
To match this colour, enable the “Match” toggle (it will switch on
automatically after a successful “Pick” drag) and in the same or
another Base Grade instance, simply drag in the image viewer – the
Base Grade settings will be updated to make the average colour of
the dragged area match the previously picked colour.
* A new graphical file manager replaces the Sequence Browser and the
The main FLUX Manage view shows tabs on one or both sides of an
The tabbed views are where the file system searching, filtering and
management is controlled.
The initial Browser Tab shows a standard volume and file browser at
the top with a view below showing the sequences found in the
The file browser allows multiple selection using ctrl-click
(command-click on Mac).
The controls at the top of the sequence view are:
– view buttons which change the display between a grid of sequence
thumbnails, a list of sequences showing additional metadata and a
list of non-sequence files.
– a Pivot button which shows the breakdown of all the metadata in
the displayed sequences, and allows selection based on metadata.
Double-clicking opens a new filter tab using the selected
– a filter button which creates a filter tab using all the sequences
and adds a filename filter to allow selection by filename.
– a draggable tile representing all the sequences. On the left side
of this tile is a pin which allows these sequences to be retained
and added to another search from another browser directory.
– a Descend button which causes all subdirectories of the selected
directory to be searched. This can be slow on an unindexed
– a refresh button to re-scan the directory.
Under this are the sequences, with a control at the top right to
select which metadata is displayed.
Anything which represents one or more sequences (including a
thumbnail, multiple selected thumbnails, any sequence tile, a scene
or a job from the Job Manager, a directory from the file browser)
can be right-clicked or dragged in order to filter the selection or
to perform an action on the sequences, such as copying them to
another location or erasing them.
– drop onto a directory in the file browser at the top to copy to
– drop onto a directory in the Copy Destinations area to copy to
– drop onto the Action Bar which appears at the bottom of the window
to filter, convert, copy or erase.
FLUX Manage introduces a powerful filtering mechanism to allow you
to locate precisely the sequences you wish to find, with an
intuitive graphical filter editor.
A Filter Tab is started with a collection of sequences you wish to
filter. This can be done in several ways:
– right-click on a sequence thumbnail, or any tile representing a
set of sequences and choose “View or Filter”.
– drag sequences to the Action Bar and drop on “View or Filter”.
– drag a filter tile from the Tile Library over the sequence view.
– drag a metadata name over the sequence view.
– double-click a value in the Pivot view.
– press the F key to start creating a filter from the keyboard.
– press the S key to start creating a sort filter from the keyboard.
A Filter Tab shows, from top to bottom:
– a draggable tile representing the result of the filter. This tile
contains the specific sequences which are the result of the
filter; this collection of sequences will not change if the
– a Recalculate button which clears the calculated filter results
and regenerates them. This may be a slow operation if it requires
scanning the file system, or scenes.
– Undo and Redo buttons which step through your changes in the
– the Filter Editor.
– a sequence view which is very similar to the sequence view on a
Browser Tab, but without some of the additional controls on the
Double-click on the tab itself to rename it.
The Filter Editor is where FLUX Manage filters are constructed.
Drag a tile over an existing tile in the Filter Editor to add it to
Often a tile can be applied in more than one way (e.g. the Tape
filter can either filter the sequences by Tape, or sort the
sequences by Tape) – if so the tile is split into drop zones which
are described above the tile.
Right-click on a tile to edit or remove it. Many tiles also allow
double-click to edit.
Many filters can be applied using a variety of tests. Numeric
filters such as Width can use less-than, greater-than, equal-to etc.
Textual filters such as Tape can use equal-to, not-equal-to and
regular expression comparison to look for parts of words (e.g.
matching Tape against A will show all sequences whose Tape contains
the letter A). Regular expression syntax such as ^Ad may be used.
Filters may be dropped to expand (“or”) or restrict (“and”) the
selection, or to refine the sort order (“then”).
Sequence tiles may be dropped to add (“plus”) or subtract (“except”)
the sequences. This allows filters like “all sequences in these
three directories except the ones used by these scenes”.
Dropping a single sequence offers the “Match Metadata” drop zone to
quickly filter to match by one or more metadata value.
The Information Area
The information area contains, from top to bottom:
– a button to open the Tile Library, a text field for searching the
Tile Library, and view buttons to control whether a tabbed view is
shown to the left, right or on both sides. Having two views can be
useful when copying media from one volume to another.
– the Tile Library (initially hidden) containing draggable filter
tiles which can be used to construct filtering operations.
– a draggable tile representing the currently selected sequence(s).
– metadata for the currently-selected sequence. If more than one
sequence is selected, metadata is shown for the last-clicked
sequence, indicated by a dashed selection box.
Most metadata names (e.g. Encoding, Tape etc) can be dragged to
create a filter matching the value of that metadata for the
– a list of keyboard shortcuts that are currently available.
– Copy Destinations, where directories can be dropped for ease of
– Operation History, where queued operations submitted from FLUX
Manage are shown, and from which the Queue Monitor View can be
– Preview and Play buttons which present the currently-selected
sequence(s) on the main Baselight display.
Operations to copy, convert and erase sequences are submitted to the
Operations Queue and performed by the flux service (just as
Consolidate copies were in Baselight 4.4m1). There is no need to
leave FLUX Manage or Baselight running while these operations are in
Using FLUX Manage to insert Sequences in Daylight
– double-clicking on a sequence thumbnail inserts it into the scene.
– double-clicking on an all-sequence tile inserts all the sequences
into the scene.
– sequences can be dragged and dropped onto the Shots View or
Cuts View to insert into the scene.
– scrubbing a thumbnail displays the sequence on the main Daylight
display, in the same way as scrubbing in the Gallery View or Cuts
– Preview and Play buttons present the currently-selected
sequence(s) on the main Daylight display.
A row of controls at the bottom of FLUX Manage View allows:
– Channel/Track and View options which show the OpenEXR
channels/layers and views for the selected sequences and which
both change all thumbnails to use these settings and control the
behaviour of the sequences when inserted into a scene
– Colour Space, Format and Frame Rate options to control the
behaviour of the sequences when inserted into a scene.
– Insert button to insert the selected sequence(s) into the scene.
* The new Compress Gamut operator fixes strange colour effects in
saturated colours from very small or negative RGB values. Turn up
the threshold to see the effect. 0.1 is a typical threshold setting.
Suppose you point a camera at a scene with a bright yellow light.
The camera records sensible raw red and green signals from the
yellow light, but the raw blue may be little more than noise. When
the raw signals are converted to image RGB, the blue channel may be
very noisy, clipped, or negative. Subsequent grades may make this
In this yellow light case, Compress Gamut picks up when the B value
is much less than max(R,G), and applies a smooth function to map all
small and negative values onto small positive values.
* Texture Equaliser
The Texture Equaliser filter divides the image into a set of spatial
Each frequency band has a separate Gain control. Each Gain control
scales the signal in its frequency band. This can be used to
smooth or enhance textures such as flesh tones in each band. The
default 1.0 setting gives no scaling.
The Threshold setting puts a soft limit on the gain. Sharp features
such as edges have a large component in each band. We do not usually
want to change the gain on these features. The default setting lets
us change our textures, without changing the sharp features too
Example: If we reduce the Gain on the 2:1, 4:1 and 8:1 bands, this
will smooth skin tones, but preserve the texture of the pores and
other fine detail. Increasing the Gain on the 16:1 band may restore
some of the shadow modelling. Use a mask to restrict the filter to
the face we wish to smooth.
* The new Boost Contrast operator boosts the contrast in the midtones.
The effect is similar to a Sharpen with a very large radius, but it
is rolled off for the highlight and shadow tones to keep the fringe
values in gamut.
The Gain control varies the amount of sharpening. A zero value gives
no effect. A negative value makes the image softer.
The blur radius is set to a useful default value for the gain. You
can scale the blur radius using the Scale control in the Advanced
settings. A Scale of zero gives no effect. This filter uses very
large blurs: if you are not hitting rate, try a smaller Scale
The anamorphic control can be used to correct for non-square pixels.
This may not be necessary: even if you are working with 2:1
anamorphic material the elliptical correction can look good.
* The new Boost Colour operator boosts the saturation for the
mid-gamut colours in the usual way, but this boost is rolled off
toward the gamut limits, so we do not get unrealistic saturation in
highlights, bright colours, and flesh tones.
* The new Boost Shadows operator scales the dark values in extended
shadows. This is to simulate our eyes’ adaption as they scan from
highlights to shadows in the original scene with the original
extended contrast radius.
* The Perspective operator allows an image to be transformed in
perspective by specifying four points (In Corners) and their
corresponding Out Corners.
This operator is available through the ‘Layer Mode’ Menu in the
Inside/Outside operator, by choosing ‘Matte From Shape’, ‘Matte From
Foreground Shape’, or ‘Matte From Foreground Alpha’. It can also be
inserted as the last foreground operator or as a standalone strip,
via the ‘Insert’ menu.
The Perspective operator has 3 tabs:
– ‘In Corners’, used to defined four independent screen corners
representing a plane. They can be edited interactively, or via
sliders. The ‘New Quad’ option can be used to define an axis
aligned rectangle on the screen using dragging. The corners can be
– ‘Transform’ tab, a standard Transform used to reposition, scale,
or rotate the image without affecting the In or Out planes.
– ‘Out Corners’, used to defined the four independent screen
corners, representing a plane. They can be edited the same way
as the ‘In Corners’ tab.
The ‘Crop to Out Rectangle’ option will turn on cropping to the Out
The ‘Show Grid’ option displays an overlay which helps to position
the quad according to the scene’s natural geometry.
The ‘New Seq. Pick’ option allows us to define a quadrilateral using
four sequential picks (left click) on the image. The current picks
can be discarded using right click if the quadrilateral is not
The Motion Blur option is designed to reintroduce blur due to motion.
The ‘In Corners’ and ‘Out Corners’ can be tracked independently
using Perspective Trackers.
A new ‘Perspective Tracks’ tab has been added to the tracker
operator, which encapsulates either four Point Trackers on a
perspective plane or a Perspective area tracker.
These desks have additional controls to edit the quadrilateral in the
In / Out tabs or the standard transform in the Transform tab:
Left Trackball Modify the selected corner position
(In / Out tabs), of the currently selected
control point (or control points).
Middle Trackball Modify the translation (All tabs)
/ rotate (Transform tab)
Right Trackball Modify the scale in X and Y / the scale in
X (All tabs).
There are also explicit buttons for selecting the desired corner
to modify using the left Trackball.
* Shapes, Grid Warp and Paint now have the ability to define a plane
to work in perspective.
The ‘New Seq. Pick’ option is used to define the plane using four
sequential picks (left click) on the image. The current picks can be
discarded using right click if the quadrilateral is not complete.
The ‘Show Grid’ option displays an overlay to help positioning the
quadrilateral according to the scene’s natural geometry.
The ‘Plane’ option will display/hide the plane overlay.
* The Tracker strip now supports Perspective Trackers to track / lock
controls to planes in 3D. This information is available in the
The Perspective information of the scene is extracted using one
of two types of tracker: the ‘4 Point Persp.’ or the
‘Area Persp.’. Both work with reference to one plane, albeit
in a different manner:
– The four Point Trackers can be positioned anywhere in that plane,
as long as the tracked area stays still relative to that plane.
– The Area Tracker created from a ‘Area Tracker Persp.’ will
compute the motion using a perspective model in the selected
area, the same way the Area Tracker extracts a 2D motion.
The Perspective Track can be created only from within strips that
support it, e.g., Shape, Perspective, Paint and Grid Warp. When the
Perspective Track is linked to the current frame, the latter will
not move and it will be used as a reference to obtain the relative
position of the previous and next frames respectively.
The Perspective Track can be converted from a Perspective Area
Tracker to a four Point Tracker and vice versa.
The Tracking widget (available in Shape, Transform, Paint and Grid
Warp) has a new dropdown list indicating the trackers available to
the tracker strips above the selected strip. Hovering the mouse over
an entry will display the corresponding tracker overlay.
Mastering Colour Space
* Daylight is a floating-point colour corrector, and in the near
future most DRTs will be formula-based. This means that the user can
(and will) generate values outside of the display colour space used
while grading. This happens when contrast and saturation are added to
an image: strong saturated colours will be pushed far outside of the
display colour space. While grading the signal is clipped on the SDI
output signal. As this is an integer device, ‘Out Of Gamut’ colours
will be clipped. But if the image gets rendered to a bigger colour
space after grading (for example generating ‘DCI XYZ’ after grading
in ‘DCI P3’) colours may be encoded in the deliverable which
were not seen while grading. This is especially crucial in
Telecine- or Video-Style Grading.
In Daylight 5.0 a Mastering Colour Space can be specified which
acts as the maximum allowed gamut. After the DRT or after the “Grade
Result Colour Space”, Daylight now clips to the gamut of the
Mastering Colour Space. Its behaviour can be thought of as a 3D
Colour Limiter. This clipping only applies in the display pipeline
if the cursor or render colour space is a display-referred colour
The Mastering Colour Space is set in the Scene Setting for the whole
scene. However when changing the display viewing condition, the user
may also wish to change the Mastering Colour Space (e.g. because
there is a different gamut for 48 nits vs 1000 nits). To simplify
this, a specific Mastering Colour Space (and Mastering White Point)
can be defined per in a DRT Family. Daylight then automatically
chooses the Mastering Colour Space and Mastering White Point based
on the Cursor or Deliverable colour space.
The Mastering Colour Space setting can be found in the ‘Advanced’
Section of ‘Scene Settings’ -> ‘Formats and Colour’ [bug 35216]
* In Daylight 4.4 the handling of the neutral axis was neglected. In
the most cases Daylight performs an implicit white-point remapping,
but in some cases Daylight performs a white-point shift at the end
of the chain (for display-referred colour spaces with a creative
white-point). This meant that it was impossible for the colour grading
operations to know what the white point in a given step was and that
what R=G=B actually meant was not defined.
This changes in Daylight 5.0. In the ‘Mastering Colour Space’
section the user specifies a ‘Mastering White Point’ for the scene.
This tells the system what R=G=B in the stack should actually mean.
This introduces several advantages:
– White-Point Handling on the Output
By knowing what R=G=B should mean from a creative standpoint,
Daylight can display the neutral axis consistently over a
variety of actual display-referred colour spaces and automatically
perform a correct white-point shift for displays which have a
different white-point from the Mastering White Point.
That also means Daylight no longer needs display-referred colour
spaces with “creative white points”, so they are removed
in Daylight 5.0.
– White-Point Handling on the Input
If scene-referred data is imported, it is rational to assume that
R=G=B in the data should be mapped to R=G=B in the stack colour
space. Thus it follows that scene-referred to scene-referred
colour space conversions do not alter the neutral axis.
If display-referred data is imported into a scene-referred stack,
Daylight assumes that the source will be graded. Thus it follows
that display-referred to scene-referred colour space conversions
do not alter the neutral axis.
If display-referred data is imported into a display-referred
stack, Daylight assumes that the user wants to see the image as
it was authored. Thus it follows that display-referred to
display-referred colour space conversion take the white-point of
the input data and the white-point of the scene into account.
The Colour Space Journey View shows the Mastering Colour Space and
Mastering White Point in use [bug 35922]
* With the development of wide-gamut and High Dynamic Range displays,
the visual difference between displays is getting larger and a
single Display Rendering Transform (DRT) is no longer sufficient to
ensure a similar viewing experience across displays.
A DRT Family is a collection of DRTs that will elicit a similar
visual result on different display
- Supported on macOS 10.12-10.14
- MacBook Pro or Mac Pro
- 1GB GPU memory
- 8GB RAM
- 2013 Mac Pro
- 2GB GPU memory
- 16GB RAM
- External high-performance disk system
- AJA video monitoring