iGene is proud to share that our Digital Intermediate [DI] facility is equipped with Baselight - Two to help the needs of different types of clients. The Colorist and the DOP have an elaborate color palette to explore the desired look.
We have a team of colorists who are industry renowned technicians with world class skill set to serve the quality conscious cinematographers.
The Interiors of the DI suite is made with non-reflecting materials which emulates cinema theatre experience. The facility is secured with access control systems and clear, restricted access polices to ensure safety and confidentiality of the projects.
Our Baselight - Two is equipped with powerful multi-role system with four GPUs, making it more than able to handle a very wide range of grading and finishing projects across the entire gamut of motion-picture post-production.
Baselight - Two also comfortably supports feature films and high-end production work using the latest digital acquisition formats such as Sony F65, ARRI RAW and RED Helium, as well as uncompressed high dynamic range frame sequences from VFX, animation and film scanners. For broadcast TV work and general HD and SD projects Baselight - Two reads and writes compressed formats with professional codecs such as ProRes and DNxHD, as well as allowing you to work directly with all popular Quicktime, MXF, MPEG and AVI formats found in today’s post-production work flows.
It has a powerful hardware and highly optimised software that’s allow you to work directly from native ‘Raw’ camera footage by removing the need to transcode input media, and an advanced caching system enables you to work in real-time without having to use lower resolution proxies.
Baselight - Two combines the latest multi-GPU technology, capable of supporting HDR/EXR and 4K workflows, with powerful Linux-based software to achieve the highest levels of quality, performance and reliability.
Baselight V5 introduces a radical step change in the way that professional colourists and other creative artists across the production process can add value and quality to productions.
It is all boosted with over 50 new features like 3D Perspective compositing, Paint & Matchbox shaders, Grid Warper, Paint & Texture Equaliser and Perspective Tracker & Text Operator.
Colour grading is a constantly evolving technology. In Baselight Five, they have pushed the expertise with colour even further and we equipped this brand new grading tool with a totally natural feel that is intuitive to use – something that works with you, as well as for you.
Support for 360/VR means that virtually any tool in the Baselight arsenal – including secondaries, Paint and Perspective - can be used to grade 360 footage by operating in a ‘sandwich’ of two Panorama operators, which convert from LatLong (or equirectangular) projections to normal projection and back.
The new HDR options in Baselight Five add artistic tweaks to the pipeline to produce a cinematic look, while still maintaining the highest possible image quality for all deliverables - from SDR to HDR. The new scene looks are applied in a scene-referred pipeline, and are optimised to work in combination with T-CAM to ensure no restriction on dynamic range.
You can use Texture Highlights to reduce gamut clipping artefacts in HDR, for smoother specular highlights in HDR and a pleasing rendition of highlights overall.
Baselight Five includes a whole host of additions that help you to get the most out of your images. To mention a few…
Baselight V5 brings you a completely new approach to remote grading by allowing other sites with a Baselight system to view your scene while you’re working on it. Your clients and colleagues can browse the scene on their own, or you can lock them to you so they follow as you work, adding grades and other creative touches to the shots. Of course, any changes you make are instantly reflected on the other systems and you can even choose to hand he controls over to another department to add some comments or marks to the scene - it’s a simple operation to pass the baton over, and to take it back again.
The DP4K-P postproduction projector is the world’s first 4K DLP projector that meets the High-performance demands for postproduction, archiving, restoration and 4K color grading.
It is equipped with a dedicated 4K (4 x 3Gb/s) input board which enables playback of native 4K content. Its wide color gamut filter creates a wide gamut for accurate color matching. And thanks to its high-contrast lens, the DP4K-P displays images with improved contrast. The powerful input analysis tool that enables you to visualize the MSB and LSB via a bit-depth analysis of the different inputs. You can also easily compare inputs through the split-screen analysis (diagonal, vertical, side-by-side and checker board).
To respond to the highly specialized needs of post production houses, our IGENE DI suite is equipped with DP4K-P projector that is enhanced with several new components. They are capable of displaying 35 trillion colors which gives a huge workspace to work It has a dedicated 4K (4 x 3Gb/s) input board which enables playback of native 4K content. It also has a wide color gamut filter creates a wide gamut for accurate color matching. And thanks to its high-contrast lens, the DP4KP displays images with improved contrast.
Almost 18+ plus years of experience in creating Digital Effects for 300 plus films and commercials, Digital Intermediate film finishing. Experienced in Post Production pipe line which includes Compositing, Image Processing, Film Restoration, Film Scanning & Recording, Editing & Finishing, CG & Digital Intermediate. Sn. Colorist – Prism & Pixels, Head of DI & Colorist, Ocher Studios. Production experience which includes Client interaction, Project management, Digital imaging, Solutions, Engineering development. Tamil: Petta, Adangamaru, Sarkar, Dheeran Adhigaram Ondru, Viswaroopam 2, Velaikaran, Vikram Vedha, Thozha, Soodhu Kavvum, Oh Kadhal Kanmani, Maya... Kannada: Tagaru, Vishnuvardhana, Adhuri, Chakravarthy, Sidlingu, Lifeu Ishtene and many more... Malayalam: Velipadinte Pushthagam, Aami, Aadhi, Hey Jude, Swathanthriyam Artharathriyil, Odiyan, Thattathin Marayathu, Iyobinte Pusthakam, Bangalore Days and many more...
He has an awesome technical and creative background. A degree in Viscom, Diploma in film direction, strong foundation in visual effects, restoration and colour grading have made him a darling of DOPs. For the past 18 years, he has been adding value to a good number of acclaimed feature films in Tamil, Malayalam, Kannada, Bengali and Oriya. The best DI Colorist award from First International short film festival is another feather in his cap. Tamil: Meyadha Maan, Paayum Puli, Ettu Thottakkal, Ivan Thanthiran, Kattapava Kaanom... Kannada: Bell Bottom, Kalpana – 2, Jayammana Maga... Malayalam: Njandukalude Nattil Oridavela, Udaharanam Sujatha, Oru Vadakan Selfie, Om Shanthi Oshana...
Growing up in the beautiful Western Ghats, Siva has a natural eye for colours. Armed with a Viscom degree and Diploma in Color grading from Mumbai. Siva for the past 12 years as a colorist, right from Prime Focus (Mumbai) has added beauty for more than 100 feature films in Tamil, Malayalam and Kannada that include 3D movies as well. Tamil: Pyar Prema Kaadhal, Irudhi Suttru, Kadamban, Taramani, Mandasupatti, Ambuli 3D... Kannada: Ayogya, Ananthu Vs Nasruth, Parvathamma, Rocky... Malayalam: Yeshiyum Nanum, The Train, Dracula and many more...