Avid And FilmLight Strike Partnership

Avid and FilmLight have announced a strategic alliance to embed a Baselight-powered colour experience directly within Avid Media Composer, a move intended to create a more unified colour pipeline spanning dailies, editorial, finishing and delivery.

Media Composer has long been a cornerstone for high-end film and TV editing, while FilmLight’s Baselight is widely used for premium colour finishing. By integrating these environments more tightly, the companies aim to move past traditional plug-in workflows towards a native, end-to-end approach that maintains creative intent, minimises handoffs and keeps colour decisions intact throughout the post process.

"This partnership reflects how our products are actually used – by specialists collaborating to create some of the world's most compelling film and television content," said Rich Camp, Media Composer Product Manager, Avid. "By bringing FilmLight's expertise deeper into the Media Composer workflow, we're giving editors a native colour experience with powerful tools directly in the timeline. That means editors can cut and craft their timeline while working more seamlessly with colorists, so more time and focus stays where it matters most: the story."

FilmLight Co-founder Steve Chapman added: "FilmLight has always focused on creating color tools that fit seamlessly into post production workflows. Our collaboration with Avid allows us to combine strengths and deliver new levels of color creativity and accuracy to the editorial experience."

According to the partners, initial efforts concentrate on four areas: native colour capabilities built into Media Composer; a connected pathway that carries look decisions from set to delivery; extending FilmLight's specialist colour science to the wider editorial community while preserving the depth required by professional colourists; and expanded online/delivery options, from completing deliveries entirely inside Media Composer to a renderless roundtrip with full Baselight for top-tier finishing.

The goal is a more continuous, bidirectional workflow in which the edit better mirrors the intended final look and creative choices are reflected instantly between Media Composer and Baselight environments. For editors, that promises greater confidence working to a near-final grade during cutting; for colourists and finishing teams, it enables immediate synchronisation of decisions; and for facilities, it offers scalable options from editorial colour through online and delivery.

Building on the existing Baselight Editions integration, the collaboration signals a broader native colour direction for Media Composer, with FilmLight’s tools and colour science embedded more deeply into editorial while scaling to different production demands.

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