Set in 1949, the Shikishima family confronts a fresh catastrophe two years after surviving their previous ordeal with the legendary monster.

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A 2026 supernatural comedy feature film directed by Simon Hynd and written by the original six creators of the hit BBC sitcom Ghosts.

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Come and see us in Tokyo at InterBEE 2026, where you will find us with our partner Restar Communications.

Visitors will see how FilmLight is reshaping the modern post pipeline, from automated media handling to real-time collaboration — and get an early look at Baselight v8.

ARTONE FILM Presents:
The Technology Behind Creativity, The Philosophy That Drives It

20 November, 13:00-13:45
Hall 8

Join ARTONE for these two sessions:

New Visual Expressions Through Colour and Sound

How do colour and sound interact to shape the world and emotions of a film?

Drawing on real-world production examples from films and dramas, this session explores how colour grading and sound influence and inform each other creatively.

How does sound support the visual tone of a scene? How can feedback on sound offer new perspectives on color?
Through insights into the actual production process, we will explore the creative possibilities that emerge when these two distinct disciplines come together.

The Philosophy of Craftsmanship

ARTONE FILM founder Masahiro Ishiyama and FilmLight founder Wolfgang Lempp explore the principles behind their companies, from the development philosophy of Baselight to their shared commitment to the art and science of shaping light.
Looking ahead to the future of the film industry, they discuss the technology that supports creative expression and the ideas that drive its evolution.

Find out more about these presentations here.

2026 FilmLight Colour Awards Winners Ceremony

Sunday 8 November, 4pm
Seminar Room

Join us along with special guests to celebrate the 2026 FilmLight CAMERIMAGE Colour Awards at ToruńCAMERIMAGE.

Acclaimed cinematographers, directors and colourists will come together to award the best grades across five categories.

Winners Drinks Reception

Sunday 8 November, 5:30-8pm
Artystyczna

The ceremony will be followed by a drinks reception Artystyczna, located in the ToruńCAMERIMAGE festival Centrum (CKK Jordanki).

Winners Screening

TBD
Horzyca Theatre

For the first time, the festival will also host an exclusive screening of this year’s Spotlight-winning project at the Horzyca Theatre.

Seminar: Expectation vs Outcome
Why we need a digital emulsion

Monday 9 November, 4pm
Seminar Room

Every photograph is a measurement. Light arrives in counts, and film counted it — photon by photon, crystal by crystal. The grain we love is not noise, but the record of that count; on film, the image is nothing but a statistical property of its grain. Digital pipelines, however, erase that record, creating ‘clean’ images that no observation could ever produce. Re-graining performs the measurement again — but how faithfully depends on the approach. From counting photons to True Grain, FilmLight’s new digital emulsion, this seminar examines why grain must follow exposure, why no two frames share their grain, and why cinema cannot do without it.

Presenters:

• Sylvain Canaux, Colourist, St Louis
• Daniele Siragusano, Image Engineer, FilmLight
• Andy Minuth, Colour Workflow Specialist, FilmLight

Two best friends become stranded on the mystical world of Nakali, where their only escape might cost them their shared lifetime of memories.

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A mysterious discovery is made on the outskirts of the remote harbour town. The residents find themselves in a desperate fight for survival against something they have never encountered before.

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A psychological game show that follows celebrities where the contestants are trying to outwit, outplay, and outlast the challenge.

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The most powerful man in the world embarks on a frantic mission to prove he is humanity’s saviour before the disaster he’s unleashed destroys everything.

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Read the article

“With Baselight 8 coming in 2027, the interesting part is not the number of new buttons. Some features continue or substantially expand work introduced with Baselight v7, while others rethink long-standing specialist tools, extend mastering and cloud workflows, or make greater use of machine learning and the growing FilmLight API ecosystem. So we did not ask what each feature does, but why FilmLight built it and what problem it is intended to remove before that problem becomes an expensive evening shift. To explain it all, we sat down with Martin Tlaskal and Daniele Siragusano.”

Burlington, Mass. and London, UK, September 9, 2026:  Avid® and FilmLight today announced a strategic partnership to bring a new Baselight-powered color experience natively into Avid Media Composer®, marking a major step toward a more connected color pipeline for post production.

For decades, Media Composer has been where many of the world’s most demanding film and television stories are shaped, while Baselight has set the standard for high-end color finishing. By bringing these creative environments closer together, Avid and FilmLight are moving beyond traditional plug-in workflows toward a more integrated approach to color both inside Media Composer and beyond it, one designed to help teams preserve intent, reduce handoffs and keep color connected from dailies through finishing and delivery.

“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 color 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.”

A new approach to editorial color

Avid and FilmLight are focusing on four key areas:

• Native color inside Media Composer: Bringing Baselight-powered color capabilities deeper into the Media Composer experience, so color feels like part of the edit, not a separate step bolted on at the end.
• A connected path from dailies to delivery: Keeping color decisions open and connected throughout production, helping teams move more fluidly between editorial, review, grading and finishing.
• Specialist color science at editorial scale: Extending FilmLight’s color technology to a broader community of Media Composer users, while preserving the depth, precision and control required by professional colorists and finishing teams inside the traditional Baselight environment.
• Expanded online and delivery capabilities: Scaling with the needs of each production, from being able to complete delivery entirely within Media Composer to a renderless roundtrip with full Baselight for teams working at the highest levels of finishing and delivery.

From dailies to delivery, with color connected

The partnership is designed to help creative teams carry color decisions through production more seamlessly. Instead of treating editorial and color as separate stages connected by exports, renders and conforms, Avid and FilmLight are working toward a more continuous workflow where the edit can better reflect the intended look of the finished project.

For editors, that means greater confidence in the timeline. For colorists, it means creative decisions can be reflected instantly between Media Composer editorial and Baselight finishing environments. For facilities and studios, it creates a workflow that can scale from editorial color through online and delivery, including renderless roundtrip with full Baselight for the highest-end finishing needs.

Building on the proven Baselight Editions workflow available today, the partnership points to a broader native color direction for Media Composer: specialist FilmLight color science and tools embedded more deeply into the editorial experience, with capabilities designed to scale across different production needs.

“Media Composer and Baselight have been at the center of our post production workflow at ENVY for over 20 years, so it’s exciting to see these two companies working more closely together and continuing to play such an important role in our industry,” said Jai Cave, Technical Operation Director at ENVY Post Production, which has produced The Traitors, At Home with the Furys, and The Grand Tour. “Production workflows continue to evolve, with demand for the color journey on-set to flow right through editorial, VFX and finishing post whilst projects combine an increasingly complex array of formats. Closer alignment between editorial and grade has the potential to bring real workflow benefits to creative teams. We look forward to seeing the vision Avid and FilmLight are building.”

About Avid

Avid is the power behind the content that touches virtually every person on the planet. Every word, every note, every frame, every day. Powering greater creators and trusted newsmakers, Avid enables everyone with a story to tell – from Emmy®, Grammy®, and Oscar® winners to rising talent. Built on a dynamic media intelligence surface, Avid tools support the full production lifecycle, from story assignment and editorial editing through archive and distribution. Avid understands professional media from the inside, combining human creativity with AI-driven orchestration so production moves faster, costs less, and allows organizations to see what their content is worth.

www.avid.com

About FilmLight

FilmLight provides unrivalled color grading, image processing, and workflow tools deployed on-premises or in the cloud – setting new standards for quality, reliability and performance. The company’s streamlined metadata-based workflows employ robust products with cutting edge creative tools, allowing creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight’s core business is centred on the innovation, implementation and support of its products – including Baselight, Baselight Editions, Daylight and Nara – in leading production companies, post-production facilities and film/TV studios around the world. The company is also committed to helping customers build more efficient, connected pipelines via the FilmLight API.

FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres and qualified partners worldwide.

For more information, visit https://www.filmlight.ltd.uk