BE was established in the same building as post house Fin Design & Effects. Fin had no color grading capability, so the symbiotic nature of their businesses made for a perfect fit. While Fin and BE are run as separate companies, they have a data connection that allows them to collaborate on projects when required.
“Our facility offers the latest DI capabilities underpinned by Baselight,” said Eagleton. “I have spent my career working on different color grading solutions, but Baselight wins hands down with its sophisticated grading tools, easily manipulated shapes, superb trackers and seamlessly integrated Blackboard control surface – allowing for unparalleled creative freedom.”
Eagleton went on to say he is able to do things in Baselight that he would not even attempt on other systems. “I would spend twice as long trying to achieve a result that was only half as good as what I can do on Baselight – so for me there is no other choice.”
Before setting up BE, Eagleton worked in some major postproduction hubs, including London and New York. He started his career as a colorist at Rushes in London, after which he set up data-centric grading facility, BEAN in 2007. Eagleton then went on to be the department head at New York’s Smoke and Mirrors before joining Fuel VFX in 2011.
BE currently works primarily in the TV commercial and film market with some recent projects including Nissan “Juke” by Steve Rogers, Hyundai “Head” by Hamish Rothwell and BNZ “Coin” by Gary Freedman (Glue Society), as well as short films like The One That Got Away by the Mullane Brothers.
