This video shows you how to use 3D render passes that have been rendered in a 3D application, such as Autodesk Maya or Autodesk 3Dsmax, and use them within the Flame's 3D compositor, Action. This includes post Z-depth blurring, motion blur, selective colour adjustments and selective highlight blooming. The benefit to you, is that even though these renders passes are flat 2D images, you can access the render pass data in Action and treat your 2D pixels as if they were still in 3D space. This incl...
Feb 13, 2018•13 min
Part 4 is an additional video to the 3D round tripping series and this will cover the workflow on how to create the PBR textures in Maya as opposed to Flame. So unlike the previous videos where the substance PBRs were created and applied in Flame before sending the FBX to Maya, part 4 will show you how to start in Maya 2018.1 and enable the ShaderFX materials and apply the StingrayPBS material to a model. You can set the physical based properties like Roughness and Metallic and these will be app...
Feb 02, 2018•13 min
This three-part series takes you through a round tripping workflow between Autodesk Flame and Autodesk Maya in a linear colour pipeline using the FBX interchange format. Please be aware that this is not actually 3D application specific. In part 3, you conclude the 3D round tripping workflow by importing the new FBX into Flame and matching all the various settings to the original action composite. You'll redo the IBL which is not supported in the FBX and you'll also reapply the substance PBR text...
Jan 26, 2018•8 min
This three-part series takes you through a round tripping workflow between Autodesk Flame and Autodesk Maya in a linear colour pipeline using the FBX interchange format. Please be aware that this is not actually 3D application specific. Part 2 continues after exporting the FBX from Flame and you'll import the FBX into Maya. You'll learn how to match the 3D scene to Flame as well as check what was carried over during the import. You'll examine the materials and colour space settings as well as fi...
Jan 26, 2018•10 min
This three-part series takes you through a round tripping workflow between Autodesk Flame and Autodesk Maya in a linear colour pipeline using the FBX interchange format. Please be aware that this is not actually 3D application specific. In part 1, you'll import a 3D model into Flame and relight it with image-based lighting. You'll also retexture geometry with Substance physical based textures as well as reverse a 3D camera move. You also identify issues that could potentially make you go back to...
Jan 26, 2018•11 min
Part 7 continues on from the previous video and explores further Selectives. You’ll refocus viewer attention with selective grading, add a bit of keyed Selective blooming, finalise the overall look development and finally dial back some of the Selective intensity using the PUNCHBACK SelectiveFX.
Jan 19, 2018•13 min
In part 6, you start to cover the workflow of applying Selectives to a 3D composite. This is very different to previous videos whereby the Selectives were only applied to a single image or object. This video introduces a 3D composite and defines the difference between applying a Selective to image or object versus applying a Selective to an entire 3D composite. You will apply two Selectives to the composite using masks for Selective isolation and go over how to apply SelectiveFX to the inside as...
Jan 19, 2018•9 min
In part 8 of the Motion Warp Tracking series, you'll look at a stabilisation workflow for a variety of uses. Firstly you learn the workflow to stabilise a handheld camera shot using the motion vectors analysis. This will give a pretty good stabilisation in particular cases. Secondly, you'll learn how to use motion vector stabilisation in a rotoscoping use-case. You would apply the "stabilise and destabilise" workflow to make quick work of the root-scoping task. For other stabilisation techniques...
Dec 14, 2017•13 min
In the Flame 2018.3 Update, the interface is no longer locked out when it comes to the sliders in multiple effects. This means that as your media is playing back in the timeline viewer or viewports, you are able to adjust the values and see the updates in real-time as the frames play back. So you could start tweaking an effect or a grade to rough out the look and than refine it further when needed. This works in the Timeline, TimelineFX editor and Batch. Playback will depend on your system's per...
Dec 08, 2017•6 min
In part 7 of the Motion Warp Tracking Series, you’ll carry on with the example of using motion vectors and Motion Warp Tracking for a creative purpose. There are multiple things you could try and it can all be done through experimentation. You’ll take the results you achieved in part 6 and start combining them in the 3D environment as well as finish off the composite with CameraFX and a Camera Selective.
Dec 01, 2017•8 min
In part 6 of the Motion Warp Tracking Series, you’ll go through a new example of using motion vectors and Motion Warp Tracking for a creative purpose. There are multiple things you could try and it can all be done through experimentation. You’ll start off by creating Motion Vectors outside of Action using the Batch Motion Analysis node. This will be combined with other nodes in Batch and eventually fed into Action. In Action you’ll learn about applying different motion vectors to different media...
Dec 01, 2017•14 min
In part 5 of the Motion Warp Tracking Series, you take on a difficult tracking shot where things either get in the way or there is too much pixel motion that affects the motion vectors analysis. Basically you will track a tattoo to a street musician’s arm but his knee gets in the way and there is a lot of activity behind him. Using a series of suggested techniques, you can take on these tracking challenges and generate a good motion vectors map for the correct tracking and distortions....
Nov 22, 2017•14 min
Part 4 of the Motion Warp Tracking Series takes you through the workflow of tracking the result of a mask with motion vectors. In this use case, you learn how to track an image with a mask and motion vectors. You can carry on refining the mask spline even though the mask's result has been tracked and distorted by the Motion Warp Tracking. The end result of this example is blurring out part of the picture but you can use this workflow for a variety of rotoscoping tasks....
Nov 17, 2017•9 min
In part 3, you’ll carry on with the same example from part 2 and you’ll use a series of techniques to refine the accuracy of the motion warp distortions even further. This includes the Motion Vectors Softness as well as projecting onto an invisible extended bicubic surface for localised tweaking.
Nov 10, 2017•8 min
Part 2 starts a new use-case scenario of tracking an animated logo to clothes or fabric. You go through the initial setup and cache the motion vector generation and tracking. You’ll also learn about setting multiple reference frames in order to control when your logo is distorted or not by the motion Vectors. Please note that the workflow and techniques would be the same for tracking other organic materials such as skin, liquids and more.
Nov 10, 2017•11 min
In part 5 on Selectives in Action, you conclude example using the Selectives on an image for VFX and look development. You can follow this example by starting at part 2 on Selectives. This video will illustrate how to manipulate the lighting in the image to direct your audience’s attention to the model’s face. You’ll cover Selective duplication as well as SelectiveFX inversions to apply Selectives on the outside of the Selective as opposed to the inside shown in the previous videos....
Nov 03, 2017•8 min
In part 4 on Selectives in Action, you continue exploring Selectives on an image for VFX and look development. You can follow this example by starting at part 2 on Selectives. This video will take you through the process of creating hyper-real futuristic skin on the model. This includes keying and masking the skin for a targeted selective, tracking and multiple SelectiveFX in a selective.
Nov 03, 2017•10 min
In part 3 on Selectives in Action, you continue exploring Selectives on an image for VFX and look development. You can follow this example by starting at part 2 on Selectives. This video covers of working with multiple Selectives and SelectiveFX to continue developing the VFX aspect to the shot. You’ll cover creating Selectives with the Selective Manager, deleting Selectives and Duplicating Selectives. You also learn how to control what Selective is applied first to the image using the Priority ...
Nov 03, 2017•9 min
In part 2 on Selectives in Action, you’ll start a new example that takes a deep dive into applying Selectives on an image for VFX and look development. This video starts off by applying a selective to a models eyes to give them an intense glow. You also cover the context of using multiple SelectFX shaders (part of the Matchbox family) to create the desired VFX result. This includes masks and tracking as a well as a more detailed look at the Selective Manager and the image processing pipeline wit...
Nov 03, 2017•11 min
This video series will cover the new Action Selectives available in the Flame 2018.3 Update. The Action Selective is an image isolation tool. So the purpose of an Action Selective is that you are able to block out a portion or region of your image and apply pixel-based VFX or look development to that area. You can uses masks, keys, pre-existing mattes or a combination of components to create a selective. This could be applied to many VFX or motion graphics workflows as well as grading workflows ...
Oct 24, 2017•13 min
In part 1 of this series on Motion Warp Tracking, you’ll start learning about Motion Warp Tracking in the Flame 2018.3 Update. This technology allows you to distort and track images based on motion vector data. This video will start discussing the fundamentals as well as a great use-case example. The Motion Warp tracking adds to the existing tracking features already available in Flame (point tracking, planar tracking and 3D Camera Tracking). The Motion Warp Tracking enables you to track on more...
Oct 24, 2017•12 min
In the previous video, you had an introduction to the scopes and how they work in the editorial context. Part 1 also covered how to customize your own presets. In Part 2, you’ll examine the scopes in the context of a VFX scenario. This covers cover grading or look development with the colour tools, image comparisons in the viewers and scopes and how the scopes work with colour management.
Oct 24, 2017•12 min
In this video, you’ll learn about the revamped video scopes in the Flame 2018.3 Update. We’ll cover how the scopes work as well applying them within specific Flame workflows. In Part 1, you get an introduction to the new scopes with the different types and modes. So you’re able to set up presets to quick access to the scopes you need and view them in an editorial or VFX scenario.
Oct 24, 2017•10 min
In the previous videos on UV tracking and shading with the Action Projector, you learnt all about projecting an image onto animated 3D object and the projection tracked and distorted using the object’s UVs. This applies to most 3D objects as well as extended bicubic surfaces. So you’re able to introduce texture elements onto 3D objects in the composite and Flame automatically integrates the projection with the receiving object. This is quite powerful with pack shot work or motion graphic design....
Oct 24, 2017•5 min
In this video, you’ll learn all about the new Flame 2018.3 update ability to export embedded multi-channel OpenEXRs. This long time requested functionality allows you to establish a round-trip workflow between other applications utilizing multi-channel EXRs. The idea is that any multi-channel EXRs you import into Flame or even multi-channel media that you create in Flame can now be exported out as multi-channel OpenEXR media for external uses.
Oct 24, 2017•6 min
In this video, you learn how to copy cuts from one track to the next. There are many practical uses of this functionality including cutting up a flattened off-line clip in order to match it up to an on-line conform. You could also copy the cuts onto an empty gap track in order to make virtual VFX clips above each segment in your sequence. There are plenty of practical uses with this feature but in order to copy the cuts the workflow is the same in each instance.
Oct 24, 2017•6 min
In the Flame 2018.3 update, we have introduced a 360 VR option in the player and Batch viewports. This will allow you to take any Lat-Long VR mediaand view it correctly. This video will show you all the controls you havewith the 360 VR player.
Oct 24, 2017•4 min
In this video, we’ll go through the process of incorporating CDLs into the Flame products as part of your production pipeline. CDL stand for Colour Decision List. This gives you the ability to make colour decisions in the early stages of production and carry them through the production pipeline. You’ll learn how to apply a CDL to a shot using the LOOK node as well as applying a bunch of CDLs to an editorial sequence.
Oct 06, 2017•12 min
This user requested video will cover how to set up centralized colour management within your facility using shared folders. The great point is setting up the centralized colour management can all be driven through the graphic user interfaces (GUI) making it easy for everyone to access without too much technical know how. This allows you to standardise your colour policies on multiple workstations and keep everything looking right!
Sep 29, 2017•11 min
This goes through the various workflows of using a region of interest when masking. The “Region of Interest” refers to the area of a matte or alpha when it’s been combined with a mask or multiple masks. You’re basically adding to or removing from an existing matte or alpha. A typical use case is when you have created a matte or alpha, like a key for instance, and you want to isolate portions of the matte or alpha with a mask. We’ll cover the various techniques covered in the Classic Gmask node, ...
Sep 19, 2017•11 min
