Retiming within the Sequence
This video goes through the workflow of retiming segments edited in the sequence. We cover the Anchor point functionality as well as keyframe modes when trimming a timewarped segment.

This video goes through the workflow of retiming segments edited in the sequence. We cover the Anchor point functionality as well as keyframe modes when trimming a timewarped segment.
This video goes through the workflows of applying quick retiming to a clip on the reel. Methods covered include Duration or Speed Changes.
This video series goes through the Flame 3D keyer and its fundamental concepts. In this video, we look at three 3D keyer refinement techniques. This includes virtual point scaling, patches and RGB viewer 3D element transformations.
This video series goes through the Flame 3D keyer and its fundamental concepts. In this video, we cover the RGB viewer, Softness, Tolerance and Noise sampling.
This video discusses how the axis location can make a big difference to lining up textures when using Perspective Planar Tracking. Techniques of gmasks determines whether the axis is in the centre of the frame or the centre of the Gmask.
Part 2 repeats the steps from part 1 except in this video, you learn how to do it all in one Action node. This is provided you do all the clean up in the same Action node.
Part 1 shows the workflow using multiple Action nodes. Stabilise the texture in one Action, perform the repairs to the image and destabilise the image in another Action node.
This video combines all the info from the previous videos and goes through the centralized collaborative VFX pipeline process using multiple Flame Products.
This video examines the newly published Master Timeline which references the XML Open Clips. We also go through the VFX versioning options in the context of the timeline.
This video goes through the setup, detailed explanations and exporting the sequence publish to create a new Job-Tree or add to an existing one.
Part 1 shows you how to prepare the segments in the sequence to be published out into a VFX job-tree. This covers the new segment renaming tools and well and the (VFX) Shot renaming tool to group media in various VFX shots.
This video continues in the Conform Area but focuses on the improvements to the event list. There is loads more metadata accessible in the event list but what is really big is that the event list is editable. Check out these workflows!
In this video, We look at the conforming scenario where the Final Cut Pro offline and Flame online stages of production use the different versions of the media through the production pipeline. Offline ProRes Media transcoded with RedCine-X Pro.
In this video, We look at the conforming scenario where the Final Cut Pro offline and Flame online stages of production use the same version of media throughout the production pipeline. This workflow is applicable to RAW formats such as RED, ARRIRAW, etc.
In this video, We look at the conforming scenario where the Avid offline and Flame online stages of production use the different versions of the media through the production pipeline. Offline DNxHD Media transcoded with RedCine-X Pro.
In this video, We look at the conforming scenario where the Avid offline and Flame online stages of production use the same version of media throughout the production pipeline. This workflow is applicable to RAW formats such as RED, ARRIRAW, etc.
In this video, we take a look at the widely discussed topic of painting on mattes or alphas in Batch with paint. Great for new users as well as long term artists who have used the matte tools in desktop paint.
In this video we tackle a more challenging track and use multiple Gmasks to isolate regions of a planar surface when tracking with a perspective gird. This multiple Gmask workflow can also be applied to planar tracking with an Axis node.
In this video, we look at the input and output resolutions in the Action Compositor. Learn how Action automatically matches the resolution of any background input. We finish off with Over Scan allowing the output of larger resolutions.
This video goes through the workflow of Planar tracking a Perspective Grid to a shot in order to determine the shot's true perspective as well as efficiently composite elements to match the targeted perspective.
In this video, you'll create a mask and perform a planar track. The planar tracking data will change the mask's shape over time. This helps with creative tasks and automated rotoscoping. This is different to planar tracking with an Axis node.
In this video, you'll have an introduction to Planar tracking as well as learning to perform a planar tracking and apply the tracking data to an Axis node.
This video covers the workflow updates as well as the new interface when tracking in Action. This is an absolute must for all levels of Flame Artist.
In this video, we go through the redesigned recursive BatchFX workflows which allows for multiple levels of node-based compositing on an entire editorial sequence or segments within a sequence. New Player views covered as well.
In this video, we look at Reel Groups which allow for multi-reel organization and contextual working within the Flame Family Desktop.
In this video, we examine how you can use Image Based Light to re-light keyed images to better blend them with their backgrounds. Normally IBLs are used to relight 3D CGI to help blend live action with CG and that can also be done in Flame Premium.
Sometimes when working in an effects tool, the certain viewers "appear" to loose interactivity until you release the cursor or pen up. This video explains what this is and how to enable interactivity in all the viewers.
In this video, we focus on using projections to perform image clean-up. The same technique could be used to add extra elements into the scene as well as potential set extensions. This includes 3D tracking, projections and a bit of regraining.
This particular workflow uses a main project as a remote collaborative environment where other creative seats can connect to work on a product as a team. The video covers the basics concepts as well as a practical example between Flame and Flare.
In the second part of this video, we lock the projections to the surface with a duplicate camera. We also re-introduce the foreground object into the new environment and use projections and 3D space to align it to the composite.