This video series shows you the conforming workflow in the Flame 2018 Products. These workflows particularly apply to Flame and Flame Assist. Part 1 shows the basic conform where everything is straight forward and media automatically links to the conform. This can happen when all the applications are on the same machine and the file paths are all mapped the same. It also helps to have the metadata consistent in the production pipeline as well as keeping your media organized....
Mar 03, 2017•6 min
Step-by-step tutorial on how to license your Flame Family application by setting up a License Server, on Linux.
Feb 16, 2017•3 min
Step-by-step tutorial on how to license your Flame Family application by setting up a License Server, on macOS.
Feb 16, 2017•3 min
Step-by-step tutorial on how to license your Flame Family application with a valid Serial Number, on macOS.
Feb 16, 2017•2 min
Step-by-step tutorial on how to license your Flame Family application with a Single User License, on macOS.
Feb 16, 2017•57 sec
In part 3 of the Batch Paint Series, we’ll run through the workflow of editing paint strokes on the canvas. Almost every property can be edited as well as animated. This opens up a whole range of functional and creative opportunities now available in Batch Paint.
Feb 15, 2017•9 min
In part 2 of the Batch Paint Series, We’ll take a look at the paint stroke duration over time. This allows you to decide whether a paint stroke affects a single frame or a range of frames in the composite. Now this may not be new to long time Flame Artists but what is different in Flame 2018 is that you no longer must commit to the duration of a paint stroke before you paint. Paint stroke durations are now editable.
Feb 15, 2017•3 min
In part 1 of the Batch Paint Series, we’ll run through the updates and new functionality added to Batch Paint in the Flame 2018. We’ll cover the new 32-bit support, new additions to the Paint tools as well a variety of small usability enhancements.
Feb 15, 2017•6 min
In this video, we are going to look at the updates to Desktop Paint in the Flame 2018 products. There have been some architectural changes as well as a viewport upgrade. These improvements should definitely help if you like using Desktop Paint.
Feb 15, 2017•4 min
In a previous version of Flame, we introduced versioning with the segment connection. This allowed you to create a single segment with content and effects and duplicate this across multiple sequences in the Reels Group. The duplicated segments are linked together even though they exist in different sequences. Any changes you make to any of the connected segments could be synced and updated in all the other sequences within the Reels Group. This a great workflow for keeping specific clips synced ...
Feb 15, 2017•4 min
In this video, we are going to look at a new naming token when it comes to naming segments in a sequence. This will allow you to set your own start number, define the number padding as well as the increment increase when it comes to the numbering of each segment. This will work in all sequences including the sources sequence and shots sequence if you are using the Connected Conform Workflow.
Feb 15, 2017•7 min
In this video, we are going to discuss reconnecting with media on a grand scale. In other words, you have multiple media files and whether through archive restoration, platform changes or even media relocation, Flame is unable to connect to the media. Your clips will display either the Flame icon or a checkerboard. Using File Path Translation, it is quite effective to redirect Flame to point to the media’s current file location. This allows you to point to a different directory structure contain...
Feb 15, 2017•8 min
In this video, we take a quick tour of the colour sampler tool in the Flame 2018 products. This tool works in all the players that offer the Multi-view and it allows you to analyze as well as store colours to be used in any tool across the application.
Feb 15, 2017•6 min
In this video, we will be taking a look at the new Scene Detection workflow in the Flame 2018 products. This will allow you to bring a single clip, analyze it and add cuts between all the different shots that make up the clip. A major timesaver tool for this sort of work!
Feb 15, 2017•7 min
In this video, we are going to go through a new Flame and Shotgun workflow known as Review and Approval. So, if you are working with someone who is approving the work, you can set a workflow for them to review and approve your work using Shotgun wherever they may be. This uses an easy out of the box Shotgun plug-in that requires no extra downloads and it’s pre-configured to work with Flame, Flare and Flame Assist. Learn more about Shotgun: www.shotgunsoftware.com Sign up for a free trial: www.sh...
Feb 15, 2017•9 min
In part one of this mini-series introducing 32-bit float support in Flame 2018, we looked at media management and how Batch can deal with 32-bit media Using the 32-bit capable nodes. In part two, we look at how Action handles 32-bit float media as well as setting Action to output 32-bit data passes. Please check the Flame documentation for the list of 32-bit capable nodes currently available.
Feb 15, 2017•12 min
With the release of Flame 2018, we have started to introduce 32-bit Float support throughout the Flame products. The main reason for this is to provide a 32-bit float processing pipeline which includes support for 32-bit data passes. So this allows you import 32-bit OpenEXRs which can be cached as well as processed at 32-bit through specific nodes. And finally, as you output and archive, you can also retain the full 32-bit float quality. This ultimately improves image precision and processing us...
Feb 15, 2017•8 min
In part 4 of Maya for Flame Artists, we run through the process of exporting a FBX for Flame. We look at all the available FBX settings and what you need. This video concludes with loading the optimized FBX into Flame and comparing it to the original FBX from part 1.
Jan 06, 2017•10 min
In part 3 of Maya for Flame Artists, we run through a series of techniques and workflows to optimize your 3D scene for Flame. This includes naming conventions, 3D scene structure, polygon reduction, grouping and combining. All essentials get a more efficient 3D scene in Flame.
Jan 06, 2017•14 min
In part 2 of Maya for Flame Artists, you get an introduction to Maya’s interface and basic operations from a Flame Artist’s Perspective. Direct comparisons are drawn between Maya and Flame to help you understand Maya. The intension is that you gain enough understanding to be able to optimize a 3D scene for Flame.
Jan 06, 2017•9 min
In part 1 of Maya for Flame Artists, we start off in Flame and import a FBX 3D Scene. We discuss the issues with using 3D datasets that have not be prepared for Flame. This has impacts on the Action Schematic, interactivity and render performances.
Jan 06, 2017•4 min
In Flame 2017 Extension 1, a new type of clip called the “MULTI-CHANNEL CLIP” has been introduced to enhance working with files embedded with multi-channel media. This new workflow will help you better prepare and access your CGI-multi-channel media for compositing in the Flame Products. So you should have a lot more control and flexibly when working with CGI as well as dealing with last minute changes.
Dec 02, 2016•13 min
In Flame 2016 Extension 1, we introduced the concept of the Connected Conform Workflow allowing you to keep multiple sequences synced together. This used a workflow of connecting the source media with the Sources Sequence and connecting the segment metadata with the Shots Sequence. The Shots Sequence allows you drive synced sequences for Batch Group VFX, Versioning, VFX Shot Distribution and scalable collaborative workflows. So its a very power tool. However in a lot of cases, there is just the ...
Nov 25, 2016•12 min
In part 5, we discuss Substance PBR which can create procedurally generated textures that can work within the Physical Based Shading model. So if you don’t have a texture and don’t have time to manually create your own, you can use procedurally generated textures to quickly generate a texture that can be used on any 3D objects in the composites. Allegorithmic Resources: - Substance Database: https://www.allegorithmic.com/products/substance-database-monthly - Substance Source: https://source.alle...
Nov 18, 2016•14 min
In Part 4, We look at a great new workflow between Maya and Flame using PBS Ambient Occlusion texture maps to texture indirect lighting onto 3D models in Action. This allows you to get same render quality for indirect lighting and shading on 3D geometry that you would normally get by outputting 2D render passes using your favorite 3D renderer.
Nov 18, 2016•12 min
In part 3, we look at a few workflow examples of using PBS Maps. Firstly, we run through the workflow of applying a PBS map and assign an image source to influence the the PBR Shader parameters for a more customised result. We also cover localisation using PBS Maps to add parameter control in certain part of the PBR texture. And finally we look a few of the parameters to see the different results that can be achieved with a single or multiple PBS Maps.
Nov 11, 2016•12 min
In part 2, we look at the PBR Shader node parameters in much more detail. This will give you an idea how how they work and influence the PBR Texture. We also show the workflow using PBS Maps which allow you to control the parameters of the PBR Shader using an image source rather than numerical sliders.
Nov 11, 2016•9 min
In part 9, We are going to cover a variety of scenarios where you would customize your viewports, customize your displays as well as customize your input processing using external assets such as custom LUTs, custom Colour transforms and custom monitor profiles. So even though the Flame 2017 Extension 1 products offer a wide range of built-in colour transforms, you can still apply your own LUTs, colour transforms and profiles to create a specific look and feel to your production.
Nov 04, 2016•16 min
In all the preceding videos we went through a lot of the new Active Colour Management and we have covered the majority from Colour Policies, to Colour Managed Imports, compositing in a common colour space And finally colour Managing an export. Now this is all great to know but we do understand that sometimes there may not be the need to use Colour Management. So part 8 is just for those of you who want to understand enough about the new colour management tools to turn them off and match the way ...
Nov 04, 2016•11 min
In part 7, we run through the workflow of colour managing your final exports. This is the same process for all colour managed workflows. So we’ll look at the scenario as well as the tools available to meet your deliverable requirements.
Nov 04, 2016•11 min
