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FLAME 2019

Effects Environment – Part 14 - Versioning with Segment Connections
In this video, we'll expand on another Effects Environment workflow where you'll learn how to version your grading and VFX using segment connections in combination with the Effects Environment.

This exciting workflow will allow you to try multiple variations of your effects and then you can switch back and forth when choosing the final version for your production.

This gives you great flexibility during a session and it’s very fast to use. And by the way, you can do all of this without having to use the whole Connected Conform Workflow!

If you have not seen or used the Effects Environment before I suggest going to the beginning of this series to give you a great start!

Effects Environment – Part 13 - Segment TimelineFX vs Source TimelineFX
In this video, we’re going to discuss Segment TimelineFX versus Source TimelineFX in the Effects Environment.

This means that you decide whether your Image TimelineFX appears in the regular FX pipeline with all the other TimelineFX or you can apply it at the source media level with your format processing and colour management tools.

For the most part, you’ll probably stick to the default segment FX processing pipeline. But there might be the occasion where you see it necessary to first affect the source media before injecting it into the segment as part of a sequence.

For example, you might want to do technical corrections on the source media, like white balancing, and then perform your creative work on the segment using the segment’s TimelineFX.

If you have not seen or used the Effects Environment before I suggest going to the beginning of this series to give you a great start!

Effects Environment – Part 12 - VFX & Grading above the Edit
In this video, you'll about the workflow of applying grading and VFX above your edit, instead of working directly on each segment.

For example, Perhaps you prefer to build your effects and grading in separate stages or maybe for versioning purposes, you need to keep everything separated out instead of all in one segment.

Whatever the reason, you’ll use gap segments in the sequence to achieve this. If you have not seen or used the Effects Environment before I suggest going to the beginning of this series to give you a great start!

Effects Environment – Part 11 - Interactive Render and Performance
When it comes to working with any effects or grading in your sequence, at some point there will be the requirement to render your results.

Now you may think to yourself, what the point about watching a video on how to render? Well the render button is available in the EFFECTS Environment as well as the Timeline View. But in Flame 2019, a series of render options have been introduced that may make you consider rendering as an interactivity and performance enhancer.

This is the main focus of this video and this will certainly enable you to work faster especially with heavy grading and VFX work.

Effects Environment – Part 10 - Creating Presets
In the previous video, you learnt all about copying TimelineFX within the FX environment.

In this video, you learn how to take a single or multiple TimelineFX and save them as presets in the Media Panel.

You might have a specific effect or grade that you’re using in a campaign or maybe you want to save a variety of grades to try them out or keep them for later.

We discuss the preset creation as well as organisation in the Media Panel.

Effects Environment – Part 9 - Copying with TimelineFX
This video focuses specifically on the workflow of copying TimelineFX between multiple segments using the Storyboard Reel.

You will cover the copy and paste method and the gestural drag and drop method.

Effects Environment – Part 8 - Working with TimelineFX
In this video, you’ll start going through some of the general functionality when it comes to the TimelineFX tools that are accessible in and around the EFFECTS environment.

This covers TimelineFX indications, the FX pipeline, working with single or multiple TimelineFX, interacting with the FX-Pipeline or Storyboard Reel and deleting TimelineFX.

Effects Environment – Part 7 - Review with the Player Controls
When performing any VFX or grading, either in the EFFECTS Environment, Timeline or Batch, one of the repetitive tasks between adjustments is reviewing.

In this video, you’ll learn about the various player options for fast and east reviewing. Please note that these player options are available in all areas of Flame.

Effects Environment – Part 6 - The Storyboard View
In this series so far, you’ve looked at the navigational aspect of the Effects Tab which primarily focuses on the Storyboard Reel.

So whether you’re navigating the storyboard, sorting, filtering or searching the Reel, the storyboard is a visual strip that sits at the centre of the EFFECTS Environment.

In this video, you’ll learn an alternative way to view the storyboard through the viewports which will also introduce some extra functionality.

Effects Environment – Part 5 - Filtering and Searching the Storyboard
In this video, you learn to take the Storyboard Reel and apply filtering and searching to it, even if you're using any storyboard sorting.

So instead of just re-ordering all the shots, you can lock down on specifics ones.

This helps you speed up various creative tasks through being very exact using the Storyboard Reel.

Effects Environment – Part 4 - Sorting the Storyboard
This video expands on the sorting capabilities of the Storyboard Reel.

You'll look at the three different storyboard modes which enable you to see all the segments in your edit but in a variety of different sorting.

This does not limit any creative functionality and you can continue to apply grading and effects to your edit.

Effects Environment – Part 3 - Navigating with Ranges
Continuing on from the previous video, you were introduced to the Storyboard Reel within the Effects Environment.

During all that time, you were browsing on the range of a single clip when it was selected.

In this video, you’ll learn how to expand the frame range to the entire timeline allowing you to navigate even faster as you make your way through your edit.

Effects Environment - Part 2 - Meet the Storyboard
In this video you’ll start learning all about the Storyboard Reel within the EFFECTS environment.

The Storyboard Reel provides you with lots of visual feedback as well as a fast way of moving between your shots without constantly switching back to your timeline.

So whether you’re creating VFX or grading, you can see the context of shots in the sequence as well as bounce between them with a single click.

Effects Environment - Part 1 - Integrated Grading and VFX in the Timeline
With the release of Flame 2019, one of the major enhancements is a new task-based environment that brings a new level of Grading and VFX integration directly into the timeline.

So all your Timeline VFX and Grading toolsets are in one place with full navigational tools and access to the rich Flame toolset.

This will allow you to work faster than ever before develop and iterate a shot or multiple shots and there are a bunch of new tools for sophisticated image treatments such as colour grading, beauty retouching and 'creative look FX'.

This is all integrated within Flame's core keying, masking and tracking systems. This environment is known as EFFECTS and it also has its own task-based tab alongside MediaHub, Conform, Timeline, Batch and Tools.

This video serves as a general overview of EFFECTS to get you started and future videos will take a deep dive into specific features and workflows.

Introducing Image TimelineFX - Part 3
In the previous parts using the Image TimelineFX for grading and look development, you learnt how to use the Image TimelineFX to a variety of grading and look development tasks.

Up to this point, this has all been done within one Image TimelineFX within a single segment.

In this video, you start looking at the bigger context of the edit and start copying Selectives between shots and creating a consistent look development across the sequence.

Introducing Image TimelineFX - Part 2
In this video, you’ll continue the example from part 1 and use a few techniques to remove an unwanted item out of the shot. You'll cover applying different shaders to a Selective, working with multiple shaders in a Selective and moving Selectives around within the current Image TimelineFX.

Introducing Image TimelineFX - Part 1
In this next set of videos, you’ll be learning about a new finishing toolset known as the Image TimelineFX.

This module has been incorporated into the new EFFECTS environment giving you integrated grading and look development alongside other VFX tools directly in your timeline.

This includes primary as well as secondary look development functionality without accessing complex workflows or Batch processing flow graphs.

Now the main focus will be using the Image module as a TimelineFX within the EFFECTS environment and we’re going to look at a variety of examples to illustrate the general workflows of the tools.

For those Flame artists that use the batch flow graph and node compositing the Image module is also available as a node in the Batch node bin.

Integrated Grading with MasterGrade
In this video, you’ll take a close look at the new Master Grade in Flame 2019. This next generation grading toolset is HDR ready and float-point capable and gives you amazing control over your grading capabilities in Flame while accurately respecting the colour sciences and information within a given colour space.

We’ll be covering the general workings of the toolset but please read the online documentation and application tooltips for detailed explanations of every available control.

Smoothing Textiles with A2Beauty - Part 4
The previous A2Beauty videos mainly focused on skin examples. So you could revitalise skin by removing spots, moles and wrinkles or you could age skin by inverting the functionality of the SelectiveFX shader.

In this example, you’ll move away from skin and examine the effect of A2Beauty on a different texture. So our focus will be clothing but you should try it out on other textures and hopefully you’ll be surprised by the result.

Ageing with A2Beauty - Part 3
In the previous videos, you were introduced to A2Beauty in Flame 2019 and shown a few workflows perform a variety of skin retouching.

A2Beauty’s main purpose is beauty retouching but with a few different settings it can offer you a lot more than just its original intended purpose.

In this video, you’ll use A2Beauty to do the reverse of beauty work. You can make skin look a lot worse than it really is and this can be used for ageing effects or enhancing special effect prosthetics like monsters and zombies.

Beauty Retouch with A2Beauty – Part 2
In the previous video, you were introduced to A2Beauty in Flame 2019 and this powerful SelectiveFX is designed for beauty retouching and much more. It can tackle small blemishes, spots and wrinkles but it can also take bigger issues like deep lines and other obvious problems.

In this video, you’ll learn how to remove the bags from under a model’s eyes through the deeper use of the A2Beauty toolset.

You’ll be using Batch for this example but as seen in the previous video, you can also do the same steps in the Timeline using the Effects Tab and the Image TimelineFX.

Beauty Retouch with A2Beauty – Part 1
In this video, you learn about the new A2Beauty shader available in Flame 2019.

The main purpose of this pixel shader is to be able to perform a whole range of digital retouching which could be used for beauty work as well as image clean-up. Now you’ll be using the Effects tab to run through and explain the processes.

However you can perform the exact same steps in Batch using the Image node, Action or the Matchbox node.

Camera Effects - Part 3 - Physical Glare and 3D lighting
In this video on Physical Glare, you’ll use the Action 3D lighting to help you create lighting effects including the physical lens glare.

The use-case for this scenario, is what if you wanted to add glare to a light, like head lamps for example, but the light source was never there to begin with? So you’ll use 3D lights to position where you want the lighting and then through the Physical Glare SelectiveFX, you’ll create the light and introduce the lens light artefacts.

Camera Effects - Part 2 - Custom Aperture or Lens Noise
So the previous video taught you how to use the general Physical Glare SelectiveFX to create additional glare and starbursts through the camera lens.

This was all done procedurally and there are so many variations you could experiment with.

But if you can’t find or create what you’re looking for, the next step is to use a custom aperture or lens noise pattern to design the look that you may not be able to achieve procedurally.

Camera Effects - Part 1 - Adding Physical Glare
In this video, you’ll explore a new look development tool in Flame 2019 known as Physical Glare.

This SelectiveFX is designed to help you create and customise various lens glaring artefacts that occur naturally with various light sources directed at the camera.

So depending what you’re shooting, you may want glare or not. But adding physical glare with Flame 2019 allows you to add to or enhance what you already have.

Multi-Channel Media and the Connected Colour Workflow - Lustre 2019 & Flame 2019
In this video, we’ll look at the new multi-channel support within Lustre and how this influences the Connected Colour Workflow when combining the dedicated grading from Lustre with the VFX finishing capabilities of Flame.

In previous releases, you had some of this capability using Matte Containers but with the Multi-Channel support in the 2019 release the workflows have been enhanced and that will be covered in this video.

So we’ll start in Lustre and bounce back and forth between Flame when needed. For those of you who are using this workflow, the same can be achieved if you’re using Flare instead of Flame.

Please note, that all the software needs to be on the same workstation in order to use the Connected Colour workflow. And as an additional benefit, a Lustre hotkey profile is also available in Flame if you prefer to stick to one set of keyboard shortcuts.

Create a Clean Plate with 3D Shapes & Projections
In this video, you’ll learn the workflow to clean up your images using 3D Shapes and Projections. In a lot of cases, this might be a lot quicker than the traditional 3D tracking and projection technique.

Now we’ll be covering two methods and they differ slightly when it comes to projecting the clean frame.

Areas covered include: cloning in paint, 3D shape generation, planar tracking and projection.

Rendering Multi-Channel from Batch
In this video, we’ll cover how to setup, render and exporting OpenEXR multi-channel media directly from the Batch node flow-graph.

This can help you in multi-channel workflows within a Flame project. But facilities can also take advantage of this in order to have a multi-channel pipeline between various applications throughout their production.

FLAME 2018

Using Render Passes in Action - Flame 2018.3
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 includes using multi-channel GLSL Matchbox shaders for a variety of post processing effects.

3D Round Tripping with FBX - Part 4 - Maya 2018.1
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 applied to the Shader node when the FBX is imported into Flame. You also have the ability to apply EXR images as textures maps that will embedded in the FBX and correctly applied in Flame.

Finally, this video continues the trend of maintaining a scene-linear workflow, so ensure you set both Flame and Maya to work in Scene-linear Rec709/sRGB.

3D Round Tripping with FBX - Part 3 - Flame 2018.3 Update
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 textures to any baked materials that you'd like to tweak further in Flame.

3D Round Tripping with FBX - Part 2 - Maya 2018.1
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 fix a model's UV mapping. You will also refine a few meshes to make them look better. And don't forget clients may also want changes to the 3D geometry. This video will conclude by exporting the 3D scene as a FBX to be round-tripped back to Flame.

3D Round Tripping with FBX - Part 1 - Flame 2018.3 Update
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 the 3D application to fixing or tweaking. You'll end off exporting a FBX with the various settings and go through what is supported via the round tripping workflow.

Action Selectives - Part 7 - Applying Selectives to 3D Composites - Flame 2018.3 Update
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 textures to any baked materials that you'd like to tweak further in Flame.

Action Selectives - Part 6 - Applying Selectives to 3D Composites - Flame 2018.3 Update
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 well as outside of the Selective.

Interactive Playback - Flame 2018.3 Update
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 fix a model's UV mapping. You will also refine a few meshes to make them look better. And don't forget clients may also want changes to the 3D geometry. This video will conclude by exporting the 3D scene as a FBX to be round-tripped back to Flame.

Motion Warp Tracking - Part 8 - Stabilisation Workflow - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 7 - Being Creative with Motion Vectors - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 6 - Being Creative with Motion Vectors - Flame 2018.3 Update
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 and get creative with the results.

Motion Warp Tracking - Part 5 - Dealing with Difficult Shots - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 4 - Tracking Masks with Motion Vectors - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 3 - Tweaking Motion Warp Distortions - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 2 - Multiple Reference Frames - Flame 2018.3 Update
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.

Motion Warp Tracking - Part 1 - Introduction - Flame 2018.3 Update
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 organic-types of materials. For example, it could be used for skin beauty work, tracking fabrics such as clothes, general clean-up work or even other surfaces that may not be flat or have some kind of movement to them. It’s uses are quite broad and it definitely adds to the tracking toolset in Flame.

Action Selectives - Part 5 - Directing Audience Focus with SelectiveFX - Flame 2018.3 Update
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.

Action Selectives - Part 4 - Changing Looks with SelectiveFX - Flame 2018.3 Update
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

Action Selectives - Part 3 - Working with Multiple Selectives - Flame 2018.3 Update
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 editor.

Action Selectives - Part 2 - Multiple SelectiveFX Shaders - Flame 2018.3 Update
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 with the priority editor.

Action Selectives - Part 1 - Introduction - Flame 2018.3 Update
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 if you use Flame for look development.

In part 1, we’ll discuss the Action Selective fundamentals and you’ll go through a simple example to get you started with this great new workflow.

Editorial Copy Cuts - Flame 2018.3 Update
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.

The 360 VR Player - Flame 2018.3 Update
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 media and view it correctly.

This video will show you all the controls you have with the 360 VR player.

Exporting Multi-Channel OpenEXRs - Flame 2018.3 Update
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.

Analyzing Images with Scopes - Part 2 - Flame 2018.3 Update
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.

Analyzing Images with Scopes - Part 1 - Flame 2018.3 Update
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.

Projectors - UV Tracking and Shading - P3 - Flame 2018.3 Update
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.

In part 3 of this series, we will complete the workflow with the Flame 2018.3 Update by outputting the matte of the projection combined with the UV tracking.

Projectors - UV Tracking and Shading - P2 - Flame 2018.2 Update
This video continues with the Projector UV tracking functionality in Action.

Part 2 shows you how to track projections on an extended bicubic surface. You would use the same workflow if you were using the deform mesh functionality in Action. This workflow is slightly different than projecting onto 3D models so this video is worth watching.

We also talk about the workflow of applying animation and keyframes before using the Projector UV tracking to ensure it works correctly.

Projectors - UV Tracking and Shading - P1 - Flame 2018.2 Update
In this video you’ll learn about some of the enhanced UV tracking and shading that you can now use with Action Projectors in the Flame 2018.2 Update.

This will definitely help you with various texture projection tasks as well as motion graphics type work.

Look Development with CDLs - Flame 2018.2 Update
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.

Centralizing Colour Management - Flame 2018.2 Update
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!

Masking and the Region of Interest - Flame 2018.2 Update
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, Gmask Tracer Node and Action.

Localization with Segment Connections - Flame 2018.2 Update
Localization is a daily task in post production. This refers to preparing a timeline for delivering a multitude of different versions of a production.

These versions could be different languages, graphics or footage. In addition to localizing the production, you could also have multiple versions of a timeline as different deliverables. For example a common scenario at the end of a production, you could be tasked with delivering a 10, 15 and 20 second version in English, a 10, 15 and 20 second version in French and maybe a 10, 15 and 20 second version in German.

So localization and versioning is quite a big subject in almost every production And the tools in the Flame 2018.2 update give you enough flexibility to set up your initial localizations, management them as you build the different versioning and still keep things connected to make last minute changes.

We’re going to cover all of these points in this video.

Customizing Paint Brushes - Flame 2018.2 Update
This video shows how you can customize a paint brush in desktop paint.

You can save these brushes as custom presets and load them into any project to use in either Desktop Paint or Batch Paint.

Colouring Segments - Flame 2018.2 Update
This video show you how to colour your segments in the sequence.

You can colour code your all your segments with your Flame user or you can apply specific segment colouring through the contextual menus.

This is a great functionality to track any segments in the sequence or if you just want to define each type segment with a different colour.

This visual usability tool should be useful in all your Flame projects.

Marker & Segment Marker Durations - Flame 2018.2 Update
In this video we’ll look at the setting marker durations using the Flame 2018.2 update.

So now you can set marker durations over areas of the sequence as well as segment marker durations within a segment.

Working with Python Scripting - Flame 2018.2
This video highlights the new Python Scripting in the Flame 2018.2 Update.

This initial implementation mainly affects the Batch node compositing in the Flame products. So you are now able to automate a variety of tasks when integrating within a facility pipeline. This includes running a python script when launching Flame.

There is also additional functionality to execute python scripts while Flame is currently running which allows you to validate python scripts directly in the Batch flow-graph as well as apply certain functions to help move things along.

We’ll examine some scenarios but our main focus will be applying the general Python workflow.

Please note that you will already need to understand the basic fundamentals of programming with Python scripting.

If you want the detailed breakdown of all the available Python functions and attributes, please visit the Flame Online documentation.

Open Clip - Part 3 - Live Update With Open Clips - Flame 2018.2 Update
This video picks up from part 2 when you have just conformed a sequence using Open Clips.

At this point if you want to start versioning your media, you have two choices. If the media already exists, than you will use the Multi-version Open Clip. If the media does not exist yet and you want to create a place holder that can be monitored for media, than you will use the pattern Open Clip.

The pattern Open Clip scenario is more common as new versions are typically introduced as the production progresses. So this will be the main focus of this video.

Open Clip - Part 2 - Import as Open Clip - Flame 2018.2 Update
In this video, you start your way through the key stages of accessing the Open Clip workflow.

This video takes you through an example of creating Open Clips on import with the new Open Clip Creator. So you can create Open Clips without any scripting knowledge and get started straight away.

Open Clips are treated as regular media clips when working in the Flame applications. So you can import, Conform, Edit and apply VFX using Open Clips.

Open Clip - Part 1 - Introduction - Flame 2018.2 Update
In this video, you are given an introduction to the Open Clip Workflow in the Flame Products.

The Open Clip allows you to version external media within your master timeline. So as new versions are delivered from other applications, CGI or VFX, you can choose to use these new versions or automatically update the Open Clips to reflect the latest version of the media.

The Flame 2018.2 Update introduce a new easy way to create open clips without any scripting knowledge allowing anyone at any skill level to take advantage of this powerful workflow.

Export Lists - Flame 2018.2 Update
In this short video, we’ll take a quick look at how you can now export different lists from the Flame 2018.2 Update.

This can be really useful when working in the Flame products and you need to provide your producer or client with a list of various details from Flame.

You can export any list view from Flame as an XML text file. This includes the file browser, Media Panel, Conform Events, Markers view and even the animation tables.

Just ensure that you look at the tables in list view and you will be able to export them through the contextual menu.

Versioning with Connected Conform - Part 3 - Flame 2018.2 Update
Part 3 continues the Connected Conform Workflow and production progresses with the VFX.

You’ll now start using Batch to create a more complicated composite with node based compositing.

This will cover proper shot naming for VFX work as well as the Smart Replace function for automatic shot replace when rendering and replacing the same VFX media across all the sequences in the Connected Conform.

And perhaps you might receive another version of the edit that also needs to be added to the Connected Conform even after the VFX work!

Versioning with Connected Conform - Part 2 - Flame 2018.2 Update
Part 2 picks up from where you left off at Part 1 where you conformed the first edit in Flame and created the Connected Conform.

Shortly after a new version of the edit was supplied and this was added into the Connected Conform.

Now you’ll start adding standard VFX to all the sequences using the Shots Sequence.

This allows you to apply the VFX once and it affects all the sequences within the Connected Conform. And, as always… you will get revised edits of the production at any point and you’ll deal with that when it happens.

Versioning with Connected Conform - Part 1 - Flame 2018.2 Update
In this set of videos, you'll experience the Connected Conform Workflow with an enhanced usability through the Flame 2018.2 Update.

The Connected Conform workflow allows you to share the same sources and VFX across multiple timelines. So if you're working on any production that has multiple versions or cut downs of an edit, you can make changes anywhere and all your sequences will remain in sync.

The 2018.2 update now allows you to add more edits to the Connected Conform even at different stages of production.

It would be nice to receive everything at once but realistically you get your first edit and more sequences get added as time moves on. So you'll be learning how to handle this situation.

Customising the Action Contextual Menus - P2 - Flame 2018.2 Update
In this video, you'll learn how to add items to the Action Contextual Menus by editing the XML text files.

A great example of this is making your favourite matchbox shader available through the Action contextual menu.

The contextual or right-click menus were introduced in the Flame 2018.2 Update and hopefully they have increased your usability and speed when working in the Action 3D compositor.

Work Faster with Action Contextual Menus - P1 - Flame 2018.2 Update
One of the most powerful VFX toolsets in the Flame Products is the Action 3D compositing environment.

Action allows you to seamlessly blend two-dimensional images and 3D-models in an environment that has traditionally been node driven for maximum flexibility. So typically, your interaction would be a mixture of node bins and connecting nodes in the Action schematic. This is a fast and flexible way to work. But through the integration of the new Action contextual menus in the Flame 2018.2 update, you can work even faster by performing multiple operations with fewer clicks.

These selection sensitive contextual menus will give you all the options you need in a right-click as well as hidden functionality that used to only be accessible through keyboard shortcuts. This will benefit all Flame artists at any skill level.

Trimming Multiple Segments - Flame 2018.1 Update
In this video, you’ll learn the correct workflow to trim multiple segments in the sequence simultaneously.

Trimming multiple edits comes down to selecting the segments correctly and not selecting the cuts or transitions between the edits.

You’ll also learn how to select multiple segments in the sequence using the Timeline Search window.

Creating a 3D model inside Flame 2018 - Part 14
Part 14 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper covers the end result of the Action setup and the animation process is discussed. He then shares some custom settings and tips to optimize your scene to be more interactive while you are working with your geometry and creating key frames.

Creating a 3D model inside Flame 2018 - Part 13
Part 13 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper walks through of the Camera FXs and Shadow Cast tool used to create the end result.

Creating a 3D model inside Flame 2018 - Part 12
Part 12 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

In this video Alper shows how he modeled the smaller dials in the center of the watch.

He also covers how he used expressions to alter the size of multiple geometries at one time.

Creating a 3D model inside Flame 2018 - Part 11
Part 11 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper models the larger dials in the center of the watch and uses the Replica tool to create multiple versions then how to duplicate the setup.

He also covers how to alter the Gmask shape to model and refine the highlight parts of the dials.

Creating a 3D model inside Flame 2018 - Part 10
Part 10 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper shows how he modeled the watch hands and then he goes into more detail of how he used Camera FXs such as Ambient Occlusion, Depth of Field and Reflections.

Creating a 3D model inside Flame 2018 - Part 09
Part 9 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper show how he modeled the buttons on the right side of the watch and then he explains how he made adjustments of the steel roughness, the dirt, the surface imperfection and rust parameters to achieve the final look for the button.

Creating a 3D model inside Flame 2018 - Part 08
Part 8 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper shows how he modelled the buttons on the left side of the watch and then explains how he used multiple Substance PBR’s to create the look of the buttons.

Also covered is how to create a parent-child hierarchy to control the position of the button on the outside of the watch

Creating a 3D model inside Flame 2018 - Part 07
Part 7 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper explains how he used a still image with the Gmask tool to create the inner ring of the watch.

He explains how he used a gradient and a displacement map to model the shape of the ring.

Then he covers how he used Substance Noise to create the image for the reflections in the 3D scene.

Creating a 3D model inside Flame 2018 - Part 06
Part 6 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper uses multiple open Gmask shapes to create the metal case of the watch.

He then shows how he used a metal Substance PBR preset and refine it’s setting.

Then he introduces Depth of Field Camera FXs.

Creating a 3D model inside Flame 2018 - Part 05
Part 5 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper moves on to modeling the Flame logo with 3D Shapes and multiple Gmask.

He explains how to create a holes in the 3D Shape with Gmasks to complete the logo.

Creating a 3D model inside Flame 2018 - Part 04
Part 4 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper uses a still image as a reference to create the number 12 that appears at the top of the watch with 3D Shapes.

He will also repurpose the Substance PBR from the at last video to apply a material onto the number 12.

Creating a 3D model inside Flame 2018 - Part 03
Part 3 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper continues to use the 3D Shape tool to model the indicators on the left side of the watch and introduces the Replica tool to create multiple geometries from one.

Also covered are Substance PBR and Image Based Lighting.

Creating a 3D model inside Flame 2018 - Part 02
Part 2 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper explains how he used the 3d Shape tool to model the base of the watch.

He also covers Substance Textures, Lights with Shadow Cast and Ambient Occlusion to refine the 3D scene.

Creating a 3D model inside Flame 2018 - Part 01
Part 1 of 14 - Flame tutorial series by Alper Oktay, Flame Artist, Imaj Post Production in Turkey.

Alper introduces himself and what will be covered in the tutorial, based on his 2016 Submission for One Frame of White.

Slipping Media under a Timewarp - Flame 2018.1 Update
In this short video, we look at how to slip media under a Timewarp TimelineFX.

Normally when it comes to a speed change, speed ramp or timewarp, if you have to slip the source media, any applied VFX animation to the segment is also slipped with the footage.

That might be fine in most cases if you want to change the start point of your media and keep the VFX animation in sync to the source media. However there are times when the VFX keyframe animation starts at the right time but the footage does not.

So there is the requirement to slip or slide the underlying media but not the keyframe timing of the timewarp.

This quick tip shows you how to do that!

Sharing Media with Sequence Publish - Flame 2018.1 Update
In this extended video we discuss the fundamentals of Sequence Publish for sharing media from Flame to external 3rd party applications.

Sharing media can refer to the source media but it can also include any media caching or renders done in Flame. So when it comes to sequence publishing, media is being source from multiple locations to give you the most comprehensive sequence sharing experience possible.

This advanced level video covers the sequence publish process as well as detailed explanations as to how each of the options affect the sequence publish. Ultimately this will allow you to output your sequence to the rest of your facility to establish a collaborative workflow for a variety of tasks including VFX shot distribution, media grading, media versioning and much more!

We also discuss media linking at the operating system level to create multiple links to the same media dataset which can be much faster as well as better manage your disk space when performing a sequence publish.

Keeping Informed with Markers - Flame 2018.1 Update
This video will run through the updated functionality with Markers and Segment Markers in a clip or sequence.

These redesigned tools will help you stay informed when working with a sequence as well as carrying over a wealth of information when importing sequences from other editing applications.

Burn-in Marker Info - Flame 2018.1 Update
When working in Flame, you can use all the new Marker functionality to keep track of your work within the Flame Products.

However there is always the scenario when your producer or client is not around and you need to send them a draft version of the sequence.

Now you can already burn information into the image using the burn-in metadata tool and this can provide details such as tape name, timecodes, segment information etc.

In the Flame 2018.1 update, you can now burn marker information into the image as part of the burn-in metadata layers.

Batch Paint - Consolidate Update - Flame 2018.1 Update
In this update video on Batch Paint, we’ll run through the updated workflow using the consolidate feature when painting brush strokes on a canvas.

This was introduced in Flame 2018 but it has been modified in the Flame 2018.1 update for technical reasons and user feedback.

Customizing Keyboard Shortcuts - Flame 2018.1 Update
This video takes you through the workflow of using the Keyboard Shortcut Editor to customize your own shortcuts or hotkeys.

In the Flame 2018.1 update, the workflow has been updated to clarify the shortcuts in new categories. The on-screen keyboard has also been updated to dynamically show you what keystrokes are available for newly assigned keyboard shortcuts.

This new built-in functionality should make assigning keyboard shortcuts much easier than previous versions of Flame.

Part 10 - Exporting and Archiving in Flame
This video is part of the Beginners Guide Series to the Flame Family.

In the final video of the series, part 10, you learn all about exporting your production from Flame as well as archiving the project as a backup if you need to access all the data at some point in the future.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution

Part 9 - Batch Compositing in Flame
This video is part of the Beginners Guide Series to the Flame Family.

In part 9, This extended video will take you on a journey of working with the Batch Node-based compositing in the Flame Family.

You’ll cover an overview of the different workflows you can adopt when working in Flame as well as a variety of tools to get the job done.

Topics include working with nodes, compositing, rotoscoping with Gmasks, keying with the Master keyer, pixel effects with the Matchbox GLSL Shaders, degrain, regrain, tracking and the Action 3D compositor.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 8 - TimelineFX and Colour Correction in Flame
This video is part of the Beginners Guide Series to the Flame Family.

In part 8, you’ll learn about Timeline FX which allow you to add Effects directly on the clips in the timeline and the transitions to the cuts. You can add both Video and Audio FX. There is an array of tools that you can access in the Timeline FX to modify your media.

You will also get an introduction to various colour correction tools in Flame as well a variety of Timeline compositing options.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 7 - Timeline Colour Management in Flame
This video is part of the Beginners Guide Series to the Flame Family. In part 7, you’ll get a basic introduction of Colour Management in the Flame Family.

You’ll learn how to colour manage the conformed edit from the previous video as well as dealing with colour management in the Batch node based compositing environment.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 6 - Conforming In Flame
This video is part of the Beginners Guide Series to the Flame Family.

In part 6, you look at the traditional workflow of taking an edit from another 3rd party editing application and rebuilding it (also known as conforming) in Flame.

You will normally be given an edit-decision-list which could be an EDL, XML or AAF and you would be given access to the accompanying media to rebuild the timeline.

In some cases, you can also be supplied with a movie reference to ensure the rebuilt edit matches what was originally done in the other editing application.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 5 - Gestural and Timeline Editing in Flame
In part 5, you’ll learn about the various different way of editing in the Flame Family.

Desktop editing allows you to work with clips on multiple reels and visually assemble them in a film style fashion. This interactive and gestural experience makes handling clips easy and fun.

Timeline editing is a more traditional workflow of editing where you have a timeline and you can edit material into the sequence.

Both editorial methods simply represent the same edit in a variety of ways so you can go back and forth between them to tackle whatever task you encounter.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 4 - Importing Media Into Flame
This video is part of the Beginners Guide Series to the Flame Family.

In part 4, you’ll learn all about importing media into the Flame workspace via the MediaHub. This includes caching, custom settings and basic colour management settings.

You’ll examine the various import methods as well as organising and colour coding the Media Panel for ease of use.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational Institution.

Part 3 - The Flame User Interface
This video is part of the Beginners Guide Series to the Flame Family.

In part 3, you’ll learn all about the Flame interface and how its unique artist friendly nature enables one to work in a very intuitive and free way. Being able to effortlessly move between the Desktop Editing Reels, the Timeline and the Batch Compositing gives the artist complete freedom to create and finish the project, using state of the art tools, to the highest standard.

For Compositors and VFX Artists having constant access to all the Project’s Media,the Desktop Reels and the Timeline is invaluable as one can organise the work and view the shots in the context of the sequence.

The ability to retouch images, create comps, add VFX and motion graphics offers the Editors a newly found freedom to finish the project for the final delivery.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational institution.

Part 2 - Create a Project and User in Flame
This video is part of the Beginners Guide Series to the Flame Family.

Part 2 show you how to create a new Flame project and a new Flame user.

You’ll go through the various details to set up a project as well as how to manage multiple project within the Flame Workspace.

You’ll also learn about creating a Flame users and how it can influence the way you work in the Flame family.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational institution.

Part 1 - Introduction to Flame
This video is part of the Beginners Guide Series to the Flame Family.

Part 1 introduces you to the Flame Family of products. Flame is a unique high-end VFX software that can handle the entire postproduction process from Editing, Colour Correction, VFX, Compositing and Motion Graphics, all the way to delivery.

It has been the primary choice of advertising agencies and film directors for the creation of high-end VFX and the finishing of their films for more than twenty years.

PLEASE NOTE: Media only available when attending training via an Autodesk Training Centre or Autodesk Recognised Educational institution.

Isolation with Object IDs - Flame 2018
This video looks at using Object IDs generated from a 3D composite as a means of further refining your images.

This requires your Object ID data-pass to be at least 16-bit float point. You’ll learn how to generate an Object ID pass in the Action compositor as well as two workflows using Object IDs in the Flame products.

The first workflow occurs in Batch and uses a Matchbox GLSL shader node to use the Object IDs when isolating parts of the comp in the node flow graph.

The second workflow occurs in Action when generating Object IDs and using it as a selective with post processing CameraFX. So similar to Batch, you can isolate objects within the Action 3D comp based on their Object ID without having to leave the 3D compositor.

Action - Tri-Planar Mapping - Flame 2018
This video features a new texturing technique for 3D geometry called Tri-Planar Mapping.

This mapping technique allows you to create seamless organic texturing with minimal stretching over the 3D geometry. This can be used for a wide variety of texturing requirements. This is achieved by mapping the texture three times on the X, Y and Z axes of the model and than blending the textures together for a clean texture.

You might be using this great texturing technique more than you think!

Conforming Sequences - Part 2 - Advanced Conform - Flame 2018
This video series shows you the conforming workflow in the Flame 2018 Products.

These workflows particularly apply to Flame and Flame Assist. Part 2 shows a more advanced conforming workflow when no media links to the conformed sequence.

This could be for a variety of technical reasons. But through the use of Match Criteria, the events list as well as continuity checking, you should be able to take on very tricky conforms and link their media.

Conforming Sequences - Part 1 - Basic Conform - Flame 2018
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.

Licensing the Flame Family - macOS Network License
Join us for this step-by-step tutorial as we walk you through how to license your Flame Family application by setting up a License Server, on macOS.

Applies to Flame version 2018 and upwards.

Licensing the Flame Family - macOS Serial License
Join us for this step-by-step tutorial as we walk you through how to license your Flame Family application with a valid Serial Number, on macOS.

Applies to Flame version 2018 and upwards.

Licensing the Flame Family - Linux Network License
Join us for this step-by-step tutorial as we walk you through how to license your Flame Family application by setting up a License Server, on Linux.

Applies to Flame version 2018 and upwards.

Licensing the Flame Family - macOS Single User License
Join us for this step-by-step tutorial as we walk you through how to license your Flame Family application with a Single User License, on macOS.

Applies to Flame version 2018 and upwards.

Reconnecting Media with Path Translation - Flame 2018
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 containing the media rather than unlinking and relinking one clip at a time.

Scene Detection - Flame 2018
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!

Using the Colour Sampler - Flame 2018
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.

Review and Approval Workflow with Flame 2018 and Shotgun
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.shotgunsoftware.com/signup

Customizing with Segment Renaming - Flame 2018
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.

Updating a Segment Connection - Flame 2018
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 together in multiple timelines.

In Flame 2018, this workflow has been further enhanced by having the ability to duplicate multiple copies of a connected segment in a sequence using the videos tracks and this can be synced with the rest of the sequences.

This allows you to keep previous instances of your connected segments as you further develop the content.

You could than flick between the video tracks and segments if you had to choose between them.

Desktop Paint Updates - 16-bit and Viewport Updates - Flame 2018
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.

Batch Paint - Part 4 - Animating Strokes Over Time - Flame 2018
In part 4 of the Batch Paint Series, you'll learn how to animate brush strokes over time.

This can be useful for writing text, revealing matte, image clean up and loads more creative tasks.

In other applications, this may be known as Stroke or Write-On.

Previously this functionality was only available in Desktop Paint. With the Flame 2018 products, it's now available as a Batch Paint option.

Batch Paint - Part 3 - Editing and Animating Paint Strokes - Flame 2018
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.

Batch Paint - Part 2 - Editing a Paint Stroke Duration - Flame 2018
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.

Batch Paint - Part 1 - 32-bit support, paint tools and updates - Flame 2018
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.

32-bit Float Support - Part 2 - Action - Flame 2018
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.

32-bit Float Support - Part 1 - Media Management & Batch - Flame 2018
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.

Batch Paint - Part 1 - 32-bit support, paint tools and updates - Flame 2018
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.

Learn insider tips and tricks for Autodesk Flame today

FLAME 2017

Maya for Flame Artists - Part 1 - Introduction - 2017x1
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.

Maya for Flame Artists - Part 2 - Maya Basics - 2017x1
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.

Maya for Flame Artists - Part 3 - Optimizing the 3D Scene - 2017x1
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.

Maya for Flame Artists - Part 4 - Exporting the FBX - 2017x1
In Part 4, we will go through the process and settings for the FBX export, as well as compare the optimised FBX agains the original version.

If you would like to follow along, please go to part 1 to get the link to download the media. grouping and combining.

All essentials get a more efficient 3D scene in Flame.

Working with CGI Multi-Channel Media - 2017x1
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.

Connected Conform Workflow - Syncing with Source Segment Connection - 2017x1
In Flame 2016 Extension 1, we introduced the concept of the Connected Conform Workflow allowing you to keep multiple sequences synced together.

The Shots Sequence allows you drive synced sequences for Batch Group VFX, Versioning, VFX Shot Distribution and scalable collaborative workflows.

However in a lot of cases, there is just the requirement to have sequences simply synced together.

So in Flame 2017 Extension 1, a new Connected Conform Workflow called Source Segment Connection has been added to link segment metadata across a bunch of sequences without creating a shot sequence.

Action PBR - Using PBR Shading - Part 1 - Flame 2017x1
In Part 1, we’ll start looking at Physical Based Rendering in Action.

The point of Physical Based Rendering (PBR) is that it simulates the natural interactions of light rays and real world materials.

This allows for consistent and predictable results with textures even if the lighting conditions are changed in the 3D environment.

Action PBR - Shader Node & PBS Map - Part 2 - Flame 2017x1
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.

Action PBR - PBS Map Examples - Part 3 - Flame 2017x1
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.

Action PBR - Using Baked Indirect Lighting with PBS Maps - Part 4 - Flame 2017x1
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.

Action PBR - Procedural Textures with Substance PBR - Part 5 - Flame 2017x1
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:
- Substance Source:
- Substance Share:

Action PBR - PBS Map Examples - Part 3 - Flame 2017x1
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.

CM - Part 1- Introducing Flame Colour Management - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

Part 1 discusses the overall theme of Active Colour Management and starts to introduce the concepts of Colour Policies, Tagged Colour Spaces, Input Rules and Viewing Rules. We’ll also run through project creation, the colour policy presets as well as a explanation of the new Colour Management preferences.

CM - Part 2 - Colour Managing Imported Media - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

In part 2, We’ll run through the functionality of colour managing media as its imported into the Flame Products. This will include Colour Space Tagging, Auto-conversions and the import rules.

CM - Part 3 - Viewports and Tagged Media - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

In part 3, we’ll look at how the viewport functions as well as the viewing rules which influence the viewports. So once the media has been tagged or auto-converted to a colour space, the viewports react to the colour space metadata and auto-adjust to display the clips correctly. This is all based on a set of viewing rules in the colour management preferences.

CM - Part 4 - The Viewing Rules - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

In part 4, We’ll go straight into the viewing rules to examine how it drives the viewports behaviour based on a clip’s tagged colour space. We’ll discuss how the rules function as well look at the workflow of setting up viewing rules for specific media.

CM - Part 5 - The Simple Linear Workflow - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

In part 5, we’ll recreate the Simple Linear Colour Managed Workflow. This workflow mimics other applications that use a Linear workflow by only applying de-gamma and re-gamma operations. Please be advised that even though this may be considered common practice, it is not technically accurate in terms of the colour science when you are working with camera Raw, Log, or EXR sources which typically have values well above 1. A more appropriate Linear Workflow would be to use the ACES workflow which is covered in part 6.

CM - Part 6 - ACES 1.0 Colour Management - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

In part 6, we’ll run through how to use ACES in your workflow. ACES is the new SMPTE standard for colour science developed by the Academy and this should allow you to composite with mathematical accuracy on top of great looking results. Please bear in mind that the ACEs 1.0 is more suited to working with CGI, log and camera native formats. So if all your media is already output-referred REC709, the Simple Linear Workflow policy may be a better fit which you can see in part 5.

CM - Part 7 - Colour Managed Exporting - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

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.

CM - Part 8 - Legacy Colour Management - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

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.

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 you used to work in previous versions of Flame.

If you are someone who is actively using colour management then this video is not for you.

CM - Part 9 - Custom Views, Displays and Input Transforms - Flame 2017x1
This videos series covers the new Colour Management in Flame 2017x1.

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.

Action - Importing 3D Geometry - Part 1 - Flame 2017x1
In part 1 of importing 3D Geometry in Flame, we look at the redesigned import workflow. This includes the new read file functionality which allows you to link directly to an external 3D model.

This could be either an FBX or Alembic file and through its general settings you could perform general post import operations like caching, 3D scene refresh and overall 3D geometry behavior in the Action composite.

Action - Importing 3D Geometry - Part 2 - Flame 2017x1
In part 2 of importing 3D Geometry in Flame, we expose the structure of the 3D scene using the new Action schematic grouping functionality and see what’s possible with a soft-linked file.

We’ll also look further into caching and committing this 3D data so that it is properly managed by Flame in the production.

Action PBR - PBS Map Examples - Part 3 - Flame 2017x1
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.

Action - Schematic Improvements - Flame 2017x1
In this video, we are going to cover some general improvements to the Action Schematic.

This will affect the way you select nodes, move them around, and copy and paste them.

We’ll also finish off with a new node kissing functionality which will make your life a lot easier when assigning lights and shaders to geometry in the Action 3D scene.

Action - 3D Scene Navigation - Flame 2017x1
In this video, we'll go through the updated 3D composite navigation controls in the Flame 2017 Extension 1 products.

This will give you a much more fluid experience when working in Action when moving around the 3D environment.

Faster to use and standardised with Autodesk Maya!

Action - Object Selection and Display - Flame 2017x1
In this video, we will go through some of updates to object selection as well as object display in the viewports in Action.

When combining all these updates together, the general usability should allow you to work more comfortably in the Action 3D environment.

Action - Axis Objects and Manipulators - Flame 2017x1
In this video, we are going to cover the changes to the on-screen AXIS object in the Action 3D compositor.

This will give you added gestural control when working in any 3D composite which is a much more visual way to manipulate objects… without relying too much on the interface controls.

We’ve also adjusted the look and feel to match Autodesk Maya allowing for a more refined experience if you are working between these different applications.

Action - Schematic Grouping - Flame 2017x1
In this video, we are going to focus on updated grouping functionality in the Action schematic.

This will allow you to better organize your flow graphs when there are a lot of objects and you want to make the flow graph more manageable.

Batch - General Enhancements - Flame 2017x1
This video will cover some of the smaller but significant enhancements to Batch.

This includes new copy & paste functionality, selection standardization, notes and rendering custom and iterations versions numbers to track renders to their iterated flow graphs.

Bigger features such as the Compass, Elbow node, start frame and more will be covered in the other Batch specific videos.

Batch - Offsetting the Start Frame - Flame 2017x1
In this video, we’ll cover how to offset the start frame in Batch and the implications of this functionality in Flame.

It’s really easy to do but you must now take into account animation keyframes, expressions and appending batch setups with different start frames.

Batch - Keyframe Indicators - Flame 2017x1
In this video, we will look at some new key frame indicators available in Batch.

This will allow you to quickly identify nodes with key frame animation and expressions in the Flame without having to go looking in the animation editor.

Batch - Schematic Clean Up - Flame 2017x1
In this short video, you’ll learn about the new clean up functionality in the Batch Schematic. This will help you tidy your flow graphs in certain scenarios.

Batch - The Compass Node - Flame 2017x1
In this video, we are going to have a look at a new grouping and organizational tool available in the Batch node compositing environment. This is known as the “Compass” and it’s available in Batch, BatchFX and the Modular Keyer.

Batch - The Elbow Node - Flame 2017x1
In this video, we are going to look at a new node in the Batch Schematic that will help you keep your flow graphs organized.

This node is known as the “Elbow” node and it replaces the old break link functionality from previous versions of Flame.

Batch - The Import Node - Flame 2017x1
In this video, we are going to look a new mechanism for importing media directly into Batch.

Now you might be thinking that we already have something that does that. However, the old functionality was severely limiting when it came to the Flame database, media management and general usability.

We’ll draw some comparisons for long term Flame Artists but this is a major improvement on what was previously there.

The RAM Player - Flame 2017x1
In this video, you learn how to use the RAM Player functionality in Flame 2017 Extension 1.

The purpose of the RAM player is to give you a massive performance enhancement when your system’s configuration may not be up to the task.

Resizing the List View Thumbnails - Flame 2017x1
In this video, we look at resizing the thumbnails when using the list view.

This is applicable when working in the Media Panel… as well as the MediaHub within all the Flame 2017 Extension 1 products.

Timeline Smart Replace - Flame 2017
Watch this video on the new Timeline Smart Replace Workflow in Flame 2017. This allows you to replace shots in the sequence even faster without having to align up matching frames in order to replace media and keep the sync.

For example, you matches out a segment in the sequence, performed some VFX work and now you want to replace it back in the sequence. Smart Replace analyses duration and timecode in order to intelligently replace synced media in the sequence.

This functionality is not available for Swap Shot between clips. This is designed for replacing media in the sequence.

Action - Mixing Lens Flares with CameraFX - Flame 2017
In this video you’ll learn how to include lens flares within the CameraFX post processing pipeline inside of Action.

In other words you can decide whether lens flares or light rays are affected by any Matchbox CameraFX you apply within Action.

We’ll examine the benefits of both scenarios.

TimelineFX Player Icons - Flame 2017
In this video, we cover the new ability to adjust icons and widgets in the player at the sequence level.

So if you like to use gestural actions to adjust setting in the viewer, you no longer need to do it in a VFX editor.

Making adjustments at the sequence level is a massive timesaver with fewer menus to navigate.

Connected Conform Workflow - Track Filtering - Flame 2017
This video introduces track filtering on the Connected Conform Workflow.

This allows you to choose which tracks in a multi-sequence conform will be considered for the sources sequence and shots sequences. For example with the sources sequence, if you only need the video tracks to be linked at the source media level, than you can filter out any audio tracks when creating the sources sequence. This is quite common if you are only working on video and the audio will be mixed elsewhere.

Create exactly what you need in the sources sequence and shots sequence with track filtering.

Particles 101 - Part 1- Intro and Emitter Types - Flame 2016 EXT 2
The concept behind this series is to cover the basic components and workflows when it comes to using 3D particles.

Part 1 gives a brief introduction and shows how to set an easy particle workflow.

You also learn about the three types of object that are capable of emitting particles.

Particles 101 - Part 2 - Line & Point Particle Types and Settings - Flame 2016 EXT 2
Part 2 starts going through the particle types starting with Lines and Points.

We also cover the standard generator settings that can influence the particles in a number of ways.

By the way, the settings react differently to each particle type so its worth taking a look.

Particles 101 - Part 3 - 3D Geometry Particle Types and ParticleDraw - Flame 2016 EXT 2
Part 3 carries on with the particle types covering the different types of 3D Geometry that can be used as particles.

We’ll also cover using custom 3D geometry as particles using the ParticleDraw naming convention.

As before the particle parameter settings react differently to each particle type so keep an eye on this.

Particles 101 - Part 4 - 3D Generating Textured Particles with Quads & Squares - Flame 2017
Part 4 covers two particle types that can be used with particle generation. Quads and Squares.

We go through each particle type as well as apply diffuse textures to particles.

Great particle types for using 2D image textures as particle sprites which can be used for motion graphics and atmospherics.

Particles 101 - Part 5 - Bouncing and Deflecting Particles - Flame 2017
Part 5 introduces the particle bouncer object for deflecting, bouncing and eliminating particles.

We go through the workflow of adding a particle bouncer to the Particle Flow Graph as well as adding a Particle Bouncer as a Virtual Object or Image surface. Particle Bouncers are not supported as 3D objects including 3D shapes.

We go through the different properties as well as combine multiple particle bouncers in a single particle flow graph for added control.

Particles 101 - Part 6 - The Gravity Manipulator - Flame 2017
Part 6 shows you how to apply the manipulator to the particle flow graph as well as select the gravity option.

We will cover the gravity direction as well as the difference between position influence and speed influence when applying a manipulator to particles.

Finally a quick show of how to combine a particle manipulator with a particle bouncer for added effect.

Versioning with Segment Connect - Flame 2017
This video shows how to use the new Segment Connect in Flame 2017.

This functionality allows you to have multiple copies of a segment that can be across a sequence or numerous sequences that are all synced together.

For example if you are using the same clip or gap clip across multiple sequences, any changes you make can affect the clip or gap clip over all the sequences.

This is a massive time-saver for loads of use-cases including versioning! Just so that you know, the Segment Connect is independent from the Connected Conform Workflow.

This will work across multiple independent sequences as long as they are in the same Reels Group. This makes it quick and easy to use.

Matchbox Texture Grids - HUD Graphics with a Custom Grid - Flame 2017
This video picks up from the previous video covering the Matchbox Texture Grid Shaders. In this video you learn how to create some easy HUD graphics by customizing the GLSL code and XML files of the Matchbox Texture Grid shader.

The changes are required in order to accommodate grids and tiles that are a different resolutions as well as increase the number tiles available in a grid image.

The grid and tiles can be any resolution you want and filled with anything from graphic elements to text, titles or logos. Just remember to update the GLSL code and XML to be aware of the changes.

Matchbox Texture Grids - Customizing Basics - Flame 2017
This video expands on the concepts of the Matchbox Texture Grid Shaders.

You may already have seen these with customizing lens flares with real lens elements but Matchbox Texture Grid Shaders are so much more.

Learn to easily customize the texture within a Matchbox Texture Grid shader for so many different uses including branding logos, titles, graphic elements and more.

This allows you to change elements in your flow graph with the click of a button instead of re-importing and manually replacing a texture.

Connected Colour Workflow - Part 1 - Flame 2017
This video series covers the Connected Colour Workflow which is specifically designed for Colourists or Flame Artists who are in the middle of a grading session and may need perform VFX work such as a quick retouch, sky replacement, title or any VFX related work. This work may not need to be off loaded to another workstation or VFX artist.

Part 1 introduces the workflow between Lustre and Flame.

This shows how you can take a shot in Lustre and launch into directly into the Flame (Flare or Flame Premium) compositing environment. The grade metadata automatically comes into the Batch as a node. The grade cane applied to the source media as well as the composite in the context of Flame. Finally, you can return back to Lustre with the rendered VFX, Batch Setup and Grade Metadata.

This is a data connection between the applications allowing an artist friendly workflow.

Connected Colour Workflow - Part 2 - Flame 2017
Part 2 takes a closer look at the Lustre node in Batch and how it affects the SOFT versus BAKED state of the grade metadata after working in Flame.

Connected Colour Workflow - Part 3 - Flame 2017
Part 3 goes through each of the products to see how they handle the grade and VFX metadata that is generated by the Connected Colour workflow.

In all instances, you will be able to repurpose data as well as create presets that can be applied without having to switch between applications every time.

Connected Colour Workflow - Part 4 - Flame 2017
This video series covers the Connected Colour Workflow which is specifically designed for Colourists or Flame Artists who are in the middle of a grading session and may need perform VFX work such as a quick retouch, sky replacement, title or any VFX related work. This work may not need to be off loaded to another workstation or VFX artist.

Part 4, we examine another common production scenario during a grading session where by you’ve been given an updated cut of the editorial and you need to update the Lustre timeline as well as carry over all the grade and VFX information.

The Viewports - Home and Fit - Flame 2017x1
In this video, we’ll examine some of the enhancements made to the viewports in Flame.

This main covers the Home and new FIT functionality when looking at media.

The viewports should now react more predictably with general interaction.

Connected Colour Workflow - Part 3 - Flame 2017
Part 3 goes through each of the products to see how they handle the grade and VFX metadata that is generated by the Connected Colour workflow.

In all instances, you will be able to repurpose data as well as create presets that can be applied without having to switch between applications every time.

Action Updates & CameraFX series

The Live Preview Viewer - Flame 2017
This video will cover a major new improvement to Action known as the Live Preview Viewer.

This is a pixel-based “What-You-See-Is-What-You-Get” viewer and will give you accurate representations with all Action processing effects including Matchbox, Lightbox and the new post processing CameraFX tools.

So even when working in Action, everything you see is actually the final render. This has major implications for all aspects of Action.

This also allows for icons in the context view and timeline views.

Please note that the old 3D view no longer shows any shader or processing effects, you need to be looking through the Live Preview with the Flame 2017 products.

Updated Outputs - Flame 2017
In this video, we cover the redesigned Output menu in Action which now supports Render Layers and Render Passes.

Similar to other Autodesk 3D Applications, you now define a Render Layer and assign multiple render passes to the Render Layer.

Managing Render Passes is much more efficient compared to previous versions of the Flame Products.

The types of Render Passes have also been increased and they are covered in detail in this video.

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CameraFX - Part 1 - Flame 2017
Part 1 of this set introduces a new post processing pipeline in Action called CameraFX.

This pipeline allows you to create all different kind of processing effects including Ambient Occlusion, Depth of Field, Motion Blur, Blooming, Reflections and the list goes on. This can all be done without leaving Action.

We look at the pipeline as well as an example highlighting the workflow with a multi-layered 3D composite with 2D images.

CameraFX - Part 2 - Flame 2017
Part 2 of this set carries on expanding on the new CameraFX post processing pipeline.

We’ll look at how the CameraFX work with all kinds of objects in the 3D scene including 3D geometry.

We’ll also take a good look at the Stingray Matchbox shaders for some amazing post effects that are based on modern gaming technology.

Shadow Casting Updates - Flame 2017
In this video, we are going to take a look at the shadow casting enhancements in the Action 3D compositor.

We’ll discuss the improved shadow quality as well as the invisible shadow receiver and caster functionality.

This will make things much easier to get a perspective accurate shadow matching the background plate in one Action.

Useful for image integration and motion design work.

Working with Lens Flare Presets - Flame 2017
This video covers the new Lens Flare Preset Workflow making it less disruptive to work with Lens Flare presets in Action. It is also so much easier to make your own custom lens flares and share them within your facility and Flame Community!

Customising Lens Flares - Flame 2017
This video covers Lens Flare Customization.

The lens flares are very flexible through the use of procedurally generated textures to create tons of customizations.

But did you know that you can also use real lens textures to give your composites accurate photo-realism when it comes down to the lens used on the shoot.

Cycle Wireframe Icons - Flame 2017
This short video discussing the adjusted functionality when it comes to displaying icons in Action.

Instead of just toggling the wireframe icons on and off like previous versions of the Flame Products, the wireframe icon display is now on a cycle between showing all icons, only the selected icon or turning off icons.

This means less time spent in the Action preferences menu to choose the selected mode.

This also works when using the contextual views in Batch, BatchFX and the Timeline Context Viewer when working in a TimelineFX.

Burn-In Metadata / The New Colour Picker / Loading into Reels

Burn-In Metadata - Flame 2017
In this video, we’ll look at the workflow of the new Burn-In Metadata tool in the Flame 2017 Products.

This replaces the old Burn-In Timecode which is no longer available in the application.

With Burn-In Metadata, you have access to loads more information you can burn into an image and it’s also more customizable the the retired Burn-In Timecode.

One final big benefit is that Burn-In Metadata is now available as a TimelineFX, as a node in Batch and BatchFX and as a separate module in the Tools Area of the Desktop.

So its accessible every-where when you need it.

The New Colour Picker - Flame 2017
In this video, we are going to take a look at the new colour picker available in the 2017 version of the Flame Products.

This functional tool is constantly used on a regular basis for anything colour related and has now received a well deserved redesign.

The old colour picker is now officially retired and has been replaced with a new expanded colour picker that is modern and very flexible.

Loading into Reels - Flame 2017
This video covers a redesigned workflow brought back to the Flame 2017 products.

New load buttons have been added to the Reels allowing you to load material from a free floating Media Panel.

Depending on your working style, this is a quicker alternative to always manually swiping the Media Panel on and off screen when loading media.

Batch Group Improvements / Batch Workflow Updates

Batch Group Improvements - Flame 2017
In this video, we’ll cover a range of improvements from Batch Group behaviors, new preferences and enhancements to Batch Iterations.

These improvements are all based on user-feedback and hopefully they will be extremely helpful in production.

This includes non-expanding Batch Group loading, copy vs move clip between groups, customising the Batch Setup and Iteration path, Iteration improvements and append original name.

Just as a side node, we briefly discuss using Python to customise the Batch Setup and Iteration Paths on a facility wide level.

Batch Workflow Updates - Flame 2017
In this video, you’ll learn about the new customisable Dual Monitor functionality in Batch and other tools. The secondary monitor can now display other views aside from the Media Panel. This is a really great way of maximising a dual screen configuration.

We also look at some new interface customisation in Batch that allows you to hide the Batch controls to get even more screen space for working in the viewer.

Finally, you learn about the new DESK and MEDIA PANEL nodes for fast gestural loading of media without have to manually call up the Media Panel or Reels to access the media.

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Media Panel Enhancements

part 1 – Flame 2017
In this video, we will look at the dual panel functionality, creation dates and avoiding duplicate entries.

This is video 1 in the series, that examines Media Panel Enhancements, introduced based on feedback from users like you, on the previous version of Flame Products.

part 2 – Flame 2017
In this video, we will look at the new global and localized sorting options.

This is video 2 in the series, that examines Media Panel Enhancements, introduced based on feedback from users like you, on the previous version of Flame Products.

part 3 – Flame 2017
In this video, we will look at the addition of advance searching, within the media Panel.

This is video 3 in the series, that examines Media Panel Enhancements, introduced based on feedback from users like you, on the previous version of Flame Products.

Media Hub & File Management Updates

Media Hub & File Management Updates
In this video we’ll cover some of the updates to the MediaHub in Flame 2017 product line.

These small but useful enhancements should improve your usability experience with media handling in Flame.