The Flame Learning Channel

In this video, you’ll learn how to cache Motion Vectors that have been generated in the Flame 2022.1 update. This includes motion vectors that have been generated for tasks such as 3D tracking or motion warp tracking. So you’ll cover how to cache motion vectors, re-use Cached motion vectors in other composites and address how the Motion Vectors cache is handled in the Timeline.

In part 8 of the 3D Tracking series with Camera Analysis, you'll learn how to perform manual 3D tracking. You’d usually resort to this when the automatic 3D track struggles with a shot or the 3D trackers don’t lock onto the specific point you’d like. So you’ll cover how to set up the camera analysis for manual 3D tracking, manually place and track your points, create the Scene Tracker Axis from Camera Analysis and finally attach an object as part of your composite.

In part 7 of the 3D Tracking series with Camera Analysis, you'll learn a cool technique of using 3D tracking in an existing composite. This allows you to combine any work you may have done previously with any 3d tracking data from the Camera Analysis. So you’ll cover how to set up the camera analysis for this kind of situation, perform the 3D track and assign the tracking data to an axis instead of a camera. You would then add scene trackers to compose the additional elements into the existing composite.

In this video, you’ll learn about some of the new enhancements to the Gmask Tracer tools in Flame 2022. This affects the Gmask Tracer, Image Toolset and Action 3D compositor. So you’ll cover Gmask Creation and Manipulation, discover the new softness options and get to grips with improvements to the Gmask Edit box. Please see the on-line documentation for the other additional improvements to the Gmask Toolset in Flame 2022.

In this video, you'll learn how to set up the Effects Environment to start the way you want! Perhaps always start off with a certain TimelineFX or a particular setup you’d like to use when starting a new Image, Action or Gmask Tracer TimelineFX. This is new to Flame 2022. It so easy to set up custom default TimelineFX and custom default setups for Image, Action and the Gmask Tracer. This also affects the Batch nodes which is covered in the last section of this video. Big timesaver to start with exactly what you want!

In this video, you’ll cover the new capability of loading LUTs (Look Up Tables) directly in the Image and Action tools within Flame 2022. This new matchbox shader gives you enhanced capabilities of having your LUTs directly in the grading context. The LUTs can also be used as part of the creative process when working with Selectives to isolate a part of your image. So you’ll cover loading LUTs in the Effects Environment, using LUTs within a Selective isolation, loading the LUTs in the Batch node flow graph, changing the colour space tagging output and how your LUTs are backed up once you’re finished with the project. The Colour Management shader supports a whole range of Colour Transforms, so please check the on-line documentation for a list of supported formats.

In this video, you’ll start learning all about the new 3D camera tracking tools in Flame 2022. This new technology uses “simultaneous localization and mapping techniques” better known as SLAM 3D tracking, and it should help you tackle most 3D tracking challenges directly in Flame. This could be adding objects into a scene, clean-up work with projections, set extensions and more. This works in all colour spaces provided that your tracking plate is correctly tagged and colour managed. And like all 3D trackers, the camera needs to be moving in the shot and any parallax will definitely help solve the camera’s movement. This video serves as your high-level introduction into the new 3D tracking and the upcoming videos will dive deeper into the toolset and showcase various scenarios.

In the first part of this series, you learnt the standard workflow to set up the Camera Analysis and perform a 3D track. In this video, you’ll pick up just after performing the first analysis and look into all the different refinements and validations to get the best 3D track. So you’ll look at what information you get just after the analysis, refining the 3D track, hiding unwanted points, defining the ground plane, setting the centre point of the 3D composite and finally, you’ll check the point cloud for 3D accuracy.

In this video on 3D tracking with Camera Analysis, you’ll learn how to exclude certain parts of your image when performing a 3D track. This becomes a necessity when there is any unwanted movement in the shot. For example, moving people, animals, cars or even flowing water. So the best approach is to predict the unwanted movement before the analysis takes place. You’ll first learn the workflow of excluding areas with a mask and then you’ll learn the second workflow of excluding areas with Machine Learning. These are very power tools and both options are worth exploring.

One common task that we do every day as compositors is image clean up. So you need to remove something whether it was intentional or not. So in this video, you’ll learn how to clean up your shots using a combination of 3D tracking and projection. Please bear in mind that these techniques can also be used to add objects into the shot. So you’ll start off with looking at the shot and creating a clean frame. Next, you’ll analyse the camera movement for the 3D track. And finally, you’ll produce the cleaned-up shot by projecting the clean frame either over a flat 3d shape or 3D geometry generated by the point cloud.

In part 5 of 3D tracking with Camera Analysis, you are going to learn the workflow of locking your background plate to the 3D tracked camera. This is quite essential if you want to integrate elements behind foreground objects such as sky replacements or set extensions. So you’ll start off performing the 3D camera track, adding in the additional elements and then locking the tracked shot to the 3D camera.

In this video, you’ll learn about selective grading through a 3D track. So you’re able to analyse the movement of an object based on the 3D camera move and then grade that object using a combination of masks and Selectives. So you’ll cover 3D tracking in the Image toolset, prepare the tools to grade through a 3D track, create the 3D tracked mask to apply to the Selective and finally perform the Selective grade on the inside and outside of the mask. Please note that even though this video shows grading with 3D tracking in the Image Toolset, this is also possible using the Action 3D Compositor.

In this video, we are going to talk about an exciting new technology in Flame that lets you stream your video and audio outputs without the need for dedicated video hardware. This is called NDI (NETWORK DEVICE INTERFACE) and it has the potential to simplify workflows within your studio as well as enable remote workflows between you and your clients for an incredible review and approval experience. So we’ll discuss a bit more about NDI, how to set it up in Flame and how to use it in various workflows such as in the same building and even remote review and approval with your clients!

In this video, we are going to look at the exciting new improvements when grading in Flame with the Tangent ARC Panels. Now working with control surfaces or panels is not new to the Flame products. But with the introduction of the Effects Environment, Image toolset and the MasterGrade, the way the panels work has been redesigned to give you the most pleasant and effective grading experience. So we’ll break down the typical grading workflow and go through the various everyday tasks using the ARC panels. Please note that some of these improvements also apply to the Tangent ELEMENT panels.

In this video, we are going to look at the exciting new improvements when grading in Flame with the Tangent ELEMENT Panels. Now working with control surfaces or panels is not new to the Flame products. But with the introduction of the Effects Environment, Image toolset and the MasterGrade, the way the panels work has been redesigned to give you the most pleasant and effective grading experience. So we’ll break down the typical grading workflow and go through the various everyday tasks using the ELEMENT panels. Please note that all of these improvements also apply to the Tangent ARC panels.