The Flame Learning Channel

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.