The Flame Learning Channel

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.

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.

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!

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 For questions about shotgun: support.shotgunsoftware.com

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.

With the release of Flame 2018, we have started to introduce 32-bit Float support throughout the Flame products. The main reason for this is to provide a 32-bit float processing pipeline which includes support for 32-bit data passes. So this allows you import 32-bit OpenEXRs which can be cached as well as processed at 32-bit through specific nodes. And finally, as you output and archive, you can also retain the full 32-bit float quality. This ultimately improves image precision and processing using various high quality media. Please check the Flame documentation for the list of 32-bit capable nodes currently available.

In part 4 of Maya for Flame Artists, we run through the process of exporting a FBX for Flame. We look at all the available FBX settings and what you need. This video concludes with loading the optimized FBX into Flame and comparing it to the original FBX from part 1.

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.

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.

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.

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.

In Flame 2016 Extension 1, we introduced the concept of the Connected Conform Workflow allowing you to keep multiple sequences synced together. This used a workflow of connecting the source media with the Sources Sequence and connecting the segment metadata with the Shots Sequence. The Shots Sequence allows you drive synced sequences for Batch Group VFX, Versioning, VFX Shot Distribution and scalable collaborative workflows. So its a very power tool. However in a lot of cases, there is just the requirement to have sequences synced together without requiring the functionality of the Shots Sequence. 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. This allows you to keep the editorial synced as well as perform TimelineFX and vertical compositing. It is also possible to add more versions or an editorial update of a sequence using this workflow.

In part 5, we discuss Substance PBR which can create procedurally generated textures that can work within the Physical Based Shading model. So if you don’t have a texture and don’t have time to manually create your own, you can use procedurally generated textures to quickly generate a texture that can be used on any 3D objects in the composites. Allegorithmic Resources: - Substance Database: https://www.allegorithmic.com/products/substance-database-monthly - Substance Source: https://source.allegorithmic.com/#/substances/home - Substance Share: https://share.allegorithmic.com

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.

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.