The Flame Learning Channel

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.

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.

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. For the example regarding the shots sequence, if you are using tracks with segments that do not need linking for VFX work, than you can filter them out as you create the shots sequence for a “VFX” sequence that is linked to all the conformed sequences. A great example is if you like to keep an off-line reference in any of the conforms and still build the shots sequence, the off-line can be ignored. Create exactly what you need in the sources sequence and shots sequence with track filtering.

The concept behind this series is to cover the basic components and workflows when it comes to using 3D particles. 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.

The concept behind this series is to cover the basic components and workflows when it comes to using 3D particles. 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.

This workflow 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.

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.

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 cusotmizing 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.

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.

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.

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. We’ll cover diffuse map texturing as well as the new Matchbox Texture Grid shader to really push the customization of lens flares with real lens element textures.

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!

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.

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 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.

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 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.