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.

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 show you how to do that!

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.

In this video, we’ll continue to look at the Gmask improvements and focus on the selection enhancements that affect the Gmask splines and to some degree extended bi-cubic vertices as well. Using a new set of selection rules, it easier than ever before to mask or rotoscope your work without worry about overlapping objects in the composite.

A few versions back we introduced the Action Gmask and Gmask Tracer node in Batch. This masking and rotoscoping tool is built to take on every day post production tasks but there is always room for improvement. Based on user feedback, there have been some enhancements in the Flame 2018.1 update and this will affect Gmask display preferences and general vertex selection. This video will cover the display preferences and another video will cover the vertex selection.

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.

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.

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.

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.

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.