In part 1 of the Batch Paint Series, we’ll run through the updates and new functionality added to Batch Paint in the Flame 2018.  We’ll cover the new 32-bit support, new additions to the Paint tools as well a variety of small usability enhancements.

In this video, we are going to look at the updates to Desktop Paint in the Flame 2018 products.  There have been some architectural changes as well as a viewport upgrade.  These improvements should definitely help if you like using Desktop Paint.

In a previous version of Flame, we introduced versioning with the segment connection. This allowed you to create a single segment with content and effects and duplicate this across multiple sequences in the Reels Group. The duplicated segments are linked together even though they exist in different sequences. Any changes you make to any of the connected segments could be synced and updated in all the other sequences within the Reels Group. This a great workflow for keeping specific clips synced together in multiple timelines. In Flame 2018, this workflow has been further enhanced by having the ability to duplicate multiple copies of a connected segment in a sequence using the videos tracks and this can be synced with the rest of the sequences. This allows you to keep previous instances of your connected segments as you further develop the content. You could than flick between the video tracks and segments if you had to choose between them.

In this video, we are going to look at a new naming token when it comes to naming segments in a sequence. This will allow you to set your own start number, define the number padding as well as the increment increase when it comes to the numbering of each segment. This will work in all sequences including the sources sequence and shots sequence if you are using the Connected Conform Workflow.

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.