In part 9, We are going to cover a variety of scenarios where you would customize your viewports, customize your displays as well as customize your input processing using external assets such as custom LUTs, custom Colour transforms and custom monitor profiles. So even though the Flame 2017 Extension 1 products offer a wide range of built-in colour transforms, you can still apply your own LUTs, colour transforms and profiles to create a specific look and feel to your production.

In all the preceding videos we went through a lot of the new Active Colour Management and we have covered the majority from Colour Policies, to Colour Managed Imports, compositing in a common colour space And finally colour Managing an export. Now this is all great to know but we do understand that sometimes there may not be the need to use Colour Management. So part 8 is just for those of you who want to understand enough about the new colour management tools to turn them off and match the way you used to work in previous versions of Flame. However, if you are someone who is actively using colour management Than this video is not for you.

In part 7, we run through the workflow of colour managing your final exports. This is the same process for all colour managed workflows. So we’ll look at the scenario as well as the tools available to meet your deliverable requirements.

In part 6, we’ll run through how to use ACES in your workflow. ACES is the new SMPTE standard for colour science developed by the Academy and this should allow you to composite with mathematical accuracy on top of great looking results. Please bear in mind that the ACEs 1.0 is more suited to working with CGI, log and camera native formats. So if all your media is already output-referred REC709, the Simple Linear Workflow policy may be a better fit which you can see in part 5.

In part 5, we’ll recreate the Simple Linear Colour Managed Workflow. This workflow mimics other applications that use a Linear workflow by only applying de-gamma and re-gamma operations. Please be advised that even though this may be considered common practice, it is not technically accurate in terms of the colour science when you are working with camera Raw, Log, or EXR sources which typically have values well above 1. A more appropriate Linear Workflow would be to use the ACES workflow which is covered in part 6.

In part 4, We’ll go straight into the viewing rules to examine how it drives the viewports behaviour based on a clip’s tagged colour space. We’ll discuss how the rules function as well look at the workflow of setting up viewing rules for specific media.

In part 3, we’ll look at how the viewport functions as well as the viewing rules which influence the viewports. So once the media has been tagged or auto-converted to a colour space, the viewports react to the colour space metadata and auto-adjust to display the clips correctly. This is all based on a set of viewing rules in the colour management preferences.

In part 2, We’ll run through the functionality of colour managing media as its imported into the Flame Products. This will include Colour Space Tagging, Auto-conversions and the import rules.

Part 1 discusses the overall theme of Active Colour Management and starts to introduce the concepts of Colour Policies, Tagged Colour Spaces, Input Rules and Viewing Rules. We’ll also run through project creation, the colour policy presets as well as a explanation of the new Colour Management preferences.

In this video, we look at the enhanced support with the Tangent Panels. This includes updated support for the Tangent Hub 1.3.1 on Linux and MacOS. The Flame Products also support the Tangent Ripple for portability or scaled down capabilities. There is also support for the Tangent Element VS which is a software panel emulator that can run on an iPad or an Android Tablet. This can all be achieved over a local wi-fi network. Installation and custom mapping are covered in this video.