The concept behind this series is to cover the basic components and workflows when it comes to using 3D particles. Part 2 starts going through the particle types starting with Lines and Points. We also cover the standard generator settings that can influence the particles in a number of ways. By the way, the settings react differently to each particle type so it’s worth taking a look.

The concept behind this series is to cover the basic components and workflows when it comes to using 3D particles. Part 1 gives a brief introduction and shows how to set an easy particle workflow. You also learn about the three types of object that are capable of emitting particles.

This 3-part video series covers the topic of Tracking using Exclusive Constraints. This is when foreground detail gets in the way of a 3D or Planar Track and foreground objects need to be excluded. In part 2, we redo the 3D track again however we don’t use the matte for this workflow. Instead we look at using a Gmask Shape as an exclusive constraint for the 3D track. Note that the workflows are different depending whether you use a media matte or Gmask shape with a 3D track.

This 3-part video series covers the topic of Tracking using Exclusive Constraints. This is when foreground detail gets in the way of a 3D or Planar Track and foreground objects need to be excluded. In part 2, we redo the 3D track again however we don’t use the matte for this workflow. Instead we look at using a Gmask Shape as an exclusive constraint for the 3D track. Note that the workflows are different depending whether you use a media matte or Gmask shape with a 3D track.

This 3-part video series covers the topic of Tracking using Exclusive Constraints. This is when foreground detail gets in the way of a 3D or Planar Track and foreground objects need to be excluded. In part 1, we look at 3D tracking and using a supplied matte as a exclusive constraint. We’ll look at the differences using and not using an exclusive constraint as well as the workflow.

This video recreates a scenario where you are trying to track a surface but due to object movement and camera movement, the objects go off-screen, come back on and go off-screen again. So maintaining a decent track is a tricky challenge. This video will show you how to create isolated areas with Action Gmasks to build a reference pattern which will help the planar tracker perform the track. As with all tracking, there is no perfect method but this will certainly get you 95% of the way there followed by some manual tweaking. You also have the added benefit of having your tracking data in an Axis node that allows you to direct the tracking information within the Action composite.

This video covers covers 3D Stabilization. This concept, originally shown by Flame Artist Alan Laterri, using the idea of 3D tracking a shot to determine the 3D depth and than stabilizing the shot by choosing objected based on their distance from the camera. This uses a variety of tools including 3D tracking, 3D cameras and image projection. This might not work all the time but it is certainly another workflow to have to taken on challenging stabilization tasks.

This video covers how to set up standardised naming conventions for Batch VFX Iterations as well as Batch Render Node naming. By default, you have to manually name your Batch Iterations and Render Nodes with your own text or using the Naming Tokens. But if you like maintaining a naming standard within your facility using one or multiple Flame Products and don’t won’t to manually enter the information every time, you can use the Batch Python Hooks to define the naming conventions for every project created on your system. This allows you, other artists and even freelancers to concentrate on the creative and not worry about this aspect of production management. Since you can code Python in so many ways, treat this video as inspirational rather than the definite workflow. Moderate Python and terminal knowledge is required.

This video covers the common situation of working and organising multiple sequences. This can all be done using multiple Sequences Reels in the Reel Group of the Flame Desktop. We’ll cover what a Sequences Reel is, how it differs from a normal reel and how it can affect a production workflow through the Connected Conform. Additionally, we look at the situation of multiple Sequences Reels in a single Batch Group and more. Finally we cover the functionality of filtering opening sequences per reel in order to manage very large projects with tons of edits, cutdown, versions, etc.

This video in the Flame Family Primer series shows you how to move work in any direction between the timeline, BatchFX and Batch using the BFX clip. This is a major time-saver for all jobs as well as giving you total creative flexibility.