Extraordinary finishing power. More accessible than ever.
Flame software combines extraordinary speed and performance with powerful, intuitive features and functionality—enabling artists to work more creatively, iteratively, and efficiently. Getting started has never been easier. Flame is available for Linux and MacOS, and our new subscription offerings for the entire Flame family of products make it simple for studios to scale up for more complicated projects, and for freelancers to access their own Flame tools—making Flame flexible in terms of integration with existing workflows and business processes.
And now we’re making Flame more intuitive, easier to learn, and better integrated into 3D compositing workflows. Flame 2017x1 software introduces improved workflows with leading 3D applications such as Autodesk Maya software, plus familiar, intuitive 3D navigation—so it’s easier for users new to Flame to get up to speed. A new active color management system tracks color space information for each clip, converting automatically into a chosen color workspace regardless of content source—so artists can spend their time creating instead of manually managing color science. And significant usability enhancements to the Batch node-based compositing environment make Flame 2017x1 software faster, easier, and even more fun to use.
Creative 3D in Flame
Flame 2017x1 introduces a new paradigm for navigating scenes in 3D space inspired by Autodesk Maya—speeding navigation for experienced Flame artists and enabling new users to start creating amazing results faster. New features include Maya-style manipulators for positioning, scaling, rotating, and selecting objects within the Action 3D compositing environment, as well as human-computer interface (HCI) ergonomics that will be familiar to anyone who’s used Maya (e.g., three-button mouse “clutching” functionality).
Enhanced workflows make it simple to import and export 3D assets to and from Flame 2017x1. Artists can collaborate on .FBX and .ABX files across a project or throughout a studio, “soft importing” files and refreshing as needed to view changes on the fly. This version of Flame software also introduces .FBX file round-tripping—so, rather than handing off rendered QuickTime movies, now Flame artists can share actual 3D scenes, with everything from lights and cameras to animated geometries and surface deformations readable by other 3D digital content creation tools. The result: higher quality scenes, faster.
Flame 2017x1 also introduces advanced image-based lighting (IBL) with 60 new Substance PBS textures in Action, and expands Action’s physically based shading (PBS) capability with enhanced Camera FX tools powered by algorithms from the Stingray game engine—enabling artists to work interactively and in real time with high-quality ambient occlusions, scene-space reflections, and motion blurs.
Enhanced render-pass capabilities
Flame 2017x1 introduces native support for multiple channel clips, increasing flexibility and clarity for artists working with .EXR and Photoshop files. Multichannel .EXR clips are treated as a single source, making it simple for artists to selectively access specific channels. Multichannel clips are non-destructively cached during compositing for enhanced performance, and can be archived and restored as a single source with other project media. When working with Photoshop files, artists can choose matte and fill for each layer.
A standard workflow represents clips logically and in context. Batches include a clear number of labeled outputs. In the timeline, multichannel sources are represented as single clip, and it’s simple to access, select, and change visible layer(s).
Connected Color Workflow
Flame 2017x1 builds on the Connected Color Workflow introduced in Flame 2017 with a new color science framework that automates and streamlines workflows with clips of different color spaces. Now Flame supports streamlined active color management, based on the same color science found in Maya. Active color management enables Flame artists to track color space information on a per-clip basis, from source to screen, and automatically choose the correct color science for representing clips in monitors and composites.
Finishing typically mixes source content from different color spaces—from HD video and scene-referred linear light images to logarithmic filmed footage and CG scene linear renders. By automating color management, Flame 2017x1 reduces mistakes due to human error (for example, choosing an incorrect color space), which is a big plus as pipelines grow in complexity.
With its new color-management functionality, plus support for professional HDR monitors from companies including Dolby Laboratories, Samsung Group, and Sony Corporation, Flame 2017x1 supports true HDR finishing. Now Flame artists can deliver HDR masters.
The Flame Experience
Batch-environment usability enhancements
Each new release of Flame focuses on improving the artist experience and increasing productivity. In Flame 2016x1, the focus was on the Timeline and Conforming tools. In Flame 2017, it was Desktop Reels. Since Flame artists spend a lot of time in the Batch/BFX environment, the focus of Flame 2017x1 is on the Batch node-based compositing environment. Specific Batch-environment usability enhancements include the following elements:
• Compass. Now artists can group and organize batch nodes using the Compass—which is great for working with large, complex schematics or organizing functions or parts of a
composite, as well as for executing visual layout on collaborative projects with multiple artists. Artists who’ve used the Backdrop node in Nuke will be familiar with tools like this.
• Auto-framing of viewports and schematics. Now Flame automatically centers and scales viewports and schematics as artists change layouts.
• Customizable start frame for composites. Artists benefit from a more flexible workflow with common pipelines that better accommodate changes.
• Automatic cleanup of schematics. Now Flame can clean up large schematics or selected branches with a single click.
The Flame tradition
Flame has been setting the standard in VFX software for decades. It’s proven and dependable; some of the best artists in finishing rely on Flame. It’s an excellent finishing solution for commercial post-production—which explains why it’s used to finish big-budget projects by some of the best-known names in the business, like Method Studios, The Mill, and Psyop. Now, with Flame 2017x1, artists can work as fast as they think, without sacrificing quality.
For a full list of features included in Flame 2017, visit What’s New in Flame.
Filament Post's Hani AlYousif talks about his work as a Flame artist and the role Flame plays in his pipeline.
Introduction to Flame for Nuke artists
A brief tutorial with courseware providiing an insight into procedural compositing in Flame's batch module. Grab a copy of the free Flame Training Edition here