What's New in Flame Premium 2016

Welcome to Autodesk Flame Premium 2016. This release introduces many new creative features, performance and workflow enhancements, and other user-requested improvements. Follow these links to navigate to the sections below:

Note: Follow these links for other What's New information from the 2016 release:

What's New in Proxy Workflows

New options are available to provide a more flexible proxy workflow, that eliminates scaling in the viewers and broadcast monitor. If proxies are generated for media when you create your project, you can now dynamically toggle between full resolution and proxy resolution using the Proxy Quality box.

The Proxy Quality box is available everywhere there is a viewer in proxy-enabled projects. The following options are available:
  • Full Resolution: Media is displayed at full resolution.
  • Proxy: Media is displayed at proxy resolution.
  • Proxy On Scrub: Media is displayed at proxy resolution only when scrubbed.
Tip: Toggle between Full Resolution and Proxy using the Ctrl+P keyboard shortcut.

The Proxy Quality options allow adjustments to the display quality in order to increase system responsiveness. This can be useful when a project progresses and the effects pipeline requires heavier computation. When proxy resolution is selected from the menu, the media is displayed at full frame size, but the quality is reduced by showing fewer pixels that are larger in size.

Project Migration & Restore

Options for creating proxies have been revised. Fixed width proxies, variable bit-depth proxies, and proxies conditional to bit-depth are no longer available. The number of proxies size options has been reduced to 1:2, 1:4, and 1:8.

The following scenarios apply if you migrate or restore a pre-2016 project which uses: fixed width, variable bit-depth proxies, proxies conditional to bit-depth, a non-standard proxy size, or a combination of these. In each case, a message detailing the application's behaviour is displayed, and you are prompted to confirm.
  • Fixed Width Proxies
    • Migrating a Project: When migrating a project with fixed width proxies, the migration is aborted. This is because unsupported proxies have already been generated for that project. To workaround this limitation, you can create a new project in Flame 2016 and wire your media from the old project to the new. Supported proxies can be generated in the new project.
    • Restoring a Project: When restoring a project archive with fixed width proxies, proxies are regenerated at 1:2 resolution.
  • Variable Bit Depth Proxies
    • Migrating a Project: When migrating a project with variable bit-depth proxies, the existing (variable bit depth) proxies are used.
    • Restoring a Project: When restoring a project archive with variable bit-depth proxies, proxies are regenerated at the bit depth of the original media.
  • Conditional to bit-depth Proxies
    • Migrating a Project: When migrating a project with proxies conditional to bit-depth, the existing (variable bit depth) proxies are used.
    • Restoring a Project: When restoring a project archive with proxies conditional to bit-depth, proxies are regenerated unconditionally to the bit depth.
  • Non-standard Proxies Size
    • Migrating a Project: When migrating a project with non-standard proxies size , the existing proxies are used.
    • Restoring a Project: When restoring a project archive with non-standard proxies size, proxies are regenerated at the closest supported resolution (1:2, 1:4, or 1:8).

Rendering

Some rendering options have also been updated to accommodate this enhanced proxy workflow. There is a new Resolution box in the Basic tab of the Render and Write File node menus, which offers two options:
  • Working Resolution: Renders the media at the current working resolution. If the current working resolution is set to Proxy, Batch renders at proxy resolution. If the current working resolution is set to Full, Batch renders at full resolution. This is the default option.
  • Full Resolution: Forces Batch to render at full resolution, regardless of the current working resolution.
Tip: These options are also accessible in the Render List tab under the Resolution column.

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What's New in MediaHub

This new version improves the MediaHub.

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What's New in Media Import

Added support for the new Panasonic VariCam 35 and HS by supporting the following formats:

Added support for the new Canon XF-AVC codec.

Improved support for Sony camera formats:

Improved support for ARRIRAW media:

Other improvements:

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What's New in Export

You can now for export as Sony XAVC (MXF OP-1a):

Other media export improvements:

You can now perform exports in the foreground.

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What's New in Conform

This release improves support for Apple Final Cut Pro X and Avid Media Composer.

Support for Apple Final Cut Pro X 10.2:

Support for Avid Media Composer 8.3 AAF:

Miscellaneous Conform improvements.

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What's New in Colour Management

Flame Premium uses the latest version of Autodesk Colour Management (also known as SynColor).

Inverting Colour Transforms

Using the Custom mode of the LUT Editor, you can invert an imported colour transform, and invert individual colour transforms in a custom transform chain. For example, this allows you to convert content from ARRI LogC and other colour spaces to a single working space such as linear Rec. 709 or ACES, and convert back to ARRI LogC for grading and finishing.

The Invert option is available in the following:
  • Media Hub (Import, Export).
  • LUT Editor.
  • Batch (LUT Editor, Clip, Read File, Render, Write File).
  • LUT Timeline FX.

The Colour Transform Builder now has an Invert column. To invert a single transform in a chain, click in the Invert cell next to the transform you want to invert.

When importing content using the Use LUT options, the selected LUT or Colour Transform options become Preprocessing options that can be edited from the Timeline FX editor. In addition, these parameters are shared with Lustre when content is imported in Source Grading mode, or when no Timeline FX are applied to the timeline segment.

Note: You cannot directly invert a LUT or Colour Transform that is applied to the display, but you can load a custom Colour Transform file that contains one or more inverted LUTs or Colour Transforms and apply it to the display.

Some colour transforms are impossible to invert perfectly. This happens when they map multiple input colours to the same output colour, such as when transforming from a large space to a smaller space. It is analogous to the fact that you cannot convert from a 12-bit signal to 8 bits and back to 12 bits again without data loss. In these situations, the Invert option maps the original output colour back to one of the original input colours, but applying the forward transform followed by the inverse transform will inevitably change some colours.

To check that the inverse is as accurate as possible, compare the result of applying just the forward transform to the result of applying the forward transform, followed by the inverse transform, followed by the forward transform again. If they match, then the inverse is accurate within the range of colors that may be inverted.

Copying and Inverting Colour Transforms

In Batch, Batch FX, and the Modular Keyer, you can use the Shift+T+click combination to copy Colour Transformation settings from one node to another while toggling the Invert option.
  1. Set the Colour Management attributes in any node that supports them (i.e., Clip node, LUT Editor, Render node, Write File node, etc.).
    • Make sure that a colour transform or a custom chain of colour transforms is selected.
    • Make sure that Custom is enabled.
  2. If you haven't already done so, add another node that supports the Colour Management attributes.
  3. Make sure that the destination node is selected.
  4. Press Shift+T and click on the node that you want to copy Colour Management attributes from.

New Colour Transforms

  • There are new colour transforms to support ACES 1.0.
  • There are new transforms to support the following camera formats:
    • Canon LOG
    • Panasonic VariCam 35 Vlog
      Note: LUTs from Panasonic VariCam 35 cameras (.vlut files) are not supported. However, CDL files created in-camera can be imported using the Custom mode of the Colour Transform Builder.

New View Transform Presets

When creating a new project, the following Colour Transforms are automatically included in Preferences > LUT > 3D LUT & Colour Transform.

Enabled keyboard shortcuts:

  • Alt-Shift-1: transforms/tone-map/PhotoMap_LC.ctf
  • Alt-Shift-2: gamma/apply_sRGB_encoding.ctf
  • Alt-Shift-3: gamma/apply_2.40_gamma.ctf

Consider using PhotoMap_LC instead of the default Linear viewing option for viewing linear content. It is a tone-mapping transform with S-shaped curves for a photographic response.

Enhanced 3D LUT Support

3D LUT files with cubes larger than 17×17×17 are now supported, for both integer and floating point values, and can be loaded either as 3D LUTs or as Colour Transforms. These include LUTs generated for the following products:
  • Adobe After Effects (.cube)
  • Adobe Speedgrade (.cube)
  • Apple Color (.mga)
  • Assimilate Scratch (.3dl)
  • Blackmagic Design HDLink Pro (.3dl)
  • Blackmagic DaVinci Resolve (.cube)
  • Cine Tal (.3dl)
  • Eyeon Fusion (.3dl)
  • Filmlight Baselight (.cube)
  • Pandora (.m3d)
  • Pomfort SilverStack (.lut)
  • The Foundry Nuke (.cube)

Blend Modes and HDR Values

All tools using blend modes such as Screen, Overlay, Softlight, Hardlight, Exclusion and Pinlight have been updated to produce better results with HDR colour values. In particular, they will no longer create image corruption, and will retain as much out-of-range colour information as possible. This might affect the results of previously saved projects.

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What's New in Publish

It is now possible to export a sequence as an FCP X XML file with more details than in the previous release. See Publishing a Sequence.

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What's New in Project Management

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What's New in Timeline and Timeline FX

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What's New in Batch and Batch FX

Batch Groups

Flame Premium 2016 introduces Batch Groups, integrating the Timeline, the Desktop Reels, and the Batch creative environment. Each composition in Batch is assigned its own Batch group, and there is no limit to the number that can be created. A Batch group contains three default components:
  • Schematic Reels: This Reel group contains all the sources for the schematic and its associated setup (the latter is invisible to the user).
  • Batch Shelf: This Reel group contains clips that have been added to the parent Batch group but are not stored on the schematic reels. This includes rendered clips, or associated media not yet added to a Batch pipeline.
  • Iterations Folder: This folder contains all of the saved Batch iterations. Iterations are dynamic snapshots of the Batch environment that can be used to save and share specific stages or versions of ongoing work along with all of their media.

Each new Desktop contains a single Batch group containing three schematic reels by default. A Reels group can also be added using the contextual menu or created automatically by enabling the Create Reel Group button. Additional Schematic reels, Reels groups, and Batch shelves can be automatically generated with new or cleared Desktops by setting the User Interface Preferences.

For more information about working with Batch groups in conjunction with other reels and libraries, see Organizing Media in the Workspace and its sub-topics.

Saving, Loading and Renaming Batch Groups

Batch groups can be renamed by selecting and then clicking the name again, or by using the contextual menu. In addition, iterations of Batch can be automatically named and incremented by adding tokens in the Rename Batch Iteration window. For more information, see Saving Work using Batch or Batch FX Iterations.

You can customize the default naming of Batch groups by using tokens in the Timeline FX / Batch / Batch FX Preferences.

Batch iterations can also be renamed directly within the Batch Interface in the Save / Load setup area.

The legacy workflow for saving and loading setups (ASCII / XML files written on disk) uses the name defined as the Current Batch. Token information is saved inside the setup file. In addition to the Load and Append and Load and Replace options, it is now possible to load a setup as a new Batch group, using the Load and Create option, which is now the default option (Load button).

Iterations

Unlike their predecessors Batch snapshots, Batch iterations are not saved in a directory at the root of the Desktop. Instead, each Batch group contains an Iterations folder, which contains all the saved iterations for that group. The Iterations folder is hidden by default in the Media panel. You can enable its display in Preferences > General > Media panel or by using the contextual menu of the Batch group.

Alt-click the Iterate button to replace an existing iteration with the current, identically named Batch.

For more information on saving and restoring iterations, see Saving Work using Batch or Batch FX Iterations.

Batch FX

Batch FX has been updated to work alongside Batch groups. However, these differences apply:
  • A Batch FX clip created in Batch preserves the legacy Schematic reels structure in its Batch FX setup.
  • It is possible to create as many Schematic reels as you like to organize clips in a Batch FX. However, it is not possible to represent them in a Desktop Reels view.
  • A Batch FX does not have a Batch shelf and its iterations are not directly attached to the Batch FX structure in the Media panel like a Batch group.
  • Previously, Batch FX Snapshots were added to the Batch Snapshots folder of the current Desktop, making them more prone to change or deletion. For better security, a Batch FX Iterations Library is created in the Libraries section of the Media panel and a Batch Group is created for every Batch FX name. This Batch group contains the current iterations.
  • Iterations of the current Batch FX appear in the BFX tab of the Media panel.
The following changes have also been made to the Batch FX naming scheme:
  • The BFX Output Node and Batch FX (Media Panel) inherit the timeline segment name by default.
  • Renaming the BFX Output Node automatically renames the segment at the timeline level and the Batch FX (Media Panel).
  • Renaming the timeline segment automatically renames the BFX Output Node and the Batch FX (Media Panel).
  • Batch FX can be renamed directly in the Media Panel, like a Batch group.
  • The name given to the Batch FX is used in the Iteration's <batch name> token.
  • Once you have explicitly modified the Batch FX name, it is no longer automatically updated when you modify the timeline segment and BFX Output Node names.

Rendering

The Render node offers a number of new features, such as setting the destination and creating new reels and reel groups during the operation. For more information, see Render Node Settings. Render nodes can also now be automatically named and incremented by adding tokens to the Name field or by setting the Default Render Node Name in the Timeline FX / Batch / Batch FX Preferences.

Undo / Redo

Improvements have been made to the Undo / Redo workflow.
  • All tabs (MediaHub, Conform, Timeline, Batch, Tools) now share the same Undo / Redo stack.
  • The application automatically switches tabs to place the user in the context of the last Undo / Redo operation when needed.
  • The Replace Desktop, Clear Batch, and Clear Desktop operations are now undoable.

Adaptors

This release introduces Adaptors to automatically apply the proper bit depth conversion(s), when you bring media into Batch or Batch FX. This greatly reduces the number of mismatches (red dots on nodes), without the need to manually convert anything.

See About Adaptors.

Other Batch and Batch FX Enhancements

  • You can now add break points in a Batch, Batch FX or Modular Keyer schematic connection, allowing you to shape the connection between two nodes (to clean up the schematic view, and avoid links crossing each other). See Creating Break Points in Node Connections.
  • You can now set a default name for the Render and Write File nodes:
    • To define a name for one user, use the Default Render Node Name and Default Write File Node Name fields located in the Timeline FX / Batch / Batch FX tab of the Preferences panel.
    • To define a name based on your own criteria, use the batchDefaultRenderNodeName and batchDefaultWriteFileNodeName python hooks, located in /usr/discreet/<installed_application>/python/batchHook.py.
  • The following nodes now have extra indicators in the schematic view (under the node):
    • MUX: Timing Offset value and the Range.
    • Clamp: Clamp Mode.
    • Comp: Blending Mode.
    • Coloured Frame: Mode.
    • Mono: Channel.
    • Render: Range.
    • Write File: Range.
    Note: The visibility of these indicators can be enabled or disabled in the Batch or Batch FX Preferences.
  • The following enhancements apply to the MUX node:
    • Hidden MUX links are now shown in a semi-transparent manner when the MUX node is selected.
    • The Timing Offset field is now keyframeable inside the MUX node.
  • The Open and Open as Sequence options have been added to the Clip Node Contextual menu.
  • The Comp node has been updated so that its usage is similar to the (retired) Logic Ops node:
    • The order of the inputs in the Comp node is now front-back-matte-backmatte.
    • The colour of the back input is now green instead of red.
    • The keyboard shortcut for Back (previously Input 2) is F2 instead of F1.
  • CBlend and MBlend nodes are now available in Batch and Batch FX. See Blend Nodes.
  • It is now possible to search for a specific node type in the Batch, Batch FX or Modular Keyer schematic. See Searching for Nodes in the Schematic.
  • The Batch, Batch FX and Modular Keyer central (Tools) node bins have been merged with the Project / User bins to provide more room to display nodes. Additionally, you are now presented with a rename window when you drop something into the Project and User bins.
  • The tape name is now visible and editable from the Render node and the Render List. A horizontal scrollbar is also now available in the Render List table, when needed.
  • The Explode History and Explode One contextual menu options are now available from a Clip Node, when applicable.
  • The Reveal in Reels (contextual and keyboard shortcut) operation is renamed to Find in Reels. Also a new Find in Schematic (contextual and keyboard shortcut) operation is available.

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What's New in Action

Accessing Action from the Tools Tab

  • When accessed from the Tools tab, Action now has a performance comparable to the performance of Action in Batch, providing better interactivity.
  • When accessing the Action module from Batch or from the Tools tab, Action direct layers are supported in a Save or Load setup operation.

Action Media List

The Action Media list structure has been converted to a Batch processing pipeline, offering better performance and more functionality. The effects and tools in the Media list appear (from left to right) in the order that Action processes them.

Some highlights:

  • The Colour Warper and the Colour Corrector now appear as separate effects in the Media list.
  • You now have the option to enter the full Blur editor from the Media list. By using the X and Y Blur fields, you perform a Gaussian blur. To perform other blur types, double-click the new Blur field to enter the full Blur editor.
  • You can use the new Lock field in the Media list to lock media at a certain frame.
  • Shadow Softness has been removed from the Media list, and can now be found directly in the Shadow menu, allowing you to set shadow softness by object, instead of by media.
  • All the animation channels of Media list effects are now exposed at the Batch level (with the exception of the Modular Keyer).

See Action Media.

Matchbox in Action

Matchbox shaders can now be accessed directly in Action. You can use the Matchbox node to enter the browser to select your Matchbox effect, or use the new Matchbox tab in the Action node bin to select specific Matchbox effects. See the Node Bin Improvements section below.

See Matchbox in Action.

Action Lightbox

Introducing a new Action node: Lightbox. Lightbox is based on the OpenGL Shading Language (glsl) programming language and the Matchbox UI framework. A Lightbox node, once parented to a Light, allows a casting of fragment-based colour effects through the light cone, respecting every aspect of Light behaviour, including shading, decay, and feathering.

Lightbox effects can be created by users to use in Action, or to share with other Flame Premium users (a number of preset and example shaders are also available). For this reason, a Lightbox API is available at http://docs.autodesk.com/flamepremium2016/shader_builder_api_guide_2016.pdf, that allows you to access Action scene information (such as distance, normals, camera position, and other 3D environment variables).

See Lightbox.

Action Node Bin Improvements

In Action, you can now specify a path where you store your favourite Lightbox and Matchbox shaders, and have them populate a node bin tab that behaves like any other node bin entries. You can specify the default paths in the Shader Paths tab of the Preferences menu. If new shaders are added to the selected file location, click the Refresh button under the node bin to refresh the dynamic display.

Note: The shader paths can also be edited using the Wiretap API, so they could be set by Shotgun, for example.

Action Lights

The shading concept in Action has been enhanced by an explicit ambient lighting scene concept, called Scene Ambient. Scene Ambient lighting can be turned off, have shading apply to the scene, and have its intensity changed via its controls located in the Action Setup menu Rendering tab. You can also turn the Scene Ambient setting on or off in specific Light menus.

Other Action Lighting improvements:

  • A new Shading option per output allows you to quickly remove shading effects for each individual output. The Shading button is available in the Render Options section of the Output menu for all Comp outputs (if the global Shading Active button is enabled in the Action Setup menu).
  • Similar to cameras in Action, you can now set a Free or Target light mode. Select Free to light the scene in the direction that you aim the light, or Target to aim the light at a target object in the scene based on a point of interest. Various settings are available in the Light menu based on the choice of light mode.
  • Lights now have a parametric falloff model that is easier and faster to use than the graphical model. See Using the Light Bevel Curve.
  • Lights now have an Object view (F8), allowing you to see the scene through the point of view of the Light, as if it were a camera.
  • Lights now support Look At links (also available for Action Cameras and Projectors). Look At links can now be animated using the Auto Key function and drawing Look At links in the schematic. This results in a changing Look At destination following the created keyframe. An animation channel is also present to edit the Look At changes. See Applying Look-at Connections.
  • Lights now appear in the Priority Editor, as they no longer create a strictly additive effect. Each light can use the previous result as its processing source with the option Additive Light (in the Light menu), or start back from the original diffuse, using Solo Light. Even without adding Lightbox to the scene, this option makes lights behave differently, according to the order in which they appear in the Priority Editor. See Changing the Drawing Order with the Priority Editor.
  • Action lights now support GMask links, allowing you to constrain the light result (and any connected Lightbox nodes) to a GMask shape.
  • In the Rays menu, a new Target mode allows you position the Rays pivot point offsets based on the parent Light target position.

See Action Lights and Lighting Effects.

Action Camera

  • Cameras now have an Object view (F8), allowing you to see the scene through the point of view of the Camera, without making the camera active.
  • Cameras now support Look At links (also available for Action Lights and Projectors). Look At links can now be animated using the Auto Key function and drawing Look At links in the schematic. This results in a changing Look At destination following the created keyframe. An animation channel is also present to edit the Look At changes. See Applying Look-at Connections.

Action Projectors

  • Similar to cameras in Action, you can now set a Free or Target projector mode. Select Free to project the scene in the direction that you aim the projector, or Target to aim the projector at a target object in the scene based on a point of interest. Various settings are available in the Projector menu based on the choice of mode.
  • Projectors now have an Object view (F8), allowing you to see the scene through the point of view of the Projector, as if it was a camera.
  • Projectors now support Look At links (also available for Action Lights and Cameras). Look At links can now be animated using the Auto Key function and drawing Look At links in the schematic. This results in a changing Look At destination following the created keyframe. An animation channel is also present to edit the Look At changes. See Applying Look-at Connections.

Changes to Source Nodes

Updates to the Action Media list and lighting model have necessitated changes to Source nodes:
  • Source nodes are now applied before any Media list effects. This can lead to unexpected results compared to previous releases. For example, a Modular Keyer effect applied on a media layer is also applied to the Source node. If you do not want to apply the Modular Keyer effect on a Source node, you need to create a new media layer for the source node output.
  • When working with Source nodes, Scene Ambient lighting has no effect. When you add a Source node, a Light node parented to a Camera node is now automatically attached to the Source node. This light is an ambient type, and appears at the same position as the camera (0,0,0).

See Action Source Nodes.

Action 3D Shape and 3D Text

  • A new parametric bevel option is available, added to the previous Bevel, Position, and Rotation options. Parametric Bevel allows you to set the bevel using numeric fields, which is both easier and faster than using the curve.
  • The Force 2-Sided option is now disabled by default in the 3D Shape menu.

Action GMask

A new Blur field is available in the Mask tab of the Action GMask menu. This allows you to set amount of blur applied to the GMask (with or without gradients), and occurs after Smoothing. Both settings can be combined.

Ambient Occlusion in Action

Ambient Occlusion has been improved to give identical results when toggling between Interactive and Rendering modes. An Interactive option has been added to the AO Degrade box in the Action Adaptive Degradation settings, allowing for better interactive performance.

Action Rendering

Enabling the new Scene Linear option in the Action Setup menu Rendering tab forces Action to assume that ALL the material it is managing is scene linear. As a consequence, it linearizes the Substance textures used for Lens Flares and materials. The linearization is a default transform which takes the Substance output into linear Rec709. The status of the Scene Linear option is also available in the Lightbox API.

Action on the Timeline

When working with Action on the timeline, you can now interact with more objects and their settings directly in the quick menu. New options allow you to choose between similar objects (such as multiple lights), and children or parent objects.

Along with Rendering settings, you can now control settings for the following Action objects directly in the quick menu:
  • Axis
  • Surface
  • Light
  • Camera
  • Lightbox
  • Matchbox
  • Lens Flare
  • Lens Flare Textures
  • Blooming
  • Rays
  • Shadow
  • 3D Text
  • 3D Shape

You can now delete all objects from an Action timeline effect (except for the default Camera).

See Using the Action Quick Menu.

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What's New in Matchbox

Many Matchbox enhancement as well as new presets have been added for this release. Also, a new Shader Builder API Guide is available to help you create Matchbox effects at: http://docs.autodesk.com/flamepremium2016/shader_builder_api_guide_2016.pdf.

Some highlights:

See Using Shaders to Create Your Own Effects.

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Miscellaneous Features and Enhancements

License Borrowing

It is now possible to borrow a license from the license server. You can borrow a license seat from the license server for a limited time, disconnect from the network and use the borrowed license even with no connection to the license server. It is available for Flare and Flame Assist, Mac and Linux. For Linux license borrowing is available for single GPU licenses only. The license server must be running the latest server software available with 2016 release. To borrow a license:

  1. From the Help menu, choose Borrow License.
  2. In the Borrow a License dialog, set the number of days after which the license will be automatically returned, and click Borrow.

Optionally you can manually return a borrowed license before the end of the borrowing period:

  1. If you have not done so since borrowing the license, quit and restart the application.
  2. From the Help menu, choose Return License, and click Confirm. This option is only available if your workstation is using a borrowed license.

Preference Updates

  • It is now possible to disable the use of the second monitor, using the Off option in the Flame Premium SetupUtility.
  • The Batch/BFX Iteration Save Setup File preference (formerly called Also Save Batch File) is now enabled by default (and is now also available in Flame Assist).
  • Media Panel preferences have been consolidated under Preferences > General > Media Panel. The Media Panel Position Box (Left Side / Right Side) preference previously located in the User Interface Tab has moved here.
  • By default, Flame renders only the timeline effects required for the sequence. Effects located inside Containers & Matte Containers that are not required are not rendered. Since exchanging content with Lustre might require rendering more content, it is now possible to render all timeline effects located inside containers and matte container. Enabling the Full Container Render option located in Preferences > Timeline > Rendering ensures that all effects are rendered. This option also works foreground rendering, Burn and Background Reactor. This preference is saved on a project basis.

Keyboard Shortcuts Updates

  • A default shortcut assignation was added for Pin/UnPin Reel Under Cursor:
    • Alt+P in Flame.
    • Shift+P in Smoke Classic.
    • Unassigned in Smoke FCP.
  • The Trim to Positioner shortcut is now assigned to P in the Smoke Classic shortcut profile.
  • The Fit in View function is now assigned to Shift-Home by default in the Smoke Classic profile.
  • In the Smoke Classic profile, the Match and Match All keyboard shortcuts are now assigned to / and Ctrl+/ respectively.
  • The Scale Magnet shortcut has been changed from Ctrl+S to Alt+M in the Flame profile, to avoid a conflict with the Save Project shortcut.
  • The Toggle View Widget Show All shortcut has been changed from Ctrl+Alt+W to Ctrl+Shift+W, to avoid a conflict with the Display Tooltip shortcut.
  • An unassigned entry has been added for Delete All Markers.
  • Ripple Delete Segment has been renamed to Extract Segment.
  • It is now possible to add a new Reel above (Horizontal Reels) or to the Left (Vertical Reels) of the current one, using the Add New Reel Above / To the Left shortcut:
    • Ctrl+Click in the Flame profile.
    • Win+Click / Command in the Smoke profile.
  • Note changes to the following Smoke Classic shortcuts:
    • Trim View is now accessible using the F4 shortcut.
    • The Extract Segment shortcut has been changed to . (from Ctrl+.).
    • The Lift Segment shortcut has been changed to Ctrl+. (from Ctrl+Shft+.).
    • The Swap Selected shortcut has been changed to ' (from Shift+').
    • The Swap Custom Transition shortcut has been changed to Shift+' (from ').
  • It is now possible to use the following Media Panel shortcuts from everywhere the Media Panel is available:
    • Save Desktop.
    • Replace Desktop.
    • Reset Desktop (renamed to Clear Desktop).
    • Snapshot Clip (renamed to Save Selected Clip).
    • Snapshot Reel (renamed to Save Selected Reel).
    • Restore and Replace Batch Setup (renamed to Replace Current Batch Setup).
    • Restore and Append Batch Setup (renamed to Append to Current Batch Setup).
    • Open as Batch Group.
    • Append to Current Batch Group.

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What's New in Lustre

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