Welcome to Service Pack 3 of 2013 Extension 2, 20th Anniversary Edition.
This service pack includes a number of fixed bugs, performance enhancements and feature requests that have come directly from you, including:
Following is a complete list of all the new features and updates in this release.
MediaHub Performance Improvements
- You can now resize the thumbnails displayed in the MediaHub. The thumbnails are now displayed in 16:9.
- Navigation through folders is more responsive.
- The contents of large folders are displayed faster than before; in some cases, what would take minutes to display now takes
- Clips are displayed progressively in folders and you can start interacting with them as they appear (for example, you can
drag and drop to import).
- The MediaHub continues to load media if you change tabs.
- A new column, File Size, can now be displayed in the List View of the MediaHub. It is hidden by default because file size
calculations impact significantly MediaHub performances.
- Clear messages indicate whether the displayed folder is read-only or not.
- When restoring media from an archive, the clips you dragged from the archive to the Media Library now appear in the Media
Library. They are greyed out to indicate that they have not been restored yet, and remain so until you click Restore.
- User feedback, in the form of better messaging, has been improved when importing AAF, XML, and EDL sequences, as well as when
- You no longer can rename a folder in the MediaHub by simply double-clicking its name. You must now use the contextual menu.
- Improved performance on Desktop Reels: There's now a preference to disable the Broadcast Monitor in . Disabling this option enhances interactivity when manipulating clips and performing gestural edits on Desktop Reels.
NoteWhen this option is disabled, Timeline FX are not automatically rendered and display the message "Unrendered Frame" on the
Reels. However, the frame on which the Timeline positioner is parked, is rendered.
- It is now possible to open multiple sequences simultaneously, from the Media panel and the Viewing panel. You can also close
multiple sequences directly from the timeline.
Updated Support for RED Import
- Support for REDCODE SDK 4.4
- Support for RED EPIC-M MONOCHROME R3D files
- Updates to DRX processing
ImportantChanges to the SDK affect how the DRX setting is computed for all R3D clips, and thus can impact the look of come clips. It
impacts previously imported clips.
The clips affected are the ones which have a DRX setting different from 0. To check if this is the case for a clip:
- In Flame: Open, from the Timeline, the Pre-Processing Editor, and look for DRX under .
- In Lustre: Look for DRX in .
If DRX is not 0, then your media is impacted by the change. How much of an impact is hard to predict, but since DRX (Dynamic
Range Extension) is used to reconstruct clipped colour channels, verify for clips with dangerous highlights and for HDRx material.
- Support for DRX processing via RED Rocket
The DRX setting is now processed by the RED Rocket card if one is present on the Mac running the Wiretap Gateway server used
to decode R3D files. The following driver and firmware must be installed on the Mac:
- RED Rocket driver 220.127.116.11
- RED Rocket firmware 18.104.22.168 or later
- RED Rocket Breakout Box firmware 22.214.171.124 or later
Updated Support for SonyRAW Import
- Support for files generated by Sony F5 and F55 lines of cameras, joining the already supported F65.
NoteOnly the F65 camera supports resolution higher than 4K. For example, selecting 6K for a F5 clip results in a checkerboard,
which you can solve by switching to a supported debayering resolution.
- Support for orientation changes (flip/flop).
- Debayering quality now offers 2 settings, Standard and High.
- New debayering resolutions are now available and have been added to the debayering options.
- Debayering options have been renamed to reflect what is used in other applications
- 0.25K (previously named Sixteenth)
- 0.5K (previously named Eighth)
- 1K (previously named Quarter)
- HD (1920)
- 2K (previously named Half)
- QFHD (3480)
- 4K (previously named Full)
- UHDTV (7680)
NoteThe colour space options--Rec709 primaries, ACES (daylight illuminant), ACES (tungsten illuminant)--have been updated to solve
an issue with black levels. This update impacts previously imported SonyRAW media used in current projects: the black levels
will not match. Make sure to update the Format Options from the timeline to reapply.
Updated Support for ARRI Import
ImportantThe timecode of some ARRIRAW files was not correctly read in previous releases. This version of Flame Premium fixes this issue. If you use ARRIRAW clips imported in a previous release, loading this content in this new version shows
the same visual result but the source timecode will be updated. This also ensures that both the ProRes and the ARRIRAW files
have the same timecode, making it easier to offline in ProRes and relink to the raw media.
- Support for ARRIRAW 4.4.
- Support for MXF (DNxHD 145 and 220x as OP1a) files generated by the Alexa camera.
- The debayering settings reflect changes to the ARRIRAW SDK and allow you to use either the original camera image resolution
(2880 pixels wide) or the same resolution as the ProRes file generated in camera (2868-pixel wide).
- SD from 2880px
- HD from 2880px
- 2K from 2868px
- 2K from 2880px
- Native 2868px
- Native 2880px
NoteHalf and Third debayering options are no longer available. This means that if you restore material archived at Half or Third
debayering, you will get a checkerboard (Flame) or a red X (Lustre) upon restore. Use the Format Options from the timeline to select a valid debayering setting.
- New debayering modes are now available:
- Proxy (new): Produces a low-quality debayering.
- ADA-1 HW (was Camera): Visually reproduces the hardware-optimised debayering that is realised in cameras.
- ADA-2 SW (was AMC-1): More efficient debayering than ADA-1.
- ADA-3 HW (new): Visually matches the hardware-optimised debayering realised in cameras with ARRI SUP 7.0. A more complex debayering
than ADA-1, with extended edge and color handling.
- ADA-3 SW (new): Advanced software debayering provided by the ARRI SDK.
NoteThe HW refers to the method ARRI cameras use to decode RAW media. It does not mean that the application is performing hardware
- New Colour Rendering: ACES (Scene Linear) gives you direct access to 16-bit floating point images. You no longer have to apply
a colour transformation to get 16-bit floating point images.
Updated support for Avid Intermediate (transcoded) MXF media files.
- Support now includes intermediates encoded with XDCam HD and XDCam EX codecs.
- The following list shows all supported transcoded intermediates generated by Avid Media Composer:
- AVC-Intra 50
- AVC-Intra 100
- XDCam EX
- XDCam HD
- The following is a list of Avid Media Composer intermediate formats not supported by Flame Premium:
- J2K MXF
- 1:1 MXF
- 1:1p 10b MXF
- Apple ProRes Proxy MXF
- Apple ProRes LT MXF
- Apple ProRes MXF
- Apple ProRes HQ MXF
Support for Single-channel DPX Files
Monochromatic DPX files from the following film scanners have been validated.
- FilmLight Northlight (10 & 16-bit)
- DigitalFilmTechnology SCANITY™ (10 & 16-bit)
- Imagica (8, 10 & 16-bit)
NoteLustre supports single channel DPX files only when imported through Wiretap Gateway.
Miscellaneous Media Import Updates
- Audio: WAVE-Extensible format can now be imported, but the spatial information of the tracks is discarded.
- Audio: WAVE-Broadcast support now includes the RF64 standard. This means you can now import and export BWF files larger than
- Video: A clip with an alpha channel can now be imported as: a clip plus a standalone matte clip, a matte container storing
both the clip and its matte, or only the clip without any matte. Use the Alpha Channel Processing box in .
- Video: MXF OpAtom files generated by Avid Media Composer through importing, transcoding, and exporting AAF files are now
imported via MediaHub with their original audio channel, instead of defaulting to audio channel 1 as before.
This means that when browsing these files through MediaHub, you see a single audio channel file (A1) but when imported, the
track shows the original channel. This improves file-based conform with media already imported in the Media Library.
Updated SDI Preview with Kona 3G
Monitoring in Flame Premium can now be done through the Kona 3G with the following rasters.
- 1920x1080 @ 50p
- 1920x1080 @ 5994p
- 1920x1080 @ 60p
PCM in QuickTime Export
You can now export QuickTime movies with PCM audio and select an audio encoding profile to define both bit depth and bit ordering.
The following profiles are available:
- 16-bit (LE)
- 16-bit (BE)
- 24-bit (LE)
- 24-bit (BE)
- 32-bit fp (LE)
- 32-bit fp (BE)
LE: little endian; BE: big endian. Endianness has no impact on performance, and little endian should work in most cases. Output
in big endian mode if you expect compatibility issues with the target application or operating system.
Miscellaneous Media Export Updates
The following Media IO improvements apply to both Flame and Lustre.
- You can now specify Academy Density Exchange as the Transfer Type for DPX files. A new Colour Type box has also been added
to the same DPX format, allowing you to specify Colorimetric Encoding information. As before, Transfer Type and Colour Type
do not modify the output media: they are metadata fields that can be interpreted by third party applications.
- You can now export an uncompressed OpenEXR.
- When exporting a QuickTime in MXF file, the Audio Sampling Rate export is always set to Same As Source.
- You can now use the contextual menu to export a folder. The resulting export maintains the original organization and hierarchy
by creating a similar folder structure.
- Codec profiles are now sorted alphabetically.
What's New in Conform
- Conform now benefits from a more accurate timewarp translation (constant and animated) when conforming Apple Final Cut Pro
XML and Avid AAF files. Specifically, animated timewarps from Avid Media Composer are more precisely translated. All unsupported
transitions from Media Composer 6.5 AAF are now converted into a Dissolve and a Cut Mark that displays the name of the original
- Apple added support for ARRI Alexa ProRes files in FCP 10.0.8, and now the XML referencing these media files can be conformed
in Flame Premium.
- For this release, XML from FCP 10.0.4 and 10.0.5 no longer import in Flame Premium the segments that were Multicam clips in FCP. Apple modified the MultiCam representation in FCP 10.0.6 and it is not possible
to support legacy MultiCam content. But XML files from 10.0.6 import just fine: Flame Premium displays MultiCam clips as segments just like before.
New Trim View
A new Trim View, familiar to editors, is available to help you trim video or audio clips (with or without effects), cuts,
and transitions on the timeline.
You can now trim using the Trim View, with keyboard shortcuts, or gesturally on the timeline (or any combination of these
methods, depending on your editing style). In Trim mode, the Trim View displays the last (outgoing) and first (incoming) frame
above the timeline from the two clips you are trimming, allowing you to visualize your trimming operation. In Slip or Slide
mode, the Trim View changes to a four frame display, which, in addition to the incoming and outgoing frames of the clip you
are slipping or sliding, also displays the outgoing frame of the preceding clip and the incoming frame of the subsequent clip
on the timeline.
See Trimming Clips.
What's New in the Timeline
- Link functionality for timeline groups has been moved from the Timeline Gear menu to its own button (next to the Ripple button).
Performing a trim respects selections that are linked.
- In the Timeline Options menu, the new Selection Includes Gaps setting allows you to select whether empty gaps are included,
when performing a selection on the timeline.
- You can now edit a Gain Animation curve directly on a timeline audio clip, if Show Gain Animation is enabled in the Timeline
options menu. In this case, a Gain Timeline FX is automatically applied when you modify the Gain curve.
- You can now drag and drop to copy Format Options (format specific settings such as debayering settings or timecode selection)
and Pre-processing Options (resize on import and LUT) between timeline segments.
- While the positioner is over a cut or transition on the timeline, you are now able to set a Mark Out with the keyboard shortcut.
What's New in the Player
- You can now change the behaviour of the Play button. Click and hold the Play button, select the command you want to apply
to the Play button from the menu (such as Loop). That behaviour is now assigned to the Play button until you change it again.
- As you drag in the Mark In and Mark Out fields to change values, the image displayed in the Player now updates.
- When working in the Viewing panel, image window viewing settings (such as contrast and image data type) are now persistent
by timeline tab type (Source or Sequence), instead of by Player view.
What's New in Batch and Batch FX
- You can now disable or enable the automatic insertion of a node when it is dragged between two connected nodes: Batch or Batch FX Preferences menu, under . When the preference is disabled, you can still press to auto insert.
- Use a new preference to set the default Batch FX viewport as 1-Up or 2-Up: .
- Create and save a Batch setup when you save a Batch Snapshot: Enable Also Save Batch File in . When enabled, the setup is saved in the default Batch folder ~/batch/flame in a snapshots subfolder. Note that these setup files are not managed by Flame Premium. Therefore, if you delete a Snapshot,
the corresponding setup file is not deleted automatically.
- The name of the last saved BFX setup is displayed in the Name field when exiting and re-entering the same BFX.
- The Offset field for setting the number of frames by which a Batch or Batch FX clip is offset is now available from the Timing view as well as the Clip settings.
- Render options are now available as a contextual option when right-clicking a clip node (in addition to the Timing View Render
- The UI has been cleaned up slightly to provide consistency. For example, the Node Load and Save buttons are now always available
when a node is selected in schematic.
- The MUX node includes the Freeze Current Frame button, used to output the image of the currently selected frame for the duration
of the clip.
- In addition to adding clips directly to Batch by dragging to the Batch Sources folder in the Workspace Media panel, you can
now also drag clips to the Batch header (above the Batch sources folder). In this case, the clip is added to the Batch Sources
folder, and you are also automatically switched to the Batch tab.
- Clips added by dragging to the Batch or BFX Sources folder in the Workspace Media panel now appear close to the last selected node in the schematic. If no nodes are
selected in the schematic, clips are added in the centre of the schematic.
- You are now able to replace a clip in Batch FX by dragging a source clip from the Workspace Media panel over a clip in the schematic.
What's New in Action
- Flame Premium now supports the import of Alembic (.abc) cameras in Action. The Camera FBX node is renamed to Camera 3D node.
- Performance in Action is improved thanks to optimizations in the handling of 3D objects, shaders, and texture transfer speed.
- When accessing the Modular Keyer from Action, if the Action back clip is of a different resolution than the front clip, a
Resize node is now added to the Back pipeline.
What's New in Colour Management
- You can import other transform file formats wherever a Colour Transform (.ctf) file may be loaded. Supported formats include:
- Autodesk legacy 1D LUT: .lut
- Autodesk legacy 3D LUT: .3dl
- ASC color decision list: .cdl
- ASC color correction collection: .ccc (uses the first .cdl in the file)
- Cinespace: .csp
- ICC monitor profiles: .icc, .icm, .pf (uses the PCS-to-monitor-RGB transform)
- Iridas Cube: .cube
- Iridas itx: .itx
- Iridas Look: .look (partial support)
- Nuke: .vf
- Imageworks 1D LUT: .spi1d
- Imageworks 3D LUT: .spi3d
- Imageworks matrix: .spimtx
- Pandora: .m3d, .mga
- You can now define a Look transform in LUT preferences, and toggle it on and off from the viewer heads-up display. You can
use any supported file format. In addition, you can reference the defaultLook alias in your own custom transform files. Note that this works only in Flame.
- The graphics-monitor transforms have been replaced by current-monitor transforms. For example, ACES_to_graphics-monitor.ctf
has been replaced with ACES_to_current-monitor.ctf. The current-monitor transforms make use of the currentMonitor alias, which
gets resolved to the display profile set in LUT Preferences in Flame for either the Broadcast Monitor Transform or Graphics Monitor Transform depending on which display the image is being drawn
to. In addition, you can reference the currentMonitor alias in your own custom transform files.
- You do not need to re-import viewer transforms after changing the Graphics Monitor Transform, Broadcast Monitor Transform,
or Default Look Transform in LUT Preferences in Flame.
- New ASC_CDL operator for representing an ASC color decision list in the CTF file format.
- New Log operator for applying a logarithmic or anti-logarithmic function to convert between linear and Cineon-style encodings.
- You can now use the Matrix operator in a custom .ctf file to modify the alpha channel.
New Feedback Mechanisms
- A new console displays messages about the status of tasks being performed by the application. To open, click the arrow button
on the lower left corner of the UI.
- An updated Background Tasks view shows status for various tasks, including caching, media import and export, and Burn. To
open the Background Task view, open the Console. Then click View All in the Background Tasks section of the Console. From
the Background Tasks view, you can restart, delete, suspend, or resume a task using the buttons or from the right-click menu.
You can also sort and re-order the columns in the list.
- A dialog box displays the render progress.
Project Conversion and Deletion at Startup
With this version of Flame Premium, you can now convert projects created in Flame 2013 20th Anniversary Edition to the current version, from the Startup screen. You do not have to first archive the project or go through . You can also delete old projects.
To convert a project to the current version of Flame Premium:
- From the Startup screen, set the Versions filter to All Versions.
- Select the project to convert from the Project box.
- Click Start.
ImportantThe conversion is one way: once you convert the project, you cannot open it again in an older version of Flame Premium.
To delete a project from a previous version:
- From the Startup screen, set the Versions filter to All Versions.
- Select the project to convert from the Project box.
- Click Edit to open the Edit Project window.
- From the Project Edit box, select Delete Project.
- Click Delete.
Flame Premium now deletes the project and all the related files.
Background Processes Detection
- Now Flame Premium detects at launch if the Wiretap background services are running and compatible with the application version. If the background
services are not running, or if there is a compatibility mismatch, the application asks you how to proceed.
- If you need to restart your local Wiretap Gateway from the Preferences: . You can also find this button in the Media Browser in Lustre.
- When Flame Reactor rendering engine is enabled, legacy Keyer setups (Axis Timeline FX) are converted to a Modular Keyer setup.
NoteThe colour section of the legacy keyers is only carried over to the Modular Keyer if the legacy keyer setup used the Master
Keyer. If any other legacy keyer was used (RGB, Luminance, etc.), the colour section is discarded when the setup is loaded.
To retain the colour section of these legacy keyer setups, enable Classic Engine when creating your project.
What's New in Lustre
- Grading: It is now possible to copy or move grading parameters between the Input, Output and any of the Secondary stages with
the following key strokes:
- To copy the parameters from one of the grading tabs (Colour/Grading, Colour/Curves or Colour/Secondaries) of the current
grading stage (Input, Secondary or Output), to another stage, hold Ctrl and click the destination stage (Input, Secondary or Output).
- To copy the parameters of all the grading tabs (Colour/Grading, Colour/Curves and Colour/Secondaries) of the current grading
stage (Input, Secondary or Output), to another stage, hold Shift and click the destination stage (Input, Secondary or Output).
- To move the parameters of all the grading tabs (Colour/Grading, Colour/Curves and Colour/Secondaries) of the current grading
stage (Input, Secondary or Output), hold Shift + Ctrl and select the destination stage (Input, Secondary or Output). The source stage is reset to the initial values.
- To copy the parameters as defined by the Selector of the currently selected stage (Colour/Grading, Colour/Curves or Colour/Secondaries),
hold Alt and select the destination stage (Input, Secondary or Output).
- DVCProHD: New Scale to full HD option when importing MXF P2 & XDCAM HD narrow content (1440x1080) in Image/Transcode/Format
- Cut-based Confidence Check reference: When using a clip from the Library for a Confidence Check, the reference clip, its timing
offset and the viewing mode (Single or Dual and Wipe position) are now saved with the cut information. When reloading a cut,
you do not need to manually reload the Confidence Check clip and set the proper offset value. Simply clicking the Conf Check
button (located in the Editing/Edit menu) displays the confidence check view with the reference clip and the defined offset
NoteOnly source clips can be used as a Confidence Check reference. Sequences are not supported.
- Image Reposition: When using Image Reposition > Flip or Flop, now all geometries in the current shot follow the Flip and Flop
orientation. You can also use the Geometries Flip and Flop options to control the orientation of the geometry independently
from the image orientation.
Interchange between Lustre and Smoke or Flame (or Flame Premium Grading and Flame Premium)
There is a new behavior when dropping a sequence into an existing Lustre timeline.
When dropping content, coming from a Smoke or Flame project, to a Lustre timeline, the sequence or the clip is no longer added
as a new video track within the current timeline. The selected content is now inserted as a layer above the current video
layer or track, at the content's record timecode. This functionality is useful when importing revised editorial content from
Smoke and Flame into the currently opened Lustre timeline.
NoteTo drop imported content from Wiretap server at its native record timecode, the selected sequence must be dropped directly
from the Media Browser to the current Lustre timeline. Dropping the selected sequence to the Media Library first then dropping
the sequence from the Media Library to the current Lustre timeline will use the timeline Snap options (Off, Positioner or
Transition) rather than its native record timecode.