Hi everyone, Grant for the Flame Learning Channel.
In this video, we'll look at the new multi-channel support within Lustre…
And how this influences the Connected Colour Workflow…
When combining the dedicated grading from Lustre…
With the VFX finishing capabilities of Flame.
In previous releases, you had some of this capability using Matte Containers…
But with the Multi-Channel support in the 2019 release…
the workflows have been enhanced…
and that will be covered in this video.
So we'll start in Lustre…
And bounce back and forth between Flame when needed.
I just want to point out…
That for those of you who are using this workflow…
The same can be achieved if you're using Flare instead of Flame.
Please note, that all the software needs to be on the same workstation…
In order to use the Connected Colour workflow.
And as an additional benefit…
A Lustre hotkey profile is also available in Flame…
If you prefer to stick to one set of keyboard shortcuts.
So this Lustre project was set up earlier…
And I have already configured the colour management…
to work at Scene-Linear Rec709/SRGB.
I have also created a fresh grade version…
So it's a new start.
Now multi-channel data can be brought into Lustre using OpenEXRs…
Or using the Autodesk Open Clip format.
Both will be recognised and treated the same way…
Whether you import the media directly into Lustre from the file system…
Or share media from Flame using the Shared Libraries.
So it's all the same.
Now when you switch to the timeline…
And look at the segment…
You will get a multi-tag on the clip.
This tells you that multi-channels are available with this shot.
When you double-click on the segment…
All the channels are now exposed…
And you can look at them individually.
By clicking through the various channels…
You can see what multi-channels are available to Lustre.
Channel 4 has a single matte…
Channel 5 has 3 mattes using RGB…
And Channel 7 also has 3 mattes using RGB.
So you can bring across as many mattes as you need…
regardless if it's produced with CG…
Or created on live-action footage…
using a compositing package like Flame or Flare.
Just take note of the channels for when you'll use them later.
Before returning to the main timeline…
Ensure you click Channel 1 to display your main image in the media.
Click the up arrow to step out of the segment.
Switching over to the Grading menus…
You could perform your primary input grade…
But for this video…
our focus will be on the secondaries.
So click on 1 for the first secondary…
And let's use it to colour the background.
Switch to the Secondaries menu…
And you have your isolation tools…
Like masks and keys…
But you can also access the multi-channels through the matte option.
The first step is to choose the channel.
The single matte was on Channel 4.
In order to verify this…
Switch to the matte view.
The image is still white…
So click any of the RGB buttons…
next to the selected channel.
Since this was a single matte…
It's the same whatever colour channel you select.
Now set the secondary to grade on the outside of the matte.
Switch back to the Output view…
And go to the Grading controls.
Drag the wheel to make the shot cooler…
And drop the gain down slightly.
So this is what you normally get using a matte container…
And a single matte.
You can also use masks or keys to isolate a region using this matte.
To access the multi-channel data…
The workflow is not too different.
Add a second secondary…
and go back to the secondaries menu.
Enable the Matte view…
And choose Channel 5 from the multi-channel media.
When you toggle between R, G and B…
Lustre separate the colour channels…
And produces a matte for each channel.
So selecting the Green Channel…
Allows you to manipulate the flowers.
Going back to the output view and the grading tools…
Select the HUE…
And swing the colour wheel around…
to change the flower colour.
Now ultimately, I'd like to make the flower colours more exciting…
but we'll do this shortly using the Connected Colour Workflow.
Before that, I'd like to do one more multi-channel selective.
Activate the third selective…
And return to the secondaries menu.
Once again, looking at the matte view…
Choose channel 7 from the matte options.
Now Red gives us one apple…
Green gives us multiple apples…
And the blue Channel is the fruit bowl.
Select the Red channel…
And go back to the output view and Grading menu.
Now turn up the saturation.
So that's a really juicy looking apple.
Now my reason for doing this…
Is let's say you want all the apples to have the same grade.
In the current state of the multi-channels…
You would need to use multiple secondaries.
This is simply how the multi-channel media was produced.
So instead of repeating the work per secondary…
The Connected Colour Workflow can also help out in this instance.
So switch to the Effects menu…
And toggle the button from Plug-ins to Batch.
Click Create Batch.
This launches Flame…
And you land up at the splash screen.
You can create a new project…
or use an existing one for the Connected colour Workflow.
Click Start.
If this is a Shotgun enabled project…
Log into shotgun…
But this is not a necessary step.
Once Flame is launched…
You land up in the Batch node compositor…
And the flow graph has been constructed.
Firstly, I'd like to point out…
That you can see the Lustre grade in the write node…
And this is mapped to SPACE+1.
This will allow you to see a live in-context view of the grade as you work.
Now you are not limited…
on how you use the VFX toolset with the grade.
You could do compositing pre-grade…
Which is before the Lustre node.
Or you could do compositing post-grade…
Which is after the Lustre node.
Either way, you can always see your grade in the context of the VFX.
Now you can see all the various channels going into the Lustre node…
And things may get a bit tight in terms of connections.
So select the Lustre node and press SHIFT+C to expand it.
This makes it easier to see all the channels going in and out of the node.
Now there are a ton of creative VFX…
that can be done in Flame's extensive toolset.
You can create any kind of VFX,
But you can also modify mattes…
And even add new mattes…
And that will eventually be fed into Lustre.
You can even add more multi-channels…
By editing the settings in the Lustre node.
But let's look at the two areas we worked on earlier.
Firstly, let's focus on the apples.
Now we graded one apple through its matte…
But I wanted all the apples to have the same grade.
The problem I highlighted…
Was that in Lustre,
separate mattes were rendered for the apples.
I mentioned copying and pasting secondaries…
But that would be mundane and repetitive.
So a faster solution would be to combine the multi-channels using Flame.
Select the channel containing the RGB pass…
And look at the result view with F4.
So all the apples need to be in the RED channel…
To be affected by the specific secondary in Lustre.
Now a great little tip…
Is before adding nodes into the connection…
Hold A and click the connection to create an elbow node.
This will save you tons of time…
by having your input into the lustre node here…
Instead of trying to connect any outputs back into the Lustre node.
Break the connection before elbow node…
And it will still remain.
Now go to the Batch node bin…
And drag out a separate node.
Connect the clip into the new node.
This separates the channels into white mattes similar to Lustre.
You can toggle F4 to display the different channels.
So to combine the channels together…
You do the following.
In the Batch node bin…
Drag out a comp node.
Connect the Red and green outputs into the Red and Green inputs.
Double-click the comp node for its controls…
And set the blend mode to ADD.
This combines all the apple mattes together.
Now in order to keep multi-channel data working in Lustre…
You need to put things back together again as an RGB matte pass.
Go back to the Batch node bin…
And drag out a combine node.
Connect the output from the comp node into the RED channel.
This is channel contains all the apples.
The blue output from the separate node…
Contains the fruit bowl.
So the green channel must now be empty or black.
Go to the Batch node bin…
And drag out a colour source.
Set the colour to black…
And connect that into the Green input of the combine node.
Looking at the result view…
You can see all the apples are in the red channel.
Lastly, take the output from the combine node…
And connect it into the elbow node…
Which feeds back into the Lustre grade.
If you show the contextual view with SPACE+1…
You can see the Lustre grade…
And note that all the apples have the same grade.
So that's combining mattes in an expected way.
But next is a different way…
in which Flame can be used to alter the secondary grade from Lustre.
Remember that we changed the flower colour…
And I said that it needs to be more interesting…
Well check this out.
Let's isolate the flowers matte and do some paint work.
As before, hold A and add an elbow node between flowers matte…
and the lustre node.
Drag it up the view…
So that we have a clear area to work in.
Now in the interests of time…
I'll quickly add the separate and combine nodes…
To break and rejoin the RGB mattes.
So all I've done…
Is broke the individual RGB channels into the mattes…
And then recombined them…
Before going back into the Lustre node.
This gives us the separate mattes to work with.
If you select the Separate node…
And toggle the F4 keyboard shortcut…
You will see that the flowers are located on the green channel.
This is also displayed at the bottom right of the viewer.
Press ESCAPE to go back to the Batch Schematic.
So to paint on the flowers' matte…
Go to the Batch node bin…
And drag out a paint node.
Hold SHIFT and drop it into the green connection.
Double-click the node for its controls…
And press F4 for the result view.
So now you're able to paint on the matte…
And see this in context with the Lustre grade.
In fact this could be any node if you wish.
Now I'll zoom in on the flowers…
And change the brush colour to black.
Don't forget to also change the range to sequence…
If you want your brush strokes to last on all the frames.
Now I'll start painting a load of brush strokes on the flowers.
Note that as you paint…
You can see the secondary grade from Lustre update live in the Flame viewport.
I am making this pretty obvious…
And I will admit that you would probably need to track these strokes…
If you were doing this in real production.
Now if you switch back to the Batch schematic…
And select the original frame to view its result…
You can see how we've combined the grading from Lustre…
With any adjustments made in Flame.
All that's left to do is press RENDER…
And the multi-channel media will be reconstructed…
And sent back to Lustre.
You can either close Flame…
or ALT+TAB to the Lustre Interface.
Looking at the Output view…
All the Flame changes have been applied to the shot.
At any time, you can enable or disable the Flame changes…
And you can also edit the setup if required.
The Connected Colour Workflow is a bi-directional workflow…
That you can bounce around as many times as you like.
And if you switch back to the grading tools…
You can carry on developing the grade…
using all the multi-channel changes from Flame.
So you can tweak all the apples at once…
In one secondary.
And choosing the second secondary…
Allows you to change the colour for the flowers again.
And to finish this off…
if you switch back to the secondaries…
And blur the flowers matte with the flame changes…
You get some really interesting shading…
Instead of the single colour from the original media.
This is the before…
And this is the after.
So this video has given you a great look into the multi-channel support in Lustre…
As well as the enhanced multi-channel support using the Connected Colour Workflow.
Don't forget to check out the other features, workflows…
And enhancements to Flame 2019.
Comments, feedback and suggestions are always welcome and appreciated.
Please subscribe to the Flame Learning Channel for future videos...
And thanks for watching.
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