The Art of Motion Graphics Design

While many of us may be good directors, photographers, or editors, it’s not a given that we are also good graphic designers. Most editors certainly understand the mechanics and techniques of developing designs and visual effects composites, but that doesn’t by default include a tasteful sense of design. Combining just the right typeface with the proper balance within a frame can often be elusive, whereas it’s second nature to a professional graphic designer.

German motion designer and visual effects artist Timo Fecher aims to correct that, or at least expose a wider audience to the rules and tools that embody good design. Fecher has developed the Crossfeyer website promoting a free e-mail newsletter for online training. A key component of this is his free eBook Motion Graphics Design Academy – The Basics, which he is giving away to subscribers (free) for the balance of this year. His intent is then to publish the book next year for purchase.

I’ve had a chance to read through an advanced copy of the eBook. I find it to be an excellent primer for people who want to understand basic design principles.  The chapters cover animation, shapes, composition, typography, and more.

Feyer spells out his goals for the book this way, “The Motion Graphics Design Academy is for people who want to learn more about the basics of design, animation, and project design. It’s for newcomers, graphic designers who want to add a new dimension to their art, everyone dealing with digital image processing, and especially all kinds of filmmakers who want to improve their movies, trailers, title sequences, video clips, and commercials. The goal of the eBook is to give its readers a profound background knowledge about design and animation principles and to improve their artistic skills. Software and plug-ins are changing constantly. But all that theory about storytelling, animation, color, typefaces, composition and compositing will stay the same.”

Like any learning tool, it won’t automatically make you a great artist, but it will give you the guidelines to create appealing design that will enhance your next production.

©2017 Oliver Peters

Serif Affinity Photo and Affinity Designer


Photoshop users who are looking for an alternative to Adobe may find a refuge in Affinity Photo and Affinity Designer. Both are being developed for the Mac platform by British software developer Serif. This is a separate line from their Windows products and is their first collection built from the ground up to take advantage of the newest Mac and OS X capabilities. Affinity Photo, which was released on July 9 after an extended public beta period, competes with Adobe Photoshop. Affinity Designer is aimed at Adobe Illustrator. Both applications are available through the Mac App Store. They share a common file format. Affinity Designer just won the Apple Design Award at WWDC 2015. Due later this year will be Affinity Publisher – a desktop publishing application.

df3315_affinity_3I’ve been testing both Affinity Photo and Affinity Designer for a few months and have been very impressed. Most of it has initially been with the public beta of Photo. Since I’m not a big Illustrator user, I really can’t adequately compare Illustrator and Designer, except to say that it’s a very capable vector-based drawing and design application. The application will import .ai files, but roundtrip compatibility is largely through certain common standards: PNG, TIFF, JPEG, GIF, SVG, EPS, PSD or PDF. The layout is built around three modes called “personas”. Start in the Draw Persona to create your document. Switch to the Pixel Persona for paint and adjustment functions. Finally, export through the Export Persona.

I spent more time with Affinity Photo, to see how viable it is as a Photoshop replacement. Its four modes includes the Photo, Liquify, Develop, and Export Personas. Photo is the closest to Photoshop in style and toolset, while Develop is more like the Lightroom toolkit. Liquify is designed for image distortion based on a mesh. Most of the image adjustment tools in the Photo Persona are adjustments layers.

df3315_affinity_2In general, Affinity Photo feels a lot like Adobe Photoshop, but as with any of these tools, things are in enough different places that experienced Photoshop users will be counteracting years of muscle memory in making the switch. Nevertheless, you’d have a great comfort factor with Affinity Photo, since the toolset, adjustment layers and layer styles working in a similar fashion. One powerful set of effects is Live Filter layers. These are similar to Adjustment Layers in that they are editable and don’t bake an effect into the layer. The difference is that a Live Filter can be added to that layer only and doesn’t affect everything beneath it, like a standard adjustment layer. Live Filters can be re-arranged, disabled or edited at any time without relying on undo.

Compatibility between Affinity Photo and Adobe Photoshop is good and Serif states that they are aiming for the best compatibility on the market. In this current version, I had better luck going from Photo into Photoshop using a layered .psd file, than I did bringing a file created in Photoshop into Photo. The usual culprits are layer effects and vector based objects. In Photoshop, the Photo-created adjustment layer effects came across, but text with layer effects was merged into a rasterized layer with the layer effects baked in. When I went from Photoshop to Photo, layer effects were simply dropped. Affinity Photo is supposed to use third-party Photoshop plug-ins, but my attempts to use Magic Bullet Looks crashed Photo. Unlike Pixelmator (another Mac-based Photoshop alternative), Affinity Photo cannot use Quartz Composer-based filters, such as those from FxFactory. According to Serif, they will be working with plug-in manufacturers to improve the app-side support for 64-bit plug-ins.

If you aren’t completely locked into compatibility with Adobe Photoshop files sent to and from clients – and you are interested in an alternative solution – then the Affinity applications from Serif are a very strong alternative for Mac users. They are fun, fast and yield great results.

Originally written for Digital Video magazine / CreativePlanetNetworks.

©2015 Oliver Peters

Rampant Design Tools


Many editors are on the constant journey for just the right, cool set of plug-ins. By doing so, they often lock themselves into a single host application and often even a single machine to which the plug-ins have been licensed. If that sounds familiar and you are looking for an alternative, then moving to a package of drag-and-drop effects is the way to go. One of the best developers for such effects is Rampant Design Tools.

df1215_rampant_3_smRampant was founded by veteran visual effects artist Sean Mullen, so the effects have been created from the standpoint of what actually works. The beauty of these drag-and-drop effects is that you can use them with any nonlinear editing or compositing application, regardless of whether this is on Mac or Windows. As long as the system is running QuickTime and includes a playback component for Apple ProRes codecs, you are ready. Since the actual effects are media files, they can be archived with the project and moved between systems, without any need to license a plug-in on another machine.

df1215_rampant_6_smThe Rampant Design Tools website offers a lot of options for how to purchase the effects, but their latest endeavor is Studio Essentials, Volume 1 and 2. These include paint effects, film grunge, distortion, flares, light transitions, fire, smoke, bokeh, snow, dust, and so much more. Nearly all of these elements originate from real and not synthetic footage, which Rampant has actually produced using RED cameras. The effects packages are available in 2K, 4K, and 5K resolutions. Even if you are only working in HD, you might still want a 4K package, because it permits you to reframe the effect to get a unique look, rather than by simply dropping in a stock effect “as is”. The elements are designed to be modular. For instance, you can build up layers of the distortion elements to create a different look. The files come as Apple ProRes 4444 media that works well when keyed or composited using blend modes. By combining, reframing, and adjusting blend modes, you avoid the rut of effects that can’t be modified or plug-in presets.

Rampant Drives

df1215_rampant_4_smThese collections are large enough, that delivering a 4K version of one of the Studio Essentials volumes would be unwieldy as DVD-ROMs or as a download. Instead, Rampant Design Tools sells these complete with their “Rampant Drives”. These are 4TB, USB 3.0 drives containing the complete volume. When you purchase the collection with this delivery option, you may select either Mac or PC formatting. Simply plug it in and start using the effects straight from the drive. Although there is no technical limitation to moving the files around on a SAN, simultaneous shared use is prohibited by the EULA. It states that the contents may only be used on one computer at any one time.

df1215_rampant_9_smAs there are a lot of effects in the contents of each volume, Rampant includes a PDF preview file for each set of effects. This is a quick starting point to decide which effects group to explore, without having to bring everything into your edit project at once. These PDFs can also be downloaded from the website, if you are trying to decide what to purchase. Effects may be purchased as part of a complete Studio Essentials volume or by individual categories in 2K, 4K or 5K sizes. That may still be a bit much for many users, so Rampant also offers a smaller set of HD effects for $29 each through its BudgetVFX companion site.

Pieces and Parts

df1215_rampant_2_smMost of the effects can be used as a single transition or overlay effect, but some in the Studio Essentials collections have been designed as toolkits. For example, there’s the Monster Toolkit, which is intended as a drag-and-drop creature kit. It contains over 1500 elements (stored as Photoshop files), made up of various body parts, such as eyes, ears, mouths, skin textures, and so on. The download size is a whopping 35.6 GB simply for that kit! One of the newest collections is a set of organic paint effects. This set includes 62 effects clips and features a wide range of real paint drip and splatter effects, which will easily blend with video using Overlay or Multiply modes.

df1215_rampant_8_smTo use the effects in an NLE, you would typically place the clip on a higher track above your main video. In FCP X this would be as a connected clip over the primary storyline. A transition effect would be positioned so that the meatiest part of the effect clip would be lined up over the cut to hide it. This is particularly true of lens flare and light blast transitions where the center of the clip often completely fills the screen. This technique has been used for years by After Effects compositors to add a transition between clips on separate layers.

Letting the effect control your video

df1215_rampant_7_smA particularly cool trick that Mullen has posted as one of his tutorials ( is how to have the effect actually modify the video beneath. This is an aspect of many plug-ins and something not often associated with stock effects clips. His example uses one of the glitch effect clips. Typically this would be an overlay above the video that would obscure the image, but not necessarily distort or bend it with the effect. If you composite in After Effects, however, you can use its tools to have one layer affect the other. This is accomplished by adding two effects to the base video layer: Stylize – Motion Tile and Distort – Displacement Map. Motion Tile is set to wrap the image as it is stretched and mirrored, so you don’t see black on the edges. Displacement Map is linked to the layer with the glitch effect clip. Displacement is based on channels, so that the lower video is displaced where the effect is visible and not displaced where the glitch clip is black. The last step is to set keyframes for the start and stop of the displacement, so that the video isn’t displaced when you want it to be normal. This trick also works for other effects, such as lens flares.

df1215_rampant_11_smThere are many stock effects vendors on the market. A quick internet search would pull up a page-full. However, most are still offering effects in older codecs or are limited to HD sizes at best. Many don’t offer a wide selection of effects. You might find some great lens flares from one company, but do they also offer fire effects? Quality, breadth of product offerings, and high-resolution is what sets Rampant Design Tools apart from these others. It’s a great way to add eye candy to any production with tools that give you total control in sculpting a unique look.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters

Stocking Stuffers 2014

df_stuff14_1_smAs we head toward the end of the year, it’s time to look again at a few items you can use to spruce up your edit bay.

Let’s start at the computer. The “tube” Mac Pro has been out for nearly a year, but many will still be trying to get the most life out of their existing Mac Pro “tower”. I wrote about this awhile back, so this is a bit of a recap. More RAM, an internal SSD and an upgraded GPU card are the best starting points. OWC and Crucial are your best choices for RAM and solid state drives. If you want to bump up your GPU, then the Sapphire 7950 (Note: I have run into issues with some of these cards, where the spacer screws are too tall, requiring you to install the card in slot 2) and/or Nvidia GTX 680 Mac Edition cards are popular choices. However, these will only give you an incremental boost if you’ve already been running an ATI 5870 or Nvidia Quadro 4000 display card. df_stuff14_2_smIf you have the dough and want some solid horsepower, then go for the Nvidia Quadro K5000 card for the Mac. To expand your audio monitoring, look at Mackie mixers, KRK speakers and the PreSonus Audiobox USB interface. Naturally there are many video monitor options, but assuming you have an AJA or Blackmagic Design interface, FSI would be my choice. HP Dreamcolor is also a good option when connecting directly to the computer.

The video plug-in market is prolific, with plenty of packages and/or individual filters from FxFactory, Boris, GenArts, FCP Effects, Crumplepop, Red Giant and others. I like the Universe package from df_stuff14_3_smRed Giant, because it supports FCP X, Motion, Premiere Pro and After Effects. Red Giant continues to expand the package, including some very nice new premium effects. If you are a Media Composer user, then you might want to look into the upgrade from Avid FX to Boris Red. Naturally, you can’t go wrong with FxFactory, especially if you use FCP X. There’s a wide range of options with the ability to purchase single filters – all centrally managed through the FxFactory application.

df_stuff14_4_smFor audio, the go-to filter companies are iZotope, Waves and Focusrite to name a few. iZotope released some nice tools in its RX4 package – a state-of-the-art repair and restoration suite. If you just want a suite of EQ and compression tools, then Nectar Elements or Nectar 2 are the best all-in-one collections of audio filters. While most editors do their audio editing/mastering within their NLE, some need a bit more. Along with a 2.0 bump for Sound Forge Pro Mac, Sony Creative Software also released a standard version of Sound Forge through the Mac App Store.

df_stuff14_5_smIn the color correction world, there’s been a lot of development in film emulation look-up tables (LUTs). These can be used in most NLEs and grading applications. If that’s for you, check out ImpulZ and Osiris from Color Grading Central (LUT Utility required with FCP X), Koji Color or the new SpeedLooks 4 (from LookLabs). Each package offers a selection of Fuji and Kodak emulations, as well as other stylized looks. These packages feature LUT files in the .cube and/or .look (Adobe) LUT file formats and, thus, are compatible with most applications. If you want film emulation that also includes 3-way grading tools and adjustable film grain, your best choice is FilmConvert 2.0.

df_stuff14_6_smAnother category that is expanding covers the range of tools used to prep media from the camera prior to the edit. This had been something only for DITs and on-set “data wranglers”, but many videographers are increasingly using such tools on everyday productions. These now offer on-set features that benefit all file-based recordings. Pomfort Silverstack, ShotPut Pro, Redcine-X Pro and Adobe Prelude have been joined by new tools. To start, there’s Offload and EditReady, which are two very specific tools. Offload simply copies and verifies camera-card media to two target drives. EditReady is a simple drag-and-drop batch convertor to transcode media files. These join QtChange (a utility to batch-add timecode and reel IDs to media files) and Better Rename (a Finder renaming utility) in my book, as the best single-purpose production applications.

df_stuff14_7_smIf you want more in one tool, then there’s Bulletproof, which has now been joined in the market by Sony Creative Software’s Catalyst Browse and Prepare. Bulletproof features media offload, organization, color correction and transcoding. I like it, but my only beef is that it doesn’t properly handle timecode data, when present. Catalyst Browse is free and similar to Canon’s camera utility. It’s designed to read and work with media from any Sony camera. Catalyst Prepare is the paid version with an expanded feature set. It supports media from other camera manufacturers, including Canon and GoPro.

df_stuff14_8_smFinally, many folks are looking for alternative to Adobe Photoshop. I’m a fan of Pixelmator, but this has been joined by Pixlr and Mischief. All three are available from the Mac App Store. Pixlr is free, but can be expanded through subscription. In its basic form, Pixlr is a stylizing application that is like a very, very “lite” version of Photoshop; however, it includes some very nice image processing filters. Mischief is a drawing application designed to work with drawing tablets, although a mouse will work, too.

©2014 Oliver Peters

CoreMelt TrackX


Tracking isn’t something every editor does on a regular basis, but when you need it, very few NLEs have built-in tracking tools. This is definitely true with Apple Final Cut Pro X. CoreMelt makes some nice effects plug-ins, but in addition, they’ve produced a number of workflow tools that enhance the capabilities of Final Cut Pro X. These include Lock & Load X (stabilization) and SliceX (masking). The newest tool in the group is TrackX and like SliceX, it uses Mocha tracking technology licensed from Imagineer Systems. In keeping with the simplified controls common to FCP X effects, the tracking controls in TrackX are very easy to apply and use.

TrackX installs as three generators within FCP X – Simple Tracker, Track Layer and Track Text. All use the same planar-based Mocha tracker. The easiest to use – and where I get the best results – is the Simple Tracker. This lets you attach text or objects to a tracked item, so they travel with its movement.

The example used in their tutorial is of a downhill skier. As he races downhill, a timer read-out travels next to him. This works well and displays well, because the tracked objects do not have to perfectly adhere to each other. It uses a two-step process. First, create the item you want to attach and place it into a compound clip. Therefore, it can be a complex graphic and not just text. The second step is to track the object you want to follow. Apply the TrackX generator and trim to length, use the rectangle tool to select an area to be tracked, drop the compound clip into the filter control pane’s image well and then track forward or backwards. If there are hiccups within the tracks, you can manually delete or insert keyframes. Like other trackers, you can select the mode of analysis to be used, such as whether to follow position, scale or perspective.

df_trackx_2_smThe second TrackX generator is Track Layer. This worked well enough, but not nearly as well as the more advanced versions of Mocha that come with After Effects or are sold separately. This tool is designed to replace objects, such as inserting a screen image into a TV, window, iPad or iPhone. To use it, first highlight the area that will be replaced, by using the polygon drawing tool. Next, add the image to be used as the new surface. Then track. There are controls to adjust the scale and offset of the new surface image within its area.

In actual practice, I found it hard to get a track that wasn’t sloppy. It seems to track best when the camera is panning on an object without zooming or having any handheld rotation around the object. Since Mocha tracking is based on identifying flat planes, any three-dimensional motion around an object that results in a perspective change becomes hard to track. This is tough no matter what, but in my experience the standard Mocha trackers do a somewhat better job than TrackX did. A nice feature is a built-in masking tool, so that if your replacement surface is supposed to travel behind an object, like a telephone pole, you can mask the occluded area for realistic results.

Lastly, there’s Track Text. This generator has a built-in text editor and is intended to track objects in perspective. The example used in their demos is text, that’s attached to building rooftops in an aerial. The text is adjusted in perspective to be on the same plane as the roofs.

Overall, I liked the tools, but for serious compositing and effects, I would never turn to FCP X anyway. I would do that sort of work in After Effects. (TrackX does not install into Motion.) Nevertheless, for basic tracking, TrackX really fills a nice hole in FCP X’s power and is a tool that every FCP X editor will want at their fingertips.

For new features announced at NAB and coming soon, check out this video and post from

©2014 Oliver Peters



Over the years, Adobe Photoshop has become the go-to photo and design application for many editors, yet others simply never warmed to it. Naturally there is an interest in alternative solutions and one of those is Pixelmator. The company was an early adopter of selling through the Mac App Store and that move quickly vaulted it to the top of the Mac App Store’s sales list, earning it the “Best of Mac App Store” honor in 2011. Recently they released version 2.2 “Blueberry” with a whopping 500,000 updates in one week! Some of that may have been accelerated by the reaction to Adobe’s Cloud-only announcements or by the $15 introductory price. This new version is also a free update through the Mac App Store for existing customers. No matter what the reason, Pixelmator is clearly gaining attention.

Pixelmator is a paint, design and graphics application built specifically around core OS X technologies. It’s 64-bit and taps into Apple’s Core Image for GPU-based acceleration. By building upon the OS technology itself, the Pixelmator team has been able to develop an application that is well-integrated and can be sold at a far lower cost than would otherwise be the case. The application is new, streamlined and clearly fits into the same interface design aesthetic as Final Cut Pro X or DaVinci Resolve. Previous versions boasted a nice set of paint, effects, retouching and layer tools. Pixelmator 2.2 adds several new shape and vector tools, gradients, shape styles, color popovers and a new light leak effect. If you own FxFactory Pro filters, they also show up as image effects available to be used inside Pixelmator – a serendipitous byproduct of their common use of Core Image.

df_pxlmtr_2Pixelmator saves files in its own format, but it can open and export a range of standard graphics files, including JPEG, PNG, TIFF, PDF and layered Photoshop file formats. If your main interest is in software that lets you do sophisticated and artistic design and image manipulation, then Pixelmator more than fits the bill. The real question is whether it’s a viable substitute for Photoshop. That answer depends on how much of a Photoshop “power user” you are, plus how much compatibility you need to maintain with clients that supply Photoshop files to you. The most recent version of Adobe Photoshop Extended is a behemoth application in the best sense. It can do video, a certain level of 3D and it has an advanced system of layer styles and effects. Most of these cannot be done with Pixelmator, but then most casual users also never use such functions.df_pxlmtr_3

If the most you do is apply some basic layer styles to text or a logo, like adding a drop shadow, then you can get the same look in Pixelmator, but via a different route. Think of Pixelmator’s capabilities as a very modern version of Photoshop’s feature set around the time of Photoshop 4.0. There were no layer styles, but you could duplicate, darken and blur a layer to create a drop shadow. You’d approach it in a similar fashion with Pixelmator, but even better is the new ability to change text into a shape. Once you’ve done that, shape styles can be applied. This lets you fill text with color or gradients, stroke an outline and add shadows – all while still in a vector mode. The keyboard shortcut of command-shift-V switches you into the Vectormator mode. This changes the interface configuration to bring forward all of the vector-based shape, text and drawing tools. Effectively this gives you a mini-equivalent of Adobe Illustrator right inside of Pixelmator.

df_pxlmtr_4I tested compatibly in both directions between Pixelmator 2.2 and Photoshop CS6. It was actually much better than expected. Layers came across in both directions. Layer effects applied in Photoshop were there, but not with the right look, unless I merged the layer in Photoshop. For example, a drop shadow would be there, but an elaborate emboss treatment I applied was not read by Pixelemator. On the plus side, the vector font was brought in as separate clean layer. Pixelmator files with shape styles applied to text layers – that were exported as Photoshop files – opened more or less correctly in Photoshop. The bottom line is that there is a reasonable level of interchange between Photoshop and Pixelmator, as long as you merge or flatten any layers with layer effects.

Pixelmator is a fun application to use. The 2.2 version has some great features and delivers high-quality final results. Excluding DaVinci Resolve Lite (for free), Pixelmator has to be the best bang-for-the-buck of any content creation software.  Regardless of whether you use Photoshop a lot or not, Pixelmator is a good addition to the toolkit. The more you use it, the more you’ll find it your new go-to design application.

Originally written for Digital Video magazine

©2013 Oliver Peters

Autodesk Flares Up


All manufacturers are looking for the best way to deal with these challenging economic times. The Autodesk Media & Entertainment division has managed to hold up well at the high end, with signature products like Smoke, Flame, Inferno and Lustre; but its customers, like everyone else, are certainly clamoring for cost-effective solutions. Autodesk has offered software-based effects products, like Toxik and Combustion, but what’s the best way to offer a lower cost version of the high end system products? That answer came at NAB 2009 in the form of Autodesk Flare 2010.

Autodesk Flare differs from Toxik and Combustion in several ways. Toxik is a complete visual effects pipeline designed for the type of collaborative workflow used at motion picture visual effects houses. It doesn’t really replace the “hero” finishing and compositing suite that a system like Inferno or Flame is known for.  Combustion was a desktop software application acquired from another company. Although it gained a number of features from Flame, Combustion could never be used to take a share of the work off of a heavily-booked Flame room.


Creative companion

In looking for ways to satisfy demanding Inferno and Flame owners, Autodesk realized that it couldn’t release anything short of the full Flame toolset. Flare is really envisioned as a “creative companion” to Flame or Inferno. It can fit into the same Flame workflow, because it uses the same tools – mainly Flame’s Action (part of Flame’s node-based, Batch procedural compositing environment). All the effects tools are the same as a full-blown Flame system.

Flare is sold as a software-based system to existing Flame and Inferno customers who are willing to handle their own hardware integration on a qualified system. Autodesk doesn’t quote prices and customizes system solutions to the needs of the purchaser, so in loose numbers, Flare is positioned as costing approximately one-fifth the cost of a Flame. Since Flare uses a floating license, customers can install the software onto a number of machines and then authorize any one of these machines to be the active Flare system when needed. This includes laptops, which means that for the first time, a visual effects supervisor can bring the Flame toolset on location to test composites. When those shots are brought back to the facility, the same project can be opened in Flame and the work continued without changing compositing tools.

Autodesk Flare 2010 differs from Inferno and Flame in several ways. The flagship system products are built as turnkey workstations designed for speed and performance in client-supervised sessions. They use an AJA hardware card for SD and HD video capture and a high-end NVIDIA graphics card for broadcast-quality display and video output. In contrast, Flare is a Linux application and it’s up to the customer to configure the workstation and storage according to their performance and budget requirements. There is file i/o, but no video i/o through hardware. There is no broadcast monitor support and Flare doesn’t use the desktop module portion of the Flame GUI. You can see full-screen images, of course, but that’s on a standard computer monitor using the monitor’s color space. Essentially Autodesk took the complete Batch compositing environment from Flame, added file i/o with GigE and Infiniband support and turned that into a separate product – Flare.

Autodesk Flare 2010 solves several customer issues, which are mainly cost and efficiency. A customer who has shied away from purchasing an additional turnkey Flame system, because of the higher cost, can now build up the throughput in his facility by adding seats of Flare. There’s an obvious savings, but more importantly, the owner has increased the capacity to turn out billable work in a timely manner. Most Flame suites are well-booked at successful facilities, so it’s hard for owners to make systems available to junior artists for more mundane tasks. By installing Flare, up-and-coming Flame artists can be assigned to tasks that don’t necessarily require client supervision, but still use the same toolset. Thus more work gets down and at the same time, the staff becomes more experienced on the tools that bring in clients.


Flare in the real-world

I recently spoke with Jeff Beckerman, President/Creative Director of BOND, a New York creative post house, about their decision to purchase Flare. “Our shop uses a mixture of tools, including Avid Symphony Nitris DX for editorial finishing and Adobe After Effects for design work. The Flame suite is where we tackle complex visual effects. It simply has the best toolset when you need to create seamless effects shots with a high degree of finesse. We were bidding on two effects-heavy projects around the time of NAB. These jobs would have put us in a situation of having to run two Flames to meet the schedule. Renting a second Flame in New York would have cost us about 10-15 grand a month in rental expenses. When we saw the demo of Flare, we knew we had the solution, since the projected rental costs would have been a large chunk towards owning Flare.”

Beckerman continued, “As part of this whole purchase, we upgraded the HP workstation for our existing Flame and installed the Flare software on the older HP model that had been part of the Flame system. This has really boosted the high-def performance of the Flame. Our new Flare station is currently being used for a lot of rig removal, rotoscoping and clean-up work on a standard-def project and all the interaction is in real-time. On an SD job like this one, Flare is giving us the same speed as we previously had on the Flame.”

I asked Beckerman if BOND had taken advantage of the floating license aspect of Flare. He replied, “Not really. I see where that might have advantages in the future, but in our shop we have configured it so the Flame is the ‘host’ system, handling video i/o and media storage. The Flare is networked to the Flame and its storage, so media is moved between the systems in a push-pull approach. We couldn’t have justified the purchase of a second Flame right now, so adding Flare is like having one-and-a-half Flames. BOND’s selling point is creativity. Our strength is in our talented people, so it’s important to us that the technology lets our editors and artists turn out great work for the clients. Flare uses the powerful Flame Batch toolset and we are running it with experienced Flame artists. Now we can respond more quickly when schedules are accelerated or when additional visual effects shots are added to a job at the last minute. There’s no compromise in the quality of the work or the efficiency in getting it done.”


New Flame and Flare 2010 Tools

If you take a look at the many ways that a Flame system is used, it’s easy to see how such tasks as basic compositing, rig removal, mask creation and more can be prepped or even finished on a Flare. For example, the lead Flame artist can assign several shots to other artists. They would work collaboratively with the lead Flame artist to complete these shots on Flares. Time and resources are maximized without a compromise in the tools. Flare also allows a Flame artist to take a project on the road or home when there’s a need to do so. Flare can handle the same file formats as Flame, which now includes support for REDCODE raw, multichannel OpenEXR and Avid DNxHD with Apple QuickTime.

Flare and Flame share the same tools, so new Flame 2010 features are also included in Flare 2010. It’s already a rich toolset that includes particles, paint, tracking, keying, color correction, morphing and warping tools. Flare, like Flame, processes all content in 4:4:4 RGB and all compositing operates in 3D space. The applications both utilize a 64-bit architecture for fluid interaction. Some of the new creative tools include Normal Mapping, an enhanced 3D text tool and a 3D Blur tool.

Normal Mapping lets the artist access multiple render passes typically generated by 3D animation programs, such as Maya. This is made possible by the OpenEXR format. By controlling these layers, the Flare artist can relight rendered scenes without going back to the 3D application. The enhanced 3D text tool permits the designer to create extruded text within Flare and create expression-based animated text. For example, individual characters can be controlled and text can be animated along a 3D path.

It’s worth noting that Flare and Flame also share the same Sparks filter plug-in architecture. Plug-ins designed for Flame will also work with Flare, but they don’t use a floating license and third party Sparks vendors have yet to produce special versions for Flare. This creates a bit of a dilemma since Autodesk can restrict the functionality of Flame in producing Flare, but plug-ins are different. You can’t really limit the functionality. You get 100% of the benefit of the filter, even if the host application costs less money. I spoke with the marketing folks at GenArts, makers of the popular Sapphire plug-ins. GenArts is presently trying to develop a pricing strategy for Flare customers. They expressed an interest in talking with Flare customers who also wanted to purchase Sapphire for Sparks. This will help them evaluate how to address the situation in the future. Naturally Flare owners are hoping that the third party Sparks vendors will offer a reduced price on Flare Sparks, but for now the product is young enough that any such strategies are still being worked out.

Along with Flare, Autodesk has added another way for users to increase productivity and that is the launch of the new Area website ( This is a new user community site for content showcases, blogs, tutorials, tips and discussion forums. All of these moves provide opportunities to move the Autodesk brand into new markets, such as smaller creative shops and broadcast graphics and promotion. Flare now makes this more approachable than ever.

©2009 Oliver Peters

Written for NewBay Media, LLC and Videography magazine