What arrives
An editable Flame sequence, cut for cut, with the original media linked.
- Picture
- Every clip on every video track, in its stacking order.
- Framing
- Position, scale, rotation, crop, opacity, and flips, including clips whose pixel aspect you changed with Interpret Footage. Each clip's motion arrives as an Action, inside nested sequences too, and the Crop effect's edge feather comes with it. Photos stored on their side arrive upright, as Premiere shows them.
- Blend modes
- All of Premiere's blend modes. A clip with an alpha channel, such as a ProRes 4444 graphic, shows over the picture beneath, unless you set it to ignore its alpha in Premiere.
- Nested sequences
- As Flame containers on the nest's own track, with the nest's motion and opacity. Open one to work inside it: the whole nest is there, with handles to trim into. A nest inside a nest arrives as a container inside its container. A nest at another frame rate plays in real time, as in Premiere, and each nest is also in the send's reel as a sequence of its own.
- Timing
- Speed changes, reverse, freeze frames, and time remapping, as Flame timewarps. Footage you gave another frame rate with Interpret Footage plays at that rate.
- Transitions
- Cross dissolves and dips to black and to white, on clips and nested sequences alike, including between two nests. Wipes arrive as Flame wipes with the default pattern. Any other transition arrives as a dissolve of the same length and alignment, and the results page names it. A dip to black with too little media either side of the edit arrives as a fade out and a fade in, at its full length, as Premiere plays it. Where a dissolve runs past the end of a clip's or a nested sequence's media, the edge frame is held, as Premiere holds it.
- Titles
- As Flame Type titles you can edit: each text layer with its wording, font, size, color, and place, All Caps included. A font that is not installed on the Mac is replaced by the nearest one that is, and the send's report names it.
- Mattes and graphics
- Color mattes and black video as clips of their color, linked like any other media. An adjustment layer that moves or crops the picture arrives as Timeline FX on a gap in its place, with that framing and crop, and the results page lists its other effects. Other adjustment layers, graphics, and generated clips arrive as labeled placeholder cards in their place, switched off.
- Sound
- Each Premiere audio track as one stereo Flame track, in the same order. Mono clips play from both sides, as they do in Premiere, and a stereo clip keeps the level on each side. Crossfades arrive as fades, clip volume and gain at the levels set in Premiere, static or keyed, a nest's own volume included, and constant speed changes; pitch follows Maintain Audio Pitch. A QuickTime file with sound and no picture arrives through a WAV copy with the same sound and timecode.
- Captions
- As Flame subtitle tracks.
- Markers and start timecode
- Your markers on the sequence, and the sequence's start timecode, so a note timed against your edit lands on the same frame in Flame.
- What to look at
- A warning marker at each clip the results page flags as an error, a warning, or for review, colored by how serious it is and naming what to check, and each flagged clip in its finding's color, as in a Resolve send. Where one of your markers sits on the same frame, the warning joins its note.
- Reference render
- In a version of its own above the cut's, to switch to, or below it if you prefer. Or on its own track above the cut, in Difference mode: where the conform matches, the picture plays black.
- Your choices
- The switches under the timeline shape a Flame send as they do a Resolve one: leave out audio, graphics, titles, adjustment layers, solids, placeholders, or markers, join through cuts, collapse the video tracks, or open nests out as flattened clips.
What does not arrive
The results page lists each of these on the clip it affects, before you send.
- Lumetri and other video effects, and opacity masks.
- A title's stroke, shadow, and background box, and its animation: a title that moves holds the position it has halfway through.
- The exact look of a see-through clip over other picture: Premiere mixes it in linear light and Flame as the picture looks. See-through black, such as a caption box or a fade through black, is matched.
- The pace of a dissolve: Flame's eases in and out where Premiere's changes at an even rate. Halfway through, they match.
- An anchor point moved on a clip of a different shape than the sequence: the clip arrives framed around its center.
- Reversed or ramped sound, Essential Sound processing, and audio plug-ins. The results page names the effects on each clip.
- A nested sequence you sped up or slowed down, or one of another frame size, arrives opened out rather than as a container. A dip or wipe across an opened-out nest, or a dissolve between two, arrives as a cut.
How the send works
Choose Flame
When your license covers more than one system, a switch above the results picks where the cut goes. Choose Flame and the list describes what Flame will carry; the button reads Send to Flame.
Open the project in Flame
The cut is built in the project Flame has open. For a new project, set it up in Flame at the timeline's resolution and frame rate: the results page shows them at the top, and the send window repeats them.
Send
The send window names the project Flame has open. If Flame is closed, pick the project it should open in, and Konformista starts Flame there and builds the cut as it opens.
Check what arrived
The send ends on Sent to Flame with a count of picture events, offline clips, and sound. The Project Hub marks the timeline as sent.
Offline and unreadable media
A missing file arrives as a Flame offline clip in its place, carrying its path and source timecode, so Flame's relink can find it.
Flame 2027 can't read ProRes RAW, Canon Cinema RAW Light, or Sony's 8.6K XAVC H-I HQ. Clips from those files arrive offline too, picture and sound, each with a marker saying Flame could not read it. Relink them to a copy Flame reads, such as a transcode.
Requirements
- Flame
- Flame 2027 on macOS or Linux.
- Konformista
- On the same computer as Flame.
- A Flame project
- Set up in Flame. The cut is built in the project Flame has open, or Konformista opens Flame on the project you choose.
- License
- A Team seat, which includes Flame in beta beside Resolve and Baselight, or a key that includes Flame, from beta access.
- Premiere
- Projects from version 14 on. Premiere doesn't need to be installed.
Questions
Can Flame be open when I send?
Yes: the cut is built in the project Flame has open. The first time, the send gives you one line to paste into Flame's Python Console. It builds the cut and connects Flame, and later sends go straight in.
Can Konformista create the Flame project?
No. Set it up in Flame at the timeline's resolution and frame rate, which the results page shows at the top, then open it and send.
Do nested sequences stay nested?
Yes. Each nest arrives as a Flame container you can open and work inside, with handles to trim into. A nest you sped up or slowed down, or one of another frame size, arrives opened out.
Are titles editable in Flame?
Yes. Text graphics arrive as Flame Type titles with their wording, font, size, color, and place. A title's stroke, shadow, background box, and animation don't carry.
Does the sound come across?
Yes. Every audio track arrives with its crossfades, clip volume, and constant speed changes. Reversed or ramped sound and audio plug-ins are listed on the clip instead.