 Alright, so our tip and trick is really about methodology and some of the things working as a remote or freelancer will make your life a little easier. And some of the nuances to a Mac OS that will allow you to like check an archive, pull a setup and send it without actually opening Flame that can become very handy if you haven't renewed for the month and somebody calls you a month afterward for an archive. So let's jump into it. We'll open up Flame here which should already be running. There's our command thing. Alright, real simple clip. Client sends along. Here's the red pad. We've got to remove all this. Simple enough. And here's the scene. Barely any movement. The only thing that are moving separate from the camera is this guy and maybe this guy's helmet. Alright, that's all that really needs to be happening. So let's jump into the batch. We'll notice that here's our source. Alright, so we jump into our batch. Here's our source clip and what we'll do is we'll double check the red panel begins. We're getting all those pieces covered. Now you notice what I've got going on is the context. I'll always set up a context between the source and your full red source and the red pad or rough cut up against your HD preview because you're always going to be sending a client an HD preview or posting for them. And what I tend to do is I'll make them two and three, one and four so your fingers aren't trying to traverse from one to nine or something to a, you know, very simple. And what I ended up doing, it was exactly that. I set up one simple GMAF that did 90% of it. Those aren't moving. All the movement for those bad boys are happening in here. There's a planar track that got done for still elements, still meaning they're not moving. The camera is moving, but they're not moving. Everything else, the sitting guy, sitting guy two, antenna restore because the antenna is going to go back over top of the logo removal here. So we need to have something holding that back there. Right now, you'll notice everything's nicely labeled, you know, as a remote artist, take the time and label it, particularly if you're going to send setups off to somebody. That's the whole purpose of it. Plus, even by labeling the little mux to send into everything, while you're inside of action, you'll see, oh, this is a still frame. Oh, we still have a mux. What is that mux? 10 to 4. Oh, that's the live action. We could have actually labeled that mux. Let's see if it comes back to us. Yeah. So we'll label the mux camera original, put them camera original, fine. And you'll notice I jumped a little compass around my output. Now, particularly on, this is very simple, but in certain jobs, you're going to find that you're going to have the same grouping constantly. Now this is scene five, here's scene 12. Now say we get all done scene five, and we're going to make a new one for scene 12. I'm going to pull them out. I could go and reinvent the wheel by doing that whole thing or take my grouped output, ungroup it, and I'm good. However, you still need to apply the clip data or clip information from the source this way. Your timecode all matches. And it's important to do that, particularly if it's going to go back to an offline editor, it's a long form or something, you know, you're handing stuff off to color, you know, having that timecode and all that metadata still attached way important. So the T, the T is big. Now, okay, same thing with this, I would go through, I would have a mask, I'd paint up a thing, I'd probably, in this case, I'd probably track a little bit in there because there's some lighting changes and whatnot, but that's a whole another tamale. So we'd go through, we rendered everything, we have our HD preview and we have our P's. Sometimes they might want to burn in on the HD preview or not, simple enough to do, and it's easy because your timecode is going to be identical to your source. Now, you're all done, you're going to go through your export, today is here, we'll make one for day, one, or a year, month, day, so that human beings can read it, computers can read it, okay, we're going to export our preview, that's not our kind of, it's, all right, we're going to make our exports, quick time, but this is for your processing, whatever the codec or preferences that the offline editor or whoever is going to want for maybe the HD to go back in the editorial or not, you make a simple set and you're fine. All right, so you're done, you've posted it, it's all good. You're going to move that down to the comps and off you go, now you're going to go into archive, you know, open up your archive set, oh, all set, we're going to make sure we've updated our archive, archive and close, also going to set up, okay, so now you're the point where you are, you've archived, you've exported, now you want to check it somehow, well normally, if you open up your Mac, it's going to look like this, you go and look in here, well it looks like there's an archive, there's segments and you're going to double check the size, okay, there's 3.5 gigs, that's what it said it would do when it went to do it, your exports are there from yesterday and today, but how do you know that that archive has got what you wanted, I mean the time looks right, 11, 11, 11, 11, 12, but there is a way to check your archive, you command, shift, period and it suddenly opens up all the hidden files that are on your Mac, under op is Autodesk, under Autodesk is archive, in archive you're going to find tips and tricks, there's an HTML folder, now you could import your ATOC into a FileMaker Pro or some other type of tablet-needed software, Excel, you know to read to see what's on there, I prefer to web browse, so I'm going to use the HTML file straight up inside of Safari and go okay, there's comp, here's the piece, there's the segments of the sources, there's the original clip, but the red pen, go to batch renders, there's renders, 89 frames, 89 frames, that's good, all the other elements for the job are in there as well, I'll go through those in a second too, and at least it looks like the archive has everything it's supposed to, including your setups, here you go and we'll check the last thing, the last thing, archive 11, 11 with tips and tricks, it's the project setup, so provided they can open it up in there in the same version of software, it should be fine, but how can you still send just the setup without actually setting the whole archive, well in the same Autodesk folder, you're going to find projects, you're going to find your particular project, you go and you'll find batch, and inside there will be a flame library, here's clip 5v01, there's the actual batch, there's the proxy for the batch if you really wanted to do it, and if you are so inclined, you could open up and delineate that if you really wanted to, but you'll find your batch, you'll find flame, you can pull the setup right out, that's going to include all of your pieces, and you'll notice the names of stuff, clean frame one, so it's going to have all those names on things, if you get hit by a bus, someone will be able to make sense of these, without you having to explain anything, so there you have the way to check your archive without actually opening it up in flame, the old safari open, finding your archive for your job, open the HTML folder, it'll tell you the last time something got done and what that was, and you also have the way to pull files out of your project without having to open flame and re-save them out, or send them a whole archive of the setup, you can know specifically which one you're sending them. Any other questions? I find this to be very handy, the clan shift period puts you right back in the normal everyday Mac mode and toggle it back, and you're in and looking at a whole bunch of the hidden files, very handy, remember you're going to find the autodesk under op