Davinci Resolve 15: FUSION | Film VFX | Skillshare

Davinci Resolve 15: FUSION

Film VFX

Davinci Resolve 15: FUSION

Film VFX

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12 Lessons (2h 42m)
    • 1. Davinci Resolve 15 Fusion - Course introduction

      1:41
    • 2. Compositing: up and running fast in Fusion

      18:45
    • 3. Introduction and Interface

      32:57
    • 4. More nodes (incl Text) and how to organise them

      14:33
    • 5. Tracking

      16:30
    • 6. Stabilising shaky footage

      7:26
    • 7. Rotoscoping

      16:05
    • 8. Green Screen Keying

      30:18
    • 9. Animation

      10:11
    • 10. Create versions of compositions fast for more creative choice

      6:28
    • 11. Versions of nodes

      2:53
    • 12. Add FREE OpenFX for Fusion

      4:14
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About This Class

Fusion is now integrated with Davinci Resolve 15.

It's a robust compositing software, node based just like Nuke. And it is used in High End films from Avatar to Star Wars, Harry Potter, Superman, Spiderman, Ironman, X-Men, Game of thrones, James Bond films. you name it

These are just a few films, the list is long. But the question is not how many films, the question is do you want to join the professionals, and add the power of node based compositing to your workflow ... FOR FREE... yes BlackMagic did it again. It has bought the monster software from Eyeon and released it for free. What an opportunity? One you cannot afford to miss, because now you can it do it all in Davinci: editing, visual effects, Sound and color correction.

And I will take you in the Fusion journey, from the very beginnning to get you up and running fast in a top notch compositing beast.

We'll start strong with:

- a quick compositing,

- and then I will take you in a tour of the interface, because I want you to feel comfortable in YOUR new compositing software.

- You will learn how to work with nodes, including text, how to organise them and make them do what you want.

- Of course we'll do tracking,

- stabilising shaky footage,

- rotoscoping,

- green screen keying,

- Animation,

- and much more including where to get more free OpenFX to have a richer toolkit.

I can't wait to see what you will do with Fusion in Davinci Resolve 15.

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Film VFX

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Transcripts

1. Davinci Resolve 15 Fusion - Course introduction: fusion is now integrated with the venture is all 15. It's a robust compositing software note based just like nuke, and it is used in high end films, from other tar to Star Wars. Harry Potter, Superman, Spiderman, Iron Man, X, Men gave up throws, James Bond films you name it, and what you see is just a few films I could fit in one page. The list is long, but the question is not how many films. The question is. Do you want to join the professionals and add the power off note based composite into your workflow for free? Yes, Black Magic did it again. It has bought the monster software from I own and released it for free. What an opportunity one you can not afford to miss because now you can do it. Told in the Vinci editing Visual effects, sound and color correction, and I will take you in the fusion journey from the very beginning to get you up and running fast in a top notch compositing beast. We'll start strong with a quick compositing, and then I'll take you in a tour off the interface because I want you to feel comfortable in your new compositing software, you will learn how to work with notes, including text, how to organize them and make them do what you want. Off course will do. Tracking stabilized in shaky footage. Rotoscoping, green screen key in animation and much more, including where to get more free open effects to have a richer toolkit. I can't wait to see what you will do with fusion in DaVinci Resolve 15. 2. Compositing: up and running fast in Fusion: to get you up and running fast. Infusion in the venture is all 15. I'd like to take your straight into a compositing exercise before even talking about the interface or giving you an introduction. And you will see the benefits of that. Now I want to make a compositing off the following clips. This is a background and I've got five Children here. Each one of the clips is one child, and I have the intention to put them flavored. These Children are levitating, Okay, They're levitating there, floating in the air. Now these initially were shot on a green screen on We have these kids tied to ropes and they were levitating, but with order, room of the green screen of order removed the ropes and we just want to do a simple compositing exerciser. Now, green screen is yet to come. Removing the ropes is yet to come at bought. That's later. For now, we're talking about just a simple compositing. Okay, Now these five kids, I want them to be somewhere above the lake, levitating floating above the lake. And I want to have a rock in the foreground just to get a richer image, foreground middle ground on background. Shall we do that now? This is a timeline view, of course. And I have all my separate video tracks have got the background Chand 12345 So each one of them is on a separate track separate video track, of course, in the right order, because the background needs to be factored bottom and the closest one to the camera needs to be at the top. This makes perfect sense. You already know that, I guess. Okay, so this is going to make all off much easier. Let's just reduce the time line a little bit here to able to select them. I want to select all my clips on the time. Why? Because to be able to move to fusion. There are a few ways, but I'm showing you the easiest way for somebody who's beginning with fusion. You come first to the timeline. You put all your ingredients there. Of course, there are several ways to do it. You can take. You can import your ingredients, your clips. You can import your clips straight from within fusion, but for now, because you are already familiar with the timeline, you are going to bring them from the timeline, okay? And that's how you later on how to do it directly from fusion. Now you select all of these everything that you need and you're right. Click and you create a new fusion clip. Now, this is your safest, most guaranteed way to get it working right when you're coming from the timeline, if you're working straight directly inside fusion now there's you can bring it directly from fusion and it's going to work. But for now, let's create a clip. Now, what happened is that everything has been now merged into one clipping here in the States Fusion flip number one. Okay, so I would like now to go to the fusion top. When I go to the fusion top, you're going to notice that fusion has done a fantastic job in preparing the work for us. Now you have here. These are two viewers on. This is where I'm going to be working. These are notes. Haven't you noticed that something wonderful has just been done automatically by fusion? It knows that the one that's at the top is your foreground, and the one that's at the bottom is your I'm talking top and bottom at at the time line level. OK, but infusion. It's a different story. It's upside down in here. Okay, so this these our viewers, these are not monitors. So I'm gonna just drag this one on. Drop it here. What do I see? This is the background. Okay, So what fusion has done for me when I created a clip is that it has created merge nodes, which basically is a matter off. Combining this. It's a compositing. If want to compose it and bring to Phillips together, you need to merge them. That's what happens here. Okay, So what is this time? This is these are my kids. These are the kiss of our levitating in the air. I'm gonna have a rock hair. Okay. And then you think who This is horrible. Absolutely. Right. This is completely horrible. The selection in photo shop is disastrous. Well, this is done deliberately and I'll show you why. Because I need to demonstrate a few techniques and I'll show you why. Ok, so all I need is these This clean part over there are deliberately left all of this rubbish so that I tell you, I show you how to deal with rubbish stuff. All right, so what is this? It has created media in merge on media. Out where clearly in is gonna be the input and out is gonna be the output that sounds like that that makes that makes perfect sense. Okay? And merge every time. It seems like it is bringing one input and would input number two on merging it undone. Taking number three on merging it again and four emergence again. Five margins again. I know you go when you get the point. I haven't done that. See, this is fusion that has done it for me. Cool. So now we have instead of having layers as you would have in after effects, you have the notes created for you in in in effusion. Cool. Now. Okay, so I need to start working. I This doesn't look like a final result because it just has put everything on top of each other on Did I just need to place them in the right position? Now I need to talk to fusion in terms of actions. If you If you knew to denote compositing mode, then the simplest way if you come in from after effects. And you used to the lay year based on the simplest way to understand it is by actions. What do you want to do and give me a verbal, please? Okay. Generally, we're talking about verbs. What do you want to do? Okay, let me show you. First of all, because the merch is generally images selectees was and get him a little bit closer to here . Because I need more space. We need to do a lot of stuff. Or it. First of all, let me look at my foreground. Okay. You want to change something here? Maybe not. Just leave it as is fine. Okay. So let's look at I'm gonna track the merge on drug it. Here. You got the points. Every time I drug something to a viewer, you see what's in the note. All right, So this is the first kids levitating in the air. And what would I like to do with this child? Well, she's too close to the camera. I want her way back somewhere above the lake, so I need to do something. So what's the action? I need to I want her box. What's the verb. I want to transform the clip. So what I need to do is breast control, space and type Transform. Okay. When you start typing, it gives you transform its trust from highlighted and press enter. I got my transform here. Now what transforms Selected? I have two thinks I couldn't do its here. What? I can do it here. Okay, so I'd rather actually first come to the size and reduce the size because by reducing decides to give the impression that it's further from the camera. And I come here on the center when I moved the x x b in horizontal. And why being the vertical that makes perfect sense is something you would be familiar with . So on a moments has somewhere here. Okay, Don't necessarily Botham the lake because the kids are The five kits will be distributed in the whole center off the image. So it's gonna be OK. This is where I want this kid to be. Fine. This is done. Let's move. Yes, I have left enough space here because I need a little bit more than just transforming it. But that's fine. Let's look at the second merge or the kid is too close to the camera. Well, guess what we're gonna do. Same thing. Let's look at this third much too close. Fourth match to close 5/5 much too close. And even the sixth Merge Stew close the seventh Merge. I've got the sixth and seventh. The rock is used twice. So if I know, I want to do the same thing as in scaling on moving, which is basically called transform. Then why don't I just come here and controls or command space? And it will remember the last action? Actually, Node, I don't want you to keep to keep hanging on the word action. But this is the closest way. And the fastest way to understand it is our note it snowed based. But first, the easiest way to understand it is the last action was transformed. Press enter. Click on the next one controlled space press, Enter control, space press, enter. And I'm adding my transform nodes quickly to each one of these because I know I need to transform them. All right, let's do that. Were done. Fantastic. Let's now move to the last one. Have I Don't this one? Not yet. Okay. I need to click on transform here and move him a little bit talking. Move from here. And I can't read you. Yeah, I'd resource him on Western him way back much further. These guys gonna be closer to the young to the floor. Got Sendak on, then I can move him. Use the handle here on moving a bit here, actually going to move him somewhere here. Good. Okay, This one is Don't Let's move to the move to the merger number three and come to transform on. I'm gonna bring the size way down on get her a little bit closer to her. Okay. To the other kid here. Okay. Next. Emergent. Before then, you could look at transformers. Well, if you want, but I prefer to work with the merger, because then I need to I I'm able to see what I'm doing. Okay, so, by the way, if this is standing in the way, you may be thinking okay, I know what this viewer is doing when I'm not using the word monitor and I would never use I don't want you even to think of using the word Morningstar. Infusion and monitor does not exist. These our viewers forget about timeline. Okay? And I'll explain when we talked about the interface. But for now, it seems like I'm most. I'm working most of the time with this one, and this one is just like this is like the final result. For now, I could use any one of these, but you know what? For now, I actually only only need one screen. So why don't we just, um, select only single viewer? Let's focus on one of them. Okay? I'll come back, will come back later to to just click on this one and get the two. But for now, I just want to focus on one, because I'm working only one by one. Kids one by one, sort number four. I've got this child I'm gonna have to bring him. This is this child is the closest one to the camera, so I'm just gonna keep him somewhere like this. I'm gonna bring this one a little way. Ah, little Okay. It's something like this, um, closer something. OK, Good. On the other is this one. So you get the point. This is marginal. Before I have just one of a five on. I'm gonna resize him and send him a little bit to the right because I'm using the X axis, and he needs to be here, good on equity, even use death to place. Did you? All right, now, assuming that I am satisfied with the position in which is basically transformed, I say, Fine, I'm OK with this. I could push them further further back in the background. But let's say this is OK for now, I know I need to work with my rubbish rock because I've done such a a terrible work in photo shop. So how do I deal with that? Normally, I would just come here in the transform on, drag it down, and I'll be happy with that. But hold on a moment because I've done rubbish work into selection. I have these white edges here. This is really not good. Well, I need to have a few excuses to use more techniques and notes. So shall we do that? Um what? Argue when we will come here to transform its not just about a size on descend er because I can reduce the size, but I'd like to do something because I think this part is not good. This part is good. So let's flip it. If I could, conflict is gonna flip. That makes perfect sense that I'm gonna hide the rubbish out of the frame. This way, I'm able to bring the rock in the foreground. Something like this. Not Why do I have this rock? Just no artistic choice. Because I don't want to have this parts that are too saturated. So let me bring it a little big back up because I've lost my handle. I'm done. Let's say you just hiding a little bit. I don't want to hide the river of the lake, so just do it like this. That should be kind of final. All right, Now I have another rock, which is kind of the same, like OK, because I'm lazy and I'm doing rubbish working photo shop. So guess what? I'm gonna use the same rock on give The impression is a different one. Should we do that? Okay, so this is your last merge, not just have the stress hormone number seven. Let's bring it over here. But I can't do this because gonna look a little bit. See, metrics. I want something that is in here but it looks to symmetric. So I want to use this part. But because this is rubbish, I just want to use this upper balls here. Okay, let's do that. So I'm not only going to use the flip, I also need to use the angle. So let's move this one here. I'm moving its here, but I can't keep it like this. I'm going to use the angle. Um, actually, I've done it wrong. This rock should be behind that one, but we thought it right now it's a great opportunity, actually, to show you how to do it. So I'm gonna use the angle to rotate. So this is how you can rotate your stuff? This should be fine for now. Okay, this is what I want, because initially, this rock should have been behind the other one. So how do we saw this one? All right, so the work that I've done for the last one should have been done for the first. You either come back onward and work on the transform and change them or you say Okay, now what I'm gonna do, you just disconnect these lines and bring this one down. All of this down. I bring this 10 because this is the last stroke of worked witnesses, though. Rocco, that was before. And yes, have lost visibility of what I'm doing here. Fine. We'll see it in a little while, and I'm gonna connect this and I'm gonna right click and drag on. Say, make it my foreground. And then right, click here on this thingy on release and say, Make it the foreground and then reckless rest Click on release and say, This is the input. And let's have a look at the final result. Okay? I've just dragged the media out on the viewer, not the monitor. The fewer. Okay. Again. You could have yourself. You could have changed the actions. Like instead of doing this work. I mean, rotating. The last one could have rotated the 1st 1 But this is not a great opportunity to show you how to have your euro notes around. Cool. So this has been properly organized by fusion. Now, what I need to do is give the impression off death a depth of field. You do that with blur. Okay, So what we need to do, I need to bear something blur the rocks because the idea is that it's just like you have a camera on. You are focusing your Your focus is on the kids. The foreground is gonna be slightly blurred. The background is gonna be blood on the middle ground is gonna be in focus. So that means that our rocks need to be blurred. So what do I need to do? I need to blur. The verb is to blur. The action is Tobler. So the note is called to blur, so it's gonna be bigger. These are the rocks are just click on the last action that have done and control space and click. You're untie pure verb. Well, it's a no name, but for now, we could in its inaction and ever blur. And that's it. Blur. Okay. And then, for the next one as well, uh, control argument, space Tumbler. And he have added another one on this one is for for which rock. Let me just see what truck this is. Just have the proportions. Here. Let me just add which work is this? Yeah. Is that it's the 1st 1 Cool. So I'm gonna do seven on Look at the blue. Here okay. Probably is. This is the right time to go back to our to viewers. Let's do that. I'm gonna click on this. I look atyou, viewers, the media out. This is the output. I'm gonna put it there. And now I can work on my individual, um, individual nodes or actions or whatever. I could emerge or whatever. They could focus on these if you want. Uh, the blur. I'm gonna go here. Were, like, probably Let's try and see what works for you. 1.5. Not enough. Maybe to could be a two would work better. I think two works better on you can see the result here. All right, then. I'm going to use the blood for this one. Selected data to be able to work in the inspector here, you need to select it here. Right. This is just a matter of you in a spot. You need to select it here. Viewer. I was good. Blur. And then I come here and I just give it a little bit less because it's supposed to be, like, half a meter away or something. Like for Yeah, someone half a meter. Right. So it's 1.81 point nine. Something without 1.9, probably. All right, so this is a little bit blurred. You could bury it, even mortis an artistic choice. But now it's just a matter off. Making things look a little bit more realistic. And let me just bring this rock a little bit up. I don't like this saturated bit here, So I'm gonna come back, come back to my to my lost rock on. I'm gonna bring it up into why access a little bit like this? Probably if it moves it to this side, something like this. And I could even come back to here and then make the angle less will be even push it down. That was not the intention. Push it down with the why something like this just to give the impression that there is a full ground. Okay. And this is how you can make a quick compositing infusion. Now, we're gonna come back and talk about the introduction on the interface, but it's gonna be much easier, because now it's so familiar 3. Introduction and Interface: Now, let's talk about the interface off fusion in Davinci Resort 15. What you see now on the left and on the right, These our viewers thes are not monitors. Okay? We need to make a clear distinction between what you find in the timeline and what you find . Infusion. These are monitors. This is the timeline. This is the source monitor on. This is like the timeline monitor. Absolutely nothing to do what you find in here. Infusion. These are completely different things. They called viewers because they do exactly what it say's in English. They view, and they're independent have nothing to do with any timeline whatsoever. So what do they have? You? They view the results off a note. Who chooses that note? Is this always my output? Absolutely not. You are in control. You choose what you want to see now because you only have Now for when you start. You only have media in the media out. You don't have much of a choice. Just like okay, you're gonna be able to see media in and out. And actually, I can even choose media out and move it here and media in and move it here, So this becomes important. This becomes the output for a simple reason. There is no sequential reasoning. There's absolutely no order. There's not them. They're not just viewers, OK, you can just drop it to just one click on this and it becomes one. Okay, It's a viewer. But viewing what? And note that you select. So all you need to do is drag the node and drop it on the viewer. There are several ways, and it's now time to show you these ways. Now, if I want to let me just have two of them, okay? Let me bring another footage so that we have We don't get confused cause I have the same footage. Here, let me bring another footage. How do you get the footage? Well, as we know from the compositing exercise that we've done is that we have stuff that comes from the timeline. Okay, so it comes from the timeline, but you don't need. You don't always need to create effusion. Clip like right leg on mine. Go to create fusion clip. You don't need to do that. Why? Because when you start and this is the way I want to start the introduction of the interfaces by going through the workflow I do not want. I have no intention whatsoever to take you from left to right or from Dr Bottom what each button does. This is not. My approached approach is quite simple. It is your project, what you will be doing. It's the workflow based approach is basically means. What do we start with? We start with the input when it's talk about the Where does it come from? Not necessarily from the timeline. It comes from the timeline, but not always. So. I have here this. It's on the timeline, but it doesn't mean that everything I have to have in my composition needs to be put in the time line. It's much handier fusion is gonna be able to organize it for you a little bit, as we've seen in the compositing exercise. All of those those notes and merge have been created automatically. But if you say well, I'd like to start blank and the let me see where I can get it, where I where I can take this artistically or creatively. Fine. It's your choice. So where do you get your input? The first step is the input from the timeline. Or you can go to the media pool. Here in the media pool you are able is the same media pool. That's the beauty of the thing. It's the same media poll as the one you would find anywhere in DaVinci resolve. If we go to the media lab, you go to edit to go to fair light. Wherever you go, it's the same media pool. Okay, so if I come here in a say okay, I'm gonna grab, say, for example, number three, this one. What have I just done? Close the media so you can just drag it on. Drop it. It wasn't into timeline was it was not in the timeline. It's not. It has not. Bean added to the timeline in the timeline, it has been added infusion. Okay, so what does that mean? Doesn't mean that these two things are completely disconnected. No, they're completely connected, but only through one note and it's called media output. This is unnerved. You always want to keep Don't accidentally delete it, or you can recreate it again. You can bring it back again. But this is what makes that done. What takes what has been done. Infusion. What? It takes it back here and you've noticed. Here there's a blue line which basically there's there is some work infusion that has been done that is not rendered yet. Okay, well, I think it's all the render because you don't mean you should have read here. Okay, let's come back here on. See why this is the media in. So this is what this is this one media to is this It's OK, so we just brought another just to be able to distinguish between media in and 21 and two, we have distinguished. Now we've got This is a futuristic interface on This is like an action scene. All right, now this is media in immediate. What can we do with these? Um, these are viewers, If you see that, if if I move this one on top or move this one, I'm able to see it. But I also can click here. No, these little dots over hair, they decide on which morning or do you want it to be? I've got to. Okay. I've used the wrong word. Monitor Which viewer? Actually, you can use the word monitor absolutely fine, but as long as you don't confuse it with the monitor off off editing But these our viewers doesn't go to the first viewer. So first viewer, and then this one goes to the second viewer. Or you can say what this one goes to the second viewer. Another way of doing it is simply because you have number one a number two. You gonna click on this and say on press one and click on this and press two when he goes to the viewer number two, OK, three ways of doing it. It a drag it or you click on it or you give it the number of the viewer. That's a simple one. Now what is this? Over? It's been clear like, this is why I wanted to start with the quick compositing exercise because now you already are familiar. This is the node area where you're gonna combining. Add a few notes and stuff on, make your magic. Okay, so this is your work place. This is where you're going to get all off the fancy work done. Using what? Using notes by by two layers are no layers here, only clarity only visibility and every notice is responsible for something specific. Okay, so when I have these two, so what can I do with these two? For example, What can I do? I can composite them. I just put one on top of the other for fun. It stood out. So what do I do? I can press control on space on type in. Merge. It's an action. How do we do that by emergency. What do we want to do? I want to merge these two. Let's measure them. All right. So I create Emerge node and I will urge you. Really? When it comes to connected things like, Let's look at this note, it has yellow, green, blue. And then there's a gray rectangle here. Okay, By new means, I want you to remember these colors, or I will not even tell you what these colors to make Sure you don't try to remember them because there's one way that is way faster, much clearer and less Sadiq. You going to right? Click on this and then drag and drop on the merge and then you decide for yourself. I really do not care if it goes to the yellow. What to the green or to the blue as long as it is the foreground. Okay, so I click on foreground. I'm gonna take this one, Which is the action scene, Annoy. Drag it with the right click. So right, click and drag releasing the merge. What is this? This is a foreground. Okay. I'm sorry. This is a background likely come. Background. Then I right. Click on this. I urge you, and I invite you really? Not to take it with the left, or I would let click, but the right click all the time. If you get used to that, your life is gonna be much easier. You don't need to remember any color. And you, right click on this where you only have the option to input. That's the input. All right, So this is now, by the way, nothing is gonna happen in the viewers unless you ask them to view what's in the note. So dragon is on. Drop it there with anything called a moment you have promised. You're gonna composite this and merge it. Why am I not able to see the merchant when I'm able now, just to see the foreground? Because the foreground does not have the offer. This this one This does not have anyone for whatsoever. It's black. This is black background. This is not on our farm, so Okay, so what do we do about that? I'm gonna take the merge and then click on the Inspector Inspector is actually fancy word for four meters properties. Stuff that you're gonna tweak to make it look good. Okay, so this is the inspector and you come here and say for the merge. The absolute most important bar a meter is what mote is exactly what you would find in layer based compositing software. Like after effects. It's the which mode. Ok, so I'm gonna use here. This is normal. But if you screen, that becomes a different story. Okay, You can try all the other ones, including, including the operator about Operator. We're gonna handle what? We're going to address that much later. Okay? Because I have a fancy option, which is explore, which is addressed much later in another section about the green screen. So now, um, we are going to stick to screen. What do we have? Will just composited as in boot. One foreground on top of the background that have managed to remove it in the black without a fire. This this does not even have an Alfa. Okay, so we've managed to compose it in there and you could do all sorts of things. Have you remembered actually, that when we have done the quick compositing I showed you that I added what is called the transform nerd. You remember we had the media and then we pressed and we said, Let's write a transform. I want to transform. Remember for the kids that were levitating. And I did like this. OK, And then we went here. I think we started moving to centre on size and angle and everything actually don't need that. You can do it in the much you have your size, your Santa, your angle, your sleep, everything from the students transform, or most of the things and transform you can find them back, actually, everything. You can find them back in the much No, I think we're holding a moment. Was in that waste of time you don't always use the merge. Sometimes you need to transform. So I needed to show you the transforming out. Okay, but actually using a transform Onley for using the same parameters that you find back in the merge is a redundancy. It's not. It's not necessary. So in the composites and exercise, it was not necessary What I deliberately wanted to show you that transform note does exist . And you don't know what is need to emerge. Sometimes you need to transform something. Okay, so let's drop this transform. And where do I find my notes now? Okay, fine days. Marriage. I know about merge. You talked about transform. You talked about Blur. Is that all I can do? Absolutely not. Now for e composites and software. That is really excellent. That has been used in Avatar and plenty of Hollywood movies. Really Top notch Hollywood movies. I think they have way more done. Transform a blur. Okay, you would agree. So let's look at the notes on. Another thing I'd like to talk to you about is that this is a one big package you do not need. Loggins. If you're gonna work with a layer based software like after effects, chances are to be able to do something that is not usual for after effects. You're gonna need to have a plug in now. Off infusion does not need plug ins. Everything you need is inside everything. Okay? Now, when I'm saying everything, it's the native node. A fusion. But you can always get a similar note. That is safe. For example, for noise reduction, you could easily let's come here. Effects library. When you come here to the FX library, what do you get? You get tools, open affects and templates. Now, if you are, let me go to mine. Open effects and show you something. There's need video needs. Video is very well known as one of the top noise reduction on it removes noise from videos from from your footage. Now, um, does fusion have something about noise? Absolutely. It does. What do you want to use? Another one? That's your choice. This is why fusion tells you whatever you want. I have it. If you want to use another one, that's your choice. You can always bring it to him. OK, so what you're seeing here if you come to effects library now, every time there is an effects library, it is related to the tub. When we talk about fair light and as a specific course unfair light. A canoe from from 80 said, um, about some post production. So when I go to fair light and I see here, these are the effects library for fair lights. So they give you specific to the tab to the software paralyzes software. Never come back. Diffusion. When I come to ethics library, I get the notes, and they called tools. Okay, I would have wished that they just called them notes, because that's a way they are their notes. So you come here and you find a long list off tools, three D. You can create the store under plenty of stuff. Now you have here nodes. Let's come here and see. We have, um we got Blur. We are looking for something here. That would be Let's look at color. Okay, so what you do color, By the way, things are menus. OK, so what you have here, you've got menus on here. When you click on the topic, you've got plenty off notes. Some just give a little bit more space, and these are your notes. So you've got don't get when you look at this and you just expanded basic always that all there is these are two topics on when you click on a topic, then you find your notes. Plenty of not just for the color. So if he wants of Delacour corrections that color correction. But, hey, there's gonna be color corrector and you drop it off course I agree. You agree you are in the venture is all 15. You are in the king off color correction of color grating. Using this node is not like using the proper color correction workspace. So this what Why do you use this? And this is something I really need you to understand. What? We're gonna talk about that much later, later on. But color correction for compositing is one thing color correction or need to open this this bracket here because this is a new direction about fusion and the interface. But I also need to give you the filmmakers perspective, not just going through the buttons. How often do you do color correction? Not often as in you, in terms of how many times, day or a week or a month in a project. How many times you do it? If you If you've got visual effects, you're gonna do it three times on this color correction. Why am I showing you this note? Because this color correction is different from the years off. It is different from this one. Because here you are supposed just to do what is called a technical great to go ahead with your visual effects because you're in a visual effects environment. Fusion is visual effects. Okay, so color correction you're gonna just find okay, this is quite limited. Well, you've got everything that you would need for a technical grade to be able to add more contrast, to be able to work with your footage that it that you get in for working your visual effects, that once you finish your visual effects, then you go and do your full blown color correction. Now, this is one off three categories and I don't want to delve into deep into color correction because it is just about the interface and introduction to to our fusion. You see that? Just bringing one note can take us. I can explain it for ages, but the idea is that this is the richness off fusion. You have a lot off tools. You have a lot of notes now this. You've got tools, open effects and templates, and these are different. Okay, So what do you have here? These are native notes. Fast noise. There you go. A Mongol brought whatever. Plasma. You've got plenty of things on. Take your time to explore them. Okay? But I want you also to pay attention to the templates. Now have skipped this one. I'm coming back to it. The someplace What are these templates would guess what fusion has done. Black magic has done the homework initially. Actually, I wen, um I went used to own fusion and then black magic imported from Iran back then about are used. Used it when it was islands products. But for now, these templates. What are they? When you look at this and you bring in something, you are Soglo Cube. Let's do like this. This is Have you noticed what this is? It doesn't look like this. It seems like there's more to it than one note. Now, these are combinations of notes, Rhodey trays. Okay. When you double click, it's whole network. So these are, let's say, ready made combinations of notes to give you a specific effect. So it is like ready made effects with plenty of nuts. All right, Now, if you would like to reset if you're going on, I can easily see that you're going to start playing around with this stuff on. I do urge you to please. It's very quickly. You're going to find that your node, uh, place here is gonna be crowded with notes and stuff Fun because you're experimenting. You come here fusion and reset composition. You reset it, and it goes back to the very absolute initial starting point when we came back from the timeline. Okay, so we came from the timeline. Just see, because now I think I, um on a different Sorry, but I'm on a different Ah, what a different different clip I come back here on this is it. So it just literally sets, resets it back to media and media out, and that this gives you are ample opportunity to explore open effects. What? All these the open effects are stuff that you can find yourself native resolve. If explorer resort affects colors, this is resolved. This is native What you can add your own stuff. All of this stuff that you see here, including meat video. This is something I have added myself. So you can use the huge library off tools and knows that are native to effusion on. You can add plenty more and I'll show you where to get these. Okay. All right. So I'll show you where to get a free set off. Free, open effects effect. OK, so this is about the FX. We talked, and this is an introduction times a workflow. What did we start with? The input? The next bit is what is the effect? So you are going to change. You're going to work with things. So this is how you bring it to come here. You select and you go make your changes. Now the viewer, as we said, is not the monitor. And this is just viewing the result off a particular note. Let's use the blur Note, Blair, Or you know what? Let's use something else. Color correction, cause this one's got familiar. Are things gonna be familiar for you? Let's use color correction and brightness contrasts. Oh, let's go for something saturation related. So it's gonna be like call a correction. Okay, color correction. All right. So you've noticed when I clicked you could just drag and drop it on the line, and it's gonna it what will actually start you need to use You need to do it with would shift. You need to hold shift and then dragged it here. Okay? Or if you want, you can simply click on the one note that needs to be before it looks. Do you want to add something after media in and just double click on color? Correct. And it will be in here. Okay, I clicked twice. Sorry. I just clack click ones on you get to call correction. Now, what do I have here? I just wanted to saturate this completely. Disintegrated was such a situation. That's here. Okay, bring it down. Zero. Okay, So this is my media output. You know what? Just to be safe again about the viewers. I'm going to switch them. This is the output, and this is the input just to make sure that you don't get the wrong impression that we're always talking about the ultimate here. Okay, So this is your input. This is your foot. And if you want to make any changes that you well, sorry, saturation each movie with here he is going to. It's just whatever this is. So you are able to view the result of what you're doing. Let's add some crazy stuff here. Film from grain. Okay, just reset this. Something that makes sense. De saturate and then reset. Okay, this is nice opportunity, actually, to talk about the inspector on the properties. Not for every note. Of course. There are properties under different. They're different. It makes perfect sense. OK, but if you keep playing and you think OK, it's enough playing now. And it to resettle of this and look for the right settings. Now, you click on this little dot Here, this is gonna reset. And if you don't find a dot Well, this one doesn't have a door, does it? So this is better when you go for Oh, it doesn't have the doctor. You just double click on it by double clicking on the title off the bottom eater. You reset it. Well, if you could do the same here, but this one helps you if you just want to do it with adult. Okay, Cool. Now we have done this part, so I'm gonna add a little film grain probably as well. I've been a blur, Mr Like a blur. Probably glow soft glow as just off. I know this. This is not the scene for this kind of stuff, but just to show you. OK, this is your food Grain. This is your film. Grow glow. Let's be too much. Soy is strung A bit less here and see Oise More fitness Knicks received might. And this is the media out. Okay, The idea Why am I doing all this? For a simple reason. It's just to show you that you can connect and it's going left to right. You can connect all the notes that you need and it goes left to right. Did you need to add something absolutely fine. Let's go here to the media pool and bring in say, for example, that fancy thing that we started with and we argue into connected with emerge now emerging . You could do it also by dragon and droppin like this. Then you get too much, right? You dragon dropped by with the right click on the new you drag from this rectangle to this rectangle from the foreground to the background and then you automatically get emerge created. Now if if you think that this is too complicated, it's OK. Just control space on the type roach. And you get it right now, all of this stuff that you find here controlled space is the handiest one. This is what I started compositing. Sorry when I started Sure, we knew the compositing in the first section where we talked about quick compositing. I used this one because that's what I wanted to use because that's the quickest way to get to any note. You can do it this way, or you can come to, as we said, ethics library. And this is where you find them. What is going to take your little white to find murder here? Well, that's why it's called emerging. You know, it's merge. So just controls face and then merch. Or what you could do is the same thing by rights could weaken here at at Tool. Then you have a lot of them here. Okay, three D blur. So it's the same thing. It's the same list. You have different ways off excess in the same thing. All right, then what? Conduce Just on the merger here, switcher to screen and then they get something are different. Look, whatever. Okay, so this is about the processing now when it comes to the other things. Now what do we have here? The interface. Like the other parts of the interface. We've talked about the input. We've talked about the processing using notes. Now let's look at other handy things. What are these? If you have your timeline now, this is your timeline in. You see, by the way, that's fantastic. That's a great opportunity to tell you that actually, when we came back, remember, this is the input that this is the output. Now this red. It means it's not rendered yet. And there's a blue line and that, you see, it's being now Adan. It's like slowly rendering this. When does it start rendering? When we moved back to the timeline where it's good opportunity to show you this one. So when you see we have here what we have a I time then with a lot of clips. Fantastic. Now we go back to fusion. If you want to see this stuff, just click on clips here, see at the top here next to effects library, you can remove this one called Clips. Nicarico clips? Yes. The fancy green screen is always there. Attack Been used to it since the beta. This is the final version of the fisheries over were hoping it would go away, but anywhere. This is just the view and think I have absolutely no impact whatsoever. Only render in your exports. Okay, so just a matter, actually, just probably just removing your way in the coming back or something. Okay. But we just click on the actually, just you can you can click on any one of those and then just move it a little like this. Okay, so this is your sorry without Yeah. So this is a clip. That is a bit Mr All right. Um, and then what we have here, This is how you are able to see the clips in the timeline, and you can go and work, select anyone you want and work on it. All right, You just click on that one, and that's the one. You're going to work on it now. What I'm saying now, you do not necessarily need to start from the timeline. Yes, I know. During the quick compositing I've shown you the easiest way of doing it. Just add up your stuff in there and see, make a right click and go to a new fusion clip. And that's it. That's very easy and fast. Okay, in here. You don't need to do that. You could do em, Brittany Ward in in the timeline. And if it's not in the timeline, fine. Come to the media pool and just grab it. Let's add this one. Now again, our fancy stuff here. I'll keep using this futuristic interface for some time. Okay? And this is your merge, and that's it. Now, this is a four K, and this is not a four k. So let me just okay? Because no, I would very much like to move this one a little. Okay, Now, because this is why is it black? Because it doesn't start immediately. And then these futuristic think he's widgets are showing up over time. Good. Okay. So, um and then you can, of course, in the merge Come here and then change the young size. Don't move it. Something like left. I think in some time, because it is like rendering the same time. So this is this resource it. Move it Left of it all. Whatever. I'm done. You changed a year. Employment to screen. Sorry. That screen. Whatever you could you could like. Say, this is a monitor. Neuron. Wanna train war? You're SWAT forces or whatever. Okay, So this is how you're able to see your timeline and work on different ones. I can go to any other scene, any other. Sorry. Any other? Yes. Any other? Seen any other shot and then work on that separately. Okay, import any other things and then bring in some effects or do whatever you would like. This is how you go to do a timeline. Then you've got the nets and the car bodies. Nuts. Well, this is the core. The heart. This is the center. This is the the only way to work. Infusion. If you remove it, you actually just have you in things. So this is the working area, okay? So, generally you don't need this clip. You only need it when you want to select a nucleus. Grows it back. Effects library. Probably be working with not quite often, but generally when you start working very often with fusion, you find the control space is your go to, But of course you don't. You will not know all the names off the notes. Okay, Now we're talking about notes. When I talked about Quick Composite and I started with the word actions and then I used the word verb. Okay, but now we need to be used to notes because these are what they are. This is what they are. Cool. Now we have talked about a few things and interface. Here. Let me have a look at this. I've got the lettuces have the same clip. Don't, don't. Don't mind. Same clip on what can you see? You can look at the Red Channel, the Green Channel or the Blue Channel, and we all know the Blue Channel is the noisiest. So this is if, for example, you would like to do green screen compositing and you want to do some dispel or something and you want to base it off a channel. It's not gonna be blue because blue is the bloody noisiest one. It's always the noisiest one. This is the alpha word. There's no ill find this clip for a simple reason that it SSM well, there's There's no alpha Is this what you call it? It's all white. Let me go back to the core and then you are able to use here the this is a lot. I mean, if you want to apply any lots, I what dresses? Temptation actually, to applaud anything here for simple reason. If you want to do your technical grade, you're gonna use the color grating note here. Color grading. Okay, color compressor and sorry color corrector note, and then you add it. So this is your color corrector for the technical. Great for visual effects. If you don't know what I'm talking about, Um, it's again when you need to just work on the colors to the point where you're able to work in visual effects. This is not what goes out in the theatrical release in cinemas. This isn't what goes out to television. This is just a technical really great in. Okay, Now, chances are you're gonna build on that when you come back to the to the color top. Okay, let's go back to our fusion and talk about a few other things. Now, if you are working, you've noticed works without you know, quick composite. We have done that with just 11 screen, you can click on batting. Just get one screen. OK, right. What else have we got on the right here? There's a spine. There's key frames. Okay, key frames. This is when you have a few. When you create key frames is more about time in a time in your time in off your animation and display line, which is different. So now you see that my notes have been squeezed here. I've got displaying. I've got the key frame. This plane, it's not the time in off the animation display is the smoothness and how smooth or, uh, not smooth. It is like a four month off the movement when we are talking about the difference. Is it gonna be slow down? Sorry is it is going to smooth in or smooth out, or it could be just brutal. So this is your your splint up on your key frame? I've got meta data again. Metadata is kind of like the statistical thing that I don't honestly think you are going to need to look at the meta data top at the stage of fusion because this kind of stuff you way back in the media top here. This is where you do your stuff, okay? And you, by the time you are infusion, you don't use to make it down. But the meta data, but it's already there. Okay, You have here tools and you've got modifiers. But it's great in here. We will talk about the modifiers part when we talk about the in detail about the notes. Okay. Right. So this in a nutshell, the introduction to fusion on to the interface. And we also know Well, I could also mention quickly this one, but you know about it. It's the same thing. We've talked about it when we talked about the course off. Editing in the editor is the same ones. You find them on the right. On the left you go, Teoh color correction. You don't find that. Do you know you don't in for a larger don't find it? What's the same thinking here on the same thing in the Yes, In the media types of media editing on fusion, we've got the same story here. If you've got effects, you won't extend it. You use this one, okay? And if you got your inspector, you want to just squeeze it or expanded. That's gonna depend on how big your para meters list is. Okay? 4. More nodes (incl Text) and how to organise them: Let's talk a bit more about notes, shall we? Um I have here a footage, and let's say I would like to start making some changes like that. Start with add in a mosque. I'm going to go out on a lips and ellipses here. Okay. So ellipse. And I'm just going to isolate this guy over here. Okay, this is number one. Number two. There's another node, which I think by now you're very familiar with that is the transform note. So transform. I just typed Transform on, Get this transform. Not here. And I can bring it a little bit down or move it anywhere. Let's put it somewhere in the center here and probably reduce adjoin a little bit this size , Okay? Something like this. There's another note which is a bad ground control space, and we use background. What I'm trying to do now is just show you a few off the common notes that you can already start working with. I know that you have the possibility to come here and this click on tools and then find everything or destroyed really can go to our tools. And then you can easily get lost in this wonderful, huge two kids with a lot with a lot of possibility. But the idea is to get you started. Okay? To get you started, you already need to know a few nodes. Um, I wouldn't say by heart is that you're these are already in your favorites in your mind. You already know them because you tend to use them more often than not. You've got merge, they've got transform. And then you've got text as well. So you may be we may want to work with text. Well, let's do that. We're gonna bring text, but for now, let's bring a background this background over here. If I look at it, it shows water the merger. And again the merge is kindof. Let me just look if I have my merge, right? No, this is Mr The march is not so. I've got my background here and it is connected as background on Now this is connected as foreground. Okay. Don't worry about that. For a simple reason that I want to change this to a color. Ah ha. See, now we're able to get this car. You can decide. Let's go for black. We can decide if it is transparent or not on this and therefore do you want to get the one fund Always slightly transparent. So that's all up to you. Decide the color. That's a bit too to read. So you decide the color? Never. This is a solid right. This is a song. This is a background solid. You can not. You could choose if it is a Grady int. Okay, you can choose the type off. The young is horizontal vertical, especially if you're actually working with the with the alpha. If you're working with the alpha, then you have mawr transparency vertically. So you've got more transparency at the top, then transparency. This is more or take then if you've got it horizontal, then you've got mawr transparency on the left. Then on the right here, you've got it opaque. Okay, so but you, if you want to have a proper ingredient, then it's gonna be this something, and then you change. Click on here and then you go with your color, and then you change the color to whatever you wanted to be, and then you go to click on this one and change the color to something else. whatever. It's all up to you. Actually, it's not really bad cause you got the blue here, so it works quite nice, but not necessarily the Grady int. Think of it. So you can You can move it around right to decide how much off the screen is actually taking this whole stuff. Actually, I don't mind having some like this. That's critical. Okay, now this is a background. I don't use a little bit. This too. Two bit more aquatic call. Now you may. I mean, the Commons are not accurate because it's almost evening. I think it's all the evening and I have what is called Netflix. Netflix is on application that runs in your computer with its Windows Mac UNIX on It just removes the blue lights, which basically means that you can have better sleep rights because the blue light really hurts your sleep. It's just like night shift in Mac or an iPad is just the same thing. So the colors on screen maybe look a little bit oranges. That's the magic off. If looks taken, care off my sleep. Good. OK, so this way I can stay late until whatever time I want and then can wake up in the morning fresh without any issues, because that blue light is a problem. You find it in televisions. You find it in your iPhone in your smartphone, in your tablets. That is just that's about Netflix. I close this bracket about if looks, and I hope it was a tip if you didn't know about that one. If looks if dash looks and indescribable it or search and you'll find it, get a flick still to come, I think something cool. Okay, let's go back to our radiant and sorry director. Our background. Let's add some more stuff over the way. If you get the does this, um, ingredient, you get this line and it could define where you want it and how you want it. It could be something like this or so. This is how you you move the great It's OK, Let's leave it as is for now. Let's remove the controls. Show controls likely condense on. Then it's removed because that line is kind off a bit annoying because I don't need it now , right? I would like to add some text. I'm just introducing. If you notice to use that you get a bit familiar to them control space and then you take next on hold on a moment. I've got a bit too much here. Too much of a choice to actually next. Plus and extremely well, they do exactly what they say. Except for the text. Plus, actually is just X like Texas. Like the normal Texan text three D. It's a different story. All together you are. Then go into the three D environment. So it's gonna be a three D text. We're going with a simple text because it is now going to go to come in a to D. C. And you click on that When you click on this, we get another merge. But then this is the wrong place because I had by ground selects tonight clicks on this. I'm going to end do this, right? Hopefully is gonna happen and do note and it didn't happen. You know what I'm saying? Deleted himself like this and come here to after the merge Armed. Go to my next, by the way. Well, there's another way to get it. You can come here. This is your three d text on this is it must be somewhere here. This this is it. Okay. This is your normal text. You click on this and it is merged. Now properly would the with the initial results. Now you just type in something. I'm just typing something to see where it is. Can you see it? Yes. We can say it's fantastic. Now let's write something. Some say this is, um final stage. Oh, mission preparation. Something like that. Whatever. Just something. Um, And then we say Cool. Okay, Now this is text. You can watch it there, but I'd like to be a bit more creative about text. You can just dump it there in the middle and keep it as wide so we can come here to have few few tops here. Ultimately convinced. Extend the inspector. We have plenty of choice, but the one that you are going probably to like is going to be your, um, here to come here. Point circle, Probably. You want this? Well, if it's a circular, if it's an ellipse mask, probably you think is gonna be the the best fit. Right? Let me have a look here at mine. It's the size. So I couldn't change the cells actually this The text is in the right place. It is the I need to do this one. So I need to double click on this. It is the ellipse that is not in the center. So I come here to distressful I don't need to move it just a little bit because that that's the right something. OK, go back to do text. I'll just move this, um, thingy down here. And you think, Well, that's a bit too crowded, is it? No. How about having it's your kind off kind of surrounding the circle? Let's do that. So a quite a noise way of doing it is going to be to come to, um, the character characters spacing. It's either corrective spacing or you can go forward spacing. Okay, so let's start with words spacing and increase the space between words just a bit. Not have too much of a of a cup. And then we come back to the characters and create some space between the characters. Something like that. So this way we have split the responsibility off occupying space. Between the words and the letters on, we can come back to the main time here on. Start working on our colors. Okay, So what do we have here? Let me just have a look. That's the It's here. And then you go to text. Right now, what I have is the possibility not only to work on the colors here, but also to add a few more things. We can change the color and the shape off the decks that we can come here to the shade in town, quickly convince. And we have a few options here. Now, of course, you can work on individual parts of the text. You can work on number one, which is what this solid fail You can work on number two, which is the outline could work on number three, which is a shadow on. You've got plenty of options. Ride the borders and stuff. Now I want you to experiment without, but for now, I'm going to just come here, change this to a different color. Change this to remember that Think I'm going to go with Sultan Bluefish. But there's something very light. Very, very lighter and probably just make it of this shape. All right. Good. So you have plenty off creativity with the technical plenty of too expensive options to work with the text note. Okay, now let's talk about how toe organize these loads. If I have now a crowded node graph, OK, that's a sick. What is that? Get rid of this. Let's assume you have a crowded note graph you can do is simply because you could easily end up with a lot off notes, especially if you're starting moving from after effects used to Berlin. Inti Off layers and actually, layers are way more confusing. It's much more inconvenient. Nodes are much more convenient and practical, but the more you add of every action you do is gonna be a note. What? So you may end up with quite a number of them, So let's be honest. You need to organize this. Just didn't work in place. So how is that gonna happen? There's one way off saying, Well, I know that this one does this effect, and I'm gonna need to work on another part in the same note in the same note graph. So how about just group in this whole thing and your rights clinic and you go to group any click on once your group it that it has become one thing. You right, click and look for something that it sounds like rename. And you click on your name and you call it whatever. So this is like the young mission preparation, whatever. That's assuming you're gonna have a few of those other a few other things in their mission preparation. All right, so this is one group. Um, this makes it much easier to start now with other. You could even add media pool and go and come here and add more footage in. Start working in it and you group them right? This makes better sense like this. Now let's come back and one group this come here and say on group, where is that expand group? Okay, expand group. And the beauty is that you get it like this now, I didn't group them as such, because if I click on this, it gets grouped again. You have the possibility to look inside the group, and that's quite neat. Now, I really think what I would like to do. Uh, this this this this spins the young the group thing. Now, if I now close this and right click on, go to N Group. Now this is what I had in mind first, but it's good to show you the actual you're able to look at the group inside the group and group, and let's see how to work on the snapping off these things that sometimes you can end up. Let's say, if you're working with, um, sometimes something's constrained in doi, right? Do you think it's like This is not? This is not how it should work. You come here a new right click and you are going to go to the arranged tool and you say arranged, agreed or two connected. Now let's look at too great. If you start now moving it, you see that it's snapping to the grid. This may provide you with a little bit better structure. Okay, so I've got my transform here and it is going to force. It's like it's forcing a better visual representation off, like it just looks much better like this. It's a chose or you could go with, arranged to connected. If you go with two connected that actually it's it is going to be and we just move it around. But I think I've got both of them on. Just have one. This is now fluids, like just moving smoothly. But as soon as I move in line with the connected one, it snaps. And if I move like this, it snaps as well. OK, so you could have it just snapping like flexible, but only snapping when there is a straight line with a connected were they connected them with another connected note. Okay, so this is one way off organizing your notes. 5. Tracking: tracking infusion in DaVinci resolve 15. I have here a footage off two aircrafts, two fighter jets on. I would like to target the 2nd 1 and bring it down. Which basically means that all I'm gonna do is at a target in scope that is going to be locked to the second aircraft. Let's first played the clip in the timeline. Come to the beginning of late. Okay, So this is the clip. Let's go back to fusion. And in here in the beginning, I would like to add a tracker. Okay, So control space on I write tracker. Good. So this is my truck. As soon as I add the note tracker, I get one track, and of course, you can add as many as you need. I can add and delete trackers in here. So this is the inspectors. Like the list off for a meters old apartment is in a for the trackers, but we're going to go with one tracker because we want to do it only for one aircraft. If you want to do it for both, that is your choice. But we're gonna go with one aircraft and I need to be in a position like, where do you put it? Before we proceed any further, I'm gonna choose here. But I need to talk to you about a few things. Why did I choose here? For simple reason that tracking is actually the same principle in all software, all the effects software, much moving. It's the same concept because there are some rules and some principles that you need to understand when it comes to tracking stuff that you need to be aware off during filming. Because once you reach the post production stage on VFX stage, it is too late. This is why a few things need to be done to make sure that when you come to the track in stage off the vfx off the past production, you are good to go. Rule number one you need to have tracking markers. Well, that's not gonna help us in the same because we're talking about a huge scene where two aircrafts flying over the ocean, you are not gonna be able to use tracking markers. Well, if it's a smaller scene, you need to have tracking markets. But if it's not, then we need to rely on the second rule and the most important rule for a tracker. The absolute most important rule is gold dress. This is why the first tool, actually by definition is is a result of contraceptive than actually the real rule is contrast. And the tracking markers are an attempt to bring contrast to life in a certain form. So in absence of tracking markers, you are going to rely on contrast. So if you have contrast, you're able you will be able to track. If you don't have enough contrast, you will not be able to track automatically, and you're gonna have to do it mentally. It's gonna be like frame by frame, and that's gonna be a bit painful. So save yourself a lot of time on frustration and make sure you have plenty off contrast in the footage during filming. Okay, so this footage here has contrast. We have a lot of want background on the aircraft is black. Okay, so we have black on white. That is brilliant contrast to our track. It is not gonna have an issue. So I need you not to be struggling and asking them the question. Okay, I've got rubbish footage. How do I track it initially. You shouldn't have had a rubbish footage in the first place If you're gonna do it, If you ended up with rubbish footage, you can use color grading mode like this. All right, let's say no. Let Z bring some rubbish footage. You know what? I don't want to encourage you actually to to go that road like I don't even want you to have an option. I need you to work hard, urine filament, please. Because this is a level of discipline and professionals that we don't need to go. The below. Okay, so I'm gonna show you just in case things go wrong. This is color corrector. No, you need is gonna add this. Say, for example, assume Let's assume that this was connected. Well, let's assume that this, um how did this fight? His wars was rubbish and is no, it didn't have enough contrast. What simple. We just come here and de saturated de saturated and increase the school. The contrast now you can easily see if you want actually to judge for yourself. This is another technique. If you want to judge for yourself if you have enough contrast de saturate the whole thing and increase the contrast and see what the tracker is going to be able to see. So this is an absolutely fantastic contrast, so the tracker will not struggle with it. However, if you have something here that is going to be a different story, let's go back and re set this whole thing. See? So this could have been a challenge, especially if the aircraft is not that black. It's like if you got something bluish on this is bluish, then you're gonna have a little problem. So all I mean, the tracker isn't gonna do it on your own. You have to do it frame by frame, or we're gonna have to wait until it fails and then bring it back again. And then it's going to do two or three frames and then fade on the 4th 1 And so please do yourself a big favor. Tracking actually starts during filming. Make sure you have plenty of contrast, and if it's a small scene, do have tracking markers, especially if you have a green screen. Now, having talked about the rules of tracking, let's remove this court corrector on. Let's get to it. I'm going to press shift and track shift to move them. The notes that I can get it on the line here connected. So I have placed, As you see, let me click on control under scroll wheel to zoom in. I have placed it exactly here. This pointy area is brilliant for the tracking. What is this tracker? This format you're gonna find a everywhere, whether in nuke and nature in after effects in every possible compositing software, you may think Oh, because the shape of the tracker is the same everywhere. What is this shape? Why do we have Rick Tumble? Example Number one and rectangle number two. What is this? OK, this is the pattern that the tracker is going to remember. You want me that this is a track or no talking? Do you want me to follow this pattern? Okay, then the truck, it is you. Fine. I I'm going to remember this pattern over here, which is most of this is why Tish and this is dark. OK, so it's it's all based on limits and why you might say in this for a simple reason. If you come down here in the inspector, you're going to find Red, green, blue Alfa on movements by default. Luminous is selected. What does that mean by default In black magic fusion? The software has knows that the tracker loves luminess. Basically, luminous is contrast. The only way to see contrast the best way to see contrast is limits. Okay, so if you used eliminates and I don't need you to change anything, because by default, it comes is limited. Where the tracker sees is if you use luminess values off this against this, you're gonna have great butter. Okay, so the bottom that is gonna be remember there's this. So why do I need a second rectangle? Why is it there? Well, the rectangle, the 2nd 1 is for the searching area. What the tracker is gonna tell you is that I am going to look for this pattern in this area , not outside. Okay. What does that mean? It means that you do not want to have this a similar pattern in the same search area. Let me show you what I mean. Let's say you are so generous with your search and say, yeah, whatever. They're flying over on the sky. The war. I want you to look everywhere in the sky. Well, hold on the moments. We've just made him big mistake. We have included a similar pattern here. Now, this looks similar. That means that at any moment in time, our tracker could jump from here two year from the second airplane to the first. Okay? And that is not good. So, no, you the role of the tracker, it's It's a split responsibility between you under tracker your responsibilities to make sure that there is no similar pattern in the search area On the responsibility off, the tracker is to search in that area. Okay, so you set it enough wide to cover what of unity. Sometimes it needs to be enough narrow, but in this case, I would say I'm fine. I'm just gonna make it a bit like this. Okay. I'm gonna click on fit just to see okay? I'm okay. I'm all right with this because I have no issue whatsoever. I don't think in the whole footage. These aircrafts want to get so close to each other that they get in my search area. Okay, good. So what have we agreed? Number one jury in filming. You are going to make sure that you have enough contrast. Number two, When you come over here, you set your Europe, you move your tracker on. By the way, if you haven't noticed, this is this small. I think you hear the small rectangle that is now moving toe white. That's have you that this is the handle to move the track. Our cases have you move it under the moment you're gonna click on that. It's magnifies. And at the same time, if you notice you have the same thing here. Now, if it's not enough for you, you can see here that the tracker pattern. Now, this is the definition of the pattern. It has been squeezed into a rectangle. This is what the tracker is going to remember using luminess. This is beautiful pattern. Okay, I need you to have beautiful patterns to follow in your footage to be able to track. Now, let's stop talking about the principles. Having assumed that these have been respected, let's go back now to the track in now The track has been set where it belongs. And now let's do that going to come here at the top, you can track backwards backwards or forwards. But I'm gonna track backwards forwards because my footages of the beginning here. So let's click on that contract. And if you notice, of course, it is now just zooming and focusing on the search area, the only visible part to the trackers. It excludes everything else and just looks at your search area. You have to find it. And that's what it looks out almost done here cause it's very short footage and you see how beautiful the tracking is Now, I could have shown you a rubbish footage and tell you how disastrous it is. But it is something you do not want to see for a simple reason that adjusting manually your tracker is a pain, right? So And the idea is not to go through that experience. What do we have here? You notice that this bar over here is very high. This means that the tracker has got ah, huge confidence that it has done a good work while I know it has not only visually, but with this meter. Now, if you have anything lower dat means that where chances are he didn't work very well. You're gonna find out for itself actually, because you're gonna see you the footage. And if it drops, then you have a problem. All right, Now, Okay, we've tracked it. Good. So what is it used for? We said that for this purpose, we're gonna add something fancy off a target in scope to hit the airline that that aircraft , that fighter jet and bring it down. Okay, this is just fictional stuff. So we can we can do that now. So let's bring in the Stargate scope on at it. So this is what's Justin image? Let me close this from the media pool. You see, this wasn't my timeline. See, let's go back here. This wasn't my time. And you see that it is a red red line here again, it means that it's it's good and render it has rendered again. What does render me the tracking data has been included now, but there's nothing else I haven't added to track the targeting scope yet or don't have placed it. I haven't added it, but I only have one footage here, Only one clip. So if I go back here, I can add any clip any time from the media poll. Okay, so This is an image. Let's look at what it looks like. I'm gonna add a second. You know, it's good to switch between one and two viewers based on the need. It's not necessary to have always to viewers, because the other one is gonna be, like idle for 90% of the time. Mostly when you're tracking when you're tracking, you don't need to. No one that we're going now that we're going to start compositing compositing always too. So let's have a look at this one. I've distract this media media into aren't is a very simple image. Okay, so what do I want to do with that? You are giving to drag this down to the tracker not to emerge. You can add it with emergen of fine, but I just want to save you more work on, say drag it to the tracker and put it as a foreground. You've connected your targeting scope like immediate to to the tracker. But I can't see it in there. Here in the media output, I can't see it. Why? Because you need to come to the track your hair and go to the second tab here. Operation and move it to matchmove were now much moving. So if you could combat, Bennett appears. Okay. Now it has appeared. But that's the wrong place. Yes, because all what you are doing is actually just bringing footage in, and it is properly sync properly. It is inked with your tracking data. However, you need to move it to the right place manually once, and it's going to stay there. So for now, if you click play, it's going to stay exactly in proportion to the airplane in proportion to that. But I wanted to target the airplane. So let's do that. I am gonna come here and at eight, transform note control. She control space and transform this transformed. Then I'll be able to just move this one here. Now I know that are targeting. I'm sorry our tracking was aiming at this part over here. Now, I don't want to do that to show like what? If you want to bring down an aircraft, you're gonna be You won't be targeting down that the tip here gonna be targeting somewhere in the middle. Widow's fuel. Okay, so somewhere here generally didn't have okay in the middle is gonna be something I call like this. Okay, we are going to bring the size down to look a bit realistic. Something like this. All right, so here we have everything to start. Just like you like this. I'm going to de select of the tracker. Just have this one on the media out. You know what I think before I start any further, I think this image is too strong. I would like to have a focus on the aircraft and less focus on the targeting sculpt. So what I'll do is quickly at a little bit of blur, right? Really? About Blur, I think is gonna be salty like something like this. This is much better. OK, this is much better, because we, Doggett, is the aircraft. You're gonna have it in focus. But we know we are fellow minutes trying to lock it down with this cup. Good. We're good to go now, So let's go back way at the beginning. And because we have moved it. We've centered it here, but it is in proportion to the tracker. Okay? It is following the track of we have not used the merger note. You can use a much node But what's the point? If you don't need it? Let me just remove now. This one it are. We don't started this fewer. We don't need it. We're gonna fit this stuff on. We're going to look at this beauty over here. Let's press play. This is a perfect look on the fighter. Egypt. Good. Stop the footage from playing now. And this is how you do? Single point tracking infusion in Davinci Resort 15. 6. Stabilising shaky footage: stabilising. Shaky footage. Infusion in davinci result 15. I have here a shaky footage and let me play that in the timeline. Okay? And we are go into its want to stabilize this? Let's do that. It's come back to fusion, and I'd like to understand that for stabilizing any shaky footage in any software you are going to have to, you will have side effects. So stabilizing comes at a cost. There is going to be a side effect to deal with. So when you're shooting, you better take that into account. You are going to end up with gaps in the edges. Because how it works, the stabilizer is going to move the footage to match the tracking which excess, which takes us to the next step, which is the tracker. So we have your media in control spacer. And then we talked in tracker. So we at the Tracker. Okay, so this gives us here one trucker, but this is not gonna work. One trucker is not gonna cut it. I need to trackers for stabilizing. All right. So let's place the 1st 1 and then we're gonna end up with a way, will add another one Where do we put it? Of course, there are two rules. The 1st 1 is always always, always contrast. So I'm gonna have to look for a place that is contrast enough. And I want to go to the window here. Okay, good. Now the second rule is let me first at another tracker on it be. It may be tempting to come here on place. It's, uh, in the second window because got enough contrast, Bert, if I now play going to notice that the second window disappears where the second rule is off course, it needs to stay all the time in a frame. So let's go back to the beginning and move it to another feature somewhere that is staying away the time. Okay, that stays older. Time in frame. This one is stayed. All right. Now that we have done it or we need to do is to track you. Come here and we press on track forward. Why? Tracking has finished. Let's have a little look here at the very beginning, just to make sure that our tracking is actually has worked. It's always about checking manually the frames where you believe there may be an issue because there was really a lot of shaking in the beginning on. I think our tracker so far has done a wonderful job in following the contrast it feature. Because the more contrast to give the tracker the better work is gonna give you back. All right, well, there was jumping around. It has beautifully followed the the pattern. Fantastic. Okay, it has done good work. Now this is the first pot. The second part is to change the perimeters of the tracker to make it look like a stabilizer. Okay, so we are going to come here and go to the second tab. And as usual, we need to change the operation from Nantou Matchmove. But this time for the merge, it is not gonna be foreground over background because we only have one footage were not merging anything with anything. I would just have that burger. The background. So it's gonna be background Onley. We select background only now you can if you want for the matchmove settings, select a reference frame on frame, start training, started and frame or selects another one. You can start with the 1st 1 and then see how it goes Okay, good. Let's no ladies and see. We get See what is happening now. The footage has been beautifully, um, stabilize in terms off stabilising. But you have gaps, and I have chosen this footage that makes it so blatantly obvious that you have a gun. Other footage is that would that are less shaky? You would have just a few with a checkerboard, probably one square maximum or one of the two squares, and then you see how to deal with that. I wanted to show you the side effects when you are shooting. Shakey is not an excuse on the story, the fact of having the possibility to just stop this one. The fact of having the possibility to stabilize is not an excuse to come up with a very shaky footage if you need it stabilized. If this is your shooting style, it's a completely different thing. If there's a shooting style where by default intended, you have intended to have shaky because there's action and it's handheld and you want to convey the message. That stuff is going on like separates. If there's a war scene or there's any source like an explosion and somebody is just running away on you can call it up message if this is your time, But then you would need to stabilize, right? If you ever want to stabilize, gonna end up with huge gobs. So, please, when you want to stabilize, you say Okay, fine. I've got some shaky, some shaking. It's some shaking us. You can you can stabilize and you're gonna have to pay. How much do you pay from your resolution? Okay, you need to pay from pixels. See how much this is. This is one whopping quarter. A bit more than 1/4 off the image. That's a lot. But it's just something to let you know that stabilize him comes at a cost. It comes up with gaps in the middle. So if it's gonna be very shaky, you better be your choice. It better be your way of filming. So what do we do if we have just one square or two squares and you don't have that much of a guy up? Well, it's quite simple. Gonna come to the tracker on control space and add a transform. So this is how you need to increase your size, and it's basically going to be so I'm just look at the final. Any increase your size, not the size is a bit to march. Let me have a look. Let me just look at it throughout the whole Get the media out. Probably a little bit more. So what am I doing now? I'm paying from my resolution, basically. So if you have a if you are final, output is tentative and you've shot four K off your final I put is four k and you shot six k with red. Come on. This is how you do it. Just at eight. AM her transform note. And then you increase the size to the point where the edges are gone. Okay? It's not really gone here because I'm gonna have to increase it significantly. 7. Rotoscoping: rotoscoping infusion in DaVinci resolve 15. I have here a footage, and I'd like to isolate this door in the foreground using a mask to do something more about it, for example, to de saturate it. Now, how do we do that? I come here to tools. And down here I have mosque and I have a list off my notes that I can use for mosque in. Not because this is not a basic shape and I need to exclude this window. Of course, I'm going to go with a polygon. Okay, you can either. Of course, you select here on media and you can either come here, Anglican publican, or you already have a short cut here or you You oppress control on space and you type in polygon. Okay, Whatever works for you have the ways of the minute. Let's come here for a change on click on Polygon. And once you do that, it comes here on top, connected to the blue line and it disappears. The footage completely disappears. And you think Well, hold on a moment. I was suppose just to isolate the door. And I haven't even started rotoscoping on the whole footage is gone. Well, you have actually must everything out. But don't worry. You just need to make sure that this polygon is selected. Then you come to the properties which are in the inspector and you invert it. All right, You invent it now. Could you have drawn your shape without even inverting? Absolutely. But I think it would be more practical and makes better sons to see what you're drawing. Okay, if I come here and I just come on draw something I'd be able to see through it. But what's the point of drawing if you can't see what you're drawing? Okay, let me just do this. And we're going to do it to do it the proper way by inverting, and then we're going to drop. So let's go very instantly way very, very lose on this because I need to demonstrate more techniques. If I do it right the first time, it it's a would be able to show you something. Next. Right. Um, this is don't really badly and alter this very rough. Andi. Completely. No. Accurate. What happened? Just happened. Actually, it's the opposite of other ones. What? But this is because I have inverted it. But if I click on best, I'm able to see the door. Wait, This is not accurate work. Let's come back here. And, um, the some free size work on this I need to bring this year and just leave it as is for now. I know this part's not covered. Just zoom a bit further. This part. I know this part is not covered, but we'll fix that in a moment. I know I need a one more point because this is not gonna work like this. I need another point. How do you do with that? I come here to this arrow with the plus and click on it, but I just had another point, and I bring It's a little like this. Okay, some of the edges on. I said I would come back to this one. Some of the edges are not just chops. If you look at this, this is not a sharp edge. It needs to be smooth. Well, how do we do that? I just come here to this. That's a smooth, aren't I? Click on it and that smooths my edge here. Okay, on. I couldn't just make sure that I Okay, now, this is no matter of two week, and I'm not gonna take much of your time just in the tweak in. But this is how you do it. All right? I was get most of it, and I'm saying most of it because I need to keep it a little bit inaccurate to show you another technique. Okay, Especially for this part over here on, then. Make sure this one is covered as well. Right? I'm gonna need another points here. Over this, Okay? No, I've got some more. I think this one it's another point. Yes, a little bit. All right. I don't want to include this part. This is the rear of the door, and this is a little more interested in that one. Cool. Let's fit and see what we have, right. This is kind of covered. But now I need to see if I have taken more than what I wanted. So let's invert and come back here. If you think these lines are standing in the way and I don't want to see them because I want to see the edge. How good is the end? You come here to the top and remove show controls and you can't see them anymore. Well, and you cannot move them or change them anymore. But this is just to see right? I think I'm kind of OK with this, Although I think this is a little bit too sharp. Well, let's say I want to make it. Let's shot typically Congress. And you know that that have to do that. I'm just gonna bring it like this. Uh, this is a bit of home of a pain with this one, but dont wants to be that shop. Okay, this is okay, ish. I'm gonna add another point here just to bring it back. This works for me. Definitely. So me? Okay, I'm trying to be accurate area, but I don't think there is any point in taking more of your time's gonna add one more here . Just creates a gap here because this door is completely damaged. Now we have selected the altar shape. The outer shape is being selective. Let's not say care off the inner one, which is the window. Of course. I don't want to touch this part here, and I'd like to isolate it. How do we do that? We're going to click on this and create another mosque within the mosque. So by made by having polygon selected, I click on polygon and get a 2nd 1 You are now used to everything disappearing. Okay, so you know what to do. You just come here and local invert. Well, that doesn't seem to have either, because I need to see what I'm doing. Well, the poorly go Number one has done its work for now. We can just inverted back. Okay, So on that, we will reinvent it again once we have finished. But now we need to work specifically on illegal number two. Okay, this one is inverted. Now, let's come closer to this window. Andi Isolated now we're gonna have quite a few points here. They're not gonna be sure. A few of them need to be smooth. It's not really clear. Is this a black thing? Was is the rear of the Now I think that this that this is a call. This is the car. Okay? Yeah. I think one hair would be enough. Good. I need to be a bit inaccurate. Way no, What we need to do now, This needs to be smoothed So let me just click on it, and I come here and click on Smith. This covers beautifully. Are edge here. I'm gonna need to Smith, this one as well. Of the smoothing is a bit too. It's not. Exactly what I'm looking for is gonna change using the handles. But that didn't help, did it? If you have, if you have too many points in their simple select and delete it, Okay, I'm gonna delete this one as well, cause I think that this should work fine with only one. Soon as we make this like this, it was gonna work. Okay, This works for me. Alright, So I've got that. Most of the thing I think just want is to be smooth it quickly and that's it. This is kind of it. Okay, this is kind of it. All right, so Well, I'm gonna need to have this mask applied properly. Meaning? I want to have the door selected on be able just to see the door. Nothing else. I don't see any anything else than the door or just a door. No window. Let me just fit this and see how we can do that. Well, how Can we make this work? I'm gonna come back. Hair. I'm going to come to Polygon number two. So I'm gonna come to the second mosque. The one that I want to remove. And if you notice in each one of those, but even one and two by default, you have a paint mode on by their falls. You have It's at merge. This property is at merged. I don't want merge because I need this window. Substrate acted from the mosque. Which means I click on this and I go to substructure. Okay, Now you know what's going on. It's just a few clicks on those invert things. We just invert like this. And here is your door isolated. Wrote a scoped. Ready for you to do whatever you want in terms of tweaking. What I'm going to do is quite simple. I'm giving to now just close. This creates a second window of window second fewer on. I want to have my media in here. I want to have the media out here because I'm gonna add something else. Well, I'm gonna work now on the door, right. That's the point. To work on the door alone, which means I want to duplicate here my media in because I need to have the door as a foreground on top off the initial footage that was brought in. What I'll do is just control. See, for a cocoa clemency for copy in. And I keep media in selected and control V. And what happens is fusion knows what I'm trying to do. It is gonna add not only based it, but they called in a moment. This guy is drying to merge his foreground with his background. Shall we do it for him? It created automatically emerged note for me. That's nice. Thank you. Okay, Now I'm going to come see. Probably The merge note is not necessarily in the right order. But I show you how to Teoh to take care of that. I want to de saturate the door. Okay, so I come here, controls base and go to color corrector and click on add. Of course, with my media in with the door selected, I click on that and I get my color character and I go straight to my d saturation saturation and I d saturate that now. What happened? It seems pretty much done If I look at this, the door has been saturated. I'm sorry, the saturated. But when you look at the media out, nothing has happened. Why that simple? Because older effusion is quite smart into thinking. You need to have these two footage together. I'm gonna merge it for you. But it doesn't know exactly what's the order. I only know that. So what it does. It did put something in the foreground, is something in the background and it lets me to take care off the choice. Which one goes in the foreground? A background later on. So all I need actually what happened is that the the background is in the foreground. That's why it's hide in the door. That's the saturated the worry. You don't need to disconnect these and then start worrying about stuff. Just right. Click on the merge and go up to There's gonna be swapped inputs, consort inputs. I said, as you do that the foreground has become the foreground and the background has become the background. Okay. What? I mean, I wanted it, but initially the foreground has been swamped with the background. That's what happened. Now if I zoom closer indeed I only have my door De saturated. This has been properly substructure did. And this is how you can isolate a certain item within a frame and targeted with whatever you. Now you have the free the freedom to do what you want because you've already isolated the door before closing this this part, I'd like to show you a few more perimeters because it's just not matter of drawing it on. Movin on. Maybe you need a little more control. Let me give you more control. Let's come here, Okay? Especially when we're talking about the window. Just come here to the window. Okay? I I'm going to select Polygon and I want to show you a few things, including Okay, You know what? Let's Let's look at it this way. I drag polygon here to look at the Alfa. Let me remove the the controls. I can soft the edges, which basically means create a feather around my rotoscoping. That's for the window mosque. But it can also the weather me reset. You know how to reset. Just double click on soft edge or just this adult over here that shows up and then you could have the same thing for polio number one, and it goes soft edge and you're gonna create and around it because this is exaggerated. All I'm doing is showing you that you can actually do a joint a little bit. Let's go with something like zero point. You're a point to, um I got my numbers disabled, or that's a lot. That is definitely a lot 0.1 That's that's That's a lot as well. 0.0 to. How about that? Okay, kind of fine. This is kind of fun. I have come here. Now we know it's shouldn't be that wild 0.0 zero to, and that's kind of okay. Okay, you now can look at this media out with the some two rated, right? So we have indeed again. I mean, just look at the merge. This is an invert that's going on. That's that's, um, invert issue going on here, right? This is it. Because I had to update the window for the media out. Let me just close this one, Basically, just really focusing on one of them and I'm going to remove the controls. Show controls. Now, if you have any issue you've got your polygons and you can't see your controls. Like you can see the line on the dots. You just come here and make sure that it's not disabled. So I'm gonna disable it. Not because I don't want to see it anymore. Works on that. But my, um, article that my soft edges would be too much. So let me go back quickly to the door and fix this issue. I'm gonna go with something, like, actually just go back and fix. The whole point is the point, I think, is in the wrong place. See, this is this point is not doing good as a tall Absolutely not. I don't have too many points. I guess I got too many points. You know what? We're gonna make a big deal out of that. Let's just do it like this, Okay? Let them work together. These points have a news lead control and probably something like three of three showed controls. It's just a matter of tweeting. Okay. Un removed the controls. Well, I need to good conduct. This one aren't involved. I have a few issues with this one. Sometimes view doesn't update properly. White just reset this. Come here fit. It's gonna be into a bit of tweaking with the inverts. Like we've got two of them on inverting a few times has taken us to the wrong this saturation. But now this is how we want to do it. Okay? And this is how you talk it a certain object using rotoscoping. 8. Green Screen Keying: green screen Kian infusion inside Davinci resolver Okay, Now the first thing is to come to your timeline in the workspace editing on. Make sure that you have your green screen footage on top off your background. You select everything on the you right click on create a new fusion clip. OK, now this is don't come here to the fusion workspace. Okay? The first thing you get is media in media media in one media into and merge note and stuff and what not? You know what? Let's disconnect all of these things. You could even our delete this merge note. Let's put media out here on. Let's look at our media ins. Okay. What is this? This is the background. Okay? We don't need to work with that yet. Let's movies here. What is media into? That is are green screen okay, moving up here. That's the one we need. All right. What is the method? What are we going to do? We're going to do green screen Keen. What is green screen? Keane? I'm asking the question because I have two methods in mind that I'd like to address video. It is the method where you're going to select a corner of green with the color picker and say disappear on. Then somehow it disappears. Why not? Somehow, actually, it's it it it removes that green and it starts. And I didn't more much on top. Anyway, the other method which I would like to demonstrate now that this is what I'd like to teach you is the image image based Kian right? Image based skin is a word actually that you find back in nuke. This is why the Keir in UK is called dbk and you find it back in nature. Um, on the Keir, a matron is called the I k, whatever they're called and then and this one is called Clean Plate plus Delta here. Okay, so in this case, what are we going to do? Are we going to remove the green in step number one? Actually, not. We're gonna do the opposite. We're gonna add green. Why? Because the idea is not to remove the green. The idea is to remove everything behind his two. Gentlemen, the mindset is such that I don't care what you have in the foreground. Just give me your clean plate on. This is one question that these two nodes are going to ask you. I mean, we bring them in first, let's get introduced. These two notes control spacer on clean plate. That's number one. What can you disconnected for now on a clean plate, Earth and control space. And then we bring in Delta Kier Delta here. OK, so these are the two. This is the deal that you're going to have it in. Yuk is the same thing. It's I BK color Andi I became in the nature on it is a big color on pick infusion. It's green light on detail here, which actually makes much better sense because it just reach in English clean plate, and that's what he does. Okay, so this is like a key are cool. This is what it does in two steps. Step number one. We're not going to remove any green. We're going to add it. Why? Because the purpose is to recreate a clean plate that you should have heard during filming . I'm saying you should have had I know in most cases you will not be able to, because it's not practical gives you have control because but if you can, if you can do yourself a big favour off having a clean plate, please. Okay. If you have a clean plate like you've shot it, you're going to bring get in instead of this one. Don't use this. No, this notice here just to save you in case you don't have a clean plate. So if you manage to ST a clean plate, then bring it in as media in and bring it in here. Right? So that is the clean plates. Why did White in What's the advantage of having Clickbait? Why don't you just rely on this one and say where? Whatever. Why should we even bother shooting a clean plate when fusion has a magic node that is called clean pain is going to recreate the whole stuff for us, where he's got advantages, realism always has advantages. Why? Well, these clipped I have chosen has five mistakes. Okay, I've got plenty of other stop, but he's got five mistakes I would like to address with you in here. I've chosen this stock footage which is not ours. Like just chosen to stock footage from stock footage company Onda. Let's talk about the mistakes and one of the things why I'm talking about the mistakes because the clean plate is got to do it. Sounds Got something to do with that mistake Number one When you should green screen, you always need to have where endlessly using another technology you need to have You need to have ah, tracking markers. Okay, Now, in this you are in, but that's another a northern square brackets open in a few scrapes. Rockets here just to explain a few things your green screen needs to have Tracking Marcus endless. You are in a space like in a place like in a studio where using motion control robots like when you have a robot for motion control, that is a different story. It does not need any tracking markers because it does the whole work. Okay, because it's it's the match. Moving is actually with motion controlled Robert, so that is needed. But guess what? Most cases got no robots. So we're gonna be using what that green screen and sort of degree screen with to tracking markets now tracking markers I needed when you're going to you to move the camera and if you're not going, it's not gonna move. You can get away with not having them. But if at some point in time gonna move the camera when shooting, then chances are you better have them from the beginning. OK, so that's number one. Number two is These gentlemen are too close to the to the green screen. That's why you see their shadows. You should be further from the green screen A few meters, OK? Number three is It's not even real. It can you see this is bright and this is dark. Which basically means that it didn't even have light in on the right and another left. Number four is the, um actors are not independently lit. The same lighting is being used for both the green screen on the actress. Well, because they're so close. Of course, they can't like them separately because they have made the first mistake that the second mistake is also there. You need to have lighting. You need to like your, um your, um actors separately. Meaning there are further from the green screen and rescreen has got separate. Lloyds and the actors have got separate lights. Okay, Good. Now the last mistake is what This is rubbish video rubbish video is defined as hte to 64 That's compression Now the effects and compression don't go together. The enemy off green screen keen the enemy off visual effects Individual effects is called What? Compression. So when you are going to shoot, please shoot in role if you can. If you cannot, you could go down or problem for as a higher quality of for is fine. But don't go any lower than 42 to 10 bits. Okay, I said again, 42 to 10 bits Any lower you are begging for trouble. Okay? And what is trouble? Trouble is what we have in front of us, and I have chosen this one to demonstrate. The technique does work on miserable quality videos as well. But trouble is such that you don't have information to work with. Kian is key in color, right, and also clear plate is reproducing color. But what if your images compressed, compressed, mean meaning You have lost color information and that's not good. OK, that's not what this is why you need to start Withdraw if you can. If you can't, don't go any lower than 40 to 10 minutes. Okay, we've closed. Now the bracket for the five mistakes. And let's see why we're talking about this for the people. It we mentioned the tracking markers. Okay, you know that the truck and mark is gonna have to remove them yourself manually. Okay? Not really. Manually tracking markers. You can do it manually for one frame and then ask fusion or any composites. After that you're working with. Ask it to do it for the rest of the frames. But if you have like 35 35 marcas tracking markers, don't get surprised. You can have. You can easily add Have 35 40 45 tracking markers, depending how big your set is. We've got a few on the ground. Got a few on the left. I've got you on the right. I've got few under on the on the on the city and got a few on the in the wall in front of you. You can easily adopted a few to 2030 40 sometimes 50. That means you're gonna have to do it manually for one by one. Now, I know there's techniques for a number of already demonstrated for fusion to technique for removing tracking markers, but this doesn't take the fact that you're going to do it for one frame. So it is 30. You're gonna do it for 30. Now, why are we talking about tracking markers when we don't have them here? Because, Well, because number one, you should have them here. This number one. And if you have them here, we're bringing your own thing plate. You get them removed for free. That's the beauty you don't need to work about. Why? Because it is not about key and out degree. It's about removing the whole background behind these two gentlemen. So when you tell them, can you please move to the side? I'd like to shoot a clean plate. When? When they moved to decide the track. And Marcus, stay there. Right? Okay. When you should that clean plate, it becomes what? The clean plate with tracking markers. When you ask fusion to remove it, it removes the tracking markers all 50 at once. Okay, clear. So this is why you should shoot. Shoot your own clean plate as much as you can. Second advantage is shadows. Well, independent situation. If you have the on the ground green screen and you've got If you're using the green on the ground. And, um, people are moving. You're gonna have shadows. Okay? Generally, it's another bracket here, but I need to mention these things. I need to mention these things. So when you're shooting, of course, the environment with which your actor is going to interact need to be realistic. Meaning in this is the part of the world that you are creating. So the background, if they're walking, better not have it in green. It needs to be whatever. Is it another planet? You need to sort out this ground to look like that other planet. This is better. This I'm saying. Better not. You should or must. I'm just saying this is better for your risk, Winky. I only live the wall or the upper part of a kid. All right, but if you have no choice but to have everything on green screen Fine. Then when you have shadows on the ground, the shadows logical. They move with your actors, right? They moved here. So when you ask your actors to get out off the clean plate so you shoot it, The shadows are not there. Right? Okay. So what does that mean, that means the shadows are not part of the clean plate, so they don't get removed. So when you bring in the actors again, they come up with their shadows. Yeah, I know. I'm saying something that looks weird talking about come backward shadows. But I just need you to focus with me here. This clean plate stuff is going to give you back of shadows for free. That's what I'm telling that that's what I'm saying. So when you bring in your own clean plate, you're gonna get your shadows for free on the ground. It keeps the whole thing. Why? Because it knows that that shadow is was not in the clean plate. So that's that Shadow was not in the clean plate. So that's part of the film. I'm gonna have to keep it there. That's what fusion is thinking. That's the beauty of the work, right? And this is why. Please make sure that when you are shooting, you get your clean plate because no more working on tracking markers on do you get your shadows for free. Now we close this whole big bracket about getting your own clean plate, and we say you don't have your came plate, right? Fine. OK, You don't have it because you don't have it. If you have it, you put it in place instead of this one. But if you don't have, it's fine. Let's right. Click on this one and connect input. Okay, lets, um let's put this one in here and start working. Clean plates basically means one. Think I'm not going to do something that I should have done during production during filming. I should have shot the field. The clean plate. Now I'm gonna I'm going to have to do it right now. What? Yes, We're going to remove these two gentlemen and have clean plate. We're going to add green. We're going to remove green. Going to add green. Okay, so how do you do that? So the final result, the ultimate goal and mission on reason for existence of this note is that you get mortgage green like the green, plus everything that's behind these guys to get this stuff as if you have shorted yourself deeply, you come here. Method step number one. Is this change into ranges? It's just worry better, and it starts electing how you do that you come here on you select this like this. Probably want to do. Just come over here and drag this one to the left. To the right. Um, on dumb you start. Elect him. Yeah. You select all the green. The idea is that we are not selecting what needs to be removed. Now we're selecting what needs to stay. It's a different way off doing things right come to select in a few values here and there. Because I know they're gonna cause some trouble. Let me get closer to his head. Two hundreds. I have got some noise in here. That's not good. Let me get closer on select some of that stuff. There's one right there. Good. Why am I doing this? Because I don't want to push the second step Two for two to too far further. Um So what I'll do now is just just re Septus, stop. OK, fine. It looks okay. It looks okay. What is OK? Ok means I have regained my whole green. That's the purpose. And let me now get even more green behind these two. Gentlemen. How do we do that? Step number one was methods and selection. Your greens to bring them back. Step number two is going to be a road. A road. What? Generally when you hear around, you think road the map? No, no, no, no, no. Road in everything is opposite. Now everything is opposite. So we're not removing green were had agreed. We're not around in the mat. We're eroding the green. Why do we erode the green? Because we have removed some of them nasty detail in here. Okay, around that the some noise here around the edges. But this may not have covered everything we need to wrote it the green to cover mawr. So we need we don't to cover more here, So let me just explain how this works so you could make it bigger. You make those two gentlemen thinker that the math is thicker. So, like dilated, actually, you know, really? Did your eroding the green by dilating the jama'at or it? We're not working on the matter yet. We're just now worried about one single thing getting back our clean plate. So step number two. Is this dilate actually not erode. Okay, Rhoda Green on. Then grow edges grow edges. Which basically means actually, it's got better. It's men. It's worded. Better in nature. On in yuk much black. She's removed black, But you don't have any black in here. So one of us. So you're going to remove these two gentlemen? So you do like this and they're gone. Guess what you have. No, I clean plate. Well, you see the difference. This is an estimated clean plate, and you're clean, but it's gonna look much nicer. Okay, But you don't have it. Find no problem. Let's look at the clean plate. Now. Here on, let's connect. What? Okay. How do you connect it? While depending on whether you're new to fusion or I'm gonna consider your new I'm gonna take you by the hand on this one. And you have yellow being quiet. Gray, blue on very quickly. I'm gonna tell you. Don't you bother about any of these colors? Please don't try to remember. Yellow is for input. Pink is for this. White is for dark. Don't worry about that. So how do you know which one you gonna connect? Well, it's quite simple. You're right. And you drag on you release and then Okay. What? What is that? What was dark? I was a clean plate. Cool. Okay, let's select a clean plate. Ask selected now. We don't only need to clean plate the Kieran. It's more than clean plate. It needs the original footage as well. Which is this? Right? So right, click and release. What is this? This is an input. Okay, that's anybody. And if we had the garbage matte, we would have a garbageman. Let's just I'll just bring in here if you have the garbage. Matte, if you have to use the roto on the new garbage mount stuff you would have gotten that brought a note as a garbage month. We haven't done that. Okay, nice. Good. OK, so this is your key are? No, I'm gonna do is clean plate here on dure deal. Doctor, you're here. What do we have? We start working on the mud. What this means is gonna have to move to a view mode, Matt Mark. And then we come here to the third section, which is Matt, right? What do we do now? We have black and white with some great Why is the black so clean? Because we have used the clean plate. That's why it's so clean. But what is not clean is the right is the nut itself. Got some light gray values in here and that's transparency and that's something we should not have. Now the first perimeters wanna work with are the clear, black and clear points and were thinking, where where are they are considered? If you are familiar with clip Blackley parts from after effects key lights or from nuke killers off from the from NATO on big on big color, clear black and clipboards are other most like re known para meters for tweak in rescreen. Keen for the matter for the answer, It's exactly the same thing in here. Its threshold. Actually it's laid out of really beautifully here because it gives you zero here on the white here, it gives you in one problem eater. It gives you the clip Black and Nicolle Point. But what What does that mean? If you don't know it, what's clear? Black and what's clear? Points What's happening? The background when you're asking sleepwalk with black include point. Let me just do it and show you what it does. Okay, when you bring it, Yeah, became white Cool. Ok, but what are you really doing in the background? What have you just asked fusion to do? What is one One is white. Zero is black. It is not only infusion, it's everywhere. Right? Is everywhere. Color correction. Zero is black, one is white. You have minus values. Self, Blacks. We have more than one values super whites. But this should not be in your footage. What? It should stop at zero and still but one called zeros. Black one is white. All right? No. When I bring it down, what do I say? I say, What is one? Actually white. What does that mean? What does that mean? The pixel value is one. Okay. And here, when it's black, the pixel values are zero. So what are these values away? This is not one. If it was, one would have been white. So what is this? Is this your appoint one was 0.9. That's the idea. Okay. When you bring it down to 0.9 something like this, it gets cleaned. But what have you really done? Not this part seems to go down. You have asked fusion toe convert to convert pixels with value 0.9, which is like very, very light gray to convert them into white. Make it one. If you come across anything between one and 0.9, make it one. That's what you're seeing on your brigade even farther down until we get rid of most of this stuff. Michelle, why I'm saying most because this is a reflective thing. Okay, let me go back to not and say that this should be kind off fine for us. OK, but what's the downside off pushing this too far? Well, I'm gonna show you. I'm gonna show you. Is the edges gonna have white line around the edges? But for now, let's keep it as is This is clean because we've got the black. Well, it's not really, really clean. We're gonna see it later. I'm gonna have to tweak it. But for now, this is clean. Let's call it clean for now. Um and then what we need to do is just go back to the to the final result. Okay, final result on we get closer on. We see something we don't want to see. Two things generally two things you find, of course, the green spill, which is always there, depending on how close they are on in this case. It's a it's a disaster because there are so close to the green screen. Eso we're gonna have to take care of this. Plus, there is a white line. See this one? Well, this has taken too much care off our far sort of our mouths that we have this line around our our actors. Okay, so what do we do now? The first step is are two separate things. And if you see a green line, it's not green. It's actually white. So you need to sort out the green fast separately on assault down the white separately. Okay, so the green bet is quite simple. You come to the fringe tub, which gives you the spell, this bill method status. Just dispel. And then you select one of the modes. That's a rare medium well done. Well, you have the luxury of using rare when you are far from the green screen. But when you're that close, their noses are almost in the green screen. You're gonna have to go with the well done so well done. Burns is a disaster. I'm just Have you burned this disaster? You can't use this one. Well done is like pushing it, Teoh. Yeah, It's like removing the green on, pushing it to the maximum you can without on. You can still if it's if it's some exaggerated spill suppression. This is one I wish they said 100% that you can say. How much do you want to apply? 50%? 1%. You could go. You could go burnt. Andre, Use it. Yeah, go burns and reduce it. Fine. Just see which one works for you. Reduce its meaning. You're just using 37% of brands. You could do that. Absolutely fine, but you're when you're eyeballing just using your eyes to look at this. You may not pay attention that you have just introduced too much magenta magenta in there because remove the green, Add magenta as the color wheel. Okay, let's go back to the will. Drop to well done and use all of it. Okay? Yeah, that's kind of OK. We could go. The burnt London. 20% of something. You could do that if you want. You could do that. Let me see. I think I got some transparency. There have. Look, Matt. Matt Matt. Oh, I see. Okay, this is beautiful. No, you don't have to experience in here. This is just the rubbish compressed footage that we have. Yeah, you lose information, color information, get six elections. What is this? This was a noise in Nice, actually. Transition to our next step, which is taken care off the edge is taking care of the edges. We have two things on the go back to the final result we have here this white line. But we also have these, um, this noise around around the edges now what? How do we do that? It's come back to the mat and there is a clean background because this is my grandson, foreground. A soccer unity of background. Hungary just a tiny bit. Just be careful with these parameters. Used them sparingly. Just when the last picture is big. Pixel is gone. We stop. That's it. Okay, So I mean to see if I've stopped too early or too late. Just a little bit like this. That is it. OK, this is for the noise around our actors. Now, let's go back to the final result in See if the line is gone as well not. The line is not gone. We have two things to work. We've got the four clear but clean background basically is taking care of the values between zero and the one. So anything that finds itself between zero and one gets crunched. That's going back on. And then you have the option now because we worked so hard on our map that we've got it so solid that we have gone a little bit beyond the edges that we should have. This is why we have this line here. So what we do is erode from this one. Be careful. If you go like this, then you end up really eating up too much of fewer off your um Yeah. Say so. I'm just really, really, really tiny bit. I should know this is too much. This is too much. Sorry. Since Sistema 0.7 ish nine. Okay, six. Um, probably eight. No, I usually go to nine. Okay, that is kind of it. That this is the maximum I can use. This is the maximum. I can use this Now. Go back to fit. And what do we have? We have No, we have not finished. We have worked on the mat. That's all we've done. Works in the man. Have we worked with colors? No, I'm not saying color correction. Restoring the colors. Let's have a look. Let me show you what I mean. This is the original footage on this is the result of our deserts off Arquin. I'm gonna show you. Um how, um, the result of key in there. Some negative effects, some side effects on Don't. The more me Joker like the lower the quality of your video, the more pronounced these side effects are going to be. The more problems there going, you can tell because this is compressed HD six for rubbish video. Let me get closer to the source. Not fit. Let me get Let me get closer to the result. 200. Can you see the shoulders here? Can you see the pics? Elation difference between this part on this part? Well, because this one was closer to the green screen when we have removed the green, it has messed up the color information because it didn't have enough color information anyway because it was compressed. Okay, so let's have a look closer to the source. This is the source file. We have brought this stuff in. And now do you want me to get out with this stuff? No way. This this is the result. This is what I say in the enemy off vfx on on a green screen. Kian is compression now. Is this only due to compression? It's the natural work of the Keir. It takes away information, color information. But when it doesn't find enough information, just start running things. Okay, let's look down. Let's look further down here and see how disastrous this result is. See, this is well, I'm tempted to say clean, though it's a compressed footage book, but you can see for yourself here that there are some daughter. We didn't have that stuff. Let's look at Travis's even get See this is this is this is rubbish. This is stuff you don't want to have this. Now how do we sort out this problem? Simple. Let's go back here. You could do it manually if you want, but I I felt to show you the automatic way of doing it, which is the replacement replace method. You come here and you go to your source. You click on source and you get this source footage. What am I doing? Actually, when you say source replacement that colors used the colors from the source. Actually, I'm bringing back again the same colors through the alpha, which may have introduced on need to look again, which may have introduced some green, some some spill. No, it did not. Because we have this embedded inside it. If it was another note off this bill, this is the beauty of having the discipline inside. Did like here there was another note. It would have been different story. But for now we have see titties, these edges here. This has got nothing to do with gay. And now now it's all about the quality of your footage. It's It's bad inside. It's bad outside. We've gotten rid of them off the off the nasty line. The white line, Okay. With using by using clear foreground started clear background in here. Where was up? Clean background on dilate. Just very, very small. Fit on fits on what we have now we can bring in the background. So now we use them control space and bringing emerge bringing the Marge. No, thank you. Anything that gets connected, just disconnected. You want to have the luxury of pushing with the right, Select with the right button on the miles. And then you're bringing here and then you release What is this? This is a foreground. Cool master foreground. What is this? This is a background. Cool. I don't care if it's blue, green, yellow, whatever color that is. This is how I recommend that you are okay. Now when I bring in this to the viewer, then we have what we have. The colors that we had initially we have a clean Matt. We have a clear a clear edges. But now we have finished. Oh, sorry. Not finished everything. We just finished a key in part not the composite, in part because there's no way I'm going to send this as a result. Can you Can you have a look at this? The background is bright and the full ground is. We said that they made a mistake during shooting. They didn't light the actress separately. Basically, they have. They were sharing like that was coming from very far for the green screen. Otherwise it would be too overexposed. You have over. You have properly exposed the great screen on under exposed the actors mainly in the lighting is rubbish in the actors, we need to fix this. So what I'm going to do, I'm going to add a node, which is color, Correct. No, I'm not gonna call. Correct. I'm just gonna brighten this whole thing, right? Not whole thing. Just the foreground. Just two. Gentlemen, I'm gonna come just straight to the game on work on. That's different ways. You can work with this. Sorry, I didn't mean to reduce it. 1.1, right. So this is a bit brighter on I go to the contrast was my contrast on 1.1 and probably Yeah , we're gonna get more pronounced colors than we had in our owner Original footage. Now, this is a artistic choice, because in this case, I do have this contrast in the background. So I want to have something similar in the foreground. Okay, so this is how you do. The keen infusion individual is over using the Delta Kier Onda clean plate. What you need to do now is simply connected to your media output writer, media. But once it's connected to the media, awkward, then you can go back to your timeline and what you're going to find, you're going to find the result off what came out of fusion. Okay, so this now it's fusion clip. It doesn't matter what's inside in here. What matters is what happened. Infusion in here. That's exactly what you find back in your timeline. 9. Animation: Now let's talk about the basics of animation. Infusion in the venture is all 15. The footage that I have I've applied a mosque to it, an Ellipse mosque. Now I want to animator this shape based on the position, so I'm going to need to add a transform note. It's at a transform note and say, for example, on the beginning of the year of the timeline for this I'm saying timeline not not the Da Vinci aided timeline, but it took a fusion time life, so just kill it. The starting point for this clip, I'm gonna begin, and I would like to have now I have the trust. Former. I'd like to move this one down here. Okay. You know what's happening now? It's the media. Out is showing this, but this is the media in so you you want to be careful with your views with your viewers. If you think you're gonna get distracted, you'd rather take work with only one. But if you think you wants to have transform in one place and the media adding another, although it's the same thing basically in here, So I would work with only one monitor in this case, I will move it right here said is part of an introduction like. But if a promo and it's the first, like the promo clips and then you've got a few circles moving around one with a rocket taking off another one with astronauts training and the water. And this is one of the circles and you would like it to be somewhere moving in the frame. We have it here on we say, Fine, cool. This is a good starting point because he wanted to move somewhere in the frame. We're going to come here and go to de um, size. You could. We could. Even Blake with decides. Actually, we could even blame with this size. Let's do that. Let's do that. We're going to play with, decides I'm going to reduce the size. That's even better, I think. Yeah, and move. It's even to the left. Something like this, all right. And this is a good starting point. So I'm going to click on this, aren't yes, in every single software you know about composite and this is the shape that you recognized walking frames. It is a que frame we'll just create to the key thing. So I'll do it for this center, which is X y z Just movement. Discussed the position Underwood for the signs because I've decided to miss with this out as well. We'll decide as well. So this should be it before us now? Yes, they should be. Okay, So I'm working with two. The center on the sides. I'm going to come somewhere to the country. The timeline here and I will move somewhere here. Andi. Okay, that is just get it somewhere to 16 okay? And I'd like to news it now somewhere here. And your notice that I am Get him. Because what am I doing now? I'm moving its I'm changing the position. And of course, if you look at the right over here, you see that key frame is already being created. It's following what I'm doing, right? So I wanted to be somewhere here and about the end lost frame. I wanted to be a little bit down here. What? It's your choice. What? You want to do it? That but in between. If I come back on, you see in here 16. There's this Ah, small white line that say that we have a key figure. Let me go back. Let me go back to my 16 and say in here I actually wanted to become bigger. Size is going to be 0.8. Okay, but when I come back here, I want it back to the same size. It waas and it is going to be 0.253 are thing if I remember correctly, Let's move it a bit far back. Just moving too. All right, let's do that. So this is how we create an animation, Just why I'm creating key frames. You're used to that in after effects. If you've bean working in after effects and use to that actually any software if you coming from another software, it's the same concept. But you have, of course, more control. Let's play this. Okay, now it's just like movie and moving and getting bigger than we've interviewed aside to leave room for another cynical to their let's say we're gonna have plenty of the seven or nine of them, and they're gonna be floating around on whatever. Cool Now, more control. I want to have more control, decide on the speed if it's gonna ease out or easy and or decided the time in. Is it faster? Is it slower? How do we do that? We come to keep frame. Stop here on the top. There's key frames on you. Notice I have plenty of space here. Why did I get this? Because by default. Normally, when you create Inspector, you have this one taking up the whole space. You just click on this, want to get a bit more space, and you will be able to get your key frames. The problem is, it's not really a problem. Is that it? Is listing everything all the notes now I only have any measure of my transform. It would be really handy if I can only see here where the stacked up as layers. Now, if you've been enough, If you've been working off their affects, you think Oh, that looks quite familiar? Yes, these are layers now, but we're not working with layers. Were just working with key frames for a list. Just look at it as a list. These are not really layers we have here transform That has an arrow here, which means I have some part images that have been key friend animated. Now I prefer not to look. Any other node that's gonna distract may just focus on the transformer. I've only I only have an animation on under transform. I want to focus on that one so you can come here on click on Show only animated. If you click on this, only the animated notes are going to show up. The rest is just like crowd in off the place, just making, making, just taking up space. So I look at Metra's form and I have here the size on the center. Five. Do I want to make any tweaks? Which basically means just get this on, drag it if you want what you are now changing the speed. Do you want this thing to happen in frame 16? Or you wanted to have a 14 or 12 or 10 C so you can have Now it's the beginning on the and the beginning of GM Beginning idea on these other key firms, and if you click on anyone off them, you're all going to be able to see here of this is 16. Um, you can actually move at movies or even change it in here. Say it needs to be precisely 18. Yes, I know it's not great. It is black on darker grey, and that's not brilliant. But I can see it. I don't know if you can see if you could just double click, and you can type in an exact value. If you want. Let's go back to our 16. Let's say it is 16 years. It's 16. It's quite an astonishing actually. And to face choice of colors for this button over here, it's a unique one, actually. It's difficult to even see what's the young mother number is. It kind of looks like 16 but when you double click, you're able to see it. We need to have this one selected. All right, this is for moving. The key frames is just the time in think you all designed in timing key frames is just what time? How about the interpolation? It's like house. How fast and how slow does it move? Does it start fast or does it start slow? Does it arrive faster? Arrive snow? How do we do that? You can close your kid for him and come to this Plein. Explain is what shows you now when you click on this, You've got transform. You've got Santa displacement and size. This is what shows you the key frames that you are working with. You come here to, um, when you click on this, it just shows you all the key frames is like centers, the whole thing. Actually, it's the same things. Go back to key frames. This is the same thing over, so you can click with the right. I've gone back now to keep friends with the same concept liquid the right and then sorry with the left with the left and then move left or rights to make its Y a bigger or smaller , wider or smaller. If you've been working like focusing on something and you want to take the full picture, just click on this one. It's gonna zoom, and you will be able to have the full picture. Let's go back to our explain and let's work on a few of these. Not simple. Let's say I would like these not to be so sharp. So let's say I want all of them to be smooth. What selectable of these? Come here. You have this smooth typically come back on. Everything is gonna be happening. Smoking? No. You have plenty of choice here. It's up to you. How you want to do that? I've shown you now where you can get your speed controls Time in the time in. Sorry. That's the time in and where you can get your interpolation. Let's have a look at what it looks like. Now, let's play this. Okay, Now, you could also say, Well, it's not just a matter of smooth in it. I'd like to be able to control how fast it starts, how fast it arrives. Okay, Simply just come and click on any one of these, and you get a handle on this helps you see if it's, like, faster or slower. Okay? And that is exactly the same thing on a neat one. Off these, we just get the handle and you're able to control any one of these. Okay, These are the basics of animation infusion in davinci resolve. 15 10. Create versions of compositions fast for more creative choice: When you do compositing, you want to have creative freedom. You don't want to be limited to only one version. One choice here we have done this composited right, and we had this background. But say, for example, we want to check with the client or get the opinion and advice of our creative peers and friends before we decide which version we want to go with. How do we do that? Okay, this does not involve recreating the whole thing and then doing the whole work again. Absolutely. No. This also does not involve copy based in absolutely nuts. Just a matter off, creating versions off our composition. How do we do that? We come here to the Phillips, okay, and we see that we have the fusion clip that remember we had a timeline with a few clicks, and then we created a fusion clip, which then was the basis for our compositing. Now we have finished say, this is the kind of the draft, but we would like to change the background. Let me go to the media pool in the media or I have a few versions. Let's say I have. Then that's 12345 existence. I know how to do it for 10 right? I'm gonna demonstrated technique for tomb or backgrounds. And then you get them the choice to check to see which what number off fashions You want to go with it for me? I will give you I will demonstrate a technique with two. I'll go with this one on with this one. Right. This one and this one? No. Why did I show the clips tab here? Because this is the way to create the additional composition. Right? The version you're right. Click on. Do you have your create new composition? But hold on a moment. I want to give you even another tip, right? I want to give you another two. I know that. I'm gonna need say, for example, 10 compositions. Well, I'm going to do it for only two more. But in this case, I want to compare for them. I will do it only for two. So I'm going to click on create new composition. But before doing that, what I recommend you do is go bring in already the footage that you want in the initial one and the initial composition before creating a new one. So bring in the footage that you want to compare. I want to change the background. Remember the background. This one? That is only one. Sorry, I need to get another viewer. All right, So this is our background. The one here. This is the empty background. Now I know. I want to compare it with this one on with this one. I'll see what I get. Okay, So what I'll do is just bring them in already in the ignition. One. Why? In initial position? Because when fusion, when I creates another composition like a version. So a version of the composition fusion is going to keep everything there. And all I need to do is connected. Disconnected? That's all. So I come here now and say, create new composition. It will take about 23 seconds for well before. Okay, that was two seconds. Okay, Now this is what is this? The first composition resisted due to the 2nd 1 It's quite simple. Your radical. Okay. And you see that you actually are on your 2nd 1 Now, let me come to the 2nd 1 This first work on the second, and then we re duplicate. I recommend you don't do it automatically 10 times because there are some tweets that you may you may need to make, such as the rocks. For example Let me show you. I have this background now. This is the old one. Now I need to get this one in. How do I do that? What was simple? Just gonna come here on replace the background and that's it. Don't. Well, older. I've got these rocks. So I need to get away, get rid of the rocks. Because I don't think the color matches it matched the earlier one, but not in this case. So I may need other colors. Other rocks with different, like grayish rocks. But in this case, I say I want to drop them. Fine. I just come here and take this merge Note disconnected and take it straight to the end. Bike Busing all the rocks to rocks. That's it. Say this is a version version number two. Okay, noise. I keep them. Version number two, open and right. Click and say create composition. It is going to create new composite from this 2nd 1 This way, I do not need to remove the rocks again Because I already know if I'm gonna use number nine . I don't want to have the rocks either. Okay, I said be too high for the rocks. And this is this is a cloud. Okay, I know these are This is a mountain. What people were filming are standing on the south side of the mountain. But still I'd like to have to remove the rock. So I come here. I'm on number to create new composition. A few seconds on we have is here. This is what Right? Click, This is number three Simple. The next number nine to the much How do you change your background? And there you go. No. Where are these compositions? They all live inside fusion here. Now, do I find them back in the timeline? So if I go to the timeline, why do I find Let's go back. I got to the timeline. I just find the last one actually know the last one. You find the active one has got a fusion and go here. You have number three selected, which ever one is active. That's the word active and not show you why it's active. Because when you say delete. It tells you cannot believe the active composition. If you want to delete something, you need to go activate something else. You always need one, at least one active. If you want to delete the last one that sacks, if you won't be able to get it, you won't be able to delete it. Okay, So if I go to number two and say Load and I gave this, I don't want to get this one to distract us. Let's get only one monitor one viewer, and we go back to the timeline. It just takes whatever is active in there. This is a simple way off just having multiple versions and creative choice. 11. Versions of nodes: you know that creative freedom off having several versions. It is not on Lee at the composition level. You can have it at node level even. Let's see how we can do that. I have here this futuristic interface, I'd like just added somewhere here. How do we do that? I'm just gonna bring this like this, Would right. Click on, bring it here, create emerge, Found. Then I come to, um, the emergent Andi say change it to screen. And then I'm going to resize on Sunday bark. Put it somewhere in the hall, Write something like this. Okay. All right. Now this is this is an example, like one. Alright, conversions take Okay. Fine. Um, I'm not sure I like it. So you know what? Let's create another version of the off this. I come here, I'm talking about the note. Any note, you come here and there's this lovely thing over here. That's his version. Physically, Come back. Miss A. There's a version 12345 You have this one with the red. Dismiss. This is the active one. You always have one active. Just like when we talked about the versions for for the grips. You come here. Say a composition one is by default active. Okay, let's come back. I can come here and click onto And exactly the same behavior happens as four compositions. What happens is, um, Fusion is gonna keep alive the settings as they are, and then it's up to you to change them. So it duplicates, denote behavior for another version. And then I say, OK, probably. I want to come here and move it to the right. While this is quite a simple changes it No, But the idea is just to demonstrate the technique. Right? Okay, So if I go back to the timeline, what do I see? I see it just closed. There's only just focus a little bit. Just one screen. My monitor. I see version number two. If I come back to my fusion on, I want to activate version of one. I just click on version Number one is gonna take a little while. A few seconds, I'm done. You go back to the timeline and it's updates. It is automatically linked in re in time. All right, so you have plenty off choice, plenty of opportunities. And if if you really think about it Is the number of nerds time the number. If it's a number of versions of your notes times the number off versions of your compositions, it is a lot of choice. It's all up to your imagination. 12. Add FREE OpenFX for Fusion: you may have noticed when we talked about the ethics library. And I have showed you tools, open effects and templates that I've talked about the open effects. And I said that if you open this, you're gonna find resolve effects, open effects. But you also have seen that I have this list over here, so I'll show you where you can get free, open effects on install them in DaVinci Resolve. 15 4 years. Also infusion. Okay, so where do we find these? You go to your search engine and you look for Ignite Express. Okay, let's ignore it. Express. So it's ethics home dot com Ignite express slash Ignorant express. No, this is a free right. It's available Free of charge. Ethics. Honda is one of the company's FX Home is one of the companies that has hit feel like it's another editing software, which has sold off visual effects, you know, like the low level visual effects. But it's not something amusing. However, they are gentle enough to provide a free off charge kit off open If ICS FX OK, open fxfx. So all you need to do is, um if you school here. Okay? Get ignite effects for free. But I just wanted to show you, actually that you can and this is quite important to understand. Let's go back Open effects. You can use them by nature. The very default, the very nature off natively. These things can be used anywhere. Just if you're not familiar with these, if you're familiar, find and you know it. But otherwise that I need to explain to you that open if X is not for fusion off open effects is for Amy. Think so. Any software that accepts open effects, you gonna be able to use them there. This is Roy is come back. You can use them in after effects in Premiere in Apple Final Cut in Up Emotion and Sony Catalyst in Black Magic definition Resorts, the one we have. You're gonna be able to use a nuke even in Medias, an avid media composer, and in Vegas Pro 14. You can also use them, which is not listed here in nature. On you can use them in every single piece of software. That except open effects because open effects are it's kind of more platforms. Any platform that accepts that that could be used, their Well, DaVinci, resolve this one of them. Confusion infusion is now and degraded inside of insurers or so we can use them. How do we do that? Okay. What? Quite simple. Get ignored express for free. You click in here, you just go into, say thank you in a certain way. Like is a shared on Twitter show on Facebook or Google. Plus on you will be able. This is not a day marked by the way I clarified this is not a demo. These are really fully operational. 1% free, 1% operational effects. Okay. They gave you 90%. 90 professional quality blow games for free. Okay, Some of them, um, to see here, because if you look at fusion, the list is not 90. However, if I come here to if I come to edit in and I go to ethics library and I go to my open effects, you're gonna find that I have a huge list off ignite. I don't know where it starts. It starts here. OK, I got needs video, which is also a different one. But this one is Beed. Okay. Need video reduced noise. This is like the best noise reduction software That theories. There are very good ones out there. But this one is kind of the one, but is like, I couldn't find it in this. And then you have This one is bad. So because I promise that you share with the free ones. If you bring them in, they they say 90. And then you think, Well, the moment if I come to fusion, I only find out on the harmony. Um, how many where these, like probably about 15 issues something a bit more, But it's about the whole 90 are spread in davinci resolve. You get plenty of them in the editing tab already, and some of them infusion. Okay, Whatever it is, you can enrich your tool kit off open effects.