Remove Tracking Markers and Wires - Davinci Resolve 15 FUSION | Film VFX | Skillshare

Remove Tracking Markers and Wires - Davinci Resolve 15 FUSION

Film VFX

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6 Lessons (1h 14m)
    • 1. 1. Course introduction

      1:14
    • 2. 2. Introduction to Tracking Marker removal

      2:14
    • 3. 3. Tracking Marker Removal

      25:21
    • 4. 4. Introduction to Fusion Wire Removal

      8:03
    • 5. 5. Fusion Wire Removal 1st example

      33:41
    • 6. 6. Fusion Wire removal 2nd example

      3:08

About This Class

You cannot do visual effects without them, they are everywhere. A green screen or blue screen would look totally amateur and utterly useless without them. They are a must, they make possible the matching of the movement of the camera with the movement in the background, to incorporate 3D elments. If your camera will move in a green screen, you need tracking markers. But after they've done their work, you need to remove them. How you do that? I will show you.

And then there are the famous wires, no action scene, no jump, no superman, no ironman ... without them. The wires.

You need to know how to remove them, because it's not just about fancy action scenes, sometimes it's a simple as removing the cable of a lavalier microphone that is visible that no one paid attention to when shooting.

In this course you will learn how to remove tracking markers and wires including guidance for filming on set.

Get ready for the next level in visual effects.

Transcripts

1. 1. Course introduction: you cannot do visual effects without them. They are everywhere. Agrees green or blue screen would look totally a motor and utterly useless without them there. Must they make possible the matching off the movement off the camera with the movements in the background. If your camera will move in the green screen, you need tracking markers. But after they've done they work, you need to remove them. How do you do that? I will show you. And then there are the famous wires. No action scene, no jump, no Superman, no Ironman. Without them the wires, you need to know how to remove them because it's not just about fancy action scenes. Sometimes it's as simple as removing the cable off Elavil ear microphone that is visible that no one paid attention to. When shooting in this course, you will learn how to live tracking markers on Dwyer's, including guidance for filming on set. We will change this into this. Now you can use it for key in get ready for the next level in visual effects 2. 2. Introduction to Tracking Marker removal: removing tracking markers infusion inside. DaVinci resolve. I have here in my timeline a footage with green screen and with tracking markers. Good. I will come here and right click and go to new fusion clip when I do so, I have created a fusion clip. And then when I come to fusion, I will find it there. Right? I have the media in at the media out. I'm gonna put the media in here. Dragon, drop it Here on we just push the media out away. For now. I want to remove the tractor market. So what does that mean? In reality, it means I need to pain to them. Out. Hold on a moment. When you say painters that mean manual work. Yes and no. Your input as a user is required for one frame. I'm gonna need you to print it for one frame. So if you have 100 frames, 1000 frames or a 1,000,000,000 frames, you're going to paint for one frame. Found us fusion. Do the rest for the other frames. Okay, so yet it. Yes, it is manual for as many tracking markers or tracking markers as you have and some shorts need a lot of tracking markers. So in this one, we have nine of them. We have 123456789 Okay, on the placement of the truck. And Marcus depends on the off the motion of the actor. In this case, well says, Go back and look at the look of the footage. In this case we have here, a person who is going to be floating in the AM just for this as a okay, this is what a potential exact This is why, due to the motion off the actress, the tracking market simply have been placed there. Okay, so you are going to place your tracking markers dependent on the motion off the actor or actress on the number of the truck. And Marcus is gonna be defined by how complicated the shot is right in a green screen. The tracker is gonna be blind cause it cousin counts. There's nothing to track other than the tracking markers you put in there. This is why sometimes is useful to have more than less. Okay, which basically means when you come back to the editing and post production for the visual effects part where you're going to remove the tracking markers, you're going to have to paint all of them, but then only once. So the good news is it's only for one frame, right? So the first frame. 3. 3. Tracking Marker Removal: this takes us to the first step, which is control space to load the tools and then get a paint note. We're gonna add a paint mud, and then I'm going to drag and drop bait here I have on the left screen media in the source to see what it was like. And pain is the result of the work to see what we're doing. All right. Good. Now that was step number one. What is Step number two is to choose the right brush. I'm going to come here and just choose the normal stroke. No one. Okay, that's number two, number three. But as soon as we have created a paint note we have here stroke with one fusion is trying to help us a bit by saying, Oh, you need to paint that. I'm gonna create a stroke for you. And as soon as we paint the first stroke, it's gonna create a second stroke for us saying Okay, okay. I'm ready. If you want to have a second struck for to move on. Um, this is very health. Handy and helpful, but it can be a pain later on. You can see that this help is sometimes not appreciated, and it could mislead and driving a bit to your work. So I'm gonna show you how to deal with that stroking. But one has been created. So Step number three. What was one paint note? What was two? Select a stroke. Brush three now is chip. Check the right moat. Apply mode is cologne. We're going to clone a green area into the tracking market. I will first get a bit closer to my Marco. It starts with this one. I'm going to them prison. Of course, after having sex with the clone and please bear in mind that I just open it bracket here. You've got tools to have. You've got the fire stop. It can be very handy to be on the modifiers tab. Just when you are painting, it's not gonna work. So when you're painting comes to tools top place For some reason When you're on the modifier stab, you can't do it. So when you're painting on the tool stop when you want to organize your work on the modifier. Stop. Right. So we have stroke number one, Which is this Another thing which is quite important, is once you paint a tracker. You need to have one stroke. All right? Yeah, that one is clear. But then what do I really mean? When you when you remove your finger from the mouse fusion thinks Oh, you need to create another stroke. So what I'm telling you is if you want to remove a tracking marker one marker, you need to keep your finger pressed against the mouse during the whole time. When you're painting, if you just raise your finger is gonna create a second strong. And we do not want to have that France a one stroke, one marker. That's how we have it. So we need to end up with at the end. Stroke. Nine. Stroke. 1234 until nine. Right. And I could have done it for one marker. Andi let you do the rest. What? I thought let me just give you the real life feeling off, markers, cause And this is not my tractor. Just nine. If you have them all over the place on the floor, on on the front wall, on the side wall, then you're gonna have to do it for each one of the markers. And you could end up with something like 35 or something. I'm giving you a realistic, realistic situation. Good. So we're gonna stop nine. But chances are you may have, like, 2025 or more or even less good when we are now on the tool stabbing going to Teoh paint. Now, how do we do that? We're going to stand with our mouse with, um, on area that we want to clone, which is just like a plane dream. Now, depending on the motion off the actress, you're not going toe take a green is gonna overlap with the actors, right? So we're gonna take a green. That's all the time. Clear. Okay. In this case, I know that this one is always glare, but I can always You know what? I can always come to the right because I know that doctors doesn't get anywhere closer to this. So what I can do is always state outside. Let's stood up. I will then select this area here and breath. How old or option? And click ones. What's I click then? I have already defined the source. Now I am on the tools tab. So I'm able now to come And while depending, of course on if you want to team to, your brush can reduce the size, right? I don't need a big part, depending how close you are to the young to some other things that you don't want to clear . And the other things. So I'm going to just clone it like this. I'm cologne in this part. So now it's gone, right? This is what this is stroke number one. Have you noticed that fusion has just now trying trying to help us has just created stroke number two. Please pay close attention That this gesture off trying to make the user trying to get closer to the user by creating stroke quickly can ruin your work. Now I am. If I don't pay attention to this, I'm gonna tweak because there's stuff I need to do. I need to come here to the stroke controls and do something with center. I need to start tracking stuff, but I'm standing on the stroke number two because fusion just thought OK, you finished with number one? I'm gonna create number two for you. We don't want that. So that's why we need to go to the Monday fire on just re open stroke number one. You notice that when I do that fusion things okay? You don't want to work with number two. I'm going to remove it. Just get used to that. Okay, So it's trying to help you on when it realizes it doesn't help them. It just deleted automatically. Please. Baker, pay close attention to what stroke limber you are working on. I recommend you paint in the tools tab and whatever else you want to do. Need to be done on the mother fire stab. Because otherwise, with 35 40 markers, you are going to the end up working on the wrong marker, right? So modify as now, you know, I have stroke one. Now, I just double click on that and would like it exactly the same types that we used to have in the tools. The and I go to stroke control. Now, what's the purpose now that voted on the matter will work of track off. Sorry off painting for one frame, but I'm gonna have to ask Fusion to do it for the rest of the frames in this case have got 52 but he could have 5200 friends. Whatever. Um, depending on how long your shot is, so I come to the centre, right? I right click on that and say, modify would tracker position. Okay. And I click on that. What just happened? A tracker has just been created in its space in the centre. All right, so now I have tracker on stroke tracker, one stroke one. Quite useful, actually, depending on the number off track is that you have. So this one is our tracking number one. Let's now come here. I double click of the tracker. Andi, you may be tempted to start tracking immediately, but it's not gonna work because you need to have a tracker source. And you may tend to forget this one if it doesn't work and you think, Well, it's completely over the place. It's not doing anything or even if let's do it. Let's just click on that. So tell you a warning under did not complete last from successful around it, nor desired range problem. It's studying you something like you get the feeling something is not working, but you don't know what's what's going on. It's successfully rendered and not complete a bit contradictory, but whatever. What I'm trying to tell you here is Please don't forget to put your source. I'm not saying the paint. I'm seeing the source, which is the media in drag it. Okay. Sorry when I clicked. I have, um just click back on this one modifiers go back here. You just click and drag and put it in Tracker's source. Once you do that, now you have the trucker identified. Okay? Targeted. And then what you do is you're going to track its. So where are we know already? Beginning or the end? We're on the beginning. OK, so let's strike this right. Okay. Render completed. So I only have 52 frames here for the purposes off a demonstration. This one is done. Okay. So what do we have? You have a successful package off track and removal for one tracker, which is true. Stroke on track one and track. 01 path. All right, so this is done. Fine. We need to go on, do it The same thing for all the others. Let me go back to fit. Um I'm going to take Where are you, By the way? Home where the beginning. You know what? Let's stay in the end. It's fine because maybe that's what you wanted to. We could stay at the end 15th 52 friends than we track backwards. I'm going to go back to 100 let's take this one the 2nd 1 right? And it's gonna be the same thing. But how do we do that? I go back to tools and I can click on the stroke brush when I do so stroke to has been created. Then I make sure that this is still the case. Fusion does keep your defaults, not defaults. The last apply mode you have used. Just make sure that this one is still there on make sure you are still under the tools tab . Um, and then you can come here and select Well, you still have this zero or circling X from the last one. You don't care about that. You just come here. Would you? Closer. Ignore it. In selecting earlier, we'll select the area to the right, press on older and click once exactly the same thing. And I can paint this one out. Right? And please also remember, I'm gonna repeat in a few few things, but it's just for your convenience that you don't need to do the work again. Because if you end up with three or four strokes for one marker is much more work. Um, I don't move my finger off the mouse until the full market is raised. Then I move it. What happens again? Fusion trying to help created stroke number three. Please don't work on the tool. Stab. Go back to the modifier. What do I have? This is what we've done in the past. Now we're going to work on struggle over to you. As soon as I double click, it removes stroke number 3 10 in. Okay. You don't want to work with that one. Fine. I'm going to remove it. Good. So same story here. We're going to come to stroke number two armed. Come to the centre. Right click. Just make sure you're working on the right stroke. This is the most important. Make sure you are working on the right stroke. What if I with track position for now? You know how it works. Okay? Just a matter of paying attention to what you're doing. I have this. Then I know that I, um um, going I'm gonna need to track. So I need to go to track a number two Andre press on because we're in the end, We're going to press on truck backwards, but we haven't We haven't got any source yet. Some same story. Please put your sourcing here on track backwards, because when we tracked the 1st 1 we ended up at the end, so I just go backwards. All right, this is done on. What do we have? This is what you need to have this triple things Stone stroke to track two on track to track of thoughts. Good. This is done. Now I'm going to go back to the tools I'm going to three some two days or you know what? Just move it here and click again. So this is how you create a new stroke by clicking on the stroke thing. Then you get stroke number three. Then it We're going to do quickly the same story again. Okay. I'm going to strike a bit far to go fast on this. So press don't move your finger out. So the masses to it's all done done. Don't work on their tools. part because you were gonna work on the wrong to a stroke modifier. Double click on number three found. Come to center. What if I track position? I'm done. Close this. Go to the tracker, because now it's tracking time and then move the media in the source on the same story here . Fight will truck. Which way? Forward, Right. This is done on. We move quickly to the next one. You're going to notice that it is repetitive, but I do want you to take less. Addition to what? Structure? Working on. If you miss one step, it's not gonna help. Okay, so click that creates stroking before and selecting area. You want to clone, press on old Alton, click and then come here on in one. Go remove the marker. They come to me. The fire Ignore struggle before I don't want that on double click to close it and go to struggle before and we're going to right. Click on the center. Modify track of position the night closing. Go to track number four on and put my media in found. Where are we? Have the ends track backwards. Right? This is done. We're going to move to the next one quickly to the tools parts click on the stroke was making sure that you have the right size and depending on the market, Sometimes the markers are different forms. We've got an excellent circle, different sizes as well. So just make sure that your brush size matches whatever you want to work with. And, um well, it just keep The last one was used around. We go to the center that Sorry. We have not done anything yet. We haven't done anything yet. We need first to cloned this fellow. I'm gonna clone it from from this spot because I've got this is wrinkles here. Clone this part. So, like this un clone, this fellow. Okay, don't modifiers struggling for five right click. But if I track position close, it's tracker. Load your source and track forward. Okay. I'm gonna need to have a look at this one because I don't have a good feeling about this rights. I don't have a good feeling about this one. Let me see. All right. Something has gone wrong with with them with the 5th 1 All of these are gone. But our fellow here is still there, so something is wrong with the trucker, right? Or with a stroke, we have cleared. We have created the stroke, created the sun to replace with the trucker writes something is not working here. What I'm going to do is remove all of these delete. And we're going to do it one more time just to make sure that we haven't missed any step. Click on stroke. Then you come here. Found Okay, old. And then we removed this. This is done. Struck five. I may have works in another number. I don't know. Okay, this is now gone. Fine. Then I come back to truck and I love my source and I track backwards. Okay, we'll click on OK, it has worked, OK? I don't know exactly what happened on in the last time we've done it, but it has worked. Fine. Same story is gonna happen to this one over here on we come and click on the Stroker gives us number six. So you need to be worked standing with on the tab tools. I select off course an area that is further from their summer. Select this one, Chris on altar and click ones on. Done slowly removed us to Sparta. This is a problem. Undo it. Um okay, I have a little probably because I didn't raise. The whole thing I'm gonna do is just remove number six. Delete. Do it one more time. Six often click optional. Click and keep you finger pressed when we're done. Okay. Modifiers. Six. Sometime. Right. Click. Modify Weight tracker. Position the truck open. Love your media in. Yes, These are repetitive tasks. It's men will work for one frame. Then we asked Fusion to track. Russ, Something is going wrong for this one. Yes, something has gone wrong. We don't know exactly what you know. What? Let's remove it. I'm going to add another one. Rights Stroke number six. That's just make sure we're working with the always one. Okay. Number six Center. Modify way. Tracker position. Good. No, I go back to the tracker. I loved the media in and I track backwards. This is not working. Sometimes you it doesn't work. I find it better to just redo the whole thing. Instead of trying to a distant troubleshoot on individual, step into my fires tools. We go back on, DWI targets our next one. So it's going to be this right click would alter public. I'll be glad to remove in the shadows. Okay, so that is number seven. Click on seven. Right click. But if I were a tracker position. Good. Good tracker on. We are going to load our media in. Found which direction? Forward. Well, you may have noticed that I did not stop the recording on tell you. Well, okay. I'm gonna finish the night and come back to you because I want you to see what kind of stuff can happen in the middle while you're when you worked on it stuff tracking hasn't worked. Or for whatever reason, you said that you read Market is still there. So I just show you exactly how you do it for all night. But I wouldn't do it for 35 or 40 and let you wait without but nine is reasonable number. Good. Um, that one's done. I'm gonna move to the next one, which is somewhere further here. Starting in the seven. No. Seven is already done. So I click again here. That's gonna be my number eight pressing old click on. Let's wash this in one goal on. I go to my modifiers. Eight. What's going on? For some time, but it's only with a tracking position, but it struck her. Loved your mediating again. Which direction was all right? Good. And then the lost one. Where is my last one? Last one is here. Okay, last one. Because this is a bright on bond. Um, I draw the take from further away here. Okay, so I'm going to click again, which is gonna give me number nine. Why? Don't know. Yes, I have nine. And then click somewhere here without pressed. Of course. Or option. Um, that's the racist fellow. Good modifiers. The safest way is raising here and do nothing else into the to stop arrays on Do absolutely nothing else. Moved to modifiers to finish your work. Joke number nine on right Click Santa. Well, you get it by now. You look, you've learnt it by heart. That's also the point. You've got to track house emitter to track and now load your media in Onda tracking some direction yet forward Something has not worked again. Okay, fine. Whatever. Now, instead of troubleshooting and trying to understand what has gone wrong, easiest is just deleted. Come back, create a new one. That structure of annoying as though it one more time. What if I ah, struck number nine sometimes modify with tracker position has been raised. Okay, so no going to the trucker Loved our media in I'm trying. Great. This has worked now. Okay, what do we have? Let me go back here. Fit We have from some idiot in now this media out. Good. OK, so all the tracking markers have been removed here. We can see them clearly on here. They're gone. Right? Okay, That's how you do. It's let's see now what it looks like in the timeline. Showy. Okay, now, this is media output. As far as fusion inside, deferential result is concerned, you are done. Okay, because you're some A final output. Is this This is your final awkward cleared. This is your England, Not what goes back to the timeline is this. Let's see. Let's go back to the timeline. Now, what you will get is in the beginning. You see, here it's properly cleaned. But when you see is the red line Okay? Okay. I'm just catching up red and then blue, it's It's rendering as we speak. So it's gonna be read in the beginning, and then it becomes blue. Basically means that it has already rendered. All right, So this is how you remove tracking markers? Infusion inside DaVinci resolve. 4. 4. Introduction to Fusion Wire Removal: removing wires. Infusion in DaVinci resolve, I have renamed the first note that we have for removed tracking that used to be called paint won by default. I've just clicked on the right. I've clicked, renamed, removed. Tracking Marcus. Why? Because I need to organize the node graph because the next's step is going to be to create another paint. Now the yeah control spacer on ad. And if I have faint, no paint one and pain, too, I could confuse the two. It's good to keep thinks recognized. We're just gonna rename them. This one is going to be renamed as realism wires. Good. No, Before proceeding any further, There are a few things I need to highlight during filming before even reaching the best production stage Number one. There are three things, actually. Four I you will address three now and the 4th 1 I'm gonna need it later. Address elected. The 1st 1 is why am I using for when? When you look at the behind the scenes the making off action films, when you see explosions, people jumping off the roof, people being thrown away in the year 15 20 meters in the air. Why do you see two ropes or one rope and I'm using four here. The answer is simple. I'm trying to achieve a horizontal effect. OK, so she's being pulled up in the air horizontally. But when you see people being jumping, generally you need vertical. Yeah, so when they are being pulled up in the air or being protected in the air in a vertical way , you used to when you use explosions and people being thrown away in the air. Rotating in the air is part of the effect of the explosion on them, Usu's one. But the decision to use one or two is not. Yours is the stuntman coordinator stunt coordinator. That's the guy who is going to who pulls off, pulls up this special effect on Set. He's going to decide if it's one or two. But, um, if you're trying to achieve this effect off perfect balance, then it's better to go with four. Is it more work? Yes, but not really, really. Look, for if you want to achieve this result, you need to have four. Good. So this is for the one versus do verses for and you're skeptical Director is going to. It's something. You discuss what you said, coordinator as to how many are needed for the effect are you going to do if your rehearsals plan something like 1 to 2 hours just for this part, Kate? Because you need to get it. What? So this is one number two actor. Safety is fin nominally important. We want to make sure that on your set no one gets hurt. All right, so we have all the necessary measures on the ground we've got here. The your mattresses. You know, the kind off, thick carpet mattress style that you find in the gym. It's not something you bring on your own. Not know what you're doing. Something that stunt coordinator takes care off. The stuntman takes care off on. We have full blown actor safety on set. Okay, Because I Let me just ask you the question. Actually, uh, how high do you think this girl is being pulled up in the air. Do you think she's suspended from a skyscraper? She is just one meter above the ground. But do you know what's the better question to ask? What if we don't have the right measures on this head? Falls straight on the ground. One meter. Do you know what's gonna happen? Right, But no one wants to happen. Okay, so this is why, no matter what a zoo, Long as you have somebody suspended in the year, you have a jump from a roof. You have a jump. You have somebody being thrown up in the year as part of exposure. Anything you need to have ropes on the question here. Do you need to have fancy action movie scenes to have ropes? Absolutely not. You're going to need them, You may think are my projects now don't need ribs. They are going to need at some point in time, you better know how it works. And you better know it now, because onset it's already too late. It's already too late. Why, um you're going to use the boy because you see the scene here doesn't action here. Well, it's an action film, but in this one does absolutely not in action. It's a fantasy scene. We've got a few kids levitating in the air, and we just need to get this effect. How do we pull that? You could do it with the rope event that dis takes me to the third aspect off aesthetics or the third aspect for during filming. Do you want to achieve this effect with the chair? You don't want to do that? Because the results we've done it. I haven't any before. Actually, you'll be thinking you've done it before. But it didn't work. Then we moved to the ropes. No, with under ups first. And then after a couple of weeks with under the chair, and the results were amazingly huge. You can not use the footage we have for the chair. You can, however, um, tried for yourself and see the huge difference. So what we got with the ropes is amazingly great quality. Especially that shot with the red camera. Very high. Called up. Slow motion. Slow motion. Red camera on it. Some wardrobes. It's amazing. There is also a really amazing with the chair is gonna be It was catastrophic was catastrophic. Okay, Michael, is this one for families and have straight to the your post election part. I've got still a few things for filming, but these will be mentioned a spot of post production production. I need you to be in peace with the fact that in the life of visual effects. There are some things that have to happen manually. If you are in peace with this fact, everything is gonna be gold Will go right. You will not be wasted on time. Okay? Why? Rotoscoping And we will not be the winner. Telescope in, Guaranteed promised. We will not be doing rotoscoping, Okay? But I'm just saying, as an example, rotoscoping is, by essence, 60 70 80% Murder will work. Yes, sometimes you used tractors to make sure you use trackers to try to follow the shape and stuff. But you need to come back and tweak it manually. Um, handled by handle. Okay. Like point by point. Um, it's something you just need to live with. Okay, that's for the Ortho Scoping. Now, having mentioned that we're not gonna do rotoscoping, we're gonna do something much more fun. Faster. But it has to be done manually. You want time to do it automatically? Go ahead. You're just cook reached the same conclusion, but I'm just trying to save your time. Okay, So you may be thinking or you hold on a moment. You remember that trick done for the removed tracking Marca what I can do is come here and create age tracker. And here a trucker. Let me get closer. Let me get close. OK? I can have a tracking here and a tractor here and apply whatever two of you give me that. You say we lives, the wires on and that's it. And it's gonna follow it. That's all that simple, is it not? The thing is, in the world off wire removal, there is one big word. Okay, there's one word that's called the angle. That's key concept. That's the most important part. That's to think that is gonna make you your life better or worse. So if you ignore it and now you're ignoring it, you've just chosen to ignore it. Because if you go with the Tracker, you have just chosen to ignore that. The angle and the angle doesn't like to be ignored. What is ignored? It gives your rubbish work. I'll show you how so Those who are going to accept to go the manual road are going to get it faster than those who decide Automatic one which is not gonna work and come back into it mentally, that's double work. Okay, enough talking about it. 5. 5. Fusion Wire Removal 1st example: remove tracking markets. We've done what we've done. First choose to stroke and then come here to the clothes, right? We're going to do the same steps. But then she was something else. What? Remove wires. I need something that looks like wire. So it's gonna be a party line stroke. I click on this, then I come here and I choose one of these. Which one? This one is called. Why removal? There's a specific tool for that Click on it. Say, I told you, Fusion has already got you settled. So I'm gonna come here, right? Collect and choose controls and show all controls. I disabled the controls you're gonna need to do that would control K a few times now because we're gonna need to tweak. So when I do that, I didn't get this control here. See, when I remove it, it's gone. All the controls are gone. Control K. OK, so including the cursor, the changes. I just use good control. OK, control. Okay. The cursor that changes from normal to, uh, this shape cross shaped that allows you to paint. OK, what does this do? Actually, if you notice it got points, this is fully line, so I'm gonna have to drop points. Click corns for a point here. I'm gonna start with. This one was number one. I'm here before the last one. Okay, you get something that doesn't look good. Fine. Let's come here. First of all, get rid of those handles you click on show all handles. Disable it so I only have this nice. Okay, let's now coming. Tweak. I want to inform you that we are going to spend some time on the first frame. That weakened. That needs to be done for the first frame is 60% of the time. All right, the rest is much faster. But once you get it done that you just have minor, minor, minor tweaks for every frame. But the first one's gonna take some time. How do we get it right? We're going to come to our brush controls. Onda, we have the size on the distance Size distance. Yes, I know. I talked about the angle. This is your best friend. If you ignore it is gonna give you rubbish results. But for now, size and distance and move understand in place. Of course, so we can move this around Position it here. Well, it's good. So I'm sorry. Got that one? Um on this so distance size first we're right in the distance. Tweak the distance in the position to the point where you think Well, this should be enough. And the priority is to remove inside. Don't look at this part. Don't bother with this part or this part. Just look here in the middle. This 80% in the middle distance. Undersize right. Let's come here to control K. OK, good. When I clicked her, what do I have? I have removed the wire, but I was left with the most important concept in y removal, which is the angle. This is exactly the very reason why working with tracker will not cut. It will not work. Okay, You're gonna have to do to work again. So you look at this party. It's like this is all distorted. What is this? This is gonna go with an imaginable speed going. This is your uncle. Your best friend is the angle. However, angle works on the whole stroke. Meaning you've distorted this one back. But you have clear you've created the distortion here. So this is something that I'd like black magic to take into account is a feature request that we have the ability to work. Let me bring back again. Click on this. I'm drink back again. My might line control cave A Me get theirs. Show controls. Yeah, the police. I'm sorry you to click on this one. It's it's for the whole stroke ID like black Magic to give us the ability to tweet the angle for this point separately than this point. But for now, it's done for all of them. Meaning if you are shooting and green screen Absolutely. Finally, don't care. Just garbage. Mathis One. If you are shooting with the real background image, you want to shoot a bit wider. OK, but why they're so that you can crop this spot. Right? So this is one thing with me back to our properties here. And if you want to make this one smaller, you can work with distance. The key to tweak in this one is a distance. There's another one which I really not recommend, which is the bias. Let me show you what I mean. We come here and show what I mean. If I take the distance like reduces. The more reduces, the less of a problem is becomes. But there's a moment when you think why the distance is too little, so small. I cannot, Okay, something like this. But I see. I still see. I'm not sure if you can see it. A sissy stuff. So it's a balance. I prefer to keep it like there's like to do it properly for the line under and handle this one differently by crop in No, in it. So this is what What did I say? This kind of stuff you need to watch. No, I'm practice before you shoot your scene. Because if you come now to post production is kind of too late. But the two ladies gonna depend on what's the effect? You have to crop. So when you shoot, you know it and you go to the set. You know, you need to shoot a few justice in the tiny little bit, um, wider than the normal. Okay, then what you need? They could drop it. So this is this is why you need to to know this before you need it, right? Eso the distance is the key to reducing this but I prefer to keep the line to give priority to the line. There's another one which I really don't recommend, which is the bias. If you increase, the bias tends to disappear. But I think, oh, that's great. That's exactly what I'm looking for. It is going to distort the real background. If you have a real background for green screen, it may be committed for Cage before the real background. It could be an issue. And let me reset this. If you see here, if you tweet. If you change something and you don't like it, you can come back to this point and click and resets or you're right. Click and click on set to default. Okay, notice here. Notice here was gonna happen with the bias. The bias is a false a solution. So if you do like this creating giving you the Impressionist have driven here, it's just an impression, and it's created probably so don't don't bother too much with the bias. Okay, after to solve this problem? No, we have done it for the 1st 1 Done because we're crop this bit. It's done. It's over now. Opacity is just to see the airline. How much does the removal you want? That quite some removals has got to be 100%. I'm expecting us to say all the time. 100% which is one. But you may want to No, to Yeah. To try toe to see where your lines are. Okay, Well, you why does our good? All right, so let's move the next quickly, we all going to come and same thing, Same thing to get another one you need to collect here. That's gonna create a fully stocked with number two. And we come to this worst scenario. Okay? Worsen. Are you Is this one? She's in the middle. Okay. Same story on the same two week in with me very quickly, right? Okay. Why do I need to get deeper now? I need to get deeper. I really need to follow them. You do not stop here. You need to follow the whole rope. The whole wire. Okay, let's no look at this. We dont goto patrols. Let's speak the distance and size. If this isn't size, are going to state as off the lost, um, perimeters that you've used, which is quite handy's You have a better starting point. No. What? I'm gonna re to use this one. Increase this one instead. I'm trying to get the youm line. Yes, this is it. Good. So priority number one is get 80 85% in the middle gone. Me? Exactly. This is perfect. So the parts in the middle gone. You want to give priority to distance the minimum distance possible. And if you need, you can go a little bit higher on the size, but the distance gonna help you reduce these bits over here. Okay, on the angle. That's a very fast tweaking. Gone as if there has never been aware. There. See? No, there's a bit that you're going to notice. Cross fade, notice the difference. But we cross fade because that's a default on edge blend. And I do edge blender. Well, I depend because I've worked with cross Fade. I am gonna need to to make it again because I started with Joey. Edge it with the cross fade. I need adequate for this one. Okay, good. Bit deeper. Just make sure to recover fully right then to wake again. A distance. That's it, I think. Almost. Yes. This is it. okay, but the angle is still there. Actually, sometimes it's so good. The ankle is so good that I need to mess with it to see where the line was. Actually. Good. Right. Will move to the next. It is taking time for the first frame for the 2nd 3rd 4th and all the other frames is gonna go really fast. Next one click that you get number three the same story here. So I have my control cable? Yes. Click here. I couldn't care. Just make sure on edge, Upland. Nice. Remove those handles. Now this one seems to be already doing well. The more you tweak, it keeps the old default. So it has kept the defaults of number two. I did. The force of a number two are really good, so I don't even need to do anything else now. I just go today, Uncle. Change the angle. As if no wire was attached there at all. Okay, Number four. The more you work on this, the faster it becomes. Remove handles. Live it on again. I no need to do anything whatsoever. Just need to get angle right. Here we go. That's your uncle. Well, I could possibly just get a little bit deeper. So that's going to be always give me that form trying to see the line. Okay, Now I see this dark a bit over here. This dark bit is going to stay because it has has nothing to deserve. Yeah, so it's not the wire bit. It's just is going to stay control. OK, good angle. That's it. Good. All right. You have removed the wires for the first frame. Nice. Now, this is to be taken care off during filming that we can crop these pixels. Um, for now, what we need to do is do exactly the same thing for all the frames, but then very fast. So I remember. 1234 Ok, good. So I'm gonna need to have no So we just moved to number one. You notice open is needed. That's actually exactly my point is that there is. There are a few frames before you start needing to tweak frame number one. You don't need it. Frame number two and you don't need it for you. Number three, You start to see number two. So we come to number two on between kit. But What I recommend is not doing this I recommend is that you go straight in the middle. Okay? I just start tweaking, but wait. Hold on a moment. Something extremely important you need to do. Otherwise you're going to be literally, literally wasting your time. We need to be made this stuff. Okay, so animate means key frames. But where do I find them? Simple for the for the young angle. It's Here is the only thing we're gonna tweak for the perimeters, but I'm gonna have to change the position of the places. Well, why do I find that very easy in here? Show control. Strong. Sorry. Stroke controls show the controls and is right. Click here for shape animation. And for this, I'm gonna have to take you to a place you may not necessarily want to see, but it always helps key frames. Okay, this key frames bed here. I want you just to look at it. You don't need to do something here, okay? It's not if you don't want to work here, find it's just for your comfort to see that actually, everything is okay. But if you don't want to do it, fine. But What you need to do is for each one of these. How many do you have? 1234 Hopefully gonna have only one or two. Uh, but you just right? There are no key frames here. You're right. Click and animates. Okay. When you do that, it creates a poorly line. This is the most important thing not to forget. I'm not talking about the key frame off the angle. I'm talking about when you right click and save money made. You need to have poorly line listed under poorly line struck. Same story for audio ones. Otherwise, when you change the position, it's not animated. So you go back to frame one and you think has changed. It's it's you need to bring it back to where it was. So you haven't admitted it. Basically, it's come down here, right? Click on any mate, this kind of work is actually really fast. It's only taken time because I have to explain it. Funny, mate, this goes. This was no. And the 4th 1 if you do this on your own No, in exactly the steps. It's gonna be really fast. Honeymoons. Okay. 29. Pulling and pulling on Palin. We're good to go. Do not move to any other frame, Please. Without doing this dressed like animates once it's there, we know that now we can change in the way once. Okay. And I would even recommend going the safest truth, which he is not only animator, but say even city. Okay may be necessary or unnecessary. What? Just to be on the safe side. I'm setting the key, said key. So in addition to animate just for safety said key. Okay, so here we have our poly lines listed Now I also want to do is come back double click on the modifiers angle. That's your friend. Okay. I don't think I'm gonna need to distance, but guess what? Um, we've worked with distance and size. I'm not gonna work with these two. I am not gonna work with these two. It's just the angle. But just to be on the safe side. Okay, let me just weak that. Just creating. Keep praying for these three. I think for you just go with uncle. Okay on, Just having you actually well. Number three first single under for safety, size and distance on the last one. Sighs in distance. Good. Now we're good to go. So what I suggest you do is come to the middle. Don't bother with the number one. Number two. Number three Just come to the middle. Onda, tweak it. Tweak its meaning Control K to get my lines. And then where are they? This is gonna be okay. No, just get this one right. Social controls. So I got the 1st 1 right? Okay, The uncle Good. Done. Next one, Number two. Number two is here. Good. The angle. See? There's a little bit here. So the tweaking is so minor now was your closer? Can you see this bit here? That's all I need to treat them the angle. See this? This arrow here, This is telling me there is another key frame in zero. But there's another key frame before That's what it says and it could go to. But I just need to take this one a little like this. Hey, good. Do I need to get it a bit deeper? Because there is a cut here. So long do it. Is with this once evicted look deeper. That's it. Three. Now, can you tell the difference between this part in this book on this boat on this point on, Probably this part. Even it is not straight board. It's all over the place. Okay, so it's not a big deal. Even del Lovely. Okay, so it's just going to boom to number three. I will do the first off on the first of the dome, the middle on the last, and I will stop the recording. Do the rest, because it's exactly the same thing. I'm gonna have to do this one twice the middle and the last one. Okay, that you have an idea. I don't need to. You don't need to watch me do all the other frames, but you get the idea with two other friends. So the first starting point is different than the others. And this is just weekend number three. Number three. You need to show the line first. Move it the angle quickly. That's it. Number four. Four men will work. This is really fast. Where is my before? Before is completely There's something going on, right? My cell number three No. Okay. Something going on with this stuff? Oh, it's OK. OK, I just want to show you about the hospital late. This this one was on this one toe. Add a point was on. Right. So this is number four. So I just kept on this one to save them. Okay? And your uncle has there being a wire? I don't think so. Okay, Good. Um, you don't listen. You need to use your film in very thick clothes for that. It's just the gear that she had own was quite robots, So I had to have the clubs. Okay, this is now for the first for the middle frame. I'm going to go to the last frame. I'll do it and then I will stop recording on. We come back in here at the end. Democrat Condoms, one control. OK, The angle. Yeah, I think. Is that good? Number two roids. This is literally worst case scenario. What? Your senior, but I see how how beautiful work fusion is done. And this angle is just your absolute best friend. It's amazing. Yeah, because it's in trouble. This man Tunggal on the last one. 20 of it. The angle. Make it closer in this. See the level of detail you can tweak. All right? Absolutely no. Where's whatsoever when this applies for Let's this is open. Actually this, Um yeah. So now you have fully line angle, size and distance because of animated, all of them rights. But you have key frames here. Good for Poland, Uncle. There's no key from full size and distance. You don't need to open this, okay? You know, it's always go to on. I have an idea of what's going on there. Good. Okay. This is how you do it. In terms of tweaking, as we've done for the middle and for this one Now the rest is gonna be easier. Why do I do it this way? Why do I go to the middle? It doesn't have to be the middle. It could go with 25% or 20%. 40% 60%. 80% of the 1% cover. Five. Because if I go to 27 if I go to 25 24 25 it's already done. So you don't go frame by frame. You cover areas and then you close the gap between areas. So this area is kind of done. 51 is gonna be okay. Fifties Gonna be crazy. 49. I don't know at what point in time I'm gonna have trouble with this one. So see, just by covering the last one I don't even need, I think about 10 frames are okay. I can't even tell. Actually, where's that was the road. There's a line here. But this is not the rock. This is in their agree screen. Ah, see, now I feel that probably there's a line here. No, it was just capacity. Which one is up? It's gonna be number three. Number three is in this one. Passing for a check. Your Yes. Is that one? So now you tweak the angle for this one. Something like this. Where are we? 42. We have managed to cover all of this area just by doing the last one. And I'll bet you 1 42 if you notice any different 41 because I didn't want to leave you with the impression Oh, my God. I'm going to go for all the frames in the middle. No, you don't need to do that. I really don't even know if I'm gonna need to do anything with this. If you notice differences are coat. It seems like just by tweak in that part. We've covered half. That's really nice. Okay? Yeah. Half half term have to think is completely covered now. So I guess I guess we can Quickly, Quickly, quickly, quickly. Continue this because oh, this this this one bit Here. This won't be here, and I don't know what point we have it. As of 25 25 we have this number. I think it's better than I do it quickly. Number one little one angle is the only thing you need to touch. Nothing else. See this little bit over here? This tiny bit is gonna get worse over time. So why don't we just close it? This is a position thing. This is a position thing. So it's control. OK, that was not so. This is the troublemaker to click here. Double click a gale. Bring it. This is a just a matter of position, right? We move to the next. Just remove this one. 24 not 10. 25 to 3. Not in to me too. It's starting to share something here. That is which One of the one control. Ok, yes. So we keep it bit round. We don't exaggerate. All right to right. Got a formal position here. 19. Be careful with focusing on just one, because the other ones could need some help. This is Number four. What? They could need some help. It turns out we don't need even to solve a recording because we can do it quite fast now. It's almost done. The ago Done. 18. I think the position of this one is quite. He's quite some troops and tweaking, right? Sorry. 16. Number four needs some tweaking after all, even if it's May, I may need some tweaking here because the movement is quite wild. It's quite truthful here. Um, just like this one, that see if I need more out to stop recording my angle in position as well for number four , Right, 15. I'll just remember 15 15 years, some more work. Okay, Uh, just a minor tweaks. I don't think I want to keep you waiting. So this is this is the main, But now for the wire removal aunt will come back once it is all done after work. The other frames and I am now back to the edit tab where I can show you what it looks like now this line was read before, and it's now blue, so I'll just play it. It's not really playing real time Azi Comptel No, because its head footage on the recording software is also going on, but it's not really cashed. But the idea is to see that there are no ropes and you can't even tell they were any. Okay, this is the way to remove wires and fusion in DaVinci results. 6. 6. Fusion Wire removal 2nd example: you will need. Why removal more often than what you might think, Because why removal is in a lot of situations, not only when you want to suspend actors in the year or throw them away with an explosion and 15 20 meters of the year. That's not the only use the other users are. Say, for example, you have a period film, and in that period film it's an era of time where there was no power, no power cables. And if you're shooting outside and you have a power cable there, um, then you're gonna have to remove that. If you have any other cables or say, for example, something like this. What is this here? Now this actress here she has God, the wireless mic. Yeah, on this store, for it's visible. Now this, of course, you have noticed this stuff while shooting. You shouldn't continue to see stuff like this. We've stops and we have more takes. But this was recorded, which gives us ah footage to show you demonstrated technique as well. Okay, there are several cases when you use why removal. It's not just when you have fancy action movie scenes, let's use it on this one, and I'm going to go much faster now. So it's going to go paint node rename A. We're really losing and click on this one. Go to the wire removal and start. I can't get the controls off first. Then start getting these. It's covering this part first. Like this should. Okay, so I'm gonna click this one cook mother fires, come to my police stroke and then select the 2nd 1 and make its smoother Great, this one. I needed to be smooth as well. Hollywood to get dependent on could meet. Now this is enough. Good. Now one idea is because of defaults. Do not work. I'm just going to illegal you. Control Kate. Remove this the controls on move to edge England and then start rekindles for a meters. Let's look at this. The size needs to be smaller, if you remember completely means that you have no covering much I'll to equal. But this softness rights and then the distance on the angle is going to define the rest. The angle is mostly trying too much. They're straight lines. So there's this line here from the pocket, which means that this is what's going to guide, please Beer in mind that the fact that what we have now from black magic is we have the whole stroke. The angle is of the whole stroke, which basically means there's gonna be perfect for some and less than perfect for the others. As long as overall, when you look back and we go back here to the from timeline and I press compro f to look at the full thing on, you cannot notice the wire. The job has been done, OK?