Resolve 15 | 16 Compositing 3D Text with Fusion and Color Tab | Eric Eisenmann | Skillshare

Resolve 15 | 16 Compositing 3D Text with Fusion and Color Tab

Eric Eisenmann, Visual Effects | Motion Graphics

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
3 Lessons (24m)
    • 1. Resolve compositing intro

      0:48
    • 2. Resolve compositing part 1

      8:51
    • 3. Resolve compositing part 2

      14:46

About This Class

In this class you will learn the basic techniques to create 3D text in Resolve 15 or 16 using the Fusion tab, then composite it into your footage using the Color tab.

Transcripts

1. Resolve compositing intro: in this class, you'll learn to use resolve 15 or 16. It takes a majority. Have say, like this woman welcomes umbrella down a street down city streets and add your own three D text. Three assets that you create in this program is in the fusion color tab. To combine them and deposit them into a finished product, you'll be able to utilize a lot of the tools. I'm sure you have to use them to the mind the footage in a realistic way and as you lot of freedom to create what you could envision. And I have spent a lot of money and just utilized the free version of ventures, all 15 or 16. 2. Resolve compositing part 1: okay, We'll get started by adding some three D text Teoh footage we have. I mean, it was all 16.1 beta three here. This will work with resolve 15 or 16. So I have some footage here. I want to add some three text in and have it composited in with footage to make it seem like it belongs in the scene. Small double click on the footage. My source. You were here. I'll choose what part of the video I want to use part of the cliff Fast forward here. Let's take it apart. Where and what? This woman who's walking with an umbrella so marked as it in point. She's only walks across the, uh, frame here towards the end. No market in point left, click and drag it into the viewer into the timeline here. Then I hit control or hit shift and see different footage into the timeline. Here I go back to inspectors. We just had the one view of it so it would be adding some free text, using the fusion tab to kind of appear like it's either right on the edge of the sidewalk here male but on grass and they have the woman, the umbrella walk in front of it. So start off by switching to the fusion tab here. Now, bring our footage in the media and is it's an entire clip we have on our timeline. I was out of the way. It also stroll down Do you retire viewer area here, But holding on the middle mouse button and then driving down that allowed you to rearrange it, driving it so bring it down would be to using my three d nose up here GS and ah, a few of the three notes that will be using right up here on the toolbar here to be using a text three D So left click drag and bring that down. We're gonna need a three merge 1st 3 d here, hoping that down Ross gonna need a camera. We'll bring that in and also need Orender three D and that was basically used to take the three D and put it back into tooty. So you emerging and with your timeline here with Emerge noted, it was a diesel ups will take text three d and connected to the merge. Take the camera left click on its output and drag that into the merge It will take the outputs emerge again to render three We're also gonna need some lights come to tools three d light And for now, it is you the ambient light. We'll write that down, connect out into the merge So once you kind of have it all connected up here start actually working with it. So I'll make sure that the merger treaty selected And when I put that in to both viewers first the number one and number two viewer and do that by having the 12 keys on the keyboard. So I had one that puts it in the first You were here. Hey, to you also put in a second viewer And what you could do for second viewer is if you right , click on Where's his perspective. We choose Camera three D and now to give you the what you see to this camera here, we could rearrange things that we can have except where we want it. Teoh view the text to We'll do that. Next, Select a text three D type in the text. Could do resolves 16. Sure that down a little bit you can also stroll That's about in here extrusion and click on that and now allow us to actually make it three d. We'll take the extrusion. Death will take it up to about a or point point. 8.9. I noticed some list sickness. Now, if I paint around here now, there's Texas and thickness to it. It also would around here, back up a little bit, then select the camera and we move the camera back and has been back. You could start to see the text coming to view the right viewer to keep unemployment Karen back until we could see it. So you see, over here, this is the ambient light, sweet kind of Get this out of the way on the right viewer and click on the camera. And if he used a stroll real and stroll down, that'll do me out and crawl up, zooms in, cool down. If you just hold down the middle mouse button that'll pan and it's what rotate you. Hold on the all key and then hold down the middle mouse button and move it around and then rotate everything. Now we want to take the camera screen our here lift up. So there's the letters lower down and it was just that layer. No. One thing you want to do is if we want to see the actual lighting effects that are white has on both of these viewers. You right, click in the viewer. There are three options, and you can choose lighting and shadows who do have both of these three options. Waiting shadows exceeds kind of dark right now, so you click on the light on one of its proper tears. Intensities were intensity up a little bit more so conceivably fighting now. We can also give it a little more texture, for the texts were just going to give us room here and after the text really know but to do and add a note called Replace materials. What is three D materials? Do you hold on patrol? Cain had space bar type in Ari. Start tucking it in. You'll see place material. Three d. So click on that it's Lex. It add Del added after the text, and this allows you add different textures materials to it. So if you come down to the sex library looks like on templates. Si shooters select out of this list of Shader zehr available so much, Choose a simple one. Concrete gives it a concrete look and I'll check that to import here. The place material and that will give the I feel more of a concrete look go back to right here. Increase intensity a little more so you could see it a little better as you went here to. That kind of has the basics of what the text is gonna look like. Can you tweet that more? And we could tweak it more after we've added to the footage. Right now I want to see what it looks like when it's combined with footage. Bring him from the edit tab from timeline. You take the output of the renderers and drag that down connected to the output of median. Now create emerge half ago and go to media out Also before that, if you want to see what the render looks like, select that. Put that in second viewer, you went over to the inspector and make sure lighting and shadows is selected and ankle media out, but that the second you were, and now we kind of get an idea of the scale and what will look like with the footage. And right now, it's way too big to come back to the text. Three D. Now, if you use the actual slider here, the values will change quite a bit. But if you click in the box, that's a way to be able more precise. And the changes will be in big, so weak over here just left click and drag the left and I'll shrink down the size of the text, get kind of more of a size. But here they can also take the text kind of zooming only here a little bit and move it over a little too right and kind of have it place where you want it in the scene. If you want someone check, it looks like Come back to the edit. Tad, have you seen that viewer? If you hit control, f don't make a full screen, so you could kind of see here your text so it control off again to go back so you could see the your timeline. Now, if I scrub through right now and playing you through, you see, it looks like the woman came. Brown was below the tax store behind the text, and that makes it look like it's floating in front of her between you see the camera and her if you were just firing if you want that effect, But if you want to have it look more like it's on the ground here, basically you need her to be in front of the text, so she's blocking it. So that's what we're going to accomplish in the next part of this lesson. Just keep watching and we'll continue in the next one. 3. Resolve compositing part 2: Okay, This next section We're starting off from where we left off. When you're the one, we have our text. We have a video here. We have a positive together, but as the footage just run through here you see, that woman looks like she's behind attacks. But we want to make it look like De text ISMM or on the sidewalk near the grass. And she's walking in front of it, so she'll be blocking it. So you accomplish this we're gonna do is first start off by duplicating the footage. So slick the footage Hold on the off key and then left. Drag it up. Now bring it into a duplicated into a new track. Then we're gonna go back into fusion, and we're gonna make sure that we're on the new duplicated video clip. So we click on clips up here, Not sure to your from clips. We wanna make sure we're on the second clip, which is on view track, too. So that's one that's one selected here we're gonna do is right. Click on that click reset fusion composition and then click reset, and that will basically get rid of everything we did with that with adding attacks. We don't want that on our top player. You could see the footage now. It doesn't have a text there. If we go back and edit now that's above the other layer. Give a track. So when she scrubs through and we're basically going composite her in front of that text. So we'll be doing that from the color tab we left click in the court had first I want to do is make sure that we have a Alfa Output detracting Alfa from this note here so that we can actually be working with the two different tracks. So right, click anywhere over here in the note area. You want to click? Add Alfa output That puts this little blue character. So we're gonna left click and drag from this blue output of that node over to the Alfa out . But there again, we're to make sure that we are on the second track. You also have to be a second clip here, so we're gonna go to the power windows. I would choose the linear power window here. Left click right on this That creates a power window which also then louses to see through to the foot, Blow it to the bomb track. So we're gonna move this over, and where that box is, you won't be able to see the text, but use a qualifier, two single, her outs that she'll be able to pass in front. But we'll start off by just kind of getting this set up here. And especially the green box is kind of the area of the power window. And then the yellow is kind of fade so it doesn't fit. The effect feeds out from the green box. So we can I just size here. I don't need that high. Then we could shrink the stands. We really don't want too much fade. I can't do the same thing on the sides here you just start off with so that it's just right in front of her and also right behind her. Did it pretty close again. We can't just that way. You're now if we just have this If we had this box, Siegel in all the across the path where she's going to walk in my moves over. You see, it basically hides the text. We went. We're gonna just want that just around her and you'll see in a second wife. Get the composition, Their work over to the second tab here, which is Qualifier Looks like a dropper and come up here and we're gonna select her. So it actually black Soros like black and come back here and show if you wanna see the qualifying, I want to see the power window or any other options Come into this drop down power window. You'll see the power window. Now I'm gonna have her scrubbed his fledge, get to a point where she's around the text right now, it still looks like she's behind the text. But if I dragged his power window over see, now it looks like she's in front of it. That's basically between the qualifier and the power window that basically cuts her out and allows her to show above what you're positing in. We're also basically going to animate his power window to follow along with her because we don't want it to be too far again. Any place for this power window is it will be kind blocking that, walking the text, so you want to keep it with her. So it follows along and two of them combined will keep that make it look like she's in front of text. So to do animation or click on this fourth tab here, which keep framing, Come over here and click frame so it could be frame by frame. And then over in the key friends section will drop down the corrector one and what we create. What damning is in your power window. So we want me shoot. That's set for key for me, and we want to keep frame the first. But she is here, so you're right. Click on the track there and clicked. Add dynamic. He frame that. You keep hearing where she is so we can move through toe when she's first going to the area . The text. We can move this along and get it. So it's just in front of her leg here and with footage forward, all the further, maybe halfway through the letter were resolved and again forward and try to get it so that it's just behind her left leg with where the letters are and maybe move. So we're just a little bit here, just ahead of her front light here. Now, if I go backwards, that'll track along with her. So when you go back to the end of resolve here, moving forward again, and it was just in front of relaid again, just behind it, and move forward to when she's around 16 do the same thing. It just behind her just in front, and we'll get to the end here, kind of sensual it along here. You just want double check and go through and kind of make sure it looks the way you want it to. He could also zoom in with the school wheel, so you get a little better. Look what it looks like, and we'll tweak this to get it, uh, more tuned in there so it's not. Doesn't look so jagged and so blocking will tweak some the settings to get that for local, more natural. That's looking pretty good, so we'll just get to a part where it's looking a little beery. Now we go into the while we go into the power window, and there's some settings here We could tweak like the softness is while where the yellow lines are. So we could take those each one of those down a little bit. Those close to get them all down to, like, 1/2 or so. And if you go to the qualifiers, have all these different settings here, Matt Finesse and you have one tab here and in the 2nd 1 The 1st 1 is probably the most important. And how to clean this up. Look right here trying to do clean white first just drag, click and drag to the right and now can clean that up. They can also do rule Denoix zing well, better. That'll help. Step through here. It's looking quite a bit better. We can come up here said that fit in fact, getting here, Play it through. That's looking pretty good. So again, you could go in here and mess with the different settings code to the 2nd 1 Here, change this three D is upto one or two and change generations up and kind of zoom in on it and see how it looks to you. Get it just right. But right now for this tutorial, this is looking pretty good Now. One thing I wanted to add was a bit of a shadow behind the resolve. 16. Pretty good the way it is right now, but they're just give a little more realism to make it blend in with the background a little bit. So go back into the Fusion tab, go to the first clip, make sure in the first clip, and then we could click on Clip. So we get a lot more room here in a note area in the way lease In this kind of scenario way I'd like to do The Shadow is by using text plus node and kind of faking a shadow with it. But since it's not moving so kind of this off the side a little bit, bringing a text plus nude have you see the same thing. So resolve 16 could make that black, and then we'll car faded in. So it looks a little more shadow like it's actually come here. Practice after the merge or after the render. See you see it there. We could make that text a little bigger, so it's more in size with the three text and kind of bring it down here. Can we zoom in on it? Bring it size up a little bit over a little bit? I need to tweak it, too. Otherwise, you're right now. We have been tracking. We could move the tracking and just that little bit. So I'll take this down just a little bit, you know, a little more. Line it up and shadows. That could be direct. Of course, we don't know the shadow in front of it. Here. We're gonna win it on the ground. So we do that we can come into rotation. You could choose one here with that one. He rolled down a little bit. You can also coming to the transform, go into rotation and tweak it a little bit. Get the way we want. So your little it's been, drop it down a little bit more. So it's a little more with the text there to bomb of the text bringing down now. We also don't want it in front of this somebody hit emerge hit Control T. And I'll put it more to the back kind of zoom in here a little bit and then go back into the text and there's couple of things you could do. It's the color you bring the Alfa down a little bit. It's a little more subtle, and you also have the softness on the properties here bring up the X in the UAE down a little bit, and you just keep on playing with these different settings. Proceed ALS subtle shadow there beneath it. And again, you could bring the ALF up a little bit. Dark it up a little bit. So we go back in to edit make that full screen. So you just a little bit of a shadow behind the letters. And again you can right now. This editorial some I could spend 2030 minutes tweaking that, but in your own time, you could sit there and play with it and get the effect toe look the way you want. But play through here, play it through again. See, it looks like she's going in front of the letters, and it's pretty well composited here again. For in these parts, you could. It's been one more time tweaking it unit so that she really blends in the textually blends in and the shadow was a little better. But that's the kind of basics of how to positive 90. Use a shape, uh, pretty much anything you created fusion. You could deposit in with your footage and also kind of ends with with your footage. If you wanted to move through, anyone have to do some three D tracking, if especially for cameras moving right now, both camera and the text to stationary and just kind of video in the backgrounds moving that makes it a lot easier. But you can also do this. That's a little more advanced topic. So that's how you composite and resolve 15 16 using fusion and core tabs. Hopefully, you found this lesson useful. I put out the lessons to three times a month. You're on steel chair. You could follow me if you want. Keep track of new lessons on putting out and I thank you for watching.