Learn Blackmagic Fusion: Free After Effects Altenative | Eric Eisenmann | Skillshare

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Learn Blackmagic Fusion: Free After Effects Altenative

teacher avatar Eric Eisenmann, Visual Effects | Motion Graphics

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

19 Lessons (2h 2m)
    • 1. Fusion Basics Intro

    • 2. Fusion download and install

    • 3. Fusion basic interface

    • 4. Fusion compositions

    • 5. Fusion nodes

    • 6. Fusion masks

    • 7. Course Challenge 1

    • 8. Course Challenge 1 Solution

    • 9. Fusion import

    • 10. Fusion keying

    • 11. Fusion keyframes

    • 12. Fusion titles

    • 13. Fusion motion path

    • 14. Fusion particles

    • 15. Fusion Working in 3D

    • 16. Course Challenge 2

    • 17. Course Challenge 2 Solution

    • 18. Fusion export

    • 19. Fusion putting it all together

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About This Class

Do you want to learn motion graphics, visual effects, and compositing but felt held back by the cost of software like After Effects? If you answered yes, than I have great news for you.
There is a very powerful application that is used in both the TV and movie industry called Blackmagic Design Fusion. It is made by the same company that makes Davinci Resolve. It has pretty much all of the capabilities of AE but the good news is you can get it for FREE. They have two versions available, one for free download and another studio version which costs $299. The great thing is that most of its best features are available in the free version. Both versions were recently updated and even the paid version is now 1/3 the price is was available for previously.
This course will take you step by step and introduce you to the amazing capabilities of this free application. You will learn the interface, its workflow, and create basic motion graphics, visual effects, and digital compositing including green screen removal.

Meet Your Teacher

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Eric Eisenmann

Visual Effects | Motion Graphics


Hello, I'm Eric.

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1. Fusion Basics Intro: welcome to the courts or in black magic fusion Free after effects alternate, this course will learn. Create motion graphics, including kinetic typography, digital compositing and green screen removal. These type of effects are often create with programs like Adobe After effects. Why spend $20 a month for after effects? You can create them. Using the free software fusion, you can create dynamic graphics, use particle systems and create many high in visuals utilizing like magic fusion. This course will show you the basics they become comfortable with. The software is you could beginning to the journey, agreeing some stunning visuals. This software and course is ideal for anyone on a budget, but he still wants to create high in motion graphics visual effects. I encourage you to check course out and see where I can take you. 2. Fusion download and install: okay, and this lesson will be going over. Where to download by Branch Infusion. She was going to any search engine and type in black venture design, and you'll find the website, which is black. Magic designed that calm. So you go come here to the website. Basically, we come here to the top bar here, left click on Products, and then we'll show you a list of all our different, mostly harbor product that they offer to come here to this one. We're says that then she resolved Infusion software left click on that. Now bring it there. Two pages for the two main pieces of software here, and we're going to going over fusion armies lessons. So come down here and click on Learn More, No bridge to the product page. You can scroll through here and kind of get an idea what software is used for and how powerful it is. And it's the features, and the products has been used on projects. Hollywood movies. But the main thing you want to get to is where it says download free fusion now and still to to the download page where you'll have the Fusion nine, which is the free version and you have fusion on studio, which is the version that cost $3. Now, I would say for these lessons, you just need the free version. And actually, most the features you'd be using going forward will also be available in the free version. But there are some ice addition, especially with the tracking and some other features. They're available on the full version for right now. Just choose which operates system here, being on right now much these windows, and basically they're gonna want your details just fine. Sorry. Go through here and type in all your information. And once you're done again, your information come out near the bottom, click, register and download, and you'll be brought to a page where you actually have a link for the download. If you look down here also will start the download for you. Just choose a spot to download to and then make sure you know where you're downloading it to Click save, and I'll download files about 275 megabytes. So you let that download and then, once it's downloaded, go to your down those page it comes down is a zip file So it comes. Is it file? So if you're using Windows 10 you're right. Click on it, you click on extract all. Then I'll basically, where you wanna ask you where you wanna download it to? So what about a fight? Will create a folder, which is named after the name is that fire, which is fine to distract. And then it creates the folder and get you the contents. So then you just wanna basically double click on the install fusion and then basically just follow its prompts. And once it's done, you'll have fusion installed now already haven't sold, so I don't need to go through that again. But it's basically like if you've ever installed pizza Windows software speaks with same steps, and then you should find a fusion nine icon on your desktop and this morning, make sure you don't click on it and make sure the install ran correctly and you should see this window. Once it's stalled correctly, I have to have a fairly powerful machine. The software does have some pretty decent minimum requirements, so you're reading right here for either for a Mac or for Windows, but they prefer that you have in the winner's 10 64 bit, or when there's eight least eight gigs ran but are really recommend 16 or 32 gigabytes of RAM and a basically a discreet GPU, which means either a UH, G force GTX 9 69 50 year above or the newer 10 fifties 10 sixties air above. You're be much happier with getting a least those specs. Okay, that's it for this lesson and future lessons we going over the interface and how to use the software. 3. Fusion basic interface: okay. And this lesson on the basics of black magic designs fusion. We'll be going over the basic interface. We'll start the program here, and when you first start up, it might look a little confusing, uh, quite a bit different than if you were used to search for used to the dhobi products or, if you're totally new to motion graphics and compositing, but over the different areas here, so a top here in the default layout, we have to viewer windows, which is where you'll view Ah, the output of your different nodes. Now sit before fusion is a note based editor ritual different than, say, after effects, which is a layer based. But once you get used to it, it's very easy to get used to. Then, down here in the bottom, you have what's called the flow. That's basically where all your nose will be placed. Then you have some quick buttons up here that why you get the some of the most used nodes that you'll be using doing your compositions and then actually would have tabs up top here so you could have multiple compositions or the project. You're working on fusion calls and compositions, and you could actually have multiple ones open here or so just to show. Here I have a to fall one that opens up. It's just blank, but you also have the typical file at it view, tool, script window and help buttons up here your for your menu. But I'll show you here real quick. What I con typical composition looks like so any recent are competitions you've had opened come down here to recent files on her file menu and all this the 15 most recent ones. So here I will just cheers on here just to give you an idea. So this is what you were flow look like. Once you have added a few different knows, Each one of these is a different known to hear you have one for text. You have one for a glow effect, and you could also emerge. You're different nodes, so there's emerge known, which will go over, you know, later lesson and output node. Baltimore is a saver know, which allows you then to say whatever you're working on as a, uh, as a few file where you do it as a series of P and G's or J. Peg. So if you just want to, it's still just do one. But this is the kind of main area you're normally working on is the flow area. And if you want to look at what the output of any one of these nodes are, there's two ways you could basically do it. Ah, easiest way is what the's to different viewers. If you click on when the nodes and hit the one key that will put the output of that note and that you were one. If you hit too, we'll put it in viewer to So right now I have this the same node on both that I could click on one of these leader ones like the merge. And if I click on to in the output of this node is OK here in the second way that you can view the up of node is to actually drag it to the viewer. So far, it take this second note here, plasma. If I want to see in this first window, I just left click hole and then quickly drag it up and that shows you that output. See here Now it was text text new announce plasma and then right down here you have the timeline, which is similar to other editors and depositors, which allows you to go through timeline of the video. Go back here. You see different points in time line, and you could set within the settings for your project to your composition. You could say how many frames per second you wanted to Ah, you running at so typical be, say, 24 30 frames per second. And then that's as you play it. So far, you hit the play button down here, you have a go to the front of your composition and your composition. You have a play forward playback and then a one frame at a time, forward in one frame at a time back. So if I hit the play forward button, my animation will play forward. If you hit, stop and it's going backwards where you go. One Freeman time forward one frame at a time back and go to the end of the composition. One of the gang in the composition and looking. Then again, you Now. Since I opened that second composition, just shoot of tabs. Now the original blank one and then a new one that I opened and you close it at any time. This is safe. He wanted change. See the changes on market about saving changes. Now, if you want to add a node, there's a couple of from ways to do it. I'll share the two main ways is Come up, please Menus up top. You could left look of the tools, and then this gives you, uh, basically a drop down on all the different knows available. And each one of these also has both sub menus, and it also all the different Know who's so you could do it that way, you could also within the flow area, right, click and click add tool. And as I said before, there's also these quick buttons up here for some of the most used ones. So one of the most common knows you could be using a lot his background. That's right up here. PG. So if you left click on that, you'll put background no down the bottom here. And then if you hit the one button that'll displayed up here in the first viewer, now that's right side. If you click on any node, we'll give you the tool Matt Toole venue for that particular node in any of the options that you can change and modify within that node. So, like, right now, if I want to change the color of his background, come over here to the background tool menu, Look on pick. And then I could change the color of the backgrounds under changes to read. We're going here and change it and just click. OK, and then don't show what you change it to now. Kind of one of the third way, too, and something a toll or at a node. If you right click on existing node. That's highlight. Have menu comes up and you can insert tool and inserted next in line. Actually, that node if I was bad, see Merge node. If I click on that and that merge node, be at it next to mine to the note before and will be a connection like hit the two button and the output this merge, we'll be showing the right window now also within the windows. You have quite a few different options here, which will be going over at a later time. Right now, I mean important thing is if you want to see what the entire composition, you have both percentage of zoom and also have a button you for fit, which will fit it within the windows so that it will shrink it down to fit within the confines of the viewer. So if you do that with both of these and you'll see that basically merge right now, since there's only one other note going into, it is just showing the output of the background. So those year main points when you're beginning is the viewers flow, which is very important again. That's where all your nodes will be placed on how you'll be working with them. You have your tool venue on the side, which relate to what nobody has selected. Right now. I have merged elected, so you see all the different options from the merge node and over here background. You'll see all the different settings and tools available from background, and you have your quick buttons up here the value to add news quickly at most common ones, and you can also add nodes coming up here tools, and you also have your filing at it for you wanna undo cut copy Paste Awesome. Birthing all the basics. They wanna start a new composition. You open a previous one or you want to come to your recent ones. They're down here and then you have your timeline down here so that as you're going along, you can view the different parts of your animation and go to different points within your innovation, your composition, be it a video or motion graphics that you Duensing a 12th long motion graphics segment composition. Then if you had 30 frames per second, this would be 300 frames long, and you can get back and forth and go to where timber frame you'd like. So that's an overview of the interface for black magic designs. Fusion Hope you learn something and I'll see you in the next video. 4. Fusion compositions: okay. And this lesson we own over compositions and kind of what they are. So each time you start a new project, so my fault, you know, start playing composition. Just name it. Composition one. Now, this is a continuation. From the last lesson. We've had a background node emerge nude, this particular composition. Now, if you wanted to create a new one different composition, start from scratch. What the left here, click on file, click on New, and it creates a new composition. I could rename it Are coming to file, save as choose a location for it. Someone call this they test? That's 99 click save and you see up here on the tab will show you the name of the new composition. Now, your piece composition still open. You can have them both open and same time. Now, as you have multiple compositions open, it will use more more than three sources of your computer. So especially if you have, uh, probably involves and complicated composition, you might not more want more than one specially hang upon your amount of memory you're using and kind of see the number of the amount of resource is that your competition is using. But coming down here to the bottom right of the, uh, window profusion don't give you the amount of memory that's being used by fusion at that point and kind of give you an idea of the resource is like processor that's being used right now, using about almost 400 megabytes for these two compositions, there's almost talking in it. This could quickly grow up to 456 even eight gigabytes without too much trouble. So usually want to kind of keep number of competition is open to a minimum. But basically each competition you're gonna have your flow with very different nose. Gonna have a different to different viewers basically showing you different parts the different outputs, every different nodes you could kind of see kind of a so named the flow of for your work and see how one adds into another. I kind of show you that here in this composition that when I add a another background nude to this merge, so we're gonna have a beastly, a forward and in the foreground and background. So if one at a node to in our node a couple different ways, you could do it if you have the notes selected, and then you they come up to, um, do one quick buttons up here come background that will add that background in this case at Emerge. Go along with it. But I actually just want create another background that connect to this merge so I will click on it. Make sure it's highlighted the lead. Come over to this background. Now, basically, what emerged does is allow you to, uh, connect to different nose and then combine their output. And the first know that you connect will be background node right here. Well howling over this point where it connects, you'll see merge one dot background and then another note up to it that will be in the foreground. So, basically, to connect a node, you'll see an output new output connector onto Thea. How much each of these? No, which is our output, and depending upon which no, it is what kind of note it is. It might have multiple kinds of input as well, but if you left click on it, you can extend to connect or here and come over to emerge and then let go, and that connects it now This one has been connected to the background of the merge. So remember, from a previous lesson, the second viewer is showing the output of the merge. While this first you were showing the output of your original background, you could also kind of tell if you wanted so see which viewer is being used by the node. You'll see. There's two little dots down here on the bottom left of each of the nodes. So with one that's highlighted when that's white is the particular viewer, that that one is being output it too. So this one of the to the left one is white. So that's over here on your one and emerge. You'll see that the right one is white. So I showed that select it. You've seen the up of that. So we see. Right now what we're seeing is there is a black background over top of the red background. And since we're reviewing the merge, we're only seeing the foreground, one which is black. Now we create one way to see that this is indeed in front. Off. The other one is if we do a quick mask here. Sounds good do was close Circle mask, which will go over in a later lesson. But just by left clicking on that, we now have created circular mask. I can see the outline of it here, but this is what the actual output emerge. Is this circular lips so that you're seeing the foreground and then that's cut out masked. And then you see the background. And if I move this mass round, you could see that it's moving over top of the previous no here background that would be emerged. But you're here. No catch, just kind of a six of what you'll be using within your compositions. Now you can also come up to file the company preferences, and that kind of gives you your general preferences. Here are you see two different things you'll see global, which will apply to all competitions going forward or once you have a composition, you go into the confident composition itself. So here I have composition one that I also have. The other one I had opened and renamed Test 19 are in here, and I could go into all the different settings for it so I could go into the frame format which will give me the within height. So this is a standard full HD. I have it set to, as you see, appear HD TV Tenny. So it's 1920 By 10 80 it's a free weight 30. You could change, I hear, and various other settings which will go over in more advanced lessons or more advanced course, but with basics. Here you can click on this, drop down on the fault format and go through any one of these that you want to change too. But I'd say for at least for the beginning part here. Just keep it to HD TV 10 80 that will give you full HD like 80 TV that you have in your home that you wanna output to. So that's kind of the very basics of what competitions are again. You could have multiple ones open and all the different tabs, and then he could also close them, and you could also create new ones or open previous ones. And then you can start out of your nose and creating your motion graphics or your typography or your up or your video composition that you're doing. So I hope you found this lesson useful and I'll see you in the next lesson. 5. Fusion nodes: okay. And this lesson will be going over the concept of nodes, which is a major part of working with fusion because it is a note based editor versus a layer based editor. I have already showed you how to a nude by going to tools, and he had this selection different tones. They can also right click within the flow and at a tool, which is also basically node, and you have your quick buttons up here to get to the some of the most used boots. So it's going to start off here with a few news. I'll due to background news and by default. If you do those two in a row, you'll add a merge node, which speaks leak. Next, there's two and mergers them. We'll change the color of the second background. You could see it changing toe white and white on the 1st 1 Background is black. Now the first know you add to emerge will be the background, and in the 2nd 1 will be the foreground. And that's kind of how you essentially create layers that everything that you if you want to add something else, you're also gonna merge it and would have emerged after here and thinking after this one will be the foreground and this will be the background. So as before, showed you how to you a note in my viewers either one for this viewer or two for this one with a background in one. Now put the foreground. Number two. You see, that's one of black and white quick fit I'm off to will be able to see everything in its entirety and then so you can see the difference here. Well, click on merge and just play that in the second viewers. Right now it just looks the scene. You just see the white. But soon as I had a mask, See now that that way or the foreground no is being shown above background now with nodes. If you basically working from left to right and you will also have ones that connect different different parts, the nude will have different inputs. But you're basically in general working from left to right. So if you want to select a bunch nodes just left, click and hold, it will draw box and then you could select all of them, and then you can move the middle hole. Now, if I want to add something on top of this one, I want to add it to the right and I'm going to emergent yet again. Now, each murder no can only have two inputs for for other nudes are then you can also have a mask. But that will be for ah later lessening over maths. Mourn death. Right now you just basically need to know that for each merge, get two inputs. So if you want to add something else to this basically want to create another merge which will then put it in the foreground and everything, he will be in the background. So for demonstration, I'll do a text node. Now this is to detect snowed. So then the red box that at the end of the node is thea output. And if you hover over it says text output, you left click on the output and drag and that creates a connection and you connect that to the other night. You know, I'm actually here. Create emerge now you might not have noticed anything for a couple reasons. One thing you could see by the label under this viewer, it's still emerge one and the new merged with to create was too. So I'll just highlight that Click on that. Select it, Put two and I'll actually that moved the We'll do the text node in the first fewer. So click on that click one. Right now it's blank. I haven't had any things come over here to the right for any note. If you have it selected, you'll see the available tools on the right side here for it. Add some text on the left side. Here it will be all. See the text now, since the background here in the center is what you're not actually seen the text, so I could change color of it by coming over to the shading coming down here to take a color, you pick any color click. OK, then, Now you can see the text now again, everything before the merge here, coming into this new merge as a background and in Texas in the foreground so you could see it now you could change the text size. We're going back to texts and here is a slider. You could change its size now also knows basically anything after it. So if I at a new node. In between text and merge, it will affect the text pre much only and will affect the other parts of the other background. So it's your example here, so if I right click on click on text, I can add a tool which will place it in between it emerge. Go to insert tool warrants are glow and much immediately see that it's affecting the text. It's not affecting the background. And then you could change the different parameters here of the glow under arrest tools, menu change. How affects the text as you can see that older is placed in between. So that's basically how you work with knows. Is that your again adding them to the flow and they work basically from left to right and also basically in order, so each new one you connect affects the notes before it. So everything in this merge is being added to this merge. And then again, if you want to connect one note to another euro, create another one. Here. You could grab the output of the node left click that creates a connection, and if you can't get to the output of ST, are merge here. Okay, a new merge and at new text. So it's a new text here. Go to the new, merge it too. And then you could see the new text that I could change its size. And also I can move it to a different area. So that is the basics of nodes and by tragic fusion, but forward to seeing you in the next lesson. 6. Fusion masks: can this lesson a little beginning over the use of masks, country what they are and how to make them get a basic overview. Other use. So I have a new composition started here. So when I do is I my great background and then click on again tohave do some backgrounds and one, I will actually be the foreground and the ones the background. We've come over this in previous lessons. How much should collar of the two? So make the background blue and then, like the foreground, eat that black so we'll should emerge into right now we're only going to see the black because that's in the foreground. No sure that also here this emerge This is the foreground now cream ask you ever mass cools down here you have ones. You do your own shapes and different ways of making their shapes. Ik also use the paint tool to just brush on your mask. I might be going over the two main ones, which are the ellipse mask and the rectangle mask. So make sure that both of these views or fits that you see the entire composition. If I have a background, the one that's for the foreground. The black Children I hit the Ellipse asked Kohl. You see that it makes analysts lips, and this is basically masking, so anything. The area outside the mask is now transparent. You could see through to the background, and then this is the A mask is thin, revealing what's in the foreground now. You could move it around like other tools, infusion up, down, left and right. If you go into the corner and click on the edge, left leg hold, you re size it and I'll keep its dimensions. It's ratio. And if you click on the bottom row sides and resize it did, it will just do it that way. And I'll change the the overall shape from a circle war into a oval. Again, I just want to be sick. Most basic forms of a mask You can also if you want to soften the edge. So it's not just a harsh circle. Frankly, kind of here is just over her Short creek also soften the edge a little bit and where it because they invert the mask. So then you can see the foreground in the background is transparent here. Now I don't eat that, mask the background and create a rectangle mask. It seems we're thing you could resize it. You can move it around, but have you more practical example here? I'm going to add, uh, some text to this composition. Now, at that into the merge over here, create the text resize it now built into the well, textual for animation and for motion graphics. It does have called it right on here so you can right on the textbook animates that comes on. But as you can see, it does it one letter at a time, which is fine for certain circumstances. But sometimes your mind might lamento actually kind of fade on more gradually. So it's not letter by letter, but just kind of goes all way through. So you use this way to do that as your mask. So I'll put text here in the first window. And once the thing you want to create a mask four is selected. You could use either one of these windows. You know, these viewers so discreet. Use the text. One great a rectangle mask. Now it doesn't look like it's doing anything right now. That's because of the Texas within the mass. So if I move this up where I'm actually moved to the side, you could see that it than mass over the fusion, the text and you can see gradually going away do the same thing up and down. But if you want to ah, reveal of the text, what you do is animate the mass coming on and also off. If you wanted toe, you were at me on off. So where do I have it set for our animation length composition lengths at 250 frames, which is about five seconds at 30 frames per second? So I could do is come up to the make sure the theme rectal mask is highlighted and come over to the center and make sure that's what the enemy and then I will move off the size. You no longer see the text and I move forward, say 1/2 seconds. Be about 45 frames and then I will move it back to the center, and now the Texas revealed. And if you go through the animation here, see that's gradually revealed instead of letter by letter, and then you could also then have enemy out and fade away. So what this point office, Adah key and move forward again. Say certainly our friends will goto 0 30 frames. And then I will ask me the mask down until the text disappears. Go back to the beginning. The place where Ami 10 reach there and I am eight out. Yeah, if you don't want such a hard line, when is doing the fade and fade out? You could do the soft edge setting here and feather it a little more so it would be even more gradual and then fade out. So that's one basic use of a mask. Uh, it's used quite a bit. You can do more advanced things with mass. So here's a creamy composition I have here. And if I slept through it on the left side is the mask. And this was just free drawn through Ah, pain paint mask, which is for you to do it Freehand. Hey, look here. It's basically being used to reveal in text on the right side here. It kind of gives it a kind of, ah, Gothic or creepy look here, and you could do whatever you want with it. There's a basically like endless number of things you could do with masks. It's just a slightly more advanced example. This is the basic use of mess, and hopefully you found this helpful and I will see you in the next lesson. 7. Course Challenge 1: At this point, of course, I'm gonna introduce what I'm calling a course challenge. Just basically giving you the student a bit of homework and have a challenge. Based on what you've learned recently in the course, you've gone over the basics of the interface and compositions to create them and how to save them and how what nodes are and how to add them, how connected together and create masks. So basically, the challenge for his part, of course, is to recreate this. It was very basic space. We just lies on the skills you've already learned already having me down here. But I don't want you to see what a way I've done it. So my challenge to you is to recreate this. And then in the next video, I'll show you how I did it. I'll give you get a quick run down off of the components of it and how I made this. And if you meet in a different way, but it looks the same, that's perfectly fine. Doesn't have exactly like mine, but it's a good exercise and kind of just strengthen the skill you've already gained. And then, as of course, goes on As we finish more lessons, I'll give you other challenges and you'll as you progress. You'll be able to put more and more together and come up with more complicated compositions as you go on. So good luck and and I'll see in the next lesson and show you how I made my copy of this. 8. Course Challenge 1 Solution: Okay. This lesson is my solution to my course. Challenge one first course challenge where I challenged you to We create this. I haven't. If you were here, I was basically just relying on the things you've already learned. This is basically how I made it. So I'll just recreated for you. But it's basically emerging to backgrounds. And on the second background, which are connected as the actual foreground, I create a mast. Her tenure mask resized it. That's where you could see the blue. I change the color of the the foreground to this color Blue and I added a text node and merged it with the original and then typed in this text. So I will recreate that again. So you start off by just doing two backgrounds background. Twice they could rearrange them. The notes in the flow in the first background is black. And the second background, it's here in the foreground. That's black as well right now. So come over here to the tools under here under color left. Look on pick and I'm breaking up a little bit. And shoes have a medium blue there. Now, this is the background of this. The foreground, create a mask by hitting this, uh, rectangle right here. That tingle mask You do a circle, a rectangle start. Here's a rectangle. And then I clicked on fit on both windows. Make sure that I could see the entire composition, I think grabbed my left mouse button here, clicked and held, dragged in to resize the mask Be a thinner rectangle. Then I did the same thing on the left side and dragged that border to cross. They wanted to see what these two combined look like. So I left clicked on merge. And to put that in through this window, not to see the two combined the blue over the black. Now I'm gonna add in the text, come up here at Tech plus nude and then left, click and drag from the output of that. Yeah, but emerge that creates a new merge. So I'm gonna put that into the second viewer by paying the to p No call to text and I'll type in the text. I want our infusion, and that's all there is to it. Very basic. But that was That's pretty much covered. We've gone over this course so far. So next lesson. Continue with the course between teacher new things and then, after a few more lessons, will have the next course challenge, which will see if you've been paying attention. And if you gain the skills you need. Or if not, you might need some more practice, but before to see new and the next lesson. 9. Fusion import: all right. In this lesson, I will be going over how to import footage into your composition, especially if you're gonna be doing depositing or say titles forever. You You've done our movie. You want to import the footage it could be working with to me in ways to do this, Have a loader node allows you to import footage and also images and and J pegs and things like that. And you also have a saver which will go over later, which allows you to export. But if you want to import flesh, come up here to loader. Click on that and a dialog box of Copan open file. They just need to find the footage Gene you want to import? So here I have a sample footage. Click on that click open. And if you want to be the fledge like I've shown in previous lessons, you click on the node, hit the one button, and that will show your footage. Then you have the play head down here. You could scrub through, go through different frames, hit play and before it stores in Ram. It's gonna play back for me Slow paying on speeding machine here. I'm going between like five frames of 15 frames per second, and the footage is actually 30 shot at 30 frames per second. Once it cash, is it 3 a.m. Then it will speed up how quickly you go played backwards, Done here. Stop, go frame by frame and also you might want to. This is kind of zoomed in a little bit, So if you click on fit, you see that we click on here soon to 100%. You need to get a really in close 200%. And if you want to pan around and I see different parts of it, if you click the middle mouse button scroll wheel, hold it down allows you to pan around the frame back to fit as you pan around. If you want a human, you can also use the control. Use the mouse buttons, scroll in and out. That's true that pretty much any of the viewers. If you wanna stroll in her out, you just used the call button and it's one mouse. Now, the other way to dethrone import footage. This name. If you could go into a folder and actually driver dropped to the flow the footage that you want to import something, take the same file and drag it in. And that's the footage. Important the basics of how to import footage into background checks, fusion and look forward to see you in the next lesson. 10. Fusion keying: can. This lesson will go over the basics of removal or green screen. It's one of fundamental uses of compositing software is Teoh green screen to remove background and replace it with what you want to please characters and say, Finished situation are something along those lines. So when I have set up here is I have two pieces of footage. One is just basically, uh, simple three animation of a LA closing from right to left of the frame with the green screen background. And it's like a piece of footage. It's just some sample footage that's going to use to place the block basically used the green screen to remove the green and have block oh, from one side of the frame to the other. So is a much different ways that you can use greens green or king infusion from my show. You want the our quickest ways. So you take the green screen footage with this over here. Okay, green screen and we want to remove the green. You want to do a key, so all right, click on it in the nude, go to insert tool and you want to come down. You, Matt and regret you, the delta here that has dealt it here, Put that onto the second display by heading to and then you have your different settings over here and one of the first things you wanted to work. I mean, way basically to use it is you want to click on pick for the color they're gonna be removing, and then come over here and choose the color. And also, uh, basically wanna hold on the altar key new keyboard left, click on pick and hold down and drag over until you see the colors removed. You see, that's choosing the green and while still holding the all key but go left mouse button and then you collected with all. And now it's choosing the background color that you want a key out and you see a simple animation. But now that the all the green is removed and if I move through the nation, you see throughout the entire thing, the greenish moved on every single frame and just the rotating block blue clock is moving. Basically, to put that on top of the other footage that we had first going to add emerged node. So come up here choosing. Merge now within Emerge Node. The first Know that you connect to it, it's gonna be the background, and the next one is gonna be the foreground. So you want the footage here to be the background. So we're gonna create a connection from there to emerge, and then we'll take the key. The block don't connect. It will be the foreground. And that the viewer to see now that the block is added to the background footage. And as I play through, you could see that the green is key out, and that has now been added. Now, this is a very simple example. But could you the very basics? And did you hint of what it could do with key removal and getting really rain screen confusion? So hopefully families were unusual and I'll see you in the next lesson. 11. Fusion keyframes: okay, and this lesson will be going over key framing animation infusion. So it's one of the me in ways that you create dynamic scenes is by having things be animated in either move throughout the view area or maybe change color change shape. That's kind of how motion graphics are created is by using key frames. So where I basically have set up here in the flow area is I add a background node and said It's hard to blue. They also add a text node, change text to the word fusion and then emerged to so you could see that the text is over top of the background. Now, if I say we do a very simple animation of having the text not be shown and then grow and come visible by changing its size, so I'll, uh, machine die here. So if you click on the text node, see, one of the options on this menu is size. If you move this from right to left, will change the size. If you ever need to go back to what is originally set to so little weight thought here just left click on that and that will set it back to his default. If you want to animate this 1st 1 to come down here and change the I went to your animation . So by default sent to 1000. Now we're here. I've already said it to the length I want, which is a fire seconds at 30 frames per 2nd 150 frames. But we have to do just highlight. This could change to every wants or get change up to 300 that changes interview area 2 300 And then, if you want change, actually length of the animation or the video using, then that's what the second number here is for change at 300 and in both the viewable area in the play had here will be 300 a lengthy automation. Or, if you want to set the 1 50 which I might do in this project. Set that back to 1 50 to enter and then that'll change bowls because your length of animation can be longer than what you're play had is set to notable set 250 frames, which is about five seconds. So I started the animation. We're gonna want this to be a size zero. So if you want to key frame pretty much any of these different settings, you'll see a little bar next with. If its key free mobile basically two ways you could start the key framing. You can right click on the, uh, label here and then click on an enemy, and that will start the animation. Or it will make it key favorable and actually at a key frame. Or you don't click on this little bar that will left click, and that creates a key frame at that point. So then, if you want it to, you wanted it to be zero size zero in the first frame here, we'll turn it down. Now you can't see it and say, Halfway through, we wanted it to road. Besides, we wanna have it be final. So be it. 75 frames. You come out here 75 and click on the play head here, and then I'll move it to the 75th frame, and we just have to move the text backups for my Make it back to his default size. If we go sometimes yet that this will take a second Teoh update. Most time it's pretty, pretty immediate. But now, if I screw back through, you could see that from getting of the animation to the end or to the middle years of the fifth frame. The key frame is having it change from the size zero what size we set, and then for the rest of it, it will stay that size. But then you could do that with any of these. You do that text. So I he's what kind of font? All these different settings here. As long as you see this little great bar on the left side of whatever setting it is, that means you're able to key frame it and change it sayings and have a change over time throughout your composition. So that's the basics of key frames and animation infusion. We found it useful, and I'll see you in the next lesson. 12. Fusion titles: okay, and this lesson will begin over titling adding text to your composition. So here I have some footage that I used a loader to import. Just a sample footage here. So if you want to add text for titling, come up here and you weren't basically when you use a text plus node, so you left click on that. That's emerges text with your background, your footage. They come over here to the tools and type in what text you want and you emerge node. You'll see your text displayed, so go back to your text, and here you change the size of if you wants, you could see it better. Whatever size you want, you can also come over to the shading tab and changes color. Then there are the text. You can also change. It's fallen to whatever funds were available in your system and changed from bold Whiteout is normal. Can see what the layout. There's four basic ways that it's positioned, sort of on the screen. You have point, which is just it's centered here on this point. You have a frame which puts the box around it, and that waited left justify and right justify it, have it to the top into the bottom. Have circle, which allows you to put the text on a circle, and you could change the size of the circle, which will then determine how much of a curve it is. You could also have it follow a custom path. You create a path. How the text follow that when this basic demonstration, disgusted with point, become a transform and you could transform individual characters. You go words. You could do lines you could change, saying the sheer and it changed the character size. They could change it in the extraction or in the Y direction. Remember, all these air amenable or Keefe ramble because they have these little gray boxes in the front of each of the settings. Under the the tools our shading, you also have other to the softness change that which can't players out text. Then you also have transform here, which could chance, transform and change the angle. The text both the x why and see axes and also the different size. And you also have differently presets for the different kinds of texts or were Now you have all these eight different presets different settings. You could have the text and they have several, um, pre populated. So we're here. They have the 1st 1 called White Solid Phil, but right now we change color to red solid film. But if you click on number two, you can also add a red outlines would enable that, but then has a red outlined your text and you could change its parameters. I can't disable it. Cooked 1/3 1 that'll add like a drop shadow so far, enable that we'll see a drop shadow in the background and you can change his parameters. Make also animate T position right here you have center. So you have these basically the manipulator for moving the text around and you have arrows . So if you just want going the extra Y direction, you could just left click on the arrows and now allow you to move it up and down and look over on the Why center there. You could see that that's changing, and if you want to say enemy the text in, say, from the left side, you just start. Make sure yet frame zero right click on center and click anime, and you basically want to move the text off to the left and then come forward, say 30 frames you wanted toe happen in one second, and then you wanna have set the X cornet back 2.5, which will put it in the center. So, Nephew, go back to the beginning and play through your silly your text enemy and to your scene and basically and me and the different parameters here, just so you could also have it and meet the size. You could change the size of the text, more changing color or any of various other parameters. But that is the basics of titling infusion. Hopefully you were able to follow that and I'll see you the next lesson. 13. Fusion motion path: okay. And this lesson will be going over animated motion paths. So I have a little Primi composition here, just basically just then arrow following a path that I've created across the screen. It comes in one side, files a path quoting orientation and then goes out of the scene. So start with a new composition, so we'll create background and help me the background composition. Let's put background here. We'll create another background. Now are my click rates emerge? Now, this background put that in the viewer to here, we're going to make a mask that you're both of these fit composition. So you see the whole thing, and we're gonna do a Polly Line Mass, which allows you to draw your points and create shapes or a great narrow. So click on there and just gonna draw the basic shape of a narrow. So you two back points they go along. You can always move these round later and make it a little cleaner shape. Although I hear point come out here, come back in and it's putting up here. Little circle, closer the shape. That's not a very good era right now with the Nike unpopulated, the different points we just left. Click on it and you can straighten it out. Actually, that's not too bad right there. Revert, do you emerge? You'll see the arrow. When were the background? Now we move there around. I don't want to do that one. We want to go on to Polly on and then we come with Pagliaro around. So far, the easiest way to do this will be just to a straight animation from entering a scene and exiting. So we'll move is out of frame here and over to center or click on it. Click anime. Make this gonna make this 150 frames long. They go about about three seconds in just 90 and then you will giant there over the other side. And that creates a basic path. Now, if you go back to beginning, we'll just go right across. But now we have ability to add points to change the shape of this path and change the where the a ruse. So make sure stolen polygon and click. And now I want you to put me into a point. Could drag that change the shape and keep it straight lined. Or you could use these grab handles and you could make it a curve. You know what? Point over here. Drag that down again. Using these, I can make it a curve. Make sure you get the point. Grab this handle and curb it. Then they consume out by holding down the control key and scrolling down with mouse button . That scroll out there as you mount like with this last point Make go back If it Now, if I play the animation, Carol follows it. But as you see, it doesn't. Doesn't re in itself in the direction of the path. So I do is right. Click. Alright, Polygon 10 rotation. You wanna go to pile on one rotation and you wanna go to connect to path one and you want to click? Choose Ah, click on heading Don't actually rent the arrow. The direction of the path now runs out of meeting the air. Actually follow half. Yeah, this is have if you look at it, it's kind of swing Y at least you might want to kind of a just how your path is so doesn't have its little more gradual. You can actually do that any time so I take that point and kind of smooth it out here, take this point. Now that goes. It's not quite swinging quite as far you could play with that and have it any way you want . But that's the basics of using emotion, path on many path to so you can basically direct way. You're our animation to go and have a follow up half and hopefully famous useful, I hope. See the next lesson. 14. Fusion particles: Can this lesson be going over the particle system by 100 Fusion. This allows you to create effects like snow, rain and another, uh, smoke trails and other particle based animations. So the two main things you need with particle system is a emitter, a particle emitter, or just be a matter and p renderers. They have to quick buttons up here. And also, if you go to tools and go to the particles section here, you'll see all the different nodes available for green particles and basically, ah, manipulating them. Burger be going over two main ones. In this lesson, skins were in do P Mitter and P renderers. The emitter is what creates the particles and the render. Notice what displays them So we'll put that in when there's one into. Now here, the basic controls for the P render you have the number of particles. Basically, this is the number created per second or per frame. Actually, so right now said the 10 to get up that a little bit, I said it to 20 and they could do a variant so that each frame it doesn't do exactly see face it. This 20. Then you could have the variant school up so that it does slightly like a different number . Each frame Les Span is the number of frames that each particle will actually last. So I have this timeline set to 150 frames, which, at 30 frames per second is about five seconds. So life span is set to 100. Frame's here. So the particles that were first admitted once they hit 100 get past that, those will start disappearing and then you'll have the ones were made. After that that still stand. Stay around and you could change the life span variants twos that they will last different amounts of time. Now, before we go a further here with the's settings, I want to set up what's called region so you could change basically where the particles are made from if various different settings here over some of the basic ones here again. So you have a sphere, which is what set to now. So if you look at it makes a change of size years, you get a better look at it. So that's the sheep that will be admitting the particles if you zoom in on it you kind of see that there it's already made. Some particles show you more a minute about what that looks like. But for this example doing here, we're gonna choose a rectangle shape. That's where the partners will be emitted from our all scratchings shape size here, change it to one by one. Is that a 0.1? And we're also gonna rotate it so you can also rotate it. You can move it around the scene around your composition. I was gonna rotate it here to 90 degrees, and we'll also raise it up a bit. So we'll grab one of the new billionaires here and move the whole thing up a little bit and then go back to the first controls tool panel here and come down to the bottom. Here, you'll see velocity controls. So whereas there as it is right now, if we look at it as the if the animation goes along here, it will be created particles. But they won't actually moving where they just stay stuck toe to the plane There, the rectangle. So you want to add some velocity? Every move for here a little bit will see it. See, that might fall they go from left, right? So they're coming from the rectangle and going off to the right. You also want change angle. So if he changed for a positive angle, double up in a way, you see, they're growing up in a way from the plane. So I'm gonna set to negative bindi that causes him to come down and they downward direction . And then you also want to change that variants of these other parameters. So change of velocity variants a little bit in the angle Aryan so they or come down the exact same way ancient Some of these other primers year and just couldn't see what they dio have, how they change it now if you want. Basically, they're being created in three D. So if we go to the P render, there's several different parameters here, but kind of just going over the very basics here I have to from mode, you do three or two d. I think most of the particles inspection particle systems you've seen in other applications it's usually three sets or to be using here, so actually view that we have to have a couple other nodes. Ah, one is a three d merge. So we give it away, we hold shift in the space bar and if you type in, start typing, emerge, merge, and then three merge here out of three. Merge. We love you that that's different viewers. And then we're also going to have a camera so that we could cut him. Choose what we want to see and what we want of you within the composition. So if you come up here, we have three d camera. So add that and then we can manipulate that around so we can. You're better view of what we're looking at here. And if you actually want to view what you're seeing with the camera, from the camera's view, come to one the windows here. If you right click on perspective when you're emerged. Three d, you could choose the camera, and now you're seeing the view as seen from the camera here. So if we play this animation through, see the particles coming down, they're coming down pretty rapidly. There. Department, go back to the P emitter and maybe change it down. Only see, 12 per second. They can't get a look at that. Could also moved the camera up here a little bit. So maybe you just just below where the particles of being admitted and then we could play and seem coming down now. Right now, they're quite small, because if we go back into the PM, better we could change the style of the parties that are admitted. Ah, this basic one that usually starts out with this Just a point. And in this various different ones here, you could do a blob. You do a brush in the line and all these different ones, but we're gonna try a blob which looks really big to begin with. But then you come to size controls and turn the size we down and get more into a size. That'd be more in line with, say, a snowflake or something. And they could change the size variants here a little bit Now if you were moving it over, changing the value here. And if it seems to be going too quickly, If you hold on a patrol key before moving in one of these sliders, it will slow down the amount of changes so you could vary it easier Here. You do that with any of this organ reduce the size here a little bit. Now, if we go back to beginning and play through the animation, you could see that there are a little larger the particles and you can also go back to the camera on back it up a little bit. So you still see a little more the scene you make me and more particles back again. Correct controls. You know what number to maybe back up to 20 and maybe reduce the velocity a little bit. E you kind of get to point here again. I can with the camera back a little bit more back to beginning, and you could tweak the different settings. And to get the look you're looking for, you can increase the number of particles. And if you actually want Teoh output, this just one other No, you need, which is a three D render if you are tools. Three D, Steve, come down here, see render or three so that if you want to actually output it to ah to D so that you can view as a video, you have to create the render three d ing. And if you view that you could see the actual output here. We don't have any background. So one thing you could do is if you look down the background, just transparent. So you just seeing the particles go by just a little bit That on quite a bit test quite a high velocity So we could do that again. Still quite high. Back that up. They got a little more in line with what you'd imagine. And then you could tweak the parameters to have it be away with one of the Okay, if you want a had a background to the render basically edges a regular to emerge, you come up to the quick buttons here, take emerge, and then to the merge, you get a background. We just had a black background. Put that in there. They want to make sure that that is the backgrounds. You're gonna want to swap the inputs. And then now you have your particles. You're from the backgrounds. You could see him a little better and kick out was no effect. Again. You could tweak all the different parameters within your P emitter and where your camera is and you can change angle and how far back it is and kind tweet that get the look you want. But that's the basics of using a particle system by French fusion and hopefully found this useful and forward. You see new in the next lesson. 15. Fusion Working in 3D: all right in this lesson will go over the basics of using three D in fusion. It's one of the most powerful features to the ability to work in three D space to create your graphics and to also do compositing and buying different elements. So we're gonna be going over just real basics here, basically do it using a three title three D text, you do the So far we've used the regular text three D or text plus node, which just does two dimensional text. We're here. We'll use the text three D node and use other elements that are available for you to work in three confusion. So it's just a quick animation. I did hear. They kind of see what it looks like when you're working in three D and what the results could look like. Get a little animation going there. You can see that this text has depth and to see different lighting on it. You can see how the scene is set up here, So I always go over this really quick start from scratch and showing the how to work with the nodes available in three D and again, how to kind of a handle on working in three dimensions. So started new composition here. So we're gonna start off with the three text node to come up to tools, go to three and come down and you want text three days Now, any time you're working in three D, kind of main thing we're gonna use is a three D merge. So will come up here. Tools three D come down to merge three D. Now, this works similar to emerge we've already used with combining two D elements, but with a regular regular merge, he only had two things at a time. When will be a background, What will be a foreground? And if you would add any other elements, you have to have another merge, but three emergency should have unlimited number things. You look into it because you could been separate him in three space. So I'll show you this what this looks like in the first few here Now, Right now, we have no text. So we're just looking at a time a place holder. But you see, I can holding, clicking and holding down the middle mouse button I can pan around here. I can also routine my view by holding down all key, then clicking the middle mouse button. Move around that kind of rotate around here and I could zoom in and out by holding down the control key and and rotating the middle mouse button back and forth. And that is rooms in and out. And I can I can translate here and I can rotate around, but we're gonna add some three tax here, Sarge. Accused fusion, and you could see that's now on the plane. This is basically were the starting point over all your elements will be, and then you can move him around within the space. But if right now, the text is just two dimensional If I were king around here, you see really has no doubt that's just 10. Now, if you want to view this like this is for when you're working with it, if you actually interview with the output, looks like in three next element you want next node is a three camera, so that actually has a short cut right up here. You could click on that and look here in the viewer. It actually added that camera. It's now rotate around so either the camera, but right now it's right next to the text. So you can't really see anything with it that put its output over here. But if I back this up, he can run now. Was getting warm too away from its you could view it. So the next node you need is with called a three D renderers, which is this button right here. So the next time you need and that allows you basically to view and see the output of all the three D and does shows it in two dimensions. So sure you'd ever see what that looks like, But that fewer now we're going back into to mention and we're seeing what the cameras seeing. So if I back up the camera here now, you could see the text started coming to you waken back up from that and then back up the cameras and more like it's fully see the tax. When I click on fit on both of the Easter weekend Little bear idea a little bit then One of things we want to do is give this text some depth. Your routine around here, Anjuman, you see the text still just two dimensional, so we go into the text. Three. Tool. If you come out until bottom here, one of the options here's extrusion. You click on that, and that drops it down, and then this where you can actually get the texts in depth. So with this slider over and three human here, no text, it's actually getting thicker, so it's getting some depth to it might go really overboard to bring it back. They can also give it some bevel so that the edges of it she has a little bit depths, and you could change the devil with She looks like. But right here doesn't really look like much is changing because one thing the camera street on and also you went to enable when you're especially never during three D, make sure that the light and shading it's selected because in that, actually, then we'll enable lights toe affect the three object, and then you can get some of the shadows and see a little bit more of the three D effect. And if we come back out and move the camera around, still don't see much of anything here, it still looks fairly two dimensional and we can even rotate this around a little bit. So up here in the window in the upper left corner of you were here. We have two different buttons here. One allows the rotation controls to be used, and the other one is for direction. That's in three directions to change that, to rotation. And then by left clicking on one of these circles and then moving it, we could rotate camera. You're Proteas. We could see more of an angle, change it back to direction and move over here and still not see much difference. But it's cause we haven't added a light yet to the three D scene. So click on the merge. Come up the tools three D and the light. You can add a directional light and have a camera over here, directionally over here, it's like directional way. Any kind of go back a little bit now, still doesn't look like there's anything happening here, but then you want to go to the renderers. And then there's study just for sending that are lighting name relating, enable shadows, and now you're starting to get to see the three D so we can move the camera over. Zoom in, you man camera. With the camera up, you come back to rotating in a little bit, do it over, and then we could see a little more of the three D. It might also turned down the intensity of the directional light that's a little blurry. So we bring that down and they were conceived more subtle and also speak with the through. This next tab changed different directions of the translate. You changed. The rotation changed, offset. We changed. Pivot the light and my changing See the exhortation. You could see that the direction of light now is affected. So you could laid up text the three d object in different ways. Do I rotation and that will change it through the rotation and do all these different things and do different combinations to you kind of get the look you want. Right now we actually have a transparent background. But if we add a since this now is showing the two d, we could add emerge and out of background. So render just glimmers after and we don't want added background was that, uh, black background. I don't practice to the background and then reconnect the renderers to the foreground of Emerge, and it will be emerge in viewer to now. We have a nice black background, and then we could have a three D text and we can play with the lights and changing intensity here. Breyer. A little darker. Change the camera angle, a little bit. Transportation gangs. We don't see a little more the three D effect. Then go back to the lighting intensity Injured station here. I kind of see little more than three D there. Then we can also do animation like I did with the example here did a quick animation. We do all the same things you do with regular text plus node you could do with three text node will come into the text node. We'll go into the transform, and we can add a meet the character spacing. So let's make this a quick changes to a quick, just three frame lawyer animation or 30 long 30 frame long composition. And we'll right click on character spacing and shoes at me and will move the slider and spread the letters out some space. In between them, they will move forward to say halfway through to about frame 14 and then we'll hit this old circle and I'll bring it back to its default. Now, if we play through the animation, you could see the three D Any actually, If you look in the three window, you could all see animation playing out to see the character spreading out. You consume on that. You better look at it as you mount but overall looked looking around and see it from different aspects. Now this is just an introduction to the three D capabilities of fusion. Gives you a quick we got it and get familiar with it so it doesn't seem to leave unfamiliar . And then, as you get more familiar with it, um, see the full capabilities that what it's able to dio. So that's the end of this lesson and look forward to seeing you in the next last one 16. Course Challenge 2: at this point, the course mining to introduce to another course challenge. This is court challenge to, and your challenge is to recreate this composition I've created here, and I'll play it through. Thanks. See, there's, um, three D text and a particle system in the background. If you look at the middle part here, it also seems a lighting change. Texas coming in, changing lighting and then sex is going moving out the other side. So your challenges to recreate this as close as possible. And next lesson, I will go over how I create it, a few tips on how to create it. And, ah, this basically covers much everything we've done up to this point, a big test of what you learned so far in the course. So take a stab at this, and I will see you in the next lesson with the solution 17. Course Challenge 2 Solution: okay. And this lesson be going over the solution to the course challenge to which was to recreate this footage here. This composition with three D tex coming in and a particle system and a black background. So this is the note set up I created. And here you could see it in the three d view. I feel different parts fit from the park limiter of top here to the three text, the black background, a few different light sources and the camera. But I will recreate this from scratch and go through all the steps side did to create this composition. Starting a conversation here and I'll start with is the three D text. So we kind of get an idea where position everything else. You look off tools three d around a text, three at that. We always wanna add of three. Emerge after that cough tools. Three D customers treating that in, but that you were one. No idea what we're looking at here. Well, Addison text, you see the text and rotate the view. Randall bit so we could see in three days right now has no thickness. So if you would add thickness, you have to extrude it. You come over to the text three about two extrusion of click on that being increased extrusion depth clues that 2.15 you see, that adds depth to it. Next thing we want is the background in the back slash pi. Next thing I would do is changing color. So what we're working on the text will come to the sheeting color text. You have Ah, medium light blue here. Right. Okay, then we'll add the background. So everything we're gonna be, ah, creating here would be checked into this merge merge three d. So now we want to create a background which is gonna be basically a three d shape. She come up here if we click on this like it was a shaped three D and my fall, it's a plane which is actually what we want. So we just have kind of resize it and reposition it. You bring up a little bit, we come over size, increase the size. What a bit. And we'll changes color coming materials. And what pictures? Black like a nice background for it. Now we want to be able to we want to be able to see this without a three D camera only. Wanna dio come here at a three camera this merge in the second window here. If you want to see what it looks like from the camera camera's view, walk you back, camera up here a little bit control Z, undo anything and make sure had the camera selected that will move the camera back about three days. Now if you want to see what the camera seeing, we're going to this view here and where's his perspective? Right? Click on it and choose camera. And now we see what the camera seems That way we could position camera trust, See the text fully here, zero miles on the side, backup camera a little bit more. The kind of it ups the text is war in the center and also for of the final output. We want output to a video. Or if we wanna look up any to the elements to this, we're gonna do a render three d after this. So we come up, make sure the merged three D selected the three render. Then we can also view this in the second line, though, and set the fit so they also agrees with camera views. So we have our three text set up. We have a camera set up, but we have a background set up now we could add in the particle system. Do you wanna come over here? People at a particle systems Where I come up here and come up to particle emitter in particle render. I always want those two. Well, actually hook these up into the three D scene. Go into the mercenary and we have a particle system here so you won't go to the emitter. The first thing I want to do is go to the region and set that up. You want to be falling down on top of the text and kind of out of camera? We want to change the region from a sphere rectangle. You changed twisting height and kind of make sure we click on it here and move it up. Both attacks because human all the years you look at it, I don't want to ruin Teed it. Think on the X axis s X access to NY eateries that finds it out. Then we can create change with I have located down here. So we could see it from call. We went out a little bit. We also increase its with you. Morris will reset to say to actually three part better. Make sure we get it and we increase the height a little bit and they can look after aside here, rotate around them routine by holding on the altar key and the same mouse button or the mouse wheel. And I also want to move this plane back a little bit. It's a little close to text a little bit of space there back to the emitter, and we move that back in space a little bit here to top the text, then routine around. I give you case now we want to set up the emitter. We want to come back, controls our reporting, went up this number. So up it to say for right now you see what I did in the 1st 1 here for 30 will come to the number, will increase of 30 and she's variants a little bit. That will change this. Think I have it to her. 40 frames. Yeah, changed Teoh. My composition 240 frames changed the life span 200 for east that the particles will be coming down will last the entire length of the composition, the change life span. Various little bits of some of them all disappear. Change position variants a little bit, so they kind of don't all come down perfectly straight. And in one of sport, things is the velocity and the angle. If we don't increase velocity that they're not gonna go anywhere, there's gonna form on top of that, uh, rectangle we have. There were increasing velocity a bit. Move over a few frames here. Cassie's right Now it's coming off to the side. So you want that angle and kind of useless. I able to be negative to be street downs. We'll make a negative 90. I see it coming in now. Right now, it looks like it's starting right here and we're came. Review is we could see the start over the park was going from. Some will take article region here, and we will move it up. What comes out of hurrying here and you need to play it through. It's using coming in. The loss is a little low. You probably want it. See, halfway through cavalry come downs. We increase the velocity. There we go. We'll start from the gang banging through here. Let go through once. So here you could see the particles going down way past the tax best. Fine. So real time here, you see, coming down, it's can looking like snow. There were not really been too much time on We can look really realistic. Just one kind of get the same look as we have here. So we're pretty close right now. We'll move on. So I mean, next part that we wouldn't do is have the text come in and into frame and out of frame. We should come to the text three known, and we'll come to the We see the direction and rotation tab here, and we're gonna be changing changing the offset. So it's gonna be side to side, so it could be moving the x offset move. It left him right there, would be animating it. So we won't go back to getting out of the frame beginning of the composition and we want to move the text off the side. We don't see it, and then we're going to right. Click on the x offset, click and eat that I made. We probably went, maybe take about. So you wanna have seconds for it, Come into view. Will come toe 45 frames and we'll move the X offset until comes centered in the frame here . And then we want to keep it there for a while. Still come to city, maybe 120 frames and we'll some key frame, keep it centered and will come out to say on 18. Or I was told for about 200 and we will root off the other side and we always tweet this later. Hey, someone come back. Getting to see how this is Looking the text through UTexas coming into view, you see the particles coming down and then the text moves off. This I now watching more full time. So text coming in park was going down and going off inside us the basics of that part. At this point, we want to add some light to the scene so we can better get ah, control over the look of it. And so it's see the three d effect of the textile easier. Right now, it's looking basically just no different than to Dean. If I move the camera here. Move around a little bit. You're not really seeing the three d of the text. So why? Tanks and lighting will be able to see that. Want to make sure that the lighting and shading is selected over here? What's gonna make sure that within the renderers and they will lighting selected. So right now I do that became see the text. Because now it's dark in the scene because we have no light satellite to emerge. Tools three d light. And we want a point light first and getting some lighting. We wanna turn off right now. We could see the light on the background. We don't want the light to affect the background. You want come to shoot three d? Okay. All right, check off. Make sure it's unchecked. Receive lighting. And now we go to the point Lee down over here. It kinda just it's it's already kind of laying off the back of the text. I just got kind of what we want. Move it down over here. Move. It'll be over. You make it kind of zoom in here can get an idea where it is in relation to the tax we do want calm behind and below. It may move it up a little bit, but this is just gonna be kind of to bring out three D in the text will have another light kind of more like the front of it, and you might want me intensity out a little bit. It's more of a highlight here to highlight the kind of inside of the three D text. We'll add another light now kind of the main lighting to back up the tools three D light and then we want a directional light town talents. Right now it's way to break really intense tm We just kind of want that kind like a spot way. Now with the point light, when you move it around, it affects how lights but the directional light, the movement of it doesn't really make that much of difference. You kind of anywhere you want, so move over to the side here. What does change How it lights is if you come into the translate tap here and you could change the rotation and the offset and that will change if I come over here is a rotation and move around, You can see it's rotating for right left, and you can also see it over here on the background here that when I move this, move it back and forth. But also kind of see those little minds that come off of a here to kind of give the direction to where it's pointing. Right now, it's off to the right. That's why this kind of lit up, and if I move it back around the no wait up the other side. So in the original one here are having going from one side to the other and animated as the competition plays long. So what? Do the same thing here who will come to the beginning and have it play through here a little bit and you have light is when this first comes in. That's pretty center. So enemy rotation and we'll have a come forward a little bit. I don't have it moved left a little further forward. Have a go to the right, go a little further forward, come back to center. Could play that through what that looks like. Texas coming into view. Now you can see it'll more three D because of that point lately, added And then I see the direction light going from one side, the other and highly in different parts of the text and in the text Muse off this I and play through full time will speed. Here it comes in, it goes from side to side comes the center, and text moves off. So it seems about last thing I did was I changed the angle of the camera. So it's kind of more looking up the text that give it even more of a three d. Look, we come back into the this new composition and to my little bit, so we'll move the camera down just a little bit. Move over just a little bit because more of an angle here. And then we'll come over here to the second button here, and I don't give us our rotation handles. So then we can wrote teasing this green one. Ot it back in the center. We can also rotate the red and bring it down one center, but now it's kind of more from the right and from below the text. So when it comes in to view, do you see it? The three d effect of the text even more. And you see the more you Adam where you change, the longer it will take to render it the first time before cash is it? Then I'll go through in cash it, play it full speed here. You could kind of change the timing of this if you want to kind of tweak it or whatever. But that's the basics of what I did for the challenge. So hopefully you're able to re create on your own. If you have any questions after my explanation, you believe that the question section for the course and I'll try get back, assumed. Answer it either if I need to update this lesson or maybe a not a lesson to further explain a little bit. But this is the basics of what we've gone over so far to include three text manipulating camera and different pieces in a three D scene and over the lighting and everything. So hopefully we were able to follow along and create this on your own, and I will see you in the next lesson. 18. Fusion export: this lesson will be going over how to export your composition as a video file. So once you've done all your work, you're gonna want to save it as something. So just like you loaded footage with a lower node, it was exported. You basically export using a saver node. So basically, the go to your last node in your chain of nodes where you have the output that you want picture that's highlighted. And they want to the quick buttons here and click on saver and helping up a dialog box to where you want to save your footage. And we want a name it here on one to this folder here, and I name it Green String. And then, if you want it to be, say, uh, MP four, which is part of one of the more popular export settings or file formats put period and before and when you click, save the settings. Laurie, be set to quick time and to h 0.264 so that you have Ah, the output for MP four. But I've come over here to the tools menu for the saver. Here you have the file names you could change that again, if you want and put in a different location. I changed the output formats. Right now, it's set a quick time movies, but you have a whole host of different formats you could use, I say for most things click times. Probably good. Uh, then you also have are you Now if you export my next important one is format and he could train change the Kodak. So here, if you do, an MP for it says it's to each doctor 64 And it changed the quality. If you wanted to be, a little bit rate, were higher. That rate. If you want higher quality between the frame rate, we're here. I have it set because of my projects that the 30 frames per second so it's set the 30. But you could lower that to 24 if you want, or maybe even go up to 60 frames per second if you want. But once you have all your settings sorted out, just come down here right next to the play head, where you do the playing fast forward and everything, and you click on the button says render reason One final. Our box here called render settings and pretty much just you just leave everything as is unless there something you wanna change but you're setting should be already set. And then you basically click on start render and they'll go through and render out your project that, depending on how complicated you're flow is and what you're trying to render, it could go for it quickly, like it isn't like here right now or could take quite a time. Once done, I'll tell you that renders completed, you click, OK, and that's all there is to that. And if you go to that folder and here's the output here, so if I click on that, then that brings up well. I just exported the last of the basics of exporting your footage from your composition to a file and hopefully really file that, and I'll see you in the next lesson. 19. Fusion putting it all together: in this lesson, or be sort of putting everything together that we've learned so far to create aimed composition demonstration here. The composition which ivory made here and I'll be going through the different parts of it and that kind of explaining it and how it relates to the we've already done. So here I'll play through does motion graphics and text and also automation a little short composition. But does time in the street what could be done with what has been learned so far. So I started out by creating it by doing a pair of backgrounds, which then were merged. Dean First background is all black. It's like a background changing color green and I create a mask picture here, and I basically rotated the mask. So if you hear or change the angle so that has it and also changed its within height so that it could be a meeting onto the screen, you could change that just by grabbing the ends of it being in the size of it. And then I created a text nude and emerged with the first merge for your text over here for the text. This is Fusion nine and I basically used the right on and an army of that so that it would be visible first. And then they written on and I had to basically disappear, all right, coming to lay out and changing the angle. So it's basically just flipping sideways, so that's a no longer visible. And I changed the capacity zero and I created another text node emerged it with the previous one, and I have a motion graphics and that's revealed down and basically create that effect by creating mask, changing its angle to match that of the text and then just move enemy and its motions that at first you don't see the text and then have it come down and reveal a text. And then I have to go off to the side. Finally, I created one more text. No here merged it with the previous ones. Now what basically rotated the original Our tangle here force angle. Here it's being animated to rotate, so it's horizontal and I expanded it tinged size height. See, here it's the anime and changed expands and finally, the final text. Here she was that tool. He's looking Aly out. I chose circles that just point, which puts it on a A circle and basically animated the width of the circle. And also that created, uh, the flattening effect here and also animated its positions with came down a little bit more towards the center and that basically finished off the composition so that from start to finish, all the components here come together, hand create this short motion graphic and again kind of shows off the different aspects of what was shown in the rest of the course. So hopefully you found useful and give you an idea of what could be done, and I hope you enjoyed the course.