Transcripts
1. The intro: This inevitable must destroy. In order to create, unlock the force of creativity with
Davinci Resolve Fusion. Have you seen that the
new STARWARS series is out because I've made a car, somebody in this course, we will use the exact
same process that you can use to make every
scene you want. Whether you want to
Recreate Iconic scene. You want to read
your own vision, life, joining me
today and let's bins. Magic seems to bear
2. The plan: So what is the plan? First, we are
looking for assets. Then we Impulse your
assets into Fusion. We then walk on the
animation, we refine it, and then we make the compositing
to make it realistic. Are you ready Then? Let's go
3. The disclaimer: Disclaimer, Can you do a
full 3D scene inefficient? Yes. Would it be
better if you do it in a delicate 3D software? Yes. Then why do
within Fusion instead? Because Fusion allow us to cheat a bit and
make a quick scene without the need of opening a new software that you may
or may not know how to use
4. Navigating the 3d space: Now let's dive in
to the 3D space. Accessing it is a
really easy each time you drop a 3d node
into your composition, you accessing the 3d space. To navigate new 3D space. You will use the mouse with
the combination of keys. The middle mouse
button allows you to move left to right
or up and down. Holding the Control key and
scrolling the mouse button. Make your Zoom. Why
along these crawling, make you go up and down. Middle mouse button and
Alt allow you to rotate. You can also use
only the mouse to navigate by combining
the nose bouton, left, and middle
mouse Make your Zoom. While rights and middle
mouse make you rotate. That's another way to
navigate the 3D space, and that's only up to
you and your preference, you can access all your 3D tools and the effects tools and 3d. You also got specific folder for lights, Martell, and texture. In this video, we only cover the three most important
nodes of the 3D space, which is the merge, the camera and the render. The nurse is only a place to
put your 3D things in it. You don't have a lot of
settings to manipulate. But there is one
base, two lights, which is super
important when you move flights and when
you use multiple lights. We will cover that in the lights video and other
things to mention is that merged 3D or not the
same as the merge 2D. In ear, you can put
as many objects 3D as you want are
not limited by two. When you've got a 3D composition and you want to make
a 2D image of it. You need to tell the
computer what part of the 3D composition
you want to exports. That's when the cameras, 3D nodes come in. We can simplify DID it's just a simple camera
that we are using in 3D. And to export what
the 3D camera sees, we need a renderer nodes. The pipeline is pretty simple. Everything is connected
to the merged 3D and emerge 3D is connected
to the renderer. To move things in 3D, you got a gizmo, three axis gizmo with Y, X, and Z axis. You can then position object
by dragging these axis. You can switch the move tool to the rotation tool by clicking
on the rotation button. When you build your 3D scene, you may want to switch
the view of the viewers. You can switch it by
right-clicking in and choose, for example, new camera 3D. That's the view your
camera is seeing. That mean you can move
your camera in here with the same movement as you
do in the tree scenes. You can also switch
to the top view or an iodo view you want. And when you are navigating your 3D space and you find a
grid spots, a grid, anger, and you want to put
your camera to face it instead of taking your camera
and I'll reposition it, you can just right-click
copy POV to camera. Another way of
placing a camera into your 3d space is just taking your camera nodes and
drop it on your 3D viewers. The camera will copy
the POV of the viewer
5. Find the link: We link few website to
find great free assets. And of course, if you
want, it's up to you. You can go and check paid assets on your screen there is
a link that gets you to the Google Drive
where we can find all the assets you need
and all the information. There is also a file with all the link to the website
where we can find free assets
6. The project: If you already know me, you know that I love
active participation instead of just
giving you a bunch of information and
leave you with it, I want something more. I want you to make your
own 3D scene. Do that. I suggest that you first watch the wall course at
your own pace. Then go back to the first module
and you try to follow me with your own scene,
module by module. That way, at the
end of the course, you got your own cool 3D scene. You can use the assets I
gave you all use human. It doesn't matter. And
publish your project at each step of your journey. So we can help each other. And we can make the
perfect 3D scene
7. The import: This is how to import
your model to vision. This is the Fusion page. You go to Fusion, import an FBX scene. Or if you have a big scene, you go to Olympics. But if you have FBX
objects or an OBJ object, you go to FBX scene. You get this screen. You click on ERG animation. If you have some animation
and you click Okay. Usually file are way too big. So Let's see, and you can play
with it like that. Let's see another example in this time on visions ten alone. You go on file imports, FBX, and as the same
you can import. I know that you can use the skill file unit
to shrink your model, but I prefer to leave
it at one and modify the scale on the first root node because not all models are huge. Now, let's see some
issue you may face. Sometimes when you
import your model, you just only have a few nodes. That mean that all the parts of your model are joined
on one end lonely, and you cannot texture
each parts about it or make some
animation on some parts. You are only there with
one big block of modal. So I will advice to stay away
from This kind of model. Or you can send them to
Blender or any 3D software. And then UF to separate
each part individually. So to make your life easier, just keep models with
each part separately
8. Build the scene: The first step is, of course, importing your assets. Pen. I love it that way. When importing assets,
you will often face a big chunk of nodes. Three. Don't worry. If everything is correctly
done in the assets creation, you just have to let
every single link that, that way and Navigate the tweets and you take
it and it's too large, so we'll make it a bit
smaller than this. It seems. Okay. Hi also imports the planet
texture and a star map. Let's build the scene. Take it shape. I put in immerse
3d. On the shape. I will put a sphere. Let's see it. Who
is a big radius? Like 100. I plugged the
stomach in 2D shape and I got my style mapping here. I take another shape. Again, sphere. I put the two key
Jupiter in ear. And this, no, I just place
it somewhere in here. Radius HIV and plotted
the texture for the ship. I can see this is the bump map. This is the albedo diffuse. The albedo on the diffuse map is simply the color
of your model. Then we want to add an
extra level of details we sows impacting too much to
performance of your computer. To do that, we use a
normal or a bump map. A question that
you may add is all to link the good texture
with new good nodes. One way I do it, because sometimes it's
not as easy as it sounds. One way I do it,
it's simply changing the color of the
materials inside Fusion. So I know exactly which texture go where I use. Creates bump map. I use the bath mat node and I can plug it in
the map material. Let's see in here. This step is just to add another level of
details on the ship. So it's not oblige. But didn't make it a
little bit more details. You don't see each year because you need
to in the shadows. So let's maybe a bit too much. And this, as you see, there is also a window
materials we put and darker because I know it
there is leather 123, this four, it can
deactivated by Control P. I get the camera and
get to render 3D. And of course, the
camera. That's right. Let's recap. Find the best
asset possible for your scene. Then import them into
Fusion, texture them, and then place them into your scene to
prepare your animation.
9. Animate the scene: So let's animate this one. A3x transform can put in here. I go into freeze-frame, set a keyframe, set
to composition. Lend to this, I can
go to the last frame. Let's make it this way. So now let's set the speed. When you are checking the
speed of information, you need to remember that your mission needs
to be rendered. That's often slow
down the feel of it. So you need to let the animation cash to
zero. We'll spin of it. This is too slow. Of course. Can go to keyframe in air. K on the render. Check OpenGL should be faster. Okay, let's put the
camera in position. And because I don't want
to animate, everything, will go to the camera, transform and use targets. I can reset the rotation. The target is this, so I only have two
animate. This one. Go to frame at the end. This. Let's see now. Okay. I will expand the animation by going to transform in IR, going to frame. I want you weigh way we further to the camera
and I go away for two. Now, I can take my sphere. If for some reason I want to
make this rounded radius. Silhouette short
are a great way to make your thin cinematics. So in case of note, in case you don't know
what shot to make twice in one shot around to remove the jagged edge in here. So I will subdivision. So it will be a perfect sphere. So now let's see. Let's recap. We have seen
O2 animate the ship, and I will try
animate the camera
10. Light the scene: Okay. Grids. I can add lights, but I don't want to
place it myself. I want light to be
the sphere in here. So I can just take it and
plug it into the shape. It will take this F02 please and added to
the point light. So I need now take
sphere lighting. I don't want it to be
affected by light. I don't want the store
to be affected by light. Now, this is only matter off
enable lighting and shadow. I will take an ambient
lights marriage. And to just crank up a bit. You see now that we
have Highlights. Okay, I can remove debts. Make is, let's recap. We have seen O2
light the scene with both light and with
an ambient light.
11. Refine: Quick advice. If
you want to build an entire 3D scenes with advise you to make
first big change, big blocks, and then slowly transitioning to the
smaller details. That way you will
see yourself going step-by-step. For the objective. The next step is just
refine your animation, will make bit more and bit further. We take one. Now that you have your scene or at least the big blocks
of it, refine each parts. You can refine position, we can refine animation, we can refine camera movement. We can refine everything
ever really told detail that can enhance
your animation. Okay, Great. Can we move that?
12. Motion blur: Now that one mission
is nearly finished, we can focusing on the
compositing parts. And we begin with the
motion blur to add the extra details of realism. So I can go to the vendor. I can go to settings
and apply motion blur. If for some reason your
computer struggle, there is another way
you can the activities. We go to Control 0 two-channel. We go with Victor. I will add the
vector motion blur. This value is the vector paths of the render to
make motion blur. So now we to time to design in which motion blur
you want to use
13. Reactor: The next part you need
to Ansel a reactor. Reactor is a library of plug-in with a lot of
great, great stuff. You can go on the
link I provided, or you can just take the file and drop it on
your Fusion composition, either Fusion standalone, all the Fusion page
inside Davinci Resolve. Then you choose if
you want to have a custom path or
simply installed. After that, you just need
to open and let reactor do is think you then get
access to multiple plugin. And the one we will use
is the first expert glow. But you can choose
whatever glow you want. But wait before installing. Don't forget to save your
composition and close it. Then open a new Fusion page. If you don't do that, you may risk to lose your work
14. Glow: I want to make some glow. So I will use fast X-Fighter glow if
you don't leave it to do, just have to excel
reactor and activity. Of course, this is too much. Will you play between
the settings? I want to add extra details. May mean vector for the ship. So I can go in here. I think there is engine fire. I put it to read. I want to add glow to the
reactor part of the model, the tomb that's, I
need to find a way to only mask these parts. You can do that with the
material ID settings. I will go to the render, activate the material
ID buys, Go. Engine fire national ID. This is the turkey
hates. Take a bitmap. With the motion
blur, it's better. Use material. This is a 38. So normally I just have reactor. I can take this this. So I plug in the base image
in the first explore glow. That's, I've take the bitmap
reactor to the glow mask. Look that way. I can see only glow Perkin back there. And I can go in
your engine fire. I can take to you are there your don't forget to save. Fast, explore glow. Take a little bit more rituals. You can have the results
with a sub glow. That's, for my experience, the first six by glow
is more natural, more realistic than
the soft glow. So that's why I use this one.
15. The fight: And what if we want to
make a fight scene? Just take a picometer, a be a render. Let's check that. The perimeter go to
velocity crime Kitab. You see that it's
not the right way? If I plug it in here
and just to see that way to face directly in
the position of the ship. As they can't. We pay seats on the back. Outside. The scope
of the camera. Velocity can go Layer Style, go to Glover, then
crafting the size. You see it now, on the color, we say it's red. And on the fade we want to
fade a bit. On the end. That is done. We say 25 bit more. You can leave it there amide. There is so much. So we go there. Bit of Iran's we will use motion blur to
make it straight line. So if you see it's this, He's not so bad. But as you see, it makes some artifact. What you can do is
just another scene. The camera, this one going here. We take the vector
motion blur as well, and we even go higher. We can unplug lighting. Really use, again, a
fast explore glow. And we merge it on top. So let's make longer. Go into expert glow
16. The compositing: It's no time to finishing
the compositing parts by adding all the other
layers of realism, you also need to decide, Oh, do you want to
continue to walk? You can continue in the
same node tree or you can decide to render a version of your work and
continue with that. To understand the last
step of compositing, you just need to think about, oh, a camera work. Is there a dirt on the
front of the lens? Then you can add a texture
to emulate that lens. Usually, this texture I
use with a screen mode, is the lens using a filter. So you can use the glow node. You are probably wondering
what is the difference with the glow we used
earlier. It simple. The earlier glow was to emulate
objects that emit lights. These new glow is to
emulate a filter at place in front of the lens of
the camera. Pay attention. This is not the
same as this one. You see in year. That's the control are
not the same atone. This one is the one that
you find on the color page. And in Davinci
Resolve, not Fusion. In Davinci Resolve. You can find it also
on the Fusion page. This one, I will change the
composite type to soft light. Shine thresholds
all the way down. Now, with the opacity slider, I can manage my effects. What happened in the lens body? For my taste, I think
the dirt lens is a bit too wavy and I tried
to emulate a cleaner look. So I deactivate it. Next, we have our glow. Then we have what's
happened inside of a lens. Inside of a lens, there is a bunch of glasses
and it can desktop the image, can put some
chromatic aberration, some lens flare, and we
will try to emulate that. First we have lens
distortion is not so EV is just to emulate
the lens look, then we have
chromatic aberration. Chromatic aberration
can be found in the templates Fusion tools. This is one of tools that's not available on the
Fusion Stan alone. But you can take it and copy paste it into a vision
and then make it a macro. After the chromatic aberration, we have lens flare. We have four lens
flare for reactor, we have one lens
flare for planets. And after we've tried to
emulate to lens behavior, now we need to emulate the sensor be ideal and
there is not so much to do. We just need to add grain. And again, we can add
grain by multiple way. We can use 3d found nodes. But I personally prefer the Film Grain one because it is the same, the exact same. You get on the color page and you also have
more control of it. You can add more green
into the shadow parts, which is better
because grain are usually more present on
the dark part of your INH. And another bonus is that these green don't use too
much processing power. But if you like to
try the other two, don't forget to
use a remark here. Two key. Only the dark
path of your image. To use as unmask folding grain. Grain only appear on the
dark part of your image. But again, I prefer
to use this one. This one already
have the option. One more. So for the purpose
of the demonstration, I've made all this setup
jumping into your face. But now that you understand
all these little settings, make it so you can
just only feel it
Kriss Norde, Video editor, VFX artist and colorist
