Transcripts
1. Introduction: Diol fusion is the
hardest thing to learn. At least that's what I thought. When I first opened fusion, I was honestly intimidated. Looking at all those
notes and connections, I thought there's no way
I'm going to learn fusion because it was super
confusing and overwhelming. But instead of trying to
learn everything at once, I started learning it
one effect at a time. One node, one animation, one concept, and slowly, everything began to make sense. And today, fusion is
actually my favorite part of DaventuRsol because this is
where I actually create. The things that once looked impossible now takes me just
a few minutes to create. And that's exactly
what I'm teaching in my DaventuResol
Fusion master class. The Daventursol
Fusion Master Class is designed specifically
for beginners. In every chapter, we'll focus
on one effect at a time, building your skills step by step so you'll
never feel or felt. Best part is you can
edit with me because I provided all the raw footage
in the class description. So if you're ready to master
DaventiRsolve Fusion, then let's get started.
2. Class Project: Before we jump into
the master class, let me talk to you a little
bit about the class project. After finishing this class, I want you to make at
least three effects that I've taught in my DaVinci
Resolve Fusion master class. More information about
the class project is in the class project section. And as I said before, all the rock clips,
all the elements, all the graphics that's also ready for you to download
in the description below. So now let's get started
with actual class.
3. Fusion Page Introduction: Welcome to the first chapter for the Deventures of
Fusion Master Class. So if you are in the media page, then what we need to do is we go to the Edit
page, first of all. So I have this clip
from the beach. And as I told before,
all the resources files, they are all in the description, so you can download
them and edit them with me. So what
do you need to do? You can just drag and drop
this to the timeline. And we can see this is a nine second clip so what
we need to do. If you want to go to the Fusion, we can just click on this clip. Don't do nothing, and
then go to Fusion. And if we go to Fusion, then our fusion shows
a page like this. So you might have
an image you know, you might have fusion
looking like this, or it could be something
really different. So what happens here is
that there are two viewers, one viewer here and
one viewer here. And there's also here
media in and media out. To make things a little bit
simple in the beginning, what I would do, I would
just want one viewer. So what I can do is that if I go here to the right corner, I'll just click on this bracket, and that would just
give me one viewer. I don't know how much familiar you are with the Edit page, but in the Edit page as well, there are two viewers. One viewer is for to watch the resource file
and one viewer is to watch the output file. But anyways, this is
how the clip looks. And now if we go back
to the Edit page, you can see that this clip
has these three stars, which represents that
this is a fusion clip. And you can see here fusion
also has three stars. So now we can edit
some things in fusion and that we would see
already in the Edit page. So first thing, let me
just give you an overview. So it is very similar
to Edit page. On the left hand side here, there are a media Pool. You can also go to EffXs.
You can see clips. So if I press on clips, if I had 50 clips, they all would be listed here. I'll just disable that. Usually, I leave
it to Media Pool, or if using both the viewers, which would happen in
the upcoming classes. Then I would use two viewers, then I would just eliminate that so that then I have more real
estate here to work around. And you can, of course,
make it bigger or smaller. So let's just leave it
to default for now. So this is the media pool here. And if we had some other clip, let's just download
some other clip. So let's say this map. I have this map in my folder. I've also given it to you, but we're going to be
using this map later. So you can have the map here, and then let's just
delete the map here and not bring it on the
timeline. Let's go to fusion. And if you want to
bring another clip, then you can just directly
drag and drop from the media pool to this
fusion node structure, and that would be
another clip here. As you can see the
node structure, it is also very
similar to how we have the node structure in
the color grading page. If you don't know it, I'll explain it in a
really simple way. So what happens here is that
this is the median one. The median one is
the beach clip. The median two here is the map. So if I just go there. So median two here is the map. And this median here is
called the output median. So this is what we
would be seeing when, you know, when we are
this is the main output. So what we can do
is that remember we connected the median non
was connected to median out. If we want to connect
the map, what we can do, we can click on this box which says the output
of median two. And then we can
bring it here which says the input of median one. So if I just leave
the house here, it should say input
of media out, sorry. So if I just track
the arrow to here, then now we can see
that the output of media two is the main output. But what we want
to do, we want to go with this beach clip. So now this is the input. We connected the
input to the output. And in between, I'll just
delete this the map. And in between this line, we can put a lot of effects. So it's exact same as how
we do the color grading. You have the raphle, then you put a lot of lots,
you put some filters, you do some
brightness, exposure, everything in between, and then in the end,
you see the output. That's exactly
what we have here. For example, if you want to
put a text in this video, what we can do is
that there's one way you can press Shift and space, and then you have a list
of all the effects. So what we want to
do, if you want to do text, you just type text. We're going to be going to
just this text, TXT plus. And now we have the text here. But why the text came in here was because our
million out was selected. If we do text again, we can see that the
text came individually. So if you want the text
box to come individually, make sure that none of
these boxes are selected. For example, if I
select median one and then press space
and shift again, and if I do text,
then the text already comes with the median
one and a merge file. But I'm going to be explaining
the merge file later. Let's just assume that
the text came here. Okay? Now what we can do is that we can put the text in between this, like
I told you before. So how you can do is that
you can click on the text. You can press Shift and
keep pressing Shift. And then as soon as you
hover around this line, it shows a blue line. The line turns into
blue from yellow. If I do that, then the
text becomes a merge file. So what this merge box would do is that it would
mix the input, which is the beach
video and the text, it would merge them
together and then give me the output because a text individually cannot go on this line because then we
would just be seeing the text. But as I can see that
there's no text here. So what we need to do is that exact same
as the edit page. You go to the inspector panel, which is on the corner here. And if I just say, hello,
just write, hello. And now the text appears, and you can do, yeah, all sorts of things here. You know, how we do in the inspector panel
in the Edit page, you bring it up, tracking. You can also make it
a little bit bigger. Let's just leave it to default. Maybe a little bit bigger. We can change the
colors and everything. These things are all
already in the Edit page. So this is quite basic. But anyways, that's how
the node structure works. And now, for example, if we wanted to drop a
shadow behind the text, what we can do is that
we can keep clicking on the text and then go
to Shift space again, and then we drop, and now
the drop shadow comes. So now you can see that there was this text layer on the top. Underneath is the effect. And here was the beach video. They all are merging
in the merge one box, and that merge one box is
connected to the media out. If we delete this line, so how do you delete it,
just click on this line. Two times it's deleted. Now there's nothing
in media out. What we can do is that we
can bring the text here, for example for you, we can bring this
line to media out. And now we just
have the media out because I'm just connecting
the text to the media out. This is what I'm doing
why I'm doing this is just to show you how this
node structure works. You can see that
now we just have the text goes straight
to media out. There's no drop shadow,
there's no beach video. But we don't want to do that. We want to do how it was. I'm just pressing Control Z. Now drop shadow really
easy properties. You can click on
the Drop Shadow, then go to Spector panel. You can reduce the blur, drop distance like this. You can change the
shadow strength, all sort of stuff
that you can already do in the color
page, media page. So yeah, that's how the
node structure looks.
4. Text Animation Basics: If you see here, this is the
frame rates of this clip. So remember, here, if
you go to the edit page, this clip was nine second, nine second and
0.09 milliseconds. That's exactly what
are the frames here. So because my project is
24 frames per second, 23 4976, if your project is at 30 frames per second,
that's also fine. -24 almost 24 frames per second. So if I am here, which means that that is the
first second of the clip. If we are if I'm at 48 seconds, then that means that is
the 2 seconds of the clip. So that's why it's
really handy to have you know,
these frame rates, these frames numbers in the timeline because if I
want to start an effect from, say, after 1 second, then I can already measure
that this is here, and then if I want to end that effected in the second second, then I can put it here. So let me give you an example. So if I want the effect to
start at 24 frames per second, what I would be doing
is I can change, move the direction of the text. So what would happen is that
if I want to make an effect, for example, what I want
to do is that I want to just bring this text
from here, come in here. Yeah, just go here to here. What I can do is that
there's two ways. I click on the text. I go to this Transform panel
in the inspector. And now, you can
change the offset. For example, at 24 frames, I can click on here, offset X and Y. Whatever changes I would make, there would be a keyframe here. If you don't know
what key framing is, key framing is a way in any
video editing software to put a setting at certain place and then change that same
setting at certain place. For example, this point
of this video clip, I want this hello sign
to be out of the video. So I would just bring the X, you know, offset X here. So that is the setting
for this frame rate. Yeah. Here I would put you know, keyframe here, I would
just toggle this on. So it is red, which means that the movement of this hello sign has been recorded
at this position. And at the second second, what I would with this is 48, I think I want to bring this
sign back in the center. So back in the center is zero, so I'll just double click
on this box and press zero. And now the hello sign
is in the center. So if I just, you know, look at this clip again, and if I just press space bar, So you can see here, you
can also just press. So you can see that
the hello sign goes in the video, like so. This is quite a basic animation. But what we can do is
that I can see that it just looks really choppy, you know, I just
comes in and goes. What I can do now is that to
make it a little bit better, I can smoothen out the
in and out movement of this hello sign. So what I can do is
that if I go here to the spline, nothing
comes, right? If you just click
on displacement and if you just click here, so then the whole graph fits wherever the main action was that would make
it fit in the graph. So what is happening here. You can see here, this is 24 frames per
second. We are here. That is the initial
position of my hello sign. And this at 48
frames per second, the hello sign moved
from that to that. I want to smoothen out
this whole movement. So what I can do is that I can select this sign and this
point and this point. So to select it, what you can
do Command A or Control A, you know how you
select everything. So now both of these
points are selected. You can now smoothen
out this line, so I can make an S
curve that would help me to smooth out the movement. So if I just to, like,
so also bring it like. So what would happen
is that it would start a little bit slower
the movement of hello sign. Here it would go
quick, and here it would kind of ease in
towards the center. Let's play it again.
So you can see, it's a little bit more smooth. I also realize that there
is a flicker effect here. Ignore that because
I just downloaded this video from a stock footage, but that has nothing to do
with fusion or your computer. So you can see now how
smoothly it goes in. So with these lines, you
can play along a lot. I would just make this in
the center if I just do say. So what would happen is that it would go really
quickly in the beginning, even a little bit higher
with a super high speed, and then it would ease
in towards the center. So let's see again. So you see it almost goes a bit more towards the right,
and then it comes back. And the reason why it
goes towards the right is because I have kind
of bumped it up here. But this is, like,
you can just really play around with these graphs. It's really fun to
just play it around. And yeah, then just see how you can make a custom
animation just by yourself. So we're going to leave it here. So these are the
spline lines that would help you to
smoothen out any effect. So if I had to crop something, it would just help you to
smoothen out any effect. And we're going to be using this a lot in the upcoming section, but I would just take
it out from here. So this was a basic overview of fusion page if I see here, there are some general effects that people use all the time. Remember how we did shift
and space and we typed text. If you want, you don't
really need to do it. You can also just
have text here. I I unselect everything, if I just press T for text, then another text comes. And if I want to
have another text, I can just hold this output from the text and put it here
on the output of merge. So let's see what happens then. So now we can see there is
another merge two coming. So now we had the first text, and now we have the second
text here. Second text. Let's just name it text to and maybe put it a
little bit down. So I would just go
to transform here, and then I would
just put it here. But now I see that the drop
shadow effect is missing. And I remember I also changed some settings in the
drop shadow effect, and I want the
exact same setting on this text too as well. So what I can do is
that I can just copy this drop shadow to here.
How do you do that? You just do Command
C or Control C, and then come here and
then do Command V or Control V. Now we have the
same drop shadow effect. Anywhere, you can
put it anywhere. So what I would be doing
is I would press Shift, click on this box,
and bring it here. And then you can see
as soon as it's blue, which means that it's ready
to be stuck in this line. And now you can see the
drop shadow effect is here. How do you know, for sure
if it's here or not? You can just toggle in and out. And what you can
do, for example, if you cannot really
see the effect, you can also zoom
in in the video. How you do it, if you scroll the mouse up and down,
it's not going to happen. If you have to bring it in
the center, just press fit. You press command and then
zoom in command or control, and then zoom in in the
image, however you want. But we will go to fit, which is like so. So these were general yeah, general ways how you can
start editing infusion. There are more effects
here, such as blur. So I just say this text
box is selected here. If I just press blur, then you can see that the text the blur effect is on this text. I can also increase
the blur here. And now I have this
really cool idea as well. What we can do is that as
soon as the text comes here, maybe as soon as the
text comes here, at this point, I want this blur. I want this text to
be super blurry. So I can do, like so and then
just turn on the key frame. And then to the next second, let's say 75, reduce the
blur all the way down. And now let's see the
entire animation. So now I also feel that the blur comes a
little bit too late. So what I would be doing is if I want to delete this
keyframe here, I can go to this point. Of course, the blur
should be selected. I can just toggle it again, so the keyframe disappears. What I need to do, let's say, I want to do it at 60 frames. Then at 60 frames, I'll just
bring the blur value down. It's red, which means that the settings is
recorded at that frame. So if we watch it again, What we can also do, we
can use another motion for this text here that this
text comes from the bottom. So I'll just zoom it
out a little bit. We go transformation. So we can record,
say, for example, the blur ended here, right? So we go to text two. We can record the
position of text two at this point at the endpoint because
that we know for sure. And then we can go here. So the reason why I'm going to blur is because I want
to see the keyframes. Then I go to the same keyframe, then I press text two. And then I would reduce
down this text two here. So now let's see. Hello comes. Text one comes, but I want to do the exact same thing how
I did for the Hello, the spline, so I would make sure the text
two is selected. Go to spline. I have
this displacement here. If you cannot see
it, just press this. Now you can see everything. Press Command A or Control
A, I would do that. And remember how we made
the S curve manually. If you want to just
make it in one go, just press S. As
soon as you press S, the S curve is there, I'll
just leave it to this S, and then let's watch
everything again. So you see how easily we made this custom animation
all by ourselves. And this is nothing as compared to what
we're going to be learning in the
upcoming section.
5. Shapes Animation Basics: What we're going
to be doing now is making shapes or making
any icon you want. So we are in the edit page
right now what you can do. You go right click, you go
New Fusion composition. If I do a new fusion
composition, let's say shapes. So the shapes, it comes here. It's just acting as a clip. Yeah. What we need to do, let's just put it here at 24. So then we know how
long it would be. So yeah, it is at 24 seconds. Here, nothing would come. We can also increase the
length of the shape. Let's say until 40. Yeah, let's just say 40. Enough seconds. So now what
we can do is that we can click on the shape and
then go to Fusion page. So remember earlier if we had these things clips that
would be here as media in, now we just have media out because there
is nothing in here, but we're going to be
drawing shapes now. So to draw the shapes, first thing what you
need to do is make a background because now it's just transparent
background, so you can create
a background now. What happens now is that the background is
here with the merge. We don't need the merge now. We can just connect
the background directly to the media out. And as soon as I connect the background directly
to the media out, you can see that the
main video output that turns black because the color of the
background is black. We can make it to
any color we want. Let's say white. Let's just do white for now. What we can do is that
if you want to draw shapes on a transparent
background, you can do it. But I want to draw shape
on this white background. What we're going to be
doing is we're going to be adding another background. So I'm going to be just
adding another background, and this one, I would be
using as a merge node. So now what happens
is that this whole the background two is taking over the overlapping
the background one. But we want to
make a shape here. So what we can do is that we
can make a rectangle shape, or you can also make
an ellipse shape. So what would happen now is that the ellipse shape is on the top, what color goes on
the ellipse shape is this background color. You can also change if
I go on the ellipse, you can change the dimension of the ellipse, you
know, make it big, small, like, so I wouldn't
do ellipse right now. I would just do a rectangle. So we click the background,
we click on Rectangle. Now this rectangle is here
on top of the background. And if you want to change the
color of this, we go here, maybe we can keep it to orange or green, whatever
color you prefer. Maybe I can just put it as blue. Then we go to rectangle here, you can change the shape of this rectangle,
however you want. Now, if we just keep clicking on rectangle and if we go on the right hand side, then you can see
that you can also reduce make the edges
soft of this rectangle. So when this can be useful is that if I have
another rectangle, I just did Control C, Command V, and if I have
another rectangle here, and if I don't have
the soft edge, then you can have the soft edge. So this rectangle had the
soft edge here, you know, and this is the rectangle, the second one width
not the soft edge. You can also make it smaller
or say it looks like this. But I'm not going to do that. I'm just pressing Control Z. I'm just going to be keeping this rectangle for
the sake of this video. And now what we can do is, of course, we can increase
the border width. So the width of the shape
would be increasing. If you invert it, then the
entire screen goes like this. If not like this.
Here, what you can do if you cut it down
check the solid, the line appears here. But now what you can do, you can increase the border bit. So then it becomes a box, which can be useful
for anything. But let's just keep it a solid. And now you can, of course, change the position with this. You can change the
shape of this, like so and you can also
change the cordon radius. So this is what I really like, and you can also
change the angle. So this is how a
shape looks, right? What if we want it to
be like an arrow shape? So I'm just pressing in the
center and moving it here. What if we want this to
have an arrow shape. So for that, what we can do is that we can just select
the polygon two. What the polygon two would do is it would make a shape here. Select the polygon
to background. We go here, nothing happens, then we go to merge. And now we have an arrow, something like this. So
you see what I did, right? And if you want to change
the color of this to say maybe purple or another
green or let's say yellow, then we have an arrow. Now what we can do is that what if we want
to combine these two together or what
if we want to make an animation that this
arrow comes in the frame. So to make an
animation, of course, I can change the values
of, you know, this. But what I want to do is I want to make a
value that value of movement should be applicable to this box and also for this box because right
now they are separate. So for that, we need a
transform root node. So we do go Shift and space, you type so here you
have transform X and F, which is in the X and F plane, which is a two D plane. So I would just bring this whole shift and I
would just bring this here. So now we have the
transform node here. So what would happen now is that transform node gives a set of values that would
help you to change the direction of whatever
it is in the frame. So for example, if
I want the center, say at 30 frames, if I want this to be
out here, and at, say 40 or yeah, 40 frames, I want this. Oh, I should select
at 30 frames. The keyframe here,
I toggle it on. And then at 40 frames, I want this to be back
in the center. Like so. And then we can
see the animation. Yeah, that looks pretty decent, and we're going to be
doing the same thing. We select transform,
we go spline. Then what we changed
was displacement. We click on displacement,
then we have this. What we can do is I
would just press S because maybe make it a
little more aggressive. So how do we make it aggressive? What am I doing
right now is that it would quite quick movements in the middle here and a little bit softer
towards the end. So now you can see is that now just this
box is moving, right? So we can copy this transform to this tangle,
thistrangle as well. So I just go Command
copy Command V, the transform appears here. I will just put it here. So I'm pressing Shift and
hoping it turns blue. And now but we have
a problem here, so you can see that when
I did the transform, I didn't consider the arrow
that the arrow would be here. So I would just delete
this transform. I would go here to 30 frames. I would go here, and I
would go a little bit more back so that I have enough space for this
arrow to go here. So then I would press
Command C again, command,V bring it in between. Like, so now you can see this
arrow comes in the picture. What we can also do is
that I can also see that it's not really
in the center. What we can also do
is attach a text. So for the text, I would select nothing. I go here. Text
let's say, a arrow. Yeah. Then I would
put this text here. This text can go here. Maybe just make it blue again
or purple or say orange. Let's do green. Yeah.
I would increase the size of this arrow and
then we can put it here. Now I'm just dragging
and dropping it. We can put it here. What you
can also do is that you go layout sorry, you go shading. You can also make the
shade in appearance, this can make it a block. You can just play
around with this. There are so many things that
you can play around with. If I put this arrow
here and then if I do the transform and
copy and paste it again, now everything moves together. So, you see, that's how
you can make shapes.
6. Shapes Animation Advance: States test. Say new fusion. So I'll do shapes too. We'll just drag it
on the timeline. Let's do. So let's
go to fusion again. So we have the media out, and now we're going to be
doing the background again. So now we're going to be
using a transparent layer. This time we had this
white background. Now we're going to be
using a transparent layer and I'm going to show you why. So we have this background. What we're going
to be doing is you can make a triangle
in this background. Let's just keep
it in the center. How do we do it? Just go here
and keep it in the center. Now what we can do
is that I would just do the border with sorry, not the border with the
corner radius a little bit. I would change the
background color too. Let's say, let's say this. Let's do blue again. Now what we do is that
we go to background. Instead of type solid color, we can do gradient. And what gradient
would do is it would give this kind of weird
shape to your box. So you can see that there
is a bit of gray ish here, there is a bit of red here. You can just double
click, click the blue, and now you can see that
there is a bit of shade here. Yeah. What you can also
do instead of gradient, you can do four corners. So now we have different
different colors in all the four corners. So corner towards the
left is this blue, towards the right, I
can do yellow or white. Towards the left
again, bottom left, I can do this blue
again and right, I can also just do Alpha zero. It would be transparent, but transparent would
look a little bit weird, let's just do it like this. Yeah. Now I will just
reduce the reds. This is really subjective. This is the box we have. We did the custom color
with the four corners. We didn't do anything
in rectangle, we did everything
in the background. Yep. What we need
to do is I would do another rectangle,
but with a twist. So I will just do
Command C and Command B. And then how do you do it? You go Merge, Ooh. If I just go it like this, then the merge tool is
not appearing because apparently we can connect both of these rectangle in one go. So to get the Mrs tool, what I can do is that I can
just click on this button. So the Mrs tool comes here, I'm going to go here. And then I would put this here. So now we have two rectangles. This one, how do you
know it is there? You can change the width
and it would be there. So you can change the height
and it should be there. What we can do is that this background needs
to also be here, so this background goes here. Yeah. So now if we change the width because last time I was
changing the width, nothing was coming because
there was no color. So what we can do right now is instead of having
this another circle, I can do something like this. Something like so. But because the background is
of the same color, I would just do solid. And now if I go rectangle, border with, I will
just reduce it. And I also reduce the
shape of this rectangle. Like. Sure. And I'll
change the color of the background to say
maybe white blue. Yeah, let's just leave it white. I think it looks quite decent. Yeah. So this is
just a normal box. Maybe reduce the
shape of this again. So this is how our box looks. So now what I want to do is that I want to
make an animation. So now if I go to Edit page, this is a transparent box. I can put this on
top of this speech, and it just comes here. Yep. So now what I can do is that I can do the transform node again. I'll just put it in between here and I can do
some key framing, so I wanted to go at the bottom. Not at frame hundred,
let's do at frame 20. I wanted to go at the bottom, and then at frame say 30, I want it to come to the center. Hmm. Sorry, the center is 0.5. So we see the animation. Yeah. And for the flying curve, I have displacement here. I would do the same, but this time I'll do
the cubic out pack. And I'm just checking if
everything is good inspector. And then I would copy
this transformation to these brackets, as well. So now both of these
boxes would come like so. Now what we can do,
we can put some text. The text can go like, so I'll just put a text here. So now let's do say box one. I can increase the box here. You can choose whatever
font you want. Let's do yellow. That's yellow. That looks good. If you want, you can also drop shadow, but we're not going
to do it now. And here, you can do the
same follower that we did. So you can do follower, you go to modifiers,
you transform. Or it's on characters, then you go to offset.
We have done it before. That's why I'm going
a little bit quicker. You go to offset,
select the offset, then path two comes, we go to follow again, and I don't know where
the thing started. I think 20 to 30, the animation. So we go to 20 frames,
we go to text. And here, of course, I want the box to
be out as well. So if you're going to go to
modifier, transform, offset, I want the box to here, and then at 30
frames per second, I want it to be in the center. There is another key frame here which I would
just take it out. I would also do the
classic follower thing. I'll just make it one and I would go to spine
displacement we have, I would does cubic outback. Now let's see we have this m. So we have this little box here with
an animation text, one. What we can do right now is we can make another
rectangle just over here. Let's go s. So but that rectangle is here. Let's go. We make
a merge note here. So what would happen now is that everything or just were going to be making
it too complicated. Just leave it like
that. So what we have right now is a
little bit of preset. So we have this box. This you can use it anywhere. You can also save this project and use it with
some other project. So we can use this as
a tool for anything. So if you're doing
any video project, any other project,
you can do it. And what you need to
do if you want to make this box a little bit bigger
is you go here, rectangle. You can increase the
width of the box. So let's say this width. You can just copy
this with Command C, go to this other rectangle, go to the width here and
paste the width there. And now this box becomes
a little bit big. Text, you can make
a longer text here. So this is a little preset
for you that you can make. I use presets like this in a lot of my classes especially. And then all I need to do is just change the dimension
of the box to how I want. And then in the text, I can put any text I want, I can put any color, any font type I want. It would literally take
less than 10 seconds, and now I have this
beautiful animation with me. That's how you can
make a preset with some shapes and with the text
box, what we have learned. All of this is
super custom made. So you can change every
little parameter. Let me show you
something really cool. So we're done with
the text, right. But what if I want this
to be on a video clip? So I have given you
this video clip, you know, in my classes. So what if I want
this to be here? Let's see until
when can I cut it? So I am here, you know, sitting let's just keep
the clip until here. Yeah. This box appears. I don't like is the colors. What I can do, I
go to background, I change the colors
to maybe yellow, not blue, and change this font
color to let's say black. So I just go all
the way here and, of course, change the
rectangle shape, too. I'm not going to
change the height, so let's just change the width to 0.5. We're gonna be here. Let's change the width to 0.5. Maybe a little bit smaller. Yeah, that looks great. So now if we are in this video, you can just change
this anywhere. So you can bring this entire
box up or down, down or up. So now you can see that it
is on my face here, right? What I want to do is
something really cool. I'm not sure if this is in
the free version or not. So I'm just going
to go sit here. Box one comes. It's a
really nice preset. What I want to do, I want this
box to be behind my head. I've given this clip
to you as well. So how we can do it. I will just make another
copy of this clip here. I'll just bring
this maybe like so. Yep. We'll bring
this clip to fusion. So we have this clip here. We have this clip out. I'm just going to do I'm not
selecting anything. I'm just going to do magic mask. I would do magic mask here. And now what I want to do is that what magic
mask does is that it would mask some things in the video, whatever
I would select. It is kind of cutting me out of the video, and
that's what we want. That's the kind of
effect we want. So we would select
two, three points, but we would also
select that none of the backgrounds are being
selected. We'll make sure that. Then you go to frame one, and you can press this track
forward, and then reverse. So it can already start
from here, maybe. It would take a
little bit of time. In this thing, my main
goal is that my helmet and my face should be should
always be tracked. So we just have to wait for it. Waiting really depends
on what system you have. But let's see. Now the
rendering is done, what we would be doing is
we go to the edit page. We put this clip on top
of the original clip, and now we bring our shape in between. Here is the cutout. Here is the main
clip at the bottom, and if you bring the cuto, it looks like this. So now you can see that
the box is behind this. So, of course, the
cutout is not the best. What if you want to make it really precise,
what we can do. But it would take
a little bit time. You can make it a
little bit better. So I'm zooming in
with the command. So if I go better, then the cutout is a
little bit smoother. You can go in or you can change this refined
range like this. I'm not going to do it now because it would just
take a lot of time. I'll just keep it faster just for the sake
of this tutorial. Yeah, this is how you can
do this cutout effect and when you have a box
like this, I use it. Trust me, a lot
of YouTubers like Ali Abdul and other
educational YouTubers, they use this effect
a lot where they have this box with some text when
they're teaching something. I think it's really, really handy and for the first
time if you're doing it, it would be difficult
to make it. But once you have made it, you can really keep
it as a preset. If you just want to keep this as a preset, what you can do, you can copy all these files
in a separate project, and then you can just save
this project like so. You can do export project and
you can save it like this. Now if I want to pay paste
this box onto some other clip, what I would do, I
would do Command C. And if I open some other
project here, let's say, this was all let's
say on this clip, I can just do Command
V, and now No. And now this box comes here. Of course, there's
a vertical video so it's not really applicable. But let's say on this map, this box comes here, like so. So that's really cool, right, that you just made it once, and then you can use
it a lot of times. So that's how you can make these shapes with
some lower thirds. So you can also use this as a lower third by putting
here in the corner, that would be also really handy. So yeah, that's how
you make shapes in the winter resolve
and of course, you can combine everything to have the effect,
whatever you want.
7. A Quick Feedback: Enjoying this class, then
please leave a review. Or if you think that something
could have been improved, please give me a
feedback as well. And if you give a good
review, of course, that would help me
to get this class discovered by more
students on this platform. One more thing, the
upcoming chapters, what I'm going to teach you that I've already
filmed two years back. There are some really
simple bought, really good effects
that you can do in the winters in
fraction of seconds. So those things were recorded
a couple of years back, but nothing has changed
since last two versions. So yeah, until this chapter, all the recordings that
you would be seeing is from a previous
Fusion master class. And after that, I have shown you some three
D camera effect. So yeah, I'm just
letting you know so that you don't
freak out that Oh, the whole setting is changed. And sometimes I'm also
mentioning the Winter es of 19 because that was because that was recorded in
the Minter of 1919, but nothing has changed,
and the effects, what I'm going to be teaching
you in the next chapters, it is just really, really cool
and they're so, so simple. Anybody can recreate it. So yeah, let's go on
to the next chapter.
8. Attach Text To An Object: So the fact, what
we're going to do in fusion is something like this. So I can show you in
the timeline I already did it. Uh, wait. Not this, but
something like this. So if I go full screen, Fusion is a bit
taxing on the system. That's why it's
lagging a little bit. So you can see that this text is going together
attached to my subject, and you might have seen a lot
of this kind of effect in commercials or even in any other video that the text
is attached to the object, and that's what we're
going to do now. So how you do it.
And for example, there are some things
here, some effects here, but if we want to
search for an effect, so you press Shift plus space, and that gives you a
list of all the effects, which is like hundreds of
effects in Fusion tab. You don't need to know
all these hundreds to make a good video. First we going to do is tracker. So whatever you search,
it just appears. And there are so
many other trackers. So I would just go
with a normal tracker. And fusion is really powerful. You can almost do really
crazy animations in fusion. But if you're interested, maybe I can make a course about it because if
I just teach fusion, it would take like seven to
8 hours for teaching fusion. It's so cool. So anyways,
getting back to trackers, as soon as I selected
the tracker, the tracker just appears. Tracker node appears in between
the input and the output. And if you zoom in here, then you can see that there is a green arrow and then
there is a blue arrow. And there's also yellow box. So green arrow is anything that you would put on
top of the tracker, that should come on the top. And if you want to
put any effect, any mask or so that would be
connected to the blue one, and this yellow
one is the input, I think, yes, that's
the input because this tracker is
getting input from the main median median one, which is the original file. So the original file is attaching here but
if you click here, the original file
gets disconnected. So now the output is
tracker plus the output, which is nothing, so that's
why you don't see nothing. So we would attach it again. As soon as I click Tracker, if you go here on the screen, you would see intel tracker. And that's the tracker. And if I just drag this tracker around, if I drag it on the cow, kind of zooms in and shows
where the tracker is. What I would do,
I would maybe put the tracker on her
head on the cap. Be also for tracker to work, it's nice to select the area which is a
little bit contrasty, or maybe I just select the bag. It's not that contrasty,
but let's try. Yeah. So once we have this
tracker selected somewhere, now we want to track this
because now if I move this click now if I
move this clip here, you see the tracker, it
goes away from the bag. So what we want to do
is to do a setting so that this square box
sticks to the bag. Yeah. So let's do it. So as soon as I click
here on the tracker, you go on the right hand side, and then there are
a lot of settings and options. That
would always happen. Every time if you have
a new thing here, you would have
different settings and options relevant to
whatever you have selected. So with the tracker, what I
want to do I want to track, of course, square
to track the back. So what I would do if
you go here in trackers, you go tracking, and then you do this forward play button. So that obviously
says track forward. So let's just press it
and see what happens. Now the system is working for this image to track forward. And as you can see, that's just tracking all the
way until the end. Until I just bring
the camera down. Let's just go until here
or maybe what we can do is that we can just crop
this end part until here. Let's go back to fusion. Now you can see that the tracker has tracked the backpack all the way to the end
because if you go here to this green thing
that shows the path, exact path of how that particular point in the bag went throughout
the entire video. Now what we can do, we can attach text to the bag and that would stick
to the tracker. What you want to do, you
go to tracker or maybe you just go shift in
space and do text. You go text and text commerce. So text box is here, and you want to put the
text on the foreground. So what you would do, this
is the output of the text. So you take the arrow from here and put it
in the foreground. And now let's just say
maybe just write it back. Yeah. Nothing happens. There's a reason.
What we want to do, go back to tracker go to
operations and in operation, you can do from
here to match move. Now what happens is because
we put the bag here, the text, it's same as the edit page that
if you bring a text, it's always in the center. Now what we want
to do is to bring this bag on top, for example, if we just play the bag here, the bag is still
replicating the movement of this bag on its own plane. Yeah. So what we want
to do is just drag this bag maybe here or on the subject or maybe
just on the bag, and let's just play. So now it almost looks like, the text is attached to the bag. In some cases, it might not be that easy to track
something because here, my subject was not going crazy. There was not crazy movement. So yeah, that was tracker. Like how we added text. In this case, you can
also add a lot of other things like graphics
or different icons. For example, let's go here. And if we go to Fusion,
now we have text right. If I just say, delete the text, and then I bring so now
media pool comes in handy if I bring this arrow, you
can bring this arrow. I'll also delete the transform, you can bring so
that's the arrow. You can bring it
to the foreground and now the arrow is here. What you can do, you can
change you cannot change the position of
arrow now because the arrow is not
acting as a text. What do you need to do, you
need to put a transform node. So you just go transform because as soon as you
put transform node, that gives you the option
to change the size, change the position of anything. So if I put transform node, so now the transform node
is attached to this arrow. So as soon as I
click on transform, then I can change the position. I can change the
size of this arrow. I can also change the
angle of this arrow. So let's just go angle.
Let's just go like this. And if I just bring
this up here, then it would be
attached to the cap. So you can, yeah, add anything once you have
tracked the object. I usually do text
or something like that, you know, just for fun.
9. Attach Text To A Layer: Now, let's show you
something really cool. So here you see that
this text is attached to the lake text is
attached to the lake. You might have seen
in a lot of videos that sometimes the texts
are attached to the wall, so that's what we're
going to learn now. So what we do, I'll just
make another copy of it. I go to fusion and I would
just delete everything. So here, we have
the lake with us. Yeah. You have this
video as well. So now we're going
to do tracker again. No, that we always get confused
between shift and space, so we go tracker again. And here we go planar tracker. So what planar
tracker does is that the other tracker was
just for a point. Planar tracker is
for entire plane. So let's do tracker here. And now what we're going to
do we just see the clip. I'll just turn off
the media pool. So yeah, I would just bring the cursor to the
beginning and planar tracker, what you want to do? I would do this time on the
mountain or maybe here. I would just draw
like a little plane because I want the text to be on this
mountain here. Yeah. So now this box is closed, I can change the
shape of the box. This. So you can just
make a little box here of whatever place you want to
track and always make sure that that place is there in the frame throughout
the entire video. It shouldn't appear like this plane because this plane
was not there in the video. So this plane should be there
through the entire video. So yeah, I can see
that it was there. So maybe, let's just do it here. So we made a little box. What do you want to do? You
go all the way to the front. You bring the red
line all the way to the front so you're
at the first frame, and then you click Set. Yeah. And after clicking set, what you need to do tracker, then go hybrid point areas. And now you track again. So here, what you can do, you can just press
the forward tracker. So you can see that
this box sticks to the floor to the grass
what we have selected. This is a really nice
smooth drawn shot. That's why it's
acting really nice. But sometimes if you
film from your camera, or if the shot is
not that smooth, if there's too much movement,
then this might not work. Okay, so we can see that this box was attached to the grass throughout
the whole time. Yeah? I can also there was
a little movement here. You can see, I would maybe
do perspective again and see Maybe I can just use the clip until now or just play it and
see how it looks. It looks like it is tracking. So if it doesn't
track, just go through different options and choose any of the options
and play it again, and then one of the
options should be working. If it's not working, then your clip is not good
enough for tracking. So now we have the
planar tracker here. Now what we can do
do the text again. So I would do text text, and then text appears here. So what we want to do? I would just delete this merge because we don't
really need the merge. We want the text
in the foreground. So what I would do, just go
here and bring the text here. And now, if I write
something, say, grass, nothing happens,
right? What do we want to do? Go to planar Tracker, and from Track, you
go to corner pin. And as soon as I go corner pin, I see my grass appearing
in this weird box. So now what we want to
do we want to place this grass text on the grass and then see
how everything looks. So I'm putting the
grass on the grass. Of course, because
it's in that plane, you don't really see it clearly. But if I go to text,
I can zoom in. If you zoom in too much, sometimes it can go
outside the box. Yeah? This looks nice. Let's just see if it
actually is tracking or not. So you see the grass is
attached to the grass. That looks really cool, but it's not really looking
that realistic. So I would just
add some shadows. Yeah. So here I would
go shift space. I just go shadow,
and drop shadow. Drop shadow we have
used in edit page. So let's select drop shadow. And now you can see there
is actually a shadow under this under the grass and you can change the
settings with blur. If I don't go blur,
shadow is strength, you can see the strength of the. And you can change the angle of the shadow according to how
the sunlight is falling. So I can also zoom
in in this area. I would maybe go
blur a little bit, you know, so it still looks
a little bit realistic. Maybe just increase
the drop distance, increase blur, maybe
something like that. It almost looks like the
grass is just placed there. Let's just go here and fit. Now if we track, let's see. It almost looks like grass
it just plays there. So this is also what you can do. Here, we're attaching
a text to a plane. In planar Tracker, we attached a text to a point to an object, but the text would still
be in the XY plane. But here it almost looks like the text is in a three D plane, and that's really cool
about planar tracker. So last time, what I
showed you was here with water and this
time is the grass. And that's what
really cool thing about planar tracker is that any flat area you can
track and put anything, you can also put your
photo, put Imogs, put anything here, and
track it. So cool.
10. Locked On Stablization: There's one more really
cool thing what you can do with tracker
is stabilization. So I'll show you.
Just bear with me. So if you go to Fusion Folder, this is just a video of
someone dancing, yeah. And you can see this side bars because the video is
in vertical format. So maybe I would
just go until here. And got it. Yeah.
And what I can do, I can also just change the
resolution to vertical so you can go to setting for vertical resolution like throw. And now let's go to fusion. So here what I want
to do I want to track the jacket because here there is a bit of
contrast the white and black. So I would go press again. Tracker O press
Enter, tracker comes. You can see this green box here. I would put the tracker here. Yeah. And I want this tracker to track this jacket throughout
the entire movement. So let's hope that it is
tracking, tracking, tracking. Sometimes it can get you see. Here, as soon as the guy
twisted on the right side, it didn't track because
now the plane is gone. So what I would
be doing is here, I would bring the
square to his head and maybe track backwards to just match the movement because
how his jacket is moving, his head is also moving
in the same way. So I would just
go back tracking. So now it's tracking
his entire head. So I think now my tracker
has a bit of a Movement. Of course, it was here late
back then and now it's here. So what I would do. Here, I want to stabilize
the frame or just keep this point at the same position throughout the entire video. So the next step is we go here to operation on
the right hand side, and then you go match, move. And then after
selecting match move, if you go to merge, you
can go background only. And now you see what happens. You see, my mouse, if
I put my mouse here, his head or his jacket
stays at the same position, but it just jumps
a little bit here because of the bad tracking. So what we're going to
do is that we can track again and see what
can we do better. So maybe just leave the tracker here and then track again. No, it is not tracking. Maybe adaptive mode, every
frame I can do and see. So Tracking always, that's what I also see in a
lot of tutorials that every time they choose
this easy clip and it doesn't work because
if I just zoom in here, my box should be somewhere here. So if I just bring
it here again, as soon as he turns, the whole plane is gone, what I would be doing is
that's why you should always track things which is in the frame throughout
the whole video. Maybe what we can do
now is that maybe track his head. Maybe his head. You see, because there is not much contrast between the
head and the background, so that's why it's not
working, but let's try again. Yeah, because now the head the cap is there throughout
the entire video. Okay, so that worked. So yeah, choose this on a clip which is
not that complicated, so match more background only. So I think it is tracking now. So if we go here in the media
page, then you can see. So what is happening
now is that my clip is moving because it wants to keep
everything stable here. So what we need to
do in this case is we need to just
zoom in a little bit, you know, so that we need to make sure that the
clip is not going everywhere. And this is how it looks.
So if I just do like this, his head would be at the exact same position throughout
the entire frame. And in a lot of dance videos, a lot of dance TikToks,
they do this as well. And this is called
lock on stabilization. That you can achieve super easily with the tracker window.
11. Green Screen Effect: After planar tracker, we're going to do another
really cool thing. So a lot of you might have seen, you know, green
screens in the video. So I actually have given you stock footage
of a green screen. So yeah, if you want to make this green screen
disappear in DaVinci, it's not really possible until
you go to the Fusion tab. So I selected the clip. I go to Fusion tab and then
I go Media I Media out. I just select median one, and then I go Delta. Just type Delta and then
it comes Delta here. You select Delta ke, and then here is the
background color. So whatever color is in there, this Delta ke would
make it transparent. So what I want to do I take the selector tool and I
drag it to green area. But if I dragged
it to white area, this white, then
everything which is white in the screen
would become white. And that's why people use this crazy green color in a green screen because
most of the time, none of the other colors are
very similar to this screen, and that's why it's easy to
take out the green screen. And now we can put
anything on this computer. For example, now you can see that there's
this black screen. So if I put any footage, let's just put the drone
footage from here. If I put any footage under this, it would look like it is
playing in the system. But now you can see that the
footage is in just a normal, like a full length shape. So what I would do I would
reduce the size of the image. And I can also see that the
laptop is not XY plane. It's kind of there's
a bit of tilt. So I would also change
the yo and the pitch maybe I'll change the pitch so make the pitch look like this. So now it almost looks like it is playing
actually you see? So now my image is almost
in the same plane. Maybe change the
yo a little bit, like so maybe rotation. So all these things,
yeah, you can just tweak. That's why I wanted
to teach fusion in the end because whatever
I'm doing right now, that is in the Edit page,
which I've already taught you. So if you watch in
Phil's full screen, it almost looks like this
video is in the computer. How cool is that? So with just one little click,
you can just use this. So, yeah, that's how you can use the green screen effect in
the winter of 19 infusion.
12. Travel Map Animation: Now, let's show you one of
the map animations what I do. This I use in a lot
of my YouTube videos. I've also recently used in
one of my client videos, and they absolutely love it. So to use this effect, you need a screenshot of a map. You can use any map you want. I have provided a
screenshot of a map. So let's just go here. This is just a screenshot, so it's like a little photo. So I'm just going to make
sure the photo goes for 5 seconds or even
longer is fine. So yeah, this is a screenshot
just from Google Maps. So I would just zoom
in because you can see that it was a
little bit smaller, so I'll just zoom in. And let's go to Fusion. So here in Fusion, what we want to do is that we want to maybe
mark, you know, how they do in map animation
that mark a point, a line from Hamburg, show the route from Hamburg
all the way to Berlin, y. So that's how you do it. First thing what you need
to do is go to background. Just press background,
background appears, then add the background. So background is here now. Yeah. Whatever color you want the line to be, you
have to choose it now. You can always change it later. I would maybe do red because
yeah, red just pops out. And after that, you can see
that the whole image is red. After that, you need to click on the background and then
go to another effect. Just select the background
and press Shift Command, Shift space bar
and type paint and then select mask paint
here and then go add. So it gets added on
top of the background. Here. Now it's time
to draw, yeah. So I'm zooming in with command
and just scroll the mouse. You can do the same with
command or control. Now what we want to do? We have the mask paint here, and if I just do a little
click on the image, it just makes a little
dot. We don't want dots. We want to draw an
entire line, yeah. So we want to go here
to the polyline stroke. So once we have the
polyline stroke, you can make the
lines like this. Yeah. So I'll just control Z. So we are just going
to draw, you know, not that precise,
go according to the follow this little highway. So I'm just clicking, if
you want to make any turn, what you can do is just
click here a bit further, and then you have this a little polygon kind of tool so you
can make curves like that. So you can select here
as well and make curves. Yeah. So here we're going to
go all the way to Berlin. Yeah. And now you can see that this is
a little bit blurry. I'll just go to
the normal shape. The line, what we have
drawn is a little bit, you know, washed out,
a bit more blurry. So what we want to do go
to brush controls here. And softness, I usually
just go all the way down. So now it's a really hard line. And you can also reduce
the size of the line. So now what's happening
here is that I can see that I don't
really see Hamburg. So maybe we can change the way. So you see this little dots, so you can just drag
it however you want. So, you know, just for
the sake of this video, I would just change the way so that people can also
see Hamburg in the map. So maybe I can also
add just go here. Now if I drew the new way, you can see Hamburg
actually really clearly. Yeah. You have to make sure you're
selecting these points. Now if I zoom out, I can obviously see
Hamburg and Berlin. Now we have the
entire way drawn out. What we want to do, we want
the animation to start maybe at after 1 second. Let's go at 24 frames, which is here, here
what we're going to do. You go to mask paint. And then you go to
stroke controls. So we go to stroke Controls and you see this write on tool. If I go all the way there, then my line disappears. I can maybe zoom in a little
bit so you can see clearly. So if I, you know, do
we on my line is there, if not, line is gone. So what I would do I would do, of course, key framing here. So you see if I did key framing, there's a white line here. And when do I want this
effect to be over? Maybe at 100th frame. So we're starting at about after 1 second and
ending at the fifth second. And at the fifth second,
you go like, so. So should we play
from the beginning? Hamburg. And we went to Berlin. Yeah. And if you
want to add shadows, you can add shadows as well. So shadow, you don't have to
add under the mask paint, you go under background. So here what we would be doing is I would just
select background, and then I go drop shadow. Just try drop shadow.
You click it. The drop shadow comes in between the background and the merge
node. You can see here. And if I click on Drop Shadow, drop shadow is
somewhere there, I just reduce the blur and you
can see the shadow here. So I would keep the
blur like that, maybe change the distance. Yeah. And this was image without shadow, and
this is with shadow. And now, if I play in
full screen, this. So you might have seen
this animation so often, and now you know how to do it. And of course, you can
put some location point here. I don't know. Yeah, you can put some I will also give you
this, so don't worry. You can put some location point. So this one, I will
just reduce the size, go to Hamburg here, maybe to zoom in a little bit. So what I would be
doing is I would just bring it at Hamburg, yeah? And then I would also
do the same thing. I would just make another copy, go option. Let's just increase. So there is another one
at the same location. This I would bring it to Berlin. And if you see that you have this little shadow of
the location icon, if you want to get rid of it, just crop it from the bottom. I just select this the
crop from the bottom. So now you can see, if I get rid of this box,
the shadow is gone. Same with the other one. I can get rid of it
from the bottom. And what you can
also do that you can do some animation,
what I taught you before. If I go to effect,
yeah, here in effect, you go all the way down,
you go magic animate, V three, you go here, and then here, what you can do, you can do Zoom in and Zoom out. Both drag, so we can do
Zoom in and Zoom out. Now let's see the
entire animation. How cool is that?
Like, you really don't have to do crazy amount of
editing to get this effect. So that was map animation for
you in the winters of 19.
13. Camera 3D Basics: Whatever we have
learned until now in fusion, that is on one side, and what I'm going
to teach you now, it is just a whole another game. If you don't know what I
mean, look at this video. Yes, that is done by a
three D camera infusion. And if you want to see how
my node structure looks, it looks like this. I know when I watched a node structure like
this for the first time, it was just so intimidating, and I was like, This is
so, so advanced stuff. But in reality, it
is way, way simple. All you need is a little bit of patience because it is really
taxing on the computer, especially on my system. I'm using the M one
MAX 2021 version with 32 gigabytes of RAM, and it is a max, so it
should still do good, but it's not really
doing the best. But anyways, the effect, what you get in the
end, it is worth it. Should we just start
from the beginning? Go. So I have given
you this clip, which is called Reels watch. So I'll just put it
in the timeline, and none of these clips,
they have any audio. So I have the Reels watch. So I am acting as if I'm
watching a reel on my phone, and as the image is zooming out, I can show the audience the
reels what I'm watching. So that is the first clip, but the second clip is kind of these screen
recordings what I have done. So I have recorded this I have done the screen
recording from my phone. You can use any screen
recording you want. I have four screen recordings, and what I've done with
these screen recordings are so I'm in the
edit page right now. So I have, of course, I'm playing from the beginning. This is the beginning
of the reel. What I'm doing right now is I'll just cut
it from the side, you know, chop this
part from the side. And then what I'm also
doing is if I go to crop, I'm just cropping the bottom. I'm cropping the bottom until so you still have
the creator's name. But I'm cropping all
these extras from TikTok, and I'm also cropping from
the top right until here. But that's really subjective. You can just crop
however you want. And then what I'm doing is I'm right clicking and I'm
making a new compound clip. And I've made four compound
clips, clip one, clip two, clip three, clip four, and you can just name
however you want. If I just do test, now we have the
test compound clip. What that would do is that is an individual clip
that I can import in fusion of this dimension. Same with this. This is a horizontal video, not a vertical video,
I have cropped it I've got rid of
all the extra work. Now what we have is we have this real watching clip and then we have four
compounds clip clip one, clip two, clip three, clip four. And to bring this
clip into Fusion, what I can do, I can
just keep clicking here. And then I just go to Fusion. And once we are in fusion, we have the median in, which is me sitting here, we have the media out,
which is the output. This time we're going to
be using this split screen because now we have to
also use a three D camera. So what happens now is that
I'm just going to get rid of this line because we
don't need it yet. So what happens is that
because we are using a three D camera, all the clips, they have to be converted into a three D plane so
that we of course, can move the clips
in X and Y axis, but we should also move
the clip in Z axis. So to convert each clip
into a three D plane, what we need to do
so you click on median one and then you go here. Here you have image
plane three D. So that would convert the
image into a three D image. Then the next what we
need is merge three D. So merge three D would be where all the other clips
would be merged. Then after the merge three D, we need a Render
three D. This is the default and we don't really need render three D too much. We're not really
going to connect it, so I would put it in the corner. With any three D clip,
you need all these. I'll put Render three D
here, media out here. Maybe Merge three
D as well here. So now we have this clip
into a three D plane. You cannot see it now, but bear with me, I'll
show you in a bit. In Mrs three D, what
I would do is I would put a camera three
D. Camera three D, you just click on Merge
three D and click on camera three D. So now
under Merge three D, you have a camera
three D. But what happens now is that as soon as I bring the camera three D, attach it to Merge three D, this whole image
becomes transparent. If I go to the Edit page, this whole image is transparent. The reason for that is because so here is the media
out on this page. On this page, we have nothing. So what we're going to
be doing is we click on Merge three D and we click on the dot on the left hand side. So you see if I click on the
dot on the right hand side, then my merge three D
output is here as well. We don't need it. We're
going to disable it. We need the media out to be displayed here,
the final output. So that would be displayed here. So if I click on merge three D, that is the output here, and it is showing me this
weird three D structure. So if I didn't have this
image plane three D, the image wouldn't be
in a three D mode. You see, I cannot connect
it into this three D node. That's why we needed
this image plane three D so that we can convert. Or my real watching clip
into a three D plane. But you can see it's not
really visible good. What I would be doing is
I will just fit it into the frame and then you can do some movements
in this plane. If I just scroll in and
out with the mouse, it can go up like so. Then I can go fit again. If I press command
and scroll in then it kind of zooms in in the image. These things like you
would get used to it, and if I press shift and
then scroll up and down, then we are kind of rotating
the image like this. Yep. And if I press space
and then bring the image, now you can see the
image goes down. So it is just moving in very
different different planes. So if I just go Shift, the reason why I don't
see anything here is because you can see this
little camera here. I I just zoom in,
you can see a camera attached attached to the screen. But imagine that I have to fiel my hand and if I'm
putting the camera here, the iPhone, you're not going
to see anything, right? So what I need to do as soon
as I go a little bit back, can you see my hand
a little bit more. That's exactly what we're
going to be doing here. So we're going to be clicking
on camera three D and then we're going to bring the
camera a little bit back. Now you can see that the
camera is filming me here, and I want it to be a
little bit zoomed out. I'll press Command or Control, so then I have the
whole frame with me. And then I go out, out, out. And then I would go until the whole picture
is in this frame. So the whole image
is quite wide. So to make this effect better, what you need to do, you
need to have a wide image. I regretted that I could have taken this shot a
little bit more wider. Why? That would make sense
later. So this is camera. You see, camera
goes up and down, and if I want to go, so if I have the
camera like this, I can also go in the X axis. I'll go back. I can also go
in the Y axis go up and down, and this is the Z axis. So what we can
also do is that to change the angle and
everything of the camera, we can put a transform node. And that transform node
we will also do as transform three D.
And then I would add and transform three
D now is in between the camera three D and the
merge three D. And what we can do with transform three D is
that we can pan the camera now because I remember
this I completely forgot that I had to do transform three D because if I
do the rotation here, if you see here, the camera
is rotating on its axis. Yeah, we don't want that. What we want is the camera
to rotate around my image. So that's why if we go
to transform three D, we go to controls, and in
the rotation, if we do X. So now the camera is
rotating around the image. So you see. We go like so. Same with the Y, we go like so. So these movements we can do. And the crazy part is, you can keyframe everything, which we're going to
be showing later. But yeah, that's how
the camera works. And of course, we can go to we can do all the movements in transform three
D from now on. But we don't really
need that kind of movement right now.
In this example. We don't need the Yo and
the pan in this example, because if I do that, then my image looks
a little bit weird. In the upcoming
section, we're going to be using these properties as well to make a three D map
animation, so bear with me. What I can also do is
just to avoid confusion, I'll just get rid of
Transform three D four now. So this is how camera works.
14. Camera 3D Advance: For example, if I
go close to me, say here at 20 frames, then what I can
also do you select camera and you can
keyframe everything. We're not going to use rotation
so keyframe everything. And then maybe I
should unpivot X. And then at, say 100 frames, I can push back the camera
like say until here. So if we start from
the beginning, you can see that the camera
is going down really slow all the way back in the Z plane. You can see here the
value is changing. And of course, we can
also use the lines here. So if I just go spline
how we learned before, we are just making
changes in Z offset. So I'm going to click here. I'm going to click Fit to page. I would go Command S or sorry, Command A or Control A, and then I would press S. And
what I can do is that make this movement a little
bit sharper, like so. And of course, what's
going to happen is while using the
three D camera, your computer will
become really slow, so you have to have a little
bit of patience with that. So that's how a camera works. What we're going
to be doing is I would just get rid of
whatever movement we did. I'll just keep it here. For example, like,
towards the end frame. And let's say I would do it at 160. That's just an example. So what I would be
doing right now is that because now your
question would be, this kind of looks like
just that simple zoom in and zoom out effect that
we can do in Edit page. Why so much hassle? Why use a three D camera? We use a three camera
because now we can introduce images in this video that can look like they're kind of floating
in that environment. And that would give
a really dynamic L. So how I showed the
example to you before, we had different
different clips, right? So what we're going to be
doing is we go to media pool here and I'm going to
drag the clip one here. And because this
clip is in two D, we're going to be
converting into three D. So what we do median two, you're going to
image plane three D. And now we're going
to just hang on. I'll just put the merge
three D here, camera here. So it's a little bit more clear. Now we're going to put this image plane two,
two merge three. And as soon as I
do that, you can see that there is
a new image here. What we can do now,
which is really crazy, if I just zoom in now and if
I just press Shift and tilt, then now you can
see that both of these images are in one plane. So if I have the image plane
three D two selected here, which means that this
image is selected, can bring it close
to the camera. So the reason now here why it is zooming in is
because this plane, this image is coming
close to the camera. That's why it is zooming in. But what I can do is that I'll just put it on the side here, maybe somewhere on
the top or wherever, and then I will go to transform and I would reduce the scale. Maybe reduce the scale
to really small. And then so right now we are at the end frame where we
want the animation to end. So then we can arrange the videos how they can
be in the final frame. So I am just moving
it like this. So you can see if I go shift
and twist it like this, this can give you a little
bit of better idea, so you can just hold keep
selecting image plane D two, and you can move the objects how you want them to be
in the final frame. Where I want it to be like this. And what I can also
do is that I can kind of tilt them a little bit just to give a bit
more natural look. So what I can do,
I can rotate it, rotate Y, and not like
this, maybe like. So it really looks like
it's in a three D plane. Maybe I can move it a
little bit to the side. What I can also do I think it's maybe a little
too much rotation. What I can also do is I
can reduce the opacity of this image to make
it a little bit look like it is the screen
recording of the phone, it is not a solid layer. What I need to do, I
go to material here, and then I can
reduce the opacity, not too much, really subtle, you still see the image, but it's not that bad. Not super distracting. So now if we go here, we had our first image here, our base image, and we have the second image which is
kind of tilting a little bit. So if I go fit and fit
here, it looks like this. Now we drag Clip two. You're going to do
the same thing, image Planar three D two, and then go to Merge three D, attach this to Merge three D. So because it is in front of the camera, it would be here. So hang on, I'll
just press Shift. What we want to do is that
we want to make sure that all these images are
not in the same z axis. So our base image was here. Our base image was here. The first image is there. I want the second image to be a little bit closer
to the camera. Then it can give
that dynamic effect that as the camera
is zooming out, all these videos are
coming in the frame. So that is exactly what is
giving a three D motion. So we have this image here. Where do I want to
keep this image? Maybe on the top like this. But of course, I want
to change the scale, so I'm still at the end frame, so I want to change the scale here and then I'll keep it here. Maybe I'll keep it here, like so, and then I'll try to tilt it like how we
did the first image. But now we tilt
it the other way. Maybe I can reduce
the scale a little bit more and bring it. So this can be the final image, bring it a little bit higher. So all these adjustments are really subjective. You
can do however you want. You go material, and we're
going to change the opacity. Maybe not too light. We can do the same thing for
the other two images. So, if you want, you can also forward
this tutorial. I'll go median four, we go image plan, and then we merge three here. The more layers we add, the more heavy it
is on the system. If your system is going really slow, then don't freak out. That is how it is and you're
doing the right thing. The transform, redose the scale. Like, so I want this image to be maybe like this and
then like this here. Maybe like so, and
then of course, rotate it like this and then of course,
reduce the opacity. And then we had last clip. So these are just the
screen recording what I did in Merge four. So it is again, it's going to be coming here close to the camera. I want this image to be all
the way close to the camera. So if I see the plane here, see base image, first image, second image, third image. So I would, of course, reduce the size again.
This is a big image. I'll reduce it even more
and maybe put it a little bit to decide this way. So you can see what
I'm doing here, right? If I go here, you can see if I just zoom in
if I'm pressing Control. Oh, that's the frustrating part about fusion is that where you
want to zoom in somewhere, go zooms in somewhere else. So I'm just moving it like so so it is really important that
you shouldn't put all these images
in the same plane. You shouldn't should all
be in different planes. That's why that's when it
would give a three D effect. And of course, it's also really important to reduce the opacity, so you can see the main video. And now, if we go click on
Merse three D or Cava three D, if we go to the beginning, It should show that the
camera has been zoomed in, but it's not. Where were we? I think we were at
160 frames here. I think the fourth image
is a little bit too harsh. So I'll reduce the
opacity a bit more. And this image as well. Yeah. And now, if we go
to merge three D, sorry, camera three D, what we want is that we want the
final image to be here. Yeah. So what we can do, in the transform node, we'll set a keyframe
here at 160 frames. And we want this animation
to start at 20 frames. So what we're going
to be doing here is we're going to just bring
the Zoom in the camera. So of course, we can
zoom in from here, but it's also nice to just hold this blue stick and we
go close to the subject. For you, it can be
that it is really, really slow, so you have to
be a little bit careful. So I want this frame
to be the first frame. But I can see that this image is a little bit in my video. So what I would be doing is, I don't know which video it is, so I'll just zoom in here. I think it is this one, which is the fourth frame. So I will just move it out of the picture. I think
it is this one. Yeah, I'll just move
it out of the picture. So now what we can also do is that I'm not sure if I did it, but we can put the animation or the zoom out of the camera
a little bit smoother. So what I did was I clicked on camera three D
because that's where this Z axis is moving. I go to spline and then I have selected Z offset because that's the only
movement we're doing. I go Command A, Control A, press S. I'm just
going to zoom in, like how I did before. And this is how the image looks. So this is what the
camera effect is. And yes, you need to
have a lot of patience, and I think it is
looking really good now. But to make it a little
bit more realistic, I want to do something else. I'll show you. So I'm just going to reduce the
opacity of the last one. But these adjustments you
can do by yourself as well. What are we going to be
doing is that at 160 frames, everything looks really sharp. But, you know, like if something
is close to the camera, it's a little bit
blurry, and if you go further, the blur disappears. So that's exactly what
we're going to be doing is that we're going to be adding
some blur in the image. So you go to median
five, then go blur. What are a select Gagen blur. You go Gaugenblur and
bring them in the video. At 160 frames here, everything should
be looking sharp. I would just reduce
the blur amount to zero and make
a keyframe here. But at 1:35 frame, it should still be a little
bit blurry, until say here. So the keyframe is already done because I already selected
toggle the video. And then at 20 frames, the blur should be a lot. So let's just do until here. We don't see it because
that image is not there, and we're going to do similar
things in the other images. But we're going to be changing the blur amount amount
because the time at which each frame is coming in the picture
is very different. So here, of course, it is fully sharp. I'll just press,
sorry, zero here, there's no blur
and then at 1:45, or say 130, I can
go a little bit. So it's still a
little bit blurry. And then at 20, I
can do a lot blur. And for median three, we're going to be doing
the exact same thing. But I think the timing at which they come is really different. I'll do key framing
here to zero. And then let's see
how it looks at 1:30. So here, the image
is in the picture, you know, the full on image. So I would still keep the zero. I want the image to be
still sharp at 1:30. Let's see how it
is at 100 frames. 100 frames is still
kind of coming in. So I'll increase the
blur a little bit. At 20, I would increase the
blur a little bit too much. Same for median one.
We do Gaussian blur. Let's see how it is at 16160, we do zero blur fully sharp. Let's see how it is at 100
frames. It is still coming. I think at 1:20, it was already there, so I'll just do zero blur here as well. At 95, I would increase
the blur amount at 20, I would do a lot blur. Now if you watch it again, it gives that
really nice effect. So, of course, it is playing at 15 or 17 frames per second. But normally it
should be playing at 24 frames per
second. Really good. But that's not the case. I think it's getting more slower and slower to see how nice and smooth the
camera movement looks. It is a little bit blurry
in the beginning and later, it just goes really
nice and cool.
15. Image 3D Sequence: So this I learned
from a YouTuber. She's really great and
full credits to her. But, yeah, it was so much
fun to edit this image. I would go to timeline one, and I'm just trying
to find where it is. Yeah. So I will change the timeline resolution
to horizontal. So all these things
are available for you. All these things are available for you
in the description. So what is happening here
is that? Let me show you. So we have these images here like a background
one, background two. We have a bridge, PNG, we have a building PNG. We have another
transparent image. We have another building here. We have a train image. This image I've
generated from Tajibt. We have a red moon, and then we have a station here. Okay? Now let's go to
the Fusion composition. Or let me just show you
first how it looks. What am I talking about? This goes too quick, but here there is an image. What is happening is here, this is a separate image. The background is separate,
the red sun is separate. Then if I go to the right,
this building is separate. There's another background here. Here, I could have left the
camera a little bit longer here and then it goes down. The bottom floor to underground. And as it goes underground, I'm putting this PNG
of this bridge here. And then that is attached
to this train station. And then as soon as we
land on the train station, I'm making sure a
train passes by. This animation could
have been better. I could have searched for a
nice transparent Jif file with a nice train, but, yeah, that's okay. For the sake of this tutorial. Now let's go to Fusion and
see what is happening. So if we go to fusion here, I'll just put it like. So, or maybe let's just
play both the screen. So we have all the
animations all hidden here. I would also just increase
the size of the window. So what is happening first
is this is media out, render three D here. Yeah. This is the camera
three D. Remember, we were using the
camera three D here, and this is the Mrs three
D. I would put Mrs three D, make sure that we can watch
the Mrs three D here, and then the media
out on this one. You see if I'm clicking on this, this shows media out,
Mrs three D is here. So how can I show you good? So if I go like this, you can see that a
lot of things are in different Z axis because if you put different
things in Z axis, that gives a parallax effect. And what parallax effect
is that if I say, move the camera like this, it's not just a
general pan movement. You can see that there are you can see that
now this building, the building which
is in the behind, you don't see it that
much. Just go full screen. You don't see it that much, but if I move more
towards the right, now you can see the building a little bit more almost fully. And that gives a
parallax effect. If I just moved moved from X axis to the
Y axis in the edit page, you wouldn't get
this real effect. And as I am here, now you can see that this
building is fully visual. So it is making this look like everything is moving
in different layers. Everything is moving
individually, and that is a really nice look. And if I go here, then the camera goes down
to the bottom floor. Let's just learn what
is happening here. So the first image, what do we have here
is the median four. Like all these images, I brought it in DaVinci
or all of these JV files. And what I've done
is I have put image three D planner here like this. And then I have connected everything to merge
three D here. Maybe it is easier that I
can show you a little bit, so you have a bit of idea
of what am I talking about. So yeah, let's
actually make it then. What I'm going to be doing is I would just make
this background. Let's do it for 1 minute, 20. Let's make this animation
for, say, 10 seconds. 128. Here you can see the image. Let's do for 10 seconds. Yeah, we go here to fusion. What are we going to be doing is we're going to get rid of this. So here I'll be
moving a little bit quickly because we already
discussed everything, what we discussed in
the previous chapter. So what we're going to
be doing is that here we do make a fusion composition. So we go new fusion composition. Let's do duration here we
can do say 10 seconds. 10 seconds here we can
do three D Cam two. So now we have the three
D Cam two animation here. Now we're going to
be going to Fusion. We have the media out. We're going to go
to the media pool, and I'm going to be getting
the first background. Median one. So I would
just input image planer. We have the merge three D, and then we have
the render three D, and that goes to media out. What we can do is
at this median one, we can increase the size of
this. So how do you do it? You go to image plane three D, transform, increase
the scale to this. So this is what we are
seeing in the output here. Yeah, so I'll just put these
media outputs in the corner. We don't really
need these things and the merge three
D somewhere here. And below the merge three D, I'll put the camera three D. So the camera
three D goes here. And the reason remember
I told you why it is not visible here is
because the camera is super close to the image. So what I'm going
to do, I would just rotate with shift like. And I would pull
back the camera. So we need a lot
of pulling back. So let's go until here. Like so. Yeah. And now
what we're going to be doing is that I would be
importing another background, so we can keep those
background next to each other. So we go here, you go
image plane three D, and I'm going to
be putting it to Mars three D. And what I'm going to be doing now is that I will make sure that the
image plane is selected. I would keep it
next to each other. Because we are not
changing the Z axis yet, I know that they are
in the same plane. Yeah. And here I
would just go here. I would check the scale. It was 94.2. I will make sure that the
scale for this is the same. So now we have two big
backgrounds next to each other. So we're going to
be going like this, to make sure they are
in the same plane, I'll just press Shift
and I'll rotate scroll the mouse so you can see that they are
in the same plane. Yeah, I hope it is clear
for you until now. And what are we going to be
doing next is just go fit. Maybe zoom in a little bit. So what are we going
to be doing next is we're going to be importing each of the things one by one and then
place them together. So we have median three, which is the building with
a transparent background, to go Image client three
and two demerge three D. So the reason why this
is not visible here is because they are
kind of blending in. So I want this layer to come
out a little bit further. Maybe just like so and maybe
a little bit zoomed in. I go to inspector, transform, increase the scale to like this. Now, what's going to happen is that if you
see from the side, that layer is here. And now if I move the camera
which is here side by side, you can see that this
image is moving like this. Yeah. I can also
see that maybe I can zoom this in a little bit more or let's just keep everything
in the center and then we can see
what is happening. And I am also hoping that the image can go a
little bit this side. Maybe I can zoom in
a little bit more. And now what I can
do I can also bring the red moon so we can have
this image complete at least. It is really fun to do all these things once
you have figured out how everything works in the camera three
D. I'll put the moon. No, I will make sure
image plan is selected. I'll put the moon right in between the background
and this first layer. So you can see here. If I just get rid of everything and maybe zoom out a little bit. You can see here this
is the background. This is the moon here, and this is the first layer. So I'll go fit and it is
fitting maybe too much, so it's always so annoying
to navigate all of this, but I'm sure DaVinci can
introduce an easy way to do it. And now we're going to
have this building. So I'm going to be bringing
this building here, Mrs three D. And I would make
sure that this building, I'll just move it a
little bit forward, maybe, like, so maybe
a bit more bigger. Like this. And this building
goes on the other side. So I'll just move the camera
to see what we are seeing. So this building goes here. Like this. So now if we just move the camera
from left to right, we can see if the
animation is making sense. The first animation
looks really nice. So you see that I'm going to have to put
this building here. So this building can
go a little bit back. Maybe it should be in the same
layer as the other things. Same layer as here, and then I just zoom in. So these things you
really have to play around with because if
something goes wrong, then it just wouldn't
look very real. So it goes like so, and then I can change
the Y axis like this. And now if we move the
camera from left to right, you can see there is
a little bit of gap, so I will move the Y. Sorry X axis here. So to make it really look real. So the animation
would start from here and the building goes. So then we come here. And at this point,
so we come here, and at this point,
then we go with them. So, so I have to put this here. Just going to
increase the scale. It goes down like this. I'm just going to bring the camera down. And the camera can come a
little bit more this side, maybe increase the
scale of this. So the camera goes
up and then down. And as we are going down, the platform comes
in, which is here. So you see, it looks
like there are a lot of nodes and lot of complicated
things going on, but in reality, it is really
some basic stuff going on. So I'll bring this here. That is our platform. It goes down here,
and of course, we're going to have to scale it a lot to make it
a little bit big. So what would happen if you
bring the camera down from here and then we go down like so you can see here that we have
a little bit of gap. What we're going to be doing
is we're going to have to grease the scale of this. Maybe like so. Oh, no, no, no. So we can still see
that we see it. So this needs a lot of work
and a lot of precision. And once we are here,
then I bring the train. I'm not going to bring
the train in this image, but we have the animation ready, like all the main
subjects ready. So what we're going
to be doing is I go to the first frame, which is not here
a little bit up. Yeah, so that is
the first frame. Yeah. What we're
going to be doing is I can bring the camera
a little bit closer. So this is how the
animation can start. So here, what I'm going
to be doing is I'll put everything as a keyframe. So at first frame,
the camera is here, then at say frame 15, it goes back a
little bit. Like so. And then at frame 50, it goes to the left like so maybe until here
and a little bit zoomed in. A little bit zoomed
in. Yeah? Oh, no, I didn't do the keyframing. I key framed this image plane, which is not really needed. So let's start again. So these things, yes,
the reason why I'm showing you all these mistakes is because you're going
to be doing this. So don't worry about it. You're going to for
sure be doing it. So we go to camera, you go to transform and then
select everything. Yeah. So now we have camera, transform node is selected. First frame should be here, then at frame say 15, it goes out a little bit. And then at frame 45, let's say, it goes here, here, but it also kind of
zooms in a little bit. Yeah. And then at frame 60, I will make him zoom
out a little bit. Nothing really crazy. And then at frame 95 or say 90, it goes down in this platform. So and maybe a little bit
zoomed in in the platform. Until Frame 15, it
kind of zooms out, like just until here. I think it looks really cool. Let's just watch it
from the beginning. So now all these movements
are a little bit jittery. I wouldn't want this to be here. Maybe at 170, I can go
a little bit zoom down. So what is happening
right now is all these movements
are really jittery. So what I want to do, I select camera three D, go to spline, do the X offset I'm just doing one by one so that the
whole screen doesn't get really confusing.
So what was this? Uh huh huh. So I think this
is going a little bit weird, so I want this to be
a little bit smooth. So that was the reason
why I wanted to have this a little bit of
different offsets, not everything together so
that I can focus on one thing. So now we are in Y offset because it's moving
in the Y direction, and I can take out the X offset. Just take it out.
We just have the Y. I'll select everything. Maybe just do S, Like, what do we have at the bottom? Nothing here. So
that is really good. And then now we do Z offset. So we're going to
fit everything. I'm going to select everything, press S. So everything looks in a really nice and
smooth motion, I hope. So should we start from the beginning?
Let's just go here. I think it looks
really impressive. What we can do is move this move this point
a little bit here, so it's a little bit smooth. And then also move this
point a little bit here. So our main goal
in the end is to make these curves really smooth. So all the positions
where the image goes, it's also really smooth curve. So this is how we can use camera three D to make
animations like this. You see we did all the
movements from scratch. And yeah, by using
a two D plane, we can convert in three D, and that's how you
use camera three D. But in the upcoming section, I'm going to be
teaching you how to use or how to do
those map animations. I'm going to be giving
you the basics, and then you can experiment everything on top
of it. So let's go.
16. 3D Map Animation: So now we're going to be using three D camera to
do map animation. I showed you a really basic
two D camera map animation, which was quite
impressive as well, but let's try three D. So I have this three
D map with me. Sorry, two D map with me. I've downloaded it
from external source. It is completely free. And one thing which is really important is if I go
to the file here, see the resolution, it is of
a really high resolution. And that is really
important when you're doing a three D map
because you would be zooming in a lot and you don't want the image
to fall apart. So that's the map what
we're going to be using. I'll also link down the website from which
I've downloaded this map. So we want the animation
for about 10 seconds, so I will just move it. You can see here in the
Vinci that it shows here the final time
of the animation, so it is a ten second animation. I'm going to click on this
and then we go here, Fusion. No, I think I have to delete it. I go timeline, create a
new fusion composition, and then here we go 10 seconds. We're going to be
doing three D map. Yeah. This is the
composition that we have. We go to fusion now. This is going to
get rid of this. We have media out. The map comes in here. We have median one, we go
to image plane three D, then merge three D, then render three D. I'm going to
put these two here. Sorry. Just these two here, merge three D as well here. Now what we're going
to be doing is with the image plane I would zoom
in until it fits the screen. Because it's such a big file, it takes a lot of space. And I would also go
Y to be here. Yeah. So this is how our map looks. And now what we're going
to be doing is, of course, we select Merge three D, and we bring our
good old camera. You can also scroll up and down to navigate through
the nodes here. And if I will just select here, camera three D. We're going to make sure we have
two different views. Do we need something
else? Not really. So now we have the camera
which is stuck to this image. I want the camera to out. Even if I zoom in until here, you can still see
everything a bit clear. That's why we needed a
high resolution map. I'm just going to bring the
camera a little bit back. The animation, what I want
looks something like this. So here I can play
the animation. Let's start animating. What are we going to doing
is that now you can see that we cannot see the map.
What do you need to do? You bring the camera
a little bit back. To make sure most part
of the map is visible. Here we're going
to be introducing a box or an action called
transform three D. Now what would be happening is that the camera axis is here, the transform three
D axis is here. The camera can rotate around this axis. What
are we going to do? We select transform three D
and we move everything here. So we're not selecting this from the camera because that would
just mess up the values. And now if we go down and we am just
searching where is the best place to
have the first frame. And if I go like this, that gives me that
really nice pen. I'm just going to
bring the camera a little bit closer to. So let's say our journey starts from Portugal here
in Lisbon. Yeah? So that can be our first frame. I'll just keyframe everything,
the rotation, everything. I'm just going to keyframe. Then I want the animation to end that around,
say, 160 frames. And at 160 frames, I want the camera to travel all the way to say, Switzerland. So I'm just going to go here, here I move the camera, which I shouldn't move.
I should just move this. So now we are I think
I can see Switzerland. Now I'll do the YXS
rotation, the other side. So I will just make sure that Switzerland here
is in the center. So we go a little bit close. I hope this is making sense. It's really easy if you know the basics, but there are also, so much room to do
mistakes and that would lead into frustrations.
It has happened to me. So yeah, this is how that
is the part of Everithing. So now if we watch everything
from the frame one, let's see here, of course, it's going to be a
little bit slower, but I'm going to give you
show you the final version. So you can see that the map is now slowly going, going, going. It is rotating at this axis, so you can see
that it is kind of having that centrifugo motion, and it's giving a really
nice three D effect. Now it goes over Switzerland, but it is also kind
of panning again, but it is keeping Switzerland
right in the center. So this would be our endpoint. What we're going to be doing,
we're going to do spine. Just put everything in
one picture, Control A, and then do S. And now everything should be
as smooth as a butter. So, of course, first
time when you play it, it would act a
little bit jittery, but let it play because
this is the time DaVinci is rendering our files, and then you play
the second time. Hopefully, it is
not that jittery. Now it's time to
draw some lines. Remember how we did everything
in the two D plane, we have to do the same
thing in the three D, we're going to be going
to the first node, or maybe I want the animation
to start at the tenth node. After median, what
I would be doing is I would just make
a background node. Background comes as a merge, and I want this
background node to have the same value as how
everything is here. So I'm just going to increase the width of the background, increase the height
of the background. Pixel aspect, I can do two and the YXS aspect
I can also do two. Then now I'm making sure
that everything is covered. Then what I would be doing is, I'm just going to
change the value. You can choose any
color you want. I'll just stick to good old red. Now what I'm going to be doing is I would just go polygon. Polygon is here as well, and now it's time to drop. So what I would be doing here is I want the merge from here, from Adi and one to
be watching here. I want to watch it here. I don't want the
camera movement, and I'll just zoom in here
and I'll start drawing. So our journey
starts from Lisbon. I'll select Polygon One again. And here I can do the border with a little bit
thicker and soft edge, we don't want soft edge. We want it to be quite solid. And here we will just
draw everything, like how we did in
the Tutti plane, and then we're going to go to
Zurich and so if you want, we can also do a drop shadow, so we go drop shadow. You can reduce the blur to see where the drop
shadow is even. Let's just go here,
reduce the distance, like so that gets a
bit more real effect. And what we want to do is
that if you go to polygon, we go here at the tenth node. Sorry, tenth frame,
we reduce the length to zero and then say 140 frames, we want the length of
this to go 100%. Yeah. I hope we can do some animation
of the length as well. Yes, we can and we're
going to go like this, select everything, go S, maybe make it really
quick in the middle and like, so yeah. And now if I watch everything, let's just do full screen here. Now if you watch everything, now the animation starts. Let's just watch
in the Edit page. So with the lines, I
could have been a bit more precise. But, yeah. You can see that
the lines start a little bit slower
because of our graph, and then it goes a little
bit faster towards the end. That's how you can do a
three D map animation. You see, it's not
really difficult. All you need to do is just do the same animation two to three times and then towards the end, you would be a master of this. You can also add logos
or some ship logo. You can keyframe that exactly
as how we did just now. It is really easy to do. With that being said, now we are towards the
end of this class. So I'm sure we covered a lot and you might
have a lot of confusion. You can ask me all the
questions you want. But I would also
encourage you to just rewatch these tutorials. If at some places
I went too quick, you can just pause the video, rewatch it because, yes, I can really imagine that it
is a lot to handle at first, but once you just
watch again, do again, learn from your mistakes, then the possibilities are so limitless when it comes to
fusion in the winter resolve. So yes, if you have
any questions, leave them down in the comments
in the discussion panel, and I'll see you
in the next class.
Adi Singh, Videographer and Youtuber
