Transcripts
1. Introduction: Hey, everyone and welcome to another class. Today we're going to be creating a really exciting title effect inside of DaVinci Resolve 16 using the Fusion tab. And it's based off of the stranger things in True. Obviously, Season three's has come out so a little bit of hype around, and I've always loved the intro. So this is a quick look at what we're going to be creating today. You can see a really cool sort of title that we're gonna be creating as a lot of stuff infusion that is gonna be really useful for you to carry on through to future classes. So this is a great project to jump in on, and it's not super complicated either. So let's start with the breakdown off what wax will be doing infusion and then get into creating the actual effect
2. Deconstruction: all right, so jumping over to the fusion tab, he is the no tree that we are using to create this effect. And if you never use diffusion before, this can look pretty intimidating. But I guarantee it's not as intimidating as it looks. So let's quickly break it down before we created. So with majority things infusion, we start with the background mode. You don't need to. But what these dollars, if I everything right, and that's because it's the background on watch. Everything is placed. So we start with that. And then from there we create at text. So the actual effects, if we go to the end here, so the actual stranger things logo and under. So that's all built inside the text node there. Then we build some effects on top. So a couple of glow, one with an animation and then one just for an over arching effects. If we go through and say, turn off, this one, you see does effect the text. If I turn this one off no as much. That's because they're kind of multiplying on top of each other to create this effect. And then lastly, we have a transform That's just so we can control everything all at once. And then that mergers down the bottom there. So it's merged on top off the background load. Now moving over to the right. This is where we have our If we move right to the end, these last things he are literally just to create these bars, right? So they're pretty much the exact same effect, copied and pasted over and over. So we have a rectangle, which is a mosque created over a red background, and that's the exact same for all three. Then we just apply the glow effect that we've applied to the text, and then we merge them down into our main timeline. He say That's how they're all created here. They're all merging into the main graph and then brought in very end. We have a film grain, and that's just to create this obviously grainy texture right at the end there, and then we export it out at the end. We have a couple of mosques here on. They're going to control the animations off the disappearing lines, as you can see there, making them ones appear and disappear. So it let's stop by creating going to the media pool, right clicking and going new fusion composition
3. Part 1: look in terms of duration. The actual title sequence. If we head on over the safari goes for 53 seconds for the sake of this video, just so that we won't make it too long. We're just going to make it 20 seconds. But, you know, because it's quite a slow title sequence, you know, making at minute if you want. You just need to extend. Some of the animations will leave the frame rate at 24 frames, and we're just going to go create, and then we're just gonna double click on that to open it down below. Right? So close the media pull up now for the majority this effect, we can just have one view or open up the top here. You do this by clicking this button here. So, to viewers, one viewer, what we're going to do first is create a background mode. So you do that by dragging just a background down here, gonna leave it blank or black and drag it there and the next we're going to create a text notes. Oh, shit. Space text Plus And he enter. We're just gonna merge that down on the background. No Dragnet to the output Crate him merge and we're gonna call this stranger things. Now the whole title is in Capitals, so we're gonna go stranger space things, and we're gonna need a font very specific fund to create this effect. So all you're gonna want to do is open your Internet browser, head on over to Google and literally just type in stranger things. Funt and the one I downloaded was from the top. Click on that link, download it and put it in your front folder so you can access it individual resolve. And then once you have, you can find it here. So they go there is the font. So we're gonna increase the size a little bit just so we know what we're starting with Nice . And we're going to just change some of the tracking, so we're gonna bring them a little bit closer together, and we're also going to bring the spacing in a little bit closer as well. If you have a look here, let's open up quickly. Stranger things longer. Title. Obviously, this is the effect we're trying to achieve so we can see that the spacing is there. So that's what we're going to leave so back to their So that's that's pretty good so far. So we need to a few things first, that number one is we want to make the s and the are bigger than they already are. Because if we have a look at the lawyer, they are. So to do that, we're going to right click in the text field here and go character level styling. And that means that we can animate the characters on a per character basis so we can change the size off. You know, the are independently to the rest off the text. To do that head on over to the modifier under the character levels styling or you need do is select drag. See how it select drags the our way. Go Now we can go down, and we can actually increase the size of it and see how it affects it. We're gonna head on over to the transform controls, highlight the are, and we're just going to increase the size on the Y axes. So we're just gonna make it a little bit longer and you can see here that more or less, it's it's a bit longer a little bit bigger, so we're gonna make it a little bit longer there. So maybe just the 1.5 on the why? So the vertical axes and then on the horizontal axes? Let's make it 1.21 point two looks good. And then we can just change the sort of the location of it. So we'll just move it down on the why. Just a little bit. Maybe point out. White there looks good and a little bit on the X. Just a little bit, just to maybe negative 0.1 Keep down numbers. Not since simple. We're gonna do the exact same numbers for the eso one point. So, pilot, Yes. 1.5 on the Why 1.2 on the X and then we're going to change this 2.8. That's what we had it before. And this one too. Negative 10.1 to bring it in a little bit looking pretty good. Actually, this one could probably come down just a little bit. Maybe point annoying works for that one. We're gonna just quickly do that to the are as well. We more or less want it in line with the top mine. And there you go. So, as you see, we're sort of getting somewhere next, we need to edit that materials on the Tech. So with the text selected, go back to the tools, not in the modifier. We're gonna go over to the shading tab and we need to do a few things. What we're gonna do is gonna drop that. The answer. Have a bit more access. So the first thing we're gonna do is with shading element one. We're going to change it to text outline straight away. This is looking a lot more like the logo, and we're going to actually do a texture. And so we're gonna go down here and we're gonna go to type image, image source. We're gonna change to clip, and this just allows us to Brass will file on our hard drive. So all I've done is in Google. Just goto pixels dot com a great free stock image resource and typing grunge. So grunge is like a texture, and I've taken this image here. You can use anything when it doesn't need to be super detailed just because of the resolutions were working in. But, you know, grab a grungy clip and then browse to it on your hard drive. So I'm just gonna brown stranger things and he would guard. And now if I zoom in So I'm going to zoom in on my text and we're gonna have a look at the effect Do you say we've got the sort of grunge going there and, you know, it looks pretty good. Before we do anything else, we're going to create the red outline because that that will help us sort of isolate how the grunge material needs to look. So to do that, under the shading elements were going to go from one two shading element, too, because you can use multiple elements to create your effect or we need to do is enable it. And then make sure where on outline again. And we're going to leave it pretty much as is like Red outline is the default. However, we just need to increase the thickness a little bit because we can barely see it. So we're gonna increase the thickness. We're gonna go not super thick, just gonna zooming out, make sure we're not kind of going over things too much. All right, I think that's looking good. We're just going to change its hard lines, but not too hard to. We've got different options here, So we've got really soft one kind of got, like, a different and then we've got this one here is we're gonna go with this one hard line and , um, Arkan, so far, that's looking pretty good. What we will do is right down the bottom. We're gonna go to Softness, and we're gonna increase this office only a little bit. And that's just because when you actually watch, we go back and we watch this a little bit. You see here that it is soft, and that's just because obviously the show set in the eighties. So they're trying to emulate, sort of like the film stocks off that time where things weren't four k resolution. So we're gonna do that ourselves. We're just going to increase the softness. Not a lot to be on us. Maybe just 40.5, I think just a little bit, because we I wanted to be soft when were nice and zoomed in. However, if we zoom out, the title still looks nice. And Chris, it's just for these close ups where it's going to look soft, so looking good so far, and they are. Let's head back and start fixing up this interior portion here. So to do that scroll at the top of your inspector, go to element shading element one. And now we can start affecting the sort of thickness of this one. So I want to bring the thickness down a little bit. We don't need it super thick. And we're also going to change the joint style to the same one as before. You play around, to be honest, but keeping it same saying makes sense. Gonna bring the opacity down as well because we don't really. We basically we want to be out to see this effect from close up, but not from up here. So right now, obviously still see, it's we just need a play around a little bit. Maybe change a pass iti a bit Mawr thicknesses. Probably not too bad, but struck capacity, like right down is probably around. There is not too bad. So if I zoom out from there, you can't really tell what we can do. Actually, though, is go back and change the thickness off the red outline
4. Part 2 : since we're gonna go back to to just going to bring that in a little bit. Not much. Just a bit. Yeah, I think that's much better. All right, go back. And this is you know, creating titles is a bit like this, Okay? Going back and forth, we're gonna bring the thickness of this one in a bit. Now we're going to go down, and we're actually gonna increase the softness of this one. Just blends a little bit better. Not a lot again. 0.5 is probably enough. This is just so that if you are nice and close, you know, it doesn't look like it's a nice hard line. It kind of blends in. We're also gonna add a bit of a glow to it. And the reason I do this is because when you're up close, you can kind of see if you go to the start. You can see we've got this kind of texture here, and that's sort of what we're trying to replicate in this sort of thing. Is this, like, fake texture? It's very subtle, And that's why we're trying to do that here. So turning up the glory a bit and then lowering the capacity and just kind of going back and forth between the two again, where we're only trying to create this illusion of texture in the text. So if we zoom out, you know you can't see it. But if we're in, you can sit. And that's what we are trying to achieve here. So I reckon we're gonna go 2.5 on the lawyer. And I think maybe we're gonna go point 15 on the opacity. We're going to leave it as such for this one here. So you're gonna close. Bring that up nice and tired. All right, so looking pretty good so far, the next thing we're gonna do is add the flicker. So if we go back and we play the start off this sequence, you can see that the glory is flickering. Okay, has this kind of pulsating effect, and that's the next thing that we're going to achieve. So with the text notes, selected shift space to bring up a tool, select that typing glowed and you can add either this one or that one does the exact same thing. To be honest, we're gonna add this one. Now you can see we have our glow effect. And if we turn on and off looking pretty good so far. But for this one for the first parts of the globe, we're going to drop the intensity down until we find something we like. So we don't want too intense. So I reckon for this 1.6 is gonna be good and we're just doing this at the moment is to see how it looks. So we don't want to really notice it from up here, but we want to be able to notice it Nice and quite. So if I turn this on and off, there's definitely a gloat there. So what we're gonna do is right. Click on the globe parameter. We're gonna go modify with and down right to the Shake Command, and this is going to key. Frame it on, Adam modifies we're gonna go over to the modify menu. And now if I play this back, if you notice that, is that a There's a nice pulsating effect, but right now it's a bit to bit too intense, and that's just because right now the minimum is zero and the maximum is like one, so fully on. So it's going from fully off to fully on, and it's going between the two. What we want to do is go to that go to the value that we decided looked good, which was 0.6. We're gonna go maximum this 0.6. All right, so that's the most glow it's going to go to. But we also want to reduce the minimum because we don't wanna have such a large variance between the values. We just want a very slight, pulsating effect. So I think point to maybe you point to see that that's there, was there were gonna increase the random seed. So it's just gonna randomize it a bit more rather than just being a very linear effect. You see, he are it is going on and off. We might actually boost the brand. Um, just playing around with this is the most important part of this. So I think so far that's pretty good. We have this pulsating effect. Kind of goes on and off. It's not too bad. Maybe law. The smoothness a bit such a little bit. Harsha doesn't blend as much weight go. No, that's looking good. There are fantastic so we're gonna go with 0.6 on the maximum will go with 0.3 on the minimum to only going between those two variables. Bring the smooth the stand a bit, so it's a little bit harsher of a bit more of a jittery glow on random seed. Wherever you feel that that's comfortable, that's just random izing how it goes in and out. Next, we need to just control the glow size, so if we go right up, you can see that increases the size of the glory. And if we lower right down, brings in a bit tighter, I think to be honest, the base value of 10 works for this effect. Again, you don't really notice the pulsating from back here. It's only when the in nice and close, and it's a very subtle effect, but that's what we want. We want it to be nice and subtle. We don't want to be out to see it from the fine, you know, from up here. We only want to see it when we're zoomed in close. Now we want to do what I like to call like a final glow pass, because if we do look at the title over here, it does have a glory to it. Okay, so we're going to with the glow node selected shit space again Bring up the tool selector and literally just gonna add theglobe from the start on maybe just lower the intensity just a little bit, Not a lot. And probably leave it that so if we turn this on and off, it's giving it a bit of a glory, Nothing too intense. But if we play that, we still get an ice pulsating effect, or right now it's up to the tricky part which is animating this effect. So to do that after this glow to know we're gonna go shift space and out of transform node , that just allows us so that we can control everything above it. We can move it around nice and easily, and we're gonna need to do that because we really do have to animate this. There's a lot of animating. So when we watch this title sequence, you can see that it's very similar to Star Wars in the sense that this title comes in from behind the camera. So I'm gonna start at frame zero with the transform node selected, and we're just gonna really just we're gonna boost the size ride up. We're gonna notice that when you get to five, it actually stops. So we're gonna have to go past five. You type in a number, so maybe let's go with 60. We're gonna start there, and we're gonna set a key frame on size and center. So those So the center refers to the translation. So the position off where it's located, size is obviously the size, and then we're gonna go forward. This is a lot of trial and error, but we're gonna go forward to say frame 80 which is roughly 2345 seconds ish. Actually, if we just go to frame ah, 100 that's gonna be four seconds, and we're going to bring the size down a bit. We're gonna go down to Maybe they're all right, cause we notice if we play, you know, we're just trying to imitate as it comes in. It comes in a little bit, we see a bit of an A and then it switches. Okay, so that's sort of what we're after. Here's we want to come in and we want to see a little bit of a letter so could probably even come in a little bit more. Something like that. And then it's automatically set a key frame. So if we play this back, you see, we got out pulsating effect, and we just go back, make sure it's playing at full speed. Cool. All right, now that we're at that one, this is where the animating gets a little bit fiddly. We need to use our arrow key to go to the next frame. One more frame. We're going to set a key frame so manually set a key frame for the center in the size. Then go forward. One more frame. We're going to return the size. Gonna make it a little bit smaller, and we're going to go to the top of this end. He it doesn't matter where you actually go to, to be honest. All right, you can sort of pick you the letter that you want to go to. We're going to start with the end. And so now if we go back, we have our animation, and then it jumps to the end, which is exactly how it works in the show. So now we can go forward a few more frames. So let's go forward. Another let's say another full four seconds and we're just going to on the X axes only gonna move forward only a little bit. We don't need it to go forward a whole lot. And so now if we play this back now does that. So it goes from there. Jumps goes straight to the end. Like so when Now we're gonna do another jump. So we're gonna go forward. One key frame, a key frame for size and sent up. Go forward again. We're going to change the size again. And now we're going to pick. Maybe let's go with the hey h Doesn't matter. It's This is all just up to you and then we're gonna go forward.
5. Part 3 : same amount, another four seconds, and we're going to animate that again. Now, the less animating this the better in terms of, like distance. Okay, so I'm looking at how far gone here, trying to copy that over here because it's a pretty slow title animation. So if we go back here, even that, you know, could be a little bit too fast. We go. Mm, maybe. And I'm just going making sure I'm on the right key frame and I'm just adjusting back a little bit, and that's gonna make it a little bit slower. So the next part of this animation is where it's going to come together at the very end. So Ah, this point here. Now, we're not gonna do these vertical letters. We probably could if we wanted to spend a lot more time on it. But this is the bit that were animating now. So we're going to again go forward one frame, set a key frame, go for another frame, and then we're going to re center it. So which is 0.5? You'll notice a 0.5 is dead center, and we can probably change the size as well because we again we don't want this. We want it to animate slow. So we're gonna started massively huge. So we're gonna probably started at, say, seven. We're going to go forward to frame 400. So another four seconds and we're going to reset it right to the start just by clicking. We go forward just by clicking that dot there, it resets it. So if we go through here, it skips and then it plays and it goes down like so So it is a little bit quick. We could probably maybe on this frame start sizing a bit smaller so that the transition isn't as intense. So next we're going to animate the sort of spacing off the text. If we go back to our text node under the first thing, we're animating the tracking. He okay, so we can spit. And this is going to be the section where they let us sort of come together. So what we're going to do is at frame where the text starts are at frame, I think 302 we're going to set a key frame just before for the tracking. Leave it at one. We're gonna jump forward, and we're going to have the tracking shift a little bit like so. So as the text comes in, it's coming in, spaced out and then at frame 400 we're just going to reset the tracking so that it's back to normal. So basically as it zooming in, the text is coming in together. But what we can actually do to change it so that it doesn't look like it's all just sort of shrinking is actually back here. We find out value. So we've gone through which said it at one point, let's say 1.2. So it starts that we're actually gonna change that value and have it so that it's actually at 1.2 at this point in time as well, so that it stays at that sort of spaced out point. And then at the very end, the letters stopped toe shrink together. So we go. So there you go. So the letters and then they start to shrink together, and we can even maybe uncheck that on habits so that at 4 20 it resets. So there's a little bit of a timing difference in the sense that the text comes in and then once the texts in its spot and at the right scale, the letters still continue to shrink in after the fact that just helps sort of sell the effect one sisters buffered through. We'll just play that to make sure. Yeah, I think that doesn't look too bad. We're going to smooth out this animation in the splint and if that were bright at the very end, So that's okay. So now we need to create our lines, right? So the we have a look at the very end of this keep going forward a little bit. We've got out ones here, and he pretty easy. It's just going to be again when you create a background and create make it read. We're going to with it selected, create a rectangle. We're going to move it up, change the size of it, and we're doing this some frame for 20 because this is when it appears we're gonna change the width to be as long as the text is and change the height so that it's nice and small gonna bring it down where it needs to go, and then we need to change how it actually looks. So now we can't see it because that's currently not being played in the viewers. What we're gonna do is grab the output of the background connected to the murders, gonna create other merged node. All right, so that we have just a blank sort of rectangle, and we're just gonna increase the border with just a little bit so that we have, ah, rectangle. And we're just gonna play around with how the positioning and where it looks. I think this needs to be a little bit thinner, so it just with the height, we're going to bring the high in just a smidgen mawr looks pretty good. There may be the border with a swell. Just bring that in just a little bit. Point are 58 really money adjustments. So there we have our line looking good, and all we need to do is add out glow to it, which is pretty simple, because all I'm going to do is copy this glory note here and then with the background selected, just hit paste, they go nice and simple, like so. So we just need do this two more times. So we need to again create another background read gonna connect it to the merge to output is going to create another merge node and we're going to create a rectangle. Best part about this one is that this one we can actually sort of just copy and paste. So we're going to change the width off this one. So going to change the width down to something like that change the heart into something quite small, going to position it where we think we need a habit position. So somewhere around there, change. Keep changing the parameters until we have something usable and again, we need it to kind of line up. You really want to, You can measure it. We're just sort of eyeballing it today and increase the border width again. So 0.6 I think we had a point of 58 depending on specific you want it to be and looking pretty good. Now, one thing I did mention is we just need to go back to the rectangle over here and we need to soften it out. So we're just gonna create a quick, soft edge. Not much point, maybe point double one just a very slight again to create that same effect that we were doing with the text. Going to do that here with the rectangle, create a quick, soft edge 0.1 Nice, very subtle. Gonna paste the glory nerd again. So we have the same glow effect. Now we have that we can just copy and paste that. So what we're gonna do is we're going to just copy those, and we're going to just paste them up the top here nice and easy, except that it's bad backwards. So let's just and then drag it into the merge three. So that's all merged together, and we just need repositioning, so we're gonna grab rectangle one, and we're just gonna go right over to the other.
6. Part 4 : Saad like so And now we have more or less finished logo. We just gotta animate these bars. But looking pretty good so far and toe animate those bars. You guess that we just need to create a mask. So it's pretty simple. We're going to put the mask into the merge node that is connected to those things. So for this rectangle for the top bar, we're gonna put a mask into the merge to, and that will affect everything above it, etcetera for the merger for and three. So with the merge to note, we're gonna hit control shift space type in rectangle, going create our mask as you see already doing what we need it to do. We're going to move it up. We're going to soften the edge a little bit, like so are, and then we're going to drop the height down. Doesn't need to be as high as it is, and we're going to bring the width right down to zero, so you can't see it anymore. We're gonna set a key frame at 4 20 which is when everything connects. Then we're going to move forward to for 40 so a full second bring the border, bring the wits ride up until it encompasses it. And so now we have a nice title. Boom covers. The whole thing looks good. Now, the way this works is the bottom ones. They spread out once the top one is finished. So we're going to quickly create a another rectangle nodes. So we're gonna shift space hit rectangle we're going to. So at 4 40 we're gonna keep framed the width, go forward 20 seconds and expand it. So now that that one appears as well, we're also going to soften the edge. So if we go forward, we just increase the softness of the edge a little bit. And quite simply, because this needs to be these two NATO animated same time, we just copy that Merge for Paste on. Now we have the effect mirrored on the other side, nice and easy. And all we really need to do now is two things. One. He's smooth out some of these animations because they can be a little bit harsh and add our film grain over the top to give it that retro eighties vibe. So first off, let's smooth out the animation. So let's open the spline editor up. Drag this up so we don't really need to see too much. And what we need animate use the character spacing. So I'm gonna check that one. And then with the character spacing checked, we're going to hit this button here is room to fit. So this is how the character spacing is currently animated. There's no animation Adul. And then we've got this quick animation here. So we need to highlight those last two they're on smooth those out, like so on. Let's grab these handles he and just sort of like, extend the way that this kind of given a nice, smooth ramp like so, Yeah, I reckon that'll do. So that's going to fix the way that the characters kind of when they come together, it's gonna hopefully buffer. It's gonna make it look a lot smoother. So see how they come together. They sort of slow together, just looks a little bit nicer. So now that that's done, we can get rid of that. We don't need to see that. Next thing we need to animate are the rectangles. So rectangle for there we go and we're gonna zoom to fit this pretty easy cause always does highlight all those and smooth them all out. And that is pretty much it nice and easy. And that's just going to if we close that down, that's just going to smooth out the animations for these rectangles at the end Here makes it look a little bit smoother. One last thing and we will have finished this stranger things. Effect is with the last merchant selected six space gonna type in grain. We're gonna put film grain right at the end. He on. The easiest way to see how this is going to effect is we want pretty much go to the zoomed in version. Right? So this part Hicks, we wanna have a look out. The grain is affecting everything. So we're going to go to one of our key frames at the start. He and we're just going to play around with the settings in the film grain we can obviously play through. So right now the film grain is pretty intense. He is a good point. This is a good one to sort of play with so we could reduce the complexity of the film grain That's just going to make it render faster. Going up is gonna make it rent a slower, probably A. It's probably not too bad the size. If we go really small, it's gonna be very smooth. We go very high. It's gonna be very rough. I feel like we want a bit of a smooth grain for this one. You know this? He turned the strength up to the strength down, but I think just a little bit stronger than normal. You know this to make it really rough, really smooth, little bit, Rafa and something like that. If we play through, it's gonna be really slow. But I think something like that and again, right at the end. He you can't really see it. You may be sort of can We could probably actually fiddle around with it a bit more. Let's maybe smooth it out a bit. Maybe strength a little bit lower. Have a look. See, Have that affects it. A stock. Yeah, I think that looks pretty. It's hard. It looks. Sometimes it looks better zoomed in, but I think I think it looks pretty good there. And what we could do is maybe change the color of the background so I know it's black. We could probably change it to be a bit of, ah, red tinted black. It's just going to help sell the effect, make it look like the colors spilling out onto it. So I'm just changing the color just a little bit. We don't want it to be super intense. So you know, the doc of the better, but a little bit. Red's not gonna hurt too much on there you go, guys, we have created the effects. If we go to the edit page, drop in the media pool, he is one of grand earlier. Let's delete that. Delete that. Let's bring this quick down and I'm gonna quickly just make sure that it's gonna render up and it's gonna render in the timeline. He we have created stranger things. Title in side of fusion in DaVinci Resolve. I really hope you guys found this tutorial fun and helpful, and, you know, we did a lot of different things inside a fusion so hopefully can sort of take that and start experimenting in your own time because that's sort of how I created this. And that's how we make great things is just by experimenting in Aaron time about things that make us interested. I guess
Nick Carter, Videographer, Photographer and VFX
