Intro to Lower-Thirds & Motion Graphics in DaVinci Resolve | Fusion 19

1. Introduction: Hey, guys, welcome back to this class. My name is Gijo Sengupta, for those of you who don't know me, I'm a huge film nerd. I specialize in everything film, starting from pre production to cinematography to production to post production, editing, grading, VFX, CGI, everything. It's my expertise, and I love film from the bottom of my heart. And just a quick background about who I am. I did my bachelor's and master's in films and animations with a specialization in CG and VFX. So I directed a lot of short films, lots of music videos, and a web series on prime video. Currently. I have been honored to have received more than two dozen awards and nominations, including Cans 2024, and I'm here to teach you guys lower thirds and motion graphics in DaVinci Resolve inside the Fusion page. Who is this class for? This class is for Bigginers and it's very, very big inner level. It's for people who are just starting out who want to enhance their footage by adding basic lower thirds, understanding what motion graphics is. It is for people who do not know how and where to start motion graphics and the concepts behind it. Again, I'm not just here to teach the tools. I'm here to teach you to use your mental memory, your brain muscles to apply that and train that, to be able to put it into your computer. So that is something that I will cover up on. I talk about the importance and the rules of motion graphics. Now there are animations which are pure animations, but we are covering only lower thirds and only motion graphics which go on live action footage. We will cover animation principles, not all 12 of them, but only five of them, which are important, in my opinion from all tried and tested all the films that I've made in my career. I have finalized and short listed five important animation principles that matter in the lower third industry and the motion graphics industry. Now, I'll be teaching some of that with examples. Will be talking about some basic titles that you can use. Most of all who look for motion graphics, who look for lower thirds usually go to after effects. But I want to teach you guys the fusion page because it is extremely powerful and it is extremely free. So we're going to cover that. It's a non destructive workflow. I understand sometimes you're editing in another software. You're going to after effects, importing, exporting. It can become a challenge. I'm going to teach you the motion graphics and the titles and the lower thirds in the Fusion page individual resolve, which is completely, completely. Free. I will be teaching you some custom text animation. I will be covering on how to animate a basic shape. Now, I'm reiterating this, but I will teach you guys the concept. So when I'm teaching you how to animate a shape, after that, I will teach you how to use that knowledge to make it into any shape that you want. So you will have the creative freedom. You will have those access to those muscles, to those gray matter to be able to do anything you want with this knowledge. And obviously we will talk about some fusion titles. The venture Resolve has a lot of by default plugins and by default just placeholders that we can use and how we can use some of those to enhance our footage, including call out animations, including stroke animations. We will also think about stroke animation. That is something which is frame by frame used to create that plotter style effect. So we will cover those as well. And that's pretty much it. It's a beginner level class. You don't really need any footage. I'm not going to be providing footage. You can use any footage that you want to use, and you just need a computer and vigiRsolve and you'll be all set to learn this amazing tool. So let's get started right away. See you there. 2. The Importance: So this module, I'm going to be covering some very fun stuff. Now, obviously, this gets into the world of animation, right? So animation is literally one of my favorite things when it comes to film, because it's my specialty, CGI, VFX, animation. These are like this is my specialty. This is where I thrive from, like, a passion perspective, right? So obviously we're going to not go into the deep three D animation. We're going to be going into mainly what motion graphics is. Motion graphics is basically two D animation. So those are some of the examples are titles. Some of the examples are credits. Some of the examples are things which you just see on screen, which are not shot, but just elements. Oh, like, especially if you see like YouTube videos and stuff like that, you will see a lot of elements floating around, right? Those things are called motion graphics. So motion graphics falls under the category of two D animation. Now, TD animation also is very, very vast. But what we're going to be talking about is not the standard frame by frame drawing, but we're going to be talking software generated two D animation. And usually the software that is very, very popular for TD animation is after effects, especially for motion graphics. And then there's Adobe Animate, which is mostly for character animation, which is you draw frame by frame. So we will not be focusing on that. We will be focusing on motion graphics because that is something that is mostly required for film production, especially during live action, especially if you're trying to give something to, let's say, to your clients, to your customers, and they want certain texts and stuff like that, that is when you use motion graphics. So the importance of motion graphics is basically it lies in their ability to enhance storytelling in general, right? Through elements. So sometimes what happens is you must have seen through this entire course is that what I'm telling you needs to also be shown to enhance what I'm saying. For example, right now, I'm just going to see which arm it is. So right now, my hand has five fingers. So you can see how I am enhancing, like, right over here to show that this is five fingers. So for example, the topic was five fingers is important. So you'll see, just a quick call out animation stating this is five fingers. So things like this is just an enhancement, right? Um, it is number one enhancement, and number two is to draw attention to a certain thing. For example, I'm drinking water. So let's say I am selling this product, which is a bottle. So now, this bottle, guys, can contain around 750 milliliters of water or whatever drink you want. So you saw the animation around the bottle as to how I am using this to draw attention towards the bottle rather than to my face. So that is what it does, right? And that's one thing. The other thing that it does, is it evokes emotion, and it increases viewer attention, especially in 2024, the way the world works, everything, people have the attention span, which is very, very less. So what motion graphics does is motion graphics immediately enhances that, and it increases viewer retention. Sometimes it can be used in movies for day one, Day two. Sometimes it could be stuff like, you know, daytime, it could be nighttime. It could be the time, sometimes in action movies you see middle of nowhere, you know, like those things that you see in the bot bottom third or sometimes like just huge The things are called lower thirds or mid thirds, right? So these are the importance of why motion graphics is important in film. It is always used, always. 3. The Rules: No. There are certain rules when it comes to motion graphics. So number one is unless it is pure motion graphics, it is it is important to not over dominate the screen, the frame with motion graphics, especially if it is live action. Now, there are, um, videos which are pure motion graphics as well. So those type of motion graphics are just animation explainers. You know, like a product or a service, things like that. Here you'll see an example. So, you want to reach out to your customers and grow your business. Most businesses find reaching their customers tedious and expensive. Traditional methods of SMS and emails simply don't give the desired results. These messages get lost in the maze and they never hear back from their customers. Have you faced such dead ends? Use of call center services is a better way to promote your newly launched products or to communicate that special offer. So you see, like in this example, this is explaining a service of a particular product through just motion graphics. Now, if you're doing motion graphics on live action, it is important to understand that it doesn't over dominate the entire frame, like how I used the bottle. It was just like, over here and not used in my entire frame, right? So that's number one. Number two is you need to make sure that motion graphics are not there for a long time. On the screen. That is super important to understand because if it's there too long, then it starts becoming a distractive element. So when you drew the attention with the motion graphics, and when you want your audience to focus back on the character or yourself, then that motion graphic still being there is going to be distracting after a certain point. So you need to make sure that you need to get rid of that, right? Number three, I would say, don't overdo motion graphics, right? That is something that most amateurs do a big mistake is they try to add every single effect that they know every single um, knowledge that they know into one film, into one music video, they're like, Oh, I know this, I know this. Let me see that tutor, let me see this tutorial and inculcate everything into one video. So that's a big no that shows that you're an amateur. Keep it simple. Don't overdo it. Understand the genre of the video that you're shooting. Is it a YouTube video? Is it a product video? Is it a service video? Is it something like a film that you're making a short film? Does the amount of time that is there? Does this particular aesthetic of it match, which brings me to my last point of the rules is aesthetic. Um Motion graphics usually includes two types of things elements, like squares, lines, circles, and text. So sometimes a lot of people what they do is they do not spend time looking for a good font, looking for a particular style. They're like, Oh, this looks cool. Let me slap it on my video. Let me do this. This is amazing tutorial. Let's use this for this. So sometimes you need to understand that, right, let me breathe for a bit. Let me see. The choices of fonts that is available. Will it match with the genre of the video that I am making, the film that I'm making? If it doesn't match, then you know that it's not really meant to be together. So how do I do that? How do I understand the aesthetic? So, for example, if you have, let's say, like, a romantic comedy, so fonts can be like, very, you know, like, flowy, cursive, then, like, just round edges. Those are certain times when, um, romance and comedy come into perspective. If you want something like action or thriller, basically something very serious, you just have the motion graphics need to be super, super pointed, you know, pointed, bold. It represents, you know, that boldness from each character. So you need to understand the difference between aesthetic and what you are trying to shoot, which is the genre. So keep these in mind, and so we cover two things why motion graphics is important and certain rule of thumb to motion graphics. Now, obviously, these rules, you can break them for an action film, you can do a cursive writing and do a font like that and animate that. But will it look good? I'm not really sure. It's a very subjective call, and it depends from each individual video to each individual video. I will not be able to tell you this is right, this is wrong? Yes, I can tell you this is a rule of thumb that should be followed. But obviously, when it comes to the creative industry, anything is possible and you can do whatever you want. But also, it needs to be pleasing to the viewer's eye, you know? Like, if I see, like, Jackie Chan fighting or, you know, just kicking some bad guys, and over there, suddenly I see, like, a flowery letter. Like, think about it. As an audience, how would you feel? It would feel weird, right? You would rather have something like white, bold, sharp edges where you show, like, Jackie Chan, ch, blah, blah, blah, something like that. So keep those in mind, and moving on to the next thing is the next lesson, we'll be talking about certain principles of animation that can be used for motion graphics in film, the basic ones. All right? Cool. 4. Introduction to Animation: Right, guys. So this is the animation principles that matter in motion graphics. Animation principles are 12 of them. There's a lot, and let me just show you a couple of them that is important. So we have animation principles. So you see if you Google them, you will have from Lesly University, you will have a total 12 of them. So we have squash and stretch. We have anticipation. So let me just go here. Anticipation. We have staging. We have straight ahead action and poster pose, follow through overlapping, slow and slow out or ease in ease out. Rc, secondary action, timing, exaggeration, solid drawing and appeal. Alright? So basically, these are certain things, 12 principles that are there in animation in total, whether it's three D, two D, or anything, stop motion. These are 12 principles which are important and which are principles. These are rules you cannot break, alright? When it comes to animation, these rules are what make um motion motion. So even in daily life, um, we were Ah. It's funny? This is a funny story. We were actually told to observe people in general, observe how cars move, observe how things fly, observe every single object, subject, living thing, non living thing, to understand exactly what exactly animation is. And these 12 principles together form this in reality motion, right? In reality motion. So, we will not obviously dive into those 12 rules of animation that is advanced animation. Today, we will talk about the rules that matter in motion graphics that you want to do in basic motion graphics that you want to do in film. Again, these motion graphics in the next lessons are going to be pretty basic. They are going to be helping to start you off very, very quickly in order to either do your film or if you have, hopefully, I hope you do have clients, submit it to them, right? 5. Follow Through Motion: So the first thing that we will talk about is follow through motion. Now, what is follow through motion? So it refers to the concept that separate parts of an object will basically continue moving even after you have stopped moving. So the best example is to use me over here. So let's say my arm, right? Now, what follow through motion is is if I just this now I'm going to do without follow through motion, right? Left to right, left to right, left to right. What follow through motion is this. You see this this little jiggle that happens? See this little jiggle that happens? That my friend is follow through motion. I'm trying to see if I can get some other object, but let me do it this way. Like this. Without follow through. I'm like letting my hand go. See? This little finger. So basically follow through motion is when the main the main movement goes by, and then there's still some minor movements of a secondary, um, secondary motion, secondary, um, object or subject that continues to move, basically, even after the object has itself stopped. So basically, let me just show you this in the most weirdest example, but I think it will really, really help, right? So let's go to my screen. So like, it doesn't matter what you're doing the animation of. I'm just trying to show an example. So let's take, uh let's take this graded clip. Let me just do Command C and go all the way right here. Command. There you. Alright. So let me just zoom into this one. So we have this one right here. So now, what I'm going to be doing is I'm going to be animating the Zoom of this, alright? So if I go to my inspector over here, uh, basically what I'm gonna be doing is I'm going to be animating this Zoom. So I'm gonna be going here, like, from here to boom. So I'm gonna animate it. Just imagine this is a box. I'm just gonna zoom over here. Alright? So we're gonna do that. So we'll use that as an example for follow through motion, alright? So I want to wear my headphones, just to make sure my audio doesn't lag, alright. It's fine for now, and I think the levels are also good, alright. But the headphones after a point, it really hurts you ears. Alright. So basically what I'm gonna be doing is I'm gonna have in the beginning, I will click this little thing, this little triangle. Sorry you can't see. Let me just go out. I'm going to be clicking this little triangle over here. So this is called a keyframe, right? So I'm going to click on that. So that means I'll be able to see keyframes. Now, I can't see anything because I haven't enabled on anything over here, but now what we'll do is we will now slowly we will animate this. I'm going to go here and keep this here for you guys. I will move this up so you can see. Alright, cool. So what I'll do is I'll go here to the first frame, right? I will reset everything. I will first add a keyframe, right? I'll add a keyframe over here, and I'll turn this on. So you can see immediately, like, a keyframe has been added. Alright, so then I move to the end and say I zoom out, right? So now I see another keyframe is added. So now if I play this So this is basically a motion. Now, how do I inculcate follow through motion in this? This is how you inculcate follow through. So basically, remember, um, my hand, so it goes this is follow through. Same thing with a bottle. See, like this bottle. So that is follow through motion. So it's basically. So basically, if I'm going backwards, if I come forwards, see how my head just like I was natural. Your head will move. You cannot go like this and stop. There's a minor head movement which will follow through your main movement. It's the laws of inertia in physics, which we learned in school. Okay. So now, going back to this thing over here, let me just zoom here. Okay. So you see, we have a Zoom. The way to add follow through motion is you go, I'm going to zoom in even more. I'm going to keep it, right here for you guys, remove the mixer, keep it on the right for you guys. Zoom a little bit out so you can see what I'm doing. Alright. Now, I go here. Now what I do is now obviously this doesn't have a secondary hand or a head. So how do you add follow through motion? So you go, let's say, two frames before, and now you see this over here, we see the level, which is 0.54, right? And it's traveling 1-0 0.54. So we'll go two frames, which I'm using the I'm using the arrow keys to move forward. One, two, three, four. Alright, so one, two. So over here, what I'll do is I'll move it. Sorry, I'll just do 0.54. Move it bigger. Move forward. Two frames. Move it back again. Move it forward. Now adjust a little bit. And then immediately see what I've done. If I open the graph, open the graph, and I kind of this is the most you can zoom. But if I see my graph like right here, that's my phone. You see, like these down, up, down, and then a little bit lower and then down. So basically, uh, that is what the thing is, like, the follow through motion. Now, let's play it so you understand. Let me play it for you guys. Watch. See? It feels like it has settled, right? That, my friend is boom. That is how you do a follow through, simple follow through motion, right? Pop. Now, you can always you can also like now, you can see, like, the keyframe between, um The key frame between sorry I'm mistake. Let me just remove myself so you can see me better. Yeah. So the key frame between this one was much more higher and this little one is lower. So now what I can do is I can take this, increase a little bit, take this, decrease a little bit. So now watch. So it's like a receding graph. So now if I play it. So now, obviously, that's not natural. What we'll do is we'll reduce it back to where it was. Okay, it's all about subtle movements. Now I can do one more, two more frames, and just increase a little bit. Literally one point decrease a little bit. So now watch. Same movement, but so again, it depends on the object as well. So for example, if the object is heavy, I will add, like, much more to it. So this is how you can add simple, um follow through motion. 6. Secondary Motion: Alright, so the next one we have is secondary emotion. Secondary emotion is basically movements that support the main action, and it's basically to add more dimension and more weight to, um, your main subject. For example, um, it could be just as an example, it could be when I'm walking, you know, you know, how we walk with our hands also, like, you know, swing. So what is our main action? Our main action is walking, right? But the hands moving is secondary motion. So basically, if you think of, like, let's say, a tail, right, a tail when the dog is, like, walking, the tail is, like, bouncing up and down, that is secondary action. So the primary action is the dog walking. The secondary action is the tail bouncing. Same thing when you're like, you know, like the slow motion, um, live action Bollywood movies where a person runs, and then, like, you know, the muscular chest just, like, goes up and down. Then, like, the hair just bounces like that. That, my friend is secondary emotion, right? In this footage, I can't really show secondary emotion, but those are certain examples of what um secondary emotion is. It could be when, like, when you're let's say when Superman is flying, you see the cape just fluttering, that is secondary emotion. It is basically something that supports the main action just to add more dimension to add more weight to the animation. Now, you can do it in certain times, you can do it through text. So sometimes the text would be main, and sometimes those texts might have some elements where the text is flying and some elements, so just fluttering behind. So those are where you have your creative juices flowing, and that is how you use secondary emotion. 7. Anticipation: Number three, we have um, anticipation. So anticipation, the way anticipation works is it's in the word itself. It is basically creating that anticipation before the actual action happens. Um, basically what it precedes the actual animation, and it's like, it makes the movements more believable and less, um, abrupt. So this technique is basically used when to tell the audience that an action is about to occur. For example, Think of it, list. So basic basic human movements, I want to guide you, a sigh of relief, right? The relief is the action, but the anticipation is the breathe in. The action is the breathe out. For example, That's the action. The anticipation is breathing in. So that is anticipation. When you're punching someone, remember, when you're punching someone, you just don't go pup, right? You go. You take a step back, and then you punch. So what does that do to you? Firstly, it gives power to your actual punch, and it prepares you for anticipation. Even, like, in life, everything that you do has anticipation. When you're jumping, okay, try jumping without bending your knees. Anything. You cannot do that. You cannot jump without bending your eels. You have to bend it just a little bit. That little bit bent is what anticipation is. It's the action that precedes the main action. When you are punching, when you're like, jumping, when you're about to, like, like that. Or when you're like, in cartoons, we have this thing where they go. Where they run? They do this. Remember the old Tom and Jerry movies, how they go like that. And then that is anticipation, alright? So this exists in real life, alright? And that is something that's super, super important to follow anticipation. Now, you can do sometimes in text what you can do. Like, for example, uh, let me just show you my screen. So the way I can do, okay, I undo everything, so let me just redo it. All the action, everything is deleted. Alright. Anyway, let's go to Anti special. Let me just do the quick animation one more time. Let's add a keyframe here, poop. And over here we had another motion zoomed in motion. Over there, two frames forward. I go a little bit back forward, front, B front. So we have simple movement follow through, let's just put all these keyframes, select these pop, pop, and move them together. So they have Alright, so that is basically what follow through motion is now anticipation. Now, think about it like this. You're zooming in. So before you zoom in, you want to anticipate that you're zooming in. So it's the action that precedes the main action, right? So over here, what I will do since you're zooming in, what I'll do is I'll do like a breathe out, two frames before. I'll do, like a breathe out, and then that'll move in, right? And then, same thing, we'll go over here, do one. What? You'll be odd. One. That didn't work out. I think it's better if I do through position. Actually, Zoom is a little bit confusing. So let's do position, actually. I think that'll be easier to visualize. So let's do here position. One, we'll just do like position here, we at this position here. All right. He moves to, let's say, pp position. Two frames before, little bit less. You can prefer less, you prefer more less. All right. So now I take on this key frame. You see? All right. So now let's increases. So now, anticipation is when I go basically Woop alright? So the opposite way. Sorry, I want to go click a keyframe here. Go all the way there. And now, watch. Et's just take this. Use this. You need to make it a little bit more longer, actually. It'll help. Those are Make this a little bit more closer to make it more believable. That's not believable at all. Let's take it like that. There you go. Just like like it's getting ready. It's going ready for the movement. Pup. So this is, like, a basic movement anticipation of how it can be done, right? 8. Ease in and Ease out: Now, moving on to the next one is, um, Ease in ease out. Now, what is Ease in Ease out? So I did that Es and Ease out over here. So basically, if you look over here, I kind of pressed this button. So basically, I didn't go through what I did, but that, my friend, this thing is called an ease in Ease out animation. It refers to the technique of gradually accelerating or decelerating animation. Now, example. Let's take this one. I take, let's say, I go here to this side position. I add a keyframe, right? I add a keyframe, and I go here, and then I go here, and I add another keyframe, right? So you see there are two keyframes now. Now, this movement, if you see the graph when I click here, this is called a linear movement, right? So this is called a linear movement. Now, what does this mean? I just there is no acceleration. There's no deceleration. It just goes, right? So the way to do this is basically ease in refers to a gradual acceleration to the beginning of the motion. If I click here and I do this, so if I click here and I do this, basically, it refers to a gradual acceleration. Roop and then basically ease out basically means a gradual deceleration. So if I take this and do that that'll basically see the difference in the motion. Now, let me just linear again, make it linear again. This is linear motion. Go. Now, I'm going to ease out, which is I'm going to decelerate it. So I'll add simple curve. Watch. See how that decelerates? Same thing if I ease in, if I go like that. Now, see this little S curve. This S means it's accelerating, very fast, decelerating. Watch. See the movement? This is ease and ease out. Let's say I'll make it linear again. Now I'll see the difference. Very bad movement. So easing in even if it's a little bit is also good. So ease this one. I click on this and I do that. Now, see the difference. So there's a slow. You know, it's more basically in layman terms, it makes the movement more smoother rather than making it. Pop, pop, pop. You ease in. Ease in. Accelerate? Decelerate. Alright? So it is used to make the motion appear more natural as it imitates the way objects move in real life, alright? There's no object. Otherwise, it's just a robot. It's just a robot. It's supposed to be super Oh. Simple. Smooth. That smoothness is what ease in ease out means. Think about it like this acceleration, deceleration. Imagine when you're driving a car or a bike, suddenly you press the brake. You just like you stop and you'll fall forward or you'll break the glass of your car, right? So decelerate your bike or your car, slowly hit the brakes is what deceleration means. Slowly accelerate is what ease in means. So ease in and ease out. So these are basically the um follow through secondary anticipation and esa es. These are the four principles that you need to follow for your basic motion graphics, right? And in the next lesson, we will be talking about some basic lower thirds and some basic enhancers that we can use in devient resolve fusion and how you can enhance your film. 9. Basic Titles: Alright, guys, so now today we'll be talking in this lesson. We'll be talking about basic, basic lower third animation, right? Now, before I explain what and how I'll be doing it, let's scrub through the timeline and see what we can achieve, where we can achieve, right? So we have this. We have this footage, this footage, this footage. Alright. We already added this text over here, and we have this one, right? So this was extra, so I'll just keep that should have said. Alright. So basically what we'll do is we'll add, like, a simple text over here, right? Just the beginning of this footage. Now, the way things work, alright, is you open this thing right here, and you see that over here in the effects panel, you'll be able to see, um basically different types of effects that you can do. So you want to remove the media pool, have these effects. So we have toolbox, video transitions, um, audio transitions, titles. So we have all these titles that you can use. Generators, um, effects that you have. These are binoculars. These are effects, CCTV, digital glitch, drone overlay, DSLR. So you have all of these things that is there. Then open effects, we have Zoom blur, um, just radial blur. So this is color. This is revival. So these go into, like, the advanced area, and we have fairlt effects, blah blah blah. So what we will be talking about is we'll be talking about titles, right? So the most basic title we have is simple left lower third, right? So now, I just drag it and drop it over here. Now, the main effect of this the main, um, part of this film is that you need to I want to showcase that this is a particular date. That was the whole point of this story. So what I do is over here, we have this title animation, so it comes as a text. And what I will do is, I'll go here. When you select the text, this is what right here is the inspector, right, right here is the inspector. Once you click the text, this is the inspector, right? You click on it. And now over here, you have certain options. You can obviously the text that you can put over here, let's say, I want to put, um, June 24. Alright? Or over here, since this is the small one, this is the small one, this sample is the big one. I'll put this as Tuesday, and over here, I'll put June 21. June 21, Alright? 2024. Okay. So basically, this is I'll remove the metadata. So these are all which is available here. So, to use it out here, we can choose the font, all the font that you want. So let's say I choose, um, let's say I choose SanzanaroO here, I also choose also choose Sansaro you see Sansnaro? Sanznaro Sansnaro I don't see it. PT starts with the P. Okay, there you go. Alright. So this is basically, um, how this footage, like over here, this is how it looks, right? The font, the style that I chose to do. So basically now, what I'm going to be doing is I'm going to be you have different option various options. So this option size tracking, and these are the overall settings, right? Settings is as in position of the text. You can see, like, the position moving. Y axis and there's X axis. You can zoom over here. Alright. So this is the anchor point, I can move it. And then if I zoom it, you see the zoom changes. So let's say I put the position, like, right here. So what you can do is you can actually add remove this this area you can do broadcasting film. I do a 177 basically, that means 16 by nine, and I can do a 185 or I can do a 235 if I want. Alright? So I do a 177, which is already there. What I'm going to be doing, I'm going to do a title safe. So I'm going to keep the title inside over there, just a basically as a safeguard, alright? So basically, now what I'll do is I'll position it right here. Put it right here, just as a title safe. So it's basically a safe guide for titles. That's what it means. Now I go to the title again. Now what I can do is, let me just make this a little bit more bigger so you can see, put this on this side. Alright. So now, size, obviously, that is the size. This is the tracking how spread apart you want. Line spacing is between the spacing. Font style, you can do a line like that, a line like this. You can do like a strike through. You can do like a square or like a bottom font case, you can do mixed or you can do all caps, that's possible. Now, position. I can change it like maybe I want it like right here, not exactly over there. And I can zoom in over here as well. And this is your rotation angle, right? So this is something that you can do. Second, we have same type of options, but over here. Now, let's say I want this one to be black. So it comes up over here. You can choose black. Let's say I want to pick a color from the seam. So I can pick this color it picks that color. But actually, I don't like this. Let me pick this Mt car just for the vibes of it and make it a little bit more brighter. Boom. So obviously, now this 2024, I can't really see as properly, right? So what I can do now is I can go to the stroke. I can go over here, drop shadow. The stroke, I can increase the stroke a little bit. So you see how that's basically building the stroke. So I'm sure you can't see it, so let me just scroll down here. Yeah, there you go. So you see the stroke over here? That's the stroke that does it. You can do an outside only. So it creates it on the outside, I really doesn't affect it. I can do something like that. Let me remove this. Let's do a shadow. That's the shadow like right. Like, it is basically the offset of the X axis, maybe like over here, Y. And if I want, I can make it more blur. If I want your paste, I can make it completely lighter or completely much. Now, background, I can do basically, I can do, like, a S, I want the colour to be like red, like that. Outline Olin color leads to green, for example. I'm just seeing what is possible. So safe width, height, move the center, right there, take the width the part a little bit more, move the center right there, and change the width a little bit more. Put the center, right there. And put it like that. And now, since this is outside, I take the entire position, and I can move it up, like, right there. Obviously, the color choice that I did is complete trash. So first thing, I'll remove the shadow over here. The color, what I'll do is I'll make it dark like this. Maybe let me pick this color and then make it dark, right? And this background, maybe I can. Border, sorry. I can choose, like, a color of, let's say, let's say this one. Alright. So, again, this is something that you can just obviously you can design it. You can take the radius, you can make a little bit more, you know, just little round if you want it. So that's something basically what you can do with, uh, your lower thirds, basic lower thirds. So you see that? I added the opacity. I can go like that, I can go like this. Is that something you can play around with? Alright? So basically, this is what um, lower third creating a lower third is, right? So, so now obviously you see it appears, arret it to my favorite. I do like a dissolve over here towards the beginning and towards the end. Now, basically if I zoom in, I have a plate, Tuesday, 21st June 2024, Zoma. So that's basically a basic walk around of how to add titles. So you go to effects, titles, and these are your titles that are available, right? So let me delete this for now. Now, the same thing what you can do is you can do this infusion. 10. Custom Text Animation: All right. So basically what I will be doing is I will be clicking this one, this little clip right here and going to Fusion. Alright. So now, Okay, I'm going to make sure choose options, build flow vertically. There you go. Cause I don't like to work from left to right. Close this up a little bit. Media in how I explain media out, right? It's like, this is the in node, this is the out node. So everything your workspace would be completely here. So now, the way it works is there's this node called merge. So merge is basically it merges two different nodes together, okay? The inputs that it has is the yellow is basically the background. The green is the foreground. Now, let's say if I add a simple, um, Text. I have a text. Not a three D text, but I'll just add regular text here. Now, if I add a merge here, I'm holding Shift and dragging it, then I can just put it, or I can just remove it. Connect the merge output through the media out. Now, the text is foreground. The footage is background because you want the text to be on top of the footage, right? So keep in mind that the yellow is the background, so I take this, put it in the yellow. I take the text, I put it in the green, right? Which is the foreground. And over here, let's say, I write. Monday, June 21. Alright? And I take this position, and move it here. So this position and, uh, yeah, this position, I move it. Sit down. I put it, like, right there. Alright. Is basically a simple node tree as to how you can add your text, right? Now, same thing. We chose PT cents arrow, right? Take the size, you can the same options right here. Line spacing doesn't make sense. If I'm doing over here, then line spacing would make sense. But since I'm putting everything in one line, it won't make sense, right? Now, what is beautiful about fusion is we have these much, much, many more options, right? So I can do layout. I can do Watch. I can make it go backwards and make it come forward. So it would be frame or it could be point, and it could go like that. So you have different perspectives that you can play around with. Let's say I can do circle. I can, let's say, move it like this, move it like that. Size bring it up and down, and fit characters, I can do none. I can do it just horizontally. I can do it just size to fit a circle, then you have a path. Basically, you can take the size and do that. So basically what we're going to be choosing is point. We have transform. Obviously, this is what moving stuff around is. So I select the node. I move it like this as well. So that's something that you can do. Now, shading is same. You can do, like all different types of shading. You can do this. You can do, like a solid, you can do like a line. So I want you guys to have this. So for example, you can completely blow it out. You can blow it out. You can apply soft, Mr. Filcolor. You can glow it out. So these are different options that you can basically do, right? And if you see this diamond on the side, that means you can animate it, right? So the way you can animate is you have your keyframes here and you have your spline here. So I'm going to remove myself from the screen. So all can see this properly. You can animate anything that you want. For example, you go, like, to this frame number here. You add, let's say, um, what were we talking that we were going to be doing? Let's say we're going to be softness, right? So since you add a key from here, you move forward in time and you remove the softness, come forward and remove the softness, right? So now, when you play it, you see? It becomes soft and it becomes unsoft. So if you see over here, there are key frames over here. I'm holding command and scrolling. You can see the softness, the path. Softness the path. These are the key frames which I use. I can use this to move it around. I can make it closer. I can make all of these very, very close, and this is basically the graph. If I click here and I see, let's say, not the path, but the softness, I can see like this is basically the graph. Obviously, this is linear. What I can do, I can take this, press the letter S, smooth it out over here, S smooth it out, S smooth it out. All right? You can do that, or you can use this smooth. Basically, this is what easing is. So now, You see, that is a basic thing. So anything that has, um, keyframes, you can animate, right? So let me just take this text. Copy this, take this, delete this, take another text, start from start again from fresh. June 21. Monday. Okay. So now let's put this position, like, right here. Alright, now, what I'm going to be showing you is something super, super fun. Okay? Watch this. It's very important to pay attention here. Now, over here in this text area, there's a keyframe here. Now, what in the world does that keyframe mean? For that, you would have never thought to do this. But on the text itself, if you right click you will see so many things are there. Wow. What is all of this? Now, let's talk about some basic basic aspects, right? You see the modifiers, how this is graded out. What we will do is we will enable that, right? I right click. I go here to follower. I click on follower. Look at that. Modifiers gets enabled. So I go to Modifiers now, and then I go to my text, right? Or I go to my Transform and look at all these beautiful options that are there. I take the Y. Look, you don't really see anything happening, right? That's because there is no key frames. Take this, move forward in time. Look at that. Isn't that amazing? Now, what we'll do is we'll we'll animate a bloop, like a quick bloop animation like that, alright? Like the text basically appearing all of a sudden, right? So now, what I'll go I'll go, let's play for a bit. Alright, so we'll start the animation here. So I'll go all the way to zero, put a keyframe there. It's gone, right? So I'll turn on my key frames right here, my spline. Let me go to my screen so you can see everything. All right. So now I added a keyframe here. You can see the white dot over here. Key frame? I'll go, let's say, I want it to come right there, right? So I increase it to, like, like that. Added a keyframe. Same thing. Now we're gonna be doing follow through motion, right? Down. Up. Down. Up. Down. Alright. Let's play it out. Alright. So now let's zoom in over here. So obviously, this is way too far apart. As well do as out this movie. Is closing. So now. Watch. See how beautiful that is? Oh. Awesome. See? Now you have an animation. Now, I'll take this character size Y, I'll zoom into the graph. Now what I'll do is I'll take this S, take this S, smooth all of these to add some nice acceleration desleration through our ease in ease out. See how amazing that looks, right? That is something you can do if you want. Now, let's add some more animation to our lower thirds. So now we have this. Now what is pivot? Let's play around with it. Let's add some key frames here. Let's do text, modifiers, two Alright. I want to choose my text, modifiers, choose my transform, right? So let's do f. I want to see what this does. This doesn't do anything per se. This displaces. That just you displacement. Okay, that doesn't. Not really helpful, per se. Tea frames. Alright, let me have shear. Let's take the fends here. I just want to see what this does. Oh, wow. So now we can add some. Secondary motion. Let's see rotation. How can we rotate this? Let's take this one to see how it does. So it comes up. Boom. Alright. So basically what we can do is right when it's coming right here, what we can do is we can rotate it downwards and come up. Okay. Let's do that. So when it's starting to come, at this point, what we'll do is let's reset this. Let's add a keyframe and we'll put it lower. Lower. So we'll take the ski frame and we'll put it lower and take the ski frame and delete it. All right. So it's going. Like, right, when it's here, I will move it to zero. So look at that. It looks like it's like Whoo. Right? So this is what you can do with minor minor movements. Imagine the amount of things that you can create, right? That is what makes or breaks, honestly, um, motion graphics. And using these principles, if I had just if I had just not done any follow through motion or, like, simple movements or like over here, let's say, I take the adjustments over here, and I take this one. I ease this out, right? I ease this out with S, take this ease it out with S. So the difference it makes, it's like a card animation, like like that. See? See, the different side mix, that is what my friend is makes or breaks, honestly, makes or breaks. Animation. Now, we are Let's say we are done with our text, right? So now I want to add proper, you know, like that box or that beautiful, um, what do you call it? That material which happens, like, you know, like, towards, um, the background, right? I got scared. I thought I was not recording. We'll add a simple background noise, background noise. We'll take it one, and what we'll do is we'll add a polygon and we'll connect this to the polygon. So connect the polygon to the background. Alright? What we will do is we'll take over here on the top left, you'll be able to see some options that is available to you. So what I'll do is I will make up. Like a simple box sort of thing. Right? So what I'll do is I'll take this and this background, and I'll merge it over here, right? So obviously, this will be like right here. Alright. So basically I'll take this polygon, make it like that. Take this py back here. Alright, so take the background. I will, um, look at the color, and I will change it to at that, right? Just to vibe with the overall color. Now, let's look at the text animation, for example, the keyframe start right here, right? Alright, beautiful. Now I want the polygon to firstly, not be here. So I'm gonna take it over here. I want to move it across, right here. Alright? So what I can do is move it across. What I can do is this center, I can just add a keyframe, like right here. Alright? So now added a keyframe. What I will do is The text comes at frame number. The animation starts at frame number right here, 1325. So I want the rectangle to be there before that, right? So I go over here. I select my keyframes and I choose my polygon, right? I see my keyframe is right here. What I'll do is I'll move this keyframe. Back, right? So move here. So this is very easy because I can see, like, where I need to end my animation. So like, right here is where it starts to make sure like this polygon comes beforehand. Alright so I see this is my area. So I will come right there, right? But obviously I want it before. What I'll do is I'll just move it right before. Okay, right before. And then I will take my spine. I choose my polygon, the center path, the displacement. I want to disable my text, Disable everything, actually. Just look at my polygon, right? Take my displacement. I don't care about this. Take a graph. Boop. Smooth that ****. Smooth that **** out bro and now take a look. So now we have something. Look at that. Now, since we're having that jiggly, that wobbly movement, I think it's important that we add it two right here, right? So two frames before, little back, two frames under little back two films before little back, two frames before. After little back, right? Now, if we take a look that didn't work. Sorry. Let's delete this key frame, right? So go here, go here. Two frames before, we move it to the front. Two frames before, we move it back. The frames, a little bit to the forward. Frames a little bit more back. So, you know what I'm doing a actually? I'm using the arrow keys to actually, um, move the polygon and not the actual um, the actual keyframe the timeline, basically. Alright, let's play one more time. Like that. Moves here. So I move two frames forward. Move back. Then I move one, two. Get more. One, two. Move it a little bit more back. One, two, a little bit. And the final touch comes back right here. Now, play. Wow. Look at that. We have a basic lower third animation done. Alright? So these are some things of how you can do, um, animation, right? This was, um, the introduction to Lower Thirds. Now, obviously, over here, what we created is obviously it's fun. Let's move this out of the way. Look at that. Juda now obviously I can adjust this and make it based on our title safe. But you get the point of how you can create any or and Michigan twier on those settings and make 11. Animating a basic Shape: No. DeventireRsolve is so beautiful. It comes with its individual um, animations as well. So one more thing I want to shout out is you see the stars over here, that basically means that um fusion has been applied. So if you right click here, right click here, you can go to open Infusion page. You can see your entire notary and all the work that you've done, alright? Just keeping that in mind. Sometimes you might be like, Oh, what sometimes will happen is you click Fusion and you won't see anything. So anytime to avoid that, you just right click Open Infusion page, right? So that's something you can do. Alright. Now this is basically done. Now, one more thing I wanted to just show you right open in fusion page is what you can do is in future, if, let's say, want to just do, like, animate lines or something like that, you can also do that, right? So let's add one more background, which is this one. And we'll add, um, let's say, like a rectangle to, take that. Take the rectangle. I'll just make it like small. It's small. So what you can do is, um, if you want, you can let's you take this over here, like this thing, you like, do, like, a line like that, and then you go forward in time. You can, like, like, just animate that. So it could be It animation. Move it. Like there. So you see this line over here? Scale to fit, right? So you see. We just have a simple things just going like that, right? So let's say I take the rectangle here, I just click over here, and I see like there's some keyframes. I just select all of them, smooth it out, and maybe I can take the two keyframes over here and move them completely closer to each other. So then it'll just be faster. Right, so that is something how you can, like, add some line animations through, like, simple rectangles and stuff is how you can do it. Alright? In the next lesson, what we will be talking about is we'll be exploring some fusion titles and how you can, um, um, edit them. And also, we'll talk about something called stroke animation and how you can use that to, um, enhance your footage, and we'll try to use some nice callous and some nice, lower thirds and use it with our perspective tracking, right? See you guys. 12. Fusion Titles: Alright, guys, so welcome to the next lesson. So as we discussed, we're going to be going through some of the fusion titles as we had discussed in the earlier lesson. So look at this. Good effects, we choose I'm going to open this up. So all of these fusion titles that you have is something that we can use. Look at that background review, lower third. So, for example, we have this one, right? So what I'm going to be doing is I'm going to be resetting this. So this shows you, like how if you want to just make it clean completely, there's this thing called um Reset. Reset, reset, reset. Sometimes I just don't find it. Reset fusion composition. There you go. Reset, and all the nodes will just get clear because of that, right? So now that's done. So now if you open fusion, technically, it should be gone. Yeah, everything is gone. All right. Back to Edit page. Now, let's say what we can do now is, let's say we use this background review. Let's say we drag this over here. So it does like a pure, background review. So you can have this, stand it here. What we could do is we could take the settings. We change the position to left, change it to right. You can see, like how it already has like a full blown um, Alpha. Like, you can see, like, the background, right? That's one thing that we can do. So let's remove this. We have some stuff like simple clean and simple lower third. So we can choose something like that. So it just comes up. So you see how this movement so we have a fade in, and then we have like an ease and ease out, right? Look at that. So if we open this in the fusion page, I am going to remove all of these, and I'm going to just look at the big text, and I want to look at my key frames, and I am going to see the graphs over here, right? So, look at that. See how I told you guys about the simple Ease. This is the opacity that's being animated and the opacity of the box that's also been animated. So this one is just the opacity. This one is basically the transform, which is, like, the center displacement is what we had done. I don't know if you remember, but if you remember, like, the the movement. So we have a simple moving from here to there, here, to there, simple playing it from there. So now let's say I want to move it a bit more faster. Now you know what to do, is you can just um take like the keyframes over here, choose, let's say, the box, not the box. I want to transform, the center, the displacement. So I just select these. I zoom zoom it a little bit.'s say I want to move these together. I want to just move this one a little bit more faster. So now watch. Now this is much more faster. I want to have it come a little bit more later. Look at that. So you can do so you can take a fusion title like that and you can edit it if you want, as well. So let's say I want to see the rectangle, what they have here. This is a rectangle. This is a box that they have, and they have a color. I'm just trying to see what the color is. So here, I'm sure the color over here is you can change it to your color palette. So So you can see that is what is being done currently. And a keyframe stretcher, basically, is if now there are two keyframes, let's say together. So keyframe stretcher, what it does is it just stretched or is the key frame apart. So basically what that does, it'll just slow stuff down. Alright? So you can decrease that if you want. You can decrease that its size, overall, the length of it. You can change that up. So now what happens is it's much more slower, right? Now over here we have the color. Over here, we have the box. You can see, obviously, in our key frames, you can see that the box right now, the opacity is being edited, right? So it comes on. So over here it goes from zero to. So, for example, I want it to come after the text, so I can just choose this one. Bring it closer like that. So now, Like that. Boom. So, see, that's how you can kind of edit certain things, and you can literally, you can now see that. This is one. So basically, these are is what some fusion titles. So, oh, let's choose another example just for the vibes of it. Let's say we do Oh, my God, look at this. This is the one that we had created. Now, what they did, the only flip that they did is they offset it a little bit, right? Look at that. Isn't that funny? And then there's this thing, which is a jitter, so you can kind of add this. But you can do that. You can change, like, the color of it. You can change it to something like this the tracking, you can change that. Like a jitter, so you can have a jitter edge. So you have all of these beautiful beautiful options that already Fusion provides you with. So now. Look at that. Isn't that lovely? Now. Let's take Dislip for example, what we can do. 13. Call Out Animation: Is let's say we're trying to talk about, let's say, this watch, right? So for that, what we do is we do something called a call out animation. Alright? So call out to animate that is a text, a line, and a circle, right? So, in theory, if you want to do a call out, you have to have a text, a line, which is like a rectangle very short like that, and then a circle, which is a call out. So, in theory, this is how it looks. Let me get rid of this, see, close it out. So you see here? This is how it looks. Like right here. All right. So that's how basically call out looks. Now, let's say we want to talk about the watch, let's say we call it um, $600. Right? You want to call the watch. So we choose that. We basically change the size of it, right? I want to take the track. Tracking, that's fine. Let's change the color of it to, let's say, black in colour, right? And we scroll down and let me go to my top right. Yeah. Let me decrease this. Let me take the line. Let's make this one black as well. Actually, let's make this color this color, and we change it to like that. Same thing. I want to change the color of the Let's add this color, actually I don't want to add this color. And let's take this color as well. Okay. And we have emphasis. We can I don't want to emphasis. That's fine. Now, now you see like over here, if I zoom in, you'll see like we have a diamond. Now we can make this to like a circle, right? So let's do a diamond and we can change the rotation of it. So let's keep it as a diamond. And what we would do is I will bring it, like, over here and the corners, basically. Oh, there's virgins, as well. Look at that. Sachos Version one. So now what I want to do is I want to change this particular call out to, let's say, pointing towards the watch, right? So basically, what I did is, first let me fix the position of when I want it. So zoom in. Right here is when I want the animation to start. Call out happens. $600. And this is where I want it to end. Take this. I want to first change this entire line position. Like that. So I want to move it, like, maybe, like, there. So it'll come, like, right there. I'll just change it, maybe like over here. This should be good. Alright? I think this is fine. So we'll point to the watch. Yeah, there you go. And now what we do as simple as this for call out animations, which is good is you select it again. Boom, new fusion clip and take this. Sorry. Watch. Alright? So that's what we do. So basically, this is an enhancer. So basically, I take this, now I right click, I open a Fusion Big Boom. Alright. So this is background. So I will choose as background and this one. So basically, I'm doing heading F two for, um renaming it, move my key Um, I will zoom out a little bit. This is a merge background merge media out, right? So now, if I take this one, take the watch, for example. So we see pup, bup right? And two. Alright. Beautiful. So what I'll do is I will remove this thing. I will add tracker. Remember the tracker that we did. Alright? So I'll go over here. I zoom in, and I select something. So I have the tracker. And what I want to do is I want to track this. Let's see. Track forward from current time. But it's because it was not in a node. Alright, so media out, choose to take tracker. I choose, like, right here, the watch. I'm gonna choose a place which has a little bit more contrast. I think this black part is nice. All right. And what I'll do is I'll just track forward. There you go. It's tracking. When you're completed, I go to the back and I track backwards. Now, I don't think the hand movement is going to be properly, rendered. Now I connect this watch back to the tracker again. Obviously, you can't see anything because I have not changed the operation to match move. Now Look at that. Now if I like Sorry. There you go. I I just view it, we have this is not really on the watch. So now what we can do is we can take shift space and we can transform it. What I'll do is I'll just move it to so it's on the watch, right? So now if we play it. Look at that. On the watch. Let's see how it does with the bang, whether the truck does a good job or. Alright. It was gone from here, so it doesn't make a difference. What we'll do, we'll go back here, we'll right click, we will open in timeline. We'll see how it is. Okay, so since it's like that, what we'll do is we'll go to the effects, toolbox, simple cross dissolve. I want to just make sure it goes away slowly. All right. Then we'll go back to timeline. So this is why I keep stack times because you can keep tabs of what all timelines that you have, right? So, I go back to the timeline, right click, um, right click. I open in Fusion page, pop up. Now I play Look at that. Simple fit out. So these are some ways how you can add enhancers. So the way to do it is now if I show you, I'll add a new one just so I can show you guys titles. We use a call out. Alright, so I'm just going to show you guys over here in this particular one. I do open IfusionPage. So if you see this title, call out, right? So I'm going to just open it and just show you the nodes over here. All right. I go to show you the nodes here. So if you see, we have a rectangle, right? We have a rectangle which is on the left is basically with Alpha. Now, we have a render node, which is basically this little diamond, and we have a transform node, which basically, um, it opens and closes that rectangle, and then we have a polygon node. Then we have a line, which is a simple path animation, a text, a merge, a keyframe strutuer again. Now, these things are a little bit advanced, but if you take a look at the line is what we had discussed, right? So if you go, let's say to my keyframes, I go to my call out. I go to my um, text, you know, I go to my line. If I zoom out, see my line, you see where the keyframes are there. So like the text, we have the opacity. The transform, we have the size. So these are some things basically like we have a line, a diamond, which gets animated over time, right? So that's something which you can also create on anything that you want. So, for example, if I see, like if I do like a new fusion composition, I call it test line, right? So now I open this infusion, let's say. So now what's gonna happen is I add, let's say, a background, and I add a rectangle node, and then I just I don't want it overhear. Sorry, I don't want it as a mask. I want it to be here, and I want it to be here. Like that. Alright. So now if I take a look over here, take the background, take the rectangle, decrease the size. So now what's exactly happening here? So I go here, I make it very small, like that. So what exactly am I changing? Look at that. Can you tell what I'm changing? I, my friend. I'm changing the width, right? So if I take this one way small right here, I change the width all the way over here. Alright? I add a key frame. Boop. I go forward. I change the width. So now, what does that do? It gives me a line. Alright. Now if I want to make this faster, like that animation, I can just go like here. Boop. See? That is my friend. What animation? Same thing, like if I add, say, another background, and this time, I will add an ellipse. I connect it here. Boom, change this. What color was this? Black color. Changes also to black color. Alright? I take this, I merge it. Alright. So now I take the ellipse. Let's say I reduce the size. Overall, Size. Setting windows here. It bring bottles to here. Take the ellipse. So I do 0.03 here and take this one. Do 0.03 as well. All right? Then I take it over here, move it here. Now I know, for example, in my rectangle, I had over here. It comes up here. So now at this point, I want the ball to come up. So what will I do? Right over here. And then at this point, I want to add a keyframe to, let's say, Um, the width and the height, right? And then it goes so at this one, I want to do, let's say, zero, zero. And then for back in time, I do 0.03, 0.03, right? What's that. Now, obviously, this is too close to each other. So I'll just select these zoom in a little bit. Select this one, select move this gray head around. Select these two, move them apart. Now, look at that. Now what do I need to do? I need to just go here, spline it, choose my lips with height, zoom in. Take this, ease them out for animation. Same thing. I take my Width, Zoom out. Take this one S for zooming out. And then we have simple call out animation. You can use this wherever you want. Now, let's say I want to keep this test line. I want to keep it here. Now if I want, I can go over here. I can rotate it, rotate it, position it, like right here, zoom it out a little bit, position it, move it down, position it over here, and then boom. You have call out animation, right? That's one type of animation that can be. I just wanted to show you how the process is from a custom way. So now, all of these you have all of these different types of things that are available for you. The whole concept is to use the same play aound with those settings and you'll be able to see how beautiful stuff you can make, alright? You have all of these stuff that you can just put into your use, and you can just make it accordingly with different colours. All of them at the inspector will have their own, own Um, how do I put it? Their own own options. Alright? Now, let me just make sure I'm recording. Beautiful. I am recording. Alright. 14. Stroke Animation: Sounds good. Alright, now moving on to this thing, another type of enhancer, which is called stroke animation, right? This is super, super fun. Let's find some nice, um, let's find nice, uh, how do I put it. Here's pist. Let's find something that he might like. This I want. We use this one. Cool. We'll use this one. I'll just go ahead. I'll delete this audio. Alright, cool. So what we will do is we'll choose this part. We'll go here, Command B, delete this. All right. Alright, we'll use this one, right? So now, we're gonna be talking about stroke animation, how we can use that to enhance. Alright, let's use this. Let's choose a clip which is small. So he's thinking, thinking we can use some of his brain, and uses his body, becomes happy after seeing the laptop. Alright. This one, I'll take this one out. And thank you. There you go. B and delete. So we'll just use this little clip that we have, okay? Poop, open infusion page. Pump. Right. Let me take myself off the screen for a bit so you guys can see what I'm doing. Removing the spine, media out, media in. So what I'll do here is first, I'm gonna add a background background. So, you see, see it merged, then I add a paint. Alright, paint. And what I'll do is I'll go here, take the background, remove the Alpha, remove the alpha completely, now paint. Now what I'm seeing is Okay, cool. Cool that. So I'll take this. I'll just build an anchor here using the t button and I'll choose another one called soft glow. Alright. So I'll go to paint. Beautiful. So I choose change the color maybe thing had maybe two. All right. That sounds good. Take the glow. I'm going to take the pain, see how it is. Take the glow. All right. I'm just going to see how it looks without with the glow. All right. So I don't want to use that much of a glow size. Maybe that bring the gain down a little bit. Threshold like that. So I can do that. I can do a box if I want, fast cogion is honestly the best. Take the paint, alright? We'll take the brush shape. We'll decrease the size, alright. So now what I'll do is I will delete this. Make a fresh one, take the brush. What I'll do is I'll just increase this, increase it like this, alright? So what this will do will just give me space to work. I go to see how it looks. Alright beautiful. Take the color, make it like blue. Perfect. Alright, now, this is what we're going to be doing. So idly, the way you can do it is, this is the size of brush, how much you want. So I'm going to make it really small, so it's like this, maybe a little bit more smaller. Like that. All right. Softness I'll decrease a little bit. So it's a little bit more crisper. Uh, yeah, that's it. So now you want to showcase where, uh, your enhancing is. So let's say we use over here, think, like right here, right? So now. Over here is where your principles of animation will come into play. Alright. This is where frame by frame animation is super important, right? So I start off with just poop a little bit, right? Watch what I'm doing. Go forward. See. That stroke at that point of time and that frame only is there, right? So I need to animate it frame by frame and go like that. I go like this. Next frame. Travels. Travels. Travels. I'm using the arochy to move frame by frame. Pop, boop, boop, boop, boop. What about? Pop. I'm remembering what he was doing before, following the arcs of the body. Going down his arm, going down his arm, using this as the laptop going line by line. Make it more fun, go down his grease. Cross his eyebrows. Look at that. So basically what I've done is, look, this is what I've created. See? So everything you can see, over here on the left side is frame by frame animation. So it's basically of what you want to do, right? Boop. So this is kind of something like an enhancement. Let's say now over here, at this point, I just want to enhance, let's say, this thing, like the pillow. So we do one, one, two, one, two, three, one, two, three, one, two, three, one, two, three, one, two, one, one, little bit. Watch this. Look at that. So that, my friend, is what stroke animation is, and that can be used to quickly enhance certain stuff. For example, over here, you just do like a circle, circle, maybe make it a little bit more bigger. Smaller. Smaller. So just pop, pop. Oop. Poop. So that is what um, stroke animation is, and that kind of ends the basics of motion graphics. So now you have what it takes to basically build enhancers your titles, lower thirds and how to manipulate some of the lower thirds in the Fusion page. So explore the options, and especially when it comes to the follower animation, when it comes to key framing, go crazy, do something which is relevant to your series, relevant to your film, relevant to your video. And I promise you, you will create something amazing. I want you to do something, practice on some of the texts, and hit them shoot render some of your stuff out to discord. I would love to overview them. Love to, um, critique them, give you some constructive feedback. And, guys, this is the this is the last lesson for the ultimate filmmaker program. After this, you guys have the basics ready. You guys have everything ready to make a complete film. And you have the knowledge, you have the software knowledge, you have the creative knowledge to do it. And I myself cannot believe that I was able to finish this even while I'm recording this, it's feels nice because this is my last recording for the uh, the filmmaker program, and everything beyond this is going to be purely advanced to a certain side where you want to go. If you want to go into cinematography, I'll be making something purely on camera. If you want to do three D animation, I'll be having courses based on that. So comment below what how you felt this entire path was, but you are completely equipped and you are ready to rock and roll, right? So now, your task is build a film, even if it's short shots, make it proper, have those footages ready, and start building a portfolio on Bhands or on your Instagram, or wherever, even if it's not a complete film, even if it's a few shots, few animations of motion graphics or just a few, like, clippings, put them up on your portfolio. Start building that out and start putting captions either on Bhands or on, um, your Instagram, post some of them on LinkedIn and start building your portfolio if you are just starting out, alright? Hey me up with anything that you need, and I'm always available on Discord. This is not the end of the Arch Film Academy. There will be many more courses to come. Based on your request, I'll be listening to that now on to understand what my students want. Alright? We'll be diving into real Engine. We'll be diving into Maya. We'll be diving into Nuk after effects, a lot many. Alright? Take it easy. Bye. 15. Thank You!: So thank you for attending this class. I hope you learned and got something back from this class. Fusion is complicated. It is not as easy as after effects, but the power that fusion gives with node based compositing definitely elevates it to the next level, especially if you're editing in the same software. It gives you that non destructive workflow. So if you have any questions, hit me up on Instagram, hit me up on email. I'm always available in the discussion panel. So let me send some stuff to me as to what you guys created. I would love to give you constructive criticism. I would love to help you out in your motion graphics journey. And if you want to take up motion graphics or to the animation as a full blown course, let me know. I can come up with that course, as well. And thank you so much for attending. Once again. I will see you guys around. Cheers.