5 MORE Fusion Nodes You Should Be Using in DaVinci Resolve - MotionVFX

hey everyone this is Matt with motion bfx and before we get started with this video I just want to say thank you for all the positive feedback we've received on the previous five nodes video uh which by the way if you haven't seen that you can click up here in the corner but your kind words of encouragement have motivated me to produce another video kind of like that also stick around to the end of this video we've got a special announcement to make um but you know this video is going to be another five nodes type of video and I promise you you already know about some of these nodes but kind of along My Philosophy I don't think it's necessarily about learning every single tool and learning what they do but rather learning and discovering new ways to use the tools that you're already familiar with and I think that's really going to push your creativity your problem solving and your overall skill set um to that next level so for example this first node I'm not even kidding the background node now I know what you're thinking like Matt uh everybody knows about the background node it it basically just makes a color or some kind of a gradient there's even a four corner option if you want four colors like this the gradient option has a little bit more control over the kind of gradient that you want to create and you can of course add other colors inside of this gradient bar right here now most people already know about the background node but I want to share a really fun Motion Graphics technique that's all driven by this very simple background node so I'm going to reset this and just leave it at the default gradient for now so what I want to do is grab the 3D text node and anytime you're working with 3D you need to eventually render them out using the render 3D so let's go ahead and connect these up and now we can connect this to Media out and let's just type in some text here and I'm going to set my vertical anchor to zero just to Center this and let's maybe choose a different font and I'll go ahead and resize this down now if I come down to the the Extrusion tab you can see we've got this bevel depth and bevel width control so the bevel depth is basically like the angle of the bevel we don't really need a steep angle something like 0.001 will work we just need some bevel and then for the bevel width I'm just going to increase this to about 06 and under the shading tab I'm going to uncheck use one material this gives me separate control over the front face material and the bevel material so what I want to do with my background is actually set my bevel of my text to image and this gives me a new bevel texture input so I can feed my background directly into that green input like this and let's actually set our text to Black for now and you can kind of see we've got this really cool traced around the edges effect and if we go into our background we can manipulate the gradient so with this first color here I'm just going to drop the alpha all the way to zero creating a fully transparent color and then I'm going to tighten this up by dragging the second color in a little bit like this to create this very sharp gradient and now using this offset slider I can kind of trace the edges of my text on like this so let's go to the very beginning of the timeline and I'm going to roll my offset all the way past one so that we're starting with a completely invisible bevel and I'm going to add a key frame here and maybe go forward to about frame 55 and we're going to roll this offset a little bit past zero so that our bevel fully connects now for the main color of the text go into the text 3D and I'm going to set this to White and change this to image as well this gives me another input which we can use another background straight into that color image input like this so in the second background we're going to switch this to gradient as well and similar to the other gradient I'm going to start with a fully transparent color and the second color is going to be kind of like a dark blue now right now you can see that gradient is being mapped to every letter individually that's not something I typically like so I'm going to go into the text 3D and switch switch the mapping level to word and now we get this gradient applied across the entire word and let's view this gradient over here you can see if I roll this offset we can kind of fade on that blue color so I'm going to go a little bit before the stroke finishes its journey and we're going to roll this offset right here and add a key frame and then pull a little bit forward and then drop the offset again so that our text is fully opaque now it's probably a good time to rename these backgrounds so I'm going to select them and hit f 2 okay so now what I want to do is push this a little bit further and use the background node once again this time I'm going to put this out here in empty space and we can actually feed the output from our render node straight into the blue mask input and if we view this background over here in the left viewer you can see that it's just going to create a black silhouette of our Alpha Channel but if we go over here to the settings tab we can choose the channel That it uses to create the mask so if I change this to luminance and drag my low threshold up a little bit you can see that we can isolate just that stroke and do something separate with this like give it its own color and we're kind of leveraging the power of nodes rather than creating a couple of duplicates just to be able to do something separate with them so what I might want to do after this background is add the raise effect and let's go ahead and merge this over our render node and now you can see we've got these nice rays which really goes well with this kind of stroke outline effect and in my Rays I might want to drop the threshold mess around with the Decay the weight and and the exposure let's also add a couple of glow effects after the raise so I'm going to add a soft glow here and let's increase the gain and decrease the glow size and I can also go down to my color scale and maybe add a little bit more red and let's copy and paste that glow this time we're going to reduce the gain and increase the glow size a little bit and also add more red and maybe even take away some of the green so it's going to get a little bit more purple and let's move these up a little bit like that and let's copy and paste one more soft glow this time we're going to increase the glow size even more and reduce the gain a bit like this and we can add more red take away more green so now we have this exponential glow and to add a little bit more fun we could even go to this background here and let me actually copy this color right here cuz I'm going to switch this to a gradient but I still want to use that same color so I'm just going to paste that into this second color like this if I click on this second triangle we can make something kind of like a gradient that goes from like a blue maybe even kind of a dark purple to that gold color and if I grab these control points and cinch them closer together like this then come over here to repeat and switch this to pingpong now my offset kind of Cycles through those colors or we can even go to fully transparent again so that way we're kind of creating this like shining glistening effect where sometimes there's no Rays at all I think what I'm going to do though is actually go for something kind of a lightish blue and maybe leave the alpha all the way to zero so that way the white stroke which is being generated right outside of this render node here isn't being overshadowed by another color so let's go to the beginning here and I'm going to add a key frame for my offset once again and this time I'm just going to go pretty far into the future like this and just let this cycle through here's what that looks like now something else I could do is key frame this gradient so that it starts to fade out towards the end of the comp and I can go ahead and relabel this background as well so again we're just using these three background nodes to create everything that's going on without all these backgrounds we pretty much just have our text so it's kind of crazy what a simple background node can do we can even add a transform after this bevel so I'm just going to drop a transform right here and I can use my X position to offset the stroke here and I can even switch edges to w W and this will kind of infinitely wrap around like this you could also reduce the size so for example if you do 05 then every Edge will get two copies of that stroke and maybe we can also create a little bit of an animation that goes in the opposite direction of the stroke so I'm going to go to the very beginning again and let's just create a key frame on our position for this transform and we're going to go to the point where this background completes its Journey again and we're going to increase this transform a little bit like that and now if we look at this you can see each stroke is now growing from the point of its origin just adding a little bit more variety and complexity now to set up the next node on this list uh I want to stay in the same comp and kind of build this out because we are in 3D after all so why don't we go ahead and do something with the perspective and I'm going to show you how we can use this next tool to make our life a lot easier so if I go ahead and view this text 3D over here in the left viewer if I hold alt or option on a Mac in my middle Mouse button I can kind of orbit around like this you can also hold the middle Mouse and use your regular left click and drag left and right to zoom in now what I'm going to do is kind of frame up maybe on this letter M right here and get pretty close to it like this and here's a fun little trick if you actually grab the camera from your toolbar and throw it into the 3D viewer this will create a merge with a camera that has these position coordinates already copied inside of the transform settings now if I play this back through it might not look off right now but if you kind of move the camera around you'll start to see that there's a problem with the Rays they're kind of always facing the camera because this is a 2d effect and it has no idea what kind of 3D coordinates we're working with over here really if we use the center controls this should look something more like this but if we added any animation to our camera that would change the perspective of our text here we'd have to also key frame the center Center controls for the Rays but there's actually a much easier way so you don't have to manually do this but before I show you let's go ahead and create a simple camera animation now one other trick here you can see if I zoom in too closely you can see it starts to cut off these letters so in my camera under the control settings you can drop the near a little bit usually what I do is just type in zero it won't actually let you go all the way to zero but it'll default to 05 and that will fix that kind of clipping issue this is just happening because we're too close to the text there so I'm going to go ahead and frame my camera up about like this and let's go to the very beginning of the timeline and go to our transform tab again and I'm going to add some animation for the X Y and Z translation as well as the rotation sliders and I might as well also add a little bit of this Z rotation okay something like that let's go towards the end of our comp and let's just reset most of these sliders back to zero maybe for the Z offset will'll do something like two and I'm just going to open up the spline editor quickly and hit F to flatten these animations a little bit and I'm going to isolate just those rotation key frames a little and if you hit t on the keyboard you get your ease in controls and I'm just going to grab my rotation and create a little bit of a tighter animation a bit like this so now we've got this camera movement okay so what I'm going to do now is click on my merge 3D and bring in the locator 3D node and let's go ahead and view this now down here in the corner I'm just going to right click and change this back to the default perspective that way when I move around like this I'm not going to mess with my camera so what the locator 3D really does is it just gives you this little control point that you can later connect any TWD element too so for example if I position this behind the text like this now I can go over to my rays and right click Center and connect to the locator position and so now you can see as the camera pans around the rays are more accurately shining forward in fact if I go into my camera and I'm just going to create a different version so I don't mess up my key frames here but you can see here if I just kind of pan around with the camera the rays are actually shining forward but without that locator again if I just double click to reset you can see now as I pan around those rays are always facing the camera because it's just a 2d effect so the locator 3D node makes this a lot easier again you just put this inside of your 3D node system usually this is going to go right before your final render node because it is a 3D node and then in your 2D node you're just going to right click any kind of Center control and connect it to that locator position and there you go so you can see if I move this camera anywhere those rays are always casting in the correct direction and you'll notice the locator also has this target input this is optional but it works really well when you pair it with something like a spot Spotlight or any other kind of light so let me just grab a spotlight and connect it into my merge and I'm going to go to the transform over here and toggle on use Target and I'm just going to push this further back and up like this and maybe even widen out the cone angle like that and we can't see any lighting at the moment so I have to go to my render node 3D and enable the lighting and shadows everything goes black because we're only lighting up the back of the text so I'll just add another Point light here and just connect that straight into the merge maybe we'll just push this a little bit in front and up above something like that as our text plays through you can see we now have a little bit more of a realistic lighting being shined on the front face of the text now we still have this locator over here and it's really convenient when you do have a spotlight like this because you can just point this directly into the target input now you'll notice I already moved this a little bit so as soon as this accepts a Target these become the offset so what you would probably want to do is reset these if you want the locator to live exactly where the spotlight is so now with all of this set up you can see if I move my Spotlight it moves the Rays and the realistic lighting that's actually in the 3D scene you can't really see this because our text is pretty flat so if I go to my text 3D go back over here to the Extrusion settings I'm just going to increase this Extrusion just a bit like that and now as I move this spotlight around it's changing the lighting around the text as well as the Rays so the locator node is just one of those super simple and Slick solutions to connecting the 2D world with your 3D environment so uh I just can't help myself let's continue with the same comp I'm going to add a little bit more things to it to set up a scenario for the third node on the list all right so let's go ahead and add a background cuz right now it's just kind of a black background and one of my favorite ways to add a background especially with 3D titles like this is to use a shape let's go ahead and connect this into the merge 3D and I'm just going to move this a little bit further back in the Z space and let's go ahead and increase the scale and let's change the color to like a dark red I think that will complement the rest of the colors that we have in here and I'm going to add a bender 3D and just increase this amount kind of create like this Psy wall kind of thing we can also use the center to angle this up if we zoom out you can see what we're doing a little bit better you can kind of angle this kind of like that and then I'm going to go back to my shape and maybe just move it down a bit on the Y AIS and if you go to the beginning uh you can see this is still like pretty bright so in my shape I might go down to the material settings under the specular and let's just kind of reduce the intensity a bit so we're still getting this nice kind of hot spot in the middle because we're using the Bender node to create kind of like this vertical streak rather than the default circular streak that the point light will create now one thing that you will often run into whenever you have some kind of smooth gradient like this let me zoom in here so you can see this a bit better you can see there's like these bands that happen and the best way to fix this is with grain but the default grain node is actually kind of heavy and I don't typically resort to this when I need grain so instead what I like to do is add the filter node so I'm going to slide down here and at the very end here I'm just going to select the last merge there and add the filter and the filter has a few different types I'm just going to switch this to grain and you can see that takes care of the banding quite nicely so if we disable it there's our Stripes again and we turn this on and it just Smooths everything out makes it look that much better so I love the filter node it's super fast it doesn't really add any render time it's a very lightweight node and it can do all kinds of things in this case we're just using it to add grain to the overall effect here resulting in a nice clean image but let me show you a couple other ways you can use the filter node okay so let's take a look at this shot here now let's say I wanted to add some realistic light rays over the mountains so if I select my media in and simply just add the Rays effect you can see that it really just attacks the luminance of the image it has no idea that there's an edge here and realistically that's kind of where the light rays would shine right over so right before the raise node what I could do is add the filter node so the default relief option is similar to a create bump map and uh kind of creates like this indention effect here mboss over is similar except it retains the RGB values so for this example what I actually want to choose is this soble filter so this is kind of like the edge detection so if we view this right here let's open up a second viewer Pull up The Edge detect let's connect this to Edge detect and pull them up side by side and you can see they're very similar but they're a little bit different and the main difference difference between the edge detect and the soble filter as the edge detect will only detect RGB values so for example if I had a logo like this and I ran this through the edge detect it doesn't know that there's a difference between these pixels and these pixels because according to their RGB values there isn't these are 0 00 0 and so is this Alpha Channel but if we connected this to the filter node and toggle on the alpha you can see now it actually recognizes there's a difference between these pixels so it's a little different from the edge detect and it's also simpler there's less settings that you have to tweak most of the time so let's actually go into our rays and disable the merge over this will just give us the Rays isolated like this and we can separately merge this over our original footage reconnect this to Media out this gives us a little bit more control over those rays and you can see that we're also getting these Rays on parts of the image that we don't really want so what we could do is add a mat control just before the filter the mat control is kind of like a mask that you can apply Downstream instead of applying it here which would impact the entire node tree so what I'll do is just take an ellipse and if I grab this with my right click I can drop this into the garbage mat input and I'll take this ellipse and just make a really huge mask that kind of covers the bottom half of the frame a bit like this in fact this will probably be easier if I just look at the filter node now you can see that it's also detecting the edge of our ellipse so I can fix that just by increasing the soft Edge and we also have an edge around the frame so I could also add a rectangle mask after my ellipse and let's just stretch the height and the width all the way up and invert it and maybe reduce the Border width and soften that out so let's take a look at our media out once again and now we can kind of tweak the settings of our Rays maybe move this over to where the sun probably would be in this Frame and I can go to my merge node and maybe set this to screen and reduce the blend just a little bit so this looks pretty good now it looks a little bit sharp so we could also use another filter after the raise and this time I can set this to defocus and the unique thing about this defocus compared to like a regular blur is it kind of retains a lot of the streaks which is kind of nice in this example cuz I want there to be streaks that you can actually see but I just wanted to kind of soften the overall effect a little bit I'm sure you've used this next node before but I want to share a different way of thinking about what it really does so that you can use it creatively this is the brightness contrast so the brightness contrast is a pretty self-explanatory node you've got some gain control gamma saturation and down here you can adjust the low black point and the white point but what's unique about the brightness contrast node is it can also affect your Alpha Channel and where this gets interesting is when you you have some kind of halfway transparent color so just as an example let me go ahead and add a directional blur right after my text here and I'm just going to increase the length of this you can notice right here we've got these Alpha values that are in between 0 and one so I'll just give this kind of an angle like this now if I go to my brightness contrast and enable the alpha Channel if I drop the high threshold here you can see that all those transparent values get crushed and now if I hover over we're getting these values that are pretty extreme and you never want to have you really don't want to have any RGB values above one but you definitely don't want to have any Alpha values below zero or above one so one of the utilities with the brightness contrast is these clip toggles so you can simply just turn on the clip black and clip white and now all of your channels will live between zero and one so already this is kind of just a useful node to attach at the end of a graphic for example to to ensure that you're not going to have any weird compositing errors but anyway let me go ahead and just keep on increasing this so now we've got this giant block of the shape that our directional blur is creating right so I can grab a background node and feed the output of my brightness contrast into the blue mask input just to give us a silhouette and let's go ahead and give this maybe like a nice purple like this and if I disconnect my brightness contrast from my media out and actually just take my text and merge it over that background node and then reconnect this now you can see we've got this pretty simple long Shadow effect and you can always type in or hit the arrow keys to increase that length Beyond 0.1 and this is another kind of thing that you see everywhere in Motion Graphics and this is a really simple way to do this again thanks to that brightness contrast node and another thing that you can do here using the filter node again is kind of create a little bit of depth so let me add a filter node right here in space and I'm going to feed this the output from my directional blur and then I'll just take the output of that and then remerge this back over my background and in this filter node we can set this to soble and immediately you can see that there's kind of like this artificial 3D depth effect on our directional blur if we change that angle you can kind of see that it looks like it's 3D there's some lighting going on so it's kind of like a cheap fast way to emulate this nice Flash 3D text effect without having to actually do anything in 3D space and I can go back to this background node because this is what's giving me the bevel color and I can kind of mess around with these values to get different color schemes so lots of stuff you can do with a brightness contrast just by simply clamping your Alpha values to get you something like this so let me show you another example here so I just got a very simple title and I went ahead and key framed the size in the tracking to give me this kind of Animation where it's sort of ballooning up and growing like this now similar to the directional blur if I just use a regular blur and increase that blur size this is another way that we can get these halfway transparent values around the edge so if you actually view the blur you can see right there there's some Alpha values in between zero and one and let's add another brightness contrast right after that blur and let's view the brightness contrast and same thing with this I'm going to turn on the alpha Channel and if you actually hold control or command you can grab these high or low sliders and kind of cinch both of them together symmetrically like this so it's a little bit faster and I don't want to go too far because we might get this Jagged Edge in fact if we go all the way it will just completely disappear so I want to have a little bit of room for this to breathe now let's say I wanted to add some color to this text if I went back to my text node and tried to do it this way uh you can see we have kind of this undesirable effect that's because we're pushing the contrast so heavily in this brightness contrast so to add some color I could just use a background and feed the brightness contrast into the mask of my background and then we'll feed this into the merge and we can use this background to give it any kind of color we want I'm going to choose kind of like a bright red actually I'm going to go down to this merge node and change the apply mode to screen that way it'll take a little bit of influence from this background color we've got here so it's going to give us this kind of purple and pink color combination and now if I go back to this blur over here you can see if I increase the blur we almost get this like liquidy melting text effect and if we scrub through this animation you can see how the letters are almost like sticking to each other let's push this a little bit further and I'm just going to add a filter node after the background and in this filter node I'm going to set the filter type to OSS and let's just crank up that power to about seven now if I zoom in here you can see there's some transparency around the edge I can fix this just by disabling the alpha Channel and now we've got these cool highlights but we also have a really crunchy drop shadow I'm not a huge fan of that so what we'll do is add another set of blurs and brightness contrast nodes together so I'm going to use this blur and just kind of do something like this and let's get another brightness contrast after that blur and in the second brightness contrast we're going to turn on the alpha once again clip the Black and Whites now I can use this brightness contrast to add more contrast to that bubbly highlight effect and I can come back to this blur and kind of around with this OSS because right out of the box the OSS will give you a really sharp highlight so we're just using this blur to kind of soften that out and then we're using this brightness contrast to sort of resharpen it back so we can kind of use both of these nodes together to really control those highlights so if we zoom out here a little bit you can see we get these really cool almost like cartoony highlights we can go back to the filter and even adjust the angle if we want to now let's also key frame this very first blur because remember if we adjust this you can get this like Blobby melty effect let's click on the text and find our last key frame which is on frame 100 I'm just going to go a little bit forward in time and go into my blur node and let's reduce this I don't want to go all the way cuz it's going to look a little bit too sharp and I kind of want there to be a little bit of this stickiness in between some of the letters so for me about six seems like a good value and I'm just going to add a key frame on that blur size and now we'll go to the very beginning and we'll just increase that blur up to around maybe 30 and maybe we'll open up the spline editor and just grab our blur animation and I'm just going to select both of those handles and hit F just kind of create a little bit more of this easing on that animation and now if we play this through we get this really nice liquid melting kind of ballooning effect on our text and this is all possible with these blurs and brightness contrast together so without those this is what just the blur looks like of course we do have a filter node in there as well and we're just kind of clamping all those values to really control the edges of the blur as well as the edges of our filter okay so the last note on this list is probably my favorite just because it solves so many problems and I don't see enough people talking about it so before I reveal what it is let me go ahead and set up a couple situations where this node really comes to the rescue so let's say we want to replace the screen on this t over here now I've already used the planer tracker to track out this plane over here and in my planer tracker I could set the operation mode to corner pin and this gives me these onscreen controls which I can match up to the corners of the TV and now with my Corners pinned to the corners of the TV I can send some replacement footage directly into the corner pin input but notice what happens to our footage it gets kind of squished like this this is happening because this footage if we view this over here in the left viewer it's originally vertical so it's 2160 by 4096 and the corner pin operation is simply just going to squish the image to fit inside of this box to fix this there's a few different ways to do it one of the common ways that you're probably thinking of already is uh if you use a background node and you merge the footage over the background this will correctly map the footage to this new aspect ratio and then you can send this merge into the corner pin and it doesn't look squished but now of of course we'd have to go into the merge and do a little bit of resizing and we kind of have to do this by I or you know we could probably use an expression or type in some math here and then we can also use the center control to offset the position and we can actually go too far and you'll start to see some black now this is a totally fine method this does work but there is a much easier way to do this so we're going to get rid of all of these nodes and reconnect our media into the corner pin now we have our squished image again now here's the secret node ready it's called letter box so the letter box node basically does what we just did over here with these two nodes except it does everything automatically we don't have to scale our image and we have this Center control where we could offset the position and what's nice about this is it won't let you go too far so you can see if I keep going down once it meets the last pixel in this original frame we can't go further so we'll never have to worry about you know getting down to the very very bottom of this original media if we wanted to same with the size this is automatically fixed the left and right side to fit into the comp that we're placing on our TV so the letter box node kind of combines the functionality of the reiz node and the crop node Al together with a little bit of extra smart stuff going on under the hood so I use this all the time it's really useful whenever you're comping together multiple kinds of media that have different aspect ratios different resolutions and you want to normalize everything so it's a lot easier to work with and it's a much cleaner design rather than merging over a background plus if you're working with a logo you don't have to remember to lower the alpha of your background cuz a letter box node doesn't have any replacement color it's just going to give you what you're throwing into it all right so take a look at this other example let's say I wanted to replace the sky with a different image so I'm going to do this pretty quickly just by using the magic mask so it's not going to look perfect but it should be good enough just for this demonstration okay so you can see here I've gotten rid of the sky and if I open up my media pool uh maybe this Sky down here now if I merge this over my sky look what happens everything gets all crazy because we've got this giant resolution because that's what the resolution is of our sky and anytime you use a merge node the output of that merge takes the resolution from the background input of course with this you could also take this merge it over your background and then reconnect this to the background but you can see here we've got all this extra room and maybe we want this maybe that's fine but if we wanted to be sure that we're using the entire image we'd have to be really tedious and scale this down or do again we have to do some math or some expression to make sure that we're meeting the very edge of the frame there once again if I add a letter box right after this media it does everything for me one node super clean super easy solution and I don't have to tediously scale something and make sure it fits and again I've got my Center control so I can just move this around kind of find the area of the sky that looks right so let me show you one last example so here you can see I'm actually in a vertical timeline and if I open up the fusion page you can see that we're still working with the original aspect ratio of this media which is great that's kind of the nice thing about Fusion is that you always have access to every single Pixel in your original media even though in our timeline we're cropping this for delivery because we're delivering this out to a vertical timeline so over here on the fusion page let's say we just wanted to add a very simple title and let's say we want like this giant huge blocky title something like this right now if we go over here to the edit page our title is getting cut off because when we're working over here in Fusion we can't really see what the final delivery is like so of course one idea is if you copy your text and actually make this into a compound clip and then take this into Fusion now you're actually working with that new compound clip which is cut into vertical and so this would be a lot easier to you know take your text merge it over and fit everything together in your vertical comp the downside is we've lost the left and right side of this image so if we wanted to adjust it we would have to annoyingly open this up in its timeline and make our adjustments and we're kind of hopping around all over the place and it's not not the most efficient workflow so again I'm going to decompose and now we're back to our original widescreen image so once again we're going to use the letter box but this time we're using it at the very end of our node tree and over here we can simply type in the resolution that we're finally delivering to so 1080 X 1920 and at default settings you can see that we've got all this extra room because our mode is set to letter box envelope which basically means if you've got a widescreen image and you're conforming it into vertical it's going to the left and right side while creating all this dead space on the top and bottom pen and scan will do the opposite this will crop in so that the top and bottom meet the top and bottom of your comp size while getting rid of the left and right side and so the benefit with this is we can work with our native resolution of our media while we're looking at the final aspect ratio that we're going to deliver to without having to hop around to different pages and kind of doing a bunch of guess workk to make sure that things are going to look okay and not get cut off so that is the magical letter box node and that's all the nodes I have to share with you today I know this was a bit of a longer video so thank you so much for watching to the end if you made it this far and hopefully you felt inspired and learned some new tricks now the announcement that I wanted to make we are planning a lot more Fusion tutorials but we want to know what you want to see covered um even if it's not Fusion related that's totally fine but leave a comment down below of a specific title or effect or even just like a vague area within Fusion that you feel isn't covered enough and we will take in those comments and try our very best to deliver what you're asking for so again thank you so much for checking this video out the more attention we get the more engagement we get with things like this the more we're going to produce for you guys so that's all I have to say my name is Matt mol I will see you in the next one

Channel: motionvfx

Views: 18,493

Keywords: final cut pro x templates, final cut templates, final cut template, fcpx template, template, motion templates, apple motion animation, final cut plugins, fcp plugins, fcpx plugins, final cut pro plugins, final cut pro effects, fcp effects, davinci resolve, easy final cut pro x effects, best plugins for final cut, motionvfx, plugin for final cut pro, transitions for final cut pro, transitions for fcpx, effects for fcpx, fcp bundle

Id: f1nP1xNT1r4

Length: 35min 53sec (2153 seconds)

Published: Fri Feb 16 2024