Advanced 3D Lighting in Resolve and Fusion

[Music] today I want to have a deeper look into a lights in DaVinci Resolve and fusion I will start out with a very simple scene to discuss what kind of lights are available in fusions 3d environment then I've built a very simple 3d scene and light it up with some basic techniques and then go towards more advanced 2d post processing techniques where I'm creating some rays and some kind of volumetric effects and show you some tips and tricks how you can create and manipulate lights in 2d that are coming from a 3d scene the tutorial today we'll start out simple but then we'll go towards more let's say intermediate to advanced concepts if you're on the beginner side in Fusion I would like to point you to my free training that I have on my website VFX study comm if you want to look more into creating 3d scenes and manipulating 3d objects I did a longer tutorial on this last week which I can point you to and today it's all about lights so start up resolve or fusion start with a blank composition and then let's get started [Music] before I get started with my reads in which I'm building from scratch let me quickly discuss the type of lights based on this super simple demo scene that I have here it's just a simple plane and a cylinder I put on top and right now you don't see anything because there are no lights so I can enable the default lighting in the right click menu 3d options there's lighting and shadows usually I just click on shadows which enables lighting at the same time automatically so there's some default scene lighting which is necessary to see some basic contrast so you see just the cylinder and the plane to shape 3d objects and now there are four different types of lights which I already have put in here you find them in the effects library under 3d light you find these four different types of lights the spotlight is also here in the quick selection let me turn this off so these are the lights that are available so let me very quickly tell you what you use for which as soon as I add any light to the scene it automatically disables the default lighting in my in my viewer and uses the lighting that is actually connected to the merge that I'm looking at you see I have here two 3d merges that's what I typically do I often put all the geometry in one merge and then put the lighting separate this way I can still go back and see the default lighting here and here in this merge only I see the merge with the lighting applied the ambient light first of all it's the simplest one it just lights up everything whether in a constant way so it only has an intensity control and it is just putting light everywhere from all directions so it gives no shadows no contrast nothing so sometimes you might put a little bit of ambient light in the beginning before you add other lights so that you have no completely black areas this way everything is a bit lit but it has no direction whatsoever this is the symbol here for the ambient light it has the position in the scene but it doesn't matter at all you can place it wherever you want it has no impact just has positional coordinates because all tools and fusion have have this otherwise no impact the directional light is getting a little bit more interesting this has also again no impact whatsoever where you put it you can put it any in the scene it has no impact the position but the orientation of the light has an impact so you see here these lines here they indicate in which direction the light is shining so right now it's shining like from top left down and if I go into the rotational controls you can change it and you see this way at the moment it's from this direction if I turn it to the other side the light rays are coming from this direction again the position doesn't matter and I have now light from one side so it's directional but I don't have shadows so this cylinder is not giving me any shadow the next light is the point light this one has no direction but it has the position so that's kind of the opposite of this direction in light this has a position it matters where you put this light and you see now here in the scene where I put it you get this nice light effect and it still doesn't cast a shadow so I can put it here next to the cylinder but I don't see a shadow on the other side but it is shining in all directions and it is kind of falling off into those directions if you want to you can put a decay so right now there's no decay so its lighting really everywhere if you want you can give a linear decay and it's falling off and then you can adjust the rate with less rate it's less falling off with more it's it's closer and then quadratic it's falling off even faster and again you can can adjust this so point light is local and then shining in all directions directional light is not local doesn't matter where it is but it's shining parallel into one direction now the last slide I have is the spot light here let me quickly connect it and this one has a position and a direction which is important so right now I have placed it here on top so it matters where it is located similar to the point light and it is shining a spotlight onto one area of the scene so the direction of the slide is important and it can cast a shadow so first of all let's have a look here the shadow I can enable disable let me disable it for now it is still different from the point light in the sense that it has this cone which you can control so I have this cone angle here so I can make a very tiny spot or a bigger one I can also have so I have an inside and an outside angle that I'm controlling so the cone angle is the inside brightest area and then I have this pen Umbra angle I don't know if I pronounced it right it doesn't matter which is like outside the outside control and then there's a drop-off which decides between the inside here and the outside here so if I reduce it I get it completely it was outside if I increase it it goes I only have my cone angle here and in between I can get like a soft transition between this angle and this angle which I control with this drop off if I want I can also put a decay which is again a decay as per the distance of objects so by default there is no decay so it's shining into infinity now let's enable the shadow and let's increase this again so that it's on now the shadow one thing which you always have to look for is if the shadow is soft and there is some setting here this is I think the most important setting this shadow map size so if you reduce it you see that the shadow is very rough and if I increase it and bring it up it gets very soft so what is happening here is Fusion is calculating a map of the shadow so a projection of the shadow from the position of this light into the scene and the resolution of this calculation can be controlled via this shadow map size and this is maybe also the reason why the spot light is the only light which has this shadow option because you can imagine if you have if you are having a point light and you're shining in all directions Fusion would have to calculate in all directions to for for shadow maps and typically your camera is only looking at one point unless you are maybe working with some virtual reality stuff or so so typically you you you don't need to do that whole car relations over the spotlight you you are maybe a little bit more limited in a sense that you have to control it better where you want shadows and where you want the light to be but then fusion is also only doing the calculation of the shadow for that area that the spotlight is actually hitting and not just everything and then shadows have controlled similar to lights the density may sometimes be interesting so if you want it very soft or very strong shadows so you can control this 50% is the default and then there's some some settings for multiple shadows that overlay which typically you can just leave at the default so these are the lights that are available now let's use them to set up a slightly more interesting motion graphic scene and let's see what we can do with these lights all right here we go I'm starting with a simple 3d sphere and then I will copy it a few times so a sphere and very randomly distributed so just the standard sphere and maybe I go into a bigger view here and to get a little bit of sense of direction let me turn on the default lighting and default shadows and starting from here I can add a duplicate 3d so control spacebar menu duplicate 3d this is a wonderful tool for lots of different effects and I make lots of copies of the sphere now and then spread them all over the place so I don't know 100 200 copies maybe just a large amount let's bring it into the viewer and they are all on top of each other and then you can either distribute them with translations or then you get some very regular things or you can go here into the data tab and here you can get randomized displacements in all kinds of directions so I want this I want them to be spread out like in all directions something like this and just by playing sometimes you get some very nice shapes and whenever you you think you're onto something you can also click on Rhys feet and you get a new randomization within the same parameters and perhaps you like something but actually what I will do I will quickly I I want something that is symmetrical more or less well I get something cube shaped but I want the randomization like the parameter symmetrical so I will just link those three together with expressions just put an equal sign and then you get an expression and I just pull the plus onto the first parameter X I do that for the y and z parameter and that way y&z are automatically linked to the X parameter and I just have one control here so I can control it with one parameter and still have something symmetrical and a cube-shaped and so this is the translation rotation you won't see with the sphere but scale you can see so let's give it a bit of scale and now you see some big and some small ones which is nice and I think I want this a bit sparser so let's spread it out a bit alternatively you can just go back to the shape and make the radius a bit smaller here so this way I have a field of spheres and I can still look through it alright so that's the first part then I will merge this together with a merge 3d and put in a text 3d which I have here and I am super creative today and just type light you can of course take your favorite quote of the day or whatever and let's move this a bit no this was not it okay let's bring it across positive z direction so across the blue arrow we should have it here and here it's in the view now okay so and of course if I have a 3d text I also like to have some extrusion which you find here just to have the text a little bit better like this should be fine okay and this is already my scene so I can now imagine some nice camera move through this actually that's directly we needed anyways let's put another merge and a render node and a camera just to have the scene complete so we can can can see the scene at the camera is in the center so let's bring it back and bring it back maybe a good part towards the end and I still don't see anything but what I will do now is I will rotate this a bit and perhaps even animate this so if I put if I want to animate the whole thing what I can do is I can just after the duplicate use the 3d transform tool ctrl spacebar trends form 3d and here I can rotate around the green axis which is y direction so if I rotate I can do this ok so let's do this and also now you see there's one in the center this is the original one before I copied which doesn't move at all and maybe I don't like this so much so what I might do is just take the original one and shift it a bit to the side so that this whole thing is a little bit off the center and now I have my original center ball also rotating around together with all the others and of course we don't have lights and shadows yet that's why everything is here black and right I think at the Cheka underlay I will disable today I don't need it but just like and right for now and we get some lights in a second before let's finish the animation or let's do some animation here so I just put this on 0 at frame 0 put a keyframe and at the end frame maybe I don't know 90 degrees or 180 or let's see how it looks like and this way just look on the left maybe you see we have some small rotation and then the camera where is it maybe I put it all the way out okay feel free to add some camera movement if you like or maybe I do some at the end but for now this is my base SiC 3d scene setup that's already it and now I add the lights so let me make a bit of space here and I add the lights directly in here and I want to have one light which is actually lighting up the word light itself and I want to have something spread out from the middle and illuminate all the spheres from the middle and this I can do with a point light I don't need shadows for this but I want something that goes in all direction so let's add a point light control spacebar for the menu point point light here we have it or you can always get it from the effects menu and then in the light section I prefer this and let's see now I have here I have the version with the default lights and if I go into this merge and turn it on I get the actual lighting or at least a preview version of this so here I have the point light I bring it in front so that it lights actually in the word and let's bring it maybe a little bit up so that it shines into the into the text a bit and then shines in all directions let me directly in the renderer also enable lighting and shadows and you see what's happening here so I actually get some light from the center which is going out let's get some frame where we see the whole word yeah maybe like this okay that's a good start I think I want this to be not infinite but actually limit this a bit give it some decay so let's try the linear decay first so now we just have the center and I can reduce the decay so this way it's very bright in the center going out maybe let's try the quadratic one how this looks by difference this is a bit less it's bit difficult to control okay maybe maybe the linear is is giving a better result now it might be a bit too bright in the center so let's reduce the intensity I don't want it to overpower everything and then I want to make it a bit yellowish like a candle or fire or room light before ma I think this may be going somewhere okay so you can experiment a bit with the decay rate and linear quadratic adjusted to your liking and with this I have the first radial light source which kind of from the word light or from the center of the scene illuminates a bit outwards and the second light I want a place now should go from one corner and should be directional and give some kind of specularity on the top sides of the spheres so that's my idea and for this I want to place a light in the in the right corner here which goes onto all of these spheres and lights them a bit from the background and for this I could again use a point light or I could use a directional light but I think I will go with a spot light this time because I can also focus it on the center and then use this cone angle to decide how far the spot light goes outside so let me add here next to the point light let me add a spot light and bring it up to the corner here and then what is always nice for lights and cameras often you just want them to point into the center so I just click here use target for the pivot and that automatically rotates the light to the center of the scene to the target and the target by default it's in zero zero zero and that's perfect for this scenario so the light is already now targeted here let me bring it a bit closer so I just put it over the the top this top corner and as I rotate it around it automatically focuses again on the center okay so this way and now I think that's almost good let's have a look at the settings here and I can first let's see the anger so I want the center focus like a beam through the center but then I also want maybe a bit more I wanted to softly decay a bit towards the outside so I still get a bit more so let me get the this outside angle so that I barely touched the the end of this spheres so just like this so I still see a little bit here I'm mostly looking at this I don't have much at this right now because the camera I can still reposition and move later so if it looks good in 3d I'm definitely on a good path and the drop off let's see this is these are the extremes right so just something which I barely see that it's going to the edge yeah maybe that's the default seems to be good because I yeah it kind of goes really between the two angles okay I don't want it white I want a different color so let's do something blueish so we have yellow from the one side and a bit bluish color from here bluish proper you feel free to experiment with this and now I can look at this one here as well yeah I think this is something I like okay let's bring the intensity down a bit so that this is just like an accent but not dominating too much the purple here let's see a bit in the animation and I think this is starting to look fine okay so we have some kind of blue background light but very directional and we have the yellow light here now let's think about the shadows the spotlight here is casting shadows but shadows from one sphere on to the next I don't think this is something I'm going for at the moment so you see here these shadows if you want this you definitely have to work on the shadow map but I think this looks not very comprehensible in this scene so I think I want to turn them off where do I have them here let's just turn them off okay so I I don't work with shadows in this scene today okay so this is my basic setup I will save this of course if you want to follow along you can download the fusion files that I'm creating from my website you can also import them into dimension resolve and then from here let's now go into 2d and add some rays into the scene so fusion doesn't really have any tool to create ways directly in 3d at least not that I'm aware of I don't think there's any simple way so most people do it in 2d and these are all I have seen a few tutorials where it's being done and the difficulty is not so much getting some rays but the difficulty is getting it integrated in a nice way with the 3d scene and for this we can use a few tricks so first let's get some rays and then think about how we can get it together getting some rays is relatively easy there's actually a tool called rays and let me just add this and see how it looks like this is how it looks like by default and I think it's not so bad again you can adjust a decay rate to make these beams a bit longer or shorter depending on what you want maybe if you want it over the whole scene make it a bit longer then there's a threshold which decides which parts of the scene or limit race so if you want them from the sphere from the lightest points then you bring this threshold up if you want less intense parts of the scene also to create race you can bring it down so I wanted from the center mostly and then with the exposure you can also make it more intense or with the rage you can bring it bring it up like this maybe bring the exposure a bit down then wait a bit up something like this so this is a good start if you want to break it up and want to make the race more look like some atmospheric effect with from some through some fog or so then a simple way would be just to mask it with a simple noise so let me just do this fast noise just the first noise texture here and if you want you can even anim and so on but fast noise just a very useful tool which creates noise as the name suggests I can bring the scale up and you see if I use this as a mask you see directly what is happening so I'm using this noise pattern as a mask to my race to land my race now get get interrupted like this so you can make it softer smoother more detailed less detailed whatever you think it should look like so if you wanted softer bring the detail level down if you don't like these ways to be that sharp so and completely you know these straight sharp lines maybe you want to blur them a little bit that's also possible so what you could do is disable the merge over and you still see see a lot here perhaps even multiply by the mask so this way the background scene gets multiplied also by this pattern so this way I have like rays extracted and now I can merge those rays over the original scene again which should look pretty much the same way as the original one before let's see so here I have my race alone and here I have my race on top of the scene and now this way I have separated it and I can here for example just include a simple blur tool or you can use glow or other things so know you could blur the race a little bit or maybe you want to blur them first and then multiply with the noise pattern to that afterwards so there are different ways how you can manipulate and adjust these rays depending on your preference and how you think it should like now rays are one option just quickly one other option is the directional blur tool I have seen a few tutorials that do this also if you search for volumetric light you may find sheet I made one tutorial I saw some even some macro infusion where it was which was basically built around this tool so there are some other options so just to show you this quickly directional blur is a nice tool so if you attach the scene to the directional blur you have a center same as with the with the race the race also have a center by the way I didn't mention it because it was already in zero but you can adjust you know from where the rays are originating and from where they are spreading out so the blur here directional blur has a center point as well then you have a blur length and you can make it radio so that it goes in all directions and you see here already what's happening that we disabled the underlay so you see I'm getting I'm blurring the whole image and getting some rays which can also glow and which can you can make them even longer you know and you're getting something like this and can further process this so this direction of blur is another alternative I've seen it being used a few times and so I thought I should mention this now when I play back the scene I actually see that I have two issues with my current approach first of all I am creating ways from the whole scene and not only from the word light so not only from the center second of all I have some issues that my light race here completely vanished when the text light is being blocked because then of course I have no bright parts in the scenes or whatever I do I will not get any brightness values from this right and the third problem is even when I get all my rays like here you see here even the sphere here which is in the front so this is rotating far in the front is completely covered by the race and if this is supposed to be three-dimensional I would assume that most of the race here should be behind that sphere and not in front now there are some problems here which are resulting from the fact that I'm working in 2d and I want to mitigate this a little bit by splitting the 3d scene into two and separating out the light source so let me do this I have I will keep my complete renderer here from 3d but I will not use this one to create the light rays but instead I will create a second scene which only contains the word light which is my main source here and use this one for the light race let's do this so I will just do an instance copy of the renderer instance copy ctrl shift V or you can make a regular copy but the instance is assure us that all the parameters are linked so both the renderers are doing exactly the same and I will detach this merge with the camera and the lights let's detach this and I will put this separately and maybe I just put another merge here and you will see why because this way I can link this whole group in here and now in the merge node I have to enable pass-through lights and what this does is this means that these lights are not only working in this merge but they work onwards in the scene that is coming in any merge afterwards so these two lights and the camera let's bring it these two lights and the camera they are living in this merge but now they are also lighting up this merge sorry somehow this was disabled so here we go so the cameras and lights work and light up the whole scene now I will also put a merge up here and attach this text node into the scene and I can just bring it up here and I will bring the same camera and light group into this scene as well and put it here in the instance renderer and this way I have the word light here in this second renderer and this word is lit and filmed exactly the same way as it is in this scene so even though I don't see I don't think I see the blue here but maybe I would see it if I move the camera closer so whatever I change to the light into the camera will be exactly reflected in the second scene here and the second scene is filmed with the same camera and gives me the same output image and I will now use this one here for my light race so instead of the lower scene I will use this scene now I have ensured that my light ray still acts even if the word light here is is blocked in the scenes of my race are not created independently of the blue spheres and they are only being created based on the word light now the issue here is still I have merged them completely on top right I could turn this around control T is to switch the inputs control T just to switch foreground and background this way my light rays are all in the background and nothing is in the foreground if you want you could do some 50% solution maybe put them in the foreground and then you know merge a second one in the background do a little bit before and behind but actually what I want to do is I want to have a merge which decides where to put the race based on the distance of the spheres towards the center distance may be too difficult but what I can get is the depth value so I can ensure that I have a merge which is controlled by the depth and to do this I can use the Z depth and let's enable this so in the renderer I can go here into output channels and enabled the Z channel if you like I did once a complete tutorial on Z depth and how to use it for fork and other effects and I can link it here somewhere in the cards so you might want to check it out and here is the perfect application for this so I just enabled this Z Channel now I have depth information for the whole image and I can use this depth information now I could use it directly in the merge and could use here an able depth merge and put sample the the distance and now you see that there are no light rays in front of this sphere because this sphere is in the foreground much further before the word light but you see light rays in front of this sphere because this one is in the background now this approach may look quite good for the foreground and for the Far background but if you now look through the scene you can still find some problems which are caused by the fact that the nitrates are basically now a plane in the middle of the scene right so I have the foreground of the background and the light rays are just at a certain depth position and let's see where we have where we can see this here in the beginning if I look at this sphere you see that it's now in the foreground there are no light rays in front of this sphere and actually let me I can disable this blue I don't adjust for demonstration also the light rays are sharpened that are visible and now if I go through you see it's moving here from the foreground to the background in a hard way right so you see how the sphere is moving through the plane of race which is via this merge put at a certain depth position right and the depth I just sampled before so this I want to avoid so I would rather have something which is not so perfect in the foreground and maybe not so perfect in the back but somehow is going a bit smoother between the foreground and the background and I can do this as well I will use the Z channel again but instead of doing a merge at a very specific depth I will do a merge where I use a mask and this mask I create from the depth and I want a mask which is stronger in the background and weaker in the foreground and somehow you know blends between what is far in the back and what is far in the front okay let me create this mask now from the depth information and working with the Z channel itself is not very easy most tools don't support it but I can copy the Z channel into a color channel and then from there I can manipulate it color manipulated and put it back into a mask Channel so to do this kind of channel logic I can add the channel boolean node you find a channel boolean the second one the regular Channel boolean node let me add this in so I'm not here and bring it in from the whole scene and here I can add any channel for example I used the red channel and add the z-buffer to the red channel so now it's taking the Z values and it's adding those to the red Channel I have to pay bit attention to my color resolution Here I am in fusion studio and by default I have here integer 8 coming out of my 3d renderer and this does not support floating point values but the Z channel always needs floating point values and also for color it's actually nicer to get into a floating point to a higher color resolution so I will go into the renderer node and here in the image settings depths I change to float 16 so float 16 or float 32 we'll both do it in eventually resolve usually it's already set to float 32 I think by default if you don't change it which is often overkill so often you can reduce it but 16-bit floating-point should be enough for nice color gradients and also for calculations outside of the zero one color range so the Z depth starts with a zero at the camera and then goes into depth until minus something so here you see right now you see -39 for this and minus 33 for the text here so you see this and now it is being copied to the red channel because the red channel now that I changed it in the renderer also supports floating point color this channel channel boolean I can go to a bitmap tool bitmap and bitmap is nice to bring any form of image into the Alpha Channel and here I can bring my red channel back to the Alpha channel and I will now do some corrections to get this into the 0-1 range that I need here so for this I can just adjust the low and high values and I know here that my light is minus 33 point eight so I can just enter here - maybe I start a little bit behind - I don't know 35 or so and then go up to - and I can just try something maybe 25 so that I have a certain range let's see how this looks like so you now see a grayscale image which has bright parts here in the in the front and very faint towards the back so that's maybe a good starting point and if you want you can do do more on this you can do some a gamma correction on this but not in this tool so you would have to do a color corrector afterwards if you want to do this but here I can also adjust so I can bring this further up so you see that the foreground gets a stronger white and the background a lighter gray and I can bring if you bring with this slider I can bring in even the farthest spheres in the background and drawn them out in the other direction and the same here for the foreground so around the red light is where I want the action to happen so this is actually what I what I want so let me attach this mask now into the merge so I disable this depth merge again now everything is in the foreground let's attach the mask now the mask is now masking out only the the spheres in the foreground let's invert that I can do here apply mask inverted and now the brightest part are the foreground areas where I don't want the light rays in front so those are being masked out and at the background if I have any sphere far in the background you have the light rays completely in front and in between you will have something like here you have them completely in front of them and in between you have some semi for example this one here which corresponds to this fear you have a semi-transparent version so you have some is behind in some before you could imagine like this and if I look at a few different frames here for example here you have this very nicely sharp covered but here it's behind here we have some in the background here more in the foreground but not fully and here you see some some in the more on the back some more in the front so I think this is turning out quite nicely you could still have a few issues for example some spheres which are very close to the word light might be completely in the range and you might still have a little bit of problems there but all in all I think I get some some good control on this now you can further find you this maybe put some ellipse masks or so if you want some effect which focuses more on the center and then goes goes outwards that could help a little bit another idea is you could again merge maybe a blurred version of the light rays on top if you want some kind of diffused light then I would do it maybe like this so perhaps just you know take those rays add a strong blow here something you know something really strong like this and then use this and merge it on on top of the foreground I can use again the same mask here this time not inverting it and this time I you know I have a way to control some very diffused light but it's the the same light that is being generated by these rays even with some you know distribution where it's darker here and bright light towards the center so I get this distribution out of a blurred version from the light rays and can use this to add some diffuse color of course I could also add ambient light into the scene but this will just light up everywhere thing and this way I get something which is you know more local okay so with my light rays behind there's a little bit of diffused light in the front for the foreground elements I think I'm getting pretty good here one thing I can look at the edges now one thing I see is there but the exact here and the radians are not so smooth though maybe I need to increase the resolution of the grid size of the spheres maybe I need to go into the anti-aliasing settings of the rendering mode as well so there are a few 3d rendering aspects that can may be improved a little bit if you do a bit of troubleshooting here but all in all let's say I'm mostly ok with that part and it's not the point of today's tutorial but purely from a light perspective what I still want to do is get a little bit of a light wrap around these spheres so sometimes you see that light if you see light on sharp edges like the edges of this sphere you sometimes see that light is a bit bleeding over so you can simulate this the question is again where do you get these edges from and different ways to do it here in this case I think I will use the Z Channel again because my Z channel has these or these spheres nicely especially the ones in the front where it's most relevant in the back the ones which are behind the light source they shouldn't have a light rep right so I will again use this as a mask but now I only need the edges and I can get them from the filter there are other ways to do it you can work with Eero dilate subtract masks and so on there's a lot you can do with mask manipulation I will just add a filter tool here filter and use again here from here the the Z Channel from this channel boolean from this bitmap and but I don't want it as a mask I need it as the input to the filter as the main input and then I set this filter to sober and this filter is giving edges so this giving is giving clean edges of course there are some problems when the spheres are pretty close to each other you don't see this edge but this should be fine if they are close to each other there shouldn't be much light on other cases here you actually do get the inside edges as well if there's a good distance between those spheres so all in all I think these are the edges where I to see the light spilling over so let's quickly do this with another merge and using again here the blurred version of my race I will use this again merge it over and mask it with this filtered version now I do have the spill over but I have a very hard filter here so I can blow this filter a bit and then you can decide how far it should spill in of course if you go too far it might not be realistic maybe a little bit the only problem now is the blur goes inside and goes outside so I need to restrict this a little bit and I can restrict it actually again with the same bitmap since this mask here has the outside edges clean I can use the same mask to restrict my blur so I don't use the outside edges so my only problem now is that the blur inside works but I have still a strong edge outside and if I multiply this mask then I get rid of it so now I only have the blur itself without the strong outside part from from the filter tool and I can now adjust the blur the way I wanted you know make it shorter stewin goes Vica and in the final result I should see some nice light wrap only around those places where it should be okay alright there certainly more you can do to find you in the scene you know adjust the parameters play more with this light race maybe blur them a bit or add some glow you can certainly add some accumulation effects for depth of field if you want or you can you can do some camera movement so these kind of things I might do a little bit afterwards and whatever I come up with I put into the download package but from the perspective of the topic of today's tutorial which was lights I think I have covered quite a bit so starting with the simple lights than in 2d of doing this light weighs putting them in perspective with the Z depth in the right position and then even building some light rep at the end so I think there was quite a lot to think about and experiment with I hope you enjoyed it let me know in the comments what you think and if you enjoy my channel subscribe and I see you next week my name is down thanks for watching [Music]

Channel: VFXstudy

Views: 8,881

Keywords: DaVinci Resolve, Blackmagic fusion, compositing, VFXstudy, Fusion, VFX, visual effects, blackmagicdesign, tutorial, training, Resolve 16, Fusion 16, Volumetric Lights, Light Wrap, Motion Graphics, 3d

Id: _rovxO9Ajiw

Length: 46min 20sec (2780 seconds)

Published: Sun Aug 11 2019