- [Facilitator] DaVinci Resolve 15 now includes Fusion visual effects and motion graphics built right in. This video will give you an
overview of the new Fusion page The new Fusion page has over 250 tools for compositing, paint, particles, and animated 3D titles and more. Now, to get started, simply
position the playhead over any clip in the timeline and click on the Fusion page. Here, you'll see the viewers at the top and the inspector on the right and the NODE editor at
the bottom of the screen. Now, unlike other applications which use nested stacks
of layers and filters, Fusion uses NODES to
create visual effects. Each NODE is a tool or a building block for creating effects. NODES can be connected
together like a flowchart for image processing. On the left is the media in NODE for the clip on the timeline. It's connected to the
media out node on the right which represents the image that you will see on the edit page. To create a visual effects composite or to animate motion graphics, you simply place tools between the media in
and the media out NODES. The toolbar in the middle of the screen contains the most commonly used tools. Here, we'll add a blur
tool into the NODE graph and we'll place it in between the media in and media out NODES. Now, if we make an adjustment, we'll view the results while
looking at the media out NODE in the viewer on the right. In the media in NODE
showing the original image in the viewer on the left. You make your adjustments by modifying parameters in the inspector. If you wanna remove a NODE, just select it and hit delete. More tools can be accessed from the effects library at the top left. Here, all of fusion's tools
are organized into categories. Just like the toolbar,
simply drag any tool into the NODE graph and
insert it into the graph. So some tools like this grid warp have controls in the inspector
as well as on-screen controls where you can directly modify
the image just by dragging. Once you've created the effect, you can go back to the edit
page and return to editing. (suspenseful music) (heavy breathing) Once you understand the NODE graph, you can begin to composite
multiple images together very easily. We'll return to the
Fusion page on this shot so we can add a computerized
heads up display that she's supposed to be looking at. Since the Fusion page is fully built in to DaVinci Resolve 15, you can open the media
pool to access any bin or clip in your project. Here, we'll grab this
animated computer graphic and press the one key to see
it in the viewer on the left. Now, we'll add the merge tool which is one of the most common tools for combining two images together. We'll connect the clip
of our female character as the background to the merge tool and connect the computer
screen as a foreground image. You'll see the results of the merge tool in the viewer on the right. Now, to make this composite more realistic, we'll add a blur tool to the screen. Inserting it after the computer screen but before the merge will cause the blur only to affect the screen and not the clip of the woman. This will make it appear as if the camera is focused on her face. So we can further enhance the composite by selecting the merge
tool on the NODE graph and then use common composite modes like multiply, screen,
or in this case, lighten to blend the two images together. The last step will to be
merge in a third element to simulate glare on the glass. Now to do that, we'll take
the output of the first merge and add that as a background
into another merge. We'll use Fusion's vector paint tool to paint glare on her visor. To add paint, we'll need
to use a background NODE as a canvass to paint on. Now, the quickest way to add a tool is to use the keyboard
shortcut, Shift + Spacebar. Now, that brings up a select tool window. We'll enter the name of
the tool and press enter to add it to the NODE graph. Then we'll grab the paint
tool from the toolbar and connect it to the background NODE. The paint tool now gets connected as the foreground to our new merge tool. Now, since the black
canvass is the foreground, we'll make it transparent so
we can see the background clip. Now let's light the paint
tool in the NODE grpah to begin making our glare. The paint tool has a number
of different painting styles to choose from along
the top of the viewer. We'll select the basic stroke tool. The inspector has a
variety of brush controls for creating the brush
type you wanna paint with. We'll use a soft brush style. Apply controls allow you to
paint with a brush color, a clone brush, as well as emboss, smear, and even a brush
specifically designed for wire removal. For our glare, we'll just need
a simple white colored brush. To change the brush size,
hold down the command key and drag in the viewer. Next, we'll paint a
few large brush strokes in the upper left and
another in the lower right where we want our glare to appear. Since the paint tool is vector-based, we can use the modifier tab to adjust any aspect of the
paint strokes we wanna change including size, color, or even the path
of the stroke itself. For our purposes, it's
right where we want it. In the merge NODE, set a composite mode and the blend parameter will create a subtle clear effect we want. Understanding these simple,
basic building blocks of the merge NODE, the
inspector and the viewers can help you create everything
from simple touch ups to amazing visual effects
and motion graphics but the most revolutionary feature of having Fusion built
into DaVinci Result 15 is that you have access to
any clip in your timeline and not just from the edit page. Using the clip button,
you can display thumbnails of every cut in your timeline and instantly jump to a new shot. Now that we're done with
that, with this next shot, we're going to replace
the 'watch your step' sign on the wall with the one that
says 'Caution: Radiation'. Then key out the green screen
and create a 3D composite to complete our scene. So let's start by adding a planer tracker and connecting the output
from the source footage to the tracker's input. Now, with the tracker selected, press the one key to view it
on viewer one on the left. Alright. Let's make a selection
around the caution sign to tell Fusion what area we need to track then go to the inspector, click on set frame. Now, click the track forward button. Fusion will analyze the footage based on the luminance
channel and our selection. Once it finishes tracking, you can click the Create
Planar Transform button to create a new NODE that contains the position tracking data needed for our composite. Next, we'll drag the new
sign in from the media pool. Now, our new sign has an alphachannel and to display properly on our composite, we're gonna need to add
an alphamultiply NODE. We'll connect this to the
planer transform NODES so the sign moves with
the rest of the shot. Okay, let's finish this
composite by adding a merge tool and connect it to the
planer transform NODE, compositing our foreground sign over the background green screen. So as you can see, it's close but we still need to make some adjustments to make it seamless. Let's grab a color corrector
NODE from the toolbar and place it after the
planer transform NODE. Okay, so with the color
corrector NODE selected, go to the inspector and change the menu from color to levels. Now to animate, we're going to right click on the gamma level and select animate. This is going to set a key
frame and turns on animation. So any new changes will
automatically make new key frames. We'll move forward to around frame 60. Adjust the gamma. Now, let's check the middle and adjust as needed. Okay. Great! We've just finished our first composite. Now let's tidy up our flow
and help keep things organized by turning our tracking
NODES into a group NODE. Alright, now we're ready to
move on to keying our footage. With the merge tool selected,
let's add a delta keyer after the merge tool. We'll use this to remove the green screen. Because we don't have a
shot of the green screen without the actor, it's kinda hard to key. So we'll add a clean plate tool to have Fusion help generate one for us. Just so you know, the image needs to go to both the clean plate
and the delta keyer. The output of the clean plate also needs to go into the delta keyer. We're trying to give Fusion as much information as possible as we can so that it can do a better job for us. Alright, let's view the
clean plate in viewer one and the delta keyer in viewer two. You can see that Fusion is
attempting to make a key for us. So with the clean plate selected, you can drag across a range of green and see the delta keyer
on the right adjust. Alright, so let's go to the inspector. Click on the field check box and then adjust the erode
and grow edge parameters. This tells the delta keyer
to look for anything green in this part of the image and remove it. The clean plate tool makes
everything significantly easier. Alright, next, we'll
select the delta keyer NODE and adjust a few of it's
parameters to fine tune the key. While viewing our alphachannel, we can use a threshold to dial in our mat. Now that the key is done,
we can organize these NODES with another group NODE keeping our flow nice and tidy. Now, it's time to add our background. We'll grab the elements
from the media pool and let's drag them into the NODE graph. Renaming the NODES will make
them easier to work with. You can load the first
element in the viewer one and see that it's a planet. So let's right click on this NODE. Select rename and type planet. We'll go ahead and do the same for the spaceship windows. Up until now, we have
composited everything in 2D. Now, to bring this together, we're gonna composite our
background in 3D space. This requires all of our
footage which is two dimensional to be placed on image planes that we can arrange in a 3D space. So we'll add an image plane to both the planet and the spaceship. Because we're in 3D, we now
need to use the merge 3D tool. This is more powerful
than a regular merge tool because you can add as
many objects as you want. Image planes, lights, cameras, and then work with all of
them right in 3D space. So here's the story. We need to match the movement
of our live-action camera so our composite works seamlessly. One way to do this is
with a camera tracker. To get started, we'll grab the source video and any mask that might be needed. If you have moving objects in your clip, you're gonna need to map
and mount with a mask. That way, the camera tracker
can ignore those areas and just focus on the stationary
objects in this scene. Convert this to an alphachannel
by adding a bit map with our object mass connected. Let's go and press the autotrack
button to begin tracking. Once your track is complete, the next step is setting up your camera to match how your footage was filmed to solve for our proper track followed by 3D solving
your tracks into 3D space and lastly, we're ready to export. Fusion creates a point
cloud, a ground plane, a render NODE, and a key frame camera that matches the movement of your footage. Although this process is straightforward, you should allow proper time
to let each step process based on your clip. So with our camera solved, let's connect the camera
NODE to our merge 3D and as we move around our 3D environment, we can see the camera and it's key frames. Let's composite this with
our foreground green screen to see how it lines up. Go ahead and organize these NODES into a group NODE as well. First, we need to add a render NODE to bring our 3D elements back into 2D. Now, if you noticed, Fusion automatically makes the connection between the two NODES. Now that we have our background aligned and tracked in 3D
and now, rendered into 2D, we can composite them
together with a merge NODE. You can see that the 3D
planes need some adjustments. Let's view the 3D merge in viewer one so we can see our results
being adjusted in viewer two. Select the planet and let's
adjust the Y-axes in the viewer. Alright. Great! Now, go ahead and adjust the ship into position as well. We're almost there. We'll finish this shot by
adding some color correction. So first, we'll color the key image. So we'll add a color
corrector from the toolbar after the delta keyer and let's make some adjustments and we'll add some blue to the shot. Next, we'll add another color corrector after the final merge and adjust the rest of the image. For a little added realism, we'll add a defocus
NODE to the 3D elements and set the blur to around one. Okay. Great! Now that we've done our tracking, keying, and 3D compositing, let's see
our results on the edit page. (dramatic music) In case you were wondering, in addition to visual effects, the Fusion page can also be used for making high-quality,
animated motion graphics. We'll use them to make a 3D title with some particles for our movie. We'll start by adding a 3D text NODE. With our text NODE selected, add a camera. Because the text NODE was selected, Fusion automatically adds
a 3D merge tool for you. So go ahead and select the text NODE and let's create the base for our title. Type in the name of the film, change the font, and let's
adjust the tracking a bit. Even though we're working in 3D space, the text is still 2D. So to give it some dimension and depth, we'll go to the extrude tab
and adjust the extrusion depth, bevel depth, and bevel width. So now, let's add a directional line and change some of it's
settings and inspector. Let's go ahead and put the
X rotation at about -100. Go back to the color tab, adjust
the color to a light blue. Okay, so with our light
selected, add a point light, and let's adjust it's decay type to linear and it's intensity to around 0.5 or half. In the 3D viewer, place
it under the letter, Y. Now, just a note. Fusion created a new merge 3D and added our lights to this NODE. In the merge 3D NODE,
select pass through lights. Go ahead and copy our point light and paste three more copies. Placing a light under the E, G, and T. For the last T, we'll
push it back in Z space so it's not so intense. Alright, now, with our scene set up, let's start animating. Select the text NODE, go to frame 40 and let's set a key for
our character spacing. Move to about frame 20
and adjust to round four. To give our text some dynamic,
more sequential animation, we can right click on the text field and select the follower. Now, let's go to the modifiers
tab and start modifying. Double click the follow title and change the order to inside out and the delay to about seven. In the shading tab, let's
animate the X and Y rotations. 200 for X and 90 for Y. Set a key on our parameters
and move to frame 40 and go ahead and reset them back to zero. Go to the position and
animate the Z offset to have the text flying
in from past the camera. Okay, so now, we're gonna
open up our timeline by clicking on the key frames tab and move some key frames around. Select the drop-down menu and
click on show tool selected. This will hide all the other NODES and only show us the NODES
that we have selected. It's pretty handy. Now, let's go ahead and
adjust the character spacing to finish towards the end of the shot and let's move the angle X
to about the 55 frame mark. Close the key frames panel
and open up the spline panel. The spline panel is incredibly powerful. Select an individual parameter and click on the zoom to fit button. Now, with that done,
select all the key frames and press Shift + S to
smooth out our splines. Do this for the rest of
the animated parameters and we can watch it in the viewer. Now, we're ready to add some particles. Before we do this, let's go
ahead and tidy up our flow and keep things organized and in place. Select all the 3D NODES
and an underlay tool. Now, an underlay tool is always open but it allows you to
keep your NODES contained and gives you the ability
to move them all at once. Now, we're ready to
add a particle emitter, direction force, friction, and a particle renderer. To output any particles, you always need to have
a particle renderer for either 2D or 3D particles. So let's make some changes to our emitter. Let's put number one from
10 to about a thousand and the lifespan to about 30. In the style tab, change
it from point to blot. Real quick, go to the 3D viewer, right click and change the
transparency to full sort. Alright, back in the inspector, let's adjust some size and fade
parameters as well as color. In the region tab,
let's change it to mesh. This will allow us to
use a 3D object or mesh so now we can connect our 3D
text to the particle emitter. Let's increase our friction
and see what we have. Alright. Great! So let's go ahead and
animate the particle emitter so it turns on at around frame 20 and it starts to turn off around frame 70. Just keep in mind that we're taking a simple
approach to particles. There are many, many
options and creative ways to use them inside of Fusion. Now, let's composite our text
and particles with our footage. Add a 3D merge to the particle renderer and connect the camera to this as well. This will allow us to
have one camera shared across multiple 3D scenes. In the 3D viewer, adjust the
view as if it were the camera then right click on the XYZ tool and select copy this view to camera. This is the great visual way of animating a 3D camera by the way. In order to composite our 3D
titles and our particles, we need to add render NODES
to take our 3D environments and render it into a 2D image. Go ahead and quickly
create another underlay for our particles. Now let's see this all come together. First, let's merge our
3D text over our footage and lastly, we'll merge our particles. We're almost done but
let's sweeten up our look. With the text render NODE selected, add a brightness contrast, glow, soft glow, and another glow. Select all these NODES and when you do, you'll
see that all their controls are displayed in the inspector so you can adjust them. Let's go ahead and add some contrast, bring down our first glow, and in our soft glow,
let's adjust the threshold and let's streak out our last glow, taking the X-axes all the way up and the Y-axes all the way down and while we're at it, go ahead and change the color as well. Great. Now, copy and paste our glow and soft glow and let's use them for our particles. But just so you know, we
might need to adjust them to fit our particles a little bit better. Alright, so let's just add one more thing. A background NODE. So add a background NODE, change it's color to
yellow, uh, yellow orange, and then take the output
of our 3D text renderer and put it to the masked
input of our background NODE. Now, merge this in between our text merge and particle merge. Set the apply mode to overlay and animate this merge on
with the blend parameter. Now, this is a nice, little extra touch. It just kinda helps bring the title out and because we're using the composite mode, it'll blend perfectly right in and when your finished, you can take a look at the
finished title on the edit page. With Fusion built in
to DaVinci Resolve 15, you'll be able to create incredible, cinematic visual effects
and motion graphics without having to use
a separate application. Best of all, you can
download your free copy from the Black Magic Design
website and try it today.
