An Introduction to Fusion 8

aside from not using fusion how many compositors are in the house okay cool um node-based or not which really means one of the other softwares that out there all right well fusion is a node based system and it's a little of everything for everybody it's one of those sort of very fluid and as you can see incredibly high-end work but also can do incredible text text tools and amazing levels of keying and all that kind of good stuff so I'm just going to go through and run a quick demo for you guys so I only have 20 minutes so I'm just going to start by building something that'll give you guys an idea of what it is so the way it works nodes get dropped into a float and those nodes essentially are tools in this case it's a loader tool all right into simply a tool when you click on it the controls are here and it basically just points to location a file location and the interface is broken up into the flow area this is where we do our work the views which of course can be unlimited every one of these can be undocked and docked and made into what you want the control area where you actually control your tools and then we have our timeline and our spline editor so let's begin I've got a background and I want to do a basic composite so I'm going to take a green screen and then just throw it onto the view and fusion we'll apply it on top now the background is 4k and the foreground is HD all right so as soon as you do that fusion says well okay so your background is the master resolution so we've got our foreground over our background infusion is a infinite canvas resolution independent system so anything that is off camera for instance off scene is always actually there so for instance I just scaled her beyond the scene but I could still find her by moving her around right she's still in there so this infinite canvas allows you to do some pretty incredible compound effects without pre comping or for any of that stuff so how'd it go right ahead and I'm going to build a very interesting version of this shot in 3d so I want to turn this into 3d so I'm going to bring in an image plane and this image plane now simply defines where my 3d card is essentially lives in space right so I've got a 3d card for that so I'm going to copy and paste and Iowa have a 3d card for her right so it's two two separate images both apply to an image plane and they both have their own 3d environment so when I connect the two this merge becomes a scene and it's a scene with both of them right so we can now select one move it backwards forwards take a look at you know the at the the set up that you have like that so I'm going to do a four layer thing we're going to put in a window behind her and we're going to fly through the window so let's do that and I'll start by bringing in a window and this is again a very simple image I found on online and I crypt it and I just cut the windows out with some mats right so I don't want to waste your guys everybody here knows how to do that right I hope so let's put that into a 3d and add that to the scene all right so we keep adding elements to our scene so in this case we have to first and foremost set up your cameras and all that good stuff so let's go ahead by selecting the merge tool fusion will add tools to the tool that's selected or viewed selected if you added while selected viewed if you throw it into the view right so it helps you sort of build your comp so in this case I want to add a camera so shift space brings up an eye type camera and I get a camera so now that is the actual camera view and if we look at that here you can now see that there is a camera right and now that allows me to do my eye moves in 3d space okay so now that I've done that let's key her so that we can actually see something through the camera again if I view her and I'm just simply viewing it I can go into our tool set and select under our mats different types of tears all right ultra cures prymatt chrome occurs things like that and if I throw it onto the view I'm also essentially saying that if I'll move this out of the way so you can see I want to what I want to key her so the key gets put in and viewed at the same time and it's active all right so now if we're looking at what we've got here we've got a layer of one image another and a stack of effects for this guy all right so I'm not going to do the best key we'll just do a like an auto compute key from from prymatt since I don't you know start going in there and detailing keying and all that okay so check this out right we've got that now as I start scaling and positioning these elements right so for instance I'll scale this you know to fit the view maybe we'll move her a little to the left to the right now the problem with this is lighting right trying to make a 3d scene on flat objects that don't respond to light doesn't really work very well so let's just I'm going to move this back here and scale this up a lot so it fills a few again from a distance okay we do have one good thing right we get parallax with this system it's very easy to just animate a camera and get get parallax effects and it's a very robust non plug-in based 3d environment this is all native inside fusion but here's the problem when I start adding lights right so I'm going to add a point light and let's turn lighting on here and as you could see it's a bit of a disaster right the light only reaches this that's too far away she's all darkened up I don't need these two things lit so I can select in the image plane for the background under its controls I could say do not be affected by lights I can say also do not be affected by life so now the only thing my light is going to work for or against in this case is this background okay and that doesn't like very well so first thing I'm going to do is turn it into 3d by turning it into 3d you have an instant depth and all that kind of stuff so I have some shaders fusions got a shader library alright so we have glass and metals and Chrome's and carbon fiber and you know all these all these interesting sort of shaders that that manipulate light and texture so we're going to add a shader to this and I've made one by copying they all modifiable so I just copied one and I made a very simple shader and it's just a base shader and all that means is just two tools a lighting tool and a bump tool right so if I feed this into here we can see that I've created a bump map from from basically just the images luminance and if I put that I've got now my texture right so I've created a texture for a window and I apply it back into here okay so now I've got a little bit of a texture still the lighting is not going to do much for me right but watch what happens when I displace it with another image so I'm going to hit this place 3d right and I have another image here that is just a a what we call a displacement map right and the displacement map again it's just shaped squares it's just squares that represent depth so black being the farthest white being the closest to you simply by applying that to the displays tool and setting the obviously the subdivision level to an adequate subdivision level I now have created a 3d window right and that 3d window can now be extruded or flattened or whatever now what happens is when I move my wonderful light around I get much better responsive reactions from the light to that right we now can actually put the light position it and get some some really decent effect so now when I move my camera right we're also getting not just parallax between the foreground and background but we're actually seeing the depth in our in our and I windowed here's a cool thing you don't really need to to do this you know you don't need to do that right you don't need to have that much you need to have just enough you see how the light changes just as you pull it right so that's all you need and that is as a it's enough for the eye to be to believe it okay so now let me just clean her up really quickly so I'm going to add a hue tool a hue to us how we color correct green screens and things like that so I have a green suppression and all I have to do is just kind of just pick the color that I want to suppress the green from and let down a little bit pull that one down a little bit okay so not a colorist but you know Paul can do that later and fix it for you guys you up to that Paul every way okay cool alright so so now we have this really cool okay it's pretty cool but it's not there yet we're still missing glass real glass and anybody's done compositing and knows that you create your reflections you do all that stuff and then someone makes a change you got to move the camera or they say zoom and all of a sudden have to resore to figure out how does that reflection work now watch what we do here I'm going to add a glass so I'm just going to copy the window since it's in the same place and I am going to sneak it inside and we are going to put a glass shader on it so I have a window shader and the window shader is just a slightly tuned version of my glass shader that's in in the presets and it has you know lighting capabilities it allows you to you know make adjustments to the bump scale things like that but it has its own built-in temp stuff tempera flexions or whatever so if I apply that that's pretty but you know it's not where she really is right so lets me ahead and first scale is to fit in there and I'm going to show you how cool it is to just create a a window and yet school is that infusion no matter what tool you touch and what view you're viewing its controls will show up in the view you're viewing so you can work on a tool in relation to some completely different other display part of yours of your comp because they're relative to each other and then you can you can do that okay so I've got the the glass and just going to go in here and just make sure that the that the glass is actually the right place right so we'll select it and we want it to go right behind there okay great so now this shader accepts auxiliary images so let's start with a base color right base color in this case is some dirt so I'm going to grab that and I'll put it into here and I'll say it's the base so now you see a little bit of that grime showing up in there but the problem is is the reflection is still completely inappropriate so I have this nice little I'm really good with the Google you know so I found this really good high dynamic range and it really is high dynamic so you've got all this incredible range in it which is really important because fusion takes advantage of that so watch what happens when we put this it now and I say this is our new reflection right this is our reflection in now watch what happens when we look around in that room alright so now that is an accurate reflection based on the incident angle that you're looking at right so you no longer have to worry about whether or not this thing will zoom in or zoom out correctly the field of view increases and I could look at the floor over here nice carpet and see like cool right okay that's that's where the power fusion comes right it's extremely extremely powerful in the sense that it has a lot of the traditional tools you'll find it really high-end 3d packages but tuned for the artists in the compositing environment you know we're not we're not going to dig too deep in all of these things but we want to have that if we can't alright so now we have a good example of that now I'm going to do an animation I'm just going to fly through the window and we'll talk about some of the problems with that actually I want to take this here which is the dirt pass and I want to add it to the to the bump input so you could see here if I increase the I don't know if it's connected but not actually I never connected the bump everybody okay so now let's do the tricky stuff right and we're running one frame longer than the material that's why it keeps flashing red okay let's do that camera pushing and I'm gonna show you some really cool tricks that go beyond what you just saw okay so we've got our camera I can select the camera actually before I do that I just want to touch quickly over what I've just done for those who aren't familiar with nodes right the node system is essentially the script for what you're doing so you can visualize by looking at it in a way that you can't in sort of layer systems I know what I'm doing here I could visually see what I'm doing here and essentially these are your stacks right a stack on this tool if factor here you know this is the traditional what you would consider pre comps that need to be put into other environments but in fusion it stays it stays live right so let's take the camera right click on here and just right click say animate the translation groups we're going to go and fly through the window and let's look at the path and when it gets somewhere around here when it actually goes through the window let's actually move it over and let's move it I guess down okay and we'll play that alright so now we have our camera that's moving through the scene and it's great we got our let me turn off this grid here there we go now the problem is that the city itself is also flat right so the city is just an image so all of this works up till here that's great but the problem is is once you get into the city everything is flat and this parallax move doesn't exist now and let me just actually just throw in a little loop sorry so little gamma into that background so we could see a little bit okay so the camera move doesn't offer that kind of parallax flat image so let's do exactly the same thing right well subdivide this to say 200 and we'll add a displace node okay so I've got my displace 3d now look how simple the texture that I'm going to use to display this is it's really kind of funny it's really lame I mean it's a bunch of rectangles that I wrote out for individual buildings and some of them that were in angles I just created a gradient so that the white is the closest and the black is the furthest so when I do that will view that over here this camera right so we've got that now as soon as I hit that watch what happens to my city so now I'm parallaxing through the city correctly so let's actually move the camera now so that when it gets here look sorry see we make a little turn right so we get to the end let's make a nice turn here so that would really screw up the parallax I can smooth that and smooth that as well all right now watch this right no parallax without without the displace put the displace back on and which is instant parallax is that amazing right we instantly created the look of a city the city look just by displacing it with this simple simple little trick right now this will work under certain conditions like you know a demo it looks great but but if we were delivering this the client would be a little bit pickier right they'd say well I want to see some reflections in the glass or the reflection of stationary there or you know all that kind of stuff so so we can take this further from a demo to a production level and I've done that to show you guys how cool that is so so far pretty cool right right awesome that way before I actually go I wanted to show you where I hit render actually because the renderer and the floating point that I was telling you about of the HDR image it really comes into comes into gear and right around over here so here we have that and it's in float range so that means that when I now do my post stuff like my soft glows right my soft glows can use thresholds that determine where the region is that I want to glow and so I have the ability to do some pretty amazing pretty amazing things with the level of the range that's inside that and yet still maintain maintain all that as I go down my comm all right now I'm going to blow you away if that didn't blow you away take a look at what I did during the break not kidding all right take a look at this tada all right it looks bigger but it really is copy paste right rinse and repeat rinse and repeat so actually you just need to know what I did here right and then everything is there so let's show you the results first and show you what this is and remove that for a second full surprise your day later right so what's happening now GPU is loading in all the textures go to my camera view and I will play this how cool is that that's the same image use to generate this city map I'm not kidding I did it while you guys were having hot dogs now for just for fun I'm going to throw some fireworks in there particle based fireworks you know have them run off not a big deal right easy to do so here's how I did this magic okay that same city same city right rather than displacing the entire thing so that you stretch one building into another building and all that kind of stuff I just rode them all out right so I wrote at the buildings app not a big deal you take them out of their scene each one but now that I have each one they now each go into their own image plane so I can do things to this that don't affect the other buildings right they're not like all tied into each other so how do I do this well I'll give you guys a very quick look at it first thing I do is I added the shader right the shader is what does it right that gives that glass look but what is the shader so fair enough let me open up the shader the shader is a mini comp the shader nodes are the reflect or the Blinn or things like that so I'm actually going to disassemble this thing so you can actually see what it is and know that it's not as scary as it seems so the first thing you want to do is I want to make reflections so I add a reflection shader and that reflection shader has inputs one of them would be the base right so this image so this would go in and would be my you hit the option key and you can see all the different inputs so this would be my background so now we have our background right so the next one I want to create a reflection so I found another image somewhere online and add a sphere map to it so sphere map basically gives it an environment I'll take that and I'll select to put that into the reflection color and now I have a mirror all right pretty cool problem is it's a mirror and we have windows so we use fusions duplicator so I created a grid by a simple simple square and I just obviously when I did this I merge the two on top of each other so I knew how many squares to make but I duplicated across one and across the other so that's how easy it was to create that array of boxes and you just line them up first by putting the building behind it now I want to say that I'd like to filter the reflections right because I don't want that so I will take the results of that and I'll say reflection intensity boom right so all of a sudden I have this incredibly reflective building only where the glass needs to be reflected cool all right let's get cooler right next thing you want to do is you have to add specular to it now you need some sort of you know light reaction to it and that's what this tool does so this tool allows me to do things like add my specular power or all that kind of stuff and what that means is when I turn lighting on it's it'll show you where the light and how the light reacts to the glass so in this case it's the same thing I need the same thing here and it's a I can't view it like that I would like the specular intensity to be driven by the same image all right so all of a sudden now my glass is the only thing that's got specular and there you go now the other problem is the image is still perfect right and glass has this warp effect where you see the the image is warped based on the angles of the glass and all that kind of stuff so there's a couple of methods of that one is I just take like a fractal noise and add it as a bump map and then in the reflect I say this is the bump texture so now as soon as I start adding scale to my reflection my reflection starts to distort so now you get this distorted reflection as you move around but what I like to do is actually the opposite here and actually this is one of the things that I did mistake in the show and I thought it's great right why don't I just use that guy and that guy is the bump texture so now what I'm doing is I'm literally just offsetting the reflection using the same material so I just offset them a little so now they create this checker effect where each windows slightly offsetting the other all right that's a shader I mean it's a shader and we have plenty of them in here and when you open one up you can essentially like the Chrome you open it up into the group and see what is Chrome it's an image it's translated it's got a sphere map and I kind of said once you open one up you could start adding your own things and before you know what you're making your own shaders okay so that being said how did we get it shaped that way but what you saw before was a linear sort of gray black to white displacement that can only go forward and backwards so you can't bend things with that but with color you can world color space so in this case I created a gradient using our gradient node background with gradient in it and the gradients control essentially the displacement by color so take a look at that right i displace that simply by the position of my color ramps the colors whether there's got more blue or less blue depending on what will push it into into its own world space if I wanted to add a little detail in here and I can create you know more shapes to it and you know all that kind of stuff so it's it's essentially shape modeling right so I basically just shape model that how cool is that right right now I'll just jump quickly to a more complicated building so you can see the effect of this one right so this guy had a three layer right but the view that which we saw it from is mostly these two so what I did is my in my displacement map is I designed the map wrong one way Mike yeah I designed the actual map to reflect that larger and smaller so when I displaced that one I actually got that look which is what we needed which was that from the point of view of the camera that cool so we add them all together thank you thank you we add them all together and watch what we have here we have a fitty fake city just a bunch of image play now how did I line them up I downloaded it's a Google Earth thing that had like where's those buildings were so is like I well I know this one has to be here and that one has to be there and they and guess what they lined up because you know Google was right I guess so so essentially you just you just do that now to just quickly talk about the lighting effect of all of this right if I were to view this and by the way you've got two cameras so you see the lighting on that building how its nice and glowy and gold and whatever I can change that interactively while it's even playing so we know that that building we just looked at was this guy and that's it's shader so if I take its shader out here so it's clean and I don't mess up my comp and I go in here and I say okay the Blin which is the actual lighting part of it see the same trick with the filter I would like to increase that intensity to 10 and I would like the exponent to go down so that it's a super or maybe go up or down or maybe the color is a little bit cooler in the reflection and the lighting how amazing is that now last but not least we throw in some fireworks so in some fireworks and a couple different cameras so let's look at over here we'll say camera two so two different cameras rendering the scene in real time showing you different angles of what I could do with a still image tada like it so the good thing is guys there's presets okay the presets help you do all of that stuff I mean the particles for instance you know that we've got snows and fires and the fireworks was actually oh I didn't put it back in here yet fireworks will be part of the next package every time I make a shader for a demo I add it to the package for everybody to have why not right but really quickly this is for your editors out there who are constantly looking for performance enhancements in the sense that you needed a piece of smoke or a piece of chimney smoke or fire and these libraries all look the same exactly the same they all break frame and you can't shrink them or anything try some of our presets right here's a very simple preset for smoke and all it is is a fractal noise that's animated it's colored to create blue lights still rendering that while I'm doing it it's pretty fast performance guys and I applied that to a particle emitter it has a little bit of turbulence and let's see what that looks like and that's the rendered version of it right so this smoke is real 3d right it's it's there it's not you know it's not something that that you're bound to in any direction right you could change the position of your camera you can go into your camera and and rotate it down a little bit to the left to look at it down or up and all that's done so we have those for you they're easy to easy to do we have everything from what you just saw to some you know more smokes tacky type things you know like that and for those of you who are working on a sequel for the matrix we do have a matrix shader and that is really cool because you can go in here and adjust your density and you can increase your density reduce your depth increase your depth between them all and guess what this is it's also a particle system in 3d space how cool is that right so that's fusion guys it's a little bit of everything right we can color key animate particles effects it's the perfect combination for resolve as Paul showed you how integrating it it's just changed everything so thank you guys you

Channel: Michael Horton

Views: 40,621

Keywords: editing, NLE, LACPUG, Avid, Adobe, Apple, FCPX, Final Cut Pro, Premiere Pro, Fusion 8, VFX, Free software, Black Magic Design, Compositing

Id: S1Wu7JthR2c

Length: 30min 35sec (1835 seconds)

Published: Fri Jun 03 2016