Better than After Effects? Incredible FUSION VFX Compositing Masterclass - DaVinci Resolve

this masterclass is all about building complex animations in Fusion we're going to show you how we turned this into this we'll be covering how to color grade your VFX with media out nodes magic masks planar trackers Point trackers Expressions instance nodes the spline editor light wraps and much more we won't be covering the basics of fusion but whether you're a beginner or an advanced Fusion user there is something for everyone in this masterclass rather than a feature Focus tutorial in this video will take you through the entire process of creating this shop this is for our upcoming video about the Blackmagic Cinema Camera 6K we wanted to create something that emphasized the camera's awesome potential for shooting vertical content the background plate was shot on the Blackmagic Cinema Camera 6K the VFX plate was shot with a kesla cine shooter motion control slider right here so come and watch as we break down a complex VFX composite and navigate challenging footage no we're not using curated perfect media our footage has imperfections that will make our job harder along the way you'll learn new tools and techniques that you can add to your existing Fusion skill set and if you've never used Fusion before you'll get an overview of its power and who knows it might inspire you to dive in let's get going let me show you my media first this is the background plate shot on a gimbal on a Blackmagic Cinema Camera 6K here's the motion control clip shot on the kesla cine shooter if you are interested this was shot on a kin Affinity Marvo LF in 6K and finally this is a static shot of the screen inside the viewfinder all of the footage is currently in its original log formats let's fix that by turning on color Management in Project settings by the way my timeline resolution is set to UHD 3840x2160 I'll head to the color management Tab and turn on the Vinci yrgb color managed now straight out of the gate resolve has Auto automatically worked out the correct color space for the black magic footage that's because that information is in the metadata but the clips from my K Affinity Mar LF don't have any such metadata so I'll need to select both of these clips right click go to the input color space menu and select re log C3 that's better I can see now that both of these clips are correctly normalized there's one final problem to fix the vertical anamorphic footage from the Black Magic Cinema Camera 6K needs to be deseed select the clip right click go to clip attributes and I'll change the pixel aspect ratio from Square to 1.5 that's better you can see now the footage looks normal let's head to the edit page and I'm going to get the main VFX shot into my timeline now if I was smart I would have set up a green screen you know the one that's sitting on the floor in the bottom of the shop but I wasn't I'm going to have to find another way of cutting this camera out now Magic mask is available in the fusion page but instead I'm going to use it in the color page and Export the mask for use in Fusion I prefer the tool set in the color page and I find I get better performance I'll name the node magic mask just to be super neat when you open up the magic mask tab the qualifier in the viewer is automatically selected I'll draw the camera in remember you're not trying to draw the objects outline that's what magic mask is going to do I am drawing a longer stroke than I usually would though and that's because this camera is black on a black dark background so I want to help resolve to identify as much of the camera as possible I'll turn on the mask overlay so I can see what it's done and as you can see magic mask has included parts of the image that I don't want these tripod legs and those shadows in the background so holding down on option or alt on the keyboard you can add additional Strokes to further train magic mask so it knows what objects to include and what objects to exclude there you go that's looking pretty good so I'll hit the button to track backwards I'll speed this up in the edit for you all right track done let's scrub back and forwards to see what it looks like as you can see there are some minor issues with the magic mask it looks like it had some difficulty when the camera was really close and blurred cuz it was out of focus and there's a couple of issues on the screen as well but I'm not going to worry about that cuz I can fix those tiny little holes super easy in Fusion later for right now I want to render out this mask so I can use it in the fusion page to make my magic mask visible on the deliver page I can add an alpha output and connect my magic mask to it instead I'm going to use a slightly different technique I'm going to set up two nodes in parallel connected through a layer mixer and add the color generator effect to both of them this bottom node I'm going to set up to be white the top node I'm going to set up to be black and then if I feed the alpha output of my magic mask to that white node check that out I've created a black and white transparency map let's head to the deliver page I want this clip to render at its source resolution remember I said this was shot on a LF at 6K well my timeline is currently set to UHD 3840x2160 so here's a really cool trick if I render out individual Clips it exposes the render at source resolution checkbox with this checked instead of rendering out in UHD my cool magic mask map will render out in the clips Source resolution I'll use prores 444 xq so I've got the maximum quality available a really cool benefit of this workflow is all of that computation that went into creating the magic mask has been baked into that rendered file so I don't need to worry about it slowing my computer down anymore here's the file if I open it up in quick time briefly wow that's really white let me make that smaller and open up quick times movie inspector you can see as predicted this clip has the same resolution as the source media that it was generated from 6016 by 3984 let's briefly head back to the color page delete that grade so the clip no longer has the magic mask on it so here's a reminder this is all that's in my timeline this one single clip that I'm working on when I head to the fusion page this clip will be automatically turned into a fusion composition the first thing that I'm going to want to do is to import that black and white mat that we just rendered out into my media pool I'm going to use this baked mat to control the opacity of my footage I'll load it into the left hand viewer I'm going to do that this once by clicking and dragging but for the rest of this tutorial I'm probably going to be using the keyboard shortcuts for loading into the left hand and right hand viewer that's number one or number two as I drag the playhead backwards and forwards you can see that these clips are perfectly in sync first I'm going to use a channel boolean's node to extract a proper Alpha channel from this black and white map I can do this by setting the alpha dropdown to use the lightness from the background input there you go next I'll add a map control node to my VFX plate and connect my brand new Alpha Channel that I made to its garbage mat input uh-oh it looks like the alpha channel is the wrong way round that's easy to fix by inverting the garbage mat input on the ma control node let's do some quick housekeeping so I don't forget what node is doing what otherwise I'm going to end up with an awful lot of nodes that are called the same thing meteor in now the next job I want to tackle is getting rid of those imperfections in the magic magic mask a nice easy way to do this is with a paint node the way it's configured at the moment any Strokes I add to this image only last one frame so I'll go through frame by frame filling in those holes I can also change the color of my brush from white to black to paint out parts of the background that have been erroneously included in the magic mask now I am being expedient for the sake of this tutorial I'm not doing a perfect job so you will spot mistakes in my mask but hopefully you get the idea by the way if you want to change the size of your brush hold down on command or control if you're on Windows and then click and drag up and down in the viewer it's looking really good but there's one last thing I'd like to fix the mask is way too crisp so I'm going to add a Goran blur node and animate it so the mask starts out blurry when the camera is super close and it gets crisper as the camera pulls away let's add the background footage of the bridge I'll import it from the media pool equip it in the left hand viewer and name the node as you can see this footage doesn't match my delivery aspect ratio so I need to crop and resize it there's a couple of different ways of doing this the method I'm going to use is creating a background node as you can see by default the background node gets its resolution from the clip I started this Fusion composition with I'll uncheck Auto resolution and set it to UHD now I can merge my bridge footage with that background node and then size it now instead of trying to eyeball the correct size to get this footage to perfectly fit my UHD composition I can type a little bit of maths into the size property 3840 / by 66 will give me the perfect value in this size field there you go fits perfectly I'll reposition it so that we get a little bit more sky this composition is going to look really odd if both the camera and the background are crisply in Focus we need some lens blur I'll equip that in the left hand viewer I'll increase the blur to five and the blade curvature all the way up to one for perfectly round Boker I've got the background loaded into the left hand viewer I've got the camera loaded into the right hand viewer I don't know if you can tell from looking at these images but they're different aspects ratios the background is already sized for UHD the camera footage on the right is still in the original resolution from the camera 66x 3984 so before I combine them together I'm just going to resize the camera down to UHD first thing I'll add the resize node I'll check keep frame aspect that's going to stop the image from being distorted and set the width to 3840 as you can see while the im's width is now 3840 it's still way too high so after the resize node I'll add a crop node and configure that to UHD check this out now I can use a merge node to combine both images together now of course one of the super cool things about resolve is when I head back to the edit page my Fusion composition is immediately viewable in my timeline and of course also in the color page but the problem is is if I make a color correction to my Fusion composition it gets applied to the entire image there's no way for me to grade the background and the camera separately we can fix that I'll head back into the fusion page and we can reconfigure our node tree I'm going to delete that merge node and create a second media out node I'm going to connect my camera to that second media out node these media out nodes both have different index numbers the background is being sent at index zero so I'll name that media out node accordingly and the media out node that the camera is connected to is being sent to index one so again I'll name that node accordingly hey the names aren't important they're just to help me to keep a track of things in this node tree before we go any further I've spotted a problem the footage on the bridge hasn't been trimmed to length yet the first 2 to 300 frames of this clip is stationary that's easy to fix in the fusion page I'll select the bridge footage node and trim the inpoint so the clip now starts at frame 300 this is so cool because those two separate parts of the composition are now being processed separately without being merged together let's make some room in the middle of my no tree to start building the screen and evf I need to track the movement of the camera so I can apply the screen to it perfect tool for that that is the planar tracker it will be easier if I track the screen backwards because the screen is fully visible at the end of the clip so I'll go to the last frame by the way I've got my planar tracker equipped in the left hand viewer let's define the part of the image that we want to track set my reference time and track backwards as you can see this tool automatically generates a cloud of points that it uses to track the motion of that plane the track about halfway through the clip that's because the camera went off screen now the track's done we can change the operation mode of the planar tracker from track to corner pin and because I started the track on the last frame I might as well set up my corner pin there because this screen is on its side I need to kind of rotate those Corner pins as I bring them down onto the screen I'm rotating them 90° accuracy is important so I'll zoom in to make sure the points are all lined up correctly you might be wondering why is the image so noisy that's not the camera's fault the lower probe lens that I'm shooting with has a maximum aperture of F14 and because I'm setting the exposure for the screen on the back of the camera I can't just throw more exposure at the image so I am having to use quite a high ISO on the camera I think it's holding up really well let's check the quality of the track by scrubbing back and forth in the timeline hopefully those Corner pins stay glued to the corners of the screen it's pretty good but the track does drift a little bit especially as the camera gets closer and right at the end the track goes really bad that is to be expected because this screen does have a lot of Reflections on they are going to mess with the planar tracker this will be easy to fix because we can manually adjust those Corner pins to change over time in order to do that I need to turn key framing on for those corner pin locations be careful where you drop those key frames though I've deliberately chosen to do this on one of the last frames where the track was good now I can move the play head head back to a portion of the video where the corner pins were slightly off these manual corner pin key frames will work in conjunction with the track I've got all the benefits of the tracking data but with my Minor Adjustments all right the plane our tracker is done now we need to build the image that is going to go on the screen again I don't want it to be the same aspect ratio and resolution of my original Source media so I'll use the same trick create a background set it to the resolution that I want to work at and then merge the bridge footage with it now you might be thinking wait a moment Leon you've already built a UHD comp of the bridge footage that you're using in the background yep that's true but I don't want the same image to be on the screen on the back of the camera as the camera rotates the image on the back of the screen needs to rotate too so I need to build a different composition to go on the screen on the back of the camera I'll equip that merge node in the leftand viewer now the merge node does have position angle and size controls usually if I can get away with using a merge node to position an element in my composition correctly I'll do that but when I need a more sophisticated tool set I'll add a transform nodee let's find the point in my footage where the camera starts to rotate perfect I'm going to select that transform node scale the clip down so I'm seeing more of the footage adjust my Pivot Point so it's near the top of her backpack remember that's the point that the image rotates around and then position the clips we've got a nice composition and just tweak the size a little bit more I'm going to add key frames for position size and angle now I can scrub my play head to the point where the camera has finished rotating rotate the whole clip 90° and tweak the size and position so I end up with a nice composition let's scrub the playhead back and forwards to see how this animation looks what's really cool is I've got the composition I'm building for the screen in the left hand viewer and I've got the footage of the camera in the right hand viewer it really helps me to see how these two images are coordinating with each other let's open up the spline Editor to tweak the animation to make it look better because the camera movement eases in and eases out my screen composition will better match if I ease the key frames to it's super easy to do select all of the key frames and hit shift s to smooth the camera movement does have a really slow ease out so I'll extend the bezi a handle for the angle animation finally as I scrub back and forwards I can see that there's a moment as the screen is rotating where I see the edge of the original footage I don't want that I'll add a size key frame in the middle of the animation to make sure that the footage stays large enough that is looking really good while I'm here I'm also going to build the image for the evf again why do we need a separate image for the screen and for the evf well the image for the screen doesn't need any overlays because that's already present on the back of the camera the image that's going in the evf does need to have an overlay added let's open up the media pole and bring in that nice shot that I have of the evf overlay I've equipped the clip in the left hand viewer and scrubbing backwards and forwards I can see that there is no movement on the audio meter before somewhere around frame 170 so just like it did with the bridge footage I'll trim the clip to start at the correct point so I need the bridge footage to be overlaid on this evf what's really cool is I can reuse the composition that I created for the screen on the back of the camera so let's merge that composition with my evf clip and I'll equip that in my left hand viewer now one of the really cool things about Fusion is it doesn't throw away information that's outside of the frame so even though I cropped the image down to UHD now that I've merged it with this larger image this image that was shot in 6K I can see all of the stuff that was outside of that UHD frame this green line here that represents that 3840 by 2160 frame and look I can see extra clip all around it let's fix that with a crop node I'll pop it in between check keep centered and crop that image down to 384 by 2160 that's better now I can scale it up to the correct size yes it is covering part of the evf UI maybe I'll fix that later but for now I'm happy the cool thing is we've built three different elements in our composition that are all using the exact same Source clip as a result check this out if I equip the background plate in the right hand viewer I've got my evf in the left hand viewer when I hit play you'll see they're both in sync with each other of course the same will be true of the image that's going on the screen as well all right let's tidy up the not Tre and now we can finally get that screen composition tracked onto the back of the camera there's one last thing to do before we do that when you use the planar tracker in the corner pin mode it's very picky about the image that you feed it that you want to be applied to the corner pin track it likes it to be the same resolution and aspect ratio as the clip that you've tracked so this funny little Quirk means we need to do a little bit more work to our screen composition before it can be applied to the plan ey tracker is really easy though I'm going to create a background node by the way look if I show you the image tab you'll see the background node already has the correct resolution that's the resolution of our 6K Source media that's because this Fusion composition was originally created from a 6K clip so once again let's merge our image with that back ground node remember the reason that we're doing that is because the background input on a merge node defines its resolution now we need to scale the screen composition so it fills that 6K image remember though they have different aspect ratios our screen composition is 16x9 or 1.78 the resolution that we're trying to scale it to is 3x2 or 1.5 that means we'll need to scale our screen composition unevenly we're going to have to distort it again instead of using the merge node to do that I'm going to add a transform node the reason is because if I uncheck this box here I can scale it to different dimensions in the X and Y AIS I don't need to ybo this I can do some simple math in these fields yep the image now looks squashed but don't worry it's going to look correct when we apply it to the planar tracker I'll equip the planar tracker in my right hand viewer and drag the output of that merge node mode into the planar tracker green output and voila now the image is on the screen that looks really good but I don't want the screen composition to be composited with the camera at this point remember we want to retain flexibility so all the different elements can get graded separately later so on the planar tracker I will change the merge mode to foreground only now you can see the planar tracker is only giving me the tracked screen not the camera footage in the background I'll reconfigure the not tree so that the camera still gets processed in its own pipeline now here's a really cool trick if you're worried about performance as your no tree gets more complex you can cache the output of particular nodes I'll do that with this plan ey tracker node right click go to Cache to disk let's set up a folder where that cach will be stored I'm going to call mine screen bake and I'll name the files that are going to get stored in there too it save save and then hit pre-render now instead of this node being calculated as Fusion is playing back frame by frame you'll just simply read it off the dis cool let's finish setting that up the screen is going to need its own media out node and because it is still at the 6K resolution that the footage was shot in it's also going to need to be resized and cropped to UHD there's no point doing that again I can copy the existing resize and crop nodes that I created instead of doing an ordinary paste though I'm going to paste an instance see these little green lines that attach these new copies back to the original nodes that indicates that if I go update that original resize or original Crop node those changes will propagate to all of the other nodes that are linked with those green lines I shall add them to the image pipeline for the screen composition the next job is to track the evf into the viewfinder this is going to be really difficult because there's not a lot of information on that viewfinder that I can track there's portions where it's out of focus there's Reflections but I have a plan do you notice as I track back and forwards most of the movement is up and down there's not a lot of side to side motion in fact I don't like that up and down motion I'd like the camera pull out movement to be cleaner I'm going to set up a point tracker because I think it will help me remove that unwanted camera movement and because I can use it to track the evf into the viewfinder let's equip the tracker in the right hand viewer and start setting up these tracking points I'll need two tracking points if I want to be able to track size as well as position there aren't a lot of good places here to set up a tracking marker but because I'm primarily interested in tracking up and down movement I've got an idea I'm going to set up really thin tracking markers and see if I can track the edge at the top top and the bottom of the evf I'm pretty sure these tracking markers are going to slip left and right but it doesn't matter because I'm only trying to track up and down movement to increase the likelihood of a Tracker working you can try and clean up the image beforehand I'm going to add some noise reduction there you go look how much cleaner that makes it and I'm also going to add a curve to give the image back a little bit more contrast this serves two purposes it's going to make it easier for the tracker but it's also going to help me spot when the tracker goes bad all right back to the tracker I'm tracking from the last frame so we're going to track backwards it looks pretty good I can definitely see that the trackers are slipping to the side but it doesn't matter because every time the viewer updates and I see a new frame I'm really pleased to see that the trackers are still perfectly on that line oh and that's really funny you can see the Gaff tape that I put on the front of the lens to try and clean up the the reflections yeah I did not do a good job with that I told you this is bad footage but I'm really pleased with what we're squeezing out of it all right that's far enough let's stop the track there I think we've got what we need if the track is bad I can manually adjust each frame so it looks like the track held brilliantly right until the end when it started getting really blurry I know the track is moving left and right but like we said I'm only interested in the vertical component so I don't care about that I'm just going to manually nudge the tracking markers in each frame as needed to make sure that they line up with the edges of that viewfinder how do we use that beautiful new tracking data well the problem with the tracker is that when I put it into match move mode it's going to apply both the X and Y dimensions of the track I only want the Y Dimension here is a really cool trick that I learned from Casey Ferris there's a link on screen if you want to go watch it yourself there'll also be a link down in the description so shout out to Casey for this awesome technique I'll make a merge node to combine my evf with the camera let's scale down the evf image so we can see the camera behind it I'm going to write an expression for the position property in this merge node to extract that tracking data from the tracker node these two values within the parentheses represent the X and Y value so I'm going to delete the second number and type this expression tracker one dot unsteady position doy and that's extracting just the Y tracking data and look at this as I scrub backwards and forwards it might not look like much at the moment but the evf image moves up and down with the camera I can make that look even better by writing an expression for the size property tracker 1. unsteady size and now as I scrub the playhead backwards and forwards you can see that the evf scales with the camera footage too brilliant now remember I said I really want to get rid of that up and down movement so instead of tracking the evf to follow the unsteady footage what I'm going to do is I'm going to stabilize that vertical movement in the original camera plate so I'll reset that merge node and I'm going to add a transform node into that camera footage pipeline oh and I don't need that noise reduction and color curves node anymore so I'll disable them let's rename this transform node so I don't forget what it's doing and I'm going to write a similar expression in the position property this time instead of the unsteady position I'm going to use tracker one do steady position if you're not sure of the difference between those two go check out Casey's video and now you can see as I scrub backwards and forwards the camera no longer Bobs up and down this is awesome because it's actually pretty much removed the need for me to track the evf onto the camera cuz now the camera's evf is staying in the same position on the screen before I do that though I just need to feed the stabilized version of the camera footage into that merge node that is better instead of doing this with the merge nodes position controls I am going to pop a transform node in here next I'll add manual key frames for the evf position and size to keep it perfectly centered on the camera footage think we're going to speed this up in the edit this isn't hard it's just tedious to watch I'm key framing every 10 frames or so and then of course like with most animations to make sure it doesn't have a mechanical appearance I'll open up the spline editor ease those key frames perhaps as well even look for redundant key frames if I've made too many it will just make the animation more complex so delete those unnecessary key frames as needed honestly this did not take long at all it was really easy to position I am going to add a key frame to the blend mode on that merge node so the evf Fades out the further the camera gets away here's how it's looking now the motion of that evf footage is really convincing it looks like it's actually glued to the camera but I need to add some masking so that the edges of the viewfinder obscure the evf again nothing fancy here but because my footage is already stabilized and centered on the viewfinder it's really easy for me to manually key frame a polygon mask to follow the shape of the viewfinder again I'll speed that up to keep the video [Music] entertaining that is looking really tidy the evf needs its own media out node so that that element can be graded separately in the color page also the evf composition still has the resolution of our source media 6K so I'll make another instance copy of the resize and crop node and finally I'm still feeding this Pipeline with an image of the camera that was really useful while I was getting the evf and its mask lined up so I'll cut that connection create a background node make that background node transparent and feed that into the background input of that merge node as you can see this pipeline now contains just the evf and something super important that we should do because we've stabilized the footage of the camera the motion of the screen composite is now out of sync so I'll make a reference copy of that stabilization transform node and apply it to the screen image pipeline too now stabilizing the camera footage has created a problem in the original Source media the footage tilts up so the camera is centralized at the end of the clip and when we stabilized the up and down Movement we essentially removed that camera movement we need to reintroduce that it's not unusual to remove bad camera movement from a shot and then reintroduce good camera movement this can be accomplished with another transform node I'll rename it position so I don't forget what it is and I'm going to find the point where I want the camera to start moving create a size and position key frame and then find the point where I want the camera to stop moving and create another position and size key frame and as always to stop that from looking mechanical I'll open up the spline editor and ease those key frames I'll make instance copies of that reposition node and apply that to the screen and evf image pipeline the background doesn't need it this is looking awesome there's one thing left I'm going to add a light wrap it will help the camera plate integrate better with the background I'm going to do that by forking our background plate into a Mac control node and borrowing the alpha channel from our foreground element that's the footage of the camera and feeding that into the garbage mat input let's tidy up the node tree so we don't have that connection running diagonally across Next Step We'll add a Gorge and blur node I'll increase the blur so we have a bigger light wrap and then add another Mac control node and feed that same foreground Alpha again into its garbage mat input it looks like the garbage mat is the wrong way around so let's click invert and check this out that is a really simple way to create a light wrap like with all the other elements in this composition I'm going to give this one its own media out node so we can grade it separately in the color page all right that's it our composition is finished it looks awesome working tidy has helped us not to lose our mind so let's head to the color page how can we access those different elements well in the node viewer right click and go to add Source actually we're going to want to do that four times these five inputs represent index 0 1 2 3 and four remember we were able to set the index on those media out nodes how can I composite them together in the color page with a layer mixer when I feed that second input into the second node in the layer mixer look what happens there's the image of the camera we don't have it Alpha connected at the moment let's fix that voila check that out let's label up our nodes camera and background and add another layer mixer for the screen now you might be wondering why I don't just add another input to the existing layer mixer that's because I want to composite the screen using a different Blend or composite mode let's connect up the screen and label it up keep our notary nice and tidy and now right click on the layer mixer and change the composite mode to screen I always find it kind of ironic that one of the best blend modes for compositing screens is screen I like the irony but look at that now I can see the overlays that we filmed on the camera in fact as the evf and light wrap also benefit from being applied in screen screen composite mode I'll add them to the same layer mixer of course making sure I label them as I go to keep everything nice and neat now check this out I can grade the background without it affecting any of the other elements I can change the color temperature of the camera to make it better match the background I can increase the brightness of the screen maybe even pump a little bit more saturation into it or if I decide the light wrap isn't intense enough not a problem I'll add more gamma I don't have to go back and Fiddle with that in the fusion page I can of course use other nodes Downstream to apply a look to the entire shop I'm going to add a film emulation L and then I'm going to add the lens Reflections effect to this final node by default I think the the look is a little bit too intense so I'll change that Violet element to have no color and bring the global blend down it's a little bit of a cheap but effects like lens Reflections and flares really help to blend VFX elements together so what's performance like with this super heavy Fusion composition running through the color page playback on my M1 Max is topping out about 3 frames per second it's definitely not real time but it's not terrible but here's a trick turn render caching on and then turn node caching on for each of these five nodes that's being fed from the fusion page sorry yes you are going to have to do each node individually now I'm not sure if this is a bug all of the nodes have cached the only one that's showing up blue is the background node but now when I hit play look at this perfect realtime performance and I'll get that real-time playback performance in the edit page as well how was that I know it was packed to the brim with information hopefully it provided a nice balance of how and wow some super helpful tips for your work and also some wow some inspiration for a future project or motivation to learn Fusion more work is needed to finish this comp tidying masks adding additional effects but even with mediocre footage we've already created something really cool Fusion is incredibly powerful node-based workflows offer a structured way to break complex compositions into simple steps if you've got questions leave them down in the comments if you're looking for a beginner's video on Fusion there's a link to an awesome Casey Ferris video in the description that I think you'll love now did you like the style of this video please let us know if this is something you'd like to see more of consider sharing this with a friend give the video a like And subscribe so you don't miss out on future content thanks for watching

Channel: Team 2 Films

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Id: DXeuH3UsFnk

Length: 38min 55sec (2335 seconds)

Published: Tue Feb 06 2024