Black Magic Design Fusion 16 Studio - Supervised Tracking

in this video tutorial I'm going to show you how to use fusion to create this composite sequence here now the first thing we want to do is to track the shot and once we got a track then we can place all these 3d elements and then composite it together now fusion runs on a node-based system ok as you can see in this node structure here alright so let's start from the beginning first I'm gonna start a brand new home and then I'm going to load in the image sequence so once you brought in the loader node and in order to see the sequence you can press either one on your number key to show on the viewport 1 or press 2 I'll show you in the viewport the second view pot now to fit the views you can just select on the viewport by clicking on it and press ctrl F so I'm gonna click on this view pot and press ctrl F to zoom to fit you can also click on these white dots here it represents which view you are you are looking at the footage so I'm gonna click on this you can click and notice you can turn them on and pause alright so if you only want to see one of the view part in this case we've got two you can click on this icon here to just show one view alright so the sequence is only 52 53 frames in length and the default is 1000 frames so I'm gonna just type double click on this timeline here and then change it to 53 frames and right now I'm gonna load this into the memory so I'm just gonna hit play and it's going to load the frames in the memory okay and then we can review the footage over here this button here I can change the playback type to ping pong so that you will go back and forth so this allows me to study the footage a little bit better ok so the first thing we want to do is we want to track this footage we want to be able to track place good points in this shot so that we can get a good parallax so the solver will be able to give a very good result of the 3d space now we have some issues here the actress is wearing this very shiny costume and it produces a lot of highlights and there's also reflections here on a table so we need to create a master mask out these areas and also there doesn't seem to be a lot of good quality trackers on the table and we need to enhance the footage so that the tracker the camera tracker or fusion will be able to capture the details so first I'm going to add a unsharp mask to it so to bring in a new note first click on the note window here and then press click press a shift spacebar shift spacebar to bring the note tool selector and then I'm gonna bring in a unsharp mask okay notice every tools has its own acronym so if you time you SM you'll be able to bring the unsharp mask before using the unsharp mask over the sharpening tool because it gives a much better result now if you want to see what the unsharp mask does to the footage make sure the note is selected and click on the second button here which will show you the result or what the unsharp mask does alright so if you can toggle if you can show I'm gonna show you the two screens first for example this is the loader input auto sequence this is before and this is after if I can zoom in and can show you the difference can see the default setting is already adding a little bit of sharpness to the footage so I can click on the unsharp mask okay and shamah showing you part two and you can go over here this is the inspector where you can drag and increase the sharpness okay on the footage okay right now it is appearing much sharper okay also I advise not to overdo this otherwise you get this fringe effect right so now I brought I pull up extra detail now I want to change the brightness of so I'm gonna assign a color corrector they're a bunch of color corrector notes here which you can just click and bring it out so these are like some of the more commonly used tools here so you can use a color corrector now notice what whichever know that you select it and you click on adding and know you'll be connected to the node right so now I'm gonna click on color corrector now again if I want to see the result color corrector I need to press on the second button which is in this case what the color corrector is doing so I gonna press ctrl F here now if you adjust the sliders you can see the result of the color corrector affecting the footage right and you notice that I've because of the way I place a sequence of the nodes I'm noticing some color banding and this is something which is not what I wanted so basically I can change this by switching the sequence of the nodes so to do that I'm gonna disconnect okay to disconnect they're not just simply drag and then I'm gonna drag this color corrector put it between the input and the unsharp mask now holding down the shift key first and then you can move it over the links until it turned into this blue and arch or other blue and yellow color and then release so now if I look through the unsharp mask hey the color bending has disappeared I no longer see any color pending okay so this is just a trick to show you that you can actually change the sequence here of the nodes okay so right now I can see that notes are moving off of the face and I wanted to really stay within these grid points so you can actually force these notes to line out according to the grid grid crosses so to do that just right mouse click go to arrange tools and then turn it on - great and then to line up everything he just right mouse click and then line up all tools to grid okay so he will jump to the nearest grid so just gonna grab these nose and then rearrange them okay so now I'm going to isolate just this view pot let's take a look at this footage and you can see now because I've done shot mass and a color correction and you can see much more details on the table and this will make it easier for the cut the camera tracker to track all right so let's bring in the color camera tracker so with the note selector press shift spacebar and then press camera which is started with C and you know this when you press C or anything that starts with C will be listed and we gotta use the camera tracker ctra and then ad so now we had a camera tracker and we will see what the camera tracker will actually want to track so this is the chemicals tools okay so we start first by looking at what you will track so we can actually preview by clicking on this preview button here and but we need to see the result what does camera tracker is doing so we select the camera camera tracker node and then press number two and with this preview switch on it will show you where the camera tracker will most likely track and you will notice straight away it goes for the costume and the highlights of the actress okay so this is going to be a problematic for us because we need to track good stationary points we do not want to track points that are moving around because later during the solving when they re projecting the points back to the footage you will end up with a lot of errors and you will not be able to recreate the 3d space properly so what we need to do is we need to create a mask mask out the actress and the table the table contains a lot of recessions and want a reflection that we do not need and it will cause a lot of issues the points that we are more interested in ah okay these areas here high contrast points okay and this dot here there's a dot that stays at a pack background okay which is very good and then these corners here and you can see there's a preview dot already there so we had a create a mask for it so that it will not give us a false result so I'm going to apply a mask so to apply a mask first make sure you select the camera tracker and then click on the polygon or this is actually the rotoscope tool when you click on it you can you go into this no o mass creation mode okay so I'm gonna start by masking out this table at the bottom now to zoom in and zoom out you just hold on to control and then to close it in and out you hold on to control and then you me the mouse click roll in and out so I don't think I closed the mass properly you can see there's a gap there okay so to close it there's a tool over here that allows you to close again okay so if I have this extra if you have an extra point that you don't need you can just select it and delete it all right so now I have the tables or masks out and you notice it says polygons so let me just rename the door by pressing selecting the node first then pressing f2 I'm gonna call it table mask so on a map we want to mask out this area so that the tracker will not put trackers on this table alright so first we need to keyframe the the rotor points for Row 2 vertices because we do not want the table to get out on the points so you can see yes although the table stage we did the point we still want to animate the rotor points so to do that first we go to the first frame yeah I'm gonna do some bit of adjustments then we go to the last frame and then move the points now you do not have to click on set key or anything like that fusion will automatically set the keyframes for you so as I scrub back and forth you notice the points that I had moved between the key points already animated now every time you set a key you notice there's a white why / or white point along the keyframe along the frame in the timeline indicator okay so now we can see also what the mask actually looks like so click on a node and then click on the second button here or you can press number two and you show you a preview of what the node looks like so now I can see we have a animated masse that must have the table but take note anything that why that is why will be a lot through so that means we're actually tracking everything on the table so we do not want that we want to track anything that's all the table so if you click on the table math node and we look at the inspector make sure you switch hit to invert but because you want to track the details outside of the table mass alright so let's go back to the camera tracker and then now you notice the preview the table there no more points on the table but you notice they ask you points on the actress so what do we need to do we need to create a master mask out the actress now the industry standard is to create separate masks for the head for the shoulders arms and maybe the torso but to keep this tutorial more straightforward I'm just going to mask out the entire body and furthermore she remains rather stationary so we don't really need to create multiple masks okay so I'm gonna create another mask so with the table mask not selected you can click on the create the roto mask and start by drawing a going to the first frame and you will draw a frame over the actress and then you can click on this button to close and then I'm gonna scrap to the last keyframe then I'm going to left mouse click and drag and then pushed it's like all the points and then push it to the left and you notice that now your mask actually is animated okay so now we're gonna continue to animate this MA make sure that she's properly covered so I'm gonna go over to the center of the this entire sequence and then I'm just gonna find cue my mask okay try your best to leave a gap between the actress and the outside because we do not want to try anything on her alright so now we got an extra key here okay so I'm gonna study the frame here and overheating her shoulder between zero and twenty eight looks fine okay maybe right about twenty seven a finger is touching this area okay and then here okay right about this frame I need to change it here now there is a good detail on this area here so you can just simply click on the mask and then just pull in another okay pull in another mask or rather a control vertex okay because I really want to try this area here and the good thing about this is that this it will automatically add the key for you right about here the last keyframe so I'm going to adjust all these keys and because I need I really want to track this one because this will give me a good parallax off later on okay so we can fine-tune by just moving along different portions of the timeline I'm gonna get rid of this point here okay pressing shift s will actually make this point become smooth so if you don't need it to control the handle to make it smoother then we don't have to do that okay so right now I'm just gonna make sure okay right at this point here I want this to move in almost literally every single frame okay so I really want to make sure that I can track this highlight point here so I'm just gonna add more key frames around this area okay all right so I think is punching to the mass spring and let's take a look at the mask okay so let me rename this I'm gonna call this body mask I'm gonna click on the second button see the result and you notice we have an issue with the mask okay this is not what we want we want this to be black so in order to do that we had to change the paint mode from merge to subtract so we add on to the master block out the actress and the table okay so let's go back to get a camera tracker click on a node and then click on the result so now you can see there are no points in the preview there are no points on the actress so in fact there's a some points on the area which I wanted to track okay and if there is actually a point I wanted to track here but I noticed a is not being activated because we need to go to the camera tracker itself and we need to reduce the cutter size to as low as possible so notice when I put on a gutter the cutter is like a gap between the frame right so when I pull it down to the minimum value all right you can't see I can't seem to bring this down to the zero it is always stuck at 2.5 so now I can see I can have this point track so days where I want to track now the detection treasure and the minimum features separation so if you reduce this distance of separation you notice that the points will bunch up together more but if you put the separation further okay the points will spread out more okay for this case I think have it spread out more that's fine I there's no reason for me to try at such a huge density so I'm gonna use a very low density okay in fact the lowest as I can and I'm going to look around and make sure that is tracking the points that I want okay seems about right I can adjust this a little bit more and also you can change worked out color or track channels you want to change to track luma in this case we'll track for the brightness and contrast you can also track for specific colors right in this case red there doesn't seem to be a lot of red appearing green no blue okay there's a lot of blue but I think new master gives me a overall better result so sometimes you can switch between these colors to give a better chance of detecting features another thing is we want to enable bi-directional tracking so that when the tracker finds a good point you will track backwards again to confirm the position of the point all right so all of this looks good so I can start my auto track right now Auto track so what's happening right now is that the tracker will go through the entire 50-plus frames and backwards and then these are the result that it gives you okay what the green point a green point is the preview you can turn the preview off so if I scrub back and forth you notice that yes the points that I want are track but it also gave me a lot of garbage points we can see that at some point they're moving up and down so those points are actually not very good so this is not a very good result for me now you can spend time to just click and drag and select and delete these points so what I'm gonna do it is I'm gonna avoid there and we just press ctrl Z to undo ctrl Z again to undo to the point where I start from the beginning so what I'm going to do is I'm going to adjust the detection threshold wanna scrub along it so now I need to scrub along the timeline to give yourself a preview I'm going to scrap this distance okay the detection threshold until D it is quite low as in it will not give me points all over the place you only give me points which is very very the tracker is very certain that yeah this is a good point over there and so on okay so I brought the sliders up to these values and then now I'm gonna try tracking again now by default you use something called optical flow tracker alright and it generally works pretty well and it's very fast but if you want something more precise I prefer using the planar and then the distortion type I use a fine there's transform transform rotate transform rotate skill a fine edit perspective now this will be a slightly slower tracker so if you have a lot of frames to track okay so this this one's gonna take a while but comparatively to the optical flow this one is much slower so what I'm gonna do is I'm gonna let this track I'm gonna adjust the values again and then sometimes you might need to adjust a pattern size and you must make sure that the the preview allows you to see that some good points are being tracked so I'm happy with this then now I can hit Auto track you can see the speed is much slower but this will give you a much more accurate result and then that's it okay so I'm gonna turn off the preview track then this time I'm gonna study the track points now we still have some garbage track points in the beginning here and their appearance is quite minimum so I'm gonna do some cleanup right now okay I'm going to go over to first I'm gonna click on the second icon here now for this shot in my experience in solving this shot forty millimeters for the focal length is it's pretty good Yugi's been consistently good result so you can put at forty now I don't know what our camera is used to take this shot so with Olivia at the default now we will go to the clean up there are a total of 96 tracks but it's a sixth track detected so we want to get rid of those tracks that appear for short Wow so what I'm gonna do is I'm gonna go over to this track filtering and I'm gonna bring it up to ten okay notice that any track points right there appear for less than ten frames or minimum ten frames will be selected I do not want these points so I can hit delete right so right now I'm left with fourteen track points not a lot of track points okay but we can now easily decide which track points are good or which track points are not and this track point doesn't look very good to me because it's sliding up and down so I'm gonna delete it away okay and then this track point is no good as well you'll notice that hey if I continue to delete then aren't I'm gonna run out of good track points yes in fact right now I only have about child track points and it is impossible to solve this with only twelve track points so now we selected or rather we have the track points that we have they are pretty solid they don't move around that much okay they pretty much stick to where they are supposed to be so now we're going to help the tracker a little bit we're going to foster tracker to track only the details that we want now if you look over here there are couple of dot points are highlighted areas they are very good for tracking that's also a good highlighted area he the sharp points the sharp corners here they are very good for tracking so we are going to create a master foster tracker to look at these areas and then just to track them so to do that okay now I don't need the mask anymore again disconnect them and then put them aside all right and we're gonna create a custom mask okay I'm gonna use a square root or mass and they're gonna connect it to the mask and what I'm gonna do is I'm gonna go to the corner here change the size of the scale click on the center and then move it to the area of interest which I want to track in this case this area here with all these tracks so I can click on this Center transform can click on the corners to change the size of the scale of this rotor box okay if you look at the roto okay so this is by clicking on the second button here which is view pot number two the white indicates that this is the area that we want our tracker to track K based on the mark okay so now we need to animate this mask so at the first keyframe here that's fine now if we go to the inspector we need to go to an able key framing on the square mask and then as I scrub forward to the last keyframe I need to grab the center and push it to the center here now I'm gonna you can hit play back and see an observe and make sure that D mask is following the section that you want it to track so yeah it is following that's good now we go to the camera tracker and then we turn on we go back to the track again and we're going to add on more track points okay so right now we don't see any preview points if we change the color maybe to RIT okay no result three no result okay then maybe perhaps you need to increase the detection threshold gonna bring this down and yeah now when we bring down the sliders you can see that the points are starting to appear now try not to bring it down too much at least I got one good point here and then this point here and I want to try a new rumor rate seems to give me a good result again you need to describe the timeline for backwards to help track a little bit and I can see a couple of points which I like so I'm gonna use that spot now if you really like for example you really want it to the tracker the fossa tracker to track own in this region you can reduce the size of the right angle because right now the rectangle is also detecting features along this area which I don't want to so only want to track that area this area here so go to the last keyframe make sure that it's this area middle keyframe here and that's it okay so going back to the camera tracker okay okay right now I'm all satisfied okay I bring in more features maybe and maybe the detection threshold distance bring it less a little bit okay now I'm ready to track so I'm gonna hit Auto track you can see it managed to track two points very well there are few garbage track points which you can manually delete them later on you know it's tracking backwards so the only good points are these two points here the rest are like moving all over the place okay so turn off preview all the tracks we're gonna scrub through the timeline and if we see any bad points I'm going to manually select them and delete them now points that appear and disappear right and sometimes cause have up to yourself so it's a good idea right to remove like for these points they only appear for a few frames get better get rid of them and then you can see this these are details that just move up and down this can give you a bad solve this one is far these two okay so these two are excellent points well so we're gonna keep these two okay so now how many points do we have now so we go to the soft portion now we have 14 trackers okay and let's focus on this area here so this area here has good corners right and it will give you a very good track points and also because it's closer to the camera it gives you a good parallax soft so we can use the same triangle rectangle again and we're gonna get rid of the keyframe animation by simply going over to the key here right mouse click and remove path so now it doesn't have any animation so bring the rectangle over here we can resize the rectangle just for these spots here okay and then slide to the last key go to the first keyframe first remember the reactivate the center keyframe then move it here go to the center frame slide the timeline and then set an extra keyframe make sure that the boss stays within that region all right and then go back to the camera tracker again turn on go back to the tracking portion turn on the preview the auto try locations right now we have too many track points I do not need so many features so I'm gonna reduce and then the distance I'm gonna increase the distance spread so that I only have the points which I really want like for example this one on the edge here okay I'm gonna try Auto try again it's pretty good is tracking that point very well there are a couple of garbage points there now uncheck the preview scroll forward and then we're gonna take out those two points they only appear for a couple of frames in fact I think yeah it doesn't appear anymore all right so we got a few good points over here and I see how many points we have now we have 19 points now okay so now there's another point for this particular shot at least we need to track something that is closer to the camera now if you look closely on the table because of our enhancements we can see things like a hair strand and dust spots so these these details right can be tracked as well and you will add a lot to solve the position and the trajectory of the camera that will match properly so again I'm gonna reuse the rectangle I'm gonna get rid up is keyframe remove the path and then I'm gonna drag and move it over to this hair strand here which is a great detail over here so you can see I resize the mask until it is a small region because I only want to track this shape here okay so now I'm gonna turn the keyframing animation on again go back to the last frame and drag the center box here go to the center of the timeline okay then go between the keyframes and then you just gradually start to add more keyframe just to make sure that the pattern stays within this is almost like setting keyframes for tracking okay so you can preview this make sure that D make sure that the box is following the pattern or detail that you want to track okay so I'm happy with this go back to the camera tracker and turn on the preview yeah I'm gonna try the different color channels and see which one gives me a good result red seems to be fine so I'm going to bring down the distant threshold and just let it rip you just need to track one really really good point and then in this case using the red channel and fantastic this is a continuous track okay and it stays there very well so we've got one point over there so now we want to track another piece of dust here so go back to the rectangle delete away the key now if you want to keep the shape you can you can actually create a brand new rectangle and track it all over again you just just need to remember to remove the mass again if you don't need it why in this case I'm gonna reuse this rectangle and I remove the pop and then we enable the animation again then bring this over to this dust dot here and I'm just gonna make it really really tight here then go back to the last keyframe then drag it over here now notice the bottom detail what the box actually travels from right to that I'm sorry from left to right and in this case it travels from right to left alright so we need this information to give to the tracker so it's able so it is able to solve a good solve or give a good song so right now I'm adding keyframes and make sure the Box follows they dot so remember you start from the beginning and the end and then you just go between all these keyframes and continue to refine and adjust until it really falls dead center at this little dust particle okay so just to confirm that it stays there yes I'm happy with this so let's go back to the camera tracker again so this time I'm gonna enable the preview of the track and you can notice that it's actually tracking slightly a book I mean see luma or give me a better result yeah luma trying something at autumn now for my experience because this is a very small detail what I can do is that I can really increase the number of details the minimum feature separation I'll just push it down as much as I can right because you have to take note this mass is really tiny it's like literally a dot itself so even if there's a lot of track points being tracked in this point here it is still okay alright so I'm gonna hit Auto try now okay I'm seeing three points generally they are following the positions up how I prefer that it stays more at the center so I'm gonna undo this track and I'm going to try another color channel when you try it gray and then I'm gonna just increase the density and then I'll to auto try again it rate seems to give me a better result than luma it's generally sticking to the same region at some point that appear and disappear like for this one I'm gonna delete that I'm gonna turn off the preview okay now these points appearing and disappearing they might cause some jitter jittering effects in the final path of the salt okay but I think we have enough points now and in fairly good positions we can now do a test saw and then see what's a result before I do that always save your work okay so we really establish this as a 40 millimeter lens and then now we can get solve and we get an error of 0.33 which is excellent and it's actually pretty close to the focal length that we want but we do not know whether the camera is moving correctly or not now if you play back and watch this footage carefully all right so let me just turn off the ping pong anything so I just turned it into a loop okay so if you look at this footage you will realize the camera is actually moving from right position and slowly to the left so if you did not track enough good points you can sometimes end up with the camera movement moving from the left to the right which is wrong okay so the correct movement of the camera should be from the right to the left all right so let's check and verify see what at the distance is really moving correctly so I'm gonna create a mesh a much 3d no okay you can use a transform node as well for this and I'm going to drag the bottom link and then join it to the merge 3d and I'm going to click on the press number two to show it in 3d view so this will show you the result of the track and I get I'm actually having a very very good track here you can see the trajectory of the camera is moving from if I play back right to that there's some noise here and you can see there's some jitteriness here but it is very very minor and you will not be able to see it in the final result and let me just split this into two views and I'm gonna change the camera tracker into viewer number one okay so you can see the camera is moving from this is the top view moving from right to left now you can also see the color coding here now if you see yellow that means there's some slight errors but if you see green that means that the projection is good that means whatever the camera is projecting through the points it is hitting it with very low errors that means these points are stationary and they're good so you notice that this particular point here is moving around up and down so M is yellow so we can see delete this right now error is 0.33 6 1 so by deleting that point we can hit so it might give us a better resign notice the path actually smooths out a little bit okay also we can look at the path to check for bumpiness like for example if you notice there's a lot of bumpiness sometimes it could means that points are appearing and disappearing and this will affect the smoothness of the trajectory okay but you have to be very careful make sure you do not become overzealous and delete too many points otherwise you will not be able to solve this properly alright for the second example I'm happy with this solved okay I've got a previous source where the line is almost completely flat but I think for this example this is good enough ok there is enough information for me to recreate the 3d space of the camera so by doing this this allows me to preview what the camera is moving at next stage is I want to export out the 3d camera position of the camera itself so this can get a little bit complicated so let me just change this view back to the second view first and we are now going out to export out the 3d scene alright so if you open up the inspector of the tracker 3d tracker you see something like a 3d scene transform a line on a line and so on okay I'll go through them slowly and then you find out what all these means export options you export the camera an image plane containing the background showing the image sequence then a ground plane which is a 3d mesh plane and of course a renderer so that renders the final result and a point clock okay so if we don't do anything and we just hit export right now all right you notice that a bunch of new nodes have been exported out all right and if you look through the merge 3d node okay you will see that it has exported a mesh out for you okay it has a brand new camera now to look through this camera move your cursor over here to this symbol here that says perspective right mouse click on it and then switch to camera 3d and then you can hit play right so it's gonna render everything over for you again but you notice that the grid line or the flow plane is actually floating above in space you want a grid line preferably to actually be stuck on to the table so that whatever you create from the origin all right we'll be there although the movement is correct but you want the flow plane to be down here now due to the nature of this particular shot we are not able to create or we do not have enough points right on this flat plane right to indicate where the flat ground plane is so we all have to manually adjust the position this ground plane there okay so we will keep the export out the good thing about this camera tracker I said we can go back to the ordered original camera tracker we're going to look through the camera tracker by pressing number two let me should make sure I'm looking at number two yeah right now I'm looking at the camera number two all right and if I click on the much 3d okay and I look at camera number two and if I click on the camera tracker again alright so right now I just seen a camera tracker but why I'm looking at is the much 3d mode as indicated in the viewport here so we want to position the grid down to the table position okay so to do that we had to go over to the export panel again and then we need to change from a line to underline so when it's underlined we have the choice of repositioning the grid right so I'm going to position the grid at D this point here now I have this point cloud that is very there is obstructing my view so I've got a temporary turn off the point cloud to do that let's write the point cloud then I'm gonna disable it by clicking on the switch then I'm going to click on merge 3d then click on camera tracker again and basically I'm just going to select one of the points so that one of the points and I'm going to indicate okay so I need to go to camera tracker again I need to select this point if this is very bottom it's like the point not that Club right not the clock points go to camera tracker make sure that you're looking at a correct view in this case is viewport to select the point which you want the great position to be a then on the origin click on set from flexion so right now when you export again the grid is gonna appear here instead okay so because we can't see the result you want to see the result you to click on the merge 2d again then I'm going to go back to the camera tracker and then you can say update previous export now when you've done there you go too much 3d and we look through it about streety you notice hey now the grid has been positioned over there okay but okay if you go back to the camera tracker we are still at underlying mode so that means the grit will not move there we need to change it to a line then you click on update previous export and if you look at the result now I can see the grid is actually lined up over there alright so see although the grid and then this flow plane this ground plane right is lined up over there it is not flat and aligned with this table so we need to manually rotate this until it lines up okay so to do that we have to go back to the camera tracker now I need to get the camera tracker up from vo1 first so now I'm good with your - okay I'm gonna get rid of this much 3d I don't need this and okay let's see you turn this thing on okay so right now my camera tracker but yeah I'm looking at the result of this export okay so I'm going to turn off to underline and I'm going to temporarily hide the grid because I don't need to see the grid and I can I can also change the scale of my ground plane okay right now I want to make the ground plane bigger maybe I change the size to 20 yeah I say update previous export I can see it's bigger so when it's bigger it's easier for me to adjust the orientation to match this table so I need to position this to this grid until it is the center of this table so to do that first I need to move the Y position now if you are not done this before the first time I'm doing it's gonna be a bit confusing so I'm gonna move this origin position here then I'm gonna click on update so it's gonna move to agree there as well and then I'm going to rotate it so I can use the slider here to rotate slightly and update okay right now I rotate it way too much okay now you gotta rotate fine rotation yes select the numbers okay slide back and forth you catch it quick and slide back and forth you run a much more finer adjustment you can hold on to the control key right now I'm just gonna bring this down this okay and then I'm going to update okay that looks about right okay now for the position I'm going to push it forward some more and update update again okay and then I think I need to rotate it a little bit more okay so I can see most likely I'm going to rotate the exposition down some more so rotate it forward down a little bit and you can see now the perspective lines are matching okay and exposition a little bit more so you can spend a little bit of time right just to get this to match up nicely okay I'm trying to get this to match as much as I can okay pretty much I think the lines you can see that it is parallel here it's parallel here parallel here I think I've got this lined up okay so I can now change this back to aligned and then update previous export so if you look through the merge treaty now we are pretty sure that this is actually lined up nicely and now previously we are not able to change the scale of this grid in D y-axis but once it's exported as the ground plane you can do that so you can go to the scale the scale portion of the inspector for the ground plane and then I'm gonna unlock the scale and then start to change the scale in the y-axis so I'm gonna scale this down then I'm going to move it down in the z-axis then the x axis let's just scale it a little bit narrower and then move it along the x axis until it slides into place and I got my table nicely mashed up so if I play back you can see that my table is aligned now if you're doing this for the first time it can be can seem a little bit complicated but you need to do this a couple of times to get familiar with it you can see the alignment just a little bit off okay if you want you can just manually go to rotate so I'm just gonna select the y-axis and holding down the control key yes rotate it ever so slightly can do some fine-tuning adjustments to get it to match and I think I'm happy with this alright so now we can do our effects now we can get rid or disable the filters that make this shot and bright so I'm going to the original footage and I'm going to disable the unsharp mask and also the color corrector so this is the original footage and we got our mesh we're happy with this now at this stage if you want to export this out to Maya you can all right so about we're gonna put in a few more items we're gonna try to do the effect all with the infusion first and then I will show you how we can export this as a FPS into Maya okay so now we're gonna bring in a texture so that we can put it onto this table so again click on the load node and I'm gonna bring in a sci-fi UI sequence table I already prepared one okay so okay I brought it into the background screen which is not exactly what I want so sometimes this happens is because one of the the merge node is selected so make sure none of the nodes are selected then I'm gonna bring in the node again ok so right now the tape of my split this into two so to view this this is actually a image sequence showing this very nice UI sequence so I'm going to link this to the comp ground plane as a image texture so let me just zoom in so the ground plane let me just rename this gonna press F to call it table top all right so I'm gonna link this sequence image sequence section to the say boat oh now I can link it straightly like that and it will show you the texture right now it's not showing anything nice you need to look it through the camera renderer it shows two shows as a wireframe so if you want to see it you can click on software renderer and you should be able to see the image but the colors looks a bit strange and a bit distorted okay so to change it to the correct colors when I disconnected we need to create a material alright so right now I'm looking through the camera tracker renderer we first must create a material so shift space I'm going to create a material Blin and then I'm gonna connect this into Blin and you can actually preview what the bleed material looks like so this is what the material looks like okay and you can click on bleed you can adjust things like the opacity the intensity specular for example if I do unexpected oh I can just reduce this alright then finally I can just drag and then attach this to the tabletop okay so as I play back can see the material start to appear alright but this is a solid color solid color material so I'm gonna go to the Blin and then I'm gonna reduce the opacity so that it shines through okay you will notice that the the UI texture is actually upside down right so if you want to rotate this you have to rotate the tabletop okay so I'm gonna click on a tabletop and I'm gonna rotate it along the y axis plus 0.63 so just gonna type 180 here and now it rotates the 3d plane or the ground plane which in this case is the tabletop so what about if you want to create a floating menu right in front of her okay so instead of doing the things creating the table or rather creating a user interface from scratch we can actually borrow the table sorry the tabletop okay press ctrl C and make sure you click away otherwise you will connect to the new page will connect to the tabletop control V to create another table top button so calling this tabletop I'm gonna press f2 I'll call this floating UI make way okay and I'm gonna also duplicate the blade control C control V and then I'm going to link it to this floating UI and then the soft texture I'm going to look in another new one which is the floating UI which I have prepared then I'm going to link it to the Blin and just join it to this whole world so right now I have to you is one on one is the table and one is the floating wine stack on top of each other so I want to take the floating UI I can't select its transform and then I can translate it vertically up right in front of her and then I can rotate it in the x-axis zero degrees okay and then if the Y rotation is off you can adjust it as well okay and then maybe the Z just rotated to level it up okay so in the 3d space I'm going to show this in viewport one so that to zoom out I can see holding the alt Oh middle mouse click will zoom it out you can see the two planes over there okay so this floating UI you can select this and then push it further away from her okay and also the image is distorted so for the floating UI I'm going to change the scale in the x-axis and translate it high a little bit in front of her and that's pretty much it okay so if I play back you should be able to see all the UI start appearing in front of her okay for some reason you want to bring in or you want to export this to FPS into Maya to create other 3d objects you can also do the same thing okay so but before I do that I'm gonna show you something that doesn't look right if you look over here you notice that the texture is cutting into her fingers alright so what we are seeing is the final render so what we want to do is that we want to bring in another layer another video layer off of her and then we want to want this to cut through we want to create roto mass to cut through her fingers so that it doesn't look strange like that alright so we need to create a couple of masks for this table right so to do that we need to pipe in our original footage and merge it together with the output of this so I'm gonna create a much pretty much Oh actually rather a much just say much and then I'm going to pipe the original footage as a okay let me just nudge it in first and then now go you'll see the result of the match okay so now this is not what I want I want the original footage to be behind okay so I'm gonna disconnect this I'm going to drink turn the right mouse click and drag and drop it here remember right mouse click and drag the point and drop it here and instead of the foreground we put it at the background sorry my mistakes foreground should be the foreground so right mouse click on this and then this is the foreground yes okay so the camera tracker result is the foreground and then the original is the background so we need to apply a mask onto the camera tracker so we're just gonna create mask and you'll start to draw okay I'm just gonna create a simple mask here all right so I think I did everything it briefers so I need to invert this and then now you can see the mask is working now I will not spend the time to animate the mask but this is basically how you do it okay let me organize my notes a bit now if you want just put this note in the corner and hold on to the OP G so that it can flow a little bit nicer okay alt holding down the Alt key okay so this one I'm gonna call it the finger mask so you will have to enemy all these points to follow the thing is so that is how you create the mask right so the result would be the merge so this is the final result okay so as promised I want to show you how we can export all of this as a B X so to export the FBX you select the merge ok the export result of the camera tracker right you need to link it to a FBX right node so shift spacebar FBX exporter and then you need to tell fusion by you're gonna save this file so in this case gonna save it to my folder and this one yeah call this version 2 and say and then you need to run a render so you need to click on render state start render same and it's done so we can go and check out the exporter result okay so this second version the exporter so let's go over quickly to Maya so this is the previous version which I have exported okay so I'm gonna start a new one file import a px import and you have the the two user interface and the camera texture or rather the image texture so if you look through the camera alright there is the camera background which I don't need I can delete this right I have the two user interface here I change it to wireframe then I'm going to change my background by bringing in my image plane which I believe this one yes okay and then changes the image sequence and this should be playing at 24 frames again okay I did not change my project settings between four frames okay this footage is actually should be playing back at 24 frames a second let me just change this okay so you can see everything matches up okay so you can actually create render your stuff and then we composite it back into fusion again alright so essentially that is how you set up a mash move for this particular shot because remember mesh moving for each shot is very unique now for this shot if you follow the settings that I've demonstrated in the video you should be able to get the exact same results alright I hope you find this video helpful and give this show

Channel: weelian soh

Views: 18,249

Keywords: BMD Fusion 16, Black Magic Design Fusion 16 studio tracking, Camera tracking with Black Magic Design Fusion 16, Fusion 16

Id: ZmpN5T-t4GY

Length: 65min 31sec (3931 seconds)

Published: Wed Sep 25 2019