Commercial Paint Removal Tricks in DaVinci Resolve (Fusion + Mocha)

today as my Christmas gift to you I'm going to show you my Advanced Techniques of using frequency separation with paint over infusion for denture resolve along with mocha Pro to track something that is really untrackable with the built-in plan or tracker all to remove a zit from an actress's face that otherwise looks awesome let's get to it the clip that we're working on today is uh available on art grid and there is a little bit of acne right there in the middle of our chin that's what we're going to focus on and try to remove so let's open up Fusion you could hit uh shift five or it's this little button right there to get into here and I like to personally I like to work um with this What's called the mid View and it's like a top down approach to working infusion um because it just gives me a bigger viewer over here on the left side a single viewer and also I like to use a Wacom stylist with middle Mouse house set to that bottom button which lets me quickly zoom into any sort of pixel that I need to um you know if I need to go straight into that acne that we're going to be removing um and the way you get to midf Flow by the way is workspace and layout presets Fusion presets and then just choose midf flow and that'll that'll basically give you this top down area to work and the other thing is with with the nodes there is sort of a setting that works a little bit better for vertical flows and if you hit control in this grid area you have the option for arrange tool what is it options yeah build flow vertically so that's just another useful thing to know about um and that's how I like to work now uh the first thing we need to do is track this shot and I'm going to skip you the whole um pain of trying to track this with the built-in planer tracker that is in uh Fusion it's just not going to work it it can't handle this steam that we're dealing with right here okay so instead I'm going to show you how mocha Pro Works um and it's how I would typically jump to anything that has any sort of weird occlusion uh that that's just not going to work any other way so to to load mocha Pro I'm using a lot of shortcuts in this tutorial but I'm going to try to call them out shift space shift space pulls up your tools list and I'm just going to type in mocha Pro that's installed it's license I pay for it myself even though they do have a discount code below um and to load this up as a as a mocha Pro instance or whatever you just say launch mocha UI and you wait a second and it opens up this whole new interface and in mocha Pro this is not a full mocha Pro tutorial but I'm going to show you how easy it can be to track this area because the goal is we're going to try to stabilize this region so we we can paint on this region using frequency separation and then we're going to apply the motion right back to it and so that that's the function that we're going to be doing today let's start on a frame that were the the blemish and everything is as large as possible in screen and I'll show you how to track so up here in the upper left we've got these different buttons I generally choose this xline to start uh drawing on the frame and if you hold down Z here in mocha and sort of drag you get a little closer view and the idea is when you're you choose the the uh the tool again the idea is when you're drawing here that this is all on the same um you know planer space like it's all in a flat region this isn't quite exactly the case but it's close enough for for what we're doing and then to close the shape up you hit control and tap and that that closes the shape up so the shape here is the actual texture that is being tracked people get confused when they're doing corner pin tracking that you can only have four points on a shape or even the planer track or Fusion that's not true at all you make the shape on areas that you want to track the the texture to change between pixels now the part that's actually getting trct and that I'm curious about how good it is is stored in the surface so up here there's this button called the surface tool and what I want to do for blemish is I want to take this cross here and move this directly over the blemish so I can see how well the track holds so the surface area is our track information that we're taking back to Fusion and the shape is the area that it's looking to track hopefully that makes sense now before we actually start to track this down here in the lower section and by the way if you don't see all these available here there's an Essentials mode that it usually opens up in first and then I generally work in classic Mode just gives us more options down here um I'm only interested in translation scale and rotation for this particular shot now a lot of times if you're doing Roto of of people and stuff I'll add shear and every single time I'm doing something that's like a a wall or a screen replacement you have to add perspective otherwise it's not going to be correct now that that is set we can just hit track forwards which is this button right down here we're parked on our first frame and we'll see if that holds through all of that oh it got a little bit messed up on some of that um steam there I saw it wiggle so we're going to go back and and try to you know we can redo that by just changing the shape a little bit so I know there's more Steam on this side of the the frame so what I'm going to do is just select those and drag those over a little bit I don't even have to have that you know that that blemish included in the shape uh but I am for for now let's try it with this shape and see what I'm looking at is the surface area is that moving especially that point because I want that to be locked locked in pretty pretty solid and I'm letting this go through while screen recording and that looks pretty good to me so now the next thing is how do we get this data back into resolve Fusion to actually make use of it and stabilize the area to paint on it well there's a couple ways to do that um basically the idea though is this surface area is the tracking information so that's what the area we're going to have useful to paint so all I'm going to do here is I'm going to make this surface area larger okay I'm expanding this because this will be the stabilized area that I have to work and I just want to have make sure I have plenty skin to clone from so now that I've got that expanded you go down here to export track you say black magic Fusion comp data you've got all these options and in mocha pro copy the clipboard now here's the catch uh hit save and close don't go straight back to Fusion or it crashes like the host thing just doesn't work and now that's stored in our clipboard we can come over here click where anywhere you click in this flow area is where it's going to paste then you hit command V to paste and we have a standard tracker uh tool that basically is going to stabilize this this section of the frame now you're probably wondering how the heck do this a this is a regular tracker this is not even a planer tracker well this is actually so how you can use all the corner position data you get from mocha here in Fusion you take the output and you plug this in twice you plug it into the the background and the foreground and I throw this over here and nothing's happened yet because we need to go over to operation is set to none right now we're going to use perspective positioning to stabilize okay basically you're going to be perspective to stabilize and then Corner position to add motion back in that's what how I remember so perspective positioning is going to stabilize the image and we could just choose foreground only okay so if I take a look here and play now this part of the frame doesn't move at all so it's a stabilized image it's like if you were go to uh Photoshop and just paint on it and so let's set up our frequency separation frequency separation basically what that's doing is it's separating our low frequency which is our color information and the high frequency which is the texture and detail information so to do that we are going to load up a blur and let's load up a channel Boolean B is now make sure you don't do the 3D one just the the regular channel booleans and what we're going to do to first get our texture information on this image is feed our tracker a stabilized image into the blur and what I want to do is I want to blur this this until this blemish goes away and we just have a clean color so over here we're going to keep blurring blurring blurring until that point where it looks nice and smooth so I would say right around there it feels pretty darn smooth it's pretty blurry too we're at a 25 pixel blur or something on this image now with the channel booleans we're going to do what's called a subtraction and addition you could also do a division and multiply but for Caucasian skin especially uh the subtraction addition seems to work really nicely so I'm going to do subtract and we're going to do nothing to the alpha channels so we're going to subtract all those out and what we're doing is we're going to take our original stabilized image feed it into here and we're going to subtract out the Blurred image from the foreground and what that has just done is it's basically given us a a detail section and so if we feel like we have haven't smoothed that out enough I think that's pretty good uh you can increase the blur now the next thing we need to do is we need to to put this all back together because um anytime we we tear stuff apart we build it back together the way we do that is with an addition Channel Boolean so I've got this one that's subtracted I'm going to do command C to copy that click down here where I want it to land command V and on this channel booleans we're going to do add so what we're doing for the ad is we're going to add this the the the frequency with the Blurred one and when we come back here we have exactly this the same image because we haven't done any painting yet so the idea here is that this image here from the tracker is exactly the same as this um because it's just math on those pixels right so now it's time to do some painting and where does the paint go well the paint is going to go in the high frequency part of the image cuz we're going to take um we're going to be basically taking the texture information from here and placing it there so let's grab a a paint tool and it'll go right after this guy so shift space paint and the paint tool we're using um the way I'm going to be doing this is with this right here which is called I think it's called stroke but it's basically it's the one that applies to all the frames not just one single frame and then over here we're going to choose clone cuz that we want to clone and actually I also want to choose snap offset what snap offset does is it it makes sure that I'm actually cloning like full pixels so there's not some inter you know interpolation interpolation between the two uh and so anyways now you can where we've got the paint loaded um I can zoom in real easily with my Wacom because I just hold the middle Mouse in the area that I want to be cloning and we have this whole area stabilized if I want to change the brush size you can hold down command and it changes the brush size and the other really nice thing about having a wack them is under brush controls over here you can see tablet settings we have um VAR opacity by pressure so as I push harder I'm laying down more paint um it's just like Photoshop so the way we actually start to paint is you hold option to sample a region okay so I'm going to hold uh option to sample this texture area right here and then I'm going to just lightly brush the texture from the one area to the other and then let's see there's a little discoloration there you can kind of do that over there and we didn't even do this little white spot I didn't think we need to do that but you can just kind of clean and smooth out some other color areas there beyond that blemish and then you always want to make sure to zoom out uh to see how you're doing so I'm holding down that middle Mouse and then let the footage play out so this is a stabilized frame and you can see if there's there's anything that that is not really working I think especially for tutorial sake and keeping things moving we're in a pretty good spot so if we want to see before you could see right there and here is our after cleanup is right there now I know you're seeing this spot right here this would probably need a different track because that's very much a different plane um but I think we're in a pretty good spot so to put the motion back on that's what you're wondering now right you put the motion back on by taking the same tracker right here you do a command C click over here where you wanted to land command V and you can send the output of this cleanup that we did into both areas like we did prior throw that over to there and it hasn't done anything it just blew up more Chadwick well that's because under operation it was still set to perspective positioning so under here you just change this to Corner positioning and we have have that motion moving again um however I will say one thing that is we we I skipped over a step to prove a point here we have a whole bunch of pixels we moving um and then removing and we want to limit that to a very specific part of the the screen the part that we're changing and cleaning up and so what I want to do is I actually want to just maybe make a little cut out of this section and only have that part be affected for uh how we putting this all together so the way I'm going to limit that is actually I really love Channel Boolean so let's just add another one of those to sort of cut out the area of of the cleanup that that we had done so while looking at the the uncleaned up area we can take a beast blind tool which we've got polygon and the Beast blind Beast blinds are my favorites cuz they're nice and smooth and you can just come over here and kind of oh I guess we did some stuff over here too um just just you know if you're just doing one spot you just do the one area and make a little mask with it unhooked while you're drawing it that's kind of important and then also as soon as I draw mask infusion I always want to get almost always want to get rid of the the whatever the the beastline polyline the key frame that's on it cuz if I'm not rooing I don't want to accidentally start moving this uh if I moved it to a different frame it would it would key frame automatically so we're going to hook this into Channel booleans it hasn't done anything yet um that we wanted to cuz I want this to cut out that area that we just selected and that the way you do that is you go to settings multiply by mask and see asly do that now we have our little cut out of it and in fact I might go back to this be spine area and soften the the cutout just the hair um before you do that one thing I would probably do is come into here and remove the controls show controls uh command k on a Mac gets rid of those so you can actually use the soft edge control while holding command at very fine increments to really just kind of it's what it's doing is it's softening The Edge right there so that it'll blend a little bit you won't see such a hard line um so you might just do that with with command which is really nice with floating point and we come back over to here you can see our patch and then EOD to this one the patch is moving and and now all we need to do is stick this patch back on top of the original footage and if You' used Fusion before I think you know about the merge tool that's what we're headed next so coming back over to our flow we're going to grab the good old merge tool it's shift space merge I don't even MRG and we're taking the yellow background okay the full original Source image right and we're going to plug in our patch which is right there and you'll see the magic happen so that's going over the top green goes on top and look at that it's gone you can especially once it's zoomed out command F zooms to fit you can't even tell it was there so if you look at the um and then the next thing is to get this back to the edit page very simple you can disconnect media out from there media Out means that the footage is being rendered back to the timeline okay so when you go back to the edit page it's there but before we do that I'm going to show a quick way of doing a split screen here in fusion um and that is um right now we're loading in our a buffer that's shown right here if you want to switch to your B buffer which is also it's the comma period and then the question mark the slash key to change between these let's get our B buffer loaded with the original image by just dragging that over into there now we've got an A and A B buffer there's actually a split here too so what the split does is it gives us a line and the way I always want because I just want to see where the line is I'm going to hit command and option by clicking oh I'll tell you one thing that just happened we turned our controls off for messing with that polygon mask and so make sure you show your controls back on if if if you do that at any point I should have done that before and it's a command k while you're in that area well it's funny it uh anyways uh we we're just skip past that just ignore me on that one but you can see here is uh the a side the a side is our after the B sides are our before you can see we've we've gotten rid of those spots you can kind of check it on different frames and the only pixels we've affected are what's on that patch so that's the only part that would potentially get a little bit softer from what's called filtering and and so anyways that is basically how we've taken this patch here we've laid it on top of the background image to clean things up and I think it's done a pretty nice job to see this back over in the edit page now just click the edit page and we can hit I think it's Z normally I have it set to shift Z there is our our cleaned up chin and if you want to see the before you can always hit this button up in the upper right to see the before and there is are after I want to say thank you for sticking through this whole tutorial about frequency separation and mocha Pro there are links for uh discounts for mocha Pro uh down below obviously the art list anytime you click on an Amazon link or B&H link it helps the channel out and it helps support me to be able to to create stuff like this before my workday um to help you become a better editor or compositor I wish you all the best and I hope you have a Happy New Year

Channel: Creative Video Tips

Views: 8,026

Keywords: DaVinci Resolve Tutorials, Resolve Tutorials, Speed Editor, DaVinci Speed Editor, Video Editing Tutorials, How to Edit Video, Creative Video Tips, Resolve Studio, Video Editing Tips, How to use DaVinci Resolve, devinchi resolve, davinchi, davinchi resolve, Blackmagic Design, Collaborative Editing

Id: yZBTi7K6qvg

Length: 19min 57sec (1197 seconds)

Published: Thu Dec 21 2023