Compositing a Spaceship in Resolve & Fusion 2/5: Camera Track, Lighting, Animation

I want to build a 3d scene in fusion with accurate camera movement lighting and shadows that match live-action footage welcome to a tutorial about 3d camera tracking individual resolve or fusion studio this is a second tutorial in my series about my quest to bring a spaceship into drone footage and if you followed along so far you can just continue from from last week's result or if not you can just download the tutorial files for my website and you can just do the camera tracking as a standalone tutorial and can just follow along from there so 3d camera track lights and shadows let's get started I have here the spaceship from ego fish cottage which I prepared in the previous lesson if you just want to try the tracking and don't care about this part you can just use any 3d object just shape 3d or text 3d or so but if you follow along everything just start from here and here I have my wind farm drone footage the original one is here is an h.264 encoded Ultra HD video and h.264 is bad for editing and worse for compositing so since I will be using this sequence a few times I want to use something more optimized for editing and compositing and I rendered out myself a EXR sequence for this if you use DaVinci Resolve you would just use optimized media if you are using fusion studio you can just use the saver node and just once render the scene into something better like at least like a progress or DNxHD version something like this I'll check if I can provide a different file as well in the exercise files but if you want you can even go for uncompressed which I'm doing here or very low compression like these exr files and in this case you get huge files like the sequence of 6 gigabyte but just for the 360 frames but I only need them while I'm working on this tickler shot and afterwards it goes to trash and I've just rendered this out so I can work efficiently on this with this head up I want to now bring the starship into the moving drone footage let's have a look again actually not at the ship but at the footage and you see the camera is moving in and enter the site and my ultimate goal is to place the ship somewhere here at the beginning and then take off fly around this wind turbine and fly out of the frame and I want the first of all I want the camera movement accurate from the real camera movement so that I can focus only on the like physical movement of the ship but don't have this superimposed movement of the drone and the second part that I want I want to make sure that the shadows are matching so I will in 3d put a plane which I use only to capture shadows and I want to make sure that my lights are matching the shadows I see here especially this shadow so my first step will be to create a simple 3d scene with just a pillow where I can can check how this shadow is being casted and where I need to put the light to get the same direction of shadow so that will be my first task let me create the camera track now this part will only work in fusion studio I should mention or in DaVinci Resolve studio but not in the free version the 3 version doesn't support the 3d camera tracker if you are following along with the free version you can still use my solution files and you can use the the camera that I'm exporting so you can still use this and I will show you once I'm there but you will not be able to do the tracking itself in the free version first things first the camera track so from the control spacebar menu camera tracker here it is let me add it and bring it into the view and maybe into a single view for now so first I am identifying or fusion is identifying features that can be tracked throughout the image throughout the sequence and then afterwards it's using those two do some calculation and determine the the camera position based on on those features so if to see them usually it's nice to click on darken and click on preview Auto track locations so this way I can see the features that fusion determined by default and you're looking for a good spread especially in perspective in in depth so you you want to see some in the foreground and some in the mid ground and the view and the backgrounds and that will that will mean that there's a chance to get that that camera position accurate if you have only in the background if you have like a lot on the horizon but not much here that would be a problem also a bit of spread left and right would be nice but there are limits to this image so here you have these these planes or these fields they don't offer a lot of contrast so there won't be a lot of features you can think about which channel you want to get these features from so right now it's taking the luminance to identify points of high contrast that can be tracked throughout if I look at the image in let me turn this off for a second so this is in the color channel red channel green Channel blue Channel we actually see red channel looks less you see less contrast than in green and blue and blue well the sky is just white but the sky doesn't have features anyways so but the rest of the image here has more contrast in the blue channel so you might as well use the blue channel for the tracking to my channel will also work but you might get a bit more out of of the blue Channel perhaps another thing is if you want more points you can work with these two parameters the first one determines how much contrast is enough contrast so if you don't have enough points you can reduce it and you will see a few more points popping up because now areas with less contrast are being considered by fusion however those points may also be less accurate in some cases so there's the trade-off what might be better is the minimum feature separations if you do have a spread out of points if you have points in the foreground in the background by reducing the minimum feature fusion is able to add more points in this area and this will increase the accuracy so if you don't have points at all it won't it won't help but if you have some points and you just can afford the additional calculation time and if your if your process is good enough you might just add more points by reducing those minimum feature separation and this way here I'm getting significantly more points and they will if if they are still solid and by with the detection threshold I can make sure they are still on on high contrast areas I might get a bit of a better solution I might rather increase the detection threshold if my spread of points is still still good but instead the decrease this feature separation no not not too low but something like this and then you have to experiment what's the is feasible and workable for you but again you only need to run this month so let me do this let me actually run this now and depending on your machine this may take a few seconds or a few minutes and if it's really way too slow for you don't go go that far just use a bit less and actually I hope to get a pretty good track out of this but if you have not the optimal track for this scenario it will still be ok because I'm not trying to place any solid objects into the scene I just want my spaceship to fly through the scene and I want my shadows accurate but if I have a little bit of inaccuracy in the camera it will probably the final result will probably be tolerant in this example it's different if you want to place like buildings into the scene which you really need to stick to the ground so in that case you need a very good track for the example here probably I don't need to overwork myself here on the tracking it finished let me work through these taps or camera tab unfortunately I have no clue about the camera at all so the only thing I can do here is take the defaults and and skip it if you do no sensor details and the focal length this can can help the solver it can make the solution a bit better if you don't know the option is to skip then I have here myself area and I usually just start with with the defaults I also refined the focal length because I don't know what the focal length is so I can start with this and just click on solve and it will take again a little bit of time probably a little bit more than the tracking itself because now it's doing the heavy calculation of determining whether the the position of the camera out of these 2d tracking points okay for me it took like two three minutes but if if it takes way too long again you have to reduce the the number of points so this is really a lot of points that I'm using here let's have a look so first of all it says your focal length 18.9 that is what fusion determined so if I do any improvements further down I can guess that probably this camera had not an eighteen point nine millimeter lens but probably an eighteen millimeter lens so I will just enter it in the focal length and if I do any refinements I will just disable it here and and just use use eighteen now and and probably that is right then I can look at these points if you want they're both automatic or like semi automatic and manual ways to improve on this even further so let me so if you want you could filter a bit by by the arrow you also see color indicators for which points fusion things are great and which point it has problems with and for example all these red points here this makes a lot of sense to me because it is trying to get a contrast between the foreground and the background here if you are on these lines and that usually doesn't make sense so because you know the perspective will change so if the contrast is between a foreground and the background then these points cannot be cannot be very good so you might as well delete this or if you want you can even even check now in in 3d what fusion came up with if I add a 3d merge and now let me maybe go back to a color view and you have two outputs from this camera tracker one of them goes into a 3d and if I go into 3d now you can see where these points are and can mark points and check even with 2d let's go back into here in 2d let's enable the high contrast again and see where these points are so if I if I select these for example they I select points here there huh you should see them highlighted here no oh yeah ok so there are quite a lot so it's a bit difficult to see maybe I overdid it a little bit with the number of points but still you can kind of see where these points are so there are a lot of points here on the top I definitely want some here even though there's a lot of red as well and then you have a lot of points down here which is the ground which is great so I'm looking especially at this because this is like my my main foreground object here and also important for me to get this shadow but then I see some points here in the middle and they are like floating this makes no sense at all these points like like floating between the floor and the top in the back and this is probably related to these so here I can see in 3d I can just you know these all don't make make sense at all so let me go here so here if if I know that these points are not good I can also delete them directly from here probably all of these maybe the green ones here on the side perhaps there's something which is good but likely these points don't make sense and now you see that the new points coming and here we have the same problem so these points probably don't make much sense and if you like you can adjust it a little bit now probably I can just continue with my solution the way I have it already but if you do need to refine so these are the kind of things that you can do again chances are that these points are are not the best here you can also filter or remove of these red points and just by a little bit of manual intervention like this I probably can improve my my solution a little bit okay so with a few points selected let me run the solve again but honestly this is just fine-tuning for demonstration now the accuracy that I got from the first solve is probably already sufficient for what I what I want to do in in this tutorial okay improved solve improved solution and now I have a look at the sort of error again now I have a sort of error 0.2 - wow this is excellent everything below 1 is already good and below 0.5 or so we are getting in really good track point 2 - I didn't expect it to be that low but well this is excellent so now I feel confident about the track and won't worry much about the solver anymore and about the rest of the fiddling that you could do here and instead create my 3d scene next part here I can click on export and if I click export here it will now give me it will now create a 3d scene for me and usually it appears in my flow in the worst possible place oh yeah ok it appeared here let me move that into somewhere where I can can see it ok let me see what I have here I have my lets me bring the merge into both views actually and I see here my my camera which is animated now and moving towards my point cloud which is good I have the point cloud itself and I have a ground plane which I see here as a wireframe now the first thing I need to do is place the ground plane so that it actually matches the ground and this will help me a lot for placing other elements in the scene later so here the ground is luckily really flat I have a flat plane so I can this should be easy the view I want to use for this I want to look at the 3d camera view in the 3d viewport on the right and in the perspective view on the left so you can always change your right-click camera front left etc so you can change the the 3d view option so I have my 3d perspective view here and the exact camera view on the right and now I can if I select points here I can see them highlighted here as well and this can really help me with the orientation in my 3d scene but before I do this I don't like these crosses especially if I have a lot of points so instead of cross you can just do points and sometimes it's a bit more precise and also the color is coming from the solver so based on the solve error before I don't really need this so I disable the per point color and just keep it white which I find a bit cleaner if you like you can also change the size of these points but I guess that's that's fine now I want to place the ground plane and I want to place it let me mark the points which I think are relevant so all these points here are definitely on the ground and here these points let me shift select those they are also definitely on the ground and and this here and these actually even the the horizon would be fine but I need the plane like in this area because this is where I want to let my starship take off and then fly through so this area here will be all relevant for the starship and for the shadow that I'm placing so now I have those marked and I have reference here in the scene where these are so now I place the 3d plane so that it goes through these points the ground plane here I can use it directly what I have here to place it often it's easier to have a pivot point on on one end rather than in the middle because then I can easier scale and rotate so let me do that first in the ground plane here I move the pivot point down to one end which is green Y and it moves around a bit I don't care I'll just bring it here to the end which should be well I guess minus five the way it looks like minus five and now I placed I bring the plane up again and with the pivot point here on one end I place it here towards these points and if you like you can also for this exercise maybe make turn off the wireframe and apps make it semi-transparent with a bit of alpha so it's maybe easier to see that way what is actually happening then with the with the wireframe and now I'm placing this through these points something which is like average in the middle and make sure that the plane extends and I can just scale and because the pivot point is here it will just scale out so I will scale in the Y direction to make it longer to to touch the these points here and again I can can see in 3d that it's large enough and also an X so that it really covers the plane let me see if it really goes through these points so here these are now a bit above the ground it seems so I can rotate rotate around this axis around the x axis so if I just rotate this little oops this is just a tiny little bit so now this should be relatively good so I'm I'm going through these points here and I'm hitting the points here at the end as well so this should be a decent reference for for start next part I want to place some objects to get a little bit more of a feeling where where these poles are in in in 3d space and also to calculate the shadows so instead of using the points themselves it's sometimes easier to just have some temporary 3d objects and a 3d object can cast a shadow so I can test with the light what is happening so I will just put a 3-d cylinder here to get to simulate this this shadow and thereby check where the light sauce should be so let's bring in shape 3d make it cylinder merge it enter the scene and just bye-bye view obviously much much thinner and maybe longer who knows but I'll check in 3d as well so it's here it's in the wrong place and I can now maybe select the points here and some some points down here to see so these are our top and bottom of the of the wind turbine so my cylinder should probably connect the bottom and top points here at least roughly I don't need to be 100% accurate with this but if I'm decent with the solution then I should have something which works for the shadows okay let's bring the radius a bit down and again I might actually put a pivot point not in the center but somewhere where I have better control so these points here look are easy to recognize even from a distance so let me bring the pivot point up so these are at the end of my cylinder so I can bring the I should have done that probably before it works so now I can bring the pivot point up to run keep the height on - so now that the pivot point is on the top and this way I can now place it with the pivot point to exactly the these where these points are and I can check here in the view as well or even in the final render so here we have the the camera output this is the renderer and in the renderer I can can see where I am here and check this and check the 3d to adjust it a little bit bring this below these points and if this is okay I think this is already accurate enough let's look at the at the bottom let me bring again this view in it's too long at the moment so let me now scale the height I can just shorten it because the pivot point is on top it will just shorten the the bottom and I make sure that it touches the plane and this should be pretty much good enough okay let me play through it and I see the cylinder in the together with the live-action footage exactly sticks to the windmill this is this is pretty good I didn't expect it to be that good if if your solution is is not like hundred percent but only like eighty percent it will probably still be enough for for what I'm doing here if you have a super accurate cylinder in theory I could even use this later for masking for masking out the the turbine but then again working too much on on this in 3d you can also quickly mask it out in two DS or you have to see what is this faster but this is already more accurate than I expected and then I need let me actually let me color this a bit just to make it more more obvious so a blue cylinder pink ground plane and now just for for reference and to be able to get this this shadow nicely done I just want to place something in the points that are are here is their point well at least one okay so let's see where this is in 3d yeah so there are some points here at the at the at the end of this shadow and I will also put a shape 3d there and I will just put a little sphere there and I can use this then my my shadow should connect them from the cylinder should cast on the ground and connect to wherever this shadow is ending so I just now put put a little sphere here into it into those into this place that's definitely too big and let's give it some some color and it should go here that's definitely not it where am I here oh I'm in the completely wrong place let's try this again I I should be here okay okay good enough you see the ground plane might not be 100% exact here again also this field might not be hundred percent straight but should be good enough for reference now if you want you could place more things like maybe place some poles for these windmills just to have more orientation in the 3d scene not really necessary for this but hey perhaps just for the fun of it enter to visualize this a bit more and make the animation easier I will just quickly add two more cylinders on on these wind turbines here and I will just do this quickly in accelerated speed so you're not getting bored but this is a purely optional and not not hundred-percent required just copy the front cylinder and bring the copy back to where these where these are okay and now I have wonderful markers in my 3d scene which I can use for orientation and scale and to place things into the scene next I want to take care of lights and shadows but first let me clean up a little bit I will save the file now into a new version if you're following along and want to see the camera track and intermediate version you can have a look but now I will actually remove the camera track and this because I really don't need it anymore I'm done I have my camera I also don't need my point cloud anymore this was just I used it for reference to to get everything aligned but now I have my 3d scene which is much nicer so I removed this I do need the ground plane the ground plane for now let me make it fully opaque so I can judge the shadows better and let me also bring it that it's it's not covering the whole image so let me bring it back a little bit here so that it covers everything throughout the scene let me also bring these blue and green and red markers in one group where I can easily turn them on and off so I will just take them all put them into their own merge so if I have them in one merge I can move them easily away so one 3d merge bring them back into the scene and now I will just group this ctrl-g and call it marker 3d so I have my markers here and and I can know if I don't want them later I can turn them on and off like this I keep my plane and now I don't need this mp4 file here anymore and now I can add my lights let's have a look at the renderer here on the right side the render view and I need to enable lighting and shadows here and add my spotlight to the scene I'm using the spotlight because it's the only light in fusion which casts shadows now the downside of the spotlight is this cone shape of the light which I don't really want I want more like sunlight which is like directional light actually but the directional light in fusion there is a tool directional light but this doesn't cast shadows so this is useless for this purpose so instead I have to use the spot light but at least I can put the spot light far above the scene so that it basically acts like a directional light so if it's too close to the scene it will like shine out with its cone but if it's far above then the in in the scene it will act like like parallel light rays like like directional light so that's why I'm placing the spot light far above somewhere like this so in a good distance above I need to direct it at the scene so you can either rotate it but I prefer to use the target use target this is usually easier to to navigate around so you have here this target marker which you can then place on the ground and move where where you want this cone to be the size of the cone is important but first let's get the direction right so I already see some very short shadow here which goes in the wrong direction so it needs to go into a point like this and bring it at an angle and now I can match this so that I get my that I hit here the red point that's the idea and if I do this I should also hit the original shadow because that's what I'm marking here okay so this is starting to look pretty good okay this should be fine now the cone let's have a look at the corn the problem is if you have a huge cone that means that your shadow is being calculated all over this big cone and that means that the shadow resolution goes down so there is a resolution which determines on the area which the point light is the the spot light is hitting and reducing that area will improve the resolution and the second part is there's a shadow map size and if I increase the map size this will also improve the resolution of the shadow at the end so let's decrease the the area first and then at later so we can increase the map size if needed so the cone angle I don't need to drop off and I'm happy with hard edges of the shadow and I can reduce the cone angle maybe a bit well actually I can't too much because I still need to get the sides here I might again work with the with the target here but but there's really not not that much that that I can do I can bring the target further further in maybe but yeah so I'm afraid there is not a lot I can i can adjust here without losing good part of my shadow but like like this I guess this is what I can do let's see if it still works throughout the scene from beginning to end my my area is sufficiently covered so the spaceship I want to place somewhere here so that should should do it ok this is the the basic light set up I will increase them shadow map size only at the end when I do the final render so for now I I can just keep it like this and I will now take care of the animation of the spaceship if you want you could just directly bring in the whole spaceship you know just connected here I know that I do want to do some animations and some some other things first so if you have large models you might use some simplification first just to have a more interactive feeling while doing the the animation setting up the animation so in this case I'll just do a simple trick I just use I just use one part of the model which represents the the body of the ship I just take this part here and just copy it out for now and now I have a black and white part of the model and I can just bring this into the scene so this way I don't have to think about all the textures I load the full model and everything but I just start with a simplified version which will render a bit faster and then later I can just replace it and and connect the full model into it so that's my approach to speeding things up a little bit also I will go to proxy resolution I don't care now about pixel accuracy I just want to work quickly and my proxy resolution is set two to three you can even go to four depending on how it looks but the strictly fine I have my OpenGL renderer this is fine now I need to see where it's in the scene it's very too large so let me scale it down with a transform 3d transform 3d you find it in the control space bar menu and I can scale it down scale it down here scale it down significantly and I can see in 3d in relationship to the wind turbine here I can decide how large I wanted and I wanted fairly large I think now that's up to taste obviously if you think this is like a small spacecraft or a large ship I want it fairly large so I do something like this this size and now I want to animate it and I will separate this out I will just leave this scale so if I want to change the scale later I can so I just call this transform scale and I will do a separate transform now for the the animation so transform this is now my my main animation so this transform I will use to move the ship around and animate it let me start by putting it here on the side and by the way if you want you could also even deactivate the the footage for now so this will be enough to to understand the the animation so depending on your your render speed and how interactive it is just keep it very simple for animating and you can always connect it again later so let me position the ship where is my control here my transform control bring it all the way on the ground somewhere where it's taking off and I keep the full screen on the right so I I see how it looks like and my starting position I wanted maybe a bit at an anger and maybe move a bit further and definitely a bit back so I don't want it on the level of this turbine but some part a bit back something like this maybe let's start by setting the keyframes on frame 0 let me start here so very simple the ship is on the ground at frame 0 and then if I play back over let's say the first 20 frames I wanted to lift up and let me just do the translation first so I wanted to lift up then somewhere around the middle I want this ship to be behind and around so I will just position the with the x-coordinate bring it here to the other side somewhere here and then I set a keyframe here and towards the end I want it to come very close to the camera and past the camera now it may be difficult to properly position it if it's out of view so I put instead of bringing it out of you I go to I don't go to the last frame but somewhere close to the last and here I want the ship to be pretty close to the camera and on the way out and it's too high let's bring it in and here you see it's coming really towards the camera like this then I can smooth the animation curve so let me go into the spline editor so at the moment everything is like you know exactly linear which will not look good so let's smooth this shift s and let's see just the the motion going up now that's maybe going up and okay going to the side and going around a turn okay not so bad and coming here to the corner and then it's slowing down now that I don't want I don't want it to slow down here so the last point should be linear so shift F a linear shift s for smooth shift F for linear or you can use the buttons here I use the keyboard shortcuts usually so here it's now no longer slowing down but it's now coming to a stop I don't want that either instead I do a right-click here and do a gradient extrapolation gradient extrapolation just means the motion will continue the way it's it's coming so it will just continue indefinitely and this means that it's now moving out of the frame and it's actually moving out of the frame even a bit earlier than I need to but let's see here I have the shadow okay so the shadow is also moving out of the frame it's maybe okay okay let's review so not so bad for a first attempt now of course the ship needs to rotate so let me do this now separately and start again on frame 0 I have already let me so first I think it will just rotate around the the y axis I have already set the keyframe and as its lifting up it should rotate in the new direction and let's see just this part that's definitely too fast so maybe just part of the way or actually let me put the new direction in but then if I it might start moving and then still rotating a bit so I can just use the Y rotation here and bring it just move the keyframe a bit you can also turn on here these markers to see where the keyframes are I don't want to make accidently too many keyframes so I if I if I accidentally click in between I I see it and I can see where my main points are but the rotation and translation might not be in sync everywhere so I start with a rotation like this and I will probably smooth this out as well shift s to start slowly and then okay something like this then here maybe I'm I rotate it too far I need to go in the direction of the curve so I can just bring this up a bit so that I don't rotate too much so I'm aligning with the curve here at this point I should obviously go towards the new direction and even before it should start turning and here let's try to bring the put a keyframe here at the same place and let me bring this now up so that it of alliance with the tangent of of this movement and and you see this is coming too fast or too early so I might need either another keyframe or you have to work with these tangent handles so let's bring another keyframe somewhere in the middle so that or just before the turn starts - just to keep it in line here again maybe smoothing it this looks strange so I go into the tangent hander so probably the curve should also look look smooth and then I'm following this curve this is good and then towards the end I need to be again somewhere from here onwards I should be definitely facing in the new direction so let me zoom in and set one keyframe here and align it again so let's see is it not really following the curve okay this is starting to look good so I'm now moving in the right direction this is quite good I probably also if I look at this view so now I just followed the curve I also want the ship to move up a little bit so again one direction at a time where should this start maybe somewhere here when it's going into the curve then out of the curve it's moving up so I might put a keyframe somewhere here where it starts to well maybe at the at the onset of the curve maybe I start to move upwards how do i do upwards I think it's the x-axis the red one has X so let's put a keyframe here let's check yeah so this is moving the ship up so until here I am at at zero and I might just single out let's show only selected let's make this easier and I might just single out individual curves like this so that I don't move other curves at the same time so I have my not offset sorry rotation X rotation here I have the keyframe and then as soon as I'm on the outside here I should be in my final takeoff direction so here I set another keyframe and bring this up again let's go back and play through this okay this looks relatively good for the end okay I'm still not 10% satisfied with the beginning I might have to do some adjustments there and also I think when it's going through the curve I think if you think like airplanes that use air resistance now I know this is a spaceship so but you know spaceships in all sci-fi movies move like airplanes even though doesn't always make sense you know they they roll a bit so so I think if when it goes into the curve I also want it to roll a bit like like it's moving against the air resistance where should this happen soar up to up to here probably not and let me check the rotations again which one now this may be getting a bit difficult because this may now be like a combination of of two rotations or actually if I change the order of rotation so at the moment I first rotate around X then around Y and then around Z and the Z rotation here is something which is difficult to handle but if I first rotate around Z and then x and y let's see so for now no change but now huh now I rotate around the z-axis first and the rest of the movement should still be completely in line so sometimes just changing the order of rotation solves the problem so in the beginning I want no Z rotation then I move through until maybe here where it starts to get into the turn here I set my first keyframe on on Z and let's now only look at the Z path here even you know turn them completely off maybe and then as it goes into the turn here I want my my role to be maximum in the in the peak of the turn so I I bring this up and the wrong direction like this something like this and then it stays and then here it should probably be rolling out bitte but maybe not completely maybe it's nice if it comes across us and a little bit of an anger but maybe not not too much so it's not completely straight again probably I need to smoothen this shift s and let's see okay before I get lost in the fine tuning details let me have a look again how it looks in the combined seals so let me attach the background again and make the ground plane a bit transparent alright and this is how it looks like so far not so bad I think it's like 90 percent there of course the fine-tuning and fiddling and so on always takes a lot of time and I might do a little bit offline and show you my result at the end of this lesson but all the basic principles are there and just as rough guidance it can be frustrating it can take time if you are if you're not experienced with this kind of animation but just keep it simple few keyframes one parameter at a time think about the one type of motion first then one type of rotation next type you know and work your way through like this now I think the overall project we can see where this is going now with the camera track and the shadow even though the ground plane is purple right now obviously that needs to change but next I want to add some some patch on the ground rather ship is taking off so here in the beginning I think there should be under the even under the shadow that maybe should be something like burnt ground or some you know some some mark where the ship is taking off and this gives me an opportunity to also use the plane our tracking here and to paint some patch and matches or match it on top and then it will we will go to the full compositing in in 2d bring on the different render passes the different texture and lights of the more we'll do some blurs and some fine-tuning and so on to make it nice in 2d add some finishing touches with smoke and so on so there's still a lot of nice stuff coming up but I'm glad that the basic 3d set up is now done and from there we can take it forward next week so thanks for watching and hope to see you around for the next part [Music]

Channel: VFXstudy

Views: 5,915

Keywords: compositing, VFX, VFXstudy, Fusion, visual effects, Blackmagicdesign, Blackmagic, 3d compositing, Fusion Studio, DaVinci Resolve 16, drone footage, 3D Camera Tracking, Tracking, Camera Tracker

Id: RGUPC_zKszk

Length: 50min 10sec (3010 seconds)

Published: Sun Oct 20 2019