DaVinci Resolve 15 - Fusion VFX and Graphics

hi my name is Tony and today we're going to talk about the fusion page inside of DaVinci Resolve now the purpose of this video is to give you an understanding of the basic layout and functionality as well as look at some of the core concepts of compositing so when we're done you should be able to understand the basics of node based compositing using key framing tracking chroma keying and start to be able to build and design your own visual effects and graphics so with that in mind let's take a look at the interface of the fusion page alright so at the very top we have the interface toolbar now you can click and open different panels when you need them it's a great way to customize the layout of your interface you can also just click and drag and expand these panels based on your needs as you're starting to build more and more complex note structures so if you need to you can always just reset by clicking the reset UI layout in the workspace menu and that'll bring you right back to where we just started so right below the interface toolbar we're gonna have our viewers we have a viewer on the left and a viewer on the right now if you're coming from something traditional say editing you might be used to seeing these viewers predominantly with the viewer on the left being for your source medium and the viewer on the right with your timeline medium well in Fusion it's a little bit different each viewer is independent so what that allows you to do is to view any part of your pipeline in any viewer as needed so for example you could be viewing the output of your final composite and viewer - while in view or one you're looking at say a text note or some other graphic node where you could be dialing in the color or the font and seeing it ripple all the way through and viewer - above these viewers you have these common tools now these tools might change based upon which node you have selected right below that we have the time ruler and this allows you to navigate across your clip and seeing each frame as they're laid out a common practice with compositing is to be able to preview just a certain area of your clip as you're working and as you're designing so you can do that by adjusting these little render bars here I'm gonna bring these in and so now you can concentrate and preview just on a specific part of the clip we're not changing the editing we're not trimming it we're just changing what we're previewing so keep that in mind if you need to be able to zoom in you can use the zoom bar and zoom in on the frames that you need now let's reset that we can reset the auto render range by just right clicking and say auto offender range now we reset our clip ok below that we have the tool bar and the tool bar is going to have your most common used tools when you're compositing or designing graphics if you need to have access to all the tools inside of fusion you can click on the effects library and under tools you'll have access to all the different types of effects and notes next we have the note editor now this is where we're going to be doing a majority of our node construction and note building and as you're building and designing bigger node structures you're gonna need to be able to move around and navigate inside of that so how do we do that well if you click on the middle mouse button you can move your nodes if you don't have a middle Mouse you can hit Shift + command and we click on the left mouse button that'll do the same thing if you want to be able to zoom in and out the command key plus the scroll wheel will zoom in or now again on the keyboard plus or minus will let you zoom in and out of the node editor alright finally on the right side we have the inspector now the inspectors gonna have all the different parameters and properties based upon which node you have selected this is where you actually do your tweaking to your so you have one node selected it'll show and populate with different sets of parameters for you okay so now that we've taken a look at the interface let's actually talk about the nodes so what do we have we have a media in node and a media outlet what are these well right now we're looking at a fresh composite straight from the Edit Page so let's take a look at the Edit Page you can put your playhead over the clip that you want to work on click on the fusion page and that clip is represented by this Media EndNote it's being piped or sent to the media out node and this is what gets sent back to the other fusion pages the Edit Page the color page and ultimately the render page the delivery page so if we want to make any type of effect we will place our notes in between these two nodes and that will affect our image pipeline now if you notice we're viewing in viewer to our media output node so how is that or why is that under every node there is these two or three dots on the media out node we have a white dot in the middle that's telling us that we're transmitting that node to viewer - if I wanted to we can select media in node and click one on our keyboard that's going to transmit the signal from that node into view or one so again you can you can see any node you want in your pipeline and any viewer you want all the viewers are independent so you can see the beginning the middle or the end of your pipeline now in this case we have three dots that's because we have a grading monitor so you can send a signal out from any note to your grading monitor as well okay so let's start by first organizing and renaming our nodes to keep track of them so we're gonna click on media one right-click on it and say rename I'm going to type it south pull in just a quick note when you're naming tools in fusion you can't use any spaces so make sure you use an underscore or capitalized to separate now we're gonna we're gonna click our media out note instead of right-clicking we're gonna hit f2 let's do that again we're going to hit f2 and that will bring up our rename tool dialog I'm gonna name this output okay great now let's go ahead and start adding our first note I'm going to go to our effects library scroll down to our warp folder and let's click and drag our grid warp right into our node editor okay so we've added our first node but what's happening well right now nothing is happening we need to attach our grid warp node into our pipeline so let's do that I'm going to click and drag holding the shift key and you'll notice when I place the grid warp over that pipeline it changes to blue or yellow when that happens release now it's connected now we can actually start affecting our image pipeline so let's go to our viewer and just start warping and changing our image now I know this is not practical but just a good way to give you a visualization of what we can do and how each node effects the pipeline and real quick I want to jump back to the Edit Page just so you can see that what we've done in the fusion page has affected our edit page there's a live connection between the output node infusion and the other pages in resolve you don't have to do any type of exporting or rendering make a change and it's now available in the other pages so we're in the Edit Page at any point in time if you want to be able to let's say bypass the effects you can hit Shift + D and that will bypass all the effects showing your source media it's a great way just to toggle back and forth while we're here if you look down here on the bottom right-hand of our clip you'll see these three stars and that's just letting us know that we have a fusion composition on this clip i turn my effects back on and go back to fusion okay let's reset this and do something that's a little more practical so to reset it with our node selected in the node editor right by the grid warp on the far right side of the name click the reset button this just resets our tool right back to the default set alright let's hover our mouse right over our viewer holding the command key and using the scroll wheel I'm just gonna zoom out now I'm gonna hold the shift key and just select the bottom 2/3 of these grid warp vertices so what do I want what do I need to do well I want to reframe this shot just to give it a little more visual impact and we're gonna do that with the grid warp so I'm gonna shift all these pixels down and reframe my shot by hit by hitting the down arrow now if you notice it's gonna take me a little while to do that so let's hit the shift key hold the shift key and just press our down arrow a couple times all right so I'm gonna click inside of the note editor just to deselect and you can see now we've reframed our shot using the grid work again let's go back to the Edit Page it's available there for us and if we go to the color page we can also see that we do have a color look applied let's turn that on and now we've got a color so you can see the process from the Edit Page to the fusion page back to the Edit Page and color page very very simple very powerful way of working right in silent resolve with diffusion okay let's get on to our next lesson back to the fusion page I'm gonna change my clip by going to the interface toolbar and clicking on the clips timeline button so what this has done is it's allowed us to look at all the clips available to us in our timeline and while we're here we can right-click on any clip and we can create a new composition so why would we want to create a new composition well a lot of times you're going to be working and designing and building and you might want to try something different so by creating a new composition you essentially can create a new version and any time you need to go back to the original you have access to that okay great let's go ahead and close down our clip timeline keep our workspace nice and tidy what do we have well our actors is in space she's just waking up and she's looking at her heads-up display or HUD on her screen so we need to composite our HUD over our actress give a little shallow depth of field effect and we're ready to move on to the next clip so let's get started first of all let's rename our clips media one in and our output again pressing the f2 key okay I'm gonna grab my animation of the HUD in my media pool and just so you know the media pool is the same media pool available in all the other pages in DaVinci Resolve so when you're in fusion you always have access to your footage so let's just click and drag our media asset right into the node editor and so just like that we've added our first piece of media right inside the node editor infusion let's close it down and let's rename this okay great so I want to talk about one of the most used tools and that is the merge tool so we can add the merge tool from our tool bar right up here and the beauty is is that Fusion has laid out these tools for us based on categories so on the left side we have generators we have color corrector nodes we have compositing and transform nodes we have nodes for mask particles and 3d nodes now if you're not sure which node or which icon to click on just leave your mouse over the icon and a pop-up label let you know which one it is in this case we want to use the merge tool so we're going to click and drag our merge tool right onto our pipeline and just like that you can add a tool a node right into your image pipeline so what is a merged node well when you're compositing you're gonna want to bring two pieces or two layers together and that's why you use the merge node it allows you to stack your layers over each other and merge them together into your image pipeline so for example you want to add text over video well you use a merge node to bring those two together now depending on how many different layers or how many different elements you need you'll need a merge node for each of those elements okay let's look a little closer at the merge node we have two inputs on the Left we have a yellow arrow that's for our background above we've got a green arrow that's for our foreground and keep in mind you're gonna want to every time you do a composite just keep that in mind as you're putting your layers together which layer do you want to be your foreground and which layer do you want to be your background okay we have also like most of the other tools we have this blue mask input now this allows you to connect a mask to a node and that way you can isolate that section of the node based on a mask and we'll get into that a little later lastly we have this white square and that is our output so our note has done all of our compositing or tweaking or whatever it's done that's gonna send the signal from that note on to the next note in this case it's going to our output note ok let's do our first composite and take the output of our HUD and connect it to the foreground of our merge note right away you can see we've done our first composite so with our HUD node selected let's hit the number one key and view it in viewer 1 now you might have noticed that there's a checkered board background behind our graphic that's just letting us know that this element or this media clip has an alpha channel we can view the Alpha by clicking the letter A in our keyboard and this is going to show us the black and white matte white being full opacity black being full transparency anything that semi-transparent it's going to be represented by a great ok so let's hit a again so we can see our color image now looking at these two I can see that my HUD is a little larger than the frame for my actress so I'm going to want to be able to resize it and reposition it now we're going to do that with a transform node but the question is where are we going to place a transform node now because I only want to affect our HUD I'm gonna place the transform node after our HUD let's do that so let's go to the effects library open up our tools scroll down to transform and again just click and drag the transform node and connect it to our HUD node okay great now in the inspector of our transform node we can click on the slider and adjust the size if you want to get a little more granular you can click on the text field and scale it down or up and smaller increments now if you need to reset just that tool there's a little white dot underneath if you click that white dot you'll reset that tool now real quick you might have noticed that as we are changing the size of our HUD we only see the change happening on our viewer - why is that well we are viewing our final output from our output node into viewer - and reviewing our HUD node into viewer 1 now our HUD node is happening before the transform node so that's why we're not seeing any changes so keep that in mind as you're building and designing your node structures which node is going into which viewer okay let's get back to our transform node let's adjust the size we're going to scale it down that looks about right and we could use these textbox controls for our position but in this case it's going to be much easier just to use our on-screen controls so our two red arrows let's click in the center and just move our HUD into place there we go now with our HUD scaled and into place let's finish it off by adding a depth of field effect by adding a blur again the question is where are we going to add the blur so let's bring in the blur okay so if I add the blur after the actress I'm gonna blur my actress my HUD will stay in focus that's not what we want if I'm going to add the blur after the merge well that'll blur everything again that's not what we want so if I were to put the blur after the transform it would just blur our HUD leaving our actress and focus and that is what we want so think about that as you're building your node structure where you place the node it's going to affect that portion of the pipeline so as you're building your node structure just keep that in mind okay let's add a blur changing the size a little bit all right that's good now to finish this off I want to be able to add some blur around the edges of our actresses face and of course to do that I'm going to add another blur and I'm going to grab it from the toolbar and bring it right in and we're going to crank up this blur okay so this is not quite what we want we need to be able to isolate the blur to one specific area and we're gonna do that by using a mask in this case in the lips mask so let's grab our lips mask bring it in and connect it right to our blur with their lips mass selected let's hit the number one key and we can view that in viewer one so on screen on screen and viewer one we can change the shape of our mask and its position now it's gonna be much easier if I just do this in view or two that way I can see it in context with my actress all right great we've got the shape where we want it but the problem is the blur is happening inside the mask we need to blur to happen on the outside of the mask and we can change that by going to the inspector and clicking on the invert button now we have the blur on the outside and it's nice and sharp and focus on the inside so let's just finish this off and polish it by creasing our soft edge and blending our blur into our shot okay well there we go we've got our first composite nice clean and simple right inside of fusion let's move on to our next section and build a nice cool title design for his aviation documentary so let's go back to our clips and switch over to our next one okay so we need to create a title living in the Age of aviation and we're gonna do that by using fusions text plus nodes so with my media node my meaty end node selected I'm going to click on the text node in the toolbar and because I had my media in node selected fusion has automatically added my text node and emerged node and linked them together for me so based on what you have selected on what you click on a fusion is going to start to put those things together for you all right let's just move this note up above and if you noticed in the inspector now we have a lot more controls we also have other tabs that we can access different panels and change different things like shading elements or transform controls all inside this inspector now in the text tab I'm going to click in the text box and type in our first line living in the H all right right below this we've got a plethora of different types of controls to change sizing tracking font you name it we're gonna change this real quick to Arial change the weight to regular I just want to decrease the size some let's see here right about there in the viewer I can directly control the position of the text again by dragging those arrows and I want to do that right above the waterline again as we're working I can just dynamically change the interface to what I need at that moment in time alright we got our first line of text now I want to break our title into two lines the top line and a bottom line because I want to be able to add different stylized look to the bottom line so let's add the next bottom line I'm gonna select the merge node again click on the text button fusion has added just like before our text in our merge okay let's select our text let's add our line Aviation great let's quickly change our font maybe like an Arial black and let's increase the size again you can just you know adapt shift change according to your design preferences then it take the tracking out some just so it's outside of our first top line okay let's just change the color maybe something like that now before I go any further a couple things I want to rename our notes let's keep track of our notes making sure that we always can come back and know what note what each note is doing so our text note is selected let's hit f2 and name this living in the age let's select our text to node again f2 and name it aviation now you can see here that I have my nodes laid out my text node for the top line is up here and the bottom one is down here now you're free to organize your nodes however you feel fit to organize them it's not going to change or impact the visual outcome of your composite the only thing that's going to change that is where you take the output of that node and where you connect it to so as you see fit go ahead and design organize your notes as needed okay let's look at our bottom line aviation we can do a little bit more stylistically wise so with our aviation nodes selected let's go back to our inspector and let's click on our shading tab now this is going to allow us to add other different layers to our text so for example outlines or drop shadows or glows you can do that all in one text note using the shading tab so we've got our element shading element of one selected I'm gonna change its type from a solid color to a gradient now I don't want to use a black like gradience i'm gonna change that let's click on this triangle here to the far right and let's go back to that bright yellow that we had and now let's click on that triangle to the far left and let's give it a nice dark orange there we go okay nice so let's add another shading layer we can do that by selecting our element and clicking on - well nothing has happened we need to enable it so let's click the enable checkbox and you can see it's default is set to an outline and that's great I don't want it to be red I want to change the color so I'm gonna click and hold on this eyedropper right next to the color palette click hold and drag right on my text and select my color great not bad let's add another element let's go to three let's enable that that's our drop shadow that's a little strong so I'm just gonna change the opacity and dial it back just a little bit so somewhere around half looks pretty good and you know what let's go ahead and add that same shadow to our living in the age of top line so let's go select our note in the editor go to the shading tab and our NARS and our elements here I can just jump straight to number three since we know that it's default there's a drop shadow but a double click here just put it at half opacity not bad we've got a nice structure for our title design now let's add a little bit of animation to bring our title to life and we're going to do that animating keyframes okay so instead of animating all these different shading elements the opacity of that let's just actually animate the merge node using the blend parameter and as you can see as I'm scrubbing the blend parameter you can see on screen that it's affecting capacity of our top line so first we need to decide where we want our animation to finish so let's say we want it to finish around the one second where what is it 24 frames so put your playhead on the 24 frame mark let's go to our blend tool and let's set a keyframe it's this white diamond next to our blend tool let me click it you've activated a keyframe marking that parameters value at that point in time so that's this is our end keyframe now we need to create our beginning keyframe so let's say that we want to do this at half a second so around the 12th framework I'm gonna click in my time ruler go to my 12th frame and I'm just gonna drag my blend parameter down to zero now as I scrub this in my time ruler you can see that we've animated our opacity for our top line basically fading it on you can also see in our time ruler that there's these white marks and those are our keyframes it's a great way to see based on the node you have selected where your keyframes are at in time as you're working on your node right inside the time ruler okay so let's go ahead and click on our aviation button and let's do a little bit different animation so let's click on the text tab and this time we want to animate the tracking so our playhead is on the 24 frame mark let's click on our white diamond making the keyframe and instead of using my mouse to click and drag inside of my time ruler I'm just gonna double click inside the time code box and type in 12 that's going to take me exactly to the frame that I typed in there and let's just bring out our tracking so now we've just animated our tracking we started on from frame 24 we set a keyframe we went to frame 12 and we opened up our tracking so now it's starting out wide and coming in tight real quick we need to do the same thing we did to merge one we're gonna do that to merge two we're gonna go to frame 24 I'm gonna make a keyframe on our blend we're gonna jump to frame 12 and we're gonna bring our blend down so remember that render bar range we talked about earlier well I don't want to play the whole clip I just want to isolate the plate to play back to just this area so I'm gonna hold my command key and I'm gonna click inside the time ruler and just extend out just like that I'm now just previewing my animation as needed as I'm working on it and this doesn't look too bad it looks pretty good but I think we can change it up a little bit and make it a little bit more make it feel a little more natural so what I would like to do is take our tracking keyframes extend them slow it down make our animation feel a little more natural and we're gonna do that using the keyframe editor so let's click on our keyframe editor in the interface toolbar okay with our keyframe editor open it's basically a has a different look and a version of all of our notes laid out for us stacked as layers so let's go ahead and click on this drop down menu for our aviation node and you can see these little white marks those are representative of our keyframes we just made so I'm gonna grab the first keyframe for our character spacing for aviation and bring it to the left make it didn't happen slower and longer over time now I'm gonna grab merge to keyframe beginning the beginning or starting keyframe for our blend tool and bring that out as well so we've slowed down our animation making it feel a little bit more natural and it's good I like it I'm noticing that the first line living in the age of is kind of coming up a little late so let's go ahead and drag its first keyframe out to the beginning as well so right away you can see adding keyframes adjusting tweaking is a powerful way of using node based compositing to do that right inside a fusion now it's worth mentioning about the spline editor so I'm gonna open up the spline editor I don't really need the keyframe editor anymore so I'm just gonna click it and close it now the spline editor is a great way to tweak your keyframes to exactly how you need them over time so right now we're not seeing anything I'm gonna click on the character spacing and that's gonna reveal the keyframes for that specific parameter on that note now to see that better it's kind of small I'm gonna hit command F and that's just gonna expand our keyframes to fill in the panel so we can see it a little bit easier alright so by default our keyframes are linear and you can see that by this line this line is going straight from one point in time to the next and that's fine but it can cause sometimes it can cause the animation to feel a little static or mechanical so we want to be able to smooth that out and make it to where it eases in or eases out speeds up a little bit and then eases in before it stops and we're gonna do that by it selecting our keyframes just drawing a box around our keyframes we've selected them now we're gonna hit our smooth button at the bottom left and you can see now that our line went from a straight line to this gradiated line and you have full control of how you want your animation to happen over time you can grab this vertice you can change it you can make it exactly the motion and the speed of motion that you want but for us for right now the standard look is just perfect so let's watch this back all right not bad here's our first look at doing some text animation right inside of fusion let's get on to our next lesson and talk about some tracking all right so real quick what do we mean about tracking well what we mean is having the software analyze the pixel movement in a media clip to determine where things are moving so we can take that translate it into tangible coordinates and we can attach it to other nodes or other tools so what I mean by that well we can use it to attach a giant into a skyline or replace a screen on a mobile device you're going to need to be able to track that motion and attached our artificial element or CGI element into our environment and that's where tracking comes into place so in our clip here we've got our scientist giving the next position on a robot they're developing and so our audience should be seeing a robot a holographic robot on stage now we're in a composite a robot and track it in so let's go to our media pool and our 3d department is already created a robot for us so let's just drag our robot directly over our pipeline we see the blue and yellow has changed on our pipeline we're gonna release and again fusion has created the merge and attached our nodes for us okay I'm gonna go ahead and rename these nodes while we're here so let's name this back plate and let's select our media to in node and let's name that robot and our media out node let's name it output I hope that you're seeing that it's important to rename and keep you keep your notes organized because you never know when you come back you're gonna forget which note is named which and this way you do it right the first time you always know where your footage where your elements are at okay so what are we looking at well all I see right now is a robot over black why is that what we're viewing our output into view or - let's take a look at our robot so click our robot node hit the number one key and we're gonna come up here to our on-screen controls and let's take a look at the Alpha Channel right now it's all white so that's kind of telling us that we really don't have an alpha channel and we need to all those black pixels or actual RGB pixels so we need to isolate our robot removing the black and just allowing us to composite our robot and we're gonna do that using the merge node so let's select our merge node and let's change the apply mode from normal to screen and that is allowed us to remove the black pixels leaving our robot in place okay so let's go ahead and change the size and positioning of our robot by adding a transform node and I just clicked it right in the toolbar I'm gonna change its size and position it right about there okay so if we if this didn't have any camera movement we would be close to pretty much being done but it does have camera movements so when we play it back it's basically just gonna be a floating robot we need to be able to track our robot to the footage so it's locked in and it feels like it's in its environment so let's add a tracker I'm gonna select my back plate go to my effects library go to tools and under tracking we can drag a tracker direct straight into our pipeline so what do we have going on here well our tracker node is selected on screen you can see that fusion is added attractive for us there is this there's this solid line box and what is that solid line box well that is essentially where we're gonna place our pattern for fusion to track it's gonna need a pattern to be able to follow and track and usually you want that pattern to be something that is sharp very contrasting and visible throughout the length of your clip next is this dotted line outside of that solid line and that is the search area so as your clip is moving and as or the camera is moving you're going to want to define a search area that fusion can look at to find that pattern in place all right let's reset our viewer and let's move our tracker I'm just gonna click in this top left corner you can see this little white box that pops up we're just gonna click and move our tracker right here at the bottom of the screen okay great so that's a nice contrast e-sharp image it's pattern it stays up the whole length of our clip now because I have my playhead at the beginning of my club I'm gonna just track forward here's all of our different options to track forwards or backwards in this case we're just gonna track four so click the track board button infusion is going through analyzing each frame for that pattern and tracking it accordingly we can see that right down here it's locking in our tracked pattern and when it's done a pop-up menu box will let us know that it's complete we've got our little play back here with our green line letting us know that we've got a nice successful track we can also see our path our motion path that Fusion has tracked for us now we're ready to attach our tracking data to our robot so how do we do that well let's change the operation of our tracker from none to match move so basically it's opened up some more parameters for us turning our tracker into a merge node for us to use so let's just attach our robot I'm just going to break away its pipeline and reconnect it to the trackers for ground input now we've got this black background again well that's just because basically we have a fresh merge node so let's change the apply mode from normal back to screen and there we go I'm going to delete this merge node it's redundant and our robot is attached now because it's been tracked it's kind of shifted a little bit and I'm just going to change that by selecting the transform node and just bringing it right back into place so not bad we've tracked our footage to our background plate and it's looking pretty good I did notice here that our foreground audience is actually underneath the robot so this is completely breaking the illusion that our robot is there in the scene in that environment so we need to be able to isolate our audience and put them back over our robot we can do that a couple different ways earlier we looked at using an ellipse mask so we can draw masks we can use mask shape and animate our mask over our audience to put them back over that will take a little bit of time or we can use our image data from our back plate and turn it into a black and white mat and use it as a traveling map so let's take a look at that I'm just gonna move my nodes up a little bit I'm gonna drag a color corrector in and I'm just gonna take another output from our back plate into our color corrector and that's kind of one of the cool things about working with nodes is that it's visual you can easily just start rerouting and reusing things much quicker and faster because you're using those so we've taken the output of our back plate we've put it into a color corrector now I'm going to hit the number one key I have my color corrector notes selected so now we're viewing the color corrector in viewer one let's turn it into a black and white image we're going to desaturate it we're going to come up to our menu and change it from colors to levels and I'm just gonna start to crush our shadows our mids and really crank up our highlights and here we go all right that's looking that's looking like it's gonna work just great so what we're gonna do is take the output of our color corrector and connect it to the mask input of our tracker nothing has really happened well why is that let's select our tracker and let's go to the tracker settings now the tracker settings for the mask input is looking for an alpha Channel well we're not using an alpha Channel we're using the luminance channel from our RGB signal so let's just change our channel from alpha to luminance and right away you can see now it's applying that as a mask let's take a look at it all right not bad we've brought in some footage we've removed the black background we've tracked it to our stage and we've used our footage again as a traveling matte for compositing our shot not bad okay let's move on to the next clip and we're gonna do just a simple green screen compositing okay we've got our actor he's in space he's looking out a window we need to remove the green screen and add a shot of a planet in the background simple enough alright so I'm gonna select a meaty EndNote and before we've been opening up our effects library we've been grabbing tools from the tool bar but there's another way that you can add tools in Fusion and that is using a keyboard command of Shift + spacebar and that's going to bring up the Select tool dialog box now this does require that you have an understanding of the different names for all the nodes so first familiarize yourself with all the nodes and their names that way all you have to do is type in the name that you know that you're looking for infusion will automatically isolate it for you so in this case we're gonna use the Delta here so I'm gonna type in Delta ride away fusions isolated I can just hit enter I had my media one in no it's selected fusion is added the Delta keyer straight to our pipeline now there's a lot of different inputs that we have here for the Delta keyer things like adding a clean plate to remove objects or adding pre-made garbage masks you can add a lot of other image inputs to help guide and make your King that much easier for us right now we just need a back plate for our key so let's do that and Keir footage our Delta key is selected I'm gonna go the inspector for the background color again I'm gonna click and drag this eyedropper right over our green screen and release you can see that it's keyed out we've got a checkerboard background back there and it looks pretty good too preliminary key let's take a closer look at it we've got our Delta key or selected in the node editor I'm gonna hit the number one key and let's take a look at its alpha alright well we definitely have some room for cleanup so let's go over to our mat controls in there Delta here and this adjust the threshold tightening up our mat and making our key that much cleaner okay not bad we might come back to this later once we start doing our compositing just a tweak in some so let's open up our media pool and let's go back to our graphics bin and let's drag in our planet right into our pipeline again fusion has added our media clip editor merged node and connected them all together for us but this time we see that all we see on our screen is just a planet well why is that well it's because of the merge node again remember that foreground versus background remembering which layer you want to be a foreground and which layer you want to be the background so in this case we have our planet as our foreground and we have our green screen as a background we need to be able to swap those and you can do that very easily right click on the merge node and go to swap inputs and just like that fusion has swapped our inputs for us okay so I want to be able to clean up these hard edges on arc on our mat so I'm just gonna blurt our mat just a little bit and bring in the road dilate okay good that looks a little bit more natural for us now I'm gonna select my media in node I plan it I'm gonna add a transform note to that just because I want to be able to see our planet a little bit better now one thing I forgot to do was rename our nodes so this time what I'm gonna do is I'm gonna select all my notes at once holding the command key down I'm gonna select all three notes now I'm going to hit f2 media one in note is our back plate and when I hit enter fusion is just going to bring up the next rename tool so media and two node is our planet I'm gonna hit enter again and we have our media out node our output so that's just a grid a nice easy efficient way of renaming nodes all in one go so we've looked at several different aspects of compositing and building our node structures lastly I just want to talk about node organizing we talked earlier that you can organize your nodes however you see fit it won't impact the the final outcome of your video but it is important to be able to organize your nodes so let's just take a quick look at some simple ways of organizing your node editor I'm gonna bring up my node editor here so we can right-click right inside the node editor and we can say line up all tools to the grid as you're building as you're adding nodes things you're gonna start to be moved and placed different spots so by aligning it to a grid that allow you to keep your lines nice and straight and organized another great way is if by right-clicking and going to arrange tools and arranging tools to connect it so what does that do well it still allows you to keep your notes and place them wherever you want to place them but if you'll see here as I'm scrubbing my note it's that snaps as it gets to the center again just an another simple way of keeping your pipelines nice and straight and clean let's say for example we have a massive node structure and we want to be able to put certain nodes in tainer and hide them so that we will keep our note structure clean well you can do that we'll select all of our nodes we'll right-click and we'll say group and just like that fusion has taken all of those nodes and put them into a group node now we're free to rename that and if you need access to it you can just double click on it and you have access to all those nodes right inside the group node but it's essentially like a compound clip but just keeping it nice and contained you still have access to everything ok I'm going to hit this X to close it back down and if you need to you can right click and you can ungroup it bringing it right back to where we had it alright lastly you may not want to be able to group your nodes you may want them that you may still want to have access to them but contain them as well so we can do that with an underlay tool so I'm gonna select my notes I'm gonna use our select tool menu and I'm going to type in underlay and what we've done is we've added this container that we still have visual access to our nodes but now we can just move this underlay and it's gonna drag all these nodes inside of it with it if you option click on the header for the underlay you can actually change its color by right-clicking and in this case we'll change it green and we'll rename it as well so you'll see that there's so much flexibility in organizing your nodes keeping things nice and tidy adjusting the UI adding nodes for many many different things so I want to thank you for watching this video keep looking keep exploring and we'll come back

Channel: Blackmagic Design

Views: 177,498

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Id: nWk6kY6wleU

Length: 51min 27sec (3087 seconds)

Published: Tue Dec 18 2018