DaVinci Resolve 15 - Fusion VFX in 3D

hi my name is Tony and today we're going to look at fusions 3d tools right inside of DaVinci Resolve so I'm gonna assume that you have an understanding of the basic layout and functionality of Fusion while we're working today but if you don't that's fine you can always go back to the overview video where we cover that in much more detail so the purpose of today's video is to kind of go over it an introduction to 3d we're gonna be doing some 3d text we're gonna be animating the 3d text we're gonna build our own custom materials for that as well as a custom reflection map so I'm kind of excited about that next we're gonna build a 3d particle system to kind of help give our camera some nice movement and then we're gonna finish all that off in 2d adding some glows some light rays and that's gonna really bring your image together and add some nice pop alright enough talking let's get into fusion so let's add our 3d text and I'm gonna hit the number one key and just load it into V or one so one thing that you should know as we're working inside of the 3d environment is that it is an actual real 3d environment so we're not dealing with 2.5 D right we're in a real 3d environment you can have actual objects materials real 3d cameras so we'll talk a little bit more about that later on but just want you to be aware of that so real quick to navigate inside of the 3d environment I'm gonna hit the middle mouse button and hold my option key down and that's gonna let me orbit if I just press the middle mouse button I can move left or right and if I hit my command key I can scroll my mouse wheel and zoom in and out so that's just the basic ways of moving around inside of our 3d environment ok let's add some text so fusion let me zoom out a little bit okay let's give this text some extrusion increase these the depths let's take a look a little bit more and give it a little bit of a bevel depth and a bevel with okay so this is just a nice white plain text you can come in here and change the color in the shading tab you can change the color but this is just really one solid color and we want to be able to have a little more dimension so I would like to create something that kind of resembles like a nice glass look and feel so let's build our custom material let's start off with a wart shader let me move this up here I'm gonna pipe that into reflects node and let's view that in our viewer alright right now we have nothing going on so let's give our Award a little bit of color and we're gonna bring down our alpha and our opacity okay this is the base for our material let's go in create our custom reflection map so I'm gonna start by adding a shape layer shape 3d excuse me put that in V or one next I'm going to add not a 3d camera but a spherical 3d cameron that's going to be able that's going to let us give create a map so we can use for our spherical reflection so let's add that now if I could alright spherical camera there we go it's automatically added a 3d merge I'm gonna load that 3d merge in my viewer one and let's zoom out a little bit alright I'm gonna move my shape 3d there we go all the way out here and I'm gonna move it all the way to the edge of this grid now why am i doing that well I want to be able to add more shape 3d objects so instead of actually creating individual shape nodes I'm gonna use the duplicate 3d node that's gonna be much more efficient and I'll show you that right now so let's add the duplicate 3d node now there's also a duplicate to denote as well so just be aware that there's a 2d version and a 3d version so let's make sure we select the 3d version and in the inspector let's make about 25 copies and nothing's happened yet but I'm gonna click and drag this on-screen control for the duplicate node and you can see right away I've just duplicated this one object 25 times so again just a nice efficient way of being able to quickly duplicate and create stuff alright I'm going to name this box I'm going to select my merge 3d and add another shape 3d and let's name this one top let's try that again and let's go to the controls tab for our shape plane let's scale it up let's unlock the XY & z and just make this a little bigger alright so now we need to take the X rotation and put it at negative 90 so I know this looks kind of weird and not sure what we're doing but it'll all come together here once we finish setting it up all right I'm gonna copy my my top node I'm going to select my merge 3d I'm gonna paste it now I'm gonna rename this one bottom and I'm just gonna bring this down and move it over let's go back to the top node and just make this a little bit bigger while we're here put this at 20 and let's go back to the bottom one let's do the same thing as well let's bring that down a little bit okay we do this one more time I'm gonna select my bottom node and a copy it and then I'm gonna paste it in my node editor and just drag it into the merge 3d now I'm not sure if you'd notice but in 2d we have you can only put a foreground and background together so you're stacking you're bringing your layers together you're merging them together in 3d you can actually use a merge node and just keep adding layers because we're in 3d environment it's much easier just to keep adding multiple merge node so you don't need to have multiple merge notes unless you want to in 3d all right so let's rename this node to side and we're gonna bring it up we're gonna get rid of our rotation just gonna reset that and orbit around bring it to the side and let's change the color of this one to like a dark gray okay so this looks a little funky I know but trust me it'll come together here let's now take it out of the 3d environment and bring it into the 2d environment so before I mentioned that fusion has a real 3d environment well think of it as if you were to go to a 3d application and you made an animation how would you get that animation into your compositor or your layer based system well you would have to render it out of the 3d application and then bring it in as a 2d image and that's kind of the same thought process here we're not rendering to disk but we're just rendering it to a 2d image so we'll come out of our 3d environment using a render node and now we can go into our 2d environment so that's what I'm gonna do right now I'm going to add a 3d renderer this is going to allow us to go into 2d so because we're using an equi or tank excuse me because we're using a spherical camera now we've got an echo rectangular image that we can use for our sphere map so let's add a spherical map and now we're going to take the sphere map and we're gonna put it right into our reflect node now before I do that actually normally we left click on the output of our nodes and we pipe it into our notes room for this time I'm gonna right click and drag and put it over my reflect node and now it's gonna give me the option to click on whatever input I want so if you note has multiple inputs this is a great way if you're not sure which input to go to it's a great way to look at it so I want it to go into the color material and right away you can see but now we've got some reflections happening for our material in my sphere map let's go ahead and turn on angular mapping okay so now what is left is to take our 3d text and connect it with this material so we can't do it by default so we're gonna have to do is replace the material so let me load my 3d text into V or 1 and let's zoom in over here so we can see how it will look when my 3d node text selected let's add a replace material 3d this is gonna allow us to put our custom material onto our text so I'm gonna drag our reflect node into my replace material now I need to load it into the viewer so I'm going to hit one load it into the viewer all right we can see now that we have this interesting cool-looking glass effect for our text kind of cool now we're gonna come back to the sphere map we're gonna adjust some of its parameters as we start animating and building and look having our 2d look effects so we'll come back to that ok let's do some animating now in our last lesson we just animated the tracking and kind of did it globally for this one we want to do something a little more dynamic so I would like to sequentially animate the text so they follow each other and to do that we're going to use modifiers and modifiers are a great way to add more complexity to parameters it's basically at its core an expression with a GUI it's much more than that so let's jump right in how do we do that in our text tab right inside our stylized text box I'm going to right click and now this has given us a bunch of other pops to look at so I'm gonna click on the follower and this is that sequential text animation engine that's built right into fusion it's the same one that's for the 2d text and 3d text so here we go position this I'm going to go to the shading tab I'm gonna close down this property I'm going to go to position and rotation so let's set a keyframe but first actually I need to figure out where I want my animation to stop so let's go and say around frame 38 frame 38 feels like the right frame and let's set a keyframe for our offset Z and a keyframe for our one so we're first setting our end keyframe and now we need to go back and set our beginning keyframe so let's go to the beginning and let's just take our offset and move it up I'm gonna double click in here and hit the number 1 hit enter and then for our Y rotation I'm just going to type in 90 and then let's play that back all right not bad so I'm just gonna take our auto render range and just isolate it to the area that we're working on I don't want to render the whole or preview the whole clip so I'm gonna hold command and click and drag right inside a time ruler and that's gonna just preview that specific area okay so we have our text animating it's not being animating sequentially yet let's click on our time tab and then we're gonna just increase the delay alright so you can start to see there that our text is now animating one after the other I'm gonna come into the 3d options here I'm just gonna remove this grid so we can see that a little better there we go alright it's coming together now while we here I just want to smooth out these animations so I'm gonna open up the spline editor I'm gonna click on my stylize text and that's revealed all the keyframes for this I'm just gonna quickly select both of my end keyframes from my offset and my Y angle I'm gonna hit shift s and that's just gonna smooth out those keyframes so as it lands it's gonna land nice and slow alright that's looking good let's close down the spline okay so we've animated some text let's go ahead and add a camera now so I got my replace 3d material selected I'm gonna add a 3d camera the fusions already made a merge 3d forming now I need to view this merge 3d so I can see what's going on so I'm gonna hit the number 1 key and I'm gonna hit the number 2 key so I loaded this one node into both views and I'll tell you why here in a second so let me just adjust this a little bit so we can see it better okay so on my left view I've got the perspective view right I can move around adjust all my properties as needed in my right view I have the same thing but I'm gonna change that so down here at the bottom left where it says perspective I'm going to click on camera 3d because I have a camera 3d piped into my merge 3d I've access to that view so basically now I'm viewing the POV of that camera so we don't see anything we need to move our camera into place so to do that one way that I like to do this is instead of going to the inspector and tweaking and adjusting each individual frame I just come to the perspective view and I just find my frame here in the perspective view let me move out here so I get a better look something like this a little bit closer now I'm gonna right-click in this perspective corner down here and say copy this POV to my camera so right away in viewer two you can see fusion has taken the camera and moved it right where I told it to move so it's kind of a cool way of animating as well you don't have to go and try to move the x-axis and the y-axis and the z-axis you just use a the perspective view with your mouse and orbit around and then say copy that okay so this is kind of where I want to land I want my camera to land right here so let's scrub our timeline and just see where we can land all right so let's go right up to frame 30 this is where our cameras gonna land so let's go to our camera control scuse me let's first click on the camera node go to the camera controls now I need to set keyframes for my x y and z offset so one way you can do that for most parameters is just actually right-click on the name of the parameter and say animate the translation group so that's just going to give me keyframes for all three right away and I'm also going to do one for the Z rotation as well so let's go to the beginning and then let's actually let's actually do this inside of the camera view someone hold the command key and just scroll down so I'm actually animated you can see the inspector is moving and I'm just moving my camera right or I need to and then I'm gonna put my z-rotation at 90 and let's watch this back one thing to note is after you if you make an adjustment inside a parameter you hit enter and you hit the spacebar you need to be able to click outside of that parameter then hit the spacebar and that playback will work alright so on the left you see my perspective view the right view you see that what's happening inside the camera that's not bad okay let's open up the spline editor just to smooth out these keyframes I don't like having static linear keyframes so I'm starting to have a bunch of keyframes here I'm not sure which one is which I'm just gonna turn off my 3d text I have my camera selected again I'm just like all these keyframes at the end my end keyframes gonna hit shift s and that's just gonna smooth those out cool so right now our cameras twisting coming back and landing it'd be nice if it was kind of still moving away right that we still kind of pushing away from it so we're gonna go to the end of our time ruler and we're just going to grab our offset and push it out a little bit let's see what that does for us Erik I'm not sure if you guys can see that but it still has a subtle slight movement just kind of nice let's make it a little bit bigger can never go wrong with a bigger movement right all right so what do we have we've got our text animating we've got a camera animating now let's go ahead and add some particles actually why I'm here I'm just gonna select all these nodes it's kind of bothering me I'm gonna hit command G it's gonna put those into a group just so it's nice and tidy okay let's talk particles so in the effects library before we talk particles there's all these different templates that you can look from fusions comes pre-loaded with different backgrounds generators lens flares particles shaders so just go through there take a look at the particles or take a look at the shaders it's a great way to deconstruct and just to see how things are constructed and built so there's a firework particles there's smoke particles there's all sort of different particles for different types of designs and needs we're gonna use the tools and build it ourselves but I just want you to see all the different tools that are available for the particles so we've got all sorts of things from causing friction or different types of forces gravity wind you name it you can spend an endless amount of time in particles there's so much that I still need to look at and learn all right to use particles though no matter what you're doing either if it's 2d or 3d you always need to have two notes you need to have a particle generator and a particle renderer without those notes you're not having any particles so let's add a particle emitter and let's add a particle renderer okay now by default it's set the particle renderer is set to 3d so we can just pipe this right in to our merge 3d and you can see right there is our little particle so let's start creating and building our particle system okay first of all I want to go to the region this is where it's we're telling the emitter where and how to generate particles so right now it's set to this little sphere I'm going to change it to a cube and then let's adjust the size of it and the height of it and let's just move along here adjust the depth when I see where my cameras landing I'm gonna click out my end keyframe is just real quick to see where my camera is landing so I can adjust the dimensions let's go more than that that's good let's increase the width let's try two let's do three let's do two for that maybe three let's see what we got let's watch this so I mean this is kind of nice I'm in 3d I'm putting particles I'm just playing back I'm not sure how big I want my particle box to be but I think this is gonna work let's just adjust now let's keep it wide and suggest a height all right if we need adjust it we'll come back and adjust it let's go to our style tab for our particles right now it's set to point I'm gonna change this to line and let's see here we have a line let's go to the size controls and just crank up the size controls yes we have lines okay let's go to our velocity add some velocity so it's going in the wrong direction so let's go ahead and change the angle to negative 90 so now it's as you can see here the particles are going away from the camera into the background no this line is not lining up properly so I'm just going to come to the Y rotation and change that before I do that though right now the particles are set to always face camera just go ahead and deselect that and then let's change this to 90 degrees all right well I changed the variance okay let's reset the variance and let's go to our night our Y rotation there we go okay look at that not bad so we have a cool interesting-looking star field that's happening cameras flying past our text particles are flying past us as well I think this is good let's go back to our style tab here and then let's just create some size of variants all right we don't want everything to be uniform you're dealing you're making you know computer-generated graphics everything's so clean in the uniform let's break it up so we're gonna do some size variance I'm also gonna click in this size over life and just but just how it's born and how big it gets now the same option so if I'm gonna spline editor and I select the keyframe I hit shift s that smooths out that keyframe in the inspector you'll have some instances like this where we have a spline as well the same thing as work shift s will smooth out that key that keyframe for us as well so whenever you see a spline doesn't matter which panel it is you can always select it you can always hit shift s or adjust it as needed okay so I think this is looking alright oh let's go to the fade controls can't forget the fake controls we're gonna fade it in a little bit and we're gonna really crank down on the out okay let's go to the emitter tab and let's just bring down the lifespan again I'm just playing around I'm just kind of tweaking and building it there's so many different options that you can use here and go crazy with so just bear with me as we're kind of just finding this together alright lifespan variants good now I do not want my particles to be animating the whole time I wouldn't like for them to fade away so I'm gonna go to the beginning of my clip I'm gonna change the number count to about 400 I'm gonna set a keyframe I'm gonna move one frame over I'm gonna set another keyframe and change this to zero so now I've just told Fusion here we go get me a click out I've just told Fusion to generate a certain amount of particles at a certain point in time and then they'll fade away so you can see that here in our left view they're starting to fade away okay let's change the number of variants just a little bit let's bring up our lifespan okay not bad one thing I do want to go back to you're gonna have to forgive me I'm constantly tweaking all the time trying to make things look a little bit better and cool let's go back to our reflection map here in this spherical map we're just gonna animate the rotation just so we can get some cool features let's see here let's just move this around want to bring out this reflection as much as possible all right so I'm gonna set keyframes here at the very end of my clip and let's go back here and let's just move this around a little bit all right let's see what that looks like let's open up our render range now so you can see I just animated the rotation of the sphere map and it's given this effect that the reflections are moving on the text so just a nice little subtle thing we don't want anything to be too static so just giving a little movement here and there really adds a nice touch okay I think I'm good with that let's close this down all right so we're in our 3d environment again we need to go back into 2d now we want to start tweaking our our look of our image and when to add some glows and all that stuff so we need to go into 2d we're gonna do that with our 3d render node so I have my merge node selected I'm gonna add my render or 3d node let's look at that okay well what happened to our particles well what happened was the renderer 3d has a couple of different options for you to choose from so this render type here is set to software renderer we're going to change that to OpenGL and there you go we've got our particles we've got our glass look and that is looking a little bit better all right also I'm gonna come over here to the Settings tab and I'm gonna turn on motion blur god I love that motion blur let's see what we have here nice okay that's looking pretty good okay so now we're just gonna start adding some 2d filters just to kind of really bring this image and give it some nice pop so I'm going to turn off the view from my merge 3d and I'm just gonna use one viewer right now so I'm gonna click this monitor button and it's just gonna isolate this view for me just so I can see what I'm doing a little bit better okay so let's go ahead and add this node called filtered I love the filter note it's so underrated then load that in to my viewer I'm gonna change this to Sobel so it's just kind of giving us this cool little outline and I want to reapply this back over my render so if you're coming from a layer based motion graphics application you've probably familiar with pre comping so composition within a composition and when I was working on layer based applications I had tons of pre comps so what we just did right now is basically the same thing it's a pre comp but because we're in notes it's so much easier it's so much more efficient it's quicker to just grab something and comp it right back over itself you can see it you always have access to it so just keep that in mind when you're relating that to other applications okay so after the filter I'm going to add a blur node just to kind of soften that edge a little bit yeah right about there and let's look at our merge okay so here's before and here's after so you can kind of see it's giving it this nice little pop I'm gonna just blend this down just dial it back let's dial it back some bring down the alpha game and let's see what we have here for an after or all right now I would like my particles to actually still be lingering on so I'm gonna go back to my particles real quick and just increase the lifespan let's see here yeah there we go that's much better okay great let's keep moving on all right let's add a little color correction and for this we're just gonna bring down our gamma a little bit pump up the a gain let's add a glow now we're gonna just increase the glow size a little bit maybe pump up the glow if you want to be able to toggle on the effect it's kind of just see what it is you came from and where you're going right next to the name there's this little switch then you can click on and off you can also hit command P and that'll turn off on and off that note you can see we're adding this nice little glow I'm gonna add another glow this time it's gonna be a soft globe let's view that that's a little bit big I'm gonna use a threshold I'm just gonna isolate to these highlighted areas and bring the gain down we don't want to go too crazy we just want to add a nice little subtle punch okay so you can see we're just adding it just a nice subtle punch okay cool all right let's go ahead and add a little bit of atmosphere right now we're kind of in just on a black background but we want to add some atmosphere so I'm gonna add a background node now in this case excuse me the background node is another underrated tool as well so obviously we can use it to generate a solid color in this case black but under the type you have all these other options so we have a gradient and the gradient types let's look at that and let's open up our two monitors and put our background in VO one so you can see here that you have all these options to make different gradients and for our purposes I'm gonna change its gradient type to radial and let's change this color around I'm just gonna find a nice little shade of blue and let's change this other color nice and dark so it's a great way of creating little vignettes you can also use it to drive other filters so you can change and morph the background node to use for displacement maps for other types of blurs will use it for a blur no it actually later later on so definitely explore the background now there's a lot of options that you can play with okay so this looks nice it's too clean so again I want to break it up add some dimension to it so we're gonna do that with fast noise I'm going to add a fast noise let's view the fast noise let's crank up the detail let's bring down the scale some and let's pipe the output of our fast noise right into the mask input of our background let's view that it's a right away we have the color and the gradient properties of our background but we're using the fast noise to break it up and give it some dimension so that's gonna be really nice so let's look at our merge alright not bad let's go to our apply mode and just go to screen and that's I'm lookin too bad we might come back later and tweak that but I'm good with that for now okay what's next alright we're gonna add emboss so back to the filter the filter note I love the filter note wrong f2 here we go so we're gonna add a little bit of emboss now what is it doing it's just adding a little bit of extra sharpness and crunch to our image just a personal taste after this we're gonna add some very blur I like the very blur it's a cool little tool to use definitely explore it so right now nothing is happening with this very blur we need to be able to control it until the very blur which part of the image we want to blur and we're gonna do that again with another background notes so let's add a background node let's view that in view or one and we're going to change this to our gradient this time instead of going to radial we're gonna go to reflect I'm going to grab this on-screen control here and bring in my gradient I'm gonna use this black and white image to control which part of my very blurry I want to be blurred in which part I want not to be blur so let's pipe in the background into our very blur and just so we can see the difference we're just going to crank up the very blur alright so you can see now that the edges are all blurred while the center is mostly in focus so let's adjust the background so we can get it right where we want it now if you adjust the excreting triangle here at the bottom you can see that I'm opening it up over here as I move it to the right so this is a great way of just kind of tweaking and adjusting okay let's go back to the very blur I think that's good let's bring this down we don't wanna blur it that much so here's off just want to do it a little bit let's toggle that on and off okay nice again just adding dimension to our image and and breaking it up where we can keeping it sharp where we want to but breaking it up where we can't okay almost there rays let's add some rays it's a little light rays we can't go wrong with light rings alright that's pretty big let's try and bring this down a little bit just using these controls here and really just to taste right I'm not there's no really rhyme or reason or method it's just to taste to the design in this case it's kind of a little too much everywhere so I'm just gonna isolate it with an ellipse mask and just kind of soften this edge out and let's just click through and see what we have so far we're just kind of clicking through checking everything not bad not bad okay this is pretty good I'm not I'm liking this so what I'm gonna do real quick is gonna change it up I'm gonna actually animate this ellipse so let's see here right about here I want my rays to kind of kick in so let's do frame 20 let's put a keyframe on our width and our height let's jump over to about frame 46 and let's set keyframes again now I've just said beginning and end keyframes that haven't changed anything but just so I can mark my beginning and ends now this is the end this is where I want my ellipse to open up to gonna go to the beginning and I'm just gonna bring the size of this down so that way our lips is opening up and you'll start to see how the rays are now being shown as the ellipse opens up so you don't actually have to animate the Rays itself you can just use a mask to control it and animate as needed I'll leave that for now maybe we'll come back and adjust that a little bit later okay let's go back to our effects library and back to those templates that we talked about earlier under tools got this cool little plugin called chromatic aberration I'm just gonna add a little bit of chromatic aberration and lastly we're going to add some grain I've gotta use my favorite filter the filter node okay let's click on grain and let's just crank it up by two there you go you can see we've added a little bit of grain just to kind of break things up keep it feeling nice and cool let's make this one all right not bad okay this is pretty good there's so many different ways you can just take this and go with it this is really just a taste but you can go crazy in fact I want to add a little bit of a foreground piece so I'm gonna add a shape a shape 3d so let's go back to our 3d environment let's create a shape 3d just because I can't stop tinkering let's load that in viewer too let's quickly change this to a cube and you know again it's just so nice to be able to repurpose things very very quickly so we created our custom material earlier I'm just gonna take out of that reflect and pipe it right into our shape 3d so we kind of have that same material we're using it on our cube okay let's put 2 viewers up so we can see what we're doing let's actually do this here let's go back to the end and let's put this in our viewer too I want to take the output of my shape 3d and drop it into my merge 3d so I want to add this little shape just as a foreground element so let me go to perspective view and let's just move this right where we want it so I'm gonna go to the end and just adjust and tweak so I've been going to the inspector making changes coming back you don't have to you you've got these on-screen controls up here where you can change and do stuff right inside the viewer so we can change rotation of our object we can also change the scale of our object that went too far let's see you try that or so that way you just stay right inside of the viewer and do all of your adjusting as needed okay it's gonna move this over a little bit I am gonna change the size down in the inspector Fusion has to process both the output and the 3d for this okay that is not bad let's bring it in a little closer anytime you can give dimension and shape to your composition by adding a foreground of background helmet just helps keep things nice and real okay so what I would like to do is blur this this little cube and use it as a foreground kind of create some sort of depth of field effect now right now I have the shape 3d going into my merge 3d out to the renderer 3d so I'm gonna break it apart isolate it that way I can add it back into my pipeline and tweak that just specifically so let's disconnect our shape 3d and let's select our merge 3d and our render or 3d I'm gonna copy that we're gonna paste it down here now I'm going to take the output of this shape 3d and put it into the merge 3d so if I were to load the the render 3d in to my viewer well nothing's really happening just it's just sitting there so I need to add the camera so I don't have to copy and paste the camera I can just take the output from my camera and branch it right into my merge 3d and just like that now I have all that same camera data camera animation happening right here in this separate pipeline okay that's good so now that we're ready to add this back into our our node structure so let's find a good spot for I think after this glow might be good I'm just gonna select these nodes move them down select my globe and emerge and then take the output of this drop it right into my merge and then let's view the output or final comp okay so do you see what I did there I did a whole new 3d foreground object repurposed my camera did a whole new renderer and now I'm piping it back in in 2d so let's got a blur node to this and we're just gonna crank this up we're gonna select our merge now if when you're in the merged node it took me a while you have all your different composite mode screen overlays soft hard line could not find the add overlay it's actually the alpha game so if you adjust the alpha gain that's the equivalent of add but it's even better because you can actually dial it in as much as you want so it's not just a button you click on you can dial it in to taste so I'm gonna bring down this alpha game that's the same as ad and you can see it's just peeking in right there on the bottom of the F maybe we'll add some brightness contrast and we'll crank this up a little bit more go back to our blur let's just go crazy with our blur see what happens 200 okay let's go back to our merge bring down our blend a little bit okay so what is this done well let's click through and find out okay great so let's take a look at that I'm just gonna click at the beginning of my comp and see how that looks all right not bad I'm liking this we got our rays got our particles got a nice little foreground piece okay so I would say this is a good place to go ahead and stop but before we do that I want to talk about really the whole dimension of resolve right we're in fusion but there's so many other parts of resolve that really brings it all home together so let's jump into the color page ago the color page and right away it's available for us our animation is available for us here in the color page now when I'm doing motion graphics I'll design in Fusion I'll edit it to music on the Edit Page I'll add my sound my sound effects in the Fairlight side but really the color is where you can hone it in and bring it together so there's a lot of other effects that you can add right here on the color page on top of the motion graphics that you just built so you can add even more glows camera shake other distortions or just kind of clean up your motion graphics a lot of times you need that cont that final colourfulness maybe something to the shadows or to the highlights so this is where you really would polish off your motion graphics piece into some potentially it's not available anywhere else in this type of platform so don't be afraid to delve in and to mix the two together so let's just take a look I kind of added some notes already they're turned off so we're just going to select them and turn them up so I've added let's see here what have I added I had it's a lens reflection some prism blurs and some glows so again it's up to you to taste based on how your creative is and what you're doing but you can really just take your animations your visual effects to the next level because you have the ability just to click one little button and go right over to the color tab so I hope we learned something today and we had fun along the way this is just a taste there's so much more that you can do with the 3d nodes there's a lot we haven't covered and if you again need to look at the first video go right ahead but thanks for watching and come back again soon

Channel: Blackmagic Design

Views: 88,149

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Id: vU85RMbrPd4

Length: 46min 23sec (2783 seconds)

Published: Tue Dec 18 2018