DaVinci Resolve & Fusion | Create amazing titles ( Rival After Effects )

I've been like there oh how are their limb a tease yes me and me pirates are back from booty island and we have blundered all kinds of booty no no casualties of course not even a chicken can you believe that however we have found an extraordinary treasure extraordinary there the Pirates of confusion emblem lasted hi this is Vito Lamanna also known as captain loboc the most feared pirate on the seven seas I'm happy to announce that the emblem master class has been finally unleashed I need to tell you my friend that I had a lot of fun this is bitola mana and i hope you will enjoy this masterclass ah okay before we get crackin let me tell you this this is a free episode there you let's get your ramen celebrate yeah but there will also be an extended version which will be patreon exclusive it's only for pirates in that extended version I'm gonna show you how to create some serious damage as a patron of confusion you will also get all the project fires and all the tutorials to date another run bottle please also you will get all the footage that I shot such as steam footage lands flares snow and as always you can use it and do whatever you want with it without any restrictions just like a real pirate let me just put that away here for a moment I know your fingers already twitching so let me just quickly explain to you what we got laid out here in this comp that you hopefully downloaded so you can sail along with me okay so let me just go through it okay here on the Left we have a rusty texture now of course you can use any texture you fancy any grunge texture or yeah so what I did here is I prepared them for my project so first gamut because we're working linear space so here I activate the lookup table and then just the brightness contrast blah blah blah and I feed it into a set domain node which is then again fed into a wireless node let me bring the inspector it's called now inspect it spectacle jet and the next one would be a footage drone footage animated and here the same gamut and then I did a color correction I made a darker because this is gonna be used for the reflections you know it's not a chrome look so I just I didn't want to have a strong reflection and then I did a resize and the resize is just to resize it to the project settings yeah and again set the main while is no and lastly of course the title or your emblem the text by default has an alpha so I feed it into a background so I can feed the background into the set domain and then into a wireless node now this is additional you could hook this also directly into the set domain and here on the most right we have the weighty bump that is like the signature detail of this project I won't open this just yet that's just a little surprise for you later and finally down here we have the footage that I'm using which I explained before these you will get it as a patron of confusion or a pirate of confusion that's POC so here we got the steam footage mmm beautiful shot on air is a mini 4.6 and some lens flare elements or not really lens flare but this kind of footage is quite effective for titles some snow you know what I'm doing here Vito lighting tonight and of course there would be more and more there would be also a procedural metal texture which I created with my fellow pirate and me do another Italian fella by the way it's it's gonna be a cool macro that allows you to do some metal awareness thing and you know fully procedural and I hope to create more of these procedural textures that you can use for your titles okay I will make another video on that texture so let's get started here so first I'm gonna go and create the parts of the text and then I'll go back and explain to you in detail I grab my node here of the text I bring it down here let's just buy this okay and then I use a create buff oh that was the concrete I create bump map okay bring this over here and put the scale height scale to 100% and I set this to float 32 and leave the rest and then in between here comes the magic they rewrote tool I'll put this on the right and yeah the year I want to use the Gaussian but I will explain later what the other modes do and I bring this down to 0.04 now and look how beautiful this looks now additionally I can use the very same text as a mask here and bang now what we call normal Maps in other 3d applications in fusion we refer to it as bump map on the other hand bump map is referred to as hike map essentially the very same thing so this is our first screen this has no details we will add details later so now I create a boolean and a shader maybe another shader bang and now I feed the freshly created bump into the channel bullion brain is over here and so what I do now is I hop over to the auxiliary channels I enable them and then in the XYZ normals I would choose red green blue red green blue ders double check because sometimes weird fella swoops in there and now what I'm doing just to show you later something I open up the versions and I choose version two I create a new version two and here I'm gonna set this to black you know this choosing those options in here used to be very quick with Fusion 6.4 you would just click in here it wouldn't open up a drop-down I think and you just press B and it just switch it to black and okay so now that we have put the RGB of this image into the normal channels we can utilize the shader bang look what we can do now that is going to be cheesy but it will do the trick so I want to have a light from the top that means you put the Pala hide up here and then I go and I do something like this yeah now setting this the shader is a little bit yeah it's a bit dodgy it takes a lot of fiddling around so the result because I don't want to waste a lot of time finding the exact settings that I had before so I would just go and well why are you going captain you know yeah so maybe something like this not too shabby so now we got two elements this one from the top and this one from the bottom-left now I'm gonna grab my texture here I've got to make a big decision where you put those fellas you know so that you don't create spider-man action so this is the texture and I want to sort of either overlay or multiply this on top oh maybe let's try to multiply it reduce the gain so I don't worry about the Alpha because we're gonna cut this away anyway but usually you want to avoid messing with your alpha and I do the same with this pass here and just to make this a little bit more beautiful we add color already and there's one as well this can be more blue just to separate the lights something like this and now we got those two elements and of course we need one more element which is the the reflection element so I copied the background let's put it on the left maybe this is how it looks enabled the lookup table which for some reason is off and what I do now is I use a displace that's very cool trick and I feed it with the create bump map so and now if I switch to the XY of this up fusion nine had this button here that allowed you to tweak the brightness off the report the good stuff was taken away from us so now I'm gonna tweet this until I find something interesting now usually you want to normalize the bump map by using a brightness contrast in between there and but we don't need this for here and again how we need to make a big decision here you know a lot of big decisions how much do you want to blur their reflections you can see here well actually you cannot see it let me just pop in and brightness contrast for you I would just bring up the gamma and okay so you see this also creates a very nice interesting look now I could make the first blur like this here and then create another blur and this time I make it stronger but I reduce the blend so that the first result of the result of the first blur would show through something like this and this gives it a little bit more quality okay quality okay so now we've got three elements we got the reflections we got the first shader and we got the next shader here ignore this junk out there we don't need us sometimes we get some artifacts there we can fix those so now let me go quickly back and explain to you what I did here so the first thing the title erode dilate what does it mean so erode is actually when you erode something inwards okay so and if you do it the other way around this is actually called dilate just just to make that clear okay so I said this back now we have these modes in here and by default we have box this one is not really useful for motion graphics because it just changes your text shape or your original design of the shape so if you want to preserve the original shapes you rather choose that circle now the circle tries to keep the shape although it dilates it in a in a circular fashion but the overall shape is preserved however the performance is a little bit slower than the other ones the ones we are after for this creative titles is the linear and the Gaussian yeah Gaussian I used to say Gaussian you know I thought it was French but Gaussian or Gaussian so the linear gives you almost the same result as the Gaussian but I find that it works better we have curved shapes as you can see here it creates this rectangular things here you know and you really don't want that so if you switch this to Gaussian you will get a much nicer look now the ero delay tool is an essential tool when it comes to keying where you want to fix some edge issues or spelling issues you can find the e road in the Delta here for example if you go over to this pre-med tab you can see there's also an e road slider and over here there is also an e road dilate there's also one in the clean plate you can also find the e road option okay so just a side note next create bump with a create bump there is not really much to say you just crank this up to 100 now I want to mention that this comp is set to 16-bit flow per channel now the cool thing about Fusion is that anywhere in your comp you can go in and switch to a different bit depth okay that's something you cannot do in After Effects with you know with the flat lenders call them the land lovers yeah there you set your composition to 32-bit float and then half of the tools won't work however your canons won't fire here we have a stream it's almost like a timeline so you just go in there you say okay from here on I want to use it in 16-bit or even a bit if you are like retro yeah so that's the cool thing now with normal Maps or bump maps position pass all those technical passes for high precision you need float 32 with this normal map you still have some artifacts these are not from the bit depth though but sometimes use you get artifacts if you use floating floating floating floating ships I think you better set this to float 32 and you're good to go now to fix those issues that you see here those streaks I think they come from the antia lysing so to fix those you know if you blur to see a little bit gone the problem is yeah you lose the edges here a little bit the sharp edges but maybe you can make a big decision again here how far do you want to go maybe like this and maybe that's that's still fine okay now here the channel boolean remember when I set the RGB to black now why did I do that the reason why I did that is because for example here in the shader I could now cook in a mask and restrict the lighting to the mask now I want you to watch what happens if I go back to the channel boolean and I switch it to preset one of version one it's called now you see that the normal map or the bump map starts to shine through okay that that's something we don't want so you just eliminate that RGB channels or values and you get something like this and I will keep the ellipse mask already actually not in here here we'll use it as it is but in this one I will use the ellipse mask and I will restrict the bottom light to the bottom area something like this this place so that this place has two types of displays modes which you've seen already the radial and the X Y now the radio also kind of gives you an interesting result here the problem is that it displaces from a center point and this might be very useful for other situations are there facts that you want to achieve I'm using it actually quite a lot but for this effect maybe it's maybe it's not what we want I mean you could use the you know you can move the center point and see those that slight parallax effect we have here it almost looks like the cameras moving in that world so it can't be it can't be very useful but the cool thing about the XY mode is that you can use color information from the red and green channel or even blue if you want you fancy that if you like blue if you liked being blue and then you can do this kind of stuff now you can go a little bit higher here maybe so that we hit this edge here with the reflection and then there's also the sprite function which also allows you for cool effects look at this now the nice thing is here how it sort of blends these edges here into the back or the background into the edges of the text this is already a different design for an emblem you might want to use that maybe just slightly to get the edge here the problem is now if you would have micro details they will be squeezed by this spread but look at this how nice this looks okay so what we gonna do next I'm gonna actually add our passes now or you know what let's actually do something else I continue with a very blur now I don't want to make Chrome the reflection of this text is very subtle it's almost yeah maybe you can just feel it when it's animated so to make it more like a rough surface I will use the rusty texture and I will derive from the luminance and then I use this this mask I will use it in the berry blur but not in the mask slot but in the green one okay and if you this now nothing happens the crank is up see something starts to shine through make the mask a little bit tight and we will already start getting a very cool surface effect here now it's all up to you how much how far do you want to go now with the very blue you can go actually really strong you could maybe try 30 look at that beautiful okay so now let's do the next trick I drop in a filter and I would go in from the bomb that's where do we bring this now let's bring this I don't like crossing but you know I don't want to waste too much time now to tighten this up so I feed the normal map or bump map I say normal because it just looks like a normal map infusion it's called bump map so forgive me that and I would change the filter mode to cibele and what that does it because of the normal map because of the very nice color separation we have here it will do a very nice job on edge detection and if I use a mask now not into the filter from the filter into a mask and I set it to luminance and then I think you accidentally chose saturation yeah that sometimes happens okay so now you can see we can get this nice edge detection here then you see that how it is fades away here this is what makes it so cool okay now of course we don't want the border edge so to get that away we simply use another mask and this mask I multiply on top of this one and now you can see it's it's not enough it doesn't cover the edges so here again you wrote that late but this time we leave in a box okay this is another usage for the Euro delayed and now watch what happens if i erode this a little bit bang we keep the edges only so now after the very blur I would drop in brightness contrast I will feed that with our newly created mask and now I bring up the game now check this out this effect has been selling titles since 1994 you want to use that now we can make a big decision here for example because now it looks very uniform okay what we could do is we could bring that brightness contrast actually here and apply the edge effect before the variable err now we use the variable err and that will only affect portions of the edge which makes it look even more worn now we don't want to cover it completely so what I will do is I bring the blend down just ever so slightly you know just Peaks through like that and then I used the very same brightness contrast here and I paste it again after the very blur I hope this in here and bang now we can reduce the intensity here a little bit and you can see that we get this very nice natural look here and this will start to shine once we use the fast Expo glow side note here again this is a macro that my friend Amelia did and this is a very nice exponential glow it's very fast and now we increase the game I might have his old version here and now you can see how it starts to shine a little bit in a random fashion this makes it look like really powerful I beautiful I like to make the glow a little bit bluish it gives it a little bit more cold metal-laced look yeah people want to know my thoughts here are my thoughts right there on the plate Oh for you to digest and again let me safe oh yeah this looks already pretty good I mean you could use it as it is as a metal text but of course the gods have spoken commanding us to bring this further the next thing I do is I will combine it with the light the shade of passes here so I drop it in a boolean and I will probably do this after the fast glow these are the big decisions you have to make you know it's I mean sometimes you don't have to be technically correct sometimes you just have to try things so now you can see we get this very nice lighting combined for the reflection and I would do the same with the other one and bang it can't be a little bit more bluer as I see here it looked more blueish before because I didn't have the lookup table activated so it had a different gamma there was something like this maybe I get really cold okay you want to have some contrast in there look-up tables on out here it's on so this is looking pretty good now with the very blur I can use the very same mask that goes in here I mean this is not a mass but it has the alpha information and therefore you can use it as a mask so I will just hook this right into the very blue which will restrict it to the text only and this is actually already enough to send it to the wide world uhm well that is very nice color variations in there as if reflections the Grunch the damaging effect not the damage the war in effect slightly so now I use an ebullient and here again very same thing I just bring the mask down here hook it into the bullion and now I'm gonna say clear top over here and to apply mask invert it now I could use a mask in between here but I always say try to not blow your flow try to use as many nodes as needed and as few as possible okay that keeps your flow like very neat and here you go a very beautiful beveled text pristine quality let's just go back for a moment so what the filter there's not much to say I mean I used the Sobel quite a lot there's the LUP LUP I don't know how to pronounce it I could have researched it but you know okay here it goes I'm gonna say okay laplacian I don't know this is actually also used to create a sharpen effect if you would apply this to your to your original image it would look sharper and it's sometimes you can use this one it gives a little finer edges but I leave it up to you and it also contains noise and grain the focus which I never used em boys are used sometimes embas over so the very blur is one of my favorite tools it's very powerful it has different modes in here multi bugs soft and D focus now the folks creates a very nice one way depth of field I don't know how to explain that but you've probably seen it in other tutorials so if I would create a very blur so I feed my variable over to the other very blur and I'm gonna use an ellipse mask for example now let's say we want to create some depth of feel effect okay some very it's it's I wouldn't say cheese is actually looking pretty good yep not the master green one yeah sometimes I just you know it's slaved here my you woke me up and thought you know what we just record that video got nothing better to do it three o'clock in the morning yeah but you see what I mean now if you would have very high values for example he had those values is actually a cool trick that I want to show you now if you would apply the variable R with the focus effect and you would blur it where you have your highlights and those highlights look dull then it means that those values are probably a little bit too low while you are not in 16-bit flow sometimes it helps to find some issues for example let me try to bring this higher you see now they start popping a little bit more see that starts to look much nicer now now of course it depends what you want if you want to use the depths of fear then this might be what you want what you are after you know but you know maybe yeah maybe could be too strong for showing it without a depth of field but with a depth of field definitely very bright highlights they just do the magic I mean those bouquet effects those are the effects that have been selling title since 1994 ya see very beautiful but again this is just a way to fake depth of field we're just gonna throw this away for now and first Expo glow there is not really much to say this glow 1994 let's move on so now that we have created this text here actually let me just do one more trick here if we would go back to the very Blair you can see that if I deactivate this the variable er creates this nice warned effect but it doesn't know anything about light and shadows so we need to help it out a little bit now what you can do is to fix that is taking one of the shader for example this one so I just make another copy so that I can use it without the mask and now I'm gonna use this to create a luminance mask and I will do something like this okay beautiful let me just move this over here after the very blur I will use a brightness contrast with this mask and I would just drop this a little bit now here we actually don't have the shadows so we need to invert this perhaps can make this darker there you know something like this Mary this is already this does also have something here you know look it the text gets a little bit more volume here okay something like this perhaps ah that's that's really nice let me save and bang that's beautiful so now let's get to the real hot stuff our signature pump the wavy bump the wavy bump looks like this now Fusion has only one noise creator or generator which is the fast noise the fast noise at first sight it looks like a very primitive tool it lets you create this noise and it has the discontinuous mode which is very nice and you can invert it creates sort of lava effect but that's about it I mean you can play with the contours to create something like this but the noise type is still the same you have these two types so one might think there's so many noise types out there you know why does you can only have this noise it certainly would be nice to have all those different noise types whirly and you know all those noises but the thing is in fusion it's all up to you I mean we literally have something like substance designer here you can tweak those things and tailor them if you know the tools and from this noise you can create this noise now let me give you a quick example as a bonus here so I'm gonna take this noise and make sure that it has an alpha and I would copy this noise and now it will bring them together but I would invert one of them now we have something like this now check out what happens if I use the scale we start to get a 3d look now we could make the noise a little bit more interesting you know like this continues this continues you know for example you want to create a texture for a planet or something now it's all really up to you what you do there's so many things you can try out and this could be a texture another powerful feature of the noise is one of my favorite is if you go over and you set the type to gradient and then you can use the offset to sort of let the noise grow it's very powerful if you want to use it as a disintegration effect and you can set it for example to repeat and then you get something like this can do some fancy effects like this you know and this could be a base texture to make some damaged concrete or something in a damaged wall or something you know but if you go in here and create the same values on light on the left and right you can make it seamless so now you can create more something like a lava effect but how in the name of Blackbeard did I create this wavy look it's almost like a hairy look as actually super simple okay let me just recreate this won't be exactly the same again so the first thing I do is I create a noise something like that maybe I do something like this I am go it did I use maybe discontinues make it slightly angled and then I use another noise this time I don't make you angled maybe something like this all kinds of things you can do and now comes the tree in a plasma and a displace again displace what well yeah the s was missing those fat fingers so what I do now is first I use this noise put it into the yellow of the displace and I feed this place again set to X Y and now look at the plasma so the plasma has these wonderful colors very intense red blue colors I mean you check the channels red green blue and these are beautifully useful for this place now watch what happens if I do this ah now you already know told you the trick now you know it now you can go out there and get some gold if you get this space up there just try to move it but the thing with the plasma is you need to rearrange things to make to give it a different quality you know so maybe deactivate one you see how this starts to get this curly look here there you go and then maybe merge these together but not so strong just to add some slight variation this is probably this alone is probably already enough for for the effect we are after you could also try to use another plasma and not at this place but this time we slightly shift the face and maybe bring down the blend to create some sort of micro details that are not exactly like the previous result which slightly offset and not completely different if it's completely different then it would just maybe you would see this ghosting effect it's not what you want and if you make it a slight difference a slight offset it kind of still looks natural so there you go this is our signature of wavy bump bang now I copy this one the existing one actually I almost like this better Oh what the heck let's just now look at the wireless advantage so this is the second wavy bump okay let's name this wavy cue now I would just pop this into the wireless and now I bring this back in here and I want to combine this with our belated text so I drop this in here and then I will merge this on top but of course we need to create a bump at first and this can be clubbed is subtle maybe something like that and normal Maps or the bump maps are always overlaid to combine them something like this now one thing here is I want to use utilize the whole resolution so I will just scale the merge size down so let me get more details if you check this out can get finer details so now you need to be careful because now that we have all those details in there if I would go to our filter you will get something like this now you don't want that here we only want the main edges of the text so we need to replace this router here we don't replace the router but replace the input the incoming put it with the original bump and we're good to go this is all back to normal and now let's take a look at the shader which should be looking but more interesting now as could be let be too strong so you can always dial this down something like this let's take a look at the other one uh was the other one is maybe still a little bit too strong well it's your world like Bob Ross like to say and in your world me friend yet can do whatever you fancy to do yeah that's what the pirate said as looks about right and merged with the Grunch you bring this a little bit that's a little bit fine tweeting now just just where where you got a tailor it to your liking oh look at that perhaps what I was saying before you can see that our wavy details are really blurred now that's because of the spread and this is unfortunate because I really like those details here around the edges but I want to keep those details very sharp here you know so if I bring this down look this thing yeah beautiful can maybe just slightly see now we have the good of both worlds now this is looking pretty good now let's continue with our footage so I have the steam footage here so I'm gonna put the steam footage first I'm gonna put it behind and then I put the very same on top this time say screen and then move to the lens flare off again now the lens flare is animated if I may show and the probably the most interesting part is here so this is where I matched my animation to I mean you can also match the timing of this footage to the to your text animation but let's just talk about it you know we just need to talk about things there's nothing we can talk about now you can see here for example here when it becomes three brides you could make it coming like you know like whoosh and you let it frighten off this just gives it this nice tunnel effect that has been selling title since 1994 so I here with the snow I just put up the half again I added brightness contrast here and I just increase does make this a little pop a little bit more reduce the saturation as this looks too bit little bit too saturated so this is now pretty cool it looks a little bit bleached out because of all the footage did we slept on but you can always bring in contrast you know for example I can use a great note you could use to multiply do something like this and what I like to do is I also like to use the film convert for example a apply a gamut deactivate the up table so we need to bring this back to as RGB which makes bright again and then you could use a curve tool to bring back the contrast something like that I like to use the film convert sometimes and then I can go in here and use the black point bring the highs a little bit like that you know sometimes can use a temperature you can do the very same with a curve tool so now just to do some additional stuff I will add an additional element so I will create two bitmap masks I just need the Alpha and I'll put an alpha so this didn't have an alpha so perhaps where we cut out the image but again it would be so easy with the show alpha button now it has to be check underlay so it's about here now what we can do is a very cool trick to create a rim light so it's usually like a light wrap I invert one mask multiplied on the other and then I'm gonna bring the first mask a little bit down something like this which will sort of give you the impression of a rim light coming up there and now I'm gonna create a noise again a noise but this time for a different purpose details up let me just see the noise alone contrast up something like this and I will increase the CD rate this makes it animated okay just to see how it looks something like this something like this now I feed it with the mask and this will give us the rim light which will have some animation to it it makes it therefore a little bit more natural if I may say and again here I'm gonna adjust the collar a little bit I'm gonna crank this up to three and maybe let's like increase in the green and now if we add an export glow we should be getting a nice bluish effect now there we go in going here brings up to seven ooh yep 1994 I can't stress this enough and what we do now is we just just were an ad I just copied this boolean down here and no put this on top something is becoming really slow here I don't know why I had it don't play that's why ah yeah here we got the black fellas these are black values scallywags just sometimes show off you know I'm so black until black so the question is where do they happen now it's actually easy to find out by using pressing V you can get this window here and you set it to the 3d histogram and you can see the black fellows scallywags they are down here now these are still no - so they're ok so let's just see where so the problem occurs with our fast noise if you increase the noise contrast here then you will get introduced black with scallywags so all you do is just bring a brightness contrast clip black throw them overboard and go back to the final result so now I would have to treat this here because you know it doesn't look exactly like the the text from the demo which is this one here you know so for example here you can see that the top is actually I actually did use an ellipse on this one I wanted to try this but I failed you know I figured really bad so I'm just gonna go back and gonna restrict the top light to the top this should bring the blue back and it did so yeah now what I like about this is actually that we have the contrast between the dark text and the so where the text is dark the background is bright where the text is bright the background is darker so this is a very nice contrast that I always like to use I can see that the texture I used was more subtle so we could dial this back a little bit I decided I won't try to recreate exactly the same result because it's just too time-consuming and you know I would have to memorize all those values and it's just madness you know I mean I would lose my sanity you know I I thought I can provide the comp and I can just explain the tools the methods that I used and then the rest is just matching the values I know it's it's not it's not like a different process or something so if I bring down the curve you can see that the highlights start to pop more yeah it's still pretty good and I want to show you one more trick what you can do with the with the bump here so after you erode you can utilize the curve tool that's a very cool trick and go to the spline I choose show selected only I select the red green blue Channel and now what we can do is basically you can think of this curve sort of like the curve to this height information and what I can do now is I can go in here and I can change my height map so you can see we start getting some details in here and this is pretty cool because now you can you can tailor your your bevel in a very cool way I mean look at this and it's all 2d that's the cool thing when I keep this at zero actually I liked it softer and then another cool trick for example I bring in a chromic here in here and now I'm gonna pick those bright areas here I work with bad eye we don't have so much details in here but you would get the picture so after the shader I use a brightness contrast and I'm gonna use the key that I just made invert it and now I can slightly bring up the brightness here to increase the effect of the headlight and lastly I add a sharp effect and put this to my usual 0.5 0.5 there you go we have a title here that has been selling games since 1994 ok so you go ahead and you create your own title or emblem now stay tuned for the extended version on patreon where we'll be creating some serious damage My dear fellow swashbucklers it is time for me to let you go as I have to embark on my new journey but before I do so I wanted to answer a question that some of you might have such as how did I come up with those designs now usually when people ask me that or if they sent me their work for review I would answer one simple question what's the story now obviously your text or title doesn't have a story does it but perhaps someday you have to create a title for a movie well then that's already decided right let's say you want to create titles just for the fun of it now in this particular case if we look at it I look at the font while sipping on my rum and I said that the font looks very bold it looks heavy and it has those dangerous tips down there and I thought I like contrasts why don't I do the opposite of those things so I decided to make the surface light I decided to make it curvy and to make it fine detailed and this is basically how I came up with the blade this is a this is Vito Lamanna thank you for watching I'll see you next time until then enjoy what you're doing

Channel: Pirates of Confusion

Views: 59,736

Keywords: DaVinci Resolve, DaVinci Resolve Fusion, Fusion VFX, Compositing in Fusion, Learn Fusion VFX, Getting started DaVinci, Getting started Fusion, Fusion DaVinci Workflow, After Effects Compound Blur, Fusion Basics, Fusion for DaVinci User, Fusion 9, Fusion shader, Lighting shading, Lighting shading in Fusion 9, compositing, Fusion 9 Compositing, Blackmagic Fusion for beginners, learn Blackmagic fusion, Fusion 9 for Beginner, Nuke vs. Fusion, Fusion titles, Cinematic Titles

Id: bPIxVHEMgrc

Length: 47min 21sec (2841 seconds)

Published: Sun Nov 03 2019