Easy mattes with magic mask AI in DaVinci Resolve 18 Tutorial

so i hope you're all doing well if you haven't played yet with davinci resolve 18 i would suggest taking a look at it there's a lot of really cool elements there and i want to quickly show you guys how we can use tools from the color page and use them specifically in to be able to do things like text reveals and stuff like that there are a lot of different other use cases for this but i thought the easiest one would be like a text reveal where people have an object or an element or people wipe across the screen and then it's revealing some text or we could use it to cut out a object or an element with this process so let me quickly show you because i think that it's pretty cool so let's just jump right over into davinci resolve and we're just going to uh i guess we'll go over project settings here quick because this will be a critical thing to know to get this to work correctly my resolution now these parameters aren't really that they're it's not critical to know but just understanding why we were going to do the steps that we're going to do so 1080 is our resolution 25 frames per second now if we look at our shots and we look at the metadata on these shots these shots are you know 3840 by 2160 at 25 frames per second but we're gonna take all of them and put them into a timeline right so once we have them in a timeline now they're in a uh 25 frames per second but a 1080 timeline if we click on them we still have that resolution this is going to be critical especially if you're trying to get good mats that are very accurate because there's a couple of steps that we have to do here so let's say we're looking at this project here and we have pretty much a commercial right for a restaurant and this burger here maybe we are asked okay we want to have text up here but we want the burger to fly in front of the text so that's what we're tasked with doing here so let's go through the process on how we're going to do that first we know that the resolution is incorrect and we need to get a good mat here so we're going to click on here and we have the resolution and we're going to come to file new timeline from here i'm just going to change this to matte just so that we know what this timeline is specifically for you could put like the hamburger shot or first shot or whatever it may be but then down here use project settings we're going to uncheck that from here we can change the resolution and frame rate and so this is how we can have multiple different resolutions and frame rates and in the same project so we're just going to change this up to 38 uh where are we at 3840 by uh 2160 25 frames per second looking good from here let's grab in that shot that we're going to be adding the matte onto which is this one and let's come over to the color page on the color page we have always had this little um magic mask here if we come over the little magic mask but before we only had person and so in the past we could only track people and limbs but now we can track objects and maybe anyone that's used this kind of sees where i'm going with this so we're going to make sure that we're on objects and we want to make sure that we have the eye dropper eye dropper on right so we want to make sure that that's on and we want to make sure that we have it on the plus from here we want to make sure that we have an object uh in view that we want to have track so if it's a car driving by it's off view off or out of view of the camera then it comes in view of the camera then it goes away we want to pick wherever it is most on screen so we can um uh um identify that object to the ai as that's the thing that we want to have track so let's come in and obviously the beginning there's nothing and at the end there's nothing so we'll come into let's do like right here is looking good the object that or the thing that i like to tell people is when you make these selections you want to make the selection with a very long stroke if you can and i'll show you the reasons on why if we do a short stroke like that and we come down here and click this little button we can see that we only selected that top so that's the only portion that's going to get tracked i'm just going to kill off that stroke if we accidentally go outside obviously it's going to start tracking the fire we don't want that so we just want to go in and select everything like that so now we get a good shot on the burger if you don't have the highlighting i just did it a second ago but it's this little button here to see to make sure that your selection is correct if you if your shot has a lot of motion blur this is a setting that you might want to take a look at is using the quality from faster to better i haven't seen a huge difference in um speed when it comes to tracking there might be some to a degree but i haven't seen a a lot um and that main thing that we're going to notice here if i zoom in a bit is we can see this edge is kind of harsh and once we go over to better we can see that it's going to give us a feathered edge so that's up to you if that's something that you would want you do have those parameters there to play around with so from here all we were going to do is just click the track if we come if we come in we don't see it and we don't you know it's still not selected over here it's not selected as well if we click this little button we can come back to where we have our um stroke and then we can click this little button to track forward and backwards so clicking that button to track forward and backwards if we take a look at my system here if i can pull it over we can see that my gpu or my cpu is at forty percent and if we come down here i'm at a hundred percent on the gpu now you can see that i only have a 1070. now your mileage may vary on the uh equipment that you have but the thing to note is that if you have a mac with one with the neural cores i believe that they're called it accelerates this as well as i believe the 30 series of cards also has a couple of cores that uh speed up this process obviously if you don't have them it still works uh if you do not see this as an option it is because it's a studio only but if you don't have studio i would say just take a look at this because i feel that there is a large time savings here especially if you do this kind of things if you do this kind of thing where you uh are trying to track or have something tracked but you don't want you know that area shown this work or this workflow is definitely going to save a lot of time there while that's processing i did want to tell you about my website jrtv.com where i have well over 24 hours of tutorials going over every single element within davinci resolve i also have pre-made templates that you can use in your own projects and if you need one-on-one help with your project if you're stumped or need some clarifications on how a tool set works i also offer a one-on-one service all that information is on the website so take a look so it looks like we're completed here and if we go through this shot here we can see oh look at that it's looking pretty good um we can also click on how do we see that i think we come up here and unselect that we can actually get an idea of what the mat looks like so there is some stuff here that we can take a look at um obviously there's a couple of different options if you want to clean up stuff now we have to remember that this is a soft edge because of the um blurring there but if we want to clean up the white we do have the clean white that we can do right and that will clean up that a bit uh we can also do for like out here we can do like a clean black which will pull that in a little bit and let's go through this and look a little bit more so you do have like little flare-ups here and there that's you know going to be kind of up to you if you want to have that in it's super easy to fix in fusion but the big thing to like look at this right we have like this really defined edge with a little bit of softening which will make things so easy so now how do we get this out of here into a fusion and not have to go through the whole process of also processing this so like a big thing that we would typically do is just render this out which will then have another element which makes things a lot faster having these things pre-rendered out will make things significantly faster especially if you're working in fusion and you know what it's like to have multiple different uh heavy processes like multiple blurs and different things like that where it's a lot of um data that's getting passed around in your system having things pre-rendered out in the pipe makes the overall process quicker so that's we're going to be doing here is rendering this out quick and then going into fusion and you'll understand why we were so concerned about the resolution so let's go over into the effects here we're just going to type in color generator we'll bring that in and to get the color generator to actually work you have to bring in the initial source it's kind of weird but whatever and then we'll go right over and then we can turn off this and from here if we take this element which has all of our tracking information in and we bring it in and then right click go add alpha and we track that alpha over like that there we are now we have it uh as a an output and not just a uh looking at a the highlight mode right so this is an actual color output so if we came over here to the color page or the edit page we would see that right and so we're just going to go over to the deliver page and we're just going to export this mat one sounds perfectly fine we'll put it in uh that particular folder if you did want a very high uh bit rate version you could you really don't need it but if you're concerned about compression or whatever by all means you're more than welcome to do it what i'm just going to do is h.i.264 i have it set as best whatever and i'm just going to hit render and have this render out quick once it's rendered out we're then going to go back into the main timeline and go back to what we were actually working with and jump into fusion so i'll have this render out quick and we are almost done okay so from here we'll go over into edit we're going to come up here and go back to our main timeline and remember this is the 1080 timeline that we're working on if we come over here just to show you guys if we go into settings this is the 1080 timeline that we're working in we're in timeline one and what just happened okay so timeline one from here we'll go into fusion [Music] infusion a big thing to note if you didn't know this before is when you have something on the edit page and you go into fusion it's going to pull the source material into fusion so you can start manipulating it so it's going to have whatever the frame rate and resolution is and that's what's going to be working with so as you can see up here we have that resolution right so we just need to grab our mat and we'll bring it in and let's grab some a text node and in the text node we will just type in jrtv and i don't even care about font but i just want to make it big and we will add this on to our main thing and as you can see it's in front of everything so now we have to have it behind the burger and that's where this comes in because we'll just connect this up to the matte input and then i'll just put this down here so it's easier to follow and then from here we still don't see it over here and so all we need to do is come into the merge come over into settings and then swipe the channel into luminance now it's obviously in the burger we don't want that either so we have to click this little button to make it outside the burger and now it is pretty much completed and we can see that it goes now when i'm scrolling back and forth it's trying to read both of those files at the same time but when we go to render this it will look perfectly fine um just like that so that's kind of how we would do it if you do see little things on the edges that you don't like you do have the ability to go into fusion and i can quickly show you just a couple of little things that you would be able to do because this is just nor a normal thing we could add in a road node come on and we would then be able to you know have this go in ever so slightly like that to kind of you know fit in here but to be able to go in and rotoscope this would take forever and so to be able to automatically have this generated is honestly like a lifesaver now what i want this particular text here in front of the fire and you know the burger probably not but i'm just trying to show you how we can go through the process of setting something up like this obviously it's not going to be a burger in your project it might be a car tree whatever it may be you there's there's a plethora of different things that you can do but i just want to kind of show you the process on doing this and then you'd just be able to render this out right away but yeah that's how we would go with using the ai in the color page being able to make a map which then we can bring into fusion and start manipulating it there big thing i want to just emphasize again big thing is you want them to be the same frame rate and the same resolution so when we put them on top of each other we're using all of the information that the ai is generating if it was let's say we had it still in a 1080 frame rate once we blew that up all of our pixels would be a little softer if we didn't have it as the same frame rate there is the possibility of the frames being off incorrectly so there's always something to look out there so when you do do this that is the big thing that i just want to pass on because you might start working on it and be like why is this look so bad you just want to you know a couple little things to make sure of but that's pretty much it like i said over the coming weeks months there is so much stuff that was added into davinci resolve that we can use the power of all of these cool things that were added in in the fusion page to get cool looks and techniques um you could also use this to for 3d there's tons of different things that we can actually do but yeah that's pretty much what i wanted to show you guys today using the ai built into davinci resolve 18's neural engine to be able to track objects turn them into a mat which then we can use for a plethora of different things in fusion this particular element that i'm showing you is all 2d but we could you do the same exact thing in a 3d environment where you know maybe we have some 3d objects moving around but we want to add that matte in and we don't want to deal with a whole bunch of rotoscoping so we can use the ai on the color page to do a lot of the heavy lifting sometimes the ai is not going to be perfect and we might need to go in and fix a frame here a frame there but overall it's definitely going to speed up the process uh when we're working with trying to composite different elements in like this uh especially if you're not working with a large team and you don't have you know someone below you say oh we need these five shots rotoscoped you can do it on your own uh in a short period of time so that's what i wanted to show you guys today hopefully you guys enjoyed it let me know in the comments if there are other things within the new davinci resolve 18 that you would like to know more about or how you could incorporate it potentially in the fusion page and you know for your different composites or if you're looking to do stuff i don't know just let me know what you guys think of this i have a ton of other ideas that i'm going to be working on in the future but with that being said my name is j.r thank you so much for watching until the next one [Music] you

Channel: JayAreTV

Views: 42,205

Keywords: blackmagic, DaVinci Resolve, resolve, tutorial, how to, DaVinci Resolve 17, Fusion, DaVinci Resolve 18, matte, auto matte, rotoscoping, rotoscope, AI

Id: d0tiXM1cB8c

Length: 16min 43sec (1003 seconds)

Published: Fri May 06 2022