Today's tutorial is how to demon eyes
in Davinci Resolve. Before it gets too dark,
though, you can also use this same effect to do like zombie
eyes or like dragon eyes, all sorts of different
solid color eyes. Let's get into how to
do this technique. All right. So here we are
inside of Davinci resolve. We've got our clip in the
timeline that we're going to be editing for this effect. If you can. If you're like filming with an
actor or a talent, try to have it so that during the scenes
that they are going to have this effect being applied
to them, that they don't blink as much as they normally would
because it's pretty hard to get the blinks in there and it
sells the effect better if they don't blink. You just have that solid eye
and it gives it a little bit less of a human element if
they're just open eyes. So that being said,
let's jump into fusion and we'll get started. So we've got our media and our
media out as per usual. What we're going to
start with are two backgrounds. We're going to take
them away from this merge. And what I just did there is I
highlighted both of them so I can track both. And I held shift
while pulling them away to break its connection. And then I'm going to
grab this merge. And while I'm holding it,
I'm going to press shift again and hold it and drop
that right into this line. And then just to make sure it's
in the line, we're going to wiggle this around, because if
you just set it on there and you mess with your
shift click, you won't see any of these effects. So if you can go like this and
it doesn't follow, you definitely need to make
sure that it's a part of that line. So we're going to have our eye
color as background one and our eye reflection as
background, too. If you want to rename them the
hierarchy to do that is F2, but I'm going to leave them how
they are for the time being because we're going to be
working one eye at a time. So we're going to take this
first background here and we're going to match it. Since we're doing the
demon effect, they're generally going to be black for this. So we're going to
grab a natural black color. We're not just going to go
silent black because that tends to look weird in a video. So we're going to grab
something black in the frame. So in this case, you
could use the pupil, you could use the headphone. You want to use some
sort of natural black color. So I'm just going
to grab the pupil here. And then without connecting
this to anything yet, we're going to grab our spline
tool here, which is going to automatically keep
those curves going. So you're not going to
have to do a million points around your eye. We're going to start
in the corner. You go up. And they were just going to
mask off the eye like this. But you make sure those all
line up so that we're getting the whole eye looks good to me
now that we have that we can go ahead and check, boom,
there it is, blacked out. And then for our background,
we're going to do the same thing. But we're going to
grab our eye reflection here and then we're going to grab. So that's black, too. Right now. We're going to go ahead and
change that to the actual color of the reflection. So if we go a background,
grab our eyedropper over here and drag it out and
we're going to grab the color of that reflection. So now if we go ahead and
put that, there should be solid. All right. Looks good. So then we're going to merge
these two together so that we have our color and our
reflection in one point. So we're going to get these out
of the way a little bit, get our merge. The next step here
is very important. So we're going to shift
spacebar to pull up our menu. And then once this is up,
we're going to type in Planer Tracker. Now we have this we need to put
this in the line the same way we did with our merge check to
make sure it's in there. Otherwise it won't work. We're going to zoom out by
holding control and scrolling and then we're going to go
ahead and change this to hybrid point area and change
perspective to translation rotation and scale. I generally have better
results with that. We are going to go ahead and
grab our planer tracker and we're going to select a space
for this to track. I like to get a pretty big
selection because the Vincey is pretty efficient about the way
they do it. I'm going to go
ahead and track this forward. So you'll probably have
this issue, too, if you're not starting from
the very beginning. See, we're on frame six hundred
fifty eight here, so we're going to want to go up to
reference time set and then we're going to track forward. So now that all of that
is track, we're going to go back to our first frame,
which in this case is six fifty eight. We're going to go ahead and
create a planar transform with this button inside of the
plane or tracker. And then we're going to run
this merge into the plane or transform here. And then we're going to drag
this into the merge that we put into our node flow earlier. And then you'll see Bhoot. Once that loads up,
we've got a black eye. It does still look
a little bit weird, though. It looks harsh. So what we're going to do is
grab our first spline for the black part of the eye,
hold control and drag out this soft edge here. It's a little easier to see if
you double click in here and this tool should stay
up when you do that. So we're going to go ahead and
drag that out and then that's going to take a
minute to load as well. So we're just going to call
that good right there. And we're going to want
to do the same thing to the reflection. We're going to drag out that
soft edge and then we're going to wait for that to load up. It's generally going to take a
little bit longer to load through this plane
or transform. So if we just go ahead and take
that out of there, we can make changes to our masks just like
this right directly through that merge so we can see that we need to
move that up a little bit and maybe these points out so it
covers more of the eye with that soft edge. So then we're going to
close this off. We're going to get a
brand new plane or transform. We're going to link this
into it, and then we're going to link it to
the merge and we'll see. There it is. There's our adjusted mask and
then we're going to go ahead and move forward. And it should move
with your eye. If you find any weirdness like
right here, we can see it's separating a little bit. Go back just a few frames,
make a key frame for that. So we're going to just move one
of the points just a little bit so that
it automatically keyframes. Then we're going to go forward
to where we lose that eye, which we'll call right there,
and then we're going to grab it. We're going to go ahead and
just stretch those out a little bit. This looks weird because my
computer is struggling with this effect, but it should
all line up. And then when you go back and
then forward again, you'll see that it grabs that part
of the eye. And it's staying with that
because we're running it through this plane transform. So we go forward until you lose
part of it and you go back a few frames and then you're
going to want to just adjust that spline and then forward to
where you lose that eye and you're going to bring
that out. And you keep on going. They're losing a little bit of
bottom there as we go back to where we have it, we're going
to make a slight keyframe so you can click and drag multiple
spline points here. But if that's not precise
enough for you, you can go ahead and control clicks or
hold control and then click on the points that you want to
change and then you can drag them as a group. So you will go ahead and keep
on moving forward here. Looks like mine starts
to close there. So we're going to go
ahead and grab the spline. Grab these top. Bits there and close the eye,
so once we've gone through and fixed all of our splines so
that they match up to our eye, we should see right there that
it pretty well sticks with our eye. You can see that there's a
little bit there at the end where it gets jittery right
around that area. So we're going to have to click
on our spline and get in there and figure out why or it's full
and then it's not and then it's full again. So we're going to need to make
sure that this part is up with the rest of that. So you can see that it looks a
little bit wonky and a little in a couple spots. But if you're careful with your
spline and you go through and you adjust it where it needs to
be adjusted, you'll find that you've got the effect working
in very little time and it doesn't take too much effort. This is what your
Noad Web should look like. And then once you have that
done for this eye, we are going to go ahead and group all of
these together by dragging across them with a box. And we're going to go ahead and
control gee, now we're going to get into renaming something. So group one here,
we're going to rename it. Right I. Now we have right eye and if we
disconnect that boat no more, right, I
connected again, right. It is good to go. So if we go back out into our
edit window once this red bar turns blue. We'll play through it and
you'll see that it plays just how you'd want it to. You can see their moves,
moves back forward and it sticks with the eye. That's all there is
to doing the demon effect. If you want to get like a
zombie effect or a dragon eye effect, like I said in
the intro, you can go ahead and grab this background color and
just change it. So the zombie, you're going to
go for more of like a gray, maybe a little bit
of transparencies, still kind of see the eye in there. But ultimately, what you're
going to do is that or if you wanted to get a little
bit creative, you could get rid of this background and put in a
photo clouds or like maybe Galaxie eyes, if you want to
get a little extreme. Really, the only thing that
limits what goes in here is your imagination. So in order to do this
next time, you literally just take what you did for this one
and you get a new track, you can't use the same track. So we'll just set that off to
the side and we'll go ahead and ship spacebar. You should still have planet
trackers selected because you looked for it earlier. They're going to hit AD. You're going to grab
your second one. You're going to shift and put
it right in that line, make sure it's connected just
like we did before. We're going to come
up to point change that. The hybrid point area
and perspective, change that to translation rotation scale,
just like we did before. Now we're going to grab a big
chunk of things that move as a group and then we're going to
go to our first frame here. We are going to hit set so that
we get our correct reference time and we're going to track
forward to the end of the clip. All of these little
dots in here just show where it's tracking. So the more of those you have,
the more accurate your track will be. So then you're going to go
ahead and the same as before, make your two backgrounds,
take this merge, move it down here, take this out of the
line and move that over there. Background, background,
this background. We're going to use the
darker black color. We're going to go with
the pupil again. And then for this, we're going
to zoom in on the eye. We're going to grab that
reflection and then we're going to just split it off just like
we did before to do. To do this one is going
to be real rough and fast, so get this. Grab a spline for this
one as well. Just doo doo doo doo
doo doo doo. Close that up and then we take
these and we merge them emerging out there. You definitely want the big
color to be the background to the yellow line and the small
reflection to be the green line. If they aren't to click on
immerge control t and you'll swap them. So then we have this. If we pop this down here,
you see we've got our thing going on. Everything's how it should be. But we're going to need
to soft edge these just like we did before. And we're good to go
just like that. And then we're going to
drop a planar transform into that path. We need that drag
merge through it. Get that right
in there, OK? All right. So here we see an issue that
doesn't always happen, but sometimes will. So we're going to do with this
is click on our merge, the one that we used between here and
the plan to transform. We're going to click it and
we're going to click on this transform mode
button right here. And we're going to grab the
middle of this transform and we're just going to move that
right back onto our eye. No problem. Boom. And then it's back in the eye. I'm going to move forward. We were at the end shoot. Now that we're at the beginning
of the clip, we're going to get that transform. We're going to rotate
it on over. And it looks like we're going
to need to move it up a little bit and to the side. And then if we move through
a clip, it should stick right with that eye. You can see there are a couple
points in there where we're going to need to go in and
adjust the spline points, but for the most part,
that's looking pretty good. So that wraps it up on
how to do the demon eye effect, individual resolve. I hope you guys learned
a lot from this video. If you did, please let me know
in the comments down below if there was anything that I
didn't clearly communicate to you guys. Please let me know that down
below that pretty well wraps it up. So I will see you
guys next Thursday at 6:00 a.m. sharp or whenever you
choose to watch the video. Until then, have a good week. I'll see you in the next one.
