How To Do EXR MultiLayer Compositing From Blender to DaVinci Resolve/Fusion Workflow

hey what's up guys yuri here back with another video uh i've been away for uh for quite some while um i've been learning a lot about compositing and having some commissions here and there uh however uh in this video i want to show you guys my new workflow within resolve and to be more precise in within fusion within views and within resolve i've been using after effects before this and i think within fusion you have a bit more control and it's more like uh if if you understand the node system then uh it will be uh more clear to uh to your compositing workflow than uh with the layer based system basically so i wanted to show you guys how i do this in in uh in resolve and especially from like a blender perspective uh i know a lot of uh 3d programs are able to render out exr multi layers however i i only use blender for 3d so i can only show you guys how to do that on within blender however i i'm pretty sure that every 3d program has some kind of tutorial on how to render out exr multilayers but the main focus will be on on the workflow how to add each node how to add each pass how to combine them and um a little section about how to uh how to like change uh things within each pass or like within a few passes like the basic things um i hope you guys will learn something from this uh i and i hope you guys enjoy this um a bit a bit too long of a intro but uh yeah i just want to be uh very clear on what you will be learning in this video alright let's uh let's uh dive right into it okay so within blender to render out exr multi layers you will have first of all you will have to first of all uh select the passes that you want to actually render out for this tutorial we will be using a combined a cms c depth sorry a missed pass a normal pass a denoising data pass will be not be uh rendering out denoising data however we'll be using for uh you will be using it for another thing uh which will be explained in uh in a minute um object index material index and sample count we will not be using those uh i'll be using a diffuse direct indirect and color uh glossy direct indirect and then color uh for this tutorial we'll not be using transmission however transmission uh is going to be pretty simple it's going to be it's going to be composited the same way as glossy and diffuse so if you do have the transmission in your render um you all you have to do is basically do the same thing as as that we are going to do with glossy and diffuse it will be uh you'll be set um we do have a volume uh we do have a mission uh an environment environment it's basically just the background uh the world basically settings uh we do have a shadow pass uh an ambient occlusion uh and for this one we don't have any shadow catchers uh or cryptomats uh simply because i i basically never use cryptomats uh cryptomats are there just basically for if you're not 100 sure if you want to keep let's say the color of something uh let's say this this ufo i want to change it and compos in comping i'm not really sure on on the the actual color of it uh then i just render out the cryptomat with it so that i can separate it from from the rest basically um we will not be doing that in this tutorial i can do a tutorial on that if you want to however uh yeah we'll be not using it for this one hey guys yuri here from the future i forgot to tell you guys if you want to see each pass and if you to see if you need it or not you can go into rendered mode and then you can go to the render pass right here as of right now like the basic uh pass that you will be seeing is the combined pass but like i said i'll not be using transmission simply because as you can see i don't have any transmission passes or anything that's transmissive in my scene uh but if you go to like glossy direct you can see it right here um as you can see right here you can basically see every pass that you have and that way you can basically select uh or deselect the patches that you don't need after that we will set out the output be sure to have it on open exr multi-layer and not on open axr because with the opening star you will not have the passes within within them with the opening xr multi-layer you will be having every pass within one file basically in our case we'll be rendering an animation if you have one still you will just have one file in our case we'll be having multiple files uh multiple opening xr files and each uh uh exr file will have each pass of each frame basically um after that i'll have mine my color set on rgba just in case if you don't have any uh alpha uh things in your in your scene you can set it on on rgb i just have mine on rgba standard for every render basically just in case um after that the color depth i have it on float half because i don't really need the full 32 bit color channels float full uh if you do a lot of color correcting after this then yeah sure 32-bit can be helpful however each xr multi-layer file will be a lot bigger than a float half one after that i don't have preview on i do have overwrite image sequence and i don't have placeholders on as you can see in my case i don't have the file output selected simply because we'll be using a render layer sorry and a file output layer sorry for the shift a search file output we have a file like this and in here we will mention our output path and if we do that as well in here it will uh render it two times basically uh which we don't want so yeah don't have to uh uh set your path out right there um in our case though as you can see if we just search for a file output all you can see is like an image file output excuse me um and right here you can see like every pass has been connected uh with a file output you'll have to do this all by hand uh and i've found found an add-on that can basically just set this up for you it is free i'll have the link down below in the description all you have to do is instead of actually just installing so you go to edit preferences install search for the uh output file uh the the path faster it is 3ds's add-ons so instead of installing the zip file that is coming with it you have to uh unpack it you have this exr auto pass map you you go into that map go into blending xr auto pass saver master and then you install the exr auto pass saver python script after that it will pop up and you will all you have to do is enable it and then when you come over here into the compositing tab you will have right here the exr auto pass saver all you have to do is basically select the render layers hit exr auto saver and what it does it creates just a new render layer within a file output that has already named every render pass that you have enabled so be sure to have everything enabled that you want uh so that this uh this goes all correctly and as you can see the reason why i use a file output node is because i can denote certain passes that are normally very noisy when you have an exr multi-layer this basically results into having like a noisy compositing so normally what i do is i do use the denoiser the standard denoiser with the render however it only denoises the main the combined uh pass and it doesn't denoise every other pass so with this one i can basically just like ctrl or shift a search for a denoise node hook it up to let's say i want to denoise the diffuse direct hook it up and this is where the denoise data comes in uh i select the denoise normal hook it up to the normal denoising albedo hook it up to the albedo and then we're not rendering out the denoising normal the denoising albedo and dnos in depth so we can just unhook those and then we can just resize this and do this for each pass that we want to denoise in my case i did this for the mist for the diffuse direct indirect end color i did the same for the glossy so direct indirect and color i did this for the volume direct indirect uh the emission um the shadow and the albe uh uh the damn what is the name again the ambit occlusion sorry the ao so pretty much everything besides the depth the alpha and image yeah that's basically it as far as the rendering goes in blender so yeah let's hop over into resolve all right within vision all we have to do is create a new project let's name this youtube tutorial exr multilayer a very long name nice all right uh if you do if you have just started it up um you get the same prompt if you want to make a new uh project all you have to do is basically just name it set the settings you want if you had davinci already open to change the settings you can go up to file project settings and in here you have basically all the settings within your file my render is actually 4k however i'm gonna keep it on 1920 so it re resizes it resizes it i basically render it out in 4k with less samples to have it faster that's all and better quality basically make sure everything is set up correctly your frames and everything save it if you have changed anything i didn't so the save button is not a uh clickable for me after that go to the media poll right over here uh open your files search for wherever your exr multilayers are are rendered out for me it's right here and before you drag them in um be sure this setting right here so you click these three dots frame frame display mode make sure it's set on sequence if it's set on auto what it will do is it will show you every each frame basically if you have an animation which is weird i don't know why but be sure to set frame display mode on sequence that way what you will be seeing is if you select everything right here and drag it over here you'll see only one file and it makes it into like an image sequence and exr sequence basically um if you don't have it's like selected like you will see every frame just like uh how it's set up in this in this folder basically so all you have to do right now is just drag this out to the media pool it takes a bit after that you will see it right here and if you go to fusion and if you don't see the media pro right here all you have to do is click media ball it's over here what you have to do is drag this out and you have it in here great nice um as you can see you'll have a media and a media out however right now it's i think it's showing the shadow layer or the ambient occlusion i'm not sure but that's not it that's the media out yet you'll need this media out layer later on to to render this this project out but for now we don't need that so if you click twice on the uh on the line that's connected it basically once is actually enough it disconnects it but so we want to basically uh recreate uh first of all to recreate the beauty pass the beauty pass within vfx and composition is the basic pass with the colors in the scene basically uh the the diffused out colors that's the beauty pass with the the beauty pass you'll base you'll have the control over the colors within the scene you can basically change the colors if you want to um so yeah that's uh let's recreate the beauty pass um before we actually do that i want to show you guys how to actually so show anything on this screen because you as you can see you have two screens here let's hit media pull again to hide that you have two screens right here and you can basically use those screens to either compare things or basically show each pass that you want to show or look at right here the way you can do this as you can see if you hover over a node this one is already selected because it's it showed right there but if you hover over a node you'll see these two dots appearing these dots are basically the screens on here so the left dot is for the left screen and the right dot is for the right screen the way you actually wanna or the way to show actually this the way to show this node on these screens is by actually first of all selecting the layer pass that you want to show um let's just first of all start with the image the image is basically the combined render so if i want to show this node on the left screen you select it and then hit one as you can see it pulls it up another way you can actually do this is by just dragging it onto the layer just like that and as you can see both of these dots are filled up it basically says this node right here it is shown on the left screen and on the right screen if i hit 2 or let's say if i hit 1 again because we used one to show it on there it hides it and as you can see it it the the dot became black because it's not visible on that screen anymore we can do the same for the second screen so hit two if you want to show it on the second screen by just hitting the number we can do that by just hitting two so as you can see one for left screen two for the right screen you can also drag it on and hide it by to hitting two or one uh that's the very like basic uh way of like showing your ears your renders or your notes um but yeah if you look at it again by hitting one uh you can see it's it it's very dark now and this is because uh uh the the color space that you render your renders style from from blender is different from the basic color space from in davinci resolve at the end of this render we will be adding a gamut layer a gamut node basically is a node where you can tell resolve that you want to change the lot basically so sorry you can change the color space basically but right now it's not showing the right color space and we can change that actually by going up here hitting this button right here make sure fusion fuel is selected it will have that dot behind it and if if it's not then just hit it and then hit edit color gamma and change the color gamma to 2.2 right now it should show the render as if it's basically rendered from blender um yeah so this is the the the final result we want to recreate with each pass so we will keep that one on the second screen and as you can see in the second screen we will also have to adjust this one and we'll do the same make sure fusion view is enabled edit change the gamma to 2.2 all right so keep this one on the second screen and to start this off the right way um let's rename this node because if we because we will be duplicating this node or other nodes a lot and what will happen is if we hit ctrl c click away from the node ctrl v it will just call it and name it media in one underscore one and if we have a lot of notes it will you will not be able to to find your layers in your passes anymore so let's slide this one to the side because we will be needing that one in a second hit this one and then select the note hit f2 and then you'll be able to rename it this is going to be the combined pass so that we know this pass is what we want to recreate basically um all right so drag this note to the left and we'll start the beauty pass the beauty pass as i explained is just like the basic colors of everything in the scene uh we will be doing that by starting off by changing this layer actually to a diffuse direct yeah diffuse direct if we actually show this layer we'll be seeing that is it has like the very like neutral colors and shadows displayed um so before we actually do start with compositing i did forget forget to mention a few basic things about these notes um my notes are visible as in these blocked squares because i have enabled that by right clicking into the the node section and enable force all tall pictures if i disable that this is probably what your notes look like if you enable that you will see the actual like rendered out passes within it if you zoom in um next to that you will have like if i duplicate this node real quick uh if you have like two nodes in your you're lining them up or adding them to each other through a channel boolean which i will explain after this you have a yellow inline input a green one a blue one and a matte one a channel brilliant has four inputs the yellow one is basically if you hover over it for the background a green one is for a foreground yeah a white one is a matte and a blue one is a mask we will not be using masks or mattes in this tutorial we will be mostly using the the foreground and the background sorry all the way around this is the foreground background sometimes it something might go wrong because you have these ones connected the other way around so make sure to look out for this uh i have not uh i'm not going to in-depth with that one or about this in in the tutorial itself that's why i'm uh coming in here after recording this uh tutorial to explain this so uh yeah let's uh let's do some compositing yeah so let's rename this one so select it have to diffuse direct let's duplicate this one ctrl c ctrl v as you can see if i don't click away from the note after pasting the new the new note it creates this merge node this merge node it used i think i believe it used to be used to actually use a merge note to merge different passes however right now we'll be using another node that is basically made for for combining passes within resolve right now and that node is actually called a channel boolean um there are a few ways to actually get that channel value into here uh the basic way is just like hitting the the note that you want to hook up to another node um select it hit channel boolean and it will connect this node directly to this uh to the last selected node basically there's another way actually so hit the selected node hit control space and control space is basically the same as the shift a within uh within blender here in here you will see all the nodes you can basically use and now you will basically search for uh bully the channel boolean by just searching for b-o-l and you'll see channel bleeding all right yeah those are basically the two ways you can actually uh add things uh to the note setup so after having this channel boolean uh let's rename this one and actually change this one because it's still diffuse direct and we already have a diffuse direct with this one we want to go for diffuse well indirect let's rename this one so select it f2 diffuse indirect if we show this one on the left screen you'll see it's different from this one and if we combine these two we will have another pass basically so if you view this channel boolean uh not much has happened actually it basically just changed it changed the the the the combined paths to the diffuse indirect because there is no difference between the diffusion indirect and channel boolean this is because we have to change the settings of the channel body [Music] to change these settings you all you have to do is go over here if if this is not showing up you have to hit the inspector tab and then here you will see that there is an operation the red channel green channel blue channel and alpha channel for alpha channel we wanted to do actually nothing we don't want to change anything on an alpha channel however right now it says it will have to copy and what it basically does it will just basically copy whatever is put into the uh into the um foreground because the the green line is the foreground and the uh the the yellow line is the background but we want to actually combine these two and we can do that by just changing the copy to add and by adding it it basically just like it says it adds the diffuse direct uh it has the diffuse indirect sorry to the diffuse direct and creates this new pass where it just basically adds these two so after that we'll have one more diffuse pass so ctrl c click away ctrl v to duplicate it change this one to diffuse color rename this one of course diffuse color and we will add a channel boolean to this channel balloon i'm gonna do it simply by just hitting that again and we'll add this one to this one again um change the alpha to do nothing however right now instead of adding this pass to this pass we actually want to multiply it we actually want to multiply these colors with these to recreate these colors basically so just like i said multiply it we will change the operation to multiply and as you can see we'll have us and we will have our colors back um that's the the big difference between uh the add and the dd multiply um we always basically add the indirect and direct to each other and then multiply that pass with the color multiply to get the colors back basically so with that with knowing that uh we can actually do the same for the glossy pass because the glossy pass also has a glossy direct and indirect and a color version [Music] yeah so what we can actually do is basically just copy this click away and paste it and hook it up somewhere here and change each of these passes basically so the diffuse direct becomes the glossy direct the diffuse indirect becomes the glossy indirect and the diffuse color becomes the glossy color and that way we'll have this pass added to this pass creating this pass and then in our case actually the diffuse color or sorry the glossy color is just like a simple mask which basically says these are just objects and this is the environment so in our case it doesn't change a whole lot besides these two but in certain cases it will actually change uh or add something to it um so yeah after that we actually want to add the glossy to the colors and we do that just like i said by creating an ad boolean instead of just like recreating another boolean all we have to do is just find a boolean that has an add operation ctrl c click away ctrl v and then adding uh adding the the the what do you call it the diffuse color by just dragging this one to this one and if you view this one you will see that the glossy has been added to the color so this is the color this is the the the glossy and this is the combined as you can see the glossy has been added to the colors so this is this like the basic workflow within the uh within fusion and this is basically what you will be doing for every pass and i'll still take you through it of course if you want to see if you can actually recreate the rust without me then just pause this video and uh go ahead um if not you wanna just follow then let's let's uh let's end this um let's let's finish this up um [Music] all right so the next pass we'll be doing is the emission pass the year mission pass is just like one pass and it uh it adds like i said the emission to uh to this scene uh in my case it will be the uh green blobs within the within the uh the scene but also later down in the animation there will be an ufo flying by and it will have some emitting lights on the ufo uh it takes a while uh before it renders it out all i did is basically just scrub to the timeline to frame 82 83 and it should load any minute right there so i have this ufo and it has this emission added to it and and our render pass right now it doesn't have the animation so all we have to do is is just ctrl c one of these layer passes ctrl v change this to emission to emit rename this emit and as you can see if you view this into the left left screen the first screen you'll see it's only the image pass all right um [Music] after that we'll add a add boolean so this one is an add one um and it also has the offer to nothing uh what we can actually do is because we will be going from this chain on and add everything after this all we have to do is just select this one ctrl c don't click away keep it selected ctrl v what it does is it just basically connects it up and you you can basically yeah just add this one to it and because this one is already an ad this becomes an ad bullying as well and if we view this one it has added the emission to our scene so before and after perfect alright after that we will basically add the ambient occlusion so ctrl c ctrl v to have an add boolean again ctrl c and then click away ctrl v because we don't want to add or merge it with this one drag this into this one and then change this one to ao ambient occlusion f2 to rename it and actually this should not be an ad and that is simply because if we view this layer we see that it basically just pasted the uh the ao layer the mask basically on top of the channel bullying so we can go back to our previous part of the scene but what we actually did when we wanted to only add the the the colors uh or in this case the shadow parts uh to an already colored uh [Music] uh layer pass we used multiply right so in this case we also have to use a multiply layer and as you can see before especially within the uh the slits within the the rocks that's the before just after and later on i will show you how to either increase the shadows or the ambient occlusion within those slits or decrease them um but for now if we move on uh we will have the volume yeah the volume uh volumetrics sorry volumetrics so we can uh actually yeah just duplicate this one so ctrl c ctrl v keep it selected so it gets connected hey that rhymes uh change this one actually to add because we will have we'll be needing to add the volume metrics and multiply it and then ctrl c click away ctrl v to create a new pass and set this one to volume direct control c ctrl v click away so it doesn't get merged volume indirect rename this one so this one is the volume direct rename this one to volume indirect and then if we hit the volume direct or we can actually [Music] just copy and add note so this one ctrl c click away ctrl v and then we create the volume no the volume indirect sorry so that so that the volume indirect is the uh the background and then the volume direct is going to be the foreground and then hook the channel boolean add of this one to this channel boolean and that way we have so we're viewing the one before the volume matrix if you view the one after volumetrics we see that we have actually added our volumetrics in the scene um yeah if you don't have this one you can skip this one but if you do then be sure to that you are on the layer where the volume matrix is actually active if you have volume metrics throughout the whole scene you'll see it straight away but in my case for example if i was still on frame one i wouldn't see if i have had added the volume metrics simply because the volumetrics comes in when the ufo basically gets very close to the ground uh and that's the only void metrics i have in the scene so be sure to be on the frame where the volume x volume matrix is actually visible yeah after this we'll add the mispass so we can actually just uh ctrl c or drag on here to [Music] select these two ctrl c click away ctrl v so that we have a channel boolean and a uh any pass that are already connected because the missed pass doesn't have a missed direct and a missed indirect pass it uh it is just like an ao and a mission pass it just has one pass um so change this to uh the mispass where is it right there yeah miss pass rename it of course to mist and we have to change this one from multiply to add then we can hook this one up to here and we'll have our miss pass but as you can see right here the miss pass is very foggy and very thick so we will have to dial it down and we can actually this is the first note that we'll be adding [Music] to change one of the passes simply because it's it's getting in the way of our background so we'll add that one right now so if we select the mispass so be sure to select the actual node as pass hit control space to search for a node and then search for brightness and contrast you see that it has added the brightness and contrast right after it and if we dial down the gain and we look at the mispass right here be sure to have this node uh up here and not not the missed pass because if we select the mispass we'll not be seeing the changes that we'll make after it so everything works in a linear way so be sure to actually show the actual rendered out pass and then go to brightness and contrast and then dial it down so this way we'll be able to see our background that we'll be adding on after this one we can now uh let's just copy this one instead of the ao because the background also is only one pass so let's select those two ctrl c click away ctrl v and then change this one to environment which is the background like the world scene within blender yeah rename this of course to environments and be sure that this is an ad and then connect this one to this one like that and if we show this then we'll see that our background is here what you also can something else what you can also do is have the mispass come after the environment in my case because i really like the very vibrant colors i have i've actually composited it after the miss pass but what you can do to make it more realistic is hit the lines to disconnect them select all these three passes drag them over here and drag these over here uh connect this one with this one and then this one with this one and if you render out this one you'll see that the uh that the mispass also goes over the environment uh which makes it a bit more realistic actually uh but yeah in my case i've actually in my original file i've put it after the mispass simply because i really like the vibrant colors and i want to keep that but yeah so after the environment or in this case after the mist we will be adding the last pass which is the depth pass and the deadpass is a bit more complicated because we will have to change a few things in the notes um or we will have to add a bit more notes to that pass to make it work basically so we what we can do is basically copy the environment paste it after it be sure to click away before you paste it then we we add or connect these channel boolean to this one change the this layer to the uh depth path depth v um after that for this channel boolean uh what we have to do is change this one to copy so basically copies whatever is put in there um uh we we don't wanna uh basically influence the the red channel on this one don't influence the green channel and also don't influence the blue channel so set all set all the channels basically to do nothing after that go into the aux and set the z buffer to lightness foreground and enable extra channels so with the depth batch you'll have to do a bit more and add a few more notes to make it actually work so after this node you'll have to add a change that node and put that node so select the node and put it to in integer 16 hold on let's let's rename this one to depth uh like that all right so hit the depth uh depth pass and if we view it all we see is just like a white screen that is because the depth is basically hidden within the depth pass and it is so that you can actually composite the depth after in in compositing basically so if we hit it and then hit ctrl space and also add a brightness contrast to this pass and put the gain all the way down to zero and then hold ctrl and while you're holding it and drag this number to the right we will have to of course uh render out this layer instead of this one because it's not going to change anything so run around this layer go back hold ctrl so that it it changes the numbers very slowly right now you can see i'm going too far so go back so drag to the left instead of the right and you'll see our depth basically created however to make this actually work what i want to do with the depth pass is to to focus to create a focus on the ufo so to get this is that i i don't want to have any gray objects that are behind the ufo so uh to make that to make the to basically make the deadpass work basically so uh i want to have everything behind the ufo blurry and that way all these things have to be either white or very very light gray in my case these two grays from like the ufo gray and the rock behind it are a bit too close to each other as far as colors go so what we do is we drag it a bit more to the right until the ufo really pops out something like that i'm not sure if youtube still captures that rock yeah i'm not sure if it if youtube still captures that rock but it's very faded out and that's what i what i basically want for my ufo because after this after this node we add a depth blur node and what this node does is it basically with this node you can basically select an object that you want the focus to be on and it it uses this this depth pass to blur anything else and it basically looks at the black and white value of this node so we want the sample so hold hold this button down sample and then sample this ufo um i think i've forgot something uh oh yeah that's it after the brightness and contrast we have to add another note so hit the brightness or select the brightness and contrast hit control space and add another change that change depth and set this one also to into 16. so after this if i sample this one and pull up hold on i have to all right so i have to actually show this one of course so i'll put the adapter on the right screen and as you can see it has added depth i'll put the channel boolean so before the doppler on the left screen so we can actually see the difference right here so selecting debra again sample sample the ufo and as you can see whatever i sample it creates the focus on that object basically so i want the ufo to be selected and there's a lot of like this weird grain around it that's basically because of too much blur so we want to actually keep it fairly consistent so as you can see for example these plants this is before the deadpass are very in focus and these ones are slightly blurred we don't want to overdo it because we get like weird out of artifacts and so sorry for us wearing um but yeah we want to have it very subtle and i think that's that's pretty much enough actually like if we go above it then it just creates way too much of that like noisy blur and also if we play around with the z scale it basically changes the uh the depth mass map itself so we actually just want to use the map map itself and not change anything after that so yeah you'll have to just play around with these settings for yourself but i like this from for my liking is it's it's enough because the background is blurred out uh there's more focus on the ufo than in this image so yeah all right uh that's pretty much it for like the basic structure uh after this you can basically add stuff uh change certain colors uh change certain or add effects to certain uh passes uh and i'll show you a few that i like to do they are very like basic things but yeah so what i like to do for example is control the emission uh after the render within blender there's like a common thing that when you use emission materials it basically creates those fireflies in your render especially if you have like void metrics as well sorry but i like to do that in compositing so i do have uh given the these certain things that i want to emit to have emit an emission uh material but i didn't bump up the uh the actual emission value basically because that's what we're gonna composite ourselves so what i like to do is basically go to the emission pass which is right here and if we view it uh it basically shows this and then we will go to doubler make sure that's on the second screen because that's the final product go back to the mission select it ctrl space search for a glow effect and i believe i used this one and if we view this one you'll see it will have added a glow and right here as well right there um for my liking this is way too much uh so i want to actually dial it out so the glow size let's make it a bit smaller um because i don't really like the the bleed the glow lead too much i don't like it to be too big so it's actually pretty good and then we can actually bump up the glow itself like that uh that's a bit too much yeah something like that yeah i like that um you can even like change the glow color if you want for example after the glow select the glow effect control space search for cc which stands for color corrector and change the hue just like that in my case it also changes the the ufo color um but yeah you can actually mask those things out but those are those techniques are a bit more advanced uh so yeah but if you like it to change to change the emission you can do that just as simple as that we can actually also change the actual colors from the environment so [Music] for example uh right after the the color pass we can add a curves adjustment a color curves uh render out that version to see what we're actually affecting and i like to disable every pass except for red and then basically i want to add a bit more red into like the so the the upper side of the the curves is basically the lighter areas and these are the darker areas so i want to add red to the lighter areas and remove red from the darker areas which creates this like bluish vibe on on the rocks and stuff um then we go to the green dislike the red uh deselecting basically uh makes it enable for you to basically click by accident under the red channel if you have it still selected you can still change the red channel by accident so since we have added the red in the lighter areas and uh removed the blue in the and uh uh in the darker area sorry we're gonna do the opposite in the green channel add a bit of green to the scene all right uh remove or disable green enable blue we want to remove blue from the lighter areas since there's a red in there and add a bit of blue like that um yeah so after that you can actually for this scene it this technique shouldn't actually work uh normally but uh for some reason in my case it did work and all i did i i really wanted to have like these rim lights to pop a bit more there's another rim light right over there and i could have done this on another way in another way however for some reason uh if i search for so i selected the color curves hit control space and search for contrast pop and i added the contrast contrast pop after the diffuse and then just bumped up the detail amount as you can see right here it basically like bumped up the uh the rim light so that's also what i added to it so normally like i said it shouldn't work like this but in my case it did so as you can see right there it just added that extra little bit of oof and separation basically um yeah so after that i did add some like glow to the uh oh no sorry uh i played around with the uh ambient occlusion like i said you can dial down the ambient occlusion if you want to or make it even like more visible and we do that with a brightness and contrast and if we go into like these little slits in the in the rocks and zoom in and hit the brightness and contrast and hit the gain sorry dial down again it basically like makes it makes it darker basically so it's more visible damage occlusion is more visible sorry um this is a bit too much though a better alternative actually with the lift i'm noticing that right now um so if you dial down the lift as you can see right here it it it works like a collar ramp uh within uh within blender and we if you want to like crush the blacks to make them uh more dark basically in those slits then uh this is the way to go yeah that's how you basically uh play around with the ao uh ambient occlusion after that you can actually like for in my case uh i i made the environment so the background a bit more bright and more saturated that's what i basically wanted and i did that with a a color corrector again so select the environment ctrl space search for color corrector edit and in here i bumped up the saturation to make it more pop basically yeah to have that uh to really have that like cartoony feel basically um for now i don't really want the color correction on the emission uh yeah that's basically it for the most part after this i myself added like a grain from universe universal grain i know resolve has their own grain film grain so if we if we display this one on the left side and the right side is basically the uh the one without the grain so we can actually compare it i really like to go into like these these darker places simply because uh you will see more of the changes in in the darker place than lighter places but yeah if i add the grain over here uh grain only let's see i've never actually used the the resolve grain before so [Music] is it adding anything what if i make the grain a bit larger it's not really showing anything and i'm not really sure why however in my case i use the universe grain which is a bit more simpler to use i guess but yeah if you add it it it will show like show up like this um if i really want like solid grain i set it to like 10 which is for some reason still a lot normally it's it's not um but yeah if you if you just want to like dial it down you can uh like this is like very subtle grain uh if i usually usually want some like heavier grain i set it to like 20 but in this case it's like a law um so in this case i set it to like five maybe more like four yeah um after that i use like a chromatic aberration um i like to use the rgb separation also from universe and i set the radius to one and distortion to one what this basically does it just like first of all like splits the uh rgb in certain areas uh to get to get that like uh 3d type of feel which comes with like film uh cameras and stuff so um and besides that i added like a distortion which uh distorts the plate basically uh it bends it like like it's bending towards us basically um yeah that's basically i've said basically a lot of times but that's basically all all i i did for this shot um and before we actually do end this video right now we have a lot applied to this which only is visib which is only visible in fusion uh so if we want to export this we will not have the same look basically and the way you actually fix that is by selecting the last note that you have in your composition before you render something out you hit you select it control space add a gamut node the gamut node should be set to simple simplified rgb where is it i just had it uh there it is simplified srgb and if you view this it looks horrible but that's because we have a lot and we have to change that one back so it takes a bit before for some reason [Music] all right yeah there you go so it changed it so now it looks good without the load um same goes for this one so yeah so reset it you can reset it by just hitting this circle right here and i think you have to actually click yeah okay that's it you have to click this uh diagram when you change it back um yeah as you can see that's it and then hook this gamut into the media out and after this you can you'll be seeing it in here um because you're using a lot of like fusion effects and stuff er resolve will be a bit heavier to uh and it will be a bit harder to actually view in real time what you did however and after that all you have to do is basically go to deliver uh find the path that you want to save your your video in change the settings to your liking in my case i have it in 4k and everything um yeah hit add to render it will show up in here select it and then run hit render all that's it i hope you guys have learned something i hope you guys enjoyed the video if you have any other questions drop them down in the uh description or in the comment section sorry uh be sure to check out the description for the axr uh multi-layer render add-on for in blender to set set that one up but yeah that's basically it i hope you guys learned something i hope you guys enjoyed it and i wish you the best of luck with your compositing endeavors see you guys

Channel: Yori Visuals

Views: 57,009

Keywords: davinci resolve tutorial for beginners, davinci resolve, davinci resolve tutorials, blender tutorial, blender animation, blender, how to use davinci resolve, davinci resolve tutorial, compositing, compositing blender, compositing software, vfx, vfx breakdown, how to edit videos, how to, 3d video, 3d, 3d animation, 3d animation tutorial, 3d modeling, 3d edit tutorial

Id: 6-Y0s4-KRK8

Length: 68min 57sec (4137 seconds)

Published: Sun Nov 14 2021