I WISH I'd known this light match removal tip (FREE DaVinci Resolve version)

I know what you're thinking this is not about the object removal or the patch replacer tool that's in the paid version of resolve the results of those tools are often unpredictable and they're just hard to control this is actually a proven workflow that I have adapted from nuke into fusion and only using the tools that are in the free version of D Vin resolve for removing things like a logo off of a bus with like a a handheld shaky camera shot that even has lighting changes this sticks out and this is a problem this this would not fly if you'd like to follow along I'm providing the slog 3 clip that I shot it's available over at creativ video tips.com as part of joining The Cutting Club along with the project file Chapter markers we're covering today is going to be a linear workflow setup for Fusion how to send the still frame into Photoshop and do some painting so if you can paint on a still image in any program you're going to be good to go how to use the built-in planer tracker in more ways than one and then the big headline tip that's going to make this tutorial for sure worth bookmarking how to use the probe modifier to channel by Channel by Channel frame by frame automated in an exposure correction to match the cleaned up still image so that it matches the background video over time oh and there's even a double polygon masking tip to polish it out even further at the end so I'm working with this clip today it was shot with the Sony a74 if you're wondering it has a logo a blue logo on the back there and a common thing that is commonly asked in um in advertising is to either blow out logos or completely remove them for either legal reasons or creative reasons so shift 5 gets us into fusion and if you've watched some of my tutorials you'll know I like to work top down the way I get there is workspace layout presets Fusion presets midf flow that gives me a top down approach and I just want the right viewer so I'm closing the left one and then I do have to do a little bit of housekeeping to get the top down from media N1 if anyone knows a way to get this to go top down from the start let me know let's start with adding a color space transform tool to this to sort of normalize it so we can actually see like what the image really is supposed to look like but also to get it into srgb linear space which is what Fusion uses here internally and the linear Parts really important for compositing so let's load that up shift space gets a CST node soon as we've done that if you want to see the results of a node in Fusion just pick and flick drags it up here and as soon as you pick and flick it you'll see that's the results of the the node at that State in the flow okay now over on the right we have input color space input gamma this tells us or this tells resolve what the thing was shot with and then it knows how to do the math to convert it so the input color space for this specific clip is going to be uh Sony S gamma3 UHS okay and then the gamma was SL log 3 which is going to be really common on any current uh Sony cameras if they're shooting 10 bit that sort of thing and then the output color space this doesn't make a big difference here but it's going to be srgb linear and then tone mapping what I'm going to do here is a it's it's a roundtrip workflow so I'm going to convert this so that I can see and work on it and I'm going to reverse it to go back out to the edit page so it's like I've never done anything to it afterwards except the logo replacement here where I'm going to take out this blue grayline logo here okay so to do that one thing I'm going to do is remove the tone mapping say none on there and I do want to apply a forward o OTF so that I can see things nicely um the other thing you're going to look at me and you be like hey this is super dark now this is actually what linear looks like without the gamma correction but Fusion has a nice solution for this it's built in it's right up here it's called the gamut view lot okay if you check that this is applying like a lot just on your display layout but to match your monitor so your monitor that you're looking at when you're compositing is probably srgb so the way you modify the settings for all this is there's an edit button right there click that and you can take and control everything from here so the source base um I was working with Asus CG before I guess this doesn't matter because I'm not dealing with that but we're going to be srgb going out to srgb and we're adding the gamma the gamma is the important part here so you can just sort of see what this looks like when it's brought back to a normal representation right now to get this back to the edit page so it looks like we haven't done any work see this over here it's all dark that's no good to get this back out to the edit page you want to reverse this so we're basically making I call it a CST sandwich you know it's a color management sandwich so we'll take this one command C command V makes a copy of it and the nice thing about the resolve transform here is it has this button right here swap it it's really nice and handy thing you hit it and it just reverses your inputs outputs it also changes your ootf so now we're back to where we started and we have this little playground right here in the middle to do all of our work so let's take a look at getting a reference still image here to actually paint on over in Photoshop you could use Affinity photo any of those um the main thing is you want to find a a frame here that's going to be a reference for tracking so just pick a frame that you like we'll just keep this simple we'll start on frame zero down here and we're going to export a still of just this Frame the way you do that at a fusion is you right click anywhere on the viewer control click then you have a button here save image should bring up a dialogue box it did pick a good location for it I've got a folder here called demo footage and then within here I like to call it what the shot is that I'm working on so so this is frame FR zero and then there you go I'm going to hit save and so that's exported a float 32 exr image that we can work with in Photoshop as you open exr in Photoshop you'll have the option about transparency there is none so click okay not a big deal and you'll see the image looks basically the same as it does over in Fusion it's one of the reasons I like to export an exr file instead of a PNG or some other format but there's some things you got to deal with because uh the exr is inherently linear um but um being 32-bit float it's not going to work with some of the patch tools the remove tools that you might love and be familiar with so we're going to deal with that but first I want to show you under the edit menu there is a setting here called color settings uh command option K and the checkbox I think is really important to check at least it works good for me is blend RGB colors using gamma 1.0 make sure that's checked and then everything else is srgb okay from here on we're going to convert the color space to actually get to use these fancy tools including content to where fill um you know generative AI stuff with image mode changes to 16 bits per channel so as you do that it's going to want to merge these together and tone map it we do not want to do that do not merge right here okay that would be a mistake we're going to say don't merge and you can see we've changed to a 16bit file it's not floating point it's just 16bit uh to to clone on this this is going to be a quick one not going to go into detail there's a lot of better Photoshop tutorials out there I'm going to hit command J to make a new layer and work on that Z to move into the um The Gray Line here this logo I'm going to remove and I'm going to start with trying the patch tool it's great one just sort of drawing a lasso around the object I want to remove and find a sample of what I want to clone with and I'm just trying to line up that line a little bit I'm not going to do perfect CU tutorial command D hey that's not too bad I'll just say that's good and done for my purposes if I zoom out to one it's like it's totally gone now we can use this over infusion I I personally like to do two things one I like to keep a working you know copy of this so I've got my cleaned up version on the top layer here in the original um I'm just overprotective about keeping stuff so I hit save it's going to save as a PSD that's the layered version right from here I want to save this back as an exr to pull back into fusion and to save it as an exr back out of here after you've done your work you actually need to go back to your mode and change it back to a 32bit CH image okay so as you do this again we're not going to merge don't merge now you're going to have the option under save a copy to save as an open exr file and because I've done work on this and if you've done much before with clients you're going to have multiple multiple versions I'm going to do underscore v001 it's going to save and it's going to ask us what kind of compression to use that's what exr has these great compression formats I'm going to use the ZB format it's the most similar that I found to what Fusion by default sends out click okay and it has saved uh super quick way to get that still plate back into here is I'm just going to open my finder window at the same time find it in my list here this is going to be the frame one that I just exported drag it right on in it's makes it as a new media in one and you can see there's our cleaned up version there's our video version so now I'm going to show you how do we get this to move match color and even add grain at the end we have some movement of the camera and the bus is uh it's not moving a lot but it is moving a little bit and I'm going to track this based off of the first frame that's going to be our reference that's the most important thing is your Clean Plate that you make the one over in as your still image needs to be the same as your reference frame well to get a planer tracker down here in the flow uh anywhere you click is where it's going to drop so I like to sort of pre- Click shift space uh PT is our planer tracker and to track something you have to send an input into it so we're going to go out of the color space transform into here now it'll default going into the yellow input again these move around the position of nodes and fusion does not matter um and to get to start using this I'm going to load this pick and flick this over into the window and we have all these tools up here which let us draw out a shape and then so resolve can use this shape to figure out the movement of the shock and you can use that in a couple ways I'm going to show you so a few rules about drawing polygons on here for planer tracking uh you don't want to include lights things that would change you don't want to include Reflections um you just want to include the same planer surface that the thing's on so I'm just drawing a you know a pretty loose random shape you can see and I'm not getting the lights because those are going to throw things off but the idea is there's Che texture in here that's going to get tracked over the time and we can apply that now that we have a closed up shape we can we can start trying to track it tracking controls are held over here and we have reference time reference time on this again this is going to be our still image frame that we had tracked that's that's going to be Ground Zero so we're going to say set on that and we're going to say the tracker type there's a lot of tracking tutorials out there that's not what this is totally about this is a lot about is the lighting change so I'm going to change this to hybrid Point area and Casey Ferris has a lot of really good ones and I would I would point you to probably his channel for those and motion type this drop down here is important and the idea here is all of these are in order of how complex the information you get out of them will be perspective is the most information and it's usually needed for things like a phone or something that's that's moving in perspective this shot probably is moving in perspective but not so much and the idea is if you have trouble with with these these lower ones try the one that's higher and you might get a more solid result they're more sensitive as you go down the list and the worst thing you want is bad tracking data that you're having to correct so the more solid you can get your track the better I I know on this cuz I ran it already and don't waste your time we're going to choose the sheer option which is the second one down there and we'll just leave everything else as defaults and I'll zoom out just a little bit and we'll start running the track by putting pushing this button right here and un unfortunately you really don't have an idea how well the track is going like you do in mocha Pro as it's going the way you check the track afterwards I mean you could see if the shape went crazy it probably didn't do well but the way you always check a track with a planer tracker in here is you go over to steady and this stabilized the the area that you had your shape on and then so the idea is I want to stabilize or see how well this area is here where the logo is by just placing your cursor on a point on there and then playing the image if it's not moving like left right up and down and skewing all crazy you have a pretty good track so just right off the start we have a decent track that we can use um further down the line how do we use it that's what I'm going to show you next so let me pause we have a decent track there is the first way is going to be let's go back to the track operation mode there's a What's called the planer transform button right here and what planer transform does let's click it it dropped a new note over here in my flow the planer transform if you're used to mocha Pro from After Effects or something it's basically the same as like a aign surface out of there it's taking the entire resolution frame and mapping it based off of the reference frame in fact if you click the planer transform you'll see over here on the upper right if you forget what the reference frame you set was it's based off of frame zero so that's the first frame it's the one we drew everything on so at frame zero it fills the frame there's no distortion every frame after it's going to distort let me show you how you apply this so um you're gonna basically run your image through it you're going to take media out the still image right this is our still that's cleaned up on frame zero it matches our footage right see now to hook this up you take the output of the still image put this into the planer transform and now if you take a look at this it's actually moving the whole image in the exact same way way that the footage underneath it's moving but none of the other people are so I'm going to show you we're basically going to MK that out next but we will merge our Clean Plate on top so to merge on top let's grab a merge tool I'm going to hit shift Space Mr RG gets a merge tool to put it in the flow this is another tip hold down shift drag it in until you get that yellow blue line and it snaps in so we're taking the background input from our footage our main footage and we're going to put the still image on top okay this is the beauty of nodes I love it but it's always running through the planer transform so now when I take a look at it we're seeing the whole image is doing some jiggle so it's you can see it's not not the best track in the world but it's going to be good enough for this however we just want to see the middle section we just want to see the cutout and so we'll mask that off and the way I'm going to mask it off there's a few ways you can pump a mask right into the media end but because we're going to do color correction and stuff it's better if you separate it out and you cut the mask out later down the flow that's what I like to do and there's a lot of ways you can mask this out so what the way I'm going to do it is I'm going to use what's called a channel Boolean so shift space and then B Channel booleans with an S is the one we want and then this has a special mask input as well and it only takes one input that's why I like to use it then we can use this to draw the mask and cut it out so to actually see what we're drawing on I'm going to load up the color space transform okay on the reference frame so I know where I want to this mask to be I'm going to grab a be spine that's this guy right here with that down and that loaded so I can see where to draw I'm just going to click out a shape that's pretty simple around the logo that we moved over in Photoshop shift o closes it and you can see the be spines do they do this rounded curve which is really really handy uh without having to deal with handles and the other thing I was going to point out I'm going do this every time it automatically has key frames on it I don't need that because I've got this thing it's a still image it doesn't move so we don't need that you go over here right click say remove B spline one polyline and now it's not going to move over time and to plug this into actually cut this out take this and we're going to play this into the mask input which because it's a mask kind of knew where to go it doesn't do anything though until you go to the settings tab and all of these that have these these mask inputs pretty much all them have this multiply by mask Button as soon as you hit that it cuts it out so if I take a look at the image here now we're just looking at the cut out from here right so instead of applying it at this point we're applying it later this is because we're going to do color correction before we multiply our mask let's take a look at where we're at in the flow now so we have our going zoom out a little bit so we have our patch apply that we created over in Photoshop and it's kind of working it's it's tracking along but what happens to the image over time when the light gets brighter you can see what is it right around here because the surrounding pixels have gotten brighter this sticks out and this is a problem this this would not fly for pretty much anyone saying that's a a good replacement so we're going to do some automatic color correction to this next you might think when color correction you're going for the color corrector node the curves node and those do have some automatic color tools but what I want to show you today is a technique that I picked up from from veto's channel from like 9 years ago using the probe tool so I'm going to color correct based off of our our still image so I'm going to just color correct this whole thing here to match the light flicker that's in the video we're going to do that with a series of nodes the first one that's going to link to a probe is going to be called color gain shift space color I don't even know the name of it there it is CLR color gain okay this color gain tool we're going to be using the the gain sliders here to look at a probe that we're going to be setting up now the probe modifier is really cool because what it does is it takes like a pixel and and it can analyze it and give you the values of that pixel or even an area and so for this sort of thing we're going to look at the value use the RGB values of a whole area the way you can set that up so that it's controllable in individual channels is actually on the color gain tool itself if you rightclick on any of these this is just a fusion tool thing you can say edit controls and this is going to let you add new parameters to it I'm going to add one that's called um my probe and this is going to ask where do we want it placed well I want it placed on the same one as this gain control Sol choose gain and I want it to be a slider control sure as soon as I click okay it adds a new parameter down here that can be modified this is how you can control new things in here uh to actually add the modifier though you right click on that parameter and I say modify with probe okay modify with probe as soon as you do that a new tab appears up at the Top If we take a closer look at the modifier over here in the inspector it's first as ask for an image to probe so what do we want to probe well we want to probe uh the footage right we want to get the pixel information from this background footage especially the area around where the replacement is where that light is flickering um but it's moving and so the other way we're going to use the planer tracker today is in a stabilized view so just like we used at the steady um view to check how good the track was you can also use the the steady mode to sort of lock it off and it's going to be useful for us in this case as well so operation mode now we're going to change instead of from track it still has the information we need but we'll change it to steady which means when we look through here this area is locked off so I don't have to like Roto a position of a box for the probe to get the light information I hope that makes sense but uh so let's get that information into the color gain modifier image to probe and the way you can load something in here anytime it has these little boxes you can just click hard drag it and then release and it takes the name of that tool and puts it right there so it's saying the probe's going to look at that image and I want it to be a rectangle instead of a specific point when I made it a rectangle you'll see the rectangle box popped up here it's much too large and I'm going to position this right over the center of here an ideal candidate would be like sort of a a gray um area that is taking you know values evenly this this will work fine on this this particular example but if there was a lot of crazy contrast he might put it just to the side or something um and then as far as the channels this is saying what are we actually going to be probing this is looking at the red Channel initially I just want to look at the Luma values the brightness values and that thing is pretty much set up to go and give us some values and you should be able to see we have some numbers that are moving and that's the the Luma value that are coming off of the probe and we're going to be able to use those in the gain sliders right up here what I'm going to do is I'm actually going to connect these red green blue channels to the probe output by right clicking on red connect to probe one red and then you just go to green right click connect to probe one green you get the idea blue connect to Pro one blue and now you have basically multiplied you know gain is a multiplier um based off of the color values from that modifier probe you can see it is it is in fact flickering but it's all dark and so the way you get this back based off of a reference frame again we talk about frame zero is our reference is you actually apply uh you lock in a white point for that frame with these values and the way you can do that with the tools that are built into here without doing anything extra is you're going to I'm going to do this with three brightness contrast nodes okay shift space BC now that we've got one there I'm going to hit command C command V command C command V you get the idea is three in a row and the reason there's three is I'm going to do one per channel so I'm going to you have these high and low values here this is what's going to allow us to lock off a a white point is the high value so to actually see multiple nodes at once if you if you didn't know you can click the node that you want to see all the time there's a little pin button up here so if I click pin here that's going to be useful because I can go to my first one here and my first brightness and contrast and still always see this tool available because what you're going to do is you're going to copy and paste the red value command C and I'm going to paste that into the high value of the first brightness contrast on the frame this is the important part on the frame that your still image was painted on because that's the one that matches the background footage and then I just want to apply this to the red Channel only okay now you go to the next one so what do you think we're going to do the green Channel next so on the next brightness and contrast I'm going to copy the value on that frame that's the reference frame into the second brightness of contrast the high value paste and you going to hit return or whatever to lock it in and this one's green only so I'm unchecking everything but green the next one we got blue so we'll take blue Channel copy that value go to the high point I'm still on the green don't go to the other one so now I'm on the third one High Point paste and this one is blue only and then if you take a look at the color gain you should see if you did this correctly you'll see a matching image from this color gain to your media N1 those should look the same for the reference frame but now you've applied an animated color correct over time that will pick up the you know everything from the probe to see it in action you can click the merge that's your comp right let me Zoom this out so you can see the whole thing a little better so we've got media in RGB white points color gain with probe we've cut it out and we did all the color CR before we cut it out was important then we move it with the planer transform right before it goes into merge now if you take a look we've drastically improved that patch right there it is still slightly visible and we're going to take care of that with a a couple other steps of modifying that mask but if you look at all of this without the color gain if I select those noes and hit command P you can see it has gotten us very far very quickly you know without without having to manually go in and dial and gain values on every channel to get that thing to match now the cool thing about mask infusion one of the cool things is on the beastline itself I'm going to click that is you actually have two softness values so if I pick and flick this over into this area over here you can see there is up here soft Edge by the way we don't need this pin anymore so I'm going to get rid of the color gain and just take a look at the beastline you have a soft edge here which is which is basically sort of blurring out the edge in both directions but it's all the way around you also have control with what's called a double polygon but they're a little bit tricky to understand how to set up and use and so I'm going to show you the way that I work with them and so why don't we go to our frame right here so we can sort of see what we're working with on the image itself it doesn't have to be loaded but it does need to be selected right click and then you can say polyline done meaning I don't want to move those points okay but I do want to add a double double poly like right here this button right here this little special thing is called the double poly so this is the double poly section you've made it to in the video congratulations on the double poly I don't want to add new points as well so if you right click down here we now have an outer poly and this one I want to choose to modify only now that we've done that it should have automatically selected those points the outer polygon and you can pull those out so it's creating a feather if I take a look here you can see what it's doing it's creating a feather that I'm controlling uh how much that is bleeding in so if you look at the the comp version and you want to look at a different frame or something where maybe you sort of saw an edge this is how you can can blend that a little bit uh smoother you know and you have the ability to use soft Edge and the double poly at the same uh time to to get a better result so that that looks pretty good to me I think it's that's pretty pretty invisible for for a logo replacement however you can do even better so this image right here has no grain on it and the footage has been D noise that's an important thing to start with all video footage probably should have grain on it so that's a great last step it's another free tool that's in Fusion so shift space film grain fgr is going to put some grain over the top of everything and that blends that in too so it's like you never even knew that was there it's very strong to start so what I would typically do is I would take the size and just just pull this down and if you feel like you want to have finer control if you hold down command when you drag it gives you uh you know more control and it just needs it just needs a touch if you want to see it quick before and after what where this came from maybe even before the grain let's look at the merge result right here you have buffers I've talked about this before we're in the a buffer if you go to the B buffer there's nothing in it we could send our original color space transform over there oh and I'm glad it this because the other thing to know is these buffers have their own gamut viewer so you got to turn that on for both buffers and make sure that they're set correctly in fact I want to show you so you don't have to set that every time if you right click on these you can say settings save default so next time I go to add that I don't have to change that from Asus that can get annoying and the smooth resize was turned on for that but not the other to see the split buffer split wipe and option command click in there and that takes you gets you that point option command click so you don't have to go find it somewhere else and drag it all around and so you can quickly check your work to see is it invisible what we did I think it's pretty damn good I think it's pretty darn good I'll say that and then when you go back out to the edit page you'll see because we had this inside this uh CST sandwich this color management sand sandwich we should be looking at the slog 3 S gamut Sy footage like we had never touched it before and if you take a look a little closer you can turn off up here you can turn off your Fusion effects and it's just like we added it in there and it Blends super nicely so it's a very good non-destructive workflow real quick one last thing that I forgot to turn on earlier but it's really important anytime you move something that is still is to turn on motion blur so the planer transform tool itself is the thing that's moving this right but there's no motion blur on by default you need to click the planer transform go to settings and then You' got the motion blur tab right there and you can see this is going to blend it much nicer turn the quality up to 10 cuz who wants a quality of two I mean for real and then once you see your final output it will match the shutter angle and everything and it'll blend much much nicer and so basically these three brightness contrast nodes with the color gain is essentially the curves tool from nuke if you're used to Nuke at all this is how you can match exposure for clean plates uh I got a lot of help with this one the original idea came from veto who has the confusion uh YouTube channel uh but he's using an expression and expressions crash the probe right now I think it's been broken for a little while and I learned that from Milo Labs who has also been super helpful in in figuring all this out as well as Brian Ray who's the one that pointed me on to the idea of using the edit controls to the extra parameter and then link the probe RGB values to that these guys are brilliant there's so many people out there sharing great information I'm Chadwick I am a diin resolve master trainer but I'm learning so much from everyone like you and because there's so much more to learn I'll see you in the next video

Channel: Creative Video Tips

Views: 9,141

Keywords: DaVinci Resolve Tutorials, Resolve Tutorials, Speed Editor, DaVinci Speed Editor, Video Editing Tutorials, How to Edit Video, Creative Video Tips, Resolve Studio, Video Editing Tips, How to use DaVinci Resolve, devinchi resolve, davinchi, davinchi resolve, Blackmagic Design, Collaborative Editing

Id: MHCeYei6uns

Length: 31min 46sec (1906 seconds)

Published: Thu Mar 14 2024