Import 3d model WITH ANIMATION into Davinci Resolve!

in this video we're going to take a 3d subject and put it into our scene and incorporate it in our footage to make it look like they're actually in the footage our very first step before we to actually acquire the 3d model there's many places that you can do this one that I like in particular is miksa mo here and that's by Adobe so let me go ahead and sign into my account so that you can see the options that we have on this particular website this particular video obviously won't be a review of this website so I'll kind of quickly go over some of the things here as mentioned you can always get the 3d models anywhere on the web I just particularly like this one here we have the animations let me head over into the characters I'm going to choose a character here and then obviously we can come over to the animations we'll go to search maybe we'll choose something like dance and we have hip hop dancing there so we can choose this for an option we can make the adjustments over here again this isn't a review of this particular website we'll come over to download now wonder format you have a few options you have FBX which is pretty common FBX for unity and the last option there which is Dae and that's actually the one that we're going to choose the others they have their function they have a lot more nodes we only need this for one specific purpose and with this particular format it will give us the mapping that we need we'll address this a little bit later in the video but just suffice to say that in this particular case if you're going to use this website you do want to choose this option here all the other settings will leave the same obviously if you wanted to adjust this you can do 23 24 frames per second if that fits your timeline unless you are doing it for 30 the keyframe reduction not necessarily this is all stuff that you can look into and then will click on download now there is a little bit of a catch here and one of the best options that we have to use in Fusion is something called Alembic but as you saw we didn't have that option here on this particular website if you were to look for this and looking for character animations such as we're seeing here alum pick would probably be your best bet because of the way that it Maps the skin and because it uses the animation more effectively so what do we do now there is one more step in this particular case using this website that we have to do before we bring it in to resolve and that additional step is to open up this program here which is blender which is an actual 3d program trust me there's not too much that we have to do here so this will be nice and easy I'll click in the screen here let's hit delete to delete the box come up to file import and then we'll locate that Dae file that we just downloaded from the Adobe website again the reason that we're doing this is because resolve doesn't actually import these files we don't have to worry about making any adjustments here you don't have to go into any of the other workspaces all we have to do is come up to file export and then Alembic if we come down to the bottom here let me scroll down a little bit you can see that it includes a few things here just want to find a directory that you want to send it to and then we'll just hit export Olympique and that's all we're doing in blender blender is a free program so you don't have to worry about buying something new just to get this done and one more time you don't have to do this if you just download an Alembic file so now let's go ahead and head over there into resolve so in order to get started the first thing that we want to do is come up to the effects library and then from here I'll choose effects on the toolbox I'll choose fusion composition let's go ahead and just drag this into the timeline and there we go now that we have the fusion composition I'm going to head over to the fusion workspace I've already imported the footage that we're going to use for the background right now when you create a fusion composition without creating one using footage that you already have in the timeline this is what you see on the fusion workspace you just have the media out so we need to put a media in we need to feed footage into that media out heading over into the media pool I'll grab that footage and drag it down into our node tree area I'll drag this up to the left viewer and there's our footage let me go ahead and screw up through this and just for good practice I'll leave it at the first frame so we'll leave it there how close the media pool window because we don't need that at the moment you'll see right now that the media out isn't showing anything we have a white circle on the right-hand side which is supposed to be the second viewer but nothing's there obviously that's because we haven't hooked anything up we do now there it is they both look exactly the same of course because we haven't made any adjustments from here I'm going to hit ctrl in space and that brings up our list of tools where I'm going to choose now is our I'll type in tracker and that brings up our tracker options what we need here is a 3d tracker because we're going to put it in 3d space what that is is the top one there it's the camera tracker so select that choose add now you can actually put this wherever you want for me I usually put it up top here and then I'll connect the D out from the media in into the tracker I'm going to left-click on this drag it up until it's in the left viewer you can see up here it says camera tracker so now we know which node that is on the right hand side you see the different options that we have for the camera tracker again we want to make sure that we're at the first frame and then here I'll choose Auto track so that we can actually track the footage just so you can see what we're doing I'm going to click over here so we just have the one window and let me make it a little bit bigger here the next step in the process is to come over to the third option in the camera tracker and hit solve what solve basically does is let you know how good all the tracks that it determined that you needed effectively help your scene you'll see what I mean in a moment let's it go ahead and click on solve okay now we have our results we don't necessarily have to worry about too much there are a lot of adjustments you can make depending on how well yourself comes out the thing that we're primarily focused on is the average solve error right now it's 0.9 four seven eight let's go ahead and make some adjustments if we look at our tracking points in the main window here the green is good yellow is not so good and then the red is probably not the best options that you have there is some orange so what we can do to help improve this solve error is select a few like this I'm left clicking and dragging they'll highlight with that yellow and I'll hit delete on my keyboard so let's do this a few places here and maybe some here I'll drag the timeline and you can see there's a little bit more there's a red one here and another yellow one so let's do that I see some more here I'm gonna delete those is it red one orange and a red one and you can see exactly what we're doing so continue through the footage there are more automatic ways to do this but I find this way to be more efficient you can come over here and adjust the TREC filtering I don't mind doing it this way and I it's more visual for me so let's go ahead and select those do this we don't really need that cuz we're more focusing in this area maybe it down here so let's get rid of that red one and then maybe these two up here now that we have those let's hit solve again and see what result we get this time okay now our average solve error is 0.51 anything under one is pretty good before we had point 9.5 obviously is much better we can continue to refine this and make it much better for what we need it for 0.5 is going to be perfectly fine honestly we don't need the tracker anymore we can just leave it connected it won't won't really affect anything that we're doing I mean just this window here bring up the tube view the last step before we import our 3d footage and we will come back to this effect in a little bit is we're going to apply these settings so that it creates notes for us so we'll come over to the 1/4 from the left and then choose export we have additional notes that were created I'm going to select them and drag them over to the right here and we don't need a direct line from the media into the media out so I'll disconnect it from here and drag it from the camera trekker renderer which is the last note in the line there over to the media out as mentioned before you won't really notice too many differences between the two because we haven't done anything to cause a huge difference between those two outputs I do see the plane in here if I scroll in here you can see the plane that we're going to put our subject on we don't need to see it so for the time being let's go ahead and come into the ground plane down to visibility and let's turn that off at a time being next thing we can do is come up to the top where says fusion go into import and then choose Olympic scene I'll find my motto select it and click on open the way this looks is perfectly fine we don't need the cameras in this case the meshes au V's normals all that stuff is fine so leaving everything the way that you see it I'm going to click on OK and if I drag this up Feuer you'll see what we have here and that is a 3d model that we downloaded from the website obviously this doesn't look correct and we're going to fix that right now the next step is dragging in the diffuse PNG that we have and this will just apply the skin basically to our model here so if I drag this down and let's bring it up to the second viewer you can see what's going on here now of course this looks ridiculous but this has to do with UV mapping and things along those lines you have something like this and the UV mapping essentially tells the system how to apply that to your mesh that's outside the scope of this video let me go ahead and show you how we can apply this to our particular model I'm directing this to the left I'm going to right click and choose rename let's go ahead and call this 3d model and then I'm dragging this the output of that into our new options down here and if you look up here let me close the media pool it's applied that texture onto our 3d model now because these are essentially all the same thing I'm going to select these three at the end choose control G to group them together and that way it's less confusing when we're looking at it now I'm going to click on the merge 3d and bring it over here into this scene and then I'm going to take our 3d model and then connect it up to the ground plane because what we want to do is attach this 3d model to the floor that we're going to attach to our 3d tracker you'll see what I mean in a moment so let's drive the out from here into the ground plane now if we scroll in 3d model down there okay so in order to adjust this what I'll do right now is drag the media out into our left it doesn't matter which if you were you put it in it's just a matter of keeping track of which node is in which viewer so normally I'll have the media out going to the right it doesn't matter I'll drag it over here to the left you can see the obvious option it's kind of mirroring what we're seeing on the right hand side and our model is basically laying down I'll select our shape node down here and you can see our 3d options the z-axis is blue the x-axis is red and the y axis in this case is Y so what we need to do is rotate on the x axis we basically want to keep that level and rotate it up let's come over to the transform options over here with the translation which is left/right and rotation which basically speaks for itself I have the first one selected the XYZ which is actually the default let's come in here to the X as mentioned before and rotate it on the x-axis and in actuality we don't have to guess where this goes what I'll do is double click so everything's selected and I'll just type in 94 90 degrees if you look in the left hand viewer you'll notice that it's a lot more realistic and our model is standing upright okay we have a couple more steps let's come back into the camera tracker now and I'll drag the timeline indicator right about the middle right about there is good that's fine it doesn't necessarily have to be directly in the middle I think that should be sufficient because we're going to make a ground plane over here we're going to tell the system what part is the floor we need to make sure that the camera tracker node is selected we'll come over to the right-hand side here the 3d scene transformation well expand that change this from a line to unaligned and now we have these set from selection options as I alluded to a few minutes ago let's select these because I want that to be our ground plane obviously because it looks like it's on the ground and it has a little bit of depth we have some that I were a little bit closer to the camera a little bit farther away so we'll come over into the orientation selection XZ plane and that's the ground there's another option for wall which is the XY plane we need XZ plane set from selection now nothing happened but as long as you clicked on that you can rest assured that something did happen you'll notice on the right hand side that all the numbers change there and with that same selection let's come up to origin and hit set from selection same thing nothing happened with our model but all the numbers on the right hand side here changed so in order for this to actually do something we have to come out to update previous export and there you go now our model appears to actually be standing on the ground there's a couple more things to address and then we're basically done so if I screw up through this footage here you'll see how our 3d model here appears to be going off-screen in order to move our model we could obviously come into the options here for the actual 3d model and use the translation to move left and right and adjust all these parameters but we can also just drag the 3d handles that we have let me show you what I mean if I drag this up into our first viewer we have the 3d models and you can see where we have the X Y & Z options obviously the proportions on this are a little bit off that's perfectly fine I'm holding down alt and moving my middle mouse button so this sort of mirrors what we're looking at on the right hand side what I'll do now is grab this X option and drag it to the right and there you are now the 3d models more in the scene if we come over here drag it around we'll notice that our subject stays in frame throughout the entire length of the footage now in this case the subject doesn't intersect with that big stump in the middle of the big tree stump in the middle of the scene there if it were to do something like that I do have another video I'll link that in the description below and that's where you would just either make a mask with in the fusion tab or in that video all I do is create a second instance of the footage and mask out the part that we wanted to keep up front right now we only really have one more thing that we have to do and that's just blend our subject into the surroundings now with this particular video we're not going into too much depth with ambient occlusion and environment maps or anything like that we're just doing a quick effective way of getting our subject into the footage so the last step we only really need the one window I'll bring this town just a little bit drag on our media in which is our background footage up here we have our color corrector node I'll drag that down next step I'll drag our 3d model to the left because what I'm going to do is disconnect the connection to the actual shape you'll see that now anything that we met before isn't there I'm going to put this into our color corrector node and then down here and then we have our skin back now obviously we come in here we can make some adjustments you have the option to manually do this but there's actually an automated option too we have to do one more step before we get to that point though let me reset this I'm going to take the media in and then also connect that to the color corrector node on the right hand side with the color corrector node selected I'm going to change it from colors to histogram let me zoom in a little bit here and then change histogram type from keep to match so quickly essentially what that did was analyze the scene and it brought in the colors it doesn't look perfect here there is an option here to match the luminance we're not going to touch that in this case the match RGB is all the way at one I'm going to drag that down a little bit because I want the effect but I don't want it to perfectly match the background so let's fly that a little bit to the left and that's a little bit better so if I disable it you can see what we had before and now it fits into the scene just a little bit more because in reality any of the colors with the light rays will be bouncing off these different objects and then reflecting back into the person it just places the subject more into the scene this may be outside the scope of this video but it may be obvious that this subject is on top of the ground you could always come into the color tab and make a window and blur it out a little bit but here we are back on the edit tab obviously you can make some additional refinements you can actually go back into the color corrector and adjust the contrast or any of those options there maybe adjust the colors if you need to add a second node things like that but for a quick option to add models into your footage this is how you do it as I mentioned before we could always come up to the media pool drag his second instance of the footage down here let me shorten that up come over into our color tab let's create a window I'm going to right-click add Alf output there's our footage I'll come down to softness let's adjust the outside and then if we come back to our Edit workspace you can see how the feet blend into the ground there obviously you could refine that a lot more and then one additional step that you can do to bring everything together is maybe come over into the effects tab set a fusion composition we can use adjustment clip so I'll select that come over into our color workspace come here and then maybe just select a particular LUT and there you are now you've basically tied the whole scene together and it's a little more seamless thanks for watching if you haven't already I'd appreciate you subscribing to the channel if you like this go ahead and share it with some people that you think might be interested in it too all the links to my social czar in the description below and I hope to see you guys in the next video

Channel: Post. Color. Gear.

Views: 31,830

Keywords: 3d model, davinci resolve, davinci resolve 16 tutorial, davinci resolve 16, compositing, alembic, davinci resolve tutorial, fusion 16, fusion 16 tutorial, 3d import

Id: AryqtdlbYb4

Length: 23min 0sec (1380 seconds)

Published: Wed Jun 17 2020