Match Move DaVinci Resolve - EASY Sky Replacement [NO FUSION] NO INTRO

so in this episode i want to show you a really effective way of taking this sky and changing it into this guy and we're going to do all this in the color page there's no fusion no edit page so let's take a look so here's our completely ungraded shot and you can see i've done two nodes already so the first one is just a base grade so i've done a little bit of lift gamma gain small bit of offset a little bit of saturation in there and just just a few little tweaks to get it in a half decent place and on this second node here i've just isolated the bottom so if i just show you that power window there you can just see i've done a window just highlighting the bottom bit because it was a little bit dark so i've just lifted that so that's as far as we've got so i'm going to add another node so that's option s and then i'm going to add a layer node to this so it's option l now this node here is going to be our sky replacement and this node here will be the control of the building so i've already found my sky replacement that's sitting up here at the minute in my media pool now in order to make this work we need to key out the existing sky so i'm going to go to my qualifier and what i'm going to do is switch on my highlight so i can see what's being qualified and i'm just going to literally sample all this range here now we need to fine-tune this so let's go down to our tools here and what i'm going to do is start off with checking my width here and we're in a very good place there already so i've got a really good key here so i just need to check these edges down here so let's have a look at our saturation and what i tend to do with this is just push and pull till they break and then once it's broken just pull back again so if i go to my soft here sorry my high saturation and pull let's have a look at luminance now if i've come down here so that's just gone too far now that's breaking so i'm going to go back to where it was and let's check our high range that is all sitting pretty good there's the breaking point so i'm going to pull that back again just check my saturation again check my width and what i'm going to do here is just come down here and take a little bit of much to this because i'm going dinosaur fine tune this soon so the clean black and clean white and a little bit of blur radius as well but we can fine tune this once we've got the sky in so that's looking like a really good key now let's take the highlight off and what we want to do now is bring in our sky so i'm gonna bring the sky this is just a jpeg this is uh six thousand by four thousand pixels i'm just going to literally drag and drop it straight on to my node area and it now thinks it's an external matte now these four blue squares here represent the alpha channel output of what would be a matte and the green square at the bottom is just basically rgb out so it's the full sky image so if i take the output of this mat and join it into here it's not going to work so what i want to do is add an effect to this to give me the right controls now if i go to my open effects and scroll down there's an effect called match move and this gives me the ability to join this sky to our key that we've got and here it says mattress so i'm going to drag and drop that on to my node that we've done the keying on i'm going to right hand click and now i have extra menus in here so we now have the ability to add an ofx input now this has happened because we've put the match move on that node so i'm going to switch that on and it also wants to disable here it says use ofx alpha i don't want to use the ofx alpha i want to use the alpha channel that we created on the node using the qualifier so i'm going to take my rgb out i'm going to feed it to the ofx in and now if we come to our match move tools if i go to the composite you can see our sky is now composited onto the image so by using match move in the open effects library and adding it to this node it created this extra input the ofx input and that's allowed us to take the feed from here into this node which is giving us this result now what we can do is use the match move further because the tools in here allow us to line up the sky really easily so at the minute we're in compositing mode so the composite mode shows you the results of the effect but if we just pull down here we can go to positioning and what we can do now is use the match move to position the sky so this grid here represents my full screen jpeg and what i can do is literally move it anywhere i want so what i'm going to do is i'm just going to middle mouse click and zoom out because if i switch this back to composite mode you'll see that the image is actually too small so we need to expand the size of it so i'm going to go back to the positioning and i'm going to expand this grid like this so i'm literally stretching the image now now what else is useful is in the output it's currently set to disabled i can actually set it to the composite so i can actually see the sky as well which means i can actually choose the best bit as well so at the bottom is actually quite interesting there with those little sort of fluffier clouds so i'm just going to position it somewhere around about there so that's why i like using the matchmaker i can see literally what's going on now if you want to switch this grid on and off you can switch the effect off here and you can also do that using your shift and tilde command so let's reset that back to best fit okay so it's looking good so what we can do now is start color correcting the sky to match a little bit better so the color correction for the sky is all still done on this node here so if i come down here we can have a look at our saturation let's just dial a bit of saturation back maybe let's have a look at our hue control just see that we're really getting the best out of there and one other thing i like to do when i'm doing any sky replacement is just blend it back a little bit with the original sky now the easiest way to do that here is to go to our node key go to our key output and just dial back the gain so if i go fully back that's our original sky and there's our new sky so somewhere around about there and that is looking really good so if we want to adjust the building if we click on this node here we can now go in here and make any changes that we want so we can lift it up a little bit and it's always worth a tweak after you've done a scar replacement because you you might want to see how it balances with the new sky and we could now go in here and fine tune our key as well so we go back to our qualifier and just check our denoise let's clean our blacks up i'm going to just zoom in a little bit there just check what sort of key we're getting so just middle mouse click and it's looking really good so i'm going to put that back to best fit and have a look at that before and after now that's all good and well because that is a static shot so it's pretty easy to do but if i move on to the next shot which has movements in it this one here you can see that we've actually got a little bit of panning going on so what i'm going to do is i'm going to show you how we can go one step further with the match move tool now i've got exactly the same setup it's exactly the same grade and what i'm going to do is just show you if i go to the composite there's our sky and i'm just going to play that through so you see that the building moves but the sky isn't moving so how do we fix that well it's really easy click on the node that we've got the match move on already so this is exactly the same setup as we had on this clip and i'm going to go to not positioning this time but i'm going to go to tracking and what we're going to do is just change from not our qualifier tool but to our open effects overlay tool and you see now we've got this little plus sign and what i'm going to do is just grab a couple of tracking points so if i click on here now the blue that's coming up is indicating that it wants to track the blue channel so what it's doing is looking for the best channel at the rgb that it thinks is best for the track i'm going to click another point here again it's gone for the blue channel and i'm just going to track that forward so go to my tracking controls here i'm at the beginning so i'm going to track forward so you've got reverse track forward track and that's now analyzing the tracking points and all i have to do now is change from tracking to compositing and now you can see that the sky is moving with the building so that is now tracked so the match move tool gives you a really quick and easy way of compositing images in the color page and giving you some tracking on those graphics as well so if you enjoyed this episode hit the thumbs up drop me a comment i always like to hear from you look after yourselves and i'll see you in the next episode

Channel: Darren Mostyn

Views: 26,928

Keywords: Match move resolve, resolve 17, davinci resolve, resolve17, how to use resolve, editing with resolve, learning resolve, tips for resolve, colour grading, color grading, killer tips davinci resolve, killer tips, sky replacement, how to replace sky in resolve, sky replace in davinci resolve, OFX, how to use Resolve OFX, How to davinci OFX, which OFX are in the free version, match move davinci resolve, ofx plugin, Tracking sky, How to track objects in davinci resolve

Id: 6ZsiCJSdOQw

Length: 8min 54sec (534 seconds)

Published: Wed Mar 10 2021