Remove unwanted objects from footage in DaVinci Resolve Fusion | Magic Mask

hey folks today I'm going to be diving a little bit into DaVinci Resolve Fusion I'm going to be taking a clip and replacing the background or altering the background to make it fit better with this story so let's dive straight in and see what I'm talking about you can see in this original clip here um we've got some cars driving around in the background and at this point in the story this is a clip from my short film bombs away that you can watch here on YouTube at this point of this story this character is uh you know all alone in a parking lot and uh you know the the world's about to end and there's this you know siren going on and so it's really weird for there to be like traffic going on in the background there was this really cool snowstorm we were out filming it's the perfect shot except for obviously the cars driving around the background so we're going to be getting rid of those and we're going to go from that to this where there's no cars driving around in the background so I'll jump into a blank timeline and start from the very beginning I'll drag my uh original clip in and we can watch it through yep Mary I'm trying to get into the building not working cars are driving behind me so let's select the clip jump into fusion and we'll see that the same thing is indeed here in Fusion so this clip was shot in Canon log 2 and you know that gives you a lot of dynamic range but then when you're working in visual effects and all of that like it's uh still gonna be gray and look bad and you can't really tell what's going on um and so I'm including this part of the video it's not strictly related to the background replacement but it's something that I wasn't super sure about and so I looked into how to deal with like color management or you know how to properly do visual effects with log footage and this is something that I thought was pretty cool so I'm going to show you how to do it so we're actually going to jump into the color page and make a viewing Lut in the color page as you might know anything you do in the color page uh isn't necessarily reflected in Fusion so you see I just raised the exposure there jump back into fusion and it's a still dark but that's okay we're gonna make a viewer let and this workflow this left to right you know visual effects then color that is reflective of how you want to be working right you want to be leaving your color for after you've done your visual effects so you can make sure that it you know all matches in but you do want some sort of temporary way of seeing you know close to a finished look or at least some sort of like Rex oven on Rec 709 look and this is how to do it so we're going to be uh you know raise the exposure a bit let's add a color space transform to it input is Canon Cinema gamut Canon log 2 output Rec 709 I'm going to bring the lift down a little bit and of course like I said before this doesn't need to be perfect this just needs to be a little bit better than just looking at log so here you go this is good enough for now we're going to right click on the clip here go to generate let 65 point Cube save it I'm going to call this uh viewer VFX shot001 yeah I don't know you're going to want some sort of naming scheme for your project but whatever just call it whatever for now so let's jump back into Fusion and go up to this icon here this is where you can load in Luts as you can see drop down arrow right next to it edit browse find the thing that you just did I think I called it yeah this is the right one and voila this is just a way of uh viewing it in the fusion page specifically so you can disable it and enable it at any point this icon here this is just a good way of seeing what you're doing rather than working in log space or seeing it in log space you still are working in log space which is great retain all that dynamic range another way you could do this is with color space transform nodes here in the fusion page this is going to make it a little bit less complicated so let's label our nodes here just so we can stay organized so the big trick at play here is that we're going to be masking our subject out and placing it onto a background plate that we filmed on the same day when there isn't Cars Moving in the background but this is basically how I did it for the final film and it's uh not that not that not that bad um rotoscoping sounds difficult but luckily there is this magic mask so I uh just did shift spacebar to bring up the select tool dialog I'm adding that I'm going to drag it in here between our subject intermediate output so all I'm going to do is I'm just going to select the subject that I want to rotoscope paint brush here and look at that and now I'm going to let magic mask do its work and I'll track reverse back to the start so this does take a while going frame by frame but it is a lot better than you doing it frame by frame right and so I just watch it babysit it a little bit make sure it's not going off if it does go off you can stop it say yes and then make your adjustments by adding or subtracting to the selection as the case may be then you can resume tracking okay and so I noticed that there's a problem here I put my hand in my pocket but it's not reflected in The Mask so I'm going to go to the first problem frame make sure that the selection is good here looks good and continue tracking reverse so we've got all of this masked we'll go back to our first frame here that we selected and track forward from here watching for any issues just like before and now at one point the car comes out from behind me oh there it is so zoom in scroll wheel plus command I'm going to be removing that bit make sure that we're still marked drag forward a frame there's a little bit of the car through there but we still like that check forward a frame okay I think we are good to continue on and you can see that it's not necessarily looking great up here by my face uh that's okay if you need perfect Roto for your shot in certain places uh maybe magic mask isn't the right Tool uh but I'll show why it's okay that it's not a perfect Roto for this particular shot we actually don't even really need my face uh rotoed at all for this shot because all of the problematic car movement is happening kind of in this area like below my eyes and hair that's helpful for this shot all right so tracking has completed we've got our Roto shot you know it's a magic mask did a pretty good job that would have taken forever if you did it by hand so we've got our rotoscope footage and now let's bring in our background plate that we shot so let's just uh take a look at what this is in our viewer and I'm pressing uh one and two to load this into the the single viewer I've got single viewer mode enabled um and so this is this is the background plate it's just about 58 frames of you know snow falling in the empty parking lot with uh no uh movement behind and uh it's only 58 frames long once we get to frame 59 it goes blank for the rest of the 312 frame composition here and that's just because this this clip is only 58 frames long going to rename it here to BG but we can make it we can extend it to the end of the whole composition just by pressing Loop here and we can press play you can see that just keeps looping I don't see the loop point it's got the nice motion of the snow perfect perfect for us you know one way of doing this effect could be that you just have a still frame of the blank background and the you know rotoscope your footage over that it's nice to have this kind of movement in there though especially because it's the middle of the snowstorm you get all the snowflakes going uh so that's why I'm going this round so let's start adding these two things together I'm going to put the background into the background node the subject out the the output of the magic mask into the foreground here of the merge node Let's uh disconnect that and then connect the output of the merge into our media out and look at that I have been added in over the background footage and so this is the basic principle here but like I said earlier the magic mask for as good as it is is it's not a perfect rotoscope um it does a pretty good job but it's not perfect but the good thing is is that the problematic bits of our original footage all kind of take place in this one kind of region of the of the composition it's kind of this middle composition here so we don't need the Roto to be perfect everywhere we only need it to work in this like limited stripe here and the good thing is that it worked out for this clip is that um the Roto doesn't need to be perfect around my face and hair and glasses for that we can just comp back in the original footage because there's not a car coming out of my head that works out well for us so I'm just going to copy and paste the subject footage and again I'm going to drag this over the output there to automatically make a merge node and then I'm going to get a polyline out here and I'm just going to mask out the problematic areas of the original footage so again we're watching through this we can see that the cars pass through left to right here there's a problem back here there's a problem here and yeah you can see there's a you know car through there so let's draw our polygon here so we watch it back and forth does all the movement take place in this region cool so let's actually connect that polyline into our subject we're going to want to invert that mask soften the edges a bit so we can blend it together and then when we view these together we can see that we actually have this looping background of no cars replacing where the you know the cars the cars are so we're we are right on the right track obviously as you can see here the focus isn't quite the same it's kind of kind of has a weird like tilt shift effect or like a weird split diopter or something I don't know kind of looks cool but it's not the effect that we're going for but luckily we can just drag a blur node between our background node and the first Nerge node merge node not merge mode um look out y'all I'm going nerds mode we're going to keyframe the blur over time so let's find let's just drag up the blur until it looks about right I'm kind of looking in this region we've got detail on the the parked cars and the building there then I'm just kind of trying to make it look like uh they go together keyframe and I'm jumping around 20 frames at a time making sure it still looks good as I'm when I'm closer to the camera that's when it's going to look blurrier kind of automating a rack Focus here autofocus is no replacement for a focus puller shout out to all the second ACS out there I'm adding these keyframes every 20 frames even though it still looks good because once I once it does eventually start changing like I don't want it to slowly drift over those like 100 frames where it was the same you know I want it to be in line with the actual camera is doing so we're basically done with this but I'm going to add one last ingredient to all this if you zoom in real close you can tell that there's a you know a difference between the look of the comped background in the original plate and it's a it's good it looks a little bit noisy and then if you look here you can see that original Roto not looking the best so let's let's address those so let's copy our original footage in again merge it over let's get a um polyline out and what we're going to do is let's address this sort of harsh Corner first so we're just going to comp my my head in again um and it's really just kind of like a stripe of my head but we just want to you know make sure that we don't have too bad of a harsh harsh line from the magic mask again so we're going to kind of do what we did before with the blur and we're just gonna go through the footage this this doesn't need to be very exact the only times where it needs to be exact are when the actual car is uh like passing like through this area Okay cool so let's now address the um the difference in noise level right we've got here's an example yeah okay so you can see here this is uh the original footage and this is the comp background plate come to background plate looks too clean so let's do it after the blur node let's add shift space search for grain and drag it between there obviously not that much it looks about right um and we need to add some chroma to it now we have our final shot so let's just walk through what we're what we're doing with the nodes here from start to finish we started here with our subject node the original and then we masked it out to isolate the subject and then we merged it over our background node and then we started adding in the original footage again the uh the subject plate in the in in the spots where uh the cars weren't so we could still use as much of the original footage as we could and then we added you know my head in into it and that's just to sort of dip down below the uh this bar here where my face was and we merged it all together we added some blur to the original footage to match the camera focusing as I was walking closer and farther from the camera add a little bit of grain to match the original footage put it all together and we've got our final shot and then again this is all in the log space so we didn't we haven't done anything destructive to our color space with this we head back to the edit page and see that it is all contained in this Fusion composition so that's how you fix a background if what you've got is exactly what I had in this situation hope you enjoyed thanks for watching

Channel: Brand New Extra Good

Views: 8,514

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Id: cP5F76iQuss

Length: 16min 48sec (1008 seconds)

Published: Thu Jul 20 2023