SAVING Magic Mask + TONS of Resolve Pro Tips

saving a magic mask result to a file that does not need to regenerate can be actually as simple as adding a saver node going to the fusion menu bar and hitting render All Savers and saving an alpha Channel this way is great because then you don't have to retrack the magic mask whenever the clip is duplicated or on a new timeline today you're guaranteed to learn something new chapter Mark topics include rendering with handles and fusion magic mask AB drawing checks the best exr format for saving Roto mats for future refinement you know to get it really precise using the bit map node to reduce the exr file size mask paint to fix any sort of flickering that happens from Magic mask the double road trick to fill in holes using shapes to both subtract or merge from the mat and then finally how do you copy the exr alpha mat back into the RGB image with the matte control node oh and how do you directly take this refined mat to use it on the color page for precise color control I'm going to wrap it up by looking at how do you use all these skills to get a broadcast quality blur on overlapping background objects that could be used for things like hiding legal issues or simulating some added lens blur all right so the clip I'm working with today is this 4K clip where there's a woman that walks in front of a logo maybe we need to blur that out and let's just get this straight to our timeline and something I want to point out right off the bat is we're going to be you're going to be trimming your footage right so let let's say we want to trim the footage so it's starting right here and maybe it continues to go off screen till something around here I'm hitting shift left bracket to to just trim that right up to the play head but the point I want to make here is because we've trimmed this out if you want to have magic mask continue beyond these bounds so that later on you can extend this and still be able to have some of that magic mask available a common standard handle length which means that extra space beyond the trim point is 10 frames and so I'm going to show you how to render into the 10 frames and the other thing that's that's really important to understand here about doing magic mask and why I choose Fusion to do that is this idea that this clip right here if you look at the inspector it is uh 4K pretty standard right but typically I like to always edit on a 1080p timeline so if I click the timeline over here you'll see the timeline's 1080 well if you do anything in the color page that that's going to be working on the 1080 image and I want work on Source rest so I don't use Fusion Clips I go directly to the clip I want directly to the source and so that being said let's get into fusion and start magic masking this guy so clicking magic mask go in here and the other thing I'll show this on every tutorial I hate this this layout I prefer the vertical working space so that's under layout presets Fusion presets and now they have this mid-flow vertical preset and I only like one viewer is the other thing we have a top viewer bottom viewer I really only need the one and I'll show you why so if I hit this button right here the one that you want to see is the one you want to click and now we have access to just that viewer over here in fusion and then getting further on to the idea of handles and that sort of thing you can see we have a timeline down here at the bottom of our screen zero means the very first frame of the actual Source media that's like on the dis and then it goes so that this clip is actually starting over down here at frame 52 so if I only do the tracking starting at frame 52 I can't extend it later on that's the point of handle so to get 10 frame handles which is like an industry standard I would come down here you could either do the math in your head and know 52 minus 10 is 42 or you can also actually use the buttons on you know your number pad and say minus 10 and hit return and you'll see that takes it so the render range that's this yellow bar will go all the way back to 42 and then we'll do the same thing on the other end instead of 118 we can do+ 10 there and that'll take us to 128 so what this is effectively done if I hit this go to First frame of this render range and we go back to the edit page you'll see we're outside of the clip but that's great because when we're making this mat we can make changes later on this is a quick crash course on actually how to use magic mask cuz there's a million tutorials on it but essentially I'm going to hit shift spacebar type in Magic that'll get us magic mask and if I hit return or the add button over here it'll add it directly after whatever the previously selected node over here is and I like to have my footage just show large so that I don't have to label it um the way you do this is if you right click over here there's a choice a choice to say uh Force source title pictures and that that gives you a little thumbnail it's just a nice way because I'm not a big fan of renaming nodes that everyone else seems to like to do um to see the result and work on the magic mask at the same time you pick and flick so I'm clicking and dragging or just on my pen I tap down and you'll see up top here the node you're actually working at when you're working on it and the way magic mask works is it it you basically draw like Strokes on it over contrast areas and you wait for a result to show up now as you did that we noticed like there's part of the bag here that didn't show up and so one of the way that I like to deal with this one is actually to to toggle between A and B buffers so that that's what this this section's about up here in the upper left you'll see there's this is the a buffer and the B buffer is not loaded yet so the way to get that b buffer loaded would be to actually pick and flick my original footage over into there so I can see another view of it like it's a different state so this is the media in one state of it and then if I go back to the a buffer we see the magic mask part of it and what's nice about this is there's a keyboard shortcut on your on your your keyboard so it's going to be the comma key and the period so comma and period is going to flick between those two buffers so you can quickly check and see uh what they look like and you can actually use the magic mask have it selected and draw while looking at the B buffer which is media in one it's a nice little hack so what that means is I can draw here across on that that bag and then I can flick between I'm doing comma and period you'll see down here to check to see did I pretty much get everything I wanted to between those two I did and so to track and Magic mask this thing out you just go over here upper right of the inspector area hit better and again let's look at the results of it which was in this so that just made it softer and we can hit this track forward and backwards button and just just let it do its thing I'm going speed this part up okay great it finished and so one word of warning I want to tell you is after you've done this I still have this little eye dropper selected the best uh solution to not accidentally draw more Strokes on here would be to click away over here and now we lose that eyedropper thing and we can sort of check things out and I'm going to check the alpha Channel because that's what this whole tutorial is about we're going to build a nice Alpha channel that we can combine later on and so you can go up to this area and just look at the alpha Channel or there's a shortcut that's really good to learn RG and B and a on the keyboard we'll take you to these channels directly so let's do that instead we'll hit a on the keyboard and we can preview the alpha channel that was generated and you'll see it flickers a bit and we have solutions to fix this afterwards hey quick timeout this tutorial it's intentionally not sponsored but if you'd like to support my training efforts here that I give away for free so I can show you more Advanced Techniques the 4K Demo clip and its project it's available on creativ tips.com if you want to join the cutting club for just a couple box so now the goal is going to be to convert this whole image which if we hit C on the keyboard to see the color image it still has color in it I want to convert this so it's going to be the alpha Channel only for saving this out so after magic mask I'm going to use a tool that's called bit map so shift space bit map and you'll see an issue happens when you hit that right away it is a mask and it wants to go into the mask input but that's not how I want to use it so I'm going to to click right here to disconnect it and I want to insert it after the magic mask so if I disconnect this from media out right now and I put this down in the flow and just connect directly to that yellow input on it and I can flick this over to here all of a sudden even though I'm in the color channels area it's only giving me the output of the alpha Channel and why is it doing that is because over in the inspector area the channel that it's working on is the alpha channel so if yours a set to luminum this is a good way to make one from if you just had a a grayscale mat with no Alpha Channel you would choose luminance here I'm going to choose Alpha and this is going to significantly decrease the file size without having to check any extra boxes of the exr sequence which is what we're doing now so to save this Alpha Channel out we're going to be adding What's called the sa no next so shift space s a v r SV is the the shortcut and then here's how I go about renaming this if you've got a better way I would love to know in the comments but I'm clicking on media in one to pull the name of the shot it's called shot 10 magic 709 because it already has a grade on it another good point here this footage was already sort of pre-graduation and contrast in it okay so I've got that clip name up here selected and not fully I guess I should select all of it and I'm going to hit command C to copy the name and then the saver node is going to need a couple things one it's going to need a a file name to write it to and the reason I copied That was cuz I wanted to keep the same name with some slight modifications so I've got a folder where I'm keeping the assets for this job um it's an exr sequence which means it's it's a folder full of still images so I'm making a new folder here and if you go to just hit command V at least on a Mac you can't do that but what you can do is hit controll paste and then you can paste the name of that that shot in there we don't want to be exactly the same we want to call this Roto and always version your stuff so we'll do vo1 and we'll use that also copy that as well which uh it apparently doesn't like you to do so we'll hit copy and we'll hit create this is going to make a folder to put this in so I'm going to make sure that folder is selected and then to actually save the file names here's what we're also going to do I'm going to go in here I'm going to delete whatever was there existing from the last one I'm going to paste right click there we go and then this is um just to make it Maya compatible and how I've always done this I'm going to do two periods do do exr and what this allows it to do is uh make sure there's no other numbers other than your version number this is going to put the frame number from down here so that it can be realigned with the footage at any time okay so dot dot e XR and we'll hit save and it hasn't saved anything yet the next thing we need to do is set up our file format for how we want this to render out so in the inspector you go to format and the default is zip 16 lines zip 16 lines is not necessary for uh Alpha mat in fact the one I like to use is the smallest default that's built in it's a Dreamworks Animation dwa 256 lines and this is a about the equivalent of proes 4x4 uh render to render it out you just go to Fusion render All Savers and you can see it's going to render that out and bake it as a exr file that has all of that transparency information built right in so we'll take a look at the finder and I can verify if I open up this folder you'll see a whole list of uh sequences of files that I made and they're all if I go into here they all have if I sort by uh they start with the frame number that existed on the source footage so frame 42 was the first one and we're in luck down here cuz it's frame 42 there now to load it back in it's pretty simple but there is a gacha and so pay attention to this part we're going to use what's called a loader node okay so the loader node shift space LD it already knows that I just saved in this comp which is great it took me directly to that location it's going to take your last saver you choose the first frame in the whole sequence you say open and now if I flick this over here it looks like we have a problem there's no footage it's totally gray well the reason why it's gray is because it doesn't exist on the timeline so if you open up the key frame editor area and you'll see there's a there's a misalignment like the the footage just doesn't exist at the same frame numbers because this clip right here thinks it should start at frame zero with the media in1 but this media in1 we know it started at frame 42 and it's also baked into the image sequence the quick fix for this is you select this loader you go to the global in andout and you type frame 42 and now look at this it's ready to go it's perfectly in aligned the reason this is readed down here for media outs cuz it's not connected we will get to that later but now we have a mat that's ready to go and you know how to realign it so that the media in one here which was frame 42 aligns with the loader that's also frame 42 so now let's take a look at mask paint to fix frames on a frame by frame basis because this flickering seems to happen sometimes on a frame by frame basis to clean this up a little bit further so we're looking at the exr rendered sequence we actually don't need over here in the flow we don't need this magic mask bit map the saver over there and more um I I want to tell you one thing this saver here if you were to do a second version of it you know there's the fusion render All Savers that actually renders All Savers that are turned on so if you need to render a version two of a saver you just go over here and you turn it off command P turns nodes off INF Fusion or this button right here so if I wanted to do another um sa off of there that's how you would get a different result from a different magic mask like you can use negative um strokes and stuff like that so mask paint is a a special paint tool that just works uh with black and white Alpha channels and we load it up by just typing uh mask paint and I had nothing selected so what it did is it dropped it exactly where I clicked over here in the flow so if you want to tell it hey I want this to go in a specific Place click there on the flow first and so how do we get mask paint working with this Alpha Channel well the first thing I need to do is is get a mask out of this because mask paint needs to be connected to to a mask and I know that's going to confusing but here's how the the setup uh Works you're going to add another bit map okay bit map is an incredible tool to make masks of things so I'm going to take the original this is the exr sequence and I'm going to go into the yellow input of bit map and so this gives us sort of our initial result of the mask and then I'm going to refine it further down this stream here by adding more masks to it I'm going to take the bit map and plug that into to mask paint that's how that works and then I want to see the result of the Mask paint in the window so I pick and flick that over here you can see up at the top we have mask paint and I'm going to use this one right here which is called uh multi-stroke instead of working across all frames because flickering happens on Magic mask like one frame at a time and all you're going to need to do and what you need to know um a stylus is great for this is you're going to be using this Alpha control in the inspector set to one if you need to fill things in and then set to zero before you draw it if you want to take things away all right so um the brush size is pretty easy to control with using the command button on or control probably on a PC and then just dragging left and right you can see get bigger and smaller so left and right with the tablet get you a a pretty good size and then the uh I want to take away this piece of uh like junk that's right here that obviously is not part of her so I'll go to Alpha is zero and then you can just start painting just by you know just drawing on there and that gets away that that weird Edge right there right there's other like little flickery like stuff in here that we can get rid of as well and if I use the bracket keys that lets me jump between frames and kind of work on different sections now here we might need to make a little bit smaller paint stroke but you can see we're able to sort of clean this mat up um without using any intense rotoscope and just maybe you just go and attack the really bad frame so here's one where looks like there was part of a sign that that came off the edge and then if you know maybe if I go too far in you go back to the inspector to the positive and it adds it back in something like that um if I go through here there I know there was a moment when we saw part of an arrow of a sign come through so let's there it was that that seems to happen a lot with magic mask so now that we have this Arrow sign before you draw the stroke turn it down to zero cuz I want to zero that out and make it black now I'm just painting that away on just this one frame right because that's the only one that had the issue and then looks like this one was a little bad so this is the great thing about having the tablet is with that middle Mouse on the bottom you can quickly zoom in and out of areas I think it's a an essential tool to have um you know I don't I'm not going to fully finish the shot right now cuz I'm just showing you the techniques and the setup but essentially that's that's sort of how mask paint works if you want to take it away you set the alpha down to zero and then you paint so this this is not re this doesn't you don't do this afterwards you just do it before and you can go through and sort of clean clean things up this way all right so let's say our mask is is getting in in much better shape right now but we want to fill in stuff with um beast lines and and polygons instead of paint you can absolutely do that so up here we have a polygon and a be spine we can also just type it in so if I type in know Beast spline that's that's my favorite type of shape and master draw it has smooth curves already um let's say down here we wanted to just sort of make a smooth edge that we're adding to this mask you just can kind of just click around on these edges here and then close up that shape and you look at the result of it and because the default is set to paint mode merge it just combines that Alpha Chana with what was already existing um and and we'll fill it in now you'll notice like yeah there's like uh some weird like hard edge here well the polygons are great because they have soft Edge they have double poly and so you can you can do this to your heart's content to really get you know perfect as perfect results as as possible with using magic MK to start um but that's just a way you can sort of build on on here now if you're using a shape just know this is a static on this Frame you need to rotoscope it right so over here on the right side it's already set up to rotoscope meaning if you if you go to later frames and stuff you would need to grab the shape I would lasso it hold option so you're moving the whole shape over and then let the computer this is a big thing about let the computer do the interpolation don't try to do this frame by frame and don't try to move points always move edges okay now I want to show you what if you want to subtract with a mask that's another super powerful thing that you can do with these Beast lines or polygons I'll just do this with a polygon this time to show you you can do it with any type of shape I'm going to add a polygon afterwards so py polygon and let's view the results of that polygon so before we use uh mask paint to remove this with Alpha set to zero this time we're going to draw uh with a polygon which is like your normal you know you can draw to make uh smooth lines and and by default if you don't drag it's a hard line shift o closes it up and that's not what you were hoping for right you want that to subtract well if there's ever an option to subtract there probably is it's in paint mode and you just go over here to subtract and that will cut away and clean out more or less garbage matting that section that you wanted to and you still have soft Edge controls you have double polyes which I've talked about in other tutorials I don't want to go too far into masking in this one just know um you have all these options to sort of build up a nice cleaned up mask uh using just mask paint frame by frame or be L polygons using rotoscoping technique so like obviously if we move it here this whole shape needs to move over I would lasso select it all hold option and then move it to whatever part you need to to remove okay so removing you subtract if you want to add stuff and fill holes like a solid mat a hold out mat use merge and then we've already talked about mask paint let's say we want to just kind of take we have some random holes and we want to um fill them all in there is a there's a there's an old school trick that uses filtering and that's using two a ro dilates in a row and let me just show you how how that would work so a road dilate is going to like pull in on pixels and expand them out so I'm adding shift space for a road dilate it's another node that's super super useful let's take a look at the results of this and we're not actually seeing anything this is kind of like when we added bitmap before there is a mask input for this but I don't want to use the mask input I want to use this yellow input for a road dilate okay hopefully this flow is clear and you're able to copy and paste and reproduce this what we're going to do is we're going to shrink in the amount now if you hold down command you get real fine increments if you ever need to like really refined stuff but the idea is if you pull this down it chokes in the whole Alpha channel that this is working on and then if you take it and then let's let's let's say we want to pull it down pretty drastic just so you can see a big difference see how it's getting smaller and smaller and then if you take the inverse of this and pull it back out you get basically the same shape I mean The Edge gets a little bit worse but you're going to clean out black holes and fill in white holes so that you don't have any like random weirdness that's happening on on your mat that you're creating so what I'll do is I'll take this aod dilate and I'm going to command C it command V the node and on this one I'm going to do the opposite well um because this one was set to negative 027 whatever this one I'm going to go over here and just remove this I'm just going to change this one to be positive and so the result here is it's coming back out but this time the holes have been filled so black little Speckles would go black and then the black speckles in the white would go white so if you look at this result here versus this result it just takes here again look at the edges there edges here it just it just fills things in a little bit better um you could use this for any sort of mats and the reason we're seeing that hole there is because of these you know these uh these polygons I didn't rotoscope and track in But A rad dilates two in a row is really useful and if you ever want to see a value of a node before you go to the next one you hit this little pin button and that makes it so that that version of that node Road dilate one is still visible down here while I work with this one over here you can tell it with Expressions but it's simple enough to just know if one's negative do the same amount positive and the on the other side now what I'd like to do is show you how I actually use the mat control node which is the way you really should be copying your Alpha channels back into your footage anytime you're using rotoscoping so we have original footage over here and we need to see the color version of by hitting C and to apply this Alpha channel that we cleaned up you're going to add Matt control mat that gives us a mat control and that's not how I want to apply it what I want to do is I'm going to take the original footage and put this into the background input of Matt control and then I'm going to use the alpha Channel and the alpha channel is not going to go where a lot of people will suggest putting it I'm going to put it in the green foreground not the garbage mat and the first time you do this this is not going to be your result because what happens when you load mat control and start using the first time this is set to combine none now if you're coming from nuke and you want to copy an alpha Channel and this is the way I would suggest doing it use this setup where we going to the green foreground say combine Alpha and then you will also have to down here at the bottom say pulse multip mply image this actually applies the mat it it it multiplies the black levels times the color value so if it was black in the alpha it's zero right makes sense um the reason this is a great way to apply a mat um is because you have all these other controls here like blur which work on these Edge pixels so if you need to like pull the mat in further later on with contract expand you can do that to get a really nice blend and and make it seamless into your composite as as well as as was there's a gamma correction here as well so um I'm going to leave those as default by double clicking but that's why U mat control can be so so useful is it you can refine the mat later on now how do we build the the rest of this comp out um well you would just merge this over the original background maybe we wanted to take uh a color corrected version of this to sit in the background I would hit CC and just to show you how this functionally would work you would take the original footage into the background of color correction okay let's say we want to make this whole thing green some stupid tint like this or something and we wanted to put her that was not green back on top well you can just use a merge and the way the shortcut to using doing merges here in Fusion is to take what you want on top start with that gray box okay make sure you grab the gray box start what's on top drag it to the output of what you want on bottom okay release it and it makes a merge with yellow is the background green is the foreground if we take a look at here we've just pasted this cutout this copy of it on top one thing that I see a lot of students um that are coming from uh After Effects and layer based programs is they'll be tempted to take this media in one here copy it and then paste it somewhere else in their flow for every time they want to have a different element pasted back on top I would suggest you don't do that because it it's bad for processing the joy of nodes is you can have you can see here we have multiple outputs taking off this original footage and you don't want to mask the original footage because as soon as you put something into this blue input here you can't get it back so it's gone once it's into there so Source footage just know you can have multiple outputs sticking it into M controls whatever you need maybe it's a blurred version of of the image just something we're going to get to very shortly but next up we're going to be talking about how do I get this refined mat over into the color page what if I don't want to do this and I just want to see this in the color page let's take a look at that now we've got a mat and we have what's typically known as uh the media out one down here media out one is just meaning that's the one that's going to the timeline default I guess is the way of saying it and so let's say we just still want our original footage going out to our timeline okay so if I go original footage here back to Media out what that's saying is when I go over to here it there's no processing really happening over infusion um which would be the same as going to the color page but if I go back over to uh to fusion and I add another media out this is sort of the secret shift space you can add another media out it's no big deal and this media out is just going to take the output of this find you know mask painted Roto mask so we're going into the media out 2 over here and what this does is it opens up uh another input on the color page so let's go straight there we go to the color page and let's see let's let's close up the the gallery to give us a little more space close up the effects over here and if you rightclick over here there is an option that says um add source so if you've done some magic masking before you might know about ad Alpha output it sends the alpha back to the timeline this is kind of different this ad source is saying hey there's another source available from another media app from fusion and how can I make use of it well this is our footage from the timeline we made a mask these have blue mask inputs let's see what happens when we connect this to the blue mask input and make some sort of a color change let's see let's let's make this one blue so I'm just going to drag that off out blue you can see it's actually taking that mask that we had saved over infusion and applied it over here and this is great because this will work at any resolution because we did this at Native footage resolution and we've saved it so it can be duplicated anytime if you want the invert of this you could obviously you could do that in Fusion but you also have invert controls on this tab down here if you wanted to just change this and and flip it so that the background right would be getting whatever sort of color changes or whatever you want wanted to do here you see this right here it has an index of one whereas this has an index of zero you can keep adding more and more mats over here they'll get a higher index it'll go index 2 three and they'll just stack up for you to use over here in the color page pretty cool huh now I'm going to show you a way to blur the background so that it's not going to interfere with these Edge pixels of her hair and this is a little bit more advanced technique but I think you've earned it if you've stuck around this long in the tutorial and the way I'm going to build this out is I'm going to use another copy of our original Source footage and clean her out of it so that this lives behind and here's how we'll do that we'll take the Mac control command C where do I want to paste it I'll click where I want it to paste command V we'll paste that and I'm going to take this and put this into the yellow input of Mac control that just gives me a copy of the source footage right so we're not duplicating our source footage and I also want to take the mat that we had done before as well well but guess what because we have multiple outputs when we use nodes we don't need to copy and paste this we just need to take the output of here and if you hold control before you do this you can tell explicitly I want this to go into the foreground which we've already talked about before and we have this set to combine Alpha post multiply image and the first time you do this like I said this is not going to this won't be set this way so you need to change combine Alpha pulse multiply but the other thing I want to point out is if you do this a lot you can right click up here here and say settings save default and then you don't have to change those every time okay little extra tip there and now this version of it I don't want to select her I want to select everything outside of it to sort of fill in and make a clean plate so to do that there's an invert mat button we basically have gotten everything else except her and what I'm going to do is take these Edge pixels and pull these in so that when I do the blur the blur is not um going across this Edge okay so how do I do that there is a tool in here to make a Clean Plate called well you guessed it clean plate and people normally will use this for uh green screen for using the Delta key in here but it's a great way to pull the edges of an edge the edge of an edge the edge of a mat out and fill in those holes so I'm putting this into the background input and this is one of those goofy things where it's actually has a few extra inputs so if I hold control while I go down in here it's also going to go into the garbage mat and that's how this is going to give us an extension now the garbage mat by default is set over here in Clean Plate to mask we're going to invert this so garbage mat invert and we're back to pretty much where we started I mean it it got harder you'll see but by doing this we have the option to say grow edges on Clean Plate if you grow the edges and look at this we're pulling the colors of the edge of that mat which is going to be good because we'll use this version to do the blur ing on okay so from here on you know this is moving footage right and it's kind of just hiding her and this will be living underneath everything else so I'm going to blur this and if you're doing like the um Witness Protection Program sort of technique we're going to use for that one we will use what's called a mosaic blur that's like a resolve effects blur that's built into here and this gives you those blocks you know now if I said it right as is you can still read that it says cats so I might need to change the the pixel frequency to be even larger and it makes some some gnarly sort of squares out of it which is kind of cool um so this would be our new background but we only want to apply this where the logo actually is so this is an instance where I would actually mask off an effect so this blue right here lets you mask it off I'm going to give myself more room and just drag these off to the side here so I can get a mask into there and I can't really see cleanly where that edge is until I flick and pick and flick Clean Plate over into this window so I can draw a polygon or a B spine so we'll we'll just drag a a regular polygon down over here and I will just click around this area where cat is and we will do shift o to close it and we'll do a super fast quick rotoscope on this so I'm dragging here to um the edge of my bouncy walking on my way to work in Manhattan I'm dragging this over here to sort of cover this area here and then let's go to the other end where it's pretty much is it go completely off screen not quite so on frame 128 I'm holding option on the keyboard with them all the points selected and just moving it over here and then if I just wanted to extend this Edge I can deselect by clicking last to select that edge hold option and then pull this over and it gets both those points pulled over what that'll do is we'll take the Mosaic blur if you plug the mask into the effect mask which is the blue section there release it it has restricted the effect of this mask which was built on a Clean Plate to just that section okay if I've lost anyone please let me know in the comments I'm trying to go as slow as possible because I know this is confusing and with the way the nodes work I want you to be able to take time make screenshots so you can recreate this on your own with whatever project that you have so this now is our new background and what we need to do is we need to paste her back on top okay so to paste her back on top what do we use well we use a merge now before I had other stuff over here in this merge as the background it was the original footage instead if I disconnect that we could take the output of this Mosaic blur throw that in merge and don't cross the wires like I'm doing right now but you can see we've pasted her back on top and so there you have it she will come across she's pasted back on top of the Mosaic blurred background and uh nobody's getting trouble for legal reasons that cat is uh shown on here now obviously you want to adjust stuff it's really easy to find where effects are when you're working with nodes you can come down here and say pixel frequency needs to be you know bigger so that it's less recognizable so on this version we're going to be doing an aesthetic blur instead so if you want to make a new version INF Fusion you don't have to just delete it or make a new clip there's actually there's a feature built in if you click on your Clips area and you right click down here you can say create new composition and as soon as you do that it basically cops copies everything into composition 2 and so I'm working on this area now so I can delete some nodes or something try a different idea out really pretty easily without having to do anything else and this is the beauty of using this saved magic mask I don't have to retrack it because we had this saved as an exr sequence so on this version if I look at the merge I I don't want to do this blocky blur so I I will get rid of the Mosaic blur with the polygon and instead I want to take our Clean Plate and I want to do a tilt shift blur to it so if I just click anywhere down here that's what where it's going to get pasted I'll hit tilt shift blur okay and from here I will say let's go into the input of tilt shift blur again if you want to be explicit to where it's going hold control and it's going into we're calling it Source on this one and if you take a look at the result of it it's already doing some pretty cool nice blurs but it's hard to see what it's actually doing so there is a there's a depth map preview that you can take a look at here and the the basically it's saying it's it's going to affect where it's white so um we want to make this if we look at the original again we want to make it so it's kind of up in this area so if I look at this again I might you this onscreen controls are nice you can rotate you can move that area over here and then all these controls over here you get the InFocus range the the near blur range so we want to like maybe have the background have more effects so the background's more white and then the far blur you know a little bit less so you know kind of like that you can play this with with with this to your heart's content if you uncheck that you can sort of see what it's doing with the blur strength so you can see the top up there now this is not going to cut out things that are like in the foreground that you would have to paste those again back up on top and I'm sure you're tired of hearing me talk now so I just want to kind of give you the idea of how this would work but this is a way to get you know a decent looking um a blurry background that that actually looks like a real lens by just you know doing that and then this will be the background to our comp where we're going to paste her back on top again going into the background of the merge and there's our result right it's it's a really nice way to sort of get a stylized blur effect with using tools that you don't even really need an resolve 19 studio so there's a new defocus tool everyone's talking about in the color page this is the way I would blur stuff so here is the final result I'll let that play through right now and um yeah I think it looks really nice and the main thing is we're always going to paste a cutout back on top of someone the big takeaways I want you to know if you're new to Fusion is that you can use multiple outputs off of anything that has like a great output box so you don't need to have as many copies as you probably think you need to and in fact it's harder on performance if you work that way so now the beauty of having the versions built right in here to fusion and resolve is if I needed to go back to the Mosaic blur version of this I can go to Clips right click and say composition one load and I'm not waiting on Magic mask to have to calculator or anything else or I could go back to the edit page and let's say well let's go over here first and we'll get rid of this silly color grade so we're just looking at the stuff we did in fusion and if uh you know we wanted to duplicate the clip look we still we don't have to retrack any of this magic mask action as she as she goes back on top of that blur and we have 10 frames of handles to work with so if I need to trim this out a little bit further let's do+ 10 we actually still have um a mat that we can work with hey I'm Chadwick I'm a die hard resolve infusion guy thank you so much for watching and because there's so much more to learn I'll see you in the next video

Channel: Creative Video Tips

Views: 11,770

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: ZD26c_y4S4c

Length: 41min 14sec (2474 seconds)

Published: Wed Jul 03 2024