SCREEN REPLACEMENT IN FUSION - DaVinci Resolve 16 Tutorial [Beginners Welcome!]

[Music] hey i'm casey ferris i make videos on david resolve here on youtube today we're talking about doing a screen replacement inside of fusion it's more than just putting a screenshot over something there's more to it than that don't be like every tv show there's more pro-ness to be had let's let's do it let's go all right let's take a look at what we're going to be making today oh look at that oh baby it's just a normal shot isn't it or is it let's take a look at our original footage this is what we started with so we're going to go over the entire process of replacing this screen and all of that magic is going to happen in fusion and make this a little bit shorter just because it's easier to render and record and such we have a couple seconds of this shaky footage and it's added to our timeline let's just go ahead and click on fusion and that'll bring this into our fusion comp so the first thing that we need to do is deal with this being shaky if you have a lockdown shot you can skip this but we're gonna have to track this motion the way that we do that select our first node i'll hit shift spacebar for the select tool menu and i'll type p-l-a-n that'll bring up our planar tracker right there i'll hit return and now we have that attached to our media in the planer tracker pretty much just looks at an area of the image and kind of tracks it all at once the area that we want to track is this green screen so i'm going to zoom in and just add a point at every corner here and i don't need to be too precise with this part of things i'm just basically just selecting just roughly selecting my screen so now we should have this just outlined like this now let's go over to the inspector the inspector is where we change all of the fancy things about this tracker operation mode we'll leave at track reference time we're going to set because i just like a pro just kind of started it any willy-nilly any frame which is actually fine for this and tracker let's keep it point motion type perspective everything else is good and whichever frame we drew this on that's where we want to start and now i'll track this forward using this button right here track to end let's see how it does there it does a pretty good job so we track the last part of the image we can tell by these little keyframes here that are showing up in our timeline but now we want to track the beginning to quickly do that we can hit go and that'll bring us back to frame 10 that's our playhead right there and now we can track to start and that'll track the rest so the idea is that we have these little white tick marks throughout the entire shot that means that it's tracked the whole shot and now a lot of our tracking work is done but what do we do with it well we're going to use something called a corner pin all that does is pretty much tell each corner of whatever image we add to this exactly where to be so over here in our inspector under operation mode i'm going to switch that to corner pin and that's going to put this random shape just in the middle of our canvas here and our job is to take each corner and put that where the corners of our screen should be and i'm going to put that just a little bit outside of our real corners just a little bit i'll bigger throw those in there for the moment and we'll zoom in and make sure they're good now that we have the corners set up anything that we attach to this planar tracker is going to stretch in between all of these corners so in our media pool i have our convenient computer screen and i'll just drag this down into our nodes we'll put that like right there and take the output and connect that to our green output on the planar tracker and look what happens blue puts that over our screen all right that's the tutorial bye no just kidding a lot of times you'll see this on kind of a lower budget movie or a tv show or something this is how they replace the screen this is like a personal pet peeve of mine because it's not that hard to make this look realistic right now it looks it just looks i don't know it just looks too bright too perfect to fake and i mean it works okay but man it's obvious that you just did a screen replacement so how do we make this a little bit more realistic there's a couple main factors here the first one is the motion which we have down pretty well let's check that if we zoom in here we play this back it shouldn't be obviously moving different or slipping around it seems like it works pretty well so that's fine another dead giveaway is the sharpness so if we were to zoom in here we can see the edges of things aren't really that sharp but they sure are sharp in our screen that we added we also have this kind of sharp outline here around our screen which isn't that realistic you wouldn't probably see this in real life because the little edge of the screen would cover this up let's fix both of those things the first thing is we need to make this screen as blurry as the edge of the screen because they're the same distance from the camera the way to do that is just add a blur node take this blur node and add it after our media two and by default it's probably gonna work okay it's about a one pixel blur which if your camera's in focus that's probably about right you could maybe boost it up just a touch more 1.5 and now this should look pretty close to the softness of the screen versus the softness of the edges here on our fake screen so here's before and here's after it's a really subtle blur but it makes a big difference and this is already looking a little bit more believable the other thing i want to do is crop out these little sharp edges here which we can do with a crop node so let's select media2 i'll hit shift spacebar and type crop and enter and that'll bring up crop i'm gonna select crop and hit two on the keyboard that's just going to bring this up right here and really what we want to do is just cut off the edge pixels i happen to know this screen is 1920x1080 so if we crop this to 1920 by 1080 we'll basically have nothing happening here but if we check keep centered and then bring this size down to 1918 it's 2 pixels smaller and then the y size to 10 78 two pixels smaller then we kind of get rid of that edge check this side too looks good so now we kind of just crop that little sharp edge off and if we go back to our media out things should still look good and now we don't have that sharp edge there looking nice that all goes a long way it's definitely looking better but there's a couple more things that really give this away the biggest one is probably the brightness just how bright and how dark this screen is compared to the rest of the shot because the camera can only record a certain range of brightness and chances are if this screen is lit up it's probably not the darkest thing in the shot but it is right now we have this really dark area here and nothing else in the shot is really that dark now it's possible this could be the brightest thing but we have some windows in the background and chances are those are pretty bright too so i would doubt that this chrome bar is going to be the brightest thing in the world so how do we set the brightness to match the shot this is actually really easy in fusion i'm going to show you a little trick let's grab the media into and before we do anything i'm going to drag a color corrector node here in between mediate into and crop and this is just going to let us adjust the colors for the screen one thing i'll do over here in the inspector is on this third tab click pre divide post multiply it'll just limit the color correction to the screen which we might not actually need to do in this situation but it's good habit to get into let's switch back over to our first tab here and we're going to scroll down to lift gamut and gain which if you're familiar with color correction that'll ring a bell basically the lift is the darkest parts of the image so if we grab this lift and we bring it up that pushes up the darkest parts of the image you can double click to reset the gain is the brightest parts of the image okay those are the ones that we're going to be really worried about right now basically we just want our gain and our lift to match the darkest parts of this image and this is actually a really nice way to do this because we can actually just sample the darkest parts of the image and just set our lift to that so let's zoom in here and find like a really dark part and i'm just going to mouse over this if i look way down here on this little bar you can see it's showing me some data and right here it has the rgb values so right now they're 0.8.9 somewhere in there that's the number that we want to set our lift to because it's about as dark as things get so looking down here let's see where it says color rgb it says point nine point nine point eleven point thirteen point eleven point fourteen so like the darkest it really gets is like point zero nine let's check another part of the image maybe here yeah darkest is get point zero eight point zero seven that's about as dark as anything should be now let's check this right here it's point zero five so that's why it looks too dark like even down here this is point zero three so that's almost black that's why this looks weird so if we grab our lift and we just type in the darkest value we found which is .07 that'll really bring this up and it will match the shot a lot easier we can do the same thing for the brightest parts i'm just going to zoom in and find the brightest parts of our original footage which is probably like right here and looking down we see 0.8 0.9 somewhere in there let's check another part it could be bright 0.85 so about as bright as this gets is like 0.85 so let's take our gain where it says 1 and say 0.85 and that's just going to keep the brightest things only as bright as the brightest things in our shot so now the brightness matches in between our fake screen and our real footage and it's looking much better way more convincing there's a couple more things that we can do here to really make this even better another dead giveaway is this keyboard has a green reflection on it so we can take this green reflection away and just desaturate it since it's just a gray and black keyboard that'll make things a little better as well to do that we're actually going to use this same tracking information but we're going to use it in a different node so a little trick if we select planar tracker and go over to the inspector right here where it says corner pin we can actually just switch this back to track and if we do it gets rid of the composite but that's okay for a minute so we just want to go down and hit create planar transform when we make that it'll make a new little node and this holds all of our tracking information so we can use this to add other stuff to our shot before we do that i'll go back to planar tracker and switch this back to corner pin so now everything's okay but now we can take this planar transform and we can apply the same motion to other stuff so let's grab a color corrector node like this and we want to color correct this original image but just around the keyboard so we got to take this original image first of all and pipe it into our color corrector so i'll just take our media in and drop that on our color corrector and we'll merge our color corrector on top of our planar tracker right there so now really all we're doing is just taking the original footage and putting it over our comp but we only want this to happen right where the keyboard is so let's add a mask to our merge with our merge selected i'll select the polygon mask and i'm just going to draw a rough shape around our keyboard like that and now we're just compositing that keyboard image back on top of itself so if i were to grab the color corrector node and make this really pink we can see it's just happening right there we could also take this opportunity to feather out our mask a little bit so i'll select polygon one and let's go to the soft edge and just soften that out just a touch there we go we don't want this pink let's grab the color corrector and we'll reset that and then i'll just scroll down to saturation and bring the saturation down so that gets rid of that green tint right there here's before and here's after so that's pretty good but this isn't going to move along with our footage until we add the tracking information to it so i'll take this planar transform and i'm going to put this in between our mask and our merge hold down shift and drop that there so that should be connected and yep that's moving along with our tracking info and we can set this and desaturate it okay so our comp's working pretty well one last thing we're gonna do is add a little bit of a reflection here because you don't generally get such a nice looking screen usually there's some kind of glare and we're gonna do just the cheapest most hack job glare we could ever do let's grab a background node and let's merge it over everything we're also going to take this planar transform and we're going to apply this to the background node 2. i'll hit ctrl c and control v and hold down shift and put that in between our background and our merge that's just going to move our background along with our footage just like we did for this mask and let's select the background and for the color of the background i'm just going to pick something from kind of back here in the window something like that that'll make sure that it's the right brightness and color tone and everything just to match everything else let two on the keyboard this is what we're doing right now but we're gonna mask this i'll make sure my media out is selected in our second viewer by hitting two on the keyboard then let's select our background and i'll add a polygon mask and now we can just draw a really soft shape something like this i'm just going to kind of draw this kind of shape and then soften it a lot and make it a little bit smaller and soften it a little more and basically just make sure this is on top of the screen and just looks like a rando shape and something like that and this should move along with our track and it does and this is obviously way too crazy so let's select our merge where this is being composited and we'll grab blend which is like the opacity of the merge blend it all the way down and then we'll boost it up just so you start to see it very subtle something like that so that just adds a little bit of imperfection here and dial this in just a little more something like that so now we have a really realistic looking composite that doesn't look like it's just obviously a screen replace and there are some other things you can do to sell this even more but that's the basics so there we go there's more of a realistic screen replace comp i think that turned out okey-doke don't you if you want to learn some more about fusion 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Channel: Casey Faris

Views: 25,449

Keywords: SCREEN REPLACEMENT IN FUSION - Advanced DaVinci Resolve 16 Compositing Tutorial, fusion screen replacement, how to replace a screen in fusion, fusion tutorial, fusion in resolve, masking effect in resolve, how to mask in resolve, tracking in resolve, davinci resolve 16 tutorial, track something in fusion, compositing in fusion, how to composite in fusion, resolve compositing, davinci resolve tutorial, davinci resolve fusion, fusion 16, resolve screen replacement tutorial

Id: 92FO5UV-4a4

Length: 14min 35sec (875 seconds)

Published: Mon Nov 09 2020