Screen Replacement Masterclass for DaVinci Resolve + Mocha

today I'm going to share with you my process for comping a realworld shaky screen insert using D Vinci resolve Fusion by the end of this chapter Mark tutorial you're going to understand techniques that are rarely taught on YouTube things like the best practices to actually film screens for inserts linear workflow how to adjust mocha Pro planer tracking data back in Fusion to perfect it how to round the corners uh control reflections with un premultiplied additive blending Edge glow motion blur and how to replace the dynamic Island for clarity with even a matching Black Level this is not a beginner tutorial but I will go with a pace that you can follow along with in fact I'm providing the clip and project available to download as part of the cutting Club on creativ video tips.com okay filming best practices number one if you see right here we're actually filming a black screen the screen's completely off this is how the pros do it it gives you the most Reflections that you can play with afterwards I'm going to show you how to do that if for some reason you're shooting in an environment that's really dark then what I would do is actually shoot with a gray screen instead that way you can get some of the glow from the environment back onto your subject their fingers that sort of thing but don't shoot on a green phone there are so many stock Clips out there of of green TVs green phones it's not helpful and really the biggest reason we don't shoot with our screens with a green on them is because we're not going to be keying them anyways cuz the key won't work if you have something interact with the screen like if a finger touches it it has green light glowing back on it so you can't actually key it out very well at all anyways you're going to have to rotoscope which is going to be a tutorial for another day actually shoot this screen not with a wide open aperture believe it or not this clip right here was probably shot at like a 56 or something on a 35 mm lens if you shoot with a super shallow aperture and I've seen Pros do this on commercials I've worked on you end up with a really really small sliver of screen that's in focus and and generally if you're doing a screen replacement you need to see what's being inserted you need to be able to read the text so shoot with a deeper depth of feel than you probably think um another tip I'll give you is shoot a little bit wider than you think you might need for a screen insert so if you can see all the edges and then just blow it up and post that's usually a good option cuz that can be really helpful and then finally the best practice I have for you is think if you actually need to actually have tracking markers because of planer tracking it doesn't actually rely on tracking markers now sometimes it can be useful especially if you depending what tools you're using but if you have tracking markers you have to paint them out so really think twice if you actually need to have tracking markers linear gamma workflow so if you also believe that 1 + 1 equal 2 then this workflow is for you so basically what we're saying is we're going to strip off the gamma of all the clips when we put them together so that they composit as they would if it was shot in the real world and the way you can easily set this up and denture resolve I'm going to jump right to it down in the lower right we have a little gear switch down here this will take us to our project settings for color management I'm going to enable color management for this project set it to D Vinci ygb color manage and SDR is fine because that's all the footage I have to deal with in here is SDR footage if you had HDR footage you could you could change it to that and then you need to assign your clips and any elements that you're going to be using so that resolve knows where the image is coming from so this clip right here you would select the clip and now you have on the edit page media page color page if you right click on it you have a new Option called input color space and this is basically you telling resolve what is the footage and resolve will know how to interpret it and do the math on it so that it can composite correctly you can color it correctly but this right here is going to be Rec 709 scene which is gamma 2.4 it's what we need for this um the other thing people always ask what is scene it's basically on output it can give you 111 color tag so it looks nice with QuickTime Player can understand it and YouTube but anyways if you had Sony footage that was log this is where you would assign that we're not getting into color management other than I want to show you how to turn that on because when you turn and the same thing with these other elements here these these pgs we want to make sure these are set to input color space srgb which they are because they're they Graphics the reason I turn color Management on is as soon as we go down to Fusion down here click this button now we're in Fusion you automatically are converting your footage to linear gamma see this right here up at the top this automatically enables what's called a fusion l so this is basically resolve uh applying like a correction to view it but what it's actually operating on if you turn that off is this darker image which is linear gamma and so just by turning on Dent resolve color management you can work in linear like a pro in Fusion without doing any extra steps tracking with mocha Pro so before we even track I'm going to change my workspace up here to layout presets Fusion preset that's midf flow uh that's how I've been preferring to work in here because it lets me use one viewer which cuts down on processing power so I'm going to just enable my two viewer only and I can really move in and zoom in on parts of the the frame so if you have a a mouse it's the command or control with the mouse wheel moves you into specific pixels uh command F control F fits the viewer um but only having one means you're only processing one image at a time so I can see nice big image and we're going to look at details today we're going to really refine um and have some artistic intent to what we're doing so to get mocha Pro running you can see the shot is uh well it it's bouncing around it goes off screen the planer tracker is good for some things in Fusion but I don't think it's going to work very good on this clip in fact I tried it and out of the box it doesn't work great so I'm going to show you how to use mocha Pro mostly cuz it's hard to find tutorials on that so let's load mocha Pro by hitting shift space mocha Pro type it in and then to get this going we'll hit launch mocha UI this is not sponsored by mocha I I just I'm a customer and that they have given me a discount code so if you want to try it out for free you can do that and then you know you're welcome to use the discount code I have available for you down in the in down in descript down in the description and what mocha is doing right now it's reading directly from our Fusion composition the same file and you'll see right away we are working in a linear workflow and um this image looks super dark and it's because it's just not viewing it it's not displaying it uh correctly for linear so to change that up in the upper right there's this little button here and then it popped way over to this side but the working color space is not srgb in this case it's uh seen linear okay so now we're actually able to see things better the display view probably should actually be srgb for my monitor here now we can see things a lot better now the first time you're in mocha Pro play back the clip and it actually Cates files to your disc now in mocha Pro to track this you might think that you're going to draw a box a shape around and this is a common mistake you would draw a shape around this whole area hit control that closes the shape up and try to track this as your surface you can't do that with phones because they're basically a mirror see this reflection here that's not representative of how the surface is actually moving it's representative of a mirror like of what the sunroof and the truck was looking like so instead I'm going to delete this layer and I'm going to show you one powerful thing that mocha proo has and that's the ability to have multiple shapes on a layer to track you can't do this with the fusion tracker so I'm going to grab the xline tool right here and we're going to actually use instead of the reflections we're going to use the edges of the screen the little bezels to get our tracking data if I hit control that closes our Shape Up and by the way if you don't see these these highlights this is with the mats turned on that's option one alter option one which is found up under the view uh mats uh selected tracks and this basically this highlight area is the area that's going to get tracked when we start to run the tracks now to add another shape it's actually really simple this tool right here if you click down on it there is a X+ button right there as soon as you do that you're able to continue adding to the same layer so it's going to use all this different shape information together at once when it tracks so I'm going to select a different area here on the screen we'll grab this this right Edge get a little bit of the uh the phone holder there there that might help out and we hit control to close that shape up let's take another X+ up here right and we can get the bottom I'm going to zoom in actually on the screen with z and then X to move around and I think you can use your mouse wheel now as well but if you just start clicking here at the bottom we're going to minimize how much reflection area we're actually tracking all right just kind of get that control closes it up um you could obviously do this as one bigger shape I just want to show you the advantage of how you can actually use multiple shapes so we'll do this again down here we're going to use some of that um phone holder there as well so just clicking points and again I'm kind of going right along the outside edge pixels so it can kind of Define that surface I might move that one in a little bit hit the asterisk key and that does a zoom to fit so we're pretty much set up to track except when you start tracking here in Fusion uh seeing these shapes move is not indicative of how good your track is you have to do that with the surface tool that's this button here this s shows your surface and this is basically relates to what's going to get translated back into Fusion we're going to get a corner pin tracking data from mocha to Fusion uh it made a small one on our first shape that's right up over here so we're going to actually take the center point click cck and move that and then just kind of you can kind of drag this out and get a rough estimate of what the phone shape is you don't have to get this precise here in this step with the workflow that I'm showing you today okay so now that that is set we turn on perspective because phones almost always will have perspective and we want to try to capture that data so it's not on at first we're going to turn that on so you're capturing all this information and then to start tracking we have a track forward button right here that's go this one right here I believe goes frame by frame and this one goes to the end let's see what happens um one of the cool things is when it goes off screen it's still tracking see it's still holding those points and that's one of the cool things about planer trackers is they work best they're they they're able to work off screen where a point tracker would not be able to do that we can check our track in a couple ways here in Mocha one would be to turn on the stabilized view which is this little hand right here and what that does is it sort of locks down that Center frame that's one way you can sort of check it another way you can sort of check your track instead of that would be turning on this pink Grid it's basically giving you an expanded view of the surface so if that is holding well and looking decent to you you could call it good and then one other final way you can sort of see your your track data in here is under your layer properties you have this area called insert clip is down over here and you can turn on a logo uh an insert layer actually from Fusion it can read that or I just would turn on the grid here and you can see if that's holding pretty good we're in a pretty good shape so if you have a really bad track uh you're going to have problems down the road so this is where you want to spend time to perfect it but Mocha Pro and Boris effects have so many good tutorials on their website that I would just be repeating what they've already done so to get this information back into Fusion all you need to do is make sure you're on the layer that has has the tracking data we'll call this track and what it's going to do is it's going to export this surface area okay I hit Z move in these corner pin datas is actually going to get converted into the standard fourpoint tracker in fusion and what that means and I'm going to include this in the project file I I send over it means that you don't necessarily need mocha Pro if you hand this off to someone else and you give them that tracking data it's really kind of cool so we're going to select the what we want to export select the layer that we want to export then down here at the bottom we have export track click that and you're going to notice you have a ton of options the default for um black magic Fusion is not selected to start but once you do it once it it saves it we're going to use uh Blackmagic Fusion comp data and we'll copy to clipboard it's important to choose the right one because different software chooses different points to map and as soon as you've done that here's a big gotcha with using mocha we're going to hit save you see up here we've changed it hit save close mocha command q and now that you've done that you've released it from the host so you can go back to fusion and to paste your track data click anywhere in the flow and if once you click this is where it's going to paste to command V to paste and it it basically it puts a loader node in here we don't need that but we have this tracking tool with tracking data with key frames down here so to use this tracking data over infusion what we're going to do is we can actually take our media out I'm going to disconnect that let's set our mocha Pro plugin off to the side so that saves our project information and the way the tracker can work is as a comp a compositing tool in and of itself so we're going to start that way I'm going to take the output of remedia in go to the background input of the tracker tool and as soon as you've done this you know not much has happened other than the fact that you can go to operation over here change operation to Corner positioning okay Corner positioning will move and then we have it set to foreground over background okay so we have no foreground in here yet let's get a foreground pumped into this image and it's going to take this red box here and fill it up is kind of the idea um one way you can do that is I'm going to add a background node shift Speed Shift space and then we can choose BG for background uh let's give it some color I don't know let's make it yeah let's do sort of this pinkish color if you pick and flick a color it loads up over in the viewer that's one way to see what state of what what node you're in and then the other thing about this is think about the phone okay this phone resolution size is actually not 16 by9 this is 3840 X 2160 the phone screen size is more like a vertical ratio a lot of times you won't know what that ratio is uh the resolution is but for this one I know it's probably like a 9 by 16 so for our background we want this insert to kind of be the exact same as what it physically would be on the device you could look that up I'm going to change the change the resolution here of the background under the image settings area and I'm going to turn off auto resolution you have to turn that off first and we could change this to be 1080 by good old 1920 thank you vertical people of the world so this is more along the size of the screen size that we're going to be putting in there and we could also start by putting some text in here let's put a text plus node in and away can put these together without a merge without actually getting the merge is you take the output of one like the text and then you kiss that so I want this on top so I'm starting with the text and I'm kissing that with the output of background and it creates a merge automatically it's a handy little shortcut to create the merge and then if we look at the merge output there's nothing there yet it's because we haven't typed anything in the text tool so why don't we type the name of this channel which is creative video tips and you can see looks good it's not distorted or anything like that I hate this open S font why don't we change this to Aerial black sure yeah it's fine and then we're going to take the output of merge put that into the tracker look at the tracker and now you'll see it's distorted only in the fact that it's the corner pin but you don't have to worry about matching resolutions or anything else like that the corner pin is taking care of that for you it's smart enough to know now you can see I didn't actually get the edges all the way out to the edges of the phone in mocha and that's fine we can deal with this with the tracking tool itself and that's how I prefer to do it because then I can see it in the comp itself uh without having to deal with the plug-in layers and that sort of thing let's go to frame one and I'm going to show you a couple cool tricks on frame one you can see we have all these trackers are still available to be moved in this list over here because the checkbox is is turned on I want to basically lock these in so if you click them once it turns them off off but if you click it again you get this like circle thing that locks those tracking markers in so that I don't accidentally move them in a in a different way and to actually sort of see what you're doing on here you might want to do two things in this three dot menu I'm going to click it first to turn off smooth resize okay if you move in really close on some pixels smooth resize basically does this sort of blending you can see where it blurs the edges to make it nicer to see I almost never want that on so I'm going to turn off smooth resize and the other thing I'm going to do is turn on the gain gamma viewer which is just a way to sort of see on the display um dark areas a little better you can adjust things better so I'm going to turn on the the gamma and turn that up a little bit better so I can really see the edge of the screen it's not actually color correcting the footage this is just so you can see to position things you've got a couple ways you can you can set these Corners what of them um that'll show you is if you're really into numbers that sort of thing you can click the tracker tool go go to modifiers each tracker has its own modifier and these have these paths here and this path Center can be adjusted and it's basically like an offset um and you can move this with floating Point values if you hold the command wheel or command key or control key you see you can get really fine increments on where you're placing that so the idea is we'll get our Edge placed correctly on each Corner the other way and the way that's more handson so maybe I might use this to perfect it is not using the path uh modifier is actually using the offset and the offset is controlled with this button right here um this is I've talked about this before in my point tracker tutorial you turn that so that is blue up there see that how that offset number is changing so that offset is basically applying it and it's doing all the math so you don't have to worry about losing quality on this okay it's going to stretch it out to those Edge corners and the reason I locked the tracking data is I'm not concerned that that maybe I am actually moving tracking data that's animated or just moving these offset Corners okay using that set to Blue and the way I'm moving around in the viewer so easily is it's the middle Mouse on this Wacom is the bottom button it's it's not perfect yet it it's roughly placed but if you wanted to change this further you could go to the modifiers like I said before and change this this position here as well both both are valid ways and and decent Solutions so let's say we have this uh roughly in the right spot but there's a big glaring obvious problem and that's that we have a corner the the screen itself if I load this over here is curved and our insert is not curved so how do we deal with that well you want to mask it and you want to mask it far back in the source as you can so it's around the corners of the insert we're going to actually use a rectangle mask and the reason we'll do that you'll see shortly so let's add a rectangle click anywhere in your flow that's where it'll drop shift space RCT is rectangle and as soon as you add the rectangle um it has this feature over here called Corner radius that corner radius is great if it's like a symmetrical Corner that you need cut out and if we look at our comp here we want to actually be cutting out this purple right we want to be masking that off so that means our mask needs to be masking off the background so I'm going to take this into the background effect and it cuts it off too much well the default for rectangle is for the width and height to be set to 05 change those values to one and it's basically like it's doing nothing so if you look back at this image here this is what we're actually masking if you if you ever not sure what you're actually doing look at the node itself and you can change the rectangle mask to have Corner radius and start to pull that in you'll see up here at the edges that we're rounding those corners and it's rounding them nice and symmetric so that's that's a handy way anytime you have rounded Corners that are symmetrical uh to mask them back over here in the flow let's look at our tracker cuz we want to look at see how this is actually comped together as we're working and I'm looking through the tracker you can see that up here uh we've gone too far with it so that's when you can still select the rectangle but look through the tracker and over here again with Corner radius command wheel down or control on a PC and you can move this to where it really sort of fits those edges nicely and not just get pretty good but actually get it to you know a broadcast acceptable quality um back in the tracker tool we can adjust those offsets again make sure you select the little offset tool up there make sure that's blue and then you can take the point out there and adjust it as you need to to get it fitting nice okay can't see the the bottom frame there so maybe I go to a frame where we can see all Corners um I think our roundness is is in pretty good shape and we want that to cover the screen but not go too far beyond you know something like that other thing you might consider on your mask is to put just the tiniest bit of um on the rectangle mask the tiniest bit of soft Edge this is basically a blur of the edge of the Mask um because this stuff shouldn't be you know you can see how what it's doing there um just the tiniest amount it's probably all we need command F let's turn our gain gamma viewer off and now that we see it full screen it's not looking too bad maybe this upper right corner needs to be adjusted a little bit so let's let's do that real quick slowly pull that out we're moving this thing and there's no motion blur but there's actually motion blur in the scene so the way you turn motion blur on really simple thing on the tracker tool the thing that's moving the object which is what the tracker is doing go to settings there's an option check box here motion blur turn that on and definitely turn the quality up to 10 because why might not turn things up to 10 um actually you you really want to do that because it it's going to be a better a better representative of how it would be shot in camera you could even turn it higher if you wanted to just enter the value in but that'll work for our purposes right now you can see we've got some blur on there U but we have no Reflections we have no glow so that's what I've got to show you next so now you can see we've got some motion blur we've got a uh an insert placed into the image but we have no Reflections well uh a couple things I'll do before we get any further is we've got that motion blur turned on if you want to improve performance one thing I'll do is I'll right click in this uh you know this player area down here you can turn off motion blur and also right click and turn off high quality this is going to give you a lot better playback no matter what machine you're working on so I would suggest you do that a lot of people will tell you go to the tracker tool because they can do compositing as well and then under the um on the tracker tool itself go to the apply mode over here and and change this to something like screen and it's going to do some compositing math for you and you can see that screen reflection but the problem with doing it this way is what if you don't want that much reflection or you need more Reflection from the natural environment placed back in the image based on whatever you're inserting you know there's lots of reasons you need to control the reflection well you might think you go to the tracker tool settings and turn blend down but as soon as you do that you're actually turning down the opacity of that for ground layer that's not what we want we actually want to just control how much of the reflection is is getting added or taken away and so we do that by separating it the way you separate it is on the tracker tool go to operations instead of being merged set to work background over foreground or sorry foreground over background changes to foreground only so with your tracker tool set to foreground only you just see the insert moving but this separates it so we can control Reflections and all kinds of things it's really really useful to put this back on top we're going to add another merge node okay MRG and how do we stack this over the background foreground over background it's as easy as taking the background feeding that in there tracker tool goes on top and that's where we started we just separated things out so we have a lot more control now to get the reflections back on top we're going to go after our tracking tool right and we're gonna use a merge now to do additive blending you can do this in a couple ways one is to use a channel booleans another one there's actually part of merge that's built in to do additive blending and what I want to do is I actually want to blend the reflections from the original thing on top of our insert well how do we do that here's our background and I want to put this on top so it goes on top like this but then you're like hey Chadwick uh you just lost everything that's what a merge does right it takes the for ground and replaces it well yeah most of the time by default but if you're working in linear space and you want to use addtive blend mode go over here and there's a we're already set to additive that's what one says over here right you turn your Alpha gain down now you have an additive now you've added the reflections of what's on the top to the bottom and it Blends really nicely and the nice thing about this is if you want to double the reflection amount or change the opacity of how much reflection you're pulling through now you can go to settings blend and control the reflection ignore the outside right now we're getting that to that in just a second but let's say we want to double up the reflection just add another merge node right after it take the background again from the source clip right I'm going to show you a on my website there'll be a flow that you can take a look at if you're if you're a little loss on how things are connected on the second merge node again make sure you turn your Alpha gain down to zero now we've added plenty of reflection back on it that image it's going to be easy to sell in fact maybe it's too much so on this one you have the fine control enter settings to pull your blend down to right where you want it to be now this checkerboard thing is telling us this is an un premultiplied image it's it's not we need to cut this thing out right and you do that by multiplying it but here's a big gotcha if you've done color correction in Fusion before you know there's a checkbox called pre- divide post multiply that doesn't exist when we're working this way so we need to take care of that ourselves there's tools to do that uh you just need to be aware of them so what we're going to do is we're going to take our original tracking tool here take a look at these edges here and again if you don't have smooth resize turned off I would say turn that off so you can really sort of see what's happening on the a curved Edge where there's anti-aliasing we're going to add after this we're going to divide out the alpha channel from the RGB pixels to make those pixels opaque do that with Alpha divide shift space advv is this the the tool add to add it to the flow and we're going to take a look at those edges what just happens we divided out those those pixels there so these are solid we're removing the uh the transparency from these pixels so that they're not changing color value as they go to the edge and that's how you want to be adding stuff when you're using additive blend you don't have to know all the math behind it it's actually really simple it's the division from elementary math and multiplication but now need to multiply to cut this out after we've done our blending of the foreground so we choose merge and then there's a tool called Alpha multiply Ami add that afterwards and this cuts it out again right and it cuts out correctly with the colors of the transparency from the corners or anytime you have like a soft Edge on something right that is the correct way to do it uh take a look at merge and you can see we're actually getting somewhere now Edge glow is a great way to sell your comp a little bit further now that we have it all separated out it's not hard to do so let's look at our insert only and we're going to apply the glow just to the insert so select Alpha multiply shift space puts the glow afterwards a glow is a built-in Fusion effect Glo is the shortcut for it throw it up over there in the viewer and you can see it's way too intense but it's hard to see how this actually compos it so look through it the merge node so we're looking through the merge node as we do this while selecting the glow so we can see it in the inspector and let's cut this down to I don't know three just a subtle amount is all you need to see those edges kind of change on the the background area there and have the glow spread over we can turn this off and on just that tiny bit can do a lot but we don't have an edge mask yet so I'm going to show you how to use uh how to create an edge mask so that this is restricted to just the edges right CU we don't want it glowing the middle of the phone to to create that mask we're going to use um something I learned from Burn Clem from VFX study he has an incredible YouTube channel and everything that guy says if you really want to learn Fusion is Rock Solid so um I highly recommend you check his channel out we're going to create an edge mask using two MATC controls today lots of ways to do it we're going to use this method so one m control let's add another ma control okay and I'm going to disconnect this here so you can see where we're pulling our Alpha from to create the edge mask on the screen insert this Alpha multiply layer here so this is before our glow we actually have an alpha Channel you can see the alpha Channel if you hit a on the keyboard or you go up to here these are shortcuts to see different channels by the way if you hit Z it takes you to this infusion uh we have no Z depth there's n none of that so if that ever happens to you just hit a to see Alpha C to see the color or RGB to see those individual channels okay if you get stuck good thing to know um but let's look at the alpha channel so a and we're going to take the alpha Channel output of the alpha multiply put plug that into m control we're going to also take it and plug it into our other one okay back into the background of both of those now the idea of creating an edge mask is we're going to compare the two of these we can subtract one from the other like a blurred copy of one and that can give us an inner or outer glow and so to do that we'll take our our first Mac control here throw it up in the viewer so we can see what we're doing and change the blur amount on this and you'll see we're blurring the edges so this is the amount of edge mask that we're going to be using on the glow right the second one we'll leave hard we'll leave as is we'll take the output of one and plug it into the foreground of the other and see the results of those now nothing has happened by default so let's select Mac control 2 and we're going to change the combined operation over here from none which is the default to combine Alpha and what that does is it has combined the alpha the two too but it's done so with a com uh copy operation and we want this to be a subtract operation so we want to subtract one from the other and there you can see we've created a an edge mask now I always forget which way these go and uh I kind of did this on purpose too this is more of a light wrap where it's coming from the outside I want this to spill to the outside of our Edge so there's our Edge I want this to spill out the easiest way to flop this so it goes the other direction is just on this resulting subtracted uh ma control hit command t or control T and that changes the foreground and background input see how these green and yellow lines over here are swapping that changes what the foreground is and it also changes your Edge mask so that edge mask now spills to the outside it this is our Alpha channel so the white part's the part that's going to get affected the most which is closer to the edge which makes sense for a glow and I'm going to hit C now so you can actually see the resulting image let's go to merge actually and let's apply this mask to the glow so the output of here is going into that mask input and you can see we are now not glowing the center of the insert but it is glowing the edges so if I go back to merge over here you'll see very subtle because we didn't turn it on very high very subtle glow it might be hard to see so I might exaggerate this for you Tobe let's change the the glow amount here to um I don't know we'll turn it up to there and very very subtle amount it's it's these little finishing touches that really can make a difference to blending something super quick timeout if you're new here I'm Chadwick I'm a commercial finishing artist and denture resolve master trainer that's obsessed with teaching all things post- production especially workflow and the techniques that aren't easy to come by in YouTube tutorials so please let me know in the comments If part of what I'm teaching today doesn't make sense or if you have ideas for future tutorials I do my best to read and respond to them and I do really appreciate you you are more creative than you realize now let's get back to finishing this comp so now we have an edge mask we have Reflections that are controllable what do we need to do next well I'll tell you I was working on a commercial last year and one of the common requests would be we need the camera to be more visible in the product shot so why don't we take the dynamic Island PNG that you can grab from Apple's website and throw that back on top of this and Match the black level let me show you how to do that I want to actually see the dynamic Island that's this little thing here with the camera back on top of here you'll be able to see if you change this background so it's actually darker you can kind of see through it a little bit more you can see a little bit of a DOT there um that's where it's at but uh the client's not going to be happy if they're trying trying to sell the phone and they can't see that cuz that's like a selling feature so on Apple's website you can get the the the PNG for it I actually I grabbed it and I'm going to throw it in our Flow by just going to our elements and uh and and drag it up over here and you can see there's a dynamic Island that we can comp on top of it so let me show you how that works we're going to close the media pool to give us a little bit more space and this is this is we're getting a little more simple here but what I want to show you that's advanced is the ideaa of matching Black Level so let's merge this on top shift space merge right so over here in a flow we're going to take our our current composite which is we're really happy with right we're getting somewhere with it it's moving we're going to take this and stick it on top um but we need tracking data right we need to corner pin this well we already have all that information that we've done earlier so we'll just reuse that right so to reuse that data I'll take the tracker one that's right here command C go after the the new element after this Dynamic Island element command V to paste it and you'll see in the tracking tool itself it is not moving and that's because we have our tracker set to foreground only and we have nothing from the foreground but we do need the background to set the resolution so we do need to take our original media in1 which are sets are 38x 40 resolution and we need to flop these so that we're putting the dynamic Island on top again the trick I showed you before command T flops those inputs and now we have the dynamic Island right on top right but we need to do a little bit of a little bit of magic here to make this black level match what really existed on the screen and these resolutions of my original background here don't exactly match so what you could do here is offset these a little bit differently on this this tracker right here so I'll do that real quickly choosing that little blue button up there and just getting these to to match up a little better and I know you're wondering there's that whole bezel there but we're going to take care of that with a mask let's go to a frame where we can see all the edges again this is why you want to shoot wide when you can to see all edges at least at some point and then you can push in afterwards now to mask this off so that we're just using the dynamic Island you kind of guessed it we're going back to the original clip to put our mask on and we'll draw a real simple shape right I'm going to draw uh let's use a beast bline no one uses beast blindes in tutorials and that's my favorite kind of mask so Beast bline you can't see anything on there but we can on here but you click the beastline before you connect it okay zoom in in now I have beastline selected over here you can make your points around it right shift o closes it and the reason a lot of people don't use it these Beast blindes is because they have these weighted Corners that don't it match exactly when you click well I think this is an advantage because what you can do is if you didn't know I'm going to select both these edges hold option to move these out okay oh by the way anytime you add a poly on over here this is really good to know it creates a key frame cuz it's expecting you to rotoscope right I'm going to remove the key frames by right clicking over here and say remove beastline polyline and that way in case I were to change the shape at some point later it's not going to change the shape on me just it's good to know that that's set up to key frame for Roto by default I don't think you can turn that off but uh to select these over here and move these over here I'm just going to back box select hold option you don't have to actually select the points and you can do that to change things U but the other thing you can do with with with B spines is you can change the weighting of the corners so if I wanted just select this corner right here hit W or hold W on the keyboard drag and it changes that so it's like a polygon but you don't have to deal with the messiness I'm holding W of tangent handles to create curves right so this doesn't have to be exact the main idea is I was just going to cut out this Dynamic Island segment right here okay so as long as that's visible like that we are we are definitely good to go so to mask it off you take the output of the Bine plug that into the mask input of media N1 and now you can see that edges uh the bezel part has gone away so when we look at this over here in the comp we now have a dynamic Islands following um and it looked pretty good it's not bad right um it needs two things before we go further one we need it on our tracker tool because this is moving the dynamic Island go to settings and turn on motion blur okay that was already turned on because we did a copy but always make sure the thing that's moving has the motion blur checkbox turned on um but the black levels like the color correct is not the same it doesn't quite match and actually while I'm here I can see it looks like there's more space here on the right than the left so this is the tweaking kind of stuff that you can do with those offset tools right so I'm taking this this blue offset of this corner here and I'm just going to lift this up a little bit so that it's more parallel to the top of the phone that looks better to me so to match the black levels we're going to actually use a great plugin that's available on the reactor um tool set called blacks match now if you're unfamiliar with with reactor that's that's uh and if you go to workspace scripts reactor open reactor reactor is basically this amazing playground of free effects or you can donate to the creators uh of of tools that are really kind of missing from Fusion that maybe exist in Nuke or or flame to just make your life easier so the one I'm using today for this is called black match by uh Amelia Sapia is Milo Labs is his channel and again that's that's another really really great YouTube channel that you should be checking out there's a tutorial on a on the we suck less Forums on how to actually load reactor into your Fusion system or your resolve system so shift space will'll pull up the black match tool from reactor and the way this is going to match color is simply taking our Dynamic island image instead of merging it first I'm going to intercept it here put this into the background of black match and blacks match tool is kind of asking here where where are we getting our reference from well it's getting the reference Black Level from our main plate so I'm taking this putting this into the foreground and as soon as I do that we should see a change now this is a subtle difference on YouTube I'm hoping this comes through but it's lightened it up and it's basically done a color correct for us without us having to do anything else so that will fit nicely into the scene and now all we need to do is merge this back on top take that back to the foreground you can see the difference before and after on off not a lot but if you see these values here verus before you know this was 0000 nothing is 00 0 there's actually this this takes the not only the colors but it actually is going to show some of the grain through as well from the original which is going to be useful to sell the effect okay and then the one of the last things here I'm going to show you is um we have some values that are over one and so we kind of want to clamp those down this is one of the things you need to know about when you use additive blend blending and working in linear is if I put my mouse here and then you look down here values are over one it's really a problem when you use over one values for uh Alpha channels but I like to tidy things up at the end by placing a BC brightness and contrast node towards the end of the flow and then over on the right side you have the option to clip your black and white levels and as soon as I do that and load this over here you'll see down at the bottom everything has been clamped off at a value of one for this Pure White all you need to do is take a a matching aspect ratio screen insert and you can swap it out just like this go to Media pool pull your new insert in I've got just a uh screen grab from my YouTube channel that um has lots of useful information for you on there and we'll just replace it in the flow where the other one existed so it was this merge here so I'll disconnect that from the tracker let's move this up and out of the way plug this into the tracker and instead and we've got a new insert now you'll see the corners aren't masked off so let's use our rectangle mass that we had done before now we've got rounded Corners up there right and let's look at the final result down here and all the work that we had done prior is carrying over exactly that's a beauty of floating Point resolution independence of resolve you can see even here our glow that we have set up the subtle glow it's getting some of that red um from this bar right here and it's glowing it out and and really selling selling the comp I'm going to walk you through step by step again on what we've done so we we've taken our original background plate we've converted to linear using Color management we've tracked in mocha Pro we've imported our tracking data into a fourpoint Tracker we've used the offset tool that's up here to extend the corners right you could also again if you don't like using that you can use the modifier Center position now to get the screen Reflections on we've actually because we're in linear mode we've done a linear ad with the merge tools set to the alpha gain down to zero done that a couple times and we did that on an unpre multiplied uh Alpha so we've divided the alpha first we've multiplied it back then we've taken a an edge mask right here an edge mask and glowed just the edge mask we've merged that on top and then we had to get our our Dynamic Island back because Apple said hey we need that on our phone to sell the comp so we put that back on top with the uh the just a PNG element we masked that off we've matched the black levels so that they matched our original Source done a little brightness and contrast to clamp off white values and color values that went over one here's a quick before and after if you load the buffers up here here's our after we we go to the before by changing to buffer B we have nothing in it right now I'm going to load our original footage and to see the split between them it's the it's basically it's the comma period and slash keys on the keyboard or you can go over here buffer wipe split so this split wipe that's right here that you can enable with the the slash key is really helpful and then if you hit command and option you can jump that to different areas so if it's in a different area that you you want to check oh I want to see this part right here command option click it takes you right to that that part on the split so you can sort of see uh where was our Dynamic Island on that window right there you know does that line up whatever you need to do make sure color Corrections uh didn't have any negative effect on on what you're compositing I really hope you learned something new today and because there's so much more to learn I'll see you in the next video

Channel: Creative Video Tips

Views: 5,891

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: p2VUuYPlC8w

Length: 46min 47sec (2807 seconds)

Published: Thu Mar 07 2024