Set Extension in DaVinci Resolve & Fusion

[Music] [Music] I got a couple of requests recently to do a tutorial about set extension infusion so here it is set extension can presumably mean a lot of different things first of all your difficulty can really vary from relatively easy to extremely complex depending on what kind of shot you are working on and what kind of extension you are looking at so here I'm looking at a rather simple example my camera isn't moving at all which is very good otherwise you need to do much moving and if it's getting too complex you need to start building your set in 3d so here today I'm working completely in 2d that's the first simplification and the second part I want to place elements enter the scene in places where they don't really interact with the foreground so I want to place a house here on the site on the left and some wind turbine on the right but I'm not looking into something which like my actor is sitting here in the middle but he is not moving through the scene so I don't need to rotor scope or key or anything like this of course you can have set extension with green screen you can have set extension where you do extensive rotoscoping and you do camera tracking and all that kind of stuff so this part I leave outside for this tutorial however what I do want to talk about is how you can integrate photographic or video elements in the scene so that they look like they come from the same camera so how can you get the color correction correct how can you get some atmospheric effects stuff like this is what does come into play here okay so that's being said let's get started I am infusion studio today you can do the exact same steps also directly in DaVinci Resolve if you prefer I have loaded some media here which I'm also providing in the download package so you can use this to follow along if you wish let me quickly show you what I have I have here my video clip for the background the guy sitting here the grass is moving a little bit but outside there is not too much going on here I have one picture and I have already done some work ahead of time I have already created an alpha channel this you can do in Photoshop or in or in your preferred photo editing software if you want you could do this also inside of fusion and use like the polygon masks and mask out everything in fusion but in a photo editing software you may be a bit faster at least I am now so this i already provides together with the alpha channel also in the download package if you use it then i have here wind turbine this is a video clip so this does not have an alpha channel we will deal with it directly in fusion and also some animals so i have here some some horses and sheep and they're all moving a little bit but not too much and i want to bring all of this into this scene so with this setup let me get started and let me start with the first element the house so i can directly merge it over and give it a rough position I will add transform nodes here and not only the merge and the reason why I prefer doing this year is that at the end you can easily like have all the transformations color Corrections and so on together and everything like the final position goes into one merge it's just a matter of organization of course you can use the transform in the merge as well but this way I can reuse the element in its final position and it's a bit cleaner to me but again otherwise you can do it how you prefer let's think about the size and orientation and I want to the grass should go out of the frame and I want this like facing inwards so I will will flip it with the flip switch here like this and move it a bit over and to the side and now I need to do something here with the background and I will mask out if I look at the background I will mask out this part here so that the house kind of sits here behind the behind these stones which are presumably from the river so the house is supposed to be a bit behind this but in front of this background wall so let me quickly do this with a polygon mask which I can attach to this merge afterwards so let me take a polygon here and for now I ignore this in front here I just take care of the background very quickly and I might accelerate this masking activities a little bit so that you're not getting bored while watching but really it doesn't take more than a minute or two and that's already more than enough let me connect it to the merge and I need to invert it so that I'm masking out everything except this let me go back to the transform and move my house a bit and this is roughly the idea that I have here okay I can think about the size maybe a little bit bigger although let's see the elements around so these stones here and the grass here the grass here yeah maybe that's okay maybe it's already bit too big hard to say but if it's hard to say that also means it's hard to see so it should be okay now here my mask was a big enough let me quickly extend it okay I can just go to the side that doesn't matter where it's you okay now this guy here this blade of grass this may be a bit tricky let me have a look if we can extract it and for this if you if you see here now it is moving so I don't want to spend no time rotoscoping it and keying might work up here but the low here especially in this area the contrast is not very high so it will be tricky to get the skete out if I really want to lift this up from the background so yes it's possible but you know what I think I'll just save some time and I'll just cut this part off I just add a transform here at the end and just zoom in a little bit and throw this out okay now that I look at the whole screen here I think it can be a bit bigger I wanted a bit bigger and let's see if this grass is causing any problem yes so that's too far so I make sure now that there is no overlap with the foreground elements now if you can get this done if you can get foreground elements extracted that usually leads to two more believable scenes all and also having like this kind of interaction is always great now we do have it here of course with the grass here so this is the foreground this is behind and their mountains even behind so it's always good if you have your new elements somehow sandwiched in between existing elements that makes the whole scene usually more believable but then again if I wanted this grass here for example if I wanted something behind this you see here the contrast is extremely bad here so it probably means you would have to do some painting job or some rotoscoping and this can be quite time-consuming and I definitely am not willing to do this for a tutorial so I leave it like this now that I have the placement in the scene let me see how I can do some color correction and integrate this a bit better now typically you would go and take compare the shadows the the black points and the white points first and see that the overall color range matches and then think about you know very values and so on see if the right balance is is correct compared to your background everything in relationship to your background right so now in this image if I look at it here I don't really have points which are supposed to be completely white I don't have sky or so I do have some white or but this might be light gray like these frames or where there's maybe some flowers here something so I can I can look at this and I can if I want I can for example turn on here the histogram or waveforms I can do this on both the images and and see how it looks like now here of course due to the sky I see the brightest points are like around 90 or so I see it in the waveform or you can sample areas and see below so you can do this like a bit scientifically but since we don't really have dominant major points which not either right or or black this will be a bit bit difficult and maybe not the most important part here I just see that the the feeling overall matches so because here it's an overcast day and I don't have strong shadows I don't have strong contrast I want to reduce it a bit here as well so let me add a color corrector first after my media in here or no the note and I just add a general color corrector and bring that into the view or let me bring it into the view on the left and on the right I want to see it in the full scene so here we have the full scene and here the after the color corrector node and now I can bring the shadows maybe bit up so I don't have too strong shadows here in the in the doorways now they are not really strong but I can maybe just bring the gamma here up in the shadow a little bit not too much and in the highlights maybe bring it a bit down to make everything a bit flatter for an overcast day I might also because if it's overcast you don't have very vibrant colors so maybe it's okay to reduce the saturation a bit let me do that overall on the master here just a little bit let's see yeah I think this looks more like in the overall scene that it's not like the strong red so maybe overall that that might be okay now one thing which is definitely but office the grass here because the grass and the original picture is like fresh green and here it's beige brown now this let me just add another tool here and let me use the hue curves here and for the grass I just want to narrowly select the hue range or color range of the grass and try to change that so in the hue curves I can bring them in here on the left I can I can I can sample the the green tone from here you can sample it and you see this little triangle here which is the area where I've sampled now in the tool right now it's saturation which is turned on let me turn on you and do that again so here we have this little triangle and this should be the color for the grass and let's see if I bring this just down what happens yeah you see that it gets towards beige brown and we haven't maybe not selected all of it so you can decide here the range of values that you want to manipulate so maybe writing this a bit or even here bring these points bit to the side so this is basically like like a polyline you have these spline handles here where you can decide how how narrow and how strong it should be maybe it's too much then you can bring it up again if you want more you bring it even further so you can decide on the on the color depending how far I go and bring it a bit down to maybe still a bit green beige let's see how it's together with the rest and if I have selected everything yeah now I don't want it to be red it's always easy to do too much at the end yeah so maybe this is okay doesn't need to be exact the same you also have different green and beige and brown tones here unless it somehow fits into that range and that's a bit behind I think that's okay another thing always to watch out for is sharpness let's see if that looks like if I see the grass here it's a bit blurry and let me actually play the clip but I don't see much movement that's okay from the grass and here that seems to be okay so sometimes you have to blow things a little bit you don't want the background to be sharper than the foreground so and we are going back here so given that this no movement I think we don't need let's see up here now these edges here maybe they are maybe a bit sharp compared to what we have in the original okay so maybe I want to add a tiny little bit of blur but definitely not much so if I want to add blur here I have it and maybe that's already maybe one pixel is already it and a lot more how does it look overall I go left right yeah I have the color I have a little bit of blue now what I should probably add as a bit of atmospheric effects fork and so on always helps make things glue together and feel things together and especially here in this scene you see that here at the end everything vanishes in in the fork so I want a bit here in front as well and I stay for this in 2d and make it very simple and just at fast noise to it where do I do this I think I can just add it directly after the after the color correction so first I I see that it's as good as it can get before I start obscuring things and then I add the fork on top let me add a merge and now the tool is called fast fast noise which can be used for hundreds of different things and I merge it in directly let me organize this a little bit since my area he is small if I show you everything big in the screen you see it's already on it and let me show you on the left side and it's everywhere irrespective of transparency here and this I can change directly in the merge I just changed the operator from over to a top which means place it on top without additional changing additional transparencies or put it into the masked out area and this is a start then you can in the fast noise you can control the detail here and you see like if you don't want it equal you can get some detail or you can use the scale parameter now we don't really you want it blurry right so glory is good but a bit of variation is also nice so that it looks not to like doesn't look like just the right plane but there's a bit of off variation with the C thread here you can animate it now there we have to be careful now because it might quickly get too fast but if I play it like this you see hardly anything so maybe it can be more but very quickly it gets into flickering if you do too much okay this is probably already too much because it should just be like a tiny little bit of hardly noticeable movement maybe would be nice but not like animated noise so just barely noticeable yeah it changes but doing nominal playback you don't really see how it changes so I think that's okay so it's not too quick I can easily dial it in and out from the merge node so I can just from the merge from zero to you know dial it in and out of course I can also color it and so on but that I think it's not necessary here I think white is okay should pretty much match the background color if not I can actually make sure that it does and I can sample it so if I go into the fast noise and into the color here color one is black which is fully transparent and color two is right so the noise itself goes between white and transparent and instead of white I can also sample my my background here and if you want to sample more than one point you can press ctrl then you can sample like a rectangle area so I can actually sample the the real background color and just that for the noise as well okay this should be good now what is obviously not good is this harsh line here so let me mask it out with a polygon mask and I need to do that here on on this on this merge node I bring it into the left viewer and on the right I can see the effect of the mask if let me first so I think that the question is what is in the foreground what is in the background right so I think that the front area here this should be in the foreground and then towards the end I want this in all in the in the background like this and the top of course if I attach this mask then I see no hard mask here which doesn't make a lot of sense but once I give it a soft edge maybe a bit more perhaps bring it up a little bit then we should start to see something and now let me check what happens here afterwards I still have a transform here and then emerge here and something went wrong on the way and I think the transform here transforms the mask so sometimes you have these effects that through multiple emerges and transforms somewhere an alpha Channel doesn't or the mask doesn't get applied correctly and what I can do here is just click on flatten transform that should do it yeah so now the mask is actually being applied right away and then afterwards the image transformations run correctly so this should be okay again I can use the merge here to control how much I want I don't think I want that much maybe just a little bit of fog so it shouldn't be as much as in the background but also staring noticeable okay this was my first element the second one will work a bit differently so I now have a video which I want to bring in and this time I want to leverage the fact that this is also filmed against grey sky so my hope is that I can without too much masking and definitely there's no no keying or rotoscoping here my keying won't really work because you know this is white this is white everything is white so that will be very difficult but but still I think I can bring this one in so let me directly merge the whole thing over or let me first mask a little bit just to get started so I just take a circular mask basically to capture here the the the center of the rotating turbine so that's all in and we'll give it some some softness I don't mind that there's a bit more here this will be out of the frame at the end I think now I do want to get a bit more down here so when I add a second mask and disconnect it just for the lower area and quickly I do not I don't care about this part I'll just cut it off it's a bit crude but hopefully it will work now I do want to separate this so I need a hard mask here and let me just bring this up a bit into the area of the circular mask and if I attach these two and bring the ellipse into the polygon and then everything together then I have this cut out like this okay let's bring it into the scene I add after my last a note here I add another merge and again let me put a transform first and bring this in while I transform so the transform goes into the merge the turbine goes into the transform and color obviously doesn't work yet I want to bring it here on the side and I think I want if you think the wind is going into this direction the grass is bending in this direction so let me actually turn this and I'll just flip it so now it's facing into the scene which looks nicer anyways so I want to place it somewhere here can go a bit out of frame which is okay yeah okay now first let me rotoscope out the here the the background so that it's actually standing in the scene just a very quick mask for the other thing is standing so now it's presumably standing behind the hill here instead working from the sighs no I hope so okay and the second part now is here the color this blue color cast so let me see what we can do this time I directly bring in the color corrector and now let me show you one little trick if you want to compare the curves in the background and in the foreground in some of the color tools you can directly do that in the color corrector you can do it so what I can do here the color corrector here has it's now on the left has the input from the from the turbine and sorry this is out of frame because of the transform before so I should probably put it before the transform let me do that just like this and if you want you can put a second image for reference in it has no immediate impact on the color correction but it has impact on the usage so you can go now in two levels and here now you see two curves you see the curve the brighter one from the foreground and you see the reference curve way behind and you can switch between those two now I can use these levels directly and I want to adjust the brightness via these levels so just to show you a different way of doing the thing you can of course also open up scopes like the wave form and then use brightness and contrast or use the shadow mid-tone and so on from the color corrector but let's use it with the levels this time so I want to bring down the so I want to bring up the brightness here and match the curves especially towards the end which I presume is the brightest area the sky so let me change here the the range for the white point and match this and on the right side we should see if it's working now this is the the overall master setting and then I can go into the individual channels so for read for example me a bit can bring I can bring up individual channels as well so hopefully the blue cast will go a bit away it's a greenness maybe already too much so I can bring it down through I'm just looking here on the I'm sorry yeah yeah okay so now I think the blue cast got mostly away down here I still have some problems it's this bluish or it might just be from from the brightness so in the upper area I have pretty good match and even if I play it you don't see the difference between the sky here and the sky over there and this is great but here you do so I think I should bring in another color corrector and change it bring it the brightness up in the lower area but not in the higher area and also this I can do with simple masks so after this color corrector I just bring in a second one and the second color corrector now I focus only on the lower area for now when I adjust it I look at it again in the in the final image but I can bring it here in as well so let's see how I can can get rid of of this and I think I just need to increase the the brightness overall I might be able to increase the gain a little bit but with this obviously you have to be very careful that you don't blow out the image let's have a look at the waveform so yeah so this is already going quite high so careful with this so maybe I go into the highlights and bring up the gamma just for the highlights let's see how that goes yeah and I think this may be closer to it now it's a bit I should actually not look here I should look on this side because I'm interested in this area and you can twist and turn this or it usually may take a little while you can also change this waveform view to RGB for example then you see these scopes you can zoom in and out here you can make it large so maybe you want a big waveform monitor all the curves or vectorscope or these kind of things so let me use that here and actually let me look at the RGB again just if I see some no so that's pretty much balanced so I think it's just brightness it's not the contrast so let's go into the master again and bring the gamma up all in all and I think this might do it here carefully not too much okay so in this case now I think it's pretty much there you see one problem here and this is the in the transparent area something goes wrong this is because I did not select 3d right post multiply so usually you need to do this otherwise your alpha channel gets also corrected or the the color values in the transparent areas get corrected and that you do not want you want only you want the mask considered in the correction so let me do that in both of the ones just to be sure so now I went too far so I go back a bit so this is basically just adjusting until you get it and I might do a few more and go a bit back and forth always check with the background until you really have it no I think I have it in the lower area and in the upper area obviously not anymore but there I had it before so I can just add a mask again now and let me just put a I guess adjusting box would be enough and this needs soft yes and let's see I bring this if I bring this down I bring down bring in the second color corrector and somewhere here I need to shift let me see how softness is yeah it can be quite soft I think maybe not that much again you can try now the mask is just the the quick solution what you can also do is you can use a background image and paint a gradient from black to white and then you can adjust this all along the way so you can really fine-tune on a on a gradient how you want to dial it in from from top to bottom but with the soft mask usually that's much faster and often times it's it's already enough now if I go back I think if you look along the horizon you see that here the white seems to match here the white is matching in the middle that's also fine and I haven't blown out anything so nothing is super white so all in all I think this works now there's one more thing I had before I had some grass here coming from the side I still have it but now it's cut off from the soft edge from this from this turbine and maybe that's not even so bad so potentially this could work but I want to try one more thing maybe I can do a little trick and get better with this and just instead of normal let me just put darken here and see what happens now I definitely don't have any super wide areas anymore because my picture here is just darkening my previous sky I still needed to do all the corrections for the blue tones and so on so it's not that a different apply note could just save me well sometimes it can but in this case I really think it doesn't so yeah I needed to do the adjustments make it fit as good as possible but you are just using a different merge note here going to darken allowed me to have my turbine behind my grass here okay so if you try it yourself be prepared to spend more time with the wind turbine because making this match really well is more complicated than with the house with the house I just said all the weather's like this so maybe a bit darker maybe a bit brighter but if you need to match something exactly like here where I needed to match the sky and need to bring the the right tones perfectly in line so this is definitely more challenging now I got this done let me now see if I can bring in the animals just for fun and again we have a different technique this time I use a little bit of keying to bring them in let me show you how so let me look at the horses here this is just a stock clip basically and if I had filmed it I would probably do some things different here but let's see how much we can get out of this clip and to lift the horses up from the background where the grass is green so let's say the horses in front of a green screen and here is the Kia which one do I use you can experiment with all of them let me just use the ultra keyer because it's fast and it's faster to set up I mean and I think it will be already sufficient let me add this and obviously don't expect a perfect result now my goal here is not to get a perfect my god that will never work with something like this but at the end the horse will be like this big in the final image so for that hopefully I get something which is good enough let me first select the background color I can just sample it and actually I want to let me just sampler green here and see how that works yep so this is maybe already enough no there's a bit of stuff around perhaps I can use a bit from this separation to get it out and yeah don't look into too much detail so this I probably cannot get out let's look at the other ones how does he okay there's a branch in front of this one I don't want to deal with that and this one is yeah well it's moving here so the top part can obviously not be heat but I don't want to rotor scope so I will just take this one and here there's something there and something around but the horse will also be again on grass afterwards so I hope that these patches here are not a big problem now there are not super-clean there that jittery but still at the end everything will be very small so I hope that's fine let me put a mask around it and let me just go relatively tight now this I know I will not get how much does the horse move is that okay let me make it a bit bigger and a bit more here I'm trying to get as much background away as possible without cutting into it okay so for any for grant this is useless but for the background let me invert it invert the mask and add it as a garbage mask so here garbage matte so and then this is one peculiar thing about the ultra key uh it doesn't apply the garbage matte automatically you need to go somewhere in the settings and do post multiply image than the garbage matte gets directly applied from the keyer so garbage matte applied let's bring the holes in and I add another merge here bring it down here let me space out things a little bit my floor doesn't look very clean I think I will clean it up before I give you the solution file at the end but just to follow along right now it should be fine and I bring in another transform here just separate it and where do I want it I think I wanted somewhere here because I need background I can't put it like against the sky because then we will see the problems so I want to see it against background scale it down and let me see you like this maybe it's the size correct sorry and yeah okay so you do see a little bit of problems here and underneath so that's definitely not ideal and maybe just a little bit that can be fixed with the shadow here although maybe it can have a little bit of shadow at the end in the final scene also the size okay so if I just put it over some area of grass which is a bit browner then I guess I'm already getting a bit better and then here I think I went a bit overboard with the mat separation no that may be fine oh maybe I can do even more okay so if I spent another five to ten minutes I can probably get it a bit better but actually there's even one more thing which happens here because it's fine the background and if I look into the image if I look at the grass I cannot discern the the grass actually it's that far back and that blue out but the horse looks relatively I can still see the hair from the horse so I think I need to blur it anyways and this will again cover up some of my keying problems that I inevitably have here so let me add a blur after after this sorry let me add the bluer maybe here after the the keyer and bring it up a bit not that far auto proxy should be off too much too much okay maybe so again that's a judgment call but judging from the grass left and right maybe this could be okay and with this I think I don't really see the problems anymore what I do see here could be part of the grass anyways so yeah if you know it you know where it is but you don't see it anymore okay I will leave it at this if you like you can add the sheep as well it just needs again a key same thing as with the horse I can use the ultra kiya and then blow a little bit make it small put it in the background and it will hopefully work and then a bit of color correction here they're both for the holes for the sheep so on that it looks like it belongs into the scene and then that's already it so I hope you enjoyed this it was mostly about color correction here we didn't need much moving we didn't need to rotoscope the actor so that's the the part which kept things simple otherwise things can exponentially more complicated I am thinking about doing something maybe with a moving camera or maybe with some 3d elements probably not everything at once but something I think I can come up with over the next weeks let's see and if you do enjoy this let me know let me know in the comments what you think and click like and subscribe and see you next week thanks for watching [Music] [Music]

Channel: VFXstudy

Views: 22,832

Keywords: Set Extension, compositing, color correction, fog, atmospheric effects, VFX, VFXstudy, Fusion, visual effects, Blackmagicdesign, Blackmagic, DaVinci Resolve, Fusion Studio, Resolve 16, Fusion 16

Id: xQTh3svpngo

Length: 42min 33sec (2553 seconds)

Published: Sun Jun 02 2019