Simple 3D Title In Davinci Resolve 17 Fusion Tutorial

what is up i'm marcel and welcome back to the modern filmmaker in this video i'm covering the basics of 3d text in davinci resolve 17. [Music] so i've been making quite a few things in fusion within davinci resolve in the last year and it blows my mind the 3d capabilities of fusion and i've been dying to get into depth with you all about what fusion can really do but i figured it'd be best if we start at the beginning when it came to 3d compositing 3d text and 3d properties within fusion so let's go ahead and hop in adventure resolve 17 and get this started so i'm just going to go ahead and start off with a brand new project clicking untitled projects in the project manager and i'm going to head over to the edit page of davinci resolve and there's a few different ways to get to fusion compositions and that's the first thing we'll need is a fusion composition to work within if i go up here to the effects library and then down here to effects you'll see that it says fusion composition now one way i can get to a fusion composition or make a new fusion composition is if i just drag this onto the edit timeline it'll give me a new timeline with our composition within the timeline now i can click on this and then go right into fusion and now we're technically inside of that fusion composition and this may help to know how fusion works inside of davinci resolve if you don't already know it's almost like a program built into davinci resolve that runs parallel so you can take things kind of out of the edit tab and then down into fusion make all your effects and then pump them back into this media out and it'll come back into the edit tab so any changes we make here will be shown back in the edit tab as long as they're connected to this media out node here so this is one way to make a fusion composition not my favorite way because if anything would happen this timeline or if you delete this timeline delete boom now our timeline is gone and so is our fusion composition um what i've learned is kind of a great way to work with fusion compositions is to right click within the media pool on the top left and right click and then new fusion composition and there's a few things about this now this will give me the opportunity to go ahead and set a duration and name for my fusion composition so i'll go ahead and set a duration to 10 seconds instead of five and then in the clip name i will name this sky view logo and the frame rate's just fine at 23.976 and i'll hit create and now our fusion composition is actually in our media pool i like having this standalone fusion composition within the media pool because that way if we want to let's say make multiple variations of this one composition after we build it out we already have it built out here in the media pool and we can duplicate that and then open the duplicated version and make little changes uh and then that way we still have our original right here in the media pool and then this way we can actually drag this in to a timeline or just right here from the media pool i could right click and open in fusion page so here we are in fusion with our dual screens which uh is very helpful and if you're new to fusion i'll try to take my time but this this might be a little advanced this is simple 3d text but uh it's not quite a completely beginner fusion tutorial but i will try to explain everything as i go along so as i said everything will have to come through this media out and the node workflow is really nice i like it because this is almost like a tunnel i have a ton of space here i can scroll up and down to get around or i can hold in on my mouse wheel and move around like this or i can hold control and i can zoom in or out on my mouse wheel and see how much space we have i kind of like this because i know in after effects when you're doing compositing you end up with all these tracks and just all these tiny little lines with different colors and different labels and just these tiny little tracks um and to me it's not quite intuitive you're kind of it's almost like a big haystack of tracks towards this it kind of gives you a little bit more of a visual you know you can have a certain node tree built out over here and then one built it over here and one built over here and they can all connect to kind of make something into the media out right here um if you end up with a big big thing and uh if you do end up with a big no tree which will try to keep things you know fairly simple today but if you end up with a big no tree you can simply like zoom out from where you are like go over here zoom back in and you're kind of at that section which i really like because you can kind of set different sections on this little uh you know kind of tunnel here until you get to the media out and it kind of feels organized to me in my crazy brain it all feels a little organized so first we need to start off with a 3d text and here you have all the main tools for fusion and on the right we have our text so if i just click on the text it will give me a 3d text node the 3d text button and now i can go over here and type in let's say sky view and we're not seeing anything yet because this has not been assigned to any preview window now right off the bat our media out is assigned to the second window but we're not seeing anything there yet because we have nothing piped into the media out and so if i actually just drag this text here in and up to this first window boom now we see it and we actually get to see it in 3d space and this is one of my favorite views and uh probably the primary view we'll be using today we'll be using the rendered view as well but um it's just so helpful you'll kind of see as we go along it's super helpful to have this view because you can look around and really see where everything is and this view is really quick on the computer it doesn't take much computing power to just move around this and what i'm doing here is i can hold down the mouse wheel and just move around this 3d space or i can hold alt and i can rotate around kind of this center point wherever i clicked my mouse and then i can uh use the mouse wheel zoom up and down to go up and down and i can hold ctrl to zoom in and out so again that's hold down the mouse wheel to move around and then hold alt to rotate around up and down is just mouse wheel up and down and then zoom is hold ctrl and mouse wheel up and down to zoom in and out pretty simple and pretty awesome so from here what do we need to do to connect this actually to our media out now to connect anything 3d to any media out you'll need a render 3d every kind of 3d tree of nodes we'll need to go through a render 3d for it to actually render out because we're almost looking at two different worlds here if i click on this and then i do go to our render 3d node which is this last tool at the very end of this list in the middle and then i can connect this you can see that our text is going to the render 3d and then i can take our output from the render 3d and put it into our media out and now we have it in our media out now again i was saying this is like two different worlds because this is our 2d world over here on the right our media out is our 2d world that's going right back to the timeline so if we had this in a timeline and we went back to the timeline this is exactly what we would see what's in this media out and right now i have in the in the settings i have the checker underlay checked but if i uncheck this then this is what we're working with you wouldn't actually see the checker overlay if you were to render this right now you would just see this text black background nothing else you can't move around this side um if i click on the mouse wheel i'm just going to move the preview screen around i'm not actually going to have any 3d controls uh but on the left where i have our text 3d this is actually our 3d space in our 3d world where we can move around as if we were in this 3d world if we were cameras if we're a camera in this 3d world just kind of looking around and flying around um and so kind of remember that these are two different things here and you're you're working within this 3d space to create this final 2d image even if it's a 3d image you know in the end it's just 2d because it's a flat image so so from here uh we have our text 3d our render 3d and our media out one thing i'm going to do real fast is right click on this background and go up to arrange tools and then click to grid and this way when i move around nodes or create new nodes they will stick to this grid allowing us for just a slight bit more organization uh we'll need to start attaching things to this 3d space but first of all i have to change this font to our company font and then from here i'll have to change the extrusion to get this a little more 3d looking because right now this is just flat so i'm going to go down in our 3d text 3d properties to extrusion i'll collapse this and from here i'll just start bumping this extrusion depth up to give us that blocky text and that looks pretty good and right now you're not really seeing any lighting or shading because we don't have any lighting or shading and that's exactly what we're about to get to right now um i love that it's still working really smooth in this kind of 3d preview window uh i love that to death nothing like 3d space to me because it's just like i could do anything in here it's just a blank canvas so from here we'll have to add things to our text and um we'll use the merge 3d similar to our 2d merge that i've used in how to make modern animated titles in davinci resolve 16 i believe it was but the great thing about a merge 3d if i lay that down here's the button for the merge 3d i'll click that and it'll add one right behind the text 3d and the merge 3d can accept as many inputs as you want which i love because uh you know how crazy things can get with the 2d side of fusion where you just have a ton of merges because um 2d merge can only hold two things but the 3d merge can hold several things so the first i'm going to do here is actually add another merge just to keep things organized i'm going to hook all of our lights up to a separate uh merge 3d and we'll put that up here just to kind of keep it out of the way of the text and then i will go ahead and click on a light spotlight right here and now you can see that i put our spotlight right in the middle of our composition and all i've got to do is start bringing this back and kind of position it to where i want it you can grab any of these arms to move the light or in the inspector properties you can go to transform and use these properties to move the light the x y and the z and one thing that's really helpful is this use target now if i click use target it'll place a target right there at the very middle of the composition which is perfect because that's exactly where i want the light to shine on i want to shout on the text so this way if i move around the x position it'll actually rotate around that point which is really nice i'm going to control z that just to make it go back to where it started i'm going to set my target i'm going to move around these anchors here to set my target right around that y and that looks pretty good maybe towards the front and another thing we'll need to do is actually turn the lighting on so if i jump over to the render 3d you can see that right under lighting this is unchecked and you can enable lighting just by clicking that right there and we'll also need to come over here to the merge 3d and click on pass-through lighting that is the kind of the last tip you'll need if we were plugged straight into the original merge 3d we will not need that but if you're connected to a merch 3d with your lights you'll need to pass the lighting through that merge down to the original merge and now we can see our text kind of shining through there just the middle because that's all we have lit and if i move the light around you can see me kind of lighting you can see that light rotating around the text and it already looks pretty nice i mean people have been saying for a while that fusion is not made for 3d work but it's getting there uh it's definitely getting there um as far as smoothness things are working a lot smoother than i've seen them work in the past i'm loving uh kind of the better 3d workflow davinci resolve 17 so far and then to give this light a little bit more feathering on the outside i can come down here to this angle right under the cone angle i can move this up and it'll give me a little wider and a softer kind of fall off of lighting and now i can move this back a little bit more but overall i'm pretty happy with how this looks i might move the target down a little bit just by moving this thing in the center kind of checking out how the light reflects and what i'm looking at is how the lights reflecting here and here when i move this down it kind of comes off the e and it kind of comes more on the bottom of the s so i'm trying to just get a nice feel there i kind of like it right there it looks cool boom and then from there i will make another light i kind of want to light this from several different directions almost get like a little three-point lighting going on on this text to give it that kind of cinematic pop so with the merge 3d selected i'm going to click the light again spotlight again and i'll add another spotlight and actually as a matter of fact you know what i'm going to do i'm going to delete that spotlight and i'm actually going to copy this spotlight with ctrl c and then i'll click the background and ctrl v and i'll paste that and then connect that to the mercury that would be a little faster since we already have the target set um and uh some of the other settings were already set as well so i'll go ahead and take grab this and i'll move this let's say over to the right i'm going to move this on the exact opposite side kind of just working my way around i don't want to make any super huge moves because you can see if i move this all the way around it's trying to do what i'm telling it to you which is moving the x position but it's also trying to keep my target so it's moving away and turning towards if i make little movements then it'll turn as i move and see it's kind of rotating around instead of making this big you know if i go like this then it's going to come all the way off the screen whereas if i make small movements it'll kind of just slowly rotate around that target that i have set for so i'll move this down i'll come over here keep coming over here and i'll move the target of this one over this way this was the old target put that where it was and whoops i'm gonna move this target over to the v and up a little more because what i'm trying to get is the side light i'm trying to get some lighting within the side a little reflective lighting there to kind of give it more style you see if i move this around so that light is kind of reflecting off the sides that's exactly what i'm looking for and then i'll move this down so it's kind of shining up that way i'm getting a little under glow from over here kind of cool they're just about right yeah that's cool let's get it back a little bit and maybe even turn this light intensity down to 0.5 or maybe point six five and i'll also turn down our original light to let's say point five just to take a look at that and i'm gonna grab this and slowly start working up to see what i'm really liking i like it's nice a little flat but that's nice let's add one more light to kind of give us a little more depth and dimension um so i'm gonna go ahead and copy that first light again with ctrl c and then click on the background control v and i'll link this light to the merge and then i will push this around to the back i'm going to use this x and slowly start pushing here i'll actually undo undo undo undo and give you guys a better angle here so i'm gonna slowly nudge this x-axis around to the back now you're seeing we're getting some reflection on this side some extra reflection if i move up and down you see that it's pretty sick it's pretty nice and i'm going to move this around back a little bit more because i really want to get that metallic-y see that reflective look there boom there it is that's what i'm going for that like shimmer around the edges i actually want this whole thing to give me that shimmer around the edges so what i'm going to do is go to the beginning of the composition i'm going to click on the transform of that light i'm going to click on the the x and the z translation this will not be moving up and down it should just move left to right and in z space front to back so then i'll make a keyframe there and then i'll go to let's say i'll go all the way to 160 and i'm going to start working this around just like this to give us that shimmer as it comes around and then if i come back here and play this see the light reflections kind of moving around the edges working its way down the word it kind of starts over here at the u or on the y i love that that is so sweet it's the little things it's just that little touch that i think is really really really cool um so another thing we're going to do is we're going to make a camera and then we're going to play with some of these lights a little more i just want to get to that before it's too late so i'm going to click on our original merge down here and then click the camera button and this will give us a camera and we can't see anything again because once you make a camera it pretty much pipes that right into the render 3d so that's what we're seeing in our media out now and the problem is it gave us a camera right in the middle of our composition so if i zoom in here you can see that we have a camera just sitting in the middle of our composition so i need to go into our transform and go to the z space and move our camera backwards so we can actually see let's just keep going let's go all the way back to like here nice and so from there let's go back to our lights and we'll line up everything let's see here a little organization and we'll keyframe these other lights so i'm going to start with this second light i'm actually going to disconnect our second light and just work on this first light now that we know what the second light is doing or the last light is doing from the back our little rim light so with this first light i'm actually going to go to the target and i'm going to keyframe our target so i'm going to go to the very beginning and i'm going to click on we'll go with the y axis of our target and i'll go to about 160 and i'll make another keyframe in our y-axis of our target of that one line then i'll hit this little arrow to the left of the keyframe to go back to our first one and i'm going to move the target down so we start with this oh that's clean that's clean i mean it's kind of clean already and you know it's awesome if i were to disconnect this first light and just watch this animation playback that is sweet i mean it's just a little thing sometimes i mean and that's pretty simple it's pretty easy on my computer probably pretty easy on yours too uh depending on what you're working with but i mean most computers should have no problem with this one 3d text and this beautiful reflective light in the background and there's some other things you can do too if you are experiencing some rough playback you can right click where this kind of playhead is in this bar here right click and you can click off high quality and click off motion blur now of course you won't see as high quality of 3d models and you won't have motion blur if you're doing animations but um it'll you know kind of give you two steps less that your computer has to do to preview back what you're working with so that's that's pretty sweet so let's go back to our spotlight one and see what that animation looks like if we play that back that's pretty cool i kind of like it but i kind of don't i want a little bit more movement so i'm going to go to our last keyframe our y key frame where we keyframed our target and i'm going to make a keyframe in our x-axis as well and then go back to our first keyframe click back on this double menu or double preview window screen so i can see what i'm moving around and then move our target to [Music] i'll move to the left maybe now when it comes in not bad not bad i can live with that uh one thing i do want is a little bigger cone angle i just stretched this cone angle out a little bit me a little bigger of a cone angle and sweeping across there not bad not bad so let's go to our second light that we had added and we're going to keyframe this one as well so let's go down to our 160 and keyframe let's keep frame the target we're going to keyframe the x axis of the target and then we'll go back to the beginning and we'll move that target over to the right all the way over here and then if we play this back nice kind of cool kind of cool now we can make this a lot cooler because it does look a little stale i will say it looks a little stale so let me take a look at our node tree here and let's see yeah one way we can make this instantly cooler is with some kind of depth of field or some kind of uh some kind of blur because your camera does have depth of steel depth of field settings uh if you know how to access them so um one thing we're gonna do first though i'm gonna come back to the edit tab and i'm actually going to copy this composition because i want to keep both of these uh for two different purposes i'm gonna go back into our first one right click the first one open infusion page and i'm gonna do one simple camera movement with this one and i'm gonna click on our camera go to the transform and i'm going to this zoom in a little bit now i'm gonna hit the keyframe at frame one on our z position and then i'm gonna come out to let's just say 120 and i'm gonna move back slightly just about right there then we can hit our playback and we got a pull back as these lights come on very cool let me go down into our key frames actually let me go into our splines because we actually need to ease these splines now um all the easing all of our keyframes you can see our keyframes here in the keyframe uh menu here we've made all these keyframes in the spotlights and the camera movement but if we go over here to the splines we can actually click through our spotlights and you'll see these keyframes pop up spotlight and spotlight and camera and if you click this button here it'll actually zoom out to show all of our keyframes and all i want to do is come to our last keyframes and select all of these last ones and hit s that way we'll get a slow easing out of those movements so we'll go through those animations and it'll slowly come to a stop of each one nice and then if we come back here i'm going to delete that last composition we made since we didn't do the keyframe easing and we'll come back here and copy by selecting control copy and then deselecting and control v and now we have our copy we'll open this in fusion and then i'm going to go to our camera position i'm going to scoot a little forward through our composition here go to our camera and i'm going to delete our keyframes in the z position so let me just get rid of those and i'm going to go to just our singular view here and then i will move in with this z and i will click use target and let me check where that target is if i just move this merge into the second node here or this first preview screen our target for the camera move this up a little bit just to there and i'm gonna keep pushing in then i'm going to rotate the y so i kind of want to focus on this v just for this shot move this up a little bit and the target and rotate it a little more yeah that's cool maybe scoot this in a little more and then i'm going to set a keyframe the x position at the beginning i'm going to keyframe the x translation and then i'll go down to 130 and i will bend it a little more backwards just like that and one thing you can do also to get smoother playback which i've gone over in the make modern titles video and several other videos is up here in playback you can come down to timeline proxy mode and go down to quarter and this way you'll just have quarter resolution within your preview window i'm going to save this as tutorial now we should be able to scrub through this pretty easily yeah that's kind of cool all right so what we're going to do to make this even cooler because this is still again looks pretty stale is i'm going to come down to the render 3d and then you'll see that under reporting and render type it's a software render software render is fantastic it works great but one thing that works even better is if you come down and go to the opengl render and you'll see that it gave you a few more options with output channels anti-aliasing and then accumulation effects and accumulation effects is where you'll find the depth of field for the camera and if i just click this button to enable accumulation effects you'll automatically see that it all went out of whack and the first thing i'm going to do is dial down the blur a little bit to 0.1 um because point two is a little insane i might even go down to point zero eight that looks good and then pretty much what's going on right now is we have the depth of field on so it's like we're using a camera with like an f 1.4 but it's completely out of focus so we need to come back to the camera and we need to change our focus and when you do this with the focal plane we can come to the focal plane and let's go down to one uh let's try one point two and one point three it's a little eaten closer here see if five gets us there yes that's sick and 5.5 what's that do for us let's do 4. 1.45 1.52 all right i'm getting a little nitpicky here but that's all right and then you'll see now it's like a whole different animation if we play this back i don't know if it's going to give us anywhere near smooth playback because the one thing about depth of field it will enhance your image but it will enhance how much power davinci resolve needs to even work this that is pretty cool it's like it's like a cool little reveal and we could do is throw it slow down those lights those lights are going probably a little quicker than they need to so if i come down here to the splines and i turn on our spotlight again see all three spotlights and then our zoom to fit and i'll come down here and just drag i'll select all these keyframes and drag them all to like 225. this way it's a little bit slower of an overall effect and then of course we can come back and set up kind of one more little scene if we copy and then paste and right click open in fusion composition and now we have our same composition we can go ahead and move around our camera to a different position let's go ahead and move our merge into our preview screen and then we'll grab our camera and go to transform i'm going to get rid of the keyframes that we currently have in the transform and i'm just going to move this around kind of freehand looking for a new cool position let's see yeah this is pretty cool and if we move maybe the target oh yeah and you know what i'd love to be able to zoom in right now oh there we go ask and you shall receive so marcel me key frame this right here and then i'll go to around the 170 just to give myself some space i'm going to kind of zoom pull this back a tad and another thing i'm going to do is kind of dull down these lights a bit they look a little crazy they look a little wild the lighting right now is a little much that should be good now if we go ahead and preview this back oh this is insane this actually looks crazy i kind of want the camera to move a little bit more though the camera's not moving quick enough for me my friend and i'll take this back to like yeah and let's take a look at that and 3d is a game of patience as you're noticing right now you kind of have to you know set things let it cache and render out and then go back and preview and take a good look at it but you know the more you work with it the more you kind of get familiar with what you're looking at like right now i can tell what i'm seeing is is going to turn out pretty good i can tell by the camera movement even though it's kind of stuttery right now i can i can tell i'm going to be happy with that speed now if i play this back yeah that's pretty cool and one thing i do not like is the blur looks a little cheap so i'm going to come in here and bump that up to 64 and then bump this down to 0.06 or maybe even 0.04 um because real cameras don't have that much blur so so now what you could do what you technically could do is you come down here drag in one composition maybe we'll start with logo copy 2 because it almost starts out pitch black and we can fade this in with this nifty fade in here so it fades in and then you get a second view in that second view and then bring in that third view you know what i mean and that's kind of how you end up with something that looks like you're really in some kind of 3d environment you know now that's pretty sick i've got to say and as simple as it is it really kind of shows the power of fusion within davinci resolve but if you guys like this video and want more videos on fusion within davinci resolve definitely give this video a like and if you have any comments questions or concerns leave in the comment section down below and of course subscribe if you like videos on davinci resolve with adventures all 17 out i'm making plenty of new videos and as always guys i'm marcel this has been a modern filmmaker i'll see y'all next time [Music] peace

Channel: The Modern Filmmaker

Views: 47,454

Keywords: 3d text, 3d title davinci resolve, Simple 3D Title In Davinci Resolve 17 fusion Tutorial, blackmagic design, davinci 17, davinci resolve, davinci resolve 17, davinci resolve 17 3d, davinci resolve 17 beta, davinci resolve 17 features, davinci resolve 17 fusion, davinci resolve 17 tutorial, davinci resolve 3d, davinci resolve 3d title, davinci resolve fusion, davinci resolve studio, davinci resolve studio 17, davinci resolve tutorial, fusion, resolve 17, resolve 17 tutorial

Id: NjX8_Vm02qg

Length: 37min 21sec (2241 seconds)

Published: Thu Dec 03 2020