Sky Replacement In Fusion DaVinci Resolve Tutorial

foreign Sky Replacements there's several different ways that we can go about it using different attributes of the clip itself as well as potentially even using AI with magic mask in this instance we're not going to be using magic mask or any of the studio features if we take a look at this shot here we can see that the sky is pretty blown out there is no data really in the sky that we can use of any value so we want to do a sky replacement so we have a little bit of detail and add a little bit more visual interest into this particular shot so to do this we're just working with the video that's on the timeline here and we'll jump right over into Fusion we do need to locate a sky replacement of some sort that we're going to be using and I have found one and I'll bring it into the project now and so if we take a look this is the sky that we're going to be replacing in this particular area if we take a look at what we have to work with we obviously have a very bright sky and we have little bits here and there that are coming through the uh foliage so we'll need to try to make sure that you know we get something that's cohesive that will show through all of these as well and this is one limitation with a lot of AI Solutions is we could get it to pick out this whole area but it won't pick out these little bits here and there amongst all of the bushes or the the leaves so I feel like this uh the way in which I'm going to show you is actually probably a better way than using things like AI magic mask the different AI tools that are there let's first name these so just selecting a particular node that we want to name so we're going to be this Runner here and then the sky just so that when I'm referencing them I can say the sky node and such all right so first let's get this particular let's get both of these together so we can see what it looks like so we'll take the sky and we're just going to drag from the out of the sky to the out of the runner and we'll take a look and we can obviously it's just the sky because the sky is laying over top there are infusion blend modes as most people know them as infusion they're referred to as apply modes and all of the different modes that you would typically see one of those modes is referred to as darken and what darken does is it takes very bright pixels and it makes them transparent allowing the other element to shine through so that's actually what I'll do is I'll come here to darken and what we can see is obviously the sky has been replaced but other you know pieces of the shot have also been replaced so the reflection down here when he is actually in the light he has been replaced part parts of down here so it just overall doesn't look very good but this is the start to this whole process the next thing we're going to do is we're actually going to be working on making a mat or a mask of the different area in which we want to kind of keep this selection or the sky in so to do this because we are working with the brightness values of the shot we're actually going to be using a Luma cure lumakier is going to use the Luminosity which is the brightness of the shot so to open that up we're going to hold down shift and hit spacebar and type Loom and we'll get the Luma keyer and we'll go right out of the run into the lumakier and then we can view the lumic here up here then over in the inspector we're actually going to be playing around with this slider right here the slider is going to allow us to select different bits so let's quickly go in and change that slider so that we just really get the bright bits and they shine through pretty strong so I would say that that's pretty good we're getting a little bit of the chest and the reflection but overall I would say that that's probably a very good selection all right the other thing that we can do is we can make what's referred to as a garbage mat so the garbage mat is going to be a mat that we're just going to throw anything that is a part of the garbage mat so to do that we're just going to click right here and grab a polyline and a polygon excuse me and we're going to right click drag so we're just right click drag whoops right click drag onto here which then gives us a drop down and we grab the garbage mat the reason why I did that is because there are several different inputs here and so if I do that then I can make sure that I connect to the correct one so the garbage mat is going to contain everything that we don't want so I'm just going to zoom out by holding command or control and mouse wheel and we're just going to go like this we kind of want you know the little bits that are right there because those are between the leaves sorry about my phone uh we'll go like this let me actually mute that all right so now that we have done all of that now I just want to go back and forth and if I view the actual shot here and I click on the mask itself we can see the boundaries that it's going across and I just want to make sure that nothing throughout here comes through so we can see that portion of his head might be coming in looks like it's keyed but I'll move it because I want to show you how something works so so when I brought in the polygon mask it made one keyframe right there as you can see right so if I go right there it's a keyframe and then over over here it's showing that the animation is selected so what that actually does if we were to manipulate any portion of our mask it's going to animate four different frames so if I come in a little bit it's like let's say right here right here we need we want this to slightly move over the course of between this keyframe and that keyframe we're going to see that the mask sort of moves the best way to work with with uh whenever you're like rotoing or anything like this is now we have two different points if something needs to be adjusted we'd like to come to the middle of those two points and then adjust accordingly and hopefully the animation that is already made between those points kind of helps out so we're not going every single frame manipulating The Mask just a little trick to kind of save time on that front all right so it's looking good actually it would probably move this up slightly like that I think the rest of this is perfectly fine so I'm liking how all of that is now and so now if we look at just our mask here we can see that we only really have up in the trees up there as you can see now we are going to add everything together so to do this we first need to take this lumic here and we need to take our runner shot and we need to use all of the information coming out of the lure the Luma keyer as an alpha so to do this we're just going to come up here grab our Mac control we can also shift spacebar and type in matte get the matte control and we're going to go directly in runner first and then the Luma keyer second from here if we click on the Luma here and view it up here we'll come over into the inspector and we're going to combine we're going to combine Alpha and then if we come down here we're going to post multiply image and then we can invert so now we have up here it's all cut out there is sometimes you might want to play around with this a little bit I just turned off the checkerboard so you can see this if this is too messy you can go in let's move this over a little bit we can go in and use a in a road and then holding down command or control we can get fine adjustments on this erode and then we can clean up it just ever so slightly and then that would probably be pretty good for my erode we want to do very little as little as possible something like that so off on get a little bit of that gum and now we can take all of this information that we have so far we'll bring our Sky back bring our Sky back and we're just going to connect this up right there and now if we view this we can see that now we have the sky back there if we really wanted to we could go into the sky shift spacebar transform and we would be able to resize this and bring it up here like that I'm actually going to turn off the uniform size and shrink down so we get better clouds something like that to kind of get it to fit in but there's one issue with what we've got so far obviously we need to get it to fit in a bit more but there's a bigger issue than that if we watch this through and we look up here in the sky we can see that the sky is a static shot and nothing is really moving right the sky's not moving with how all of the mountains are moving right other thing too I think after this mask or Mac control I'm going to put it actually before it right here I'm going to put in a blur after the erode and then just make this like 0.5 to get to soften this edge up just a little bit so it Blends between the two but if we take a look between here we can see that the the the mountains are slightly moving around because the camera's bouncing but the background is kind of just sliding all over the place there is no it's not locked they're not locked together and they're not moving together so that's something that we would probably want to correct and so the easiest way to correct that in the transform here what we'll do is we'll just double click on the center because we want to track the center position and then we go modify with track position and that's a modifier so we'll go into modifiers and then the big thing here is we have a source and the source is currently the sky and that's not what we want we actually are going to want the runner so if we just grab the runner node so let's click on the transform let's go back to here click and drag and bring it up into here and release now it will be the runner that we're going to be using to get our tracking data so now that we have that selected I'm going to bring both the runner in both of these and select fit fit close shift this over ever so slightly and I'm then going to click on this little box right here and I can move this around and what I'm looking at on the left viewer I can see like where I'm looking at because on the right viewer it's kind of hard to get an idea of like what I'm actually looking at here but I want to track the mountains for some reason with this tracker I'm not actually seeing there we go now we are all right so now we actually just want to kind of track these mountains and find like a good spot to track let's try right in there let's come back over to Here and Now from I'm my playhead is currently right here I'm just going to track this way oops that was the wrong track button let's go back into kind of where I see all of that let's pick a spot let's pick right there so quickly on how this tracker works the inner Square here is going to be the pattern in which we're going to be tracking the outer square is going to be where we look for that pattern so we look for the pattern we find it lock onto it go to the next frame within this box we can look for the pattern again and then just position so if you're working with really fast-paced motion you might want to increase the size of this box or change the size of the pattern the big thing is that you don't want to make the search area too big because it might find a very similar pattern somewhere within the shot and then it'll be jumping all over the place instead of just locking it down to a relative area close to where the previous track point was so that's how that works so let's come over to modifiers and now I'm going to from this point track forward and as we can see here we're going to track every frame and it's going to be looking for this particular pattern throughout the shot and it's working off of the sky so now if we take a look at what we have I see a little bit of craziness going on right here so I'm guessing the tracker potentially moved oh the beginning track points are up here I see I see so let's actually remove those quick you probably won't have that as an issue so we'll just delete that so that track doesn't look so horrendous and so yeah now we have this kind of tract but we might not be looking at the exact area in which we want so what we'll do is we'll come back to the modifier and down here we have offsets the offsets we can use to manipulate the image until we get something that you know is looking a little bit better for our Sky obviously I don't want the bottom of the our shot that has like the golden area so we'll pop pop that behind and I'll just bring this kind of over maybe something like that will look significantly better so this is almost done the only thing we have to do is just blend them together but before that let me tell you about color front color front's new offering the streaming server mini is a brand new software solution to stream directly from popular editing compositing and color grading application colorfront has developed this software from the ground up to provide the most color accurate streaming solution regardless of viewing device the 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is if you want your Sky to be a little punchier or a tint of something different you could easily just right here just get a color corrector add that in and then you could add in a little bit of let's say contrast ever so slight contrast I think that's looking pretty good and it's fitting in the shot pretty well and overall if we take a look at where we were versus where we are now I feel like those skies are looking much much better like I said we're just adding in a little bit of detail up there so it just doesn't look like a white block in the sky adding a little bit of clouds when it's time for the colors to actually come back and do something they can manipulate that you know even more so to get it to look much much better our big thing was to get you know as you can see in here in the sky you can slightly see that you know we're getting a little bit of those Blues from the background and whatnot right so you can see I'm in the background back there getting a little bit of those blues and all and once it's time for the colors to take over they could really make this shot look much much better now that there is some detail up there to work with or should I say just texture at this point but yeah that's pretty much how we would go about adding in a sky replacement tracking it so that any type of bouncing with the camera obviously this was a bit handheld or like on a gimbal or something probably but we want to also add that in so it doesn't look like the background is just super static and the other shot is sliding around a bit so hopefully you guys learned something with this one if you're interested in learning more about DaVinci Resolve and different tools and techniques like this subscribe to the YouTube channel I do this kind of stuff all the time here if you want to know more in depth and longer form uh explanations and more in-depth projects definitely take a look at the website I have a bunch of certification courses over there as I am a Blackmagic training Partners but with that being said my name's Justin thanks so much for watching until next one guys peace

Channel: JayAreTV

Views: 5,754

Keywords: blackmagic, DaVinci Resolve, resolve, tutorial, how to, Fusion, DaVinci Resolve 18, video editing, video software, how to davinci resolve, how to fusion, motion graphics, sky replace, sky replacement

Id: 2cEV-3bYykc

Length: 18min 21sec (1101 seconds)

Published: Tue Mar 14 2023