[flow_default] Transcription: 014_-_Fusion_Pt1_-_Fusion_Intro_And_Basic_Composites.json

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+  "audio_file": "014_-_Fusion_Pt1_-_Fusion_Intro_And_Basic_Composites.wav",
+  "text": "Now it's time to jump into compositing with Fusion. First thing I'll do is just click on the Fusion page down here and that'll swap our interface over to Fusion. And what that'll do by default is open up the clip that we were over in our timeline here in the Fusion page. This can be great if you want to work on the clip. There are also ways to kind of start a new composition inside of Fusion. But first of all, let's take a look at the layout of Fusion and just a little bit more about how it works and what it does. Again, you'll have the viewers up here. We'll have the right hand viewer and over here is the left hand viewer. And they work sort of like the edit pages, except for this right hand viewer isn't necessarily what the person who watches your project is going to see. There are just two windows here to view different parts of your composition, which we'll talk about in a second. But the viewers live up here over the right hand side. We have the inspector, which should be really familiar. We have a couple other panels that we'll get into in a minute. In the upper left hand corner, we have our media pool as well as be here and then do something else in the second node. That's kind of how things work in fusion. You do something in one node and then it flows to another node. We're going to spend a lot of time on looking at how those work. Then we have our toolbar in the middle and this isn't really tools like to switch out your mouse pointer or anything like that. These are actually nodes that you can drag down into the interface here. So before we get into any of that, we need to look at what the heck fusion even is. Fusion is a compositor, which basically means it does fancy stuff. Anytime that you want to do something complicated visually, you'd probably want to do it in Fusion. That's things like animations, that is visual effects, that's graphics, that's lightsabers, cloning things out, anything that you might want to use like Photoshop for, or you would think as like, you know, movie effects or, you know, animated graphics, that kind of stuff happens in a compositor. If you're familiar with After Effects, that's a compositor. So Fusion is an entire compositing program built inside of Resolve. So anytime you want to do something fancy to one of your clips on your timeline, all you have to do is be over it in a timeline and then click on the Fusion page and that will open up our clip inside a Fusion. Something to note, it opens up the clip before it hits color. So you're going to be working on the ungraded footage if you're gonna be working in fusion depending on your workflow and what you're doing This might throw you off a little bit. It's just important to know that so whatever happens in fusion will then get ran through color So let's take a look at how the compositing and fancy things are done inside a fusion I'm gonna go to our first shot in the timeline and click on fusion just so we have some stuff to talk about because we are actually gonna work work on this shot. So we have to talk about nodes because nodes are the main way that fusion works. Every single thing that happens inside of fusion is built with nodes. So if you want to adjust your image, if you want to do something with it, you don't drag and effect onto the image or onto the layer or onto the clip and the timeline or anything like that, you add a node. So if we want to blur this image here in the middle of our interface, we have a little droplet and this is actually the shortcut to the blur node. I can grab this and drag it into my node graph right there and that makes a node. All this node is is an instruction for Fusion to do something. So you could really just call this blur something. But if we look up in our viewer we see nothing's happening. The reason for that is because we haven't hooked up this node. We not only have to add nodes down here but we also have to hook them up. It's kind of like building a flow chart or a recipe, right? You can't just have your ingredients. You need to actually add them to the recipe and I'll just delete our blur node for a minute and let's talk about the recipe that's already here. We have two nodes. One is called media in and one node is called media out and there's a yellow line connecting them. Media in is a very simple instruction. What it's saying is open a piece of footage. The piece of footage it's opening is from the timeline and it's this piece of footage. Media out is also doing something. It's saying, okay, now render anything that's connected to media out back to the timeline, just like it were footage. All of the magic and everything in the world happens right here in the middle. So if I were to blur this image, I would have to add it on this line. I can go ahead and just drag it onto the line. When it turns. I can let go. And now if I grab this mood around, we can see it's connected. So everything runs through these nodes. Now we'll notice there's still nothing happening. The other reason for that is because we haven't adjusted the properties of our blur node. So the way we do that is just like in every other part of resolve. If we click on the blur node, we can go up to the inspector and adjust the properties. Here we see our blur size is like one. If I push this up, we can see that blur is actually happening. So now we have a really basic flow chart here. Media in, that's grab some footage and then blur it and then render it. That's what we see right here. Now the reason that we see it here is because this node media out is being loaded into the second viewer. This can get a little bit confusing unless you pay attention to it. Any node can be selected and loaded into the right viewer by hitting two on the keyboard or loaded into the left viewer by hitting one on the keyboard. And so you can really get yourself in trouble if you don't have the right node loaded into the viewer. What I like to do most of the time is select media out and hit two on my keyboard and that'll load media out into my right hand viewer because I'm used to this viewer right here on the screen being my timeline viewer, my color viewer. I'm used to that being what is going to be rendered. And so I just like to have that in the right hand viewer. Now the left hand viewer, you could grab maybe this input node and hit one and we'll see that it shows up without the blur. That's because we're previewing just what's going on in this node and what's happened so far. If I load blur into the left viewer with one, that's going to show up with it blurred. Now these two look the same because again, there's nothing happening in between them. But if I were to say grab a color correction node and drag it down there and turn everything really, really blue, we'll see we have that blue in the right hand viewer because we're previewing what happens in media out. So if you can get your head around the fact that these viewers can be swapped out to preview any node and the nodes flow into each other and everything has to happen in between media in and media out. Now if something isn't connected to media out, if I were to click on this line to disconnect it, you'll see we don't have anything going on up here in the viewer. If we were to go back to our edit page, look, we don't see our footage. That's because nothing is being rendered. Go back to fusion, grab this little gray square from our color corrector and connect it back to media out. And now things are happy again. So that's the basics of how nodes work is they have to be connected to each other and they flow into each other in order. It happens to be set up to go left to right, but it doesn't necessarily have to be left to right. It could actually be top to bottom if you want. It doesn't matter. An easy way to tell is just where these little arrows are pointing, right? This connection goes from this little white square all the way down into the little arrow, which is an input of this blur node. So I'm going to delete our two nodes in between and now we just have media in and media out and nothing's happening. So every step that you do to this image needs a node. Let's say I wanted to put some text over this image. I could grab my text plus node here and drag that down. But here's the thing. This is a separate kind of node than my blur node. You can see I could grab my blur node and just drop it there in between and that would apply my blur effect. But if I grab my text node, look what happens. If I drop this in something very strange goes on. It adds another node called a merge and then it throws my text over here under my media in just delete that extra text node now why is it doing that the reason is because there are different kinds of nodes there's nodes like media in which are source footage that's either a picture or footage or something that you've generated so text to would be something that we generated I guess you could call these like source nodes right it's not an effect that you'd apply to something. It's actually a picture or a graphic or something that is made. When you have two of those, you generally want to put them over each other in some way. Again, that's a step which we'll use the merge node for. Merge just takes something and puts something over something else. Right. So our text, I'll grab this. I like to make our nodes kind of like this so that we can just see those inputs. Immediate one is merged with something. What's it merged with? Text two. Text two is the foreground and merge one is the background. The reason I know that is, well, I can mouse over this and we can see this is merge one foreground and merge one background. So nodes that have multiple input arrows, it matters a lot where you connect your footage. Which one of these inputs you connect to is a big deal. So let's take a look at what's happening. It's still nothing. Again, the reason why is because I need to select text to go over to style text and say text and actually type some text in there and again I can adjust things just like I could in the edit page But now I have my text merged over my background. This is a really basic composite a composite just means something added to something else so text added on top of our background So if you can do this you can composite because that's really the main basics of compositing. It's putting something over something else now Let's talk about the order of things if I were to grab a blur node and drag this in between my merge and my media out now to select my blur and blur it a lot We'll see it blurs everything. That's because these flow in order right you put the text over the footage and then you blur it and then you render it Let's say we want to blur the background and not the text all we have to do is move this to a different place in our flow chart here. I could do that by clicking on every arrow like this, moving this out of the way and reconnecting it. But a faster way to just grab something out of this chart is to hold down shift and click and drag it. And that'll just take it out of that connection. And same thing, I can put this right after my media end right before I put text over it, hold down shift and drag it there. I can shake it to move it around, make sure that it is connected. And now we have the result we're looking for blurred background with text over it. So really, you can think about things logically and say, okay, what's the order that I would build this? I would put a background there and then blur it and then put text over it. So I'm putting the background there, blurring it and putting text over it and then rendering it. So it's almost like a map of your thoughts. Right now we have a few different kinds of nodes here. We have source nodes like media in and text to we have an effect node like blur We have a merge node, but we also have masks You can grab a mask up here in our toolbar these four little icons I'll just grab a circle mask and drag it down and these work a lot like Windows do in the color page It's just a mask, but you can apply it to any of these nodes You'll notice that all of these nodes have a little blue input. That is for a mask. So if I were to grab this ellipse and grab the output, the little square and drop that over our little blue arrow on our text, we have our text masked and it only shows up under that masked area. So that's a great way to limit things if you want to say apply an effect to only part of the image or start to do fancy things. So let's say we want to make a title for the beginning of our movie here. We could do it like this and build a composite here inside of our footage, but that's probably not the very best way to do that. The reason is because all of our color correction and everything is being applied not only to the footage, but also the graphics, which may or may not be noticeable depending on the color of your graphics and all of that stuff, but you generally want your graphics on a separate layer. So what I'm going to do is go down to our timeline. Let right-click on it and we'll go up a little bit to reset fusion composition and I'll say oh goodness Are you sure? Yes reset it and what that's gonna do is get rid of all of my nodes and everything It's just gonna turn this back into regular footage without any kind of compositing done But now we need to add our graphic So what we're gonna do is just make a new composition in the fusion page and then add it here as another layer Easiest way to do this is just right-click over here in our media pool and go down to new fusion composition. It'll ask me some stuff. Unless you're doing something really specific, it's probably fine to leave it at default. I'll call it title graphic and hit create. What that'll do is add a new fusion composition here in my media pool. If I double click on it, that'll open up our composition in the fusion page. Now you'll see that there's nothing going on here or here and there's only one node this time. That's because we don't have any footage that we've loaded in from the timeline. This is just basically nothing. And hey, whatever you want to do, connect it to this media out node and render it. So what I like to do is to start with a background node. That's this very left button right here. I grab that and just drag it down. And the reason I like to do that is because it will make the background node based on my project settings. So if I have a 1080p project, it'll make a 1080p black background, which I can load into viewer one by hitting the number one. Then I can just connect this into our media out like that. We're rendering a black background. Now you don't have to do this, but the reason I do that is because it sets the composition size. Fusion can act kind of weird if you start bringing in footage and stills that are all different resolutions. And so I always like to just start with the background node because it sets the size and everything acts how you would imagine it would. So this is kind of the same thing. It's just make a background and render it out. So let's put some text over this background. Again, I can grab our text and I could just drop it in between here, but I want to show you a little trick and let go of our text node. And let's say I want to make a merge node. There are a few different ways that I could do it. I could go up here to our toolbar and grab this node right here right after our background node. Then I could connect my text, but a really fast way to add a merge node because you're going to add merge nodes all the time, all the time. It's just to grab the output of whatever node you want to merge over another node and drag it onto the output of whatever you want to be your background. So I can just let it go right there. That'll make a merge node and it'll connect my foreground to my foreground and my background to my background. Nothing's happening up here. That's because we need to select our text, go up and type something. I'll type Yosemite and I'll pick a font. You can pick whatever font you want. I think I'll just click open sans condensed and I'm actually going to make this all caps and I'm going to grab my tracking and just move it out like that. It just looks a little bit more classy and maybe I'll size it up a little bit. So now we have our text over our black background and because we have media out one loaded in viewer two, this is what we're going to see. So how do we add this to the timeline? Let's go back to our edit page and I can go up here to my media pool where it says title graphic. I can grab this and just drag it down to the timeline just like it were footage. And now we have our graphic, but there's a problem. This black background, I want to actually see the footage under it. What I'll do is again, double click on my title graphic here. I'm going to grab our background node and over here in the inspector, there's controls for color. I'm going to leave it black, but I'm going to turn down alpha all the way. That's just going to make a clear background. So now we have the words over clear. If I go back to our edit page, we see we have the words over our footage and we can adjust the timing and everything here in our timeline and there we go. Double click our fusion comp again in our media pool and we can bring this up and keep working on it. Now if this is something that you're going to reuse, it's probably a good idea to kind of build this right here by clicking in the media pool and adjusting things because here in the timeline, this is kind of a new instance of this composition, right? And if I select it and I have my play head over it it I can go to the fusion page and I can open up that instance right so if I click on text and call this you somebody to and go back to my edit page We see this says you somebody to but if I close my inspector I can preview my title graphic and that's still you somebody on black So what I'm actually doing is changing this composition here So if it's something that you're gonna reuse I would recommend just building it before you put it in the timeline so you can make sure that you're making the adjustments on the right composition. Sometimes you'll double click it and it'll just open something random from the timeline. If you go to Media Pool, double click on your composition again, it'll open up the actual composition. So again, we'll make sure to take that alpha down in the back. And now we have our text over our blank background. So now we're kind of the point where it's creative. It's just like when you color correct a shot, you can look at the image and decide what you like or don't like. We kind of look at this graphic and say, hmm, what would make this better? Maybe a drop shadow. We could do this in our text plus node, grab this and go to our inspector. And this fourth icon over is our shading and under shading elements under select element, just go to number three. That's kind of a preset shadow and I'll just hit enabled. And now we have a little drop shadow behind this text. Now a way that you might choose to, now something that you might want to do, if you want a little bit more control, you want everything laid out to where you can see exactly what's happening, is you could add this in a node. So I'll just turn off our element three of our text. And if I want to add a drop shadow to our text, I can select our text node, then go up to our effects library and under tools, under effect, I'll grab shadow. And I can just click on it once and that'll add a shadow node to our text because we had our text node selected. I can select it, go over to shadow offset and just kind of offset that a little bit. And there we have a quick little drop shadow. So that's a quick way to have a little bit more control, make things a little bit more laid out so you can see what's happening because that is really one of the advantages of nodes is you can see exactly what's happening with this flow chart at a glance. All right. So now let's say we want to animate this. We want, we don't want it to just show up like this. We want it to maybe change over time. Fusion is really great for that and it actually works similar to most of Resolve with a little bit more control actually. So I can scrub in my timeline right here under my viewers and I'll go to frame 30 or so. That's around one second depending on your frame rate. And let's say this is where I want my animation to stop. I'm going to be at frame 30 and then I'm going to decide what I want to animate. I think I'd like to have this text a little bit more spread out at the beginning and have it kind of squeeze in a little bit. So to do that, I'm going to select my text node and go to my first tab here. And remember, the way we control that is with tracking. And so at frame 30, I'm going to set where I want this to end up, which is right about there. 1.291. And you'll notice to the right of all of these controls is a little diamond. This is a key frame diamond. So I can click on that. And when it turns orange, that means that I'm on a keyframe, which is basically just telling fusion that, Hey, at this certain time, I want this control to have this number. That's all it's saying. So at 30, we want that, but we want it to start a little bit more spread out so I can move over to the start of our comp frame zero. And now I don't have to click this diamond again. I can if I want, but now all I have to do is just change this. Let's let's spread it out like that and now it will change it will animate this number to change over time So if I scrub through this we see that word comes in like that and just hit spacebar and play it back. It looks nice So we have our basic animation, but maybe we decide that at the end it stops too fast I play this back It just kind of jerks when it stops and that's not really the best way to do things It's nice to just have it ease in a quick way to adjust that is with the spline panel I'll go up to the upper right hand corner of my screen click on spline and this will open up a new panel down here what this is is a graphic of anything that's animated inside of my comp and so anything that has keyframes shows up in this little list and I'll just click this checkbox for text one and here we have a little graph now This probably means nothing to you because it means nothing to me right now. I have no idea what's going on It's just a point in a random line But if you go up here to this little icon zoom to fit and click that then it'll show you the graph of your animation Whatever number we have selected which is character spacing starts at 1.6 and goes all the way down to like 1.2 and we can grab these points and move them around and that'll adjust our animation we can also adjust the handles on these points and adjust exactly how this value changes over time so right now it's constant and then it goes woo and then it's constant again and it's a really hard transition. So we can stop in that transition out just by selecting this last key frame and I'm going to hit F as in Frank on the keyboard and that's going to flatten out this little handle. It just makes it flat so that this kind of eases down. Imagine you were on a sled going down a hill. You definitely rather go down something like this than something like this because you die right here. So you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you're going to have to go down a hill and you'd definitely rather go down something like this than something like this because you die right here, but you would live with this. You always want your animation sled guys to live. Yeah, definitely want that. So now let's take a look at this difference in the animation. I'll go back and see how this works. Yeah, that's nice. It kind of eases in there. So as a general rule, you're always going to want your animations to ease just because it looks a lot nicer, looks more natural. And the cool thing is you can animate just about anything to the text is added over our background. And there are a lot of controls over here that adjust exactly how that's done, including the position, which is called center, the size, the angle, all of those things. And I find that it's a lot easier to animate and do things inside of the merge node if you can, rather than inside of, say, the text node, or a lot of people will add a transform node if they want to adjust the position of things. There's not really a wrong answer. I just feel like it's a little bit less work since we already have the merge and it's already controlling how things are added that we just adjust things in the merge note. So at frame 30, let's say we want it to be at 100% scale and then let's go back to zero and we'll make this a little bit bigger. Something like that 1.3. And now we have it zooming out. There looks nice. Again, open up our spine panel and now we, I can just uncheck our text one and now that we have our merge selected, I can find that again, I can grab this bottom key frame and hit F and now we have a nice subtle animation. So I mean, that's pretty much the ins and outs of animating something. And again, because of the spline panel, it's a really nice way to work inside of Fusion. So that's nice. I think I want this a little bit more subtle. So maybe instead of 1.3, I'll do like 1.1 and I'll click off of it and play back. That's a little bit nicer And now that I've messed with stuff sometimes it will mess up our spline which it certainly has again Select that last keyframe hit F. I'll make everything nice. Yeah, okay So this is our first basic graphic that we've made inside a fusion again I can go back to the edit page grab this title graphic and throw it down in our timeline and trim it there we go Yosemite nice if I wanted to fade this in, I could animate that inside a fusion or I could just grab the handles here and have it fade in and out just as a clip. That would work just fine. Now, I'd like to work on this shot, but if I click on the fusion page right now, it's going to actually open up my fusion composition. One way I can avoid that is just turn off this top layer and click on fusion and that'll open up my original footage here. So as we scrub through this footage, close inspector So we have a little more room you may notice that a lot of it's really pretty but then towards the end We have these people coming in here just ruining our life man So maybe what we want to do is replace just this little part in the shot with this earlier part of the shot and this is where some of the power of nodes comes in generally how you'd make something like this happen is you would duplicate this footage and you would freeze frame it on a time where there isn't any people and you would add it on top of itself and mask just this part of the footage out so that everything else moves but this part stays on that freeze frame. If you were to composite with layers in Photoshop or in After Effects or another compositing program that uses layers, you'd have to duplicate this footage. But with nodes, you can actually use one node for multiple things. So, so what I'm going to do is add a merge node, which I could do just by clicking on this button. But a way that I like to work is by using the add tools menu. That's kind of a little secret thing inside of Fusion. If you hit shift spacebar, that brings up this select tool menu and you can type in what you're looking for and it will search for a tool and you can add it really quickly. So MRG is merge and then I can just hit return on the keyboard and that'll add a merge node. So that's a really quick way to add a node without having to go to the effects library. In fact, I can close that and without having to drag it down from here. So it's just a quicker way to work. So what I'll do is merge this media over itself. I can just grab the output and put that into the foreground of our merge. And now it kind of doesn't look like much is happening. But if I move my merge over, we can see that this is both the background and the foreground. That means I can do stuff to the image and merge it over itself. So I want to freeze frame this, let's say at frame 525. I'm just going to double click where there's nothing going on and hit shift space and I'll type time and I want to select time speed. I'll hit enter. What that's going to do is allow me to use a still frame. I hold down shift and drag this onto our foreground connection here. And now with time speed selected, I can go over to our inspector and for speed, I'll just hit zero. And what that's going to do is just do a freeze frame at the very beginning of our comp here. So if I move back and forth, nothing's happening, which is totally fine for what we're doing because there's no people in our shot. And now we can add a mask because we just want to use this lower part of the shot. So I'll grab a polygon mask and just drag that down. And now I have some tools and everything up here in our viewer and I can just draw a little mask maybe right around here and make a little shape like that. Now I need to connect my polygon mask to my merge. So I'll grab the output of my polygon mask and drop it on that little blue arrow. And here we have just the foreground, the freeze frame merged over our motion footage. One thing we'll probably want to do on this mask is select it and go over to soft edge and soften it a little bit. Now it's hard to tell how soft it is. So this would be a great situation to use our multiple viewers. In the upper right hand corner, if you don't see two viewers, click on this little button right here that says dual viewer. And then I can select my polygon mask and hit one on the keyboard. And that's going to bring it up over here in the left viewer. I can hold down control and roll with my scroll wheel so that I can see everything. So when I adjust this soft edge, I can see how soft it is here in my left viewer and make sure it's not too crazy. And now as we scrub through we shouldn't see any people but here we do see their legs a little bit so I can just adjust this mask. I can move around in my viewer by middle clicking on my mouse and I can adjust this mask to cover up those people and if it's soft enough it's probably gonna be just fine. So now we have those people gone from our shot. Again simple little composite a great way to fix problems.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1610.84
+}