[flow_default] Transcription: 015_-_Fusion_Pt2_-_Motion_Tracking_Graphics.json

transcriptions/015_-_Fusion_Pt2_-_Motion_Tracking_Graphics.json

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+{
+  "audio_file": "015_-_Fusion_Pt2_-_Motion_Tracking_Graphics.wav",
+  "text": "Now that we've learned some basics on how Fusion works, how to compose it and how to make some text, let's put that all together and do some fancy things like tracking. Here on my fourth shot in my edit page, where she's walking by this log, I'm going to put my playhead over that and click on Fusion. That's going to bring up our shot here in the Fusion page and we can look through it. So what we're going to do is track a graphic to this log so that it moves along with the objects in the shot. And I'm thinking it'll be something like, you know, you have somebody in National Park, April 2020, kind of like a little tooltip thing that pops up. So the first thing that we're going to do is actually track our footage. To do that, we're going to need a tracker node. So down here in my nodes, I'm going to click on media in one, make sure that's selected, and I'm going to hit shift spacebar. That's going to bring up my select tool menu, and I'm going to type in track. That'll bring up three different kinds of trackers. And the one I want is just the tracker, just normal tracker. Enter and that'll add a tracker node. Now a couple things have happened after we added this tracker node. First of all over here in the inspector, we can see all of our crazy options and this is where we can adjust basically everything that this tracker does. And then here in our viewer, here we have our tracker. Now how the tracker works is there's a little dot in the upper left hand corner and that's the point that's actually going to be tracked. We also have this little square here, which you can move up and down, which you can resize. That is kind of the area that it's going to look for. And then the dotted, the dotted rectangle on the outside, that's where it's going to look. So it's basically looking for this little rectangle inside of this big rectangle and putting a tracking point right here in the upper left hand corner. So what I want to do is track something in our footage that moves. And I think what we're going to do is try and track this log. I can move this tracker around by clicking the upper left hand corner and I'll just move this over near the log so we can zoom in and get an idea of where we want to attach this thing. Generally, if you're looking for a place to track, you're going to want to look for a place that's high contrast. So you're not going to want to track just like a white wall. I'm going to want to pick one of these little bumps on the log, something that is hopefully, you know, a decent amount of contrast. I might be able to track this little bump. We also want it to go throughout pretty much the whole shot. So maybe this part of the log. So I'm going to move to the beginning of this shot and I'm holding control and just rolling on my scroll wheel to zoom in. And I'll put this maybe right here and I'll size this to be as small as I can get. And also this search area is going to be as small as I can get. This log isn't moving very fast. And so I can have a pretty small search area and a pretty small track. If I have a really shaky shot where it's shaking up and down a lot, you'd have to have a bigger search area. So let's just see how this goes. I'm going to zoom out so we can see this the whole time. I'll just resize this so we can see it a little better on the zoom. Let's see how this tracker does. Over here in my inspector, we have our tracking controls. And by default, to do what we're about to do We don't really have to change much What we're looking for is this track forward button This button on the right is to track forward from over the entire shot This button is to track forward from the current frame So if we want to start tracking from the middle of our shot That's kind of the buttons that we would use but we're at the beginning anyway So I'm just gonna hit this button to start tracking. And it looks like it did a pretty good job. It tells me render completed rendered range to 25 to 416 which is our ins and outs. So that's good. And I'll hit OK. So now we can see this tracked along with our log. Now that we have our track. Let's try and put anything over this to see if it matches that motion. The way that you do that is going over to the inspector and I'm gonna click on this second icon Which is operation and here under operation it says none that means really all it's doing right now is just tracking But we want it to actually put something on the track so under operation I'm gonna say match move what this does is turn this tracker node into kind of a fancy merge node So if I grab something like some text drop it in here and I'll type something like track text and then I attach this to our tracker just like a merge. Here's our track text. Move our interface here so we can see things a little easier. So now we can see our text moves along with our log in our shot and if we were to put this right over that part where we tracked that shouldn't really move around. It shouldn't slip. It should look like it's stuck right to that log. I'll hit spacebar. That should look like it's pretty much stuck right to that log and if there isn't any glaring problems we did a really good job. Yeah, the cool thing is we don't have to put that right there We could put it over here and it'd be a little bit harder to see that we just track this obvious place on this log It can just look like the text is floating Yeah Nice So now that we know that our track works we can basically make anything and replace this text with it So let's make something fun. First of all, let's change this text and we'll call this so many national park size this down. Again, let's use open sans condensed because it just looks maybe a little nicer. You can use whatever font you want. And we can even add some more text here. A fast way to do that might be to just grab our text one node, hit control C on the keyboard, double click out here in the node graph and then hit control V. And what we can do is grab the output of our text one and merge it with our text. And see, when you do that, it does create a merge node, but it kind of moves things around all weird. So it's a nice idea just to move stuff around so that you understand it. What I like to do is put my background to the left of a merge and foreground above the merge. But again, it really doesn't matter. You can put it anywhere you want. That's just nice for kind of keeping things tidy. So this text one with this node selected, I'll grab it and move it down like this. and to do it is grab a background node, grab that and mask it. Again, I'm going to bring up our two viewers and with my background node selected, I'll hit one on my keyboard. That's going to bring up our background node and I'll make this white over in the inspector, grab that solid color, move it to white. And with my background node selected, I'll select a mask, this rectangle mask. I'll just click it once and that'll add a rectangle mask and I can adjust the height and we'll just make a little line like that. Maybe widen it out a little bit. And again, we can merge this with our text that we've done. you make sense to you, but is to use something called an underlay. Underlay is basically just a way to group things and label them so that you don't get confused. So what I like to do is select everything that I've made so far and I'll hit shift space bar. That brings up my select tool menu and I'll type UND. That'll bring up underlay and I'll hit return. And that makes a nice little box around this that you can rename and you can also move as a group so that you don't get super confused, especially later. If you come back to this and you're like, what was I doing? So to rename things inside of, well, most of Resolve, you can hit F2 on the keyboard. But if I were to hit F2 right now, it would want me to rename every single thing because everything's selected. So what I like to do, double click outside of this, so nothing's selected, hold down Alt and click on that underlay. That's just going to select the underlay. If you don't hold down Alt, it selects everything, right? So hold down Alt, select the underlay, and I'll hit F2. That'll bring up my rename, and I'll call this Graphic. Let's take a look at what our graphic looks like so far. I'll just go back to one screen here, zoom out a little bit, and there's my line. So I want my line to be a little different. I could adjust my rectangle mask, that would be fine, but I think what I'll do is adjust this in the merge just because it's a little bit easier to animate things. It's just a little bit cleaner in the merge to do that. So I'll take my size down and I'll move this over something like that, hold down control and zoom in and I can really start to adjust that. If I want this line to be a little bit thinner, I can grab my rectangle node and I'm just going to grab the number control for my height and just click and drag to the left a little bit just so it's a little bit thinner of a line holding down my middle mouse button to grab and move around here in the canvas. So I can look at things and I think that looks pretty nice. Again, you can you can do this however you'd like, but that's how we'll make our little graphic here. So you could get really crazy and animate every single part of this if you wanted to. Let's say I want this text to kind of drop down out of nothing, right? So it almost looks like it's being revealed, you know, dropping down out of this graphic. What I'll do is select the text that I want to appear I move this mask around, it only appears where the mask is. So what I'll do is resize my mask and the inspector move this around. And I just want this to be about the size of my text. So something like that. It's okay if it's a little wider. It doesn't matter, but somewhere around the size of the text. It's kind of hard to see on the left side. So I'll just go ahead and move this around. And I'll just go ahead and move this around. And I'll just go ahead and move this around. And I'll just go ahead and recording. So here's my mask. And what I want this text to do is just start up here and animate and drop down into that mask. And it's going to disappear if I move this out from under the mask. So I'll grab my text. Let's say I want this to appear maybe 30 frames in or so. So I'm at 255 and we start at 225. I'll grab my text and I'll go over to the second icon in my text inspector right here under center. I'll click on the key frame. And remember when you click a key frame, it's just telling resolve that you want something to happen at a certain time. So at 255 frames, I want April 2018 to be right here. And at the beginning of the shot, I want it to be up. So because I have this key frame enabled, I can just grab this Y and move that around. That'll work. I can also just grab my tool here in the canvas and just move this up till it's out of shot. And now if I play this back, it kind of drops down like that. So that's a quick way to just animate a little graphic like that. Let's say this is going too slow, which often happens when you're animating something. This is where we can adjust things. I could go back and delete this keyframe and make a keyframe quicker, but I can actually move the keyframes around using the keyframes panel up here in the upper right hand corner. I'll click on keyframes. That'll open up a panel down here and I can just resize that. And here we have kind of a timeline of everything that's been animated inside of this comp. So we have all of the keyframes for our tracker. And what we're looking for is our current node, which is text one underscore one, which is right here. Tracker. here I can select my keyframes and move them around. And if I click on the node that I want to work on, text one one, I can actually select the individual keyframes and stretch them out, move them around. So let's say I want to grab this first keyframe and move it more to the right, which will make our animation a little bit faster. Let's take a look at it here in our canvas. Yeah, that looks nice. So the keyframes panel is great for adjusting the timing of things. So you can make animations faster or slower, you can move things around. You can adjust the ins and outs of clips. It's really nice. So if you want to adjust the timing of something, keyframes, panels where you want to be. Now, if you want to adjust how it animates, again, we use the spline panel for that. So I'm going to go up and close keyframes and open up the spline panel. And again, text one underscore one displacement. That's where we want. And I'll click zoom to fit. And now we have our graphic here. And I'll just select the last keyframe and I'll hit F on the keyboard for flatten. Take a look. Now it comes down really nice. So we could do that for everything and it's the exact same process, but for this training, we'll just do that part and I'll just adjust my underlay here and close my spline panel, give us some room, reset our zoom on our viewer. And now let's look at our final comp here by clicking media out one and hitting two on the keyboard. That'll show our actual tracked graphic. And we have something really nice. It's looking great. A great way to fade things in and out is on a merge. You can grab the blend parameter, blend that in and out. But we have all of this stuff happening and we're really using our tracker for our merge, which doesn't have a blend slider just hanging out there like a merge does. The blend slider is actually hidden here in the fourth icon here under settings. There's blend, but it does the same thing. So I'm going to use that to fade this in. So again, let's park our playhead right where we want it to be fully faded in, let's say 240 or so, and I'll click on our keyframe for our blend and move this, let's say to like 230 or so, and we'll just go all the way down on our blend. Now let's go to the beginning of our shot and hit spacebar. And there's our tracked graphic. So now let's go back to our edit page. Take a look because these are white letters. This probably isn't a huge deal. But in general, you won't want your graphic to be baked in before your color correction for something like this, right? Because what we're really doing is making that composition and then it's being color corrected here in the color page and it's even color correcting our graphic and everything, which is not really what we want. So it's a good idea to separate this graphic from our footage. This is going to work in a really similar way to what we did here for our first shot. But this time we have this tracking info. So we can't just put this over a background. We have to do kind of some tricky things. What I'll do is hold down alt and I'm going to grab this shot and just drag it up like this, drag it to our second video track. I'm going to make sure we didn't slip that at all. Looks fine. And now what I want to do is just just keep this graphic part on this top layer and just the footage on the bottom layer. So what I'll do is turn off my video one just so I make sure that I select my top layer here and go to my Fusion page. And all I'm really going to do is disconnect my media in, which is our original footage. And I'm going to replace it with a black background and connect that here to our tracker and I'll grab this background node and turn down the alpha which if we have our checkerboard on we can see it's just clear now but we still have our tracking information because it's not constantly looking at our footage it already has that tracking info built in and we can leave that just like this not a big deal I'll go back to our edit page and now we'll kind of do the opposite we're gonna unclick our second track and re-click our first track and this time I just going to right-click on our bottom layer and go up to Reset Fusion Composition. Click on that. And it says, oh no, are you sure you want to do this? Oh boy. I'll say, yeah, Reset. And now we should have just our original footage here on the bottom and then we can turn on our graphic. And that's still tracked in, but it's on a separate layer. And we can go to our Color page. And you'll notice that this shot, because it was a duplicate of our other shot, still has all of our color on there. So I can just select our fusion comp, which is shot number six. I can tell that because in my mini timeline, it's selected up here. I can also tell because this number is either blue or red, depending on if it has rendered or not. And I'll just right click here in our node graph and say reset all grades and nodes. That's just going to reset our graphics so that we aren't color correcting our graphic at all, but we're still color correcting our original footage. Pretty cool.",
+  "language": "en",
+  "confidence": null,
+  "duration": 939.07
+}