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Hi, my name is Matt.
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And today we'll talk about basic
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compositing on the fusion page
within Da Vinci Resolve.
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This video builds
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on what you've already learned
in the introduction of fusion video.
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So if you haven't watched
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that one, I'd recommend starting there
and then coming back to this one.
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The most basic goal of compositing
is to combine
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multiple images together
to create a final result.
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For this first example,
we're going to do a split screen composite
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where we'll combine the performance
of a foreground actor
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with the performance of a background actor
from a different take.
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To do this, we'll use Fusion's tracker
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to match, move and stabilize the shots.
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We'll use the Polygon tool
to draw a mask around our actor,
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and we'll use the transform tool
to do some fine tune
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alignments to those elements.
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So let's take a look at our footage
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so we can see two
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elements here stacked on video
one and video two.
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And I'm going to go ahead
and define a playback region
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by hitting AI at the beginning
and then O at the end.
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And then I'm going to do alt
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forward slash to loop my playback,
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which is basically the same thing
as just hitting play here.
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So the first thing you want to do
when you're looking at footage
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is really analyze
what's going on with all the elements
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to plan out
what you're going to do on the composite.
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So for this first element,
I can see a take.
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One has the performance of the background
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character in the passenger seat
that we really want.
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So if I go and disable that element by selecting it in the timeline and pressing D,
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we can now view take two,
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which has the performance
for the foreground character that we want.
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So now we understand
what each of the elements are for.
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I would say the other thing
I notice about these shots
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is that there's a bit of camera motion.
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So in this shot the camera tilts down
slightly and in take one.
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If I re-enable that,
the camera pans slightly.
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And so that tells me
that we'll need to stabilize the shot
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and match, move them together
to get the final result we're looking for.
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In addition to that,
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I know I'm going to need to draw a polygon
around one of our characters.
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So if I go ahead and just drop into the
annotation tool here on the other page,
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I'll probably end up drawing my polygon
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somewhere around here to separate
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our background
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character in the passenger seat
from the foreground character.
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So now that we've roughly planned
this out, let's dive
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into fusion and get started on the shot.
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So to do that,
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I'm going to go ahead and select
both of these elements on the edit page
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and then right click
one of them and select new fusion clip.
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And what that'll do is it'll combine
both of those clips into your fusion
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composition and set that up for the work
you're about to do.
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So I select that.
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And now in the timeline
I see Fusion clip two,
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and that has also added a fusion clip
to into my media pool.
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So now if we go to the fusion page,
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I can see I've got two media
in elements and merge and a media out.
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So Resolve has done some of the work
for me to set up this composition.
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So to just clean up my workspace
a little bit.
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I'm going to go ahead and select this
button here to just single the viewer two.
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So we're looking at a larger image.
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Next thing I'll do
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is I'll look at each of the media
ends and determine
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which element is
which and just do a bit of organization.
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So I'll select media in one
and I press two to load it
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into the viewer,
and then I'll play that shot back.
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So that shot is the performance
we want from the driver.
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So I'll go ahead and stop playback
and I'm going to rename
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this media in one node to Driver.
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And I do that by going to the inspector
panel.
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Right?
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Clicking on media
in one and selecting rename.
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So now
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name that
no driver so it's easier to keep track of.
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Let's view media in two by selecting it
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pressing two to load it into the viewer
playing it back.
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That's our passenger element,
so I'll go ahead and rename that.
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But instead of right
clicking in the inspector tool,
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I'll select median two
and I'll do a function two.
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That's the shortcut key
to bring up your rename for that node.
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Okay,
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now that I have that setup, I'm going to
do a little bit organization of my nodes.
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I generally like my passenger
or my my foreground nodes to be
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coming in from the top
and my background node to be organized
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furthest
to the left of the main flow of this tree.
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So now that we've set up our shot,
we're ready to begin
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work and I'm going to go ahead and start
with the passenger element.
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So I'll select that node, play it back.
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So the first thing I want to do is
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stabilize
this camera motion to just get rid of it.
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So I'll go to the first frame here
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and I'm going to load a tracker node
and I find that in the effects library
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so I can show that panel by clicking here
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and then I'll twist down the tools menu
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and go to the Transform submenu or sorry,
the tracking submenu.
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And that's where I can see
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the camera tracker planner,
tracker and Fusion's regular tracker.
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The fusion tracker
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is kind of a workhorse of fusion,
so we're going to use that here.
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It's it's very useful
in a variety of situations.
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So I've dragged that on the pipe
that's connecting passenger to merge one
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and I'm going to go ahead and hide
the effects library for now.
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So I want to view this tracker.
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So I'm going to select that node and press
two to load it into the viewer.
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And what I see right away
is that I already have this widget
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that is in the UI.
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So let's go and zoom in a little bit
closer and take a look at it.
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So this tracker
point is made up of two boxes.
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We have an inner box here
and that box defines
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the pattern that the tracker
is going to try to find.
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And the outer box is the search region
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where the tracker
will try to find that pattern.
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So you can resize either of these boxes
by grabbing a corner
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or grabbing an edge
and adjusting to the size that you want
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to move this point, you select
this upper left hand corner of the inner
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box and you can drag it over a region
you want to track.
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So what we want to do
is we want to track the motion of the car.
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Now I'm going to hit command
F to go to full screen
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and let me play this back real quick.
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So what we see here is
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the car is moving because of the camera,
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but there's also some natural motion
within the scene.
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This passenger is moving
the trees in the background
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are moving
and even the seatbelt is moving a bit.
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We don't want to track
any of those regions
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because they're not actually being caused
by the camera motion.
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What we want to track
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is the static portions of the scene
that show how the camera is moving.
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So in this case, that's going to be high
contrast parts of the car
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like this lock here.
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So I'll go ahead
and jump to the first frame
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and move my tracker down to a
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high contrast area like you can see here.
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So you want to choose a high contrast
pattern like this
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because that gives the tracker
a more solid pattern to to lock on onto.
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If there wasn't much contrast,
you may get false tracks or your tracker
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floating off the point
that you really want to track.
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So now that we have that setup,
we could track this shot.
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But if you only have one tracker,
what happens is the tracker
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will just be able to solve
for any translation movement.
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It won't be able to solve for any rotation
or scale changes.
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So to track for scale
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and rotation,
you'll need a minimum of three trackers.
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So I'll go head back to full screen
and I'm going to add
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two additional trackers by selecting the
add button in the inspector.
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So now
I have a tracker two and a tracker three,
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and I need to find additional high
contrast points to track
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ideally that are fairly far away
from the first tracker.
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That way you get
a more extreme change for the solve.
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So I'll go ahead and choose
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this area of the seatbelt
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and think I'll choose this
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area of the shadow
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and I'm going to go and play back
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before I track just to make sure I'm
not tracking anything like this.
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Seatbelts moving on its own
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and I'm not tracking that region,
so it looks like I'm good.
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So I'll jump back to the first frame
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and I will select the track
forward button.
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So the track forward button
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will track forward from the first frame
no matter where you are.
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The button
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next to it is the track forward
from current time,
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and that would be useful
if you were tracking from a part
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in the middle of the clip.
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So in this case, we're starting
for the first frame,
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so I'm going to go ahead and choose
track forward.
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Okay, Track is done.
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And now you can see
if we playback these tracked points track
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nicely with the high contrast areas
they were supposed to be attached to.
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The camera motion is still there.
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So to remove that,
we need to go to the tracker
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and the inspector and from here
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we click on the operation
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tab where we can apply an operation
based off those trackers.
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So I'm going to go ahead and drop
that down and I want to select Match Move.
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And then within Match move,
we have various merge opera operations.
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Background only
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will stabilize the background input.
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So foreground over background
will actually do a merge operation
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with the foreground over the background,
adjusting the foreground
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motion based off of the tracker
that we've already done.
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We'll show that
a little bit later in this video.
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So I'm going to go in select background
and then let's play back
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to see our result.
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So now looks like the car is very steady.
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It's not moving anywhere,
which is exactly what we're looking for.
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The next thing we want to do
to prepare this element to be composite
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over the top of the driver element is
we want to cut out our background
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character here.
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So what I'm going to do is create
a polygon tool, which will allow me
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to draw around the region
I want to create a map for.
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So I'm going to go to the effects library
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and I'm going to go to the mask menu.
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And here there's various forms of masks
we can choose from.
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I'm going to go ahead
and choose the polygon tool
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and drag it into my flow here,
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and I'm going to hide my effects library.
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00:11:27,125 --> 00:11:31,333
So I'm going to zoom out a bit
and I'm going to draw a polygon
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roughly where I decide to do it earlier.
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We'll refine this a bit more later.
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And what I'm doing here when I'm clicking
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to lay down a point,
I am holding that click
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00:11:48,250 --> 00:11:51,958
and I'm dragging it
to actually create a nice curve.
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00:11:52,041 --> 00:11:56,791
So if I just click and release,
I'll create a very sharp angle.
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00:11:56,875 --> 00:12:03,333
So I generally tend to click and drag
to always create smooth edges.
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00:12:03,416 --> 00:12:04,916
So now that I have that, I'm going
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00:12:04,916 --> 00:12:08,833
to actually load this polygon
into the viewer so I can see how it looks.
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00:12:08,916 --> 00:12:12,500
And instead of pressing the keyboard
to do that, I'm going to go ahead
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and grab this node
and drag it into the viewer and release
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00:12:16,583 --> 00:12:19,583
and that'll load
that node into the viewer.
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00:12:19,625 --> 00:12:22,458
So I can see
this is where I've defined the Matt.
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So White is going to define the region
that I want to keep,
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and black is defining the region
that is going to be removed.
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So the last thing I'm going to do is add
a little bit of edge softness to this mat.
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So I'm just going to drag this a bit.
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And now I've got a nice soft edge here
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and that's going to help the transition
from one of the elements to the other.
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So I command
have to go back to full screen
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and let's view our tracker node
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00:12:55,291 --> 00:12:58,375
and to actually cut out this character,
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I need to connect this polygon
to the passenger media in Node.
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00:13:04,375 --> 00:13:07,458
So to do that, I'm going to go ahead
and drag the output of the polygon
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00:13:07,666 --> 00:13:12,125
and attach it to the mask
input of the passenger.
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00:13:12,208 --> 00:13:14,916
So now we can see we've
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isolated that part of the shot.
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If we play that back,
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seems like we're getting what we want
and we'll come back
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00:13:23,125 --> 00:13:27,000
a little bit later to refine that further.
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00:13:27,083 --> 00:13:30,500
So now that we have our background
character
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prepared,
we can go ahead and work on our driver.
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00:13:34,125 --> 00:13:36,583
So to do that,
I'm going to go ahead and select my driver
236
00:13:36,583 --> 00:13:42,041
node load into the viewer
and watch this element down.
237
00:13:42,125 --> 00:13:42,791
So there's a bit
238
00:13:42,791 --> 00:13:45,791
of camera motion in this shot as well.
239
00:13:45,791 --> 00:13:48,750
Now I need to track that motion,
but ultimately
240
00:13:48,750 --> 00:13:53,541
I want to keep this camera motion,
but I want to have the other element,
241
00:13:53,541 --> 00:13:57,000
the passenger match, this camera movement.
242
00:13:57,083 --> 00:14:01,750
We'll go to our effects library
and go back to our tracking
243
00:14:01,791 --> 00:14:05,083
bin and pull in a tracker
and drop it on the flow
244
00:14:05,083 --> 00:14:11,041
between the driver and the merge.
245
00:14:11,125 --> 00:14:12,250
And I want to view that.
246
00:14:12,250 --> 00:14:16,500
So I'll select track or two and press two
247
00:14:16,583 --> 00:14:20,708
and I get my tracker
automatically created here.
248
00:14:20,750 --> 00:14:25,541
I'm going to choose very similar points
as I did in the first tracker.
249
00:14:25,625 --> 00:14:30,333
Let me jump to the first frame
and it looks like
250
00:14:30,416 --> 00:14:34,458
I've lost a bit of light over here,
so it's not so high contrast on this lock.
251
00:14:34,541 --> 00:14:39,875
So I'm going to actually track
this part of the pillar instead
252
00:14:39,958 --> 00:14:40,833
and that's got a pretty
253
00:14:40,833 --> 00:14:43,833
good pattern to lock on to.
254
00:14:43,916 --> 00:14:46,083
And because I want to track rotation
255
00:14:46,083 --> 00:14:51,000
and scaling as well,
I'm going to add two additional trackers
256
00:14:51,083 --> 00:14:54,916
and put them in the same rough positions
as I had.
257
00:14:54,916 --> 00:15:03,416
The other.
258
00:15:03,500 --> 00:15:05,000
Okay, now that's ready to track.
259
00:15:05,000 --> 00:15:10,833
I'll go ahead and track forward
from the first frame
260
00:15:10,916 --> 00:15:12,208
and that's looking good.
261
00:15:12,208 --> 00:15:18,375
All the points
seem to track to the regions that
262
00:15:18,458 --> 00:15:21,666
that I wanted them to
263
00:15:21,750 --> 00:15:24,416
back to full screen.
264
00:15:24,416 --> 00:15:27,291
So to check the track
that you've already done
265
00:15:27,291 --> 00:15:30,708
it is useful
still to go to the operation mode
266
00:15:30,791 --> 00:15:35,041
and then we can change that to match move
and then background only.
267
00:15:35,125 --> 00:15:39,083
That's this is what I used to
just make sure my track is looking good.
268
00:15:39,083 --> 00:15:43,291
If my track is looking good,
then this car shouldn't be moving at all.
269
00:15:43,375 --> 00:15:47,125
But as I mentioned earlier,
I want to keep this camera move,
270
00:15:47,208 --> 00:15:50,791
but I want to apply this camera
move to the passenger element.
271
00:15:50,875 --> 00:15:55,000
So to do that,
what I can do is I'll change my merge
272
00:15:55,000 --> 00:15:59,375
operation from background
only to foreground over background.
273
00:15:59,458 --> 00:16:02,875
And what that'll do is it'll take
the tracking information from the driver
274
00:16:02,875 --> 00:16:06,458
element
and apply it to the passenger element.
275
00:16:06,541 --> 00:16:09,208
So I'm to before I do that, I'm
going to go ahead
276
00:16:09,208 --> 00:16:12,875
and connect my passenger output
277
00:16:13,041 --> 00:16:17,791
and connected to my tracker
to the foreground input
278
00:16:17,875 --> 00:16:20,416
and now I can change my merge operation
279
00:16:20,416 --> 00:16:25,750
from background
only to foreground over background.
280
00:16:25,791 --> 00:16:28,541
And now I've got the foreground
281
00:16:28,541 --> 00:16:31,541
composite over the background
and tracked into place.
282
00:16:31,791 --> 00:16:34,583
So once I play this back
283
00:16:34,583 --> 00:16:39,083
now I've retained the camera motion
of the foreground actor,
284
00:16:39,083 --> 00:16:45,250
but the background character
is moving in sync.
285
00:16:45,333 --> 00:16:47,166
And just so
you can see what it would look like,
286
00:16:47,166 --> 00:16:50,916
let me change this merge operation
to foreground only
287
00:16:51,000 --> 00:16:53,708
and you can see that
288
00:16:53,708 --> 00:16:57,375
this passenger now has a camera motion,
289
00:16:57,541 --> 00:17:02,750
but that camera motion matches
what was on the driver element.
290
00:17:02,833 --> 00:17:03,750
That can be useful.
291
00:17:03,750 --> 00:17:04,916
But in this case, we're going to go ahead
292
00:17:04,916 --> 00:17:08,125
and just handle the merge
right within the tracker note itself.
293
00:17:08,208 --> 00:17:13,750
So I'll change this back
to foreground over background.
294
00:17:13,833 --> 00:17:17,125
Now that I've done
that, I can actually delete the merge node
295
00:17:17,208 --> 00:17:22,416
because we're actually achieving
that merge within the tracker node itself.
296
00:17:22,500 --> 00:17:28,458
So delete
that and reorganize things a bit.
297
00:17:28,541 --> 00:17:30,708
And then once we're this place,
298
00:17:30,708 --> 00:17:34,666
let's watch down the shot and see
what kind of refinements we have to do.
299
00:17:34,750 --> 00:17:38,125
I can see that
this soft edge here is maybe too soft.
300
00:17:38,125 --> 00:17:40,750
And we're also seeing a bit of
301
00:17:40,750 --> 00:17:44,375
the passenger
coming through from the driver element.
302
00:17:44,458 --> 00:17:48,541
So let's adjust that a bit
by adjusting our polygon.
303
00:17:48,625 --> 00:17:51,625
Now you want to make sure you adjust
your polygon on the frame.
304
00:17:51,625 --> 00:17:53,916
You originally drew the polygon.
305
00:17:53,916 --> 00:17:59,291
So in this case, I can see that
there is a keyframe marked on frame three.
306
00:17:59,375 --> 00:18:01,916
And I can also look in the inspector
307
00:18:01,916 --> 00:18:05,958
and I can see that
there is an animation for the shape
308
00:18:06,041 --> 00:18:08,375
and if I use if I select this
309
00:18:08,375 --> 00:18:11,958
carrot, I'll navigate straight
to frame three.
310
00:18:12,208 --> 00:18:15,958
Now, if I modify that polygon, it's
going to change that polygon
311
00:18:15,958 --> 00:18:20,583
instead of adding
a new keyframe automatically.
312
00:18:20,666 --> 00:18:23,541
So I'm going to go ahead and just zoom in
and adjust this polygon
313
00:18:23,541 --> 00:18:33,375
a bit.
314
00:18:33,458 --> 00:18:33,958
Okay.
315
00:18:33,958 --> 00:18:36,000
That seems like that's looking good.
316
00:18:36,000 --> 00:18:38,750
And I'll play back
317
00:18:38,750 --> 00:18:41,666
and it looks like
I'm not seeing any of the passenger
318
00:18:41,666 --> 00:18:45,750
or from the foreground element
or from the driver element anymore.
319
00:18:45,833 --> 00:18:47,375
So that's looking good.
320
00:18:47,375 --> 00:18:51,833
Let me go ahead and hide this overlay
by selecting the polygon.
321
00:18:51,833 --> 00:18:57,916
I play that back.
322
00:18:58,000 --> 00:19:00,916
Yeah,
it looks like we're looking pretty good.
323
00:19:00,916 --> 00:19:03,791
If there were any alignment issues between
324
00:19:03,791 --> 00:19:07,500
this foreground and background element,
you could refine it a little bit further.
325
00:19:07,583 --> 00:19:11,375
And actually,
for example, I'll go ahead and just
326
00:19:11,458 --> 00:19:13,791
adjust this a bit
327
00:19:13,791 --> 00:19:18,541
so we
can see if there's any alignment issues.
328
00:19:18,625 --> 00:19:20,458
Yeah, So you can see that
329
00:19:20,458 --> 00:19:24,416
our our door frame here is a bit higher
in one element than it is
330
00:19:24,416 --> 00:19:25,500
and the other element.
331
00:19:25,500 --> 00:19:28,750
So what I'm going to go ahead
and do while the shot may work
332
00:19:28,750 --> 00:19:30,416
without doing this alignment,
I'm going to go out
333
00:19:30,416 --> 00:19:34,083
and do some additional refinement
just to make it perfectly aligned.
334
00:19:34,166 --> 00:19:36,208
So to do that,
335
00:19:36,208 --> 00:19:38,916
I'm going to go ahead now
to transform Node
336
00:19:38,916 --> 00:19:41,916
on our passenger after this tracker.
337
00:19:41,916 --> 00:19:43,541
Instead of using the effects library.
338
00:19:43,541 --> 00:19:45,791
This time, I'm going to go ahead
and bring up a pop up
339
00:19:45,791 --> 00:19:49,166
that allow me to search the tools
that are available in fusion.
340
00:19:49,250 --> 00:19:53,750
I do that by heading shift space
and that brings up my tool selection.
341
00:19:54,000 --> 00:19:58,958
And there I can enter in transform
to bring up a transform tool.
342
00:19:59,041 --> 00:20:01,875
Now when I click add,
it will added directly
343
00:20:01,875 --> 00:20:07,166
after the tracker one
because tracker one is selected.
344
00:20:07,250 --> 00:20:09,625
So now I've got my
345
00:20:09,625 --> 00:20:12,208
transformed it into the flow there
346
00:20:12,208 --> 00:20:15,458
and from there
I can adjust it as I see fit.
347
00:20:15,541 --> 00:20:19,166
Now to do this, I'm
going to go ahead and use the split
348
00:20:19,166 --> 00:20:22,583
screen viewer
to make this process a little bit easier.
349
00:20:22,666 --> 00:20:26,166
So I'm going to activate the split
screen viewer and what that allow me to do
350
00:20:26,166 --> 00:20:29,291
is load two nodes
351
00:20:29,291 --> 00:20:32,916
at the same time
in the same viewer and wipe between them.
352
00:20:33,000 --> 00:20:36,000
So I'm going to go ahead and load
the driver element
353
00:20:36,000 --> 00:20:39,458
into the side
354
00:20:39,541 --> 00:20:41,500
and I'm going to load the transform
355
00:20:41,500 --> 00:20:46,083
one node into the B side,
356
00:20:46,166 --> 00:20:49,666
and then I can use this
357
00:20:49,750 --> 00:20:52,041
wipe to actually compare the two.
358
00:20:52,041 --> 00:20:56,250
And now we can really see
this car isn't perfectly aligned.
359
00:20:56,250 --> 00:21:02,750
So what I'm going to do
is I'm going to use the transform tool to
360
00:21:02,833 --> 00:21:05,750
move that element up slightly.
361
00:21:05,750 --> 00:21:09,125
Now we're looking closer
362
00:21:09,208 --> 00:21:11,916
and it does look like
the scale is a bit off,
363
00:21:11,916 --> 00:21:14,916
although the alignments looking good.
364
00:21:14,958 --> 00:21:16,416
So I'm going to adjust the scale.
365
00:21:16,416 --> 00:21:20,583
So this part of the window
frame matches a bit better
366
00:21:20,666 --> 00:21:24,166
and I'm going to do that in the inspector
367
00:21:24,250 --> 00:21:27,250
by clicking inside
368
00:21:27,250 --> 00:21:31,416
the text box and just dragging it down
ever so slightly.
369
00:21:31,500 --> 00:21:35,875
I can use this slider here that would
actually do more extreme changes.
370
00:21:35,875 --> 00:21:40,500
If I want to do a very fine tune
adjustment, I would click and drag
371
00:21:40,583 --> 00:21:44,750
inside the
372
00:21:44,833 --> 00:21:49,041
the value entry area.
373
00:21:49,125 --> 00:21:50,500
So that's looking a little bit better.
374
00:21:50,500 --> 00:21:53,041
Let me wipe between those two.
375
00:21:53,041 --> 00:21:55,750
That's looking a lot closer
376
00:21:55,750 --> 00:21:56,583
than before.
377
00:21:56,583 --> 00:21:59,291
So I think we're pretty good to go
378
00:21:59,375 --> 00:22:01,250
now to get out of the split screen view.
379
00:22:01,250 --> 00:22:05,916
I go ahead and click this button again
to deactivate it.
380
00:22:06,000 --> 00:22:09,541
And now let's view
the results in our tracker node.
381
00:22:09,625 --> 00:22:14,791
So I'm going to click that and press
to load into the viewer
382
00:22:14,875 --> 00:22:19,375
command F to go full screen and then play.
383
00:22:19,458 --> 00:22:21,833
So now our alignments much better.
384
00:22:21,833 --> 00:22:24,833
I do see that there's a bit
385
00:22:25,000 --> 00:22:27,000
of fringe coming in there,
so I'm going to go ahead
386
00:22:27,000 --> 00:22:31,833
and adjust my polygon one more time.
387
00:22:31,916 --> 00:22:33,791
There we go.
388
00:22:33,791 --> 00:22:36,250
Oh, and I added on the wrong frame.
389
00:22:36,250 --> 00:22:40,041
So you can see here
I've added this, I've done this adjustment
390
00:22:40,041 --> 00:22:43,333
on frame two, but I also have a key frame
on frame three.
391
00:22:43,500 --> 00:22:46,583
So what's going to happen if I go to frame
three, it's going to animate.
392
00:22:46,583 --> 00:22:48,625
I don't actually want that to happen.
393
00:22:48,625 --> 00:22:52,333
So I'm going to go back to frame two here
and I'm going to remove that key
394
00:22:52,333 --> 00:22:55,541
frame by clicking there.
395
00:22:55,625 --> 00:23:01,666
And now I'm going to go to frame three
and do my final adjustment.
396
00:23:01,750 --> 00:23:03,208
And that
397
00:23:03,208 --> 00:23:08,458
should do exactly what I'm looking for.
398
00:23:08,541 --> 00:23:08,875
Okay.
399
00:23:08,875 --> 00:23:10,375
Now are shots looking pretty good?
400
00:23:10,375 --> 00:23:11,916
Let me play this back one more time
401
00:23:11,916 --> 00:23:16,375
because there's one last test
that we'll have to do so we can see here
402
00:23:16,375 --> 00:23:19,791
on the bottom edge of the frame,
we're getting a bit of a double image.
403
00:23:19,791 --> 00:23:23,625
And what's happening
there is our passenger
404
00:23:23,666 --> 00:23:28,291
element is a bit smaller or bit
shifted up from our driver element.
405
00:23:28,291 --> 00:23:29,625
So what we need to do
406
00:23:29,625 --> 00:23:34,333
is actually blow up the image slightly
just to crop out those edges.
407
00:23:34,416 --> 00:23:37,791
So I'm going to add a transform node
after this tracker to Node.
408
00:23:37,916 --> 00:23:41,458
And to do that, I'm going to go ahead
this time instead of using the effects
409
00:23:41,458 --> 00:23:47,000
library or the tool search menu, I'm
going to go ahead and use our toolbar here
410
00:23:47,000 --> 00:23:52,291
and drag the node directly down into
the flow where I want it.
411
00:23:52,375 --> 00:23:53,458
So let's view
412
00:23:53,458 --> 00:23:57,125
that node by dragging it into the viewer
and releasing
413
00:23:57,208 --> 00:24:02,375
and now reviewing the transform node.
414
00:24:02,458 --> 00:24:05,875
And I'm going to just scale up
the image slightly to crop out.
415
00:24:05,875 --> 00:24:11,833
This double image we're seeing here.
416
00:24:11,916 --> 00:24:12,958
Okay.
417
00:24:12,958 --> 00:24:15,833
And now we'll play back
and see if that's giving us
418
00:24:15,833 --> 00:24:18,833
the result we want.
419
00:24:18,916 --> 00:24:21,666
Yep. I can't see any frame edges anywhere.
420
00:24:21,666 --> 00:24:24,083
Shot's looking good.
421
00:24:24,083 --> 00:24:27,458
So we created a fusion composition
that brought in two elements.
422
00:24:27,666 --> 00:24:28,916
Our driver and passenger.
423
00:24:28,916 --> 00:24:32,875
We renamed both of those media ends
appropriately.
424
00:24:32,958 --> 00:24:37,416
We used our tracker one
to stabilize the passenger
425
00:24:37,500 --> 00:24:41,125
and then we added a polygon
to the passenger mask
426
00:24:41,125 --> 00:24:44,333
input to cut out just the passenger
427
00:24:44,333 --> 00:24:47,500
and remove the driver
428
00:24:47,583 --> 00:24:52,750
and then we added a tracker
where we tracked the drivers motion,
429
00:24:52,791 --> 00:24:55,791
but we
used a different mode in the tracker
430
00:24:55,833 --> 00:24:58,791
to actually merge
the foreground over the background,
431
00:24:58,791 --> 00:25:04,666
which uses the drivers tracking
information to match, move the foreground.
432
00:25:04,750 --> 00:25:09,791
And then finally we added a transform
on the passenger side of things
433
00:25:09,875 --> 00:25:13,208
to align her element a bit closer.
434
00:25:13,291 --> 00:25:15,958
And we use a final transform
435
00:25:15,958 --> 00:25:19,375
to crop out any of the edges of frame
that we were seeing
436
00:25:19,375 --> 00:25:23,250
from the passenger elements
that created our final composition.
437
00:25:23,333 --> 00:25:26,541
So that's how we did our split screen,
which is a very common task
438
00:25:26,541 --> 00:25:31,291
in compositing, combining multiple images
together to create a final result.
439
00:25:31,375 --> 00:25:34,583
Another very common task in compositing
is to replace a sky
440
00:25:34,583 --> 00:25:38,916
that was shot on the day with one
that matches other shots more closely,
441
00:25:39,000 --> 00:25:41,666
or one that just looks better
442
00:25:41,750 --> 00:25:42,750
to do this task.
443
00:25:42,750 --> 00:25:44,125
We'll use a little mix here.
444
00:25:44,125 --> 00:25:47,333
We'll use some map
manipulation tools like a row dilate
445
00:25:47,333 --> 00:25:50,875
and map control,
and we'll have to match move the sky.
446
00:25:50,875 --> 00:25:56,000
But instead of using a tracker node,
this time we'll use a tracker
447
00:25:56,000 --> 00:25:59,333
modifier within the merge
node to do that operation.
448
00:25:59,416 --> 00:26:02,166
So let's take a look at the footage.
449
00:26:02,166 --> 00:26:05,166
So here we have
two elements stacked over each other
450
00:26:05,416 --> 00:26:09,583
and I'll go ahead and set an endpoint
and an hour point
451
00:26:09,666 --> 00:26:12,625
just to loop that.
452
00:26:12,625 --> 00:26:16,041
So we've got two characters here
and we have a very blown out sky.
453
00:26:16,041 --> 00:26:19,333
It doesn't look very appealing at all.
454
00:26:19,416 --> 00:26:21,375
And then below that element,
455
00:26:21,375 --> 00:26:26,916
if I select the one on track two
and had DE to disable it,
456
00:26:27,000 --> 00:26:28,416
I can now see the sky.
457
00:26:28,416 --> 00:26:30,041
So we have a sky element
458
00:26:30,041 --> 00:26:34,291
that we want to use to replace the sky
that was originally shot on the day.
459
00:26:34,375 --> 00:26:37,250
And like any other shots,
you're starting for the first time.
460
00:26:37,250 --> 00:26:40,250
We really want to look at the footage
and analyze it
461
00:26:40,333 --> 00:26:43,333
to determine how we're going to do
the work that we're going to do.
462
00:26:43,500 --> 00:26:47,083
So in this case,
as I'm looking at this foreground element,
463
00:26:47,166 --> 00:26:50,083
the sky is very, very bright.
464
00:26:50,083 --> 00:26:53,083
So it seems like
I'll be able to use a lumix here
465
00:26:53,083 --> 00:26:56,000
to keep out
all the brightest parts of the image
466
00:26:56,000 --> 00:26:59,000
to then insert the new sky.
467
00:26:59,125 --> 00:27:00,791
So that's that's one part of the plan.
468
00:27:00,791 --> 00:27:03,791
The other part of the plan
is there's some camera motion.
469
00:27:03,958 --> 00:27:06,625
So I know
I'm going to need to track this plate
470
00:27:06,625 --> 00:27:09,833
to match, move the sky element to it.
471
00:27:09,916 --> 00:27:12,583
This sky
element is just an individual tiff,
472
00:27:12,583 --> 00:27:15,000
so there's no
camera motion built in there.
473
00:27:15,000 --> 00:27:17,666
So that's the rough plan for this shot.
474
00:27:17,666 --> 00:27:20,000
So if I disable the foreground
475
00:27:20,000 --> 00:27:23,000
element here on track two,
I can now see the sky element.
476
00:27:23,250 --> 00:27:24,375
Now sky looks great,
477
00:27:24,375 --> 00:27:28,083
but there's a bunch of these mountains
and buildings that we don't really want.
478
00:27:28,166 --> 00:27:31,166
So what we can do is select that clip
479
00:27:31,291 --> 00:27:36,708
and go into the inspector
and scale that up or zoom
480
00:27:36,791 --> 00:27:39,416
to me, pause that
481
00:27:39,416 --> 00:27:43,416
to crop
out all the unwanted parts of the image.
482
00:27:43,500 --> 00:27:47,000
So if I go ahead and hit this disclosure
in the media pool,
483
00:27:47,083 --> 00:27:50,041
it'll tell me the resolution
was resolutions much bigger.
484
00:27:50,041 --> 00:27:53,291
It's 3800 pixels wide or so, whereas
485
00:27:53,291 --> 00:27:57,416
the actual footage itself is HD footage.
486
00:27:57,500 --> 00:28:00,500
So the thing to consider here
is that fusion,
487
00:28:00,625 --> 00:28:03,625
if we take these two clips
488
00:28:03,666 --> 00:28:08,250
and like the last shot,
we create a new fusion clip
489
00:28:08,333 --> 00:28:11,208
and then go to the fusion page.
490
00:28:11,208 --> 00:28:14,458
We're creating a composition
that's the same resolution
491
00:28:14,458 --> 00:28:17,458
as the timeline, which in this case is HD.
492
00:28:17,458 --> 00:28:19,916
That works
fine for this foreground element,
493
00:28:19,916 --> 00:28:22,916
but our background element
494
00:28:22,916 --> 00:28:24,833
is actually an HD
495
00:28:24,833 --> 00:28:29,041
when there's a lot more resolution
that's available to us.
496
00:28:29,125 --> 00:28:32,291
So there's a slightly different way
to to handle things
497
00:28:32,291 --> 00:28:35,583
so that you maintain resolution
498
00:28:35,833 --> 00:28:38,833
of all the source files independently.
499
00:28:38,875 --> 00:28:40,125
The other thing to consider here
500
00:28:40,125 --> 00:28:44,791
too, is when you're creating a new fusion
clip from the edit page,
501
00:28:44,875 --> 00:28:48,583
if you do any size changes on the page,
it'll crop the image here.
502
00:28:48,583 --> 00:28:52,625
So if we ever wanted to change
how far we were
503
00:28:52,625 --> 00:28:56,125
zoomed in on the image,
we couldn't do that at this point.
504
00:28:56,125 --> 00:29:00,875
So let's say I added a transform node
505
00:29:00,958 --> 00:29:03,750
and I viewed that
506
00:29:03,750 --> 00:29:06,291
and I wanted to change and zoom out a bit
more.
507
00:29:06,291 --> 00:29:08,000
Well, the image has been cropped
508
00:29:08,000 --> 00:29:11,375
and that cropped happen
crop happened on the edit page.
509
00:29:11,458 --> 00:29:16,666
So what we're going to do
is we're just going to reverse out of this
510
00:29:16,750 --> 00:29:18,500
and undo everything we did.
511
00:29:18,500 --> 00:29:23,958
And instead of actually
making a new fusion clip here,
512
00:29:24,041 --> 00:29:26,583
we're going to go ahead
and disable the foreground
513
00:29:26,583 --> 00:29:29,583
and then we're going to go directly
to the fusion page.
514
00:29:29,750 --> 00:29:33,750
What that'll do
is that it will make a fusion composition
515
00:29:33,750 --> 00:29:38,916
that matches the resolution of the clip
that's in the timeline.
516
00:29:39,000 --> 00:29:40,666
So before we jump into our shot,
517
00:29:40,666 --> 00:29:43,666
let's talk a little bit
about resolution independence.
518
00:29:43,833 --> 00:29:48,333
So in this case, we've got a foreground
element and a background element.
519
00:29:48,416 --> 00:29:52,583
And if we look in the media pool
where these files came from,
520
00:29:52,666 --> 00:29:55,250
I can click on this all three
521
00:29:55,250 --> 00:29:59,208
dot metadata menu here
and it will show me the resolution.
522
00:29:59,291 --> 00:30:02,291
I can see that the foreground clip is HD
523
00:30:02,291 --> 00:30:07,958
and this sky frame is over.
524
00:30:07,958 --> 00:30:10,958
HD It's 3800 pixels or so wide.
525
00:30:10,958 --> 00:30:13,208
So we want to keep resolution independence
526
00:30:13,208 --> 00:30:16,833
and the full resolution of those source
files.
527
00:30:16,916 --> 00:30:21,000
Now, if we created this fusion clip
like we did on the last shot,
528
00:30:21,083 --> 00:30:22,083
what it will do is it
529
00:30:22,083 --> 00:30:26,375
will actually resize all the elements
to the timeline resolution.
530
00:30:26,458 --> 00:30:30,166
So let me do that real quick
and show you what that looks like.
531
00:30:30,250 --> 00:30:32,416
So if I go ahead and select both clips
532
00:30:32,416 --> 00:30:36,125
and I say create new fusion clip,
533
00:30:36,208 --> 00:30:37,500
it'll create a fusion clip.
534
00:30:37,500 --> 00:30:41,083
And then I go to the fusion page
535
00:30:41,166 --> 00:30:44,666
and on the upper right
hand corner, in my view, or I can see that
536
00:30:44,666 --> 00:30:50,375
I've got an HD image and that's based off
of what the timeline resolution is.
537
00:30:50,458 --> 00:30:54,083
And each of these elements,
if I view them independently,
538
00:30:54,166 --> 00:30:57,000
well, even this sky element is HD,
even though
539
00:30:57,000 --> 00:31:01,625
the original version of that Sky
element was about 3800 pixels wide.
540
00:31:01,708 --> 00:31:05,500
So we want to actually retain
all that resolution for as long as we can.
541
00:31:05,750 --> 00:31:11,625
So let's go back to the edit page
and undo what I just did.
542
00:31:11,708 --> 00:31:14,583
So instead of making a new fusion clip,
543
00:31:14,583 --> 00:31:19,208
you can actually go directly to the fusion
page and work that way.
544
00:31:19,250 --> 00:31:22,500
So I'm going to disable the foreground
clip and now when I go to the fusion
545
00:31:22,500 --> 00:31:25,875
page, it's going to set the Compositions
resolution
546
00:31:25,958 --> 00:31:29,458
based off of the clip
that's visible in the timeline,
547
00:31:29,541 --> 00:31:34,458
which in this case is the sky,
which is about 3800 pixels wide.
548
00:31:34,541 --> 00:31:39,541
So if I go to the fusion page
now, I only have one media in Node,
549
00:31:39,625 --> 00:31:40,833
but my composition
550
00:31:40,833 --> 00:31:45,291
resolution is 3800 pixels wide,
which is exactly what I'm looking for.
551
00:31:45,291 --> 00:31:49,625
I want to maintain that resolution
of the sky element,
552
00:31:49,708 --> 00:31:52,708
so I'll
hit command F to go to full screen.
553
00:31:52,791 --> 00:31:54,791
I still need to get my foreground
554
00:31:54,791 --> 00:31:59,916
element and I can do that
by opening up my media pool panel
555
00:32:00,000 --> 00:32:04,208
and then dragging
in this element into my flow.
556
00:32:04,291 --> 00:32:08,208
And so now I have a media into
if I load that into the viewer,
557
00:32:08,250 --> 00:32:13,208
I can see that it maintains
its original resolution of HD.
558
00:32:13,291 --> 00:32:16,625
And so this is how you would make sure
that all the elements
559
00:32:16,625 --> 00:32:20,208
that you're bringing in maintain
their highest resolution images.
560
00:32:20,208 --> 00:32:23,750
You would actually add them directly
from the media pool.
561
00:32:23,833 --> 00:32:26,791
Let's do a little bit of organization
in this fusion cup.
562
00:32:26,791 --> 00:32:33,666
So this medium too, I'm going to go ahead
and rename that
563
00:32:33,750 --> 00:32:38,041
to foreground
564
00:32:38,125 --> 00:32:39,916
and I'll rename my media
565
00:32:39,916 --> 00:32:44,500
and one after loading into the viewer as
566
00:32:44,583 --> 00:32:48,458
Sky. Now that
567
00:32:48,458 --> 00:32:51,750
I have both these elements,
I can go ahead and hide the media panel
568
00:32:51,833 --> 00:32:55,833
and now I'm going to go to full screen
command F to go to full screen
569
00:32:55,916 --> 00:32:59,166
and I know I want to compositing
my foreground over my sky.
570
00:32:59,166 --> 00:33:02,916
So I'm going to go ahead and add
a merge node, and I'm going to do that
571
00:33:02,916 --> 00:33:06,541
by actually dragging the output
of my foreground node
572
00:33:06,625 --> 00:33:10,375
and attaching it
to the output of my sky node.
573
00:33:10,458 --> 00:33:14,125
And that'll automatically create
a merge node for me.
574
00:33:14,208 --> 00:33:18,875
So if I view that,
I can now see that my foreground
575
00:33:18,875 --> 00:33:22,125
is smaller in frame than my sky.
576
00:33:22,375 --> 00:33:26,208
And that makes sense because my canvas
right now is 3800 pixels wide,
577
00:33:26,291 --> 00:33:29,625
whereas this foreground
element is only HD.
578
00:33:29,708 --> 00:33:34,166
Now the one thing is
we want the final output
579
00:33:34,291 --> 00:33:39,375
of this composition to be HD because it's
going to go back to the timeline
580
00:33:39,458 --> 00:33:43,875
as HD, and we want that to match
the foreground resolution.
581
00:33:43,958 --> 00:33:46,916
So the way to make sure
that your composition
582
00:33:46,916 --> 00:33:50,000
output matches
a particular resolution in this case.
583
00:33:50,000 --> 00:33:55,833
HD Is that the first element in your node
tree has to be a HD element.
584
00:33:55,916 --> 00:33:58,750
So to do that, we're going to go ahead
and make a background node
585
00:33:58,750 --> 00:34:02,625
to act as our first element
in this processing tree.
586
00:34:02,708 --> 00:34:05,083
So to do that,
I'm going to go ahead and drag
587
00:34:05,083 --> 00:34:10,625
in a background
node from my tool panel here,
588
00:34:10,708 --> 00:34:11,083
and I'm going
589
00:34:11,083 --> 00:34:14,083
to view that currently
this background node, it
590
00:34:14,125 --> 00:34:19,083
matches the resolution of the composition,
which is 3800 pixels wide.
591
00:34:19,166 --> 00:34:22,125
And if I want to modify this,
I can do that
592
00:34:22,125 --> 00:34:25,541
in my inspector by clicking image
593
00:34:25,625 --> 00:34:27,708
and then I can see I have my resolution
594
00:34:27,708 --> 00:34:30,708
here 3800 by 2100 roughly.
595
00:34:30,958 --> 00:34:35,708
If I want to override that,
I have to do select auto resolution
596
00:34:35,750 --> 00:34:39,541
and then I can type in the resolution
that I want.
597
00:34:39,625 --> 00:34:44,541
You can see now I have a canvas
that's 1920 by 1080,
598
00:34:44,625 --> 00:34:49,416
and all I need to do
now is add a merge node.
599
00:34:49,500 --> 00:34:54,458
So I'll do that with shift enter
to bring up my tool search
600
00:34:54,541 --> 00:34:56,875
type and merge
601
00:34:56,875 --> 00:35:01,083
and I'll connect this background
and to the background input of that merge
602
00:35:01,166 --> 00:35:05,791
and this guy to the foreground
input of that merge.
603
00:35:05,875 --> 00:35:08,125
Now if I view that merge,
604
00:35:08,125 --> 00:35:12,000
I have the sky inside of an HD canvas.
605
00:35:12,083 --> 00:35:17,458
Now this green border, this green box
that's outside of the canvas
606
00:35:17,666 --> 00:35:21,500
actually defines
the available image from the sky.
607
00:35:21,500 --> 00:35:25,916
So we're not losing any of the resolution
or the image that we had before.
608
00:35:26,000 --> 00:35:27,375
We're maintaining all of it.
609
00:35:27,375 --> 00:35:29,333
It's just not shown in the canvas.
610
00:35:29,333 --> 00:35:33,916
So if there was a transform,
we could bring that back into the frame.
611
00:35:34,041 --> 00:35:37,833
So in this case, you can see we have
612
00:35:37,916 --> 00:35:40,250
all that sky available to us.
613
00:35:40,250 --> 00:35:42,833
So I'll just go and undo that
614
00:35:42,833 --> 00:35:45,125
last thing we need to do to prep this.
615
00:35:45,125 --> 00:35:48,875
This node tree is change our background
616
00:35:48,875 --> 00:35:52,708
input from merge one
to actually come from merge two.
617
00:35:52,791 --> 00:35:56,500
Now if we view this merge one,
618
00:35:56,541 --> 00:35:59,750
we've
got our foreground over our background
619
00:35:59,833 --> 00:36:02,416
so we can't see the sky
that we want to replace.
620
00:36:02,416 --> 00:36:05,125
What we need to do
is kick out the sky from the foreground
621
00:36:05,125 --> 00:36:08,791
so we can see through it to the sky
that's underneath.
622
00:36:08,875 --> 00:36:12,500
So to do that, we're going to go ahead
and add a little mark here
623
00:36:12,583 --> 00:36:16,208
and make a little bit of space in my cap.
624
00:36:16,291 --> 00:36:19,666
And I'm going to find the Lumix here
under the effects library
625
00:36:19,750 --> 00:36:22,583
tools.
626
00:36:22,583 --> 00:36:25,500
And then, Matt,
627
00:36:25,583 --> 00:36:27,791
you'll see there's
a variety of different colors here.
628
00:36:27,791 --> 00:36:30,041
The Lumix here is the one we want.
629
00:36:30,041 --> 00:36:32,333
We'll drop it into the flow.
630
00:36:32,333 --> 00:36:37,291
So the Lumix here is going to try
to create an alpha mat
631
00:36:37,375 --> 00:36:39,083
by a particular channel.
632
00:36:39,083 --> 00:36:39,958
In this case
633
00:36:39,958 --> 00:36:43,833
it's going to be luminance, so that'll be
the overall brightness of the image.
634
00:36:43,916 --> 00:36:46,541
You can also select an individual channel
like blue,
635
00:36:46,541 --> 00:36:49,541
green, red, alpha, etc.
636
00:36:49,541 --> 00:36:53,083
but in this case
Luma should give us what we want.
637
00:36:53,166 --> 00:36:56,125
So instead of viewing the rugby image
638
00:36:56,125 --> 00:36:59,125
here, we're going to want to view
the Alpha Channel instead.
639
00:36:59,291 --> 00:37:02,583
So I'm going to view only
the Alpha Channel that's being created
640
00:37:02,583 --> 00:37:05,583
by selecting this
641
00:37:05,583 --> 00:37:08,583
dropdown and selecting Alpha.
642
00:37:08,708 --> 00:37:11,458
I'm still viewing the merge node
actually what I want to view
643
00:37:11,458 --> 00:37:16,166
is that Lumix here, so I'm going to
go ahead and select that and press two.
644
00:37:16,250 --> 00:37:19,250
Now you can see that the map
we're creating, the alpha we're creating,
645
00:37:19,416 --> 00:37:23,000
is based off the luminance of the image.
646
00:37:23,083 --> 00:37:26,083
I was going to hide my effects library.
647
00:37:26,125 --> 00:37:27,291
I want to adjust this.
648
00:37:27,291 --> 00:37:33,041
So all this foreground stuff is totally
black and our sky is totally white.
649
00:37:33,125 --> 00:37:34,125
So do that.
650
00:37:34,125 --> 00:37:40,416
I will drag my low to the right
651
00:37:40,500 --> 00:37:45,541
and then I'll drag the high down
a bit as well.
652
00:37:45,625 --> 00:37:49,000
So I'm pretty well isolating the sky now.
653
00:37:49,000 --> 00:37:52,666
We still see a lot of bright spots
654
00:37:52,666 --> 00:37:55,666
in the foreground, part of the image
that we don't want to keep out.
655
00:37:55,833 --> 00:37:59,708
So what we can do at this
point is actually
656
00:37:59,791 --> 00:38:01,625
adjust this mat
657
00:38:01,625 --> 00:38:05,041
and we're going to do that
with a tool called Arrow Dilate.
658
00:38:05,125 --> 00:38:08,791
So we're going to add arrow
dilate from the effects library.
659
00:38:08,875 --> 00:38:10,916
So we're
going to reveal the effects library
660
00:38:10,916 --> 00:38:14,708
and then arrow
dilate is going to be found under filter.
661
00:38:14,750 --> 00:38:19,250
And I'm going to go ahead and
drop that in the flow here.
662
00:38:19,333 --> 00:38:21,083
Let's view that node.
663
00:38:21,083 --> 00:38:26,875
And so what Arrow Dilate will do is it
will grow or shrink your mat
664
00:38:26,958 --> 00:38:27,625
accordingly.
665
00:38:27,625 --> 00:38:32,041
So if I go to the amount here,
I can shrink that.
666
00:38:32,041 --> 00:38:34,083
And what that does is it actually
667
00:38:34,083 --> 00:38:37,500
eliminates a lot of those small holes
we were seeing in our mat.
668
00:38:37,583 --> 00:38:41,375
So I pretty much eliminated
all of those little holes
669
00:38:41,375 --> 00:38:44,083
in the alpha
that that we didn't really want.
670
00:38:44,083 --> 00:38:47,083
What I've done, though, is
that's actually eroded this edge.
671
00:38:47,125 --> 00:38:49,500
So we want to restore that edge
from where it was.
672
00:38:49,500 --> 00:38:53,375
So I'm going to add another arrow dilate
and let me make a little bit more room
673
00:38:53,375 --> 00:38:57,625
in my cup.
674
00:38:57,708 --> 00:38:59,125
So I'm going to add another arrow
675
00:38:59,125 --> 00:39:02,791
dilate after that one and view it.
676
00:39:02,875 --> 00:39:07,958
And so what I want to do now is
I want to bring this edge back
677
00:39:08,000 --> 00:39:12,250
and let me go ahead
and reset that and zoom in.
678
00:39:12,291 --> 00:39:13,791
So as I drag
679
00:39:13,791 --> 00:39:17,666
this to the right, I'm
dilating out that mat now and doing
680
00:39:17,666 --> 00:39:22,208
so is going to bring our edge closer
to where it really should be.
681
00:39:22,291 --> 00:39:25,500
So roughly there.
682
00:39:25,583 --> 00:39:30,000
So instead of being my Alpha,
let's view the job and we can see here
683
00:39:30,083 --> 00:39:33,083
we're not seeing the foreground at all,
684
00:39:33,250 --> 00:39:35,750
but we have a really nice mat
we've prepared.
685
00:39:35,750 --> 00:39:39,833
So what we can do is
we can actually combine this mat.
686
00:39:39,833 --> 00:39:43,500
We've created this
Alpha with the original ARG image
687
00:39:43,583 --> 00:39:46,875
and then do some interpretation
from there.
688
00:39:47,125 --> 00:39:51,541
So to do that, I'm going to go ahead
and organize all of these three nodes
689
00:39:51,625 --> 00:39:53,291
over to the right.
690
00:39:53,291 --> 00:39:55,916
These were the nodes
I used to generate this man
691
00:39:55,916 --> 00:40:05,916
in the first place, and I'm going to add
a node called Mat Control.
692
00:40:06,000 --> 00:40:06,625
And so mat
693
00:40:06,625 --> 00:40:09,833
control is found under the mat bin,
694
00:40:09,916 --> 00:40:13,291
then we can drag
that in under the foreground here
695
00:40:13,375 --> 00:40:18,875
and I'm going to feed the foreground
into the background input of mat control,
696
00:40:18,958 --> 00:40:21,791
and then I'm going to feed my a-roads
pilot output,
697
00:40:21,791 --> 00:40:28,875
which has my, my fully prepared alpha
into the foreground input of Mac control.
698
00:40:28,958 --> 00:40:34,125
So I am just attaching that
to the green part here, the green input.
699
00:40:34,208 --> 00:40:37,791
And let's view that Mac control.
700
00:40:37,875 --> 00:40:39,708
So now I have my RG B image.
701
00:40:39,708 --> 00:40:44,083
I need to set my combine mode to combine
Alpha
702
00:40:44,166 --> 00:40:47,416
and now I've got my RG image
and then if I view
703
00:40:47,416 --> 00:40:51,541
only the Alpha channel, I have my mat,
704
00:40:51,625 --> 00:40:56,125
I can still kind of see my foreground here
and that's because
705
00:40:56,208 --> 00:41:00,083
I still have the full RG image
and I've just combined the alpha
706
00:41:00,083 --> 00:41:05,416
into this node, but I actually haven't
multiplied the image.
707
00:41:05,500 --> 00:41:09,333
So multiplication
basically means deleting out anything
708
00:41:09,333 --> 00:41:12,333
that's black and retaining anything
that's white
709
00:41:12,583 --> 00:41:16,125
and then having a gradation of that
710
00:41:16,125 --> 00:41:19,500
in between for anything
that's not perfectly black or white.
711
00:41:19,583 --> 00:41:23,916
So I'm going to go ahead and click post
multiply that's giving me just the sky.
712
00:41:23,958 --> 00:41:26,583
I actually want the foreground
in this case.
713
00:41:26,583 --> 00:41:29,458
So I'm going to select Invert Mat
714
00:41:29,458 --> 00:41:33,750
and now I have my foreground,
so I've got my foreground cut out.
715
00:41:33,833 --> 00:41:39,250
If I zoom in, that's given me roughly
what I want, but it's a really hard edge.
716
00:41:39,333 --> 00:41:44,041
So I'm going to go back to my lumix here
and I'm going to go ahead and add a blur
717
00:41:44,125 --> 00:41:46,083
to that.
718
00:41:46,166 --> 00:41:48,750
And now I've got a nice soft
719
00:41:48,750 --> 00:41:53,000
edge around the characters,
so that's a good place to start.
720
00:41:53,083 --> 00:41:57,125
Let's go ahead and do command F
to go full screen and hide our effects
721
00:41:57,125 --> 00:42:03,666
library and let's play that back
and see what we're looking at.
722
00:42:03,750 --> 00:42:05,875
So far, so good.
723
00:42:05,875 --> 00:42:11,000
And to double check my mat for any
additional holes that may have popped up.
724
00:42:11,083 --> 00:42:15,708
I'm going to go ahead and load
my arrow, dilate into the viewer,
725
00:42:15,791 --> 00:42:18,750
and as I play it
back, it's looking really good.
726
00:42:18,750 --> 00:42:23,958
But I do have some edges here
that, are still poking through,
727
00:42:24,041 --> 00:42:26,416
and that's probably
because I added that blur.
728
00:42:26,416 --> 00:42:29,125
So what I'm going to do to fix
those remaining holes
729
00:42:29,125 --> 00:42:35,083
is I'm going to actually create a polygon
mask to isolate the areas
730
00:42:35,083 --> 00:42:39,333
that I don't want to keep
and subtract that out of that that key.
731
00:42:39,416 --> 00:42:43,083
So to do that,
I'm going to go to my first frame here.
732
00:42:43,166 --> 00:42:45,833
I'm going to add a polygon tool
with shift enter
733
00:42:45,833 --> 00:42:50,166
to bring up my tool
search and type in polygon press.
734
00:42:50,166 --> 00:42:53,541
Enter now I've got a polygon tool
735
00:42:53,541 --> 00:42:57,625
and I'll just draw a very rough
736
00:42:57,708 --> 00:43:00,708
polygon here
737
00:43:00,750 --> 00:43:02,291
to define the region
738
00:43:02,291 --> 00:43:05,833
that I don't want to keep.
739
00:43:05,916 --> 00:43:07,208
Okay.
740
00:43:07,208 --> 00:43:09,458
And I'm going to go ahead and add
741
00:43:09,458 --> 00:43:12,875
a little bit of softness to that.
742
00:43:12,958 --> 00:43:15,875
Now, the Polygon
node acts like background node
743
00:43:15,875 --> 00:43:19,458
in that it conforms
to the resolution of the composition.
744
00:43:19,458 --> 00:43:23,541
So let's go and view
that polygon node loaded into the viewer.
745
00:43:23,541 --> 00:43:28,750
And if I zoom out, I can see the
resolution of that is 3800 pixels wide.
746
00:43:28,833 --> 00:43:32,458
My image is actually in HD image
I'm keying right now,
747
00:43:32,458 --> 00:43:36,375
so I want this to actually conform to
an HD frame.
748
00:43:36,458 --> 00:43:41,250
So to do that,
I go to my image tab on the Polygon tool
749
00:43:41,333 --> 00:43:41,666
and I
750
00:43:41,666 --> 00:43:45,583
choose my output
size instead of default to be custom.
751
00:43:45,666 --> 00:43:49,000
And from there I can disable use
752
00:43:49,000 --> 00:43:52,958
frame format settings and set my width
and height to the resolution.
753
00:43:52,958 --> 00:43:56,750
I want.
754
00:43:56,833 --> 00:43:58,791
Okay, so have 1920 by 1080.
755
00:43:58,791 --> 00:44:01,041
That's exactly what I'm looking for.
756
00:44:01,041 --> 00:44:04,375
Let's view our road dilate again
757
00:44:04,458 --> 00:44:08,083
and I want to feed this polygon tool
into my little mic here
758
00:44:08,166 --> 00:44:12,208
into the garbage man input,
which basically is defining the garbage,
759
00:44:12,208 --> 00:44:16,083
so to speak, that
you don't want to be part of that tool.
760
00:44:16,166 --> 00:44:18,958
So instead of dragging the output
of the following,
761
00:44:18,958 --> 00:44:22,916
quote, gun tool
and attaching it to one of these inputs,
762
00:44:23,000 --> 00:44:28,166
I'm going to go ahead and click
and drag this output while holding alt
763
00:44:28,250 --> 00:44:33,708
and then just drag it over this tool and
then release my left click mouse button.
764
00:44:33,791 --> 00:44:34,791
And what they'll do
765
00:44:34,791 --> 00:44:39,250
is it'll bring up a context menu
that will allow me to select an input.
766
00:44:39,333 --> 00:44:42,833
So in this case,
I want to select Garbage Man.
767
00:44:42,916 --> 00:44:43,250
This can
768
00:44:43,250 --> 00:44:46,250
be really
useful if a tool has a lot of inputs
769
00:44:46,291 --> 00:44:50,416
and you want to find a particular input,
but the colors really are helping you,
770
00:44:50,416 --> 00:44:51,458
such as in this case,
771
00:44:51,458 --> 00:44:55,291
garbage man is one of the gray inputs,
so it's a little hard to find.
772
00:44:55,375 --> 00:44:58,541
So the polygon tool is attached
to the garbage man, and now we can see
773
00:44:58,541 --> 00:45:04,041
that all of those kind of defocus areas
that were there are now gone.
774
00:45:04,041 --> 00:45:06,666
So if I play through this clip
775
00:45:06,666 --> 00:45:09,416
getting a much better result,
776
00:45:09,416 --> 00:45:12,416
I can see a little bit is still peeking
in there at the end.
777
00:45:12,625 --> 00:45:16,083
So what I'll do is I'll go back
to the frame where I originally
778
00:45:16,083 --> 00:45:23,291
drew this polygon
779
00:45:23,375 --> 00:45:26,708
and I'll just adjust the spleen a bit
780
00:45:26,791 --> 00:45:30,291
to get
a little bit closer to our actual edge.
781
00:45:30,375 --> 00:45:36,708
And now let's play
back to see what we have
782
00:45:36,791 --> 00:45:38,833
maybe a little bit more.
783
00:45:38,833 --> 00:45:41,458
It seems like there's just a bright spot
784
00:45:41,458 --> 00:45:48,125
that pops up there at the end
785
00:45:48,208 --> 00:45:51,791
playing that back.
786
00:45:51,875 --> 00:45:53,750
Yeah, it looks pretty good.
787
00:45:53,750 --> 00:45:58,500
Okay, so now let's view our Mac control
node again.
788
00:45:58,583 --> 00:45:59,958
That's giving us the result.
789
00:45:59,958 --> 00:46:03,041
We want and we want to change the input
790
00:46:03,041 --> 00:46:06,958
to our merge node from the arrow
deployed to this mat control.
791
00:46:06,958 --> 00:46:09,583
So I'll go ahead and drag
the output of the Mac control
792
00:46:09,583 --> 00:46:12,583
on to the foreground
and put out the merge one.
793
00:46:12,791 --> 00:46:15,791
And let's view that merge one.
794
00:46:16,041 --> 00:46:20,041
And now we've got our sky behind
our actors.
795
00:46:20,125 --> 00:46:22,833
That's getting us going in the right
direction.
796
00:46:22,833 --> 00:46:23,833
It's still not perfect.
797
00:46:23,833 --> 00:46:28,916
The sky looks fairly fake at this point
and it's also not moving.
798
00:46:29,000 --> 00:46:33,041
So the sky needs to move in conjunction
with the foreground element.
799
00:46:33,125 --> 00:46:36,125
So we're going
to do a bit of tracking here.
800
00:46:36,208 --> 00:46:36,791
So let's do a
801
00:46:36,791 --> 00:46:39,791
quick recap on what we've done so far.
802
00:46:39,916 --> 00:46:42,375
I'll go ahead and pause playback here.
803
00:46:42,375 --> 00:46:46,083
We brought in our sky node,
followed into the viewer,
804
00:46:46,166 --> 00:46:48,083
which was very high resolution.
We did that.
805
00:46:48,083 --> 00:46:51,083
So we were going to be resolution.
806
00:46:51,083 --> 00:46:54,083
We're merging that over a background node
807
00:46:54,208 --> 00:46:58,250
that we set to be HD resolution,
808
00:46:58,333 --> 00:47:03,666
and then we brought in our foreground
node, which has our actors.
809
00:47:03,750 --> 00:47:08,458
We did some little mixing work
to clear out the sky
810
00:47:08,541 --> 00:47:14,083
and then we did dilation to improve
and remove some of the remaining
811
00:47:14,083 --> 00:47:18,458
foreground bright parts,
which we did with the A-Road.
812
00:47:18,541 --> 00:47:23,250
And then we did a second arrow
to bring our edge back to where it was.
813
00:47:23,333 --> 00:47:26,250
And then we also added a polygon
814
00:47:26,250 --> 00:47:30,750
to as a garbage mat to the lumix here
to get all the last bits
815
00:47:30,750 --> 00:47:35,166
that were still left
over from the processes before.
816
00:47:35,250 --> 00:47:35,750
So all of
817
00:47:35,750 --> 00:47:40,125
that was to generate
the alpha that we then combine
818
00:47:40,125 --> 00:47:44,666
with our original foreground
using the Mac control node.
819
00:47:44,750 --> 00:47:47,666
And so we're combining it
and the Mac control node
820
00:47:47,666 --> 00:47:51,750
by setting the combine operation
to combine Alpha.
821
00:47:51,833 --> 00:47:55,208
And then we have to post
multiply that image to remove the parts
822
00:47:55,208 --> 00:47:59,791
of the shot that we don't want
based off of the alpha that we generated.
823
00:47:59,875 --> 00:48:04,500
And then we had to actually invert that
mat because we had selected the sky
824
00:48:04,583 --> 00:48:08,000
and we wanted to actually
keep the foreground and not the sky.
825
00:48:08,000 --> 00:48:10,500
So the invert allowed us to do that.
826
00:48:10,500 --> 00:48:15,041
So instead of using a tracker node
itself, we're going to use the tracker
827
00:48:15,041 --> 00:48:19,833
functionality embedded within another tool
using a modifier.
828
00:48:19,916 --> 00:48:21,958
So let's get into that.
829
00:48:21,958 --> 00:48:24,958
So I've selected the merge to Node
830
00:48:25,166 --> 00:48:29,791
and what I want to do is actually attach
a tracker to this merge center.
831
00:48:29,875 --> 00:48:32,875
So if I right click
on the merge center in the viewer
832
00:48:32,916 --> 00:48:37,000
and go down to merge center
in the context menu
833
00:48:37,041 --> 00:48:40,625
and then go to modify
with tracker position
834
00:48:40,708 --> 00:48:44,083
that will create a tracker
within this note that I could
835
00:48:44,083 --> 00:48:50,250
then use to track the foreground
and apply that motion to the sky.
836
00:48:50,333 --> 00:48:51,041
So I've created
837
00:48:51,041 --> 00:48:55,000
that and what I see
here is a tracker pops up on the screen
838
00:48:55,083 --> 00:48:59,541
and also this modifier in the inspector
shows up as well.
839
00:48:59,625 --> 00:49:03,166
So I'll go ahead and click on modifiers
840
00:49:03,250 --> 00:49:07,708
and this looks like
just the regular tracker inspector menu
841
00:49:07,708 --> 00:49:11,541
that you would expect to see
if you use the node directly.
842
00:49:11,625 --> 00:49:14,875
So I can choose my tracker source
instead of the background.
843
00:49:14,875 --> 00:49:19,375
I actually want to track the foreground
so I can load it as a tracker source
844
00:49:19,375 --> 00:49:24,458
by dragging that node into the inspector
and then releasing.
845
00:49:24,458 --> 00:49:27,083
And now I'll be tracking the foreground.
846
00:49:27,083 --> 00:49:29,791
I also want to view the foreground because
that's where I'm going to be tracking.
847
00:49:29,791 --> 00:49:33,916
So I'll go ahead and select foreground,
load it into the viewer,
848
00:49:34,000 --> 00:49:36,916
and then click back on my merge to
849
00:49:36,916 --> 00:49:42,250
and go to the modifiers
page to start my track.
850
00:49:42,291 --> 00:49:44,541
I want to choose a high contrast area,
851
00:49:44,541 --> 00:49:49,500
so I'll choose this part of the rocks
852
00:49:49,583 --> 00:49:55,500
and adjust my search region and my pattern
853
00:49:55,583 --> 00:49:57,791
and I'm going to go ahead
and track forward
854
00:49:57,791 --> 00:50:02,458
from the first frame.
855
00:50:02,541 --> 00:50:03,333
Okay.
856
00:50:03,333 --> 00:50:04,375
Now the track completed.
857
00:50:04,375 --> 00:50:08,458
Let's go ahead and look
and see how that track looks
858
00:50:08,500 --> 00:50:10,583
as I play back. It's going very well.
859
00:50:10,583 --> 00:50:14,291
It's saying
attached until a little bit further
860
00:50:14,291 --> 00:50:18,000
along here,
the actor crosses in front of the tracker.
861
00:50:18,083 --> 00:50:20,625
So that's a pretty common issue
that happens,
862
00:50:20,625 --> 00:50:22,833
happens just over the last few frames.
863
00:50:22,833 --> 00:50:27,208
Me jump to the end here
and I'm going to step back with the back
864
00:50:27,208 --> 00:50:31,416
bracket or the left bracket button.
865
00:50:31,500 --> 00:50:39,666
We can see the track is great up
until about
866
00:50:39,750 --> 00:50:40,916
that frame
867
00:50:40,916 --> 00:50:44,250
and I can see the center is popped off
its original location.
868
00:50:44,333 --> 00:50:47,000
So let me go back one frame.
869
00:50:47,000 --> 00:50:49,833
Now, you can fix this by actually
870
00:50:49,833 --> 00:50:53,083
changing the region
of where you're going to track.
871
00:50:53,166 --> 00:50:56,583
And to do that,
we're going to go to the inspector,
872
00:50:56,666 --> 00:50:59,166
expand the tracker.
873
00:50:59,166 --> 00:51:01,583
And what we need to do is change
874
00:51:01,583 --> 00:51:05,333
the path center to track center, append.
875
00:51:05,416 --> 00:51:10,541
And what that allow us to do is
it will allow us to change the region
876
00:51:10,541 --> 00:51:14,166
that's being tracked
but still keep the same anchor point.
877
00:51:14,250 --> 00:51:18,125
So I'm going to go ahead and find
a different area of the image to track
878
00:51:18,208 --> 00:51:21,791
or just choose this part of the mountain
because the actor is not over it
879
00:51:21,791 --> 00:51:23,416
at this point.
880
00:51:23,416 --> 00:51:26,916
And so from here I just need to track
these last few frames.
881
00:51:26,916 --> 00:51:28,250
I had issues.
882
00:51:28,250 --> 00:51:31,208
So instead of use
the using the track forward button,
883
00:51:31,208 --> 00:51:35,500
which would start from the very beginning,
I'm going to use the track forward
884
00:51:35,500 --> 00:51:40,041
from current time button
so it will overwrite the bad
885
00:51:40,041 --> 00:51:44,458
keyframes and place new keyframes
based off this new region.
886
00:51:44,541 --> 00:51:47,916
So let's click that button.
887
00:51:48,000 --> 00:51:49,458
All right.
888
00:51:49,458 --> 00:51:54,041
So now as we playback,
we can see this tracker
889
00:51:54,125 --> 00:51:57,666
sticks really nicely
all the way through the clip
890
00:51:57,750 --> 00:52:00,750
and even when the actor moves
in front of it, it doesn't
891
00:52:00,916 --> 00:52:03,916
get modified.
892
00:52:04,041 --> 00:52:07,250
Okay, let's go back to full screen
with trend F
893
00:52:07,333 --> 00:52:11,333
now that we have our tracker,
let's go ahead and view this merge note
894
00:52:11,333 --> 00:52:15,583
and see what it's doing.
895
00:52:15,666 --> 00:52:17,583
So as I'm viewing that I can see now
896
00:52:17,583 --> 00:52:21,875
the sky has inherited
the motion of that foreground element.
897
00:52:21,958 --> 00:52:25,833
So just to recap,
instead of using a tracker node,
898
00:52:25,916 --> 00:52:29,125
we created a tracker modifier
899
00:52:29,208 --> 00:52:35,583
to modify the merge center by
right clicking
900
00:52:35,666 --> 00:52:39,833
right clicking on the merge center
and going to modify with
901
00:52:39,833 --> 00:52:45,375
and selecting tracker position
and that will embed tracker
902
00:52:45,458 --> 00:52:51,500
that you can
then interact with in the modifiers page.
903
00:52:51,583 --> 00:52:54,041
So now that we've applied that tracker,
let's view
904
00:52:54,041 --> 00:52:59,333
our last merge in this tree
and see what we're looking like.
905
00:52:59,416 --> 00:53:01,500
It like the sky is tracking really well.
906
00:53:01,500 --> 00:53:04,500
It stays attached to the foreground.
907
00:53:04,708 --> 00:53:07,708
It still doesn't look that
908
00:53:07,875 --> 00:53:08,416
perfect.
909
00:53:08,416 --> 00:53:08,750
It kind of
910
00:53:08,750 --> 00:53:12,791
looks like it's pasted in there instead of
really blending with the original shot.
911
00:53:12,875 --> 00:53:16,541
So we're going to do some additional work
to make this sky
912
00:53:16,541 --> 00:53:18,833
a blend better with the original.
913
00:53:18,833 --> 00:53:21,500
So there are some tricks
we're going to do to actually allow
914
00:53:21,500 --> 00:53:24,500
the sky
to blend better with the original image.
915
00:53:24,500 --> 00:53:27,375
And so we'll start off by
916
00:53:27,375 --> 00:53:29,875
mixing in a bit of the original sky,
917
00:53:29,875 --> 00:53:33,750
which will help the new sky blend better.
918
00:53:33,833 --> 00:53:38,666
So we'll do that by adding a merge node.
919
00:53:38,750 --> 00:53:39,666
So let me make a little
920
00:53:39,666 --> 00:53:42,666
bit of room in my composition here
921
00:53:42,750 --> 00:53:45,291
and I'm going to add a merge node
after this.
922
00:53:45,291 --> 00:53:51,000
Merge two and I'll go ahead and just
923
00:53:51,083 --> 00:53:56,541
find that with my tool search menu
924
00:53:56,625 --> 00:53:58,166
and then I'm going
to attach the foreground
925
00:53:58,166 --> 00:54:02,041
and put this to the foreground
element directly.
926
00:54:02,125 --> 00:54:05,125
Now let's view that merge three
927
00:54:05,333 --> 00:54:08,666
and we can see that we're not even seeing
any of the sky there.
928
00:54:08,750 --> 00:54:13,291
What we want to do is actually bring down
the opacity of the foreground a bit
929
00:54:13,375 --> 00:54:18,750
so that we're controlling the mix between
the replacement sky and the original sky.
930
00:54:18,833 --> 00:54:23,250
So I'm going to go ahead and select
this merge three, go to the blend control
931
00:54:23,458 --> 00:54:28,708
and drag that down a bit.
932
00:54:28,791 --> 00:54:30,125
So something about there.
933
00:54:30,125 --> 00:54:34,500
So right now
we've blended in the original sky
934
00:54:34,583 --> 00:54:39,500
with the new sky
and that's brightening up the new sky
935
00:54:39,500 --> 00:54:42,541
a bit and making it match a little bit
better.
936
00:54:42,791 --> 00:54:45,666
Let's view or merge one node
937
00:54:45,750 --> 00:54:46,375
and we can
938
00:54:46,375 --> 00:54:49,375
see already that
it's looking better than it was before.
939
00:54:49,416 --> 00:54:53,750
And just to do a quick comparison on the
before and after, I'll select my merge
940
00:54:53,750 --> 00:54:59,250
three node and I'll hit the disable
and enable button here
941
00:54:59,333 --> 00:55:02,583
and we can see that's already
a more convincing result
942
00:55:02,666 --> 00:55:06,458
for the new sky.
943
00:55:06,541 --> 00:55:10,041
What I do see though,
however, as our edges have a bit of a kind
944
00:55:10,041 --> 00:55:14,125
of a halo around them,
so that's not quite matching yet.
945
00:55:14,208 --> 00:55:19,166
We can make that match a little bit closer
using another merge node.
946
00:55:19,166 --> 00:55:20,333
But let me talk a little bit
947
00:55:20,333 --> 00:55:24,125
about why you would do that
and what's the theory behind it.
948
00:55:24,208 --> 00:55:27,708
So I'm going to go ahead
and go into the dual viewer mode.
949
00:55:27,791 --> 00:55:30,750
So I'm going to allow I'm going to load
the current status
950
00:55:30,750 --> 00:55:35,083
of the background
sky into the left viewer.
951
00:55:35,166 --> 00:55:38,250
And actually, I'm going to do a split
screen comparison in this left viewer.
952
00:55:38,250 --> 00:55:40,208
So I'm going to click that button
953
00:55:40,208 --> 00:55:46,291
and I'm going to load the foreground
into the right side of that viewer.
954
00:55:46,375 --> 00:55:47,041
So as I wait
955
00:55:47,041 --> 00:55:50,875
between these, I can see that the sky
956
00:55:50,958 --> 00:55:53,958
replacement is a bit darker
than the original sky
957
00:55:54,083 --> 00:55:57,083
and that these rocky edges
958
00:55:57,333 --> 00:56:00,875
are darker than they are
in the sky replacement.
959
00:56:00,958 --> 00:56:03,958
So what I can do
is actually create a merge node
960
00:56:03,958 --> 00:56:06,833
that will compare the two images
961
00:56:06,833 --> 00:56:09,833
and keep
just the darker pixels between them.
962
00:56:10,041 --> 00:56:15,166
So what that will do is if I keep
the darker pixels, that will keep the sky,
963
00:56:15,250 --> 00:56:18,041
and if I keep the darker pixels
from the foreground,
964
00:56:18,041 --> 00:56:21,666
that's just going to keep this rocky edge
and not the sky.
965
00:56:21,750 --> 00:56:24,291
So let's go and add a node and do that.
966
00:56:24,291 --> 00:56:28,125
So I'm going to select Merge three,
I'm going to add a merge node
967
00:56:28,125 --> 00:56:32,375
with my tool search
968
00:56:32,458 --> 00:56:36,250
and I'm going to connect my foreground
969
00:56:36,291 --> 00:56:39,291
to my foreground input of the merge node.
970
00:56:39,416 --> 00:56:42,083
So let me load this merge for
971
00:56:42,083 --> 00:56:45,583
into this right buffer here.
972
00:56:45,666 --> 00:56:52,041
And instead of a normal operation,
I want to use the darken operator.
973
00:56:52,125 --> 00:56:55,166
The darken will look at each
the background
974
00:56:55,166 --> 00:56:59,291
and the foreground inputs and it will keep
the darker of the two pixels.
975
00:56:59,375 --> 00:57:03,083
So I'll select darken
and now I've got a nice sky
976
00:57:03,083 --> 00:57:07,000
and I've got my edges,
which is exactly what I want.
977
00:57:07,083 --> 00:57:10,083
And in the right viewer
I can see merge two
978
00:57:10,208 --> 00:57:14,166
which now doesn't have that halo issue
we are seeing earlier.
979
00:57:14,250 --> 00:57:16,666
So we're looking pretty good. I'm
pretty darn good.
980
00:57:16,666 --> 00:57:21,541
I'm going to go back to a single viewer
by clicking this button
981
00:57:21,625 --> 00:57:26,375
and let's
see what our final results look like.
982
00:57:26,458 --> 00:57:27,916
It's looking pretty darn good.
983
00:57:27,916 --> 00:57:28,625
I would say.
984
00:57:28,625 --> 00:57:31,708
I need to maybe blend in a little bit
more of the original sky,
985
00:57:31,708 --> 00:57:35,708
so I'm going to select my Merge three node
and I'm going to just move
986
00:57:35,708 --> 00:57:40,208
this blend up a bit.
987
00:57:40,250 --> 00:57:42,791
So that's a little bit
more convincing for me.
988
00:57:42,791 --> 00:57:47,916
And we retain our nice edges
along the mountain side here
989
00:57:48,000 --> 00:57:52,500
and that sky looks like it actually now
fits and tracks well into the image
990
00:57:52,583 --> 00:57:57,208
and that's how you do
a basic sky replacement in fusion.
991
00:57:57,291 --> 00:57:58,583
So to recap,
992
00:57:58,583 --> 00:58:01,708
we brought in all of our individual
elements.
993
00:58:01,708 --> 00:58:03,625
We cleared the foreground,
994
00:58:03,625 --> 00:58:07,708
we did some manipulation to that mat,
to compositing it over the sky.
995
00:58:07,791 --> 00:58:11,916
Then we used a tracker
modifier on our merge two node
996
00:58:12,000 --> 00:58:16,125
to match,
move the sky to the foreground element.
997
00:58:16,208 --> 00:58:19,958
And then we did some additional composite
thing with the merge nodes
998
00:58:20,041 --> 00:58:23,583
to blend the sky
better with the original sky.
999
00:58:23,666 --> 00:58:27,458
And that's what we achieved through merge
three and merge four
1000
00:58:27,541 --> 00:58:33,416
to give us final result
which we're seeing right here.
1001
00:58:33,500 --> 00:58:36,208
So thank you for joining me in
compositing.
1002
00:58:36,208 --> 00:58:39,083
The split screen
shot in the sky replacement.
1003
00:58:39,083 --> 00:58:43,041
If you have additional questions, please
check out our forum where the developers
1004
00:58:43,041 --> 00:58:47,375
and professional users are interacting
with each other on a daily basis.
1005
00:58:47,458 --> 00:58:48,041
Thanks again.
87812
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