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So this video is all about merge nodes.
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Merge nodes are one of the most
commonly used nodes within fusion.
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And because of that, it's important
for us to understand
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everything we can do with merge nodes
and how they work.
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Before we start building more complex
compositions within fusion.
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So with that being said,
let's jump right into this lesson.
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All right.
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So first things first. Let's generate
a merge node.
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We can select the merge node button
right here and we've created a merge note.
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A merge nodes job is really just to merge
two pieces of media.
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That's it.
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It takes one input of media
and puts it either on top or below
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another piece of media
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based on the inputs that we connect them
to over here on the merge.
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As we know, the green is the foreground
and the orange one is the background.
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So let's find a piece of media
and try to merge it
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over top of our original media here.
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And the first thing I want to do actually
is let's load this up into our second
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preview here.
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Let's name this. So let's call this
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Sam underwater and let's
bring in another piece of media here.
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So let's drag anything in here
and let's close the media pool.
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Now, let's preview
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this by hitting one and loading it
into our first preview window here.
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And as we scrub through,
we can see nothing's happening.
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Why can't we preview this new media
that we brought in here?
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Well, let's open up our keyframes window
and just get an idea
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of what's going on here.
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So we're scrubbing through our in and out
point here in our timeline.
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And we can see that that in and out
point is very small.
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It's small area right here.
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If we actually zoom in to our keyframes
window,
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we can get a better idea
of what's going on here.
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So we're only previewing over there.
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So we need to actually grab our clip here
and move it over to this area here.
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Now, right now, it's hard to select it
because we're so zoomed out.
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So what I can do is take that global
in and out, move it over.
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And now we are within in and out
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range that we are playing with
for this composition.
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Now, I'm going to close keyframes.
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We don't need to see that right now.
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And we also don't
need to see the inspector.
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All we need to know is that we have
two pieces of media in our Node's
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window over here, so I'm going to zoom out
a bit and I'm going to rename this one.
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I'm just going to call this dirt
bike clip.
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Why don't we do that?
So ev to dirt bike clip,
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just dirt bike
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and right now we can see that
there's not much going on in this clip.
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It doesn't matter.
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We're just using this, for example, sake.
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Now, if I wanted to put this over
top of the underwater
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clip here and maybe scale it down,
how would I do that?
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So the first thing I'm going to want to do
is connect this to the merge.
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So now, because I want this dirt bike clip
to be on top of the underwater clip,
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what I'm going to do
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is bring it onto the foreground
input over here, the green one.
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So now that is going to ensure
that this dirt bike clip is going to be
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on top of whatever
other media is connected to this merge.
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So let's disconnect this line over here.
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Let's connect
the Sam underwater clip to the background.
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And now if we connect this to the output,
what's going to happen?
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Let's think about this.
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So if the dirt bike is on the foreground,
Sam underwater clip is in the background.
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If we connect it to the output
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and the output is being played in, let's
bring it to the second viewer here.
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What are we expecting to see
here in the viewer?
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We're going to see the dirt bike
clip on top.
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So let's bring this out.
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And yep, the dirt bye clip is on top.
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Based on how
we've made those connections over here.
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Now I'm going to delete this merge node
because the way that we just did
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that took a lot of time.
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And I don't want you guys using that
method.
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That was just kind of a way
to visually understand what's going on.
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We can create merge nodes
much faster than this
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simply by taking the output
of one of our pieces of media here
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and bringing it to the output
of another piece of media.
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And just like that,
it auto creates a merge node and based on
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what you want to be on the top or bottom,
you can just hit the merge node
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hit command team
and it'll swap those inputs for you.
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Now in this case, we do want the dirt
bike on top and we can see that
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if we break this,
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if we do
that again, the default is for the media
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that you're dragging
into the output of the chain of commands.
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It will be brought in as a foreground
layers.
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It's going to be
put on top of the other piece of media.
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Now, what if we want to stack three clips
on top of each other?
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Well, we can use the exact same method.
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Let's
bring a different piece of media in here.
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Let's grab that and let's open up
the keyframes window.
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Let's just see where
this new piece of media sits in space.
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Let's bring it underneath here,
where our timeline
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is, where the in and out points are,
so we can actually preview it.
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And let's bring this up into our viewer
one and we can see.
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Okay, cool.
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We got a cooler clip over here. Now,
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let's say I want
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to put this clip on top of everything
else.
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Well, what I can do is now
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take the output over here, bring it over
the output of the other merge,
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and it's going to merge it over
top of the other clips
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now, because this clip over here,
if we zoom out,
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we can see that this clip has a resolution
of 1920 by 1080.
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If we zoom out of this preview over here,
we can see the top right
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that this is a 4K UHD HD composition,
whereas this clip over here is 1080.
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So as soon as we merge this new clip over
top of everything else,
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it doesn't fill the frame
because it is substantially smaller.
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It's only 1080 versus the 3840 over here.
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So now I'm going to rename this dirt
bike clip over here.
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Let's call this dirt by close up.
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So now what we
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have is the underwater clip
with another dirt bike
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clip over top of it, and then another dirt
bye clip over top of that.
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Now, this doesn't really make much sense,
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obviously, because we can't even see
the same underwater clip.
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And by the way,
if your nodes are not snapping to the grid
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like this, what you can do is just right
click in here and select arrange
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tools to grid once that's selected
and things will be snappy like this.
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I personally like to work in this flow.
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Okay, so we have all the clips
stacked on top of each other.
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That's cool, but
I'd like to see everything in one place.
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So why don't we take the two dirt
bike clips,
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make them smaller,
and then just move them around
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in our frame
so we can see everything at once?
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So I'm going to be showing
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you guys
two different ways that we can now play
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with the position and scale of
both of these dirt bike clips.
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The first way is to add a transform note.
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So why don't we select this dirt
bike, close up clip, select
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the transform node, and it will add it
after that dirt bike node.
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Now, with the transform node
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selected, we can go into the inspector
and make changes here,
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or we can make changes
within our viewer over here.
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So let's take
this let's move it to the top right.
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Just like that.
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And now why don't we copy this transform
node command, see, paste it over here,
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hold shift and drag it over here so
that it's added to this connection here.
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Now, basically what we've done is
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we've applied this same transform
to this other image.
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Now, the reason that other image,
the reason that this dirt bike clip
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isn't exactly behind this clip
is because we've applied the same
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transform information to two different
clips, a 1080 clip and a 4K clip.
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So obviously, they're not going to line up
because of that.
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But let's just move this 4K clip over here
and let's reposition this even more.
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So with this transform node selector,
Why don't we change the size?
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So I'm going to
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move this into place
wherever I want to here.
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And now we can see that
both of these dirt bike
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clips are sitting on top of the underwater
clip over here.
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And just by looking at the nodes,
we can see that each one of these dirt
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bike clips has a transform
node attached to it
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so we can know that
some kind of transformation is being done
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to either the scale rotation
or position of each one of these,
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and then they are being merged overtop
of this original Sam underwater clip
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and then everything is being funneled out
to the media, out node,
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which will then
be reflected in the edit tab.
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So if we open up the edit tab, we can see
these same changes being made in here.
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Now, if we go back into Fusion,
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I want to show you guys a different way
that we can
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make these same positions, scale
rotation changes to these dirt bike clips
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without having to use transform nodes,
and that is with the merge nodes.
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So with both of those transform nodes
selected, I'm just going to delete them.
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And now we're back to where we started.
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So like I said before, a merge node
really only has one purpose
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and that's to merge one piece of media
onto another piece of media.
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But if we select a merge node
and we go into the inspector,
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we can see that we are able to control
certain properties
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similar to in the transform node.
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We're also able to change things
like Blend, which is the opacity.
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We're also able to change the apply mode
so we can change it to like lighten
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or multiply or overlay.
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Those are just some apply modes
that I would use in certain situations.
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So it's important for us to know
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that we can make these types of changes
within the merge nodes as well.
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So that's one thing
that is kind of hidden in a sense
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when you look at a node tree here,
because if I made position or scale
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changes within one of these merge nodes
just by looking at the node tree,
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I wouldn't really know
that those changes have been made.
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I'd have to click into it
and then I can see
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if those changes
have been made in the inspector.
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So that's one really important thing
to understand about merge nodes
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is that we also have the ability
to change things like size angle.
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We can flip it on its axis here as well.
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We can change the apply mode
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and also the blend, which is something
that will be using a lot of later on.
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So these are all options
that can be found within the merge node.
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So you may be asking yourself
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why would you choose to make any kind
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of position, scale or rotation changes
within the merge node instead of
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just adding a new transform node
and making those changes in there?
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Well, the first reason is
it can be more convenient.
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You don't have to add a whole another node
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to this chain of commands
in order to make a transform change.
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It's just within the merge node.
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And if you think about it,
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what we're doing here in the inspector
for the merge node is we are changing
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the way that this clip is being merged
with everything else.
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So these parameters that we're able
to change here, they do make sense
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because they allow us to change the way
that things are being merged
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and the merge node really controls
how things are being merged,
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not just whether it's on top
or on the bottom, but also the position
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of how it's being merged,
the size, the blend, all of that.
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So it can actually be
a little bit more convenient
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to make those changes within the merge
node instead of adding a new transform
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node.
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But what we also need to understand
is that the merge node is actually going
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to transform our media in clip
differently than the transform node would.
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So why don't we take the transform node?
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We'll add it over here to the chain
of commands and let's do something.
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Let's just on the transform node, let's
just move our clip over here to the right
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now with our
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Transform node selected,
let's flip our image on the axis
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and let's see what happens so we could see
when we flip the image on its axis.
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This is how it's behaving.
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It's flipping on its axis within this box
right here.
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Now, what if we did the same thing
on the merge node?
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So with the merge node selected,
let's flip it on its axis here
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and we can see that it's no longer
applying that flip to just this box here,
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but it's really analyzing
the entire frame here and flipping
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whatever information is in the frame
on the center axis right there
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so we can see how the merge node
would actually affect our image
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differently
than the just the transform node.
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Now, of course we can get the same result
if we wanted to
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by playing around with more of
these parameters here in the merge node.
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But it's important just to understand
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00:11:23,100 --> 00:11:25,966
how both of these can affect
your image differently.
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So depending on the situation, sometimes
you'll want to use a transform node,
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sometimes you'll want to use emerge.
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But in most situations
it doesn't really matter.
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A lot of the time
it's just personal preference.
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So whatever works in your workflow
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and really
there is no right or wrong answer.
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That's the beauty of using fusion.
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There's lots of different ways
that you can achieve the same effect.
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A lot of the time it just comes down
to your personal preference.
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Throughout this module,
you'll personally see how
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I use transform and merge nodes
in my own workflow.
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Now the last thing
I want to bring to your attention
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is that the merge node
also has a mask input over here.
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Now you might be wondering
why would emerge have a mask input?
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Well, with that mask input
we are able to tell DaVinci
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what part of this chain of commands
that's connected to this merge
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gets merged with everything else
so we can use that mask to define
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what area
we want, merged with everything else.
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So let's grab a rectangle mask,
throw it in here
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and let's apply it to the merge
here and see what happens.
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So we
could see this is the rectangle mask.
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And now let's just delete this
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transform layer just to make things
a little less complicated
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and let's disconnect this rectangle
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mask.
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So let's take a look at this rectangle
mask.
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Let's make it even smaller here
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and let's make it like that size.
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So now if I connect this rectangle
mask to the merge, we can see
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that we are only merging this space
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within this rectangle mask
that I've created for the merge.
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So this is important to understand
because this means we don't have to create
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a mask for, let's say,
the actual media itself over here.
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So I don't have to do this
to achieve the same effect.
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What I can do is apply
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the mask to the actual merge itself
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and you'll see later on throughout this
course how this can be beneficial
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because up here in the chain of commands,
you might have a lot of different things
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going on, like you might have a blur,
a brightness node
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and just like a bunch of other things
happening over here and applying a mask
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up here to your original media
can affect things differently
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than it would when you are applying it
to the merge node.
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After all of this is happening over here.
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So this is something that I find myself
doing a bunch and it's
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really important for you to know
that you can apply a mask to emerge.
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It doesn't have to be to the
original media or to all of these effects.
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You can just apply it to the merge itself
and it's basically kind of making a mask
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around everything that's happening
over here by just limiting
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what area we want all of this to be merged
into on top of everything else.
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So those are some important things
to understand about merge nodes.
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What I recommend you do is open up fusion
right now, throw in some media in there,
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play around with merge
nodes, play around with the blend mode,
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the apply mode, get familiar
with how merge nodes work
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because you're going
to be using them a lot.
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But that's it for this video.
I hope you guys enjoyed it.
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I'll catch you in the next one.
26417
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