All language subtitles for Advanced Paint Effects in DaVinci Resolve & Fusion

From animated

lines and vector graphics to handwriting
effects for all kinds of motion graphics,

it's important to have good command
of drawing capabilities.

So in this tutorial,
I will start with a quick review

of the Fusion paint node
and then I will go onto

an intermediate level discussion
about the paint modifiers.

I will show you how I can connect them,
how I can access

the underlying polygon
and use this to drive certain effects.

Attach effects,
create effects out of multiple strokes,

or even use it, for example,
to attach an external particle system.

So lots of ideas for animated drawings
for fusion motion graphics.

Let's start drawing.

Let me start

at the obvious place
for drawing and use the paint.

Note From here

the paint node always
needs a background input,

so if you're familiar with this stuff
already,

it will just be a very quick review of
what are doing.

So the paint node, I can just quickly,
you know, draw

any lines,
but I have to pay attention by default.

I'm having here

the multi stroke tool available
here are different tools for for painting.

And the mighty stroke is the default,
which by default only draws on one frame.

So you go to another frame
and your beautiful drawing is gone.

You can change this
by the stroke duration.

But there's another thing
about the motor stroke, and that is that

everything that you draw gets computed

into or gets bundled into one modifier.

So there is one modifier.

This happens for all of the paint tools.

Whenever you paint something,

the paint information, the stroke
information gets stored in a modifier

and you can access both modifiers
here to change things.

However, for the multi stroke you can't
because you it's all bundled into one.

And if you change something here,
for example the color, it will only apply

for the next strokes that you draw,
not for the one you have done before.

Let me delete those

yet delete.

And instead
I will use the single stroke here.

And if I drive at the single stroke
and I go into the modifier, you see that

I immediately have to modify this
because as soon as you stop

drawing, the next modifier gets activated.

So a stroke three is the next one
that I'm about to do if I'm doing it.

If not, you can go back
and if it's empty, it gets removed again.

So stroke two was the previous one.

And you see I can can change it
even afterwards and access those strokes.

Besides the color,
of course you have the brush controls.

Make it small and make it softer
and so on.

I will play more with this a bit later.

You have the spacing here,
so if you want a dotted line.

So basically how a brush strokes
as that fusion goes along the line

and then copies the shape of the brush,
which you have up here

as per certain spacing, That's basically
how a digital painting towards the book

and you have control of that here.

And you can of course,
enter numbers beyond the the limit.

This single stroke and

editable both here
and the line itself can be edited.

So if I click make editable here,
then you see

like lots of tiny green dots here

which are the polygon notes, which
are automatically created by drawing.

So while you are drawing your pen,

it's creating a polygon underneath
as as you're drawing in there and marked.

And it's easier to see.

See, there are a lot of points
that you can print to grab

and manipulate like,
like any, any polygon.

So you can delete a few shift
as to make things a bit smoother

and so on.

But there are lots of points.

So if you want to draw a smooth line,
usually I would directly go to

the Polygon tool, which is otherwise
the same so poorly line stroke.

If I do this again, you get a stroke here,
but you can immediately draw like once

more polygon with as many control points
as you want to.

Otherwise,
these two are pretty much the same.

Speaking of Polygon, of course
you can draw that the polygon towards

right over here.

And this is too far probably familiar
for many of you, but you can,

you know, draw a pulley line here
or attach it to a background

which is masking of the background or
masking of whatever you want to mask off.

And you give it a body width
and then you draw with that board of it

here in the polygon and use the background
to change the style.

For example, make it white.

Speaking of

polygon drawing,
if you ever need to reveal something

with the line and the typical example
is this animated handwriting effect,

I think there are like ten
or 15 tutorials on YouTube showing this.

All it is is do a polygon,
follow the line of a write

something by hand, or use a handwritten
font, follow the line with the polygon,

and then all you do is animate
the length as I have done here.

So that's also
you can use a polygon to reveal

and you could use the same
with the paint node.

But in this case it may be more efficient
because you don't need the spacing

and you don't need the actual brush
properties,

you just need the mask, just an a channel.

So it's a bit more efficient
for for those scenarios.

And you just animate the the length
if you want.

You can also animate the position,

which is the
starting point for the length parameter.

And this is just one long polygon that you

see here and it's gray
because it's locked.

So if you draw something complex,
you can lock it.

If you want to edit it again,
become a screen again.

Okay, So much about the polygon.

There are differences towards this
and the paint node

one is the spacing option,
the option to use custom brushes,

which you cannot do in the regular polygon
tool.

Another option is in the regular polygon
you have position and length,

which is enough for this.

But often I find the approach
from the poverty line stroke here,

most notably
where you have a right on and right off.

Let me bring it into the viewer.

In principle,
you can do the same thing right?

You have right on, right off

to go from so start and end
to go from the beginning of the end.

If you need to animate both at the same
time, you can also grab the whole line

and you just have this as one parameter
which you animate together.

I find this easier
to control in many cases.

So that's one advantage
here, one disadvantage here.

Sometimes the pain node can sometimes
be a bit slower depending on what you do.

And the polygon here

also has the three dimensional controls,
which can sometimes be be helpful.

Like if you want to rotate something
depending on what type of animations

you want to do.

That's probably enough for a review
on paint node and polygon node.

So let's start the fun bits.

First of all, I can think of effects
that I want to apply to my lines

and you can come up with some interesting
line styles by doing so

that we demonstrate the first simple one.

And I will start a new pink note here

and again,
use the the paint node needs to be

in the viewer and active both
so that you have all the controls.

And so let me just create this,

go into the modifier maybe later.

But first let me add, let's say
a directional blur as one example,

and let's see how that looks
so that it's set to radial

and bring the length parameter up.

And this is my effect
so I can make some form of, of ribbons

or stuff like this, even, like distortions
if I go through

and I can animate the center position
if I want to for some some fun effects,

then yeah,
then it's more like, like a shadow.

The position doesn't matter anymore.

But the anger,

you get something like this

so you can can start creating
some interesting things with this.

Sometimes
it's fun to combine it with a spacing

so you get like lines and then again
can, can play around with this.

Now there are of course many effects
and fusion and you can try them out

and try out the resolve of X
and see how you can can distort this.

This is one option using

things with fast noise and

displacement to distort things.

Yeah, blurs
different, blurs and glows and so on.

And these are
the things you can play with.

Now, I'm not going to spend the next half
an hour trying one after the other.

But next, more interesting part.

Let's see,
we want to combine different lines of

you want to combine different lines,
styles, types, maybe something dotted

with a boundary around
or something like this.

The obvious choice for
this is just copying the paint node

and pasting it afterwards
and then changing the modifier here.

So I could

change the the color here
and make it smaller.

So now I have dots inside,
but they don't align.

If you change the size,
then the spacing won't align.

So let's not do this.

Instead, let's go back to the first paint
node and reduce the spacing.

So I have dots inside lines
and they look terrible.

Let's make them red

so that they are visible.

Right?

Like this.

For example,

this you can just do by a concatenation
or by merging on top of each other.

Sometimes merging
or concatenating can be really helpful,

especially
if you want to mask out something

or if you want to use the applying modes
inside the merge for additional effects.

So here in this scenario,
if I wanted to punch holes into the line,

let's assume we have some background
which is a bit more interesting

where we can see something
just for demonstration I created with some

let's, let's do some,

some some gradient or something
just so that we can look through

and maybe not green because I'm not red
because we have red in the line.

So if I wanted to punch a hole in here,
I can't really do it this way.

I mean, sure,
I can set it to two alpha, 2 to 0,

but you see, the color values from
the previous one are still coming through.

So if you wanted to do something like
this, you would need to separate it out.

And in this case, the paint node doesn't
do anything without background.

So I will create a transparent background
of the same dimensions.

Pipe the transparent background
into the paint.

Not here.

And then I can use this one,

for example,

for attach it as a mask that works

and then, well, it does work,
but I'm only getting the dots.

So should invert the mask,
which should be possible here,

except when it isn't interesting

not doing into anything it should, but
apparently it's not for the paint note.

Okay. Fallback option Bitmap Node.

Bitmap node is generally used to bring
color information into the Alpha channel.

So in this case

it's just creating an alpha mask
out of whatever image is coming in.

And if there is already an alpha channel,
you can also use it to invert the China,

for example.

So in this case I inverted it
and I punched holes into my line.

That's quite convenient.

Only thing is the way I set it up here.

I if I change one of them, I'm
not automatically changing the other.

So that can be a bit inconvenient.

Let's say I want to change the polygon
here again and yeah,

let's bring this one into the view
and let's draw something else.

And you see, but I'm not drawing the same
line here, right?

It's just

the polygon goes somewhere else.

This one is a different one.

So it would be great if the same polygon
could create both of these.

Right.

So the same line here, the same line
could be attached to both of them.

And that is actually possible
in the modifiers.

You have a polygon
inside the poly line stroke.

So this green line
here, the place of this polygon

positions is saved inside the modifier
as well, in a way somewhat separate.

And what you can do is
you can access this.

So if I go into
if I do a right click here, it says

here, right click for shape animation,
you can animate this if you want.

The polygon animated,

but you can also attach it
to another polygon so you can do it right.

Click here.

Pay attention
that you are in the modifier.

I'm working
not on the original tool, right?

I'm always working on the modifier

in the modifier right click
and then connect tool.

And here we have Polygon too,
which is this one.

Here we don't have the one from the paint.

So what you need to do is you need to
publish the line before you can use it.

So here in this pulley line, stroke and
pulley lines to run inside the paint node.

So inside the paint,
not inside the modifier, I do a right

click and do publish, but that does is

it makes the line the green line.

It makes it accessible
from outside the paint tool.

I can always use it within the paint tool.

Another option
which I can show you afterwards,

but this way by publishing it,
I can use that green line from the paint.

One note I can use this anywhere else,

and if I want to use it here, I go here
into the modifier from the paint.

One note and here I do a right click.

And now if I now go and connect to
I see that is the pulley line here.

Police talk one pulley line value,
they can click on it

and now you see
the two lines are aligned again.

And if I go here and change it,
you see both of the lines

are changed at the same time.

These modifiers
can sometimes get a bit confusing.

It really takes a little bit of time
to wrap your mind around what objects

you are having.

So you are having a paint node inside
that paint node.

You made a paint stroke which has this
pulley line stroke which has

fully line stroke one

which has information
about the brush, about the color.

And then this pulley line stroke has as
a separate object inside that pulley line.

Stroke is the extra pulley line,
which is the green line.

And this is kind of

inside and a bit a bit hidden.

So that's why it takes
sometimes a bit of time to click.

But this is where the line is.

And by default, the line is kind of hidden
in the background.

We don't think about it.

If you do think about it,
if you want to use it,

you need to first publish it
so that it's available outside.

And then in the other to
you have to go into the modifier

for the paint in the modifier access the

shape animation

where the line is stored,
not just the color but the actual line

and then connected so that it's
using the same line for both of these.

And this way you see a patch or the whole
if I just want to make something yeah.

With let's say a double line,
I could do this just connected

and I have to have a double line
which follows nicely in the polygon.

If you just want to stay within one tool.

If you don't need the
this bitmap mask option,

you could do this, but simply
you could stay inside the modifier

and just add to the pulley line
one stroke at a second

stroke in the same tool,
and then the principle is the same.

Let me show it because I think this
principle is complicated for some people.

So I make a second stroke
completely unrelated.

Let's give it a different
color and a different size.

The second

stroke is on top of the first
within the same tool.

This stroke again has the color
information and brush information.

And then in the right click for shape,
I can connect it

and I can connect it to the first stroke.

Like this.

These strokes
are still somewhat independent,

so they use the same line, but
the animation parameters are independent.

So if you drew the right on, for example,
you see that

the animation parameters are not linked
and you can choose.

Maybe you don't want them linked.

I mean, for example,

with the size I don't want linked,
if I want, I can insert an outline.

Maybe I don't want the softness,

but if I want to animate something,
maybe I want it linked.

So if I want to animate this,
if I do want this linked,

then I can either use expressions
or use the same publishing and connection

method that I've just shown you
for the party line.

That also works for single parameters.

So if you just want to use a parameter,
you can right click publish,

I right click on the end parameter.

Now you get another modifier.

That's the way how this publishing works.

You get another modifier
for this end value which is now accessible

anywhere else.

And if I go into the other stroke

stroke to I don't switch
to the settings tab annoying.

Anyhow, I go to

the stroke tool controls and here right
click on end and then connect to

and from within stroke one there is

the published point end
which is not available

and can be linked
and it jumps to that modifier,

which is also annoying
and it jumps to the settings tab.

I don't know why this is happening,
but either way you go back

and you see now the two lines are

animated together.

So much for combining strokes.

So working with these purely lines
and understanding where the line is,

the actual shape is how you connect it
to other tools that can be quite helpful

for a range of things
you can do in fusion and motion graphics.

So I recommend trying this a few times,

maybe try to three times
and see that you get the hang of it.

Besides connecting things,

one thing I haven't covered
is actually using custom brushes.

That is possible to some extent.

It's not like a super powerful
brush engine like in Photoshop,

but you can change the style of the brush
to some extent.

That may create a new paint note for this
so we can start from scratch,

attach it,

and let's draw on the left side
and just draw a simple line

and I will go right away
into the modifier to change it.

I will give it spacing
so we can see the individual brush.

So there is a round brush
which is like being stamped like this

in the in the line,

and then you can

go into the brush controls
and you can change it here, make it hard,

but you can also go here
and make it an image brush.

And by default
you have like some, some false options

and I don't know, snowflakes
and I don't know if there

if they're ever useful, but
there are a few strange symbols and signs.

But you can do your own.

And in that case,
you can either choose here a clip

where you can choose the source file
and the image file should work.

PNG JPEG should work or bitmap,

but most likely I just choose tool

and then I load is an image
or I create something.

Right away inside fusion.

I'm not going to draw an image now
I just use for demonstration a text node

and in the text node I choose an icon

font and I have one installed.

What do I have here?

I consider right.

I have an icon font installed on just
the windows fonts or your computer fonts.

Whatever
you have installed, it's available

and let me choose
one from the character map.

Let's just choose an error like this Copy

paste And you

don't see the error here,
but you see it here.

You can scale this down, so

maybe you don't need HD resolution

for a brushed skin, can make it,

make it smaller
and can set the size yet to one.

So I have a large error.

Let me directly add a transform afterwards

which can help
in case you want to rotate it right.

If you want to rotate the error.

And then I use the transform node
and put this source to it.

I can choose whatever tools I want, right?

Any tool that produces an image
can be used here as the source tool.

And now you see my brush is
becoming arrows so I can draw with arrows

and they all point in the same
direction, unfortunately,

and there
are limited options what you can do

now I have drawn it in white
and I can can change the color.

I can change the size here.

I wouldn't generally upscale,

you know, because they are larger
than the resolution here.

It's probably better to start
from a higher resolution here.

So generally, I would rather think of
downscaling rather than upscaling.

But so far, that's that's all fine.

I have my transform here
so I can rotate them around

and if I want them to all point
in the same direction, that's fine.

So unfortunately, it's not possible

to have those custom paint brushes
follow the polygon line.

It's not possible in the paint.

Know what that is?

It is possible via a different technique.

It is possible
if you basically manually copy it.

And by manually
I mean using a duplicate node.

Let me show you that because I think

there are some interesting concepts
which can also be used for other options

with the duplicate, with working with
polygons and transferring

movement over time,

transforming time into a stroke, into a

fixed replication of fixed duplication.

So I think that's quite interesting.

That's why I show you the basics.

However, it's also rather technical

and I won't build
like a full super comfortable solution.

I just want to show you the idea.

And if you find this stuff interesting,
maybe I do a separate tutorial

because then it would be more
about expressions and so on

to build like my own paint tool
using duplicate.

But the idea is simple to demonstrate,
so I use my error again.

This time I will make it over an
HD image like a small error,

small size of a large frame, and in this
large frame I will use a transform node

and animate the center
position of that transform node.

Let's say for example, ten frames
to move the arrow around.

So it's just moving.

Now. What does movement
mean when movement means?

If I have animated a center, coordinate
that there is a path

attached to the center,
the path can be found in this modifier.

The path is a modifier which describes

how a polygon is being followed over time.

And you see there's one parameter
animated, which is the displacement,

and you can remove that animation
to demonstrate this to.

This displacement shows
how you move alongside this path.

It's automatically animated
if you change the center position.

So there's a automatic solution here,
however you can at any point.

This is just a polygon.

You can go in there, can activate
the polygon towards and can start drawing,

and then your displacement will follow
the longer path that I've just done.

Right.

So you can can change things, can modify
it as always, just like any polygon.

And then this path here, you just decide
how to follow this polygon.

One thing this path has is heading

so it knows in which direction
the path locally points

and this can be used
if you go an angle to a right click

connect to use the path
and connect to the heading.

If you do this, then
the path is not animated right now.

So then use the displacement.

You see that

my error is following the path
so I can have an arrow which is following

a motion path, which in itself
can be quite useful from time to time.

But here what I will do is animate
this displacement.

That said,
just over ten frames, for example,

like this

for over ten frames I have it, animate it,
and then at a duplicate

note,

here it is on the right side.

I make ten copies
and give it an offset of one frame.

So I am copying from ten times
and in each copy

I'm taking a frame further ahead
than I am in the timeline.

So I'm a frame zero.

I'm taking one copy from frame zero one,
copy from frame

one to its onto frame ten,
and that's how I got my line.

It doesn't have to be

ten frames.

It doesn't have to be exact frames.

It can use half a frame and so on.

It can use with time durations
that are not like exact frames.

It can get in between values

and it will get the transformation
from the in-between position.

So you can, for example,
set this to 2 to 20.

And this 2.5, for example,
and it still works.

Now I can come up with some clever ways
to make expressions out of this so that

yeah, that, that I

just have one copy slider
which decides how dense this is

and then you can make other expressions
for the build up and take down and so on.

Right now the way I show it to you,
it's medium useful

because it all depends on this
ten frame animation.

So if you play back, it automatically
vanishes because the animation is over.

One thing I could do is, for example,
just as a quick fix at a time

speed tool afterwards and then

left side duplicate, right side
time speed.

And here I just have the speed to zero,
which gives me a freeze

frame on frame zero.

So I have my line fixed.

Again, not super flexible,
but there are other ways to

play around with this.

Put expressions
in this, put expressions into this

displacement animation and so on.

And then I can do some interesting stuff
with this.

Again, I think I'll keep this
for a separate tutorial on expressions,

but now you have an idea again
how to use this motion path,

how to use the polygon
and the displacement

and the duplicate note,
and maybe you can come up

with some interesting stuff yourself
with these tools.

Last example
I can use the particle tools to paint.

Let me show you that part
so I can use the particle towards here.

I need a particle emitter

and whenever you have an emitter,
you also need a particle renderer.

And the particle renderer
by default creates a 3D system,

but you can actually change it to 2D.

And in this case,

I just want to draw a line,
so I will just stick to the 2D solution

and let me actually turn off the check out
under there. Yes.

And I probably I just need one viewer.

So these are my small particles here.

They are being generated in this circle,
but I can go into the emitter.

I have a region selection and I could

either use a busy air or a bitmap.

Busy means I can draw a line.

And now they're being generated
across this line.

If I play a few frames,
you start to see them here.

Yeah, there they are.

Or you can use a bitmap
and type in an image.

It depends on what else you want to do.

One issue with this line
here is also here.

You could attach this to other polygons.

However, I notice that they don't line up

correctly in some cases

because the renderer
just does some transformers.

And you have here things like

like I like like

Zoom and perspective and so on,

which doesn't impact this line here,

but it changes the image compared to the

any reference polygon.

If you draw a polygon separately,

like with the pulling control
and then connect it.

So what I find simpler in
this case is instead of busier,

change this to bitmap and bitmap
just means

you can attach an outside channel
and you can just draw a polygon.

Like you can always start with a polygon
to give it a broader width.

And this is the polygon.

And now if I attach this to the bitmap,
I get it perfectly aligned with particles

filling the polygon shape

and I directly have like the width
and so on to the side here.

Then it's just up to what particle

simulation you want to do
and what you do with this polygon.

I would probably remove the animation here
unless you want to animate this polygon,

but maybe I want to animate the particles
and just leave the polygon the way it is

so I could create all my particles
on frame zero.

Just one idea how I could use this.

Make a lot of particles
until we can really see it.

Let's say a thousand particles
perhaps to make them stronger.

Let's add a glow afterwards.

It's a nice thing for particles.

If you don't see them really well, just
add a bit of particle glow or something.

Yeah, depending on the style.

Let's do this then.

Let's give them a little bit of let's

give them a life
span of the whole duration.

When I'm 20,

I will only create them on frame zero.

On frame one, I will frame zero
animate from one and set it to zero.

So this way that no new particles

coming in and the particles that I have,

I can make them change

over the duration of their life

and I can go into the style
color controls,

give them, let's say, good color over life

and give them some different colors over

over the existence.

And this just goes over the duration.

And now this could probably become

a big particle tutorial
if I just keep going like this.

But I think what I would do

let me let me change one more thing.

Let me give them
a tiny bit of velocity variance

so they start drifting a little bit
and now I change my mind.

I don't want this
animated on Frame zero, I just keep it

constant at like,

let's say it's a 200, something like this.

But then I will animate my polygon,
make the length shorter

and over duration that the polygon wander

through the scene position like this.

Oh, this looks better than I anticipated.

So I have a polygon
following this polygon line.

The polygon is triggering
the particle generation.

The particles
have a little bit of velocity,

so they spread out
and change their color over time.

And that is this little particle line
effect.

Now, of course, there are millions
of things I can do with particles.

I should probably do a particle series of
of different topics.

But just to get this connection
between Polygon and creating particles,

here you have a simple way of doing this,
and then it's just up to imagination

and knowledge of the fusion
particle system to go on from here.

Okay, that's it for this tutorial.

A lot packed into it.

I hope you enjoyed it
and see you next time.

Maybe with some expressions
or some particles or something like this.

Okay, thanks. Take care.

Oh, you

know, some

of you.