All language subtitles for Awesome Freeze-Frame Callout GFX in Resolve 17! - Advanced Fusion Motion Graphics Tutorial

Oh, hello, I'm Casey Farris.

I make videos on DaVinci Resolve
here on YouTube, and today we're making

some freeze frame graphics in fusion
that looks something like this.

He's just this guy and oh, wait,
this is Michael.

He's probably a bad guy.

So this is the effect.

It's this animated stroke
that goes around our subject

as well as these little pop up
words and are drawn on Arrow.

Let's do it
and start out with whatever footage I want

and I'm going to do my freeze
frame here in the edit page.

The way I'm going to do that
is I'll let this play and then kind of

just posit where I think I want to have
my freeze frame, maybe somewhere in there

and select the clip right here, right
click, and then go up to re time controls.

You can also hit Control R and that will
change this into speed change mode.

And with this little dropdown here,
I'm just going to select freeze frame

that's going to add my freeze frame

and I'm just going to take the

second point right here,
which is the end of the freeze frame.

And I'm just going to drag this out
quite a bit, something like that.

And I like to put my play head here
right at the end of that freeze frame

and then I'll just hit close.

And once you close this,
if you grab the edges, this will trim it.

Not time, stretch it.

So I'll just trim
this back to the play head.

And so now we should have freeze frame
right there

and it should be a freeze frame
all the way to the end of the clip.

And that's what we want.

The other thing I'll do is
because this footage is two K

and it's not quite the same aspect
ratio is I'll take our inspector

and and just zoom this up
until those black bars are gone.

So we have everything in that

16 by nine frame and from here I'll right
click and say new compound clip.

The reason we're doing that
is because if I were to

send this to Fusion right now, it's
going to work on the original footage,

which is not time stretched
and is also not zoomed.

So when we make a compound
clip, it's almost like we're pre

rendering this and we'll call this freeze
frame footage and it create.

So now we have that in our timeline and
with the play head over our footage here,

I can just click on the fusion page
that'll bring up the footage with the

freeze frame and let's go through
and make sure we know which frame that is.

That looks like frame 51.

Yeah.

Frame 51 is the very first frame
of our freeze frame stuff.

So we're going to remember that.
So what do we need to do here?

One thing that we'll have to do
is cut him out so that we can move him

separately from the background
so that we can put things behind him

like our animated stroke
and just have a little bit more freedom.

We're also going to use this footage
without him cut out.

So we kind of need a version of him
cut out and a version without him cut out,

which is a great time
to use the map control node.

The back control
node is sort of to the left of the middle

of this interface of this toolbar here,
just grab this and drag it down.

And Mac Control
does a ton of different things,

but one thing it's going to do
is let us apply a mask

to a piece of footage
without actually masking

the footage itself
so we can apply the mask later.

We just have to set it up to do that.

So with the Mac Control select over here
under combine instead of none,

we're going to say combine Alpha
and then at the bottom click on post

multiply image.

That's all you have to do to set that up.

And now what this will do
is if I have a mask, like a circle mask,

I can run this media

in through our Mac control and apply it
my ellipse mask to the green input,

and it'll apply that mask to the footage

without actually
masking the footage itself.

So now we have an option to either

use the footage with the mask on it
or the footage without the mask.

This makes a little more sense
in a few minutes.

For now, what we're going to do

is draw a much better mask at frame 51,
and I'm going to use a polygon mask.

I'll just drag one down and not connect it
to anything but select it here.

And then with the polygon mask selected,
it's time to do some tracing.

I'm going to start down below
because I don't want there

to be any problems with this bottom edge,

and we're just going to do
a really good job at tracing him out.

All right.

So now I have him traced out really well,
and we can attach this

polygon mask to our Mac control
with the green input right there.

If we hit one on the keyboard,
we can see there he is, cut out.

So let's take a second.

Get organized media in, let's rename.

I'll have to rename that and I'll call it
original footage underscore Am I

for media in and r Polygon
one Let's call that person mask underscore

peel y for polygon
Mac control will leave as is

and now we're set up
to do some cool things.

For instance now that we have him
isolated, we could take this Mac control

and put the output of the Mac control
over our original footage with the merge.

Just grab a merge and I'll put
our original footage in the background.

Disconnect our Mac control
from the media out

and put our Mac control in the foreground
and put our merge into our media out.

Now if I hit two on the keyboard
for our media out,

we see nothing really changes.

But we do have this isolated
to where we can do something like color.

Correct.

Just the background
straggler color corrector down

in between our original footage
and that merge.

And if I make this blue, you could see
we've kind of isolated our person.

I'll get rid of that for now.

But why don't we start out
with our stroke?

The idea is that we want to have

a big, thick stroke
just kind of draw around our guy.

And the way that we're going to do
that is use this mask to make that stroke

and put that solid color stroke
under this layer right here.

So the first thing we'll do
is just duplicate our mask.

The reason we're going to duplicate

this is we're actually going to change
the mask shape a little bit.

So I'll select person
mask and hit control,

see double click off and hit Control V,
and I'll throw this down here.

And I think what we're going to do,

I'll just move move our nodes
around a little bit, move this up maybe.

And this mask
is going to mask a background node.

So I'll grab a background node
from our toolbar.

And here we're going to
just mask our background like this.

And this background
is going to be the color of our stroke.

So let's make this like kind of that
orangish yellow or something like that.

And here
if we bring up background in Viewer one,

we'll see we have this kind of yellow mask
which isn't exactly what we want

because this is going
to be perfectly behind our person layer.

So I'll select this mask and actually
just bring this up in Viewer two

so it's easier to see on the recording.

And with our polygon masks selected,
I'm going to pump up our border width

and that's just going to basically just
make the whole mask a little bit bigger.

I think like that will work just fine
and we'll rename this stroke mask.

So now we have kind of this a little bit
bigger yellow, solid color,

and we're going to put that

in between our original footage
and our foreground here.

So I'll just grab a merge and drag this in
between our original footage

and our merge like this

and put this masked background
into the foreground of our merge. Two.

Let's take a look

at what this is making by select
media out one and hit two on the keyboard.

We have what look at what's going on
how baby we're it's

going to make a little bit of room here
we'll split this out like this

and make sure we rename everything
after you we'll call this yellow big

we'll call this stroke merge.

This is going to be called
foreground merge.

Now we have everything lined out
so we don't get too confused.

So now that we have our stroke,
that's cool.

But we want it to animate on right?
We want it to go blue.

And there are a lot of different ways
that we could do this,

but I'll show you a fancy way
that I really like.

First thing we're going to do
is go down to our nodes.

First thing we're going to do

is go down to our nodes
and I'm going to make a background node

and then I'm going to make a paint node,
which is the fourth one over,

and we'll just pipe our background
into our paint.

What this is doing
is making a black and white mat

that we can use to control
the transparency of stuff.

I'm going to go up to this fifth icon here

in the upper left hand corner of our
viewer and select Polly Line Stroke.

And with the paint node,
what's really cool is I can draw

a little shape,
a much rougher shape than we have.

It just kind of sort of goes
along the edge of our guy here.

It doesn't have to be very good at all.

And we can use this
to kind of draw this effect on.

So now if I hit one on the keyboard

with our paint node,
we can see on the left

and this kind of soft white stroke here
and all this is going to do is make a mask

for our nice stroke here
so I can just take this sizing up.

It can be really big, actually
take the softness down a little bit,

kind of like that.

And the reason we're doing
this is because down at the bottom part

of our inspector under stroke controls,
there's an attribute called a right on.

And if I take the end and move this back

and forth, it draws that line
along that path that I just made

so we can animate this as a mask
to draw this really nice stroke on.

Now, we could do this all at once,

I imagine, and draw the exact stroke
that we want in our paint node.

But we'd have to redraw our entire mask

and we already had to make it
for our person mask.

So we're just going to use this paint
to animate our existing stroke

so we can take

the output of this paint node
and put it into the merge for our stroke.

Like this.

If we open our stroke, merge
and go over to settings in down here

under a fit mask where it says channel

instead of alpha,
we're going to say luminance.

That's just telling that
whatever we connect to this mask input

we want to use as a black and white image,
and that if we take this paint node

and adjust the right on,
look what happens.

It writes this on, Isn't that awesome?

So now we can animate this
starting at frame 51 and make a keyframe

and we'll have this
come on in like half a second or so.

So we'll do like ten

or 12 frames later and we'll animate
the end all the way back to one.

So now as this plays back,
we get our animation.

Pretty cool.

Move my nodes around here
because I just like my merges

all in one row for some reason.

So now let's add our text.

What we'll do is use text plus,

which is the third icon over here,
drag this over and take the output

and put it over
the output of our foreground merge.

And now whatever text we say,
let's say, Michael, pick a fight.

We like, size it and position it
how we like it.

And now I want to add
like a background plate to this text.

There are a bunch of different ways
to do that.

The easiest is probably in our text
plus note.

If we go to the inspector

all the way to the fourth tab here
where it says shading right now

we're on shading element one,
which is just our white text,

but I'm going to switch this
to shading element two and click enabled.

And by default that makes a red outline
around our text under appearance

that's set to text outline

when I switch it to the next one over,
which is border Fill.

That's going to make a little box
around each letter.

And down here, let's extend horizontal
and that'll kind of fill in those gaps

as well as give us a little bit of padding
on the left and right.

Looking classy over here
where it says color.

I'm going to grab this eyedropper
and drag it over to our stroke

and pick that same color.

And let's go back to shading element one.

And here instead of white, let's make
this almost black like a pretty dark gray.

So there's our text and we can adjust
this, put it wherever we like,

maybe make this a little bit smaller
and let's just copy and paste this text.

So let's select the text one at Control C
double click off and control V

And this one take the output
and put it over

the output of our merge one
and for this one, move this down

and we'll say probably bad guy,

probably a pancake
and we'll size that down a little bit.

Maybe adjust this kind of move it around.

That's the nice thing about using
the shading elements for the box

is that it always sizes to the text
and we'll do something like that

and I'll align it left using this
H anchor button right here.

Now we need to draw our arrow,
which we're going to do almost the exact

same way as we did with our white stroke
mask.

Here. I'm going to make a background node.

This is just so
we can draw something with our paint node.

So I'll just take the alpha
for our background

and bring that all the way down.

And let's rename our nodes here.

This is clear background.

This is subtext that says text.

This is name.

And for our background, again, grab
a paint node and pipe that into the paint

and we'll merge this paint
over our parents to like that.

Now we're ready to paint
with our paint node to do the same thing.

Go up here to the fifth icon over
or it says poorly line stroke.

Click. Now
we're just going to draw a little arrow.

I'll draw it from here like this and do
this pretty much just how you would do it.

In normal life,

you can click and adjust that path
a little bit, something maybe like that.

With our paint node selected,

I'll go over here to brush controls
and let's take the softness

all the way down
and maybe not all the way down.

Most of the way down.

We do want it to kind of have
a little bit of a soft edge just so it's

anti-aliasing
just about to match our other stuff here.

Let's take the size down a little bit
and we'll use this same color.

So again, now

if I take these stroke controls
and move this right

on, that will draw the arrow
on. Is that neat?

I think it's so neat.

Okay, so here at frame 51,
we have our animation

and let's have this start like
right after this stroke.

So frame 64, I'll add a keyframe
and bring the end all the way down

and we'll move this down a few frames
and write it on all the way to the end.

So now we should have a pretty cool
little animation from frame 51 on.

Yeah, that's cool.
But we should animate this text.

There are a ton of ways that you could do
this.

One quick way is just to add a transform
and just scale it up from nothing.

So let's do like maybe like halfway
through our stroke frame

60 or so, I'll make a transform node
under each of these text.

So just select the text, shift spacebar
and type x, f enter.

And now we have a transform
now that we can use and the advantage

of using it transform node

instead of just sizing
something in the merge or the text is that

you have this little pivot offset
so you can adjust where this scales from.

And we're just going to scale this

from like right here,
just kind of on the left edge of our word.

And now if we size this down,
it scales up from nothing right there.

So again, I'll hit the keyframe diamond
and we want this completely up by,

I don't know, frame 75, Frame 70,
maybe that's at one.

Go to our first keyframe and then bring it
all the way down to zero just like this.

Now this pops on like that.

That probably needs to be a little bit
quicker.

We'll adjust that in a minute.

And now I'll take this transform
node and I can just copy double click off

in fact, I can just select our subtext
and hit control V paste that that's

going to do the exact same thing,
but it's still scaling from this pivot.

So I'll just move the pivot
point down here for this text.

So now both of our pieces of text
will animate from their own pivot point

like that.
And we are almost done here, almost done.

We do need to address some of this timing,

but we're going to do one last thing
first.

All of these graphics,
we want to move separately

from our background here because we want
to just add a little bit of parallax.

So an easy way to do this is to just
disconnect our background footage

from all the way over here
and then merge all of this like everything

over our original background image.

Again, but later down the line.

So what we can do is just make
another clear background here.

I'll just select
the one that we have this clear background

here, control, see, and move over
to the beginning of our comp, double click

and hit control V, That'll paste our clear
background here and we're going to type

this into the stroke merge
instead of our original footage.

The reason for that is

this merge needs something to merge over,
so we'll just do that.

And now our whole cup is just over.

Nothing. We've done
all of this for nothing.

I'll take the output
of our original footage

and put that into the background of

the merge
and then we're going to take the merge

all all the way over here

and put this output right here
that is going to our media out.

I'm going to take that

and put that
into the foreground of our merge

and then put that merge
into the media out.

And now everything looks kind of
how it did.

Yeah, we've done nothing.

But here's the difference.

If we take this merge for which merge is
everything over our original background,

we can move everything all at once
separately from our background.

That means that we can do something
like scale this

a little bit, scale it up or down and we
get a little bit of that parallax effect.

So to clean things up a little bit,
I'll hold down

alt and drag
anywhere on one of these lines

and I can make a little elbow

and we'll just make things
a little bit nicer that way.

And let's name things as our arrow paint.

This is our master merge.

Now let's animate this,
this parallax here.

So starting at frame 51,
I think instead of actually

doing this
and the merge, we'll do a transform again.

So select
arrow merge night shift spacebar an

and we'll call this parallax or parallax
because I don't want to spell parallax

Margie now f for transform now again,
we can adjust where our pivot is.

So I'm going to move this to be right
kind of in the center of our person here.

And at frame 51, I'll click this
keyframe diamond and set that size to one.

But then throughout the rest of the comp,
we want to be scaling up

just a little bit.

So at the very end of our comp,
we'll push this size up just a little bit.

So we get a little bit of that

parallax effect
between the foreground and the background.

Let's take a look at what we got so far.

There's our effect.

Pretty cool. I'm going to color correct
that background a little bit.

We can do that by just grabbing the color
corrector, the icon over here and drag

that in between our original footage
and our master merge just like this.

And I'll just push this just a little bit
blue in our master control here.

And because I don't want this to be blue
the whole time here at frame

51 under settings
here, let's animate this blend.

So add a key frame here
and bring this all the way down to zero.

That just takes the entire strength.

Everything that there's Node is doing
and takes it down to zero.

We'll have this animate on
as the stroke comes on

and we'll have it completely done
by the time

the stroke is done at frame 63, Blend this
all the way up to one like that.

Now we have the stroke
come in and everything turns blue as well.

Pretty nice. All right.

Last thing that we have to do

is adjust the timing of everything,
which I like to do in the spline panel.

The upper right hand corner here left
icon is the spine panel.

If you click on that,
that will open up the spine

panel down here,
and it should show everything in this list

that is animated so you can pick
which ones you want to show on the graph.

The ones that I am concerned about,
actually.

Let's rename some stuff as Transform.

This is going to be name Transform.

This is going to be subtext

that just makes it easier
to see here in the spine panel.

So we'll take the sizing for our name
and subtext as well as the arrow

and show our paint stroke and two for mask

and we can kind of get an idea
of how fast these things are going.

So one thing I know is

I want the transforms to be faster,
so I'll just select both of these.

I can just hold down, shift and
move this down so these go a lot faster.

Let's take a look at that. Yeah,
so that comes on a lot faster now.

I like that our arrow is too fast.

Must be this one right here. Yeah,
I like that a little better.

So now we have the timing roughly down.

We can bring everything back up.

And what I like to do is select

the end keyframe of everything
and then hit F on the keyboard.

That flattens out this graph,

which means that things will slow down
before they stop generally,

which just makes things
look a little bit more smooth.

Pro Yeah, looks cool.

So here's our finished effect,

Mike.

Probably a bad guy.

Pretty cool little effect a little bit.

A little bit of advanced
fun for for fusion, right?

Hey, if you stayed all the way to the end,
make sure to drop it like I love you.

I just. I just love you so much.