All language subtitles for Basic Fusion Tutorial for Beginners - Blackmagic DaVinci Resolve Training_2

Hey, everybody.

My name is Casey Ferris.

I make videos on DaVinci
Resolve here on YouTube.

Make sure to subscribe for more of that.

Today we're going to look at the Fusion

page of DaVinci Resolve and take you
through all of the very basics.

So at the end of this video,

you should know what fusion is
and basically how to use it.

We're going to keep things simple,
but we are going to move pretty quick.

By the way,
if you like my style of teaching,

I actually have a masterclass
on DaVinci Resolve.

You can click that right here.

There's also a link in the description.

First, a little note on how Fusion kind of
talks to the other parts of resolve.

Fusion is a page
because resolve is broken up into pages.

These are just different parts
of the program.

They're like different specialties.

So we have the edit page,
we have the color correction page,

we have Fairlight for audio and Fusion is
all about basically all the fancy stuff.

It's about visual effects, it's
about compositing about titles.

Think of everything that you would
normally use after Effects four.

That's pretty much what happens in fusion.

The advantage of it is that it's
integrated with the timeline of results.

So if you want to do something fancy
to one of your shots in your timeline,

you don't have to roundtrip
to another program.

All you have to do is just be over it
in the timeline

and click on the fusion page
and it will open up the clip in fusion.

And then once you do stuff to an infusion,

all you have to do
is switch back to the edit page

and your changes
will be there in your timeline.

The other way that you can kind of work
with things in fusion is if you go up to

the media pool in the upper left
hand corner,

you can right click anywhere in the media
pool and select new fusion composition.

And that just creates a blank composition
for fusion.

And I'll hit create.

And then if you double click on that,
it'll open up

that composition here in the fusion page
and you can make something from scratch.

So you can either open stuff
from the timeline

or you can make it from scratch.
We're going to be doing both of those.

So what kind of things does Fusion do?

Your imagination is basically the limit,
but the three categories

I like to think about are graphics,
like creating text and all kinds of fancy

little pop up things, visual effects,
which are things like, you know, smoke

and fire and explosions and light sabers
and all of that kind of stuff.

And then compositing,
which is kind of similar, but

it's more about combining different things
together to make a changed image.

That's stuff like sky replacements, screen
replacements, touch ups,

set extensions, things like that.

So let's start with
something really basic.

I'm just over one of the shots
here in my edit page,

and I'm going to go and click
on the fusion button right there.

Now this switches everything
over to our fusion interface.

Let's talk about that for a second.

Yours also might look like this.

There's a couple different parts up here.

We have the buttons that open up
our panels,

like the media pool,
the effects library, stuff like that.

We have similar things over here
in the upper right hand corner,

which we will get into in a minute.

Basically, this is how you open

menus and panels and stuff,
and that's common throughout resolve.

Actually below that we have our viewers.

These look like the source and timeline
viewers from the edit page, which,

you know,

we have one on the left, one on the right,
but they don't quite act the same way.

This viewer on the left in the edit

page is all about looking at your source
footage.

Right?

It's like previewing stuff
before you put it into the timeline.

This right hand viewer is all about
what's happening in the timeline.

What the person who watches your movie
will actually see in the fusion page.

It doesn't really work like that.

These are just two different copies
of the same kind of viewer.

You can really view
any part of your composition in either

the right hand viewer
or the left hand viewer,

and we'll get into that in a second.

Another important part is this inspector.

This is pretty much where you adjust
all the properties to anything

that you have selected.

And again, this is something that's true
throughout resolve.

But if you have something selected
that you want to adjust,

you're going to adjust it in the inspector
below the viewers, We have our toolbar

and these are just the most common tools
that you would use inside of fusion.

These are the exact same thing

as going to the effects
library and twirling things down here.

You just have a lot more options here.

Again, we'll get into that in a second.

But these are tools
that are available to you

and they're just
a little bit more convenient.

Now let's talk about the node graph.

This is the part that's a little bit
intimidating for some people

when you talk about doing something
in Photoshop or After Effects or,

you know, a lot of different programs
and you want to, let's say,

put some text over a background,

you think about having your background
layer

and then having a text layer on top of it.

The thing is that fusion
doesn't really use layers, it uses nodes.

And the difference is rather
than stacking up a bunch of layers, you're

kind of building instructions
for fusion to build whatever you like.

So this node graph here is just a place
where all the nodes live

and each little box here is called a node,
and each node is an instruction

telling fusion to do something right now
by default,

when you open a clip from the timeline,
you have two instructions there.

The first one is media in media in is
just, hey, grab a clip from the timeline.

This is some kind of media,
grab it and work with it.

And then this is connected with this
little arrow all the way to media out.

Media out is okay. Now render it.

All right.

So we have a really simple instruction
here.

Grab a piece of media and render it.

And we're not really doing anything to it.

We're kind of
just picking it up and setting it down.

Now because we're building instructions
here.

We have to tell Fusion
to actually do something with it.

The easiest way to probably think about
this is with a blur.

So I'm going to go up to the toolbar here
and there's a little drop here.

I'll grab that and just drag that into
the node graph and that makes a blur node.

And now that we have this node,

well notice in the viewer,
nothing's really happening.

That's
because we haven't connected this node.

Everything has to be connected
in order for it to actually matter.

It can't just be down here in the window.

So how do we connect this in?

Anytime you have a connection here,

if you hover near the end of the arrow,
it turns blue.

Click on that
and that will get rid of the connection.

Then you can grab this little gray square,
which is the output of the node,

and you can drag that
and connect it to other things.

If you just drop it on a node,
it will just decide

what you probably want to connect it
to, which is usually right.

But if you mouse over these little
input arrows, it will tell you what it is.

This is just what you're going to blur
or blur one input.

There's also a little blue arrows.

These are masks which we'll get into
in a little bit anyway.

So we've connected this.

Now we're going to take the output of our
blur and connect it to our media out.

And now.

INTERVIEWER We see something happening,
but it's not very blurry.

And the reason for that is

because if I select our blur node
and go over to our inspector, we'll see.

Our blur size is only one.

So let's
grab that and pump it up a little bit.

And now we can see that
really getting blurry.

So now we have a pretty simple instruction
Grab a piece of media, blur it

and render it.

So if that was all that
we were going to do in fusion,

for some reason
we could just go to the edit page

and look at it in our timeline.

And here we have it in our timeline,
all blurry.

So if that concept makes sense,
the rest of this isn't going to be too

hard.

It's really just building on that concept
that you can take something

from the timeline, open it up in fusion
and link together some instructions,

and whatever is connected to the media,
out node will be rendered to the timeline.

So this is great. Let's say that
we want to put some text over it.

Remember, we don't have layers,
so how the heck does that work?

Well, first let's make some text.

I'll go up to our toolbar
and I'll grab this tee.

This is a text plus node and I'll just
grab that, drag it down into our node

graph and I can decide to connect this
however I want and where I connect,

this is going to matter a whole lot
because things kind of flow in order.

They flow along these arrows.

So what I really want to happen is to put
some text over this blurry background.

But how the heck do you do that
without layers?

Like I can't drop it on here or anything.

There's no layers panel
to figure out where things go.

We just have to tell Fusion
what to do with this text layer,

because right now
it's just made a blank text layer.

The instruction
we're going to use to tell it

to actually do something is called
a merge node up here in our toolbar.

Next to this second separator,

there's a tool called Merge
and grab that and drag that down as well.

And now we can link that up and tell
Fusion what to do with this text node.

This is going to seem really complicated,
but I promise it gets simpler.

I'm going to undo our Blur one node
and connect it to our merge one

and connect
the output of merge one to our media out.

You'll notice we have two inputs on this.

Merge this yellow one is the background,
the green one is the foreground.

So I'll grab the output of our text
and connect that to the foreground.

And now we're going to have our text merge
over our blurry background.

But hey, nothing's happening.

That's because we haven't actually typed
any text in our text node.

So if we go over here to the inspector,
I can type some text

and now we see
the text is over our blurry background

and we can adjust all of the properties
of our text here.

And the inspector,
maybe I'll make a little bigger,

change the font and you can go crazy
like you normally would with a text title.

You can adjust its layout,
its color, all kinds of stuff.

But for now, we'll leave it like that.

And this is what our composite looks like.

Again, if I were to go to the edit page,
we'll see that's there in our timeline.

So this is cool, but not really something
that you would need to use fusion

for, right?

You could totally blur a clip here
and then put just a basic

title over it
and get a really similar result.

Right?

But where fusion comes in
is when you want to do something

a little bit fancier,
when you want to animate things

or mask things
or have them pop onto screen.

So let's do a little bit of that.

I click back into the Fusion page.

Now let's do something fun.

Let's put a little box behind this.

I always think that looks classy.

So there are a bunch of different ways
to do that, but this time I'm

just going to add a background node
behind this text in my tools here.

The far left one is called
the background node.

I'll grab that and just drag that in.

Now I'll select my nodes
and kind of move them over here.

And what I'm going to do
is put my background after my blur

because really I want my blurry video
to be behind this background

and then the background
to be behind the text.

And it's not really important
where the nodes are.

You can have them
go right to left if you want to.

It's all
about how they're connected, right?

But this just makes a ton of sense to me
to have our nodes sort of flow

from left to right,
and that's what we'll do.

So now to put

our background over our blurry video,
we would have to make a merge node.

But a faster way to do that is just
to grab the output of our background.

And I'm just going to drag that over
the output square of our blur one

just like this.

And that will automatically make

a merge node and merge our background
over our blurry video.

That's a huge time saving thing.

You don't have to make another node
and then connect everything every time.

It's really just about as simple
as it would be to drag a layer

on top of another layer.

You just do that, right?

So now we have our background

over our blurry video,
but we don't even see the blurry video.

It's just black dots

because we have a black background
that's full screen and it's full opacity.

So we can do a few things with that.

We could go over to our inspector

with our background node selected
and we can change the color.

If this background is completely black,
we can take this alpha and turn that down

so we can see that video behind it.

But what I'm going to do is mask this,

and what that means is just drawing
a shape that's going to control

pretty much where this node shows up here
in our toolbar,

we have a few different shapes here.

I'm going to use this rectangle mask
and I could just grab this and drag it in

and then connect it like this,
drag it over to our background node,

which I'm going to mask, take the output
and drag it onto our background

and that will add a mask,
but a little shortcut.

If you have a node selected
and you want to add a mask to it,

just have it selected
and go and click this button

and that will do the same thing.

So now we have this rectangle mask
masking our black background and again

with the node selected,
I can go up to the inspector and adjust

all kinds of things about
the mask, how wide it is,

the height, width, corner radius,
all of that stuff.

Anything that you want to change
about the mask happens in the inspector.

With the mask selected, I can soften it.

Sky's the limit for some tools.

You'll even have a little widget
that pops up here on the viewer

and you can move things around that way.

So what I'm going to do
is just set my width and my height

to be just a little bit
bigger than our text.

Keep it classy like that.

And now we have our neat
little graphic here.

And the cool thing about using nodes is

we can see exactly what's happening
down here in our graph,

grabbing some media, blurring it
and putting it background

with the mask over it and then putting
text over that and then rendering it.

So right now
we're still kind of at a point of,

you know, you probably could build this
in the edit page.

Now let's do something that you would

definitely want to do in fusion,
and that is making some animation here.

So let's say we want this to animate
on kind of out of nowhere

and just kind of go Shoop
and we'll do that by keep

framing this rectangle mask.

So I'll select it
here and over in our inspector

to the right of all of our controls,
there's a little diamond here.

This controls your keyframes.

So if you click this diamond at any point
in time, that will set this value

to be that value at that time,
which is called a keyframe.

So what we're going to do is animate
this on.

And after about probably a second,
I want this to look exactly like this.

So I'm going to move my play head
over to 30 frames,

which depending on your frame rate,
might be around one second

and I'll go over to the inspector
and here where it says width,

I'm going to click on that keyframe
diamond that's going to set at 30 frames.

This to be point 45.

Now let's move

this play head all the way to zero,
and now I'm going to change this value.

I don't have to click the keyframe time

and again, and I take this width
and push it all the way down to now,

if I click out of the inspector
and then press spacebar,

we can see that animating in pretty nifty.

But let's say we don't really like the way
this animates it.

Kind of jerks to a stop a little bit
too fast.

It's just not very smooth,

right?

Maybe we want to adjust that.

That kind of adjustment happens

in the spline panel in the upper right
hand corner, click on Spline.

And down here in the lower right hand
part of the screen, it opens up

this little graph.

This is just a graph of the animation
in your project.

So whatever you have selected right here
and I'll show you a graph

by default,
it doesn't really make any sense.

You have to click this button
right here, zoom to fit.

And now we have a little graph
of our stuff.

So this is how this value changes
over time.

And what we want to do is not have this
jerk to a stop right here.

We want it to ease in.

So if I select this keyframe,
I can grab a little handle here

and move it around
and adjust the way that this animates.

I can also just hit F on the keyboard
to flatten that out,

which is actually what we want.

When something comes to a stop, it
kind of comes to a nice curve right here.

So let's take a look at our
animation. Now. I'll back up

and now it just kind of eases to a stop.

That's nice.

So you can draw stuff like that
in the spine panel.

When you're done, you can just close it.

So this is really cool.

But at this point we could probably do
everything that we've done with layers

in a different app.

But let me show you
something really cool about nodes.

A node doesn't really have to be
at a specific place

in the graph, whereas a layer
has a certain place in the layer stack.

The nodes can really do anything
and they can actually do multiple things.

So I can actually take this mask

and I can mask not only my background,
but I can also mask the text.

I can just grab this output again
and connect it to the text also.

And so I'm masking two different nodes
with the same mask,

which remember is animated.

And now if we take a look at our animation
here,

it actually masks
both the text and the background

so you can get some really

fancy things going on and control it all
just with a single mask.

Pretty cool.

So here's our basic graphic.
Let's say we like that.

I'll just go back to the edit page
and here's the graphic in the edit page.

So that's how you build things.
For the most part.

Everything is built with nodes and you can
really just think through logically.

If you were going to ask a program to do
something for you, how would you ask it?

And then you just build
the instructions in the notes.

So let's switch to another shot,
which I could go back to the edit page

and do it

that way.
I'll just go back to the edit page

and this time
let's talk about a visual effect.

We've been doing graphics,

but visual effects are really fun
that stuff like fire, smoke, explosions,

things like that,
we're not going to get quite that crazy,

but it's going to be
the same kind of workflow.

I'm really just the still of a coffee cup
and I'll click on fusion

just like before.

We have simple instructions open
this still and render it to the timeline.

Let's say we want to add some steam coming
off of this coffee cup because really

this is just a still and maybe we want it
to look more like video, right?

Like there's some nice little steam
coming off.

Yeah, well, there's about a million ways
that you can do this.

An easy way to do something like steam
or fog

or smoke inside of fusion
is to use a node called fast noise.

So I'll go to our tools to the left
hand side.

And the second icon is called fast noise.

I'll grab it and drag it down into
the node graph and I'll take the output

and drag it over the output of our media
and that'll make a merge node.

So let's take a second and talk
about these two viewers, because remember,

these are basically duplicates

of the same type of viewer,
but you can choose to view any node

in either of these viewers, right now
by default, we have the media out

one node showing up in a right hand
viewer, which makes a lot of sense

because that's what the people who watch
our movie are actually going to see.

I think we're all used to having this
right hand viewer be

what the final thing is,
and that's usually how I have it.

But you can view any node by itself
just by selecting it and hitting

one or two on the keyboard.

If you hit one, that will load it
up in the left hand viewer.

If you hit two,
it'll be in the right hand viewer.

And so you can look at any part of your
composition just by hitting one or two.

I'm going to switch back to media out,
hit two on the keyboard,

and I use this kind of in a similar way,
like if I just want to look at part of

our comp,

usually do that in the first viewer
and then keep media out

in our second viewer,
but you can use it however you want.

You'll also notice
there's a little dot thing.

If you have something
loaded in the viewer, it has a white dot.

So this is in the right hand viewer,
a little white dot, little white dot.

So this is really nice

because you can view things by themselves
before they're merged on to other things.

And it can be really convenient
to see what's going on.

So this fast noise, this is basically just
a effect that generates kind of a cloud.

And so I'll select my fast noise
and go over to my inspector.

I have all kinds of things
to adjust in the inspector,

but I'm going to push the scale up
a little bit.

That'll change the way these clouds look
and how big they are.

Also, mess with the detail.

I can push that up
and that just makes them

a little bit more defined and less blurry.

And there's a ton of other stuff
that you can mess with. For now.

We'll leave it like this
and we're pretty much just going to use

these clouds that were generated
as our steam for the coffee cup.

The first thing that should

probably happen is we should mask this
because we don't want just fog everywhere.

We want just the steam to happen
above the coffee cup.

So we're going to do that almost the exact
same way as we did with that background.

We're just going to add a mask
to our noise, so I'm going to select that.

But this time,
instead of grabbing the rectangle mask,

I'm gonna grab this polygon
mask and click on that.

Once that's going to add a polygon
mask node to our node graph.

And then here in the viewer,
I can actually just draw what I want

my mask to look like.

I can hold down my middle mouse button
to grab this and pan it, but

I'm just going to start here at the side
of the coffee cup and just draw kind of a

blobby shape around our coffee cup.

And now it's going to limit that noise
to be just inside of that shape.

And in the inspector with my polygon
mask selected, I can grab my soft edge

and push that up a little bit
to just soften the edges of this.

And I can just click to another node
to get rid of that outline

and we can see
it already looks pretty good.

The problem is
that it doesn't really move or anything.

And if this is going to be a video,
it should probably move.

So remember how to keyframe things.

What we can do is just animate this noise
to move like Steam does.

Probably the easiest way to do
that is just to keyframe this center,

which happens to be this widget to you.

If I move this around,
we can see it moves that steam.

And so what I'll probably do
is just start it down here and I'll go

all the way to the beginning of our comp,
go to the inspector and click this

Keyframe Diamond for Center
and I'll move down to the end of the comp

and I'll grab that little
widget and just move it up.

I'll move it up quite a
bit because I want it to rise quite a bit,

rewind and hit spacebar to play it back
and it'll play it kind of slow

because it's thinking about things.

But once we have a green bar
throughout this,

we can kind of get an idea
of how fast this steam is moving.

Probably a little bit slower right now.

So I'll go to the end of our comp
and I'll just grab this number

in the inspector and just roll it up
a lot more up to like three or something.

So it's just a little bit faster
and we'll just play this back,

see how fast it goes.

That looks pretty good.

So that's cool.

Probably could be more realistic.

So let's grab the fast noise.

I'll go over to the inspector
and I'm going to adjust something called

see the rate, see three is
just how this kind of changes over time.

You know, like the clouds change
and you can kind of preview this

by just grabbing seeds
and moving it back and forth.

And you can see kind of the clouds
just kind of animate.

Right. We'll see the rate.

We'll just change this over time and I'll
just animate it as the animation goes.

And so we'll just start with

something small like that
and we'll just see how fast this changes.

And if we have it, see the little more,
then it won't look quite as robotic.

It'll move just like fog or steam
usually does.

So something like that, that looks good.

Now we have our steaming cup of coffee.

Of course
we want to tweak this to be tasteful,

but I think I'll do is grab the scale

and bring that down a little bit
just so it's not quite as defined.

And I'm also just going
to turn the strength of this down.

The best way to do
that is in the merge node.

Merge pretty much controls everything
about how one node goes over another.

That's including its transparency,
its angle, its size, its position.

Things kind of live by themselves
and the merge node tells them

how to interact with each other.

So in this merge node,
there's a control called blend.

Blend
is just how opaque your foreground is.

So I grab this blend
and just bring it down.

I just want to bring this down
to like a tasteful level.

So like 0.4, something like that.

So now we have that just

steam in a little bit

and you can tweak that
as much as you want,

but that's basically how you would do it.

Now, again,
since our visual effect is done,

I can go over to the edit page
and here it is in our timeline.

All right, Now let's do one more thing.

Let's do a composite.

Now, a composite is a really general
term, but

really, it's like combining
two different images together.

So what we're going to do

is replace the sky
with a little bit more interesting sky.

Right now, we just don't have many clouds
or anything.

We could put some fluffy clouds in here.

So again, I'm just over this clip
in the timeline and I'll click on Fusion

and we have our instructions.

Grab this clip and render it.

So one thing that we're definitely going
to need is a fluffy cloud sky.

We could certainly make our own sky
with a fast noise.

It's not going to look super realistic,

but you probably could do something
like that.

But what's going to look
better is to use an actual photo.

So let's import a photo.

We can do that a bunch of different ways.

The easiest way, the one that I always use
is just go to your explorer

or finder window, grab your image
and just drag it into your node graph.

That's going to make a media in to node.

If I hit one on the keyboard,
we can see what this is.

And really we have a couple of jobs here.

We need to put this sky over our shot.

We need to make sure that it looks like
it's behind the mountains

and we need to make sure that it moves
along with the shot.

So let's take a look
at what we're working with here.

So we have the two pedalboard ladies.

If we look really far away at these hills,

they're just moving a little bit
to the side.

So again, there's a bunch of different
ways that you could go about this.

You could select the blue of the sky
and delete that color

and put the sky under it.

But what we'll probably do
today is just keep it really simple

and just draw a really soft mask
and put the sky over this

because it's kind of hazy.
I think that will work just fine.

So what I'll do is grab this media into
I'm going to actually rename this

just by hitting F2 with the node selected
and I'll call the sky

and grab my sky
and merge it over my media in one.

And let's
adjust the size in the inspector here

just to make it fill up the frame.

And actually I'm gonna
to make it a little bit bigger

because I know that this shot is moving
back and forth

and I want to be able to have
a little bit of room to move it around.

So let's try
something like that to start with.

And now down in my nodes, I'm
just going to select media in one and hit

two on the keyboard.

That's going to let me look at this shot
before we put the sky on,

even though the sky is already on.

So I'll select the sky node
and I'm going to select a polygon

mask because I'm just going to draw
a shape where I want the sky to be.

So I'll click that mask and that will add
a polygon mask to our sky.

Now I can draw on this viewer,
even though I'm not looking at the sky

layer, I can draw my mask
and this is a really nice way to do it.

So I'll start over here

and I'm just going to draw a

really rough shape around these mountains,
something like that.

And I'll drag

and I'll make it a lot
bigger than the screen

just because we want to soften that.

And I don't want to run into any problems.

So now we can see in our left hand view
where we have the sky masked,

which I can go back to our media out to
and hit two on the keyboard and we'll see.

We have that masked over everything.

Now, the problem is that
our mask is kind of scaling different

than our background footage,
and that happens sometimes.

That's okay.

I can adjust this.

I'll click on Polygon one
and in the inspector where it says Size,

I'll just size that and move it back
to where it makes some sense.

Not a big deal.

Now I'm going to adjust this soft edge
and I'm just softening this out

and moving the mask to where it starts
to look like it belongs there.

And we're pretty much wanting
this just as soft as we can get it

soft as we can get away with without it
looking weird.

And it's amazing

how bad of a job that you can do
and have it still look pretty good.

That works and isn't overly strange.

If we want to make this
a little bit more believable,

we can grab this, merge node
and adjust our blend and push that down

a little bit and fade the sky in,
you know, and make it 60 or 70% strength.

But now we have a huge problem.

This looks nice right now,
but when we play it back,

the sky doesn't move along with the video.

What do we do?

Well,
when you're going to do a sky replacement

or you want anything to look like
it's stuck to something in a video,

you pretty much have to use tracking.

So what I'll do is grab our media in one
and now we're going to use an effect

that isn't in our toolbar

and it's called a planar tracker
up in my effects library.

Click on that.

Under tools,
we have something called planar tracker.

I can grab that
and drag that down into my nodes

and if I know where I'm going to put it,
I can just actually

drag it on top of this line
and once it turns blue, I can let go

and that'll be connected.

Now the planar tracker is going to track
whatever is put into this yellow

input, let's say two on the keyboard
to bring this up in our right hand viewer.

And now what we're going to do
is select an area that moves the exact

same way as our sky, and that tracker
is going to track its motion.

So I'll zoom in a little bit.

I'll just select these hills
and you usually want to just do

the smallest area you can,
But I think something like this will work.

Now, over here in our inspector,
on our operation mode,

we have track tracker,
we have point motion type.

These are all different things

that you can adjust
to track this in a different way.

We aren't going to in perspective,
we're just going to do

translation and rotation this time
because I know that this shot

is really just moving back and forth
and it might be rotating a little bit.

So we'll call that good and I'm
going to go and click on this button

right here that looks like a play button
with a line to the right

that's going to track this
all the way to the end.

And once I have this stuff selected, I'm
going to go up here

to where it says reference time and click
set. That's just telling it.

Hey, I want to start at frame 26,
which is where we happen to be,

and I'll hit this button right here
track to end.

So I'll click on that
and we'll see what happens.

It's just going to track the motion
of those mountains.

And because we started in the middle,
I'll just hit I'll just click on Go

Now I'll go back to frame 26
and I'll track this backwards.

And now we track the whole shot
and whatever.

We use this tracking information
for is going to look like it's

stuck to the background.

Okay, so now we have this all tracked,
but how do we control where the clouds

appear with the tracking stuff?

What I like to do with the planner

tracker is use a planner transform,
which is over in the inspector.

If you scroll all the way down, there is
a button called Create Planner Transform.

Now click this. Once.

What that does is create
a node that pretty much moves everything

along with that track.

And so I'm just going to run our sky node
through our planner Transform before it

gets merged and we'll see it

moves along with the mountains.

Now we do have a problem.

It's actually slipping a little bit.

What that means is that part of
this is moving a little bit differently.

You can kind of see that especially here.

The clouds are moving
faster than the mountains.

The reason for that
is because in our merge node,

we're adjusting the size and center
and stuff here in the inspector

and it's messing stuff up.

So if you're going to do it this way,
make sure to you reset your merge node

and everything will act nicely.

The problem is that our sky node needs
to be sized and everything differently

so we can use a transform node
to make that work, which is down here

kind of towards the middle.

And I can drag that in between our sky
and our plane to transform

because I want to adjust where it is
before we apply the tracking data.

So with our transform node selected,
I'll go over here to our viewer

and we can move this around and scale it.

I'll move that around until it looks good,

and now we'll have our track working great

that now we have a beautiful sky.

It's freaking awesome, right?

Look at all the magic things we can do.

So here's before and here's after.

Pretty cool.

So there you go.

There are some examples of the main things

that you could do in fusion
and how to make that work.

I hope that's inspiring for you.

If you want to learn more about nodes
and how those work,

if that's still a little bit fuzzy,
check out this video right here.

I'll go over the basics and also talk
about peanut butter and jelly, which is,

I think, really nice.

Nice. Yeah.

Sweet. Awesome.

It's important.