All language subtitles for 10. Fusion Acro Dirtbike Transition Fusion Kolder Creative

Awesome.

So now that we have some foundational
knowledge as to how to work within fusion,

let's try to piece together
this acro to dirt by transition.

So before we dive deep into compositing
everything together,

let's take a step back
and try to understand

what it is that we're trying to do
within this composition.

All we're really trying to do
is to go from one environment to another.

We're going from the macro environment
into the dirt bike environment.

Now, what I want is for the macro clip
to end on just the blue sky.

Now, if we continue to play the clip past
the blue sky, we can see that

the camera continues to move

and it reveals mountains
and other things in the frame.

We basically want the macro clip
to end on blue sky, and then that's it.

From there, what I'm going to want to do
is go to the dirt bike clip

and isolate the dirt biker in the sky
by keying out the sky.

So it's just the dirt biker.

Then from there will be able

to animate the dirt biker
from out of frame into frame.

So at that point,
we have the isolated dirt biker,

but we're still working with the
background, the blue sky of the acro clip.

If everything goes as planned,
this should look seamless.

So now we have a plan

and a better idea of what it is
we're actually trying to do in fusion.

Let's jump in and start piecing
this thing together.

Also, if you click the link down below,
you can download the original clips

that I'm using in this composition,
so you guys can try this out yourselves.

All right.

So I'm at the point in my timeline
where the transition happens

and we can see that we have two separate
clips over here now as we learned

before, there are different ways
that we can bring our clips into Fusion.

Now, in this situation,

the dirt bike clip is pretty much exactly
where I want it to be in my timeline.

I know I'm
not going to want to retain this at all

because it works
perfectly with the clip afterwards,

so I know I don't need to re time
this clip.

The only thing I might want to re
time is the acro clip itself.

So what I'm actually going to do
is extend the dirt bike

clip to the duration
I want to be working with,

which is this length of time over here
and what I can do is right

click on the dirt bike, clip over here
and make it a new fusion clip.

And now what I can do is go into my media
pool, go into my fusion

folder over here, and what I could do
is create a new folder command shift and

call this acro to dirt bike transition.

Click enter and open this up.

And what I'm going to do is actually just
drag in the Acro clip into this folder

over here so I can easily access this clip
once I'm in Fusion.

So I'll just close the media pool
and with my dirt

bike clip selected,
I'm going to open up fusion.

Now we have the dirt bike fusion clip

in here and we're going to want to add
the Acro clips.

So let's go to the media pool here.

And we already have this
Acro dirt bike fusion folder open.

This is the clip that we want.
Let's drag it in here.

And now what we can do is load this media
into the first viewer

over here by pressing one
and we are able to scrub through.

Now, obviously,
this is the wrong part of the clip.

We don't want this part of the clip.

We want the part where she kicks
the camera.

So what we're going to do is make sure
that we have that node selected.

I'm going to close the media pool
and I'm going to play with the trim here.

So we want this to start

at the point where she kicks the camera.

I think it's about

here.

Yeah, this point right here.

So something somewhere around there.

She comes through,

kicks the camera
and we're basically going to wants to time

this so that the dirt biker
is just coming into the sky

when we have a full shot of the sky
on the actual clip.

So that's about here.

But the dirt bikers already
well into the sky on this side.

So I'm going to want the aggro clip
to just be full sky at this point

in time when the dirt biker is
just getting fully into the sky over here.

So we're going to want to reposition
this aggro clip a little bit.

So we're going to want to push it
forwards a little bit

and we can actually go into the keyframes
window here and play around

with the timing in here.

So because we didn't rename our clips,
our media nodes,

so let's rename these this top 1f2 is Acro

and this bottom one

is dirt bike.

So now let's go to the actual

clip in the keyframes window
and move this around.

Of course we need to have it
loaded in our viewer, so we'll press one

and we want it to fill the frame
right there.

So that looks good to me.

Now what we want to do is actually trim
the end of the Acro clips so it ends here.

So let's zoom out and let's grab
the end of the clip.

Let's trim it to there.

And now what we want to do is just hold
this frame of the sky from the Acro

clip for the rest of the duration
of this entire composition.

So what I can do in the inspector here
for the Acro clip, I can bump

this hold last frame slider up

and now if we scrub through here,
we can see that for the rest

of the duration of the composition,
the Acro clip is just sky.

So we basically just held that one frame
for the rest of the composition

and that should work

perfectly for what
we're trying to do here.

Awesome.

So the next step is to actually merge
both of these pieces of media together.

So what we could do
is grab the output of the Acro clip,

bring it over here
automatically create a merge,

and let's think about what it is
that we're trying to do here.

We want the Acro clip
to be the background,

the dirt bike
clip, to be the foreground, right?

Because we are starting with the acro clip

and then we are bringing the dirt bike
clip over top of the clip.

So let's grab the merge command team
to swap those inputs.

And I'm actually
just going to move these over as well.

I want things to visually kind
of make sense to me as well.

We're starting with the Acro
clip on the left here

and then we're introducing the dirt
bike clip over top of the Acro clip.

Now let's scrub through here.

The timing looks good.

Now what we're going

want to do is isolate the dirt biker
from the rest of the image here.

We don't want any of this sand.
We don't want any of these bushes.

We just want the dirt biker

And this is where we are going to want
to use the delta here.

This is a really great Kir with infusion.

So in our nodes window,
let's press shift spacebar and let's type

in Delta, Delta,
a click enter and hold shift.

Let's drag this over

here and

let's load
this delta here up into our second viewer.

Now, with these controls over here,
we are able to select

what color we want to remove.

Which color
do we want to keep out of the shot

so we can grab this little eyedropper here
and move it over

and we can get a live update
as to what it is we are keying out.

So if we zoom in here,
that looks pretty good.

I would say that that's decent.

Let's let's view the media out so we can
load this up into our second viewer.

And just just to get an idea of
what's going on.

So obviously, this looks crazy.

This is nowhere near what we want.

And one thing we want to take into
consideration is anything

before the dirt biker fully in the sky
we can't really use.

We could potentially isolate him
by using more.

Here's the key out the sand
and maybe doing some masking,

but that's a lot of extra work
and I don't want to do that.

So what we're going to do is actually trim
the beginning of this dirt

bike clip because we don't need anything
before this frame right here.

So I'm going to go to the
start of the clip, trim it

that way.

He just pops up at that point

where he can actually be fully isolated

just by this delta here

sweep.

Now, obviously,
this doesn't look realistic at all

because he's just flying
in from the direct center of the frame.

He just pops into frame.

What we're going to want to do is animate
the dirt biker's position.

So he starts out of frame
and comes into frame.

Now, because of the movement of both,

the cameras are going from bottom
right to top left.

It makes sense for him to fly
into the scene in the same way.

So I'm going to want to animate the dirt
biker's position from probably down here,

out of the frame into the frame,
and eventually to the point

where this clip is back
to its original position and scale.

And we want the dirt biker's position
in scale to be back

to normal at this point right here.

The reason we wanted to be back to normal
here is because

we can see that
the tire is getting cut off.

If the dirt bikers position is,
you know, down here in the bottom corner

and all of a sudden his tires
getting cut off, it's going to look bad.

So let's let's let's grab a transform.

Now, let's select the delta here because
we want the transform note after Delta.

Let's throw that in there.

And now with the transform note selected,
let's move him around.

This is what I'm talking about.

If if he's over here, when his tire starts

to leave the frame, then this is like,
really obvious as something's off here.

So at this point in time,
we are going to need

the dirt biker
to be in this exact position and scale.

So what we can do is select the transform
node and create a keyframe

for the center.

The pivot and the size.

So at this point, everything is normal.

Everything is at its default settings.

The transform is we have it
actually moved it at all.

At this point.

We want things to go back
to their normal position.

Now, if we go back to the beginning
of the dirt bike clip, what we're going

to want to do is grab this clip
and move him out of the frame.

Probably somewhere around there.

And now if we scrub through,

we can see he's

coming into the frame
from outside of the frame

and then exactly
where his wheel leaves the frame.

That's where the transform node
gets back to its original position,

allowing us to hide the fact

that,
you know, he's from a different shot.

We don't want to reveal that.

And by showing that edge, it would just be
obvious that something's wrong here.

Now, obviously, we still have some spill
that's leaking over

from the Delta here of the original sky.

But don't worry about that because we are
going to be masking out the dirt biker

in a little bit to isolate him even more
and to remove any of these artifacts

or anything else from the original clip
that we don't want in this.

We're at a good place right
now. Let's play back this in real time.

See what it looks like.

That looks pretty good.

But we can see that the clip looks
kind of messed up over here.

If we bypass the Delta Q command P
this is what it's supposed to look like.

So the delta here is making things
look kind of weird.

So what we're going to want to do
is actually

bring back the full original dirt
bike clip.

So let's copy
the original dirt bike media in Node

Command C, let's deselect our nodes
Command V pasted in here.

And what we're going want to do

is just merge this over
top of everything else again.

Now we are going to want to play
with the opacity of this clip

so that from this point around here,

we're going to want to bring the opacity
from 0 to 100.

Now, remember, like we learned before,
we are able to animate the opacity

in the merge node as well.

So with the merge node of the second dirt
bike clip selected,

we can play with the blend

just like that.

So what we're going to want to do
is animate this blend so it goes from 0

to 100 over time or from 0 to 1 over time.

So at this stage
we'll want the blend to be zero.

So we'll set a keyframe here at zero
and we'll move forwards a couple frames

to probably about there, and we'll bump

this blend up to one.

Now let's preview it.

Okay,

So there's a few more things
that we can do to make this look perfect.

So the first thing is we can actually add
motion blur to the isolated dirt biker

over here because we animated the position
of that media.

Over time, we can add motion blur.

So let's go into the transform node
for the isolated dirt biker here

and under settings inside the inspector,
we can go to Motion Blur.

If we select Motion Blur, we could see
that we've added motion blur to the clip.

Now if I deselect it,
you can see exactly what's going on here.

Now you want to make sure that you have
the shutter angle at the perfect amount.

A lot of the time it will

bump it up way too much.

It'll be like 180
and that just doesn't look good.

So fill it out.

Do what works best for your situation.

In this case, about 30 looks good.

It's tasteful.

We're not overdoing it

here and it's going to help blend things
in a lot better.

Now, the next thing we want to do
is remove any of the residue from the

delta here.

So this stuff down here,
the Delta here, wasn't able to remove it.

And if we went into the Delta here,
we could probably play

with some of the parameters here
to kind of refine the selection

and to get rid of the part of the image
that has a higher luminance.

But we're going to
just mask the dirt, biker out

and isolate him
just to keep things simple for now.

So what I can do
is actually create a new ellipse mask.

So let's create a new Ellipse mask,
but I want to make sure that I don't have

any of my nodes selected here.

So we'll create an ellipse mask
just like that.

And let's start animating the position
scale and all of that over time.

So it just covers the dirt.

Biker So let's go to this frame over here.

Make sure that he is fully within the mask

and let's set a keyframe for the center.

The width, the height, and the angle.

Why not Now?

We can move through time and
just make sure that mask follows our dirt.

Biker over here

so we can make it much smaller.

At this point,
it doesn't need to be as big.

That looks good to me.

And we're going to want to move

the entire mask out of the shot as well.

At the beginning, there.

And let's move forwards a bunch.

Now, at this point, we can see that
we no longer have any of that stuff

spilling over all of like that pinkish
color

from the sky is gone.

So at this point it doesn't really matter.

But we're just going to continue the mask
either way.

So at this point we can really just extend
the mask to cover the full

span of the entire image,

because at this point it's okay for us
to have the entire image in the shot.

Now, we're not trying

to exclude anything at this point
because there's no more spill happening

at this point in time.

It's really only at the beginning
where we're going to want to

isolate the dirt biker
and remove all this other stuff here.

So our mask is animated.

Over time, things are good,
so now it's time to connect it.

Let's grab the output of the mask,
drop it into the mask of the merge

and let's scrub
through here and see what we got.

So that looks pretty good.

But if we select the Ellipse mask

and we zoom in, we can see
we have a bit of a hard edge here.

So what we want to do
is select the Ellipse mask.

Let's soften the edge in the inspector
here just a little bit.

Looks good.

And yeah, that looks pretty good to me.

So the reason we have a bit of this red

at the beginning of the dirt bike clip
when he's entering the frame

is because the red parameter here
underneath background color,

it's a little bit low
and if we bumped up a bit we can see that

that red starts to go away.

So playing around with these parameters
in the delta here

will allow us to get a better selection
around

our subject and also to remove the things
that we don't want in the shot.

So just by changing that little red slider
a little bit,

I was able to remove
that little redness in the shot.

So I feel pretty good about this.

Let's play it from the beginning
and see where we're at now.

Awesome.

So we've successfully created the road
to Dirt bike transition with Infusion.

I personally,
I would say that it looks pretty seamless.

I'm really happy with this outcome.

I highly recommend that you guys download
the original clips down below.

Try this out yourselves,
Post your results within the group.

I'd love to see what you guys come up
with, but that's it for this video.

I hope that you guys enjoyed.

Hope you learn something new
and I'll catch you in the next one.