Original subtitles

You've been asking for advanced fusion tutorials.

Well, it's time to do that.

Here's what we're going to be making today.

Oh, there it is.

There it is.

So we have this 3D product box kind of coming in hot here with some graphics.

We got a reflection going on.

This is a pretty cool little thing.

And even if you're not looking to make something exactly like a product box,

this is going to teach you a whole bunch of stuff

about fusion that you might not know. Let's do it.

So here's the node graph that I have set up for this comp,

and we're going to take this just one step at a time.

I'll go up here to my media pool, right click and say

new fusion composition and we'll call this box to

and I'll double click on that to open up our blank composition

here in the Fusion page, reset our workspace.

So we all have the same thing going on.

And we're starting with our a little media out node.

Let's put a background in.

So just grab a background and connect it to our media out.

So now we have our background and our media out.

We have a black background.

Now, to get that 3D box, we're going to import an FBI.

If you don't know what an FBI is, it's a 3D mesh that is made from a 3D program.

Here's a simple box that I made in Blender.

You can make this

with whatever 3D program you're used to, or if you don't know anything about 3D,

you can download a mesh and everything in fusion will work the exact same way.

But all we have to have is a mesh

that has a texture applied to it, and it laid out the way that we want.

If you all want a video on how I made this box,

I'll post a tutorial on that and link it in the description.

But the big idea is that you have a mesh and you have a texture

that is applied to the mesh in the right way in your 3D app

and you export it as an FBI file.

In Blender, I can select this mesh, go to file

export MP x,

and just make sure that selected objects is selected here and I can save that out.

That's all we need to do.

Not in resolve, but back in resolve.

I can shift spacebar and type f b X, and we're going to want

mesh 3D and I'll add.

And now it'll ask me for the most like stuff box to.

And now if I select this mesh and hit one to bring it up in this left viewer,

I can hold down alt and middle button mouse drag to kind of move around here.

Now, we don't have any texture or any lighting on this.

I can get a little bit better idea if I go up here to these kind of few options

and I select lights and now we at least have kind of a shaded view of this.

So now we have our box, but we need to put a texture on it.

For that we need to make a material.

I'll hit shift spacebar.

I'm going to add a material called torrents.

This is just a material that has a lot of settings we can mess with.

And I hit add

and I connect this torrents to the mesh.

And now if we did this right, if I change the color of the torrents,

that changes the color of our 3D thing.

Sweet.

Now, this torrents

material has all kinds of inputs that we can put fancy textures into.

I'm just going to apply a basic texture here.

I'll go up to the media pool and I have a PNG here

that is the same PNG that I use to lay out my textures in Blender.

I'll grab this PNG and just drag this down as a media in.

And what we're looking for

is the color diffuse material, which is the yellow input.

I'll grab this connected to the yellow input and now guess what?

Oh baby, we have our 3D mesh

textured inside a fusion.

What's going on? So we're doing pretty good.

I'll close the media pool and let's rename stuff so that we don't get confused.

I'll just select an F2.

We'll call this box texture.

Am I for media in Torrance? Cool.

We'll leave that for Mesh 3D.

Let's call this box mesh.

That'll be X and we can't merge this over a 2D layer because this is a 3D mesh.

We need to put it into a 3D environment.

Which infusion is called a Merge 3D.

So let's bring that down.

Put this into merge 3D.

Let's take the Merge 3D and put that into a render a 3D

that will turn our 3D stuff into a 2D image which is jacked up at the moment,

but we can take this output and merge it over our background

and now we'll

have our black background and the image of our 3D mesh over it.

One thing we need to fix immediately is this We're like inside of the mesh

right now, so we need to add a camera and move the camera around.

So I'll grab this camera icon here.

Drag this in and let's just put this into the Merge 3D.

And if I bring my Merge 3D up in my left viewer,

I can select my camera and move that around.

And now we see, you know,

as we move the camera around on this left view, we can see the box starting

to make any sense at all on the right view suite.

From here we can take our FBA box and we can adjust its transform here

and the inspector and I can rotate this on the y axis.

And look, we're getting there.

This is, this is a thing.

So let's go ahead and kind of put this where we want our rotate this like this

and push this box kind of heavily to the left.

So it's, you know, nicely framed on this left third of the screen.

From here we can animate this.

So I'll grab this box and let's have this end up here at like 30 frames.

Our keyframe rotation and our X translation.

And here at the beginning, we're going to move this back over.

Let's go ahead and do like 200 and maybe

300. We just want this off screen a little bit.

So 500.

There we go.

So now it's just off screen and it will move in like this.

But at the beginning, let's turn this a little bit.

I'll just tweak that rotation a little bit.

So now as this comes in, it's turning and then it stops right there.

Awesome. So let's play this back.

You have that coming in.

Oh, baby, it's looking good.

Now, we don't want this animation to be too jerky, right?

It just kind of comes in and stops immediately.

We want it to ease in.

So let's go over to the spine panel, open that up,

and let's click our offset.

And why rotation.

And click the zoom to fit button.

And now at the very end,

these and keyframes are select those and F to flatten out those tangents.

And now this will come in and just nicely pause, you know.

There we go.

All right.

So we have our box built.

And if I select media out and hit two on the keyboard of this coming in.

But one thing is this looks kind of cartoony.

The reason for that is there isn't any lighting on it.

It's just kind of the surfaces of the box being kind of

tweaked to look like it's 3D.

So let's add some lighting.

First thing I'll do is add a directional light.

Let's set shift spacebar animal type

T, that'll bring up all the lights that are available.

And let's get a directional light like this and I'll add,

and this is going to be our key light.

So I'll hit F2 and type key

and we'll connect this key

light to our Merge 3D, bringing it into our 3D world.

And since we have merged 3D open in this first viewer,

we'll see the light show up right here.

I'm moving around in this 3D world by clicking and dragging

with the middle button.

That's the scroll wheel on my mouse to kind of pan I can hold down alt

and click and drag with the middle button to orbit.

I can roll up and down to move up and down.

I can hold control and scroll to zoom in and out.

And with a combination of all of those things,

you can kind of move around in 3D space.

So what we're going to do is take this key light

and I'm going to bring it back and up and to the right.

It doesn't actually matter

where this directional light goes,

but just to kind of keep us organized,

I like to put this where it would be in the real world.

Also going to go up here to these little buttons here.

This kind of switches out between rotate and translate,

and I'll take this rotation gizmo

and let's take this green axis

and we'll point the light towards the box and then down a little bit like that.

Again, this is going to be our key light.

So we're just pointing it right at the box.

Now, our preview here on the left, we can see what that light is lighting.

But on the right, nothing's really happening.

That's because in our Renderer 3D, we don't have lighting enabled.

So we go over here and enable lighting and shadows.

And now we have

these kind of shadows happening here on our box.

So that works.

For now, I'm going to take this key light.

I'll move this up here and kind of get organized a little bit.

Take this key light and I control C double click off

of everything and hit control V This is going to call this key one.

We're going to rename this to Phil.

That's going to be our Phil Light

and I'll take this output and put it into our Merge 3D as well.

And now this Phil Light.

Let's select that here in the node graph

and here in our Merge 3D, I'm going to kind of move this around.

So I'm going to

first of all level it a little more

and then I'm going to move this over to the left

just again so that I have these kind of split up and I can easily

grab them and move them around and see which ones point in which way.

And we'll take this and

we're going to kind of point this

on the other side of the box.

Okay.

So we have two lights, one coming from the upper right,

another one coming from the upper left.

But what happens here is this flattens this out to the point

where it almost doesn't look like we have lights again.

So to really see the shape of something in 3D

or in lighting in general, you have to have some contrast here.

So this key light is going to be our brightest light,

but the Phil light is going to be maybe like half.

And I think I actually switch these.

This is really easy to do, to switch which one is which.

That's okay. So this key light

apparently is on the left and the Phil light is on the right.

So we're just going to rename this. This will be called Phil Light,

a city called Key Light.

And the key light will be at full intensity

and the Phil light will be about half.

So now we have that difference between

this front face of the box and the side.

And as this box animates,

that lighting is going to change,

which makes it look 3D.

Yeah, let's go.

So that's a pretty good start.

We're also going to want a kicker.

So that's a light

that shines from the very back like from behind what we're shooting.

So let's just make a new light shift.

Spacebar again, directional light,

and we'll add this to our Merge 3D.

This one is going to be our kicker

and this kicker is going to go behind

our box and probably up a little bit,

just like we

were really placing a light behind it.

But again, it doesn't really matter for directional lights where they go.

This is more of an organizational thing.

So let's turn on our rotation gizmo here.

I'll turn this all the way around and I'll tilt it down a little bit.

And depending on which way we shoot this light, it'll make a difference.

Or it won't.

So what I'm really trying to do is kind of highlight this edge.

So right there

we can see this little edge kind of lighting up a little more

when we have this light on or off.

So here's no kicker and here it is with it.

So it just adds a little bit of edge there

and that's going to be a little bit more pronounced later.

Let's turn this intensity up to like three maybe.

There we go.

So now we're kind of getting a little bit of glint off that little edge.

Maybe we want to add another kicker grab this and hit

control, see double click off and hit Control V,

attach that to the merge 3D

and this kicker will do the same thing.

We'll kind of rotate this

to where we can get a little bit more glint off the top here.

That's what this other kicker is doing.

Giving just a little more glint

might not even need this other kicker. Now,

but we'll keep it on for now.

The lighting thing is really you kind of have to just play around with it

because it's hard to get it right the first time.

You really have to mess with stuff.

So let's call this kicker to you, okay?

I'm going to select

all of these lights, move this up and hit spacebar and type you.

And for Underlay, that's going to add a little background here.

Now click off of it and then hold down alt and select this underlay.

And that will select only the underlay and not the nodes that it's surrounding.

And I'll have to and we'll call this lights

and we'll make this apricot nice and bright like the lights, right?

So now we have kind of a little group here.

Let's start spreading things out a little more.

Here's our camera

and we're starting to build out our node graph.

So now we have like a lot of the basic stuff going on here.

Now it's time to get it a little bit more fancy because let's say

we want this to look like it's on a reflective floor.

There isn't really a way to do this with real reflections inside of fusion

to get those real kind of Ray traced reflections,

you need to actually use a 3D app, but we can fake it in a really cool way.

Here's what we're going to do.

We're basically going to take this box, we're going to duplicate it and flip it

and put it under itself so that we're really looking at

two boxes stacked on top of one another.

And where they meet in the middle will sort of look like a floor.

So let's shift spacebar and we'll type in

EXIF and that'll bring up anything called Transform.

And what we want is transform 3D.

What this note does is

it takes things and transforms them in 3D space, amazingly.

Right?

So I'll take this mesh and pipe that into our Transform 3D.

And now essentially what I'm going to have is a duplicate of this mesh

that I can move around kind of independently.

So I want to take the output of this and put that into the Merge 3D as well.

And nothing's happened yet.

But if I take this and I move this around,

we'll see that we now have two boxes.

So what we're going to do

is take just our scale

here.

I'll unlock X-Y-Z and we're going to scale this on Y to negative one.

And when I hit that, guess what happens?

Boom.

It makes a flipped copy of this

3D mesh right under our other mesh.

And what's really cool is that because we have all of our animation

on this box, it's taking that animation and it's applying a flip to it.

And so it actually moves along with the box automatically.

And we already have a pretty good looking effect here, so that works pretty well.

And if we like that strong reflection like that, we could probably just leave it

like that.

But we're going to do some more fancy things.

What we want to do on this reflection is blur it

a little bit and we also want to kind of feed it out at the bottom.

For any of you who remember back in the day, back in 2007,

our buddy Andrew Cramer

did a tutorial about making 3D Reflections and After Effects,

and it used basically the same process that I'm going to use here.

So this is a really smart way to make kind of fake reflections

that we're kind of adapting for fusion all these years later.

And basically the idea is that we take this flipped 3D object,

we put it on its own 2D layer, and then we can mask it and blur it by itself.

To do that in fusion, we need to do a little bit of fanciness.

First of all, all of this, all of the 3D stuff is coming in through

this render a 3D, which is basically making its own 2D layer.

What we really need is this transform 3D, this duplicate

of our box to be on its own 2D layer so that we can do stuff to it.

So what we're going to do is duplicate this, merge

3D and connect it and kind of make the same 3D environment.

But we're going to split these two boxes into two different layers.

How do we do that, you may ask?

Well, I'm going to take this transform 3D down here and let's select

this Merge 3D and I control C double click off of it and I'll control shift V.

What that will do is make something called an instance.

An instance is like a linked copy of a note.

And so any settings that I mess with or anything for this

merge 3D is also going to happen here in this Merge 3D.

So if we want to tweak something later, we can we might not need to do an instance

for this exact situation.

But this is a great thing to get in the habit of.

If you want to make two nodes that kind of share

the same settings again, that's select the node you want control

C double click off and control shift V and that'll make an instance.

So we will need to connect our lights.

So I'll just take each of these lights and drag it onto our Merge 3D

like this and also our camera.

And now we have pretty much the same 3D environment,

but we're going to take this transform 3D

out of this first one and put it in the second one.

I'll also take this render a 3D, which I think

will just instance that to control shift V

take the output of our merge 3D into this render 3D

and we'll take the render a 3D here and put it over our background

and now our media out should look exactly how it did.

Looks pretty much the same.

The only difference is that this box

and the lower box are in two different 2D layers.

So I could turn off one layer by turning off the merge.

So that's on one layer and this top one is on

one layer.

Let's take a second and get organized.

First thing I'm going to do is go to this merge 3D and this like spaghetti here.

If you select any node and then you go over to settings here

and the inspector, you can select hide incoming connections.

And what that will do is when you're not selecting a node,

it will hide all of the connections just so it doesn't look so overwhelming.

So that's pretty cool.

And again, because these

merge threads are instanced, that happens on both of those at the same time.

So now that cleans things up a little bit, makes it a little less horrible.

We'll line the stuff up a little bit

and let's name these merges F2

and we'll call this reflection merge.

This is going to be called box merge.

And now anything that we put in between this render 3D

and this reflection merge will affect only the reflected image.

So if we were to do something like add a blur, grab this blur here, drag it in

between, render a 3D and reflection merge and I push up the blur size.

We are blurring just the reflection

and I think just a slight blur would do us good.

So now we have this kind of blurry

reflection here, which looks great, and we can also mask this.

So that kind of fades out as it goes down.

So an easy way to do that is just to add a mask to our merge.

So I'll take a rectangle mask and just connect this here to our merge like this

and we'll zoom out

and I'll make this nice and wide and we'll just kind of put this down.

So it's almost half way off the screen and then we'll take our soft edge

and kind of just feather that out a little bit

just so we're starting to see it fade out.

I think that works well now.

We pretty much have our box in our animation set up and it looks pretty sick.

A couple of things that I want to do to just make this a little nicer

is obviously we need to switch out the art for this box.

The great thing is that

we can use this texture here that we've kind of set up and done our UV

mapping and blender from, and we can just kind of replace

whatever's here with whatever we want to be on the box.

So you can do this in an image editing program.

You could build it here in fusion if you wanted to like this.

So I could do something like take a background

and just merge over my texture.

I could do something like,

you know, if I want to make kind of a pink

or box or something like that, I can just make a solid pink texture.

And now we have a pink box and I can just kind of build out

a cup here that's going to work for my box.

And I can kind of see it happen in real time

and I can move this back and forth here on my left

and see it actually come to life on the right viewer.

And it sounds pretty fancy.

Just whatever I connect to this material here, that's going to be the texture.

And so what I think I'll do is grab this image that I made in

a design program

and I'll just kind of disconnect these right now and reconnect our media in.

And there we have our nice art kind of switched out, works pretty well.

Let's change our background color.

I'll go down here to our background node,

which is just a black background right now, but will take this color

and we can do something like this.

Now we have this nice blue background and pretty much

whatever we want to do to kind of build this and make it look nice again.

It's kind of the same thing.

I could

merge another background over this

and move this down, turn the blend down

and we'd have sort of a floor

and it's all kind of a trick, right?

It's not really a 3D floor, but it looks like a floor just to keep us organized.

I can select all of that shift.

Spacebar used for Underlay.

Click off of this alt

click to select just the underlay and F2 and we'll call this BG for background.

We'll set this color as teal for now

because that's sort of our color

all of this can be box art.

Another underlay click off, alt click

F2 box art will make this a nice color so we can easily see it.

Just make it violet.

Now we have our sections kind of organized here

so that we can easily get to whatever we need to later from here.

It's just a matter of if we want to add some text.

So I'll grab a text.

Plus I could also probably do this in the edit page if I wanted to,

but this will work fine.

Treat your man because look, it's okay.

This man, he's a handsome.

He's handsome boy. Oh, man.

Just size this up kind of move it over and we can animate this in, let's say

we'll have this start about frame 22, right as this is kind of going past it.

And I'll animate right on.

And we'll start with this completely gone

and then over the next 15 frames or so, we'll have it right on like that.

So now we have our animation coming in.

There it is, baby.

Last little bit that I want to do is I want a little sparkle in this boy's eye

just because I think it's just puts the sprinkle on top.

So how do we do something like that?

Well, you can do this a hundred different ways.

I'll use a shape.

I'm just going to make a little star.

Like a little star ding thing.

I'll hit chef spacebar and type s s.

That'll bring up my shape Star add.

And we also want a shape render.

So S.R. will grab a shape. Render.

And now let's take this and put it over our box.

And now we have a giant, obnoxious star over everything.

Great. I'll select our shape Star,

and let's bring the points down to five,

and we'll make this kind of a normal looking star that looks good.

And just for consistency, let's do a shape transform.

So I'll type s t r that'll bring up a shape transform, I add.

And now we can rotate this and size it and everything.

We could totally do that within the shape itself.

It's good practice to have a transform node

that does kind of the animation and everything just makes things

a little easier later.

So let's adjust the offset and let's bring the size down.

I'm actually going to link these sizes together.

I want this to scale together.

So here under y size, I'll hit equals enter

and that'll bring up this blank expression.

And I can take this little plus thing and choose whatever I want to link it to.

So I'll just say exercise.

You can also just type exercise if you want.

I'll hit enter and now when I adjust exercise, it's

going to adjust y size as well.

I wish there was a way to just link those automatically, but whatever here we're

so we'll put this

star like right over as I like this

right where that kind of highlight is and as I like this being like that,

I'll give us a little more room here

and right after this sets for a couple of seconds.

Let's start it like frame 50

will make this star kind of grow and rotate.

So I'll take this forward, I don't know, like frame 60 or so

and let's keyframe exercise to be right there,

and then we'll come to the left a few frames and we'll take exercise

all the way down to now being all right,

and then we'll have it come back down again here a few frames later.

So now we have this kind of animation grows

and comes back and let's have it rotate the whole time.

So we'll start with rotation at zero here.

So we'll hit that keyframe diamond and then towards

the end we'll have this rotate, I don't know, 180 degrees maybe.

Let's see how that looks.

Yep, That's going to be just fine.

Being

this is all I actually want to make

in life as this kind of thing.

So I'll uncheck my text and just have my s transform

selected in our spline panel Hit Zoom to Fit.

Let's take all of these key frames for our size

and hit F on the keyboard to flatten everything out.

It flattened out the rotation as well, but it's not that big a deal.

See how this looks being?

Yep, it's wonderful. That's what we need.

All right, so there's our handsome man

just looking all handsome.

See how this looks?

This comes in

trait, your main being.

This is all that is needed there.

We have our finished graphics.

We can throw this into the edit page.

Just grab this box to throw it over there.

I'll let this cache for a second and we'll play this back.

See how she looks. Yep.

Being so good.

Are so I hope that's helpful for any of you advanced fusion people.

If you have any questions, put them in the comments

below and I will double view them and we'll see.

Maybe we'll maybe we'll address things in a future video.

If you want more advanced fusion videos, please let me know.

I'm kind of you know, there's a mixed audience here.

Some people want the noob stuff.

Some people want the advanced stuff.

So let me know what you think.

I'm on a different shirt.

Suddenly.