All language subtitles for DaVinci-Resolve-17-Fusion-IntroductiontoFusion

Hi, my name is Tony.

And today we're going be looking at
using fusion inside of Da Vinci Rizal.

Now, the purpose of today's video
is to give you a good understanding

of how to use fusion.

Take a look at the interface
and do some simple compositing

and set some keyframes so that way
you can be on your way to creating

composite
and visual effects inside of result.

All right. With that in mind,
let's take a look.

Okay.

I'm in the Resolve Project manager now.

I'm going to right
click and select Restore Project Archive.

We want to go to the quick start, Dot Dre.

Just select that folder and press open.

And don't forget,
all of these lessons are available

for you on the Black Magic
Design dot com website.

So I highly recommend
you take a look, download

and start to get your way on
to the lessons plans here.

Okay,
so now that we've loaded our quick Start

guide,
let's go ahead and double click on it

and load it up.

Now we're in our edit page
and we want to be able to go into Fusion.

So place your play head over the clip
in your timeline that we want to work on

and just go down to the bottom of the
interface and click on the Fusion tab.

And just like that, we're inside
of our motion graphics and visual effects.

Software resolve has automatically
brought in the clip from the edit

timeline, brought it in as the media inode
for us and place it in the note editor.

So let's just take a moment to look
at the inspector before we get involved.

Too much in the notes

at the top here
we have the interface toolbar.

Now this is a great way to open
and close panels that we might need

based on the type of workflow we're doing.

The cool thing is that you

can actually customize
each of these panels

clicking and resizing them as needed.

And for what we're doing
today, we're going to go ahead

and just clean this up
and reset our workspace

by going to the top here
and clicking on workspace

and then going to reset UI layout.

And that's going to bring us back
to a standard layout.

And for the most part, it's

going to be satisfactory
for the type of work we're doing today.

But I do want you to go back
to the workspace and just take a look

right above the reset UI layout.

There's layout presets.

Now what you can do is you can actually
save your own custom layouts,

which is great because as you're doing
different types of workflows,

you're going to want to have different
panels open and available to you.

So the fact that you can do that is really
going to help your workflow.

Okay.

So below the interface toolbar,
we have our viewers,

we have a viewer on the left,
viewer number one,

and we have a viewer on the right, viewer
number two,

what's interesting about these viewers
is that they're independent.

And what I mean by that is

if you're coming from a traditional
and a league, you're going to have

two types

of viewers are going to have
the viewer on the left,

which is your source viewer,
like in the edit page,

you're going to be able to click on a clip
and load it to preview.

And on The View on the right is usually
traditionally your program monitor, right?

That's the final output of your timeline.

But in fusion,

each viewer is independent.

So essentially

you can actually load your source
or program in either one of the monitors.

Each viewer is going to have a toolbar.

You can do things like change the size,

look at different channel selectors,

and then below

that you're going to have
our timeline ruler.

This is where you will have
all your playback controls

and you can scrub the clip across time

and place it on the exact
frame that you want.

You might have noticed that there's
these little yellow bars.

This is our auto render range.

So when you hit the spacebar,
you can actually just

preview just a section of the clip
that you want to.

Now, you're not changing the in and out
points.

It's just allowing you to basically ram
preview or cache preview

just that portion of the clip.

A quick tip is you can actually hold down
the command, key or control on a PC

and then just click and drag
and create your own render range.

I'm going to go ahead and just reset that
right

click on the render
range and click auto render range.

Okay.

So below that, we've got our node toolbar
and this is going to have

the most commonly used nodes

that you might use inside of fusion
available for us at any given moment.

It's broken up into different categories.

So we've got here

image based nodes and then followed
by some color correction nodes.

Then we have some compositing
and transformation nodes,

masked
nodes, particle nodes, and 3D nodes.

Now I just want to talk
about the word node and what it can mean.

We can use the word node to describe
a media clip, a source clip in this case.

The media in Node is represented
as the clip from the timeline,

so it's an actual piece of media,
but it can also mean a tool

like a transformation
for resizing or a rotation

as well as an effect
like maybe a blur or a lighting effect.

So that word we can use interchangeably
between all those different types

of media.

The next section
that we're going to look at

is the Node editor,
and that's this big section down here.

This is

where we're going to be doing
all of our creating all of our building.

We're going to be bringing in nodes,
connecting them together

to create our visual effect
or our composite.

And as you're doing so,
you're going to start to be able to add

a lot of nodes and you're going to want
to be able to move around and navigate.

So how would we go about doing that?

Well, if you have a three button mouse,
I strongly suggest that we have a three

button mouse.

You can use the middle mouse button
and then just click

and move around up or down, left or right.

You can also hold down your command key

and use the scroll
wheel or control key on a PC.

And as you can see, we can zoom in and out

of our node editor.

Now, as I zoom in and out,
you might see this little box up here.

This is the auto navigator box.

And that's just going to help you as we're
building large node tree structures.

It's going to help you to be able
to navigate across your whole node tree

just like that.

And as you zoom out,
when you want to fully zoom out,

it'll automatically go away.

Okay.

The same thing can work
inside of the viewers as well.

You can use your middle mouse button
to move your viewer around.

Also, zoom in using the scroll wheel
in your command key

or control key on a PC.

And a quick tip
is if you want to reset your viewer

while you're in your viewer,
you can press command f

and that's going to auto fit our image
based on the bounds of our viewer or

controller on a PC.

And lastly, we have

our inspector over here on the right,

and if you're familiar with the edit page
or the other pages

in Resolve, the inspector functions
pretty much the same way.

As you select
a clip, say in the edit page,

it will load that clip's properties
in the inspector.

And the same thing is true
here as we click on each node,

it's going to load
that notes properties in the inspector

For us in doing things traditionally
like setting keyframes or adjusting

parameters will feel very familiar
if we're coming from the end of page.

Okay, now
that we've looked at the interface

and we've got a good understanding
of what each zone can potentially do,

let's talk about nodes.

So what do we have here?

Right now we've got two nodes.

We got a media in Node and that's the node
that's coming from the edit page.

Again, if we click on the edit page,
we can see that's the node that we at.

That's the clip that we want to work on.

Click back to the fusion page.

This Node Media End is sending its signal.

It's our gbps
signal over to the media out node.

The media out node is what sends our image

that we've worked on back to resolve.

So anything that we want to do to change
or affect

our clip needs to happen
in between these two nodes.

Now, how do

we know if a node is connected
or or where it's going?

Well, if we look at the media in Node,

it has this little square,
this white square that is our output.

So every node will pretty
much have a white square that will be able

to output our image.

And we connected

to a yellow triangle.

That's our input image.

And if we look at it,
it kind of looks like it's an arrow.

So that's telling us the flow.

It's telling us the direction
that it's going.

We're going out from the media and node in

to the media, out node.

The next thing we might want to know is

how do we know what we're viewing
in the monitors in our viewers?

Well, if we take a look at this viewer
on the right,

right above it,
you'll see it says media outlet, one

that's letting us know that
that node is loaded in this viewer.

Now, if we go down to the media out now,
we can see

right here at the bottom,
there's these two dots.

These are our viewer dots.

The one on the right is highlighted,
letting us know that it's loading

and so forth,
sending itself to viewer, too.

So if we wanted to, we can

view the media in node in viewer one,

select the node and then just go ahead
and press the one key.

And just like that,
we've loaded that node in that viewer.

Again, we can verify that
by looking at the top of the viewer.

It says Media in one.

And if we go back to the node
in the node editor,

we can see that Now the left side,
the left dot is highlighted.

So it's telling us

it's sending its signal, it's
transmitting it to the viewer, number one.

Okay.

So that's just a quick look at how nodes
work the basics in and out of each node.

So the first thing that I want to do
is just be organized and rename my notes.

So let's do that by right
clicking on the media in Node

and going to rename.

That's going to bring up our rename tool.

I'm just going to name this

actress.

All right.

I want to add
just a simple color corrector.

So to do that,
let's go up to our node toolbar

in our color correction section.

If you leave your mouse over each icon,
it'll give you a name label

so you can find
which node that you're looking for.

When you find the color corrector.

Now just click and drag it
right into our node editor.

Now I'm hovering it over that image
pipeline that we talked about earlier,

and you might notice that now
as I hover it over there, it's changed

from yellow to yellow and blue.

When it does that,
you can go ahead and release your mouse.

So now we've connected our first node,
a color corrector node.

I can verify that by just clicking
and moving it up and down, we can see that

it is connected. If we zoom in again,

coming from an actress
node, the output from this white square

going into the yellow input, the yellow
image input of our color corrector node,

the color corrector
node is going out from this white square

into the yellow input of the media out
node.

Let's select our color corrector node.

Let's go over to the inspector
and I'm just going to make

a big color correction.

We're not
we're not going to actually use this

just so you can see what's going on here
specifically in our viewers.

So when I made that change

right away, the viewer on the right
you can see is completely change.

We can see the effects
of what we just did.

And that's

because we're looking at the media
out node, the final note in our pipeline.

So it's going to see everything
that happens before it.

Now on the viewer, on the left, viewer
number one, we don't see any changes.

And that's because don't forget,
we're looking at our actress node

and that's
happening before the color corrector.

So keep that in mind
as you're viewing things,

you might be making changes
and not seeing it in one of your viewers.

So that would probably be
the case Is the node order

and how you're selecting
and viewing each of those nodes.

In essence,
we are in a way previewing or soloing.

The actress clip or actress
node in Viewer one.

So that's why we don't see those changes.

Okay, let's
go ahead and select our color corrector.

And in the inspector, we don't want to use
this, so we're going to reset our node.

If we go to the top, right,
you'll see a little circle with an arrow,

the reset button.
Just go ahead and click on that.

And that's going to reset our whole node
for us.

And we're just going to do
a quick little color correction.

So in the range dropdown menu,
I'm going to go down to shadows

and I'm just going to kind of blue, green
the shadows and bring down the gamma

and then I'm going to go back

up there to the range dropdown
and click on Midtown and do something

very similar, bring down the gamma as well

and back to the range dropdown,

go to highlights
and I'm going to bring up the highlights

again.

We can always come back
and make tweaks or adjustments as needed

and the next thing that I want to do is
I want to add a vignette.

So to do that, we're going to use
two nodes, we're going to use a brightness

contrast node
and we're going to use a mask.

So let's go back to our color
correction section on our node toolbar.

Find the brightness contrast again,
click and drag

right over our image pipeline
after our color corrector node.

When you see it change to blue and yellow,
go ahead and release your mouse.

We can see that it's connected.

I'm moving my node around.

I can see that
it's connected in the pipeline

and let's make our changes
and adjustments.

So in the inspector,
I'm going to bring down the gain.

I'm going to bring down the gamma as well.

Great.

I also want to bring down the saturation
a little bit, but for whatever reason,

let's just pretend that I made a change
to the saturation and I don't like it.

I want to be able to reset
just that parameter you can do.

So if you've noticed,

every time we've made a change,
there's this little white reset button.

It appears
every time you make an adjustment.

So just go ahead and click on that
and that's going to reset

just that parameter for us.

We don't want to reset the whole node
and lose the changes that we've made.

We just want to reset that one parameter.

Another quick way to do that is
you can actually just double click

on the name of that parameter
and it will reset it as well.

Okay. I'm going to just bring down
the saturation a little bit.

All right.

We've added brightness contrast.

We've changed in the fact
that our image, it's not finished yet.

We have to add our mask.

We want to use a mask to control
and isolate our brightness contrast node.

So find the mask nodes in our note toolbar
and find the ellipse one.

When I leave my mouse over there,
I can see the name pops up.

I'm just going to click and drag
and bring that right into our node editor.

Now I want to view this,

so I'm going to view it in
viewer one, pressing the number one key.

And now we're viewing that mask.

Now we've added
a mask into the node editor,

but nothing's happened
and that's because it's not connected.

So just keep that in mind.

You can add as many nodes as you want

into the Node editor,
but you need to make sure

that it's actually connected so that way
it can affect the image pipeline.

So let's do that.

So far we have been

connecting our nodes with one connection
and that's this yellow triangle.

Again, our background image input.

Now there's another input.

It's this blue triangle
and that's our effects mask input.

And for the most part, pretty much
every node will have a blue mask input

and we want to connect our circle mask
or Ellipse mask to this note.

So to do that, let's drag
and drop this output of our Ellipse mask

into the blue
input of our brightness contrast mask

and right away
we can see the results in our viewer.

Now it's the wrong way and that's fine.

We can go ahead and fix and adjust that.

So let's go to the inspector and find
the invert checkbox and click on that.

That's going to invert our mask for us.

And the next thing we want to

do is put this mask in its proper place,
move it in the proper place.

We need to stop underneath
the invert checkbox.

You're going to see
these center controls X and Y.

You can just click and drag inside
of that text field and move your mask

y axis or the x axis.

Now a great way is to do it in context
on your viewer.

If you have your mouse over the center
control point,

you can see that as I hover it,
it changes to white, just click and drag.

And now you can do that
right inside of your viewer.

I'm going to put it right there.

All right.

Lastly,
we want to change the size of our mask.

So in the inspector, we can use the size
slider controls the width and height.

And the same thing is true
for our viewers.

We can use the onscreen controls
directly in the viewer

of our mask to change its size.

Perfect.

Lastly, let's just add
a little bit of feathering to our mask

and go to the soft edge parameter
and just crank it all

the way to the to the top.

Perfect.

So let's just take a look at what
we've done it zoom out just a little bit.

We've added our

our clip, our node from the edit page
that's represented by our actress note

Next, we've connected the color
corrector clip to balance out our clip.

Then we've added a brightness contrast
and given it a mask to make a vignette,

and that's sending it
signal to the media out now.

And if we go to the other page,

I'm going to use shift F four that's going
to take us right back to the edit page.

We can see all the results of our effects
right here

for us, and that's something
that's actually really special.

The ability to just click a button
and work at the speed of

your creativity is a powerful way to work.

Just like that.

We can come back,
look at our edit, make sure it's working,

make sure the playback of the other
clips around it are working as well.

So let's go back to our clip.

Shift
five will take us right back into Fusion.

All right.

Up to this
point, we've been affecting our image,

adding effects to it, but now we're ready
to do some compositing.

So we want to bring in some new clips

and composited them on top of our actress
clip.

So to do that, let's
go ahead and click on the Media

Pull tab again
at the top of our Interface toolbar.

Now, this is the same media pool.

It's available
in all the other pages in Resolve.

So all the clips that you have available
to you on the edit page or the cut page

are all available right here.

Let's find our HUD animation.

When you do, just click and drag,
bring it right

into our note Editor.

I'm going to close down the media pool.

Ah, the first thing we should do is
rename our node instead of right clicking.

This time I'm going to hit F2
and that's going to bring up the rename

tool dialog box
and let's just renamed this HUD.

Next, I want to view it in Viewer one.

So press the number one key and it's
going to load that node into viewer one.

If you're familiar
with any type of compositing application,

you'll recognize
that we've got a checkered box background

that's letting us know
that this has an alpha channel.

We can verify that by going up
to the channel selector

tool and looking at our Alpha Channel,

then yes, it does have an alpha channel
and go back to the color.

All right.

Now we want to take this layer,
if you will, this note

and composited on top of our actress.

So how would we go about doing that?

Well, we're going to go about doing that
using the merge note.

So in our composite and transform
node toolbar, find the merge node

click and that's like we've done before.

Drag it over our image pipeline
after our brightness contrast

when we see it changed to blue in yellow,
go ahead and release your mouse.

And now we've added a merged note.

Let's take a little look at that.

We're familiar
with our yellow triangle input.

That's our background image input.

We're familiar with our blue triangle
input, that's our effects mask input.

But now we have a green input
and that's our foreground input

and really think of it that way.

We want to have a foreground element,
right in this case our HUD animation,

and we want to add it on top of
or composited

on top of our background,
which is our actress.

Another way you can look at it is
think of the Yellow Triangle as track one

on the edit page and the Green Triangle
as track two on the other page.

So it's just stacking them
one on top of the other.

So let's make our first composite.

Take the output of our HUD,
this little white square and connect it

to the Green triangle
input of our merge note.

And when we do, we can now
see the effects of our composite.

We have our HUD on top of our actress.

I'm going to

zoom in or excuse me,
zoom out a little bit and move this over.

Let's repeat that process again
and add a different layer.

Go back to the media pool,
find the glass jpeg image,

and then let's just drag that right in.

I closed my media pool

with that note selected
press one, load it in viewer one,

press F2 to rename it.

And just so you know,
as I'm looking at this in the viewer,

I see our image
and it has a completely black background.

I'm assuming that
it doesn't have an alpha channel.

I'm going to verify that

just by clicking on our channel selector
and it doesn't have an alpha channel.

So just so you know, once we composited
that, it's going to completely

cover our our background image
and that's fine.

We can fix it. We can adjust it.

So let's make our composite again.

We're going to use a merge
note, click and drag emerge.

Now drag it over our image pipeline,
but it changes to blue in yellow release.

Take the output of our class note

connected to the Green Triangle
input of our merge two.

And just like we talked about now
we've composited that.

But again, it's covering up our image.

That's fine with that.

Merge note selected.

Let's go into the inspector
and under the apply mode

you'll see there's a dropdown box
that's got all the available

composite modes that you're familiar
when you've been compositing.

So we're going to use in click on screen

next,
I'm going to go to this blend parameter

right here, and that's essentially
the opacity control.

I'm just going to bring it
down just ever so slightly.

We brought our

clip in from our timeline
per actress layer.

We've added some color correction
and we've done two composites

with our HUD and with our glass.

The one thing that I did notice earlier

was that I thought that the HUD layer
had a little bit larger resolution.

So I'm going to
just load it into viewer one

and we can see that
we definitely have more information here

that's not showing up
on our final composite, and that's fine.

We can just use a transform note
to rescale it down for us.

But that brings up an interesting
question, and that's node order again,

where we connect and place our nodes
will have an impact on our final image.

So let's just take a look at what happens
if we were to add a transform node

at the very end of our know tree.

So go, just go to the node toolbar
and just find our transform node.

Just click it and drag it again right over
our image pipeline after our merge two

and when we go

to the inspector or adjusted size.

Okay, so that's not what we wanted.

This transform is actually affecting
everything that happened before it.

In this case,

it's sizing down our actress and our HUD
and our glass layer all together.

And that's that's not what we want.

So we need to think about
what's the most efficient way

to place our nodes, to insert our nodes
so that it's only affecting our HUD.

Well, first of all, let's
go ahead and delete this transform.

Now just make sure it's selected
and press your delete key.

And I'm thinking that
if we place our transform node

right after our HUD node, that
that's only going to affect our HUD notes.

So let's give that a try again.

Go ahead and grab our transform node
and then just bring it in

and connect it to our HUD pipeline.

Okay, So now it's connected.

Let's go back to our inspector
and in the size

parameter, let's resize it.

And of course, so now it's affecting
just a HUD.

So keep that in mind as you're working,
as you're adding nodes where you place

your nodes will have an impact
on the final outcome.

In this case, we only want to isolate
and transform the HUD.

So make sure that you place
the node in the right spot.

All right.

I'm going to use
the on screen controls here.

And just move this HUD over
just a little bit.

Perfect.

Let's just go ahead and add some

look effects nodes
just to kind of dial in our HUD layer.

So it just starts to feel a little bit
more like it's a part of the scene.

So to do that,

I'm going to go to the effects library

now. For the most part,
we've been adding our nodes

from the Node toolbar and again,
those are the commonly used tools

that you're going to need access
to right there in the toolbar.

But in the effects library,
it has all of the nodes available

inside of fusion, so they're broken up
for you on different categories.

For 3D blurs, you name it, take a look
at each of these different categories

for you,

each of these different categories
based on what you need for your composite.

We're going to be in the Blur category

and we're going to use the Defocus node.

But before we add that,
I want to do it a little bit differently.

So I'm going to go over here and just make
a little room by dragging these nodes up

and with my transform
node selected, just go to the Defocus

plug in and

just click on that note and watch
what happens

because we had our transform node selected
when we clicked on the Defocus node,

Fusion said, I think you want to add it
automatically and I'll connected for you.

And that's exactly what we want.

So just by having this node selected
and then clicking on the

icon in the effects library,
it'll just add it for

you and connected for you automatically

in the Defocus node in the inspector.

Let's go to the bloom level
and let's bring it down.

We don't want it to be too bright.

So what is going to bring that down

now? Not only do you have all of Fusion's
tools available for you,

but because we're inside
of DaVinci Resolve,

you also have access
to the resolve effects that you can use

in the edit page and the color page
there are now available inside of fusion.

So let's open our open effects category
and go down to the effects styles.

Now again,
remember I have my Defocus node selected,

so I'm going to go over here
and click on PRISM Blur,

and when I do, it's
just going to automatically add it for me.

Right below that is our scan lines.

Let's go ahead and just click on
scan lines as well.

Okay.

I'm going to close down the effects
library again.

I'm going to alter my my UI
and just rearrange some of these notes.

Just to make it a little bit easier
for us to look at.

We've added our defocus,

we've added a prism blur
and we've added some scan lines

with the scan lines selected.

I just want to bring up the line
frequency here

in the inspector under appearance,
you can see this line frequency.

I'm going to bring it up to somewhere
around 11 is fine,

but as we're doing that,
I'm noticing something

and that is we applied our blur
and we applied our present blur.

After that, we

applied the scan lines
and what's happening is that the scan

lines are cutting through our blur effect
and it's not feeling natural or real.

So again, make sure you're paying
attention to your note connection order.

That's very, very important.

So what we want to do
is we want to take our scan lines node

and remove it
and put it before our blurred nodes.

So let's look at how we can do that.

Now, earlier

when we had a node that we didn't want,
we selected it and deleted it.

Now there's a faster way of doing that
and that is if you hold down the shift key

and then click and drag your node,
you can instantly remove it

out of that pipeline,
keeping that pipeline intact,

but then moving that node out of it
and we want to drag it

before it connected before our Defocus.

So I'm going to rearrange
some of these notes here

again,

click and hold and drag on my scan lines
and hold the shift key down

and when I hover over it,
we can see it changes to half yellow,

half blue when it does release your mouse
and now it's connected again.

So these little tidbits like this
are great for being efficient

as you work inside of fusion.

Okay, so now I'm looking at my output
and I can see now the order is correct.

First, we're applying our scan lines,
then we're applying our defocus

and then after that
we're playing our prison blur.

And that's exactly how it should look.

But now that we've done that, I can see
my glassnode

is looking very, very sharp.

And it's not the same of the HUD
and the glass are supposed to be

on the same plane.

We need to apply those same effects that
we did earlier on the hunt onto the glass.

There's a couple of ways we can do that,
but one of the simplest ways we can

is just selecting our defocus node

and using Command C for copy
or control C If you're on a PC,

copy that, select our glass note
and then just paste it.

Command V or Control V to pace.

And we've made a copy, a duplicate
of that note, and we've just pasted it

into the pipeline for our glass node.

All the same settings,
all the same right there for us.

I'm going do the same thing
for our present blur Command C copy,

select our defocus
and then paste it right in.

So we haven't done any playback,
but we can play this back

and see all of our effects in context

as we're working.

Shift
for Will take us back to the edit page.

We can see our progress
of our effect on our clip

and we can watch it back in context,
Add some sound effects and some music.

There's a lot of power in being able
to quickly move between each page

and see your edit in context
and your visual effects in context.

All right.

Let's go back
to the Fusion page Shift five

in context.

Our actress is waking up
and an emergency is happening.

And really,
there should be some sort of warning text

or warning light that's flashing.
And that's what we want to create.

We want to be able to add a little text
that's warning her and saying something

is wrong.

So let's look at how we can do that.

To do that, first
we need to add a text node.

So let's go over here to our image
generation nodes and just click and drag

and bring our text node
into the node Editor.

I'm going to press the number one
key and load it in viewer one

so we can see its results. Again.

Nothing's happened

because we haven't connected our nodes
and we haven't written any text.

So let's go to the inspector
and let's type in warning.

All right.

So the idea is I want to be able

to connect my text node into my composite,
but essentially it's a part of the hood.

So I would like it
to have all the same effects

that we've applied to our hood
to apply to the text node.

So again, this is very important
about node order, where you place

your notes is very, very important.

So let's just for the sake of looking
at this,

add our text node, merge
our text node into our composite.

Now before we've been grabbing our merge
from our toolbar

and bringing that down
into our node editor, but this time

we're going to do it
a little different way.

Let's take the output of our text node

and connect it to
the output of our merge two.

And when we did that,

fusion is saying, well,
it looks like you want to compositor

taking the output of one node

and replacing it of the output
of another nodes.

I'm going to assume that you want me
to composite these or merge them together.

So I'm going to add emerge
to connect everything for you.

And that's exactly what we want.

As we added this, we've added

this node, this text node
to the end of our know tree,

and it's nice, crisp and sharp,
and it doesn't have those same effects

that we have on our hunt.

So we can copy and paste those nodes
like we did for the glass layer.

But then it comes into the issue
of having multiple duplicates

of these different effects nodes
and managing each one as you change one,

making sure you do it to up to the other.

So there's an efficient way,
there's a smart way to think about this.

And if we think about it, we can actually
place our text node in a way

that it just inherits all of those effects
that we've already done.

So let's go ahead and delete our merge.

We don't need that anymore

and let's take our text node

and move it over here
next to our HUD layer.

So I'm going to move this HUD
and transform node up.

And if we connect this note in Insert
at this point, it should just inherit

all of this effects that we've done.
So let's give that a try.

Take the output of our text node

and then just drag it over
the output of our transform node.

Again, Fusion
just created the merge for us

and as we can see in our viewer
and viewer to that now,

it's actually taking on the effects
that we've added to the HUD

scan lines Defocus and PRISM Blur.

So thinking about where you place
your nodes,

you can actually be smart and efficient
about how you use your nodes.

If you're familiar with using layer
based applications, this is the same thing

as doing a pre comp.

The benefit is you're not doing a compound
clipped or you're not losing access

to all your layers.

Everything is still right here available
for you to quickly access and change.

Let's just change this text
node around a little bit.

Select the text node
and in the inspector, let's go ahead

and change our font
to from bold to just regular

and let's bring up our size a little bit.

Now I'm going to move this more closer

to her, to the HUD and to her eyes.

All right.

Now, you might have noticed that
there's all these different tabs up here.

And like I said earlier,

when you click on a node,
each node is going to have a different set

amount of parameters.

And in this case, the text node has a lot
of different parameters.

For our purposes,

we want to be in the SHADINGS tab.

So let's go down to the color

and let's just change this
to somewhat of a red.

Now, you might have noticed up here
this select elements.

So you've got different shading elements
up to eight and essentially

that allows you to do things like drop
shadows or glows or blurs or outlines.

So what we can do is we can select
shading element number two

that's going to give us a red outline.

Now, this name here,
this is a custom name.

We can change this to whatever we want,

like orange glow, for example.

Now nothing has happened because we need
activate it, we need to enable it.

So click the enabled checkbox.

And now you can see, like in viewer
one, I'm

going to go ahead and zoom in on viewer
one command scroll wheel to see this.

It's changes.

Now you can see we've added this outline.

Let me use the color just for example.

We can see it being changed
as we're changing the color and we can

change the thickness, go through in it,
just adjust different parameters.

But for our purposes,
I'm just going to make it this

semi orange and red color.

Okay, Let's go to the softness

and let's increase the softness on the X

and on the Y,

maybe even give it a little bit of a glow.

Perfect.

So we've added our text, we've inserted it

in between the HUD and the effects for it.

Now we've got this warning
sign happening in front of our actress.

If we play back, we can see, well, it's
just static, so we really would need it

to be flashing on and off
or coming on and off, letting her know,

getting her attention.

So we're going to do that
by using the merge note.

And if I just scrub the blend parameter
again, it's also the opacity parameter.

If I just scrub that back and forth,
you can see that's kind of the effect

that we want to do.

So let's go ahead and look at

how we can animate this in order
to get it to flash on and off.

I'm going to hit the command left arrow
and that's going to take me back

to the beginning of my clip.

You can also hit command right arrow
and that'll take you to the end.

In this case, we want to start our
animation at the beginning of our clip.

So command left
over to go at the beginning.

And if you're familiar
with using the inspector

on the edit page, then it's very similar
to here in the fusion page

to the right of our parameter.

You might have seen these little white
diamonds, and that's our keyframe button.

Now with our planet

in the right frame that we want to be on
and with our blend parameter,

we can just click on that checkbox
and that's going to activate a keyframe.

We can see it's changed to orange.

Now we know we've added a keyframe also,
you can tell on the note editor

on the Merge
three that there's an icon for a keyframe

that's letting us know that
that node also has keyframes.

Okay, let's take down our blend
all the way down to zero.

I want to

move forward ten frames
so that way I can set my new keyframe.

Now I'm going to do it
a little bit different.

I'm going to go to the text

text field here of our timeline ruler.

It's right here on the right side,
the bottom right below the timeline.

Ruler Just change this from 12 to 2.

I'm going to manually type that in

and when I hit enter, that's
just going to move my play head forward.

Ten frames Exactly.

We're going to frame 22

now in the blend parameter.

I'm going to click
and drag that back to one.

And as you can see, it
automatically gave us a keyframe

because we had one set previously.

So when we made an adjustment,
it just set a keyframe right away for us.

Let's do the same thing
again. Let's move forward

ten more frames.

I'm going to change that
and manually change it from 22 to 32.

We just move forward again, ten frames
and I'm going to drag

this parameter of the blend
right back down to zero.

So essentially we've animated

our warning, like to come on and off.

So let's take a look at that command Left
Arrow takes us to the beginning,

hit the spacebar and there we go.

It's pretty much
just like we talked about.

I'm going to just drag this

auto render range, bar it right over here

just so we can play this back.

Okay. That's not bad.

That's getting us where we need to be.

But really, it would be great
if we had our warning sign.

Come on. More like a flash, right?

Just hard coming on
instead of a soft transition from linear,

you know, from 0 to 1
and back down to zero.

So how would we go about just making those
keyframes that we've set, making them?

Come on, pop on.

We can do that
if we use the spline editor.

So up here in the interface toolbar,

you might see our supply chain editor
Go ahead and click on that.

I'm going to stop playback as well.

I'm going to

put my play head right here
in the Time Ruler on the center

Keyframe at Frame 22.

And if we take a look at the spline
editor,

it's pretty much broken up
into two sections.

We have a section on the left,
which is anything

that's got a keyframe on any type of note
that's got a keyframe

will be available to us
right here on this side.

And on the right is our graph.

So what we do is we activate
or turn on our effect.

And in this case we animated the blend.

And when we click that checkbox, now
that keyframe of those lines are available

for us to look at and manipulate
right here in this flying graph.

Editor And don't forget, you can also do
the same navigational tools

that we used earlier to move around
pressing the middle mouse button to move

this blind editor holding down the command
or the control key

and using the scroll wheel
to zoom in and out.

All work
right here inside of the spline editor.

As I move the play head around,
you can see that we're animating

linearly from 0 to 1 over time
and then back to zero.

What we want to do is we want to be able
to find a way to hold our key frames

so that way our image pops on
and then turns off on and off.

And we can do that
if we select all of these key frames,

just drag a selection box
right around these key frames.

And at the bottom of this spline editor,

you might have noticed
all these different icons.

These are spline, editable icons
that allow us to manipulate

and change our spines
and our keyframes for different values.

Now, the one thing that
we want, we want the step in

icons.

So once you put your mouse over the step
in icon, go ahead and click on that

and you can see visually the change
that has happened to that spline.

Now it's no longer gradually
moving over time to each keyframe.

It's now got a hard hold keyframe,
so it's going to pop on and off.

So let's take a look at that.

I'm going to hit my spacebar and
we can see that's exactly what it's doing.

Now. Warning is just popping on
and popping off.

Okay, that's looking better.

The next thing that we need to do,
though, is we need to essentially add

keyframes to have this effect happen
repeatedly over time

until the end of the clip
so we could copy and paste keyframes

or just manually go through and animate
like we did.

But again, we want to work dynamically.

We want to be able to work in a way
that allows us to use

the least amount of keyframes
but give us the most impact.

So we're going to do that again

by selecting all of our keyframes
like we did before.

And again at the bottom here, let's

find the set loop icon.

It's the icon
with two little squiggly lines.

Once you find that,
go ahead and click on that icon.

And right away, you can see now
we have this sort of dotted line pattern

that's mimicking our keyframes,
our original three keyframes that we set.

And this is a great way to work

and build

animations
just based off of three keyframes.

So I'm going to open up my

auto render range back this way
so we can see the full effect

and hit spacebar.

So again, just by making three keyframes,
now we've animated that over

entire length of the clip, doing that
same process over and over again.

And to take it even a step further,
what we can do is we can actually

select our keyframes and use this
icon down here that's called Shape Box.

If we click it, it's going to make a shape

box around those keyframes
that we can use to work those keyframes.

Or in our case, we want to be able
to compress the timing of our keyframe.

So just by dragging the shape box,
we can actually compress the timing.

But in doing so,
it's dynamically updating our loop and

now it's animating on and off much faster.

So again, thinking and in a way
that we can animate dynamically,

so we can do complex things,
but in a simple way.

Okay, that is looking pretty good.

I'm going to close down my spine.

Editor

and zoom out a little bit
just so we can see

all of our know tree structure.

The last thing that I want to talk about

is just furthering
this idea of dynamic animation.

And could we take that further?

And we can.

Well, it would be nice

if maybe as this warning light
is popping on and off on our actress, that

we could have a little bit of a light glow
appearing on her face.

So we're going to do that,
but we're going to do that without adding

any more keyframes than we already have.

So let's go back to the
beginning of our know tree,

and I'm
just going to move these two keyframes

excuse me, move these two nodes over
just to create a little bit of space.

And let's zoom in a little bit.

Essentially, I'm going to create this

lighting effect
by using another color corrector now.

So with my color corrector node selected,

I don't want to use the toolbar,
I don't want to use the effects library.

I want to do this in a much faster way.

And there is we can use shift spacebar

and that's going to bring up our select
tool dialog box.

As you get to know

each and every of the notes
that are available to you,

you can now just bring up this dialog box
and type in its name and quickly be able

to find access and add a note to your
to your notary very, very quickly.

So in this case, I'm just gonna type c, C

and that's going to find and select
my color corrector note.

And when I hit enter just like that,
it's added it straight away

after the note that I had selected.

And so one thing I want you to be aware of

is as you're building your notes,
we can add as many notes as we need.

But in this case,
if I had to send this to someone else

or maybe even myself come back later,
I might see color corrector one

and color corrector two and maybe I forget
which note is doing which.

So it's important that we take the time
to label these notes.

In this case, I'm going to select
both of those notes together and then like

we've done before, I'm going to hit F2
to bring up the rename tool.

It's brought up color corrector one
I'm going to type

in base underscore CC

and when I hit enter it's
going to bring up the rename tool again.

So because I had both of those notes
selected at once

when I hit the rename tool, it's going
to automatically bring up the rename tool

for me,
essentially renaming my nodes in bulk.

So let's go ahead and rename this

red line underscore CC.

All right, so let's select
our red light color corrector node

and let's go over to the inspector
and just change it

towards red.

And that's that can work
for the most part.

We want to be able to isolate it again
like we did before

on the brightness contrast node.

So we're going to do that
same procedure of adding a ellipse node

and controlling our color correction node.

But we're going to

use the new way of adding a note
and that is shift spacebar right away.

Just typing in ellipse
hitting enter and very,

very quickly you can see how now
because we know our nodes

we can add to tools
and we can add nodes very, very fast.

Okay.

We've added our lives
node going to use the on screen controls,

adjust the node into position
where I think it should fit best

right around there is good.

Now normally I would just go ahead
and soften the edge right away,

but I want to leave this as a hard edge
for now, just so we can see our effect.

And then once we're done,
we'll come back and soften that up.

Okay, So earlier
I said we're going to animate this effect

without adding any key frames,

and we're going to do that
by using what fusion calls modifiers.

Now, a modifier is a really cool way
of being able to link to different

parameters, even across different nodes
to drive animation dynamically.

So let's look at how we can do that

in the inspector
under the strength parameter.

Essentially, if I just click and drag
in the text field,

I'm just rough animating this myself,
but that's the effect that we want

and we want to do that same effect
of turning our strength parameter

on and off
based on the same timing of our keyframes.

We set for our warning light.

So if we

just right click on the strength parameter

and we go down to modify with, there's
a lot of different options for us to use.

But in our case
we want to use the probe modifier.

So let's click on the probe modifier.

Well, what happened?

We click on the probe modifier.

Our effect went away
and really nothing else happened.

Well, you can verify that
we've added the probe modifier

by seeing our checkbox here
next to our color wheel has turned orange

and also our node in the node editor
now has a keyframe icon.

So we know,
we know that we've added something.

If we go to their inspector at the very,
very top of the inspector,

you'll see that there's a tool tab
and a modifiers tab.

Now up to this point

that Modifiers tab has been grayed out

because we didn't
have any modifiers in there.

But now that we've added one, we can click
in that tab and see our modifiers.

So let's go ahead and click on that tab.

And there you go.

We can see our probe modifier

and essentially what is a probe modifier?

Well, a probe modifier is a way to inspect
or probe another image

and use that image data to drive

the effects of another parameter.

So we've added a probe modifier.

Now we need to tell it
which node or which image to look at.

There's nothing to look at.

We can verify that by looking at the image
to probe in this little text field.

It's empty, so there's nothing there.

We have to tell that
with the tell that probe modifier.

Hey, I want you to
look at the specific note,

so let's go over to our merge three.

This is where we have our animation
for our text animation.

Now let's just click and drag
and keep dragging

and going all the way into the
probe modifier dialog box.

I know it might seem a little weird

to be able to drag a note all the way
from the node editor into the inspector,

but just go all the way and let go
and you'll see it.

Now it says Merge three.

So now we're now
we've connected our probe to emerge.

But again, nothing is happening
and that's because

we have to now move our center control
for our probe, right?

We added a probe modifier.

The probe actually has a probe
which is this center position.

And when we move this over our text,
we can see that now it gets activated.

Now we can pull this image
and I'm just going to use my viewer one.

And you can see here
as I move this probe over the text.

Now, when we hit play,

the animation of our text layer

is now driving the strength parameter
of our color corrector.

So now this animation is happening
in sync together, just like that.

And again, just using our original
three key frames, thinking dynamically

and creating complex
things in a simple way.

Remember we talked about our Ellipse mask.

We're going to go back right now
and change that to a soft edge.

So select your ellipse mask
and then go back to the inspector.

And then let's just soften this up.

I'm going to deselect everything

in the note editor and you can see that
we're playing our clip.

Our text animation is coming on and off,
and our cool

little lighting effect is in sync
with an animation just like that.

Let's just take a zoom out

and look at everything that we've done.

We've
added our actress from our edit page.

We've given ourselves
some color correction, a vignette

we've gone through and actually

composited two different layers,

our glass layer in our HUD layer.

And lastly, we added a cool
little lighting effect using a modifier.

So as you can see here, a lot of times
we start to add a bunch of nodes

as we're building and as we're creating
and it's going to be good

if you know that there's a couple of ways
that we can organize our node editor

and keep things a little bit cleaner
and easier to come back to later.

So let's take look at that.

If I just select these nodes here,
which is all the nodes associated

with my last layer,

I'm just going to move them
over a little bit and give a little room.

But if I select all of these, I'm

going to use our keyboard
shortcut of shift spacebar.

Bring up our select Tool dialog box, and
I'm going to add what's called an underlay

in just like that.

And Underlay is a great way
to group some nodes together,

but we're not collapsing them.

We're not compound clipping them.

They're all still available
for us to look at and work on.

But what the cool thing is that it
actually is

as if it was a group
so we can move this underlay around

and all of our nodes associated inside of
that underlay will move with it.

So let's go ahead and rename it
and give it its own color.

I'm going to deselect by clicking
in the Node editor and then option click

on the underline hit F2
and then let's just name this

class effects

and then let's just right click
right there on the name

and go down to set color
and give it a color of pink

and let's move down our

node tree here
and just do the same process.

Select these nodes all associated
with the HUD layer shift spacebar.

Again, type in underlay

and I'm going to adjust

the size parameter of our underlay
de selected

by clicking out into the node editor
and then just option clicking on the name

hitting F2 and let's rename it

HUD underscore effects.

We can right click again on its name

and go to set color and let's give it
navy blue.

And I'm just going to highlight
these two nodes,

bring them over shift spacebar
type in underlay.

And to be honest,
I'm not even typing the full word.

If you notice, I'm just typing
new and infusions automatically trying

to find a node that you're thinking of
and giving you options.

So Underlay is right there. Hit enter.

I'm going to adjust the
size of this, bringing it up

D selecting it

option click F2

and I'm just going to say

source

and we can change its color as well.

So right away we can start to visually see
what's happening here.

We're grouping our nodes based
on the type of effect that it's happening.

So if I were to pass this comp
on to another person,

they can quickly be able to look
at my node structure and get a sense

right away what's happening
and where I've place things.

But even a more important thing is
if you know that we're zoomed in on, let's

say a couple of notes here, we're working,
we want to be able to move around.

We can use our auto navigation tool
that pops up right here,

but we can also use our underlings
as as bookmarks, if you will.

So in this little three dot menu here
of our node editor, if you click on it,

you'll see that

all of our underlings are now available
for us as essentially bookmarks.

So we can just click on these
and quickly jump to each one as needed.

A pretty

cool little way of staying organized

as well as that we can right click

anywhere in our node editor.

And there's a lot of different ways

of organizing and setting up our nodes
that you have the option to use.

So for example, force source
tile pictures,

that's
just going to make all of our source

images, like, for example,
our HUD and our glass effects,

our text layers, etc.,

large tiles.

So it makes it easier.

So little things like this
to help yourself

stay organized
and be able to navigate around

in your node
editor are very, very helpful.

So definitely explore by clicking
and looking at ways to arrange your tools,

lining everything up to a grid, etc..

Okay, don't forget shift for the power
of just one keystroke going back and forth

between editorial and motion
graphics and visual effects right here.

In context of your edit,
I hope that you can see the power

in being able to move quickly
between each of these pages.

Seeing your visual effects

in context of your editor
really is a powerful, powerful feature

that's going to help you work faster
and actually be more creative.

So I really hope that
what we've seen today makes sense

and that you can actually start to build
your own composites and visual effects.

Don't
forget to go to Blackmagic Design Dotcom.

Take a look at all the different training
materials, download the lessons plans and

find ways that you can become certified
in each of the pages for results.

If you have any questions, don't
forget to go to the Black Magic forums

to find out any questions
that you might have.

Thanks for watching the day.

Take what you've
learned and make it better.