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

Hi, my name is Tony.

And today we're going to take a look
at creating some 3D motion graphics

using fusion inside of DaVinci Resolve.

Now I'm going to assume
that you have a good understanding

of the basic layout of fusion,
how to use nodes, how they work,

and how to set some keyframes
and do some basic animation.

If you need to go back
and watch the intro to Fusion

on the Blackmagic design dot com website.

Okay,
so let's take a look at what we have.

I'm going to go ahead and load up
the Fusion 17 Lesson

Part three.

Now, for the most part,
when we have been accessing fusion

inside of resolver, we've been doing it
through the edit page and we put our play

head over the clip that we want to work on
and then step right into fusion.

But there might be some situations
where you don't need

to have access to an edit page.

You just want to go straight into fusion
and you can do that.

We can actually go and create

our own fusion composition

by right clicking
right inside of our bend.

So let's do that and then go to new fusion
composition.

Let's go ahead and just give this a name

and I'm good with the duration

and I'm good at the frame rate,
so I'm going to go ahead and press enter.

Now, before we jump into fusion,
let's just take a quick

look at what we're going to be creating.

So we have this 3D globe
and we have some 3D text.

We've given it some light
and it's finishes off with these little

3D bars coming together
and closing out our frame.

So again, we're going to take a look
at Fusion's 3D environment.

Now it's a real 3D environment,
not a 2.5 D environment.

So we're going to have access to things
like 3D objects, cameras, lights, etc.

So let's go ahead and double click
on our breaking news fusion composition

and jump right in.

All right.

We're inside of fusion.

Now, one thing you might notice
is that we do not have a media in Node

that's coming from the timeline
on the end of page.

Remember, we started directly
from the bean inside of resolve.

So this is a clean composition
ready for us to get going.

Let's go ahead and go to our 3D globe bin.

And when you find the Earth dot tiff,
let's just drag that in

now, close down my media pool.

Now, remember, the first thing we want
to do is be organized.

So let's go ahead and rename

our node

and let's go ahead

and view it in viewer one
by pressing the number one key.

All right.

So we can see that we have an image here
of the earth and it has some transparency.

I want to take this image
and I want to bring it into 3D.

How would we do that?

Well, it's actually pretty simple.

Let's go to our node toolbar

and hover your mouse over
each of these icons.

And when you find the shape
3D, let's go ahead and bring that in

to our node editor.

All right.

I'm going to load this shape
3D into viewer number two.

And just like that, by loading that node

straight into that viewer,
we have access to Fusion's 3D environment.

We don't have to turn any 3D on,
just load the node right into the viewer.

And now we are inside
of the 3D environment.

Real quick before we get into
how do we move around in there,

I just want to connect our Earth image,
our 2D image,

and just drag it on to our shape 3D.

And as you can see right away
now, we're using our 2D image

on top of our Shape 3D

image plane right inside of fusion.

So it's going to be very important that
we figure out how to navigate in here.

As we animate, as we add objects,

we're going to want to make sure that
everything that we're doing is lining up.

Exactly.

So being able to navigate in orbit
around inside of our 3D

environment
is going to become pretty crucial.

And don't forget to make sure

that you have a three button mouse
that that's going to really help

as we're navigating around.

So if you remember,
we use the middle button mouse

to move our 2D image around,

just like we do in the node editor
and in the viewer.

And the same is true
inside of our 3D view.

We can use the middle mouse button
to move around.

Now, if you want to zoom again,
command, scroll, wheel

or control on
a PC, we can zoom in and out.

And another way to

navigate is to orbit around in 3D space.

And we can do that with the alt in middle
mouse button.

So I'm holding down my alt

and then I'm using my middle mouse
button to orbit around in 3D.

Now I'm going to just kind of go
a little bit crazy and move this around

and let's just pretend
that something happened

and I've lost my view
and I can't find my way back.

Well, that's fine.

We can definitely reset our view
if we go down here to the left,

bottom left of our viewer,
there's this little perspective

text with some 3D access points.

Go ahead and right click on that
and we can go

all the way down to Settings
and click on Reset Default.

That's just going to bring us right back
to our original position in 3D space.

Just a reminder, we're moving around

and we're orbiting, but we're not actually
changing any 3D objects.

This is just the perspective
view of our 3D scene.

You might

have noticed
inside of this perspective menu down here

that there was other options
for viewing different viewpoints.

So we can view the front,
we can view the top and etc.

and go back to the perspective, view.

Now, along with these controls down here,

there's other controls up
top on our viewer.

We have to move orbit and scaling
controls.

We also have the ability
to turn on some lighting.

If we click on this, this is just going to
give us a simulated lighting.

It's not going to actually add
any lights to your 3D scene.

But as you'll see later on, we're going
to need to be able to simulate some lights

just so we can tell the dimensions
of our objects and make sure that we're

creating them properly.

So I'm going to turn that off
and just go with a flat look. For now,

another important

button is this quad view button.

So let's go ahead and press that.

And now that's presented us

with four different views
right inside of our single viewer.

And we can see our top front right
and perspective.

And we're going to need this again

as we're creating
and adding a lot of objects in 3D space.

We're going to want to make sure
that everything that we bring in

is going to be in exactly
the same place that we want it to be.

So let's take a look.

We want to take our 2D image

and we want to wrap it around a sphere
so it looks more like a globe.

And I'm going to make sure
that I have my shape 3D node selected

in the inspector under shape.

Let's just change that from plane
to sphere

and right away
we can see that it's now a sphere.

I just want to do a couple of changes
real quick.

I'm going to bring down the size
something like

right around there.

I think that should work.

And I also want to bring up
the subdivisions, the base and the height

that's just going to make sure
that our services are going to be nice

and smooth around our sphere.

Let me just zoom in again.

Command or control using my scroll wheel.

Great.

So now that we have our globe,
I want to give it a little bit

more of a hard surface.

I'm going to add a chord to it.

So let's just duplicate art shape 3D Node,

Command C or Control C on a PC.

I'm going to D select and then just
command V to paste or control.

B to paste.

Again, we want to make sure
that we're staying organized,

So I'm going to start to
label these for us, Shape 3D

F two and let's name this

Earth

sphere

and the one that we pasted.

Let's go ahead and rename that one to

core.

Okay.

Now if we remember coming
from the 2D side of our compositing,

when we want to composite two elements
together, we used the merge note

foreground over background
and it's a similar process inside of 3D.

Except for that the merge 3D, you can add
as many different elements or objects

as you want to each merge, 3D

essentially becomes
its own 3D environment, if you will.

So let's go ahead and add Emerge 3D.

I'm going to bring it
from our node toolbar

and bring it right into my note editor.

And now I'm just going to connect
each of these together.

Okay, We've connected our scene,
but we're not seeing anything.

And that's

because we have to remember that we're
viewing the proper node in the viewer.

So with my merged 3D node selected,

I'm going to press one to view it
in viewer one,

and I'm going to press two to view it
in viewer two.

Because our viewers are independent,
we can load the same node

in both viewers at the same time.

We have our core.

I'm going to select that
and let's make some changes

to make it look a little bit better.

Let's decrease its radius

and let's go over to its materials

tab and change the color

to like a dark blue,
something right around there,

middle and darker.

Okay,
I'm going to go to the specular values

and I'm just going
to bring down its intensity.

All right. Not bad.

This is pretty cool.

So let's
go ahead and select our Earth sphere

and make sure that our planet
is at the beginning of our column.

And let's go over to the

transform controls of our Earth sphere.

And what I would want to do is
I want to animate

the Y rotation.

So let me put it into position.

I'm going to adjust this, bring it down,

and I'm
just going to find my starting point.

I think that's good right about there.

I'm going to set a keyframe
using the white diamond checkmark.

It's changed orange.

So now I know
there's a keyframe set on that frame.

I'm going to go to the end of our comp
and I'm

just going to use this slider

and move our globe like that.

Okay, Let's play this back.

Perfect.

We have our 3D globe now rotating
across the whole length of our clip.

It'd be really cool if we could maybe add
some streaks orbiting around our globe.

So to do that, I'm
going to bring in another material.

Let's go back to our media pool
and find these streaks.

Dot D and let's just click and
drag and bring that right in

and close my media pool.

One thing you might notice is
that we can bring

Photoshop
files directly into our Node editor,

and if you want in the inspector,
you can come over to the layer tab here

and select any specific layer
you want inside of that document.

Now, for our purposes,

we're fine using the merged view,
so we're going to stick with that.

I'm going to stop playback
and I'm going to load our streaks

into viewer one.

So I want to take our streaks
in like we did with the Earth.

I want to wrap it around our sphere,
our globe.

So I'm going to select our core.

I'm going to copy it when it click
in the note editor to deselect and paste.

Again, let's quickly rename this.

All right?

And let's
go ahead and connect it to our Merge 3D.

And let's go ahead and connect

our streaks to our streak sphere.

Okay.

You might have seen a little bit of change
happening in there and on the viewer

on the left, viewer number one, we see
our streaks are yellow in on the viewer,

on the right, they look pretty dark.

So just remember that since we copied
and pasted our core

that it has that material of blue.

So let's go back and reset that to white.

And when we do now we can see that

the sphere is using
the image values from our 2D image.

Let's just change the size of this.

Go back to the controls tab
and under the radius.

Let's just bring it up a little bit.

That's a little too much. There we go.

Right there.

Should be fine.

Okay.

Next thing, it would be nice
if our streaks were orbiting or rotating

around our sphere and we can do that
a couple of different ways.

The way that I want to do that and show
you is using the 2D side of animation.

So we're going to go ahead and animate
our streaks in 2D

and then let that dynamic flow
into our 3D object.

So let's go ahead and

move our streaks back a little bit.

If you remember, we can bring up tools
and add nodes by using shift spacebar.

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

And I'm just going to type in

Transform.

All right.

In my viewer, I'm just going to
bring this down a little bit.

Make sure that you're looking

at the transform node in viewer one.

And ideally,
we want to animate the position

of our streaks, and by doing that,

it will start to rotate around our sphere.

So I'm just going to move this
all the way over,

right, tilt out of side.

And then with my play
hat at the beginning of our comp,

let's go over to our inspector
and click on the white diamond

next to the center parameter,
setting ourselves a keyframe.

And then let's go to the end of our comp
and then move

our streaks right back into frame.

And if we play, then more

we can look in our quad view
and see how it's

being animated around the globe.

So not bad.

I think that's pretty good.

It's kind of starts
out of the middle of nowhere

and there's a side of the globe
that's just pretty much empty.

So what we can do is still
with our transform one node selected,

we come over here in the inspector
and you see this edge is parameter,

just change it from canvas to wrap.

And now that's going to give
ourselves a wrapping effect

which has our streaks

all the way around a globe.

That's pretty cool.

All right,
let me just adjust my UI real quick.

Besides renaming our nodes,

we want to make sure that we're staying
organized inside of our Node editor

and organizing our nodes in a way
that makes sense that we can quickly

visually see each section apart.

No tree.

So I'm just going to take my earth

and my streaks drag it out here.

I'm going to select all the nodes

that have to deal
with building our 3D globe,

and I'm going to shift spacebar
to bring up our select tool

dialog box and type in underlay,

going to D select it
and then option click F two to name it.

That's called this Globe

and then right click

and let's change its color to purple.

That way we have all of our nodes
associated with our globe contained

together.

Okay, let's do the same thing

for our earth and strength.

Essentially, these are our materials
for our 3D objects.

So we want to group these
in the same manner.

Shift spacebar type in underlay hit enter

D Select option click F two to name it

and let's type this materials

and then I'm going to right

click and change its color as well

to Navi.

Okay.

As you saw in the demonstration earlier,

we had some text
that was kind of flying around a globe.

So the next thing we want to do

is add some 3D text
and then give it some animation.

Now we could just add

the 3D text directly to this, merge 3D
and essentially build

all of our elements out of one merge 3D,
but it might get a little cumbersome,

so it'd be ideal
if we could just create another merge 3D

and then connect them together.

That way we can work on one separately,

but yet still have the outcome
of everything put together in one.

So let's go ahead and do that.

I'm going to add another Merge 3D again
from my toolbar.

Bring it right
in, take the output of our merged

from our globe
and connect it to our new Merge 3D.

Let's view this in each of our viewers,

so press one and press two.

Now let's go ahead and find our 3D text

again in our node toolbar
and just click and drag it right in

and connect it to our new Merge 3D.

Okay, let's go ahead in the text field box

in the inspector and type in our text

breaking news.

As we're typing,

we can see it appear in each of our views.

Again, having that Quan view is great
because now we can dial

in exactly where it needs to be.

So let's change a couple of parameters.

Let's change the line spacing

and let's go ahead and change our font

from bold to extra bold italic.

Next, we need to change down to size.

Let's bring it down again.

I'm watching and each of the viewers
seeing its size ratio

to our globe

using our current view.

I'm going to go ahead and grab

this layer's

access points
by just grabbing this blue Z access point.

And now I can see I'm
just moving our text forward in 3D space

and then I'm going to

grab this green access point
and that is our Y access control.

I just going to move that up and down

right about there. That's pretty good.

Okay, I'm going to select my 3D text node
and view that in viewer one.

And let's
just put this in a better position.

Zoom in a little bit
because now we're ready to do

some 3D extrusion

in the inspector.

If you go down
to the bottom of the screen,

you'll see this little extrusion panel.

Just go ahead and open that.

And now let's just drag our extrusion
depth out a little bit.

Okay.

So if you remember earlier,
we were talking about that lightning

button up here at the top of our viewer
and that we were in a flat view

right now, as you can see, it's

a little bit hard to tell
what's going on with our 3D text.

So if we click this button, it's
going to give us a simulated light effect.

So now we can kind of see exactly
what's going on with our text

and how to make our extrusion work
better for us.

I think I'm going to make the extrusion
just a little bit bigger

and then let's zoom in a little bit more
and we can start to add a bevel.

So let's go to our bevel depth and just
bring that up maybe right around there.

And the same thing for our bevel width.

It's going to bring it down

just a little bit.

That's good.

Just giving it a nice little edge.

So we've added that.

Let's actually change its color

in the 2D side of the text.

If you look at it,
the shading used a single shading elements

one through eight.
It's a little bit different.

We're thinking of it
more as materials inside of 3D.

So let's go ahead and deselect

this checkbox for use one material
and now we can change

the color of our fonts
and let's just change it to a dark red.

Just clicking in this color dialog box
and changing it to a dark red.

Again, I want to go down to the specular
intensity and just bring this down

about halfway.

Okay,

Not bad.

Looking pretty good.

Now to me,

this color is nice, It's
clean, it's sharp.

I want to give it
just a little bit of break up

so we can actually add a texture
to this material

by going to this type field
and changing it from solid to image.

And when we do that now, we have an option

to connect an image directly to that.

So I'm going to go back to the media pool
and I'm just going to grab this

moon image, bring it right in

close down the media pool.

And I just want to change
the name of this, call it

texture.

You can use any image that you want
that has the appropriate texture.

In this case,
I'm going to use this moon image

and then just drag it over
connected to my 3D text.

And when you do, you can see that now
it's affecting our 3D text.

The luminance value of that texture image
is affecting our 3D text.

And for me it's

just giving a nice little break up
so it doesn't look completely clean.

Now there's a couple of things
that you can do just creatively.

You can actually add a brightness contrast
note to this and start to affect it

in a lot of other ways.

Like, for example, I'm just going to

really start to crack down

on this and you can see how it's
changing on the 3D text.

So you can get interesting results
by even animating in 2D

and bringing that in as a texture
on your 3D layers.

But for right now
I'm good with the standard texture,

so I'm going to delete that

brightness contrast note

That's looking pretty good.

All right.

So as we can see in Viewer two,

we can see our top view that the text is
pretty much straight and flat.

It'd be nice if we could bend
or warp the text so it feels like it's

coming around the globe and we can do that
by adding a node called the vendor node.

So let's go ahead and select
our 3D text, shift spacebar

and type in Bender hit enter.

Now, the

Bender note is very interesting
because it allows you to warp

and bend your objects in 3D space,

but we need to do a couple of things
first, and I give you an example.

If we just start bending this, it's
going to start to really twist

and warp
and press one to load that in V or one.

As you can see, it's just
kind of giving it some crazy adjustments.

So if we go ahead and first click on group
objects, it's going to treat it

as one objects
and not as individual letters.

And let's change the angle to about 90

and let's change our access to X from Y.

And now when we bend, you can see that

it's actually starting
to go around our globe.

Now I want to make

sure that this is going to be visible
and that's not too warped.

So let's just bring this back
just a little bit.

We definitely want to make sure
that it's viewable

or something like that is good.

So next

it'd be great if we can start to animate
that around the globe.

So if we click on the 3D text
and we go to the layout tab,

there's a rotation option
there for our y axis.

We can change that.

But as you can see, I'm moving it and it's

the pivot point is right on the text
and that's not what we want.

So what else could we do?

Maybe the transform node.

Let's try this one.

Well, this is kind of cool, actually.

Maybe we can animate this as well,
but that's not what I want either.

Again, thinking
about Node and thinking about node order.

If we stack our nodes accordingly,
we can get really interesting results.

In this case,
everything that we've been doing

is to the center origin
point of our 3D environment.

So we really have been
moving things around.

So if we add a transform
3D node, it'll actually be at the center

of our 3D globe, which will allow us
to rotate our text right around.

Let me demonstrate that my vendor node
selected shift spacebar

type in transform
when I use my arrow keys to go down

to the Transform 3D note
and then press enter

and you can see it now.

It's been applied
to the center of our 3D globe.

When we move our y axis,

it's now moving all of our text

around our globe.

I'm going to load
our Merge 3D in viewer one

just so we can see that as well.

So let me move this into position.

I think I want it to start
right around here.

Make sure our play head
is at the beginning of our comp

and let's set a keyframe for our
Y rotation

on our transform 3D note.

And then let's go to about Frame 20

and let's move our Y rotation

somewhere right?

Right around here

I'm clicking in the text dialog box
to get a little bit finer control.

That way
my movements are a little bit smoother.

Okay, so that's where I wanted to land.

It's coming from around the globe
and I want it to land here at Frame 20.

Let's go to the end of our comp

and then let's continue

dragging this over
till it's right about there.

Again, it's important
that even though we're animating,

we want to be able to see it.
So we can read it.

But just it just giving us a little bit
of movement to keep things in action.

All right.

Let's play this back.

Okay.

It's looking pretty good.

Remember that 3D text that we did earlier
that we saw the rotation of the letters?

I kind of like that.

Let's go back to our 3D text
real quick and let's go to our hero

frame of Frame 20.

We're in a transform.

Let's just move our text.

Yeah, I think I like this.

Let's reset it and let's set a key
frame right here.

Frame 20,
Let's go to the beginning of our comp

and we're going to move

or animate this y rotation.

Again, I'm looking at all
the different views to see

how these text are moving and making sure
that it's in the right spot that I want.

So I think this is right
about where it should be.

Let's play this back.

Okay, The playback is pretty long,
so I'm going to adjust my auto

render range so we can focus
just on the area that we want to use.

So holding down the command key, clicking
and dragging inside of our time ruler.

Now we've just isolate our playback
just to this moment,

okay?

This is looking pretty good now.

It would be great
if we could add a 3D camera to this

so we can complete our motion
coming from out of the globe

and revealing everything at once.

So let's do that right now

is going to

move my note Ed around again,
come up to the node toolbar,

just bring in a camera 3D
and connect it to our Merge 3D.

If you've seen here.

Now, once we connected that camera again,
it pops up

at the center point of our 3D environment.

So I'm going to grab its Z-Axis
arrow point

and just move this back.

So as I'm moving the camera,
as you can see,

we can't really tell what it's seeing.

So it would be nice
if we could see the view of the camera

so we know how far back
we need to move it.

And we can do that.

If you come back here to our viewer
number one

down here at the bottom, right,
there's our perspective view.

Lets right click on that.

And because we have a camera added,
we can now just click directly

on our 3D camera.

And when we do so, now
we're seeing exactly what the camera sees.

So when we move it,
we can know exactly what we're looking at.

Let me just zoom out of this view

and I'm going to move this

camera back right about here.

Yeah, I think that's a good spot.

So let's call this our hero frame.

Now, as we move our camera back,
we can actually see what it's seeing

and get a better view
of where we want to stomp our camera.

I want to find our hero frame.

And I think that's right about here.

That looks pretty good.

Okay,
now we're ready to animate our camera.

So let's go to the inspector
and just right

click on this translation group
and say animate translation group.

That's just going to put a keyframe
on our X, Y and Z axis all at one time.

And I'm going do the same thing
for the rotation as well.

Right click animate rotate group.

So this is

our hero frame, right about frame 18.

Let's go to the beginning of our comp

and we're going to just move our camera

forward

just like that.

And let's bring it down just a little bit

and then let's animate its x axis

right around there
and let's also give it a little rotation

on the Z axis,

and then let's just change our exposition

and zoom in a little bit more

somewhere right around here.

And let's see what that does.

Okay,

that's working.

Now, let's finish this off
by going to the end of our comp

and adding a slow
little pullback on our camera. So

click into the end of our comp

and then just using the slider

right on the z-axis and pulling it back
just a little bit.

So if we play this all back together
now, we've animated our 3D globe,

we've animated a text coming around
and now we've just animated a camera

pulling back,
revealing the globe in our text together.

I'm going to go back to that keyframe

and just make it a little bit stronger
somewhere there just to double check.

Let's see what that looks like.

Pretty cool.

The next thing I want to do

to finish this off,
as just as we revealed our breaking news,

I want to have a wall
come in and transition us to our next

art card.

So let's add another text 3D node

connected to our Merge 3D

and in the inspector

click on the forward slash

about six times.

All right.

So we've added this to our view.

So let's go ahead and bring it forward.

I'm going to zoom out command middle

mouse button and the option middle mouse
button to orbit.

Bring this right around here

again,
using all of my viewpoints to see and move

my 3D objects as needed.

Well,

bring this forward

right about here

and let's scrub our timeline
just to see how this is going to look.

Yeah, I think this is going to work.

I think this is going to work.

Let's go back one more time.

Let's go

and give this a little bit of extrusion,
just like we did before.

I'm going to go ahead
and just bring this up

in the same thing.

A little bit of bevel
depth and bevel width

that's working pretty good.

The next thing we want to do

is we want this to collapse and close down
as if it's a wall shutting down.

Let's find a spot.

We can start our animation,
I think right in here around frame 70.

And let's put a key frame on our tracking.

So at a keyframe, move forward

about 20 frames or so.

And then let's
just bring down our tracking

right until everything closes up

and then let's play that back.

There we go.

I think that's working.

Lastly, I just want to change the color
of this to red.

So let's go to our shading tab
and then just bring this down to a dark

red as well.

Okay.

So let's just review real quick.

I'm going to move my UI around.

We've added our materials, we've
got our earth, our streaks, our texture.

Now we've brought that into 3D
and connected it or mapped it

on to some sphere
objects, creating a globe.

And we've organized and use
an underlay to group that together.

Next we've gone to another Merge 3D
and we've added our text,

given it some animation
and also warped it as a 3D object

and animated our camera as well.

So I'm just going to go ahead

and do the same thing real quick
while we're here and give this an underlay

just so we stay organized.

Option click F2 to rename

text 3D.

And one last thing,
I just want to go over here and select

our camera 3D, right click on there
and go to show show tile picture.

And that's just an organizational feature
for myself.

So that way, as I'm moving
and navigating across the node tree,

I can quickly see
and know which node is my camera is.

I'm going to want to use it a lot.

I think now we should open up this blind
editor and start to look at our key frames

and make sure that all of our movements
are nice and smooth.

And this blind
editor is a great way to start doing them.

So I've got this blind editor open again.

This panel on the left is going to show me

all of our adjustments,
all of our nodes that have keyframes.

And then on the right is our graph view.

Now there's a lot of keyframes that we've
been setting, so I'm just going to help

focus our attention by going to the top
right of our spline editor

and clicking on this menu

and selecting show only selected tool
that just lets us select

a node and just see those parameters
in this blind editor for us.

Let's start with our 3D text.

I'm going to select a 3D text
and then load it in viewer one

just so we can see that

in the Spline Editor.

Let's turn on our character
angle one by clicking on that checkbox.

Now it's got a zoomed in value.

I'm not sure what I'm looking at.

So there's this button
right up here at the top, right?

There's these three buttons.

Our menu that we clicked on earlier.

Next is our zoomed to rectangle
and the next top that is zoomed to fit.

If you click that,
they'll just bring all of our key frames

and fit it inside of our spline
editor for us

as a side note, a keyboard shortcut for

that is command F or control F on a PC.

So we can see here that our animation
is happening in a linear fashion.

So I just want to smooth this landing
by selecting this last keyframe

and pressing shift.

S that's just going to smooth out
our landing over time.

And I can go back here to the beginning of
our comp and play that back.

That's going to work just fine.

Next, let's go to the next node
that has our animation,

our Transform
3D node press one to view that.

Again, I'm going to command, click
and drag inside of the time.

Will it just so we can focus on this one
part of our comp

with our Transform
3D node selected inside of our spline?

Let's turn on the Y rotation Command F

fits that for us and we can see
the key frames that we have.

I'm going to select these last
to just drag a box right around there.

Shift s for smooth
going to smooth those keyframes.

Now we need to do some adjustments,
so bring down our middle

keyframe,

just adjust its tangents

so it's nice and smooth
and let's see what that looks like.

So before

it was animating in and kind of
having a hard stop and then continuing

and now it's animating in,
but continuing in a nice smooth

fashion.

Next, let's go to our camera 3D,

and I'm going to select our Merge 3D
and press number one to view that.

Remember, we have
our viewport is set to our camera 3D,

so don't forget
that we're not in perspective mode.

If we were to make any changes using our

navigation tool, it would actually be
changing the animation of our camera.

So we're viewing the camera 3D,
but don't use

any type of navigational features
just yet in that viewport.

So as we play,

we're coming back.

We've got kind of a hard landing.

So we want to smooth
that landing of the camera.

So it's nice, easy to select our camera 3D

and let's go ahead and turn

on the Z offset inside of the spline
editor.

We're in this blind editor, command

or control F zooms our keyframes
so we can see them all.

And it's the same process.

Select the keyframe shift s

Select
this final keyframe and shift s as well,

and let's just adjust this, making it

and smooth

and let's see what that looks like.

Okay, that's a good start.

Let's move from here

and turn on our X and Y rotation
command F.

I'm going to select all of our final

all of our final keyframes.

And instead of hitting shift F for smooth,
I'm just going to hit the key

and that for flat, it's
just going to make sure that our tangents

are not going above the values
they're supposed to

and just flattening off that curve for us.

So let's play that back.

That's feeling a lot smoother

now as we're doing

this,
as we've been changing our keyframes,

our animation for our wall
is a little bit off now.

So we need to go back
and just adjust that real quick.

So right around
frame 4045 is where it's coming in

and I want to just bring it closer
so it's coming in a little bit later.

So let's go about Frame 60

and let's select our 3D text node.

And while we're here, just press F2
and let's call that wall

just so we stay organized

in my perspective view in viewer too, I'm

just going to click on the actors
and just bring it closer

to the camera.

I'm adjust my auto render range
and then let's just play this back.

Okay?

That's a little bit better.

Now let's go in

and just our keyframes for our wall.

So in this blind editor, let's
go ahead and turn on character spacing.

Again, we can't see our keyframe,
so command or control

F will just bring all of our key frames
right into view for us

and for the most part,
we've been adjusting our keyframes so that

everything that happens happens smoothly
and that makes for a better looking image.

But in this case, we want our wall to be
able to animate nice and fast and hard.

So we're going to change how we approach

our keyframes.

Select our first keyframe,
and let's press F

and let's take our last keyframe
and adjust the tangent

just so it slams into place.

And I'm

going to adjust my auto render range.

There we go.

So the animation starts off slow

and then comes to a quick close.

Now, as I'm watching it back,

I would like that wall to close down
just a tad bit sooner.

So what we can do,
we fit our keyframes in.

Let's just draw
a bounding box around them, select them.

I'm going to

change the size of our spline editor
a little bit.

And you notice here
at the bottom of our spline editor,

there's this little dropdown called Time.

If you click on it, let's go to the offset

and you want to adjust
the framing of our keyframes.

So I'm going to double click in there
and just type in negative

ten, this one to move these keyframes
back in time, just about ten frames.

And let's play that back a little

and maybe even move that back
a little bit more.

So make sure my keyframes are selected.

Switch the time offset and let's go back

negative five.

Okay, great.

That's exactly what we want.

So again, using this blind editor
to really finesse your keyframes,

to make sure that everything
is animating over time in a smooth fashion

or an opposite in a hard fashion,
coming down very quickly.

So definitely take a look at the spline.

Enter when you have a chance.

Now, this whole time
we've been working inside of Fusion's

3D environment, we're not actually in 2D,
so we need to bring all of our 3D

animation and effects and bring it into 2D

so we can add some look effects
and finish off our composite.

But we can't just connect
any of these 3D nodes to a 2D node.

We actually have to render it
into a 2D image.

So to do that,
we're going to add a render note.

So let's go ahead and do that.

I'm just going to move my node
editor around, move my media out

node over to the side
and again in the toolbar,

just click and

drag your render node into your node
editor.

Now, the last node
or last scene that we have

in 3D is our Merge 3D two,
which is our text and camera.

So just take the output of that node
and connect it

to the input of our render 3D node.

And then I'm going to take the output
of our render 3D node

and connect it to the input of the media.

Out one node.

Let's view
the media out one in the number one

and let's scrub our timeline.

And so now we can see that
we've rendered out our 3D

and placed it into 2D and actually
it looks kind of flat and that's

because we don't have any lights
or any dimension happening.

Let's get that going,
let's set that up, select the render 3D.

Now, inside the render 3D node,

there's a lot of different options
that you can choose to create.

Depth of field effects,
turn on lighting effects,

change the different types of renderers
that you want to use

or even turn on and show different types
of outputs for your render 3D.

For our purposes, right now
we're just going to change the render type

from software to OpenGL

and we're going to enable our lighting.

So right away, in viewer

one, you can see that when we enabled
lighting everything went dark.

That's because we're saying

that we want to use lights,
but we have no lights in our 3D scene.

So now let's go back, let's add some 3D
lights and bring this animation to life.

I'm just going to move my render
3D and media out

node over to the right just a little bit.

And again,
I want to be able to add 3D lights

but have the option
to have control in the node.

Editor So let's add a new Merge 3D.

Just bring it right into our 3D pipeline

and I'm going to go ahead and press two

to load that into viewer to.

Now, up to this point,
we've been adding nodes and adding tool

going to the effects library,
going to the Node toolbar

and even using the keyboard
shortcut shift spacebar.

But one of the cool things about fusion
is that you can actually

customize your node toolbar
as you see fit.

So let's go ahead and do that real quick
just so we can get our 3D scene ready.

Now if you right click up
in any of the area of the Node toolbar,

you can go over to customize
and say Create toolbar.

Now all we

can do is go up to the effects library

and we can just drag any tool
that we need directly into our toolbar.

So I'm going to go ahead
and grab the point light

and the directional light
as we're going to be using those.

When I closed down my effects library
and I have the spotlight here,

I'm just going to move this into place
right where I want it.

And then in between the render node
and the spotlight node, I'm just going to

right
click there and say Customize add divider.

So this is a really great way
to customize your toolbar

based on the different types

of workflows that you might need
and then recall them as needed.

The first thing I'm going
to do is add our point line,

so I'm going to bring

that right into our node editor
connected to our merged 3D

and you can see the effects happening
already.

Let's make some adjustments to it.

First of all, when to rename this

blue line

and in the inspector,
let's go ahead and change its color,

give it a blue color

and let's change its decay type to linear

and we can bring down its intensity
a little bit

greater.

So now this really comes down
to using our viewers

to dial in the position of our lines
as needed.

So we're going to find a good spot

where these lines should go.

I think something

right around here might just work,

trying to find a good little spot, a

good angle
where it catches as of the different

bevels as it can.

That's good.

For now, I'm going to bring down
its intensity just a little bit more.

Let's take this node. Copy it.

Command C or Control C, D, select
and paste that back into our node editor.

Let's rename it

Yellow Line

and let's attach it to our Merge 3D

and in our viewport on viewer two,

let's just move it over to the other side

and again, just find a good little

good little spot for it.

Here's my perspective.

You zoom in,

move it back

and move it over again.

I'm watching my viewer one just to see

how it's affecting

my scene.

Now, real quick, let's go to the color
for that in the inspector and change it to

an orange.

Nice little orange

somewhere right around here.

And as we create and as we build,

we're going to end up coming back
and tweaking this.

Once we see it playing back in animation.

There we go.

I'm going to still adjust it
just a little bit, bring it back.

That's kind of cool right there.

Okay, perfect.

So we've got our side lines.

Let's go ahead and add

a different type of light,
and that is our directional light.

Bring it right
in, connect it to our Merge 3D

and I'm going to rename this and call it

top line.

And in the inspector, let's go ahead

and just rotate on the x axis until it's

right above again.

Just finding a good flavor that works.

All right in the controls

panel, I'm just going to bring down its
intensity just a little bit

and let's do the same thing.

I'm going to copy this line
d select and paste it

in then connected to the merge three D

Now let's rename that line F to

I'll call it

bottom line.

Good.

And in the inspector,

let's go ahead and change its color

to a light pink.

And then in the transform parameters,

let's just rotate its transform
all the way down to the bottom.

And as you can see,
it's just starting to give a little bit

of highlight to the bottom of our text.

Now, at any point in time you can turn on
and off node at the top of the inspector

by hitting this toggle switch
and seeing the effects

of it on and off.

Or you can also just in the note editor

command, select any amount of notes
you want

and hit command P or control P on a PC
and just turn on and off those notes.

So it's a great way to toggle on and off
to see

the effects of those notes

we're getting there.

Let's go ahead and add a spotlight. Now.

We want to light up
the front face of our font.

So I added a spotlight rename that

front left

and then let's go ahead and connect
that you guessed it right to the Merge 3D.

Now the spotlight is in the center
point of our 3D space,

which is our globe.

So I'm going to use the transform controls
to bring that

spotlight out.

There we go.

Now let's move that over to the left.

Now, as you see, I'm using the
the access points on this line directly.

Now we have the spotlight.

It comes down to rotating our light.

And we can do that in the inspector.

But you can also do that
right inside of your viewer.

If you look here at the top of the viewer,
there's these two buttons.

We have a move button and a rotate button

with my light select.

And if I click that rotate button, it's
going to give me

different parameter controls
so that I can rotate my light

inside of my viewport.

And that's what I want to do.

I want to be like, rotate this light

just like that.

A quick way to do
that is to use the keyboard shortcut.

Q For move or W for rotate

to. Let's just move it back.

Let's go to our inspector in the controls
and change its decay type to linear

increase the

penumbra angle, just softening
its light effect

and bringing down its intensity.

Now one thing I'm seeing is on the text
three D node,

it's giving a lot of reflections.

So I just want to go back to the text
three D selected, go to the shading tab

and just bring down its specular intensity

just like that.

Okay, so we have our front, like

our front left light
and I'm just going to move it again

just a little bit
just to see what it's doing.

Lighting up the front of our text.

We're going to do same thing

when I command C to copy it
D select our node editor

and then paste it
in connected to our merge three D

and let's rename that

front

right?

And now we need to move this line
over to the other side.

So I'm going to press in my viewport,
I'm going to press W

and rotate this line first.

Now I'm going to press Q

Move it over

to the right side, press W

and rotate this into position

and I can toggle this on and off
and see its effects.

I want to bring down its intensity
just a little bit.

And now if we scrub our timeline,

we can see that now we've started

to give a little life

to our animation using some lights,

just two more lights to add.

Let's go ahead and add a backlight.

We're going to use another spotlight

and that's renamed and call it

back Line.

And let's connect that in

again.

It's at the center

point of our 3D space, which is right
in the center of our 3D globe.

So all we need to do
is just rotated 180 degrees.

So in the rotation field, let's

go ahead and just move

our y axis about 180 degrees

and then we can just change its position
forward or back.

And you can see that it's starting to kind
of give little highlight on our text.

So I'm just moving it
and finding a good spot

somewhere right there.

All right.

That's pretty cool.

The next thing we need to do is we need to
give a light to our 3D wall right now.

When it closes, it's pretty dark
and we can't see what that looks like.

So let's go ahead and add
another little point light

just to kind of give
a little illumination to our 3D wall.

So let's bring in a point light

and then let's rename it and call it

wall light

connected to our merged 3D

and in the inspector and the transforms.

Let's just go ahead and

drag our Z access

translation right over to our 3D wall.

I'm going to zoom in here

and let's make a couple of different
changes in the controls panel.

Let's go to our decay time
and go to Quadrant and let's bring down

the intensity

and let's change the color
to a little bit of a red light.

All right.

Now I'm going to just bring this up,

just giving it a nice little gradient.

Now, let's see if we scrub our timeline.

Let's take a look.

Okay, bed.

Let's go to our perspective view here

and let's bring it a

little bit further away.

There we go.

So now as we're scrubbing,
we're just giving a little bit of life

to that 3D wall.

So it's not completely dark.

We've added our lights.

It's looking good.

Let's not forget our organization and add

an underlay to these lights.

When the deselect

option click, Let's rename this

lights 3D and then let's give it

a new color

teal.

So we've added all of our 3D lines.

We've completed the look for our 3D render
and now we need to go into the 2D realm

and start to add some clothes
and some effects

to really bring our animation together.

But the first thing that you
might have noticed is that our render is

has an alpha channel,
so we need to add a background to it.

So let's do that
by adding a background node.

I'm going to go to the

toolbar
and just bring in a background node

and I want to go ahead and view
that in viewer to

Now I really do like the background node.

It's pretty powerful.

I know that gives you a lot of flexibility
and all the different types of animation

that you might be doing for our purposes,
we're going to convert this solid image

into a gradient.

So let's go to the background node
in the inspector.

Let's go to our type here
and change it from solid to gradient.

There's a lot of different tools for you

to use to manipulate
and change your gradients.

We're just going to go with a simple blue
gradient in the viewer.

I'm going to just use these onscreen
controls to make a shape just like this.

And in this

gradient, this color tab here,
there's these two white triangles.

If you click on a triangle
now you can actually change that color.

So I click on this triangle on the left,

and I'm going to change its color
to something like a blue

and just give it a nice little light blue
and the triangle on the right.

I'm going to select that
and I'm going to make it a really dark,

really dark blue.

Now, right up here at the top of this
gradient is gradient type.

I'm going to switch that
from linear to radial.

So now we have this
nice little radial background.

Let's add a merge note

after our render 3D.

Let's connect the background to our merge.

Now, in this case, as you see,

we've added a background to our merge.

It's actually in the wrong order.

It's actually covering up our render 3D
and that's fine.

We can actually change that.

So select the merge three

D command t, that's
going to swamp our inputs automatically.

We don't have to disconnect and reconnect.

Just command T will swap our inputs for us
just like that.

So now we can see our

composite in context and I like where
that's going.

That's pretty good.

Maybe we can select our background note
and just make another quick adjustment.

Selecting that triangle on the left

being a little bit brighter.

That's going to work just fine.

I want to add another background note

just because I love the background note
so much

press to to view that in viewer two

and let's change its color here to

a little bit of a pink

or pink red.

I want to add an ellipse mass to that.

So let's go ahead and connect
our Ellipse mask to our background

and then let's just composite this
right over our merge one again,

taking the output of our background node

and connecting it to the output
of our merge node.

When we release, it's
going to add a merge for us automatically.

Now this is covering up our image
and that's fine.

We're going to make some adjustments
to our Ellipse mask.

Let's go to the soft edge
and just bring this down, change the shape

just like that.

And let's just move
this mask somewhere down in here.

Now select the merge two

and let's take a look at its controls.

Now, if you're familiar
with using composite modes

in other applications to kind of create

interesting lighting effects,
you can do all that here inside the merge.

Now, there's one

tool that you might have not seen,
and that's the add composite mode.

Well, infusion, it's actually as a slider.

It's called alpha gain.

So if we click this slider,
we can actually dial in the level

of add that we want instead of
just having it as a one time feature.

So I'm just going to bring this down
somewhere right

in here,
giving it a nice little bright pop,

balancing that out with the Blend tool,

just to
give it a little bit of atmosphere.

But again, it's a subtle feature,
but just enough to give us

a little bit of atmosphere
to make this come to life

that's working nice.

Let's keep going.

Kind of just give ourselves
a little bit more room here.

Now real quick, select
the merge to shift spacebar

and let's go ahead and type in glow

hit enter.

Now let's

go over to our inspector
and under apply mode.

Let's change that to threshold
and let's bring down the glow.

Just a little bit.

We don't want to go too crazy again.

Toggle that on and off just to see
the effects that we're getting.

Also, I want to focus just on my image.

So I'm going to go over here to view of
one and click this single view mode

that's
just going to eliminate the other viewer

and allow me to just focus directly on

what we're working on and see it a little
bit bigger and cleaner.

We've got our glow.

We're toggling it on and off.

I think that's going to work for us right
away.

Let's add another node soft glow,

and let's go to the threshold.

Bring this down all the way down

and let's bring the gain down
to while we're at it,

making a subtle little effect,

I'm going to toggle that on and off,
and it's just giving us

a nice little highlight.

Now let's go ahead
and add a brightness contrast node

and just want to clamp all this down
and bring our gamma down

just right around here.

That looks pretty good.

And I'm
going to scrub through my timeline.

That's looking pretty good.

But I want to go back and add a little bit
more realism by adding some motion blur.

Now, there's a couple of ways
that we can do that.

In the way that we're going to do it
here is we're going to do it

after our 3D render.

So let's make a little bit of room.

Let's select our 3D render node
and shift spacebar and type in

vector and then

use our arrow tools
to go down to the vector motion blur.

And let's add our vector motion blur.

Now this is going to require
that we actually have a vector x

and a vector y channel,
and we can turn that on inside

of our render 3D node
and make it available on our vector blur.

So let's go ahead and do that
in the render 3D node.

Let's go over here to output channels

and just click on the vector channel.

And now when we scrub, we can see that

we've added some nice
looking motion blur to our animation

and it just gives it that extra

sense of realism.

I just want to do a couple more things

and again remind you
that we have access to all the great plug

ins available through resolve
effects right inside a fusion

resolve

effects light.

And let's add some lens reflections.

Again, just little subtle things to help
bring your animation to life.

And this is up to you
as far as how far you want to take it.

But for our case,
we're just going to bring this down

just a bit,
just to give it a little bit of pop.

I like that.

That'll work just fine.

And then I just want to finish this off
with using some resolved effects, texture

and bringing in some film grain.

And I just want to go over here
to the Film Grain Presets

and adjust that 35 millimeter, change
this too hard light,

picking up our opacity
and then change the symmetry,

bring it down just a little bit,
just giving us a nice little effect.

And lastly, I just
want to review everything that we did.

If we go back to the beginning,
we started off with our materials

all of our images brought them into 3D,
did some animation

with our globe, also brought in our camera
and 3D text and animated those as well.

Finally our lights adding that zing in pop

to make sure that our animation looks
really, really good.

We brought that into 2D from 3D, added
some really cool look, effects

some clothes, some film grain
using resolve effects as well.

Really to finish and polish off.

I look now let's just take a look
real quick, step through our animation

and we can see how this is coming
together.

Really, really cool.

I hope that you can see the flexibility
and power that fusion has by both

having a full 3D environment
as well as a 2D environment.

If You have any questions?

Don't forget to go to Blackmagic,
design dotcom, go to their forums page.

Also, all of these lessons
plans are available on their training page

and you can even find a way
to get certified.

Thanks for watching.

Take what you learn and make it better.