All language subtitles for 4. Fusion Interface Fusion Kolder Creative

Okay, So now that we have an understanding
as to all the different ways

that we can start working with our media
infusion.

Let's jump into fusion and start.

Exploring the interface.

Okay, So I'm just going
to navigate my timeline and look for a.

Clip that we can use
for demonstration. Purposes.

So with this clip selected, I'm
going to open up.

Fusion in the easiest way I can,
which is to just have the clip selected,

make sure my play head is over top of it,
and we're going to open up Fusion.

Now we are presented with the default
layout of fusion.

I mean, starting the top left and slowly
go through all of the.

Different options found here in fusion.

So of course
we have the very familiar media pool.

This is the same media pool.

That we can find
in any other tab within Da.

Vinci.

So just like before, we.

Can navigate in all of our folders,
we can go into any folder,

we can go back to our master folder
just like that.

We also have our power bins
and smart bins here.

So if we wanted to just show our 120
EPS clips,

we can quickly get to those clips
by using smart bins.

It's the same layout.

As what we are seeing in the other tabs
individually.

So nothing new here really.

And if you ever want to hide
the media pool.

Window,
we can simply just click it to disable it.

And a lot of the time
I will have that disabled because

once I have my media in my composition,
then I don't really need

to be accessing my media pool again
and it just takes up space.

So a lot of the time
I will just disable it

and I won't use it
unless I'm bringing media in again,

because otherwise it's just taking up
precious real estate.

So next to our media pool,
we have effects.

So this is also a similar.

Window to what we're seeing in
the previous tabs here in DaVinci as well.

Except what you need to.

Understand is that each.

One of the effects.

And LUTS
and anything found in this window,

each one of these
is going to be its own node.

So the way that you work with.

These in fusion
is you basically just take it,

drag it in here
and it becomes its own node.

So we're going to be diving into.

Nodes a.

Little bit later in this video,
but that's all you.

Need to know is that all of these
are basically just nodes, whatever it is,

you can just take something,
just click on it

and it will add it into the nodes
window down here.

So next to the effects window,
we have clips, which.

Is something we've discussed before,
and that basically just shows us

all of our clips in our timeline
next to each.

Other. So this can be handy.

If you're unsure of what clip
you are specifically working on or

if you want to quickly move around
to different clips in your timeline.

Personally, I don't really use this.

Clips window too often,

so if you don't use it,
there's no point in having it take

up real estate here so you can disable it
by clicking the clips button again

and it will go away.

And next to that we have nodes,
which is the window

we're going to be spending the most time
working in.

Within Fusion

depending on the situation.

You know,
sometimes we might find ourselves

working a lot in the spine
or keyframes window, but the nodes

window is really where we are doing
most of our compositing

and where I find myself
spending the most amount of time.

But depending on the situation,
you can also enable and disable that.

So sometimes if you're not wanting to use
the node's window and you want to fill

your screen with the different window
options here, you can close that,

disable it and allow more real estate
for the other windows.

But for this demonstration.

I'm going to leave that on because
most of the time the node's window is on.

So by default, when we open up a clip.

From the edit tab into fusion.

We are.

Presented with this
layout here in the node's window.

We are given a media in Node
and a media out node.

The media in Node really just represents.

The media that we are bringing
into the fusion composition.

This is the fusion composition
and the media in

is this clip that we are bringing
into the fusion composition.

The media out node represents
what it is that.

We are going to be sending back
into our edit tab timeline.

So this is like the final output.

If we disconnect.

This connection between the media in and.

Media out, then we don't have.

Anything being sent to the media out.

So if we go back into.

The edit tab, it's just going to be black.

There's nothing being sent out of the
fusion composition back into the edit tab.

So if we go back into fusion,
we connect these two together.

We can see that we are able to view our.

Clip again and if we go back into the edit
tab, our clip is now viewable.

So that's what the media.

In and media out nodes represent.

If you want
whatever you are doing in fusion to.

Be reflected in the edit tab,

you need to make sure that the media out
node is connected.

To your node tree in order for you to.

Update what is happening in the edit tab.

Now, knowing that the.

Media in Node is the media
that we're bringing in and the media out

node is what is going to be exported
into the edit. Tab.

It's really
what we do in between both of these.

Nodes that is going to allow us to change
what our image looks.

Like.

So in my personal workflow, I've.

Found that
I really like to work from left.

To right,
But diving deep into the world of visual.

Compositing, I know that some people
like to work going from top down,

but I found that working from left
to right works well for me.

So really that's personal preference.

You can arrange.

These nodes in whatever way that you want.

They can go from top to bottom
or from left to right.

You could probably even go right to left,
but that's going to be a bit confusing,

I think, because in the modern world,
we read from left to

right when we read books or, you know,
from top to bottom, also make sense.

So now knowing that it's not about where
these nodes sit in relation to each other,

if I move these nodes like this,
the image isn't going to change.

It's not going to look any different.

If we have a bunch.

Of nodes

and we change the way that they sit
in relation to each other in this node.

Area, it's
not going to affect our image at all.

What is going to affect our image is how.

We connect these nodes to each.

Other,
and we're going to be diving a lot deeper.

Into that later. On.

But really it's the way that we connect
nodes to each other via the.

Different connection points on each node
that is going to affect our final.

Look.

So don't worry if this doesn't
make much sense to you right now.

We're going to be unpacking these concepts
throughout this course,

so hopefully you'll have a deep
understanding

of how nodes work
and you'll be able to express yourself

creatively inside of this node
based setup.

So right off the bat,
when working with nodes,

the first thing I like to do is always.

Rename my media in nodes.

So in this situation it's not as important

because we're only working with one clip,

but it's a good habit to have so
that you can very quickly know what media.

In Node is. What media.

So with the clip selected,
like we learned before we can hit F2 in.

Name is so we can call this Sam underwater

and we.

Can notice
that I have a space. In the title here.

We can click okay.

And fusion just doesn't keep those spaces,

so it doesn't really matter
if you put them in when your naming,

they'll be removed either way.

So that's one thing to keep in mind
when you are renaming nodes.

So one thing I want to bring to
your attention is underneath these nodes

we have these three dots over here.

If I select this node,
we can see we have three dots here.

And in the right we can see
that two of those dots are white.

Now what does this mean?

So infusion, we have multiple different
windows that we can preview things in.

Now in the window

that you guys are seeing right now,
we can see two different preview windows.

We have one here to the left.
We have one here to the right.

Now, in my specific situation,
I have a third.

Preview window, which is my other monitor.

Right here that. You guys can see in the.
Camera view.

This is my video Clean Feed, which
I've enabled under workspace over here.

Video Clean Feed,
and I've selected the monitor

that I want to have as my video
clean feed.

Now, because I've. Done that.

It basically gives me a third.

Preview window that I can use.

To preview
any one. Of my nodes at any time.

So for the sake of this lesson.

I'm just going to turn that off.

So now we only have two.

So basically all these nodes
are just visual representations

of what preview window you are.

Previewing the selected node on.

So if I hover over my first node here,
we can see that none of these dots

are away.
So that means we're not. Previewing.

This node in any of our preview windows.

So if I select this node, press one.

I can bring it up into our preview window
here to the left.

And if I press two, we.

Can also bring it up into both of these.

So now I'm previewing this

first node in both the first
and the second preview windows.

So in a lot of. Situations.
I wouldn't really make sense.

There's no need to preview the same thing
in two different windows.

So right now it might.

Not make too much sense to you
as to why you would want to have two

or maybe even three
different preview windows.

But as you start to work with nodes
and node trees,

you'll understand how awesome
this feature is to be able to preview

any node at any point in
any one of these preview windows.

A lot of the time
you'll find yourself comparing.

One section of your node tree down here
looks compared to another one,

and you'll want to be able to pull them up
into these preview windows.

Another way that we can load up a node
into one of these preview

windows is to simply select.

It and drag it over
top of one of the windows.

Now, personally, I haven't. Found myself
using this method too often.

I prefer to just use one, two and three,
but it's personal preference.

You can also simply just select a node,
drag it over and it will preview in

that preview window.

So just like before in the edit tab,
we're also able

to navigate our preview windows here
using the middle mouse button.

So if I click and hold down on the middle
mouse button, I can move my image around

wherever I want.

This is something that we will be doing
so much of in fusion.

So if you don't have a mouse
with a middle mouse button,

I highly recommend that you do.

So if you're trying to take Fusion
seriously, this is a tool that is.

Going to make your life a. Lot easier.

The alternative.

On a laptop is to hold command and.

Shift and you can use the mouse
pad to click and drag around.

But that's just more work.

Using a mouse to middle click.

And move around is much faster.

Now, if we go down to the node's window
down here, we can do the same thing.

So if we middle click and drag.

On our mouse
or command shift on a MacBook or laptop.

We can drag around in this area.

This is a quick. Way to navigate.

This area and we can see
as soon as our nodes leave this window,

we are presented
with this little overhead.

Graphic of our entire node workspace.

So if we click in here,
we can kind of center things out quickly.

It's just another way
to navigate this space.

Now, for both our preview windows
and our node window, we can hold command.

And zoom in and out on our mouse
or on our mouse pad to.

Play with the scale of both the nodes
in our node window here and also the.

Size of the preview window
up here as well.

So the combination of zooming in and out.

Like this
with holding your middle mouse button.

Moving things around,
this is something we will do so much of in

order to navigate all of these. Spaces.

Now, one thing that I've found.

In my own workflow is that.

Holding. Command when zooming in and out.

In these areas is. Kind of pointless.

The default, if you just scroll.

Without holding command is
you will be moving up and down.

Which I don't really need to be. Doing.

I can just middle.

Mouse click and move up and down
if I want to.

I don't really need to have that scroll.

Same with down here.

I don't really need to be scrolling up
and down in this way.

So what I've done in my own
workflow is I removed

the need to use the command key
in order to zoom.

In and out of these areas here,

because scrolling up and down
is kind of pointless to me.

So the way that we can do
that is to go up to Fusion over here.

We can go to fusion settings and under
user interface we can see that touch in.

Scrolling and mouse. Wheel.

We have commands selected
over here under Zoom.

So what we're going want to do is hit
ignore and we're going to.

Want to press it again
so that it removes the.

Checkmark. Click Save.

And now when we're in this area, if I just
zoom on my mouse, I'm able to just.

Zoom in quickly without having
to hold command and that's awesome.

Same thing goes. For up here.

That's going to make my life a lot.

Easier
and I recommend that you do. The same.

Thing for your workflow.

And if at any. Point you find that.

Maybe this isn't the best option.

You can just go back into fusion
at any point fusion settings and just turn

command back on, or you can change it
to option or shift whatever you want.

Now, between our viewers here
and the nodes window, we can see that

we have a bunch of tools over here,
and these are all the.

Most common nodes that people use
when working within Fusion.

DaVinci has conveniently placed
all of these nodes.

Over here because these are like the
most common go to nodes that you would use

when compositing.

Now we already know that
we can find many more nodes.

Here in the effects window.

And actually the effects window
isn't the only place that.

You can access nodes.

We can also.

Very quickly.

Access or nodes
by pressing shift. Spacebar.

And then we are presented
with this little window where we can type

in any node that we want,
get access to any nodes very quickly.

That's something
we'll be diving into later on.

Much deeper.

But over here, DaVinci has.

Conveniently laid out the most used
node tools in general compositing.

Now, if we hover our mouse over top of
these nodes, we can get a little pop up.

That tells us what the node is.

So the first one is a background
node, fast noise, text, paint, And for.

Demonstration purposes, right now
I'm just going to use this node.

Here,
which is the brightness and contrast node.

So with nothing selected in our nodes
window here, let's select.

The brightness and contrast. Node.

We can see that it's added in our nodes
window here and.

It's not connected to anything and that's
because we didn't have anything selected.

So let's delete this and let's select our.

Media in Node here
and then let's press it again.

Now, because we had something selected,
we can see that it's added

that new node to the. Chain of commands.

So it's added it
after the node that we had selected.

So this is just good general knowledge
to know if you have a node selected

inside of the node workspace
and you generate a new node,

it's going to generate it and add.

It to the command chain
after the selected node.

If you don't have any nodes selected
and you create a new node, it's.

Going to create it just within the space,
but it's not actually going

to be connected to anything.

So I'll just delete that.

So really all a node
is, is just an instruction.

And in a lot of situations it's
really just an individual instruction.

Now each node really is designed

to only have one instruction
or like one general instruction.

This is really the reason
that node based editing was created

so that you can see
every single modification

of your composition in a visual way
and nothing's really hidden.

Each node represents a change
or a piece of media.

That is inside of your.

Composition,
and it's really just that one thing

inside of this brightness
and contrast node that we've created.

We're not going to be able
to reframe or resize the media here.

We're really only going to be able
to change the brightness

and contrast
related properties to the media.

In here, we can't change anything else.

And this is great because when we zoom out
and we look at all of our nodes,

we know what is happening.

We can see we are bringing a.

Clip in from our timeline here.

We are changing the brightness
and contrast.

Values, and then we're bringing it back
into our edits tab.

We're exporting. It. Here.

So this is really important to know.

Each node generally only does one thing,
and really it's the node

based aspect to fusion alone
that makes this so much better.

Than a program like.

After Effects, in my opinion, because
you can visually see everything at once.

If we compare compositions
that were built within fusion versus

after effects, we can see that
you get to a lot of the properties

that we've changed within the fusion
composition.

We can access some very quickly because
everything is shown to us all at one time.

Whereas in a program like After Effects,
that's layer based, a lot of the changes

that we're making to media
or masks or whatever, they're hidden

within those individual layers,
which makes it a lot harder to access

and requires you to kind of
remember where things are located.

But in a node based compositor like this,
you see everything at once,

which makes it so much more powerful.

And later on in your journey of node based
compositing, you'll start to understand

it's not just about seeing.

Everything at.

A glance, but it's also about being able
to share certain nodes

and use an individual nodes
multiple times throughout the node tree.

Basically, node based
editing is very powerful

and it's something
that I'm really excited. About and I'm.

Really happy that I decided
to make the switch because in my opinion,

it's just a much more efficient way
to work when you can see.

Everything all at once.

So if we select this brightness
and contrast

node over here
and we go. Up into the inspector.

We have all of these different properties
that we can change related.

To brightness and contrast.

So we could change
gain, we could change. Lift,

we could do whatever.

We want.

You know, we've we've modified this
image, made it look a lot more contrasty.

And that's all we're really going.
To do in this node.

If we wanted to.

Also rotate this node,
we can add a transform node which is.

Found over here.

We can add it in. Here
and we can break this.

Connection over here

between these two nodes by clicking
the second part of the connection here.

And we can route this
through the transform now

and then we can also root this
through the media out.

And we're going to be learning about.

These connection points and the inputs
on each of these nodes later on.

So don't worry about that right now.

But now we can get a visual.

As to what's going on here.
So we have the original clip.

We are going to do some kind of brightness
and contrast change,

and then we're going to do
some kind of transform change.

So with the transform node. Selected.

We can make a change in the preview.

Window here or we can make.

Changes in the inspector
over here as well.

And now if we select our media out and we.

Preview it in our second
preview window here too.

We can see that this is.

What the final output looks like.

We've taken our clip.

We put in the instructions into fusion
with a node to change the brightness

and contrast.

We've changed those brightness and
contrast values within the inspector here.

And then with this new updated

image, we've also told it
to go through a transform node.

So we've added more instructions
to transform the properties

of the original clip
and then we are sending it

through to the output
and this will be updated in our edit tab.

So if we go back to the edit tab,
we can see that those same

very harsh changes
have been updated in our edit tab.

So let's go back into Fusion over here.

So being able to see all of our nodes.

At one glance right now is.

Great and this is especially handy.

When you are starting to work

with much more complex compositions
where you're working with tons of nodes.

So in this. Situation.

You know, recreating something like this
and after effects in a layer

based program is show,
you know, but once things.

Start to get more chaotic,
you're working with.

Way more layers, with way more media,
way more individual nodes.

I prefer the node based workspace because
it allows me to see everything at once.

Now, of course, each node is going to work
completely differently.

You know, the brightness
and contrast node,

we have brightness and contrast settings
that we can change in the inspector,

whereas the transform node,
we have different transform properties

that we can change in the inspector.

And each.

One of these. Nodes

is going to have different properties
that we can change in the inspector.

And it's also going to have different
inputs and things like that

on the actual node itself.

Now within each one of these nodes, we're
also able to add keyframes

so we can see that we have these familiar
keyframes that we were able to see.

Back in the edit tab and the cut tab.

So knowing that we can create Keyframe
MMS for any one of our nodes,

So if we select the brightness
and contrast node,

we have those same keyframes over here
to the right.

Same with the transform, but
we don't have anything in the media in.

That's
because the media in our original media,

there's nothing
that we can really change about it.

We don't wants to be able
to make transform changes

or anything like that
because. Then those changes would be.

Hidden inside of this layer.

And when we're looking
at our entire node tree.

How would we know that there's.

Transform changes
done inside of that media.

Tab so you wouldn't have the ability.

To make those kind of changes
on the media.

Node?

But if we are bringing media
in straight from the media pool.

Like I've mentioned.

Before, then when we select our. Media
in Node.

We're able to play.

With things

like the trim and the positioning
of where the clip sits in our timeline.

So that's an important thing to know.

We do have those options.

On the media in nodes.

But only if we're.

Bringing them in from the. Media pool.

If we're bringing it
directly from the edit tab, we will.

Not have those options.

So you can see this is the one
that was brought in from the edit tab.

We don't have those trim and slip options,
but with the.

Other node.

We do have those options,
so I'm going to delete that.

We don't need that for now.

So up here we have the spine.

And keyframes window.

We've already talked about the keyframes
window.

It's this window down here
that allows us to see where our clips sit.

In time in relation to each other.

We have this zoomed to fit button
over here which allows us to fill

the window,
the keyframes window, with the clips here.

So it fills. Up the space.

Now, the keyframes window is really here.

To play with the timing of everything,
including individual

nodes like the transform node
and brightness and contrast nodes.

Now you might be thinking, okay,
why would you want to play with the timing

of transform in brightness
inside of the keyframes window here?

Well, it makes sense.

Once you've made keyframes
for these properties

and you're going to want to move
the keyframes left and right.

So let's just select brightness.

And contrast and we. Can see that it's.

Highlighted here in the keyframes window.

And we've also opened up the inspector
Just by selecting it.

We can create keyframes, just like we.

Would in the previous edit
and cut tab for this.

Specific node.

So with brightness and contrast selected,
let's go to.

The beginning here.

Let's go to the earlier
point of our clip here.

So one thing I want to mention
is because we went the route of just.

Opening a clip

from the edit tab into Fusion directly
and not importing it through the media.

Pool.

We are working with the full.

Length of the entire clip over here.

So we can see if I scrub through here.

Let's pay attention to the play
head in in this area here in the timeline.

This is the in and out points of the clip
that we brought in.

We can see if I make if I move it
a little bit right here, we're.

Moving that play head a ton

and we are moving
past the in and out points here as well.

So this is just another reason
why I would want to first

right click on the clip
and make it a new fusion clip.

But in a lot of situations,
you might not need to, especially

if the clip is the full length of the clip
is the size that you want it.

In this case, it might have been helpful
to make it a new fusion clip first.

But for the purposes of this tutorial.
I didn't want to do that.

So let's go back into fusion
and let's just be aware of the fact.

That this is the full length of the clip
and not just the in and out point

that we're seeing in the edit tab.

With the brightness
and contrast node selected.

Let's add some keyframes to here.

So let's play with this
play head over here

and let's make
it really dark at the start.

So we'll. Bring the gain. Down.

We'll set a keyframe here

and now as soon
as we've set this keyframe, a couple of.

Things have happened.

So let's take note. As to
what has happened.

We could see that we now have this little.

Gain area underneath the brightness
and contrast layer in the keyframes window

that opened. Up.

And if we move our play head over here,
we can also see that we have this white.

Line here and that just represents
where the keyframe sits in our timeline.

So knowing that, let's move further.

Down the timeline and.

Let's just change.

The gain to something much higher.

Now, we didn't even have to add a node.

Because we've activated the.

Keyframe button.
So now it's just going to record

the changes
that we make throughout the timeline.

And now we can see
that two keyframes are sitting.

Here on our timeline.

We've automatically created one later on
just by changing that one property,

which was the gain.
So if we look in the keyframes window.

We can see that
we also have these two little lines here,

and those are the lines
that we are being shown up here.

These are the keyframes and this is
representing where those keyframes.

Sit in time.

So I can click the top of.

The timeline here to zoom in
and I can move around in here.

And that's the thing about working

with the keyframes window in fusion is
it can be a little bit.

Annoying
to navigate the keyframes in here.

So because we're working with the full.

Length of the clip

and we have all this unnecessary media
at the start and end of our.

Clip here.
We're going to have to zoom in a lot more.

So that's just something to keep in mind.

But these two lines here, those represent.

The two key frames that we just made
for the brightness and contrast.

Now, if we bring our play
head over to this area and.

We can just play it, let's just preview
what's going on here.

We can see our image is going from.

Much darker to much brighter.

Now. What's cool
is the brightness and contrast note is.

Represented as its own layer here
within the keyframes window,

not because it's its own.

Piece of media,
but it's its own node that.

Holds information within it.

And in this case
the information is the value

of the gain At this point and this point.

Now in here, we're able to select

both of those points and move them around
so we can make modifications to our.

Keyframes within this keyframes window.

So if we select these, we can move.

Them around that easy.

Now there's tons that we can learn
about keyframes within fusion.

I'm not going to be diving into this too
deep right now,

but all we need to know
is that those keyframes are.

Represented right here
within the keyframes window.

Now, next to keyframes,
we have something called spline.

So if.

We activate this over here
and let's just close.

Off the node's window,
because we don't need to be paying

attention to that right now.

We can

open this up so we can see both of these.

We can select.

Gain over here
in the left of our spline window.

And now if we presses Zoom to Fit button,
we can see those two keyframes,

those two same keyframes
that we're seeing over here,

except now inside of the spine.

We know we can go even.

Into more depth into how we animate
between those two keyframes.

So this is similar to the graph editor.

In After Effects,
and it's something that I use.

All the time being able to very precisely.

Fine tune.

The way that the animation happens
between our keyframes

is very important and it's something
that we're going to be doing a lot of.

So this is a. Crucial window to have.

But overall the keyframes.

Window is kind of just to. Reposition.

Where you want those keyframes to sit.

In the spine window
allows us to better fine.

Tune the way that we animate
between those keyframes.

So that's enough of keyframes
for this lesson.

So I'm just going to close the.
Spine and keyframes window.

We don't need to see. Those,
and I'll just enable nodes again.

And that's also something to know
if you're.

Done playing with the keyframes and spine
windows.

Just deactivate those.

So that you have as much room down here
to play with nodes as possible.

So underneath our preview windows,
we can see.

We have some numbers over here on the left
and the. Right.

And basically,
if I scrub through this clip, we can see.

That the number on the right is changing.

So that is the current.

Frame that we are on
with our play head on the left here.

Those are in and out point
so we can see that we're

starting on frame 3142 ending on 3204.

Just by looking at this,
we can tell that we're playing.

With a small range of frames
between the full length of the clip.

The original clip is very long,

which will make it harder to navigate
within the keyframes window here.

And when it comes to the different window
options up here, the.

Last one is metadata.

And this just gives us metadata
information about our selected

clip, which can come in handy sometimes.

I don't really use it that often.

And just like before and all the other
interfaces within Da Vinci on all these.

Other tabs, we can use these little.

Dropdown arrows here to fill the window
on the right side and left side.

So if we have the media pool selected,
we can click this dropdown

and we can fill it to the top
and bottom of our frame

just so that we can have more space
to work within that window.

So depending on what it is that I'm doing
in fusion, I will constantly.

Be enabling and disabling
all of these different windows so.

That I can have the most real estate
for the windows.

That I'm actually using at that time.

And lastly, of course, exporting.

How do we export things with infusion?

Well, this.

Is something that we've talked
about already several. Times.

The way that you export.

Something from fusion is just to make sure
that the media out node is connected

in your chain of commands
down here in your node tree.

And that way
it will update within the edit tab.

And then from there you can export it
however you want.

Now the very last thing
I want to cover in this lesson is

how can you reset what you've done here
in the fusion workspace?

Well, that's very simple.

You can just go up to. Fusion over here.

And select reset composition and that will
bring it back to its original.

Form.

Or you can also go back into the edit tab,
right

click on the clip over here, select
Reset Fusion Composition.

It's going to ask you,
Are you sure? Because if it's a very.

Extensive fusion composition,
you don't want to accidentally do that.

Of course you can actually undo it
if you accidentally do do this.

But let's click. Reset.

And we can select the clip,
go back into fusion,

and we can see that
we are starting off back where we started.

So there you go.

That is our first time
exploring the general interface of fusion.

Now, I know at this stage
this all might sound a bit

complicated to you,
and that's totally fine.

Don't be hard on yourself.

It was definitely very hard
and frustrating for me

when I was first starting into fusion,

especially because I was coming
from a layer based compositing background.

So the whole node
workflow is very confusing

and I would get really frustrated because
it just didn't make any sense to me.

But here's the thing.

I promise you once you devote yourself
to learning the foundations

and understanding the rules
of how you can play within

this node based software,
then really the options are limitless.

You can do so much. It's
so much fun working.

In a node based workflow once
you know what. You're doing.

And my hope for you in this module
is for you to understand the foundations

so that you can go into fusion
and understand what you're.

Doing and start working
without any limitations.

So that's it for this video.
I hope you guys enjoyed it.

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