All language subtitles for 8. Keyframing Fusion Kolder Creative

So we've already learned

a little bit about key framing and fusion
earlier on in this module.

But let's take this time to dive
even deeper into key framing and fusion

and get a better understanding
of how it works.

So why don't we add
some kind of adjustment node to this clip?

So for fun,
let's add a color correction node here.

We'll add it in the chain of commands
and let's open up the inspector

and make some modifications
in this color corrector node.

So why don't we make this a bit greener?

But first,
why don't we go to the beginning here?

Let's set a keyframe
for the color wheel over here.

So if we set a keyframe, it's
going to record that value at that time.

And let's
go later on in here and let's make things

very green.

Why not?

And we can see that
it's added that keyframe over here.

So now if we scrub through here, we can
see things go from blue to very green.

Now, key framing the color
grid is something that I do a lot in a lot

of my more advanced transitions to help
flow from one environment to another.

You want to keyframe
the colors of one environment

to kind of change to match the next one.

Because if you get the colors to match up,
it feels a bit more realistic.

So that's something that I do
all the time.

Now, one thing I want you to notice is

we can see on this node
there is a little keyframe over here.

This is very important
because now when we're looking

at our node tree, not only can we tell
that there's this color corrector node

inside of this chain of commands,
but we've also keyframe

some of the properties
within this color corrector node.

So just by looking at our node tree,
we can see that

there is some key
framing going on in this note.

This is very important.

Now, another thing I want you to notice
is when I select this node, watch

what happens with the keyframe over here
in our main timeline.

If I click out of the node,
those disappear.

So if I have my original media
in Node selected,

I don't see any keyframes on this timeline
here.

But if I have the color

corrector node selected, all of a sudden
we can see that keyframe over there.

So that's really good to know.

Not only can you get
a visual representation that this node

is being framed
by having this little node icon here,

we can also just select the node
and we can see where

the keyframes are
on the timeline over here.

So that's very helpful as well.

And of course, just like we learned
before, we can open up the keyframes

window here, and if I just open this up,
let's close the inspector, we can see

where those

keyframes sit in line with everything else
here in the keyframes window.

Now, right now, we can't see them.

Let's click this color corrector over here

and let's click
this zoom fit button over here.

But if we take a look at these lines
within the keyframes window here,

we can see that tint angle and tint
length are keyframe over time.

So they're going from a value of zero or,
you know, a different value.

They're going from one value here
to another value.

And we can see that change in between
both of these keyframes.

Now, obviously, they're very small.

So what we're going
want to do is just zoom in

so we can actually hold command
and scroll in

within the keyframes window
to get a better look at those keyframes.

Now, in here,
I can move keyframes around pretty easily.

So if I select one of these keyframes,
I can move it so it happens faster.

So just take a look at what that does.

So we're just changing the tint angle.

We're making that go faster.

So I actually don't even know
what this would do,

but this is the process
of experimentation,

just playing around with things
and seeing how they affect your image.

And we can also move the tilt length
and we can see

how that would affect
our final image here.

And we can select both of these keyframes

if we want to
and move them both at once as well.

So all we're really doing here
is just moving the keyframes in time.

We're moving them around in the timeline
freely here to whatever position we want.

We can also select everything
and just move

the whole keyframe range over.

So the keyframes window is great
for moving your keyframes around in time.

But what if you wanted to change the way

that the animation is happening
from one keyframe to another?

Well, that's
where the spline window comes into place.

So if we open up this spline window,
let's just move this over here.

We can
see that we also have color corrector

available here, and we can just enable
color corrector at the top

and we can see which of these parameters
are the ones that are being changed.

So we can see that we have tint angle
and we have a tint length

for this set of keyframes right here.

So this is that new keyframe that we just
created, the one that we duplicated.

We don't need that some
you can select it and hit delete.

Now we're not just seeing both
of these parameters.

We're also seeing all the other parameters

that the color corrector
allows us to change in here as well.

So what we could do is actually just
uncheck color corrector, hit

that button twice and we can select tint
angle and tint length.

Those are the parameters
that we want to focus on.

Now, the spline window is great
because it allows us to really focus on

how we want to animate
between these values.

Here, because the spline window
is really just a graph

that shows you value over time.

So it's time and value.

So if I zoom in here,

I can hold the middle mouse button as well
to move around both of these areas.

That's a good shortcut to know.

I can see that
things are moving very linear

right now,
so things are going straight, right?

So our value here, it stays the same.

It's at zero.

And once it hits this point,
it starts to move up in a very linear way.

So the way that our values
are being changed here is very linear.

We can see it's going from zero directly
into a very fast change over here.

So we're not making any gradual changes
here. Things are very abrupt.

We're going from zero immediately,
shooting up

all the way to this value
and then stopping right away.

If this was a smooth transition,
we would have more of like a curve here.

But it's right now
it's just an abrupt stop.

So what the spline window allows us to do
is to modify those keyframes.

So if I select one of these keyframes,
we can see that something happened.

We have this little handle
that's attached to this keyframe.

It pops up.

So if I click on that handle,
I can now move the way that the line

is being animated
at that Keyframe Pointe over there.

So now we can see that we're not going
immediately from one value to another.

We're gradually

getting there.

We're making that change gradually.

So in this case, we're going from zero.

It's abrupt here, and then we're going to
gradually go into our next value of 0.35.

Now, an important thing to understand
about the spline window here is that

this is a chart that's showing us
the value of the selected property here

over time, right?

So we could see that the value of both
are tint angle and tint length

within the color corrector are at zero
over here and over here.

The end up 0.35 and 0.25.

So two different values

and what we can do is actually select
any of these keyframes

and make a value change here
if we wanted to.

So by moving this keyframe up and down,
I'm actually changing the value

of that property at this point in time.

So before the tint length was about 0.35,
I can bump it up all the way to 0.6.

I can very quickly make that change
right in here in the spline window.

Same thing with tint angle.

I can make these changes right in here.

Now you can see when I'm moving the value
up and down, it can be hard to stay.

Exactly locked in one place
without moving right and left.

What I'm doing by moving

right and left is actually I'm
changing the timing of the value.

So over here we can see that the value
at frame 3190 is going to be around 0.45.

Well, if I want that value of 0.4
or five to be later on,

maybe frame 3200,
I can just move it over there.

So that's really what I'm doing.

I'm just moving the keyframes in time,
but I can also affect

the value of each
keyframe as well within this graph.

So it could be a very quick and easy
way to make those keyframe modifications.

Now, if we take a look at the way
that we're animating

from one value to another,
things are very linear right now.

And if you take a look at this,
the way that things look

when they're linear like this in a graph
does not look good.

Let me just preview this for you guys
so you can see what things look like.

Okay.

So actually watching this back,
I don't think that an animated color

change is the best way to show you
the difference between a smooth

and a more abrupt transition.

So let's just delete

this color correction note
and let's actually add a transform note.

So let's animate
the scale of the clip over time.

So let's go to the beginning of our clip
here.

Let's make the size a value of one
and then further down

the timeline, let's zoom in a lot more.

Cool.

So let's close the inspector.

We can see in the keyframes window
that both of those keyframes

have been created

right there.

And obviously
we are seeing the full length of the clip.

So those keyframes look like
they're very close together.

And of
course, within our timeline up here,

we can see those two keyframes right
there.

So let's go into our spline window.

Let's actually just close keyframes.
We don't need to see that right now.

And let's zoom in so we can fit this
to the size of the spine window.

And now let's watch this.

Let's see how this animation unfolds.

So I'll go to the beginning.

Let's press play.

Awesome.

I'm actually going to make this second
keyframe

happen a bit earlier
just by dragging it like this

and if I hold shift, it will let me drag
this keyframe left and right

without having to worry
about changing the value of the keyframe.

Same thing goes for the value as well.

If I if I hold shift and start
dragging it up and down,

I could change the value without worrying
about moving it left and right.

So shift is going to be your best friend
when you're making these kind of changes

within the spline graph over here.

So I've moved these keyframes closer
together.

Now let's go back to the beginning
and preview this.

We can see it's very abrupt.

It doesn't look professional,
it doesn't look good.

So I'll rarely have my keyframes
like this.

Usually,
most of the time I'll smooth them out.

And the easiest way to do this is to just
select both of these keyframes.

And you can select F on your keyboard

and it will smoothing out the in and out
points of both those keyframes.

So now if we watch this, we can see things
look a lot smoother

and looks a lot more professional,
a lot better.

Now F is just a quick shortcut
to change the keyframe animation

on the selected keyframes.

I'm going to hit Command Z to undo that

and I'm just going to select
one of these keyframes

so we can see once
I've selected the keyframe, it's

given us a handle over here.

So if I take this other square that
came up here and I move it around, I'm

able to animate the animation path between
both of these keyframes just like that.

By using this handle so I can replicate
what we just did by pressing f by grabbing

both of these handles and aligning them
just like this to the grid.

And now we've manually replicated
what we did when we pressed F over here.

So here we can see that
the change in value is a lot more gradual.

It's not abrupt like it was before.

Linear is abrupt.

We want things to be smooth like this.

So now the values are staying at one

and it continues to stay at one,
even past the keyframe point.

But then it starts to accelerate slowly
and then it gets into this consistent

speed here, and then it starts to slowly
slow down into its final value over here.

So this is something you'll find yourself
doing a lot in the spline

graph is just smoothing things out
to make them feel less abrupt.

Now, of course,
we can do the complete opposite.

So if we did this so in this situation,
what we're doing is a very abrupt change,

pretty much the opposite
of what we just did previously.

So let's preview this.

So as we can see,
it looks like something's off with it.

It just doesn't look good.

So you wouldn't necessarily be doing this.

But what's important to understand
is this plane

window is really just a playground
for you to experiment and play around

with these handles and with keyframes
to do whatever you want.

And if at any point

you want to add another keyframe here,
you can simply just hover your mouse

anywhere over the line
and you can add a keyframe just like that.

And now we also have some shortcuts
down here in the bottom left.

So if we have one of our keyframes
selected, we can use these shortcuts

to make things linear or smooth them out
just like that.

And we also have some other shortcuts here
that aren't accessible to us right now

because we only have one
keyframe selected.

So if we select multiple keyframes
like these three over here,

we could see that all of these options
are now available to us.

I'm not going to dive too deep into these
right now, but basically these

just allow you to apply presets
to a selection of keyframes.

So if I step in, we can see that Now

what it's done is it's
made this kind of step animation.

So it's basically going to continue
with this value past the keyframe

and then automatically right away
jump to another value

and then stay at that value jump again.

So this is very jumpy.
Let's see what it looks like

that.

So that could be good in certain
scenarios.

You might actually want to use that
if you have the opposite of that one.

We have instead of step it is
what is it here?

Step out. We've step in and step out.

So that does the opposite.

And then we have other options here
afterwards as well.

I haven't really found in my own workflow
that I've needed

to use these shortcuts,
but they are there if you need them.

And in certain situations I can see how
they would definitely be useful.

Awesome.

So we're a little bit better
at using keyframes within fusion now.

I highly recommend that you guys open up
fusion.

Try this out yourselves. Just experiment.

Doesn't matter if what you're doing
makes sense or not.

Just get familiar

with how to put keyframes down
and how to use them within the interface.

Then that way, when the time comes for you
to actually execute one of your visions

with intervention,
you'll know exactly what you're doing.

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

I'll catch you in the next one.