Introduction to Visual Effects in DaVinci Resolve Fusion

6 minutes ago, Lee Lanier said:

If you use the version of Fusion that is built into Resolve, Resolve supports monitor LUTs, which you can create with external calibration hardware and software. Otherwise, Fusion only offers viewer LUTs which approximate various outputs. To assign a LUT to a reference monitor, you will have to go outside of Resolve of Fusion.

Thank you for the quick response. I should have clarified! I am working in Resolve Fusion 16. Calibrated Sony OLED reference.

Easy to assign a view LUT to the two viewers in Fusion itself, but is there no way to assign a view LUT (working with logC footage) to the Sony OLED (or my third little viewer dot)? That seems like such an oversight.

I thought maybe I could do it in the Resolve "Color Management" preferences. But Fusion seems to ignore any LUTS applied in the "3D Video Monitor Lookup Table". Am I missing something? 

I have no way to add a LUT downstream as the UltraStudio does not support LUTs!  

9 hours ago, Dante Pasquinelli said:

I thought maybe I could do it in the Resolve "Color Management" preferences. But Fusion seems to ignore any LUTS applied in the "3D Video Monitor Lookup Table". Am I missing something? 

I have no way to add a LUT downstream as the UltraStudio does not support LUTs!  

It's a bit out of my area of expertise, but I would assume you would have to use another piece of software, like CalMAN, or a piece of hardware, like a LUT box.

Lesson 13  Domain and transforming  Introduction to visual effects in DaVinci Resolve Fusion

All my videos are 1920 x 1080 
If I see on fusion that a video is not 1920 x 1080 I have to crop it or  Resolve will do it autmatically at deliver panel?

5 hours ago, Luca Reale said:

Lesson 13  Domain and transforming  Introduction to visual effects in DaVinci Resolve Fusion

All my videos are 1920 x 1080 
If I see on fusion that a video is not 1920 x 1080 I have to crop it or  Resolve will do it autmatically at deliver panel?

You can use the Crop node as a final step, but you also have the option to choose different standard resolutions when rendering through the Deliver tab. Each render format supports various revolutions through the format settings.

Hi, great series of tutorials thanks! Learning a tonne.

I have an editorial background with little VFX knowledge so this has been really helpful. I have a question around the pipeline for Chroma key work on RAW / Flat Log footage. Is it best practice to use the color tools in Fusion to take your log footage into a Rec709 color space  (Adding saturation, color curves/contrast etc) and then pull your key using Delta Keyer etc? From there do you then use a merge node to composite the keyed footage with a background plate and try to match the two layers within Fusion? I’m just finding the pipeline or signal flow from Edit to Fusion to Color confusing... 

If i’m making color adjustments in Fusion to help pull a better Key, how can I do that without  baking in that color adjustment so that I have the RAW signal chain in the color page? I want to composite layers together in Fusion using the RAW original footage so that when I go to color tab I have full control from the original camera files. 

I do know you can send the alpha channel from a key through to color page which is great but it doesn’t seem to look as crisp as it does in the fusion tab.

Sorry I hope that makes sense, any help would be appreciated!

Thanks

Hi Joshua. I recommend that you have a look at the chroma keying course as that will answer all your questions. There are several ways to prepare the footage for a good key and could all be done inside of Fusion. 

10 hours ago, Joshua Kirk said:

Hi, great series of tutorials thanks! Learning a tonne.

I have an editorial background with little VFX knowledge so this has been really helpful. I have a question around the pipeline for Chroma key work on RAW / Flat Log footage. Is it best practice to use the color tools in Fusion to take your log footage into a Rec709 color space  (Adding saturation, color curves/contrast etc) and then pull your key using Delta Keyer etc? From there do you then use a merge node to composite the keyed footage with a background plate and try to match the two layers within Fusion? I’m just finding the pipeline or signal flow from Edit to Fusion to Color confusing... 

The color workflow with the integrated version of Fusion is a bit confusing. In general, I do not color adjust the plate before keying. Nevertheless, one way to approach that would be to color adjust and key the plate, then combine the resulting alpha with the RGB of the original unadjusted plate via a Channel Booleans node. You could then use the output of Channel Booleans with  a Merge.

The chroma key course is useful in that it covers the various matte nodes and different ways to adjust the resulting key.

1 hour ago, Lee Lanier said:

The color workflow with the integrated version of Fusion is a bit confusing. In general, I do not color adjust the plate before keying. Nevertheless, one way to approach that would be to color adjust and key the plate, then combine the resulting alpha with the RGB of the original unadjusted plate via a Channel Booleans node. You could then use the output of Channel Booleans with  a Merge.

The chroma key course is useful in that it covers the various matte nodes and different ways to adjust the resulting key.

Thanks Lee, that sounds great I will give the Channel Booleans a go.

Hey Lee! I joined Lowepost mainly for this course in particular and it is fantastic. I am having one issue that has me stuck and I believe I have followed every step needed. On the Planar tracker, I have created a Fusion Comp with the main footage and a PNG image with a transparent background. The tracker seems to track the PNG image pretty well but about halfway through the clip the PNG image suddenly disappears. I can't for the life of me figure out why this keeps happening. Any advice on a setting or what I may be doing wrong? Thank you so much, Bryan

P.S. You Rock!