Lee Lanier

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Everything posted by Lee Lanier

  1. Lee Lanier
    I find Fusion a little awkward for extensive rotoscoping,, but the built-in tracking features can help make it easier. It would be worth checking out my advanced Fusion rotoscoping course at Lowepost. I use After Effects quite often because it's very simple and straightforward, plus the Mocha tracker is excellent.
  2. Lee Lanier
    Thanks, Mark. Glad you like the course.
  3. Lee Lanier
    Aside from ACES and RCM, I didn't cover wide gamut workflows in this course. If we update the course, it might be a good topic to add.
  4. Lee Lanier
    Hmm, I vaguely remember an issue like this awhile back. I would try to purge the cache and restart and possibly reboot . If that doesn't work, maybe run a test by converting the sequence to a different image format. Assuming that the sequence is visible when working with other nodes, a setting shouldn't cause that to happen.
  5. Lee Lanier
    That would have been my last suggestion.
  6. Lee Lanier
    Instead of dropping the original Fusion comp into a new timeline, trying dropping the original timeline (associated with the Fusion comp) into a new timeline. That seems to work for me. The roto comes through fine despite a difference in resolution between the two timelines. You can stack timelines and clips if you need to.
  7. Lee Lanier
    When it comes to complex paint fixing, you will probably want to use Fusion. The Patch Repair plug-in is easy to use, but it's very limited with its options. In Fusion, you can use the Paint tool in Clone mode to remove a moving string.
  8. Lee Lanier
    You might try matching the domain in Fusion to the new timeline resolution. You can do this by adding a Resize tool or one of the Domain tools right before MediaOut.
  9. Lee Lanier
    ACES offers a simplified workflow. RCM gives you a bit more control by allowing you to apply the camera LUTs. I would test both ACES and RCM and see which one suits your footage the best. There are so many permutations with color management, it is hard to predict which one might give you the best result.
  10. Lee Lanier
    You can combine clips and animate their opacity in Fusion. You can combine clips in pairs with a Merge tool and adjust the FG input's opacity by animating the Blend parameter. However, for general editing, where you arrange, overlap, and add transitions to clips, I would use the Edit tab. Fusion will build a separate comp for each clip within the Edit/Timeline tab.
  11. Lee Lanier
    You can chain keyers together, where one runs into another - but this can lead to alpha problems. A better solution is to use garbage masks to limit the amount of green screen you have to remove. Is it possible to cut off the dark area of the green screen with mask?
  12. Lee Lanier
    If you are using Resolve, you can arrange and stack clips on the timeline. Clips can be videos, images or different Fusion comps. If you are using the standalone version of Fusion, then, yes, it doesn't really have the same flexibility as After Effects in terms of sliding layers back and forth in time. That said, you can change the Loader's In and Out frames, plus add hold frames at the start of end.
  13. Lee Lanier
    You can create a very brief change in brightness by animating one of the Color tools, such as the Color Corrector. If you need a dark shadow to be cast at that moment, limit the brightness change with a mask - the unmasked area retains it's original darkness and becomes a shadow. You can use the same trick for lightning.
  14. Lee Lanier
    Ah, right. You should be able to connect a Paint tool to a PlanarTransform tool and get the distortion.
  15. Lee Lanier
    Both approaches strive for the same thing - to soften or sharpen detail within a particular color range, That said, frequency separation tools or networks in Fusion will give you greater and finer control over the result. With frequency separation, you can be more particular about what size details you are affecting, from very tiny pores to larger things such as freckles or wrinkles.
  16. Lee Lanier
    You can make a Paint tool use tracking data. For example, connect a Paint tool to a Transform tool, then connect the Transform's Center XY to the tracking data of choice.
  17. Lee Lanier
    I took a quick look at the videos (it's been some time since I looked at this course). I don't see anything obvious, but it may be worth testing the premultiplication. Try running the Alpha Multiply into the Curves tool, or experiment with different locations for the Alpha Multiply tool. Whenever I have odd behavior, I try to figure out what's going on with the alpha throughout the network.
  18. Lee Lanier
    I don't have the project in front of me right now, but one thing to check is the alpha. Make sure the Curves tool is not affecting the alpha channel by turning off the Alpha check box. These problems can sometimes arise from premultiplication issues or an unwanted adjustment of the alpha channel.
  19. Lee Lanier
    If you connect a mask to the Effect Mask input of a Merge node, the Merge node won't function without a Background input. So, with that network, you're placing a cut-out color-corrected car over the uncorrected footage. The other variation would require the mask connected to the Effect Mask input of the Color Corrector, in which case a Merge node is not needed. Both approaches are useful. For example, a Merge is necessary if you were placing the car over a new background.
  20. Lee Lanier
    How about this: :randomseed(time); return random()*(max-min)+min For example, if you want a random value between 0.8 and 1: :randomseed(time); return random()*(1-.8)+.8
  21. Lee Lanier
    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.
  22. Lee Lanier
    You can go to the 3-dot menu at the top-right of the viewer and turn off Show Controls. There are also a few Show Control options through the RMB view menu.
  23. Lee Lanier
    The Planar Tracker does work like a Merge, but you can apply the planar deformation with a Planar Transform node separately. Connect the graphic to the Planar Transform, and set the Planar Transform's Track Spline parameter to the planar tracker track. The Planar Tracker can be left as its own branch and does not have to be connected to the MediaOut. In general, I apply tracking data outside the Tracker or Planar Tracker and do not use those nodes to undertake the actual merge.
  24. Lee Lanier
    Shift+1 to open project manager. Click the New Database button. Click the Connect button. Enter color as the database name. Browse to the Project Files\Resolve Projects\Resolve Projects folder and select it. Click Add. Most likely, you will have to re-link the imported footage. The project files are included to show the end state of various color management set-ups. After this series, I switched to including .drp project files to make it easier for the user.
  25. Lee Lanier
    You can force a Blur node to only operate on the alpha channel (turn off the RGB buttons). Add a Color Curves after the Blur, and adjust the Alpha curve and it will erode/dilate the matte edge.