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- Yesterday
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We are proud to introduce a Fusion masterclass in background replacements with instructor Lee Lanier! With 7 easy-to-follow video lessons, you will learn advanced techniques that can be used to create complex and stunning effects inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The project files and footage are available for download so that you can easily follow along. About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors, Colorists, Compositors and other finishing artists Some of the topics Motion tracking Stabilization Rotoscoping building-elements and face Fine-tuning roto shapes Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion The first lessons will be available on friday!
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Hello, we are pleased to announce the release of DaVinci Resolve 15.1.2 Studio. This is a no charge update for existing users and can be found on the BMD support web site with the no charge DaVinci Resolve. https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion I'd also like to point out that Resolve now includes a Fusion Loader node, the ability to make compositions directly in the Fusion page and save them to and load from the Media pool. What's new in DaVinci Resolve 15.1.2 Addressed an issue with running Resolve on case-sensitive disk drive volumes Addressed an issue where starting DaVinci Resolve would cause a crash on some Windows laptops with integrated and CUDA enabled graphics cards Addressed an issue where the viewer would flash between video and data levels during playback on some systems running on CUDA Addressed an issue with stability in remote grading sessions when the client machine had live save enabled Addressed an issue where applying stabilization on video clips with odd resolutions would cause a crash Addressed an issue where RGBA images would not be processed premultiplied when using some OpenFX plugins Addressed an issue where source render cache would not be preserved when copying still or clip grades Addressed an issue where the ISO selection is incorrectly hidden when applying RAW changes to Blackmagic RAW clips Addressed an issue where adding a ResolveFX node to a clip during playback would display a critical exception message in the Color page Addressed an issue where Fusion comps with paint tool applied would sometimes result in the first frame being black Addressed an issue where copying clips in the Fairlight page would sometimes cause a crash Addressed an issue where dragging an audio clip into audio track layers would sometimes cause a crash in the Edit page Addressed an issue where dragging an audio clip with no mapped channels into the timeline would cause a crash Addressed an issue where track mute controls would sometimes show an incorrect automation state on the Edit page Addressed an issue where playing back some smartphone clips in portrait mode could cause a crash Addressed an issue where the Delete Through Edit context option would be wrongly shown for all edit points on the Edit page Addressed an issue where the Photon validation options for IMF packages would not be displayed when Java Development Kit version 11 was installed Addressed an issue with the DCDM (P3D65 Limited) IDT in ACES 1.1 projects Addressed an issue where incorrect audio formats would be shown for muted audio tracks in the Deliver page Addressed an issue when rendering to ProRes 444 where the output could have chroma overflow artefacts Addressed an issue where rendering Sony clips with Japanese file names would result in incorrect file names on Windows systems General performance and stability improvements
- Last week
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Great. Just orientating and new to Fusion. Known to AE. Trying to understand the workflow.... looking forward to learn a lot.
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Tracking a light beam matte overlay in Resolve
Nicolas Hanson replied to Jeremy Dulac's topic in Color Grading Discussions
Hi Jeremy. You are not doing anything wrong by adding the mattes to a top track and using the blending modes. The only difference from adding the matte as a matte clip is that that latter lets you loop the clip. Copying track data from node to node on the same clip is possible, but from clip to clip is not possible. It makes no sense that this should be possible in the color module. Tracking the way you want to use it is an important part of visual effects worl and In Davinci Resolve this feature belongs to and is possible in Fusion. -
I'm an alpha tester of 3D LUT Creator and 3D LUT Creator OFX plugin. It's about to support ACES (alpha or may be also beta versions). Could you tell a bit about workflow you'd like to be possible while creating LUTs for ACES color space? This is not an official request from the app creator. I'm just trying to make the app better regularly providing useful insights to him. For those who are new to ACES: Typically grаding in ACES means that your timeline space (in davinci resolve) is ACEScc(t) (which is LOG!!! not linear) gamma and AP1 primaries. After all the corrections made, using all the tools available, RRT (so called film look curve and (afaik) saturation remapping) and ODT (so called ACES to rec709 or whatever transform) are applied. You can't modify RRT and ODT.
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Fixing makeup in grading session.
Anton Meleshkevich replied to Adéyẹmi's topic in Color Grading Discussions
@Adéyẹmi Oh, I know what you talking about. Half reddish and half yellowish face. A powder which has a different color from the concealer. I met this on a couple of projects. As far as I remember, I exported stills to 3D LUT Creator, then made AB grid correction to fix this. Then I applied the LUT using power window tracked to the face with smooth edges or with additional subtractive power windows to preserve lips and ears natural redness. But that was not even close to fixing yellowish teeth on singer's CU shots. A LOT of roto. -
Curious about this too...
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I think the Resolve version doesn't have the Primatte keyer - a good keyer for greenscreen work.
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First of all I want to say thank you for creating the Fusion Essentials Series, I enjoy every minute, and I have already started to experiment and create some basic things. It's incredible useful to have this toolset available inside of DaVinci Resolve. I know the built in version is not so stable and speedy as the free standalone version of Fusion, but are there any other differences?
- Earlier
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Sounds great, thank you for listening
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Here's my take for this, I made it a high-key image using the contrast controls, and focused on the triadic color scheme that is present in the image.
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Baselight 5.0 - course for Beginners (ENG)
Alex Prohorushkin replied to Alex Prohorushkin's topic in Baselight
Part-5 : Timeline (part-1) -
We have 19 different film stocks in the plugin, each one was profiled separately so they all have the individual characteristics of that film stock. We're planning an update to the software in the near future that will enable the original Cineon log scans to be used, instead of the projected film simulation. This will keep the flavor of the film stock but give more power and flexibility in grading.
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Thank you!
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yes in the fusion node there is 3 dots so the 3rd one in the right is for the output, or you can press 3 in the keyboard.
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Is it possible to monitor the output from Fusion via SDI?
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Thank you for the kind words and great inputs! We have recorded a masterclass with Lee Lanier that covers Stabilizing, 3D-tracking and adding a new background. The rotoscoping masterclass with Rony Soussan will cover everything you mention including sending the mattes to the color page. We have planned a text tutorial and let's see if end-rollers can be covered in that one.
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This was always a problem in the days of linear tape onlines which went for external grades. The approach we used was to leave the dissolves as they were in the main programme, but include all the clips that were used in dissolves as separate elements at the end of the tape (with appropriate handles). The Colourist would grade the show as normal, including the dissolves (the best they could) but would also apply the same grades to the separate elements. Once we had returned to our online suite, we could review the graded dissolves. If it was decided that the grade transitions were visible, we always had the graded elements to rebuild the effect. This technique was also used where there were composites in the show. It's all so much easier now where you can simply send a multi-layed AAF to a Colourist where you want control over all layers.
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ThanX folks, really good information presented clearly. looking forward to the next one... i'm interested in a few things in the short term - sky replacement + 3D camera solves + fixing tracking errors / editing tracks - end rollers - sending roto/tracks/masks to Resolve's color page these are all things i roundtrip currently to other software
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Depending on the workflow, one way is to have the client send a cut without any transitions, then send the cut as individual files (with handles) and they add transitions. An additional option that I occasionally use if the client sends everything baked in is to not add any cuts and instead keyframe the grade around the transition.
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For dissolves, find the midpoint of the dissolve, add a cut. Then when you get back to Edit, add a dissolve that has the same duration as the pre-rendered dissolve. Fades to / from black, just add fades with the same length inside edit. But fades to / from black tend to get messy if the grade is strong. Sometimes adding a black solid on the track above, and fade that in / out helps.
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Thanks
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It's a compound node. Import (right click on stills window empty area) - jpg file type - open skin_retouch.jpg
