BSVP On-Site: Tech
Demo on editing software is easier to understand by seeing it than by describing it.
From the exhibit at NAB 2018, here’s the transcript of the demo on DaVinci Resolve 15 and Fusion
So, you may get more out of this interview by watching the video.
Sue Lawson here at NAB 2018 coming up next Blackmagic DaVinci Resolve 15. This is the one we’ve all been waiting for and it’s here. Jason is going to go ahead and show us the new DaVinci Resolve Studio. Whether or not you go with just DaVinci Resolve or the full paid version of DaVinci Resolve Studio this was absolutely amazing. Let’s talk first about some of the new features that you guys have come up with.
DaVinci Resolve 15 is probably the biggest update we’ve ever had for DaVinci Resolve. Fusion is now a page inside of DaVinci Resolve so everything about Fusion is now right there in between the media and the color pages. So we’re just gonna dive right in we’re gonna take a look at some features so what we have right here is a timeline that we cut together. And we’re gonna go ahead and do a comp in Fusion. We have access to the entire media pool. We have access to a string of thumbnails that represents every clip in the timeline. What we’re going to do here we’re gonna hop back to the Edit Page for a second because something that a lot of editors are gonna be dealing with are things like a chroma key workflow where you’re gonna be have a foreground and a background. that you want to composite at the same time. Something really great that you can do with Fusion or Fusion inside of Resolve, I can highlight these two clips.
I’ll make a Fusion clip and now when I go back to the Fusion page instead of seeing just that one clip, both of the clips are automatically merged together. So I have my foreground and my background and what I can do is I can view these two clips independently of each other. That’s the way Fusion works we have our node graph right here. We have two independent viewers that can view any of our nodes and then we have an inspector that adjusts our effects. And what we’re gonna do here is do a simple chroma key workflow so what I’m going to do in between my clip right here and merge effects library. We’re gonna go to drag it down to tools track matt. There we go.
We’re going to look at our Delta keyer and we’re just going to drag and drop that right in line right here. Now if I put my Delta keyer in viewer 1 I can see that independently of my actual clip. So what I’m going to do with the Delta keyer we’re gonna choose the background color. We want to key out and this is one of the most powerful keyers we have in Fusion. It’s essentially a one-click solution to make everything look really awesome. We’re going to go ahead and choose an alpha view for this clip. Now and we can see that we have a little bit of cleaning up to do.
So we’re gonna go to the threshold tools on the Delta here and I’m going to go ahead and bring that back and bring this up and as you can see I can see how this
key is affecting both nodes at the same time. This dual view system allows me to really articulate my effects so let’s go ahead and view our merge and viewer number 2. Now the next thing I want to do is implement a tracker because as we can see the spaceship moves and I need to get the tracking information from this spaceship onto my background. Something that editors need to do all the time. so what I’m gonna do is I’m gonna go ahead and add a tracker so I’m going to go to my tracking and I’m gonna add a simple tracker and attached right here to my shot. So what I’m gonna do is exit alpha mode let’s go to the first frame. Let’s set the tracker where we want it. I’m going to hover right over this light and because of that I’m going to go ahead and press. I’m gonna name this tracker light so look.
You can name the tracker and you’re gonna have to eventually because you want to stay organized and you’re gonna see why in just a moment. So our track is finished it went really fast I can see the exact path over the course of the clip what I want to do now is take this tracking information and get it onto our background shot. So what I’m going to do is I’m going to apply a transform node the transform node is going to give us the ability to attach information and instruction on where to put our background clip. So for the transform I’m gonna say I want to connect to the tracker one offset position and just like that. It’s been offset and we have the same tracking information but since the background plate is now over on this side of the shot I’m going to go ahead and add one more transform and the second transform is going to be used to bring the shot back over here. I’m going to go ahead and adjust the size a little bit and now what we have is not just an amazing chroma key but a completely tracked chroma key so the background plate follows the shifting information of the foreground and it looks like a realistic key and instead of having to essentially pay attention to lots of different types of stacked layers the node tree allows me to see a visual flowchart of how my effects are affecting each other. It’s like building with Lego blocks
We’re going to take a look at the bunch of Resolve as well so hang with Jason and I here at NAB 2018