Courseware 102 - Basic Compositing 2 Video Lecture | Eyeon Fusion: A Practical Hands On Course - Professional Skills

hi this is Eric of our software and
welcome back to lesson one or two of our
course we're in lesson 101 we built this
basic composite using pre-rendered
elements
now let's refine this a little bit and
well it's been a while since I opened
this for the last time and I'm a bit I'm
sure what material my loaders are
actually loading in so to give me a hint
I could right-click on my floor area and
select force sourced our pictures which
means that fusion will create thumbnails
for each of the loaders and the first
thing I want to do is to calibrate my CG
element here that it fits the overall
look of my background plate to do that I
can either just click on the color
corrector button up here or which is my
preferred method hit control space type
color corrector hit return and there we
go in the color corrector itself which
will be covered in a later tutorial
I can now simply drag my master control
here to tint my cg foreground element
here maybe a little bit more into the
yellowish greenish look here maybe like
so the other thing that comes to my eye
is the fact that the CG element is also
very clean and very sharply rendered so
I want to blur it again I add a blur
tool and the default value of one seems
a little bit too much to me to make
subtle adjustments to any slider in
fusion who drowned the control key and
enter precision mode and do your
settings like this you can also reset
any control to its default value by
clicking on this little round marker
here because what I actually want to do
is I want to leave the blur size at the
value of 1
but in my common controls tab I want to
bring down the blend of the entire tool
to match the look I'm after maybe
something like this so let's zoom in a
bit now we see another issue here which
is called light rap you see this hard
edge between the actual backplate and
the CD element well this is due to lots
of highlights we have here in the
original recording which spill into this
area here and the other thing you will
see is that when i zoom into an image
fusion will apply a so-called smooth
resize which means it uses a very fast
algorithm to smoothly scale up your
imagery here well sometimes you don't
want that so to get rid of it just
switch off the smooth resize option here
underneath your view and he will see
actual pixels without any smoothing
applied but let's stick to smooth resize
in this case right to create a light rep
in this area I need an additional mask
let's build one so let's drag this to
the right to make some space and as you
might remember we have our pre-rendered
masculine meant down here and for a
light rep I actually need an outline
mask off my mask channel here so let's
click somewhere here why do i click well
when I add a new tool like in this case
a filter fusion will place it exactly at
that position I click last on the flow
area or if I have any active tool fusion
will automatically connect the new tool
to the output of the selected tool or
but in this case I want to apply the
filter only in the third branch I take
out of my mask here let's set the filter
to Sobel Sobel is a basic outline filter
and since I will only be using the red
channel on my March I want to put in
here I can limit the filter to work on
read-only so why is this important while
in any tool infusion in the come
controls tab he will also see switches
for the red green blue and alpha channel
which determine which channels are
actually processed by the tool but the
channel switches in the common control
step are only applied after the tool has
been rendered that means for example
with a 4k image the filter tool would
render the entire image and then at the
end of the process only spit out these
selected channels here but still the
rendering will happen on the entire
image many tools in fusion have the same
switches in the controls tab and these
are actually pre switches that means
only the red channel in this case will
be processed at all and to explain it
even further this setting will actually
speed up your rendering by a factor of
four because only one channel is
processed and not all of them so always
keep that in mind if you work with tools
like blurs clothes filters etc etc any
tool that offers these switches in the
controls tab can be sped up dramatically
if you only need to work on a single
channel speaking of single channels if I
want to examine how my different color
channels look I either can use the color
fly out here underneath my view to
switch to color red green blue alpha or
the Z channel if there's any image or
with the view active I can simply press
r g b c for color a for alpha and Z for
Z depth while back to a light rep let's
take a merge tool here take the output
of my color corrected foreground element
put into the foreground input of the
merge and then use the output of the
filter as a mask and it's already said
we only using the red channel here so in
my merge I have to go to the common
controls and switch the mask channel
from alpha to red and now you see some
sort of logic going on well that's still
too strong I think so after the filter
let's just add a blur tool
to blur this out a bit again holding
down control to enter precision mode
like so and also want to blow my
foreground element so again add a blur
tool in here and bring the blur size up
until get something like that let's view
the final composite here and maybe bring
down the blend of my merge of it so what
you can now see how we can nicely
correct for this live spill here with a
little filter setup you can also pass
through any tool infusion so for example
if you want to check your final
composite with and without the light
spill you can either click on the pass
through your icon here in your merge
tool all with the tool selected in the
flow you can hit ctrl P to pass it
through and hit ctrl P again to make it
active there's another way how you can
compare two different versions of your
work and that is the a/b split option so
let's just build a very fast version
here adding a merge taking my background
without the light spill adding my
blurred foreground to it and of course
using the mask down here and switch it
to red and now let's examine these three
buttons here so by default my a buffer
is active I can also switch to my B
buffer which for now is empty but I can
also use the a/b split and that means I
can for example drag to the left side my
composite that has the light spill and
to the right side to the B side the part
of my composite without the light spill
then I can simply move my ad split here
zoom in and compare two different
versions against each other of course
this can also be rotated
anyway you like it one thing that might
happen if you zoom into an image is the
fact that the a/b split slider is
somewhere out of the view to correct for
that simply press ctrl alt and left
click anywhere you want that slider to
appear and there you go again so I would
say the version with the lights bill
looks much more natural so we can get
rid of this merge tool here and switch
back to a buffer only so in this version
of the course where you learned a little
bit about creating masks creating
outline filters here blurring stuff and
comparing different versions of your
work against each other you also talked
about color correcting the smooth resize
option in the flow and the a/b split
view as well as the color channels
there's more to come so stay tuned for
more course we are from your favorite
compositor Cheers and see you next time