Eyeon Fusion Master Class 106C Polygon and B Spline Masks Video Lecture | Eyeon Fusion: A Practical Hands On Course - Professional Skills

in this tutorial we'll explore the
creation and manipulation of polygons
and b-spline masks we'll start by
creating a new composition select the
loader button on the toolbar and browse
to the tutorial footage standing folder
click on the file you find here and
display it in one of the display views
alternatively just drag the entire
folder that contains the footage to your
flow and the footage will load this is a
10 frame sequence so set your global end
to 10 this will make it easier to see
your current frame time when you press
play you'll see that it's a simple shot
of a character standing up make sure
you're at frame 0 set the display view
to fit and give yourself some space to
work our intention is to make this
character's face scarier and we'll do
this by taking a brightness contrast
tool or the BC button on the toolbar and
click and drag it into the display view
automatically adding the brightness
contrast into the flow and connecting it
to our loader let's take the contrast
stop on the brightness contrast tool and
reduce the game ever so slightly I've
used the values of 0.5 for from the
contrast and point 9 - in the game feel
free to define your own look
our next step is to add a mask so the
mask only surrounds the face of our
character click on the polygon mask
button in the toolbar and this
automatically adds the polygon mask to
the brightness/contrast tool and
connects it to the effect mask input
it's denoted by a blue triangle a
toolbar appears down the left side of
the display view this toolbar appears
whenever a polygon mask is selected
right click and select the icon size and
the button style that you'll be
comfortable using I selected icons and
text labels and I'm viewing them at the
smallest size we'll start and click
append mode click append mode means that
I can just click once and each time I
click I add a new segment or a new point
with the segment connected to it which
defines the shape of my mask when I
click on the last point and you'll see
that the mode changes from click append
to insert and modify insert and modify
allows me to insert new points or modify
existing ones so in this case I'll
insert a new point which will give me a
better representation of the shape of
the cheekbone now that have created the
shape I'm ready to start smoothing it or
making it more closely match the shape
of the face that will rotoscoping when
we created the shape we added key points
defining that shape when you select
those key points you'll see the yellow
handles these yellow handles represent
the smoothness or linearity of the shape
from one point to the next if you click
on the smooth button you can smooth
those segments so that the curve between
the two points is no longer a linear
shape you can also select multiple
points and smooth them in a single pass
this is also available on the keyboard
by selecting shift S or simply click on
the smooth button once the outside of
the polygon mask matches the shape of
the face switch to the timeline and open
up the polygon entry in the timeline
are you'll note that a keyframe has been
added to the polygon spline this
keyframe represents the shape of the
spline using all the various points this
one keyframe in the chain of the spline
represents the position of every point
in the mask so far if we change our
current frame to 10 and adjust the
position of the mask to fit her face
again you can see that we automatically
add a new keyframe to the mask all we
have to do is adjust a few points to
better match our shape again let's move
back a few keyframes use the square
brackets on the keyboard to adjust your
current time bar forwards and backwards
one frame at a time as I move back in
time we'll see that the masks shape is
linearly interpolating between 0 and 10
we can also see that the motion over the
mask should not be linear we need to add
points in order to refine the movement
move to frame 5 select all the points
and adjust the position of the mask
again so the mask fits nicely over the
face now we can see the motion is
matched between 0 & 5 between 5 and 10
there's still a little refinement that
needs to be done change frames to frame
8 and reposition the mask and check to
see if you have a decent match our match
looks pretty good
check out the shape without your
controls being displayed by turning off
the show controls on the toolbar you can
see that a small amount of softness
wouldn't hurt so bring up your softness
on your mask until the shape blends nice
and smooth with the rest of the face
note that these changes do not affect
the polygon mask animation unlike
masking tools that you may find in
editing software fusions masking tools
can define all parameters independently
giving you total control of the masking
process now re-enable the show controls
then select the done mode from
the toolbar across the side of the view
or use Shift + n this will change the
display of the polygons from insert and
modify to done this prevents additional
changes from being made change back to
the flow by either using the f5 key on
your keyboard or clicking on the flow
button tab for our next example
right-click in an empty area on the flow
select add tool mask b-spline and view
it in the left or right display view
start clicking to add points similar to
a Bezier curve of a polygon mask the
b-spline curve is entered and click
append mode which means each time we
click we add a new segment to the shape
unlike a Bezier curve of a polygon mask
we can see these shapes are
automatically smooth instead of linear
we can also see that our points do not
define the edge of the boundary of the
shape but rather they define a bounding
box by selecting any of the individual
points we can adjust it to move the
position by holding down the W key and
dragging and clicking the mouse left or
right we can adjust the tension of the B
spline shape B splines are very popular
for rotoscoping organic shapes for
example in the case of our character we
can easily a position these points so
they line up with the edges of the face
then use the W key in order to adjust
the smoothness tension of the B spline
shape until we have something that very
closely resembles what we're looking for
again a little softness would do the
trick here a really convenient feature
of the masking is that you can convert a
polygon mask into a b-spline mask select
the polygon tool then right-click in the
display view select polygons one
polyline from the menu and then find a Z
a 2 B spline in the menu that appears
click once and fusion will automatically
convert the Bezier curve into a B spline
curve additionally fusion will preserve
the animation so the animation you've
applied so far is not lost when you do
the conversion this concludes our basic
tutorial for polygons and b-spline masks
our next tutorial will include some
advanced features of the polygon and
b-spline masks as always for the most
up-to-date descriptions and details on
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