Eyeon Fusion Master Class 106F Bitmap Effect Masks Video Lecture | Eyeon Fusion: A Practical Hands On Course - Professional Skills

in this video I'll demonstrate the use
of bitmap effect masks up until this
point all of the effect masks we've used
have been simple shapes like rectangles
and ellipses or complex shapes such as
polylines using Bayes EA or b-spline
curves however it's also possible to use
an image as your mask source taking the
alpha the red green or blue or luminance
channels as the source of your masks
follow along with this simple example
locate the folder you downloaded named
packs and load the clip that you find
there alternatively you could find the
folder and Explorer and simply drag and
drop it onto the flow view the clip
length is 137 frames long as we could
see in the trim in and trim out change
the global length to approximately 150
frames the footage we're loading is 720
by 480 6 which is NTSC d1 set your file
frame format preferences from the
default value to NTSC d1 if it's not
already set that way do this so the new
tools that you add will automatically
follow this frame format click save
changes in the frame formats preferences
when you view the image fusion will
automatically view it in the correct
pixel aspect ratio the image we have
loaded has an alpha Channel as you can
see by selecting the display view and
clicking the a button click the C button
to return to viewing the color channel
apply a color correction to the shot by
locating the CC or color corrector
button in the toolbar above the viewer
click and drag the toolbar button into
the view this automatically adds the
color correction tool to the composition
as well as viewing it in the large
display view go to the color correction
controls and make an adjustment to tint
the image push the image towards yellow
or towards red something obvious so that
it's easy to see now let's create a
noise map using one of fusions built-in
creator tools
moderate the effect of our color
correction right-click on the flow click
on the creator tab and select the fast
noise tool view the fast noise tool in
one of the display views and click on
control F to set the display to fit
within the view now let's set up the
fast noise tool change the detail of the
fast nodes to give it a little bit more
detail scale it in slightly so that you
have a little bit more density to the
noise mask and then you can use the
seethe control to cause the mask to
change over time or increase the seethe
rate to cause it to automatically change
from frame to frame the higher the
seethe rate the more active the mask
will be as it moves from frame to frame
connect the output of the fast noise
tool to the blue input that is the
effect mask input on the color
correction tool make sure you don't
connect it to the green input as the
green input is used for color matching
references a little trick is to hold
down the Alt key on the keyboard
when connecting tools this will enable a
text list of available inputs on any
tool at first the effect of our mask may
not be terribly obvious you can still
see a red tinting that's been applied to
our character however if he adjusts the
seed you'll see that the tint varies
from frame to frame matching with
variations of the effect mask that we're
using when you apply an image directly
to the effect mask input on the color
correction tool or any tool then a new
control will appear in the common
controls tab the one that's marked with
the little radioactive symbol select the
common controls tab and you'll see an
option to choose which channel of the
input images is used for the effect mask
the default is almost always the Alpha
Channel but you can also choose red
green blue hue luminance saturation or
coverage as alternative channels also
notice that all the channels have a low
and high threshold adjustment as in
almost all tools these parameters are
animatable
and can be modified by various
expressions we'll stick with the Alpha
Channel for this particular example
connecting the output of an image tool
directly to the mask input has its
advantages of simplicity
however you lose
control over the mask that you gained by
using an external bitmap mask tool
disconnect the fast noise tool from the
color correctors mask input right-click
select add tool then from the masks
category select bitmap mask tool like
most other mask tools it's also
available from the menu just below any
viewer connect the fast noise tools
output to the bitmap mask and then the
bitmap mask connects to the color
Corrections mask input at first this has
exactly the same result as connecting
the color correction mask input directly
from the fast noise tool however if he
examined the controls of the bitmap mask
he'll see that there is additional
values which we can use the first value
levels allows you to control the
intensity of the mask channel the second
control soft edge allows you to apply
softness to the mask and remove
additional detail you can also invert
the mask or move it by using the center
ctrl to transform the mask slightly in
space as you can see the bitmap mask
tool provides additional layers of
control over your bitmap masks whether
you choose to use a bitmap mask is
entirely up to you delete the bitmap
mask tool and the fast noise tool from
your flow this time we'll use the bitmap
mask tool in a slightly more interesting
way select add tool and choose bitmap
mask from the mask category connect the
output of the PAC's footage to the input
of the bitmap mask tool and view it in
the display view now copy and paste a
second copy of the tool into the flow
connect the one bitmap mask to the
copied bitmap mask now take the second
output of the PAC's footage and connect
it to the second bitmap mask tool view
the second bitmap mask tool in the
display view set it to paint mode from
merge to subtract now both bitmap masks
are currently using the exact same image
from their source so as a result we're
subtracting the exact same mask and we
end up with black however if you now
take the center control of the sec
bitmap mask tool and move it slightly
you can offset the two masks generating
what amounts to as a rim mask or edge
mask for your object connect the output
of the second bitmap tool to the mask
input of the color corrector see how the
edge mask is being used to provide
directional lighting on our 3d rendered
image apply a little bit of soft edge to
the edges of the mask and you'll have a
very natural appearing directional light
source as part of your shot you will
find with experimentation bitmap masks
are incredibly useful for imported or
internally created masks for that extra
control in your masking especially when
a single mask has to serve multiple mask
inputs with varying results from a
single mask source many fusion artists
use the bitmap mask tool to every mask
they create this concludes our brief
overview of bitmap masks as always for
the most up-to-date descriptions and
details on fusion visit manual v-f
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