3D Compositing in Fusion Part 1 Video Lecture | Eyeon Fusion: A Practical Hands On Course - Professional Skills

hello this is Alkesh Nanavati and today
I'm going to walk through a composition
that I recently did inside of fusion 6.4
fusion is a node-based compositing
software used in high-end compositing
projects such as broadcast films so what
you have here is a simple short tripod
shot using a consumer-level camera this
is HV 20 by canon in 24 frames per
second and good thing about tripod or a
feature about tripod shot is that it's
not actually a 3d in the way that you
know the camera is not moving in
perspective so you can't really tell the
distance between two objects one near
the camera one farther away because they
are both appear to be moving in the same
at the same rate so what did we do with
this the final comp then I'll show you
the final result is this so here you
have several CG elements the character
himself he's known as blue some of you
may remember him from the book that was
published I think it's called Maya 7
foundation I used Maya 2013 for the CG
work here the 3d modeling and animation
work for this character you see the
television is turned on now it has a
clip playing you see the fog here you
see the light you see the light bouncing
off of this elements and also when he is
walking through the lit area you can see
that he is also casting the reflection
or the you know highlights of the lights
so we'll walk through the some of these
most of the effects were done in fusion
will used fusions 3d viewport in the 3d
capabilities to build the scene and
relight the scene inside of fusion I'll
walk through very quickly my eyes to
what was that in my eye not not the
whole process of you know modeling and
all that but just a scene setup
it also will walk through synth eyes
which is a 3d tracking software that I
use this is the software that is or the
process I should say of 3d tracking is
the base of this type of projects where
you are driving everything off of the
tracking data and you will see soon what
I mean by that but for now just you know
keep in mind that it's very important to
have some accurate 3d tracking data for
for a scene like this alright so let's
see where do we begin let's go all the
way to well first let me show you the
script itself you know how this
composition looks in infusion this is
fusion by the way what you're looking at
this is the actual script this is what
ended up happening in in this
composition to give you that final
result that you just saw and we'll walk
through most of this there is a lot of
the volume or the deep compositing going
on here which then feeds into the end
results you know to do some masking and
some fog we'll see you know this this is
the volt position pass that was rendered
from from Maya and it was interesting
because usually you get word position
paths for all the CG work you know
because you are in inside of the CG
whereas if you go back to the original
here this is not CG this is actually a
live footage right so in order to have a
good representation of where do these
objects exist inside of a 3d space you
need a good representation of you know
the the space itself and in the way I
did this is by blocking this geometry at
this parts of the room with some rough
geometry and that geometry was at
certain distance away from the camera
which was then used by my maya and then
by fusion in this world position pass
now very quickly what does this pass
look like you know if I normalize my
viewport here and show you this is world
position pass you know this is basically
a color range of RGB and depending on
what color you see here Fusion is able
to give you the distance of this plate
this particular pixel from the from the
camera through which you are viewing
this so it's it's a sort of a 2d image
but it gives you 3d information about
how the space was and you can see as the
camera moves from the left to the right
the shade goes from more you know
oranges green towards you know blue and
that's these colors actually tell Fusion
you know which way the camera is moving
and Fusion can use this colors you know
to rebuild the the 3d scene inside of
fusion which then you can use to do all
the 3d compositing including real
lighting you know creating fog creating
certain masks and it's it's sort of a
new way of compositing if you look at
the history of compositing over the last
you know I don't know few years so we'll
walk through that process and you can
see that the character himself you know
is also
Oh colorized here giving information
about you know where does this character
exist in this 3d space right so it's a
pretty interesting workflow so the point
of this thing is that you know this
space was created using normalize again
using this 2d information so this was
you know and you'll see everything was
blocked inside of Maya to create that 3d
space and that came in quite handy in
doing some of the real lighting because
if this is the shot that comes to the
compositor and say okay you have to
create something that looks ugly morning
ish with some fog light coming in and
not a very not a very diffused light
inside the room but some very sharp
lights casting some sharp specularity on
certain surfaces then you really need
those kind of data as to where does this
surface and exists in the 3d space
because you're going to be putting a
light inside of fusion and this may not
make a lot of sense if you haven't done
something like this but just bear with
me and this will become much more
clearer so back to the script this is
the full comp and we'll walk through
every section that you see here to give
you that final result how that came
about and I try to put notes here so
that I remember or somebody else get
some idea about what's happening alright
so the very first process that we will
go through in the next video would be
cynthaiz tracking as I said for a shot
like this where the camera is moving you
need representation of the space and the
first step in that process is the 3d
tracking which means that you are
recreating the camera that you are
viewing through into the 3d world the
computer 3d world which then would move
exactly how the original camera would
have moved and that gives you a
representation inside the 3d space of
the computer
software where you can create objects or
do special effects then when you match
it with your original camera you know
the both would light up perfectly it's
easier said than done
certainly and there are a lot of
technical aspects that people would need
to know I'm not an expert in that I
don't know all of them but we'll go
through that nonetheless
all right so we'll catch up again in the
next video Thanks