Lesson 6: Replacing a Sky

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Lesson Guide

StartTopic
01:31Understanding the Resolution of a Fusion Clip
08:401st Composite with the Apply Mode
11:08Luma Keyer
14:27Filling Holes in a Matte with Erode and Dilate
19:23The Tracker Modifier
22:47Fixing interrupted Tracks
27:24Blending the Effect with the Original
30:14Introduction to the Exercise
Back to: Fusion Visual Effects with DaVinci Resolve > Part II: Visual Effects Creation

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Comments

  1. Laszlo Schriffert

    The man’s forehead is problematic (e.g.: 01:00:08:08). The solution is, I create a mask on the head to solve the thing or any other way is better for solve this problem? Bernd, what is your idea, how you think solve this?

    • Bernd

      Yeah, some spots from the really bright highlights are not perfectly solved with this – I think also in the solution from BMD. But I felt that after the screen-blend compositing it didn’t really show. However if it does – maybe I’m wrong – then yes, rotoscoping might be needed. Those erode/dilate mask manipulations can help but they don’t always solve everything. There’s more rotoscoping on the greenscreen keying examples.

        • Bernd

          Sure you can. And that’s how we use the Keying tools in the section on Greenscreen.

          You can probably apply the techniques from the Greenscreen section on this video and vice versa. In both videos the initial key (luma key or key from delta keyer) are not perfect and we are looking for ways to enhance it. One option is manipulating the masks, another option is to use garbage and solid roto-masks. Even both combined could help for some tough cases.

  2. Will Mendez

    I noticed the horizon line from the sea continues into the Actors and background, what is causing that and how can we correct it?

    I was able to tone down the brights spots on the Actors forehead by adjusting the Blend settings on the last merge node before media out.

    • Bernd

      Yeah, adjusting the parameters a bit will help. This here is basically an exercise in trying to adjust the parameters between the erode/dilate/blend as good as you can manage to bring down any artifacts to a minimum. I think I got a pretty decent solution but you might get it slightly better or worse on your end depending on the exact settings. Another option is to combine it with some masks as we do in the greenscreen keying section later. That’s another approach that can help and in reality, you just see what works out better for the shot or do a bit of both.

      • Will Mendez

        Understood, I was just in the mindset of a client and how I would go about correcting it if they were pointing it out. Thanks for the added info and for your response.

  3. Mahesh Kunjappan

    So the issue I am facing is once I delete all nodes and go back to the timeline in edit and select sky and create new fusion clip and come over to Fusion.. the sky input doesnt show anything on viewer 1 or 2.

    • Bernd

      “Delete all nodes”? I hope you have at the minimum a MediaIn node left over that you can bring into your viewer 1 or 2. If that doesn’t show the right image – are you sure you are working on the right clip? If you switch from the Edit Page to Fusion, then the topmost timeline layer under the playhead will be brought over to Fusion – independent of any clip selection. When you are in Fusion you can enable the Clips panel to see on which timeline segment you are and you can also switch directly in Fusion.

    • Bernd

      I suspect an issue with the Merge1 node. Can you bring that one into the viewer and check if you see the sky there – if not check if the Apply mode or blend transparency settings are correct.

    • Bernd

      The input of merge 3 has the eroded/dilated image, correct? This one should be filling the wholes, but I don’t think it’ll perfectly cover all edges of the mask. So I would keep the Merge1 for that.

  6. Kevin McCormack

    The results I get a actually really seamless, except for one issue. The hill behind the man’s head. For some reason there is a strange blurriness behind his head as he bobs from side to side. There is a blurriness when he bobs right to reveal blurry background and then when he moves back left, the blurriness goes away.

    • Bernd

      Hmm, I’m not sure where blurr would come from in the flow. Could it be just loose separation that appears less sharp due to foreground/background mix? Or could it be that you used the eroded footage not just for the mask but as actual image input in your flow?

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