In his latest tutorial for Blackmagic Design Fusion, Simon Ubsdell points out that you can of course simply use Fusion's built-in keyer, and quickly get a good result, but here he shows how combining visual effects nodes to build your own keyer helps you understand the processes to refine trouble keys. Even if you'd prefer not to build your own, you will gain practical insights into channel operations and other techniques to help you unlock Fusion's unique visual effects power.
ABOUT THE AUTHOR
Hi, I'm Simon Ubsdell, Creative Director of TOKYO PRODUCTIONS, a UK-based boutique creative shop specializing in movie trailers, sales promos and TV Spots for the independent film sector both in the UK and across Europe.
I've been a film and video editor for over 25 years as well as being involved in motion graphics, sound design and mixing, music composition, visual effects and compositing, 3D modelling and animation, and colour grading, not to mention writing, directing and producing.
I am also a developer of plug-ins for the video post-production market having released a range of successful and acclaimed products both under the Tokyo brand and as Hawaiki with Robert Mackintosh.
Blackmagic Fusion offers a variety of powerful retouching tools (as does DaVinci Resolve of course), so why would you want to build your own? As longtime VFX artist, editor, software developer, and business owner Simon Ubsdell explains, once you understand the underlying principles of the tools, you can use them better! In this tutorial, he shows how building a custom 3D keyer and a custom Linear Light Blend Mode allows a Low Frequency pass to smooth imperfections in the footage, and a High Frequency Pass to restore detail, allowing exceptional control, and producing outstanding results.
Meet The Custom Tool, the most powerful and versatile tool in Blackmagic Fusion's entire toolbox ??" which ironically appears to do nothing when you first apply it. That’s because it’s a tool designed for building your own tools from scratch. That may sound daunting, but under the guiding hand of longtime VFX artist, editor, and business owner Simon Ubsdell, it’s engaging, empowering, and just plain fun. If you are new to Fusion and to compositing you'll find plenty of useful information here, including how to work with channels to create complex effects surprisingly simply. Bonus tips on expressions and keying, too!
Editor, VFX artist, post-house owner, and plug-in developer Simon Ubsdell draws on over 25 years of experience to dig deep into the compelling features found in the new Planar Tracker found in Blackmagic Fusion. Along the way, Simon offers a wide range of tips and tricks, as well as new perspectives on the relationship between tracking and compositing: in short, tracking done right.
In this two-part guide to some of Blackmagic Design Fusion's most powerful compositing and effects features, visual effects veteran Simon Ubsdell offers an easy-to-follow introduction to using basic expressions and creating macros in Fusion -- with some very useful tips for After Effects users along the way. In Part 1, you'll create a chromatic aberration effect with these techniques, and in Part 2, you'll work with bounce/spring, orbit and "look at" expressions. No matter what your level of experience (or inexperience!) with After Effects or Fusion, you're in for quite a ride!
Following his well-received exploration of the power of customized keying inside Blackmagic Design Fusion, Simon Ubsdell goes even further into his look at the liberation from the inevitable limitations of other people's keyers by building your own inside Fusion. Along the way, you'll learn about Channel Booleans and many other insights that you'll be able to use in all of your Fusion projects.
Blackmagic Design Fusion has long been known as an incredibly powerful node-based 3D compositing and VFX environment, responsible for some of the most indelible cinematic imagery of our time. Tokyo Productions Creative Director Simon Ubsdell has been a Fusion fan and user for years, and here provides a dramatic introduction to Fusion's interface and toolset, as well as a closer look at the motion graphics prowess in Fusion that you may not have been expecting!
Director-Editor Todd Douglas Miller creates more than just another space documentary with his film Apollo 11. He has helped expand the horizons of what we thought we knew about one of humankind's signature achievements by unearthing nearly 300 reels of previously unseen large-format film, up to 65 and 70mm, digitized with a first-of-its-kind 8K scanner, along with 11,000 hours of previously unheard audio recordings to provide previously only-imagined perspectives on our first mission to the moon. Creative COW's Courtney Lewis reveals how he put it all together with NASA, the National Archives, post house Final Frame, and tools from Adobe.
Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for some really useful and interesting techniques for creating a fake 3D title treatment with dramatic depth, texture, reflections, staining and other details that goes way beyond what you can achieve with the 3D Title Tool. Not only that, these techniques work well with any graphic object, for maximum motion graphics flexibility.
Barbara Ling, production designer for Once Upon a Time in Hollywood, discusses how she was able to turn back time and recreate 1960’s Hollywood. Barbara and Go Creative Show host Ben Consoli discuss how Quentin Tarantino kept the film’s script a secret, how she restored Hollywood to the 1960’s, not using green screen, sourcing vintage props from eBay, filming the real Playboy Mansion, the challenges of filming on Hollywood Boulevard, and much more.
As if this wasn't already the hottest summer on record, Blackmagic Design's Grant Petty rolled out some blazing news across a wide range of the company's product lines in cameras, production hardware, and software.