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!
Blackmagic Design Fusion has long been known as an incredibly powerful node-based 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!
When we asked Simon to tell us more about how this particular tutorial came to be, here's what he told us.
I started using Eyeon Digital Fusion, as it used to be called, back in the last century when it was still very new, and doing visual effects on the desktop was still something of a novelty. Shake and After Effects were both still in their infancy, and Nuke was still a long way off. Even then, Fusion was a very serious contender with a toolset and and image pipeline that meant it could compete at the highest level.
I stopped using Fusion for a few years because most of my work was on the Mac, and Shake and then Nuke did everything I needed. In that time, though, Fusion continued to develop impressively to keep pace with the fast-moving changes in the visual effects world. Blackmagic’s acquisition of Fusion and subsequent release of an entry level free version on the PC and now on the Mac (in Beta at this point) is a complete game-changer, which means that Fusions’s premium quality feature set is now available to a much wider user-base.
Having a mature user community means there are a great many outstanding tutorials and support resources for Fusion available at this time (Eric Westphal’s tutorials for Eyeon deserve a special mention for their outstanding quality), but by and large the tutorials are created by experienced visual effects professionals and addressed at the needs and skill levels of other visual effects professionals.
As a user returning to Fusion, there was a lot that was new to me, especially in terms of Fusion’s 3D capabilities (and of course stereoscopic features), so I wanted to try and share my own journey of rediscovery in such a way that it would help users who are completely new to Fusion.
I’ve tried to explain not just the use of the toolset but also give some background on some of the concepts that may be new to users not versed in the world of visual effects. A lot of new users have opened up Fusion and been intimidated by what looks like a complex and alien interface and toolset, and many are very confused as to what it actually does and is capable of doing, so I wanted to show that it’s really not that difficult to get started and benefit immediately from some of the amazing power that Fusion offers, not just for visual effects but also for motion graphics.
Before you begin, you can download the textures that Simon uses in these tutorials here.
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, and most recently, software development.
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.
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.
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.
Shot in LA and set in D.C. and Philly, Scandal & How To Get Away With Murder’s stories unfold in virtual environments that seamlessly blend with live-action footage, defying the viewer’s eye. Here Is some of how it is done using Shotgun, Redshift, The Foundry’s NUKE, Media Shuttle, et al.
Learn how to remove a person from a moving video using the Remove module of the Mocha Pro plug-in for Adobe After Effects! In one of his most epic tutorial's yet, Surfaced Studio's Tobias Gleissenberger then adds a bonus Beam Up effect using some of the great filters from the Boris Continuum and Sapphire collections.
Cate Haight, ACE, has edited some of the most memorable films and television shows in the last few years. Her latest indie feature Puzzle -- which tells the story of a suburban mom who discovers a passion for competitive jigsaw puzzling -- debuted at Sundance Film Festival this year. Creative COW Contributing Editor Alee Caldwell sat down with Cate to talk about going to the fest, advocating for change, and putting together the pieces of Puzzle.
A visit to the Atlanta Falcon games at the Mercedes-Benz Stadium this past football season provided an unexpected treat: the world’s largest 360-degree cylindrical LED video screen at a sports venue. At 58-feet tall, the screen, dubbed the “Halo Board” because it surrounds the inner stadium, can display 20K resolution and gives a new meaning to the term “immersive video.” The campaign was made possible through a partnership between creative companies The-Artery, The Astronauts Guild, and VR Playhouse, along with the latest technologies from RED Digital Cinema and Radiant Images.