![]() ![]() You can use your own assets for this lesson if you want. There wasn't much in the way of actual finished product to be had, though, so this time around we'll construct a simple composite and learn about some of the most important tools in the compositor's kit: Merges, Color Corrects, Transforms, and Masks. Last time we covered importing footage with Loaders, handling color space with the Gamut and CineonLog tools, the Viewports and Time Ruler, and rendering out the finished product with a Saver. As those chapters are completed, I will link to them. There are references to chapters and appendices that have not yet been written. With a run time of 250 minutes, this tutorial is a complete journey from start to finish of a VFX shot that covers how to deal with keying material that typically doesn’t key well due to its lack of color information in the format as well as being heavily compressed to footage stabilization, noise reduction tricks without turning your footage into mush, adding “beautifying” effects to the actors in the scene and over all Fusion flow “solving”.The following article is a chapter in a forthcoming compositing textbook. ![]() Originally shot many years ago on prosumer level equipment in 720p at 59.94fps, several challenges are overcome in this tutorial, working with 4:2:0 (Mpeg-4) based footage shot against a green screen under less than ideal conditions. In this first installment, Kat takes on a VFX shot from the shot film “Curse of the Phantom Shadow”, directed by Mark Ross, using Resolve Fusion 16 Studio.
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