CHROMA KEY DAVINCI RESOLVE 15 FULL

Would I create a full motion graphics introduction in Fusion? Probably not, but if I need to do a chroma key, rotoscope, motion tracking, vector paint, particle work, 2D and 3D titling and even volumetric effects, as well as any of a million other вЂњcommonвЂќ editing tasks, Fusion is where IвЂ™m going to do it. If youвЂ™re not familiar with Fusion, itвЂ™s really designed to do composites one shot at a time. Fusion has been completely integrated into the Resolve interface, and sending clips to DaVinci is as simple as clicking the Fusion Module at the bottom of the interface. ItвЂ™s a powerful tool, but it suffered from the problem of being a stand alone application that was a pain in the butt to get footage into and out of, and most people wouldnвЂ™t use it simply for that reason. If you know Fusion, you know it as a stand alone, node based compositing application, much like Nuke or the old Avid DS, or going WAY back, Apple Shake. The lists that are being released right now are whatвЂ™s new in the вЂњfinal release versionвЂќ of Resolve 15, with over 500 new features added just from the public beta alone! So letвЂ™s take a look at the biggest new feature inside of Resolve 15, and that is Fusion integration. Now, thereвЂ™s something important that I want to point out, and that is that technically, Resolve 15 was released at NAB 2018 in a public beta, so if youвЂ™re reading about any of the вЂњNew FeaturesвЂќ and donвЂ™t see Fusion in there, donвЂ™t worry. So this once narrowly focused color grading app, now offers editing, audio (Fairlight, added in Resolve 14), compositing/VFX and mastering all under one roof. Now with DaVinci Resolve 15, Blackmagic has taken another massive leap forward with the integration of Fusion (in Resolve 15) directly into the Resolve interface. That island started to become more accessible, offering more ways to get your projects into and out of Resolve, more tools to work with, and more formats to master (in DCP, etc). Way back in the day, it was an expensive, high end color grading application that was more so an island unto itself. The post Quick Tip: DaVinci Resolve Chroma Key on Color Page appeared first on cinema5D.DaVinci Resolve is like the Little Engine That Could. If you have questions, requests or ideas for future Quick Tip Videos, please write in the comments. Digital cameras usually compress the blue channel the most and thatвЂ™s exactly where you need information when keying Bluescreen. Use Greenscreen over Bluescreen whenever possible.Make sure your white balance is correct.

Get as much distance between your talent and the screen as possible.

Light the green screen as evenly as possible to about 40% brightness.Put a Kicker-Light on the hair of your talent.Light the subject and the screen separately.Just simple green cardboard does not cut it. Use the proper shade of highly saturated green or blue as a background.Use the highest possible quality your camera can record - maybe rent an external recorder if the internal codec is weak.Of course, the results of a chroma key depend on the quality of the footage you are trying to key.В To get keyable footage, keep these things in mind: Turns out: you can!Д¬heck out this Quick Tip Video, where IвЂll show you how this works. What I did not realize at first was that you could use the 3D qualifier to pull chromakeys. When Blackmagic introduced the 3D qualifier to DaVinci Resolve I was impressed by how much better it was to select ranges of colors for secondary color correction, compared to the old qualifier algorithms. DonвЂt fret - there is a decent Chroma Key hidden inВ DaVinci ResolveвЂs Color page.

If you are working in the Studio version of Blackmagic DaVinci Resolve you do have one of the best Keyers in the world at your fingertips.Д«ut working the Fusion page is not for everyone. Chroma Key is used everywhere these days, but it can still be a humbling experience to properly pull a key if youвЂre not doing it all day for a living.

Chroma key davinci resolve 15