Oh wow, great tutorial with a lot of valuable information. One question: aren't you supposed to use an ocio color transform with blenders color management config file right after the combined passes and the beauty in order to get the same image that Blender is showing with it's Filmic color transform view? I guess just using the srgb LUT results in quite a different image, no? At least this is the way I learned it from other compositing tutorials that deal with Cycles renders and filmic. Thanks!
All compositing happens in linear and is typically exported that way too, unless specified by the client. So no, you'd keep everything linear, or if anything save the transform until the very end. Remember, filmic is just a display transform. Blender's internal color space is linear-sRGB
@@ZekeFaust thanks for the clarification. Which way do you suggest if you want to continue doing compositing from the look you get from blender? I do my lighting pretty specifically for the intended look I'm going for so starting from a completely different result in fusion seems to be not the best way to do it. Would it be an option to use the filmic ocio as viewing LUT (if possible?) instead of the srgb LUT as shown here in the tutorial? Thank you.
@@DanielPartzsch Yes you could use the viewer LUT, but I don't believe "looks" are supported in Fusion's OCIO at this point, so if you use filmic's high contrast or low contrast settings, those will not be accessible. Only the medium contrast
@@ZekeFaust If I remember correctly OCIO 1.2 support look in Fusion. OCIO 2.0 does not. Yet. Hopefully BMD will fix it. Also, if I remember correctly you should be able to use Blender's Filmic in OCIO both as a viewer LUT and a OCIO colorspace transform. Maybe it's the medium contrast you mention?
Been learning Fusion lately and your content is most definitely among the most helpful I’ve watched. I would love to see you go over some compositing of live action with CG (either cg integration or live action on cg environments). Thanks for the great content!
Thank you so much for making this in-depth tutorial. Really helped me figure out a lot. I had been jumping a bit around youtube to find something akin to this. However this was way more in-depth, clear and to the point. And included som proper real-world cases. Thank you for making this!
OMG! I didn't know was possibly do so many things externaly. The criptomatte thing, I did see before with compositing in Blender, but this workflow make me wanted be your student. Great Job with this video. Thanks for open my horizon.
Man, I know you still don't have a very large community to do certain things, and that it would take a lot of time, but if you created a paid course 100% focused on Blender and Fusion, it would be incredible. Wow, I would love to deeply study something as focused as that. I hope that one day you'll make it. Thank you for the videos you already do!
This is, absolutely, the kind of information I've been looking for since the day I bought the Studio version of Resolve. Thank you for your service. Liked and subscribed because of this video.
you are one of the best teachers of fusion . Reminds me video copilot...clean tuts easy to follow and make you feel pro not ametour . WE need more fusion / blender for vfx artitst !
This tutorial is a gem! You are a real pro. Tank you so much! I would love to see more blender to fusion compositing tutorials such as this one but maybe on a video.
NICE tutorial Note: Ideally all the light passes should be unpremultiply before we add them together otherwise we get dark fringes around the objects You can use the merge tool to add light passes the trick is to set the 'Alpha gain " in the merge tool to zero ... this adjusts the merge to an additive blend mode
Hey Kenneth! nice to see you here! In this specific case all the light passes have a solid alpha, so there's really no need to predivide/postmultiply. For this kind of channel math operations I usually prefer the Channel Booleans, but you can surely do the same as you rightfully say using the Merge node!
Great job here! This entire tutorial resume almost everything for 3D compositing. I was familiar with replicate the 3d scene with "Displace 3D" and place some objects or masking, but with particles like in Nuke, I didn't know that trick. Thanks!
Wonderful tutorial! It's been a major help in getting started in fusion. I got stuck at the part of recreating Nukes position to points node. Everything worked as showed in the tutorial up until i added the pCustom tool. Now only 1single point shows up in the 3d workspace. Do any of you guys know what I have done wrong? Thank you
great tut. would lile to see some comps using renderman of arnold including aces workflows. But honestly this was great. would love to see more like this
Awesome tutorial! Request: Can you please teach us how to do LENS DISTORTION CORRECTION on our footage before sending it to Blender for camera tracking and adding VFX - then bringing the VFX work back to fusion to composite and add the distortion back so the VFX blends in perfectly?
Hi, great video. I'd love to see/buy a whole masterclass of you going in the details of different techniques and worklfows for fusion. The way you worked with the passes here seems really useful - what benefit would have deep compositing compared to what you did?
Awesome lesson. Thank you very much! Could you please tell me, why do you convert the image to LOG, and then add a sharpening filter? What does it affect?
Thank you, that's a great and valuable informations ! Loved the cryptomate process. But I'm struggling in fact not in the fusion side, but the blender one... How to get all thos render pass in blender ? Especially the UV map to re-texture in Fusion ? Do you know a precise link where I could find that ? I'm really struggling right now ^^'
This was an amazing informative tutorial! I’ve used AE for years but I really prefer node-based workflows as used in my 3D packages, so I’m wanting to start learning one of the node-based compositors. How comparable in terms of compositing abilities would you say Fusion is compared to Nuke? Second question, that sphere mask you use is mind-blowing. Do you know if there is a similar feature in Nuke and if so, what it’s called? Thanks again for the great tutorial!
@@millolab I’m just used to AE that’s why I wonder and I’m not familiar with Fusion. I want to do the stuff you show in your tutorials but wondered if they are possible in AE (frequency separation is impossible I think).
AE lacks some of the tools you have in Fusion for CG Compositing (maybe there are plugins for those), but most of what I show can be done, it's just more complex to do (imho). Frequency separation is possible aswell in AE. but you need to be creative. :) @@VfxKopele
@@letromortel that’s not my point. Having a bunch of nodes converging into just one makes things cramped and not easy to navigate. Look at the Merge3D node for example. I always split my 3D setups into more than one merge3D not to have many nodes connecting in the same place.
Just denoise every pass (except diffuse color, gloss color, transmission color) in the blender compositor and pipe it into the exporter. now all your passes are noise free. Denoising that way gives you also a better results.
1. what's the shortcut to switch between the viewers in fusion? 2. is there any specific reason to use merge for volume pass and not the channel boolean? 3. what's the shortcut to enable/disable a node in fusion? 4. Is there any specific use case scenario of having dir, in-dir, color for diffuse, spec & transmission? coz we can setup the dir, in-dir, color in blender's compositor and render straight away diffuse, spec & transmission. so instead of 9 layers we can have 3 layers alone, right? 5. depth should be in z channel, right? instead of having it in red channel? and same goes with uv channels?
1 there is no shortcut to switch viewer. Each viewer has an A/B buffer. The shortcut for that is "," and "." 2 because it's a simple Over. 3 cmd+P ctrl+P 4 the more passes you have the more contro in comp. 5 depends. Fusion has a fixed channel structure so in general I'd say yes but there are exceptions.
Great tutorial, thank you. Beauty diffuse direct and Beauty diffuse indirect are combined with a channel booleans using the “add” blend mode, alpha do nothing. The result of these two passes are combined with the Beauty diffuse color using the “multiply” blend mode, , alpha do nothing. Why multiply?
Hey there Millolab. I just have a quick question. How did you get the OIDN plugin? It shows it in the list of plugins in reactor on fusion but then when I search for it it doesn't show. Where did you get yours?
YES. Fusion Studio is faster and more stable, especially on bigger comps. It doesn't include some of the Resolve OFXs though. I use Fusion studio 100% of the time tho.
I think that’s pretty subjective. But aside from that I’m pretty sure the point of this video isn’t to make it “better”, but rather show a usable workflow to make the changes one might need to make for their own shots.
Oh wow, great tutorial with a lot of valuable information. One question: aren't you supposed to use an ocio color transform with blenders color management config file right after the combined passes and the beauty in order to get the same image that Blender is showing with it's Filmic color transform view? I guess just using the srgb LUT results in quite a different image, no? At least this is the way I learned it from other compositing tutorials that deal with Cycles renders and filmic. Thanks!
All compositing happens in linear and is typically exported that way too, unless specified by the client. So no, you'd keep everything linear, or if anything save the transform until the very end. Remember, filmic is just a display transform. Blender's internal color space is linear-sRGB
@@ZekeFaust thanks for the clarification. Which way do you suggest if you want to continue doing compositing from the look you get from blender? I do my lighting pretty specifically for the intended look I'm going for so starting from a completely different result in fusion seems to be not the best way to do it. Would it be an option to use the filmic ocio as viewing LUT (if possible?) instead of the srgb LUT as shown here in the tutorial? Thank you.
@@DanielPartzsch Yes you could use the viewer LUT, but I don't believe "looks" are supported in Fusion's OCIO at this point, so if you use filmic's high contrast or low contrast settings, those will not be accessible. Only the medium contrast
@@DanielPartzschas Zeke said! :)
@@ZekeFaust If I remember correctly OCIO 1.2 support look in Fusion. OCIO 2.0 does not. Yet. Hopefully BMD will fix it. Also, if I remember correctly you should be able to use Blender's Filmic in OCIO both as a viewer LUT and a OCIO colorspace transform. Maybe it's the medium contrast you mention?
FINALLY SOMEONE WHO MADE A PROPER IN DEPTH GUIDE LFGGG
this is actually very advanced Fusion tutorial, and pretty good with practical examples for a bunch of real situations.
Been learning Fusion lately and your content is most definitely among the most helpful I’ve watched.
I would love to see you go over some compositing of live action with CG (either cg integration or live action on cg environments).
Thanks for the great content!
Thank you so much for making this in-depth tutorial. Really helped me figure out a lot.
I had been jumping a bit around youtube to find something akin to this. However this was way more in-depth, clear and to the point. And included som proper real-world cases. Thank you for making this!
OMG! I didn't know was possibly do so many things externaly. The criptomatte thing, I did see before with compositing in Blender, but this workflow make me wanted be your student.
Great Job with this video. Thanks for open my horizon.
Awesome video man, there aren't many good fusion tutorials out there so very greatful for this one!
Dam man you are a true hero. Please make more in depth fusion compositing tutorials 👌
Wow ! A video with a huge of incredible infos ! Thank you a lot !!!
Man, I know you still don't have a very large community to do certain things, and that it would take a lot of time, but if you created a paid course 100% focused on Blender and Fusion, it would be incredible. Wow, I would love to deeply study something as focused as that. I hope that one day you'll make it. Thank you for the videos you already do!
Been waiting for this tutorial for a while. Thanks for making this in depth tutorial.❤
This is, absolutely, the kind of information I've been looking for since the day I bought the Studio version of Resolve. Thank you for your service. Liked and subscribed because of this video.
🙏 Thank you! This is going to be soooooo helpful to many young students just beginning to tell their beautiful stories.
Glad you like it. Show some love to Zeke aswell please.
@@millolab You got it! Just followed and thanked him for allowing you to use such a beautiful piece for your tutorial.
This is all what I wanted!! Many many thanks for this.
you are one of the best teachers of fusion . Reminds me video copilot...clean tuts easy to follow and make you feel pro not ametour . WE need more fusion / blender for vfx artitst !
Jesus Christ! I was looking for Copper, but I found Gold instead! This video is super usefull. Thanks Millo!
Glad you like it!
This tutorial is a gem! You are a real pro. Tank you so much! I would love to see more blender to fusion compositing tutorials such as this one but maybe on a video.
One of the best tutorial I ever seen 🙏. Thank you so much
NICE tutorial
Note:
Ideally all the light passes should be unpremultiply before we add them together otherwise we get dark fringes around the objects
You can use the merge tool to add light passes the trick is to set the 'Alpha gain " in the merge tool to zero ... this adjusts the merge to an additive blend mode
Hey Kenneth! nice to see you here! In this specific case all the light passes have a solid alpha, so there's really no need to predivide/postmultiply.
For this kind of channel math operations I usually prefer the Channel Booleans, but you can surely do the same as you rightfully say using the Merge node!
Great job here! This entire tutorial resume almost everything for 3D compositing. I was familiar with replicate the 3d scene with "Displace 3D" and place some objects or masking, but with particles like in Nuke, I didn't know that trick. Thanks!
Great video…..very concise.
Long video duration, but it more worth than shortest video by others.
Thanks for sharing your knowledge.
Un altro ottimo tutorial. Grazie. Molto apprezzato.
Grazie!!
Wonderful tutorial! It's been a major help in getting started in fusion. I got stuck at the part of recreating Nukes position to points node. Everything worked as showed in the tutorial up until i added the pCustom tool. Now only 1single point shows up in the 3d workspace. Do any of you guys know what I have done wrong? Thank you
You cleared soo much of my doubts. Thanks.
Channelboolean is the powerful!
this is so awesome, you rock!
great tut. would lile to see some comps using renderman of arnold including aces workflows. But honestly this was great. would love to see more like this
i have a Turotial about a Renderman scene. It's linked in this very video.
Excellent tutorial sir !!
Can you please make a video about the UNIVERSAL SCENE DESCRIPTION concept of DVR 18.5 ?
Thank you
Thank you very much for this , this was very very helpful
Awesome tutorial! Request: Can you please teach us how to do LENS DISTORTION CORRECTION on our footage before sending it to Blender for camera tracking and adding VFX - then bringing the VFX work back to fusion to composite and add the distortion back so the VFX blends in perfectly?
Amazing tutorial! I’d have loved to see this with an octane or redshift render too :D
This is awesome!! Thanks :)
Hi, great video. I'd love to see/buy a whole masterclass of you going in the details of different techniques and worklfows for fusion.
The way you worked with the passes here seems really useful - what benefit would have deep compositing compared to what you did?
well, deep is a completely different beast. Sadly it's not yet available in Fusion, so...
Awesome lesson. Thank you very much!
Could you please tell me, why do you convert the image to LOG, and then add a sharpening filter?
What does it affect?
pure gold
So nice THX DUDE !
hello sir please more CGI compositing tutorial
Great tutorial, but can you tell me where I can find this tool from 14:10 ?
Thank you, that's a great and valuable informations !
Loved the cryptomate process.
But I'm struggling in fact not in the fusion side, but the blender one... How to get all thos render pass in blender ? Especially the UV map to re-texture in Fusion ?
Do you know a precise link where I could find that ? I'm really struggling right now ^^'
For those who don't know. The manual for the 3D app or renderer that the render came from will tell you how to combine the passes.
That's very true. Not all renderer combine in the same way!
Is it standalone Fusion? Can I do this in DaVinci Resolve's Fusion section?
if you ever have time, would you ever do a crt effect tutorial ?
Kindly make more like tutorial ❤
Wow, i am not totally sure, but seems the first time without your soundtrack music?
thank u
This was an amazing informative tutorial! I’ve used AE for years but I really prefer node-based workflows as used in my 3D packages, so I’m wanting to start learning one of the node-based compositors. How comparable in terms of compositing abilities would you say Fusion is compared to Nuke?
Second question, that sphere mask you use is mind-blowing. Do you know if there is a similar feature in Nuke and if so, what it’s called?
Thanks again for the great tutorial!
could you drop a tutorial on compositing cg elements in live footage
Great tutorial! I want to ask if you can do the same things in AE?
well... yeah you kinda can... but I don't think it's a good idea. :)
@@millolab I’m just used to AE that’s why I wonder and I’m not familiar with Fusion. I want to do the stuff you show in your tutorials but wondered if they are possible in AE (frequency separation is impossible I think).
AE lacks some of the tools you have in Fusion for CG Compositing (maybe there are plugins for those), but most of what I show can be done, it's just more complex to do (imho). Frequency separation is possible aswell in AE. but you need to be creative. :) @@VfxKopele
@@millolab Thank you for the information ❤️
Hi i have a question, If you have a glare in the compositor on blender, how do you render it in the single passes?
How u set up LUT. When I import project from blender it's colour is different.
Very nice one. Is it possible to take advantage of the new Mutimerge to archive the Combined ? or even to do your Subtract / Add trick ?
yeah, why not? I prefer using ChannelBooleans or the single merge node, so I can better organise my flow.
@@millolab I'm sure you know Multimerge has Label for layer that remains. And you can leave them disconnected if needed
@@letromortel that’s not my point. Having a bunch of nodes converging into just one makes things cramped and not easy to navigate. Look at the Merge3D node for example. I always split my 3D setups into more than one merge3D not to have many nodes connecting in the same place.
@@millolab I understand
Quick question if I may. At 20:02 why is the Bitmap's paint mode set to multiply? Thanks!
please make a separate video on green screen and screen replacement in fusion
Just denoise every pass (except diffuse color, gloss color, transmission color) in the blender compositor and pipe it into the exporter. now all your passes are noise free. Denoising that way gives you also a better results.
you can do pretty much the same using the OIDN plugin in Fusion, but you're probably right, doing it in Blender will give a better result
1. what's the shortcut to switch between the viewers in fusion?
2. is there any specific reason to use merge for volume pass and not the channel boolean?
3. what's the shortcut to enable/disable a node in fusion?
4. Is there any specific use case scenario of having dir, in-dir, color for diffuse, spec & transmission? coz we can setup the dir, in-dir, color in blender's compositor and render straight away diffuse, spec & transmission. so instead of 9 layers we can have 3 layers alone, right?
5. depth should be in z channel, right? instead of having it in red channel? and same goes with uv channels?
1 there is no shortcut to switch viewer. Each viewer has an A/B buffer. The shortcut for that is "," and "."
2 because it's a simple Over.
3 cmd+P ctrl+P
4 the more passes you have the more contro in comp.
5 depends. Fusion has a fixed channel structure so in general I'd say yes but there are exceptions.
thanks!
thanks
your workaround for position to points is brilliant. would the particle points be select-able for placing cards or is that workflow manual?
I'm not 100% sure... but you should be able to pick position using the shape transform tab.
@@millolab realized after i posted that comment that the nuke2fusion toolset has position to popints in there :)
@@JAK-gh4ez I guess it’s done in the same way, with particles
Great tutorial, thank you. Beauty diffuse direct and Beauty diffuse indirect are combined with a channel booleans using the “add” blend mode, alpha do nothing. The result of these two passes are combined with the Beauty diffuse color using the “multiply” blend mode, , alpha do nothing. Why multiply?
That's the way Cycles works.
Hey there Millolab. I just have a quick question. How did you get the OIDN plugin? It shows it in the list of plugins in reactor on fusion but then when I search for it it doesn't show. Where did you get yours?
how did you change your layout? 👀
It's called Midflow.
i was following the process of the position node but my points are invisible or a straight line, it didn't project like yours,
what render engine did you use? Cycles? Or else?
17:10 nice trick
There are differences between Fusion Studio and DVR Studio Fusion page in therms of stability, performance, etc?
YES. Fusion Studio is faster and more stable, especially on bigger comps.
It doesn't include some of the Resolve OFXs though. I use Fusion studio 100% of the time tho.
@@millolab thank you, I will follow your advice
SplitEXR ultra doesn't work anymore, damn
Works fine here on V19. Have you got it from Reactor?
MULTIPASSS
The case when the beauty pass is better than 40 minutes of composition
I think that’s pretty subjective. But aside from that I’m pretty sure the point of this video isn’t to make it “better”, but rather show a usable workflow to make the changes one might need to make for their own shots.
making it look easy!!
Nuke who?
AHAHAHAHAH!
Thank you very much for this , this was very very helpful
thanks!