Today's tutorial
is how to demon eyes in Davinci Resolve.
Before it gets too dark, though, you can also use this
same effect to do like zombie eyes or like dragon eyes,
all sorts of different solid color eyes.
Let's get into how to do this technique.
All right.
So here we are inside of Davinci resolve.
We've got our clip in the timeline that we're going to be
editing for this effect.
If you can.
If you're like filming with an actor or a talent, try to have
it so that during the scenes that they are going to have
this effect being applied to them, that they don't blink
as much as they normally would because it's pretty hard to get
the blinks in there and it sells the effect better if
they don't blink.
You just have that solid eye and it gives it a little bit
less of a human element if they're just open eyes.
So that being said, let's jump into fusion and
we'll get started.
So we've got our media and our media out as per usual.
What we're going to start with are two backgrounds.
We're going to take them away from this merge.
And what I just did there is I highlighted both of them so I
can track both.
And I held shift while pulling them away to
break its connection.
And then I'm going to grab this merge.
And while I'm holding it, I'm going to press shift again
and hold it and drop that right into this line.
And then just to make sure it's in the line, we're going to
wiggle this around, because if you just set it on there and
you mess with your shift click, you won't see any
of these effects.
So if you can go like this and it doesn't follow,
you definitely need to make sure that it's a part
of that line.
So we're going to have our eye color as background one and our
eye reflection as background, too.
If you want to rename them the hierarchy to do that is F2,
but I'm going to leave them how they are for the time being
because we're going to be working one eye at a time.
So we're going to take this first background here and we're
going to match it.
Since we're doing the demon effect, they're generally
going to be black for this.
So we're going to grab a natural black color.
We're not just going to go silent black because that tends
to look weird in a video.
So we're going to grab something black in the frame.
So in this case, you could use the pupil, you could
use the headphone.
You want to use some sort of natural black color.
So I'm just going to grab the pupil here.
And then without connecting this to anything yet,
we're going to grab our spline tool here, which is going to
automatically keep those curves going.
So you're not going to have to do a million points
around your eye.
We're going to start in the corner.
You go up.
And they were just going to mask off the eye like this.
But you make sure those all line up so that we're getting
the whole eye looks good to me now that we have that we can go
ahead and check, boom, there it is, blacked out.
And then for our background, we're going to do
the same thing.
But we're going to grab our eye reflection here
and then we're going to grab.
So that's black, too.
Right now.
We're going to go ahead and change that to the actual color
of the reflection.
So if we go a background, grab our eyedropper over here
and drag it out and we're going to grab the color
of that reflection.
So now if we go ahead and put that, there should
be solid.
All right.
Looks good.
So then we're going to merge these two together so that we
have our color and our reflection in one point.
So we're going to get these out of the way a little bit,
get our merge.
The next step here is very important.
So we're going to shift spacebar to pull up our menu.
And then once this is up, we're going to type
in Planer Tracker.
Now we have this we need to put this in the line the same way
we did with our merge check to make sure it's in there.
Otherwise it won't work.
We're going to zoom out by holding control and scrolling
and then we're going to go ahead and change this to hybrid
point area and change perspective to translation
rotation and scale.
I generally have better results with that.
We are going to go ahead and grab our planer tracker and
we're going to select a space for this to track.
I like to get a pretty big selection because the Vincey is
pretty efficient about the way they do it.
I'm going to go ahead and track this forward.
So you'll probably have this issue, too, if you're not
starting from the very beginning.
See, we're on frame six hundred fifty eight here, so we're
going to want to go up to reference time set and then
we're going to track forward.
So now that all of that is track, we're going to go
back to our first frame, which in this case is
six fifty eight.
We're going to go ahead and create a planar transform with
this button inside of the plane or tracker.
And then we're going to run this merge into the plane
or transform here.
And then we're going to drag this into the merge that we put
into our node flow earlier.
And then you'll see Bhoot.
Once that loads up, we've got a black eye.
It does still look a little bit weird, though.
It looks harsh.
So what we're going to do is grab our first spline for the
black part of the eye, hold control and drag out this
soft edge here.
It's a little easier to see if you double click in here and
this tool should stay up when you do that.
So we're going to go ahead and drag that out and then that's
going to take a minute to load as well.
So we're just going to call that good right there.
And we're going to want to do the same thing
to the reflection.
We're going to drag out that soft edge and then we're going
to wait for that to load up.
It's generally going to take a little bit longer to load
through this plane or transform.
So if we just go ahead and take that out of there, we can make
changes to our masks just like this right directly through
that merge
so we can see that we need to move that up a little bit and
maybe these points out so it covers more of the eye with
that soft edge.
So then we're going to close this off.
We're going to get a brand new plane or transform.
We're going to link this into it, and then we're going
to link it to the merge and we'll see.
There it is.
There's our adjusted mask and then we're going to go ahead
and move forward.
And it should move with your eye.
If you find any weirdness like right here, we can see it's
separating a little bit.
Go back just a few frames, make a key frame for that.
So we're going to just move one of the points just a little bit
so that it automatically keyframes.
Then we're going to go forward to where we lose that eye,
which we'll call right there, and then we're going to
grab it.
We're going to go ahead and just stretch those out
a little bit.
This looks weird because my computer is struggling with
this effect, but it should all line up.
And then when you go back and then forward again, you'll see
that it grabs that part of the eye.
And it's staying with that because we're running it
through this plane transform.
So we go forward until you lose part of it and you go back a
few frames and then you're going to want to just adjust
that spline and then forward to where you lose that eye and
you're going to bring that out.
And you keep on going.
They're losing a little bit of bottom there as we go back to
where we have it, we're going to make a slight keyframe so
you can click and drag multiple spline points here.
But if that's not precise enough for you, you can go
ahead and control clicks or hold control and then click on
the points that you want to change and then you can drag
them as a group.
So you will go ahead and keep on moving forward here.
Looks like mine starts to close there.
So we're going to go ahead and grab the spline.
Grab these top.
Bits there and close the eye, so once we've gone through and
fixed all of our splines so that they match up to our eye,
we should see right there that it pretty well sticks
with our eye.
You can see that there's a little bit there at the end
where it gets jittery right around that area.
So we're going to have to click on our spline and get in there
and figure out why or it's full and then it's not and then
it's full again.
So we're going to need to make sure that this part is up with
the rest of that.
So you can see that it looks a little bit wonky and a little
in a couple spots.
But if you're careful with your spline and you go through and
you adjust it where it needs to be adjusted, you'll find that
you've got the effect working in very little time and it
doesn't take too much effort.
This is what your Noad Web should look like.
And then once you have that done for this eye, we are going
to go ahead and group all of these together by dragging
across them with a box.
And we're going to go ahead and control gee, now we're going to
get into renaming something.
So group one here, we're going to rename it.
Right I.
Now we have right eye and if we disconnect that boat no more,
right, I connected again, right.
It is good to go.
So if we go back out into our edit window once this red
bar turns blue.
We'll play through it and you'll see that it plays just
how you'd want it to.
You can see their moves, moves back forward and it
sticks with the eye.
That's all there is to doing the demon effect.
If you want to get like a zombie effect or a dragon
eye effect, like I said in the intro, you can go ahead and
grab this background color and just change it.
So the zombie, you're going to go for more of like a gray,
maybe a little bit of transparencies, still kind
of see the eye in there.
But ultimately, what you're going to do is that or if you
wanted to get a little bit creative, you could get rid
of this background and put in a photo clouds or like maybe
Galaxie eyes, if you want to get a little extreme.
Really, the only thing that limits what goes in here
is your imagination.
So in order to do this next time, you literally just
take what you did for this one and you get a new track,
you can't use the same track.
So we'll just set that off to the side and we'll go ahead
and ship spacebar.
You should still have planet trackers selected because you
looked for it earlier.
They're going to hit AD.
You're going to grab your second one.
You're going to shift and put it right in that line,
make sure it's connected just like we did before.
We're going to come up to point change that.
The hybrid point area and perspective, change that to
translation rotation scale, just like we did before.
Now we're going to grab a big chunk of things that move as a
group and then we're going to go to our first frame here.
We are going to hit set so that we get our correct reference
time and we're going to track forward to the end of
the clip.
All of these little dots in here just show
where it's tracking.
So the more of those you have, the more accurate your
track will be.
So then you're going to go ahead and the same as before,
make your two backgrounds, take this merge, move it
down here, take this out of the line and move that over there.
Background, background, this background.
We're going to use the darker black color.
We're going to go with the pupil again.
And then for this, we're going to zoom in on the eye.
We're going to grab that reflection and then we're going
to just split it off just like we did before to do.
To do this one is going to be real rough and fast,
so get this.
Grab a spline for this one as well.
Just doo doo doo doo doo doo doo.
Close that up and then we take these and we merge them
emerging out there.
You definitely want the big color to be the background to
the yellow line and the small reflection to be the
green line.
If they aren't to click on immerge control t and
you'll swap them.
So then we have this.
If we pop this down here, you see we've got our
thing going on.
Everything's how it should be.
But we're going to need to soft edge these just like
we did before.
And we're good to go just like that.
And then we're going to drop a planar transform into
that path.
We need that drag merge through it.
Get that right in there, OK?
All right.
So here we see an issue that doesn't always happen,
but sometimes will.
So we're going to do with this is click on our merge, the one
that we used between here and the plan to transform.
We're going to click it and we're going to click on this
transform mode button right here.
And we're going to grab the middle of this transform and
we're just going to move that right back onto our eye.
No problem.
Boom.
And then it's back in the eye.
I'm going to move forward.
We were at the end shoot.
Now that we're at the beginning of the clip, we're going to
get that transform.
We're going to rotate it on over.
And it looks like we're going to need to move it up a little
bit and to the side.
And then if we move through a clip, it should stick right
with that eye.
You can see there are a couple points in there where we're
going to need to go in and adjust the spline points,
but for the most part, that's looking pretty good.
So that wraps it up on how to do the demon eye effect,
individual resolve.
I hope you guys learned a lot from this video.
If you did, please let me know in the comments down below if
there was anything that I didn't clearly communicate
to you guys.
Please let me know that down below that pretty well
wraps it up.
So I will see you guys next Thursday at 6:00 a.m.
sharp or whenever you choose to watch the video.
Until then, have a good week.
I'll see you in the next one.