![]() It could take up to 5 seconds for the image to update after any tweak I made, large or small. I quickly discovered that creating and feeding those alpha channels from the Fusion page into the Color page made interactive color grading impossible. But there was an enormous challenge I needed to overcome – and it took some experimentation. Using the same tools as the compositor, I pulled custom alpha channels to isolate the elements I needed to isolate and color correct. I was able to (and expected to) use the various alpha channels delivered (as layered EXR sequences using the 3rd party Cryptomatte plugin) to the VFX artist on Resolve’s Fusion page. But after the entire short film was assembled, there was still some color grading, and the VFX artist was busy compositing newly delivered scenes. On this project, the VFX artist had done a lot of color work in Fusion as he composited the various renders together to create a seamless image. Then, a VFX compositor can layer all those elements together in an app like Fusion. BUT, what they can do is re-render out much smaller elements (such as clothing or hair). The animators don’t have the CPU resources to keep circling back and re-rendered scenes for every little tweak. On large projects like this, the most in-demand time is for the render farm. After all, can’t the filmmakers just make the change on the CG side of the equation? ![]() It often seems counter-intuitive that a film project – where the entire world is rendered in a computer – would need a colorist. In Part 1 of this series, we deconstructed the job of a colorist when working on an animated short film. Part 2: Learning to love (and use) Savers & Loaders Tutorials / Color Grading An Animated Film / Color Grading An Animated Short Film – Speeding Up The Fusion Composition Series
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