When filming a real-world screen, it's best to capture a black screen completely off, as this allows for the most reflections to be captured afterwards. If shooting in a dark environment, it's better to capture a gray screen instead, which captures some glow from the environment.

To work in a linear workflow, it's essential to enable color management in Resolve and set it to D Vinci ygb color manage, SDR is fine for the footage we have.

To track the screen, it's best to use Mocha Pro, which provides a more advanced tracking tool with multiple shapes, allowing for better tracking accuracy.

Once the tracking data is exported from Mocha Pro, it can be brought into Fusion and used as a corner pin tracking tool, allowing for precise placement of the screen element.

Finally, the tracked screen element can be brought into Fusion and placed precisely using the corner pin tracking tool, allowing for a seamless composite with the background.

Now, let's go after our tracking tool right. And we're gonna use a merge now to do additive blending

If you hit a on the keyboard or you go up to here these are shortcuts to see different channels by the way if you hit Z it takes you to this infusion uh we have no Z depth there's none of that so if that ever happens to you just hit a to see Alpha C to see the color or RGB to see those individual channels okay if you get stuck good thing to know um

We're going to take our Alpha Channel output of the Alpha multiply put plug that into m control we're going to also take it and plug it into our other one okay back into the background of both of those now the idea of creating an edge mask is we're going to compare the two of these we can subtract one from the other like a blurred copy of one and that can give us an inner or outer glow and so to do that we'll take our our first Mac control here throw it up in the viewer so we can see what we're doing and change the blur amount on this

We can turn this off and on just that tiny bit can do a lot but we don't have an edge mask yet so I'm going to show you how to use uh how to create an edge mask

There are lots of ways to do compositing in Fusion. I'm going to use this method. One M control let's add another M control okay and I'm going to disconnect this here so you can see

To create that mask we're going to use um something I learned from Burn Clem from VFX study he has an incredible YouTube channel

Let me show you how that works we're going to close the media pool to give us a little bit more space and this is this is we're getting a little more simple here but what I want to show you that's advanced is the idea of matching Black Level so let's merge this on top shift space merge right so over here in a flow we're going to take our original media in1 which are sets are 38x 40 resolution and we need to flop these so that we're putting the dynamic Island on top

Now if you're not familiar with reactor that's uh and if you go to workspace scripts reactor open reactor reactor is basically this amazing playground of free effects or you can donate to the creators uh of tools that are really kind of missing from Fusion that maybe exist in Nuke or or flame to just make your life easier so the one I'm using today for this is called Black Match by uh Amelia Sapia is Milo Labs is his channel and again that's that's another really really great YouTube channel that you should be checking out

Corrections didn't have any negative effect on what you're compositing.

I really hope you learned something new today.

And because there's so much more to learn, I'll see you in the next video.