You can also use masks to create a video where the same actor appears twice (or more) within the same frame. Masks can also help control a color qualifier in a secondary color-grading process to isolate your sampling accurately. Although that’s an effective and widespread use of masking, more practical uses of a mask involve effect controls-such as Lumetri Color-to apply color to a specific image region. In Premiere Pro, you don’t have to create masks only within the Opacity effect controls. One general rule of thumb I like to follow, or think about, is that masks work by layering clips on top of each other, then choosing what’s removed and added to that first initial Master plate (clip). It’s a wonderful look at how you can use masks to create whatever type of image you want by removing and adding images, and manipulating the existing images. The techniques are universal for masking, and not a whole lot has changed with the tools and how-tos. Just for your information, the tutorial is similar to the one I wrote about above. Robbie Janney with Shutterstock Tutorials teaches us how he creates these screen replacements in After Effects and Premiere. Last week, a client (a corporate client) asked me to remove a screen in the back corner of a shot because it featured proprietary information that they couldn’t leave to be seen. One of the most common examples of using masks and situations where you’ll need this knowledge on deck is screen replacements for corporate clients. You can adjust the alignment of the footage on Video Track 1 by highlighting the clip and manipulating its position with the x and y coordinates in the Motion tab in Effects Controls. You should now be able to see the footage in the area that you cut out in the previous steps. Place the clip with the footage you want to appear inside your mask on Video Track 1, directly beneath your masked clip. You can highlight Mask (1) to show the mask you created in case you’re not currently seeing the blue outline of your mask. You can manipulate aspects, such as the amount of the feathered edge, the mask size, and the initial placement of the mask, in this step to customize how your mask blends into the shot. Once you click the first point you created to close the shape, you’ll see the mask surrounded by space.Ĭlick the check box a few rows down labeled Inverted, which makes the mask’s interior black, allowing you to see the original footage surrounding it. In this example, I’m masking out the reflection in the mirror, so I put a point at each corner of the mirror. These are the three options for creating a custom mask.įor now, click the pen tool. Once you open the Opacity twirl-down controls, you’ll see three icons directly beneath the Opacity heading: an ellipse, a four-point polygon mask, and a pen tool. By highlighting the clip, you ensure that your work affects only this clip and nothing else. You should now be able to see the shot you’re working on within the Program Monitor. If you make sure nothing is visible beneath your clip, there will be less room for error as you begin to learn the various functions of an image mask. Once you’ve done that, you should be able to choose the Effect Controls tab in the upper left-hand window, if it isn’t already open.Ĭreating a mask on a clip is similar to cutting a hole in it, making anything beneath it visible. Once your timeline with the shots that need masking is open, go to Window and select Workspaces, then choose Editing.
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