Masking Transitions in Final Cut Pro that make your Videography stand out! | Kramer Ammons | Skillshare

Masking Transitions in Final Cut Pro that make your Videography stand out!

Kramer Ammons, If you think you can your right!

Masking Transitions in Final Cut Pro that make your Videography stand out!

Kramer Ammons, If you think you can your right!

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10 Lessons (1h 3m)
    • 1. Into: Draw Mask Transitions

      1:20
    • 2. How to find draw mask feature and whats in it.

      1:42
    • 3. Masking Transition 1 Object or person moving past the camera

      10:23
    • 4. Masking Transition 2 Camera moving past an object

      8:01
    • 5. Masking Transition 3 Countertop, bar top, table top

      3:21
    • 6. Masking Transition 4 Establishing shot+opacity

      4:38
    • 7. Masking Transition 5 Masking Ttrough an object

      11:33
    • 8. Masking Through an eye Transition

      14:46
    • 9. Advanced Masking --- Out of a roll of tape

      6:50
    • 10. Final Edit, Story Matters

      0:54
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About This Class

In todays class I teach 7 different ways to use masking transitions. Masking transitions is a great way to set your videos apart. In this course I take you from the very basics of masking to very experience and advanced masking techniques.

A PDF is linked to the class project with detailed check list of how to do a masking transition!

Meet Your Teacher

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Kramer Ammons

If you think you can your right!

Teacher

 It is a pleasure to meet you! my name is Kramer Ammons and I am a videographer and filmmaker. I love making very interesting videos combining story with videography and tutorials. I love little tips and tricks on how to make your videos stand out above everybody else. I love to make rememberable videos that impact people and their lives. Everything to do with videography video editing stories and connecting with an audience emotionally is what I am passionate about.


Videos can do something that the written word can't do. And that is, it's much easier and much more impactful to create an emotion in the audience while making videos. This emotional connection is what causes people to move and act in their lives. So if we really want to change the world for the better one o... See full profile

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Transcripts

1. Into: Draw Mask Transitions: what is up. Friends. I'm so excited you're here because we're going over masking transitions. Thes sort of transitions set you apart from everybody else. They're a little bit of work, but that's exactly why a lot of people don't do them. But it's also why they look so good. We're gonna cover seven masking transitions in this course. We're gonna talk about how you could do masking transitions by moving an object in front of the camera how you can do masking transitions by moving the camera itself, where the transform tool plays in where the opacity tool plays and and how this course is laid out as we start with the most basic masking transitions that moved through seven different videos, each one having at least one masking transition in it, moving up to the most advanced masking transitions. If you're looking to enhance your video biography, step it up to another level. This class, maybe for you. I cover everything in the final cut pro. But if you edit and premier pro or davinci result, this is gonna be very similar concepts. You still may learn something, even though the exact placement of the buttons will be slightly different if you have a different editing software. So let's jump right in and improve our videography 2. How to find draw mask feature and whats in it.: What? The guys? This first video. I'm gonna go over the basics of the draw mass tool very fast. We're gonna do everything in the draw mass to also jump into the computer real quick. This is transitions on the right. You've got the effects bar on the left. Go ahead and type in mask and you'll see the draw mask. Gonna drop this draw mask right here onto this clip, and it's going to say at a control point and so we can add our draw mask. Once you close it off, everything around it turns black. You can invert that if you would like to. Also, this is the fill opacity. You can go all the way down, and that's going to make it clear through the middle of your drama. Ask where you could go to 100% opacity moving on down have got the feather tool. This is what makes it fade out or fade in. Fall off is going to be very similar to that Fall off is very similar to that. It just does not affect it as much. I generally just stick to the feather tool and that'll get you the results you are looking for, move on to transform and control points. Now the transformed points You want to hit all of them. You've got position, scale and rotation. Now, if you hit all three of these, wherever you move the straw mask on different frames, you can see it's gonna move around when I scrolled back and forth. And then the last thing is hit the control points button as well, and that will keep track of every single control point. See, we've got a control 0.0.1 stroke, want to control 0.3, and that's going to key. Frame the control points. So as we move the mask around, it will stay consistent and it wont mess up on you. So those are the basic draw mass tools. Those were the tools we're gonna be using inside of every single transition. Let's get right into the first transition so you can see how this works. 3. Masking Transition 1 Object or person moving past the camera: now that we got the foundation of what I'm asking is we're gonna jump into this first at it . We're gonna jump through seven of these edits seven different ways to apply the masking transition. Now we're focusing 100% on the draw mask tool and not the other masking tools. This first one's a pretty simple one, but it's a very, very good one at the same time. This is where you masked when somebody walks in front of the screen. There's different ways to mask, and there's always gotta be movement. One ways the camera can move another way is something can move in front of the screen. In this example, we're gonna use people moving in front of the screen. You see this all the time and films, or in footage or in movies when people are out in the streets and it's maybe chaotic and a bunch of things were going on and someone quickly walks in front of the screen, and then it zoomed in on another scene or zoomed way out. Normally, the focal length changes with this sort of transition. If it has the same focal length, it's not gonna look so good, but I wasn't able to go out in the street and film something like that. So I'm going to show you the exact same example right here in the house. Now, this is about the practical and how to edit it. I'm not trying to make a movie or trying to tell a story. I'm just showing you practically how to make this work. So let's jump right into the computer here. I have three simple clips right here in the computer. Let's start on the Edit. And so here's the first clip will speed it up. I just stand there for the fun of it. Here's where I'm gonna walk in front of the screen. I tried it wider and closer. And then here's the last shot, the product moving in. So the first thing that we can do, we'll go ahead and clip out all the parts of this we do not need. So right when I leave, I come with an idea right there. Come over. I'll do this one right here. So go ahead, mark out. That and boom, We're not going to need anything after that. This clip will start right there. Slide in and una zip the headphones. So there it is. The mask we're gonna do is we're gonna go. As I walk across the screen, the right side of the screen is going to reveal the zoomed in shot of the headphones. So this is just kind of, Ah, random establishing shot. We really don't need that there. But the masking is gonna happen right there so we can come over to our effects tab and we're gonna type in mask boom, baby to grab the draw mask effect, you can either click here, double click it, or you could just grab it and drop it on there and you'll notice. Click to add a control point and you'll see the draw mask up here. Now, something to keep in mind is that if you're gonna speed up a clip or slow down a clip, you need to do that before you do the draw mask. That's very important, because if you do the draw mask and then you speed up or slow down the clip afterwards, the mask is going to be off. Okay. Jumping back into here, says the ad control points. We definitely need to do that. But you'll want to make this smaller so that you can see the whole screen. Now you can draw beyond the screen so that the whole entirety is massed out. Now, if you notice, I made sure that my head is at the top of the frame and my body goes all the way to the bottom of frame of the frame so that as I walk across, I'm covering the entire screen and then I walk all the way off of frame. That's important because it was waist high, and then it was from above my head. Then I couldn't really mass too well because above my head, there just be a random line there. So jumping over into our draw mask over here, we've got fill opacity that will jump into later. Don't worry about that yet. That's gonna be a little more complicated. Here's the feather and fall off. We've got our transform and control points. We have to do key frames in order for the masto. Follow us. And so, almost in every single mass, you're gonna want to hit the transform button, knock off all three control points and then go ahead and hit uh, and then knock off all three key frames and then go ahead and hit the control points key frame. Now we can start drawing our mast and you can start at the beginning or the end. I generally would start somewhere in the middle and then I'll work back from there. So we'll go ahead and just draw around the edge of my body. And you can do this as in depth or non in depth as you want. Do you want to go more in depth or make it look much, much cleaner? You can zoom way in and make sure your control points are right on the person's body. But for now, I'm going to zoom out. We're gonna focus on the speed and they should look pretty good, even if it's not exact. So we got the rough shape of the body. Then we're gonna close off a mass. Now don't freak out here. What's happening? Well, this is masking out all the black area, but actually that's backwards. We want to mask out this other area that I'm leaving behind me. So all you got to do is come over hit invert mask. There we go. So Basically, if I drop a clip underneath, you're gonna see as we scroll through, you can see the clip on the right side. So now we want this mass to move with me. Now you can see there's a little bit of lines here and I'm moving. I'm moving, so there's gonna be a little bit of motion blur. So with a little bit of motion blur, that's where your feather or fall off come into play primarily I'm going to use the feather and see if I if I come negative, it's gonna pull back. If you go positives gonna push it forward depending on how blurry your clip is, is how much fall off you want. Now I'm going to go up to around 2030 on the feather, and then you can hit the control point if you want. Now you don't have to hit the control point if you don't plan on changing the amount of feather right here, I don't plan on changing the amount of feather in general, though just in case I feel like Oh wow. I started slow and then I got faster, so it's more blurry, so I might want to change that feather. Then in that case, you're gonna want have a control point. But if you're not gonna change the feather, you don't have to hit that control point. We could move back or four to frame, and we just need to fill out the entire screen. So first I'm gonna move backwards. So from here, I'll move one frame backwards right there. You can grab the entire thing, and it'll almost generally fit pretty close to the shape Boom. That's it. Now go back. One more frame. Pull this away, adjusted. How we need We'll go back Another frame. As my leg moves, I'm going to go ahead and just fill in those gaps. Fill in the gaps. And again, if you're doing a super clean mask, zoom out on this. It's well worth it. I personally like to go every single frame, so I'm just gonna continue this backwards all the way until I am off frame. All right, here we are now I'm off of frame, so this is really good. So we've got all of that done. Watch me scroll forward here and see how the mask is going to follow me. And now look as I scroll for it. I realized I missed a spot right here. Let's go ahead and fill in the spot I missed. Okay. Scroll Back. Scroll! Ford, check out how it looks. You can see if you miss anything like right there. I think I accidentally skipped that frame. Just go ahead and move it in closer. Fix it up, okay? And I can use the arrow keys to go ahead and scroll back and forth to see how it is looking . There we go. And that's where we left it. Right there. And so now from here, I'm going to scroll all the way forward until I'm off of the screen. And that will be the mass. Done. I'm going to speed that up. All right, Two things real quick as I'm getting here, and this part's gonna drag off on the right side. You can just drag that right side over and then refit it. And you're good to keep the whole screen covered up black. And secondly, goodness gracious, I look like a real I need some better posture. Probably from sitting down editing all there, huh? Okay. We've got the mass completely covering the entire screen is completely black. Now when we play it back, you'll see how that black mass just kind of follows me. I didn't make it super clean, but for this example, it's working really well. I'll show you later on how to round corners and make it more clean on a different example. But for now I'm calling that good enough. So what we want to do next is we want to drop the clip underneath that we wanted to show an important tip on this is to change the focal length that's going to make it look a lot better. So someone walking by really fast, really close to the screen, you might want to have a big wide shot next. Or maybe it's a super up tight shot. So I changed the focal leave here. I'm in closer on this item. Secondly, keep direction. So I'm walking from right toe left, and then the headphones come in right to left. If they were to come in from the other side, it would look really awkward. I'll show you that right here, dragged the clip underneath that you want, and we'll place it right there. So as I walk from left to right. The clip comes in. You can see I had it didn't have it lined up correctly. Let's do it again. Boom! Right there. Honestly, this doesn't look very good, because I'm walking so slow across the screen that actually would have worked better if I did the clip. Ross probably walking closer. But you can get the point. As I'm saying, I'm showing you how to do this in practice and there it is. Unzipping it. Now check this out. If I were to reverse this clip right here, let's flip the clip is what I meant, not reverse it. So it's Command Z that that's normal. Coming here to flipped. Add that clip there. Okay, now that I flipped the clip, you can see how it's coming in from the other direction, and the directions just don't feel right like I'm walking this way and then they kind of come and settle on the other side. So let's take that flipped effect off so it slides in from the correct direction, following me as I leave the screen unzipping it, and that is how you do a mask or somebody's walking in front of the frame. The cool thing about this is it takes a quick minute. It takes a minute to do a little extra time. Been throwing on something. It'll set your footage apart from everybody else who is not willing to put in the work. 4. Masking Transition 2 Camera moving past an object: we are back for the second example of masking, and this is probably my favorite one where the most used one, the one that's the easiest, the quickest to dio. But it adds so much to footage in films. So the 1st 1 we did is we moved in front the camera and I know moving in front of the camera. Remember, the second option is to move the camera past something. So this one, we're gonna move the camera past the wall. Now, this can relate to many different examples. Moving the camera passed the telephone pole, passed a tree past the corner of a wall where it could just be a line in anything. Let's jump into the computer and I'll show you what we have to work with. All right, So I took some footage of a steaming tea kettle. I was making a little bit of French press coffee. Anyway, I've decided to do a little bit of movement with the hand here, and I'm moving to the left, past the wall right there. So that's the shot. Let's see if this one looks any better, you could tell on this one as well. It's slowed down. I did. 120 frames a second. You don't have to slow down. That just helps me be more smooth with my hand. The kettle leaves the frame on the right. On that one. The kettle stays and frame a little better there, so I'm gonna use this clip. Will delete the entire right side. Let's see what the next options. We have to put this little sequence together. You can see the flickering in the background there. I don't really like that. That's because the frame rate is so high. So I think I'm gonna use that clip right there. Toe lay underneath or many used this clip right here. Righteous Walk in and grabbed the teakettle. So I'm going to go ahead and take out everything I don't want. Delete that. Okay. What we'll do is we'll mask out this first clip mental en ley, both clips underneath to see which one we like better. But here we are, masking on a wall. I'm asking past a wall and you can see as I continue to go past it. It's just nothing. But this is what could be so cool. Super smooth. Right there. You can see the feather right here. We're going to need a lot of feather on this mask because of how close and blurry that images to us. So let's jump right into it and start the masking. So again, like last time, we're gonna grab the mask, drag and drop it onto your clip. I'm gonna go ahead and start with it in the middle. That's the way I like to do it. I'm going to zoom out so I can see the whole frame and I'm gonna make my mask right here. All you gotta do is one line. I'm just got to make a square boom, Go ahead and hit Invert mask. Now we're gonna raise the feather up until it matches that other end. So here we're just going to go The feather 100% will bring this over until it hits the black. So there's no wide area just like that. So now we can go ahead and go to the transform and control points K on the transform and control points. Remember, we're gonna hit all of these key frames. You don't just want to hit the top key friend. You need all three transform because that is going to get your position, your rotation and your scale. And since we move it along, we want to make sure we have all of that checked or else that could play with you. Also hit control points. Now we're set to move forward and backwards, so I'll move backwards. One frame. Just grab it and pull it into place backwards, another frame. Pull it into place and continue on. Now we've got the entire screen, blacks. I'm going to go back to that invert mass button and I'm going to reverse it again. So I reverse that again. And now check it. We can see the teakettle being revealed. I'm scrolling backwards through the clip right there, and that's where we stop. And so we want to continue this clip on. And instead of I bowling this, that's why I liked hit Invert Mass. And now I can see this dark side. And as I moved back to the clip, you can see how it starts to get lighter right there. I don't want that lightness, So as soon as the light starts to show, just cover that light up, and that's gonna mask it really clean on the corner of that wall can see how this sort of a mask with a straight line goes much faster. There is a greedy int mask you could choose to do this with. I think the draw mask is an easier tool to use because if you want to change it as you go or if the wall looks warped or something, you always have the flexibility. With the draw mask over a Grady, a mask could see I start to tilt the camera a little bit. So I am going to move this front, won their lineup this back one. That way it stays consistent. And there we go. So now the whole clip is black. But when we invert the mask back to how it waas, let's play through and see how it looks. We're on the kettle. Will just delete part of that front section. It's looking sweet. Okay, we're moving off of the kettle Boom. Look out clean. That mask is Oh, yes. So it's dropped this next clip underneath it jacket. Did you see that? He's yet. Okay, do that one more time. Look how clean this looks. Sound effect and you're right onto that next clip. Now, what you will need to do is you want to continue on this clip, I'll go ahead and I'll cut the clip right here. Command be I'll just drag that into the space. So this clip will continue from down here, up here at the sound of that Cramer. Right now. There it is. And you can see the clip jumped a little bit accident, and, uh, see how we got black there for a second, because I didn't keep it in place. Bring this back frame there. It ISS Okay, Clean mask right to the next clip. It looks pretty good, huh? And so let's try this out. The one see how this other one looks from a distance. So we're going from a slow motion clip to a clip of me walking there it is. And see how I'm following the direction. Keeping the direction consistent is really important for really good looking footage. So the second option here is Let's say we wanted this clip to be faster, and so it's gonna pan off. And as soon as the masters to come in right there, I'm gonna hit shift B and I'm just going to speed up this clip on the right hand side to do a little bit of a speed ramp organ to just make that times. Let's go four times the speed. Now, remember, I'm gonna have to go ahead and re mass this clip because you have to change the speed before you mask. Not after. So I'm gonna redo that mass real quick on this clip, and we'll see if the speed matches better now with the speed ramp than it did beforehand. Okay, we've got the new mask and I made it four times the speed of the original clip. The original clip was shot at 120 frames a second. So basically the new clip is back to normal speed. Now that the new clip of panning past the wall speed ramp to normal speed, I'm walking in at normal speed. So the should match up a lot better. Here it is with matching the speed. And there you haven't masking passed a clean wall. If the 1st 1 seemed a little difficult, this one will be a little bit easier for you. Same sort of concept, but I want to give you as many tools in your tool down as possible, so that when you're filming, you can plan thes shots out. Now let's get on to the third way we can use masking transitions. 5. Masking Transition 3 Countertop, bar top, table top: Let's jump right into the third method. This one's gonna be really short because I'm taking a lot of concepts from the last one and bring it into this one. But I want to show you another technique for moving in the same direction, to make the clips look really good. So let's jump right into the edit here. I've got a cup, not a cup here. I've got a bag of coffee. My wife's bringing it down and then I'm going to go under a countertop. Now countertops are very good. A lot of people shoot kitchen videos. I guess you could say our food videos or lots of times you're at a desk, and there's a lot of ways you can use a countertop, a table or a bar at a restaurant or anything like that to use as a hard line to mask on. Now here's the main thing. We're directionally coming down, so we need to continue coming down. But that doesn't mean you need to start at the ceiling. You can start as a top down view. So right here on this arrow press, I do a top down view of pulling the Arrow press So I'm going to go ahead and put the drama ask on this first clip. Same thing is normal. We will go ahead and hit all the transforms. We will hit the control points and we'll scroll forward to where we want to start masking out. I'm gonna mask out this countertop, the bottom side of it. And actually, before we mask out this countertop, think it's a little slower than I want. So once the coffee no statement against this type of coffee or anything but the no name brand coffee, we're going to go ahead and hit a shift B to make this a little bit faster. Okay, Now we can start masking with the correct speed. There we go. That looks much better. So move forward. This one's gonna be another simple mask. We go ahead and make our square. Go ahead and let's hit Invert mask. We do not need hardly any feather cause it's a hard edge on the countertop. Okay, move backwards. Spoon frame. Make sure all your control points air clicked the radio on frame and then we'll just continue this on for the rest of this countertop. One of the nice things when you speed up a clip. If it fits, the mood you condemn definitely make the Masco a lot faster. So that's it right there. Play it back and boom, super clean. Drop the clip underneath. Okay, it's beautiful. The bottom clip to match the speed. And here is the final result. Coffee comes down, French press is pulling away now. Realistically, I would have taken time on these shots. I would have got some cool coffee beans coming out or grounds or whatever. This isn't about the exact shot to take. This is to let you know that even though you're panning down, you can do a top down view and continue to pan down. Or, if you're panning to the side, you could do a top view and pain to the side. We're even a bottom down and panted the side, and that keeps that direction going, but from a different point of view. So that's it for this one. Use a countertop, a tabletop, a bar, top, a stool, anything to come down from. Keep the directional force continual in the same direction, and your video will look awesome. Let's go into a new technique now, on the fourth masking transition 6. Masking Transition 4 Establishing shot+opacity : all right, we are back with another masking transition. Now, this is another technique. There's two things here. I'm gonna show you differently than the previous one. The mass is going to be the exact same, but here's a different way to use it. So the first thing we're doing is we're gonna use a mass to start off a sequence. This is called on Establishing Shot. It's the very first shot That's not gonna be really wide, so that you can see the environment that the scenes going to take place in this would happen at the beginning of a new scene in a movie. Or this would happen. Maybe at the beginning of your video, your commercial, your YouTube video, whatever you're making a really way to come and strong with an establishing shot is to use a mask. So let's jump right into the computer screen and I'll show you what we've got here. The computer screen. We've got my wife as the model starting off walking into the house, and so I'm asked behind a tree right here. Now, if you're doing a commercial, a really good way to use this is outside of the store showing the outside of a coffee shop and masking to a light pole or something like that. And then the next shot is inside the coffee shop so that you can see how the environment it's set up and then remember after a mask. It's really good to change the focal length, so we zoom way in onto her hand, opening up to the door again. This isn't supposed to be professional quality in the sense of making a commercial right here. This is an example for you guys so that you can apply this into your professional videos. So let's jump right into the edit. I'll take out the part that I don't think we need. She's looking at her phone. We'll keep that we mask and will end right there, are cut off the right side of the clip, and then she opens up the door nice and clean and ends with a black right there, which would be a good transition into the next clip. So first thing is ads. Always on this first clip, it's gonna be the exact same. The second clip. I've got a little trick for you, but let's go ahead and jump into this first clip and we'll go ahead and throw the mask on and I'll do that real quick. Okay, so we've got the mass completely done, looks at the phone and then the tree, and then we mask past the tree. So here the two tips that I haven't shown you yet First will drag the clip underneath so that we mask into her opening the door. But remember, direction matters and the directions going the wrong way because the cameras moving to the right, and then she opens it to the left and the cameras moving to the left. So this doesn't work always, but it's a really good tip, and I use it all the time. It can make you look like you have multiple clips when you've got one or two, and that is to use the flipped effect. So down here in the effects tab, I'm gonna type in flipped dragged that flipped effect onto the onto the clip that's going in the wrong direction. You'll see as I drag it on. It will flip that direction, and now the direction will flow correctly. The timing is slightly also will move the clip just to adjust it, so the timing is perfect. There it is. Boom. Now there's one more thing we can do here. See how the dark is coming in on the right side. It's not settled enough. And then the second thing is to use the opacity tool. I told you earlier, we're gonna use the opacity tool. And here it comes in kind of harsh because the tree is so dark, and then it's the bright hand right there. So what I'm going to do is I'm gonna go halfway through the clip right here, right there. I'm gonna hit the key frame on the opacity. Now, the opacity works the exact same way as we would have hit key frames on the mass tool to transform tool. The key frame is just marking the point at the level you want. So I'm gonna mark the opacity right here in the middle, and we're gonna leave that out 100%. We're going to go to the beginning of the clip, right as the mass starts to come over and we're gonna mark that key frame on the opacity again at 0%. So now not only every masking over, we're gonna let it go from black toe light very gradually, and they should make it seem even more seamless. So it's very, very subtle. But you can see the clip is pretty dark on the right side right here. And then the more we go, the brighter it gets intelligent, normal brightness. Here's the final clip walking in right there and then you could, you know, go into the place or whatever it is. So that's another example of way you can use a masking transition as an establishing shot. Remember, if the direction works, you can use the flip tool and then also you can keep from the opacity to make it flow better. In the next video, we're going to do a magical mawr advanced transition. We're gonna use opacity, and we're gonna use transform tool. We're going to use dramas tool, and it's gonna be pretty special. So I'll see you on the next video 7. Masking Transition 5 Masking Ttrough an object: we're back with another masking transition, and this one's the most advanced we've done yet. We're still gonna step it up another level here in a minute. This one. Instead of moving the camera, pass something, or instead of moving an object, task the camera. We're gonna move an object right at the camera, and we're gonna cover up the camera screen and mask right through it. So let's jump in here. I took a few more clips in the house. I'm starting to get a little bit silly, but why not have some fun while we do it? I took him again and 100 and 20 frames a second. So this is gonna be extra slows. I'm gonna go ahead and speed thes up four times the speed so that we would get our normal speed. And then if I need to slow them down, that just gives me the ability to slow them down. If for some reason I feel like it would look cooler or better that way, first clip. I'm gonna walk into the frame, uh, in a sheepishly weird way, I guess. And here we go right there. That's what we're gonna mask off is through the at. So come back to the hat flying at it and I'll clip off the right end of that first clip in the moving onto the second clip. Since the hat is coming at the camera, same direction. What do we want? Either want the camera moving Ford and the next clip or we want the object or the subject moving forward. So I just decide to jump forward and move towards the camera here. And boom, it's kind of dark, but I think it will be okay. We'll start it right about there. What we're gonna do is we're gonna go to the draw mask again, and we're gonna throw that onto this first clip and what were massing Is REM asking through the hat? So when we mask through the hat, we're gonna use the opacity. We're also going to use the transform tool to make some digital zoom. It'll come clear here in a second. So the first thing you want to do is you want to use your digital zoom, and that's gonna be with the transform tool before you even do the draw, master, because if you do the draw mask and then you do the transform. It's not gonna flow well together. The transforms gonna mess up your mask. Now, you can always do the opacity after the fact. But if you're ever gonna change the speed of the clip or the crop of the clip with the transform tool of the crop tool, you're gonna want to do those first. So we'll jump in here to the transform tool. And what we want to do is we want to zoom into the hat as the hats coming at the screen. So right here, I'm gonna go ahead and hit my first key friend. You can hit the key frames up here on the transform tool. First, I'll click this draw mascot for the minute, or you've got the transformed down here and you can hit this. But you go ahead, hit the top left transform key frame button you're gonna see They all clicked on the right side. So that's what I prefer to do. It should hit it there makes it faster. This is going to stay right here at the scale of 100% so we can go to the point where we want to end and see the hats moving out of the frame. So we want to catch it before then. I think I want to catch it right there, and that's like gonna be in my last frame. So I'm gonna go ahead and zoom way in and we're gonna move it. The clip over can zoom in. Even a little further of this toggle right here is all the way up to 400. That's as far as it goes unless you enter it manually. So I wanted zoomed in further. Let's go ahead and type in 500. I want this light area to be gone so I'll probably go ahead and just go a little bit more 5 50 So let's watch this back. See how it looks. Not very good, huh? So let's figure out what's going on here. Too much of a zoom. And this is one of the things you can learn when you're masking. Sometimes it won't look right. And so you're like, OK, why is this not looking right and being able to diagnose that yourself and fix the clip that's training your eye for what good videography is or you're good at it is in my opinion , this just looks terrible, right? And so what did we do wrong? If you right click here, you can go down to do show video animation. We'll zoom in a little bit and you can change these key friends. So let's say we wanted to start the zoom earlier. I could just move that key frame by dragging it, and it'll zoom. But I still think the zoom is just going way too far in. And so we're gonna come over here to this key frame, remember how he raised the 5 50? But, uh, let's adjust that a little bit, come back and let's just do it to the point right there where the hats almost filling the frame and what's gonna fill the rest of the frame is going to be Delete that middle key frame. Delete that En ki frame. Actually, three point. OK, there we go. We've got a zooming into the hat and this looks better speed, I think. But I think one more thing we can do see how this wine wine See how this line is really right here. If you right click, you've got the smooth option or the linear option. I'll do another class on the transform tool, but we're gonna choose the linear option. And that's gonna make this line smoother in the sense that it's gonna go from point A directly to point B instead of like doing some internal correction, trying to make it look smoother. I almost always opt for the linear option. And that's gonna make it even looked cleaner. There we go, much cleaner. And you know what? Let's adjust this a little bit more. This seems toe happen really fast right there. What if What if we went ahead entrance not transformed? What if we went ahead and did a speed ramp here? Let's go shift B and remember we for filmed in 120 frames a second. And so I'm just gonna go too fast, Times two. And this should make it a little bit slower there. Uh, that looks decent. I think it still needs to be a little bit faster, so it's not so obvious. There we go. I think right about there is good. So we're just setting up the whole clip so far. Now we can get into our masking going to go ahead and put the drama ask on here and we're gonna pick a point to zoom into. And as the hat flips, I want to zoom into the hat. And so I'm going to put my control points on the hat like so. And we'll go ahead and invert mask And, as always, knock off the transforms and the control point I'm going to do feather just a little bit. If you want to make these points radius like we're going to need to do on this hat, hold down command and then click on one of the control points and drag it. You can see how we can drag this in a circle. So how this point over here is quite rigid command. Drag it and then we can kind of make the loop that we need to make in order to fit the hat . So this frame we got nothing. I'm gonna pull, I'm pulling it off. Next frame were right in business. So go ahead and hit command. Drag this to start getting our radius, and that'll fit the hat correctly. So go back one frame are mask is off because we don't want the mass there. Now we're gonna mask into the hat. There's one. Okay, here's the 2nd 1 Gotta move the mask over the hat moves quite a bit. You can drag and toggle these to fit with. Zoom out to 50%. Bring it down, moving on to the next frame. Continue the same process, and then to fill in this side. I'm gonna drag that out. I'll pull this over and there we go now to our next clip. So we're masking right through the hat. So if I grab the next clip and drag it underneath who? Okay, you can see it's opening up right into the next clip right there. So let's go ahead and start the next clip where I am sliding on the floor so that we hit the interesting point with my creepy looking face right there. All right, clip that over. So we'll go through the mask and into the final slide right there. Now, now it still is kind of abrupt, right? So let's key frame again. The opacity on the underlying clip. Well, key frame it here and we'll make it zero. Now you can see inside the hat's gonna be black because we just blacked out the clip underneath right here, where it's full. We're gonna come back into the a pastie key. Frame it and it will be 100%. So now, as we scroll through on the hat, it's gonna go from darker toe lighter. And there that IHS, though blowing this up for the full effect here, you can see how you can mask through an object here to make it very. It'll it'll catch your audience off guard and make them enticed and really interested in this. And remember, with sound effects with music with a storyline D's unmask are dynamite. This pretty much even sales it without a sales sale, sale cells, cells s things pretty much is sells it. And this isn't even a finished a completely like finished video, right? And so when this isn't it sequence, it'll just, like punch the audience. But even right here, this kind of cells, the transition, letting it go, who knows what's going on? But now it does seem like the transform went in almost a little too soon. I feel like that transform starts a little earlier because it starts to crop in before I let go of the hat see, I'm still holding the hat. I'm zooming in, just kind of awkward. So let's move that transform key frame over so that we don't zoom in until I'm letting go of the hat. Let's see if that flows a little better. I think that flows a little better, and I know these air small, minor tweaks, but small tweaks lead to big peaks. You know, if you can focus on the minor detail, it'll make a huge difference. People will feel the difference when I watched your video, but they don't they won't know why your videos better or why it's different. It's because of those little details. You pay attention to check it out. The final video. There you go. Now that's a fairly complicated masking effect. With a little bit of practice, it becomes much, much easier in the next video. I'm going to show you another way to use this exact same method, and in the final video, we're going to get like, extra extra extra advanced and try something pretty crazy 8. Masking Through an eye Transition : on the last video, we did a mask through a hat. Now this next one's gonna be very similar, but it's a little bit different because the hat was coming at a camera on a tripod. But let's reverse that in the sense of having the camera now moved to the object. So I just found a couple objects around the house to video to move through. If you've ever seen a video where someone's zoomed through someone's eye, this is basically what they're doing. I'm gonna show you how you can do that in a few different ways. Here, it's gonna be the same sort of concepts, but hopefully this can spark some ideas in you and how to do a different masking transition . There are a few tips in this clip about how to nail focus in this sort of a mask and went to zoom in. So let's jump right into the computer and I'll show you how to do that. So I've got four clips here or three clips and one photo. The first clip is an outlet. We're gonna zoom through that outlet. The second clip is a coffee cup, and we're gonna zoom through the handle of the coffee cup. The third clip is my eye. We're gonna zoom through my eye into a final picture. So the first thing to do is to figure out your transform and your speed or your speed ramping on all the clips before you start masking. So with this first clip here, I'm going to speed ramp into the focus, so I'll hit my shift B and we'll go ahead and zoom in just a little bit so we can make this fast. Times four. That zooms right into focus. And then right after the focus ends, we're going to hit shift, be again and make the second half of the clip fast and that allows to zoom through it all. Now, if you want to do any image stabilization like, that's pretty shaky image, I'm doing everything with my hand just running around the house, not on a slide or not on and gamble nothing like that. You can still make these look really good, so I'm going to go ahead and stabilize this image and as its stabilizing, I will go on to the next clip with this coffee mug. We're gonna do the same thing. Where is going to do a little speed ramp shift B will go four times the speed, let it land and focus, and then lands and focus. And then right there, we'll go ahead and right to start to get out of focus. Go ahead and speed. Ramp up this right side fast. Times four, grab the entire clip. I'm going to go ahead and stabilize it so it looks as good as possible with this I shot. Now, this is a different method. I wanted to nail focus, and sometimes it's hard to move the camera in and stop on focus. So another option to make sure that you end on focus is to start in focus, move the camera backwards. In this case, right here, I'm holding the camera on my eye. And then I know I'm in focus and I just moved the camera backwards. But right here in the computer and go ahead and come up here to reverse clip and I can reverse that clip. So here we go. We're still continuing direction, starting at a focus, moving into focus. And then we'll zoom through the eye into a photo I took of my wife. So let's put the speed ramp on this and we'll go right there and fast Times four again. And we can go ahead and analyze this clip and stabilize it. So with the stabilization, sometimes it doesn't work. Great. So the first clip here, it didn't work out. The motion was too weird and it kind of figured out. So I'm gonna leave stabilization off on the first clip, But on the next two, we're gonna leave it on. Here's what we've got so far Speed ran through. I'm gonna go ahead and speed ramp into there and then speed ramp to my eye with the final clip. So now it's time to go ahead and start putting on our draw masks. Grab the mask, I'll place it on. What I'm gonna do is I'm gonna zoom through the whole of this outlet so I'll go ahead and put my key frames on as normal. Then we'll go ahead and do all the tick marks. And then, as I move through, will change that draw. Master, zoom through the whole of the outlet. So I went and did this first transition. I'm gonna show you step by step. How I did it on this second transition. The 2nd 1 we're going through the coffee cup. The 1st 1 here. We went through the outlet. So this 1st 1 through the outlet looks like that going right through the I V al it. Now, on the 2nd 1 we're gonna start right here as we start to zoom in. And I'm also going to transform first. Always. Well, hit my first key frame on the transform. We'll zoom in to the point where we want to be all the way through. The coffee mug in that point will be right there. And so go ahead and pull up and go through the mug. I want to be a little further through. So again you can manually change this. I went to 1000 on the last clip to get through the outlet on this one. Looks like we're gonna need to go to 5 50 So here it looks through there, slow down and then zoom through that next clip. So also on the transform, remember? I always prefer a linear. I think it looks much better in this sort of quick zoom in Now that resuming through, we can go ahead and throw our draw mask on and we're going to start our draw mask right As we start to zoom in. And if you don't see the dramas coming up, turn off your transform and the drama ask will come up we will go to fit the screen And I could go ahead and draw out our outline. Now that I outline is drawn, I could hit the invert mask. I can also raise the feather just a tad okey frame that key frame transform and control points as always Now I'm gonna hit control and I will I'm gonna hit command and I'll drag thes key frames into around manner So it looks much better and fits. The whole of the coffee cup will go ahead and scroll forward one key frame and it should stay pretty center. The scale is on. As you have seen, we click the scale on, and that helps this process go much faster. Scale it again and you just have to fill in the gaps. Now I can't see these key frame, so we need to zoom out to 50%. That's still not enough. 25%. Now I can see it so I can bring this back around. We are almost all the way through, and there we go. The mask is all the way through the coffee cup. So now that the mask is always through the coffee cup, we do not like how it's just black sitting there. And then Exum's through. Right. So right as we start to zoom through the copy cup, come up to the dramas tool and hit the opacity button. Okay, we're gonna turn the opacity, the fill opacity. That's what's filling our mask to zero. So it looks like nothing right there. And then at the end of our zoom in, we can turn that fill opacity up to 100. So as we scroll through, it's going to get darker, darker, darker, darker, darker, darker. Now what that means is when we drop our next clip underneath, what we get is fading in gradually. Now that looks really good, fades into my eye right there, and then from this point we can do the exact same thing, and we can zoom through the eye into our subject. And so we have a continual zooming through different objects you can do this just once, or you could do a big sequence of zooming through many objects. I'm gonna go ahead and edit the last one, and I'll show you the final clip. Okay, so we've got our clips layered, and I'm just gonna keep building them down. How you keep building them down, Option W will put this black layer here, and that's just a filler that's gonna fill the space. But it's gonna lie you just to continue to build down that way. I wouldn't have to try to cut this clip dragging in between and then fill it out from there . It keeps it a little more organized. I think if you just build down and then once you're done with these crazy transitions and a hard cut and move on to your next clip and so moving on right here, this is what we've got so far zooming through the outlet, zooming through the coffee cup now something to keep in mind when you're zooming through objects is you want to remember you're framing. So when you're filming the video, you want the framing to be right in the middle. So I tried to keep the outlet right in the middle off the frame. I tried to move the handle of the copy cup over to the middle of frame, and you can see it's on the right side right here. And it does pretty good, though, because we did the opacity. But the closer to the middle, you can keep it in general. The better it's going toe look, especially if you're doing the digital zooming with the transform tool. If you have to digitally zoom way off to the side, that's not gonna look very good for you. So I'm gonna jump in here and let's do this last transition through the eye. So right about here is where we're going to go ahead and start our transform. This one. I didn't push the camera through my eye. Right. So we need to do that digital, zoom through the I go ahead and drag this clip out so we can see the I. There it is. Let's see how far we want to go with it. I think that's good about right there. So from a route right here, I think is where I'm gonna wanna go ahead and hit the transform, and then we'll let it slowly zoom through the eye. I'll go to the last frame and we're just going to crank this zoom up to 400. Probably see how close that is. Now, I'm sorry. It's kind of creepy getting so close to my I I'm thinking six hundreds gonna look rate right there. Yeah, yeah. I think that will be good, because the opacity is going to change, and we're gonna feather this heavily. So just for the sake of it, 700 we want the black to be filling out most of it, and that should work. So here, gonna zoom right into the eye. Now you can see it. Watch this. Watch this closely. You'll see how the zoom looks like. It's an S curve. It's just not it's not straight. And that is due to these key frames not being set toe linear. So if it's looking funky, remember that and that zooms straight through the eye. That's looking good. I'm already liking that without the mask. Now we can go ahead and throw our draw mask on. Now. We're not gonna draw until we start to zoom in. So this clip right before the zoom in, I'm going to go ahead and hit the fill opacity, and I'm gonna make it zero and then we'll go to the end of the clip and have the fill opacity at 100 percent. There we go. Now for the rest. The clip We haven't even drawn the mask on. I just went ahead and did the fill opacity. First, we're going to start the mask right there. So moving into this mask, we want to feather. We're gonna go fairly high on this one. All the transforms and control points will check after we draw our circle. Now it's invert this one. I'm going to hit command and dragged to the side to add the radius for the I on all of these that is looking good. Now the feather. I'm gonna want the feather up pretty high. It's come to the end of the clip. There we go. That looks good. Okay, so the feather is up high now, as we zoom in will want to make sure that it scales to the I very cleanly. It's looking good there. Next frame, X ray. Next frame. Next frame. I'll pull these out just a slight bit. Next frame You can see how quick this gets after you practice a little bit to transform something like this and two key frame the mask. When I first started this, it took forever. But right there, it is fairly clear that that was fairly fast zooming right through my eye. What else do I want to see through my? I accept my wife standing in front of mountains and so this is clearly not cropped to this image. It was made for Instagram, but I'll go ahead and I'll crop this in just to kind of see her head. That way it fills up the full screen and then might as well throw it Ken Barnes on this final clip right here. That way it slowly zooms in on a static shot that makes it look semi decent. Since I didn't go get a shot through my eye, There it is. So this is how you zoom through objects to make whatever transition you're looking to make . And it looks pretty stinkin sweet, in my opinion. Now there's one more thing to do on this transition here. See how bright this clip is underneath. We can go ahead and change the opacity on this clip as well. Well, key. Frame it right here. At 100% we'll come back to where it starts to zoom into the eye and will crank down the opacity to 0%. So as we scroll forward, it's gonna gradually the draw mass is gradually showing that behind it, and the clip is gradually coming in That way it looks really smooth. And there we go. It looks smoother right there, so you can be creative. You can go through anything you can think of with this mask, and it doesn't even have to be Ah, hole. It can be just inside the black of a hat. You could go through the blinds here. You could go through a USB port. You could go through anything you would like to. It's a great transition. It catches people off guard, but at the same time they don't know what happened. But all I know is it feels super cool. So as long that's adding to your story, throw in this zoom through transition and it will make you a better videographer 9. Advanced Masking --- Out of a roll of tape : all right, we are back. And I'm getting really excited because this is probably the most fun and the most challenging transition. But when it works out, it just blows my mind, and it looks absolutely awesome. It's gonna be the same sort of concepts. We've moved the camera. We've moved objects in front of the camera. We have moved the camera and used digital zoom to go through objects and a bunch of different variations of that. Now, in this one, check this out. We're gonna grab a role, a tape. We're gonna roll that tape, and we're gonna zoom through the tape. Now, In general, I've zoomed through the tape, but in this one, I'm gonna try to zoom out of tape. And so, with this transition, it can be so complicated or such a niche transition, you need to make sure it adds to the story line. But you can use this concept with many different things, whether it be tape or a roll of something else. So I'm gonna show you how to zoom out of the tape in this transition. I'm gonna do this video a little bit differently. I'll just show you me editing it. And then I'll walk through the edit after it's done edited and show you the nuances of the specific transition. But since we've done so many of these and you already are making masking transitions very, very good, I'm gonna do this one faster and then in the and I'll show you the final clip and any other differences in this transition than other transitions. Okay, here we are. We've got the edit finished. Check it out. And that's the transition right there, zooming out of the tape. So basically how we zoom through things, we reversed it. And I'll show you exactly how I did that right here. Kind of establishing shot. What should I do with the tape? Let's go ahead and roll it and then zooming out of the tape. So in order to do this transition, I worked on this clip first. Right here. I'll move it down here so you can see what's going on with this clip. So right here, completely black. And then it zooms out of the tape. So I did a transform from all the way inside of the tape to zooming all the way out of the tape and I did a little bit of this in camera two. So the difference in this clip, what makes it a little more different is I'm moving the camera as well as there's an object moving and previous edits. We've had objects moving towards the camera or past the camera with a static camera, or have had a camera moving with a static object. Now we're combining the two, which just causes for a little bit more of an in depth and a little more time consuming at it. This entire clip right here took me about eight minutes to edit, so it still doesn't take that long with practice. Now I will say the 1st 1 I ever did like this I was trying to figure it out on my own, and it took me well over an hour, maybe even two hours. But I want to speed that time up for you by showing you a couple things I did So the first thing. As always, I speed rant the clip to where I wanted it, and I transformed the clip and transforming the clip. I can go in here and I'll turn off the Transform show video animation and I could just turn the transform off. Now watch how it looks. I was just sitting there. Now what I did with the Transform is I zoomed in. So I'm inside the tape inside that black blob the entire time. So I turned to transform on and I'm inside, zoomed into that black blob and you can see the marks right here on the transform tool. That's that with the camera movement zooming out is exactly where I transformed out. So cm go all the way into the black blob and then I zoom out. So now I got that figured out and the transform is all the way inside and it zooms out. I went head and dropped the draw mask on, and I did the draw mask. We'll turn to transform off again so you can see it. But you can see the draw mask here is just following the tape, and you can see it's fading out as well. Up here at the top, right? You see the fill opacity. It's fading out 20 at the end of a clip, and it goes into 100%. That's important. That is 100% dark right there because that allows me to drag this on top of this other clip in the 100% dark will shine through. I need to go back in turn, transform back on 100% opacity will shine through the clip underneath it. And so, since I have this top clip, uh, since I have the draw mask top clip at 100% opacity, the bottom clip is shining through it. So check this out. Were there. It's shining through. Gonna roll the tape and it zooms right out. And that's that's a transition that is fairly difficult, but not awfully difficult. Now. There's one more thing I did here to make it look good. And I'll show you if I go into the video animation of this underlying clip and I turn off the transform. This is how it would have looked now, okay, but not great. Why? Didn't look great. Well, look where the tape is. I'm zooming out of this tape and it's way off to the left side. That's not looking so good. And so when I transformed it, I cropped in a little bit and put the tape in the center of the clip. So as you play it the tapes in the center now and it zooms out, making it look much mother. I also added opacity onto this underlying clip, going from 100% opacity to fading it out to zero that way and mesh together really well. And there you have it. There you have, guys. That is how you do the draw mass tool from beginner to expert were very difficult. The more time you spend the cleaner, the mask are gonna look. Remember to only do this to add to the story line or add to the video. If you're just throwing in crazy masking transitions one after the other, it's not really going to create a good story. And to give you an example of that, check out the last video. Here I put all the masking transitions together into one final clip with a little bit of music. You'll see how it might look kind of cool, but there's not a much story to it. So you need to add a story to your video clips and then, when you're using these transitions along with a story, gonna make your story that much better. Thanks for doing to me, and I'll see you on the next class 10. Final Edit, Story Matters :