Masking in Adobe Premiere Pro | Jordy Vandeput | Skillshare

Masking in Adobe Premiere Pro

Jordy Vandeput, Filmmaker and Youtuber

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5 Lessons (36m)
    • 1. Introduction

      1:45
    • 2. Creating a Mask

      10:26
    • 3. Mask Adjustments

      6:22
    • 4. Tracking a Mask

      12:31
    • 5. Advanced Masking + Conclusion

      5:14
90 students are watching this class

About This Class

Visual effects, compositing, advanced editing. These are all tasks where masking lays at its foundation. In this class you'll learn all the details of advanced masking in Adobe Premiere Pro.

Objective

By the end of the class, you understand how masking works and are able to apply a mask on various effects or properties. You will also be able to perform advanced masking tasks such as tracking it with the movement of a subject, blending masks with different layers and making custom animations.

For who is this class?

This class is for any Premiere Pro editor who likes to learn more advanced techniques and take their skills to a next level.

It's recommended you have a basic knowledge of Adobe Premiere Pro.

Transcripts

1. Introduction: You've probably seen these awesome visual effects somewhere, and you also want to do that which your Adobe Premiere Pro skills. Well, that's great, but you might be still struggling with that. Well, no worries because this class is going to help you to take your editing skills to that next level. This right here is the masking class inside Adobe Premiere Pro because masking is the foundation of visual effects. My name is Jordy from Cinecom.net, and I'm a filmmaker from Belgium. Chances are, if you probably know me from YouTube where we post two videos per week. Those videos are always about how to edit or create something cool inside Premier Pro. Some examples are where I let my colleague sink through the floor, or other times see he's standing in the middle of traffic and he's controlling the cars around him. All of these techniques are done with masking. That's why it's so important to understand how masking works. I can really advise you guys to subscribe to our channel, you can find a link to it somewhere here in the course description. Because two times a week you'll just receive a free exercise where you can get into a creative practice. In this class, however, I want to focus on the more technical aspects of masking. I want you to understand all the ins and outs, every single bit of how masking exactly works. Once you know that technical aspect, you can start creating awesome things with that. But because it's so technical, I just want to keep this course short. That is why I am calling this a mini-class, a few lessons that will cover everything you have to know about masking. I'm not going to waste any more of your time. Let's swing together inside Adobe Premiere Pro and take your editing skills to a whole new level, let's go. 2. Creating a Mask: Hey guys, I'm so excited that you've signed up for this class. Its going to be really amazing. I'm guessing that you somehow know what masking is about. It's a technique where you cut out certain parts from a shot and then use that specific part inside a new shot and you can do that with multiple elements. You can cut out different parts and bring them together to create something new and that technique is called compositing, which is actually very popular inside Adobe After Effects, but that is a whole different story. You can also do that inside Adobe Premiere Pro. Let's have a look inside this program, how masking works. What I have right here is a green screenshot and this is a very common shot where we want to use one of these masks. We'll just drag that into my timeline like this. We also have this shot into a sequence. What is done during a green screen is remove all the green in a shot and that way I'm actually soloing myself out as you can see right here but if we do that, we still have got these lights visible and all this other stuff here in the background. That's why we first need to draw a mask around myself so that I only see the subject, me and the green clots. Let's do that. Let's create a mask. In order to do that, what we have to do is select a clip here in our timeline and then head over to the Effects Control and it's already open right here. If you can't locate these windows, which you can always do with all time is heading over to your menu in tops, select window and then from here you can find also the Effects Controls somewhere right here. Once you are in this panel right here and make sure that your clip is selected because else you can't see anything in here, what you can then do is open up the opacity property. Within this property, we can create that mask and if you can see that- very good right here, because underneath that property we have three buttons to create a mask. One is a circle tool, next one is a rectangle tool and then finally we've got the pen tool. In most cases you want to use the pen tool but I am going to show you first the other two presets. Let's start with this circle tool. Once I'm going to click on that, just once you'll already see that your mask has been applied on that clip and your going to associate here in your effects controls, that your mask has been applied. You'll also see several mask options in here which we'll dive through later. Now, with your mask selected right here in your effects controls, you can move that mask around in your program monitor. You can move that to a different position wherever you want or you can also change the mask so you can make it bigger by taking one of these outside right here and then just drag it like that and make your circle larger or make it into an Ellipse. You can do whatever you want with that. Then if you want to delete a mask, you can just simply click on that mask right here in your opacity property and just hit the Delete key, like that. Its that simple. Plus now click on that rectangle preset like this and then you also had that same mask, just some different shape. You can take the outside like this to make your mask bigger if you want so or to make it smaller. It doesn't matter or to give it some different shape but like I was saying before, in most cases you're just going to create your own custom shape and then its more ideal to use the pen tool. Go to delete this mask right here. There we go and there just click on the pen tool. Now by doing this, you will not see anything happening in your program monitor. That is because we are now in custom mode. You will see that your mask has been applied so it is in my effects controls under opacity right here, but we can't see any mask yet. That is because we have to draw this mask ourselves with this pen tool. We can simply do that by clicking on certain points. Let's say, for example, that I want to cut myself out. What I'm then going to do is set a first point. Just click in your program monitor like this and now you've set a first mask point. Then you want to connect that to a second point. You just want to go somewhere else here. Let's say over there and click again and now you can just keep on adding points and connecting them to each other. Let's add one over here. Maybe you need to take a little curve over here like that. Then let's click there and now it's getting a little bit tough right here because our mask is going to cut in my feet if I would do this. You can see it right here. Let me just zoom in a bit more on that. I'm going to set here my view mode to 100 percent like that. I'm cutting into my feet. Ideally what I want to do right now is move my mask outside of the screen but it's actually quite simple to do. Let me undo my last points right here. You can simply do that by pressing Control Z or Command Z if you are working on a Mac. Let's do that and that will remove my last action and now I can simply draw my mask outside of the frame like this. Just add a few more points like so, let's set this back to fit mode and important is that a mask is always closed. You can't have an open mask, you always need to close it. Let's add a few more points in here like this and close the mask like that. Once it's closed, you will also see that you're subject has been cut out. That is the very basics of how masking works. Let's have a look at several more options and how to manipulate this mask further. Let's say that we've drawn this mask right here, but we made an error. Actually, I needed to add some more points into here. What I can then do is grab my pen tool again and start adding extra points to this mask. However, I cannot click on this pen tool right here because if I will do that it will just create a second mask and that's not what we're going to do right now. That is for later down this class. What we have to do is take the pen tool from the tool box right here. Just click on that and now we have the Pen tool active. Now I can start adding points in here like this and for some reason it is just one of those Adobe Premiere Pro things. You will see a hands icon. This should have been a pencil icon, but as you can see, it is working. I'm clicking in my mask on the edge and I'm adding points to it as you can see. I can also drag them around so I can just click somewhere, create a point then grab that point and move that to a different spot. You can also do that with existing points. You can just grab them, move them to a different spot like this. Oh, there it is. There is the pen tool and that's just typical Premier Pro. This is the icon that you should see. There we go, I'm adding a new point and dragging that around. You can- afterwards that you've created your mask, you can always go back into your mask and adjusts it to whatever you want. That is important to know. Let me just go back to fit mode right here because if I'm having a look at this mask, it's not so clean. It's all pretty heart. I'm going from one point to another point and its just going in these very straight lines all the time. Therefore for this application it might be okay, but for other applications where you might want to go around a round object then your lines have to be more round as well. Now it's time to create those [inaudible]. Let's do that. I'm going to delete my mask like this. I'm going to create a new one. Click here on the pen tool underneath the opacity property and what I'm going to do is set my first point, so just click but then my second point I'm going to make this small arc right here around my head. What I'm going to do is click, but hold down your mouse-click and as you do that, click and just drag that point open like this. Now you can see that you can create these arcs. Now be aware though, this line right here and the upper line right there is not your mask. Those are two tools to adjust that arc. Let's do that. I can grab the outsides of that tool and move it around like this as you can see. That way I'm able to change the arc. Let's add a few more points in here. I'm going to do this quickly. Also here on the bottom, click and drag. Also here, click and drag and click and perhaps also drag again. Now I'm creating this round mask or Ellipse like we've seen previously, but now we're making a custom round mask. Let's right now say that I want to change my mask more so I'm dragging this outside right here and moving them around but look what happens right here. I want to change this arc. Let me zoom back into that here so we can see a little bit better. Change my workspace tiny bit like this. I'm pulling here on this lever and I'm going to change the upper arc, but the mask line underneath that is also moving with it. What we then have to do is simply hold down your Alt key and that way we're saying only move the first parts of the mask. There we go look at this. It's as simple as that, but make sure you keep holding that Alt key like this. By doing that you can really fine tune the mask that you are creating and that's for example, important when you are going to mask out a car, for example, where you don't have this green screen. Because let's assume that there is no green screen behind me, then I have to mask myself out entirely. Let us do that just quickly or a small part of myself. Let's start here with my shoulder. I'm going to click with my mask here and let's dig that pen tool again. Create a mask and I'm going to start right here. I'm creating a point. This is all pretty straight, so that is all goods like this but then right here comes my shoulder. I'm going to make a little bit of arc right there and move perfectly around my shoulder. If you want to see it in more detail you can always zoom in right here. Let me set this to 400 percent and see how my mask looks. As you can see it was not that perfect, so I didn't go back in here. Move my mask to a different spot like this and that way you can really fine tune your mask and tell Premiere what it has to do. One of the things that you will run into as well is that your mask is going to do some crazy things, for example, we're at a point right here but as I do that you can see here my mask is just moving to a different spot. It's not doing what I'm asking and that is unfortunately one of the limitations of Adobe Premiere Pro. I really hope that they're going to fix this in the future but what you can do as of now is, let's just undo this action right here. Move your points to a different spot like this and then grab that point and move it to where you want. This is how you have to mask inside Adobe Premiere Pro or maybe create your arc like this, then move that as well to a different spot and so on. Masking can be sometimes pretty frustrating, doesn't always do what you want but the end results are always pretty cool. Guys, that was the first lesson of this class. You've now seen how to create your own custom pat inside Premiere Pro and to manipulate the different points in there. What we're going to do in the next lesson is take a look at the different properties of your mask. I'll see you guys there. 3. Mask Adjustments: Welcome back guys to the second lesson of this class. In this lesson, we're going to dive a little bit deeper into the mask path's properties. Let's have a look here of what we can do. What I have here in my project panel is one-shot of genic sinking through the floor as you can see, and also a second shot of a road. What I'm going to do here is blend genic into this rotated. It seems like he's falling through to street. Let's do that. I'm going to drag the road clip right here to video track number 1 inside my timeline like so and then the genie clip right here on top of that, like that. Then select the genie clip head over to the effects controls and then from here from capacity property, we can draw a custom paths around Gen X. Let's do that like this and you can do this very roughly, several points like that, and so on and so on. Make sure to close your path there we go, Gen is now on the street. But as you can see, his proportions doesn't really match with the street and that is because we need to scale down and maybe reposition this clip. You can do that from your motion property here on top of that same clip, we can descale that and now you can match gigantic war with the street and this matches a lot better. You can also move in more to the side if you want so like this. To those already looks a ton better, but we can still feel that gentleness, not really in that place and that is because of the very hard edge around him, and that is the edge of the mask. What we have to do is feather the masks that we don't see anymore. In order to do that, simply click on or select your clip in your timeline, go to your fetch controls right here to mask, mask number 1, the one that we've just created and then just from here you will find mask feather property. Just increase that until you don't see that hard edge anymore like that. It's super simple, but we can still see one pretty hard line and it is down below right here. Let me just zoom in on there. How come, why are we seeing here this very hard edge still, even though that we feathered this well, that is because we went outside of the actual eclipse. Let me select that mask here once again, you can see that my mask is actually going out of that clip, but that is just the end of the clip. We can feather the end of the clip. What we have to do here is bite with our mask into the clips so I'm going to move this here, maybe create a new point here and just move that mask up like this and we are maybe biting and little bit into his fingers, but that is okay. Just make sure that you are not seeing any edge anymore and that way you can actually blend your Eclipse into other sceneries like we're doing right here. Then maybe if your mask was set too white or too tight and you can also play around with the mass expansion, which can also be found here underneath your mask. By increasing your mask expansion, I'm going to select the mask right here. You can see that we can make the mask wider or we can also make it smaller like this. Because usually when you aren't going to feather your mask, you will see that it will bite into your subject or maybe go a bit too wide and then you can compensate that feathering through the mask expansion. Then there's this one last important option, and that is the invert its property. The inverted property will invert your mask I have a very good example where you want to use that. What I'm going to do here is drag the genic clip to via tract number 3. Because what I want to do here is to move this sign right here on the Florida this is Premium Beat 1 of our sponsors on the YouTube channel but they not sponsoring this class. I'm going to remove them. That's why I'm first going to duplicate this clip right here. I can do that very easily by holding down my alt key on my keyboard and then dragging that clip to video track number 2, there we go without made a copy or a duplication of that clip and what I'm going to do next here is select the upper clip, add it to my effects controls and draw a mask underneath from the opacity property around that science. Let's do that. I can do this again very roughly. There you go. A mask, but nothing is visible now nothing happened and that is because of the layer underneath, slowly just disable that layer for a moment, you can now see that we have solo, it's that sign, but that is exactly not what we want to do. We want to remove that science so that is why, we want to use the inverted button and we can find that here in the mask properties, just select Inverted there we go. We have inverted to mask, and that will remove the sign, but it will leave this black hole into it. That is also not good. We have to fill that hole again up with some blank wrote space and if we take a look at our shots, we actually have ton of blank wrote space, and we're going to use that blank space. You can find some rights here, some little bit over there and we can use that from the other clip that we have here down below. What I can do is enable that layer again by just clicking on to it like this and now with that clip selected here, I'm going to move the position to the rights and now you can see here, I'm filling up the gap with a different part of the roads. It's that simple also line before we can see that we had this heart edge here and that is the visibility of the mask. What we have to do is select the upper road again like that, head into our mask properties and then go to increase the feather, just like we've done before. But look at this as I am increasing that feather, you will see that that sign is becoming visible again and that is because if you are pulling on the feather, you can also see that very well here on the mask lines right here, this dashed line right here, is that masked feather or how far that feather will go as you can see and the more I am increasing that feather the more that you will see that sign appear again. That is why, I am going to increase the expansion now. I'm going to widen up that mask like so and now you won't see that sign anymore and this is how you can remove stuff from your scenery if you want to, Gone with Premium Beats. That was it for this lesson. If you want to see how we can further blend genic into this clip. You can find a link to our YouTube video somewhere here in the description of that lesson. Thank you guys so much for watching. In the next lesson, we're going to take a look at the last property of your mask and that is the mask paths or going to animate or track the mask in that lesson. It's going to be really exciting. I'll see you guys there. 4. Tracking a Mask: Welcome back guys. We're already at the third lesson. I told you it was going fast. In this lesson I want to focus on any meeting a mask or a more particular tracking a mask. Let's see how we can do that. What I have right here is a clip of a walking girl. What I want to do is only focus on her heads or on her face and do a color correction on her face. Because she is moving, we also have to move that mask or that grading with her. That's drag in that clip to the timeline like so. There are a couple of ways to do this. First of all, we can do this like we've seen previously, so I can select this clip right here. Head over to effects controls, create a mask around her face. Let me just zoom in here, simply like that. We can do this for pretty rough. Now we can work further on that. But as you can see, it's soloing out her and that means we are left with a blank space in the background so what I have to do then is a duplicate that layer like this. I have to remove the mask from that layer below. Select that one, remove the mask and now we actually have that mask solo here in the upper layer as you can see when I'm going to disable that. That means I can now do a color grading on that upper track. Let's just go up here into the window and let's select symmetric color through which we can make these color corrections. Let's just do something very quickly here. I'm going to make her skin tones a tiny bit warmer. I'm going to add in a bit more temperature in that and I'll just do something drastic here. Don't mind too much what I'm doing right here. It just so that you can clearly see that we are focusing here on her face. That is a one way of doing it but this requires me to duplicate that track and work with multiple layers and that is not so user-friendly. There is a better way to do that. That is by treating our mask not only opacity property but on an effects property. Let me show you guys heard that works. What I'm going to do here is let me just delete everything here in my timeline and go to drag that same flip back into the timeline like this. Now we are reset it. We've seen that we can create masks from the opacity property rights here but we can also create masks from other properties or effects. Let me just show that to you guys. For example, I'm going to head here into my effects library which is right here. Let me just search for anything. For example, blur their ego and I should find the Gaussian blur right there. Drag that onto my clip. This is all pretty basic and I'm just going to increase the blurriness like that. But let's now say that we only want to have that blurriness on that girl's face because we want to make her unrecognizable. What we can then do is and you can already see it's right here underneath the Gaussian blur effect. We can also find those street mask options. You can choose that pen tool again or maybe because the face is round, you can also just grab that presets right here, the Ellipse tool. Let's just click on that and now you can see that we have only that part which we are going to select right now being blurred out. Let's just move that over her face and we want to make that circle a tiny bit smaller. Move that over her face like that. You've seen previously, you can also play around with the expansion maybe also at the fetter, their we go. Now we can see that her face is blurred out without having to duplicate layers, et cetera. That is the other way of doing that. Let me just remove that's a Gaussian blurred because we're talking about color grading writes here, you can either drag to luminari effects you're onto your clip or just make a quick change here in luminari and by doing that, perhaps adding a bit of contrast, it'll automatically at that Luminari Color effect onto that clip. Let's now drop the Ellipse tool again. I'm just going to zoom in here on my clip like this and to move that Ellipse over her face. Make that Ellipse a bit smaller like this and just position that over her head like this. This is looking good. There we go. The eye is this way, always be rough because what you always want to do when making certain color corrections on specific parts is set increased at feather bunch like that and that way you won't see the edge of it. Now that we have created a mask inside the metric color, we can now create or make a certain grading or anything that we want to adjust on her face. Let's do that. I'm just going to let's add again in the bit of that warmth into here like this with the temperature slider, add a bit more of that contrast maybe into it. Let's increase that exposure as well to brighten up her face. Actually technique it has done pretty often, but I'm exaggerating a bit here guy so that you will see clearly what I'm doing. Let's just do that a bit more. There we go. This is not a good grading buy the way guys, but this is just so that you can see what we're doing. Maybe this is pretty cool for a Sci-fi movie where you have glowing girl. She has this glowing superpower, I don't know. We have this mask around her face but now what will happen is what I'm going to play this clip, you will see that that mask is going everywhere or not exactly. That mask will stay on its exact same points but that girl is going everywhere. We want that mask to move with the girl. That is actually pretty simple to do guys. What I'm going to do is move back here into the beginning of my clip and from my mask properties right here, you'll see mask paths. Under the mask paths we have several options. We can choose to drag that mask forward, just play the clip and it will automatically track that mass with the moving objects or we can also do that frame per frame. That is usually good for more complex movements where you want to see, is that mask moving correct because it won't work every time so well. It's still a piece of software and it won't always do exactly what we want it to do but you can also play it back so that means we can also position or play further in time and play it back in reverse as the tracking go in reverse. You can also do that frame per frame. Then finally, you have an options menu. There you can choose what has to be tracked. For example, if you do not want this mask to be scaled up, then you can disable that and only choose four position and rotation or only position. I'm going to leave that up to you but in most cases you want to enable position, scale and rotation because this girl is go into come towards the camera. That means her face is going to be bigger so that mask also has to enlarge. That's why we need to have that option selected in there but by default it is selected and usually you just want to stay off from that unless you have a good reason for it. Let's now drag that mask forwards. What I usually do is select my mask so that I can see what it's doing it here and then I'm going to press the Play button. There you go. Now, at all time you want to keep your mouse button, your mouse here on that stop button right here. Because if something would go wrong, you have to click ''Stop'' very fast. Let me just show you in just a minute why that is. Let's drag in forward and at a certain point that girl will stand up. There she goes and it's all going pretty smooth. If you're working with 4K resolution clips, it might not go that smooth but it's going pretty well. Now it might go wrong and I'm not sure this is the first time that I'm doing this here for this class. I'm going to press Stop right here because I see that my mask is not growing as much as I want you. What I have to do right now is adjust the mask right here. We're going to look here at my mask path properties, so now only just says zoom in here on these key-frames right there. This is something that you should have seen if you've taken our basic class or if you've been editing a bit longer inside Premiere, you should know what any meeting is creating key-frames. Well this mask path property is creating these key frames at a medically for us. But I notice that I want to adjust this mask here a tiny bit. Now you can't make drastic changes in the here. I can't move this mask all the way to a different site because that will instantly make that mask jump to that point. You can see it a tiny bit here. Just move that mask a little bit more to the left side and make that a tiny bit larger and that is why you needed to have your mouse at all time on that Stop button so that you can stop that tracking on the right moment and not wait too along. This looks better again, let's press that Play button. Let's see how it goes now and when I press Stop again, I'm going to steer a tiny bit more here. Pull that a bit larger like this and hit that Play button again. Is going pretty okay right now. Stop again. Move that a bit more to the sides like this. Hit Play. There you go. Everything has been tracked. Let's have look at it guys. You can now see that that mask is beautifully following the girl's face. There we have our glow girl, the next superhero from the Marvel series. It's going to be an awesome movie I think. Look at that. Of course, that mask is pretty hard. You can also see that the feather here in the end is much harder as in the beginning that is because if your mask is smaller usually when I have less feather then your mask would be larger. What we might want to do here, it's also add a custom animation of the mask feather. Just at the point where that girl is going to stand up right here and move closer towards the camera, I'm going to create to keyframe for the mask feather and move it forward in time to here. Then over there just increase that feather a bunch more like that. Now we are also gradually changing that mask feather here as you can see, which makes the bigger mask over here less visible. As soon as was obviously an extreme color correction, you can always dive back into your color correction. Let's just reset some of these values here. Let me just do a more serious grading for example, I want to make sure that this girl is popping out a little bit more. What you can then usually do is add a little bit of contrast into her face and say a little bit of more exposure like this, but that usually subtle ways to add more attention towards your subject. This is a very [inaudible] but as you can see she is popping out a little bit better because of that subtle exposure increasement in her face but we don't see it. We don't notice the mask and this is actually a technique that professional colorist use. Any Hollywood film is created like this. Certain parts that are highlighted more than a other parts and interact with the subjects. Let me just drag that clip in here once more time because I want to show you guys one final thing. There we go. This here is again that clip without a mask onto it. I'm going to add a color grading back to it so let me just add something here, a bit more exposure. With that clip selected, I'm going to go into effect controls and under Lumetri color and again going to draw a mask because this is something that I want to show you guys. Let me just right click mask around her like this. Let's say that your tracking is not going well. That means that I probably have to manually adjust my mask. What I then can do is let me just start from here, doesn't matter right now. What I can then do is very easily enable the animation for the Mask Path property. Make sure it's your mask here is selected and now we can just move one frame forwards and move our mask to a different spots. One frame forward, move it to a different spot. That way you can also manually track your mask which are subject. Of course, this right here or this technique takes up a lot of work. What you might want to do sometimes is move a couple of frames forward like this and then adjust your mask. You can also enlarge it, do anything you want, change these curves right here if you want so, like this move a couple of frames forwards. Again, change your mask, whatever you wanna do. There we go. If you are going to take a look now at this animation, you will also see that your mask will gradually change between these larger steps right here. You don't always have to animate your mask frame-by-frame. Of course, the automated tracking in Premiere will do that because it's just more accurate than doing it with these big steps. This was lesson 3. We already coming to the ends because lesson 4 is going to be the last lesson of this many class. We're going to dive into a bit more advanced techniques of using a mask. We're going to work with double masks but also see at some ways and how we can copy and duplicate masks inside Premiere Pro. Thank you guys so much for watching again, I'll see you guys into the last lessons of this class. 5. Advanced Masking + Conclusion: Hey, guys. Welcome to already, the last lesson of this mini class. I'm going to cover some more details and then leave you guys with a final conclusion. Let's have a look right here Insights Premiere Pro. What I have is again that walking girl, and if you look closely, we actually have already applied a mask onto her face. I have done a very slides grading onto it. I'll just enable and disable that Lumetri Color effect, as you can see right there, her skin tones look a lot more alive. This is great. One mask here attracts with her, we've seen that previously as well in this class. Let's say that I also want to add this more punch to something else and that shots let's say to the background which has no reason to it's but it gives me a reason to create a second mask under that same effect. Well, that is perfectly possible. You can just drag your pen tool right here and start drawing a second mask. Let's do that here on the back. Let me just add a bit more exposure into this shot there we go. Now, we've got two spots which have a mask. Just to know you can create multiple masks and you can also change each mask individually. One has a huge feather, the other one might have no feather at all. You can see these hard edges which you might want to use for some reason. Now, if you are going to work with so many masks in your project, it might be a good idea to give your masked a name, because right now they are just called one and two as you can see right here. That can be simply done by right-clicking on those masks and say rename. This right here is the head of the girl, there we go. Then here this is the bush in the back. Let's rename that to Bush. Because if you're going to work with let's say 10 masks suddenly in your shots, then you don't know which masks belongs to what. Then you can see that of course. All right. Let me just delete that mask in the back of that bush because it doesn't really make sense. I'm going to decrease the exposures while a tiny bit on that girl there we go, so that it's more subtle. Now, what we can also do is copy and paste these masks. Let me just select this masks right here of the heads and I'm going to say Control C or Command C for the Mac users. That way I'm copying that mask and now we can just paste that mask by seeing Control V or Command V for the Mac users and now you will see that the mask has been copied and paste or duplicated, but also that mask part. All the properties within that mask will be copied. That is very useful because what I have right now are two masks rights here and I can manipulate them differently. I can say to one mask for example, well, I want you to have a bigger expansion or a larger federal or whatever. You can also grab them and move them to a different spot. Of course, this is going to give me something weird because it's also a track. We will just punch right back into its position. By that can for example, say, well, I've copied this masks with all the properties that I want to except for any mask pat property. I'm just going to disable that's, and to remove all of these key frames like this and now I can move that to a different position and we'll stick there, but we'll keep all of these same properties that I had from my previous mask. Sometimes that could be useful. You can also copy and paste masks from one clip to another. For example, let me just drag that same clip again to the timeline like this and let me just take the original right here, select that one, say Copy Control C or Command C, and then select the second clip here and then what you have to do is select a property to which you want to paste that mask to. For example, what I've just done is created a mask right here and Lumetri color effects, but what I can do is paste this mask here now in my opacity property. By selecting that opacity and saying Control V and pasting that mask into a different property and that way I can do different things again. Keep in mind that a mask is completely different from its effects. If you have a certain grading right here on this clip, you've done something with Lumetri color. You're not copying that over to a clip. Now, you're taking the mask and bringing that to maybe a different property or to a different clip. These were all the technical things on how masking works inside Adobe Premiere Pro. You know now how to create one manipulate it, track it any minute, etc. What I have for you guys right now is a series of practices and how you can let someone sink to the grounds like you've seen right here, or how you can let's objects move through space or even how to let yourself fly. Really fun practices where you have to use masks to make that possible. Now, these are all episodes that we have created for our YouTube channel and also watch them here further in this class or find a link to the playlist somewhere here in the description of this course. Thank you guys so much for watching. If you have any other questions and make sure you use the discussion forum right here on this platform and I'll be happy to help you further. Stay creative.