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

    • 2. Creating a Mask

    • 3. Mask Adjustments

    • 4. Tracking a Mask

    • 5. Advanced Masking + Conclusion

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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.


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.


1. Introduction: So you have probably seen these awesome visual effects somewhere, and you also want to do that's what 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 I'm asking, is station of visual effects. My name is George and for Cindy, camp dot net, and I'm a filmmaker from Belgium and 10 Deserted. You probably know me from YouTube for repost to videos for a week, and those reasons are always about how to edit or create something cool inside Premiere Pro . Some examples are where I let my colleague sink through the floor or under times he's standing in the middle of traffic, and he's controlling the car surrounded. All of these techniques are done with masking, so that's why it's so important to understand how masking works. So I can really advice you guys to subscribe to our channel. You can, finally, to its summer 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 glass, however, I want to focus on the more technical aspects of masking. Would you do understand old the inside? Now it's every single bit of how masking exactly works. And once you know that technical aspect, you can start creating awesome things with that. But because it's so technical, I also want to keep this course short. That is why I'm calling this in Munich last a few lessons that will cover everything you have to know about masking, so I'm not going to waste any more of your time. Let's swing to get her insight Adobe Premiere Pro and take your editing skills to a whole new level. Let's go, Theo. 2. Creating a Mask: Hi, guys. I'm so excited that you signed up for this class is going to be really amazing. So I'm guessing that you somehow know what masking is about. You know, it's a technique when you cut out certain parts from a shots and used that specific parts inside a new shots. And you can do that with multiple elements. You can cut out different parts and bring them together to create something new and that technical colts compositing, which is actually very popular inside adobe after effects. But that is a whole different story. We can also do that inside Adobe from your pro. So let's have a look inside this program how masking works. So what I have right here is a green screen shot, and this is a very common shots where we want to use one of these masks. So we just drag that into my timeline like this. So we also have this shot into a sequence. Now it's done during a green screen is removed all the green in two shots, and that way I'm actually soling myself out, as you can see right here. But if we do that, we still have not this lights visible and all this other stuff here in the background. So that's why we first need to draw a mask around myself. So I only see the subject me and the green clots. So let's do that. Let's create a mask in order to do. That's what we have to do is select a clip here in our timeline and head over to the effects controls, and it's already open right here. If you can't locate these windows, which you can always do it all, time is heading over to your menu on top Select window, and then from here you can find also the effects controls somewhere right here. So once you are in this panel right here and extradite your clip, it's selected because else you can't see anything in here, which you can then do is open up the capacity property, and within this property we can create that mask. And we conceded very good rights here because underneath that property we have tree buttons to create a mask. One is a circle tool. Next one is a rectangle tool, and finally we've got the pen tool and the most cases you want to use the pen tool, but I am going to show you first the other two presets. So let's start with the circle tool. Once I'm going to click on that just once, you will. Already signature mask has been applied on that's clip, and you can also see it here in your effects. Controls that's your master's in. Applied goes to see several masked options in here, which will die if true later. Which arm ask? Select. It's right here and you're effects controls. You can move that mask around in your program monitor so you can move that to a different position wherever you want. Or you can also change the math so you can make it bigger by taking one of these outside strikes here and in just the dragon like that's a make sure circle larger or make it into an ellipse. You can do whatever you want with that. Then, if you want to lead a mask, you can just simply click on that masked rights here in your capacity property. And it just hit T Delete key like that. Is that simple? Let's no click on that's rectangle presets like this, and then you also have that same masks just in different shape. You can take the outsides like this to make your mask bigger if you want so or to make it smaller doesn't matter or to give it some different kind of cheap. But like I was saying before, in most cases you're just going to create your own custom shape. And then it's more ideal to use the pen tool. So go to delete this mask right here. There we go, and they're just click on the pen tool. By doing this, you will not see anything happening in your program monitor. That is because we're now in custom moat. You will see that your mask has been applied. So it is in my effects controls under capacity right here. But we can see any mask yet that is because we have to draw this mask ourself with this pencil. You can simply do that by clicking on certain points. So let's say, for example, that want to cut myself out. What I'm then going to do is set a first point, so just click on your program monitor like this, and now you've set a first mask point, then you want to connect that to a second point, so 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. So let's at one over here. Maybe you need to take a little curve over here like that's then let's click there. And now it's getting a little bit tough right here, because are a masters go to cut in my feet? If I would do this, you can see it right here. And that means zoom in a bit more on that and go to sets here. My view, Moz, to 100% like that. I'm cutting into my feet. So ideally, what I want to do right now is move my mask outside of the screen. That is actually quite simple to do. Let me undo my last points right here. Simply do that by pressing Country Z or Command Z. If you are working on in Mac, let's do that and it will remove my last action, and now I can simply drama mask outside of the frame like this. Just add a few more points like so let's set this back to fit moats and important is that a mask is always close to you. Can't have an open mask. You always need to close it. So let's add a few more points in here like this and close the mask like that. Once it's close to, you'll also see that your subject has been cut outs. That is the very basics of how masking works. Let's have a look at several more options and how to manipulate this masked furter. So 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 indispensable right here because if I will do that, that will just create a second mask. That is not what I want to do right now. That's for later. Down this class, what we have to do is stick depend too, from the toolbox right here. Just click on that and now we have depend too active, and now I can start adding points in here like this and for some reason, it is this just one of those adobe premiere pro things. You will see a hands Aiken. This should have been a pen to liken. But you can see it is working. I'm clicking in my mask on the edge and adding points to it. As you can see, I can also drag them around so I could just click somewhere, create a point, then grab that point and moved that to a different spots. If you also do that with existing points, you could just grab them, move into a different spot like this. Oh, there it is. There is the pen tool and it is just typical criminal probe. Ah, so this is the I can that you should see. There you go on adding a new point and dragging that around So you can afterwards, that you've creditor mask. You can always go back into your mask and adjust its reverend or once that is important to know. All right, I'll just go back to fit mode right here because I'm having a look at this mask. It's not so clean. It's old, pretty hard, you know, I'm going from one point to another point, and it's just going in these very straight lines all the time and for discipline cation, my dok. But for other applications where you might want to go around a round object, then you're lines have to be mawr round as well. And now it's time to create those. Beziers. So let's do that. I'm going to leave my mask like this. I'm going to create a new wine. So click here on the pen tool underneath capacity property and what I'm gonna do is set my first point. So just click. But then, my second point want to make this small arc right here around my head's So what I want to do is click, but hold down your mouse click. And as you do, that's click that is Drac. Debts point open like this, and now you can see that you can create these arcs know. 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. So let's do that. I can grab the outside of that tool and moving around like this and you can see and that way I'm able to change the arc. All right, let's add a few more points in here. I'm going to do this quickly. So also here on the bottom, click and drag. Also here. Click in Drac and Click and perhaps also drag again. And now I'm creating this rounds mask or elipse like we've seen previously. But now we're making a custom rounds mask. So let's right now let's say that I wanna change my mask more so I'm grabbing these outsides rights here and move them around. But look what happens right here. I want to change dis article. Zoom back into that's here so you can see a little bit better. Change my workspace tiny bit like this. So I'm pulling here on this lever and I want to change the upper arc. But the mask line underneath that is also moving. Win. It's what we don't have to do is simply hold on your ALTs key. And that way you're saying Onley, move the first part of the mask very Go look at this. It's a simple is that, but make sure you're are keep holding that all turkey like this. We're doing that. You can really find you in 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. So let them do that just quickly or small part of myself. So ah, let's start here with my shoulders. I'm going to click with my mask. You're not stick. That's pencil again. Try to mask and I want to go to start right here. So I'm creating a points. This is old pretty straight. So that is old goods like this. But then, right here comes my shoulder. Some going Teoh make a little bit of arc right there and move perfectly around my shoulder and you want to see it in more detail. You can always zoom in right here, so it may be set this to 400% and see how my mask looks. And you can see it was not that perfect. So I can go back in here, move my mask of a different spot like this. And that way can you really find you your mask and tell Premier what it has to do. One of the things that you will run into as well as that your mask is going to do some crazy things for example, when at eight points right here. But as I do that you can see your my mask is just moving to a different spot. That's not doing what I'm asking. And that is unfortunately, one of the limitations of Adobe Premiere Pro are really hope that they're going to fix this in the future. But what you can do as of now it's Ah, let's undo this action right here is moved here, points to a different spot like this, and in grad that point and move it to where you want. This is how you kind of have to mask inside Adobe Premiere Pro or maybe creature arc like this that moved that as well to a different spot and so on. You know, masking can be sometimes pretty frustrating. Doesn't always do what to ones, but the interest salts are always pretty cool. All right, guys, that was the first lesson of this class. You've never seen how to create your own custom path insight from your pro and manipulate two different points in there. So I want to do in. The next lesson is take a look at two different properties of your mask. I'll see you guys there. 3. Mask Adjustments: Welcome back, guys. To the second lesson of this class and this lesson We're going to die if a little bit deeper into the mask pats properties. So let's have a look here. What we can do what I have here in my project. Bennell is one shot of Jannik sinking through the floor, as you can see. And also a second shot off a wrote. So we're gonna do here is blend Jannik into this road and it seems like he's falling through the street. So let's do that. I'm going to drag road clip right? You're via track number one inside my timeline like so and then the Jena clip right here on top of that like that, then select D Jenna clip head over to give effects controls and and from here from the capacity property, we can draw a custom pats around gen x. Let's do that like this, and you can do this freighter roughly several points like that's and so on and so on. Make sure to closure pats there ago. Jenna gets now on the street, but as you can see, his proportions doesn't really match with street. And that is because we need to scale down and maybe reposition this clip. You could do that from your motion property here. On top of that same clip weaken D scale that now you can kind of match Jannik more with the street and this kind of matches a lot better. You could also moving more to the site if you want. So, like this So there's already looks ton better. But we can still kind of feel that Jennings not really in that place. And that is because of the very heart edge around him. And that is the edge of the mask. So what we have to do is fetter the mask that we don't see it anymore. In order to do that, simply click on or selection a clip in your timeline. Go to your fetch controls right here in the mask mask number one the one we've just created and then is from here you will find the mask. Better property. Just increase that until you don't see that heart at anymore like that. It's super simple, but we can still see one pretty heart line and it is down below right here. Let me just zoom in on there How come? Why do you are we seeing here this very hard edge? Still, even though that we fettered this well, that is because we went outside of the actual clip. We will 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 fetter the end of the clip. So what we have to do here is bite with Arum asked into the clips, I'm going to move this year, maybe create a new point here and just move that mask up like this. We are maybe biting in a little bit into his fingers. But that is okay. Just make sure that you are not seeing any Etch anymore. And that way it could actually blanche your clips into other sceneries like we're during right here. So maybe if your mask what's that too white or too tight? And you can also play around with the mask expansion, which would also be found your underneath your mask. So why, By increasing your mask expansion when you select a mask right here, you can see that we can make the mask Whiter war. We could also make it smaller like this, because usually when you are to go with you, Federer, your mask, you will see that it will bites into your subject or need to go a bitch to whites. And then you're gonna compensate that feathering Trudy mask expansion. All right, miniter, is this one last important option? And that is the inverted property. Now the inverted property will inverter mask. I have a very good example where you want to use. That's what I'm gonna do. Here is drafty Jenna clip to be a track number tree because what I want to do here, it's removed This sign right here on the floor. This is bringing beach one of our sponsors on the YouTube channel but not sponsoring this class. I'm going to remove them. That's why I'm first going to duplicate this clip right here. You can do that very easily by holding now on my ALTs key on my keyboard and dragging that's clip to video track number two. There we go with now made a copy or a duplication of that clip. And what I'm gonna do next year is select the upper clip head into my effects controls and draw a mask underneath from the past. The property around that science. Let's do that. Commute is again very roughly. There you go, a mask. Nothing is visible now. Nothing happened. And that is because of the layer in her neat. Let me just this able that later. For moments, you can now see that we have so loads that's signed. But that is exactly not what we want to do. We're going to remove that science. So that s why we want to use the inverted button we can find. That's year 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. So that is also nuts groups. We have to fill that hole again up with some blank road space. And if we take a look at our shot, we actually have ton of blank road space, and we're going to use that blank space. You can find some rights here, some a little bit over there. We can use that from the other clip that we have here down below. So What I can do is enable Dad's later again by just clicking onto it like this. And now with Death Club Select, it's 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. You also like before we can see that we kind of have this heart etch here, and that is the visibility of the mask. So what we have to do with select the upper road again like that's headed to our masked properties and then go to increase the Feder just like we've done before. But look at this as I'm increasing that Federer and you will see that that sign is becoming visible again. And that is because if you are pulling on the federal, you can also see that very well here on the mask lines right here. This dashed line right here is that masked better or how far that Federer will go. As you can see. And Maura, I'm increasing that better. The more that you will see that sign if here again. So that s so I am go to increase the expansion. Now I'm go to wider up that mask like so and now you won't see that sign anymore. And this is how you can remove stuff from their scenery if you want to gone with premium beats. Alright, guys. And that was it for this lesson. If you want to see how he conferred er Bland Jannik, into this clip, you can find a link to our YouTube video summer 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. Pats are going to any meat or track. The mask in that lesson is going to be really excited. I'll see you guys there. 4. Tracking a Mask: Welcome back. Guys were already into third lesson told it was going fast. So on this lesson I want to focus on any meeting, a mask or, um, or particular tracking a mask. So let's see how we could do that. What I have right here is a clip of a walking girl, and what I would do is only focus on her head or on her face and do kind of a color correction on her face. And because she's moving, we also have to move that mass scored at grading with her. Let's dragon that clip to the timeline like soap and a couple of ways to do this. First of all, we can do this like we've seen previously, so I can select this site clip right here, head over to effects controls, treat a mask around her face. You know, I'm just zoom in here, you know, it's simply like that. We can do this pretty rough and how we could work further on that. But it's a conceit, you know, it's it's soling out her, and that means we are left with a blank space in the background. So what I have to do then It's a duplicate that layer like this and after removed the mask from that layer below. So select that one. Remove the mask. And now we actually have that mask solo here in the upper. Later, as you can see, what I'm going to disable that. So that means I can now ah, doing color grating on that upper track. You know, let's just go up here into the window and let's select Lou Metric Color through which we can make these color corrections s. So let's just do something very quickly here. I'm going to make her skin tones a tiny bit warmer. So I'm going to add in a bit more temperature, and that's only just do something drastic here. Don't mind too much what I'm doing right here. It's just so that you can clearly see that we're focusing here on her face, so that is 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. So there's another way to do that, and that is by creating our mask nuts on the capacity property. But on an effect property. Let me show you guys how that works. So we're going to do here is certainly has delete everything here in my timeline and go to dragged that same flip back into the timeline like this. So now we are reset it. So we've seen that we can create masks from the A pass ity property right here, but we can also create masks from utter properties or effects. When you show that to you guys, for example, I'm going to have here into my effects library, which is right here, and let me asserts for anything, for example, of blur. There we go, and I should find B'Gosh and blur right there. Dragged that's onto White Clip is old, pretty basic, and it is going to increase the blurriness like that. But let's know, say that we only wanna have that blurriness on that girl's face because we wanna make her unrecognisable. So what we can then do and and you can already see, try to hear underneath the gosh and blur effect. You can also find those street mask options so you can choose that pen tool again, or maybe because it faces round. You can also just grab that presets, right? You're the lips tool. 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. So let's just move that over her face and who want to make that circle a tiny bit smaller that over her face, like that's and like we've seen previously, you can also play around with expansion. Maybe we'll so with the better there we go. And now you can see that her face is blurred out without having to duplicate layers, etcetera. So that is the other way of doing that. Let me just remove That's a gosh and blurred because we're talking about color grading rights. Here, you can either drag T Lumet's three effects you're onto your clip, or just make a quick change here in Lieu. Metreon By during that, perhaps adding a bit of contrast, it will automatically at that saloon metric color effect on to that clip. So let's now drafty ellipse tool again, and I'm just gonna zoom in here on my clip like this and to move that ellipse over her face . Make that the lips a bit smaller, like this and just position that over her head like this. This is looking good. There we go. And the eyes doesn't always be rough because what you always want to do when making certain color corrections on specific parts, it's increased that Federer a bunch like that and that way you won't see the edge of it. So now that we have created a mask inciting the metric color, we can now create a or make a certain grading or anything that we want to adjust on her face. So let's do that. I'm just going to add, uh, let's add again the bit of that warrant into here, like this witty temperature slider and a bit more that contrast, maybe into it. Let's increase that exposure as well. To brighten up her face is actually technique it has done pretty often, But I'm exaggerating a bit your guy so that you will see clear really, what I'm doing. So let's just do that bit Mawr. There we go and this is not a good grating, but you guys. But this is just so that you can see what we're doing. Maybe this is critical for kind of a scifi movie where you have, you know, glowing girl. She has this global superpower. I don't know. So we had 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 kind of go everywhere or not. Not exactly. That mask will stay on its exact same point. But that girl is going everywhere. So we want that mask to move with the girl. And that is actually pretty simple to do. Guys, Why wouldn't do is move back here into the beginning of my clip and from my mask properties right here you will see mask paths and under the mask pats. We have several options. We can choose to drag that mask forwards. No, just played a clip. It will automatically track that mask with the moving objects. Or we could also did a frame for frame that it's usually good for more complex movements. Where you want to see is that mask movement correct, because it won't work every time. So well, you know, it's still a piece of software, and it won't always do exactly what we wanted to do. But you can also play it back. So that means you can also position after play had further in time and played back in reverse at the track and go in reverse. You can also do that frame for frame and and finally you have a options menu and today or you can choose what has to be tracked. So, for example, if you do not want this masks to be scaled up, then you can disable that and only choose for position and rotation or only position. I want to leave that up to you, but in most cases you enable position, scale and rotation because this girl is going to come to wards to camera. So 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's unless you have a good reason for it. So that's no track that mask forwards. What I usually do is select my mask so that I can kind of see what it's doing in here, and then I'm going to press the play button. There you go. Now it's 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, IHS? So it's dragging forward, and at a certain point, that drill will stand up. There she goes. It's all going pretty smooth. If you're working with Fourcade resolution clips, it might not go that smooth. What is going pretty well. And now it might go wrong. And I'm not sure this is the first time that I'm doing this year for this class, but is going I'm going to press star pressure because I see that my mask is not growing as much as I want you. So what I have to do right now is a just a mask right here. If I'm going to look here at my mask Pats properties only. Just zoom in here on these key frames, right? Right there. And it is something that you should have seen. If you've taken our basic class or if you've editing a bit longer inside premiere, you should know what any meeting is creating key frames while this mask paths. Property is creating these key frames automatically for us. But I notice that I want a justice mask here, a tiny bits. You can't need drastic changes in here. I can't move his mask old away to a different site because that will instantly make that mask jump to that point. You can steer a tiny bits here, so just move that mask a little bit more to the left site and made that a tiny bit larger. And that is why you needed to have two amounts of all time on that stop button so that you can stop that tracking on the rights moments and way too long. All right, so this looks better again. Let's press the play button. Let's see how ghost now and when pressed, stop again. I'm going to steer a tiny bit more here, pulled out a bit larger like this and hit that play button again is going pretty Okay, right now. Stop again. Move out a bit more to the sites like this. Hit play. All right, there we go. Everything has been tracked. Let's have look at the guys. You can now see that that mask is beautifully following the girl's face. There we have her glow girl, the next superhero from the marvel. Siri's going to be an awesome movie, I think. Look at that, Of course, that mask, it's pretty hard to see that the federal here, in the end, is much harder as any beginning. That is because if you're mascots smaller, usually when I have less fettered and if your mask would be larger, so so what we might want to do here. It's also at a custom animation of the mask. Better so just at the point where that girls go to stand up right here and move closer towards camera, I'm going to create a key frame for the mask better and move it forward in time to hear. And in over there does increase that better a bunch more like that. So now we are also gradually changing that mask. Federer here, as you can see, which makes Thea bigger mask over here, less visible. All right, I said it was obviously an extreme color correction. You can always dive back into your collect direction. Let's just reset some of these values here, let me just doing more serious grading. For example, I want to make sure that those girls popping out a little bit more you can then usually do it at a little bit of contrast into her face and say, a little bit of more exposure like this that are usually subtle ways to Atmore attention towards her subjects. So this is a very settled rating, but as you can see, she is popping out a little bit better because of that subtle exposure. Increase mint in her face, but we don't see it will notice the mask. And this is actually a technique that professional colorists use. You know, any Hollywood film is great. It's like this certain parts or highlight it more than other parts and interact with the subject. Let me just drag death clip in here once more time because I want to show you guys one final thing. There we go. So this year is again that clip without a mask onto it. I'm going to at a color grading back to it. So let me just at something here, that more exposure with that clip selected, I'm going to go to effects controls and under elementary color and again, going to dry mask because there's something I want to show you guys. Let me just dry quick mask around her like this. Let's say that teach tracking is not going well. That means that I probably have to manually adjust my mask. So why Dent can do is let me just start from here. Doesn't matter right now. What I can then do it is very easily enable the animation 40 mask pats property. Make sure it's your mask here is selected. And now we can just move one frame forwards and mover Masco due to a different spots. One frame forwards moving to a different spot. And that way you can also manually tractor mask with your subject. Of course, This right here 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 adjuster mask You could also a large it Do anything you want, you know, change these curse right here if you want. So, like this move a couple of friends forwards again. Change from ask whatever you want to do. Very go. If you are going to take a look now at this animation, you also see that you're Maskell. Gradually change between these larger steps right here, so you don't always have to any major mask frame by frame. Off 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 treat were already coming to the end because less and four is going to be the last lesson of this mini class. We're going to dive into a bit more advanced techniques, refusing in Mass. We're going to work with double masks, but also see at some weights and how we can copy and duplicate masks. Insights at Premiere Pro Thank you guys. So much for watching again. I'll see you guys into the last lesson of this class. 5. Advanced Masking + Conclusion: Hi, guys. Welcome to old Ready. The last lesson of this mini class. I'm going to cover some more details and then leave you guys with a final conclusion. So let's have a look right to your insides. Premiere Pro. What 1/2 is again, that walking girl. And if you look closely, we actually have already applied a mass contour face. I've done a very slight draining onto its I'm just enable and disable. That's ah Liu metric color effect. As you can see right there, her skin tones look a lot Maura life. So this is great. This is one mask here attract with her. We're seeing that previously as well in this class. Let's say that I also want ads kind of this. Ah, more punch to something else in that shots let's say to the background, which has no reason to it. But it gives me a reason to create a second mask under net seem effects will. That is perfectly possible. You could just grab your pen tool rights here and start drawing a second mask. Let's do that's here on the back. Let me just add a bit more exposure into the shot. There we go now, we've got two spots which have a mask. So just to know, you can create multiple masks and you can also change each mask individually. So where one has a huge Federer, the other one might have no Federer. It also here concede his heart 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 masks and name because right now they're just cold one and two, as you can see right here. And that can be simply done by right clicking on those masks and saved renames. This right here is the head of the girl. There we go. And then here, this is the bush in the back. So let's rename that to Bush. If you're going to work, which let's say, 10 mass suddenly in your shots, then you don't know which masks belongs to What? So then you could 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 . And I'm going Teoh decreased exposure as well, 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. So well, let me just select this mask right here of the heads and I'm going to say control, see or command see for the next users and that way and copying that mask. And now we're going to space that masked by seeing control V or Command V for the max users . And now you will see that the mask has bean copying based or duplicated, but also that mask pat. So all the properties within that mask will be copied. That is very useful, because what 1/2 right now are two masks rights here, and I can manipulate them differently. So I can say to one mast, for example, while I want you to have a bigger expansion or a a larger Federer or whatever, you can also grab them and move them to a different spot. Of course, is going to give me something weird because it's also a track, so we'll just ah, bunch right back into its position by that can, for example, say Well, uh, I have copied this masks with all the properties that a 12 except for any mask bath property. So I'm just going to disabled that's and to remove all of this key frames like this. And now I can move that to a different position and will stick their. But it will keep all of these same properties that I has from a previous mask, so sometimes that could be useful. You can also copy and paste masks from one clip to another. For example, 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, see or command see and then select the second clip here. And then what you have to do is select a property to which you want to face that mask to know. For example, whatever is done is created a mask right here in human metric color effects. But what it can do is based this mask here now in my capacity property. So by selecting that a passivity and saying control V, I'm basting that mask into a difference property, and that way I can do different things again. Keep in mind that a mask is completely different from its effects. So if you have a certain grading rights here on this clip, you know you've done something with Lou Metric color your nuts 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. So these were all the technical things on how masking works inside Adobe Premiere Pro. You know, now how to create one manipulated track. It's and he made it etcetera. What I have for you guys right now is a Siris of practices on how you can let someone sing through the grounds like you've seen right here, or how you can let objects move through space or even how to let yourself flight really fun practices where you have to use the masks to make that possible. Now, these are all episodes that we have created for our YouTube channel. You can also watch them here further in this class or fine building death playlist somewhere here in a description of this course. Thank you guys. So much for watching if you have any other questions and make sure you stay discussion forum frights here on this platform, and I'll be happy to help you further