Video Editing Magic: Create Scroll-Stopping Masking Effects | Keenan Lam | Skillshare
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Video Editing Magic: Create Scroll-Stopping Masking Effects

teacher avatar Keenan Lam

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:48

    • 2.

      Getting Started

      4:41

    • 3.

      Understanding Masking Basics

      10:17

    • 4.

      Exploring the Power of Masks

      6:14

    • 5.

      Planning Your Masking Project

      10:32

    • 6.

      Filming Your Project

      11:53

    • 7.

      Setting Up Your Project

      6:30

    • 8.

      Applying Basic Masking Techniques

      8:05

    • 9.

      Using Advanced Masking Techniques

      8:24

    • 10.

      Adding Final Masking Details

      4:59

    • 11.

      Color Grading and Sound Design

      12:13

    • 12.

      Final Thoughts

      2:37

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About This Class

Learn the magic of video masking and create pro-level effects in your videos!

Picture this: You're scrolling through social media and come across a video with transitions and effects that leave you wondering "How on earth did they pull that off?!"

Well, wonder no more! Keenan Lam is a cinematographer and editor with over 100k followers on IG who frequently gets that question. He uses video masking—a video editing technique that allows you to hide specific areas of a video, blend images together, or add other video effects—to add a creative twist to his personal videos and collaborations with top brands like Xbox, Panasonic, and Porsche.

In his first-ever online class, Keenan will reveal the many possibilities of video masking and teach you how to use masking to blur out objects, build titles and create scroll-stopping special effects. 

With Keenan by your side, you'll:

  • Plan and shoot a special effects-ready video
  • Practice creating effective masks 
  • Dive into more advanced masking techniques, like masking asymmetrical and curved shapes
  • Make the best use of sound design by adding effects and trending social media sounds
  • Take your project over the top with pro color grading

Plus, you can download all of the videos Keenan creates in this class, as well as his presets in Adobe Premiere Pro, so you can practice your masking skills without even touching a camera!

By the end of this class, you'll have a new toolkit to up your post production game, impress potential clients, and rack up those sweet, sweet views. 

This class is designed for students with a basic understanding of post production who are looking to advance their skills. The only things you’ll need are a device that shoots video like a smartphone or camera and a computer with an editing program. Keenan works in Adobe Premiere Pro, but whatever editing program you’re comfortable with will do the trick.

Meet Your Teacher

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Keenan Lam

Teacher

Keenan Lam is  UK based cinematographer and editor with over 100k followers on IG. He’s known for his eye-catching and exciting brand work and travel videos. In one of his most viral videos, Keenan appears to be controlling the speed of an epic sunset in Bali, Indonesia. Well planned and filmed with just an phone, Keenan’s use of video masking created Hollywood level effects that caught the eyes of millions of people.

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Level: Beginner

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Transcripts

1. Introduction: [MUSIC] I love seeing the reactions of people's faces when I create something they really enjoy, whether that'd be an emotional response or a response where everyone's like, well, what's going on? This is crazy. [MUSIC] Hello. My name is Keenan Lam. I'm a travel and lifestyle videographer, and I create exciting and compelling story like content for brands across the globe. Today's class is all about video masking. Video masking is basically a technique that allows you to isolate and edit specific parts of video. It's like card trick. You can add different elements to your video, you can make skies move, you can make things disappear. It just adds a little bit more spice to the video. In this class, I'll be taking you from if you don't know anything about masking to get very comfortable with the fundamentals of it. Firstly, we're going to just go through some examples of masking and exploring the possibility. I'll be running through how to draw a mask or how to use feathering, how to track the mask. Then after that, we're going to go into planning a shoot. Then at the end, we're going to get into the editing parts of the video where I'll show you how to put it all together. After this class, I hope you walk away with a video that you're very proud of creating, especially if you've never done masking before, and hope that you walk away with a nice fundamental knowledge and how to use masks and how you can apply it to your videos in the future. What you'll need to follow along in this class is a device that shoots video. You need a laptop or a computer that has an editing program on it. I'm going to be using Premiere Pro. I'll also be using a tripod and also our video is going to be using a mirror. I'm so excited for you guys to dive into the world of video masking, so let's get started. [MUSIC] 2. Getting Started: [MUSIC] In this class, we're going to be creating a very fun and simple masking video. We're going to be utilizing a mirror and the reason I want to use a mirror is because usually, a mirror just reflects everything that's in front of it, but in this class, we want to challenge reality. We want to add a twist to that and say, what if the mirror didn't reflect what was in front of it? We're going to be standing in front of the mirror. We're going to be clicking, the jacket's going to change. We're going to swipe the jacket is going to change. In the end, we're going to clap both reflections are going to be back to normal and we're going to walk out of frame. This is going to help you guys learn how to frame your shot, learn how to shoot it, basically locking off your exposure, locking a tripod off to make sure you have a steady shot, and also editing it as well, making sure we can put the mask in the right place and learn how to also frame yourself in the shot so that there isn't any overlapping things which make it a lot trickier when you're masking. Then we're going to be shooting it on a phone. As I mentioned earlier, you can use a camera if you like. I'm using a tripod to log off the image. Then we're going to be editing it on Premiere Pro. Now, my Premiere Pro workspace on here is a custom one that I've made for myself that makes it easier to edit vertical format videos. I'm providing that in the asset list so you guys can download that and import it into Premiere Pro if that is the program that you use. Masking in essence is quite a simple technique, but there's a lot involved and there'll be a lot of steps within it. Make sure you take the time to follow along. If you need to re-watch certain parts, then feel free to do that. Take it at your own pace because there's going to be a lot of information and I want you guys to take it in as best as possible. I'll be asking you some questions at the end of each class to make sure you've got the key takeaways locked in your head. In this class, we're going to be using a pen and paper to plan out the video and be drawing some certain things and make sure we get it locked into our heads. You may have seen this viral video of mine that grew me from 23,000 followers to over 100,000 followers. In just a couple of months. Later in the class, I'll be giving you guys a bit of a storytime on how I planned and created this video and what it's like to experience that little moment of virality. Masks. You're here to learn all about them and how they can take your video to the next level by adding a twist on reality, or even to make things feel a little bit smoother by adding a transition. As mentioned in the intro, a video mask is used to isolate or edit specific parts of an image so you can reveal or block something. Masks are commonly used in special effects or color correction, and it allows you to edit, as we said, a specific part of an image without affecting the entire image. Let's give you a quick 90-second spin around mask. I've made a few examples and I'm going to show you guys how it was created and how it was done. The first example is a title reveal. As you can see when the bike moves past, we reveal the text. This is from Kintamani and Bali. That is number one. You can use masks for text reveal. Number two, Marston actually have to be specifically to create some special effect. You can use it to reveal a color gray, which I've done here. That just goes forward and backwards. We'll go into it a little bit more in the class. But I keyframed an adjustment layer, which has a color grade on it to move from left to right to show that off. The next one here is actually to transition between different locations. You can use people that walk past a camera, similar to the intro. When I will pass the camera Marston, to a different location. Let me show you that one. You can see here we have a shot of a girl in a busy street. As the people walk past the camera, she is now facing the other way. Another mask happens right here. You can see where my mouse is, that is the line of the mask. Then it basically marks into another scene. You can use it to transition between different locations without actually having to show the person moving or walking between these different locations. You can also use mask as a matte to basically split the screen into different sections of your video. What I've done here is created a mask to split the video into two. You can do this very simply by just show you where the mask is, drawing a little shape and it will reveal the second image below it. Now, there are some phone apps that you can download that very powerful now that do have masks, something like CapCut or VN video editor. They're both great options. If you don't have access to a computer with a more advanced editing platform, you can almost replicate something like this on a phone. [MUSIC] Are you ready to get stuck into the world of masking the video? Let's go. The next lesson will be masking basics. 3. Understanding Masking Basics: [MUSIC] So masking basics. In this lesson, we're going to learn how masks work, how to draw them, and how to change different parameters within the mask to make them move and how to change their shape when you're moving throughout a video. Right now we're going to dive into Premier Pro and show you guys how to use a mask, how to draw them. So let's jump into the program. Here we have my workspace and we have the video in the middle, and we see we have a timeline here with the clip. The mask function is in your ''Effect Controls''. If you'd navigate to your ''Effect Controls'' panel, you will see this here. If you want to find your ''Effect Controls'' panel, you can go into ''Window'' and you'll see ''Effect Controls' here. So make sure that is ticked. Now the masking feature is under the ''Opacity'' section. You can see here we have an ellipse, we have a square that's called a full polygon mask and then we have a free draw mask function. If we draw a ellipse, for example, you can see it creates an ovular shape, a circular shape, which allows you to reveal parts of the image or you can click "Invert," which will flip the mask, but we'll go into that a little bit later. This basically draws a simple shape. If you want to create this into a circle, you can hold shift and drag each of these corners or any other corners and you'll create a circle. If we delete this mask, same thing with the four-point polygon, if you press this, it will create a rectangular shape. If you want to move this shape, you want to change the different sizes, you can do the same thing. You can move these points here to create a different shape. Now, if you want to add more points to this mask, so for example, you want to create a five-point polygon mask, you can click onto the line and you draw that. It's pretty much the same thing. You can just keep drawing different points if you like, depending on whatever the shape that you're wanting to mask this. The last thing is a free draw. If we click this pen, basically means that we can now create multiple points that track whatever shape you want to. For example, right now I'm tracking this mountain in Bali and it goes away over. Sometimes you're going to have to reduce the size of the video in your frame so you can pretty much go outside of the video frame to mask out for example the mountain. Now that you know how to draw a basic mask whether that been ellipse, a four-point polygon, a square or a rectangle, or free draw, you now have some settings that are available for you to change. The first one is the mask path. The mask path basically allows you to change the shape of the mask as you progress throughout the video. This little stopwatch here creates a keyframe. A keyframe basically allows you to change different settings for each keyframe. If you have one keyframe here that says the mask is going to be in this position and you create another keyframe which says that mask is going to be another position as the video plays through, the mask will change position to where you have set it. When I click this button here, it creates one keyframe, as you can see here. Let's say that we move forward throughout the video. As you can see, the mask is now not over the mountain anymore. What we can do is move the mask over like this. It might not be perfect. You can always adjust each part of the keyframe. You can always say I need to change that a bit so you can always adjust each part of the mask. Then as we play through, you can see that the mask is not perfect. But as an example, it's pretty much moving from point A to point B, changing the position of the mask to however we want it. If we go to this keyframe here, let's just move it down here. I just want to show you the change in shape as we move from the first keyframe to the other keyframe. That's basically changing the mask path. The next function is the mask feather. If we increase it and I click off the video, you can see the edges of the mask are now very soft. That's pretty much what a feather does. If you reduce it to zero, the mask is very jaggedy, exactly how you drew it. Then if we increase the feather, we can soften the edges. On the mask here you see we have a solid line. We have dotted lines on either side. The dotted line basically shows you where the feathering starts. This is where the feathering starts and this is where like fully answer, it's like a solid image right here. Once again, you can also key-frame the feather of the masks. We can have a mask feather of currently 268. As we move throughout the video, we can make it go back down to zero. Let's just move it over a little bit more so it's quicker. If we play it, we can see the mask now de-softening, I guess. The next one is mask opacity. If we play around with this, we can see that when we reduce it to zero, we can't see the video. Then we put it back to 100 %, the mask is now fully visible so you can actually see it. The best thing to do for me to show you how this works would be to go into my assets. Let me just find a round video. I could put underneath. So I put this clip underneath. You can see, it's cool. But you can see there is the sky in the background and we have the mask here. If I invert the mask, you can see that shows exactly where we define those lines. Obviously if we change the opacity, we reveal pretty much the image underneath. Same as last time. We can also key-frame this so we can go from 100% to 0% pretty easily. Once you've pressed this toggle button and you change a parameter further on in the video, it will automatically create a keyframe for you so you don't have to repress the button. So you have the video reappearing. Now, the last thing on this settings menu is mask expansion. Mask expansion basically expands or contracts the mask. If we increase it, we can see it moves, it gets bigger from the point that we drew it. If we go minus, it'll get smaller from the point we drew it. For example, you can imagine this as like a ripple in a lake. You can make it get bigger. You can make it smaller. It's sometimes useful to track when things scale in and out when they get further or closer to the camera. Now, the last button here is the inverted button. Sometimes you select something in a mask and you'll realize that you actually wanted the other selection of it. You can just press invert and they will automatically select the other part of the mask. The last thing I want to mention is to draw more complex mask. What I've taught you already is that we can use this free draw to draw simple shapes. We can draw just very straight lines. But what if something is curved? What if we need to track a ball for example? The way you can do this is instead of just clicking each point and then connecting it at the end, what you do is you click and hold, which will create a curved mask basically. You can see right now on the screen and you had these handles on the mask, which allow you to change the shape of the curve. Then you can click again and you'll create another curve and then after that it will become straight lines unless you click and drag and hold again. As you can see now, we've created a more complex shape with a mask. You can use these handles to change the curve. If we drag it out, it will pull these points a bit further. If you drag it out, same thing. This is how you can draw a mask around more complex things, rounded corners, especially later on, we'll be using a jacket as like a mask. We'll use that to create different curves and stuff like that. I'll make it a lot easier once you get the hang of it. Now, drawing these curves shapes does take a little bit of time to get used to. What I would recommend is you just keep playing around with it, keep drawing different shapes and learning how it works. The best way that I do it if I'm tracking something that's got curves, is that I'll use my cursor to pretty much trace the shape of whatever I'm asking and click at every intersection where the mass will change direction, for example. When we get to the top of a curve, I'll click there. When we get to the bottom of a curve, I'll click there. That makes it a lot easier to mask specific thing. As an example, and we're just going to zoom into this bag on the right side of the frame here. We'll just try and mask this as good as we can. Get the pen. Now click here. I will click and hold again. I'll click here because I felt that's a straight edge. Same here, same here, click on this. We can see a little bit of a curve here. What I'll do is I'll probably click at this point here and then keep dragging this handle until it meets that curve. If we make a mistake, we can change it. You can always press "Command Z" or "Command Z" to go back here. That's not what I want. As you can see, this is one of the issues that we've come across. When we created a curve, it will create another curve before we do a straight edge. What we can do here is use this handle to put it back slowly. It's a little bit finicky sometimes. Let's play on that. There we can move that bit backup and then mask that back out. Not sure why we mask the bag out for, but just in this example, [MUSIC] you can play around with some of your own footage to improve your skills. Next up, we're going to explore the possibilities of masking. [MUSIC] 4. Exploring the Power of Masks: [MUSIC] Now that we've gone through the basics of video masking, I want to dive a little bit deeper into some videos that I've created. Hopefully, you guys can spot the mask before I even tell you where they are. Let's dive into Premiere Pro and let's get started. The first example is a cool way to show off an outfit change using a lamppost. I'm going to show you the video, but hopefully, you can spot where the mask is. This one's quite simple. Evidently, the mask here was directly in the middle of this lamppost. You can see as I jump through, I completely change outfits. This video was filmed flat on. I made sure to lock the exposure on the phone that I shot this with because otherwise, if, for example, especially in the UK when the weather is always changing, the lighting can always change. Make sure when you lock it, it helps to make it a lot simpler when you edit. Now, if I turn off the second video layer, let's do it in the middle when I'm jumping here. You can see that when I flip it on and off, I made sure to repeat the same jumping motion, jumping in the same spot, which then allowed me to make it a little bit easier to mask the video. You can see that there is a slight change in the color grading, for example, you can see in the windows here where the lighting is reflected a bit differently. But it's not big enough to notice and we can make those changes in the adjustment layer when we color-grade the video later on. Now, this next video is the first ideation of the barley reel that went viral for me. This is the first one that I created with this similar format. I want to show you guys first so you can get an idea of what I created. If you can spot where the mask is, you'd be doing a pretty good job because this one is a little bit trickier. If I show you one more time. If you guess where the mask was and you guessed that it was where this line is right here, just on the horizon line where the ground meets the mountain, then you are correct. But the one thing that confused a lot of people when this video was first posted was my body over that mask is in the clouds basically. If we zoom in a little bit more, let's get to 100 percent. If we zoom in, we can see that my head is in the clouds that are moving. Obviously, I'm not standing there for half an hour to an hour. I'm just literally there for five seconds. The way I did this was using Luma Key. Luma Key is a way of masking. Basically a Luma Key selects a range of colors that you define and basically removes those pixels, changing them as a transparent pixels, effectively removing the background. Luma Key for this video was basically changing brightness values. Because I have dark hair and I was wearing a black jacket, I was pretty much silhouetted out of the clouds, so it made it a lot easier for Premiere Pro, the Luma Key function to select out my head and remove everything else that was within the cloud. As you can see when the clouds are moving, my head here is pretty much over the clouds because there is no background on that clip of me. A little bit tricky this one, but it adds to the effect. If you guys can master something like this then you can create some really cool videos. The next way is to use hands or any object to reveal something. What I've done here is, this was like a wallet add that I created on Instagram. If we play it again. You can see if I go frame by frame, I use my hand to pretty much just reveal everything that's underneath. One thing I want to stress about masking is if the clip is very quick, you don't have to make it perfect. You can see maybe here, the mask around my hand is not that great, but it's only a few frames. As long as it's a similar shape, as you go through, then it's going to look good. Let's play it again for you guys. It's so quick, you guys probably wouldn't even notice it. But it's just a cool way to reveal something similar to the intro where I was walking past the frame. You can reveal a new location. You can reveal text, lots of things that you can do with masking. This last option is pretty much similar to the one before, where we use bodies to reveal a certain location. Let me play this for you. We have people walking from left to right and right to left. Pretty much I use their bodies as a mask to reveal the clip underneath. I made sure to stand at the same distance from the camera each time. I'll show you the masking on each one right here. I go to the mask. As we move through each keyframe, the mask also moves with the person. If I invert it, we can see that it's not perfect. But because it's moving so quickly, You're not going to notice it. We've also used the keyframing. We also change the feathering here to make sure it's a lot smoother when a person moves past. I've attached some handles of some creators that I think you guys should follow that really use masking to really high level. Have a look at their work and scroll through because it gives you inspiration. Also, if you want to screen record the videos and watch it frame by frame. It will allow you to work out where the mask is and how you can take inspiration from their videos to do something similar to yours. Now, we're going to move on to the next lesson which is conceptualizing a project. How to think about different ideas and how to come up with original ones as well [MUSIC]. 5. Planning Your Masking Project: Conceptualizing your project. In this lesson, we're going to hopefully get you guys creative and think of a video that you can use a mask for. We don't want to limit our possibilities here. We want to create as many ideas as possible and then rank them into an order which we think we can execute. Now as I mentioned earlier, the first ideation of my viral body Reel was actually created in Iceland Vestrahorn, which is one of the clips that you saw earlier. When I posted the Iceland Reel to Instagram had a lot of people commenting like, how did you do this? Teach us how this was done? So I immediately knew that this was a format or this was a style of video that people really like to see. When I was in Bali, a few months after, I saw a perfect opportunity when we were at a villa opposite the view of Mount Agung. There was a beautiful sunset going on and I thought it'd be a waste not to try and film it here. With the awesome video, there was a ton of issues that came up that I wasn't planning for. Basically I had a tripod in the sun. When the wave hit the tripod, obviously the camera would move. There were people walking around in the time-lapse that I had to remove in Photoshop. There was sand and footprints everywhere on the beach and I had to remove all of those as well. A ton of those issues that came up in my Iceland video, I made sure to remove in my Bali one. I set the tripod up on a solid surface, made sure that there was no one in the time-lapse. Then went back and forth from my camera to where I was jumping to make sure that my head wasn't overlapping the clouds. It wasn't overlapping anything that will make it hard for me to mask. But anyway, let's get on to the brainstorming section of this video, helping you guys conceptualize a video for your project. The main thing that I want you guys to think about is imagine two things that interact with each other and think of a way to twist that reality. Think of a way to say what if. The most common one that I like to use as an example is a mirror. Obviously a mirror reflects everything that's in front of it but what if it didn't? What if the mirror had a mind of its own. Same thing with a shadow. A shadow obviously mimics the actions or the movement of an object that's causing the shadow. But what if the shadow had a mind of its own and started moving and doing for example like dance moves or something like that. Another thing would be a waterfall. You can see in waterfall, water always follows gravity. Well, what if the waterfall was rising? What if it was reversing as people are walking forwards? The main thing is to think about two things that interact with each other. You can go crazy with this. You don't want to limit your ideas, your possibilities. Then just write them down. Write them down in a notebook on your phone. Think of different ideas and then rank them into an order which you think you can do that you can produce. If something seems a bit too complex, don't just like threw it out the window because it could be possible in the future if you're using green screens or blue screens, anything like that. You can do a lot of things once you bring your skills up to a high enough level. The video we're going to be working on together is a outfit change utilizing a mirror. The reason I'm doing this is because I feel like everyone has access to a mirror whether that be in your bedroom or your bathroom for example. We're going to work with these constraints to make a simple thing. I'm going to put the phone on a tripod or your camera on a tripod. We're going to film an outfit change. If you have a jacket for example, you have a new t-shirt, new pair of trousers. We can work with that. I'm going to create something that will test your masking skills and test your framing skills as well, because we don't want things to overlap and make it hard for you to mask. There's a few things that we need to think about before we actually shoot, which is why we are going to be planning to make sure that we avoid any issues when we're going to be editing this video in post-production. The first thing to think about would be lighting. We don't want the lighting to be changing too much when we're creating different videos because we're going to be filming this over a short period of time. If the lighting changes it's going to make it very hard for us to alter the colors in the video to make it look realistic, or actually might make it completely impossible to edit the mask. Second thing is the framing. We need to make sure that we're standing in a position where our hands or our body doesn't overlap the reflection or the mask. Because otherwise it's going to be very very tricky for someone who is very new to masking, to be selecting around fingers or even the hair is very hard, so we need to make sure that we avoid that. Also the actions that we're going be bee doing in this video to make sure that it feels seamless. Because what we're going to do is walk up to a mirror and for example I'm going to click, but the mirror reflection is not going to click. We need to make sure we were rehearsed the movements. We know exactly what each person is doing when they're recording the video. We're going to plan all of that now. We're going to draw it out on this notebook just to make it a little bit clearer so you guys can understand what we're trying to achieve. In this video, we're going to be doing two outfit changes and we're going to be filming it in a vertical format. Obviously it's going to be perfect for Reels or TikTok. So the first thing I want to do is draw out pretty much a vertical frame. This does not have to be perfect, but this is going to allow us to visualize what we're going to be shooting later on. The first thing that we want is a mirror, but we don't want this mirror to be flat onto the camera because otherwise we're going to see the reflection of the phone or the camera in the mirror. We're going to tilt the mirror slightly by about 45 degrees. Let me just draw that out now so you guys can see that. This is the mirror and what I'm going to do is walk into frame. This is me. I'm going to walk into frame and obviously you're going to see that reflection of me in the mirror. I'm going to be wearing one outfit. This is just, which going to say this for now. This is shot number one, well part number one. Then we are going to move on to number two, which is where I am going to click my fingers and the mirror reflection is going to change outfit. Here let's just draw a very simple jacket here. This is a horrible drawing, but probably why I'm doing video. I click my fingers here and I change jacket, so we're just going to say here click and then the jacket changes. Now what we want to make sure when we're filming this is that our positioning of us and the framing is right. So we want to imagine this imaginary line dividing the video frame down the middle, which is where we don't really want to cross any part of our body over there. Otherwise, it's going to make it quite hard to mask the video. The video mask is actually just going to be this mirror section here because everything else is going to be the same. The tripod is going to be locked off on a certain position and we're not going to move that. The video mask is actually just going to be around this mirror. We just want to make sure that I've already passed. Don't really cross any of that. Part three, after the reflection has changed jacket into the first outfit. Let me just put number one here as the first outfit. We're going to change into the second outfit. What I'm going to do over here, that's here. I'm going to swipe. I'm going to put swipe. I'm going to do that. Can this motion and a new jacket is actually going to come flying in. You understand when we do the video in the editing process, a new jacket is going to be flying onto my body basically over here. I already have the previous outfit on. The new one's going to fly in onto me. We're going to utilize a shake effect to help hide the mask as well. When we get into editing, I'm going to show you guys a quick way to do that. That will add a bit of motion blur and a little bit more dynamic into your video as well. Then the last part is, we're going to be happy with the outfit change in the mirror and both of us who go into clap. Then I'm going to change into a new jacket pretty much and then walk out of frame. Same thing here mirror. We're going to have a new jacket on. I'm just going to not fill that in just so you can see it's a new one, for example and I'm going to have that one on as well. Here we're going to say clap. Then we're both going to pretty much walk out of frame there. The idea let's run through it again. I'm going to be walking up to a mirror. The mirror is going to reflect literally normal things and no one's going to think anything's wrong until I bring up my hand and I click. But the mirror reflection doesn't do that. We need to think about when we're actually filming this, we need to do two actions. I need to basically walk up to the mirror, do a click and I also need to walk up to the mirror again because we're going to be masking that bit out and using it as the reflection and not actually do the clicks. That's going to be the bit where the twist on reality comes in. It's not going to be reflecting what it shows. Next thing, after the click and I've changed jacket, I'm going to swipe over and then new one is going to come sliding onto the screen and sliding onto me. We're going to utilize a bit of a camera shake to hide any imperfections that we might have made in the masking process. Then I'm going to be happy with what I'm wearing. We're both going to clap. I'm going to change outfit and then we're going to both walk out of frame. As I mentioned earlier, we need to think about positioning of the mirror so it doesn't show the camera that's been filmed. Also, you can see me and the reflection as well as my whole body. Then we also need to have this imaginary line down the middle that we don't want to cross when we're filming. Otherwise it will make it very hard for us to mask each part. The good thing to do when we're actually filming this stuff is to get all of this stuff in our head and also walk basically to and from of the camera, review the footage over and over again to make sure that we're in the right framing. Then we're going to finally film the right shots and hopefully put it together and it's going to produce a very cool masking video. Now we're going to get into the exciting part, which is the filming section. Grab your phone or your camera and your tripod and we'll get to filming. 6. Filming Your Project: [MUSIC] Now that we've planned and conceptualized our shoot. It's now time to actually shoot the video. In my hand, I have a tripod. It's important to have a tripod because you want to make sure your shot is steady and stabilized. If your shot moves and shifts when you're editing, it's actually going to be quite hard to put them together and the angles actually might be off which makes it quite tough to edit. Second thing is a device that shoots video. I'm going to be using a phone. This is the Samsung Galaxy S22 Ultra. You can use any phone that you like or you can use any camera that you like as well. The only thing you need to know is that you need a device that can shoot a lot exposure. The phones you can lock the exposure just by tapping and holding the screen. If you're using a camera, you just need to shoot on manual mode, meaning that you can lock your shutter speed, your ISO and aperture, and your focus as well because you don't want that panting or shifting when you're filming because it will throw everything off. One thing to know when you're shooting these videos is that we want to get a clean back plate and a back plate is basically an empty shot that doesn't have me or any moving objects in it, so for example if I make a mistake or there's something on the floor that I need to mask out, I can do that easily by using this back plate. As an example, if you want to get a clean back plate on this camera, I have to get out of frame. Now, it's time to set up the tripod. I'm currently using the Manfrotto BeFree tripod is a common one, but you can use any tripod. You could even use a bag and just rest your phone on it or something, so whatever's easier as long as it keeps your camera steady. I also have a phone tripod on my other tripod and this can extend and lock. This one's by job, you can use any one. You can buy these really cheap of Amazon or something like that. We're going to put that on and then place the phone into the grip, lock it. You may be wondering if you can shoot landscape or portrait. You can shoot both, but for the purpose of this video and for the reasons I've just uploading to Instagram or TikTok, for example, we're going to be shooting portraits. Most tripods will have a ball head mount which you can rotate into portrait or landscape mode whatever suits your fancy or the next thing to do is launch up your camera or your video mode and make sure you are on video, and what we're going to do with relation to when planning our shoot, we need to make sure that we frame up and we mentioned that we needed a line down the middle where our body will not cross because otherwise, we'll make it hard to mask in the future. There's a number of different modes that you can shoot on a phone. The latest photo I'm going to shoot in 4K which is Ultra HD. I'm going to be filming at Ultra HD 30 frames a second. Sometimes I'll shoot my reels in 60 frames a second which will allow me to speed ramp the clip, meaning I can slow it down or make it faster depending on when I need to do it. For example, during my body reels, I filled them in 60 frames a second because I could slow down my jump. I can make it go faster whenever I need to, but for today's video is quite simple. We're just going to keep it at 30 frames a second on 4K. The next thing to think about, once you set up your tripod and your camera is the framing, so we have a mirror over there. The first thing we want to make sure is that we don't film flat onto the mirror that you're using because otherwise you'll see the reflection of your tripod and your phone in the mirror and you don't want that. We're going to shoot towards the mirror at a slight angle which will remove all reflections of the tripod, and next thing we want to do is make sure that we can see ourselves in the mirror and make sure that we don't cross that imaginary line that we spoke about in the planning stage. We're going to go and do that now. What I'm going to do is record on my phone and you guys will do this as well, and we're going to walk towards the mirror, change our positioning, come back and review and if we need to make any adjustments, we're going to do that as well, so let's do that [NOISE]. I'll stand here and I will basically when I come back and review on the phone, I'm going to make sure that I can see myself, I can see my hands if I do a click of it, either swipe that we spoke about, it doesn't cross this line right here. I'll do a few different movements, different positions, and then we're going to review the footage now. For me, I've done that. The position that I want to be is around here. I think this is the best part where I can see enough of me in this mirror. You can see myself in the frame as well, and obviously when I click and when I swipe, it doesn't cross that imaginary line. In the planning stage, we gathered that we need around four shots when I'm changing the jackets. We need to make sure that the movements that we do are all in time and in sync because otherwise, it can make it quite hard on editing. You have to speed ramp it to match these things and it might just look a bit wrong, so we go over to that. We're going to walk up to the mirror, we're going to click, we're going to wait a second, we're going to swipe, we're going to wait a second and I'm going to clap and ask when the final outfit is going to change, and we're going to walk off camera. In terms of timing, I think we're going to wait a couple of beats in between each movement, so I'll walk up one, two click, one, two swipe, one, two, and then clap, and then I will walk off. Now it doesn't matter to have a beat after the clap because if you've thought about the edit already, both outfits are going to change. I'm going to be wearing the jacket right at the end and I'm literally just going to be using the final clip as I woke up, so we don't need to wait after that. We're going to get into the filming process now. Hopefully, guys can follow along and if you need to watch part back again and keep redoing it, and that's fair enough because it's a little bit tricky when you're using mirrors, but we're going to get there. We're going to take it step-by-step. Cool. We have my chair over there. My change of clothes, you guys can change into anything you'd like, but for simplicity purposes, I've got two jackets which are going to make it easy for me just to put on quickly and get the shot for you guys. Before we start filming, it's important that you guys are in a location where you can control the light as much as possible. Obviously, here behind us, we have natural light, so for example, if the clouds are moving, if the sun comes out, it will change the lighting slightly. If you can control your lighting, if you can close your blinds, you can just turn a light on. That would help a lot, but obviously, with changing light, we're going to have to work with what we got, and if there is any dramatic changes, we can slightly tweak it in the color grading section later on in the class. If you are in a situation where you can't fully control your lighting, if you can make the lighting as diffuse as possible, that will make it a lot easier when you are masking because hard shadows and hard light is very hard to mask out because it just creates these nasty shadows and stuff like that, so you don't want that if you can defuse it like where we have behind us missed out windows or if you have shares or even if you have blinds on your windows that will help a lot. Now that we have the camera set up on the tripod, we now need to lock the exposure. On the new phones, you can lock the exposure by just tapping and holding on your screen, and you should lock everything, and then you also have an exposure slider which you can adjust your brightness. I'm going to set it to somewhere around here and a good test to make sure that your also focus is also locked as if you put your hand in front of it and nothing changes, then you're pretty much good to go. If you aren't using a camera, then make sure you're shooting in manual mode. It could be a bit confusing for people who had just started, but the rule is for you guys to follow or if you're shooting at for example 25 frames a second, you shoot at 1/50 and your shutter, you lock your aperture, you lock your focus and you lock your ISO. As soon as everything is all set, then you're pretty much good to go. One tip when you're shooting on a phone or even a camera is to have grid lines showing up on your screen. Grid lines basically help you frame up your shot nicer. There's a common rule which makes things look nice. It's called the Rule of Thirds. If you place objects or whatever you're shooting in different thirds, it should feel right, it should feel a little bit more balanced, so as you can see here we have the mirror in the right third and I'll also be filling up pretty much the left two-thirds with my body, so reframed it up a bit nicer. Hopefully, it's a bit easier to watch for people. Now the next step is to basically just start filming. I'm going to press the record and that everything is locked and we should be good to go. Before we start filming, you might think that when we're doing this, it does look a little bit awkward. It doesn't look a little bit silly when you're clicking and swiping and you're not actually changing any clothes, but believe me, when you finish the edit, it's going to look a lot better and it's going to look a lot cooler. For my body reel, I was jumping in the middle of a street with tons of locals watching me. I actually had to Photoshop them all out because they were all laughing at me, and one of the times I almost jumped into a dog that ran out the road. It doesn't matter just do your own thing and when you edit it, it will look a lot cooler. We're going to get started filming now. The first thing we're going to do as mentioned is to walk up to the mirror. We're going to click, we're going to wait a couple of beats and we're going to swipe, wait a couple of beats, and then we're going to clap and hopefully when we do this three times with each different jacket on each different outfit change is going to match up in post. We're going to do this a couple of times. If you guys need to do a couple of times, that is fair enough because you might not always get the timing right the first time, but for easy purposes, I'm going to try and get it done in one take. I'm going to put my next jacket on and hopefully, the timing is right in this take. It's important to also remember to replicate all of your movements as accurately as possible. For me, I remember that I stepped out of my left foot first and I'm I right, clicked, waited, and then the same thing. Yeah, just try and remember to do the same movement each time. In the last jacket now, with this last jacket, as soon as we clap, we're going to walk out of frame from left to right. That should be the filming we've done. It's pretty quick. If you are thinking why I needed to walk up and just click and do the swipe, I didn't actually need to do this with this jacket because there's going to be at the end of the sequence, but just for flow say, just for purposes of making it a little bit easier for me to remember what I'm doing. That's the reason why I did that. After filming everything on the phone, is now time to transfer that footage onto your editing program. I did mention in the previous lessons that you can edit some of these things on a phone app. If you can follow along on a phone app, then even better I'm going to transfer my footage over to my laptop using a USB, but you can also do it using a wireless transfer. If you haven't managed to find a space that works for you to follow along, I've attached these clips in the project resources panel that you can download. Feel free to re-watch this lesson as many times as you like until you're ready to move on to the next lesson which is editing. 7. Setting Up Your Project: Now that we have all of our footage it's time to dive into the editing process. As mentioned earlier, I transferred my footage using a USB, but you could have done it by a wireless transfer. We're going to head into my laptop now and head into Premiere Pro. We also mentioned earlier that if you're using other editing programs, they are pretty much the same. Masking has pretty much the same functionality. I'm going to run through the step-by-step process on how to set up your project from scratch. Don't forget, I've also attached my workspace into the project resources so you can download that and import it into your workspace so you can have the same workspace that I'm working with as well. Let's open up Premiere Pro. First thing we want to do is set up a new project. What you'll want to do is press New Project and find a place to save the project to. For example I'm going to save it on my desktop. I'm going to call it Skill Share Masking Class. Then press Create. When you open up Premiere Pro, you're going to be greeted with this workspace. This is the standard one that you get when you open up Premiere Pro. But I personally work with my own custom one, which is called vertical. Just make it easier to edit vertical format videos. I've attached this workspace into the project resources so you can download this and import it into your Premiere Pro project. But if you want to customize it yourself, it's very easy. You can just head to the top label, the title bar of each panel, and you just drag above it and you can move it wherever you like. For example, if I want the Effect Controls panel to be to the right of my timeline, then I can have it there. But I prefer it all the way up here. I'm going to reset to my saved layout. Cool. The first thing that you want to do is import your footage. You can either do this by double-clicking the Import Media box, or you can head to your desktop and drag it in to your media player. Now when you drag into your timeline, which is here, it creates a timeline based on the dimensions of the footage that you've put in and the frame rate as well. If we go up to sequence here, and sequence settings, we can see that the timeline is at 30 frames a second. We've got 2,160 pixels wide and 3,840 pixels high, which is an aspect ratio of 9 by 16. We're going to click okay, and make sure that's all good. Here is your timeline. Anything above where it says V, they are your video clips, and anything below where it has A they are your audio clips. You can double-click this blank space here to raise each section and make it a bit bigger so you can see it. Same with the audio. If you want to collapse them all, you can hold Shift, double-click, and it will make all of them bigger. Here we have the program panel. This is where you can see your final output. If your computer is not powerful enough to handle some of the footage, you can change the quality here by this drop-down menu. You can go to one-eighth, you can go to a half, which is what I'm going to be working with. If you press this Settings button here, we have pause resolution. When obviously, no footage is playing, you can change the resolution of that. You can have it to full if you want, but that also requires a bit more computing power so I'm going to keep it at half. You can also have high-quality playback if you want. First things first, I want to make this effect controls panel a little bit wider, so I have more room to play with the keyframes, which we mentioned earlier. We're now going to start trimming our clips and making sure that we can overlay them so we can mask them. The first thing I want to do is make sure that I come in at a right time. I'm going to fast forward a little bit and I think I'm going to start it here. Now I have my own custom buttons set to some shortcuts. I've also included this in the project resources panel that you can download. However, it might not work depending on what version of Premiere Pro that you have. It can't work with lower versions. My custom button to bring up the razor tool is C. I think it's standard for this already and then you can just bring it over. Press cut. If I were to do that again, I'll press C, hover to where I want it. For example, if I want to start it here, we can go to the playhead, click there, and then delete. Delete is backspace. For me, I've got a mouse that I can press the number 5 and it will delete. There's also something called ripple delete, which basically deletes that one clip and moves everything over to the other previous clip or the beginning of the timeline. If I press one on my mouse, which is ripple delete, it brings it all the way over to the start. The first thing I want to do is change to my black jacket when I click. So we're going to move forward to the part of the video where I click. You can also use the audio waveform right here to show where the click is. If your audio waveform does not look like this, you can go to this little burger icon here. Right-click and you just untick the rectified audio waveforms. For me, it's just a bit easier to work with that. If I right-click, untick rectified audio waveforms, and we get a little bit easier to see where the clicks are. I can see here, that's where the click is. I'm going to make a cut here. Press cut. Then I'm going to fast forward to the next clip where I'm in my black jacket and I do the same click. Let's fast forward. I can use waveforms here to judge where it is, and I click there. I'm going to cut here as well. I've also got the letter V. V basically brings me back to the normal cursor. When we have C, we are on the razor tool, I press V, we're back to the cursor. Now, if I move this clip over like this, we can see that it brings the audio clip with it, which is fine in this case because we're not going to be using the audio. But if you want to just select that clip only, you can press Option or Alt depending on what type of laptop or PC you use. Press Alt which selects only that clip, it doesn't select the audio clip, and then you can move it over. You also see here that we have, for example, minus 3920, plus 3920. This is basically showing you the related clips, the video and the audio file, and how far away they are from each other. But it doesn't matter so I'm just going to delete that clip. 8. Applying Basic Masking Techniques: [MUSIC] As we play, we can see that we have not included any mask, so it just cuts to that clip. But what we've done because of the framing we've made it easy to mask it. If we click this free draw bezier icon, this is the free draw, Mask 1. It's easy to just literally click around the mirror to mask out. Now we can see that as I come in, I click, I've just changed jacket and it's only the mirror that's been affected and nothing else. Let's play that again. Now that we have the first mask done, it's pretty simple, we can actually copy and paste that to the next clip when we change to the gray jacket. I'm going to go to the bit where I am swiping. For me the best way to make a cut where we're doing a motion is in the middle of that motion. For example, if I'm swiping this way, I want to cut when my hand is here. We're going to find that position, which is right here. I'm going to make a cut on both clips. Then we're going to move on to the end of the clip where I change it to the gray jacket, and we're going to do the exact same thing. I'm just going to have to find that. I think it's about here, so I'm going to move that over and I'm going to drag that to the top over here. Now, same thing when I swipe over, you can pretty much see that it just cuts to that clip. We also want to match the hand swipe and movement a little bit better. So what we can do is double-click the blank space to raise the clip higher, and pretty much here, this white line is an opacity line. So you can drag it down to change the opacity. Opacity is basically just the transparency of the video, how much you can see it. At zero percent, you can't see at all. If you bring up, you can see it. I'm going to bring it down to about 50 percent. You can also change this in the Effect Controls panel here, the opacity. We can type 50 if we want or we can drag it, doesn't really matter, whatever is easier for you. Type 50. What I like to do here is pretty much match the actions. You can see we have a ghost-like figure here pretty much copying the moves. Now that I know that we're in a good spot, I can basically bring that line back up to 100 percent, or I can type here back to 100 percent. The reason that I reduce the opacity is so I can see the clip underneath, which is me without a jacket on because I want to match the motions up when I am swiping; otherwise, if I move it too far, then I can be going like this and the next clip, I might not have even done the emotion yet. It's just to make sure that we can layer the clips on top of each other so the motions match. Now that the clip is on top, we don't want the real life version of me to have the jacket on yet. So we can actually copy and paste the mask from before, which is in this clip here, you can see the mask that we drew. Actually we want to reduce a feather here because we don't want feather, just going to reduce that. We can click that and copy it, and I can go back onto this and paste it. You just press the opacity here and you press Command V. If I just go onto the mask, it's the exact same mask as this one because we copied and pasted it. If we preview the footage now, we can see that I walk in, I click, change to the black jacket, I swipe, change to the gray one, and then I clap, and then I walk out of frame. We do see though that the clap is not in sync, so we're going to have to fix that. But firstly, what I want to do is make sure that when we clap here that we change to the final clip with the jacket on in me in real life. This is how it will play out then I walk out. Then we can just delete. We'll eclipse here. Same thing, pressing C to bring out the razor tool, and then V, delete, delete, delete, delete. Or we can delete them all by pressing Alt, click into a blank space, select all the clips, and then you can delete them. If we preview the video one more time, I walk in, click, swipe, and then I clap, and then I walk out of frame. I didn't mention that the clap wasn't in sync unfortunately in the real life one. So what I need to do is sync those up somehow. This is a bit more of an advanced technique, but I'll show you in any way if you guys can follow along, then great. But it's called time remapping or speed remapping. If we see this little fx box here on the bottom clip. We want to choose this one, the real life me one, which is at the bottom. We want to right-click that, go to time remapping, and then speed. Basically this brings up a line here and then we can control the speed of the clip by creating key frames. Let me just show you as an example really quickly as I create a key frame here and I can create another key frame. I can bring the speed up to for example 300 percent, and then when it plays, you can see how quickly I move here. This will allow us to sync up the clap with the gray clip. We know that the clap now is here where this cut is. What I want to do now is find out where my hands on the gray jacket start moving. They start moving up right here. I know that now I want my real life body to have my hands start moving at that point as well. If I make a cut here, just so I notice as a marker, I can go a little bit earlier, create a key-frame. I also want to go to the bit where I actually clap as well. The way to see that is to just remove these clips by pressing this I button. This just toggles the visibility. That's fine. You can go frame by frame by using the arrow keys. This is exactly where I clap, so it's right here. What I want to do now is just increase the speed until I can pretty much just see these lines matching up. I want to get to 150 percent just for now. This part is pretty much just playing around and tweaking around with the speed and just watching it back over and over again to make sure everything syncs up. You can see right now, it's actually a bit too quick. So I can reduce the speed to maybe 125 percent. It's not perfect, but I think it's good enough now. We're going to keep it like that. If we watch that over again, hopefully everything has been synced up a lot better now. Amazing. We're going to move on to a bit more of an advanced masking technique and positioning technique that I showed you guys in an earlier lesson, and basically when I swipe, I want the jacket to slide onto the screen, onto me as well. [MUSIC] 9. Using Advanced Masking Techniques: What I want to do is start the jacket flying onto me when my hand is making the swiping motions. I'm going to move forward a bit, I think I'm going to start here, and I'm going to drag the clip over. But if I try and drag the clip over now, it's being blocked by this audio track down here. I can't move it. The way to do that is to press Alt or Option, which selects only that clip and not the related audio file, and you can move it over and drag it to the play head. Now we're going to move forwards until my hand has fully swiped. I'm going to press C and make a cut here. The reason I've done that is because I only want the mask of the jacket to be within this clip's timeline. Cool. The next thing I want to do is actually mask out the jacket on me. We're going to zoom into the clip a little bit. I'm going to go to 100 percent, just move over. You can see me looking very happy, and I click this free draw bezier, but the first thing I want to do is remove this mask. Then I get the pen and just trace the jacket. In the lesson where I was showing you guys how to draw masks, we now know how to draw a curved one. If we click and click and hold again, we can create these little handles which allow us to create curved masks. When we create the next point, we can see right here it creates this weird curve shape, and to get rid of this, you press this handle here. Let me just bring it up a little bit. Then I'm just literally going to trace the jacket now. You guys can copy along if you have this footage. If you have your own one, you might not have to do this. But this is going to be moving so fast that it doesn't have to be perfect anyway. We're going to trace around my neck, down here, create another slight curved one down here. You can see that it's created this little curved bit here. We're going to get that handle and move it back up, and make sure that it doesn't affect your mask here too much. Now that we've drawn this mask, you can see if I toggle it on and off, it's literally just the jacket. What I want to do now is create a mask path. We can increase the feather slightly just to make it a little bit softer if we have messed up any of the mask. For the next 10 frames, we're just going to track my body and my movements. We've created the first mask path, and all we have to do now is press the mask here and just make sure that we cover as much of the jacket as possible. This bit here doesn't have to be perfect because it's going so be so quick. We're going to move on to the next frame now. I just do this. Take your time with this, guys. It can be a little bit tricky to get used to the curved masks. Sometimes it's also quite handy to press the inverted, so you can just see if you've missed out any parts of the jacket. For example, if I'm here, you can see I've missed this part here. I can just go over. I'm trying not to include my hand in it because as you can see here, it's moving and I don't really want to include that. Just try and remove my hands if you're following along this one. Just a few more to do. This is usually the longest part of masking. It does take quite a while. It's good. I took a little bit of time. As you can see, it's not completely perfect, but if we just on and off, you can see the jacket is overlaid over the black one. But what we want to do now is nest this clip. Nesting just compresses everything you've done and puts it into a new layer for example. Usually, you'd right-click, go down, click Nest, and you just press OK. I have got my own shortcut on my mouse, I just press the scroll or wheel button, and it basically just nested for me. Once we have nested that clip and squashed everything into one one, we're going to go to the effects control panel and type in transform. The reason we're using transform is because we mentioned in the planning stages that we want the jacket to fly on to us. You get the transform, we put it on, and this is what's going to allow us to do this. You have here the transform, and we're going to be altering the position and key-framing the position. Basically, if you want to end the jacket on this position, so we can create a key frame here and just move it all the way to the end. Any changes that we make now, when we play through, it's going to move on to us. At the start, we want the jacket to be completely off-screen, and we play on. It's actually moving a lot slower than I initially want, so what we can do is actually move this key frame over here. It starts a little bit later, and it flies on quicker as well. I think I want the jacket to fly on to me about here. I'm actually going to move both key frames over and just keep watching just to make sure it looks good. I can have it fly on a little bit earlier as well. Now if we go down here, we can untick this button here, it says use composition shutter angle, but we don't have one, so we can untick it, and right here We can type in a number up to 360, so we can have over 180, and as you can see, the jacket is now like motion blurred on. If we increase it more, if we decrease it to 10, it has nothing. We're going to stick with 180 for now. Let's just play it back. I keep watching back this footage and I think it's just not timing exactly how I want it to. I think I want a jacket to be fully on me right here, so I'm going to end jacket right here. I'm going move that clip over. I think that to me it's better. As you can see, it has that weird bit where the clip comes in, which is where we don't want it. So we're going to move to this key frame here, which is where the jacket is in its final position. Press Alt, move this clip over, press Alt, move that clip over. As he swipes over, that looks a lot better and I'm a lot happier with that. Now basically, we're going to mask out this mirror here so that it's not completely flying over the mirror, because it looks a little bit tacky like that. So we're going to nest it again. I've got my shortcut here, or you can go right-click and click Nest. Now, get the mask here, the free draw one, and just click over the mirror. Reduce the feather. Now when we watch it back, it slides as if it's behind the mirror back onto us. Nice. If we watch it from the beginning now, I come in, click, swipe, clap and then walk out of frame. Now technically, the video could be done here, but I'm going to give you guys some extra tips and tricks to help make this a little bit more seamless. 10. Adding Final Masking Details: [MUSIC] What we're going to do is select everything. You can only do that by clicking and dragging or you can obviously press "Command A". I'm going to nest it again. Now we're going to add the transform effect onto the clip again, scroll down, untick the composition shutter angle and type in 180. What we're going to do is increase the scale of the clip to 102. You can choose whatever value you like, but basically this will allow us to move the clip around and I'm going to add some shake to hide any imperfections in the masking. I'm going to go here, and we're going to just go to the part where the jacket actually changes. What I want to do is move back two frames. You can use the arrow keys, press it twice, move back two frames then we're going to create a position key frame. The first one of this clip we're going to move forward one key frame, and we literally just going to move it over to the right and up. Make sure that you don't go too far. When you these black bars down here, you don't want those. Then we're going to move forward one key frame, and then we're going to do the opposite way. Move forward. These can literally just be random, it does not matter. Then right at the end you want to click this Reset Parameter, and it will take you back to the normal position where it was. If we watch it through again, we have a little camera shake. This hides for example any position errors that I might have done. As you can see here as I move forward my feet moves, but when you're watching it for the first time it's pretty much hidden within that. Now we can do that again for when the jacket slides on. We can also do this by highlighting all of these masks here. I'm pressing "Command C" or "Control C". I'm copying it. I'm going to where the jacket comes in, move back two frames, and press "Paste". Now seeing as this is a longer transition, we can actually add a couple more if we like. We can zoom in. You can see when this blue button here gets highlighted, that is where there's a key frame and when it goes gray there is no key frame. We can add a couple more. For example, let's go to the right, and up, down, one more. I'm going to reset. Watch it one more time and then we can also highlight those. Press "Command C". Now as you can see when I clap, I actually move a little bit too much. This is what these position key frames can actually help to hide a little bit. I'm going to move to the bit where I clap, go back a couple of frames, press "Command V", and then pretty much just changes and then I walk out of frame. Let's play it through one more time for you guys to watch. That's pretty much the masking section of the video covered. You may notice that there was a slight lighting change up here. You can see it gets a little bit brighter and that's just because we're shooting in a room where we didn't have full control over the light. If you really want to change that, we can go into the nested sequence here. find the clip where it changes color, so this is the one where it cuts in and we can see a little bit of a brighter area here and we can go into the Lumetri color. We're going to talk about color grading in the next lesson, but just as a quick intro to it we can adjust the color of the clip here, so maybe raise the shadow slightly. I'm not sure how that's going to look. This part here is all about playing around and making sure that you just tweak it. There's a lot of tweaking involved when we're doing masks, whether that just be selecting certain areas and then making them a little bit brighter, making them a little bit darker just to match the clip for but having these shakes. The camera shakes helps to hide some of these imperfections which is pretty much what it's for. [NOISE] We've gone over cutting the video, masking, positioning those masks. Now it's time to color grade [inaudible]. [MUSIC] 11. Color Grading and Sound Design: [MUSIC] Now that we've done the cutting and masking part of the video, which are the more complex parts, we're now going to move on to color grading and sound design, which are the more simple parts. We are now in Premiere Pro and we obviously have the almost final products which I'm going to play for you one more time just so you can watch it. The first thing I'm going to take you guys through is to color grade your video. I like to put my color grade on an adjustment layer at times because then it allows me to easily toggle it on and off when I'm color grading just so I can see what it looked like before and after. If we move into the Lumetri Color tab up here. If you don't have the Lumetri Color tab, you can go to Window and then go down to Lumetri Color and make sure it's ticked and the panel will come up. The first thing that we have here is white balance. Oftentimes when you have a camera, it might not be set to the right white balance, which basically means anything that's white in the image might not be the true white that it needs to be. If you play around with the temperature, it will cool it down or warm it up depending on which way you go. Same with the tint. It will add a green or a magenta tint into the image. If your white balance is off, you can click this eyedropper tool here, which allows you to sample a part of the image and you have to choose something that's either a middle gray or white, and if you click it, it should make that part white, but sometimes doesn't work as well. I think it looks okay as we shot it. If anything, I want to cool it down ever so slightly. Next up we have the Light tab. We have exposure, contrast, highlights, shadows, whites, and blacks. Exposure pretty much just adjusts the overall image and makes it either brighter or darker. Contrast is basically the difference between the highlights and the shadows. It stretches it out a little bit more. As you can see, when we add more contrast, the shadows get a little bit darker. Obviously, when we decrease the contrast, the shadows get a little bit brighter. Highlights and shadows. Basically, if you imagine an image and the light spectrum from dark to light, we have a middle point and the middle point basically separates the highlights and the shadows. The highlights affects everything above that middle point. I play around with that, you can see pretty much these white walls here, the ceiling getting affected, and shadows affects the bottom half. My trousers here, the backs of my legs will be affected the most here. Now, whites and blacks pretty much it affects the extremes of the spectrum. You can see here if I affect the whites, it should affect this part here where the sky is, which is a little bit blown out. Same in the blacks. Should affect pretty much the backs of my legs here. Now the next tab is the Creative tab, and here is where you can get a little bit more creative, so to speak. You can add a LUT, which stands for lookup table, which is basically a color preset for your video. In Premiere Pro, you have a drop-down menu with a bunch of pre-made LUTs and you can just choose whichever one that you like and whatever suits you. You can scroll through them. Other editing programs will have their own LUTs pre-built in, but you can actually download these from other creators or you can even make your own. Now, by default, Premiere Pro will add a LUT at 100 intensity. You can increase that to 200 if you'd like, but that does not look good or you can reduce it to something that you think suits you. I'm going to keep it somewhere around this mark here. I like rounded numbers, so I'm going to keep it at 35. If you want to see what it looks like before and after, you can just toggle this eye logo here, turns it on and off. I'm going to head back into the Basic Correction tab and just make it a little bit brighter. I think the shadows here are a little bit too crushed, so I'm going to bring that up slightly and maybe just increase the contrast a little bit. Now, down here, you have a bunch of other features. We've got the color wheels, and this basically allows you to inject different colors into the shadows, midtones, and the highlights. The shadows are the bottom part of the spectrum, highlights is the upper part of the spectrum, midtones is the middle. This slider here, you can move up and down. It pretty much either darkens or brightens that area that you've chosen. I'm going to keep the shadows where they are. Midtones, maybe I'm going to play around with the colors and see what I like. I quite like having some blues in my image, so I'm just going to pump a little bit blues into there, maybe decrease brightness of the midtone slightly. Highlights. I'll bring it up slightly to the yellows. These color wheels are arranged in a way that if you move, for example, down to the blue here, the complimentary color is the color that's completely on the opposite side. These colors will tend to work well, similar that I've done here. Midtones, I've moved them slightly to the blue, and then the highlights, I've moved them over to the yellow/orange section, which is pretty much the opposite side of the wheel. Now that we have pretty much color adjusted our video just to make it a little bit brighter, a little bit more punchy, we're going to move on to a quick sound design lesson on how you can add some design to make your videos feel a little bit more full, feel a little bit more engaging. What I want to do is add a whoosh sound effects which are very popular in today's videos when the jacket slides over. I have already imported my sound effects library into my Premiere Pro. You can get these online. You can download this from sites like Epidemic Sound or Artless. They all have their own sound effects libraries. I'm going to use Torch Whoosh 9. If we double-click that, we can see it pop up on the project panel here and we can hear it. [NOISE] What I want to do is find out where the peak of that movement is, which I think is about here, and I'm going to drag that sound effect over. If we zoom in, we can see that the peak of the sound effect is about here and the play head is over here. What we can do is shift the clips over by pressing command and we can either go left or right. This will basically shift anything that you've selected over by however many frames you define it to. Say if I press one, it shifts it over by one frame. If I go left twice, it shifts it over by two frames. If we listen and watch it back now. [NOISE] It's not perfect, but it's sounding a lot better and it makes the video a little bit more engaging to watch. What I'm going to do is reduce the volume. By default, when you make the clip bigger on the audio timeline, you come up with this line here, and this line is the volume of that track. We can bring it down to minus 13. I think it's a bit too long. The jacket and here the sound effect is still going. What we can do is speed the clip up. I've got the letter R, which is set to the Rate Stretch tool, which allows us to stretch the clip to make it sound [NOISE] slower. Let me make that a little bit louder so you can hear. [NOISE] It's obviously not what we want to do, but we can speed it up by dragging a little bit closer. Now when we do this, the peak of that audio wave form moves over to the left. Let's just play it so you can hear it. [NOISE] I'm literally just going to shift it over by maybe one or two frames. In my opinion here, the sound effect is sounding okay, but I think it's a bit too high pitched for my liking, so what I'm going to do is head into the Effects panel and I'm going to type lowpass. If I drag the lowpass on top, this basically cuts out all the higher frequencies and leaves the lower frequencies of that sound effect or whatever sound you choose playing. Now if you go into the effects, you can see that the cutoff is at 1,495 hertz, but I'm going to set it to, let's say 1,500 for now, and let's hear what it sounds like. [NOISE] That gives it a more muffled sound effect. That's maybe a little bit too much, so I'm going to go to 4,500. It's all about just playing around and seeing what you think sounds good. Usually, there will be music behind this, so you don't want to make it too loud. You don't want to overpower the music, but you also don't want the music to overpower the sound effect. If you want to hear what it sounds like without the lowpass, you can press this "Bypass" button here, you tick it. I think personally for me, that's too much. I'm going to turn it back on. [NOISE] There we have that sound design right there. Different sounds to your video. For example, if you want to add another click here. We did record a click with the phone in the room, [NOISE] but it's for me a little bit too far away. You can download a click sound effect online, put that in. [NOISE] Same with a [NOISE] clap sound effect as well. You can put that in. Obviously, if you're making these videos for TikTok or Instagram Reels, you can always download the music. You can screen record it on your phone, import it into your editing software, and edit to it if you like. The edits here are pretty much done. Now it's time for us to export the video and post it to whatever platform we want to. What I like to do is go to the end of the video and I can press O to mark out. This basically selects an area for Premiere Pro to realize that this is what I want to export. Sometimes you might have more clips at the end of this that you were playing around with that you didn't delete and if you don't set the output, it will export all of that. You don't want to do that. I've set my in and my output, and we're going to head to Export here. Now, the format that you want to choose, this is really up to you, but for example, if we're going to be posting to Instagram, for example, I like to choose H.264. You see that we have these black bars here, which is not what we want. What I want to do is change the dimensions of the video and we can choose that by clicking "Match Source". Match Source basically matches the sequence that we edited the video in. If we put a mobile clip in which is vertical, it will create a sequence that is vertical and the exported sequence when you press "Match Source" will match it to that. For me, a personal tip for Instagram, I don't post in 4K, and 4K is a width value of 2,160 if it is portrait. What I like to do is change that to 1080p. What I'll do here for the width is I'll type this as 1,080, and when this lock is basically locked, it will change the ratio of the height to it as well. It will lock the pixel ratio. If you didn't do that, for example, let's go back to 2,160 and I unclick that lock and change it to 1,080, the height will still stay at 3,840. Make sure that the lock is clicked and that will change it all for you. We're going to go to 1,080 as the width. Just make sure that everything else is in order. Frame rate of 30 frames per second is good for Instagram and TikTok because it allows the smoothest playback on most mobile devices. Next thing to do is select a location to where you want to save it to. I like to save it to my desktop and we can name it whatever we want. I'm going to name it Skillshare Masking class, and then [MUSIC] you just press "Export" and your video is pretty much ready to upload on Instagram, TikTok, or whatever social media platform you want to share the video to. [MUSIC] 12. Final Thoughts: [MUSIC] Congratulations for making it to the end of this class. Throughout the class you've learned how to draw a mask and understand what a mask is. We've gone through some possibilities of how masks can be used, we've gone through some examples of what I've made and hopefully you guys have been able to understand where I've been masking and what I've been masking. Then we've planned our own video, edited it, color graded it, and sound designed it as well as exporting the video. When I first posted the Barley Mountain Time that's masking real, I instantly started getting a ton of views and comments from people that would never have commented on my posts before. People were asking me like, how did you do this? Can give us a tutorial? People sending it to other people saying like, how do you do this? Within about a month of posting video, I grew from 23,000 followers to 80,000. On my Instagram stats I think I was going around 3,000 followers a day and the reel went from zero views to 18 million views in just a space of a couple of weeks. My phone was popping off, it was going a bit crazy and it was quite a fun moment to experience this brief period of virality. For me, what was fun about this whole process wasn't creating a video that went viral, it was a fact that I created something that was true to me, that was fun to create and also challenged my own editing skills. Then the side effects of that was that people really enjoyed it and it did well. What I want to say to you guys is that when you're creating these things, don't have an aim to get big numbers. Just enjoy whatever you're creating and make sure that whatever you're creating has a bit of your own style, a bit of your own flair into it. Always make sure to challenge yourself because you can never get better if you don't. One thing that I want to say is that it's not necessarily wrong to copy, but I just wanted to make sure that you guys put your own spin on your own flair on it and make sure that you actually put your own effort into creating something like this. If it does well, then it's great. If it doesn't, as long as you had fun making it, as long as it challenged you, then I think that is all that matters. I've given you a bunch of tips and tricks for masking, even color grading and sound design. I'd love to see what you guys create and if you do create something, please upload it in the project gallery below. I can't wait to see what you guys have made. Thank you for taking the time to learn about masking with me. I hope you've learned something valuable, good bye [MUSIC].