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].