All language subtitles for R18_02_Object_Mask

In resolve 18.

We have a new effect called the object
Tracker in the color page.

Now this is only the studio version,
but it's really, really cool.

So I definitely want to make sure
that we go over it in the studio version.

That's the paid
version of resolve and resolve.

18 or later, I'm using the public beta
to record this lesson

here in the middle of our interface,
we have our magic mask palette

and click on that.

And by default, this is an object mode.

There are two different modes.

There's the person tracker
as well as the object tracker.

The object tracker is great
for tracking anything, including people.

So let's take a look at how that works.

I'm going to get rid of our clips
and our timeline real quick

just so we have a little bit of space.

Let's say we want to select

just our girl here and color
correct her separate from the background.

We're going to need some way to selector.

We can probably do a pretty good job

using something like a

power curve

and depending on how much she moves,

we might be able to track this
and hit control

and get a pretty good selection of her
and that would

probably be just fine for a lot of things.

But if we want to be
a little bit more precise,

we can do the same kind of thing
automatically using the object tracker.

So I'll just reset our node grade here
and go over to our magic mask.

And this time with the magic mask
palette up

and switches to this eyedropper.

And all I have to do is just draw over

what I want to select something
kind of like this.

It doesn't really matter as long as you're
drawing on what you want to select.

And then I'll go

over here to the upper right
and click on this toggle mask overlay.

What that'll do is just give me a preview
of what it's

selecting in red and anything that isn't
selected won't be red.

So it's doing a decent job here.

But I got to switch this to better mode.

Actually, under quality
we have faster and better.

I want to switch better and better.

Pretty much always is a lot better.

So we're going to make sure
that we have everything

selected that we want.

I can hold down alt or option

and click
to make sure that we're not selecting

any of the background that we don't want.

And we can combine

the blue strokes to add stuff
and the red strokes to get rid of stuff.

And we make a really nice selection here.

Once we have our selection, nice,

we can hit this track back and forth
button here and the magic mask palette

and it'll track stuff.

Now we're losing a little bit here
in the back, so what we might want

to do is start this kind of in the middle
instead, I'll just reset everything

and I'll

draw shape over her here,

make sure we get

this background.

There's not a lot of separation
between her in the background.

So this is going to be pretty tricky. One,

but we should be able
to get a pretty decent result.

And I'll track this back and forth

and at any point

I can click back to this reference
frame here

and make sure that we are selecting

everything really well.

And I can track this again back and forth.

And depending on how much work we do,

we can either be fine with this selection
or we can work on it a little more.

I can also

add a little bit here on these frames,

and for a shot like this,
we might have a really hard time

kind of filling in those shadows,
but depending on how much work we do here,

it might not matter.

I'll go ahead
and turn off this mask overlay.

And now we have her selected
and I can boost her up or push her down.

And it does a pretty good job of

just isolating our subject here.

So now I can do something like

this, saturate her a little bit,

or even change her hue.

Whatever I want to do,

I can invert our selection

and kind of saturate the background

and can do all these kind of crazy effects

that would normally take a long time
to trace these things out

and do a pretty darn good job very quickly
using this effect.

Really neat.

Of course, this works a little better,

a little bit nicer if you have a nice
separated subject already.

So we can use this shot 60 as an example,

and it'll even deal with things
going in front of the subject.

So we'll just start here in a place where

she's not covered up by anything.

And again,

make our selection.

And yeah, it does a pretty good job.

I'll switch to better and let's
go ahead and track this.

Okay And

for how difficult of a task
this is holding out this cup

from that selection
it does a pretty good job.

So let's take a look at our mat here.

Yeah, Pretty, pretty good.

So I'll turn this off.

We can adjust just Gwen here

without affecting anything else

and doing a pretty good job
dealing with this cup as well.

What a cool tool.

This is something that I'm definitely
going to find myself using quite a bit

instead of Windows and qualifiers.

Just because it's so easy
and it works so well without even

having to do a whole lot.

Very, very cool tool.