All language subtitles for 9. Masking Fusion Kolder Creative

So in
this lesson, we're going to be recreating

both of these transitions
using masks within fusion.

Masks are a really important tool
for every kind of editor

and can help us in so many different ways.

From WIP transitions
to blurring out of face

to isolating and color correcting
just one part of our image.

We could do so much with masks

and this is definitely something
I recommend you master.

If you're trying to be the best video
editor you can be.

Now, one thing I want to mention

is that we are approaching a revolutionary
time in video editing history

where we are
starting to use artificial intelligence

to help us get much faster
and accurate masks

without us
having to do all the tedious work.

We could see this in action

in Da Vinci's
Color Tab with the new Magic Mask feature.

This feature is honestly mindblowing
and it's an amazing tool to help us color

great our images exactly how we want.

And there's also a way

for us to bring those magic
masks from the color tab into fusion.

But that's for another video.

In this video, I'll be showing you guys

how you can make masks in fusion
and animate them over time.

So with that being said,
let's jump right into this lesson.

All right.

So first things first.

I'm just going to show you guys

how to animate
a very basic ellipse mask with infusion.

So with my clip selected over

here, let's head into fusion
and let's start playing around with mask.

So the mask nodes are located right here.

We have a rectangle

mask, ellipse mask, polygon mask,
and then we also have a B spline mask.

We're going to be going over
all of these today.

Now, the first thing I want to create
is Ellipse mask.

So with our media in nodes

selected, what happens
if we press this Ellipse mask?

Well, it puts an ellipse
mask over top of our selected note.

And as we can see, what it's done is it's
masked out this circle over here,

and the background is now transparent.

So we can see that the transparency

is represented by this gray checkered
pattern here in the background.

Now, if I go back into the edit tab
and take a look at my image

so we could see in the edit tab,
we are seeing this exact same mask

and we also retain
that same transparency around the mask.

So if I bring this up a layer
and I drag another clip underneath it,

we can see that
we are able to see through the outside

of our circle mask, our lips mask
and see the clip underneath here.

So this is just important to know
When we bring a clip into fusion

and create a mask, we will retain
transparency on the outside of that mask.

And we can do things like this
here in the edit tab.

This is something that we're going to be
playing around with a little bit later on.

But let's go back into Fusion and
play around with this a little bit more.

So with the Ellipse mask selected,
let's take a look

at what we can see here in the inspector.

So we have a bunch of different sliders
here that we can play around with level

just changes basically
like the opacity of the mask.

We have Soft Edge which allows us to blend
or feather the edge of the mask.

And of course this will also update
in the edit tab as well.

We can change the border width.

So the expansion and we can obviously
and of course

we can animate all of these parameters
over time using the keyframes over here.

And we can also play around
with the positioning of the mask as well

by moving these parameters here,
we can change the width, the height.

You can also change the angle,

but we can also do all of this
within the viewer here as well.

We can make all these changes
just like this by dynamically grabbing

different parts of the mask,
moving them around.

We can also rotate the mask
just like this.

Now I'm just going to reset this mask

by pressing this reset button
here in the top. Right.

And now we're back to where we started.

So let's pretend
that this is a shot of a random person.

And I don't have their permission
to use their face

in whatever it is that I'm making.

So why don't we animate the mask
path around my face and blur only my face?

So the first thing that I'm going
to want to do in this situation

is to actually disconnect the mask
from my media in here.

And I'm going to rename my media
and we'll just call this Sam.

So the reason I want to disconnect my mask
from this is because I want to be able

to play with my mask without actually
cutting off any of the media in.

So if I animate my mask like this,
I can't see the full image.

I'm actually cutting off most of the image
when I'm doing it like this,

and I can't really see
what's outside of my mask.

So by disconnecting this mask path,
I'm able to see everything

and I can still animate
the path of the mask.

So we're not starting at the start
or the end of the timeline.

We're kind of starting at a random point
and that's totally fine.

We can start at any point that we want.

So first thing I'm going to want to do
is just scale this down.

So I'm going to scale down the width
and the height

and I'm going to move this over
my face here.

So let's zoom in

and that looks about right now
what I'm going to do inside

the inspector is I'm going to set
a keyframe for the center width and height

because these are the properties
that I'm going to be animating over time.

Now we can see that we have a keyframe
on our timeline over here.

So let's move forwards a little bit
and let's start

moving this mask around to follow
wherever my face is.

And we can see as I move it around, it
creates a new keyframe.

So let's just do this
for the entire timeline here

and now.

What I should have done was

I should have created a keyframe
for the angle as well,

because it would be nice to rotate it
at this point.

So what I'm going to do is open up
the keyframes window over here.

I'm going to minimize this
so it's not as big.

And I'm

also going to collapse the inspector here
so it doesn't take up as much space.

And if I drop down the Ellipse, we can see

all the different parameters
that we have set to keyframe.

Now, let's go back to the beginning
over here where we started key framing.

And let's set another keyframe
for the angle.

Now that that keyframe is set,
we can move forwards over here

and now we can adjust that angle
a little bit.

So let's move it over.

So I'm going to go to the place
that we left off over here,

and I'm going to adjust the angle
by rotating this right here

and now we can see that
that rotation happens over time.

Nice.

And let's just continue this.

And now we'll go back

to before where we started and finish
animating the start of this.

So I'm going to make this a lot
smaller now.

Move it over the face here.

So we can see that this mask animates over
time to follow my face.

We did a pretty good job at it.
It didn't take too long.

Now let's think about what it is
that we are trying to do here.

All we're trying to do is just blur out
my face and leave everything else alone.

Well, there's a couple of different ways
that we can do this,

So the first thing we can do is just add
a blur to the chain of commands here.

So we have our media in.

We're telling it to blur that media in
and then send it back to the edit tab.

So let's load up the media
out into the second viewer over here

and let's start blurring this image
to see what it looks like.

So we'll just blurred a bit
so that the face is not recognizable.

And now what we can do is take this
ellipse over here, plug it into the Blur

by taking the output of the ellipse
into the mask, input of the Blur.

And now if we zoom in over here,
we can see that

that is the only part of our image
that is blurred.

Now we can see that

there is this hard edge around the mask
and that doesn't look too good.

It kind of makes it too obvious.

We would just want to blur that edge
a bit more so we can go into the Ellipse

mask over here and we can change that
soft edge over here.

Blurred out a little bit just like that.

And now let's preview what we got.

Awesome.

So that looks great and it does the job.

Now, another way that we can do this exact
same thing is to actually just duplicate

our original media in so we can just
command C copy, command v paste.

And what we can do is blur
this entire duplicate over here.

So let's add a blur to it.

And then after this blur,
let's merge it back into our main

chain of commands over here
and let's apply a bit of blur to this.

And what we're going want to do
is just apply

this mask to this same merge over here.

And just like that, we've done
pretty much the exact same thing

except we achieved it
in a bit of a different way.

We duplicated the original media inode,

we blurred it
and then we merged it to the original.

Except now what we've done is
we've told the merge what part of this

second duplicate
do we want merge over top of this one

and we've told it what part by using
that same mask that we've created before.

Now one other thing
I want to show you in the inspector

that I do use every once in a while
is the invert button.

If we press this, it basically
inverts our mask so that it selects

everything outside of the mask
instead of the area within the mask.

So if you ever quickly need to change
what it is

that your mask is actually selecting
the inside or the outside of the mask,

you can just use this invert button
right here to do so quickly.

So I'm just going to reset
this fusion comp

because we don't need this
and let's head back into the edit tab.

So now I'm going to show you guys

how we can use a polygon mask
to achieve this transition within Fusion.

It's pretty simple, so let's just jump
right into it right here.

We can see that I have two different clips
that I've selected for my timeline.

This first clip doesn't really matter.

It could be anything.

It's this second clip
that I'm using for a transition.

Now you can see that
I've animated the position of the clip

in order for the hand to actually start
on the right side of the image

and then move across
from the right to the left.

So I picked this shot purposely
because I could see that the hand fills

the frame and I can use it to create
a wipe transition because it covers

the entire frame over here at one point
and it covers from top to bottom.

Now, what I did to help it feel like
the hand is actually moving from

the right side of the image to the left
was I actually animated the position?

So if I hit command shift, see,

we can see that
I have both of these keyframes here,

so I'll just delete them
and recreate this really quickly.

So let's reset the position now.

This is the original clip.

Now you can see that the hand

starts here and this wouldn't work
for what we're trying to do here.

I need the hand to come into the frame
from the right side or the left side.

Really, what I need is for the hand
to start out of the image wipe

across, covering the entire image
and then revealing the original shot.

So what I'm going to do in
this case is animate the position of the

clip over time.

So it looks like the hand
actually starts outside of the frame.

So I'd want to start probably about here
and what I'm going to do

is add keyframe for the position,
but first I'm going to move it out.

I could just use the transform option here

and let's move it all the way out over
here.

Let's set a keyframe for the position
and let's move ahead.

And at this stage,
I'm going to want the hand

to be pretty much over to the left
all the way,

because if I wait any longer, then
we'll be able to see that cut off point.

And we want to have the full hand in frame
the entire time.

So let's move this over here

just like that,
and let's take a look at it.

Nice.

That doesn't look bad.

And it doesn't really matter
that it is happening

kind of abruptly that we have a linear
animation here

that doesn't matter for what
we're trying to do,

of course. So I'm happy with that.

And like we've learned before,
if we want Fusion

to retain any of the changes
that we've made here in the edit tab,

what we're going to want to do is to right
click and select new fusion clip first.

Otherwise, if we just open this infusion
right away, what's going to happen

is it's not going to retain that animation
that we just did to its position.

If we want to retain that,
what we need to do is we need to

right click
create a new fusion clip first.

And now if we open this and fusion,
we can see that it retains

that same animation information
that we did to its position point.

And this is exactly what we need
to make this work.

So let's get right to masking.

So in this situation, what we're going to
use is the Polygon Mask tool,

which is the one that I use
most of the time, honestly,

especially for things like this,
like this wipe transition,

just because there's no like, you know,

straight line or really circular line
here, it's not consistent.

We can see that the line that we're trying
to mask over time changes.

So the Polygon Mask tool
is going to be perfect for this.

So let's start
where we can see the full line.

So this is probably a good place to start.

And let's grab that polygon mask tool.

Let's just click it and we can see that
it's been added to our media in.

But because there's no mask, we can't see
anything and everything is transparent.

So like we did before, let's break
this connection.

We don't need that connection right now.

We can actually start drawing without that
polygon mask even connected to anything.

Now, I'm going to quickly rename this
clip.

Let's do hand transition

and let's go back to our polygon over here
and let's start masking.

So with our polygon mask node

selected, all

we have to do is head over to our viewer
and we can just start masking.

So let's start drawing a mask

over top of this line here.

That looks pretty good to me.

And I'm going to leave a lot of room
on the outside over here as well.

Now, if we had to the inspector over here,
let's set some keyframes.

So the first thing

I mean, I want to do is right
click down here at the very bottom,

we can see this is right
click here for shape animation.

I'm going to right click,
I'm going to click set key.

And once I've clicked set key,
we can see that a keyframe has been added

in our timeline down here in the keyframes
window for the poly line.

Now, I don't just want to set a keyframe
for the shape of the mask.

I also want to set a keyframe
for the position.

So we'll do one over here next to center
and also the size.

Why not?

And that should be good for this.

Now let's start moving through.

Let's go backwards and start moving
this mask over so I can move it like that.

And now the position of the mask
has been animated.

But I also want to change
the shape of the mask.

So let's change the shape too,
and the keyframes.

And because we've enabled keyframes,
all of this information is being recorded.

So if we scrub between these two,
we can see that it's looking pretty good.

Let's go. Even earlier on,

let's go to the very

beginning move
that whole thing over there.

And now let's move around.

We can skip to two frames forwards.

We can see that this is in line up.

Let's line it up.

Beauty.

That looks good to me.

This one.

Looks a little bit off as.

Well.

And let's move this.

Out here now.

And I'm just going to skip
a bunch of these

and go like all the way over here.

And you can try.

To refine this, make it

as close to that edge as possible.

That looks pretty good.

Now, let's move back a couple of frames,
see if it sticks.

Looks like we're not 100% there,
so let's fix

these.

Not bad.

Okay.

And let's move ahead in time here.

Now, it's important to pay attention
to the back of the mask as well.

We can see that we're starting to creep
into our image over here

and we want to maintain all of this.

So let's just push these out.

And over here we can see that
this would already start to be cut out.

And we want to make sure that

after this line
here, everything remains in the shot.

So I'm going to push
that mask out over there.

Same with this next one here.

And we'll just push

this whole thing over one more time.

That looks pretty good.

One more time.

And it's probably the last one.

Yeah.

Sweet.

So if we scrub through, we can see
how that mask animates over time.

And of course, the more time you put into
it, the better it's going to look.

In this case, this is going to work great
because we can blur

that edge and, you know,
the motions happening kind of fast.

So it's going to look good now,
what I'm going want to do

is I'm going to connect this polygon
mask to our media in.

So let's do that.

And we can see that the mask
that we've created in the polygon is now

acting as a mask for our media in.

Now, of course, that edge line
is very sharp and it looks pretty hideous.

So let's soften
that edge inside of the Polygon mask node.

Let's preview it here.

And that looks really good.

Now, I'm not even going to bring my other
piece of media into fusion over here.

All I'm going to do is simply
go back into the edit tab over here.

I'm going to drag this clip up one layer
and I can bring my other clip down

below it because we retain that
transparency information from the mask

that we've created in fusion.

We can see what's behind this clip
when we throw something underneath it.

So that looks pretty great.

And and this is an awesome way to do this
because now we can very easily re time

the clip underneath it and the clip itself
without having to go into fusion.

We just created that mask.

We know exactly what it was
that we needed to mask in the first clip,

and now we have the freedom in the edit
tab to kind of move things around

exactly how we want.

So that turned out really nice
and it was honestly pretty easy to do.

And now, you know, if we ever want to
just move this over top of another clip,

if we have another idea,
we can just do that really quickly.

And it takes no time at all.

We don't have to be importing clips
into fusion or doing any of that.

Our clip is ready to go right here

and we can just move it over
top of anything that we want.

So I have one more transition that I want
to make in my timeline over here.

I found two clips that I thought
would work really well together.

It's this one clip of a surfer over here,
and I'll just extend it so we can view

the whole thing.

The camera just goes under the water.

But then I found this other clip

of my friend Dan Duck diving underwater,

and I was thinking
it would be cool to combine the two

so that as soon as the camera goes
underwater over here,

we can start to see Dan duck
diving underwater.

And it would be almost kind of trippy
because you don't see anyone

in this first shot.

But then all of a sudden, as soon as
you go underwater, you see someone else.

So the way that I'm going to go

about creating this
transition is a little bit different.

What I'm going to do is actually just trim
my clips to the exact length

that I want them to be.

So in this case, the top clip,
that's probably about the right length.

All I want is just for me
to retain the information,

everything that's happening
above water in this first clip

and then up until that point, we're fine.

We don't really need anything past
that point.

And I just want to time things in the edit
tab here.

So I'm not going to have to do any re
timing later on. In fusion.

This looks pretty good to me.

I feel like that's a good place to start.

This second clip.

So what I'm going to do is just select
both of these right click

new fusion clip and it's added
both of those clips into the fusion clip.

And now with that clip selected,
I can go into Fusion and we can see that

it's already merged
both of those clips on top of each other.

So let's load up our media
in nodes into the viewers and rename them.

So this top one here is the duck dive.

So let's call it Duck Dive.

And this one over here, that is the

surf shop, obviously.

So surf. Cool.

So we can also open up our keyframes
window to see where

everything sits in time
in relation to each other.

That all looks good.

Now all I'm really going to want to do
here is apply

that same polygon
mask to the surf clip over here.

Now the surf clip is on the foreground
layer and duck Dive is in the background.

I'm going to move these over

just like that.

And what we're going want to do
is start to mask out the surf clips.

So with the surf clips selected,
so I'm going to deselect the surf clip

and I'm going to create a new polygon
mask.

I'm going to load up the surf clip
into the second viewer

over here and let's start masking away.

So with the polygon mask node's selected,
let's start creating a mask here.

So just scrubbing through here,
I feel like we can create

a very kind of general mask

in this area here,
and we'll be able to blur it a lot.

And of course, just like before,

let's right click down here
to set a keyframe for the mask shape.

And we'll also set a keyframe
for the center and the size.

Why not?

And let's scrub
through a couple of frames.

Let's move this whole thing up.

Let's go.

Again another frame.

Forwards.

So looks like that's where the clip ends.

So I'm going to move this up
even further here.

And let's move back.

Bring this down here

and just have a little.

Bit over there.

And we'll extend this out and we will move

the entire mask out so that the mask
surrounds our entire image.

If we scrub through,

we can see that
it animates on that waterline.

So now with the polygon nodes selected,

let's attach it to the surf clip
and let's soften the edge.

Now, what we want to do
is see our media out.

So let's load
this up into our second viewer over here

and let's.

Scale this.

To fit the frame size
and let's preview what we got here.

Beautiful.

That looks great
and honestly looks really good.

And that would have fooled me.

It looks like it's actually one shot.

And we did that really easy just
by animating the mask path and position.

And you can see
just how easy that was to achieve.

Now we can go back into the edit tab

and preview our transition in here

so we could see that we have this red bar
above our timeline over here.

So Fusion's
just caching the file right now

it's rendering the cache
so that we can preview it in real time.

And once that red bar is blue,
we can preview it in real time.

That looks amazing.

Now, one last thing I want to mention
is we also have this beast blind

tool here,
which is just a different type of mask.

It's very similar to the polygon
mask, except it allows us to interact

with the mask a little bit differently.

So if I apply this to my image,
let's just draw something here

in the preview window and we can see

that it's
creating a bit of a different shape.

It's kind of more circular
and the way that we are able to interact

with a B
spline mask is is a bit differently.

We can grab these corners
and kind of extend them out,

which can be very helpful
in some situations.

So feel free to also experiment
with the B spline mask tool as well.

Personally, for my style of editing,
for the things that I've done in the past,

I haven't really needed to use the Beast
blind tool, but just know that it is there

and it can be very handy
to play with your masks in this way.

And also we have a bunch of tools up here
at the top of the preview window

which allow us to change the way
that we interact with our masks as well.

And of course,
just like any of the previous masks,

we're able to animate the shape

and position scale all of those properties
over here using keyframes.

So feel free to use

whatever mask you think will work
best for your specific situation.

All right.

So just like that, we've created

those really cool transitions
simply by using masks within fusion.

I recommend you guys download

the original footage down below
and try this out yourselves.

Start to experiment with infusion
both with masks and animating the masks.

Get familiar with these tools
because this is something

you'll be using
a lot of in the future as an editor.

So that's it for this video.

I hope you guys enjoyed

hope you learn something new
and I'll catch you in the next one.