Repeat this process for each point in the timeline where you want the mask to change. Final Cut Pro will automatically create a keyframe. How to Use Final Cut Pro Xs 'Shape Mask' and 'Color Mask' tools to apply color corrections to specific parts of an image and draw the viewers attention. Move the playhead to the point in the timeline where you want the animation to start or end, and adjust the parameter. In the video inspector, click the keyframe button next to the parameter you want to animate. You can also adjust the feather, falloff, and other properties of the mask in the video inspector.įinally, to animate the mask, you can use keyframes. If you're using a draw mask, you can create the shape of the mask by clicking to add control points in the viewer. You can use multiple shapes and color masks on every image, but let's try just a. The mask will appear in the viewer and you can adjust its size, shape, and position as needed. Color Mask is a specific color range that we select that we want to affect. Once you've selected your mask, you can apply it to your clip by dragging and dropping it onto the clip in the timeline.
From there, you can choose the type of mask you want to use, such as a draw mask or shape mask. Then, go to the effects browser and select the "masks" category. First, you need to select the clip you want to apply the mask to in the timeline. Hue color reference point.Drawing a mask in Final Cut Pro involves several steps. Using the eyedropper to select our Hue vs. Hue vs Hue indicates that we’ll be selecting a particular hue (color), and then adjusting it by adding to or removing from that hue. You can see that dot in red, in the red section of the color curve-which is actually a straight line at the moment, as you can see in the image below. When you click on a color, a dot appears in the Hue vs Hue curve. Then you can drag the tool to reveal a circle that lets you expand the tonal range to be adjusted. This color grading plugin delivers an all-in-one F inal Cut Pro X solution which puts the essential tools right at your fingertips in a simple clear interface, including tracked masks, with individual control of the overall grade, as well as inside and outside the mask. Using the eyedropper tool on the subject will let you select your starting point. We want to shift the red to green, but there’s a wide range of red tones on the Jeep, which makes things more challenging. Our next step is to define the color(s) that we want to change inside of the mask. You can also play with the shape and softness of the mask in the viewer if you feel it needs refining. This allows you to attach the mask to your tracker-ours is labeled with the default name “Object Track.” Now our mask will follow the Jeep, which is reflected in the default option Pin to Tracker. The next step is to select Tracker from the top of the viewer.
In this shot I’ve zoomed in and adjusted the shape of the shape mask. Control-click the Shape Mask onscreen controls in the viewer and choose Convert to Points. Do one of the following: Click Convert to Points at the bottom of the Shape Mask section of the Video inspector. The Shape Mask onscreen controls appear in the viewer. Adding a marker to a reference frame for easy location later. Add a Shape Mask effect to a clip in the Final Cut Pro timeline. I put a marker on it (M is the shortcut) so that I’ll know where to find this reference frame later. To work in wide-gamut HDR, you must first configure two settings: The color-processing setting for an entire library: This global setting changes the way in which effects and log processing work for all projects. So I’ve identified a frame where it is clearly in view and unobstructed.Īdditionally, there isn’t much motion blur on this particular frame, so it’ll make a good starting point. You can choose between two basic color spaces in Final Cut Pro: Standard and Wide Gamut HDR. A quick skim of the footage reveals that most of this is obscured or even totally outside of the frame. Our objective for this challenge is to change the color of this Jeep from red to green. (Hopefully, most of your shots will be a bit more forgiving.) But after a couple of attempts, I felt like I’d got the hang of the new features in FCP and I was pleasantly surprised by the results. Compressed iPhone footage, high-motion, and with objects passing in front of the subject. It’s no Ford Bronco commercial, but it’ll serve as a pretty good “torture test” of FCP’s color grading tools.