In this example, the white light has been coloured blue using HSL Curves and Color Wheels. Here we have created 3 layer groups that work together to relight a scene. You can apply masks over layers that have been grouped together. Feather the edges of the mask and choose the subtract mode to reveal the tube light. Everything seems good, but maybe it's a good idea to also accentuate the blue of the tube light in the background.Ĭreate a B-spline mask around the tube. Now we can use Color Wheels and an HSL Curves layer to colour the white flaring. Create a new group and name it 'left side'.Īdd an edge mask on the left side. Here's another interesting case where we need to fix a light leak on the left side of the frame. Now create one more color wheels layer and lower the highlights. Click 'invert parent mask' to apply changes to areas outside of the mask. Now we can use a color wheels layer to draw more attention to the face. Smooth the edges and click track forward. Create a third group called 'Center'.Īdd an ellipse mask to track the talent's face. Now, in this shot, to really make the subject's face pop, let's add a vignette. Because this clip is quite static, we don't need to track our edge masks. Now let's do the same thing to the left hand side of the image.Ĭreate another group and call 'left side'. Add a color wheels layer to the group, decrease the master gain and overall saturation.Ĭreate an HSL Curves layer and use it to reduce saturation and luma. This will let us cover and remove the blue. We'll be adding multiple masks so it's useful to label our work.Īdd an edge mask over the right side of the frame. Say we want to remove them, here's how it can be done.įor multi-stage operations like we will be doing in this example, it's useful to create a layer group first, and call it something descriptive e.g. In this example, we have yellow and blue light leaking from the left and right edges of the frame respectively. What follows are some examples of applying and tracking masks. Briefly wait until the tracker completes the process. Draw a mask over the area you want to track. Go to the beginning of your sequence (you can use the on-screen scrubber to do that). To see the these controls, make sure you have the Color Finale 2 Pro inspector selected such that it's surrounded by a yellow border. Use the on-screen controls in the viewer to do this. When applying a shape mask, you will naturally want to move and transform it. This lets you apply corrections to pixels of certain hues or saturation levels. Similarly, the HSL mask also lets you select by chroma (colour) values. This technique of working with specific brightness ranges is often used by professional colourists when balancing skin tones. Such a mask could be inverted, or a more narrow brightness range defined to get an interesting outcome. Initially, brighter pixels will be fully masked and darker pixels transparent. You can combine multiple masks in one layer.Īs well as these shape masks, there is also an image mask, and an HSL mask.Īn image mask lets you select areas based on the overall brightness of the underlying pixels. Inside the mask menu, there are several shape mask options: Mask options can be toggled by clicking on the mask icon to the right of the layer name. So the next step is to select what kind of mask to add to the frame, and this depends on the shape of the object and the purpose of your edit. If you then immediately modify any parameters within Color Wheels, the entire frame is affected: the mask is undefined and needs to be drawn. To add a mask, right-click on the layer, and select Add Mask. Here’s how to add a mask in Color Finale 2 Pro.įirst, say you have a Color Wheels layer in the layers panel. This is where automated tracking tools come in, and Color Finale 2 Pro comes with a super handy area tracker. Creating local adjustments with them can be used to direct attention to an important part of an image, like by increasing contrast ratios in specific areas, as well as to control the visual impact of elements that are more superfluous - all in service of developing a cohesive and powerful narrative for the viewer.Īpplying a mask to a photo once is reasonably straightforward, and you can get away with creating masks for some static video shots, but once you have a clip where the camera and the subjects are moving within the scene, at this point you are likely to want some automated help! Image masking is a very powerful technique for photo and video post-production that can be the secret sauce to making the end result not just great, but visually stunning.
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