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When we launched “The Efficient Filmmaker: AI Video Masking for the Rest of Us” on MZed, our goal was simple. We wanted to take the intimidation out of the word “rotoscoping,” and show how modern AI-driven tools can make this process simpler and faster. Yet both AI and NLE’s evolve quickly, and keeping your workflow efficient means staying up to date with the latest features inside your software. Therefore, please welcome – our AI Masking course update!
We have just added two new, hands-on modules to the course. Here is a quick look at what these lessons cover and how they can speed up (and enhance) your editing workflow. Just a short reminder: You don’t need to have any VFX skills or prior experience to use the masking tools we’re talking about in the course. On the contrary, they are meant to become part of the “standard” editing toolkit anyone can acquire.
In one of our earlier modules, we took a deep dive into Adobe’s Roto Brush inside After Effects. It remains a reliable tool for rotoscoping, but Adobe recently introduced an interesting update. Namely, they fully integrated a similar tool directly into their editing application, Premiere Pro. It is called the Object Mask, and its main advantage is convenience. If you only need a quick mask on a moving subject or a localized adjustment, you no longer have to jump into After Effects. (Which is an especially troublesome step if you are not familiar with the application’s interface.)
Now you can navigate those tasks directly on the timeline, without ever leaving it. That’s what we go through step-by-step in the new module, “Object Mask Tool in Adobe Premiere Pro.” A short and concise demo will show you where to find the tool, how to generate precise mattes within Premiere, and how to apply one or more targeted color grades or effects to the masked objects.
The motivation for the second new module comes straight from a recent production challenge that I’ve faced personally. Since winter, we’ve been filming YouTube skits for a famous Austrian comedian, Jonny (widely known as Austrian Kiwi). Because Jonny often performs all of his characters himself, we need clever ways to sell each scene. Sometimes we hide transitions within whip pans; other times we use simple “cloning” techniques. Yet who doesn’t want to take on a bigger challenge? So, in one of the latest skits, we went for overlapping performances in motion. And this is where Magic Mask in DaVinci Resolve turned out to be super useful!
The second new module, “Overlapping Performances Without Green Screen,” is a tutorial on how to eliminate chroma keying and work solely with performance plates on location and the AI-based masking tool of your choice. You’ll learn how to clone yourself (or your actor) and make complex overlapping shots with little effort: from the correct way to structure your tracks up to combining alpha outputs using Key Mixers, alongside other practical tips and tricks.
Whether you are already enrolled in the course or looking to streamline your post-production workflow, both new modules are currently available. You can check out the updated course here and start watching. These new lessons, as well as all our courses in “The Efficient Filmmaker” series, are included in the MZed Pro subscription.
With MZed Pro, you can stream hundreds of hours of filmmaking education. We continually add new courses (several are currently in production). Starting at just $29/month (billed at $349 in the first year, $199 from the second year, or billed monthly at $49), here’s what you’ll get:
Have you already tested Premiere’s native Object Masking tool on a recent edit? How do you feel about AI masking tools in general? Any other ideas on what future tutorials we should include in the course? Let us know in the comments below!
Feature image source: MZed.
Full disclosure: MZed is owned by CineD.Join MZed Pro now and start watching today!
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Mascha Deikova is a freelance director and writer based in Salzburg, Austria. She creates concepts for and works on commercials, music videos, corporate films, and documentaries. Mascha’s huge passion lies in exploring all the varieties of cinematic and narrative techniques to tell her stories.