But, again, I suggest not using too many strokes. Using the subtractive stroke, I’ve removed the straps of the bag from the mask.Īdditionally, if you feel like it’s not correctly picking up (for example) an arm when the character moves, you can add a stroke. But remember, you’ll need to track this again. In that case, you can also paint a subtractive stroke (colored red) over parts of the image that isn’t the person, or feature you’re isolating, to correct any problems you see in the generated mask. Suppose you find that there’s a section that’s being masked and you don’t need it masked. Here, I’ve inverted the mask to reduce the exposure of the background and give it a warm touch. Then we can make our grade adjustment.įor the likes of using the Magic Mask to mask out an entire person, it’s useful for a general offset adjustment to either bring the subject out of the scene, or perhaps to give them an overall creative color cast. Once we’ve applied the tracking, we can make one final pass over the mask to see if we need to refine the selection. When your stroke is correctly tracked, you’ll see a green tick in the stroke list. You will control the radius through this dropbox to either expand or decrease the mask.įinally, we need to apply the tracking because the subject and the camera is moving and, as with the power windows, it’s the same method by simply hitting play. But, if you’re entirely new to Resolve and find yourself watching this video, I will say (for the most part), you’re going to want to be dealing with the denoise, the clean black and white, blur radius, and of course, the radius of the mask itself, which can be controlled by the radius slider. As I previously stated, you can ind many of the finesse tools elsewhere in Resolve, so I won’t repeat basic information on these settings. However, if needed, we have the finesse tools to refine your mask. In general, I think it’s going to do a solid job from the base stroke. With the stroke added, I recommend turning on the mask overlay to see where you stand with the mask. Your Magic Mask stroke only needs to be this long to work correctly. While you can make as many strokes as you like, fewer strokes actually work better. This is particularly true if a stroke needs to follow something changing shape as it moves, like an arm.
#Davinci resolve vs color finesse software
Now, you might think that it’d be beneficial to apply a really long stroke, so the software is registering more of the person, right? Well, as noted in the reference manual, very long paint strokes aren’t usually that useful and can be counterproductive later on when you’re trying to track strokes to follow motion in the clip. To apply a Magic Mask to a person, you simply add a stroke to the person you want to mask. Here’s an example of Magic Mask’s user interface. So, there’s not really any additional learning needed-to some extent. The Mask Finesse panel, for example, has near enough all the same settings you’ll have for HSL qualifications and power windows. Ultimately, there’s nothing wholly new about this area as it’s remarkably similar to other elements within Resolve. It’s divided into three areas: the Toolbar, the Stroke list, and the Mask Finesse panel.
When you click that, you’ll see this new panel.
On the color page, you’re going to find a new icon titled Magic Mask. So, let’s have a look at how you use this tool. The Magic Mask is being applied to the man in the image. So, it’s already slightly different between using the HSL qualifier to isolate the color of a car. And, yes, this does suggest that this Magic Mask is to be used on humans only. With the Magic Mask, you can either generate a mask for the entire person or switch the operation to focus on a specific feature-from the arms to the person’s shoes. This new tool allows you to isolate one or more people within your composition by applying nothing more than paint strokes to the person. The latest such feature is the Magic Mask. With the neural engine, we’ve seen several new features added to Resolve over the past year.
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