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Les s on 7
7 Using Masks
Overview
Used as a stand-alone feature or as part of a Paint operator, masks are valuable for hiding parts of an
image and for rotoscoping purposes. The enhanced vector-based masks allow the creation of masks
with advanced feathering and animation control. Masks are compatible with other Discreet products
such as inferno, flame, and flint, enabling a parallel creative workflow.
You can use masks to remove the area outside the mask shape and keep the area inside the mask shape,
or you can use masks to remove the area inside the mask shape and keep the area outside the mask
shape. In this lesson, import two image sequences and use masks to reveal different areas in the clip.
Then, change the surface properties of a layer and add a glow effect to give the scene a spooky look.
Time to complete this lesson: 60 minutes.
Using Masks
The clip features a ghost coming from behind the trees with a sabre in hand.
4. Choose File | Close Workspace (CTRL+W / COMMAND+W) to close the Lesson07.cws file.
5. Choose File | New (CTRL+N / COMMAND+N) to open the New dialog and create a branch with the
following properties:
Type: Composite
Name: Masking
Format: NTSC DV
Duration: 35 frames
Bit Depth: 8 Bit
Mode: 2D
7 Using Masks
sequence.
f) Click OK (ENTER).
Using Masks
7 Using Masks
In the Workspace panel, the viewport icon next to the Draw Mask operator indicates the Draw Mask
operator is the current operator in the active viewportthe right viewport. The two-viewport
layout enables you to draw a mask in one viewport and see the result composite in the other
viewport.
5. In the right viewport, draw a mask starting from the upper left of the frame and extend the mask
along the right side of the tree line, making sure the mask extends beyond the top, left, and bottom
borders of the frame.
The left viewport shows the character appearing from behind the trees.
Using Masks
6. Choose Window | Outlines Only or, right-click / CTRL-click the right viewport and choose Outlines
Only.
The right viewport reveals the background and displays only the wireframe of the mask.
Note: Invert is automatically disabled for the Global Apply Mode, so the mask is not inverted. When
Invert is disabled, the mask removes the area outside the mask shape and keeps the area inside the
mask shape. In this exercise, you want to remove the area inside the mask.
8. Click the left viewport.
7 Using Masks
4. In the Toolbar (F2), click the Control Points option to access the control points of the Polygon Mask
object.
5. Zoom in (CTRL+= / COMMAND+=) on the control points along the tree line.
6. In the right viewport, drag the control points along the tree line to adjust the mask.
7. Go to the last frame (END) and adjust the mask along the tree line.
8. Examine the result:
a) Click the left viewport.
b) Play the clip (SPACEBAR).
Using Masks
4. Add a mask operator to the Death layer to fade the edges of the layer:
a) Go to the first frame (HOME).
b) In the Operators panel (F5), click Mask to access the mask operators.
c) Click Draw Mask.
7 Using Masks
5. View the output of the Draw Mask operator in the right viewport:
a) In the Workspace panel (F3), click the Draw Mask operator under the Death layer.
b) Click the Send Up button.
6. In the right viewport, draw a mask (of about six to eight control points) around the character.
Note: If necessary, click the Polygon Mask tool in the Toolbar (F2).
The black background in the Death image sequence doesnt show in the final composite because the
image sequence was saved with its alpha (opacity) channel (as a 32-bit .png file) to create the cutout
of the ghost.
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Using Masks
7. Add edge gradients to define the outer softness of the Polygon Mask object:
a) In the Mask Controls panel (F8), select Splines from the Edge Gradient list.
The Splines option enables you to adjust the inner and outer mask offsets at each control point.
b) In the Toolbar (F2), click the Edges button.
By default, the spline of the mask is shown in white and the inner and outer edges of the mask are
shown in green.
8. Add and position three control points:
a) With the cursor (
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7 Using Masks
9. Choose Window | Outlines Only, or right-click / CTRL-click the right viewport and choose Outlines
Only to no longer show only the wireframe of the mask.
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Using Masks
Note: The spline is shown in white and the inner and outer edges are shown in green.
c) Drag the control points of the masks spline, and its inner and outer edges at every 10 or 20
frames.
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7 Using Masks
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Using Masks
b) Click Glow.
c) In the Workspace panel (F3), select the Glow operator.
d) In the Glow Controls panel (F8), set Radius to 12.
e) Set Strength to 2.
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7 Using Masks
Things to Remember
When creating composites, selecting 2D Mode as opposed to 3D Mode speeds up rendering time.
When you add a mask operator to a composite from the Operators panel, double-click the mask
operator in the Workspace panel to make the mask the current operator in the viewport. When you
add a mask operator to a composite from the Workspace panel, the Timeline, or the top menu, the
mask operator becomes the current operator in the viewport.
Choose Window | Outlines Only, or right-click / CTRL-click the viewport and choose Outlines Only
to display the background footage and only the wireframe of the mask.
By default, Invert for the Global Apply Mode is disabled. When Invert is disabled, the mask removes
the area outside the mask shape and keeps the area inside the mask shape.
The Edge Gradient Splines option enables you to adjust the inner and outer mask offsets at each
control point.
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Acknowledgments
Lesson development:
Content:
Editing:
Mylne Pepin
Technical Support:
Layout design:
Brenda Barrie
Project management:
Miriam Sterle
Images:
Additional images:
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29 November 2002