Cinemagraphs: From Start to Finish

 

Cinemagraphs: From Start to Finish

 

Lesson Info

Setting Up Panasonic GH4

Okay, so what I'm going to be using it is a panasonic g h four in the reason why I want to use this camera is its most inexpensive camera that so much of fifteen hundred fifteen hundred and it shoots four k so why do you want to shoot four k like why would you wanna shoot four k? Because if you ever want to take a still frame out and we touched that still frame you're going to need eight megabyte file two would be ableto open it up a photo shop if it was just a ten eighty p file and be all pixelated you're trying tio touch up pixels okay, yeah get into that let's talk about lighting talk us through your lighting set up what you have here before getting the cameras okay, so let's shut the lights off in the room okay, we'll see what we got going. You guys are really making me work today. Okay? Well at any instance I should pride put the philae don because then if I talk you're still being I'm still being lit where when you use a phil light where's your feel like go it's going to fill in ...

the shadows where is it that is it over this side of your cameras that over that side of the camera what is it filling shadows who is seeing the shadow the camera? Why would you ever see retiring got one light over there one over here is this your feel what's the filling over there your cameras here so the phil light is always at the camera does not make a shadow you don't want to shadow go in that way in the shuttle going that way you'd have a black spot there in a black spot there so keep it real close to your lens it's just to fill the shadow does not make a show fills in the show that the main light makes okay core awesome. How do you feel? Good. Okay, this thing here is the west got isolate what's nice about it is I can take this light anywhere any time it's battery operated. So in order to do this, it would be smart to shut the lights out in the room that you have or put a black global over somebody nobody ever tells you that the best thing about the ice light is the greatest light ever. But you gotta darken up the room you're going you're not going to let the room be the boss. You're the boss, remember? All right, so what do we want to do? We want to put a pattern a white on her face that simulates the sunlight coming down so right now she's kind of flat lit something to move it over to here now we're starting to get a shadow on her nose, then all we need to dio is going a little higher because why? Because that shadow from her nose needs to come down to where the edge of the lip I forgot to check if I mind high yet fam ok, cool. All right, now, before I could do any more, I need to look and see if this is in the frame of my camera because I'm gonna push it to the limit without it showing up in my frame that's why usually I'll compose the image first and then start put the lights in and my guys right at the very edge, so I'm ok, all right? So now we've got our main light we're going to, we already have our fill. Like I said, the phil is near the camera and it's gonna get really centered up so it's perfectly straight now we got our we've let the background now the backgrounds brighter than the light on her face, so we're going to give this a little more at ease. Now we need to separate her from the background, so we're going to put a couple of these lights behind her turn a van I just had a photograph, a priest in a church in detroit, so what's first thing you do bring him way away from the author. You don't put him in the altar and then he's a little guy with a big altar so I figured out we're going to be about fifteen pews up the aisle then I don't need the center of the aisle. That would be a big gap. So I brought three of these lice lights. I won't even there more than ten minutes. Our director, he was late. I was already done any my current gone because these lights are so easy. Okay, so this when we got to be careful so I'm thinking right here won't get a shadow from this light. This stands that distance, so that should be okay. Get that sunlight back on her shoulder just like some lights on that plane. So if you've got three lights from maybe four, you could pretty much do anything. How you feeling? Your back killing your anything? Okay. All right. So now I'm gonna look at my camera. Kind of looked this over. Do you see the back of this that's? Pretty cool. Hey, guess what? I can turn this to you, you know, what's nice about these micro thirty four for third cameras grumble believable with all the features they have in him, but aiways, this dan, this is the panasonic gh for and it shoots four k video and easiest camera I've ever shot with the lenses air very inexpensive I think we're pretty close to doing this and I just have to figure out my meter reading so I want to shoot. First of all, when I take this movie, I'm going to take the movie into the software program, and I'm probably going to turn it either cpr or black and white. If I shoot this movie in color, it doesn't work she's in color in the backgrounds, black and whites never going to work. So it's nice about this cameras I can put it in monochrome mode, shoot the video clip and then we're going to take it into the program and edit it, and then I'll put a filter on it to put make the whole thing cpo kind of like that was black and white, but I think it might look better and cps kind of like what you see there, alright, so to do this let's, take the camera off the tripod and I'm going to put this thing. You guys remember this, the expo desk, so we're going to put this in front of the camera and either check your history graham until you get the history graham in the middle or somehow you're gonna get your exposure correct now, here's, what I'm going to d'oh the camera when you're shooting video was thirty frames a second, so your shutter speed should be double that a sixtieth or you're going to get the kind of, like, shaky type stuff in the frames, air frame rates too fast. So there's a couple things I could do a train of thought I could either sit here all day, lie and go up and down until this thing gets the correct exposure, but I want to shoot a two point eight at a sixtieth and just lock it there, and I'm going to change my iess sos to get me to where I want to go. So this disk has all these dialogues in the front that pick up lighting in different angles, so if I just put my camera in front of it, which I'm going to dio and I'm going to move the I s o until my I have a history graham on the back right here, and I'm going to try to get that history. Graham in the middle, this is eighteen percent great. I don't need three history grams, I don't need the black and the way I just need to gray in the middle, so if I do that, I'm not gonna white balance with this thing, this just turns my camera into a meteor. I could have came up right on her face and meter that but I would really just do it through this for me just one way of it working easy and now I'm going to raise my eyes so up and I am now at a sixty eight that two point eight that s o six forty so that's what it just said to me so what I think I might do just to protect myself I might take a photograph first set it that why make the whole movie and then goes to brian's too dark so for me is going to be easier if I just take a picture right now for the for the reason of nothing and look at it it's good it's perfect. Okay, so that's proved to me that I'm ok with that. All right, so now we're going to put this camera on. Four came oh there's two movie modes is a regular movie mode and then the four k movie mode so now I'm going to zoom in, get the perspective correct any questions so far now we're gonna go is this software how do you spell the software? You're it's like so that l flick soliz f l I x e l and then the software is called cinema graf pro for the mac or could be for your iowa your ios, your apple products or your ipad recall looking good. Just seen I might want to shut this down a little bit lower. Jim. One other question you have to be working with you if you don't what to extract a single image but still wanted to do is a cinema graph. Could you do it with a ah ten adp? Sure you can. Okay? Absolutely. And for most breed, for most things. Ten, eighty piece pride. Fine. If you're just putting it on facebook and stuff. But I got floored watching four k the resolution of four k. Just think three times more information on a tv will blow your mind. Why not the tv's air already there? Why not already be ahead of the game so that you don't want to go back to your portfolio on? Well, I didn't shoot. This is the right right resolution. So for that point, but if you don't have a four k camera, absolutely. Just get in the game. Now get in the game now with any camera you have. Yes, I think may already have ten adp that have video capability. I mean, couldn't be something this simple is ah um ah, rubble for someone starting out that has video capabilities and it's a great way to practice it in a game now you do, you want to be a leader in this game, you want to be doing it so that as things progress you are, you know, how does a second nature great question? All right, so he's, tough part. We're going to start rolling with this. I'm just warning. If we should lower the airplane a little bit, I think we should let's lower it down a little bit. So let's take the backdrop in just lower. It still might be a little bit too high on her still pull and still stretched on sunni wrinkles. Good job, okay, it's, not level. I can always tell my camera. So, jim, before you shoot this, walk us through how you, how you decided where to put the camera, where to put the model. So again, I'm looking at I'm just basically kind of looking at that airplane and go where would be the best place to put her? Here it's ok but I still should have moved her off a little bit more and then we fog that image but I like the back drop a little bit darker because here you don't have enough contrast on the airplane you know that's because it was fog for the type and stuff but still I think it looks a lot better with it being lit like that and then again I just simulated what's the lighting on the plane itself how to recreate that and so far I think everything looks pretty natural showing good all right so who wants to help me with the fan? Okay, so feet a little bit wider part let's see your expression just a little proud you're proud you're very happy also your eyes let me see where you're going to look at try a little higher back there not get changes your eyes look up a little higher way go five years and what camera using again you review those uh this is ah pro photo clam tripod and the reason why I bring this with me because this is a small one for me to fit in my plane okay I mean if you have a bigger camera you need a bigger tripod this is not that big of a camera it's lightweight a little tripod like this would get you away but you definitely can't do this stuff without a tripod there's no way I think I'm just gonna pull a little bit more in the backdrop. I can't tell if that's a wrinkle in there, and I'm just gonna double check. I do not like doing photo shop it's had so far.

Class Description

Learn how to weave together portraits and video in Cinemagraphs: From Start to Finish with James Schmelzer


In this fun and exciting class, you’ll learn the process for bringing your photographs to life. James will explain everything from lighting and shooting the video, to editing and exporting the final version. 

Take an ordinary image and transform it into extraordinary piece of art with James Schmelzer in Cinemagraphs: From Start to Finish.