The Cinemagraph Lighting Set-Up
All right so what we're going to do here live is I'm going to embarrass myself and try to do one of these live on tv now it's not gonna be there ok so let's look at the backdrop first as we look at this backdrop how is it already lit where's the sign coming from any time you do green screen or you're popping and backgrounds or you're doing all that kind of stuff you should probably like the same way the sun's being lit so my opinion you're probably gonna wanna well you've already seen the image of what we're going to imitate but this is what's going through my head trying to trying to correct this so the sun's coming from there and I don't think that you would really turn the bus emilie away from the airplane you're probably gonna want to face her in now when you when year where you are composing images I mean I could have flipped this picture around the other way why am I doing it this way because when you read a book when you read everything from left to right so that's why I'm going...
to want you to read into this image and stop at our model then our animation is going to be the scarf moving okay it's the first day I think about is lighting that background so I'm going to use this guy lux which you see me use all the time on those videos and I'm going to figure out how far away this has got to be in front toe like that background like I told you in the class earlier if I a man at the center of the background it's going to be brighter there than it is over there remember that in the first class so you always aim things off center then you've got the barn doors and here to control the spill of it but I think if I just aim it off background off center will be even enough then I can control the brightness in here to how bright I want this to be compared to the main lights you don't want a brighter than your subject so I have no idea but we can tweak it in tennessee how that's going to go all right, so the next thing we're gonna do is bringing amelia amelia so what we have to figure out is how far in front of this background you have to be to figure out what's your height and size compared to that plane so if you stay there, I think that light's going to end up hitting you? Yes, it is I can't tell about the studio lights, so if you can come forward a little bit more he scored saudi keep telling keep comin now move this way a little bit, okay, cool I think you could be in the right spot. So now when we go to take the image, though, I'm gonna have you looking off, I want you to be, like, proud looking. Okay, so now the thing about making a cinema graph is that your subject can't move. She can't even do this sway a little bit because if she does, I released this scarf moving it won't be able to because she's got this going in there and they'll be a blur, it'd be like a double image. So the first thing I'm gonna do is tell you, get your stance better real wide. You're representing the women of the world. You were the first person to fly around the world, right? She flew all the way around, right? Then she or was it a european flight within our way around the world? I love it core. So then great here's a little bit of a mistake because yeah, any time you do that, you bunch your outfit up, your fingers might be missing, so just just do it where you normally would do it, but keep an eye on a comeback up. You were better up there, okay, call I could we like the sky might turn it a little more so I think we're good now, what am I gonna do before? I like this whole thing. I think I should figure out my composition with my camera and make sure so the first thing I do when I get behind my camera is try to get the whole backdrop. So I'm gonna figure out my distance of the lens to where I get the whole backdrop, and then so watch this. If I was in really close with my camera went why my lens would be off the back, act up, right? So I'm gonna want to back up compress my image like a few stood here and you were my eyes. I could see the whole backdrop if I'm here and I'm looking, why I'm off the backdrop. So that's your perspectives, okay? So I can tell from here that my lens should be right about right here. I'm gonna look at the line of the airplane. This one here was my first test at it. I'm not real happy with what I did there, so I'm going to switch that up and make it even better each time. Every time you do it, you're a little bit better, right?
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.