The Cinemagraph Show & Tell


Cinemagraphs: From Start to Finish


Lesson Info

The Cinemagraph Show & Tell

Why not just take you through some of these movie clips but do me a favor? I'm a little bit more maybe into lighting so you don't have to be you know you're going to see like a lot of lights and stuff, so but I'll describe what I'm doing you could take it for what you like and maybe there's something in there that's not so complicated they're ready so this is going to show you behind the scenes here I am detroit this is a warehouse o'bannon building which should be the fissure this is where they made the fissure cars, right? So we're in here and you could see that the light that I'm using is the sky looks this is an led light and that's that like, did I have right here sold by westcott? And what I do is I'm going to bring a generator with me, plug it into the generator if not, you can get inverter, plug it into your car and run the extension cords from that so you can see where I'm at my environment now there's a graffiti wall what's the first thing you do on any background never put t...

he subject on the background why? How would it ever be three dimensional? You ever go to a house and they got a fireplace you don't put the people right in front of the fireplace you bring him out fifteen, twenty, thirty feet in front of the whole house shows should always being the subject away from the background why else because I'm gonna want to rim like this so if you can see in this image I have two lights behind him room lighting him same thing we're going to do out here in the set to make things three dimensional you're gonna want to rim like some I bring them amelia up here we're going to put up a polites and back lighter so it's the same thing you're gonna see all time that I d'oh the next thing that I just got hip to this smoke bombs did you know smoke bombs coming color I had no idea so I go with the fireworks store I'm looking his big ones like this is caused by a whole case cities I got a whole case of smoke bombs so we let him out just about anywhere but what that smoke is going to do for me in this image to create the motion now the problem with this environment if you said available light is because the available light in this environment that's horrible so I'm going to shut it down see to the right see that big black gobo I got that in my characters in case I need to I gotta shut that window down turn my life and my life be the boss not gonna let this location to the boss I'm going to be the boss all right? So that's what's the mark so I think this kid here is a buddy of mine one of my video editors this is his younger brother and he's really cool kids I love them a lot so I thought, why don't we do it with him? Because he's just into basketball you could see him and he's just playing around there you can see the wide shot again you could see those windows like coming in I'm blocking it off you can see my spotlight over to the rights going light him now we're going toe look at it as not breathing you don't like the smoke but here we're testing some of the smoke coming in that's just a smoke bomb and my other kids that work for me you're holding the smoke bombs and we're going to shoot it in there and I have the camera down on a low angle any time you're shooting outside my opinion get your camera down low is the ground the subject now the graffiti wall is so you eliminate just like we have a photograph a little kid you don't shoot down on a little kid, you get on their level and shoot with them same, but look at the lighting armor look how nice it is! Look how by doing that see how big that window wass all that light coming in their room I had a block that down so there's a smoke now what's cool about this smoke is easy because I gotta let it do is dissipate a little bit because I want to loop it it can't come in and then go away come in go away so that's the hardest thing about creating a cinema graph is it? You're gonna want a loop it ok so let's take a look a tw here's the here's the original available like this is after I blocked it off obviously but you can see that it's lighting up the background because you saw where I put the black gobo I let the light still like the back I only blocked off him. Now I'm going to I'm going to bring in the main light that's it right there you can see it's a pie it's putting a beautiful shadow and I'm gonna add a rim light to it that's that light behind and then we're going to add another in light from the other side and those rim lights are going to help me when the smoke comes in so the smoke is backlit here's the finished product this is the cinema graph so this is the moving living photograph that's so easy to dio let's take another look in another one now I'm going to go to the beach this is the local beach in my area I mean michigan and what I'm gonna do is I'm gonna build a couple of these frames these air scream jim friends made by wescott the aircraft aluminum very easy lightweight but their professional if you put him on a clamp or held that it's not going to blow away like a reflector would so what I'm gonna do is set this kid in the water and this is us putting some clamps together and some things as my camera okay, so this right here is actual large diffuser this is eight by eight feet if you're going to do a full length photograph, you're going to be a really big one if you're just doing close ups she all you need is a little one but my intention is this is the middle of the day do you think anybody's going to go outside in middle of the day and take a photograph? I will I don't care what time of day it is if you're limiting yourself just in the morning and late at night sure you're at sweet light but what if you really had to do this during the day this would show you what you could do so I got to do is control the lighting so what shall we do this so I think I would award some short said day so we're clamping the scrim jim up now this right here is what we call black net you know they were here in seattle right? And they have the chinese president here so the movie crews all front guess what they're doing they're shooting interviews off the reporters and guess what's behind the reporter this black net side I can take a picture of our equipment over there and they're like no this high security because I want to show a picture of musical equipped anyone's you take the black net any time you pay put somebody in the shade or you use the diffuser over what's going to happen to the background it's going to get brighter so you either got a chick you've got to either look for a darker background or you put this black net behind them and if you're shooting a two point eight or if you have a signal lens one point four you're a blurred anyway so who cares never gonna show but you when you see the before and after pictures you're going to see how I like this and how what each reflect is doing so we're putting their aircraft frame together and there is the finish so we actually have is that overhead a reflector over here pop in just a little bit of light back into the shade and that black net behind there's a couple different angles there's me direct him a little bit look, we put the model now she's an assistant over on the right there okay? So there's the you can see the images now let's take a look at each one there's the raw sunlight that would be like straight down lighting not looking good what we call raccoon eyes right so watch next one will show the diffuser overhead that's what the diffusers done and the reflector because you can see the catch light in his eyes adding a little bit of light back in there and now we'll add in the black net behind him and look at that you barely see the line of where it went from the diffuser to the natural water behind him and then now let's watch what that cinema graph looks like there's the moving image he's frozen the water's moving again it's up to you to control what you want to be high. This is a major street in my city detroit and we call this greektown, so believe it or not, what I'm going to do is blocked the street off so I'm going to go down the end of the block from my orange cones I have orange cones in my truck, I'm gonna block the street off so no cars can come down the street that's why I live in detroit because now I'm the police officer I could do it they don't really pay attention they don't really care I really love it there because you don't need a permit if you saw what we do it's a blast come and hang out with me you'll have a blast all right so now here's my sky lux which is constant lighting it's a thousand why led that's my expo desk there's my see me setting the light up see my orange cone I even put him where my lights there see my generator right in the middle of street in the background so we're just taking the place over we won't be there very long because this whole thing only takes five minutes there's the background you can see there's no cars coming down the street now actually what happened was the police officer said you want me blocked traffic for you okay so he's down there with his truck waved down there in the background blocking the street nice guy we're going to buy you lunch okay so here I am checking my exposures you can see the lighting on her face so it's not really sunny out it's kind of overcast you can see the background so that light is every bit strong enough to show up outside and again you could have got an inverter and plugged it in your car I had one of those kind of generators there so quiet so light that I can power this like very easily and that's all I need to put the lighting on her face. So now we're going to go into showing the late offer nine and here is the actual veil, the light he is my light coming in on lighting her. And now let's, look at the finished cinema graph, which is the lights flickering back there so actually, the photo shoot waas a little bit of me taking photographs, and then it was also me creating videos, so we're hybrid photographers now we were taking photographs. Why not do a movie clip to all right? Here we go to another one. This is we have an island in detroit called scott fountain. We have found their called scott from and the first thing you do it at fountain is what figure out where it's on at, but not only that it's windy and you have a phone, the winds going to blow the water all over your subject, they're going to get all wet. So first thing I do is I walk around a found fear or which way the winds blowing because you don't want to get wet and then see how far I can push the limit to where the sun's behind the subject. Then I can relight the subject I'm just worried about subject not getting wet so again we're putting a scrim jim together and I'm gonna put a reflect around I'm gonna put the reflector where what it's going to go way up high right not down low so this girl came in first photographs and she's a dancer at the dance studio that's next door to my studio I said when tapia great soon my graph to do why don't we get her to go there and we'll take a nice thing for and then make the customer happy and then their friends for life right customer for life so his meat putting that and I'm gonna put it way up high you want you reflective bonds that that's a neutral density filter what's that for so I could darken up the sky because you can't do this stuff and photoshopped there's no such thing as photo shop anymore this is a live video you can't cheat later you better fix it now you want the sky dark put a felt around there ok, so now we're framing it up there she is posing and so the movements just going to be the wind blowing her so the reason why I'm showing you this there's a ross sunlight and then you're going to see the me come in with the reflector so now why am I showing you this stuff because today we're going to do something in the studio I want you to say, wow, I could do this anywhere, you know, if you go to flix als web site and you look at all the different photographers on there doing this stuff from all over the world, I think you're going to be impressed about what, you know what your taste is and the things that you want to do what's on your bucket list. So that is the finished cinema graph you could see the things that I've released, so that's it, I just showed you a few if you went on there later or maybe at the end of this class, I might show you a bunch more but there's, a lot of them that I've gone on there from everything from private, one that you've seen the most is the bride with the candles, and you see, the heart shaped candles had to go outside, and I had like, a box of one hundred fifty candles, and I made a great big, huge heart shape, and then I like them all. You try, like one hundred fifty candles, and then I get up high and what was the cinema? Graff was the candles flickering at night? I was awesome, so it's endless.

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.