Cinemagraphs: From Start to Finish

Lesson 6 of 7

Working with Cinemagraphs in Flixel

 

Cinemagraphs: From Start to Finish

Lesson 6 of 7

Working with Cinemagraphs in Flixel

 

Lesson Info

Working with Cinemagraphs in Flixel

00:00:02.18 --> 00:00:04. So now I'm going to look for the last movie, which 00:00:04.89 --> 00:00:08. I think was the best one, and I'm just going to drop 00:00:08.0 --> 00:00:11. it to the desktop. I don't want to open it up in their 00:00:11.3 --> 00:00:14. software program yet, because maybe I want to see 00:00:15.33 --> 00:00:19. where was the best motion. So instead of looking and 00:00:19.88 --> 00:00:22. their software program it's really easier to open 00:00:22.28 --> 00:00:23. up the movie file, 00:00:24.31 --> 00:00:26. scrub along it yourself before you even take it in 00:00:26.69 --> 00:00:29. there and go okay now. From what I could tell from 00:00:29.32 --> 00:00:31. what she was doing, it looked like it was moving the 00:00:31.15 --> 00:00:34. whole time. So I don't know if there is a great moment 00:00:34.11 --> 00:00:36. in there where I would have to look at that 00:00:37.98 --> 00:00:42. so but let's, just it's copied over. I am just going 00:00:42.46 --> 00:00:47. ...

to look at it ahead of time just to see if there's 00:00:47.08 --> 00:00:49. a pardon there is it. Two seconds into it is a three 00:00:49.43 --> 00:00:50. seconds into it, 00:00:52.1 --> 00:00:53. all right, so let's, look this over. 00:00:55.62 --> 00:00:57. The precautions in the right spot 00:00:59.08 --> 00:01:01. moved a little bit at the end. Okay, so I'm gonna 00:01:01.01 --> 00:01:04. avoid the end so that's close out and let's take it 00:01:04.62 --> 00:01:08. and open it up and to sima grab pro so you see, I'm 00:01:08.13 --> 00:01:09. going to do is drag and drop it on the desktop 00:01:11.08 --> 00:01:12. on their icon 00:01:14.13 --> 00:01:16. now it's asking me, do you want to save this? He can 00:01:16.35 --> 00:01:18. screw up it's going to save it. You're going to tell 00:01:18.84 --> 00:01:20. her where you want to save it and it's going to make 00:01:20.44 --> 00:01:21. the spot for it right now, 00:01:22.78 --> 00:01:24. which is kind of cool because you don't wanna do all 00:01:24.48 --> 00:01:27. that working on, man. Where is it? Saving two? Where 00:01:27.4 --> 00:01:29. did I tell it? To save two? Well, that kind of stuff 00:01:29.47 --> 00:01:31. so it's just going to save to the desktop 00:01:32.23 --> 00:01:35. and since it's not really that long of a movie clip 00:01:35.22 --> 00:01:37. it's going to open up pretty quick, but if you if 00:01:37.48 --> 00:01:40. you if you should too long you right now you'd be 00:01:40.16 --> 00:01:42. like three minutes, four minutes, five minutes because 00:01:42.64 --> 00:01:43. it's for kay, 00:01:44.58 --> 00:01:47. there is not there fast because I didn't shoot that 00:01:47.19 --> 00:01:49. much because I saw the scarf moving the whole time, 00:01:50.28 --> 00:01:52. I think I'll take this card and throw it in the trash, 00:01:52.47 --> 00:01:53. just in case. 00:01:55.58 --> 00:01:56. Wow, there we are. 00:01:58.03 --> 00:02:00. Okay, so you guys can see the timeline, you can see 00:02:00.87 --> 00:02:01. everything here. So the first thing we're gonna want to dio is take this trim tab. This is your trim tab, and what it does is you're going to trim down how much of this movement to you're actually really need, like how much of that scarf do I need to go? So this purple thing in here, this is your freeze frame. You could pick a freeze frame and then pull that freeze frame out of there and touch it up. All right, so why is the scarf not moving too much right there? It's moving better over here, okay, so let's, move this. I'm going to move the freeze frame over here. This is the section we're going to pick, and once we figured out how much of the scarf is going to be moving she's not moving the freeze frame, everything looks good, then we're going to get into what they're famous for, which is there live masking technology. So now we're into the masking part. This is your brush you can see over here to the right, you can change the sizes of your brush, you can change the hardness of the brush and the opacity, so the a pass ity is when you're going to want to feather in the areas, which means change the amount of the a pass ity and let it blend into the spots that aren't moving. So here's, our overlay mask sweet. All right, so now I'm gonna take this brush and I am going tio the race where that scarf is moving, so hopefully her hands not moving down there. And he raced up into here. And let's, go back into the. Now. We're going to go into the loop where you loop. It changed the speed and all that kind of stuff. And I'm just checking some here. So jim what kind of cards to use when you shoot cinema graphs well doesn't really matter unless you using a fork a camera and then you have to have a card capable of doing for k so yeah it's very important that you have a card that's fast enough to to do all that you can kind of see the movement in there now you just when we were in the masking technology you can see how easy that was for me to just go in there and fix it I mean I could have done this whole thing and two men it's like I said so that when you were doing in photo shop so you know you're probably like right now going on my god what you know where it gets really intricate again as if you're trying to do really difficult stuff where their stuff moving everywhere around her fountains and water and I did one in london where there was birds flying and water and everything you could think of moving and you know then you're really in fine detail with a really fine brush mask and all that stuff out but again with that over they mask it's very easy to do okay so once you've asked that and you you've got the motion down a game we can get past them the mass technology into the loop and here's why I'll start explaining some of the button so right now up in the top right corner is the repeat repeat button or you can go over here to the bounce button what's going to go to the right come back to the left go to the right come back to the left so and this circumstance it seems like it stops for a second when it bounces stop and it goes and then it stops for a second the bounce I don't really care for unless you did something like this if you put a delay in there then you freak somebody out because all of a sudden the picture moves for me so right now I took the delay I put the delay on and it stopped there for a little bit then it moved that would be like freaky you're watching the photograph and also did it just move no did you see that that it just moved okay so for that type of thing where you see an eye blink all of a sudden or whatever that's kind of cool for that but for me I'm normally and repeat okay so once you're in the repeat you can we don't need to delay down here in the time line this is your cross fade so when it gets to the end you don't want it to stop so if you put the cross fade in there it will go into the cross fade and then go right back into the beginning so it's almost like a continuous motion so you can pick all settle. You want the stuff to be or how big you want emotion to be and all that kind of stuff. So you could take this cross fade and put away over there. But what? I found that when you do that, someone, sometimes you have, like, a double image over it, where I'm looking up close, and it seems to just give a little delayed to it. So I'm gonna move the cross, fade back over here and let it just cross fade into the back. I kind of like that. So is that okay? So far? All right, so till, the isolate the movement that's, when you're masking that's, what you're doing cool. Now, do you want me to take this in the photo shop, touch this freeze frame up. Do you want to see a freeze frame? Do we need to do any of that? You don't do that, okay, so over here, to the left. Iss yeah, okay, so who's your still image. So I'm going to export the still image, someone exported to desktop, and I'm going to touch it up, and we'll put it back in. She needs a lot of touch up. Two need any. I mean, I mean, sitting there thinking, what would I even touch up? So all right, so it's saying, still image. I changed your name, you know that, right? Okay, it's, cool. All right, so now that is on the desktop, so that's, just move that out. There's a still image, let's, open that up and photoshopped and let's. Use the liquefied to align just easy. I mean, I make my arms bigger. What do you guys do? Okay, so, again, it's, eight megabyte file and what's. Nice about this. If you really think about, do you want to move? But would you like to touch up all thirty frames a second now, but to be able to only touch up, the only one I need touched up, possibly your face, which I'm just going to sum to the sake of doing it, to show you how we do it. But that girl does need anything. With happy dog. So what? She calls it, happy dog. All right, so it's bringing into photo shop for me, it's, just being able to do these touch ups. So, I mean, you might want to put some kind of filter. I mean, for me, I would probably just touch up a little bit underneath your eyes a little bit where you have this. Other than that she's got a great face, so I'm going to go to the clone tool. I have it on light mode, and I'm just going take the lighter part of her skin that's blower, and I'm going to move it up in here, and I'm not going to click. I'm just going to sweep because you don't want it. Go on, like dark light, dark, light, and then maybe one more. I'm not going to get rid of this beautiful shadow from her eyelash, and then I'm gonna do the same thing in here, just gonna sweep that in there. On now that we are, look, this is a four k image. Look at the detail of this image. This is some believe. All this is from a still frame from from the video. So my last class I did on this, we actually had a printer in the room when we're making big, huge blow ups from the freeze frames, I'll just do a couple of these more than that. That's, good there's, more you could do. You could never end in photoshopped, probably had done a little more in here. Maybe I will let's go back to this to lamar. Nice. Bingo. There we go. Touched up a little bit. I could put filter and much more. Go ahead with flix a. Ll does the audio stay there and you still have to remove it, or is it automatically just deliver there's? No audio, but you can add audio to it. Okay, so now we're going to save this, and you're all gonna ask, what kind of file is there it is, p and g that stop. There we go. If you wanted, you could change to any kind of file you want, you want to get to fire it, whatever you want, you can change it, so let's, re save that. So it's asking me compression none. More questions online. What tool we're using. What tool? Yeah, in photo shop. I was using the clone tool on a light mode, okay, but you can't take a light mode and move it up into a darker mode. If the lightens the spot you're taking it from has bumps in the road. Ok, so because if it's light and dark and light and dark it's gonna clone out light and dark and light and dark, so another easy ways, just take the paper us put the paintbrush on on light mode. I mean, you know, it is a million different ways of doing that.

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 an extraordinary piece of art with James Schmelzer in Cinemagraphs: From Start to Finish.

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