Working with Cinemagraphs in Flixel

 

Cinemagraphs: From Start to Finish

 

Lesson Info

Working with Cinemagraphs in Flixel

So now I'm going to look for the last movie, which I think is the best one, and I'm just going to drop it to the desktop. I don't want to open it up in their software program yet, because maybe I want to see where was the best motion. So instead of looking and their software program it's really easier to open up the movie file scrubber long at yourself before you even take it in there and go ok now, from what I could tell from what she was doing, it looked like it was moving the whole time, so I don't know if there is a great moment in there where I would have to look at that so but let's just it's copied over. I am just going to look at it ahead of time just to see if there's a part in there is it? Two seconds into it is a three seconds into it. All right, so let's, look this over that precautions in the right spot moved a little bit at the end, okay? So I'm gonna avoid the end so let's close out and let's take it and open it up and to sima, grab pro so you see I'm going to do is drag...

and drop it on the deaths up on there. Now to ask me, do you want to say this? You can screw up it's going to save it you're going to tell you where you want to save it and it's going to make the spot for it right now, which is kind of cool because you want to do all that work and all, man where is it saving two? Where did I tell it to save to all that kind of stuff so it's just going to save to the desktop and since it's not really that long of a movie clip it's going to open up pretty quick but if you if you if you should too long you right now you'd be like three minutes, four minutes, five minutes because it's for k there is not there fast because I didn't shoot that much because I saw the scarf moving the whole time I think I'll take this card and throw it in the trash just in case wow, there we are. Ok, so you guys can see the time line, you can see 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 actually really need, like how much of that scarf do I need to go now? 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 ok 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 sky 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 so 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 capacity and let it blend into the spots that aren't moving so here's our overlay mask sweet all right so now I'm going to take this brush and I am going teo the race where that scarf is moving so hopefully her hands not moving down there any race up into here and let's go back into the now we're going to go into the loop where you lupin change the speed and all that kind of stuff and I'm just checking some here so jim, what kind of cards? Steve is going to shoot cinema graphs? Well, it doesn't really matter unless you use in a four k camera yeah, 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're 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 into men'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 is 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 movement 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 the mask it's very easy to dio okay, so once you've asked that and if you've got the motion down game, we can get past the back the mass technology into the loop and here's well I'll start explaining some of the buttons so right now up in the top right corner is the repeat repeat the 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 in this circumstance it seems like it stops for a second when it bounces stops 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 now you freak somebody out because all of a sudden the picture moves for a minute so right now I took the delay I put the delay on and it stopped there for a little bit then it moves that would be like freaking you're watching the photograph and also did it just move did you see that the ditches 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 in repeat okay? So once you're in the repeat you can we don't need to delay down here in the timeline 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 how subtle you want this stuff to be or how big you want the motion to be and all that kind of stuff so you could take this cross fade 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 delay to it so I'm gonna move the cross strait back over here ledges cross fade into the back I kind of like that so is that okay so far all right, so fueled isolate the movement that's when you're masking that's what you're doing now do you want me to take this in the photo shop talks this freeze frame up? Do you want to see a free strain? Do we need to do any of that? You don't do that okay, so over here to the left iss I am ok so here's your still image so I'm going to export to still image someone exported to the desktop and I'm gonna touch it up and we'll put it back in she needs a lot of touch up to need any I mean I mean sitting and thinking what would I even touch up so all right so it's saying still image I changed your name you know that, right? Of course. All right, so now that is on the desktop so let's, just move that out. There's a still image let's open that up and photo shop and let's use the liquefy tuller justine I mean, I make my arms bigger. What do you guys do? Ok, so again, it's eight megabyte file and what's nice about this. If you really think about you want to move, would you like to touch up all thirty frames a second now? But to be able to only touch up the line when I need touched up possibly your face, which I'm just going to do something to the sake of doing it to show you how we do it. But that girl does need anything with the happy dog. So what? She calls it happy dog. All right, so it's bringing in the photo shop? Ah, 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 their eyes a little bit where you have this other than that she's got a great face, so, um I'm going to go to the clone tool I haven't enlightened mode and I'm just gonna 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 going like dark light dark light thirty and then maybe one more I'm not going to get rid of this beautiful shadow from her um eyelash and then I'm gonna do the same thing in here just gonna sweep that in there on now that we are look at this is a four k image look at the detail of this image this is some believable 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 were making big huge blocks from the freeze frames I'll just do a couple of these our than that that's good that's more you could do you could never end and photoshopped probably done a little more in here. Maybe I will let's go back to this duel, lamar nice bingo! There we go touched up a little bit. I could put filter as much more go ahead with flexible does the audio stay there and you still have to remove it or is it automatically just till there's no audio on it but you can add audio to it okay, so now we're going to say this, and you're all going to ask, what kind of file is that? It. 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 make a tiff, ira. 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. 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. Okay, so because if it's light and dark and light and dark it's going to clone out light and dark and light and dark, so another easy ways. Just take the paper. Us put the paintbrush on on light motives. I mean, you know how it is made in 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 extraordinary piece of art with James Schmelzer in Cinemagraphs: From Start to Finish.

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